Author Archives: wzdc

Half Man Half Woman Review

MICHAEL DWYER

April 30, 2010

SOMEWHERE between her commercial high with It’s Only the Beginning and a baffling electronic experiment called Ultrasound, mercurial indie diva Deborah Conway left compromise in a ditch.

This is her ninth studio album (under numerous guises) with husband Willy Zygier, and from his jaunty Wes Montgomery-styled instrumental overture to a charming banjo lullaby featuring their three daughters, it fairly saunters with a relaxed resolve to be whatever it wants to be.

The tone is mostly set by Zygier’s smiling feel for acoustic strings of all stripes: Somewhere Different and Chromatic Jew are dappled country folk; Agar Rag drips with sepia; a woody mandolin and muted Salvation Army band flavour the contented domestic waltz, Cul De Sac.

There’s tougher stuff too: Take Pity on the Beast is intense, existential blues that nearly overcooks in eight minutes of biblical allegory but the tonally challenging gutbucket swing of Spoken Like a Man may be the highlight.

Far from chasing pop currency, it’s mainly the sweet air of another century that pervades here. But it’s their parlour and, clearly, nobody tells them how to decorate.

The Deborah & Willy Home Show #1

Playing songs live and unedited
This is the school holiday 1st episode of The Willy and Deborah Home Show. 25 minutes from what would normally be devoted quality child time has been ripped away from innocent children to provide listeners with a brief insight into the studio sanctum of Conway and Zygier.
Tracks played
Stay On Track
Accidents Happen In The Home
Any Fool
Sleepwalker
Find it at http://www.roocast.com/showdetail,conmap,406

Summertown Reviews

Daily Telegraph

Blessed with an angelic voice, deft at lyrical wordplay and armed with a seemingly inexhaustive melody well, Conway – and partner Zygier – create songs which become best friends for life. You can hear the influence of her Patsy Cline tribute shows lingering in One Chance, while Accidents Happen In The Home recalls Martha Davis. Beautifully played, you can hear every single note and the care taken to let the songs breathe. Special guests include Paul Kelly and Toni Collette.

Kathy Macabe

Rolling Stone

There are two potentially scary aspects about Summertown. Firstly, Deb Conway wants to be ?mature?; and secondly, it?s incredibly ambitious to aim to write songs as perfect as those of Carole King, James Taylor et al. But these fears are unfounded. Apart from the odd uneasy moment, Summertown is magical. An acoustic album with classical moves, Conway is subtle and restrained. Partners in music and life, she and Zygier create upbeat gems, dramatic ballad, lullabies and pop with country music being an almost unconscious influence. Guests included Toni Collette and Paul Kelly, plus members of Augie March and the John Butler Trio. Why Conway isn?t a world-famous diva is a mystery. Maybe she could have been if she had auditioned for Neighbours.

Annette Basile

WHO Magazine

Summertown – Now Hear This

Sometimes a bad break is a lucky break. Apparently Conway broke an arm while writing her latest album, so she was sidelined from playing guitar, and long time partner- collaborator Zygier had to keep things simple and play rhythm. The result is a collection of songs that doesn?t fuss around, keeping things concise and painting everything in primary colours. That said, Conway?s storytelling ability has developed to a point where she?s not afraid to tackle the big old genres, and she has a nice line in understatement (Accidents Happen In The Home?) and in finding a new angle in a well-worn theme(?Something?s Right?). Meanwhile, ?Sunday Morning? (with Toni Collette on backing vocals) is so breezy and carefree that it warms the cockles of your heart. I?ve ploughed through many, many albums by female singer-songwriters of late that are either overly flowery or cloyingly self-obsessed, so it?s pleasant to hear Conway tiptoeing a fairly steady line between heartbreak and infatuation with barely a hiccup.

Barry Divola

QPAC, Brisbane, 2 Sept 2004

(Quick note: no, I haven’t turned into the kind of crazed Deborah
fan who follows her round the country. At least, not intentionally.
Not long after my last post about the Katoomba gig, I suddenly had
to organise a trip to Brisbane for work on very short notice. It was
only after I’d booked the plane tickets and sorted the hotel that I
thought “hmmm, wonder who’s playing in Brisbane Thursday night?”
Since I was going to be in town anyway . . .)
QPAC is quite a different venue to the previous ones — it’s
a ‘proper’ theatre, rather than a restaurant/bar arrangement, which
means no-one is drinking for one thing — but it still has a really
nice vibe. The place wasn’t packed for Thursday night’s gig (which
had a ‘first in, best-dressed’ seating arrangement), but I imagine
it’ll get more full for the weekend gigs. It also seemed a slightly
older audience (which may be a QPAC subscriber thing, though the
women to my right were clearly Deborah enthusiasts).
Deb and the guys (and the drummer’s name is Al Barton, forgive my
error in the earlier posts) are really starting to gel as a band —
which is not to say that I have any complaints about the earlier
shows, but there’s just a nicer feel about the interplay between
them now. Andy (the bass player) even opened his mouth and said
something for the first time!
And as an added surprise, we got a completely different set
of ‘greatest hits’ from the previous gigs, which is especially nice
for those of us who for whatever reason end up seeing the same
performer three times in the space of a week (and that’s not
counting the house party).
In fact, enough went on that I think I’d better do a partial track
by track review:
Stay On Track – A good opener as ever. Interestingly, while the
Sydney fans clapped and screamed during the ‘false pause’ near the
end of the song, both the Katoomba and Brisbane crowds maintained a
respectful silence (which works better since the song isn’t actually
finished at that point.)
Accidents Happen In The Home – A fair few people seemed to know this
one, so I’m guessing the Body Shop has been doing a roaring trade
with the free singles (or perhaps it’s slathered over Brisbane
radio. Hey, a man can dream . . .)
Any Fool – Deb still introduces this song by explaining
her “everyone has one mistake they’re condemned to repeat” theory,
but then goes on to say: “I don’t want to be controversial, but I’d
like to dedicate this song to John Howard.” Proving the point about
mistakes, she then managed to completely mess up the opening chords
for the song, burst out laughing, had a couple more goes (guided by
Gerry) and then kicked into it.
Try To Save Your Song – This got the best crowd response of all the
new material.
Something’s Right – Deb opened up by asking “Is anyone here in a
long-distance relationship?” Al the drummer immediately yelled
back “Yes!”, so Deb responded “Don’t worry, it’s all going to be OK”
and then launched into the song. At the end, she then continued:
Deb: “Actually Al, it shouldn’t be a problem because you’ve got me.”
Al: “Nope, because it’s Thursday.”
Deb: “Oh, so it’s Gerry’s night? Or is it Andy’s?” [Andy blushed at
this point] “They’re all my husbands. The tour is called Yes Dear.”
Al: “And we’re exhausted, and she’s radiant.”
Deb: “That’s what husbands are for!”
Sunday Morning – Went down a treat, though as a result of the above
discussion Deb for once didn’t explain how the Van Morrison line
came into the song.
One More Chance – Deb remarked how she had gotten to know Brisbane
much better — “the paper and wood side, not the mirrored building
side” — when doing Always at QPAC. When she said she hoped Patsy
Cline might have covered the track, the audience laughed. “You
people will laugh at anything, won’t you?” she remarked. (Of course,
the Kransky Sisters could be a factor there).
Sleepwalker – This is probably the song which live performance has
changed the most for me — I like it on the CD, but live it’s just
spellbinding.
I Love You But – At the end of Sleepwalker, Deb explained that it
had been written for a friend of theirs who had suffered a horrific
cycling accident and potential major brain damage, and she’d cried
all the time they were composing it. But there’s a happy
ending: “He’s getting married next week, and if I was there, this is
the song I’d play at the wedding”.
It Doesn’t Work That Way – A predictable crowd pleaser (Deb noted it
didn’t work in Adelaide because they don’t have an Ikea there;
she’ll be safe in Perth though).
Here And Now – A solid and rollicking finish.
After the customary clapping and cheering, Deb and Gerry returned to
the stage without the other two. “That’ll make for an odd Alive &
Brilliant,” I thought to myself, and I was right, as the pair of
them launched into . . .
Release Me – a two-guitar acoustic arrangement which came across
really well.
All Of The Above – another surprise inclusion, with the rhythm
section returning. Deborah explained “Since we’re going with the
husbands theme, I thought I’d play something from My Third Husband.”
It’s Only The Beginning – introduced with the “hit after hit after
hit” comment which was used in Sydney for Today I Am A Daisy.
After this, the band left the stage again before returning for the
inevitable finale:
Man Overboard – marvellous as ever, and the crowd joined in rowdily
to shout the title line (which, for some reason, they hadn’t in
Katoomba).
OK, that’s probably enough for now, but I won’t make any foolish
predictions about when I next see the show . . .
Cheers
Angus

