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Posted in Blog    //    Post Date - March 20, 2018

The Soundhouse Music Alliance is a not for profit organisation (with DGR tax deductible status) which has grown over a 30 year period. Its aim has always been to encourage community members to become creators of music rather than passive consumers.

Many key partnerships with schools and cultural organisations, state education authorities and specific provider groups have been forged over this period to broaden the range of programs supported through Soundhouse Music Alliance.

A very significant long term program developed by the Soundhouse Music Alliance has been the Special Access Kit Project using the Banana Keyboard. This was first invented in 1992 to assist those with disabilities to be able to access meaningful music making. The cornerstone was the design of the Banana Keyboard as shown below.

The curved design went through several development stages, but was designed to be able to sit across a wheelchair.  The large scale of the keys meant that those without fine motor control are able to produce coordinated musical sounds, and other sounds chosen to suit the activity being undertaken.

The keyboard shown in the picture also allowed switches to be connected to further enhance accessibility.  For example, a student without hand movement could have a switch fitted to the headrest of a wheelchair, and thus participate in a music group by triggering the sound of a bass drum, or the bark of a dog at the appropriate time in a sound story.

Over 100 of these units have been placed in institutions for use by music therapists, and over the years many of these have been rendered unworkable because of software issues. Soundhouse has been funding a program to locate and offer software upgrades to make these valuable instruments usable again. The response has been overwhelming and we are working to get this program to fruition.

Over 80 of these kits were place in facilities such as special schools, arts facilities & hospitals, across Australia, and a dozen in international locations. Programs using this kit at Arts Centre Melbourne won the Arts portfolio leadership award in Victoria in 2011.
In order to update software, and make the units wireless, we launched the Special Access Kit Upgrade project to identify and provide these upgrades to a group of facilities keen to be involved. We have shortlisted 12 facilities in the initial group.

Here is your invitation to be involved!
To upgrade Banana Keyboards, each kit will cost $960 – and this will make a huge difference to the engagement in music making for countless kids.

 We are seeking donations from the public and companies to support this project, and would like to provide 3 levels of donations to support our target of :

What your donation will provide
$960 – A complete upgrade of software and hardware for one school or facility
$480 – Half a kit upgrade including either the complete wireless midi system or the batteries and charging system
$120- Provide the Radio Module to allow transmission and receiving of signals from the keyboard to make it Bluetooth compatible (as an example)

Alternately, you may wish to specify another tax deductible amount you would like to donate in support of this worthy project.

You can donate here

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Posted in Blog    //    Post Date - March 20, 2018

Australia’s cult-classic hip-hop/crossover act, Butterfingers, have announced an extensive national tour set to kick off this March. It will see th em hitting  up all capitals and rural hotspots around the country with Sydney MC (and Big Village label chief) Rapaport in tow.

Known for their tongue-in-cheek humour and irreverent hits like ‘FIGJAM’ and  ‘Yo Mama’, the   band are also releasing their second single since coming off their ten-year hibernation from recording with their latest left of centre earworm, ‘Bullet To The Head’. It is the 2ndsingle to be lifted from a forthcoming album due for release later this year.

Drummer Damien Green is still recovering from a broken elbow sustained during a terrible skateboarding accident two days before their NYE extravaganza show in Darwin. The band will have replacement drummer Tony McCall, aka T-Bone, since he’s managed to reserve some free time between cracking skulls in the MMA ring and melting faces from behind the skins with Wolfmother, Resin Dogs, Jamiroquai and a list of ten million other bands too lengthy to mention.

“There are spots on this tour that we haven’t played f or 7-10 years  and considering how pumping our recent shows have been, and the kind of response we are getting from the new single, we’re just chomping at the bit to get out there and tear it up!” – “Evil” Eddie (vocals)

Bullet To the Head Tour
Thursday 29th March 2018
Club 54 – Launceston, TAS

Friday 30th March 2018
Republic Bar – North Hobart, TAS

Saturday 31st March 2018
Ed Castle – Adelaide, SA

Sunday 1st April 2018
The Gasometer Hotel – Collingwood, VIC

Thursday 5th April 2018
The Basement – Belconnen, ACT

Friday 6th April, 2018
Gearin Hotel – Katoomba, NSW

Saturday 7th April, 2018
Factory Floor – Marrickville, NSW

Friday 13th April, 2018
Spotted Cow – Toowoomba, QLD

Saturday 14th April 2018
The Brightside – Fortitude Valley, QLD

Thursday 19th April 2018
Settlers Tavern – Margaret River, WA

Friday 20th April 2018
The Sewing Room – Perth, WA

Saturday 21st April 2018
Prince Of Wales Hotel – Bunbury, WA

Friday 27th April 2018
Gum Ball Fest – Balcones, NSW

Friday 4th May 2018
Hotel Brunswick – Brunswick Heads, NSW

Saturday 5th May 2018
Miami Tavern – Miami, QLD

Saturday 26th May 26 2018
Big Pineapple Fest – Nambour Sunshine Coast, QLD

Butterfingers website:  http://www.butterfingers


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ROCK THE BOAT 2018 – Cruise with your classic rock faves

