The Mighty Bullfrog Is a Sydney Band Playing REAL FUNK, BLUES, GROOVE, AFRO & SOUL

Total Page:16

File Type:pdf, Size:1020Kb

The Mighty Bullfrog Is a Sydney Band Playing REAL FUNK, BLUES, GROOVE, AFRO & SOUL THE MIGHTY BULLFROG B I O The Mighty Bullfrog is a Sydney band playing REAL FUNK, BLUES, GROOVE, AFRO & SOUL. Mixing their own originals music with cover songs from funk classics such as: James Brown, Sly & Family Stone, Tina Turner and The Meters www.themightybullfrog.com.au MEET THE MIGHTY BULLFROG The Mighty Bullfrog, have come together from diverse backgrounds, multiple bands and decades playing the Sydney music scene. A pure synthesis of all the important elements that make their shows a refreshing and unique experience for audiences. Jade Da Silva: vocals James Eriksson: drums/vocals Tristan Fitzgerald: guitar/vocals Tim Lumsdaine: bass guitar Dan Parise: keys/vocals Gerard Perrignon: sax/vocals CAREER HIGHLIGHTS Having played with & supported other fine musicians including: Marcia Hines at Sydney’s The Domain 1997 Manly Jazz Festival 2000 and 2011; INXS (with Billy Thorpe) at Australia’s Wonderland in 2002; Thredbo Jazz Festival 2002, 2003 and 2004; The Bondi Winter Festivals in 2005 to 2008; Jackie Orszasky at Luna Park in 2007; Craig Calhoun at the Basement in Sydney in 2013; Most recent gigs at “Street Market” Crows Nest and Lazybones Marrickville, both to packed audiences. THE SOUND Imagine a condensed James Brown house band with just Maceo Parker playing his sax on it. Then add a pinch of Tina Turner singing over the top, and a bunch of New Orleans male backing vocals harmonising out the mix. That’s the band’s essential sound. CONTACT: [email protected] Dan Parise 0412 098 362 themightybullfrog.com.au facebook.com/themightybullfrog reverbnation.com/bullfrogfunk.
Recommended publications
  • Lobby Loyde: the G.O.D.Father of Australian Rock
    Lobby Loyde: the G.O.D.father of Australian rock Paul Oldham Supervisor: Dr Vicki Crowley A thesis submitted to The University of South Australia Bachelor of Arts (Honours) School of Communication, International Studies and Languages Division of Education, Arts, and Social Science Contents Lobby Loyde: the G.O.D.father of Australian rock ................................................. i Contents ................................................................................................................................... ii Table of Figures ................................................................................................................... iv Abstract .................................................................................................................................. ivi Statement of Authorship ............................................................................................... viiiii Acknowledgements ............................................................................................................. ix Chapter One: Overture ....................................................................................................... 1 Introduction: Lobby Loyde 1941 - 2007 ....................................................................... 2 It is written: The dominant narrative of Australian rock formation...................... 4 Oz Rock, Billy Thorpe and AC/DC ............................................................................... 7 Private eye: Looking for Lobby Loyde .........................................................................
    [Show full text]
  • Hard Knocks Music Credits
    (Cast) Maple Leaf Jazz Band Drums Roger Kennedy Bass Gary Dunbier Banjo John Withers Trombone Don Santin Trumpet Rob Green Alto sax Kim Rushworth Music Editor Zbigniew Friedrich Music Consultant Greg Pickhaver Hard Knocks Performed by Paul Kelly & the Dots Written by Kelly Published by Mushroom Courtesy of Mushroom Records Evie Part 1 Performed by Stevie Wright Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Most People I Know Performed by Aztecs Written by Thorpe Published by Rock of Ages Courtesy of Havoc Records Who Listens To The Radio Performed by Sports Written by Cummings/Pendelbury Published by Antipodes/Mushroom Courtesy of Mushroom Records My Little Angel Performed by William Shakespeare Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Take A Long Line Performed by Angels Written by Brewster/Neeson/Brewster Published by Alberts Courtesy of Albert Productions Where The Action Is Performed by John Paul Young Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Birmingham Performed by John Paul Young Written by Vanda/Young Published by Alberts Courtesy of Albert Productions High Voltage Performed by AC/DC Written by Scott/Young/Scott Published by Alberts Courtesy of Albert Productions I Remember When I Was Young Performed by Matt Taylor Written by Matt Taylor Published by Mushroom Courtesy of Mushroom Records Breakfast at Sweethearts Performed by Cold Chisel Written by Walker Published by Rondor Courtesy of W.E.A. Records When The Heat's Off Performed by Richard Clapton Written by Richard Clapton Published by Gypsy Courtesy of Infinity Records High Class Women Performed by John St.
