. . . featuring music, lifestyle and fashion in Adelaide
Issue 12
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 12 - 2018
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IN THIS ISSUE 8 18 22 26 50
Features
Sophie Downey Night of The Guitars Phil Lanzon Hindley Street Country Club The New Romantic Period in England
6 36 40 42 43 44 60
Photos
Photo Tribute To Phil Emmanuel Inductions to SA Music Hall of Fame Andrew Strong High Voltage Burn Remembering The Woodstock Generation Vulnerable Interpreters
Regular Columns
30 MEGAlocal 38 MEGAreviews Brian Jonestown Massacre 46 MEGAnews 48 Live Sound Advice 55 MEGAreleases - Phil Lanzon 56 SA Paranormal 60 Markets in Adelaide
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Jack Buchanan 4
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Paula Standing
MEGAscene • Issue 12 - 2018
MEGAscene
EDITOR’S NOTE
Editor: Sue Hedley
Welcome to issue 12 of MEGAscene. As new deputy editor of MEGAscene I’ve been working hard with Sue, our editor, to produce a magazine which is always about the Adelaide scene - but also throws in some surprises.
Deputy Editor Michelle McGoldrick Production Assistant Lina Sangermano Contributors this issue: Allen Tiller Frank Lang Writer On The Road Michelle McGoldrick Photographer: Sue Hedley Additional Photography: Chris Czuhra 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
Inside you’ll find MEGAscene’s usual eclectic mix of music news and reviews, features and regular columns on a wide range of art, music, and specialist interest topics. Check out Adelaide rock and roll artist Sophie Downey, and see Brian Gleeson and Adelaide Oval inducted by Michael Gudinski into the AMC South Australian Music Hall of Fame. In keeping with the magazine’s broader appeal we also have an exclusive interview with Phil Lanzon from the legendary Uriah Heep, plus a rare interview with a music collector who recounts the glamour and fun of England’s New Romantic movement in the 1980s. We also have a story on the Hindley StreetCountry Club band. I hope you enjoy this issue and let us know about any people, places or events you’d like to see covered in the future. Ciao for now
Michelle
Deputy Editor MEGAscene Front Cover Photo: Sophie Downey Front and Back Cover 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.
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A Photo Tribute To Phil Emmanuel
R.I.P Phil Emmanuel Photos by Sue Hedley
Phil Emmanuel passed away suddenly on 24th May at the at the age of 65. He was an aussie legend, an entertaining performer, a brilliant guitarist and an all round nice guy. MEGAscene gives our condolences to his wife, family, friends and fans.
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Sophie Downey Story and Photos by Sue Hedley Sophie Downey was once a lawyer and gave it all up for art and music. She was far happier brandishing a paintbrush and playing iconic guitar solos on her saxophone than she was analysing briefs and cross examining drug dealers. She found a way to make her art and music complement each other, consistent with her desire to be useful and not just a painter of pretty pictures. She finished her law degree in 1995 with straight distinctions and first class honours. In 2014, she was a barrister in prestigious Adelaide chambers, specialising in criminal law. She had some of South Australia’s leading counsel as mentors, but the ‘law game’ was actually making her more depressed. She was using alcohol to anaesthetise her sense of despair, her loneliness and her sense of being lost. The occasions of near fatal alcohol poisoning were becoming more frequent.
just drawing them like that. Then I moved up to horses and I was just drawing and painting horses all the time. So It was early but when people at school started asking ‘can I have a drawing?’ I recognised I loved it. I loved the horses. I try not to be competitive about it or see it as a talent, it’s a skill, and I can see it getting better as time goes by.” MEGAscene: So when did you start painting rockstars and portraits?
Sophie: “Rockstars arose when I got back from New York Studios in 2014 and I had changed my whole life and I didn’t know what I was going to do. So I came back painting court staff and barristers. I did a really good one of one of the barristers that went well, he paid me and it was all fine, but I wasn’t getting anyone else. I was finding people were turning their backs on me. Then I went to animals and horses. I wanted to do racehorse paintings. I had a sort Over the past three years she has developed a of a mentor in art called David Hume who one model for using live art and rock ’n roll in ways day he saw the picture of Chris Finnen and that have many benefits, including prostrate he said ‘wait stop, that is what you should cancer awareness and world suicide prevention. be doing. You’ve got a connection with that subject and because it’s got the music in it MEGAscene caught up with Sophie Downey, and you’ve got a connection with that person’. the Saxoffender, and discussed art, sax and So he read it and from then it started going rock ‘n roll. on and now it’s almost exclusively rockstars.” MEGAscene: When did you first discover your MEGAscene: So when did you learn to play interest in art? When did you know you had a saxophone? talent for it? Sophie: “The sax developed from flute as a Sophie: “Oh, I don’t like the word talent kid. It was the same lonely childhood, not because I never thought I had a talent but fitting in that well, like a year younger than people sort of said it, but I’m cautious of anyone else in the class, two different houses. talent because it sounds like it’s a magical I didn’t do that sitting around with other kids innate thing that you can’t control. It was a at lunchtime, I used go to the music room. skill that I developed as a very little kid as a Around six I started having flute lessons at three year old, because I spent a lot of time schools and about year 11 I wanted to learn on my own. My parents divorced when I was clarinet. I wanted to play a heavier instrument, four and so they lived apart and I have got something gutsier. Then I got an Alto Sax near two older sisters. I spent a lot time growing year 12 and I thought this is for me. It sort of up in Tea Tree Gully on my own. I started off stopped for quite a few years when I did my Law drawing my little pet mice sitting in my hand, Degree and then when I went to Port Augusta. 8
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“It was really disciplined. The biggest lesson that I really liked about it was don’t be afraid if its wrong, and don’t be afraid to just smudge the whole thing out. So many people are frightened when they’ve got to a certain stage of a picture of wrecking it if it’s wrong. Don’t ever stop trying different things, and changes is crucial. This happens when I’m at gigs painting live. Some people freak out because I just smudge it all out and change it if it’s wrong. That fear of changing stuff is a big thing and that’s my life as well; if something is not working I just change it.”
Painting of Duff McKagan by Sophie Downey
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Sophie at her “Ride ‘Em Downey’ Exhibition
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There was nowhere there to have private lessons. When I got into the DPP I got back into it but no where near enough as now; I play every day.” MEGAscene: When did you became a lawyer? Sophie: “I finished my law degree in 1995 with first class Honours. I got an Associateship with John Doyle, the Chief Justice, after I graduated and he nutted out that I wanted to do court room advocacy. He knew that I wanted to get in there and get my hands dirty, so he said ‘go out to the country and deal with any client that walks through the door, that’s the best way to do it.’” MEGAscene: How long were you in Pt Augusta? Sophie: Two a half years. Yeah it was a good experience, hard but good.” MEGAscene: What made you give up your law for art? Sophie: “Thats a long story. I never said I loved my job, there was always something about it
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I didn’t like; I didn’t want to do family, I didn’t want to talk about money, I didn’t want to talk about people’s problems fixing them. So I never could say ‘I love this job’, but I do say that about art. So that feeling was there. I think I started getting a bit disillusioned, I started getting a bit bitter about not getting promotions I wanted to get. Because I worked at the DPP I started seeing images of Snowtown. I got really jumpy about trespassers, living on my own and stuff. I had a couple of big murder cases where I had to look at the autopsy and I started getting sort of nightmarish feelings. So there was a bit of fear there, there was a bit of cynicism, there was a bit of this whole thing was a game that I didn’t want to be part of. There was things that I loved about it. I had one of the best counsellors in the State teach me. I had excellent teachers . . . sometimes the way they nutted out a case, it was so inspiring; I loved it. But I didn’t like walking into a court room and thinking I don’t want to act for this person who was lying to me or I don’t want to cross examine a little kid again about a sex case or I don’t want to play games with this idiot in court when I’m
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prosecuting an RSPCA prosecution. There was bullshit that I got sick of. Then every now and then someone would say ‘you just drew that in court?’, ‘you played that at the barristers dinner?’, ‘you can play sax as well?’, ’why are you are you doing law? It’s for dummies you know’. I used to say its a hobby; like I could never afford to do this, I’ve haven’t done the degrees, I don’t have the support, and I wouldn’t make an income. For years I thought that until I just got so sucked down by alcoholism and depression, darkness, frustration and despair that I had to change and that was when my mother died.” “I wasn’t sure what I was doing because I had to deal with a very complicated estate and I was the executor and my two sisters weren’t. I was the youngest and I had to do all this hard stuff to do. I had to sort out the family home in North Adelaide and well there’s this inheritance. Eventually it was ‘do I become the Lady of the Manor in North Adelaide and be married to being a barrister for the next twenty years of my life?’. That’s when I used to go to The Gaslight Blues Lounge sometimes. The Gaslight kept me going because I loved
playing the music. Or do I want to take the plunge and do something different; music? There were times when I would drink myself stupid because I couldn’t decide what to do with whatever money that I would end up with from Mum’s estate. I lost joy in doing things like travelling. I got released from hospital for alcohol poisoning and an ex-boyfriend who was a nurse and then a teacher up in Central Australia took me up there and I went out in the desert and listened to music. I thought ‘what am I going to do?’. I listened to Sound Garden and Alice In Chains. I just walked around and there were some wild horses and I listened to the Stones ‘Wild Horses’. I thought f___ it. I had a counsellor then and he said just leave all the high life and ‘do this and commit to it and you’re going to win it’. I never believed him. He said, ‘one day you’re going to be in a house and there’s going to be paintings everywhere, and you’re going to be working on five at once and you’re not going to drink anymore and you’re going to be so enveloped in the art that you’re not going to know this life, this person you used to be’. I was drinking alcohol in the morning, constantly shaking, constantly feeling sick. I became that person that he predicted.” “I applied for Adelaide Uni and I got in. But that was a feat because I hadn’t played my sax for months. The course was full; saxophone’s the first one to fill up. So I got in on the basis of my audition. I was playing ‘Now Is The Time’. This is my connection with Chris Finnen, ‘to change your life Sophie’ and that painting started from when I got to the Gaslight and Chris Finnen said ‘get up on stage’ and he’s playing ‘Now Is The Time’.”