Posted in Blog    //    Post Date - March 18, 2018

Rock The Boat once again hits the high seas in 2018 (21st-28th October 2018), with an incredible local and international line-up. With a theme focused on embracing the finest rock music from the 1970s and 1980s, the eighth annual cruise features headliners Foreigner, best known for their #1 international hit I Want To Know What Love Is. The line-up is rounded out with iconic rock acts such as The Romantics, Ross Wilson, Russell Morris, Shannon Noll, Eurogliders and Chocolate Starfish. Showcasing some of the best vocals, musicians Mark Gable, Jason Singh, Reece Mastin and Dale Ryder will join 2018’s line-up as supergroup The Voices. A total of 40 incredible artists will be part of the seven-night event.

Travelling onboard the luxurious Radiance Of The Seas, music-goers will also get to experience the sights of Isle Of Pines and Noumea in New Caledonia, departing from Sydney this October. There are a massive seven venues on Rock The Boat with artists performing day and night, so there is always a musical extravangza happening for rock fans. Rock The Boat is part of the respected Choose Your Cruise brand, and is one of the flagship cruises that have been a stalwart on their cruising program. Caitlin Manov from Choose Your Cruise says one of the things that sets Rock The Boat apart is the fact that audiences can experience their favourite bands in a plethora of different atmospheres – from an arena style event to intimate showcases.

“Depending on what you want out of your day, there is a different experience waiting for you in each venue,” she says. “From the authentic English atmosphere in the intimate setting of the Quill and Compass, to the relaxing sounds poolside at the pool deck, a comfortable and elegant cabaret theatre overlooking the wake of water the ship leaves in its path in the Colony Club, you will find different artists performing day and night to keep you captivated throughout the whole cruise. The beautiful Aurora Theatre spans three levels, which provides a great seat for anyone in the venue to enjoy the incredible shows our headliners provide. Incredible acoustics and lighting gives our passengers the full experience of an arena show in a smaller setting in comparison to some of the venues you would see these artists back home. You can get up front and personal with them at the front of the stage which is always encouraged and gives passengers special memories they won’t soon forget.”

Since its inception, Rock The Boat has been bringing some of the biggest names in rock n roll to audiences. For organisers, it is a big job from planning to fruition. Caitlin says the utmost importance is ensuring the theme of the cruise fits together organically for audiences to enjoy. “The planning process for any of our cruises takes approximately 16 months from the initial stages to sailing,” she says. “Booking the artists to perform before we release the cruise is one of the most exciting parts, as we carefully sit down and make a wish list of acts depending on the general theme of the cruise we are putting together. 2018’s cruise has a focus on rock acts from the 70s and 80s so it was without question we would love to have Foreigner on board. Luckily the artists we were hoping to have on the cruise were available and it fell into place nicely. This will be the first time all of these artists have performed on the same bill, let alone on board a cruise so we are very excited for what magic will happen on board in October.”
The cruise sees a lot of return guests, making Rock The Boat their annual holiday experience. Likewise, there are a host of artists who come back year after year and plan their touring around the cruise. For Caitlin and her team, return visits mean they have got the chemistry right. “It is an honour to have passengers and artists alike come on board year after year,” she says. “It truly is like catching up for a family reunion every year when you get on board in Sydney and run into friends you haven’t seen all year but know you will be spending a week together on board the ship. The sense of camaraderie and artistic energy on board is incomparable to anywhere else on land. Punters and artists leave their worries at the pier in Sydney and are all engaged for a week of music and great food in a luxury setting, how could you not want to come back.”

The cruise isn’t just about experiencing great live music – there are also a host of onboard passenger experiences to enjoy. From the Mr Belly Flop competition, to The Ship’s Biggest Conga Line and Air Guitar Wars, there is something to delight all ages. Other events include Lip-Sync Battle and Island & Nautical Back to the 80s dress-up theme parties. Plus, the chance to meet your favourite artist at intimate artist signing sessions.

