The Three Signs Book 2 LoriChapter 6 Back at University
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On Saturday, we had all gathered in the studio for a planning session and rehearsal for the new album. Phil had invited several others, DonWalker and Ian Moss (ex-Cold Chisel), I had invited Mike Franz, and Mary Beth had invited Chrissy Amphlette. Don had brought his Yamaha DX7 synthesizer and a Yamaha Clavinova electronic piano, Ian had a Fender amp and two of his guitars and Mike had a Yamaha stage organ. After a bit of shuffling equipment around, we had room for everyone; although we were running out of channels on our mixer. Mary Beth made a note to make sure we had a sound system with at least forty-eight channels for our gigs, and some additional foldback speakers and microphones.
After making sure introductions were made, Mary Beth told us that George Young and Harry Vanda would be around to see and hear us in the middle of the afternoon; so it would be good to have something ready for them by then. Phil then outlined the ‘concept’ for the album.
“We’ve got a title, ‘The Last Wave of Summer’,” he said. “To set the scene, imagine it’s the end of January, and you’ve spent the last four weeks of your summer holidays at some beach place on the NSW North Coast, swimming, surfing, relaxing. Maybe you’ve hooked up with someone at the local surf club dances, but ... it’s almost time to head back to Sydney for the start of the next school year. You’re standing on the sand, looking out at the waves; the sun is setting behind you. Do you swim out, catch one last wave? You need to get ready for the final dance of the summer at the surf club, some hot shot group from Sydney is playing, and you want to meet up with the person you met the other night.”
“Sounds good to me, Mate,” Don said. “So, what are we looking at for the album? Covers? Original songs?”
“A mix of both, I think,” I said. “Maybe we start out with two originals, the title track, and another that Paul has written. Then we have the remainder of the first record, and half of the second – it’s going to be a double album, by the way – as if it’s a live performance at this surf club dance, then there are two tracks the others have written to finish it off.”
“I like the concept,” Mike said. “I guess you’ve already got the album cover designed?”
“Yeah, my artist friend Georgina and I have got a concept,” Lisa said. “Here’s a mock-up, some rough sketches to give the idea. For the actual album, those drawings will be replaced by photos, but you should be able to see what we’re planning.”
She spread the mock-ups out on the table, and we all gathered around.
“Damn, they are great drawings,” Chrissy said. “Those aren’t ‘rough sketches’, Lisa, they are really good, evocative pictures. I can almost feel the sand between my toes!”
“Now, for the first track of the ‘live’ portion,” Ian said, “do you guys still open your sets with ‘Time is Tight’, then into ‘Good Times’? What if we did that, but at the end of ‘Time is Tight’, Will, you go through and introduce all of us? Then we can blast into ‘Good Times’. We should finish that pseudo-live set – well, it’s not really a set, but you know what I mean – finish off with Jackson Browne’s ‘Load Out’ and ‘Stay’. When you and Chrissy sang that, it was terrific.”
“Sounds like that might work,” I said. “How about we start with ‘Time is Tight’; Mike, Don, you know that, I assume? Between the three of us we can work out an arrangement where the three of us are playing together. Ian, you can follow what Phil does. Now, how will we do ‘Good Times’?”
We worked out arrangements for the two songs, and decided to give it a try. Mary Beth had a tape cued up to record; we all took our places, and I looked around, making sure everyone was ready. I told the others just how we indicated when we would conclude the final ‘verse’, and I started the opening chords. I looked across at Mike, he was following my lead, as was Don. It sounded impressive, the three organs, all in sync. Phil then picked out the main lead, Ian following him; Garry and Tracy came in with the rhythm.
We all managed to keep it together, play in time, everyone followed the signs I was making. When I was about to segue into ‘Good Times’, I pulled the microphone close to me, and started to introduce the band.
“Welcome everyone, to tonight’s final performance for the summer. We are The Roberttones and Friends, let me introduce the members of the band. On lead guitars, Phil Jones and Ian Moss.”
As I said their names, they each took a step forward, and played a simple lick.
“On rhythm guitars, Garry Lewis and Tracy Mann. Bass is Andrew Wilson.”
Garry and Tracy together played the main chord progression of ‘Time is Tight’; Andrew played a rather hot bass lick.