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Sophie’s finished painting of Robert Plant
Sophie jamming with Kevin Borich
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MEGAscene: You don’t do what other artist MEGAscene: Did you get feedback from the do, as in you actually set up your easel and teachers over there? paint them while they are performing. Sophie: “Yeah they were quite tough on me. Sophie: “Yeah, that is what I do. I started at It was good. They said ‘will you do the next Adelaide Central School of Art when I got back course and stay on?’. One of them said ‘you from Port Augusta and I did one class a week got the petrol, you got the engine you just over years for a long time and Rod Taylor was have to drive the car Sophie’. I came back my teacher. He used to say ‘just always do it to thinking ‘well, I’m going to have to try’.” from life, senior artists can tell when you’ve used a photograph; it’s crap, always paint MEGAscene: So what did they teach you that from life’. New York Studio School said that you couldn’t learn over here? too and when I look at rockstar paintings I can easily tell you what photographs they Sophie: “It was really disciplined. The biggest came from, I can even tell you if it’s traced.” lesson that I really liked about it was don’t be afraid if its wrong, and don’t be afraid to MEGAscene: So when did go to to America just smudge the whole thing out. So many to study and where did you study? people are frightened when they’ve got to a certain stage of a picture of wrecking it if Sophie: “That was 2014 . . . I dropped out of it’s wrong. Don’t ever stop trying different music because I was so embarrassed about things, and changes is crucial. This happens that I was living in granny flat up in Echunga when I’m at gigs painting live. Some people with no running water, three cats inside, it freak out because I just smudge it all out and was a one room horse shed and and no toilet, change it if it’s wrong. That fear of changing with these people I didn’t get along with very stuff is a big thing and that’s my life as well; well. I got in and I was late for the course if something is not working I just change it.” and didn’t know how to find the assignments online so I was going to fail. So I had to make MEGAscene: You travelled around the world in this decision about getting on a plane to your search of different rock stars to paint? New York. It gave me dignity because I could say to my teachers ‘I got into New York. Sophie: “Well I travelled around the world What am I going to do, stay in Adelaide?’” searching for a reason for living. That’s how I ended up riding motor bikes in India and South “The school was New York Studio School of Art. America. Looking for rockstars came about Getting into the New York school gave me the only last year. I felt the need to learn these out from Adelaide Uni. Having been at Flinders guitar solos. I love playing Jimmy Page, Slash Uni before I wasn’t adjusting to Adelaide Uni and Joe Walsh. I couldn’t do it anywhere. very well and the computer tech stuff you have Stuart Monk, the guitar maker from Sydney, to have there these days. I was behind and I was came in into the Gaslight as I was on the going to fail. Yet I finished my law degree with stage playing Stairway, and he said ‘that’s straight distinctions and first class Honours.” amazing. I can’t believe you’re doing it on the sax’. One night I was playing Ozzy Osbourne, MEGAscene: So how long was the course in not knowing what to do, and I saw the New York? website for the Rock and Roll Fantasy Band Camp with Nancy Wilson in L.A. and I thought Sophie: “It was about two and half months. It that might be a way of saying to Hollywood wasn’t that long, it was a summer program. ‘if this is bad tell me and if this looks like a It was enough to keep some concepts in dopey act and showing off, I don’t want to my head that I wanted to keep on with. show off. I have a concept for being useful The attitude in New York was freedom and somehow so that’s how I ended up in L.A. I embracing difference and eccentricity, didn’t have my sax in New York. I used to walk and people always talking to you. You to art school and listen to Billy Joel playing can be what your dream is. I loved that.” New York stuff, State Of Mind. There’s a great sax player in that and I wished I could play 14
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that. I never played that but now its easy.” MEGAscene: If you could paint anyone that you wanted in the world who would be the MEGAscene: Who were your actual influences person you’d most like to paint? when you first did art. Did you like any particular artists, or pastels or self portraits? Sophie: “I think it would be the Rolling Stones, I’d love to do something like that at their show. Sophie: “Not really self portraits because I’d love to be part of their team, and love I’m never really happy with the way I look. to have that back structure directing me.” It was animals and then when I got to about Year 10 or 11, I started looking at Surrealist MEGAscene: Where do you see yourself in artists like Salvador Dali and art which is five years? about emotions and subconsciousness.” Sophie: “I would love to have a director like Don MEGAscene: Did you ever follow historic Watts who is producer for the Rolling Stones, artists like Van Gogh or Michael Angelo? who is massive, this person with this vision and his ability and foresight. I’d like someone like Sophie: “I did. I was crying when I saw the real that to say ‘Sophie we’d like to take what you Michael Angelo. I went to Florence and went can do, this unique skill, this crazy doing for to see the Stones in Italy. Everything else was other people, this Ronnie Wood compa,ssion, going wrong I may as well see if these Stones and we are going to manage it and so you’re are who you think they are. I saw Michael going be painting rockstars at every festival Angelo’s ‘David’ and it was breathtakingly around the world. You’re going to paint Ben beautiful, it was gorgeous. I don’t know how Stiller who’s a recovery from prostrate cancer to explain it. It was just a sublime piece of and your going play a one sax solo or maybe sculpture. Whereas the human body is full two at various festivals and concerts for Led of surprises and interest curious. When the Zeppelin and the Stones.” human body is making music that becomes a more interesting thing for me, my eyes As this interview was being done I had the are seeing, my ears are hearing and my honour of having my portrait painted by hands are sometimes painting to the beat. Sophie. I’m writing lyrics that stick out, or the song that I’m hearing stays with the painting, and that’s what I want to say to the people ‘this will happen only once, take this away with you as a little snap shot of that night’. We live in a world that gets all blurred. This is your experience and you can have that forever.” MEGAscene: Do you find it easy to get into shows to paint musicians? Sophie: “No, it’s often quite hard. This is why I became the Saxoffender because one theatre had these people with walkie talkies follow me and search my bag and confiscate my art material. This woman cracked at me and I said ‘I’m bringing my sketches to give to the cast because they were great in that show I saw in the matinee’. They were just silly little sketches, and they said ‘Oh but that’s breach of copyright, that’s a breach of privacy, invasion and plagiarism’, and I said ‘No it’s not, it’s like taking notes at a lecture’.”
Contact Sophie: sophiedowney6@gmail.com for any portrait bookings 15
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Kevin Borich
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Photo by Sue Hedley
Guitars In The City
MEGAscene • Issue 12 - 2018
The ‘Guitars in The City’ series is now in its’ 3rd year and continues to attract a bigger following every year. Rob Pippan Productions (RPP) will again present Guitars in Bars as part of Music SA’s Umbrella: Winter City Sounds and Guitars in the Bars. ‘Guitars in The City’ 2018 features a series of gigs featuring a very cool lineup of performers. Two of the gigs will also include tributes to Phil Emmanuel who was to play on July 21st and 22nd. Rob explained, “We had our series and advertising booked with Phil listed as appearing when we received the news he’d had passed away. It was a huge shock to all our team and myself personally as Phil and I have been friends and playing colleagues since 1990 – we met when we were both endorsees of Blade Guitars and became fast friends. Since then Phil and I have performed together many times and he has come over as a guest of my Umbrella series and many other events. Kevin Borich who is also appearing on Sat 14th July was also a friend of Phil’s so we’ve all been touched by Phil’s magic and friendship.”
Program for ‘Guitars in The City’ 2018 at the German Club: Saturday July 14 – Kevin Borich Express. Kevin first played in the La De Da’s in the 60s before forming Kevin Borich Express in the mid 1970s. Kevin was also a member of the legendary ‘Party Boys’ and he continues to tour and record. Friday July 20 – Morpheus. SA rock legends! In 1977 Morpheus signed with an agency and management in Sydney and went on to play with bands like The Ramones and INXS. Morpheus have now reformed after 37 years.
