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COUNTRY/BLUES/ROOTS |
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 *Make sure you scroll down to check the Whammo Country chart, based on Whammo sales.
COUNTRY NEWS...
It's great to see Aussie artists topping the local charts and this year's Aria No.1 Chart Awards boast a long list of high-profile artists, thanks to bumper year for the locals. Kasey Chambers, Kylie Minogue, Delta Goodrem, The John Butler Trio, Guy Sebastian, Spiderbait, Shannon Noll, Pete Murray, Something For Kate, Jet, Paulini and the Hillsong Church have all achieved the coveted No. 1 position on either the ARIA Singles or Albums charts (or both) in the previous 12 months. Cynics may point to the success of Australian Idol finalists as a major contributor to that list, but even more impressive is rise of artists like John Butler; a rare independent chart-topper. While it might seem to be a strange awards ceremony - recognising the most commercially viable acts and labels - the point is to notice the success of locals and recognise the industry efforts that have helped to raise those acts to the top position. Maybe Aria can invent another awards ceremony to recognise the rising stars of our local music industry.
(posted: July 29, 2004)
The Australian government will contribute most of the money they've stolen from me over the last few years to help make the Slim Dusty Centre a reality. Finally, our hard-earned cash is being spent on something decent. $1.5 million will go toward the centre that will continue to do exactly what the unforgettable godfather of Australian country did through his life-long career: support the growth of country music. Kempsey will be the location for the centre, not too far away from the property where Slim wrote his first tune. John Howard didn't leave out too many details when he made his official announcement:
"I am delighted to announce that the Australian Government will provide $1.5 million to help establish the Slim Dusty Centre in Kempsey. The Slim Dusty Centre will link Slim's life and his music with our culture, our land and people. The greater part of the Australian Government's contribution towards the Centre, which will come from the Government's Regional Partnerships programme, will be used to construct the Centre and to fit out two transport-related interactive displays in the museum: the 'Truckies' and 'Ridin' the Rails' displays. The Truckies display will highlight the life of long distance truck drivers through the song 'Lights on the Hill' and 'Ridin' the Rails' display will emphasise the importance of rail transport in Australia's development and culture. It is proposed that the Slim Dusty Centre will, in addition to a museum of Slim Dusty's life and music, incorporate a gallery and concert facility, an entertainment venue for country music and a recording studio. The Centre will provide employment and create further tourism opportunities for Kempsey. The Centre will be a celebration of a great life. Slim is Australia's most prolific and best selling recording artist. Slim was awarded 36 Golden Guitars at the Tamworth Country Music Awards, was inducted into the ARIA Hall of Fame and the Country Music Roll of Renown and was named Father of the Year and Senior Australian of the Year in 1999. I congratulate all those who have come together to support this project, including the Slim Dusty Foundation, and in particular Slim's wife Joy, Australia's Holiday Coast Area Consultative Committee, the local community and the state government. Through the Slim Dusty Centre, Slim's music will continue to touch the lives of many more Australians."
All cynicism aside, it's great news for the local country music industry. After all the warmongering expenditure of the illegal Iraq campaign, we're finally spending cash on something positive. I look forward to visiting what promises to be an icon of the local country music scene.
(posted: July 16, 2004)
Keith Urban, Australia's loveable contribution to the mainstream country market in the US, is virtually a permanent resident in the Billboard Top 50. Now, after chalking up over 2 million sales of his album Golden Road, Keith is the proud recipient of double-platinum status. Ironically, the guitar whiz still remains in the single platinum category in his homeland. Hopefully Aussie country music fans can get over the 'tall poppy' syndrome to welcome his new album, Be Here, with open arms. The fresh tunes will be available on September 20 and this time Capitol/EMI Australia will be handling the campaign due to a recent deal between the Aussie label and Urban. John O'Donnell, Managing Director of EMI Australia, was rapt to have the high profile country talent join his team:
"All of us at EMI Australia are incredibly proud to be working with Keith...(He) has gone from strength to strength over the past decade, both here and in the US, and we look forward to being part of that journey. Having heard many of the tracks from the upcoming album, I couldn't be more excited about what is ahead of us. This is definitely the record that will establish Keith as a global superstar."
