Rich Webb - Australian alternative rock music from All Killer

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Rich Webb -- http://www.allkiller.com.au/richwebb

PRESS

Here's what been said about Beautiful World so far:

At times a steamship trip on the Mississippi, at times a road movie, at times an ode to love and at times no nonsense rock and roll. Musicheadquarter
Low-key, darkly glamourous tales of lost love and infidelity. Subba Cultcha
Class music from Down Under. musiX Magazin
From the opening song Gone Gone Gone, they lifted the mood barometer in the hall... this band were celebrated. Hessisch Niedersächsische Allgemeine
Desert rock, capturing the concept of Australiana completely. Melodie & Rhythmus
All corners and edges. Landeszeitung für die Lüneburger
In the beautiful world of Rich Webb, there's quite a lot going on! Gästeliste
Insert, listen, look to the moon and get involved in this record. SKUG

To read the full reviews, click on the links below to take you straight to the article or section you want... or just start scrolling...

Germany

In German first, then translated:

Like a steamship trip on the Mississippi, says Musicheadquarter
Class music from Down Under, says MusicX Magazin
Absolutely right, says Melodie & Rhythmus
In the beautiful world of Rich Webb, there's a lot going on, says Gästeliste
Insiders' tip - Live review - Hessisch Niedersächsische Allgemeine
Look to the moon and get into this album, says SKUG
It's all corners and edges, says Landeszeitung fur die Luneburger

UK

Low-key, darkly glamourous tales of lost love and infidelity, says Subba Cultcha

Germany

In German first, then translated:

Triggerfish pulls the trigger - 4/6
Sexy sexy Mr Webb - great review in Schwäbische Zeitung
Absolutely listen to this, says Brauser das Szenemagazin
Get out your snorkel and jump Overboard, says Leipziger Rundschau
Check out the ballads, says Neue Ruhr Zeitung
Nick Cave crossed with Tarantino, says Angehort
Nice debut from the man with an amusing haircut, says Musicbeat
Bryan Ferry crossed with Robert Carlyle, says Bumbanet
Bremer Stadtillustrierte gets caught Overboard

musicheadquarter.de
vergibt 8/10
Punkten - 20.11.2009

Der smarte australische Musiker Rich Webb ist immer in Bewegung. Geboren in der Nähe von Glasgow wuchs er im englischen Scunthorpe auf, bis es ihn nach weiteren Stationen in Sheffield und London der Liebe wegen ins australische Melbourne verschlug.

Bewegend ist auch sein vierter Longplayer "Beautiful World", den er gemeinsam mit seinem Gitarristen Phil Wakeman, George-Savva Georgiou am Bass und seinem Bruder David Eugene Webb an den Drums in Windeseile im Hannoveraner Horus Sound Studio aufnahm. "We went in with 11 new songs and some big ideas; we came out eight days later with a finished album", beschreibt Rich die scheinbar reibungslosen Aufnahmen mit Produzent Howard Bargrof, der bereits die Regler für internationale Größen wie Grace Jones, Frankie Goes To Hollywood und Ministry Of Sound zog.

Herausgekommen ist ein vielseitiges Album, das mal wie eine Dampferfahrt auf dem Mississipi ("Gone Gone Gone"), wie ein Roadmovie ("White Dove"), wie eine Ode an die Liebe ("Beautiful World") und mal nach schnörkellosem Rock’n’Roll ("Dead Bodies") klingt. Im Mittelpunkt des neuen Album stehen schonungslos direkte Texte, die teilweise sehr hart, manchmal aber auch sehr zerbrechlich anmuten: "How many more times do we wake up feeling low and hurting? And the early morning light won’t wash away the words, of that i’m certain" heißt es beispielsweise in "Amber".

Freunde schnörkelloser, handgemachter Musik mit inhaltlicher Tiefe, werden ihren Spaß an "Beautiful World" haben.

Translation:

Rating: 8/10
Published: 20.11.2009

Smart Australian musician Rich Webb is always moving. Born close to Glasgow, he grew up in England’s Scunthorpe, until, after other stops in Sheffield and London,he landed in Melbourne, Australia.

His fourth album ‘Beautiful World’, which he made with guitarist Phil Wakeman, George-Savva Georgiou on bass and brother David Eugene Webb on the drums in lightning speed in Hannover’s Horus Sound Studio, is also moving.

“We went in with 11 new songs and some big ideas; we came out eight days later with a finished album,” is how Rich describes the apparently smooth process with producer Howard Bargroff, who has worked with international acts such as Grace Jones, Frankie Goes to of Hollywood and Ministry of Sound.

They have emerged with a diverse album, at times like a steamship trip on the Mississippi (‘Gone Gone Gone’), at times a road movie (‘White Dove’), an ode to love (‘Beautiful World’) and at times no nonsense rock and roll (‘Dead Bodies’).

At the centre of the new album are ruthlessly direct lyrics, sometimes very hard, and sometimes very fragile: “How many more times do we wake up feeling low and hurting? And the early morning light won't wash away the words, of that I'm certain”, for example in ‘Amber’.

Fans of no frills, original music with content and depth will enjoy ‘Beautiful World’.

Class music from Down Under, says MusicX Magazin - Dec 2009

RICH WEBB
BEAUTIFUL WORLD
All Killer Music/New Music Distribution

Es muss nicht immer Schweinrock der Marke Rose Tattoo oder AC/DC sein, wenn es aus Australien kommt, es geht auch differenzierter wie im Falle von Rich Webb. "Beautiful World" rockt zwar auch aber nicht so haudraufmäßig, sondern ausgefeilter und Indie-like. Da kommen auch schon mal beatlesque Klänge oder ruhige Nummern vor, bevor wieder schön alternativ geschrammelt wird. Klasse Musik jedenfalls from down under...

Translation:

It doesn’t always have to be Schweinrock like Rose Tattoo or AC/DC if it comes from Australia, it can also be more varied as in the case of Rich Webb. ‘Beautiful World’ admittedly also rocks, however, in not so hard a fashion but in a more sophisticated and indie-like way. Beatlesque sounds and quiet numbers also occur before it again becomes beautifully alternatively geschrammelt. Class music anyway from Down Under...

Absolutely right, says Melodie & Rhythmus

Melodie & Rhythmus – Dezember 2009
Sicherlich hat sich Rich Webb verbessert, als er von Glasgow ins australische Melbourne zog. Somit könnte der auf seinem immerhin vierten Album als Solokünstler inszenierten "Beautiful World" durchaus Recht haben. Fluffig wandelt der Ex-The StiffKittens-Shouter hier zwischen Blues- und Wüstenrock, wobei man hierfür den Begriff "Australiana" gleich mit kreieren müsste. Es passiert zwar nicht viel auf "Beautiful World", aber es ist die Intensität der Darbietung, die hier zu Buche schlägt. Gleich einer straighten Fahrt durch das australische Outback, bei welcher auch nicht viel abgeht, man aber immer wieder fasziniert ist von der Landschaft, entfaltet die "Beautiful World" reichlich authentisches Flair, das immer dann am besten rüber kommt, wenn es ein wenig energischer zur Sache geht. (mawa)
Fazit: Bedächtiger, straighter Aussie-Rock.

Translation:

Melodie & Rhythmus – December 2009
Rich Webb has certainly come along way since he moved from Glasgow to Melbourne Australia: and he’s got it absolutely right on his fourth, solo and self-produced album ‘Beautiful World’. The ex-Stiff Kittens vocalist fluctuates between blues rock and desert rock, capturing the concept of ‘Australiana’ completely. Indeed, not a lot happens on ‘Beautiful World’, it is all about the intensity of the performance. It’s like a trip through the Australian outback where there is also not much but you are continually fascinated by the scenery as it richly unfolds. Beautiful World’s authentic atmosphere comes across best on the more energetic songs.
Result: Cool, no-nonsense, Aussie rock. Back to Top

In the beautiful world of Rich Webb, there's a lot going on, says Gästeliste

Review Gästeliste.de
Als gebürtiger Schotte und Überzeugungs-Australier fühlt sich Rich Webb fast selbstredend klassischen Tugenden handgemachter Gitarrenmusik verpflichtet und legt auch mit seinem vierten Werk ein sauberes Gitarrenpop-Album vor. Das neue Album wurde relativ fix unter dem Eindruck einer gerade beendeten Tour eingespielt und das hört man der Sache in puncto Druck und Spielfreude auch durchaus an.

