Monday 18 February 2013

17 February 2013 (Day 48) – Synch Or Swim

Damn this hot weather.  I was going to journey today to a wedding reception place and bingo hall in Altona (again!!) for the second day of the All Tomorrow’s Parties Festival.  Yesterday was headlined by Swans, Godspeed You Black Emperor! and My Bloody Valentine.  Today features curators The Drones, plus The Beasts Of Bourbon, Pere Ubu (playing The Modern Dance), Crime And The City Solution, Einstürzende Neubauten and many others.  But I was worried about the heat and today is something like the fifth day in a row over 31 degrees Celsius.  So my priorities today were to keep cool and import a stack of CDs into the iPod.

The latter task involves having to work with iTunes.  This involves a great deal more work that the good people at Apple originally probably envisaged.  Once I’ve imported my disc, I immediately bring up the tracks in my library to edit all of the data provided that I simply don’t want.  These include songwriters, music genres, those annoying details at the end of tracks such as (album version) or (2007 remaster) and basically anything that could affect a true random shuffle other than album titles, song titles and track lengths.  What puzzles me here is that I can remove these items from my music library so that it doesn’t show on my iPod but I can’t delete other things I don’t want on my iPod such as the installed Games and all the other features I never use and never will use such as provision to store Contacts, Photos, Video, etc.  I repeat something I wrote last month; anyone who buys a 160GB iPod does so because they want as close to 160GB of music as possible.  Nothing else matters.
Then I’ve got to edit artists and album titles.  Editing artists is an absolute must because even the most minuscule difference will result in a new artist appearing on the iPod.  For example, I don’t want my Neil Young albums appearing in two separate artist lists, one for Neil Young and another for Neil Young And Crazy Horse; all get attributed to Neil Young.  I then need to make sure that artists are sorted so that they appear in an alphabetical sequence by artist surname or group name.  Occasionally I’ll need to sort or edit an album title especially when there are many albums released with the same title such as Greatest Hits, Live, The Very Best Of, The Essential, or Gold. And finally there are things that I feel I should correct.  For example, today I imported The Jeffery Lee Pierce Sessions Project album I played last month.  This is actually the second album released by this amalgamation of acts and so I think it should be listed as an artist.  This means taking the individuals created to each artist on the album into the song title.  (iTunes really doesn’t handle compilations all that well.) After this, I will uncheck any tracks I don’t want, almost always to avoid unnecessary duplication of tracks.

Next up is a task that I really think is really unnecessary.  When you import your CD, iTunes gives you all of this data but not the album artwork.  You then have to specifically take action to retrieve it.  Why not give the artwork along with everything else and let the consumer decide whether to keep or delete it?  Finally, it’s time for the synching process, something that Apple has considerably approved and it goes smoothly.
And so there you have it, a posting to disguise the fact that today, I’ve played only one album and it was whilst writing this post.

(129) Tom Petty And The Heartbreakers – Hard Promises
For a long time, Damn The Torpedoes was my favourite Petty album.  However, every time I play this album the gap continues to narrow to the point where I’d say it’s now at level pegging.  This is strange because I can remember being underwhelmed when this first came out.  Anyway this has a cracking start with the two singles The Waiting and A woman In Love (It’s Not Me).  This is followed by Nightwatchman, one of the few Petty tracks that could be described as approaching funky. Kings Road and A Thing About you are first rate rockers, Insider is another good duet with Stevie Nicks and You Can Still Change Your Mind is a fine ballad to close proceedings.  

16 February 2013 (Day 47) – Tis Was The Thrill Of The Hunt *

Actually, there was some good news yesterday but I didn’t want to trivialise the event in our lives from overseas.  After all the receipt of my first internet order for the year is very unimportant in the scheme of life. 

I’ve been forced into having to buy my music from the web for a number of reasons.  First, there are few stores around the stock a lot of the music I want to purchase.  There are the JB HiFi’s and some independent stores such as Greville’s, Missing Link and Polyester but all of these are a distance from my place.   Moreover, there is no guarantee that they’ll have what I want and even if they did I might have to pay significantly more for the privilege.  That prices over the web can be quite reasonable is simply the cherry on the cake.  Whilst I’d prefer to keep Australians in a job and would be willing to pay a modest mark up, I simply refuse to pay the outrageous mark ups that many of the chain stores used to charge.  JB HiFi exposed them and they’ve all paid the price, so to speak, at least in Melbourne.
My copy of The Fall’s Complete Peel Sessions is a case in point.  When I decided to buy it, I did the rounds of about 6 JB’s, plus Grevilles and Missing Link only to discover that no one stocked it although Missing Link claimed they had sold their only copy a few weeks prior.  Everyone offered to order it for me at a price ranging from $60 – 120 and a delivery estimate of 2-4 weeks.  I eventually got it over the web via an English site and it cost me approximately $40 including postage and I received it in 5 working days.  How can any bricks and mortar shop compete against that?

