Tony Burkys
Guitars and vocals.
Tony has so far managed to avoid the notion that guitar strings bend. This tendency gives
rise to a stylised way of playing that can at time be reminiscent of a jazz master like Wes Montgomery
or a gypsy like Django Reinhardt. He’s also totally un-inspired by electronic guitar toys, content
with a pair of P90’s & his Vox amp. Folks with whom Tony owns to having spent time developing his craft: Matchbox - Mick & Jim Conway’s Jug band which has intrinsic theatrical associations with Melbourne’s Pram Factory; The Battersea Heroes; Uncle Bob’s Band ; The Café Society Orchestra; and Lonnie Lee & theLeemen. We are pleased & proud to include original input from Tony & his collaborators, Carol Ruff & Mark ‘Basil’ Butler.
Tony has so far managed to avoid the notion that guitar strings bend. This tendency gives
rise to a stylised way of playing that can at time be reminiscent of a jazz master like Wes Montgomery
or a gypsy like Django Reinhardt. He’s also totally un-inspired by electronic guitar toys, content
with a pair of P90’s & his Vox amp. Folks with whom Tony owns to having spent time developing his craft: Matchbox - Mick & Jim Conway’s Jug band which has intrinsic theatrical associations with Melbourne’s Pram Factory; The Battersea Heroes; Uncle Bob’s Band ; The Café Society Orchestra; and Lonnie Lee & theLeemen. We are pleased & proud to include original input from Tony & his collaborators, Carol Ruff & Mark ‘Basil’ Butler.
Peter Moloney
Basses and vocals.
Pierre Luniere, as he’s affectonately known, was inspired by the distinct similarity between
a beguine & a reggae feel, as evidenced in the band’s first-ever recording, a cover of Andy Williams’
'60’s hit, 'I Can’t Get Used to Losing You’.
35 years into a playing career as a bassist, he has acquired the instrument of his desire, an electric
upright bass: Otu, or ‘girlfriend’, a 5 string electric upright bass now a huge part of the Gentleman Callers’ soul. A year in the Capitol theatre ‘72, Sydney, singing with J.C.Superstar, pierre started his bass adventure with the inimitable Johnny O’Keefe, where he ably assisted on bass the No.1‘74 single, Mockingbird. His meandering course of songwriter recording support ever since has driven Stephen Kiely & TonyMalouf, RadioActive, {Funk}; WayneGillespie’s Passionfish, {Folk};Lindsay Bjéré’s A Portable Beach, {Surf Punk}; Christian Marsh’s Chromatic Harmonica on The Sketch, {Jazz} & lately, Sally-Anne Whitten’s R&B band, TheRumour Mill, {Country}.
Pierre Luniere, as he’s affectonately known, was inspired by the distinct similarity between
a beguine & a reggae feel, as evidenced in the band’s first-ever recording, a cover of Andy Williams’
'60’s hit, 'I Can’t Get Used to Losing You’.
35 years into a playing career as a bassist, he has acquired the instrument of his desire, an electric
upright bass: Otu, or ‘girlfriend’, a 5 string electric upright bass now a huge part of the Gentleman Callers’ soul. A year in the Capitol theatre ‘72, Sydney, singing with J.C.Superstar, pierre started his bass adventure with the inimitable Johnny O’Keefe, where he ably assisted on bass the No.1‘74 single, Mockingbird. His meandering course of songwriter recording support ever since has driven Stephen Kiely & TonyMalouf, RadioActive, {Funk}; WayneGillespie’s Passionfish, {Folk};Lindsay Bjéré’s A Portable Beach, {Surf Punk}; Christian Marsh’s Chromatic Harmonica on The Sketch, {Jazz} & lately, Sally-Anne Whitten’s R&B band, TheRumour Mill, {Country}.
Brett Rose
Drums and vocals.
The groove is here, and here it stays! In the spirit of luminaries like Jim Keltner & Charlie Watts,
Brett’s grooves span a broad canvas of musical taste & are signature to the Gentleman Callers’ mode
of operation – reinterpreting great songs in a new context. Brett supported the Ramones,
Midnight Oil, Cold Chisel and Icehouse et al, with Melbourne outfit the fabulous Shades. He bowed out
of the music business for some time due to musical differences with the entire industry,
but after a period of meditation working at Taronga Zoo he returned to music in the almost
famous blatant covers band What? And Quit Showbusiness? He followed this with soul feels
in the Truckload of Faith, and a long stint in jazz, in the notorious Coast Dixielanders
(don’t ask, he doesn’t want to talk about it).
The groove is here, and here it stays! In the spirit of luminaries like Jim Keltner & Charlie Watts,
Brett’s grooves span a broad canvas of musical taste & are signature to the Gentleman Callers’ mode
of operation – reinterpreting great songs in a new context. Brett supported the Ramones,
Midnight Oil, Cold Chisel and Icehouse et al, with Melbourne outfit the fabulous Shades. He bowed out
of the music business for some time due to musical differences with the entire industry,
but after a period of meditation working at Taronga Zoo he returned to music in the almost
famous blatant covers band What? And Quit Showbusiness? He followed this with soul feels
in the Truckload of Faith, and a long stint in jazz, in the notorious Coast Dixielanders
(don’t ask, he doesn’t want to talk about it).