Was die Sache aus dem allgemeinen Gewusel auf diesem Sektor hervorhebt und der Mittelmäßigkeit entreißt, sind die originellen rhythmischen Experimente, mittels derer Drummer Eugene Webb in Zusammenarbeit mit den anderen Musikanten die Songs aufmischt. Da passiert im Detail unglaublich viel und auch das Hinzunehmen von zahlreichen Percussion-Elementen setzt Akzente. Dazu passt, dass Web seine Songs nicht geradlinig, sondern immer ein bisschen unbequem - aber originell - verschachtelt und aufbohrt. Insofern täuscht der an heitere Gelassenheit gemahnende Titel ein wenig: In der schönen Welt des Rich Webb ist ganz schön was los!

-Ullrich Maurer-

Translation:

As a native Scot of Australian persuasion, you might expect that Rich Webb naturally graduates to the classical virtues of handmade guitar music, and that’s exactly what he delivers with his fourth clean guitar pop album. The new album was recorded quickly immediately after a tour and you can hear this in the joy of playing evident throughout.

What differentiates ‘Beautiful World’ from the general bustle in this sector and snatches it from mediocrity are the original and stirring rhythmic experiments by drummer Eugene Webb, in collaboration with the other musicians, and the songs. There is an incredible amount of detail and numerous elements of percussion placing accents throughout the album.

Fittingly, Webb’s songs are not straightforward either, and are always a little uncomfortable – but original – complex and interlaced, and drill deep. To that extent, the album’s title reminiscent of serenity deceives a little: In the beautiful world of Rich Webb, there is quite a lot going on! Back to Top

Insiders' tip - Live review - Hessisch Niedersächsische Allgemeine newspaper – 19 Nov 2009

Leider noch ein Geheimtipp: Der Gitarrist und Sänger Rich Webb mit Band im Theaterstübchen
Von Steve Kuberczyk-Stein

KASSEL. Als Rich Webb zum ersten Mal einen Zettel herauskramte und sich anschickte, mit bedeutungsvoller Miene etwas zu verlesen, rätselte man im Publikum noch, was nun folgen würde. Im Verlauf des Konzertes wurde der Griff zum Zettel fester Bestandteil einer unterhaltsamen Kommunikation. Es waren kleine prägnante Begriffe oder Sätze, die er vorlas. Von „Danke“ bis „Bitte vier Bier für uns!“ reichte die Palette.

Der smarte australische Gitarrist und Sänger, der am Dienstagabend zum ersten Mal im Theaterstübchen auftrat, hatte damit von Beginn an das Eis zwischen Bühne und Publikum gebrochen. Und das war nötig, denn wenn sich kurz vor Konzertbeginn die Besucher an drei Händen abzählen lassen, kann die Stimmung rasch zu einer unterkühlten werden.

Das Gegenteil aber war der Fall. Der smarte Gitarrist und seine Band wurden gefeiert. Ein kleiner Trost auch für die Musiker, dass die Besucherzahl schließlich noch auf 30 anstieg.

Mit seinem neuen Album „Beautiful World“ war Webb ins Theaterstübchen gekommen, und schon mit dem Eröffnungssong des Albums „Gone Gone Gone“ stieg das Stimmungsbarometer im Saal. Stilistisch variiert die Musik von Webb zwischen Countryanleihen, Pop-Rock und Road-Movie-Sehnsucht. Harte Rockklänge, schnulzenschöne Schmusesongs wie das Titelstück „Beau-
tiful World“ wechseln einander ab.

Trotz rockigem Anstrich beherrschen romantische Farben Webbs Musik, die nicht selten eine poetisch sensible Bob-Dylan-Aura verströmt. Die liegt besonders an Webbs Stimme. Das Zusammenspiel der Band ist harmonisch. Besonders gelungen ist dabei das Zusammenspiel mit E-Gitarrist Phil Wakeman. Webb legt auf seiner elektrisch verstärkten akustischen Gitarre die Teppiche, Wakeman akzentuiert mit Soli oder Leitthemen.

Erstaunlich, wie abgeklärt der erst 23-Jährige sein Instrument beherrscht. HR3-Moderator Volker Rebell lobte Webb einmal „Geheimtipp“. Bleibt Webb und seiner Band zu wünschen, dass dieser Geheimtipp rasch ans Licht kommt, denn das ausgezeichnete Konzert hätte mehr Besucher verdient.

Translation:

Still an insiders’ tip: The guitarist and singer Rich Webb with band in Theaterstübchen

By Steve Kuberczyk-Stein

KASSEL
When for the first time Rich Webb rummaged around for a piece of paper and prepared to read something with a meaningful expression, the audience was puzzled over what was to follow. In the course of the concert, reaching for this piece of paper became an integral part of an entertaining communication.

They were little pithy words or phrases, which he read aloud (in German), beginning with “Thank you” and working up to “Please, four beers for us!”

The smart Australian guitarist and singer who appeared on Tuesday night for the first time in Theaterstübchen had broken from the beginning the ice between stage and audience.

And that was necessary, because when the number of visitors can be counted on your fingers, the atmosphere can stay very cold. But the opposite was the case; the smart guitarist and his band were celebrated. A small consolation for the musicians was that the visitors finally rose to 30.

With his new album Beautiful World, Webb had arrived in Theaterstübchen, and from the opening song of the album Gone Gone Gone he lifted the mood-barometer in the hall.

Stylistically, the music of Webb varies between country, pop rock and road-movie-nostalgia. Hard rock sounds and wonderful-schmaltzy ballads like the title track Beautiful World alternate. Despite rocking sounds, romantic colours dominate Webb's music, which often exudes a sensitive poetic Bob Dylan aura. The reason for this is especially Webb's voice.

The interplay of the band is harmonious. Particularly successful is the interaction with electric guitarist Phil Wakeman. Webb lays with his electrically amplified acoustic guitar the carpets, which are then accented with Wakeman’s solos or themes. It’s amazing with just how much clarity the 23-year-old masters his instrument.

HR3 presenter Volker Rebell once praised Webb as an “insiders' tip”. We can only hope that this tip quickly comes to light, because this excellent concert deserved more visitors.
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Look to the moon and get into this album, says SKUG

SKUG (Östereichisches Musikmagazin)

Rich Webb »Beautiful World«
All Killer Music/New Music Distribution

skug # | Text: Jürgen Plank | Mon 9. Nov. 2009

Der smarte australische Sänger Rich Webb hat die 11 Titel seines Albums mit seiner Band gemeinsam geschrieben. Eingespielt wurde in nur acht Tagen in Hannover. Zwischen schönen Indie-Pop-Balladen wie dem ruhig abfahrenden Titelstück »Beautiful World« oder »Amber« geben die anderen Lieder die Richtung vor; schlicht und schnörkellose, handgemachte Pop-Rockmusik - die Strichliste im Booklet belegt zu jedem einzelnen Stück: Alle Spuren sind eingespielt, also »Ich habe fertig«.

Der versteckte Höhepunkt steht an Stelle 9 und heißt »Moon Girl« und überzeugt mit klarer Melodieführung, die zuweilen auch ins Moll kippt. Einlegen, zuhören, zum Mond hinauf schauen und sich auf diese Platte einlassen.

Translation:
The smart Australian singer Rich Webb wrote the 11 tracks of his album with his band. The album was recorded in just eight days in Hannover. Between the beautiful indie-pop ballads like the title track, quietly departing ‘Beautiful World’, or ‘Amber’, the other songs are quite simply, straight-ahead handmade pop-rock music – the tally sheet in the booklet assigned to each piece shows that all the tracks are recorded, so “I have finished”.