This doesn’t mean that I’m happy with having to purchase my music this way.  Previously one of my favourite pastimes was the hunt.  I had a network of chain stores, independent stores, second hand places, record fairs and others in which to fossick. Usually I set out with no real intention of buying a specific album. I let their stock surprise me preferring the thrill of finding something unexpectedly that I’ve desperately wanted. 
But as we all know, time marches on and the world and my life changed and I’ve had to embrace the brave new worlds of the internet and marriage. If the shops hadn’t started to close, I would have needed to abandon my expeditions anyway due to marriage. This is not coincidental.  As the movie adaption of Nick Hornby’s great book High Fidelity makes perfectly clear, the art of record shopping is an existence pursued almost exclusively by single men as a substitute for absent female company.  I know that it applied to me; let’s face it I never managed to pick up anyone as I flicked through a CD or vinyl rack.  No woman ever came to me saying, “Oh, I really want that extra rare album that you’re about to buy for a steal.  Can you make a copy for me?  Maybe we could meet for coffee?”  Don’t get me wrong here.  I wasn’t like one of those anonymous geeks in the comic book store in The Big Bang Theory staring whenever a woman entered the store. I wouldn’t have noticed because I was focused on the search attempting to uncover that gem before anybody else.  (Well, it’s either that or comic book fans really are different.)

So onto today’s listening brought to you by a warehouse somewhere in Europe and Australia Post.
(127) La Dusseldorf – Individuellos

This is the third and last La Dusseldorf album, at least with Klaus Dinger as a member.   This is about as close an album to anything resembling mainstream sounds (Kraftwerk included) that any of the German experimental bands of the 70s got.  There were even moments on this which appear to foreshadow the New Romantic movement.  Is this why Dinger left the band?
(128) Howlin’ Rain – Magnificent Fiend

Howlin’ Rain was formed by Ethan Miller as his previous band Comets On Fire came to the end of it life.  Both bands played modern versions of psychedelic rock crossed with blues, folk and other influences.  The difference is that Comets On Fire played a more ragged and primitive form and Howlin’ Rain favours a more melodic and cleaner sound.  Yet when Howlin’ Rain truly rocks out as they do on the glorious Lord Have Mercy, such differences are moot.
(* I’ll be damned if I’ll title any post after a line in Eye Of The Tiger, hence the otherwise unnecessary “Tis”.)  

Friday 15 February 2013

15 February 2013 (46) – Music and Me

Not only was this a day without music, it was also infused with a great deal of sadness.  As I was about to leave my office for my first meeting, “M” rang me to advise that a former colleague of hers from her homeland had finally succumbed to cancer after a two year fight.  I had met Tess a number of times on our various trips back to visit “M”’s family and friends.

Ordinarily, I would have absorbed the shock by playing something.  On this occasion, it would certainly have been Gary Moore’s Still Got The Blues because she played the album as background music the last time she hosted us.  But just by remembering the Moore album, which I then thought an odd choice for a dinner party hosted by a woman well into her 60’s, was sufficient to think about her funky apartment, the wonderful food and the laughs we shared.
A series of lengthy meetings, later it was time to catch up with “M” as she was having drinks with her work colleagues.  I’d given her the option of opting out of our dinner but she was determined to go ahead as her way of coping with the news and so we went dining at a favourite restaurant in the City. Normally, we have a great time but it wasn’t fun.  The news was undoubtedly a factor but for me there was another factor, the background music.

I’ll explain.  To me having music in my life is akin to having food, drink, love, family, good friends and work. Miss out on all of these and you cannot be born, nurtured or sustained.  Music fits into the last category. It is something you seek and find that you think will enrich your life, give expression to how you feel or validate your view on life.   Good music nourishes me.  I don’t mean here that it influences my beliefs or attitudes; this is a figment of the imagination of fanatics or the deeply bereaved who desperately (and in the latter case, understandably) want to believe that music, like violent media, holds some form of power that prevails over inevitably weak minds, breaks down non existent rational thought processes and causes previously unimaginable thoughts and deeds in otherwise sane individuals .  Whilst some rock stars will write songs about issues and publicly endorse them, they are seeking to influence you thought process not ccast a demonic spell you cannot break if you tried.
Instead I see things like this.  There’s a hell of a lot of music out there.  By this, I’m not speaking in terms of genres or labels but rather its role and context in life.  There are forms of music out there that attempt to influence how you think in a given context.  Just off the top of my head there are political forms (think national anthems and the like) and business forms (e.g commercials, jingles, muzak in elevators, anonymous “calming” music on complaint phone lines etc) among many others.  You cannot escape from these.  On the other hand you can choose whether you want to engage and the degree of engagement in the various genres of music as a form of enjoyment, relaxation or validation. In other words, I believe that people gravitate towards the form of music with which they fell comfortable or which expresses how they feel.  If they don’t feel an attachment at all, they’ll leave it alone.  This is what those who want to set controls on certain forms of music fall to appreciate.  A teenage who has, say committed suicide while listening to song like Suicide Solution has not been driven to kill themselves by the song.  More likely they found something which, irrespective of whether they have correctly interpreted its true meaning or not, they think will best communicate to anyone why they have taken the action.

