Founding member of Little Lovers, Wintah Thompson was dragged around every decent ‘90s music festival with Glenn Thompson, who in addition to being known as Wintah’s dad was also a member of iconic Australian bands Custard, The Titanics and The Go-Betweens.
Over the years, Wintah’s parents would encourage him to pursue a career in finance, or at the very least seek a life of reliable employment. Instead, he started a band.
Little Lovers proceeded to cut their teeth in the sunny backyards of Brisbane. They released their debut, self-titled, E.P. which shot to number-one on Australian independent charts. The track “Red Devil” became a Brisbane favourite and was regularly played on local radio and in Brisbane’s indie clubs. A bunch of shows and supports followed before it was time to relocate and reform in Sydney.
After well over a decade, two cities, two drummers, 489 bassists and hundreds of gigs, both big and small, Little Lovers have finally released their debut album “Golden Decade”.
Wintah Thompson’s songwriting isn’t nationalistic, but – just like The Go-Betweens, Smudge, Sunnyboys or Custard – you couldn’t imagine it coming from anywhere but Australia.
“Golden Decade” was recorded across Sydney with sessions in an old Australian naval base with Tim Kevin and in the industrial backstreets of the Inner West in Marrickville with Glenn Thompson. It launches at The Union Hotel in Newtown on October 6 with support from Dick Pix. You can hear the single “June” here and find out more at the Mere Noise Records website.
So, ho to the Governor Hindmarsh, best rock pub not only in Adelaide but in Australia as far as I’m concerned. Off to see The Rteverend Horton Heat. Dead opposite the monstrous Ent Cent with its vast bowl of an arena, where the punters, grim at the thought of mystery beer in a disposable plastic cup at a fool’s price, head to the Gov for food and drink made by real human beings for real human beings.
It occurred to me tonight, that if I lived around the corner, it’s likely this place would see me once a day for something or other, whether it be for lunch or the occasional after workie, or a slap-up dinner for four mates - rowdy, but still, you know, civilised. The bar staff, without exception, have always been excellent, which is not something you can say of most pubs. Those in the band room tonight are brilliant.
Rockabilly has had a huge revival over the last couple of decades. I remember the first revival, spearheaded by the Stray Cats tour in, I think, 1981; a large number of punker types went and, the following weekend, about five percent were wearing quiffs. And it kinda grew from there, I think, mostly as an underground thing, but it never quite had the spotlight turned on it in the way that the Cats copped it.
But with the Reverend Horton Heat playing alongside what they call “punk rockers” in the late ‘80s and early ‘90s, and sharing the same label, Sub-Pop, as Nirvana, when Cobain and co. suddenly broke all over the world, everyone interested in Cobain and co. bought LPs from Sub Pop - and the Heat had a sudden increase in fans world-wide. Without really intending to, Jim Heath (as his custom scratch plate declares) was the spark-plug that triggered an engine of revolution.
Never paid The Wildhearts much attention so the fact The Main Grains bassist and mainman Danny McCormack played in ‘em didn’t mean much to me. A couple of spins of his new band’s debut EP on CD, however, made me a believer.
The Main Grains formed in Newcastle-0n-Tyne, Northern England, in 2015 and occupy the same punk rock-pop territory as The Wildhearts. They bring a bunch of songs to this EP that are catchier than a heavy cold in what passes for an English summer.
The bio will tell you the band is McCormack and guitarists JJ Watt (Spill 16/Whiskey Haze) and Ben Marsden (Modern Day Dukes), and drummer Ginna Rhodes (Psychobabylon/Phluid), and that they fuse the sounds of the Ramones, The Wildhearts, Yo-Yo's and Blondie. They call it Northern Punk.