Street Fever #1 December 1977

THIS DEFINITELY AIN'T THE SUMMER OF LOVE

X

ONf^ D EC CowtovutS •

PZ- T^$ R3 . A4 - .

.

P4-. Moist £5. Reviews p:6. Sex: Pis toIs

?.?. Stiff:

"JlviS 'issue, l/Jrib ten

P/t). -Covet.

'-lAO 'i ^ e u ; 'n^u^si ------c

tk e

P. 11. P‘5

"-----

1^

. itva/nks + o

LjduoSvTtjeonS J'ohn ru j Roblm Ojrcd Jr ^ 5-CX Pi5^1.5 P.i2 Witdcles^En'c TVv^Glixsk^ £ lv is P.l3 .

Rock.W Roll p,,

-NfoRjtarC

r *tn -------K ev■i— euJs P.&. JonattuOn fcckrvvan. 01x0+73.

P.J: —Oowt.

COv\pi le<f

p'5- x3 3 3 ‘

Coste^Uo; WtedcLess Eric^ Tbn^ Baxtci -, ~TKe Rctw'vorveo) TKe, BoombouJn Ratr^ TI^l HexxHrbrcok^,

foon-t Cover courteu of-ftc LiberaJ RxHu R ^ o U o u r d Hd.l W k V o ' . c E - G v d s ^ 8<*ck Cover — Bcunr ^ ^ laA ^ K b er^ tU ^ 'D ^ S , Xpgu Pop^ EcUtors-' S tu a rt Coupe.

Pfo berhov^ L

a m

o(ft

^O€c0

L : l o u o ( } Xfotvvol)

N t

t

l U H o c U m Uover5; D oa/c Ed^A/ru^ ~_• J *-i ^ -t z ~ . ^ . i ~JVJ^ R(^vW^'Grrooviec <xmd C^Ajdae o u i oede 5Tmaj^ (^>xzkw\ -for Cnercjtj cu\d inspiration Aie^ ? Tke PlaanErw p^5^rtra

Idnok

M

cU a

C a O l^ s ^

Bo (" for Ttjpi Ti

T U 3aw \} l ^ XezjlleS (^dd-AC &i rdwvd/A^-y T U ^>ccalA/bs ^ 7 ^ 5 P w ia b ^ s 5 X - R a a 5 p e x ; T W cRob'rvobs^^cMo^WxMAr^ci-jrvra^ U ^ i s o i o i r ^ - o . , j ^ via ^ w . w u^ w u u M

• ~TraOj ■)S tu a rt, V~ AlCX '

Printim - LsrAvrgk)^

on

CorresponcUnce E^GQvvtribofrbnS Luelcomed- Our c\do(Aess 15

S treet

Gi . r o . Box 2.1 ?b

+kc

Ao^lcb-C^-

pbe^s , ~TlKa>niC5 + o

M/ilce f o T

S. Aostn^uUa

fckc

H o ist pWotO^ Ltjia %s o&t5uj foT bvctp aXn K oist S^vbcrvieoO {75°iNAf

TVxomaSfur Wtecktess br E tvis^

O t t e r

m a ^ s .

C>orn naton (Jlol. J 4-0 6 0 .

■«hbwviCAA)) Ale/’-k jrt M / a ^ e y

Boarveu for pemk I ^ a ^ u a e s Dov\ ioVa>u<ul<5 'for pi ZSZ£\ •

p i n k

Suicide AKecj ^ 3 S t Vincent St;

piC<VTC5, N^Al'far Psuoko Sorqeo^

x W e t>se -tke. N H E 7

5ooi .

^f-52_ Bccckers Rd. Houx> t t v c m

Vic. 3IZZ. Alive %s R>>mpi(M^ 5 ^

Oeuri5-ot

5 p ring v o i l e

V

»C .

Spurt:.

?.0. Box k622_ ftcujm arket 5gcCneu iusvv.

All

s t u f f w e

t \ a v m ' +

p i m o K e ^

( t ) S tre e t F e ^ r 19-F?t

-tVA-53 ^ivj

xs

n -L -5 .

X t - A ? O ^ T £ 0

(X^).S. r

^

^

^

e

c

o

^

V ) v A ^ ^ e r s -

S

P

p

D

H

T

U ^ V i e K i T W H f r T

T u e v

tvaev

S

H

o

HftUfc.

£

T

T S c r r

H

e

V

x

S

is C1 '^ S T ,tp £llwj KifeO ShTA T s T U\\\^cJL ^

^

W

V

O

T

T

T

V

X

a

JX

f O ^ n S

OP"

f '0 T

^ o s x -0 -

^.\_.S

-2 , 1^

x

s

X l ^

-Tw)X.Ki

T v l S .

S

T

& > f \ 5 ^ n t i v ] T

,

C

X

T

V *

S x

S.F.: Who writes th3 lyrics ?

Lloyd; All of us except for Nick, whose just been taken into the group, conscripted as a gooa word, S.F.: Nowl What would you like to "be asked?

Lloyd: Well what would we like to asked?

Well what do you think of th~ Wally Carr Group?

S.F.: What do you think of he Wally Carr Group?

Lloyd; Thankyou for asking, the Wally Carr Group is the most amazing group I’ve ever seen, and^ X hav’nt seen to many. Visually they're exciting.

Musically they're pretty dead.

The orientation of Street Fever is going to he increasingly towards South Australia and what's happening around the place. With this in mind our first interview is with Moist - a collection of musicians (-?) who are from Elizabeth and have played twice at school socials there. Last week we cornered Lloyd and Nick from the hand along with friends Betsy and David to find out about the hand.

What follows is an edited version/edition of the talk which Alex was brave enough to decipher and write up.

Street Fever; What other names have you played as?

Lloyd; "the Wally Carr hand and Fat, S.F; Why did you particularly choose those names?

Lloyd; We chose the Wally Carr group because the lead singer of the group was called Wally Carr ,,, (laughter) and Fat because it was a very nice name.

We were gonna call it Pigs after Farmer Gilles and his Pig porno magazine in the Third World Bookshop you see, (Debate begins over the virtues or lack of them of Third World Bookshop.)

S,F;Who's in the band at the moment and what do they play?

Lloyd; Nick Hope on bass, Ken Grady on lead guitar, Wally Carr on rythmn, Hadley C. Mortimer on viola and voice and me on drums, S.F; Have any of you had any experience before ?

Lloyd; Tes, Ken played guitar for 6 months before .

I picked up drums along the way and Nick just started playing bass. He'd never seen a bass guitar before in his life but he's learnt 3 riffs.

