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Music - Jimmy Barnes: Double Happiness

Wednesday, July 13, 2005

Jimmy Barnes — Double Happiness track by track

EJ Barnes 'Settle For Me'
Eliza Jane has sung with me a lot over the years at different times. She's not really a rock 'n' roll singer. She's got her own thing happening which is different to what I do. It's more acoustic and sweet and gentle. 'Settle For Me' was one of the first songs she wrote back in high school. Because she's my daughter I think I could relate to EJ's songs and try to find where I could fit with her sweet tone. It was difficult but a great thing to do. It was produced by Mark Lizotte and he kept it really simple and beautiful. Mark also wrote the string part and that brought another element in. It reminds me of 'Ode to Billy Joe' and it's an absolute credit to EJ.

John Farnham 'When Something Is Wrong With My Baby'
For two years in the '70s the only thing I listened to was Sam and Dave. Sam Moore was an incredible influence on me and everyone else who sings soul music. I know for a fact that Bon Scott's favourite singer was Sam Moore. You can hear the similarities in the tones in the way they sing. So at the time it was a natural choice for me to pick this Sam and Dave song for Soul Deep. I used to sing it in Cold Chisel with Mossy. It was great to work with John, he is an incredible singer. To bring the track up to date I sent it to producer Don Gehman. I wanted to add a lot more of the grit back onto the record. Don added live drums and remixed the track and also pulled in some of the other vocals that were there. It's a lot more in your face.

Jackie Barnes 'Same Woman'
I started this song a while back about this friend of ours who is a really beautiful girl. I wanted to write a song and let her know how gorgeous she is. I finished writing the song with a friend of mine, Glen Cunningham, one afternoon. I had been doing the song live in our acoustic shows and more recently Jackie has been singing it — generally he plays percussion and does backing vocals. We get a great reaction every time we play it live. People really like me doing a duet with my son too. I'd done a duet with the girls. He had played drums on Mahalia's track, and he played drums on Elly May's track and percussion on Mahalia's track but he hadn't had the opportunity to sing. He was under a lot of pressure. Jackie hasn't sung much at all — just backing vocals really. But with his sisters already on there, the pressure was on. Especially Mahalia — she's a bit bossy, she will say ‘Let's see how he goes'. But Jackie was terrific. He's got a real charm about his voice. It was one of the joys of the record getting to sing with my son.

Diesel 'Still Got A Long Way To Go'
This is a song that goes back to the Flesh and Wood album and is a really good example of the acoustic, organic soul feel that is one of the common threads through the record. I really liked the soulful feel of the track and it's something that diesel does really well. Diesel is all over this album. He's written a bunch of tracks and played guitar on more than half the album and also produced quite a few of them.

Joe Cocker 'Guilty'
There was a singer I'd worked with a few times. I'd supported him with Cold Chisel and as a solo artist. He's an amazing singer and he's a guy I felt so much for because he's continually reinventing himself — Joe Cocker. I could tell by listening to him that he has the same influences I did. I knew that Joe was managed by Roger Davies, who was a friend of mine, and I'd always wanted to sing with Joe. I contacted Roger to see if Joe wanted to do a duet and thank God he did. It was just a matter of finding a song. I used to sing 'Guilty' with Cold Chisel. It's a Randy Newman song and I knew Joe sang it live, he may have even recorded it. Lyrically and emotionally it suited the two of us down to the ground so I flew to LA about 1991. I sing loud, but I've got to tell you I've never heard a singer who sings as loud as Joe Cocker. This guy has huge, rich, full sounds, and when he opened his mouth I was immediately intimidated. But he's such a great guy and a great character that I got over that. I loved doing it. This was one of the old duets I wanted to bring on the record because Joe is such a strong influence on me and an inspiration.

Elly-May Barnes 'I'll Be There'
'I'll Be There' is a song I've been doing with my youngest daughter Elly-May. Mahalia and EJ were doing songs on the record and I thought I'd do one with Elly-May just to include her and maybe use it for a B-side. First off she said, 'I don't do B-sides' which I thought was commendable. Within a few hours the song started to take shape. I'm a huge fan of the Jackson 5 and Elly-May is too. Lyrically I thought it was a great song to sing with your daughter — we'll always be there for each other. Her singing was fantastic and we got Ian Moss to play on it. By the end of the day I realised that this wasn't going to be a B side.. it was a song that just had to be on the album.

