Jeff Duff and the Japanese sublime, singing Yutaka Ozaki

Posted on 1st August 2016

Was and is Yutaka Ozaki a James Dean and maybe even John Keats of song? All authentic and vulnerable, oceanic blue and alarmed like candle-light?

So Jeff Duff and Yutaka Ozaki must (if there is any law in the universe) connect.

Well—all this magic has happened, in our time, for experiencing and sharing.

No less surprising than everything else in Jeff Duff’s autobiography is the fact of his Japanese career—within which Duff has recorded Ozaki’s "I love you", with a Japanese audience in mind, laden with Australiana, as by kookaburra-harmonica.

Topmost is the art of hyperbole, stuff that Australia shares in spirit with Japan. So Jeff Duff delivers Ozaki with the height of his emotiveness, and perhaps with the highest note he’s put to record.

Also, fluttering out of Duff’s hands, the song gets a full-throated baritone airing.

The keynote, though, is sincerity—Duff sings this song out like it’s the best delight in the world, belling out its meaning like an angel meant it. So, for Duffromantics everywhere, here is Jeff Duff presenting Yutaka Ozaki :

[23 views as of posting]

Duff’s cover of Ozaki’s song is on the streamed album from Laneway Music: Elizabeth Bay, available on iTunes, for example, here.

Thank you to Sachiko W., Duffophile, for her associations and research re Yutaka Ozaki and Jappo-Duffo, without which this blogpost would not have been possible. She is a Noble Fellow of the Institute for Duffological Studies.

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Political Duff Stuff

Posted on 1st July 2016

QUESTION: What has Jeff Duff in common with Alison MacCallum, the lead singer of this popular anthem of Australian politics?

MacCallum was a back-up vocalist on the 2nd Kush album (1975)
Both Jeff and Alison appear on the Big Time Operator: Big Bold Booming Voices Of The 60s & 70s compilation album (Sony Music, May 2016); see this blogpost
When Duff sang "So your daddy is a mushroom" on Bob the Birdman, he had MacCallum in mind
MacCallum is now a regular tennis partner of Jeff Duff

Now … can you spot Jeff Duff in more recent matters of political import in the following pics?

Incognito? Duff was strikingly pictured, in January 2016, as one of a league of local heroes fighting local council for the freedom to party in their own Elizabeth Bay Park. See the full story in the Daily Telegraph, with full-size, all-colour pic.

Jeff Duff defends local park for local people

Jeff Duff defends local park for local people

Jeff Duff was the star attraction at a euthanasia rights fund-raiser in April, 2016, with comedian Mikey Robins (also in the promo pic, below) as MC for the night. That was the Dancing with Dignity event, as previewed by altmedia.

Jeff Duff in Dancing with Dignity (promo pic)

Jeff Duff — Dancing with Dignity!!

Jeff Duff also appeared, in voice and visage, only a few years ago, as one of many luminaries of Australian music in Leo Sayer’s anti-CSG anthem "No fracking way". See this blogpost about it, and the vid on youtube here (or on vimeo here).

Jeff Duff in Leo Sayer's No Fracking Way

Jeff Duff in Leo Sayer’s No Fracking Way

And, to help meditating on recent efforts to create a status-based, two-tiered wage system in Australia for those who work on weekends, there’s also an anti-slavery song from Duff: namely, Twisted system, on Jon Lord’s (Deep Purple) Hoochie Coochie Men album, with Duff working hard on the vocals; available on iTunes here.

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Euro-Duffo: Clown Prince of Rock? The “naughty but nice” ZigZag Interview (UK, 1979)

Posted on 19th June 2016

1979.04_zigzag_pic_1Did Jeff Duff flee Australia in the late ’70s to find his natural home in punk UK? This is one thesis (see Glenn A. Baker on Duff); and corresponds, in part, to Duff’s own anticipations, as he marked off the days on his Sex Pistols calendar until he took flight; "Oh Lord, a one-way ticket out of here, please!" (TWEE, p. 95).

