Not Drowning Waving

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David Bridie
lyrics and album credits




In cavernous beer barns across Australia, sweat and smoke condensed on ceilings and rained down on t-shirted blokes, crushed like fish in cans, desperately shielding foamy glasses from stray elbows. In front of them, bands flailed away at four-square guitar anthems. Lights blinded. Amps sucked electricity until the grid buckled. Singers shouted to be heard. It was loud. It had to be. In the early 1980s, they were always, always trying to drown out the noise from the bar.

Not Drowning, Waving arrived with other ideas. Why not play in places that didn't fit the description? Why not write songs with texture and space as well as melody and rhythm? Songs with colours from the non-rock palette: piano, violin, cello, harmonium and a whole library of things that go clack and thud when you hit them? And why not turn for inspiration to places generally overlooked, from the acoustic and electronic lines of old Europe to the indigenous atmospherics of this country and the islands that surround us?

It was a big plan. Maybe, sat around a wonky laminex table in a Richmond kitchen, they assured each other that it was so crazy it just might work. Or maybe they simply didn't know any better. They were only two (at first, and then quickly six) wannabe musicians who knew each other from the inner city share house circuit. Why would they know the rules of pub rock? And why would they care?

If they did have an inkling of the preposterousness of their scheme, they obviously ignored it. NDW failed immediately, and in every ongoing sense, to fit in with the prevailing trends of the Australian music industry. They were proudly, brilliantly unlike any band this country has produced. And the sound they made was as distinctive as it was indefinable. They wrote songs you could feel like sunlight on your skin, taste like salt left behind by the sea.

Critics loved NDW because they demanded adjectives. Their music was haunting, evocative, brooding, sensuous and a million other words that excite people who type for a living. Looking back, the adulation that tailed them probably lent an image of pretentiousness, though the band did little to deserve that millstone. Okay, maybe the poetic name was a problem, but there was nothing precious about them as performers or people. Even now, they will be squirming as they read these words, because they're stupidly modest. They would choose to deflect and demur and distract.

In record stores, you could usually find NDW filed under ambient or art-rock, ill-fitting labels if ever there were. Truth is, the band were often minimalist, but they never made background music. And they may have been arty by comparison to other acts of the era (look mum, no blues riffs), but they knocked out some glorious pop tunes.

If NDW were misunderstood, it was most likely because they were ambitious and forgot to do the Australian thing and apologise for it. They bypassed the accepted career path of finding a sound and then polishing it into a single, shining signature note. They were always packing bags in search of new territory, venturing at first beyond the city into the bush, and then beyond our borders, across the Coral Sea and out into the Pacific.

NDW made half a dozen albums and a couple of film soundtracks in the decade they spent together. Another Pond, the debut, was recorded in a spare room and feels like the blueprint it is, a definition of the stillness at the core of the NDW sound and a declaration of intent to move away from it. The Little Desert followed, a stately, almost entirely instrumental album which was conjured in a church in Elsternwick, but calls to mind the beautiful and unsettling landscapes of outback Australia. Cold And The Crackle pushed outwards and inwards, balancing those landscapes with portraits, contrasting wide open road with claustrophobic suburb, filmic vista with sinewy groove.

The band's twin high water marks would follow. Claim (I can still remember holding it for the first time) seemed to draw together the strands that had come before, boosted by steel-eyed confidence and an evolving songwriting poise. Rolling Stone named it Album Of The Year. Comparisons were drawn to the likes of Peter Gabriel and David Byrne, both of whom were already fans. Acclaim poured in from offshore. A contract was signed with Warner Bros in New York, inspiring the local office soon after.

Next came Tabaran, a collaborative project with musicians from Rabaul in Papua New Guinea. Neither exploitative nor the slightest bit anthropological, it was a genuine, joyous integration of cultures, a landmark album which sounds as startlingly right today as it did in 1990. Its unique hybrid confused the marketing departments of the major labels, but that didn't lessen the achievement.

Topping it was always going to be a problem. Circus, which followed in 1993, showed a band at full maturity, but pulling in different directions, wrestling with the question of where to go. It's a record packed with great songs but it feels, with distance, somewhat overthought, less cohesive than it might have been. And when it didn't prove to be the expected global foothold, a disillusioned band did what so many others have done before and since, picking at their own threads until they fell apart.

