(Australian 1975 - Present)
Shane was awarded a Fellowship by the Music Fund of the Australia Council (2002) in acknowledgement of his contribution to Australian musical life. A prolific songwriter, Shane and his songs champion the cause of the underdog and provide meaningful insights into the human spirit. The songs interpret the Australian landscape in a way that has helped to build a bridge between Aboriginal and non-Aboriginal peoples. Shane's songs also pay homage to the culture of his Irish ancestors . Shane has been a great contributor to various social justice causes, and in environmental issues such as the campaign to preserve the Franklin River. He combines a deep understanding of poetic and musical folk traditions and captures something essential of the spirit of Australia in words and music [extract from Emmanuel College Alumni]Tracks Of My Years
Story by Vincent Maskell
(Published in Juke. 10 December 1988)
Postscript: In an interview in The Age on October 9, Shane Howard said: “The collapse of Goanna was accompanied by the collapse of my marriage and just about everything else. The world fell apart and I was left with a crippling debt and probably PTSD. Corporate shenanigans played a big part in Goanna’s demise…”
Far North Queensland. Down a rough, steep gravel road and up the driveway marked by a small and yellow painting of the big red rock, Uluru. Shane Howard stands up after inspecting his little vegie patch, looks out to the range and says slowly, "It's a long way from the urban principle, hey?"
As the conversation unfolds, 'the urban principle'reveals itself to include corrupt politicians, foul air, high-rise commission flats, continuous noise, heart-breaking burglaries and parts of the music industry that are, to put it mildly, less than attractive, in short, the metropolitan jungle.
Shane Howard's vegetable garden is borne from tough, hard clay. If he lived just over the range, where the rainforest is, the vegies would go beserk. As it is, he's come up with a pretty healthy crop that includes broccolli, cabage, celery, carrots, capsicums and his current favourite, Roma tomatoes.
In a way, Howard's career in music has been a bit like his gardening. He's had to work hard and long in a tough climate, with the odds - and the musical trends - stacked against him.
(Published in Juke. 10 December 1988)
Postscript: In an interview in The Age on October 9, Shane Howard said: “The collapse of Goanna was accompanied by the collapse of my marriage and just about everything else. The world fell apart and I was left with a crippling debt and probably PTSD. Corporate shenanigans played a big part in Goanna’s demise…”
Far North Queensland. Down a rough, steep gravel road and up the driveway marked by a small and yellow painting of the big red rock, Uluru. Shane Howard stands up after inspecting his little vegie patch, looks out to the range and says slowly, "It's a long way from the urban principle, hey?"
As the conversation unfolds, 'the urban principle'reveals itself to include corrupt politicians, foul air, high-rise commission flats, continuous noise, heart-breaking burglaries and parts of the music industry that are, to put it mildly, less than attractive, in short, the metropolitan jungle.
Shane Howard's vegetable garden is borne from tough, hard clay. If he lived just over the range, where the rainforest is, the vegies would go beserk. As it is, he's come up with a pretty healthy crop that includes broccolli, cabage, celery, carrots, capsicums and his current favourite, Roma tomatoes.
In a way, Howard's career in music has been a bit like his gardening. He's had to work hard and long in a tough climate, with the odds - and the musical trends - stacked against him.
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| Goanna 1983 - Shane Howard Centre |
When his band, Goanna, finally broke through - in the magic and manic summer of 1982/83 - everything just grew. And grew, and grew.
And became so big that Goanna eventually collapsed in a terrible mess, leaving Howard just short of a nervous breakdown.
Success was one of the main factors that strangled the Goanna band. Success, like the wrist-thick vines in the rainforest that curl and curl and choke the strongest trees. It's a jungle out there, over the range.
"Gotta get back/To the track/You came on/Where the road/Reaches into the sun/Heading back down the track/Back down the track/You came on"
Howard swaps Ray Charles for Robbie Robertson in the tape player and then feeds kindling into the fire-place of the his small, ramshackle home. "I approached several record companies," he explains, "But they were hung up on either the Goanna history or the fact that I don't have a manager. I wanted to get the songs out quickly and figured I may as well do it myself. It's been a learning process, hey?" he says, concluding with that characteristic ending to his sentences.