However, after landing on the Queen’s soil in 1978, some initial reactions to Duff from what remained of UK’s punk purists didn’t match these theses and enthusiasms. Gobbed off stage and beaten up by punk rock punters at his first Lyceum gig (where the Pistols played their first abortive gig, way back in ’75), Duff-off-the-bus, though armed with sterling phone-numbers to ring, still got throttled on the streets, in tow with the grubby UK arts-media: like finding himself pummelled by UK’s heavyweights of music broadcasting: by the infamously gay-shy Russell Harty (on ITV, quite nastily) and by the innocently regressive Anne Nightingale (on The Old Grey Whistle Test, tongue-in-cheekily). As for die-hard punk rockers still flailing on the streets, there was a particular article in their latter day street-pamphlets that sought to bust the head of this brazen outsider, in harmony with with Harty’s and Nightingale’s shocks. A particular article of the type was authored by punk-purist music journo Robin Banks—in the 10th anniversary issue of the music mag ZigZag.

While starting out as a hippie music mag, by 1979, ZigZag was a self-consciously low-brow champion of pure punk. Barely anyone other than the Sex Pistols and The Clash got a kind rap in this rag. Trying to copy at least the look of US punk mag Flashez, ZigZag‘s production values were poor, with cheap, ugly photography, and cramped, haphazard layout, while the text was often made up of a broken English word salad; an anti-literary complement to their anti-jewellery of rubber-bands and piercings. So, for example, in this issue in which "Duffo" was featured, a journo starts writing about Lene Lovich with the words "This gourds-churningly terrifying sshhuck! noise whistles malevolently close to Debbie Harry’s collatoral on a Saturday loan …". And only pure punk will do; the issue also proclaims that a new Roxy Music album "veers from ordinary and not noticeable to good-when-its-on", and Jonathan Richman is all a "fairyland of kiddie-romance and nursery rhyme nonsense". Banks himself writes of being left "breathless" when first listening to some Clash album, and to this day cites little more than his Pistols and Clash articles as meriting the historical record. Even readers chime in at this level; The Clash is said, in this issue’s Letters, to be "the best band in the land and have never recorded a duff record".

This did not bode well for Banks’ interview with Duff—with one of Duff’s songs on his first UK album even entitled Duff Record; check it out on iTunes or GooglePlay. True to form, and to the appetites of ZigZag readers, the article begins by promising a report about "something totally ridiculous" as a way "to enliven our tenth anniversary edition". Banks claims that he made a "lengthy search" for someone who seemed to "fit the bill". Then he tries to be too clever beyond his ken in describing his encounter with this "someone" as "an insight into what might concur [sic] if Dr [sic] Spock met the Flying Doctor … and crashed".

Jeff Duff parties with Bill Wyman

Jeff "Duffo" Duff parties with Bill Wyman

Duff is then introduced as a creature found somewhere in Chelsea, in a grove (actually, Edith Grove, home of Duff’s esteemed publicist, Tony Brainsby) once associated with the Rolling Stones (who Banks also doesn’t like, writing that the Stones have since left this place for "puke-ridden greener pastures") … (see the pic, left, for another Duffo-Stones association). Duff first appears to him in (or as) "a freak glimpse of a pointed-ear-bearing character sporting bad make-up and striking velvet cloak". As for his music, well, because it’s not pure punk—Duff mashes it up with rock-n-roll roots, even cabaret of the Calloway type, with touches of Music Hall and Gilbert & Sullivan—Banks writes that Duffo’s first album contains 12 tracks "at least seven of which are stone cold turkeys".

Is music criticism like this of any use at all? Its yardstick begins and ends with what the critic personally likes; what is good is only what speaks to the critic’s own bit of space and time, as if the world is what is filled up by your very own drop in the ocean. Isn’t this just a low, banal, barely pubertal level of aesthetic appreciation—the aesthetic equivalent of egoism as the arbiter of moral reasoning (Kohlberg), or of the senses as the sole informant of the intellect (Piaget)? Asking why the musician does what s/he does is surely the start of a more developed critical approach, at least getting towards 20th century wisdoms of aesthetic appreciation, with more to offer readers than self-promotion of personal likes and dislikes, beyond childish liking of art as a choice between candy and brussel sprouts for tea.

