1 southern sinfonia | tally ho!

Transcription

SOUTHERN SINFONIA | TALLY HO!
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Song
Conductor
Peter Adams
Singers
Anna Leese
Shayne Carter
Graeme Downes
David Kilgour
Martin Phillipps
Metitilani Alo
Molly Devine
Kylie Price
Saturday 28 February 2015
7.30 pm, Dunedin Town Hall
The Southern Sinfonia acknowledges with gratitude the significant assistance it has received from the
following organisations and people who have helped to make this evening possible:
Graeme Downes
Roy Colbert
Scott Muir
The Southern Sinfonia would especially like to thank tonight’s musicians, their fellow band members and
the authors of the lyrics for their generosity in sharing their music and words.
Tonight’s performance is being recorded by Radio New Zealand.
Please note that unauthorised recording and photography at tonight’s concert are not permitted.
TALLY HO! | SOUTHERN SINFONIA
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Dunedin Sound is part of Dunedin’s identity - our distinctive story, our talent, innovation and
creativity. It was a sound so many of us in the south grew up with. At a time when New
Zealand was establishing its own identity, musically and culturally, Dunedin led the way.
Tonight you will be exposed to some of the best talent of our city as Tally Ho! Dunedin
Sound Songs and Singers concert brings a new angle to something distinctively Dunedin giving us a chance to celebrate our musical and cultural verve.
Welcome to tonight’s performers including the internationally acclaimed Anna Leese and the
Southern Sinfonia along with Graeme Downes, Martin Phillipps, David Kilgour and Shayne
Carter. It is going to be an eclectic show with songs from Dunedin bands that have stamped
their style across the globe - The Chills, The Clean, Straitjacket Fits, The Verlaines, The Bats,
Look Blue Go Purple, The Puddle and The 3Ds.
Tonight also gives us a chance to recognise the city’s rock writing talent, which has
entrenched itself in Dunedin since the release of The Clean’s ‘7DOO\+R¶ by Flying Nun Records
in 1981. The literary talent of Dunedin Sound has reverberated around the world since then
and was recognised as a contributing factor to our designation as a UNESCO City of
Literature.
For the great small city we are, Dunedin’s home grown musical talents have punched well
above their weight leaving their mark on the indie-rock scene even to this day. Many of our
Dunedin Sound musical legends are still performing 30 years after they first took off.
For those who grew up in the era of Dunedin Sound, enjoy the tunes of memory lane tonight,
and for those a little younger, I hope you revel in our musical and cultural history. This event
is a remarkable achievement and one all Dunedinites can be proud of.
Dave Cull
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Programme
Tally Ho/Southern Man
Andy Dandy
Miss These Things
Down In Splendour
Flowers
I Don’t Want You Anyway
At The Bottom
Man With No Desire
Pets
Pink Frost
Dirge
– INTERVAL –
Rootless Cosmopolitan
She Speeds
Randolph’s Going Home
Some Fantasy
Rolling Moon
Point That Thing/Born In The Wrong Time
Getting Older
Outer Space
For The Love Of Ash Grey
Submarine Bells
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Introduction by
Graeme Downes
Artistic Director and senior lecturer in music at the University of Otago
"There is still plenty of good music to be written in C major"
- Arnold Schoenberg to his advanced composition class at UCLA circa 1940.
“Tally Ho” opens the concert in C major.
Roy Colbert and I tossed lists of songs at each
other for a long time, a great many more than is
represented here tonight. Each song that ended
up on the programme has its own story. Some of
them weren’t on any of the lists we exchanged
initially. The criteria were three-fold: what might
suit Anna to sing, was the song a hit and hence
be easily recognised, or was the song symphonic
in nature and would adapt itself to orchestra really
well. A bit of expediency also reigned, choosing
songs I had already transcribed for teaching
purposes, which made the orchestration much
easier insofar as some of the painstaking grunt
work had already been done. After a run-through
with Anna last August of a handful of songs with
the orchestra, it became apparent which did and
did not suit her. Our set list changed again and
the concert solidified around the format of Anna,
younger singers and original singers sharing the
stage. Peter Gutteridge’s passing prompted us
to include Born in the Wrong Time. Andy Dandy
smuggles our literary heritage into the concert in
the form of James K. Baxter.
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In a way this is a grand experiment designed to
prove that these are indeed great songs no matter
who sings them. It is truly remarkable when you
think that probably no city of 120 K population
anywhere in the world could even conceive of a
concert like this featuring home-grown material.
OK, the Bats have dual citizenship with Christchurch
and Jay Clarkson wrote Man with No Desire in that
city also, but she has lived here long enough for
us to claim her and for me to orchestrate one
of her masterworks. Some songs I knew would
orchestrate well. Others I was dubious about, not
knowing how they might work. A three-, four- or
five-piece rock band is exultant musicality under
impoverished circumstances - they can’t afford to
be any bigger than they are. I soon abandoned
literally representing the recorded versions, of
these songs, in essence composing an orchestral
version of each. Their identity is utterly intact
however, even though you will hear additional
melodic material you have never heard before.
Biographies
ANNA LEESE
International
soprano
Anna Leese completed a
Bachelor of Music degree
with First Class Honours at
the University of Otago. She
won the Mobil Song Quest
in 2002, before moving to London. In 2006 Anna
graduated from London’s RCM Benjamin Britten
International Opera School and made her Covent
Garden debut as Tamiri in Il re Restore. Anna has
also appeared in a number of opera gala concerts
with Jose Carreras, and joined Andrea Bocelli at his
concert in Auckland in 2008. Anna has recorded
Elgar’s The Apostles in Canterbury Cathedral with
the Canterbury Choral Society, a debut recital disc
for EMI with Graham Johnson, a Haydn disc on the
Michael Storrs Music label, and ‘Italian Love Songs’
under the Champs Hill label.
