the long story



Kiss Tomorrow Goodbye CD released May 2000 on the Cockaigne label through Shock Records. Recorded at Adelphia, the Ponderosa Mixed at St Ives Produced by Clare Moore and Dave Graney All sessions engineered and mixed by Adam Rhodes Mastered at Sing Sing by Ross Cockle Artwork and photography by Tony Mahony "Kiss tomorrow goodbye" consists of six tracks we recorded with the Dave Graney Show live to hard disc in a factory shell/ rehearsal room and seven tracks cooked up by Clare and myself in our own studio. Both sessions were engineered and mixed by the same person, Adam Rhodes,who did the same job on our last cd. The "band tracks" were all songs we had been playing live for the previous year or so. The surrounding environment was Johnston street and Smith street in Fitzroy/ Collingwood. The other tracks were arranged and re arranged over a longer period but the actual commitment of vocals and guitar (very minimal) to the disc was done over a two day period. The surrounding environment was fern trees, possums and parrots. Everything was mixed in a studio in the part of Melbourne that Barry Humphries rhapsodises about, Glen Iris and Wattle Park. The studio came with an art deco swimming pool and we adjourned for a barbecue each night. This mixing period took about seven days.	art tony mahony See the Lyrics for this album?
As for the content and flavour of the music. We had spent most of 1999 playing Every Wednesday at the Nightcat in Melbourne and had taken the opportunity to stretch out over a wide range of tracks. We really grew to look forward to each others company and were thrilled to be lucky enough to be, once again, in a band that was experiencing play and experimentation. I had thought that my songwriting may have been falling into predictable patterns so I asked everybody to come up with some music that I could put some words to. Clare Moore came up with "don't be true" (which also became her first ever lead vocal on a record) , Bill Miller obliged with "mind full of leather" and Adele came up with "you're on your own,now". Stuart Perera came up with too much stuff just as the deadline rushed passed, next time for him. In general , I wanted to make a record that was "black, blue and bruised". It was going to be tough and to the point. Our last cd ,"the Dave graney Show", had been a virtual concept album about the music business. The record before that, "the Devil Drives", had been a virtual concept album about music. (Even a person with only the faintest interest in the music business would have noticed the number of record companies shrinking over the previous couple of years as the corporate mania for conglomeration and takeovers continued at a great pace.) Being a musician has always been a precarious existence, like being tossed about in a small tin dinghy out in the middle of a huge ocean swell. I've found it impossible to look past all this furious energy to write about the world beyond the high seas . In my mind, I've been writing songs about life aboard the ship for ages now, from "robert ford on the stage" to Night of the wolverine" to "rock'n'roll is where I hide" to "death by a thousand sucks".) I wanted to make a kind of blues album. The words I had in my mind for this record were "noir" and "hard boiled". Over that past seven years I had been really into "exotic ", "latin", and "jazz" flavoured music. Every time I went into a vinyl store now (1999/2000) I searched the hard rock section. Johnny Winter, Lynyrd Skynyrd , Bad Company, the Blue Oyster Cult and John Martyn were at the top of my charts. Clare was into expressing herself completely and not letting Sad Sacks cramp her style in any way. The other big influence of course was the new technology. This hard disc recording was, strangely enough, making it more possible to bring the experience of making music closer to your everyday life and more spontaneous in general. We'd recorded "night of the wolverine " in one day and I was always confused why it had never been so easy to do that again. With this record, we wanted to make it easy for ourselves. The band was drilled and ready to rock . Everybody was "on the one". Too easy. Hard boiled? This is a twenty minute egg.
