The Aints Play The Saints (73-78) national tour in November led by Ed Kuepper and an all-star band is selling out all over so new shows have been announced.
The gig at Melbourne's Caravan Music Club has joined Sydney's The Factory Theatre as a pre-tour sell-out. Limited tickets remain for the other Melbourne show (November 18 at the Corner Hotel) and all other shows in Perth, Brisbane and the Gold Coast.
Due to demand, Sunday, November 26 has been set aside for a performance at Aussie World on the Sunshine Coast and tickets are on sale via aussieworld.com
2017 was a great year to celebrate the 50th anniversary of The Velvet Underground & Nico and "Forever Changes", the 40th of "(I’m) Stranded" and the 25th of something great (and local) which came out in 1992 that was more than likely one of Ed Kuepper’s. And speaking of Mr Kuepper, let’s launch into this Top Ten the Barman asked me to do.
I’ll just prattle on about live shows I’ve seen as they’re probably more entertaining than my thoughts on Cosey Fanni Tutti’s autobiography "Art Sex Music" which isn’t rock & roll enough or director Kriv Stenders’s recent feature documentary on the Go-Betweens which is probably too wimpy for readers in I-94 Land.
Fair enough - they’re not everyone’s cup of tea – especially if you prefer coffee.
1.-7. THE AINTS 2017 AUSTRALIAN TOUR OF THE EAST COAST
Apparently the best way to describe someone who follows Ed Kuepper’s shows from town to town is to call them an Edhead. In 1976, Saints fans were known as Kuepper Troopers as it was understood that even in those early days it was Ed’s band - up until 1978, at least.
So fast-forward to 2017, The Aints awake after a 25-year hiatus and decide to tour through the most of the country’s capital cities doing Saints material from ’73-’78.
2017...the year that was...and yes I have Sinatra's ''It Was a Very Good Year'' going through my head. Actually, it had its ups and downs but I'll focus only on the ultra good, in no particular chronology.
My musical year started with a performance with the Queensland Symphony Orchestra as my backing band at The Tivoli. in Brisbane. We played my most recent album “Lost Cities” in its entirety, as well as a selection of material I did for the “Last Cab to Darwin” soundtrack, plus earlier solo and Laughing Clowns tunes. “Ghost Gum” and “Collapse Board” were real high points for me.
Richard Davis conducted and made the transition from the garage to the concert hall for me not only possible but an enjoyable experience. Robert Davidson did the orchestral arrangements and brought the songs to life in a context I'd often dreamed about doing but hadn't actually heard.
Richard Wenn put the whole thing together. It would not have happened without him. His enthusiasm for bypassing the “greatest hits” approach and general tenacity made it work. Thank you, Richard.
We did the show again in Cairns a little while later, this time with a slightly trimmed-back orchestra (even flat-stacking them, there are only so many orchestral musicians that fit into the back of my ute.)
This was also great and quite different due to the smaller orchestra. The whole thing has been a great learning curve for me. Thanks, one and all.
The next thing I went on to do was what was announced as my last ‘’Solo and By Request'' tour, this time taking in all those out of the way and rural places I don't get to that often. The idea for these shows started in 2013.
KC goes to more live shows than your mother goes to Tuppaware parties. Here's his Top Ten of Sydney gigs.
EVEN – NEWTOWN SOCIAL CLUB
A power pop fans dream and a very early “gig of the year” contender from the Fab Three. Supported by the wonderful On and Ons and Soul Movers on a stinker of a summer EVENing. Is it heresy to say I like them and their songs so much more than You Am I? I eagerly await the Christmas Even show at The Landsdowne on December 23.
THE APARTMENTS – THE FACTORY FLOOR
A wonderful set of sparse songs, full of emotion, not sentimental but heart tugging and soul searing. Spare and simple arrangements enhanced by nuanced and subtle musicianship of Peter Milton-Walsh’s fellow musicians, including Amanda Brown.
DIED PRETTY – ENMORE THEATRE
Following on from two cracking shows in 2016, Ron Peno and co delivered another amazing set and they were the band of the night at Radio Birdman’s big show. Brett Myers, what a guitarist.
The Aints in full flight: Peter Oxley, Paul Larsen and Ed Kuepper, with Alastair Spence obscrured. Mandy Tzaras photo.
You knew something special was up in Adelaide tonight because as you approached The Gov, heading determinedly back to the carpark was a small group of lone pushing-toward-pensioner men, each clutching the same record: “The Aints Live at The Sarah Sands 1991”. There can’t be too many left of this, they only made 300; get yours at the gig; two LPs, $50.
Ever hear of Reid Fleming, World’s Toughest Milkman? Good. Now you have.
The first comic came out, it must’ve been 30 years ago. I had a T-shirt, gave it to Bob, who has cherished that damn thing for about 25 years now. I did my heart good to see Bob bouncing around tonight in that tattered t-shirt. “I thought I told you to SHUT UP!” Fleming bellows from the shirt. It perfectly matches the night.
Johnny Thunders and the Heartbreakers famously played “rent parties” at the turn of the ‘70s when they’d finished living in the UK and were back home in New York City.
What proportion of the proceeds from their sporadic gigs went towards keeping a roof over their heads was purely speculative. There were other activities to feed and audience members used to throw loaded syringes onto the stage.
Things were a world removed at the Manning Bar in Sydney on Friday night, where the audience threw two bouquets of flowers at Ed Kuepper.
We’re drawing a very long bow here, I know. This was the first leg of a modest two-city run (the next one in Melbourne on March 23) by Ed’s band The Aints. Chances are, the most popular drug in the room was Lipitor. The objective here is not to pay the rent – shit, Ed Kuepper now has a Brisbane park named after him so he can always live on a bench there - but to fund new recordings.
If that’s not exciting news, you’re in the wrong bar.