    [Show full text]
  • Popular Music, Stars and Stardom
    POPULAR MUSIC, STARS AND STARDOM POPULAR MUSIC, STARS AND STARDOM EDITED BY STEPHEN LOY, JULIE RICKWOOD AND SAMANTHA BENNETT Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au A catalogue record for this book is available from the National Library of Australia ISBN (print): 9781760462123 ISBN (online): 9781760462130 WorldCat (print): 1039732304 WorldCat (online): 1039731982 DOI: 10.22459/PMSS.06.2018 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design by Fiona Edge and layout by ANU Press This edition © 2018 ANU Press All chapters in this collection have been subjected to a double-blind peer-review process, as well as further reviewing at manuscript stage. Contents Acknowledgements . vii Contributors . ix 1 . Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations . 1 Stephen Loy, Julie Rickwood and Samantha Bennett 2 . Interstellar Songwriting: What Propels a Song Beyond Escape Velocity? . 21 Clive Harrison 3 . A Good Black Music Story? Black American Stars in Australian Musical Entertainment Before ‘Jazz’ . 37 John Whiteoak 4 . ‘You’re Messin’ Up My Mind’: Why Judy Jacques Avoided the Path of the Pop Diva . 55 Robin Ryan 5 . Wendy Saddington: Beyond an ‘Underground Icon’ . 73 Julie Rickwood 6 . Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers . 95 Vincent Perry 7 . When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona .
    [Show full text]
  • [Warning - This Film Contains Nudity and References to Drugs]
    [Warning - This film contains nudity and references to drugs] [What A Life! Rock Photography by Tony Mott - a free exhibition until 7 February 2016. Solid Gold - Jeff Apter & Philip Morris, Metcalfe Theatre, State Library of NSW, 5th December 2015] [Dressed in a black shirt and dark jeans, grey-haired Philip Morris sits beside his interviewer Jess Apter, a bald man dressed casually] [JEFF APTER] Thank you. Before starting, I want to say I was really fortunate to be able to work with Philip on this book. [Jeff Apter holds up a coffee table book] [JEFF APTER] And it was one of the more interesting exercises, wasn't it? Because we were given a directive to come up with... Was it 200 photos? ..for this book. [PHILIP MORRIS] That's right. [JEFF APTER] And Philip's archive is so fantastic and so rich, that I think we got it down to, what, 600? [PHILIP MORRIS] Yeah. [Audience laughs] [JEFF APTER] Was it 600 to start with? It was something like that. And it's staggering, really. It's a really great document of Australian rock history at a really interesting turning point. So to get it down to this... It's begging for a second edition, by the way. There's so many great photos. So it was a real honour to be able to... to do that. It was a lot of fun. [PHILIP MORRIS] Yeah, it was. [JEFF APTER] We actually had built into our contract... Our agreement was an understanding that we would never work in a boring situation.
