Roadrunner 1(1) March 1978

ADELAIDE'S MUSIC PAPER

Volume One N o . 1

M a rch /A p ril

1978

30 c e n t a .

LIFT-OUT G IG GUIDE ■ ROCTURNAL ■ YOUNG MODERN ■ MICKEY FINN ■ DENNIZ TEK ■ REVIEWS

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“A staggering and awesome performance by M eat L oaf...the surprise album smash of ’78.

— Power Play

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Cover.

T h is one.

C red its.

3 - S n ipp ets. k - Iio c tu m a l.

5 - Y ou n g M o d e rn .

6 - D e a t h o f Punk?

7 - P i n u p.

8 - G a ry M c D on a ld .

9 - More o f same.

10 - M ic k e y F in n .

11 - Bob D y l a n .

12 - B e a c h B o y s .

13 - B e a c h B o y s .

1 *» - D e n n i z T e k .

15 - D e n n i z T e k .

16 - R e c o r d r e v i e w s 17 - More r . r . ' s 18 - I n t e r e s t i n g Ads 19 - Y e t more r . r .

20 - S p o r t s / ' H o o k s 21 - ' D i c k ' C l a p t o n 22 - Ads and Ends 23 - R e a l b e a u t a d s 2U - I l l u s t r a t i o n .

R o a d r u n n e r Crew,

-

E d ito rs D o n a ld R o b e r t s o n S t u a r t C o u p e.

D e sig n & Layout A l l a n Coop C o n stru c tio n A l e x E h l e r t , S u e , Don­ a l d , S t u a r t , and a c a s t o f thousands in a b sen tia.

C o n trib u to rs s H e a t h e r Ven n , L a r r y B u ttro s e , A lex E h le r t , D o n a ld R o b e r t s o n , Mark B u r f o r d , S t u a r t C o u p e, C l e v e r T r e v o r , F ra n k Carmody , F e s t e r i n g M ic k M a l i c i ­ ous and W i l l D e n i s o n .

P h o to 's S t e v e H a r d a c r e and Joe M urray.

Back C o v e r i l l u s t r a t i o n

by B ain ,

R o a d r u n n e r Volume One N o . 1.

P u b l i s h e d m o n t h ly .

P r i n t e d by Andrew McHugh on the Em pire Tim es P r e s s .

A ll le t t e r s , co n tribu t­ i o n s and the l i k e 1^ D o n e g a l S t . , Norwood S . A . 506?

A d v e r t i s i n g Manager C h r i s P li m m e r .

A l l c o n trib u tio n s fo r is s u e No. 2 t o be s u b m i t t e d b y March 27th

EDITORIAL OR WHADDYOU THINK ABOUT THAT YOU GUYS? The aim o f R o a d r u n n e r i s to s t a r t and s u s t a i n a m u sic p a p e r b a s e d i n A d e l a i d e and g i v i n g p r o

m inence to v e n u e s , b a n d s , and m u s i c i a n s , i n and f r ­ om A d e l a i d e . T h i s i s the f i r s t i s s u e o f the p a p e r and we a r e l o o k i n g f o r w ­ a r d to many more.

S t u a r t Coupe.

D on a ld R o b e r t s o n .

ROADRUNNER ADELAIDE'S MUSIC MAGAZINE

If you are a record shop, a band a music promoter, a musical hire service, or whatever and you wish to reach people who are into music then contact Chris Plimmer on

267

ROADRUNNER

M a r c h / A p r il

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Hi t h e r e f u n k y d u d e s f o x y c h i c k s and spaced out p e n sio n ­ e r s . Welcome to the news and g o s s i p p a g e .

I f VOU h a ve any news o r g o s s i p t h a t you t h i n k m ig h t i n t e r e s t t h e p e o p l e o f S o u th A u s t r a l i a w e 'd lo v e t o h e a r from y o u , . , . .

The b i g news o f the moment i s , o f c o u r s e , the imminent a r r i v a l o f those ' 6 0 ' s h e a r t t h r o b s , the Beach Boy Boys and th e p o e t o f the l a s t g e n e r a t i o n Bobby Zimmerman, Now we a i n ' t g o t much on the B o y s , t h e y a l l seem to be l i v i n g a f a i r l y l a i d back e x i s t a n c e on the Am e ric a n West C o a s t t h e s e d a y s . . . . b u t we h a ve h e a r d t h a t the r e a s o n t h e r e was such a d e l a y i n the announ -c e m e n t o f B o b b y ' s b a c k i n g band f o r h i s t o u r was t h a t the /,im was o f f e r i n g a mere $300 a week p o c k e t money to p r o s p e c t i v e musos. Now we a l l know t h a t S a r a i s s q u e e z i n g B obb y f o r h e r a l i m o n e y b u t S 300 . . . . . . I mean even K e v in P o r r i d g e g e t s more than t h a t .

The 'h o o k s w e re i n town l a s t week ( s e e r e v i e w l a t e r i n mag) and S h i r l had some j u i c y Countdown g o s s i p a l l o f w hich i s a b i t t o o j u i c y to p r i n t h e r e . H ow e ve r he d i d s a y he W a s n ' t too i m p r e s s e d w i t h Bed Symons' s i n g l e ............. and when you compare i t w i t h the new 'h o o k s e f f o r t you can s e e why. . . . . . Band b r e a k - up d e p t : R i f f R a f f have s p l i t down the m i d d l e , w h ic h i s bad news f o r a l l you new w a v e r s s i n c e th e y w e re the h o t t e s t NW combo a ro u n d town.

S i n g e r Danny Johnson and b a s s g h i t a r i s t G e o f f S t a p l e t o n have gone to M e l b o u r n e to t r y and b r e a k i n t o the s c e n e t h e r e , w h ile g u i t a r i s t G regg

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Webb and drummer Rob C ro sser are g e t t in g a new band t o g e t h e r b u t i t w i l l p r o b a b l y be a w h ile b e f o r e thet emerge from the r e ­ h e a r s a l r o o m . . . there w e re rum ours f l y i n g a r o u n d the S p h e r e O r g a n i s a t i o n t h a t the J o e H o o k e r Band may h a v e b r o k e n up b u t we d o n ' t have a n y th in g d e f i n i t e on t h a t . . . . .

Rum J u n g l e w e re f o r c e d to c a n c e l t h e i r t r i p to M e l b ­ o u rn e due t o s l a c k o r g a n i s a t i o n from the M e l b o u r n e e n d .

A p p a r e n t l y th e v e n u e s l i n e d up f o r the band w e re n o t r e a l l y what m a n ag e r Ray D y e t t had i n m i n d , . . . T h e Lone R a n g e r s h a v e s p l i t up - John W h it e l e a d s i n g e r h a s l e f t due to work p r e s s u r e , John H y la n d p e d a l s t e e l p l a y e r , h a s had to l e a v e due to h e a rin g t r o u b le s . Ian S t e l l i c k h a s l e f t to form a b o o g i e band and A l e x , the b a s s p l a y e r has a l s o l e f t a l t h o ' we d o n ' t know why. Jo M o o re , Tom S t e l l i c k and S c o t t O p i e have g o t a new band t o g e t h e r c a l l e d H a b i t . . . . S o a p b o x Ork g o i n g down a bomb a t t h e i r new r e s i d e n c y , the Cremorne H o t e l , d e sp ite lo s in g s t e e l p la y e r Steve J a m e s ...

W i t h th e U n i ' s g o i n g back th e re a r e a c o u p l e o f good f r e e c o n c e r t s com ing up Y o u n g nbdern w i l l be p l a y i n g on the B a r r Sm ith la w n s on 10th March a t 1.00pm and S t i l e t t o w i l l be p l a y l a g a t f l i n d e r s on the 9 th o f March i n the e v e n i n g ( i n the a m p h i t h e a t r e b e h in d the l a k e A u s t ­ ra lia n s overseas: The S a i n t s ' new s i n g l e , 'Know Y o u r Product' g e t t in g e x te n siv e a ir p la y in E n g la n d ., .a p p a re n tly i t 's a l i t t l e softer than t h e i r k i l l e r v e rs io n o f 'R iv e r

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D e e p , M o u n t a in H i g h ' , th e ir la s t sin g le re le a se h e re ...R a d io B ird m an h a v e a t l a s t l e f t the c o u n t r y a f t e r a protracted d e la y w h ile tours w e re a r r a n g e d from New Y o r k . Birdm an w i l l be t o u r i n g E u ro p e w i t h the F la m in ' G ro o v ie s ( t h a t i n c l u d e s the UK) and t h e r e i s a p o s s ­ i b i l i t y t h e y w i l l do some l i v e work i n the States a f t e r t h a t . . , .

On the home f r o n t t o u r s com ing up i n c l u d e G e o rg e Benson a t A p o l l o S ta diu m on 21st M arch, F o r e i g n e r at F e s t iv a l Theatre on 16th A p r i l , B i l l y Joel at F e stiv a l T h e a t r e 4/5/6 A p r i l , D r Hook a t F e s t i v a l T h e a t r e on 12th and

2Bth A p r i l and J o an A r m a t r a d i n g some­ time i n l a t e M a y . , , , , S t r o n g rum ours t h a t E l v i s C o s t e l l o and I a n D ury w i l l be h e r e i n June and p e r h a p s P a t t i S m ith i n J u l y . .

B i g new s u p e r g r o u p D e p t : John Wet ton (e x K in g Crim son, F a m ily , U r ia h Keep, and B r i a n F e r r y ) , B i l l B r u fo r d (e x G e n e s i s , Y e s , C rim son) A lan H oldsw o rth (S o f t M a c h in e , Gong, J e a n Luc P o n t y ) , and E d d i e J o b s o n ( Roxy M u s i c , Zap pa and C u r v e d A i r ) . . . .w h e w ..h ave got a ban d t o g e t h e r . T h e y ' r e c a l l i n g t h e m s e l v e s UK and a r e c u r r e n t l y reco rdin g th e ir f i r s t album t o g e t h e r . . . t h a t 's a l l fo r n o w ....

F e s t e r i n g M ic k M a l i c i o u s

Roadrunner Playlist.

Shirley Stachan; 1. A j a - S t e e l y Dan. 2. B u f f a l o N o r t o n .

3. B o le ro - R a v e l, N e i l ( M o d e r n l o v e Son g s ) 1. J e s u s o f C o o l — NTck Lowe .

2. L . A . M . F . - Johnny T h u n d e r's H e a r t b r e a k e r s 3. u u t r a g e o u s - Kim F o w le y F e s t e r i n g M ic k M a l i c i o u s 1, A n a r c h y i n the U .K .

- S ex P i s t o l s .

2, R o a d r u n n e r - J o n a t h o n Richman & the Modern Lovers 3 , Semaphore S i g n a l s W reck less E r i c .

D avid W o o d h a l l (R o c t u r n a l ) 1 , J e su s o f C ool - Nick Low e.

A lex E h le r t : 1. D e b u t a n t e s , 2. W i l d i n th e S t r e e t s - G arlan d J e f f e r i e s .

3. Shake Some A c t i o n The F l a m i n ' G r o o v i e s .

S t u a r t C o u p e.

1. J e s u s o f C o o l - N i c k Lowe.

2. B o m To Run - B r u c e S p rin g stee n .

D o n a ld R o b e r t s o n : 1. Women i n U n i f o r m Skyhooks.

2. New B o o t s & P a n t i e s l l - I a n Dury.

3 . John n y R o t t e n on C a p i t a l R adio - ( p r i v a t e tape.)

THE ROADRUNNER FREE SINGLE COMPETITION We a t R o a d r u n n e r h a v e g o t FIVE a u t o g r a p h e d c o p i e s o f Norman G u n s t o n ' s c l a s s i c punk opus ' I M i g h t Be A Punk ( But I L o ve You Baby ) ' b/w h i s h e a r t f e l t r e n d i t i o n o f E l v i s ' ' L o ve Me T e n d e r ' t o g i v e away to f i v e l u c k y p e o p l e who can t e l l us w h ic h c h a r a c t e r G a ry McDonald p l a y e d most o f t e n i n the A u n ty J a c k Show.

The s i n g l e s w i l l go to th e f i v e u n t i d i e s t e n trie s.

E n t r i e s , marked ' The R o a d r u n n e r ' I M i g h t Be A Punk ( Bu t I Love You B a b y ) ' F r e e S i n g l e C o m p e t i t i o n ' s h o u l d be a d d r e s s e d t o 14 D o n e g a l S t , , Norwood and the w i n n e r s w i l l be announced i n the n e x t i s s u e o f R o a d r u n n e r .

C o m p e t i t i o n c l o s e s 1st A p r i l 1978.

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Rocturnal WOODHALLS’ RADIO UNPLUGGED

" F i n a l l y he s e t f i r e to t h e r a d i o . He p i l e d some p a p e r a r o u n d i t .

He s t r u c k a match t o the p a p e r . We s a t t h e ­ r e w a t c h i n g i t , I had n e v e r se e n anyone s e t f i r e to a r a d i o b e f o r e .

As th e r a d i o g e n t l y b u r n e d a w a y, the f l a m e s ba g an to a f f e c t the s o n g s t h a t we w e re l i s e n in g to . A re c o rd that was n o . 1 on the Top 1*0 s u d d e n l y d r o p p e d to n o .

13 i n s i d e o f i t s e l f .

A s o n g t h a t was n o . 9 became n o . 27 i n the m id d le o f a chorus a b o u t l o v i n g somebody.

They tu m bled i n p o p u l ­ a r i t y l i k e broken b i r d s Then i t was too l a t e f o r a l l o f th e m ."

Such was K i c h a r d B r a u tig a n s f i c t i o n a l desc­ r i p t i o n o f the dem ise o f a r a d i o s t a t i o n from h is sh ort p ie c e , Pac­ i f i c R a d i o F i r e . Now, in A u s t r a lia t h e r e 's been an o th e r r a d io b u r n i n g b u t t h i s time the l i s t e n e r s have b e e n b u r n t t o o . The AUC i n i t s i n f i n i t e wisdom, and u p p e r c l a s s good t a s t e d e c i d e d to rem­ ove from i t s p r e c i o u s FM a i r w a v e s t h a t d e g ­ enerate c o lla b o ra t io n o f n o i s e c l a i m i n g to be m u sic - r o c k ' n '

ROADRUNNER

M a r c h / A p r il

r o l l . By the time you read t h is R o c tu rn a l, D a v i d W o o d h a l l ' s FM r a d i o show i s no more and i n i t s p l a c e w i l l no d o u b t be more c l a s ­ s i c a l m u s i c . N o t to s u g g e s t w e ' v e g o t a n y­ th in g a g a in s t c l a s s i c a l m u sic - b u t 2 l* f u c k i n g h o u r s a day??????

When F .M . f i r s t b e g a n R o c t u r n a l was p r o g r a m ­ med i n the t i m e s l o t o f 1 0.3 0 on S a t u r d a y n i g h t u n t i l 5 .3 0 on Sunday m o r n i n g . Hence the name - n o c t u r n a l r o c k becomes R o c t u r n a l - v e r y g o o d . T h i s time s l o t came a b o u t d e s p i t e r e p e a t e d p l e a s from r o c k , f o l k and j a z z a n n o u n c e r s t h a t they b e g i v e n r e g u l a r time from 10 pm t o 12 mid­ n ig h t each n ig h t . T h is was b o t h an e m i n a n t l y s e n s i b l e tim e and a l l ­ owed f o r the d e v e l o p ­ ment o f l a r g e r , more r e g u l a r a u d i e n c e s as p e o p l e w o u ld e x p e c t one o f t h e s e t h r e e m u s i c a l fo rm s to be a v a i l a b l e each n ig h t a a t the same t im e . But no - t h a t was much too l o g i c a l . And too much time f o r the e f h n i c s D o n ' t you know p e o p l e want B e e t h o v e n , Bach and S t r a v i n s k y , e t c a t t h a t time o f n i g h t to s e e i f the $200 t u n e r s w o r k i n g and i f the sound b l e n d s w e l l w i t h the f u r n i t u r e .

The n e x t s t e p was the r e c e n t d e c i s i o n to a x e R o c tu rn a l c o m p le te ly .

As a r e s p o n s e , i f t h e r e i s any hope o f i t b e i n g b rough t back, p e o p le who l i s t e n to the p r o g ­ ram o r s i m p l y f e e l t h a t t h e r e s h o u l d be a v a r i e t y on the F.M. s t a t i o n ( t h e o n l y one a v a i l a b l e to S outh Aust l i s t e n e r s ) sh o u ld phone, w r i t e o r c a l l a t the ABC and r e g i s ­ t e r some d i s a p p r o v a l o f the s t a t i o n s meas­ u r e s - and make i t h e a r d . T h e re i s a l s o a p e titio n p ro te stin g a g a i n s t the a x i n g b e i n g c i r c u l a t e d by Andrew McHugh,

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Rocturnal On Teevee Even though th e Roc­ t u r n a l r a d i o show i s no m ore, the ABC i s g o i n g a h e a d w i t h th e p l a n n e d 13 week t e l e v i s i o n s e r i e s . The R o c t u r n a l TV Show b e g a n on F e b r u ­ a r y 28th a t 10.^*0 i n a l l s ta te s except V ic t o r ia w h e re i t h a s to w a i t 2 months w h i l s t they o r g a n ­ i z e a time i n the p r o ­ gramming.

I f you w e re a t S p o r t s o r somewhere e l s e f o r the f i r s t p r o g r a m o f th e 13 week s e r i e s o f ho m in u te p r o g r a m s you m issed a r a t h e r e x c e l l ­ ent program b e g in n in g w ith R ic h a rd C la p t o n 's s h o r t l i v e d b a n d who r e ­ c o r d e d Goodbye T i g e r and f e a t u r i n g f o r m e r M cK en zie T h e o r y members drummer G r e g Sheehan and v i o l i n i s t C l e i s P e a r c e . T h e r e was an e x ­ c e lle n t s e r ie s o f pain ­ t i n g s by B r i t i s h s u r r e ­ a l i s t W o o d r o f f e . T h e se provided v is u a ls f o r S c a r l e t R i v e r a ^ ' s mus­ i c , Good s t u f f a l t h o u g h I s u s p e c t i t may have seemed a l i t t l e w i s h y w ash y on t h o s e a r c h a i c b l a c k and w h i t e t h i n g s .

