MEGAscene Issue 14 by Rising Star Media

MEGAscene • Issue 14 - 2018

. . . featuring music, lifestyle and fashion in Adelaide

Issue 14 2018

Rob Pippan inducted into the AMC SA Music Hall Of Fame Paul Dempsey gig review The Superjesus gig review Let’s Dance Carinda 2018 Howie’s Kick Off photos Carl Dover

MEGAscene â&#x20AC;¢ Issue 14 - 2018

IN THIS ISSUE

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6 14 18 23 26 28

Features

Rob Pippan MEGAreviews - Paul Dempsey MEGAreviews - The Superjesus Adelaide Symphony Orchestra @ BIFEM Carl Dover MEGAtravel - Let’s Dance Carinda 2018

16 20 32 38 40 41

24 34 35 36 44

Photos

Paul Dempsey The Superjesus Let’s Dance Carinda 2018 Howie’s Kick Off Steve Potočnik Dominic Anthony Guida

Regular Columns

MEGAlocal Live Sound Advice Rockstar Lighting Designers SA Paranormal MEGAmarkets Photo: Paul Dempsey @ The Gov

MEGAscene â&#x20AC;¢ Issue 14 - 2018

Paul Fragonelli Wormwood Photo: Sue Hedley

MEGAscene • Issue 14 - 2018

MEGAscene Editor: Sue Hedley Deputy Editor Michelle McGoldrick Contributors this issue: Allen Tiller Frank Lang Shaun Whitelum Writer On The Road Michelle McGoldrick Photographer: Sue Hedley Additional Photography: Michelle McGoldrick Allison Aldred Rainy King Photography Layout: Sue Hedley Michelle McGoldrick Published by: Rising Star Media www.risingstar.com.au MEGAscene web address: www.facebook.com/megasceneoz Editorial and Advertising enquiries: rsm@risingstar.com.au Telephone: Sue - 0414 984 739 Postal address: PO Box 333 Greenacres SA 5086 © Rising Star Media 2018 All rights reserved

EDITOR’S NOTE Hello readers, Glad to have you for Issue 14 of MEGAscene which features Adelaide’s Rob Pippan’s induction into AMC SA Music Hall of Fame; the story of Rob’s 42 year history as a guitarist for national and international acts is awesome reading. This issue also includes live reviews of Paul Dempsey and The Superjesus - MEGAscene was at both gigs. Writer on the Road has written an account of her recent trip to an outback NSW music festival, plus a review of the eclectic Adelaide Symphony Orchestra. Our last issue for 2018 will be out next month don’t miss it - our beloved editor will be showcasing her photos and stories from Rock the Boat that sailed out of Sydney last month. Ciao for now.

Michelle Deputy Editor MEGAscene

Front Cover Photo: Rob Pippan Back Cover Photo: Semaphore Front & Back Photos: Sue Hedley

All materials published in MEGAscene are subject to copyright. No part may be reproduced without prior written permission from the publisher. The opinions expressed in MEGAscene are not necesarily those of the editors or publisher. No responsibility is taken for the contents or illustrations of advertisements. This linking to other sites within MEGAscene is provided strictly as a courtesy by Rising Star Media for the convenience of its’ users and Rising Star Media is not responsible for the content of any site linked, or linked within a site, nor does it constitute the endorsement of the web sites or of their policies, products, services or delivery of goods. Rising Star Media will not be held accountable for the content of any postings contained in any site linked or linked within a site, nor does it deem reliable any offers, expert advice, financial opportunities or otherwise that any such postings should imply.

MEGAscene • Issue 14 - 2018

Getting To Know Your Local Muso Rob Pippan

By Sue Hedley Rob Pippan has worked in the Australian music industry for over 40 years, as a musical director, lead guitarist, songwriter, producer, manager, educator and studio owner. He is one of Australia’s most sought-after lead guitarists, and has collaborated with an endless list of Australia’s greatest musicians, backing over 100 artists in his career. Rob was founding member of ‘The Zep Boys’, Australia’s first major touring ‘tribute’ band. He was inducted into the SA Music Hall of Fame on November 2nd, along with The Twilights (feat. Glenn Shorrock) Bobby Bright (from 60’s rock and roll legends ‘Bobby and Laurie’), James Black (Mondo Rock/ Rockwiz), and Laurie Pryor (Twilights drummer – posthumously) at the German Club. MEGAscene caught up with Rob Pippan just before his induction into the SA Music Hall of Fame to chat about his life in music and his induction. You are about to be inducted into the AMC SA Music Hall of Fame. How do you feel about this? Well, it’s a huge honour firstly and a surprise! I wouldn’t have expected anything like this to happen when I first started playing. Like anything, you just do your thing and hopefully

Rob Pippan Band Photo: Sue Hedley

people or the industry like it enough to come and see what you do. It’s all a bit surreal as I first started doing gigs in 1976, which is such a long time ago, and my whole life has been invested in what I do; it’s been one long continuum. You have played with many of the Hall of Famers. Who have you played with and what are some of your fond memories of playing with them? There are so many acts I’ve had the great pleasure of working with over the last 42 years – and so many stories behind each of them – it’s hard to pick amongst so many moments. I had a chance to play with Skyhooks for a day in 1988 at the Grand Prix with Red, Greg and Shirley - that’s definitely one of my fondest memories. Working with Graham Bonnet is another highlight. He landed in SA and the rumour got out that he lived here. Anyway, one thing led to another and Zep Boys became his backing band – an amazing musical experience and life opportunity, and Graham is still a good friend and we are still in contact after 30 years. I also got several pages in his book, which was very flattering. You photographed us at the time extensively Sue! When Glenn Shorrock called me to work with The Twilights, I was absolutely stoked.

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The Zep Boys

Photo: Sue Hedley

Terry Britten was coming out from UK and it was the first time the band had reconvened since 1969, so that was an absolute honour. The Glenn Hughes call was also amazing – his managers called me asking if I could put a tour together and perform with Glenn and Jon Lord as well! Being a massive Glenn and Deep Purple fan that was a dream phone call. In time Jon Lord dropped out, but I put an Australian tour together for Glenn with John Zak on kit and off we went.

I’ve known Orianthi since she was 14! She was coming out to Australia and she and her parents asked if I’d produce her 2 visits – the first with Richie Sambora – both shows are great highlights. The Zep Boys still hold many fond memories too numerous to list - I think selling out the Palace in 1988 to over 1800 people was my total highlight. We were in the top 8 touring bands of the late 80’s to mid 90’s, and set new attendance records and forged the tribute band industry. We were selected to be one of the last four bands to play at the Ballroom in St Kilda before it was demolished – Zep Boys, Crowded House, Divinyls and Black Sorrows. What age did you start learning guitar? I got my first guitar Xmas 1969 – that day was my blessing as it changed the course of my life but I didn’t know it! Being self-taught it was a long road in front of me – I have no idea how I did it! Pre-internet, music was my hobby and passion – and nothing’s changed all these

Flame - Christmas 1978 Photo supplied

Rob Pippan 1976 Photo supplied

Photo supplied

years later. I still buy music weekly and listen and learn from it.

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What was the first band that you played guitar in and how old where you? My first band was called Flame – we formed in mid 1976 and played rock covers of the day. I was 15. They were great days indeed – all the band guys were English immigrants and we gigged all over Elizabeth at the time. My heroes then were the biggest acts of the time like Little River Band, Cold Chisel, and TMG. What guitars do you prefer to play? The Les Paul I love as my some of my favourite players used it – like Mick Ralphs from Bad Company, Mick Jones from Foreigner, Ace Frehley, Jeff Beck, Joe Perry and particularly Gary Moore who was my biggest influence. If I’m looking for sheer crunch on a song you can’t beat it!. I also love my 62 reissue Strat as many strat players influenced me – my favourites being Ritchie Blackmore, Ian Moss, Rory Gallagher, Jan Akkerman (Focus) and especially Tommy Bolin. It’s a different and classic sound that’s hard to beat along with the Les Paul.

