released on LIBERATION , April 2011. Front cover, Tony Mahony.
1 rock'n'roll is where I hide 7:20
2 night of the wolverine 4 7:18
3 feelin' kinda sporty 3:19
4 I'm not afraid to be heavy 3:53
5 man on the make 4:07
6 apollo 69 4:44
7 birds 'n' goats 3:58
8 I'm gonna release your soul 3:34
9 the sheriff of hell 4:38
10 three dead passengers in a stolen secondhand ford 3:42
11 pianola roll 3:12
12 the stars,baby 3:42
13 we don't belong to anybody 4:26
New cd on LIBERATION-Available here via PAYPAL.
$25 plus postage.
art TONY MAHONY
Every band that has ever made a record and has then gone out to
do dates supporting it has found themselves thinking, after having played
the songs even a few dozen times, “Damn! I wish we could
put this stuff down on tape now!”.
Some music is delicate, and needs to be recorded that way, with not too
many people grabbing it and putting their mark on it. That kind of music
needs to be close to the spark of inspiration and the joy of initial
discovery. Even that kind of music heads off into unknown waters after
a while if you play it live. Turns out , it doesn’t get squished
and distorted into unrecognisable shapes so easily. its tough. the frame
and the dimensions can take a bit of a faster tempo or a different
kind of groove.
Playing songs over and over, you get to relax about the arrangements
and the cues and just settle down and perform it. It doesn’t get
to be by rote or anything. It doesn’t get stale, necessarily. It
gets to another kind of place. To use a watery kind of language.
You push the boat out into the river, then you run some rough water-
some rapids. All the while you’re looking out at the dense jungle
growth. Then , after a while you get to a wide part of the
river that the banks can’t even be seen anymore and the water is
all deep and still. You don’t have to tense up so much. Its working
its way all by itself.
Thats a way of thinking how a song might change over time.
The songs on this record are songs that we’ve been playing , on
and off, for a very long time. Sometimes, we went for a decade
without touching them. By ‘we”, I mean myself and Clare Moore
who are the only ones to play on any of the original recordings. Stu
Thomas has played bass with us since 2004. Stuart Perera has played guitar
with us since 1998 , when he joined us as a teenager. Stuart is the player
who has been with us the longest- ever.
They mostly learned the songs at rehearsal from me going over the arrangements
on a guitar. For some, we might have listened to the original recordings.
Mostly, we wanted to play them a bit differently and sometimes
they just grew to be different.
Pic Tony Mahony
Dave Graney, vocals, 6 and 12 string electric guitar
Clare Moore, drums, perdussion,vocals
Stu Perera, electric guitar,vocals
Stuart Thomas,Bass and Burns Baritone guitar,vocals.
mastered by Ross Cockle at Sing Sing
Cover illustration by Tony Mahony.
Recorded early 2011
Engineer for most sessions Andrew "Idge" Hehir.
Mixed in NYC by Victor Van VugtClare Moore
Produced by Dave Graney and Clare Moore.
“rock’n’roll is where I hide” is
a track that freaked me for years. i wrote it real quickly and we recorded
it the same way. It really connected with people and we have almost always
played it. I tried so many different arrangements and feels. trying to
control it. When I’ve done acoustic gigs , people have wanted to
hear it, but you need the firepower and the dynamics. its a song
about a rock singer after all. The version here is full of fire.
The vocal on the original version was not so animated. I was punchy then.
Out on my feet. This time its for real.
Night of the wolverine 4” has a light groove. I just wanted
to play all my songs with a beat as I got older and this song turned out
“ Feelin’ kinda sporty” was a real studio concoction in
its original form. An answer to a demand for a pop hit. We
did our bit to fulfil that brief. Here we just plug in and whomp it.
I’m not afraid to be heavy” is also given a cool groove by
Stu Thomas and Clare Moore. Stuart and I just lay out the chords.
A man on the Make” was on “the Devil
1997. My favourite Coral Snakes period album. We just started playing songs
from this album a few years ago as they seemed to be songs that got
away for Clare and myself.Again, its got the groove. And Stuart Perera
starts out wailing just like whoever did it on Steely Dans “Reelin’ in
the years”. A guitar solo to wind the song up.
