Se press Release hd steve Kilbey (The Church) New Zealand tour July 07
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Document agee000020011106doa900bnj SE News and Features; Today Page HD TODAY'S PEOPLE BY Edited By Elizabeth Jurman WC 1032 words PD 29 May 1991 SN Sydney Morning Herald SC SMHH
PG 24 LA English CY Copyright of John Fairfax Group Pty Ltd LP
SPIN US ANOTHER ONE * Hotel Room 61 Revisited: A Bob Dylan impersonators' convention, which will include Steve Kilbey, G. W "Grant" McLennan, Deborah Conway and probably Paul Kelly, will gather tonight at the Piccadilly Hotel for a Gypsy Fire night in tribute to the bard's subterranean 50-year-old blues. TD
But will the real Gypsy "I am not Dylan's sex slave" Fire be there? "I'm freaked out. Of course I'm going to go," she said. But will she be performing? "I don't know what I'm going to do. You never know - I might spontaneously just get up there and do some comedy or something. I could even do some poems. "They invited me last night. I don't know why they called it that. All I know is I spent two weeks with Bob in Australia." An organiser confirmed that the special event was "named in honour of Bob's biggest fan - particularly since Brett Whiteley is out of the country". All aspiring Dylanisers please note - the Bob's favourite cover was Elvis's version of Tomorrow is a Long Time. FEUD GLORIOUS FEUD * The art of blackmail: The shrinking tycoon Donald Trump, the guy who goes around with the mistress with the mostest, Marla Maples, has threatened his neighbours in Florida's Palm Beach with the sale of his Mar-a-Lago mansion to the Rev Sun Myung Moon's Unification Church if he isn't allowed to subdivide the 6.5 hectare property, The New York Post reports. "If they don't like a subdivision ... how will they feel when a thousand Moonies descend on Palm Beach every weekend?" a Trump source asked. INFAMOUS FIVES * Down in the depths on the 19th floor: Yesterday we gave you the top five concerts of the Herald music critic Bruce Elder. Here are the top five tragedies of his 20 years of critical concert-going. 1. Womack and Womack, aka Woeful and Woeful, Enmore Theatre, 1989. "Indescribably awful. Unbearably tacky, American schmaltz at its very worst with the added ingredient of incredible male chauvinism from the male Womack. 2. Cher, Entertainment Centre, 1990. "Tacky. More Las Vegas than Elvis. Might have worked well with some poker machines in the background and little dimes dropping into dixie cups." 3. Chris De Burgh, Entertainment Centre, 1989. "Boring." 4. Isaac Hayes, Hilton Hotel, 1989. "Brimming with phony oversincerity. His avant garde black music of the '70s was incredibly irrelevant in the '90s." 5. Brand X, featuring Phil Collins on drums, London, 1976. "The only concert I've ever fallen asleep in. The worst example of jazz rock fusion." Looks like Bruce is in there for the Rex Mossop tautology cup with that last comment. Heard any good jazz rock fusion lately? CONTROL KNOB * Don't touch that dial | Andrew Pelly, just one of our readers who is having difficulty understanding the nonsense news sense that suspended the election coverage on Saturday night, said it would never have happened during Sir Frank Packer's reign over Channel 9. Back then, he remembers the day he was directing a live sports program when the hotline rang. It was Sir Frank. "Sir Frank asked me to play that race again - 'Yes, Sir Frank' - I don't like the commentary - play it again - 'Yes, Sir Frank.'" Then another phone rang. "This is Bruce Gyngell; what the bloody hell are you doing, Pelly?" "Sir Frank keeps wanting to see this horse race re-run." "Is he still on the phone?" "Yes, he's on the hotline." "Keep running it." Mr Pelly wrote: "It's true story and if he was here today we'd have had an election telecast on Saturday night." Get the retiring election seer Barry Unsworth into one of those failed media empires, we say. REGAL MATTERS * Yo, Queen | The next time Queen Elizabeth comes to visit, you can forget about trying to attract her attention with a pair of foam rubber Prince Charles ears or a giant corgi suit. Duncan Spencer, of the Washington weekly Roll Call, reported on the variety of methods employed by bystanders who lined Washington streets last week hoping to catch Her Majesty's eye. Various women in large hats - "typically featuring tulle and straw" - were ignored, suggesting that exaggerated imitation is not the highest form of royal flattery. One congressional aide took his family and his corgi to the