The Badloves 'The Weight'
We didn't touch this track. I recorded ‘The Weight' with a band out of Melbourne - The Badloves for the Flesh And Wood album in 1993. I grew up listening to The Band and I've been singing 'The Weight' for as long as I can remember. It's the kind of song that people sang at parties where I grew up. So, when I got together with The Badloves I thought that song would suit them down to the ground. I think this track really captured a mood of the time and it's become a live favourite. It had to be on this record.

Troy Cassar-Daley, featuring Bella 'Bird On A Wire'
A couple of people I respected who were totally unrelated had been telling me that I should do something with Troy for awhile. I'd heard his records and I really liked them but our paths had never crossed. We finally met at the Gympie Muster, and for those people who don't know, the Gympie Muster is a major, major event in music in Australia. We both played there and there was a crowd of about 75,000 and the vibe is just great. I got invited to play last year, and I think it one of the first times they've ever invited a rock 'n' roll act. Anyway, I'm up there doing my thing and there's like 40,000 cowboy hats getting tossed in the air. We're having a great time and I'm singing away and I look across side of stage and see this guy having a good time as well and twigged that it's Troy. I finished the set and I'm sweat-drenched. He comes up and introduces himself. We shake hands and then he's trying to get away 'cause he's trying to be polite. I said, 'I need to talk to you. I'll give you a call'. He looked at me like, 'Yeah, right'. First thing Monday morning I rang him and said, 'I want to do a duet'. We exchanged CDs and tapes over about two weeks. Finally, Troy said what about 'Bird On A Wire'. I knew the Johnny Cash version and I said, 'Sure I'll have a go at it'. Troy came down to my studio here and we knocked a version together, It was pretty good. Then we were invited to perform the song live at the Country Music Awards in Tamworth, and I've always wanted to go to Tamworth. So, we were at rehearsals and I wanted to get my girls to come and sing backing vocals. Troy mentioned some friends, a vocal group called Bella, who are awesome singers. Well we got up on the night and it's very exciting to be part of the awards, I get out on stage and it's the Chambers family all along the front row. It was a special moment. Nash came out the back afterwards and said. 'I would have really loved to have produced the track'. In my own mind I thought we had recorded the song a bit too low, so we went up to Nash's studio and recut it from scratch and it's turned out beautifully. The Bella girls live on the Central Coast too and so they came on up and added the harmonies. Music that's over-produced tends to date but music that is understated with a lot of depth tends to last.

Smoky Dawson 'Cold, Cold Heart'
One of the great moments in my life was hooking up with a person who is a great singer and has been a legend in this country for 50 years — Smoky Dawson. Smoky is one of those characters that has survived everything. When I met up with him in 1991 Buzz Bidstrup, who used to be the drummer in The Angels, was producing an album for him and he asked me if I'd do a duet with Smoky. Once I'd met him, I jumped at the opportunity to record with him. We did a Hank Williams song, 'Cold Cold Heart'. I thought it would suit the two voices — his vibrato and his little yodelling bits. I saw him recently and told him I was putting this track on the record and he was chuffed. He's 92 now and his wife is 99. He came up from a really tough childhood but he is a bona fide legend; he had the Smoky Dawson ranch and the TV show and the fan club. This track was never on a record of mine and I really wanted it to be on this record for a number of reasons but, to be honest, mostly because when I met Smoky Dawson I became a better person.

Dallas Crane 'Sit On My Knee'
I really liked the sound of Dallas Crane's records. I spoke to the record company and said I'd really like to do a duet with this band. I met with Dave Larkin, the singer, and we hit it off. Once again it was a matter of finding a song. They're on the Alberts label and they have a great sense of the history of Australian music so we thought about covering an AC/DC song. But there was a song on Dallas Crane's 24/7 album that they also used to finish their live set with and I really loved it. It had a lot of power and I loved the interplay with the guitars. I went down to the Annandale Hotel in Sydney and saw them play live and they blew my head off. They're one of the great Australian rock 'n' roll bands. We went to Alberts studios and had a great time. We didn't do anything different to the song than they did before — they rock, and I just wanted to sing with them.

