Sunday, March 22, 2009

Don't Call Me Jack, Mon

Two songs for the price of one today. Neither of them are going to make it on to a greatest hits album. Both of them make me cringe a little... but both of them are special to me, for one reason or another.

Don't Call Me Jack, Mon

Roger Beames and Andy Foreman trade verses in this reggae song about mistaken identity. I'm on a sort-of steel drum piano, while Adam Couper jumps in with some keyboard drums. (I tell you, the man is everywhere!)
Listen to Don't Call Me Jack, Mon

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I'm certain this came from the offer "Don't call me Jack", with the MC giving reggae as a style.

A few times the music halts. I can tell you this was probably at points where I thought the music was out of time with the singers, and I needed to resynch. On reflection, I should have just barrelled through; the singers needed the structure and they didn't need me to bail on them.

Roger is... well, look, I love the man, he MC'ed at my wedding, he's known my wife and I for close on 20 years, he's a talented MC and improviser and a great friend. And handsome. And can use his mad Aikido skillz to knock folks on their butt. But in this one he's a bit lyrically challenged. (Sorry, Rog.) One thing he absolutely does in this song is hold on tight to it and see it through. He knows it's not necessarily going to plan. You can hear his resolve crack for an instant right at the end of the third verse. But he holds on and continues to deliver, riding the song to wherever it was taking him.

That chorus! It's easy and charming and simple.

Don't call me Jack mon
Jack mon
Jack mon Jack mon
Don't call me Jack mon

That thing gets stuck in my head.

Andy's interplay with Roger makes me smile no matter how many times I hear this song. (I can just imagine him rolling his eyes when he says "Oh good" in the third verse.) And the audience loved it too. It wasn't the most well crafted song ever, but they just go wild.

I'm Short, Shirty and I Want to Shout

Fedele Crisci and Rebecca Riggs take this song, supported by David Lovell (one of my university lecturers) on bass and myself on keyboard drums.
Listen to I'm Short, Shirty and Want To Shout

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Fedele may not have an opera singer's voice. His rhythm might be a little challenged. But he absolutely committed himself 100% to this song. He knew the wheels were falling off, and even with minimal backing from two supposedly supportive musicians, he carried on.

You can hear the point where Dave and I just say "Let's go!" and decide that we should (finally) give Fedele strong backing. And then Rebecca jumped on to that backing. And she completed the second half of the song by basically singing to Fedele about his singing and dancing skills, and how she wants him anyway. I thought Rebecca's handling of that was great; she made light of the first part of the song without being mean, and had a go at Fedele's skills while still professing her love.

There's a good amount of light and shade in the music (once it got going, anyway). Right towards the end there's a nice sparse section that lets Rebecca have some fun, before ending quite strongly.

And, once again, the audience goes wild. Do they care that the song might not have been as strong as it could have been? Not really - the performers gave it their all, and the audience stayed with them to the end, rain or shine.


Roger and Fedele now run one of the most successful comedy agencies in the country, the Sit Down Comedy Club. Will they still be able to sleep at night, knowing they were responsible for these two songs? I think they'll be fine.

Download Don't Call Me Jack, Mon (mp3)

Download I'm Short, Shirty and I Want To Shout (mp3)

This is the fifth entry in a series of recordings of Songs and Operas from Brisbane's Lightning Doubles Theatresports from 1992/1993.

1 comment:

L said...

Haha these are great! Thanks for recording and sharing them. :)

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