Serious Moonlighters Photo: Sue Hedley

What other bands have you played in over the years? I’ve played in bands constantly since 1975 Sue! I was semi-pro until 1985 then full-time

Timepieces 1993 Photo supplied

Spys - 1981

Photo supplied

The Zep Boys 1986 Photo supplied

with Glenn Shorrock Photo: Sue Hedley

MEGAscene • Issue 14 - 2018

time ever since. Including Flame 1976-1981 Copyright 1979-1981, Spys 1981–1983, The Movies 1984, Look Out For Trains (studio project 1982–1984 with Karen Grace and Tim O’Connor, Frente founder). On becoming full time the bands were The Nazz, Brenton Roberts Band, The Zep Boys, Serious Moonlighters Bowie Tribute, Eve (1990 - signed to Polygram with Glenn Wheatley), Patrick McMahon, Graham Bonnet Band. From 1999 during my TV journey I got back into regular weekly bands including Hothouse, East The Cold Chisel Show, Rumours Fleetwood Mac Show and Swanee. I’ve played well over 2500 shows in my life so far and still do around 1-2 per week. It’s part of my weekly routine!

Eve - with Karen Grace Photo: Sue Hedley

with Shirley Straachan

You have made a living working as a Guitarist, Producer, Musical Director, Promoter, Teacher and Songwriter. Which do you prefer being the most and how do you fit it all in your life? I suppose my favourite is playing, promoting and producing. I’ve expanded Rob Pippan Productions to a team of six including myself that shares my workload overall. That said I’m always busy and I love working hard at what I do – life’s never boring as I’m always working with a diverse mix of people and musical experiences which is enormously rewarding. The next best part are the friendships and teams I work with – great long-term friendships have formed over decades. Every day is split into slots where I move from one project to another. In the last two years, song writing has dropped off a fair bit as no one project is happening so my focus has shifted. My last major song project was for a Korean artist – I co-wrote a song ‘IOU’ that was a single. That said, it could all change in 2019 as a new TV series has come in that I will be the Musical Director for.

The Nazz

You have been Musical Director for many projects.. What are a few of them?

Photo: Sue Hedley

Photo supplied

By 1988 I was beginning my session MD/guitar career in tandem to my regular bands – other artists I have backed include Mark Holden, Mark Gable, Angry Anderson, Jim Keays, Normie Rowe, John Paul Young, Daryl Braithwaite, Bev Harrell, Lisa Edwards, Joe Camilleri, John Schumann, Mick Pealing (Stars), Russel Morris, The Twilights, Doc Neeson, Phil Emmanuel, Robbie Porter, Kate Ceberano, Doug Parkinson, Kevin Borich and Dave Gleeson.

My MD work has been in 3 areas – music for television, live bands and as a record producer. Each role is subtly different. In my television work I have to compose and create the final sound recording of the song for release. That meant finalising the arrangement, plus in many occasions, playing all the instruments on a track bar with vocals. Then the singers would come in and I’d sing the song to them and they replicate the tune, but as I’m not a singer they bring the extra factor to the song. This is super hands on as I shape the entire song of the song. I’ve built a catalogue of over 1000 works due to my time in TV where I recorded 60 songs and alternative versions plus per series plus stingers for a ten year period. With live bands I distribute the song list and correct song versions, then everyone copies the parts. I then guide the band if needed to sound ‘correct’ in terms of structure, speed and feel. My players are all top notch, so I just guide the process and make the final call with the artist in mind. We only get one rehearsal sometimes with a lot of acts so getting it right before they walk in the room is imperative. The gig is we HAVE to know it in one rehearsal with them or there may not be a return show, so the pressure is on! – I just take it for granted. As a record producer I record many acts in my studio. In this situation, an artist brings only words, melody and chords in, and my role is to play all instruments and create a final sound recording. Here I create all instrumental parts, then perform them live or via midi programming. The pressure is on as every note any musical performance is in my control. The artist does the lead vocal but I usually direct takes to find the best performance, and I usually construct the vocal harmonies, unless my regular session singers - Ian ‘Polly’ Politis, Deb Brunotte or Nanette van Ruiten - are doing the session and they are lightning quick at finding parts. I’ve always considered myself a musical organiser more than a musical director but I suppose it’s the same thing. Someone has to call the final creative shot of how a song on a recording or a show being performed live has to sound to be ‘correct’. My role has always been to guide as needed great players to an end result in a collaborative way. Great players don’t need to be told what or how to play, and I’ve certainly worked with the best local and national – my role is more ‘shepherding’.

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Your band “The Rob Pippan Band” has backed various interstate artists for quite a few years now. How did this come about? It’s a funny story Sue! The journey began early 1987. The Serious Moonlighters Bowie show was doing Fezbah. My agent Brian Gleeson came along with Phill Stewart who was head of the entertainment committee for the Grand Prix. They liked the band and asked if I’d MD a major Grand Prix event ‘The Rock of Ages’ with Ross Wilson, Jim Keays, Russel Morris and Swanee. That begun my Grand Prix MD journey that then moved to Clipsal events for many years where I Md’d their major events. I can’t thank Brian enough for this opportunity as it opened a door to the next 30 years of work – its because of him that my session MD career started at all. Then in 2000 I was working with Glenn Shorrock and during the show he went to introduce the band – but we noticed we had no real name – so Glenn goes …’ and here’s … The Rob Pippan Band’ We all had a laugh and it stuck as I always ran the acts so that how it began. Thanks Glenn! What has been the highlight of your music career? There are so many! Forming the Zep Boys in 1986 was a life charging moment – I called Vince Contarino with the idea which he liked and off we went. It’s amazing to see the band still a going concern after 33 years, and all power to Vince and Warwick for carrying the torch. I’m still very much known all over the country for the work we did together which is a blessing. One of my greatest highlights was signing to Alberts Productions as a songwriter in 2001 – Alberts are AC/DCs publishers and have an amazing history of acts such as The Angels, Rose Tattoo, TMG, John Paul Young and more. I was working in TV at the time doing music for children’s shows the ‘Music Shop’ for Channel 7 and ‘Here’s Humphrey’, and composing hundreds of songs - I needed a company to look after the publishing rights. I was offered deals with Universal and BMG but Alberts was really keen and their CEO Fifa Riccobono (who was and still is part of AC/DCs inner sanctum) took me on board – I’ve been with them ever since. I’ve had many great memories of going to Alberts Studios and writing and recording there and getting know David Albert, Phil Mortlock and Sam Horsburgh – being welcomed into their organisation was mind-blowing and

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I’m so grateful. Soaking up Alberts history and sitting in their tape vaults writing songs while seeing the original master’s tapes next to me for AC/DC, Rose Tattoo and Angels on the shelf was totally inspiring. Alberts later recommended and introduced me to The Angels (as we were label mates) who were looking to do a symphony project – which became Symphony of Angels which I produced for them. We just reprised it with the Adelaide Symphony Orchestra to a sold-out Festival Theatre recently. John Brewster and I became close friends as a result, which has been a blessing. Another big highlight was Ross Wilson approaching me to form his first solo band after he folded Mondo Rock; this came about after we worked together at the 1988 Grand Prix and him seeing the Zep Boys in Melbourne – I remember Ross turning up with Eric McCusker to check us out late 88/early 89 at The Corner Hotel, which Zep Boys had packed out – that was a pretty nerve wracking moment when your hero turns up to check you out! Anyway,

Rock Of Ages

Photo: Sue Hedley

Ross loved the show and hired me to produce and MD his band, so off we went. I still get to promote Ross when he comes to Adelaide, so it’s been an amazing 30-year relationship which continues to flourish. Another cool highlight my albums for Channel 7’s ‘The Fairies’ program that I was Musical Director for. I received ARIA nominations for ‘Best Children’s Album’ for 4 consecutive years from 2006 – 2009. I got to walk the red carpet with Pink next to me no less! 2009 ARIAs were amazing as I was with the Alberts table as AC/DC got multiple wins for ‘Black Ice’, so it was awesome to share in the moment as part of the label. Becoming a Fringe promoter has been a great ride. Rob Pippan Productions staged 52 different events in 3 years and will announce 14 more for 2019 so it’s a hectic period. Lastly the recently reformed 1965 Masters Apprentices has been awesome and exceeded everyone’s expectations.