The week of music is certainly going to be first class if the 2018 line-up is anything to go by. Foreigner barely need an introduction to rock loving audiences. With an extensive back catalogue the features the likes of Cold As Ice, Hot Blooded and Waiting For A Girl Like You, they have been delighting music fans for four decades. Its founder Mick Jones was inducted into the Songwriter’s Hall Of Fame for his stylistic songwriting and indelible guitar hooks. When the band reformed after a hiatus in 2002, they re-cemented themselves in the local scene, taking the band’s music to a new generation of fans. With lead singer Kelly Hansen reputed as one of rock’s greatest showmen, time spent in the company of Foreigner is always unforgettable.

Detroit’s The Romantics help round out the stellar line-up in 2018. From the release of their debut LP in 1980, their hits include What I Like About You, When I Look In Your Eyes and their acclaimed cover of The Kinks hit She’s Got Everything. Fast forward four decades, and they are still revered for creating some of the most influential and beloved rock songs of all time. When it comes to Australian artists joining Rock The Boat, it doesn’t get much bigger than the likes of ‘The Real Thing’ Russell Morris and ‘Mr Eagle Rock’ himself Ross Wilson. They return for their second and third performances repectively and are back by popular demand.

Just some of the other artists who join the 40-plus live acts include Stylus, Kevin Borich, Phil Emmanuel, Tim Gaze Band, The Lisa Edwards Band, Harrisongs (A Tribute To George) and Machine Head (Deep Purple Experience) to name a few. Bringing together the proverbial who’s who of rock music in Australia, Rock The Boat is shaping up to be the event of a lifetime for holiday-makers looking for a rock music festival at sea.

Tickets for the 2018 Rock Your Boat music festival at sea [21st-28th October 2018] are on sale now, departing from Sydney. Pricing starts at $2,615 per person, twin share (interior stateroom).

For more information, contact your local Cruiseco agent or visit or call 1300 247 371.


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Posted in Blog    //    Post Date - March 16, 2018

Port Fairy Folk Festival Folkin’ Rocked

Report and photos by Rob Walker

The beautiful town of Port Fairy once again hosted an estimated 25,000 people of all ages and persuasions on the Labour Day weekend and presented a wide variety of talented performers too. It is going beyond what the purist would regard as a folk festival but the line up did present something for everyone, while still focusing on elements of its roots.

My festival started with Shane Howard’s Exile concert which focused on the theme of forced emigration of the Irish in the 19th century and also featured Troy Cassar Daley and Andy Irvine. Aside from leaving one shocked once more at the brutality of British occupation, the concert left an imprint of the spirit of a race which profoundly influenced Australia’s culture and politics. And the playing by the traditional backline was sublime. Lighter moments came with the Topp Twins giving Barnaby Joyce and unsuspecting others a hard time, and everyone else a yodelling lesson. The Cartridge Family … full of laughs. Soaring vocals from Sarah Carroll, Suzanna Espie, and bassist Rusty Berther. Riffmeister Nicky Del Ray excelled on guitar. Stories of jiltedness from All Our Exes Live in Texas (can’t imagine who’d leave any of those ladies) and the Hillbilly Goats, made it good fun to be on the job.

Lots of electric guitar on show too at this year’s event – Melbourne Guitar Show favourite, Shannon Bourne shone in Skronkadoodledoo featuring Chris and Fenn Wilson, a show, so in your face, it made the festival deck chair obsolete. Julz Parker made her Stratocaster sing in her band Hussy Hicks, my personal best on ground at Port Fairy. Her other half (with respect to the rhythm section) Leesa Gentz completed an outstanding duo.

Maton Guitars continued its long association with the Festival and presented guitars to Chris While and Julie Matthews, as 2018 PFFF Artists of the Year and to 2018 Emerging Artists, Josef and Jan Prasil who are Amistat.

An interesting session with famed human rights lawyer Geoffrey Robertson QC, focused on the role of folk music in the protest movement over the past couple of generations. He spoke of the way it was suppressed in the gag martyring of Pete Seeger and others, to its ultimate triumph as a voice in protest movements for human rights and against abused authority that has changed major events and the world in general. Other silk was on display too with Archie Roach, Tex, Don & Charlie, The Black Sorrows and Breabrach from the UK were a talk of the town.

Nick Charles again headed an outstanding line up at the annual Guitarists Concert, with Harry Manx, Julz Parker, Jeff Lang, Jimmy Hocking and John Hudson. The Women Out Loud concert hosted by Sarah Carroll stirred the emotions with stories and songs from Chris While & Julie Matthews, Faith Ristic, Gina Williams, Josienne Clarke, Pauline Scanlon, Rebecca Barnard, Sophie Koh and YolanDa Brown which went from reaching for the tissues to driving everyone to their feet, chanting the reggae classic ‘Is This Love?’, with a message that it’s all you need to ask.

