Interview done during Mark Seymour's Canadian tour.
Dic 7 2009, 3:30http://www.exploremusic.com/explore-music-radio/2009-11-27/Radio-Show-Notes-for-November-27-2009
Interview done during Mark Seymour's Canadian tour.
Lug 27 2009, 22:30From undercover.com.au:
Sound Relief, the charity concert for the Victoria bushfire and Queensland
flood victims will be released as a 4DVD set in October.
Michael Gudnski's Liberation Music will release the document of one of
Australia's greatest shows for Australia's biggest tragedy.
In a statement, Michael said, " Sound Relief was literally born from the
ashes of a terrible time in Australia's history. The concerts became so much
more than just a charity fundraising event; they were a way for the
community to unite and heal.
"I'm overjoyed that the DVD release can go ahead and we can't express our
appreciation enough to the artists and everyone involved who helped make it
possible. Since the day of the concert we've received so many enquires about
whether the concerts would be released on DVD that I wouldn't be surprised
if this became the highest selling DVD in Australian history.
"It is fitting that a lasting record will be available of this once in a
lifetime event for future generations."
The artists that appeared on Sound Relief who will appear on the DVD are:
Bliss N Eso with Paris Wells
Hunters & Collectors
Kasey Chambers & Shane Nicholson with Troy Cassar-Daley
Kings of Leon
Liam Finn and the Finn Family Band
Architecture in Helsinki
Barry Gibb and Olivia Newton-John
Coldplay and John Farnham
You Am I
Giu 9 2009, 3:07Former Hunters & Collectors' Mark Seymour will head over to Canada in late June for a series of club, pub and festival dates. He'll be there to perform and promote the Canadian CD release of 'The Closest Living Thing'.
Signed CD's and CD/ticket packages information can be found here:
Tour dates can be found here:
Mag 17 2009, 4:05
Apr 28 2009, 21:26http://nxne.com/
5 days June 17- 21 2009
AIDS Wolf (Montreal, Canada)
Angela Desveaux (Montreal, Canada)
Arizona (Asheville, North Carolina)
Awkward I (Amsterdam, Netherlands)
Benny Crespo’s Gang (Reykjavik, Iceland)
Black Lips (Atlanta, Georgia)
Burning Brides (Los Angeles, California)
Experimental Dental School (Oakland, California)
Fake Blood (London, England)
Film Noir (Paris, France)
Health (Los Angeles, California)
Kill Krinkle Club (Dublin, Ireland)
King Khan & BBQ Show (Montreal / Berlin)
Little Girls (Toronto, Canada)
Matt and Kim (Brooklyn, New York)
Midnight Peacocks (Tel Aviv, Israel)
Mika Miko (Los Angeles, California)
Ninjasonik (Brooklyn, New York)
No Age (Los Angeles, California)
Svjata Vatra (Estonia)
The Coathangers (Atlanta, Georgia)
The Homosexuals (New York, London)
These Are Powers (Chicago/ Brooklyn)
United Steelworkers Of Montreal (Montreal, Quebec)
Woodpigeon (Calgary, Canada)
* All subject to change. More to follow..
Extended A-list to be announced following the NXNE press conference - MAY 11.
Apr 23 2009, 2:41
Apr 13 2009, 23:11http://www.maxtv.com.au/max/promo/my-first-gig/about.aspx
MY FIRST GIG with Jimmy Barnes promises to be quite an unbelievable treat for aficionados of classic Oz rock.
Jimmy's exclusive guest list for the premiere ten-part series of My First Gig simply speaks for itself: Neil Finn, Peter Garrett (Midnight Oil), Mark Seymour, Marcia Hines,Tex Perkins, Diesel, Richard Clapton, Joe Camilleri, Stephen Cummings and Ross Wilson. Music icons, one and all.
Each episode sees Jimmy invite one of these superstars into his home, where they warmly and candidly discuss the elements and experiences which led each to pursue a career in music.
"Most people dwell on the fame," says Jimmy. My First Gig is about the journey.
"Each step of the show is about a first experience. The first music they heard that affected them emotionally, the first time they thought, 'I want to sing, I want to perform', the first song they wrote. Each of those is a different milestone."
It's wonderfully revelatory stuff, Jimmy enjoying in-depth conversations with some of the biggest names in Australasian music about the events that helped forge their careers.
It's fair to say that you will never have seen these artists more comfortable in an interview situation during their long and illustrious careers.
For the finale of each episode, Jimmy shares a duet with the featured artist, performing an exclusive cover of a song which left an indelible mark on his guest as a young artist.
These exclusive performances alone make My First Gig on Max absolute essential viewing.
The featured duets include Neil Finn and Jimmy joining forces on an acoustic version of The Kinks' “Lola”, Jimmy and Peter Garrett tackling Jethro Tull’s “Locomotive Breath”, and Jimmy and Marcia Hines singing together for the first time on an unforgettable rendition of Marcia’s signature tune, James Taylor’s “Fire & Rain”.
