Actually, it wasn’t so much a detour as the second leg of my itinerary but WGAF. Anyways, I also presented a paper at the conference, and that’s what this post is really about.
As you can see from the image above, my audience was vast. Again, I tell a squeaky little lie. This is what the auditorium looked like ten minutes before my panel started. Which was still at the godless hour of 8.30am on Saturday 23 June 2012.
If it seems like a long time ago that I wrote the poem ‘Last Night Betty’, that’s probably because it was. Is.
And if it seems like an eternity since I listened to this slice of mixed up toe-jam by Davey Dreamnation, a musical interpretation right up there with the rest of them, that’s probably because it is. Was.
Featuring unauthorised guitar licks from Kiwi Sting impersonator Stung, and a drum beat from a nifty little app called the Rapmaster that I’ve not been able to find again, this little outtake is what in the industry is referred to as off the hook.
In the early 1990s, bands like the Roses, the Charlatans, The Farm and Happy Mondays were popular with a certain crowd of university students in Australia and elsewhere.
For proof of this, check out this screenshot from FB, where I recently asked friends to name-check UK indie bands from the 1990s, with extended results, although I should mention the criminal omission of Flowered Up.
I’ll admit to being a big Stone Roses fan. I can actually still remember where I was when I heard ‘I Wanna Be Adored’ for the first time, had the above poster on my wall and stared at it fanatically for hours on end, and once I even ventured out to a Manchester-themed club night, called ‘Madchester’ in Sydney in the early 1990s.
The Madchester ‘baggy’ sound could loosely be identified as being connected with the beginnings of rave culture in the UK, as well (perhaps more contentiously) as the hideous phenomenon that was the ‘indie-dance crossover’, an act on the part of some bands which was to seal their brief fate (hello Soup Dragons).
I don’t really regard the Roses as being indie-dance crossover or rave at all, unless one counts ‘Fools Gold’; I was always into the more stoned backwards-sounding tracks anyway, and only wished they’d continued the trend of ‘Something’s Burning’ (the b-side to their faux-dance single ‘One Love’) on The Second Coming instead of producing the cocaine-fuelled heavy rock with noodlings embarrassment album that they did.
Anyway, the track is a summary of my experiences at Madchester and beyond, and I don’t really have much more to add, except to say that this excruciating version was recorded live at Babble (Melbourne) in 2002. Feeling very old today.
In addition to providing my editorial services for the latest edition of Melbourne’s literary spunk-fest Going Down Swinging, I was also lucky enough to score myself a spot on one of the two spoken-word CDs accompanying the magazine.
The track, ‘That’s Buddha’, was recorded live at le Festival Voix d’Amériques in Montreal in 2009. The performance involved two Buddha Machines and me, was recorded on Wednesday 11 February at the Casa del Popolo, and runs for about six minutes.
Thanks to Ian Ferrier for selecting the track!
If you’d like to hear what two Buddha Machines sound like, you’ll have to buy the CD, and you can do that by whacking your mouse over this big old photo:
Otherwise, you can read the original poem or listen to the track online at the untold Indiefeed Performance Poetry channel, which is profiling the GDS issue with a series of tracks over the coming fortnight. To hear the track, as well as some cute commentary from GDS editors Lisa and Nathan, get thee to Indiefeed immediately!
As NASA and other important organisations begin their preparations for the countdown to DNRC Records’ 100th release, tensions on the Tribesco peninsula have risen after the apparent leaking of an excerpt from Clint Bo Dean’s prescient masterpiece, Live in the Bahamas, onto the Intranet.
We reviewed the odd-ball LP here in May, but eager listeners can now get a taste of the contents of the record’s live ‘feel’ via the attached mp3 exclusive, which was apparently leaked a micro-second before the entire album was deleted from the DNRC Records archives altogether.
While the quality of the recording suggests that this is a bootleg rather than an official CBD release, one listen to the final ‘track’ from the album, the anthemic ‘Oceans (Lice)’ should set your mind at ease, at least with regards the burning question of whether the rest of the ‘set’ is worth listening to at all.