“On drums and percussion, Bruce Wilson, Rachel Wilson and Stewie Clarke”
They played a pretty cool drum break.
“Horns, we have Paul Winters, Mandy Wilson and Fiona Shaw.”
More solos.
“Electric violin, and vocals, Allison Thornton.”
She made her fiddle growl and wail, I never thought that a violin could sound so hot and wild.
“Vocals, Traci Lowe and Chrissy Amphlette. And on keyboards, Don Walker and Mike Franz, and I’m Will Morris, keyboard, guitar and vocals.”
After Mike and Don both played some pretty funky sounding chord progressions, it was time to lead into the next song. I moved from my keyboard seat, strapped on my guitar, and stood next to Chrissy at the mike.
“Now, is everybody ready to have a GOOD TIME?”
Phil and I combined for the introduction, then it was time to sing.
Everybody shakeEverybody groove
Everybody shake
Mary, Mary, you’re on my mind
The folks are gone and the place’ll be mine
Mary, Mary, wanna be with you
And this is what I’m gonna do
I’m gonna put a call to you
‘Cause I feel good tonight
And everything’s gonna be right, right, right
Chrissy joined in for the chorus, her arm around my shoulders.
I’m gonna have a good time tonightRock and roll music gonna play all night
Come on, baby, it won’t take long
Only take a minute just to sing my song
We worked through the rest of the song; the new people seemed to pick things up pretty quickly. I thought the two songs sounded pretty good; of course some more practice together, getting our timings right, and tweaking the arrangement would improve things. Mike then suggested we do ‘Black Magic Woman’, at least as a song to get us more accustomed to playing together.
“Mike, do you want to take the lead?” Phil said. “Vocals? You or Will?”
“We’ll do it the way we did the other month,” Mike said. “Will can sing, he’s much better at holding a tune than I am.”
“Okay, Mate, count us in, you can take the organ lead,” I said.
We played that song, and a few more; some of the new ones that had been written, they were starting to sound somewhat presentable. As we were taking a break, George and Harry arrived, to see how things were sounding.
“Fuck! You’ve got a fucking symphony orchestra up on the stage,” George said, when he saw the number of people we had. “We’re going to need a bigger mixing desk, Mary Beth!”
“I think forty-eight channels should be enough, but if you have a bigger one, then we can get more mikes up on the drum kits and percussion,” she said. “We can work on the logistics later.”
We told George and Harry what our thoughts for the album were; almost as if we would be telling the story of a person’s last day – or night – at some beach holiday. They were interested in hearing what we had on tape so far, so Mary Beth played back the recording of what we had played earlier in the afternoon.
“That’s a good, big sound,” Harry said. “We can play around with the arrangements, once you feel you’ve got things working properly. What do you think, Georgie?”
“That’s great with the extra keyboards, and Ian adding to the guitars. Have you tried ‘Call me the Breeze’ or ‘Bobby McGee’ yet? I’d like to hear them,” George said.
After a quick discussion on arrangements, we had Allison sing the lead on ‘Bobby McGee’, and then launched into ‘Call me the Breeze’; Phil, Ian and me sharing the lead breaks; Don taking the piano solo halfway through. This was probably currently one of our favourite numbers to perform; everyone had a chance to feature in a solo break.
“Even if we don’t have that on the album,” Ian said, “we should do that at all of our live gigs, that’s a real ball-tearer. It’s great fun playing it with all of you!”
“Does that mean you want to play live gigs with us, Mossy?” Phil asked him.
“Well, it’s not like I’m super busy at the moment, so if you guys don’t mind me hanging around, I’m more than happy to play with you for the next couple of months. What do you think, Don? You in?”
“Yeah, I love playing with you guys,” Don said. “There’s never any aggro, just great music.”
“Mike, are you in?” I asked him.
“Seriously? Shit, Mate, I’d give my right nut to play live with all of you,” he replied. “This is so much fun, there’s probably a law against it!”
“Chrissy?” I asked her. “Do you want to play live with us over the next few months? How does that fit in with your schedule?”
“I should be able to do it; we’ve just got back from another US tour, and the others are all feeling burnt out. I’m fine, playing with you really energises me; just give me the dates, and I’ll make sure I can fit in. Saturday arvos here are no problems, either.”
