Jac “The Man” Dalton Back Story From Both Sides

Like many artists guided by ‘heart’, I hail from humble beginnings…

My career began in the deep south of the USA singing with my family at church.  Gospel harmonies washed over me, inspiring me before I could even talk.  And blessed with a number of black playmates, Soul, R&B and Motown passions were quickly etched upon my spirit in ways I pray will always remain kindled. 

The first instrument I learned was the fiddle.  My father was a professional jazz musician and, surrounded by Big Band music whenever he rehearsed upright bass and tuba, my spirit ached to express itself too.  At six years of age I picked up the only instrument fitting my small hands and started fiddling.  As you’ll soon discover … I still do.  Other instruments soon followed.

First exposure to guitar came from the next door neighbor’s rock band.  As open to all kinds of music as Dad was, he had a dislike for guitars – especially electric ones – and ‘Satan’s tones’ would not be allowed in our house no matter what. Unfortunately… one chord, and I was already runnin’ with the Devil.

Dad finally relented when he saw my dedication to the dime-store Gene Autry guitar my Uncle left during one of his regular visits. The day I made Eagle Scout, he rewarded me with my first ‘real’ guitar.  Inspired by the likes of ‘Crosby, Stills, Nash and Young’, The Eagles, The Allman Brothers, Molly Hatchet, Jeff Beck, and The Marshall Tucker Band , I taught myself how to fingerpick – the perfect segue for what soon followed… Dad trading his upright bass for a bass ‘ guitar’ .

The first song Dad taught me to play on his new bass (guitar) was The James Gang’s ‘Funk 49’.  And boarding the rock & roll freight train that afternoon, I never looked back – bass guitar was my ticket.  And oh, the places that ticket led.

As a teen, I had the pleasure and rare opportunity of meeting two other ‘James’s’ that affected my life, becoming tremendous influences in my perceptions as well as my music.  James Taylor, and the Godfather of Soul himself, Mr. James Brown, represented the breadth of possibility of what music could be.  Their unseen hands continue to color my music today – stirring up bits of my heart as well as my soul.

At University I studied dance, leading to a number of variety shows – which led to Country Music shows – which led to Musical Theatre – which led to legitimate acting, inspiring me to find my own interpretation of life.  Entertaining in Las Vegas, L.A. and New York, I had the delight of working alongside such greats as: Suzanne Somers , Kenny Rogers , Dolly Parton , Bob Hope , Tammy Wynette (Godspeed), Jim Nabors , Vic Damone and Diahann Carroll , Tom Jones , Liberace , Sammy Davis Jr. , Charo , Diana Ross , Louise Mandrell .

While I treasured the proximity and inspiration of these legendary artists, questions deep inside started to distract and wouldn’t relent until I realized that I’d been enjoying the world for a long time without really contributing anything unique.  This decided, I traded the dance halls for the halls of academia completing a Doctorate and a Diplomate.

I’d long been attracted to ‘Australia Fair’ so moved here to put down permanent roots for the first time in my life.  I’d long since given away my music and was content just to look after my patients – or so I thought.  Until one day, fate came niggling at the nape of my neck insisting that I start performing again.

Totally unexpected, I received a phone call from the representative of a band calling themselves the ‘Chardonnay Cowboys’.  David Moyse , former guitarist of the rock icons, ‘Air Supply ‘ gave me a bit of background about the Adelaide-based band needing a bass player who could sing.  I liked the original music the band was creating so jumped at the chance to step through the stage door again.

Rehearsing with some remarkable musicians, I realized that the niggling of fate wasn’t because I was unfulfilled. Rather, it was because I ‘needed’ to sing and play and perform – to be able to share worthwhile things I’d learned with the world.  What I really needed to do was write my own songs.

After the first show with the ‘Cowboys’ we added an amazing keyboard player and singer to the band – Darren Mullan.  In all my years of entertaining, never have I connected as well as I did when we started singing together.  The band itself didn’t last long, but Darren and I stayed in touch.

A couple months later, I received word that my childhood sweetheart was suffering with an incurable condition.  This news shook me to my very core and I turned to writing songs as a way to handle my emotions.

I recorded one of those songs and two miracles occurred: my friend’s condition improved; and I realized I was finally doing what I’d aspired to do all along – write worthwhile songs ‘from my heart’.

After that, I got together a couple of times a week to sketch new material and arrangements with good friends, Peter and Margie Miller (original members of Kasey Chambers’ ‘Dead Ringer Band’).

