Cold Chisel at Bluesfest

Bluesfest is excited to announce that Cold Chisel will headline the 2012 event, with the legendary Australian band’s exclusive festival appearance closing the main stage on Thursday 5th of April 2012.

It will be the first time that an Australian artist has ever headlined this iconic musical event.

The band’s record breaking Light The Nitro tour is currently drawing to a close, with a final gig scheduled for Brisbane next Tuesday night. The tour has been the biggest ever by an Australian-based band; drawing nearly 300,000 fans across 36 huge shows. It’s also been unanimously hailed by critics and fans alike across Australasia.

In addition to performing classics like ‘Forever Now’, ‘Khe Sanh’ and ‘When The War Is Over’, this special Bluesfest appearance will also see Cold Chisel premiere new songs from their forthcoming album. The as yet untitled collection of new tunes was recorded over the last 2 years – partly with original drummer Steve Prestwich and partly with new drummer Charley Drayton.

“Most of us have played Bluesfest solo over the years, but it feels great to be playing there for the first time as Cold Chisel and also be the first Australian band to ever headline the whole Festival,” said frontman Jimmy Barnes. “We’ve all had an amazing 2011 and this should be a great way to kick off an even bigger 2012.”

Thursday, 5th of April – Day 1 of Bluesfest is fast becoming a day not to be missed. Other artists so far announced for Thursday include:

My Morning Jacket, Lucinda Williams, John Hiatt & The Combo, Trombone Shorty & Orleans Avenue, Seth Lakeman, Fabulous Thunderbirds, Nick Lowe, Alabama 3 with many more to be released.

 

Lucinda Williams Sideshows

Lucinda Williams will be performing a couple of sideshows from her appearance at Bluesfest.

Three time Grammy winner Williams has established a reputation as one of rock’s most uncompromising and consistently fascinating writers and performers, earning kudos from artists as diverse as Mary-Chapin Carpenter and Elvis Costello.

2012 marks the 33rd anniversary of Lucinda’s first recording – and after 30 plus years of writing, recording and performing, she is in the midst of her most prolific period to date. Her latest album ‘Blessed’ resonates with new sounds, familiar styles and thought-provoking sentiment; showcasing all the elements that have made Williams one of the most celebrated living songwriters.

Lucinda has been writing since the age of 6, playing guitar since she was 12 and has been performing for the last 37 years. It’s fair to say she has perfected the art of creating intriguing, gritty lyrics to match her distinctive, haunting voice during this time. Blessed is no exception.

This alt-country songstress had Elvis Costello among the guest musicians featured on her latest album, playing some scorching electric guitar that only further offset the strength of her spine-tingling voice.

Born in Louisiana of a poet and a pianist, Williams won the first of her 3 Grammy Awards in 1988 for her single Passionate Kisses.

Following this came a long pause punctuated by one album and various guest appearances, until ten years on in 1998 she hit the road running with Car Wheels On a Gravel Road which not only went gold but won another Grammy Award for Best Contemporary Folk Album. Three years on, in 2001, she earned her third Grammy Award, this time for Best Female Rock Performance for the single Get Right With God, an up-tempo gospel rock song from an otherwise low-key Essence.

DATES

April 2 – Palais Theatre, Melbourne

April 3 – State Theatre, Sydney

 

Joe Pug Interview

Joe Pug is a young Chicago based folk/country flavoured singer and songwriter, about to embark on his second Australian tour. He’s also one of the more interesting new artists to emerge in the last year. His songs are outstanding – suggesting influences such as Steve Earle and Bruce Springsteen, and reflecting his early literary education. But he’s also got a punk rock, DYI approach to his career. He built a fan base by giving his music away and playing incessantly. Recently he’s introduced the concept of no-fee tickets to shows, taking up a position that bands like Pearl Jam did in a well-publicized way a few years ago. He’s taken an approach to the industry of music that has made him a hero to the ‘anti-industry’ movement. He’s an interesting bloke.

HHMM: Let me congratulate you on two things. Firstly your songs and music and secondly the way you’ve dealt with the process of getting that music out to the people. Are you proud of both things?

JP: Thank you. I think I am very comfortable with the way we’ve gotten the word out there. I think we’ve been very fair with our fans like it was a relationship or a friendship or something like that.

HHMM: I guess it was a case of doing it by instinct more than any grand plan?

JP: We’re still doing it by instinct because there is no result of how its all gonna shake out or how its gonna work. How much have we benefited from giving the records away or how much have we benefited from doing “no fee” ticketing here in the States? I don’t know. I think it will make itself clear as time goes on.

HHMM: People in the independent scene see you as some kind of hero for taking an “anti-industry” approach to music. Was there a sense that you were re-writing the rules?

JP: You have no real choice because there are no rules right now and you have no choice but to write your own.  If I had come along ten years ago I might have chosen to go a more traditional route, but I didn’t really have that option. I would love to take a lot of credit for striking out on our own but it was kind of the only option we had.

HHMM: Do you kind of see yourself as a punk rocker playing folk music in terms of attitude?