For Keith's Aussie fans the near future looks bright; Urban will return to Australia in September and tour dates will be announced soon. Make sure you check Whammo tours for details and always remember: our tour page covers all genres including country, roots, folk and any other style of music you care to mention. Check it out. As for Be Here, Whammo will make the new album available for pre-order weeks before its official release date.
(posted: July 27, 2004)
WHAMMO'S COUNTRY/BLUES/ROOTS TOP 10 (MARCH/APRIL 2004)
TOP 10 COUNTRY/BLUES/ROOTS ALBUMS
1.....JOHN BUTLER TRIO SUNRISE OVER SEA
2.....PAUL KELLY WAYS AND MEANS
3.....THE WAIFS BRIDAL TRAIN
4.....TEX PERKINS SWEET NOTHING
5.....NEIL MURRAY GOING THE DISTANCE
6.....SHANE HOWARD RETROSPECT - COLLECTED SONGS 1982-2003
7.....SARA STORER BEAUTIFUL CIRCLE
8.....HORSE STORIES ONE HUNDRED WAVES
9.....VARIOUS ARTISTS THE WINNERS 2004
10....LISA MILLER VERSION ORIGINALE |
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 MISSY HIGGINS
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cd extended player
Here's a singer/songwriter that deserves her reputation as a rising star; part of the new wave of rootsy acoustic crooners bumping TV-powered pop acts off the charts. Let's hope they completely succeed because, let's face it, if you like beautiful approachable and original music, a television will never be useful. Turn on your radio. Missy will be all over that medium within a few days with these finely tuned compositions, produced by John Porter (Ryan Adams, The Smiths, Los Lonely Boys) and mixed by Jay Newland (Norah Jones). The production is a major step up for Higgins, who's previous EP provided a warts and all introduction to her talents but lacked the polish of this effort. From brass to silky harmonies, the Scar EP shows the advantage of a top-shelf support cast and as for the songs, the title track is an absolute killer, closely matched by a consistent collection of b-sides. It's true that Missy's more colloquial moments - when the accent seems overdone - left me cringing, but that's what the Australian accent actually sounds like and it's time for us to accept it/embrace it instead of applauding wannabe-American parrots. Missy will be a massive and enduring star on the Australian scene and I'm guessing that her style - which swings between jazz, country and folk - will create a large and diverse audience; the type of fan base that is already leading to sold-out performances as she tours the country.
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WHATEVER MAKES YOU HAPPY (LTD ED)
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 JEFF LANG
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2 cd pack
Jeff Lang could potentially be the most commercially viable of the 'blokes with acoustic guitars' revolution, swinging from Melancamp's reverence of dust to Petty's slick swagger, often applied with punchy hooks more akin to Billy Joel than a rootsy master of strings. He's got a powerful voice when it clicks into fourth gear and as for his work on guitar; if it's got strings, he can play it. To me, it sounds like there was - and possibly still is - a worship of the American classics, but while he allows this to be an influence, Jeff doesn't go ruining the whole sound with a thick yank drawl; the local accent shines through enough for us to claim this music as homegrown. From the most raw folk through to the more upbeat rock-tinged numbers, Lang runs the full gamut of organic genres and Whatever Makes You Happy is a worthy contribution to the short list of truly able players that are bubbling to the surface in 2004. Initially, I was impressed with a dense sound that filled the room as The Save blasted out of my many speakers, but after Alive In There, I was starting to think that Lang's sound was bigger than any of his songs. Luckily, Rain On Troy proved his worth as a composer, aided by the guidance of his smooth vocal tones. Current Jeff Lang fans will be interested to know that a Special 2CD Limited Edition of this album comes with studio outtakes and the many fans of John Butler get extra value out of the bonus material with two live tracks recorded at the Continental in Melbourne, with Jeff, John and Angus Diggs. Jeff Lang probably has a more mature appeal than his peers, but if there was any time for a push into mainstream circles, 2004 must be the perfect opportunity and with an album like Whatever Makes You Happy, many doors are sure to open.
