Australia/NZ
Singles Reviews E-L
Australian
45s A - D
Australian 45s M - S
Australian 45s T - Z
THE EASTERN
DARK
Johnny and Dee Dee/Julie Is A Junkie (Waterfront, 1985)
The only 7" single by a band whose tragic career should have brought forth at least a
dozen more like it. Both sides of this display an obvious affinity for the Ramones, but
feature the paradoxical combination of a brighter, poppier feel with a harder, crunchier
guitar. This is a band that could be liked equally by hard core punk fans and readers of
16 magazine. The impact of pop this good can't be described on paper; all I can say is
that there are few records recommended here for which there is less risk that you will be
dissatisfied. Note that there are several different color schemes on the Waterfront
sleeves of this, and there is also an issue of it on the French Sonics Records label with
a different sleeve altogether. (There is also an Eastern Dark split
single with the Happy Hate Me Nots.)
THE END
My Confession/White World (1981)
The End played around Brisbane in the early 1980s and included Brett Myers as
singer/guitar player (now of Died Pretty) and bassist Jonathan Liekliter, who played on
the first Died Pretty single. This is a total DYI effort; the song titles are even
handwritten onto blank white labels (unless I somehow got a test pressing). It’s
underproduced but sounds quite good never the less...a lively drum sound and some solid
bass. "My Confession" is a little stilted, but it’s clear that there’s
a connection to Died Pretty from where this starts. The flip has a strong Velvets
influence...Myers even seems to sound like Lou Reed, which is not a natural voice for him
at all. An interesting artifact but not essential.
EXAMPLEHEAD
White Horse/Highly Dangerous/Hansel and Gretel (Aberrant, 1988)
Recorded, presumably, in the same sessions that resulted in the tape of their new lp that
Bruce G. sent me, and produced by Celibate Rifles’ guitar-basher par excellance
Kent Steedman, this one shows the band a solid step ahead of their debut lp. The overall
mix is a lot sharper, and the guitar comes out much stronger than on Aheadofstyle.
The best cut is "Hansel and Gretel", a somewhat distorted retelling of the old
fairy-tale (but then, Grimm didn't have an overdrive pedal, so how could he tell it like
this?). The moral we get is "never eat mushrooms in the forest". Good as done,
lads. "White Horse" and "Highly Dangerous" are both pretty fair
examples of Examplehead's brand of punk as well, the former being an anti-drug rant, and
both being driving rockers. The sound isn't quite as sharp on the B side with these two
due to groove-cramming. Greg Gardner has a really unique voice, which on the first lp was
not put to great advantage, but seems to have more depth here, even though he tends to
sound incredibly serious even where there doesn't seem much need for it. But if you treat
the lyrics as more sound, the end product charges along in great style, and is well worth
the listen.
THE EXPLODING
WHITE MICE
Blaze Of Glory/He’s Gonna Step On You Again (Greasy Pop, 1987)
"Blaze Of Glory" is an absolutely brilliant stab of powerhouse rock and roll
from Adelaide’s finest band. This single takes a major step up from their Nest Of
Vipers mini-lp with much clearer production and stronger guitars, plus it’s their
best tune yet. There’s a great guitar change after each verse that’ll stick with
you long after the record comes off the turntable. The only thing required to make this a
classic is time. On the flip it’s a cover of a song (duno who’s) with an odd
kind of chunking drum beat and a vocal cadence that reminds me strangely of the Beatles
"Come Together". Not as good, but with an A side like "Glory" it could
be blank.
THE EXPLODING
WHITE MICE
Fear/Without Warning (Greasy Pop, 1988)
Greasy Pop's superstars hit hard with another slab of inspired guitar ravaging obviously
brought on by late nights listening to Road To Ruin. Lead singing Mouse Paul
Gilchrist's singing is starting to get over the flatness he had on the first couple Mice
records, and the blend of his vocals with the ever gutsy guitar and drums attack is
starting to work real well. The result is that this record is equal to the "Blaze Of
Glory" single even though "Blaze" was probably a better song. This is a
group that is clearly started to develop a sense of power, and the lp when it arrives
should be a kicker!
THE EXPLODING
WHITE MICE
Breakdown #2/Bury Me (Greasy Pop, 1988)
Both songs are on the lp, which everybody with any taste should have by now, and thus this
single is primarily of interest to people involved enough so they gotta have everything by
the Mice (count me in!). It seems geared to get the interest of Australian radio
programmers..."Breakdown" is the calmest and most accessible song on the lp;
same philosophy as the Ramones "Don't Come Close" single of a few years back.
But the wolf is out of the sheep's clothing on side two, as "Bury Me" is a
raging slab of stuff that screams along in great style. Cool pic sleeve with a black and
white mouse closeup, too.
THE EXPLODING
WHITE MICE
Make It/Ain't It Sad (Greasy Pop, 1989)
Less of a grab for the throat than most of their stuff, this one grows mightily after a
few plays. "Make It" is slower and moodier than the frantic pace of their lp,
but it's got some great vocal harmonies and lots of tough guitar like you'd want.
"Ain't It Sad" is more the prototype Exploding White Mice song that merely
attempts to level everything in its path and damn near succeeds. Your only chance to hear
the Mice with ex-Primevils guitar player Dave Mason, who sticks in some weird bits that
sound most un-Ramonesish. These guys are in the top echelon of Aussie bands...don't miss
anything they put out.
THE EXPLODING
WHITE MICE
I Just Want My Fun/Do The Crunch/First Time Is The Best Time (Greasy Pop, 1990)
Another typically brilliant Mice single. The A side goes 100 mph but still maintains a pop
feel with some great "Oooo" backing harmonies. The vocals have the feel of some
of the poppier Ramones tunes, but the music is quite a bit faster. It has chord changes
that for some reason remind me of their "Blaze Of Glory" single, but it's not so
heavy as that. The flips are non-lp ("Crunch" is live, while the lp has a studio
take), "First Time" being a rocking cover of a Lyres' tune and
"Crunch" being a total slammer written and sung by new guitar player Jack
Jacomos...it really screams. Don't you love it when you find a band that never lets you
down? Get it from Augogo.
FEAR
OF FALLING
Your Place/Slave/Fear (Phantom, 1990)
These guys are from Brisbane and they don't sound like the Saints. But that's
OK...although they're into the lighter sort of punched up folk that a lot of other Phantom
bands are doing, and they do it better than most. There's a female singer with a nice
voice that reminds me a bit of Altered Images and lots of rich backing vocals, plus a
pretty good jangle pop sound. "Slave" alternates a nice feeling of tension in
the choruses with a mellower bit in the verses. "Fear" drops the folky feel and
goes with an almost industrial sound like some early 80s UK band. Pretty decent, but a
little on the commercial side for my tastes.
