Vale Greedy Smith

Sometimes you get music news that knocks the wind out of your sails. Hearing that we’ve lost Andrew “Greedy” Smith is one of those pieces of information I wasn’t quite ready for.

For years he’s been the man keeping Mental as Anything’s legacy alive, the only original member still rocking. Still touring right up to the end. The band were due to start a string of shows in Victoria on Thursday. This wasn’t a guy who thought he was going anywhere.

Greedy passed away after suffering a heart attack on December 1. He was just 63 years old. He is survived by his son Harvey, fiancée Fiona Docker, brother Stuart, and a legion of Aussie music fans who will keep celebrating the music of The Mentals in his honour. Here’s a start.

Good Times @ Civic Theatre, Newcastle – 31 May 2017

I feel far too young to attend concerts sponsored by APIA. But when the over 50s insurance specialists keep assembling quality line-ups for their annual Good Times shows, it’s hard to resist. And Deborah Conway, The Black Sorrows, Colin Hay, and Mental as Anything is a quality line-up in anybody’s language. Add in the allure of the beautiful Civic Theatre in Newcastle and I knew I needed to be there.

I didn’t realise just how many Deborah Conway songs I knew until she was right in front of me. Or quite how much I love her music. She has such a spirit about her, a presence that is impossible to ignore. She stands strong without bells and whistles. There’s a way about her that draws you in, encouraging you to really hear the music and appreciate even the unfamiliar. One song in particular, “Serpent’s Tooth,” about the love and pain of parenting a teenager, really rocked me. It’s one of the greatest songs I’ve ever heard, and I’m so glad the first time was at a show like this.

It’s just a shame that her performance was marred for me by the woman who narkily tapped my husband on the shoulder before he could even take a photo, telling him to stop snapping. There were no signs about not taking photographs, no warnings on the tickets. In fact, on the Good Times ads flashing on the screen before the show we were encouraged to tag the tour on Instagram! I should have stood up for myself, but I was so shocked I put the camera away, not wanting to make waves.

The Black Sorrows might not have introduced me to as many new songs, but it was wonderful to take a trip down memory lane with them. There’s such a natural chemistry between Joe Camilleri and Vika and Linda Bull. It’s clear how much they respect one another and enjoy playing together, perhaps more so after years apart. The Bull sisters have some of the best voices in the country. The songs haven’t dated one jot, and I loved singing along to each one.

Next was the intermission, enough time for my parents to ask me why I wasn’t taking photos. Appalled at this woman’s attitude, they told me to keep taking photos or give them the camera and they would!

I’m kind of thrilled they gave me that confidence, because it meant I at least captured this photo for you of Colin Hay. His set was the one I looked forward to most and he didn’t let me down. It was one-part stand-up comedy routine, one-part moving musical performance. A strange blend to be sure, but somehow whenever Colin switched gears he brought us right along. His set was largely made up of solo material, unfamiliar to me but breathtaking. I really do need to listen to more of it. However, a couple of Men at Work hits, “Overkill” and “Down Under,” made appearances. The latter is such an Aussie anthem, but it took on a new complexion without the full band. I loved it.

I was less enthusiastic about seeing Mental as Anything after a fairly disappointing performance at last year’s Jazz in the Vines. Martin Plaza was also absent due to his cancer battle, so I didn’t have high hopes. Perhaps performing in a theatre rather than an outdoor venue made all the difference, but they sounded markedly better than they did when a caught them last year. Greedy Smith also performed with so much enthusiasm that there wasn’t the hole left by Martin’s absence I might have expected. Mental as Anything are also responsible for some of Australia’s best party anthems. Having said all that, the band still isn’t one of my favourites. I enjoyed the hits well enough, but the set dragged a little in places for me. No photos because security told me to put the camera away before I got a decent shot. Because the woman behind me had tattled? Perhaps.

