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When I heard the news on the morning of Robert’s passing (August 21st) I didn’t believe it at first. I got a text message asking me to check it out so I went onto Facebook and the news was all over the platform.

My heart sank. I was gutted.

It was only the afternoon before I noticed that Rob posted a plethora of images on his Facebook account promoting the gigs of the day. He was selflessly promoting the industry that he loved, that sustained him for over three decades right up until the end.

That was the type of bloke Rob was.

I had the pleasure of working with him on BSide Magazine from its inception and even though there wasn’t much in the way of money that was made from it, the fact that I worked so closely with Rob was for me, payment enough.

He promoted the Adelaide music scene with the energy of the Energizer bunny, he was its patron saint, the glue that held it together and the champion that it sorely needed.

He always had a smile on his face and for most of the time had a ciggie in one hand and a beer in the other. He was the embodiment of the notion that “you only have one life to live so make the most of it.”

Rob sure gave life a damn good shove.

When it came to his writing Rob was without equal. No matter who he interviewed he was able to get the best out of them and no matter who you were in his presence, you felt like you were the most important person in the world. 

He could walk into a room, not say a word and be everyone’s mate by the end of night.

His “Bob’s Bits” column was legendary. He had a way of taking the everyday and the mundane and create something so interesting AND THEN relate it back to music in some way thanks to his Glenn A. Baker-esque musical brain.

On a personal note, in his Rip It Up days he was FunkStar and Orangutang’s greatest ally in the early 2000’s, he would always put up something on Facebook if he wasn’t able to come to any of my my gigs and (as a testament to our friendship) he was one of the first people to reach out to me when Mara died.

I’m sure everyone who has worked in the Adelaide music scene in any capacity would have at least one Bertie story to tell but I think that with Rob’s passing a huge part of the overall aesthetic and vibe of the Adelaide music scene (and the industry that surrounds it) has died with him.

I’d also like to think though that each and every one of us can take a leaf from Rob’s book and make a commitment to continue carry on building a better, more vibrant music scene in this town through lifting everyone up instead of tearing each other down.

That will be Rob’s legacy and it’s something that I will personally commit to.

Vale Robert “Bertie” Dunstan. Love ya work…

Peace,

Corey

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Let me start this post by stating that what I’m about to say is only my personal opinion based on my years of experience as a performing songwriter/musician.

I’ve noticed a real increase in conversations on social media regarding the whole Originals vs Covers vs Tribute acts and I felt that I needed to share a view that I’ve held for a while now which forms part of the whole narrative.

It’s not designed as a means to solve a problem or issue but merely as a conversation starter. Anyway, the rant starts below…

<rant>

I want to share with you one of my pet peeves but by doing so I might just be opening up a can of worms but here goes…

There’s one thing that bothers me about how songwriters describe their music.

It’s when they describe their music as “original” music or themselves as an “original” artist either in a live performance context or, (to a lesser degree) in general conversation. 

Now, I understand where these songwriters are coming from, but let me explain why I think saying that your songs (or you as a songwriter/musician) are original may not be the best way to represent your work.

First of all, “original” isn’t a genre or type and when you describe you and/or your songs as such, you’re not really telling your audience anything about the style, sound, texture or vibe of what you do.

It’s a bit of a missed opportunity to really showcase what you and your music is all about. 

Now, this is what I’ve seen happen many times. A performer on stage introduces their next song as an “original” song and immediately the audience lose interest, turn off and tune out removing any vibe that was created.

It’s almost as if the audience upon hearing the word “original” just assumes that what they’re about to hear is going to be amateurish at best or a pile of shit at worst and you can feel the collective eyes rolling in the crowd when the word “original” is mentioned.

It seems that nowadays people generally don’t want to take risks with their leisure time. We want guarantees, we want instant gratification in the shortest space of time and when it comes to live music, we want to hear, see and experience something that is familiar to us.

Cover bands and tribute acts serve this need for familiarity very nicely indeed.

Unless they are at a music venue that specifically exists for “original” music, the expectation from the audience is that they’ll be recognising the music they’re listening to and because of this, the term “original” then becomes a divisive and alienating word to that audience.

People generally don’t appreciate being told that they are about to experience something that’s going to challenge them in an environment that doesn’t require the audience to be challenged. 

So, the next question is… What can we as songwriters do about this?

Well, in my time as a performing songwriter/musician who has played hundreds of gigs that are either 100% covers, 100% my songs or a hybrid mixture of covers and my songs, I’ve learned to never introduce myself as an original artist or my songs as original songs.

I just don’t say it… I continue playing as if nothing has happened. I play my music alongside the covers in my repertoire and just observe the audience’s reaction.

And guess what? 

When someone asks me during a break or at the end of the gig if any song I performed was one of my own, and I confirm that it was, their appreciation for me and my music actually increases and we start engaging in a meaningful conversation which is pretty awesome and what I reckon live music is all about. 

Touching, moving and inspiring your audience, one person at a time.

So, my fellow songwriters, here are a couple of tips that have worked for me and it’s my hope that they work for you too:

Firstly, when playing live, don’t introduce your song as an “original.” Instead, just share a little of what the song is about or alternatively, don’t say anything at all. Just get into it.

Secondly, when talking to people about your music and the gigs that you do, don’t say “I do originals” just mention the genres you write and perform in.

If you want to be a bit more general, say you perform a mix of your own songs and some covers and if you really must emphasise that you’re a songwriter, simply say that you’re a songwriter that’ll do the trick.

</rant>

What are your thoughts on this? Have I opened up the can of worms? Do you agree or have a different perspective? I’d love to hear your insights and experiences, so feel free to let me know what they are.

