Observations From Isolation: Ch.7 – On The Demise Of Civility…

Observations From Isolation: Ch.7 – The Demise Of Civility (As It Were… And Still Is…)

(Originally written in August, 2017, but still pertinent today…)

For the past ten months or so, as befits a hobo journalist with relatively new paternal responsibilities, I’ve been moonlighting at the servo in town. Slingin’ petty, as the local grommets call it. It is, for the most part, a good little gig that affords me both the flexibility to continue plying my literary trade, all while allowing me to provide a bit extra for my fledgling family; a good balance at this point in my life, I feel.

With this newfound outlet though, has come a startling realisation. For these months past, as I’ve slung petty to countless people both during the day and through the night, I have come to realise that the demise of civility is upon us. A dark day is dawning, one where people care little for others and where good manners are naught but mere refuse, cast from the windows of speeding cars, left to fester in roadside ditches along with other antiquated and little-used notions like respect for one’s elders, chivalry and downright common sense.

In this day and age, it seems, people are far too wrapped up in their own lives to spare a thought for anyone else. Even the simple task of greeting someone is beyond some people, the thought of a ‘thank you’ come the end of the transaction now little more than a flight of fancy. I have lost count of the number of times someone has come in to pay for their fuel, and hasn’t even acknowledged that I exist, not even a look.

I was brought up to be polite, so perhaps that’s why this lack of common decency sticks in my craw. And I too, over the course of my adult life, have been wrapped up in whatever it was I was doing, and so have spared little thought for other people at times, of that I am surely guilty. But I have never thrown anything at anyone, I have never unleashed a torrent of abuse at someone, I have never told anyone they were worthless. All of this has happened to me in the past ten months, and it fair makes me wonder what the world is coming to.

Eighteenth century English writer Mary Wortley Montagu said that “civility costs nothing, but buys everything” – it seems, in an age where instant gratification is king, where a sense of entitlement, as bold as day, has settled over the landscape, that not many are aware of how cheap civility is, and how far it truly goes. Granted, giving me a smile and a cheery greeting won’t pay for your fuel, but I can guarantee it’ll get a smile in return, a bit of pithy banter and a good feeling buzzing about in your stomach. It’s basic human interaction, but I can tell you it’s beyond a vast majority of people I come across.

So why is this? When did civility begin its demise? Has it been this way for a while, but because I’ve not been privy to it on a daily basis, I haven’t realised? Perhaps people have become so used to online interaction that a face-to-face exchange has so become alien and strange, the muscles in people’s faces slack and flabby from underuse and so unable to form a simple smile. Good lord, it paints a grim picture of the future, make no mistake.

All I can do then I suppose, is try my best to ignore what I find abhorrent (along with practising my ducking and weaving). All I can do is stick to the ideals on which I was raised, and try my best to pass them on to my own daughter. All I can do is get on with my own life, paying proper respect to others along the way, all the while hoping, just hoping, that perhaps people will return the favour, and we can do our little bit to help restore the civility this world so keenly needs.

Observations From Isolation: Ch.6 – Life On The Frontline During COVID-19…

I should begin by qualifying the above title. For you see, I am in no way a medical professional, far from it, and even further from it for me to insinuate that what I’m doing is anywhere close to being as ‘frontline’ as these people; these doctors, nurses, pharmacists, GPs, paramedics and countless other medical pros are the ones who are doing it tough in order to keep people healthy and alive, and hats off to every single one of them.

No, my frontline activities are far more trivial – I work in the local bottleo, and while the government has deemed this an ‘essential’ service (indeed, woe betide any Australian governing body which sees fit to deny The People a drink, and in a time of crisis, no less), it hardly seems fair to call it, really, ‘frontline’.

So I’m naught but a humble slinger of suds, a bourbon broker, a vino vendor. I am also, for better or worse, a talker of entertaining shit, a sometimes surly retail worker, someone who in order to pay the bills as freelance writing all but dries up, dons a logo-d t-shirt a few times a week, punches a clock and serves the grotty masses their daily swill.

A bottle shop is a decent enough place to work. It is, as you’d expect, a good source of exercise; the money is solid; the hours are fine. It’s also a front row seat to the spectacle that is humanity, in that the constant flow of human flotsam that wanders in through those sliding glass doors provide an unending source of amusement, disgust, of sympathy and displays out outright eccentricity.

The big, burly, shirtless bloke who one would think the quintessential iconography of something like Tooheys New, or XXXX Gold, who is well and truly addicted to Passion Pop. The young surf guys who come in and, between five of them, split a case of Vodka Cruisers. The 19-year-old girl whose taste in shiraz is far more advanced than most three times her age. The older lady who wears hearing-aids but delights in not turning them on and so speaks at top volume, listens to nothing (not that she can), berates you in good humour and waltzes out, leaving those not used to her, in a state of shellshock.

Steve – old and grey-bearded, scrawny and sun-leathered – comes in from mowing lawns all day and walks straight up to me to talk footy. I’m a known Broncos and Queensland supporter among the League tragics in town, and so usually, playful banter is at a premium. In the current climate though, rivalries are forgotten as we commiserate together about how there is no football, and when will the football return?