The night ended on a high when the Mentals brought back the rest of the performers. Seeing all of these gifted artists on stage just made me marvel at how much talent we have in Australia. I loved watching Deborah Conway singing along with Vika and Linda, like the long lost Bull sister, and seeing Colin Hay join the guitarists from the house band and the Mentals for a jam. I’ve always appreciated Joe Camilleri’s sax prowess, but watching him wail in this section of the show was next level. Needless to say, I needed one more photo. Cranky security and patrons be damned! The performers join in for one last song from each of their careers – “Rock and Roll Music,” “It’s Only the Beginning,” “Who Can It Be Now?” and “Never Let Me Go” – before one last song, the Aussie rock classic “Friday On My Mind.”

This was a superb night of entertainment and one that will see me at the next year’s Good Times show, whether I’m ready for APIA insurance or not! I just hope I don’t sit in front of that woman next time!

Image source: own photos

Awesome Aussie Acts front Up For 5th Apia Good Times Tour

I’m not sure whether seeing a concert sponsored by Apia is an indication of my advancing years, but I’m hanging out for this year’s Good Times shows.

I like to think it’s more to do with the awesome line-up of Aussie talent assembled. We’ve got The Black Sorrows with Vika and Linda Bull, Colin Hay, Deborah Conway, and Mental as Anything. Just take a moment to ponder how many amazing songs these local artists have produced!

I also love that this tour doesn’t just stay in the capital cities. It’s a good thing too, because I’m already booked in for the I Love the ‘90s show the night of the Sydney gig! Along with my hometown of Newcastle, you can enjoy a Good Time with some of Australia’s most enduring talents at the following shows. General sale tickets are available from Monday 6 February at 10 am.

17 May 2017 – Darwin Entertainment Centre, Darwin
19 May 2017 – Adelaide Entertainment Centre (Theatre Mode), Adelaide
20 May 2017 – Perth Concert Hall, Perth
21 May 2017 – Bunbury Regional Entertainment Centre, Bunbury (4pm matinee)
26 May 2017 – Hamer Hall, Melbourne
27 May 2017 – Ulumbarra Theatre, Bendigo
28 May 2017 – Costa Hall @ Geelong Performing Arts Centre, Geelong
31 May 2017 – Civic Theatre, Newcastle
1 June 2017 – Empire Theatre, Toowoomba
2 June 2017 – QPAC Concert Hall, Brisbane
3 June 2017 – Twin Towns Services Club, Tweed Heads
9 June 2017 – Enmore Theatre, Enmore
10 June 2017 – Anita’s Theatre, Thirroul
11 June 2017 – Canberra Theatre Centre, Canberra
16 June 2017 – Princess Theatre, Launceston
17 June 2017 – Wrest Point Entertainment Centre, Hobart

Jazz in the Vines @ Tyrrell’s Vineyard, Pokolbin – 29 October 2016

The punters were promised the biggest and best Jazz in the Vines yet, a fitting party to farewell the Hunter Valley’s beloved festival. However, some major organizational flaws put a dampener on the festivities and left many of us with a sour taste in our mouth.

Long queues snaking in to the land beside Tyrrell’s Vineyard were our first clue that this year might be a little different from the very relaxed festival I’ve loved for so many years. Ordinarily the lines move quickly, yet I missed most of Anna Weatherup’s set because I was queuing to enter the venue. She sounded amazing, with laidback covers of songs from Dido and Eva Cassidy, and I really wish the lines had moved faster so I could watch her play.

Sadly that was a recurrent theme for this year’s event which has been dubbed “Jazz in the Lines” by some of those disappointed. After entering the venue and setting up our chairs, Dad and I made a beeline for the bar. I’m glad that we did, because even though people were still streaming through the gates, it took us an hour to get to the front. As it turned out, those two bottles of wine we purchased for our group of four would be the only ones we’d buy all day. While in the queue we heard tickets were still being sold at the gate, further compounding the problem. At one point we saw the queue stretch out to four times the size it was when we lined up.

The event’s organiser’s commented on Facebook that “many of our patrons were let down by the one aspect out of our control,” before passing the buck to Tyrrell’s. The winemaker apologised for the queues, noting they were “understaffed” and the demand for wines “was far greater than anticipated.” However, when an event has been promoted as extensively as this one and tickets are sold in what must be record numbers, I fail to understand how the demand could be “greater than anticipated.” Staff should have been found, whether they were from the winery or contracted for the day. It all made me long for the years before Tyrrell’s had the monopoly, when it would share the spotlight with the likes of Tamburlaine and Peterson’s Champagne House, and queues were negligible.

