Music

Archie Roach critically ill during ARIA performance

Music / / 4 minutes of reading

Singer and songwriter Archie Roach has revealed that he was critically ill at the time of his induction into the ARIA Hall of Fame on 25 November last year, performing from a venue near the hospital with a medical team in tow and an ambulance waiting outside.

Roach has lived with chronic obstructive pulmonary disease for years, but it escalated in November. He was admitted to Warrnambool Base Hospital, where he spent some days in intensive care.

He was taken from the hospital in an ambulance to accept the award via a broadcast from the Lighthouse theatre in the south-west Victorian coastal town, where he also performed, with his medical team standing by backstage.

Roach sung his most celebrated song, Took The Children Away, sitting down and breathing through a nasal cannula, before being taken back to hospital for several more days.

“It wasn’t looking too good for a while,” Roach said, speaking to the Guardian ahead of rescheduled dates touring what is likely to be his final album, Tell Me Why. “Fluid had gone from my legs to [around] my heart, so I had to go to ICU for a while, while they tried to get me under control.… Read more..

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Powderfinger: Unreleased 1998-2010

Music / / 3 minutes of reading

Albums of Odds & Sods (the name the Who gave to one of the first compilations of rarities, released in 1974 in an attempt to short-circuit bootleggers) are often more interesting than best-of collections. While the latter are usually predictable roundups for casual fans of an artist, albums of outtakes, B-sides and strays are for the diehards. Done right, they are a glimpse into a parallel career, the songwriting process and what might have been.

Powderfinger were a democratic band with five headstrong members who all brought ideas into the rehearsal room and who didn’t always agree with one another. Songs would get cut up, rearranged and drift in and out of the conversation for recording. They were both prolific and fussy, so it’s not surprising that over a 20-year career there’s a lot of material in the archives that never saw the light of day.

All that said, it is extraordinary that a song as solid as Day By Day, this album’s hip-shaking lead single, was left off the 2003 album Vulture Street. Singer Bernard Fanning says he’s amazed they didn’t find a place for it; drummer Jon Coghill told me there were too many similar songs on the album.… Read more..

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Bones Hillman 1958-2020

Music / / 4 minutes of reading

The first time I saw Wayne Stevens – better known by his stage name Bones Hillman – was at the Brisbane Entertainment Centre on 26 September 1987, making his debut as Midnight Oil’s new bass player. Tall and upright, he was standing to the left of the band’s even taller singer, Peter Garrett, who introduced him as “the next best thing in the stratosphere” to the man Hillman replaced, Peter Gifford.

It was true that Hillman didn’t drive the Oils quite as hard as Gifford, an ex-carpenter who wore overalls on stage and played bass like a competition woodchopper. Hillman took over as the Oils were hitting their commercial peak, for the Diesel And Dust tour, and with his pitch-perfect singing and nimble fingers, he was the man for the more melodic and mature phase of the band that followed.

Yesterday, via a tweet, the band announced Hillman’s passing from cancer at his home in Milwaukee, Wisconsin, aged 62: “He was the bassist with the beautiful voice, the band member with the wicked sense of humour, and our brilliant musical comrade.” Hillman had played on every Midnight Oil recording from Blue Sky Mining (1990) to their just-released The Makarrata Project, which debuted at No.… Read more..

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Guardian Book Club: Jimmy Barnes

Music / / 4 minutes of reading

When singer Jimmy Barnes’ memoir Working Class Boy was released in 2016, it caused a sensation. Barnes’ account of his childhood went beyond the usual adjectives like “raw” and “harrowing” on the cover to something much more purgative: here was one celebrity memoir that hadn’t been written for the sake of a generous advance. Barnes had wrestled the demons of a traumatic childhood in private for decades. Now he was doing it in full view.

The other thing that made Working Class Boy so shocking, frankly, was that Barnes had written it himself. Wasn’t piano player Don Walker the literary genius behind Cold Chisel, with “Barnesy” the red-faced screamer out front? Barnes further upended expectations by gambling on the story of his pre-fame years first, but his way of telling it was riveting. His voice was urgent, empathetic, as wry as it was moving, with a gut-wrenching turn of phrase.

Inevitably, the sequel Working Class Man followed. This was the proverbial sex, drugs and rock & roll memoir that perhaps was originally craved, and certainly expected – but it was far more compelling for us knowing where Barnes had come from. Jimmy Barnes – the rock star, and sometimes the caricature – had been a fixture of Australian life for so long that we had underestimated him.… Read more..

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Emma Swift: Blonde On The Tracks

Music / / 3 minutes of reading

Perhaps it’s easy to forget, nearly 60 years into his career, that the songs of Bob Dylan were made famous by other artists with sweeter, more radio-friendly voices than the one David Bowie later described as a mix of sand and glue. Between 1963 and 1965, Joan Baez, the Byrds, Peter, Paul and Mary and many others all helped turn Dylan into the voice of his generation for people who couldn’t stand his voice.

Eventually his label, CBS, started marketing him with the phrase that “Nobody sings Dylan like Dylan”. Which is still true, even as that untutored yowl – through age, experience and more age – turned into a croon and, finally, a croak. Now, however, he may have a rival to his own title: nobody has ever sung Dylan quite like Nashville-based Australian singer-songwriter Emma Swift. And maybe nobody (other than Dylan) has ever sung him better, either.

Swift’s splendidly titled album Blonde On The Tracks is a collection of eight Dylan songs that she began recording in 2017 and completed earlier this year, when she became the first artist out of the gate to cover I Contain Multitudes, from Dylan’s new album Rough And Rowdy Ways.… Read more..

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Powderfinger: One Night Lonely

Music / / 3 minutes of reading

There were many poignant moments watching Powderfinger streaming their first show in a decade on Saturday night, but the biggest one was seeing bassist John Collins playing (like all the band members, in isolation) to an empty Fortitude Music Hall, one of two venues he part-owns in Brisbane. The grand 3,300-capacity room opened less than a year ago, and the empty space served as a symbol of what we have lost, what we are missing, and what was at stake.

Live music is a billion-dollar industry in Australia, yet the rooms that host it run on the smell of an oily rag and are in constant danger of being run out of town by governments and developers (Brisbane is fortunate in that both Fortitude Music Hall and The Triffid were built and are co-owned by one of those developers, Scott Hutchinson, a bona fide music tragic). Covid-19 lockdowns will drive many more venues to the wall.

So Powderfinger were back, singer Bernard Fanning told us, to put some smiles on people’s faces. The half-hour gig, watched by close to 100,000 people, aided both music industry charity Support Act and mental health organisation Beyond Blue, with Fanning in northern New South Wales, guitarist Darren Middleton in Melbourne, drummer Jon Coghill on the Sunshine Coast and Collins and lead guitarist Ian Haug in separate locations in Brisbane.… Read more..

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