In the early days David Hosking played with John Coltrane. Along with John Coltrane; you knowalong with his records. He was a bit of a child prodigywas John Coltrane.
David doesn't play jazz by the way.
We can go back further into the history of David Hosking although not much further than thisDavid attended a Little Richard concert while nestled in his Mother's womb. It was the tour of Australia where Little Richard had some kind of religious awakening and decided to throw all his jewellery
into Sydney Harbour.
A few months later David's Mother was lying on the examination table in the family doctor's surgery. His name was Doctor Starr. While David's Mother, Dawn, lay on the surgery table, his father Jack and the doctor stood on either side of her arguing about the Australian Rules Football Grand Final that both had attended the day before. This is the football game that only Australians seem to understand; but that's another story. Jack barracked for (supported) Essendon, while Doctor Starr barracked for Melbourne. Essendon lost. After the argument, and Dawn's examination was finally complete, Dr Starr told Jack to take her to hospital or he wouldn't get any sleep that night, because Dawn was going into labor. As Dawn got up off the table her waters broke and went all over the Doctor's blue suede shoes, ruining them.
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"Down every street", the new album is out now. Here's some reviews.
Troubadour David Hosking has an uncompromising approach to his music- he does things his way. No lofty ambition, just honest toil for his craft when solo and digs deep when riding shotgun for others.
Hosking has a nose for witty poetry that he beautifully transforms into song, especially in this lo-fi approach complimented by a midas-like touch for the instrument selection, whether it be dreamy lap steel (The Moon) or subtle banjo fingerpicking (Stranger).
This album offers diversity, with timely doses of rock (Saved by the bell) to gentle acoustic (title track). All the while Hosking's warm vocal doesn't want for perfection, yet thrives and shakes with passion in each song's journey as if it's an old friend.
Scott Podmore. Herald Sun, 9.5.10.
As the cover photo wryly suggests, Melbourne's thriving pop cacophony tends to sideline the more subtle and thoughtful likes of David Hosking. The local folk stalwart's sixth album is more smoulder than flash, although the rock attack of 'Saved by the Bell' and the beautifully measured electric guitar crescendo of 'Ten Good Hearts in One' bring propulsive relief to his default tone of poetic introspection.
Hosking digs so deep for his truth that his voice trembles with it; hushed but always in command of a rich and skilled band of session players who are sometimes better known than he is. Any friend of Augie March will find good company here.
Michael Dwyer. The Melbourne Age, 18.12.09.
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David Hosking should be one of Australia's most recognised singer songwriters, there is no doubting that. Why he isn't is a question that simply puzzles me. Any muso he works with knows it, any time he performs (and that is not enough) the audience know it, every time I play a track on radio the phones light up. It remains one of life's mysteries but this is one secret I'm happy to share as often as I can. Not the most prolific artist alive (as he says in Version of Me "I won't be rushed"), a new album from David is always a revelation.
Down Every Street is a sublime effort from a similarly sublime artist. As always the songs are strong, sometimes anthemic and sometimes poignant. The arrangements are understated but perfect, the lyrics honest, exploratory and bare. The moods range from stripped back acoustic sounds to brooding rock and roll with even a touch of mariachi horns. The musicians helping him out are simply expressing a shared joy at working again with superb material and a genuine musical enigma.
I have always believed Hosking's earlier album Jack's Boy to be an Australian classic. Well, he's done it again. Stunning. Joyful. Inspiring. Down Every Street should be compulsory listening. I am in danger of wearing my copy out.
John Carver
Presenter of "Across the tracks"
PBS Radio 106.7fm
Melbourne.
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.David Hosking is one of those artists that, either by design or accident, has managed to slip mostly under the radar – especially here in his hometown – while at the same time eking out a career of undeniable nobility and value. Despite having had his songs covered by artists such as Vika and Linda Bull, Rebecca Barnard and Shelly Scown, it would probably surprise a lot of people to know that the sublime Down Every Street is Hosking's sixth studio album.
Displaying adroitly his virtuosity as a musician, opener The Moon sees Hosking in almost Hawaiian cocktail drinking territory, with laid back, swinging guitar strumming and enchanting, beachy melodies. This is followed by Curve Of Your Heart, in which the claim, from BBC Radio host Mark Patterson, that Hosking is the best unsigned songwriter he has heard is borne out in no uncertain way. No, I'm never gonna back that horse/It's always running off the course/Won't come to its senses/jumping over fences/disappearing out of sight. Track three, The Bend showcases Hosking's extraordinary range as a singer, as well as his outstanding abilities on the harmonica. And things just get better and better from here. There's the upbeat Saved By the Bell that confirms Hosking can also do the rock thing as well as anyone, and would have any joint jumping. The title track is a melancholy classic, larger than life and, quite simply, one of the best songs of the year.
This is not a 'breakout' record in any sense of the word; no way is this guy changing his ways in an attempt to capture a wider audience. In all probability, this lovely album will sell in similarly small numbers to the rest of Hosking's work. This is a shame, not for Hosking, who I'm sure makes music for reasons other than popularity, but for the music loving public in general, who will be much the poorer for not having discovered this hidden treasure.
Tony McMahon. Inpress Magazine. 5th August 2009.
