| the Lighthouse Keepers | |
|---|---|
| Also known as | LHK |
| Origin | Canberra |
| Genres | C&W, indie pop, |
| Years active | 1981–1986 |
| Associated acts |
The Particles, Cannanes |
| Members | |
| Juliet Ward, Greg Appel, Stephen O'Neil, Michael Dalton, Steven Williams. | |
The Lighthouse Keepers were an independent band in Sydney in the early 1980s, combining a loosely-rehearsed, casual ethos[1] with C&W humour, Punk DIY attitudes and Pure Pop songcraft.
Contents |
Evolving out of Tex Truck and the Semis, a U.T.S. student Talent Quest party band, three members originally migrated from Canberra ACT. These were Juliet Ward, Greg Appel and Stephen "Hairy" O'Neil (the latter two having played together in The Grant Brothers and Guthugga Pipeline). Augmented by Michael "Blue" Dalton, vintage music enthusiast,[1] on national steel slide guitar and harmonica contributed an authentic country/blues style to arrangements as a foil to multi instrumentalist O'Neil's nifty and melodic bass/drums/guitar and C melody sax playing further complimenting the rich timbre and interpretive abilities of vocalist Ward with Appel's understated but skillfully rendered jangling Maton brand 12 string guitar. All members rotated to bass playing duties both on stage and also in the studio to facilitate various song arrangements.
As if tumbling out of someone's 78 rpm record collection, The Lighthouse Keepers' repertoire was initially steeped in country, blues, folk, pop and jazz which later infused Appel's melodic and lyrically engaging songs melded with emotionally charged vocals by Juliet. Along with subtle somewhat larrikin and self-deprecating humour in song subjects dealing with suburban teenage angst,[2] and interpersonal relationships, were bitter sweet love songs, a couple of instrumental contributions from O'Neil and Appel, plus a sprinkling of cover versions highlighting their musical influences, for example, St James Infirmary Blues and Big Noise from Winnetka. Other diverse influences included Australian country music legend Chad Morgan, American C&W songs such as A Dear John Letter and Sun Records era Rockabilly artists including early Narvel Felts, "the two Elvises" and contemporary pop music.
Early compact cassette recordings included a live performance (replete with Juliet's dog "Chaos" contributing back up vocals) of a Tim Spencer (singer) composition "Cigareetes and Whusky", originally recorded by The Sons of the Pioneers, the Willie Dixon Big Three Trio and Red Ingle.
A "demo" version of the country standard I Fall to Pieces (immortalised by Patsy Clyne), was recorded in late 1982 on a Sony 4 track and mixed to cassette, featuring vocals by Juliet accompanied by Greg on acoustic guitar who later overdubbed bass and slide guitars.
LHK's first single was a 3 song 7 inch vinyl 45rpm released independently in 1983 on their own Guthugga Pipeline label. Early pressings sported individually hand drawn disc labels and cover art with the words " - STRIKE A LIGHTHOUSE ! - " etched near the matrix numbers of the run-out grooves.
The "A" side, a somewhat "licht gothic" styled "Gargoyle" featuring vocals by Juliet, was backed with the slightly rockabilly influenced "Demolition Team", and 12 string, groove driven "Quick Sticks", both sung by Greg. All three original compositions were written by Appel and recorded at the band's request as "first takes", Greg playing guitar and Stephen O'Neil playing on a borrowed drum kit. Bass guitar was then overdubbed by Appel with some deft harmonica and slide contributed by "Blue" along with Doubletracking of Juliet's vocals and use of a stomp box effects unit compressor on the 12 string guitar parts.
Recorded at Dream Studios Mk3 for $50 (plus tape costs) on a 1/2 inch 8-track (multitrack) reel to reel analog tape recorder running at7 1/2 ips and mixed to 1/4 inch 2 track 15 ips using Auratone 5c sound cubes for referencing, the audio engineers in keeping with the prevailing autodidactic DIY "zeitgeist" encouraged the band to purchase their own blank tapes and follow the production process from mastering by Don Bartley at EMI's Sydney Recording Studios then located in Castlereagh St, to "test pressing" (see also white label) at EMI's Homebush record plant where the record was also manufactured through EMI's custom pressing service commononly used by bands and emerging independent record labels such as M squared. Production costs were financed independently by the band.
With the addition of drummer/manager Steven Williams (along with O'Neil, previously a member of Sydney post punk pop band The Particles) [3][4], LHK,as they were becoming known (see notes),released a second record on their own Guthugga Pipeline label in November 1983.
The self produced and distributed 12 inch 45rpm 6 track "Lo-fi"[5][6] mini-album "the Exploding Lighthouse Keepers" showcased another five of Appel's songs, musical arrangements, and album cover artwork plus a version of the Bo Carter country blues song "Whisky and Gin", (recorded direct to a Technics 15 ips 2 track in the bathroom of a Redfern terrace).
Opening with "Springtime" The recordings highlighted the signature country blues style harmonica parts of Michael "Blue" Dalton so characteristic of the Lighthouse Keepers' sound, and also saw the introduction of brass instruments into LHK's instrumental colour which continued as a feature in most of their subsequent recordings.
Alex Hamilton (who also played the solo on the classic Particles track "I Luv Trumpet") overdubbed duet Trumpet parts on "Bad Mood" and also on the "intro" of the country ballad "Again".
