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Roadrunner Historical & Cultural Collections

3-1-1982 Roadrunner 5(2) March 1982 Donald Robertson Editor

Follow this and additional works at: http://ro.uow.edu.au/roadrunner

Recommended Citation Robertson, Donald, (1982), Roadrunner 5(2) March 1982, Kent Town, South , 32pp. http://ro.uow.edu.au/roadrunner/44

Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Roadrunner 5(2) March 1982

Description Contents: 3. The Drum. 4. Bang/ . 5. / / Young Home Buyers. 6. Paramours/ . 9. . 11. . 12. . 13. . 14. New , New York. 16. . 19. M Squared Records. 20. The lC ash. 22. Live REviews - Machinations/ Tangerine Dream/ Ultravox. 23. Single Reviews. 25. Reviews. 29. Tape Reviews.

Publisher Kent Town, , 32pp

This serial is available at Research Online: http://ro.uow.edu.au/roadrunner/44 \v !. 5. N o. 2. ^

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Joan Armatrading

Richard Clapton

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THE IN CENTRAL PARK SIMON & GARFUNKEL Simon & Garfunkel reunited in 's Central Park for the first time in 11 years to stage a one concert performance. GEFFEN They delivered their classics to a crowd estimated at 500,000 RECORDS -possibly the largest to assemble anywhere for a single act. This 2 record set is truly an historic event containing 19 LP 2GHS2012 from the concert and a 12 page booklet. Cass. 2GHSC2012 Available on Records and Cassettes

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Adelaide’s first Rock Against comments made by fellow Rob Tillet, ex-lead singer of Racism concert will be held on Glaswegian of mid sixties Adeiaide poiiticai 14th March at the Dom Polski Ultravox about the Mighty Minds biues pop outfit Red Angel Centre, Angas St, City. Featured in recently. Forbes has Panic (who numbered the bands will be Us Mob (co-stars publicly announced he’d like a Angels’ bass player Chris with No Fixed Address in the ‘meeting’ with Ure when Baiiey among their members) movie ‘Wrong Side Of The Ultravox return to the U.K. NME is about to reiease a soio Road’, which will open the quotes Forbes as saying, ‘He’ll singie after a long absence concert around 4.30 p.m.), no look so dapper wi’ his N.S.W. Tours: from the music biz. it’s called Kuckles, an aboriginal band moustache wrapped round his ‘Don’t Call Me’ and from Broome W.A. and others. hooter.’ recorded in London and Also appearing will be the Troggs - March/April mixed in Sydney. There’s also Mornington Island Dance Group, an album on the way. in as part of the Festival of Arts and selected Birthday Party bassplayer FLYERS Rob O’Connor, late of 5SSA-FM poets and other speakers. Summer Search ’81 winners Tracey Pew was sentenced to HARDCASE Funds raised at the concert four months jaii in JEFF ST. JO H N ’S ASYLUM Safari Set is now fronting a will go towards further RAR band called Cerebral Shake, last month, after being picked NEON SPYS , the Centre for up a third time for drunken after a very brief sojourn as Aboriginal Studies in Music PECULIAR CLERK bass player for the Numbers. driving and also being found (based in Adelaide) and the guiity of steaiing a sewing RADIO ON The Numbers have just finished Movement to Boycott the RAMS their second album with machine and a packet of Commonwealth frankfurters. cordon bleu SPEED LIMIT producer Graham ‘Buzz’ Games. Bidstrup filling the drum stool His arrest has caused the 5th Floor, 140 Arthur St., STRAIGHTAHEAD after the departure of drummer canceiiation of the Birthday SWEET POISON Party’s American and German North Sydney. 2060 Marty Newcombe and bassist Dirty Pool, in association THE MEDIA with 3XY and Earl’s Court will tours, but ex-Magazine bass P.O. Box 1626, Nth Sydney. Gary Roberts. A rhythm section T.M.G. is currently being sought so the be opening a large new venue player will be band can resume live work. in St. Kllda this month. The filling in on ’s UK TOTAL FIRE BAND venue, called simply the dates. 4 3 6 1 6 8 8 VIGNETTE Cold Chisel have signed to Venue, is an old style big Poiydor Records for ail band dance hall which has territories outside Austraiia, undergone eight months of NZ, the USA and Canada. The renovations, including the Channel Ten has announced first reiease through Poiydor building of a full sized concert the commissioning of three new oreasuDOp A nd LoPty wiii be the band’s new aibum stage. There will also be an rock shows. Nightmoves, ‘’ which wiii be upstairs bar operating till previously shown on Channel out in the US/Canada around 3.00 a.m. Seven, will start on Ten on _____ present: the beginning of April. The opening line up of March 8th (Sydney and talent is an impressive one. Melbourne, other states later) Beat Detectives, the Adelaide The Angels kick things off on with Lee Simon retaining his band that has been turning a Sat. March 13th, Cold Chisel compere’s seat. The album and s c re a m n G few heads in Melbourne and are there the following film review segments have been CHeQ uens landing some prestige supports Saturday, March 20th, Split dropped and in their place will B eL ieven s with the Angels, return to Enz play the Saturday after be a magazine/news segment Adelaide for two gigs only on them, March 27th, and Mental presented by Simon, Kirstin 12th and 13th March. As Anything and the Grant (EX 3RRR music share a bill on April 3rd. co-ordinator) and ex-Skyhook Veteran Scottish rocker Aiex Tickets for all four shows and noted wit. Red Symons. Harvey died in iast are available at BASS. The second program will be a month after suffering a heart monthly concert simulcast called THE attack at the start of a Iva Davies, in London hunting Stereo Home Box Office, one European tour. As ieader of for a producer for the next hour specials on the last the Sensationai Aiex Harvey album, dropped into Wednesday of every month, y D A G O E S Band he enjoyed massive see putting down simulcasted with local FM British success in the mid and their new single. It’s not known stations. eariy seventies, but his career exactly how many cans of beer The third show, and perhaps went into deciine with the were drunk . . . the most interesting, is WROK, arrivai of punk/new wave in a five nights a week, half hour 1977. He was 46. Shock! Horror! Phil Oakey pop/rock program in the of The Human League has cut 5.30-6.00p.m. timeslot Monday uPBcn Hunters and Collectors had nice off the lop sided part of his to Friday. This show will be things said about them in a hair. simulcast with AM stations (3XY recent N.M.E. ‘. . the hottest in Melbourne, 2SM in Sydney, GueriLLOs combo drumming up the storm Adelaide rock’n’roll officially other states to be announced). clouds over Oz’s nascent (just pronounced dead after the The hosts will be DJ’s from coming into existence — closure of its shrine, the Tivoli the participating AM stations, LITERARY ED.) music scene.’ Hotel in Pirie St. to and will be rotated weekly. Mike SAT. MARCH 20 said Roz Reines, under a last month. As the inner city O’Loughlin (3XY) will host the heading, ‘Oz Goes Tribal’. venue it has played host to first week, then somebody from virtually every top level medium 2SM, etc. etc. The show will be BURNSIDE Drummer Rob Whittle has level and small level band to set in a radio station studio left Tactics. They are currently come to or live in Adelaide over equipped with television monitor and video tape machine. Most BALLROOM looking for a replacement. the past five years. It will be fondly remembered and sadly of the show will be video, but it missed. is planned to have interview and F ro m Next release will even live performance spots. Ticun ss be an E.P. of Bertolt Brecht WROK will call on the songs called ‘Baal’, taken from New Van Morrison album, services of three overseas the TV play of the same name. ‘Beautiful Vision’, due mid representatives, Lindsay Scott in UMBRELLA MUSIC March. Also due soon from Los Angeles, Miranda Brown in The Police have donated Polygram are a ‘Best Of London and ROADRUNNER’S the proceeds from one of Siouxsie And The Banshees’ very own New York RECORD FACTORY their Los Angeles concerts (at and the new Boomtown Rats correspondent Keri Phillips. album, their first as a four DOORS OPEN 7 30 the 20,000 capacity Filimore All three shows will be SHOW STARTS 8 00 Stadium) to Sir Freddie Laker, piece, entitied ‘V Deep’. produced by Wired Productions, saying that if it hadn’t been a Michael (Mr. Mushroom) for Laker’s cutprice Simple Mind’s bass player Gudinski company. Gudinski is transatlantic fares, they would (who by the way quoted as saying, ‘This is the took the shot of and never have been able to do most important venture I’ve LICENSED the budget tours that Iva Davies that adorned our been totally committed to since established them in the November ’81 cover) is not too Mushroom commenced 10 States. happy about the disparaging years ago.’