Previously based in Tuscany, where she studied
with Vincenzo Manno in Milano and Elisabetta Sepe
in Firenze, Anna and her husband have recently
relocated to New Zealand. As well as the Tally Ho
concert this evening, Anna will also perform with
the Southern Sinfonia in Vaughan Williams’ Sea
Symphony this year, and will feature in a host of
engagements up and down the country.
PETER ADAMS
Peter Adams, Associate
Professor of Music at the
University of Otago, was
educated in Dunedin,
completing a Mus.B with
First Class Honours in 1981,
majoring in composition, conducting and clarinet
performance. A Commonwealth Scholarship
took him to London and King’s College where
he completed a M.Mus in Theory and Analysis
and studied clarinet with Georgina Dobree and
conducting with John Carewe. Since returning
to Dunedin, Peter has been Music Director of
the City Choir Dunedin from 1987 to 1996;
performing nearly fifty concerts of the major
choral and orchestral repertoire (with the Southern
Sinfonia). He has been musical director for three
past Opera Otago productions and five opera
productions at the University of Otago. He has
frequently conducted the Southern Sinfonia, has
a long association with St Kilda Brass, and has been
a guest conductor with choirs and orchestras all
over New Zealand.
DAVID KILGOUR
David Kilgour and brother
Hamish formed The Clean
in 1978, the group going
on to become one of the
most respected and highly
influential bands on the
world independent music scene. Their début single
Tally Ho in 1981 on the pivotal Flying Nun label
signalled The Clean as one of the chief proponents
of The Dunedin Sound. The Clean’s relaxed onagain-off-again career sees them still recording
and touring the world, while Kilgour has made ten
solo albums, including one with poet Sam Hunt.
Kilgour is one of the most respected and admired
songwriters of his generation and certainly one of
the greatest rock musicians to come out of New
Zealand. His signature guitar twang and languid,
carefree melodies, are readily identifiable. In January
2001, he was awarded the New Zealand Order of
Merit in recognition of his contributions to the arts
and cultural heritage of his homeland.
SHAYNE CARTER
Shayne
Carter
came
to the New Zealand
Rock’n’Roll Hall of Fame
band Straitjacket Fits
after impressive careers
in Bored Games and The
DoubleHappys. Straitjacket Fits, formed in 1986,
won a prestigious contract with top American
label Arista and were hailed in the English rock
press as one of the leading rock bands in the
world. Carter’s She Speeds was the highestranked Dunedin song (number nine) in the
2001 Apra List of 100 All Time Best New Zealand
Songs, a list which included two more from the
Straitjackets catalogue. Carter’s single with Peter
Jefferies in 1986, Randolph’s Going Home, is a New
Zealand independent classic. The Straitjackets
folded in 1994 and Carter next formed Dimmer.
More recently he has made solo albums as well
as touring and recording with New Zealand
supergroup The Adults.
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MARTIN PHILLIPPS
Martin Phillipps formed
The Chills in 1980 and
the band quickly became
flag-bearers for both The
Dunedin Sound and the
Flying Nun label. The Chills
were one of four bands on the influential Dunedin
Double EP which herald Dunedin as a significant
and distinctive rock music city. The band signed
with major American label Warner Brothers, and
had a number of top ten New Zealand chart
successes, including Heavenly Pop Hit, number two
in 1990. The album Submarine Bells was Dunedin’s
only national number one album that same year.
The global Submarine Bells tour ended with a
highly successful Dunedin Town Hall concert and
a mayoral reception. Despite numerous personnel
changes, The Chills remain a successful and wellreceived band. They recently returned from a
rewarding tour of England and have a strong new
album Silver Bullets due out in May.
GRAEME DOWNES
Graeme Downes founded
The Verlaines in 1981 and
they made an impressive
recording début on 1982’s
seminal Dunedin Double
EP. Then followed the
band’s early signature song, the single Death & The
Maiden, and a succession of albums and solo work
right up until the present day. The Verlaines have
also recorded songs for two AIDs benefit albums,
while Downes recorded a solo soundtrack for the
movie Eden. Graeme has just come off 3 years as
Head of Department of Music at the University of
Otago. He teaches contemporary music and has
research interests in Mahler and Shostakovich.
Wikipedia says “The Verlaines (are) noted for
their angular, "difficult" song structures, wordy
and downbeat lyrics, unusual subject matter, all
contained in often frantic up-tempo playing” to
which Graeme adds - “unrepentantly.”
KYLIE PRICE
in 2011, through country music’s 2012 NZ Gold
Guitar Overall Title, and the contemporary pop of
Beyonce (Ave Maria) while winning Good Morning
TV’s Find A Star national talent competition in
2011. Kylie has also performed with The Hollies,
Juice Newton, Hank Marvin and Air Supply. Her
recordings include the Wanderer/Wonderer EP and
the single Ave Maria.
MOLLY DEVINE
Molly Devine is a soulful, experimental, and
progressive artist who
is in the process of
recording
her
début
album Planet Glitter, which
was conceived as part of
her Honours year in her
Otago University Bachelor of Music degree. She
composed, produced, engineered, and performed
on the album, and this year, while completing
her Masters in Performance, she will continue
to develop the album, focusing on all aspects
of performance from the stage to the computer
screen. Molly feels a new anticipation as she
prepares to step on to the Dunedin Town Hall
stage this evening with the full Southern Sinfonia.
