Se press Release hd steve Kilbey (The Church) New Zealand tour July 07
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| Through the miracle of multitracking, the two create some exquisite atmospherics, with Thayer providing layers of vocals while Kilbey plays most of the instruments behind her. At times, the sonic souffle recalls the collaboration between Brian Wilson and his former wife (as Spring), though some of the textures within the sound-collage psychedelia suggest mid-period Pink Floyd. The two could stand to lighten up a little on the angels-and-fairies artiness, but the music mainly charms.
Revenge. "One True Passion" (Capitol) (STAR) (STAR) (STAR) While New Order decides whether it is on vacation or gone for good, bassist Peter Hook has taken musical revenge with his new trio. Since Hook's full-bodied bass pulse is the closest thing to a lead instrument in New Order's music, the modern dance sounds of Revenge share something with his other band, but Revenge's textures are more extreme and its material is frequently more sinister. As titles such as "Kiss the Chrome," "Slave" and "Surf Nazi" suggest, Revenge offers dance music with the rhythms of cruelty, love songs from the heart of darkness. The musical mix is even more provocative than the material, as the bittersweet strains of synthesized strings clash against acoustic and electric guitars over relentless beats. Revenge will make its Chicago debut at 7:30 p.m. Sunday at Cabaret Metro, 3730 N. Clark (312-549-0203). ART
Roddy Frame fronts Aztec Camera on "Stray," an album that fulfills the earlier praise accorded Frame. IPD MUSIC - POPULAR REVIEWS PUB Hollinger AN Document chi0000020011115dm8300rfr CLM Pop review SE ENTERTAINMENT HD Music was serious but delivery was too somber BY Mikel Toombs CR Toombs is a free-lance writer. WC 484 words PD 22 October 1984 SN The San Diego Union-Tribune SC SDU ED 1,2,3,4 PG C-7 LA English CY (c) 1984 San Diego Union Tribune Publishing Company. Provided by ProQuest Information and Learning. All Rights Reserved. LP
Saturday night's concert by the Church at the San Diego State University Backdoor may not have been a religious experience, but there certainly was an air of reverence about it. The Church, which was making its American debut (and will be at the Rodeo on Thursday night), is one of those intently serious pop groups the Commomwealth is producing in great numbers these days. Like such bands as Simple Minds and Echo and the Bunnymen, the Australian quintet deals in heavily textured sounds and carefully modulated singing. TD
The results Saturday were often impressive, especially when the band launched into an intense guitar assault. On the other hand, the gravity of the Church's performance seemed to inhibit the group's creativity and turn practically every song into a near- dirge. Not helping matters were the deliberately blas'e vocals of lead singer Steve Kilbey and a guitarist who performed his at times vibrant leads while seemingly walking in his sleep. As a result, the musicians came off as a rather depressing and pessimistic lot -- the kind of people, say, who would look at the half-full Backdoor and say it was half-empty. All seriousness aside, though, the Church have come up with a number of appealing songs on the order of "The Unguarded Moment," music that is moody but melodic and with a fair amount of drive. Even Kilbey, whose carefully understated singing style inevitably echoes Lou Reed, is capable of believably emotional outbursts on songs such as "Into My Hands," from the group's current "Remote Luxury" album. Kilbey, in fact, showed himself to be a fine singer within his limited range, certainly better than what most of all those "this week's Velvet Undergrounds" (as they are called in Britain) have to offer. Generally, he wasn't prone to the affected, Bowie-like phrasing that Marty Willson-Piper demonstrated on "Volumes." (Willson-Piper, who had an occasional lead vocal, introduced one of his numbers rather pompously with, "This song will be called `10,000 Miles,' " as if it wasn't titled that already.) As was made obvious Saturday, the Church's strength rests with its musicians, and in particular the guitarists. Willson-Piper, lead guitarist Peter Koppes (the somnabulist) and bassist Kilbey provided stretches of guitar-army power, although their best attack was somewhat blunted by a poor song structure and a sputtering ending. Drummer Richard Ploog was no slouch, either, as he often pounded away with great energy. Ploog, his longish hair flopping away, also stood out for being the sole band member with any sort of animation. Perhaps if the rest of the Church followed his lead, they would realize that serious music doesn't have to be delivered somberly to be effective. Toombs is a free-lance writer. NS