All the performances throughout the series are rare and brilliant in their own way. Barnsey and Tex going all old-school covering ’50s rocker “Bottle of Wine”, or Barnsey and Mark Seymour breaking the mould and covering Seymour’s own “Say Goodbye” [because Jimmy was very keen to tackle the classic line: “You don’t make me feel like I’m a woman any more.” You can almost hear wife Jane still laughing …]. The list of great unique performances goes right through the series.
Episode 1 – Neil Finn (13 April 2009)
Episode 2 – Mark Seymour (20 April 2009)
Episode 3 – Peter Garrett (27 April 2009)
Episode 4 – Marcia Hines (4 May 2009)
Episode 5 – Tex Perkins (11 May 2009)
Episode 6 – Diesel (18 May 2009)
Episode 7 – Richard Clapton (25 May 2009)
Episode 8 – Joe Camilleri (1 June 2009)
Episode 9 – Stephen Cummings (8 June 2009)
Episode 10 – Ross Wilson (15 June 2009)
Nov 9 2008, 15:31A series from ABC Radio:
Wide Open Road is a journey through our musical landscape. From the desert to the coast, from punk to hip-hop, from surburban back yards to dark smoky bars, Wide Open Road tells the story of how Australian musicians have discovered the land they live in though music and created their distinctly Australian sounds.
Destinations and Artists featured or interviewed:
Dave Graney & Clare Moore
Rob Hirst of Midnight Oil
Ed Kuepper of The Saints and Laughing Clowns
Kevin Mitchell of Jebediah and Bob Evans
Mick Thomas of Weddings Parties Anything
Robert Forster of The Go-Betweens
Ray Ahn of Hard-Ons
Tim Rogers of You Am I
Damien Lovelock of The Celibate Rifles
Stephen Cummings of The Sports
Janet English of Spiderbait
Kim Salmon of The Scientists and The Darling Downs
Dave Mason of The Reels
Mark Seymour of Hunters and Collectors
DANIEL JOHNS of Silverchair
Gareth Liddiard of The Drones
John Butler of The John Butler Trio
The Pigram Brothers
Ott 31 2008, 20:50Taken from: The Age
Seminal band Hunters and Collectors was inspired by the rhythm of the road, writes Chris Johnston.
The best place to start is on the road. It's a code, meaning something other than what it is: "... trucks and beers and memories..."
Begin with... an empty map of Australia. Pin it up on the back of a door. Then begin tracing the lines of your journeys onto it. Everything you know about life is there. Speed, violence, love, longing, nationhood. They're songlines. Faultlines. Then eventually there's no more map, nowhere else to go. At which point you know you have arrived.
The hard road is made of rock. There's the sound of an engine now, a rumble big enough to break things down. Truck drivers out here on the edge live in hope and fear. These are the men who wear singlets and love their lonely children, hard men in shorts smelling flammable and dangerous. They hold secrets about where they've been and where they might one day go in their giant semi-trailer road trains which can cure but can also kill in the blink of a sunstroked eye.
Cry for your mother, cry for your father and drive on. Sing your tough songs as clouds gather blue. Speed towards the pinpoint horizon.
There's road kill around, dead things. Wrecks. Gunshots in yellow signs. Sweat, roos and laughter under burning sun. Adelaide is 828 kilometres from the West Gate. That's Australia out your window.
Hunters and Collectors fetishised the road. It held arcane codes for them, but it also held firm logic - it took them to the people who wanted to hear them play.
They were a rock'n'roll band from Melbourne between 1981 and 1998 who did nine studio albums, three live records and three EPs. The band's life spanned Bob Hawke, the new one-dollar coin, Crocodile Dundee, Keating and Kennett, Maboand Wik and the beginnings of John Howard. The country prospered, recessed and then matured. It was also an era of great Australian music: Midnight Oil, the Angels, X, INXS and Paul Kelly. Mental As Anything. The Hoodoo Gurus, who formed in the same year.
But Hunters and Collectors had something else, right? Something extra. Some aspect or other. Hindsight is only now beginning to show us a few things about why they were perhaps the most powerfully Australian band of all, the Hunnas, expressing a genuine Australian sensibility and set of ideals.
Mostly, probably, it was to do with their utilitarian ways. Sometimes you got the sense that their instruments were actually tools and they had come to fix or build. The music was prone to fits of violence yet could also be impossibly precise. Vast emotions could be projected. But you got the distinct impression none would ever be wasted.
The shows were intense and definite. At their peak the band could fill every molecule of air in any venue in the country with a noise that was louder and clearer than anyone else. They were an orchestra: simple, strong and powerful yet suspicious of undue ceremony or fanfare. These are very Australian attributes. The trumpeter from the famous brass section even played The Last Post.
But the biggest link they had with this immense, merciless country was the road around it. Discipline and logistics were important, so the road was untroubling. A heightened Australian-ness emerged through their explorations - physical and mental - of the paths they travelled. It was a deep well of subject matter as well as a kind of talisman.