METITILANI (LANI) ALO
Metitilani (Lani) Alo is an experienced vocalist,
multi-instrumentalist and
performing artist who
is currently in his fourth
and final year studying
for a Bachelor of Music,
Majoring in Contemporary
Music Performance at Otago. Lani has been
working in the arts sector for 8 years, heavily
involved in both music and theatre. In 2014 he
won the Ministry of Youth's Change Maker Award
for his work in the performing arts and youth
mentoring. Lani also produced a piece for the
Dunedin Fringe Festival, Elephants in the Garden
of Gethsemane, which received the Community
Involvement Award for its work and focus around
Suicide Prevention. Lani is also a practising
choral director.
Kylie Price, who graduated with a Bachelor Of Music
at Otago last December,
has been singing since she
was 7 years old. She has an
astonishing range of vocal
ability, from the music of
Dusty Springfield in the
Dunedin Operatic Society production of Dusty
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Lyrics
1. Tally Ho (The Clean) (David Kilgour-Hamish Kilgour-Robert Scott)
Bob had the keyboard riff, an obvious hit straight away, written on his family piano. Some lyrics and melody
came pretty quickly and we finished it off at our next rehearsal. The recording was disappointing, the engineer
didn’t know what we were doing. Someone said it was New Zealand’s Louie Louie. I dunno, that’s high priase.
Basically a wonderful pop racket. The lyrics are full of "post acid trip" confusion. Scott from Pavement told me
hearing Tally Ho, he, and Stephen were encouraged to make music of their own. (David Kilgour).
Now, you said it was yesterday, yesterday's another day
had a lot of make-believe, I don't know if it's you or
if it's me oh, I don't know, I don't know
Tally ho, tally ho!
I'll meet you in your fantasy, just anywhere you can obey,
Ipsala, Bombay, this is the wrong way
coz he'll see you I'll go into shock, it's true
Tally ho, tally ho!
Well where are you now?, and where have you been?
I've been untrue if this was all ‘bout you
But who are you, yeah, asking me to, I can't tell
Now, you said it was yesterday, yesterday's another day
had a lot of make-believe, I don't know if it's you or if it's me,
oh, I don't know, I don't know
Tally ho, tally ho!
Tally ho, tally ho!
2. Southern Man (The Puddle) (George Henderson)
I wrote this in the studio apartment space in Vogel Street, around the well-known A minor - F major riff which I
transposed to D minor; the variation I ended up with has a compelling momentum that takes the riff to all the
right places before allowing it to be restated boldly. That’s what you want.
The lyric is unusual in that I don’t think any of my other lyrics reflect on the music scene around me. It’s the
story of our local stars under an enchantment from the news and the myths from the other side of the world
and whether or not we needed or wanted or were able to let that go. Probably not. I borrowed the Speights
slogan for my title because it was already on billboards everywhere, a co-incidence that reduced the Puddle’s
advertising expenses. (George Henderson).
By the shores of southern seas (bob shoo-wa-di-ba-bob)
All the boys drink Tiger tea and the girls dance by me
And their skirts are flappin’ in the southern breeze
Like a possum caught nappin’ under southern trees
I fall down to my knees
I wish they all could be Dunedin girls
Well we know the world’s somewhere (bob shoo-wa-di-ba-bob)
We can almost smell the polluted air of our dreams
And the death comes braggin’ on our TV screens
While the young world’s shaggin’ like the old world needs
To call the young one home
Well my baby she’s a star (bob shoo-wa-di-ba-bob)
But she don’t know where the big dipper and the Poll Tax Pole Star are
And her shirt tail’s flappin’ in the southern breeze
Like a helicopter hackin’ down some southern trees
Light the fire the power and the car
In old New Zealand (bob shoo-wa-di-ba-bob)
All the Kiwi kids start bands
Like the hippies in the California sandpits
And the beads are flashing in the southern sun
Like a pig caught napping by a hunter’s gun
To feed the southern man
By the shores of southern seas
(bob shoo-wa-di-ba-bob, bob shoo-wa-di-ba-bob,
bob shoo-wa-di ba-boo)
3. Andy Dandy (Andrew Brough) (Andrew Brough/James.K.Baxter)
This was written for a CD by New Zealand writers – Dave Dobbyn, Martin Phillipps, David Eggleton and others)putting James.K.Baxter’s poetry to music. I don’t really write music or melody first but this one did eliminate
the chore of writing lyrics. I chose this poem for its quasi-psychedelic verse. It suggested a dreamy melody was
required. (Andrew Brough).
Andy Dandy Ne’er-do-well
Made his hat from a coconut shell,
With a bamboo pipe and a jacket of straw
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And a cucumber house with a bell at the door.
‘If you want to come in, just ring the bell,’
Said Andy Dandy Ne’er-do-well.
4. Miss These Things (The Bats) (Robert Scott/The Bats)
Miss These Things was my attempt at a naive wistful song. I wanted to paint a picture with the words, opening
slowly. 'We'll win the part' - still not sure what that means. It's about missing a place, a person, a time. The
melody is strong and I hope it stands the test of time. (Robert Scott).
So now it goes, back to the start
When we would say, we’ll win the part
Coz I miss these things from you
I miss them more each day
I miss these things from you
Why don’t they go
I miss these things ….
And the patterns always change
When you come into view
There’s nothing else like you for me
We beg alone, to be here tonight
We won’t be seen, til it feels right
Through the woods we go, looking for the dark
We’d never stay too long, like in the park
Coz I miss these things …..
5. Down in Splendour (Straitjacket Fits) (Andrew Brough)
This was an impressionistic love song about loss and heartache , or more succinctly, getting dumped and
lumping it. (Andrew Brough).