Rob with Humphrey Photo supplied

Rob with John Farnham, Mick Pealing and Jim Keays, Swanee and Karen Grace Photo supplied

Anything you would like to add? I’d like to acknowledge some people that influenced my beginnings as without them I wouldn’t be here. My first big influence was Steve Kaye the guitarist in my first band – we lived 2 doors apart in Salisbury North. From 1971 we jammed on acoustics and it lit the fuse. Next at 14 was a guy called Jon Cooke who was with Cunning Stunts a local band who became Swanee’s first band. His brother was in my class. One day I was at Jon’s place watching him play through blazing Marshalls and I was blown away – he was so good and I thought ‘thats what I want to do’. Next at 16 in 1977 Flame supported Cold Chisel at the Legtrap Hotel and they were phenomenal! I’m still not over seeing Mossy that night – he was incredible and totally influenced me to do what I do. Lastly in 1983 Brian Gleeson became my

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longest serving agent and offered many opportunities – if it wasn’t for Brian I’m not sure I’d be here. There’s a lot of my work and career that many people don’t even know about. A lot of it was things that just happened at the time and everything moved on. One of the best things over the years is the wonderful friends and connections I’ve made, people I wouldn’t have had the pleasure of knowing if it wasn’t for the bond of music between us. These friendships over many decades and having the chance to share experiences with others is a huge plus. My hobby became my job so I’m truly grateful for this amazing journey that I have had.

Photos of Rob’s induction night will be in the next issue of MEGAscene.

Rob Pippan in the 1965 Masters Apprentices . . .

MEGAscene • Issue 14 - 2018

MEGAreviews live

Paul Dempsey @ The Gov 15/09/2018 By Sue Hedley

I was blown away. One man and his guitar stole my heart. The Gov was jam packed; it was a sold out show. I’d never seen so many tall men in one venue before! It was hard for me to get a good spot to take photos of him as all these tall young men were blocking my view. The crowd seemed to be aged anywhere from twenty to fifty years old and they were totally pumped for this gig. Paul Dempsey opened the show with “Blindspot” and then careered through a back log of original songs from Something for Kate albums and from his solo Strange Loop album: “Volunteers”, “Theme from Nice Guy” and “Idiot Oracle”. Dempsey delivered some great covers too like “Downtown Train” by Tom Waits, and “Never Tear us Apart” by INXS and “Ship of Fools” by World Party. Dempsey’s crowd were adoring and attentive as they soaked up the unique charisma and talent that has made Dempsey a star in Australia and internationally. The show lasted two hours with Dempsey saying he simply loved playing music and was happy to keep playing as long as he could. The crowd were not disappointed because for Dempsey performing comes naturally - he had the audience at The Gov in the palm of his hand. After the gig he surprised us all again by hanging out at the merchandise table obligingly posing for selfies, signing autographs and chatting to fans. Another reason we love Dempsey: he’s a true artist - and a really nice guy! I came away from the gig a big Paul Dempsey fan and wishing I’d seen him perform long before now in Something for Kate but who needs to see a band perform when you have one man and his guitar performing songs so superbly and with so much emotion. I loved it!

. . . featuring music, lifestyle and fashion in Adelaide

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MEGAscene â&#x20AC;¢ Issue 14 - 2018

Paul Dempsey @ The Gov Photos by Sue Hedley 15/09/2018

MEGAscene â&#x20AC;¢ Issue 14 - 2018

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MEGAreviews live Superjesus @ The Gov 29/09/2018 By Shaun Whitelum During the opening tracks (“Down Again”, “Saturation”, “Shut My Eyes”, “I’m Stained”, “Sandfly”) Sarah sighted that this performance and tour was “one hell of a trip down memory lane” being the 20th anniversary tour of Sumo, which was the title of their debut album from February 1998, which peaked at No. 2 on the ARIA Albums Chart. Sarah mentioned that Travis on drums had just joined the band for this tour to complete the line-up. She also informed the audience that instead of having a support band they would be performing two sets instead of one which led to the newest member Travis having to pull together 25 songs for the initial performance, and Sarah applauded Travis for doing this so well to be ready for tonight’s performance.

The Superjesus performed @ The Gov on the 29th of Sept 2018 with a new line-up featuring earlier members and new members launching their Sumo 20th Anniversary Tour which will see them performing around the country on a 19-date tour that runs until the 17th of Nov. The line-up for the Sumo tour consists of Sarah McLeod - vocals/guitar/ keyboards, Stuart Rudd on bass guitar, Jason Slack on guitar, and Travis Dragani on drums. In the week leading up to tonight’s first official performance of the Sumo 20th Anniversary Tour, The Superjesus played a warm-up gig at the Crown and Anchor under the alias of ‘Hell’s Kitchen’ which of course was the original name of the band when they first formed back in late 1994 here in Adelaide. Performing in this manner has been a tradition for many artists who are about to embark on a tour and is a great way to iron out any imperfections relating to the material or performance, and an indicative method to test the show out in front of a live audience rather than in the solitude of a rehearsal studio.

The sound itself was powerful, solid, driving and melodic, and the bass shook the room with a throbbing demeanour casting aside any room for sympathy on the audience’s auditory tract. Sarah was intent on taking the audience on a rock ’n’ roll journey as the band headed into the track “Sink” (an oldie) which is another gutsy rock tune falling in line with the power and melodic structure of their songs thus far. By this stage the audience was captivated by Sarah’s charisma and the sheer power of the band’s rhythm section while the guitars cut across the room like lightning. Another highlight was discussion of the concept of the last-minute track that the band was asked to create by the producer/ record label which often ended up being hit song for a band. From this the band launched into a song called “Milk “which is a melodic and commanding rock song mixed with enchanting melodies, resulting in another gutsy track. It’s clear by now that the overall sound had a bottom end extravaganza emphasising various genres including Indie rock, alternative rock, and pub rock culminating into something special and the audience was loving it!