Folger Theater, where they stood on the steps and waited. When Her Majesty got out of the car, "he thrust himself against the restraining rope and bellowed 'Corgi |'". It didn't work. It's obviously been tried before. But when one Vesta Crosby waved a tiny Union Jack, she received the royal"glance and a tiny wave. Triumph." THAT'S SHOWBIZ Never give an ex-husband an even break: So are those tales true that the fitness freak and occasional singer Madonna Ciccone is pining for former husband Sean Penn? It appears so. Mata Hari Kiri, our special agent, who was right beside them at the Cannes Film Festival, has just resurfaced to report some interesting comings and goings on. Madonna and Sean stayed in the same section at the Hotel Du Cap, and one of the publicity people's main occupations was taking notes from Madonna to Sean, and waiting patiently for the official Penn "Hurrrummph" that followed every reading. They had a tiff at the party for Jungle Fever (Spike Lee's new film)because Madonna kept trying to sit in Sean's lap and he didn't want her there. Not that the father of one didn't play around. Just not with Madonna. Our spy reports that Madonna's favourite game is truth or dare, and that she played it at most restaurants around town. The truth? "That she really was there to win back Sean but it never happened." What is Madonna's ideal man like? "A real man's man, a chain-smoking, beer-drinking kinda guy," Mata reports. And when one interviews Sean there is only one taboo - Madonna. One mention of her and the interview is through. AN
Document smhh000020011110dn5t00a8v SE WEEKEND HD Two Groups Play With Folk-Rock BY Mark Jenkins WC 264 words PD 22 March 1991 SN The Washington Post SC WP
ED FINAL PG n20
LA English CY (Copyright 1991) LP WITH THE Church and in various side projects, Steve Kilbey has demonstrated his skills as a singer, songwriter, bassist, guitarist, keyboardist, drummer, poet, graphic designer and photographer. His most important gift, however, seems to be his ability to dominate any project he undertakes. Thus he remains the Church's principal tunesmith, despite the presence of two other songwriters, and thus he overpowers former Go-Between Grant McLennan, his partner in the one-off collaboration, Jack Frost. TD What Kilbey offers to the partnership, though, is glib, motley eclecticism: the predictable dance-rock of "Every Hour God Sends" or the slick cocktail-lounge croon exercise of "Geneva 4 A.M." "Frost" clearly isn't McLennan's album, yet the best songs are the ones that most conspicuously bear the mark of his lyrical, lovely folk-rock: "Civil War Lament," "Providence," "Trapeze Boy." These songs are outweighed, but not outclassed, by Kilbey's. McLennan devotees will want "Jack Frost," but others might as well wait for his upcoming solo debut. Considerably more organic and less fussy is "Sunburn," the second album from the Blake Babies, a punkish folk-rock trio from the Boston area. The best of the songs, most of them written by bassist/singer Juliana Hatfield, are rough around the edges (like Hatfield's voice) but sharp at their melodic heart: "Out There," for example, is earnest and striving yet pretty in a classic, almost naive pop mode. All the songs aren't that memorable, but the album's wiry, semi-sweet sound is consistently engaging. IPD
REVIEW Subjects: Sound recordings Rock and rap music Steve Kilbey Jack Frost AN Document wp00000020011110dn3m009bl SE Cultural Desk; C HD Reviews/Music; Australian Supergroup BY By JON PARELES WC 177 words PD 26 March 1991 SN The New York Times SC NYTF
ED Late Edition - Final LA English CY Copyright 1991 The New York Times Company. All Rights Reserved. LP
For aficionados of Australian rock, Jack Frost is a quiet supergroup. Steve Kilbey and Grant McLennan, the main songwriters of the Church and the Go-Betweens respectively, wrote an album of songs together, "Jack Frost" (Arista), and their short tour together as a duo brought them to Wetlands Preserve in TriBeCa on Wednesday night. TD
With Mr. McLennan on 6-string guitar and Mr. Kilbey on 12-string guitar, Jack Frost offered delicate watercolor sketches of the songs on the album. They picked and strummed as lightly as they could, while touches of echo and reverberation made their guitars sound aqueous and disembodied. In unforced voices, they traded verses about their shared sense of disorientation and loneliness, with choruses like "took the wrong road" and "didn't know where I was." Mr. Kilbey's verses edged toward ethereal metaphors, Mr. McLennan's toward hints of lost love, but both were steeped in Bob Dylan's imagistic leaps. Their guitars, words and wispy voices floated unmoored in shared reveries. IN