Hey, down in splendour
Join the slide
Standing on the seashore
And the tide
Comes rolling through your eyes
You've got no place to go
Comes rolling through your mind
You've got no one to know
Hey, down in splendour
Take a bow
Blinded in the white light
And the crowd
Die slowly in your arms
You're left to lie alone
And save your face of changing colour
And your smile of fading colour
Coz you'll never know another
Who will give you ever after
And you shouldn't have to say goodbye
And wonder if this way is how
It's gonna be
And you shouldn't have to say goodbye
And wonder if this way is how
It's gonna be
6. Flowers (The Clean) (David Kilgour-Hamish Kilgour-Robert Scott)
This is typical of one of my early Clean songs, all in D with the melody moving up and down the fretboard on the
G. Moody dark and evocative was what I was aiming for in the sentiment department.(Robert Scott).
Flowers was based on the D chord. We still play this one from time to time, i like the guitar parts, and of course
it’s different every time we play it. (David Kilgour).
I’m in love and I want you to
I’m in love and I want you to
I’m in love and I want you to know
That when I look on a summer’s day
When I look on a winter’s night
No matter where I look I see you
I’m full up and I want you to guess
what I’m full up of
I’m full up of guessing
What you want
So I run after you again
But it does no good
You’ll find I always seem
To take a wrong turn
What have I done wrong again
So you find me out
One last time
7. I Don’t Want You Anyway (Look Blue Go Purple) Look Blue Go Purple (Denise
Roughan-Kath Webster-Lesley Paris-Francisca Griffin- Norma O’Malley)
Denise & Francisca (Kathy) wrote the bones of this song before the rest of the band had arrived for practise one
day. Francisca showed Denise the bass line, and away she went - the lyrics quickly followed. Then the rest of the
band turned up and put their bits in, thus the perfect pop of I Don't Want You Anyway was born! (Francisca
Griffin).
11
Loving the
Dunedin Sound
...then and now
Born & Brewed
www.emersons.co.nz
12
Image: Isabella Harrex Photography
We meet at the same place and the same time
But I don't want you anyway
We sit on the floor and we talk awhile
But I don't want you anyway I don't want you anyway
What do I have to do to make you see
That I don't want you anyway
Is it because you don't want me
I don't want you anyway
No more insults, no more back-bites
No more uptight
I'm doing all I can to make it show
You know that I've felt like this for a while now
So get your sleeping bag and get up and go now
and close the door behind you
Cos I don't want you anyway
No more insults, no more back-bites
No more uptight, no more
Cos I don't want you anyway
I don't want you anyway!
If you'd just listen to me then you'd know
8. At the Bottom (instrumental) (The Clean) (David Kilgour-Hamish Kilgour-Robert Scott)
I had the main riff, just before meeting Robert. Then we had a casual play one afternoon, and Bob immediately
played the bassline, and i thought, mmm, this could be the guy. At The Bottom came from me tuning up one
day, almost a mistake, it’s kind’ve Robbie Krieger, and part Keith Levine, who was a definite influence at the
time, part mid-period Yardbirds. The first person I saw play the harmonic along a gat string was Alec Bathgate.
(David Kilgour).
9. Man With No Desire (The Expendables) (Jay Clarkson)
Having written this song spontaneously one evening, I woke up the next morning with a modifed version
running through my head. The wordy content was trimmed drastically - which altered the vocal delivery and
called for less chord changes. It became a more straightforward and dramatic song. (Jay Clarkson).
Not for hire
His heart was not for anyone
No desire
the man had no desire
Go to him, he likes that
But he'll not let you in
He was so confused, he could not choose
He was so unwell, he could not tell
What he felt
The cards that he'd been dealt
Stirred nothing inside
Uninvolved, don't ask him
To give of himself
To a fault his ideals were
Impeccably correct
But he would not connect
Would he die empty or die too full?
Had he been spoilt or had they been cruel?
Out of touch, the man was out of touch
He sits in his chair and he waits
Stares into the fire
The man had
No desire
No desire
No desire
10. Pets (The Verlaines) (Graeme Downes)
Mahler wrote a song “On Beauty” (von der Schönhheit), featuring young ladies picking flowers by a river and
then men on the other side on their galloping steeds. A yearning glances from one young girl to a particularly
handsome rider. Pets updates the narrative to a 21st-century university campus in Dunedin. (Graeme Downes).
The mercury rises, winter’s forgotten
Wool is interred, cotton’s reborn
Young ladies take to the streets,
Take their partially seen
Pets, shiny and new
For a walk in the humid spring air
Pets literally spring up everywhere
It’s rudeness to stare there though they be
These pets for the purpose of being seen
It’s the innocence that so gets me though
These pets clearly a novelty
Recently hatched, still under warranty
On a stroll in the humid spring air
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With botox from God, looking constantly startled
Still unaccustomed to being worthy of glances
From peripheral boys eying their chances
And if none are forthcoming a surgeon enhances
The sun comes out and within minutes or so it seems
A grand transformation
Young ladies take to the streets take their partially seen
Pets, shiny and new
For a walk in the humid spring air
11. Pink Frost (The Chills) (Martin Phillipps-Terry Moore)
Pink Frost, from 1982, was written quickly and needed a tale to explain its haunting atmosphere, so I wrote
about a young man who wakes to discover he has killed his girlfriend while he slept. Many years later I read of
this actually taking place. (Martin Phillipps).
She won't move and I'm holding her head
She's lost...Bye Bye Bye
Pink frost...Bye Bye Bye
I'm really not lying
I'm so scared
I'll have to stop my crying
Now she's dead
What can I do if she dies?
What can I do if she's lost?
Just the thought fills my heart with Pink Frost
I want to stop my crying
I want to stop my crying
But she's lying there dying
How can I live when you see what I've done?
