One Night Stand

Written by J. Beavis

Appears on “Post-Apocalyptic Love Songs” LP, 2016. Personnel: Jimi Beavis – vocals; Chris Bancroft – guitar; Costas Constantinou – bass guitar; Scott Nosworthy – drums; Andrew Garton – horn arrangements, baritone saxophone; Lachlan McKenzie – trumpet; Peta Wilson – piano.  Steve Robin – engineered/produced/mixed.

Met her in a pub off the Queen St mall

She was lean, she caused a scene on the dance floor

She said “What ya having?” I said “Kilkenny”

She said “How much?” I said “ well Many”

When she asked me back I said “ try a little harder?”

“How bout hot food and cold lager?”

One night stand, One night stand – What is there to understand?

Understand, understand – there’s nothing better than a one night stand

She was thirty and dirty and I was 24

She didn’t mind that I was quick on the draw

She took my number said she’d call me

I didn’t see her for at least another three


She’s back at the bar saying “Hey big boy!”

“You’re as big as that book by Leo Tolstoy! ”

Two night stand, two night stand – what is there to understand?

Understand, understand – there’s nothing better than a two night stand

Well I guess she was a lonely lady

When she trembled she wasn’t faking

I guess she’d been hurt, but she didn’t like to


You could just tell by the way she walked

So it was Saturday at four, and she knocked

on my door

I didn’t mind that she was back for more

Three night stand, three night stand – what is there to understand?

Understand, understand – there’s nothing better than a three night stand.

A week went by, I nearly cried when she

didn’t call

I guess she’d taken me for a fall

But when she called me, she started going


She said something about having my baby!

She said “now that you’re’ gonna be my man”

It’d better be more than a three-night stand

Four night stand, four night stand – what is there to understand?

Understand, understand – there’s nothing better than a four-night stand.

After a year of loving and a healthy child

I was startin to get a little tired

I went back to that bar, swallowing hard

I’m not sure what I was looking for

Well she was blonde, six foot, eyes like a


I didn’t mind that she was only 18.

One night stand, one night stand – what is there to understand

Understand, understand – there’s nothing better than a one night stand.

At Least It’s Better Than Home

Written by J. Beavis/C. Bancroft

Appears on “Post-Apocalyptic Love Songs ” LP, 2016. Personnel: Jimi Beavis – harmonica, vocals, BV; Chris Bancroft – guitar, BV; Costas Constantinou – bass guitar; Scott Nosworthy – drums and percussion; Andrew Garton – horn arrangements, baritone saxophone; Lachlan McKenzie – trumpet; Alex Price – tenor saxophone; Peta Wilson – piano. Steve Robin – engineered/produced/mixed.

Got spat at when I went to buy some bread

Roughed up when I went to pray

Got shot at when I was trying to bury the dead

I’ll die if I stay another day


Spent my last money and some my dad saved

For a ticket on a boat to somewhere far away

Make friends with vomit, in the darkness and moans

But at least I’m still alive, at least it’s better than home


Our boat capsized off a rocky island

Half my shipmates drowned

Now I’m sitting in a cell with five other men

And I pray that prayer is allowed


I spent my last money and some my dad saved

To be in this dank cell far away

Make friends with vomit, in the darkness and moans

But at least I’m still alive, at least it’s better than home


They say it’s a good land, a land of Cockaigne

Where a simple man can just be free

Go to the shops, buy some fruit and be alone

But they say I didn’t suffer enough, and sent me back home


I spent my last money and some my dad saved

To be a free stranger far far away

Make friends with weeping in the darkness and moans

But at least I was alive, at least it was better than home


As soon as I land it starts again

The spitting, shooting and eviscerating

I’ll join my father as strange fruit  tonight

Getting hanged for just being alive


I spent my last money and some my dad saved

To be a free stranger far far away

Now I listen in the darkness  to the weeping and moans

But at least soon I die, and at least  it’ll be better than home


This website premiered my new album and it is on the points

Hello friends, Tonedeaf have premiered my new album and it is all so very exciting! Very soon we launch it at The Bearded Lady in Brisbane’s West End (my home turf) and we have our friends Scotch & Cider and Dana Gehrman opening for us!

Anyway, please go to this URL and have a listen!

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Songs That Influenced My Album: Post-Apocalyptic Listicle

I have just started doing things on Medium, but I have reprinted it below. If you want to check my Medium out, here is the link:

I intended on using Medium to largely make lists of songs and albums and so forth. A big old listicle list. Perhaps to stimulate discussion. I don’t know. But I am currently engaged in promo and the logistics of releasing an album — ensuring all photos are ready for the various web pages I have and organising rehearsals. And it is on my mind.

