Australia/NZ
Singles Reviews A-D
Australian 45s E - L
Australian 45s M - S
Australian 45s T - Z
ACID
DROPS
Surfin' Prostitute Beat/Rattle My Zulu/Outa Sight Outa Mind (Greasy Pop, 1984)
The A-side does about two minutes of mid-tempo depression rock and then kicks into high
gear. Liz Dealy plays a nice guitar and really lets fly with some good shrieking vocals,
doing a good job of not sounding like either Debby Harry, Pat Benetar, or Siouxie, who are
apparently the only female vocalists any critic (including this one) is capable of making
comparisons with. Ultimately there's too much of the mood part and not enough of the
kick-butt part for my taste. On the flip, "Zulu" has a riff that is stolen from
Credence's "Suzy Q", but still sounds pretty good, especially the "Shake
shake, rattle rattle" chorus. Vocals have been passed on to the male guitar player
for both the flip side cuts, and he also does a good job. "Outa Sight Outa Mind"
is the best of the three tracks, which has to be discouraging for the band since it’s
a cover (though I don't know who did the original). At any rate, it's the song that makes
the purchase of this record a generally positive experience; the feel compares favorably
with some of the early Lime Spiders stuff.
ADORABLE
ONES
Rita/Rising Sun (1987)
Some remnants from the Four Horsemen, who managed one so-so single, release an even more
so-so single of their own. "Rita" is some dismal sludge metal stuff sporting
some pseudo David Lee Roth screams. How did this band get filed in with the modern Aussie
underground groups? Pretty dismal stuff.
THE AINTS
I'm Stranded/No Time (Hot, 1991)
This is pretty cool; a total remake of the first Saints single (which paired the same two
tracks). Still powerful, still guitar driven, still basic, raw and punkish, but rendered
totally different by Ed Kuepper's haunting vocal style and the different guitar, bass and
drum technique. The original is certainly more important and probably better, but this is
a pile of fun.
ARCTIC
CIRCLES
Angel/My Baby Said That (Mr. Spaceman, 1985)
Not much to get excited about here; more proof that some non-astounding Aussie bands do
exist. This is fairly mid-tempo mod-sounding rock. The guitar sound is kind of good,
although I think it's primarily due to the knobs being set right as opposed to the
playing. Sounds like a band that needs more seasoning before they do any more records,
although I see they have a mini-lp out now. I think I'll wait on that one.
THE ASSASSINS
Assassination/Suicide (Greasy Pop, 1983)
The very first Greasy Pop single features Ian List on vocals and Doug Thomas (Greasy Pop
Records boss) on guitar and song writing, and compares favorably to stuff they would later
do in the Spikes. The A side also has gone by the title "Kill The Prime
Minister" and features a huge and punishing guitar riff that builds to a crashing
finish. It’s wonderful stuff. The flip is the A side played backwards without the
vocals and seems like a shameful waste of vinyl when another song half as good as
"Assassination" would have been welcomed.
ASYLUM
Leopards/Ode To Belial (Waterfront, 1987)
One of the latest Waterfront signings, Asylum come from Brisbane and have been hailed as
the second coming of the Eastern Dark. "Leopards" is a real smash, and shows off
the ringing guitar chords that no doubt prompt the comparisons. But the band have a little
more of a metal edge to them, and that keeps them from reaching the level of Eastern Dark.
The B-side is a messy thrash/metal/hardcore instrumental that doesn't show much promise.
THE BACCHAE
When Money's The Only Thing Left/Watch The Door/Not In Despair/Freedom (Dominator)
I liked the lyric ideas in "Money" and the basic musical riff is good but they
sure drove the thing straight into the astroturf...by the time it was over I felt like I'd
heard it 500 times. It's your basic world going to rot song with a dark sort of musical
backing that sounds like a cross between Oi punk and early Killing Joke, if that makes a
bit of sense. The rest continues in this vein...the sound is a little too thin as there's
only one guitar and the playing is really sparse. At times it seems like it's bass and
drums only. Better production, beefier guitar, and fewer minutes of music on the disc
would've all helped this Adelaide crew a lot.
JAMES
BAKER EXPERIENCE
I Can't Control Myself/Born To Be Punched (Red Eye, 1985)
James Baker is one of many names in the Aussie punk scene that keeps resurfacing time and
again, having played drums in the Scientists, Hoodoo Gurus and the Beasts of Bourbon among
others. On this 1985 single he dishes up two sides of stuff on the same axis as Johnny
Thunders or the Hollywood Brats; real snotty sounding lyrics and some hot guitar runs. The
A side is a Troggs oldie that’s done with great style.
BAM
BA LAMS
Deliver My Love/Mean Thang (Citadel, 1986)
No One Else/Gettin Over You (Citadel, 1986)
Generally speaking the Citadel label is a trademark of quality and almost anything on it
is worth buying. This band stretches that maxim somewhat; they play a pleasant and
energetic brand of Long Riderish type stuff. Personally, I had enough of this style last
time I heard "Panama Red" back in 1975 or so, but for those who like
"cow-punk" (you know who you are), you could do a lot worse than these two.
(There is also a Bam Balams split single with the
September Gurls.)
THE BAMBOOS
Virginia/Snuff (Citadel, 1986)
With Which To Love You/Winded (Citadel, 1987)
If "Virginia" was the only Bamboos record you ever heard, you would probably
dismiss them out of hand. This is a song that just goes together horribly; like the Bam
Balams these guys favor a country sound, but they have a darker, moodier feel to them that
works best on some of their lp cuts. "Snuff" has some really gnarly sounding
guitar and does a fair bit to atone for the shortcomings of the A side. "With Which
To Love You" is a real corker, the best of the four songs here. "Winded"
follows the typical Bamboos pattern; they have enough good songs to keep you interested,
but it seems like half their stuff is totally useless.
THE BAMBOOS
Dead Girl flexi
A slightly different version of one of the cooler cuts from their last lp..."Dead
Girl" is a boozy country song about a guy who finds a dead girl in the basement and
proceeds to fall in love with her. "Oh, stop your decomposing and please give me a
smile...when I’m with that girl I feel so alive". Quite hysterical for most of
us, and potential very meaningful for all the necropheliacs out there.
NICK
BARKER AND THE REPTILES
Another Me/Spirit Level (White Label)
Produced by Chris Bailey, and instrumentally it's got some of the flavor of recent Saints
stuff...an acoustic guitar sound that still rocks at a moderate pace. The vocals are
pretty far behind Bailey, though, and I really can't see going overseas for this.
BEASTS
OF BOURBON
Psycho/Good Times/Sometimes Good Guys Don't Wear White (Red Eye, 1985)
All these songs are covers, but "Psycho" is worth the price of admission all by
itself. All three use a very Cramps-like style, but "Psycho" is enough to make
your skin crawl with lyrics sung in such a totally restrained style that there is no doubt
that the singer is a certified ax murderer; no sane person could sound THIS sane singing a
song like this. "Good Times" and "Good Guys" are both live takes; the
latter a pretty straight rendition, but the former is pretty neat as I'd never heard it
before.
BEASTS OF BOURBON
Hard Work Drivin' Man/Elvis Impersonator Blues/I Love You Because (Red Eye, 1988)
This lot have been away awhile since their "Psycho" single and Axeman's Jazz
lp, but they seem to be back into gear again. The A-side uses a riff that appears in 7,000
r&b songs (like George Thorogood's "Bad To The Bone" to name just one), and
plays it through amps that sound totally in pain from the distortion level they are
enduring. The vocals are comparably harsh. It's interesting but doesn't call me back much.
"Elvis" is a campy throwaway, while "Love You" is a demented
tearjerker country ballad, like a parody of something from "Coal Miner's
Daughter". The Aussies love these guys. Must be something about the outback.
