The re-birth of the Stoneage Hearts sounds like a sequel to “High Fidelity”: Three guys walk into a record store at various times, buy the new Red Kross album from the owner and they all decide to form a band. They rehearse at nights in the shop, record an album, tour together and achieve global success.
Apart from the last bit about the worldwide success, the story is true. Not that global domination isn't possible, but more on that later.
This is the third incarnation of this Melbourne garage-pop band and apart from a stack of classic garage and powerpop influences, drummer Mickster Baty is the only constant. Previous line-ups were fronted by Danny McDonald (P76) and Dom Mariani (The Stems, DM3) with Ian Wettehall (Seminal Rats, Phillesteins, Freeloaders) on bass then and apart from guest Farfisa organist and Mickster, this one is populated by relative unknowns. Not that it matters a jot. They’re up to the mark and this is a great record.
This is the first time Colin Newman has voted in a British General Election in Brighton. The rhythm guitarist, songwriter and singer for seminal UK art-punk band, Wire, and his partner moved there from South-West London a year or so ago.
“London has its charms, it’s definitely a great city. But it’s not very practical for those who live in it. London’s big problem is cross-city transport. Everything happens in the East these days and getting home via public transport after midnight is impossible so you are in a taxi for £70.00 or on the night but for 3 hours. Maybe the 24 hour tube on the weekends will help that but it’s not all lines and and it’s only two nights a week.
“In the 90’s, where we used to live in South-West London had some culture - nightclubs, record shops etc. and we had the centre in easy reach. Now all the venues are closed not only in that area but in the centre too. No record shops in SW London either..”
Television Addicts beware: Melbourne’s noteworthy Leaps and Bounds Music Festival is bringing The Television Addicts to town to play the songs of Perth punk trailblazers, The Victims, at the Tote on Friday, July 17.
The Victims were only active from 1977-79 in the most isolated csapital city in the world (that'd be Perth) but left a lasting impression. The members were Dave Flick (aka Dave Faulkner) on guitar and vocals, James Baker (drums) and Rudolph V (Dave Cardwell) on bass. Faulkner and Baker went on to the Hoodoo Gurus. Baker also made a name with the Scientists, Beasts of Bourbon and the Dubrovniks .
In 1977, The Victims released their debut single, "Television Addict” with only 1000 copies pressed. The following year they released a five track EP entitled "The Victims" (also known as "No Thanks to the Human Turd"). Original copies of both will cost you big bucks on eBay.
Reconstituted in 2015 with Faulker and Baker ringing-in huge fan Ray Ahn (Hard-Ons, Nunchukka Superfly) on bass, they’ve played shows in Perth, Sydney and Brisbane. Now it’s Melbpourne’s turn. Blink and you’ll miss them.
FRIDAY 17TH JULY
THE TELEVISION ADDICTS
FIRE ESCAPE GOATS
at The Tote Hotel, Johnston St, Collingwood. Doors 8.30pm.
Tickets on sale now from www.Oztix
Hugo Race makes a point
Adelaide's Wheatsheaf Hotel (aka the Wheaty) is one of those modernised, forgotten pubs with pricey but excellent wines and beers. Local families bring their kids and they run amuck.
There is a beer garden, but few people smoke (which I can’t understand). Coffee and hot chocolates are available at the bar. There are no pokies and no ATM (you withdraw at the bar). They have exhibitions of art, photography, hairdressing and whisky tasting.
The back room (where bands play) is essentially a newish tin shed with a ceiling, lights, formica tables and period chairs, and everyone squashes in somehow.
Why is it relevant to review a book initially released in 2005? Because (1.) the subject matter seems as relevant now as it ever did, and (2.) it’s still in print.
You can’t expect anything usual from the 33 1/3 series, that’s clear. All that matters is: Does it work? Does it help us, does it add to the LP in question..?
Given the huge influence that this first "Ramones" LP had on modern rock’n’roll music, it is with woeful heart that I report that Rombes is another academic. in 2005 he was Associate Professor of English at the University of Detroit Mercy. (No, me either).
It was a worried frown that I found I disagreed heartily with the first two sentences, which hung out Rombes’ slate above his wares; "Ramones is either the last great modern record, or the first great postmodern one. Fully aware of its status as pop culture, it nonetheless has unironic aspirations toward art." I winced.
Surely not another academic with no clues as to actual context ..?
Here's proof that there is still life in the rockin’ Mid-West. The Muggs come from Detroit and play razor sharp, power-trio blues rock ‘n’ roll that’s grown exponentially over the course of their five albums.
It’s true that The Muggs don’t do much more than mix classic rock (Sabbath, Mountain, Humble Pie and Led Zep) with the blues but, fuck, they do it well. This is a record with bigger balls than King Kong but its heavy thwack is tempered by Fay Wray-like, melodic touches.
It’s album number-seven for Left Lane Cruiser (five on Alive Natural Sound if you count the one they co-recorded with Black Diamond Heavies keyboardist John Wesley Myers) and the sound has evolved to the point where nobody is resting on any laurels.
Left Lane Cruiser were once an amped-up hill country duo playing what they tagged “hillgrass bluebilly”. They kicked out a helluva lot of jams for a two-piece, with fuzz, distortion and a kitchen drawer full of percussion their stock-in-trade. They even lucked out and landed a song on the soundtrack of “Breaking Bad”. Good synchronisation if you can get it.
Their members (both of them) have been on more stages than a ticket collector for Cobb & Co, but playing together as Saloon Daddies is a relatively new experience. So what else does a new-ish Sydney alt.country duo do but jump into a studio to reel off an EP before it all becomes too slick or predictable.
You read right - “Your Horse Has Bolted” is alt.country. What’s it doing in the I-94 Bar? As a sage man once observed: “You can’t live on Detroit rock alone.” It's had quite a few spins in recent weeks and right now it's wedged between a selection of Blue Oyster Cult and the Sonics. Odd bed fellows, for sure, but what’s more, it’s pretty good.
This is only my second venture into reading this series. It’s a great idea; a short little book about your favourite lp; no author gets a second go. There’s over 100 in the series so far, and I want to own about half of them. And I imagine you’ll want a similar number. No Radio Birdman volume yet, nor the Stooges, though there is one on The MC5, and Love, and The Ramones …
So. Madness. You’ve probably heard of them. You may even have a few singles or LPs. Madness resemble a cross-between old-style British music-hall and pub entertainment. Although they are described as a ska act, well … kind of. They’re more like a gang of British lads out for fun and games. Like glam without the chunky choruses and tinsel, Madness are fun.
Now then. Imagine heading down the pub, wondering how to consider writing a book on a band with several frontmen, assorted musicians and songwriters … it’s more like a couple of gangs stuffed into a sack than a band.
And then, you find yourself next to a quiet, cheerful chap with a slightly cheeky grin and a pint. It’s a crowded pub, and neither of you know anyone, so you end up talking. As you do.