So I present the songs and albums that influenced me the most for my second LP — Post-Apocalyptic Love Songs (I have included a Spotify list but not all of these songs are on there):

Dress Sexy At My Funeral — Smog

Smog/Bill Callahan has long been a powerful influence on my songwriting. His minimalism and his tenderness… his frilly things, like a spreadeagled dolly. I like the way he deals with complex human emotions carefully, poking around the edges of things we normally dare not think about when songwriting, and in a poetic way. I wanted to do that but with soul and blues music as my medium. This song is a perfect example.

Jungle Blues — CW Stoneking/St James Infirmary — Louis Armstrong

New Orleans is such a diverse well of vibrant music, you could draw from it and it would never run dry. Constantly inspiring. But those minor key slow songs lend themselves to eerie murder tales, as they did for my “Mary’s Daughter” song. Originally intended as a twisted country banjo as per Tom Waits’ “Gun Street Girl” but I was easily convinced to switch to NOLA, especially with much of my musicians playing in 1920s style jazz bands.

Rain Dogs/Bone Machine albums — Tom Waits

These two albums are amongst my favourites anywhere in my listicles but Waits’ blend of blues, latin, country and weird helped to form my arrangements after the initial songwriting phase. Especially my song “You Must Not Try To Know”, which was written melodically and lyrically but rhythmically remained dormant until I hit upon making it Latin in the way some of Rain Dogs’ songs such as “Jockey Full Of Bourbon”. The lyrical morbidity of his Bone Machine songs smacked me around the head, and for that I am thankful.

I Can’t Help Myself (Sugar Pie Honey Bunch) — The Four Tops

So much joy and sadness in less than three minutes. I tried to bring that to “I Got What I Wanted (But I Lost What I Had)”, along with much tambourine that I love in Motown. The song itself was influenced by something Little Richard said and quoted in Greil Marcus’ Mystery Train novel.

Keep A Knockin’ — Little Richard

Speaking of Little Richard, this is a killer track, especially the alternate one that I found on a compilation of Itunes. It is almost punk. Yowsers. I think the below link is the one I heard:

Exile On Main Street/Sticky Fingers albums- Rolling Stones

They have four albums that will rarely be beaten for pure rock n roll, if you include Let It Bleed and Beggar’s Banquet, which I often do. But Exile/Sticky Fingers have been constantly on the turntable for the last 10 years (okay, the CD player to start with). Filthy, dirty, greasy, but oh so nice. We performedSticky Fingers live and then I found the sheet music for Exile for Kindle and thus my songwriting ideas doubled. Also, I thought if the Rolling Stones can go from country, to blues, to soul, to rock n roll in one album, why can’t I?

Rubber Soul album — The Beatles

I have never really made music like the Beatles but every time I listen to them I become inspired. There is so much going on in their songs and so much life about them. But while we were preparing to record, something wasn’t working rhythmically with “At Least It’s Better Than Home”. Eventually someone suggested something from the Beatles and their middle period in particular. Rubber Soul was the remedy.

Brother Claude Ely/Louis Jordan’s “Beans and Cornbread”

I wanted a gospel rave-up. My friend Glen played me Brother Claude Ely and his band (congregation) of crazy fundamentalists. And I remembered this Louis Jordan song. Boom.

In The Mississippi River — Mavis Staples

I loved You Are Not Alone. I played it over and over again. Then I heard the Ry Cooder-produced We’ll Never Turn Back and it was a revelation. Those beats, from down south, NOLA way yet rooted firmly in blues and gospel but with a tinge of the styles that influences hip hop. The rhythms, Mavis’ voice and the way she overcame sadness with her exultations and Ry Cooder’s slide guitar. That is the music I wanted to make and I thought it dragged blues into the modern world.

But for an almost full list, here it is:


INTRODUCING… New Jimi Beavis music via The AU Review

After many years of writing and a month of weekends in the last year, I finally have the album (Post-Apocalyptic Love Songs) ready and waiting. It does cover many topics, mostly a bit morbid. But I like to put them in sunny tunes. Here is the first one, about a refugee who is considered unworthy of residency and returned to his country, where he is hanged with his father as a traitor. Sadly, this does happen.

The AU Review music site was kind enough to premier the next release from the album. Here, have a list to “At Least Its Better Than Home”!


I originally wrote it in 2013 on my girlfriend’s rusty, tiny guitar as a honky tonk, which became a jump blues and eventually with additions from my guitarist Chris Bancroft it is now this!

