Roadrunner 1(3) June 1978

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Management-Don Moir ROCK & ROLL ENERGY

MARK LACEY

Roadrunner

June

JACK WHEATLEY

Page 2

MARC ZARA

PAUL BAHMISCH

NIGEL LINE

PETER ALLAN

E DITOPIAL

liJelll gang, Roadrunner 3 has descended upon you and as the Neus reported ue look like being around for awhile.

It seems the music business thinks so to.iFor those inuolued in the magazine the experience of dealing with the people who's job it is to sell the product is fascinating, ’ - "look I'll take out a full page ad each issue for 12 months if ----- are on the couer of this issue", "I'll get you the new album a few days early if you can get a good review in", "here take a T. Shirt - it's the least I can do if you're going to write the story on the band", "don't forget to come and s e e ---- on the house of course", "now if you advertise t h e ---- we can't move I'll give you a free ad in our paper", "Don't forget the free piss up at t h e ---- on Tuesday night and you'll be able to s e e ----- play their new album", "would you like some ------- chewing gum to promote the new album".

Along with this we frequently come across the •male supremacy so rampantly dominant in all areas of rock 'n' roll. To reject completely this form of

Dear Sir, Under the Libraries and Institutes Act, 1939, Section 148, the State Library is entitled to recieve one copy of everyth­ ing published in this State.

This includes one copy of each issue of periodical publications, pamphlets and single sheet items as well as books.

According to our records we have not yet recieved a copy of the undermentioned item. As we are endeavouring to build up,for'permanent preservation, a collection of printed material related in any way to South Australia would you please send a copy of your publication to: Librarian-in-charge 5.A. Collection State Library of S.A. Yours faithfully, U.A. Hankel.

oppression implies an almost total non involvement with rock 'n' roll as it is arguably the most sexist cultural form we know. For those of us who spend 25 hours of every day engrossed in all aspects of rock cult­ ure some rationalisation/ compromise/dividing line has to be drawn.

Roadrunner rejected a proposed advertisment for issue 3 in an attempt to eliminate some of the grosser examples of these abuses of the individual through advertising. De intend to follow a consistant policy on this matter.

The relationship of a music paper to the rock music industry, and the interaction between the two is extremely interesting do you compromise, if so how much, or are you even aware of the process of co-option. It must be admitted that the multit­ ude of transperant person­ alities in the business have the odds stacked in their favour - money for ads, free records, T.Shirts, concerts, chewing gum, badges, posters, etc dangled in front of the newcomer in an attempt to get you onside can be quite tempting, "you've got to learn to think like us -let our press handouts write your paper."???????

Possibly the most percepceptive observations on the rock 'n' roll music/business/ industry have come from the Residents, who, on their album "Third Reich 'n Roll suggest that the structured formula of '50's pop and its immense influence on its audience has been used extr­ emely effectively to maintain the prevailing status quo and reinforce existing notions of right, wrong, correct sexuality,etc.

I'll conclude with the final part of the Residents cover note: "We as the parent company, support the Reside­ nts in their tribute to the thousands of little powermad minds of the music industry who have helped to make us what we are today, WITH AN OPEN EYE ON WHAT WE CAN FIAKE THEf! TOMORROW."

HIPPER THAN THOU ROADRUNNER PLAYLIST ALLAN 1. Hey Jude: The Residents 2. Live: Boys Next Door 3. Jazz: Ry Cooder 4. Greatest Hits: The Honkees (rerelease) 5. This Year's Flodel: Elvis Costello STUART 1. Greatest Hits: The Flonkees (rerelease) 2. Third Reich & Roll: The Residents 3. Fingerprince: The Residents 4. Rasberries Greatest Hits: The Rasberries 5. Reckless: The Sports ALEX 1. Stiletto Album: Where is it?????

2. Reckless: The Sports 3. One Eyed Jack: Garland Jeffries 4. Live: Young Modern 5. Easter: Patti Smith DONALD 1. Greatest Hits The Monkees (rerelease) 2. Radio's Appear (Mark 2) Radio Birdman 3. Reckless: The Sports 4. Unemployed: Supernaut 5. Here We Are In Bath: Festering Mick Malicious & The Marina's (Tape)

EDITORS Allan Coop Stuart Coupe Alex Ehlert Donald Robertson REVIEWS EDITOR Mark Burford CONTRIBUTORS Jillian Burt Dave Crowe Sue Denim Festering Mick Bruce Milne Richard Squeezer PHOTOGRAPHY Eric Alger ^ John Altree-Williams David Calrow Allan Coop Iris Clare Lever Joe Murray

ARTWORK ASSISTANCE John Altree-Williams TYPING Jillian Burt Stuart Coupe Alex Ehlert Donald Robertson ADVERTISING MANAGERS Chris Plimraer Gerry Schumann ADVERTISING LAYOUT Alex Ehlert GIG GUIDE COMPILATION Trina ROADRUNNER H.Q. 13 WAINHOUSE ST. TORRENSVILLE, S.A. 5031 DEADLINES EOR NEXT ISSUE Contributions - 16 June Advertising - 16 June Roadrunner

June

Page 3

m?s Ampeg Acoustic Fender r'larshall Music Man Boogie

GUITARS Fender Gibson Hagstrom Martin Music Man Rickenbacker

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KEYBOARDS Fender liiurlitzer Moog Arp Solina Roland

PLUS all accessories, guitar and amp repairs, speakers, If you don't ring us then you're not shopping aroundl!1 GIBSON New R.D.S. series with built in compression and expansion, on show at DERRINGERS soon.

FENDER New twin reuerbs are 135 wattsR.M.S. and all Strata haue 5 position switch as standard.

CHRIS FINNEN Is teaching here on Monday and Tuesday nights. Rock and Blues â&#x20AC;&#x201D; his specialty.

DERRINGERS FOR SALE PH. 2931149 9am-9pm B.C.RICH - EAGLE GUITAR NEW $1350 ono GIBSON

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??UHAT IS HAPPENING HERE?? liJell this column is going to be dev/oted to the musos of Adelaide.

Here ue uill attempt to giv/e you ansii/ers to any questions you may have about any Australian guitarists and their bands.

If you, the reader, uould like a revieui on any particular guitarist, send a u/ritten request (luith the questions you uould

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THIS IS YOUR COLUMN TO PLACE FREE ADDS PHONE PETE OR LYNN 2931149 9am - 9pm

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3une

Page 4

like ansuered) to DERRINGERS MUSIC 67 LEADER STREET. FORESTUILLE. 5035.

S NI P P E T S

Welcome to this months Malicious Gossip where you get the inside dope (whoops) KAYA on what's happened, what's happening and what's gunna happen in Adelaide's small but gutsy music scsne.

Perhaps the most remark足 able occurence last month was the almost kidnapping of Riff Raff by Joe Bentley and Ian Davies of Melbourne's Uaudeville 78 Productions.

The Uauds caught the Raff at the Tivoli and virtually got the boys on the next plane to Melbourne. Accord足 ing to Gregg Webb, Riff Raff's guitarist, the band will be recording one of Ian Davies songs ( Davies wrote 'Don't Fall In Love' for the Ferretts ) and one of their own numbers next month in Melbourne and the Uauds will be going to Europe tb try to interest Polydor Europe in the band. It all sounds a bit too good to be true but best of luck to the Raff......... Talking of Adelaide bands interstate Mickey Finn have been putting down some demos for Uanda and Young in Sydney and from all accounts the ex-'Beats are very impessed. The band will be back in town late in Dune......... Those stalwarts of the Adelaide scene Peter Beagley and Barry MacCaskill have got a new band called the East End Street band= It's a nine piece affair and features two female vocalists (one of whom plays violin) and a flautist ( That's

In the last issue Malicious Gossip printed certain allegations about the operations of SUICIDE Records. Since then we have been contacted by the managing director of SUICIDE Records, Barrie R. Earl, who informed us that certain of the allegations were of a dubious nature. We wish to apologise to SUICIDE Records, Barrie R. Earl and our readers for any inconvenience or embarassment the column may have cau-sed.

someone who plays flute ya dummy.) They premiere at the Wellington on 7th Dune, .......... Tomlin, a band who virtually held the fort for rock in town when the ghastly surge of DISKO threatened to overwhelm the city, have gone off the road for a month to rehearse a tougher set. They have a new bass player, Mark Zacknicfi, who replaces Mark Morris and Bob Norman (must be pretty good eh?) and are ' also looking for a singer. ......... The Accountants, semi-legendary punk band played their first 'public' gig at a party in N. Adelaide last month. They are pencill足 ed in to support The Boys Next Door next time they come ..... . d/ s people here real soon include Roger McGuinn, Gene Clark and Chris Hillman ( All ex-Byrds) at the Festival Theatre on 28th Dune, Taj Mahal, bluesman extraordinaire, early Duly and Weather Report also in Duly. A Little Feat/ Dackson Browne double header is strongly rumoured for later this year.

Bob Marley definitely here in Duly - the question on everyone's lips is 'Will he bring his own kaya or try to score locally?'

It's so hard to be a Rasta足 man in these days of big farm busts....... The bass player shuffle hit town last month. Rum Jungle's bass player, Rod Cornish, has joined Clean Cut, Clean Cut's bassist, Geoff Miller, is practising with an as yet untitled Glenelg jazz fusion band whose bass player, Richard Cane is now with Neon Heart....... Gayle Moron out Linda'd Linda MacCartney at the Chick Corea concert last month with her 30 minute solo spot of boring Scientologytype songs. Otherwise it was a fine concert...... .. Young Charlatans and Two Way Garden, two up and coming Melbourne Modern Idiom bands will be in town this month. They come recommended by Bruce Milne editor of Melbourne's best fanzine 'PULP' - issue 5

out now at your cleverest record bar (MLS, Twin St.) ........ New releases expected this month include the Tom Robinson Band's 1st elpee,'Power In The Darkness' (and why aren't you playing his fine eepee 'Don't Take No For An Answer' KA and AD? Could it possibly be because it contains 'political' songs?), a new Stones album 'Some Girls', a Twilights Greatest Hits alburn^ (yeahl) new Kinks album 'Misfits', AC/d C's latest release 'Powerage' (already charting

in England),a Bob Dylan album ( maybe ), New Television 'Adventure', and Graham Parker^s Live album, 'Parkerilla' ......... And don't forget, the fattest man in rock and roll (or should that be sway and waddle?) will be stomping the boards at Apollo Stadium on 23rd Dune (jeez, I hope they get the reinforcing in in time or the whole stadium could fall down.)

Keep festering Festering Mick Malicious

LIFE NEWS Working on the KA night shift is not all that condusive to getting out to see some of the gigs that are happening around town, but a couple of Sundays ago I managed to check out the Tiv when the Angels were in full flight on stage. I may have said it before but it's great to see people like Ray Dyett offering alternative venues for people who really dig the rock music.

Talking to Owen from that wonderous Dz band Finch soon after the completion of their (almost) national tour of Australia with Dragon, I found the band very excited about the release of their L.P. 'Nothing To Hide' in the States. Finch have been forced to change their name for the U.S. release because there is a European band of the same name... their new name will be Contraband and that name will eventually come into effect here in Australia with the release of their forthcoming album here....

Alice Cooper has been mentioned for a tour here later this year - his last was a huge success. Apparently stage equipment has also been booked for a much rumcured tour by the Bee Gees.

Other names mentioned for Dz gigs are Chicago (after

they have recorded their new album) Linda Ronstadt and (if you already didn't know) Bob Marley and the Wallers. We're not sure if he'll be flying into Adelaide with or without a plane...

While we're on the subject of malicious (?) gossip. there is a strong rumour around radio circles that some big moves may be afoot - more on that next time.....................

It really is a credit to our local rock scene when a band like Cold Chisel finally hit the national limelight with an album of the quality of'Cold Chisel'.

It has to be one of the most refreshing pieces to come out of an Qz studio in a long time..............

Dust to prove that I'm not biased towards Music Express, I must congratulate Channel 9 on their all night Rockathons which are giving Adelaide a chance to see some of the classic rock clips plus quite a few other interesting clips. Could be a help to the host though if some of the guests were a little better behaved..... ...woops.

Guess I've run out of any more garbage to print ... catch you in the next issue.

Steve Whitham Roadrunner

Dune

Page 5

SUBURBIA

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BOYS NEXT DOOR "I think that certain Australian papers are neglecting these groups, which are really important groups - in Melbourne anyway simply because of the Suicide label and certain hostilities towards the people who direct the label.

Ue're not getting publicity because of the label. I'ue never seen so much fuss over' a record label. There's so much concentration on "Suicide" and not on the bands. Ue're never treated as individuals. People even think that Jab and The Boys Next Door play the same music." Nick Cave, vocalist for The Boys Next Door. (nb. The Boys Next Door are NOTHING like Jab.) The Boys Next Door were the filling in the "Suicide" sandwich that played the Lone Star Circuit recently in more ways than one. Not only did they recieve middle billing between The Teenage Radio Stars and X-Ray-Z, but they were the only act to exhibit any real unique flavour.

The initial impact with The Boys Next Door is visual. They all look like your average boys next door - well almost. With shirts and ties and conse­ rvatively cropped hair, blond drummer Phill Calvert and guitarist Mick Harvey appear distinctly angelic. Bassist Tracy Pew is the contrast for the animation Nick Cave displays. Tracy presents almost no expression and looks uncannily like a refugee from a 1950's rockabilly band. Nick Cave is THE focus for the band - dynamic and frantic. His spiked hair, dark exagg;erated eyes, intensity of expression and pliant jaunty movements are captivating.

"I really enjoy performing" said Nick. "Particularly the real melodram­ atic kind of thing of almost getting down on your knees - like Barry Manilow.

That's the kind of thing I'm aiming at but I haven't actually got the guts to ...oh,no, not really. We're basically concerned with music but I get a real kick out of performing. I just don't dance around, most of our songs are kind of tragic little songs and I try to put that across sometimes by breaking into tears and things like that. I've really got a fascination with the real corny kind of performers like Barry Manilow with the way he kind of skips across the stage and does all these sort of really flamboyant gestures." The punk audiences that the Suicide advert­ ising attracts don't appreciate the emotional display much. "They expect you to vomit and gash yourself" said Phill.

