Love That Album podcast Episode 93 - The Triffids “Treeless Plain”

Welcome to episode 93 of Love That Album podcast

I’m baaaaaaaaaaaaaack...........

For the first episode after my LTA sabbatical, I have invited proprietor of Melbourne record store Rock Steady Records and all-round gentleman, Pat Monaghan, to join me in discussing one of his most very favourite bands The Triffids and their debut album (sort of) Treeless Plain released in 1983. The Perth band were outsiders in a pub-rock environment where hard rock or Top 40 cover bands were dominating the scene. Yet, songwriter and poet, David McComb and his fellow Triffids were dedicated to their style of music and pursuing their unique vision. Through years of touring, living in London and developing their craft, they earned the love and respect of their peers – Nick Cave,Paul Kelly and The Go-Betweens to name a few (and were recently name-checked in a Courtney Barnett song showing their enduring appeal to a newer generation of songwriters).

Pat and I started out to discuss Treeless Plain and how it stands in their back-catalogue, especially compared to their acknowledged masterpiece Born Sandy Devotional, but we also make a lot of diversions to put the music into historical context. Truly, recording with Pat makes me glad I do this show. He’s a wealth of knowledge and considered opinion. Do join us for this one. I have been meaning to record with Pat for a long time, so I’m thrilled we finally made it happen. 

Eric Reanimator is back with his Album I Love segment talking about the Underground Paisley scene of the 1980s giving some time to a couple of albums from the band True West, Drifters and Hollywood Holiday.

I’ve already given thanks to the great presenters who filled in for the 3 months I wasn’t doing the show. I also want to thank you listeners for giving them your earholes over that time, and are now (hopefully) giving me your listening attention. I hope to bring some great new shows in the coming months.October brings the 5^th anniversary of LTA and early 2017 will bring the 100^th episode of the main show. Stay tuned for details.

You can download the show from iTunes (search for “Love That Album podcast”) or from the website at http://lovethatalbum.blogspot.com

Send the show feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join theFacebook group at http://www.facebook.com/groups/lovethatalbum.

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Right click to download episode 93 here 

Love That Album episode 49 - Weddings Parties Anything - The Big Don't Argue

 

Welcome to Love That Album podcast 49.

 

Before I started the podcast, I was writing blog articles about albums I love. Back in May 2011, I wrote about my passion for the 1989 album from Weddings Parties Anything “The Big Don’t Argue”. I really felt that this deserved a return visit via the podcast. I am joined by LTA regular and host of Sitting In A Bar In Adelaide, Michael Pursche to discuss this incredible record.

The threatening cover, a reference to the song A Tale They Won’t Believe really grabs your attention before you’ve played any of the music. Once the needle hits the grooves, we hear  lots of great stories, worthy of any great author. Via songwriter Mick Thomas, WPA tells us stories of livelihoods destroyed, cannibalism, the loss of idealism and enjoying a sunny Sydney day with barely enough money for a beer. Not just great stories, but fantastic memorable tunes that make you want to mosh or cry in your beer. I went to many many WPA shows and it felt like a sense of community when you sang with complete strangers about holding down cooked human flesh to survive.

We are joined once again by Eric Reanimator for his Album I Love segment to discuss the album Poison Love by cowpunks, Blood On The Saddle. Another great segment for yer earholes.

You can download the podcast at iTunes by searching for “love that album”. You can stream or download it at “http://lovethatalbum.blogspot.com”.

The podcast can also be listened to via Stitcher Radio. Download the app from stitcher.com, and listen to any episode streaming over your Android or Apple device after searching for “love that album”.

Send me any feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum and start a discussion on your favourite literary songwriters.

Right click to download and save Episode 49 here

 

Weddings Parties Anything - The Big Don't Argue

It’s often great to recall the first time you experienced a band, and recall what you fell in love with in the first place. I had two first-time experiences with Weddings Parties Anything.

