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| "Independent spirit/ Temper us inside/ With the strength to live/ A life fulfilled/ And not denied."
Moore's current journey finds her on the road with drummer Ash Sood, bassist Brian Minato, keyboardist David Kershaw (all of whom contribute to Bohemia) and guitarist Sean Ashby. But even without a live band or the sensuous, lush production of Bohemia, her songs stand up beautifully to the lone troubador approach. "That's really important to me," she says of the solo thing. "I guess that stems from the fact that I write exclusively on acoustic guitar, and complete the songs that way." Comparisons to Joni Mitchell abound, it seems, but Moore's new music has a sonic and spiritual connection to a much broader spectrum of songwriting. "I've taken just about every male reporter to task for likening me to Joni Mitchell," Moore says. "I just say, well what female songwriter hasn't been compared to her? Everyone from Alannah Myles to Sarah McLaughlan. "I mean, c'mon. They never do that with guys." Moore is also a fan of the vocal stylings of Gord Downie, singer of the Tragically Hip. But his part on "The Wish" is so background, one wonders if Kilbey fell asleep at the volume knob. "I wanted it to be a duet in that section," Moore says of the song's chorus. "But Kilbey was not keen. He didn't even want him (Downie) to do it. The result is a compromise which I think doesn't work, from either standpoint. "But at least Gord is there." ART
Photo: Mae Moore with guitar NS gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE cana : Canada | namz : North American Countries/Regions PUB Toronto Star Newspapers Ltd. AN Document TOR0000020080309doc300ivr SE The
HD RECORDINGS OF NOTE POP BY Alan Niester WC 296 words PD 22 April 1991 SN The Globe and Mail SC GLOB
PG C2 LA English CY All material copyright Thomson Canada Limited or its licensors. All rights reserved. LP
JACK FROST Jack Frost Arista AC-8667 TD
Jack Frost is not so much the name of a new band as it is the code-name for a collaboration between noted Australian musicians Grant McLennan (ex- Go-Between) and Steve Kilbey (vocalist"guitarist for The Church). And while it may seem like an odd pairing, with Kilbey's ethereal, Byrds-like guitar work meeting McLennan's folk"pop sensibilities, it actually comes off rather well. Presumably this is because McLennan, although getting top billing in the credits, has proved himself willing to take a back seat in the studio. For the most part, Kilbey's production work assures that this sounds more like a Church project than it does a Go-Betweens revival. With the exception of one or two songs (most notably McLennan's Didn't Know Where I Was) Kilbey's haunted vocal style and low-key rhythmic guitar work make this project sound like a moodier version of The Church. But what's odd about the collaboration is mostly that it doesn't work like a collaboration at all. Few of the cuts can be seen as either a McLennan or a Kilbey cut, in the same way old Beatles' songs could be identified as a John or a Paul. The mix is seamless. It's difficult to tell where one musician's contributions end, and the other's begins. And while the mood is generally sombre, when the two really do get into high gear, as on the sprightly Threshold, they manage to sound like Chad and Jeremy 30 years on. In all, this is an interesting and worthwhile project, moodier than not, and the kind of thing that haunts the listener long after its done. IN
I971 : Motion Pictures/Sound Recording | IMED : Media NS NCAT : Content Types | NRVW : Review IPD phonograph records review AN Document glob000020011109dn4m00dsi SE Metro HD IN THEIR OWN WORDS BY ROBIN HILL WC 616 words PD 4 January 1991 SN Sydney Morning Herald SC SMHH
PG 3 LA English CY Copyright of John Fairfax Group Pty Ltd LP
IF WE were to say that every musician is a mindless prat with the IQ of a pea we would be wrong. How wrong is a matter of conjecture, although we are happy to say that, overall, musicians and their ability to glorify both themselves and their music is boundless. Nonetheless, those past and present at the Musical Notes desk, have found much mirth and merriment in the litany of bons mots provided in the past 12 months by the stars, the mega-stars and those about to become the Zsa Zsa Gabors of music in 1991. TD