The tribute to Irish folk punk band The Pogues, marking Shane MacGowan’s 60th birthday was a highlight and must have been great fun for the performers who included The Teskey Brothers, Hussy Hicks, Steve Polz and many more.

The PFFF respects up and comers too and provides plenty of opportunities. Young singers like Stella Donnelly and Claire Anne Taylor were given an opportunity to shine.
Check out our video interviews with Stella and Claire

The list goes on and on. Spoken word, story-telling, songwriting workshops with festival artists and local instrument craft was on display too.
The wonderful thing about Port Fairy is that you can see so much good music and arts outside of the festival arena … in churches, halls, pubs and open spaces around the town, it is a great vibe.

This festival is a serious community undertaking, which, as mentioned in our recent interview with director, Caroline Moore, contributes not only to the music industry in a major way, but also to the local community. It is largely staffed by an army of volunteers and the community benefits because of this hard work.

Sorry we couldn’t get around to see everyone, but such is the size and depth of the program.
We’ll be back, again…



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Posted in Blog    //    Post Date - March 13, 2018

Review: Greg Phillips. Pics: Ian Laidlaw

The laconic Jens Lekman strolls onto the Melbourne Zoo stage unannounced, armed with his parlour-size acoustic guitar as his charming stories from Gothenburg to Melbourne begin to flow. His local 3 piece band, which is merely 3 days old join him soon after and add sympathetic piano rhythms, punchy bass and mellow violin. Telling the story behind I Know What Love Isn’t, Jens reveals that he’d considered a visa-extending, faux marriage while he was living in Melbourne but couldn’t go through with it because a) it was illegal to do so and b) he’d never be able to write about it! The Swede’s quirky brand of folk-pop is a fitting entree for the picnic-blanketed audience who are bathing in the last of the day’s perfect sunlight, eagerly awaiting their Brooklyn-based main act.

Grizzly Bear hit the stage and waste no time in kicking into epic sonic territory with the majestic Aquarian from their latest album ‘Painted Ruins’, a disc they’ll milk for much of the night. The song’s chilled outro, the perfect accompaniment for the tranquil surrounds, punctuated only by the occasional call of a wild beast in the distance. Losing All Sense, a song which precedes Aquarian in album track order, this time follows. Yet Again showcases the bands harmonies and songwriting strength.

A nondescript, ragged black curtain raised prior to the band’s set becomes a work of art once darkness falls and dramatic coloured lighting turn it into a cave-like panorama. Ed Droste’s vocal is hypnotic. The band’s collective harmonies are mesmerising. Brazen guitar chords add an edge to the alluring synth and piano sounds emanating from the stage, ensuring an impenetrable buffer between dark beauty and saccharine sweetness.

Droste mentions that he was wary of being booked to play a gig in a zoo, fearing it was a sign that their local following may have dropped a notch. However, he explains that the band is pleasantly surprised to discover such a wonderful, special venue and one of their largest Australian crowds to date.

If there’s a criticism to be had it would be that much of the band’s music seems to be constructed in similar keys, yet variation in tempo and vocal arrangements generally nullifies such foibles. It’s only when a couple of similarly sounding tracks are bookended that a period of flatness falls upon the set but hey, we all secretly wish for a bathroom or drinks break at a gig don’t we?

Another ‘Painted Ruins’ track, Mourning Sound motors along before Droste suggests that the view from the stage is so chilled, that he too wouldn’t mind being out there checking out a band on such a gorgeous night. He acknowledges support act Jens Lekman and the band fire up the familiar intro to Sleeping Ute from 2012’s ‘Shields’, followed by the pounding piano chords of Two Weeks, which ups the venue’s energy levels a rung or two.

A haunting extended version of the gentle Foreground from ‘Vecktimest’ captivates us all … well almost all … the infuriating chatter from a small group of selfish few who seem to be immersed in their own little social bubble, are ignorant of the usual gig-friendly etiquette which dictates that the music at a gig like this is to be heard and enjoyed by all. What can you say? Dickheads gonna be dickheads.

As the night progresses, intros and outros extend, merging into a singular bewitching soundtrack to an enchanting star-lit evening. Songs become symphonies. While You Wait For The Others ends the set proper with the audience singing along to the chorus they’re so acquainted with.

The band return with Shift, a track from way back in 2004. It’s not exactly high-energy, stimulating encore material but bleeds well into Sun In Your Eyes, which swirls and builds to a crescendo, ending the concert in as grand a fashion as it began. It’s a sign of a band who have moved on from merely delivering album tracks and now seek to craft a performance aimed at eliciting emotion.