U n l i k e Countdown t h e y showed th e f u l l o l i p o f Randy Newman d o i n g S h o r t P e o p l e - w i t h the i n t r o o f Newman g i v i n g t h a t w e llk n o w n g e s t u r e to p e o p l e i n the m u sic b u s ­ in e s s l i k e our M o lly .

Tfte S ultam B r o t h e r s p l a y e d one s o n g - why t h e y d i d n ' t u s e an E a g le s film c l i p in ­ s t e a d amazes me - the o n ly d i f f e r e n c e i s that the E a g l e s d o n ' t l o o k so s t u p i d - t h e y ' r e n o t p o s t u r i n g way o u t w e s t cpu n try rock m u sician s - o r a t le a s t t h e y 're c l o s e r than the S u l t a n s .

Dutch T i l d e r s was h i s u­ s u a l c om peten t s e l f he s h o u l d b e b l a c k and 60 r em a rk e d someone n e x t to me. I n r e t r o ­ s p e c t an e x c e l l e n t f i r s t show w i t h the on­ l y c r i t i c i s m b e i n g the d o w n h i l l end t o the prog ram - a l i t t l e too lo w k e y e f f o r t was C l a p ­

ton' s l a s t song, but n e v e r t h e l e s s an i n s p i r ­ in g f i r s t e f f o r t con sid­ e r i n g the d r i v e l t h a t ' s b e e n d i s h e d up a s r o c k ipusic t e l e v i s i o n i n A u s t r a lia d u rin g past years.

D a v i d W o o d h a ll i s compere and a l l the program s a re produced b y H e n r y P r o k o p who was f o r m e r l y p r o d u c e r o f the much r e m i n i s c e d about S o li d A i r , The w h o le i d e a w i t h Roc­ t u r n a l i s t o g i v e same e x p o su re to A u s t r a l i a m b a n d s who h a v e had l i t t l e o r no t e l e v i s i o n p u b l i c i t y and a r e , i n t h e minds o f D a v i d and H enry, d e s e r v in g o f a little .

So f a r t h e y ' v e f i l m e d R a d i o Bird m a n , K evin B o r i c h , S t i l e t t o , Jo J o Z e p , B i l l y T , P h i l M a n n in g , S k y h o o k s , S i d e ­ w i n d e r , A y e r s Rock, Rob­ yn A r c h e r , S te p h e n F o s ­ t e r , P e t e r B e a g le y , Some Dream, and M ic k e y F in n , A ls o in c lu d e d in e a c h p r o g r a m w i l l be one o v e r s e a s a r t i s t .

T h ose p l a n n e d i n c l u d e N e i l Y o u n g , Van M o r r i ­ s o n , and B e t t e M i d l e r .

To g a i n some c e l l u l ­ o id fo d d e r f o r fu tu re program s A la t e n i g h t c o n c e r t was o r g a n i s e d e a r ly in February at w h ic h 300 i n s o m n i a c a l i n d i v i d u a l s w a tc h e d , l i v e i n t h e s t u d i o on a b lo o d y hard f l o o r , the S u l t a n B r o t h e r s , Some Dream, and an i n ­ s p i r e d s e t from J o Jo Z e p , w i t h o u t d o u b t the b e s t perform ance I ' v e s e e n them g i v e a n y w h e r e .

The w h o le ban d r e a l l y f i r i n g a f t e r a show a t the M a r r y a t v i l l e e a r l i e r i n the n i g h t and "Twen­ t y shows i n f o u r d a y s " as Joe C a m e r le r r i i p u t i t a s he d e d i c a t e d K i n g o f F o o l s to Ray D yeti t i l So t h a t ' s i t . Do y o u r ­ s e l f a f a v o u r and t r y to k e e p away from th e e x ­ c e l l e n t Tuesday n ig h t T i v o l i shows to s e e a f e w o f the R o c t u r n a l sh o w s. I ' d s u g g e s t t h e y ' r e the b e s t t e l e (

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young modern F o r a ba n d t h a t h a s b e e n t o g e t h e r f o r o n l y f o u r months You n g Modern h ave r e c e i v e d a l o t o f m e dia a t t e n t i o n - a r t i c l e s i n RAM, J u k e , t h e A d v e r t i s e r and A d e l a i d e U n i ' s On D i t , I c a u g h t up w i t h s i n g e r John D o w l e r , g u i t a r i s t V i c Y a t e s and drummer Mark K o h l e r at J o h n 's N o rth A d e la id e f l a t the n i g h t a f t e r t h e y p l a y e d the M a r r y a t v i l l e a s s u p p o r t to Rum J u n g l e (my se c o n d view ­ i n g o f th e b a n d . ) Why a l l the i n t e r e s t ? I a s k e d Jo h n , " I 'v e got a lo t o f lo y a l f r i e n d s , " he l a u g h e d . " B u t n o, 1 think i t s becau se w e 'r e a r o c k ' n ' r o l l ba n d and t h e r e a r e n ' t any o t h e r r o c k ' n ' r o l l bands i n A d e l a i d e . " Now t h e r e a r e some p e o p l e who w o u ld p e r h a p s d i s p u t e t h a t b u t t h e r e i s no d e n y i n g t h a t the You n g Modern b r a n d o f m u sic i s m elo d ic, catch y , i r r e p r e s s ­ i b l y d a n c e a b l e and the most r e f r e s h i n g sound to b e h e a r d a ro u n d A d e l a i d e s i n c e , o o h , The T w i l i g h t s ? (T h o s e o f you too you n g to remember the T w i l i g h t s , and f o u r - f i f t h s o f Y ou n g Modern f a l l i n t o t h a t c a te g o r y , ask your o l d e r b ro ­ t h e r s and s i s t e r s . ) Y ou n g Modern came t o g e t h e r l a s t y e a r when John D o w l e r l e f t M e l b o u r n e and h i s band S p a r e C h a n g e , and r e t u r n e d to A d e l a i d e . ( T h e r e s t o f S p a r e Change r e s u r f a c e d r e c e n ­ t l y i n P a r a c h u t e . ) John s a i d he l e f t S p a r e Change a f t e r d i s p u t e s w i t h i n the b a n d ( h e a d m i t s to b e i n g somewhat o f

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an e g o t i s t ) and r e t u r n e d to A d e l a i d e to g e t s o m e t h in g new t o g e t h e r b e c a u s e i n h i s own words, "T h e r e 's l e s s p re ssu re h e r e , A b a n d h a s time to d e v e l ­ op. " John had a f r i e n d whose b r o ­ ther play ed in a h ig h school b a n d c a l l e d S u g g e s t i o n who w ere l o o k i n g f o r a s i n g e r and as t h e y s a y i n the t r a d e s , the re st i s h isto ry .

A p a r t from t h r e e s o n g s the Y ou n g Modern r e p e r t o i r e i s C o m p l e t e l y o r i g i n a l . The t h r e e non—o r i g i n a l s a r e an o b s c u r e S t o n e s n u m b e r , 'T h e S i n g e r N o t The S o n g , ' John M a y a l l ' s 'On Top o f The W o r l d ' and a s u r p ­ r i s e n o v e l t y e n c o r e . Andrew R i c h a r d s , b a s s , M ic k J o n e s , g u i t a r and V i c a l l w r i t e the m u sic f o r th e o r i g i n a l s o n g s w h i l e John t a k e s c a r e o f the ly ric s .

A l l the m i d - s i x t i e s i n f l u ­ e n c e s t h a t I d e t e c t e d i n the m u sic t u r n e d out. to b e b a n d s t h a t V i c and Mark (1 8 and19 r e s p e c t i v e l y ) had n e v e r h e a r d (V e l v e t Underground, K in k s, F lam in g G r o o v ie s ) a lt h o u g h John p u t a l l t h r e e among h i s f a v o r i t e s . V i c t o l d me t h a t h i s m u s i c a l i n s p i r a t i o n came from the p e r i o d when r o c k s u p p o s e d l y d i e d , 1959 to 1 9 6 2 } the e r a o f i n s i p i d p o p , one h i t w o n d e rs and P h i l S p e c t o r ' s W a l l o f Sound.

Were you t r y i n g f o r a s i x ­ t i e s sound then? " N o , " answ ered J o h n , " t h a t 's j u s t th e way we p l a y . None o f us a re b r i l l i a n t m u s ic ia n s .”

T e l l me a b o u t y o u r s o n g 'W anna Be A B i r d m a n . ' . " I t s g o t n o t h i n g to do w i t h R a d i o B i r d m a n , " s a i d Mark.

"W e ll i t h as, in that i t was o r i g i n a l l y i n s p i r e d b y o u r f i r s t e v e r g i g w h ic h was s u p p o r t i n g R a d io Birdm an a t the U n l e y Town H a l l , " added J o h n , " M i c k was r e a l l y p i s s e d o f f w i t h the f a c t t h a t t h e y got a r e a l l y g re a t recep tio n and we d i d n ' t . So he came up w i t h t h i s c h o r u s , "Wanna be a b ir d m a n / I h e a r d i t on the r a d i o / B i r d m a n . " X d i d n ' t want a s o n g a b o u t them so I ch an ged i t to a s o n g a b o u t a g u y who w an ted to f l y . " " I t h i n k p e o p l e i n the aud­ i e n c e t h i n k i t s a b o u t R a dio B i r d m a n , " commented Mark. " I n f a c t i t s a b o u t the i l l e g i t i m a t e son o f Howard H ughes who i n h e r i t s h i s f a t h ­ e r ' s lo v e o f f l y i n g . "

You i n t r o d u c e the s o n g *N e w W a v e ' a s a s u r f s o n g on s t a g e .

A r e you t a k i n g a poke a t the new wave? " I t s an a f f e c t i o n a t e p a r o d y " an sw ered J o h n . " T h e r e 's a l o t o f good s t u f f come o u t o f the new wave - a l o t o f r e a l l y ba d s t u f f t o o . Some p e o p l e a r e c a l ­ l i n g u s a new wave b a n d , w h ic h I d o n ' t mind b e c a u s e i t s the t h i n g o f th e moment. We a r e s t i l l g o i n g to b e p l a y i n g the same t h i n g w h e t h e r i t s c a l l e d new wave o r n o t . " Y o u n g Modern u s u a l l y f i n i s h t h e i r s e t w i t h an o l d S p a r e Change s i n g l e c a l l e d 'T h e B i g B e a t . ' John p l a y e d me the v e r ­ s i o n r e c o r d e d b y S p a r e Change l a s t y e a r . V i r t u a l l y the o n l y r e s e m b l a n c e i s i n th e l y r i c s .

Y ou n g Modern h a ve t a k e n o u t the tempo c h a n g e s and the e l a b o r a t e m u s ic a l e m b ro id ery and r e p l a c e d them w ith s t r a i ­ g h t a h e a d rhythmn and a f o o t t a p p i n g b e a t t h a t i s th e p e r ­ f e c t backdrop f o r J o h n 's l i l t ­ in g vo ice.

I c o u l d go on b e c a u s e a l l th e s o n g s a r e g o o d . A u t o m a t i c , My f a v o r i t e D r u g , Red D r e s s On ( i d o n ' t know how I f e e l / W h e n you come a r o u n d / You g o t t h a t r e d d r e s s on - s o u n d i n g l i k e the V e l v e t s a s the m u sic b u i l d s , p e a k s and e b b s ) and th e b a n d ' s t o u r de f o r c e , *1 G et So E x c i t ­ e d , ' a l o n g s l o w p o i g n a n t opus o f l o s t l o v e . I t s the o n l y s l o w s o n g th e ban d do and i n much th e same way a s E l v i s C o s t e l l o 's 'A l i s o n ' a c ts as a r e f l e c t i v e c o u n t e r p o i n t t o the rest o f th e ir set.

And what o f the f u t u r e ?

The b a n d h a v e p l a n s t o make some demo t a p e s soo n and w i t h them a s a b a s i s , t r y t o g e t a s i n g l e o u t . They a r e p l a y i n g a b o u t once a week a t the moment u s u a lly su p p ortin g in t e r s t a t e a c t s a t t h e M a r r y a t v i l l e and t h e r e i s a p o s s i b i l i t y o f them g e t t in g a re sid e n c y at a h o te l in E l i z a b e t h . I t s e a r l y days yet but w ith J o h n ' s u n d o u b te d s t a g e c h a r i s m a and h i s e x p e r i ­ e n c e i n th e m u sic b u s i n e s s th e groupr h a v e a g r e a t c h an ce o f n e g o t i a t i n g th e many h u r d l e s f a c e d b y up and com ing A d e l a i d e b a n d s . I f t h e r e i s to be a r e n a is s a n c e in A u s t r a li a n rock then my money i s on Y o u n g Mod­ e r n to b e r i g h t t h e r e i n the f r o n t l i n e . See them w h i l e you can - A d e l a i d e m i g h t n o t b e a b l e t o h a n g on to them, D o n a ld R o b e r t s o n .

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I t was oqe o f t h o s e tim es t h a t you lo o k a t y o u r w a t c h .

You know, l i k e the moon l a n d i n g o r Kennedy g e t t i n g s h o t , L a r r y r a n g me from the A . B . C . " H e y , h a v e you h e a r d the news?" " N o ,” " The S ex P i s t o l s have b r o k ­ en u p , " " VfhatJ" " Y e a h , i t s i n the N e w s , " " Have you g o t i t t h e r e ? " " I ' l l go and g e t i t , " I l o o k e d a t my w a t c h .

I t was **•33 p.m . , the 19th o f J a n u a r y , L a r r y r e a d the a r t i c l e o v e r the ph on e .

New Y o r k , Weds Punk r o c k s i n g - e r Johnny R o t t e n s a y s he h as l e f t the S ex P i s t o l s f o r g o o d .

Oh s h i t . Oh f u c k , I t h o u g h t .

R o t t e n s a i d , I ain s i c k o f w o r k i n g w i t h the Sex P i s t o l s , I n e v e r want to a p p e a r w i t h them again .

Oh n o , I d o n ' t b e l i e v e i t .

T a l k i n g o f the r e a s o n b e h in d the b r e a k u p , he s a i d , ' We had gone a s f a r a s we c o u l d g o . E ve­ r y o n e was t r y i n g to t u r n us i n t o a b i g band g r o u p and 1 h a t e d tha - t . They wanted to make up a n o t ­ h e r v e r s i o n o f the R o l l i n g S t o n ­ e s . On the l a s t n i g h t i n San F r ­ a n c i s c o t h e r e were 5*000 p e o p l e and I knew i t was g e t t i n g o u t o f hand . ' And then I t h o u g h t , y e a h . P e r - f e e t . B r i l l i a n t . Good on you J o h n n y , you d i d n ' t com prom ise.

The Sex P i s t o l s s a i d when th­ ey s t a r t e d t h a t they were g o i n g t o p l a y t h e i r m u sic f o r t h e m s e l­ v e s and t h e i r f r i e n d s . To r e s u r ­ r e c t t h a t i n t i m a t e bond betw e e n a u d i e n c e and p e r f o r m e r t h a t su p ­ e r s t a r s l i k e Rod S t e w a r t and M i­ ck J a g g e r had g i v e n up f o r h o l i ­ d a y s i n the su n . ' We want to s e e more g r o u p s l i k e u s , ' John s a i d i n the e a r l y d a y s o f the g r o u p . And h i s w i s h came t r u e . The Sex P i s t o l s smas­ hed th r o u g h th e m u sic b u s i n e s s l i k e a d i v i s i o n o f Panzers thro­ ugh a t r o o p o f o b s o l e t e c a v a l r y .

And t h r o u g h the g a p came p o u r ­ i n g the h o r d e s - the Damned, the C l a s h , the B u z z c o c k s , the Boomt— own R a t s , t h e A d v e r t s , E l v i s C o s t e l l o and c o u n t l e s s o t h e r s .

A l l d e d i c a t e d to r o c k ' n ' r o l l , a l l d e d i c a t e d to m u sic t h a t i s l i v e , e x c i t i n g and f r e s h .

And why i s t h i s m u sic so f r e ­ s h , so v i b r a n t ? S i m p l e , B e c a u s e o f the raw m a t e r i a l u s e d i n i t s c o n s t r u c t i o n . The p e o p l e who c r ­ e a t e d t h i s m u sic w e re l i v i n g on

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the b r e a d l i n e , on the s t r e e t , n o t m e r e l y c l o s e to the a c t i o n b u t I N the f u c k i n g a c t i o n . They w e re on the bottom o f the p i l e and were p i s s e d o f f enough a b o ­ u t i t to g e t o f f t h e i r a r s e s and s t a r t t e l l i n g p e o p l o a b o u t it.

Now b e c a u s e t h e r e a r e a h e l l o f a l o t more p e o p l e a t the b o ­ ttom o f the p i l e than t h e r e a r e a t the t o p , t h e s e p e o p l e s t a r t e d to g e t a f o l l o w i n g . N o t h i n g v e r y u nu su al abou t th at - i t ' s a path t h a t h as b e e n t r o d d e n by many w o r k i n g c l a s s l a d s and l a s s e s ( the B e a t l e s , the S t o n e s , the Who to name b u t t h r e e . ) But the t h i n g t h a t c h a r a c t e r !

- s e d the P i s t o l s r i g h t from the s t a r t was t h e i r r e f u s a l to comp­ r o m is e t h e m s e l v e s o r t h e i r m u sic i n any way. Th ey d e l i b e r a t e l y s e t t h e m s e l v e s o u t s i d e the s t a r / money g r a t i f i c a t i o n system - i n f a c t they d e d ic a t e d them selves to sm a s h in g t h a t s y s te m .

