This album’s the second and final chapter for a project that had modest enough aspirations. Jim Keays just wanted to strip things back and rock out on covers of obscure and semi-obscure songs.

He and his crack band not only sound like they had a great time but produced a killer recording in “Age Against The Machine”, the follow-up to 2012’s “Dirty Dirty” set of garage rock covers.

We don’t have pop stars in Australia any more. In their place, we have reality TV-manufactured, milksop product whose fame is carefully designed to meet a demographical need and is disposable as the songs somebody else writes for them. Just as the tag “R & B” has been diluted beyond recognition, these people aren’t pop stars in the true sense of the term.

You might know him for an infamous TV fist fight with a shock jock (and, hey, that was almost one lifetime ago) but back in the 1960s, Normie Rowe was one of Australia’s first bona fide pop stars. There was no need to manufacture stars back then – the media certainly was complicit but they largely just appeared – and the good looking Rowe inspired teen adulation on the back of a string of national hits.

There are few survivors from when New York City’s rock and roll world revolved around a few seedy nightspots in a now unrecognisably gentrified district called The Lower East Side who are still musically  active. Joey Pinter is one of them, making spirited, raw guitar music on their own terms, and this is his debut solo album.

Transplanted to Los Angeles and now living in Chicago, Pinter is best known as Walter Lure’s guitar foil in his killer post-Heartbreakers outfit, The Waldos. These guys should have been huge but labels kept their distance and Walter had a career in stockbroking that clipped their touring wings. Their solitary album, "Rent Party", was recently re-issued and kicks arse.

Pinter played in a host of other NYC bands, most notably with Max’s Kansas City regulars The Knots whose solitary 45 “Heartbreaker” b/w “Action” is highly collectable. So he has lots of form.

A couple of listens in and it’s evident why Paul Collins recruited the core of this band to back him on his Australian tours. The On and Ons play classic guitar pop in the mould of The Plimsouls, the Flamin’ Groovies in their Beatles-besotted era and Collins’ own The Beat.

This is a band that walks down the pop side of the street. If lineage counts, The On and Ons start with a considerable advantage over many others. The members’ rap sheets include the early Hoodoo Gurus, the latter-day Screaming Tribesmen, Kings of the Sun, The Barbarellas and The Stems. To paraphrase Lou: Their powerpop day beats your year.

Heads up: Get your wallet out. Both of ‘em belong in your collection and should be playing on your battered lil machine right now. I’m going to give both FIVE BOTTLES, and that means…the review is irrelevant. 

But you want your entertainment anyway, don’t you? The Voice and The X-Factor can only “discover” what fits a format. And that format is, for the most part, bereft of meaning. The jokey aspect of Eurovision Song doo-dah means that brilliance can sneak in, because the format is to “make a splash” as well as fit the format. Keays and Race load their music with meaning, relevance and immediacy.

Before late ‘70s punks The Chosen Few (the Australian version - not the Michigan band containing Ron Asheton and James Williamson) there was Deathwish, a party band that festered in a barn on a family farm on Victoria’s Mornington Peninsular. The Chosen Few would go on to make a mark on the Melbourne underground scene, releasing a particularly collectable EP, but here’s where it all began.

The album's named for the beer that fuled the band and these are rehearsal tapes from 1976-77. No polish, lots of covers and some amateurishly played. But for all the rough edges, you can hear there was certainly something there. The back story’s also pretty good and is told in guitarist Ian Cunningham’s liners.