megascene issue 5 (2)

1

Issue 52016

. . . featuring music, food, fashion and lifestyle in Adelaide

Photos of some Fringe shows

Interview withIan “Polly” Politis

Interview withPaul Kaiser

Interview with Kevan Keeler

Photos of Noiseworks at Sounds By The River

Photos of Jon English& Peter Cupples, Moving Pictures, The Screaming Jets, and GSM Allstars.

Photos ofRockin’ Rob Riley

MEGAscene • Issue 5 - 2016

2

Rising Star MediaPhotography - Video - Design

[email protected]

Photography by Sue Hedley

Specialising in music industryphotography, portraits and events


3

IN THIS ISSUEInterview with Paul KaiserInterview with Kevy MetallLive gig photos of Noiseworks Interview with Ian “Polly” PolitisLittlefishLive gig photos: Jon English & Peter CupplesCatherine Lambert Art Exhibition Live gig photos: Rockin’ Rob Riley - Rob Riley -The Screaming Jets - Elektra CityPhotos: Oranges and LennonsPhotos:1965 Masters ApprenticesLive Sound AdvicePhotos: You Must Remember This The Fleurieu Peninsula SA ParanormalLive gig photos: Moving PicturesMarkets in Adelaide Maria’s Column - Australia Day

Oranges And Lennons You Must Remember This

0612182025263132343638424446485054565861

4Photo by Sue HedleyRockin’ Rob Riley


5

Editor:Sue Hedley

Associate Editor:Carina Bonney

Editor’s Assistant:Maria Szczerba

Editorial AssistantDavid Powell

Contributors this issue:Allen Tiller

Deb BrunotteFrank Lang

David PowellMaria Szczerba

Brian CainCarina BonneyLouise Miller

Photographer:Sue Hedley

Additional Photography: Maria Szczerba

Brian CainLouise Miller

Layout:Sue Hedley

Published by:Rising Star Media - www.risingstar.com.au

MEGAscene web address:www.facebook.com/megasceneoz

Editorial and Advertising enquiries:[email protected]

Telephone: Sue - 0414 984 739

Postal address:PO Box 333

Greenacres SA 5086

© Rising Star Media 2015All rights reserved

Welcome to Issue 5 of MEGAscene. Autumn is here but the hot weather is still here too. Easter is just around the corner. How fast this year has flown!

Now that MEGAscene has grown we are looking for an Advertising Salesperson to sell advertising space on a commission basis. If you are interested please contact me with your resume at [email protected].

Regards,

The Editor

Sue

All materials published in MEGAscene are subject to copyright. No part may be reproduced without prior written permission from the publisher. The opinions expressed in MEGAscene are not necesarily those of the editors or publisher. No responsibility is taken for the contents or illustrations of advertisements. This linking to other sites within MEGAscene is provided strictly as a courtesy by Rising Star Media for the convenience of its’ users and Rising Star Media is not responsible for the content of any site linked, or linked within a site, nor does it constitute the endorsement of the web sites or of their policies, products, services or delivery of goods. Rising Star Media will not be held accountable for the content of any postings contained in any site linked or linked within a site, nor does it deem reliable any offers, expert advice, financial opportunities, or otherwise that any such postings should imply.

EDITOR’S NOTEMEGAscene

The 1965 Masters Apprentices

Front Cover Photo: Paul Kaiser

mailto:rsm%40risingstar.com.au?subject=

mailto:rsm%40risingstar.com.au?subject=


6

Paul Kaiserby Sue Hedley

“We were tired of feeling our ribs. Funnily enough, our manager seemed to be getting fat. Not that we were making an awful lot money, but we weren’t making any money.”

I caught up with guitarist Paul Kaiser.

Tell me about your projects.The Aussie Ausborn show is reforming of recent times because of a different singer approaching me to carry on with the show. So I put the guys together to conduct this audition with the singer. He had to really sound like Ozzy Osborne and he didn’t make that grade unfortunately. While that was going on I got a call from the original singer Glen who found out we were auditioning a new singer. With that he approached me to reform it. We had a bit of a discussion about it. So we are putting the original band back together but this time we are still looking for a keyboard player. They are a bit of a hens teeth issue. Finding one is great but then you have to find one who is into what you are doing, compatibility, and have they got that focus. They tend to play in lots of bands and stuff.

More of recent times I am putting together an early years Van Halen covers band with an Adelaide singer called Damien Kelly, previously of Almost Human. Andy Turner is the drummer and we are still looking for a bass player. Has to be a talented singer and into playing Van Halen.

Also my original project, Kaiser and the Machines of Creation, has been going great.

I’m hoping to start playing around March as Kaiser and the Machines of Creation. We wouldn’t be playing too many gigs anyway because there is not really anywhere for an original band and what we do to play. We have to be quite select in where we play and times. As select as we can be. I was hoping to get that overseas as well but it’s a little bit more of a difficult job as opposed to the cover bands. Getting them overseas is far more simplistic. You can tour the world as a

cover band these days whereas it used to be the other way around. I’ve approached a lot of people of recent times throughout Europe and England - promoters and agents alike - about getting shows. One of the first things they say is “Do you have a cover band? Do you do Bryan Adams?” Why am I talking to you?! Oh no!

What style of music would you describe Kaiser and the Machines of Creation as?More of a hard rock thing with a bit of progressiveness about it. I’m a bit more into the commercialism of the chorus I suppose. That sort of band.

How many albums have you released?I’ve got three albums. My first album I released in 2008, Intraspection. In 2011 I released Universal Mind and in 2013 I released a Ronny James Dio tribute album

Your film clip “Winter’s Mourning” is off of which album?Winter’s Mourning was off the first album, Intraspection.

It would have been fun making that video clip.It wasn’t too bad. It was alright actually. A bit of experience. I hadn’t done that sort of thing before.

Where was it filmed?One of those old original towns. One of those old towns where a new town was built up the road and they left the old town there. Another location was Belair National Park and Belair Cemetary.

Have you written songs for another album for Machines of Creation?Yes, that is pretty much all on the go and ready to go.


7

Paul Kaiser - early ‘90’s


8

Did you write the songs yourself?I always write myself. Plus the inclusion of some older material that I’d written probably about 20 years ago. Material that still holds water with how I feel now about what’s going on. They are not just songs picked out of the blue that are great songs. I’ve got to feel something about what I am singing about.

So there is a theme going on?I’m not necessarily trying to put a theme in it but while I am singing the song it is relevant. It means something to me. I’m not just singing the words from some guy 20 years ago.

Have you recorded the album yet?Everything has been recorded in demo form. One of the most important parts of recording an album is getting the drums right. Getting that whole sound correct.It’s really important. You also have a separate project writing with Peter Jenkins. Do you write the music and Peter writes the words?No, we are just writing it together as we go. We’ve only just started it so it is all very new. We’ve got a lot of ideas and it is pretty exciting as we are sitting there coming up with different things.

What style of music is it?At the moment it is coming out a bit more progressive jazz. We’ve still got a bit of work to do.

Are you planning to be a duo?No. Just doing a release under our names or as a name, whatever we decide.

Will you play live?No, I don’t think so. It will just be a studio thing. We’ll put it around and hope that people enjoy it.

So will you get other musicians to play the other instruments or you will do it all?We will get the appropriate musicians to do certain things for sure and spend the time and money on it.

You even played in the Zepboys and also Statez. What other bands did you play in?Teaze in the ’80’s. Teaze was the happening

thing back in the ’80’s.

Was everyone in the band the same age?Yes, the lead guitar player/singer, Kevin, was a year and a half older, the drummer David, his brother, was 11 and I was 12 playing guitar.We didn’t have a bass player. We didn’t even know what a bass player was. But we did lots of things like Shadows, Beatles, Crickets, Hank Marvin, and all sorts of things.

