Tribute Album Notes
Leave on a Light
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Kasey & Bill Chambers
Who better than to kick off the album with the title track, and tackle a beautiful, old timey country waltz than music greats Kasey and Bill Chambers? Obviously the title song had new resonance once Karl passed away, and after Kasey graciously stepped up to headline the second benefit concert we ran for Karl, she jumped at the chance to be involved in the tribute album. I offered her the title track because I knew she’d do an unforgettable version, and roping in her Dad on guitar and harmony vocal was inspired. Bill was a good friend of Karl’s they shared a dream of remaking a Steve Earle album together, El Corazon, track by track. One of those great “what if’s” now that Karl is gone. Karl wrote this song about “shagging yer ex… don’t go there” he’d often grin before we played it live, and we put it on his debut album as the closing song. It’s become something of an anthem now, closing many a songwriter’s night at The Bunker room in Coogee where Karl ran a songwriter’s night for nearly 3 years.
– MBE
Produced & Engineered by Kasey & Bill Chambers at The Boneyard
Chamomile Days
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Amali Ward
Talented songstress Amali Ward was a good friend of Karl’s, and even sang at his funeral. She happily put her hand up for the project and suggested she sing a song she had recorded with Karl on his third album One Million Emeralds, released on ABC Music in 2007. Multi-talented Matt Fell produced the original version and again stepped up to help Amali reshape it in her image. It’s a seriously good pop production that brings new life to the song when realized from a female perspective. Beau Golden’s keyboards are rich and supportive and the result is a stunning reworking of a fine Karl song, with brilliant vocals and production to match.
– MBE
A note from Amali Ward…
In 2006, I had just moved to Sydney from Tasmania. I was 18, overwhelmed and barely knew anyone in this new city when my manager at the time suggested I do some writing with a guy named Karl Broadie.I rocked up to his house in Bondi and immediately felt so welcome. Karl was so warm and encouraging, and made me feel like my ideas were gold. It was exciting, and it was fun. He loved what he did and it was infectious. I was just finding my feet as a songwriter, and for one of my first co-writing sessions, I’m so glad it was with someone as nurturing and beautiful as Karl.
The following year, he invited me to sing backing vocals on a few tracks for his album One Million Emeralds. So many of my favourite songs of his are on that album, but Chamomile Days brings me right back to that time in my life, meeting Karl, who would end up becoming a dear friend, and singing on his album. Recording my version of it took me right back to the joy that I felt when we were creating music together for the first time, and it’s an honour to get to pay tribute to him.
Produced & Engineered by Matt Fell @ Love Hz Studios, Sydney NSW
Vocals and keyboards : Amali Ward
Other Instruments : Matt Fell
It Lasts
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Kevin Bennett & The Flood
Kevin Bennett came into Karl’s world during the making of his second album, Black Crow Callin’. Karl and I were huge fans of Kev’s band The Flood, and went to many gigs only to be blown away every time. When we came to this song on the album, Karl suggested we ask Kev (who he didn’t know from Adam) to sing harmony and play the lead break, so he tracked him down and asked! Kev said yes, brought along Tim Wedde to play organ and even fronted for the memorable, original film clip. KB and KB became firm friends from then on, and Kev was the first to step up for the benefit show, and played It Lasts to a very frail and sick Karl from the stage of Coogee Diggers, The Bunker. Karl loved it, and so it was only natural for Kev to reconvene the latest incantation of The Flood to record it properly. The result is a classic, a stunning tribute from one mate to another, flawlessly executed by Kev, the marvel that is Glen Hannah, Killer and Steve. What went on behind the door of Franklin 216 indeed?!
– MBE
A note from Kevin Bennett…
For those of us fortunate enough to exist in his orbit, Karl was/is a beacon of pure light shinin’ over everyone he encountered in his travels, and I daresay, over many who may have never had the unique pleasure.
Karl was/is a travellin’ man and I still hear him blowin’ in the wild, wild winds and in the deep silence of the music within. I can feel him still workin’ like a master craftsman at his art, cos’ in his own words, ‘the silence and the wild winds are hard to tell apart.’
It’s an honour to sing ‘It Lasts’. I’ve loved it since I first heard it and then played guitar and sang a harmony on Karl’s original version on ‘Black Crow Callin.’ It was/is our ‘party-piece’ and now feels as natural for me to sing as one of my own songs.