'Back To The Track' was recorded in piece-meal fashion, with Howard making trips to Melbourne to play gigs to get money to buy recording time [at the Sing Sing Studios, Melbourne]. The cassette doesn't have the lint-free crispness of Oceania, Goanna's largely-forgotten second album, but it does have an earthy friendliness to it. "Mainly, I wanted to create a nice atmosphere: the sort of thing that you can have a listen to, but also the sort of albnum you can just have on in the background. And I think it's got that warm feel to it."
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| Cassette Release |
Players on the album include drummer Dave Stewart, vocalists Marcia Howard anmd Rose Bygrave (herself currently working on a solo effort). Much of the mood of the songs comes from the harmonica-blowing of Steve Gilbert, a North-Queensland musician who plays with the Barron River Drifters. Guitarist Simon Curphy also chips in with some nice touches.
The songs range from the brooding tone of "Mother Earth" (reminiscent of Van Morrison's low-pulse pastoral pieces) to the jaunty rhythms of the title track. Perhaps the album's best song is "Come On Make Me", a sensitive, understated glimpse of a woman about to leave her man.
Aboriginal issues come up on "One Eye Johnny", the tale of a happy-go-lucky character, and on "Long Way Away From My Country", written by Broome songwriter, Jimmy Chi.
Bart Willoughby, of No Fixed Address, shares songwriting credits with Howard on the album opener, the pretty "Just A Feeling".
"They were standing on the shore one day/Saw the while sails in the sun/Wasn't long before they felt the sting/White man, white law, white gun"
"Solid Rock" was virtually a hard-rock land rights anthem from a band with an acoustic background. The song had a didjeridoo intro, whalloping beat and a cutting, angry lyric that proceded by several years, Midnight Oil's bicentennial theme song, "Beds Are Burning".
Shane Howard thought this song "might go to about number 37 on the Melbourne charts". It went number 1 nationwide, as did the 'Spirit Of Place' album.
Goanna was hurled into success and, with it, turmoil. The band had always been a crowded house, with a few core members as the foundations. When the success came, even the foundations started to shake.
"Before everything started to happen", recalls Howard, stretching his memory back six years, "the biggest decision we had to make was whether a certain chord fitted into a certain song. And even that was hard enough, hey. But suddenly we're getting calls from the American record company and they're asking questions like, 'What kind of legal and monetary infrastructure have you got for a Statewide promotion? It was just too much."
(Not the least of the band's problems at the time was their manager. He had a machine-gun mouth that could rattle off a million words to the minute. At times his behaviour was somewhat at odds to that of a band that supported various social and environmental issues. On one occasion he threatened to break the arms and legs of this writer. Another time he abused a small Sunday night audience for not bringing the roof down with thunderous applause).
'Oceania' did not come out until early '85, by which time the band, seemingly, had been forgotten by the masses. Howard claims, though, that it sold 40,000 copies. It was an attractive collection of songs, mirroring Howard's travels overseas. He believes it is a far superior album to 'Spirit Of Place'.
However, music industry politics and personal conflicts continued to mount up. Howard headed towards a breakdown and Goanna headed towards oblivion.
For all intents and purposes Goanna appeared to have 'publicly vanished', as Howard puts it. "But we were still touring, mainly through regioonal and country areas." The last gig under the Goanna banner was at Tamworth, in January '87 and it's possible that Goanna will play again. Sometime, somewhere, away from the city.
Since Goanna's Tamworth show, Shane Howard has been trusting his songs to just his voice and his acoustic guitar. ("I lost all my electric equipment in a burglary and took it as an omen that I should stay an acoustic performer"). He found his first effort doing gigs in Kings Cross, which was "pretty grueling" but had a better time of it playing at a restaurant at Airey's Inlet, on The Great Ocean Road, Victoria. ("I'd just go through about every song I'd ever written. It was good practice and not a bad way to try out new, or unfinished material.") He's also busked in Darwin, where a guy nicked his money, only to return later and share a flagon of wine. he also fronted Shane Howard And The Big Heart Band for a little while.
"Down on your good luck/Pack up the old truck/Head for the great Wowhere/And Hope/And pray help'll come in time"
The songs range from the brooding tone of "Mother Earth" (reminiscent of Van Morrison's low-pulse pastoral pieces) to the jaunty rhythms of the title track. Perhaps the album's best song is "Come On Make Me", a sensitive, understated glimpse of a woman about to leave her man.