I need to hear music on a daily basis.  But more importantly it is music that I want to hear.  I don’t know about you but for me one of life’s little pleasures is hearing something you really love cropping up in a place you never expect to hear it.  Think about favourite tracks you may have that pop up on a movie soundtrack, in a commercial, over a shop PA, on a radio station overseas, etc and you get the general idea.  And ultimately that’s what got to me last night.  I’d had the busy day and the sad news and ultimately when I needed something to help me make sense of the world, I was left at the mercy of playlist.  Hearing Roxette’s Greatest Hits was never going to help.

14 February 2013 (Day 45) – Door bell, cuckoo clock, soccer crowd, mosquito, chicken and telephone sounds

Oops! I did it again - another day where I’m able to play a few albums and again I’ve found myself unconsciously then deliberately choosing my selections based on what I’d just heard.  The starting point was two of the finest dub albums ever released;

(121 & 122) Joe Gibbs And The Professionals – African Dub All-Mighty Chapters 3 and 4
Joe Gibbs was one of the major producers of reggae in Jamaica during its golden era of the 1970’s and the early 1980’s.  The Professionals was his crack studio band comprising rhythm section Sly & Robbie (Sly Dunbar and Robbie Shakespeare) and guitarist [Earl] Chinna Smith.  Together the released a total of six albums (i.e Chapters) of the African Dub series which are available as individual albums or, if you still able to find them, as “twofers” (i.e two complete albums on the one disc). General critical opinion appears to regard Chapters 3 & 4 as the pick of the bunch; I certainly prefer them to Chapters 1 & 2 (and then Chapter 3 to 4) but haven’t yet heard the final two.  These are definitively two of the finest examples of dub, the reggae practice of taking usually existing tracks, emphasising the drums and bass and adding echo and effects and removing or selectively retaining the remaining elements. I love these albums because, Gibbs allows some vocal elements to remain, occasionally gives as much emphasis to the horns on the records as to the rhythm section and also because of the range of sound effects added to the mix.  It’s these effects that really stay in the mind afterwards especially as ythey appear without warning.  On Chapter 3 alone, I heard running water, ringing telephones, gongs, door bells and the hoots from a cuckoo clock.  Wanting to keep the largely instrumental vibe going I next turned to:

(123) Pink Floyd – Meddle
…or as it is fated to be known for the rest of time, “The One Pink Floyd Released Before The Dark Side Of The Moon”.  I don’t think it deserves such a fate as it is a very strong album in its own right.  The opening instrumental One Of These Days is justly celebrated, one of those pieces that starts slowly but continually builds tempo throughout. The remainder of the former Side 1 is a combination of largely acoustic tunes with all of the original Side 2 given over to a single track.  Echoes is arguably Pink Floyd’s finest post Syd/pre Dark Side (now I’m doing it!) moment.  Most of the lyrical comment, some form of hippie I’m-one-with-the-earth-man-so-let’s-get-it-on-girl babbling is disposed of relatively early on.  The rest is a wondrous exploration as David Gilmour’s guitars fight to the death against Richard Wright’s keyboards. 