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ROADRUNNER 3 i In the past you’ve never been afraid to admit confusion. JC: Zoo (Teardrop Explodes/Echo and the Bunnymen Are you stiil confused? management company and also small ) have JC: Yes, more confused than ever. got plans to release a compilation album of early Why is that? Teardrops, Bunnymen, Big In tracks. And they’re JC: At the start of last year I was aiming for commercial also going to be re-releasing Television’s ‘Marquee Moon’. Julian What’s your greatest wish Julian? success, which I think we achieved, but it didn’t turn out the way I’d expected. JC: (long pause) To understand. Do you know what you do want? To understand what? JC: I still want commercial success, but I want it without JC: (slightly shorter pause) Me. anything else changing. (iaughing) Very good answer. What do you feel about your second album (soon to be JC: (laughing) Thank you. released in this country)? And what’s your greatest fear? JC: It’s a lot different to the first one. The second side is JC: (Very long pause) Not to be in control of any particular quite slow . . . it’s a more adult, more mature record I think. situation I might find myself in. Who produced it? And do you feei you’re in control of your situation at the , altho’ Martin Rushent produced the single moment? ‘Passionate Friend’. JC: Kind of, yeah. Who do you iike out of your contemporaries? / was reading a coupie of articies about you before caiiing I like the Human League. . . I like Dollar. . . I don’t like most and this image of a surfer came to mind, surfing on of the top forty stu ff. . . D.A.F. I like Alan Vega. I’ve been confusion. listening to a lot of wayout stuff recently. JC: Yeah, that’s dead right, very much iike that Do you find it hard maintaining your enthusiasm for music ? (animatedly). It’s increased. What coiour is your hair these days? If you couldn’t sing what do you think you’d be doing? JC: Er, blond. JC: I think I’d be writing . . . plays or something like that. Because you did have it dark iast year, didn’t you? So is your creative impuise very strong? JC: Yeah, for a while. Blond’s better though. Yes, very strong. I’ve always had this really strong desire to Do you see yourself as a ‘pop’ singer? communicate. JC: No... I think I’m a bit too weird to be a pop singer. I like Is the single, ‘Passionate Friend’ written about anyone in to think I’m uncategorizable. But not uncategorizable particuiar? enough. I need more time. Definitely. JC: Yes . . . just a girl. What do you like best about playing live? Have you any preconceived ideas about what Australia JC: The whole thing. I like the idea of putting straight pop win be iike? songs next to complete freak-outs. JC: Big . . . hot . . . kangaroos . . . and an enthusiastic Because of the effect it has on the audience or because of music scene. the affect it has on you? What do you like most about travelling? JC: Both. JC: Getting there. Does anything out of the ordinary happen to you and the What about new places - do they excite you? band on stage, any strange feelings or emotions. JC: Oh yeah. The last time we were in America we got to JC: We feel very united . . . er, quite often I’ll be looking at see a lot. Dave Balfe playing keyboards and I’ll just sort of drift off into Do you ever feel-cornered or trapped in the public image what he’s doing. Some reviewers have said I look aloof you’ve got? when I’m on stage, but I’m just sort of drifting . . . it’s quite JC: Hmmm, yeah, a bit — but I’m so I hard getting up on a stage. feel I’m still in control of it. It doesn’t bother me that much at In a recent article you said one of your aims was to be a the moment, altho’ it did a bit last year. sexual idiot. Have you come any closer to that aim? When Cope-mania was at its peak? JC: Yeah. I’ve sort of become a pinup in young girls’ JC: Yeah. That was quite frightening. magazmes and that’s great, I love it. It seems that Andy Warhol’s prediction that in the future Do you think there is a typical Teardrops fan? everyone will be famous for 15 minutes could quite directly JC: I think there is now — sort of sixteen year old girls and be applied to the British music scene at the moment. twenty year old boys who like the psychedelic element of it JC: Oh yeah, definitely. But we’ll go on a lot longer than that and some slightly older, 28-30 people. I think. Do you think your music is psychedelic? An interview with The Teardrop Were you pleased with the response to the ‘God Like JC: I think it has elements, but it’s more coherent. Genius Of Scott Waiker’ album you put together? Do you stiii take a lot of drugs? JC: Yeah. It was very well received and sold a few copies JC: Er, yeah, I suppose so, but not when I’m writing. It’s a Explodes mainman and turned out much as I’d hoped. difficult enough process trying to say something coherent Have you any plans to do something similar? without being flipped out at the same time.