“Every grain of weepin’ sand knows you’re missin’, yeah but I can’t blame the ocean for you leavin’, for my grievin’”
Karl was/is.
Recorded at Studio Goonga
Mixed by Glen Hannah
Produced by The Flood
Vocals and Guitar : Kevin Bennett
BVs, Hammond and Guitars : Glen Hannah
Bass : Wayne ‘Killer’ Kellett
Drums/Percussion : Steve Fearnley
Stranger Coming Home
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Dianna Corcoran
Dianna Corcoran shared many a writing session with Karl, and this one is from one of Karl’s Nashville sojourns that also involved the talented Eric Paslay. Dianna moved heaven and earth to get the song done in time, a testament to her desire to pay her respects to a great friend.
Dianna sang a duet with Karl on One Million Emeralds, the effortless Count Your Blessings, a song nominated for a Golden Guitar at Tamworth in 2008, and so has a deep history and shared journey. Stranger Coming Home features a glorious vocal from Dianna and a gorgeous fiddle part from an old Tamworth associate, Luke Moller, now based in Nashville, and Dianna tells me she recorded it how Karl said he always heard it in his head. Now we get to hear it, we can only count our blessings.
– MBE
Produced By Dianna Corcoran in Nashville, Tennessee, USA
Vocals Recorded by Brad Winters
Mixed by Eric Legg
Vocals : Dianna Corcoran
Guitar : Joel Keys
Fiddle : Luke Moller
BVs : Dianna Corcoran and Brad Winters
Stranded
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Michael Carpenter (with Karl Broadie)
The first people I sat with to sketch out the project and its viability were producer/musicians Matt Fell and Michael Carpenter. They both generously offered time and talent and Michael also came on board as an artist, appropriately enough as Karl was always encouraging him in this regard. Michael asked to do something lively, “like Dylan in ‘65” and I mentioned this song from Karl’s debut. Michael knocked out a terrific version and then asked me if I still had Karl’s original vocal from the 2002 recording, so I dug it out and sent it across to him. It was eerie to listen to Karl, solo and singing through the speakers, like he was in the next room, and Michael added it to his track and … magic happened. It sounds like they recorded it together in the most fun session you could imagine. Karl’s vocal was a one take demo that we never ‘fixed’, it was great then and it’s great now, and works brilliantly with Michael’s vocal and inspired playing. So cool.
– MBE
Produced, engineered & mixed by Michael Carpenter@ Love Hz Studios, Sydney NSW
Karl vocal recorded by Glenn Santry
Vocal, Drums, Bass, Guitars, Hammond, Harmonica, Percussion : Michael Carpenter
Vocal : Karl Broadie
Piano : Michael J Roberts
Drink The Whole Bottle Down
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Katie Brianna & Caitlin Harnett
A couple of weeks after Karl’s challenging diagnosis we gathered at The Bunker for an evening of songs to support Karl in his fight. It was only natural that two incredibly talented and lovely young singers should team up and sing him one of his songs. Katie Brianna and Caitlin Harnett have been long time friends and collaborators of Karl’s, and he mentored and helped both since the time they were teenagers. Katie picked this wonderful Kim Richey co-write, redolent with irony and meaning given her and Caitlin’s fondness for a glass or two, and Karl’s deep and abiding interest in wine! Bill Chambers chimed in that night for a lovely rendition, and the girls backed up again at our second benefit concert to reprise the tune, with me struggling to match Bill’s contribution. When we came to do the album it was a natural choice to team them up again, and the result is breathtaking. Karl’s old drummer from the Black Crow era, Greg Gillett (Smilin’ Greggy G) came down to play drums, and the classy and ubiquitous man about town, Murray Cook, graced us with a fine bass part. Another past associate, dating back to the first album, Graham Griffith joined in on pedal steel and the perfect support crew provided a wonderful sound to complement the girls stunning harmonies. Karl loved hearing them do this at the show, he’d love this version even more.
