dave graney

 
2021 Top Ten

But I am choosing to not count very well as I wanted to share a lot of stuff. I was at home for most of the time – of course. An amazing time to live through. Knowing most of the entire world was going through the same thing, figuring out the same problems, trying to work out what was real and what wasn’t in the daily news. Incredible.

And it levelled the music scene. I loved that! All the competitive shit between players just stopping for a while. I also kept doing a  weekly show on RRR in Melbourne - doing it remotely like most of the volunteers on air – and all I wanted to play was music made in this time. And there was a lot of music coming out.

 _{Bec Lee photo}

Hi all. This is my first Top Ten. Happy 2022 to you all.

1.In May this year I married my partner in life, and now in music, Mick Medew.Taking the self-appointed term “Brisbane power couple” to the next level was a most fun and loving day and to be surrounded by our families and friends was truly lucky, considering these times.

2.In April Mick Medew and Ursula (the Meduo) were invited to support two shows with Died Pretty at The Triffid in Brisbane. I wanted to look my best, so an online acquisition from Spotlight, meant fringing kept me busy sewing. But I still had time to practise with Mick and the whole night was amazing! Plus I got to see Died Pretty perform twice in one night. It was lovely spending time with the blokes backstage too...

_{Ian "Ollie" Olsen.}

Australian underground music has lost two important figures in Melbourne’s Ian “Ollie” Olsen and Andrew Picouleau.

Picouleau was best-known as a member of Dave Graney and the Coral Snakes, The Metronomes and Sacred Cowboys, while Olsen was in Whirlywirld, Orchestra of Skin and Bone, Noand Max Q, the short-lived but high-profile collaboration with Michael Hutchence.Both passed last week after protracted health issues. 

Multi-instrumentalist Olsen was a key driver of the Australian post-punk electronic movement of the late 1970s whose punk lineage went back to The Young Charlatans (home to Rowland S Howard) and The Reals. Her was musical director for “Dogs in Space”, Richard Lowenstein’s gritty 1986 depiction of Melbourne’s underground music scene, and went on to make a mark internationally in electronic music and soundtracks.

Let's get one thing straight: Musicians do work. It may not be work as we know it, Jim, but it is a form of employment, and it requires a well-defined skillset.

Talent is important but so is patience. Professional musicians do more waiting around than almost any other occupation on Earth. Other than midwives - and at least they receive universal praise.

Solo artist, ex-Moodist and leadr of the White Buffalos, Coral Snakes and more, Dave Graney, knows this about his trade and much more. He conveys much wisdom in "Workshy". It is the ideal read for anyone thinking about sending their offspring into rock and roll. Which is where Dave hides. Pun intended.

"Workshy" is Dave's second autobiography. I know what you're thinking: He might have been crowned King of Australian Pop but where does Graney get off writing TWO books about himself? Well, Billy Thorpe managed to do it. And more of Dave's books might be true. Both men have bodies of work with parts that are wryly funny. I could be referring here to The Aztecs' "The Hoax Is Over". "Workshy" is considerably more focussed than that mess.

There are more musical and cultural references in the latest Dave Graney album than a shelf-full of fourth year undergraduate sociology theses. Over a baker’s dozen songs, “ZIPPA DEEDOO WHAT IS/WAS THAT/THIS?” - we’ll call it “ZIPPA” for short - is a wander through the backblocks of Graney’s singular musical mind.

It’s self-described “classic rock” but don’t expect Journey or Van Halen to spring out of the speakers. “ZIPPA” is in-the-pocket, pop-rock played by a well-drilled ensemble. Drumming national treasure Clare Moore, consummate bassist Stu Thomas and jazzy guitarist Stuart Perera have been in more trenches together than the cast of “Hogan’s Heroes” and Graney’s respect for stylistic boundaries is on a par with Nancy Pelosi’s affection for Donald’s pipe-dream Wall. 

Opener “Baby I Wish I Could Have been a Better Pop Star” is classic Graney: There’s more piss being taken here than in the bathroom of a highly-paid Macquarie Street urologist, and you don’t have to wait for the results from the lab to know who Dave’s talking about.