FEAR OF FALLING
Butler To Your Masquerade/Hand In Hand (Phantom, 1990)
Seems to be a lot of these kinds of records coming out of Oz lately. Acoustic-y mid tempo
jangly pop with lush multi-tracked female vocals and a little bit of punch...sounds plenty
nice and the sort of thing that should do OK on mainstream radio if they were doing their
job; your mom could like it and you could like it OK, but it's not anything that'll get
you enthralled. The flip maintains the same level of quality as the A side.
feedtime
Fractured/Safari/Rumble (Aberrant, 1986)
Don't Tell Me/Small Talk (Aberrant, 1987)
Plymouth Car Is A Limousine (Trousers in Action ep2, Aberrant, 1986)
Take The Buick (Away From The Pulsebeat fanzine freebie, 1987)
To start with you should buy every record on Aberrant. To finish with you should buy every
record by feedtime. You should own all of these. Probably ought to have several copies of
each, though the TIA ep and the Pulsebeat freebie are more for diehards. feedtime are like
nothing else you've ever heard. It's like a jet airplane landing in your living room. It's
like having a root canal without anesthetics. It's like being in the trenches in 1915.
Musically it's like the first time you ever heard Wire's Pink Flag lp. feedtime are
raw, throbbing, rhythmic, bottom heavy. Your mom will hate them. Your dad will say its the
worst racket he ever heard. They will be right. But feedtime are righter.
feedtime
Buffalo Bob
KING SNAKE ROOST
More Than Love
(split single, Aberrant, 1987)
The feedtime song is played by King Snake Roost who aren't feedtime at all, and the King
Snake Roost Song is played by feedtime who aren't King Snake Roost at all. That's what it
says here anyway. At any rate, feedtime sound fairly uninspired at what they're doing,
rumbling through their track in a little over a minute without playing more than two
different notes the whole time. There's only two more steps of minimalism to go, boys. One
note and no notes. Then you can say you've done it all, I suppose. Not the sort of
godliness I've come to expect from feedtime. Meanwhile, over on the other side King Snake
Roost have the decided advantage that the feedtime song they are covering has three
different notes in it (blatant excess!) and they make the most of it with a ripping
version of this track from the Shovel lp. An interesting exercise, but it seems
there are more useful things to do with your record releases. (There is also a feedtime
track on a flexi compilation single.)
THE FESTER
BROTHERS
Slime/Switchblade (Bulb, 1985)
Don't be extreme is my motto, but it has to be said...this is not a good record. The
A-side puts its worst foot forward immediately, leading with a drum machine. A cheap one,
too, from the sound of it. On top of this is placed some guitar so fuzzy that striking the
strings produces no sense of attack whatsoever, a bass line that is simple but not
beautifully so, and a flat and uninteresting vocal. The flip is more tolerable; it has a
monster movie guitar riff and a "Now I Wanna Be Your Dog" type piano bit (i.e.
one note played forever), and has assorted other blips and diddles wandering in and out.
The lyrics don't seem to consist of much more than the title, and by the time the band
wanders away from its instruments at the end, you've heard the riff enough times that you
don't have to hear it again. There. I've said bad things about an Aussie band. Happy?
FICTION
ROMANCE
All Of This Is New/So Close To You
(Method, 1984)
I was expecting something different given that the band’s name is the title of a
Buzzcock’s song, but I guess they were thinking of something else. This is
synthesized new wave pop. The drummer has a part acoustic kit but has synthetic toms that
sound like crap. The female singer has a tone like Coo of Toys Went Berserk with a touch
of Debby Harry, but not as strong overall. The flip goes for totally synthetic drums and
pays the price...it’s worse. Radio fodder, nothing special.
FISHERMEN
Can’t You Stop/City Opera (Waterfront, 1986)
The Fishermen include Jeremy Oxley, previously of the Sunnyboys, on guitar and vocals. I
always had trouble seeing the reason for the regard given to the Sunnyboys, so I
wasn’t expecting that much here. It’s got a nice enough guitar sound, but
isn’t much special as a tune. Still better than I expected. The flip is closer to
what you’d expect from an ex-Sunnyboys outfit...kind of plodding hard rock stuff.
FOOLS
APART
On The Beach/Ruins (Greasy Pop, 1984)
The sleeve gives credit for printing the sleeve and the sleeve photo, but none for the
people in the band. Odd priorities. Anyway, the A side is a nifty rocking pop
song...doesn’t quite achieve full brilliance but it’s pretty high up there in
the jangle pop stakes with nice harmony vocals but a sense of power nonetheless.
FOUR
HORSEMEN
World To End All Wars/Perfect Sound (Sundown, 1987)
Containing the former drummer for the Fun Things (who did a legendary cool single called
"When the Birdmen Fly"), and produced by ex-Birdie Chris Masuak, this record is
less Birdman-like and somewhat more metallic than you might expect. "World" has
a cool guitar sound that reminds me a lot of early Ruts (like the "In A Rut"
single). "Perfect Sound" is actually quite a ways from it, making this a record
that you will buy only for the A side. And then only when you have bought about half of
the other singles reviewed here.
THE FUN
THINGS
Lipstick/Savage (Sonics, 1986)
These two tracks were originally released on the legendary (and correspondingly expensive)
Fun Things ep of 1980, which also included the great "When The Birdmen Fly". I
understand that this particularly recording has been released under dubious conditions
that make it more than half a bootleg. Still it’s good to have these two tracks by
these Brisbane pioneers who helped keep the coals warm from the fires of Radio Birdman
until there was better fuel to put fire to. The Fun Things are loaded with future Hoodoo
Gurus and Screaming Tribesmen, and these two songs both smoke with raw but catchy power.
"Savage" is the better track as "Lipstick" gets a little repetitive in
spots. Too bad they didn’t just put out the whole ep so we could’ve had all four
tracks from the original.
THE GIRLIES
Pussycat/Feelings Gone (Petite, 1986)
Another band with a metal leaning that sounds a lot like the Four Horsemen or Adorable
Ones, a connection made stronger by the presence of Horsemen bassist Shane Cook. Except
these fellows are faster and rowdier. I'm not sure which band came first; this was
recorded in 1986. Both sides have some meaty sounding guitar, the sort of crunching stuff
the Hitmen specialized in. Lots of "Hey hey hey" backing vocals add to the
excitement. Neither song quite has the sort of hook that pushes it over the top, but both
are energetic enough to make them worth several plays once the thing is in your house.
THE GIRLIES
Felon/Back To The City (Hecuba, 1988)
This outfit is from Brisbane but has a record out on a label in Davis, California. You
figure it out. Anyway, it's their second, and lots better than the first...sort of
prototypical Brisbane metal/punk stuff with nods to bands like the Hitmen, the Fun Things,
early Screaming Tribesmen and that sort of thing. The singer holds them back a bit...he's
got too much of a metal swagger about him, but the band behind him rates high marks for a
good crunch.