BEASTS OF BOURBON
The Hate Inside/Hard For You/The Big Sleep/Moaning At Midnight (Red Eye, 1988)
More totally twisted country music from this lot...I can't take an lp of this, but as
comedy relief one single track is great. It's so funny primarily because there is no overt
attempt to make it seem funny...it's not goofy or anything, but when Tex Perkins sings in
this deep baritone like Johnny Cash about how he hates his job, he hates his wife and his
kids and everything else, and these guys are playing slightly warped slide guitar behind
him that sounds like country playing but is produced like gut level rock and roll, you'll
get the joke. Of course, there's also stuff like "Hard For You", that isn't a
joke at all but more of a demented rockabilly thing. Cramps fans ought to line up around
the block.
BEASTS OF BOURBON
Let's Get Funky/You Let Me Down/Cool Fire/Blanc Garcon (Red Eye, 1990)
If you aren't confused, I sure am. Musicians are supposed to like one type of music and
stick to it, right? So why do all these ex Scientist guys keep getting together under
about 15 different names doing everything from arena rock to psychotic rockabilly? Must be
the philosophy that if you throw enough stuff against the wall some of it'll stick.
Anyway, this particular Sci-offshoot hasn't really connected with me since
"Psycho", but they do enough different stuff that it's worth keeping tabs on it.
The A side of this is kind of mutant r'n'b more than funk...not that exciting. "You
Let Me Down" is better...sort of an odd bluesy thing. It rather goes on though.
"Cool Fire" is sort of Tom Waits-y...quiet and bluesy. "Blanc Garcon"
is the weirdest of the batch...sounds like happy trails music for a French waiter.
THE BENEDICTS
On The Air/Cold Comfort (Waterfront, 1989)
Not the usual fare I go to Waterfront for, but "On The Air" is a real nice
song...it's acoustic guitars, bass and drums, with some nice harmonies and a good level of
energy. Reminds me instrumentally of the Zimmermen...the same kind of real clean, honest
feeling. The flip is more of a tearjerker sort of thing; it still has the sort of good,
full sound with an edge that a lot of acoustic bands lack, but it doesn't grab me like
"On The Air". A real nice change of pace record.
THE BENEDICTS
Shout Me Down/Praying For You (Waterfront, 1990)
Strange business the way Waterfront goes into all these raving hardcore bands and then
also puts out records like this one...it's really quite, laid back folky stuff with lots
of harmonized vocals. Not really my cup of tea; it reminds me of some soft rock hits radio
tune by Dave Loggins.
THE BENEDICTS
You All The Time/You Can Never Know (Waterfront, 1990)
I'm used to thinking of these guys as a mellow power folk band, but the A side of this is
a pretty rocking tune, and even has some wah-wah electric guitar bits. For the most part
it's acoustic guitars strummed really hard and with a loud and driving drum beat. Really
nice. The flip is non-lp and it's much quieter with no rhythm section (blasphemy!). It's
unremarkable.
BITS
OF KIDS
They Say/Sorry Son (Revolution, 1987)
A bit of Stiff Little Fingers inspiration for this band of Sydney-siders, perhaps? Band
name from the title of an SLF single, bass player who sounds like he learned by playing to
the Nobody's Heroes lp every night, and lyrics just like SLF would've written,
talking about some unidentified "they" who do all sorts of nasty stuff. Not that
this is at all bad, because the two songs here have a good anthemic quality to them with
some fun shout-along vocalizing. There's lots of tasty guitar, the drums pound away in
fine style, and the singer has a really good voice for this sort of style. Production
could be a little rawer, though; these guys ought to use Inflammable Material as
their model instead of Now Then.
BLOODLOSS
Smell Machine/Shake Your Leaves (1989)
"Smell Machine" is a blast of noise with a funky base...imagine crossing a disco
track by the Trammps with the Laughing Hyenas and your pretty close. The flip is pretty
full on industrial sledgehammer music. Not pretty, but for fans of bands like King Snake
Roost there might be something here you should be listening to. (There is also a Bloodloss
split single with King Snake Roost.)
BORED
Little Suzy/Heartbreaker (Sympathy, 1988)
I'm really grateful that Sympathy has released these two tracks as a single here in the
US, since it gives me a chance to apologize for screwing up in my review of their
Australian mini-lp last issue...both these tracks are on it, and both are fucking great,
the problem being that they're in the way of being growers and I didn't give 'em time to
grow. Basic Stooges-styled riffs; slower than the current norm, but both these tracks are
the sort of infectious things that get under your skin and start spreading in the most
malignant way. Would fit in on Sub Pop slotted near Mudhoney, for example, except these
two sides make Mudhoney appear quite tuneless and bumbling by comparison.
BORED
Satisfaction/Round and Round/You Make Me Sick (Dog Meat, 1989)
Not the Stones song, "Satisfaction" is pure Stooges meets hardcore. Without
sounding bullshitty, singer Dave Thomas manages some of the most seriously animalistic
vocals of recent years. The general feel is Sex Pistols attitude mixed with psychedelic
leads and rip snorting punk rock backing. Bored have been pretty impressive since they
started; they've shown they can play fast or slow and crunch with the very best. I'd rate
the Sympathy single a touch better, but this one has plenty going for it.
BORED
Electrophonic Tonic
THE WHITE ELEPHANTS
Jason (split single - Destroyer, 1990)
A cool pairing...if you read the Dog Meat feature last time, you'll have seen that Dave
Laing mentioned the White Elephants as a local band that had made a big impression on the
members of Bored...he said that he was expecting to do a single by them. But this record
beats him to the punch. The two bands are fairly interchangeable...I think Bored get a
slightly better guitar sound, but both songs are heavy, nasty, and dirty. Neither ranks
quite with the stuff from the first Bored mini-lp, but it ain't far off.
BORED
People Say/Over The Edge (Dog Meat, 1991)
Can't say I understand why Melbourne's grunge kings have a single on Dog Meat at the same
time as an lp on Survival, but who's to complain? The A side of this is from the lp, and
it reminds me a bit of their early smash, "Little Suzie", with a slow, steady,
relentless beat and dry vocals to go with some heavy, acidic guitar. That's good, 'cos
that was Bored at their best and so is this. The flip is more of a rocker, is non-lp, and
is also real solid.
BORED
My Pal/Say Goodbye (Munster, 1991)
Here Bored cover the brilliant classic "My Pal" by God, and they turn in an
interesting version with an intro that sounds like it’s played on one of those Indian
sitars. But there’s a danger in trying to cover a song as good as this
one...it’s always very hard to match up to the original, especially when the original
was so good because it was played with such feeling. Better to choose a great tune that
wasn’t well performed or recorded. Still, it’s nice to get reminded of this one
again, even if Bored’s take comes up a little flat in comparison. The flip is a
Stooges flavored thing with a harmonica bit. Pretty good, but not top drawer stuff.
BORED
Iron Man
PURPLE OVERDOSE
Symptom of The Universe
(split single, Brain Salad Surgery, 1993)
Each band covers a Black Sabbath song, and neither really even tries to rescue it from the
original sludgy excess in which it was born. It will never cease to amaze me that a band
like Bored! can be influenced by both the Sex Pistols and Black Sabbath. To me these bands
are completely contradictory. I’d pass on this single.
BO
WEEVILS
Lies/Come On Back/You Drive Me Wild/All I Want (Kavern 7, 1987)
A superbly trashy sounding effort that sounds like it might have been done a 4 track
recorder in 1965. Some real cheesy Hammond organ and vocals that bring time mind early
Rolling Stones records ("Get Off My Cloud" maybe?). Although the band does a
fine job a recreating the 60s sound, it really doesn't add anything to it, though, and
thus this record doesn't find its way back to my turntable that much.