Bang are making sound waves and a its mind and feet dint of their instrumental escapist concern doesn’t from ’s N.M.E. sound future. Since clothes’ which she wears music. sophistication and d Id crdold. wash with them either. going under the alias of their inception eight Bang’s line up is Carol melodic / anthematic As a machine with Carol — ‘I think what one Danny Baker went on months back out of Hitchcock, vocalist and compositions. Take for moving parts Bang w e’re trying to do is air on triple R to roundly Scratch Record neo albino asthenic ec­ instance ‘Military Tange’ a achieves what all in­ change people. It’s very disparage nearly all the Scratch, they’ve as­ tomorph, Wren Walters, rather sardonic little strumentalists aspire to­ trendy not to smile, it’s Australian bands he had sembled an engaging fender and high dance number which de­ wards; polyrhythmic very trendy to go out and seen except for two which and ebullient collage cheekbones, Nick scribes what happens to confluence layer upon be cynical and be ‘cool’. were Bang and Equal with presence and re­ Seymour, bass guitar and executive governments layer with anastatic pre­ That’s 1977 punk and Local. He very favourably whistle, Oleh Witer, when an economy be­ cision. The net effect is Melbourne, Australia still lavished praises upon freshing efficacy. To comes strike bound. Its them while dismissing wit their penchance for double snare and akin to simultaneous sol­ hasn’t got out of that. It perfect pompadour camouflage au go go! The oing without the shrill needs fun to make people that other ensemble arresting visuals and hairstyle. Laurie McRae, other tune that will shine dissonance one might smile. It’s just fun, it’s ‘The Shunters and In­ hard edge funk synthesiser and asiatic forth to display their eclat expect. The key is the fact instead of people stand­ spectors’. coupled with their ancestors and Tim is ‘Bedazzled’ brimming that their playing and ing there criticising us. Given the ban’s cur­ adept choice of when Rosewarne. Casio syn­ with elegant eroticism. composition are by de­ It’s to get people in­ rency in the English scene such an observa­ and where to play has thesisers and vocals. Essentially what dis­ finition an organic pro­ volved. Times are bad and them poised on the Musically it’s an energetic tinguishes Bang from the cess which amply facili­ people say you can’t es­ tion should have some threshold of rapid suc­ amalgam of jazz funk and other funk disco outfits is tates this fecundity. cape from things, right? credence. Bang, simply new dfsco, meticulously their consistently enter­ Wren, ‘it’s very organic, You can’t escape but who put are a definite cess and near cult ‘bang-up’. Rumbling like status. (Last year they arranged and reflecting taining set and lack of an the way it evolves is in­ wants to be told about the their astute stylistic overburdening malevo­ credibly organic. It’s like bad day they’ve just had? a Bangalore Torpedo this opened for Echo & the schema. Influences come there’s no huge precon­ People know they’ve had sextet is explosive! Easterbunnys and lence. Added to which thick and fast. Miles Carol projects a confi­ ception trip. It’s like we’re a bad day. They don’t Brecon Walsh Simple Minds at the Davis’ ‘On the Corner’, dence and warmth that doing what we do be­ want to be told about it. Jump Club). Of course the cybernetic funk of involves an audience in a cause that’s what we do.’ It’s not escapism, it’s N.B. ‘Bangalore Torpedo’ there’s more to It than Byrne and Eno abetted by way that is rare in these Entertainment is a something to entertain (from Bangalore, a city in just good managerial the guitar styles of Carlos days of cynical diffi-^ strong motivating factor people. They want to see India) in military usage, a strategy. They cer­ Alomar, Adrian Belew and dence. Visually they have in Bang’s approach to something to start with piece of metal tubing fil­ tainly make that point James Blood Ulmer. broken new ground with performance. They even though they want to led with high explosive, abundantly clear when These are not meant as the use of a large strongly rebut the worship, they want to re­ used especially to blast a you see their audi­ hard and fast references, maritime flag which sig­ suggestion that their late to someone on the path through a barbed more as like minded music is open to too deep stage and feel involved. wire entanglement or to ences really dancing nifies the word ‘Bang’. peers and mentors. The Carol also tends to adorn a scrutiny in terms of And not many bands detonate buried mines, with verve and obvious point is that Bang’s sen­ herself with an intriguing serious art per-se. Alter­ these days are doing from Websters 20th enthusiasm. Like the sibilities demand such array of what could be nately the inference that that.’ Century Dictionary, Un­ best new dance bands comparisons by sheer best described as ‘art mere dance music is an Someone reputedly abridged.