While the situation was unfortunate, it wasn’t the only problem on the day as the organisers suggested. The queues in to the venue were too long, and this was repeated as we waited for the car park to clear at the end. At one point a frustrated volunteer threw down his sign, leaving confused cars to try to work things out until a police officer ran in to address the mess. The bins were overflowing by mid-afternoon, forcing many attendees to leave glass bottles strewn around the grass and creating an unsafe environment. With so many people at the event, this should have never been left unchecked.

A representative from Jazz in the Vines contacted me on Monday when I shared my frustrations on Facebook along with others. Remembering my name and blog, he urged me to call him so he could give his side of the story before I wrote this review. With a busy week of vet appointments, Melbourne Cup luncheons, and entertaining my visiting parents, I knew I’d barely have a moment to myself. I urged him to write an email if he had anything further to add to the comments regarding Tyrrell’s on Facebook. I didn’t receive one. I questioned him about the bins over Facebook Messenger, but I didn’t get an answer on that either.

I’m not suggesting one needs to drink to have a good time, but I do think when you pay money for an event like Jazz in the Vines, you’re paying for an experience. You should be able to enjoy all that’s on offer, rather than being forced to decide whether to queue to get alcohol and miss hours of entertainment or go without.
For our party the decision was a no brainer. We drank the little bit of wine we could procure slowly, and purchased some softies from the guys from the Men’s Shed before they sold out. It was much more important for us to watch the music, which as always impressed. The first act I got to see was Monica Trapaga, performing with John Morrison’s Swing City. I’ve always loved Monica since growing up with her on Playschool and I’m not sure she’s aged a day. What a vivacious entertainer, a proper old-school jazz artist with a clear, pure tone and a little va-va-voom in her delivery. She was over far too soon.

The next act Ondawon was so intriguing. Lead singer Neilsen Gough has one of the best soul voices I’ve ever heard. His classic sound reminded me a little of Luther Vandross mixed with Bill Withers. He could easily have stuck to soul standards, but instead the set featured covers of songs like Elvis Costello’s “Alison” and Soft Cell’s “Tainted Love” performed in really unique ways. I enjoyed it, although it was probably a shade too long at an hour.

I could feel the crowds getting restless until John Morrison’s Swing City returned, this time with John’s Brother James, Dale Barlow, and Emma Pask in tow. James Morrison really is Mr Jazz in the Vines. He has such charisma and is always a blast to see. I’d watched him play the festival with Emma years ago, long before The Voice, and I was thrilled for her return. Her voice truly is something else. The playful chemistry between them, showcased perfectly in songs like “Quizás, Quizás, Quizás,” made this set an absolute joy.

Lisa Hunt was up next, another Jazz favourite who always gets the crowd up and dancing with her Motown covers. Up near the stage really was the best place to experience her set, not just because you could feel the electricity from her, but also because the sound suffered back near our seats. I’m not really sure what happened – this was the only act where sound quality suffered – but judging by a couple of Facebook comments I wasn’t the only one who noticed.

Thankfully there were no such issues for Leo Sayer, my favourite act of the day. I’m not sure I realised just how many Leo Sayer songs I knew or what a dynamic performer he is. I was held transfixed and loved every single second of his set which delivered hit after hit including excellent renditions of “When I Need You,” “One Man Band,” and “You Make Me Feel Like Dancing.” What a treasure he is. I really must see him playing his own show, because he is exceptional.

After being in raptures over Leo’s set, I felt a little let down over the closing act, Mental as Anything. It seems I wasn’t alone, as I saw many people exiting the venue when they took the stage. Playing some relatively obscure songs up front probably didn’t help matters. Musically the band is still strong, but the vocals from Greedy Smith and Martin Plaza aren’t quite what they used to be. I had a little boogie to “Live It Up” and “Nips Are Getting Bigger,” but I felt a little underwhelmed.

On the whole though, Jazz in the Vines delivered many of the outstanding musical performances I’ve come to expect. It’s just a shame that the well-publicised problems took the gloss off what should have been a very special curtain call for one of the Hunter’s most loved festivals.

Image source: own photos