Tuesday, December 30, 2008

Crazy Cats, Cow Fleece

Dug up an old photo the other day that may be of interest to the new peoples in the back - yes, you that just walked in. That is, those who wonder what the hell we mean when we say “Crazy Cats”.

Here's a shot of Frank, what looks like Matt on drugs (he's not on drugs but you couldn't photoshop that face), Mayra looking like she's giving me a drag of that cigarette, and me in my cow fleece. Yes, cow fleece. Life was good. Cow fleece.

Friday, December 19, 2008

Organic Foods Market

It's free! It's a range! It's free-range!

Two days after White Xmas, the next litmus test: Turn it down, WAY down, sit down and see if you can make the music work in a small room, for an audience of ten people.

This is more challenging than it sounds.

Firstly, you don't have the benefit of Sound Control – no engineer. You have to set up your own sound levels, balance it with your backline, and just keep an ear on what's going on over the whole damn mix. Your vocals are running through a separate PA, and you can't really hear it all that well. All you can do is send someone out front during your first song and hope they get it right.

Secondly, you're sitting down, so movement is very limited. The Whites normally do a somewhat kinetic set, so that can be a detracting little factor.

Thirdly, it's about ten, fifteen people. So your connection has to be very easy and relaxed. I was guilty tonight of not making enough eye contact with the people. Though Stan did get a come hither look from me. But that's another story for another time.

Result: After the first break I was so overjoyed I had to phone our management and say: “You know how I was saying that it's going to be interesting whether we can pull off the low set? I think it's even better than the up-set!”

In other words, and to quote a certain world leader: yes, we can.

PS: Big Up The Woodstock Organic Massive. Aait.

Thursday, December 18, 2008

Beer O Clock

One of the issues with doing sound checks, then sticking around till show time, is the 'Beer o Clock Syndrome'. That is when you have nothing better to do than sit around for five hours waiting for other people to show up.

In Cape Town, audiences show up about ten minutes before show time. So, by habit, they show up at ten to ten. Not because showtime is at ten, but because that's when they show up. It's a catch 22 created by a couple of hundred dozen bands that came before us. Now all of CT is about the ten o clock arrivee. And that sucks.

So by the time you have to go on stage, you've had about ten beers, as many tequilas and that's if you go on first! I'd rather go on at nine, throw out the garbage and dance to rockabilly tunes the rest of the night. But nooooooooo... “What time are you starting?” your people will ask you. “When you get here.” Is what I'd like to say.

Still, try telling people you'd like to start at nine, and see how far that gets you.

Wednesday, December 17, 2008

A Kinda White Christmas (Funkyzeit mit Weisses)

Martiza Kruger (Mercury), Sean Wienand (Headline Artists),
Psycho Xmas Art, George vd Spuy (Taxi Violence)

It always seemed to me that the White Guys' friends had funky dance routines. Even back in the Crazy Cats days people were a lot more carefree when it came to being out at night and letting their hair down.

These days there's just a little more carefully considered 'watching' going on. You're watching them, they're watching you, everybody's watching each other. Maybe we're older now and we like to watch. Hey don't get me wrong: We still have a good time. And at Kinda White Xmas this year it was all good.

I think it was also the line in the proverbial beach sand. Whereas the the launch period is really a test period for seeing what we can do and where we should tighten up, Kinda White Xmas is kinda the end of that. And I think the work the band put in in the weeks leading up to it really shows.

Must... remember... to.. not... drink.. coffee... before... show...

The White Guys are back. The new year is already under way for us. There will be blood. Or sweat. Or something.

Thursday, November 27, 2008

Three More Confirmed for Southern Ink Xposure Shows

Southern Ink Xposure will be held at the Cape Town International Convention Centre. January 23rd - 25th 2009. Open to Public - Friday 23 January /16h00-22h00Saturday 24 January/10h00-23h00 and Sunday 25 January/11h00-17h00.

Sponsored events. Scheduled over two nights at Cape Town’s top live entertainment venues, the absolute cream of South Africa’s live musical talent will be performing for artists, vendors and rabid fans alike. VIP treatment for SIX artists and sponsors. Suffice to say, these evenings will be epic.