    [Show full text]
  • Dirty Deeds Music Credits
    Composer Paul Healy (cast) You Am I The Cadillacs Tim Rogers Dave Scotland Andy Kent Neil Pepper Russell Hopkinson Keith Longman David Lane Tony Hicks Music Score Recorded at Milk Bar Supersonic Music Score Produced and Mixed at Supersonic Assistant to Composer Amanda Brown Assistant Music Editor Scott Horscroft Recording Engineers Wayne Connolly Trent Williamson Musicians Drums David Kleynjas Bass Samuel Dixon Flute Tony Buchen Wurlitzer Alan Goodman Antony Partos Harmonica/Jaw Harp Trent Williamson Guitar Trent Williamson Paul Healy Orchestra Pro Musica Sydney Orchestra Contractor Coralie Hartl Concertmaster Phillip Hartl Brass and Strings orchestrated and conducted by George Brodbeck Music Supervisor Mana Music Chris Gough Julie Spinks Soundtrack Recording Engineer Chris Dickie Mixing Engineer David Nicholas Additional Engineers Greg Clarke and Paul McKercher Assisted by Jim Maroudas and Shae Mete Mastered by Don Bartley Soundtrack Recorded at Sing Sing Studios Additional Recording at Electric Mountain Studio and Studios 301 Mixed at The Basement Studios Sydney Mastered at Studios 301 And I Heard The Fire Sing Composed by R. Taylor Published by Festival Music Publishing Performed by Grinspoon Licensed courtesy of Universal Music Australia Pty Ltd Dirty Deeds Done Dirt Cheap Composed by Young/Young/Scott Published by J Albert & Son Pty Ltd Performed by AC/DC Licensed courtesy of Albert Productions Sinner Man Composed by Bruce Woodley/Athol Guy/ Judith Durham/Keith Potger Published by Chappell Music Ltd (PRS) All rights administered by
    [Show full text]
  • QMUSIC 2019 Qmusic Acknowledges the Many Traditional Custodian Groups All Across What Is Now Referred to As Queensland
    QMUSIC 2019 QMusic acknowledges the many Traditional Custodian groups all across what is now referred to as Queensland. We pay our respect to all elders: past, present and emerging. We also acknowledge the important role that music has played and continues to play on these lands since the very first sunrise. - IMAGE TENGAZI. PHOTO CREDIT: AIMEE CATT. QMUSIC 3/374 Brunswick Street PO Box 878 Fortitude Valley QLD 4006 Australia T (07) 3257 0013 E [email protected] wwww.qmusic.com.au Queensland Music Network Incorporated 1 ABN 14 083 014 720 OUR VISION To support and promote a thriving contemporary live and recorded music industry that transforms lives and delivers artistic, cultural, social and economic value to Queensland. CONTENTS PRESIDENT’S REPORT..............................................2 TREASURER’S REPORT..............................................5 CEO’S REPORT....................................................6 INDUSTRY CONNECT REPORT.........................................9 AMPLIFY REPORT.................................................11 GRANT ADMINISTRATION...........................................13 SXSW BRUNCH....................................................14 LEVI’S® MUSIC PRIZE............................................15 BIGSOUND OVERVIEW...........................................17-32 QUEENSLAND MUSIC AWARDS........................................33 QMUSIC REACH...................................................34 WOMEN IN BUSINESS..............................................36 QMUSIC MANAGEMENT COMMITTEE.................................37-42
    [Show full text]
  • Whiter Rock: Why the Easybeats Didn't Suceed In
    Oz Rock and the ballad tradition in Australian popular music ‘While we are sitting here, singing folksongs, in our folksong clubs, the folk are somewhere else, singing something different.’ Quoted in Jeff Corfield ‘The Australian Style’1 Billy Thorpe and the Aztecs, and the Twilights, discussed in chapter one, were manifestations of an Australian popular music sensibility which was fundamentally European-derived, white. It was a tradition that valued melody, musical linearity and lyrical clarity. These bands, in particular Billy Thorpe and the Aztecs, and the Easybeats, laid the basis for the flowering of Australian rock in the 1970s and for Oz Rock groups such as Rose Tattoo, the Angels, Midnight Oil, Cold Chisel, Australian Crawl, and, in the 2000s, You Am I and Powderfinger among others.2 This tradition has continued to blend melody with strong guitar riffs and a big beat. Billy Thorpe’s self-penned ‘Most People I Know (Think That I’m Crazy)’, released in 1972, with its melody, driving beat and anthemic chorus combined with an emphasis on the lyrics, provided a template for Australian rock, for a tradition of bands—those Oz Rock bands that I mentioned above—whose success in Australia has, in the main, continued to be far greater than what they have achieved overseas.3 This tradition continues to privilege elements drawn from the white, European musical tradition over influences from African-American, and other Black musics. This hard rock development in Australia has another strand, the importance of the traditional ballad tradition and, along with this, the influence of American country music.
