![]() For those that would like more of an introduction, a brief biography follows the short interview, below. He’s also a conduit for vast amounts of knowledge and information on the subject assiduously and meticulously illuminating the often-mystifying intersection where electronics, infotech, music, and visual arts meet. What this modest description may not convey is the fact that Luke has been something of a prime mover and pioneer in the realm of electronic music in Australia, having worked to bring emerging sonic arts to the notice of the Australian public since the early 1990s. ![]() His own twitter bio portrays him as a ‘programmer, webnerd, live sound engineer, deejay, cat fancier, hobby aquarist, science enthusiast, lover of sub frequencies’. His first wife Jane said, ‘Besides me, you were the best friend Tom ever had.To those familiar with the electronic music scene in Sydney over the past 30 years, Luke Dearnley of sound system duo Sub Bass Snarl ( ) will need little introduction. If he asked me to go on tour with him, I packed a bag. For instance, if Tom called, unless I was on stage, I called him back immediately. There just aren’t that many people in our tribe. When people say, “It’s lonely at the top,” they’re serious. When the world lost Petty, Nicks was one of the first to share her sadness and to celebrate his 70th birthday she penned an open letter that read: “He was my best friend that was a man, a peer, someone I could really talk to about pretty much anything. So much so it was included as part of the Party of Five soundtrack, confirming its spot as a piece of nineties nostalgia that few would want to turn away from.ĭespite it being Petty’s original composition, it’s hard not to hear this song as one of Nicks’ own. ![]() There’s a soft-rock edge and Nicks’ golden vocal to confirm this song is meant for dusky evening strolls. The singer and his band, The Heartbreakers, provided Nicks with one of her most iconic hits with ‘Stop Draggin’ My Heart Around’, and this cover is right up there with one of the best. Of course, this simply wouldn’t be a Stevie Nicks without her paying tribute to her pal and longtime collaborator, Tom Petty. ![]() It’s a beautiful piece of genuine admiration and honest talent. But there’s a genuine sense of kinship with the song as she flips the protagonist of the story, and it is soon revealed that she’s singing about her own breakability. Of course, that is a sign of respect, and we’d imagine, the uncanny Dylan-esque drawl she adds to the song is simply a habit we all share when belting out a freewheelin’ tune. We can tell because Nicks seems unwilling to take her vocals beyond the register of Dylan’s original. There’s no doubt that those nerves crept in a little when Nicks recorded ‘Just Like A Woman’ for her fifth studio album Street Angel in 1994. When the artist in question is the “voice of his generation” and, arguably, one of the greatest songwriters of all time - aka, the freewheelin’ troubadour, Bob Dylan - that fear is likely multiplied tenfold. It’s always a scary thing to pick up the work of an esteemed artist. Stevie Nicks’ best covers: ‘Just Like A Woman’ – Bob Dylan Find below Stevie Nicks’ five greatest covers of all time.
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