Friday 23 January - 21h00-late
Event: Rockabilly Ho-down

Location: Mercury Live

Address: 43 DeVilliers St, Zonnebloem
Featured (confirmed) artists:
· Andy Lund

· Martin Rocka & The Sick Shop

· Them Tornadoes

· Three More White Guys

· Damn Right

Saturday 24 January - 21h00-late
Event: Rock ‘n Roll Extravaganza

Location: The Assembly

Address: 61 Harrington Street
Description: Another sponsored event, this concert night also features some of South Africa’s hottest bands. They include:


· Taxi Violence

· Shy Guevaras

· The Mochines

Wednesday, November 19, 2008

Death is on the Guestlist

I guess that at heart we're still well rooted in the country and countrybilly side of things, though that wasn't really so much a decision this time (or before, to be honest) as it was just what we happen to like playing, style-wise.

It struck me while rehearsing the new full set that The White Guys have a lot of variation in the songlist – in respect of mood, speed, tone, at least.

Of the songs that usually get dropped from shorter sets are the down-tempo ones like “Lonely Town”, “Papa's Waltz” and up until recently 'Roadworn” and “Dead in the Water” (The Supersuckers redos).

Frank mentioned at the soundcheck the other day that we'd completely forgotten a song from the list (which is getting pretty long anyway). “Which one?” I thought...

“Death is on the Guestlist!” he added, and that it was always a favourite with those that heard it. It is. Especially with Stan. And if Stan likes it, it's got to be good.

How'd this get on here?

Thematically speaking, “Guestlist” is probably one of the darkest songs that the White Guys ever entertained. Its inclusion on the We been Robbed Cdr was a bit of a headscratcher. We had tried two or three full band takes and it just was not clicking. The rhythm seemed all over the place and the rest just seemed to clutter the mood of the song too much. So I had all but resigned to scratching it from the tracklist altogether.

A bit later in the session somebody suggested I go in with Greg's acoustic guitar and just wing it solo. Now, those that know me know that there's a cold fear that grips the room when somebody gives me a guitar. I'm really bad at it (too many strings) and having Dirk Hugo setting up microphones and stuff around you is doubly intimidating. Over and above that, I'd never played the bloody thing on guitar before, and since bringing it into the set we'd transcribed it into a different key from when I'd written it. Good times.

In any event, despite all the hoo-ja, it somehow went swimmingly. I did two takes, uncorrected. Waldo waltzed in with the violas afterwards and hey-presto, le soft song!

We've only done it a few times in the show, but I think Frank is arguing that it make a comeback.

Tuesday, October 28, 2008

The Launch / The White Guy Challenge...

Well, first and foremost, to those who came to the show on Friday, Thank You, Thank You, Thank You!

It was a blast to be back up there and all the Whites are very happy with the first round!

The White Guy Challenge

It's every critic's nightmare: find out what happens when a journalist takes up the challenge to sing.

This is the blurb attached to Speakerbox’s blurb on news 24. Those of you that were there saw the results… Those of you that weren’t see the below…

Main article with intro to videos: http://www.speakerbox.co.za/content/feature.aspx?cat=Rock&id=70

Diary and practice video: http://www.speakerbox.co.za/content/video.aspx?cat=Rock&id=220

Live performance video: http://www.speakerbox.co.za/content/video.aspx?cat=Rock&id=219

Gallery: http://www.speakerbox.co.za/content/gallery.aspx?id=798&albumID=52

A special thanks to Speakerbox and especially Niel Bekker and Annel Malan for taking up the challenge. If you have views on the show, please send em thru, we’ll publish them.

Tuesday, October 14, 2008

The White Advice: White Guys The Movie

Here's a question: If you were to direct a movie of the famous life of 'the whites', who would play each of you? i know i always ask this, but it's a good one...

-CB, submitted via email.


Mmmmm, toughy. Do I make myself look all buff and stuff and get Vin Diesel? No. Because I don't like him much. Do I go for looks? If so, it would be what chicks would want and I don't think Brad Pitt looks like me. So I will have to go for Edward Norton. He looks just as weasel as I do, and I think he is good enough to learn the drums for a role.