Rob Pippan and his band playing with Phil Emmanuel. Photo: Sue Hedley
and Ian ‘Polly’ Politis. Phil Emmanuel was also booked to perform at this gig so this night will now be known as the “Night of the Guitar” and will include a special tribute to Phil from his SA band mates. To close this series, Rumours the Fleetwood Mac Show will perform at The Beach House Café Encounter Bay on Sunday 22nd July from midday. Fronted by Nanette Van Ruiten and Ian ‘Polly’ Politis in a 7- piece classic rock setting, this show was initially booked with Phil Emmanuel. Rumours will present a special tribute to Phil on the day. The ‘Guitars in the City’ season is hosted by Rob Pippan Productions, The German Club and sponsored by Derringers Music Adelaide, Music SA and Rob Pippan Guitar Lessons, during Umbrella: Winter City Sounds and Guitars in Bars. Tickets from Ticketek (for German Club gigs)
Ticket links: Kevin Borich - https://premier.ticketek. com.au/shows/show.aspx?sh=KEVINBOR18 http://m.ticketek.com.au/shows/show. aspx?sh=KEVINBOR18 Night of the Guitar - https://premier.tickete k.com.au/shows/show.aspx?sh=GUITARCI18 http://m.ticketek.com.au/shows/show. aspx?sh=GUITARCI18
Saturday July 21 – “Night of the Guitar”. Featuring guitarists Chris Finnen, Nick Panousakis, Alain Valodze, Cal Williams Jnr and Rob Pippan with additional performers to Rumours - Beach House Café direct be announced. Performers will be backed by the “Night Of The Guitar” house band with Matt McNamee, Shaun Duncan, Rob Vorel
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Phil Lanzon
By Michelle McGoldrick Phil Lanzon has been playing extraordinary keyboard in Uriah Heep for 32 years. Lanzon has also played with other noteable bands and artists including Sweet, UFO, Grand Prix, Hot Chocolate, Mick Ronson and Chris Spedding. But as well as routinely recording and touring, Lanzon has been consistently writing a catalogue of his own songs. In 2017 Lanzon released his first solo album If You Think I’m Crazy!. The album awed old fans – and attracted a generation of new fans. MEGAscene talked to Phil Lanzon last week and asked him about the process of writing, and recording his first solo album.
people: passion, depth, excitement. MEGAscene: Describe [aspects of] the recording process for the new album e.g what influenced your choice of studio, the arranger, the extensive personnel who played on the album, any particular challenges or revelations that occurred during the recording process. (if you can give me a snapshot of the creative process of the recording please.)
Phil: My producer Simon Hanhart and arranger Richard Cottle were instrumental in organising all the musicians, orchestra choir and studios for my project. I wanted to MEGAscene: You have been playing music for include orchestra and choir on some of the over fifty years: what was the inspiration/ songs because I require that ‘real’ sound that motivation to release a solo album at this grabs you and reaches the heart instantly. stage of your career? It was an exciting time for me to be in the studio while they were playing and I followed Phil: I had a back log of songs that were not Richard’s scores as the takes went down. ‘Heep’ related over the years. so i took the opportunity to release some of them as a debut project which has been highly successful. MEGAscene: Most of our readers will know you from Uriah Heep who you joined in 1986 and I understand the band are essentially still together? Has your work with Uriah Heep influenced the style of music and playing on your new album, “If You Think I’m Crazy!”? Phil: No not at all. I write in many different The orchestra during recording session genres. I can’t be tied to one syle of writing. Photo: Supplied It’s like asking a chef to make just one dish for his whole career. MEGAscene: Who designed the album cover and why did you choose the artwork - what MEGAscene: As a song writer, how do you does it say about you and the music on the approach your craft? album? Phil: I tend to hear something in my head, or, see something in a movie that catches my imagination, or, I simply want to write something at a certain tempo. Stories interest me and the craft of working them into a song, thats what i enjoy most. As a songwriter my concern is to deliver something that moves 22
Phil: Michael Cheval designed the cover. He describes his art as ‘the nature of absurdity’ I found his work while trawling through the internet looking for an album cover picture. I thought it was a great eye catcher and everybody really loves it. I am a bit of an artist
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“Life itself is the major influence in everything: music, art, people, places, society, love. Altogether these are what shape our lives.”
Phil Lanzon
Photo by Sue Hedley
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too if you look at my website: www.phillanzon.com you’ll see why I liked his art.
Phil: We select the songs that are the most comfortable to perform live. We have a full crew: stage manager, tour manager, drum/ guitar tech, keyboard/bass tech, front of house engineer and monitor engineer. We usually hire an outside merchandise person for tours. MEGAscene: You have had many collaborations during your career, one in particular that stands out for me is the 1993 collaboration for the Mick Ronson Memorial Concert where you played in a rhythm section honouring the original Spiders from Mars musicians Trevor Bolder and Woody Woodmansey. What was the experience like - and what are your best memories of playing with Trevor Bolder? You played with him in Uriah Heep for many years before he passed away.
CD cover artwork Photo: Supplied
MEGAscene: Who are your major musical influences and why? How do they influence and help shape your creativity and playing?
Phil: Yes that was a great experience and a memorable concert for a very iconic guitar player, Mick Ronson. There is footage of it somewhere but I have never seen it. Trevor was a very individual bass player, a very melodic player which I think is very important in a band. We had a long and well travelled relationship and I miss his northern wit. MEGAscene: Do collaboration ?
you
have
a
favourite
Phil: I don’t have an actual favourite one. My collaboration with ‘Heep’ is more like a family Phil: Life itself is the major influence in working relationship as I have worked with Mick everything: music, art, people, places, society, - my writing partner now for thirty odd years. love. Altogether these are what shape our I find it quite different and enjoyable working lives. Musically, everything from Mozart to with Richard as he is a keyboard player also and his arranging talents are exemplary. Zappa and all points between. MEGAscene: Tell me about your choice of keyboards: what do you play and why, what influences your choice of instrument and why, what sounds are you looking for? Phil: For live performance I use the Nord keyboard powered by my Leslie 3300B. I need to have the power of the Hammond organ which is the mainstay of the ‘Heep’ sound. MEGAscene: Performing: How difficult or easy is it to replicate the album live, what technology and crew do you use to support your live shows? 24
Uriah Heep Photo: Sue Hedley
MEGAscene • Issue 12 - 2018
Phil Lanzon playing in Uriah Heep Photo: Sue Hedley
something new and different. I’m always open to suggestion.
Phil Lanzon playing in Uriah Heep Photo: Sue Hedley
MEGAscene: What are your future plans for your music: touring, further releases, promotion etc?
Phil: I’m working on my next solo offering MEGAscene: Highlights from your recent tour which will follow next Spring (Autumn for you e.g. a show that stands out in your memory, Aussies). Don’t forget, the next Uriah Heep great crowds, favourite cities or venues. album will be released in September on Frontiers Records entitled ‘Living The Dream.’ Phil: My favourite cities are London, Sydney, New York and San Francisco. Favourite venues Phil Lanzon is currently touring Europe with are House of Blues Orlando, Vogue Theatre Uriah Heep. To see and read more about Vancouver, Shepherds Bush London, the the life, loves and dreams of Phil Lanzon Enmore Theatre Sydney. go to: www.phillanzonwordsandmusic.com MEGAscene: What are you listening to now, Other Links: do you listen to new music, do you have any www.phillanzon.com favourite music currently? www.uriah-heep.com Phil: At the moment I’m listening to film music. Check out MEGAscene’s review of Phil’s CD I’m not too interested in new bands as they “If You Think I’m Crazy!” in this issue on don’t do it for me any more. I don’t hear any page 54. new growth happening but please correct me if I’m wrong and point me in the direction of . . . 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
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Hindley Street Country Club
Story and Photos by Sue Hedley In an ocean of new music groups performing to online audiences, The Hindley Street Country Club have brought focus to South Australia and the talent born amongst it’s thriving music culture. The Hindley Street Country Club is the creation of Producer/Engineer/Songwriter Darren Mullan and Promoter/Performer/ Arranger Constantine Delo (Con). Their vision is to (besides have a lot of fun) spread the word about South Australia and what we offer to the global music industry. Con said, “What started out as basically a bunch of guys having a bit of fun turned into what it is, way beyond our expectations.” Con picks the tunes and the players and does the arrangements of the songs. He brings in different players for different songs. When MEGAscene interviewed the band the lineup for that session for the song “I Can’t Make You Love Me” was Therese Willis on vocals, Steve Todd on percussion, Greg Blanch on pedal steel, Bradley Polain on drums, Tzan Niko on acoustic guitar, and of course Darren on keyboards and Con on bass. “I pick the tunes and use some smoke and mirrors and a bit of diversion. Rather than just playing the songs in their original form, which is pointless, we put just our own little touches and spin on it. Nothing outrageous, just enough to think ‘what happened there’.” Together, Darren and Con’s extensive network of SA musicians and vocalists prove live on camera that they are among the best. Those who follow are entertained by the incredible music and musicianship, something ‘real’, something they can relate to. Real songs and incredible players giving their time and talent supporting what glues them all together - the love of music.
Hindley Street Country Club
gifting us their time and effort for our cause,” says Darren. “The whole Hindley Street Country Club is that we do know these people,” added Darren. “They are our mates.” Guitarist Tzan Niko said, “It’s more like a gettogether and we make some music.” There are no rehearsals, the band rehearses, arranges and plays the songs on the same day. “If you come in here for the very first time it is a big eye opener to know that we do it on the spot because we change our mind,” said Darren. “It may feel wrong, a certain thing we plan to do; and we run out of time. Camera’s rolling and people need to leave so you do the best with what time you’ve got.” Quite possibly Australia’s best live studio recording collective, the HSCC have followers all over the world accounting for hundreds of thousands of online views and global radio play with ‘Lady What’s Your Name’ and ‘Temporary Heartache’ live with John (Swanee) Swan.