Whilst this album was on, I was distracted by some of the effects added to some of the tracks (the wind and the soccer crowd during Fearless and the howling dog during Seamus) like on the dub albums. Determined to break this, I decided on making an ironic comment by next selecting:
(124) The Jam – Sound Affects

I don’t care what anyone says but this is their best album.  Although admittedly it was the first Jam album I’d ever heard, Sound Affects is the most balanced of their records.  The early up tempo mod tunes of the early album are tempered here by some light and shade, especially the ballad like That’s Entertainment, the whistles on Set The House Ablaze (a particular favourite of mine) and the increased use of horns.   And then – to my horror – was the track I’d completely forgotten about.  About mid way through The Last Couple, the track breaks down so that we could all listen to the sound of a mosquito buzzing!  Throwing my hands up in the air, I’d thought I’d go to an album that was bound to include many effects:
(125) Easy Star All-Stars – Easy Star’s Lonely Hearts Dub Band

This is a reggae band that specialises in producing reggae versions of entire classic albums such as Dark Side Of The Moon, Thriller and OK Computer.  Their take on The Beatles Sgt Pepper’s, an album many people would have you think is the best album ever made when it doesn’t even make my Beatles top three, is a pretty good one even though it falls short of the heights reached on Pink Floyd’s opus.  Some of the tunes here lend themselves well to reggae, especially Getting Better, Lovely Rita and the McCartney mid-section of A Day In The Life.  Having a female voice sing She’s Leaving Home is a sensible one as the sentiments expressed in the song are more likely to be expressed by a mother.  The expected sound effects from the original were present; the alarm clock in A Day In The Life and the chicken, dogs, horses and birds Good Morning Good Morning with a lion added.  If you listen carefully, the latter also incorporates a number of chickens sampled from their own Dub Side Of The Moon.
(126) The Electric Light Orchestra – A New World Record

A great example of how the memory can play tricks.  This was a real favourite of mine when it was originally released.  Yet for some reason I thought it was loaded with effects.  As it turns out there are only the telephone sounds that occur throughout Telephone Line and a police siren in Mission.  None of this detracts from the album which also contains the wonderful Rockaria! and Do Ya where Jeff Lynne covers his own song that was originally recorded when he was in The Move.   It is still a good album after all this time and, unlike some of the latter ELO material, one that doesn’t feel dated.
Tomorrow is looking grim music wise.  Some lengthy commitments at work and a delayed Valentine’s Day dinner with “M” raises the distinct possibility that I’ll have nothing to write about.

Thursday 14 February 2013

13 February 2013 (Day 44) – Two Ambient Gems

I had quite a few commitments today, so had time only for a couple of albums in the early hours at work. Knowing that a frantic day was before me, I chose just about my favourite chill out album.

(118) Aphex Twin – Selected Ambient Works 85 – 92
Aphex Twin is an English electronic composer by the name of Richard D James.  This was his debut album which is now regarded as a masterpiece of electronica, ambient music and dance music.  Basically, James’ idea was to merge all three together and it is surprising how seamless it sounds.  Picking out individual tracks is next to useless; despite the fact that all tracks are separated by silence it takes quite a few listens before this fact even registers.  I’m also reasonably sure that segments from these tracks have been used in commercials and movies ; if I’m wrong this can only be taken as evidence of just how influential this album has become. 

(119) David Byrne – The Complete Score From The Broadway Production Of The Catherine Wheel
One of the reasons Talking Heads broke up was Bryne’s determination to make music on his own without the compromise of the band. I find it quite ironic that my favourite solo Byrne album is this, made whilst he was still in that band.  It was composed to accompany a Twyla Tharp dance production and is mostly instrumental with about five songs with Byrne vocals.  The instrumentals are intriguing. Some of these, especially Two Soldiers and Poison, sound like unfinished Talking Head tracks whilst others such as The Red House sound like outtakes from his collaboration with Brian Eno, My Life In The Bush Of Ghosts. All of the vocal tracks are terrific;  a version of What A Day That Was included in the subsequent Talking Heads Stop Making Sense soundtrack album and it’s not even the best of these.

Needing only a short album to accompany my writing at home I chose:
(120) Marshall Crenshaw – Self Titled

The bespectacled Crenshaw created quite a stir in the United States (or at least in Rolling Stone) when he released this, his debut album.  It comprises 12 power pop lite gems, all extremely likeable and without an ounce of fat.  Only the thin sounding 80s production hurts the album today.  Just how he didn’t progress to become a major star is simply a mystery to me but at least it’s nice to know he’s appreciated in music circles.  The only time I saw him on stage was when he got up to join the remnants of the MC5 during their encores when they played at the Palace around 6 or 7 years ago. 

Wednesday 13 February 2013

12 February 2013 (Day 43) – From Jimmy Webb to AC/DC in Five Albums

It was another long day in the Office.  I started with a typically low key album, little knowing that my day would morph into a musical form of 6 Degrees Of Kevin Bacon.