– MBE
Produced by Micky Blue Eyes at @ Heartbeat Studios, Sydney NSW
Engineered by Glenn Santry
Vocals : Katie Brianna and Caitlin Harnett
Drums : Smilin’ Greggy G
Bass : Murray Cook
Pedal Steel : Graham Griffith
Electric, Acoustic & Nylon guitars, Piano Accordion and Mandolin : Micky Blue Eyes
Black Crow Callin’
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Den Hanrahan & Adam Young
Karl wrote this song about a time when he was at a crossroads in his life. He was in Scotland pondering what to do and facing a massive life decision, to stay in the UK or build a new life Down Under, skimming stones (“I think I got a seven, might have been an eighter”) when he heard a sound he associated with Australia, a Black Crow, and he took it the universe was sending him south. When he moved away from a pop style in the early 2000’s he crafted the story as an effortless folk-country song that solidified his reputation in the country music community as a songwriter of the first order.
This song won Karl the Americana section of the International Songwriting Contest in 2005, and formed the centerpiece and title track of his second album. When he first played it to me it was one of those moments that you rarely have, when you hear a song so perfectly realized that it is virtually fully formed and timeless from the get go. Another friend said “That’s a song you build an album around”, and he was right. When old friend and collaborator Den Hanrahan was available for our second fundraiser he said he’d play this song, and roped in another mutual friend, Adam Young, to join in. That version went so well that happily Den and Adam agreed to do it again for the album, and we managed to throw in some sly references to the original to boot. A hoot from start to finish.
– MBE
Produced by Micky Blue Eyes at @ Heartbeat Studios, Sydney NSW
Engineered by Glenn Santry
Den and Matt Recorded by Matt Nightingale
Vocal, Acoustic Guitar and Banjo : Den Hanrahan
Harmony Vocal and Acoustic Guitar : Adam Young
Double Bass : Matt Nightingale
Dobro, Mandolin, Accordion and BVs : Micky Blue Eyes
If He Calls
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Jasmine Rae
Jasmine picked this little known Karl gem, released on an EP in 2008 as a collection of bits and bobs called One Constellation, called If She Calls on the original. Matt fell produced again and Beau Golden and Matt provide the perfect minimalist accompaniment for Jasmine’s beautiful vocal performance. Her first performance of it was a showstopper at the second fundraising concert and so it is again here. Jasmine was the first off the mark and released this as a single earlier in the year, showing her love and support for Karl with a song she’s made her own.
– MBE
Produced & Engineered by Matt Fell @ Love Hz Studios, Sydney NSW
Executive Producer Tim Holland
Mastered by Michael Carpenter @ Love Hz Studios, Sydney NSW
Vocals : Jasmine Rae
Keyboard : Beau Golden
Bass : Matt Fell
Once In Your Life
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Shane Nicholson
The ridiculously talented Shane Nicholson found time in an insanely busy schedule to perform at the third fundraising concert organized by Karl’s friends Aleyce Simmonds and John Krsulja, and Shane chose this choice Kim Richey and Karl co-write from Karl’s 4th album, Branches. He then turned in an even more stunning, fully produced version for this project, going above and beyond to provide a key track that at once pays homage to Karl and augments and enhances all that is compelling in this superb song. Flawless at every turn.
– MBE
Produced by Shane Nicholson
Only A Moment
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Aleyce Simmonds
Aleyce signed on for the album in a heartbeat, after being key in making the third fundraiser at The Dag in Nundle, a great success. She had spoken to producer Michael Carpenter about the possibility of doing a bluegrass type song and I suggested they tackle this beauty from One Million Emeralds. Karl wrote it as a tender goodbye to a relationship, one that puts newly severed ties into a cosmic, universal perspective, no blame and only appreciation for “a moment of light”. Typical Karl writing, poetic and insightful, effortless and elegant.
Aleyce sings it like an angel and Michael even manages a mandolin to give it a blue-grassy ambience (well spotted Michael – when Karl and I played it live I would dust off the mandolin!). Aleyce released it as a single in October, a precursor to its appearance here and a great tribute to Karl at every level, full and warm vocal surrounded by a fine and tasty production.