THE TRACKS The stuff that night is made of Words and music , Dave Graney Dave Graney, acoustic guitar and vocal Clare Moore, bass, drums strings and horns. Death by a thousand sucks Words and music, Dave Graney Dave Graney, electric and acoustic guitar and vocal Clare Moore, bass, drums, strings , vibes, atmospheric sounds. Don't be true Words, Dave Graney / Music, Clare Moore Clare Moore, Vocals, backing vocals, vibes, bass, strings, drums Dave Graney, acoustic guitar Street Dreams Words and music, Dave Graney Dave Graney, vocals, acoustic guitar Clare Moore, drums, percussion, backing vocals Adele Pickvance, bass, backing vocals Bill Miller, acoustic guitar Stuart Perera, electric guitar Drugs are wasted on the young Words and music, Dave Graney Dave Graney, vocals, acoustic guitar Clare Moore, drums, percussion, backing vocals Adele Pickvance, bass, backing vocals Bill Miller, acoustic guitar, backing vocals Stuart Perera, electric guitar Vengeance is on its way (don't worry) Words, Dave Graney / Music Dave Graney, Clare Moore Dave Graney , vocals, acoustic guitar Clare Moore , vibes, strings, bass , electric piano, drums, percussion, backing vocals Out of the loop Words and music, Dave Graney Dave Graney, bass, strings, piano, organ, vocals Clare Moore, drums, percussion, vibes, backing vocals, human beatbox Bill Miller, backing vocals Have you heard about the Melbourne mafia? Words and music, Dave Graney Dave Graney, vocals, acoustic guitar Clare Moore, percussion, backing vocals Adele Pickvance, bass, backing vocals Bill Miller, acoustic guitar, backing vocals Stuart Perera, electric guitar I need some scratch Words ,Dave Graney / Music , Dave Graney, Clare Moore Dave Graney, acoustic guitar and vocal Clare Moore, strings, vibes Mind full of leather Words , Dave Graney / Music, Bill Miller Dave Graney, vocals, tremolo guitar Clare Moore, drums, percussion, backing vocals Adele Pickvance, bass, backing vocals Bill Miller, acoustic guitar, backing vocals Stuart Perera, electric guitar You're on your own, now Words, Dave Graney/ Music, Adele Pickvance Dave Graney, vocals, tremolo guitar Clare Moore, drums, percussion, backing vocals Adele Pickvance, bass, backing vocals Bill Miller, electric guitar Stuart Perera, electric guitar Outing the suits Words and music , Dave Graney Dave Graney, vocals Clare Moore, drums, percussion, backing vocals Adele Pickvance, bass, backing vocals Bill Miller, acoustic guitar Stuart Perera, electric guitar Kiss tomorrow goodbye Words and music, Dave Graney Dave Graney, vocals, electric and acoustic guitar Clare Moore , vibes, piano, strings, bass , horns, percussion		Dave Graney treads the thin line between absurdity and genius with the same aplomb, and the same moustache, as a Victorian circus tightrope walker.Twenty years into his career, with the brutal beat poetics of the Moodists and the mistimed country rock of the Coral Snakes behind him, Graneys third incarnation is further evidence of the indestructible Australian troubador's endless regenerative powers. A small man, with the large hands of an overfriendly uncle, Graney's extravagant phrasing annd foppish wardrobe conspire to create an almost ridiculous persona that makes him bulletproof. With the listener too bewildered to call his bluff, Graney is free to explore potentially embarassing areas without the risk of falling on his face. Nobody else could write a song called Drugs are wasted on the young and make it so philosophically coherent, dryly hilarious and irresistably catchy. With the Dave Graney Show, Graney and the drummer Clare Moore press the sort of smooth sounds normally only found in creatively bankrupt adult pop into sevice ofa keen lyrical and musical intelligence. Vengeance is on its way is the sort of song Burt Bacharach might have written if he'd borne anyone a grudge.You're on your own, now has the ambience of a John Barry Bond theme. But Kiss Tomorrow Goodbye isn't some arch ironic posture: Dave and Clare deploy tinkling vibes and feather light backing vocals in deadly and disarming earnest, and there's a courage and daring in the Dave Graney Shows Las Vegas professionalism that shames the alternative rock staples of distortion and dissonance. But Graneys new direction had better work. The spiky satire of Have you heard about the Melbourne mafia? burns any bridges back to the cuban heeled music scene he cut his teeth in. The only way on is forwards. Stewart Lee, Sunday Times (UK) , November 2000 "Musically rich, it starts like a film noir soundtrack, brushing up dangerously close to cabaret and lounge before embarking on a whacky ride through blues, country, disco, europop, rock, loops and lush soundscapes with fake strings and brass....This is the Dave Graney (and Clare) Show all the way, and you can tell they're having a ball.." EG ""He should be Australias' Serge Gainsbourg........Virtually every lyric here is about some aspect of the music industry, and they're all witty and often hilarious, but with an underlying conviction thst suggests Graney is writing from bitter experience.....Musically, Graney has really stretched himself this time .....An inspired release from one of the few local artists to pass up trends in favour of his own vision.....(8/10)" Juice "the psycho style music that heralds the first track, "the stuff that night is made of", leaves you in no doubt that, at least in sound and sense, this new album is going to be smokey, stroppy and sometimes even sleazy. The songs- particularly "don't be true" (featuring Clare Moores first ever lead vocal), "street dreams" and "you're on your own,now"- are some of the strongest Graney and Moore band have ever come up with. And the lyrics are of course, of the usual brilliant standard...(4/5)." Rolling Stone "Kiss tomorrow goodbye leaves all pop baggage at the door as it metamorphoses through sparse cabaret breakdowns, Kronos-esque string fetishism and (occasionally perilous) lounge territory. ..... Graney is in fine lyrical form here, and the instrumentation is exquisite, with the influence of drummer and co conspirator Clare Moore more obvious than ever before.Her heavenly vocals also grace the albums finest moment, the rather obscure ballad, "Don't be true"." Beat "As Graney himself once acknowledged, the Australian public embraced him and were then frightened by the enthusiasm with which he embraced them back. But, as another wordsmith once said, all pain turns into money in the end, and the whole sorry tale has provided inspiration for "kiss tomorrow goodbye"......A little bitter perhaps? Na. It's just Dave Graney- the King of Rock'n'Roll." Australian Style
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