“And just so everyone knows, we’ve got several spare bedrooms here, right behind the studio, so staying overnight after rehearsal sessions, or when we get into the recording won’t be a problem. We don’t want anyone getting into an accident driving home if they are tired,” I said. “That’s why I had those rooms converted and fitted out.”
“Cool, I might take advantage of those on the days we stay late rehearsing,” Don said. “It’s a fair drive home from here, and being able to crash in one of the rooms here sounds good. Beat’s the hell out of crashing on the road home.”
We then played through ‘Bobby McGee’ again and as usual, Allison killed it; having the two extra keyboard players allowed me to concentrate on playing the Rhodes, Mike played the organ part at the climax, while Don was on his synth.
“Now, what we need to do is set some firm dates,” George said. “Mary Beth, can you check this with everyone’s schedules, but what if we aim for the first three weeks in November, from the 4th through to the 22nd for recording. We should be able to use your studio here; I’ll make sure we have a suitable mixing desk, and plenty of microphones. I’ll get Wheatley and the guys from the Masters to help with production. Now, I reckon we should easily sell three nights at the Ent Cent; I’ll tentatively book the 23rd to the 25th of February. Work on most of January and February doing gigs around Sydney, and up and down the coast; I’ll work with Fifa and Peter Jonas to come up with a list of venues. I think if we concentrate on Sydney, Wollongong, Gosford, Newcastle and places north; doing interstate tours will be too complicated given that there’s a million of you now. We could try Canberra and Wagga, they seem to do well; but Melbourne ... maybe in the middle of next year, we’ll see how things go. Does anyone have any other thoughts or ideas?”
We all thought that plan sounded good; Mary Beth put the dates up on our big white board. We then sat down with George and Harry to finalize the track listing for the album, They agreed with opening with the title track, ‘The Last Wave of Summer’, followed by ‘Stomping at the Surf Club’, an instrumental reminiscent of the early 1960’s surf music. They liked how we did ‘Time is Tight’, with the introductions, and suggested that they would be able to put in audience sounds in the final mix-down.
“We could make it sound like the album is at least part live,” Harry said. “I don’t think we’ll have a chance to do some live recording before the end of November.”
We continued on with the track listing; trying to make sure we had a balanced mix of covers and new songs. In the list of covers, we included ‘Bobby McGee’, the duet with Allison and me doing ‘Desperado’, ‘Black Magic Woman’, ‘Before You Accuse Me’, ‘Promised Land’, and ‘Load Out / Stay’; the last one to end out the simulated ‘live’ part. We still needed work on Garry’s ‘Long Drive Home’ and ‘Pacific Highway Blues’ songs, but that would be the final two songs on the album. Over the next month, Lisa and Georgina would work on the design of the album cover, George reminded Lisa that because it was a double album, she would have to allow for not just the front and back, but the inner ‘fold out’ section, plus the two inserts for each album sleeve.
We decided we would go ‘all out’ on not just the album, but touring both before and after the release, promoting the concept of ‘Roberttones and Friends’. Three nights at the Entertainment Centre would be a great way to finish off the summer; we would need to really build interest and excitement to fill that for the three nights. I just hoped that the touring wouldn’t be so full on that we didn’t have any time to relax and enjoy the places we were playing at, I still had bad memories of one of our earlier extensive tours in the tour bus where the air conditioning failed.
After the Computing I lecture on Monday morning, I was sitting at my desk, reviewing the final draft of the RFC for the Bootstrap Protocol, complete with the relay agent concept. My phone rang, so I put the papers to one side and answered it.
“Will? Alexa here, how are things going today?”
“Alexa, great to hear from you,” I said. “Just the usual Monday here; just finished giving one lecture, time to do some reading before afternoon classes.”
“Great, now I wanted to call you as soon as I could, to let you know that we will have to postpone our Friday lunchtime meeting this week,” she said. “I hate doing that; I really love our times together, talking, having lunch. But we are opening the first of the Nikolic’s produce distribution warehouses, in Rouse Hill. There’s an official event, with the local council, newspaper, and I really have to be there. So, we will have to keep our discussion of that Nostradamus Newsletter until next week.”
“Not a problem, Alexa, sounds like that official opening is pretty important,” I said. “That will give me time to do some more reading, more research into what is in that newsletter. I had a quick read of it over the weekend, and it seems really interesting, I will see if I can get a subscription for myself.”
