St Valentine’s Day Massacre - Baby MachineVee Bees (self released)
The pairing of Wollongong’s female tearaways Babymachine with Queanbeyan-via-the-Gong-and-inner-western-Sydney yobs The VeeBees for this three-song, 10-inch EP fell out of a Lemmy tribute bill a few yars ago on which both bands appeared. It’s a match made, not in heaven, but the back bar of the Sunset Strip's Rainbow Bar and Grill.
Taking a leaf out of the book written by Motorhead and Girlschool, “St Valentine’s Day Massacre” mixes the bloodlines, if not the bodily fluids, of two bands with a similar spirit. The result is a song by each act and one joint effort. Babymachine tackles “Bomber” while the VeeBees put paid to Girlchool’s “Emergency”. The A side, “Please Don’t Touch”, is a lesser-known Johnny Kidd and the Pirates number.
John Dowler (second from he left) and his Vanity Project.
John Dowler concedes that the name of his solo project, John Dowler’s Vanity Project, is tainted with irony. But, Dowler adds, “a friend of mine did tell me that all bands are vanity projects in one way or another – certainly all of mine are. So I just owning up to it”.
On the basis of his longevity in the rock’n’roll caper, Dowler has cause for at least a modicum of be vanity. Add into the equation the fact Dowler was four bars ahead of the rock’n’roll curve when his contemporaries were still mimicking Beatles chords, and the guy should really have his name in lights somewhere.
Not Your Average Country Band - Dave Favours and The Roadside Ashes (Stanley Records)
It doesn’t take many dots to join the lines between rock and roll and its forebears, country music and blues. Sydney’s Dave Favours and his band The Roadside Ashes do It better than many.
“Too rocking for country purists and too country for the rock crowd” is a familiar descriptor and it’s one that Dave Favours grips in a bear hug without any concession to social distancing. Hie says his music owes as much to Hank Williams as The Clash and that’s one reason you rockists (guilty as charged) may want to give it more than a cursory listen.
Yeah Yeah Nah Nah - VeeBees (Ocker Records)
Rob Younger once opined that he hated lyrical references to local landmarks in Australian songs. He couldn’t imagine anyone wanting to sing about Parramatta Road. Have you been down Auto Alley lately? Fair call.
On the other side of the ledger, it’s also been said that bands should write songs about things they know. The VeeBees sing about Wollongong, suburban Canberra, drive-through bottleshops in Sydney's inner-west, drinking, cars, girls and pubs, ad infinitum. There must be a message in that.
And of course “Bulli Pass” rhymes with “arse”.
Outlaws - Rose Tattoo (Cleopatra Records/Punktured Media)
On which the current, immaculately qualified Tatts pay tribute to the heritage created by a late and much missed past line-up, with mixed results.
Dispassionately assessing a re-recording of Rose Tattoo's classic 1978 self-titled debut album is a tough assignment for any fan of the original work. It was a unique record.
A masterful blend of blues-boogie-rock with massive bottom-end swing. It was laced with punk's confrontational edge and delivered by true outsiders with a gang mentality - when both of those qualities were real and mattered.
Foreign Insurgence - Lethal Mercenaries (self released)
Once you get past the homespun production, “Foreign Insurgence” is a handy slice of garage punk Rock Action.
It’s a mini-album by Lethal Mercenaries, a band formed seven years ago by Charlie Lethal - aka Sydney musician and onetime I-94 Bar scribe Simon Li - and some local underground luminaries.
Simon is Hong Kong-born, Melbourne-raised and Sydney domiciled, so his influences are varied. He’s also a product of Melbourne’s musical training ground, Rock and Roll High School, and a slavish devotee of that city’s late rock royalty, the Powder Monkeys.
Party of Shine - Party of Shine (Swashbuckling Hobo)
If this passed you by when it landed on Brisbane label Swashbuckling Hobo in January, you’re not alone. It’s the debut album for former Jason and the Scorchers bassist Jeff Johnson and his band, and follows a single for the same label.
Ignore the shiny cover art. Party of Shine plays dense, mid-tempo punk rock. Their sound is thicker than treacle with abrasive guitars a rumbling bottom end. Johnson plays guitar. The other guitarist David Harvard's gruff growl imparts an undertone of sullen menace. There aren't any uplifting gospel songs here.
Red Dirt Bituman - MD Horne (self released)
This is a clever stripped-down blues-rock album, a stark and personal journey full of evocative twists and turns and as grittilyAustralian as its wilfully mis-spelt title suggests.
“MD Horne” is Mark Horne, Sydney bassist for many bands but most notably the brutal 300 st claire and Johnny Casino and the Secrets. Mark recorded it on a sojourn to Spain, where his mate Johnny is domiciled. MD handles acoustic guitars and vocals, and Señor Casino plays everything else.
“Red Dirt Bituman” is Horne’s debut solo album and its title plays on the dichotomy of a man torn between his connections to the city and the bush. Truth be told, most Australians cling to the coast like limpets on a tin boat and wouldn’t be seen dead on a dirt road. M.D. Horne, has travelled plenty of dirt tracks and blacktops and his music speaks of both.
40th Anniversary Agents of Fortune Live 2016 - Blue Oyster Cult (Frontiers Records)
And you’re asking, Why? And possibly with good reason. For starters, it’s 2020 and that makes the anniversary four years late, right? And surely these guys aren’t still going?
They are - albeit with just two original members. Australia was lucky enough to host them a few years ago. The last studio album was “Curse of the Hidden Mirror” 19 years ago (and it was pretty good.) There’s even a new studio record pending. This live celebration is a valid addition to the BOC catalogue, even if most of the appeal will be for rusted-on fans.