BROKENHEAD
Come Anytime/Never Say Never (Seaside, 1990)
I can see myself getting to like the releases on Waterfront's spin-off label better than
the ones on the main label pretty quick. On "Come Anytime" Brokenhead serve up a
slab of stuff that sounds almost too much like Dinosaur Jr. to let them get away with it.
Except that it sounds like the best things Dinosaur Jr. have ever done, so I forgive and
replay. On the flip the guitars get wilder and more psyched out, but underneath there's
still a good hard hook to hang your hat on. Nice start.
BUSH
PIG
Feltching The Cat/Grunt/Rorting About/Like A Bushpig (Amphetamine Reptile)
One of the unfortunate problems with these noisy bands is that it seems like there are
more people playing this kind of music than there are listening to it. When you listen to
this record (which includes ex-feedtime members), you can understand why...the band sounds
like they had fun making it, but to me it sounds like a bunch of rehashed King Snake Roost
and I don't have any desire to listen to it. Originality means coming up with your own
sound, not copping a sound from somebody else who has an original sound.
CANDY
HARLOTS
Red Hot Rocket/When Will I Know (Augogo, 1987)
This crew sound like they line up with bands like the Adorable Ones or the Four Horsemen,
other outfits from Down Under that also dabbled in the kind of Gary Glitter meets sludge
metal that makes up the A side. The singer here sounds at times like Johnny Teen, although
where Johnny is clearly camping to the max, this guy seems to believe in what he's doing.
Normally this is a good sign, except when you're marginally metal. The flip is better
since it's faster paced and riff oriented and feels more like racy power pop...I like it
quite well. Dunno about that A side stuff, though.
CATHERINE
WHEEL
Almost Blind/Sunny Sunday/Look At Her (That's Bizarre, 1990)
This sort of thing usually is good for about 13 seconds max before it becomes a frisbee
around my house; ultra bright folky pop by a band that should not be mistaken for the UK
group with the same name. But this time something clicked and not only did it make it
through one full play, but it also made it onto one of the tapes of singles that are worth
repeated listenings. The band have managed that rare trick of making smooth and pretty pop
music but keeping the edges that make it have a life. "Almost Blind" and
"Sunny Sunday" are the sort of pop people made in the sixties without
embarrassment or guilt, but few even try now, and fewer succeed. Really good female/male
vocal harmonies make this stuff a real treat for the ears. "Look At Her" goes
too far in the folk direction and doesn't make it through a full play, but the other two
are plenty good for lots of listens. Let's Active fans probably should be thinking in
terms of purchasing multiple copies.
CATHERINE WHEEL
Blue Avenue/Last Explanation (That's Bizarre, 1990)
Just to prove that the first single was no fluke, these guys pop out another one.
"Blue Avenue" uses the neat trick of having a fairly sparse verse part with just
the guy singing and when the chorus comes around everybody plays louder, a saxophone comes
in, and Andrea Croft joins in with backing vocals and the whole thing just sort of floats
up to a higher plane. And unlike many of these kinds of singles where the A side rocks a
bit but the flip is usually a full on soppy ballad, the flip of this one is on the same
level as the A side (maybe higher), this time with the vocal roles reversed and with a
bigger electric guitar presence. Really nice.
THE CELIBATE
RIFLES
But Jacques, The Fish? ep including 24 Hours/Tubular Greens/Kent's Theme/Let's Get Married
(Hot, 1982)
Pretty Pictures/Out In The West Again (Hot, 1983)
Merry Xmas Blues/Summer Holiday Blues (Hot, 1983)
Wild Desire/Waiting For The Man (Hot, 1984)
Sometimes/E=MC2 (Hot, 1984)
Six Days On The Road/Groupie Girl (Hot, 1985)
The above titles represent the more hard to find Celibate Rifles singles; some have been
reissued or been repressed as giveaway discs in fanzines. The Jacques ep is the best piece
of Rifles vinyl in existence, with all four tracks being killer examples of the Rifles go
for the throat style. Three of the tracks are available on the Quintessentially Yours
lp, but "Kent's Theme", an anti-smoking, anti-advertising blast, is only
available elsewhere as the b-side of a British reissue of "Pretty Pictures", and
with its ramalama Marlboro country riff, it’s a crucial track for any Rifles fan to
have. On lp the Rifles specialize in speedy guitar songs that make the Ramones seem like
troubadours by comparison, but they seem to like to use their singles to stretch out and
try different things. "Pretty Pictures" is a ballad (and not terribly great at
that), and I don't know what to make of "Out In The West"...it sounds like a
very bad country band on a very bad night. "Merry Christmas Blues" on the other
hand is a great slab of the Rifles at their blitzkrieging best, a reworking of "We
Wish You A Merry Christmas" to the point of near unrecognizability, with a kick as
good as any of the Sideroxylon era stuff. "Summer Holiday Blues" on the
flip is another powerhouse...it seems like a weird pairing until you realize that
Christmas is in the summer down under. "Wild Desire" is a fairly unremarkable
song from the second (Aussie) lp, but the flip of "Waiting For The Man" is
unavailable elsewhere and is performed in the best Celibate Rifles turbo-charged fashion.
"Sometimes" is a great single as well; a different version from the one that
later showed up on the Turgid Miasma of Existence lp. It really rips. The b-side,
"E=MC2" is a strange thing that borders on, hell no, IS, a novelty
track; lines like "Albert Einstein had a way with his equations/He mixed them all up
and gave them to the nations...". Total goofiness, except I'm not so sure when they
get to the line where Albert goes "Vot you done with my equations". I think they
are serious there. Anyway...on to "Six Days On The Road", which coupled with
"Groupie Girl" makes a single that doesn't have any of the reasons for which you
buy a Celibate Rifles record and thus should be bought only in the interest of a complete
collection. "Six Days" is a goofy cover, and "Groupie Girl" is a
mid-tempo (for the Rifles) thing that doesn't really connect.
THE CELIBATE
RIFLES
Eddie/Ice Blue/Thank You America (Hot, 1986)
An acoustic version of this track from their Turgid Miasma lp...although it
isn’t really stifled in energy at all...in fact, they used the same rhythm section
and vocal tracks as the lp version and just switched the electric guitar with piano and
acoustic guitar. It’s a pretty cool effect...the drums and bass are punishing while
the rest feels laid back. The two tracks on the flip side were recorded live at a gig in
Adelaide. The performanc on "Ice Blue" is rather flat...the studio take is way
better. "Thank You" is considerably more inspired...at times Damien Lovelock has
the sort of bored delivery that Johnny Rotten did so well with the Pistols. They stick in
a funny fractured interlude of the Beach Boys "Surf City" followed by a snippet
of Springsteen’s "Born In The USA"...."Born in the USA, they gotta a
lot of fucking Nazis in the USA". Pretty great.
THE CELIBATE
RIFLES
Merry Christmas Blues
SAQQARA DOGS
Splatterdance
(split single free with Away From The Pulsebeat, 1987)
This is the same
track as appears on the Hot single reviewed above, so there’s not much more to add
here. The Saqqara Dogs side is pretty useless.
THE CELIBATE
RIFLES
Pretty Pictures/Kent’s Theme (Shikagu, 1987)
A US release of two of their older songs. "Kent’s Theme" is the smoking
anti-smoking track lifted from their Jaques ep...nice to see it available again so
that if you get this and Sideroxylon you can at least have all the music from that
pricey little gem. The A side isn’t one of my faves from the Fusiles album,
it’s nice enough but is a little tame by the standards I’ve come to expect from
this crew.