The hidden peak is track number nine ‘Moon Girl’ which has clear melodies that sometimes tilt to the minor. Insert, listen, look to the moon and get involved in this record. Back to Top

It's all corners and edges, says Landeszeitung für die Lüneburger

Landeszeitung für die Lüneburger Heide 2009

Der "Rolling Stone" stellt Rich Webb in eine Reihe mit Nick Cave und Bob Dylan. Das ist zwar hoch gegriffen. Aber der Mann, der heute, Mittwoch, in der Lüneburger WunderBar auftritt, muss sich vor niemandem verstecken. Er schreibt Songs, die genug Ecken und Kanten haben, sodass sein neues Album "Beautiful World" (All Killer Music) sicher nicht nach einmaligen Gebrauch abgelegt wird. Stilistisch pickt Rich Webb etwas aus den Sixties auf, er nutzt Countrygitarren, bringt Schnulzenschönes und Düsteres -- und mit "Gone Gone Gone" hat er es auf die "Playlist" in 70 großen und kleinen Radiostationen geschafft. oc
Landeszeitung für die Lüneburger Heide 2009

Translation:

The ‘Rolling Stone’ says Rich Webb is on a par with Nick Cave and Bob Dylan. This sets the bar high. But the man who tonight plays in Lüneburg at WunderBar, doesn’t need to hide behind anyone. He writes songs that have enough corners and edges, so that his new album "Beautiful World" (All Killer Music) is not put away after the first listen. Stylistically, Rich Webb uses anything from the Sixties, country guitar, and also has sentimental songs, beautiful and dark – and with ‘Gone Gone Gone’ he made it onto the playlist of 70 large and small radio stations. Back to Top

Beautiful World reviews

UK

Low-key, darkly glamourous tales of lost love and infidelity, says Subba Cultcha

We british have a rather laboured history with Australian musicians. It would be a stretch for you average music fan to list on one hand the amount of artists who have made names for themselves outside their home-land and personally I can't see any other reason for that besides plain bad luck! One of the most intriguing and talented new bands of the last few years in my book are Sydney's 'Howling Bells' whose records have been met with an almost insulting indifference by the british public. So what chance does antipodean singer-songwriter Rich Webb have with his low-key, darkly glamourous tales of lost love and infidelity? Well quite a decent chance as it so happens, there might be little in the way of 'hits' on his latest, independently released album, 'Beautiful World' but he does manage to display a winning pop-nous which should mark him out as something beyond a fringe concern.

Vocally Webb resembles a cross between Paul Heaton of The Beautiful South and Neil Finn of Crowded House however there's individuality in his delivery to save him from accusations of copy-cat hero worship. His voice is arguably too sweet to pull of the Bad Seeds indebted blues of opener 'Gone Gone Gone' yet thanks largely to a great chorus and a tight, focused band he manages to pull it off without sounding out of his depth. His is however, much more at home with ballads such as the title track in which he cribs lyrics from Radiohead's 'Creep' over a delicate backing track of muted piano and hazy, lounge grooves.

It's a surprisingly eclectic album which run the gamut from no-nonsense rock & roll (Dead Bodies) to tongue cheek country (My Life Story) and alt-americana (No, It Don't Feel Right), we even get a second Radiohead connection on 'Amber' which is a dead ringer for their recent classic 'Nude'. The overriding vibe of the album however is MOR, a harsh statement maybe but I genuinely don't mean anything negative by it. The songs here may be a little pedestrian and predictable in places but the bottom line is they are good songs (for the most part at least).

If there's one major downfall with Web it's in his lyrics which generally consist of hollow platitudes which wouldn't sound out of place on a James Blunt record. He's obviously in awe of the great american wordsmiths such as Dylan, Cohen and Waits but can't even reach for their coattails here. Some dodgy wordplay aside though ("her phoney Beatlemaina and her T-Rex thighs" anyone?) Rich Webb reminds us with Beautiful World that independent pop-artists can work outside the boundaries of a major label, and that's encouraging news for all of us! Benjamin Hiorns

Overboard reviews

Germany

Triggerfish pulls the trigger - a night with Rich Webb - 4/6

Durch die Nacht...

Wenn sich die Nacht über die Stadt legt und die Hektik des Tages verschluckt, dann zieht es die Ruhelosen unweigerlich nach draußen um durch das nächtliche Lichtermeer zu streifen. Das ist nicht nur in jedem guten Film so, der zumindest den Grundsoll an Melancholie erfüllen will, sondern lässt sich auch in jeder beliebigen Großstadt beobachten. In jedem Fall darf die richtige musikalische Begleitung nicht fehlen. Und wenn in diesem Herbst ein geschmackssicherer Mensch unterwegs ist, dann hat er garantiert RICH WEBB auf den Kopfhörern. Denn dessen drittes Album klingt genauso, als wäre sie auf einem dieser nächtlichen Streifzüge erdacht und unmittelbar aufgenommen worden. 'Overboard'

Der fast noch harmlos wirkende Opener 'Don't Feel So Sad' sorgt für einen folkigen Einstieg und ist trotz der Geradlinigkeit schon durch die umfangreiche Instrumentierung und den wunderbar exaltierten Refrain ein etwas anderer Anfang abseits der üblichen Folk/Country – Pfade. Doch der sinistre Sprechgesang in 'Judy Garland' lässt den Abend einkehren, bevor es immer dunkler und gleichzeitig auch schöner wird auf 'Overboard'. 'Move On Over' entwickelt auf vier Minuten unverschämt viel Soul und spätestens 'Burn In Hell' verliert sein Herz endgültig an die Nacht. Dass der Mann sich für drei Alben insgesamt fast zehn Jahre Zeit lässt, scheint einen guten Grund zu haben.

Dass trotz dieser guten bis großartigen Alben Künstler wie RICH WEBB mit derartigem Material allenfalls ein semibekanntes Dasein fristen, während die JACK JOHNSONS dieser Welt mit ihrem emotional reichlich eindimensionalen Repertoire den Ruhm einstreichen, stört dabei nur wenig. Momente, wie sie 'Overboard' liefert, teilt man ohnehin lieber mit einem ausgesuchten Hörerkreis. Dieser freut sich dafür umso mehr. Und wenn am Ende des Albums fast programmatisch der Song "Light" eine leicht wärmende Wintersonne aufgehen lässt, dann kann 'Overboard' eigentlich gleich wieder von vorne beginnen. Die nächste Nacht kommt dieser Tage ja schneller als man denkt.

Translation, thanks to Mary-Ann Webb and Sarina Maar

Throughout the night . . .

When night lays itself over the city, swallowing the chaos of the day, it inevitably drags the restless outside to wander through its sea of neon. Not just in good movies – which if they do nothing else, can be relied upon to pay their dues to melancholy – this also happens in every city on earth. But whether in the movies or in realtime, the right soundtrack is essential so whenever a savvy bloke is out and about this autumn then, guaranteed, he has RICH WEBB on his headphones. Because his third album 'Overboard' sounds exactly as if, having been inspired by one of these nocturnal epics, it was recorded immediately and without compromise.

The seemingly benign opener 'Don’t Feel So Sad' provides a folk introduction but, despite its apparent conventionality, the voluminous instrumentalisation and wonderfully eccentric chorus set it off the beaten Folk/Country track. The evening pauses with the sinister rap in 'Judy Garland''Overboard' becomes ever darker and, at the same time, ever more beautiful. 'Move on Over' develops unconscionable amounts of soul in four minutes and then, finally, with 'Burn in Hell', we’ve sold our souls to the night. It seems there is good reason for this man to have taken almost 10 years to produce three albums.

