R.I.P. Alistair Hulett

January 29, 2010 -- Alistair Hulett died at the Southern General Hospital in Glasgow on Thursday evening, January 28, 2010. Alistair's partner Fatima thanks all those who wrote in with messages of support in the past week since news of Alistair's illness became public. The response was overwhelming, and shows just how many people cared about Alistair and his music.

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Alistair, a truly great singer, songwriter, activist and socialist, will be greatly missed by us all.

Alistair Hulett was born in Glasgow and discovered traditional music in his early teens. In 1968 he and his family moved to New Zealand where he established a reputation on the folk circuit with his large repertoire of songs and his interpretation of the big narrative ballads.

In 1971, at the age of eighteen, Alistair moved over to Australia. For a couple of years he sang his way around Australia's festivals and clubs before "going bush" for several years. During this time he began to write his own songs and, following a two-year stint on the "hippy trail" in India, he returned to Australia in 1979 to find the punk movement in full swing. He joined in with the garage ethos in a band called The Furious Chrome Dolls.

In the early 1980s Alistair was again performing folk material around Sydney and was a founding member of a five-piece punk folk outfit called Roaring Jack, which specialised rocking Celtic reels and radical and revolutionary lyrics. Alistair was an active revolutionary socialist, with the International Socialist Organisation, and he and Roaring jack offered their talents for many benefits, rallies and demonstrations, in support of the antiwar movement and solidarity with workers in struggle.

For the next five years the Jacks made a startling impression on the Australian music scene. Their first album, StreetCeltabillity, was released in 1986 and reached No. 1 on the local indie charts. By the time the second album, The Cat AmongThe Pigeons was released in 1988 the band was headlining in major Australian rock venues, as well as opening for overseas acts including Billy Bragg, the Pogues, and The Men They Couldn't Hang. The The Cat Among The Pigeons was nominated for an Australian Music Industry Association (ARIA) award and was released in Europe by the German labelIntercord.

Alistair's solo work was always a part of the Jacks' live shows and offers to appear at festivals and clubs in his own right drew him further back into the folk orbit. By 1989 his songs were being extensively covered by several stalwarts of the Australian folk establishment. The demise of Roaring Jack coincided with this period and after the release of their third album, ThroughThe Smoke of Innocence, the band decided to call it a day despite another ARIA nomination.

Alistair's first solo CD, Dance of the Underclass, was recorded in 1991. Completely acoustic, with contributions from other members of Roaring Jack, the album was instantly hailed as a folk classic and proved to be the turning point in Alistair's return to the folk fold. His position as one of the most influential musicians on the Australian scene was now beyond dispute. In the UK his song, "He Fades Away", was picked up by Roy Bailey and by June Tabor and later by Andy Irvine. All three performers recorded uniquely different but thoroughly compelling interpretations of the song.

Rather than follow with more of the same Alistair recorded his solo CD with a return to the punk fuelled energy of the days with Roaring Jack. In the Backstreets of Paradise was a collection of songs originally intended as the next Jacks' release and rather than let the songs go to waste Alistair formed an acoustic outfit called The Hooligans to complete the cycle. The album caught some of Alistair's new found admirers among the purists unawares but during the next two years The Hooligans won them over with blistering live performances at every major folk festival in Australia. In the meantime Alistair continued his solo gigs with an ever growing reliance on the traditional songs that have always formed the backbone of his writing.

In 1995 Alistair compiled a collection of songs that owed little to punk and everything to the folk revival that inspired him in the sixties. Saturday Johnny and Jimmy The Rat was originally intended as a solo affair in homage to the likes of Ewan MacColl, Jeannie Robertson and Davie Stewart, as well as an acknowledgment of the time when the folk movement was a vital political and musical force.

At the time Dave Swarbrick was living in Australia and Alistair toyed with the idea of inviting Swarb to join him in the studio. Nothing more would have come of the notion had it not been for a phone call from a friend saying that Swarb wouldn't mind working with the bloke who had written "The Swaggies Have All Waltzed Matilda Away". Thus was forged a musical partnership that has won acclaim from audiences and critics alike.

Following a hugely successful Australian tour the duo returned to the UK. A triumphant perormance at Sidmouth in 1996 was broadcast by the BBC and was followed by a live in studio session a few weeks later. Since then Alistair and Dave have toured extensively in the UK, returned to Australia for another successful tour and recorded their second album together. The Cold Grey Light of Dawn was enthusiastically received and gathered some impressive reviews

Alistair, having returned to live in Scotland, continued to work solo and with Swarb. He wrote and performed three workshop presentations. "From Blackheath To Trafalgar Square" looked at "insurrection and resistance in the Disunited Kingdom" from the Peasants' Revolt to the poll tax riots. "The Fire Last Time" was a study of the protest song movement of the 1960s and "Red Clydeside" examined the working class unrest on the Clyde between 1915 and 1920.