He can nearly play Submission and Pretty Vacant and I Wanna Be Me and a Johnny Moped song called No One, not not No One, Hard Lovin' Man - don't print that.

S.F; Where have you played so far?

Lloyd; 2 school gigs during the year and a back­ yard gig.

S.F; What were the responses from the school kids?

Lloyd; Quite violent actually. About 10 fights broke out during the night. I dunno if it was violence for us or against us. It's pretty funny though.

S.F.: What songs did you play th n?

Lloyd;'All originals - sort of non music; The Wally Carr Group with its non music sounds of th® seventies.

S.F.; What s o ’t of equipment do you use?

Lloyd; Two coronet amps, two ordition guitars, and a twenty dollar drum set from down the road, from a Indian. He wanted to sell It fcrfity but his mum made him sell it for twenty because sha thou^it he was ripp'n us off. I bought somo cymbals for it wo-th about a hundred dollars noy its pretty good.

S.F.: What wail you descirbe yew musical influen­ ces as?

Lloyd; Lou Reed, Velvet Underground, Johnathon Richmond and thoModern Lovers aii probably people like &-Ray- Specs.

S.F.: What makes thm visually exciting?

Lloyd; Wally ha3'nt got too much of his genes left (ha-ha).

S.F.: What is th Response like from around Elizabeth?

Lloyd: We always ask peopleto come along, somehow th y do. The response at Elizabeth is ever growing, S.F.: What about your politics?

Lloyd; dont back the Proirt'.'.

S.F.: What about in Australia?

Lloyd; In Australia Ah well, the political side of musi® has'nt entered our songs yet, but it will, Besides,’bow can you be political wh n you’re not old enough to vote.

S.F.: Is anyone old enough to vote in th group?

Lloyd; Well Nick's nineteen.

S.F,: And how do you think he'll vote?

Lloyd: He'll probably vote Labour or Mr. Informal.

S.F,: What about the lyrical content of th soggs?

Lloyd; Do the Duck — Is a love song — but this purely Beastial.

"Standing in a fishpond, You can get up and do it, Standing in a fishpond, there aint nothing t® it, splash afound algae, pick it up and chew it, If you get cold feet now, then yoy knew you blew it, Do the duok - do the d u c k --- »

HOXS-T

COA/TLloyd: "House warming*1 A loners song. A guy invites people to a h o u s e s warming and no-one turns up. He gets all the clips and things out inxo little howls and because no—one turns up he starts throwing them against ifce wall.

Its sort of a love song — love for company, S,F.j Why do think the kids at Elizabeth respond?

Lloyd: They’ve been Punks for years f but -fey did’nt know about itl We of the Wally Carr Group believe that Elizabeth will be the vortex of new wave, S,F,: Have you any plans Lloyd; Very soon, Whn we get more musical, when we get our ?F" cord — you know "f" on and «F,f off. When we get doing bar cords where you go up adddown the neck of a guitar ah get all songs from it, Bhats how Lou Reed wrote "Sweet fane" Hopefully in six months wefll do the Lone Star circuit S,F,; Is there anybody youfd like to thak?

Lloyd ; Dave Waller Andy Nick Hope Donald Robertson S»F,; Thanks

Rate irip; he Detectives - hlvis Costello, This is possibly the most brilliant single yet throvm up by the lew rave. 1 fusion of reggae beat and sharp rook rhythm looping along underneath the most arresting set of lyrics I’ve heard since reading Raymond Chandler’s ’Big Sleep’. Real poetry. ’They beat him up till the teardrops start, But he can’t be wounded cos he’s got no heart’ There are snatches of the Third Man theme in there for you to discover just to add that ori inalDetective flavour. The song is about being in love with a girl in love with T.V. unreality ’She draws his eyes out with a face like a magnet, She’s filing her nails while they’re dragging the lake’ The m od of laconic bitterness is cleverly concealed by the beat and chorus •Watching the detectives, Don’t get cute, Watching the defectives, They shoot, shoot, shoot.’

But if you listen hard you’ll see how sharp the words really are.

On the flip are live versions of ’Blame it on Cain’ and ’Mystery Dance’ recorded at the Nashville in London. They show just what a fucking tight rocking little band Elvis has got.

The single has just entered the British charts.

If anyone on Adelaide radio has any taste (doubtful) it could be the first big New Wave smash. Elvis is dead - LONG LIVE ELVIS.

D o w U .

S' RADIO BIRDMAN UNLEY TOWN HALL

NOV.

26.

The support band, The Youngfflbdama, played to an audience of a single drunk swaying on the floor in time to the (Music)? I did’nt like them either.

The crowd displayed good taste in dress (Even though there was the usual turnup of Adelaide Hills hippy aura Bikie cum Punks?) None of your mass produced Punk here, A few great printed shirts showed up. Wait. Do I see Slaughter & the Dogs. Great (Available from MLS - 35.00.)

Now to the good gear. Birdman. They came on to pley there (usual?) repertoire ofexcellence such as Do The Pop , Smith & Western, TV Eye etc.

The second half hailed more great stuff, with Rob Younger wrecking himself to thepoint of exhaustion, and Deniz Tek again proving himself as thegreatest guitarist in Australia. !Che police showed their faces and Birdman greeted them with Hand of Law, during which a fight went unnoticed by the pogoing crowd.

33ie crowd climaxed to excited kasturbation of the ear when Birdman did a rare encore of Search an- Distroy and Monday Morning Gunk.

I freaked into spasmodic fits of bleeding and vomiting while being kicked into a pulp on the floor.

LOOK OUT U.S.A. i ( Thanks to Dave wixh the mirrored sun­ glasses for helping me see over the stage) Chuckie Suicide

flZZA REVIJV LUMPY’3 FIZZ PIT (somewhere on the main north road). Well, for all you Pizza Fas Fans, bad newsj 3ut for you drag racing fans (all of you, not just some) great news.....

LUMPY (you can tell who he is without asking) will allow you to drive your hot manza, corvette oR fancy F.C. Holden(with the twin systems, ejector seat and selfdestruct burglar alarm) into the "Pit" as it is called (a good name for a deep dark hole, e.g, Lumpy’s kitchen, or even Lumpy’s lumps (once lanced), i il’ve only been there once, but maybe that’s ’cos I don’t like greasy brake linings, served up cold with crust at a small cost that forced me to take money out of the bank (whole four 3$) And, I haven't got a hot manza, chewy or even a mack or a Kenny, BUT if you have this place maybeis maybe isn’t, well not quite your bag, scene, etc ....f'rinstance, no pinball or grog.,. a dead loss in my opinion,.... see you there .... just ask for LUMPY (and you'll get one on your Pizza) ANDY VAGUE

6 I was on a t r a i n f r o m D a r l i n g t o n to B a t h last y e a r w h e n I first h e a r d of the S e x P i s t o l s .