The Boys Next Door have a strangely full sound for a three piece - bass, guitar and drums - band, and they're not punk. "I don't even like the term

Roadrunner

June

Page 6

New Wave, because from that title people expect your music to be "new" and I don't think that New Wave music is necessarily new, not in the formal and technical sense of music anyway.

That's being explored in a totally different area." explained Nick. "We're not a buzzsaw band and have never really been a buzzsaw band." added Phill. "Not a band that just goes on and plays chord, chord, chord, brrrrch and the sound is just a blur. I mean we play fast but we haven't ever really fallen into that category of being raw meat music."

Each song has its own subtle melodic variations and deft rhythm changes fod­ dered upon Phill's crisp fast drumming, an unusually open guitar sound and a deep chanting bass. The Boys Next Door feel they've almost exhausted the three piece line up and will be adding a piano/synthesiser player soon. "We have a unique way of handling a musically three piece set up, covering holes and things like that. There are no shortage of gaps or drops in our music" said Phill. "There are but, that doesn't matter" added Nick. "We disguise it.

If there are, I dance a real lot and people don't hear them." "He fills the sound with this tapping little number" commented Phill.

The musical aim for the Boys Next Door is musical exploration to "go boldly forth where no man has gone before" quoth Phill. Apparently in the eight months since the band has seriou­ sly been approaching music the songs are "....getting a lot more complicated, the words are getting more abstact and

interesting. It's sort of a tragic/comic sort of thing. We look at everything in a lighthearted way. A lot of the songs are about being a star and drown­ ing under it. Real corny sort of stuff" said Nick. "The songs are kind of sad and tragic but they're treated with a sort of sarcasm. When I make these gestures or cry that's done with a certain amount of comedy. We don't expect other people to cry when they see us."

The Boys Next Door have three tracks on the " Lethal Weapons" album;"Boy Hero", "Masturbation Generation" and their single "These Boots Are Made For Walking". "With "Boots" it's catchy and we originally did it because it's a bit of a joke because it's an old song and we've rearranged it so it sounds really forceful and the audience react really well to it when we play live." said Phill. Nick was emphatic that he had nothing to do with the choice of that single. "We're democ­ ratic. We vote. It was 3 against one.

Secret ballot" added Phill. Though it may not have been his choice Nick infuses more sensuality and bitterness into "Boots" than Nancy Sinatra ever could.

Skyhooks bassist/creative mind at work Greg Macainsh produced the three tracks for the Boys Next Door. "Greg was funny in the studio, he's a strange sort of guy because you don't really know what he's thinking. He'll tell you something, but you don't know if that's what he's really thinking. I think he likes the band, basically likes what we're doing - but he went about things really clinically in the studio and I would have liked someone who's a bit more.... not inventive, but takes risks." commented Phill. "Because he was clinical, for me being the singer, the singing was a bit bland and not full of emotion." added Nick.

Is there the freedom within the Suicide contract for the Boys Next Door to do, record and play as they wish?

Nick feels there could be problems with musical direction. "Whether they'll still support our music no matter what direction we go in. Basically I think it's a commercial label and my ideas of music aren't commercial. There could be problems there if we went out of that and started to add other instrume­ nts and become more complicated and experimental which I can see happening."

The Boys Next Door are just brimming with style, vivacity and cleverness.

They just could be the most exciting thing since the Beatles filmed "A Hard Days Night" (????!Ill - ED) - find out for yourself when the Boys Next Door return to Adelaide in June. Jillian Burt

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7 8's

Rock afficiando Greg Shaui wrote in a BOI'IP editorial in 1977 that if the magazine "appears at times to be more concerned with events 10 years ago than with today, it’s only because some of us remember a time when rock and roll mattered to everybody (or at least everybody we knew). The music elicited such a strong sense of involvement from its fans that it became an integral part of our existance, and the involv­ ement was only intensified by the thriving pop culture that surrounded rock and roll in its better days.

Small wonder that some of us have maintained that attitude and given our full support only to artists and trends caoable of leading us back to that state of grace."

What we have now is, after punk rock and new wave, a specific style of rock 'n' roll with its heart in a similar place to Shaws. The record company reps tell us that it's POWER POP - no doubt a reworking of Nick Lowe’s PURE POP FOR NOW PEOPLE. POWER POP appears as a throwback to the period 1959-1956 - post early rock ’n ’ roll and pre hippie/counter culture indulge­ nces. 1965 was incidentally the year when the ’golden years’ of radio finished.

The initial ’pop’ period was epitom­ ised by music that was ’popular' singles principally, all 2-3 minutes long, catchy, memorable choruses, designed for radio play, and thematica­ lly concerned with pulp/mass emotions accessible to the largest possible range of the population - love, the same lost, innocence, boys, girls, jealousy - the list doesn’t go much longer. The music was epitomised by the Beach Boys, Beatles, and Rolling Stones, being predominantly American based through to 1962, and English influenced through the flerseybeat period. The names from this period are endless, as hundreds came and went Gerry and the Pacemakers, the Searchers.

Dan and Dean, the Dave Clark 5, the Ronnettes, the Shangrillas, the Blue Deans, for starters. This was popular/ pop music. It sold, was listened to, and INFLUENCED the lives of millions of kids. The whole existance of 'pop' music or culture revolves around it being popular - in the music business that’s measured by selling x million singles/albums. There is no recognisable characteristic of ’pop’ music that sets it apart from 'rock ’n ’ roll’ except when measured in economic terms. Pop music does not exist stylistically as a definable entity, purely as econom­ ically popular rock ’n ’ roll.

What I'd like to suggest is that Power Pop is further verbal garbage

Roadrunner

Dune

Page 8

from the rock 'n' roll business because it is far from popular. Power Pop artists are apparently Nick Lowe, Elvis Costello, the Flamin’ Groovies, XTC, etc, and in Adelaide, the band Young nodern. Musically they imitate and occassionally transcend and add something to, the music of the first 50^ of the ’60's - powerful they may be but POP/ULAR they are not. The 'pop' music in 1978 is still composed of the Rod Stewarts/Cagles'/Fleetwood Flac's/Leif Garretts/See Gees - that's the music that sells and the music that influences peoples lives even if it creates 10 million Dohn Travoltas having regular tequila sunrises after Surfin’ USA on a skateboard. Power Pop/Punk/New Wave has yet to seriously enter the mainstream.

In most instances representatives

of the genre are denied radio/tv/ magazine exposure on a large scale and must be content with remaining minority figures on the periphery of rock music culture. This music is being approached with trepidation and reservation by mass media because it is not viewed as a separate entity but more as the respectable and ACCEPTABLE face of punk - that qualifies it for SOME exposure.

All the artists are seen in relation to the 'social disgraces’ and 'threats to law and order’ that the Sex Pistols, Clash’s, Damned’s and Sham 69’s repres­ ent.

Power Pop is and will not be popular until the media - principally radio and tv - accept modern music and realise that the connections between this form, and the vomiting, anarchistic safety pin set are fairly tenuous. Power pop has the thematic content and style to have a string of number 1 hits, such as characterised the first 'pop' period, and not to remain the property of elitest import record collectors who champion them because they’re supposed to be this years big (substitute hip) thing, and disown them when mass popularity takes over.

What I want to see is greatest hits albums in a few years from the supposed 'power pop’ artists - something like the Everly Brothers Greatest Hits album where the chart positions for the 20 tracks read - 1,8,2,2, 11, 11, 1, 1,1, 4,4,2,11 2,1,6,5, - now that's power popll I conclude by realising that there’s lots more to it than what I ’ve talked about - things that influence musical tastes, stylesj and poularity. As Tony Parsons is so fond of saying OUER TO YOU.Stuart Coupe

GNU WAVE

riffraff It doesn’t seem that long ago that Riff Raff were playing their last gig, a free Sunday afternoon bash in Rundle flail. I don't think anyone, especially tne band members who decided to carry on, expected them to bounce back so sooni But as patrons of the pub circuit will testify they are back with a uengance.

The old Riff Raff split basically out of frustration with Adelaide.

They had been playing at the Seacliff (a residency they obtained themselves) with scattered gigs elsewhere, but felt that they weren't really getting anywhere. So lead singer Danny Johnson and bass player Geoff Stapleton pulled up sticks and left for Melbourne.

Gregg UJebb (guitar) and Rob Grosser (drums) were determined to carry on however and started looking round for new members. Allan Johnson ( no relation) who was on the verge of selling his bass guitar and giving music away altogether, answered an ad in The News, went down to see Gregg and Rob, was impressed with what he heard and joined that night.

Donald Barker, the new vocalist says-Tte first saw the band in Lameroo just after he'd had a motorcycle accident which scraped half his face away. He bumped into Gregg at a party about three weeks after the split, got talking about the band, went for an audition and that was it, Riff Raff Mk. II The new band started rehearsing, using old Riff Raff material as a basis ( Losing Control, Keep Your Head Above Water, Golden Showers, Pulling The Wool ) but as Donald and Gregg started writing new material they began incorporating that into their repertoire.

After about four weeks of rehearsing the band decided to have a party at their rehearsal room and invited anyone who was interested along to have a listen. Word spread that they were back and they played their first gig to an appreciative audience at the Tivoli soon after.

I talked with the band at the British one night after practice. I commented that the band seemed visually and musically tougher than before.

"Yeah, Donald and Allan are real tough," laughed Gregg. "Donald has motorbike accidents I But I agree.

Musically we're more of a unit. We're faster. With the stage presentation we didn't arrange anything - it just happened spontaneously."

Are you surprised at how quickly things have happened for you?

"Very surprised. Like we had this

party at our grotty little cellar of a rehearsal room and purely from word of mouth suddenly we had all these offers of work. We're really pleased to be working but at the same time we're aware of the problem of over exposing ourselves. We're going to be scouting for some interstate work soon. But it's great being in a playing band. It's, more real."

Do you feel that punk has taken off too late here in Australia? In Britain it seems that punk has burned itself out and the front line bands are the powerpop outfits.

Donald - "I think the feeling of 'no future' is worldwide and the fast rock'n'roll style suits that message best. It's not just a fashion thing.

It comes from people who believe in what they're'doing. And there's a difference between live music and records. Fast rock'n'roll is much better in a live situation and our thing is very much a live thing."

But you must admit that the overseas influence is there in your music.

Donald - "Yeah, but not in the lyrics.

The songs I write reflect the conditions around me. I write about things that I think are important to everybody like work, girls, drugs. You've got to know something and write about that.

Lyrics have to be truthful. I'm not influenced by style. I hate cliches."

Gregg - "If we're original, and at the moment the proportion of songs written by this band is about 70^ of what we do - the others are old Riff Raff songs - we can develop our own

style. I think we'll always be an energetic band but if we get to record it won't be totally flat out songs. We'll put on some of our slower stuff too."

You've all had a fair bit of musical experience. Do you feel you're playing below yourselves by playing new wave?

Gregg - "No, that's our strong point.

We're a new wave band who can play."

Allan - "Music doesn't have to be complex to get across. I've played with bands where the guitarist wanted to be Jimmy Page and 'cos he wasn't it got dead boring, for us and for the audience. I've tried doing complex bass bits with this band but listening back to it on tape it just doesn't sound right."

Rob - "And with the sort of music we play it's really important to have a strong, no-nonsense rhythmn section" Do you think Adelaide is more ready for you now than it was for the old Riff Raff last year?

Gregg - "Definitely. I think the audience was always there but what's different now is that promoters and hotel managers are more receptive. I think the myth that audiences who come to see punk bands are violent has been dispelled. The only 'violence' you see is on the dance floor -" And on the stage..

"Yeah. Like we trigger energy rele­ ase in people. They can jump around and go crazy but it never gets out of hand.

And by playing dance music we get an energy boost from the audience."

Have you been drawing big crowds?

Allan - " Yeah, we've even got some fansl" People who remember you from before?

Gregg - "A few of those but mainly people who have only seen this band.

We seem to be attracting a fairly young following as much as that is possible when you play the pubs.

We'd still like to do unlicensed gigs."

And what of the future?

Rob - "Interstate as soon as possible.

You have to go if you want to survive."

Gregg - "If we're not interstate within six months then there will be something drastically wrong."

A familiar sentiment from an Adelaide band. Unfortunate but the way the music industry is organised in this country, inevitable► The only way things are going to change for Adelaide is when there is enough pressure on record companies to persuade them to decentralise a little.

And that pressure is going to come from the new Adelaide bands, of whom Riff Raff are one. Maybe they won't have to move lock stock and bass amp to Melbourne. Why should the Vies get all the goodies?

Donald Robertson

Roadrunner

June

Page 9

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Roadrunner

June

Page 10

OUTMOW O N

M U S H R O O M

R E C O R D S

S T A P E S

R O C K

neon heart

Neon Heart are an interesting band uhen you consider that they were thrown together for a one-off gig at the beginning of April. Ypt, they have already played at the Lord Melbourne Hotel and the Tivoli.

Their first gig was a friends birth­ day party and until two weeks before that they did not all know each other.

Richard "Drongo" Cane, the bass player, knew Brian Humphrey, the lead guitarist, who knew the vocalist and rhythm guitarist Alan Rosewarne but none of them knew Rory O'Sullivan. Key­ boards player Malcolm McCallum did not join the band until a week after their first gig.

Their friend, who knew all them asked them individually if they would like to play in a band for the birthday party. As they were all looking for people to play with they thought they would give it a try, inducements of free beer and food helped. In two weeks they compiled a repertoire of fifteen songs that worked so well they decided to stay together, at which point Malcolm joined. Under the circumstances, you could almost say they were Adelaide's own Monkees.

Their repertoire has now been exten­ ded and contains a variety of material including selections of Graham Parker and the Rumour, Talking Heads, Elvis Costello, Nick Lowe, Dr Feelgood and several Bob Marley numbers. The band intends to introduce original material soon and are currently working on a couple of songs that Malcolm has written.