According to Sarah there was a bet between Jason (guitarist) and herself as to whether or not they had played the song live before, as Sarah was convinced they hadn’t whereas Jason was adamant that they had, Sarah bet Jason $100 that they hadn’t played Milk live. As it turns out, once Sarah had checked the annuals Jason was correct they had played the song and Sarah was out of pocket 100 bucks, much to the amusement of the crowd. Then straight into full swing of the crunching song called ‘Honeyrider’ with a great chorus. Yet again the crowd went wild, then on to Ashes and then the final song of the first set was Dead Ended which drew the audience in to the mayhem as the song climaxed. Boy, did they show their appreciation at the end of the set!Throughout the set Sarah kept telling the audience how much she loved playing and being up on stage and performing for the audience; this developed into a strong camaraderie between the band and the punters. The second set began with Sarah playing a solo ballad a track called ‘Second Sun’ which provided a cool Segway back into the evening’s performance, followed by ‘Ground’ and then ‘Holy Water’ in which Sarah spoke about a vintage jumpsuit which she managed to have a friend pull together in just 4 days ready for the tour. It was a replica of a classic/ vintage astronaut suit that oozed charisma and made a great fashion statement; this was driven by the song “Holy Water’ which at one stage had the audience jumping on their feet rocking the entire venue. The band went further back in time with a track called ‘Strips Of You’ from their debut EP “Eight Step Rail”. Sarah then remarked how the audience was warmed up and ready to really sing along, as the punters had already given this away with their past chanting along to many of their songs. Sarah seduced the audience so much that they were giving it their all through ‘Strips Of You’. Their next track ‘Enough to Know’ really stood out musically and highlighted the band’s musical and technical ability. The band didn’t miss a beat, to which the audience showed its appreciation with a wild roar, and there was a real buzz in the atmosphere.

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in Adelaide, thanking the audience for their support. Sarah then interjected stating that it was only recently that the band took things seriously again and that “they are back”. This led into ‘Secret Agent’ a real crowd pleaser. Sarah then spoke about having a VIP soundcheck, laughing that during this event there was some cake eaten as well and continued to talk about the good times and the bad times and how it was really about hanging in there as this is what really matters, as in their darkest hour the band wrote the song ‘Stick Together’. I got the feeling this was an important moment in the band’s progression. This track is an up-tempo catchy tune with a cool chorus, another real crowd pleaser. The next song was ‘Love And Violence’ to which Sarah mentioned how people’s emotions can change from love to violence very quickly throughout relationships and how people can change. At this moment Sarah begins to start live streaming the show onto the band’s Facebook page on her mobile phone, while in the background the band plays a rendition of ‘Another one Bites the Dust’ by Queen. As the show comes to a climax Sarah introduces the band and invites the audience to sing louder than they previously had and comments that she feels like it’s her birthday. Then thanks the audience for their support and for singing along with the band. All this through the last song ‘Gravity’ and it almost goes without saying that the show was a highly successfully opening night to launch the Sumo 20th Anniversary Tour for Sarah and the boys, and the up-coming shows will no doubt provide audiences with the same sort of action-packed performances to match tonight’s excellent show.

At this stage Stuart (bass) took time to thank the audience for coming, saying it was great

MEGAscene â&#x20AC;¢ Issue 14 - 2018

The Superjesus @ The Gov Photos by Sue Hedley 29/09/2018

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The Superjesus Photo: Sue Hedley

MEGAscene • Issue 14 - 2018

Adelaide Symphony Orchestra @ BIFEM by Michelle McGoldrick

Adelaide Symphony Orchestra ventured into new territory of a different kind this year with a residency interstate. The orchestra travelled to Victoria and performed at the Bendigo International Festival of Exploratory Music (BIFEM). As part of their residency at BIFEM, the orchestra performed the spell binding work “For Samuel Beckett” by Morton Feldman. A rarely performed piece, the orchestra honoured both an iconic Irish 20th century novelist and Feldman’s sublime knack for composition. Under American conductor Eric Dudley, the piece embodied the surprise and deep pleasure of experiencing music that floats within both predictable and unpredictable dimensions. It was an aural imagining of a boat adrift and lost at sea in a mist where the changeable rhythm of the ocean commanded the journey. Deeply meditative, the delivery was like a wave relentless, hypnotic, natural and comforting. For 55 minutes the orchestra musicians maintained inhuman balance and composure to create a disciplined tone of brass, woodwind and strings whilst new and subtle notes and tones were added from all angles. Serene but also unsettling, the piece demanded concentration and a dream-like state simultaneously. Commonly described as a journey into darkness, “For Samuel Beckett” is also a piece where imagination will run free whether that be lyrically or narratively.

Other inclusions in BIFEM’s program was a joyous appearance by Texas experimenters Line Upon Line. Embedded in post-industrial music percussion, Line by Line explored a selection of experimenta pieces created by Monash composers who were in attendance at the performance. Line by Line created sounds which were laced with glee and humour yet this did not detract from the innovation and beauty of the sounds - more so, it added a layer of engagement and accessibility within the performance. Instruments included singing bowls, chimes, fingernails on drum skins, rims on glasses of water, spoons on metal bowls, spinning bolts across bows, electronic keyboards, used knives and forks. No object was safe in these guy’s hands. Another highlight of the festival was the “Sound Gallery” which was a room where listeners were encouraged to sit and become immersed in new sounds. Pieces included [an ode to] “Thurston Moore” by composer Andrea Agostini, and “Wicker’ by Nicole Carroll. The Sound Gallery commanded a distinct level of auditory courage. BIFEM director, David Chisholm, explained, “the contrasts BIFEM offers can sometimes disorient the listening mind of the audience, so the weirdness isn’t so much in the music itself, but rather the constant gear shifts in listening that are experienced.” For the Adelaide Symphony Orchestra, performing at BIFEM also facilitated international exposure. David explained, “BIFEM has very much been out there in the world since the outset. ABC Classic FM, Vimeo and Bandcamp sites - our performances and recordings are free to the world. We are currently looking for support to tour to Chile and Poland next year. It’s tough to find the support, but we have great invitations and we definitely want to hit the road and continue to take the BIFEM spirit to the world.”

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MEGAlocal Send your local music news to: rsm@risingstar.com.au SPRING BLUES Three world class South Australian blues artists are at the Wheatsheaf Hotel on Saturday November 3rd. This unique event features guitarist Nick Panousakis, multi instrumentalist Jesse Deane-Freeman and A.R.B.A patron Chris Finnen. Experience each musician perform solo and duo brackets before combining with one of the best rhythm sections in the country in Dennis Kipridis and Mick Garcia. With limited capacity pre-booking is essential to ensure you don’t miss out on this one off show. $20 at https://www.trybooking.com/ book/event?eid=414873 or $25 at the door.

GUMBO YA YA! 30 YEARS ON

THE FLEURIEU BLUESBREAKERS AND BEN FORD-DAVIES The Fleurieu Bluesbreakers and Ben FordDavies perform at Prospect Town Hall on Friday December 7th. Doors open at 7.00pm for 7.45pm start. Tickets $10 each and includes a complimentary drink (beer, glass of wine or soft drink). The Prospect Blues & Roots Music Series is proudly presented by Club 5082 and Adelaide Blues & Roots Association (ARBA) in partnership with Bside Magazine and Claymore Wines.

THE VULNERABLE INTERPRETERS The Vulnerable Interpreters are at The Clovercrest Hotel on November 30th at 9pm.

Catch Gumbo Ya Ya at Top of the Ark at the Arkaba, 9pm on Friday November 30th.

MUDTRAIN MudTrain are at the Cumberland Hotel, Glanville on Saturday December 1st.