THE CELIBATE RIFLES
Jesus On TV
SEMINAL RATS
Change
(split single, What Goes On 1987)
This one should’ve been a legitimate single in Australia with a picture sleeve;
instead we only get it via a promo single from the rather disorganized US label, What Goes
On. "Jesus" is a fabulous song...great stop/start guitar lick powering the thing
along and very topical lyrics given the rise of televangelism these days. One of the best
songs of the year for sure. The Seminal Rats side isn’t bad either...these guys have
their moments of sounding like they could step in for Radio Birdman but at other times the
descend into metallic wasteland. On this song, they tend to hit the good more frequently
than the bad.
THE CELIBATE
RIFLES
Dancing Barefoot
SS-20
Still I’m Sad
(split single free with Lost Trails fanzine)
The Rifles side is a live version of the Patti Smith track that they previously released
as a studio recording on a 12" single in Australia. This recording is about the
quality of a very good audience tape. The drums don’t sound too good and the vocals
are pretty indecipherable in the mix, but the guitars sound really nice. But I’d
rather have one of the Rifles’ own songs...they’re better than Patti Smith in my
book. SS-20 cover a Yardbirds track in a fairly spacy sounding updated style...guitars a
little like Bevis Frond. I’ve never heard of SS-20 before; I assume they’re
Italian. They’re too droney for me to care to find out more.
THE CELIBATE
RIFLES
Johnny/El Salvador (Truetone/EMI, 1989)
I confess that Kent Steedman's comments about major labels and reaching more people had me
a little scared that the Rifles were ready to soften up. But as they say down under, no
worries, mate, this one delivers the goods. In fact, it's the best thing on 7" the
Rifles have put out since the "But Jacques The Fish" ep; where a lot of their
singles have been diversions or gimmicks, this one is a direct hit with two ace tracks.
"Johnny" is a crunching workout that's a little slower than the stereotype
Celibate Rifles attack (not to say it's a ballad by a long shot). But "El
Salvador", in addition to a very topical lyric ("they got an overdose of
America!") has the traditional guitar onslaught and a blistering pace, and is as good
as anything off the Roman Beach Party lp, which is heady praise in my book. Dunno
if these will be on an lp, but until we know, I'd rate this a must-have record.
THE CELIBATE
RIFLES
Thank You America/Back In The Red/Rainforest (Hot, 1989)
A bit of an odd thing to do, but then the Rifles don't really pay that much attention to
THE RULES. These three tracks are from their second lp, and they've been remixed for this
12". "Thank You America" is a sarcasm laced blast at the US for big
brotherism beyond the call of duty...it's a unique song that features a tense guitar bit
with spoken vocals sounding like three different news readers going at the same time
talking about what the US is doing wrong, with one voice coming out on the chorus. The
main impact of the remix is to toughen the instruments and turn down the vocals a bit; it
was good before and it's still good, so other than that it gives a good reason to listen
to the track again a few times, it's not clear what the point was. "Back In The
Red" was the one song from the second lp that sounded like it could have fit on Sideroxylon,
their first slam bang lp. On this mix it's brightened up substantially, making it even
harder and gustier than the original. Finally "Rainforest" is redone with Kent
Steedman singing instead of Damien Lovelock, which makes sense if you've read about Kent's
concern for the rainforests in NFH#16. It's a song that's even more topical today than
when it was first written. If you're a serious fan like me, you've gotta have this, but
stock up on all their lps first.
THE CELIBATE
RIFLES
O Salvation/Fish And Trees (EMI, 1989)
I went to a seminar recently at which Bill Silva, one of the bigger concert promoters in
the southwest, was talking supposedly about how to get your small time band booked as an
opening act for a touring name band (his answer appeared to be: don't even bother, in case
you wanted to know). Silva grated on me on several levels, but most annoying was the fact
that he claimed to focus on bands from the UK and Australia, and that he said that what is
needed in music today is a band with the commitment and spirit of the Clash. So I raised
my hand and asked him if he'd listened to the Celibate Rifles, which drew a number of
snickers from those present when they finally understood the name, but got a total blank
from Silva. I think there was a lot said by this exchange, because I think the Rifles
should be as important to the 80s as the Clash were to the 70s. But though I remember
thinking that no one noticed the Clash in the 70s, their records were on a major label and
available in Tower, and they were written up in Rolling Stone, whereas the Rifles have put
out more records with more consistent quality and they've gotten nothing at all for their
efforts. Well, that's life I guess, and this single won't change it. It's not as good as
their last one, which was super..."Salvation" is on the fab Blind Ear lp
and has sort of a ragtime gospel sound to it...a pretty good kick. "Fish" is an
acoustic workout with some incredible slide guitar bits by Kent, not on the lp, though it
is on the cassette and CD. I like the flip better, though musically it's pretty left field
for the Rifles...the lyrics are real poignant.
THE CELIBATE
RIFLES
Wonderful Life/5 Lamps/Where The Action Is/She's So Fine/Hot Stuff (True Tone, 1990)
A pile of variety on this double 45; the A side will be familiar to any fan...a great song
about the complacency of average lifestyles. "5 Lamps" is a slam bang new one
with plenty of muscle...a typical Rifles blaster. The second record is all covers...the
first two are the best, especially "She's So Fine", which really powers with
some chunky guitar and a real live feel. "Hot Stuff" is the Donna Summer (!) hit
from a few years back done in a more rocking fashion; it's impossible for the band to save
this one from my preconceptions, though, so I'm less inclined to listen to it than the
other three sides.
ROB YOUNGER AND THE CELIBATE RIFLES
I-94/She’s So Fine/Shakin’ All Over/It’s A Long Way To The Top (If You Want
To Rock’n’Roll) (Compassion Explosion, 1988)
A bootleg, but of the highest quality. These are four live cuts from a 1988 concert in
Germany in which Rob Younger joined the Rifles for some encores. Listening to a singer as
great as Younger fronting a band as powerful as the Celibate Rifles is something the hear.
The sound is as good as any bootleg I’ve ever heard. "I-94" is a Radio
Birdman oldie, and Younger knocks it dead. On "She’s So Fine" Damien
Lovelock takes over vocals and Rob moves to backing. Another full on assault. I’m not
sure who originally wrote "Shakin’ All Over" (Johnny Kidd, maybe?), but the
version I know to compare it to is on the Who’s "Live At Leeds" lp. The
comparison is favorable, too, and this take is much more concise. Younger sings lead
again. Then back to Damien for the last track. This must have been one hell of a gig for
these guys to play with this kind of power at the end!
THE
CELIBATE RIFLES
5 Lamps/Electric Flower
HARD-ONS
Sorry/Lose It
(spit double single, Festival and EMI, 1992)
A split single in the true sense of the word...the Rifles disc is on a Festival label and
the Hard-Ons is on Waterfront, yet they share a sleeve. I've been told that this is the
last vinyl single Festival will release, which in itself isn't a big crime since they
generally haven't had the best Aussie acts, but is another indicator that they heyday of
great Oz singles is long gone and you'd best be looking to places like Finland now. But
this is a great pair of bands to go out on; two of the best of the last 6 years. The
Rifles do "Electric Flowers" from the new lp and another great one called
"5 Lamps" that kicks neatly. Neither stands with their best but both are better
than most bands can muster at their strongest. The Hard-Ons tracks were produced by
Captain Sensible of Damned fame(!). "Sorry" is way slower than normal for them,
but it really sounds great...way different guitar and drum sound from their usual thing
but it still powers. "Lose It" is even further off the path...starts as an
acoustic ballad without drums or bass and then mutates into a grunge rocker and the one
track here I don't really care for.
CHARLOTTE'S
WEB
Big Letdown/Dance Of The Chimney Sweeps/Delicious Pain (Easter, 1986)
This is another one of a batch of pretty good melodic folk pop singles I've gotten
recently; I put 'em all on one tape and played it at work a few times and it ruined my
whole reputation. But if I'm going to listen to something softer, I'd rather it have some
spark like "Big Letdown" which is bright and cheerful sounding with jangly
guitars that have some point other than to just jangle. "Dance" is an
instrumental with some nimble guitar picking, and "Pain" is another breezy cool
one. This is an oldie now (1986), but you can still get it.