And let’s not forget, almost all music is inspired by something or someone else, so can we truly claim our work is “original” in the strictest sense?

Peace,

Corey 🙂

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Personally, I love learning covers in my own unique way almost as much as writing, recording and playing my own music.

The main reason for this is that by me learning and deconstructing/reconstructing songs that I really connect with or, have proven to be popular with the public and have charted in some way, I learn how to write my own songs better through the experience.

Here are some ways I reckon that learning covers has helped my own songwriting process:

  • I learn different song formats, song structures and chord patterns.
  • I expose myself to singing different melodies, and lyrical ideas.
  • I spice up my guitar practice regimen.
  • I maintain my musical theory knowledge by learning a song by ear.
  • I get to know my favourite songwriters more by learning their songs.

For every song I learn, many other unique songwriting ideas will naturally bubble up to the surface for my own material later on.

I reckon the trick with playing covers is that you never do them like the original as much as you possibly can.

I know that if I’m in the audience and I hear someone do a cover in their own style, I get hooked into their version every single time (and I also get hooked into them too).

Now, some performing songwriters I know feel that playing covers is just selling out but, I respectfully don’t agree. I mean who is going to say that Jeff Buckley’s version of ‘Hallelujah’ by Leonard Cohen was a sell out on his part?

It’s one of the most beautiful performances of any song I have ever heard. It makes me cry every time I hear it.

Of course, your goal as a performing songwriter is to play your own songs as much as you can because there’s nothing more satisfying than people actually being touched, moved and inspired by what you are playing and singing that has come from inside you however, an amazing thing happens when you add the occasional cover song into your repertoire.

The audience becomes much closer to you.

I can’t tell you how many times a quiet gig became a much greater gig after I play a well chosen cover (in my own style of course). Every other song I play afterwards becomes music to their ears.

For me, the term “selling out” is generally used by people who wish they were in the same position as the other musicians they were commenting on. Jealousy rears up its ugly head in the music industry all the time.

If you keep focused on writing your own music and at the same time learn a few covers (at the very least for research purposes) to break up your songwriting process from time to time, you will have better gigs, become a more well rounded instrumentalist and (most importantly) you will be a real hit around the odd campfire or two 😉

At the end of the day, I believe playing covers affects your ability to write your own songs only if you allow it to.

Peace,

Corey 🙂

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My decision to sell up and move down to the Fleurieu a few months ago has given me some time to think about getting back into regular live performance again (whether it be with covers and/or originals) and how I would go about making it happen.

Part of me is pushing for this to happen because of the extra income stream that it will generate for myself but for the most part… I actually miss playing live now.

I know I have been talking about getting back on the live performance bike for a while now but it has only been very recently that the idea of playing live gigs has not repulsed me as it once did.

This is because I have found from personal experience (and from some pretty intense conversations from others) that the music scene and the audiences “down South” are better to play to, are much more attentive and there’s a lot more venues that are willing to take a punt with putting live music into their mix.

How many of these venues are booking directly rather than using agents are yet to be seen but the music scene on the Fleurieu is like uncharted waters, a voyage of discovery for me and THAT is the exciting part.

I’m sure that there are venues out there just waiting for someone different to come along and add their unique flavour and vibe to the music scene down there.

Of course, I’ll still be going to Adelaide for gigs but I’ll not be making the same mistake as before of trying to play anywhere and everywhere for everyone, preferring to hang down south a bit more and keep to my areas of choice.

In preparation for this, I’ve just recently put up my bio on the site as well as a downloadable PDF that can be used for future reference. I also have links to my Online Acoustic Demo on SoundCloud as well as links to my Seeing Stars CD. 

All I’ve got to do now is start shopping myself around again, getting myself acquainted with who and what is out there, the venues, the bookers, the agents and the businesses that can make my goal of getting back to regular live performance a reality.

If any of you know of any live performance opportunities that I should seriously have a look at then hit me up and let’s chat about it.

In the meantime, have a great week.

Peace,

Corey 🙂

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One can never accuse me of sitting still when it comes to performing live and even though I had taken an extended break from regular gigging, I have always kept my ear to the ground and left myself open to any music opportunity that comes my way.

So, when my good friend Geoffrey Stapleton approached me to put together a band that would play selected covers from the “Great Australian Songbook” interspersed with our own material which will eventually become the main part of the repertoire over time, I immediately said a big YES!

I introduce to you all… The New Normals.

The New Normals consist of the following members:

  • Corey Stewart – Bass, Vocals
  • Geoffrey Stapleton – Keyboards, Guitar, Percussion, Vocals
  • Darren Zaza – Lead Guitar, Backing Vocals
  • Dave Branton – Drums, Percussion

Besides the fact that we’re going to be playing our own material live starting off at 50% covers to original ratio and working our way to a 100% self penned repertoire, the band gives me an opportunity to play bass in a live context again, something that I haven’t done in a long while.

I’m really missing it.

I know I’ve said this before but I consider myself a “bass player by trade” and while I love playing guitar on stage (especially in the context of a soloist) there is something magical to me about singing and playing bass at the same time. Moving the gig forward through voice while locking into the groove at the same time.

I love it.

Our first ever gig as The New Normals will be at Wassail Wine Bar (95 Prospect Road, Prospect) on Sunday, October 24th starting at 3:30pm.

The goal with The New Normals is to have a regular and consistently promoted monthly gig at Wassail and build up the audience by having them come to us, rather than spread the band and the resources too thinly trying to play anywhere and everywhere.

I’m very interested in seeing if this experiment works and get people lining up outside the venue. That would be lovely.