4 ROADR ingly sloppy stage act (good fun) and have absolutely no charisma at all. SUFFER r i s i n g They’re gonna be huge. YOUNG HOME BUYERS March sees the release of their first single, ‘Take One Step’ backed with ‘Polish Reggae Party’ and ‘Laughing Clown’ on ex-LRB David Briggs’ Rough Diamond label. Law­ INTEREST rence and Williams, sitting in the Roadrunner office cracking bad jokes and putting on funny voices, said they saw the single as an introduction to the band. ‘It’s a very straightforward, AM oriented pop ’ said Lawrence, without a hint of a blush. ‘If it’s a hit it’ll be a bonus.’ The Young Homebuyers tale is slightly unusual, in that Lawrence and Williams actually signed to Rough Diamond before they had a band. ‘David Briggs was the only person we met who was prepared to sign us on the strength of the songs’ said Williams. ‘We had a lot of interest from other pub­ lishers, but all the record companies wanted to see a band”. That was last June. The line up stabilised about six months ago and has been quietly building its audience in Melbourne ever since. ‘We got a lot of the Fabulaires audience initially’, says Nigel, ‘because of Greg and Mick and the fact that the Fabs used to do three of our songs and we do a couple that they used to do. But I’d say we’ve got our own audience now.’ Up till now Lawrence says, the Young “Hopefully there’s a market out there Homebuyers have concentrated on being a in the suburbs” says Nigel Lawrence, ‘credible band,’ and have avoided the comedy/parody style with which the first wistfully. There’s probably not much Young Homebuyers made their mark on cause for concern. The Young Adelaide radio audiences at the beginning of Homebuyers, Lawrence, fellow last year. Their demo tape of that time, which Greg Williams, ex-Fabulaires included a hilarious Redgum pisstake, Greg Champion and Mick Teakle, ex- ‘Wanking’, reached the top ten on non­ Dot drummer Tony Thornton and bassist commercial FM station 5MMM. Paul Zeising (all ex-Adelaide in one way ‘We don’t want to be part of the Melbourne or another) have great songs, a fetch- comedy/cabaret scene’ said Lawrence firmly. ‘We wanna be a band.’ Although they are the first to admit that they’re ‘serving their apprenticeship’ as performers, there’s no doubt that Lawrence and Williams are gifted , covering a wide spectrum of styles and topics, from catchy pop to reggae to and ‘no in n TO funk’. With David Briggs, ‘a man as big as his reputation’ according to Lawrence, behind them, and an increasingly polished live act, there’s every chance Young Homebuyers could be the next . PUYSWH! Donald Robertson.

According to lead singer, , Rose Tattoo will be doing some Australian shows before heading back to the U.K. at the end of April. Although tour plans were not TOUR DATES — 1982 finalised when I talked to him, he said they’d probably be doing a couple of shows in each state. (Entertainment Centre) March 15; There has been much speculation Adelaide (Thebarton Town Hall) March 18; ‘ Tiger’ musical about the Tatt’s hurried return to Aus- (Town Hall) March 20; Richard Clapton, ultimately the artist has to almost a forgotten style, and ‘Flow In Motion’ traiia iate last year which saw them biow (Town Hall) March 21; Christchurch (Town Hall) wear the consequences of is descriptive ode to the out the finai leg of a successful British March 23; Dunedin (Town Hall) March 24; figure in Australian rock an album.’ joy of movement. tour. All Anderson would say about it was, Brisbane (Festival Hall) March 26; Sydney over the past few years, Doing ‘Underneath the The Bobby Fuller Four’s ‘I can’t teil you’. He eiaborated: ‘It goes (Capitol Theatre) March 29, 30; Melbourne is set to bounce back in Colours’ resulted in what 7 Fought The Law’, into the sort of area that I decided a iong (Festival Hall) April 5. a big way. With a Clapton terms ‘a lot of (recently revived by the time ago was not going to be touched by PRETENDERS cross-pollination of Wellington (Opera House) March 13; Auckland powerful new album, Clash, although Clapton what I do. It’s a small area, but a private (Logan Campbell Centre) March 14; Melbourne ‘The Great Escape’, musical influences and says he was unaware of one.’ ideas’ between himself () March 16; Brisbane (Cloudland new record company that until after the song He was however more than happy to Ballroom) March 20; Sydney (Capitol Theatre) and the members of INXS. had been recorded), is talk about Rose Tattoo’s overseas suc­ March 22, 23; (Canberra Theatre) WEA, new agency Dirty ‘In order to do an album Pool, new manager Jon perhaps the most cess — somewhat surprising in view of March 26; Adelaide (Festival Theatre) March with them I felt I had to surprising inclusion, their iess than huge Australian popuiar- 28; Perth (Entertainment Centre) March 30. Blanchfield and new fully explore their musical although Clapton and the ity. SHAKIN’ STEVENS band, it’s all change influences’, he said. ‘And band, do it full justice. ‘I don’t know, but it seems that to Brisbane (Festival Hall) March 13; Sydney and full steam ahead their influences are really ‘ (producer) become successful here there are certain (Capitol Theatre) March 17; Melbourne (Palais Theatre) March 19; Newcastle (Civic Theatre) for Australia’s most diverse. Michael asked me why I’d never things you have to do that minimize your Hutchence and Andrew March 22; Canberra (Canberra Theatre) March significant singer done a , and, chances overseas. I think you have to 25; Adelaide (Thebarton Town Hall) April 2; songwriter of the mid Farris’ tastes are very left well, it had just never become too bland. Because all of the of centre and I got into Perth (Entertainment Centre) April 5. seventies. come up.’ Clapton said. ‘I bands that are huge here have very little LEO KOTTKE/ some pretty obscure stuff was in this record store in vibe overseas.’ Clapton hasn’t exactly that I hadn’t really gotten LEON REDBONE been idle over the past Sydney that only sells Angry’s expianation for the Tatt’s im­ Perth (Concert Hall) March 19; Adelaide into before.’ records from before 1970 pact is simple. ‘We delivered,’ he said. twelve months though. However if the INXS (Festival Theatre) March 22; Melbourne (Dallas After touring with INXS and got into this rave with ‘We are twice the band over there that we Brooks Hall) March 24; Sydney (Capitol influence is anywhere to early last year, he the owner who was like a ever were here. We’re a lot more outta Theatre) March 26; Brisbane (Her Majesty’s) be seen on ‘The Great \yalking rock encyclopedia. control now. All the things I used to get March 31. produced their single ‘The Escape’ it’s more in terms Loved One’, opened And I just got really hassied for, spitting on the stage, swear­ ELTON JOHN of attitude and approach, excited, bought the single, ing, acting iike a drunken fool — they’re Wellington (Athletic Park) March 10; Auckland negotiations with WEA, did rather than in any direct three months work on ‘The rushed back to the studio O.K. there, as long as you deliver. I mean (Western Springs) March 13; Sydney (Hordern musical sense. Although and we recorded it you could get up and shit on the stage as Pavilion) March 16, 17, 18; Brisbane (Festival Great Escape’, broke off INXS skinsman John Hall) March 23, 24; Melbourne (Festival Hall) to produce the INXS virtually straight away.’ iong as you did it with style. March 29, 30; Adelaide (Memorial Drive) April 3; Farris features on three With his new band, European audiences have been a major album, ‘Underneath The tracks and bassplayer Perth (Entertainment Centre) April 7 Colours’ and then finished (gtr), factor in the transformation of the band. Garry Gary is on one, it’s Graham Thompson (bass ‘We’ve aiways had our own internai off his own album just still very much a Richard Perth (Entertainment Centre) March 20; — ex-Big Combo), Mark source of energy’, says Angry. ‘But over Adelaide (Thebarton Town Hall) March 23; after Xmas. Clapton album. Clapton’s involvement Meyer (drums), Cos there we didn’t have to use it. There Melbourne (Ritchies Council Club Hotel) with INXS goes back ‘It’s not necessarily a Russo (keyboards) and audiences suppiied more than we couid (Ritchies Hotel/Preston) March 26, (The Mary Bradfield (backing handie. I mean they give you so much, Venue/St. Kilda) March 27, (The Pier almost two years and he rock’n’roll album’ he says. Hotel/Frankston) March 28, (Mystery Gig) March put in a lot of groundwork ‘It’s more a feels album. I vocals), Clapton is nearly you can’t heip but give them anything they want.’ 29; Sydney (Selinas, Coogee Bay) March 31, to achieve the desired think over the past couple at the end of a six week (Manly Vale Hotel) April 1, (Family Hotel) April result with ‘Underneath of years I’ve just become pub tour, and after a break Angry isn’t letting the aduiation go to 2; Brisbane (To be advised) April 4. The Colours’. more interested in the will be doing a series of his head however. ‘We’re trying to take it THE TEARDROP EXPLODES ‘In order to represent foundations of my music.’ concerts. He says he’s as caimly as possibie. So that heads don’t Gold Coast (Bombay Rock) March 18; Brisbane the band fairly I felt I had Thankfully the new going to be playing a lot get outta shape. There’s no room for that (4zzz Cloudland) March 19; Mooloolaba to get into all their heads.’ foundations are not so this year and is hoping in the band — which is why we’ve had iine (Thompsons Hotel) March 20; Sydney he said, over the phone extreme as to interfere that this current band will up changes in the past. To us it’s a very (Paddington Town Hall) March 21; Sydney from Sydney. ‘I see the with Clapton’s . stick together and do the heartfeit thing being a Tatt. It’s a brother­ (Sundowner) March 22; Sydney (Family Inn) next album. hood thing.’ , March 23; Melbourne (Jump Club) March 25; role of a producer as Because, as one would Melbourne (Chevron Hotel) March 26; interpreting what the artist hope, Clapton’s ability to ‘This album is one of And he feels the Tatts have only half transition’, Clapton admits. realised their potential. ‘If the States later Melbourne (The Ballroom, St. Kilda) March 27; wants, no more. I knew evoke images and Melbourne (Prospect Hill Hotel/Kew ‘‘The how to make a record situations is .still as potent ‘I really did feel I was this year goes the way everyone is Warehouse” ) March 28; N.S.W. (Doyalson because I’ve had the flying as ever. ‘I Am An Island’ getting in a bit of a rut. But predicting . . . it’s going to be right over R.S.L.) March 30; Sydney (Tivoli) June 1; time, and I felt it was is a great lost-love song, I’m excited about the top.’ Sydney (The Vicar Of Wakefield) June 2; important for INXS to be ‘Best Years Of Our Lives’ everything again now.’ Somehow I think here’s more than a Sydney (The Manly Vale Hotel) June 3; Sydney untainted by outside is a tender slice of He has every reason. grain of truth in that assertion. (Bondi Regis/Astra) June 4; Sydney (The influences. Because nostalgia, down to the Donald Robertson. Donald Robertson. Bayview Tavern) June 5.