I would play myself.
or, failing that...

Anton – Sidney Poitier,Steve - Sidney Poitier, Art - Sidney Poitier ,Frank - Sidney Poitier.

You know, like those movies that Eddie Murphy does where he plays all the characters.


Larry Fishburne. And then, in the Klingon version, Danny Glover.


Anton: Cate Blanchett... if she can play Dylan, she play Marshall. Art: Robert De Niro... small, wiry, and able to go punk on yo ass at the drop of a hat. Frank: Ewan McGregor... likes facial hair. And motorbikes. Also been to outer space. Steve: Steve McQueen... Same name. And same savoir faire. But mostly same name.

Art (ctd):

Anton - no clue. Louis Gosset Jr? Frank - Sam Eliot. Steve - That guy that played 2 face in the Dark Knight,


You Knighted Artists presents a film by Milos Froman
Frank Ellis - Edward Norton - Cate Blanchett
with that guy that played Twoface in the Dark Knight

and Sidney Poitier
director of photography Steve Irwin's former cameraman
story and screenplay by Oliver Gallstones
directed by Milos Froman

White Noise 1.2: Artur Pereira

The concert-going kids seem to be into many different streams and genres and the impression is that they seldom cross over. Metal kids, for example, would seldom go to a punk show, and the pop tarts hardly ever see anyone except Arno Carstens. Your thoughts?

Well, this has been an interesting thing for me to understand. It isn't necessarily a "scene" thing, it is the general Cape Town thing. People only go to gigs if it is the place to be. Or they only go if friends are playing, and generally they go to one and don't go again, preferring to watch DVD's instead. I have seen metal heads at punk shows and vice versa, but only because they are "regulars" at the venue. I still say that "scene kids" only go to what is cool at the moment. One year it is punk rock, the next year it is hard-core, and the next year it is Indie-rock.

Leading on from that I want to ask you about the labeling of the band as country or rockabilly, as they were calling you at one point (and still do) and whether you felt it was limiting or indeed helpful?

Labeling is something the population can deal with, and I do not think it will ever change. It has to be labeled so they know what to wear to a show.

You’re tossed in with the 'fringe crowd". Some would say your audience is older and less likely to see younger genres of music…?

I think I am too young to understand the question.

How much other literature (books, films, etc) filter into your music and lyrics?

Erm, last time I wrote lyrics, it was own experience-based. If I wrote comments that have been filtered through what I read, I would write lyrics about air-cooled VW's and Batman!

That would be quite cool, actually. I was going to ask you about other artists too - the commonly-held "influences" on your music. Dylan, Cash, and the like?

Bob Dylan - interesting story. Didn't care for him at all before I was involved in a tribute show, and now he is an influence for sure. Music wise, it is simple as possible which makes his strong lyrics shine. The understanding the musicians had was really astounding to me.

If an artist is not likeable as a person, does that detract from your enjoyment of their work – looking at some colleagues in the scene you might know?

Most definitely it does. There is nothing worse than trying to get creative with someone that hinders creativity. What comes out is emotionless and bare and plain rubbish. Been there, done that. Not again.

Do you think that your work in any way captures the vibe of the city or scene or people of your surrounds?

I wouldn't really know, I just play what the music tells me to play. If it feels right and good, do it. So, if that is city vibe, then yes.

You decided early that you were happy to perform other people’s work – many of your peers are horrified by the idea. What's your take?

Well, performing other peoples work can be looked at in 2 ways. 1 - personal gain (as in releasing a cover as a single). 2 - enjoyment (the act of performing your favourite songs in your own way so that the audience can enjoy it with you)I am all for a cover here and there on stage. But when it comes to recording them and releasing it as a "single', uhm, no thank you.

So when you’re playing other people's songs, do you draw inspiration from their work?

I draw inspiration from who the guys in the band enjoy. It is all about making it your own.

If someone were to receive a collection of all your material (including what you've done solo or with other projects) right now and start browsing randomly, what would you suggest they listen to?

HAHA! Holy crap, uhm. I have no idea. I would suggest the listener keeps an open mind and leaves it on random! Wouldn't want to scare them away with certain types of music. Dunno how to answer that one.