2CELLOS TOUR AUSTRALIA & NZ Don’t forget that the electric and dynamic instrumental duo 2CELLOS will be performing in Adelaide on Monday 26th November at the AEC Theatre. They will bring their game-changing sound and style to the most popular melodies ever written for classic and contemporary movies and television with The Score & More Tour. Tickets on sale now via www.tegdainty.com

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Contact Sue for Advertising Prices and MEGAmedia Kit rsm@risingstar.com.au

MEGAscene • Issue 14 - 2018

THE GRIGORYAN BROTHERS TO PLAY SOUNDTRACK LIVE IN CINEMA IN A UNIQUE FILM EXPERIENCE

Following international screenings at the Boston Film Festival, Newport Beach Film Festival and the Prescott Film Festival, The Australian creative team behind new movie ‘A Boy Called Sailboat’, Cameron Nugent (director) and Andrew Curry (producer) are premiering their award-winning film around Australia in November/December. Australia’s finest guitar duo, the Grigoryan Brothers, who created and arranged the haunting soundtrack to the movie, will perform the soundtrack live at these screenings: Saturday, Saturday, Saturday, Saturday, Saturday,

17th November Melbourne Rivoli Cinemas, Hawthorn East 24th November Sydney The Ritz, Randwick 1st December Adelaide Capri Cinema, Goodwood 8th December Hobart State Cinema, North Hobart 15th December Brisbane Elizabeth Cinemas, Elizabeth

This simple yet moving film is the story of a devout Hispanic family discover fresh hope in their extraordinary son Sailboat, when a loving personal gesture awakens a global desire. Armed with a “little guitar” and shadowed by an unblinking sidekick, Sailboat leads an offbeat cast into the miraculous story of the greatest secret never told – until now. Sailboat brings love and hope to a family who have forged a simple but proud life in the deep South, but one afternoon he brings home something more: a “little guitar”. From this moment, Sailboat and his ukulele are inseparable, and when his ill grandmother requests he write a song for her, Sailboat meanders through adversity to deliver the unimaginable – the greatest song ever written. The music is a key element in the movie as Sailboat’s story is entwined with the music that comes from his ukulele. Acclaimed Australian guitarists Slava and Leonard Grigoyran wrote and recorded the music for the film in Melbourne, Victoria. A Boy Called Sailboat was shot in the United States and stars Academy Award winning actor J.K Simmons, Noel G, Elizabeth De Razzo, Jake Busey, Lew Temple and Julian Atocani Sanchez in the title role. This Australian funded film has received rave reviews and won awards at every festival at which it has screened: Newport Beach Film Festival Audience Award Prescott Film Festival Director’s Choice Award Boston Film Festival Best Director and Best Screenplay

WATCH FILM TRAILER HERE

. . . featuring music, lifestyle and fashion in Adelaide

Issue 9 2017

Issue 10 2017

Kevin Borich

Interview with Louise Pearson Dino Jag

Gig photos of Painters and Dockers

Dusty Lee

Gig photos of Electric Mary

Gig photos of Deep Throat

Gig photos of Dino Jag

Gig photos of Phil Emannuel

Gig photos of Full Tilt Janis

MEGAscene

. . . featuring music, lifestyle and fashion in Adelaide

Beeb Birtles gets inducted into the AMC SA Music Hall of Fame

2018

Gig photos of The New Dead Metalfest VIII

. . . featuring music, lifestyle and fashion in Adelaide

Issue 12

Issue 11

Gwyn Ashton

Davinyls

Gig photos of Painters And Dockers

Sophie Downey, the Saxoffender, talks about art, sax, and rock ‘n roll

2018

Gig photos ofBurn

Interview with Phil Lanzon

Hindley Street Country Club

Gig photos of Andrew Strong

MEGAscene • Issue 14 - 2018

Carl Dover

by Sue Hedley MEGAscene caught up with Carl Dover for a chat about his debut album Turn it On, recorded and produced by Rob Pippan.

2014 he recorded his second E.P., and formed his current original music band.

Carl Dover has been interested in music all his life. His father was a singer and while growing up he used to get to see him play shows sometimes.

“It’s very educational working with Rob; he knows just about all facets of the music biz, a great producer and guitarist and a great music person.”

“I think that gave me the bug”, he said.

Carl’s musical influences are many.

When he was about 15 his older brother and cousin would play a couple of songs to him on their guitar.

“I like anything from Elvis to The Platters to Matchbox 20 to Greenday. I like songs in most genres and basically anything that sounds good to me.”

“I was pretty mesmerized by it,” Carl said. “I basically wrote my first song at about 16 but then I stopped writing for awhile. Eventually I found myself drawn back to it when I was about 18.” “When I started writing it was really a conscious thing to try and write likeable radio friendly songs.” “I grew up listening to Top 40 Countdown so when I picked up the guitar that was the stuff that I wanted to play, sing and emulate.” A few years later he started playing and singing in a few cover bands and writing his own songs, while in the meantime he was jamming with his cousins and brother quite regularly. At about 27 Carl fronted an originals and cover band called Three Deep for a few years. After that ended he fronted Push at the age of 32, a Matchbox 20/Rob Thomas tribute band, and did some pretty big shows including packed gigs at The Gov and the Port Adelaide Football Club. In the meantime, Carl recorded his first E.P. of his original songs with Rob Pippan. Then in

This year Carl recorded ‘Turn It On’, his current album, again with Rob Pippan.

His album ‘Turn It On’ is available at CD Baby, Amazon, Spotify and iTunes.

MEGAscene â&#x20AC;¢ Issue 14 - 2018

MEGAscene • Issue 14 - 2018

MEGAtravel Let’s Dance Carinda 2018 By Michelle McGoldrick Outback NSW is not quite the same place as it was in 1983. Thirty five years later, weather extremes across the planet have led NSW into the worst drought in memory. At Carinda, swirls of dust spin through the streets as a reminder that the dust devil never sleeps in the outback. The dry wind is queen out here, it dominates and permeates the landscape, eyes and lungs. But something happened at Carinda in 1983 that put the town on the map forever, something no amount of dry times and bad luck could ever take away from the community - a rock superstar called David Bowie came to town. Melbourne to Carinda is over 1000 clicks on a good day. And on a good day you can see forever on the Kidman Way arterial highway that shoots up through NSW. It’s a deeply spiritual landscape despite the wildlife who appear at sunrise and sunset with such unpredictable frequency they’re enough to spook any seasoned driver. The road kill count of dead animals on the side of the Kidman Way is testimony to the perils of both prolonged drought and outback driving: carcasses of dead roos, wild pigs, sheep, the occasional goat and wild birds are just as common as live animals in these parts. But Australian mythology lives on in outback NSW. Free camping areas abound along and off the highway - some in dusty little spots on the side of the road, some on the banks of

rivers, ancient creeks and billabongs. In this country hats are wide, beer is plentiful, towns are needy, petrol is expensive. But camp at your own bemused peril: staying on a river close to the site of the Deniliquin Ute Muster the traveller might experience a rum-soaked guitar novice, or fishermen spotlighting along the low river bank under an almost full moon, or hoons doing burnouts and showing off their mock shot gun displays. Further up the track, Mount Hope should be on all road warrior’s bucket list. It offers a classic outback Australia experience with a free camp ground on red dirt and nothing beats a big bright moon rising over the red landscape at Mt Hope. The one horse pub at Mt Hope is run by a pair of jokester publican brothers whose typical outback wit aligns to a Laurel and Hardyesque repertoire including the mandatory “look out for the big brown snake hiding in girl’s shower” routine. A late night walk around Mt Hope is bound to be disrupted by the sound of an approaching cattle truck which, once parked, may see a well dressed and handsome cowboy climb out of the cabin with a big grin. Amidst the din of irate cattle hooves pounding from the back of the semi, Mt Hope will seem a welcoming and surreal place as the cowboy extends a genuine invitation for all to come and stay at his cattle station 300 kilometres away. Semi trailers are common in these parts only

they aren’t typically laden with cattle - the trucks are piled high with hay reflecting the dire struggle to keep stock alive in these times of extreme drought. It takes a lot of guts and creative thinking to keep outback communities alive when everything around them is dying. But one thing Australian people have never been short on is a big idea. And an outback party has always been the voice of reason when the chips are down. Let’s Dance Carinda festival has been running for three years and our decision to go to Carinda this year was an impulsive idea - but imagination wins over logic any day surely. The festival has only exacerbated the mystery of why a tiny town like Carinda was chosen as the location for a video that portrayed one of Bowie’s biggest hit songs “Let’s Dance”. Driving into the great mecca of Carinda after three days on the road, we had a sense of both anticipation and trepidation that perhaps Bowie experienced when he arrived at the Carinda Hotel: would the community embrace strangers? Would visitors keep pace with the drinking? Would the beer run out? Is it possible to survive on sausages in bread indefinitely? Outback hospitality is not a myth however. Over three days at Let’s Dance Carinda 2018, visitors were treated to non-stop small town idiosyncrasies and charm such as a horse with a Bowie lightning bolt painted on its’ face, an omnipresent rooster that strutted around the streets like an unofficial mayor crowing at random in 5am mode, buggy rides for a verbal guided tour of the town’s forgotten glory and recounts of Bowie’s visit to the town.