I h a d b e e n away f r o m E n g l a n d f o r s i x w e e k s w o r k ­ i n g in L i b y a for a s u r v e y i n g co m p a n y .

I was on m y w a y home a f t e r d e l i v e r i n g some m a p s to h e a d office.

I c o u l d h a v e s t a y e d overnight, but I ’d h a d e n o u g h of h o t e l s .

I r e m e m b e r the date well.

It was 10th of S e p t e m b e r , m y b i r t h ­ day.

I b o u g h t a M e l o d y M a k e r on the s t a t i o n p l a t f o r m to re a d on the journey.

Too see what was h a p p e n i n g on the m u s i c scene.

N o t much, as I r e m e m b e r .

But there was one a r t i c l e that s t o o d out and whose s i g n i f i c a n c e t o d a y is g r e a t e r still.

It was b y R i c h a r d W i l l i a m s , the p a p e r ’s m o s t r e s p e c t e d critic.

His column is o f t e n d e v o t e d to jazz so I r a r e l y b o t h e r e d r e a d i n g it.

But this one caught m y eye.

It c o n s i s t e d of a seri e s of f l a s h - f o r w a r d s to the y e a r 1996, mor e s p e c i f i c a l l y n e w s items andj,-interviews w i t h one J o h n n y R o t t e n and hi s g r o u p the S e x P i s t o l s .

In a c l e v e r p a r o d y of the l i f e s t y l e e n j o y e d b y m a n y of t o d a y s r o c k sup e r s t a r s , W i l l i a m s set J o h n n y in a S o u t h of M a n c h e s t e r w i t h the B u z z c o c k s .

I was intrigued.

Frarice villa, s i p p i n g a t e q u i l a s u n r i s e and A f e w days l a t e r I was w a l k i n g f r o m w o r k d e f e n d i n g the b a n d ’s p o l i c y of p l a y i n g o n l y to the s t a t i o n in N e w p o r t w h e n I saw a p o s t e r one con c e r t a y e a r in B r i t a i n .

R o t t e n also s t u c k to a b o a r d e d — u p ,s h o p . It said, " R o c k On/ d e f e n d e d the b a n d ’s p o o r p e r f o r m a n c e at t h e i r E v e r y W e d n e s d a y / at THE S T O W A W A Y / S e p t e m b e r r e c e n t W e m b l y S u p e r b o w l gig, s a y i n g t h e y h a d 22nd - S e x P i s t o l s " a n d u n d e r neath, "This b e e n e x h a u s t e d a f t e r t h e i r A m e r i c a n tour. p u n k r o c k b a n d has t a k e n L o n d o n b y storm."

H e d i s m i s s e d reports tha t the b a n d wer e o v e r Great, I th o u g h t , I can't mis s that. the h i l l and p r o m i s e d t h e y •would d e l i v e r the So on the n i g h t in question, a f t e r g o o d s at t h e i r nex t a p p e a r a n c e . d i s c o v e r i n g that the b a n d w e r e n ’t c o m i n g on A t first I thou g h t the a r t i c l e was u n t i l 10pm, I was s t r o l l i n g dow n N e w p o r t m a k i n g an a b stract p o i n t about h o w r o c k goes H i g h St. w i t h three f r i e n d s f r o m work, l o o k i n g in cycles.

That b y i t ’s v e r y n a t u r e the f o r s o m e w h e r e to get a drink.

It was a quiet m u s i c b u s i n e s s a l i e n a t e s r o c k ’n' r o l l m u s ­ n i g h t , n o t m a n y p e o p l e about, so I i m m e d i a t e l y i c ians f r o m t h e i r roots a n d t u r n s t h e m into n o t i c e d the f o u r y o u n g guys w a l k i n g t o wards jet set p l a y b o y s and p l a y g i r l s .

T o d a y ’s us.

T h e r e w a s a L o n d o n loo k to t h e m th t seemed J o h n n y R o t t e n is t o m o r r o w s M i c k J a g g e r . d e f i n i t e l y out of p l a c e in N e w p o r t H i g h St. I d i d n ' t rea l i s e at that time that J o h n n y T h e y w e r e small, t h i n and v e r y pale.

R o t t e n was a rea l p e r s o n a n d n o t just a "Are y o u the S e x P i s t o l s ? " I a s ked f i g m e n t of R i c h a r d W i l l i a m ’s i m a g i n a t i o n .

"We m i g h t be" s n e e r e d one of them.

It w a s n ' t t i l l l a t e r on that same j o u r n e y " W e ’re g o i n g to see y o u later." that, p u r e l y b y accident, I m e t an old " O h yeah?" P a u s e " H e y is there a pub f r i e n d f r o m B a t h who i n f o r m e d me that the a r o u n d here?"

S e x P i s t o l s were v e r y m u c h f o r r e a l a n d "Yeah, u p there on the left" were s p e a r h e a d i n g a w h o l e n e w m o v e m e n t "Hmm" in m u s i c .

H e was a c t u a l l y s i n g i n g w i t h a and off t h e y went. p u n k b a n d in D e r b y w h o h a d p l a y e d in

It n e v e r oc c u r r e d to any of us to go w i t h T h e y w e r e n ’t f r i endly.

■m not your s t e p p i n g At the club, a p l u s h d i s c o / n i g h t c l u b a f f a i r v e r s i o n of ’I 1 nr^i o r i gu ic nw a. l w h i c h dou b l e d as a l u n c h t i m e strip joint, I A venomous r e congnisable no n S Y ou've stone* is E o n k e e ' s tune but li^e y h a d m y first taste of p u n k f a shion.

Black Y e s , the oxu. .. down, spe«u-c * p l a s t i c b i n liners were v e r y p o p ular, s a f e t y never heard before* S t : that would p i n n e d to keep t h e m together.

Slogan daubed leathers, tight d r a i n p i p e s and m u l t i - c o l o r e d s p i k e y h a i r were also in evide n c e .

I remem­ ber think i n g - do th e y k n o w s o m e t h i n g I don't?

N6Smitt b e y ^ e ’ to W e°ng, M a indeed.

The P i s t o l s came on loose, p l a y e d t h e i r have a n a r c h y roc k and l o o k e d like t h e y c o u l d n ' t give a shit what y o u tho u g h t of them. " A n d we don't caaarei " The first n u m b e r was " A n a r c h y in the U . K o " The lyrics were inaudible but the s o u n d f i t t e d the title perf e c t l y .