Alistair, based once again in Glasgow, toured Australia in a double bill with US singer/songwriter David Rovics in December 2008-January 2009, playing benefits for Australia's leading radical newspaper, Green Left Weekly. Two more solo albums, In Sleepy Scotland and more recently Riches And Rags, confirmed Alistair Hulett’s position as one of the most consistent songwriters, musicians and interpreters of the tradition in Scotland. Folk On Tap called him "One of the defining voices of Scottish music" and a reviewer in the influential music magazine fROOTS wrote: "Hulett is at once an intense singer, radiating conviction, and a genuinely imaginative lyricist."

In partnership with 1960s veteran Scots folksinger Jimmy Ross, Alistair Hulett presented word and song presentations with powerpoint visual images at various events and festivals around the UK. Alistair and Jimmy shared a common political perspective, with both being deeply involved in socialist politics, and this bond was evident in the scripts they prepared together for these presentations. The three they have performed so far are titled Which Side Are You On? The Life And Times Of Pete Seeger, Ewan MacColl And The Politics Of The British Folk Revival and Ireland – A History Of Struggle In Song.

Most recently, Alistair Hulett joined with several Yorkshire based musicians to form a five-piece, semi-electric band calledThe Malkies. This was Hulett’s first return to working with a full-time band since Roaring Jack called it a day in 1992. Their debut album was Suited And Booted (2008).

Alistair toured Australia for the last time in late 2009, and again made his talents available to the socialist cause.

Sources: http://www.folkicons.co.uk/alisbio.htm, http://www.alistairhulett.com/biography.htm, http://www.roaringjack.com/

Reviews of Alistair Hulett in Green Left Weekly:
Revolutionary music from 'Sleepy Scotland'
Album puts Hulett among the best

Please leave your comments at the article at LINKS.

Also:

• Vale - Alistair Hulett
• Alistair Hulett – friend and comrade
• Alistair Hulett: `A truly great singer, songwriter, activist and socialist'
• Vale Alistair Hulett, 1952-2010, musician, writer, activist, socialist, Comrade and friend by John/Togs Tognolini
• Alistair Hulett has died
• RIP: Alistair Hulett (Roaring Jack)

Geldof holds world to ransom over climate change

It's not often the Wombats find ourselves wishing for more Peter Garrett (admittedly the old, "Save the planet and fight for justice" Garrett, not the new "Let's build uranum mines and wood-chip old growth forest" Hon. P. Garett MP), but today is unfortunately one of those days.

We have just sat through a truly cringe-worthy four minutes as our ears were offended by the latest vomitous concoction from the ever popular "Sir" Bob (I'm a miserable self-aggrandising tosser) Zenon Geldof and friends.

Sir Big Tossoff - well-meaning, we're sure - has teamed up with a plethora of nobodies, has-beens and neverwillbe's in ripping the soul out of one of the finest Midnight Oil songs - Beds Are Burning - a song about the colonisation, rapine and theft of Australia from its indigenous inhabitants, a theft and opporession that continues today.

Now, we admit that it's nominally for a good cause - fighting climate change. But the new version (which we refuse to embed here, or download, or ever listen to again) is insipid, bereft of meaningful content beyond bland references to climate change, Uncle Tom's (sorry, Kofi Annan's) talking head, and one quiet sentence from Desmond Tutu right at the end about climate justice, and just, well, shit.

The main reason that Sir Tossof and his mediocre menangerie seem to have chosen the song is that it contains the words "45 degree", "desert", "earth" and "burning", and the phrase "the time has come".

We're not so much pissed off that Sir Tossoff has colluded with "artists" to produce a song about a meaningful topic (the unforgettable Live Aid attempt to connect christmas-time to starving millions in Africa springs to mind, as well as the artful "We are the (Western) World and we're not going to feed you"), but the least he could have done is write something new (although I understand that might be challenging for Bob, as it requires talent).

As it is, millions of people will now have a substandard piece of insipid filk in their head every time they hear the tune to "beds are burning", a circumstance that can only turn them off listening to the song (and probably off doing anything about climate change - after hearing it, I wanted to have a long hot shower to wash myself clean of the dreadful attempts at scantion and the frightful "harmonies" that pollute the new song).

The nett result? The new recording will objectively hamper the struggle for indigenous rights and the struggle against climate change. In the immortal words of Sir Tossoff - "let's cock it up together".

