bentenlaughing

Janice: Do you begin recording with a basic guitar and vocals track?  Gina: The way Mark and I work is that he will create an instrumental backing track and I will write the vocal part to fit the track. Sometimes I already have a set of lyrics that I wrote independent of music and it will fit the track, usually with some rearranging/tweaking. Other times I will write the lyrics as I listen over and over to the instrumental.  Janice: Are you both in cohorts in developing the  ambience and layering of the backing track?  Gina: The ambience and layering I leave entirely to Mark. After I've added my vocals to the mix, he will further play around with the instrumentation and create the final song. Sometimes he will consult me about something he's done, whether or not I like it. Sometimes I will notice something in the mix that doesn't seem to enhance the song and I'll mention it. But basically, I trust his experience and judgement and I like to allow him the freedom to ex...

  Janice: Before you've put pen to paper or whichever medium you're working with, do you have a good idea of the end result?   Jan Melville:  I do not always know the end result of some of my works, mostly the ones that I know are my etchings as I do sketches of the ideas before making the plates to work on. I seem to get the ideas in my mind and when working them up into sketches, I can change parts of it as I go. Or even start all over again if not happy with how the end result is looking.  Janice: Which are your favorite mediums to work with?  Jan Melville:  I like to work with collage, mixed media and etchings. I like the freedom that say collage and mixed media bring. When working with them they allow me to be a lot looser when I work, as against when I work in printmaking I get tighter as there is only the one go to get the work right.  Janice:  Your work resonates with a connection to nature. Has this always played a part in the themes...

Janice: Gina, I'm listening to your new album, Wheels in an Elsewhere. Your winsome vocals and seamless marriage of lyric and music allow one to enter a spaciousness...where are you taking us? Gina:  Interesting that you mentioned spaciousness, as the album is largely about the spaciousness of being apart from worldly life, troubles, insanities and the treadmill… in the sense of being something more like pure spirit. Not trying to paint our lives as a bleak picture but it can certainly seem like that at times for many of us, I believe. And we’ve all at times thought “stop the planet I want to get off”! Now the phrase wheels in an elsewhere is taken from the fourth song on the album which was inspired by my randomly pondering what death might be like. In the song the elsewhere is the world you leave behind. And the wheels of course are just the material matters of life including cars, work business. problems and the ongoing nature of it all. It is quite a philosophical a...

Jan:   Davy, when did you first experience Frankie's music? Was it live or on record? Davy:  In 1956, our family had moved to a very large housing scheme on the outskirts of Edinburgh, where I attended the local primary school, where football was the main focus. Then in 1965, when all my football friends joined the local Secondary School, I went to a Senior Secondary in town (Boroughmuir), where one was able to study up to A Level standard. One of the exciting aspects was that I was immediately thrown into a “melting pot”of different young people from all over the city. Over the next couple of years and from a musical point of view, 2 stood out. Gordon McIntosh and Billy Lyall. Gordon was a guitarist in a local band called Leathur Soul then found fame with Bilbo Baggins. Billy Lyall was in the Bay City Rollers then moved to Pilot with David Paton. They had huge hits with ” Magic” and “January”. So from 1967 onwards, these two were mainly responsible for introducing me to the ...

  Maeve was warm and sunny on the inside. Hard exterior when she had to be. Maeve's beauty was not her destination. Not a face that would entertain Playboy's editors or gather dust in doctors' antechambers. Her face spelled out the proverbial eye in the beholder. Round and unpretentious without makeup. Maeve was not looking for the middle way. Life more than not took her into danger. She drove a red deluxe taxi. When she did her face up for late-night rides into dives where jazz musos laid down what was below the belt and pulsed the mathematics of jazz, Maeve's beauty was in-your-face intelligence. The first woman tenor jazz player to kick ass at the Conservatorium of Music. Paid her dues playing scales on the saxophone. Long hot afternoons on a rented terrace in Newtown. Two socialite sisters owned this row of tenacious Victorian tenements. Maeve shared this jewel in the crown of bindi-eyed Newtown with two other jazz musicians. One played his horn in a padded cell to ...

  Jan: my first memory of you Judy is playing in sessions; you were with Tommy Tycho right? What were those years like for you? Were they predominantly you playing, doing a lot of session work and doing your own gigs as well? Judy: I spent something like eight years pretty well non-stop in the Television Studios and the amount of actual night time playing say jazz work I used to have average 1 2 nights a week.  That was all though. Most of my work, was studio work and I didn’t go near a club until I was expecting my daughter and I had my first foray into the clubs with Barry Crocker.  (Interruption of sexy voice French waiter and friend of Judy’s on tape) Jan: So those years were really like you were into that studio thing.  Judy: Great learning, great learning years, because I'd never ever done anything like that, that was the first time in my life and then when I was expecting Lisette. I was playing and went with Barry Crocker, I was his MD musical director aro...