Billed as a "new ripple" band for the Lord Melbourne and as a "new wave" band for the Tivoli, people may wonder what their chosen musical style really

is. As new wave, for most people, especially in Australia is synonymous with punk, you can forget that, they're definitely not punk. As for new ripple, well, only KBK, the promoters at the Lord Melbourne, can define that for you.

The label that best fits the band is probably Nick Lowe's creation, "Power Pop", if that's what a combin­ ation of r&b, reggae, rock 'n' roll and melodic new wave amounts to.

Dancing and drinking music basically.

All the members of the band have had some previous experience. Allan was a member of "Cockatoo Lake" a country-rock band who once played on the A.B.C's "Radio with Pictures".

He also played in "Meet Cafe" with Brian, the lead guitarist, and Geoff Miller, the bassist of Clean Cut fame.

His voice, while lacking the rawness of many rock 'n' roll singers gives the band flexibility. His handling of songs such as Bob Marley's "Exodus" as well as Graham Parker's "Soul Shoes" proves this.

Rory, the drummer is the least musically experienced member of the band but he is the youngest, and has played in one or two bands since coming to Adelaide from Loxton.

Malcolm, the keyboards player has play­ ed in a couple of bands as well as writing songs, including some for a former Adelaide disc-jockey well known for his wit and humour. Funnily enough, royalties are still owed from a record he made of Malcolms songs.

Brian and Drongo used to live in a house together where they oftpn played with other musicians. They had met by chance at Heathrow Airport on their

way back to Australia from England in 1976. They had each spent several months there separately, at the time when bands like Graham Parker and the Rumour were still playing the pubs and the Kursaal Flyers were a big attraction. Together they possess an almost encyclopedic knowledge of Australian popular music and perhaps best reflect the band's motivation.

Their long association with Aust­ ralian music as spectators as well as participants in addition to their English influences gives the band a balance of ideas. Like any new band Neon Heart still have things to establish but as any musician would tell you to have done what they have in such a short time is no mean feat.

The main thing as far as they are concerned according to Brian is that they continue to enjoy what they are doing because "That's the reason we decided to stay together, and if you don't enjoy it there's no reason to continue."

Their two gigs have gone well for them particularly the Lord Melbourne, where they even recieved an encore from the small but enthusiastic audience. The Tivoli was a strange one though. There they were heckled by a half a dozen Saturday Night Safety Pinners wearing the latest Sex Pistols Badges, wait for it, for being good musicians and play­ ing in tune. Despite that it was the same people who sang along and danced all night to the band.

Neon Heart are certainly a band to look out for especially if you like your beer and pogoing with accompaniment of the musical kind.

Sue Denim

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POP ROCK

Supemaut

Supemaut uere in town recently for a week at the Old Mariner disco, a feu country gigs and some trail blazing gigs at neu suburban discos ( the Rex and the Victoria Hotel, O'Halloran Hill to name but two.) They also played a free gig at the Old Mariner on Adelaide Cup Monday - a gig aimed mainly at the unemployed amongst us uho can't afford to patronise the pub circuit.

I talked to the band, Gary Tuinn, v/ocals, Chris Burnham, guitar, Phillip Foxman, bass, uho spent most of the intervieu standing on his head trying to digest an Amscol Egg Nogll and Joe Burnham, drums, uho uas still in bed, in Ooe's spartan bedroom at the Old Mariner. Who says rock'n'roll bands live a life of luxury? Whoever did obviously never toured uith one.

I asked about the 'Unemployed' single. Wasn't it a change of direction for the band?

Chris - Well, really it's going back to the style of music ue uere doing uhen ue first started out as a band back in Perth. We used to do all these Lou Reed songs. Aggressive stuff.

So ue've sort of gone in a circle.

Some people have accused you of jumping on a neu uave banduagon. What is your reaction to that?

Chris - I don't see hou people can say that 'cos there isn't really a banduagon to jump on. There aren't any Buccessful neu uave type bands in Australia.

Is your single uritten from your oun experience of being unemployed?

Chris - I've never been on the dole myself but Gary and 3oe both knou uhat it's like. Really it's a song uritten from the outside looking in because ue're not unemployed nou. Where the unemployment problem has affected the band is in attendances at gigs. Like in the industrial areas of Melbourne and in country areas audiences have really dropped because kids just can't afford to come. And of course those

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are the really strong rock'n'roll areas.

That's really uhere the inspiration for the song came from.

Hou has the single been doing?

Chris - It hasn't done too much radio uise. I think Adelaide is the only place uhere it's getting airplay.

It's been at No. 41 in Melbourne for the last tuo ueeks but it's not getting airplay there.

Do you think that's due to a ban on punk?

Gary - Someone suggested it's because it doesn't sound like the Eagles.

Does it uorry you that radio stations are doun on the style of music you're doing nou?

Gary - We're less uorried than ue uould have been six months ago. Our first tuo singles uent quite uell but then people at radio stations started telling us, "Oh you've gotta do something different - put out a slou single." So ue did that and it didn't uork. So then they said, "Oh, put out a rocky single," uhich ue did and that bombed too. We just got really frustrated. It uas about that time that ue urote 'Unemployed' and a uhole lot of similar material. We're much happier nou because ue've got a definite direction. We're not taking things like that so seriously. It's more fun nou.

Do you think that the clip being on Countdoun is uhat's making the single sell?

Chris ( laughing ) - It aluays helpsi Who had the idea for the clip?

Chris - All of us. We sat doun uith Paul Drain, uho produced the clip, and Michael Eastick, our lighting and effects man, and uorked it out. We uanted to do an exciting clip because everyone these days just does a clip of the band on stage and that's boring.

Gary - We had a sneaking suspicion that ue ueren't going,to get much airplay so ue put a lot of time into

the clip.

What's coming up in the future for you? An album?

Chris - We've got tuo albums planned for release in the next three months.

The first uill be out in about four ueeks. That's one ue started recording in April last year but because of various hassles it just hasn't come out yet. It's interesting because there's a huge variety of stuff on it. It really documents the changes in the band over the last year. The one after that uill be more about uhat ue're doing nou. We'll start recording that in Sydney in 3 ueeks time.

Is the neu album going to be in the style of 'Unemployed'?

Chris - 'Unemployed' uill be the last track on that first album. The second uill be rockier, but there uon't be six songs about unemployment on it. There'll be personal songs, reflective songs...

Gary - Like hou it feels to have your single at No. 41 tuo ueeks in a rou...

Chris - It uould be false for us to do depression songs, social comment stuff. It uouldn't ring true.

Tell me about this free gig for the unemployed.

Gary - We think it's a good idea.

It's a uay for people to see us, people uho maybe couldn't afford to go to a pub or disco.

Chris - We're doing a big charity concert at the Gabba, the cricket ground in Brisbane, soon and it's SB admission for the uhole day, but if people bring along their Social Security card then it's only 'tii2.50.

We really agree uith that uhole thing.

So, all you hipsters out there uho dismiss Supemaut as a teenybop changeover band, suallou your prejudice and check out their album uhen it comes out. You could be in for a feu surprises.

Donald Robertson

LIVE

VIBES

High Rise Bombers

Sometime '78 "When you're in Melbourne be sure to check out the High Rise Bombers."

That sounding better than wearing flowers in your hair in San Francisco, I decided to follow the adv/ice giuen by everyone I'd spoken to from Melbourne in past weeks. And, after all, 2 of the Bombers, Paul and Martin were ex - Adelaidians so it couldn't be all that bad could it?

Good Friday midnight at the Paradise Garage in Carlton. Melbourne at its quietest and not a legitimate drink to be bought in the whole city.

The Paradise is a big 'garage' (about 15 square cars worth), acoustically deplorable but a fine atmosphere decorated by the best Melbourne can offer in after midnight hip trendies, posturing punks, and infiltrators.

The P.A. was a collection of $50 tin boxes emitting a sound quality akin to its financial value.

In Adelaide Paul Kelly was a Richard Clapton like singer/songwriter so his transition to loud, fast rock 'n' roll promised lots. The High Rise Bombers are; Paul; electric guitar and vocals, Martin 'Every time I go home I've shifted again' Armiger; electric guitar and harmony vocals, Chris Dyson electric guitar, Fred Cass; Bass, Oohn Lloyd; Drums. All this augmented

by The Substitutes - Sally Ford; tenorsax, John Fergus; alto sax, and Chris Malherb; trumpet.

Musically the High Rise Bombers sound like an Australian version of the Parker's and Springsteen's of the world, crossed with Dylan a la 1966/7, playing a tough, speedy brand of rock 'n' roll with The Substitutes filling the quieter moments with rising brass sounds similar to that resplendent on the Southside Johnny and the Asbury Dukes albums. No Clarence Clemons solos yet, just a solid wall of sax and trumpet sounds, well arranged within the Bombers overall presentation.

Paul's songs make up most of the

ipaterial, although Martin's 'This Summer' is a regular, and at Martini's on Saturday night they threw in a couple of copies - Dylan etc., to fill in the evening as the Martini's management had got 'em started pretty early. Unfortunately Paul's words are often lost in the mix but standouts both nights were 'Promise Not To Tell' 'I See Red', 'She's The One', 'If You Won't Give Me Your Loving', and 'Cherry' Paul's contribution to the genre of street kids love songs like the Boomtown Rats''Joey', and Springsteen sagas of Sandy, and Me and Terry. Paul writes great songs and it's to be hoped that attempts will be made to clarify his voice in the mix.

The climax to both shows, an early one at Martini's (sic) was Paul's anthem to premature ejaculation 'Derailment'. A song that begins "There's a train rolling down the

track" but it ends up going off the track well before reaching its destination, musically building up and up, ending abruptly and long before it should. This and everything else in the Bombers repertoire, is driven along by Martin's pithy guitar playing which seems predominantly responsible for their hard, fast sound - a characteristic of Martin's former associations with the Bleeding Hearts.

For a band thats only been seriously gigging since December / January The High Rise Bombers are working excellently, especially for an eight piece unit, and show massive potential. They're not gonna change the face of music history or anything like that. In lots of ways they're just another good rock 'n' roll band but there ain't much wrong with that.

Soon to be appearing in your town Adelaide in June 111 Stuart Coupe

SUV For the -second time in as many years 5U\/ is fostering the cause of local music on Adelaide airwaves through a series of live concerts held at the University of Adelaide's Little Theatre and Union Hall. The series "Jazz, Rock & Blues in Concert Series 2" produced by Simon Britton and Simon Stretton features eight of Adelaide's top musical acts in four alive to air concerts held weekly from May 27th, with funding from the Music Board of the Australia Council.

The acts featured are MAY 27TH LITTLE THEATRE ; Tasmanian singer/songwriter Ian Paulin and Redgum, an original folk-rock band with a selection of hard hitting and witty comments on the Australian scene JUNE 3RD UNION HALL ; Young Modern and ..... (it was going to be Riff Raff)

JUNE 10TH LITTLE THEATRE ; Modern jazz with Sue Barker & Onions and Glenn Heinrich and Friends JUNE 17TH UNION HALL ; Adelaide's longest running blues band Smokestack Lightning and the original funk/rock of Agalnug.

You are invited to attend the concerts and be part of the 'live' audience for $1.00 admission per concert, (audience requested to be seated by 7.30 p.m.) or listen to the live broadcast on 5U\I between 8 and 10 p.m. Be involved in one of the most exciting radio events of 1978.

5UU "HEART OF SATURDAY NIGHT" TOP 5 BIG ONES 1. On Top Of The World; Young Modern 2. Satisfaction; Devo 3. Werewolves Of London; Warren Zevon 4. Boy Hero; Boys Next Door 5. Aloha Steve & Danno; Radio Birdman Roadrunner

June

Page 13

N EW

Drift back with me to September, 1958, and to something no less than phenomenal.

Yes, folks, it*s the flonkees, and yes, folks I mean phenomenal. They were easily the biggest thing to happen in Australia since the Beatles dropped in. From the time the rumours of a Plonkees visit began to fly, to well after they had left, the youngsters of the nation were in a state of- hysteria. Even the Bay City Rollers couldn't whip up the enthusiasm and feel­ ings of of unrequited infatuation that the juniors of the day had for the Monkees - and, of course, the music presses of the day (at least, what there was of it: Go-Set and a best forgotten glossy called GAS) made the most of it.

For weeks before the tour they let loose a flood of articles, photos, competitions, rumours, quizzes etc, on a horde of fans eager to absorb every last drop of trivia.

It's also interesting to note that the week the nonkees arrived here was the week Go-Set went colour.

So much for the preamble....on to the main event. September 18th, 1968. It was my very first POP CONCERT (but what a way to start), and my first time in Festival Hall. Unfortunately, I got stuck up in the wings, looking across the side of the stage, but what the hell, I didn't have to pay for it, and anyway, from where I was sitting I had a good view of the crowd that was packed into the hall. At around 10 to 6 (there was a show at 6pm and 8.30pm and the same the following night) the place was positively throbbing with the excitement and anticipation of a solid mass of teeny girls, all hoping that they'll get just one fleeting chance to touch their idols or just feel close to them. "He looked at me I tell you, at me I" Oust after 6 they dimmed the lights and the opening support group came on stage. It was the Cherokees, who were one of the best Australian bands, and they were good, but playing to an audience who clapped politely but probably couldn't have cared if the group was in [Mongolia.

After all, they only came for the real STARS and, well, you know, let's cut the trimmings and get on with the show. So., the Cherokees finished off to reasonable applause (all things considered) and left the stage. Several minutes later the second support band, flarcia and the Cook­ ies, came on. They too got a politely lukewarm response, but plug on regardl­ ess. Well, the Cherokees were OK, but Marcia and her Cookies just had a helluva nerve. Three drippy girls in silver mini-skirts singing to a 90^ female audience and, hoo boy, they even did "Over the Rainbow".

So, after a brief eternity, they left the stage to the sound of indulgent applause which swiftly gave way to moaning, to wailing, to cries of "Mickey" and "Davy". Agonized groaning from thousands

Well it happened.