We talked a little longer, and then I saw the ‘call waiting’ light flashing on my phone, so I told Alexa I had another call, but would see her Friday week.
“Will Morris,” I said, switching to the other call.
“Will, comrade, it’s Frank, Frank Walker here,” the caller said.
“Frank, great to hear from you.”
“I’ll get right to the point,” he said. “You know the Trades and Labor Council is having its Labor Day luncheon at the Sydney Town Hall next Monday?”
“Uh huh,” I made an affirmative sound.
“Well, John MacBean, the secretary asked me if I would ask you to lead the opening singing of ‘Solidarity Together’; apparently last year he tried to do it, forgot some of the words, and it was ... well, putting it bluntly, it was a shower of shit. I suggested that we get someone who is experienced at singing up on stage to do it, and your name came up.”
“Yeah, I’d love to do it,” I said. “What’s the details of the event?”
Frank gave me all the details, what time I would have to be there, that Lisa was invited too, and we would be sitting at one of the Left’s tables. It sounded fun; I would have to practice the song over the next few days; if last year it went terribly wrong, I wanted to make sure I made a good fist of it. It wasn’t hard to get a copy of the words; and the music, well, that was ‘The Battle Hymn of the Republic’. I should be able to pull off singing it a capella, although that evening at home, when I was practicing it, Garry suggested I take my acoustic guitar up on stage with me.
“Try finger picking a backing, like this,” he suggested, and then played the chord pattern. “It will help keep you in time, too.”
We practiced the song together several times; after the fifth time through I felt I had it pretty right. At least I shouldn’t forget the words, not like the person leading the singing last year. In between each practice, we talked about the upcoming album and touring.
“You know, it’s probably about time we had a decent review of our sets,” Garry said. “Mix things up a bit; maybe have a combination that would work for a three hour show.”
“Sounds like an idea,” I said. “We probably need to try to vary the intensity, for want of a better word, in the sets. We have a lot of solid blues / rock pieces, stuff that gets the crowd going. I think we need a few quieter ones; there’s the duet that Allison and I do, ‘Desperado’, I think we need a couple more like that.”
“Yeah, that one with you and Allison, that’s pretty amazing. I’ll try to think of two songs to bookend that one, maybe have you singing something softer. Songs where you can get all the young women in the audience to cream their panties...”
“Trust you to think of that!” I said, laughing.
I was thinking about that the next morning as I was driving into work, I had the FM radio in my car tuned to Triple-M FM, and as I was driving up through Darlinghurst from the end of the Cahill Expressway, they put on a Bob Seger track, ‘We’ve Got Tonight’. I like the piano introduction; chords on what sounded like a Rhodes, soft organ chords behind it; and slowly building into a powerful ballad. I thought it would be a good match for us; with the expanded group we had plenty of backing vocalists. As Garry had suggested, it could certainly make more than a few panties damp. I would see about getting the sheet music today. When I got into my office, I gave George a call at Alberts, bounced the idea off him.
“Yeah, you’ve be a killer on that, Will,” he said. “Some of the higher notes might be a stretch for your voice, but I bet we could come up with a good arrangement. Let me get the music, and I’ll come over on Saturday, we can kick it around.”
He called me a bit later, saying he had got a copy of the sheet music, a full arrangement, and I took the bus in to the city, picked up the copy, and got back to Uni for my afternoon classes. On the bus back to Kensington, I looked at the music; it wasn’t as complicated as I had feared; it might need to be transposed down a tone or two for my vocal range, but that wouldn’t be too hard to do. We would have to work out how to fit that into our sets, all I needed to do is find a second one to include in that group.
While I took my dinner break before my evening classes, I went through the list of all the songs we had played, seeing if I could find a suitable ‘second song’ for the ‘quieter song’ group. One that came to mind was Clapton’s ‘Wonderful Tonight’, I would dig the music out and see what we could do with that one. I thought we probably needed to completely reorder some of the others sets, too; we wanted to fit ‘Treat Her Right’, ‘Midnight Hour’ and ‘Mean Woman Blues’ in the one set together.