Back in March 1986, I went to the sweatbox in Melbourne known as Festival Hall to see Stevie Ray Vaughan and Double Trouble. The hall was full of geeetar freaks watching Stevie’s fingers for any sign of technique they could steal. Also on the bill was The Fabulous Thunderbirds, featuring Stevie’s hero and brother, Jimmie Vaughan.  Starting out the night was a local band, Weddings Parties Anything. I’d never heard of them, and judging from the muted reaction of the blues boffins in the audience, neither had they. There have probably been odder, more in appropriate bands linked on a bill, but they certainly didn’t belong here. I thought the music was okay, but nothing to take me away from the blues nirvana I was to experience that night. That was my first first-time.

The second first-time came about three years later. I’d read in the street press about this new album The Big Don’t Argue by Weddings Parties Anything (or Weddoes to the faithful). The reviews were reverential so I used that as an excuse to buy a copy. I took the CD home, put it in the player, and pressed play. This was my second first-time.

That night, I had two epiphanies.

The album opened with a version of a traditional folk song, “Streets of Forbes” about bushranger Ben Hall. This is a famous folk ballad, and not something you tamper with, but if it’s at all possible the Weddoes treated with reverence while kicking it in the nuts. They played it like a demented version of the Pogues (whom they’re often compared with). Never mind having heard the song many times before, they played with passion which had me enthralled. The production was vibrant. When lead singer Michael Thomas got to the final line about the police hauling in the dead body of Ben Hall, “And they led him through the streets of Forbes, to show the prize they had”, he gave one of rock’s great screams - in a folk ballad, yet. This was epiphany number one.

WPA had been together for about five years before The Big Don’t Argue was released, and had two other albums under their belts, “Scorn of the Women” and “Roaring Days”. Like other songwriters with a folk bent, Mick Thomas liked to tell a story. Sure he could write a love song, but it had to be enveloped in a story.

He could tell tales of rejected conscripts during WW2, unfairly accused of cowardice. He could describe the heartbreaking duality of a nurses’ strike in Victoria against unjust working conditions (“Oh sisters of Mercy why can’t they see / That a daughter of charity you’ll never be"). It could be something as simple as describing the feelings while going on a walk on a beautiful Sydney spring day with only enough change in your pocket for a cold beer ("Ticket In Tatts").  Yes, Mick had a way with a tale.

On the night I first heard The Big Don’t Argue, one of his tales gave me my second Weddoes epiphany.

Song number five tells the story of six escaped convicts from Macquarie Harbour, who have to resort to cannibalism to stay alive, until the only one left is the narrator – and he’s not even sick bastard carrying the axe! I’m sure the expression Bigger Than Ben-Hur was invented for "A Tale They Won't Believe". There is a pattern to the song where the listener knows one convict is going to get knocked-off in each verse. Yet, I found myself listening to this song like there was still some story revelation to be had. That’s the success of a great songwriter with a story to tell – make a predicted outcome still exciting. The tale, the way with a lyric, the viciousness of the music (the guitars are played like weapons – calling a guitar an axe, actually makes sense here). After I played this song for the first time, I felt out of breath. What did I do? I played it four more times before moving onto track six.

I’ve only mentioned two songs here, both about a violent chapter in Australian history. This album also featured songs to have you crying into your beer, like the “Ballad of Peggy and Col”. You would also find yourself laughing at the misadventures of the luckless protagonist in “Knockbacks In Halifax”. Both of these songs cover ordinary situations, but both are written from the perspective of a songwriter with a knack for observation and the gift of vivid description.

All the WPA albums were great. Mick leaving his heart on his sleeve could sometimes work against him. The self-righteousness of songs like “Telephone In Her Car” or “For Your Ears Only”, both from WPA’s Difficult Loves album could make one cringe. The Big Don’t Argue, however, was a career highlight, or to use a description keeping within the band’s love of Australian Rules football, a best on ground. If you haven’t heard it, forget about getting a good book out tonight, just listen to The Big Don’t Argue tell you a bunch of tales.