GOD
My Pal/A Man Without A Woman Is Like A Nun Without A Jackhammer (Augogo, 1989)
Not too damned far off with the band name, I'd say. On the A side, these young Aussie
brats build a five note riff into a massive wall of sound that alternately moans, roars,
whimpers and screams in a savage blast that has to be one of the best examples going of
getting everything you can out of a good idea. The vocals are a little Husker Du-ish (just
a little), and the sound has lots of rough edges, emotion and guts. Will appeal to
popsters and noise-mongers alike. The flip features a monster movie riff and crashing
drums. Haven't the faintest idea what it's about, but the title is great and the song is
too. Gotta be on anybody's top ten list for this year. (Note: also subsequently released
on Canada’s Lance Rock Records with two different sleeves and "Chockablock
Rock’n’Roll" as the flip side.)
GOD
Rockin' Marky/Meat Cleaver Boy (Sympathy, 1989)
Two tracks from the Rock Is Hell lp that came out on Augogo a while back, and good
choices at that. "Rockin' Marky" has a long instrumental lead in and when the
lyrics hit it starts to cook with some lyrics that propel the song. Not that they say
much, they just fit well. Somehow all this degenerates into them yelling out the names of
the members of Kiss and the song lurches to a halt. Works pretty well, especially with
those simple chord changes. The flip is another cool one...I'm pretty sure I'm going to
find myself playing this a lot more than the lp they came from since God tend to either be
really good or kind of dull, and on this single the dull side isn't in sight.
GOD
Strutter
SUNSET STRIP
Riot On Sunset Strip
NO MAN'S LAND
It's Happening Now
(split single on Augogo, 1989)
Freebie record given to Augogo's regular mail order customers (why didn't you get one?),
this one has a so-so track by the garagey Sunset Strip, featuring some trashy 60ish organ
and guitar sounds, followed by a pretty tough one from God, which though not as good as
their own 45 reviewed elsewhere is still well worth owning...more Husker Du-ish than ever.
No Man's Land seem to overplay a bit on their cut; there's a long solo break in the middle
of this one that has all kinds of drum fills that are a lot fancier than they have any
need to be and end up just being distracting. This is a band that need to remember that
the best rock is a vehicle for expressing emotions and not for showing technical
virtuosity. Worth having for the God track.
GOD GUNS
AND GUTS
A Prayer Full Of Junk/Take (No Masters Voice, 1990)
More Australian noise stuff. The A side rants on about heroin with a pretty clumpy guitar
riff in the background. On first listen I couldn't determine if they're for it or against
it and I'm not going back to find out. The flip sounds like soundtrack stuff from a horror
movie about where the girl figures out that the guy making threatening phone calls is
actually in her kitchen. It isn't very musical, and without the movie it isn't very
interesting, either. Why did I buy this? Do I have money to burn?
GREENHOUSE
EFFECT
The Insult/Aeroplanes/Setting Suns (Corroboree, 1987)
Metro's catalog said these guys were Aussies, but that's the only evidence I have to that
effect. Sounds reasonable from the grooves...this is your basic grunge guitar rock that
has real basic punk production but still manages a good primitive (and fairly unique)
guitar sound. The music is similar to a lot of minor league Brit-punk records from the
late 70s...say the Drones, for example. Tunes could be better, but the energy's right and
the band sounds pretty good.
HANGMEN
Only Get What You Give/Never Mistaken/Sticks Like Glue/All I Really Need Is Love (Trapdoor
Records, 1986)
I bought this from a normally reliable mailorder outfit who typecast it as wild garage
music. Right, and the Carpenters were a punk band, too. The truth is this Australian five
piece plays a wax-museum authentic mid-60s mod style that takes its sound straight from
stuff like "Green Onions". It's OK, but it ain't wild. The singer messes up a
lot of the songs with some of the most painfully bad yelps I've ever heard committed to
vinyl, too.
HAPPY
HATE ME NOTS
It Won't Do Any Good/Silent Boys/Aren't You Glad You Know (Waterfront, 1985)
You're An Angel/What Did They Say (Waterfront, 1985)
Salt, Sour and Brighton/Inside (Waterfront, 1987)
Playing these singles one after the other is like watching a band mature before your eyes.
"It Won't Do Any Good" is a nice fast pop song but sounds a little sparse at
times. The flip is more in the same vein. "Angel" sports a much fuller sound,
and the band plays faster yet, but it sounds like they are straining at the edge of their
capability. "What Did They Say", however, comes on as strong as their later
stuff. The latest single is an absolute blast, with Paul Berwick sounding really confident
and the band playing at an absolute breakneck pace with seemingly no effort whatsoever.
The Hate Me Nots are a band in the great Rickenbacker tradition of the Chords, the Jam and
the Who, and are going to be a force to be reckoned with. Buy the last two singles, and if
you're a fan, buy the first one, too, if you can find it.
HAPPY
HATE ME NOTS
Hurt
THE EASTERN DARK
Stay Alone
TACTICS
Twice Remembered
ITCHY RAT
Attempting To Give Your Name To A Policeman While Tripping
(On The Waterfront, Vol. 2 comp single, Waterfront, 1985)
The HHMNs track is one of their earliest, and while not as high paced and powerful as
their later material, it still features a strong vocals from Paul Berwick, and it’s
not available elsewhere. The Eastern Dark track is very different from their normal
stuff...it’s a cruncher more in the vein of "Over Now", but the vocals are
a little odd...James Darroch puts this warble into his voice that makes him sound like
Patti Smith. And the tune doesn’t have any pop element to it at all...very scratchy,
noisy guitar. This is certainly their weakest track to date. Tactics have not impressed me
in the past, and they continue not to...a sort of laboring brand of punk rock that reminds
me of a slow an less aggro Dead Kennedies. Itchy Rat’s song is a live track that
comes across like some late 70s UK dole-queue punk band. Overall, this one’s more
valuable as a collector’s item than for the music.
HAPPY HATE ME NOTS
Soul Rejection/Resistance (Waterfront, 1988)
My personal favorite was "Think About Tomorrow" on their smashing Out!
lp, but I have to admit that this song will appeal to more people...it's a totally classy
tune with the muscle to appeal to people who like power in their music, and the passion to
appeal to those looking for sensitivity. A hard combination to make work, but this lot do
it with the best. The non-lp flip is a cover done live in the studio for a radio show. It
hasn't got the production of their other stuff, but it sure has everything else...it's a
hell of a basher with a riveting guitar lick. You should have every Happy Hate Me Nots
record, and this is no exception.
HAPPY HATE ME NOTS
Don't Move Too Far/Lively Up Yourself (Waterfront, 1988)
Great expectations for this one, can they meet them? Well, as a matter of fact, yes, but
not the way you might expect. Sydney's kings of warp speed pop/rock serve up a slower,
more melodic song on the A side than you might expect...seems to owe more to the ballad
style of Pete Townshend circa Tommy than the driving, Jam/Chords approach I've come to
look for in their recent stuff. But you can't keep this band quiet for long, and they bust
out with a really strong chorus. The flip is the ace track here, though; a distinctly
de-ganjafied version of a Bob Marley tune that laid me out flat on first listen and
continues to do so each time I put it on the turntable. Produced by Rob Younger if you
needed any more motivation.