An i m p o s s i b l e g o a l p e r h a p s , b u t t h e y g a v e the b u s i n e s s the b i g g ­ e s t sh a ke up i t h as had i n y e a r s The f i r s t c l a s h w i t h the pow­ e r s t h a t be came when the P i s t o ­ l s a p p e a r e d on the Thames T o n i g ­ h t T . V . show. When B i l l Grundy a s k e d the band to s a y s o m e t h in g o u t r a g e o u s , th e y o b l i g e d w i t h a s t re a m o f r i p e i n s u l t s .

As a r e s u l t o f the s u b s e q u e n t p r e s s o u t c r y ( T . V . F u ry O v e r Punk Rock F i l t h I w ere the b a n n e r h e a d l i n e s i n the D a i l y M i r r o r the n e x t d a y ) the P i s t o l s were d i t c h e d by E . M . I . , t h e i r r e c o r d company, s h o r t l y a f t e r w a r d s .

They d i d n ’ t l a s t l o n g w i t h t h e i r se c o n d r e c o r d company, A&M e i t h ­ e r , E sta b lish e d a r t i s t s lik e R ic k Wakeman k i c k e d up a f u s s a b o u t the b a n d , and the f a c e l e ­ s s men a t the top o f the o r g a n i z - a t i o n ( who a r e more c o n c e r n e d w i t h money than m u sic ) w i t h d r e w t h e i r c o n t r a c t . ( T h e r e were r e p o r t s o f the P i s t o l s p a y i n g a v i s i t to the A&M o f f i c e s and in d u lg in g in t h e i r f a v o r i t e sp­ o r t , d e s t r u c t i o n , ” b u t e ve n i f t h a t r e a l l y h a p p e n e d , what e l s e d i d A&M e x p e c t from a band whose f i r s t s i n g l e ended w i t h the w o r­ d s , " I waana b e / A n a r c h i s t / Get p i s s e d / D e s t r o y , " D id th e y t h in k the P i s t o l s w e re k i d d i n g ? ) U n f o r t u n a t e l y t h a t i s the a t ­ t i t u d e t h a t the g u t t e r p r e s s h a s tak e n from the s t a r t . The E v e r y o n e l o v e s s e n s a t i o n . You d o n ' t have to t h i n k a b o u t s e n s a ­

t i o n l i k e you do w i t h f a c t s . But b y w h i p p i n g up p u b l i c h y s t e r i a a b o u t punk th e B r i t i s h p r e s s g o t i t banned a l l o v e r the U .K . made Johnny R o t t e d i n t o p u b l i c enemy No. 1 and c r e a t e d the a tm o s p h e re o f v i o l e n c e t h a t r e ­ s u lt e d in Rotten and P a u l Cook o f the P i s t o l s , n o t to m e n tion many o t h e r s , g e t t i n g jumped and b e a t e n up on the s t r e e t . They made Johnny R o t t e n i n t o a b o g e y man - a m o n s t e r .

So f o r most p e o p l e the Sex P i s t o l s w e r e n ' t r e a l . They had a g r e a t gimmick g o i n g w i t h t h e i r r e b e l i m a g e , b u t th e y w e re j u s t a d o p tin g a p o se . P eo p le i n Aus­ t r a l i a w e re p r e j u d i c e d a b o u t punk b e f o r e t h e y e v e r h e a r d any due to s e n s a t i o n a l m e dia c o v e r ­ a g e . I know p e o p l e who s a y they h a t e punk r o c k y e t t h e y h ave n e v e r h e a r d a n y l M aybe, j u s t maybe the Sex P i s t o l s b r e a k i n g up f o r the r e a s o n s Johnny R o t t e n o u t l i n e d , i . e . t h a t t h e y were g e t t i n g t o o p o p u l a r , w i l l make those p e o p le think a g a i n .

W e l l , what DOES th e b r e a k - u p o f the Sex P i s t o l s mean? I t mea­ ns t h a t Johnny R o t t e n was s i n c e ­ r e when he s a i d he d i d n ' t want to l i v e h is l i v e as a h o lid a y in the su n . T h a t he meant i t when he s a i d he d i d n ' t want to be a s u p e r s t a r . And Most i m p o r t a n t l y , t h a t i f y o u want t o h e a r good e x c i t i n g r o c k m u sic - DO I T YOURSELF. F o r punk i s a t h e a r t 1 9 7 0 's u r b a n f o l k m u s ic . Not f o l k as in th re e p u l l o v e r s s i n g ­ i n g a b o u t the W i l d R o v e r , b u t f o l k i n the s e n s e o f m u sic w i t h a human s c a l e - a p e o p l e ' s music s tro n g ly rooted in s o c i a l r e a l i ­ tie s. < The r o c k b u s i n e s s i s a v e r y p p o w e r f u l m a c h in e . So i f you want t o ta k e i t on f o r y o u r own ends w i t h o u t i t g o b b l i n g you up you h a v e to th ro w a s p a n n e r i n the w orks e v e r y chance t h a t you g e t .

Johnny R o t t e n had no i n t e n t i o - n o f g e t t i n g g o b b l e d u p . He p r o v e d h i m s e l f a man o f p r i n c i p ­ l e b y h i s a c t i o n . He h a s s a c r i ­ f i c e d h i m s e l f i n o r d e r t h a t the m u sic w i l l s u r v i v e .

The Sex P i s t o l s may be no more b u t t h a t a i n ' t the end o f punk r o c k — oh no! L i k e O b i Van K e n o b i i n S t a r W a r s , the f o r c e w i l l be even s t r o n g e r by t h e i r s e l f i n f l i c t e d d e m i s e .

"We can be H e r o e s . " D o n a ld R o b e r t s o n

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by Steve H ardacre,

1 l i k e d the i d e a o f d o i n g a number w h ere you s p a t a t t h e a u d i e n c e and d r o p p e d y o u r d a k s . . . .

I u s u a l l y do ' L i z a W i t h a Z ' i n my c a b a r e t a c t . C a b a r e t a c t , sou n ds g r e a t d o e s n ' t i t ?

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O u r p a t i e n c e was b e g i n n i n g t o w e a r a b i t t h i n . We h ad b e e n t o l d t o b e a t th e H o t e l A u s t r a ­ l i a a t 2 .0 0 p.m . f o r an i n t e r ­ v i e w w i t h G a ry M c D o n a ld , a l i a s Norman G u n s t o n , b u t the a n d r o i d r e c e p t i o n i s t was s a y i n g t h a t G a r r y was s t i l l i n M e l b o u r n e w i t h M o l l y Meldrum , the r o a d i e s s a i d t h a t y e s , he was h e r e , he had j u s t f i n i s h e d r e h e a r s i n g w i t h h i s ba n d b u t n o , t h e y d i d n 1t know h i s room number and th e c l e a n i n g l a d i e s knew the number b u t t h e y w e r e n ' t t e l l i n g .

The g u y s from 5KA and -the News d i d n ' t seem t o o c o n c e r n e d as t h e y lo u n g e d a r o u n d the f o y e r so I s a i d , what th e h e l l , w e ' l l w a i t h e r e w i t h them. And a s we w e re g e t t i n g i n t o t a l e s o f p r im a donna pop s t a r s ( w e l l now ta k e Van M o r r i s o n , t h e r e ' s a tem p e ra ­ m e n t a l guy f o r y o u . . . ) i n s t r o d e G a ry McDonald c a r r y i n g a tun a s a n d w i c h and a c a r t o n o f o r a n g e ju ic e . " Oh, h i , " he s a i d , a l i t t l e n o n p l u s s e d b y the s e v e n p a i r s o f e y e s f o c u s e d on him . " Ah y e s , t h e i n t e r v i e w s . W e l l where s h a l l we do them? H e re? My room?" " How a b o u t y o u r r o o m , " s a i d the man from 5 KA. " R i g h t o t h e n , " and we a l l p i l e d i n t o t h e l i f t and up to th e 6 th f l o o r .

The room was the same a s a m i l l i o n o t h e r m o t e l rooms e x c e p t f o r the m a g n i f i c e n c e o f the v i e w " H o r r ib le w a llp a p e r i s n 't it ? " s a i d G a r y . V i l e , we a l l a g r e e d .

The man from 5KA was f i r s t o f f the mark a f t e r we a l l s e t t l e d down, G a ry on the b e d , the g uys from th e News s t a n d i n g a ro u n d l o o k i n g awkward and u s a l l s i t t ­ i n g on th e f l o o r , " I w o n d e r i f you c o u l d do a f e w s p o t s f o r t h e show tomorrow n i g h t ( th e 5KA M u s ic To The W orld C o n c e r t . ) " Yeah, s u r e ." " W e l l what can I t e l l you a b o u t i t ? T h e r e ' s Jo h n V i n c e n t , Ken Noake and h i s O c k e r O r c h e s t ­ r a , LRB, C h e e t a h , D ic k C l a p t o n - " " D ic k C l a p t o n ? " ( l a u g h t e r ) " Can you do s o m e t h in g w i t h that?"

G a ry p a u s e s f o r a moment, c o ­ l l e c t s h i s t h o u g h t s and ! h e y p r e s t o j l t s Norman Gunston t a l k ­ i n g o u t o f the r a d i o a t you­ " R i c k y N e l s o n and th e f a n d o o le y Hi sw in gers, th is is Norman G un ston r e m i n d i n g you t h ­ a t tom orrow n i g h t I ' m g o i n g to be a t t h e A u s t r a l i a n M u s ic to th e W o r l d c o n c e r t ( shows how p o w e r f u l the PA i s , eh? - I ' v e

the fandooleyc...” g o t some f r i e n d s i n Sweden wh a r e gunna be l i s t e n i n g to i t I d o n ' t want to d r o p any names b u t I b e t you can g u e s s who t h e y a r e ! ) Y e a h , i t s g o i n g t o be a r e a l l y f a r out c o n c e r t , I'm g o in g to be p e r f o r m i n g and K u noath and th e O c k r O r c h e s t r a - t h a t ' s one o f the r e a s o n s to come l a t e and a l s o C h e e t a h , a f a b u l o u s s i n g i n g duo from M e l b o u r n e a c o u p l e o f you n g l a d i e s w i t h b i g t h i n g s i n f r o n t o f them I p r e d i c t , and a l s o LRB, L i t t l e R i v e r B a n d , Sounds p r e t t y good eh? T i c k e t s a t the d o o r . H u r r y t h o u g h , o n l y 1 5 ,0 0 0 l e f t ! " " Y e a h g r e a t , do you t h i n k you c o u l d do a n o t h e r one w i t h o u t the 15 ,0 0 0 l e f t t h o u g h ? "

" W i t h o u t the 1 5,00 0 l e f t ?

OK, ( p a u s e ) H i f u n k y d u d e s , f o x y c h i c k s and s p a c e d o u t p e n ­ sio n e rs, , , " I was amazed. R a t h e r , I wou­ l d have been i f I h a d n 't been l a u g h i n g so h a r d , G a ry p r o c e e d e d to r e e l o f f f o u r r a d i o s p o t s i n a r o w , e a c h one f u n n i e r th a n the l a s t . The man from 5KA went aw­ ay happy.

Then i t was the t u r n o f the New s. " Why d i d you l e a v e t h e ABC?" M a i n l y b e c a u s e t h e y w e re t r ­ y i n g to r u n my c a r e e r , s a i d G a ry They w e r e t r y i n g to t e l l me t h a t I c o u l d n ' t do any a d s .

G a ry went on t o t a l k a b o u t h i s new c o n t r a c t w i t h C h a n n e l 7 w h ic h i s f o r f o u r one h o u r Norman G un ston s p e c i a l s o v e r the n e x t t e n m onths. The f i r s t o f th th e shows w i l l be on y o u r s c r e ­ en s sometime i n e a r l y A p r i l . The f o r m a t i s b a s i c a l l y g o i n g to be the same a s the o l d G un ston sh o ­ ws, w ith a m ix tu re o f i n t e r v i e w s s o n g s and s k e t c h e s . T h e r e i s g o ­ i n g to b e a "How To Get A J o b " s k e t c h and a s p o o f on the R e s t ­ l e s s y e a r s c a l l e d the R e s t f u l Y e a r s a b o u t p e n s i o n e r s u n a b l e to g e t work a s b a b y s i t t e r s .

What g o t you i n t e r e s t e d i n punk ro c k ? a s k e d the man from th e N e w s. " W e l l I was r e a d i n g a l o t a b o u t i t and i t sou n ded p r e t t y b o r i n g . I l i k e d the i d e a o f d o in - g a number wh ere you s p a t a t the a u d i e n c e and d r o p p e d y o u r d a k s , l i k e , w h o 's t h a t g u y . . , "

" Angus Y o u n g fro m AC /DC ." " Y e a h . Punk n e v e r r e a l l y to o k o f f h e r e , than k g o o d n e s s .

I t ' s o n l y the t r e n d i e s t h a t h a v e p i c k e d i t u p , A l o t o f q u e en s l i k e punk r o c k . T h e y seem to l i k e t h a t a g g r e s s i v e , macho s t a n c e , I d o n ' t l i k e punk r o c k . " What a r e y o u r t a s t e s i n m u sic " I ' v e g o t r e a l l y MOR t a s t e s .

I l i k e S t e e l y Dan, though I w o u l - d n ' t c a l l them MOR. I d o n ' t l i ­ ke r o c k much ( a s l i g h t t i n g e o f s a d n e s s i n h i s v o i c e ) I must be g e t t i n g o l d , I l i s t e n to W eather R e p o r t , a b i t o f C hick C o re a , M ich ael Franks. I l i k e that r e a ­ l l y l a i d back so u n d ," As the gu y s fro m th e News p a c k up and s t a r t to l e a v e , G a ry

e x p r e s s e s c o n c e r n a b o u t h i s cam­ e r a w h ic h he h a d d r o p p e d a t r e h ­ e a r s a l . He and S t e v e , o u r i n t r e ­ p id photograph er, in d u lge in some f a n c y cam era t a l k , s p o t t e d w i t h r e f e r e n c e s t o s p l i t image v i e w f i n d e r s , c e n t r a l w eigh ted s p o t m e t e r s , 1 .4 l e n s e s and o t h ­ e r m y s te rio u s term s.

I show G a ry a copy o f S t r e e t F e v e r the punk f a n z i n e S t u a r t and I b r o u g h t o u t l a s t y e a r . " Oh my g o d , a punk m a g a z i n e how many o f you a r e camp?"

G a ry f l i c k e d t h r o u g h th e mag w i t h i n t e r e s t . Who i s W r e c k l e s s E r i c ? he a s k s . '' I saw him i n E n g l a n d l a s t y e a r , " I s a y . " H e r e m in d e d me o f a c r o s s b e t w e e n Norman and J o h ­ nny R o t t e n , " " Good s i n g e r i s h e ? " " Y e a h , v e r y n e r v o u s on s t a ­ ge. " " AWWW ( so u n d s h u r t ) New wave d o e s n ' t a p p e a l to me a t a l l I n theory I think i t ' s f i n e . I j u s t d o n ' t l i k e th e sound o f i t . " So t h e ' I M i g h t Be A P un k , Bu t I L o v e You B a b y ' s i n g l e was j u s t a se n d up? " " Y eah ." " Whowas i n the b a c k i n g band?

I t so u n d s l i k e R o s s W i l s o n was there." " Y e a h you c a n h e a r him . He was s a y i n g to R o ss H a n n a f o r d S i n g l o u d e r you can h e a r my v o i c - e t o o w e l l . R o ss H a n n a f o r d p l a ­ yed g u i t a r on ' L o v e Me T e n d e r ' " T h a t 's a g re a t so n g ." " I had to d r o p i t from my act. "

_ " Why? Too many p e o p l e g e t t i n upset?" " Y e a h . I u s e d to s a y i n my c a b a r e t a c t , a r e t h e r e any E l v i s f a n s i n the a u d ie n c e ? P r e t t y u p - • s e t t i n g i s n ' t i t ? N o t k n o w in g i f t h e r e 's B ry lc re em a f t e r d e a th .

That r e a l l y , . w o o f ( shakes head) I d r o p p e d t h a t b e c a u s e i t was a b i t h e a v y , I d o n ' t h a ve a n y i d o ­ l s you s e e . I j u s t u s e d t o s i n g th e s o n g a f t e r t h a t . Then a t one c l u b someone c a l l e d o u t , " Aw, g i v e i t a r e s t m a t e , " And I t h o ­ u g h t, yeah I thin k I w i l l . " " How d i d you f e e l when E l v ­ i s d ied ? " " W e l l I was n e v e r an E l v i s f a n . What u p s e t me was t h i n k i n g a b o u t th e s o r t o f l i f e h e ' d l e d .

P o o r b a s t a r d . D y i n g a t 42 and b e i n g f o u n d n a k e d i n the b a t h ­ room h a n g i n g o v e r the t o i l e t . " " What s o n g s do you do on s ta ge these days?" " A l o t o f new wave s o n g s lik e 'D e li la h ' (la u g h te r) I t s a b o u t a g u y who c o u l d n ' t g e t a J o b . T h a t ' s why he was w a l k i n g p a s t h e r h o u se . ' S a l u t e to A bba' - y o u k now, t h a t s i n g l e s o l d 3 5 .0 0 0 c o p i e s and I d i d n ' t g e t a p e n n y . The company went b a n k ­ r u p t . Anyway, w h at e l s e ? S h e r b ­ e t ' s 'H o w z a t ', 'J a ilh o u s e R o c k ', 'S e n d I n The C l o w n s ' , ' R i o ' , and t h e n 'P u n k '. 'P u n k 's o ld r e a l l y w e l l h e r e . N o - o n e p i c k e d i t up i n the e a s t e r n s t a t e s . I o n l y do seven songs n o r m a lly . I u s u a l l y do ' L i z a w i t h a Z ' i n my c a b a r e t a c t . C a b a r e t a c t , so u n d s g r e a t d o e s n ' t i t ? N o , i n my c l u b a c t I do 70 m i n u t e s b u t I do a l o t o f s t a n d up c h a t s . I c a n ' t do t o o much comedy i n a c o n c e r t s i t u a t i o n . P e o p l e a r e n ' t i n the r i g h t f ra m e o f mind f o r i t . " A t t h a t j u n c t u r e we had to l e a v e i t a s G a ry h ad an a p p o i n t ­ ment a t C h a n n e l 7 . We a l l l e f t w i t h s m i l e s t h a t l a s t e d f o r most o f th e d a y , G a ry M cD onald may n o t b e A u s t r a l i a ' s f i r s t punk r o c k s u p e r s t a r , b u t he i s the b e s t and f u n n i e s t e n t e r t a i n e r o p e r a t in g in A u s t r a l i a today.