“We have been very lucky,” said Darren. “In six months it would have to be around 200,000 views on Facebook. The shares have been “We wouldn’t exist without the amazing talent great. Swanee’s video got shared about 700 26
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Con Delo
Darren Mullan
Therese Willis, Greg Blanch, Con Delo, Steve Todd
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times. That’s a lot of shares and you can’t buy that and that just bounces around the world. So that became 50,000 views on one video the ‘Lady What’s Your Name’ one.” The HSCC started from a rehearsal for a gig.
“We had 8 people in the room once and I think that was one too many. Even Con said, ‘do we need an extra guitar player for this one?’ I said to Con, ‘If we can’t do it with this amount of members then we should just stop.’”
They got their name from Hindley Street and Darren said, “I had a gig in the Barossa and I their memories of working in clubs there years needed to put a band together. Con was in ago. town. I gave him a buzz and said ‘here is a gig, you know a ton of songs and you can “We all cut our teeth in Hindley Street back in sing so this would be easy’. So he organised the ‘80s,” said Con. a drummer and we had this little rehearsal in this room. That rehearsal sounded so “Nothing ever really that classy happens good that we decided we were going to in Hindley Street or did back when we were record it and do a video at a later time.” rolling in it in it’s heyday,” said Darren. We figured that the Country Club sounds like a The sessions are recorded at Darren Mullan’s classy place; it is a joke. If something is classy ‘Adelaide Recording Studio’ at Highbury. it would be us! Country Club does sound like a blokes club to me and that’s why we’ve got “I never built this studio to do drums or into trouble for not bringing a girl singer in. record bands like this,” Darren said. “That We do apologise for that.” one thing sprouted to this idea, ‘let’s do it for fun and see what happens’. I’d just So last session they had Therese Willis as bought the Canon camera and thought vocalist on a track. She is the first of many we’d give it a go. I’ve got a camera. It’s a females to sing with the Hindley Street bit of pressure instead of a tape machine.” Country Club. “When the tape is rolling you have to get it right. When the camera is rolling it is a different pressure. Some people have red light syndrome when it is recording and some people freeze up because they know the red light is on.”
Con said, “Therese Willis, Adelaide’s best female singer bar none, has been for 25 years, even though she has been in LA for most of the last fifteen years. She’s only been back from LA a few years now.”
“It’s been fun. I love the pressure. As a producer and I work with time and money. One of those is going to run out on every recording at some time. Like films, music is never ever finished, it is just abandoned. And that’s what this is too. We run out of time and say ‘ok let’s move on to the next song’. So pressure is my life and it’s great working with people who can handle it as well. The pressure is high and the most gentlest song has the most pressure.”
“Con called me up and asked me,” said Therese. “I was quite chuffed”. “There is a lot happening in Adelaide, you don’t have to go to Los Angeles,” continued Therese. “Adelaide has always been at the forefront of live music. There is a lot of great players here.”
“I’d like to get some little-known young kids in to play,” said Darren. “Brilliant kids out of “We have been trying a whole bunch of jazz and out of the Conservatory who nodifferent people, letting everyone have one has heard before and to give them that a go. There are a lot of people who do experience to be playing in a roomful of great want to have a go. Some songs there are players like this. I think it is a really big learning some players who definitely suit better: experience. If I would have got that when I was rock ’n roll guitarists, pedal steel today.” their age I would be in a totally different world now. Playing in a room full of these people “If I had a bigger room I would have strings and feeling it move and where everyone sort and a choir and everything,” assured Darren. of moves as one and you become a part of it. 28
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Therese Willis
I think it’s a whole new level of learning. I think that is why I eventually want to bring in kids and give them that go.” Tzan Niko
Darren said, “I’d like to do this for bands as well now that I have got good at it,” continued Darren. “I think the point of it for me outside of the Hindley Street Country Club is that I could record a live band in this room with a singer using an ear monitoring like we are doing here, a performance inside a recording studio and with a simple video. I think that is where I am going with it as well. I don’t have to be the producer, I don’t have to be the guy who’s done their record, they can even be from another state or another country. I am really set up with it now. I’d love to see other bands involved.”
Bradley Polain
Expect some live gigs for the Hindley Street Country Club in October or November. “It won’t be a dancing sort of gig. We really want it to be a cabaret style show, a watch and listen sort of thing,” said Darren. “We will have a core group of say 5 players. Of course I’m going to sing some so a keyboard player’s going to be stepping in for me. There’s definitely going to be 4 different guitarists and 4 or 5 different singers. It is a variety show really when you think about it. It’s definitely going to be a great night.” 29
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MEGAlocal
Send your local music news to: rsm@risingstar.com.au
RICK MORRISON AND DAVE REID ANNOUNCE THEIR DEBUT ALBUM ‘RE-BIRTH’
Rick Morrison and Dave Reid are thrilled to announce the release of their debut album titled RE-BIRTH, a solid hitting Aussie Rock album including 12 original songs. Hard copy CD’s available. Info by email to dave@reidtunes.com. Soft downloads available on iTunes, CD Baby, etc. RE-BIRTH is a collaboration between Rick Morrison (original member of the acclaimed Australian Rock band The Masters Apprentices) and Dave Reid (original member of the 80’s Adelaide rockin’ R&B band Terra Firma). Over the past 12 months has resulted in a powerful new album definitely worth adding to your collection. With raw back to basics Aussie Rock musicality and some great story telling, Rick and Dave bring over 100 years of combined musical experience. Following recent successful appearances with The Masters Apprentices, Rick decided to focus his efforts on recording new material. Since the 80’s Dave played in numerous garage bands, got a degree in Electrical Engineering and released several albums. Dave recorded, produced and mastered the album at ReidTunes by combining their ideas and injecting collective energy and experience into the mix. A short promotional video with 60-second grabs of each song is available at Dave’s FB site. h t t p s : / / w w w . f a c e b o o k . c o m / d a v i d . r e i d . 3 9 9 8 2 6 / videos/1990077867914077/ 30
Adelaide’s premier tribute bands Full Tilt Janis and The Creedence Revival play at The Gov on Sunday July 22nd. Doors open at 5pm and show is at 5.30pm sharp.Tickets 25 + bf presale from www.thegov.com.au or $30 at the door.
CARL DOVER RELEASES HIS DEBUT ALBUM
Carl Dover has just recorded his debut album ‘Turn It On’ at Rob Pippan Studios. It was produced by Rob Pippan and mastered at Disk Edits by Neville Clark. Two singles, ’Slide Through’ and ‘Burning Me Up’ are available for purchase on ITUNES. The album will be released this month. Carl Dover is an Australian based singer/ songwriter. He describes his musical direction as pop/rock/indie/alternative.
This space could be yours Contact Sue for Advertising Prices and MEGAmedia Kit
rsm@risingstar.com.au
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DD TOC AND THE CHILDREN OF THE REVOLUTION GET RADIO AIRPLAY IN UK WITH THEIR 1ST ALBUM South Australian band dd Toc and the Children Of The Revolution released their debut album “In Your Eyes” in January 2017. It seems to have captured the imagination and hearts of the Brits. FM radio stations in London, Bolton, Leeds, Manchester, Liverpool, Sheffield and Croydon, to name a few, have all put songs from the album on rotation. They were also awarded “Band of the Month” on the prestigious “Kitty Opal Show” fighting off stiff international competition, and had one network play three of their songs in a row. The nucleus of “DD Toc” is David Boughton and Doobie Whitehorn, who wrote ten of the twelve tracks on the album and produced it entirely in South Australia. It was then sent to the UK to be mastered by Pete Maher (U2, The Rolling Stones, Snow Patrol, Katy Perry, Scissor Sisters, Nine Inch Nails). The result is “In Your Eyes”, an album that the band is extremely proud of and delighted with the response it’s received so soon. This has encouraged the writing and recording of the next album to start plus the process of negotiating a touring schedule with their Queensland based management company “Killer Management”. David Boughton and Doobie Whitehorn have both toured Australia and Internationally individually as solo artists and with bands such as Radio Active, Le Rox, Counterfeit and John Rundle & The Maulers. The Children Of The Revolution are an evolving line up of handpicked musicians from across Australia. http://ddtoc.com/ https://www.facebook.com/ddtocmusic/ https://twitter.com/dd_Toc_Music https://www.youtube.com/channel/ UCBxj9QErOvKcrIQjh9ryTZw
DD Toc
Adelaide has a new music show on Channel 9 called Jam Live. It will broadcast live gigs from Adelaide with a focus on Australian artists. Jam Live is presented and produced by SA radio personality Shanelle Franklin. Jam Live airs 4:30pm on Saturdays in Adelaide and will also be available nationally via 9now.com.au. Their first season will consist of five 30 minute episodes, featuring acts Regurgitator, Tired Lion, West Thebarton, Josh Cashman, San Cisco, Dean Lewis, and Boo Seeka. For more details go to www.jamlive.com.au
CHILDHOOD CONCERT #4
CANCER
BENEFIT
After three remarkable concerts, Childhood Cancer Benefit Concert is back with their fourth spectacular show headlined by iconic Australian act Mental As Anything at South Adelaide Football Club on Saturday 3rd November. Dance the night away with supporting acts The Ultimate ABBA and Bee Gees Show and The Cardijn College Big Band. Doors open at 6pm and show starts at 7.30pm. Tickets $41.80 from Ticketek. 31
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MEGAlocal MORPHEUS AT THE GERMAN CLUB
The boys are back in town! Morpheus are back with their original 1970’s lineup and playing at the German Club on July 20th. In 1975 they won the ‘Come Out’ Battle of the Bands. In 1977 they signed with an agency and management and in 1978, moved to Sydney. Four musicians and two roadies, all living in a four-bedroom house in Lewisham for $80 a week! Rehearsing every day downstairs in a shopfront and working five nights a week playing all original music, playing with everyone from The Ramones to INXS. Tickets $20 @ Trybooking Phone: 0414816939
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THE SCREAMING JETS @THE GOV Put September 1st in your diary. The Screaming Jets and Boom Crash Opera will be playing at The Gov. Tickets are: $40 plus bf or (VIP) $80 + bf from www.thegov.com.au.