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 TROY CASSAR-DALEY
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Here's one of Whammo's favourite country artists, Troy Cassar-Daley, tipping his hat to some of the inspirational acts that have moved him during his long fascination with the genre that is slowly taking over the world, country music. Troy knows that his fans expect another dose of his distinctive original tunes, but this is album #5 for this superstar of Tamworth and as the man says, "I think every artist wants to do an album like this one." Imagine the torturous process of picking songs from country's mammoth back-catalogue. It must have been a stressful selection process considering the amount of great rural tunes, but troy seems to make apt choices that compliment his style and also act as a tribute to heroes that still gain notoriety with each fresh generation of music lovers. Willie Nelson, Steve Earle and Tom petty are among the lofty heroes who receive a Cassar-Daley-flavoured tribute, but pride of place is reserved for a local act. Goanna's Factory Man begins proceedings and includes a guest performance by former Goanna frontman and songwriting legend, Shane Howard. Other contemporary genres could learn a lot from the camaraderie shared by country performers; the same togetherness and sense of unity that allows Troy to use guests such as Kasey Chambers, Ian Moss and Don Walker. There's an extra urgency in the performance of Cassar-Daley; a passionate longing for songs like Dark End Of The Street and Still Can't Say Goodbye that underlines his respect for the original artists. Troy's fans may feel some small disappointment when they realise that Borrowed & Blue is an album of covers, but the disappointment will fade after one listen.
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TWO THOUSAND DEMOLITION SONGS
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 RICHARD EASTON
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Did you hear Darkan? No? You missed out on a beautiful collection of songs from a man who successfully combines a Nick Drake-styled penchant for crooning with heartfelt acoustic lullabies that mirror the artist; a man who you can only imagine on the open road, guitar slung over his shoulder, thumb raised to attract the attention of a passing road train or Ute. Two Thousand Demolition Songs is another bulls-eye when it comes to telling stories through music; simple and sparse tunes filled with feeling and mood, dutifully recorded by two likeminded underground stars: J Walker of Machine Translations and Karl Smith of Sodastream. It's hard to pick songs as highlights on such a consistent release but my personal favourite is William-James, which finds Richard at his wistful best. As roots music overruns the urban traditions of dance and rock, Easton's folky wanderings should gain some well-deserved attention; but pay attention because this is music that needs to be discovered; it won't leap out at you but if you absorb its peaceful beauty, you'll discover a simple pleasure that is creeping back into the spotlight: true sentiment.
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 KASEY CHAMBERS
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*first week #1 debut on ARIA Album Chart
In the 3 years since recording Barricades And Brickwalls, Kasey Chambers' life has changed dramatically...or has it? It's true that the 'best album' for 2002 (Aria Awards) inspired devotional media attention, sat on top of the national charts and sent Kasey to the US, the home of many country luminaries. But Kasey seems like the same gal. After being raised by Australia's most famous country family, Kasey has her own family now and a new home on the central coast. Despite all her successes, Kasey knows that Barricades was the winning formula and it would be crazy to mess with such a perfect combination of talent. So, brother Nash slipped back into his chair at the controls as producer, a host of local players returned to contribute their stylised brilliance and Kasey delivered another slab of infectious tunes. Wayward Angel is a fitting title considering the duality of this performer - one foot in Tamworth, the other in the city - who accidentally became the poster girl for the alt-country revolution. She reinvents the self-defacing sadness of Not Pretty Enough on More Than Ordinary, but Wayward Angel seems like a pure country effort and players like Steuart Smith, Mark Punch and Bill Chambers add their own deft touches of genius to Kasey's laments. Kasey sounds best of paper Aeroplane, matched by minimal piano courtesy of Bill Risby; a tearjerker written from the eyes of bereaved old man. Fans will be happy to hear that Kasey's third album is a case of 'more of the same' and considering the success of Barricades And Brickwalls, that will be enough to sate the Kasey-deprived army of devotees.
