Review: The Cast, by Michael Waugh

Michael Waugh - “The Cast”  

Michael Waugh has released his new record entitled “The Cast”. I’ve reviewed his previous albums before, and I've said in the past his albums are pretty much a trademark of quality. They’re all beautifully produced and accompanied by Shane Nicholson. The songs are interesting and heart-wrenching. This fourth album is no different. 

This isn’t trying to sound dismissive. Quite the opposite, in fact. However, it would make for a boring review if that was all you could say about the record. The fact is, with each new release, Michael is in fact becoming braver as a storyteller. Each subsequent album has taken bigger and bolder steps in directions other country performers, nay ANY modern performers, fear to tread. 

 What makes “The Cast” so compelling is that this is, quite simply, “dangerous” music. Dangerous to every bloke, simply because it dares to challenge and question the very core of masculinity we all grew up with. The core beliefs that boys from the 1980s and older all carry with them (I know, because I’m one of them). It dares to point out that all the crap we grew up believing we had to be, in order to be a “real man” is exactly that - crap. These are songs that dare to shoot holes in the facade that we’re all guilty of wearing. 

 And what’s more, songs like “He Taught Me” and “The Cast” also are textbook examples of something that us “real men” are terrified of: being vulnerable. Real men can’t be vulnerable. Boys don’t cry, or some shit. Being vulnerable is when the hunter becomes the hunted. It’s where you become less than you hold yourself to be. 

Michael Waugh’s music reminds me that this model of masculinity needs to change - for the good of men everywhere, our partners, our kids, and for society at large. These songs remind me that I have feelings too - as much as I don’t want to admit that I do. And bloody hell, they don't half hit me deeply. 

Speaking of dangerous, the album opener “Swollen” dares to call us fellas all out for being - complacent at best, ignorant at worst, about our battles with food, the struggle to stay healthy as we age, the battle to lose weight and stupid backhanded jokes we throw at each other when we plump up a bit. “You look like you’ve been in a good paddock, mate”. 

While we’re at it, “Dark” looks at alcohol-fueled blokes and the danger they can be for unsuspecting women on a night out. A big topic to be discussed, and one we try hard to avoid, and one we cannot escape now. 

During the writing and recording process of this album, two of Michael’s biggest influences - his mum and dad - both passed away. There are beautiful tributes to them in the form of “He Taught Me” and “Hold On To The Ones You Love”. “Too Many Drawers”, in honour of his late mother, is made all the more poignant because it features Felicity Urquhart, herself a legend in Australian Country circles, and an artist that was a favourite of Michael’s mum. 

This is an album of music with its heart on its sleeve, and blood and guts on its boots. It’s a rare artist who finds new ways to move me to tears with each new album. It’s almost as if he has looked into my soul at my deepest and darkest memories and fears, grabbed half a dozen of them and turned them into songs powerful enough to tear down the rugged macho shell I’ve spent my entire life building around myself. Come album number 5 in a couple of years time, no doubt he’ll do it all again. But for now, “The Cast” has given me cause to stop, pause and reflect on who I am and what needs to change. If a few more of us can do that as a result of listening to this album, Michael will have changed the world. If only a little bit.

Michael Waugh - "The Asphalt and the Oval"

Image Source: The Groove Merchants

Michael Waugh is a rare artist. One that has a unique gift of compelling listeners with taste outside of his genre to sit up and take notice of his music. One that has the gift to be able to write songs to reduce grown men to tears. One who has the ability to tell stories from his own life we can all relate to.

With the release of his second album “The Asphalt and the Oval”, Michael has created another set of songs that tell the stories of those closest to him and those he's met in his many travels. They're told in a way that is universal; told in a way that feels real to everyone listening. These stories have happened to the people he knows, but they've all happened to us too. Some of us were the footy heroes of the school yard, the awkward kid reading under a tree, the struggling farmer trying to compete against big corporations. And even if you weren't any of these, by the end of it you feel a heavy sense of empathy for the predicaments of the characters in the song.

This is also the second album made with Alt.Country artist Shane Nicholson at his studio on the NSW Central Coast. Michael lays down his dexterous guitar playing and plaintive vocals while Shane provides all the instrumental backing, perfectly complimenting but never dominating the songs. Michael never shies away from his natural accent, adding that extra air of authenticity to the music.

Michael writes songs that are compelling not only because the stories are heartfelt and human, but they carry a sting in the tail - when you think you know the direction of the story by the end of the second verse, in the third verse he throws a curveball and turns it all upside down. The new single “Baling Twine” is a classic example. A small family farm inherited by two brothers, who struggle to hold on against automated production complexes moving in around them, the twist in the third verse packs an emotional punch.