How can I live when you see what I've done?
What can I do if she's lost?
Just the thought fills my heart with Pink Frost
I thought I was dreaming so I didn't heed her screaming
I'm so scared
I'm so scared
She won't move and I'm holding her head
12. Dirge (The Verlaines) (Graeme Downes)
Dirge is a death vigil and then stepping out into a cloudless night sky, pondering the dread of loss, the
inevitability and frank necessity of it. (Arguing the point, something grandfathers are notoriously good at, has
already ended even though the body still fights like hell). Roy was going to use it in a film set in Central Otago
where a crotchety old farmer pegs out and the son walks outside to the Central night sky to utter the single
word "bugger". (Graeme Downes).
No point in treading water
No earth beneath this water
Sunken old eyes say it's a matter of time
Before the smoke in the air is clearly the sky
The battle is lost, the battle is lost
Your smoke ring shatters
You flog a dead horse, you’re beating a wall
You lie in a bed, you don’t argue the point
You don’t argue the point, you don’t argue the point
Yeah no point matters
I’m hearing your breathing
Your last midnight flies
The heavens look wide-eyed at me
I won’t cry
INTERVAL
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Can’t call a truce between God and I
To believe in a place where nobody dies
You’d like to be right, you’d like to be right
Your salt tears glisten
I’m hearing your breathing
Your last midnight flies
The heavens look wide-eyed at me
I won’t cry
No point in treading water
No earth beneath this water.
13. Rootless Cosmopolitan (The Verlaines) (Graeme Downes)
National identity. As I look out my North Dunedin window the vast majority of the flora, fauna and architecture
that I see confirms the main trait of the early settlers; homesick. (Graeme Downes).
We’re always blown back to,
Back to square one
Back to where we came from
Never knew that I was one but I am
A rootless cosmopolitan
Wind blown
To a strange shore
That we all thought
Needed improving
So we brought things
Like birds to sing
Something familiar
Some consolation
And I’ve stood, where he stood
At the base of God’s mountain
And I can picture Jerusalem
But I can’t picture me with them
I’d be fooling myself
We’re always blown back to,
Back to square one
Back to where we came from
Never knew that I was one but I am
A rootless cosmopolitan
As a small boy
At the museum
There was a bush scene
With brackish water
Like the guy who
Stood near the water
Everything brackish
Scared me shitless
On a dirt road
In a strange land
Full of rocks and
Fictional creatures
And the sky’s blue
And the whole thing
Looks like a billboard
For the breweries
We’re always blown back to …..
14. She Speeds (Straitjacket Fits) (Shayne Carter)
She Speeds is probably the Straitjacket Fits’ most well-known and popular song. For a long time we actually
stopped playing it mostly for this reason, and because of our history as contrary little upstarts. No wonder we
never broke America ! I actually preferred Dialling A Prayer off the same EP as far as favourite songs go but She
Speeds was the one people picked up on. The song is pretty much made by the chord change to the chorus I
think, as it's quite a dramatic swing in direction. I came up with that bit while walking to the Pine Hill dairy. Oh
the romance… (Shayne Carter).
And I quietly count with her gone
Name any number and I'm counting beyond
Playing it coolly, though you know it isn't even really there
Caress one night away, I was looking for more
More, more, more
But she
She speeds
Elusive as a thief in the night, she's stealing away
She rides the wind, she burn, burns
Yeah she rides the wind, she burn, burns
And her speeding, her freedom's what's appealing to me
to stop her in her tracks
Match that act with flat tactics of attack
These eyes may be steady but my cigarette is shaking
With way deep saying, why don't you leap in?
But she, she goes, so no
Leave it, but you know at times it seems
Like I need her more than my mind
Yeah, I need her more than my mind
Oh I need her more than my mind
But she
She speeds
Elusive as a thief in the night, she's stealing away
She rides the wind, she burn, burns
Yeah she rides the wind, she burn, burns
15. Randolph’s Going Home (Shayne Carter and Peter Jefferies) (Shayne Carter
and Peter Jefferies)
Randolph was a response to the loss of a friend. It's still one of the best songs I've written. Musical mathematics
are all very well but nothing can replace true feeling when it comes to writing and performing songs. I was in
limbo between bands when I wrote this and played it to Peter Jefferies at a jam we had at my George Street flat.
15
SETLIST
ARTIST & Original Release
ALBUMS available in the foyer tonight!
Also see us for ANNA LEESE CDs
1. Tally Ho
THE CLEAN
- Tally Ho/Platypus 7”, 1981.
2. Southern Man
3. Andy Dandy
4. At The Bottom
5. Miss These Things
6. Down In Splendour
7. Flowers
The Clean – Anthology
4LP or 2CD
THE PUDDLE
The Puddle – Songs for Emily Valentine
- Songs For Emily Valentine, 2006.
CD
ANDREW BROUGH
Baxter – Various Artists
- Baxter, Various Artists, 2000.
CD
THE CLEAN
The Clean – Live Dead Clean LP, Odditties CD
- Live Dead Clean, 1986.
& Anthology 4LP or 2CD
THE BATS
The Bats – Daddy’s Highway
- Daddy’s Highway, 1987.
CD or LP
STRAITJACKET FITS
Straitjacket Fits – Straitjacket Fits
- Melt, 1990.
CD
THE CLEAN
The Clean – Vehicle Deluxe (& Anthology)
- Great Sounds Great… , 1982.
CD
4LP or 2CD
8. I Don’t Want You
Anyway
LOOK BLUE GO PURPLE
Look Blue Go Purple – Compilation
- This Is This, 1988.