6 foot cardboard cut-out Elvis Costello's, life size posters, 3 colors of course, even polystyrene dummies (put Boz Scaggs under the table will you - we might be using it again.)

The sell has arrived and is already firmly established in Australia. Walk into your favourite record shop and see for yourself, Punk/New Wave (what­ ever you want to call it) means money.

Enough people are still interested in this music; from Elvis Costello to the Sex Pistols (who?), that they represent too large a proportion of the record buying public to be ignored. While in

England many small independent labels sprang up to produce and distribute the music, Australia waited to see what would happen. At the beginning there was enough energy and determination to try alternatives to the enormous network of record distribution of established recording organizations. Stiff, Chiswick, Illegal, and Deptford City were a few of the small labels in England, Bomp and Beserkley grew quickly with several important signings in the U.S. and even in Australia, Trafalgar Records emerged to distribute Radio Birdman. These labels arose to specialize and they sold records aplenty to the growing number

Roadrunner

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Page 14

Davy was borii on birthcfate as the birthday of and 3 days after

1

:7fu uy rrooer

Soft Machine.

Stephen Stills auditici tDut missed *cos he had

Mike *s front door opened £ if he stood in front of it

’’love” . Davy was offered t in the TV series * hs bscame a Wonkee ^„ocribed

the world.”

~ -.r—-

‘Wore

fiickey Dolen Boy*. He cal and wore a ui

rifher uias k i l l s '^ I

Qav/y's mother

uiaU .

■'■he Sex Pi S to n e " •

of interested buyers. Large record companies noticed that their potential customers were being diverted so they quickly moved in. Australia began to take notice.

Any band which aligned itself to the new movement was signed by one of the big companies, E.M.I,C.B.S, United Artists,etc who were all eager for a piece of the action. The money flowed in advances to the bands, but mostly to advertising; the big hard push. And it worked sufficiently well that Australian subsidiaries of these multinationals are trying the same thing with the Australian market.

iA/ A V E

December 30 - the sane Nesmith. it»s also Del Shannon

■*hil Spector»Sc 3 trip uiith Timothy Leary.

Pete is itered the UK charts was written by Neil 3ter re-recorded in itt, ex-drummer with ,ned for the flonkees I crooked teeth* lutomatically ; and said he part of Robin in Batman* just before *of the flonkees” the history of z was the star of *Circus led himself flickey Braddock ig.

ty a coUapsing stole used to do "Steppin*

The situation in Australia, however, is reversed, small labels are now appearing, but as dependants of already established companies/what this shows is the sophistication of modern market­ ing techniques - ED), Radio Birdman's attempts at self distribution unfortunately failed, the V/ictims from Perth have produced and are distributing their own single, "Television Addict", so it'll be interesting to see how they perform.

Despite some small independent production, the big record companies in Australia, virtually have the market sewn up. They have the money and agenc­

of anxious young girls who were sure they'd die, or at least go off the deep end, if their heroes didn't appear within the next two and a half seconds. The pleading and shouting got louder and more frantic every moment, tension and anxiety just built and built .....then a spotlight focused and hell broke loose, all the teeny girls went crazy. Peter, then Mike, Mickey and Davy walked onto the stage, waving and smiling, resplendant in match­ ing red velvet suits. The guys picked up their instruments and went straight into the first song. I'll just let you skeptics know that they really did play; not bril­ liantly maybe, but competent. In the first song there was Mike on guitar, Mickey drumming and singing, Peter on organ, and, surprise, little Davy on a bass that was almost as big as he was. (Still is). In the second song Peter took the bass as Davy stunned the audience with the sheer technical excellence of his tambourining.

They played their then current hit single, "Mary, Mary". Such a good song, and terrific live, as was almost every­ thing else.

There was a constant swirling of coloured lights on the group and on a screen fixed above the stage as they cruised through all their classics like "I'm a Believer", "She", "Daydream Belie­ ver" keeping the audience enthralled and ecstatic every second of the way. Peter H. Torkelson (yes, it is) was always jump­ ing excitedly around the stage, grinning like a fool, as Mickey clowned it up as usual with his drumming. Girls sighed and swooned whenever Davy sang. Beautiful Davy; rosy cheeks, sparkling eyes, so precious to their little hearts and so cute I Besides, HE was hardly any taller than most of THEM. Each individual member of the group had his own solo spot. Davy sang "I'm going to Build a Mountain" and Peter displayed his versatility and yet another facet of his vibrant and fascinating personality as he played his banjo. Sorry, Pete, nice

ies to work for them to promote their material as far as they can stretch it.

Hence the cardboard cut-outs, the plas­ tic dummies, the entire wall displays.

They also have the money to advertise nationally in important media such as Ram, Buke, Rolling Stone, (Roadrunner?) and to provide filmclips for Nightmoves, Rocturnal,Music Express, etc.

SO UHATl - THAT'S ROCK 'N' ROLL! Is it? Uhat was the nature of this new music if not a kick in the face of those controlling the star making procedures of multinational recording organisations? Uhat happened to the determination to get the music to

try.

While Peter was busy losing credibility with his banjo Mike and Mickey were backstage changing costume. Then, once Peter had given up, Mike appeared wearing a pure white suit that almost shone in the dark.

Unaccompanied, the long tall Texan sang and played a terrific ballad; impressing me and delighting everyone.

Last and certainly far from least (I mean to say, after Peter) came Mickey Dolenz, whose (ahem) madcap antics and zany routines made him the focal point of that ever so crazy band we all knew and loved as the Monkees.

(By the way, at this point some hired jerk or other was filling in on drums while Mickey was unable to tend them.)

Contorting all over the stage like a spastic he sang a frantic and longer version of "Steppin' Stone", and the crowd went wild with him. After Mickey had been rampaging a while Mike walked over from the right hand side of the stage carrying a black cape. Mickey was on his knees, still singing, so Mike placed the cap around Mickey and started to lead him offstage. Bust before he walked through the curtains Mickey dashed back, sliding across the stage in his silver Nehru jacket, started singing again, grovelled in the streamers and screamed, "I want a woman!" He shoulda jumped into the audience.

After that,, like all good things, it had to end. They whipped through a great ve,rsion of "Last Train to Clark­ sville", said goodnight and rushed from the stage. Bust like that they were gone, leaving thousands of kids clamor­ ing for more....but to no avail.

But they did leave behind a certain magic. I mean, it was really the MONKEES. The fabulous, amazing, fantastic, wonder­ ful and now somewhat legendary Monkees, and if you look at it the right way you had actually been in the same room with them.

Richard Squeezer.

(REPRINTED FROM PULP "2" ...THANKS BRUCE).

people without ripping them off? Uho still wants the music alive? - Hail to Bohnny Rotten's split with the Sex Pistols, the Uictims attempts and Radio Birdman for their 'Caution' on their second l.p (how many bands do you know who warn the buyer that much of their new album is previously released.)??????????????

Uhere are you punks, or have you changed your clothes again? Yeah well ....money talks. Lou Reed: You're caught in a vicious circle/surrounded by your so-called friends/You're caught in a vicious circle/and it looks like it will never end." Dave Crowe

Roadrunner

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-( YELLOW PAGES }

ROADRUNNER G IG -G U ID E TUESDAY 30TH MAY, 1978 AFRICA

ARKABA HOTEL, TOP ROOM TIVOLI HOTEL

m atch box

MATCHBOX EMERGENCY

MARRYATVILLE HOTEL LORD MELBOURNE HOTEL

SUNDAY 4TH JUNE WEDNESDAY 31 ST MAY AFRICA DISCO CROSSFIRE NEW YORK CITY SHAMROCK MATCHBOX ARROW SOUTH CITY FLYERS

ARKABA HOTEL, TOP ROOM LEG TRAP HOTEL TIVOLI HOTEL OLD LION HOTEL DISCO FIESTA VILLA, FINDON HOTEL ST. LEONARDS INN GLENELG PIER HOTEL WELLINGTON HOTEL

THURSDAY 1ST JUNE AFRICA DISCO CROSSFIRE NEW YORK CITY MATCHBOX YOUNG MODERN

ARKABA HOTEL, TOP ROOM LEGTRAP HOTEL TIVOLI HOTEL OLD LION HOTEL DISCO HIGHWAY INN LORD MELBOURNE HOTEL

AFRICA REDHOUSE SOUTH HARLEM CONCERTO SOAPBOX ORCHESTRA MATCHBOX AHMROCK

ARKABA HOTEL, TOP ROOM OLD M ARINER HOTEL RUGGERS DISCO ALDGATE PUMP HOTEL TIVOLI HOTEL FIESTA VILLA, FINDON HOTEL

TUESDAY 6TH JUNE TEXAS

ARKABA HOTEL,

HIGH RISE BOMBERS

TIVOLI HOTEL

^^I^JESDAY TEXAS DISCO GENESTERji

TOP Rocm

7TH JUNE ARKABA HOTEL, TOP ROOM LEGTRAP HOTEL TIVOLI HOTEL

FRIDAY 2ND JUNE AFRICA DISCO GEMINI REDHOUSE SHAMROCK SPOTLIGHT NEW YORK CITY SKY MATCHBOX CLEAN CUT RUM JUNGLE

ARKABA HOTEL, TOP ROOM LEGTRAP HOTEL BRIGHTON HOTEL OLD MARINER HOTEL ABBEY DISCO HIGHLANDER HOTEL OLD LION HOTEL DISCO FIESTA VILLA, FINDON HOTEL MARRYATVILLE HOTEL LORD MELBOURNE HOTEL

SATURDAY 3RD JUNE AFRICA REVUE BAND CLEAN CUT YOUNG MODERN REDHOJSE NEW YORK CITY SPOTLIGHT HARVEST

ARKABA HOTEL, TOP ROOM BRIGHTON HOTEL TIVOLI HOTEL OLD MARINER HOTEL OLD LION HOTEL DISCO MULTIPLieATION, HIGHLANDER HOTEL

flunv!

S/l^CHBOX H IG u S T ILET T O ^

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^^VOLI hotel ^Jprn" '^^f^YATVlue Horn ^ T IV O L I Hotel -

ROADRUNNER GIG GUIDE

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GEMINI

OLD LION HOTEL DISCO

HIGH RISE BOMBERS

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BEN EAST END STREET BAND

FIESTA VILLA, FINDON HOTEL WELLINGTON HOTEL

THURSDAY 8TH JUNE TEXAS DISCO CLEAN CUT GEMINI YOUNG MODERN THE ANGELS

ARKABA HOTEL, TOP ROOM LEGTRAP HOTEL TIVOLI HOTEL OLD LION HOTEL DISCO LORD MELBOURNE HOTEL TENNIDLES, ST. LEONARDS INN

HIGH RISE BOMBERS

HIGHWAY INN

FRIDAY 9TH JUNE TEXAS DISCO RHAPSODIES STATIC GAMBLE GEMINI SPOTLIGHT CLEAN CUT /

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SATURDAY 17TH JUNE PARACHUTE OBSESSION YOUNG MODERN / IRVING S THE U BOMBS GEMINI FRESHWATER EMERGENCY MU SKAT

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STILETTO

TIUOLI HOTEL

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HIGH RISE BOMBERS HIGH RISE BOMBERS SATURDAY lOTH JUNE

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STILETTO

ST. LEONARDS INN

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MUSKAT

FIESTA VILLA, FINDON HOTEL

FRIDAY 23RD JUNE

TEXAS CUNNIA/6t STUNT SOAPBOX ORCHESTRA

ARKABA HOTEL, TOP ROOM RUGGERS DISCO ALDGATE PUMP HOTEL

HIGH RISE BOMBERS

TIUOLI HOTEL

FRONT PAGE / SULTAN EROS. BAND TR ISONICS DISCO SQUEEZE SHAMROCK BEN CLEAN CUT / RUM JUNGLE

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SUNDAY IITH JUNE

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HIGHWAY INN

SATURDAY 24TH JUNE WEDNESDAY 14TH JUNE PARACHUTE DISCO EAST END STREET BAND GEMINI COLD CHISEL YOUNG MODERN

ROADRUNNER GIG GUIDE

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ARKABA HOTEL, TOP ROOM LEGTRAP HOTEL TIVOLI HOTEL OLD LION HOTEL DISCO FIESTA VILLA, FINDON HOTEL WELLINGTON HOTEL

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FRONT PAGE / SULTAN BROS. BAND SHANNON SQUEEZE THE RAIDERS EMERGENCY WALLSTREET

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STILETTO

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SUNDAY 25TH JUNE FRONT PAGE SOAPBOX ORCHESTRA

ARKABA HOTEL, TOP ROOM ALDGATE PUMP HOTEL

STILETTO

TIUOLI HOTEL

TUESDAY 27TH JUNE DISCO

ARKABA HOTEL, TOP ROOM

SIDEWINDER

TIUOLI HOTEL

WEDNESDAY 28TH JUNE DISCO DISCO CROSSFIRE CRISIS CLEAN CUT

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SIDEWINDER

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THURSDAY 29TH JUNE ARKABA HOTEL, TOP ROOM LEG TRAP HOTEL TIVOLI HOTEL LORD MELBOURNE HOTEL

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SIDEWINDER FRIDAY 30TH JUNE DISCO RHAPSODIES DISCO GARBO SPOTLIGHT SHAMROCK CLEAN CUT / RUM JUNGLE

ARKABA HOTEL, TOP ROOM BRIGHTON HOTEL LEGTRAP HOTEL OLD MARINER HOTEL HIGHLANDER HOTEL FIESTA VILLA, FINDON HOTEL LORD MELBOURNE HOTEL

SIDEWINDER SIDEWINDER

MARRYATUILLE HOTEL TIUOLI HOTEL ( Late show)

SATURDAY 1ST JULY DISCO RIFF RAFF / CUNNING STUNT GARBO SONS OF FRED EMERGENCY SHAMROCK

ARKABA HOTEL, TOP ROOM TIVOLI HOTEL OLD MARINER HOTEL HIGHLANDER HOTEL LORD MELBOURNE HOTEL MULTIPLICATION,

SUNDAY 2ND JUNE DISCO SOAPBOX ORCHESTRA

ARKABA HOTEL, TOP ROOM ALDGATE PUMP HOTEL

IF YOU WOULD LIKE YOUR GIGS LISTED IN THE ROADRUNNER GIG GUIDE PLEASE SEND LISTING TO 13 WAINHOUSE ST. OR PHONE 332 5915 TO ARRIVE NO LATER THAN 16TH OUNE. THANK YOU TO SPHERE FOR HELPING WITH GIG GUIDE COMPILATION. CORRECT AT TIME OF GOING TO PRESS.

