Liked How The Avalanches went from hip hop brats to world-conquering stars (Double J)

The band’s justification for using samples was simple: they couldn’t afford the real thing.

“None of us had much money so it was just a very cheap sampler, a cheap computer and lots of time going through Melbourne’s op shops,” Chater told triple j.

“Trying to find weird and wonderful sounds to make a record that sounded kinda fancy without actually having access to orchestras or amazing sound.”

“If we want an original ’60s pipe organ sound, we can’t afford to go and hire a studio,” Seltmann said in 1999. “We can just get one off a record. You can create the kind of sounds that sound authentic and beautiful to us.”

It’s an exceedingly smart idea, but one that looked as if it might backfire when it came time to releaseย Since I Left You. With something in the vicinity of 3,500 samples to clear โ€“ many of which the band couldn’t identify โ€“ the record hit a serious snag before its release.

Replied to The definitive guide to every Big Day Out line-up ever (Double J)

The full history of the Big Day Out

I only went to two Big Day Outs. First in 1999 and then again in 2000.

My highlights from 1999 was The Living End. I also remember being both amused by Marilyn Manson, but also a little bit disappointed at the same time.

In 2000, I remember Dave Grohl winding up the crowd waiting for Nine Inch Nails, being amazed by Primal Screams walls of sound (did they have five guitars? Felt like it), and Paul Dempsey asking us why we were watching Something for Kate, rather than Red Hot Chilli Peppers.

Replied to DoubleJ

Hearing her story made me think about my teenage Big Day Out experiences. She could have been any one of my friends. She could have been me.

Dan, listening to Jessica’s story highlighted many highs and lows.

 

I was taken back to watching The Living End in 1999 when my friend and I were carried two thirds of the way through the crowd at the Melbourne Showgrounds during the frenzy of Prisoner of Society. It could have be any of us.

Replied to DoubleJ

Paul Kelly, Tones and I and Dean Lewis are all hugely popular local artists who make this Saturday’s AFL Grand Final feel even more special than it already does.

The choice of OneRepublic for the NRL next weekend is embarrassing. They have mainstream appeal, but there’s no sense of pride in seeing a US band going through the motions on what will be just another stop on a lame promo tour.

The AFL has made some shocking calls in the past, but they’re improving in a post-Meatloaf world.

Dan, AFL have not always gone ‘local’. I think The Killer’s performance a few years ago nailed it.

The Killers too was clearly a part of a ‘promotional tour’, but they made it so much more. There single at the time The Man kind of fitted with football mantra of individual brilliance:

I’m the man
I’m the man
I got gas in the tank
I got money in the bank
I got news for you baby, you’re looking at the man
I got skin in the game
Headed to the hall of fame
I got news for you baby, you’re looking at the man

Although I think that there maybe a little bit of tongue in cheek to bravado of that song, but let’s just leave that aside.

They captured the Australian audience with a powerful rendition of Midnight Oil’s Forgotten Years:

The choice of this track to me was edgy. It had a political bent that worked. Something that felt authentic with some of The Killers’ other efforts.

Lastly, Brandon Flower’s nouse to allow Jack Riewoldt to sing Mr. Brightside was perfect:

For a moment, Riewoldt lived out many people’s dream to not only win a premiership, but belt out a rock classic on stage with the actual band. Even if the guy on the mixing desk was thrown a curve ball, I am not sure anyone really cared.