Written by J. Beavis/C. Bancroft

Musicians: Jimi Beavis (vocals, BV, harmonica); Chris Bancroft (guitar, BV); Scott Nosworthy (drums, tambourine); Costas Constantinou (bass guitar); Andrew Garton (baritone sax, horn arrangements); Lachlan McKenzie (trumpet); Alex Price (tenor sax); Peta Wilson (piano); Steve Robin (handclaps, engineering, mixing, production); Geoff McGahan (mastering).

Recorded at The Barn Recording Studio, Plainland, Queensland, Australia in January, 2016.

New live video and album news!

My band and I played and posed for this little live film recently in preparation for the album release in two months! This is Praise Him, recorded and filmed at The Barn Recording Studio where the album was recorded with my producer Steve Robin.

We also recently found out that my saxophone player Alex Price has a unique skill – knowing almost any post code of rural Queensland:


My second album Post-Apocalyptic Love Songs will be out in mid-June. Watch this space!

New Single and Tour: I Got What I Wanted (But I Lost What I Had)

My new single – quite pleased with this Motown-homage inspired by a Little Richard story!

Online Tour Poster

Inspired by a story in Greil Marcus’ “Mystery Train” book, about Little Richard. While appearing on the Dick Cavett Show Little Richard proclaimed he had written a book about his life entitled “He Got What He Wanted But He Lost What He Had”. This is my imagining of it, in attempted Motown style.

We recorded it at our new home in Plainland, regional Queensland between Brisbane and Toowoomba – The Barn Studio. It is an old barn my producer converted and it is lovely. We get to stay at a cottage right next to it and wake up to the country air!

Touring soon:

March 4 – Sonny’s House of Blues, Brisbane, Qld
March 6 – The Rails, Byron Bay, NSW
March 12 – Smith’s Alternative, Canberra, NSW
March 13 – The Record Crate, Sydney, NSW
March 18 – Pistol Pete’s Food n Blues, Geelong, Vic
March 19 – The Retreat Hotel, Melbourne, Vic


I Got What I Wanted (But I Lost What I Had)

Written by J. Beavis

Single, February 9, 2016
Song written by J. Beavis; engineered, produced and mixed by Steve Robin at The Barn Studio in Plainland, Queensland, Australia. Jimi Beavis – vocals; Scott Nosworthy – drums and percussion; Chris Bancroft – guitar; Costas Constantinou – bass guitar; Andrew Garton – baritone sax, horn arrangements; Lachlan McKenzie – trumpet; Alex Price – tenor sax; Peta Wilson – piano; Kate Mackie – backing vocals.

Well I used to go for weeks without food
Now my woman changes with my mood
I used to sweep the streets for cash
But now I never remember where I put my stash
Every Sunday was spent at church
And every other night we’d pray
Now I eat all my meals off a supermodel’s arse
I’m not going back to the old way.
I got what I wanted
But I lost what I had
Oh, I got what I wanted
Now I’m never going back.
I get drunk in public places
And I stumble and people stare
They ask themselves if that’s him
And they all ask me to sing

Well they all have certain expectations
But I’m me and I don’t have to meet them
What’s the point of getting to the top?
If you can’t look down, once in a while.

I got what I wanted
But I lost what I had
Oh, I got what I wanted
Now I’m never going back.
Now the royalty cheque’s my only friend
There’s too many broken hearts to mend
The mansion’s sold for the alimony
I can never go back, can’t you see?
I had those talents, I had to use them
Didn’t God give them to me for a reason?

I got what I wanted
But I lost what I had
Oh, I got what I wanted
Now I’m never going back.

Blackface History: Research links so you don’t have to…

There are so many things to be angry about in Australia at the moment. The High Court ruling over refugees is one, the disgusting online misogyny displayed towards singer Clairy Browne (please have a read and support her because it is horrifying), but I feel it is necessary to write about another one here. Obviously the issue is more frustrating for Indigenous Australians than a privileged white man such as I, but it is something that is so easy to understand. That is blackface, and something that is related to music that I make.
I am inspired by many American styles, that is obvious, but there are corners of the music that I love that has sinister and horrible ramifications, namely people with pale skin imitating people with dark skin in a way that mocks, denigrates and humiliates. Shockingly it still happens. And in Australia. It happened last week and when some Indigenous Australian musicians such as Briggs and Thelma Plum called the perpetrators on it and subsequently they were abused online.
But it isn’t difficult to understand why it is offensive. As Briggs said “they’re grown men who can educate themselves…” (
So if you are someone who is mystified as to why blackface is offensive, have a watch. 


And sure, this video is from the US, but don’t just think it only happened there. Blackface minstrel shows occurred here. Click on the words below.
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In summary, blackface is offensive because it mocks people with darker coloured skin than those perpetrating the offence. So don’t do it. Do you still find it difficult to understand why blackface is offensive?