The s h e e r a u r a l as s u l t was incredible.

All eyes were on R o t t e n as he snarled, sne e r e d and sp a t out his w o r d s * " i / w a n n a b e / a n a r c h y " . O n his left, S t e v e J o n e s c h o p p i n g out v i c i o u s chor d s and p i e r c i n g lead.

To the right G l e n M a t l o c k p u m p i n g out s o l i d bass and b e h i n d t h e m all P a u l C o o k t h r a s h i n g seven bells out of his kit. them.

R o t t e n ’s contempt for the audience, for every­ thing is unrelenting and obvious.

And it's not a put-on, the incident on the street proved that.

'I Wanna Be Me' continues where 'Anarchy' left off.

Loud raw, chaotic. R o tten is hunched over the mike, spitting out the lyric, 'I wanna be someone/l wanna be someone/l wanna be me.'

Half way through the song things start to happen.

The amps start to spark, Glen Matlock breaks a string (on his bass for Christ sakes!) and the song screeches to a halt.

The audience shakes itself out of it's state of stunned amazement and starts to recover its wits.

The delay is a long one.

Matlock has to go offstage to seek out a replacement string and Rotten is left holding the dead mike.

The crowd is given time to decide whether they like what they've heard.

Most of them don't and the catchlls start.

He answers back, but only half-heartedly.

He realises he's lost his power - his back-up muscle.

The adrenalin starts to ebb. Have they blown it I wonder?

The electrical problems are finally sorted out and Matlock reappears with a n e w string but the impetus has been lost, The crowd are openly derisive now but the Pistols aren't fazed by that.

They thrive on hostility and while they never regain that initial stunning ferocity, they claw their way back into the set.

The energy level is still way over what most bands would attempt.

Rotten on stage is a man transformed, possessed.

There is a fascination in watching someone in the grip of forces beyond their control.

Propping himself up with the mike stand he leans forward into the crowd, his face contorted, his voice rising over the throbbing waves of sound, the words washed away in the torrent.

T h e y also ha v e a b a s h at Pete T o w n s e n d ' s ' S u b s titute'. It d i d n ' t w o r k for me. T h e y don't n e e d 6 0 ' s a n t h e m s w h e n th e y are w r i t i n g the ant h e m s of the sev e n t i e s .

N o w that M a t l o c k has left the b a n d I don't t h i n k they p l a y it anv more.

W h e n th e y a c t u a l l y get to p l a y that is.

i t T I s o S f o f t h f l a o t gigs th e y p l a y e d S o r e " the ahft hit the fan wi t h t h e ^ n o w sgendary B i l l “ g “ S e y S ^ e ^ w S h E M I t was also b e f o r e th y f s tup id foo l s Slind a c c e p t a n c e is a ~ign/ that s tage

s S Ik s s o unpublicised gjri.nl

iriti f r u s t r a t i o n on the stage and in going to be awesome to bUioia. i iniss^f or

Jgow

THE BOLLOCKS...*

1 e d on t h e m

4

JONATHAN; BACK TO SCHOOLDAYS $ 0

X

-n

g NJ

H s>

N _p

Asked which re c o rd s in flu e n c e d him m ost d u r in g the S i x t i e s , when he was a fr e s h - fa c e d sc h o o lb o y s o a k in g up the sounds o f the modern w orld (w ith the r a d io o n ), JONATHAN RICHMAN, a f t e r a s u it a b le p e riod o f d e lib e r a t io n (4£ weeks, to be e x a c t ) , came up w ith the f o llo w in g l i s t - n e a t ly c a te g o r is e d as shown:

I

TOP TWENTY EIGHT SING LES:

i

VELVET UNDERGROUND: BEST 1 There She Goes (1966) 2 H eroin (1966) 3 A l l Tom orrow's P a r t ie s (1966) 4 Foggy N otion (1968) 5 I Heard Her C a ll My Name (1967) 6 Jesus (1968) 7 Candy Says (1968)

2.

THE 9 10 11

ROLLING STONES: BEST I Am W a itin g (1965) Out Of Time (1967) -Connection (1967)

OTHERS: OK THE LOVIN SPOONFUL (1965) 12 Do You B e lie v e In M a g ic ?

THE KINKS (1965) 13 T ire d Of W a itin g LITTLE EVA (1962) 14 Keep Your Hands O ff My Baby MARY WELLS (1962) 15 You Beat Me To The Punch THE ORLONS (1962) 16 The Wah-Watusi THE RAMRODS (1966) 17 B r ig h t L i t Blue S k ie s THE CASTAWAYS (1966) 18 L ia r L ia r THE WILDWEEDS (1967) 19 No Good To Cry WAYNE FONTANA (1965) 20 A L i t t l e B i t Too Late CAT MOTHER (1969) 21 M arie THE BARBARIANS (1965) 22 Are You A Boy Or Are You A G i r l ?

MARTHA & THE VANDELLAS (1963) 23 Heatwave THE BOOBY FULLER FOUR (1966) 24 I Fought The Law BARRY & THE REMAINS (1966) 25 Why Do I Cry? THE SEEDS (1966) 26 The Farmer THE TROGGS (1966) 27 W ild Thing THE WHO (1969) 28 I'm Free TOP TEN ALBUMS (NO PARTICULAR ORDER) The V e lv e t Underground And N ico White L igh t/W h ite Heat Meet The B e a tle s Do You B e lie v e In M a g ic ?

Got L iv e I f You Want I t L ive K in ks Afterm ath Daydream Out Of Our Heads December's C h ild re n (Maybe they are in o rd e r, a f t d r a l l ) .