How long was that band together?Maybe eighteen months or two years.

From there where did you go?I got together with some guys and we were jamming with different musicians around town. We were ‘the next grade coming up’. We were all about 16 so we weren’t old enough to play the pubs.

Then I had a band in Adelaide called Egypt. With that band we did a lot of shows in Adelaide. It was a really popular band. That was late seventies, very early eighties.

I was in the army at that time. I joined the army in 1978. I was based back here in Adelaide at Woodside in 16th Air Defence Regiment, Royal Australian Artillery.

I spoke to the band about me going AWOL and us moving to Sydney. This was at the end of ’81, thereabouts. They said “Yeah no worries”. They weren’t particularly worried about me going AWOL, they were just going to Sydney. We got closer to the time and I ended up chickening out. I just couldn’t see myself going AWOL and running away to Sydney. They all went as planned - Eddy Camilleri, Dave Crompton, John Owens and Eric Ott. They all went to Sydney and they got themselves set up in an apartment in Paddington. A great big joint with an attached spare room where they built a rehearsal room inside of this room. A pretty amazing setup. Which I didn’t get to see for another 6 or 7 months when I finally decided to go AWOL, which was one hell of an experience all by itself. I made it to Sydney and I was AWOL and I rejoined the band. It was a bit lucky actually, because they had changed the band. They got a couple of local guitar players and everything had changed.When I called them I said “I’m coming over to


9

join the band.”They said, “Well, it has all changed.” I said “Well put it back together!” and they did. And we got back together.So I moved over there with my girlfriend at the time and rejoined the band. We changed the name to Venom and played around Sydney for awhile. Up till late 1983, early 1984 it all fell apart. We were tired of feeling our ribs. Funnily enough, our manager seemed to be getting fat. Not that we were making an awful lot money, but we weren’t making any money.I came back to Adelaide and me and Eddy put the band Statez together with Damien. Initially we put it together with Ton Val.He said “I’m only going to play if I get bucks, mate.” “Bucks? There is no money in this. You want money?” So we paid him because we wanted the singer to do what we wanted.So we would get all the money and I’d give it to Tony because he was going to leave.

Anyway, we got over it and he left. Then we teamed up with Damien Kelly because Almost Human had finished so we kept on with that band Statez. It was Eddy, Mark Ryan, myself and Damien. Eddy and I fell out, and that was Eddy out of the band. Then we got Luis Saez-Sanchez into the band and David Kennedy. That became a popular version of Statez. Then we toured around Canberra, Melbourne and Sydney with the band. That went for a little while but finished about late 1985. At that point I got together Teaze.

Statez

Who was in Teaze?The first rendition of it was Joe Bikic on vocals, Grant Thiele on bass, Domenic Eliseo on guitar and Dino Talladira on drums. Domenic moved on and so did Grant. So we got in Julian Hamvay who played in High Voltage for awhile, who I later got into the Zep Boys.

Also Joe moved on and we got Tyler Reid as vocalist. That lasted about 18 months. Then the offer for the Zep Boys came up. I joined them in 1991. It was great timing because the whole rock scene had completely collapsed worldwide. Anyone left from the ’80’s scene If you hadn’t already made it then you were finished.

When the ’90’s kicked in with Nirvana and Pearl Jam, anything previous to that was not going to be played. It was a bit of a godsend that the particular job came up. I was in there till 1998.

How long were you in the Zep Boys?About 7 years. Just as Teaze finished and the


10

Zep Boys asked me to join, I was prepared to go overseas. I was communicating with Snake from Skid Row at the time. I was just trying to get myself positioned to go but the scene collapsed. And the Zep Boys came up. I had to think about it carefully. Either I could go overseas or I could join the biggest cover band in the country. I had a son at the same time. I didn’t really want to leave the country and leave my son here. As it turns out now my son has left the country.

When did Angelwitch happen?That was the same time as Egypt. I put it together with Tony Lavis and Paul Burgess and Chrissie Cavoris. Eddy came in later on. I formed that band with those people and then I left it to join my band in Sydney. So when I came back I got back with Angelwitch and I also formed Statez. I’ve always been busy.

What happened after the Zep Boys?We did a lot of writing during that time. During that time I was also writing my own material

for my own thing. We done an album for recording purposes but we recorded 3 or 4 albums worth of material. I kept on going with my own stuff too. When I finished in ’98 I put together the band Machines of Creation.

About 2003 I decided to put together the Australian G3 show. That was a good experience. Then I reformed a different version of Kaiser and the Machines of Creations. That was who I recorded my first album with in 2008. During that time I was also writing with another local singer Macca. We wrote a lot of material.

I decided to put the Aussie Ausborn show together in 2011. First show was at The Gov in February 2012. We did 2 shows here and then we played Melbourne.

Where is your cd available?My first album Intraspection is only available in hard copy from me. It is also available online through CD Baby. I released it through my facebook pages. My 2011album, Universal Mind, is for download only. It is not a hard copy. Also my Ronny James Dio album is download only. Available through Facebook too.

Have you got any tips for any aspiring guitarist?Never stop playing and always practice and always learn.

https://www.facebook.com/paul.kaiser.961

http://www.cdbaby.com/Artist/KaiserandtheMachinesofCreation

https://www.reverbnation.com/kaiserandthemachinesofcreation

Teaze

https://www.facebook.com/paul.kaiser.961







11


12

Kevan “Kevy MetaLL” KeelerWords by David PowellPhotos by various photographers

Kevan Keeler is currently singer and creator of HOLLYWOOD gUN CLuB and original band FIVE O’ ONE NINE. He is also known as Kevy MetaLL. I caught up with him for a chat.

David: Who is Kevy MetaLL?

Kev: He is what Spiderman is to Peter Parker or to put him in a more rock n’ roll context, he is what Alice Cooper is to Vincent Furnier. He enables Kevan Keeler to dress up, get up on stage, scream, sing, make loud music and behave badly.

David: How did you get into music?

Kev: My dad (Kevan Keeler Snr.) was a music teacher and keyboard player. My older brother (Steve) played drums in Dad’s band. I was encouraged from a young age. My brother worked at John Reynolds Music, where I started drum lessons at age 10. My first gig was with dads band, filling in the drum stool for my brother at the St.Leonards Inn, Glenelg which later became the infamous Lennies, where I went on to do many gigs over the years with my own bands.

From a young age, I was gigging with guys a lot older than me. It wasn’t easy to find guys my own age who were proficient enough, but once I got to high school, I found guys who were good or were working at it. Then the possibilities opened up and it went from there. We started jamming in the shed on KISS songs.

After high school, I met Peter Marsella and we formed a band in the early 80â€™s playing Heavy Metal covers and originals, but we struggled to find a singer that could handle the songs we were playing. There were a handful of singers in Adelaide, capable of covering Iron Maiden, Judas Priest and Van Halen, but they were already in established bands. Eventually, the band split and being frustrated by the lack of available lead singers in Adelaide, I was

motivated to take singing lessons and simply do it myself.

I had excellent singing teachers, initially Greg Hart and later Malcolm Potter. These guys instilled in me the confidence and the knowledge and I started singing and fronting bands, whilst continuing to play drums. Eventually my focus shifted from drums to being the front man. I still love the drums and I’ve always had a drum kit or two at home. In fact I currently have 2 Pearl Kits. One is an EPro (electronic) and I always welcome the opportunity to pick up the sticks.

David: You released your first Album last year, can you share the creative process that drove you?