RETURN OF THE ICEMEN
The Icemen are playing at The Cumberland Hotel, Glanville Sunday July 8th. for their 30 year reunion.
JOHN SWAN AND PIGSY
John Swan and Pigsy play together again at The Largs Pier Hotel again on Thursday July 12th.
2018 ‘PASSPORT TO AIRLIE’ BATTLE OF THE BANDS
2018 ‘PASSPORT TO AIRLIE’ Battle of The Bands has been announced. The winner of each State gets to play at the Airlie Beach Festival of Music 2018, which is on November 9th to 11th. For details of Passport To Airlie Beach go to www.passporttoairliebeach.com.au. For details how to enter go to https://www.musogarage.com. Tracey Nelson, Co-ordinator of Adelaide ‘PASSPORT TO AIRLIE’ Battle of The Bands, is a local from Adelaide who is now working with an international tour company with local, national and international bands and solo artists. Tracey started working with Jac Dalton four years ago and has now extended to managing local bands Audio Reign and Kennett the Band, and has an international management deal with Sierra Reign of Philadelphia USA. Tracey says Sierra is a young lady of many talents, involving acting, singing and writing her own material. She is also a photographer. As well as management deals Tracey does promotion and bookings for festivals and rallies with bands worldwide like Gwyn Ashton our local solo artist that now resides in the UK, Screamin’ Eagle Band from Connecticut, Last Nights Villain of Madison Heights Virginia, Jeffrey Brothers from Canada, Boneyard Dog from Ireland, Superfecta from London and also D Red Malone from Melbourne. Tracey met Audio Reign and Kennett the Band through the ‘Passport to Airlie’ battle of bands in 2017. Audio Reign won The Battle and went to Airlie Beach to perform in the festival. “I can’t wait to see the talent that the Passport To Airlie brings out this year.” Tracey said. “ The 2018 Battle of Muso’s will be bigger and better than last year. There are some great bands entered so far and we have room for a few more. It will be held in a bigger venue. We are also looking at sponsorship and other great deals. As we go into the final to determine the winner of 2018, Audio Reign will return and perform to open the show.” 33
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Brian Gleeson and Adelaide Oval Inductions into the AMC SA Music Hall of Fame @ Adelaide Oval Photos by Sue Hedley Brian Gleeson OAM and Adelaide Oval were inducted into the AMC South Australian Music Hall Of Fame at a ceremony at the Adelaide Oval in March. Michael Gudinski (Frontier Touring/Mushroom Records) presented the awards to Brian Gleeson and to Andrew Daniels, CEO of Adelaide Oval SMA, for Adelaide Oval.
Michael Gudinski presenting Adelaide Oval with induction plaque
Brian Gleeson, Michael Gudinski and Andrew Daniels 36
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Brian Gleeson with his family
Brian Gleeson accepting his induction medal from Michaael Gudinski
Andrew Daniels and Brian Gleeson after the inductions
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MEGAreviews Brian Jonestown Massacre @ The Gov - 03/06/2018 By Michelle McGoldrick there were multiple guitar adjustments including broken snapped guitar straps. A bass fuse, a few minds were probably
swaps and strings and amp blew a blown too.
Anton turned out to be a frail but fearless vocalist on stage, quick to show displeasure and calling frequently to his roadie to assist with sheet music/song lists, or to provide cigarettes for quick drags. But gratefully, there was also banter between the crowd and Anton who explained he had been sick since landing in Australia with a virus. The atmosphere was tense and intense at times and, admittedly, Anton did not look well. The It’s a safe bet to say no one goes to a Brian dapper costumes he’d been known to wear Jonestown Massacre gig with expectations. were passed over in favour of jeans, greasy Starting at the merchandise table in the foyer hair and a t-shirt slogan: ‘Eat Shit’. of The Gov, a conversation was overheard: “I love the band t-shirts with Anton on them!” But the music stood up: it warmed and flowed Anton? How could anyone miss the irony of with understated complex arrangements – it Brian Jones, the founding member of the was mesmerising, unpredictable, stirring and Rolling Stones, adorning Brian Jonestown very, very interesting. The foundation of Massacre merchandise? The analogy is this music is clearly the blues, with Anton’s obvious: if a rolling stone gathers no moss, undefinable psychedelic surf guitar creating then the Brian Jonestown Massacre could the overriding magic. There is fear, desire, be described as a band that challenges and promise, sun, road trip freedom, dreams, shakes assumptions about live music and soul, hedonism, destruction - and unexpected melodic sonic experimentation because unlike tenderness in his delivery. Sorry, you can’t take the California out of the boy. Brian Jones - this band won’t fade away. Anton’s sensitivities aside, the band’s vocal contribution was a mix of traditional and non-lexical vocables that are unique to Brian Jonestown Massacre sound. The bass player and percussionist led the backing vocals in “Who” and most of the band joined in on “Hold That Thought”. Reminiscent of the post-Woodstock era; the band echoed Ray Manzarek keyboards, Velvet Underground A comment from the crowd was that being mod guitarists in shades, drumming that at the gig was like watching a band rehearsal: looked jazz but sounded funk, bass that there were lengthy interludes between songs, looked college boy but sounded clean. collaborations unfolded between Anton and band members about arrangements, Anton All calls for a tambourine solo were duly openly rebuked the band for their playing, ignored because the percussionist’s presence 38 The band came on stage without introduction and steadily created a melodic dream culminating in a rock out that blistered the night into true sensory overload. With a catalogue of eighteen albums over twenty five years, the band played some hits, a few misses and some newies in a set that lasted two and a half hours without break or encore.
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onstage is upfront and personable when the rest of the band hide behind sunglasses, their instruments, or Anton’s unashamed performance. Really, who could blame them. Gratefully, the sound engineer on the night mixed the set with clarity rather than volume so when different instruments took dominance during the set there was no unnecessary volume. What a waste it would have been to ruin the talent and complexities of the songs in a whitewash of auditory mud. “This is the best song of our set so it needs to be played on the best guitar” said Anton towards the end of the night. And the last song of the night was off the scale. The intensity kept building until it knocked out two guitarists, the bass eventually receded, Anton lost more strings, and only the drummer was left to wind down the wall of sound into a resolute back beat. The band looked shattered, Anton looked satisfied. Coming away from the gig there was a pervasive feeling that Anton Newcombe’s sound is enduringly real, he functions on a bottomless pit of creativity, and his best is probably yet to come. “Something Else” album by the Brian Jonestown Massacre out now on A Recordings Ltd.