Despite albums which are always good, sometimes magnificent, artists like RICH WEBB struggle to achieve recognition with this kind of material while the JACK JOHNSONS of the world pocket all the glory with their sickeningly emotional one-dimensional repertoire – but no worries – you’ll prefer to share your 'Overboard' moments with a discerning crowd. The thrill is greater that way. And when, almost inevitably, at the end of the album, the song 'Light' allows the weak warmth of a winter sunrise, 'Overboard' can justifiably begin again from the top. The next night comes quicker than expected these days . . .
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Sexy sexy Mr Webb - great review in Schwäbische Zeitung

Lange hat’s gedauert, bis man in Deutschland auf das dritte Solo-Album des Wahl-Australiers und The-Stiff-Kittens-Gründers Rich Webb aufmerksam geworden ist. Der Sänger-Songwriter hat “Overboard” auf seinem Labl All Killer Music bereits vor drei Jahren veröffentlicht. Gottseidank: Nun ist-die melodische Alternative-Rock-Folk-Blues-Platte mit verschleppten Balladen, staubtrockenem Gesang und allem, was der anspruchsvolle Musikfreund – nach dem Winterspaziergang mit einem Glas Rotwein vor dem Kamin sitzend – schätzt, aber endlich auch hierzulande erhältlich. Sexy sexy, Herr Webb - und: Bitte bleiben Sie immer schön an Bord.

Roughly translated it's this:

At last, the Australian and founder of The Stiff Kittens Rich Webb has released his third solo album in Germany. The singer-songwriter officially released Overboard on All Killer Music three years ago. Thank god: now it’s available in these parts. It is a melodic alternative/rock/folk/blues record with ballads and singing that is as dry as dust. A record that you should hear at the fireside after a winter walk with a glass of red wine. Sexy sexy Mr Webb - and please: stay always beautifully on board.
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Absolutely listen to this, says Brauser das Szenemagazin

Overboard heißt das dritte Album von Rich Webb. Damit hat der Schotte wieder ein ehrliches Stück Arbeit abgeliefert. Der Rolling Stone stellte treffend fest, das die Musik Vergleiche mit Nick Cave, Kim Salmon, Hugo Race oder Matthew Street nicht scheuen braucht. Die Tracks schleichen sich von Anfang an in die Gehörgänge. Fans von Alternative Rock sollten unbedingt reinhören.

Roughly translated it says this:

Overboard is called the third album of Rich Webb. The Scot has again delivered an honest piece of work. Rolling Stone appropriately said that the music compares with Nick Cave, Kim Salmon, Hugo Race and Matthew Street and it cerainly doesn't fall short of these marks. The track creep from the outset into your brain. Fans of alternative rock should absolutely listen to this.
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Get out your snorkel and jump Overboard, says Leipziger Rundschau

“Overboard”, das dritte Solo-Album von Rich Webb, ist sein bisher persönlichstes Werk. Es handelt im Wesentlichen davon, was passiert, wenn man alles über Bord schmeißt. Es stellt somit ein direktes, elementares und ehrliches Struck Arbeit dar. “Overboard” basiert auf Songs, die der am Rande Glasgows Geborne während seiner jungsten Tour durch Europa und kurz nach der Ruckkehr nach Australien schrieb und in Joe Camilleris “Woodstock Studios” in Melbourne aufnahm. Das Resultat ist ein berauschender Mix aus straightem Alternative Rock und außergewhonlichen Ballended, die Webb mit seiner unverwechselbar trockenenen Stimme zusammenhält. Einem Sandsturm gleich, zieht sie sich durch das gesamte Album “ Overboard schleicht sich vom ersten Son an in die Gehörgänge. Die Fachpressse stelt Vergleiche unter anderen zu Nick Cave, Bob Dylan, Kim Salmon und Hugo Race her. Doch Rich Webb relativiert: “Ich hatte schon immer den Anspruch, Musik zu kreieren, die direkt ist und etwas zu sagen hat. Ohne Schnörkel und ohne mir den Kopf zu sehr über bestimmte Musikstile zu zerbrechen.”

Which roughly translated says this:

"Overboard", the third solo album of Rich Webb, is his most personal work to date. It's essentially what happens when you throw everything over board. As such, it is a direct, elementary and honest piece of work. "Overboard" is based on songs which the Glasgow born Webb wrote during his last trip to Europe and briefly after he returned to Australia. The songs were taken to Joe Camilleri's "Woodstock Studios" in Melbourne. The result is an enticing mix of straight ahead alternative rock and urban balladry, held together by Webb's unmistakably dry voice. Like a sandstorm, it wails through the entire album, from the first song to the grand finale. The music press has compared him with Nick Cave, Bob Dylan, Kim Salmon and Hugo Race. But Rich Webb says: "I have always the requirement to create music which is direct and has something to say. To do it with one snorkel and with one head, without worrying too much about musical styles."
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Check out the ballads, says Neue Ruhr Zeitung

Wenn Rich Webb von musikalischen Vorbildern erzählt, fallen Namen wie Dylan, The Who, CCR, Johnny Cash, die Punker an sich. Wenn man seinem Album „Overboard” (All Killer) lauscht, schimmert das durch. Dem Schotten gelingen wunderbare Momente, am stärksten kommt seine Stimme bei den Balladen und den - wenigen - poppigen Songs zum Ausdruck. Seine rauen, düsteren Lieder vermögen weniger zu fesseln.

Which roughly translated says:

When Rich Webb speaks about his influences he mentions names like Dylan, The Who, CCR, Johnny Cash and the Punks. When you are listening to Overboard (All Killer Music) you will notice it. The Scotsman creates some wonderful moments. His voice is at its best and strongest when he sings ballads and – a few - jazzy songs. The raw and dark songs are not quite as absorbing. Back to Top

Nick Cave crossed with Tarantino, says Angehort

bü) Radiomucke im besten Sinne liefert der Wahl-Australier Rich Webb mit seinem dritten Album „Overboard“. Zumindest was die Single „Don’t Feel So Sad“ angeht. Der gefühlte Standort der restlichen Songs ist dahingegen irgendwo zwischen Nick Cave, knackigem Rock und einem Taratino Streifen. „Overboard“ haftet dabei unterschwellig etwas gefährliches, drohendes, ja fast mystisches an. Durch die Coolness mit der Webb dabei bluesige Wurzeln einwebt, wird sein drittes Album eine ganz lässige Nummer. Mir persönlich gefallen ja die Lieder besser, in denen es nicht ganz so cool wird, wie zum Beispiel „Cry Like A Hale“. Gefühlvolle, melodie- und gitarrenverliebte Songs sind wohl eher Webbs Sache als bemüht harte Sachen. Nichtsdestotrotz: Ordentliche Platte für Liebhaber von ich sag mal modernem Bluesrock. ***

Translated it goes something like this:

“Don’t feel so sad” is good radio music, all other songs are something between Nick Cave, rock and a Tarantino movie. "Overboard" is subliminal, a bit dangerous, impending and almost a bit mystic. Through the cool way Webb inserts his blues roots makes “Overboard” an easy-going album. But I like the songs most where it’s not quite so rock-based - lyrical numbers like “Cry like a Whale”. Lyrical, melodic songs with lots of guitar sounds are much more the thing of Rich Webb than exerted hard numbers. Nevertheless: Proper album for, let’s say, fans of bluesrock.’ ***
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Nice debut from the man with an amusing haircut, says Musicbeat

Nicht nur, dass in Australien die Jahreszeiten anders sind, auch die dazu passende Musik wird mit Verspätung geliefert. So kommt der durchschnittliche deutsche Hörer erst jetzt in den Genuss, Rich Webbs drittes Album zu hören. „Overboard“ ist ursprünglich bereits 2005 erschienen, blieb allerdings im Nirgendwo hängen. Ende Oktober will der gute Mann aus Down Under endlich in unseren Breitengraden durchstarten, setzt dafür alle Hebel in Bewegung. Als Vorabsingle hat er „Don’t Feel So Sad“ im Gepäck. Der ruhige, gefühlvolle Beginn erinnert entfernt an „Chasing Cars“ von Snow Patrol. Damit will Webb aber nicht länger aufhalten, lässt sich vom recht rohen Schlagzeug vorantreiben. Die Strophe ist ruhig gehalten, sehr gemütlich und charmant. Im Refrain packt der Australier dann Britpop par excellance aus, lässt dazu die Gitarre kräftig aufheulen. Zugegeben, eine etwas komische Kombination, die aber funktioniert, voll und ganz aufgeht. Dazu kommt noch Webbs packender Gesang, der sowohl in ruhigen Momentan als auch in intensiveren Passagen immer auf den Punkt ist. Es ginge freilich noch ein wenig mehr, ab und an wirkt „Don’t Feel So Sad“ gehemmt. Dennoch ein sympathisches Debüt des Mannes mit der komischen Frisur. Hoffentlich gibt es bald Nachschub, diese erste kurze Vorstellung ist bereits viel versprechend. ***