i492 : Musical Instruments | icnp : Consumer Products | ilgood : Leisure/Travel Goods NS gent : Arts/Entertainment | gmusic : Music | nrvw : Review | gcat : Political/General News | ncat : Content Types RE usa : United States | namz : North American Countries IPD Review MUSIC REVIEWS CONCERTS AND RECITALS ROCK MUSIC JACK FROST (MUSIC GROUP) PARELES, JON PUB New York Times Digital (Full Text) AN Document NYTF000020050415dn3q003m5 SE ARTS AND FILM HD THE CHURCH: TOUGHER AND TIGHTER BY Jim Sullivan, Globe Staff WC 498 words PD 13 June 1988 SN The Boston Globe SC BSTNGB ED THIRD PG 12
LA English CY (c) 1988 New York Times Company. Provided by ProQuest Information and Learning. All Rights Reserved. LP THE CHURCH -- In concert at the Paradise Theater, Friday night. TD
"How you doing?" asked Church leader Steve Kilbey, upon completion of "When You Were Mine," the band's first song before a packed Paradise crowd last Friday night. A beat. Then, "Where were you last time we were here?" Well, Steve, since you brought it up . . . Most people were absent owing to, oh, a number of reasons. Some had probably never heard, or heard of, you. But among those who had, a prominent reason might be the string of thoroughly mediocre albums that your band released since your stunning 1982 US debut, "The Church," a compilation of tracks culled from your early days and Australian discs. The record blended a certain detached despair and a shimmering melodic beauty -- not unlike R.E.M. of the period, but no copycat sound either. Brilliant as that record was, it became something of an albatross for the Australian band. For one thing, it sold next to nothing. For another, it set standards the band just couldn't seem to attain again. Subsequent recordings sounded like pale imitations, bringing to mind the comment R.E.M.'s Peter Buck once made about bands that start off with a bang and then fizzle quickly: Maybe they've only got one good idea. The Church have broken out of that prison. With "Starfish," their Arista debut, the group is back on the boards, and their 110-minute Paradise set revealed a much different-sounding, much better, band. Mainly, singer-bassist Kilbey and company (most songs are band compositions) are writing songs with hooks again -- "Under the Milky Way," "North, South, East and West," "Destination," "Spark." The main change is that the band has toughened up their sound; if the Church of old was prone to sinking too deeply into their misery (and moving too often at midtempo), the new Church is cutting through it with a vengeance (and letting loose with a artful punklike attack). Misery meets anger, no sulking allowed. Credit that sound to guitarists Marty Willson-Piper and Peter Koppes. The two are adept at juxtaposing frenzy and calm, a blitzing, snarling lead that tops a jangling, soothing rhythm. And what a difference a strong melody makes. Kilbey's chorus in "Under the Milky Way" -- "Wish I knew what you were looking for / Then I'd know what you would find" -- rides a melodic wave, and, thus, connects. It felt great when the Church got to an encore of "Is This Where You Live," the only song drawn from that first LP; the exquisite, extended guitar coda made this seem like their "Whipping Post." But what was especially rewarding was the fact that this jewel came alongside many others, was not just the diamond in the rough. Yes, there is a good reason to go back to the Church. jfsull;06/12 CORCOR;06/13,21:01 CHURCH13 RF
MUSIC REVIEW IPD MUSIC REVIEW PUB Boston Globe Newspaper AN Document bstngb0020011117dk6d008u7 SE ARTS AND FILM HD MIXED BAG OF TRICKS FROM STEVE KILBEY BY Jim Sullivan, Globe Staff WC 420 words PD 19 October 1990 SN The Boston Globe SC BSTNGB ED THIRD PG 38
LA English CY (c) 1990 New York Times Company. Provided by ProQuest Information and Learning. All Rights Reserved. LP STEVE KILBEY At: T.T. the Bear's Place, Monday night. TD