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 NATIONS BY THE RIVER
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In a deserted Newcastle parking lot, after the mysterious disappearance of a set of car keys, members of Gelbison and The Sleepy Jackson gave birth to a new project, Nations By The River. Faithful to humble beginnings (Edo and Luke jamming with a couple of acoustic guitars), the album's finest moments are minimal acoustic wanderings that benefit from raw vocal performances. The combination of Rein, Steele and the Kahn brothers results in strong ditties communicating heartbreak and longing, in true country tradition. Of course, that's where tradition ends and the term 'alt country' begins. After a wonky start to the tracklisting, the strengths of Steele and the Kahns begin to emerge. You'll find the Sleepy-style choral-edged falsetto (Cracking Up, Kids World) combined with dramatic electric atmos (Heroin) that reminded me of Gelbison's early EP Metal Detector. It's the quiet moments that most impressed me, but the camaraderie in the studio can be infectious, as with the final track We Dance Every Day. This is an album for urban country fans that love the most human elements of music, and for the duration of this LP the listener rarely feels separated from the musicians, who seem to be playing only a few feet away; a rare achievement in a world obsessed by digital technology and robotic musicianship. Initially, I found the off-key moments of this album to be a little too abrasive but the more I listen to Holes In The Valley, the more I suspect that it may actually be a work of flawed beauty; and aren't they the most interesting kind?
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REALITY CORRECTORS ONE THROUGH TWELVE
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 DISASTER PLAN
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To the best of my knowledge, there's only one Disaster Plan album missing from my collection (Evacuation Centre) and let me tell you, I'm pretty dirty about that. I want to be the complete Disaster Plan fan. That's because - in the moments when I like to chill and ease back - this band provides the complete fix, with a rural rambling style fused with urban intellect. Here's a fresh slab of tunes - Reality Correctors One Through Twelve - and more alt-country bliss awaits the listener. Triple J finally added Disaster Plan to their playlists in 2002 after being wooed by the infectious Wronger (from Self Help Guide) but the duo of Moffat and Ruff still represents the most obvious hidden gem of the Melbourne scene. As they crawl out of the shadows to be exposed to the glaring light of media attention, the band are discovering the mod cons, namely real studio environments, adding a little more care to the production. It's immediately evident on the opener, Turning Left At The Red Sea, which provides a perfect example of Moffat's lyrical delivery, which successfully gives the impression that he's talking to himself, oblivious to the presence of an audience. I don't think I've heard the band perform a cover, so when I recognised New order's Age Of Consent, I was surprised. The rewarding thing about the appearance of such a classic is that the song sits well among the originals, not really standing out. I guess that says something about the quality of Disaster Plan's songwriting. Tragic Boating Accident lashes out, using the trademark DP cello sound to full dynamic intent while my favourite, Distraction-a-holic, shows the way the veterans allow songs to organically grow with a variety of cohesive changes, the song becoming 'greater than the some its parts'. Disaster Plan may have given up the idea of recording in one room with one microphone, but the extra studio time does nothing to polish the raw edges that are essential to the act's style. Reality Correctors still sounds like a bunch of talented mates sitting around, telling music stories and let's hope - regardless of future success - that the band always retain that edge.
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BEAUTIFUL CIRCLE (CD & DVD PACK)
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 SARA STORER
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CD AND DVD Region:TBA Format:TBA
After a record haul of Golden Guitar awards, Sara Storer is the hottest property in Australian country music since Kasey Chambers. The obvious difference between Kasey and Sara is immediately apparent as soon as you hear the opening track, Tell These Hands. While Kasey came to prominence under the moniker of alt-country, Sara is using a more traditional approach and her obvious connection with country fans seems to hinge on her ability to get intimate through down to earth lyrics that are instantly endearing. On Back Out Back Sara shows a healthy disrespect for the hustle and bustle of the city and I'm sure that a few of those lyrics inspire a giggle from rural folks. Rather than reinvent the wheel, Sara respects her country heritage and approaches her audience as a peer, remaining loyal to the subjects and concerns of country life. Beautiful Circle is one of those albums that covers the full gamut of emotions, inspiring a few giggles and for the more sentimental among you, possibly a few tears. Let's hope Sara is celebrated by Tamworth for many years to come.