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Posted in Blog    //    Post Date - March 9, 2018

EveryOneBand is currently the biggest band in the world that you’ve never heard of.  Yet.

EveryOneBand already has over 500 members including Midnight Oil (Peter Garrett, Rob Hirst, Jim Moginie, Martin Rotsey, Bones Hillman), Izzy Manfredi and The Preatures, Cold Chisel (Jimmy Barnes, Ian Moss, Don Walker, Phil Small), Powderfinger (Bernard Fanning, Ian Haug, John Collins), Murray Cook, Anthony Field, Jeff Fatt from The Wiggles, Mondo Rock (Eric McCusker, James Black, Paul Christie), plus Paul Kelly, Kate Miller-Heidke, The Angels, Baby Animals, Moving Pictures, GANGgajang, The Church, Delta Riggs, DMAs, Sheppard, Ross Wilson, Megan Washington, Kirin J Callinan, Deborah Conway, Kasey Chambers, Patience Hodgson, Wendy Matthews, Diesel, Richard Clapton, Rai Thistlethwayte, Katie Noonan, Steve Balbi, Hayley Mary, Brendan Gallagher, Mark Williams, Eric Weiderman, James Valentine, Mark Gable, Leah Flanagan, Alex Smith, Gary Pinto, Jade MacRae, Peter Maslen, Café At The Gate Of Salvation gospel choir and many, many, many more.

These amazing artists have all joined EveryOneBand and are inviting EveryOne else to join as well. They’re also contributing to the band’s first single, Stand By You – and so can you!

The first step is to join EveryOneBand – just visit hit the ‘join’ button, enter your details and you’re in. You’ll then receive an email with a link to the Resources page containing backing tracks, sheet music and chord charts. Download the backing tracks and anything else you need, record yourself singing or playing along and send us your file. Easy!

Your contribution will be added to the final mix then we’ll produce the song and make it available for download and streaming on Friday, 18 May 2018. We’re going for a Gold single and a #1 chart position with proceeds going to the charity Support Act.

Imagine being able to tell your mates, the kids and grandkids that you were in a band with Barnsey, had a Number 1 hit – and have Gold record to prove it!

The EveryOneBand project has been organised by GANGgajang’s, Mark Callaghan, who said “Joining the band is easy, free and there’s no auditions! You can record as much or as little as you want! Anything, from a flute to a triangle part is welcomed”.

Once the track has been mixed and mastered, everyone in the band (and their family and friends!) can purchase a copy from their favourite digital store to help us make it to the top of the charts and go Gold (the only rule of EveryOneBand is that no-one gets a free single!).

If the record is certified Gold, EveryOneBand members will all receive their own certificate to frame and hang on the wall. Next stop, an ARIA Award!

100% of all record royalties and all profit from merchandise goes to Support Act, the Australian music charity assisting musicians, road crew and anyone that has worked professionally in music.

“Being in a band with 1 drummer is hard enough,” grins Mark Callaghan. “We’ve got 52 already and counting! But we want more! So join the band, record yourself, send us your recording and you’ll be in the biggest band ever!”

This is your once in a lifetime chance to be in a band with the likes of The Oils, Chisel, Kasey Chambers or the guys from The Wiggles – join EveryOneBand now at

To find out more about Support Act and the important work they do go to

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Posted in Blog    //    Post Date - March 8, 2018

Experience Hendrix and Legacy Recordings, the catalogue division of Sony Music Entertainment, has proudly released BOTH SIDES OF THE SKY, a dynamic new Jimi Hendrix album featuring 13 studio recordings made between 1968 and 1970 – 10 of which have never before been released. The album will be released on multiple formats including CD, digital, and as a numbered 180 gram audiophile vinyl 2LP.

BOTH SIDES OF THE SKY is the third volume in a trilogy of albums intended to present the best and most significant unissued studio recordings remaining in the music legend’s archive. Beginning with VALLEYS OF NEPTUNE (2010), which earned top ten sales rankings in fifteen countries (including a top position of #4 on Billboard’s Top 200 Album Chart), followed by PEOPLE, HELL AND ANGELS (2013) which peaked on Billboard’s Top 100 album chart at #2. Billboard’s coveted number one singles ranking went to ‘Somewhere,’ the album’s lead track and the legendary guitarist’s highest ever US singles chart achievement. This third release is anticipated to complete the spectacular recording event in epic fashion. “Since Experience Hendrix began its restoration of the Jimi Hendrix music catalogue in 1997, our goal has been to present these important recordings to Jimi’s fans in the best possible quality. We are excited about achieving that. We’ve also been intent on generating album releases which present this amazing music in its proper context,” explains John McDermott, one of the album’s co-producers, together with Janie Hendrix and Eddie Kramer.