– MBE
Produced, engineered & mixed by Michael Carpenter@ Love Hz Studios, Sydney NSW
Done You Wrong
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Catherine Britt
Karl and Catherine wrote this a few years back, and did this beautiful demo of the song, but never proceeded beyond that. The song fully showcases Catherine’s mastery of Americana, and is aided by a lovely Karl production where he provides a delicate canvas on which Catherine adds a jaw dropping vocal. Catherine starred at the second fundraiser at Rooty Hill and was the first to volunteer her talents for this album, so it was with some joy that she finally found the perfect home for this recording. Her involvement is doubly poignant, not only being a good friend of Karl’s but also having battled and survived cancer herself, she sings her heart out here, the only song on the album to feature a Karl production. Priceless.
– MBE
Produced & Engineered by Karl Broadie
Vocals : Catherine Britt
Other Instruments : Karl Broadie
Devil By My Side
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Craig Johnston & John Kendall
Another song where Karl weighs up the good side of his nature versus the bad, “Devil by my side, why else would I go cheat on you”? He does it in such a lighthearted way that the darkness of that sentiment is completely subverted – that’s the art of great songwriting. Good mate and fiddle demon made the trek from Melbourne to play the Coogee benefit, bring Craig Johnston with him to play for Karl. I offered them a spot on the record to honour John’s long association with Karl and suggested this song would suit, and the lads did not disappoint. Cameron Mackenzie pulled off a superb and rocking acoustic production and they even roped in old friend Matthew Breen to help on backing vox, Karl would be smiling, as are we all.
– MBE
A note from Johnny Kendall…
When Ol Mate Craigo and I went into the studio to record Karl’s “Devil By My Side” we had no idea of how to properly honour our beloved friend. I had gout in my bowing wrist and was in a brace, Craig had just done a zillion gigs the week previous, and I was worried. How fortunate that one of my best mates Matthew Breen (who I met through Karl 12 years ago) decided to come along, and not just sit in the back of the studio, but sing some harmonies as well as help us out on the hand percussion!! Dead set, it was like our wee Scottish Vegan was in the room, urging us on. With the guidance and tuned ear of Cameron McKenzie, organising our band of misfits as well as nailing the guitar first take… I believe we captured the spirit of our late dear friend. Please get yourself a copy of this record… it helps Karl’s boys, and it may just help you make sense of this horrible illness that took our great mate, as it does so many people, too early and too often. Love you Karl Broadie, and thanks for being such a huge part of my life brother.
Recorded by Cameron McKenzie at Station Place
Vocals : Craig Johnston (Delsinki Records)
Fiddle and Vocals : John Kendall
Guitar : Cameron McKenzie
BVs : Matthew Breen
Long Long Way
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Harry Hookey
Karl had a soft spot for Harry Hookey, a young songwriter cut from the same cloth and raved long and loud about Harry’s talent. When I organized the Rooty Hill concert I asked Harry if he’d sing Long, Long Way from Black Crow Callin’, a personal favourite of mine and one Karl and I played together so often. Harry immediately agreed and delivered a performance that was a highlight on an unbelievable day, so full of emotion and charged with beauty and relevance. It spoke so eloquently of why Karl’s music works in a simple format, one guy, one guitar and a killer song, that I simply had to use that recording for Harry’s track here. Karl and Harry co-wrote another gem, You Can Count On Me, a song Harry performed with Kasey Chambers later in the same show, Volume Two I hear you say?
– MBE
Recorded Live at Rooty Hill RSL, April 17, 2016.
Country Bound
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Amber Lawrence
Amber Lawrence is one of Australian country music’s leading ladies, and I was touched and happy to hear her volunteer for the project to honour her friend. She nominated a bouncy gem from One Million Emeralds, Karl’s ode to a ‘tree change’, Country Bound, and roped Matt Fell into re-working the song he produced for Karl all those years ago. Matt set up a gorgeous acoustic groove that opens out with Michael Carpenter’s funky drumming, letting Amber seal the deal with an effortlessly stylish vocal. “A cup of kindness before I go”, a sly nod to his ancestry and Rabbie Burns, one of his favs
– MBE
Produced & Engineered by Matt Fell @ Love Hz Studios, Sydney NSW
Ride Out Alone
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Alex Ryan (with Danny Widdicombe)
Alex Ryan was one of Karl’s oldest mates, and even though he’d stopped working as a singer/songwriter to pursue other goals, he stepped back to pay tribute to Karl in the best way possible. Alex chose a beautiful song off Nowhere Now Here, a delicate meditation on a relationship break up. I deliberately opted for a minimalist palette to showcase Alex’s glorious vocals and asked Karl’s good friend Danny Widdicombe (Wilson Pickers) to play the solo, which is delivered with poise and taste. Danny worked with Karl and me at Universal Music for years, and played on Nowhere Now Here. Alex toured England and Scotland with Karl and me in 2005, so it’s a fine thing they could collaborate here – I couldn’t be happier with the result, underpinned by a tasteful Murray Cook bass line into the bargain. Karl was the king of subtle repetition, usually with a twist or play on words, and he cuts to the core here with the superb couplet “The only difference in me, is the difference in you”.Brilliant.
