Lansdowne, 1/10/89

By Dallas McMaugh

I think I know why they're called long weekends, mine seemed endless. Despite lots of slow walking and the worst of intentions I somehow ended up home before 12 on Saturday night. While undoubtedly good for my health it could ruin my reputation. By Sunday afternoon I was somewhat highly strung - there are l000 good times to be had in this naked city and I didn't seem to be getting my share. With trembling hands I took out the Rageometer and followed it's pointing arrow along Glebe Pt Road. Around Victoria Park, arrows started to flash, it veered across City Road, alarms rang and it pointed straight to the Lansdowne. I stood at the door. Two men with shaved heads and Iron Maiden t-shirts were setting up in front of four people playing the card machines. Ths couldn't be right, I shook it, the arrow pointed straight ahead. I counted out my five dollars and went in. The Rageometer never lies.

Ghost of Charlie Cousins contain a few familiar faces - James Scanlon - Guitar; Kerryn Stanton - Keyboards; Wayne Hutchins - drums; and Dave Baker - bass - histories include involvement with Kings Of The World and Craven Fops, while frontman Warwick Irwin was involved with theatrical troupe Funny Stories. Warwick Irwin writes all the band's material and they conjure up a blackly humourous picture of contemporary life. Songs with names like Hair of the Dog Day Afternoon, songs about domestic violence like Blood Red Moon, one or two love songs "to justify their existence" and songs like Country Johnny which could be about John Laws except he'd probably sue. Thankfully people started to trickle through the doors in time to give this band the listen they deserve. Their impressive history was quite apparent as was Irwin's theatrical background both in the drama of his delivery and the impact of his Iyrics.

"I'm the bloke in the poster" is how Neil Murray chooses to introduce himself Well not really, the bloke in the poster lacks a lot of the intensity and drive of Neil Murray and the Rainmakers on stage. Laconic? Sure, totally unpretentious? Definitely, yet demonstrating a quite seriuos commitment to his music and equally determined to ensure the audience of a good time. Add to this James Cruikshank providing a very nice line in hefty, moody keyboards and you probably couldn't ask for much more. A lot of the songs are from the impressive Calm and Crystal Clear album, including the rollicking Shakin' Hand and the softer Womans Love, with a few throwbacks to Neil's Warumpi Band days. The theory that we're all hayseeds at heart was quite apparent in the audience enthusiasm and their rowdy demand for two encores.

I think what the afternoon adds up to is this - two astute songwriters dealing with two very different landscapes and distillation of experiences, yet both possessing an ability to translate their stories through their music and to strike a chord and create a response in audience members.

Which means? The Rageometer never lies!

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