Half of the Flaming Hands: Julie Mostyn, Warwick Gilbert and Jeff Sullivan. Drummer Baton Price is obscured. Murray Bennett photo
In preparation for their upcoming support slot with the Sunnyboys at the Enmore Theatre, the band calling themselves "The Strangers" - aka The Flaming Hands - lined up a show at Marrickville's Factory Floor.
The Thursday night crowd gathering outside the venue contained many familiar faces of gig goers and musicians from what was loosely termed the "Detroit Scene" of the late '70s-early '80s from which The Flaming Hands emerged.
In days to come, when rock and roll has finally been relegated to the cultural nursing home to be read its last rites. It'll be a nice room with dappled sun, shared with other old cogders like Jazz and Rolling Stone magazine.
People will reflect that some of its best times were in Sydney in the late 1970s and early ‘80s. They’ll also realise how good things were, and how easily they slipped away.
This wasn’t going to be one of those high faultin’ essays on the fragility of cultural scenes and the futility of trying to recapture them (because, you know, things can never be like they were.) About how you can’t put your arms around a memory. Telling you: Don’t Look Back. But a story "angle" can just happen.
Sometimes we try to bury nostalgia or pretend it’s not a valid thing. It’s so easy to hope you die before you get old when you’re in the full flourish of indestructible youth…and then you want to take it all back when you realise that the future's not so much uncertain and the end is increasingly near.
So let’s make the observation that if nostalgia isn’t so much the elephant in the room at the Enmore Theatre tonight then it’s taking up much of the available space in the foyer. And that's fine. More than ever, with so many people who were influential in rock and roll dropping off the twig. We all crap on about how bad 2016 was for that sort of thing but of course it's only going to get worse.
Right: Sluggo from Flaming Hands under the Enmore lights. Shona Ross photo
Murray Bennett photo
I set out this afternoon towards the Enmore Theatre with every intention of taking some notes, keeping a rundown of the songs, and trying to come up with the sort of review that some people actually get paid to write.
Unfortunately, this grand plan fell apart by the time I’d been at the Warren View Hotel for an hour and met 26 (yes, I counted them) people I knew and ended up in more shouts than it was feasible to manage. Coopers Red is a great beer but a lousy friend when you’re trying to make a plan come together.
By the time I got to Phoenix (or at least the Enmore) it was 7.15pm, the Shy Impostors had just come on stage, and I was carrying enough Red on board to ensure that an in-depth profound analysis of the gig was as unlikely as AC/DC inviting Dave Evans back into the fold. So you’ll have to put up with this instead.
Lax Charisma photo
Alexa Clayton-Jones and I went out to see Nick Cave and the Bad Seeds last night at Sydney's voluminous and brand new International Convention Centre.
It blows my mind that for a few weeks in 1984, I played in the Bad Seeds, and I’m remembering bouncing around Europe in an old GMC wagon and some of the more colourful venues we played.
PJ Harvey makes her point. Adelaide laps it up. Alison Lea photo
BAM BAM BAM BAM BAM BAM
Poor old Thebby.
BAM BAM BAM BAM BAM BAM
Poor old Thebby, and its heritage-listed planks.
BAM BAM BAM BAM BAM BAM
After posting on Facebook that bits of poor old Thebby’s ceiling were falling around them, I’m fairly sure Sunn 0)))) had to turn down the volume a few months ago. Not that we noticed.
Who the fuck does Henry Hugo think he is?
Argentinian. Lives in the evil gnome capitalist capital, Zurich. Will only eat meat-lovers pizzas. No poncy vegetables or fruit for this Dark Lord carnivore. Would probably munch on dwarves if he could catch them unawares. One of these sentences is a fib.
And here he is, this Henry Hugo, writing songs like "Cold Night in Warrnambool", "Deep Lead Creek" and a whole host of others inspired by … erm, well. Us. Orstrilians. Strayans.
Well. There’s a lot of people in Australia. Millions born here, born and bred, who are, frankly, so repulsive in themselves they should be taken out to sea, tied to an old fridge and set free…
Henry Hugo is, like several other overseas-born artists, an honorary Australian. He loves Australian culture, the country, the people, how and why we live here. It’s not a political thing. He’s not a potential Swiss immigrant who complains about the cowbells, or a Muslim grumpy because we don’t [fill in the assorted blanks here], nor is he a reffo.
It's Saturday night in Marrickville and the outside space at The Factory is packed with folks in black but most of them are going upstairs to the Theatre to see some punk/hardcore.
The slightly older folk are here for three bands at the Factory Floor.
First up, The Dunhill Blues. Now, "The Dunnies" have always come across as being semi-shambolic, more about fun than artistry but of course they then turn around and whack out great songs that are short and to the point. This is my first time seeing them with “the new guy” on guitar who has replaced Jeff Pope.
Now, to expect him to pick up all of Jeff’s sonic sounds and not have any input of his own is unfair but to my ears, they seem to have a lost a bit of variety in their sound with Jeff’s departure
To be fair, he was done no favours by a mix that was too loud overal l- more about that later - yet curiously he was hard to hear during his solos.
Don’t get me wrong, they were still fun and enjoyable but just a bit off form compared to the other times I’ve seen them. Nice to see Jeff get up and join them for their last number.
The Stukas (pictured right) are a band I didn’t get around to seeing in the olden daze. I used to see their name on handbills etc and thought they were another Detroit-y band of the ME262/Trans Love Energies type.