Translated it goes something like this:

Not only are the seasons different in Australia, the good music takes some time to get over here. So we in Germany are only now getting the benefit of hearing Rich Webb's third album. "Overboard" appeared originally came out 2005, but only over there. But finally, at the end of October the good man from Down Under hits our degrees of latitude to finally wave off the album in Germany, with all levers set in motion. And he's packing first single "Don't Feel so Sad" in his luggage. The calm, sensitive beginning reminds of "Chasing Cars" from Snow Patrol. But Webb wants to stop however no longer, and a quite raw drum beat is introduced. The verse is very cosy, calmly held and charming. In the refrain the Australian unpacks Britpop par excellance, and lets in additional guitar that strongly howls. Admittedly, it's a somewhat amusing combination, but it works fully and completely. In addition, comes still Webb's packing singing, which is always in both the calm moments and in the more intensive passages on the point. It could have been a little more restrained and "Don't Feel so Sad" would still have work. Nevertheless, a sympathetic debut from the man with the amusing hairstyle. Hopefully there is more coming soon, this first short conception is promising a lot already. ***

"He looks like Bryan Ferry crossed with Robert Carlyle from Trainspotting"... Blimey! But 3.5/5 for Overboard, we can live with this

It's from Germany's Bumbanet.de:

Optisch wirkt der gute Rich Webb wie eine Mischung aus Brian Ferry für Arme und Robert Carlyle, dem Begbie aus Trainspotting. Das ist zugegebenermaßen sehr subjektiv und tifft auch musikalisch nicht zu (man weiß, wen ich meine, dass Robert Carlyle singt, wäre mir neu). „Overboard” ist eine rockige Popplatte, und sobald man dem Booklet entnimmt, dass Herr Webb aus „Down under” kommt, versucht man, dortige musikalische Referenzen zu finden, was auch funktioniert: Die Musik befindet sich irgendwo zwischen INXS und Nick Cave… Gerade wollte ich schon über meine nichtssagende Aussage schallend losprusten, aber „Blue eyed girl” klingt wirklich ein wenig nach konsensfähigerem Nick Cave, nur die Duettpartnerin klingt rauer als Kylie. Die Platte schwankt stilistisch zwischen 80er- Pop („Burn in hell”), 90er-Pop („Don’t feel so sad”), bluesigen Nummern und dahinrotzenden Viechern mit verzerrten Gitarren („Move on over”)- man lässt sich stilistisch nicht anketten, Janus’ zweite Visage wird wettern, Herr Webb hätte keinen Wiedererkennungswert. Aber mal ehrlich Leute, macht uns dann was aus? Der durchaus skeptische Zuhörer wird sich zwischen Pop, Rock und auch Blues nicht unbedingt unwohl fühlen, ich wage eine Prognose: „Overboard” ist für Mittdreißiger wahrscheinlich besonders interessant. Ich wage die Stichprobe, schicke „Overboard” meiner Cousine und warte auf Feedback. ***1/2

Translated it is something like this:

Visually, the good Rich Webb looks like a mixture of a poor Bryan Ferry for and Robert Carlyle, as Begbie from Trainspotting. Of course, that's very subjective and not a lot to do with the music (i've no idea whether Robert Carlyle sings, it would be news to me). "Overboard" is a rocking affair and as soon as you find out from the booklet that Mr Webb comes from "Down Under", you try and find musical references from there that work: the music is somewhere between INXS and Nick Cave... on some of the straighter tracks though this barely works but "Blue-eyed Girl" does sound a little like Nick Cave, although with a duet partner who sounds much rawer than Kylie. The album varies stylistic between 80s pop ("Burn in Hell"), 90s-pop ("Don't Feel so Sad"), and bluesier numbers and with distorted guitars ("Move on Over") - but if it can't be chained stylistic, to Janus' second face you will say, then Mr Webb would have no value. But this is honest, so what is is about? The quite sceptical listener will feel comfortable placing it between pop, rock and also blues, and in my view: "Overboard" is probably particularly interesting for people in their thirties. So to test this, I've sent "Overboard" to my cousin and wait for feedback. *** 1/2
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Bremer Stadtillustrierte gets caught Overboard

Nachdem der Rolling Stone im Februar diesen Jahres Vergleiche mit Nick Cave, Kim Salmon und Hugo Race ansetellte, ist es nun definitiv an der Zeit, Rich Webb auch einem breiterem Publikum vorzustellen. In seiner Heimat England bereits mit einer ‘Single Of The Week’ ausgezeichnet, bringt der heutige Wahlaustralier nun sein drittes Solo-Album an den Start. Gemeinsam mit Produzent und Bassist James McHugh in Joe Camilleris ‘Woodstock Studios’ in Melbourne aufgenommen, präsentiert Sympathieträger Rich elf wunderbar schmeichelnde Songs mit einem guten Schuss Alternative-Rock, Singer/Songwriter-Elementen und ‘nerkleinen Prise Melancholie. ‘Overboard’ secht nicht nur fur alles, was man im Leben so ‘über Board’ schmeißen sollte, sondern entpuppt sich das ganze Album hindurch als eine Art Songstrum, dem man als Hörer nur schwer entkommen kann.

Which roughly translated says this:

After Rolling Stone compared Rich Webb with Nick Cave, Kim Salmon and Hugo Race, it is definitely the time to present him to a broader public. In his homeland of England he already has one `Single of the week' in the bag, and we have here the Australian's third solo album. Together with producer and bassist James McHugh, Rich went to Joe Camilleri's `Woodstock Studios' in Melbourne, and has produced a wonderful selection of 11 songs with a good shot of alternative rock, singer/songwriter elements and plenty of melancholy. 'Overboard' not only has everything you need if you want to plunge over board but is also like some sort of art statement from which it is difficult for the listener to leave.

Australia

Rough Trade - Oct 05

Overboard sees singer-songwriter Rich Webb at it for the third time, producing brooding slow rock not unlike the Bad Seeds. Reviews say there are influences including everyone from Bob Dylan and the Beatles, to the Byrds and Paul Kelly.

Ditching the acoustic guitar for a heavier soundscape, the result is a deeper, darker Rich WebbMove on Over and Burn in Hell demonstrate Rich Webb's than we have seen before. Tracks like commanding presence.

He definately has a Nick Cave vibe to him, his husky dry voice resonating amongst a sea of howling guitars and deliberate, solid bass lines.''
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Top review in Forte

"If you can't smell the sharp coffee sting or taste the sweet steaming night, then you're not hearing the bluesy groove of Rich Webb and his rich web of murmuring colours.

Through an earthy honesty he delivers smouldering soliloquies, charged with a mildly abrasive edge which gnaws at the soul. As a whole, the album 'Overboard' is a brooding train ride which rolls with glowing guitar, riveting rhythms and lingering bass, moving over dynamic waves of musical landscape.

As a deeply philosophical lyrical conundrum, Webb explains "It's essentially about what happens when everything gets thrown away." With an obvious mastery over metal, rock, groove, blues and folk, Webb teases the subconscious with a sneaking sinister style, working his tenor voice across glib guitar glissando on '3 Days Missing' and through the punching tempo of 'Judy Garland'.

