I first heard Leonard Cohen on the NZ National Radio Folk program in early 70's at age 14 and was inspired enough to want to become a folkie/songwriter.

He couldn't sing, no flashy guitar and songs about mosquitos - I can do that!

One of the great musical highlights for me was seeing him perform with Jennifer Warnes on BV's at the Hammersmith Odeon London in 1979. He did 8 encores! and played to packed houses 5 nights in a row. I couldn't do that!

Though I did have the privelage of opening for Comedian George Smilivici at the Glupot in the 80's.

George comes on and says "Big hand for Wayne Gillespie . . (get's out his guitar) . . "You know he reminds me of Leonard Cohen . . ."

George starts singing "Suzanne takes you down... and down...and down...and down...and down..and down ..." getting slower and deeper with every "and down" until finally falling asleep. Shit did that get a laugh! After that he requested me as support for his next two Auckland gigs just so he could do that gag. Still the money was good!

Re teenagers and folk:

My first visit to a folk club many years later was in response to the Titirangi Folk Clubs Songwriting competition in 1978.

The active encouragement of songwriters through this competition also I think drew o a lot of younger people to the folk scene in that time in Auckland. Later in the early 80's the Auckland Varsity Folk club under the leadership of Chris Priestley , Mike Reid and others was the impetus for the Auckland Acoustic Movement of the mid 80's spawning Kaith Tait, Brendan Power, Mahinarangi Tocker, Mike Harding, Andrew White, Denny Stanway, Acoustic Confusion to name but a few.

The support of The Poles Apart club run by Frank Winter, and the Devonport Folk Club and Roger Giles in encouraging of young performers and songwriters was also vital at this time as well. So although these clubs were generally run by people from the trady world (apart from the varsity clubs) there was a real tolerance and acceptance of contemporary acoustic musicians playing original tunes.

I think (in Sydney now anyway) that the unplugged phenomenon has lead to acoustic movements that have been separate from folk clubs where younger songwriters and performers tend to gravitate to now. eg Club Acoustica rather than the folk clubs. Also in Australia some of the Festivals such as Woodford, Pt Fairy & the National have become huge celebrations of all types of roots, ethnic, traditional, indigenous and acoustic rock music which also attract a large variety of punters & performers of all ages.

I think the tradition of acceptance of floor singers of all types by folk clubs is a crucial aspect of developing new talent and also providing the less serious with an outlet for performing. But I also think that initiatives such as songwriting competitions run by folk clubs is a great way of drawing young aspirant acoustic musicians/songwriters into the folk scene.

In turn they become influenced by the traditional music they hear as well. In my case Dick Gaughan, John Martyn, Bert Jansch, Sandy Denny & Steve Ashley as well as blues artists such as Lightening Hopkins.

I could go on but best stop here and await the barrage of Leonard Cohen hate mail!

Cheers
Last years Man
Wayne Gillespie

Wayne Gillespie was born into a musical family, his father Mick being a Jazz pianist and his sister Sally a clarinet teacher. He made his professional debut playing in Paris subways, London folk clubs and Sydney cafes before returning to Auckland in the early 80's.

His songs have always been written from a psychological perspective, like his well-known "Invercargill," and Wayne has completed an Honours degree psychology with a thesis on 'The Personality of Rock Musicians' at Macquarie University.

He now works at the University of NSW. He also continues to record his songs (click here) and to produce CDs for others.

              Play this "Invercargill" sound clip.