MEGAscene • Issue 14 - 2018

makeup, a denim jacket with imported Bowie patches sewn onto it, red satin Japanese shirts, and platform shoes. A special treat was a Bowie lookalike (Gary from Sydney) who featured a succession of outfits and make up that gave him an almost spooky likeness to the Great One. The crowd at Carinda seemed happy to sing or dance to anything: Bowie Unzipped, Thin White Ukes, Just Us, karaoke .... as long as the beer was flowing the crowd were happy to keep partying. And finally when platform shoes could stand up no more, revellers dispersed to their camping spots for the proverbial nightly camp site experience consisting of firelight singing, making music, tequila shots, smoke and implausible late night yarns. But the crowd were back in party mode on Sunday for a street parade. The Thin White Ukes and a handful of fans led a Bowie boogie up the main street to the Hotel Carinda. The only float in the parade, however, turned out to be a motor home driven from Victoria decorated with cardboard lightning bolts hastily put together around Bowie fliers. A dance off then ensued out the front of the hotel after the parade, whilst the Bowie motorhome was seen doing blockies around Carinda streets. The local kangaroo population watched on in shock and awe. But it was after the parade that the party really started. In the Carinda Hotel the Thin White Ukes kickstarted the entertainment. The Thin White Ukes have risen to become the ukulele darlings of a worldwide Bowie fan base.

The Saturday night party at Let’s Dance Carinda was held at the camp ground and oval. It was a melting pot of cowboy and glam clothes including velvet jackets, star fabrics, western bolo ties, ziggy ear rings, glitter

MEGAscene • Issue 14 - 2018

The band wins hearts with their clever, entertaining and sometimes melancholy renditions of both Bowie hits and lesser known gems. A hard working outfit, the Thin White Ukes dress to kill: Blackstar jackets, baroque platformed shoes, red boots, long blonde hair and eyes of blue, and a classic Bowie duke suit - this band puts class and glam into any Bowie party. The bar in the Carinda Hotel was packed by Sunday lunchtime, and to open the show a motley crew of festival goers - who had participated in just one ukulele workshop the day prior - performed an interesting version of “Rebel Rebel”. The Thin White Ukes had done their best to mentor the ensemble but it’s unlikely the performance will go down in Bowie musical history! Jeff Duff and Bowie Unzipped performed next in the Carinda Hotel bar and they satisfied the cheery crowd with renditions of Bowie hits including the tear jerker “Let’s Dance” against the same wall Bowie filmed the famous video thirty five years ago. Jeff Duff and Bowie Unzipped are a tight, upbeat and strangely heart warming act with Duff leading the crowd through some very funky numbers like “China Girl” and “Young Americans”. Duff is a showman who never stops smiling, and his playful respect for Bowie draws both laughs and sighs from fans. As the day became night, being in the middle of nowhere threw a challenge to the most hardy party goer, a lesson in ‘make your own fun’ unfolded. Who knew that dancing to “Nut Bush City Limits” could be so addictive. Or that recounts of the Bowie dog trials held earlier in the day could be so gripping. Or the pleasure in taking a sunset stroll around town with new friends, accompanied by scores of excited roos. Then as night descended a new mix of locals arrived at the hotel to watch the NRL grand final on the big screen. It was an intriguing but completely compatible mix of outback charm and glam rock which fused to make Let’s Dance Carinda 2018 an essential Bowie pilgrimage. Driving out of Carinda the next day, echoes of the welcome to country by aboriginal Thikkabilla Vibrations the day before was pervasive: the sight of a roadkill eagle on the

side of the road made our party stop and bury the once majestic bird in the scrub with dignity. Highly significant in aboriginal mythology, Bunjii [the eagle] is known as a creator deity, and it brought to mind how we’d eagerly danced and joined in with the aboriginal smoking ceremony at Carinda. The eagle’s spirit had been set free, just as we felt our spirits had been set free at the Bowie festival - the circle of gratitude and reimagining was now complete. One hundred k’s out of Carinda, glimpses were seen in the rear vision mirror of the red cardboard lightning bolts, stuck on the Victorian motor home for the festival street parade, flying off the vehicle and into the outback to settle into the dirt and scrub. We wondered what they would look like from the sky: the occupants of a light plane would look down at the ground below and see the red lightning bolts in the red dirt wonder what they were and how they got there. Little would they know that Bowie in the outback lives on in unexpected and mysterious ways. Bowie’s legacy is of an artist who was generous and giving with his vision, and despite the fact that he has left the planet- his footprint on Carinda and surrounding areas is immortalised forever. In more ways than one. Finally, the stars looked very different at Carinda. Urban dwellers are used to seeing stars: in cities you can see the odd star in the evening sky, in country areas the sky is decorated with stars. But in the outback the stars are packed across a 360 degree panorama that starts at ground level and free falls across the horizon. Looking into the night at Carinda, the visual and physical sensation was of being enveloped in an invisible glass ball of diamonds beyond which there is only unimaginable darkness. It was not hard to imagine Bowie taking a quiet moment at Carinda, looking upwards into the same luminous night sky, and perhaps pondering the lyrics he penned long before he came to Australia “Oh man, wonder if he’ll ever know ... he’s in the best selling show ...” under a southern sky in an ancient land, down under. In the end, going to Let’s Dance Carinda in pursuit of the ultimate Bowie experience was bigger than Bowie. But then, it always is.

MEGAscene â&#x20AC;˘ Issue 14 - 2018

Party time!

Motor Home with Ziggy lightning bolts

MEGAscene â&#x20AC;˘ Issue 14 - 2018

Letâ&#x20AC;&#x2122;s Dance Carinda 2018 Photos by Michelle McGoldrick except * photo by Rainy King Photography and ** photo by Allison Aldred Carinda street parade

Carinda Hotel publicans

The crowd inside the Carinda Hotel

MEGAscene â&#x20AC;¢ Issue 14 - 2018

Thin White Ukes

Betty and Gary

Jeff Duff 33

MEGAscene • Issue 14 - 2018

Live Sound Advice By Frank Lang

A HOUSE PA?