Recorded between January 1968 and February 1970, Jimi’s desire to push the boundaries of blues music can be heard throughout. BOTH SIDES OF THE SKY additionally highlights Jimi’s mastery of studio production and his increasing use of these facilities as a proving ground for new sounds, material, and techniques. Many of the album’s tracks were recorded by the trio that would come to be known as Band of Gypsys: Jimi on guitar and vocals, Billy Cox on bass, and Buddy Miles on drums.  For their first-ever recording session on April 22, 1969, Hendrix turned to their shared musical root, delta blues. Their previously unreleased, uptempo reworking of Muddy Waters’ ‘Mannish Boy’ opens the album and sets the tempo for what follows. ‘Lover Man’ was a favoured Hendrix original and the guitarist was determined to realize a finished master.  Previous attempts by the original Experience had yet to yield this for Hendrix but this December 1969 effort by the Band Of Gypsys — complete with its homage to the popular Batman theme song—was his strongest effort to date.

‘Hear My Train A Comin’’ features drummer Mitch Mitchell and bassist Noel Redding from the original Jimi Hendrix Experience. This original blues composition had become a staple of Hendrix’s concerts. This previously unreleased April 1969 recording captured the furious power and dynamic tension that made the song so memorable. Previously unheard recordings of ‘Stepping Stone,’ ‘Jungle,’ ‘Cherokee Mist’ (which features Hendrix on both electric guitar and sitar) as well as the January 1968 recording of ‘Sweet Angel’ provide further highlights.

BOTH SIDES OF THE SKY also features an assortment of notable guest musicians. Stephen Stills befriended Hendrix at the June 1967 Monterey Pop Festival. In September of 1969 Stills was invited to a Hendrix session at the Record Plant in New York. Stills burst into the session with a song Joni Mitchell had recently composed, titled ‘Woodstock.’ Joined by Hendrix and Buddy Miles, the trio recorded this version first–months before Crosby, Stills, Nash & Young released their popular rendition of Mitchell’s song. Stills would also contribute $20 Fine, an original song that featured Hendrix on multiple guitars, Mitchell on drums, Stills on organ and lead vocals and Duane Hitchings (Buddy Miles Express) on piano.

Another of the album’s unique band creations sees Jimi Hendrix and Johnny Winter on guitar, backed by Billy Cox and drummer Dallas Taylor of Crosby, Stills, Nash & Young. An excerpt of their rendition of Guitar Slim’s ‘Things I Used To Do’ was initially heard as part of a 1990 nationally syndicated radio program and accompanying box set, but here it is presented in full, newly mixed by Eddie Kramer for BOTH SIDES OF THE SKY. On ‘Georgia Blues,’ Jimi is reunited with his old bandmate Lonnie Youngblood (vocals/sax) from his pre-fame days in Curtis Knight & The Squires. Briefly issued as part of the 2008 MARTIN SCORSESE PRESENTS THE BLUES series but out of print for nearly a decade, this special recording is once more available to Hendrix fans throughout the world on all audio formats.

BOTH SIDES OF THE SKY was produced by Janie Hendrix, John McDermott, and Eddie Kramer. Kramer served as recording engineer on every Jimi Hendrix album made during the artist’s life. In order to preserve the integrity and continuity of the Hendrix legacy, this same team has produced every Jimi Hendrix audio and visual release since 1996.

Janie Hendrix, President and CEO of Experience Hendrix, L.L.C. commented, “We have a growing commitment to preserve the legacy of Jimi and also to continue to give the worldwide family of Jimi fans quality releases. That’s what BOTH SIDES OF THE SKY reflects…our ongoing commitment. In a deeper sense, it’s the keeping of a promise. Jimi and I once made a promise to each other. He said he would take care of me and I told him I would take care him. Through his music and our preservation of his work, my brother and I honour one another. We are now in our third decade of watching over Jimi’s creative works and our resolve to maintain the integrity of what he left us has only grown stronger with time.”

That is also the purpose for Eddie Kramer’s involvement and his devotion to the project. He remarked, “Jimi’s true home was the studio, that’s where the music and the magic happened. He loved everything about recording and it’s been my distinct pleasure and an honour to play a part in that process both then and now.”

