1. The Aints at the Factory. Theatre in Sydney. The songs of the Saints’ initial period hold up after four decades with Know your product (with a horn section FFS!) being the best live track heard in ages. Harry Howard and the NDE in support were great too.

2. The Clouds at the (now sadly no longer with us) Newtown Social Club. It was as they'd never been away and the new songs are great. The Factory show was even better and Falling Joys were fabulous in support.

3. Nikki Hill at the Newtown Social Club. First time I'd seen her live and I'm now a disciple. Great voice, great presence, hot band with two cranking guitarists. She's the emerging first lady of soul and rock. Ignore her at your peril.

4. Guitar Wolf at the Marrickville Bowlo. In an era when punk has become a cliché, Seiji and the boys delivered the craziest show I’ve seen in years, if not ever, in front of the wildest mosh pit I’ve seen in years. From the opening in Godzilla masks to the human pyramid at the end, it was one for the ages, all powered by an unrelenting rhythm section with the hardest working drummer in showbiz. Good to see Bunt in a larger room and they were great.

KC goes to more live shows than your mother goes to Tuppaware parties. Here's his Top Ten of Sydney gigs.

EVEN – NEWTOWN SOCIAL CLUB
A power pop fans dream and a very early “gig of the year” contender from the Fab Three. Supported by the wonderful On and Ons and Soul Movers on a stinker of a summer EVENing. Is it heresy to say I like them and their songs so much more than You Am I? I eagerly await the Christmas Even show at The Landsdowne on December 23.

THE APARTMENTS – THE FACTORY FLOOR
A wonderful set of sparse songs, full of emotion, not sentimental but heart tugging and soul searing.  Spare and simple arrangements enhanced by nuanced and subtle musicianship of Peter Milton-Walsh’s fellow musicians, including Amanda Brown.

DIED PRETTY – ENMORE THEATRE
Following on from two cracking shows in 2016, Ron Peno and co delivered another amazing set and they were the band of the night at Radio Birdman’s big show. Brett Myers, what a guitarist.

_{The Celebrity Roadie Peter Ross attracts fans wherever he goes. Veteran road manager John Pearce (right) inspects his ponytail to make sure it's real.} 

The On and Ons @ almost everywhere – The Sydney power-pop phenomenon rolls on and gets ready to record a third album. Strong songs from singer/songwriter Glenn Morris and the pedigree of Clyde Bramley, Jon Roberts and Brian Morris make for irresistible pop. Welcome Aboard!
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The Flaming Hands @ Factory Theatre & Enmore – A couple of power packed shows from these '80s icons blew my mind. Julie Mostyn’s crack band of Radio Birdman’s Warwick Gilbert, Peter Bull and Barton Price brought a polished sheen to Jeff Sullivan and Julie’s songs. They should come back again… soon!
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So. The Barman (he of the stained apron and soggy socks) has suggested to me that I provide a Top 10 for 2017. 

He doesn’t say of what, unfortunately, so I am greatly tempted to relate (in considerable detail) each of my Top 10 Excretions this year, including two in which I barely made it to the potty on time. 

However, this is a family website, and we mustn’t say words like "shit’ or even "shitweasel".  

I’ll have to write them instead. 

Ray Hanson used to play guyitar for Thee Hypnotics, who destroyed audiences in their home of the UK before they begat The Jim Jones Revue. His current band is Ray 'Sonic' Hanson's Whores of Babylon. What are they like? You'll hear for yourself, soon enough.

Here's a word picture.

Think: Geordie Pleathur jamming in the midnight hours to Sonic Ray while thinking of Nick Marsh, lost loved ones, and nursing a broken hand.

Now read on...

So on to "The Velvet Underground" (aka The Third LP). As Velvets fans know, this is the first LP with Doug Yule replacing John Cale.

Disc One is the more usually recognised Val Valentin mix (the mix used for the 1980s reissue onwards); Disc Two is Reed’s slightly later ‘closet’ mix (the mix used for the original 1960s LP), or or Peel Slowly) and, for the first time in any broader sense, the Promotional Mono Mix (with the two shorter songs from the single).