Is being in a successful performing unit a case of “know your limitations”?

I would think so, but not in that term. It is more of knowing your strengths. The difference between a good band and a great band is knowing what works in the unit itself. If you listen to a band where no one person stands out, where the music is louder than the sum of its parts, then you are listening to a great band.

How do you feel when you look at your earlier material now?

I feel good about it, because listening to back to some of my previous work, I can hear that I was mentally in the same place I am now. The performance isn't any worse than what I do now, but it was a lot simpler. So it stands out just as well as what I can do today. Feels good.

Are there any modern artists among your peers you enjoy?

There are many I enjoy listening to. And thankfully, I perform with them all.

Are you surprised or happy at the amount of material that you’ve generated?

The material that has been generated has been very enjoyable. It is a good change to actually play songs, instead of parts that make up a song collectively.

Wednesday, October 8, 2008

White Noise 1.1: Frank Ellis

We posed the same series of questions to each of the White Guys. In series one, we chat about genre-hopping, influences and being boxed. These are their 'shoot' views.
1.1: Frank Ellis

The concert-going kids seem to be into many different streams and genres and the impression is that they seldom cross over. Metal kids, for example, would seldom go to a punk show, and the pop tarts hardly ever see anyone except Arno Carstens. Your thoughts?

I don’t think that’s anything new. There have always been borders between genres that only the brave few have dared to cross. The mods and the punks, the rockers and the ravers, you can follow the breadcrumb trail as far back as you like. I don’t really mind it either. It provides a bit of exclusivity for whatever it is that you do musically. It’s like a club that people are proud to belong to and that they support.

Leading on from that ... the labelling of the band as country or rockabilly, as they were calling you at one point (and still do); do you feel it was limiting or indeed helpful?

Most people need to categorize something to be able to process it. If labelling the band helps people make sense of what we do then I’m fine with that. Actually, I’m even fine with people labelling the band for no good reason at all. So, what I’m saying is that I don’t think it’s limiting or helpful. It just is. However, what I do believe is limiting is when a band labels itself. In doing so you lock your music in box and throw away the key.

You’re tossed in with the 'fringe crowd". Some would say your audience is older and less likely to see younger genres of music…?

Personally, I think that the whole concept of a ‘fringe crowd’ is bullshit. There is no such thing. There are just people who are better at posing than others. There are no true ‘outsiders’ in our social paradigm. There are only plagiarists and people who don’t give a shit. I don’t give a shit. As for our audience being older and less likely to try younger genres: When I’m on stage I see old faces and young faces and when I’m not on stage I see those same old and young faces at various venues and shows. Our audience is everyone.

How much other literature (books, films, etc) filter into your music and lyrics?

I’m not a very prolific writer of lyrics. For me the process is visceral, like a mental fugue. So I couldn’t really say that literature inspires my music, at least not in a conscious way.

I was going to ask you about other artists too - the commonly-held "influences" on your music. Dylan, Cash, and the like?

This is a difficult one for me. I don’t really consider the music that I love as an influence. I just play the sounds that sound right. As inspiration I visualize my grandfather playing on stage. He was a country musician.

If an artist is not likeable as a person, does that detract from your enjoyment of their work – looking at some colleagues in the scene you might know?

It comes down to honesty. If a person’s attitude, good or bad, is truly an extension of their personality then I don’t care because at least it’s honest. It’s the performers who adopt attitudes that they believe aid their expression that really irritate me. Don’t get on stage and tell me your going to smash my face in unless you mean it.

Do you think that your work in any way captures the vibe of the city or scene or people of your surrounds?

Not at all. I think what we do is more a realization of our collective mental landscapes than our actual surroundings.

You decided early that you were happy to perform other people’s work – many of your peers are horrified by the idea. What's your take?

I don’t see the problem. If I like a tune then I want to play it. If it sounds cool then I want to play it for an audience. What they do with that is up to them. I’ve had my fun.

You've done standards like Ring of Fire but also songs that South African audiences wouldn't have necessarily heard of. Warren Zevon anyone? The Bottle Rockets?

Um…. Yes, we have.