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Andrew Strong @ The Gov Photos by Sue Hedley - 22/03/2018
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High Voltage
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Photo by Sue Hedley
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Burn @ The Old Spot Hotel Photos by Sue Hedley - 19/05/2018
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Mel Jubb Remembering The Woodstock Generation 44
Photo by Sue Hedley
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MEGAnews
THE SCREEN MAKERS CONFERENCE AND MARKETPLACE The Screen Makers Conference and Marketplace is a two-day conference, which attracts emerging and regional delegates from across Australia, seeking to build their screen careers. It will be held on Friday 27 and Saturday 28 July at the Mercury Cinema. The opening address will be by Every Cloud Productions’ Fiona Eagger, producer of some of Australia’s most beloved and iconic television drama series including Miss Fisher’s Murder Mysteries, Newton’s Law and Deadlock. Fiona will give perspective in relation to significant issues facing the industry and how mentoring and showing gender and diversity have shaped her journey and experiences. Fiona will expand on the conference theme, ‘The power of story, to connect, reflect and make sense of our world’, reminding us that storytelling is timeless and belongs to us all. The packed program’s stand-out sessions include: Webseries: a pathway for emerging and diverse talent. All the big questions on how to succeed in the format increasingly launching and re-positioning screen careers. Speakers include the award winning Michelle Law (co-writer and star of SBS On Demand’s first commissioned web-series, Homecoming Queens), Peter Ninos (MWF nominee, The Big Nothing), Enzo Tedeschi (Event Zero) and Kelli Cross (Aussie Rangers, iview). The Australian Directors’ Guild presents: ‘From F*!#king Adelaide to Hollywood’, featuring directors Scott Hicks (Shine, Snow Falling on Cedars, Hearts in Atlantis) and Sophie Hyde (Animals, F*!#king Adelaide, 52 Tuesdays), who will share their insights, experiences and provide useful tips for aspiring screen directors. Casting for Diversity: casting agent Kirsty McGregor (Pacific Rim: Uprising, Top End Wedding, Lion) and actor Natasha Wanganeen (Cargo, Redfern Now, Rabbit Proof Fence) 46
explore what diversity looks like on our screens. Is it simply about casting, or does it go deeper than this? Our panel members share their experiences and perspectives from behind and in front of the camera. The conference also includes craft masterclasses, screen business and meet the market sessions, to give industry insights and up-to-date information to delegates across feature filmmaking, web-series, and television. There is also a range of roundtables, along with an exclusive opportunity for delegates to compete in the $10,000 Pitch-o-rama ABC iview/MRC development pitching competition. Media Resource Centre Director Gail Kovatseff said, “It’s wonderful to have so many accomplished women leading our program for this year’s Screen Makers Conference. The conference delegates who come to Adelaide from all over Australia next month will enjoy outstanding opportunities to learn more about their craft and the industry, network with peers and mentors, and pitch their projects.” The conference is supported through a grant from the Department of the Premier and Cabinet, presenting partner the Australian Film, Television and Radio School, major sponsors University of South Australia and Matchbox Pictures, and sponsors Australian Directors’ Guild, Kojo, Media Super, ABC iview, Screenrights, Wallis Cinemas, Woodside Cheese Wrights, Small Change Wines and Channel 44. The ongoing work of the Media Resource Centre is made possible by support of the South Australian Film Corporation and Arts South Australia. The Media Resource Centre also acknowledges the support of Screenwest, Screen Tasmania and Screen Northern Territory for assisting the attendance of delegates from their states. VIEW FULL CONFERENCE PROGRAM: https://www.screenmakersconference.com. au/programme/
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HYBRID WORLD ADELAIDE 20 – 24 July, Adelaide Convention Centre, South Australia Launched in 2017, Hybrid World Adelaide is an event that explores what’s next in the technological world. It showcases innovations across business and everyday life, and offers the exciting opportunity to try, discuss, explore, create, enjoy and be surprised by digital technology. In July 2018, Adelaide, South Australia will welcome leading digital and tech industries, tech lovers and curious members of the public into an interactive playground of digital experiences, showcasing current technologies and exploring how technology and reality cohabits now and into the future. Adelaide Film Festival and Hybrid World Adelaide CEO Amanda Duthie is leading the event team, with Creative Directors Robert Tercek and Janet Gaeta. HWA is supported by founding and principal partner Events South Australia. HWA will utilise the ultrafast internet provided through Adelaide’s participation in the Gig City initiative, and its connection to the US Ignite Network.
Greenbelt, Maryland will lead the Hybrid World Adelaide conference in exploring innovation and research in space industry from July 23 -24. Renowned broadcaster and podcaster Marc Fennell (Triple j, The Feed, Radio National) is part of the HWA Interactive program. He will impart his wisdom and knowhow to aspiring podcasters wanting industry insights on how to make a great podcast. Part of the largely free HWA interactive program, Marc will offer two exclusive ticketed masterclasses as he assists aspiring hosts to start their own podcast or take current projects to the next level. Set to lead a discussion exploring the Australian space innovation industry, Dr. Christyl Johnson is responsible for charting the future path of NASA Goddard’s research arm, including instigating what science orientated missions they will conduct in astrophysics, earth science, planetary science and heliophysics, and developing an integrated portfolio of technology investments to enable those missions. Spread across three main events targeting diverse local, national and international digital “it’s a privilege to be invited to present at enthusiasts and industry innovators, HWA Hybrid World Adelaide,” Johnson said. 2018 includes: There is a national artistic call out for artwork to be part of the curated HWA Water Screen, HWA LAB July 20 – 21 $85,000 is up for grabs for tech entrepreneurs set to light up the River Torrens with a and the start-up community at the HWA LAB magical12-meter tall and 25-metre-wide wall of mist across four nights of Hybrid World Interactive public program + events July 21 Adelaide, the HWA Water Screen will host a live retro gaming station and showcase original – 22 Immerse yourself in the future and ‘get your creative artworks supplied by independent ‘geek on’ with cosplay, coding, robotics, Australian and international artists. virtual reality and drones To submit your artwork to be displayed on Tech conference and trade show July 23 – 24 the HWA Water Screen, please visit: HWA invites you to explore the possibilities of www.hybridworldadelaide.org/waterscreen what lies ahead at the Tech conference and Web: www.hybridworldadelaide.org trade show. Facebook:facebook.com/hybridworldadl Dr. Christyl Johnson, Deputy Director for Twitter: @hybridworldadl Technology and Research Investments at Instagram: @hybridworldadl #HybridWorldADL NASA’s Goddard Space Flight Center, in 47
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Live Sound Advice
By Frank Lang
GENERAL SOUND ISSUES
Hi-hat, the instrument that drives A turn for the worse the band?
Rockin’ Rob Riley, an Adelaide resident for over 34 years is a great rock guitarist, songwriter and singer, but few people know he can twiddle the knobs on a mixing desk. Way back when he needed digs, he shared my house and we compared notes.
Venue owners and agents in the 80’s started to force mixers from the ideal mixing spot, that is, between the speakers at the tip of a slightly long isosceles triangle. They were moved to the side walls or even back against the back wall. Duh! Increase the bass 4 db from early reflection off the back wall, and what the crowd in front of you gets is a thin mix. And if you were stuck on the side wall, you had to consistently wander to the middle of the room to hear what the crowd were hearing.
We watched the WWF, drank, and occasionally I would do sound for his band ‘the Gems’ , his little Adelaide trio. He always insisted on a close miced hi-hat because, “digger, it’s the hats that drive the band,” and even insisting that there is a ‘distinctly Australian Hi-hat style’. Keep that in mind the next time you hear an Aussie song. And guess what? 90% of the industry took this crap citing reasons like: “If we don’t do it Some soundies leave the mic off the hi-hat. we won’t get more jobs.” It’s a 70’s thing in my experience, and in those days soundies would work a gated snare very These days a digital solution like an IPAD can hard and have a kind of distant hi-hat sound allow the sound person to wander around the stating, “oh he hits the hats hard so there’s room, to maximise the sound for the crowd, spill.” even making bad rooms, front bars and odd spaces sound half reasonable. Spill, no, so I side with the big fella on this one, put a mic on the hat about two inches You can’t blame the sound guy if you haven’t from the rim at a 45 degree angle, roll off the got a sound in the first place, the old adage lows and condenser or dynamic put it well in “shit in...shit out” applies. But when you are the mix. forced to the side or back wall you often can’t hear well enough to mix. This instance recently, the hi-hat was 35-40 cm above the snare with no mic so I quizzed Till next issue, the sound man, “Oh I haven’t used a hat mic in this room for years.” Frank Well my ears were fresh to this room and the hats’ which in my opinion should be equal to the snare or there abouts, were very, very, soft. Was he hearing them through overheads? Sure you could hear the cymbals but when the drummer went back to the hats the hats were not as loud as the other cymbals. 48
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Lily and The Drum Photo by Sue Hedley
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MEGA FEATURE
The New Romantic Period In England by Michelle McGoldrick Photos by Chris Czuhra The New Romantic period in England is now known as the glamorous soul child of punk rock. Once Vivien Westwood began to deconstruct her own punk fashions to create the New Romantic look which flowed across nightclub floors, the aggression of punk rock pogo and moshing was on notice. For a generation of young people in England, the New Romantic period was a reprieve from late ‘70s anger and fatigue with anti-establishment in the UK - and it was a supreme opportunity to dress up. Outside London, industrialised cities such as Leeds have embraced the fusion of music, fashion and attitude from the 1970s to present day. Steve Marsden is a long time resident of Leeds, and Steve is an avid collector of rare music memorabilia that will one day be gifted to the Victoria and Albert Museum in London. Steve explains how legacy of the highly stylised New Romantics became embedded in Leed’s post punk folklore.
TV on Top Of The Pops (TOTPs) and we were hooked! There was Roxy Music plus some of the outriders like Sparks, Cockney Rebel and the wonderfully named Be Bop Deluxe. Even some of the bandwagon jumpers with their bubblegum copyist Glam were interesting: Suzie Q, Sweet, Slade (nice bit of yob rock), Mud, Alvin (sniff my leather glove, how kinky!), and even at times, whisper, Gary Glitter. The latter influenced later glam sound such as the early Human League’s electronic cover version of ‘Rock ’N’ Roll, Part 1’, and the double drumming/drummers of the Glitter Band, and Adam and the Ants. I recall my friends putting makeup on me and painting my nails and my dad would flip when I went home wearing a feather boa, slave bangles and glitter makeup. Then my dad saw Bowie put his arm on Mick Ronson’s shoulder during the iconic first Top of the Pop’s performance of ‘Starman’ and, like many other parents of the time he shouted: “Get that p--f off of my You have called the city of Leeds home for telly!” I will always be grateful to my mother most of your life, what was the backdrop to for defending me and deflecting my father’s New Romantics movement that emerged in drunken outrage onto herself at a time when Leeds in the late 1970s? glam music and fashion was confronting for Leeds was a polluted, grimy provincial many people. backwater in the 1960s and ‘70s. During this period Leeds had strong industry with a What did you notice that made you realise thriving rag trade and many printing businesses glam was fading? which saw the city’s wealth evenly distributed I remember seeing Bowie’s Aladdin Sane with full employment across the population. tour in Leeds in the ‘70s but it wasn’t long However, by the late 1970s Britain’s economy before Bowie jumped the glam ship before was in free fall with high unemployment and it became tired and derivative. Bowie would high inflation. This affected working people’s always morph and change when he became living standards in Yorkshire too, there were a bored with a style - one of the reasons we lot of strikes and the right wing National Front love Bowie so! Bowie’s “Young Americans” rose to become a dominant political force with video on TOTPs was followed by the infamous far right ideologies. BBC documentary ‘Cracked Actor’ which documented the shift on Bowie’s North What are your recollections of the early era American tour away from glam towards soul. of glam music and fashion in Leeds? Northern England music culture embraced First there was Marc Bolan followed by Bowie soul music however, it really wasn’t that big - yes, the Starman pointed out to me from a shift for us poor but cool kids because we 50
knew how to transition a look on a budget. We followed Bowie on his slipstream, we loved and adored his take on soul: so cool, so sophisticated, so Bowie! Glam clothes were eventually ditched and we took to wearing the appropriate clothes to fit the New Romantics look; we begged, borrowed and even stole the clothes if we had to.