Mahalia Barnes 'Gonna Take Some Time'
Mahalia, my eldest daughter has been singing in my band for six or seven years, ever since she was a kid. Mahalia has been an influence on me over the years. She's been right into R&B music which I didn't know a lot about — D'Angelo. India Arie and people like that she has turned me on to. As much as I've been pushing her towards heavy music and the dark side of the Force, she's had her own bands playing soul music. You start out thinking you're gonna teach your kids about music and they end up teaching you! I had to do a duet with Mahalia so it was a matter of finding a song. For the last six to eight months Mahalia has been singing 'Gonna Take Some Time' and I'd been relegated to backing vocals. It was a song I really liked and she sang it like a demon. It seemed like a natural choice, we got Mark to produce. I told him to listen to the early Faces and the Rolling Stones' Exile on Main Street — driving acoustic guitars and open tuning and Hammond organ and tunings like that. I named Mahalia after Mahalia Jackson. From the minute she was born I've been brainwashing her with gospel music and Ray Charles and Aretha Franklin and now I'm seeing it pay off. I had to keep my wits about me duetting with her on this record. She's an incredible singer.

Roachford 'Attention'
When I heard Andrew Roachford's records I thought he was great &3151; this melodic, acoustic, organic sounding rock. It sounded like white pop songs with a black singer, which I've always been fond of. Roachford came out here and we met up and hit it off. We were just hanging out. At that point I thought I'd wound up my album, and all of a sudden Roachford is hanging around the house having a cup of tea. I said, ‘We should write a song for the album'. So Mark, myself and he sat at the piano and wrote a song and it came up just great. I think he's one of the most soulful people I know.

Mica Paris 'Run'
This was a song that Warren Costello from Liberation wanted me to do. The demo he played me was phenomenal. Of course it was a song written by Diesel. He'd written it with a songwriter and producer named Gerry DeVeaux who's done lots of great R&B stuff in Europe. I spoke to Gerry and said, ‘Could we do this as a duet?' And he said, ‘You must do it with Mica. She was the girl on the demo'. I'd heard her sing on TV with Jools Holland and some other records. I always thought she was a pretty awesome singer. It wasn't until I got to London and hooked up with Mica that I realised how great a singer she was. This girl is frightening. I'd put her up there with Chaka Kahn and Aretha Franklin as far as emotion and power and range. It was intimidating as well as exhilarating to sing with Mica. This was the first track we recorded for the album and it really set a tone for the organic thing with acoustic guitar and Hammond organ and powerful soul singing on a rock 'n' roll track.

John Swan 'What Will They Say...'
A couple of close friends of Mahalia's are the boys from Kaylan — Dennis and Darren Dowlut. I'd met them through Mahalia and I really liked them a lot. I asked them if they'd write a song for me and I thought they might do it as a duet with me. They studied my history — they studied Cold Chisel and all my solo records and you can hear it in the song. Lyrically it's about the healing process that's gone on between me and my kids and me beating myself up with drugs and alcohol and growing up with alcoholic parents. There's all this depth in the song. When they presented it to me I thought it would be a really great song to do with my brother, John Swan. Swanee has been the biggest influence on my musical career and on my life really. John was my hero when I was a kid — he was in bands, he was a boxing champion and a soccer player and a cool guy. I idolised John and I still do. I used to go and sing harmonies at parties with him when I was a kid. When I was 13, John played in bands and I carried his snare drum so I could get into licensed gigs. He's always encouraged me. John was asked to join Cold Chisel before me and he was too busy, so they got me. He was playing Sly and the Family Stone when I was listening to the Archies. For some reason we've never recorded together, so the album of duets came up and this was the opportunity to record something we both really loved. We got in the studio with Dennis and Darren producing and asked Ian Moss to play guitar. You can pick him a mile away, it's really beautiful. The boys had definite ideas about the vocal arrangement, but Swanee and I have been doing this for a long time and it's very tough to tell us how to sing. We're stubborn bastards. But Dennis and Darren had the balls to tell us, ‘We need you to sing it like this'. It's very touching and very emotional.