Kev: The album “FIVE O’ ONE NINE” was hatched from a conversation with friends one night. It was almost a challenge from a question posed to me along the lines “Kev, have you ever recorded any of your own stuff?” The process then started seriously to write and record, to find musicians with the energy, drive and passion to want to be part of it. Fortunately for me I’m surrounded by creative people. Ward Purcell (guitar) and Peter Marsella (Bass) were on board immediately. Danny Bryan (Keyboards/Producer) was massively important. I could

Kevy in Hollywood Gun ClubPhoto: Sue Hedley


13

not have done it without Danny. Our great and dearly departed mate, Howie Kehl was a major mentor and song writing partner also.

In total there were 17 musicians plus myself involved in the total creative process that is FIVE O’ ONE NINE.

Howie gifted me 4 songs that he’d written and he told me they were mine. I could use the songs and do whatever I wanted to do with them. I added verses, changed a few words here and there, but essentially the 2 songs we ended up recording for the album were Howie’s. The other 9 songs on the album were collaborations between myself, Ward, Pete and Danny.

I had Steve Williams (WaWaNee) track guitars on a couple of songs. Dave Blight (Cold Chisel) played harmonica on the blues track “Black Cat Bone”. Some of Adelaide’s finest vocalists contributed including Di Dixon, Becky Blake, Rose Senesi & Vince Perrotta. Other contributors included Peter Jenkins and Grant ‘Kanga’ Thiele and I had a horn section on two songs featuring some of the best guys in Australia - Gordon Lambie, Russ Paynter &

Brett Spilsbury. As this album was mine, I had the freedom to work with whoever I wanted. I was not constrained to it being a band project and having to stick within those boundaries. Ultimately it was on my shoulders if FIVE O’ ONE NINE flew or failed and I really wanted to get some of my famous friends involved.

David: Tell us about the Bissonette Brothers, Gregg & Matt.

Five O’ One Nine album cover


14

Kev: I met Gregg Bissonette at a drum clinic at the Arkaba Hotel back in 2004. Gregg was the drummer with David Lee Roth’s “Eat ‘Em And Smile” band with Steve Vai and Billy Sheehan and has since gone on to become one of the most in demand session drummers and clinicians on the planet. Check out this for a resume: Santana, Toto, Linda Ronstadt, Brian Wilson, The Doobie Brothers, Ozzy Osbourne, Brian Setzer, Enrique Iglesias, and Spinal Tap, to name just a few. For the past decade, Gregg has been the ‘other’ drummer occupying the drum stool alongside former Beatle - Ringo Starr - in the “Ringo Starr All Starr Band”. I had remained in contact with Gregg over the years and once the decision was made to record FIVE O’ ONE NINE and once I’d secured the local guys, I approached Gregg to see if he’d be willing to contribute. He immediately agreed, but asked me if I could run everything past his brother Matt.

daunting. It definitely made us focus and lift the bar.

The Bissonette brothers ended up recording bass and drums on most of “FIVE O’ ONE NINE” and were slotting my sessions in between touring and recording with Ringo & Elton. It was a little bit surreal to say the least.

Gregg and Matt are very humble, funny and cool guys, considering who they’ve worked with and what they’ve achieved you could not find more down to earth guys.

After the recording and release of FIVE O’ ONE NINE, I went over to the USA and I visited Matt’s home recording studio in Los Angeles. I recorded some more songs, with Gregg and Matt and these songs will be on the next album.

David: How did you come up with the concept behind the “CONSPIRACY” video?

Kev: The lyrics to “CONSPIRACY” tell the story. I’d been reading about conspiracy theories. It’s amazing some of the stuff that is out there. I considered some of the more bizarre and ridiculous ones and combined them in to an imaginary conversation that I was having with Elvis, whilst sitting in my UFO, at the grassy knoll where JFK was assassinated.

I’ve always loved sci-fi and horror movies. In particular the 50’s and 60’s B-Grade schlock movies that were trying to be serious, but had bad acting, corny dialogue and really bad special effects. There are movies out now that do this deliberately, but the original ones had an innocence and naivety about them that was not contrived.

The “CONSPIRACY” video was an homage to those classic B grade movies and I think we pulled it off. It’s fair to say our special effects and costumes are more ‘Plan 9 From Outer Space’ than Spielberg.

David: There is a story behind the video and a heartfelt contribution throughout the production?

Kev: I needed someone to play Elvis in the video. I had approached a couple of local

At the time I’d not personally met Gregg’s brother Matt, but of course I knew who he was. Matt Bissonette is one of the best Bass Guitarists in the world. Matt replaced Billy Sheehan in David Lee Roth’s band and also continues to have an extensive career touring, recording and producing with Rick Springfield, Don Henley, Lita Ford, Steve Perry, Jeff Lynne, Joe Satriani, Boz Scaggs, Ringo Starr and many more. Matt is currently the bass guitarist for Elton John. Armed with Gregg’s referral, I contacted brother Matt explaining who I was and my connection with Gregg and his response was “Any buddy of my bro’s is a buddy of mine. Let’s do it.” I started out hoping to get Gregg and ended up getting both Bissonette brothers. It was truly amazing and a bit


15Photo: Sue Hedley


16

impersonators, but they take what they do very seriously. I got the impression that as I was explaining my concept for the video, they were not so keen to do it. I discussed this with Howie Kehl and he immediately stepped up and offered to play the part of Elvis.

Of course, one does not necessarily have an Elvis costume just hanging in the wardrobe. Once again the planets aligned and timing is everything. There was a costume shop on Port Road closing down and for the cost of the hire fee, you could keep the costume. I just happened to be driving past and I grabbed 2 Elvis outfits with wigs, glasses, belt, cape, the full ‘Elvis does Vegas’ rig out!

We shot the main storyline for the “CONSPIRACY” video on a stinking HOT summer day. It took about 5 hours to shoot. Howie as Elvis is the star of the video, but the star of the day was Danny who was running around in a rubber Alien suit in 100 degree heat. I thought he was gonna’ melt! Oh, the sacrifices we make for our art.

Then we had to edit and add animation and effects and shoot other scenes. From the day of the main shoot until the video was finally ready to upload to YOUTUBE, took 6 months. This was due to us all having busy lives and lots of other things going on, in reality we could’ve had it done much sooner, but that’s just the way it panned out. Nick Majcen and his team at MAJCEN Films did a great job as usual putting it all together.

David: I understand that someone died?

Kev: Never take your family and friends for granted. Don’t put off till tomorrow what you can do today. Sadly we lost a great mate. By ‘we’ I mean the music community of SA. Howie Kehl was a great friend and mentor and I love him and miss him. He was an integral member of the FIVE O’ ONE NINE album project.

My last contact with Howie was early in the day on 14th May telling him that we’d finally finished the “CONSPIRACY” clip and it was in the process of being uploaded to YOUTUBE. Howie was his usual self, cracking jokes and making me laugh. A number of times, Howie had been at my place and had declined

checking out any rough cuts of the clip. He insisted that he wanted to wait and enjoy the final cut. On May 16th I sent a message to everyone involved that the clip was finally uploaded. Later that night, on Saturday 16th of May, I received a phone call from a mutual friend advising me that Howie had passed away suddenly, at home, on May 14th 2015. Sadly, Howie passed away without ever seeing the final cut or the great performance he did in the ”CONSPIRACY” video.

Turning to the production phase in the studio, what was it like with the band, Producer, Danny Bryan who also produced a Swanee EP?I love working with Danny. He makes me feel relaxed and I can perform to the best of my ability without feeling any pressure or stress. He has a great way to get a good performance out of me, but without any drama. He has a strong belief, that the studio performance should be convincing to the listener and if they close their eyes, they can imagine the band in the room performing the song.

One of the ways we achieved this was to have me sing every song all the way through, in one take. If I had a problem phrasing a lyric or if it was difficult to catch my breath or transition from a verse to a chorus, it meant there were too many words, or words that were superfluous. So I’d cull the unnecessary words to make them work rhythmically and to do what was best for the song.