HAPPY HATE ME NOTS
Something/Crucial Time (Waterfront, 1990)
God, it seems like forever since their unbelievably great Out lp, and I was afraid
they might have split up after hearing rumors that they were way in debt from the
recording costs of that lp, but here's a sign that they’re as vital as ever.
"Something" is as brilliant as any of their other singles...starts out with a
simple enough chord progression and Paul Berwick's vocals sort of casually wandering in,
but then it revs into high gear and takes off. Heartfelt rocking pop of the highest
caliber. On the flip it's an acoustic thing with no percussion in the Billy Bragg mold
without his wallowing vocal style. Wouldn't turn my head if it wasn't attached to the A
side, but even one side of the Hate Me Nots full band is worth hefty import charges for
me.
HAPPY HATE ME NOTS
I Could See It Coming/Letter To The Company (Waterfront, 1991)
Here's the second single on their comeback trail; this is the one Paul talks about in the
feature with the guitar played through a Leslie speaker. It sounds pretty weird at
first...definitely not your standard single track. But after a few plays it starts to
click and the transition from the warbly verse part to the rocking chorus grabs hard. This
song has a really complex arrangement with a middle part that's almost a totally different
song and more changes of tempo and timing than you can count. If you get this, count on it
taking a while to get to like, and then count on liking it a lot. The flip is another
acoustic duet with Tim McKay and Paul Berwick, a sort of Smithers-Jones type of thing that
works better than the flip of the other single.
HARD-ONS
There Was A Time/Excuses/Surfin On My Face/Bye Bye Girl (Vi-nil, 1985)
Girl In The Sweater/I Heard Her Call My Name (Waterfront, 1986)
Ferdi's Song/All Set To Go (Waterfront, 1987)
The Hard-Ons aren't always as good or consistent as they are claimed to be in some arenas.
But often enough they are still damned exciting, and they are a prime example of why
Aussie hardcore punk is as good as you can find anywhere. For one thing, they sing in a
natural voice instead of screaming non-stop (showing emotion in your vocals is one thing,
non-stop shouting of vocals is another in my book). For another, they aren't beyond using
some pop hooks in their music. Of these three singles, I'd say "Girl In The
Sweater" is the best track, with its great
"wah-ooh-wah-ooh-wah-ooh-wah-ooh" backing vocals, but the "Ferdi's
Song" single is the better value for money as both sides are real powerhouses.
"Ferdi" seems to be primarily about throwing up and is somewhat generic thrash,
but its flip, "All Set To Go" is what makes the Hard-Ons special...great pop
hooks and bubblegum boy/girl song topics with a 100 mph tune...nearly as good as
"Girl In The Sweater".The "Surfin On My Face" ep, recently reissued in
a different sleeve on Waterfront, isn't produced as well as the other two singles and had
to be mastered low to fit 4 tracks on one disc, so it sounds a little muffled by
comparison.
HARD-ONS
By My Side/I’ll Come Again (Living End flexi)
A couple tracks that sound like they were recorded around the time of the
"Surfin’ On My Face" ep. A lot less thrashy than their later stuff with
some big strong power chords and a more well developed tune. The vocals are less confident
than in later recordings, but still there’s a nice feel to what the band have done
here. I prefer "I’ll Come Again"...it has a really good Stooges feel to the
guitar riff and I really like the "woah-oh" backing vocals. Includes a
photocopied picture sleeve...pretty good for a flexi.
HARD-ONS
Busted/Suck'n'Swallow (Waterfront, 1988)
Each single this band puts out it seems like they try to top the previous one for shock
value. Somewhere it's gonna have to stop, but in my light moments I must admit their
efforts can be fairly amusing. The flip here has the great line: "Saw a girl walking
down the street/She had a gut and sores on her feet", and there are some satisfying
guitar moments. Still, we came here for the music, and the songs on both sides of this
sound a little half baked. The band spends a little too much effort on tricks like
changing speeds, throwing in solos, feedback and wild fills, stopping and starting, etc
etc, and the result is that when it's over I'm not sure there was a song there or if I
just heard some one-off studio jam. But I'm sure our boys will work through this phase in
time.
HARD-ONS
Just Being With You/Growing Old (Waterfront, 1989)
Much better than their last single; this record features the band in their Ramones-pop
type mode as opposed to the screaming guitar lead type thing that seems to be their other
half. Much slower than stuff like "All Set To Go", but still pretty pacey by the
standards of most bands. The flip has more of a crunching sound, but also is basically a
pop song as well. Like the lyric, too, "It's scary growing old when you got no
friends". I wouldn't rate this with "Girl In The Sweater" or "All Set
To Go", but it's a good one.
HARD-ONS
Where Did She Come From/Get Out Of My House (Waterfront, 1990)
Every time I saw the Hard-Ons name in print while I was in Australia it was accompanied by
some phrase like "Sydney's thrash merchants" or some such thing. I don't get it;
why aren't people noticing that the Hard-Ons have evolved into one of the coolest power
pop bands in the world over the last couple records? Their Love Is A Battlefield lp
had almost none of the metally or thrashy stuff they used to do, and their new one doesn't
have any either. The A side of this single is a really great girl-pop song; the guitar
amps happen to be set the same way Black Sabbath set theirs, but the playing is pure pop
simplicity; straightforward chord changes carving out incredibly catchy hooks. There's
more of the same on the flip. People who say it doesn't have depth miss the point, I
think. It's just fun, cool catchy stuff with no pretensions and lots of energy. Who can
complain about that?
HARD-ONS
Dull/Sri Lanka (Waterfront, 1991)
"Dull" definitely isn’t. It’s more of their great pop styled material
with a really catchy chorus part and some great guitar changes and heavy chords, plus
those impossibly fast drum fills that are Keish’s signature. The flip doesn’t
let up, either...a lighter vocal and some wistful jangly chords played over the top of the
usual demolition crunch rhythm guitar. Nice pair. (There is also a Hard-Ons split single with the Celibate Rifles.)
HAREM
SCAREM
Figurehead (Augogo)
Hard Rain/Sweet Thing (Augogo)
Miracle Mile/Dead Of The Night (Augogo)
Harem Scarem are a prime example of the diversity of the Aussie scene. They favor a sound
that combines authentic sounding blues with a good deal of punkish energy. The result is a
times pretty good; I still haven't developed a taste for harmonica in rock, but there's no
denying that Christopher Marshall has a great voice for this stuff and on the uptempo
stuff, like "Hard Rain" and "Miracle Mile" there's no problem staying
interested. These two tracks are comparable to a lot of stuff by Credence Clearwater
Revival, and the comparisons are not unfavorable, either. The problem I have with these
guys is that there's a major drop off in quality when you turn these two records over; it
may be that their goal is to hook you in with the accessible A side and then try to
convince you about what they really want to do with the flip, but the result with me is
that the flips don't get played. "Figurehead", the earliest of these three, is
an almost bootleg quality recording, and the song is a much sparser production than the
last two. It also doesn't connect for me.
