MEGAscene Issue 15 by Rising Star Media

MEGAscene â&#x20AC;˘ Issue 15 - 2018

. . . featuring music and lifestyle in Adelaide

Issue 15 2018

John Schumann interview Rock The Boat 2018 review Lead Worm The Angels gig review & photos SA Music Hall Of Fame Induction photos: Rob Pippan, Bobby Bright James Black, Laurie Pryor, The Twilights, and The Arkaba Dead Kennedys gig review

MEGAscene â&#x20AC;¢ Issue 15 - 2018

IN THIS ISSUE 7 8 12 16 20 32

Features

Contributors John Schumann Lead Worm MEGAreviews: The Angels MEGAreviews: The Dead Kennedys MEGAtravel: Rock The Boat 2018

15 18 24 50

22 46 48 54

Photos

Carl Pink - Morpheus The Angels @ The Gov SA Music Hall of Fame Inductions Induction of The Arkaba into the SA Music Hall of Fame

Regular Columns MEGAlocal Live Sound Advice SA Paranormal MEGAmarkets

Photo: Rob Pippan playing at his induction into the AMC SA Music Hall of Fame

Art. . youDecade Events are who you choose to be

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ART DECADE EVENTS creates and promotes media packages for new and established artists

ART DECADE EVENTS uses three strategies for your success: Publicity: We create a publicity profile to advertise and promote your work. Networks: We help you build links and connections to create exposure to your work and open the right doors via the right media platforms. As part of your media package we will: write press releases; arrange media interviews and stories; arrange photographs and/or promotional videos; distribute through print, radio, TV, and social media. Event management: Coordination and management of interviews, launches, appearances, gigs and tours.

Phone: Michelle on 0419751983 or email: artdecadeevents@gmail.com 4

Melbourne

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MEGAscene Editor: Sue Hedley Deputy Editor Michelle McGoldrick Contributors this issue: Allen Tiller Frank Lang Shaun Whitelum Michelle Read Writer On The Road Michelle McGoldrick Photographer: Sue Hedley 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, Our final issue of MEGAscene for this year features review and photos of the 2018 Rock the Boat, an interview with Adelaide songwriting legend John Schumann, and an article about Lead Worm. Also includes a live review of The Angels at The Gov last month and the latest inductions into the South Australian Music Hall of Fame. Merry rockin’ Xmas and a great New Year to all our readers from MEGAscene. We hope that 2019 brings you all your heart’s desires. The next issue of MEGAscene will be out in February 2019, until then - happy and safe travels. Ciao for now.

Michelle Deputy Editor MEGAscene

Front Cover Photo: John Schumann 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.

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Meet MEGAscene’s Contributors

Allen Tiller

Contributor of SA Paranormal column

Michelle McGoldrick

Deputy Editor/Writer On The Road I first met MEGAscene editor, Sue Hedley, when we both worked on the launch of Channel 31 in Melbourne in 1994. Sue and I became friends over a passion for video making and community television broadcasting. I agreed to contribute to MEGAscene primarily because I get to indulge my two great loves: music and writing. MEGAscene is a fun publication to work on because it has a broad style and I can incorporate my writing into music, art, culture, travel and special interest stories. As well as being a contributor to MEGAscene, I am a freelance publicist too and I love being immersed in the excitement of promoting new and innovative ideas and work. I also have a day job which helps sustain me: I work in social justice policy and reform to promote gender equity and prevent family violence in our society. I look forward to a safer world for the most vulnerable people in our communities and I am always proud when I see musicians and artists getting behind important social causes.

Investigating some of the most haunted locations in Australia for paranormal phenomena has been a highlight of my career. Not only physically searching for ghosts in the darkest, gloomiest corners of Australia’s most haunted historical locations, but researching and looking for hints of mysteries, crimes and murder. The Adelaide Arcade was one such location. I’ve investigated the building multiple times and was lucky enough to experience phenomena I cannot explain within the Manhattan Dry Cleaners. I was unable to uncover, through research, that there was an insinuation that Francis Cluney was murdered, and that his death was no accident – which I revealed in my first book in 2014 – the haunts of Adelaide. I am ready to follow that book up with newly discovered finds about Francis, and other ghosts in the Arcade! Perhaps the greatest honour I have had this year was the unveiling of the statue of me made by artist Scott Eames – it’s surreal seeing yourself in bronze! When I am not writing for MEGASCENE I enjoy playing or listening to music, my favourite bands include Motley Crue, Black Sabbath, Megadeth, Metallica, Fleetwood Mac but I also enjoy a wide variety of other genres. I also enjoy playing my guitar, painting and exploring abandoned buildings and haunted places!

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John Schumann by Michelle McGoldrick

Redgum profoundly moved Australia in 1983 with the Vietnam war protest song “I Was Only 19”. Layered with combat overdubs, highly confronting lyrics and an unforgettable tone of wasted lives, the song told of the tragic realities of wartime Australia - and the country sat up and listened. It’s now been 35 years since John Schumann had his baptism of fire into Australian music history and he has continued to create music ever since. On the cusp of a national tour with fellow legend Shane Howard; Schumann talked with MEGAscene about the music business, collaborations and his new album. In 1983 you were realised as one of Australia’s most talented songwriters after the release of “ I Was Only 19”. What has been the legacy of the song in terms of your career as a musician and songwriter? In many ways, “I was only 19” changed my life - and mostly for the better! Prior to the song’s release, Redgum had decided to disband but the success of the song encouraged us to record another couple of albums, tour for another few years and go to Europe. Thanks to “I Was Only 19” I have been to places and met people that, otherwise, would have been unimaginable for a singer songwriter in a left-wing folk rock band from Adelaide. In some ways it’s been a difficult song to live up to. Every time I write a new song, I know it’s always going to be judged in the context of “I was only 19”. The song set a high bar but it’s a standard I’ve always been able to negotiate. It is an immense honour to have one’s lyrics inscribed on national memorials around the country. It’s also great to be able to reflect on how the song helped bring Australia’s Vietnam veterans home finally. On the downside, I have written more than one song