gent : Arts/Entertainment | gmusic : Music | nrvw : Review | gcat : Political/General News | ncat : Content Types | nfact : Factiva Filters | nfce : FC&E Exclusion Filter RE usca : United States - California | namz : North American Countries/Regions | usa : United States | usw : Western U.S. IPD REVIEW ARTS/ENTERTAINMENT/THEATER Kilbey, Steve Willson-Piper, Marty PUB Union-Tribune Publishing Company AN Document SDU0000020070704dgam00803 SE News and Features - Arts HD From little things, an emotional tribute BY Reviewed by Bruce Elder WC 537 words PD 12 January 2008 SN The Sydney Morning Herald SC SMHH
ED First PG 17
LA English CY (c) 2008 Copyright John Fairfax Holdings Limited. www.smh.com.au LP SYDNEY FESTIVAL REVIEWS MUSIC TD
CANNOT BUY MY SOUL State Theatre, January 10 I HAD been forewarned. "Hope you've brought your tissues with you," a couple of people who had seen the rehearsals remarked. "I know Kev Carmody's songs," I replied. "They're powerful. They're political. They're sensitive and intelligent. They speak with great clarity and integrity about the modern Aboriginal experience. But they are not tearjerkers." What I had not taken into account was the finale - Carmody's and Paul Kelly's great land rights anthem From Little Things Big Things Grow. Sung against a backdrop of images of the dullard aristocrat Lord Vestey, the courageous Wave Hill mob led by Vincent Lingiari and that unforgettable moment when Gough Whitlam poured sand into Lingiari's hand, it was impossible not to reach for the tissues. It was an emotion-charged culmination to an evening that was more a musical biography than a collection of songs. On stage were all the concert's singers and performers: Dan Kelly, Tex Perkins, the Last Kinection, Missy Higgins, the Church's Steve Kilbey, members of the Drones and the Herd, Sara Storer, Clare Bowditch, Dan Sultan and Glenn Richards - with Carmody, Paul Kelly and Broome's Steve and Alan Pigram all joyfully singing the song's lyrical and triumphant chorus. This was a concert that told the sad and complex history of Aboriginal Australia through 14 songs that Carmody wrote. The thesis that underpinned the song cycle was the idea that Carmody's life - from drover and station hand in the 1950s and his forced migration to the dark urban awfulness of Queensland's Logan City to Sydney where he found his radical, poetic and musical voice - encapsulated the modern Aboriginal experience. Carmody literally and metaphorically wandered through his songs. He sometimes sang (On The Wire saw him accompanied by a sweet chorus comprising Higgins, Bowditch and Storer), sometimes told stories about his life and sometimes introduced the singers. At one point he picked up a guitar and sat around a campfire with the Pigrams (Eulogy For A Black Man) and he even brought his grandchildren onto the stage and showed them aspects of his life story. The masterstroke of Paul Kelly, who conceptualised the concert, was to choose singers and groups who perfectly matched the songs. The concert opened with songs about Carmody's life growing up poor and black in rural Australia. Dan Kelly sang the acoustic story-song I've Been Moved and country-music sweetheart Storer followed with the romantic idyll Moonstruck. The rawness of Carmody's exposure to the mean streets of Logan City was given powerful expression by Perkins's sparse, spoken interpretation of Darkside, a tale of suburban teen despair, and the Drones delivered a compelling and intense version of River Of Tears. The optimism of From Little Things Big Things Grow was a perfect finale. Yes, there were a few minor and irritating technical hitches but they did not detract from the power and emotional integrity of this very personal and unforgettable tribute to one of Australia's greatest singer-songwriters. NS
gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE austr : Australia | ausnz : Australia and New Zealand PUB Fairfax Digital Australia & New Zealand Limited AN Document SMHH000020080111e41c0004u SE Bam HD A musical love affair BY Noel Mengel WC 965 words PD 28 January 2006 SN The Courier-Mail SC COUMAI ED 1 - First with the news PG M08 LA English CY Copyright 2006 News Ltd. All Rights Reserved LP