HAREM SCAREM
Long Time Between Drinks/Honeyman (Citadel)
Their first Citadel single, this one is quite a shock after the stuff they did for Augogo;
it's got nearly a bright pop sound...there's a tinge of blues, but nothing like the full
on roots rock of "Hard Rain". I have to rate the result as a fairly classy
single, but I don't think the approach is going to work in the long run as the record
sounds too much like an attempt to compete in the power pop crowd, and that's not the
natural target for this band. The flip is an acoustic ballad with no drums or bass which
gives the game away right away...I'm sure that's closer to what the band's real interests
are.
HAVE
A NICE DAY
Jannifer/Fill Me Up (Shock)
This Sydney band includes former Asylum mainman Marc Welsh and a gal named Fiona who I
believe is the Fiona who used to front the Mothers. The record sounds almost like a single
split between two bands...on "Jannifer" Marc sings (he wrote it), and it sounds
a lot like Asylum used to sound as a result; sort of ultra melodic punk rock that's nearly
mainstream. "Fill Me Up" was written by Fiona, and it's more thrashy punk metal
with some utterly stupid sex kitten vocals. Both Fiona and Marc can write some good tunes
but neither of them has a clue when it comes to lyric ideas from the sound of this.
HEADSTONES
When You're Down/All The Things You Do (Waterfront)
You Got Love/Gimme Love (Waterfront)
I really regret not seeing these guys when I was in Sydney; all four of these songs are
brilliant, with the nod for best of a great pair going to the first one. "When You're
Down" contains some brilliant vocals and a drum track that sound like it might be
played backwards to the rest of the music. When Chris Flynn sings the lines "You got
to try so hard, it's so goddamn hard when you're down" you feel like your listening
to a man singing from experience. The sound is a bit like the Lime Spiders with a dab less
psychedelia and a dab more country twang, but the dabs are SMALL dabs. The primary feel is
real garagey, real tough, and real good. In my book both of these are "must
have" singles.
THE HELLMENN
Daydreaming/The Trip (Waterfront)
Wow, what a shift from the first Hellmenn records. This band sure don't let themselves get
trapped in any one corner. "Daydreaming" has psychedelic bits, some meaty chords
in the verses, and a real spooky, quiet chorus, and an instrumental ending that sounds
like Bevis Frond; it's a long way from the straight hardcore that they started with.
Wonder what the punters think? Screw 'em, I think it's great. The flip is more of a
straight rocker, but still with a lot of psychedelia. I wasn't too sure what was going on
with their last mini-lp, but I think the Hellmenn are on their way now to becoming a
really unique band.
THE HELLMENN
Homegrown/Sleep (Waterfront)
Whenever I read about the Hellmenn in Aussie mags it seems that they're being praised for
progressing so much since they started. Well, they've sure changed, but I'm not
sure I'd call it progress. Their first mini-lp was loaded with powerful, aggressive punk
rock songs, and now here they're singing a song about how they want to get home so they
can smoke dope, and doing it in terms that makes it seem more blissful than anything else
they can imagine. It's a nice tune, but nothing to approach their early stuff. The flip is
non-lp, and it's considerably tougher than "Homegrown", but I think the fact
that the guitars are more psychedelic sounding than crunching softens it up a bit. From a
new band this would make me pretty happy, but it's always hard to be positive when you
know a band can do so much better. (There is also a Hellmenn track on a flexi compilation single.)
HOSS
Green/Bright Light Fright/It's All Over Now Baby Blue (Augogo)
Hoss are a new band rising from the ashes of Melbourne's God, and they sound a fair amount
like God, too, primarily because of the presence of singer Joel, who used to be in that
band. "Green" is equal to the best song God ever did, "My Pal". Not to
say it sounds like it that much..."Green" is more of a guitar monger’s
delight with a brilliant descending riff that's mixed punishingly loud. Joel's anguished
vocals sound great over it, and the rest of the band crashes admirably behind. Fabulous
stuff leaving me waiting for more. The two flips are covers and not quite as all round
superstar level as the A side, but still plenty punchy and powerful in their own
right...Stooges flavored dirty punk rock of the best sort.
HOSS
It's Everywhere/Ark (Dog Meat)
This is only the second single by Hoss, but they sure have made 'em count. "It's
Everywhere" is another stone killer...rock and roll like the Stones used to play at
their best...strong smoky vocals, slowly sizzling guitars, honky tonk piano and strong
drumming to go with a batch of killer hooks. Flat great. It's on the lp if you're looking
to save cash. The flip is a live version of another blazing song that was on their first
album and it shows they can deliver the same punch from a stage that they do in a studio.
It's a strong recording that sounds good yet captures the energy of the live show. Strong!
HOT
TOMATOES
Stench/Gun Collector/Think'n Out Aloud/Cut Throat Business (Dominator)
Take a trip back into the mid 80s and grab a chair for some middling paced punk rock stuff
with lyrics that are primarily talked over the top of the music and music that's kind of
jerky and basic sounding with lots of depressing sounding three chord patterns. "Cut
Throat" does pick it up, but this is still less than inspiring.
HUMDINGERS
A Little Love On The Side/We Have Got It All (Waterfront)
Great line on the bottom of the sleeve where it says "Barry Manilow does not appear
on this record". Unfortunately neither do the Sex Pistols; the stuff is fairly
pedestrian mid-tempo sort of metal new wave. The flip is the stronger of the two tracks,
but neither is really remarkable enough to be considered single quality material.
HUXTON
CREEPERS
I Will Persuade You/I've Been Around (Bigtime)
Autumn Leaves/Don't Even Think About It (Bigtime)
Pretty Flamingo/25 Words Or Less (Bigtime)
Skin Of My Teeth/Come Another Day (Bigtime)
There are other Creepers 45s out there, but these are all I have managed to scarf up. The
Creepers have a real nice brand of power pop, a lot like the Hoodoo Gurus; probably not
hitting the highs that the Gurus sometimes reach, but more consistent overall. The first
two singles listed represent four of the best tracks from their lp which got released in
the US and is available all over San Diego in used bins for a couple bucks, so buying
these is really only for diehards. "Pretty Flamingo" is a cover of an old 60s
song, and it and its flip are pretty much a throwaway pair. "Skin Of My Teeth"
is a ringing comeback however, with some nice big guitar lines that sound like what U2's
guitar player might do if he was more into pop and less into making serious statements.
HUXTON CREEPERS
Rack My Brains/When You Leave (Bigtime)
Another fabulous piece of 60ish pop from these down under pop purists. The Creepers have
been on a roll for their last god-knows-how-many singles. This one represents a new turn,
with a bunch of horn charts to fill out the chorus and all the hooks of the best 60s
bubblegum pop while maintaining the punch you'd want from an 80s recording. The flip has a
vocal by bassist Paul Thomas and a much grittier, grungier sound. Also a hot effort. These
guys don't get any respect, but they're as good as a lot of bands with much more
credibility. Try 'em out.