- and when people always want to talk about “I Was Only 19” I feel gently protective of the other songs I’ve written which I think are as good, perhaps better. All that aside, it’s a great song to have in my catalogue and I am proud that it helped change the way we, as Australians, think about wars and the people we send to fight them in our name. Did you consider yourself an activist to release that song? What moved you to write and release the song? Being sent to Vietnam was nearly a reality for me. But then conscription was abandoned and I wasn’t made to go. I did have friends who went to Vietnam and I saw them return fundamentally altered - and not in a good way. For me, “I Was Only 19” is simply a case of “There for the grace of God go I …” The song is based on a returned soldier’s accounts of fighting in Vietnam and the aftermath. What are some of your memories of that time: did the success of the song feel like ‘overnight success’ for you and the band? I never really saw the song as an exercise in ‘overnight success’. Despite what the mainstream industry might have thought, Redgum had already been playing to audiences as big as any of the bands who were regularly featured on Countdown and being promoted by the mainstream industry. In many cases, we were selling more records than a number of the bands who had much higher profiles than us. It’s true, “I was only 19” propelled us into the ‘first division’ but we weren’t far out of it anyway. I was pretty realistic about the fame that followed us. The music industry is a very fickle beast - I knew that then and I know it now. What did you do after the success of Redgum, did you retire from music or were you involved in solo projects? I left Redgum in 1986 as I was not happy

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John Schumann Photo: Sue Hedley

MEGAscene • Issue 15 - 2018

with the management of the band and with the direction that was being proposed for the band. We had been overseas and our management wanted us to write songs with greater “international” appeal. I understood very well that Redgum’s success was grounded in our Australian experience and image. Shortly after I left Redgum I released my first solo album “Etched In Blue”. It was critically acclaimed and received a lot of airplay but the album was lost in the washup of me leaving Redgum. In 1993 I released another solo album called “True Believers”. Thereafter, I had a break from the music scene until my friend David Minear enticed me back into the recording studio in 2005 to record the Lawson album. A few years later I recorded “Behind The Lines” for ABC/ Universal followed by a compilation album called “Gelignite Jack”. Though it has been scrupulously ignored in Adelaide, in July this year I released a new CD “Ghosts And Memories” with my band the Vagabond Crew. What have been some of your collaborations in recent years - bands, people, recordings. In recent years I have collaborated with people like Rob Hirst, Russell Morris, Shane Howard and Mike Rudd (Spectrum) - as well as some of the members of The Dingoes. Collaborations are the stuff life is made of!! Have you been touring? There is a saying attributed to Jesus Christ: “The prophet is not without honour, save in his own land.” That would be me! Yes, I have been touring - not in the sense of months on the road. Mercifully, that doesn’t happen anymore. But I certainly go away with the band for weekends: recent excursions include Darwin, Rockhampton, Newcastle, Canberra, Brisbane … the list goes on. You have a new album out by John Schumann and the Vagabond Crew - “Ghosts and Memories”. The songs were written over a six or seven year period. Some of them like “On Every Anzac Day”, were commissioned, some were songs I wrote along the way. “Ghosts and Memories” is a collection of songs that sit quite comfortably under

John Schumann and The Vagabond Crew Photo: Sue Hedley

the “Ghosts and Memories” banner. I’m proud to say most of the musicians on the album are Adelaide people. This was a first for me as, to date, most of my projects have been undertaken interstate. It’s that ‘prophet in his own land’ thing again. Apart from Hugh McDonald (RIP) who was with me in Redgum and then played in my band from 2005 onwards, the album features people like Rohan Powell, Polly Politis, Anthony Thyer, Enrico Morena, Julian Ferraretto, Denis Surmon and Kat Kraus. Of course, my friend Shane Howard sang and played on a couple of tracks - and co-wrote one with me “Times like These”. Some early sessions were recorded at Hugh McDonald’s studio in Kew, Victoria. Thereafter, a lot of tracking and the mixing was done at Mixmasters at Hawthorn. Do you have a home studio or home recording set up? No, I am not really interested in the home recording thing - it’s not what I do. I write my songs on a pretty simple system of drum machine, microphone and Boss 54 track recorder which I barely know how to use. When I got something that I’m happy with I take it to the band and we knock it out from there. Mercifully, I have a couple of mates who are interested in and competent enough at recording that I don’t need to learn to do it myself. What is in the pipeline after this tour, more recordings? A quiet time over Christmas and into the New Year. A few more shows with Shane Howard in February and March.

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I’ll be performing at the National Folk Festival, Canberra, over Easter - then on to Winton, Queensland then back to Brisbane. Are you listening to any good music at the moment, do have any favourite music currently? I listen to anything and everything. At the moment I’m listening to quite a lot of Shane [Howard’s] songs because I have to play and sing them in the next week or two! I’m really enjoying it because Shane is a great writer and it’s a pleasure to play and sing his music. I have never stopped playing and recording expect for a brief time off when my kids were small. I think musicians get better as we get older. Whilst I am not a great fan of all things American - especially at the moment - I will say that Americans have a greater respect for their older artists than we do here in Australia. Maybe that will all change one day. I certainly hope so.

You can catch John Schumann and Shane Howard performing in Adelaide at The Gov on Sunday 16th December. Web: www.schumann.com.au/john Facebook: John Schumann and the Vagabond Crew

John Performing “I’ve Been To Bali Too” Photo: Sue Hedley

Current tour: Twin Towns, Gold Coast - November 30 Eumundi Hotel, Eumundi - Saturday, Dec 1 Byron Bay Theatre, Byron Bay - Wednesday, December 5 Bingara Oval (drought relief concert), Bingara New South Wales - Thursday, December 6 Grafton RSL - Friday, December 7 Laurieton RSL, Laurieton - December 8 West Lambton Leagues, Newcastle - December 9

On 29th July this year Redgum was inducted into the AMC SA Music Hall Of Fame Photo: Sue Hedley

