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”)
Monthly Archives: August 2004
Singing At House Party (2004)
This image taken by David Gilliver and may not be reproduced without permission.
Willy At House Party (2004)
This image taken by David Gilliver and may not be reproduced without permission.
Accidents Happen In The Home/Something’s Right (2004)
1. Accidents Happen In The Home
2. Something’s Right
This free single was distributed through Body Shop stores.
Something’s Right Chords
Verse
A A/G# A/G A/G D A/C# Bm D/A G C#7 F#m E D A G D
Chorus
/ / / /
D E A E Bm A Bm A
Bridge
Em D A G D Dmaj7
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
“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
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
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
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.)
“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.
Contributed by Brady Millett
Contributed by Brady Millett
wrote the lyrics to the song “She Keeps Me Dreaming” (the music was written by
Hay).
Contributed by Stefan Warnqvist
==> Hint; See front cover of Bitch Epic!
Contributed by Alana the Faerie
Contributed by Alana the Faerie
Contributed by Alana the Faerie
Contributed by Alana the Faerie
Contributed by Alana the Faerie
Contributed by Robert Kerton
Contributed by Robert Kerton
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
and Sour’ an ABC TV show about a pop band.
Contributed by Euan Troup
the female version of ’88 Lines about 44 Women’..
Contributed by Euan Troup
her daughter Syd so she could check her in as baggage when
coming to Sydney.
Contributed by Bryan Gaensler
“Smoke On The Water” and got a good laugh.
Contributed by Bryan Gaensler
Contributed by Bryan Gaensler
Contributed by Genevieve Siddle
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.”
Juice Magazine
Deborah Conway –
“Exquisite Stereo” (Shock) – Rating: 7 (out of 10)Deborah Conway could be wondering where all the rockstars have gone, as a
Green Guide – CD of the week
CD of the Week by Shaun Carney
Exquisite Stereo – Deborah Conway (Shock)
As a musician, Deborah Conway has always been a risk-taker and her new album
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 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.
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
Before Do Re Mi Deborah was with the Benders for 8 months thru 1980/1981 They played major gigs and supports in Melbourne.
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 Greg Thomas.
Researched and contributed by Miff who also provided these photos and then disappeared never to be heard of again.
Flesh and Wood – Jimmy Barnes
Deborah appears on track 13, “Let it Go”. She also appeared in the video
Mantra Mix
‘The Chinese invasion of Tibet and ensuing suppression
Films
Diana and Me (1997)
The Coca-Cola Kid (1985)
Prospero’s Books (1991)
Running on Empty [aka Fast Lane Fever] (1982)
Mallacoota stampede (1979)
Accidents Happen In The Home Chords
Conway/Zygier
Verses & Choruses
D G Bm A
Bridge
G Em Asus4 F# Bm D E
Note: the F# isn’t exactly an F# but is easier to play and sounds nicer
Tim Hackett provided these.
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 🙂
Radio Loves This 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 …
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.
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.
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
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
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
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.
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.
Alive and Brilliant Chords
Conway/Zygier
These chords have been supplied (indirectly) by the tremendous Willy Zygier. They were kindly made available for this site by Lisa J Young.
I’m Not Satisfied Chords
Conway/Zygier
These chords have been supplied (indirectly) by the tremendous Willy Zygier. They were kindly made available for this site by Lisa J Young.
Today I Am A Daisy Chords
Conway/Zygier
These chords have been supplied (indirectly) by the tremendous Willy Zygier. They were kindly made available for this site by Lisa J Young.
She Prefers Fire Chords
Conway/Zygier
Last To Know Chords
Deborah Conway/Paul Kelly 1991
These chords from Tim Hackett.
Man Overboard Chords
These chords provided by Tim Hackett who said
These chords are based on my best assessment of Willy Zygier’s
rather funky acoustic rendition of “Man Overboard”, minus the
introduction and clever bits in the middle. The sample bar of G7 is a
rather complicated way of representing the rhythm he uses. If it
comes across as an unintelligible schmozzle, don’t worry, it’s not
you. But it might make some sense if you’ve actually heard him play
it.If fans have chords they have pieced together, please send them in to be included on this site. All chords may be printed for personal use but MAY NOT be redistributed by any means what so ever.