Here’s one for publicans to consider! We are playing catch up if we start now as the rest of Australia has been onto the benefits of this way of presenting live music in hotels and clubs for years now. An in-house Public Address (PA) system with a good house engineer, has many advantages for venues. Firstly, take care of the maintenance and running of the system and make sure Microphones and leads don’t go walkabout, A qualified rigger can hang the speakers from the ceiling and get them right out of the way, (a one off cost and must be done properly) also when professionally fitted the sound can be controlled and a lot less of it escape to neighbours ears. A good sound person will have some tricks up their sleeves to keep the bass under control. Some venue operators/managers/owners may consider it too expensive to consider but with so much new sound equipment coming on to the market there’s is a glut of good second hand gear, and you could for $15,000 put in a good house PA. A favourite accountant can probably write it down in 2 years and the one to two hours of set-up time diminishes to 1 hour or less. It is almost always easy to make the mixing desk and effects rack disappear during the day and fold out from the wall when needed. And you can still serve your surf and turf and Schnitties at meal times. I helped set up audition speakers for the ‘The Semaphore Workers Club’ and the in house system is tops, with plenty of headroom in the amps and always looked after by Dave the resident, and may I add, consistent sound guy. It’s not too hard, or expensive to install a good light show. Again there is a lot of cheap but still functional light gear out there, and a

discerning soundie may even bring some gear to enhance their job, make it easier. There are so many people doing accredited live sound courses, and that is one way you can be sure the system won’t get blown up or abused or have stuff nicked. A sound guy may even be a write down tax wise? The stage area, if not too high, could hold 2 - 4 tables for food service at lunchtime or during the day and it’s all adding up to make life easy for muso and venue alike, in so many ways. Most of the rest of Australia already runs house PA systems, and sure, the newest and latest stuff is going to cost the world, but the older superseded stuff still sounds very good. With the in house PA bands know what to expect, and set up time and sound check times are reduced. Cheers, Frank

MEGAscene • Issue 14 - 2018

Rockstar Roadies and How To Tell If You Have Hired One

Rockstar Lighting Designers • After soundcheck he moves the foldback wedges so he can position his floor cans. • If the singer upsets him he either: puts the bright spotlight on him all night; or puts the spotlight on the bass player all night • If the guitarist upsets him he just leaves him in the dark most of the night, especially when he is playing a lead guitar solo. • If the drummer upsets him he moves the lighting cans really close to him so he burns up all night, and then puts the smoke machine on behind him. • If he does a poor light show he blames the band for not giving him enough budget for extra lights. • When he has a six foot barrier around his lighting desk you know that people have previously spilt a drink in his desk. • He lets the support band use only 8 cans of a 60 can light show. • If the whole band he is working with upsets him he gives the support band all 60 cans but only uses 8 for the main act. • He just uses LED lights and sets them to automatic.

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Contact Sue for Advertising Prices and MEGAmedia Kit rsm@risingstar.com.au

MEGAscene • Issue 14 - 2018

SA PARANORMAL By Allen Tiller The British Hotel, Port Adelaide

Designed by architect, W. Beattie, The British Hotel opened in March 1847 as a single-story hotel consisting of 20 rooms, including a bar, taproom, kitchen, three parlous and ten bedrooms. It’s first manager (and possibly builder) was Captain James Wakeling, who had previously owned the Port Tavern, which had been destroyed by a fire that wiped out large sections of the Port in January 1847. Behind the hotel once stood a two story building used at the stables for the hotel, in which lived the hotel’s Ostler, a person who looked after the horses in the stables or the hotel owners and guests. Captain James Wakeling worked previously for a South Australian company as Captain onboard the ships Sarah and Elizabeth, and was an early pioneer. It is said he was very strict in how he ran his hotels and was very punctual in closing the hotels doors at 10pm nightly. This led to one incident, where a large Irish Shipmaster, played a trick on the old Captain, and changed the clock hands on Wakeling’s clocks, so the pub stayed opened an extra hour, until 11pm! The hotel was sold in in 1849 to William Mart. Only a few years later, in 1853, Captain Wakeling passed away at the age of 65 in Rundle Street, Adelaide after contracting influenza. As Captain Wakeling was much respected, in his honour, all vessels in the Port flew the flags at half-mast the day following his death. Wakeling was buried in the West Terrace Cemetery, Adelaide. John Wakeling and Mary Ferrers managed the hotel between 1859 until 1863, when it then fell into the ownership of Henry Ayers, who in 1876 added the second story. Ayers, then Premier of South Australia, sold

The British Hotel in 2016 Photo: Allen Tiller

the hotel not long after the improvements he made to James Ralph Russell, who had worked in the hotel as its publican since 1863. Russell, in 1878, added a veranda and balcony. In 1907 the hotel changed its name to McGraths British Hotel to reflect its new licensee, John McGrath and family. McGrath ran the hotel until his death in 1932, when it was then taken over by his two daughters Elizabeth and Esther. Esther would take sole licences responsibility in 1935 after South Australian laws prohibiting single women from owning or running hotels was amended. The Russell family, who had owned the hotel since 1863, decided in 1937 the time was right to sell. The hotel then fell under the ownership of the South Australian Brewing Company, but was still operated under the license of Esther McGrath, who stayed on until 1952. The hotel had many more licensee’s over the years, but eventually closed for a few years, until being revamped and reopened in 2007. Over the years there have been many deaths inside the hotel, including in 1905, the death of a hotel worker, Ethel Hammond, aged 39, who passed away in an upstairs bedroom where she lived. Former publican John McGrath died in the hotel in 1922, and in 1954, Alexander Thompson died in one of the upstairs bedrooms. It has long been alleged that the hotel is

haunted, with paranormal activity experienced across all levels. One spirit alleged to have been seen in the basement area is that of Sir Henry Ayers, five times South Australian Premier and served in Parliament for an unbroken 37 years. Although he lived in, and is said to haunt, Ayers house on North Terrace in Adelaide, it would seem his spirit has been seen here, in the basement on occasion over the years after his death in 1897. In a 2015 interview, the then owner described poltergeist type activity happening in the basement. It was stated that: “In the cool room there are stacks of two-litre milks toward the back of the shelves, not on the edge ... One morning, we came out and there’s one just thrown in the middle of the floor. How in the hell, that moved ...” It is not known who the mischievous poltergeist like spirit might be, and no one is 100% certain why Sir Henry Ayers haunts the hotel, or even if the alleged ghost is actually him, or just someone who might appear like him (or just a case of mistaken identity from an intoxicated witness). Either way, the hotel, like most of the hotels in Port Adelaide, is considered haunted!

The British Hotel - night view Photo: Allen Tiller

References:

Our Port, (2015), The British Hotel, Government of South Australia, retrieved from http://ourport. com.au/content/uploads/2016/04/DiscoveringPort-Adelaide-The-hidden-gems-of-the-Portrevealed.pdf James Hunter, History SA, ‘British Hotel (Port Adelaide)’, SA History Hub, History Trust of South Australia, retrieved from http://sahistoryhub.com. au/places/british-hotel-port-adelaide. The British Hotel, (2018), History, retrieved from https://thebritish.com.au/about-us

MEGAscene • Issue 14 - 2018

1853 ‘LAW AND CRIMINAL COURTS.’, South Australian Register (Adelaide, SA: 18391900), 26 May, p.3, viewed 09 Oct 2018, http://nla.gov.au/nla.news-article38463754 1905 ‘SUDDEN DEATH.’, Evening Journal (Adelaide, SA : 1869 - 1912), 29 June, p.1, viewed 09 Oct 2018, http://nla.gov.au/nla.news-article208008634 1905 ‘Facks and Roomers.’, The Areas’ Express (Booyoolee, SA: 1877-1948), 30 June, p.3, viewed 09 Oct 2018, http://nla.gov.au/nla.news-article224371446 S. R. Parr, ‘Ayers, Sir Henry (1821–1897)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/ayers-sirhenry-2914/text4193, published first in hardcopy 1969, accessed online 10 October 2018. 1922 ‘Family Notices’, The Register (Adelaide, SA: 1901 - 1929), 8 March, p.2, viewed 14 Oct 2018, http://nla.gov.au/nla.news-article63582157 1954 ‘Family Notices’, News (Adelaide, SA: 1923 1954), 12 July, p.24, viewed 14 Oct 2018, http://nla.gov.au/nla.news-article134753904