Governor Hindmarsh, Adelaide - Sunday, December 16

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Lead Worm

by Michelle McGoldrick Lead Worm have just released two new singles from their upcoming double album, plus the band supported multi Grammy award nominees and Billboard Music Award recipients, Skillet, on their Australian tour last month. Lead Worm vocalist and guitarist, Michael Van, spoke with MEGAscene about what drives the band that JJJ Unearthed paradoxically described as ‘catchy, haunting, floating - and hard rocking.’ “Lead Worm was a project created by Adelaide’s Krist Killgrey and myself in 2014,” Michael said. “By 2015 I’d put a post on Facebook looking for band members to turn Lead Worm into a live act. Bass player Jona Matthews responded right away. Hazza Fielder, guitarist, joined soon afterwards. Drummer Pete Barter has recently joined us. All the synths you hear in our live performances are backtracks.” The suggestion that Lead Worm’s sound might be described as ‘grunge metal meets rap’ is not disputed by Michael. “We started out very “grunge” with a modern synth twist. We were influenced by Nirvana and Muse then we tried a heavier “nu-metal” tone like Deftones and Chevelle. Now we playing around with rap (Jona on vocals) like Limp Bizkit and Linkin Park. We may eventually come full circle and end up back at our grunge roots.” Bands are generally a product of an artistic journey. Some journeys are commercially driven and the music is branded early. Other bands do not necessarily delve into consciousness preferring instead to let their sound evolve organically. “We are always conscious of the listener,” explained Michael. “But if we’re not artists, then it’s a waste of time. We are always hunting for validation to give us purpose and direction that we’re doing something right. Successful bands are our obvious influences and inspiration. But we are constantly

evolving and every time we evolve, it’s either out of boredom - or paranoia.” Michael said he has a vault full of songs from 20 years of song writing. “Some old songs are triggers for inspired new songs. Multiple versions of a song can be recorded and shifted around and shaped until the flow and chord progression feels right. This would then manifest a melody. Our lyrics are then written based on what emotion or experience the melody and tune evoke.” Lead Worm are also in control of the band’s direction. “We don’t currently have management and we do all our own promoting. Krist Killgrey from Black Sheep Studios created our website. We really wanted to have a website that has everything about Lead Worm. Facebook pages do steal a lot of the attention but there is so much more that a website can offer all in one place.” Lead Worm’s close association with Krist Killgrey from Black Sheep Studios is also reflected in the art on the band’s website. “Krist created our theme and our brand. We wanted a logo that all people would see differently and we thought an inkblot concept would be perfect for that. Some people see a butterfly, other people see skulls.” Michael explained that Lead Worm are on Adelaide’s Comatize Labels. ‘When Krist Killgrey and I finished school we started a band called Comatose in 2001 with a school friend, Brynn Diesel. We couldn’t get a record label to sign us so as a marketing ploy we created our own label - Comatize Labels. We acquired some recording software, a second hand mixer, a microphone and called the studio, Black Sheep Studios.” Comatize Label has spawned many bands since its’ inception 17 years ago, and all Comatize’s projects and ideas have come from music producer Krist Killgrey.

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Currently based in Adelaide, Comatize is a self-sustaining label despite never being a business or having made a profit. Michael added, “Comatize Labels is basically the regurgitation of all Krist Killgrey’s audio visual concept ideas and experience categorised by genres into different bands.” MEGAscene asked Michael about the recording of their new album ‘Feel Right’. “Black Sheep Studios is the home of Lead Worm and Krist Killgrey is its step-father. The studio and its’ recording techniques are constantly changing and no two albums will sound the same. ‘Feel Right’ is the first Lead Worm song that does not have any synth keyboards in it. Multiple guitars were over layed to create a broader sound. The song was written by me and Krist engineered it,” Michael said. But where does the supreme quality of the album come from? “The new album is recorded in Drop C tuning, so it has new fresh new sound and tone. We recently upgraded the studio with a Behringer U-Phoria audio interface and Yamaha HS8 studio monitors which has definitely made the process smoother.”

Lead Worm recently supported American Christian rock band, Skillet. MEGAscene asked Michael to recount the experience. “The tour was a mind blowing experience. I remember head banging to Skillet’s CD in a mate’s car in 2002 but I never once fathomed we’d support them on an Australian tour. It was a total honour to be chosen by them as their support act. The venue and audience was our biggest so far and the atmosphere was electric. It was great to play to a crowd that was emanating such heightened excitement for what was still to come when Skillet hit the stage. It was a proud moment for our band, and it gave us a hint of where our dreams may lie someday.” Lead Worm are currently working on numerous projects including a new live show experience with synchronised DMX lights and projected video. ‘We wanted to create a complete large stage arena show experience for a small pub venue. We are also working on different concept ideas where we’ll be experimenting with other genres and sounds. We’re also working on an unplugged album that will feature some of

Photo: Eleanor Moffatt

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Lead Worm Photo: Eleanor Moffatt

our old songs and a whole lot of new songs written purely for the unplugged album. We practically live in the studio so there’ll always be something being released all the time.” For a group of musicians who have been involved in music all their lives (Jonah also plays bass in Neverlight, Pete is a music teacher and Hazza is in retail) the dream of further touring is never far away. And as Michael already said - Lead Worm was created for audiences. “It is about developing a following that helps guide and supports us, this is all what we’re about. If no one comes to our shows or likes what we’re doing then we’ll stop doing it. It’s a symbiotic industry that does also have it’s parasites and that imbalance deters the creative process. But we aim to flourish and enjoy the creative process. Once that happens, nothing else matters.” Lead Worm are playing at Enigma Bar Adelaide on Saturday 15th December. Check out the band’s recording catalogue at www.leadworm.com

Photo: Eleanor Moffatt

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Carl Pink - Morpheus Photo: Sue Hedley

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MEGAreviews live The Angels @ The Gov 16/11/2018 By Michelle Read

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The Angels played two gigs at The Gov in Adelaide in mid November to celebrate 40 years since the release of their “Face to Face” album. As the band took to the stage Dave Gleeson, The Angel’s frontsman, explained to the crowd: “We were gonna be here earlier in the year, but we’ve been playing at The Festival Centre, with The Adelaide Symphony Orchestra ... but its great to now be in the spiritual heartland of rock n roll in Australia ... up here on stage with Rick & John.” Gleeson was joined on stage by John and Rick Brewster, and bassist Sam Brewster who is the son of John Brewster. (Sam was endorsed by the band’s original bassist, Chris Bailey, when Chris stepped away from the band for medical treatment.) On drums was Nick Norton. The memory of former Angels’ original frontman, Doc Neeson (RIP 2014), was honoured with love during the gig with Gleeson saying: “Face to Face was recorded by Doc and the Brewster brothers, along with bassist Chris Bailey, who passed away in 2013”.

