across the great divide

part 1

daniel johns hails from the ghetto his

exhortations pure LA-urban flippancy

the showmanship a plurality of faces /

arms / fingers / fluid gyrations

vocal licks come spliced from his teeth

we even accept one rhythm-section as the

conspicuous solid-presence on stage because

their newcastle slouch sparks the sensory

jump: we're listening one headphone

apiece that stretch of years ago with

guitar songs all about one singer now

it's only more so / more present / more

material / a more

      let me hear you say yeah tonality

bands expect so much of a crowd this one

might deflate without you, me, various screams,

we are important we are seminal like

      the pause twinkling with keyboard flange

signalling that line from 'anna's song':

it's quiet & us now & years ago:

also the universe of a timid car home

 

 

part 2

then you have to forget words

groups being about something

other to language & what can

musicians do but describe facts

      lyrically

like a writer writing through a

lyrical objectivism phase

bernard wears a scarf & the

bass approaches a heart-attack

      like me on tumble dry

happiness sliding onward so

observers jump:

powderfinger, writers & police alike

    later the side-stages are ears

are orifices for acoustic testament

one for palm island & reconciliation

when you write about things there's

always a chance

poet's biography ->