Allen Tiller (ALIAtech, DipFamHist) is Australia’s most recognised paranormal investigator, eminent paranormal historian, and star of the international smash hit television show “Haunting: Australia”. Allen is also the founder of Eidolon Paranormal, South Australian Paranormal and the author of book and blog, “The Haunts of Adelaide: History, Mystery and the Paranormal”. He is winner of the 2017 “Emerging South Australian Historian of The Year Award” as presented by The History Council of South Australia. Employed as “Historian in Residence” in 2016/2017 with the Adelaide City Council Libraries and employed by the City of Port Adelaide Enfield Council to write the popular, “Ghosts of the Port Self-Guided Walking Tour” You can find Allen online at: www.AllenTiller.com.au www.EidolonParanormal.com.au www.twitter.com/Allen_Tiller www.facebook.com/AllenHauntingAustralia https://www.facebook.com/ TheHauntsOfAdelaide

MEGAscene • Issue 14 - 2018

Howie’s Kick Off @ Railway Hotel Photos by Sue Hedley - 07/10/2018 Darren Constable

Damien Kelly

Dino Jag

Vince Contarino & Catherine Lambert presents award to this years winner Bindy

House band Uncle Gilbert

MEGAscene â&#x20AC;˘ Issue 14 - 2018

Vince Contarino sings with Uncle Gilbert

Catherine Blanch

Bindy performs her winning song

House band Uncle Gilbert with Dino Jag

MEGAscene • Issue 14 - 2018

Steve Potočnik

Photo: Sue Hedley

MEGAscene â&#x20AC;¢ Issue 14 - 2018

Dominic Anthony Guida Photo: Sue Hedley

MEGAscene • Issue 14 - 2018

MEGAmarket Scene Here are some of the markets on in Adelaide.

Bowerbird Design Market

When: Twice a year Next market: 23rd - 25th November Adelaide Central Market Location: Adelaide Showgrounds Entry: $5 (Children free entry) When: Tuesday 7am - 5.30pm, Wednesday Time: Fri 4pm – 9pm, Sat & Sun 10am – & Thursday 9am to 5.30pm, Friday 7am 5pm 9pm, and Saturday 9am - 3pm About: Adelaide design market. Talented Location: Grote Street, Adelaide designer makers from SA and around Shop at the Market with First hour free Australia parking Tuesday - Saturday http://bowerbird.net.au About: A huge range of fresh food, all under one roof - fruit and vegetables, meat and poultry, seafood, gourmet cheeses, Fisherman’s Wharf Market bakery products, sweets, nuts and health foods. When: Every Sunday from 9am - 5pm www.adelaidecentralmarket.com.au/ and Monday Public Holidays Location: Black Diamond Square, Port Adelaide Showground Farmers Adelaide www.fishermenswharfmarkets.com.au

Market

When: Every Sunday 9am -1pm Location: Adelaide Showground, Leader St Farmers markets are the best place to find healthy food direct from the source. You will be supporting local industry, growers and farmers as well as getting the freshest produce.

Blackwood Craft Market When: 1st Sunday of the month 10am - 4pm Location: Blackwood Memorial Hall Cormandel Parade, Blackwood Entry: Free About: handmade craft items Contact: Kerrie Gould kgould6@bigpond.com

City East Market

Gawler Lions Station Market When: Every Sunday 8am - 12pm Location: Gawler Railway Station About: Arts and crafts, fresh local produce, bric-a-brac, tools and more.

Gepps Cross Treasure Market When: Sundays 7am - 1pm Sellers admitted from 5am Buyers admitted from 7am Location: Mainline Drive In @ 588 Main North Road, Gepps Cross Entry: $1.50 per buyer (under 14 years free)

Lollypop Markets

Time: 10am - 3pm Location: Morphettville Racecourse About: It showcases unique, boutique and Location: 230 Flinders Street, Adelaide About: The market features a broad handmade, or of limited supply items for range of sellers and products from around expecting parents, babies and children. http://lollipopmarkets.com.au Adelaide. 42

MEGAscene • Issue 14 - 2018

Gilles Street Market

Semaphore Community Market

When: October to May the market is open on the 1st and 3rd Sunday of the month. From June to September over autumn/ winter the market is held on the 3rd Sunday of the month. Location: Gilles Street Primary School 91 Gilles Street, Adelaide 10am – 4pm About: a focused fashion & accessories market only www.gillesstreetmarket.com.au

When: 1st Sunday of the month Time: 10am - 2.30pm Location: St Bedes Anglican Church 200 Military Rd, Semaphore Location: Druid Ave, Stirling Entry: Free

Labels Style Market Time: 10am - 4pm Location: Plant 4 Bowden Third Street, Bowden Entry: Free Contact: labelsbuyswapsell@outlook.com Organiser: Katelyn Gabriel http://www.labelsstylemarkets.com

Market Shed on Holland When: Sunday, 9am - 3pm every week Where: 1 Holland Street, Adelaide (behind the Gilbert St IGA) Contact: marilyn@themarketshed.com.au About: One big bustling shed is filled to the brim with local food producers selling their wares. The market focuses strongly on organically and locally produced food.

Makers and Shakers 10am - 3pm Location: Woodville Town Hall 74 Woodville Road, Woodville Entry: $2 (Kids under 12 free) About: Homewares, furniture, food, flowers, stationery and photography. Also in Melbourne and Sydney.

Semaphore Twilight Market Friday nights during December and January each year from 6-9pm

Wild At Hart Fresh Food Market, Port Adelaide When: Open Sundays 9am - 2pm Location: The Harts Mill precinct About: A farmers market with fresh food and produce http://www.wildathart.com.au

Round She Goes Market Adelaide Held in Adelaide 3 times a year check dates on website http://roundshegoes.com.au/ whenwhere/adelaide-dates/ Location: Woodville Town Hall 74 Woodville Road, Woodville Entry: $2, 10am-3pm About: Pre-loved Designer and vintage clothing, and handmade jewellery. Also in Melbourne and Sydney. http://roundshegoes.com.au

www.themakersandshakers.com . . . featuring music, lifestyle and fashion in Adelaide

. . . featuring music, lifestyle and fashion in Adelaide

Issue 9 2017

Issue 10 2017

Kevin Borich

Interview with Louise Pearson Dino Jag

Gig photos of Painters and Dockers

Dusty Lee

Gig photos of Electric Mary

Gig photos of Deep Throat

Gig photos of Dino Jag

Gig photos of Phil Emannuel

Gig photos of Full Tilt Janis

MEGAscene

. . . featuring music, lifestyle and fashion in Adelaide

Beeb Birtles gets inducted into the AMC SA Music Hall of Fame

2018

Gig photos of The New Dead Metalfest VIII

. . . featuring music, lifestyle and fashion in Adelaide

Issue 12

Issue 11

Gwyn Ashton

Davinyls

Gig photos of Painters And Dockers

Sophie Downey, the Saxoffender, talks about art, sax, and rock ‘n roll

2018

Gig photos ofBurn

Interview with Phil Lanzon

Hindley Street Country Club

Gig photos of Andrew Strong

MEGAscene â&#x20AC;¢ Issue 14 - 2018

Damien Kelly Photo: Sue Hedley

MEGAscene â&#x20AC;¢ Issue 14 - 2018

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