Passion is the key to Marty Willson-Piper's career, writes Noel Mengel MARTY Willson-Piper -- 12-string guitar in hand -- has been a member of The Church for the past 25 years. TD
But he's never one to stand still, whether it's with the band or his numerous extra-curricular activities including solo recordings, writing and producing for others, the Sparks Lane album with Noctorum or his contributions to English band All About Eve. The contrast between his latest outings couldn't be more stark. Last year he joined Chris Bailey as guitarist in the latest line-up of The Saints for the Nothing is Straight in my House album and 60 shows through Europe, Australia and the US. That's enough amp-rattling rock 'n' roll for now, so tomorrow he plays in Brisbane with his acoustic guitar and The Mood Maidens, featuring cellist Sophie Glasson, pianist Sophie Hutchings -- sister of Jamie from Bluebottle Kiss -- and Amanda Brown on violin. "I met Sophie Hutchings . . . that was at a Neil Young tribute, and we got to talking and I thought it would be great to hear someone who is an accomplished piano player interpret some of my songs," Willson-Piper says. Soon they were joined by Glasson, who has played cello with The Church, and Brown, formerly of The Go-Betweens and Cleopatra Wong, playing Willson-Piper material, some Church tunes and a bunch of as-yet-unrecorded Mood Maidens songs. Willson-Piper, who was raised near Liverpool in England before joining The Church in Australia, seldom seems to stay in one place for long. "I go wherever the wind takes me. Last year I was with The Saints in the US and Europe, before that I was in the US for nine months, at the moment it looks like I will be in Australia until April. I love having that flexibility. If something is working I concentrate on that." One of Willson-Piper's long-standing collaborators is his childhood friend Dare Mason, who produced his solo albums as well as The Church album Sometime Anywhere. Eventually, the lines between producer and performing artist blurred with the Sparks Lane album under the name Noctorum, featuring music from them both. "We've been friends for 40 years, and our parents were friends," Willson-Piper says. "Sparks Lane is the road that connected his parents' house to our house in England. "The result was something that was quite different to The Church, where we would have a folk-rock song next to an aggressive rock tune, then something pastoral, something experimental. "My favourite records . . . well, I've got thousands of them, but I love the White Album by The Beatles, where you've got radically different songs like Revolution No 9 and Julia and Helter Skelter and Rocky Raccoon all together. I love that." Collaboration has been an integral part of The Church surviving for a quarter of a century. "I think Steve Kilbey would be proud to see me saying this in print, but I think one of the great things he did was to see the strengths of everyone in the band. "He started as the singer and songwriter and then realised that if he wanted to keep the band together he had to keep the others involved. That's when Steve and I wrote Fields of Mars together. By the time we did the Heyday album there were a lot of band compositions, classic Church songs like Already Yesterday and Columbus." Whatever music he has been making, a trusty 12-string guitar has never been far away. But unlike almost every other 12-string player, he didn't pick up the instrument because he was smitten with Roger McGuinn's guitar sound with The Byrds. "When I was 17 I had this well-paid job working in a posh restaurant and I saw this beautiful Eko 12-string in a guitar shop that I had to have," Willson-Piper says. "When The Church formed the guy who signed us said he thought we'd sound good with a 12-string and came back from the US with a Rickenbacker for me. "It was a good move because it was one of those elements that set us apart from everyone else. The funny thing is The Byrds weren't an influence at the time although I became a big fan later." All these years of gigs, flights and hotel rooms hasn't done anything to dampen Willson-Piper's appetite for making music. "Success in itself seems to be a big deal now, where the money is more important than the art. But I never did anything that was for the money, it never occurred to me. I just woke up and was in a band that had a hit. "Great music comes from experimenting. Sure you have to be discerning but having a manifesto restricts you. I'm happy to play lead guitar for The Saints and I'm happy to be the singer out front of the women in the Mood Maidens. "What is it that makes music work? It's something beyond an intellectual process. You're bitten by the bug of being a musician, there's nothing you can do about it. "You get these trendy bands who seem to be in it for the fashion statement, and the muso guys who are in it for the technical prowess. In the middle there are all these people in it for the love affair. That's what I've had. And I'm still madly in love." Marty Willson-Piper and the Mood Maidens, The Troubadour, Brisbane, tomorrow. More info at martywillsonpiper.net and thechurchband.com RF
