Broooooce Springsteen? Can’t abide him. It’s OK if you do. Different strokes for different folks, right? He’s well and truly present on this three-tracker CD - at least in spirit - but I like it in spite of that.

Like Broooce, Joe Normal and The Anytownr’s frontman Joe Normal grew up among the factories of New Jersey - before making  a break for L.A. So the bio says. And he’s landed on Pat (Lazy Cowgirls) Todd’s Rankoutsider Records.  Now you’re talking…

Rankoutsider is an outpost of genuine rock and roll, stripped back to its roots rather than wrapped up in ideas of blandness and mainstream acceptance. Joe Normal is backed by journeymen players whose curriculum vitae includes Stiv Bators, Sussana Hoffs, Syl Sylvain and Izzy Stradlin.So they’ve been around. 

A couple of historical reference points: Ken Russell, director of the cinematic version of The Who’s Tommy, lurching excitedly toward politico-cultural polemic. “Townshend, The Who, Roger Daltrey, Entwistle, Moon could rise this country out of its decadent, ambient state more than Wilson and those crappy people could ever hope to achieve.” The second, Old Grey Whistle Test host Bob Harris, his sanctimonious attitude almost as dominant as his pearly white teeth, dismissing The New York Dolls as “mock rock’”. 

I first caught Jackson Briggs and the Heaters last year at the Yarra Hotel in Melbourne’s Abbotsford. A tiny band room out the back, the full complement of band members unable to squeeze onto the notional stage.

Driving riffs, one guitarist secreted on the right-hand side of stage, weaving elegant licks like a artisan putting the finishing touches on a roughly hewn rock’n’roll tapestry. James McCann had encouraged me to get along and see them, and I knew why.

There’s no chance of mistaking this for a prog rock epic or a pompous concept album. None of its songe figire on the "Bohemian Rhapsody" soundtrack. Eyes Ninety play unadorned, garage rock and roll. Two guitars, bass and drums. Tight when it has to be, looser and ragged when they feel like it. Which is quite a bit.

Music is so often a product of its geography and Eyes Ninety are from Brisbane. Now, lots of people talk about the Brisbane underground scene - and most of them are from Brisbane. If you don’t come from there, you should visit more often. 

For all the constraints of being an Australian capital city, Brisbane rock and roll doesn’t do too badly with its music. There’s a supportive local radio station (4ZZZ), functioning record labels (Swashbuckling Hobo being one) and a reasonable range of venues. What’s more, the bands in Brisbane don’t feel obliged to stick to any formula. 

Cue, Eyes Ninety. For a so-called garage band, they sure mix it up. They get all broody and (dare say) post-punk on “Iceberg Syndrome” while “Laminated Beams” is hooky, edgy and fast. “Another Dimension” hangs off a meandering lead guitar line. “Spinning” is discordant, unnerving and equally catchy. “Lost Sunnies” packs a wallop. And that’s just side one.

Let’s see. It’s been 18 years since I first heard a Peawees record and this is Album Number Six. The Italian combo from scenic La Spezia by the sea has been kicking out pop-punk jams since the mid-‘90s. Despite having only one constant member in guitarist-vocalist Hervé Peroncini, they sound pretty much like they did way back when.

There's something to be said for longevity in rock and roll. Perhaps there's a clue to The Peawees' secret in the album title. One thing The Peawees haven't done down the years is stand still, and there's enough stylistic variation on this album to keep things interesting.

It's not all about the Ramones. The bar room boogie of "Reason Why" or the Jam-like rush of opener "Walking Through My Hell" are proof enough. If that double-punch to the solar plexus doesn't get you gasping for air, you're a corpse.

This Parisian band brags they’ve been “playing garage-blues-punk since 2003” and that’s no mean feat in a city where rock and roll gets simultaneously downtrodden by dance music and high culture. 

Two more things in their favour is that they’re on Beast Records, a well-established home for music that flies a ragged freak flag, and “Memories From a Shithole” was produced by expat Detroiter Jim Diamond, the ex-Dirtbombs bassist and sonic master now spending much of his work-time in Montpellier. His credits include the Bellrays, the Fleshtones and the White Stripes so he’s qualified to make this sort of noise. 

Whodunit aren’t your standard ‘60s acid punk rehash or two-chord crash-er-rama thrash artists. They don’t play second-rate Serge lounge tunes or bother trying to de-construct the blues. They just go for broke. 

This may be Dylan's best album ever. It might also be his most unnecessary. He recorded these songs. Sent out promos. Then he changed his mind.

Was it right to dump this version and re-record it? Absolutely.

In the early ’70s, this album would have had its fans. It would have sold. But it would have disappeared into the back catalogue. Too much more of the same.

The second go at the songs that become the Blood on the Tracks album are a force of nature that captured the zeitgeist. They buried the copyists and pretenders. That album was a lion amongst cattle. It turned Dylan's career around.