What counts now is what they left behind. And so much more went on in the songs of NDW than can be captured on this page. I could tell you about the back porch drama of some of David Bridie's lyrics, or the pinpoint dissections of colonialism in others. I could tell you about the headstrong, affirming balance of passion and compassion. I could tell you about the flights of whimsy and wicked good humour. I could tell you about the fiery, unmissable live shows. I could tell you about the what-the-hell-is-he-doing guitar playing of John Phillips and the trance-inducing percussion of James Southall. I could tell you about the subtle, dexterous bass lines of Rowan McKinnon and their flirtation with the heavy, heavy snare sound of Russel Bradley. I could tell you about the blossoming of Bridie's voice and the eclectic and effective contributions from Tim Cole, not the least of which was his nervy dancing.

Or I could just tell you that the funny thing is, given the starting position, Not Drowning, Waving ended up a truly rocking act. They may have been un-ironed rather than ripped and torn. They may have had (mostly) sensible haircuts. They may have been polite to old people. Their audiences may have often been seated. But these guys could rock hard. They could sooth and they could threaten.

There are two discs here. One is full of tremendous instrumentals. The other is full of tremendous instrumentals too, but they have words and what you'd call singing. If you're reminding yourself of a band you used to love, settle back and enjoy the re-discovery. If you've never before been to the places Not Drowning, Waving went, then there's quite a journey in front of you. What I wouldn't give to be hearing this for the first time. Christ, I'd be willing even if it meant going back to the 1980s...

Jon Casimir
February 2005


Recorded at Pigpen and mixed by Tim Cole at The Sound Asylum in July, 1990. Overlay was used on the soundtrack for Oliver Stone's 1994 film, Natural Born Killers. It was originally from the B-side to the Fishing Trawler 7-inch single, released in 1990 on Mighty Boy Records.

David Bridie - analogue keys, sounds | Tim Cole - sounds | Rowan McKinnon - bass | John Phillips - guitars | James Southall - congas

Rainforest recording from Big Sur National Park

Lifted from the 1993 Circus album (White/Reprise). This was recorded at Rockfield Studios in Wales in 1992  It was mixed by Hugh Jones and engineered by Helen Woodward at Master Rock Studios in London.

Norman Young ("you right?") was an old bloke who lived in Epping, outside Melbourne. Tim and David recorded his contribution as part of an unfinished project, in which they collected stories from elderly people and layered music beneath them. Norm passed away a few years later, aged 92. "Never troubled the beach - too much sand."

Russel Bradley - drums | David Bridie - piano | Rowan McKinnon - bass | Helen Mountfort - cello | John Phillips - guitar | James Southall - congas


A SELLING OF THE ROCK (Bridie/Phillips)
Originally from The Little Desert album of 1985 (Rampant Records), this version has additional vocals recorded for the CD release of the NDW catalogue, which happened when the band signed to Warners Bros Australia in 1990. The original recording was completed at an old church in Elsternwick in 1985. Additional vocals and remixing were done at Hothouse Studios in 1990 by Tim Cole.

A Selling of the Rock was used as the title music for the Arts Show on ABC-TV.

Russel Bradley - drums | David Bridie - piano, vocals | Tim Cole - vocals | Rowan McKinnon - bass, vocals | Helen Mountfort - cello | John Phillips - guitar | James Southall - congas

Guest vocalists - Chris Wilson, Rebecca Barnard, Shelley Scown and Kerri Simpson

AZAHE (NDW/Ponam Garamut Drummers)
Azahe comes from the 1990 Tabaran album (WEA). It was a collaboration with the garamut drummers of Ponam Island in the far north of Papua New Guinea. Ponam is a tiny reef island north of Manus Island and home to 200 people. NDW stayed there for two weeks after the Pacific Gold Rabaul sessions in 1988. The garamuts are also called slit-log drums and are played by ensembles. The drums vary in size and sound - the big bass garamut is about two metres long and played vertically, leaning against a tree. The smaller garamuts are about half a metre in length and are played on the ground. Azahe was recorded at Ponam Island and Hothouse, mixed by Tim Cole and produced by NDW in 1988-89.