Danny has worked with some big names in the OZ music scene. You mentioned Swanee. Danny has also toured and recorded with V Spy V Spy. Danny is a very good keyboard player, singer, songwriter and producer.

I caught up with Matt Bissonette recently, when he was here in Adelaide with Elton John. Matt is also a producer and he is Rick Springfield’s ego to man and has also just completed recording Bass for Elton’s new album. Matt was very complimentary of Danny’s production work on FIVE O’ ONE NINE, which is well deserved, high praise from one of the best in the business.

David: As you know I am a huge fan of Wardy on guitar. After enjoying the Boom Boom Room’s last show featured in MEGAscene’s


17

David: Where can we expect to see 5019 perform in the future? Any touring or playing at festivals planned?

Kev: When The 5019 Band plays, it’s 9 people on stage. That requires a lot of effort to plan & put together. It’s also not a cheap band. It costs a fair bit of money to cover musicians and production. However, we do have several private & corporate gigs lined up in 2016. As for touring or festivals? If anyone reading this wants to put an offer on the table, I’m always open to discussion, so please contact me and we’ll talk.

HOLLYWOOD gUN CLuB and Poundcake will definitely be doing some gigs in 2016.The best way to stay informed is to join my mailing list. Go to my brand new website www.kevankeeler.com and send me an email via the link.

Please also keep an eye out for our brand new promo video for “WRONG SIDE OF THE TRACKS” launching soon!

David: Thanks for giving your time to the interview and we wish you all the continued success that you work hard for in the future. Now how can we buy a signed copy of your CD - Five O’ One Nine?

Kev: Thanks MEGAscene for having a chat with me. I really appreciate the chance to share my story. If anyone wants a copy of FIVE O’ ONE NINE, please go to my website and follow the links. You can contact me directly via the website or you can purchase and download a digital version of the album from CD Baby: http://www.cdbaby.com/cd/kevankeeler

If you want the limited edition digipak with the 16 page full colour booklet, then contact me directly. If you want me to sign your CD, no worries, that will be my pleasure. ROCK ON!

Kev’s Website: www.kevankeeler.com

last edition, Do you think Adelaide could be ready for a supergroup? Maybe pairing the likes of Steve Williams (Elektra City) and Ward Purcell (Hollywood Gun Club) in the next Album. That would be one killer live show performance!

Kev: I am also a huge fan of Ward’s playing. We’ve worked together now for 20 years and he is a great mate. We have a lot of laughs and take the piss out of one another and everyone else too! On the serious side, he is meticulous when it comes to preparing, whether that be for a rehearsal or a recording session and he is always on time. He treats his music and his band mates professionally and with respect and that makes him a dream to work with. He’s a good singer too and this gives us a lot of scope when we’re choosing cover songs or working on our own stuff.

I’ve only worked with Steve a few times, but what can I say? He has achieved in his musical career more than most of us could only dream about. MEGAscene should definitely do a Steve Williams interview. He’s got some great stories to tell. Steve, is a great rock guitar player, but he can play any style. When we recorded FIVE O’ ONE NINE, I spoke to Steve about recording 1 guitar part for 1 song. He ended up playing on 3 songs, recording a load of different guitars and we’ve recorded another song since then that will also feature Gregg & Matt Bissonette. He’s a great guy and super talented guitarist.

As for pairing Wardy & Steve? You’d need to ask them, but I can tell you that we have spoken about it. That is Ward, Steve & myself about the possibility of a 2 guitar attack HOLLYWOOD gUN CLuB gig. Everyone was pretty positive about it. As I said, I can confirm that we have already recorded some new songs that feature both Ward & Steve.

If you consider some of the guitarists Gregg & Matt have worked with, Steve Vai, Joe Satriani, Yngwie Malmsteen among many others, for them to compliment Ward & Steve’s guitar playing, probably sums up how good they are better than I can. Ward & Steve are world class guitarists, they live and play right here in Adelaide and we should be proud of them.

http://www.kevankeeler.com

http://www.cdbaby.com/cd/kevankeeler

http://www.kevankeeler.com

18

Noiseworks@ Sounds By The River

16/01/2016Photos by Sue Hedley


20

Ian “Polly” Politis

This issue I decided to interview a man that is very well known, admired and respected within the high end of the Adelaide music scene. He has been the voice of many jingles, the singing voice for Goanna (The Music Shop) as well as an essential backbone for many well-known artists, playing keyboards and singing backing vocals. Although constantly in the spotlight, he seems somewhat a quiet achiever, and he is well grounded, hardworking and a loving family man. I have been fortunate to have worked with him on many occasions over the years and he is what I would call a ‘freak’ due his natural musical ability and profound professionalism. You have most likely seen him on stage at some time or in photos on facebook performing with the stars… but meet the man himself…. Ian (Polly) Politis.

Deb: Tell us how and when you first became involved in music and what were your musical influences? Were your family musical? Who do you think you acquired your natural talent from?

Polly: Hi Deb, Thank you for that flattering introduction. I wasn’t sure who you were talking about. I guess it started from about 4 years old. My sisters played piano and piano accordion so we owned both of those instruments. I just used to muck around with tunes I was hearing from TV or school (we used to have radio shows over the loudspeaker in the classroom). They taught me to play Heart and Soul and all the classic stuff that you could easily learn. I started serious lessons at 9 years old. I was taught by nuns at Dominican Convent at Semaphore and later, Star of the Sea at Henley Beach. It was all about the ear and it’s development. Natural talent doesn’t go with natural laziness. You have to work hard no matter how easy it may seem at times.

Deb: What instruments do you play and which is your instrument of preference?

Polly: I play piano seriously and I can strum a guitar in a self taught way. My preference is piano/vocal. That is the style I started with and it is the strongest part of my game. Having said that, not much compares with the blending of beautiful voices and the chemistry that evolves from looking into each others’ eyes and realising how bloody lucky you are to be doing what you’re doing.

Deb: You have amazing vocal technique. Where did you get your knowledge from?

Polly: I have to thank the following people …Elton John, Paul McCartney, Paul Simon, David Bowie, Glenn Shorrock, Brian Cadd, Russell Morris, Neil Young, Billy Joel, Neil Diamond, Sting, Bono, Freddie Mercury, David Crosby, Noddy Holder, Ian Gillan, Robert Plant etc, etc, etc. Of course it’s not as simple as listening and it shall be but that’s where eventually you have to give yourself a little credit by making something of these influences so that you may tread the same path, albeit not to the

Words by Deb BrunottePhotos by Sue Hedley

“I’ve had the good fortune to back people like Brian Cadd, Glenn Shorrock, John Schumann, Russell Morris, Jo Camilleri, Lisa Edwards, Daryl Braithwaite, John Swan, Jim Keays as well as The Angels and The Brewster Brothers.”


21


22

same level.

Deb: Back in the day (over 20 years ago) I was hangin’ in the rock scene and didn’t know of you … What bands were you in back then and where did you mostly play?

Polly: My first original band was called Moondyne Loop (a railway siding in WA). Our first gig was the Windmill Hotel in 1979. It was in the great days when I was the youngest in the band. We did The Tiv, Semaphore, Aurora, Highway Inn, Seacliff and numerous road trips. We did some recording at Musicfarm in Byron Bay in 1980. From there the band lost various bass players and went through name changes (Bad Habits and The Razor Gang). I joined Brenton Roberts from there and had an absolute ball. Full houses at The Findon, Reepham, Highlander, Peckers and The Bay Disco. Mad Dogs and Tow Boys was next. That’s probably the closest I ever got to being arrested. Some of the things we got away with would see a posse running us out of town these days. Boots and All was in there as well. Great band; Les Kaczmarek, Tony Lavis, Wayne Aldridge. John Swinburne. Kicked arse all over Adelaide. Then Beagley Brothers with Mick Kidd, Johno Preece, John Lyons, Mick Bryant and George Abbott Young. From there it was back with Brenton as a duo which was a great success. The tunnels at The Old Lion as well as Colonnades on a Friday and Saturday night with people singing at the top of their lungs. That covers up to about 1994.