[CML_T-20060128-1-M08-269428 ] NS gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE usa : United States | namz : North American Countries/Regions PUB Nationwide News Pty Ltd. AN Document COUMAI0020060127e21s0006s SE Paradise HD between The lines BY Michael Jacobson WC 744 words PD 10 September 2005 SN The Gold Coast Bulletin SC GCBULL ED Q - Paradise PG 32 LA English CY Copyright 2005 News Ltd. All Rights Reserved LP
Is the songwriter a gifted being whose inspiration comes from a greater power or can anyone craft a successful song? Michael Jacobson finds a new book that has the answer For anyone who has loved and followed Australian music over the past 50 years, author Debbie Kruger's interviews with our best known and most important songwriters encourage lyrics and melodies to pour from the pages and fill the heart. TD
So many songs come to life as Kruger cleverly and gently grills a legion of stellar songwriters, their number and quality perhaps greater than Australia might ever have suspected was the case. Veteran journo Kruger interviewed 45 songwriters from Australia and New Zealand, artists whose impact on rock, pop and country music has left an indelible imprint on the cultural landscape and whose songs have left an enduring impression on the antipodean psyche. "I had no preconceived notions when I went into this project," says Kruger. "But as I talked to the various songwriters I discovered, or perhaps confirmed, that songwriting is indeed a magical process. "The thing is that the magic works in different ways, in individual ways. Each songwriter's muse and music is a singular thing. It's us, the music lovers, who benefit from the variety of inspirations. "I suppose what stood out was how down to earth these people are. You know, it's the rest of us, the people in the audience, that impose a distance between them and us. The songwriters don't do that at all, because they always want to connect with us. "That's what their songs are - intimate connections." As informative and entertaining as the book is, there are some obvious and unfortunate omissions, despite Kruger's efforts to address them. Skyhooks' Greg Macainsh is absent, as are Robert Forster and Grant McLennan of the recently re-formed Go-Betweens. Other notable no-shows include The Saints' Chris Bailey and Ed Kuepper, The Church's Steve Kilbey, the remaining brothers Gibb and AC/DC's Angus and Malcolm Young. But for every omission there is an invaluable inclusion, such as Steve Kipner, who has penned songs for the likes of Chicago, Olivia Newton-John and Christina Aguilera, and the sorely underrated Terry Britten, once a member of The Twilights and since then the writer of hits including Cliff Richard's Devil Woman and Tina Turner's What's Love Got To Do With It?, as well as songs for Michael Jackson, Lenny Kravitz and Bonnie Raitt among others. There are many lovely personal moments, beginning with the book's first interview with Joy McKean talking about her much-loved and much-mourned husband Slim Dusty. Her story proves that from such humble beginnings, profound and loving partnerships can grow. "We were out at Penrith or Windsor, somewhere like that, and there was a girl there . . . she was a tall sort of rough girl, long, fair hair, she had a black hat, dressed all in black with black leather chaps and she stands up there, she plays guitar, she's just like a man," recalls McKean. "And I said `What's that song?' She said `It's a Slim Dusty song'. I said `Who's he?'." There are many other revelations. For example, Kruger learned that when it came to writing, The Easybeats' hit Friday On My Mind, the band's London manager tried to get some of his own lyrics into the song. If he'd had his way, one verse would have begun with the appalling line: `For a chick doll you're a drag'. Elsewhere, who knew that The Seekers' Bruce Woodley is one of the few songwriters in the world to have co-written with Paul Simon? Or that INXS's Farriss brothers were such big fans of Rolf Harris that Tim Farriss, having met Rolf on a plane, admitted he had wanted to call his son Rol Farriss? Back to Terry Britten, it turns out that What's Love Got To Do With It? was first recorded by hideous British pop quartet Buck's Fizz. Britten begged them not to release it, so he could give it to Tina Turner. In the end, this is not a book to read; it's one to sing. TITLE: Songwriters Speak AUTHOR/PUBLISHER: Debbie Kruger - Limelight Press WHERE: All good book stores COST: RRP $49.95 IN A WORD: Musical RF