Old ladies will walk towards me to ask a question but they won’t stop a metre and a half short and so I’m backing away from an old bird half my size, lest she get too close. I back into a shelf and have to tell them to stop where they are. They always apologise and look embarrassed.

Bus driver Dave, with his huge and droopy white moustache, buys the same two bottles of cheap semi-sauv every couple of days and then stays to chat for ten minutes, forgetting that people are waiting for him to move away from the counter so’s they can buy. Alicia, always in big hat and sunglasses, no matter the weather or time of day, buys her two bottles of slightly more expensive sauv-blanc, and always asks how you are.

Max, who used to run pubs, shuffles in for his XXXX Gold longneck and a bottle of chardonnay and cracks jokes but is very much concerned with your welfare. He’s just had a hip replacement, and I ask him how he’s feeling. “A lot bloody better now,” he snaps over his shoulder, “although I can’t bloody well go anywhere, can I? But how are you going? Surviving?”

People don’t read signs. They’re incapable of reading signs. A bank of fridges broke down last week, seven doors behind which sit all the pre-mix spirits and ciders, getting warmer and warmer as the fridge backfired completely and, sometime on the Sunday night, started pumping hot air instead of cold. It got up to 35 degrees in there.

So we put signs, at eye level, on each and every one of those fridges while they were being fixed, a two day operation. I lost count of the number of times someone came up to me, genuinely concerned for the most part, to tell me that they thought the fridges might be broken, and did we know, because everything was warm. I look at them for a second, a long and silent second, before saying, yeah, that’s why there are signs on the doors. They stare at me, and then laugh, and they walk off as I roll my eyes and continue stocking the longneck shelves.

I wear black, latex gloves, the same kind you’d see on a tattoo artist. I stand behind the Perspex screens that have been erected in front of the two tills at the counter. I sanitise the gloves every few customers. If I’m heaving cases, I’ll not wear gloves but I’ll wash my hands ever ten minutes or so. I use my shoulder to heave open the heavy coolroom door.

People walk in and make jokes about Corona beer. There’s a stack just inside the door; people laugh and say they feel sorry for whoever makes it. It’s still selling like hotcakes. Someone says they drank ten Coronas last night and so this morning they had coronavirus (to be fair, that one was pretty good… at least the first time I heard it). Someone else will pick up a case and feint a pass to a mate, “Look out mate, Coronavirus” and they’ll guffaw and I’ll roll my eyes again.

Occasionally someone will get testy about something. (“But the customer is always right,” they’ll say indignantly. “A common misconception,” I’ll deadpan back). I feel, in the current circumstances, a bit of dry humour works well. At least in the main.

To be fair to the flotsam flow, people are generally well behaved and if they fail to follow a sign, or the arrows marked in blue tape on the floor, a quick and friendly remonstration is all it takes for an apology, and an about-turn to follow the correct path.

You’ve got to keep it tight, in the bottleo, people know that, for if they want a drink, well, you need to toe the line. I tell them this, and they look at me a bit worried but I’ll smile and they’ll smile and we’re all good.

Every person is a threat, every piece of money a potential carrier of infection, every cough a gun-shot. But a bottle shop is a decent place to work, and while we’re not saving any lives, life on the ‘frontline’ flows on.

Observations From Isolation: Ch.5 – Tiered Waterfalls, Up In The Hills…

Observations From Isolation: Ch.5 – Tiered Waterfalls, Up In The Hills…

 

We get to the

Top of the Bitumen Hill

And I pull onto the side

To lock the front wheels and then

Kick it into four-high and we turn

Off the scrappy blacktop onto dirt and head

Up and east.

 

There are houses at first,

Decent size and structure tucked

Into the dense rainforest

But we leave them behind quickly and

It’s nothing but green and swaying ferns and

Palms.

We wind the windows down and smell

The peat and the moisture coming up

Off the forest floor.

 

We catch glimpses of the

Ocean through the

Trees and the land falls away to our right

As we climb higher.

 

The road is fine, packed hard and almost

Pink gravel, running divots cut through in

Places from recent rain creating diagonal

Speed bumps. The truck

Shudders and bounces across them

And stabilises. I sip coffee

Carefully between bumps, quickly averting

My eyes from the road to tuck the

Cup back into its holder.

 

We find a spot, high up, to park,

Tucked against ferns and backed

Against a fallen log. We cross

The road, with the small stream running beneath

That then finds freedom on the other side

Through big concrete pipes that make you think

Of sewage, but the water is

Clear and clean and is colder than the air.

Adeline skips ahead on the

Slippery rock and we have to tell her to

Be careful but she doesn’t stop, just laughs

And keeps on skipping.

 

The rock tiers naturally, small steps

Downward, rivulets running and dropping

Then pooling before finding a gap

And gravity helps it along.

 

Birds call in the trees and there’s

No one about at all. You think

You hear a car somewhere further down one

Of the tracks but it turns out to be a lone,

Small, plane somewhere not too high above

Joyflighting over the emptiness of

It all.