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 HORSE STORIES
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Following the success of their acclaimed debut, Traveling Mercies (For Troubled Paths), the wandering lo-fi country sound of Horse Stories returns with the help of another fresh batch of gloriously restrained atmos on One Hundred Waves. Ex-pat Toby Burke's whimsical crooning consummately rides the acoustic guitars, pedal steel and harmonica to transport listeners to rural bliss, evoking the spirit of country via the urban sprawl. With new talent opting for the acoustic sounds rather than distortion, country music is set to change and it can't be said that destroying the traditional sounds is the aim of this new generation. You only need to hear the opening track, Push My Buttons, to know that Horse Stories have no intention of bending the genre out of shape. There appears to be a real love for country sounds. The talented 3-piece flirt with the intensity of post-rock while preserving their rural roots, similar to Melbourne acts like Disaster Plan and The Rectifiers. North And South emerges as a standout with its sad sense of longing and delicate dynamics. It's great to hear country music being celebrated with a fresh approach and Horse Stories are one of the few acts on the globe that successfully transmit the feeling of wide open spaces while injecting the innovation of urban minds.
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 DAN KELLY & THE ALPHA MALES
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I've developed a theory after listening to Dan Kelly & The Alpha Males Sing The Tabloid Blues. I believe in ancient folklore, the Kelly males were cursed. The spell compels them to continually write songs for the term of their natural lives. Look at Paul. Has anyone ever actually seen him anywhere but a stage or a studio? Mm...spooky. And here's the 'prodigal nephew', stepping up for his time in the spotlight. Dan has had a musical epiphany since Man O'Mercy and it involves playing with his current backing band, The Alpha Males (Gaz Liddiard of The Drones and Tom Carlyon of The Devastations) who seem to have dragged a hidden growling beast from the pretty boy who began wooing lovers of roots music with his previous EP. Step Forward is a huge leap for Kelly into the realm of rootsy rock. We'd better get used to his dulcet tones, trashy lyrical imagery and deft touches on the old 6-string because he seems to have his own custom-built charm, complimented by an ambiguous background of Buckley-esque wayward adventures and more than a touch of mystery. Summer Wino makes a welcome return but this isn't an album of highlights; it's a consistent barrage of fine songs and believable performances. You'll find plenty of examples of Kelly flexing his lyrical muscle. Words can easily pass you by when they're accompanied by music but when this young crooner sings, you believe him. That's rare. As for the music, the Alpha Males dig deep to find the root of roots music, then squeeze it through amplifiers or dumb it down to the most primal essence; its soul. What am I saying in English? Simply this: I love it.
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 THE WAIFS
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cd single
During World War II we lost some of our beautiful Australians when arranged marriages resulted in trips to the US, where young girls would eventually marry their predetermined grooms. For Vikki and Donna Simpson, the tale of their grandmother's marriage is a story that deserved telling in the only style they know: that unique brand of Australian folk that The Waifs are famous for. The pretty biographical account of the Bridal Train has the extra edge that only truth can add to a tune. With packaging and cover art featuring original telegrams and photos, the listener can easily time travel back to the sad but hopeful experience of a girl travelling to a country that must have seemed like another world. The variety of vocals within this act keeps the listener riveted and Josh Cunningham's Strings Of Steel is a perfect choice for a b-side, complimented by a raw version of Sweetness recorded live, clearly displaying the renowned appeal of this band's performances.