The boys were on home ground, and The Angels delivered their iconic, ageless signature sound like only they can do. A highlight of the night was an extended instrumental by the three Brewsters centre stage, then an impressive drum solo. Folks, it’s called Australian pub rock! At the end of the performance, with arms outstretched like an Indian totem, Dave took a bow. Then the rest of the band joined him and they all took a final bow together. The band exited the stage, the stage crew moved in and the pack down started - The Angels Army knew the gig was definitely over until next time. The incredible rise of iconic Aussie rock legends The Angels into the annuals of Australian rock history, is an honour fittingly bestowed on an enduring and much loved band whose legion of loyal fans will never desert them.

Gleeson might have filled big shoes by taking on the role of The Angels frontman but Gleeson is a natural performer, a superb singer, and he pays his dues in The Angels. Dave Gleeson has always been, and still is, a devilish performer who sings, shakes his red curls, grimaces with emotion, and generally keeps the audience eating out of his hands. The momentum of The Angels live at The Gov was built by the band playing one great song after another from the beloved album, other hits from after that era and some all time favourite covers, with magnificent guitar solos interjected by the Brewster’s boys who literally invented the term ‘simplicity is the greatest art’.

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The Angels @ The Gov Photos by Sue Hedley 16/11/2018

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MEGAreviews live The Dead Kennedys @ The Gov 06/11/2018 Review and photos by Shaun Whitelum “Nazi Punks F*** Off”, “California Uber Alles”, “Chemical Warfare” and their own rendition of the Elvis classic “Viva Las Vegas”, to name a few.

American punk legends Dead Kennedys played to a sold-out audience on November 6th at The Gov in what could only be described as re-introduction to their long history of ferocious and attacking punk rock that collides with decades of long analytical and politically provoked performances. Dead Kennedys first toured Australia back in ’83 which at the time invoked riots and many arrests during the tour. So it’s easy to see why their name became synonymous throughout the punk scene as they rose from the rubbles of dirt. So much so that DK’s name entered mainstream society on many levels as the band built its reputation on radical but thought-provoking music and lyrics! Highlighted by their antiestablishment political rhetoric coupled by a wild & sarcastic sense of humour that has seen them become a household name in the punk rock/metal scene of days gone by. Tonight’s performance was full of the chaos that one would expect from this outfit of the early 80s punk era, they began the show with one of their classic songs “Looking Forward to Death” which had the audience by the scruff of the neck from the start, and they didn’t let up for the entire show. The lucky folks tonight got to experience DK’s best, including many classic songs such as, “Holiday in Cambodia”, “Too Drunk to F***”,

Tonight’s performance was an explosive effort of up-tempo and at times frantic tunes and had the audience moshing along to each moment, hoping to forget about the day to day shit of life. Audience members attempted one after another to thrash their way to the front of stage only to be met with all the others who were caught up in the moment who moshed their way over the stage barrier to join the band, then escorted away by security. However, many seemed to force their way around the barrier back to the front of the stage for more of the same, and watching the energy of those sweaty, adrenaline pumped fans was very enjoyable, to say the least. Frontman Ron Greer constantly made his way across the stage to the stage barrier to confront the audience and included them in sing ‘a’ longs to many of the wellknown tracks, at one point Greer comments “we’re a million miles from home but this feels like home”, then teases the crowd with comparisons between American and Australian sport, as the Melbourne Cup had taken place earlier that day, hinting that American sport was just that bit tougher, he laughs. Obviously, they haven’t watched a hard-fought game of AFL in my opinion. I don’t want to get too much into the details of the history of the band because really you had to have been there to appreciate why these guys still are able to hold their own when many others have fallen by the way side. But you can be assured that for those who got in early to secure their tickets will have their own story to tell from this inspiring gig with a band that essentially rose out of the very late ‘70s - early ‘80s into the punk

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scene, which played such a pivotal part in so many people’s lives when many may have thought that all was lost. In summary DK ripped through a night of classic and long missed songs for the Adelaide fans that have lingered in the minds of many over the last few decades. The DK’s showed little or no signs of slowing down or becoming irrelevant in the near future, but hey, time will tell won’t it.

A great punk band that has been there and done that several times over throughout their career, even if it wasn’t the original line up. But at least they are still out there and doing justice to an all-time great punk band, well at least until the next Kennedy comes along and runs for the president of the United States of America, that is.

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MEGAlocal Send your local music news to: rsm@risingstar.com.au A TIMELY TRIBUTE TO RATM Bulls On Parade, Adelaide’s own tribute to Rage Against The Machine, will be ending 2018 with their fiery onslaught of hip hop infused rock rhymes at the Emu hotel on Sunday the 30th of December. With the state of world events lately, there’s never been a more appropriate time for the message of these ’90s rock/rap legends, spreading the word that complacency with our governments actions is not ok. The night will kick off at 9pm with local band The Packets and will be followed by 2 sets of RATM favourites by Bulls On Parade. It’s free entry with drink specials all night long, two more reasons to make it a great new year’s eve EVE.

DEVINE ALL GIGS Devine Alls & Dogs Are Talking are playing at the Findon Hotel on 14th December. Then on 15th December Devine Alls are at The Peppertree, with special guest Pat Smith from ELEVEN. On Friday 25th January for Australia Day Devine Alls are playing a double header with Hells Bells at The Emu Hotel.

ASHES TO ASHES Ashes to Ashes - David Bowie Experience are back for their first show of 2019 for the Adelaide Fringe. Come all ye Bowie fans and be part of an amazing dinner and show at the Fedoras Restaurant, Hilton, Sat 16th of Feb.