Clarendon, Katoomba, 28 August 2004

Last night’s gig at the Clarendon in Katoomba was also a blast!
Smaller crowd than the Basement (perhaps 100 people all told) and
probably a little less rowdy, but fabulous to see Deborah & Co in
such an intimate setting. Best crowd reaction (barring the
predictable encores) was probably I Love You But.
Random notable bits:
* Deb’s gag about Sally Robbins only got a muted response, and
after ‘Any Fool’ she commented how people forget quickly about such
news scandals.
* The band learnt that an election had been called from the audience
during the concert. Deb remarked “What, is the governor-general
24/7? Didn’t he have a BBQ or something to go to?”
* Gerry managed to completely mess up the beginning of Sunday
Morning by putting that thing whose name I can never remember across
the guitar strings in the wrong place. The group had to stop and
start again, but first Deb retold the story of how she’d messed up
playing Release Me at the World’s Biggest BBQ (though she didn’t
name the event). Later, she looked at Gerry and commented “I am so
dining out on that”.
* The encore got delayed because Deb had broken a guitar string —
she commented that it’s happened at every gig so far this trip.
* The bass player is Andy Papadopolous, and the drummer is Al
Bartlett (I think — not so sure on that name).
* Compulsory forgotten lyric: for the last verse of Man Overboard,
Deb began singing the third verse (“Come around when I’m asleep”
etc.), but she then segued into the correct version by adding a
couple of bars and I imagine only pathetically obsessed people like
me even noticed!
Cheers
Angus
(who is now going to stop stalking these concerts unless an urgent
need to visit Melbourne again suddenly “comes up”)

The Basement, 26 August 2004

The audience hung on every word, both spoken and sung. DC has a theory that everyone is born with a mistake that keeps recurring in their lives. I’m not sure if she admitted to her’s, but dedicated “Any Fool” to Sally Robbins which I was very impressed by, a sporting reference at a DC show, and we couldn’t believe how close to the mark she was. It was too funny, but unfortunately it sparked a big debate behind us as to who in the boat should have apologised!
I just love “Save Your Song”, it’s one of my faves, and to hear how the line came about was just great.
“Something’s Right” is somehow even more beautiful live than on the
recording and goes straight to number one in my book.
“It doesn’t work that way” drew the best response of the night. People were in tears with laughter, it was great to see.
The Patsy Cline reference drew wide applause from the crowd, and it was fitting that two of DC’s colleagues in the musical, Julie McGregor and Libby Clarke, were there enjoying the gig.
After my good friend complimented them at the bar on their performances in Patsy, we sat down after the show with them for a drink. It was amazing to find out that Julie is the voice for Dawn in Dawn and Barry, the brilliant 2 minute Olympic pisstake on the comedy channel every night. You know, the claymated Sydney 2000 volunteers? Well, it’s a classic so we were quoting lines back to Julie much to her bemusement as I don’t think she’d had any feedback about it yet! Just lovely people.
I could be wrong, but I don’t think they played Heartache. I also didn’t catch the names of the other musicians on stage, appart from Gerry Hale who switched between a large mandolin and a lap guitar looking thing – Tim you might have to help me out on the terminology! That double bass kicked along nicely as did the bloke on drums, it was all good. I’m pretty biased but I did miss Willy. I can’t remember the last time I saw him in concert as he hasn’t been on the last two tours here, or Patsy of course. In saying that, the band worked really well and the mandolin was an awesome melodic accompaniment for every song.
The encores went down well… DC reemerged on stage saying, “Now I’ll play you some new songs I’ve been working on…. only kidding!” and launched into Alive and Brilliant. “This is the golf song…” – It’s Only the Beginning. “Hit after hit after hit!!” – Today I’m a Daisy. And she finished with Man Overbard. That Gerry Hale is a genious to turn a that big mandolin into something so damn funky. It rocked.
DC paid wonderful tribute to Willy as the co-star on the new album. “Willy Zygier. Rhymes with bigger….[to great applause]… and vigour [to laughter]… and he’s a great cook too! I’m very lucky.” Someone in the crowd called out “Where is he tonight?” Perfectly timed she replied meekly “He’s at home, looking after the children,” to cheers from all the mothers in the room. “I’m blushing! I never blush! It must have been the good cooking comment…” The banter with the audience all night was spot on.
I’m hearing Nicky’s voice in my head…”but what was she wearing?”… DC was resplendant in a knee length, long sleeved, floral dress covering black pants. Her hair is shortly cropped around her face, and she just remains ageless.
I’ve blethered enough, keep those reviews coming guys. Big thanks to DC for swinging by Sydney and providing such great songs and support to me and mine.
Our football team’s grandfinal on Saturday (1pm, WH Wagener Oval, Ashbury ; Newtown Breakaways (yay) v Wests (boo), women’s AFL – wear red and white!) has stopped me heading to the Milton, Canberra and Katoomba shows, as well as Newcastle two nights ago.
There hasn’t been such a clutter of shows around here since the “Girls (+1 boy) with Guitars” tour way back when, which DC reminded me of last night.
They’re really looking forward to Milton tonight. Remember that gig, when all the locals took in a bottle of red and a wine glass each? What an absolute hoot. DC was sad she had missed that aspect of the show last time!
She did remember our master guitar class with Willy… how did we talk him into that? Ah, the memories…
Looking forward to more reviews.
Sarah G