Ask an yon e who went to the 5KA M u s i c To The W o r ld c o n c e r t a t M e m o r i a l D r i v e . Somebody o u g h t t o b r i n g B a r r y H u m ph ries b a c k fro m w h e r e v e r h e ' s h a n g i n g o u t t h e s e d a y s and s e t up a ' B a t t l e O f The C h a m p io n s' T . V . S p e c i a l f e a t u r i n g A u s t r a l i a ' s two g r e a t a l t e r - e g o s , Norman G un ston and Dame Edna E v e r a g e , T h a t w o u ld b e s o m e t h i n g to s e e ! A re you l i s t e n i n g C h a n n e l 7?

D o n a ld R o b e r t s o n , S t u a r t Coupe and A l e x E h l e r t .

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Mickey Finn M ic k e y F in n h a v e been a t t r a c t ­ i n g i n c r e a s i n g l y l a r g e au d ie n c e s to t h e i r T h u r s d a y n i g h t r e s i d ­ e n c y a t the T i v o l i H o t e l , A l l t h e ban d members h a v e b e e n p l a y ­ i n g a r o u n d A d e l a i d e l o n g e r than t h e y c a r e to remember - w i t h v a r y i n g amounts o f s u c c e s s .

The b a n d s l i n e up i s M a u r i B e r g ( g u i t a r ) J o f f Bateman (d r u m s ) B i l l McMahon ( b a s s ) and the l e g e n d a r y " U n c l e " on h a rm o n ic a and v o c a l s . M a u r i p l a y e d i n y e s t e r y e a r A d e l a i d e b a n d s Head­ ban d and F r a t e r n i t y , J o f f j u s t w i t h H eadban d and " U n c l e " w i t h both.

M u s i c a l l y the b a n d c om bines raucaus country rock, w ith a l a t e s i x t i e s H e n d r ix / C re a m f e e l , topped o f f w it h " U n c l e ' s " v o c a ls and s t a g e movements l e n d i n them­ s e l v e s to C a p t a i n B e e f h e a r t com­ p a r i s o n s a s he g r o w l s , c r o u c h e s , s t r u g g l e s and f a l l s a b o u t on s t a g e u t t e r i n g more sou n ds than w ords.

R o a d r u n n e r d e c i d e d to f i n d ou t more a b o u t M ic k e y F i n n . . . . . . .

R .R . How l o n g h a s M ic k e y F in n b e e n on s t a g e ?

U. M/F. s i n c e Decem ber l a s t , R .R . How l o n g w e re you t o g e t h e r b e f o r e th a t?

U. We w e re t o g e t h e r f o r a t l e a s t 18 months b e f o r e t h a t .

Bu t f o r the f i r s t 6 months to a y e a r i t was more o r l e s s w r i t i n g s o n g s , m ucking a r o u n d and h a v i n g a b l o w .

I was a r e l u c t a n t s i n g e r . We

Somedream Rum Jungle AN,)

UJNESTAR AND ARTISTS WISH ROADRUNNE1 DVERY SUCCESS IN THE EFFORT TO PROMOTE THE BEST IN ADELAIDE MUSIC

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w e re l o o k i n g f o r a s i n g e r b u t we c o u l d n ' t f i n d o n e , so p r o c e s s o f e l i m i n a t i o n and t h a t ' s how I g o t the j o b , R .R . I s i t a l l o r i g i n a l ?

U. Yeh we w r o t e 'em a l l R .R . Do you do most o f the s o n g w ri tin g?

U. M a u r i s t a r t s o f f w i t h the g u i t a r i d e a s and I add s o c a l l e d w o rd s and m e l o d i e s t o t h a t . Then we g e t down i n c e l l a r and I p u t th e h a r p b i t s on t o p and J o f f p l a y s a l o n g . B u t i t ' s M a u r i ” who

comes up w i t h the r i f f , the i d e a and t h a t ' s how i t starts o ff.

R .R . How w o u ld you d e s c r i b e the b a n d . You seem to b e g e t t i n g an o l d e r a u d i e n c e a t th e T i v Y o u ' r e the t y p e o f music t h e y remember from th e e a r l y seven ties?

U. I d o n ' t know, I f i n d i t a

b i t h a r d to p i g e o n - h o l e o u r m u s i c . I s u p p o s e we j u s t t r y and c r e a t e a b i t o f e n e r g y and make i t d a n c e a b l e .

T h a t 's p r e t t y im portan t i f y o u ' r e d o i n g the k d of g i g s we a r e d o i n g , R .R . Seems to w o r k i n g , a t the T iv e s p e c ia lly , U. W e l l, t h e y 'v e been in c r e d ­ i b l e . . . , I ' de r e a l l y l i k e to p l a y the T i v to kOO p e o p l e .

Y 'k n o w p l a y u n d e r s a r d i n e c o n d i t i o n s . I f you g e t the f i r i n g , i f everybody i s a s a r d i n e then i t s o r t a g o e s FLASH t h r o u g h th e c r o w d . I f you g e t 200 p e o p l e you g o t t a p i c k e a c h p e r s o n up i n d i v u a l l y . I f you g e t a mob i t i s e a s y to s p a r k them o f f .

R .R . What a b o u t the p o s s i b i l i t y o f g e t t i n g a r e c o r d out?

U. J u s t t h a t A l b e r t s h a ve s a i d come up to S ydn e y and spend some time i n the s t u d i o and s e e how we work a s a team.

Once we h ave a p r o d u c t may­ be we can work o u t a c o n t r ­ a c t i f everybody i s happyw h ic h i s b r i l l i a n t ! } We c o u l d n ' t a s k f o r any m ore, R . R . Any i n t e n t i o n o f w o r k i n g i n t e r s t a t e o r a r e you j u s t g o i n g up t o r e c o r d ?

U. W e l l , w e 'd e l o v e to p l a y a l l 'r o u n d the w o r l d - d o n ' t g e t me w r o n g b u t w e ' d e l i k e to g e t an L . P . down and g e t a i r p l a y b e f o r e we go - then ( C o n t i n u e d on p a g e 22)

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DYLAN no more heroes? " No more h e r o e s " s a n g the S t r a n g l e r s on t h e i r l a s t s i n g l e no more L e n i n , T r o t s k y , S t a l i n , Marx o r E n g e l s . To t h e 'p u n k s ' t h e r e a r e no more h e r o e s — a d e t h r o n i n g o f the J a g g e r s , P e r ­ r y s , F ra m p to n s , S c a g g s ' E l t o n J o h n s and i f y o u ' r e g o i n g to be fa ir, the Bob D y l a n s o f the r o ­ ck w o r l d . T h o s e f i g u r e s who now p l a y t e n c o n c e r t s a y e a r and d e ­ mand from the l o y a l e v e r i n c r e a ­ s i n g f e e s f o r t h e i r p r e s c e n c e on a d i s t a n t s t a g e f o r 6 0 - 9 0 m in u t ­ es .

B u t why t h e s t r a n g e s i g h t on the 19th o f F e b r u a r y , when even the punks a r r i v e d to queue 1 2 h o u r s i n o r d e r to g e t f r o n t row t i c k e t s f o r the f o r t h c o m i n g D y l ­ an v i s i t ?

I mean h e r e you h a v e a rock s t a r a s k in g $ 12 ,5 0 a tic k - e t , p l a y i n g an a t r o c i o u s o u t d o ­ o r ve n u e and no d o u b t p e r f o r m i n g a minimum o f new m a t e r i a l i n the m i d s t o f h i s p a s t h i t s ( some o f w h ic h s t r e t c h b a c k 15 y e a r s ) most o f w h ic h w i l l b e g ro u n d o u t th e way t h a t P r e s l e y u s e d to g r ­ i n d o u t ' H e a r t b r e a k H o t e l ' and The B e a t l e s , i f t h e y w e re w i t h u s t o d a y , w o u ld p r o b a b l y s i n g ' I Wanna H o l d Y o u r H a n d , ' Why the e x c e p t i o n f o r Dylan?

The man who r e v o l u t i o n i z e d r o c k m u sic i n the s i x t i e s i n t h a t l e g e n d a r y m a r r i a g e b e t w e e n God and the D e v i l , p o e t r y and e l e c ­ t r i c i t y , i s h a r d ly a w o rld sh a t t e r e r t h e s e d a y s i n terms o f i n n o v a t i o n - a N e i l Diamond cum S i n a t r a f o r the l e s s t r e n d y un­ d e r 3 0 ' s o r e v e n kO'a ( th e 18 y e a r o l d s who had t h e i r l i v e s c h an ged b y ' B l o w i n ' i n the Wi­ n d ' w o u ld now be 35 y e a r s o l d p r o b a b ly m a rried / su b u rb a n ise d w i t h the m a n d a to ry two k i d s who w i l l come a l o n g t o o . ) The r e a s o n s f o r h i s a t t r a c t ­ i o n a r e h a r d t o fa th o m , b u t l i k e the one i n e i g h t A m e r ic a n s who a p p lie d f o r t ic k e t s f o r D y la n 's 197** t o u r , a m a j o r i t y o f A u s t r a ­ l i a n s w i l l go to the c o n c e r t s a s an e v e n t - n o t a c o n c e r t , b u t a g a t h e r in g - a s o c i a l o c c a sio n s o m e t h in g l i k e p o p u l a r c u l t u r e ' s a n s w e r to th e f i r s t n i g h t a t the Opera.

T h r o u g h o u t a l l the y e a r s h e ' s be e n a r o c k s t a r D y la n h as manage - d to k eep a sen se o f m ystery an a u r a o f u n k n o w in g s u r r o u n d s h i s movements, h i s m a t e r i a l , and most s i g n i f i c a n t o f a l l - h i s p e r s o n and p e r s o n a l i t y . What d o e s he l o o k l i k e ? Why i s he so i n f l u e n t i a l ? I s he r e a l l y so s m a ll ?

I j u s t want to s e e h im t o be t h e r e - to h a v e e x p e r i e n c e d

t h e man who c r e a t e d a myth w i t h ­ o u t the a i d o f the m e d i a - h i d d e n a s e f f e c t i v e l y a s Howard Hughes a f t e r h i s m o to rb ik e a c c id e n t f l e e t i n g concert appearances B a n g l a Desh - G u t h r i e m e m o r ia l C h i l e a n b e n e f i t s - then t o t a l 1 9 7 ** t o u r e x p o s u r e - s u r p r i s e v i s i t s w i t h th e R o l l i n g T h un d er R e v i e w - e ve n th e p r e s i d e n t mus­ t som etim es s t a n d n a k e d - b u t w h a t ' s D y la n r e a l l y l i k e when he h ops u n d e r the shower? i s t h i s s e l f c r e a t e d God r e a l l y f l e s h and b o n e s o r i s i t b r e a d b l o o d and w a te r ?

When he came to A u s t r a l i a i n 1966 D y l a n was a t i r e d , t o r m e n t ­ ed c r e a t u r e - r a v a g e d b y d r u g s and the p r e s s u r e s o f t o u r i n g t o u r i n g f o r a u d i e n c e s p r o n e to h e c k li n g , slo w h a n d c la p p in g , b o o i n g , and w a l k i n g o u t a s he s t a g g e r e d o u t t o b e g i n the se c o n d h a l f o f h i s c o n c e r t s t h a t was the e l e c t r i c h a l f - a b e t r a y a l - a s e l l o u t to the r o c k m u sic w o r l d o f th e B e a t l e s and the R o l l i n g S t o n e s - w a s n ' t D y la n p u r e r than t h a t ?

C ra ig M c G r e g o r d e s c r i b e d him i n A u s t ­ r a l i a as b e in g baby l i k e f a t h e r e d b y the Band - t r e a t e d w ith re s p e c t but u lt im a t e ly f a t h e r e d - p l a y i n g on a r e v o l v i n g s t a g e i n Sydney - b r e a k i n g h i s g u i t a r in M elbourne - p l a y i n g r o c k ' n ' r o l l l i k e n n o - o n e had

G r e i l M arcuses d e s c r ip t i o n o f the on s t a g e a p p e a r a n c e so u n d s l i k e a d e s c r i p t i o n o f S t a t u s Quo. "On s t a g e t h e y MOVED: D y la n and R o b e r t s o n c h a r g e d a c r o s s the s t a g e , p l a y i n g h e a d to h e a d , w h i l e R i c k Danko r o c k e d ba c k and f o r t h , . . , t o open t h e i r n u m b e r s , D y l a n , R o b b i e , and Danko w ou ld t u r n and f a c e the drummer — he w o u ld r a i s e h i s s t i c k s h i g h , s u d ­ d e n l y b r i n g i t down w i t h a c r a s h a s the t h r e e g u i t a r i s t s l e a p e d i n t o t h e a i r , k i c k i n g th e s o n g o f f a s t h e y h i t th e g r o u n d . " maybe i t a i n ' t t h a t e x c i t i n g anymore - maybe n e ' s ju st a b o rin g old fa r t t r y in g d e sp erat­ e l y to r a i s e some money t o l i v e a f t e r S a r a h ' s done a B r i t t E k l a n d t o him - and he p r o b a b l y d e s e r v e s i t a l l — w h a t e v e r happens h e ' s com ing - he p r o b a b l y w o n ' t come a g a i n and the e x p e r i e n c e o f b e i n g THERE - AT A BOB DYLAN CONCERT - i s p r o b a b l y n o t w o r t h m i s s i n g - e ve n i f y o u a r e s c e p ­ t i c a l - and anyhow, w h at w i l l y o u r f r i e n d s s a y i f t h e y go and you d o n ' t - i t r e a l l y i s n ' t a good th in g f o r your s o c i a l sta n d in g n o t to go - you m i g h t e ve n g e t o on the A d v e r t i s e r ' s s o c i a l p a g e s - you know - Seen a t the Bob D y la n c o n c e r t w e a r i n g a l o v e l y , . . . . y e s I s u p p o s e i t ' s a l l come down t o t h a t - i t p r o b a b l y i s a l l o v e r now b a b y b l u e .

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BEACH BOYS_s L e i f G a r r e t t p r o b a b ly w a s n 't b o r n when 1 h e a r d my f i r s t B e a c h Boys s o n g on A d e l a i d e r a d i o . A f r i e n d o f mine s a y s t h a t he was s i t t i n g on a comb­ i n e h a r v e s t e r , 500 km i n l a n d , when he h e a r d h i s f i r s t , and w on dered what t h e y meant b y " s e a " . A n o t h e r f r i e n d s a y s he was l i v i n g i n a choked g r e y i n d u s t r i a l c i t y in northern E n g la n d when he h e a r d h i s f i r s t and w on de re d what t h e y meant by s u r f i n g . Yet an oth er s w it ­ ched th e r a d i o o f f t h i n k i n g i t was an a d . f o r w a s h i n g p o w d e r . , A l l o f w h ic h g o e s t o show t h a t t r a c i n g b a c k the r o o t s o f y o u r v e r y own B each B o y s E x p e r i e n c e can be an o n t o l o g i c a l l y p r e t t y f a r o u t e x p e r i e n c e . 1 9 6 2 , and w h e re w e r e you?

Ju st b e fo re I b e g in by d iv ­ i d i n g t h i s a r t i c l e i n t o two p a r t s - i . e . the s o c i o l o g i c a l and d i v i n e a s p e c t s o f the m u sic o f t h i s h e l i o p h i l i a c q u i n t e t , I ’ d j u s t l i k e to p o i n t o u t t o D o n a ld and S t u a r t t h a t I do want a c o p y o f '2 0 G o ld e n G r e a t s ' f o r w r i t i n g t h i s B e c a u s e you s e e , a l l you d e a r e s t p a t r o n s o f the t r u e rock jo u r n a lis m genre - I lo v e s u r f m u s i c , and a l w a y s h a v e .

I knew a b o u t th e Winos and 'S a v a g e S u r f even b e f o r e i t was p l a y e d on R o c t u m a l . And I had a c o p y o f t h e S u n r a y s ' ' I L i v e F o r The S u n ' i n l o w e r h i g h s c h o o l . I u s e d to s i n g , " I l i v e f o r th e sun b e - e e - c a u s e i t means f u - u n " I a c t u a l l y had B each Boys s i n g l e s a s w e l l b e c a u s e , you s e e , I went t o a c o l l e g e a l b e i t a c a t h o l i c one - and th u s q u a l i f i e d f o r a p l a c e i n the m i d d l e c l a s s - a l b e i t the l o w e r p a r t . So i t ' s n o t s u r p r i ­ s i n g t h a t t h e i r m u sic a p p e a l e d to me, b e i n g m i d d l e c l a s s r o c k .