(113) Jimmy Webb – Ten Easy Pieces
On this album Webb sings his best known songs, originally recorded by others with elaborate arrangements and productions, with just his piano for company. The monster hits are all present; Highwayman, Wichita Lineman, By The Time I Get To Phoenix and McArthur Park.   But the highlight is the opener, a slowed down version of Galveston which is more effective than the Glen Campbell original.  Webb usually has an interesting voice.  On Galveston he sounds uncannily like Warren Zevon, which led me to my next selection:

(114) Warren Zevon – Bad Luck Streak In Dancing School
Zevon has rightly been celebrated for a string of great West Coast singer/songwriter albums delivered with a caustic wit.  This is not one of his more admired albums but it remains close to my favourite. It has a tremendous opening trio of tracks; the title track, A Certain Girl and Jungle Work and the classic Jeannie Needs A Shooter.  Even the short instrumentals dotted throughout the album provide effective support.  Most of all, it contains just about my favourite Zevon song, Play It All Night Long.  This has just about the best opening of any song – "Grandpa pissed his pants again/He don’t give a damn" – as the song’s narrator describes a seemingly dysfunctional family.  It makes him seek out a bar to drown his sorrows whilst imploring that “dead man’s song”, Lynyrd Skynyrd’s Sweet Home Alabama, be played all night long.  As I result, I next played:

(115) Lynyrd Skynyrd – One More From The Road
This was the first Skynyrd live album and, I think, the only one featuring Ronnie Van Zandt on lead vocals.  (Certainly it was the only one released during his life time.)  It is one of the great live albums which presented the band in its natural element playing its greatest hits. It also possesses the sort of big finish to a live album that you rarely get to hear these days with Call Me The Breeze, The Needle And The Spoon, the obligatory cover (in this case, Crossroads) and the epic closer, Skynyrd signature piece and air guitarists’ wet dream, Freebird.  Of course, it features the other track people associate with this band, Sweet Home Alabama.  As probably everybody knows by now, Van Zandt wrote this song in response to anti US southern sentiments he discerned in Neil Young’s Southern Man. 

By this time I had become conscious of where my choices were leading me and so the next album I selected was:
(116) Neil Young – Decade

This was the first Neil Young compilation spanning the first decade of his solo career.  A triple vinyl album on its original release, it serves as the definitive primer for anyone wanting a comprehensive overview of the period.  The epics are here: Cowgirl In The Sand, Down By The River, Cortez The Killer and Like A Hurricane.  So are his hits including Helpless, Old Man, Harvest, Heart Of Gold and The Needle And The Damage Done.  Then there’s Ohio, Mr Soul, Long May You Run and the brilliant hitherto unreleased Campaigner with its “Even Richard Nixon has got soul” hook.  And yes, it also has Southern Man.  After that, I had no alternative than to next play:
(117) Drive-By Truckers – Southern Rock Opera

Unquestionably the Truckers’ finest album, this is one of the finest rock opera’s ever recorded.  No wonder given that it tells the story of Lynyrd Skynyrd and their place in Southern USA mythology. Beginning with a Neil-esque squall of feedback, it doesn’t take long before Southern Man is invoked.  The second track, Ronnie And Neil, is all about the Southern Man/Sweet Home Alabama “controversy” with Patterson Hood claiming that Van Zandt and Young were actually good friends.  But this is not the only reason to listen to this as it continues to tell the remainder of the story, ultimately incorporating the bands recruitment of Steve Gaines  (Cassie’s Brother) and the plane crash that claimed him and Van Zandt (Shut Up And Get On The Plane and Greenville To Baton Rouge).  But the highlight to me is Let There Be Rock, where the narrator bemoans the fact that while he never got to see the original band, at least got to see AC/DC with Bon Scott……
……and I promise not to start tomorrow’s listening with Highway To Hell.

11 February 2013 (Day 42) – Magical Melbourne Music Tour # 2

Got to work today and it turned out to be exactly what I had planned for Friday.  Needless to say, I was able to play the final 48 tracks of The Fall Peel Sessions box.  And so the remaining elements of the Melbourne tour.

Prahran
Today’s journey starts at St. Kilda Junction as we proceed along Dandenong Road turning right into  the inner suburb of Prahran centred on its Chapel Street shopping strip.  At the intersection of Dandenong Road and Chapel Street is the Astor Theatre, now an art house/cult/revival cinema.  It was here on 15 January 1982 that the Birthday Party performed their final show prior to their departure for Britain and released on the live album It’s Still Living.  Chapel Street itself was apparently the home to a number of discos and night clubs in the 1960s and 1970’s although hardly any remain.  A left turn just after the former Prahran Town Hall takes you into Greville Street, home to the legendary Greville’s Records, just about the last surviving independent record/CD shop of any note.  A few doors down is a restaurant that was home to the greatly missed Continental Night Club.  This was a great intimate cabaret type venue that managed to book a great range of acts over its life time including Chris Whitley, R.L Burnside, spoken word Henry Rollins, Alex Chilton and Jonathon Richman among many others.  Previously it had a shorter incarnation as ID’s, notable as the venue for Lucinda Williams’ first Melbourne shows.  A few doors further down is the now closed Railway Hotel, a roots venue largely remembered for its incorporation of a real train engine seemingly crashing through the front wall. 

