Flaming Hands have announced their line-up, six weeks out from their Sedition Festival show at Paddington RSL on August 31, and it’s an all-star cast.
Founders Julie Mostyn-Gilbert (vocals) and Jeff Sullivan (acoustic guitar) will be joined by Cub Calloway (guitarist with the Saints, New Christs and Ed Kuepper and The Yard Goes On Forever), bassist Warwick Gilbert (Radio Birdman, Hitmen, The Rats), Barton Price (The Models) on drums, John Hoey (Died Pretty, New Christsw) on keys and Phil Hall (Sardine v, Drop Bears and Lime Spiders) on sax.
Coinciding with this news, a rare 35-year-old Flaming Hands clip for single “The Edge” has resurfaced online.
Sedition 2019 is a Celebration of Public Art and Protest in Sydney during the 1970s, running across various venues and spaces this August-September. To celebrate, Feel Presents have put together a live music component featuring some musical giants from Sydney’s fertile post-punk scene of the late 1970s.
Mark down Saturday, August 31 at Paddington RSL for a show by The Aints!, Flaming Hands, Shy Impostorsand The Professors. DJ Dr Rock with be providing the soundtrack between sets. Tickets go on-sale at 12 midday today here.
Ed Kuepper needs little introduction; as a founding member of Brisbane world beating proto-punks The Saints - residents of Sydney for a short four months in Jan-April 1977 - and Sydney’s post-punk giants the Laughing Clowns (1979-1984) Kuepper is almost single handedly responsible for igniting two musical movements.
The Aints! is a continuation of those both projects having lain dormant for some 35+ years but reignited with a passion in 2017 that has thus far seen the release of two full lengths albums, a mini-album and a series of scorching live shows.
Flaming Hands and Shy Impostors both sprung from the ashes of Sydney's exclusive Detroit scene headed by the pioneering Radio Birdman during their reign of 1974-1977.
The Celebrity Roadie informs The Barman that he can't go out in public like that. As usual, he's ignored. Kyleigh Pitcher photo.
This is a Top Ten of two parts. First, live gigs, and second, albums. You know. Second part, different from the first.The rule of not reviewing my own gigs goes right out the door from the get-go. Got an issue with that? See you in the carpark...
Chris Masuak and the Sydney City Wave Riders: This was a sensational run of shows- a mini-tour in and around Sydney because that’s all that time allowed - by Klondike and his crack band of Tony Bambach (bass) and Stuart Wilson (drums). Great players, top blokes. Armed with a killer setlist drawing on most of Chris’s back catalogue, the guys fired from the get go. Many of the versions surpassed the originals with Maz playing two guitar parts, as few people can. The shows blew away much of the skullduggery and malakarey involved with certain ghosts from the recent past.
HITS at Marrickville Bowlo You can’t keep playing the same old songs or you’ll get staid and there’s no sign of HITS doing that just yet. Members are now scattered the length of the East Coast so it can’t be easy getting together…or maybe that’s a blessing in disguise because it keeps things fresh. They continue to be THE Aussie band to follow.
The dictionary defines serendipity as “a pleasant surprise” and it's a term that scientists working in medical research are fond of using. It’s also at the heart of how the looming reformation of beloved Sydney band the Flaming Hands came about.
Singer Julie Mostyn is on the phone from the Coffs Harbour home she shares with husband Warwick Gilbert, onetime bassist and graphic artist for Radio Birdman. She clearly remembers serendipity’s intervention on that very same landline, late in 2016.
“It was one of those life-changing phone calls…one that shocks you out of something you’ve been trying to get out of for a while,” she recalls.
“It was a call from Peter Oxley of the Sunnyboys, and he said: ‘Would you consider reforming the Flaming Hands?’ And I thought for half a second and said: ‘Yeah, that’d be good’.”
Talk about timing. It was as good as any excuse for Julie to ditch her day job in a local bank and embark on what's not so much a career revival as a chance to revisit great times, renew old partnerships and - maybe - push the musical boat out just a little further.
More on that last point later. More immediately, it means Flaming Hands supporting the Sunnyboys at the Sydney show of their February Australian tour, with similarly reformed friends, Shy Impostors, opening the gig.
Flaming Hands were Sydney’s best soul and psych pop band, a potent and popular outfit based around Julie Mostyn’s passionate voice and guitarist Jeff Sullivan’s emotion-baring songs.