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 TIM ROGERS & THE TEMPERANCE UNION
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With You Am I, Tim Rogers forged a reputation as one of Australia's finest songwriters, skipping over musical genres from grunge to guitar-pop and topping the Australian charts. But somewhere along the way he fell into blues and since that time, despite calls to return to the fold and respect the mainstream, Tim seems quite happy to slowly sink into a more traditional blend of blues and country. Here's his first solo effort as Tim Rogers & The Temperance Union: Spit Polish. 12 retrospective/introspective numbers tell us more about Rogers than any You Am I record and deliver thick portions of the enigmatic frontman's strengths: laconic lullabies and bent blues. The melancholy Some Fellas Heartbreaker opens proceedings and drips with irony; the concept of profiting from romantic disappointment by writing a hit ballad. You'll hear that same style of honky tonk riffing that impressed on You Am I’s Deliverance but Rogers injects a little Western edge into his tunes, making them more rural than urban. That's the defining slant that makes Spit Polish different to You Am I's recent efforts. I Only Understand Her In The Rain stands out, combining the rustic feel with the traditional strength of yearning lyrical content and I particularly liked Letter To Gene, a tribute to everyone old enough to remember donning Kiss make-up and launching into imaginary solos on cardboard cut-outs of guitars. Lisa Miller returns an old favour and guests on Damn Songs; a welcome addition to a strong tracklisting. The duo sound great together, as they did on Rogers' contribution to Miller's Version Originale. Fans of You Am I have grown up with Rogers and this is the next step in our maturation. Are we getting old? No, with Spit Polish Rogers shows that we're moving with the times, leaning away from the digital world to favour the art of traditional - and very human - musical genres.
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 JOHN WILLIAMSON
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2 cd pack
The first thing you hear on Mates On The Road is the crowd, applauding a true Aussie hero who has helped to develop an Australian sense of identity. There's real passion in that reception and you can't help but smile when you hear the whistles and cheers. But this collection of live recordings is different to previous efforts, this time being a celebration of Williamson's latest troupe of merry men, including fiddle maestro Pixie Jenkins and one of the most recognisable voices among the many outstanding Aboriginal talents in local country music, Warren H. Williams. This comical trio have forged a successful trail across regional districts where they never fail to fill halls. Mates On The Road is a 2CD set of tracks that also features a few comic routines in John's usual style; down to earth, vividly portrayed and, yes, pretty damned funny too. It's slapstick meets country in a bizarre marriage that will be well received by Williamson's fans, adding a slightly off-beat garnish to their collections.
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 JOHN BUTLER TRIO
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When a talent like John Butler releases albums independently, you know he likes to do things his own way and this self-produced LP is the purest possible representation of Australia's premier purveyor of roots music. Butler promised to explore through his new efforts and he's dutifully kept his word by stretching boundaries, which may have become too restrictive after his breakthrough effort, Three. A healthy sense of humility drives the renowned singer/songwriter/guitarist to always better previous efforts and his fans will be sure to appreciate the new scope on Sunrise Over Sea. More traditional JBT (Treat Yo Mama) is married with bare-knuckle acoustics (Peaches & Cream) and more expansive studio efforts (What You Want). Elements of reggae, hip-hop and funk join his natural flair for blues, culminating in a more diverse effort. With such a strong live following, it's understandable that John produced records that sounded ‘live’ but after selling 120,000 copies of Three, it was time to explore new possibilities in the studio. The stand-out track is There'll Come A Time which shakes the listener from that bluesy trance-like state, with a fast and frenetic slab of riffing, but there are many highlights for fans of Butler's guitar work. The encouraging sign is the man's newfound talent for producing his own work; a tough task for any musician. JBT have heeded the call and raised the stakes with a new depth that offers much-needed variety as well as that tried and true sound that fans expect.
