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MP3 Dead Beat Daddios - Dashboard Elvis
12 MP3 Songs in this album (43:11) !
Related styles: Country: Alt-Country, Rock: Aussie Rock, Mood: Upbeat
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Details:
The album''s opening track is a statement about a bloke with one such grand obsession - and it is spectacular in every sense.
As a result, our character (we’ll call him BT Man) gets a letter telling him his woman is dumping him. In fact, she writes him a letter because she can''t even get his attention to have a face to face conversation. It had to be done.
Finally, belatedly, he realises that he has to talk to her and they sit down to discuss their situation. But her lines are "already rehearsed". Her mind is made up. Our man eventually resigns himself to recognising he stuffed up and he Just Can’t Get Angry with her about that.
So his next move is to put up the House for Sale sign. It’s another pause for reflection on life''s vagaries and the bewildering didn’t-see-it-coming transition from loving home to empty house. He seems to accept things and acknowledges the need to move on.
But then the jilted lover regresses and takes to stalking the ex on the telephone. His Incoming Call is not appreciated.
Eventually (before the police get involved), BT Man realises the folly of his ways and resolves to get out and meet someone new. But, being on the rebound, his new conquest is a real boozy floozy, as they often are. Still, at this point our man doesn''t care if she has to get drunk to love him, If That’s What it Takes.
In the vinyl era, this would get us to the end of side one. And for our hero, there is a turning of the page, in a sense.
The second half of Dashboard Elvis is sung mostly in a different voice and introduces a couple of alternate themes. Map 58 is a flashback to the beginning of his one true love, with that summery glow that new things bring.
Our hero testifies to a celebrated male emotional shortcoming, but the listener begins to suspect that his tendency to Flatline is a strategy rather than purely a limitation.
As we hurtle around the last dangerous curves, the cryptic Swamp Chicken Boogie takes us on an excursion into another grand male obsession of fishin, huntin, shootin, boatin – anything without a “g” on the end of it. The visceral sounds and smells of the swamp add a powerful emblematic aspect to our character’s take on the relationships he finds himself in (or out of).
But BT Man is nothing if not an optimist. Despite the clumsy attempts at finding new love, he''s still looking. And he''s found a country girl who is perfect ... if only they could bridge the urban-rural divide and find some Common Ground.
Eventually they do sort out their geo-spatial situation. He was once Lost, but now he''s found. So to speak. He has a new relationship, and a new lease on life. For now.
And we close the album with a reminder that BT Man has truly evolved and is now walking upright in emotional terms. Still, he knows plenty of dudes who play at love like they play at chess, making moves and taking score.
And so it begins again ...
The Dead Beat Daddios are:
Malcolm McBeath played bass with the Warner Brothers and Overnight Jones and was a one of Melbourne’s most in-demand session bassmen, playing with people like Joe Camilleri amongst others.
Jim Carden was the original drummer with the Warner Brothers before joining Melbourne alt-country band the T-Bones where he and Hugh played together for many years.
Hugh Martin played bass and guitar with a number of other bands in Melbourne, including the Bootless and Unhorsed, a short lived outfit led by Paul Cumming, aka Elroy Flicker.
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