MEGAscene • Issue 12 - 2018
In my experience, descriptions of Northern England as the capital of soul are not widespread. Soul music was always big in the industrial north of England. It is no accident that from the 1970s onwards soul music started to appear on early record labels like Tamla, Atlantic, Stax; and other more obscure record labels which promoted northern music as ‘Northern Soul’. This came at a time when Leeds was economically poorer than our richer southern contemporaries, and because of this we tended to identify with the poor urban blacks of the USA and - quite importantly we rejected horrible and vile racism: how could anyone dance to such joyous music while wearing hate on your sleeve? By then music and clothes had become integral to my identity of trying to be different and staying ahead of the pack. And so the stage was set for the next morphing that came with punk. In your view then, who were early influences of punk in the UK? Bowie had set things up nicely with the album ‘Station To Station’ with its German influenced hard metal funk and stripped down Weimar republic look. In addition, a lot of soul kids at the time were engaged in a kind of arms race in trying to stay ahead of the pack by taking on new looks quickly and discarding them once they were widely copied. Necessity being the mother of invention, I think it was Gary Kemp who once said in an interview that he remembers using safety pins as an adornment on his clothes well before punk came along.
Leeds UK. Circa 1980
solos”, etc. Sure, it was still cool to openly admit admiration and love of all things Bolan/T-Rex, Bowie and early Roxy Music, but Punk was exciting and wonderful with its do-it-yourself ethos: be who you want to be, reinvent yourself, change is good, it’s good to be individual though not individualistic. The latter was especially important because punk was also about comradeship - us against the ‘normals’, the ‘straights’.
Was the diversty of the punk movement only about the image? So we’ve gone from glam to soul to punk? It is an often overlooked fact that punk Punk came in the door and we followed. It attracted more than its fair share of kids who was ‘year zero’ for music, and prior music were gay, lesbian or bi - outsiders - which I was openly scorned with slogans endorsing identified as at the time. We were people who the punk movement brand: “I hate fucking were prepared to go with the zeitgeist and hippies”, “Boring old farts”, “Tossers with experiment. However, as happens with every long hair”, “Wankers with their worship me musical style, the punk bandwagon jumpers attitude and yawn inducing 10 minute guitar came in and it lost its’ appeal: Johnny-come51
MEGAscene • Issue 12 - 2018
Leeds UK. Circa 1980
lately's are derivative, unexciting and therefore boring. In addition, some of the early punks like Souxie flirted with Nazi regalia (later admitted as a big mistake by those concerned) but the purpose was to piss off the older generation with their constant refrains of, “We didn’t fight a war against the Germans for you lot blah, blah, blah!”. The unfortunate side effect however was the nazi regalia attracted a fascist brigade. From Berlin in a post punk environment, Bowie apologised profusely for, and disavowed, his cocaine- influenced pro Nazi musings at the time (although this is not an excuse.) Bowie sang on Scary Monsters: “to be insulted by these fascists is so degrading, And it’s no game”. When did you see the shift away from punk start? A lot of us moved towards the ‘post punk’ and ‘new wave music’ as a more exciting and tolerant scene. In addition, Bowie had lead the 52
way, as per usual, with the opening instalment of what became known as ‘The Berlin Trilogy’the brilliant and musically influential ‘Low’ album. Light years ahead of its time and still my favourite Bowie album of all time, I will always remember listening to the late night John Peel show on BBC Radio 1, where he had the first copy ever to broadcast and he said: ”this record is so important I’ll play it from beginning to end without interruptions you’re going to be shocked kids.” Statement of the decade! As the advertising strap by RCA went at the time, ‘There’s old wave, there’s new wave and there’s David Bowie’. And I am especially thinking here of the the outfits Bowie wore on 1978 Isolar 2 world tour (‘Stage’). The clothes that he designed in conjunction with Natasha Kornilov were obviously a precursor to, and influential on, the New Romantic look and movement that was to follow - the plastic jackets, sharp suits, the many pleated white peg pants and the sailor hat. Who were the most significant bands you followed during this period? New Romantics movement was electro and Post Punk music: Kraftwerk, the early The Human League, Heaven 17, Talk Talk, Spandau, Culture Club, Ultravox, Altered Images, The Associates, Japan, Steve Strange, Blancmange, Pet Shop Boys, Simple Minds to name but a few. The clothes morphed again to match the music and eventually this became recognised as The New Romantic look. An important influence here was ‘The Face’ magazine, which I bought and read religiously from cover to cover. It picked up trends with the designers but told you to go and make the look yourself, be that those who could sew, make and adapt or use thrift shops and
Historic Leeds
market stalls. It also had great music coverage and reportage. Describe some of your favourite fashions from this period. Some of my favourite outfits were an exmilitary jacket, a Salvation Army jacket from a junk shop decorated with a paste jewellery broach, a mohair suit made in a silver grey finish, some pegs pants made in matt twotone gold, a second hand Italian dinner jacket with dart lapels that I like to couple with leather pants, flowery and stripey shirts with baggy pants (pirate look). I also had a zoot suit made like a 1930’s Harlem pimp worn with flashy braces, silk ties and a fedora hat, the latter a la Bowie’s ‘Thin White Duke Hat’. Then the new breed of New Romantics like “Durun Durun” (as we called them) appeared, we made fun of them but I’d like to add that in hindsight we were a tad unfair on Duran Duran and songs like ‘Planet Earth, Girls on Film, Hungry Like The Wolf’ and their great Bond theme ‘A View To A Kill’ are mighty fine songs from that era. I particularly loved post New Romantic band The Smiths. Care to share some favourite memories? A friend of mine liked to carry around a beaten up old steam kettle as her hand bag. The iron hand bag came in handy for whacking teddy boys over the head and when they attacked us. Overall though the New Romantics period in Leeds was a very fun time both musically and fashion wise, we lived through this period where both lack of cash and Thatcherism couldn’t piss on our parade. The dressing up, the great music, sex and drugs. Je ne regret rien!
Leeds 2018
MEGAscene • Issue 12 - 2018
New Romantics club playlist
Joy Division - ‘She’s Lost Control’ Simple Minds - ‘I Travel’ Soft Cell - ‘Memorabilia’ Alan Vega - ‘Jukebox Baby’ The Cramps - ‘Human Fly’ The The - ‘Uncertain Smile’ Rick James - ‘Super Freak’ (The controversial) DAF - Der Mussolini Abba - ‘Lay All Your Love On Me’ The B52’s - ‘Give Me Back My Man’ The Sister’s Of Mercy - ‘Alice’ Bowie - ‘Fashion’ Prince - ‘When Doves Cry’ Blondie - ‘Rapture’ Donna Summer - ‘I Feel Love’ Was Not Was - ‘Woodwork Squeeks (And Out Come The Freaks) how apt? Gina X - ‘No GDM’ Bauhaus - ‘Bella Lugosi’s Dead’ Imagination - ‘Just An Illusion’ Chic - Le Freak, C’est Chic’ The Clash - ‘Rock The Casbah’ Adam And The Ants - ‘Kings Of The Wild Frontier’ T-Rex - ‘20th Century Boy’ PIL - ‘The Flowers Of Romance’ Judas Priest - ‘Take On All On The World’ Souxie & The Banshees - ‘Arabian Nights’ Pigbag - ‘Papa’s Got A Brand New Pigbag’ Grace Jones - ‘Pull Up To The Bumper’ Human League - ‘Nightclubbing’ Depeche Mode - ‘New Life’ Nina Simone - ‘My Baby Just Cares For Me’ Dillinger - ‘Cocaine In My Brain’ Shannon - ‘Let The Music Play’ Wham! - ‘Wham Rap’ Eurythmics - ‘Sweet Dreams’ Roxy Music - ‘Trash’ Talk Talk - ‘Talk Talk’ The Cure - ‘A Forest’ Spear Of Destiny - ‘Westworld’ Bow Wow Wow - ‘Prince Of Darkness’ Gap Band - ‘Burn Rubber On Me’ Sparks - ‘Number 1 Song All Over The Heaven’ A Flock Of Seagulls - ‘Wishing (If I Had A Photograph Of You)’ The Killing Joke - ‘Love Like Blood’ The Sweet - ‘Hellraiser’ Iggy - ‘Lust For Life’
Leeds nightclub: The Warehouse
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MEGAreleases “If You Think I’m Crazy!” by Phil Lanzon
By Michelle McGoldrick
Ode To Ned Kelly on Phil Lanzon Solo Album
which have permeated Lanzon’s music and consciousness with songs rooted in Australian folklore, American gospel and southern roots, and English secular orchestral music. The song called “Kelly Gang” begins with flute honouring the Irish heritage of an ill-fated bush outlaw, and soon unfolds into a tale of colonialism, power and resistance. “Oh well, it’s come to this at last’” said the infamous Australian bushranger Ned Kelly. And after thirty two years as keyboardist and songwriter for Uriah Heep, Phil Lanzon has finally released a spectacular solo album. At last.