The Basement, 26 August 2004

Just got back in from the concert at the Basement to discover
David’s email and the link to all the photos from the list
Summertown party (including one with me looking almost human), so
it’s been a great Deborah evening all around!
Deb and the guys were in stunning form tonight. Taking an apparent
cue from Neil Young, they played the entire Summertown album (save for Heartache) in sequence, and then encored with Alive & Brilliant, It’s Only The
Beginning, Today I Am A Daisy and Man Overboard. Though the familiar
tracks predictably got a good response from the capacity crowd, the
Summertown material also went down really well — particularly
Accidents, Sunday Morning, One More Chance, I Love You But & It
Doesn’t Work That Way. Deb told some of the same stories about the
origins of the tracks as she had at the Summertown events, but also
explained the origins of others (e.g. where the Van Morrison line in
Sunday Morning comes from, how One More Chance is quite deliberately
a Pasty Cline-esque song).
At the Melbourne party, Willy had chided Deborah for forgetting the
lyrics to Try To Save Your Song. That didn’t happen in Sydney, but
she did miss the first half of the most infamous line in Alive &
Brilliant, singing “I [silence] breasts you like”. But as far as the
crowd was concerned, she could do no wrong.
While I’m feeling archival, if memory serves, this was the setlist
for the list Summertown do:
* Accidents Happen In The Home (with crowd singalongs for the male
parts at the end)
* Something’s Right
* Try To Save Your Song (abandoned after Deb forgot the words)
* Stay On Track
* It Doesn’t Work That Way
Can’t wait until Katoomba on Sunday!
Cheers
Angus

Tidbits

  • RePublica Issue 4 says the following in it’s introduction


    “Deborah Conway’s lyric , ‘Evil Homer’, was written for the album
    Ultrasound and recorded in 1995. Ultrasound is a band project featuring
    Willy Zygier, Paul Hester and Bill McDonald as well as Deborah Conway.
    The lyrics, ‘Unhappy hour’ and ‘Not Always Sweet’ are intended for a
    third solo project by Deborah Conway.”


    Given that this was published in 1996 I assume these songs we originally intended for what became My Third Husband. If anyone wants to track down of copy of this it is published by Angus&Robertson and edited by George Papaellinas.


    contributed by Rhonda Pelletier

  • There is a terrific interview with Deborah in a book called “On The Couch With Chris Beck” which was published by Harper and Collins in 1996. Although I am not going to reproduce the whole interview here (as you can buy the book) here’s a taste.


    Who were you in a previous life?


    I was either Lassie, she was always there in the trouble spots, or Medusa, because she also had problem hair.


    Contributed by Lisa J Young

  • Notes in the Album My Third Husband refer to syko kia which is almost certainly alluding to the Talking Heads track Psycho Killer. It’s a Girl Thing started life as a wild cover of this classic but for one reason and another became It’s a Girl Thing.
  • A couple of weeks back I came across an interactive
    exhibit at the Sydney Jewish Museum, which allows you to profile famous Jewish Australians. Deborah Conway is there (of course). When you select her name the exhibit plays a nice little clip. It’s worth seeing just to catch the cute photo of DC at a very young age, in primary school uniform. What really stuck in my mind was the concluding sentence of
    the clip: “For this singer, It’s Only The Beginning” (groan). Deborah
    will also be thrilled to hear that, according to the exhibit, she was
    born in 1952.


    Contributed by Bryan Gaensler

  • At the Jet Club in Sydney a few years back, she confiscated the camera bag
    of a photographer who wouldn’t stop using a high-powered flash. Said bag
    placed up the back of the stage and not given back until end of show.


    Submitted by Lisa J. Young
    (another freelance photographer who only heard this story AFTER
    photographing Deborah inn Sydney on a few occasions…..and I don’t use flashguns during shows for this very reason.)

  • The “interactive” CD Real Wild Child has some stuff about Deborah on it. Quite a few good photos, even a short bit of the Adultery film clip. Only $49 and well worth it for Australian music fans, it even runs on Windows as well.

  • Media Mania gave Deborah their female singer of the year award in 94.

  • Deborah was on Club Buggery on Saturday 13th September. She sang
    “Moon River”. Roy and HG slow danced with the Nissan Cedrics. Paul Kelly came out in the musical interlude and danced with Deborah.

    Swiped from a posting by Justin Clayden to the Paul Kelly Mailing List.

  • One of my favourite Conway quotes from a few years ago: Our heroine was nominated at the ARIA Awards for Best Female Vocalist – along with Kylie Minogue. Deborah’s response was along the lines of “No disrespect intended, but the only things Kylie and I have in common are a voice and a vagina”.

    Contributed by Brady Millett

  • Deborah provided the vocals for the lead character in the 1980’s ABC TV series “Sweet & Sour”. The lead role was played by Tracy Mann, but Deb did the singing. If I remember correctly, she said at the time she didn’t want to be credited on the recordings, because while she enjoyed doing the work, she didn’t want people to think that musically, that was the direction she was taking.

    Contributed by Brady Millett

  • On Colin Hay(ex-Men At Work)’s 1992 solo CD “Peaks And Valleys”, Deborah Conway
    wrote the lyrics to the song “She Keeps Me Dreaming” (the music was written by
    Hay).

    Contributed by Stefan Warnqvist

  • As part of the promotion for Bitch Epic, Mushroom sent out snack packs of Nutella with stickers over them saying ‘Bitch Epic’ instead of Nutella, and new instructions on how to use the contents

    ==> Hint; See front cover of Bitch Epic!

    Thanks to Alana for this treat

  • While working as a model Deborah was going to be a Big M girl but they said she couldn’t have the job because she wouldn’t shave.

    Contributed by Alana the Faerie

  • Willy Z is particularly careful about crossing the road so as not to get killed.

    Contributed by Alana the Faerie

  • Deborah was Dorland Bray’s best man at his wedding.

    Contributed by Alana the Faerie

  • Deborah’s sister, Shelley Conway is an artist. You can buy her beautimous cards around the place. The two sisters look alike.

    Contributed by Alana the Faerie

  • At the ‘What friends are for’ daryl braithwite benefit at the tennis centre, Deborah turned up onstage at the end barefoot to help sing ‘Good Times’.