 

Some parts are steep and you need

To find a way, a different way, off the

Track, somewhere easier to slide, to

Tumble, to step down to the next level

Where the water pools again, deeper this

Time under trees with dappled sun lighting

It in a way that makes the clear water gleam

Like nothing you’ve seen gleam before.

 

We race leaves down small runs to

See which will get there first. Mine

Always seem to end up caught under

Loose grass and Addy’s make it clear to the

Next pool.

 

We find the end, a proper drop to

Valley below, the view across Myocum

Towards Byron and the sea glittering in the

Middle distance. We sit

And eat mandarins and peanuts and sip

From the water bottle and find long grass

To make swords and we throw our fruit peel

Into the long scrub and sit and watch

The view.

Observations From Isolation: Ch.4 – Deep South, Pitbulls and Disused Railways…

On Walking The Track… Isolation In Nature… Pitbulls And Graffiti… No Sound But The Birds…

There’s a winding track a five or so minute drive from our place, that cuts through bushland and under the highway, running the couple of kilometres between north Ocean Shores and Billinudgel. It’s only wide enough for walking or bike riding, concrete bollards at each end stopping any cars coming through. It’s wild and untamed off the edges, but the track – cracked bitumen with faded white dividing lines down the centre – remains true and it curves lightly through the growth, little used by anyone aside from those in the know.

We regularly drive down, park the truck at the eastern end and pull Addy’s scooter out of the back. She darts ahead on three wheels and chatters constantly, picking up sticks and waving them in the air while we wander slowly behind. Aside from the tiny talk, it’s quiet and seemingly remote, a reconnection with nature as you make your way westward, stopping occasionally to peer through the trees, to look up to the arching canopy overhead.

Parts of it reminds me of the American deep south, rural parts of Louisiana in particular as you head west from New Orleans toward Baton Rouge and Lafayette – away from the interstate and the large towns that congregate along same, winding single-lane roads cut through isolated hamlets, past tiny white-painted churches and lean-to shacks partly hidden in groves of pine laden with Spanish moss, pick-up trucks parked haphazard in front.

There’s no hanging moss here, no rusty pick-ups or various houses of the lord, but it has that same lucid melancholy in the way the lantana grows right up to the cracked bitumen, hiding most that’s behind it all aside from the top third of power poles, the remnants of past industry, marshy wetland and rusty tin-topped sheds stacked with rotting rail timber and bolts the size of your forearm.

The only remaining signs of the actual rail line, as it were, are the rickety sleepers and oxidized iron that bridge the lethargic brown water of Marshalls Creek.

When you’re not close to the highway, all you can hear are the birds. You can’t see them, but they’re set in the trees and they call to one another like they’re the only living things ever to have been. Butterflies waft through on the occasional breeze, blue and orange, and clouds of grey moths disturbed by footfalls through the low grass on the edge of the path, puff up into the air in a silent frenzy before settling again once their danger has passed.

Walking under the highway, it’s a different scene altogether; brutalist and sparse, giant concrete beams span the width of the underpass and road-trains boom by a few metres above your heard, the sound below duller but echoing across culverts and divots in the scree piled out from the track. Storm water pools in stagnant ponds behind wilting wire fences and graffiti murals span beams, adding colour to an otherwise dull and grey concrete expanse.

Spent cigarette butts dot the darker grey of the rock, and there’s an empty cardboard carton of bourbon and cola cans half submerged in the muddy brown water.

At the Billi end, the track passes close to a residential property, a fibro shack built right up to the path, its grey wall scrawled over in green paint a paranoid message hinting at hidden security cameras. I can’t see any. Two pitbulls run the length of a wire enclosure across the patchy grass, barking madly, downing out the birdcall. It’s here that we turn and begin the walk back, under the highway, past the old rail bridge and the metal-encased cabelling running endlessly north, back under the canopy, the roar of interstate traffic fading behind us as we head east, to be replaced with the birds

We round the final curve and can see the truck sitting against the bollads were we left it. Addy scoots up to it and flops over in the grass, her helmeted head seeming far too large for her body. The birds call in the trees overhead as we load up and drive home.

Observations From Isolation: Ch.3 – Golden Orbs, Pirates & Dance Parties…

Golden Orbs On Thick Strands… Pirates In The Bottleo… Dance Parties About The Loungeroom…

Two golden-orb spiders have built a huge and complex web off the side of the palms bordering the driveway. I pull in at night after work and they hang directly above the driver’s side door; I have to slip out and around the back of the truck, walk down the passenger side lest I come face to face, in the dark, with their spindly legs.

In the mornings, when I head down to the beach, or go and buy some bread, a newspaper, they’ve extended their empire and thick and sticky strings are looped around the side mirror, the radio antenna. When I back out, the big diesel engine throbbing, the strands pull and then snap and the huge web bends and flexes, its occupants jarred into quick action before web and spiders settle and I’m free and away to start the day.

There’s something intriguing about the fact they’re working together – something oddly unsettling as well, but I don’t think about it too much until I’m face to face with them again later on.

There’s a mass of smaller orbs about the garden too, they’ve proliferated in the past couple of weeks, stringing webs in the little native trees out the back, off the edge of the clothesline, across the gate into the back garden. Mostly, they’re off to the side but occasionally they need to be gently dissuaded from invading public space and so a broom handle or a fallen palm frond snaps strings and the webs fall back gently so’s you can walk past.