CD
9. Man With No Desire
THE EXPENDABLES
The Expendables – Flying Nun Boxset
- The Flower 7”, 1984.
4CD BOXSET
10. Pets
11. Pink Frost
12. Dirge
13. Rootless
Cosmopolitan
14. She Speeds
15. Randolph’s Going
Home
THE VERLAINES
The Verlaines – Untimely Meditations
- Untimely Meditations, 2012.
CD
THE CHILLS
- Pink Frost 7”, 1984.
The Chills – Kaleidoscope CD, Heavenly Pop Hits
CD, Somewhere Beautiful CD or 3LP
THE VERLAINES
The Verlaines – You’re Just Too Obscure For Me
- Way Out Where, 1993.
CD
THE VERLAINES
The Verlaines – Corporate Moronic
- Corporate Moronic, 2009.
CD
STRAITJACKET FITS
Straitjacket Fits – Straitjacket Fits CD
- Life in One Chord EP, 1987.
Shayne P. Carter – Last Train To Brockville CD
SHAYNE CARTER & PETER
JEFFERIES
Shayne P. Carter – Last Train To Brockville
CD
- Randolph’s Going Home 7”, 1986.
16. Some Fantasy
17. Rolling Moon
18. Point That Thing
Somewhere Else / Born
In The Wrong Time
THE DOUBLE HAPPYS
Shayne P. Carter – Last Train To Brockville
- Cut It Out 12”, 1985.
CD
THE CHILLS
The Chills - Kaleidoscope CD
- Rolling Moon 7”, 1982.
The Chills - Heavenly Pop Hits CD
THE CLEAN
- Boodle, Boodle, Boodle EP, 1981.
4LP or 2CD
THE GREAT UNWASHED
- Singles EP, 1984.
19. Getting Older
20. Outer Space
21. For The Love of Ash
Grey
22. Submarine Bells
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THE CLEAN
- Getting Older 7”, 1982.
4LP or 2CD
THE 3Ds
The 3Ds – Hellzapoppin
- Hellzapoppin, 1992.
CD or LP
THE VERLAINES
The Verlaines – Hallelujah-All the Way Home
- Hallelujah – All The Way Home, 1985.
CD or LP or CASSETTE TAPE
THE CHILLS
The Chills – Submarine Bells
- Submarine Bells, 1990.
CD
He came up with that signature drum line, suggested repeating the chorus at the end and said we also needed
to record the track immediately. We put it down on four-track at Chippendale House in Carroll Street the next
week. I can still remember the natural reverb of the stairwell where I stood and did the vocal pretty much in one
take. (Shayne Carter).
The sergeant says he's just back there so come with me
And somewhere Randolph's gaily singing I'm set free
Set free...
Lonely, lonely like a mother's cry
This anger seems the only thing that never dies
Never dies...
It's not that I'm big headed, sending myself letters
It's just no one knows myself better than me
It's not that I'm big headed, and sending myself letters
It's just no one knows myself better than me
Me...
Ahhh...
And Venus lies alone
Fanfares fade into drones
Line up to cry cause Randolph's going home
While Venus lies alone…..
16. Some Fantasy (The Doublehappys) (Wayne Elsey)
Some Fantasy was written by Wayne Elsey and recorded by our band the Doublehappys shortly before Wayne
died in an accident in 1985. It has such a modest structure - two chords - but such a rich and amazingly
precocious lyric for a 20 year old to write. Like all great music when I hear this it conjures up a certain time
and place and… certain people. I find this song incredibly sad and also totally triumphant. I still play it at the
occasional solo show I do. (Shayne Carter).
High times and low times
Tell me what you're doing boy
Get your feet back on the ground again
Hit it up, higher and higher now
Like you've been awake all night with those
Thrills, spills and pills - I tell you now you're losing it
Get your head out of the sand and
Open your eyes, you will see
All of God's creatures - a misery
Some fantasy
I don't believe that fatalism is an end in itself
Between the bottles the sun will still rise
It seems the good must surely go to heaven
and I ain't got a thing to worry about
Because complacency told me not to bother
And hypocrisy told me something else again
24 hours a day, seven days a week
A misery
Some fantasy
Well I don't have to throw my life away
But I would gladly give it to you, oh
Darling forever ain't long enough
Love must last longer than time itself
Better than... some fantasy
24 hours a day, seven days a week
Some fantasy
17. Rolling Moon (The Chills) (Martin Phillipps)
Rolling Moon, written in 1981, was an attempt to capture in a fantasy form the exuberance of our youthful
adventures - in various states of mind - in the amazing locations that surround Dunedin city. It was probably
inspired by the writings of Ray Bradbury and others whom I would have been reading at the time. (Martin
Phillipps).
We wander lost forgotten hills
Blue sky, green grass, we are still
The mists enfold us gently smelling
Breeze in our ears softly telling
of the days of light and laughter long ago
They trace us, taste us, touch our hair
Show us a castle and show us to their lair - to their lair
And the rolling moon rocks on by
We dance until we start to cry
We've got feverish sweat and aching bones
But please oh God, don't take us home.
It's pretty cool but we can't rest
The purple sun sets in the west
We prance on gold - red summer lawns
Dragons-blood evening, the buzz of swarms
of lawnmowers mowing summer lawns away, far away,
I realise we really are quite far away, far away,
far away, far away
And the rolling moon rocks on by
We dance until we start to cry
We've got feverish sweat and aching bones
But please oh God, don't take us home
Please oh God, don't take us home
Please oh God, don't take us home
17
18. Point That Thing (The Clean) (David Kilgour-Hamish Kilgour-Peter Gutteridge)/Born In The
Wrong Time (The Great Unwashed (Peter Gutteridge)
Point That Thing came from jamming. Outa a maelstrom of noise one day, Pete started playing those 3 bass
notes and it all seemed to fall into place. I think Hamish got the lyric and melody the same day. Over the years
the song changed, it started out as quite a slow moody track. Guitar sections were added to over the years, and
discarded. It’s a blank canvas....always was always is. I was listening to a live version of the song (with Pete in
1979) and he kind’ve plays the bass notes differently, there’s a Pete nuance to it. (David Kilgour).