% A

THE BEATLES: BEST 8 I Want To Hold Your Hand (1963)

VELVET UNDERGROUND VELVET UNDERGROUND THE BEATLES (1964) THE LOVIN SPOONFUL THE ROLUNG STONES THE KINKS (1967) THE ROLLING STONES THE LOVIN SPOONFUL THE ROLLING STONES THE ROLLING STONES

(1967) (1968) (1965) (1966) (1966) (1966) (1965) (1965)

At the time of writing yours truly is over half way to Buying the complete catalogue of a record label - madness you may cry hut when it*s a label such as BSSSBKLBT "Home of the Hits" the only thing that*s madness is NOT having all their releases• (well maybe there*s one or two except— / ions). Beserkley are the proud owners of Jonathan— * Richman and the Modern Lovers, Earhquake, Greg Kih4 the Rubinoos, and Son of Pete,••••not forgetting the Beserkley Chartbusters Volume i album - who needs K.Tell when you can have a collection of hits like that* 10 records, yep, that*s all - but 10 of the most enjoyable rock ’n* roll records ever released - let*s take them one at a time###••••••• The Modern Lovers is Jonathan Richmans first album — best described as a cross between the Velvet Underground, The Doors and some sardonic comedian whose name escapes me at the moment — it was produced by who else but John Cale - recorded mostly in 1975 oops, 1971 but not released until last year - included is one of the greatest singles EVER - Roadrunner - a song about cruising with the radio on and being in electric communion with the modern world, modern girls and modern rock *nf roll - Pablo Picasso which Cale recorded himself on Helen of Troy is on this - Richman doesn*t give a shit about Picasso* s art - all he admires was his his ability to pick up girls at age 83 - "Pablo Picasso never got called an arsehole" — which I assume Riohman has been - and h e ’s not quite 83 .

Die album includes songs about the old world, being in hospitals, wanting a girlfriend - or just someone to care about — and just being in love with the m o d e m world — what Richman does is pretend it never lost its innocence — for instance, his song on the Chartbusters album about falling in love with a bank teller - who can't relate to that?????

Jonathan Richman: " I heard the V e lv e t Underground, g o t in s p ir e d , took up g u i t a r , and t e r r o r iz e d Boston au d ie n ce s w ith my crude p la y in g " .

She la.st two albums - Jonathan Richman and the M o d e m Lovers, and Rock »n' Roll with the M o d e m Lovers, see them performing songs which are so sweet, corny, and mundane they're fabulous - songs about places we take for granted - like supermarkets, laundrets, banks, hospitals, etc to hear him croon through Abominable Snowman in the Market, Here Come the Martian Martians, Ice Cream Man, and *Rockin' Rockin' Leprechauns is to be convinced that rock 'n' roll still has something to offer— as one intellectual creep wrote once — " M odem is his word; it's the kind of bland usage with which he fashions his microscopic soap operas whose total lack of even the most basic imagery makes them all the more insidiously effective and dramatic....at its best it's pop music's first tentative stab at the kind of territory the Theatre of the Absurd covered."

Apparently he nearly electrocuted himself awhile back which explains the extreme lack of electric instruments on the album - and he plays the saxaphone about as musically as I blow my nose...

Richman gets included in this monstrous term 'new wave* music which would lead people to see blatant connections between his music and that of Radio Birdman, the Pistols, Television, ad infinitum (not a band stupid) - all Jonathan does is illustrate the moronicness of rock (n' roll terminology with simple, funny, understandable almost acoustic music - the type with choruses you remember - he*s about as close to the Sex Pistols as Johnny Rotten is to Annette Funicello - so

^

Q S& SV S k c r

A bunch of Stiffs—live!

<=1 In the bar* drinking Marstons Pedigree• *Fuck* I was really looking forward to that.1 A guy approaches. fAre you Sally?* *yeah* R i c h a r d says you and your friinds can get in now* fFar fucking out. Let*s go#1 Inside packed dance floor no chairs# H ot sweaty anticipation running high# Mick points to a leather jacketed safety pin earinged guy. 'That guy used to be the bigg est hippie around. Now he*s a punk I t fs amazing.1 •It's a growing movement.1 There are quite a number of punk-for-^ the-night students and some of the genuine article too. The curious make up the majority, Th is is the first big New Wave jtourto. come to Bath* although the scene in^riaftol (led by th e Cortina*) is very healthy.

'Well, I'd really like to go and see Weather Report in Bristol.* 'Nah , let's go up the Uni. and. see a Bunch of Stiffs,' 'Weather Report are really good,' 'Yeah , but you haven't seen any New W ave yet,' 'Who's on? • 'Elvis costello, Wreckless Eric, Nick Lowe— he produces The Damned-- Ian Dury' •He used to play with Kilburn and The H igh Roads didn't he? * •Yeah,' 'He was really good with them,' 'Come on, it'll be a good introduction and a lot more fun. I feel like a bop tonight,' 'OK then, ask Steve if he'll give us a liftt 'I'll take my camera. Spike might be interested in some photos,' 'Right, let' s have another Black Russian th en go' Pandemonium at the enterance. Demand h ad been so great i t ’s ticket holders only. ' O h shit' 'Let's go to the Union Bar' 'I knew the guy o n the door- we could have push ed through.'

Niok Lowe bounds on stage and launches straight into fast rock'n'roll. He only plays a short sariwijwoet, but its solid, no-nonsense stuff. His band sounds life* they've been playing the music all their lives. Lowe plays fast rhythm guitar leaving the lead to Larry Wallis, ex-heavy metal axeman wife Motorhead. After three songs, Wallis steps forward anddoes a couple of his own numbers in -the. same vein. Then Dave Edmunds Joins Niok and the band for a gutsy rendition of Nick's classic "Heart of the City" single The crowd is appreciative.

Next on,tWr6dkIess Eric. As soam as I see him I know he's going to be great. He looks suohca loser.

If New Wave has done anything it's given the losers: a break. His band looks amazing. On drums, polio victim Ian Dury. On bass Dory's girlfriend , a tall beautiful Jamaeian lady who stands perfectly still, beaming at Wreckless as he pours oat his songs.

A stray saxophonist injects some quirky runs, and a keyboard player completes the line up.

Most of the material was unfamiliar but it did'nt matter. Erie played wik enough commitment to win the crowd over. Ian Doxy bashes oat ihe basic rhythm,, grimacing with concentration. The sweat frc# his faoe flies everywhere. Wreokless stands unmoving at the mike, his voice breaking with emo­ tion. The sound is simple with lots of spaces between the instruments . Uncluttered and effective.

His single "Whole Wide World" was greeted with roars of approval and rightly so. If 1977 had'nt been subh a great year for singles' it'd have to be single of the year. As it is it'd be in the top three.

Wreckless Eric looks like he's been down so long he can't believe he's a rock'n'roll star. He eomes over as so genuinely nervous yoa have to fee2 for him. He sings nemroio love songs with a punchy beat. At the end cf his final song he had to be carried off stage by a burly roadie, Thafe lease of penrt-«ip cEmotion had proved too much.

After Wreokless, Elvis Costello and the Attractions came on. Looking really smart in a three pieea suit, Elvis was undoubtedly the star of theohow.