JP: Well the first music that made me fall in love with music was Nirvana. Clearly Kurt Cobain had a very fraught relationship with fame and he yet he benefited more from it than any person has before or ever will. It’s a strange. I’ve never much identified with the folk community, but I’ve never much identified with the punk community either, if those things even exist.

HHMM: So do you identify more with Woody Guthrie or Kurt Cobain.

JP: Well we travel the country like Woody used to do, although I guess we are riding in the lap of luxury compared to the way he used to travel. I identify with both. I think they’re actually very similar.

HHMM: The other album that comes to mind when listening to Messenger, more in terms of attitude, is Springsteen’s Nebraska. Is that a big album in your musical lineage?

JP: I’ve definitely listened to Nebraska before and I definitely liked it, but I wouldn’t say it’s on my Mt. Rushmore of records, but I really do like it.

HHMM: What would be on your personal Mt Rushmore?

JP: Oh wow. You could put any one of Nirvana’s records up there. You could put Dylan’s Bringing It All Back Home up there. Warren Zevon – Excitable Boy. I’d put a John Hiatt record on there like Bring The Family or Slow Turning. Lucinda Williams. There’s a bunch of records that would have a legitimate claim to a spot up there.

HHMM: I want my record collection back.

JP:  Yeah, really.

HHMM: Do you think the fact that you actually studied writing has helped you economise your lyric writing at a young age. By that I mean- most songwriters in their early twenties try to squeeze every phrase and every idea into every song, like they are scared they’ll never get a chance to write another song. Your writing is very mature in that you economise with words. Is that the product of training?

JP: Well yeah. It’s something I spend a lot of time thinking about. I’m about half way through writing the new record right now and I feel like I’ve gotten more disciplined in paring it down. I’m just seeing how much I can take out, how many walls I can take out, before the whole thing comes crashing down. The problem is, once you start slashing stuff away, you can make a song so simple that it actually turns the corner and becomes really trite and stupid. So you have to leave just enough in there to make it idiosyncratic and meaningful.

HHMM: Listening to the record again, it kind of creeps up on me that there is a lot of Raymond Carver in there. Is that a fair comment?

JP: Oh, yeah. I’m a massive Raymond Carver fan, although I had not read a lot of him when I wrote those records.  Someone passed although firstly Cathedral and then What We Talk About When We Talk About Love. So probably there is his influence on a lot of the other writing that I was influenced by.

HHMM: The way that people have connected to the Messenger album – does that give you a greater sense of responsibility for the next record, knowing that there is an audience out there with expectations?

JP: It’s sort of a weird territory that I am trying to navigate right now, because I’ve never been in this position before. So I don’t know how to handle that. In one sense I’ve got to go forward and do exactly what I want to do and try and keep it between myself and the canvas, but at the same time I’m working hard on it because people are spending hard earned money on these records and I feel a responsibility  to be the best that I can.

HHMM: And in between times you manage to fit in your second trip to Australia in a few months. When you come through a town the second time is there a different feeling about it?

JP: The first time is always fun because there there’s a sort of exuberance, but I like coming back to a town because I get a chance to really develop a relationship with an audience and maybe play different songs I might not have played at the first gig and get a little bit deeper into my catalogue.

HHMM: Do you ever project ahead and think about going back to a town for the 30^th time? Are you a life prisoner of the troubadour life?

JP: There is no question I’ll be touring for a long time. This is how I make my living. I think it’s very important to what I do. I get sick of it too, like you get sick of any job. It’s so intense when you are on the road playing the same songs, but I think ultimately it informs my songwriting. I couldn’t imagine writing songs and not being on the road and taking it to people.

HHMM: The final song on Messenger, Speak Plainly, Diana, is the most sonically confronting song on the album. It’s almost Crazy Horse-like sonically. Can you see a whole album being made like that one day?

JP: I just gotta find the right players and I don’t think I’ve found the right players yet. But once I do I’m looking forward to trying some new directions.

ALL TICKETS ON SALE NOW • AVAILABLE ONLINE AT www.lovepolice.com.au/tours

FRIDAY 11 MARCH • NOTES, Sydney, NSW

SATURDAY, 12 MARCH • PORT FAIRY FOLK FESTIVAL

SUNDAY, 13 MARCH • PORT FAIRY FOLK FESTIVAL

WEDNESDAY 16 MARCH • MOJOS, Fremantle, WA with Justin Townes Earle

THURSDAY 17 MARCH • MOJOS, Fremantle, WA with Justin Townes Earle

FRIDAY 18 MARCH • FORUM THEATRE, Melbourne, VIC with Justin Townes Earle

SATURDAY 19 MARCH • MOSSVALE PARK, NEAR LEONGATHA, VIC

SUNDAY 20 MARCH • THE TOFF IN TOWN, Melbourne VIC

Buffalo Springfield Play Show

Buffalo Springfield was one of many bands in Neil Young’s history that have become the stuff of legend but for over 40 years that particular outfit had not played together. All that changed recently when the band reunited for the first time for the 24th annual Bridge School Benefit.