CAMBRIDGE - Steve Kilbey, singer-songwriter-bassist of the Church, is the latest rocker to test the solo-acoustic waters. The increasingly clamorous and psychedelic Church is on break, and Kilbey, who played T.T. the Bears Monday, is playing music that was nothing so much as . . . "A return to my roots!" said Kilbey, after the show. "No, I just had a month off and this is for fun. This is like sketching and the Church is like doing a painting." It was a mixed bag of tricks. It impressed with two new songs (co-written by Grant McLennan of the Go-Betweens), an unexpected cover of Lou Reed's despairing "Caroline Says," and some unexpected flashes of humor. When Kilbey played "The Unguarded Moment," a sad gem from the first Church album, he found himself searching for the words, asking for audience help, and closing the song with "don't give me amnesia." Funny. When Kilbey fielded requests, he dodged ones he viewed as too mushy. At one point, fending off a holler, he asked what it matters: "They're all the same, anyway." Which leads into . . . the downside. They do sound alike. During this two-hour set, Kilbey revealed his songwriting limitations. Too much in the same key, at the same tempo, in the same melodic range. Too many songs about going nowhere. In the Church, these qualities surface, too, but the guitarists create a compelling, shimmering din and Kilbey's vocals are just part of the mix. In an acoustic guitar-voice setup, you're paying a little too much attention. After hearing lines like "It was never as good as I hoped it was/Or as bad as I feared" you know the rhyme to "wasted hours" has to be "dying flowers." Also, Kilbey let a bad apple or two get in the way. He stopped during his second song to ask a duo down front to stop chatting; then, he chastised them for lighting a cigarette. When, later, another fan came to their defense, Kilbey got in a battle of wits, which went on intermittently throughout the night, climaxing in Kilbey's challenge to come up and sing it himself. The man balked and Kilbey exclaimed, "Then be damned as a coward as well as a fool!" Not really needed. JFSULL;10/16 CORCOR;10/19,22:24 KILBEY19 RF
MUSIC REVIEW IPD MUSIC REVIEW PUB Boston Globe Newspaper AN Document bstngb0020011115dmaj00sm9 SE L.A. LIFE HD CHURCH RISES FROM DOWN UNDER BY BRUCE BRITT Daily News Music Critic WC 457 words PD 18 July 1990 SN Los Angeles Daily News SC LAD ED Valley PG L21 LA English CY (c) 1990 Los Angeles Daily News. Provided by ProQuest Information and Learning. All rights reserved. LP
Following a hard-hitting opening performance of "Pharaoh" Monday night at the Wiltern Theatre, Church lead singer and bassist Steve Kilbey stepped to the microphone to make an odd announcement. "This is a union hall," the singer explained, "so there will be few charismatic pronouncements tonight, I'm afraid." TD
Kilbey failed to specify just how the union that represents the Wiltern's stage workers restricted his between-song statements, but, as it turned out, the singer's reticence was welcome. The Australian band put in one of the most solid postmodern rock performances in recent memory, at least until the tail end of the set. "Pharaoh," which is from the band's new Arista Records album "Gold Afternoon Fix," was dramatically different from the recorded version. While the album track is lethargic and murky, Monday night's interpretation was forceful and focused. Other performances, such as "North, South, East and West" and "Terra Nova Cain" were similarly superior to their recorded versions. Either the Church needs better producers or the band is best heard in a live situation. Surely none of the band's albums prepared fans for the sheer power of Monday's performance. The Church's albums are so atmospheric, the songs virtually waft from the speakers like ghosts. Many of the lyrics, which feature such bankrupt puns and phrases as "constant in opal" and "hotel womb," are best left unexamined. But the band performed with such steely resolve that even skeptics could forgive them their idiosyncrasies. Former Patti Smith drummer Jay Dee Daugherty filled in for the departed Richard Ploog, and he gave the band's songs a punky edge. Guitarist Marty Willson-Piper wrung feedback from his amplifier as if attempting to summon Jimi Hendrix's apparition. Aside from performing original compositions, the band served up moody cover versions of Bob Dylan's "All Along the Watchtower" and Patti Smith's "Dancing Barefoot." Unfortunately, the Church was unable to maintain the high level of creativity. The final 45 minutes of the show were tortuous, with nearly every song showcasing psychotic guitar and repetitious, neo-psychedelic melodies. Though it is undoubtedly one of the most intriguing rock bands around, the Church will have to explore new musical approaches if it intends to stay afloat in the postmodern rock world. Fellow Aussies the Blue Aeroplanes opened the show with a set of winsome garage-rock tunes. The performance featured the dancing of one Wojtek Dmochowski, who executed moves from the Iggy Pop school of interpretive dance. Overall, the set was quirky enough to win the crowd's favor. ART