Deb: It’s hard to fit it all in a nutshell, but tell us a bit about your journey since then until now?

Polly: After Brenton I met Rohan Powell. I had seen him in a few of his earlier bands such as Grand Delusion and 17 Red. I think I first met him at a Miners Ball in Kadina. I was in the Beagleys and he was playing with Kid Sister (I think). Later we were both working with Patrick McMahon as backing vocalists and were both working solo on the circuit. Decided one day that we would get together and over the next year started what became Acoustic Juice. 20 years later we are still at it. Playing all over Australia and overseas, it has been a huge success. Outside of the band I’ve been lucky enough to have played with some

of my greatest influences as well. I guess the culmination and almost portfolio of that work was David Day’s Memorial Concert at Thebby.

Deb: You have done so many gigs backing legendary artists that come to town. Name some of the top artists you have performed. Do you have any favourites?

Polly: My first encounter was completely by chance but I got to sing with John Farnham at a Grand Prix gig I was booked for in about 1988. It was a gig for about 100 VIP’s at The Hyatt. I’ve had the good fortune to back people like Brian Cadd, Glenn Shorrock, John Schumann, Russell Morris, Jo Camilleri, Lisa Edwards, Daryl Braithwaite, John Swan, Jim Keays as well as The Angels and The Brewster Brothers.

Deb: You are a first call session vocalist here in S.A. What are some of the jingles you have done?

Polly: Now that’s a stretch. Balfours (What about me), various BankSA adds, Keith Bowden, GW Cox, Rosella, Snappy Tom, Earth Fair, various ZooPoo ads, Beaumont Tiles, Discount City Carpets, Rocca’s Home Improvements, Wirrina Resort, SA Great, Jamesons, Wok in a Box, Mitsubishi, Farmers Union as well as Go for the Max (iced coffee). There are literally hundreds mate. Let’s not forget The Music Shop and the countless songs that you and I recorded as Crombie and Goanna.

Deb: Do you write your own songs?

Polly: I used to but I have worked with better songwriters all the way through. I guess it’s like Ringo really. Yeah. That’s a really good song Ringo, here’s one I wrote while I was waiting for a bus. It’s called A Day in the Life. What do you think Ringo?… Ringo? I have spent a fair few years singing other local songwriters songs and trying to give them what they may need vocally. That still gives me a creative outlet.

Deb: I know you are a loyal Crows supporter and you like your sport. Have you ever played at a Crows match or event? You also sang the national anthem at the Clipsal this year. What


23

was that like?

Polly: I have a feeling I was the first person to record the Crows song. It was one TV channel trying to get the jump on another TV channel. Acoustic Juice played at the Premiership dinners in 1997 and 1998 at the Ridley Pavilion. Rohan and I have done a fair bit of work for the Crows. The National Anthem was special. I’ve done 2 Formula One and 2 Clipsal 500 events as well as countless World Championships in other sports.

Deb: What so far, have been some of the highlights of your career?

Polly: My whole career has been a highlight. I’ve got to buy a house, get married, raise two children, work with people I once could only admire from afar. I’ve travelled and worked all over this great country and overseas, recorded in Nashville and Memphis, warmed my hands on the Olympic Flame, sung in the Heysen Tunnels, worked with you at Rod Laver Arena as well as the Sydney Entertainment Centre and Convention Centre, performed at Clipsal 500 after race concerts supporting Santana, sung at Carols by Candlelight, performed Pink Floyd and Queen with the Adelaide Symphony Orchestra and the Auckland Philharmonic as well as the Queensland Symphony Orchestra, sung for Prime Ministers and Governors and sung in 2 Christmas Pageants. I’ve made a career out of something I absolutely love for nearly 40 years and at the end of the gig I go home to someone who loves me. Sweet.

Deb: You are such a hard worker. Rehearsing, gigging, teaching, working a day job plus have your lovely wife Tracey to make time for. How do you fit it all in?

Polly: Having a small lazy streak helps a bit. I’m not a go go person. I will work hard up to a point but I also make a point of winding right back when I can. With so many songs in my head at one time I have to have a break now and then. I also believe in completely dumping anything that is not relevant at the time. We are all different but my ability is to absorb things well in a very short space of time. I think it comes from a session discipline where time is money. You don’t know what you’re doing until you get there and then you have

10 minutes to get it on board and then we press record. I love that pressure. My students will attest to the fact that they play me a new song they want to sing, which I’ve never heard before, and 10 minutes later it’s charted and we’re playing it.

Deb: You have avoided getting caught up in the Sex Drugs and Rock’n’Roll roller-coaster during your career. How have you been able stay so grounded?

Polly: I guess I wasn’t always totally grounded. When you are gigging, especially on the road, people are very generous. I’ve never been one to be rude. I was married at 22 and a father at 23. When you look into those beautiful hazel green eyes you know what you need to do and that is to provide balance and security in their life. No brainer really.

Deb: What is your opinion on the current Adelaide music scene? Do you think it could be improved and if so, how?

Polly: I like a lot of what I see from places like The Gov, The Grace Emily, The Wheaty and Fowlers. I have Facebook friends like Dusty Lee Stephenson, Rachel Cearns, and Cam Blokland who are out there doing their thing. It is heartening to feel their passion for what they do. People say that Adelaide is a great breeding ground for music and nothing can change that. Pokies are always a problem and should’ve only gone into Footy Clubs so that the money stayed within the respective communities. The Willunga Hotel recently got rid of their machines. Let’s hope for a domino effect. The other thing that has been going down lately in Adelaide has been the Adelaide Music Collective and SA Music Hall of Fame. You’re a long time forgotten but this is one way for those who reach the pinnacle or contribute to the promotion of this State to be recognised under a collective umbrella. The melding of past and present is something I’ve always believed in. To see great artists as Glenn Shorrock , Fraternity, Moonshine Jug and String Band, The Angels, Chisel, The Penny Rockets, Rob Riley as well as people who were not necessarily artists but contributors in other facets of the industry recognized in this way is something that had to happen. Add to this the opportunity for younger emerging


24

artists such as The Timbers, Shaolin Afronauts, Loren Kate, Sam Brittain, Kelly Menhennett and Tom West to glean knowledge from those who’ve trod the path is priceless.

Deb: What do you think about shows like X Factor and similar reality television shows?

Polly: Hideous. For all the time they’ve been on we have had maybe 3 true success’ and thousands more non-successfuls. That isn’t a very good strike rate. So many contestants pumped and dumped. There is no substitute for hard work. These shows give the illusion of success before the hard work. I think that the only people getting rich are the TV stations, the judges and Simon Cowell.

Deb: What aspirations do you have for the future? What would you like to be doing?

Polly: My aspiration in the future is to continue to sing and continue to improve. I’d love to be doing sessions full time but I know that the work is relevant to the economics of this State, which are a bit of a shambles at the moment.

Deb: I hear you’re a pretty good dart player. Is there anything you aren’t good at? What else do you like to do when you’re not working or making music?

Polly: I’m not very good at basketball. I guess it’s a height thing. I love Footy, Cricket, Fishing, Golf. Sounds like an ad for Connections. I do love all those things. The first one is out of my reach these days though I did get a brand new Sherrin for Christmas. The second one I get to do occasionally with the Mighty Woodside Warriors. The other two I’d be happy to do until someone gets sick of playing with me. As I have two Grandchildren now I really look forward to being a positive influence in their lives. I’ll have to put in a bit of time there. Time is a runaway train. You have to make the most of the amount you are blessed with.