So when you’re playing other people's songs, do you draw inspiration from their work?

Not at all. As I mentioned before, my inspiration comes from somewhere more personal.

If someone were to receive a collection of all your material right now (including what you've done solo or with other projects) and start browsing randomly, what would you suggest they listen to?

I haven’t recorded all that much. In fact, you could probably get through all of it in an hour. So that’s what I would suggest…. Listen to the whole of ‘Chicken, Live At Sui Studios’ and the Three Bored White Guys EP.

Is being in a successful performing unit a case of “know your limitations?”

No. There really aren’t any limitations except those that you impose on yourself. It’s a case of knowing what you want to do and doing it, period.

How do you feel when you look at your earlier material now?

Depends how early. I have definitely improved technically over the years and I’ve eased into a style of playing that I am happy with. Lets just say getting here was a process.

Are there any modern artists among your peers you enjoy?

A list:
Sugar Drive
Black Milk
The Dolly Rockers
Them Tornados
Unit R
Taxi Violence
Jimmi Dludlu

There are more…. many more.

Are you surprised or happy at the amount of material that you’ve generated?

I don’t care, really. It is what it is.

Tuesday, September 30, 2008

Steve: Looking Forward to...

Steve chats about the songs he's looking forward to at the launch.

Friday, September 19, 2008

Wednesday, September 10, 2008

Tuesday, September 9, 2008


Frank's away for three weeks, so the rest of the Whites decided to experiment with some recording of the rehearsal room stuff.

We plugged in my old Fostex 4-track tape machine (Old Yeller, I call it) and plugged in some cables, and had a go - Steve, Art and I.

So far, I think we might well use a take of Cool Devices, which was never officially recorded as Three Bored. The track will be made available here in various stages - roughest, rough, and nearly finished... hehehe

White Guys on record - current streams / downloads

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Right Here
words and music by steve smith
from BUILD Vol.1: Recorded in the band rehearsal room about 30 minutes after Steve introduced the song to the band.

Never Coming Back
words and music by anton marshall
from BUILD Vol.1: A songwriter's demo, recorded at my house.

Friday, August 22, 2008

Artur's Metal Band V.O.L.

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Art founded V.O.L. in 2003. It is his pleasuredome of sorts.

Montage Pixels that Rock

Simon de haast is a great music photographer who shoots for a library called Pixels that Rock. Simon came out to rehearsal this week (the first man, woman or beast to be allowed in) and shot dozens of pics. He agreed to load some up into a really cool little music montage for us (and you) to enjoy. The song is, of course, that old Three Bored White Guys chestnut, "Don't Come Running" from the 2006 CDr We Been Robbed.

The Quiktime video is below.

Simon's pics are available for licencing or purchase. For more of Simon's fantastic photos, check out his website: http://www.pixelsthatrock.net

Thanks Si!

Tuesday, August 19, 2008

You thought the pain was over?

alternates and abandoned concepts

Thursday, August 14, 2008

The Wild Wild Wessss

Three More participated in an Obrigado shoot this past week. The theme was "The Wild West" - well actually, there was more to it than that but you'll have to pick up your copy of Obrigado in October to read more about that.

The great thing about Obrigado shoots is that you run into some old friends and acquaintances that you normally wouldn't see anymore. First one on the scene was Heather "Honey B" Nel (pictured below article with Miles "The Hitman" Keylock of Channel24.co.za). Heather had her own record launch the night before.

Also in through the day were Dave Ferguson, EJ from Godessa (pictured being pictured right)Dave's beautiful mug adorns the cover of this month's Big Issue (I think "Homeless Dave" is a great name for his stage show, but I'm too scared to suggest it.)

The permanently on-tour Farrell Purkiss was around for most of the afternoon as well. Also part of the project (but shot on a different day) were Valiant Swart and Teba, and I believe the band Mama Know Nothing, whom I've personally not met yet.

The White Guys had some impressions of the day:

Frank Ellis: It was fun to get dressed up and be part of a narrative. It’s the closest I’ve come to my dream of being on Broadway.