ROAORUNNER 5 Have All The Luck’ languishes outside the top thirty. Ah well — no accounting for no taste, as the old saying goes. Meanwhile, The Jam come in at number one with another copy of something you’ve heard before (they’re getting good at that). No — it’s to the you have to turn to find anything happening, in these days of disastrous sales figures and M s corporate hysteria in the unending search for even a slight upturn in the number of units passing over the counter. And in the LP stakes, you find, pre-eminently, Japan, whose second LP for Virgin, “ Tin Drum’:, really is something worth the time and trouble. It clearly carries on where “ ’’ left off, and sounds just as much like Bryan Ferry as he ever did, but the band have progressed, the songs are more strongly focused, tighter knit, and the extra depth of interest brought about through the introduction of various synth and percussion effects is heartening. It’s a well-thought-out record with lots of things and ideas that are worth returning to. Most immediately impressive, perhaps, is the track ‘Ghosts’, which combines a generous helping of sculpted sound and effects across a very slow ballad rhythm, as well as a truly memorable >90 chorus. It’s not wildly commercial, and could never be a single, but it stands out nonetheless. Something else I have to admit I was a bit slow to pick up on through sheer indolence, but which is worth all the rest put together, with a few notable exceptions, was the Simple Minds double LP special Virgin did late last year, “Sons & Fascination” — both albums reveal a beautifully balanced ■S band overflowing with strong musical and lyrical ideas, and each track was a little treat buried in it, waiting to hit the unsuspecting listener over the head. The single from the LP, ‘Love Song’, bombed, of course. Still, Simple Minds 'f^ have a very solid following here, and have of course established a foothold in Oz with their tours, so it would only be a matter of time. By the way, they’ve just released another album, this time on Polydor in this country. More on that when I’ve scrounged a copy of it. / Also new is the X.T.C. double-album, “English Settle­ ment” , which shows a definite retreat from the harsh sound and farrulousness of Black Sea towards the subtlety of Drums & Wires. It’s extremely varied, rather uneven, but rewarding in its own way. Now that XTC have broken through at last as a successful singles band in the U.K., it’ll probably do very nicely for them. Certainly they can pull singles off this one till the cows come home. Colin Moulding takes a much bigger share of the composers’ credits here than on the last outing, which is probably a good thing. But I seem to remember it being this bad this time last Shakin’ Stevens and his ilk. And if it isn’t that, it’s The then again, there’s twice as much music, so I guess the balance hasn’t shifted significantly. year . . . Mobiles (perhaps the worst band of the year, and it’s only 6 weeks old) or some other bunch of hopeful no-hopers. That’s about it. Blue Rondo A La Turk have put out a Really, the music being played on the radio at the single, “Klaktoveesedstien” , which happens to be the title moment is a disgrace. So much rubbish. If it’s not the Meanwhile, a good single (admittedly heavily played on the radio for a while) like Bob Palmer’s remake of ‘Some Guys of an old Charlie Parker song from the late forties (just as nausea of Jon & Vangelis it’s the musical retreads of the band’s name is from a Dave Brubeck track from the early 60’s), but all that past glory doesn’t make it good, or even particularly interesting. Well — there you are. The record industry flounders on; England flounders on; more people get made redundant & fewer can afford to buy food, let alone records, let alone Life After London boring records. It’sthe way of this world, at least, at present. by Keith Shadwick Maybe spring will change that a bit. Let’s hope so.