In the narrative styles of Nick Cave and Al Stewart, Webb filters his beckoning Don HenleyTex Perkins grunge, with the beckoning huskiness of Peter Gabriel thrown in. All aboard for Overboard! Rich Webb, keep weaving." Renee N. Abbott, Forte Magazine
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Sensational review from DB Magazine

"Although, like everybody, I try not to judge a book (or, in this case, a record) by its cover, this cover photo of Rich Webb, standing in some overgrown backyard next to a destitute, corrugated iron shed, dressed in a mismatched suit, scratching his head as if simultaneously worried and disinterested, screamed out for me to discover who the hell this guy was. And I'm glad I did: 'Overboard' is a gem of a record, even if it's one of those albums you'd never hear except on recommendation. But I tell you; once you've got it you'll never want to let go.

Webb fits somewhere around the Dave Graney mould of singer/songwriter, although his songs are less reliant on some kind of assumed personality, and more focussed on the way in which his real personality presents itself through the form of song. For example, Don't Feel So Sad, the opening track to this opus, is not at all like Graney - it's a Triple J hit in the making (if only they'd play it), with a chorus to die for. In fact, I'd say this song is rivalled only by Michael Carpenter's Good Enough in the male singer/songwriter stakes for 2004.

But this record is also overflowing with his personality, and his less-than-orthodox way of producing pop music. Judy Garland has a Bluebottle Kiss style to it; the demented lament, Blue-Eyed Girl, is masterful; Move On Over, which you may have heard before, expertly adopts an electronic sound to make you bend to its groovy will; Firehole quietly rocks; and the climax, Miranda is a dirty pop song to make you sit up and take notice.

And the best part is, I don't even think as yet that I've discovered everything that I'm going to love about this album." Ben Revi, DB Magazine, Feb 23 - Mar 8, 05
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Queensland's Tsunami goes Overboard

"Glasgow born Webb has a very distinct character which comes through strongly in his music. There are many musicians on this release, but Webb has written nearly every track, and this gives his stylings a great opportunity to show through. This disk comprises, for the most part, melodic rock of a mild nature, given a good level of depth by all of the musicians involved and produced nicely down in Melbourne. I’m not personally too fond of the flavour of the album, but I’m sure there are many people who would respond greatly to the honesty that Webb shows in his music, and this is certainly better than a lot of releases from many in his field." Greg Buchanski 3/5
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'Classy package from olde M-Town' - Rolling Stone, Feb 05

Even if "Don't Feel So Sad" opens like a Matthew Sweet outtake, Rich Webb's heart isn't in upbeat sophisticated pop. The ex-Stiff Kittens frontman is very Melbourne - in the pre-Jet sense - working in a space somewhere between the dark roots swamp of Kim Salmon and the cleanly produced adult pop that comes from Joe Camilleri's Woodstock Studios.

He likes dark atmospheres, but the Nick Cave/Hugo Race schtick is one that's hard to replicate. Webb comes across as a produced version, lacking ill groove, as he echoes Peter Gabriel on "Burn in Hell" or whispers like Dylan's death-rattle on Time out of Mind across "Cry Like a Whale".

It's the latter, more intimate stuff that works best, as lovers swap friends on "3 Days Missing", or the sound is stripped back to horns - breathy and near-still - on the outro to "Take it All". Simon Wooldridge, Rolling Stone editor, **1/2
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Cumbersome Records review

"One of those massively produced CDs presenting a standard contemporary pop/rock atmosphere but jazzing it up to the 9s with super stylish production. This is The The style production, but musically more akin to artists ranging from Bob Dylan to Psychedelic Furs."
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Overboard recommended in Music Australia Guide

This is the magazine of recommended music you pick up in JB Hi-Fi stores and Overboard is one of four Australian CDs reviewed in the March edition.

''He's been compared to Nick Cave and Dylan, but Melbourne's Rich Webb has got his own line in dark pop. A finance journalist by day, Webb does the business on his second solo album, showcasing his earthy, raspy vocal and some strong songwriting.''
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Fruition

"Melbourne singer-songwriter Rich Webb teams up with sound supremo Paul McKercher to deliver 11 blistering tracks of wired alternative rock. It’s an alarmingly inspired concoction, bound together by Webb’s voice, which howls and shimmies through the record like a dust storm from the Mallee desert. Don’t Feel So Sad, Firehole and Move On Over are the radio favourites, while 3 Days Missing is one of the sweetest fingers to an ex girlfriend we’ve heard in a long while. You’ll reach for this after a big night out and find it still doing the business come the morning. Essential listening." Fruition, Melbourne
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Australian Music Community

"Overboard sees singer-songwriter Rich Webb at it for a 3rd time, producing brooding slow rock not unlike the Bad Seeds. Reviews say there are influences including everyone from Bob Dylan and The Beatles, to The Byrds, and Paul Kelly - big wraps there.

Ditching the acoustic guitar for a heavier sound scape, the result is a deeper, darker Rich Webb than we’ve seen before. Tracks like Move on Over' and 'Burn in Hell' demonstrate Rich Webb’s commanding presence, his husky dry voice resonating amongst a sea of howling guitars and deliberate, solid, bass lines. He definitely has a sort of Nick Cave vibe to him.

If you’re into darker alternative rock that has depth and sophistication to it in a dark sort a way, look no further. Unfortunately, for those radio affixed among us, you may just get lost in the murky waters that follow radio friendly opener 'Don’t Feel so Sad'. But bear with it radio heads, because if you can make it through, it’s well worth waiting to see the 'Light'. Whitey, The Australian Music Community
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Others

HOPE AND ANCHOR: ''Former Stiff Kitten Mr Webb dons his pointy boots and dusts down his boyish good looks once more for a trip into the bittersweet world of country the Antipodean way. David McComb rest in peace.''

3PBS: "It's a very, very good album and we sort of heard a different version of it this morning, much more acoustic than the album is, as you'd expect – Rich was in here playing acoustic guitar – and the album is less acoustic, let's put it that way. It's an excellent record and it's called Overboard." John Carver, The Morning After radio show, 3PBS, Melbourne

NOTHING HAPPENING: Thanks Rich for sending me Overboard - what a great album! I'm looking forward to giving it a good airing on tonight's show." Craig Latham, Nothing Happening, Valley FM 89.5, ACT
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Rich Webb interviews

Rich Webb gives his tips for success - Australian Music Online - January 2006

For those folk outside the country who may be unfamiliar with your music, can you tell us a little bit about yourself or your band? How would you choose to describe your sound?
I’m a Melbourne-based singer songwriter. I arrived in Australia a decade or so ago after time in Glasgow, Scunthorpe, Sheffield and London and my sound is kind of wired alternative rock with plenty of melody and variation.

My stuff has been described as being in the vein of Nick Cave, Matthew Sweet, Dylan and Paul Kelly but I reckon it’s more of a mash up than any of those specifically. I can hear more Marc Bolan, Tom Waits and Bon Scott floating around in there but maybe that’s what I’m looking for.

When did you decide that you wanted to be a musician? How did you start going about it?
Ages ago. I was brought up in a steel town in the north of England called Scunthorpe and on the way to school I always walked passed the musical instrument shop. I was listening to music like mad already. Every morning I’d see this really cool yellowy-orange no-name semi acoustic guitar at the side of the shop window. I loved it.

Then on holiday one summer I scored big time on a three fruits slot machine - I got the cherries in a row Iike seven times in succession by pulling the handle in a wonky way. I emptied the thing and the first day after we got back home I bagged that guitar. I soon found out why it was there so long. It had an action higher than even the huge blisters that came up on my fingers but it sounded like a dream. Six months and Hey Mr Tambourine Man later, I traded it in for a black Italian Les Paul copy. It’s a long way to the top.

Early in 2006, AIR – the Association of Independent Record Labels – will launch their eighth compilation, featuring five discs of diverse Oz artists. This CD travels to festivals such as MIDEM and Popkomm, as well as being distributed nationally and abroad. How does it feel to be included on the CD, and why were you keen to be involved?
Very cool. I liked the last AIR release and I reckon they are doing big things for independent music here. I think it’s a top way to promote and spread a heap of great new Australian music in one tasty pocket-friendly takeaway morsel. Chew slowly, don’t bolt it.

Can you share some of your own musical tastes with us: who are three of your fave local artists, and what do you love about them?
Youth Group – their latest album Skeleton Jar is tres cool.