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ROADRUNNER GIG GUIDE

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N TE RVIE W

A DAY OUR LIVES In Roadrunner 2 u/e featured an interview with Ian Meldrum - Austral­ ian rock *n* roll personality extraodinare. In future issues we intend to feature interviews with people on the side of the star making machinery record company reps, record shop owners, promoters.... and radio D.J's.

SO gang, here it is, the Rolling Stone style David Day interview done live in the staff coffee room at Life Station 5KA. The interviewer is Stuart Coupe (S), and in case you can't figure it out David Day is (D)..... so with a "Hi I'm your friendly local D.D" let's roll the interview - no advertisments, but 3ohn Altree-Williams (j) took all the neat 'in depth' pikkies.

S - FIRST OF ALL WHAT ABOUT YOUR PAST EXPERIENCES AND EXPLOITS BEFORE YOU CAFIE TO SKA? D - Well this year's my tenth year in radio. It's my fourth year here at SKA. The other six years prior to this were just the country gigs like starting out in the bush - I was 16 when I started and it was just working for a little local station answering phones. I always wanted to get into radio and I was lucky enough to do it while I was going to school. A country station is just like doing an apprentiship. It's where you learn everything. Not so much learn everything but you get to do everything like you read the news, write the news, read death notices, lost dogs, C.W.A notes. Red Cross notes - all the fun things of radio. The things you bitch about but when you get somewhere like this you say "Oh but it was good fun".

S - WHEN YOU PUT TOGETHER YOUR PROGRAfl EACH NIGHT HOW FlUCH CONTROL DO YOU HAVE OVER WHAT YOU PLAY. IS THAT PREDETERMI­ NED FOR YOU? D - It is because I'm music director of the station so I guess I determine myself what I play, along with determ­ ining what the other guys play as well.

But it's a pretty free, open type of thing. We don't say "You've got to play this record at 5 past" sort of thing.

They're given a list of records that I compile for a week and I say "Well this is what we're gonna do for this week fellas, within that and within your style, work out something that is you and go ahead and do it."

S - WELL HOW DO YOU GO ABOUT PICKING THOSE RECORDS YOU PUT ON THE LIST? D - I have up here, somewhere in the brain, an idea of what we're doing as a station so I have to program a musical sound around what the station is trying to do.

S - LAST YEAR THERE WAS A BAN ON WHAT THE MEDIA WOULD CALL 'PUNK' ROCK, BY SKA AND SAD. WAS THAT INSTIGATED BY

Roadrunner

June

Page 16

‘ "V*

YOU. DO YOU WANT TO TALK ABOUT WHO'S DECISION THAT WAS AND HOW IT CAME ABOUT? D - No not really. I'd just like to say that I pljt it on. We were the first station in Australia to play that record (Pretty Vacant - ED) and we got it charted. There wasn't a ban on punk records - just on the Sex Pistols them­ selves but it's one of those things where I had people over me. I was the musical director and it's the first time, really, that I've ever been told that "We can't do that" but I realised that I was working for a place that if

they say "That's what you do" then that's what you do. But that's the only time ever that someone has said that but we did get it away and off the ground, and that to me was good anyway.

Shit, before that we were playing people who are classified as New Wave - Graham Parker and all those guys. We've been playing them for years, and all of a sudden someone labels them a punk group, and what do you do?

S - DO YOU THINK THAT THE BAN ON THE SEX PISTOLS WAS MORE A SOCIAL ISSUE THAN A MUSICAL ONE. FOR INSTANCE, MUSICALLY BOTH GRAHAM PARKER AND THE

NTERVIEW

SEX PISTOLS ARE MUSICALLY, MORE, OR LESS HARMLESS THAN EACH OTHER. DON'T YOU THINK THE BAN UAS A RESULT OF THE MEDIA IMAGE OF PUNKS AND THE SOCIAL RAMIFIC­ ATIONS OF IT? D - Probably a social thing. To me, it all started when the Australian music papers were all looking for a buzz and this thing uas taking off in England.

I really don't think Australia's got a punk culture because it's one of the freest countries in the world and the punk thing was something that grew out of a culture in England. Kids had to get out and say "this is what's happen­ ing and we want to talk about it". I think if the Australian kids were doing that maybe they might hav/e a little personal hassle or something but, its like, back in '58, it was cool to wear floral T.Shirts, and you said "I'm a hippie" but you'd probably never got into what the hippies were getting into in America. People were just saying "Let's follow it because it's what's happening now." I've seen about 3 real punk rockers in town. Deez, I was a punk rocker 5 years ago and I didn't have to wear chains. It's a follow the leader thing and the Austral­ ian press were wanting something to write about so they blew it up as though we had this huge mass of kids walking around bloody knocking over old grandmothers, the whole works. They really wrote it up sky high and I guess there were a lot of older generation people who were saying, "Oh we can't let this happen" but it wasn't happening and that was that. So I'd like to get the guy who did that!11 He spoilt a lot of things.

S - WELL NOW THE STATION IS PLAYING ELVIS COSTELLO, NICK LOWE AND TOM ROBINSON. IS THAT LIKELY TO BE A CONSISTANT POLICY, BECAUSE PREVIOUSLY THE MEDIA WOULD HAVE INCLUDED THEM AS PUNK? D - Yea, because like I just said, we were playing that stuff like Parker before, and a new guy like Costello comes along. I don't look at whether he's a country and western singer or a jazz singer. If his music's good, it's the sound of the station I've got in my head. I'll put him on.

S - ARE THEIR ANY POLITICAL BANS ON RECORDS. THE CURRENT ONE I'M THINKING OF IS TOM ROBINSON'S "GLAD TO BE GAY".

IAN MELDRUM ASSURED ME THAT THAT WOULD BE ON COUNTDOWN THE NEXT WEEK, 2 MONTHS AGO. IS THERE OR ARE THERE BANS ON RECORDS THAT MAY BE DEEMED OVERTLY POLITICAL? D - The only bans that come out are from our Federation which is like a little watch eye that sits around.

They're pretty cool. They don't really

>

ban things unless if a record says FUCK or something like that. They let you know that this could be embarrasing to someone who's listening, beause we've got such a large audience who's listen­ ing, if you offend one person - you've got to be careful. If the Federation says, "That record's banned" then we have to stick by that but if it has no ban its just a personal thing whether we play it or not.

S - ARE YOU IN A POSITION WHERE THE STATION HAS TO WAIT FOR THE LOCAL RECORD COMPANY TO RELEASE,A RECORD BEFORE IT IS CONSIDERED FOR AIRPLAY? D - The ban on import records still exists, although most record companies have got themselves together in a way that there's more co-operation between here and overseas and they realise that Australia's such a big thing. The American big record companies I think realise that Australia's now a good market and, in fact, a lot of records crack here first before America so they're getting it together to release them at the same time.

S - WHAT ABOUT QUOTAS ON AUSTRALIAN MATERIAL - IS THERE A SPECIFIC PERCENT­ AGE? D - There's a definite quota. Whether it's good or bad I don't know but we're always above it. It's 20^. I don't think that because someone’s Australian that we should have to play them and the only way we're going to get the industry to be very good is to put them on a par with the other guys from overseas and to say, "If you want to get on you've got to be as good as those other guys."

Then they're going to work harder to get on. What worries me sometimes is the standard, but sometimes, because of the 20^, we've got to look at playing it because it's Australian.

I'd prefer to go ahead and put it on because it's good - not because it's Australian.

S - HOW DOES SKA FUND ITSELF? IS IT TOTALLY OR PARTIALLY FROM ADVERTISING? D - Totally from advertising. Oust about every station in Australia is owned or tied up with different things, like SAD has got the Advertiser and Channel 7, but we just exist by ourselves. We're sort of run by the church, we're part of the Mission thing ( the Central Methodist Mission - Ed.) but the money we make goes to doing things like Youthline, Lifeline and Community work. It's a good situation to be in because we can go ahead and do things straight away without having to go to a board who goes to another board who goes to a board who ring up the owner in America and says, "Hey, can we put this on?"

S - HOW IMPORTANT DO YOU THINK IT IS

FOR A COMMERCIAL STATION TO BUILD AN IMAGE AROUND THE ANNOUNCERS? D - At the moment we're more into music than personalities which is good for me. AD are really into personalities.

It's just a personal thing, s' - HOW MUCH INFLUENCE DO YOU CONSIDER YOU HAVE ON KIDS' MUSICAL TASTES AND THEIR WAY OF THINKING? D - I guess as I've got the choice of programming the station and I program it the way I like to hear it, I could influence a lot of people. If you keep hearing something often enough it'll be in your head and you'll be whistling it.

S - IS THERE A FAIR AMOUNT OF PRESSURE ON YOU FROM RECORD COMPANIES TO GET A PARTICULAR ALBUM OR SINGLE PLAYED ON AIR? D - Yes, there's pressure on everyone but I think the record companies in town know me. If I don't like something I just say, "This is a load of crap it's not going on." But you'd do the same if you were in a record company.

You'd make a point of seeing and getting on with people. So I've got a dart board and I just throw a dart at the new releases!II It's a good excuse.

S - HOW DO YOU SEE COMMERCIAL RADIO IN AUSTRALIA DEVELOPING IN THE NEXT FEW YEARS? DO YOU THINK FM WILL EVER POSE A SERIOUS CHALLENGE? D - I think the two can survive pretty well together and I don't really know what the government's going to do with FM. The latest story is that it's going to ethnic groups and all that sort of.stuff and the commercial stations like ourselves won't be able to get FM licences. I think it would be good because like America the FM will be album orientated. If you look at KA, really you could say we're an FM station broadcasting on AM. We probably play more album tracks than any other station in Australia. A few months ago I went round town and got heavily into what sells, and singles are only a minute part of total record sales. So really, we play the singles, but are more into the album music. It's like a car yard - if you're a Holden dealer you don't want to push the Volkswagens, you want to push the Holdens. What we do here is if an album track is released as a single we'll still play the album cut instead of the single cut because the single is usually cut down and made into a little 3 minute thing. 'Love Is Like Oxygen,' the Sweet thing, the single goes 3 minutes something and the album track goes six and a half minutes.

I look, when I'm programming, for what's on the album because that's the big seller.

Roadrunner

Dune

Page 17

NEWS

Eureka Records

"I'd been disappointed with what had happened to Dutch Tilders. His albums had never really been representative of the man. So I put it to him - we'd create Eureka Records for him. Then I saw how much was involved in setting it up, so we decided to become a blues/ jazz label." Les Simmonds said that in December of 1975. Les Simmonds is Eureka Records, a brave specialist record company that might not be producing international superstars or vast acres of cash, but it's rich in satisfaction and quality.

The "other" blues act in Australia, The Foreday Riders have two albums on Eureka ("Once A Week" and "Playing Up") as does Tilders ("Break" and "Working Man"). Jazz is covered with pianist Judy Bailey ("Colours" and "Solo"), and American born singer songwriter Dan Johnson released "I Can Drive" on STOCKADE, the Eureka label originally set aside for the release of albums by overseas artists on lease arrangements with the overseas manufacturers. A hot American album on high rotation on American Fn radio, by George Thorogood and the Destroyers is due to be the second release on STOCKADE, (great album - ED).

Could Eureka records be the only hypeless record company? Could be, Les Simmonds doesn't have time for hype. He's the A&R man, advertising rep, press releaser etc etc, ad infinitum.

In January he was busy launching Judy Bailey's "Solo" album, organising everything involved with that, and in his spare time sneaking around putting

Roadrunner

June

Page 18

up posters for the triumphant sell out Eureka Concert during the Festival of Sydney which featured all of the Eureka artists. And a good concert it was too, despite the oppressive humidity and the Sydney cockroaches who crawled in en mass, uninvited.

Simplicity and naturalness are key足 notes in the Eureka productions. Most of the Eureka albums have been recorded as a Live two track stereo mix. Live straight to a two track stereo tape recorder, rather than multi tracking.

"There are, therefore some slight flaws electronically and musically but, we are capturing the live feel and spontaneous musical performance that is often missing from albums these days." Judy Bailey's solo piano album, recorded at the Sydney Opera House because Judy was ordered to find a piano she enjoyed playing, was put straight down in one afternoon.

Les Simmonds is the producer of the albums, he was formerly a tech足 nician with the ABC. The Eureka 'company car' is an old Holden van leftover from the days when he operated his own television rental service. He prefers to press his albums on American vinyl which produces a quieter sound, he was especially meticulous about the pressing of Judy Bailey's "Solo" album, rejecting several test pressings. The album sleeves were designed not only to be quietly tasteful, but readily recognisable to record dealers.

Is it all worth it? Do these records fall on deaf ears? "This album issued by the new Eureka label has all the marks of quality - from the grade of vinyl used in the pressings to the cover art, photograpy and the liner notes.

And of course the music." FOREDAY RIDERS "Once A Week" (Rolling Stone 12-2-75).

"Its the best blues record you'll ever hear. Dutch's voice is perfect. His guitar work is always a joy and here he's surrounded by people who know and love his work. Dutch Shines." DUTCH TILDERS "Break" (juke 30-12-75).

"Apart from the Beatles Medley all the pieces are originals by Judy and I have no doubt that Judy's many fans will love her music and make the record another big seller for the very deserv足 ing Eureka label. The recording was done in the Recording Hall at the Sydney Opera House on the superb grand piano and the production was as usual a first class effort by Les Simmonds."

JUDY BAILEY "Solo" (Jazz Down Under March '78).