They’re so delicate they float on a breeze you can’t even feel.

On Tuesday just gone, darkness fallen, sometime between seven and eight o’clock, a pirate wandered into the Bottleo, a pronounced limp and a grizzled, grey beard. Surprisingly bright eyes and clear, tanned skin though – I tried to guess his age but failed; he could have been forty or seventy.

Big, black leather boots, a ratty and long black coat, brown leather tri-cornered hat on his head, fingers adorned in silver, crystals and opals and all sorts hanging around his neck. Homeless but cheerful enough. He bought a small bottle of port, paid for it in change, then leant against the counter and talked to me about whisky. As befits a pirate.

He was surprisingly articulate, well travelled. He knew his whisky. We compared favourites, we both like our single malts heavily peated. He wasn’t crazy. But he was dressed like a pirate. I saw him the following day, down in town crossing the bridge in the sunshine but still covered in black with his long coat, the bright light flashing off his ringed fingers, the bottle of port nowhere to be seen.

Claire and Addy have dance parties in the loungeroom. They plug a phone into the stereo and find something they both want to listen to. Addy quickly runs into her bedroom to find a dress that twirls and then runs back out saying she can’t find her ballet slippers. They’re usually on the floor in plain sight. The two of them hold hands and swing around the coffee table, around the couch and Papa’s old armchair which sits, faded by decades of sunlight, just inside the front door. They try out new dance moves and Addy will then run into my office to tell me they’ve got a new dance move and that I have to come out and see it.

I sit on the couch and watch them dance, Addy’s dress swirling around her waist, both of them laughing, getting sweaty from the lingering summer humidity and the exertion of it all. Eventually they both fall into a pile on the floor, laughing, legs flailing and I stretch out on the couch and laugh too. This is our isolation.

Observations From Isolation: Ch.1 – Desperate Times…

These are desperate times and so desperate measures are required.

People are confused, their eyes dart right then left and they stand stock still, although not for too long lest they be pulled up by the authorities and told to move on. People aren’t quite sure, and so no one is moving fast, no one knows what to expect.

Desperate measures for desperate times. People adapt and do what they can to survive. The Fear is almost done perhaps, but the waiting – the interminable waiting – is in full swing. People wait, they tentatively go about their lives all whilst thinking to themselves how much their lives have changed, and they wait.

Do they think this is the new normal, or is it hard to adjust and to keep swimming as the current switches like a whip without a second’s notice? Some go with the current while others buck against it.

Places once viewed as naught but pit-stops have become all important places to meet, to catch up, to reconnect, albeit at a distance and in almost hushed tones so as not to affect anyone else, so as not to give the impression that one is flaunting the rules and congregating, mingling, whatever the opposite is of social isolation, of distancing, of doing for the good of the People what one should.

The supermarket and the bottleshop, these are the places where people meet now and so both, usually quick-stop-move-on types of places, ring with the laughter of friends reacquainting under the bright lights, in front of the craft beer fridges, leaning against the cold meat freezer, flirtations in the pasta aisle, catch-ups lit gold by the coolroom glare, recollections of isolation to the smell of BBQ chicken fresh off the rotisserie.

People wave from passing cars far more often than they used to and one wandering the streets is all too keen to wave back. It doesn’t matter who’s flung an arm from a slow-moving truck, it’s Someone and so the interaction is enough to elicit a response and a retelling of the episode once the wanderer has returned home. Home, wherever that may be.

People read the news more than they did and yet the news is dying.

These are desperate times and so desperate measures are required. It’s the new normal, but how normal is it, and when will the waiting end? You’re lonely, bored, sick of the whip-quick current switch and so you head to the bottleshop, hoping someone you know has the same idea so you can catch up, a casual elbow-lean on a stack of promo beer on the shop floor and interaction is once again achieved. Before you’re required to move on once more.

1990s Music Still Sound As Ever…

The 1990s. Musically, a monster of a decade. A bustling local scene, myriad venues thriving, people spilling from pubs and clubs creating a happening soundtracked by the most powerful of sounds ever to be wrenched from electric guitars, bass and drums, thudding and raw, a real time. Indeed, truly the greatest musical decade of all, at least according to anyone who was out and about during those heady days.

To be fair, anyone who was out and about in any decade will tell you the same thing; their music was the best, their venues, their scene, and anyone who disagrees is just plain wrong. Given the subjective nature of music however, this is no surprise. There actually are no right and wrong answers, and who’s to argue otherwise?

It’s always those from decades past who are the most vocal in this instance too; not many kids out there today will be assailing you with reasons why this decade we’re in right now, is the best. No, it’s those from times gone by, those who are now in their forties (at least), have kids, jobs, mortgages and all that sort of thing.

It seems, with responsibility, comes a hefty dose of nostalgia.

And this isn’t a bad thing. Life today is vastly different to how it was ten, twenty, even two years ago. It’s faster, it’s more connected, the world is smaller and people are louder. In the past few months alone, we’ve had ruinous bushfires, calamitous floods, there’s a virus on the loose across the world and those in power are seeming further and further out of touch with the common man.