I'd heard he was a nervous performer, but it certainly did'nt show - in faot he was in complete control the moment he hit tfe boards, Bte Attractions prov­ ided a crisp, pricise back drop for Elvis' rapier sharp lyrics, "Less than Zero" from the album was instantly recognisable. Elvis has a great sense of musical rhythm, he knows when to stop, efepp and change. He reminded me a little of Graham

\0 Parker and the Rumour, though Parker is tighter and has a rawer voice. But it’s the lyrics that stand out.

The stand-out track of the set - of the whole conoert, was'watching the detectives', now released as a single. Thudding bass, hypnotic reggae beat and Elvis shouting out the chorus, 'Watching the detectives/ Don't get cute/ (fetching the detectives/ They shoot, shoot, shoot’ It's brilliant!

Elvis is an original. His versatility, especially as a songwriter is stunning, and on the evid­ ence of the new material he has just begun to amaze us. The crowd brought him back for two encores., 'Blame it on Cain' and 'Red Shoes' When he finally left the stage, Mick turned to me and yelled over the crow®, 'That guy is going to be a star!!'."

All this excitement was getting a bit much, so we fought our way through the crowds to the bar for some liquid refreshment. As a result we missed the beginning of Ian Druy's set. When we got back down the place was rocking. There’s no dqpbt Dury has an arresting stage presence He’d iswapped his drumming outfit of a tea shirt and tea cosy hat for a white suit and was stomping around the front of the stage inciting the crowd to riot. With his hair cropped short on top and straggling down the back of his bull­ like neck he looked like a cross between Rasputin and The Incredible Hulk. Between songs he harangued the crowd with shouts of 'Blockheads' (which turned out to be his last sorur^ and other quaint cockney slogans. I was physically drained after pogoing throughout Wreckless and Elvis so I was incapable of dancing, but the crowd were jumping all over the place.

I pitied whoever had to play last becuase by that stage the whole thing was accelerating into^the realms of overkill. According to the pre-concert publicity the playing order was sh changed nightly, so the problem was shared equally, and that for me was one of the beautiful things about the concert and the whole Stiff enterprise.

It's a real family affair. Everyone plays in eaoh other’s band, Everyone lends a helping hand.

And that's a very healthy antidote to anyones superstar ego-trips.

It was only fitting that when Ian Dury was called baok for an encore evryone on the tour, Nick Lowe, Wreckless, Elvis, Dave Edmunis, Larry 7allis and all the supporting musicians came on too, to treat us to a blitzkrieg brain destroying performace of Ian’s new single, 'Sex, Drugs and Rock'n'roll. That finished everyone off.

And what better sentiments to close on?

While Iall this Mayhem had been going on^ a trem­ endous electrical storm had been raging outside.

Sally, Mick and I were sitting it out on the stairs when Elvis walked by, underneath vis. If we hadn't just s en him p A l c participate in one of the most energet c, satisfying concerts ever I doubt we'd have given him a second glance. 19 77 - the year of the little guy

Remember— if isn't Aif\j'7 WORTH A FUCK?

In expectation of the psycho Surgens visit to Adelaide in January , Neal from M.L.S. phoned up Sydney and did an interview with Mark from the hand. At great expense to the publ­ isher we bring you this saoop almost live from Sydney.

S.F: Mai*: S.F: Mar*:

How long have,you been together?

Since October last year.

Were you formed around the Funhouse?

No, we just formed independently of that before it was even thought of really.

S.F: Have you recorded anything yet?

Mark: No, wefve got a lot of things wefd like to though# S.F: How much of your act or whatever is original?

Mark: T7efd like to get it all original. 14 originalsongs but wefre finding thatfs not quite enough so wefre having to do 2 or 5 cover versions. Ifd say that within 4 months wefll be totally original.

S.F: What are the bands influences? - A New Wave influence or American punk or basic Rock 1n f Roll?

Mark: Well basically it’s wildness, life, blood, sex and chocolate.

S.F: Hows your reaction been in Sydney?

Mark; I think so far it’s blown out a few people.

S.F: What sort of non original things were you doing?

Mark: Ne’ve been playing a lot of the stooges, basically because we really like James Williamson, the way he played. In fact we could’ve played a lot of other things but we found the Stooges put a lot of wildness into their songs which suited us.

It’s not that wefre trying to be like the Stooges or follows in what they’re d o n g but they did have very powerful songs which we enjoy playing. Row if we do any itfs only I or 2 a night.

S.F: What about early bands, the Sonics, things like that?

Mark: Me used to do a song from the Sonics called "He’s Naitin” ’, actually we did "Boss Moss11 one nig]it.But I can't say that they’re anything of an influence though; I do like their sound, very raw.

S.F: Is that how you come across on stage, Raw? Mark: I think basically the way we come across, y ’know I don’t know, but I think it’s just pure noise really, eh noise channelled into our own ideas.

S.77: (letting back to the Stooges, or Iggy Pop, what do you think of them now?

Mark: Nothing much.

S.F: So you’re taking nothing from Iggy Pop as he is now?

Mark: Oh no; no I don’t think we’re taking much from the Stooges anymore, y ’know we’ve developed our own ideas now pretty well entirely.

S.F: T7hat about bands like Birdman, obvious 1:* they must have influenced you?

Mark: Yeah I went to s e them a lot when there was no other band like t em.

S.F: That about the Funhouse, Did you play there?

Mark: Yeah, actually we played there the very first night the Fun ov.se w* called the Fun­ house. It used to be a place where just Birdman played but they decided to let other bands play there and they called it the funhouse.

S.F: From what I ’ve seen of it , it seems a pretty suitable venue for Roc): ’n ’ Roll?

Mark: It’s not open anymore but it was good.

S.F: Getting back to t~ e band, obvious 1 r you plan to go to Melbourne, how close is that?

Mark: Ne’d like to go to Melbourne coz as far as Sydney goes it’s stupid. The scene in Sydney is totally rotten. Ther’s only two groups of people here, the Radao Birdman

S.F: Mark: S.F: Mark:

S.F: Mark: S.F: Mark: S.F: Mark: S.F: Mark: S.F: Mark:

S.F:

Birdman hardly plays and the fans have lost all interest and there’s the trendy creeeeps headlined by Carmel Simon - The Diamonds. That’s all there is in Sydney and I think they hate us.

How does the Paris club or whatever fit into that?

Jell the Paris is like a mecca for bald headed trendys, Exhibitionists really. ’That is it, minly a live show?

It’s nothin’ really, it was a place these people Simon - Diamonds gyrated to New Nave records in a mime with tight pants on.

But they don’t even do that anymore it’s just a th atre house which sometimes has live bands on, bands like Rose Tattoo.

Sc that’s all there is in Sydey?