"I can drive is the first album on the Stockade label, out of the Eureka stable (logically) with the usual high standard performance and livq recording quality."DAN JOHNSON "I Can Drive" (The Age 20-5-77).

American blues 'bible' Cadence magazine devoted a lengthy, glowing section of their reviews to the Eureka discs.

Commending them on their honesty and grade.

See, somebody does care about the Australian artists who'll never be Mark Holden or The Little River Band (?) and there is a record company MORE interested in excellence and contentedness than money and market足 ability.

Gillian Burt

They're possibly the best unknown band in Australia. They hav/e an e.p (subsidised by friends) that recieued splashes of attention in the British rock press and consequently sold about 400 copies in England,(only 400 because they couldn't afford to press any more), a slice of the "Debutantes" v/inyl project fostered by that well known sleuth of musical potential Ross Wilson and a staunch throng of followers in pubs in Adelaide, Sydney and especially hometown in (''lelbourne.

The Sports are bubbling under. Some­ one even offered me |30.00 for my badge bearing the Sports shoes logo.

In the New Musical Express review of the Sports e.p the band was hailed as a "genuine rock 'n' roll discovery."

Their popularity in Australian pubs isn't difficult to understand with the their succinct three minute doses of r&b/rockabilly/rock 'n' roll that are mostly originals but with assured crowd pleasers like "Route 66", and Graham Parker's "White Honey" tossed in for good measure a lead singer with a frantic stage energy and gruff - but smooth voice a lively acoustic pianist and an overall warm bop/rock band sound.

Mushroom records snapped up the Sports, and put them into the studio with the producer of their e.p. Joe Camilleri of Jo Jo Zep & The Falcons and came up with the hot off the presses "Reckless" album. After the "Debutantes" it was widely accepted that the Sports would sign with Oz Records. "We had offers from most companies but the Mush­ room contract had the least number of clauses and tie ups" explained singer Steve Cummings. "We probably would have signed with Oz records but Oz got taken over by E.M.I and instead of being a small thing its just like E.M.I. now. We would have had to have signed a huge contract for a long time and I wasn't really prepared to look at it like that. I don't like to look at it over such a long time and also it was for the whole world which can be a bit of a trap, but with Mushroom it was only for three years and only for Aust­ ralia, so we can make our own arrange­ ments overseas." It seems Stiff and Virgin are two companies interested in the Sports overseas.

The Sports don't seem like a band at the crossroads between a hit debut album or its failure and the continuat­ ion of their underground pub slogging status, indeed they've always seemed easy going and a take - everything - as - and - if - it - comes - band. Steve Cummings is especially unassuming. "It seems as though I've never really planned anything, things just fall along

another job for Steve. "It's more than that, but sometimes say if you've got a lot of jobs'some of them you go a bit easy on, coast along and save yourself for others. I don't really like doing that, that's why in Melbourne we've limited the number of jobs we do because when I do it, I like to give everything and my best. You've got some obligation not only to yourself but the people who pay their money as well."

When Jo Jo Zep and The Falcons were last in Adelaide Joe Camilleri was caught up in the final throes of prod­ uction on the Sports album (actually the visit before last by the time you read this - ED), he was spouting about how the Sports arrangements had simpli­ fied and were punchier and that the band were just better players at the end of the studio stint. "Yea its true" commented Steve. "You make cassettes when you play live but they're never very good quality so you don't know what you sound like. You just have a vague idea of what you hope you sound like and it's not until you get into a studio and listen to it back and you can hear everything clearly that you realise the mistakes you're making. We didn't really have any experience before "Reckless". We did our little e.p. and that only took four hours and was sort of nothing, and the tracks we did with Ross Wilson for the "Debutantes" album were sort of the same. We sort of went in there did it and went out. The one thing I've learned is you don't know what you can do till you've done it once."

and its a good way really. I mean its ok for some people who have really clear aims and know what they want to do, but we're really in a position where every­ body's got a wide range of interests.

Like rock 'n' roll isn't my whole thing in life, there are other things I find just as interesting and I'm just trying to get a balance between things. Some people seem to go overboard on anything, fanatical.It's just better if you've got a variety of interests, you can use those things and don't become a narrow vehicle for doing one sort of thing."

The casual approach to music doesn't necessarily indicate that it's just

"Joe Camilleri was a really good producer because he's easy to get along with, but at the same time you need someone to take responsibility, especi­ ally with us because we're fairly slack. Sometimes we'll just do it and just do enough to get by, and if every­ one's in the mood they'll extend them­ selves. Joe was good because he knew how to get better things out of us.

He'd try for not so cliched things, something that's going to stand a bit of time and a few listenings. The album is a bit different to what we're like live -sit's not so frantic. All of the guitar solos and piano solos are pretty strange ones. Joe kept trying to get really weird solos, like the engineer said it was the most unusual record he's done. It sounds very schizo. I think if you've sen us live the first time you listen to "Reckless" it'll sound a bit strange but after a few listenings it'll improve because even though its simple and there are not a whole lot of overdubs there's lots of weird little bits of playing on it."

Jillian Burt

Roadrunner

June

Page 19

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Roadrunner

June

Page 20

pH . 5 1 3 5 7 5

f7th: Wednesdays: 14th and 21st: '2 8 th: fist: Thursdays: - 8th and 15th; 22nd: I29th; fsrd; Saturdays: < 10th; 17th; ,24th;

Genestra.

East End Street Band.

CROSSFIRE CROSSFIRE Clean Cut Sultan Bros.

CROSSFIRE Clean Cut/Voung Modern Iruing and the U-Bombs + support.

Young Modern/lruing and the U-Bombs Clean Cut + support.

POCK

The Sultan Bros.

In issue 1 of ROADRUNNER yours truly wrote a review of the first Rocturnal J\l Show and stated that; "The Sultan Brothers played one song why they didn't use an Eagles filmclip instead amazes me - the only difference is that the Eagles don't look so stupid - they're not posturing way out west country rock musicians - or at least they're closer than the Sultans."

Ok, twas a little scathing, so the Sultan Brothers, or at least Colin and Graham (who aren't brothers) wandered around to ROADRUNNER HQ (home ground) and put their position.

The Sultan Brothers are; Colin Deluch - bass and vocals, Russ Oohnston - lead guitar and vocals, Graham Davidge - slide guitar and vocals, Robby Ross - drums. Their material is 100^ original with Colin and Russell writing most of the early material, although Colin does most now, with Graham also contributing a few.

The bruuvers were formed in Easter '77. Colin had been touring with Crystal Gayle in America but was having work visa problems so when Russell contacted him and said he had a 'hot little country band' for' him to join he was on the plane back.

Prior to this Russell and Colin had been together in Missisippi and Graham had been with the Little River Band.

The bands stage debut was at the Tivoli in June '77 where they really fired with some exciting guitarish country rock 'n' roll. The performa­ nce was described by the man who knows as "the most impressive first night from any new band" that he's seen in Adelaide. After that they went into the ABC studios and recorded some tapes for Rocturnal, and have been shown on 4 of the Rocturnal TU Shows.

Two months of playing around Adela­ ide was enough and the 'Brothers' felt it time to get interstate - ya can't be rock stars playing in Adelai­ de syndrom - that may or may not be true but every competent band leaving town like desperadoes waiting for a train doesn't help improve things. But back to the story and the Sultans headed to Melbourne and have since then been pretty solidly on the road, touring Victoria, Queensland and South Australia. They supported Mike Nesmith in Adelaide, and Leo Kottke in Melbourne and Adelaide - Kottke was pretty impressed aparently and said they'd go well in the States.

In the last 12 months the sound has changed with the power of their songs remaining but they're not played in such a frantic style.

What about the criticisms of the band being overly American? They don't deny it and state that in most instances they write about their experiences and as two of the band have lived there for extensive periods its obvious what they'll shape their music around. The band wants to get to America as soon as possible but feel that it's important to reach a fairly high level of popularity in Australia first. They consider themselves very much an Australian band even if that's not where the predominance of their material relates to....and then after we'd got through all that we talked about the similarities between Adelaide and California, and Graham spent a few hours listening to Jack Kerouac tapes and talking about wild trips across America in stolen cars, Charlie Parker, Nathaniel West, Neil Cassady, and maybe I understand where the Sultan Brothers are heading................

Stuart Coupe

TH E SA IN TS ETER NALLY YOURS E.M.I. Roadrunner

June

Page 21

45 R P

DAVE EDMUNDS I KNOW THE BRIDE Swan Song SS 1698 Nick Louie's fascination with successful pop songs had to lead him through Abh.a to the most successful popster of all - Chuck Berry (how many bands don't have one of his songs in their catalogue.)

Nick Lowe, meet Dave Edmunds, Berry fan extra­ ordinaire. You write the song, he'll make the record, it'll be great.

If you haven't heard Dave Edmunds, buy this single, it'll give you a taste for more. If you don't like it you couldn't really be a fan of rock'n' roll. If you think it's a rip off remember that Chuck only had a couple of riffs on which he built a whole career. ****

SUPERNAUT UNEMPLOYED Polydor 2079 116 Supernaut, one month teenybopper Led Zep proto­ type, next month angry punks. Supernaut have sold out they all say.

Well I don't really care. What does "musical integrity" mean in rock'n' roll anyway. All groups just want a hit.

If a lot of unemployed kids hear things like "Listen to the news at six/ All these lies about stat­ istics/ Everybody I'm turned away" it can't be all bad. All the best punk is political and sounded good enough for those con­ cerned to listen. Kids don't wanna be unemployed and Supernaut sings it for them; can't be all that bad.

how good it was. Evidently Rolling Stone devoted a section of their album reviews to this single.

I can't find that much to say about it. Uery powerful, pulsating guitar rhythm, an excellent sax solo reminiscent of the old "Yacketty Sax" (remem­ ber that?), inane lyrics, not much more.

It's good but it's not great. It'd go down well at a party though, that must be some kind of recom­ mendation .

TED NUGENT

The Gowzo live. Pure energy, but nothing else.

Loud, sexist, tedious and shithouse, like lots of rock and roll.

It'd be O.K. if you were pissed, mandied or couldn't be bothered leaving the hall it was recorded in.

Rock and roll can't go on like this! minus ***

BILLY JO EL THE STRANGER

Kansas is one of a whole host of "progressive" heavy metal bands in the U.S. They have constantly been one the most interest­ ing and proficient.

"Dust in the Wind" is a soft song, based upon acoustic guitar and violin.

It is excellently played, produced and sang. It's due for no criticism other than non-originality. It's due for no real praise either. Competent, good late night radio fare.

SNAKIN’ STEVENS

MEATLQAF

SOMEBODY TOUCHED ME Polydor 2094 136

BAT OUT OF HELL Epic MX 186523

Shit,when will this reviv­ alist craze stop? This is pure 60's; it's an old rockabilly doo-wap record, complete with echoed vocals, rocking piano, sax solo.

Written by A Ertegun, Atlantic Records boss, this is a good piece of pure nostalgia. It would have sounded good then and it sounds good now.

In many ways this is similar to his last hit "You Took the Words etc.."

Big production sounds, female harmonies, builds up to a crescendo. It'll probably be a hit for the same reasons.

Meat Loaf has a clear, strong high pitched voice and he uses it well, and his producer has worked very carefully to present it amongst strings, soaring guitars and thumping drums.

He makes the kind of records sixties rockers would like today.

***

Billy Joel has a most expressive, nasal voice.

He sings his own songs well. These usually have some kind of message we can all understand.

He's no more than an entertainer and a good one at that. This, the song from his last album, will be a hit because it's catchy, has a recurrent riff to keep the message before us, because he's got a good voice and most of all because it will be played.

ISN'T IT ALWAYS LOVE

MY MIND AIN'T SO OPEN Received this record with ecstatic reports of

KANSAS DUSP IN THE WIND Epic MX 186499

YANK ME CRANK ME Epic MX186459

KAR LA BONOFF

M AGAZINE

onies, a hook that can't fail, made in L.A.; the rest of the Roadrunner crew would hate it, but I love it.

If you like Linda Ronstadt, take a listen to Karla Bonoff, she's doing what Linda should be right now. There's a place in rock for sweet L.A. harmony rock. So many bands play it now and they play it completely to formula.

Karla Bonoff plays it with her heart, using all its essential elements.

All those who think that anything made west of Manhatten is crap can fuck off, ****

Your basic Californian reggae.

Schmaltzy, sweet, harm­

oulTmin

Rock*Pop*Bliies JazZ'Soul'Punk Reggae«Coiintry O rdering

Are you having trouble finding an alburn? We can order it for you from the U.S.A. Most albums can be obtained within three weeks at a reasonable price to you.

Late shopping

We are open on Friday nights. Come around and have a browse through our stock at your leisure.

We have thousands of older records among our bargains. They are all guaranteed to be new and in mint condition. Come and browse.through them, you may find something you have been looking for.

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June

Page 22

PLATTER

BAT T E R

RttDiiks a

A

R A D IO BIRDMAN RADIO'S APPEAR (OVERSEAS VERSION) TRL 102 Thru WEA Recording your second album overseas and re-doing half of the tracks you put on your first Australian release is a risky thing to do. You're trading off the support of your fans at home who would have played your first album till the grooves are worn out (and Birdman have a notoriously fanatical following here) against a possible overseas breakthrough.

If you don't make that breakthrough then you're stuffed both ways.

I would say this is a better album than the original 'Radio's Appear' but it doesn't seem to have impressed any of the British reviewers, some of whom were quite scathing in their reviews. I'laybe it will be better received in the States because as with their first it has a definite American sound to it.

Be that as it may, what of the record itself? The songs that are re-recorded are 'Do The Pop', 'flan With Golden Helmet',, 'Descent into the flaelstrom', 'New Race', 'Hand Of Law','Anglo Girl Desire' and 'flurder City Nights'. They are performed here with more punch (fluhammad Ali as compared with Lionel Rose - Stuart) they are-faster and the sound is a lot clearer. They seem to have upped the treble a couple of notches to give the music a sharper cutting edge.

The Killer track on the album is 'Aloha Steve & Danno' it HAD to be the single.

