The Big Beat by Donald Robertson and others
The Howing Owl, Adelaide
Wednesday, October r16 2019
Can't take Her anywhere.
We've just witnessed Donald Robertson, mainspring behind Adelaide's monthly Roadrunner magazine (1978-1983) be inducted into the SA Music Hall of Fame (the 111th member) by John Schumann (of Redgum).
Preceding that was a couple of short speeches (including one from Jim Kerr of Simple Minds), a rather entertaining Q&A chaired by Suzy Ramone (of, among many other things, the Molting Vultures), and prior to that much chinwagging by a bunch of old coots who hadn't seen each other in - literally in some cases - several decades.
Let’s get the obvious ones out of the way first, shall we?.
Firstly, after what he’s done in the past, Iggy is entitled to play whatever music he wants. Any outstanding debts have been repaid. In full. And with interest. He can be as indulgent as he wants. Except for that cover of “Michelle”. Or “White Christmas”. Oh boy.
Secondly, if his solo career doesn’t stack up against what he did with the Stooges, that’s almost certainly because most other people’s best work doesn’t, either. Being an ex-Stooge can be both a blessing and a curse.
Jangling pop on one side and rocking power pop on the other.
Love Minus Zero were a Sydney band from the second half of the 1980s, active on both the Waterfont label and Green Fez, the Citadel spin-off. Their lineage came via mods Division 4, Suicidal Flowers and the (later) Bambalams.
Both cuts are on a forthcoming compilation of their output - if you were on the ball, you might have caught their recent reformation show - and you’ll need to be quick if you cherish vinyl singles; as this is in a run of just 100.
“Mary Mary” gets positively Beatle-esque in its employment of a trumpet over its Rickenbacker jangle. Just like the label says, it cajoles rather than confronts and has a nice psychedelic edge. “Don’t Bring Me Down” is not the Animals song. A smudge of backward masked guitar announces the song itself, a stellar pop tune led by guitarist Dario Becego's melodic vocal. The guitars rock and Joe Genua’s drumming is right on the money, too. A gem.