Thank you Polly, for making time to answer these questions and giving us a small insight into your journey and thoughts. You shine on the stage. I look forward to seeing you ‘do your thing’ again soon.

So there you have it. If you have any ideas on what else you would like to hear about email us.

Until then.. Keep rocking, stay true to yourself and RWYA (Remember who you are).Yours TrulyDeb Brunotte

Polly sings with The 1965 Masters Apprentices


25

Littlefish Roots Reggae BandWords and photos by Louise Miller

As the sun went down on 13th February the Littlefish Roots Reggae Band continued to impress the South Coast Summer Sessions crowd at Chiton Rocks SLSC.

After an awesome line up of bluegrass, folk and acoustic soloists with acts such as the Cherry Pickers, Goldstien and 2 triple j unearthed winners The Coconut Kids and Paige Renee Court, Littlefish finished the night off and embraced the crowd in a classic reggae fashion, singing many songs from their album Superfishoil. It was energetic and alive.


26

Jon English & Peter Cupples@ The Gov23/02/2016

Photos by Sue Hedley


27


28

Jon English and Peter CupplesPhoto by Sue Hedley


29


30


31

Catherine Lambert’s Art Exhibition

Catherine Lambert had an exhibition of her paintings at Sugar on January 7th. It was entitled “I’ll Choose What To Wear Thanks”. It comprised of paintings of famous people wearing burqas. Catherine is a vocalist, best known for her band Spank You Very Much, and also does voice overs, jingles and tv commercials. Now she can add artist to her string of talents.

Catherin’e exhibition was launched by Nick Xenophon.

by Sue Hedley

Catherine Lambert andNick Xenophon


32

After battling cancer for seven years, Rob Riley performed his return gig at The Boom Boom Room on March 4th. Rob is an ARIA Icon Hall of Fame & South Australian Music Hall of Fame recipient, and is known for his songwriting and arranging, unique stage presence and antics, and his almighty guitar sound. Bands he has performed in over the years include Rose Tattoo, The Party Boys, The Megaboys, The Gems, The Beast, Dallimore, Jimmy Barnes Band, Tomlin, Richo-Aussie Bloke, David Blight & The New Flyers, Stevie Wright Band and Redhouse.

The Screaming Jets flew in to help Rob by playing a set, and The GSM Allstars finished off the night.

Rockin’ Rob RileyPhotos by Sue Hedley

Rob Riley with The Screaming Jets


33


34

Rob Riley@ The Boom Boom Room



35


36

The Screaming Jets@ The Boom Boom Room



37


38

GSM Allstars@ The Boom Boom Room



39


40


41

42

Oranges And Lennons@ The German Club



44

The 1965 Masters Apprentices@ The German Club



46

LIVE SOUND ADVICEBy Frank Lang

A Cold StartCan I get a sound check? NO! Here are some tips for a cold start when a sound check is not an option.

All is not lost. Here are some channel settings if you are ever in a situation where you have to mix on the fly, or if the band just don’t soundcheck. Or you may be setting up in a crowded bar or club and the management won’t allow any “noise”.

Keep in mind these are just suggestions for you to try, but I am confident after years of gigs that they represent a good start.

I run a fairly standard channel assignment left to right on the desk. I have drums, bass, guitars, and vocals. The old fixed frequency centres on classic 4 band mixing EQ sections were carefully chosen and always usable and responsive. (They are my ‘go to’ frequencies when I use parametric desks or even on my modern Mackie ipaddy thingamijig) generally: 100Hz, 250Hz, 2.5KHz and 10Khz. )Try the following:First centre all the frequencies on the desk and then left to right.Kick: lows -3, low mids -15 at 250, flat at high mid, and +3 at the treble. (The seemingly excessive cut at 250Hz to 400Hz can really help clean up muddy mixes and the -3dB of bass really tightens up the bottom end, but this much cut requires a bit of gain to be returned).Snare: set flat, perhaps roll off 5 dB bass.High hat: -7 bass, -4 low mid.Rack toms: flat and 3dB on the faders to keep the main channels clean.Bass: flatGuitars: roll off a little lows, bass -4 low mid -3.Vocals: Plus 3 dB on the fader and roll off the lows a tad, boost the tops a little for some cut.

Over time I have learnt to pull 10Khz where there are more than 2 or three mics open on the front line. When all 3 vocalists approach their mic’s, thats when this 10k will bite you.Exaggerate the low, low mid, roll off for female vox. Trim your gains and levels and go.

If for some reason you are forced to the side of the stage with your mixer, these settings can be used as a kind of preset. I learned a lot of these tricks in smaller venues where you just don’t get too many mix luxuries.

As for the graphics? On older systems, and it still applies, the 3.1Khz could be pulled 5-15 dB. I’ve been told that this is a common X over point and electronically hot, and in the make up of the human ear the point of the first curve in the inner air and a spot where the little hairs of the inner ear get knocked over. As for your compression, A 4:1 compression ratio without too much gain, and the threshold just kicking in at around 3Db and you “Bob’s you should be good to go.

If there is no pesky DJ and you are running some music through your system take that opportunity to fly a few graphic faders up for a quick listen. Great care is needed here as any feedback will attract negative reaction.

When you have time to tune your system properly, use the highest quality audio you can feed the system, and if you use a PA tune up play list, have songs similar in makeup to the band you are mixing or include say a rock song, vocal tune, or a track you know very well. And learn your frequencies.

I was present some years ago at the Gov. The ABC were recording Jeff Lang for airing on NYE. During the soundcheck and specifically concerning foldback, he was asking the sound guy to adjust specific frequencies up and down and by how much. A clever chappie our Jeff?

Have you started learning your 30 1/3 octave frequencies?


47

Moving PicturesPhoto by Sue Hedley

Alex Smith


48

You Must Remember This@ Adelaide Town Hall



49


50

When we think of everything coming together, family, work and play, for the residence of Adelaide and indeed the world, the Fleurieu Peninsula has always been a winner. The rolling hills, sandy beaches and rugged cliff faces have a Mediterranean feel as does the weather, or is it that the Mediterranean has a Fleurieu feel to it.

There are many ways one can access the Fleurieu and all are a magnificent drive among gum tree studied winding roads, creeks, dams, wineries, grazing farm animals and the ever present mobs of kangaroos. From Adelaide to access Normanville, the driving experience is memorable, along the southern expressway from Darlington. In as quick as fifteen minutes you can be well into the Fleurieu Peninsula, the expressway terminating at Old Noarlunga. Following the South Road one passes by Seaford and Aldinga with McLaren Vale only a few kilometres to your left among a mixed and busy metropolis, fields of vines to make our wines, shopping centres as busy as the best, and people going about their lives amid a mixture of rural, commercial and cosmopolitan stance.

As you begin the climb up Sellicks Hill the sea views come into play, you pass the giant Buddha at the Nan Hai Pu Tuo Temple. It is many metres tall and overlooks the beach and surrounding area in majestic style and is lit at night in many changing colours. The Australian flag flies boldly above the temples entrance. The only flag featured above the religious outpost, it has become a landmark along the picturesque drive. When climbing Sellicks Hill a driver must focus hard as to not have his attention averted to the magnificent views on offer.

Not far from the crest of the hill you pass the first turn off to the Myponga Reservoir and continuing down the South Road you travel

through an archway of magnificent gums before entering the hamlet of Myponga. The rural aspect of the Fleurieu is now paramount and you may strike many vehicles sightseeing, unsure of the winding and view studded drive travelling at less than permitted speeds. Myponga features its own micro brewery, country bakery and local store. When dealing with the locals you will notice they are a happy bunch.