With this in mind, dear reader, we offer you the choice quotes from those musos who have graced our pages. They will tell you everything you did not wish to know about so and so's great thoughts in 1990. These can be framed or, even better, guess who provided the quote below the photograph, write your own 100-word scenario about how the quote occurred and the winner will be printed in next week's Musical Notes column and win a fabulous surprise prize worth $69.99. "What we do is actually quite sophisticated. We just do it in a spirited way." Shane MacGowan, lead singer of The Pogues, explaining why people mistakenly think he drinks mineral water. "I've been wearing leather for 15 years." Chris Musuak, guitarist with Hitmen DTK, gives us a vital lesson in body odour etiquette. "I think once you've had one success, it's kind of intoxicating. You start to think that there must be some reason for it, and try to recreate it." Peter Koppes, guitarist with The Church. A "classic" rock quote. "I come from a hard aesthetic." Henry Rollins explaining why he looks like a builder's labourer. "I feel very confused about it sometimes. I really feel like I'm very much a Scottish person and very much an Australian person." Colin Hay telling us why he is famous for his "kooky eye". "I actually resent being called a crooner - I don't think I am. Some of the songs are quite delicate, fragile and romantic but I don't think that qualifies me as a crooner. They're good songs and I sing them as they should be sung." Nick Cave's diatribe on why we shouldn't mistake him for Leonard Cohen's brother. "David Bowie," he moans, "David Bowie is still the greatest rock star who ever walked the face of the earth. I want to listen to his beautiful voice. I want to touch his beautiful body ... " Aztec Camera's Roddy Frame tries to be ever so clever. "Through an advert. Eight years ago. No. We're too busy doing interviews to see any of it. Not a lot." The Beloved's perfect interview formula which explains how they met, when, what they think of Oz, etc. "You always get compared to someone more famous than yourself, particularly when you're working in a vacuum, which we are, to an extent." The Killjoys enthuse about the "existentialist" peculiarities of rock music "I will say something." Plug Uglies' drummer Tina Stevens makes a political statement about being a woman in a male-dominated industry. "We met in a leather bar in Oxford Street." Steve Kilbey explains what attracted him to write sweet, sweet music with Grant McLennan for Jack Frost - or as Metro's own Shane Danielsen saw it: "Imagine Baudelaire and Thomas Hardy knocking out a few stanzas after lunch."But let's leave the last word on the menage a deux with Kilbey: "I wouldn't call it a marriage, it's more like dating." AN
Document smhh000020011110dn140007d SE STYLE HD Jack Frost: Chilly Vibes BY Mark Jenkins WC 195 words PD 26 March 1991 SN The Washington Post SC WP
ED FINAL PG b05
LA English CY (Copyright 1991) LP For a time it seemed that Saturday's 9:30 club gig by Jack Frost, the temporary alliance of former Go-Between Grant McLennan and Church-man Steve Kilbey, was going to be dominated by Kilbey's peevishness. Ultimately, however, McLennan's smart, lovely songs won out. Frustrated by the sound - which admittedly was not great - Kilbey protested that he didn't want to throw a "B-grade pop-star tantrum." But that's just what he did, repeatedly interrupting songs to instruct the sound man. Sometimes, all McLennan could do was retreat to the back of the stage and laugh. TD
Though such Jack Frost songs as "Civil War Lament" retained their charm even in this awkward setting, the show was saved only by McLennan's solo material. Two Go-Betweens songs were performed during the main set, and afterward McLennan returned to the stage to sing four more, including the bittersweet "Cattle and Cane," as well as two new songs. Many people fled early while Kilbey was fuming, but the faithful who stayed until after 2 a.m., when McLennan finished his final encore, were amply rewarded. IPD
REVIEW Subjects: Music Jack Frost AN HD Low-budget but impressive US debut of Jack Frost BY Jim Sullivan, Globe Staff WC 392 words PD 22 March 1991 SN The Boston Globe SC BSTNGB LA English CY (c) 1991 New York Times Company. Provided by ProQuest Information and Learning. All Rights Reserved. LP JACK FROST At: Nightstage, Wednesay night. TD