– MBE
Produced by Micky Blue Eyes at @ Heartbeat Studios, Sydney NSW
Engineered by Glenn Santry
Vocals : Alex Ryan
Guitar : Danny Widdicombe
Electric Piano : Micky Blue Eyes
Bass : Murray Cook
Tears
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Felicity Urquhart
Felicity Urquhart, another of Karl’s good friends was the obvious choice to give a fresh take on one of his sweetest songs, one he co-wrote with the lovely Melanie Horsnall, Tears. Happily, she accepted the brief and didn’t have to look far to find a brilliant producer in Glen Hannah, who provided the perfect reimagining of the song. Felicity is one of country music’s true treasures and sings with heart and soul, beautifully giving voice to Karl’s poetry, in superb harmony with Lyn Bowtell. I quoted this song at our second fundraiser, knowing Karl was nearing the end, I said there would be tears, but that we should take Karl at his word when he wrote “Come let the tears flow, we all need to, someday we’ll look back and smile, I hope you believe that.”
– MBE
Produced and Recorded by Glen Hannah at Studio Goonga
See You When I Get There
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Brett Hunt
This song is a key entry in Karl’s catalogue, from Nowhere Now Here, a gorgeous creation from a time where Karl had to sadly farewell a friend who died too young. There was only one choice to tackle such a relevant and apposite song, Karl’s good mate Brett Hunt, a singer-songwriter who shared many a stage with him over the years. When we spoke about it I (half-jokingly) said Karl didn’t have a blues bone in his body, but somehow there was a blues element in this song trying to get out, and Brett proceeded to extract every ounce and then some. It’s a mesmerizing and compelling performance, aided by a sweet fiddle from our Nowhere Now Here fiddler, the inimitable George Washingmachine. The song is the most tender tribute to our departed friend, it was his dream but he took us along.
– MBE
Produced by Micky Blue Eyes at Heartbeat Studios Sydney. NSW
Engineered by Glenn Santry
Vocals and acoustic guitar – Brett Hunt
Fiddle – George Washingmachine
The Fishing Rod Song
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Luke O’Shea
Luke picked this one, a song he had seen Karl make magic with at songwriting retreats where they both mentored young songwriters. Karl wrote it about his beloved brother, Ollie, who regularly used to sag off school to go fishing when they were kids and topped it off with a chorus that doesn’t quit. We surrounded Luke with a choir made up of many people who were significant in Karl’s life, including his sons Oskar and Travis, and the piece perfectly expresses the love and affection with which Karl was held.
On a small side note, I was casting around for an instrument to give the intro some movement and asked Glenn if he had a shaker? He pulled out a small shaker and said “Try this”, I did, knowing that shakers were a hit and miss affair, but it was perfect. He then said “Karl made it”. Gulp. Turns out Karl made it nearly ten years’ prior, a trick he learned when he was a T boy in London studios as a teenager and Glenn still had it. The song needed it and Karl provided
– MBE
A note from Luke O’Shea…
Karl Broadie – Next Chapter
Well what do you say? Simply, we humans are not designed to last – which leaves the greatest minds, philosophers and poets to ponder, scratch and prose about the core reason for our being.
What’s it all about? Truth shouts out at us at funerals – no one ever looks back on their death-bed and says they should have worked more, made more money or stayed angry at someone for something truly trivial. History’s greatest teachers and prophets, across all philosophies and religions, try and find new ways to share the same insight to the eternal question, over and over – the purpose of life – is …to love; What is love? Again they answer – Service and passion – and it is through these noble pursuits – that we also inspire others to love.