About the only positive that could come out of this wouldbe if the leaders of the world's countries promise to cut their emissions to safe levels on the strict condition that Geldof and his ninnies promise to never, ever, ever, try to "help" ever again...

Ever.

And let's just be thankful that Bono isn't on the recording...

As Oasis guitarist Noel Gallagher said with regards to Geldof's most recent farce, Live 8, which served quite nicely to undermine the Make Poverty History protests during the G8 summit at Gleneagles, Scotland, in 2005:

"Correct me if I'm wrong, but are they hoping that one of these guys from the G8 is on a quick 15-minute break at Gleneagles and sees Annie Lennox singing "Sweet Dreams" and thinks, 'Fuck me, she might have a point there, you know?' And Keane doing "Somewhere Only We Know" and some Japanese businessman going, 'Aw, look at him… we should really fucking drop that debt, you know.' It's not going to happen, is it?"

Word.

If you tolerate this...? The BNP are tools.

This is, I guess, a "Guest Post" of sorts. Actually, it's simply a reprinting (with permission, for once) of a comment made on the Green Left discussion list, but we Wombats thought it worth reproducing here and too good an opportunity to miss. (We're in the process of beefing up the posting quality, content and style - less reproductions, more comment. This is just the start...)

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by Duroyan Fertl

Britain's political answer to Homo neanderthalis - the BNP - have proved once again that fascism feeds on the dust left behind by the passage of evolution.

Apparently they can only understand eight words at a time. According to NME:

"The far-right political party were hosting a video on their website, and on a youTube account, under the heading 'The Cesspit Called London' which was soundtracked by the band's 1998 Number One single 'If You Tolerate This, Your Children Will Be Next'.

Ironically, the lyrics to that song concern the International Brigade – the group of volunteers, including Welsh farmers, who went to Spain to fight fascism in the Spanish Civil War."

IRONICALLY!?!? If the knuckle dragging morons actually had the cerebral skill to understand English (now *that's* irony), they might have heard that the song in question is not only dedicated to the struggle against fascism, taking its name from a slogan on an anti-fascist poster from the Spanish Civil War, it also contains one of the best lines ever written in pop music: "So if I can shoot rabbits/ Then I can shoot fascists". YouTube link.

Of course, the Manics - who grew up in Thatcher-loathing working class Wales, living (well the lead singer, anyway) on the same street in Blackwood as Neil Kinnock, played in Cuba in 2001, met Fidel Castro, dedicated an award to the National Union of Mineworkers' Arthur Scargill (and later donated money to his Socialist Labour Party), and knocked the musical shit out of Blair's Nu Labour ("Change your name to New/ Forget the fucking Labour") - demanded that the offending material be taken down, which it was.

While we're on the topic of political commentary in music (viz Stuart's Lily Allen post), the Manics remain - in my opinion - simply the best in that field, over two long decades now... While the sharpest political commentary might not always make the Top of the Pops, sometimes it does:

Suffering a long love-hate relationship with the British music media (which loved to hate them because of their social comentary, their call for revolution, and their criticism of the truly shit noise that passed for the musical output of most of their contemporaries), the Manics released a deliberately "secret" stand-alone single in November 1999.

They forbade their music company from publicising it, allowing it's existence to be known only through their fan base. The record was deleted on the day of release and the song - The Masses Against The Classes - went straight to number one, and stayed there for 16 weeks. 'Nuff said, really.

The Manics have a new album - Journal for Plague Lovers - coming out in May, including left-over lyrics from their former rhythm guitarist, Richey Edwards, who disappeared 14 years ago.

Oh, and this:

Music to Free Gaza

Gaza 2009

Stop The War! End the Occupation! Free Palestine!

David Rovics: "Palestine", "City of Jenin" and "I Want To Go Home"

"Palestine"




Images from occupied Palestine. (Music: Jenin, I Wanna Go Home; by David Rovics)


And don't forget the protests and vigils:

3rd Melbourne protest: Sunday January 18, 2pm, State Library. 3rd Sydney protest: Sunday January 18, 2pm, Sydney Town Hall. Info Tim 0430 209 865, Ghassan 0408 605 437. Sydney Vigils for Gaza: Thursdays January 8 and 15, 7pm, Sydney Town Hall. Info Tim 0430 209 865, Ghassan 0408 605 437. Brisbane protest: Saturday January 10, 12:30pm, Queen's Park (cnr Elizabeth & George St), followed by a march through the city. Phone: 0413 783 853 (Abdalla), 0401 586 923 (Hamish)