The Domain and The Sporting Precinct
Continue along Greville Street to its end, make a few more turns, ultimately turning right into St. Kilda Road and proceed along it.  Once you’ve passed the Shrine Of Remembrance, turn right across St Kilda Road into Domain Road and then turn left.  Eventually you should be able to park your car and climb a hill to view The Sidney Myer Music Bowl.  This is arguably the most prestigious of Melbourne’s regular outdoor music venues. (Note to any overseas writers: it’s the Sidney Myer Music Bowl, Melbourne NOT the Sydney Myer Music Bowl.) A massive permanent half tent type structure built on the base of a sloping hill 54 years ago, it has been the backdrop to a number of memorable gigs including Bob Dylan, Neil Young (two separate tours), R.E.M’s Monster tour, Nick Cave, Metallica, Tool and many others. The Bowl, as it is affectionately known, has provided generations of free musical experiences.  Just about everyone in Melbourne has spent at least one gig stretched out on blankets outside for a free listen.  Until a recent redevelopment of the site, people also climbed the surrounding trees for a free view.  (I myself did this to watch the Stop The Drop gig featuring Midnight Oil and INXS on13 February 1983.)   It was the site for Abba’s only Melbourne shows (glimpsed in Abba. The Movie), AC/DC’s Back In Black tour and Pearl Jam’s debut tour; on the latter two occasions ticketless crowds outside the venue tore down the outer chain fence for free entry.  TV filmed gigs by the Beach Boys and ELO during the 1970’s captured performances of dubious quality;; management of the former apparently begged for it not to be broadcast. Although its original capacity was 35,000 people, an estimated 150,000 – 250,000 people turned out for a free gig by The Seekers in 1967.  The recent works has reduced the capacity to around 25,000 people but this would make a tight fit.

Return to your car and continue along Domain Road to its end, and turn right into Alexander Avenue.  Across the avenue is the Alexander Gardens and alongside it, the Yarra River.  During the 1970’s and early 1980’s Top 40 station 3XY used to put on free end of school year gigs from a floating stage on the river that were attended by huge crowds.  Turn left and cross the Swan Street Bridge, enter the Melbourne Sporting Precinct and proceed along Olympic Boulevard. On your left is the National Tennis Centre, home of the Australian Open tennis tournament.  Centre Court is Rod Laver Arena, Melbourne’s premier indoors concert venue.  Home to many gigs each year, this 15,000 person venue would be a permanent member of the world’s top 10 concert venues if it wasn’t for its unavailability for about 5-6 weeks each year due to the tournament.  Apart from a couple of after show gigs, it has been the venue for every Melbourne Prince gig over 3 tours.  The Eagles Farwell 1 DVD was filmed here as is, apparently, a forthcoming Dolly Parton DVD recorded in December 2011.  Other big names that have played here include R.E.M, Pearl Jam, Eminem, The Rolling Stones, Santana, Roger Waters performing Dark Side Of The Moon and The Wall, Pink Floyd on the Momentary Lapse Of Reason Tour, Neil Young, U2, and the Jimmy Page/Robert Plant Unledded tour.  Pink holds the record for the most number of sold out shows at the venue.  On the other side of the Olympic Boulevard oval is Hinsense Arena, a velodrome, Australian Open No. 2 Court and concert venue. 
Directly opposite Rod Laver Arena is the Westpac Centre, now the training home for the Collingwood Football Club but originally constructed as the swimming venue for the 1956 Olympics.  In between these uses, it functioned as the Melbourne Sports And Entertainment Centre, also known as The Glasshouse, owing to the glass outer shell that was added.  Despite appalling acoustics, this venue had developed a reasonable musical pedigree.  Talking Heads performed their Stop Making Sense show here during 1982 supported by the Learning To Crawl era Pretenders.  It was the location for U2’s first Melbourne show, Van Morrison’s only performances and Cold Chisel’s final shows before their first break up.  Dire Straits performed here 10 times during their Brothers In Arms tour, on one occasion joined by Bob Dylan for what were probably the only spontaneous notes played on their entire tour. 

