whiskey priests

Singer, songwriter and multi-instrumentalist Kim Volkman has been part of Melbourne's live music scene for 38 years.

He's played in bands like The Severals, Ian Rilen & the Love Addicts, The Patron Saints and Kim Volkman and the Whiskey Priests. He's currently treading the boards nationally, as bass player for the current line-up of X.

His autobiography "The Devil Won't Take Charity" will be launched at Robarta, St Kilda on September 3, 2017 from 2-5pm. Join the Facebook event here.

Pre-orders are open and you can score yourself a copy of the limited edition, signed book for $30 plus postage by emailing This email address is being protected from spambots. You need JavaScript enabled to view it. There are also copies on sale at X shows.

“For Those That Dance with the Skeleton”
by Kim Volkman
(Self published)

It was George Bernard-Shaw who said: “If you cannot get rid of the family skeleton, you may as well make it dance” and it’s a maxim St Kilda musician-turned-author Kim Volkman has applied exceptionally well.

Kim’s first book, the autobiographical “The Devil Won’t Take Charity” (2017), was a rip-roaring Harley ride through his own back pages that hung out enough dirty laundry to keep 10 dry cleaners in work for a month.

“For Those That Dance with the Skeleton” is occasionally more of the same but in vignette form. These are short stories about OCD girlfriends, workmates, dentists, rostered days off, kicking smoking and indulging addictions (like guitars and heroin) all rendered in unique style and peppered with dry humour.

KIm Volkman and the Whiskey Priests come from Melbourne. No shock there. Most of the best Australian rock and roll does. And this is a record - like most of them - with a beginning and an end. No shit again, Sherlock. The distinction is that the songs at each end book-end and define what's inbetween - and it's pretty fucking great.

The slightly frayed vocal of opening track "I'm Still Standing (Alive and Well)" and its swaggering, Oz Rock chug suits its survivor sentiment to a tee. And the cover of the Jagger/Richards classic "Silver Train" that closes the album is pulled off with consummate, ragged ease.

Stones and Oz Rock. They're children of the blues. Throw in the inevitable Ian Rilen and the Love Addicts comparison (more on that later) and you'll appreciate how "The Devil Won't Take Charity" nails its colours to the masts.