When the S t o n e s w e re s t i l l s p i ­ t t i n g and the B e a t l e s h a d n ' t b e e n f i t t e d ou t i n B e a t l e j a c k ­ e t s , the Beach Boys w e re a l r e a d y the d a m d e s t n i c e s t bunch o f k i d s a n y p a r e n t c o u l d m eet. Oh s u r e , so t h e y d r o v e D a d d y 's T B i r d a t 95 on the d r a g a t mid­ n i g h t , and t h e y d i s a p p e a r e d a l l summer from t h e i r own b e a c h to go on a s u r f i n ' s a f a r i a l l a b o u t the S t a t e s ( w e l l p r o b a b l y to the n e x t b e a c h 5 m i l e s down the c o a s t and u s e d to r i n g Mom and Pop e v e r y a f t e r n o o n a s t h e y f i n ­ i s h e d work a t the g a s s t a t i o n s o ' s t h e y c o u l d ta k e P a t t y to th e d r i v e - i n t o s e e Gone W i t h The Wind and R e b e l W i t h o u t A

C au se r e r u n s i n the b o r r o w e d T B i r d ) . . . But r e a l l y , you c o u l d n ' t hope to meet a n i c e r bunch o f k i d s a n yw h ere i n M a r i n Coun ty T h e y w ere t r u e to t h e i r s c h o o l , they k ep t c le a n by s u r f i n g e v e ­ r y d a y , the g i r l s t o l d t h e i r p a r e n t s th e b e a c h p a r t i e s w e re Fun and th e b o y s t o l d t h e i r p a ­ r e n t s the b e a c h p a r t i e s were Fun, and t h e y B e l i e v e d i n the Dream. And why s h o u l d n ' t they?

JFK was s t i l l a l i v e , h e ' d s t o p ­ p e d the Cubans and R u s s k i e s h a d n ' t he ? The p r i c e o f i c e ­ cream a t D i s n e y l a n d was as s t a b l e a s th e p r i c e o f g a s , the l o n g summer e v e n i n g s seemed t o s t a y t w i l i g h t f o r e v e r , and a s H e r b i e M a r c u s e u s e d to t e l l h i s b a n d , Then the r e a l was r a t i o n a l and the sy s te m d e l i v e r e ed t h e g o o d s . Which i t d o e s n ' t any m ore.

So j u s t a s a s o c i o - c u l t u r a l r e l i c , the B each Boys m u sic i s p r e t t y w i t h - i t s t u f f . And i f you t o o w e re a b l o n d , b l u e ­ eyed, tanned, s u r f i n g , m id d le c l a s s A u s t r a l i a n i n the s i x t i e s then y o u ' l l know what I mean when I s a y t h e y w e re w h i t e s o u l , t h e y w e re t a l k i n g to u s , t h e y knew what h a n g i n ' f i v e was and how i t f e l t t o g e t dumped and the f e e l i n g o f a g r e a t V 8 coupe the w indow s down and th e s m e l l o f h a m b u r g e r b l o w i n ' i n a s you c r u i s e th e s t r i p c h e c k i n ' t h i n g s o u t . ( A c t u a l l y my Mum o n l y had an A - 4 0 and I d i d n ' t g e t t o d r ­ i v e i t t i l l 19 6 9 f w h ic h was a b i t s m a l l and a b i t l a t e b u t

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ADELAIDES NEWEST, FASTEST SHOWING iMUSIC STORE IN V IT E S YOU TO COME DOWN AND INSPECT OUR RANGE OF PRO ONLY GUITARS AND CUSTOM REPAIRS. S PEC IALISTS IN OLD GUITARS NEWGUITARS AMPLIFIERS CUSTOM REPAIRS PRIVATE TUITION

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69 Goodwood Rd W a y v l l l e or 67 L e a d e r S t Goodwood

n e v e r t h e l e s s I I n t u i t e d the b i t about ca rs in t h e i r e a r ly s t u f f ) T h e ir f i r s t reco rd , 'S u r f i n ', g o t to number t e n i n L . A . and a f t e r t h a t i t was a l l c l e a r g l a s s f o r t h e B o y s . The w h i t e m i d d l e c l a s s y o u t h o f th e w o r l d l o v e d them e v e n i f th e o t h e r s d i d n ' t have the f a i n t e s t i d e a what t h e y w e re s i n g i n g a b o u t .

And e v e n f o r them th e h a r m o n i e s w e re n i c e .

But t h e r e ' s a l s o a d i v i n e a s p e c t t o t h e B e a c h B o y s . T h ey w e re su n w o r s h i p p e r s and we a l l know su n w o r s h i p h a s b e e n p o pu ­ l a r ev e ry w h e re b u t E n glan d f o r a l o n g t i m e . And e v e n i n E n g l a n d so w e ' r e t o l d a b o u t S to n e h e n g e th e sun u s e d to b e s t r o n g e r th a n i t i s t o d a y . I n E g y p t , o f c o u r s e , sun w o r s h i p was the b i g th in g f o r a l o t o f fa s h io n cyc­ l e s . I t ' s n o t a w i d e l y known f a c t t h a t t h e Chosen P e o p l e w e re a c t u a l l y h e ld as s la v e s in Egypt f o r a v e ry s p e c i f ic purpose.

Recent a r c h e o l o g i c a l f i n d s in t h e N i l e d e l t a h a v e now b e e n a c c r e d it e d as p o ly s t y r e n e k ick b o a r d s , and w i t h t h e h e l p o f common s e n s e g u e s s w o r k , s c i e n t ­ i s t s h a v e r e c o n s t u c t e d some o f the m a r v e l s o f t h i s a n c i e n t su n ­ w o rsh ip p in g country.

T h e y now b e l i e v e th e Chosen P e o p l e w e r e l i n e d up a l o n g one ban k o f t h e N i l e an d i n s t r u c t e d to k i c k w i t h t h e i r k i c k b o a r d s , thu s c r e a t i n g v a s t w a v e s t h a t moved a c r o s s th e r i v e r .

And we a l l know th e r e a l l y g r e a t w a v e s t h a t M o se s and J e ­ h o v a h f i n a l l y made f o r them i n t h e Red S e a .

A m e r ic a n m i d d l e c l a s s y o u t h s t h e W est C o a s t e r s who w e re to become th e H i p p i e s , w e re the in h e rito rs o f th is t ra d itio n o f sun and s u r f w o r s h i p , and i n the mid 19 6 0 ' s t h e y a l l l i v e d f o r the su n .

I a c t u a l l t h a d some p u b l i c ­ i t y m a t e r i a l a b o u t t h e Beach Boys t h a t D o n a ld g a v e me. I t was fro m C . B . S . and some H o l l y ­ wood P u b l i c R e l a t i o n s A g e n c y , and t o l d me a l l a b o u t the W i l s o n b o y s and t h e i r r e l a t i v e and f r i ­ end who c o m p r i s e d t h e g r o u p . ( I a l s o le a r n e d t h a t the C a p ta in suid T e n i l l e and G le n C a m p b e ll w e r e i n the b a n d a t d i f f e r e n t sta ge s!)

B u t u n f o r t u n a t e l y I l e f t the h a n d o u t s on t o p o f the w a s h i n g m a c h in e , and we must h a v e l o s t them th e o t h e r d a y when we wash­ ed o u r c l o t h e s . So I c a n ' t r e a l l - y t e l l y o u a n y t h i n g a b o u t the Beach B oy s.

Larry Buttrose.

ROADRUNNER

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The f o l l o w i n g i s an I n t e r v i e w w i t h D e n i z T e k , the G u i t a r i s t i n R a d io Bird m a n , and Johnny K a n n i s , who t o u r e d w i t h Birdman and who i s s t a r t i n g a new band i n S ydn ey c a l l e d Johnny and the H i t Men. The i n t e r v i e w took p l a 足

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I f you s t a r t w o n d e r i n g why t h e r e a r e so many q u e s t i o n s a b o u t a u d i e n c e s and t h e i r r e a c 足

t i o n s I ' d b e t t e r make i t c l e a r r i g h t now t h a t I b e l i e v e t h a t a u d i e n c e s a r e se c on d i n i m p o r t 足 an ce o n l y to m u sic i n r o c k ' n ' r o l l and m u sic i s s o m e t h in g to be l i s t e n e d to, not t a l k e d about.

ADELAIDE

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SATURDAY 11TH MARCH,

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T I V O L I HOTEL

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1978

K E V IN BORICH EXPRESS JOHN V IN C E N T - KEN NOATH OCKESTRA

ARKABA HOTEL, TOP ROOM LEG TRAP HOTEL,

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T I V O L I HOTEL OLD L IO N HOTEL D IS C O F IE S T A V IL L A , FIND ON HOTEL BLAZES 1 , OLD MARINER HOTEL BLAZES 2 , OLD MARINER HOTEL S T . LEONARDS IN N

THURSDAY 9TH MARCH,

1978

KE V IN BORICH EXPRESS M ICKEY F IN N GAMBLE BREAKAWAY C R IS IS CR O SSFIRE CLEAN CUT B IG BROADCAST ' 7 8 - G L IT T E R S IS T E R S TOTAL D IS C O T I L L DAWN FR ID A Y 10TH MARCH,

MOBIUS GAMBLE BREAKAWAY MUSKAT TOM LIN B IG BROADCAST '7 8 - G L IT T E R S IS T E R S TOTAL D IS C O T I L L DAWN THE R A ID E R S CR O SS F IR E SOAPBOX ORCHESTRA CLEAN CUT

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OLD L IO N HOTEL D ISC O M U L T IP L IC A T IO N , FIND O N HOTEL

*

HIGHLANDER HOTEL BLAZES 1 , OLD MARINER HOTEL BLAZES 2 , OLD MARINER HOTEL FL A S H E Z , HOTEL A U S TR A LIA POORAKA HOTEL M A R R YA TVILLE HOTEL LORD MELBOURNE HOTEL

1978

ROCK NIGH T K E V IN BORICH EXPRESS SOAPBOX ORCHESTRA B IG BROADCAST '7 8 - G L IT T E R S IS T E R S TOTAL D IS C O T I L L DAWN S T IL E T T O

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TUESDAY 14MARCH T I V O L I HOTEL ARKABA H O TEL, TOP ROOM

ROSS W ILSONS HONDO ROCK FEATHER WEDNESDAY 15TH MARCH

ARKABA HOTEL, TOP ROOM BRIGHTON HOTEL ABBEY D IS C O , GAWLER PETER JACKSON HOTEL HIGHLANDER HOTEL OLD L IO N HOTEL D ISC O F IE S T A V IL L A , FIND ON HOTEL POORAKA HOTEL BLAZES I , OLD MARINER HOTEL BLAZES 2 , OLD MARINER HOTEL REDHOUSE D IS C O M ARRYATVILLE HOTEL CREMORNE HOTEL LORD MELBOURNE HOTEL

FEATHER JOHN A T HON COURT -

ARKABA H OTEL, TOP ROOM I N MEMORY OF E L V IS

C H R IS FIN N A N TREVOR WHITE S THE MARCIA H IN E S BAND THE ECHOES B IG BROADCAST '7 8 - G L IT T E R S IS T E R S TOTAL D IS C O T I L L DAWN ROSS W ILSONS HONDO ROCK

LBGTRAP HOTEL, T I V O L I HOTEL OLD L IO N HOTEL D IS C O F IE S T A V IL L A , FIN D O N HOTEL BLAZES 1 , OLD MARINER HOTEL BLAZES 2 , OLD MARINER HOTEL S T . LEONARDS IN N

THURSDAY 16TH MARCH FEATHER M ICKEY F IN N THE R AID ERS ARROW

ARKABA HOTEL, TOP ROOM T I V O L I HOTEL LEGTRAP HOTEL PETER JACKSON HOTEL

Stiletto P i c by Joe M

Pic by Joe Murray.

Sidewinder

ARKABA HOTEL, TOP ROOM T I V O L I HOTEL LEG TRAP HOTEL OLD L IO N HOTEL D ISC O PETER JACKSON HOTEL M ARRYATVILLE HOTEL LORD MELBOURNE HOTEL BLAZES 1 , OLD MARINER HOTEL BLAZES 2 , OLD MARINER HOTEL

1978

K E V IN BORICH EXPRESS THE FOUR REASONS BEN

BRIGHTON HOTEL PETER JACKSON HOTEL

A X IS Q U IC K S ILV ER BREAKAWAY

T I V O L I HOTEL

ROADRUNNER G IG GUIDE PAGE A

TREVOR WHITE 6 THE MARCIA H IN ES BAND B IG BROADCAST '7 8 -C U T T E R S IS T E R S TOTAL D IS C O T I L L DAWN ROSS W ILSONS HONDO ROCK THE H A B IT

OLD L IO N HOTEL D ISC O BLAZES 1 , OLD MARINER HOTEL BLAZES 2 , OLD MARINER HOTEL M A R R YA TVILLE HOTEL LORD MELBOURNE HOTEL

R O C K 'N 'R O L L TALENT QUEST C H R IS FIN N E N PETER DEAN t THE DEAN BROS. THE R A ID E R S TOTAL D IS C O T I L L DAWN S ID E WIND

BAND

LEGTRAP H OTEL, T IV O L I HOTEL OLD L IO N HOTEL D IS C O F IE S T A V I L L A , FIND ON HOTEL BLAZES 2 , OLD MARINER HOTEL ST.

LEONARDS IN N

F R ID A Y 17TH MARCH FEATHER RHAPSODIES TOM LIN GAMBLE

ARKABA H OTEL, TOP ROOM BRIGHTON HOTEL

SHAMROCK

HIGHLANDER HOTEL

TREVOR WHITE 6 THE MARCIA H IN ES BAND THE ECHOES

OLD L IO N HOTEL D ISCO F IE S T A V IL L A , FIN D O N HOTEL

BEN

POORAKA HOTEL

TOTAL D IS C O T I L L DAWN ANDY UPTON 6 C R I S IS ROSS W ILSONS HONDO ROCK SOAPBOX ORCHESTRA CLEAN CUT

BLAZES 2 , OLD MARINER HOTEL RED HOUSE D ISCO

ABBEY D IS C O , GAWLER PETER JACKSON HOTEL

M ARRYATVILLE HOTEL CREMORNE HOTEL LORD MELBOURNE HOTEL

SATURDAY 1BTH MARCH FEATHER R O C K 'N 'R O L L NIGHT REVUE BAND S T A T IC THE ECHOES TREVOR WHITE 6 THE MARCIA H IN ES BAND HARVEST TOTAL D IS C O T I L L DAWN TOM LIN THE RAID E RS THE H ABIT ROSS WILSONS HONDO ROCK MORPHEUS

ARKABA HOTEL, TOP ROOM LEGTRAP HOTEL, TRAPDOOR D ISC O BRIGHTON HOTEL PETER JACKSON HOTEL F IE S T A V I L L A _ FIND ON HOTEL OLD L IO N HOTEL D ISC O HIGHLANDER HOTEL BLAZES 2 , OLD MARINER HOTEL FLA SH EZ, HOTEL AUSTR A LIA POORAKA HOTEL LORD MELBOURNE HOTEL M A R R YA TVILLE HOTEL BOATSHED D IS C O

M ICKEY F IN N THE FOUR REASONS PETER DEAN & THE DEAN BROS. TOTAL D IS C O T I L L DAMN S ID E W I N D t R

ARKABA HOTEL, TOP ROOM T I V O L I HOTEL BAND

LEGTRAP HOTEL OLD L IO N HOTEL D IS C O BLAZES 2 , OLD MARINER HOTEL M A R R YA TVILLE HOTEL

FR ID A Y 24TH MARCH MOONLIGHT T JE T

ARKABA H OTEL, TOP ROOM BRIGHTON HOTEL

PETER DEAN & THE DEAN BROS. BAND SOAPBOX ORCHESTRA B IG BROADCAST '7 8 - G L IT T E R S IS T E R S TOTAL D IS C O T I L L DAWN

OLD L IO N HOTEL D IS C O CREMORNE HOTEL BLAZES 1 , OLDMARINER HOTEL BLAZES 2 , OLD MARINER HOTEL

SATURDAY 25TH MARCH MOONLIGHT CARTER BROS. BAND PETER DEAN & THE DEAN BROS. BAND SKY S P O T LIG H T S S T A T IC C H A LIC E BIG BROADCAST '7 8 - G L IT T E R S IS T E R S TOTAL D IS C O T I L L DAWN S ID E H I N L t f !

ARKABA HOTEL, TOP ROOM BRIGHTON HOTEL OLD L IO N HOTEL D ISC O M U L T IP L IC A T IO N , FIND O N HOTEL HIGHLANDER HOTEL F IA S H E Z , HOTEL A US TR A LIA POORAKA HOTEL BLAZES 1 , OLD MARINER HOTEL BLAZES 2 , OLD MARINER HOTEL M A R R YA TVILLE HOTEL

SUNDAY 26TH MARCH

SUNDAY 19TH MARCH FEATHER FERRETTS SOAPBOX ORCHESTRA TOTAL D IS C O T I L L DAWN ROSS WILSONS MONDO ROCK

THURSDAY 2 3RD MARCH MOONLIGHT

ARKABA HOTEL, TOP ROOM RUGGERS D ISC O ALOCATE PUMP HOTEL BLA ZES, OLD MARINER HOTEL LARGS P IE R HOTEL

MOONLIGHT CH ALIC E ' 7 b M 1 W SOAPBOX ORCHESTRA B IG BROADCAST '7 8 - G L IT T E R TOTAL D IS C O T I L L DAWN BEN

ARKABA HOTEL, TOP ROOM RUGGERS D IS C O _ A LOCATE PUMP HOTEL BLAZES 1 , OLD MARINER HOTEL BLAZES 2 , OLD MARINER HOTEL F IE S T A V IL L A , FIN D O N HOTEL

TUESDAY 2 1 S T MARCH S ID E W IN D E R MOONLIGHT

T IV O L I HOTEL ARKABA HOTEL, TOP ROOM TUESDAY 28TH MARCH

WEDNESDAY 22MARCH MOONLIGHT

Ross Wilsonâ&#x20AC;&#x2122;s Mondo Rock.