This new set of songs tackles some of the same subjects handled on his debut “What We Might Be” but in many cases, he furthers the narratives on “Asphalt”. On his debut we're introduced to his mother on “Heyfield Girl” and some of her struggle is discussed further here in the eloquently titled “Shit Year”. Where the single from his previous album “Paul” deals with bullying as a result of kids being unable to accept difference, this is furthered with a twist on “They Don't Let Girls In The Game”. “The Asphalt and the Oval” also contains heartfelt reflections on fatherhood in “For a Moment” and “Kindergarten Fete”, and some fun reminiscences of being a country teenager in the 1980s in “Acid Wash” and “Driving With The Windows Down". The title track sees Michael reconciling with his past, laying down his grudges towards his school tormentors and celebrating the survivor with a bright future he’s become, and all with his unique brand of country humility.

Perhaps the most interesting part of the album for me is how Michael shines a cold hard spotlight on the nature of masculinity. While this topic is never far from discussion in country music, this time the behaviour of blokes is boldly analysed and examined - not in a judgmental or demeaning way, but not with rose coloured glasses either. The album’s second single “Footy Trip” paints a dark picture of blokes letting off steam on an end of season trip to the big smoke. “Tapping” is a sadly all too familiar tale of barmaids and the overzealous amorous advances by blokes who've had a few too many…

The jewel in the crown is the album’s first single “Little C Word”. How do you write a song about swearing in a way that will get played on radio? The answer is in this cleverly constructed song. And again, the sting is in the tail - watch that curve ball in the third verse.

Golden Guitar-winning country artist Matt Scullion said “It's easy to make people dance [with your music], but it's a lot harder to make them listen. And [Michael] makes them listen.” Michael Waugh is that rare artist - One with something to say, and one who says something that is worth listening to.

"The Asphalt and the Oval" is available now.

A Rallying Soundtrack

It's been interesting to watch the debate surrounding the nationalist rallies in Australia over the last few weeks. An organisation known as "Reclaim Australia" had rallies in Brisbane, Melbourne and Sydney on the 19th of July and they quickly turned violent. On one hand, Reclaim Australia are protesting as what they perceive is the "Islamisation of Australia" and then the anti-racism protesters on the other clashed with police making some ugly scenes.

It is not the place on this blog for debate about these issues. We take a strong anti-racism view but we will not comment on our opinion any further.

However, the interesting part of the story is the use of music by the Reclaim protesters. If you wanted to make a statement about something, do you really think the use of the song "Khe Sanh" by Cold Chisel is the best choice of song to use?

Considering Reclaim Australia are protesting against immigration, using a song about a Vietnam Vet who returns to South East Asia a number of times on a soul-searching mission, the song's use is even more ridiculous.

It is admirable that Jimmy Barnes has spoken up to express his disgust at the use of his music at these rallies. As have a number of other musicians, such as Shane Howard of Goanna, Midnight Oil, John Williamson and John Farnham.

In all the above examples, the use of the music as a rallying cry to support their viewpoint is almost uniformly incongruous. I thought I'd take a look at why this is the case.

"Khe Sanh" is obviously an ill fit, but it's funny as to why this song is almost a de facto national anthem in the first place. The piece is a narrative of a Vietnam Veteran who finds like increasingly difficult back in Sydney after returning from his time in the war. Not an uncommon scenario for many of those who fought in the conflict, but quite a foreign premise for most people who weren't there to grasp onto, especially 20- and 30- somethings who are alive in 2015. As the lyric deals, in a non-partisan way, with Asian cultures it seems like an odd choice for a rally such as this.

Shane Howard, the writer of the iconic "Solid Rock", a hit for his band Goanna in 1982, states this song is about:

"Working to find our common identity and shared destiny, in this remarkable Aboriginal cultural reality is a more powerful, peaceful and rewarding way forward."

. It's more of a plea for racial harmony and integration, and not exclusion.

John Farnham's "You're The Voice" was written by Chris Thompson (ex-Manfred Mann's Earth Band), Maggie Ryder, Andy Quinta and Procol Harem lyricist Keith Reid. It was written as an anti-war missive at the height of the cold war in the 1980s, to protest against the use of force to find a peaceful solution. Keith Reid states, (From Songfacts.com:)

"Chris called me and said, 'I've got something and I don't know what to do with it lyrically. It feels as though it should be slightly political, but I don't know. Have a listen.' And we sat down, he played me the tune, and I got the title idea, 'You're The Voice.' It's an anti-war song in a way, but it was more of a 'make your voice heard' kind of thing. Wake up to your own power."

"You're The Voice" is probably an easy one to misinterpret, but it's not an excuse in this case.

John Wiiliamson's "True Blue" is a typical one to go for if you want to push a purist racial agenda:

"Hey True Blue,
Don't Say You're Gone,
Say you've knocked off for a smoko,
And you'll be back later on..."

