Throughout his lifetime, Tiny Tim was a repository of recorded music stemming from the early days of vaudeville to the latest chart favorites. But despite all these influences he remained a true original perfecting his performances as an outreach of his personality. True, he had some strange traits, but they did not impede on his enthusiastic kindness to people he loved, to the musicians he accompanied, and to the many listeners he met. In the age of celebrity, he functioned as the complete entertainer. Lowell Tarling has provided Tiny with a living biography and given us a definitive incentive to re-listen to his recording and re-visit his numerous You Tube postings. You get the feeling that somewhere Tiny is standing on his tiptoes, strumming his ukulele, blowing kisses and saying, 'God bless you all' Hal Stein, (Tiny's cousin and close friend) April 2013
Galilee is a Gospel music label started in 1978 and active until 1982, when all the key players were Christians (more or less). Now, three of the four believe in something else, leaving record producer, songwriter, lecturer in Rock, and Bible translator, Robert Wolfgramm as the only true believer. Such is their respect for Robert and the Gospel years that Sally Hilder, Genna Levitch and Lowell Tarling have re-joined Robert and re-formed Galilee. They have re-released all three Galilee records and written this book. Galilee songs go into unusual territory. All My Friends Are Sinners and Refugee are 'moody' albums. Not happy-clapping. More like the blue note resonating from the Psalms of David. After which comes Persecution Games - unusual territory indeed. Welcome to the crucifixion.
Lowell Tarling wrote 'Edges' for that most wonderful of all author incentives - insatiable curiosity. Combined with a quest for enlightenment, he undertook a subject few would have chosen-the history of those people and groups that separated from the Seventh-day Adventist church. Of necessity, this also includes touching on the history of the mainstream Seventh-day Adventist church. Lowell's education and early adult experiences were deeply entwined with the Seventh-day Adventist church. However, it would be a mistake to assume that his writing on the subject suffers from any degree of bias. There is a sense that he took on the role of bystander, and this essentially gave him a valuable degree of separation and objectivity. Methodical in his approach and relentless with regard to research, Lowell delivers a surprising, connective, inside view of a divisive period in the growth and emergence of the separatist groups that were spawned within the Seventh-day Adventist Church. Sparing nothing, he pares back the layers of doctrine, dogma and the heated nature of the schisms in the church. He deftly reveals the angst, divergence and egotism; but also humanity, desire for truth and humility. For all of these were present in the interchanges that shaped not only those movements that separated, but also the Seventh-day Adventist church. The first edition of 'Edges' was published in 1981. Reprinted now to a generation who did not share the past struggles is indeed worthwhile. It is because of the conflict and debate of those times that they now sit in the pews of churches of their choice, where 'saved by grace alone' is integral and unchallenged. Essentially, emergence from dissension is a human experience. It occurs with every doctrine, creed or organisation. There is a wider view - this is not only the history and narrative of one church's crises. It touches wherever we are in life.Ultimately, it is impossible to ignore the authenticity of Lowell's search. We sense that it means more than a disengaged treatise on a topic of interest. In the end it matters less whether he found viable answers to a religious dilemma. It is significant that he had the courage to ask questions. Above all, it is notable that at the close of the book he chose the words spoken by Christ, 'Whosoever will, may come'.
'Tiny is totally modern. He said, "Whenever there's more than two, it's a show". And an amazing show, giving and pouring it out, while the audience is joking at first and digging each other in the ribs. He'll wear them out. He'll wear all their resistance out until they're up on the floor dancing. He'll amaze them and they won't remember it because they won't want to say that Tiny Tim was amazing.' - Martin Sharp, artist.'I thoroughly enjoyed the book. It brought back a host of memories in capturing the very essence of Tiny Tim.' - Hal Stein, Tiny Tim's cousinLowell Tarling has been writing ever since he could hold a pencil. His literary journey began with him scribbling down observations and life events much as an artist would sketch; here a little, there a little.He is the quintessential searcher and this, along with an open acceptance of people and their lives and passions, has brought him into contact with a wonderful diverse group of artists, dissidents, minstrels and songwriters. A lifelong friendship with the artist Martin Sharp has resulted in a book that combines an inner view of Tiny Tim, the man and the performer, and also a remarkable range of artistic images by Martin.
Lowell Tarling recorded Martin Sharp's life, and his effect on his friends, over twenty years. Now two volumes in one, in advance of the film of these books - GHOST TRAIN...Sharp: The Road to Abraxas - Part One, 1942-1979Sharper: Bringing It All Back Home - Part Two, 1980-2013'Like the Ancient Mariner, it's also a ghastly tale. I could understand the events at Luna Park a bit. I was trying to understand them and then suddenly there was this poetic language working to say: this is a crucificion, Golgotha, death by fire. And then it starts to fit into Apocalyptic vision. It was Abraxas if you like - the dark face and the light face. To look upon Abraxas is blindness. To know it is sickness. To worship it is death. To fear it is wisdom. To assist it not is redemption. I don't know what it means. I've never been able to work it out. You get a Pop Art Parallel. It was the Year of the Child, the place of Golgotha, the Place of the Skull, and the Ghost Train. You then get these events that are caused by plotting, not caring for kids, carelessness, living a human life - the way of the world.' - Martin Sharp, 4 March 1984
Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. In this second of two volumes, Lowell Tarling offers us a way into the enigmatic and reclusive artist, through his extensive interviews with Sharp and all of his trusted friends, touching on the many dramas of life at Sharp's home studio, Wirian; his productions and search for meaning with regard to the Luna Park Fire; his spiritual search and death in 2013.