Its Rob Younger and Deniz Tek's tribute to Hawaii Five 0 complete with surf noises and a seventies surf beat and the Hawaii Five 0 theme honed down real sharp and nasty.

"Get on the line to Danno We gotta pick up this guy Put out an APB / Five O's on the move "

It has a cute chorus that will make Sack Lord (Steve flcGarrett) curl his toes with embarrassment.

"Steve I wanna say thankyou for all you've done for me The nights are dark and empty When you're not on T.V." I can't wait to hear it blasting out on KA as I cruise down Brighton Esplanade in the wee small hours.

Its the ultimate 70's TV culture surf song.

If Sire (Birdman's U.S. reocrd company) have any sense at all they will be pushing it like crazy in the States.

Of the other new stuff 'You're Gonna fliss fie Baby' is pure mid 60's American Punk (the Seeds, the Stooges).

'Hit fie Again' is a medium fast rocker.

'What Gives' which opens the album with a punch is quintessential Birdman, everyone flat out behind Tek's tasty guitar & Younger's taunting vocal.

There are a lot more subtleties to this band than come over on stage and If you haven't got the first Birdman album then definitely check this one out.

Donald Robertson

THE BAND & FRIENDS THE LAST WALTZ WEA RECORDS 3WS 3146. flusic From Big Pink, The Band, Stage Fright, Cahoots, Rock of Ages, floondog flatinee, Northern Lights - .

Southern Cross, Island.... all those albums and shows with Dylan....and, as with all good times. The Last Waltz before the bar closes down and the fluorescent lights flicker the dream away. The Band

Last Waltz - That Train Don't Stop Here Anymore."

Whilst you're at it check out his "The Band;Pilgrims' Progress" in his book "Mystery Train - Images of America in Rock 'n' Roll Music".

For the concert the Band managed to drag along almost everyone they've had anything to do with over those long years the list is stunning a who's who of second wave American rock 'n' roll pretentious and overblown it could have been but it's not another Bangla Desh concert - in case you have­ n't seen the cover the luminaries include the Dim Zim, Ronnie Hawkins who gave the boys a break. Dr Bohn, Eric Clapton, Neil Young, Muddy Waters, Van Morrison who should have joined them full time instead of one song on Cahoots, Boni Mitchell, Ringo Star - god knows why, same for Ronnie Wood, Neil Diamond - I assume because Robbie Robertson produced one of his albums!!, Paul Butterfield, and Emmylou Harris.

Where as the Bands previous live (legal) recordings. Rock of Ages, and Before the Flood, have seemed flat and lacking in spark and enthusiasm, the Last Waltz has a completely LIVE atmosphere. The albums format is different to the

concert in that the guest artists performances are interspersed with the bands own material on their own - in some cases this inhibits the flow of the albums.

Highlights are numerous.

Paul Butterfield sings and plays train like harmonica on Mystery Train which the Band recorded so well on Moondog Matinee. Clapton plays like he hasn't for years on a fiery Further on Up The Road, ana Van Morrison sings a raging, inspired Caravan, showing just how close his music is to the spirit of the Band's.

Dylan is magnificent - a rougher, rawer performance to that he gave in Adelaide.

No polish - just good 'n gutsy. A version of Baby Let Me Follow You Down which he and the Band played inspiringly together on the 1966 tours - listen to the bootleg of the '66 Albert Hall concert. The Zim goes through I Don't Believe You, a beautiful Forever Young, a reprise of BLMFYD and he's joined by everyone with he and Richard Manuel swopping vocals on I Shall Be Released. After that comes the anti climatic end with the Last Waltz Suit which is pleasant, somewhat akin to Island as compared with Big Pink. What more is there to say - probably lots, but the last waltz is sometimes inspired and monumental,and

decided to retire late in 1976 and what has just been released is a three record set, mostly from the concert, with some new studio recordings. All the literary gumph on the actual concert can be found in Greil Marcus' excellent piece in Rolling Stone 229/ 230, titled "The Band's

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Roadrunner

3une

Page 24

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other times flat, dull and listless, ie, Young, Diamond and Mitchell. Buy it for Dylan Butterfield, Morrison, and principally for the best recordings of the Band live.

One of the best bands of the sixties/early seventies at their very best, with all their friends, on uhat I hope is not the last waltz.

There’s always another night my dear, Stuart Coupe

STIFFS HITS GREATEST STIFFS E.M.I. Records On the back of this album it has written Trivia For The Collector. A perfect example of the witty self denigration that makes Stiff one of the most interesting record companies ever. This album is the first nine stiff singles and the 11th (what ever happened to number 10?) and shows just how musically diverse the Stiff operation was in the beginning before Nick Lowe and Elvis became stars and the money involved got too much. Formed on the premise that anyone should be able to put out a single what resulted was some very curious records indeed. And as we all know variety is the spice of life. None of these singles were ever released in this country so this is your chance to check out the documented birth of a whole music movement.

The very first Stiff single and the track that opens the album is Nick Lowe’s ’Heart Of The City’ One of the classic songs of the 70’s (certified) and it cost just £45 to make. A do it yourself rough diamond of a song but (as it says on the cover) it got the record of the week award in NME and Sounds.

Second Single - The Pink Fairies, a British psychedelic institution who used to fall off the stage because they were so stoned put aside the ganga for a few hours and rock out ’Between The Lines’ They

PLAT T E R

even play in timel Third - Roogalator’s ’Cincinatti Fatback' a laid back, snappy boogie tune underpinning a tongue in cheek home town homage.

"This is a story about a town that I coma from/its got a good lick and I’d like to tell you about it real quick".

Two songs from the Tyla Gang (now signed to Stiffs nearest equivalent in the U.S. - Beserkley) finish the sida. ’Styrofoam’ is about how that insidious material is taking over the physical universe. ’Texas Chainsaw Massacre Boogie’ is mean and nasty Texas Boogie.

I don’t think the movie that the song is about has made it out over here yet but it was a cult thing for the early London punks. Texan’s cut people up, the punks did it to themselves with safetypins The English always were more restrained!

Side two opens with a Lew Lewis single ’Caravan Man’ described on the cover as "the finest single Eddie & The Hot Rods ever cut". Lew Lewis was heavily involved in the Sarfend music scene that spawned the Rods and Dr. Feelgood and this track features that same raw early sixties British r&b (rivvum & blooze) sound, except its rawer.

The Damned’s ’Help’ is up next. Its The Beatles song done in 1 minute 42sec and they don’t miss out any words.

A very early Richard Hell track ’You Gotta Lose’ is next.

Interesting because its got that New York sound but doesn’t sound out of place on what is basically a British album.

Plummet Airlines and Motorhead get a track each ’This Is The World’, ’Take It □r Not' mid 60 ’s style and punk/heavy metal respectively, Motorhead features Larry Wallis whose ’Police Car’on the Stiffs live album, is pretty good too.

And to round everything

BATTE R

)-

off The King’s first Flip side, real rare up to now and what a shame because its one of the best things he ’s ever done. Vup Elvis Costello’s ’Radio Sweet­ heart’ bittersweet as usual with some mighty pedal steel featured bringing a tear to your eye and a catch to your throat.

Trivia for collectors?

Yeah, but everyone ought to collect this one.

Donald Robertson

SAINTS ETERNALLY YOURS HARVEST SHSP 4078 The Saints as everybody knows were Australia's first 70’s punk/newwave band.

The second album is where the crunch comes and to this reviewer's ear the band pass through with flying colours. Their English exp­ erience has done them the world of good: they are musically tighter, without losing any of the fast and furious punch that is their trademark, but it’s in their lyrics that they have really developed.

I guess Britain makes a lot of Australians more socially aware and The Saints are definitely more AWARE on this album.

The album kicks off with ’Know Your Product’ which features a blasting brass section. Its a new sound. The song is about

the demon advertising ’Brainwashing / Never gonna give me what I want’. On ’Lost and Found’ which con­ tinues the aural assault we find the band sticking up for the little guy ’Too many people getting pushed around’. ’Private Affair’ sends a little like Lou Reed, but Lou never had a band that cooked like this. ’Everybody don’t wanna be the same ’ is the hook.

Side two opens with the band’s last U.K. single ’This Perfect Day'. If this doesn’t lift you off your seat then you must be dead. ’Run Over’ with it’s demented harmonica, drives over you then reverses for another go. ’Ostralia’ is great. ’Got no problems got no war / And you don’t need your brain at all,’ brutalises the existence of the lucky countryites in a way that makes Richard Clapton sound nine­ teenth century. Strong opinions deserve strong expression. And they’re talk­ in’ bout YEW!!

Things slow down for ’New Centre of the Universe' but accelerate for a blistering finish with ’Untitled’ and ’International Robots’.

A lot of the punk bands have started to explore new idioms. The Saints have refined and developed the original sentiments of punk.

Festering Mick Malicious

Roadrunner

June

Page 25

P L A T T ER

BATTE R -------- ---------- ,

THE

^

•

TU B E S WHAT DO YOU W ANT FROM ^4‘LIVE m

FEATURING

WHITE PUNKS ON DOPE DON’T TOUCHWETKERE C O L D CHISEL COLD CHISEL Atlantic 600038 This is not an album to be sneered at. Cold Chisel, now from Sydney, have come up with a strong, gutsy, rhythmic and totally surpri­ sing album. flusically the album is based upon a solid blues base. The mainstay of the band is writer/v/ocalist Oim Barnes. His voice is clear, strong, raspy, whatever is needed at the time. The rest of the playing is firm but unob­ trusive, just what is needed to allow voice and lyrics to come through.

As important as the music on this record is what it's about. It's not your standard introspective stuff though. It's a truly Australian album, it explores Australian themes, talks about things that happen here and even uses the names of our towns.

Only the Dingoes and Richard Clapton (and per­ haps Skyhooks) have done this before. Work, boredom, cities, payday, etc; all themes examined before, but done here in a non-cliched way. The songs don't actu­ ally direct themselves towards a message or theme.

They set out to be good rock'n'roll songs but they are about real situations.

On both counts they succeed.

It's good to hear some rock 'n'roll, but it's even better to hear some realism thrown in with it.

This l.p. contains the killer single "Khe Sahn", a song about a Vietnam vet returned home. It shows a sympathy for these people I've never seen before.

"I've had the Vietnam cold turkey/prom the ocean to the Silver City/And it's only other vets could understand/ About the long forgotten dockside guarantees/How there were no V-day heroes in 1973/H o W’ we sail­ ed into Sydney Harbour/ Saw an old friend but couldn't kiss her/She was

Roadrunner

k,

Dune

Page 26

lined, and I was home to the lucky land" It sounds great and it's only one of the excellent tracks on a fine debut album. Everyone involved should be pleased and you should buy it.

Mark Burford

SPORTS RECKLESS Mushroom Records L 36571 Distributed by Festival Reckless has’'been awaited with similar eagerness to the local release last year of the Dingoes second album the two punchiest and excit­ ing bands Australia has produced. The Dingoes blew it and went to the bottom of the pile of the Doobie Brothers style of Yank countree rock. The Sports deliver everything their fanatical fans will be expecting. A solid, tough album, very reminiscent of the live Sports sound - a sound that threatens to hurl ones light speakers half way across the room.

Producer 3oe Camilleri has obtained the type of sound Do Do Zep and the Falcons seem unable to muster in a recording studio - every­ thing's there and clear Ed Bates and Andrew Pendlebury's guitars. Dim Niven's piano, Robert Glover's bass, Paul Hitchins drums, and Steve Cummings vocals which are about as smooth as a gravel road. To suggest that he sings, sounds and looks like a demented hood on the wrong side of Marlowe in a Raymond Chandler story is not unfair.

Reckless contains all the Sports' favourite numbers; Boysl (What did the detective say), Amazon, Modern Don DuanRockabilly Billy, When You Walk in the Room, Moon on a String,etc. suffice to say, it's one of the best albums released in Australia from one of Australias most exciting new bands. It makes me feel reckless! n i Clevor Trevor

TUBES WHAT DO YOU WANT FROM LIVE Festival - 2 record set

L 45797/8.

The Tubes certainly aren't your ordinary bass-guitardrums rock band. They're new double - live albums shows them as highly orchestrated rock - theatre outfit, with more flesh than you have ever seen.The closest descrip­ tion being a Busby-Berkeley musical on acid. But therein lies the problem, because their act relies so heavily on the visual element, this album's like watching a movie with the vision turned off. So much effort seems to have been put into the theatrics that the music has been left lacking on some tracks namely "Special Ballet", "Smoke" and "Show Me A Reason".

Although the album liner is stacked with photos, to reveal some of what's going on, these tracks just aren't strong enough to rely on the music alone. Where the Tubes do succeed is on the tracks, "Don't Touch Me There", "Mondo Bondage", "I Was A Punk Before You Were A Punk", and "White Punks On Dope". These are out­ standing because the music is strong heavy rock which lends itself particularly well to a visual interpretation.

This would have been a dynamite single live album with the musically strong tracks mentioned as well as "Overture", "What Do You Want From Life" and "I Saw Her Sta­ nding There" (just for fun).

Flashes of great rock and roll theatre but this album is limited in what it achieves.

The live show - now that'd be something to see.

Dave Crowe

EDDIE M O NEY EDDIE MONEY SBP 237126 - CBS RECORDS,

Residents, Bruce Springsteen, the Eagles, the Monkees, Graham Parker and all the other futures of rock 'n' roll - he used to be a cop - so did Dashiel Hammett is that the point? Rolling Stone says that Beserkly boss Mathew King Kaufman said to Eddie: "Eddie, your rock and roll's great, but it will never be a hit because it represents Amer­ ican male inadequacy." I didn't feel the least bit inadequate after hearing it -- except he makes better records than I do - artist­ ically Eddie Money must be located within a problem­ atical conjuncture flanked

by Henry Miller - American male inadequacy epitomised - and Gore Vidal - chosen for deep, unexplainable reasons. What has Nick Lainus got to do with this review/ preview anyway? Eddie Money writes and sings radio rock 'n' roll - anthems of love lost and gone, innocence, two tickets to Paradise (on the Glenelg tram), make sure you save a little room in your heart for him, because its so good to be in love again, don't worry he's a gambling man and suffers from jealousy, so baby hold on, that someone who's really got a hold on him, and like most males, inadequate or otherwise, he wants to be a rock 'n' roll star - he looks good 'n pretty so he probably will - pop star oozes out of the album cover threat­ ening to engulf the product -Eddie Money ...Yea I've seen the future of rock 'n' roll ....it's still the little river band.