Ponam Garamut Drummers | Alphonse Kawei - garamut | Charles Lamun - bass garamut | Hubert Papei - lead garamut | Gregory Soho - garamut | Paul Radrupii - garamut

Russel Bradley - cabassa | David Bridie - keys | Tim Cole - sound layers, ocean recordings | Rowan McKinnon - guitar

BIG SKY (Phillips)
Big Sky comes from The Little Desert album (Rampant, 1985). Left alone in the studio overnight with a bunch of harmonisers and stereo delays, Johnny started to tinker. This tune became one of the highlights of live shows over the years as Johnny refined the sound and weird picking technique. The rest of the band would retreat to the wings and he'd stand alone, making this huge sound that was at once ethereal and unnervingly demonic.

Recorded by John Phillips at the little house in Kew, mixed by Tim Cole at the Jam Tin.

John Phillips - guitars

Plog - benevolent primeval swamp monster - was originally recorded for the Cold and the Crackle album (Rampant Records, 1987). This track found tighter form over years of live playing and was re-recorded for the CD re-release in 1990. We've opted for the latter version here. A bit more grunt    

Recorded at Sing Sing Studios. Mixed at Hothouse by Tim Cole.

Russel Bradley - cheese drum, congas, bowed cymbal & sticks | David Bridie - keyboards & chants | John Phillips - guitars | James Southall - congas, bongos & bells | Rowan McKinnon - bass | Theresa Blake - cello

Swamp sounds recorded by Les Gilbert

Sweat comes from the Claim album (Mighty Boy Records/Reprise, 1989). It was recorded and mixed at Fast Forward Studios by Tim Cole and John French, produced by NDW.

Russel Bradley - humdrum & roto toms | David Bridie - piano, drone & strings | Rowan McKinnon - bass | John Phillips - guitar | James Southall - guitar | Kieran Casey - cello | John Murphy - bowed cymbal & metal things

Archival Manus Island vocals thanks to Don Niles and The Institute of PNG Studies, Port Moresby.

Walk first appeared on the soundtrack to the 1991 Jocelyn Moorhouse film Proof, starring Hugo Weaving, Genevieve Picot and Russell Crowe. This was NDW's first commission for a feature film soundtrack. Jocelyn's frame of reference was the percussive nature of the Tabaran album, so that was the kind of brief we began working to. Walk later became the basis for the Telek song, Amidel. That Proof is now regarded as a classic of Australian cinema is very pleasing. The soundtrack album, also called Proof (Rogues' Gallery), won an ARIA award for Best Independent Release of 1991.

Recorded at The Pig Pen and Hothouse by Tim Cole, mixed by Paul Kosky at Metropolis.

Russel Bradley - drums, percussion | David Bridie - piano, keyboards | Rowan McKinnon - bass | John Phillips - guitars | James Southall - percussion

BROTHER NORBERT (Bridie/Phillips)
Brother Norbert, named after a slightly eccentric “Brother of God”, was recorded in a one-day session at Roger Campbell's studio out in the Melbourne suburbs, a contact we gained through David Chesworth. He was part of Essendon Airport, always something of a role model for NDW, a music collective we admired. Brother Norbert was initially released on the Sing Sing EP and was later placed on the reissue of Cold and the Crackle. We always loved the dinkiness of the early '80s drum machines, and the Compu-rhythm reigns supreme here.

Recorded and mixed by Roger Campbell at his house | Produced by John and David

David Bridie - piano,loop and keys | John Phillips - guitars and things


This version of Sing Sing comes from Tabaran. A sing sing is a Papua New Guinean festival of music, dance and feasting, and this became our signature tune. We always ended our live gigs with this song - a furious crescendo of percussion, squealing guitar and keys, usually at a blistering sound level.

We recorded this three different times: a live version on the 1986 Sing Sing EP, recorded at the Tropicana club in Richmond; a studio version on the 1987 Cold and the Crackle album; and this version, which we recorded kind of by accident. We arrived in Rabaul expecting to have a couple of weeks of rehearsals with the Rabaul musicians before we hit the studio. But Greg Seeto, the studio manager, told us we had to start recording the following day. We had nothing prepared, so as a means of showing the local musicians where we were heading, we recorded this. It's based around our interpretation of a Manus Island garamut piece. We had originally developed it for use in Mark Worth's short film, Diwai Bilong Ninigos, about the canoe makers of the Ninigo Islands, west of Manus. The Highland singers, who worked with Max Mehemere, a music teacher at the nearby Kerevat National High School, recorded all sorts of vocal chants over the top of the percussion bed.