Tim Rogers 'Out of Time'
I'm a big fan of Tim's but I hadn't met him before this. I bought the Temperance Union album and I really loved that. He's a really great guy with a great sense of humour and a great sense of music. He sings with a lot of emotion and gets inside a lyric that I really like. I really liked him a lot. He's an amazing songwriter. This has been one of my favourite tracks since I was a kid. I played the Chris Farlowe song to death. Our version is a bit more Jagger and Richards, who wrote it. It still has that rawness. When we broke it down without the strings and backing vocals, you realise what a well-crafted song it is. It's so scathing too. It's a really cold, bitter lyric with a really sweet melody and I like that. We got in there with the Dallas Crane boys and Paul McKercher producing and finished it in one day. Getting to know Tim was one of the highlights of the record.

Diesel 'Got You As A Friend'
I thought long and hard that if we're doing new tracks it wouldn't be complete unless I got to do one with Mark. He's one of my favourite players, my favourite people and he's family. We've done countless gigs together. Mark had just written this song and he is someone I have complete faith in. He knows exactly what I'm capable of and when he suggested the song I said 'fine, let's go with it'. It's a song about friendship and Mark is one of my very best friends. This is just a beautiful song.

Tina Turner '(Simply) The Best'
This was a gift from heaven. I remember seeing Ike and Tina Turner at the Apollo Stadium in Adelaide in about 1975 and the hairs on the back of my neck stood up. An electric frontwoman and a powerful singer. So when Tina came back under the guidance of Roger Davies it was amazing and the Rugby League started using Tina and this song as their theme, which was an incredible idea. It brought the game into a new era and also opened the game up to women. The Rugby League wanted to freshen the song up a bit and bring in an Australian singer. They came and asked me to be involved. They flew me to Amsterdam. Diesel came with me and played guitar. It was a couple of days in the studio and it was incredible. She was powerful and sexy and really compassionate. It was one of the great moments of my life singing with Tina Turner. We became friends and I've toured with her overseas and we get on really well. I am so blessed to sing with her and there was no way I wasn't going to put this on the record.

The Living End 'Resurrection Shuffle'
The Ashton, Gardner and Dyke original is a really great song and I've been playing it live for a long time. When I was looking at doing some new duets for this album I'd met Chris Cheney and the guys from The Living End. They came to some of the Cold Chisel Ringside shows. I already had a lot of respect for this band. I loved Chris's guitar playing and the upright bass. They have a breakneck energy. Chris is a phenomenal guitar player, and Jimbob and Andy are great too. I approached them about a duet and they were really keen. We thought about doing one of the great rockabilly songs — there were a lot of songs we could have done. I suggested 'Resurrection Shuffle' and I thought I'd love to hear the band doing it. I sent them the song and they loved it. They got to the studio a couple of hours earlier than me and learned the tune. I got there and we played it just once. All the sounds were good so we played it again and that was it. It was done. It was the fastest session I've ever done. The energy between the three of them and me and producer Paul McKercher was phenomenal. Wam, bam, thank you ma'am!

Tina Harrod 'Piece Of My Heart'
I recorded this song on my first album. I've heard a lot of people try it over the years and they generally try to copy Janis Joplin — which is impossible. I wanted to do this track with Tina and she took it somewhere completely different. It opened up a whole new range of places for me to go with it. I owe a lot to the fact that Tina Harrod was on the track, that she is such an incredible singer. So there were three reasons for doing this track. One, I'm a huge fan of hers. Two, I knew that she would bring something special to the record. And three, I wanted people who like my voice to hear her. She's like this diamond or rare jewel that people don't yet know about. She should be a household name. It was a labour of love and a pleasure.