BTW, others reviewing this album have found in it associations with The Kinks, the Bonzo Dog Doo-Dah Band, The Tubes, "Bowie (in his guise as Anthony Newley)", and even Monty Python; Banks himself finds an association with early (but, of course, "sub-standard") Ian Dury. Also, these reviewers have pointed to the album’s "witty lyrics with a pronounced strine inflection" and that "Duffo sings well and invests the entire disc with a self-deprecating sense of absurdity". The album is available on iTunes, Google Play, etc..

Jeff Duff (Duffo) cover pic for Give Me Back Me Brain single Jeff Duff (Duffo) cover pic for Tower of Madness single

Duff did not himself, of course, claim pure punk "credibility" for this early period of his Euro career; and he soon explored and immersed himself in other Euro trends—with peer and punter respect in tow. For example, as reported some months after his return to Oz, after a decade away …
Duff in the press: 1987.05.03 sun-herald

Robin Banks does, however, eventually doff his mohawk to Duffo. Of the infamous Number 10 body-stocking stunt (see Chapter 5 of This will explain everything from Melbourne Books for more info), Banks offers a perceptive and sensitive appraisal …:

 I should say here and now that Duffo struck me as more of a victim of cheapskate publicity endeavours than a straightforward media manipulator himself, quite the opposite. He came over as a person running hard to present himself in the only way he knows how, and for that he gets ten out of ten for trying. If he doesn’t quite cut it, then at least he’s made the attempt, and that’s far more than most people do. Robin Banks

Banks then applauds Duff for the sense of humour he showed in giving the esteemed NME music journo Tony Parsons—now self-proclaimed "Tory scum"—an exploding cigarette. The story is that Duff, having been summoned to an interview with Parsons after getting some adulation for the original, self-titled Duffo album (Beggars Banquet, 1979), entered the journo’s Carnaby Street club as a blindman, with dark glasses and walking-stick, and gave Parsons a cigarette that, exploding on being lit up, swept Parsons toppling off his seat, left him helpless on his hind, much to the mirth of fellow journos in the club.

Duffo badge modelled by Golly

1979 Duffo badge, designed by Duffo, proudly modelled by Golly; photo by GG

Banks also notes how Duff has his fans—Duffo’s performance at The Venue was "well-attended and well-received", and "I have even seen people sporting Duffo badges (which he designed himself) so it’s obvious that some people do actually like the guy". (See the Duffo badge, above, as proudly worn by our house-model at the Institute for Duffological Studies and photographed by GG.) Banks even uses the term Duffophiles to describe these creatures—much to the surprise of this writer, who independently came up with the term.

Banks also usefully records some quotables of lingering note re Duff on himself. Faithful to the low-brow ethos of the mag, Banks writes that he could not audio-record the interview because his tape-recorder was in a pawn-shop. Still, he seems to have scribbled down or committed to memory some notable words verbatim. So Duff could well proclaim that he was breaking new ground: "I want to prove that somebody completely different can come out of Australia and make it. That you don’t have to be Olivia Newton-John or the Bee Gees." And, whatever the reaction, he would not be deterred—like a Dali, his art was his life, and it was sanctioned to its freedom with entertainment as his mission:

 I’m not just Duffo on stage or on record. Duffo’s whole life is a performance. But I do feel the need to sing and show what I can do. I don’t care if people laugh with me or at me, as long as they laugh. And I don’t mind being regarded as the Clown Prince of Rock ‘cos I guess I am. Jeff Duff

(Summing up something of the Oz industry attitude to Duff at the time of his flight, the moniker "Clown Prince of Rock" was actually how a DJ, back in Brisbane only some weeks before then, introduced Duff to an audience; "which I thought was quite fitting", Duff himself added—TWEE, p. 96. So did Duff’s initial UK reception, as in ZigZag, just reflect, magnify and/or focus on that aplomb? A happy, even natural, outcome, after all? See TWEE [Chapters 5 & 6] for more by Duff himself on Euro-Duffo—and how all this early controversy actually gave him "keys to the city.")

See the complete ZigZag article as a pdf here—with more Duff in the media here.

Clown Prince of Pre Post-Punk Rock? Duffo on German TV

Clown Prince of Pre Post-Punk Rock? Duffo on German TV

For more about Euro-Duffo, see this Duffo album launch-poster in NME, his write-up in the German music press, and his German Rock-Pop TV Show performance, the interim 1982 report back to Oz in the Australian Women’s Weekly, this poster of his performance at The Factory, the inclusion of his Give Me Brack Me Brain single on the New Wave Greats 1976–1983 UK compilation CD, among other stuff.