Recorded at Pacific Gold Studios Rabaul, Sing Sing Studios and Hothouse by Tim Cole. Mixed by Paul Kosky at Platinum Studios. Produced by NDW.

Russel Bradley - drums, percussion | David Bridie - keyboards | Tim Cole - straw broom, sound placement | Rowan McKinnon - bass, drums, garamuts | James Southall - congas, percussion | John Phillips - wailing guitars

Raymond Onio, Mai Nohime, Singebe Boowe, Yaki Tazine, Terry Teonte - Highland vocal chants and mabu/bamboo flutes

Craig Harnath - additional sound placement


This comes from Tabaran. Highlands flutes are traditionally played in pairs, often in call-and-answer patterns. David and John layered some moody keys, piano and guitar parts over the flutes, which we recorded in the 1988 Pacific Gold sessions in Rabaul. We tried to capture the cool, misty stillness of the PNG Highlands. The tap drips fell randomly in the studio sink as the mix went down.

Recorded at Pacific Gold Studios and Sing Sing Studios. Mixed at Hothouse by Tim Cole (1989).

David Bridie - piano, analogue synth | John Phillips - guitars

Raymond Onio - mambu/bamboo flute | Singebe Boowe - mambu/bamboo flute | Mai Nohime - mambu/bamboo flute | Yaki Tazine - mambu/bamboo flute

Yes Sir I Can Boogie comes from Cold and the Crackle. Guest Andrew Carswell's deft mandolin line really glued this tune together, and it became a live favourite.

Recorded at Sing Sing Studios and mixed at Hothouse by Tim Cole. Produced by NDW.

Russel Bradley - congas, drums | David Bridie - piano | Tim Cole - 12-string guitar, tambourine, tape of Chloe's Bar, Young & Jackson's Hotel  | Rowan McKinnon - bass | John Phillips - guitar | James Southall - timbals, congas

Andrew Carswell - mandolin | Penny Hewson - acoustic guitar

Maroon Rust (Bridie/Phillips)
Maroon Rust comes from Claim.

David Bridie - piano | John Phillips - guitar | Kieran Casey - cello

Ascending Me and You (NDW)
From the B-side of the Spark single, taken from Circus. For some reason this didn't make it onto the album. It started with Johnny's noodling guitar line and built up from there.

Recorded at The Pig Pen by John Phillips. Mixed by Stuart McPhee. Produced by NDW.

Russel Bradley - drums | David Bridie - piano, keyboards, vocal | John Phillips - guitars | Rowan McKinnon - bass | Helen Mountfort - cello | James Southall - congas

The Cheshire Cat (Bridie)
The Cheshire Cat comes off the 1984 Rampant Records release, Another Pond.

Recorded at David Cheshire's house in the living room on the grand piano by David Cheshire. Remixed at The Jam Tin by Tim Cole. Produced by David Bridie.

David Bridie – piano


Lifted from Tabaran, Up in the Mountains was originally recorded for the 1986 Sing Sing EP. Although not part of the 1988 Pacific Gold recording sessions in Rabaul, it was an appropriate inclusion on Tabaran.

Up in the Mountains is dedicated to the memories of Mark Worth and Warren Siebert. It was Mark who inspired us to go to PNG by regaling us with tales of his youth and asking us to provide the soundtracks for many of his films. Mark made a wonderful film clip for this track, using archival and contemporary footage, as well as off-cuts from his Diwai Bilong Ninigos film. Mark passed away early in 2004, a week after his groundbreaking Land of the Morning Star documentary, an expose on the dire situation in West Papua, was shown on ABC-TV. Without Mark, Tabaran would never have happened. He left us all with a life-changing experience.

Warren Siebert played additional percussion at a handful of gigs with NDW. He was an amazingly talented artist and tragically died way too young.

Recorded and mixed at Fast Forward  Studios by Tim Cole and John French.