FERGUS MAXIMUS, IAN GIBBINS, KHRISTIAN MIZZI By popular demand, Arty Records and the RRR get together again for another exclusive coup on Friday February 8th presenting a trifecta of solo talent: SA singer songwriter, Fergus Maximus; SA poet, Ian Gibbins; and the much-awaited return of VIC’s Khristian Mizzi. It’s another BYO picnic and grog event with all the courtyard atmos so think funky, quirky and of course, ever-friendly. Current visual art exhibition will be on display to topoff a balmy night of multi-media, quality indie-artistry where nothing’s boring including you. Tickets limited $20 presale. $25 cash on the night. At Red Rhino Room Exhibition Space and Studio, 100 Sir Donald Bradman Drive, Hilton. Tickets from: https://www.eventbrite.com.au/e/ khristian-mizzi-vic-back-at-the-rrr-withfergus-maximus-and-ian-gibbins-tickets52896030451?aff=eac2

GWYN ASHTON After smashing it all through Europe in 2018, Euro-based SA Music Hall of Fame inductee lead guitarist Gwyn Ashton has returned home to Adelaide to play some shows around SA, Victoria and NSW. Gwyn has played guitar for Stevie Wright, Swanee and Jim Keays. Gwyn will be performing around Adelaide in December. Gigs are: Friday 14th at Three Brothers Arms in Macclesfield, Sunday 16th at Keg and Barrell in Pt Noarlunga (1-5pm), Friday 21st at The Cumby, Saturday 22nd at The Wreckers Live, and 31st at Keg and Barrell for New Years Eve. Then January he is off to Victoria and then NSW for gigs.

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Rockstar Roadies and How To Tell If You Have Hired One

Rockstar Tour Managers • • • • • • •

• • • • • • • •

He won’t get out of bed even to answer the phone for less than $50 an hour. He prefers not to travel in the tour van with the band. He always wants to fly first class while the band and entourage fly economy. If he has an economy ticket he will upgrade himself on a flight while the band fly economy. He makes sure that he gets to the hotel first so that he can get all the keys and pick out the best room for himself. When there are only two rooms available at a hotel, he gives the whole band a room, has the other room for himself, and makes sure the crew does an overnighter. He insists that the band can’t go out after the show when they’ve got an early start in the morning so that they don’t miss the plane, but really it’s that he can go out himself late and not have to worry about having the hassle of finding them in the morning. His favourite line for the woman is ‘Would you like to come for a few drinks after the show . . . I’m asking the band too, of course!” When the DO NOT DISTURB sign is on his door everyone thinks he’s overworked, but really he’s either badly hungover or he has company. If anything gets too hard he replies “I’ll get back to you on that.” He thinks he’s over worked and under paid but everyone else says he’s under worked and over paid. He loves being in control until the manager comes along and then he becomes the ‘yes man’. If the crew wants to complain or suggest anything to him, they wait until he is talking to the manager so they know that he will act on it. They are never the last to leave the gig. Quotable quotes: “If it wasn’t for me the show wouldn’t happen”, and “Yes, I am God.”

This space could have been yours

Contact Sue for Advertising Prices and MEGAmedia Kit rsm@risingstar.com.au 23

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Inductions into SA Music Hall Of Fame Photos by Sue Hedley - 02/11/2018 On November 2nd five South Australian music legends were inducted into the AMC South Australian Music Hall of Fame at a show at the German Club. 60’s rock legends The Twilights, Bobby Bright, singer and guitarist from singing duo from 1960s Bobby and Laurie; James Black leading Melbourne based session musician from Mondo Rock/Russell Morris and his ongoing appearances as house band leader of the Rockwiz Orchestra; Rob Pippan musical director, lead guitarist, songwriter, promoter, and founder of tribute act The Zep Boys; and drumming prodigy Laurie Pryor who joined John E. Broome and the Handels in 1964 and then joined The Twilights. Laurie was inducted posthumously. The show featured individual inductions with conversation and extensive AV display. Additionally, there were special music performances by the inductees with the house band, The Rob Pippan Band.

Bobby Bright’s induction into the AMC SA Music Hall of Fame

The AMC SA Music Hall of Fame Inductees - (L-R) James Black, Rob Pippan, The Twilights (John Bywaters, Glenn Shorrock, Clem “Paddy” McCartney, Peter Brideoake, and Bobby Bright

MEGAscene â&#x20AC;¢ Issue 15 - 2018

The Twilights being inducted into the AMC SA Music Hall of Fame

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Inductions into SA Music Hall Of Fame Photos by Sue Hedley - 02/11/2018

James Black’s induction into the AMC SA Music Hall of Fame

Laurie Pryor’s induction into the AMC SA Music Hall of Fame

Rob Pippan’s induction into the AMC SA Music Hall of Fame

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Rob Pippan

James Black

Bobby Bright

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Rob Pippan

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Rob Pippan Band @ SA Music Hall Of Fame Photos by Sue Hedley - 02/11/2018

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Rob Pippan & his band of inductees Photos by Sue Hedley - 02/11/2018

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MEGAscene • Issue 15 - 2018

MEGAtravel Rock The Boat 2018 Words and Photos by Sue Hedley

THE BOAT THAT ROCKED!

A review of my first music cruise experience

As I boarded the Radiance of the Seas for the Rock The Boat 2018 cruise I was hesitant; I had never been on a cruise before. What if we ended up like The Titanic or the movie The Poseidon Adventure? What if I got seasick and had to spend the week in my cabin? It was also a scary thought to me being on the sea in the middle of nowhere. So many thoughts racing through my mind. When I first saw the ship it was even scarier to me; 11 stories high and such a huge ship. What if it blew over in rough weather? Well, the boat certainly rocked! I loved it! Lots of rock acts to watch and listen to. Yes it rocked a little too but I didn’t get seasick and there was no sinking. I have named this cruise the ‘Party Ship’ as there seemed to be non-stop partying by everyone on board. It all started with Sailaway, a party on the Pool Deck with MC Captain Kirk and The Skipper, as the ship pulled out of Sydney Harbour. Everyone was getting stuck into the cocktails and other alcoholic drinks as they listened to some classic rock songs and took in a view of Sydney Harbour that they had not seen before from the land.

