Who knows if there was a pitch to the label? If there was, it probably went something like this: Find a gap in powerpop troubadour Paul Collins’ crazy schedule, put him in the studio with garage production king Jim Diamond and the house band for Detroit’s Ghetto Recorders, give them a cases of beer and let the music flow.
Collins (The Beat, the Nerves, The Breakaways) writes perfect rocking’ guitar pop like hipsters steal oxygen. It’s in his DNA; he has equals but there’s nobody better. A good proportion of these songs would be mainstream hits in a more enlightened and less disposable time.
It’s pretty bleeding obvious where Brisbane’s Dr Bombay is aiming. It’s that elusive but enviable sweet spot - right where melodic pop intersects with loud and fast rock and roll. Bullseyes are a rare thing but, more often than not, the Bombays land close to their target.
Sydney might be shrivelling up and Melbourne has so much going on that at times it appears to be eating itself, but Brisbane’s rock and roll scene remains viably focused, “owning” a few venues in and around the inner-city. It stays strong because it has a centre. Like many contemporaries, Dr Bombay is four (mostly old) guys getting together for a weekend blast without ambitions to conquer the world, but they sure have this pop-rock thing nailed.
Following acclaimed compilations like "Boogie!", "Dirty Jeans" and "Down Under Nuggets" and deluxe reissues of classic albums and material by Sunnyboys, Archie Roach, Frente! and the early Bee Gees, Warner Music’s hertitage imprint Festival Records continues its excavation of great Australian music with a number of releases focussing on Melbourne’s influential ‘70s scene, to be released on October 3.
“(When The Sun Sets Over) Carlton: Melbourne’s Countercultural Inner City Rock Scene Of The ‘70s” is a deluxe 2CD set that documents the arts and politics-infused rock scene that gave Australia cultural icons like Paul Kelly, Joe Camilleri, Stephen Cummings, Jane Clifton, Peter Lillie, Ross Wilson, Ross Hannaford, Greg Macainsh, Red Symons and Shirley Strachan, as well as author Helen Garner.
The Australian underground music scene has been rocked by the sudden passing of Tumblweed bass-player Jay Curley. At 8am today, the band made a statement via its Facebook page:
"It is with deep sadness that we inform everyone of a great loss in the Tumbleweed family. Our brother, friend and bass player Jay Curley passed away suddenly in his home yesterday. We are still shocked at the news of his death. We hope that people will remember him for his music, his big heart and his total dedication to rock and roll."
Like Johnny Appleseed, The Strypes travel the world and beget a host of similar teenage bands playing garage and beat rock and roll. At least that’s how we all want the story to go. The simultaneous existence The Arrogrants in the same hemisphere might be a complete coincidence, but there’s no mistaking the common influences and sheer unbridled firepower that this band packs.
Kim Salmon’s creative productivity knows no bounds. While he occasionally looks backwards, re-visiting his Scientists and Beasts of Bourbon history in the live sense, for example, the overwhelming sense with Salmon is one of overwhelming momentum.
That’s the case with “True West”, his latest project which pairs him with late period Scientists drummer Leanne Cowie (nee Chock) to be his most vital sounding record since “Sin Factory”.
You can’t half tell the folks at Unbelievably Bad zine are Hard-Ons fans. So is anyone with a modicum of taste. So this edition of UB should sell its arse off. It’s wall-to-wall Hard-Ons. More Hard-Ons, in fact, than the US Navy on shore leave after six months at sea.
Pressed up for the recent European tour, the A side is a mono version of the song from the “Detroit” album. Mono remasters on vinyl are more often than not a great thing. “Can Of Soup” punches above its weight, sonically speaking.