the Lighthouse Keepers
Also known as	LHK
Origin	Canberra
Genres	C&W, indie pop,
Years active	1981 (1981)–1986 (1986)
Associated acts	The Particles, Cannanes
Members
Juliet Ward, Greg Appel, Stephen O'Neil, Michael Dalton, Steven Williams.

The Lighthouse Keepers were an independent band in Sydney in the early 1980s, combining a loosely-rehearsed, casual ethos^[1] with C&W humour, Punk DIY attitudes and Pure Pop songcraft.

Contents 1 Introduction 2 Musical influences 3 Early recordings 4 Gargoyle 5 The Exploding Lighthouse Keepers EP 6 Tales of the Unexpected LP 7 Career highlights 8 Implosion 9 Notes 10 Postscript 11 Members 12 Discography 13 References 14 External links

Introduction

Evolving out of Tex Truck and the Semis, a U.T.S. student Talent Quest party band, three members originally migrated from Canberra ACT. These were Juliet Ward, Greg Appel and Stephen "Hairy" O'Neil (the latter two having played together in The Grant Brothers and Guthugga Pipeline). Augmented by Michael "Blue" Dalton, vintage music enthusiast,^[1] on national steel slide guitar and harmonica contributed an authentic country/blues style to arrangements as a foil to multi instrumentalist O'Neil's nifty and melodic bass/drums/guitar and C melody sax playing further complimenting the rich timbre and interpretive abilities of vocalist Ward with Appel's understated but skillfully rendered jangling Maton brand 12 string guitar. All members rotated to bass playing duties both on stage and also in the studio to facilitate various song arrangements.

Musical influences

As if tumbling out of someone's 78 rpm record collection, The Lighthouse Keepers' repertoire was initially steeped in country, blues, folk, pop and jazz which later infused Appel's melodic and lyrically engaging songs melded with emotionally charged vocals by Juliet. Along with subtle somewhat larrikin humour^[2] stories dealing with suburban teenage angst^[3] and interpersonal relationships, were bitter sweet love songs, a couple of instrumental contributions from O'Neil and Appel, plus a sprinkling of cover versions highlighting their musical influences, for example, St James Infirmary Blues and Big Noise from Winnetka. Other diverse influences included Australian country music legend Chad Morgan, American C&W songs such as A Dear John Letter and Sun Records era Rockabilly artists including early Narvel Felts, as well as the newly emerging and more contemporary British American and Australian independent bands of the time.

Early recordings

	Cigareetes and Whusky "Chaos" reigned; during the shambolic evolution of Tex truck & the semi's to "light-housekeeping!"
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Early compact cassette recordings included a live performance (replete with Juliet's dog "Chaos" contributing back up vocals) of a Tim Spencer (singer) composition "Cigareetes and Whusky", originally recorded by The Sons of the Pioneers, the Willie Dixon Big Three Trio and Red Ingle.

A "demo" version of the country standard I Fall to Pieces (immortalised by Patsy Clyne), was recorded in late 1982 on a Sony 4 track and mixed to cassette, featuring vocals by Juliet accompanied by Greg on acoustic guitar who later overdubbed bass and slide guitars.

Gargoyle

Their first single was a 3 song 7 inch vinyl 45rpm released independently in 1983 on their own Guthugga Pipeline label. Early pressings sported individually hand drawn disc labels and cover art with the words " - STRIKE A LIGHTHOUSE ! - " etched near the matrix numbers of the run-out grooves.

The "A" side, a somewhat "licht gothic" styled "Gargoyle" featuring vocals by Juliet, was backed with the slightly rockabilly influenced "Demolition Team", and 12 string, groove driven "Quick Sticks", both sung by Greg. All three original compositions were written by Appel and recorded at the band's request as "first takes", Greg playing guitar and Stephen O'Neil playing on a borrowed drum kit. Bass guitar was then overdubbed by Appel with some deft harmonica and slide contributed by "Blue" along with Doubletracking of Juliet's vocals and use of a stomp box effects unit compressor on the 12 string guitar parts.

Recorded at Dream Studios Mk3 for $50 (special "studio opening" rate) plus tape costs, on a 1/2 inch 8-track (multitrack) reel to reel analog tape recorder running at7 1/2 ips and mixed to 1/4 inch 2 track 15 ips using Auratone 5c sound cubes for referencing, the audio engineers in keeping with the prevailing autodidactic DIY "zeitgeist" encouraged the band to purchase their own blank tapes and follow the production process from mastering by Don Bartley at EMI's Sydney Studios located in Castlereagh St ,to "test pressing"(see also white label) at EMI's Homebush record plant where the discs were manufactured through EMI's custom pressing service commonly used by local bands and emerging independent record labels such as M squared. Production costs were financed independently by the band.

The Exploding Lighthouse Keepers EP

With the addition of drummer/manager Steven Williams (along with O'Neil, previously a member of Sydney post punk pop band The Particles) ^[4][5] LHK,as they were becoming known (see notes), released a second record on their own Guthugga Pipeline label in November 1983.