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Big Time Operator: Jeff Duff on Sony’s “big bold booming voices” album

Posted on 21st May 2016

43Sony Music Australia has released (this 3rd week of May, 2016) a new Various Artists album entitled Big Time Operators: The Big Bold Booming Voices Of The 60s & 70s.

And, of course, quite fittingly, Jeff Duff appears among the esteemed artists.

Artists include Duff’s own hero, Scott Walker, with the song Duff himself covered on his own latest album: The Sun Ain’t Gonna Shine (Anymore). Walker is also on the album with Joanna. Other artists include Johnny Cash (Ring Of Fire), Long John Baldry (You’ve Lost That Lovin’ Feelin’), Leonard Cohen (Suzanne), Blood, Sweat and Tears (You’ve Made Me So Very Happy), and—another Duff hero—Bill Medley (Peace Brother Peace).

It also has the original Seasons of change by Blackfeather, which has been covered by Duff (on the Angels and Rascals album, and live on TV:)

—and of Eloise by Barry Ryan, also covered by Duff—but unfortunately with rotten, static-laden sound quality in this live-on-TV performance:

—and Duff also offers a version of this CD’s Long John Baldry song: from Ray Martin’s midday TV show:

And the Duff song on this 2 CD album? That’s on CD 2, Track 6: Easy Street, with Kush.

See the ARIA page here for details of the release. Seen to be available at all the usual outlets, including iTunes, Amazon, EBay, JB HiFi, etc..

And lest you assume this is just an album full of fellas, it’s got at least one sheila on it too: The Aussie Alison MacCallum, best known for her politically arousing It’s time, but here with Excuse me (as one youtuber comments, sounds like a James Bond theme song, and with impressive Bassey-like touches too).

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“This will explain everything”: The Jeff Duff autobiography

Posted on 9th March 2016

jeff_duff_autobiography_cover_b_1The long-awaited Jeff Duff autobiography has been published — released in May 2016.

Crafted by Duff over many years, gloriously published by Melbourne Books, the work has a provocative promise as its title: “This will explain everything“, being a 248 page tome, hard cover printed on gold foil, beginning with a Foreword by Molly Meldrum. Here are some excerpts from Australia’s mainman of the popular music industry:


 Unique is an over-used word in showbiz. But Jeff Duff is unique. …

 Flamboyant, eccentric, cheeky, charming …

 Jeff Duff is one of the greatest entertainers Australia has producedMolly Meldrum

Order here from:

Promo on Channel 7’s Daily Edition:

Promo on Channel 10

Excerpt of the ABC Radio National interview of Jeff Duff with Wendy Harmer ahead of the Sydney launch:

Interview with Duff re the book on RRR radio program The Australian Mood 26 May: on demand here or see the program page here.

Interview with Duff re the book on Maynard’s webcast here.

Performing Young Americans at the Basement (Sydney) launch of the book, Tues May 31:

Interview by Jeff Jenkins at the Flying Saucer Club (Melbourne) launch of the book, Sunday June 5:

Performing Easy Street at the Flying Saucer Club (Melbourne) launch of the book, Sunday June 5:

And listen to Lazarus from the same gig:

Pic of Duff at the Flying Saucer (Melbourne) launch of the book, Sun 5 June:

#JeffDuff at @flyingsaucerclubmusic yesterday…

A photo posted by Karen Freedman (@maccak) on

QUESTION: What was one of the earlier proposed titles for Duff’s autobiography (according to his blog of some years ago)?

The Naked Singer
The Disappearing Boy
I am a Genius
They said he was a fragile spaceman
Bashed, Banned but Unbewildered

More Duff quiz questions here.

FACT: It’s been a longtime coming. Already in 2004, the Sydney Morning Herald reported that Duff was "putting the finishing touches to an autobiography that will be published next year". See the SMH article here.

From the launch of This will explain everything at Better Read Than Dead 265 King Street Newtown, NSW · Sun 19 June 2:00 p.m.:

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