![]() “My focus was on the rhythm of the performance. “We weren’t looking for perfection, but seeing what was possible,” Goodge says. If Cummings was struggling to articulate his lyrics, Goodge would encourage him to rewrite them. Vocals were recorded line by line sometimes word by word. ![]() “I don’t think I’ve ever had anyone be so strict,” Cummings says. But Goodge became a ferocious taskmaster. ![]() If it sounds no good, we’ll just throw it out,’” Cummings recalls Goodge saying to him. “He said: ‘Let’s just write a couple of songs, we’ll get together and record them, and we’ll see how your voice goes. It was Cummings’s friend and collaborator Robert Goodge – former guitarist for I’m Talking, and part of the Filthy Lucre production team that turned Yothu Yindi’s Treaty into a worldwide hit – that encouraged Cummings back into the studio, with Goodge thinking it would be good therapy. He had one foot in the charts, but maintained his independence, and kept the other foot in the underground and post-punk community that has now rallied to his aid: among the large cast of musicians on 100 Years from Now are the Necks’ pianist, Chris Abraham, the Triffids’ Graham Lee, and drummer and percussionist Clare Moore. ![]() His songs had a literary touch and mordant wit: Everybody Wants to Get to Heaven, But Nobody Wants to Die was one classic Cummings title. The Sports had hits with Boys! (What Did the Detectives Say?) and Who Listens to the Radio?, before Cummings embarked on a solo career that touched on electro-pop, blue-eyed soul and jazz. ![]()
0 Comments
Leave a Reply. |