Russel Bradley - drums and percussion | David Bridie - piano, keys, lyrics, vocals | Tim Cole - sounds | Rowan McKinnon - bass | John Phillips - guitar | James Southall - shakers, percussion | Maurice Lacey - bongos

Amanda Brotchie - vocals | Warren Siebert - roto toms

Sound recordings of rocks into lake by Les Gilbert


Palau comes from Claim. Another of the stalwart live songs. It was re-recorded in 1990 for the Claim CD re-issue - a quicker version, with electronic percussion and more loops and samples. We've included the original here. The lyric is inspired by Dennis O'Rourke's documentary, Yap: How Did You Know We'd Like TV?, which looked at how US cable television shows such as The Price Is Right were beamed into remote Pacific Island communities.

Recorded at Sing Sing Studios. Mixed at Fast Foward Studios by Tim Cole.

Russel Bradley - humdrum, bells | David Bridie- keyboards, bells, lyrics, vocals | Tim Cole - bells, vocals | Rowan McKinnon - basses, bells | John Phillips - guitar, bells | James Southall - congas, and bells

Marie McMillan - oboe | John Murphy - percussion

bamboo (mambu) flutes from Korogo, Sepik River, PNG


DARE NOT SAY A WORD (Bridie/Phillips)
Taken from Another Pond, this was the song for which we chose to make the obligatory film clip. Tim shot the video at Wilson's Promontory and the Port Melbourne railway yards, using a three-colour-separation technique, with John and David goofing around in their pyjamas. The airplay the video received on the ABC music-video show Rock Arena was the first media exposure for the band. The pyjama look failed to take off. Rowan hates his recording - "more than lumpy," he says.

Recorded at Bill Tolson and David Cheshire's house, engineered by John, David and David Cheshire. Mixed by Tim Cole at John's house.

David Bridie - piano, keyboards, lyrics, vocals | Rowan McKinnon - bass | John Phillips - guitar


The Magician was one of the high points of Circus. The Rockfield sessions were something new for the band - luxurious accommodation, full-time chef, oodles of state-of-the-art equipment, engineers, assistants, a huge budget and most significantly, Freddie Mercury's Bohemian Rhapsody grand piano. We like to think that there's a bit of Freddie somewhere on that record. And we like the rhythmic swampiness of The Magician.

Recorded at Rockfield Studios, Wales. Mixed at Master Rock Studios London, engineered and mixed by Hugh Jones, assisted by Helen Woodward. Produced by Hugh Jones and NDW.

Russel Bradley - drums | David Bridie - strings, lyrics, vocals | Rowan McKinnon - bass, acoustic guitar | Helen Mountfort - electric cello | John Phillips - acoustic guitar | James Southall - congas, shakers

Inder 'Goldfinger' Matharu – ghatum


Crazy Birds was the first single from Circus. It's our "back to nature" anthem, mixed with some cracking, percussive Islander vocals. Not hippy, just a get away from the urban malaise. In some ways, the line “the music is good but our dancing is not” kinda sums up the NDW live show. Hence our use of projected films, slides, etc!

Recorded at Rockfield Studios, Wales 1992. Mixed at Master Rock Studios, London, engineered and mixed by Hugh Jones, assisted by Helen Woodward. Produced by Hugh Jones and NDW

Russel Bradley - drums  | David Bridie - piano, strings, lyrics, vocals | Rowan McKinnon - bass, vocals | Helen Mountfort - seagull cello, vocals | John Phillips - guitar | James Southall - congas | Hugh Jones - vocal

Chant from the Cook Islands National Arts Theatre performers


THE SAME HEAT (Bridie/Phillips)
The Same Heat comes from The Little Desert. The song deals with the cracked Australian outback. The film clip was done on the Coorong.

Recorded at the Production Workshop and Platinum Studios by Tim Cole, Greg Simmons and Chris Corr.

Russel Bradley - drums | David Bridie - piano, lyrics, vocals | Rowan McKinnon - bass | John Phillips - guitar

James Southall - congas | Phillip Wales - cello


Blackwater, from Tabaran, is about the situation in West Papua, a country annexed by Indonesia, which brutally suppresses its independence movement. There's a sample of a 3RRR interview with West Papuan leader, Rex Rumakiek, who lives in exile in Australia.

