Son House, Howling Wolf, Los Angeles, 1965. Photo by Dick Waterman.
Waterman writes in his accompanying notes: “Meanwhile, the Stones were seated in a group a few rows away. They were in awe of Wolf so who was this old man that Wolf was so elated to see?
Finally, one of them came over and asked me who the older man was.
I told him that it was Son House and he said, “Ahh, the one who knew Charlie Patton and Robert Johnson.”
Over the years, I have asked people to guess which Stone it was who knew that much about the blues.
It was Brian Jones and it was his extensive record collection that first attracted the band to love American blues.”
Some of the best rock and roll albums released in the 1960s
Pummelling and fast as fuck powerviolence from Brisbane, Australia. Seriously intense blastbeats, ultrasonic guitar work and powerful vocals to melt your face off. The members are Jackson, Alix, Darcy, Lena and Chris.
They released their FYPM demo and their Human Detritus 7” EP (One Brick Today records) in 2013. Their latest release (Feb 2014) is a split with the Melbourne grindcore trio Internal Rot through Lethal Dose, 625 and Psychocontrol records.
Breezeblocks (Acoustic) / alt-J
Johnny Cash - Ring of Fire
Nick Cave & the Bad Seeds - Stranger than Kindness live at the Royal Albert Hall.
by Eleanor Blackman
I had never before been to Alhambra on a Friday evening, nor walked in respectably sober. Usually this is the place I gather with friends to shake it to the likes of Outkast and S club 7 - to be at this venue for purposes other than this felt odd to me. However, after a few frivolous beverages funded by my fabulous friends I was vamped to hear some groovy tunes. This time it was not classic (yet trashy) 90’s mashups that I yearned for, it was the likes of Australian alternative, Courtney Barnett.
After listening to the melodious ramblings of Miss Barnett over the past few weeks I was far more excited than a child in a candy store to hear her sweet serenade. But ahoy! I had not yet looked into the supporting acts prior to the show and was extremely impressed by performances by Eves and Jarrod M. Mahon.
Eves in particular was a stand out performance for me, she projected an effortless beauty in her music. Her airy indie pop sound created good vibes throughout the venue as the crowd began to grow larger and larger. The combination of buoyant vocals, reverb guitars and punchy drum beats produced a delightful sonic collision.
Next up, Jarrod M. Mahon and his fellow band members put on a pretty decent show. Their outgoing attitude and dedication to the indie rock sounding music allowed me to appreciate their sound. Though I did enjoy them as a whole, they did not wow me or make me want to urgently look them up on spotify the moment I got home.
As soon as Barnett tiptoed on stage the crowd fell silent and waited in awe. I looked around the audience and there were more smiles than I could count. Automatically I noticed her composed stage presence, it seemed she felt very much at home in front of a variety of friends and familiar Aussie faces. She bounced around stage in a playful manner swinging her guitar about without a care in the world. I loved how she was able to create a relationship between herself and her instrument, as well as connecting to her fellow bearded band members. It was joyful to watch someone having so much fun. The surfy rock riffs carried throughout, particularly prominent in Avant Gardener. The drumbeat also carried through and provided the songs with the punchy-ness it required.
Everyone bopped along to favorites such as Don’t apply compression lightly, Are you looking after yourself? and Out of the woodwork. As well as this we were treated to a new song Depreston which really excited the audience, it followed suit with her previous songs providing the witty observational lyrics that Barnett is known for.
Barnett’s lyrics outline mundane situations with a twist. I relish that she’s bold enough to sing about ordinary events, it really feels super confessional and sincere. I’m definitely very interested in the way that the content of her songs and the scope feel different than each other, in the way that on the surface her lyrics don’t seem like poetry but when you discover the honesty and truthfulness of the mundane, you can find a lot more meaning, there’s so much capacity. I feel it’s an interesting paradox. I think you’ll find there’s a lot of honesty in that type of music that you don’t find so often these days. Lyrics such as ‘I don’t want no 9-5 telling me that I’m alive’ display her disgruntlement towards an average and routine career, it’s obvious she wants and needs something more. As well as this in her song Anonymous Club she says “Turn your phone off friend, you’re amongst friends and we don’t need no interruptions. Leave your shoes at the door, along with your troubles.” I like that. It made me feel like I was given an authentic representation of her internal state of mind. When she sang that song I kinda felt like she was inside my head.
As she continued to sing in her matter-of-fact deadpan way I realised that metaphors and poetry in music are wonderful, but there’s something equally as wonderful about simplicity and being straight up. Each song she bellowed out was an auditory illustration of a mundane reality with an idiosyncratic twist.
In some ways, she reminds me of an Australian version of Kimya Dawson, in that they share the quick-witted, quirky, story telling way of presenting their music. This gig definitely allowed me to gain further insight into the diversity in Australian music and rekindle a special appreciation for our local music scene.
Thank you, Melbourne’s mad maiden, you shone like the sun.
The last known photos of famous musicians
Money (Roger Waters Demo)
I think a lot of the time, people that don’t play guitar listen to it more in terms of the sound, emotion, and feeling of it - they’re not concerned with how well it sticks out over the music, or what’s physically happening on the instrument. To me, it just doesn’t matter at all what’s happening physically on the instrument. What matters is the resultant sound and the way it offsets the rhythms, melodies, and chords played on other instruments. I think it’s important to not look at the guitar as a vehicle to demonstrate that you’re better than the next guy, or to show that you’ve practiced a certain amount. It’s an instrument to express yourself with, and it’s an instrument for playing with other human beings.
JOHN FRUSCIANTE (RHCP) holding MEDIEVAL CHAMBER, a recent project he produced