    Contributed by Alana the Faerie

  • In 1979 Deborah Conway appeared in Peter Tammer’s short film “Mallacoota stampede”. The film looks at the annual summer influx of holidaying families to Mallacoota, the interactions of bored adolescents with their parents and the visit by a travelling drag show to the local hotel. Deborah’s topless scene as described by a crewmember was “an anticlimax”.

    Contributed by Robert Kerton

  • In “Running on Empty” DC went blonde.

    Contributed by Robert Kerton

  • Deborah Conway was also in the movie “Prospero’s Books” by Peter
    Greenaway. She is singing at the wedding towards the end. She is one of the few to be wearing clothes in the film….

    Contributed by Jim Mashberg

  • More trivia: Deborah Conway sang on the soundtrack to ‘Sweet
    and Sour’ an ABC TV show about a pop band.

    Contributed by Euan Troup

  • The song ‘Evil Homer’ on Ultrasound’s album appears to be
    the female version of ’88 Lines about 44 Women’..

    Contributed by Euan Troup

  • At the Harbourside Brasserie, DC told the audience that she called
    her daughter Syd so she could check her in as baggage when
    coming to Sydney.

    Contributed by Bryan Gaensler

  • At the Bushfire Concert at the SFS in ’94, she played
    “Smoke On The Water” and got a good laugh.

    Contributed by Bryan Gaensler

  • Deborah has actually recorded a whole album of dance music which will probably never see the light of day.

    Contributed by Bryan Gaensler

  • She apeared in a T.V show on ABC about sex,(with Elle McFeast), and said that she is bi-sexual and enjoys oral sex!!! *it’s true*!!

    Contributed by Genevieve Siddle

  • She is big in to theatre and has done a performance on Aristophanes ‘Frogs’, which required her to parade around naked and with white body paint on.

    Contributed by Genevieve Siddle

  • Time Off – Radio Song

    Although she’s been out of the public eye for the past two years,
    singer-songwriter Deborah Conway has been busier than the proverbial bee.

    In addition to having her third child with musical collaborator and partner
    Willy Zygier, Conway also worked on some diverse musical projects.

    Together with Willy, she performed at the 1998 Adelaide Festival as part of
    Voice, Jam and Videotape. Later that year, she joined the Tasmanian Symphony
    Orchestra for a song called “When I Get Younger”, written with composer
    George Dreyfuss for the Timelines album (a collaboration between young and
    older people for the International Year of the Older Person). Last year,
    work began in earnest on her follow up to 1997’s My Third Husband.

    Conway’s new album, Exquisite Stereo, is out May 1, and judging by the
    album’s cheeky first single, Radio Loves This, we’re in for a mighty aural
    feast.

    Conway says the single came to her on a hot summer’s day, just as she was
    contemplating a siesta.

    “The half sleep [is] one of my most creative times,” she laughs. “It [the
    single] is kind of an ironic look at the way radio’s gone these days —
    swallowed up by the corporate bodies. I guess it’s been that way for a long,
    long time. It’s a little twist on the fact that radio hasn’t loved me in an
    awfully long time.”

    Could this change things?

    “You never know, you keep your fingers crossed.”

    Deborah admits Radio Loves This harks back to her youth when she listened to
    3XY on a transistor radio through an ear-piece, either when she was supposed
    to studying or asleep. Given that, the track has a compressed AM feel driven
    by an infectious keyboard line.

    The keyboards come courtesy of Cameron Reynolds from electronica outfit,
    Barko, who’s now a part of Conway’s band. He teamed up with Conway and
    Zygier to record the album.

    “We were actually sort of wandering around the streets of Brunswick at
    festival time when we saw this electronica/techno outfit called Barko which
    we didn’t know at the time,” Deborah recalls. “They caught our attention —
    just out of the corner of my eye — because they sounded really good. Some
    weeks later we started thinking about putting the band together, and Willy
    said: ‘What about that techno act we saw?'”

    “I tracked them down because they were on the Push stage. There’s a state
    government initiative that funds new talent, called Push, and so I looked
    them up through there, found the number of this guy (Cameron) and spoke to
    him, and he was really amiable to the idea and came along and we met and got
    along really well.”

    “After a while of trying to work through session players to get a rhythm
    section happening, he said: ‘What about these friends of mine?’ They were
    great — they’re the rhythm section from Augie March. It [the album] was
    conceived as a band. It was recorded as a band, it will be toured as a band.
    I’m determined to keep touring for most of the year.”

    Deborah Conway and band play the Zoo on Saturday night and the Playroom on
    Sunday, April 2. ‘Radio Loves This’ is out now through Shock Records.

    Rave – The Accidental Purist

    Deborah Conway is angry at the music industry. Very angry. Why? WHY?! Noise
    restrictions? Major record company monopolies? The pulling of stock from
    major retail chains? Hell, we should be frothing at the mouth, burning our
    CDs and retreating to the forests to play the piccolo.

    But Deborah is back with a new single, the caustically titled Radio Loves
    This, and a batch of national tour dates, revelling in the old
    if-you-can’t-beat-them-join-them catchcry. It’s been a busy few years since
    we heard from her last — time spent making a new record, having another
    baby, and moving her brood back to Australia from the UK.

    “I live in Melbourne now,” Deborah reports, gearing up for a lively chat.
    “It’s the place I call home. Home is comfortable. Home is knowable and easy.
    It’s not necessarily challenging, but that’s not necessarily what I need at
    the moment. I think that anyone might say that about their home. It’s not a
    blot on Australia particularly, but I think you can point a finger at
    Australia and say that we’re so conservative. I mean, radio particularly,
    which is soooo conservative, has so many people over a barrel, but I think
    there are other advantages to living here.”

    Conway embraced yet another change on top of all the moving, birthing and
    recording when she left longtime label Mushroom for Shock Records late last
    year.

    “We decided to go indie. The relationship with Mushroom ended,” she says
    shortly. “My Third Husband came out and they didn’t really understand at all
    how to promote it, consequently it kinda floundered and we were both unhappy
    with each other. After that whole experience I was pretty fed up with record
    companies. I think as technology improves record companies will become more
    and more redundant and you’ll be able to reach out to your audience more
    directly.”

    It was precisely this dissolution with the music industry and its commercial
    nature that prompted the sardonic title of the first single.

    “Since the fall of the Berlin Wall there’s been no left. Left left!” Deborah
    quips. “Music, like everything else, reflects the culture at large, and it’s
    very corporatised, and radio reflects that too. Just look at the success of
    a show like Popstars! It’s genius! It’s absolutely brilliant. It’s so
    post-post-post modern, but it’s not about music. And everybody knows that.”

    Theres a pause before Deborah says, a bit worriedly: “I think.”

    The irony, of course, is that radio does love Conway. It seems no working
    day is complete without the requisite flogging of It’s Only The Beginning.