Photo; Caption: Photo: Bassist Steve Kilbey leads the fray. CECIL YATES/DAILY NEWS IPD review music rock PUB Los Angeles Newspaper Group AN Document lad0000020011115dm7i00tc2 SE Metro HD KILBEY PUTS POP ASIDE FOR POETRY BY Terry Mcarthur WC 530 words PD 19 June 1987 SN Sydney Morning Herald SC SMHH
PG 3 LA English CY Copyright of John Fairfax Group Pty Ltd LP
Earthed is a collection of poems/dreamscapes/surrealist fantasies from the pen of church singer/songwriter Steve Kilbey. "People have always said they think I am an interesting lyricist," said Kilbey, "and I've always thought I can do a lot more than lyrics. I just wanted to write a book that people would enjoy - and really I am getting at the same things I have been trying to get across with lyrics. Earthed is just a more lucid way of doing it." TD
Steve Kilbey wrote Earthed from an intuitive, imagistic impulse. In this respect the book is a series of poetic snapshots. His aim was to access what he describes as "the collective human subconscious". Kilbey is also a great believer in the benefits of automatic writing. "It connects you right into a well of ideas. I tend to believe there is a collective human subconscious that we just don't explore enough. "I think that your conscious, logical, rational side of the brain doesn't have nearly as much information as the other side. Automatic writing lets you access this other side. As soon as I write without the logical side of me thinking 'What does this mean?' the words come pouring out." The central metaphor of the book is similar to Kilbey's creative process. Characters are divided between the pragmatism of existence and the magical, mythological elements of self and society. "The whole earth symbolism in the book," explained Kilbey, "is about, here we are in this logical world, and there are police sirens going, and murders being committed that you read about in the paper every day. I think we are capable of living life on a different level than that. "Obviously in this dog-eat-dog world you can't go around saying 'I think this tree is talking to me or the sky is a really wonderful thing' all the time. You do have to pay the rent and you do have to pay the bills - but I think the danger is, after a while, that can become all there is." For Kilbey, writing the book was a release and a rite of passage. "In one poem it says, I'm trying to create a room for you inside your head, and with Earthed I'm trying to do that as well. It's like what the surrealists were attempting - to put people back in touch with that state." Earthed is a turning point for Kilbey. The transition from pop star to poet, for him, is partly about redefining who he is and what he represents to the public, and partly an act of inner necessity. For Steve Kilbey, the church remains a vital part of his life, but with Earthed he has achieved an independence and substance that is not solely reliant upon the vagaries of rock and roll. Earthed (the book) and Earthed (the instrumental album Kilbey describes as a "musical afterthought") are available from selected independent record shops, or by mail order: enclose a cheque for $12 payable to Steve Kilbey and address to Allyson Moore, PO Box 2177, Sydney 2001. AN
Document smhh000020011118dj6j00gx7 HD KILBEY CAUGHT IN AN UNGUARDED MOMENT BY Tom CARDY WC 494 words PD 21 July 2007 SN Dominion Post SC DOMPOS PG 6
LA English CY (c) 2007 Fairfax New Zealand Limited. All Rights Reserved. LP It's been 24 years since The Church co-founder Steve Kilbey played in New Zealand. As Tom Cardy finds out, he doesn't have fond memories of the tour. IN THE 1980s when Australian music was dominated by hard-rocking bands including Cold Chisel and Midnight Oil, The Church were an anomaly. TD
Like compatriots The Go-Betweens and The Triffids, the Sydney band were fuelled by the legacy of punk and influenced by 60s jangly guitar pop and folk rock. Unguarded Moment got as high as No 19 in the New Zealand singles charts in 1982, the highest for a Church song. But The Church had Kiwi worshippers and their albums Of Skins and Heart and The Blurred Crusade sold well. By 1988 they even had a big hit with Starfish, which included the sublime, and now often-covered ballad, Under the Milky Way. 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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