Over the next few evenings we kicked around some ideas on possible sets; I was concentrating on the second, middle set. I came up with a tentative list, ‘We’ve Got the Night’, ‘Desperado’, ‘Wonderful Tonight’, then Mossy and Don doing ‘Georgia’. After that, we could build up, ‘Black Magic Woman’, ‘Pacific Highway Blues’, ‘Treat Her Right’, ‘Midnight Hour’ and ‘Mean Woman Blues’ to finish out the set. I floated the idea past Garry, Fiona, and some of the others at home, they all felt it flowed well.
At the Saturday rehearsal, I discussed my proposed new set lists with the others, there seemed to be agreement on what I had drawn up. Ian and Don were initially reluctant to do their version of ‘Georgia’, saying they were just here to support us, not play their own music, but Phil told them that was ‘bullshit’, and everyone here was considered ‘part of the group, and should be able to play anything at our gigs’. When I started to play ‘We’ve Got Tonight’, Don suggested I play his Yamaha Clavinova stage piano, rather than the Rhodes.
“It has a more realistic piano sound,” he said. “It’s uses digital sampling to reproduce the sounds, not the tone bars that the Rhodes has. Give it a try.”
I sat and played the clav; it had a fantastic feel and touch, just like a ‘real’ piano, and the sound was much better. Plus, it could automatically transpose music as you played it; all you had to do was press the ‘Transpose’ button, then the root key that you wanted what you played to be transposed to. I was impressed by that – I could transpose things up or down any number of semi-tones at the touch of a button. The sound was very realistic, apparently Yamaha had sampled each note several times, each at a different ‘loudness’, as the force that a piano hammer would strike the string affected the harmonic content of the resulting note. I decided that I would have to get a clavinova for myself, and a visit to Venue music was in order.
We worked out an arrangement for ‘We’ve Got Tonight’, after a few times playing it through we thought it sounded good, and would fit into the set list that I had come up with. George made a few suggestions, mainly on how the backup vocals should sound, but he was pretty happy with it all.
“You can even hit those high notes without any problems, Will,” he said. “You seem to have a slightly higher range with your voice these days.”
“Maybe the vasectomy did do something for me,” I said. “Not that I’ll ever be a ‘castrati’, but. I can reach those higher notes without feeling that I am straining at all.”
Then it was back to working on the songs for the album; we put in about two hours solid practice before taking a break. Mark had come along with Chrissy, I asked if he wanted to play with us, but he told us that after their last tour of the US, he was ‘burnt out to buggery’, in his words.
“The tour, the gigs were all fantastic,” he said. “Five weeks around the north-east, upper mid-west and north-west, all sold out gigs. But doing thirty gigs in that time, travelling in a tour bus, it got to all of us after a while. I don’t know how Chrissy keeps going, she loves the pressure of touring, but for me, I was mentally fucked by the finish. I said I needed to take a few months off, just to get back to some type of normality!”
“You’re never normal at the best of times, Mark,” Chrissy said, teasing him.
“Yeah, well ... I can’t help it!” he said. “But thanks for the offer, Will, normally I would love playing with all of you, but...”
“No worries, as long as you know you are welcome at any time,” I said.
“Thanks, mate. By the way, Chrissy mentioned about you and Lisa, not able to have kids ... that really sucks, man. You two have my deepest sympathies, if that was me, I’d be gutted. You two are the nicest couple I know, and for that to happen; like I said, that really sucks big time.”
“Thanks for that, Mate. I guess it’s just one of those things that life deals to you, you can either accept it and get on with the rest of your life, or let it consume you, and never get past it.”
We continued on with the rehearsal, things were starting to sound better as we all became familiar with the new songs. Don, Ian, Mike and Chrissy all seemed to fit in well, even though it was rather crowded on the stage, musically we worked well together. Plus, we had firmed up the remaining two sets for our gigs; and had a choice of numbers for any encores.
Solidarity ForeverLabor Day, October 7th 1985
Being the long weekend, there was no sailing on Sunday; Lisa and I took the opportunity to sleep in, spending most of the morning in bed with Fiona. Eventually, after a combined shower, we surfaced for a late breakfast.
“So, what’s the story with this Trades and Labor Council lunch tomorrow?” Lisa asked me. “Who will be there?”
“Well, the first Monday in October is the traditional Labour Day holiday here in New South Wales. I guess it’s similar to the ‘May Day’ celebrations they have in many counties in Europe, often called ‘International Workers’ Day’. Originally, it was set up to commemorate workers getting the eight hour work day.”