In April Chords
Deborah Conway (EMI Music)
This is just the easy chord version to “in april”. The words are from the cover of the “seven deadly sins” soundtrack & the chords are from that recording as well.
Chords:
(capo 4 in brackets)
verse (each line is
B / / / F# / E / B / / / F# / E /
(G) (D) (C) (G) (D) (C)
chorus
F# / / / E / / / F# / / / E / / /
(D) (C) (D) (C)
F# / / / E / / / F# / / / E / / /
(D) (C) (D) (C)
B / / / F# / E / B / / / F# / E /
(G) (D) (C) (G) (D) (C)
Words:
Verse:
Hello you it’s ten to one in the morning
I don’t know what time that makes it over there
I haven’t figured it out yet Cos we just turned the clocks back
And it gets so complicated I lose track
Maybe you been away
Looking at churches again
I guess you probably seen ’em all by now
I was feeling the need for Something a little bit more
In your line of bad jokes and sweet talk
Chorus:
And I miss you
And i’m thinking of you
And I know I’ve tried before
But you didn’t return my phone calls
Verse:
I been out on the town
And yes i’ve been drinking again
Yes we both know it makes me emotional
But did you get the letter i sent are you keeping up with your rent
So many stupid questions running round my head
Chorus:
And I miss you
And i’m thinking of you
And I know I’ve tried before
But you didn’t return my phone calls
Verse:
Well i’m gonna lie down
Close my eyes and imagine
That you’re standing right here listening to this
Why don’t you pick up the phone Quit pretending that you’re not home
Oooh baby I just can’t let you alone
Chorus:
And I miss you
And i’m thinking of you
And I know I’ve tried before
But you didn’t return my phone calls
I know it’s over now
I know ‘coz i talked to your friends
But there’s just one thing
Why don’t you return my phone calls
Glory Ordinary Day Chords
Conway/Simon Austin 1999
These chords were worked out by Tim Hackett who said :
Glory Ordinary Day is in 4 time and I’ve put in some chords for first
part of the verse that sort of fit in with what the bass does. Otherwise
you could do it as per the recording by picking out the melody on the G
string and using the D string as a drone.
Verse
| Bm | A G | D | D | Bm | A G | D | D |
| Gm | Dmaj7 C7 | D7 | D7 | Gm | Dmaj7 C7 |
| Gmaj7 | F# | Gmaj7 | F# |
Chorus
| G A | A D | G A | A D | G A | A Bm | F# |
| G A | (Ends on a D)
House Party – 13 August 2004
I wanted to say a huge thank-you to everyone who bought cd’s to enable the house party to happen. Especially the interstate contingent! And huge thanks to Viv for talking her friends into hosting the evening, and to Peter & Glenda themselves for inviting us in… and to Deborah & Willy for playing.
There hasn’t been a review of the evening posted, so I thought I’d give it a whirl.
First, I was late. Not a huge surprise to anyone who knows me. My excuse was football training. At 7:45pm I was running around in the cold rain… ten minutes later I was picking up my girlfriend from the station, and about 10 minutes after that we were standing on the doorstep of a house in Northcote hoping we had the right address.
We were welcomed in by a crew of youngsters, who proceeded to show us their dolls then disappear into a side room. We tracked the party down in the lounge (It was easy to find – I could see Mark). It was fabulous to see people again… Tim, Julie, Mark and Nikki (with gorgeous tot in tow). I’ve probably left people out, but that always happens.
My timing was impeccable of course – just time to get a drink before Deborah and Willy came on stage. Oops, I mean before they moved from the other half of the room, sat down, and encouraged people to move closer. Mark and Tim eagerly sat on the floor at their feet… I think Tim was making sure he saw every note Willy played.
First item was an explanation about how they came to be in the suburban lounge playing for us all… explaining about sales, record companies, etc… and the new strategy of walking into peoples homes and playing.
Um, songlist… I hadn’t heard the album, and don’t have it with me now, so this will be vague.
*Accidents happen in the home.
*The Ikea song – (I saw lots of smiles around the room as people remembered their own DIY experiences. Made me grin because I love putting those things together. No wonder people thing I’m strange!)