CAMBRIDGE -- Put the leader of one popular alternative Australian band, the Church, together with a co-leader of one superb, but underappreciated and now defunct, alternative Australian band, the Go-Betweens, and you've got Jack Frost. Meet the Church's Steve Kilbey, the king of side projects, and Grant McLennan, a man who's proud of his 12-year tenure in the Go-Betweens but allows, "I feel liberated -- although I have to stress I wasn't in a prison." Jack Frost, which made its US debut Wednesday at Nightstage, began as a lark. Kilbey and McLennan met in New York and decided to write together with no designs on releasing a recording. Kilbey's label, Arista, thought differently and last month released Jack Frost's eponymous effort. Arista thought right. It's not as hard-rocking or densely psychedelic as the Church's latest work, but it is an impressive mix of restless, engaging, moody pop-rock -- electric music with an acoustic underpinning. It's not a surprising concoction given McLennan's warmth and craftsmanlike folk-rock stylings and Kilbey's darker-tinged impressionism. For this short (four-date), low-budget US jaunt, Kilbey and McLennan are traveling with just their acoustic guitars, and, in the songs, playing it pretty seriously. There's gentleness and strength in their highly rhythmic music, and they seem to use songs as vehicles to exorcise ghosts and demons -- sentiments like "Didn't know someone could be so lonesome/Didn't know a heart could be tied up and held for ransom" linger. One of the best was "Thought That I Was Over You," where the singer spies his ex and her new beau and takes us through that pain, though by the end he still wishes the new couple well. And, actually, Jack Frost sprays some optimism amid the emotional minefields; the opening, "Providence," surged with a yearning spirit, and during McLennan's solo encore he sang, quite believably, "Whatever I have is yours, and it's right here." Kilbey, for his solo encore, chose to goof it up, mixing "Crimson & Clover" and "Sweet Jane," cutting the Church's hit "Under the Milky Way" with a line from "All Along the Watchtower." RF
MUSIC REVIEW PUB Boston Globe Newspaper AN Document bstngb0020011109dn3m005sj SE Metro HD OPPOSITES REACT BY SHANE DANIELSEN WC 675 words PD 30 November 1990 SN Sydney Morning Herald SC SMHH
PG 16 LA English CY Copyright of John Fairfax Group Pty Ltd LP
EVER noticed how people seem to marry their exact opposites? You know someone for a long time and then one day meet their husband or wife. You find yourself wondering what it was that ever attracted them to each other, what they could possibly find to talk about when they're alone, where the meeting point between two apparent strangers could be. The answer is simple: these things just happen, often despite themselves. But when two of Australia's principal songwriters - on the surface markedly different artists - decide to join forces, such questions are bound to arise. TD
Jack Frost is a duo comprising Steve Kilbey from the Church and Grant McLennan of the late, and much-lamented Go-Betweens - singer-songwriters both, though of quite disparate styles. So where is the common ground? "Oh, we met by chance in a leather bar in Oxford Street," deadpans Kilbey, his manner characteristicly reserved, slightly bored - a faint smile then tugs at the corner of his mouth. "Ah, no," McLennan looks momentarily anxious, then grins. "No, we didn't." The real story is a long one, involving a high level of mutual admiration and an exchange of telephone numbers while in America. A few months later a partnership was formed and an album conceived. Self-titled, the album is a strong and often beautiful work that shows both performers at something of a songwriting peak. The material is powerful and compelling, and both parties admit to being surprised at how easily and well it came together. "These kinds of working relationships do push you to do your best," admits Kilbey. "If you respect the other person's work, which in this case we definitely do, you only want to give the best you can. I wouldn't call it a marriage, it's more like dating. A first date, you know - trying to impress the other person, trying to look very confident and sure." McLennan adds: "It also gets boring writing songs, especially by yourself. After more than 10 years of it you feel as though you've reached a point where you can't go along any more, you need some kind of external input, some kind of challenge. Which I suppose is why the Go-Betweens broke up - a lack of challenges." On the face of it, it still seems an unlikely union, the only obvious link being a common tendency towards the literate, the lyrically erudite. Yet even here their styles differ wildly: Kilbey is known for diffuse, poetic lyrics, McLennan for his more prosaic and increasingly pastoral folk songs. Imagine Baudelaire and Thomas Hardy knocking out a few stanzas after lunch. Kilbey himself is no stranger to such extracurricular partnerships, having worked with a number of other songwriters here and overseas. For McLennan, however, the past decade has meant the Go-Betweens, the in-name-only writing team of Forster/McLennan and little more. Yet, while admitting the experience is a slightly more unfamiliar one, he notes: "Looking around, there seems to be something of a boys' club