INXS 'Good Times'
This was recorded for a tour called Australian Made that I did with INXS. At the time there were a lot of overseas bands coming out here and my manager at the time thought it would be a good idea to put together a tour with Australian acts on that same scale. I've known INXS since way back when… they used to support Cold Chisel when we first started. So it seemed like a good idea to tour together. We've always been mates. Glenn A Baker sent in some suggestions for songs to record. Obviously the Easybeats were a great Australian rock 'n' roll band and we liked the idea of doing one of their tunes. The story was that the Easybeats were recording in London and The Small Faces were in the next studio. Stevie Marriott heard Stevie Wright singing and liked it and they got on and did this song together. I went for that. That's me. We recorded it and wrote and recorded the B-side and did the filmclip all in one day (and a mind destroying evening). The collaboration between us all was really something. It was a song I had to put on the album.

Billy Thorpe 'Shout'
Billy's got this picture of himself at about age 14 singing ‘Shout' on TV with Johnny O'Keefe and the Bee Gees doing backing vocals. Billy always said that when he started out he didn't want to be Elvis, he wanted to be Johnny O'Keefe. He was the original Wild One. When I was 14, I wanted to be Billy Thorpe. I used to be down the front singing along to 'Ooh Poo Pah Doo'. I idolised Billy Thorpe and the Aztecs. So we've kind of linked the traditions. This session was all about paying tribute to Johnny O'Keefe, so we got the Delltones who were on the original sessions in to do backing vocals. Thorpie was like a bull at a gate. He turned up and said, ‘If we can't do this live we're not worth a piece of shit', and he was right. We nailed it in two takes. Billy is an incredible powerhouse and I learned a lot from his 40 years of experience. He's not pushy but he's not shy either. We've taken the track back more towards the Isley Brothers original feel which is more churchy and gospel than JO'K but definitely his spirit is in there.

David Campbell 'Wichita Lineman'
David has been really busy lately with the radio and TV things he's been doing, so I hadn't seen him in awhile. He came to see Mahalia sing one night and soon after that he popped over. He listened to what we've been doing on the album and he really liked it. Having David on Double Happiness really completes the family circle by having him join his sisters and brother, Swanee, and also diesel who actually produced this track. It's always really great to sing with David… in fact we have sung together in the past. I got up at the encore of Shout! one night at the Rainbow Room in New York because he had asked me to join him on stage, but we've never actually recorded together. Our tones are really similar. He's richer in some tones and I'm more powerful in others so our voices really blend well. There's always an instinctual thing when you sing with family. ‘Wichita Lineman' is a song that I've loved forever… it's one that I always have in my car. I really like the Glen Campbell version that everyone knows, but Johnny Cash did a cover a few years back that really captures the lonely, isolated feel of the lyric and I wanted to incorporate some of that. I sing the first verses sort of lonely and desperate and then David comes in to give it some enthusiasm and hope.

Rahsaan Patterson 'Say It Ain't So'
My daughter Mahalia met Rahsaan in a club one night and Rah came back to my place. I was away at the time but Rahsaan knew who I was and said he wanted to meet me. A couple of years later he came back to tour. We were having a dinner party one night and Mahalia turns up with Rahsaan in tow. We hit it off really well. He was doing a show the next night at the Basement and I went down with Mica Paris who knew Rashaan from previous encounters. He's an unbelievable singer. We're watching Rahsaan and it was frightening. Of course, halfway through the set he says, 'I've got a friend here I'd like to get up and sing'. I'm thinking. 'Please not me.' And he says, 'Mica Paris'. The two of them are tearing the place apart. Then he said, 'I've got another friend I'd like to get up — Jimmy Barnes. It was sheer panic on my part. Later on I said, ‘I'm doing this album of duets and I'd love to do a duet with you. I think it was destined to be that way'. So we got together with writer/producer Jarrad Rodgers in the studio at my home one afternoon and wrote and recorded this song. I had some lyrics in a lyric book I keep. I had an idea for a song along the lines of, 'I want to leave before you do because I don't want to see you walk out'. One of my usual paranoid lyrics. Rashaan was working on some very sweet vocals and they were working on the melody of the track. My idea of the lyric was angrier than they were approaching it. I was hanging back and letting them do their thing and then finally I said, 'Keep that bit you've got and let me do this piece here'. The two parts married really well and before we knew it we had 'Say It Ain't So' which I think is one of the more unusual tracks on the album, but one of the better tracks as well.