Saying this – Karl Broadie was one of the greatest – and most successful human beings I have ever met.
Through his service and passion – I have witnessed on more than one occasion, the utter soul saturation of Karl Broadie – particularly with his ‘Fishing Pole’ song where his friends, peers and students have physically and glowingly surrounded him with unrestrained joy, laughter, light and love singing together in unison – straight from the heart – all knowing that the moment and his song that we sung was way beyond special – transcending and fleeting – a true gift.
My solace with Karl’s passing is that when a soul has been so successful – inspiring so much love – then perhaps it feels it’s time to move onto the next chapter.
Despite being so accessible, vibrant and enthusiastic, there was always something older and wiser to Karl Broadie. His calm demeanor, knowing smile, sage and select words, timeless insights and spiritual weariness – were all hard earned – from years and perhaps life-times of experimentation, exploration and endurance. This ancient strength and experience was warmly carried and shared to anyone who would listen – truth – emanating through his words, his unique voice, songs and music. An uncanny master of Bob Marley shamanism – where simplicity and the profound – deliriously and deliciously combine.
The craft and wicca of songwriting fascinated Karl and his dedication and devotion to his art was equaled only by his love and dedication to friends and family.
He will be greatly, greatly, greatly missed by all who knew and naturally loved him.
See ya – if I’m lucky enough to get there.
Dawn at the DAG Sheepstation in Nundle – he liked this photo. Karls Golden Guitar moment! …well it’s Pete Denahy’s GG that he brought along to the Gympie Muster to share with the punters at a very impromptu (and late) gig that we did for the volunteers in Tent City. It’s a great memory as we were all taking turns holding the highly coveted trophy high above our heads with everyone going berserk, cheering and laughing – one of those moments – and this is Karl’s!
Produced by Micky Blue Eyes @ Heartbeat Studios, Sydney NSW
Engineered by Glenn Santry and Nick Payne
Lead Vocal, Guitar and Harmonica : Luke O’Shea
Drums : Smilin’ Greggy G
Bass : Murray Cook
Pedal Steel : Graham Griffith
Acoustic guitar, Shaker and Tambourine : Micky Blue Eyes
Choir: Travis Jenkin-Broadie Oskar Jenkin-Broadie, Ella Engler, Justine Moyle, Justine Wahlin, Mags Stewart, Ilona Brooks, John Chesher, Matt Thomson, Craig Thomson, Bill Donohoe, Dianne Forsyth, Taryn Jane La Fauci, Otto Arocha Jr., Simone Pain, Alex Ryan, Keith Armiger, Peter Skip Beaumont-Edmonds, Lyn Taylor, Zoe Taylor and Marni Jenkin.
Hope Is A Thief
24th November 2016 by admin | Edit
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_____________________________________________
Micky Blue Eyes (with Kasey Chambers)
“If you ever need a feather, one that dances and plays upon the breeze” – Karl Broadie
This song means a lot. Karl wrote it in 2015 for his mother Margaret, who sadly lost her life partner, the lovely Alva, and this was his beautiful gesture to her to help ease her grief. He debuted it live at Coogee one night and I played it with him, and was blown away by its elegance and class, I said to him at the end, “That’s a keeper”. He knew that was high praise. As he was nearing the end the song stuck in my head and I thought it should be played at our Rooty Hill Concert for Karl. I learned it and Kasey Chambers graciously helped me get through it, and does so again on the recording. I was conflicted as to playing it at the concert, I hadn’t planned to play that day, and was in two minds as to doing it. As I unpacked my guitar in the carpark I looked down and saw a feather, playing on the breeze, and decided Karl wanted me to play. Wee Archie Petrie (from Glasgow!) joined in onstage and does so here, and with George Washingmachine plays sweet fiddle, Graham and Murray complete the mix. This one is for Margaret, and for Karl.
– MBE
Produced by Micky Blue Eyes @ Heartbeat Studios, Sydney NSW
Engineered by Glenn Santry
Piano, Guitars, Shaker, Tambourine, Drums and vocal : Micky Blue Eyes
Harmony Vocal : Kasey Chambers
Fiddle : George Washingmachine and Archie Petrie
Pedal Steel : Graham Griffith
Bass : Murray Cook