ROADRUNNER GIG GUIDE PAGE B

ARKABA HOTEL, TOP ROOM

B IL L Y T THE MANNING BAND

T I V O L I HOTEL ARKABA H OTEL, TOP ROOM

WEDNESDAY 577/ A P R IL

WEDNESDAY 29TH MARCH THE MANNING BAND C H R IS FINN EN PETER DEAN & THE DEAN BROS. MUSKAT TOTAL D IS C O T I L L DAWN B IL L Y T

BAND

ARKABA HOTEL, TOP ROOM T IV O L I HOTEL OLD L IO N HOTEL D ISC O F IE S T A V IL L A , FINDON BLAZES 2 , OLD MARINER HOTEL S T . LEONARDS IN N

TEXAS C H R IS F IN N E N MAGNACATA MUSKAT TOTAL D IS C O T I L L DAWN

ARKABA H OTEL, TOP ROOM T I V O L I HOTEL OLD L IO N HOTEL D IS C O F IE S T A V I L L A , FIND ON H O TIE BLAZES 2 , OLD MARINER HOTEL

THURSDAY 6TH A P R IL THURSDAY 30TH MARCH THE MANNING BAND M ICKEY F IN N SWAIN PETER DEAN & THE DEAN BROS. TOTAL D IS C O T I L L DAWN B IL L Y T

BAND

TEXAS M ICKEY F IN N

ARKABA HOTEL, TOP ROOM T IV O L I HOTEL LEGTRAP HOTEL OLD L IO N HOTEL D ISC O BLAZES 2 , OLD MARINER HOTEL

SKY • MAGNACATA TOTAL D IS C O T I L L DAWN

M ARRYATVILLE HOTEL

ARKABA HOTEL, TOP ROOM BRIGHTON HOTEL

HARVEST

HIGW ANDER HOTEL

PETER DEAN & THE DEAN BROS. BAND DELUX MUSKAT TOTAL D IS C O T I L L DAWN BEN B IL L Y T SOAPBOX ORCHESTRA

OLD L IO N HOTEL D ISCO F IE S T A V IL L A , FINDON HOTEL POORAKA HOTEL BLAZES 2 , OLD MARINER HOTEL REDHOUSE D ISCO M ARRYATVILLE HOTEL CRENORNE HOTEL

TOTAL D IS C O T I L L DAWN BEN B IL L Y T

SOAPBOX ORCHESTRA

CRFMORNE HOTEL

SATURDAY 8TH A P R IL TEXAS SHANNON MAGNACATA SHAMROCK FRESHWATER TOTAL D IS C O T I L L DAWN

SATURDAY 1S T A P R IL THE MANNING BAND M U SIC MACHINE PETER DEAN £ THE DEAN BROS. SKY THE RA ID E RS

C R IS IS MAGNACATA SHAMROCK THE R A ID E R S TOTAL D IS C O T I L L DAWN

ARKABA HOTEL, TOP ROOM BRIGHTON HOTEL HIGHLANDER HOTEL OLD L IO N HOTEL D IS C O F IE S T A V I L L A , FIND ON HOTEL POORAKA HOTEL BLAZES 2 , OLD MARINER HOTEL

TEXAS G E M IN I

THE MANNING BAND

BAND

T I V O L I HOTEL LEGTRAP HOTEL OLD L IO N HOTEL D ISCO BLAZES 2 , OLD A R IN ER HOTEL

F R ID A Y 7TH A P R IL

FR ID A Y 31ST MARCH

RHAPSODIES

OLD L IO N HOTEL D IS C O

ARKABA HOTEL, TOP ROOM BRIGHTON HOTEL OLD L IO N HOTEL D IS C O F IE S T A V IL L A , FIND ON HOTEL HIGHLANDER HOTEL BLAZES 2 , OLD MARINER HOTEL POORAKA HOTEL

ARKABA HOTEL, TOP ROOM BRIGHTON HOTEL OLD L IO N HOTEL D IS C O M U L T IP L IC A T IO N , FIN D O N HOTEL HIGHLANDER HOTEL BLAZES 2 , OLD MARINER HOTEL

SUNDAY 9TH A P R IL TEXAS SOAPBOX ORCHETRA TOTAL D IS C O T I L L DAWN

ARKABA HOTEL, TOP ROOM ALDGATE PUMP HOTEL BLAZES 2 , OLD MARINER HOTEL

MARRYATV I L L E HOTEL TUESDAY 1 IT H A P R IL

SUNDAY 2ND A P R IL THE MANNING BAND SOAPBOX ORCHESTRA TOTAL D IS C O T I L L DAWN B IL L Y T

DESERT RAT ARKABA HOTEL, TOP ROOM ALDGATE PUMP HOTEL BLAZES 2 , OLD MARINER HOTEL LARGS P IE R HOTEL

WEDNESDAY 12TH A P R IL

TUESDAY 4TH A P R IL TEXAS

ARKABA HOTEL,

TOP ROOM

ARKABA HOTEL, TOP ROOM

I

DESERT RAT C H R IS FIN N E N

ARKABA HOTEL, TOP ROOM LEGTRAP HOTEL

MAGNACATA PATERSON BAND

OLD L IO N HOTEL D IS C O F IE S T A V IL L A , FIN D O N HOTEL

TOTAL D IS C O T I L L DAWN

BLAZES 2 ,

OLD MARINER HOTEL

ROADRUNNER G IG GUIDE PAGE C

THURSD AY 13TH A P R IL DESERT RAT M ICKE Y F IN N DALLAS MAGNACATA TOTAL D IS C O T I L L DAWN

WEDNESDAY 19TH A P R IL ARKABA H OTEL, TOP ROOM T I V O L I HOTEL LEGTRAP HOTEL OLD L IO N HOTEL D IS C O BLAZES 2 , OLD MARINER HOTEL

F R ID A Y 14TH A P R IL DESERT RAT RHAPSODIES SHAMROCK MAGNACATA PATERSON BAND DEAN BROS. BAND TOTAL D IS C O T I L L DAWN SOAPBOX ORCHESTRA

C H R IS FINNBN MAGNACATA PATERSON BAND TOTAL D IS C O T I L L DAWN

ARKABA HOTEL, TOP ROOM T I V O L I HOTEL OLD L IO N HOTEL D ISCO F IE S T A V IL L A , FIND ON HOTEL BLAZES 2 , OLD MARINER HOTEL

THURSDAY 20TH A P R IL ARKABA H OTEL, TOP ROOM BRIGHTON HOTEL HIGHLANDER HOTEL OLD L IO N HOTEL D ISC O F IE S T A V IL L A , FIN D O N HOTEL POORAKA HOTEL BLAZES 2 , OLD MARINER HOTEL CREMORE HOTEL

SATURDAY 15TH A P R IL DESERT RAT OBSESSION MAGNACATA PATERSON BAND TANGENT TOTAL D IS C O T I L L DAWN DEAN BROS.

ROSE TATTOO

ARKABA H OTEL, TOP ROOM BRIGHTON HOTEL OLD L IO N HOTEL D IS C O F IE S T A V IL L A , FIN D O N HOTEL HIGHLANDER HOTEL BLAZES 2 , OLD MARINER HOTEL

ROSE TATTOO M ICKEY F IN N SHAMROCK MAGNACATA TOTAL D IS C O T I L L DAWN F R ID A Y 21 S T A P R IL ROSE TATTOO T R IS O N IC S GAMBLE MAGNACATA PATERSON BAND BEN SOAPBOX ORCHESTRA TOTAL D IS C O T I L L DAWN

POORAKA HOTEL

SATURDAY 22ND A P R IL

DESERT RAT SOAPBOX ORCHESTRA

ARKABA HOTEL, TOP ROOM ALDGATE PUMP HOTEL

ROSE TATTOO CARTER BROS. BAND MAGNACATA SHORT C IR C U T

TOTAL D IS C O T I L L DAWN

BLAZES 2 ,

TOTAL D IS C O T I L L DAWN

SUNDAY 16TH A P R IL

OLD MARINER HOTEL

ARKABA HOTEL, TOP ROOM T I V O L I HOTEL LEGTRAP HOTEL OLD L IO N HOTEI. D IS C O BLAZES 2 , OLD MARINER HOTEL

ARKABA HOTEL, TOP ROOM BRIGHTON HOTEL HIGHLANDER HOTEL OLD L IO N HOTEL D ISCO F IE S T A V I L L A , FIND ON HOTEL REDHOUSE D IS C O CREMORNE HOTEL BLAZES 2 . OLD MARINER HOTEL

ARKABA HOTEL, TOP ROOM BRIGHTONHOTEL OLD L IO N HOTEL D IS C O HIGHLANDER HOTEL BLAZES 2 , OLDMARINER HOTEL

SUNDAY 23RD A P R IL TUESDAY 18TH A P R IL ROSE TATTOO

ROADRUNNER G IG GUIDE PAGE D

ARKABA H OTEL, TOP ROOM

ROSE TATTOO SOAPBOX ORCHESTRA TOTAL D IS C O T f L L DAWN

ARKABA H OTEL, TOP ROOM ALDGATE PUMP HOTEL BLAZES 2 , OLD MARINER HOTEL

Talks D e n i z : Y o u ' v e g o t t a a s k the q u e s t i o n s - come on, Q. OK. T e l l me what a u d i e n c e s you l i k e , what p e o p l e you g e t i n S ydn ey and how t h e y compare w ith h ere.

D| I n Sydney i t ' s t u r n e d i n t o a t r e n d . A l o t o f p e o p l e go t h e r e n o t f o r t h e m u sic b u t b e c a u s e i t s h i p . . . We h a t e 'em .

Q: Why? D: B e c a u s e t h e y ' r e n o t p u t t i n g a n y t h in g i n t o i t . They a r e j u s t energy p a r a s it e s .

J o hn n y: A f t e r an e n c o r e t h e y y e l l out because a l l t h e i r f r i e ­ nds y e l l o u t - i t s c o o l .

Q: How do you f e e l a b o u t r e q u e ­ sts?

D: We n e v e r do them. The s e t s a r e c a r e f u l l y programmed and we c a n ' t a c co m odate r e q u e s t s .

The a u d i e n c e s we l i k e most a r e the on e s who come t o h a v e f u n .

Q: The p e o p l e who d a n c e and g e t r ig h t in to it?

D: Y e a h - th e o n e s t h a t have f u n i n anyway t h e y l i k e to h a ve f u n and n o t j u s t show up as p a r t o f a scene.

Qi How do you t e l l them a p a r t ?

D: You can t e l l . We l i k e h o s t i l e au d ien ces too.

Qj B e c a u s e t h e y make you work harder?

D: They make you work h a r d e r , t h e y make y o u e x t e n d y o u r s e l f - t h e y make you do t h i n g s you c o u l d n ' t do o t h e r w i s e . I t a l s o h e l p s ba n d s p i r i t t o h a v e enem­ ies.

Q: How? D: W e l l i t b r i n g s the band t o ­ g e t h e r . I f e v e r y o n e l o v e s the ban d a l l th e time i t s b a d f o r the b a n d .

Qt What a b o u t the p e o p l e who s a y you a r e f a s c i s t s - b e c a u s e o f y o u r s o n g 'N e w R a c e . ' D: I d o n ' t u n d e r s t a n d t h a t b e ­ c a u s e , , . The l y r i c s o f t h a t s o n g h a ve g o t n o t h i n g a b o u t f a s c i s m i n them. W e ' r e n o t i n t o any k i n d o f so c ia lis m , N a tio n a l o r oth er­ w ise.

Q: And t h e " y a y h u p " chant?

D: W h a t 's t h a t g o t t o do w i t h f a s c is m ?

Q: I d o n ' t know. But some p e o p l e seem t o t h i n k t h a t when the k i d s go " y a y h u p " and r a i s e t h e i r arms t h a t ' s f a s c i s t .

D: But t h e y u s u a l l y r a i s e c l e n c h - e d f i s t s - t h a t ' s a communist sa lu te , J : I t j u s t goes w it h the y a - a a y hup - i t s s o m e t h in g c o o l t o do.

D: I t makes them f e e l l i k e t h e y a r e p a r t o f i t i f t h e y can p a r ­ t i c i p a t e b y s c r e a m i n g and jump­

i n g a r o u n d and r a i s i n g t h e i r arms and s h o u t i n g " y a y h u p " .

Y a y hup h a s g o t n o t h i n g to do w i t h f a s c i s m - i t came o u t o f a R. Crumb c o m ic . And i t s fu n to c h a n t - i t makes them f e e l lik e a b ig trib e .

Q: Maybe t h a t ' s what p e o p l e o b ­ j e c t to ? T h a t s o r t of,., 'm a ss c o n s c i o u s n e s s ' . L i k e c ro w d s t u r ­ n i n g i n t o mobs.

D: Y e a h . I t h i n k some p e o p l e get sc a re d by i t but i t s . . .

N o t h i n g b a d h a s come o u t o f i t .

The o n l y t b a d t h i n g t h a t ' s come o u t o f i t i s some p e o p l e c a l l i n g us f a s c i s t .

Q: Do you g e t t h a t s o r t v o f r e a c ­ t i o n everyw here?

D: One tim e a g i r l t o r e down o u r f l a g and r i p p e d i t u p . . . at a g ig .

Q: Why? D: W e l l . . . b e c a u s e she th o u g h t i t was f a s c i s t and she r e a c t e d e m o t i o n a l l y a g a i n s t i t . Red Symons s a i d we w e re N a z i s i n a n e w s p a p e r i n M e l b o u r n e . Y 'k n o w t h a t 's g r o u n d s fo r a l i b e l s u it c a u s e none o f a r e N a z i s and none o f u s have e v e r been N a z is - o r com m u nists.

Q: J u s t f o r the r e c o r d , a r e you d e m o c r a t s - a r e you i n t o dem ocr­ acy?

D: W e ' r e n o t i n t o p o l i t i c s much a t a l l , as a band. I c ou ld t e l l you a b o u t my p o l i t i c s p e r s o n a l l y b u t i t w o u ld n 't be r e l e v a n t .

Q: N o , i t w o u l d n ' t .

D: The b a n d i s n o t a p o l i t i c a l u n it, Q: Have y o u r a u d i e n c e s ch an ged much s i n c e you u s e d to p l a y the O x fo rd C lub ( i n S y d n e y .)

D: O n ly i n t h a t t h e r e a r e more p e o p l e c o m in g , b e c a u s e now i t s a s c e n e and i t s become f a s h i o n ­ a b l e to l i k e u s , Q: I s t h a t t r u e o f A d e l a i d e ?

D: I c a n ' t t e l l y e t . I Dunno.

L a s t n i g h t ( a t the U n l e y Town H a l l ) i t seemed p r e t t y g o o d .

P e o p l e seemed t h e r e to h a v e fu n - no s c e n e . Th ey seemed to be d i s c e r n i n g in th a t they res p o n ­ ded more a t the a p p r o p r i a t e t i ­ mes. L i k e i f we p l a y e d a s o n g p a r t i c u l a r l y w e l l we g o t more r e s p o n s e , w h ic h d o e s n ' t a l w a y s ap p ly .

Q: What a b o u t th e punk f o l l o w ­ i n g y o u ' v e a t t r a c t e d h e re ?

D: Who? Q: The k i d s w h o 'v e b e e n coming a l o n g w e a r i n g S ex P i s t o l s b a d g ­ e s and s t u f f . l i k e t h a t , J : Th ey d r e s s up l i k e t h a t c o s t h e y s e e the P i s t o l s and the Damned i n m a g a z i n e s and on T . V .

T h a t ' s why t h e y do i t - t h e y

think i t s c o o l.

Q: So t h a t ' s t r e n d y t o o .

D&J: Y e a h , J : Th ey w o u l d n ' t d r e s s l i k e t h a t i f t h e y d i d n ' t s e e i t i n a magaz -in e s.

D: I t s j u s t a f a s h i o n .

Q: You d o n ' t l i k e i t ?

D: I t ' s n o t to do w i t h the m u sic - n o t o u r m u sic an yw a y. But i f t h e y want t o do i t , t h e n i t ' s up t o them, I d o n ' t o b j e c t to i t b u t . . . t h e r e ' s no r e a l r e a ­ son f o r u s t o be i d e n t i f i e d w i t h the punks o t h e r than th e f a c t t h a t we p l a y f a s t .

I t h o u g h t a b o u t i t o n c e , and I r e a l i s e d th a t 'p u n k ' s t a r t e d o f f a s a term u s e d b y J o u r n a l i s t - s to d e s c r i b e g a r a g e b a n d s o f th e m i d - s i x t i e s who had one h i t t h e n d i s a p p e a r e d . T h a t ' s what punk r o c k w a s . . . And t h e n , a c o u p l e o f y e a r s a g o i t came to b e a s s o c i a t e d w i t h new y o u n g b a n d s who p l a y e d f a s t , e n e r g e t i c m u sic w i t h a l o t o f e n t h u s ia s m but w ith ou t n e c e s s a r i l y h a v in g t e c h n i c a l p r o f i c i e n c y - and from t h e r e i t became a f a s h i o n .

Now t h e r e ' s r i p p e d up T - s h i r t - s on s a l e i n P a r i s f o r a b o u t ^ 6 0 0 , P e o p l e i n th e u p p e r e c h ­ e l o n s o f s o c i e t y i n M a n h a tt a n h a v e punk p a r t i e s w h e re t h e y show Sex P i s t o l s m o v ie s and p a s s out s a f e t y p i n s , r a z o r b la d e s and c h a i n s a t the d o o r a s g u e s t s come i n . T h a t ' s a l l i t i s now - a fa sh io n .

Q: Do you t h i n k y o u ' r e g o i n g to g e t f u c k e d up b y t h a t ?

D: N o , c o s w e ' r e n o t i d e n t i f i e d w ith an yth in g.

Q: But you a r e i d e n t i f i e d w i t h th e punk/new wave movement i n some p e o p l e ' s e y e s .