Even so, it misses the point. Sure "True Blue" may lament the loss of a certain way of things but JW is not an exclusionist. He is certainly not xenophobic line in this song anyway. He argues that politicians shouldn't "sell us out like sponge cake". He also puts it that there is a place for everybody and every culture.

It's hard to push an agenda conclusively using someone elses music as a backdrop if said agenda is not in the spirit of the musician's original intention. Doing even a cursory amount of research into the people who create the music we love will fill in any blanks one may have on the topic. This is why so many televangelists look ridiculous when they attack popular music. This is why politicians who use pop music get their song choices out of line, raising the ire of the songwriters.

What other misguided soundtracks exist that we haven't thought of?

Until next time...

Hell Hath No Fury Like A Woman Scorned

William Cosgreve once wrote "Heaven has no rage like love to hatred turned, Nor hell a fury like a woman scorned."

I, for one, concur. I would also add that if said woman is in possession of a guitar and a propensity to write music, then may God have mercy on the soul of the one who would dare cause such dire offense. Because, there is a good chance that the rogue in question will be hearing about it for the term of his natural life.

Heartbreak has inspired some of the best music ever made. There's no better medium than music for expressing one's emotions. And yet, I'd imagine most people, of either gender, would be horrified to hear themselves described in less than glowing terms in a song blasting out of the radio.

Women are capable of intense emotions. The expressions below of these emotions are enough to make the flesh crawl of every bloke within a five mile radius.

Alanis Morrisette - You Outta Know



This song used to terrify the hell out of me, and I'm sure it did for a heap of other guys as well. But that was the desired effect. And holy crap is she pissed off! Alanis has never disclosed who the song was written about, but you could bet that the lawsuits would have flown around thick and fast once the truth was out there.

Loretta Lynn - Don't Come Home a'Drinkin' (with Lovin' On Your Mind).



Loretta had a rough start to life. She was married not long before her 15th birthday and was 7 months pregnant by the time she turned 16 to a philandering alcoholic. Loretta makes it plain, in no uncertain terms, what to expect the next time he comes home after a boozy night with the boys. The steely determination of her vocal delivery leaves you with no doubt in your mind that she's serious, either.

Melissa Etheridge - Like The Way I Do



The five stages of grief are well documented, and it sounds like Melissa has recorded the exact moment when she goes from Denial (stage 1) to Anger (stage 2) on this track (around the 3:15 mark). It's compelling, to be sure, but you can't help thinking that you'd feel weird watching this if she didn't offer us this window into her pain.

Pat Benetar - Hit Me With Your Best Shot



Given that Pat Benetar's records were helmed by pop music genius Mike Chapman, her rage has been tamed and boiled down somewhat on this track. One still gets the sense that the rage is just simmering below the surface, however...

Bikini Kill - Star Bellied Boy



Kathleen Hanna keeps no skeletons in the closet. Everything she committed to tape was a pure expression of her deepest emotions. On this one, she demands the boy she's interested in proves he's different, and unlike the rest. You won't doubt her intent.

Big Brother and the Holding Company, featuring Janis Joplin - Piece of My Heart



Written by pop svengali Bert Berns, Janis, as always, channels her raw emotions and puts 110% into her performance on this. Subsequent versions haven't been as bracing as this one...

Liz Phair - Divorce Song



The entire "Exile in Guyville" LP is one long expression of rage and pain after a breakup. We could have chosen any one of the 18 tracks on the original double LP, but this one meets the brief more than others. She never sounded this angry again...

This is not an exhaustive list. Which tracks have we missed? Let us know in the comments.

Enjoy!

Sunday Sessions: Webb Wilder

Webb Wilder is an artist who, for some strange reason, has slipped below the music radar for the better part of his career. Despite having a tough and gritty, yet accessible alt-country-rock sound, they barely sold a record in this country.

For Sunday Sessions this week, check out Webb Wilder. I've had the 7" single of "Hitting Where It Hurts" since I was in high school - I still own it and I still get goosebumps when that chorus kicks in. "Human Cannonball" has a hilariously clever lyric and a groove that is just infectious. Their LP "Hybrid Vigour" is probably the one that sold the most copies over here. It contain both these singles but it is so difficult to find. Should you see it, invest in it, and you won't be disappointed.

Enjoy your Sunday!

Hitting Where it Hurts


Human Cannonball

Sunday Sessions: Notorious Cherry Bombs

We've all heard about the lists of crazy names of Country music songs. They always contain great song titles like "I Still Miss You Baby, But My Aim Is Getting Better". But, in most cases, those songs don't actually exist.

Believe me, I've tried looking.