The under-appreciated heroes of the mushrooming Sydney underground scene of the 1980s were the women. Some will say it’s always been the case and continues to be so. For every Chrissie Amphlett there were many others - like Juliet Ward (Shy Impostors), Julie Mostyn (Flaming Hands), Jo Piggott (XL Capris), Annalise Morrow (The Numbers) and Angie Pepper (The Passengers) - who never made it to international mainstream stages.
This exhumed live set by Sydney’s Fast Cars’ underlines this fact. Fronted by Di Levy (vocals and guitar), Fast Cars were habituates of the small but vibrant mod scene that grew in the sweaty pubs of Sussex Street in the Sydney CBD. They occupied a place where ‘60s pop mixed with soul and the sound of what was lazily dubbed New Wave.
It came out with bugger-all fanfare five months ago, to coincide with the band’s one-off Sydney reformation on a Sunnyboys undercard, so it’s high time this one was passed around the I-94 Bar for a critique.
You might know the back story but too bad: Shy Impostors were fronted by uber talented vocalist Penny Ward and contained future Sunnyboys Peter Oxley and Richard Burgman, plus Michael Charles, who would go on to the Lipstick Killers and Screaming Tribesmen. Not much shyness about that lot and no impostors among them.
A slew of previously unheard tracks from short-burning but bright Sydney band Shy Impostors is about to be released on Citadel Records, to coincide with the band playing a one-off reunion in support of the Sunnyboys’ Sydney show on February 4.You can pre-order your copy here.
Shy Impostors were active in 1979-80 and their ranks included future Sunnyboys Richard Burgman and Peter Oxley. Fronted by singer-songwriter Penny Ward and also featuring drummer Michael Charles (Lipstick Killers, Screaming Tribesmen, Mick Medew & The Mesmerisers), they played infectious, raucous and melodic pop music.
In February of 1980 the band recorded seven songs at Palm Studios, Sydney. Two of these tracks, “At The Barrier” b/w “Seein' Double”, were posthumously released late in 1980 on Sydney's Phantom label. The other five languished in the vaults.
During 2016 all seven tracks were restored from original master tapes and mixed by producer Jason Blackwell. The resulting self-titled CD is a long overdue retrospective giving yet another intriguing insight into the formative years of Sydney's post Radio Birdman indie music explosion.
Captain Fast (P Ward) (3:08 m:s) At The Barrier (P Ward) (2:57 m:s) When Night Comes In (P Ward) (3:22 m:s) Sweet Defender (P Ward) (1:55 m:s) My Sin Is My Pride (The Astronauts) (2:32 m:s) She Can't Win (P Ward) (2:31 m:s) Seein' Double (P Ward/M Charles) (3:32 m:s)
I set out this afternoon towards the Enmore Theatre with every intention of taking some notes, keeping a rundown of the songs, and trying to come up with the sort of review that some people actually get paid to write.
Unfortunately, this grand plan fell apart by the time I’d been at the Warren View Hotel for an hour and met 26 (yes, I counted them) people I knew and ended up in more shouts than it was feasible to manage. Coopers Red is a great beer but a lousy friend when you’re trying to make a plan come together.
By the time I got to Phoenix (or at least the Enmore) it was 7.15pm, the Shy Impostors had just come on stage, and I was carrying enough Red on board to ensure that an in-depth profound analysis of the gig was as unlikely as AC/DC inviting Dave Evans back into the fold. So you’ll have to put up with this instead.
In days to come, when rock and roll has finally been relegated to the cultural nursing home to be read its last rites. It'll be a nice room with dappled sun, shared with other old cogders like Jazz and Rolling Stone magazine.
People will reflect that some of its best times were in Sydney in the late 1970s and early ‘80s. They’ll also realise how good things were, and how easily they slipped away.
This wasn’t going to be one of those high faultin’ essays on the fragility of cultural scenes and the futility of trying to recapture them (because, you know, things can never be like they were.) About how you can’t put your arms around a memory. Telling you: Don’t Look Back. But a story "angle" can just happen.
Sometimes we try to bury nostalgia or pretend it’s not a valid thing. It’s so easy to hope you die before you get old when you’re in the full flourish of indestructible youth…and then you want to take it all back when you realise that the future's not so much uncertain and the end is increasingly near.
So let’s make the observation that if nostalgia isn’t so much the elephant in the room at the Enmore Theatre tonight then it’s taking up much of the available space in the foyer. And that's fine. More than ever, with so many people who were influential in rock and roll dropping off the twig. We all crap on about how bad 2016 was for that sort of thing but of course it's only going to get worse.
Right: Sluggo from Flaming Hands under the Enmore lights. Shona Ross photo