D: Y e a h , b u t w e ' l l k e e p d o i n g t h i n g s - you s e e w e ' r e n o t g u i d ­ ed b y t h a t , w e ' r e g u i d e d b y o u r own i n t e r n a l g u i d a n c e system and so w e ' l l n a t u r a l l y d i v e r g e a g a i n . P u n k ' l l g e t more and more o v e r d o n e and p e o p l e ' l l g e t more and more s i c k o f i t , b u t h o p e ­ f u l l y t h e y w o n ' t g e t s i c k o f us b e c a u s e w e ' l l a l w a y s be on the p a t h t h a t w e ' r e on . O u r d e c i s i o n - s a r e n ' t b a s e d on t h e l a t e s t punk h a p p e n i n g s . When t h a t g o e s down i t d o e s n ' t mean i t t a k e s us w i t h i t .

Q: You m ig h t l o s e some o f y o u r a u d ie n c e , D: O n l y t h e on e s we want t o l o s e an yw a y. I n f a c t som etim es i t makes you want t o do r e a c t i o n a r y t h i n g s i n o r d e r t o s p e e d up t h e p r o c e s s — t o do t h i n g s w h ic h those p e o p le w o u ld n 't l i k e . (c o n tin u e d

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T a l k i n g H e a d s : 77 ( Phonogram ) T h i s album i s an e x ­ ample o f j u s t how v a r i ­ ed th e m u sic b e i n g l a b ­ e l l e d 'n e w w a v e ' i s . I mean p u t t i n g t h i s i n th e same c a t e g o r y a s the Sex P i s t o l s i s the same a s p u t t i n g Mai F r a s e r i n the same c a t ­ egory as F id e l C astro .

M u s ic a lly th is re c ­ o r d i s a s f r e s h and i n ­ n o v a t i v e a s the f i r s t Roxy M u s i c a lb u m . T h e r e i s th a t sense o f f r e e d ­ om, o f s p a c e a s the b a ­ nd v e e r o f f on m e l o d i c t a n g e n t s and tempo c h a ­ n g e s . The t a u t e a r n e s t ­ n e s s o f the m u sic i s * m i r r o r e d i n the s i n g i n g and l y r i c s o f D a v i d By­ r n e who w a l k s the t h i n l i n e between e d g in e s s and c o n t r o l .

L o ve o r c o n f u s i o n i s the theme r u n n i n g t h r o ­ ugh a l o t o f th e s o n g s e s p e c ia lly on ' T e n t a ­ tiv e D e cisio n s' "D e c id e, d e c id e , I t o l d you what to s a y / C onfu se, c o n fu se , d es­ c r i b e what I f o u n d " and on the o p e n i n g t r a ­ c k , 'U h - O h , Love Comes to Town' " J e t p i l o t gone ou t o f c o n tro l/ sh ip c ap tain ru n a g r o u n d / S t o c k b r o k e r make a b a d i n v e s t m e n t / when l o v e h a s come t o to w n ."

The c o n f u s i o n becom­

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e s t o o much to h a n d l e on ' P s y c h o K i l l e r * " I c a n ' t seem t o f a ­ ce up to the f a c t s / I ' m t e n s e and n e r v o u s and I c a n 't r e la x / I c a n 't s l e e p ' c a u s e my b e d ' s on f i r e / D o n ' t t o u c h me I'm a r e a l l i v e w i r e , " T h i s album i s th e wo - r k o f a man whose r a g e and f r u s t r a t i o n i s im pi s o n e d b e h i n d the b a r s and r e s t r a i n t s o f a c o ­ m f o r t a b l e u p b r i n g i n g an —d a c o l l e g e e d u c a t i o n .

On ' D o n ' t w o r r y a b o u t the G ove rn m e n t' he i s t r y i n g t o c o n v i n c e him­ s e l f o f th e w o r t h o f s o c ie t y 's in s titu t io n s , and when he s a y s , "D o­ n ' t you w o r r y a b o u t me" you f e e l h i s u n c e r t a i n ­ t y b r im m in g o v e r .

The New Y o r k t e n s i o n i s t h e r e on e v e r y t r a c k c o n t r o l l e d , d i r e c t e d ta­ u t n e v e r tamed. T h i s i s an a d d i c t i v e a lbu m .i Even i f i t so u n d s odd the f i r s t tim e you h e a r i t I guaran tee th at aftaa few p l a y i n g s i t w i l l g e t I n s i d e y o u r h e ad and i t w o n ' t l e a v e you a l o n e . You h a v e b e e n warned.

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p r o d u c t o f a m a tu red B l o n d i e . Gone i s the t h i n p r o d u c t i o n and l a c k l u s t r e perform ance t h a t b l o t t e d the f i r s t a lb u m . I n s t e a d t h e r e ' s a p o w e r f u l a lb u m , s t r o n g v o c a l l y and m u s i c a l l y , p r o d u c e d w i t h a sound much c l o s e r to th e f e e l o f B l o n d i e i n the f l e s h .

I t ' s now p o s s i b l e t o se e why R i c h a r d G o t t e h r e r h a s su c h a r e p u t a t i o n a s a p r o d u c e r and i s i n su c h demand b y New Y o r k 'p u n k ' b a n d s .

The sound on P l a s t i c L e t t e r s t h u n d e r s and r o a r s a s th e b a n d d o e s and d i d a t t h e i r A d e l a i d e c o n c e r t . The h a l f w i t s from the A d v e r t i s e r and News t h a t cann ed t h e A d e l a i d e c o n c e r t must have been l i s t e n i n g o u ts id e o r m is la id t h e ir c o m p l im e n t a r y t i c k e t s and s t a y e d home tp w a t c h Number 9 6 . OK, so t h e A p o l l o Stadium i s a s h it t y p lace f o r a concert, e s p e c ia lly h a l f f u l l but B lon d ie t u r n e d on a g r e a t r o c k ' n ' r o l l show, p l a y i n g a l l t r a c k s fro m the alb u m .

The m a t e r i a l and s t y l e i s s i m i l a r t o th e f i r s t album b u t a l l the i n s t ­ rum en ts h a v e much more prom inence. C h r i s S t e i n t u r n s o u t some g r e a t s o l o s and James D e s t r i who a p p a r e n t l y p l a y s

Grand P i a n o , F a r f i s a O r g a n , P o ly m o o g s y n t h ­ e s i s e r and s t r i n g s , R o l a n d S y n t h e s i s e r and sin gs back in g v o c a ls is fa n ta stic , re a lly f i l l i n g o u t the sound and c r e a t i n g a s o l i d , s w i r l i n g background f o r Ms. H a r r y ' s d i s t i n c t i v e v o c a l s . I d o n ' t w an t to s a y t o o much a b o u t t h i s a lb u m . I t ' s j u s t g r e a t .

A m i l l i o n tim e s b e t t e r th a n what w a s n ' t su c h a ba d f i r s t e f f o r t .

I n t h e s p a c e b e t w e e n the two B l o n d i e h a s m a tu r e d much more than a hyped D r id g e t t Bardot w ith a r o c k ba n d a f f a i r t o a c o m p le t e r o c k ' n ' r o l l ba n d w i t h a s o l i d , e x c ­ i t i n g , and most o f a l l , u p l i f t i n g s o u n d . And what a b o u t t h e c o ve r? ? ?

W i l l D enison .

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New B o o t s and (S tiff)

T h i s h a s t o be one o f th e a l l tim e b i z a r r e and b r i l l i a n t r e c o r d s .

A l t h o u g h i t h a s London d r i p p i n g from e v e r y g r ­ o o v e , by w r i t i n g from h is D ire c t p e rso n a l ex­ p e r i e n c e D u r y h a s mana­ g e d to c r e a t e a s e t o f in d iv id u a l ch aracters ( B i l l e r i c a y D ic k ie , C le v er T revo r, P l a i s t ow P a t r i c i a ) who embody s o m e t h in g o f the

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u n i v e r s a l . I f you l i s ­ t e n h a r d enough t h e r e i s s o m e t h i n g o f you in a l l h is songs.

And what an a m a z in g v a r i e t y o f t o p i c s he t a c k l e s ! A p a r t from t h e c h a ra c te r s t u d ie s there i s a r a g i n g r e q u ie m to •Sw e e t Gene V i n c e n t ' , a s a x y e n t r e a t y to 'W a­ ke up and make l o v e 1, - "Y o u come a w a k e / ln a h o r n y m o r n in g m o o d . " a d e e p l y m o v i n g and q u i e t l y r e s p e c t f u l song about h is f a t h e r , " My o l d man was f a ­ i r l y ' ansome/ *E smoked t o o many c i g s / L i v e d i n one room i n V i c t o r i a / *E was t i d y i n ' i s d i ­ g s . " and n o t f o r g e t t i n g the Hymn t o the H o l y T r i n i t y o f t h e modern w o r l d , ' S e x and D ru g s and R o c k ' n ' R o l l ( i s a l l my b r a i n and b od y n e e d )'.

T h is i s a s tu n n in g l -y o r ig in a l record. I t l e a v e s no e m o t io n u n t o c h e d . From the e a r t h y humour o f B i l l e r i c a y D ic k ie c h r o n ic lin g h is s e x u a l c o n q u e s t s to the r a g i n g a n g e r o f ' B l ­ a c k m a i l Man' to th e t e d e r a e s s o f 'Wake U p . . ' and 'My o l d man' to the s t r e e t g a n g d e f i a ­ nce o f 'B lo c k h e a d s ' "How w o u ld you l i k e one o f them p u f f i n g and b l ­ ow in g in yo u r e a r o l e / Or p i s s i n g i n your s w i­

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mming p o o l . " D u r y ' s h u m a n ity n e v e r f a i l s .

He n e v e r becomes t r i t e and t h e r e i s n e v e r a du - 1 1 moment. G i v e t h i s one a c l o s e l i s t e n . The e x p e r i e n c e w i l l be r e w ­ a rd in g .

D o n ald R o b e rt s o n ,

R i c h a r d H e l l and the V o i d o i d s : B lan k Gener­ a t i o n ( Phonogram ) L o v e comes i n s p u r t s .

Oh i t h u r t s . R i c h a r d H e l l comes i n s p u r t s on th is h is f i r s t rele ased album i n A u s t r a l i a . T h i s ban d exude b a r e l y c o n t ­ r o l l e d n ervous e x c i t ­ ement "New p l e a s u r e " stro n g V e lv e ts in flu e n c e .

"B e t r a y a l" i s slo w e r, the c o n t r o l i s there b u t the w i r e d up p a r a n ­ o i a i s deep i n H e l l ' s v o i c e and i n the f r a c . tured g u i t a r . T h is i s a New Y o r k r e c o r d , "Down a t the Rock and R o l l c l u b " , . .W h ere l o v e ric o c h e ts o f f the w a l l s and the crowd a r e g e t t ­ i n g e x c i t e d and the b o y s are lo o k in g h u n g rily a t the g i r l s B lank G e n e ra tio n has r i g h t l y b e e n c a l l e d the anthem o f th e new wave i n the same way t h a t "My G e n e r a t i o n " was the anthem o f t h e mods i n E n g l a n d i n th e M id ­ s i x t i e s . By b l a n k H e l l

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d o n ' t mean s t o o p i d b u t you d e f i n e i t o r d o n 't d e f i n e i t / do what you li k e w ith i t / i t s y o u rs.

"T he p l a n " i s a b o u t a g u y ' s scheme to r a i s e a c h ild by h im s e lf w ith ­ o u t the i n t e r f e r e n c e o f the o u t s i d e w o r l d . The theme o f a l i e n a t e d rom anticism i s c a r r i e d o ver in to "Another World',' ( I c o u l d l i v e w i t h y o u i n a n o t h e r w o r ld /Not t h is one) And i f you w e r e l i v i n g i n New Y o r k w o u l d n ' t you want to l i v e i n a n o t h e r w o r l d .

Come to t h i n k o f i t , i f you l i v e l i v e anyw here i t ' d s t i l l be a g r e a t id e a . I t s about c o n tro l o f y o u r l i f e and how much o f t h a t h a v e any o f us got??

F e s t e r i n g M ic k M a l i c i o u s

N i c k Lowe: J e s u s o f C o o l ( R a d a r R e c o r d s - U .K . im port ) When I f i r s t h e a r d t h i s r e c o r d , i t was p l a - y i n g t h r e e rooms away.

The se c o n d tim e I was a c t u a l l y i n the room b u t w i t h o n l y f i v e m in u t e s to w r i t e t h i s r e v i e w .

Someone i n M o d e r a l o v e S on gs c a l l e d i t the r e ­ c o r d o f the d e c a d e ( 7 0 s I h o p e ) . Maybe a n o t h e r p e rso n w i l l s a y , " T h is i s the g r e a t e s t r e c o r d re le a s e d sin ce E lv is

P r e s l e y cut M ystery T r ­ a i n on a Sun 7 8 " ( b e f o ­ r e I was b o m ) . ' A n o t ­ h e r p e r s o n ' w o u ld be exaggeratin g - s lig h t ly - b u t 's o m e o n e ' w o u ld be c l o s e r t o the mark.

Jesus o f Cool ( i s n 't he ) i s the f i r s t r e l e ­ a s e on R a d a r R e c o r d s the l a b e l t h a t h a s g r o ­ wn o u t o f S t i f f ' R e c o r d s .

Lowe l e f t S t i f f l a t e l a s t y e a r and took th e r e a l E l v i s w i t h him . ( N . B . The se c o n d E l v i s a l b u m , ' M o d o f the Y e a r ' i s e x p e c t e d i n im p o r t sh o p s s o o n , ) As Lowe was S t i f f ' s r e s i d e n t p r o d u c e r , w i t h 'My Aim I s T r u e ' , Graham P a r ­ k e r and the Rumour the Damned album and a w h o le h o s t o f b r i l l i a n t s i n g l e s to h i s c r e d i t , i t w ou ld be f a i r l y a c c u r a t e to s a y t h a t S t i f f h a ve b e ­ en r e n d e r e d lim p b y h i s departure.

I t w o u ld be g i v i n g S p e c t o r and W i l s o n t h e ­ i r d u e s ( a t l a s t ) to compare them w i t h Lowe L i k e b o t h he h a s the ca -p a c ity fo r co n stru cti­ n g the ' h i t ' s i n g l e c o n c i s e , c a t c h y and ooh so m e m o r a b le .

Ah y e s , the r e c o r d . A few b r i e f o b s e r v a t i o n s , b e a r i n g i n mind t h a t th - i s i s an o b j e c t i v e l y v i e w e d b r i l l i a n t a lb u m , (c o n tin u e d

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'M a rie P r o v o s t ' ( a ls o on the ' B o w i ' E . P . Lowe f i g u r e d i f Bowie c o u l d p u t o u t an album c a l l e d ' L o w ' , then he had r i g h t o f r e p l y ) i s in c lu d ed here - a g r e a t , m a c abre s o n g a b ­ o u t M a r i e P . who d i e d i n h e r f l a t ( a l o n e and f r i e n d l e s s i n Hollywood - sob ) w ith o u t l e a v i n g enough f o o d f o r h e r d o ­ g g i e s . O f c o u r s e the l i t t l e m i t e s had to e a t and you can g u e s s the r e s t . " She was a w i n n e r / T h a t became a d o g g i ­ e s d i n n e r / s h e n e v e r me­ a n t t h a t much to me/ Poor M a r ie ."

'S h a k e and P o p ' i s a b o u t the pop p r o c e s s , h i t r e c o r d s and the ma­ k i n g o f pop s t a r s . The w h o le album i s r e a l l y e x c itin g , v a rie d rock' n ' r o l l w i t h Lowe u t i l ­ i s i n g h is m u ltitu d in o ­ us i n f l u e n c e s and con­ c e r n s and e n ds w i t h a r o u s in g , th u n d erin g l i v e v e r s i o n o f 'H e a r t o f th e C i t y ' - " Lo ok ­ i n g f o r a h e a r t / i n the h e a r t o f the c i t y . " and what e l s e i s r o c k ' n ' r o l l a l l a b o u t? As was s a i d a b o u t C o s t e ­ l l o - BUYITBUYTTBUYIT BUYITBUYITBUYITBUYITB S t u a r t Coupe.

B i l l y T . : No D e f i n i t i o n s (C .B .S .)

R e v ie w e d by M a b a r a j J i T h is i s a p r e t t y d iv in e r e c o r d , w ith a lo t o f g r o o v y karma c o n t a i n e d i n i t s many s a c r e d g r o o v e s . These f o l l o w e r s o f mine and my f a i t h have o b v i o u s l y been a b s o r b i n g some o f the c o n s c i o u s n e s s o f mine m -eat f r i e n d C a r l o s S a n t a n a . I n f a c t , on t r a c k s l i k e 'T \m What You \ r e ' the c o s m o s 's a p p e a r to have d i v i n l y c o i n c i d e d and zoowee we have S a n t a n a done A u stra lia n s t y le , t'his album c o n t a i n s B i ll y T 's sort o f b ig s i n g l e ' Baby T Need Y o u r L o v i n ' ' w h ic h i s the band members d i v i n e

r e q u e s t to me and i s f i n a n c i n g my cosm ic t r a v e l w i t h the b i g a i r li n e s - lo v e ly boys.

S i n c e t h i s r e c o r d was c o n c i e v e d mine d i s c i p l e s , boss H a n a f o r d and J o e C r e ig h t o n have d e c id e d t h e y make s w e e t e r rmisic w i t h me and h a v e l e f t the ban d - no w o r r i e s the o t h e r s a r e r e a l s p a c e d o u t musos.

T h e r e 's a ls o l o t s o f d i s t i n c t i v e w h i t e mans r e g g a e t h a t we f e e l so s t r o n g l y a b o u t, h a v in g such g r e a t c osm ic empathy w i t h o u r b r o t h e r s and s i s t e r s g e ttin g th e ir b e a u tifu l heads p u lv e r is e d in J a m a i c a . Oh how we f e e l fo r th e ir p lig h t.