The self produced and distributed 12 inch 45rpm 6 track "Lo-fi"^[6][7] mini-album "the Exploding Lighthouse Keepers" showcased another five of Appel's songs and musical arrangements plus a version of the Bo Carter country blues song "Whisky and Gin", (recorded direct to a Technics 15 ips 1/4 inch 2 track in the bathroom of a Redfern terrace).

Opening with "Springtime", the recordings highlighted the signature country blues style harmonica of Michael "Blue" Dalton so characteristic of the Lighthouse Keepers' sound and also heralded the introduction of brass instruments into LHK's instrumental colour which continued to feature in most of their subsequent recordings.

Trumpet player Alex Hamilton who also played the solo on the classic Particles track "I Luv Trumpet" was invited to contribute overdubbed brass lines on "Bad Mood" and also the duet "intro" for country ballad "Again".

Musical arrangements were embellished with keyboard and tamborine played by Juliet, additional percussion by O'Neil, and with the integration of the driving pop sensibility of drummer Williams, bass player O'Neil was also able to add second guitar parts to "The Beat" and "Narvel Felts"

Album cover artwork was by guitarist/composer Appel with the record sleeve insert artwork attrbuted to "Fabian".

With the exception of Whiskey and Gin, all other tracks were recorded conventionally; i.e. live instrumental backing tracks(with guide vocals retained and later doubled to form a composite vocal track) whilst drums were sub mixed to stereo to allow space for overdubs. Recording and mixdown was done at Dream Studio Mk3 ^[8], located in an old warehouse in the historic Haymarket area of Sydney; home to the band Non Fiction and a loose collective of struggling musicians, songwriters, vocalists, artists, illustrators, screenprinters and Super 8 mm film maker.

Tales of the Unexpected LP

Contemporaries of The Particles, Wet Taxis, The Triffids and Laughing Clowns, Hot Records^[9] released LHK's first full length album "Tales of the Unexpected" which was recorded during August 1984 by David Price, assisted by Tom Colley the "house engineers" at Paradise Studios located in Woolloomooloo Sydney, a superb recording facility featuring Westlake Audio monitors (cross referenced by Yamaha NS10 near field monitors), twin MCI 24 track tape recorders, Harrison automated mixing console and "state of the art" acoustic design and microphones; . "Tales" was both recorded and mixed at 30ips during ten "discount rate" consecutive midnight to dawn sessions Produced by the Lighthouse Keepers and John Basett. The album was also mixed by David Price LHK and John Basett. Additional musicians played mandolin, banjo, baritone sax, trombone and trumpet. The band rose to the challenges of working at a professional level taking the opportunity to develop their own distinctive sound and musical direction. Mastering test pressing and record production from stampers was completed at the CBS studios in Artarmon N.S.W.(see also Columbia records) The album cover painting artwork was by Stephen O'Neil.

Career highlights

With entries in various rock publications,^{[6][10][11][12]} as well as being favourably reviewed in major newspapers^[13] and by a local rock press (On the Street,^[14] Ram,^[15][16] and Juke^[17] ) et al.^[18][19][20] who were generally supportive of Australian Indie bands; LHK also received airplay through the alternative radio stations 2SER, 2JJJ and similar community radio networks interstate and garnered glowing reviews in the British music journals NME^[21] and Sounds(UK).^[22] Further good fortune followed in being invited to support some of their favourite international artists touring Australia at the time. These incuded opening spots with Jonathan Richman and John Cooper Clarke (1983), The Violent Femmes and well respected Brisbane band The Go-Betweens (1984). Building up a loyal following whilst performing regularly along the East Coast of Australia along with treks across the Nullabor Plain to Perth WA, they released increasingly confident recordings (e.g. Seven Years) culminating in a low key tour of Europe in 1985^[23] which included an outdoor festival in Rotterdam with The Triffids and Woodentops as well as gigs in Germany, Switzerland, Italy and Austria; returning to England to support fellow expats The Triffids at Leeds University, The Clarendon Hammersmith and other shows in and around London.

Implosion

On return to Australia a travel weary LHK split in 1986 after a 3 year career including over 350 performances^[24] holding a farewell show^[25][26] to a record attendance crowd at the Graphics Arts Club.