One Friday afternoon, I handed Darren 35 very rough demos I’d scratched out on the guitar, insisting he be brutally honest about his impressions.  He suggested we start with four of them.  One of those is the song ‘ Exhale ‘ appearing on my first album ‘From Both Sides’; the other song became the title track of the second album, ‘Icarus’.  That was the beginning of our collaboration … ‘Elton and Bernie’… only without the big shoes and glasses.

The lead singer from the ‘Cowboys’, Garry Barber, had become interested in my songs during this time and while listening at the studio one night, he asked if a mate of his could have a listen. TonySavage, affiliated with ‘Midnight Oil’, manager of ‘Stevie Wright’, ‘XPT’, ‘People’ and ‘Freightrain’ andmarketing manager of ‘MiSex’ (album ‘Computer Games’) had his first listen to the songs.  At the time, Tony was inundated with other projects, but advised we keep at it.

Months later, Darren and I had 18 songs meticulously demoed, and with a little manipulating from Garry, we arranged for Tony to have another listen.  All the tracks were played, and at the end of a very nerve-wracking hour-and-a-half, Tonys hook his head, smiled and extended his hand saying, ‘There’s not a weak song in the bunch’. 

Enter – From Both Sides [2006 – 2008]

Music has always been the language of the human spirit – the very heart and soul of each of us. It is a reflection of what is most important and worthwhile to the person brave enough to put his or her heart to paper.  It is a testament to the world in which we live and love and laugh… it is our observation.

Popular, commercial music has for some time seemed a bit uncertain of its direction – its message – perhaps even losing touch with its ability to touch lives and affect the hearts of loyal listeners – as opposed to just fanning emotions.  It is easy to glean from headlines, TV and media that such confusion is common throughout the fragile world in which we live.  And we all absorb and buy into that which we see and hear sensationalized around us.  But we need not continue – knowingly or unknowingly – down the path of pessimism and broken dreams.  That ‘still small voice’ inside each of us cries out for truth and goodness regardless, reassurance and hope that all is not lost – that the world, despite all the bickering, is still a wonderful place.  Certainly our music – that which speaks to our very souls – should remind us of this.

This was the vision of Jac Dalton, Darren Mullan and TonySavage as they began the journey of creating the massive album, ‘FROM BOTH SIDES’.

Jac’s background and career have led him around the world a number of times, performing in many countries.  And though customs and politics may be different, certain things remain universal – undeniable to us as people – we are all driven by the same hopes and fears as everyone else.

Jac’s music is about celebrating the common thread we all share; focusing on what binds us together, instead of what drives us apart.  The unique simplicity, elation and maturity of his music – innocent clarity born of experience – is something rare indeed in any generation – but exceptional in times like these.

To create and succeed with such a vision, it requires the help, support and belief from other artists of like mind.  Jac has spent his entire career polishing his craft, committed to what his heart knew one day could be – ‘had to be’.  Australia’s Rock Legends have walked similar paths on the way to their ‘becoming’ – the best parts of their lives spent refining, polishing, perfecting their talents and abilities, sharing their souls and dreams – finally sparkling like diamonds in the sky.  But what becomes of these diamonds once the facets are all polished and perfected?  What do they do?  What is their purpose?  Diamonds shine best and brightest when placed in a common setting.

Jac’s manager, TonySavage, came up through the ranks of the 70s and 80s rock eras sharing the same ‘loudness with the same crowdedness’ as the artists contributing to ‘From Both Sides’.  He had a knack for spotting ‘IT’ – the star quality, the ‘X’ factor – in artists and bands alike and enjoyed a remarkable career promoting and looking after such legends as Midnight Oil and Stevie Wright.  After establishing Sydney’s premiere rock venue – “Flix” – as ‘the place’ to showcase and see the absolute BEST rock & roll bands from around the world, he decided there were other things needing his attention and quietly stepped away from the music scene.

Meeting Jac Dalton 15 years later, he again recognized something unique and remarkable – a passionate, mature artist willing and able through his no-nonsense words and catchy, awe-inspiring music to remind a world very much in need of remembering.

Originally, Jac looked at stepping into Australia’s Country Music arena, and recorded some tracks with Herman Kovac at Ramrod Studios, Sydney.  The songs were intended as a ‘market test’ to see how the industry would react to a new artist.  And Jac’s remake of Elvis Costello’s ‘Girls Talk’, with its cheeky music video, got pretty good airplay from coast to coast, charting respectfully in both Sydney and Melbourne markets.