I SPIT
ON YOUR GRAVY
Piranha/Man's Not A Camel (Virgin)
If feedtime are the Aussie counterpart to Wire then I Spit On Your Gravy must be the
reflection of the Rezillos. This is the funniest, wackiest single in ages.
"Piranha" is pretty much the music to "Steppin' Stone" accompanied by
lyrics about a World War II experiment to create a new breed of piranha. Sample lyrics,
somewhat inaccurately deciphered I'm sure: "What mental birdbrain left this kettle on
for too long? You see he spilt the whole can of Coke, you see. He flipped and toasted and
cooked his last marble. And he joined the Harry Krishnas. And he chanted all day
long." Totally goofy, and with great punk guitars and drums for accompaniment, both
sides equally fabulous. Tastes like fruit and goes crunch to boot! Your only problem is to
decide whether you want to go for the small sample with the single or bite off the whole
chunk with the lp, which contains both these tracks.
INNER
SLEEVES
End It All/Heartache (Citadel)
I always feel like I have to apologize for Citadel when they put out a less than fabulous
single. This one has potential; the songs are real classy power pop, but the production
lets us down. The guitars don't have enough kick and the vocals are seriously wimpy.
Reminds me some of the late 70s British power pop band the Records, although not of the
Records' best stuff.
THE INTERSTELLAR
VILLAINS
Sex Kitten/I Wanna Gun/Lost Cause (Timberyard)
Hey, this is pretty neat...this Aussie band has totally strange production; sounds like it
was recorded in an empty airport terminal (all carpeting removed) with a huge, echo-ey
sound...the sort of production that would never make it on the radio but sounds just great
to these ears. The guitar jangles and the drums crash away. Vocals are kind of Alarm-y
sounding, but more earthy and unforced with a quality that borders on losing track of tune
at times but doesn't quite do it. Lots of "Woo-ooo" harmonies add a nice pop
feel to it. Not THE END OF MUSIC AS WE KNOW IT, but nevertheless a nifty 7 inches of wax.
THE INTERSTELLAR
VILLAINS
Baby That's Me/Dylan's Dreams (Timberyard)
What a piece of shit! The mix of this is enough to make you seasick; sounds like somebody
accidentally set the reverb at 10 for the whole thing. It's more drippy, whiny, poorly
executed mid tempo pop like the lp. Pass the barf bag.
ITCHY
RAT
Save The Labels For Tins Of Peas/One Man's Brain (Waterfront)
I've read that Itchy Rat are (were?) renowned for the diversity of their material, and off
this single and a couple cuts on compilation lps, I can see where that might be true.
"Labels" has a real strong metal flavor, although the message is a political
statement that would go down fine in any punk band. Great sleeve with rows of cans titled
"Fat Peas", "Poof Peas", "Slut Peas", "Slopehead
Peas", etc. "One Man's Brains" has much more satisfying music, but on
neither side does the music match the message.
ITCHY RAT
Train Of Death/Silent Footsteps (Exposure)
Not sure when this came out, but I believe it was the last record by this band of
Sydney-siders. And what a difference from their Waterfront single! "Train" has a
fast, chugging melody that fits the train concept perfectly, with some really nifty guitar
bits and everybody in general working their best locomotive imitations out on their
particular instruments. The music sounds pretty upbeat overall, but the lyrics are hardly
a match: "I can taste the last breath of air this mortal will waste/Now boarding the
train of death". Who says Ozzy Osborne has a monopoly on this suicide stuff? Both
tracks have saxophone in them, but it's a lot more pronounced on the flip, which has lots
of strange guitar noises to boot. Neither of these is obvious top ten type material, but
it's still a lot of fun to listen to. (There is also an Itchy Rat split single with the Happy Hate Me Nots.)
JOEYS
And Then I Kissed Her/Rockaway Beach/Let's Dance (Bigtime)
I've heard people say how great these guys are, but I can't see the point; they aren't
using the Ramones as an influence, they are using them as a reason for being. There's no
point in either of the two tracks on the flip; they attempt to copy the Ramones note for
note, and if I want that, I'll play the Ramones original record. The A side is, I suppose,
the band’s concept of a cover that the Ramones might have chosen for themselves done
as the Ramones would have, but seeing as about 7,468 other punk groups have already
covered this, what the hell's the point?
JOHN
KENNEDY'S LOVE GONE WRONG
Big Country/You Brought It All Back To Me (Red Eye)
I don't know what I expected, but it wasn't this! Banjo loaded straight as whiskey
country and western. Not country influenced, but straight country. Might play well in
Nashville, but not why you bought this magazine, or why I'm writing for it.
JOHNNY TEEN AND THE BROKEN HEARTS
She Stinks Of Sex/I Like It Both Ways (Green Fez)
Lewd and sexist though it may be, this is one of my favorite records of the summer, with
its raunchy swagger and slashing guitar reminding me of the New York Dolls at their best.
The lead singer sounds a little like Popeye in places, but overall he's perfectly suited
to the material and the band is great. Both sides are done live, and "Sex" opens
with a great leering intro: "I hope you're all having a good time...cos I am...but I
ALWAYS do!". Not to be missed.
JOHNNY TEEN AND
THE BROKEN HEARTS
MacDonald's Girl/Bubblegum Witch/Rock And Roll Is King (Timberyard)
Not the slimy piece of smut that the last 45 was, this one puts Johnny's love for the fat
fry girl at MacDonald's to some great guitar licks copped from Sex Pistols records. Johnny
sings like Popeye on speed, and the song will have you roaring at the funny lyrics at
first and then listening to the hot guitar when the joke is worn thin. On the flip,
"Rock'n'Roll Is King" is nearly as good, but "Bubblegum Witch",
although more original musically is also more forgettable. A happening single nonetheless.
JOHNNY TEEN AND
THE BROKEN HEARTS
Funnel Of Love/Dear Santa (Timberyard)
Dig It/Stardom Ain't Easy (Timberyard)
Despite some occasionally very nice guitar bits, this Sydney group is basically a novelty
band and now that I've got my third and fourth singles by them the novelty is starting to
get tired. "Funnel" is a snappy rocker that's over quickly and is decent fun,
but "Santa" is a song tricked up for the Christmas buyer (these things make it
overseas late) and helps show why Christmas and rock'n'roll need to be kept separate.
"Dig It" is kind of a neat tune with some crunchy guitar chords, but the
singer's smugness is a little nauseating. The flip could've been a pretty good spoof if
there wasn't the nagging doubt that they really mean what the words say. Pretty shallow
stuff.
THE JOHNNYS
My Buzzsaw Baby Really Cut Me Up/Slip Slap Fishin (GREEN)
Showdown/Rebel Yell (Mushroom)
Elvisly Yours/Black Bart (Mushroom)
I've seen ads for the American release of the Johnny's most recent lp that says something
like "if the Sex Pistols met Hank Williams this is what would happen". Wrong.