My favourite cocktail - Mudslide

It was a great way to start the cruise. If you want a quiet cruise where you just lounge around all day and sip cocktails then maybe this cruise is not for you. Though you could do that if you wanted to but there would be lots of music interrupting your quietness. This cruise is for people who like rock music and want to party - and party they did. It was a good idea that I bought their drink package as I drank cocktails most of the time there. My favourite cocktail - and a favourite on the cruise - was Mudslide. As long as I flashed my drinks card on my lanyard to the

The Sailaway party on the ship

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bar person I could get any drink I wanted; and I wanted cocktails. This experience affected me so much that after the cruise had finished I really missed my drinks card, especially at gigs. The bar people were all very accommodating and so friendly. So were the cabin stewards. I think I would not have enjoyed it so much if I didn’t purchase the drink package and if a heap of my friends were not onboard playing or cruising; but it was my first cruise. I was sharing a cabin with my friends Angela and Ross Brennan but we found ourselves only in there to sleep. Too much to do on the ship. Ross performs in Sweet Bad Lizzy and I saw the band perform three times on the cruise. Passengers were so friendly I am sure I would have made some new friends there if I had been travelling alone. No wonder my Mum and Dad loved cruising everywhere when they were alive.

The music from that atrium was the first thing I could hear when I stepped out of my cabin. Adelaide’s Sweet Bad Lizzy opened the Centrum on the first afternoon of the cruise. Considering their usual singer Paul Curtis couldn’t make the cruise and a young James Brennan stepped in, they still belted out some awesome songs from the 70’s British Rock era and won over a very tough crowd. The Aurora Theatre is three levels and is the venue for the headlining acts. On this cruise it hosted the incredible Foreigner, The Romantics, The Voices - A celebration of Australian Music, Ross Wilson, Russell Morris, Harrisongs - A Tribute to George, and Chocolate Starfish, each playing two shows each there. The Voices Supergroup were Jason Singh (Taxiride), Dale Ryder (Boom Crash Opera), Mark Gable (Choirboys) and Reece Mastin (X-Factor winner).

Music Festivals are always an amazing experience ... but if you’re anything like me, then standing in the hot sun or fighting for a tent spot (if you are camping there, that is) isn’t your thing, then you need to put Australia’s biggest “rockfest at sea” on your bucket list. Some people go on a cruise to visit the islands but just about all the people on here went on the cruise for the music; they didn’t care what islands the ship was visiting. 40 bands played over 7 days, spread over 6 venues, from morning until morning. Each venue with their own bar, of course. The Centrum was an interesting one; set on deck 4 but visible up to deck 11. It gave a fantastic vibe to the whole floating metropolis.

View of Sydney from the ship

View from deck 4 of the Centrum

Sweet Bad Lizzy kicked off the tour in the Centrum

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The Colony Club was the second largest So many good bands playing onboard in the venue on the ship and had a huge dance venues and The Aurora Theatre that it was floor and table service, and in some ways a big decision who to go and see perform. I it was better than the three level Aurora ended up, as many others did, going from Theatre as you actually felt like you wereby at Sue bar to bar to catch a bit of each band. Lucky Photos Hedley a pub gig. Acts that played there included some of the bands that overlapped finished Adelaide’s own Machine Head - Australian their set while the other bands were still Deep Purple Show and Sweet Bad Lizzy, performing, which gave me the opportunity Kevin Borich, The James Morley Band, The to see some of each band. Though I did miss Adele and Amy Songbook, Stylus, and a out on seeing some acts as I had to eat as Tribute to Phil Emmanuel. Most bands played well - and sleep. That brings me to the food. more than once, rotating in the different Superb food supplied by the ship, all included venues, playing at different times of the in the cruise price, except for the specialty day; which was great as you could get to restaurants. The Windjammer Café, which see most of the bands that you wanted. was smorgasbord, was open till 11pm and when I was still hungry after that I went to It was a shame that there was not much lighting the Park Cafe on level 11; that was open in the Colony Bar, and especially in the till 3am. I also ate in fine dining restaurant Schooner Bar; which was hard for the bands Cascades with friends a couple of the nights performing there and also made it harder and the food and service there was amazing. for me to take good photos of the bands. There were quite a few bands from Adelaide The Schooner Bar had the intimacy of a packed booked on the ship: Machine Head, Sweet front bar gig. It was the place where a lot Bad Lizzy, UK Blitz, Clearway, The 80’s of passengers would congregate and party. Experience (aka The New Romantics), Dino Jag, Barb Wired, Flashbacks to Woodstock The Pool Deck was party central of an and Tumbling Dice. There was a lot of afternoon. It was also the smoking deck, comradeship between the acts and often a which could explain the crowds. Plus there musician from one act would get onstage were acts performing there, and of course, a with another act to perform with them for bar and a pool. a few songs. The passengers were really friendly too. I felt like I was part of a club The Quill and Compass Pub was small and cosy - and I still do: the ‘Rock The Boaters Club’. and looked like an old English pub. If you felt like a break from the music you could always Other acts that were playing that I saw perform go to the Casino Royale and try your luck, included Flashbacks to Woodstock, Pat or watch a movie at 10pm on the pool deck. Wilson and the Bop Crew, Pete Robinson Band

Rock The Boat 2018

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Russell Morris performed in The Aurora Theatre

Ross Wilson performed in The Aurora Theatre

The Romantics performed in The Aurora Theatre

Background photo: Isle Of Pines as seen from the ship

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(featuring Rusty on vocals and Band (featuring Rusty on vocals and Stylus, Doug Williams Band, Dirty Deeds, Pete from Electric Mary), The Lisa Edwards Band, McKenzie, Tim Gaze Band, Häxan (from South Wales), Zoltan, John Bettison Band, and Field, See and Mason. All the bands did a tremendous job of performing and entertaining the crowd. There were some fancy dress theme nights and some of the passengers got dressed up and some preferred not to indulge. The people who did dress up really went all out to bring some fantastic costumes with them. Isle of Pines was a beautiful island. There were some stalls there, selling clothes and other assorted items. I took lots of photos there and paddled my feet in the beautiful clear blue sea. It was a nice break from the party ship. I could have booked on a tour of the island but I just preferred to slowly wander around it and take photos of the beautiful scenery. I didn’t get to the main tourist attractions there as I didn’t want to get lost or be late back to the boat and be left stranded on the island. There were boats called Tenders that ferried passengers to and from the ship. I decided not to get off the ship at Noumea as I was so tired from all the partying. but I took some photos of the island from the ship. Due to port regulations, no-one is permitted to walk in the port area and so passengers wanting to disembark had to take a complimentary shuttle bus from the ship to the passenger terminal. I found lots to keep me occupied on the ship to not miss visiting the island for a couple of hours. In the first edition of Radiance of the Seas daily newsletter “Cruise Compass” they said, “Choose your cruise along with Artist Network and Cruiseco wish you a warm welcome to the first day of the most amazing cruise vacation of your life”. Yes it was truly the most amazing cruise vacation of my life - and of many people’s lives who were onboard.