Lurking in the depths of writing skills and their overall came equal firsfin the attitude about playing as a band, song-writing department. the Adelaide music culture All the band members write, lies a band that has a future. not as individuals. As is usual with three piece together and separately, and the Not an Adelaide future but bands, the sparseness of sound 60’s sounds of Campbell, the perhaps an Australian one. and restricted arrangements for 70’s rock of Venn, the serious The Paramours have a long the new songs prompted them thoughts of Kennedy and the and interesting history. They first to add another guitarist and Phil added inspiration of Harrison all got together in late 1978 in the Rawlins on keyboards. This mould together to make an usual manner of most lineup never got out of the original blend of rock’n’roll. inexperienced , just as garage before Venn quit again The songs are certainly in the friends jamming. The band then because he wasn’t satisfied that pop mode but played in a consisted of Phil Rawlins it would work. The other four personal style by the band. It’s (vocals), Lloyd Campbell went on practising for a short in the same vein as the (guitar), Malcolm Venn (guitar), time, but soon parted due to and Church, but with Michael Kennedy (bass) and endless bickering. a twist. They come across live Nigel Harrison (drums). as a band with guts and integrity PARAMOURS They practised for nearly a While all this was going on, and willing to take risks. No one year and held their debut at the Lloyd Campbell and Nigel smiles, its as though the world is Centralia Hotel in December Harrison had continued the about to end and they are trying 1979. Through early 1980 they Paramours with the addition of to grab the last bit of rock’n’roll played six gigs together, but three new members. They fun. Not since Young Modern eventually Malcolm Venn split practiced all through 1980 and and the Units has a band through “musical differences” eventually did their first gig on forgotten about “cool” and followed closely by Phil Rawlins New Year’s Eve. All through played the music they love, in a and Michael Kennedy. early 1981 they played around professional manner. The next step was the three Adelaide, trying to find some The Paramours have just ex members getting together direction in their set of half signed to be one of the with Sid from Adelaide’s premier originals and half covers. exclusive 8 bands on Adelaide’s punk band the Accountants. Eventually Tim Eaton the singer Central Booking Agency books. Venn soon found he wasn’t left and they held auditions. This means they will not have to fitting in musically with the other Malcolm Venn having given up compete with big, interstate members and through the “The Blessed” and being tired of bands for crowds. They will frustration of trying to find a playing guitar, auditioned and either be playing with them or drummer, he quit. The rest soon got the job. Things started not at all. Gigs will be planned fell apart. looking brighter and after playing 4-5 weeks in advance. There Venn then set out to show a few gigs, the decision was will be no worries about hassling people that he wasn’t as useless made to dispense with Tim Sibly for gigs and thinking “its four as some people regarded him. (guitar) and Alex Kristie (bass) weeks since we last played” . It He sat in his room, practiced his and bring in Michael Kennedy is an all out attack on the singing, guitar playing and wrote on bass and Venn would go Adelaide public to try and gauge some songs. In August of 1980 back to guitar. This brought the some reactions and following he went into the studio and with Paramours back full circle. It before moving interstate, if some session musicians recorded “In was only on a trial basis, but it interest is aroused. r my head”. After sending the worked out well and after a i f i tape to 5MMM and receiving month of practice the band I’ll let Malcolm Venn sum up much , it reached No. 10 made its debut at the 5MMM on his thoughts of the on the Top 41. This in turn rock off, with the line-up of Paramours — “ I would like to created a demand for “The Malcolm Venn (vocals and think that the Paramours convey Blessed” , the name under which guitar), Lloyd Campbell (guitar), a sense of emotional the tape was submitted, so Michael Kennedy (bass) and desperation that seems relevant within six weeks he had Nigel Harrison (drums). to today’s society and kids” . recruited Michael Kennedy on The band didn’t make the “Moments of Passion bass and Andrew Dennis on finals, perhaps due to the Moments of Fear drums, to play around Adelaide. nerves of various members, but Moments of Tenderness The Blessed was a vehicle for they put on a very good They seem so near” Venn’s early 70’s pop performance. A consolation Campbell influences. It was also a place prize was the success of the Flaming Velvets music 1981 that Venn and Kennedy used to Campbell/Sibley composition Internal Music 1981 improve their musicianship, song “Bobby’s got a gun” which Chris Dunn 6 ROAbfHJklfiEtT'

Nathan D. Brenner Presents

IN CONCERT MARCH t a E' n o c h a ^ PERTH SAT. 20th PERTH ENTERTAINMENT CENTRE SYDNEY ADELAIDE W E D 31st SELINA'S TUES. 23rd THE BARTO N APRIL T O W N HALL T H U R . 1st M A N LY VALE M E LB HOTEL FRI. 26th RITCHIE'S FRI. 2nd FAMILY HOTEL N IT ^ S P O T SAT. 27th T H E VENUE QUEENSLAND SAT 3R D PLAYROOM S U N . 28th PIER H O TEL SUN 4TH FESTIVAL HALL FRANKSTON BRISBANE M O N .2 9 th I CLUB CHEVRON

i

SINGLE ' OUT NOW - ALBUM TIME AND TIDE' OUT IN APRIL

8 nOADPtVNN£ft 1 Kim Wilde

Portrait Of A Pop Princess By Chris Salewicz.