Artur Pereira: Even though my time at the shoot was limited to one set-up, I had fun. The costume people were prepared well, and they had all the right sizes we requested. The mood was relaxed, but still professional, and everyone felt at ease with the shoot. Was a pleasurable experience of which I look forward to possible others.

Steve Smith: I do believe Art might possibly be the politest drummer that ever lived. Art "Polite" Pereira.

Artur Periera: OK, how about this: It was cool. Had a blast flirting with the saloon girl while wearing gear normally associated with themed swingers parties.
Steve Smith: For several reasons, I’d never worn leather chaps before. And I’ll tell you right now, I goddamn loved it. A man walks differently in leather chaps. He walks with a swagger. He talks differently too. All in all the shoot was pretty cool. We got free beer. That’s cool. I also got to beat 10 kinds of crap out of a guitar-twanging folk singer in the bar-fight scene. That was cool too. I didn’t have as good a time as Frank though. For the final shot he had to stand with his arm around Corset Girl. Wait until you see Corset Girl. Damn. Yep... corsets... they certainly do put everything into perspective.

Look out for a behind the scenes video and interviews, etc. on Obrigado's website as well as channel24.co.za

Kill City Blues

We contract to Kill City Blues for rehearsal space. That's the old Mercury rehearsal studios which are now under independent managament, among those George VDS of the Taxi Violence gang.
Art is a heavy drinker - soda drinker, that is, and KCB caters to his needs effectively. In fact, KCB has been instrumental in allowing those who make use of their services to progress effectively. This is the best-run rehearsal spot I've yet used in Cape Town. And you can quote that.
So congrats to G and the guys who have put in an immense amount of work in prepping the rooms and the gear and the systems here.

Wednesday, July 30, 2008

Reconciliation Day

I was honoured to be asked by channel24.com to be in the Koos Kombuis video "Reconciliation Day", which was shot for 24 by director Richard Finn Gregory.

I was even more surprised and honoured that 24 made such a mention of the players that came on board to play the part of "the band": myself, drummer Anthony Theunissen and guitarist Gerrit Aalbers. I was really expecting us to be just filling up space, but it turns out the band plays a strong role in the storyboard.

Anthony (pictured) and Gerrit are top-class musicians and really nice guys, and at one stage someone said we looked so good as the band we should form a Koos Kombuis tribute outfit. Watch this space! The other running joke for my part is that I was there "playing the role of" Francois Blom, which is no small task I assure you. I asked for a wig to make the transition smoother but none was forthcoming. but now I have to be sure to avoid K.O.B.U.S. backstage at the next festival, or I won’t hear the end of it.

Koos happens to like the White Guys' "I Can't Find a Single Hook To Pin These Lyrics On". I gave him a CD about a year ago, so it was cool that he remembered it. Kept taking the mickey all the way through the shoot.

It's been said emphatically over at 24.com, so just to reiterate that it's amazing to see volunteers put in so much effort on a shoestring budget. And of course, there's a hell of a lot to be said for HOW 24 went about this. I should probably write up a piece on that. Suffice to say for now it progresses the philosophy held by The White Guys (and others like our stablemates Taxi Violence) that there's a lot that can be done for the love of it.

Respect to all that starred in, contributed to, and made possible, our very own "Reconciliation Day".

Photos by Lauren Clifford Holmes

Gallery: http://www.24.com/applications/gallery/gallery.aspx?turl=entertainment&catId=257e8915-bd8b-476b-b40f-5ef887fb7005

Video: http://www.24.com/entertainment/music/?p=feature&i=979517

Friday, July 11, 2008

Somebody Presses 'Reset'

three more white guys
now officially coming soon

Tuesday, July 8, 2008

The Next Generation

Thought I'd start out this new chapter with a personal account of how we got to this point. Just for newbies you dig? Ha ha.

I remember that the Mercury Lounge bar still ran along the side wall back when I asked Matthew and Frank to form a three piece to host CountryBilly BBQ Breakout.

That show was a concept that Donna Stephen and I, and Sean Wienand and us had sort of seeded and watered for a while. What we felt was needed was a "host" act, one that would centralise the theme of the show whenever it happened. And that was how the leftover members of Chicken from Crazy Cats came into the picture - it was a de facto band at that stage anyway, having just played an impromptu set for some other show that needed a support act. And it was Frank who delivered the name "Three Bored White Guys".