I first heard Peter doing Born In The Wrong time with The Cartilage Family. Just prior to touring NZ with The
Great Unwashed, he started to really shine as a writer, so it was no surprise Hamish and I wanted him in the
band. He had other great songs and continued to write great songs, many of which The Great Unwashed
missed out on recording. But there are live tapes of some of them. (David Kilgour).
Peter Gutteridge passed away unexpectedly in 2014 and so Roy Colbert and I thought it fitting to mark his
passing. I’d always thought this was a great song, though had never sat down to analyse it. Having orchestrated
it, my opinion of it hasn’t altered one bit, in fact it has risen in my estimation and Peter’s song writing abilities
along with it. A song with the same four chords cycled from beginning to end (in the fashion of Pachelbel’s
Canon) does not seem a good target for deeper analysis. But then again simplicity should never be allowed to
obscure that aptness is a songwriter’s fundamental aim. (Graeme Downes).
Baby when you say you want me
I'll faint and know it's not true
I know when you hold me
You won't see it through
Don't point me out of the crowd
Don't point that thing at me
They’re sending him, him away
His form of socializing is a bit too strong
Yeah we’re pushing his bags out the door
And there’s no home for his head in our minds or our hearts
There’s no country that could take him when he falls apart
He’s just one of those people born in the wrong time
Lungs encased in a steel chest
Disturbed, paranoid, he never gets any rest
I’d give him something but he’s already taken it
Yeah he seems to like hurting himself
He’s just one of those people born in the wrong time
Yeah we’re pushing his bags out!
19. Getting Older (The Clean) (David Kilgour-Hamish Kilgour-Robert Scott)
I had the intro/outro. One day while walking to practice and the melody and words fell into my head to the
tempo of my walk . Robert was in the practice room, I plugged in and found the chords for the melody, jammed
the intro on and the song was complete. On the intro/ outro Bob and I have turns playing the pattern. The
original idea was we play the pattern together, but early on, one of us missed it, and we developed the idea
from the mistake. I was always meant to write the 2nd verse which never really happened. I still love playing
this live, it has its own energy. Lyrically it’s inspired by being hit on at a party. I still love hitting an E chord hard,
and open E ringing strings are all over Getting Older. Again, the first person I saw use an open barre chord was
Alec Bathgate. It’s all about the drone for all 3 of these tracks, drone, harmonics, dissonance, buzz and sizzle.
(David Kilgour).
You’re getting older , you’re getting older
and you don’t know what, what to do
you're getting older, you’re getting older
and you don’t know what you’ve gotten yourself into
20. Outer Space (The 3Ds) (David Saunders)
So don’t come on in the kitchen
or any other place
and don’t go on being someone
you’re never gonna be
why don’t you do yourself in
The basic song structure was created at home by me on a 4-track cassette machine. I took what I had to the
band during the recording of Hellzapoppin and David Mitchell came up with the spazzy guitar line that mirrors
the vocal line. It all came together in the recording and became one of our favourite songs. (David Saunders).
I tear it down once, I tear it down
I tear it down twice, I tear it down
I tear it down twice and put it back up thrice
I dream of a time, I dream of a place
I dream of a time and place in outer space
In outer space, I have no place
I won't be so cool, I won't be so cool
I won't try to pull, I won't try to pull
The wool from over your eyes, the wool from over your eyes
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In outer space, without a face
In outer space, I have no place
I heard you said, I heard you said
With eyes that bled, with eyes that bled
I heard you said, that you could read my head
I dream of a time, I dream of a place
I dream of a time and place in outer space
In outer space
Support YOUR orchestra – become a
Friend of the Sinfonia.
For only $15 your 2015 membership includes …
)ATTEND A REHEARSAL
It’s 20 years since Tecwyn Evans first worked with the Sinfonia, and
over 10 years since Bridget Douglas was last soloist with us, both
artists starting their artistic careers in Dunedin. Join us to hear these
two outstanding musicians discuss their lives and careers. Friday 8
May, 6.30pm A talk followed by the rehearsal at Kings and Queens
Performing Arts Centre, 270 Bay View Road, South Dunedin. Free of
charge (members only)
FRIENDS’ MUSICAL TASTINGS
Friends and their guests are invited to tastings of wine, cheese, and
music presented by members of the Sinfonia and University of Otago
music students. Terra Sancta wines from Central Otago on offer.
Sunday 26 July, 3.00pm Sinfonia Rooms Carnegie Centre,
110 Moray Place Dunedin $10 member, $20 non-member
FRIENDS’ SPECIAL GUEST
Prof. John Drummond presents “Music from the Goldfields” Sunday
18 October, 3.00pm Sinfonia Rooms Carnegie Centre, 110 Moray
Place Dunedin $10 member, $20 non-member Who we are..
We were established as an independent charitable
organization to provide support to the Southern Sinfonia as
well as providing a range of other social and musical activities.
For more details or a copy of the 2015 Friends brochure
please contact: Fiona Gray (Treasurer) on
03 - 476 7700 or feegee@clear.net.nz
19
21. For The Love of Ash Grey (The Verlaines) (Graeme Downes)
Self-knowledge is a dangerous thing to take possession of. Historically as a species, we don’t have much
stomach for it. The tendency is, as a philosopher said, for a temple to be erected, a temple must be smashed.