“I had to make the grave decision to lead my people away from their traditional land, across the border into PNG. The journey was done in secret and took about a week… we fled from our ancestral home because of increased Indonesian red beret military presence and their brutal process of colonisation that threatens to wipe out our cultural identity as a Melanesian people.” Megdalene Hamadi (Blackwater refugee camp)

Recorded at Pacific Gold Studios, Rabaul and Sing Sing Studios. Mixed at Hothouse by Tim Cole.

Russel Bradley - drums, percussion | David Bridie - piano, keyboards, lyrics, vocals | Tim Cole - sounds | Rowan McKinnon - bass | John Phillips - guitar | James Southall - bongos, congas  | Penny Hewson - vocals

Field Recording of Service at Ratung Village Church by Tim Cole


Willow Tree comes from Claim and is about the tumble-down share house in Richmond in which David lived for years. It was also an NDW office and occasional rehearsal space. Russel reckons he invented the '80s snare sound on this track, produced, in his case, by simply whacking the crap out of it.

Recorded at Sing Sing by Tim Cole. Mixed at Fast Forward by John French

Russel Bradley - drums  | David Bridie - piano, lyrics, vocals | Rowan McKinnon - bass, acoustic guitar | John Phillips - guitar | James Southall - cabassa | Janette Geri - vocals | Marie McMillan - oboe

Andrew Massi - hose pipe sample


Teteko, from Circus, is about the rural New Zealand town of the same name, nicknamed Texas by its inhabitants.

Recorded at Rockfield Studios, Wales 1992; mixed at Master Rock Studios, London. Engineered and mixed by Hugh Jones, assisted by Helen Woodward. Produced by Hugh Jones and NDW

Russel Bradley - triangle | David Bridie - keyboards, lyrics, vocals | Helen Mountfort - cello | John Phillips - guitar


The Kiap Song comes from Tabaran. It's about the kiaps, or patrol officers, that administered Australian colonial governance throughout PNG in the years prior to independence (1975). It was released as a CD single. The song's lyrics dropped the band into hot water amongst a percentage of the expatriate population in PNG during the Tabaran Tour, which took in Port Moresby, Rabaul and Kokopo.

Recorded at Pacific Gold Studios, Rabaul and Sing Sing Studios. Mixed at Platinum by Paul Kosky.

Russel Bradley - drums | David Bridie - piano, keyboards, lyrics, vocals | Tim Cole - sounds

Rowan McKinnon - bass | John Phillips - guitar | James Southall - congas

Penny Hewson – vocals


From the 1987 album of the same title. The song was re-recorded for the CD releases in 1990, but we feel that this original, while slower, has better atmosphere.

Recorded at the Great Hall and Jorgy's bedroom at Monsalvat, Eltham. Mixed at The Jam Tin by Tim Cole.

Russel Bradley - floor drum | David Bridie - piano, lyrics, vocals | Rowan McKinnon - acoustic guitar

John Phillips - guitar | James Southall - bell stick | Theresa Blake - cello, drone | Amanda Brotchie - vocals

Les Gilbert recording of black cockatoos


MARRIAGE IS A MESS (Bridie/Phillips)
From Cold and the Crackle.

Recorded at Sing Sing. Mixed at Hothouse by Tim Cole.

David Bridie - piano, lyrics, vocals | John Phillips - guitar | Helen Mountfort - cello

Recordings of cars on wet roads in Mill Park, domestic-bliss sounds ads by Tim and David.

Sunday comes from the soundtrack album for Proof. It wasn't in the film, but was written for the soundtrack, inspired by the film... a song about love and photography!

Recorded at Periscope and mixed at Metropolis by Paul Kosky

Russel Bradley - drums | David Bridie - piano, lyrics, vocals | Rowan McKinnon - bass

Helen Mountfort - cello | John Phillips - guitar | James Southall – congas

From Claim.

Recorded at Sing Sing Studios. Mixed at Fast Foward by Tim Cole.

Russel Bradley - timpani, toms, branches | David Bridie - piano, lyrics, vocals | Tim Cole - sand footsteps

Rowan McKinnon - acoustic guitar | John Phillips - guitar | James Southall - congas, slap drum, harmonica, clap sticks

Gnarnyarrahe Waittairie - didjeridoo, claves

This was the last track on Circus and was recorded at four in the morning. Listen for the faint thud as an exhausted David bangs his head against the lid of the grand piano.