    “But they haven’t played anything since then!” Conway exclaims loudly. “I’ve
    become fossilised somehow. It’s very frustrating and I almost feel like it’s
    personal. I feel like the fact that I am an older woman means I’m not
    allowed to succeed — there’s like this glass ceiling. I never thought there
    was, but there is. It’s ageism more than anything else. I think men feel it
    too — I’m not suggesting it’s a solely female thing — but it’s more acute
    when you’re a woman. Unlike a lot of other professions, the amount of
    experience you have and the maturity you can bring to your work is not
    appreciated.”

    Still, where radio fails, touring will always succeed. And Conway is itching
    to get on the road.

    “I’m excited,” she enthuses. “We made the record last April, so that’s been
    a year sitting in the can because halfway through the process I … had,
    well, we had … an accident.”

    A happy accident!

    “Yes, a very happy accident,” she laughs. “So, I didn’t really want to go
    out on the road like a freakshow again and become known as that pregnant
    singer. So I put it off. But I think it’s a blessing really. I can give it
    my full attention.”

    The Age

    Restless music – by Jane Rocca

    May 05 2000 04:40:55

    When Deborah Conway gave birth for the third time last year, she knew it was time to reassess her relationship with songwriting. Conway happily juggles life as a mother and musician.

    “My work comes in spasms,” she says. “I think if you had a fulltime dayjob you’d miss out on your kids, whereas my work periods are very intense but very short, so I find it not so much of a strain.”

    Her latest album, Exquisite Stereo, is a reaction to 1997’s My Third

    The Weekend Australian

    Playing with ire

    Motherhood has not dulled Deborah Conway’s sense of rage. Just get her started about radio. Iain Shedden reports.

    For every Australian music fan who thinks Bardot’s chart-topping success is

    Australian Women’s Forum

    Exquisite Stereo – four out of four stars
    It’s been a long time between hits for DC (remember “Its Only The Beginning” or even “Man Overboard”), but this CD deserves more than just critical acclaim. Yes, it is exqusite stereo – Conway’s voice is brilliant and she’s somehow ended up with all the passion that Mariah and Celine had surgically removed. “Radio Loves This” is a stand-out track that radio, surely, will have to love. (4 Stars)

    Sydney Morning Herald

    The brand plays on

    The name may remain the same, but Deborah Conway’s new CD is a team effort.
    Matt Buchanan discovers why she was tired of going it alone.

    Deborah Conway’s new solo album, Exquisite Stereo, is not a solo album. You

    20 Questions for the Sunday Age

    These are the unedited responses rather than what was actually printed in the Sunday Age.

    What material possession couldn’t you live without?

    I’m in love with my recently acquired Neumann 149 valve microphone. I’ve been recording a couple of new tracks for Only The Bones (the best of album that’s out this week) and the vocals sound like honey; it’s taken home recording to a whole new place. Frankly I can’t believe I’ve lived without one for so long, I certainly intend to never live without one again.

    What book do you return to most often?

    I have a very well thumbed Collected Works of Robert Graves and I’ve just recently reread The Master and Margherita and remembered all over again why it s one of my all time favourite novels.

    If money were no object, where would you live?

    Damn good question and one I ve been asking myself for a while since we’re rapidly growing out of our house. I rather fancy that big white place with the turrets in the middle of the Botanical Gardens, I ll have to get my agent on to it.

    What would your last meal be?

    You really need more of a context for this question, like is it my last
    meal because I’m to be hanged the following morning for some heinous crime – comfort food, chopped liver, chicken soup, oven roasted chicken and potatoes and some cheesecake; or am I dying of a ghastly disease that has eaten the insides of my colon, bowel and stomach (from eating too much comfort food) – probably a fresh squeezed watercress, beetroot, apple and lemon juice, intravenously of course; or is the moment of death unknowable
    at the time of said last meal anything that Willy cooks for me is pretty sensational but I’d be very happy if the meal included his Jerusalem artichoke and chestnut soup, cabbage & apple salad and mushroom pastries.

    What do you love/hate about Melbourne?

    Love : Autumn skies, Queen Victoria market, the botanical gardens, most of Collins Street, Williamstown

    Hate : hot north winds, the taunting of summers false start followed by another month of winter weather in December, the mostly unrelieved flatness.

    What has been the happiest day of your life?

    13th February 1995 when I held my first baby girl fresh and dripping from my womb. Like nothing else I had ever experienced until the 28th of January 1998 and the 30th December 1999 when I got to hold the 2nd and 3rd.

    What do you regret?

    Most of my real estate decisions, never winning Powerball and not writing Moon River, that was a real blow.

    Where do you escape to?

    Recently I escaped from real life by being Patsy Cline. That was very
    cool. I got to sing lots of great songs to adoring Patsy Cline fans, party afterwards and, no matter what time I got home, sleep 8 hours. After prolonged sleep deprivation that was definitely a highlight.

    What are you afraid of?

    Public speaking, car crashes, and just closing
    my eyes to sleep when I hear the sound of a crying child.

    What’s your favourite sound/smell?

    Sound :my children laughing, one of my songs on the radio that isn’t It’s Only The Beginning

    Smell: something delicious on the stove, the top of a new baby’s head, coffee, even though I don’t drink it much, this yummy fig bubble bath I’ve got.

    What makes you happy to be alive?

    It creeps up on me, walking around Williamstown with the sun coming up behind me and the moon still full and hanging around in the western sky is pretty sure fire. Playing music for people who are digging it, being in total control of my instrument, starting off on holiday with my family.

    When did you last cry?

    Last weekend from extreme frustration, don’t ask.

    What was the last thing you bought that you shouldn’t have?

    This question makes me realise that clearly I don t do enough shopping.

    What are you good at?

    making cakes, receiving massages

    Have you ever had a mentor?

    Dorland Bray was my first mentor. We met when I joined The Benders, a Melbourne band of which he was the drummer. We went on to form Do Re Mi, and he was the first person that I wrote a song with.

    What’s your favourite piece of music?

    This is an impossible question, music is something that works in tandem with your moods and surroundings how can anyone have one favourite piece?

    I’ve set dinner party moods with Spain, Radiohead and Mel Torme, I’ve danced to the Sounds of Soweto, Prince and The Chemical Brothers, I’ve wailed to Tom Waites, Joni Mitchell and Dino Saluzzi.

    When did you last get drunk?

    I got completely smashed at a friends party about 3 years ago on Wild Turkey. Days later, I thought I was still recovering from the hangover, until I realised I was 6 weeks pregnant.

    Who did you last kiss?

    Willy, not a big Frenchie but slightly open with just a hint of inner lip,
    he was going to bed before me. God, you guys get really personal.

    Deborah Conway

    Deborah Conway is a significant and eloquent contributor to Australian music, singing songs that chronicle the essential elements of life, love, loss, memory, the mundane and the spiritual. Restless and confounding, her powerful voice and presence has fascinated audiences for the past 30 years. A rare female agitator in a time when the music industry was male dominated; Conway continues to be a role model for young women and a mentor to emerging artists.