*Um… another song that Deborah forgot the first line of… Mark had to prompt her.
Um… guess I don’t know these songs so well yet!
The point is that the songs were great… the crowd was lovely. The lounge ambience was amazing – so intimate!
Anyway, I really only wanted to say what a fabulous night it was… and say thanks to all those who so greatly deserve it.
Rach
Summertown (2004)
- Stay On Track
- Accidents Happen In The Home
- Any Fool
- Try To Save Your Song
- Something’s Right
- Sunday Morning
- One Chance
- Sleepwalker
- I Love You But
- It Doesn’t Work That Way
- Heartache
- Here And Now
Musicians: Deborah Conway, Willy Zygier, Gerry Hale, James Black, Shannon Birchall
Additional musicians: Dave Williams, Toni Collette, Paul Kelly, Kim Wheeler, Michael Barker.
Produced by Willy Zygier and Deborah Conway. Co-produced by Gerry Hale.
Something’s Right, video
Something’s Right
[audio:https://www.deborahconway.com/wp-content/uploads/2010/04/SomethingsRight.mp3]Heartache
[audio:https://www.deborahconway.com/wp-content/uploads/2010/04/Heartache.mp3]
Summertown
About Summertown
The last 3 albums had revolved around making music out of essentially non-musical components, (not that there’s anything wrong with that) but when it came time to do it again, I don’t know – I guess we had both gotten tired of torturing electric guitars and using atonal samples. Those sounds seemed everywhere.
We started talking about songs we liked from a pre-electronic era; artists like Simon and Garfunkle, The Mammas and the Pappas, Jimmy Webb, James Taylor & Carole King all came up in our conversations along with many others. We didn’t want to recreate them (as if we could) but we wanted to evoke that spirit, that approach to song-craft; beautifully realised verses, choruses and bridges that seem to have always belonged together even before they came into being. Also a certain gentleness and warmth that we hadn’t explored seemed like the path that was beckoning. We’ve been angst, brittle, pissed off and depressed, let’s give peace a chance.
During the writing period for this album, I broke my arm. I got some good material out of it but it severely cramped my guitar playing and confined Willy to rhythm only. This had its own knock-on effects for Gerry Hale (mandolin, cittern, fiddle, slide, Dobro, charango etc) and James Black (piano & organ) and the amount and intricacy of the various parts on the record. In the end maybe it was a bonus, forcing us to comply with our blueprint to simplify.
We expressly wanted to make an acoustic record and upright bass was the obvious route to take. Shannon Birchall (moonlighting from The John Butler Trio) brought a big, fat, warm, bottom end to the project, while Michael Barker (also from JBT) on percussion and Dave Williams (from Augie March) on drums put the engine into it.
With the vocal talents of Paul Kelly, singing a duet on “It Doesn’t Work That Way” – an examination of gender delineations as filtered through an IKEA experience; and Toni Collette trilling on Sunday Morning in the perfect counterpoint of girly vocals, we found two more outstanding contributors to Summertown.
In some ways Summertown sounds like my most mature record to date, ironic given the circumstances it was recorded in. My parents announced they were going on a cruise for a couple of months, leaving an empty house. I knew the answer would have been ‘no’ if I’d asked, but the thing is nature abhors a vacuum. They departed at 12.30 on October 6th – at 1.30 we had started loading in a van full of gear and set up a studio in their lounge and dining rooms. It’s unlikely at this point in life to get the kind of frisson usually reserved for 14 year olds deliberately disobeying their parents, but I have to say it was a sweet feeling and the vitality of youth flowed in the blood of all the tracks we subsequently put down.
– Deborah Conway and Willy Zygier
Summertown
Summertown
Deborah and Willy’s brand new album, Summertown, is in stores now. For all sorts of information like the track listing, Deborah and Willy’s introduction to the album, and the opportunity to have them play in your own home see the Summertown page.
You can buy the album from the online shop, in normal shops, or look for a show near you.
If you would like to listen to a track you can download all of Here and Now or else listen to 30 seconds of each song.
Buy Summertown Online
For delivery within Australia. $US22 (about $A30) includes postage for this item and GST.
For delivery outside Australia. $US24 (about $A33) includes postage for this item.