    [Show full text]
  • Hyper-Heteromasculinity in 1970S Australian Popular Music Cultures
    ‘Sheilas and Pooftas’: Hyper-Heteromasculinity in 1970s Australian Popular Music Cultures Rebecca Hawkings Macquarie University In 1978, a letter writer to Rock Australia Magazine (RAM) wrote disparagingly of pop music’s ‘sheilas and pooftas’, and positioned them as the antithesis of ‘Aussie rock and roll.’1 The colloquial language employed by the letter writer reveals a deeper fear and loathing of non-masculine (‘sheila’) and non-heterosexual (‘poofta’) influences on Australian popular music culture. Indeed, gender and sexuality were two key ways by which ‘Australianness’ in popular music during the 1970s was recognised, and this article seeks to unpack and problematise those nationalising demarcations. Using the analytical framework of performative hyper-heteromasculinity (specifically, the ‘ocker’ identity and variations thereof), this article will critically engage with artists including Billy Thorpe and The Aztecs, Skyhooks, and The Angels, in order to better understand the complex nexus of gender, sexuality, and cultural nationalism that defined much of 1970s Australian popular music. Introduction In 1978, a letter writer to Rock Australia Magazine (RAM) wrote, At last Australia is coming up with some good recording artists. People like Midnight Oil, David Warner, the Angels, Cold Chisel etc. Not like this fuckin’ disco shit which is fit for sheilas and pooftas… There is Aussie rock and roll playing in the pubs these days.2 Colloquial language and slurs aside, the letter writer articulates an under-examined aspect of Australian popular music of the 1970s; namely, the demarcative role of gender and sexuality in ascribing ‘Australianness’ to music cultures. Indeed, the 1970s provide a fascinating example of the fear and loathing of the non-masculine (‘sheilas’) and non-heterosexual (‘pooftas’) in music cultures recognised as ‘Australian’.
    [Show full text]
  • THE SOUND of ALBERTS BLOOD - Thursday, June 25 at 8.30Pm on ABC
    Premiering Thursday, June 25 at 8.30pm on ABC This two-part documentary takes viewers back to the '60s and '70s and charts how Australia got its own rock & roll sound thanks to a life-long bond between two families: the music company Alberts and the Youngs, an immigrant family from Glasgow. Together, they created a sound that would become an inspiration to millions of music fans around the world. Though very different on the surface, the families were similar where it mattered – a love of music, a refusal to blow one’s own trumpet, and a determination to succeed. Their bond was the blood of two families, and the thunder was the sound they produced. It's a story of incredible accomplishments, and some devastating losses, such as the death of Bon Scott. And it all started at the legendary Alberts Studios. BLOOD + THUNDER: THE SOUND OF ALBERTS BLOOD - Thursday, June 25 at 8.30pm on ABC When the unassuming Ted Albert finds musical genius within Australia’s migrant families in the '60s – Billy Thorpe, The Easybeats, others – he’s sure they can create music that will impress the world. He’s right, especially due to the Young clan from Glasgow. Australia goes nuts over the homegrown sounds. Born into the music dynasty J Albert & Son, Ted joins the board in 1962, aged 25, and is determined to create an Australian sound. His first signing is Billy Thorpe & The Aztecs and it’s their hit Poison Ivy that’s at the top of the charts when The Beatles tour the country in 1964 – an extraordinary achievement.