Tim Rogers – the You Am I front man always does the business whatever line up he’s kicking around in.

Machine Gun Fellatio – don’t know what’s happened to them lately but there is no finer exponent of crutch rock with extra sexual overtones. Great fun.

What do you think are – if any – the biggest challenges faced by Australian musicians in terms of building a viable music career, in comparison with similar artists in other regions?
Maybe distance but who’s grumbling when you can get some quality time in at the back of the van. Actually, I think band riders are too small but that’s more of a global issue.

With recent mergers and sales (such as SONYBMG, FMR-Warner) and the ever-changing role of multi-nationals, what are some of benefits you think local artists gain from working with independent labels here in Oz?
Independent labels are where it is at. If you are not a top 20 global mainstream act, want some control over what you do and how you are presented, you would be mad not to go independent.

But I also don’t believe in the ‘all majors bad, all independents good’ rote either – dickheads can run indie labels and there are some exceptionally fine music purveyors in the bigger camp. You are always better off working with someone who understands what you are doing. So get the suit cut to fit the figure.

What’s the most crucial advice you could give a local artist seeking to release their music via an independent label?
Make sure whatever you are delivering kicks arse in whatever style you are working in and that you are totally committed to what you’ve completed. Then find someone who understands what you want to do.

What do the next few months hold for you? Any touring or new releases you can share with us?
I’ve just had a single released in Holland and Belgium and I’ll be heading over there for shows in March/April. I’ll hit the UK after that. I’m due to be back here by the middle of the year to start recording a new album. Sounds like one big ball to me already.

Lastly, what do you think is the most important issue facing the Australian music scene today?
I think we need to work together to get more Australian music out there and this AIR compilation is that kind of happening. Maybe we need a bit more of it. There is a great camaraderie in Australian music. I know when Elliott Smith came out here he brought his mates Quasi with him as support – I thought there was a lot of class in that. It was a hell of a show. www.amo.org.au

The night the stars aligned for Rich Webb - Australian Music Online -December 2005

Who are your 3-5 favourite Australian artists?
There are a heap but the first ones I heard had the biggest impact. I was brought up in England and even before I got over here, I had Bon Scott and Chris Bailey down as all time fave singers – I had no idea they were Australian but that’s one of the great things about music, when it’s working it just doesn’t matter where you are from. Bon Scott has got to be the cheekiest singer I’ve ever heard and Chris Bailey just howls, particularly on the early Saints stuff.
When I got over I was straight into Paul Kelly and for a while Ron Peno and Died Pretty. Mad Nick Cave would be up there too and when you want to get deep down and dirty in a sticky carpet Melbourne boozer, you can’t beat a Saturday afternoon in the presence of The T-Bones.

What are your 3-5 most played Australian releases? Why?
Tender Prey – Nick Cave
I’m Stranded – The Saints
Lost – Died Pretty
Skeleton Jar – Youth Group
City Life - Tecoma
I heard Tender Prey for the first time at a Chris Bailey gig with Paul Hester, Nick Seymour and Chris Wilson with him. The gig was phenomenal and they played Tender Prey in the interval. It was the sound of an electric ballroom burning. I was out first thing next day to get a hold of it.
The Saints have been there for ages and have got me up and down the Hume Highway more times than I can remember.
Died Pretty’s Lost marked a great time although I don’t play it all that much these days while the last two are relative newcomers.
My most played album this year is definitely Youth Group’s Skeleton Jar – I reckon they are really onto something. There’s also one supreme track on Tecoma’s City Life called ‘This Constellation’ which came shining into my world a couple of months ago at the right time and I’ve been doing my best to wear it out. Top song – she’s a star.
Tim Rogers deserves a guernsey somewhere here but I’m out of room.

What do you think is the most influential Australian music release of all time and why?

Let there be rock – AC/DC. It defines how guitar rock should sound. I still haven’t heard anyone make guitars crunch that hard since. Friday on my Mind by The Easybeats is perfect though. There’s no need to call on this stuff, so let’s have two.

Which Australian performer (past or present) would you most like to work with?
Angus Young – I’ll sing two or three lines and let’s cut to the guitar solo eh.

Can you describe one of your most memorable Australian music moments to date:
A while back I played a show with a band I was with called The Stiff Kittens at Sydney’s Hopetoun and Don Walker, Ron Peno, Tony Mott and Roger Grierson were in there boozing and getting down to it. It was great to meet them and to kick into a few afterwards. I had only recently made it over and I thought all gigs must be like this here. Everyone out and about, checking into the new stuff. Ummm, I’ve since found out otherwise - the stars must have been aligned to once in a million that night.

What are your three favourite music websites?
I’m not much of a web surfer but I reckon the Popbitch newsletter can be pretty funny – www.popbitch.com. Everyone should check out this link before they do their next promo shots too - www.rockandrollconfidential.com/hall/index.php – it’s a hoot. But generally, I need to get out more webwise, any suggestions?

What, where and when was the first local gig you attended?
As I said, I was brought up in England, so my first local gig was a few days after I got off the plane and it was Paul Kelly on New Year’s Eve on St Kilda beach – it pissed it down too. Very messy.

Can you tell AMO a story behind your latest release?
I struck a deal with the devil around the Cape of Good Hope. I reckon it was a decent one. He said dump the acoustics, we dumped them. He said turn the electrics to 11, we did that. Then he said get Paul McKercher to mix it, and we did that too. In return, he said it would be the slowest building album since the pyramids but it would get there eventually. I said OK, I can wait.
He’s been right on the build so far – the album’s over a year old and it is only now that stuff is starting to come through on it. He reckoned the crossroads were in Silverton though, so maybe I was had.

Lastly, what do you think is the most important issue facing Australian music today?
Getting more Australian music overseas – we need to work better together to get packages of bands going over there instead of each trying to go it alone. There is a brilliant music scene here but we need to work more effectively to lift the exposure. It’s fine and dandy to play locally and that should be the core of what we are all doing but ultimately, unless you are a top 10 act or something, you’ve got to make it work somewhere overseas as well to get the numbers happening.

Plus, can you think of a better way of spending your time than with a heap of your mates, hitting new cities, trying new brews and then cruising to do a show in the evening somewhere you’ve never been before? I can’t. www.amo.org.au

Rolling Stone gathers a Webb - Jeff Jenkins, Howzat!, Inpress - Feb 9, 2005

You gotta be happy when you get a review in Rolling Stone, especially when you are an indie act. Howzat! knows one local act still proud of their review ("A deaf mute could sing better than this").

Local singer-songwriter Rich Webb's new album Overboard (on All Killer Music) has got a review in Rolling Stone. Editor Simon Wooldridge gave it two-and-a-half stars, but called it a "classy package from olde M-Town".

It's a strange old review; in 143 words it manages to compare Rich with Matthew Sweet, Kim Salmon, "adult pop", Nick Cave, Hugo Race, Peter Gabriel and Dylan.

So Howzat! asked Rich: Are any of these acts actually an influence?

"That review whipped through them at a fair lick, for sure, but I can live with the gist of what he's saying," Rich says. "Bob Dylan would be a definate influence, but you can count Peter Gabriel right out and I haven't heard much Matthew Sweet so I can't really comment there.

"I rate Nick Cave and Kim Salmon, but I don't think I sound much like either of them. My influences are much older sorts - Johnny Cash, Leonard Cohen, Marc Bolan, Bowie, Tom Waits, The Pretenders, New York Dolls, Stones, Saints, Clash and singers such as Etta James, Bill Withers and Billie Holiday.

"They are the ones that got me playing. More recently, The Dandy Warhols and The White Stripes are faves. I really like a US singer-songwriter called Vic Chesnutt and I reckon Elliott Smith was up there with the best of them.

"The only bit I didn't like was the term 'adult pop'. It just sounds a bit too close to Bacardi Breezer to me - uh, no thanks."

The Rolling Stone review also said Rich was "very Melbourne". What does this mean?