A few months later I asked Greg and Waldo to come into shows as guests (both debuted at sound-checks, I think), and there it was.

For three years or so Three Bored White Guys brought something wild to the Cape Town live scene. We were probably the first "countrybilly" band to gather any sort of momentum in the rock underground here. Some might describe what we had as notoriety. And then, seemingly at the point of real take-off... things kinda ground to a halt. I don't think there was one particular reason it happened, but while it was happening it felt a mysterious - like someone had started spiking the drinks.

Whatever the case, it's strange to think now that bookers suddenly stopped calling us directly to ask if we were available anymore. Although nothing official was said, I started hearing from strangers that we had broken up. This is a ridiculous phenomenon in Cape Town - a town so small, that bookers tell you what's happening in your own band.

As it happens, after the events of August through December 2007 I myself was too exhausted to carry on through the mud and hail, to be honest. By then things had gotten so hectic I think we were all relieved just to be able to sit back a bit and catch up with our individual selves.

Greg had pretty much decided he'd had enough of regular shows. Matthew had started up The Tornados again and they seemed to pick up where they left off, which is to say in the middle of a hugely popular drive. Frank too had said he'd prefer to take the time to concentrate on his career for at least a while, which at that time was starting to take off rather well. And Waldo had returned from Canada to an empty band room, and later announced an intention to move back to Johannesburg.

For my part, I had come off two back to back BMW Pavilion shows - a five month run. I was tired. I was restless and I was unmotivated. The last White Guys show happened December 21, 2007 - A Kinda White Christmas. It was a relatively poorly attended show, and though the Whites played reasonably well, I remember thinking to myself "Well, that's it. Done."

I left that day realising that for the first time in several years I didn't have another gig to look ahead to. There was nothing on the horizon. This, for me - for us - was unusual in the time we had been playing. Ever since year one we'd had at least the BBQ breakouts to look ahead to. And I haven't even thought about getting back up since then.

Until today: July 8, 2008.

First off, came the desire to redeem several lots of work I have done over the years, solo and with Carolyn Beyer - in the form of a CD-R of old recorded material. This is work that has been sitting on discs and drives with me for a long time. And it's just a way of moving on. It has to come out into the light. This will be available likely mid-August, so more on that later. There is also talk of a live show to accompany, but it's very early days and very ambitious yet, so well, we'll see what happens on that.

Second, I spoke to Steve 'Sunday Family' Smith. Steve played the last two White Guys shows with us. He's truly enthused about playing in a band like this, and there like the proverbial bear. I always knew Frank would be keen again - he'd been organising the odd get-together with guitars for the last month or two. And then I placed a call to an old friend who's one of the best drummers I know. If terms are agreed we're looking forward to a classic new generation lineup of THREE MORE WHITE GUYS.

So this is it. I guess someone pressed the reset button. And it's time to start it up again. Good luck to everyone involved.

PS: I've discovered that the Subterania online shop still has three copies of this disc. And there's a good chance that this will soon be a rare and priceless collectible. If you get my drift. :)
Try here:

This is the day

Calculate the gap. December 21, 2007 to July 8, 2008.
The last great gasps of the alleged Three Bored White Guys has been endlessly spiralling into the reverb chamber till today... today I breathed in deeply, and did the following in the following order:

First I walked across the hall to Steve. And chatted to him.
Then I called Artur. And chatted to him.
Then I called Frank and confirmed with him.

And in those 10 minutes I had undertaken to commit to defibrillating one of the great Cape Town bands of the 00s (in my admittedly subjective opinion)... with some of the finest caballeros this side of the Great Grande Estate. The countrybilly Three Bored White Guys in itself was born out of the ashes of another. It seems like the same Phoenix manuevre once more, only this time, it is one that benefits from past decisions and approaches.

We own everything we have. Music, brand, material. Everything. I'm gonna call this Three More White Guys - exploiting the brand that went before and making obvious the connect.

And we're not starting at the beginning. We got five years of beginning to build on. This is what carries over...

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