In the title song “If You Think I’m Crazy!“ and on “The Forest” the vocals are angelic and positive underpinned by drumming that frames many stunning keyboard moments that add signature colour and beauty to this album. On “I Knew I Was Dreaming” there is a distinct gospel feel that borders on evangelist. With the catch cry ‘if you think I’m crazy to make this dream come true I’ll leave it up to you’, Lanzon sings of being touched by angels where the ills of the world are righted.
This is not a keyboard showcase album. This is a theatrical album created by a musician who has played live to millions of people and played on nine Uriah Heep studio albums. IF YOU THINK I’M CRAZY! reflects the positivity and confidence of Lanzon who has made a name and a career within an unmistakable genre, This album aims to soar. but remained opened to the significant global artistic influences his career has afforded. Ned Kelly also said: “I ask that my story be heard and considered.” Lanzon has embodied The album is a story book of the influences the same right to be heard as a song writer which have permeated Lanzon’s music and and performer in his own right on this album. consciousness with songs rooted in Australian With superb production, wide ranging vocals folklore, American gospel and southern roots, and harmonies, and deep but catchy melodies; and English secular orchestral music. this is an album for music connoisseurs who like their orchestras and choirs embedded in The album is a story book of the influences expansive melodic rock narratives. 54
SA PARANORMAL
MEGAscene • Issue 12 - 2018
By Allen Tiller
AYERS HOUSE
Built in 1846 for William Paxton, a Chemist who worked out of Hindley Street, Austral House, as it was known then, was a much smaller residence than the grand house that stands on North Terrace today.
hand stencilled wall and ceiling decorations. The walls were constructed with local bluestone, and it was one of the first properties in Adelaide to feature gas lighting. Crystal chandeliers hung from the ceilings, much of which is still present today.
The original property was bought by Robert Thomber in 1845, who sold it to Paxton. Hand-painted ceilings in the ballroom and Paxton originally leased the property to Henry dining room were beautifully painted by an Ayers from 1855, then sold it to him in 1871. artist named “Williams”, who had to lay on his back, on a mattress supported by ladders, for Henry Ayers started making big changes to the three days to achieve the look. property in 1857 with the addition of rooms at the rear of the house. In 1859 he built the In the dining room Sir Ayers had his family ballroom on the eastern side, and in 1871 he crest painted of three doves and an olive added the dining room on the western side, branch above the fireplace. which gave the house a sense of symmetry. In 1874, six bedrooms were added at the back The ballroom featured cedar flooring, with in a new two story section. folding cedar doors that allowed extra space to be opened up for guests, which in Henry Ayers spared no expense. Rooms featured Ayers time, was a regular occurrence, as he
Ayers House on North Terrace, Adelaide - Photo © 2014 Allen Tiller
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enjoyed being the centre of social life from the upper echelon of Adelaide society. Sir Ayers’ daughter, Mrs Lucy Bagot gave an interview describing the property when she was a child in “The Mail” in 1928:
“The property originally extended to Tavistock Street on the west, Rundle Street on the south, and on the east to what is now the site of the East-End Market. Where the row of two-story houses now stand, next to the Botanic Hotel, were two Indian bungalows, one of which was occupied by Rev. John Gardner, minister of Chalmers Church and father of the late Mr. Gavin Gardner, and the other by Mr Wentworth Cavanagh - afterward Cavanagh-Mainwaring, father of Dr. Cavenagh-Mainwaring and Mrs. Arthur Cudmore, of Adelaide. ‘On the western side Dr. W. Moore, father of Mr. H. P. Moore, purchased the block on the corner of Tavistock Street and built the house there which is now called Frome House. When my father died in 1897 the house was empty for 18 years with the exception of a housekeeper, maid, and boy, who looked after it. Then in six months, it was let four times.”
Photo: Allen Tiller
Premier of South Australia a record 5 times! It is local legend that Sir Henry Ayers returns to haunt his former abode. A story related to me a long time ago from a then current volunteer, involved seeing the spirit of an older gentleman walking through the house. The description fitted Ayer’s description, and what is known of his look from portraits, almost perfectly.
The possibility that Sir Ayers would return to his home isn’t completely “out there”, it’s actually a common haunting occurrence for old mansions and homes that deceased owners return to the places they loved most, In 1914 it was bought by Henry Woodcock so why not Sir Henry Ayers, returning to his and following Mr Woodcock, by a syndicate much beloved home, and the place he died? who built an open air garden and dancing palais. They named the previously un-named Since the writing of my first book “The house “Austral Gardens” and set the property Haunts of Adelaide: History, Mystery and the up as a multi-use business, including the RSL Paranormal”, I have since heard that the spirit who used it as their headquarters until they of Henry’s much beloved wife, Anne, has been moved to Angas Street in 1923. sighted by staff in the grand old mansion as well. The property was purchased by the Government in 1926 and used to accommodate nurses Another spirit is said to be a small child, but from the Royal Adelaide Hospital across the as of yet, she has not been identified. Perhaps road until 1969. the spookiest encounter in Ayers house belongs to a staff worker who was working The Dunstan Government approved restoration late one evening when all six phones in the work to the grand old mansion in 1972, which house began to ring simultaneously as the saw some structural damage repaired. lights went on and off repeatedly at the same time! Around this period the National Trust of South Australia used the house as their Please use the following when referencing headquarters, and began public tours through the above information for your research or the building. publication: © Allen Tiller 2016 – “Historian in Residence” – Adelaide City Council: “History Today the house is known as “Ayers House” Hub” – “Haunted Buildings in Adelaide” - This in recognition of Sir Henry Ayers, Minister work is produced in collaboration with Adelaide and President of the Legislative Council, and City Libraries. 56
References: http://trove.nla.gov.au/ndp/del/ printArticlePdf/48173745/3?print=n http://trove.nla.gov.au/ndp/del/ article/48271429?searchTerm=austral%20 gardens%20history&searchLimits=lstate=South+Australia|||l-category=Article http://www.adelaideheritage.net.au/all-siteprofiles/ayers-house/ http://adb.anu.edu.au/biography/ayers-sirhenry-2914 https://en.wikipedia.org/wiki/Henry_Ayers Books: Henry Ayers: The Man Who Became a Rock By Jason Shute The Haunts of Adelaide: History, Mystery and the Paranormal – Allen Tiller Ghosts and Hauntings of South Australia – Gordon de L Marshall
MEGAscene • Issue 12 - 2018
Allen Tiller 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”. Allen is the winner of the 2017 “Emerging South Australian Historian of The Year Award” as presented by The History Council of South Australia. Allen has also been 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.twitter.com/Allen_Tiller www.facebook.com/AllenHauntingAustralia https://www.facebook.com/ TheHauntsOfAdelaide
This space could be yours. Contact Sue for 1/3 Page Advertising Prices and MEGAmedia Kit Horizontal rsm@risingstar.com.au 190 mm x 89 mm
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MEGAscene • Issue 12 - 2018
MEGAmarket Scene
Here are some of the markets on in Adelaide.
Adelaide Central Market
Bowerbird Design Market
When: Twice a year Next market: 23rd - 25th November When: Tuesday 7am - 5.30pm, Wednesday & Location: Adelaide Showgrounds Thursday 9am to 5.30pm, Friday 7am - 9pm, Entry: $5 (Children free entry) Time: Fri 4pm – 9pm, Sat & Sun 10am – 5pm and Saturday 9am - 3pm About: Adelaide design market. Talented Location: Grote Street, Adelaide Shop at the Market with First hour free parking designer makers from SA and around Australia http://bowerbird.net.au Tuesday - Saturday About: A huge range of fresh food, all under one roof - fruit and vegetables, meat and Fisherman’s Wharf Market poultry, seafood, gourmet cheeses, 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 Adelaide Showground Farmers 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 Location: 230 Flinders Street, Adelaide About: The market features a broad range of sellers and products from around Adelaide.
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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 handmade, or of limited supply items for expecting parents, babies and children. http://lollipopmarkets.com.au
MEGAscene • Issue 12 - 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 famers 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 & 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
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MEGAscene • Issue 12 - 2018
John Kinnear Vulnerable Interpreters 60
Photo by Sue Hedley
www.gwynashton.com
NEWOUTALBUM NOW
MEGAscene • Issue 12 - 2018
‘Ambitiously written, with tracks running the gamut between alt.blues, stoner rock and Eastern-tinged, Lennon-voiced psychedelia. These new clothes suit him'. - Classic Rock Magazine
'Dripping attitude and explosive raw energies Solo Elektro is a hearty slice of music from one of Australia's most cherished independent blues-rock artists' - Rhythms Magazine Dec 2017 61
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