“What was the cry? Eight hours to work, eight hours to play, Eight hours to sleep, and eight bob a day?” Lisa said.
“I think that was it, not too sure about the ‘eight bob a day’, though,” I said.
“Well, there are four ‘eights’ in that rhyme,” Fiona said. “A lot of old union buildings around the country had the intertwined ‘888’ symbol carved into the foundation stones, to celebrate that victory.”
“Anyway, there’ll be a bunch of speeches, various union and party officials will be there, and I’ve been asked to kick things off by singing ‘Solidarity Forever’, which is pretty much the world-wide anthem of the Union movement.”
“Cool! I guess that’s why you’ve been practicing with your acoustic guitar this week,” Lisa said.
“Yeah, I don’t want to screw it up; and given that most of the people there – at least most of the officials – are from the right of the party...”
“Why the right? That seems counter-intuitive to me,” Fiona said.
“It all goes back to the party split back in the 1950s, B. A. Santamaria, the DLP, and all that,” I said. “That was pretty much an anti-communist movement concentrated in Victoria; the main mover of it was the Roman Catholic archbishop of Melbourne, Daniel Mannix. Mannix swung things to get Santamaria exempt from military service in World War Two. Anyway, Santamaria tried to influence a number of Victorian members of parliament, threatening to make sure they wouldn’t be re-elected if they didn’t make changes to legislation that Santamaria wanted. What were referred to as the ‘Groupers’ were blamed for Labor losing the 1954 Federal Election, and Santamaria and his followers were expelled from the party, and went on to form the DLP. Their intent was to have an ‘anti-communist’ workers party, but all they did was help the Liberals to stay in power, until 1972. The DLP eventually faded out in the mid-70s.
“What is interesting though is that the split was greatest in Victoria; and for many years after that, the left – in particular, the Socialist Left – was the ruling faction in the Victorian State Branch. In New South Wales, there really wasn’t a split, and the right wing unions – in particular the ‘Shoppies’ – the Shop, Distributive and Allied Employees union, the Federated Clerk’s Union, the Federated Ironworkers’ Association, and one or two others - have pretty much been the power in NSW, dominating TLC elections and secretariat positions. Going back to when I was first involved, John Ducker of the FIA was Council Secretary, then Barrie Unsworth and now John MacBean, both with the ETU.
“I expect to see a bunch of the Right wing power brokers there; I’m sure they’ll be no love lost between us. I mean, I can’t see anyone starting a fight or anything as serious as that, but ... Anyway, when I said I would come, I also made sure there was an invitation for you; and I had to mention what union you are a member of; it’s the ‘Municipal Employees Union’ I guessed.”
“Just as well you got that right!” she said.
On Monday morning I loaded my amp, guitar, small gear back and a little fold-up wheeled dolly in the back of my car, and Lisa and I drove into the city. I parked underneath Town Hall House, entering the carpark from Kent Street, and we loaded my equipment on the dolly, took the elevator up to the street level, and found our way to the basement of the original Town Hall. I gave our names to the person at the registration desk; we got our name tags – “Will Morris – Musicians Union of Australia / Federated Australian University Staff Association”, Lisa’s was “Lisa Morris – Municipal Employees Union”. We were shown where our table was, and I was told how to get my equipment up on the stage.
We found our table, we were sitting with several others from the State ALP executive, much like the other week at the ‘Light on the Hill’ dinner. Once we had found our seats, I took my equipment up onto the stage; one of the facilities management people ran a 240 volt power cable out to where I was setting up my amp; there was already a mike that I could use to sing into. I asked if I could get a stool to sit on; one was bought out for me, and I adjusted the microphone stand, checked my guitar tuning, and then placed it into the guitar stand next to the amp. Everything was ready for me to sing.
More people started arriving; some of the others at our table – Neville and Jill Wran, Bob and Helena Carr, Frank and Marilyn Walker. We exchanged pleasantries; I avoided any alcoholic drinks; but got a large glass of lemon squash.
“I’m looking forward to hearing you leading the singing there Will,” Neville said. “That’s the trouble with most Trade Union meetings, they’re all pretty rubbish at singing, and since my throat operation, I’m the last person you want to listen to!”
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