mentality in Australia. You find among musicians that much the same people tend to hang around together constantly, but rarely get around to doing anything about it. "There's also this attitude of preciousness about their work. They're extremely hesitant about getting up with someone else and just performing acoustically. You haven't got the volume and the spectacle to hide behind so people don't tend to take the risks that perhaps they should." To date, Jack Frost has played only twice, supporting They Might Be Giants, though more dates are possible. And while both have other commitments to honour - Kilbey to the Church and McLennan to his burgeoning solo career -they intend to continue working together. There remains another project about which neither will comment - yet. It sounds more than promising: would that most marriages produced such healthy offspring. The Jack Frost album, and a single Every Hour God Sends, are available on RedEye Records in all formats. AN
Document smhh000020011116dmbu00u1k SE News and Features; Reviews HD GENERATION GAP BY LYNDEN BARBER WC 702 words PD 18 December 1990 SN Sydney Morning Herald SC SMHH
PG 12 LA English CY Copyright of John Fairfax Group Pty Ltd LP
GREAT rock bands don't just become musical legends, they turn into the next generation's caricatures. So the Byrds' meandering down the uncharted laneways of folk-rock, psychedelia and country rock is reduced to 12-string guitars and pudding-basin haircuts. Then there's Blondie: buzz-saw guitars, three-minute pop tunes and a bottle of peroxide, as adapted by UK bands like the Darling Buds, Primitives and Transvision Vamp. TD
The results have been varied, but these outfits have generally failed to escape the constrictions of a simple formula. Ironically, it's Sydney's Falling Joys, with an image close to drab facelessness, who have come nearest to capturing the Blondie sound. Partly this is due to the uncanny similarity between the voices of Suzie Higgie and Debbie Harry - not so obvious on the Joys' early singles, perhaps, but impossible to escape on their debut album. What the Joys have inherited from Blondie and, in smaller doses, the Pretenders, is a sense of effortlessness, an impression that their carefully turned songs have occurred spontaneously. They've inherited the songcraft while rejecting the irony and style manipulation (all too typically, for an Australian band, they mistake the projection of a boring image for "honesty"). Although a groin-thrusting Oz rock production on the opening Shot in Europe augurs badly, much of what follows is extravagantly impressive, especially the single, Lock It, an anthem underpinned by an artful sense of drama, and Jennifer, a heady rush of melody. Things to Come, meanwhile, is obviously inspired by the Passions' I'm in Love with a German Film Star, yet there is a confidence and cleverness here that means influences - even the obvious ones - are transcended. A generally fine debut album. After the demise of the Go Betweens, songwriters Robert Forster and Grant McLennan have formed new partnerships. What's interesting about the new albums from each is the way Forster, once the more gawkily self-conscious of the pair, has not only matured but emerged as the more individual and arresting voice. Recorded in Berlin with Bad Seeds' Mick Harvey and Thomas Wydler, Danger in the Past presents a deeply personal brand of songwriting, the type that brings a stranger's crises and musings dramatically to life in the living room. There's none of the striving for effect that marred his early work with the GoBs, while his voice has achieved a Dylanesque presence - loose and approximate, but pins the ears back. Matching the striking lyrics are the supportive arrangements, which suggest that Mick Harvey, the producer here, has been greatly overlooked in accounts of the success of Nick Cave. By contrast, McLennan's decision to team up with the Church's Steve Kilbey under the collective name of Jack Frost seems an eccentric move, born, perhaps, of a loss of direction. Quality on their album is mixed. It's easy to understand why Kilbey would want to work with McLennan. The question is, does the latter need the former? Their sensibilities are worlds apart (McLennan, old worlde, Kilbey, spaced-out), and the result is identity crisis rather than creative tension. After opening with the UK goth rock-styled Every Hour God Sends, they follow with an equally agreeable Tom Verlaine impersonation, Birdowner, before slipping into lower gear: the genuinely inspired (Thought That I Was Over You, Didn't Know Where I Was, Ramble) let down by the deeply soporific. The credits imply an equal writing partnership, Lennon-McCartney