Both Sides of the Sky tracklist:

1)    Mannish Boy*
2)    Lover Man*
3)    Hear My Train A Comin’*
4)    Stepping Stone*
5)    $20 Fine*+
6)    Power Of Soul^
7)    Jungle*
8)    Things I Used to Do#
9)    Georgia Blues++
10)  Sweet Angel*
11)  Woodstock*+
12)  Send My Love To Linda*
13)  Cherokee Mist*

*Previously unreleased
^ Previously unavailable extended version
+Featuring Stephen Stills
#Featuring Johnny Winter
++Featuring Lonnie Youngblood

Produced by Janie Hendrix, Eddie Kramer and John McDermott for Experience Hendrix, L.L.C.

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Posted in Blog    //    Post Date - March 8, 2018

Alice Skye announced as the inaugural recipient of a new award established to shine a light on and celebrate our emerging first peoples musicians.

Presented this morning at the One of One International Women’s Day Breakfast by Helen Marcou from Bakehouse Studios and Coco Eke from Bad Apples and generously hosted by the Abbotsford Convent, this award gifts cash as well as invaluable services such as mentorship, musical instruments and performance to the recipient with the aim of helping emerging artists survive the very challenging demands of ‘those early years’.

“I’m beyond grateful to have been chosen for this award,” says Alice. “Having the support of people in the industry, especially women, is what’s made such a difference for me. I also think it’s really encouraging to see the industry putting support into black artists, and for me personally this award has strengthened my confidence and really is that big reminder that I am doing what I’m meant to be doing (and that I can do what I want to be doing). Combining that with having access to equipment that I wouldn’t have without this support makes me feel so unbelievably thankful and excited for what’s next.”

22 year old singer songwriter Alice Skye is a Wergaia woman who grew up living aside the majesty of the Grampians, and was not short of songwriting inspiration. Still inspired by her roots, Alice now calls Melbourne home and says “I take great pride in my heritage and to combine both music and my background brings me an unexplainable amount of pride and happiness.”

In 2015 Alice entered the Alukura Competition (Alukura meaning ‘women’ in the Arrernte language), run by Australia’s longest running Indigenous music label CAAMA Music, and Alice’s original song ‘You Are The Mountains’ was selected to lead the compilation album. A recording contract with the CAAMA label followed and she quickly attracted management and agency representation.
With songs that sparkle with a sensitivity and maturity well beyond her years, accompanied by the gentle and hauntingly sparse melodies of a piano score, Alice Skye is a name set to soar in the Australian pop scene as music lovers begin to learn more about this young yet mature talent.
Declared one of the “5 new indigenous artists you need to hear” by Triple J. Alice releases her much anticipated debut album in April this year.

Award Prizes include:
• $ 2000 cash
• an invitation to the Bakehouse Studios Artist in Residence program, with a month’s use of the studio facilities
• Keyboard and stand compliments of Yamaha
• Mentoring from Briggs and Bad Apples
• a showcase at this year’s yet to be revealed MPavillion, designed by award-winning Spanish architect Carme Pinós.
• a photographic portrait from Michelle Grace-Hunder (Her Sound, Her Story), with a large-scale paste up installation at Bakehouse Studios, as part of the Bakehouse Hoddle St art project.

Origin of the award:
In 2017 Helen Marcou contributed as a panelist for the Sidney Myer foundation. The foundation generously entrusted Helen with philanthropic funds to gift to an artist or Not for Profit of her choice. Helen has gifted the $2000 to an emerging First People’s artist at the One of One International Women’s day breakfast. The selection committee for the prize was made up from the team at Bad Apples Music. Leigh Treweek, on behalf of Handshake Management has kindly donated the cash prize to continue this award in 2019.

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Posted in Blog    //    Post Date - March 7, 2018

Georgia Nott, known as one half of the critically acclaimed brother-sister duo BROODS, has released “The Venus Project: Vol. 1,” the full-length album from her all female collaboration, ‘The Venus Project.’ Coinciding with International Women’s Day, the 10-track album features the recently released track “Need a Man” as well as “Won’t Hurt,” the first single from ‘The Venus Project.’ “Won’t Hurt” was featured in The New York Times playlist following its release in January and Vice recently heralded it as “an ethereal, dream-pop number.” Listen to the album here