Alongside the Westpac Centre is another oval which, until recently, was an arena known as Olympic.  Built as a soccer and training venue for the Games, it too hosted some huge shows.  It was the venue for Michael Jackson’s Dangerous tour, the Australian Made caravan led by INXS, the first Skyhooks reunion and the Alternative Nation Festival.  The last named was an unsuccessful attempt to hold a Big Day Out type event later in the year which also utilised The Glasshouse as an indoor stage.  Alongside this is AAMI Stadium a new arena for rugby and soccer which has hosted only a couple of gigs by The Foo Fighters.
Richmond and Collingwood

Olympic Boulevard ends at an intersection with Punt Road marking the start of Richmond.  If you continue in a straight line, it becomes Swan Street.  Just after the railway bridge at Richmond rail station is the Corner Hotel, currently Melbourne’s dominant pub venue. Normally it specialises in alternative bands and occasional blues acts too numerous to mention.  Mick Jagger played a “secret” gig on his mid 80’s solo tour of Australia coming on after a scheduled Charlie Musslewhite performance.  David Hasslehoff plays a “rock show” here on Valentine’s Day.  About a kilometre away is The Central Club Hotel which does not appear to schedule many bands these days.  Its biggest claim to fame was the annual run of Christmas shows of Melbourne’s own Weddings, Parties, Anything. A short distance away off into Swan Street is the former Channel 9 studios.  No major music shows of note were produced there but it was where Tom Waits wound up Don Lane during an appearance on his variety show.
If you turn left from Olympic Boulevard into Punt Road and proceed underneath another rail bridge, two landmarks reveal themselves.  On your right is the Cricketers Arms Hotel, the tiny pub where Men At Work were discovered prior to their short lived world domination in the 80’s.  As you go past that, the massive structure that is the Melbourne Cricket Club emerges on your left.  The MCG (or “The G”) is Australia’s largest sporting arena with a capacity for 100,000 people and is part of the sporting precinct but I’ve placed it here.  As it is used during summer for the cricket season and winter for the Australian Rules Football season, gigs only occur in small pockets of time in between.  Only the very biggest acts at the height of their fame get to play here.  These have included David Bowie, Linda Ronstadt and David Cassidy during the 1970s, The Rolling Stones on their Bridges To Babylon Tour (their first shows since 1973), U2 on the ZooTV Tour, Paul McCartney, The Three Tenors, the Elton John/Billy Joel joint tour and The Police on their recent reunion tour.  A couple of benefits have also taken place, notably the Sound Relief Show for bushfire relief.  Finally, proceed along Punt Road, turn right into Bridge Road.  A few blocks along on your left is a group of shops that have been constructed from an old cinema that specialised in showing Greek films. Inbetween these two developments, the cinema had been converted into a music venue called The Old Greek Cinema.  This was a brilliant venue that existed in the late 80’s and early 90’s specialising in alternative music.  Lower level chairs were removed but the sloping floor retained giving everyone a great view and the plush seating was retained in the former dress circle. The Sonic Youth and Faith No More (I think) both debuted in Melbourne here.  Unfortunately, the venue went bust on the eve of Ride’s first Melbourne gig.

Adjoining Richmond is the suburb of Collingwood notable only for alternative music institution, The Tote (Hotel) in Johnstone Street.  A small venue, its closure in 2010 owing to changes in liquor laws sparked a massive protest at which 2000 people descended on the venue.  This directly led to the formation of the Fair Go 4 Live Music movement and an estimated 10,000 attended another rally in the City.  Public pressure was such that the liquor laws were changed allowing the venue to reopen.  All this is documented in the documentary Persecution Blues.
Fitzroy, Carlton, Brunswick and North Melbourne