Sung by Louella Jolly.  (Feat: Henry Jolly) https://open.spotify.com/track/0UWF6RwjuBFlcWHI76gNUj?si=c8e27f8ed4584482 https://youtu.be/6Qq1BtVyFAU?si=g3nHTx2qtKDVWePW ℗ Louella Jolly Released on: 2025-07-09 Featured Artist: Henry Jolly Lead Guitar: Henry Jolly Lead Vocals: Louella Jolly Sound Engineer: Henry Jolly Composer: Louella Jolly; Janice Slater; Cyna Slater https://music.apple.com/au/album/our-star-feat-henry-jolly-single/1823983251 Thanks everyone for listening!  https://amrap.org.au/artist/louella-jolly-1

Julie:  I want to begin this interview on the Holland Road, Shepherd's Bush, London, 1971. What were you doing at that time? Julie:  I was working with the Mike Holly band at the Empire Ballroom in London Janice:  Tell me about the repertoire you did with the Mike Holly Band?  Julie:  We did all covers!  I remember doing Tears of a Clown and Rescue Me and my Sweet Lord! Oh the memories!  It was a regular Saturday afternoon at the Empire Ballroom. Janice: We go back before London to Sydney, Australia where we were both doing gigs with Tony Gaha''s The In People' at Chequer's Nite Club .   Can you expand on that for me?  How that gig came about for you? Julie:  My agent got me a gig opening for Oliver at Chequers and also with Sammy Davis Jnr and sharing the opening with you and also with Billy Preston. I also worked with Barry Crocker on variety shows.  Also did the Don Lane Tonight Show as well as Graham Kennedy Show in Melbour...

  Indie. Dream pop. Shoegaze. Vocals. Cyna Slater. Music composition & artwork. D. k. A. Spencer. From the original music,  on.soundcloud.com/MsTESiuipe3vNzMT9  CRUEL LOVE, (Harry & Cyna Slater. Lyrics: Russell L Slater, Janice Slater True Love’s on Its Way. (Feat: Coco & Haze https://on.soundcloud.com/b8ii1p6Ek9ZSBSGR6

  Jan:  What about development of craft? Judy:  Do you mean that whole business of combining awareness of technique, awareness of phrasing, awareness of...the musical ways to move throughout a progression, rather than the clever ways, the overall architecture of the piece.  To me that's a very important ingredient. I think it's vital to be aware of and have your students become aware of the importance of looking at the overall structure rather than going along beat by beat, bar by bar, till you get to the end. To try and develop a way of looking at a piece in its entirety, so that when you're improvising for instance, you can retain what you've already played, it's as 'though you've recorded it.  You've got you've got your little tape recorder in the back of your head and you can retain a memory of what you've played, what you're playing now and where you're going to so that you're building from what you've started with and you br...

      A few years back an enigma from the Nederland's of the name of LYRICAL SMIRK did a retake on my collaboration with Kirk Kadish: STRANGE DAY... Whenever I return to it ...it makes me smile and so I have to keep on sharing it. Cheers Lyrical Smirk.  https://on.soundcloud.com/iud8ZkeDqccGnZHc8 From LS's original post via Soundcloud The lovely Lady Janice was so kind to send me loads of samples to mess around with. Here's my first take, just messing about! Hope you like ... This is also a lil Tribute to the wonderful Norma Jeane Mortenson aka Marilyn Monroe! Vocals ( Remixed ) Janice Carter Slater @ arterial-flow Also a special thanks to Kirk Kadish for making such wonderful music @ kirkkadish Used bits and pieces from these tracks: April Boucher - Strange Day Arterial Flow - Strange Day Bobbi Marchini - Critical Day Janice Carter Slater - Full of Thrills Also used bits from the movie Gentlemen prefer Blondes with Marilyn Monroe www.youtube.com/watch?v=9R_obqibKLo ...

  Janice:  Gwen, although we've yet to meet in person we've built a solid friendship over the last number of years.  One of the galvanizing aspects was a connection with the late, Mark Moffatt. Yours being a far more  engaged music industry and personal connection; going back to the 1970's I believe?  Whilst mine was briefly working with Mark in Festival studios in Glebe recording the vocals of Jo Kennedy who was starring in Gillian Armstrong's film Starstruck.   If you could share with us your first recollections of meeting Mark?  Gwen:  My first meeting with Mark was in 1967 at a venue called The Open Door.   It was a disco/youth hangout/drug clinic run by 4BC Talk Back host Hayden Sargent who had for many years been a Minister of Religion.    Mark and his band IRON WEB came to a Saturday morning session where we allowed all the up and coming bands to grab stage time and play to an audience. His band was a blues band and...

 Introduction:  I interviewed Judy; in perhaps late 1979.  There is a Part One of this interview but I've yet to locate it.  I was studying Jazz theory with visiting USA Jazz musicians; via the courtesy of Jeanette & Greg Quigley who had organized Jamie Aebersold to teach in Australia. I've the feeling that it was around this time that I managed to sit down and have a chat with Judy with my trusted tape recorder.  As this interview will show; Judy displays a brilliant; quirky, humorous and insightful take on her idiom along with the generalities of life in the Antipodes.  I've decided to try to stick to the original transcription with as few edits as possible. Along with that as it's a very long interview which I'm having to retype I'm going to break it up into segments. I know for those who are familiar with Judy's work you'll enjoy hearing her responses to my questions and for those new to her that you'll check out her gorgeous music.   Chee...

  I hope you like my new artwork on Redbubble.  Meanwhile he is a nice peaceful image taken in the  Megalong Valley some years a back.  Wishing all beings to be free from harm.  https://www.redbubble.com/shop/ap/167740224?asc=u

  I finally managed to put a few of my errant soundscapes on Bandcamp! I'm now waiting to see if I can share them. The site is still under construction, as am I! https://janiceslater.bandcamp.com/