The two-night concert is one of music’s most enduring and highly regarded charitable events and is a benefit for the Bridge School, a Californian institution that helps those who have severe physical and speech impairments. The show is headed by Neil Young who, with and his wife Peggy, manage to create a special event every year.

The lineup for this year’s shows was no exception with T-Bone Burnett’s Speaking Clock Review (Elton John, Leon Russell, Elvis Costello), Pearl Jam, Merle Haggard & Kris Kristofferson, Lucinda Williams and many more, but the self engineered coup this year was the Buffalo Springfield reunion with Young, Stephen Stills and the lesser known former member Richie Furray.

They were joined by Young’s touring bassist Rick Rosas who sat in for Bruce Palmer and drummer Joe Vitale taking the place of the late Dewey Martin.

The set list has been reported to include: On the Way Home, Rock & Roll Woman, Child’s Claim, Do I Have to Come Right Out & Say It, Go and Say Goodbye, I Am a Child, Kind Woman, Burned, For What It’s Worth, Nowadays Clancy Can’t Even Sing, Bluebird and Mr. Soul

Ray Davies New Album Sound Very Cool

Ray Davies is rightly revered as one of the great songwriters in rock n’ roll history as well as being one of its more interesting characters. Thus it comes as no surprise when it came to recording his new album a fascinating cast of guests have been happy to appear.

Various confirmed and unconfirmed stories seem to suggest that some of these suggestions are close to the truth.

In 2009 Davies recorded a version of Better Things with Bruce Springsteen, while Bon Jovi contributed to Celluloid Heroes. An American magazine has reported that Billy Corgan has been working on the new album, with the Smashing Pumpkins singer contributing to a new version of  Destroyer from the under-rated Give The People What They Want album. If you know the song you can just hear Corgan sneering his way through that one with Davies playing the paranoid role!

Big Star frontman the late Alex Chilton is said to have recorded his contribution prior to his death earlier this year while Lucinda Williams also due to appear.

That would be worth the price of admission alone.

But to add to that there’s a few more contemporary stars said to be lurking around the studio.

Mumford and Sons,  Paloma Faith and Amy MacDonald are all expected to appear although a rumour of The Killers being involved is false.

Work on the new album is continuing with recent visitors to the studio including members of Spoon and possibly even Frank Black.

Great New Jimmy Webb Recording Out

Jimmy Webb is one of the great songwriters and his new album Just Across The River, sees some of his remarkable catalogue of songs presented in a intriguing way. Just Across The River is set for release June 25 on E1 Music, through Shock
The album features interpretations of the classic songs that made him a vital cultural icon including “By The Time I Get To Phoenix,” “Wichita Lineman,” “Galveston,” “The Highwayman,” “Oklahoma Nights” and more.
The album features guest appearances from Webb’s friends, fans and recording partners including Jackson Browne, Glen Campbell, Vince Gill, Billy Joel, Mark Knopfler, Michael McDonald, Willie Nelson, Linda Ronstadt, J.D. Souther and Lucinda Williams.
Just Across The River came together at the behest of producer and longtime Webb collaborator Fred Mollin, who wished to honor Webb’s storied career and his celebrated contributions to the Americana roots tradition (Webb is a native son of Oklahoma). Says Mollin of the album, “This record is a homecoming for Jimmy. His songs are true classics and they could provide the soundtrack to your life.”
Webb adds, “From the very first song, first take, first note this record seemed blessed. I hope everyone else feels what we did as we listened to the first rough mixes. And then as each piece fell into place, a fully realized, conceptual work of art emerged.”
Just Across The River was recorded primarily live over the course of two days at Sound Emporium in Nashville, TN. Joining Webb live in the studio were John Hobbs (piano, Wurlitzer, organ), Bryan Sutton (acoustic guitars, banjo, mandolin), John Willis (acoustic guitars, electric guitars, banjo), Larry Paxton (bass), Greg Morrow and Eddie Bayers (drums), Stuart Duncan (fiddle, mandolin), Jeff Taylor (accordion), Pat Buchanan (electric guitars) and Paul Franklin (steel guitar, dobro). Mark Knopfler provided lead electric guitar on “By The Time I Get To Phoenix,” Johnny A. contributed electric guitar on “Galveston” and Jerry Douglas added dobro on “Wichita Lineman.”
FULL TRACK LIST
1. “Oklahoma Nights” featuring Vince Gill
2. “Wichita Lineman” featuring Billy Joel
3. “If You See Me Getting Smaller” featuring Willie Nelson
4. “Galveston” featuring Lucinda Williams
5. “P.F. Sloan” featuring Jackson Browne
6. “By The Time I Get To Phoenix” featuring Glen Campbell
7. “Cowboy Hall Of Fame”
8. “Where Words End” featuring Michael McDonald
9. “Highwayman” featuring Mark Knopfler
10. “I Was Too Busy Loving You” featuring J.D. Souther
11. “It Won’t Bring Her Back”
12. “Do What You Gotta Do”
13. “All I Know” featuring Linda Ronstadt