THE CHEVELLES
Be My Friend/She Don't Come Around (Zero Hour, 1990)
Fronted by former Stems guitar player Richard Lane and including one time Kryptonics bass
player Jeff Halley, the Chevelles debut with a single that more than lives up to any
expectations their previous efforts might inspire. "Be My Friend" is harder and
nastier than most Stems songs with some really good edgy guitar and sharp drumming, but
still with plenty of pop feel to it, especially in the vocals which are cool and light.
"She Don't Come Around" is more of the same...red hot power pop with plenty of
zap to it. Real lively production is an added plus...if this line up sticks together I
suspect that more good things are imminent.
CONEHEADS
Burned Again/Action/Evil Little Elmer (Greasy Pop, 1986)
Guitar driven pop at its best...great chorus that goes "There's nothin' that you can
do/When they got it in for you/5 dollars gonna get you ten/There's a barn burnin'
again!". These boys are heavily into destruction, with the psychotic little
pyromaniac Elmer burning down schools and otherwise raising hell. And finally,
"Action" burns like the best Ramones tracks, only faster. This is one hell of a
single, and as far as I know the only vinyl these guys have. Find!
CONEHEADS
Chewy Chewy/Skippin' Skippin' Skippin'/If I Had A Hammer (Greasy Pop, 1987)
Kind of a depressing record, coming as it does on the heels of their first mega-smash
single, "Burned Again". All three tracks of that one raged like early Ramones
with real scorching, distorted guitar work. This one is total lame bubblegum pop; sounds
exactly like a candy commercial you'd hear watching Saturday morning cartoons (and for
which you don't have to pay $4.50 import Aussie single prices). The best (small praise in
that word) track here is the third one, which the band thought little enough of to not
even mention in print on the sleeve or label. C'mon guys, you can do so much better!
CONEHEADS
Happiest Day Of Her Life/Outta My Mind/Onions Make Me Cry (Sympathy, 1989)
Two of three are from their Bum lp..."Outta My Mind" is the best, working
up a pretty good sweat with some fun rocking pop. "Onions" is the non-lp cut,
and it's just passable pop with silly lyrics about how the guy's baby runs off with his
pizza. "Happiest Day" sounds almost like a Ratcat song...your basic teen pop
lament of a wedding in which the bride kills herself so that the event becomes a wake.
Foolish, but tastefully so, and the sort of thing that seems to grow on you.
CONSPIRATORS
Expressway To Your Brain ep 25 Years/Nobody's Fool/I Feel Good/Bring Me Down (Vi-nil,
1984)
This one looks from the cover like it's gonna be a hardcore punk record, but when the
needle hits the groove, it proves to be Detroit style garage rock with an obvious
reverence for the Birdmen. Rob Younger produces, and it sounds like he sings, although the
credits say otherwise. The songs are pretty derivative, and they suffer from being crammed
into too little vinyl. Fun for a few listens, but ultimately tiring.
CONTRAPUNCTUS
Two Legs/Gone/Red White And Blue Boys (Sympathy, 1989)
"Two Legs" appeared on the second Greasy Pop compilation, but I'm glad to have
it on this single...it's got the kind of bludgeoning drumwork and a grabber tune that
makes me run around the house with froth on my lips looking for mailmen to bite. Killer
vocals, too. The other two cuts I'm not so sure about. "Gone" is pretty much a
crooner ballad, and "Boys" is a droney workout with an admirable political
message but such an oppressive tune and vocal delivery that you can't help but remember
that the other guys brought us Lenin, Stalin, Beria and Krushchev. Reminds me of nothing
more than the sort of politicized rant punk that came out of Britain in the early 80s. I
agree with everything they say, I just wish they had a better way to say it.
CONTRAPUNCTUS
Burning/Intelligence/Start Again/White Light, White Heat (Sympathy, 1990)
Sympathy's Greasy Pop connection scores another single for an Adelaide band. Contrapunctus
continue to remind me of a poor man's Exploding White Mice, largely because of the vocals,
but also because of the general instrumental attack and the way their songs are
constructed...that same sort of Ramones meets Motor City style rock and roll. If the Mice
weren't also constantly getting better, Contrapunctus would be gaining ground rapidly,
because the songs here are their most consistent stuff by far...hard edged, tough stuff
with an appropriately dirty production. All three originals are excellent; despite a
fairly strong cover of the Lou Reed song their own cuts are better. That's a good
sign...let's hear the lp!
COSMIC
PSYCHOS
Lead Me Astray/No Money (Mr. Spaceman, 1987)
Seems like I have a lot of year old singles by second line bands in this issue...this one
came out in 1987, and the A-side at least is actually a lot better to my ears than
anything on the lp reviewed last issue. "Lead Me Astray" has a repetitive
Stooges-style bass line that kicks the song along strongly enough to overcome some fairly
mediocre guitar noodling and pedestrian vocals. The flip, a rant about the band's
financial status (probably unimproved by the fortunes of this disc), starts slow and
dirgy, assumes a more up-tempo pace in the middle, and then slows down again. Guaranteed
to be thumbed past frequently while resting in my box of Aussie singles.
COSMIC PSYCHOS
Rambo (no label, 1989)
A one sided gig giveaway that Augogo managed to get some spares of for catalog
sales...this one takes a long while to get wound up and started (like half the disc), and
then it's a reasonably good 3 chord and pile of dust sort of effort. As usual the vocals
are pretty flat and uninspiring...the singer sounds fairly much like any one of a dozen
mid 80s UK punk band singers. The lyrics take a swipe at gunboat diplomacy Reagan style.
Not worth working hard to get.
COSMIC PSYCHOS
Dead Roo/Can't Come In (Survival, 1991)
Melbourne's masters of thunderous grinding punk rock spin out a tale of antipodelean road
pizzas. The sound they've gotten this time around is bigger and better than ever before,
and I'd rate this their best single yet, though musically they tend to recycle a lot of
riffs and this is no exception. These guys are probably best on lp where multiple
onslaughts of this stuff tend to crush you into submission. The flip is a live to air
version of a previously released track that has a bootleggy feel and replaced the key
offensive line in the song with the rather transparent "Get trucked!" to make it
suitable for family listening. Do you suspect that children observing censoring laws might
perhaps find adults a bit barmy?
COSMIC PSYCHOS
Garbage Rock
VERTIGO
You Get Nothing
(split single, Hippy Knight, 1992)
A bit of sychophancy here as both bands cover songs written by Amphetamine Reptile boss
Tom Hazelmeyer back in the days he played in a band (can’t recall it’s name
now). Anyway, the Psychos turn the song into their usual pounding grind; they’d have
done the same with a Carpenters song. I liked the bit where Ross goes "It’s
garbage rock...Tom!" as if there’s a message for the author there. On the flip,
well I never cared for Vertigo’s brand of noise, and this doesn’t change it.
CRACKED
JAFFAS
Flowers
PURITANS
Gordon
(split single - Lemon fanzine)
This one's a freebie with the latest Lemon fanzine out of Melbourne. The Cracked Jaffas
play a sort of high octane jangly pop which could sound like something from Athens,
Georgia except the singer is a bit more intense than that and there's a fairly good bit in
the middle where the guitar starts to get real psychedelic. Don't stand in front of a
train for it, but it's a good track. The Puritans are an authentic 60s beat sounding group
who've improved drastically since I last checked in with them. They've achieved a nice
trade off between the cheap 60s studio sound that Billy Childish is famous for and modern
production sound, and it's a real strong tune, too. If they're going to keep this up, I'm
going to be listening much more often.