    [Show full text]
  • High Voltage
    ACDC Final PP 12/9/06 3:03 PM Page 107 chapter 8 HIGH VOLTAGE C/DC’s debut album, High Voltage, was released on 17 February 1975 on the Albert label distributed through EMI, anda was the first hard evidence that AC/DC were NTBFW (not to be fucked with). The back cover was restrained enough, even slightly mysterious. There was just a series of photos of Malcolm, Angus and Bon and a contact address for their then fan club in Sans Souci in Sydney’s south, not far from where Bon made his official Sydney debut with the band. The artwork on the front was an entirely different thing. Again the brainchild of Albert’s Chris Gilbey, it showed a cartoon dog pissing on an electrical substation and a pair of what were presumably crushed beer cans. Chris Gilbey: ‘I look at it now and think, how naff is that? But at the time it seemed quite, not revolutionary, but it was kind of confrontational. I had people saying to me, “You can’t have a dog pissing on the front cover of an album! That’s disgusting! You can’t do things like that!”’ 107 ACDC Final PP 12/9/06 3:03 PM Page 108 Commercial artist Paul Power was working at EMI in Sydney and put himself forward to handle the cover art with the assistance of fellow EMI artist, the late Paul Winter. Paul Power: ‘I recall a few people in higher positions who were giving me shit about my lack of taste in rendering such offensive album cover art.
    [Show full text]
  • 'Suck More Piss'
    [PB 14.2 (2013) 120-139] Perfect Beat (print) ISSN 1038-2909 doi:10.1558/prbt.v14i2.120 Perfect Beat (online) ISSN 1836-0343 Paul Oldham ‘Suck more piss’: how the confluence of key Melbourne-based audiences, musicians, and iconic scene spaces informed the Oz rock identity Paul Oldham is a researcher at the University of University of South Australia South Australia. He is currently working on a PhD GPO Box 2471 thesis about the fashion-oriented Australian sub- Adelaide, South Australia 5001 culture known as sharpies (1964–1980). He has Australia been a practising professional popular music and [email protected] culture journalist since 1993. Abstract Australian pub rock began in Melbourne in late 1969/early 1970 and became the nation’s most successful penetration into the international rock market and audiences. While commendable work has been written about Australia’s scene spaces (particularly Homan 2003; Stratton 2007), most remain Sydney-centric and typically overlook the equally (if not more) important Mel- bourne rock scene. In all cases the fermentative period of pub rock—and especially the com- bined roles played by its early audiences, musicians and venues—remains under-examined. This article will explore Australian pub rock’s beginnings through the lens of the career trajec- tory of Billy Thorpe & The Aztecs, and how that influenced, and was influenced by, the specific demands of Melbourne’s fluid audiences and venues leading up to the Oz rock era, using the key case studies of Mulgrave’s Village Green Hotel and Nunawadings’s Whitehorse Hotel. Keywords: Billy Thorpe & The Aztecs; Melbourne; Oz rock; pub rock; sharpies In the beginning… Oz rock was Australia’s hegemonic style of pub rock from the early 1970s to the mid-1980s and arguably the first distinctly Australian form of popular music.
    [Show full text]
  • Second Wave: Australian Rock and Pop 1964 –1969
    “THE SIXTIES”: Australian rock & pop recordings, 1964-1969 Page 1 of 314 THE SECOND WAVE: AUSTRALIAN ROCK AND POP 1964 –1969 COLLECTION GUIDE INTRODUCTION This collection guide is intended to provide information regarding the various materials held by the National Screen and Sound Archive relating to rock and popular music in Australia during the period 1964 - 1969. It continues from where “The First Wave: Australian rock & pop recordings, 1955 to 1963” published by National Screen and Sound Archive - ScreenSound Australia, in 1998. The National Screen and Sound Archive not only seeks to collect and preserve but also has a responsibility to provide information on Australian sound and moving image production in order to facilitate public access and awareness of these materials. The material listed in this collection guide is comprehensive as it also includes material not held by ScreenSound Australia. Where a recording is currently held in the collection, this is indicated by an asterisk (*) against each title in the right-hand margin. It is often a challenge to define exactly which recordings are “rock” or “pop” material, this listing has tried to include the broadest possible range of recordings -- including some which are perhaps also considered 'middle-of-the-road'. In many cases, the same artist often made recordings, which are considered iconic performances in Australian rock or pop also made records, which were aimed at a more general audience. The main criteria for selecting recordings for listing in this discography is that they were aimed at the teenage market or were contemporary material interpreted in a popular style such as was then presented on radio, television or in live performance.
    [Show full text]