Musical arrangements were embellished with keyboard and tamborine played by Juliet additional percussion by O'Neil and with the integration of the driving pop sensibility of drummer Williams, bass player O'Neil was also able to add second guitar parts to "The Beat" and "Narvel Felts"
Inside record sleeve insert artwork was attrbuted to "Fabian" and with the exception of Whiskey and Gin, all other tracks were recorded conventionally at Dream Studio Mk3 [7], located in an old warehouse in the historic Haymarket area of Sydney and home to the band Non Fiction and a loose collective of struggling musicians, songwriters, vocalists, artists, illustrators, screenprinters and Super 8 mm film makers.
Contemporaries of The Particles, Wet Taxis, The Triffids and Laughing Clowns, Hot Records[8] released LHK's first full length album "Tales of the Unexpected" which was recorded during August 1984 by David Price, assisted by Tom Colley who were "house engineers" at Paradise Studios located in Woolloomooloo Sydney, a superb recording facility featuring Westlake Audio monitors (cross referenced by Yamaha NS10 near field monitors), twin MCI 24 track tape recorders, Harrison automated mixing console and "state of the art" acoustic design and microphones; . "Tales" was both recorded and mixed at 30ips during ten "discount rate" consecutive midnight to dawn sessions Produced by the Lighthouse Keepers and John Basett. The album was also mixed by David Price LHK and John Basett. Additional musicians played mandolin, banjo, baritone sax, trombone and trumpet. The band rose to the challenges of working at a professional level taking the opportunity to develop their own distinctive sound and musical direction. Mastering,test pressing and actual record production from stampers was completed at the CBS record plant studios in Artarmon N.S.W. The album cover painting artwork was by Stephen O'Neil.
With entries in various publications,[5][9][10][11] as well as being favourably reviewed in major newspapers[12] and by a local rock press (On the Street,[13] Ram,[14][15] and Juke) et al.[16][17][18] that were generally supportive of Australian Indie bands, LHK also received airplay through the alternative radio stations 2SER, 2JJJ and similar community radio networks interstate and garnered glowing reviews in the British music journals NME[19] and Sounds(UK).[20] Further good fortune followed in being invited to support some of their favourite international artists touring Australia at the time. These incuded opening spots with Jonathan Richman and John Cooper Clarke (1983), The Violent Femmes and The Go Betweens (1984). Building up a loyal following whilst performing regularly along the East Coast of Australia along with treks across the Nullabor Plain to Perth WA, they released increasingly confident recordings (e.g. Seven Years) culminating in a low key tour of Europe in 1985[21] which included an outdoor festival in Rotterdam with The Triffids and Woodentops as well as gigs in Germany, Switzerland, Italy and Austria; returning to England to support fellow expats The Triffids at Leeds University, at the Clarendon Hammersmith and also other shows in London.
On return to Australia a travel weary LHK split in 1986 after a 3 year career including over 350 performances[22] holding a farewell show[23][24] to a record attendance crowd at the Graphics Arts Club.
Whats in a name? - During the band's inception they referred to themselves as "the light-housekeepers", a reference to the domestic cleaning jobs they shared to supplement their modest student allowances; however, with the inevitable "typos" and romantic notions of their growing audience they arrived at the more popular literary reference of "the Lighthouse Keepers".This ambiguity was illustrated in a detailed pen and ink drawing by Chloe Brookes-Kenworthy which was used as a tour poster;[25] a Thumbnail is posted on the LHK vitual archive. The "LHK" Moniker itself emerged from the ad hoc production meetings typically associated with the cottage industry self managed business style cordinated by drummer Steven Williams. ...return to The Exploding Lighthouse Keepers EP section
Since disbanding, LHK have reunited sporadically to play private parties, launch their "Lipsnipegroin" 2-CD compilation at the Annandale Hotel in Sydney (1992) and help launch the 2-CD "Tales from the Australian Underground" compilation at the Metro in Sydney (2003),.[26][27] They also played Tribute shows,[28] Benefits, (2009) and opened both nights of the final leg of a Laughing Clowns reformation tour at the Basement in Sydney (2009).[29] Rumours surface on the web occasionally of a solo album by Juliet or of a further release of LHK material[30][31] which culminated in the successful release of " ode to nothing " a 15 track remastered "best of " CD[32][33][34] and a well attended and reviewed[35][36] live show at the Sandringham Hotel (2011)
Stephen O'Neil now also a Librarian went on to develop a low key but prolific international recording and touring career with the Cannanes whilst Appel and Ward formed the short-lived Rainlovers, which evolved into one of Appel's more successful various musical outings The Widdershins.
Juliet, a scientific researcher who has helped study the Australian Dingo, plays live casually and participated in a 2007 podcast interview/performance[37](see also links). As "Jet" Ward she recorded a cover version of the song 'Rachael Cooper' by Baterz ( a member of the cult band The Bedridden) on the 3 CD tribute album in his honour titled "Great Big Sqiddy Fun- A Baterz Tribute", also featuring contributions from a number of other Australian alternative music luminaries.
Greg and younger brother Steve played live and recorded together in loose-knit bands with the youngest of the Appel clan David (vocals, trumpet, percussion). A fourth Appel brother, Rob, is the founder of the pioneering Internet music retail website Chaos.com . Greg has also worked for the Australian Broadcasting Corporation for many years Producing and/or Directing radio and TV projects including work with his friend Paul Clarke (a Senior Producer) on the landmark ABC music documentary series Long Way To The Top.
Amongst other projects is Van Park - The Musical written by Greg,[38] featuring music by Steve Appel's King Curly, and a supporting cast that included John Paul Young and Steve Kilbey."Van Park" premiered at the Seymour Centre during the 2010 Sydney Fringe Festival where it was well received.