THE CRAZIES
Self Destruct/I Wanna Kill You (Sympathy, 1990)
I think Sympathy is trying to corner the market on bands whose name begins with the letter
"C". Regardless, this lot comes from Adelaide, but surprise, they aren't on
Greasy Pop (yet). "Self Destruct" is rather like a Cosmic Psychos song except a
little slower and with a stronger vocal. It's your basic buzzsaw three chords and a pile
of dust punk rock type stuff with yobbo singing that Sham 69 fans could appreciate. Both
sides grind away neatly. I could do with more of this stuff.
CRENT
AIDS/Extended Vocabulary (Waterfront, 1989)
Crent is Celibate Rifles' guitar player Kent Steedman, and his ode to AIDS is a corker...a
totally claustrophobic production with an interesting approach to safe sex; basically that
sex would be a hell of a lot safer if there weren't nuclear weapons. Kent's vocals are
kind of a wobbly falsetto, but it still sounds cool. The flip is a piss take rave up that
uses two chords and about six words and ought to get a good laugh out of you if you're
half alive. It's not like the Rifles, but it is like Steedman...and that means there's
lots of great guitar. Crunch.
CRENT
9K?/FSW (Waterfront, 1990)
Celibate Rifles guitar player Kent Steedman making noises on his own...this one is less
immediately accessible than his last one. On the A side there's a steady bass riff with
some casual lead guitar over the top and Kent singing softly in the background...more of a
mood thing. A LONG mood thing. The flip has a raw and dirgy guitar riff broken
intermittently by some drum build ups, and then breaks into a thrash segment where the
vocals come in informing us that it's a "Fucking Stupid World" and telling us
many reasons why. But why the A side is named "9K?" I've yet to figure out.
THE CRYSTAL
SET
A Drop In The Ocean/She Counts The Days (Red Eye, 1985)
Benefit Of The Doubt/Don't Be Surprised (Red Eye, 1986)
Acoustic based songs with a fairly uptempo feel and synthesizer backing, this isn't the
sort of thing I usually go for, but "Drop In The Ocean" is a cool track that
holds up pretty well to repeated listenings. "Benefit Of The Doubt" is also
classy, but it reminds me of Al Stewart (British geezer who did such wimp out stuff as
"Year Of The Cat" back before independent records rescued us from the trauma of
AOR radio, for you younger readers), and thus loses valuable points. Both flipsides
maintain the level of the a-sides as well. Not for people who dislike subtlety.
THE CRYSTAL SET
A Furious Mess/Some Attention (Red Eye, 1990)
A long time between drinks for this lot. But they come back sounding pretty unchanged with
another track of pretty luscious synth pop. I usually hate this sort of thing...very
English dance music, but somehow they pull it off with a really nice soaring chorus line
and a solid, driving beat. The flip doesn’t connect as well; it replaces the
breathing drummer of the A side with a battery consuming drum machine, which is inevitable
death to my ears. Still, I liked that A side.
THE DAGOES
We Sell Soul/Little Blackie/Let’s Liquidate (Greasy Pop, 1980)
The first release by this seminal Adelaide band...seminal not in the sense that a legion
of bands picked up instruments to copy their style, but more in that they showed that it
was possible to play original music in Adelaide, to attract a following, and even put out
some records. This record sees the band changing their name from "The Tony Rome
Band" to "The Dagoes" in the middle of making the single ("The
Dagoes" is stamped over the old name on the labels). "Soul" reminds me of Ziggy
era David Bowie, but "Little Blackie" kicks out a little harder and is more
memorable. "Liquidate" sounds like a cheaper version of "Suffragette
City" to bring the Bowie comparison into sharper focus.
THE DAGOES
Ten Years On/Somehow
(Phantom, 1981)
One of the first new wave bands in Adelaide to make a name for themselves. Their singer is
the distinctive focal point for the band, and will have you thinking of XTC, Talking
Heads, or the Cars. But the music stands on its own; a harder drum sound than any of the
vocal references, but there’s a mix of guitar and piano for the music and some
soulful female backing vocals. The song isn’t too remarkable, but in the context of
the times it’s not bad, and it’s interestingly free of Birdman/Stooges
influence, a rare thing for later period Aussie bands.
THE DAGOES
Daunting/Blood On My Face (Greasy Pop, 1982)
"Daunting" is a huge change from "Ten Years On"; for one thing the
singing chores have been handed to a female singer, and also despite the presence of two
guitar players, the guitar is pressed way into the background behind synthesizer. The flip
is more of the same. Can’t say that the band is very thrilling this time out.
THE DAGOES
Heartbeat/Hey Man (Greasy Pop, 1984)
By this time, Doug Thomas has stepped out of the band, but he still put their records out
on Greasy Pop. This one doesn’t lack for confidence ("The Legend
Continues..." it says on the sleeve), but it’s a fairly uninspired new wave pop
song on the A side. The flip is even worse since it descends into maudlin ballad
territory. Some legends are best kept out of the light of day.
THE DAGOES
I Do It For Mama
THE SCREAMING BELIEVERS
I Guess I’m Going
THE PINS
Burning Night
CHEQUERS
Manila
(split single flexi, Greasy Pop, 1982)
A four track flexi freebie from some Greasy Pop promotional deal of years back. The
Screaming Believers’ track suffers from a pretty lousy recording; the guitar’s
nice, but the rest of it sounds totally muffled. These guys weren’t ready yet. The
Dagoes track sounds far better...a more rocking number for them with the guitars well up
front and the synthesizer out of sight. The Pins’ track is the best of the four; a
driving rock song that with updated production would fit in with the bands that came along
in 1987. Includes horns, but they are mixed back for flavor and the overiding impression
is a straight ahead rhythm section and hot guitar. Chequers play a quirky brand of
keyboard based new wave pop that sounds like it takes a vocal queue from the Dagoes.
THE DAGOES
Vatican Stomp/I Can Do What I Want To Do (Greasy Pop, 1990)
The Dagoes were the band that led Doug Thomas to launch Greasy Pop Records; he played
guitar for them in the early 80s. This record is a limited edition release to coincide
with a ten year anniversary one-off gig the band played in May; the A-side was the lead
track on the Greasy Selection compilation cassette many years back, but I don't
think the flip was ever released at all. Doug will kill me, but I think singer Dick Dago
sounds like Rik Ocasek of the Cars, and the keyboard based sound sounds a little new
wave-y today, but "Vatican Stomp" is not bad. I suspect it will mean a lot more
to people who followed the Dagoes closely in their heyday.
THE DEADLY
HUME
Passenger Blues/Bed As Big As A Boat (Phantom, 1986)
"Passenger Blues" is torturous bluesy stuff that sounds like Harem Scarem on
STRONG drugs. Really acid sounding guitar work. Not sure I like it, but I can see some
people raving over it. Certainly doesn't show any sign of compromise, and I DO like that.
The flip is a lot slower, and really starts to drag as it wheezes to the end of its five
and a half minutes.
THE DEADLY HUME
The Hokey Pokey/After Hours (Phantom)
It's been quite a while since I heard anything from this Sydney group, and they've come
back with a good effort. I seem to remember reading that the A side of this was a
children's song, and I can believe it from the words, but the music is pretty dark,
threatening, and heavy. There's a dense drum sound and some eerie guitar playing that'd
have most kids hiding under the bed. Really slinky sounding stuff. On the flip it's a
Velvet Underground cover done in a coffee house acoustic fashion. Not my idea of fun, but
I do like that A side.
DECLINE
OF THE REPTILES
What I Feel/Flesh (Waterfront, 1985)
They have much better stuff on their two mini-lps; the chorus of this one drags with its
6-fold repetition of "I know what I feel" sung in a somnolent voice. This is a
band that might be better if they weren't as good musicians as they seem to be; the song
has millions of pointless twists and turns and lots of dangly piano and organ fills that
don't do much. The flip is also non-memorable.