    From the moment her band, Do Re Mi released the iconic Man Overboard, off their debut album Domestic Harmony in 1985, Conway has always followed her own path. The song was radically different to radio playlists, a rant on gender politics and without a chorus, yet it sat at the top of the charts and introduced her as a compelling force.

    In 1986, relocated to Europe, Do Re Mi wrote & recorded a second album, The Happiest Place in Town. The single Adultery and album were well received but by the end of ’88 the band had split and Conway remained in the UK to work on a variety of projects. These included singing on The Iron Man by Pete Townsend, alongside Nina Simone and John Lee Hooker; and acting and singing in Peter Greenaway’s film Prospero’s Books, scored by Michael Nyman. Throughout this period Conway continued writing and in 1990 returned to Australia with an album’s worth of new material ready to record again.

    Conway’s debut solo album String of Pearls, released in 1991, was a radical departure from Do Re Mi. Its themes of youthful reflection and tongue-in-cheek irreverence, embodied in It’s Only The Beginning, Release Me & the bittersweet title track, won her Best Female ARIA award that year. One of Australia’s emblematic female singer-songwriter albums, String Of Pearls found an essential and enduring place.

    The album release was accompanied by an extensive national tour with band The Mothers Of Pearl in which Willy Zygier played guitar. This was the start of a highly successful songwriting and personal collaboration for Conway & Zygier that has resulted so far in eight records and three children.

    In 1993, Conway & Zygier produced their first album together, Bitch Epic, the title coming from “random words, cut up and pulled from a hat”. From its distinctive cover, which saw Conway smeared with Nutella and little else, to its rich and complex musicality, Bitch Epic pursued a singular path. Once again radio was pushed unknowingly into adding unusual textures and sounds to their programming; the 5/4 beat of Alive and Brilliant and the loping, unique rhythm of Today I Am A Daisy both made their way onto the airwaves. Wanting to take music more respectfully at a time when most Australian acts were playing pubs and beer barns, Conway & Zygier became producers, underwriting The Epic Theatre tour in grand old theatres around the country.

    In 1995, inspired by their first child on the way, Conway and Zygier formed Ultrasound, a band with the much missed Paul Hester (Split Enz, Crowded House) and Bill McDonald (Frente, Rebecca’s Empire). This eponymous & experimental album featured hypnotic and cinematic instrumental soundscapes as well as strange and otherworldly songs full of levity and menace. It was a radical step away from the pop world but yet another 5/4 song, 3 Love, made its way onto radio.

    My Third Husband (1997) and Exquisite Stereo (2000) formed a diptych, two sides of the same coin, claustrophobic songs and harrowing tales told with grim humour. The former, written & recorded in London musically explored electronica; the latter, celebrated the full force of distorted electric guitars and drums and was recorded in Melbourne with the rhythm section from Augie March. The title track featured a duet with Neil Finn. These albums capped off Conway & Zygier’s years of working primarily with amplified instruments.

    In 2001, Conway was cast in the title role of the theatre piece, Always…Patsy Cline, and began a love affair with country, roots and Bluegrass music. To accompany the production Conway & Zygier released PC The Songs Of Patsy Cline, an album of idiosyncratic versions of Patsy Cline songs, their theory being if you’re going to record classics you have a duty to make them your own. Conway was a natural Cline, loved by audiences and critics, she completely inhabited the role of the gifted country songstress who died far too young.

    2002 saw the release of a Greatest Hits record, Only The Bones. It was an impressive collection of songs vividly illustrating the variety of musical twists and turns they’d taken and underlining Conway & Zygier’s reputation amongst fans and journalists for being wry and quirky observers of life.

    In 2004 Conway and Zygier became truly independent and released Summertown on their own label. It was a total musical break from their previous collaborations, a sweet, breezy collection of lyrical optimism and irresistibly hummable melody. Summertown garnered enviable reviews and saw them reinventing relationships with audiences in a digital age in a very immediate and visceral way through home performances called Summerware parties. It startled media who were used to the standard barrier between performer and audience and spawned an outbreak of home party concerts.

    In 2005, inspired by their adventure of new ways of bringing music to people, Conway and Zygier became producers again and launched the inaugural production of Broad. Broad combined female singer/songwriters from very different genres of music on stage together to contribute to each other’s music and explore, by way of conversation, their approach to their craft. Introducing a number of wonderful emerging artists to Australian audiences, the series of Broad productions continued in ‘06, ‘07 & ‘08 and featured the incomparable talents of Katie Noonan, Ella Hooper, Clare Bowditch, Mia Dyson, Kate Miller Heidke, Sally Seltmann and the late great Ruby Hunter, to name but a few.

    In May 2008, Conway, recognised as an innovator and a generator of unique ways of presenting music to people, was offered the role of Artistic Director for the Queensland Music Festival. Conway is the first woman to direct this biennial state-wide celebration of music which is the largest by land mass music festival in the world.  In July 2009 Conway’s QMF staged 44 events in over 20 regions to an audience of 140,000 across the state, including an opening event on Thursday Island with The Black Arm Band, Kev Carmody’s Cannot Buy My Soul at Brisbane’s Riverstage, Michael Nyman’s concert with William Barton and the premier Australian performance for legendary US saloon & swing maestro Dan Hicks. Conway is currently working on the 2011 program for the QMF.

    Conway’s artistic director role is one in a career of extra curricular activities; writing music & appearing in Geoffrey Rush’s Belvoir Street production of Aristophanes Frogs alongside Toni Collette; accepting Paul Grabowsky’s invitation to present an evening of Conway & Zygier’s compositions at the Melbourne Concert Hall with the Australian Art Orchestra; performing in Andree Greenwell’s moving musical account of earliest female settlement of the colonies – Dreaming Transportation; writing & recording with classical composer George Dreyfus; recording with Brisbane band george their version of Man Overboard. But her career has always returned to the core business of writing and performing her songs.

    In May 2010 Conway & Zygier will launch their 9th studio album Half Man Half Woman, recorded in Melbourne with producer James Black.

    It is another passionate and accomplished singer/songwriter album that chronicles love in the middle ages, life in the 21st century and the human condition of now, then and what will be. It’s an album that gives equal weight to an eight-minute rant, a ninety second instrumental miniature and a song sung by their three young daughters and marks the next chapter of the half man half woman Conway Zygier project.

    Reviews for Summertown

    Daily Telegraph
    Blessed with an angelic voice, deft at lyrical wordplay and armed with a seemingly inexhaustive melody well, Conway – and partner Zygier – create songs which become best friends for life.
    Kathy Macabe

    Rolling Stone
    Summertown is magical. An acoustic album with classical moves, Conway is subtle and restrained. Partners in music and life, she and Zygier create upbeat gems, dramatic ballads, lullabies and pop with country music being an almost unconscious influence. Why Conway isn’t a world-famous diva is a mystery.
    Annette Basile

    The Weekend Australian
    Summertown is a lovely, acoustic set that is easy on the ear & gentle in spirit. Conway’s star has been recognised by Pete Townsend, Peter Greenaway and Paul Kelly. It’s time for the rest of us to catch on.