And t h o s e l y r i c s my i e n d . B i l l y T h ave su c c e ss fu lly a ssim ila t­ ed a l l t h o s e p o s t W oodstock p e a c e , l o v e and h a p p i n e s s s e n t i m e n t s so l a c k i n g i n a l l t h i s r o c k m u sic t o d a y . I c o n c l u d e by r e i n f o r c i n g the g r o o v i n e s s o f t h i s r e c o r d and than k CBS f o r g e t t i n g t h e i r h e a d s t o g e t h e r so T c o u ld f e e l the v i b e s o f an a d v a n c e c o p y thank you a l l .

T r a n s l a t e d from the o r i < g l n a l b y S t u a r t C o up e.

C r o s b y and Nashs (ABC R e c o r d s . )

Live

YAWN, yawn, yawn. Y e t another C rosby, S t i l l s , N a sh and Y o u n g m u t a t i o n o r p e rm u ta tio n o r what­ e v e r you c a l l i t . C r o s b y and N a s h t o g e t h e r f o r a n o t h e r album o f b o r i n g , repeats o f past h its liv e The F ran k S i n a t r a s o f t r i t e , te d io u s country r o c k , llow l o n g a r e t h e y g o i n g to d i s h up new v e r s i o n s o f the l i k e s o f I m m i g r a t i o n Man, Lee S h o r e , I u s e d to be A k i n g , Dej a v u , e t c .

C rosby a t l e a s t i s cap­ a b l e o f much much more i f h is y e a rs o ld so lo album i s any i n d i c a t i o n .

Nash b l e w h i s c h a n c e s when he l e f t the H o l l i e s .

R e v ie w e d — S t u a r t Coupe

L e o n a r d Cohens D e a t h o f a L a d i e s Man. (WEA) L e o n a r d C o h e n 's s i x t h a album b r i n g s t o g e t h e r f o u r o f the most p r o m i ­ nent s i x t i e s c u lt f i g u ­ r e s , P h i l S p e c t o r , Bob D y la n , A l l a n G in s b e r g and Cohen h i m s e l f . Sp­ e c t o r p r o d u c e d the a l ­ bum and i t h a s h i s d i s - t i n c t i v e t o u c h . Bob D y la n s i n g s b a c k - u p

v o c a l s on t h e r a u c o u s • D o n ' t Go Home W it h Y o u r H a rd - On' , and su p p o sed ly G in sb e rg i s i n t h e r e som ew h ere, s t ­ i l l not h a v in g r e a l i s e d t h a t t o become a compe­ t e n t m u s i c i a n you have t o do a l i t t l e more th­ an be a g r o u p i e f o r t h ­ ose th a t a r e .

M u s i c a l l y th e album r u ­ ns t h r o u g h c o u n t r y r o c k , s i n g a l o n g s , m elod ram atic e x t r a v a g a n z a s , and s p a r ­ s e , alm o st P in k F lo y d l i k e sounds. S p e c t o r 's hand i s e v i d e n t t h r o u g ­ h o u t . What he h as i n f a c t done i s t u r n e d the album i n t o a P h i l S p e c t o r album - the emphas­ i s h a v in g been taken f r ­ om C o h e n 's l y r i c s and v o i c e and C o h e n 's p r e s ­ e n c e becomes m e r e l y a v e h ic le f o r S p e c t o r 's p ro d u c tio n .

C o h e n 's l y r i c a l c o n c e r n s h a v e n 't changed, a lt h o ' t h e y do seem a l i t t l e more a c c e s s i b l e than u s u a l . S p e c t o r g e t s co­ w r i t i n g c r e d i t on some s o n g s so maybe h e ' s t e a ­ c h i n g Cohen th e a r t o f p o p u la r song w r i t i n g .

I n f a c t th e l y r i c s a r e some o f the b e s t Cohen h a s e v e r w r i t t e n and i t ' s u n fo rtu n a te that t h e y a r e l o s t and b l u r ­ r e d b y the g r a n d i o s e p ro d u c tio n .

Maybe Cohen sums up the ra th e r d isa p p o in tin g e f f e c t o f t h i s album i n the l a s t v e r s e o f the t i t l e track: "S o the g r e a t a f f a i r i s o v e r / b u t who w ou ld h a ve g u e s s e d / i t w ou ld l e a v e us so v a c a n t / a n d so d e e p l y u n i m p r e s s e d / I t ' s l i k e o u r v i s i t to the moon/Or t o t h a t o t h ­ e r s t a r / l g u e s s you go f o r n o t h i n g / l f you r e a ­ l l y want to go t h a t f a r " O r a s some w i t r e m a r k e d , " I t so u n d s l i k e the R o n e t t e s s i n g i n g a t a fun­ e r a l . " A c u r i o u s album t h a t l e a v e s me a l i t t l e c o l d and d e e p l y unimp­ ressed.

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SPORTS TIVOLI HOTEL 1st MARCH F i r s t im p ressio n s were t h a t j a s B o z z was the Buzz t h a t was where e v e r y o n e w a s . The p l a c e was q u i e t e r th a n a morgue on a s l o w n i g h t . Some N e i l Young sound a l i k e on f i r s t and t h e n .........

SPORTS. S t r a i g h t i n t o a speedy rock ' n ' r o l l number. T h ey lo o k r e a l good and e x c i t i n g .

S t e v e Cummings t h r u s t i n g h i m s e l f a ro u n d l i k e a demented h o o d , and

c o n c e r t

l o o k i n g t o u g h and m e n a c in g . Ed B a t e s , res p le n d a n t in p u rp le s h i r t p l a y i n g some r e a l l y neat l i c k s , e t c .

What I ' m t r y i n g to s a y i s t h a t the w h o le band was h o t and f i r i n g r i g h t from the s t a r t . Th ey d i d I n T r o u b l e W it h The G i r l G ir ls , C ru isin ' In A C i t r o n , e t c fro m the D e b u t a n t e s a lb u m , some F la m in ' G ro o v ie s s t u f f , a c o u p l e o f Graham P ark ers - g re a t v e rsio n o f W h it e H on ey, oops , t h a t ' s i t . They f i n i s h ­ ed w i t h G l o r i a . A g r e a t n ig h t , A g r e a t band.

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SKYHOOKS TIVOLI HOTEL 21st FEB Skyhooks b l a s t e d i n t o The T i v o l i l a s t week a ­ nd p r o v e d t h e y a s t i l l a f o r c e t o be r e c k o n e d w i t h . The ban d l o o k e d h a p p y on s t a g e , w i t h G r e g M a c a in s h and F r e d ­ d i e S t r a u k s s h a r i n g the li m e lig h t w ith S h ir le y and the w h o le ban d swa­ p p in g jo k e s between so ­ ngs.

The ' h ooks p r e v i e w e d t h e i r new s i n g l e , 'Wom­ en i n U n i f o r m ' , w h ic h

i s so c l o s e t o punk i t d o e s n 't m atter, p lu s a b a g o f new m a t e r i a l fro m t h e i r f o r t h c o m i n g a lb u m , ' G u i l t y U n t i l Proven I n s a n e ' th a t sou n de d r e a l g u t s y . S h i r l r e c k o n s t h a t the album c o u l d be the sh ­ o t i n th e arm t h a t the O z r o c k s c e n e n e e d s . He may w e l l b e r i g h t . I n a n y c a s e t h e crowd l o ­ ve d i t and t h e r e was p o g o i n g i n the a i s l e s and bedlam i n the b a l ­ con y a s ' C a r l t o n , ' ' E ­ g o ' , ' W i l d i n the S t r e t s ' and 'B r o w n S u g a r ' t o t a l l e d the T i v . M o re l D o n a ld R o b e r t s o n

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RICHARD CLAPTON BAND MARRYATViLLE HOTEL 17th FEB "The k i d s a l l r e t i r e d when t h e y r e a c h twen­ ty -o n e , But. t h a t r e a l l y a i n ' t my i d e a o f f u n , . , " - Deep W a t e r R ic h a rd C la p to n i s o v e r 21, I n f a c t I ' d s a y h e ' s b e e n p u s h i n g the o l d f a r t s t a k e s f o r some y e a r s now. He i s w e l l -

c o n c e r t

s c h o o le d i n the s i x t i e s e r a and r e m e b e r s i t fo n d ly .

O nstage R ic h a rd C la p t ­ on h a s f u n . T h e r e a r e some c o n t r a d i c t i o n s h e re ,,, I n the p a s t C la p to n r e m a i n e d a p a r t o f th e "th o u g h tfu l sin g e r-s o n g w r i t e r " e t h o s . The con­ t r iv e d "P ru s s ia n B lu e" was a p a r t o f t h i s , a s w e re some f i n e s o n g s l i k e " S t r a n g e Days i n C h ip p e n d a le " P eo p le s t i l l c a l l f o r him to do these son gs; they d o n 't r e a l i s e t h a t he h a s moved p a s t them, C l a p t o n s m i l e s and s a y s " t i m e s c h a n g e , anyway t h i s b a n d d o e s n ' t know any o f those s o n g s , " The new s o n g s , "D eep W a t e r " , "Down i n the l u c k y C o u n t r y " and "G o o d b y e T i g e r " e s p e c ­ i a l l y , a r e the c e n t r e ­ p iece o f h is li v e p e r f o r m a n c e . They a l l l o o k b a c k i n t o th e p a s t and t h e y a l l l o o k to A u s t r a l i a - rock 'n ' r o l l ban ds, d a n c in g w i t h "S w e e t C h r i s t i n e y b e a c h e s , b ro w n -sk in n e d g i r l s , h o r s e r a c e s , the o l d , good t i m e s . When he p l a y s t h e s e s o n g s l i v e he d o e s so w i t h

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a venom t h a t som etim es b e l i e s h is lo v e o f J a c k s o n Browne and the r e s t o f the w e s t -c o a s t c r e w , and shows t h a t a good d e a l o f B ow ery h a s r u b b e d o f f from h i s r e c e n t t r i p to New Y o r k .

The p o i n t i s h e r e he i s s i n g i n g songs in v o lv e d w i t h the p a s t and p i c ­ t u r i n g the A u s t r a l i a we know o f the l a s t f i f t e e n y e a r s w h i l e h i s m u sic i s g ro w in g s t r o n g e r , m o v in g a l o n g w i t h c u r r ­ e n t i n f l u e n c e s , and m a k in g money t o d a y .

T h e r e must b e s o m e t h in g i n t h i s n o s t a l g i a ! Bu t i t ' s more th a n j u s t that.

I n l i v e perform ance C lapton i s r e a l d is p r o o f o f the c l a i m made i n "G ood b ye T i g e r " - " t h e b a n d s d o n ' t seem t o p l a y • r o u n d h e r e no m ore" Good t im e s l i v e on I ' m a f r a i d , and th e s i x t i e s w e r e n ' t so s u r p r i s i n g a f t e r a l l . There are p l e n t y o f k i d s and p l e n t y o f b a n d s d o i n g the same t h i n g R i c h a r d la m e n ts a b o u t . One b a n d t h e s e k i d s can s e e i s the R i c h a r d C l a p t o n Band.

C lap ton p r o f e s s e s that h e ' s o u t to g i v e a good ~

show. D e m e n t e d - g o r i l l a s t y l e he r a c e s a b o u t the sta ge w ith h is T e le c a s t ­ e r , m ic r o p h o n e and singte r D ia n e McLennan i n tow . Once o r t w i c e he ■ e n ds up i n a h e a p on the f l o o r , b u t m o s t l y he makes i t to t h e m i c r o ­ phone to g e t o u t the r e q u ir e d w ords. M o stly t o o , the a u d i e n c e d a n c e s On t h i s n i g h t we e ve n h a d a f e w punks t r y i n g to p o g o . T h a t ' s r i d i c u ­ l o u s ; C l a p t o n ’ 8 m u sic i s s t r a n g e r and l o u d e r b u t i t a i n ' t new w a v e .

W i t h C l a p t o n on one s i d e we h a v e D ia n n e McLennan on the o t h e r .

F o r b e t t e r o r f o r w o r se sh e became a p e r f o r m e r .

She now s t a g e manages h e r p o u t s and s m i l e s to th e crowd p e r f e c t l y .

M a l e s r e s p o n d i n a Knee— Jerk s t y le - " s h e •s a s p u n k J " - D ia n n e l o v e s it a ll.

Ray D y e t t , a t the shows e n d , c a l l s them number one ba n d i n th e c o u n t r y , j u s t l i k e he d o e s w i t h most o t h e r b a n d s he b r in g s in . N e v e rth e le ss t h e y a r e good p o p u l a r f u n and d a n c e a b l e .

T h e y r'e r e a l l y ju s t k id s who d i d n ' t r e t i r e a t 2 1 .

'

Mark B u r f o r d - - - '

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GINGAMEGGS THE TIVOLI PRESENTS

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ROCTURNAL ( c o n t i n u e d from p a g e U ) v i s i o n has o f f e r e d in the r o c k m u sic f i e l d s i n c e GTK. What we h ave a t l a s t i s the " a l t e r ­ n a t i v e Countdow n" - and i t ' s g r e a t . A l l the ABC h a s to do now i s b r i n g b a c k the R o c t u m a l FM r a d i o show and c o n t i n a ue t h e TV show perm a­ n e n tly .

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MICKEY FINN ( c o n t i n u e d from p a g e 10 ) i t can b e done q u i t e s e n s i b l y . I f you h a v e n ' t g o t an L . P . , then i t ' s standard f a r e - d is c o s , t r u c k s e t c . and the wh­ o l e t h i n g i s i n the r e d .

JOHN

i ih e r e a s i f y o u ' v e had a i r p l a y y o u ' v e g o t the work g u a r a n t e e d b e f o r e you g o .

R . R . How much l o n g e r do you h a v e a t the T i v o l i ?

U . V e i l a s l o n g a s we k e e p d r a w i n g the cro w ds we can have the v e n u e . .

A l e x E h l e r t and S t u a r t C o up e.

TEK TALKS (CONTINUED FROM PAGE 19) W ia t s o r t o f t h i n g s w ou ld t h a t be?

Ds W e l l t h e y p r e -e m p t y o u r s t u f f so f a s t t h a t i t ' s d i f f i c u l t to do s t u f f they d o n 't l i k e these day s, b u t . . . I s u p p o s e j u s t n o t t o pa­ t r o n i s e them i n any way H e a t h e r Venn

uranium g l a d w r a p p e e l s from ham r o l l s i n C i t y S q u a r e t h e y g a t h e r h e r e b y i n t u i t i o n to g r a s p t o g e t h e r th is stran ge f e e l in g o f Real H isto ry : t e l l 3DB how Mum ( " s h e ' s dead now" ) h a t e d him but respect her memory, n e g l e c t to s a y she b o u g h t e v e r y s o n g i n h e r l a t e r l i f e - and h i s c r o s s to t h e s t u d i o i t ' s " J a i l h o u s e R ock" a n n o u n c e r s e e k i n g y e t a g a i n the s t a t e m e n t a s ba c k Out T h e r e e v e r y o n e c la m o u r s to t e l l how w e l l th e y knew him - ( E v e r b o d y i n THIS w h o le c e l l b l o c k i s d a n c i n ' to the J a i l h o u s e Rock P e l v i s The P a n t s The L i p The G r e a s e T h e . then w h i t e s a t i n s h i r t and cowboy t r i m f a t c a k i n g the y e a r s i n t h i c k a l a b a s t e r r i p p l e s a s t h e F i f t i e s become a f a s c i s t c u r i o - a p r e m a t u r e n o s t a l g i a - r e b e l s r i p e n to r e d n e c k s and th e D . B . C . e x p o s e s th e i d o l o f s o n g who c a n ' t remember the w o r d s : T o d a y The H e r a l d announced Uranium f o r F r a s e r .

And E l v i s c l o s e d the d o o r on a n a i v e a g e . the l a s t who D ie d b e f o r e he g o t O l d .

brrY buttrose

REYNOLDS MUSIC CITY

f o r the b e s t c h o i c e o f m u s i c a l i n s t r u m e n t s i n town. We a r e d i s t r i b u t o r s o f a l l makes o f drums ( such a s P r e m i e r , L u d w i g , R o g e r s S l i n g e r l a n d , G r e t s c h , P e a r l , Tama e t c . ) and a f u l l r a n g e o f p e r c u s s i o n i n s t r u m e n t s .

We a l s o s t o c k " S y n - d r u m s " the l a t e s t i n n o v ­ a t i o n in m elo d ic p e r c u s s io n .

I n g u i t a r s and a m p l i f i e r s we have such g r e a t names a s A c o u s t i c , F e n d e r , G i b s o n , K ramer, O v a t i o n , I b a n e z , E m in a r , F a d e , A r i a e t c .

I n k e y b o a r d s we s t o c k su c h f i n e names as Yamaha, F e n d e r , S o l i n a e t c .

Check a l l t h i s ou t a t John R e y n o ld s M u sic C i t y , 175-181 Waymouth S t . , A d e l a i d e .

Ph. 51 3198 and 212 U827

JOHN REYNOLDS HIRE SERVICE i s the l a r g e s t i n A d e l a i d e .

We h i r e P . A . ' s , A m p l i f i e r s ( by names such a s A c o u s t i c , F e n d e r , E m in ar e t c . ) Drums ( P r e m i e r , R o g e r s e t c . ) The g r e a t new " SYN-DRUMS", D isco -d esk s L i g h t i n g , i n c l u d i n g the new LASER LIGHTS. JOHN REYNOLDS HIRE SERVICE 220 waymouth S t . , A d e l a i d e .

PH. 212 2806

the S u l t a n B r o t h e r s , Graham, T e a , R u s s e l l C o l i n and G e o f f Skewes w i s h ROADRUNNER a l l the v e r y b e s t f o r r o c k ’ n ' r o l l i n S o u t h A u s s i e , PH. 267 1277

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