DEEP
DARK HOLE
One Million Pieces/I Think I'll Take My Own Life (Phantom)
I don't know what the hell to call this...in a way it sounds commercial (production values
mostly), but it's got some of the more bizarre playing you've heard in a while. The drum
beat is totally odd for a rock song but it's the drums that drive "Hole" to the
edge of mania. There's also some good fuzzy guitar work, The singing is smooth and
polished over it. Either everybody'll love it or everybody'll be pissed off. I like it.
The flip is slower self pitying stuff with lush vocal harmonies but still maintaining an
edge; a lot less wimpy than is the case with most bands doing this sort of thing. Solid,
not brilliant.
DIED
PRETTY
Out Of The Unknown/World Without (Citadel, 1984)
Mirror Blues Pts 1 & 2 (Citadel, 1984)
Stoneage Cinderella/Yesterday's Letters (Citadel, 1985)
Winterland/Wigout (acoustic) (Citadel, 1987)
First of all, let me start by saying that I am prepared to rave about Died Pretty all
night. To me they have one of the best characteristics a band can have; their records
sound gradually better and better every time you hear them. I was totally unimpressed at
my first four listens to "Out Of The Unknown"; now I listen in awe at the fluid
drumming, the raw edged guitar, and the way they manage to get the keyboard fills to work.
And most of all at Ron Peno's vocals, which are nearly unintelligible, but sound like an
additional instrument. Even on slow stuff like "World Without" I find that I am
always primed to hear the whole thing through to the end, and maybe even play it twice
straight. It should be said that the first two single are available combined on a 12"
from What Goes On, and that they are somewhat better that way since the epic "Mirror
Blues" doesn't have to be split in two. "Mirror Blues" is yet another
contradiction; a 10 minute track that doesn't lose your attention for a minute; this is a
riveting, Doors-like marathon that grinds its way right into you. "Stoneage
Cinderella" is a more readily accessible track that ranks as one of the band’s
best, with some great shrieks and yells out of Peno to go with savage drumming.
"Yesterdays Letters" is more reserved, and probably not one of their best.
(Note: this single was also released on the French label Closer with pretty much the same
sleeve). "Winterland" is the first single since 1985, and it really smokes with
the best of Died Pretty's stuff. It starts with Ron Peno spitting out ptoooh! and
from there on it’s built around a rolling drum pattern, mysterious vocals, and some
nice guitar. The "Winterland" single was also released on Closer with the slame
sleeve design but printed in blue ink. All these singles are well worth having as they
tend to reflect the tougher, more rocking side of the band (as opposed to the more
introspective Next To Nothing mini-lp or parts of the Free Dirt lp).
DIED PRETTY
Towers Of Strength/From A Buick 6 (Blue Mosque, 1988)
Hmmm, not that I didn't think Died Pretty would do a song like this, but this is not what
I had in mind for their next single. "Towers" is a slow, moody piece that
recalls a lot of the Next To Nothing 12". Still, it's a grower, and I find
that I like it a lot better now than when I first got it. I can hear Chris Welsh in the
background holding back with everything he's got from thrashing out on his drum kit, and
everybody else plays with superhuman restraint. I do wish they'd mix Brett Myer's guitar
just a bit louder and turn down the electric piano, though. Flip it over and we're back to
more of the driving sort of stuff we all came here for. On the non-lp "Buick
Six", Ron Peno sounds like a pilled-up Bob Dylan (with good reason; it's a Dylan
cover) and the electric piano is traded in for a cheesy organ that fits a whole lot
better. Well, the lp is in the mail and will probably get reviewed here too, so we'll see
how the Died Pretty story proceeds from here.
DIED PRETTY
Out Of My Hands/When You Dance (Blue Mosque, 1988)
Wild Child/Final Solution (Compassion Explosion, 1986)
Not a lot out of the Died Pretty camp lately; guess these two will have to hold us for
awhile. The a-side of the official single is one of the best tracks from their cool Lost
lp; a typical Died Pretty rocker except Brett Myers sings and you can understand the words
as a result. The flip is a cover of a Neil Young song and gets a good run through, but it
doesn't have the dynamics of a lot of their originals. If you haven't heard this you'll
play it a lot, but I've worn the lp thin, so the A side is a little late for me.
A lot of these boot
singles flying around lately haven't been too great, but this is one that any fan
shouldn't miss. Both sides are covers recorded in concerts in 1986 before the band had
begun to make much of a name outside of Australia, and they give some glimpse into the
staggering difference between Died Pretty live and Died Pretty in the studio. The
recording isn't the greatest, but the energy level is as both songs are blasted out in
chaotic fashion. Died Pretty's live energy doesn't come from playing fast so much
as it comes from the sense that anything could happen and that nobody in the band is
really sure where the song is going to go next. But they do know how to build a song from
basic beginnings to a huge drooling thing and then break it back down again; Pere Ubu's
"Final Solution" is dramatic testimony to that. Try some of the US mail order
places in the front to get one.
DIED PRETTY
Stoneage Cinderella (Bucketful of Brains freebie)
This one came out over the summer along with Bucketful of Brains #30. The magazine is
getting a little too hippy oriented for me, but this is probably the best free record I've
got with a fanzine in ages...it's an absolutely killer live version of
"Stoneage" with great sound. It really shows off why you have to see Died Pretty
live to appreciate them...the song just careens on the edge of control. Fabulous. The flip
is some British psychedelic band called Outskirts Of Infinity who should have stayed
there.
DIED PRETTY
Everybody Moves/In Love Prison (Blue Mosque, 1989)
I sense a certain loss of momentum around Died Pretty which is discouraging, since they
were one of the major bands in my mind after their Free Dirt lp. But then it seemed
like their ballads were the mortar that filled the joints between the huge rockers they
formed their sound around, whereas on Lost (which wasn't a bad record at all), they
reversed this trend and now their last two singles have been just good, but not great.
This one rocks a little more and is better than anything since "Winterland", but
play this back to back with "Mirror Blues" and you can't help but notice a
significant lack of vitality. It's going to be awhile before I recommend that you avoid
buying a Died Pretty record, but there's certainly cause for concern with three straight
releases that fail to blow the place up.
DIED PRETTY
Whitlam Square/Sink Or Swim (Blue Mosque, 1990)
This one's a solid piece of mid-tempo Died Pretty. Not the sort of fevered excitement of
"Winterland" or "Stoneage Cinderella", this instead has more of the
quality of their brilliant "Blue Sky Day", though the song isn't quite the
masterpiece that one was. Ron Peno has gotten significantly less wild as a vocalist, which
tends to make the band as a whole sound a little more tame. But they still are one of the
best at breaking a song down to a real quiet passage and then roaring back into your face
with a slam-bang finish. As usual, Chris Welsh plays drum parts that aren't fast but still
impress with precision hitting and inventive fills. On the flip, it's a non-lp acoustic
ballad with just Ron Peno and Brett Myers...some of Ron's worst singing, I'm sad to say.
There's an interesting CD single from the UK (if you've got the stomach to pay the price)
with two other non lp cuts, neither of which is worth getting at the price in my book.