Recorded at Rockfield Studios, Wales. Mixed at Master Rock Studios, London. Engineered and mixed by Hugh Jones, assisted by Helen Woodward. Produced by Hugh Jones and NDW.

Russel Bradley - rusty gate, beer keg | David Bridie - piano, lyrics, vocals

Helen Mountfort - cello  | John Phillips - guitar



Another Pond - Darren Geraghty, Jacqui Rutten, Phillip Finkier, Tanya Hardy Smith, Paul Healy, Andrew Richardson

The Little Desert - Tanya Plack, Phillip Wales

Cold and the Crackle - Robby Douglas Turner, Greg Osbourne, John Handlie, Michael Branagan

Claim - David Scarfe, Al Harding, Marie McMillan, Janette Geri, Kieren Casey, John Murphy, Gnarnayarrahe Waittairie, Theresa Blake, Bugs and Daffy

Tabaran - Moab Stringband: George Telek, Keni Water, Minies Bilak, Mosley Wanaot, Kaul Wartir, Wargi Pindiat. Matupit Choir: Gideon Nakikus, Alfred Mangut, Kuak Madao, Wesley Uruduk, Rokus Madao. Panpipe Bougainville Boys: William Karanta, Greg Kungka, Herman Kogiau, Martin Kewari, Peter Konala, John Bunsip, Simon Auwai, Patrick Kirah, Joachim Lummani, Daniel Kameketa. Pacific Gold Boys: Fabian Tadoi, Kamit Mamua, Kennedy Toliman, Karen Casey, Hope Csutoros, Amanda Brotchie, Warren Siebert, Maurice Lacy.

Hammers - Jen Anderson, Jeremy Smith, Jack Howard and Michael Waters

Circus - Hugh Jones, Natasha Atlas, Inder Matharu, Simon Clarke, Roddy Lorimer, Tim Sanders, Neil Sidwell, Charlie Hart.

We are grateful to Amanda Brotchie for delaying her film making career and adding her unique sound in those early days.

Thank you Penny Hewson, your talent, humour and strength inspired and enriched those long tours and recording sessions. The cornchips were handy as well!

John Bicknell, Meredith Thomas, Naomi Pullen, Janice Hunter, Phillip Greenwood, Mark Worth, Chris Windmill, Simon Burton, McGregor Knox, Luigi Acquisto, Stuart Miller, Brian Carr, David Nelson.

The man who started it all: Bill Tolson (Rampant Records), Brian Peters, Dave Ettelson, John Blanchfield, Moira Bennett, Jaylene Farrell, Peter Schultz, Greg Seeto, Philip Mortlock, Karin Berg (Reprise), the one and only Mark Bishop, Damien Trotter, Chris Gough, Carmel Nunan, Simon Baeyartz, Michael Roberts, Sarah Pearson.

Richard Girven, Greg Simmons, Chris Corr, Mark Barry, Roger Campbell, Graham Clark, Luigi Collodetti, Glen Low, Digby Ho Leong, Rick King, Robby Taylor, Stu McPhee, David Jobe, Peter Clarke, Ben Shapiro, Rod Mathieson, Chapo, Mark Barry and Russel Black.

Thanks on this project to Philip Mortlock, Chris Gough, Bernard Galbally, Jon Casimir, Martin Heng, Adam (Toyland), N. I. L. S., Andrew @ Lab X, Ben Hurt (dex), Warren and all the gang at Liberation.

Special thanks to Bob Chettle, Dennis O'Brien, Karen Walker, Penny Davis, Mark Worth, Karin Berg, Rik Nicholson, Michael Hill, Lynne, Winnie and Stella, Ross and Rosemary, Kerry, Elizabeth, Hannah, Oliver and Miles, Emily, Roland, Aster and Imogen, Michael, Jackson and Alice, Jane, Lewis, Eadie, Lauren and Wesley, Karen, Deb, Fiona M, Dan C, Anna and everyone who supported us along the way.

Chris Gough and Bernard Galbally for Mayday Management

Ross Cockle with Tim Cole at Sing Sing Studios, Richmond

Photography: Tim Cole
Photo of NDW: Kim Tonelli
Design: Russel Bradley,

all songs published by Mushroom Music Publishing

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