Yeahl Nhich is why you want to try Melbourne and mybe 'delaide?

Yeah!

Nave you heard anything about Adelaide?

No nothing.

Nell have you any plans for recording?

Yeah we’de like to but we’re having trouble.

Have ou thought about recording something live?

Me’ve got a tape of the first time we ever played which we think is pretty good, 7e had a fuzz box plugged into a phase shifter and the.guitar sort of played itself without realty toughing it. So even we couldn’t play much at thi stage and it came across as a wild sound.

How long have the band been playing inst­ ruments?

Mark: Only since that night, le decided there should he a ba,nd a lot wilder than any­ thing there was. So we borrowed some equipment from Radio Birdman went to a scout hall, turned on the equipment and since then just progressed. Sort of turning parties into actual shows. But re’ve definately got plans to get much bigger; we were the smallest band in Sydney for a long time.

I don’t many people have really cottened on to what we1re,doing, basically we’re still pretty much an unknown quatity.

3.^: Mho do you think will a feet your chances interstate?

Mark: I don’t know. I don’t know if anyones heard of us interstate. I know we got put in Ram, maybe a few people heard of our name then S.F: The review when Deniz Tek played with the band?

Mark: Yeah there was that and the time the Hell’s Angels beat us up, Romeone wrote about that................

\z

Aft”

^ S v S T l n S h e r

S n U " a l ^ , 8

^

k

M

listen to the between

—

i f aVandnarl in

2 T « X j - W of i n t ^ s t * « « * ■while much of what s . , whatever you be classed as ^ / » " os‘ ^ e r L decisively want to call )• trendiness and beoause they repves , some new bands, imitation nhich has crept into s o m n a e s e teems o ^ t 2 5

I S e s ^ H y

to

and have

- f a t e d vhat rock -

roll as

ab0Uti f s unfortunate that ^ i s ^ m i t a t i o n J ^ h o r d macho - aggresive pose ^

J ^ ionalised, and

secondly^if s ^ n s o r e f b f record oonpe.nies ea.er for new signings because it limits the audience immediately. Already people have had their minds closed to much of this current music because of a few short scenes in the media. They haven't even heard the music yetiIi This is the fault of the posturing and posing of hands and the involvement of "business interests who are already making money by signing many new bands in attempts to

happens today is better than what happened yesterday. Bands are consumed in this movement at a particular point in time to suit the purposes of fashion, not because what the band may be doing is recognized as particularly noteworthy. Consequently a style which redefined rock 'n' roll has suffered endless duplications.

Since this fashion must necessarily produce more product to survive, attention is deliberately drawn from those who originated the style to those who are willing to serve the record companies promotional games. Those who continue to develop and portray their visions of rock 'n* roll today are often lost in a flood of cheap imitations.

But they are thereII Hidden amongst all the product are albums and singles which define rock *n' roll in a seventies context. Such diverse people as The Talking Heads, Elvis Costello, Radio Birdman and the Ramones know about the dynamics of rock 'n* roll and interpret them with such skill that even amidst so much product, people are beginning to recognize real talent again. After hearing for years that rock music was about ten minute guitar solos, lyrics about tequila sun -

wag

THE OLD WAV E FIGHTS OFF THE N EW WAVE. grab a slice of the market. Hence current music is turning into Punk and Punic is a short - term fashion which attracts trendies. 7e all know that business involvement circulates the music but if more bands could do what Radio Birdman attempted their own distribution - perhaps the music would be considered as such and not 1product1.

The Punk movement is a fashion which many bands gladly participate in for several reasons.

The design of this movement is to consume product because it is in the hands of business; the more product, the more opportunity to consume what is, at the basis of this and all fashions - your money.

By producing many copies of the s me style, those who support Punk entice you to spend your money on what amounts mostly to repetitive shit. You are happy with your new album, the band is happy with fifteen minutes recognition and the record companies are very grateful for your contributions to their success, thank you very much.

Because of this desire for product, this movement is obliged to maintain that what

ses, t t * . « * • ‘ ,“ * , ' 2 2 • t v f a i s h l l e a rock to its, >ople (and oti-rs) perhaps it is

illy.

V h w h n i r ’newest‘aid hottest* hand. They're nt with their _ newes rnd involvement in .king this ^ v ivai of i^t *±r ^ockets - not for ir music w o w for tnem -- • . ^ _ LIs t 3£J to

S c of iiaitators f t h S S d S ' t c s H it rock •»• roll.

OMfc

Tf'"16

AO£ uftipe.

€>u s t .

1) Anarchy in the D.K - Bie Sex Pistols.

2) Terminal Stupid - Snivelling Shits.

3) Rambling Rose - Wayne Kramer.

4) Bowi - Nick Lowe (ep) 5) Bend and Flush - Pork Dukes.

6) Problem Child - the Damned.

7) Radio Sweetheart - Elvis Costello.

8) Borderline - MC5* 9) Semaphore Signals - Wreckless Eric.

10) New"Race - Radio Birdman Bootlegs ain’t what they used to he. Nowdays you get the once cute platters, with Fleetwood Mac, The Eagles even Gentle Giant on the cover. Still, gems surface occasionally. Last year it was the creamy Little Feat extravaganza "Electric Lycanthrope".

Oiis year, a bootleg to rival Dylan at the Albert Hall and the Velvets at Max's as the all time ooviest live album. -"Teenage Perversity and Ships the Night" by Patti Smith and Band. Recording quality? good to excellent. The cover? That bizarre plccy from a not so recent Rolling Stone where Patti resembles a Virginia Wade who's just been raped by Arthur Ashe, Likes the idea, and is out for Nastase. Wide eyed lust. Side One, according the sleeve, has, $i>tf Real Good Time Together, Watching the Breeze, Strained on Strange, Kimberly, Renondo Beach, Sort of Louie Louie and Side Two boasts Smooth Stone Beyond, Radio Ethiopia, Gloria In- Excelsis Deo, My Generation. In actuality that ain’t quite right, it’s a bit confusing, but whaddya want, a lyric sheet? Iggy Pop ambles into make a suitably wasted rap "Ain’t that baby great?"