The next town is Yankalilla, the drive is at times steep and winding, watch for the mobs of Kangaroos on your right as you leave Myponga, grazing on the outskirts of the Myponga reservoir reserve, and they are always there. The road features magnificent tree lines and dam studied valleys, again drivers need concentrate as these drives are awe inspiring.

The final decent into Yankalilla and it is obvious you have reached the town as it is spread out at the bottom of the valley to your left as you negotiate the final couple of kilometres. When entering the township at the bottom of the hill a turn off to your left goes through Inman Valley to Victor Harbour and the South Road continues towards the beach and Normanville. The post office stands on the corner; it was built around 1870 and has been rebuilt three times, once due to an earthquake. As you drive through Yankalilla it is obvious this is a town carved in colonial history. Walks with information etched on metal plaques describing the history of the settlement, to this day a balanced and harmonious environment that goes crazy during holiday times. Churches line the street and stone houses that have stood the test of time. Dwellers began arriving in Yankalilla in 1842 but settlers had been there before this time. It was declared a township in 1857 and little has changed regarding the balance of population to the needs of the environment apart from a marginal increase in locals. It is the visitors and tourists to the area that boost its daily inhabitants.

The drive to Normanville beach is flat and

Words and photos by Brian Cain

The Fleurieu Peninsula

51

apart from two sharp curves by Rob the Leatherman’s establishment and the mechanic and tyre dealer, can be distracting due to the historical churches and buildings long protected by the National Trust. There are cafes, parks, specialty shops, a garden centre, medical centre and the Yankalilla area school just before the showgrounds to your right. Beyond this you enter Normanville but you haven’t yet left Yankalilla, they are now bonded by expansion, albeit leafy and leisurely. You will see joggers, children on bikes, and children in groups walking to the beach. This town separated by twenty seven or so kilometres from the expanse of Sellicks and Aldinga beach still bears the air of its colonial roots. It is a fingerprint of towns dotted among the Fleurieu Peninsula.

As you enter Normanville the South Road turns left towards Cape Jervis but continuing on through the tiny town centre you have this air of relaxation and enjoyment, more cafes, specialty shops and on the corner of the turn off to Cape Jervis the manikin welcoming you that has been there since the sixties. It is put out by the surf shop still operating on the corner, and so the manikin is there when the surf shop is open. Normanville has a Foodland, post office, pub, hardware store, bakery, Police station, everything that a village would need plus a bit more, and a magnificent beach further on past the town. A sharp left turn as you continue takes you to the beach, the road should you not turn continues on to the beachside town of Carrickalinga, the only way you can access this extension of Normanville’s hospitality some two kilometres away that is totally residential with Normanville as its town centre.

Yankalilla

Yankalilla


52

Normanville


53

Fleurieu beaches are pristine, and Normanville will not disappoint. A surf life saving club and beachside cafe sit above the short jetty and the caravan park is world class. There are tennis courts and the beach is dog friendly with extensive car parking. The golden sandy beach stretching several kilometres to the south and north connecting with Carrickalinga until the beaches run out to the rugged cliff faces either direction. These beaches harbour no washed up plastics or contamination of any kind and the cleanest air on the planet. Snorkelling or diving, there is much to see, and the war ship The Hobart was sunk off south Normanville beach and is now the living reef home of many species including the leafy sea dragon. The Lady Links golf complex, just to the south along the South road some two kilometres away, is rated among the best in the world and overlooks the south Normanville Lady Bay.

You have now travelled along one of the most satisfying tourist drives in Australia, do yourself a favour and sample the pristine and untouched lifestyle of The South Fleurieu town of Normanville, you will return and why not, if it feels, looks and tastes so good, you could happily live there.


54

SA PARANORMALWords and Photos by Allen Tiller

Highercombe Hotel Museum

Highercombe Hotel Museum

Every year I have the pleasure of visiting locations haunted locations around Australia. 2015 was no different, with investigations at the Boggo Road Gaol in Queensland, Geelong Gaol, Beechworth Lunatic Asylum in Victoria and a return to Woodford Academy in New South Wales. In South Australia, the journey has taken in Old Adelaide Gaol, The Cornucopia Hotel in Wallaroo, investigations in Willunga, Kapunda, Gladstone and Edinburgh, but one of the more interesting locations for me this year has been a small scale investigation in a historic location, the Highercombe Hotel Museum in Tea Tree Gully.

In 1853 when the Highercombe Hotel was built in the town of “Steventon”, now known as Tea Tree Gully, the population was of a reasonable size, but not one big enough to support the Highercombe Hotel and the Tea Tree Gully Inn which stood across the road. The Highercombe Hotel had a short lived existence as a local pub, closing its doors as a hotel only 24 years after opening.

The Tea Tree Gully Hotel became a major stopping point for stage coaches and horse riders after the main road in the area was diverted right past its front door.

The northern side of the Highercombe Hotel building served as the local post office and postmasters residence from 1879 until 1963. From 1875 until 1934 the southern side of the building was lived in by the head teacher of the Tea Tree Gully Public School. After this, for 20 years from 1930, the southern side was rented to the Hughes family as a private residence.

For a small period in the 1960’s the building served as the library and office for the Tea Tre Gully Council, until it was bequeathed to the National Trust in 1967, when it’s life as a museum was imagined.

In 2015 the site has been renamed “The Tea Tree Gully Heritage Museum” and is run entirely by volunteers.

Whilst I have found no deaths in my current research on the building that could lend credence to a possible haunting, the building

Highercombe Hotel dining room


55

contains a number of personal effects that could promote the theory of “attachment”.

“Attachment” is the theory that some paranormal investigators subscribe to, that some objects are so loved and adored by their owners, or had such importance in their lives, that, in death, they still cannot bare to part with the object. This in turn leads to sightings of the spirit near its beloved object – as would appear to be the case here in this building.

One sighting has been of a young girl sitting in front of the fire place in the large downstairs sitting room at the entrance side of the Hotel. This teenage girl has been seen briefly by volunteers, sitting quietly, as if enjoying, or warming herself in front of the fire.

Whilst investigating with my team, Eidolon Paranormal, and friend Karina Eames, we had our own brief unexplained experience in an upstairs room when reading poetry that was bequeathed to the museum in an estate. Whilst Karina and Karen were reading the poetry aloud, another investigator witnessed a small white light pass between two investigators and then vanish – at the same time goosebumps and coldness was felt by the investigators.

At this stage we are still reviewing our investigation data, and looking towards further investigations in the former hotel to uncover whom could possibly be haunting the building.

There is currently an opportunity for the public to join investigations at the Old Highercombe Hotel through South Australia’s premier tour company, Ghost Crime Tours, more information, times and dates can be found on their website -www.ghostcrimetours.com.au

Alternatively, the museum can be visited by the public on open days or through group bookings by visiting the volunteer society’s website at – http://www.highercombemuseum.on.net/

2016 is starting off with some great new paranormal projects that I will be looking forward to sharing with you over coming months in MEGAscene.

Allen Tiller is the Australian star of international hit television show “Haunting: Australia” and author of “The Haunts of Adelaide – History, Mystery and the Paranormal” as well as being a historian, lecturer, poet,musician, Tour Guide, blogger and podcaster. Allen is also a White Ribbon Ambassador and volunteer for many different associations and groups.You can find Allen online at:www.twitter.com/Allen_Tillerwww.facebook.com/AllenHauntingAustraliahttps://www.facebook.com/TheHauntsOfAdelaide

Highercombe Hotel bedroom

http://www.ghostcrimetours.com.au

http://www.highercombemuseum.on.net/

http://www.twitter.com/Allen_Tiller

http://www.facebook.com/AllenHauntingAustralia

https://www.facebook.com/TheHauntsOfAdelaide


56

Moving Pictures@ The Gov09/01/2016

Photos by Sue Hedley


57


58

MARKETSHere are some of the markets on in Adelaide.