So what can the common man do in these troubling times? When looking forward has never been more important, looking back plays a part too, an element of nostalgia acting almost as a balm to problems being faced in the present; those times back then were great, and for a short time, I can forget about the fact that, today, the world as I know it is ripping apart at the seams.

A little over a month ago, radio presenter and writer Jane Gazzo came up with just such a balm, creating a Facebook page entitled Sound As Ever (Australian Indie 90-99). In almost five weeks, this group has grown rapidly, now home to over ten thousand members, all of whom have spent the month just gone trading stories, pictures, memories, and videos of independent Australian music from the 1990s.

The enthusiasm these people have for that time and place is as infectious as COVID-19. Their love for this music runs as deep as an overflowing coastal river. Their passion burns as hot as a runway fire front. And it’s fuelled by a nostalgia for times gone by, times these people regard as ‘the best’.

My time spent ingesting music properly – as in, going out to gigs, buying CDs, actively being a part of the scene – began in the late ‘90s, and so for me this social media group has been almost an education, a filling in of the blanks as to what was happening in the seven years before I got on board, down in Melbourne as a rock ‘n’ roll obsessed 17-year-old.

I’ve spent more than a few hours in the past month trawling through countless posts from people – not just people who were in the industry in the ‘90s, but people who were genuine, dedicated fans – reminiscing about this time and place. Band photos, ticket stubs, grainy video, ads in street press, countless posts beginning in similar fashion: “Hey, does anyone remember [insert band x here]?” Invariably, lots of people do and so there are precious few posts in this group that don’t have at least a dozen comments below them.

I’m sure most of the 10,000 members of Sound As Ever would agree, that the ‘90s wasn’t necessarily the ‘best’ decade in music, Australian or otherwise. And indeed, no one can definitively say that it was, or wasn’t. What is very plain to see though, is that the element of nostalgia that this group has unearthed is playing a vital part in the lives of these people (myself included) who are older, who have kids and jobs and endless responsibilities but who fondly remember a time and place, one fuelled by music, and one which is just as important to them today, as it was when it was happening.

Perhaps even more important. Because you can run out of patience in people who are supposed to be governing, you can run out of faith that the world is doing OK, you can run of toilet paper. But you can’t run out of memories of the ‘best’ decade in music, ever.

Samuel J. Fell

 

Well Vaughan

[Published in Rhythms Magazine, Mar/Apr 2020)

After more than half a century playing the blues, Jimmie Vaughan is an icon – and he doesn’t just play the blues, writes Samuel J. Fell

Jimmie Vaughan’s dogs are barking. You can hear them, faint, in the background, running riot on his ranch, a little ways outside of Austin, Texas, where he’s lived for years.

It’s the ranch that blues built. Somewhere to come and recuperate while not on the road, rest the metaphorical barking dogs. Somewhere to perhaps contemplate over half a century spent grinding out the gritty and muscular version of this music particular to Texas. It’s a brand of the blues made famous by the House of Vaughan, Jimmie and little brother Stevie Ray indeed synonymous with Stratocasters wielded in just such a way as to make one think of nothing other than the Lone Star State, and that’s just how it’s been ever since way back when.

Vaughan is a lot older now, but he’s not pulled back. Age hasn’t slowed his flying fingers, it hasn’t dulled his rockslide voice. Age has, in no way at all, blunted his love of this music, of this feeling.

“What I love about it, is so many things,” he says after a pause, thinking on what at face value is a simple question, but that really has depths and depths – what is it about the blues that you love?

“I love the theme, about a man and a woman, about being in love, or not being in love, it’s about life. It’s the same as a Hank Williams record, you know?

“I mean, you have what we call the head, the head of the song which is the theme, but in the middle, the solos are wide open… [the possibilities] are endless, and it’s easy to change as you go along. Your guitar playing kinda moves a little this way, a little that way – you’re really playing what you feel, at that moment, that’s the plan.”

Vaughan talks of these song middles being played “in real time”, meaning, in the true spirit of electric blues in general and Texas blues specifically, that they’re never played the same way twice, as every time you’re playing a song and the opportunity comes up to really move, to ad-lib, as he says, you can go wherever you’re feeling you need to go.

Where Jimmie Vaughan has been, in a broader sense, is everywhere. It began for him in Dallas, Texas, where be began to tread the path he’s now worn for countless others, back in the late ‘50s and through the ‘60s – “If I didn’t do this, there wasn’t any other plan,” he’s been quoted as saying. “But even as a kid I knew I loved music, and particularly the blues.”

Other bands in Dallas weren’t really hitting it for the young guitarist though and so right at the tail-end of the ‘60s, just after the fabled summer of love (which wouldn’t have made too much of an impression in Texas, one would think), Vaughan relocated to Austin, the state’s thriving musical hub, and it was here that he began to find what it was he was looking for.

The Fabulous Thunderbirds, the group for which Vaughan is most well-known, debuted in 1974, a group made up of local blues aficionados all schooled at local venue Antone’s, a tough and ready blues group who released four albums between ’79 and ’82 before losing their recording contract, regaining it in ’86, and releasing three more albums before Vaughn left the group in 1990.