The trucks, which took their gear around, were integral to the way their minds worked and how their songs sounded because trucks are democratic and infallible. The band's art came to be defined by the size of that truck. A three-tonne show, an eight-tonne band, a 13-tonne tour. These were their charts.
They exerted control over Australia by having it covered. The rhythm of the road settled them. There's a school of thought now, from the inside, that they didn't make it huge overseas because the road felt different. It unsettled them. They had adapted perfectly instead to Australian conditions: the tarmac and line, the thirst and furnace of the pubs, the "... trucks and beers and memories".
THE BEST PLACE TO START, the best place to end: The Road. For years Hunters and Collectors would start their shows with the sound of it, the chatter of wheel and steel. They had a recording of a monster V-16 engine roaring into life and they'd play it at high volume as the house lights were killed.
It was a primal sound, pistons of violence breathing fuel like a beast coming to. It was so real it was practically documentary and in many ways it heralded the core meaning of the band. Can you imagine it? Everymen opening their killer live shows to adoring crowds who knew all the words with an amplified V-16. Just to get things going. To focus the punters.
The Road. The codes.
In 1983 Hunters and Collectors went to autobahned Germany - a place where the spectre of the road looms as large as it does in Australia - to record their third album, The Jaws of Life. They were using a studio once used by the great Krautrock band Can, who had made a song called Hunters and Collectors, but that's another story. What were really important here were two things: a towtruck and an Australian murderer named Douglas Crabbe.
The V-16 recording that would become so important - a constant signifier of the band's ambitious intent and also a direct point of contact between band and audience - came from that German towtruck after the band recorded the sound of it firing into life. It seemed to fit with the kinds of things they were thinking about at the time. A song called Towtruck, originally on the Payload EP, was later re-released with a new version of The Jaws of Life: "... drove this organ round the big country... the distortion was incredible..."
Then news of Crabbe reached them via a newspaper clipping from home: a killer truck, a weapon of mass destruction, a potent symbol of what can go so utterly wrong in the psychogeography of Australia. The story of Douglas John Edwin Crabbe - and the towtruck engine - became 42 Wheels, the opening song from Jaws.
Crabbe was 36 at the time, in '83, an outback man. His machine was a 25-ton Mack truck. One hot August night that year he was at a remote pub at Yulara, up in the Territory. He was pissed, and he was going the grope, and then he was refused service. He had priors for assault and fighting with police - and had been driving trucks through the nothingness since he was 14 so had in a sense been driven mad by all that he had seen from the cabin - but this time something snapped.
He got up on the bar and started ranting and raving. Then he went and got his enormous truck, unhitched one of the two trailers as if to somehow lessen the carnage he was about to impart, and drove it at full speed from 500metres away into the pub, destroying the building with force, which was likened to an "explosion", killing five and seriously injuring 16.
It was just after 1am, the dead of night. They found him later as the sun rose out in the desert, among the saltbush and the sun, on the red dirt, running from the road and the grim meaning of it all. Crabbe was charged with murder and is in prison until 2013.
From that moment certain things were clear.
Hunters and Collectors would be heavy and big and serious.
They would deal not only in songs and shows and such but also detailed, evocative expositions into aspects of Australian culture that went right to the heart of things. Things such as speed and violence, scale and power, and love and longing. They would raise issues of nationhood and ask what all those "Australian" things meant.
And they would leave a songline as a memento. A clue to the code. "All trucks and beers and memories," the songline said. "Spread out on the road."
This is an edited extract from an essay commissioned by Hunters and Collectors for its 14-CD/two-DVD box set, Horn of Plenty, out on November 22 through Liberation.
Ott 16 2008, 20:59Taken from www.theage.com.au :
Sticky Carpet is thrilled to announce that Died Pretty will be inducted into the EG Hall of Fame this year, and will headline the EG Awards at St Kilda's Prince Bandroom on Thursday, December 4. It will be their first greatest-hits show in Melbourne in eight years, and probably their last pub show in this city.
This year's concert celebrates the best music of 2008 through our online public-voted awards and the choice of Melbourne's best young party band, Little Red, to open the show. It will also be a nod to the past, celebrating the 50th anniversary of Australian rock; many of the artists that featured in EG's Top 50 albums poll in June will perform songs on the night. Apart from Died Pretty, whose Doughboy Hollow was ranked #28, some of Melbourne's favourite singers will perform classic Australian songs backed by our house band, the EG Allstars.
Mark Seymour will belt out the classic Say Goodbye from Hunters & Collectors' Human Frailty (#19) backed by Hunters trumpet player Jack Howard; Dave Faulkner will sing I Want You Back off the fifth-ranked album Stoneage Romeos; Even will play Stop and Go Man off Less is More (#30); Little Birdy's Katy Steele will perform a Paul Kelly song (Gossip and Post both landed in the poll) and Ash Grunwald will crank out Black and Blue off Chain's killer Toward the Blues album (#39).