The Val Valentin mix is the one I grew up with, as did several generations of later fans and musicians; so both mixes are obviously essential in the same box set, as is the rarely-heard promotional mono mix - it was several years became stereo became the norm, rather than mono. Curiously, the mono mix reduces the length of several songs, but adds a few bare seconds here and there.

In 2014, Discs Five and Six here were revelatory, ensuring purchase (one of the reasons I forked out). Most of these recordings were unreleased in 2014, but today, in the light of the "Matrix Tapes", surely they’re surplus to requirements.

I mean, there’s nothing wrong with these last two discs in themselves, or the order in which the songs appear here; these discs present the band doing two very different gigs; they’re at their most ferocious and their gentlest. Me, I rather enjoy the different tracking (to the "Matrix Tapes") which the Deluxe Box provides here, so I’ll be returning to these discs myself. But you shouldn’t need this box for that reason if you already have the "Matrix Tapes".

"White Light/ White Heat" and "The Velvet Underground", the band’s second and third LPs, were always the kind which you experience in the fullest sense of the meaning. When you’d finally recovered after playing the bastard to death, you’d inevitably create a mix tape, if not two.

From one perspective, then, the Velvets’ LPs are all seriously flawed; from another perspective (mine) any flaws they may have are simply the representation of the kind of genius several individuals can create, where the creation reaches far, far above anything we do individually. But like I say, approach with caution. And have your mixtape equipment handy.

At this point I must also mention two 1980s compilations of Velvets recordings. These tracks turn up on the deluxe boxes, and on "Peel Slowly"; the records were "VU", and "Another View". Many people prefer the first to the second; as lost Velvets albums, however, they’re a damn sight more balanced than "White Light/ White Heat" and "The Velvet Underground".

The Velvet Underground and Nico, Now - finally - we come to one of those albums that is insanely iconic (that peeling banana for a start), that you’re told is essential, but which so many people have and rarely listen to because - whisper it - they don’t really like it.

Characters like me, of course, love it (to put it mildly). Around about the time I first heard this LP (I was 12 or 13, my friend Paul had bought it in a chain record shop, filed in the comedy section) I recall talking to some older musicians in 1980, stalwarts of Adelaide’s piddly live scene. To them, the VU were “weird”, and therefore not worthy of examination. The Stooges, incidentally, were widely regarded as a joke, plunking, laboured plodders. The musicians I’m talking about were people who took Frank Zappa seriously (but dismissed Beefheart) and rejoiced when ELO came along (if I had a dollar for every bozo who forcibly showed me how super ELO sounded on their expensive new imported speakers …).

Is it possible that God doesn’t want Ozzy or Eric Clapton up there with Motorhead and Schubert, Bach, Bowie, Keith Emmerson and Bolan, and Robert Quine and Renestair EJ and Thelonious Monk and Charlie Mingus and Brett Smiley and Art Pepper and all the others … talk about spoiling the atmos …

1. Big Bongin’ Baby
Gutterball Pete is perhaps the only person currently alive who can vomit during the middle of a guitar solo and not fluff a single note. He’s a character – an amalgam of Nikki Sudden, Ronnie Wood and Peter Perrett in style and grace. The affectionately –named Bongers have played around town for over 25 years and like the Saints, failed the Academy of Music’s Battle of the Bands.

2. The Double – "Dawn of the Double" LP (In the Red ITR-295)
Drummer Jim White and guitarist Emmett Kelly playing Bo Diddley for three quarters of an hour in E over two sides of an LP. This is probably too avant for the fans of rock ‘n’ roll and too in the pocket for the rockist set. I don’t think rockists know what that term even means but I’ll leave it in here anyway.

3. Kitchen’s Floor – "Battle of Brisbane" (bruit direct disques ‎ Br-d 19)
Whether they’re blissfully unaware or overtly conscious of the fact they’re carrying this anger and sense of punk that goes back to Brisbane’s day one is probably pointless and not worth fretting about right now.