    Willy Zygier

    Willy’s first recorded appearance was with his band Tootieville on the Cooking With George Mark Too compilation record, released by radio station Triple J in 1985, though he had been spotted haunting Melbourne’s live music venues long before that. Tootieville followed this up with an album entitled Basic in 1990 that was The Age’s Green Guide album of the year.

    He first appears in the Deborah Conway story (officially) on the credits of the Release Me single as co-performer of the live version of Will You Miss Me When You’re Sober.

    Willy came into the limelight proper with the release of Bitch Epic in 1993. He co-wrote the record with Deborah & co-produced. The notes for the album simply say “thanks especially to Willy for always getting me across the bridge”.

    From the clip for Basic
    from the clip for Basic circa 1991

    Since then he & Deborah have collaborated on all her “solo” records & the subsequent records released under both their names: but he has also enjoyed an extra-curricular career & has produced & arranged music for a number of Australian feature films, & documentaries – The Nugget, Horseplay, Ned & Paringa; and for television has composed scores for the ABC’s Eagle & Evans, Sounds of Australia & Stuff; SBS’s Global Village, Thalassa, Everybody Loves A Wedding & Decadence; & Channel 9’s telemovie Little Oberon. He is currently working on the score for a new documentary for the ABC, The Ball.


    Tootieville - Basic

    As a producer, other than the Conway albums, Zygier has produced Toni Collette’s Beautiful Awkward Pictures & The National Living Treasures’ Wide Music.

    Composition commissions include scoring the Barrie Kosky curated Voice Jam & Videotape (music for the film “Night” by Lawrence Johnston) for the 1998 Adelaide Festival; The End Of Music a large-scale piece for the Australian Art Orchestra that premiered at the Iwaki Auditorium Melbourne, January 2000 & broadcast by ABC Classics; & a song for the Victorian Government celebration of “Eureka 150”. Zygier composed the score & created the sound design for a production at the Melbourne Planetarium, Tycho To The Stars & composed two pieces Elysium7 & 2DF for installations at the National Museum in Canberra.

    He is also responsible for the woodwind arrangement on the song The Blue Hour recorded for the Bull Sisters debut album Vika and Linda.

    Although most people only know him for his terrific guitar work he has been known to play numerous string instruments & to be occasionally heard blowing the saxophone very late at night.

    Other Willy Zygier trivia is that he was once in the Australian TV show “Prisoner” as an Italian prisoner “Luigi Pavoni” – or at least answered with a “Yup” to that name in a roll call, which appears to be the extent of his speaking parts in the movies.

    The Benders

    the Benders

    Before Do Re Mi Deborah was with the Benders. They played major gigs and supports in Melbourne from 1980 till 1982.
    Members were

    • DC (vocals)
    • Les Barker (guitar/vocals)
    • Greg Thomas (guitar/keyboards)
    • Neville Aresca (bass)
    • Dorland Bray (drums/vocals)

    They played mainly original songs written by DC and Greg Thomas with some blondie/devo/ 60’s covers thrown in.

    Researched and contributed by Miff who also provided these photos and then disappeared never to be heard of again.

    Earliest shot of DC on the whole site

    Novocaine Chords

    Conway/Zygier


    Chords worked out by Tim Hackett.

    Intro

    | A | Dm/A | X4

    Verse 1

    | A | Dm/A | X8

     Chorus 1

    | B D | A | B D | G#sus4 | B D | A | G#sus4 G# | Gsus4 G |

     | A | Dm/A | X4

     Verse 2

    | A | Dm/A | X8

     Chorus 2

    | B D | A | B D | G#sus4 | B D | A | G#sus4 G# | Gsus4 G |

     | A | Dm/A | G#sus4 G# | Gsus4 G |

     Middle 4

    | F#m | F#m | E | E |

     Guitar Solo

    | A | Dm/A | X4

     Verse 3

    | A | Dm/A | X8

     Chorus 3

    | B D | A | B D | G#sus4 | B D | A | G#sus4 G# | Gsus4 G |

     | B D | A | B D | G#sus4 | B D | A | G#sus4 G# | Gsus4 G |

     Outro

    | A | Dm/A | Keep repeating – going a bit crazy then descending into
    feedback and 50Hz hum 🙂

     
    shapes of the more difficult chords

    Interzone Chords

    Conway/Zygier


    Chords worked out by Tim Hackett.

    Intro

    | Em | (X4)

     First Verse

    | Em | Em | D6 | D6 | A7 | A7 | Cmaj7 | Cmaj7 |

     | Fmaj7 | Fmaj7 | Em | Em | G | G | Cmaj7 | B7 | Em |

     Second Verse

    | Em | Em | D6 | D6 | A7 | A7 | Cmaj7 | Cmaj7 |

     | Fmaj7 | Fmaj7 | Em | Em | G | G | Cmaj7 | B7 | BbAug11
    |

     Middle 8

    | Am | (X8)

     Third Verse

    | Em | Em | D6 | D6 | A7 | A7 | Cmaj7 | Cmaj7 |

     | Fmaj7 | Fmaj7 | Em | Em | G | G | Cmaj7 | B7 |

     | BbAug11 | Am | Cmaj7 | B7 | Em | Em | Em | Em |

    “twanga” bit before solo

    | Em |  (X8)

     Fourth Verse (Guitar Solo)

    | Em | Em | D6 | D6 | A7 | A7 |

     Fourth Verse (vocals contd)

    | Cmaj7 | Cmaj7 | Fmaj7 | Fmaj7 | Em | Em | G | G |

     | Cmaj7 | B7 | BbAug11 | Am | Cmaj7 | B7 | Em | Em |

     Outro

    | D | Bb | Em | Em | D | Bb | Em | Em | D | Bb | Emsus2+13… ||

    Here In My Arms Chords

    Conway/Zygier

    These chords provided by Tim Hackett who said

    “Here in My Arms” is definitely another of my favourites off “My
    Third Husband” – definitely a song to alter your state of
    consciousness. I had to apply some DIY musical theory to name
    some of these chords so they may be theoretically wrong. I don’t have
    a clue of the names of the first six chords in the intro, so I put
    them into the chord chart as is. The very nice thing about this song
    is that you can play the chords with your fingers in a rather loosely
    timed manner – very good for those of us who are chronologically
    challenged (i.e. have lousy timing). Enjoy …

    Chords for Here in My Arms

    Only The Bones (Will Show) Chords

    These chords provided by Tim Hackett who says

    “Only the Bones” is one of my favourite songs off “My Third
    Husband”. Ignoring guitar solos, there appear to be two distinct
    guitar parts to this song. The first set of chords are the basic ones
    underlying the whole song. I don’t thinks these are exactly the
    originals as used by Willy Zygier, but leaving them all down the
    bottom of the fretboard makes them a bit easier to play. They’re kind
    of subdued and muffled chords, so if you don’t like the ones I’ve
    suggested, just use your favourite chord formations instead.

