New Masuak film clip hits the target

Here’s the official film clip for "Gun Song", the politically-charged track from the Chris Masuak & the Viveiro Wave Riders album "Address to the Nation" on our own I-94 Bar Records. Find it for sale here. The clip was produced by Jonathan Sequeira of Living Eyes Productions/Cheap Music Videos who is also the man behind the Radio Birdman documentary, “Descent into the Maelstrom”.

The Breadcrumbs EP – Alice Cooper (EarMUSIC)

breadcrumbsSome of us have had a lot of problems forgiving Alice Cooper the man for ditching Alice Cooper the band.  The first two Alice Cooper band albums, “Pretties For You” and “Easy Action” were fairly decent if you go in for a bit of whacky hippy burlesque.  They have their fans but, truth be told, they needed a firmer hand than Frank Zappa if they were going to amount to anything more than a sideshow.

Next came five albums of perfection.  Even the much maligned “Muscle of Love” shits over anything that tried to pass itself off as competition.  I know we're all Stooges and Dolls fans here but the Coop actually owned the mainstream throughout the early ‘70s. 

Well, they were a shit hot band with great song-writing, a genius producer and a grand guignol stage show.  How could they miss? 

Well, the thing is... 

"Open Season" hits the online screen

The official film clip for the title track from the Mick Medew and The Mesmerisers album "Open Season" on I-94 Bar Records is out. It was produced by young Queensland filmmaker Kieran Griffiths and we kinda love it! Get your copy of the CD here.

Go dancing with Kim Volkman

for those that dance“For Those That Dance with the Skeleton”
by Kim Volkman
(Self published)

It was George Bernard-Shaw who said: “If you cannot get rid of the family skeleton, you may as well make it dance” and it’s a maxim St Kilda musician-turned-author Kim Volkman has applied exceptionally well.

Kim’s first book, the autobiographical “The Devil Won’t Take Charity” (2017), was a rip-roaring Harley ride through his own back pages that hung out enough dirty laundry to keep 10 dry cleaners in work for a month.

“For Those That Dance with the Skeleton” is occasionally more of the same but in vignette form. These are short stories about OCD girlfriends, workmates, dentists, rostered days off, kicking smoking and indulging addictions (like guitars and heroin) all rendered in unique style and peppered with dry humour.

Last man standing Waldo brings "LAMF" to London

lure 100 club

Walter Lure plays LAMF
100 Club, London

August 10, 2019



Walter Lure has had a storied career, duelling with Johnny Thunders in the Heartbreakers, recording with The Ramones, burning up stages with his own Waldos and in working in the markts on Wall Street. 

Of the Heartbreakers, Lure is the last man standing after the passing of Thunders and Jerry Nolan in the '90s and the departure of Billy Rath in 2013, and he has done gigs showcasing the Heartbreakers debut "LAMF", most notably in New York City with a fairly stellar cast including Wayne Kramer and Clem Burke.

Damo the Musical moves uptown

damo the musicalThe Damien Lovelock tribute aka "Damo The Musical" has outgrown Sydney's Factory Theatre and moved to the Enmore. Headliners are the Celibate Rifles, with special guests including Jello Biafra, plus Wigworld and the Centrelink Surfers. Tickets are on sale here

Come Rumble in Sydney with The Wraylettes and friends

missing link hideawaySome of Melbourne’s keenest worshippers of guitar pioneer Link Wray will share their adulation of the man with Sydney on Saturday, October 19 with a special gig at Enmore’s Hideaway Bar.

All-girl combo The Wraylettes (Melbourne) will be joined by sleazy ’60s psychedelia advocates Cheetah Beat, surf reverb fanatics Los Tremoleros (Melbourne) and Sydney’s own The Missing Link with DJ support from King O.P.P.

The Wraylettes are something of a supergroup, comprising lead guitarist Yolanda DeRose (DollSquad, Mass Cult and The Beat Taboo), drummer Susan Shaw (The Exotics, Girl Monstar, The Wet Ones and Andre Williams), bassist Nikki Scarlett (Asylum, Dusty Springclean & The Pops. The Jasmine Mahon Trio) and guitarist Sammy-Lou (The Shimmys The Vibrajets.)

Cheetah Beat are no slouches too with membership drawn from The Crusaders and The Booby Traps while The Missing Link were Link Wray’s Sydney pick-up band for his one and only Australian tour in the ‘90s. Leader Bones and Co play out rarely these days.

The Link Wray Tribute became a thing on the Melbourne live music calendar a couple of years ago. Hideaway Bar is at 156 Enmore Road - a short stroll form the Enmore Theatre. Admission is just $10.

Damned great show by punk rock trailblazer

brian james 100 club

Brian James
De Rellas
100 Club, London
Friday, August 23, 2019

While the Damned are busy touring Oz, Brian James, the band's co-founder and architect of their "Damned, Damned, Damned" album, is playing a solo band show at the 100 Club.

Now there’s too much academic analysis over who invented punk. Some people refer to The Sonics from mid ‘60s America as the first punks, or The Ramones; some (well from Australia. anyway) will plump for Birdman or The Saints. Who issued the first single is beyond debate. The Damned's “New Rose” was the first punk single. 

Chrysalis - Eric Mingus and Catherine Sikora (self released)

chrysalisI suppose you might think of this as “modern jazz”, a term I find too concrete, too easily dismissable. I think it's fair to say that most people find improvised, loosely structured music either to be crap, or too much effort to pay attention to. Which is why you don't hear yer actual John Coltrane or Ornette Coleman in the elevator or supermarkets.

Why they play horrible current “pop” in these places I have no idea, as it makes me hurry to get what I need and run; I mean, if I could get my groceries in a place with either nothing playing or bland light classical wittering away in the background I'd be very happy ... oh, then there's the likes of Albert Ayler... don't get me started. 

I like music, but you may have gathered that already. I'm not that keen on definitions, though. Cradle of Filth started in one area, but bent the rules and ended up with a big, broader sound which still fits (albeit somewhat untidily) into a genre-area-type-thing.

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