The Fabulous Thunderbirds travelled the globe, their music, sound and general sonic motif informed as much by Vaughan’s guitar as it was Kim Wilson’s voice and harmonica. This was, at the time, where Jimmie Vaughn belonged.

Things change though. Vaughan left the group; his younger brother died tragically in a helicopter crash, just after the pair had recorded their first album together; his priorities changed.

Jimmie Vaughan’s first solo album, 1994’s Strange Pleasure(which contained the Stevie Ray tribute, ‘Six Strings Down’) was the gateway to a new era of the guitarist’s life, an era which has extended and extended, an era still going. Indeed, this is his era, and things are different now.

“When I first started playing, I was in a band that was really working, we were making money,” he recalls. “We had to play some of the Top 40 stuff… we were playing at colleges and people like that, they wanted to hear certain things. But now, I get to make a record and just play whatever I want to hear. And usually, there’s fans there that like the same kind of thing. That’s the difference.”

***

Vaughan’s latest release is Baby, Please Come Home(May, 2019). It is, in a sense, a tribute album, continuing a trend he’s been toying with over recent releases, “a series of albums dedicated to the songs he’s always held in high esteem, recorded by artists that inspired him from his very earliest days of performing.”

(On how he managed to distil to a mere eleven tracks songs which have had such an influence on him, he says it’s relatively easy – first, does he like the song? Second, can he sing it? He and the band then “try a lot of stuff, and if it works we keep doing it, if it doesn’t work we don’t do it.”)

So Baby, Please Come Homeis a tribute, a paean to the players who’ve had a role, no matter how small, in shaping this iconic player. What’s interesting about the track choices then, and if you’re familiar with the music of Jimmie Vaughan it’s not that surprising, is the range of influence.

Yes, the blues is there. It’s there in Clarence ‘Gatemouth’ Brown’s ‘Midnight Hour’ and Jimmy Reed’s ‘Baby, What’s Wrong’. It’s there in Chuck Willis’s ‘What’s Your Name’ and T-Bone Walker’s ‘I’m Still In Love With You’. But there’s also R&B, jazz and soul (Lloyd Price, Etta James and Bill Doggett), doo-wop (Richard Berry) and country and folk (Lefty Frizell and Jimmy Donley). It’s a mixed bag of influence, all done over with Vaughn’s trademark brush.

“I do a lot of old, what they call hillbilly songs,” he explains, on something he’s always done, not just for this record. “But I do ‘em as if I didn’t know they were hillbilly.”

“I love all that stuff… my uncles, when I was a kid, my uncles on both sides of the family were in hillbilly bands, they played country and western and all those kinds of things,” he goes on. “When I was a kid, I didn’t really understand the difference. I just think of it as American music, country music, blues, it’s all the same thing, really.”

Technically then, Jimmie Vaughan isn’t really a blues player – as was noted in a recent review of Baby, Please Come Home, “Vaughn completely ignores modern electric blues trends… the past is present and future.” So what does he call himself?

“People call me blues, and they understand what it is, so I say yes,” he shrugs. “But if you ask me what I’m doing, I’m just playing songs that I really like and that I remember from when I was a kid. And once in a while we write one, which sounds like the old ones.”

He breaks off his thought to laugh, like it’s funny this music has so seeped into his psyche that he can’t help but write like the music he knows and has known his entire life.

“You know, really I’m just doing what I love, that’s what I’m doing. And everybody should do that, right? Everybody should do that, everybody should do what they love.”

“It’s a lot of fun,” he then says, steering himself back on topic, still playing this music after more than half a century. “It doesn’t get old.”

He’s right. While the man himself might be getting on in years, while his dogs may be barking louder and more often, the music itself, the playing of the music, the sharing of the music with as many people as Jimmie Vaughan has, does not get old. It’s the blues, and in Jimmie Vaughan’s hands, it just keeps on keeping on.

Due to the COVID-19 pandemic, Jimmie Vaughn is no longer touring Australia in April 2020. Baby, Please Come Home is available now via The Last Music Co.

Main image credit – Skip Bolan

Cedric Burnside – The Legacy

[Published in the Jan/Feb 2020 issue of Rhythms magazine]

BURNSIDE AS BURNSIDE

Cedric Burnside comes from storied roots, and while he’s his own musician, he’s keeping true to the soul of the music that defines him, writes Samuel J. Fell

Cedric Burnside answers the phone, says he’s expecting my call. I tell him I’ve been looking forward to chatting and he smiles, “All right, all right,” he says. He’s at home in Holly Springs, Mississippi, enjoying some time off after a long year spent taking his brand of hill country blues far and wide. “I’ll get to rest up a bit,” he says. “Well needed.”

Burnside – son of drummer Calvin Jackson, grandson of the legendary RL Burnside, drummer and guitarist and songwriter, currently the man at the centre of Mississippi hill country blues – has been touring hard on the back of his first solo album, Benton County Relic, released in late 2018. It’s not his first release by any measure, but it’s the first it’s just him, it’s all on him.