For Georgia, ‘The Venus Project’ allowed her to express a side of herself as a writer and artist that she hadn’t yet had the opportunity to. She explains, “This project allowed me to speak from an extremely honest place and create another type of music that I’ve wanted to make for a long time. The songs themselves are very different to what I’ve created in the past, very raw and low-fi. A couple of songs have even stayed in their original demo form because they felt the most honest that way. The themes expressed in this album are very close to my heart. Some of my most doubtful, insecure and frustrated moments have been documented in this album. Being so vulnerable has been both scary at times, but also liberating. My hope for this album is to speak to the parts of ourselves we don’t always understand, the parts we feel the need to suppress and ignore, the questions we find too hard to ask ourselves. Although I feel this music represents my truth as a woman, the album is for all people. One day I hope the world is not surprised by the extreme talent and genius of creative women, but rather, they value and celebrate women. The expression of women is something the world needs! We can’t evolve without it.” Born out of her realization that oftentimes, she was the only woman in the room when in the studio or on the road touring with BROODS, Georgia decided she wanted to collaborate with as many women as possible. That collaboration would result in “The Venus Project: Vol. 1,” brought to life entirely by a team of women, from the artwork to the album’s production and management.

The group of collaborators includes: Camila Mora, who tours with BROODS as their keyboard player, but is also a highly skilled producer, visual artist and illustrator Ashley Lukashevsky, photographer Catie Laffoon, project manager Sherry Elbe, mix engineer Adrianne ‘AG’ Gonzalez, mastering engineer Emily Lazar; and producer Ceci Gomez, who worked with Georgia on the first single, ‘Won’t Hurt.’

Earlier this week, Georgia shared the music video for “Won’t Hurt” and expanded her team of female collaborators to include: Morgan Gruer (Director, Editor & Animator), Lizzy Walker (First AD), Kayla Hoff (DP), Nico Bovat (Editor), Caraolina Rodriguez (1st AC), Valentina Martinico (Gaffer), Sky Kim (Key Grip), Alexa Cha (G&E Swing), Brittany Spyksma (Hair & Make Up), Paige Klone (Production Designer), Alyzeh Ashraff (PA), Courtney Kane (Choreographer), and featuring Georgia Nott, Sasha Milstein (Young Girl), and Lilu del Rosso (Woman).

Last week, Georgia was featured on Billboard LIVE, where she performed “Won’t Hurt” as well as “Go Easy” and “Numb” from “The Venus Project: Vol. 1.” View the performance here.

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Posted in Blog    //    Post Date - March 7, 2018

Synthesizers: Sound of the Future. 20 April – 9 September
The first analogue synthesizers that fuelled Melbourne’s fertile electronic scene in the late 60s will return home when Synthesizers: Sound of the Future opens at the University of Melbourne’s Grainger Museum next month.

An international milestone, the exhibition explores the Melbourne scene from 1969-1974 and, more broadly, the evolution of the commercially produced synthesizer by EMS (Electronic Music Studios Ltd.). The Grainger Museum was at the heart of musical experimentation in Melbourne in the late 1960s, when composer and teacher Keith Humble returned from Paris brimming with avant-garde ideas to establish a renegade composition studio at the Grainger using early synthesizers.

Synthesizers is a collaboration between the Grainger and Melbourne Electronic Sound Studio – one of the most historically significant collections of electronic instruments in the world, the brainchild of Byron Scullin and Robin Fox.

“As electronic sound and music culture continues to grow rapidly, this museum-style idea that the machines we have in the collection should be put under glass or left in some dusty cupboard to be only pulled out for research seems contradictory to the spirit that drives the creation of these instruments, and new sound and music generally,” said Byron Scullin. “We figure that we’re representing the story of electronic music as something to be experienced directly, as a source of direct inspiration for everyone.”

The exhibition features key instruments on loan from MESS and the Museum of Applied Arts and Sciences, including the ultra rare EMS VCS-1 – one of three in the world – an EMS VCS-3 – used by Pink Floyd, Brian Eno and Jean-Michel Jarre – an EMS Spectre video synth and the cutting edge video art it produced (including electronic artist David Chesworth’s tongue-in-cheek 50 Synthesizer Greats).

“The instruments are, as Byron has said in the video in the exhibition, ‘beguiling’,” said Synthesizers curator Heather Gaunt. “They are gorgeous, curious, science-fiction-esque, and I think a lot of people will be surprised by the music of the period that they will hear in the exhibition. Very current and contemporary, yet drawing us back to this period of resistance and experimentation.”

The exhibition’s public programs will recreate some of the era’s creative output, such as an exploration of Keith Humble’s ‘Music for Monuments’ improvisatory piece, and the famous Synthi 100, once the centrepiece of the Grainger Electronic Studio – now restored and installed at the Victorian College of the Arts, but too fragile to move – will be part of a world-wide streamed Synthi 100 Live event on 16th May.

Synthesizers: Sound of the Future
Grainger Museum 20 April – 9 Sep 2018

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