Stuart Coupe

ROADRUNNER TO BOOK ADVERTISING SPACE

Musically, stylistically, artistically and emotional­ ly Eddie Money fits in bet­ ween Dan and Dean, the Beach Boys, the Loved Ones, Buddy Holly, Elvis Costello, the

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Page 27

1

Another festival In Jan.

£Lf.l5 i P Q / T B Q X y / ^OOG'

It will taka place oe Saturday and Suiuiay Jaiuiary It'a n d 11 — one week af ter the Odysgey at Wiseman's F e r ^ . Venue for the 2.day festival is "F airligh t". propierty W miles south of Syimey. near Canherra.

1 thank the Chain for their honest letter in Uat week's Go-Set Postboi.

I don't really have to an­ swer It The Master's Apprentlcesf G l e n n Wheatley summed up the situation very nicely ir Go Set two wee^cs axo.

This, however, 1 will say, and remember it.

Chain, remember it well In the 1990s the very thing that endeared rock and roll to the audimce of Its time was its com­ plete honesty Rock and roll in itself was a good, honest straight talker, especially coming on top of years and years of show business buUdust.

As far as I am con­ cerned. Chain, the type of music that you am] a lot o f groups play today Is just as superflclal and false as the early days of Broadway ‘Tin Pan Alley ” No. I don't blame you for not being able to see my point.

You, too, have been caught up in the socalled musical progres­ sion started by Bob Dylan, and brought to a head by the Beatles. So. on the subject of hon esty, let us be brash.

QUARTET'S QUICK SU CC E» Tarry NMan, now working In London with ■ group callao Ouariat (which It mailt up ol tormar Jamat Taylor Mova mambars), has writtan a aingla and tracks lor than new album. The single, entitled Joseph." was produced by another Australian.

DavM McKay, and Is a hit prediction.

Musically. Ouariat are a very dilferent aort ol group "I think were probably the only group to uta claasical guitar so much." says .vocalist Alan Tarney Their album will be released in England

by Dacca wilhin the next week, and it looks like they're on the path tr> a huge success.

wwhMlve dHoM lor;—

* aPUTHUH * J0P C M a m

* BONB OP'nw Vlas-

TAL MOTHBA (Mn

~

md (Irv

cradiWa jug band)

fiMaieii * PMk A bhiaa aiHMt

TOWN

Real pop festival

Dear Oo-Set, Isn’t it about lime we had a reai pop festival lhal would appeal to the 17-year-olds and over, like ihe recent Bob Dylan concert. We have many groups that could fill the bill — Max Marriil and The Metaora, Wendy Saddingloo, Doug Parfcinaon In Focus, Lavi SmHh'a CMs, BIHy Thoiiw, etc. So how about It promoters — you give the teenyboppers a go. But what about the okdar la « and early twenty year olds.

Love and Peace Sydney

Filth y!

D e a r G o -S e t,

In regards to your “ Teenie Hopper” paper GoSet, I as a mother o f two teenage children, a girl 13 years and a boy o f 19 years, and I feel I must protest against the garbage you allow to be read by these ego groups.

The utter disgusting rubbish written by Jann Wenner or John Lennon leaves nothing to the child’s imagination. I think it is completely dis­ tasteful and filthy words such as F— are un­ called for in an interview at all. I feel I must protest Tirmfy, I not only speak for my husband and myself I speak for quite a.large amount o f people. Please clear it up for goodness sake.

M rs. M . E. A I M ,

tSBrowMSt., U E A T H M O N T Vk.

m urdI# Dear Go-Set,

Sebastians

MS nNWITION ST.

env

MtMB

____ Spaolrum aiM Manda in oonoart P it: Hoart Spectrum

'N'

Soul,

Bat: PleaUc Teafi (Syd­ ney), Adderley Smith Bhiee Band, Oalay Clover, Dutch Tllder in the reetaurant

and brilliantly sung

The

0

* Tho Capl MaMihaa

Why on earth didn’ t DANNY ROBINSON release Uie single “BABy IT'S A WILD WORLD ” under his own name instead of taking the fic titio u s title of "FOURTH HOUSE ” . it’s

Lost — Phillip Stovcos, rid of it. Coim back now, iUying at Caimm’s UR rccovei LovaSuxa.

CRIERS

are not apaaking to ma

[Ol

. . . I wonder why? . . .

ACID FREAKATHON

I must deplore the vicious sadistic murders of the four Kent students, a deplorable crime committed by the "pigs" (cops) who are gutle.'s, mangy, heartless, brutal, dehumanisend cowards. Why was there murder?

W H Y? — because the "pigs" fear us.

Also may I bring more thrilling mur­ ders committed by the pigs only a while ago. At Jackson State College, Mississippi, at a Women's Dormitory, two negros and 11 girls were killed and wounded in a predominantly negro campus. Note in both cases the pigs were only trying to restore order. My, my, what a way to restore order, eh?

If this is the "Golden Democracy'.' — well it's time for ANARCHY! Arise brothers and raise the banner of An-

BILLY THORPE AND THE AZTECS I wofKter how many var9*OOa of ^Qood Morrung Littta Sohoolgirr and B 6 King's "Rock Ma” t'va ancountarad? Still, Billy and Ma man chooaa to ba compamd. "Schoolgirl” m vir. tuatly just a showcasa for soma Impraasfva harmonica playing while the group balls out the basic lines over arxj over Billy’s vocals, slightly distorted, are |oir>ad later by electric piano, and the harmonica by guitar The vocals on "Rock Ma Baby” are dislortad even more, naturally featuring Lobby's guitar I look forward to an album which might offer some ol their own material Faathral FK-3t3t (Rating:

PYRAMID Faaturir^ the voice w Erl Dadby. Pyramid aim lor the strong vocal sound of. say. the Walker Brothers ' Can’t Wait For Septem­ ber’' is written by the Easybeata, their contribution to the tear-ierking big belter scene.

After a spoken introduction behind a quick back beat Erl goes off into a big-backed forceful song about the love he's going to have in September Ou Moffitfe SOIM2S (**-).

MECCA Two simple bourtcing sides, "Black SaUjr" and "Side Street Men" give local Mecca a chance to show off some impreseive backing sounds. You can quickly firtd your way into the breezy songs to enjoy some great guitar work between the hollow vocal Feativsl FK-38S7. (Rating

Vince turns down

Brother Anarchist,

This looks like a groove — a superhappening at the Albert Park Kinema Theatre at 170 Bridport St Groups and artists api>earing will include Spectrum, Chain, Blackfeather (from Sydney) and Margaret Roadknight (a very different sort of chick indeed). It ’ll all happen next Monday night, November 2, and the whole deal is called “ Can You Pass the Acid Test?" I'll bet you can — schlock along and find out.

1 Part Three Into Paper Walla/ The 5 13 Rusaell Morris Olrl That I Love 6 4 Johnny Fambam One/tfr. Whippy La La Flying Circus 11 9 5:10 Man llatter'B Apprentieee 19 36 Dear Prudenn Doug Parkinson In Focus 33 23 6 My Old Man’s A Groovy Old Vhlentinus 35 36 M a n ...................

Jt^umy O'Keefe 38 55 7 She’s My Baby .

8 The Real Thing Russell MoiTis 41 38 Ross D Wyllle 46 44 9 Funny Man 10 Nick Hack Paddy Whsek/Getting Valentines 48 SO Belter Dave M iller Set 51 56 11 M r Guy Few kes Barry Crocker 52 57 12 Please Don’t Gu 13 Luve Me Tonight T*own Criers S3 94 Heart 'N ' Soul 54 46 14 la zy Life Zooi 57 52 15 Monty And Me

A BUNOlt Dear Wendy, We have a serious problem. One of the girls in our group be­ came involved at a dance some time ago. It was her first experience and she was easily persuaded to go out­ side. unaw are of the fhets of life she did not think that what she did would cause problem s in time.

Telling her {larents will be very difficult so please tell us how she should go about it. She is 16.

J. Bamps, Essendon

KAN YO

KISS?

For complete kissing course send $I to

P.O. BOX c m PERTH 4000 DIPLOMA ISSUED

an imtortunato arror «a

Dear J. Bamps, Unfortunately a lot of things that one has to do are very difficult. She would have to tell her parents as apparently she lives at home and they mil find out anyway, y^g^dy

ottntArm was Axion.

Ot covfM.youaltkna« A s s o n b le d b y G lenn Baker Dy now thatthtv naw groovynama d AXtOtMU Thanks t o G o r S e t.

TOP TEN ALBUMS (Courtaay Praalanda, High Straat) 1 Sound o f Broad— Broad 2 20 Country Claasica— Tammy Wyrmtio 3 20 Goldon Groata— Diana Rosa and tha Supramaa 4 Movar Mind tha Naughty Bita— Sax Piatols 5 Rumours— Flaatwood Mac

AUSTRALIAN TOP TEN „ My Prmyar/Doo*l Let Your Left Hand Know. Vihrmnu Living In A ChUd‘8 Dream. Masters Apprentices Simon Says/With *niU Ring. Groove -------- — _ The Wey 'hwy Play/Cathy Come Home. Twilights Sit Dosm I Think I Love You. ExecuUves _ _ Hush/Baby Blue. Somebodies Image _ _ _ . .

Senna More Important To Me/AnnabeUe Lee, Groop _ PlasUc DreacM And Toy Balloons. Peter Doyle . _ Woman You’re Breaking Me. Groop _ _ . ----------Music Music Mutic/They Gall The Wind Maria, MUtures

BOY A TICKET If I HAD A TICXgT- -

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GOOD GRIEF what have I said . . . last weak I an­ nounced that the TOWI^ CRIERS had broken . . . than a couple of days later . . . there they were as LARGE AS LIFE, on stage competing in the MELBOURNE final of BAT­ TLE OF THE SOUNDS . . .

YOU POOR LITTLE DEARS I hope I didn’t give you a Iright . . . I'm terribly aorr ly. I’ll never again believe GOSSIP until check up on It . . .

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1. MASTERS APPRENTICES 2. AXIOM 3. NEW DREAM 4. TOWN CRIERS 5;ZOOT 6 . VALENTINES 7. SECT 8. DOUG PARKINSON IN FOCUS 9. FLYING CIRCUS 10. JEFF ST. JOHN

On the same weekend a festival will be held A d e la id e . r e p o r te d ly featuring England s Black Sabbath.

Aust ra 1iarvTop

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No overseas bands bavp been asked to appear at IM ' rs. .BUI festival. The organisers, Poster Promotions feel the IP top Australian groups already signed will provide enough good sounds to last weekend.

Another single that’s get­ ting Isos of airplay on Melb­ ourne radio is by a group called The Pyramid who haveI knockout record titled A -C in'l .Walt TUI September" >_rfhis g ro u p is completely miknown by the Memoume public yet the reactiou has been nothing short of amasing ..

(in

hMb. until Aug. 1$)

* CHAM

The "bluet and haavy music " will be delivered by Fresbwuter, Clevcs, La Dc Das. Blarktratber, Kahvas Jmu, Hettssa. Ktag Biacall.

Artkar, Pawderkera, WUsUcr-s Matbcr, Galadriel, fuiusu. Piraaa. Tbily, Bblldag, Capparwlaa, Ha CHaux aad Traach.

Analysing your latter a little cloaar. I could probably put you in the same class as many Anaerican groups.

One example Chat comas read­ ily to mind Is Iron But> tarfh*- Undameatti it all, I sm sure you would be a lot happier playing 13bar rock or thraachord rock and roll, whatarar you Uka to call It. but Bob Dylan let you down and so did the Beatles, and since than you and all the great pratandars in the world of haary music have gone and got yourselves lost in s musical pig-sty. rolling around in the mud of third form poetry, fifth hand philoaophlas and ninth rate perceptions.

F u r t h e r more, dear Chain, ask yourself this honestly. In the midst of all this musical crap, who R E A LLY has lost out? The TEENAGER, OP COURSE, WHO ELSE? And don't forget the statement, either, oi England’s shrewd pop phllosc^iher. Bert B em s, who. after viewing the Beatles for the first time, said—‘"Those boys have

Your kind of music Is v/hy the Beatles were unable to go on ir w « have to face more facts, also be the ruin o f us the Beatles at least al­ No. I w<m‘t go ways had talent, but with Surely that Is it a kind of tongue-lnthe-cheek u n c eitalnty •nough to start with.

LETITBE

In accordance with practice of g iv i^ names to conccfts like this, it will be eailed -The Falrtight Bluet aud Heavy I M c Paatlvul'

about aiO^ they did that surely S»ve them many behlnd-r^aoa flfgtea-

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By fMI •

THE UMKMOWN BLUn

THUMPM’ TUM WOZZON?

Tues.: Max Memit ae usual Thur.; Running JumpiiM SUndlng Still Fri.: Blues Rags and Hollers Sai.: Thursday’s C3iildren 'Python Lee Jackson (U te ) Sun.: Wild CJierrics

Bookings^

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GIANT BATTLE OF THE BANDS

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Miisoin»ii A tpacM ihl« week to all ih* r»od*rt of Go-3*t WIm Immm hot thU UiodDf ihM wtfK roln d(op ctiv tpd io« pl«<* in csntVMttng fonM. TK» tllng bodi ond vnoU bwcfcl*d wrap provldi lin** that an idvol fw diK« wew. In hato tpriM — novy end ton-

M ICHAEL BRCQ ^ l

featuring as special guest Sydney's top group the fabulous

performanceI

p^EUTE

guHciM

Printed by Andreuj McHugh on the Empire Times Press

T A M A featuring JEFF ST. JO HN

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