The cruise came to an end as the ship pulled into Sydney Harbour. The tired passengers departed slowly, taking with them their memories from an unforgettable experience on Rock The Boat. They were already planning in their mind to save for their next Rock The Boat cruise. Once you have been on a Rock The Boat cruise you will never feel the same again. They are addictive. Some passengers on this cruise were seasoned Rock The Boaters, having been on it every year since it started, others had been on a couple of Rock The Boat cruises. Next years cruise is already booked out but there is a waiting list incase other cabins become available. People are already planning to attend the 2020 cruise. They are very popular cruises. I felt like I was staying in a luxury hotel and attending a rock festival there. You forget about the outside world; my only decisions were what bands to see and at what time, and where to eat and when and what to drink. Stress free. Those seasoned Rock The Boaters just love it and I can see why. Maybe I will be one of those seasoned Rock The Boaters myself. Time will tell. For more info on Rock The Boat or other music cruises that Choose Your Cruise offer check out their website: https://chooseyourcruise.com.au

MEGAscene â&#x20AC;¢ Issue 15 - 2018

Images of Noumea

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Images of Isle Of Pines

. . . 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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A few of the passengers with Mick and Elaine Manov from Choose Your Cruise on Isle Of Pines

Beautiful sunsets viewed from the Pool Deck

The Pool Deck

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People on Rock The Boat 2018 Photos by Sue Hedley

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Bands who performed on Rock The Boat Photos by Sue Hedley

80’s Experience (aka The New Romantics)

Dino Jag

Clearway

Barb Wired 42

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Machine Head

UK Blitz

Sweet Bad Lizzy

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Bands who performed on Rock The Boat Photos by Sue Hedley

The Lisa Edwards Band The James Morley Band

Field, See and Mason

Zoltan

Pete Robinson Band 44

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Stylus

Pat Wilson and The Bop Crew

Kevin Borich

Dirty Deeds

McKenzie 45

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Live Sound Advice By Frank Lang

EARLY MIC PLACEMENT ON DRUMS AND TONE Get that f..k.. pillow out of the bass drum. My good mate and fanatical drum aficionado, Andy Spy had me over one xmas day, “do you wanna watch some drum DVD’s”, sure I said, 3 hours later I had to call a halt, “but Frank we haven’t even reached disc two.........” From Chick Webb and Gene Krupa on, it was obvious to me the bangy things were everyone’s favourite instrument and being a sound engineer it was fascinating how, on TV shows and movies as early as the ’40s drums were clear in the mix. Orchestras, small ensembles whatever, the TV sound guys would have the drums clean and clear in the mix. So I watched closely as the decades rolled by on this “over the years” compilation DVD, and on average until the multiple close mic scene of the early ’70s the mic technique was consistent. One mic for the bass drum, not too close, and one each side of the centre tom perhaps a meter apart and often an overhead. They had it right, but then the multiple, often up to 9 mic scene evolved in order to keep up with the louder amps on stage and electric bands of the early ’70s. P.A. systems were getting more power, more of everything. And these days sometimes with multiple miking you can hardly see the kit for mic. stands and mic leads. A bit messy? I doubt that there were any pillows in these bass drums. The go, for a effective control was the felt strip on either or both of the heads on the drums, effective to this day. Drum manufacturers pride themselves on their product, always have, and it is perhaps in the early ’70s when, between

drummers who couldn’t tune and sound

guys who didn’t know better, that pillows, foam, roof insulation, and all sorts of stuff was used to dampen (kill) bass drum tone. Yes folks, tone is something perhaps missing these days from kick drums with over dampened bass drums. Perhaps a studio guy has suggested some damping (way too much for my liking) or live soundies have forgotten to listen to the sound of a drum before the mic was un-muted thru the P.A., ring is something a poorly tuned bass drum gets. But through careful consideration and choice of type of skin a drummer can tune his instrument to suit his or her style. How would guitarists like to be told to put a pillow on their strings? John Freeman had a wonderful Gretsch kit with a small 20 inch kick, no front skin and when I was lucky enough to be the sound engineer for his rock fusion group Some Dream, I found a Sennheiser 421 mic 4cm from the rim with the diaphragm level with the front got me remarkable sounds, he had the drum tuned nicely and the drum had tone. His next band Mickey Finn did a support at a packed Bridgeway hotel for Canned Heat and one of the guys from the Canned Heat, remarked to me “how the f..k you gettin’ such a big sound out of such a small drum?” I believe it was a compliment. If you must insist on pillows, then the advice I have for engineers is at least point the mic into the clean air above the damper pillow, blanket thingy that was never designed for this purpose. We all read industry magazines but don’t forget that the adverts for the latest gunk

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for damping and tubes for front skins and clickers all costing a lot are what pays the bills for the magazine. Remember to study the old guys and manufacturers, just like valve amps for guitars. They had it right years ago before adding 3 or 4 channels, and for advice on felt strips look up John Bonham youTube videos. And remember to listen. Cheers, Frank

This space could have been yours

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

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SA Paranormal By Allen Tiller The Blue Ghost of Waterfall Gully

Fifteen minutes south-east of Adelaide sits a little chalet built in 1912, that was once a kiosk, and is now a wedding venue. Waterfall Gully was once a somewhat unattractive gully, but that changed in 1912 when F.W. Young and Mr V.H. Ryan chose the area to be the first to receive beautification, as a potential tourist destination, under the States newly formed “National Pleasure Resorts Board”. Local stone was used to construct the kiosk and surrounding buildings, walkways and lake at the bottom of the waterfall. Waterfall Gully soon became the place to visit during the 1920’s. A little oasis to escape the summer heat, just a short ride by horse and cart, or later car, just outside of Adelaide. In December 1926, South Australia was engaged in another of its’ notorious heat waves. A bushfire spread through the Adelaide Hills and made its way into the ravines of Waterfall Gully. In those days, SAPOL weren’t just police officers, they also acted as the State’s fire and rescue service, as well as its ambulance service. One police constable, taking on the firefighting duties on the day was Thomas Alfred Tregoweth. Tregoweth, had served in World War One with the 48th Battalion, 3rd Reinforcement in Hanover, Germany. As a 19-year-old, he spent 1918 as a P.O.W. before returning to Australia in 1919. When he returned to South Australia, he took up a position in the family business as a shopkeeper at Norwood. Tregoweth soon met his future wife and settled down with her. Together they had a son they named William. On the day of the fire, Tregoweth valiantly

