Going Gowings Gone

#636

Now for something completely different that relates to a harmonica I was gifted some time ago. The last Gowings store closed in 2006 and this commemorative harmonica stock somehow became available for other music stores. My curiosity was piqued on how many it was limited to (obviously not 500 as my specimen is #636) and for which anniversary was being celebrated. Gowing Bros. was established in 1868 so perhaps it was produced for their 140th in 2008, but then again you would think it would have been stamped on the harmonica.

Well, thanks to Dane Clarke from Mando Harp, I can confirm there was 1,000 produced and they were to be used for both their 140th & 150th (this was the reason no anniversary was stamped), but they never saw the light of day. In fact they were never paid for by Gowings which resulted in Australia’s Hohner distributor being left with the unpaid stock.

As for the claim they were recognised for selling harmonicas, I couldn’t locate one advertisement in the newspaper archives. The store was more noted for its menswear and I also believe their men’s haircuts.

These harmonicas are a relic of our retail history and they are nicely presented in a wooden box with engraved perspex. Probably the most impressive feature, however is this harmonica wasn’t cheaply produced. In fact they are a Hohner Marine Band Classic in the key of C, so even if you’re not into the historical aspect, this could be a more affordable option of securing a top end harmonica in today’s ever increasing market.

The reason for my renewed interest in this harmonica is that I recently became aware of the Aussie saying ‘Gone to Gowings’ from a national television rerun of ‘Letters And Numbers’. The proclamation of ‘Gone to Gowings’ had made its way into the dictionary referencing someone leaving in haste. Being a resident of Victoria I wasn’t aware of ‘Gone to Gowings’, which would have been more prevalent north of the border in New South Wales where the store was located. The saying arose due to an advertising campaign in the 1940’s suggesting people would miss important events to go to the popular department store.

It is alleged the infamous bank robber and escapee Darcy Dugan had left a note ‘Gone to Gowings’ in a jail after one of his many successful attempts. Darcy was renowned for leaving a calling card for authorities at his crimes. ‘Gone to Gowings’ later became associated with going under, either through financial loss, failure of a racehorse or sporting team and having a hangover.

Darcy Dugan was known as The Houdini of Australia’s underworld. He spent more than 40 of his 70 years in and out of Sydney jails, successfully escaping six times and attempting to break out on innumerable other occasions. A fan of actor James Cagney he copied his elegant style of wearing double-breasted suits and spats.

His list of incredible breakouts included escaping through an 45cm-square hole at the back of a police van moving at 50km/h, and cutting his way through the roof of a police tram travelling between Long Bay Jail and Darlinghurst Court. Darcy was reported to have a unique ability of swallowing knives and, I guess, regurgitating them!

Darcy was patriotic too! He wouldn’t carry out a robbery unless a Holden vehicle was used for the getaway.

Even Darcy had his own colloquialism. In the 1950’s and 60’s ‘Doing a Darcy Dugan’ was a parlance known for betting on horse racing, in particular for getting out on the last race (the get out stakes) with a win.

From Newspaper Archives

He may have been well known in Melbourne City in 1923, but there’s no other mention in the newspapers of the blind, armless mouth organ player. Oh to go back in time and hear the harp of the nameless man. Would have loved to know more about them and the incident. Did they know they were obstructing the traffic? What a pity they couldn’t put his name to the picture!

Mike Rudd with George Butrumlis.

The Westernport Hotel San Remo. Sunday June 23.

With a chill in the evening air and the setting sun glittering on a sedate ocean, we set forth on our short coastal drive to San Remo. On entering the venue a big crowd had already assembled in the front bar. We ventured through to the lounge and sunk deep into the leather sofa by a crackling log fire while tucking down an early meal. When Mike and George fired up we left our cosy surroundings for the front bar where we were lucky enough to secure a couple of stools.

They set the standard high opening with a Beatles cover, She’s A Woman. From there they never looked back priding themselves on how hard they attacked Mike’s extensive back catalogue. Mike rolled out version number 1 (guitar version) of IBG (I’ll Be Gone), then the calypso Jamaican Farewell and a wonderful ten minute version of Superbody that exhibited Mike’s newly founded looping abilities. The hypnotic bass riff was seasoned with ethereal notes from both his guitar and recorder. I’d misremembered his prolific skills on the woodwind instrument.

There was more delicacies from his various outfits, Spectrum, Indelible Murtceps, Ariel, the Heaters and brilliant arrangements of more recent material (ageing as I write) that he and Bill (Putt) had penned from the ‘Living on a Volcano’ album (Having A Wonderful Time, San Andreas, [I Cannot] Look At The Moon and Almost Hollywood). Mike and George consummated the wonderful evening with another version of the classic IBG this time with the harmonica, rhythmical clapping and reasonably in tune backing vocals from the congregation.

I have witnessed many of Mike’s projects over the journey, but this was a first. The combo was smooth as single grain whiskey, George Butrumlis (original Black Sorrows member and Zydeco Jump founder) blended his virtuosic skills on the piano accordion with Mike’s voice, guitar and harmonica with such an ease that the mixture provided a tasty musical delight. Back to our seaside shanty guided by the bright light of a large, orbicular, silvery moon.