But as plans were being discussed to do a complete album, Jac realized that ‘country’ was not the direction the songs wanted to go – for every song has intentions of its own.  In order to add his own verse to the poem of life, something never-before-attempted needed to happen.  With this in mind, Jac and co-writer/producer Darren Mullan set to work composing new songs with a fresh, unique and original style labeling it ‘progressive crossover music’ or ‘PCM’.  This process took them the better part of 18 months, followed by another 18 months of recording, arranging and editing their efforts – not the cheapest way to approach a project of this magnitude, but absolutely worth the effort.  Jac, Darren and Tony agreed from the start that, ‘…if they weren’t prepared to go the distance with the project, they wouldn’t begin at all.’  Since Jac and Darren come from similar musical roots and stock – inspired by many of the same artists and genres of music – the task of sorting the direction they needed to go unfolded logically before them.

With Tony ‘back from the dead’ as it were – again knocking on familiar doors – the entire music industry started rumbling, speculating about what could possibly entice him to return to the limelight after such a long absence.  One of the first long-time ‘mates’ to contact Tony about the project was his good friend, guitarist Gwyn Ashton (B.B. King, Johnny Winter, Mick Fleetwood).  Gwyn was given a taste of Jac’s music, and when he returned to Australia from London, he brought with him Robert Plant’s bass player, Paul Wetton, to record Jac’s songs ‘Dirty, Mean and Nasty’ and ‘Til We Run Outta Highway’.  Next in line to become excited were Buzz, Chris, Rick and John – ‘The (original) Angels’.  Some of Jac’s songs screamed-out for very specific coloring and flavor, and The (original) Angels were undeniably the kings of these particular sounds.  Buzz Bidstrup and Chris Bailey arrived first absolutely ‘nailing’ the bass and drum parts of ‘Good, Bad-Girl’ and ‘The Boy’s In Love’, laying down enough rhythmic rope for fellow band members, The Brewster Brothers, to hang themselves with.  And ‘hang’ they did – right out over the edge of the envelope, pushing this PCM music ever farther into uncharted territory.  Mark Evans, AC/DC’s veteran bass player arrived on the set with a song of his own for us to consider.  Four bars into the demo, we were sold because ‘What A Way To Learn’ (written in 1977 but never recorded by AC/DC) had the distinctive AccaDacca drive that diehard fans have come to love and expect.  With Jac’s signature sound of massive, intricate vocals, thrashing guitars and throbbing keyboards, this soon-to-be classic would excite even Bon Scott (rest his soul).  Mark was joined by Aussie rock legend and drum demolition-man, Paul DeMarco (Rose Tattoo) who ran out of sticks in the studio, he played so hard.  Add to this pair another Rose Tattoo veteran – Rockin’ Rob Riley – and together, these artists contributed the Rock-God thunder to many of Jac’s original songs including: ‘Down and Dirty’, ‘Exhale’, ‘Heaven and Hell’, ‘Dirty, Mean and Nasty’ – as well as the only cover on the album, Bon Jovi’s ‘Wanted Dead or Alive’ – a rendition not easily forgotten.  Air Supply’s David Moyse added exquisite and impeccable guitar/mandolin tracks to ‘Fire Burns’, while Urszula White, first lady of the massive Aussie R&B band ‘Goose’, sang alongside Jac in this coming-of-age commercial ballad.  Rounding out the celebrity line-up, rock gentleman and superstar Russell Morris sings one of his own songs with Jac entitled ‘One Star’ – ‘the real thing’ to round-out a truly magnificent all-star album.

Other talented artists include Adelaide’s thundering rock metronome Paul Quigley who drives songs like ‘I Want Love’ straight to the wall.  And standing centre stage in the limelight right alongside all the rest is the ‘High Stakes’ band out of Sydney, and locals, ‘Grannyflat’ – both rising star bands in their own right.

Each track on ‘From Both Sides’ was written to stand alone, but together, the commercial music industry will not have seen such a mammoth project since the likes of AC/DC, Midnight Oil, INXS and Men At Work – epic achievements in their own right.  Such is the humbling – magnificent – journey of our own ‘becoming’.