tea in both hands in an attempt to keep warm in seems lotaiiy devoid of the personality detects in lexing her feet in their black Dr Martens, Kim the chilly room. which many of her little rich kid counterparts in Wilde sits in an orderly, wholesome manner at As she speaks through her Bardot-like Cupid Hollywood wilfully wallow. one end of a carefully battered, brown leather lips, she snuffles through a bad head cold that “I think,” she considers, arching her strongly defined eyebrows and flicking her lion’s mane of hair four-seater couch In the St John’s Wood office of doesn’t disguise the fact that her speech is as back behind her shoulders, “that not being loved by , her manager and the boss of Rak untainted by any accent as her healthy, apple­ your parents or not having a brother or not being liked Records for whom she records. eating skin is unblemished by any hint of at school or even wearing glasses can be a lot worse excessive living. than having a famous father. She wears an old pair of Johnson’s black In fact, for the eldest child of one of Britain’s “Also, although I always knew dad was famous, I grew up with him declining in fame. By the time I was cotton pants, a black top, and a three-button, foremost early rock’n’rollers, Kim Wilde is almost about nine he was just a musical father who did gigs black leather jacket draped over her shoulders, disarmingly normal, as well-balanced as the and made records and occasionally appeared on TV. into which she huddles as she clasps a mug of constituent parts of organic shampoo. She “That’s why I wasn’t precocious or pretentious -