DIED PRETTY
True Fools Fall/A Ballad/Is There Anyone/Kingpin (Blue Mosque, 1990)
"True Fools" is the only one of these four that's on the lp (the others were
recorded back in Australia), and it's a real solid mid-tempo Died Pretty track. My only
complaint is the tinkling electronic keyboard bits, but the rest of it is great...solid
drumming, a great Brett Myers guitar solo and some heartfelt singing by Ron Peno. The
second two tracks were also on the CD single of "Whitlam Square"..."Is
There Anyone" crosses my mellowness threshold a little too far...it's just acoustic
guitar and Peno singing (and on my copy of this it's pressed on the flip of "True
Fools" even though the label says it's "A Ballad"). When we finally hear
this track, it turns out to be a fair bit more involved than the title would lead you to
believe...not "Winterland" for sure, but it would've fit in fine as an lp track
on Every Brilliant Eye. "Kingpin", which just came out in the US on a BOB
magazine flexi is the most rocking song of the four, and it's got an uncharacteristically
underproduced feel that I like quite well. It also has a good dose of Brett Myers doing
backing vocals, which he does real nicely. What's more, unlike most double singles, this
one really didn't cost any more than a normal single...at least bought from Augogo it
didn't.
DIED PRETTY
Kingpin
MEKONS
Hey Susan
PSYCHEDLIC FURS
Torch
(split flexi single with Bob fanzine, 1989)
The Died Pretty track here is one of the B sides from the "True Fools Fall"
single; nothing really remarkable for this band. The Mekons track is live and fairly
spirited, though I never see the reasons for the ruckus about them now...they were good at
the start and have been pretty average for years. The Furs should’ve packed it in
ages ago; I can only imagine that their record company paid substantial advertising money
to be included here.
DIED PRETTY
Stop Myself/Godbless (Blue Mosque, 1991)
Both tracks from the lp and thus this is a less than essential 45. "Stop Myself"
has some soaring vocal bits and a nice ebb and flow quality. I didn't care much for the
keyboard intro on "Godbless", but the rest of the song is killer. This is
probably the best Died Pretty single since their stuff on Citadel, but if you get the lp
like you're supposed to you won't need it.
DIED PRETTY
DC/Wonder (Blue Mosque, 1991)
"DC" is another brilliant song from the lp that fairly lifts you to St. Peter's
Gate when the chorus comes around. Filled with beautiful guitar bits and brilliant drum
crashes skillfully placed, and wot's this, Ron Peno is singing so that I can almost
understand him! The flip is a mega-slow dreamy ballad that's not going to garner much
interest.
DIED PRETTY
Time/March Past (no label)
This is a giveaway single from a gig in January of 1991, and both tracks are not available
elsewhere. "Time" sounds a little unfinished...it reminds me of an old song by
Melanie that I can only remember because some radio station back east played the song all
day long as a publicity gimmick when I was in college. It's uptempo and rocking but
doesn't click. "March Past" is one of their slow crooners, and it's also OK.
Neither of these tracks measures up to anything from the new lp. I’m not sure if they
gave away a different sleeve at each gig they played; I’ve got two of these, one from
Paddington and one from the Metropolis, and each has a different sleeve.
DIED PRETTY
Sweetheart/Time/Disappointed (Blue Mosque)
This CD single has one of the less exciting tracks from the new lp as the "A
Side" (see the problem with thinking of this as a single?) and two non-lp tracks to
go with it. "Time" was on the freebie single and though most Died Pretty rockers
are really good, this one sounds sort of half thought out and doesn't really work.
"Disappointed" is slower but better put together, but it still lacks
inspiration. Non-essential.
DIED PRETTY
Caressing Swine/This Reason/A Song For Me/The Cross (Columbia, 1993)
A four track single this time; nothing that leaps out of the speakers, but some solid
songs. The verses of "Swine" reminds me of a slower version of
"Winterland"...it’s a nice cut but doesn’t compare to earlier singles.
"This Reason" is sparser but more rocking, while "A Song For Me" is a
withdrawn ballad. "The Cross" is a live-to-radio cover of a Prince song that
starts as a slow and soft ballad but mutates into an old style Peno screamer part way
through...wish he’d sing like that more regularly these days. I don’t follow
Prince so I have no idea if this is faithful to the original, but it sounds like a natural
Died Pretty song.
THE DIRTY
LOVERS
Shanty Tramp/One To Blame/All I Want/Loudmouth (Dog Meat, 1990)
From Bored's hometown of Geelong (is it the water?), the Dirty Lovers are pretty damn
close to interchangeable with their fellow townsmen. Massive grunge mongering rock and
roll on all four tracks. "Shanty Tramp" sounds like a cross between
"Pushin' Too Hard" and "TV Eye"...maybe not the most original thing in
the world, but it's good on the ears. "One To Blame" is also a simple riff based
slammer, but it doesn't tip off such obvious comparisons, and it builds and ebbs pretty
neatly. Oddly, the verse riff from this song is identical to the riff in "All I
Want", which makes it a bit odd when you put the songs back to back on a tape as I
did. This band has the sloppy, gritty style and presentation down cold, just need to brush
up the song writing with a little better variety and we've got potential grammy material
here.
THE DIRTY LOVERS
Teenage Love Bomb/All I Want (In The Red, 1989)
From Geelong south of Melbourne in Australia, the Dirty Lovers made a good reputation for
themselves in old Vic for their rowdy and dirty rock and roll. Influenced equally by the
early Saints, Stooges and alcohol, these two tracks are typically raw and underproduced
open sores. I think that if they got better production they'd be more impressive, but
people who saw them live swore by them. The drummer and singer are dead now, killed in a
car wreck on the highway to Geelong. This epitaph is fun but could've been much better.
THE DUBROVNIKS
Fireball Of Love/If I Had A Gun (Citadel, 1988)
My Coo Ca Choo/Girls Go Maniac (Citadel, 1988)
I can't figure it out. Two guys in this group are in the Beasts Of Bourbon; Boris Sujdovic
and James Baker. Yet there is absolutely no common ground in the results.
"Fireball" is a super cool piece of power pop with this neat descending keyboard
line and a vocal that sounds like Peter Perrett of the Only Ones. The flip (real title
"If I Hadda Hadda Gun") is tougher...leans toward the Lime Spider's brand of
grimy pop. It is also hot stuff. "Coo Ca Choo" is a cover of a glitter song by
some geezer named Alvin Stardust which sounds just like Gary Glitter's "Rock And
Roll" and is OK, but not fab, while "Girls Go Maniac" is excellent pop with
nice stop bits where the guitar goes on by itself until everything else comes charging
back in. Both singles are fun, neither are great. Your choice.
THE DUBROVNIKS
Speedway Girls/Freezing Rain (Timberyard, 1989)
Stripped down to a three piece, these guys may turn out to be something worth paying
attention to...it's their third single now, and though none are what you'd call
heavyweight stuff, all sides have been pretty enjoyable pop efforts. This one sounds like
a page from T Rex, with a really basic two note guitar bit and a cool glitter rock
treatment.
THE DUBROVNIKS
She Got No Love/Got This Far (Mushroom, 1990)
Ah...hmmm...we got a problem here. This band, which has all these former Scientists and
recently did a cool lp of power pop called Dubrovnik Blues, have struck out
mightily with this single...the A side is disgusting arena metal cock rock. The flip is
marginally better. The extra production bucks they've got by virtue of having a bigger
label behind them have resulted in a record that only sounds like a bid for FM rock radio
play. Ugh.
THE DUBROVNIKS
Love Is On The Loose/Something's Not Right (Mushroom, 1990)
Gack! More of the same. The sort of sound that would fit in on the radio in a BMW.
DUST
COLLECTION
10 Til 13 O’Clock/Green (When She Says)/The Light (Greasy Pop, 1986)
An interminable A side that re-uses a fairly uninteresting verse far too much and then
features a bridge where everything gets quiet instead of louder. "Green" is
quite a bit better; it rocks a bit but there’s still too much vocal and not enough
band in the mix. "The Light" is the best of the 3; nice jangly pop. Guitars are
undistorted and mixed too low throughout all of this.
Australian 45s E - L
Australian 45s M - S
Australian 45s T - Z