This album is dedicated to all the artists who have allowed and inspired us to stand upon their shoulders enabling us to see beyond today’s music ‘as it is’ to what tomorrow can bring if we but cooperate, believe, and listen to our hearts.  It is at the same time a legacy to those who follow in our footsteps, challenging them to help the world become a little better place than when they arrived, through the language that makes us all… ‘one’.

The music industry and public are long overdue to be wow-ed.  After more than two-and-a-half years in the studio, Jac Dalton’s monumental album, ‘FROM BOTH SIDES’ is guaranteed to ‘WOW’ you.

Enjoy the ride! 

In The Beginning [From Both Sides / 2006 – 2008]

None of us becomes who we aspire to be without lots of help from lots of good folks who love, support and believe in us.  From my own experience, ‘FROM BOTH SIDES’ would not be the achievement it is without having been allowed to stand upon some very talented – and very notable – shoulders along the way.

Originally, I was leaning more towards the country music side of my background.  It seemed the logical place to start, having grown up in the backyard ofNashville.  So legend, Herman Kovac at Ramrod Studios, Sydney, offered to have a listen to early versions of my songs.  Arriving at his studio with four demos in hand, he gave a listen and insisted they deserved some very unique Australian Country Music artists to help bring them to life.  That week in Sydney I had the pleasure and privilege of meeting and working along side the following amazing artists who have been involved with all the Australian country music greats:

Herman Kovac – Producer / Engineer

Glenn Wilson – Drums

Ian Lees – Bass Guitar

Mark Punch – Electric Guitar / 12 String Guitar

Michel Rose – Peddle Steel Guitar

Glenn Hanna – Acoustic Guitar / Background Vocals

Camille Te Nahu – Background Vocals

Mick Albeck – Fiddle

Don Bartley – Mastering (Studio 301, Sydney)

My first songs were mostly intended as a ‘market test’ to see how the industry would react to a new artist.  But our remake that week of Elvis Costello’s ‘Girls Talk’, with its cheeky, down-home music video (written and produced by Shane McNeil and filmed by Andy Stankovich) got pretty good airplay for many months from coast to coast, charting respectfully in both the Sydney and Melbournemarkets.  That is where this whole thing started.

The album, ‘FROM BOTH SIDES’ is where we have come ashore.

It’s a far cry from country – but the roots are there – as are the wings, wedged unmistakably between ‘rock’ and ‘a hard place’.  But it is important that everyone who’s contributed along the way know that…  I remember.

To the amazing artists listed above – to the truly-great Australian Country Music Stars you get to shine with regularly – I thank you for being part of this project.  As a fan of all you guys, I salute your talents and music and thank you for putting your hearts to paper for the rest of us.  After all ‘…life is a poem that we each might add a verse…’

Godspeed, until we meet a little further down the highway.          
Jac 

The Changing of The Guard

The release and global response to ‘From Both Sides’ brought great focus and progress to Jac in his quest for his determination to find his own unique ‘song’.  The album was definitely a melding, a crossover of many types of genres and roots, and because of this, brought smiles and tapping feet to audiences on literally every continent. But life is a hurricane with her own direction and intentions – as came in a massive set-back for Jac’s budding career when manager and mate, Tony Savage, was terribly injured in 2008 in an auto accident requiring more than four intensive years to recover.  All the momentum and progress that had been building with the release of ‘From Both Sides’ slowed to a near stop along this road less traveled.

Destiny and fate are real things though and guide life’s hurricane for those who hang-on, believe and understand regardless of the bruises.  So while manager Tony’s wounds and soul were healing (which they now are), Jac stayed his course, continuing to place one note and chord in front of the other, listening with his heart and holding fast to a faith that unseen hands were still at work – even if those hands were busy with others than himself for awhile. 

It was during this unexpected hiatus that Jac met and teamed up with Australian Rock Shaman, Graham Greene (Ice Tiger/Flash Harry), his equally exceptional wife, Donna Greene (Lady Zeppelin/Resonance Project) changing tack and discovering the style and direction his music had been looking for all along.

Enter Graham Greene and the album, ICARUS…

ICARUS / JAC DALTON / Australian Melodic AOR

ICARUS is the current release from Jac Dalton, and marks a significant development in his sound and style. The Renegade Southern Gentleman from Downunder has distilled a blend of classic and melodic rock that pays homage to his adopted homeland while forging a new international identity. Ten tracks of Jac Dalton at his best, in the company of some amazing Aussie talent that have just raised the bar for contemporary Oz rock.