[GCB_T-20050910-Q-032-136315 ] IN isopub : Music/Sound Publishing | i971 : Motion Pictures/Sound Recording | imed : Media | isound : Sound/Music Recording/Publishing NS gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE austr : Australia | ausnz : Australia and New Zealand PUB Nationwide News Pty Ltd. AN Document GCBULL0020050911e19a0006m HD CHURCH UNPLUGS TO DELIVER NEW `NUMBERS'. WC 341 words PD 28 November 2001 SN Standard Messenger SC STAMES PG 29 LA English CY (c) 2001 Nationwide News Pty Limited LP
THE Church remains one of the true enigmas of Australian rock. It's been 20 years since the release of first hit The Unguarded Moment and 13 years since Under the Milky Way took the Sydney quartet to international chart success. TD
Yet the band has been at best a part-time project since the mid-'80s for founding members Steve Kilbey, Peter Koppes and Marty Willson-Piper, who have toured as solo and duo acts (Steve often teaming with Marty), played sessions and produced other artists. In between these detours, the band has continued to add to its impressive body of work and retain a faithful following. Typically refusing to be predictable, the band has chosen an acoustic setting for a national tour to promote new EP Numbers, the title track lifted from forthcoming album After Everything ... Now This. It will allow Steve, Peter and Marty to use a combination of acoustic and semi-acoustic vintage guitars, while drummer Tim Powles explores analogue electronic percussion. It will be the first time the band has toured in acoustic mode, assisted by David Lane on piano and Wurlitzer. The performance will be divided into two sets. The first part will be devoted to a preview of After Everything ..., while the second will incorporate songs from the band's two-decade career, including some fresh angles on radio-worn favourites and some numbers never played live before. The new album, due for release in February, was recorded at Garth Porter's Rancom St Studios in Sydney. Along with the new single, Numbers includes songs from the band's 1999 album of '60s and '70s favourites, Box of Birds, and two previously unreleased originals, Undo and Oxydental. See The Church at the Governor Hindmarsh Hotel this Friday, November 30. TANDANYA Cafe comes alive with the passion of latin music and dance this Saturday, December 1. Club El Mundo features salon-style tango with Adelaide band Quartito Azul, gypsy flamenco singer El Tito de Algeciras and flamenco dancer Veronica Vargas. NS
GCAT : Political/General News | GENT : Arts/Entertainment | GMUSIC : Music RE AUSNZ : Australia and New Zealand | AUSTR : Australia PUB News Ltd AN Document stames0020011205dxbs0000d HD I still call Australia home. WC 500 words PD 26 November 2000 SN Sunday Herald Sun SC SUHERS PG 24 LA English CY (c) 2000 Herald and Weekly Times Limited LP
WHILE we are happy to claim them as our own, the truth is that many of Australia's most accomplished popular musicians were not born here. Some, such as singer Ross Ryan, were young when they moved here - he was nine when his family moved to Western Australia from the United States. TD
Wendy Matthews and Marcia Hines were teenagers when they emigrated. Joe Dolce arrived well into his 20s. Many of our favorite musos were born across the Tasman, but others come from as far afield as Germany, Kenya, Sri Lanka and Malta. Below is only a sample of talent that is not, strictly speaking, homegrown. But at the very least we can lay claim to nurturing their success. AC/DC - Angus Young (born 1955, Scotland); Malcolm Young (1953, Scotland); Bon Scott (1946, Scotland); Cliff Williams (1949, England); Brian Johnson (1948, England) Air Supply - Graeme Russell (1950, England); Rex Goh (1951, Singapore) Beeb Birtles (1948, The Netherlands) The Bee Gees - Barry Gibb (1946, England); Robin and Maurice Gibb (1949, England) 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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