Good Times Gone Bad – Peter Simpson (Verified Records)
It was in a review of ex-Dubrovniks member Peter Simpson’s “Return of the Diletante” EP that we asked, ‘Where’s the full-length album?’, and “Good Times Gone Bad” is the answer. The good news is that it was worth the eight-year wait.
“Good Times Gone Bad” winds the sonic clock back to Australian underground rock’s halcyon days of the 1980s, when guitars were blaring out of pubs on every second inner-city corner and even permeating mainstream radio. A more simple time with simpler songs, and of course, most good times inevitably do go bad.
At times, “Good Times Gone Bad” sounds like The Dubrovniks with less of thefr latter-day gloss. Inevitable, really, with Simpson front and centre and old bandmates Chris Flynn and Boris Sudjovic along for the ride on backing vocals. That said, it’s a Peter Simpson record. He wrote all nine songs, plays guitars and sings.
His sons Dom and Vo are on drums/guitars and guitars respectively and Marco Val holds down the bottom end.
Dom Simpson’s production is uncluttered and lets all the instruments breathe. There’s much to be said for home studios these days, and no prizes for guessing there were many kitchen table discussions about guitar placement in the mix.
You may have heard the single “Letter to London” that presaged the album. It sent a message that if “Return…” was Simpson referencing his slightly left-of-centre, other ‘80s band, The Spectre’s Revenge, the long-player was aiming to land squarely on Planet Rock.
“Faded Man” isn’t quite a throwback to the clattering, stripped-back Troggs rock of the first Dubrovniks LP, but it lands in the general vicinity. The title track is straight-up and simple enough to be simply effective and serves as a statement of intent for a record where, generally speaking, boy meets girl/leaves/hangs in there/moves to another continent.
If the Hoey was still a functioning music venue instead of a deserted shell of a pub, its floor would be full of old timers singing along with the hooky “(I Know) There’s No-One Else Like You”. They’d raise a schooner or house wine to the drama-charged “It’s OK” and they’d echo the regretful self-admonishment of “Tempting Fate”.
There's a lot to like here but the Hit Pick is the surf-tinged, runaway barn-burner “White Line”. Set the controls for the heart of the Hume Highway, but don’t forget to put on your seat-belt.
The rueful but accepting balladry of “Turn My World” brings down the curtain nicely with chiming guitar and a bed of organ.c