The Hank Williams influence is there, but the Johnny's cartoon and western sound has
nothing to do with the Pistols; it’s just a mixture of straight rock with country and
wild west lyrics. The stuff is mildly pleasant in small doses but doesn't have any staying
power.
KING
SNAKE ROOST
Top End Killer/Storm Brewin' (Aberrant)
There's a lot of similarity between KSR's style and feedtime's (which may explain why they
shared a single a few months back). In general I prefer feedtime's more natural approach
to singing; KSR's vocals could be accused of being a bunch of yelling. Partly because of
this, I was not very attracted to this single at first, but I pushed myself to keep
listening, mainly because I couldn't believe Aberrant could release a record I didn't
like, and I now find that a lot of the guitar and rhythm parts to "Top End
Killer", noisy and discordant though they be, are pretty good. I cannot profess to
have attained this level of satisfaction with the flip, which lacks a consistent rhythm
and is based on a pretty monotonous bass line. The closest to duff I've seen from this
label.
KING SNAKE ROOST
School's Out
BLOODLOSS
Nutbush City Limits
This one came free (on hard vinyl with a pic sleeve, what a deal) from the Australian B-Side
magazine. It seems King Snake Roost have little better to do than appear on split singles
covering other band's songs. Here they play a fairly faithful musical version of the Alice
Cooper classic, but the vocals don't really remind me of any of the kids I went to school
with, but rather of something that came from the slime pond on the way there. Gruesome.
The Bloodloss cover of "Nutbush" has some really tortured sounding guitar but
otherwise slogs along in a pretty deathly fashion. Worth the money. (There is also a King
Snake Roost split single with feedtime and another track
on a flexi compilation single.)
KRYPTONICS
As Long As You're Mine/Plastic Imitation/Baby (Cherrytop)
Land That Time Forgot/She's Got Germs (Easter)
Another band that merits comparison to the Rezillos, the music is a real basic late 70's
punk style with lots of cool hooks, and the lyrics are all real silly stuff, such as the
line from "Plastic Imitation" that goes "Hope I don't do nothin stupid/Like
spill my drink in your lap/Or show you my swastika armband/And then find out that you're
Jewish". Only "She's Got Germs" is a klunker between these two singles, but
the other songs sound like they would do better with slightly more skilled playing (my
God, I can't believe I'm putting down a record because the band members don't play well
enough. I MUST be getting old.)
KRYPTONICS
Oedipus Complex/When It's Over (Waterfront)
A touch different from the 69 mini lp sound...I think the mix on "When It's
Over" (it's not really clear which is meant as the A-side) has the drums too loud so
they get in the way of listening to the cool guitar sound that Underwood usually gets. The
previous incarnations of the Kryptonics never played guitar leads, either, which is not
bad or good, but different. "Oedipus Complex" is the better track...the usual
Kryptonics' weirdness in the lyrics, and a much stronger, more crunching sound. This one's
major league.
KRYPTONICS
Bad September/Another Girl Another Planet/Telephone Line (Seaside)
Kryptonics are having a bit of a rough time on the business side of things lately, but it
isn't hurting the music one bit. This single caused them some grief...it's the first
record on Waterfront's "Seaside" spin-off label, and it was clear that Ian
Underwood felt they were being shuffled off to the minor leagues...he related how they'd
been screwed on the sleeve, which was supposed to be two colors and came out black and
white. But get into the grooves; "Bad September" is an epic 8 minute long thing
that doesn't use length as an excuse to slow down. It powers from the get go with some
great guitar; crunchy chords, slicing leads and punchy, live sounding drums. Ian's changed
his singing style for this one, going for an upper register vocal that works just as well
as his old style did. Kryptonics aren't quite the normal Stooges cop that many more
full-on Australian rock and roll bands are; they might be a little more mainstreamish, but
the way they straddle the gap is with a style that few others have managed. They're poppy,
but at the same time they burn. Their cover of "Another Girl Another Planet"
makes me mad with envy after all the years my band played it and never got within five
miles of being able to do something like they've done with it in this chaotic live
version...fucking rips, it does. They do butcher the words, but who cares. "Telephone
Line", also live, is pumped up considerably from the version on their 69
mini-lp, but I think I liked the studio version a bit better. This is a great single, and
real value for the money since there's about 15 minutes of great music on it.
LA SECT
ROUGE
Zombie Bar-B-Q/The Ballad Of Matthew Talbot/Jimmy's Mop
To paraphrase the beer commercial, it doesn't get any swampier than this. Appropriately
packaged in what could easily be mistaken for an airsickness bag, this record out-cramps
the Cramps, out-smarts the Scientists, and generally serves up some of the slimiest Cajun
goop you could ever want to hear. "There's gonna be a Zombie bar-b-q/There's nothin'
that me or you can do...". Massive. Flip it over and get "a true story of a
terrible affliction/alcoholism and drug addiction/It's the truth man, ain't fiction/Port
wine and heroin". Imagine Tom Waits fronting the Cramps and you're pointed the right
way. But you still have a long way to go. Move it.
LEMON
AVENUE
The Axeman/Sin Unveiled (Left As In Sinister)
Although this lot are from Sydney, they sound a lot more British or maybe even Kiwi. The
sound is droney with vocals somewhat like Joy Division, and although one could say that
musically they sound like the Chills (especially on the flip), the Chills are generally
more optimistic sounding, whereas this is rather depressive, contemplative stuff. Although
it's a pretty well played out style, both songs have been done really well and I've got no
problem with listening to either side as often as anyone wants to play them.
LIME
SPIDERS
25th Hour/That's How It Will Be/Can't Wait Long/1-2-5 (GREEN)
Slave Girl/Beyond The Fringe (Citadel)
Out Of Control/Save My Soul (Citadel)
Weirdo Libido/Here With My Love (Virgin)
My Favourite Room/Blood From A Stone (Virgin)
Just One Solution/Drip Out (Virgin)
Space Cadet/Just One Solution/Action Woman/Stone Free (all live) (Virgin)
Ah, the Lime Spiders; the kings of Aussie garage rock. One of the original tenets of punk
rock was that minimalism was very important. I never totally bought that...I always
thought that what they really meant was that "art" was to be avoided. To my mind
excess in rock is a good thing. If you're going to play drums, hit the damn things as many
times you can and as hard as you can for 3 minutes 15 and then stop. If you play guitar,
put the knobs at 10 and wail on it. The Spiders take this maximalist approach to heart
with a vengeance. The first two singles are out in the US as a mini-lp, which is probably
the most economical way to get them. All six cuts are well worth having, especially
"Beyond The Fringe" which is also the fastest of the bunch. Mick Blood has one
of those half strangled voices that fits this stuff to a tea, and the guitars all have
saturation set for max gnarliness. Hooks are everywhere. And then, after these six, we hit
"Out Of Control", the Spiders A#1 certified super masterslab smash with a
handgrenade sine qua non. One of those rare songs that comes along every 4 years or
so where everything comes together. If this song doesn't lay you out for a week you must
be nailed to the wall. The following singles could only disappoint as the band will never
match the perfection they achieved on "Out Of Control". But "Weirdo
Libido" is still really good, with some real crunchy guitar and sledgehammer drums,
and there's no knocking "Favourite Room" or "Solution" either, except
both are on the lp. The flips of the last few singles have been getting progressively
weaker, unfortunately. The last single listed is a four track live single that was given
away at the shows on the Spiders' recent US tour; it's nowhere near as good as the show I
saw was, but is fun to have because of the presence of the Hendrix cover "Stone
Free", done in typical bashing style.
