After nearly 40 years in the music industry, you can excuse Steve Kilbey for forgetting a few things. The lack of detail is the only real quibble with what’s one of the best Oz music reads of the last few years.
I approached this book with mixed feelings. Kilbey has a reputation for being a bit of a narcissist. The Church’s music is hit or miss for me - which is to say I left them alone after their first two albums, dipped back in at “Starfish” and walked away after the stodgy “Gold Afternoon Fix”, with only occasional revisits. So this was a book to be read from a position of not having much skin in the game.
Then I got sucked into the whole melodramatic, up-and-own, self-destructive and ultimately self-redeeming saga, and warmed to Kilbey’s flawed and fallible ways. I consumed “Something Quite Perculiar” in a couple of satisfying gulps.
It’s high time this stuff was collected in one place. If you’ve no idea who Destroy All Monsters were, boy, you’re in the wrong place. If you are in the know, consider yourself lucky, take a pill and strap yourself in for a short history lesson.
Come the second half of the ‘70s, the Greater Detroit music scene was a forgotten No Man’s Land, an expanse of grey somewhere between the industry strongholds of New York City and the West Coast. The rabble-rousing and boundary-pushing of the cusp of the late ‘60s was gone, replaced by cover bands and blandness. Motown had moved to LA. Punk was just a figment of some future zine writer’s fevered imagination. Nobody cared about Detroit.
Garage blues and freakadelia had a baby and they named it Hi Alerts...
Over the last two or three years, something very interesting has been happening in the Glasgow underground scene; in contrast to the blandness of current high profile Scottish acts, from the derivative stadium rock of Biffy Clyro to the glossy coffee table electro-pop of Chvrches (they really should get the "U" key fixed on their computer), an exciting garage rock scene has coalesced around one of Glasgow's greatest, yet least heralded rock groups, The Primevals.
Formed by Michael Rooney in 1983, The Primevals blazed an uncompromising path through the '80s Scottish music scene. Inspired by such luminaries as The Cramps, Tav Falco & Panther Burns and The Gun Club, Rooney's barmy army of fellow punk-forged rock 'n' roll obsessives had no truck with the prevailing trends. Their outsider status within the Scottish music scene was in many ways analogous to that of Radio Birdman when they established their "Detroit South" Real O-Mindset in Sydney, Australia in the mid-70s.
New York City punk original Sonny Vincent is taking to the European touring circuit in support of not one but three albums.
The massive tour of eight countries spans April, May and June and includes three supports to the Dead Kennedys.
Already in the record store racks is “Spiteful” by Sonny Vincent and the Spiteful, whose ranks include Rat Scabies (The Damned), Glen Matlock (Sex Pistols) and Steve Mackay (Iggy and the Stooges.)
Out on Swami Records on March 28 is “Vintage Piss”, a woodshedded 2003 studio recording from Sonny, Speedo, ND and Ruby Mars from Rocket From the Crypt, his onetime US touring band.
Hot on its heels is “Psycho Serenades” on Spanish label H-Records, and features members of Rocket From The Crypt, Doc and the Medics and Stiv Bators solo band, as well as the late Scott Asheton.
If that’s not enough, there’s also a single from Sonny’s pre-Testors NYC band, Liquid Diamonds, out on Hozac Records. Tour dates in full after the break.
When I got “After The Sun” in the mail about six weeks ago, I wondered whether the Barman (whose review follows this but was published first) had it right.
Doesn’t seem to matter these days about influences, except to the sad bearded bastards desperate to appear interesting, and besides, I particularly enjoy listening to a CD cold, without the hype and boosterism. But … if you like rock’n’roll, and have ever kicked yourself (like me with Leadfinger) that you weren’t on the ground floor of a band on the elevator heading up fast to the 99th floor…
I have actually lost count of the number of times I’ve played this. I keep doing it. In the car, on the computer and around the house. Bloody hell it’s good.
Ever find yourself in the situation where you’re presented with a band with an unpromising name, an enigmatic if not daft cd title which, upon listening, you are so transported and delighted with that you play the item over and over in amazed disbelief, discovering as you go, humming and singing around the room, that the band have been in existence for quite some time and have five more LPs to their name and you paw miserably at your spartan wallet, realising that the next pay packet will have to do..?
Yes, Black Moose is one of those albums. Like listening to a smart blend of Lovecraft, R.E. Howard and the darkest American blues and country while reading Grimm to a terrified child. It’s as real as reality, and as tangible as imagination.
Don't feel sorry for the fact that, at the time of writing, only five people “liked” Fringe Dwellers on Facebook. It’s just that the music of this veteran Sydney trio is much better than their online self-promotion.
They’ve only been around a few months and this three-track CD single is Phringe Dwellers’ first foray into “product”, but it indicates that there could be enough in the kit bag to stretch to a worthwhile album. The songs hark back, relentlessly, to inner-Sydney circa the late ‘80s and early ‘90s, and that’s where the band’s spiritual roots lie.
Guitarist-vocalist John South and bassist Carl Edman were members of formidable blues-rockers The Hunchbacks back then, while drummer (and past I-94 Bar scribe) Simon Li is an expatriate Melbourneite who was brought up on a diet of the Powder Monkeys. While the music never reaches those intensity levels, it does hit hit its own mark.
The South by Southwest showcase for Saustex media took place on Thursday March 19th at the Saxon Pub in Austin, TX. The headliner for the evening was Javier Escovedo with support from B.P. Fallon and Churchwood.
I always attend South by Southwest and I was happy to learn that Javier Escovedo was participating this year. I've been a fan of his for years. I purchased The Zeros "Don't Push Me Around" single back in 1977. Then, in the 1980s, I had the good fortune to see him play with The True Believers several times in Oklahoma City. He always sang the cool covers that they played. These included "20th Century Boy", "Walking with a Mountain", "Drivin' Sister", and "Alone in a Crowd".
The Saxon Pub is located on South Lamar. I've driven by it many times but have never been there before. It is a nice room to hear music.
What would there be not to like? Double-jangle melodic pop with a hooky melody on one A side and a soaring piece of extended majesty with a searing guitar solo on the second.
It’s what used to be called a Super Band. Which is to say the members have graced a lot of “name” acts from Sydney’s underground past. That might be important to anyone with a modicum of history but Joeys Coop also stand on their own feet. The song-writing is strong and the playing equally so.
“Take Me Away” is the pop song and it’s a beauty. The feel from Andy Newman and drummer Lloyd Gyi is rock-solid but it’s the simple interlocking of Brett Myers (Died Pretty) and Matt Galvin (Loose Pills, Eva Trout, Perry Keyes, Happy Hate Me Nots, Barbarellas) on guitars that builds the song,. Ex-Decline of the Reptiles singer Mark Roxburgh’s warm vocal elevates this to top-shelf pop.