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 VARIOUS ARTISTS
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2 cd pack
I like the Australian accent creeping into our local brand of country music. Sure, you still get the US-wannabes but Sara Storer's sentimental Beautiful Circle leads by example on The Winners 2004; the latest instalment in a series of fine compilations, celebrating each year of Australia's best. People used to ask me what type of music I liked and I'd say 'everything except country music'. How times change. Now Jimmy Little's voice has the power to calm me, Bella can inspire a sigh, Melinda Schneider makes me blush (I think I'm in love) and as for John Williamson, he's a bloody hero. For the thousands of American country music lovers who visit Whammo, you could never find a better sampler of Aussie talent than this look back at the bumper crop of artists who attracted attention over 2004. With the passing of the godfather, Slim Dusty, it's yet another case of 'one door closes, another opens' and you can imagine that wherever the legend is, he's probably casting an approving eye down to Tamworth, justifiably proud of the flourishing industry he nurtured. Slim may be conspicuous by his absence on this tracklisting but it's fitting that a new talent, Sara Storer, picked up 8 nominations at the CMAA Golden Guitar Awards; a new record. I don't pretend to like every artist on The Winners 2004 but I know the quality is high and I've discovered new sounds and fresh faces. If my curiosity forces me to explore the music of these new talents, The Winners 2004 has, once again, done a great service to the local scene.
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 PAUL KELLY
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2 cd pack
I'd like to think that Whammo stops for no one, but the arrival of Paul Kelly's new album has proven me wrong. I instantly - and respectfully - dropped whatever I was doing to review Ways & Means, a 2CD set that treats long-standing fans to 21 superbly crafted tunes by the man generally considered the be Australia's greatest songwriter. For a man who has mastered most genres and definitely dabbled in every possible subject matter, challenges may be dwindling, yet Kelly sinks his teeth into the hardest trick in the book; to write optimistic love songs 'without being banal, sentimental or smug' (his own words). Ways & Means is exactly what you'd expect: exceptionally written, lovingly produced and precisely played. Paul's nephew Dan is credited with many collaborations and as usual, our favourite storyteller has gathered a high profile backing band: Dan & Peter Luscombe, Bill McDonald, Dan Kelly, Graham Lee and Bruce Haymes. Most tracks have a country/folky feel but songs like Heavy Thing and Crying Shame manage to dredge up a growling, electric style of blues that shows Kelly can create a solid and dirty groove. If Kelly's destination was beauty and optimism, Beautiful Feeling and My Way Is To You travel different paths to reach the goal; that's a key to Kelly's genius; a mixture of approaches, all stylised by that distinctive voice, always telling his fans a new story with the intimacy of a close friend. The world seems to have a very low opinion of itself at the moment and there's never been a better time for a gentle reminder of that L.O.V.E thing that we supposedly live for. In Paul Kelly we have writer/performer that manages to catch our most precious commodity and package it. Having said that, Ways & Means is one hell of a package.
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 BOB EVANS
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Obviously, for Jebediah fans, the concept of front man Kevin Mitchell belting out subdued acoustic tunes is alluring, but Kevin's alter-ego, Bob Evans, offers much more than a filtered version of Perth's famous rock export. I immediately noticed the talent for catchy collections of chords was still intact, but Bob seems to have different influences to Jebediah and Suburban Kid acts as exorcism of bottled ideas that Mitchell didn't have the heart to speed up and distort. This debut solo effort is highly personal, sweetly sentimental and hopeful. The album is split in half by two differing approaches: sparse solo acoustics where Bob puts his ego on the line, opposed to songs where Perth's finest musicians (many from acts on the Redline label) cash in a few favours to take their place as a makeshift backing band. Swinging between all acoustic genres - country, blues, folk - Bob Evans sports the same lovable sense of irony that we've come to expect from the Jebs' lyrics (Ode To My Car), but moments of humour are cleverly contradicted when Bob rips his rib cage open to reveal a stadium-sized heart; one that communicates best through naked acoustics on songs like She's Alone and Boy. Suburban Kid is a real treat for Jebediah fans but, more importantly for Bob, it opens the gates and invites a whole new audience to enjoy the music of a proven songwriter.