“It’s something I always wanted to do,” he says on making an album that was his – not The Cedric Burnside Project, not his partnership with Bernard Allison, not anything he ever did with guitarist Lightnin’ Malcolm. “I love collaborating with people and stuff like that, but I always knew I wanted to do a solo album. I always knew I wanted to play the guitar like I hear it in my head, and write the songs like I have them in my head.”

Benton Country Relic is Burnside and drummer Brian Jay. It was recorded in Jay’s Brooklyn studio. It’s pure hill country – a heavy percussive foundation, overlayed by driving guitar, repetitious and boogie-fuelled. It’s Burnside, make no mistake.

Burnside, ever since he began playing the blues, has been a drummer; indeed, he was drumming in RL’s band at age 13, and it’s been behind the kit where he’s contributed most – with the likes of RL, Jessie Mae Hemphill, Kenny Brown, T-Model Ford, Paul ‘Wine’ Jones, as well as more contemporary acts like Widespread Panic and the Jon Spencer Blues Explosion. And so a key difference to making this solo record was stepping to the front, and swapping the skins for six strings.

“I always wanted to play the guitar more,” he muses. “Of course, I love the drums… but guitar is my newfound love, so I wanted to play it more, and I definitely wrote more songs playing the guitar.”

It may come as a surprise to learn that Burnside has been playing the guitar for almost fifteen years, seriously the past seven years. And he’s taken to it naturally, which should notcome as a surprise, given his pedigree. “Because I’ve played drums so much, I’ve always had to play music to the other guys, and let them do it their way,” he explains. “So it’s a good thing for me to hear the music like I hear it in my head, and play it like I want to play it.”

Benton County Relic(the ‘relic’ part of the title nothing to do with Burnside himself, but the music: “So many of my friends when they heard this music were like, man, it sounds like something old, back in the ‘60s.”), is the calling card of a man who knows where this music is coming from. There’s another record in the works, Burnside looking at heading back to the studio as early as this month, but it bears investigation as to how important it is for him – again, given his pedigree – to keep the torch burning.

“Oh man, it’s very important, I don’t even have the words to explain how important it is,” he enthuses, almost in awe of the position he’s in. “I’m not trying to fill shoes, of course, I wouldn’t dare try to do that.” He briefly name-checks his dad, his grandfather, Junior Kimbrough: “It’s kinda hard to fill their shoes.”

“But I can make my own mark and keep this music alive, because this is what I learnt from them,” he goes on. “It’s in my blood… I think they’d be very proud of me to keep it alive, and also not contaminate it with anything, trying to be what I’m not. I am hill country blues, I’m from the old school, and that’s how I wanna keep my music.”

Burnside tells of his big daddy (his name for RL) playing him Muddy Waters and Fred McDowell records when he was young. “I might have been only one of the grandkids, of fifteen or twenty, who sat there and listened to that music, saying ‘What is this?’” he laughs. “It captured my heart; it’s what I love the most.”

Benton County Relic is available now via Single Lock Records. Cedric Burnside tours Australia in March, see his website for details HERE

CW Stoneking – A Man In Shadow

[Published in the January / February issue of Rhythms magazine, 2020]

IN THE SHADOWS

As CW Stoneking contemplates his next album, it’s in the solo guise – just him and his shadow – where you’ll see him next. By Samuel J. Fell

Christopher William Stoneking is reclining on the bed of a non-descript hotel room. The lights are off and, save for the flickering of the television set which washes his face bright one second and returns it to shadow the next, he’s hard to see; an eerie setting which seems, in equal measure, both odd and fitting for a man who’s never been one to do things by the book.

Stoneking is in Sweden, in the town of Lund to be precise. It’s late on a Friday evening for him, a travel day, no gigs, he’s just come in from Germany, having already played shows in Berlin and Hamburg, Switzerland before that, Belgium before that, the Netherlands, France, Spain, Greece.

He has a few shows in Sweden over the coming days, then a couple in Norway to round off a grinding European tour. Then he’s on a break for a while, before hitting the road in North America in late January, through most of February, before returning home to Australia for a run of shows in March.

CW Stoneking & His Own Shadowis how this tour is billed, and it’s in this guise – solo, just the man, a guitar and his clutch of songs – that he’s been seen over the past couple of years. These days based in Nashville (after a couple of years in the UK in the late 2000s, coinciding with Britain’s mini blues boom), Stoneking has been looking to crack the American market – notoriously fickle when it comes to outsiders playing ‘their’ music – and so has pared things back, taking to it mostly on his own.

“That’s pretty much all I’ve been doing the last couple of years,” he concurs, on playing solo. “It was my manager’s idea to do a couple of [solo] shows in Australia, and the first one I did I fucking hated it, I hadn’t played solo in, I don’t know, five or six years.

“And so I scared the shit out of myself so much on the first one, that I practised really full-on over the next couple of days, then the second show I liked, and just got into it.”

“I’m very confortable with it now,” he says, when I venture that, as a solo player, there’s nowhere to hide, but that perhaps that’s become part of the appeal; the stripped back necessity of it all. “Some of the things that were a challenge at the start, feel pretty natural now.

“At the start, I had to make a lot of new arrangements to the tunes… Yeah, but I guess [the old guys], they would do that – imitate pianos and things like that, that’s sort of how I learnt to played anyway.”