Apollo 69” comes from 1995’s “soft’n’sexy
sound”. It always had its own weirdness and we kept a real
loose arrangement for years and I’d just spring it on the band every
now and again. Because I start the tune. The lyric always thrills me. Hefner,Castro.Watts
Towers,Guccione,Isaac Hayes,Manson. Also I get to play a filthy guitar
Birds ‘n’ goats” comes from “the soft’n’sexy
sound”. With “I’m not afraid to be heavy” it was
THE softest and sexiest tune. All kind of swamped by Rock’n’roll
is where I hide” on that collection. Always one of my favourite songs
to perform. Like all the songs on this re recording, I’m singing
them a better. In a more animated , loose and wilfully present mode.
“ I’m gonna release your soul” is a song from 1994s’ “you
wanna be there but you don’t wanna travel” album. It just developed
a lot more pop funk licks to it over the years. Always had the r&b
groove. This re recording cooks.
“ sheriff of hell” comes from that kind of lost “devil
drives “ set.
It has a killer acid r&b jazz pop groove to it. I just have to trip
out the story through the changes. Stu Perera solo is another Steely Dan
era special. He has the tone and the chops!
pic Tony Mahony
“Three dead passengers in a stolen secondhand Ford” is one
of those funny tracks that took off and people really flip if we ever
play it. The original version, on “night of the wolverine” from
1993, was kind of folky, with a 2/4 beat and a violin playing as
a focal instrumental texture.. I came up with this arrangement
one day and played it solo on an acoustic guitar a the very last gig
with the Coral Snakes at the end of 1997. Its got a cruising, Bossa
type feel to it. (I never liked that folky,earthy feel).
“ Pianola Roll” come from 1997 . “The
Devil Drives” was
an album about music and this is a song about ghostly recordings. Started
playing it a while ago and it got tougher and tougher. Asked Victor
to put my voice through a “Leslie speaker” to get that
the stars,baby”. A two chord trick from 1994. Originally recorded
for the cd “you wanna be there but you don’t wanna travel”.
This song has always worked live. No way you can screw it up. The dynamics
and the chassis hold any kind of power chordal fooling! Back then ,people
probably thought it was a whimsical, silly kind of a theme to sing
about. Celebrity. Look at the dopey magazines in the supermarket queue
and the tv screens full of the cheap glamour of reality tv and this song
should be actually pumping out in the world NOW.
The album ends , as if its been a kind of a journey. We’ve
been through all kinds of waters with rapids and slides and falls and
then we end up in this crystal clear place.
we don’t belong to anybody” is a new tune that I though we
should end the album with. its a groove. A light groove. The chords
are my kind of bitter sweet inversions and the chassis is kind of a r&b/1-4-5
thing. It says what it says. We don’t belong to anybody. Sounds
sad but we ain’t the hugging types...We were musicians who went
off for a piss and a look around and sometimes got lost but
we always kept our feet and kept swinging. Its hard to keep a band together.
You could write a book about it (but nobody would want to read
it). Its hard to keep everybody on the same page and also to keep a sense
of excitement and respect for each other and the music you’re playing.
And then theres the loose breathing of the crowd. You hear that all the
time of course.
So this album is the sound of our collective. Our band . Dave Graney
and the Lurid Yellow Mist. The songs are us. Some of them are the ones
that people told us were us too. We didn’t know. We don’t
belong to anybody.
“ rock’n’roll is where I hide” was
recorded in melbourne over a few days and then mixed in New York
by Victor Van Vugt. We set up and went through the songs. One or two
takes. We knew all the tempos and the changes and the feels. I got sick
after the first day and then the band did the second day without me.
A week in a small room with a fever and then I came in and did
my last guitar parts and all the vocals. All that stuff gave it a sense
of drama and heroic occasion . Windows were involved. Windows for People
availability and Victors schedule in New York. It gave my voice a low
end I hadn't had but screwed with my falsetto. It made me step
up the animation and mugging . I acted out a lot more. It was then
or never. As the mixes went on my falsetto came back and I did
some of the vocals again at our studio and sent them to Victor via the
Magic Box. The whole recordings got PRESENCE!. You can't dial that shit
Victor Van Vugt left Australia in the early 80s with myself and Clare Moore when
we were in the Moodists and never permanently came back. There was a brief
return in 1995 to produce our “soft ‘n’ sexy sound” album.
He produced Beth Ortons breakthrough album as well as the follow up and has also
worked with PJ Harvey , Nick Cave and the Bad Seeds, Mick harvey, the Walkabouts,
Augie March and many others.