Adelaide Night MarketWhen: Last Sunday of the month from October – March. 4pm - 8pm Location: North Terrace, Adelaide (between King William Rd and Kintore Ave)

Adelaide Central Market When: Tuesday, Wednesday, Thursday, Friday and Saturday 9am - 5pm Location: Grote Street, AdelaideShop at the Market with free parking after 3pm & before 6pm every Tuesday & Thursday during Spring!About: A huge range of fresh food, all under one roof - fruit and vegetables, meat and poultry, seafood, gourmet cheeses, bakery products, sweets, nuts and health foods. www.adelaidecentralmarket.com.au/

Adelaide Showground Farmers Market When: Every Sunday 9am -1pmLocation: Adelaide Showground Leader Street Farmers markets are the best place to find healthy food direct from the source. You will be supporting local industry, growers and farmers as well as getting the freshest produce.

Blackwood Craft Market When: 1st Sunday of the month 10am - 4pm Location: Memorial HallCormandel Parade, BlackwoodAbout: handmade craft items

Bowerbird MarketWhen: Friday 6th - Sunday 8th MayTime: Fri 2pm – 9pm, Sat + Sun 10am – 5pm About: Adelaide design market. Talented designer makers from SA and around Australia http://bowerbirdbazaar.com.au

Ebenezer Night Markets When: Fri 11th March, Fri 18th MarchLocation: Ebenezer Place, AdelaideAbout: These markets are conducted on selected dates during the summer

Fisherman’s Wharf Market When: Every Sunday from 9am - 5pmand Monday Public Holidays Location: Lighthouse Square, Port Adelaidewww.fishermenswharfmarkets.com.au

Gawler Lions Station Market When: Every Sunday 8am - 12pm Location: Gawler Railway StationAbout: Arts and crafts, fresh local produce, bric-a-brac, tools and more.

Gepps Cross Treasure Market When: Sundays 7am - 1pmLocation: Mainline Drive In @ 588 Main North Road, Gepps Cross

by Carina Bonney

Adelaide Night Market

http://www.adelaidecentralmarket.com.au/

http://bowerbirdbazaar.com.au

http://www.fishermenswharfmarkets.com.au


59

Gilles Street MarketWhen: October to May the market is open on the 1st and 3rd Sunday of the month fromLocation: Gilles Street Primary School 91 Gilles Street, Adelaide 10am – 4pmAbout: a focused Fashion & Accessories market only

Glenelg Markets When: Every Saturday & Sunday 9am - 4pm Location: Moseley Square, Glenelg

Market Shed on HollandWhen: Sunday, 9am-3pm every week Where: 1 Holland Street, Adelaide (behind the Gilbert St IGA)Contact: [email protected]: One big bustling shed is filled to the brim with local food producers selling their wares. The market focuses strongly on organically and locally produced food.

Stirling Laneways and MarketOrganic and Sustainable MarketWhen: Every Saturday from 9am – 1pmLocation: Henley Beach Primary SchoolMilitary Road, Henley Beach

Round She Goes Market AdelaideHeld in Adelaide 3 times a yearNext market: check dates on website -http://roundshegoes.com.au/whenwhere/adelaide-dates/Location: German Club Hall, Adelaide223 Flinders Street, Adelaide, SA 5000Entry: $2, 10am-3pmAbout: Pre-loved Designer & vintage clothing, and handmade jewellery. Also in Melbourne and Sydney.http://roundshegoes.com.au

Semaphore Community Market When: 1st Sunday of the monthfrom 9am - 2pmLocation: St Bedes Anglican Church 200 Military Rd, SemaphoreWhen: February 28, April 24th - 10am - 4pmLocation: Druid Ave, StirlingFree entry

Wild At Hart Fresh Food Market, Port AdelaideWhen Open Sundays 9am - 1pm or 2pmWhere: The Harts Mill precinctAbout: A famers market with fresh food and producehttp://www.wildathart.com.au

Gilles Street Market

mailto:%20marilyn%40themarketshed.com.au%20?subject=

http://roundshegoes.com.au/whenwhere/adelaide-dates/

http://roundshegoes.com.au/whenwhere/adelaide-dates/

http://roundshegoes.com.au


60www.gwynashton.com

http://www.gwynashton.com


61

MARIA’S COLUMNby Maria Szczerba

AUSTRALIA DAY

Well, the events just keep on coming happening.

As the mad calendar months of January till April just keep on happening, it was time to celebrate Australia Day and celebrate what our Australia Day means to each and everyone of us that now live in Australia, and what our heritage and those of our traditional aborigines have also bought to this land, their families, ancestors and their father, their fathers before them.

Australia Day, Yes! It’s a public holiday, one of which we all should celebrate with great pride but for some, those still fighting the war still we must not forget, their sacrifices of all our war veterans and war servicemen and women to date. You see, while we all may have a Barbecue, sausages, salads, friends and family and a beer with mates and family and friends. There are some war servicemen servicing our country, there are some families/friends who celebrate not by gloating over those war heroes but those who have past put their sacrifices before all of us and others, and put their selfless pride in our Australia land to keep us all safe to this day.

On January 26th, we not only celebrate the first landing in 1788 of Australia by Captain Arthur Phillip, but we also must not forget the very first on Australian soil, and that of the Aborigines, their ancestors, fathers, families and all who now share this traditional Kaurna land built by aborigines and Australians together.

On this Australia Day, as I watched the Australia Day concert being performed by Samantha Jade, I watched the celebration and coming together of many cultures and

nationalities all in their traditional costumes celebrating not just Australia Day but their freedom, freedom to join this our lucky country.

As I stood watching this magnificent Australia Day parade and countries, it was just a wonderful array of countries, their traditional costumes and the coming together of so many cultures as one.

It ranged not only of various countries but that of war servicemen and women also and their groups but that of all countries on this Australia soil.

The Australia Day parade was in full swing with the following, followed by a wonderful concert an fireworks display and a variety of cultural food and entertainment for all.

The various countries and cultures consisted of:-

War groups/Personnel, War Vehicles/Cannons, and various countries listed below-

Finland, Papua New Guinea, Sweden, Brazil, Bangladesh, Buddhist monks, Mexican, Spain, Italy, Polish, Cypress, France, Hawaii, Filipino, Bhutanese, Scotland, Scotland Bands, Indonesian, Samoa, Sri Lanka, India, Armenian, Romanian, Oromians, Japanese, Thailand, Vietnamese, and Chinese communities were all represented.

The night finished with food, entertainment and a wonderful array of fireworks that was enjoyed by all.

In closing, Australia Day to me is the coming together of all cultures including this, our

62

Maria

Photos by Maria Szczerbatraditional Kaurna land of fire, earth and wind of the aboriginal land we all now share with them, their ancestors, families, friends and their ancestral fathers and fathers before them.

Let us not ever forget that we share this land, this custodian traditional Kaurna land with the aborigines and together we make this land our culture as one.

Filipino community

Italy community

group

Maria with Buddhist monks

Maria with an army personnel


63Chinese community

Sri Lanka community

Vietnamese community

Papua New Guinea communityThailand community

Mexican community


64

Stuart FraserNoiseworks

Photo by Sue Hedley


65

PET PORTRAITS

Your cat and/or dog is part of your family.Have a beautiful portrait collection taken of them

to treasure forever.

beautiful portraits of yourbeloved pet

Rising Star Media

For more information and bookings phone Sue on 0414 984 739or email: [email protected]

www.risingstar.com.auwww.facebook.com/Pet-Portraits-1672244896380468/

Ideal present for your loved onePackages start from $200

66

www.facebook.com/megasceneoz

Like us on Facebook

http://www.facebook.com/megasceneoz

megascene issue 5 (2)

Documents