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LIVE AT THE SELF HELP SEMINAR
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 DISASTER PLAN
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My love affair with the music of Disaster Plan is only a year old but I get to celebrate our anniversary in style: a disc full of unique live moments and improvised versions of my favourite songs. Back in the old days - 2002 - I was introduced to Self Help Guide, the brilliant 5th album and the one that finally convinced Triple J to notice the brilliance of this act. I became infatuated with their country-edged sound although the crux of the appeal was the fact that they put the 'alt' in alt-country. Next step of my 'self-help programme' was seeing the band live at a rare Sydney gig and completely being blown away. Mick Ruff was kind enough hand me two of their previous releases and when I heard Party for the first time I nearly cried; such a devastating set of songs, all recorded with a single microphone. Whoa, I was hooked with all the life-threatening intensity of a schoolyard crush. Even as I write this review my hands are getting clammy, beads of sweat are rising on my forehead and my cheeks are blushing (don't worry, I'm talking about the ones on my face). All these symptoms irrefutably prove that this is true love. Live At The Self Help Seminar only adds to the unrequited love by providing more fuel and reminding me of the live brilliance created by this handful of humble musicians. Oh jeez, tears are welling up in my eyes- I'd better replace this disc with something utterly crap so I can regain some of my usual apathetic nonchalance.
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 LISA MILLER
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Lisa Miller's Car Tape was one of those independent releases that clearly show us the inequities that still plague the industry. It was nominated for three Aria awards and should have topped the Australian charts but alas, the music media were too busy pushing pop tarts to notice the emergence of a credible star. Perhaps if Lisa had worn 20 outfits in a video clip with choreography by Paula Abdul, things would have been different. Here's our opportunity to make amends. Version Originale is a fitting title for a one-of-a-kind performer and songwriter of immeasurable talent. Her country-edged style is instantly comforting on the opening track, I Can't Tell - a duet with Tim Rogers of You Am I fame - which helped ease my Tuesday morning doldrums. Lisa injects a rock feel into New Record, which - and maybe it was a pre-arranged segue way - had that whimsical but beautiful feel that many of You Am I's downbeat tunes possess. But the majority of songs pivot on this outstanding artist's strengths: intensely personal and sparsely recorded songs from the heart (songs like Pushover, Eleven and Hold On). Shane O'Mara, once again, harnesses the energy of the artist with his famed skills as a producer and subtle additions of violin, harp, double bass, pedal steel and percussion add to the rural dimensions of the recording. Country fans should be taking notice of Version Originale but the unquestionable strengths in songwriting make this an album for everyone. Let's lift Lisa to the status she deserves: star.
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 TEX PERKINS
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To see Tex Perkins looming over a crowd in the late 80s was to know the full effect of stage presence. Whether he was fronting Thug, The Butcher Shop or - possibly the most critically acclaimed Aussie act of the era - Beasts Of Bourbon, Tex was an awe-inspiring giant on stage; sinister, passionate, compelling. His early love for country music was always evident and it was no surprise when he perfectly garnished the exact musicianship of the Cruel Sea with his growling vocals, resulting in a string of successes that saw the band become a huge mainstream entity in Australia. Tex's solo LPs have followed the country theme, with the same seething passion applied to subtle, low-key acoustics and Tex Perkins' Dark Horses (the talented combo formed after the album of the same name) represents the evolution of that sound. Devoid of electricity and stripped of gimmicks, Tex's third album, Sweet Nothing, is instantly magnetic from the first dreamy intro (A Hair Of The God) and continues to lull the listener into a daze, dragging them into Tex's zone. Sweet Nothing is an album that sets a lure and invites you to take a bite before slowly dragging you in; a definite low-key highlight of 2003.
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VERY BEST OF SLIM DUSTY, THE
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 SLIM DUSTY
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60 years in the Australian recording industry? How has Slim remained sane? A long list of successful releases certainly helps and great support/admiration from his peers must continue to be a source of deserved pride for the godfather of Australian country music. Released on June 13th, Slim’s 76th birthday, this repackaged and enhanced Best Of disc is a fitting birthday celebration for the local music industry’s greatest living treasure. You’ll find all the hits including Looking Forward…Looking Back and Waltzing Matilda, which have both been added to the tracklisting and the latest Best Of is the perfect introduction for the very few uninitiated. You’d better catch up quickly though, considering Slim is working on his 106th album!
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