Proceed along Johnstone Street from The Tote towards the City and eventually turn right into Brunswick Street Fitzroy. This is Melbourne’s home of alternative lifestyles, eating and Polyester Records, Greville’s only real competitor.  It was also the location for a venue known as The Punters Club, a small venue in the mould of The Tote that has since been converted into a restrauant. At the top end of Brunswick Street is the Royal Derby Hotel, notable as the birthplace of Abba tribute band (and Kurt Cobain favourite) Bjorn Again.  Continue from there into Brunswick.  Brunswick sits at the start of Sydney Road marking the end of the great migration for bands travelling by road from Sydney to Melbourne.  At the foot of Sydney Road is an Irish Pub called Bridie O’Reilly’s.  It was previously known as The Sarah Sands Hotel, another music venue.  Swiss band The Young Gods recorded their Live Sky Tour album there on 30 May 1992.   
Sydney Road becomes Royal Parade marking the start of Carlton. On the right hand side, past the Carlton Football Ground is the portion of Princess Park that was a temporary Big Day Out venue for two years.  Carlton’s greatest claim to fame, however, lies past that.  It is the University Of Melbourne where a number of bands have been formed, notably Hunters And Collectors.  Close to the University is the Old Melbourne Motor Inn, now a student hostel, but during the 70’s the base for many overseas bands.
Adjoining Carlton is North Melbourne whose sole claim to music immortality is Festival Hall.  Located in Dudley Street, this was originally a boxing stadium. The present structure was built following a fire in time for the Olympics.  From that time until the opening of The Glasshouse as a concert venue, it was Melbourne’s major concert venue.  Just about every major touring act  in the 1960s that visited Melbourne played this venue, the most famous of which were The Beatles.  Their shows marked the first time all four Beatles played in Australia, Ringo having missed the first few dates of the tour. One of these shows was filmed and featured prominently at the end of one of the episodes of The Beatles Anthology TV shows.  But before that came the Hall’s greatest claim to fame.  It was supposedly here that Little Richard saw the Russian satellite Sputnik in the sky causing him a day or two later to throw his jewellery into Sydney Harbour and renounce rock ‘n’ roll.  Festival Hall’s acoustics are dreadful but this hasn’t stopped a mass of acts performing there.   It was where Neil Young, Talking Heads and Roxy Music all made their Melbourne debuts and both The Clash and Bob Marley And The Wailers played their only Melbourne shows here.  At least one live album – Play by Magazine – has even been recorded at this venue.

Finally, two suburbs from North Melbourne is Flemington home to the famous racecourse and the Royal Melbourne Showgrounds.  The racecourse carpark is the current home to the Melbourne Big Day Out as well as other festivals.  The Showgrounds was the original home of the Big Day Out and today also hosts the Soundwave Festival.  It is also famous as the venue for Bruce Springsteen’s first Melbourne shows.  His two gigs in 1985 as part of the Born In The USA tour were among the very first mega gigs he had performed anywhere.  The showgrounds was also the venue for the last show of The Police’s Synchronicity World Tour which effectively marked the end of the band except for the reunion shows.
Central Melbourne

Start at the Arts Centre complex at the end of St Kilda Road.  Very few gigs have occurred in the theatres there although Randy Newman performed at the State Theatre a few years ago.  Next to that is Hamer Hall a plush 2500 seat venue.  This has seen its share of memorable shows including the Melbourne debuts for Newman, Stevie Ray Vaughn, solo Brian Wilson and Miles Davis. It is also the home of the Melbourne Symphony Orchestra which has recorded live albums with Elton John and Kiss as well as accompanying a number of other acts.
Cross the Yarra River and St Kilda Road becomes Swanston Street.  This street was immortalised by AC/DC which filmed a video travelling down it whilst playing It’s a Long Way To The Top.  The Melbourne City Council has since responded by immortalising AC/DC, naming a lane after them.  (AC/DC Lane is located off Flinders Lane between Russell and Exhibition Streets.  The street sign is placed uncommonly high to prevent theft.) A few blocks up Swanston Street is the Melbourne Town Hall where Abba was given the keys to the City in 1977.  Across the street is the HiFi Bar, a venue established in what was a basement cinema but lacks the character which made the Old Greek Theatre so great.

Turn right from Swanston Street into Bourke Street and at the intersection with Exhibition Street is a large modern office tower.  This was the former site for the Southern Cross Hotel which was Melbourne’s finest hotel when it opened in August 1962.  As such it was where The Beatles stayed during their tour which resulted in a massive crowd outside.  Towards the end of Bourke Street is the Palace Theatre now run by the former owners of The Palace in St Kilda.  Previously known as The Metro and prior to that a Christian revival centre, it has also seen some great gigs over the years including the Melbourne debuts for George Clinton, Blur, The Stone Roses and Jane’s Addiction.    
Flinders Street is home to The National Theatre, more commonly known as The Forum.  This is arguably the best venue to watch a band in Melbourne.  It is also a former cinema; large sofa type seats are at the rear and the sloped floor exists for the punters up front.  The space still has its original decorative motif which is of an outdoor Roman theatre.  The ceiling represents the night sky with tiny lights representing stars. Nick Cave, Steve Earle, The Black Keys, Primal Scream, Pavement, The Beastie Boys and many other acts have played here.

Finally in the new part of Melbourne known as Docklands is Etihad Stadium, a 54,000 seater with a retractable roof, easily Australia’s largest indoor concert venue.  Like the MCG only the world’s biggest acts play here and only during the summer months.  The inaugural act to play the venue was Barbara Streisand and others have included U2, AC/DC, Bruce Springsteen, Coldplay, Bon Jovi, Eminem, George Michael and Robbie Williams.  Kiss recorded Kiss Alive 4 here with the Melbourne Symphony Orchestra.