style, and are doubtless to be taken with equally large pinches of salt. The individual styles of each sing out from track to track. Finally, for pure unalloyed pleasure, I haven't heard anything better lately than Do It Acapella, a compilation of songs from six of the world's leading a cappella groups, including The Persuasions, Ladysmith Black Mambazo, The Mint Juleps and True Image. Recorded for a US public broadcasting TV special hosted by film director Spike Lee, who lends his name to the project, the material ranges from the familiar (The Lion Sleeps Tonight, Under the Boardwalk) to the novel (the brilliantly witty Zombie Jamboree). No dud tracks here - all performances are spellbinding. NS
NCAT : Content Types | NRVW : Review AN Document smhh000020011116dmci00v9w SE WEEKEND HD `GOLD FIX' LACKS GLITTER, ADVENTURE Series: Audio Files BY DAVID OKAMOTO WC 389 words PD 27 April 1990 SN St. Petersburg Times SC STPT
ED CITY PG 17
LA English CY (Copyright 1990) LP For The Church, the artistic vision of the whole does not equal some of its parts. These longtime purveyors of dreamy, paisley-tinged folk-pop finally vaulted out of cult-band obscurity with 1988's Starfish by scoring a Top- 40 hit with the luscious Under the Milky Way. TD
In addition to triggering reissues of its 10-year back catalog - including such gems as Remote Luxury and The Blurred Crusade - the Australian group's unexpected stateside success drew more attention to its normally low-profile solo projects. For years, bassist-lead singer Steve Kilbey, guitarist Marty Willson-Piper and guitarist Peter Koppes have been venting their quirkier, more adventuresome ideas on such independent-label albums as Willson-Piper's jangly Art Attack and Rhyme, Koppes' From the Well and Kilbey's primitive The Slow Crack and recent collaboration with Game Theory's Dohnette Thayer in a makeshift band called Hex. Unfortunately, Gold Afternoon Fix - the title is a stock market term referring to the daily closing price of gold - doesn't reflect the more challenging direction of their recent solo efforts. It also fails to recreate the lush pop charm of Starfish. Returning co-producer Waddy Wachtel - a longtime L.A. session guitarist known for his work with Linda Ronstadt and Warren Zevon - buries the rhythm section and shimmering 12-string acoustic guitars in a dense sea of electric guitars that drone more than they drive, obscuring the skeletal melodies of such brooding numbers as Pharoah, You're Still Beautiful and Terra Nova Cain (their best song title since 1984's Constant in Opal). Coupled with Kilbey's droll, almost whispered lead vocals - which at times recall Al Stewart - this approach leads to an unaffecting, sometimes unsettling sound that grows more repetitious as the album progresses. The lone respites are Metropolis, the breathtaking first single, and the two tracks that aren't piloted by Kilbey's voice: Willson-Piper's ragged Russian Autumn Heart and Koppes' engaging Transient. Gold Afternoon Fix finds The Church in a creative purgatory, a disappointing fate considering most of their previous group and solo efforts have been stepping stones to pop salvation. The Church Gold Afternoon Fix Arista ++ ART
COLOR PHOTO; Caption: Cover of the album Gold Afternoon Fix by The Church IPD music review PUB St. Petersburg Times AN Document stpt000020011116dm4r00khs SE News and Features; Reviews HD CHURCH FAILS TO SPARK BY Bruce Elder WC 360 words PD 3 May 1988 SN Sydney Morning Herald SC SMHH
PG 16 LA English CY Copyright of John Fairfax Group Pty Ltd LP
FOR a moment it looked as though The Church might be born again. There they were eight years down a road which was heading more towards retirement than stardom and then suddenly they were met with renewed interest. A new record label, a new manager, a new album, and some enthusiastic reviews from overseas. Were The Church really going to rise again with messianic fervour? Directory: files -> 2008 2008 -> Preparedness for the Health Consequences of Climate Change as a Potential Influence on Public Health Law and Policy 2008 -> Darryl Heller Dissertation Proposal Draft April 7, 2008 Law, Labor, and Politics: Street Railways in Brooklyn and New York, 1884-1904 2008 -> Anna Palladino Professor Calvert 2008 -> Jails replace schools in the mountain region of guerrero 2008 -> University of Arkansas at Little Rock Plan No 2008 -> This is a list of search engines we (Polson Enterprises) have found helpful from time to time 2008 -> Rnib centre for Accessible Information (cai) Literature review #2 2008 -> Anne louise cohen 2008 -> Time race# Download 1.73 Mb. Share with your friends:
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