Waterfall Gully sign - 2009 Photo: Allen Tiller

fought the raging inferno from the cliff tops around Waterfall Gully, but as he fought, the wind changed, and the fire turned, cutting off his escape route. The fire was ferociously hot and began to lick at his skin. Soon the flames scorched him, and the air became too thick with smoke for Tregoweth to breath. To survive, he made the decision to jump from the cliff into the valley below. The fall didn’t kill him, but his horrific injuries from the fire would end his life just four days later. He was 29 years old. Since 1930, people have witnessed paranormal phenomena at the base of Waterfall Gully and in the scenically located kiosk. So often had spirits been sighted, that it became a tourist attraction worthy of signage, which was once displayed at the entry of the walking trails. The signage detailed eye witness accounts of the “Blue Ghost of Waterfall Gully”, but today those signs are long removed. One former owner of the kiosk reported that a ‘blue spirit’ was often seen inside the building, and was responsible for moving objects, likes plates, knives and forks. A ‘blue man’ had also been witnessed along a walking trail leading up to the waterfalls

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by a young woman and her boyfriend. The young couple had visited Waterfall Gully late at night, and while walking the path, the young lady had twisted her ankle. From out of nowhere a “glowing blue man” had appeared, looking somewhat concerned for the young ladies’ welfare. The young couple were startled by the strange man’s appearance, and ignoring her injury, made a hasty retreat to their car to escape the luminescent blue man! They never looked back to see if he followed, but sped back along the winding Waterfall Gully Road toward Adelaide. Is it a coincidence that Constable Tregoweth’s uniform of the day was blue? Is it coincidental that many psychics state that protective male energies are blue, and that this “blue man” seems to be very protective? The alleged ghost of Constable Tregoweth is not the only evidence of paranormal or spiritual activity at Waterfall Gully. A phantom cyclist is also alleged to be seen cycling along the road from the area of Macallan Avenue toward the waterfalls. It is thought he could be the spirit of a cyclist who was hit by a car whilst cycling along the road, perhaps clipped by a car on one of the many visual blind spots along Waterfall Gully Road. Along with the cyclist, another spirit often alleged to be witnessed along this stretch of haunted road is the spirit of a phantom jogger. Nothing is known about this spirit’s past, but a mist-like apparition in the shape of person jogging, has been seen by some locals on foggy mornings as the sun rises, heading south towards the waterfalls … perhaps there is something more to the waterfall, something unseen by the living, that attracts local spirits too it? Have you experienced something paranormal at Waterfall Gully? Leave a comment on the MEGAscene Facebook page; I would love to hear of your own experiences.

Where ghost jogger and cyclist are seen on Waterfall Gully Road - 2009 Photo: Allen Tiller

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 w w w . f a c e b o o k . c o m / AllenHauntingAustralia https://www.facebook.com/ TheHauntsOfAdelaide

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Inductions of The Arkaba into AMC SA Music Hall Of Fame Photos by Sue Hedley - 22/11/2018 The Arkaba Hotel was inducted into the Venues section of the AMC SA Music Hall Of Fame on 22nd November in a gala event. SA Premier Stephen Marshall was in attendence to present the plaque to the Hurleys. Finger food and a menu of free drinks were provided to the VIP invited guests.

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Kath & Craig ‘Mac” MacDonald

Dino Jag & Deanne La Vista

Annette Day & Kate Lara Villano

Dave Blight & Dave Small

Julie Reynolds & Rachel Vidoni

Chris Finnen & Shane Whitham

Becky & Ian Blake, Rachel Vidoni & Jack Jericho

members of the Adelaide music scene

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The performers @ The Arkaba induction into AMC SA Music Hall Of Fame Photos by Sue Hedley - 22/11/2018

Phil Manning

Dave Blight

John Swan

Trev Warner

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Chris Finnen and Phil Manning

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MEGAmarket Scene

Here are some of the markets on in Adelaide.

Adelaide Central Market When: Tuesday 7am - 5.30pm, Wednesday & Thursday 9am to 5.30pm, Friday 7am - 9pm, and Saturday 9am - 3pm Location: Grote Street, Adelaide Shop at the Market with First hour free parking Tuesday - Saturday About: A huge range of fresh food, all under one roof - fruit and vegetables, meat and poultry, seafood, gourmet cheeses, bakery products, sweets, nuts and health foods. www.adelaidecentralmarket.com.au/

City East Market Location: 230 Flinders Street, Adelaide About: The market features a broad range of sellers and products from around Adelaide.

Bowerbird Design Market When: Twice a year Location: Adelaide Showgrounds Entry: $5 (Children free entry) Time: Fri 4pm – 9pm, Sat & Sun 10am – 5pm About: Adelaide design market. Talented designer makers from SA and around Australia http://bowerbird.net.au

Adelaide Showground Farmers Fisherman’s Wharf Market 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

When: Every Sunday from 9am - 5pm and Monday Public Holidays Location: Black Diamond Square, Port Adelaide www.fishermenswharfmarkets.com.au

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)

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Gilles Street Market

Makers and Shakers

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 â&#x20AC;&#x201C; 4pm About: a focused fashion & accessories market only www.gillesstreetmarket.com.au

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. www.themakersandshakers.com

Labels Style Market

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

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

Lollypop Markets

Semaphore Community Market

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

Wild At Hart Fresh Food Time: 10am - 3pm Location: Morphettville Racecourse Market, Port Adelaide About: It showcases unique, boutique and handmade, or of limited supply items for When: Open Sundays 9am - 2pm expecting parents, babies and children. Location: The Harts Mill precinct http://lollipopmarkets.com.au About: A farmers market with fresh food and produce http://www.wildathart.com.au 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.

Round She Adelaide

Goes

Market

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 55

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