Juanita Tippins 'Ain't No Mountain High Enough'
This is from the original Soul Deep sessions. I recorded it on Soul Deep but not as a duet. The song was originally recorded by Marvin Gaye and Tammi Tyrell and it's a really difficult song to sing as a solo singer. It was one of those things — every time I heard the record I was thinking, 'Where's my Tammi Tyrell?' Mahalia has been working with Juanita Tippins who is an unbelievable singer. I really liked the original sessions but it should have been done as a duet, so I got Juanita into the studio and recorded her vocals. Then I sent it over to Don Gehman who produced Soul Deep and he remixed it using my original vocals and sent it back to us. Juanita should be better known, as she's one of the great, emerging soul singers in this country and it was an honour to sing with her.

Gary Pinto 'Higher'.
I recorded 'Higher' with a great singer named Gary Pinto. I met Gary through my kids and my old bass player Michael Hegarty. 'Higher' was a song on Gary's album written by Diesel and Gary. I wanted to do a duet with Gary quite a while ago and we redid that song with my band. He's one of my all time favourite singers in this country and one of my all time favourite people. We released it a couple of years ago but it didn't get the attention that it deserved then' so I hope this time around more people will get to hear it.

Back to Jimmy Barnes feature.
Katy Perry hits back at Taylor Swift fan who calls her 'fat' MusicFIX Blog by Adam Bub Jan 21 2015 5:28PM

The Katy Perry/Taylor Swift feud just took another weird turn and we can't get enough of it.

Katy shared a photoshopped picture of herself on a bodybuilder's physique with the caption: "Just finished a killer workout! Have a great day y'all."

Taylor fan @swiftschrist swiftly replied: "Still fat." BIG MISTAKE.

Image: Twitter.

Katy, the most-followed person on Twitter with 63.5 million followers, took it upon herself to respond directly to the Tay-Tay troll.

Image: Twitter.

OUCH. Where is Mother Swift when you need her? Not that her fan was too cut up about it — @swiftschrist happily retweeted Katy's catty retort for all the Swifties to see.

"Goodnight ladies you can find me on @HolyTaylorSwift if this gets suspended," @swiftschrist added.

The Katy v Taylor dramz kicked off in late 2014 with Taylor telling Rolling Stone that her 1989 album track 'Bad Blood' was about a female pop star frenemy who "tried to sabotage an entire arena tour".

Hours after the interview was published, Katy tweeted about the "Regina George in sheep's clothing". And just this week, she further fuelled the rumours her Super Bowl performance on February 2 will feature a Taylor dig:

The plot thickens...

View slideshow: Taylor Swift's frenemy in seven guesses

Watch: Charli XCX's dangerous driving in 'Doing It' video... and how it nearly killed Rita Ora MusicFIX Blog by Adam Bub Jan 21 2015 9:52AM

It's the pop video that could have gone horribly wrong for the two young divas... but luckily Charli XCX and Rita Ora's clip for 'Doing It' is here in one, shiny, colourful piece.

But it almost didn't turn out that way, as 22-year-old British singer Charli revealed to Metro this week.

"I nearly killed both of us on the set by crashing this Barbie truck into the middle of the desert," Charlie said. "There were no air bags. It was this old truck. It was a death trap."

Now the clip has landed, TheFIX spies a look of genuine horror on Rita's face while Charli revs it up. Watch above!

If you're getting Lady Gaga/Beyonce 'Telephone' vibes from the video, then you're on the money. Like that famous clip, the two leading ladies are on the run, Thelma and Louise style.

Of course, not without a few male strippers, mechanical bulls and teeny-tiny shorts along the way too. This is a pop video, people.

'Doing It' comes hot on the heels of Charli's recent hit 'Break The Rules' and Rita's collaboration with Iggy Azalea, 'Black Widow'. Will 2015 be their year?

View slideshow: Oops, there goes a boob: Rita Ora's eternal struggle with her red-carpet outfits

The Flaming LipsHarvest FestivalAustralia adds another music and arts event to its inordinate list:Harvest - A Civilised Gathering.
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