"Mmmm," ponders Rich, "this is an odd one. I'm certainly more Melbourne than Sydney - I've never had a tan and will run a mile from a pair of Speedos - but I was born in Glasgow, brought up in the steel town of Scunthorpe and have a Yorkshire accent thicker than Prince Harry, so I don't know about any of this kind of stuff. Melbourne has always had a great and diverse music scene and still has, so I think it would be a very loose category even if you accepted it.

"If Nick Cave is supposedly 'very Melbourne', what about Kylie Minogue? And where would Paul Kelly fit in here? Once you start thinking about it, it does seem a bit daft. What about You am I, Pete Murray, or The Cruel Sea, where do they sit? I dunno how this works."

The Rolling Stone review also concludes that Rich is "lacking ill-groove". Rich doesn't know what that means either.

"I don't sound like I'm sick?!"

Rich has been a Howzat! fave since his time fronting the Stiff Kittens. Overboard is his second solo album, following The Girl Who Laughed Too Much. A highlight is a song called Judy Garland.

"This one is quite literal," Rich explains, "it came about from an argument on the way home from the Astor (so maybe I am more Melbourne than I think). And yep, we had been to see a Judy Garland film - Meet Me In St Louis. I reckon she's a tremendous singer - beautiful voice and edgy.

"I saw Liza Minnelli in London years ago, too - a consummate entertainer. Just brilliant. This song started life sounding like a Dandy Warhols' driving pop number before taking a sharp left turn, jumping out of the car and taking a couple of rolls in the grass. When it was next seen in town it was like this."

Rich is playing Sunday afternoons in February at Barbukka (279 Smith Street). He's also popping up at The Empress on Saturday 19th February with the Custom Kings and Jen Cloher.
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Man Overboard - Jeff Jenkins, Howzat!, Inpress, Feb 16th 2005

Local singer-songwriter Rich Webb has released a great new album called Overboard (on All Killer Music, www.allkiller.com). Rich also has "another" life - he's a financial journalist. Are there any similarities between business writing and rock?

"Not many that I've noticed," Rich smiles, "apart from, I suppose, they both involve writing. One is almost entirely about dough while with the other, only one in a million people involved ever seems to see any of it.

But being a business writer produced one of my best music experiences. I started working as a journalist in London before I came out to Australia and was employed to write about the entertainment industry for a weekly mag there. A band I'd been playing with in Sheffield called Strange Fruit had exploded, I'd headed down to London, broke, camped on my brother's floor and fluked this writing job.

Within a few weeks of starting, I got a call asking if I'd like to visit Chrysalis Records on Oxford Street as they were doing something business-like, I can't remember what. Great, I thought, I'm finally getting through a door I've been trying to barge down for years. They were doing well at the time too with Sinead O'Connor, who is ace.

When I turned up, though, the address turned out to be the legendary AIR Studios on Oxford Street, Elton John was in there recording an album with Glyn Johns and my personal guide for the afternoon was sound genius George Martin.

It was incredible - he went through the whole studio in detail and talked about sounds and the engineering process. I couldn't get a word out for the first half hour, I was so in awe, but he was very kind, a true gentleman and I think he might have pretended not to notice. I do reckon that he was a bit surprised that all I wanted to talk about was the music though.

I thought, after four years battling away with a band, this journalism stuff can really get you somewhere fast. But nope, I didn't have a demo tape with me."

Does Rich's day job influence his songwriting?

"Not really - but it pays for it."

Do the big business people know about Rich's other life?

"I doubt it. And I still hate it when the two get mixed the wrong way and bands do dumb sponsorship deals with coke and vodka companies and such."

Rich is playing Saturday at the Empress (with Jen Cloher and the Custom Kings) and Sunday afternoon at Barbukka.
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The Girl Who Laughed Too Much reviews

Rolling Stone - 4*

"It's easy to warm to Rich Webb's debut album. The former singer and guitarist of the Stiff Kittens creates a melange of folk melodies containing the casual breeziness of the acoustic guitar and his spirited vocals. Whether it's the jostling '60s feel of 'Doing Fine' or the cradle tenderness of 'Baby's Got New Clothes', it's all richly layered in hypnotic guitars and captavating musical arrangements." Jane Rocca, Rolling Stone, 4*
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Mojo

"The Girl Who Laughed Too Much is an interesting, sometimes brilliant confection. As with a lot of Antipodean artists, the musical facts of life begin with The Byrds and The Beatles, but the verve, intelligence and oblique angle of Webb's attack make something original from these traditional elements." Joe Cushley, Mojo
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EG - The Age - 3 1/2*

"Rich Webb delves deep into the acoustic troubadour tradition on his debut release, delivering 10 guitar-driven, self-penned tunes. From the poppy 'Baby's Got New Clothes', on which Webb sings in upper register, to the soulful 'If You Were To Go', on which he lowers the tone, sounding like a cross between Paul Kelly and Dylan, Webb maintains the interest with his accomplished songwriting and harmonious blend of atypical and mainstream rhythms." Ian Beer, EG, The Age, 3 1/2*
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Inpress

"It's an excellent singer-songwriter record, reminding of Dylan, Grant McLennan and Pete Wells. Down beat with country edges and epic pop qualities." Jeff Jenkins, Inpress
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Bring On The Dancing Girls reviews

Juice - 7/10

"Webb is a local singer/songwriter who obviously admires American folk and country traditions, yet refreshingly doesn't try and sing in a fake accent. Bob Dylan, Leonard Cohen and Paul Kelly are obvious reference points, which always maintain interest. His whispered vocals are well backed by a subtle, atmospheric band." David Messer, Juice, 7/10
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The Stiff Kittens reviews

A gem or an album for lovers of garage rock, says Sunday Herald-Sun - Dec 07

In short: Infectious guitar-edged garage rock
In the early 1990s, a rocking trio from Melbourne created waves on the British and American indie rock scenes with powerhouse 1960s-styled guitar-edged rock. The trio, Stiff Kittens, explored punk rock's cool fuzzy roots on its four celebrated EPs released between 1992 and '95.

Remastered from their original tapes, Greatest Trips showcases material from all four classic recordings - featuring such hip-shaking cuts as Fat Boy, Eight Wheels, As You Walk and the ultra-hip Surf's Down.

With its quick-time rugged beats, buzzing guitar and spacey vocals, the Stiff Kittens dynamic was hard, dense and distinctly Australian with a sound and style that can be compared to the Saints and Radio Birdman. Greatest Trips draws together some hard-to-find material and it is a gem of an album for lovers of garage rock and the classic Aussie surf punk guitar sound. *** David Flaherty

Garage pop rock straight from the time machine, says Rave Magazine - Dec 07

Although it claims to be “remastered 2007 style”, Greatest Trips sounds like it hasn’t been touched since the days the songs were released… back in the early 1990s.

The Melbourne trio are trying to re-release their old stuff into a new generation, a plan that just might work out for them. Stiff Kittens genuinely present old-time indie rock with this album, something that modern acts have been known to painfully imitate without any of the Kittens’ verve.

After spending some time in the UK, their sound was a nice mash of classic Brit and Aussie rock and explains why the band caused a commotion overseas.

Standout tracks such as Someone Else and As You Walk should have anyone with an appreciation of the lo-fi guitars and vocals of the ‘90s happily rocking down memory lane. Keryn Ponting
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'Single of the week' - Melody Maker - 1993

"Dance one minute, sweet noisy oblivion the next. Living for the blinkers means you've already given up. In our glib, glassy hubris we forget that guitar bands don't have to live their lives like variations on that creepy Sony MiniDisc advert, that a bit of a din can still amble around the edge of the imagination and that there is often a perfectly reasonable explanation for wearing a shirt that appears to be inspired by vomit. Melbourne will be the next Seattle when pigs' wings get a place on the barbie, but The Stiff Kittens smear the senses with an alarmingly inspiring vim. There's three of them, they do the rumbly pop earthquake thing better than most of us and, best of all, they have a drummer with the surname Lastdrager. I'll be emigrating shortly." Paul Morley, Melody Maker. 'Single of the Week'
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