Ian Collard

The Westernport Hotel San Remo. Sunday June 30

A week later we were back at the blues jook joint for one of Australia’s finest harmonica players, Ian Collard. More than a chill in the air as Winter had really set in. All his coordination skills were on offer combining rack blues harp with guitar lines. Plenty of Jimmy Reed and his high harp licks. Highlights galore during his three sets, Shame, Shame, Shame, Promised Land and Joe Hill Louis’ Boogie In The Park all from his second set were personal standouts.

That’ll do donkey – for a while. Sunday Winter arvo/evenings from now on will be spent drinking single grain by our Nectre!

Down Under

I can't be sure that I truly exist
There's no one to communicate with
Maybe I died walking off a cliff
And when I got to hell I forgot about it?
Somethings gone wrong
Hell - New Delica

Thanks to Peej from Community Radio 3MDR, I became acquainted with talented local singer/songwriter New Delica (aka Pat Coyle). His moniker originates from his old 4 by 4 Mitsubishi Van with which he previously toured the East Coast. Appearing on Peej’s high rating Brekky show to promote his latest album ‘Taken By The Storm’, Pat performed a few of his tunes acoustically. And immediately we were gob smacked with his vocal.

Nothing went wrong in the production of ‘Taken By The Storm’s’ creative artistry. For only a young man his lyrical expertise, sense of melody and song structure is something to behold. The opener, the title track is a fine ensemble of electrical acoustica. It had both Peej and myself toe tapping. Although neither of us dance, Peej informed his dedicated listeners that toe tapping is a recognised form of dance.

Pat creatively applies the ten hole tin can to several tracks enhancing the feel and mood on each of the tunes. Taken By The Storm, I Saw The Dogs and Hell all feature the St. Louis Trumpet. The slow marching beat of Hell includes haunting cross harp and emotive repetitive vocal. I Saw The Dogs breaks from its timidness with wailing harp and a positivity for fighting for the sheep.

A couple without that demand a plug – Firstly, the single release from the album Don’t Take Me Now. A slow shuffle with gospel overtones has exquisite female backing vocal and MOZË (Zoe Marshall) even takes the lead with spine tingling intensity – I believe! The other track of note is Take In The View (“Why do things like this keep happening to me?”) the instrumentation and building vocal emphasises the personal struggle.

The album was mixed and mastered in Pat’s three room home studio (Prospect Studio). Pat had studied audio engineering, but didn’t step on the podium for graduation. It did, however ignite the kindling for home brewing and it certainly didn’t affect the quality here. This is an album you must spin for your aural pleasure.

Out now on Bandcamp. ⭐️ ⭐️ ⭐️ ⭐️ ⭐️

Three For Free

Next you’ll be telling me, Ginger’s the New Black - Caledonian Castaways 

Three little penny bungers all with harp to get your lug holes around. The humorous Schizo Scot from the Caledonian Castaways has an Ian Dury ‘hit me’ feel and brilliant harp from Alex Burns. Mitch King drops another ripper tune with smooth harmonica that takes us down to the ocean with Gliding Through The Sea. Concluding our ‘three for free’, is from a cracking new Brisbane Carn-Tree band The Wet Whistles. Do A Little Damage is their latest ditty, a catchy drinking tune that includes excellent harmonies and frothy rhythmical harp from Caillin Malley. It’s called a liver for a reason.

Up Over

There in my memory
Just on periphery
Loose knit like gauze on the centerline
The broke down cobblestone drive, the Black Maria
Black Maria - The Decemberists

The Decemberists first came to my attention in 2010 with their alt country – esque single Down by the Water which had an evocative harmonica hook, Peter Buck (REM) on guitar and Gillian Welch on backing vocals. Colin had revisited an early interest in the mouth harp specifically for the ‘King Is Dead’ album from which the single was lifted. I soon became a huge fan of The Decemberists intoxicated by Colin Meloy’s elocutory command, in particular after hearing his trilogy based on a Japanese folk tale entitled The Crane Wife – that totally blew me out of the water. Just six letters g,w,o,l,e,y (Gollygeewowee!).

I haven’t had their latest off the turntable. The rock operatic three part epic Joan In The Garden, has been on an even higher rotation. Coming in at just over at nineteen minutes it references the 15th century martyr Joan of Arc. Only Colin could pen such a classic masterpiece. I should say the album is one of their all time best and possibly supersedes ‘The King Is Dead’. There’s harp on the Beatlesque Born In The Morning, but check out those without, The Black Maria, The Reapers and Long White Veil. No! Just do yourself an auditory service and spin the entire album. It’s out on Bandcamp too!

The Sign Said

(Everybody’s welcome, come in kneel down & pray)

Thought you might be interested in this from a previous auction house job lot. The Crackajack agents sign is an early one 1900 – 1906? Hope the buyer was interested in it and didn’t just discard it because they were interested in one of the others. If not, I’m in – at the right price.

Chook is Cookin’

Dawg Blawg

An additional blog this month a 45 Revolutions. Check it out here Oh! Boy Oh! Girl!. Look out for another one early next month (Church Avenue) where I’ll need your help identifying the harpist.

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