Aboriginal issues come up on "One Eye Johnny", the tale of a happy-go-lucky character, and on "Long Way Away From My Country", written by Broome songwriter, Jimmy Chi.
Bart Willoughby, of No Fixed Address, shares songwriting credits with Howard on the album opener, the pretty "Just A Feeling".
"They were standing on the shore one day/Saw the while sails in the sun/Wasn't long before they felt the sting/White man, white law, white gun"
Shane Howard thought this song "might go to about number 37 on the Melbourne charts". It went number 1 nationwide, as did the 'Spirit Of Place' album.
Goanna was hurled into success and, with it, turmoil. The band had always been a crowded house, with a few core members as the foundations. When the success came, even the foundations started to shake.
"Before everything started to happen", recalls Howard, stretching his memory back six years, "the biggest decision we had to make was whether a certain chord fitted into a certain song. And even that was hard enough, hey. But suddenly we're getting calls from the American record company and they're asking questions like, 'What kind of legal and monetary infrastructure have you got for a Statewide promotion? It was just too much."
(Not the least of the band's problems at the time was their manager. He had a machine-gun mouth that could rattle off a million words to the minute. At times his behaviour was somewhat at odds to that of a band that supported various social and environmental issues. On one occasion he threatened to break the arms and legs of this writer. Another time he abused a small Sunday night audience for not bringing the roof down with thunderous applause).
However, music industry politics and personal conflicts continued to mount up. Howard headed towards a breakdown and Goanna headed towards oblivion.
For all intents and purposes Goanna appeared to have 'publicly vanished', as Howard puts it. "But we were still touring, mainly through regioonal and country areas." The last gig under the Goanna banner was at Tamworth, in January '87 and it's possible that Goanna will play again. Sometime, somewhere, away from the city.
Since Goanna's Tamworth show, Shane Howard has been trusting his songs to just his voice and his acoustic guitar. ("I lost all my electric equipment in a burglary and took it as an omen that I should stay an acoustic performer"). He found his first effort doing gigs in Kings Cross, which was "pretty grueling" but had a better time of it playing at a restaurant at Airey's Inlet, on The Great Ocean Road, Victoria. ("I'd just go through about every song I'd ever written. It was good practice and not a bad way to try out new, or unfinished material.") He's also busked in Darwin, where a guy nicked his money, only to return later and share a flagon of wine. he also fronted Shane Howard And The Big Heart Band for a little while.
"Down on your good luck/Pack up the old truck/Head for the great Wowhere/And Hope/And pray help'll come in time"
This post consists of MP3 (320kps) ripped from CD and includes full album artwork for Vinyl, CD and Cassette, along with a copy of the JUKE article transcribed above. It was my intention to provide FLACs for this post, however my cassette copy has not survived the test of time, and background fluttering noises were present in the captured music. So I can only offer these MP3 files that I acquired many moons ago, most likely from one of the music forums that I have visited, and thank the original uploader.
It should be noted that my cassette cover scans include full lyrics for all tracks on the album (not supplied on Vinyl and CD releases)
This solo release by Howard (his first) is one of his finest in my opinion, along with the follow up album River, and the opening track "Just A Feeling" my personal favourite. I hope you enjoy this album as much as I do.
01 Just A Feeling 5:21
02 Big City Blue 3:16
03 Mother Earth 3:22
04 One Eye Johnny 4:10
05 Long Way Away From My
Country * 3:34
06 Back To The Track 3:02
07 Brothers & Sisters 5:16
08 Make No Mistake 3:48
09 Come On Make Me 4:45
All songs written by Shane Howard except * written by – Jimmy Chi
Vocals/Acoustic Guitar: Shane Howard,
Bass:Pasquale Monea, Bass: Spiro Phillipas, 
Bass Guitar: Jo Imbrol, Bodhrán: Simon O'Dwyer,
Didgeridoo [Didj]: Shane Howard,
Drums: Dave Stewart,
Electric Guitar: Phil Butson,
Electric Guitar: Simon Curphy,
Piano/Strings: Marcia Howard,
Harmonica [Mouth Harp): Steve Gilbert,
Harmony Vocals: Marcia Howard, Rose Bygrave, Simon Curphy,
Keyboards [Additional]: Rose Bygrave
Shane Howard Link (81Mb)