LIME SPIDERS
Jessica/Sparks (Virgin)
There's only one reason to get this, and that's to hear Richard Lawson's blow-by-blow
replay of Keith Moon's maniacal drumwork from "Sparks", which for those readers
who haven't been wasting their lives listening to records since the late 60s like I have
was probably the best song on the Who's Tommy lp. Other than proving that Moon is
not the only drummer in history capable of playing a drum roll from one end of a song to
the other and making it sound good, there's not much more you can say about this record.
Although the Cave Comes Alive lp has a lot of great tracks on it,
"Jessica" is one of the last ones that would've occurred to me as the choice for
the A-side of a single, as it's as mellow as the Lime Spiders get. A holding pattern until
their next new one.
LIME SPIDERS
Volatile/Working For A Living (Virgin)
The Other Side Of You/Can't You Read My Mind (Virgin)
Here With My Love (Bucketful Of Brains flexi)
I wasn't that happy with the Volatile lp, which made me extra glad about the
combination on the first of these, since the A-side is the one song from the lp that
delivers the Lime Spiders’ trademark excessive guitar and pounding drums; that
massive crunching guitar riff gets me every time. The flip is non-lp, and to my ears
would've been the second best track on the lp if they'd have included it. It's lots faster
than "Volatile", and despite some lyrics that not many people this side of Huey
Lewis would find challenging, the music delivers more than enough bang for the buck.
"The Other Side
Of You" is also from the lp, and is more of a 60s type thing with lots of harmonies
and a generally much smoother sound than most Lime Spiders records. It's a good song, but
it seems more like a grab for commercial radio play in Australia to me...I'd guess
"Volatile" was the band's choice for a single and that this one was the record
company's idea. "Can't You Read My Mind" is the non-lp flip (did I have to say
it?). It's got a pretty good grabber of a hook, and a hot drum break in the middle, but it
also has more of the smoother vocal style like the A-side. I don't regret buying this one,
but it doesn't blow the walls down like their Citadel singles.
Finally, the flexi,
which is shared with the UVs, a Greasy Pop band including ex-Spike Ian List and an
Exploding White Mouse. The UVs track reworks the old Blue Oyster Cult song, which is a bit
of a waste of time, though they do the best that can be expected given the choice of
material. The Spiders track was the flip to the "Weirdo Libido" single, and
despite the usual dodgy flexi quality, the performance is really hot and it burns through.
Usually I feel that money put into having flexis with fanzines would be better spent on
more pages of reading matter, but this one is a keeper.
LIME SPIDERS
Cherry Red/Mr. Big Mouth (Virgin)
The good news is that this is a whole lot better than the stuff the Lime Spiders put out
around the time of Volatile; it's harder and less commercial sounding. The bad news
is that it's still miles away from classics like "Slave Girl" or even "Out
Of Control". This is basically just some above average hard rock with macho lyrics.
Not much trace of those Chocolate Watchband influences; of course the only person in the
Lime Spiders from those days is Mick Blood anyway, but it's still discouraging. (There is
also a single with Mick Blood fronting Swedish band the
Pushtwangers.)
THE LIZARD
TRAIN
Beauty Underground/The Day The Sky Went Black (Greasy Pop)
Yeah...I like this one, too. Lately Greasy Pop is hitting on every cylinder with me. The
A-side of this single has some really nice understated guitar bits and a vocal that sounds
a bit like Neil Young; the tempo is restrained but the song still has a real good sense of
dynamics. But the flip is the really massive cut; it starts with a growling voice intoning
"THEN THE RAIN CAME DOWN", and it sort of roils along until the apocalyptic
chorus: Then the sky went black/And the rain came down. It's pretty simple stuff,
doesn't rock hard, has no particularly great guitar hook, but it's nevertheless instantly
memorable; hear this one once and if you hear it ten years from now, you'll recognize it.
THE LIZARD TRAIN
Motorcycle Of Love/Damn That Aeroplane/Two Hour Hole (Sympathy)
Recorded on a 4 track cassette as demos for the next Lizard Train lp, these three tracks
show more of the rough side of the group, and that's the side I like best.
"Motorcycle" is Stooges-like, which means it's fairly out of character for them.
It's a killer. "Aeroplane" is slower and moodier, but it has the sort of edge to
it that makes these guys so good; features a simple but cutting guitar lick that carries
you through the whole song. "Two Hour Hole" on the flip is the best of the bunch
with a powerful sense of dynamics...a soaring chorus, a dark verse, vocals that seem ready
to go out of control at times but never quite do, and a bridge where the song devolves to
a full stop and then tears off again. Get your ticket punched now! (There is also a Lizard
Train track on a flexi compilation single.)
DAMIEN
LOVELOCK
The Dalai Lama/Downtown (Festival)
The A side of this could have fit in seamlessly on a recent Celibate Rifles record...it
isn't exactly a barn burner but it is a rock song, and the only thing that gives it away
is an organ solo in the middle. But lately Kent Steedman has been easing back on his
guitar playing with the Rifles and it's Lovelock's voice that really gives the Rifles
their character. On the flip he covers a Tom Waits song and does his best to copy the
style without really coming close. Good backing band on both sides.
LOVE
RODEO
Love Yodel No. 9/Would You Believe (Timberyard)
I would like to think that the reason Rod Radalj isn't in the Dubrovniks anymore is
because he was thrown out. Bodily. The Punjabbers single he played on last issue was limp,
and this outfit, yet another Radalj headed growth, adds obnoxious to the charges. In my
book a single ought to be a track that you think could be somebody's favorite song,
somewhere. I can't see anyone thinking that about this record for two seconds. Imagine
somebody deliberately trying to yodel badly to a punchless piece of slightly country
tinged, limp pop and you're there. Now cleanse your mind and read the next review.
STEVE
LUCAS
City Song/Mr. Anfengers Putrid Fish (Rampant)
Lucas was (and sometimes still IS) guitar player and singer for the massive X, but he's
done a fair amount of stuff under his own name. This is the first of his output I've
heard, and quite frankly, I don't like it. It isn't anything like the sort of stuff that
inspired feedtime...more a kind of limp AOR rock on the A-side. The flip is all acoustic
and fairly uninspiring. Avoid.
Australian 45s A - D
Australian 45s M - S
Australian 45s T - Z
