There’s been a flurry of excitement about this - and rightly so. Along with Filth, the Psychosurgeons were one of the first Sydney bands to firmly grasp the grasp the back of punk’s bondage pants, give them a good tug in a downward direction and expose its arse.
The Psychosurgeons’ “Wild Weekend” will always be a classic 45, so hearing that this was on the way created the sort of anticipation that you could cut with a figurative knife. Or razor blade, if that was your thing.
Fancy some cock rock in a double-serving? This double A-sided split-single puts Gold Coast/Far Northern New South Wales misfits, Raygun Mortlock, intp bed with trashy Brisbane brat-beaters, The Dirty F Holes. Who wears the strap-on in this aural version of "50 Shades Of Grey" isn't clear but the consummation of this relationship isn’t pretty.
“I’ve Got Cock If You Want It” sits astride a repeating guitar figure and lets it all hang out. There is no fancy foreplay introduction or acoustic guitar filigree at the bridge in this ball of sludge. It has a direct, shout-along chorus (you can guess the words) that's interrupted only by a tightly-coiled guitar solo that takes the song out.
If the Scandi-Rock-meets-punk thing is over somebody forgot to tell P.R.O.B.L.E.M.S. And just as well. This one presses a boot to the windpipe and doesn’t let the victim up until he’s out of air and long done squirming.
There’s something timeless/placeless about this stuff but the fact the single was recorded in Sweden had me convinced P.R.O.B.LE.M.S. were another hair, denim and leather outfit off that country’s esteemed production line. I was impressed to find out they’re from somewhere that’s arguably even more isolated (Portland, Oregon) and that their ranks contain Pierced Arrows and Poison Idea members. As do most bands from Portland, Oregon.
The Strawberry Teardrop takes off where Steve Lucas’ fab Pubert Brown Fridge Occurrence from the early ‘00s left off. It’s a pared-down studio line-up - a trio with Lucas handling vocals, bass and guitar, helped out by drummer Levin Franco and percussionist Herbie Mayhem - but the single’s ’60s garage-psych origins are patently obvious.
A side “Love On The Run” couples a knowing Lucas vocal to a basic rocker that plods a little and takes a while to get out of second gear. Perhaps this one could have done with some extra trimmings. B side lead-off “Corporate Girl” switches the mood to fuzz guitar snarl with chunky chording and a straight-up backbeat pushing Lucas’ ready-for-the-weekend vocal to the front. More than a little bit of alright.
Onetime X howler Steve Lucas returns to the record store racks with a couple of seven-inch singles, this first one under his own name. If you’re hoping for “Hate City” you’re fresh outta luck.
“Living & Loving In The USA” is a double-headed ode to marital bliss that could have been called “Where We Went On Our Honeymoon”. It's the (true) story of two people eloping. Clean guitar, sweet backing vox from Mrs Lucas (aka the very rocking Joey Bedlam from Dollsquad) and all done without a hint of fuzz or distortion. It’s rocking mid-tempo pop with bongos, a hint of Tex-Mex and a great and heartfelt vocal from Mr Lucas.
They’ve discarded the keys and horns and are now going around live as a four-piece, but Sydney's Dunhill Blues have lost none of their musty garage charm. “Ronnie Wood” is a jagged guitar figure that's (as far we can make out) a homage to the wayward Stone.
"Ronnie Wood" has a meat and potatoes sound with minimal overdubs and just some buried handclaps and female back-up vocals lightening the attack. Scrappy and fun.