That is the law! (Graeme Downes).
You took me down to Alexandria
Showed where the library stood
All this rampant kind of ignorance
Is happening everywhere that you look
Oh God!
And in between drinking
Impairing your hearing
Being so thoroughly uninspiring
Singing Hallelujah all the way home
You’ve not known much at all
And if you want I’ll let you take a look at it
Know all there is to know or just remain a shadow of it
You took me down to Alexandria
Showed me where the library stood
I held a book, a match, a tin of kerosene
I didn’t feel very good
Oh God!
And in between drinking
Impairing your hearing
Being so thoroughly uninspiring
Singing Hallelujah all the way home
You’ve not known much at all
For the love of ash grey you barter far too much away
For the love of ash grey you lie within a single state
I have a book and you yourself have written it
22. Submarine Bells (The Chills) (Martin Phillipps)
Submarine Bells, written in 1989, is my best attempt at a love song and was written for a young woman who
had recently chosen to move on from our relationship. Lyrically I am saying that I still recognize and love the
mysterious depths within her. (Martin Phillipps).
Snow alights as dark sea grows
Then far below lies softly glowing
Snow turns slowly into water
I know deep down hidden in you submarine bells chime
Gold and groaning, sunlit tonings, submerged sound sublime
So the colder, deeper tolling
Reaches dissolution
You wish a vicious whirlpool go swirling round and round
I can watch in wonder as your gaze shifts past my shoulder
Just a glimpsed abyss that flashes at me
I know deep down hidden in you submarine bells chime
Gold and groaning, sunlit tonings, submerged sound sublime
Since the weakest currents bruise it
Someday I may lose this
Immersed in words and miss you
Kiss foaming waves goodbye
I slice the surface here beside you
Lungs filled liquid yell I love you
Sound moves further underwater
Deep and dark my submarine bells groan in greens and grey
Mine would chime a thousand times
To make you feel okay,
K-k-k okay.
Programme notes by Roy Colbert
20
Orchestra List
Concertmaster
Sydney Manowitz
First Violin
Sydney Manowitz
Claire Anderson
Tessa Petersen
Bistra Dimitrova +
Beverley Dwan
Isaac Shatford #
Dean Hollebon
Joyce Tang
Maple Goh
Nick Pittar
Second Violin
Sandra Crawshaw
Matthew Scadden
Christine Miller
Olive Butler
Laura Barton
Mike Corballis
Cally McWha
Patricia Leen
Viola
Alan Starrett
Katrina Sharples
Dorian Liebert
Hannah Murray
Pippa Mills +
Cello
David Murray
Elaine Wilden
Anna Petersen
Jay Lee
Pamela Seccombe
Bass Clarinet
James Mackay
Double Bass
Patricia Dean
Lloyd Williams
Kate Lovell
Karen Knudson
French Horn
Dillon Mayhew *
Geeny Moon
Antonio Dimitrov +
Jerome Rouse
Flute
Kurt Murphy
Feby Idrus
Trumpet
Ronald Caldwell
Ralph Miller
Piccolo
Kurt Murphy
Trombone
William Henderson
Max Wilkinson
Oboe
Nick Cornish
Rowena Bell
Fender Bass
Robert Burns
Cor Anglais
Rowena Bell
Percussion
Robert Craigie
Bassoon
Philip Sumner
Bridget Lynd
Clarinet
James Mackay
Natasha Kumar
+ The Southern Sinfonia acknowledges the assistance of Christchurch Symphony Orchestra regarding
these players.
* The Southern Sinfonia acknowledges the assistance of Orchestra Wellington regarding this player.
# Isaac Shatford is the 2015 recipient of the University of Otago Orchestral Performance Scholarship
which is co-funded by the Southern Sinfonia and the Friends of the Sinfonia
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Office Bearers
PATRON His Worship the Mayor, Dave Cull
BOARD
Kathy Grant
Stephen Christensen - President
Dean Hollebon
Brendan Gray - Vice-President
Ken Lister
Andrew Hamilton - Treasurer
Ralph Miller
Tim Black
Graeme Downes
Co-opted members: Ruth Houghton, Marshall Seifert, Brian Tegg
FRIENDS OF THE SINFONIA
Richard Higham – Chairman
FOUNDATION FOR THE DUNEDIN CIVIC ORCHESTRA
Tim Black – Chairman
Brendan Gray – Treasurer
Tony Avery – Vice-Chairman
ADMINISTRATION
Philippa Harris - General Manager
Arthur Bingham - Production Manager
Lindsay Browning - Accountant
Leta Labuschagne - Office Administrator
Pieter du Plessis - Marketing and Publicity Officer
Hannah Murray - Librarian, Education and Artistic Assistant
LIFE MEMBERS
Joan Gardiner
Michael Hughes
Ernest McBryde
Allan McDermott
Margaret MacKenzie
ACKNOWLEDGEMENTS
The Sinfonia gratefully acknowledges the generous support and co-operation of the
Friends of the Sinfonia and the Sinfonia’s ushers.
Southern Sinfonia is the trading name of the Dunedin Civic Orchestra Inc. The Orchestra’s
offices and rehearsal space are located on the first floor of the Carnegie Centre, 110 Moray
Place, PO Box 5571, Dunedin. Phone (03) 477-5623. Fax (03) 477-5628.
Email: info@southernsinfonia.org
www.southernsinfonia.org
www.facebook.com/SouthernSinfoniaNZ
www.twitter.com/SSinfonia
The Dunedin Civic Orchestra Inc is registered as a charitable entity (CC34031) under the
Charities Act 2005.
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