John Cale’s bass manipulation on "My Generation" is even more out of it than the playing captured on the single. He speedily vibrates one note, mebbe two, and blows kisses to a passing chimp. Patti says she don’t give a crap about aerosol cans busting up the ozone. Her rap during what appears to be Smooth Stone Beyond is quintessential Smith improvisation? her ability using almost total reoall memory to lift relevant and not so relevant occurences from her mixed — up formative years. A yo - yo ascention to eternity. This one’s about how she used to-eat dirt. She takes her fantasies to the extreme.Fantasy is where it's at. Extremity is where it's at. Hendrix’s big hands jerking off somewhere evolves. Tangents. "Sort of Louie Louie" is, wouldja believe, "Louie Louie" and "Pale Blue Eyes" oombined to bring tears to the eyes. "Lou Reed wrote this for Hank Williams who died from an overdose of pills on the way to a gig", she intro­ duces "Pale Blue Eyes". Intense rendition - a spacf space, timeless chasm, and then joyously bursting into "Louie Louie". Majic. Lenny the K is stunning.

Plays like he's jamming with the triple M. The album’s an illuminating combination of chaos, aggresion, poetry, intimacy, decadence, experience and expression. Liquid energy — a prolong masturbat ion - Teenage Perversity and Ships in the Night.

Even the audience sound alive. Patti takes them high, sans mind manipulation. Merely directing.

Open your veins and shoot Patti Smith. Catalysraic amusement through open — eyed abusement.

g

1) 2) 3) 4) 5)

Never Hind the Bollocks - Sex Pistols.

Rocket to Russia - the Ramones.

Robert Gordon with Link Wray.

Heroes - David Bowie.

L.A.M.F (Like a Mother - Fucker) - Johnny Thunders Heartbreakers.

6) No More Heroes - the Stranglers.

7) 77 - Talking Heads.

8) Blank Generation - Richard Hell & the 9) New York Dolls double rerelease.

10) Fun House - Stooges.

11) Raw Power — Stooges.

12) Stooges - Stooges.

13) Greatest Hits - Phil Spector.

14) Radios Appear - Radio Birdman.

15) Live in London - Patti Smith (bootleg., 16) My Aim Is True - Elvis Costello.

17) Go Girl Crazy - the Dictators.

18) various — Beserkly Chartbusters Volume I. 19) John Otway & Wild Willy Barrett.

20) Q&e Rubinoos.

^ x ^ w e

^€-\)xe\iO

—

iXTS

Side A - Terminal Stupid.

After hearing this track your 'heads in a ness', the questions raised mean little or nothing to nobody and nuffink can help. Hie 'Snivellers' seem to direct this song at you, it's Energy but leaves time to think, anyway who cares what your sex is, it's almost obscene, of course it is. The disgusting hack cover has put me off prunes and Dracula Movies for at least a week. At least it's got some sensible social comment - 'your latest wet dream’ and the oh so clever *you can count your Brain cells on one finger or less'. Even my maths background tells me that is a trick question. NOW Side A. Side A - I Can't Corae^^ This song is'DEEP and PERSONAL piece of rock 'n' roll. It raises all the facts of life - 'How do you think I feel?'. This song proves without doubt that if you can't come it doesn’t mean you can't play rock 'n' roll, whether Giovanni Dadomo can or can't come is not important. None of these people can either - Angie Dickinson, David Frost, Charlies Angels, Ena Sharpies, Dusty Springfield, Idi Amin, Freddie Mercury, S i g m n d Freud, Eraanvelles 1 + 2, Andy Warhol, Club International, Linda Rondstat, Richard Nixon, Jane Fonda, Vennessa Redgrave, Wilfred Brambell, Stella Stevens, Annette Funicelly Honour Blackman, Haley Mills, Peter Wyngarde, the Birdman of Alcatraz, the Hunchback of Notra Dame, and let's face it, until you've heard this record there's 'no action’ ....well not much....My brother likes it too.

AMOV \lfViV£-

. st Prom the ”f ,*tt for life’•

«>®

your iaiot ° S ‘V « » * * * .£ ? £ • -«or4 ^ o r something vef^ir„ a punk ^ei d 'au example f°r man y°^as returned as S ^ ^ the evented, has

get V^cess/Berlmn d°

good *eal^ f a Bowie/Succes dark_ ailianoe _ different haPPen®d y0U? ’Lust for Bif®’ you wonder nha^ had !l ,rnhe Idiot’ w * * * success Igg^urened to n®S?,eSeen. Und° f ^ r pean tours C ^ t ^ W who k t h ionerican^ ^ done wonder^ ^ Australia^ more of ^ ^ autohx^r ^ previously ,Lust for L*F

grin about ho

S

t por Life s e t s ^ e - f ve

r

V

n ,si- ing "

he’S S

opening t^ af e forget - ^ e ' c t i o n much

ssrs^ ; ^ - s s * ^ - s s r « s ^ ^ s * follow up t0 . d 3in 13 Iggy drumming eh i’f. Some ^ei Vfith stun - & into 3.40 ninutej opening ^ never got ^ / g/ licence ft up. the album, rfhey non t 6^ ^ tr chs ° ^ 1s Classic I683T. < * ^ s onward J ^ ^ s e n g e r , 3«rt T f Z V

it

ooarteej ^ s ' h S u» f ° ^ T23 son^ ° ; nreoccupati0 woman and oar .

- -«*»

o r, ^

i® the

you ana ne - t° you and m , H v s a t i n y end see shot'3 » ® ...

s^ontcoioxiy -

-fe: turxiv> -

openiho m .®u; ortine voauls »rvthym and sup

as n

^

feel. » - P ? n°Sa;£y you - t to on the spot und — TiU'-S

niriost llV

^ J . ,.. r.lonG

at «■» theatre rtth a track whose lyric

S t h e^ h+ m r h 0 ° d threat I

^ stery there, f87 1,11118 it together.

with distorted voc-tic

To wind upr2 S ? f bn ? e band t0 P W Grlin g i r l . Fall in r zl '^Syfs ba°k with hi^ reveals a throbbing b e ? ® r\ad3 vei^ mediocre bn inr lyrics but t h f b L f 0n.he®ring. Not splctac, support.

6 band a * u n provides great At first this ec^use of expectations eXhenJ0^ disapP°intingthedS

^ -tal® seens

singiIV?ifti^ 16W " f * 4 S tr °h :.fter ~ . proh Of how his J ^ o u s e the ™s*° tlie lyrics - P ^Hestrcted to suit the m geGOnd side lems of co - ^ ^ m o r e obvious °^rnoced - up 1

ISf aren't printed - just

nT . lat0 a

sideJl” - notorfhi,?j^pl- \ on the/ " o ’s been J S r S

V

stagnates through +ho '

°f the old Iggv

Punks to he nn+a\ ,thousrtnds of ini-+„+ . j G y , oocio^ypilo re;J

a »e Says it with -

- 'hat s already b ^ n done Pf ^

Of cTOray tJ“ * f- hodepn to the ear before/ l V

.

7

O M t