In my view Country music has always benefited from a little bit of humour. I've often found it too one dimensional to be taken seriously anyway. The mainstream country brigade has done its best to enforce a strict code of conformity and it bores me shitless.

Enter the humourous country song...stage left.

The Notorious Cherry Bombs got their start as the backing band for Emmylou Harris in the early 1980s. The chronology of the band from that point forward is as confused as a redneck family tree, so I won't go into specifics. For trainspotters, the band consists mainly of Vince Gill and Rodney Crowell, who supply the songs and the lead vocals.

The song I'm going to feature today is a genuine song with a hilarious title, and it's the anomaly on their self titled album. It was also their biggest single, although it only charted at number 47 on the country chart because, as they mention in the lyrics:

"...it's alright if we say it,

'Cos the radio won't play it...

It's hard to kiss the lips at night that chew your ass out all day long..."

This track ironically pokes fun at the cliched country music breakup song, which no doubt Rodney and Vince have written a few of their own in their careers. This one nails it beautifully, with a very funny video to boot.

Take a listen to "It's Hard To Kiss The Lips At Night That Chew Your Ass Out All Day Long" by The Notorious Cherry Bombs.

March 2013 Playlist

It's that time again, where The Sound and the Fury Podcast presents the monthly playlist.

This month we have a selection from all the albums we've listened to privately, as well as selections from the albums and artists we have featured here on the blog.

What you can expect to find on here includes:

• New tracks from Billy Bragg, David Bowie, Eric Clapton, Iron Reagan, Melbourne Ska Orchestra, Nick Moran, Walk off The Earth, Vance Joy and Nightmare Air
• Classics from Van Halen, White Stripes, Young Rascals, The Who, The Stone Roses, Split Enz, Pulp, Promises and Motorhead
• Great Aussie tunes from Neon, Something for Kate, Chad Morgan, Paul Kelly, The Porkers, Powderfinger, Sticky Fingers, Effigy, Rogerthat, and Tamam Shud
• A new track from Dave Grohl's Sound City project featuring Australian ex-pat Rick Springfield
• Avant Garde weirdness from Painkiller, Michael Finnissy, Marco Capelli, and Apocalyptica

and heaps more.

Put it on random, turn it up and ENJOY!

Johnny Cash's birthday

This is an archive piece written and posted on LiveJournal in 2006, albeit slightly edited and re-published in 2013: 

In honour of Johnny Cash's 80th birthday, I present part of my review of the Johnny Cash biopic "Walk The Line" from 2006.


image source: www.johnnycash.com

"I keep a close watch on this heart of mine...

...I keep my eyes wide open all the time
I keep the ends out for the ties that bind
Because you're mine..."

Back again on the subject of the Johnny Cash documentary "Walk The Line" that I recently viewed, I thought that Reese Witherspoon was a fairly convincing June Carter but Joaquin Phoenix's performance left a lot to be desired. Take into account I had just watched "Ray" recently and Jamie Foxx's portrayal of Ray Charles was so realistic he deserved that Oscar he won. I can't really say the same for poor ol' Joaquin. After listening to "Johnny Cash at San Quentin" yesterday it became apparent to me just how far off the mark Joaquin really was:- Sorry mate.

I think it's so cool that Johnny Cash and the Tennessee Two arrived at their unique sound because they were playing at the limit of their abilities. In short, they couldn't play any better. And while Johnny was once a labelmate of Elvis Presley, Johnny's legacy is way more vital that Elvis's ever was. At least Johnny wrote his own songs...

Johnny's legacy is unfortunately hampered by the fact that he will forever be tied to the genre of Country music. That is a great shame as his music really was genreless - it was a seamless mix of Gospel, Folk, Blues, Rockabilly AND Country. He crossed genres so seamlessly he created his own sound, and style. He became idiosyncratic, and the words he sang were, in most cases, real. They felt lived in, and he believed in what he sang about and made that known. No wonder his fans are as diverse as Nick Cave and James Hetfield from Metallica.

Johnny was associated with a movement in music called the "Outlaw" movement. Although in the eyes of most people that title stuck because he sang songs about spending time in jail and various social injustices, oh and killing people too. But that is not in itself correct, although it probably helped. The title was applied to people like Waylon Jennings, Willie Nelson and others because what they did was "outside" the accepted conventions of country music, whose aristocracy is based around the all powerful Nashville music scene and "The Grand Ole Opry". Jim Reeves, Keith Urban, Dolly Parton and Tammy Wynette were/are "Nashville-approved", Johnny Cash, strictly speaking, was not. He, like the others I've mentioned, chose to do things their way and flipped the bird at Nashville. Thus the title "outlaw".


image source: mirandoenlared.blogspot.com

And I think popular music on the whole is all the better for it.