Notes

Whats in a name? - During the band's inception they referred to themselves as "the light-housekeepers", a reference to the domestic cleaning jobs they shared to supplement their modest student allowances; however, with the inevitable "typos" and romantic notions of their growing audience they arrived at the more popular literary reference of "the Lighthouse Keepers".This ambiguity was illustrated in a detailed pen and ink drawing by Chloe Brookes-Kenworthy which was used as a tour poster;^[27] a Thumbnail is posted on the LHK vitual archive. The "LHK" Moniker itself emerged from the ad hoc production meetings typically associated with the cottage industry self managed business style cordinated by drummer Steven Williams. ...return to The Exploding Lighthouse Keepers EP section

Postscript

Since disbanding, LHK have reunited sporadically to play private parties, launch their "Lipsnipegroin" 2-CD compilation at the Annandale Hotel in Sydney (1992) and help launch the 2-CD "Tales from the Australian Underground" compilation at the Metro in Sydney (2003).^[28][29] They also played Tribute shows,^[30] Benefits, (2009) and opened both nights of the final leg of a Laughing Clowns reformation tour at the Basement in Sydney (2009).^[31].

Rumours surfaced on the web occasionally of a solo album by Juliet or of a further release of LHK material^[32][33] which culminated in the successful release of " ode to nothing " a 15 track remastered "best of " CD^[34][35][36] and joined by left handed drummer Hugh Veldon, a well attended and reviewed^[37][38] live show at the Sandringham Hotel Sydney September (2011) followed by a string of suburban gigs during January and Februay 2012 in Melbourne, Canberra^[39][40]with the final performance in Sydney at Marrickville. Some of these shows featured original drummer Steven Williams returning to reprise his role on some songs with extra excitement generated when he and Veldon played drums simultaneouly. The shows were unique in featuring a "guest speaker" each night.

Adapting to the new media LHK, old fans, and an emerging modern audience interracted via social network services which saw releases of additional self produced DIY video clips^[41] from the band, and had the unexpected reciprocal benefit of generating a number of videos, captured by audience members of live performances from the reunion tour, using a variety of devices ranging from hand held mobile phones and cameras to digital video recorders and then uploaded to you tube^[42][43][44].

Stephen O'Neil a Librarian went on to develop a low key but prolific international recording and touring career with the Cannanes whilst Appel and Ward formed the short-lived Rainlovers, which evolved into one of Appel's more successful various musical outings The Widdershins.

Juliet, a scientific researcher who has helped study the Australian Dingo, plays live casually and participated in a 2007 podcast interview/performance^[45](see also links). As "Jet" Ward she recorded a cover version of the song 'Rachael Cooper' by Baterz ( a member of the cult band The Bedridden) on the 3 CD tribute album in his honour titled "Great Big Sqiddy Fun- A Baterz Tribute", also featuring contributions from a number of other Australian alternative music luminaries.

Greg and younger brother Steve played live and recorded together in loose-knit bands with the youngest of the Appel clan David (vocals, trumpet, percussion). A fourth Appel brother, Rob, is the founder of the pioneering Internet music retail website Chaos.com . Greg has also worked for the Australian Broadcasting Corporation for many years Producing and/or Directing radio and TV projects including work with his friend Paul Clarke (a Senior Producer) on the landmark ABC music documentary series Long Way To The Top.

Amongst other post LHK projects was Van Park - The Musical ^[46] written by Greg and featuring Steve Appel's King Curly and a cast that including John Paul Young and Steve Kilbey. "Van Park" premiered at the Seymour Centre during the 2010 Sydney Fringe Festival where it was well received.

Members

• Greg Appel (12-string guitar, keyboards, vocals, bass).
• Juliet Ward (vocals, bass).
• Steven Williams (drums).
• Stephen O'Neil (bass, guitar, sax, drums).
• Michael "Blue" Dalton (harmonica, slide guitar, bass).

Discography

• "Gargoyle"/"Demolition Team", "Quick Sticks" (Maxi-single, 1983).
• "The Exploding Lighthouse Keepers" (Mini Album, 1983).
• "Gargoyle"/"Demolition Team", "Quick Sticks" (Single, 1983, Hot Records reissue).
• "Tales of the Unexpected" (1984, Hot Records 1011).
• "Ocean Liner"/"A Sad Tale" (single, 1984, Hot Records 720).
• "Ode to Nothing"/"Seven Years", (single, 1985, Hot Records 724).
• "Imploding" Waterfront, compilation album 1986|Vinyl|Waterfront Records|DAMP33.
• "Lipsnipegroin" (2 CD Phantom Records Compilation 1999-PHDCD-19).
• "Various" – Inner City Sound compilation :Laughing Outlaw Records Catalog#:LORICS-001.
• "Various" - Souvenirs From Egg Records" eggrest 015 (CD, Comp) 2006.
• "the best of the Lighthouse Keepers - ode to nothing" (15 track remastered retrospective) CD (2011 FEEL 009)

References

External links

• The Lighthouse Keepers on Facebook
• The Lighthouse Keepers: History
• LHK Virtual Archive & Recent Activities!
• Egg Records Glasgow LHK page
• Sydney Inner City Music ON MP3 & WAV-LHK page
• ABC radio Canberra interview Greg Appel and Juliet Ward from the Lighthouse Keepers on their formative days
• Juliet Ward ~ Interview and performance for Insatiable Banalities Podcast
• Greg Appel at myspace
• Michael "Blue" Dalton at myspace