Wheatsheaf Hotel, Thebarton, Australia - June 22 and 23, 2013

My dad used to say that nothing was free. There's always a catch. There's a reason that nice man on the street is giving away Bibles, Robert.

He was right, of course. Those free music magazines you pick up for the what's on this weekend guide, the reviews of pub food, new beers and pricey wine, they make their living from the adverts. Stop putting in the stuff that the people with money to spend want to see and they'll stop bending at the creaky knees to pick it up. And the advertisers start to wonder why they're paying four or five hundred bucks a week. Self-evident, yeah? You don't change a money-making formula unless you can make more.

Headonism
By Peter Head with MJ Cornwall
(BookPOD)

The history of Australian rock and roll is chockablock with yarns about people who had their shot at The Big Prize. Adelaide-born Peter Head (nee Beagley) gave it a better shake than most,  rising to prominence as pianist for prog rockers Headband, touring his bum off and playing in a pre-AC/DC band with some bloke named Bon Scott.

This is a man who rubbed shoulders with everyone from Elton John to John Mayall, John Farnham to the Rolling Stones. Adelaide-raised, Head did what a lot of Aussies did in the‘60s and followed his nose to work as a muso in England...only to suffer the same fate as many, if not most, of his peers and have it rubbed in Pommy squalor.

In the ‘80s Head transplanted himself to Sydney and became a fixture in the piano bars of Kings Cross. It was probably a natural progression for a bloke who kicked off his career as a 13-year-old backing bump-and-grind dancers in seedy Hindley Street bars. Along the way, he directed stage shows, toured nationally with the likes of Robyn Archer, carved out a regular place on the bill of the Adelaide Festival, filled in as backing pianist for “Here’s Humphrey”. 

Night Comes Down
By Bob Short
(Earth Island Books)

Who could trust time when reason was lost?

I got pretty lucky. I did all the dumb things and I'm still here.

First, it's such a delight to read that I've snorked coffee over it several times in my usual cafe, as well as other unpleasant substances on the bus. So, if it's a horror story, it's one where you spray coffee over it, your table, pants and some lady's nice white frock. 

Perhaps you could instead think of “Night Comes Down” as an amusing memoir with layers of horror? No, that won't work, there's just too much real horror. 

Even the unreal can still feel like it is real. That hunk of meat in our heads is a totally unreliable narrator. We make excuses for things and pretend things never happened and yet weirdness is always nipping at our heels. Is anything true?

Perhaps you'll read it and think it's all made up. Strangely enough, Bob Short is (as usual) one step ahead of us.

Craic As It Happened
By John Foy
(Past Present Future/Skull Printworks)

Tis the season for confessional show-and-tell Australian music books. Journalist Stuart Coupe had a shot with the entertaining “Shake Some Action”, and then underground label head-turned- mainstream industry publishing chief, Roger Grierson, gave us the rollicking “Lowbrow”. Now it’s John Foy’s turn.

Foy spent many years as a behind-the-scenes operative in the febrile underbelly of the Australian underground music scene. He kicked off in retail, made a mark as a poster designer and then became the driving force behind the Redeye and Blackeye record labels.

Like his mate Roger Grierson, he’s never been a household name, but if you bought or heard a record by Beasts of Bourbon, The Clouds, Deniz Tek, The Crystal Set, The Cruel Sea, Kim Salmon and The Surrealists and even Radio Birdman in the mid ‘80s or early ‘90s, you entered his orbit. Redeye gave the bands wide distribution via a hook-up with the multi-national Polygram/Phonogram major label operation.

Blues Portrait: A Profile of The Australian Blues Scene Volume 5
By Pauline Bailey (Pauline Baileyu Art)

You could call Melbourne visual artist and author Pauline Bailey a “blues preacher” but James Blood Ulmer got there first with an album title. “Blues evangelist” works better anyway.

Pauline’s been self-publishing this series of soft cover “Blues Portrait” books since 2019 but the title is a misnomer. “Blues” is a tag in such broad use that it’s slipped its shackles almost to the point of redundancy. It means many things to most people.

The Blues were born into impoverished and downtrodden circumstances but are better characterised as a feeling than a school of academic thought. As the author points out, there’s traditional blues and there’s music that’s been influenced by the blues, Her books span both.

Travel In Peace. Word and Image
by Jeremy Gluck
(Incunabula)

You remember the 1970s and 1980s. Band appears with different, infectious single. Then a few more. Then ... they develop, they change direction ... and finally splinter off. Some maintain their creative imperative, releasing occasional (often astonishing) items which don't make the hit parade but... often resonate far more satisfyingly than those callow original singles. 

It's as if the relentless click-clack-clatter of their internal engine just cannot be stopped, and they jump tracks in search of a different destination, another way home...

Now, to change the subject completely...