    Only the Bones Chords - Part One

    This second set of chords are a kind of melody/harmony line you can
    play along with the chorus. When you’re listening to the song,
    these jump out at you at the beginning of each chorus. The
    lyrics are at the top of each row of chords so you know where abouts
    you are in the song.

    Only the Bones Chords - Part 2

    These fret diagrams represent the distorted arpeggio chords Willy
    Zygier plays at the tail end of the song. The numbers at the bottom
    of each diagram is to let you know in which order to play each note.

    All Of The Above Chords

    Conway/Zygier 1997

    All of the Above Chords

    more of All of the Above

    or for those who prefer tab for the last bit

    e:-0v--3--5--------------------0v--1--3--1--0-|
    B:----------0v--3--5--0v--1--3----------------|
    G:--------------------------------------------|
    D:--------------------------------------------|
    A:--------------------------------------------|
    E:--------------------------------------------|
    e:-0v--3--5-------------------0v--1--3--0-|
    B:----------0v--3--5--0--1--3-------------|
    G:----------------------------------------|
    D:----------------------------------------|
    A:----------------------------------------|
    E:----------------------------------------|

    These chords provided by Tim Hackett who said

    “All of the Above” is a magic song full of all sorts of little timing
    labyrinths. Willy Zygier very kindly pointed out a couple of errors I
    made, so this is the revised version. I’ve used some 3 note chords
    for the verses, but garden variety A, F, C & G chords work just as
    well. If you feel a bit adventurous, you can always have a go at the
    guitar fills and solos which I’ve represented schematically (my
    knowledge of music theory is somewhat below par). Probably the best
    way to use these chords and fills is to listen closely to the
    recording and play along. If you don’t have a copy of “My Third
    Husband” …

    (a) go out and buy it
    (b) put it on your birthday & Christmas list
    (c) go to Gaslight Records’ nude day and get it free
    (d) hassle your favourite radio station to play it
    (e) all of the above

    By Then Dead Chords

    by then dead chords

    These chords provided by Tim Hackett who said
    If you ignore the diverse array of time signatures, “By Then
    Dead” seems to be a kind of blues-meets-grunge affair – but then,
    who cares what kind of a song I think it is. Rather than
    drive myself crazy writing the whole thing out, I’ve just put in the
    main parts of the song in order of appearance (naturally you’ll have
    to go back between the verses & choruses). It’s probably safest if
    you perform “By Then Dead” in your lounge room along with the
    recording, as it doesn’t really lend itself to that cozy little
    singalong around the campfire – then again…

    Evil Homer Chords

    This is deadly simple treat for guitar strugglers such as myself. It is in 4/4 (two beats to each line of lyrics), capo on the 8th fret, D and A formations (what you are really playing is Bb to F)
    The break (after every second verse) has a keyboard sequence through it that I am told is pretty straight forward but beyond my meagre wit.
    Thanks to Willy Zygier for explaining these chords to me.
    Ross was always on blinder
    David’s mostly running late
    Shane prefers it gentler kinder
    Alan likes to eat his cake
    John’s beloved by all who meet him
    Andrew makes a lot of dough
    Roman’s trying vegetarian
    Ralph wants everyone to know
    James can understand both parties
    Grant’s a fundamentalist
    Gary’s fights get very narky
    Gerry’s a ventriliquist
    Tom likes wearing short pyjamas
    Dick has joined his local team
    Harry’s into green bananas
    served with passionfruit and cream
    Larry thinks he’ll join the navy
    Joe is lively talks non stop
    Matthew says he loves me truly
    Herman’s into heavy rock
    Winston loves to wear mascara
    Truman’s moved to Ivanhoe
    Pablo’s trying to reach Nirvana
    he must be the last to know
    Bob defies all defintion
    Darwin makes it obvious
    Ted is one big indecision
    Scott is so industrious
    Roger has the best intestines
    Gough makes everybody laugh
    Keith is fragile likes prescriptions
    Toby thinks he’s really tough
    Dan is daring not to gamble
    Nevin never ever would
    Geoff reads any tabloid scandal
    Ben picks pockets and he’s good
    Jordan never learned to tango
    Noel is always practicing
    Simon says he knows the lingo
    but no-one really believes him
    Bertoldt can’t stop muscle building
    Humboldt’s table manner suck
    Hercules is undernourished
    Evil Homer lives to fuck

    3 Love Chords

    Ultrasound 1995
    3 Love chords

    These chords provided by Tim Hackett who said
    In my opinion “3 Love” combines the writing and playing skills of
    seasoned musicians with the drive and freshness of a high school
    band. The parts I especially like are Willy Zygier’s
    McLaughlinesque* arpeggio guitar breaks in the final
    stages of the song.
    “3 Love” is basically in 5/4 timing with a 3 and 2 feel, but watch
    out for the occasional switch to 7/4 and 3/4. A fun song to
    play along with.
    *John McLaughlin, best known to
    jazz-fusion buffs, is an exceptionally talented guitar player who’s
    been recording music for at least three decades. Many his songs
    feature formidable time signatures over which he
    plays cross-timing arpeggios and blistering solos. As to this
    self-indulgent piece of esoteric music trivia, I’m sure to regret it
    in the morning.

    DCN #348

    These chords provided by Tim Hackett who said
    Musically speaking, DCN#348 is the epitome of simplicity and honesty;
    an unexpected and insightful ending to “Bitch Epic” (which you’re
    likely to miss if you press the “stop” button too quickly). The
    “vocals and guitar to one microphone” makes for a lovely organic
    guitar sound and intimate vocals. It sounds like a very personal song
    so I hope Deborah doesn’t mind me putting it up here.
    Although it’s actually in “the people’s key” (E), Deborah plays it
    with a capo on the 4th fret using a C formation. I don’t know if the
    way I’ve written it down is strictly correct but, for simplicity’s
    sake, I’ve used the names of the chord formations rather than the
    actual chords. I haven’t included the hammered on notes that Deborah
    plays in the C chord, but these aren’t too hard to work out if you
    listen carefully. Hope you enjoy playing it.

    DCN348 Chords

    Holes In The Road Chords

    Conway/Zygier
    E D A G – Verse…the problem is the verse is more of a riff than strummy chords, but this will do for the moment.
    C#m Am E G – Bridge
    A7 – Choruses
    C G Asus2 C G E – Middle 8
    These chords have been supplied by the tremendous Willy Zygier. If fans have chords they have pieced together, please send them in to be included on this site.