Back to his roots, in a way. “Yeah, sorta,” he muses.

***

Stoneking – known as CW, as much for brevity I suppose, as anything else – came to prominence in 2005 with the release of his first long-player, King Hokum. He’d been playing about for a number of years prior to this, his fascination with pre-war blues and jug band music, along with his knack for storytelling and a somewhat odd persona, endearing him to a growing audience around Melbourne for the most part, the occasional dalliance further afield.

King Hokum brought to life something old and dusty, brushed it off, spun it on its head and released it afresh to an audience who found something new within it all. Stoneking, with his mumbling way of singing, his slicked back hair and black preacher suit and hat, tattooed and wont to pepper his banter with casual expletives, seemed a little uncomfortable with the attention but carried on as if nothing out of the ordinary was happening.

Something extraordinary washappening though, albeit on a small scale, as far from the epicentre of this most American of musics as is almost possible. As has been noted in the American press, here was “a fine purveyor of American roots music who also happens to be a towering, youthful-faced white Australian man,”a man who, in reference to the way he talks and sings, carried an accent that “isn’t quite his own… but when he speaks, it is in that same soft, slow drawl that caresses his music. With another musician, it could all come across as tacky and distasteful, but not with Stoneking.

“He is so deeply immersed in the world that his music conjures that it’s hard to imagine him any other way.” Stoneking was doing something that was striking chords – not many players of the blues in this day and age are able to do this, and yet this most mysterious man from country Australia was doing just that.

Something I’ve always admired about the man’s music is the possibility that it presents – while I’m listening, I too am fully immersed in the blues, the country, the elements of jazz and hokum, of New Orleans and the Congo, but I’m also thinking ahead somewhat, wondering what else this fearless purveyor of all manner of rootsy sounds will come up with next.

His second record, 2008’s Jungle Blues presented straight up what the possibilities were (a steaming melange of blues-inflected, calypso-stained sounds), as did his eventual third long-player, Gon’ Boogaloo (2014), which threw a further curveball, an all-electric affair, Stoneking hunched over his Fender Jazzmaster, dressed from head to toe in white, old rock ‘n’ roll the album’s sonic motif.

Each album has offered something different, whilst building from the base which Stoneking has made his own; that of the blues. And so what of his next offering? The gap between albums has been widening, the sounds contained within widening too. The possibilities are almost endless, and so the question must be asked then, what will CW Stoneking come out with next?

***

“I’ve hardly been listening to any music for a while now,” he says languidly. We’re talking about what’s been inspiring him, sonically, and what he’s been toying with.

There’s no hurry to release anything, and as he says, “I’d be perfectly fine to put out a record every year if I had good shit,” he shrugs. “But if I put that many tunes together in a year, they’d be shit, to be honest.” He laughs at the perceived absurdity of it. “I just can’t do it,” he laughs, “I don’t feel like I’m much of an instrumentalist, you know?”

A return to playing with a band is perhaps the only thing Stoneking is sure of regarding his next album, an offering that is very much in the works, but again, there’s no rush – he’ll release when he’s ready, and indeed, it’s a slow process for him. “It takes me a long time to learn how to play what I wanna do,” he says. “I’m better at thinkin’ up shit, than actually knowing how to play it.”

His initial thought was to “get a horn band, maybe down in New Orleans or somethin’,” but he’s moved past this idea. His current home in Nashville has offered up more of an enticing possibility, that of a string band, a stripped back version of the country combos that have plied their musical trade in the south of the US for decades.

“I’m thinking maybe a string band, get ahold of some bluegrass players or somebody,” he says. “Not to do bluegrass, but good harmony singers and there’s all these different places to go with that.

“I like the idea of a small group, I might try and do as much as I can with a three-piece, like double bass, maybe mandolin or something… I hear some of these old Italian mandolin virtuosos, it sounds great. Cos they’re all playing amazing shit… sounds like an orchestra. So I’m kinda into stuff like that.

“I feel like this long period playing solo again, has got me a bit more fulsome in my playing, so I’ll find a couple of guys.”

Stoneking reclines further on the bed, thinks a little about what he’s just said, perhaps about how far off it is, perhaps an idea for a tune is forming. Either way, his mind is slowly churning, the bits and bobs that will eventually come together to form whatever it is he releases into the world next, slowly building. As far as he’s concerned, this is life, and this is how he lives it.

“I like it a lot, I really like touring. I like making tunes,” he says of it all. “I have a natural disposition to be a procrastinator, to be lazy, even with things I like. But I enjoy it, and once I’ve got ‘em done, I love playing them, I don’t get bored of my own songs.”

“[And so] I’ll just keep making batches of tunes,” he smiles. “I’m gonna be bald-headed soon, so, whaddaya gonna do about it? It just goes like that, I don’t care… I’ve got some real nice guitars, I’ll get some records out, I get to travel ‘round and eat some tasty food. If I can keep on doing that, and everything is cool with my kids, then what else are you gonna do?”

CW Stoneking plays the Port Fairy Folk Festival, March 6-9. For all other tour dates, see Stoneking’s website HERE