ROADRUNNER 9 didn’t have anything to be precocious or pretentious teens oblivious to the painful things you go through, a dog and she didn’t even know it. But perhaps she was about. It wasn’t like he was a big star in a big house ^c au s e you only learn from the horrible things. genuinely upset. Perhaps I was being really horrible. being visited by loads of famous people. We lived in a what do you remember as horrible things? Maybe I’m just a hard bitch. little house in Greenwich and lived a very normal sort I remember feeling unattractive, and feeling my I always thought I was as soft as shit. But when I of life.” personality was unattractive. Wishing I wasn’t who I heard that an alsatian had eaten Quinto The Dog, I was. Wishing I didn’t live in a big house. Wishing the came out with all these gags about Quinto pate and boys fancied me instead of Susan Smart down the road Quinto cutlets everytime we went to eat a meal. It was . . . That kind of shit. always me making the gags. I think everyone thought I I got plunged into it when I entered my secondary was really horrible. school. All through that I had a big chip, until I got to the What was the last significant dream you had? sixth form. Then suddenly when I was about sixteen or It was about Adam Ant (giggles). And I won’t tell you seventeen it became okay. That was great. what happened. I think it was all about something else. I was quite well liked at school, though. I had a best It wasn’t particularly significant, actually. friend. There was a good atmosphere. In fact, I seem to I have quite good dreams, in fact. The only dream I ve M^s do all daughters who are a little bit in love with have gone through my whole life with people saying to ever had that kept coming back — which j don’t have their fathers, Kim glows with adoring memories me, ‘God, you’re nothing like I expected you to be!’ anyrttbre — was really horrible. I’d be lying in bed in the whenever is mentioned the subject of — And I don’t owe that to my own wonderful personal­ dark, and there’d be rats running over the bed. I could he is exactly twice of her tw(enty-one years. She ity, but to the very fact that I’ve been brought up well. feel the bumps. So I’d just get the blankets all around admits to a vague regret that she is never able to say to me, and wait until the rats had gone away. his face the admiration and appreciation which she can You were at St Albans art college. Did you finish your I was about ten then. I was quite a frightened person. express for him in the more objective atmosphere of course? Like most young people. interviews. In a manner of speaking. I got a bit bored with it at the But I’m not anymore. But she can chuckle at the TV soap opera-like cliche end — it was only a one-year foundation course. And that is the Wilde family showbiz affair: father on lyrics, everything seemed to be falling almost into some kind How did you feel about your brother’s early leap for younger brother Ricky on music and production, of plan: I left school and got accepted into St Albans stardom? mother on occasional backing vocals, daughter sing­ quite by chance, and by the end of my time there I was I was jealous. Especially when a film crew came ing lead. It almost appears like a propaganda exercise doing vocal backings and had recorded ‘Kids’. round to do something on him. I remember just sitting for the family unit. there being totally ignored, and all these big plans were She signed with Rak Records after her brother had Did you used to go to a lot of gigs? I was never a great gig-goer. I was more into records being made for Ricky. sought advice from Jonathan King as to which was the and music. At college I was into , and a guy I never disliked him for it. I directed the jealously best label of several that had offered Kim a deal: Ricky called Clive Pig who made great records round St more at myself. I suffered into myself. It didn’t spoil our himself prepubescently had been signed to King’s UK Albans like ‘Happy Birthday Sweet Sixteen’. You must relationship. We’ve always had a really good one. operation in the early 70s in an abortive attempt to have heard it — it’s really good. The only band I went to It just hurt a bit sometimes, because even then I become a British rival to the then hugely successful see when I was at St Albans was Madness. I loved all knew what I wanted to do. I wanted to be famous. I don’t Donny Osmond/David Cassidy school of teenybop that ska, because I thought it was really good dance know why, but I wanted it very badly. A very strange idols. music. feeling. And Rak too is a family business: in his role as one of When I was at college PIL were quite fashionable Was that because of your ego? the most renowned pluggers in the country, Mickie with a lot of the punky kind of people. Every party I went I think it must have been, because I was very loved. Most’s brother Dave is an essential part of the to ‘Metal Box’ were always on. I even went to a dinner Not because I wanted to be loved by the public, like company. party once and it was on ail the way through. It made some little orphan. It must have been something a bit Behind the couch on which Kim sits is Ihe visible me feel really ill. I thought it was horrible. more than that something pretty fundamental. It’s proof of his efforts an ostentatious wailful of silver and It just took me a long time to catch on, because one quite frightening, really. It’s been a strong force gold singles: in amongst the Smokie, Hot Chocolate minute I hated it and the next I thought it was really throughout my life. It was something that kept me and records, ‘Chequered Love’ and Kim’s good. But I’m glad I didn’t like it just because everyone going. I don’t know if I created it, or if it was always first 45, ‘’, are found to have earnt both else was liking it. I still think some of it’s a total dirge. I there. first and second class awards. can’t like a band because everyone else likes them. It’s uncanny, because it happened. On the opposite wail are the silver and gold albums Have you been trying to write songs yourself? awarded to the shrewdly successful Rak pure pop No, I haven’t tried very hard at all. It’s something I empire. A silver disc for the Kim Wilde album is already desperately want to do. Perhaps that’s why I haven’t up there. Beneath it, leaning against the wall, is the done it. Because I want to do it very, very well. newly arrived gold LP, solid confirmation of the status I play the , and I can play the guitar at a push. of the father-and-son songwriting team. I’m going to try and get more involved in writing with Their astute, compulsively addictive hit permuta­ my brother and father, and see if I can build up some tions are the ‘Raiders Of The Lost Ark’ of the seven inch kind of idea of what I want my songwriting to be about. I single — and like that film, their songs, which bounce want to write a brilliant standard with my first effort. I and bustle with so many hooks and allusions to past ^ ) o how do you feel about it suddenly being hip to like just have these ridiculously high standards . . . about hits they almost might have been compiled by K-Tel, Kim Wilde? most things, in fact, but particularly about songwriting. are no less enjoyable for these reference points, which I don’t know. I don’t really like to think about it too That’s the sort of thing that stops me — that simply provide a springboard for the number’s total much. I’d rather they did than they didn’t. self-destructive element that won’t let me do it unless content. I feel maybe it’s some sort of kitsch appeal. But I it’s perfect. think sometimes you can take too seriously the fact Before I became what I am now, I wanted that as that they look at you like that. It’s no big deal. There’s badly as I wanted to songwrite now. And now[ I’m doing no big problem about it. it. That gave me a lot of confidence, and now I have / think Bucks Fizz are pretty awful, but they have this faith that perhaps the songwriting will come that way, kitsch appeal. When I’m driving my car and a Bucks too. Fizz song comes on the radio, I think, ‘Oh yes what a It might be worth waiting for. horrible record!’ But I like humming it and I like seeing Did you used to feel in a great rush? that blonde girl with the long legs. I did. Now I don’t. I feel a lot better about things. I feel K^bviously yours is a very close-knit family. I think that’s a valid reason. If you like them, you like very good. Yeah, There don’t seem to be any major hassles when them — it’s just gut reaction. we do things together. Everything seems to fit together Do you agree that people are far too concerned about very well — when we’re in the studio, for example. I what they think they ought to like? don’t know if it is because we’re family, but our minds Very much so. It annoys me sometimes. always seem to be working on the same level, all Generally I either like something or I don’t. I don’t looking for the same thing. find myself liking something I think is terrible just Sometimes it’s all a bit too much, but then I think because everyone else likes it. there’s plenty of working situations with peopleivho But obviously, if everyone’s raving about the Joy aren’t family where there’s a lot of tension, too. Division album you feel sympathetic towards it. So It just happens to be the situation I’m in. many of your good friends are into them that you think, W.hat do you think to the way the feminist movement I still live at home with my parents. But because I’m ‘Oh, there must be something about this band: I’m not has gone? travelling a lot of the time I no longer get into the going to cut myself off from them entirely.’ Which is I don’t think women have treated it with respect. situation where I can’t wait to leave home, like I did what I did for a long time. They’ve abused it, and made it into something quite when I was about sixteen. I just found that the fact that everyone was raving laughable, and quite vulgar. They somehow come Mind you, I enjoy my privacy, but I find I’m not getting about them, and the fact that that guy had died, was so across as being so superior, and I don’t like people enough time on my own, and I have to divide it with my sick and pathetic that it totally turned me off them. I who think they’re superior to other people. I have friends. wasn’t going to listen to their music because I had this strong opinions about people being themselves, and Has the attitude of your friends altered towards you in preconceived idea about how shit they were going to not being undermined because of their sex... But I do the past year? be, and that they just made it big on some poor guy’s think they’ve fucked it up. No, they haven’t changed towards me. I often wonder death. It just reeks of frustration. There’s also an uneasy what they think. I try to put myself in their situation: I So who are you listening to? line between gay women and liberated women. Why always end up thinking what a weird experience it must I like stuff like Frank Sinatra. My dad’s got about 100 not just find yourself? You’ve got your life — you be for them: you’re ail sitting there together and then albums of his. ‘Songs For Swinging Lovers’ was the should just sort yourself out th e re .. .though I’ve given someone comes up and asks one of your best friends first album of his that I got into. There’s one that’s up with any illusions about changing the world. for her autograph. really great called ‘Only The Lonely’. It’s got a great Who’s your ideal woman? Do you have any female There’s something quite absurd about it. cover. I can really admire a good design. I was role-models? Did your father instil certain rules of life into you? hopeless myself at it at art school, but I can really They vary. One minute it’s Joan of Arc, the next it’s He did. I always felt more adult than my friends. I appreciate good stuff. It’s something I’m not very good Marilyn Monroe. I’m divided between the two extremes always enjoyed their company, though. I never felt I at that I shall endeavour to do something about. — the heroism and power of the one, and the cuteness wanted to be with older people just because I grew up a Do you think there’s a lot of good design around at the and beauty of the other. bit quicker. moment? I’m very, very aware of women and their beauty. I’m But I always thought I had a bit more suss. And I did I think a lot of it’s nicked from 50s designs. But I do interested in looking at beautiful women. I enjoy have more suss. I had perceptive and intelligent like to see anything that is well done, even if it is a looking at old pictures of women because they took a parents, especially my father. Though each of my rip-off. lot more care in those days. parents have their merits: my mother isn’t a great So was your dad very into Sinantra? I just think nowadays people waste what they have, intellectual, but she knows about people and has a lot He must have been. He has more Sinatra albums waste what’s there, by abusing themselves and not of assurance and intelligence and commonsense. than Elvis ones— those two are his biggest heroes, his taking enough care. People looked so much more They were always there telling us why things earliest raves. He was a very romantic young man. He beautiful in the 40s and 50s. That’s why people go back happened. They were great. They really did help me get got married when he was twenty-one — idiot! laughs: to that era all the time, it’ll never be like that again. through it. (Tee-hee-hee) For example. I’ve never met anyone who Isn’t My father didn’t sit down and give me lessons. He We used to see Billy Fury a lot. He’s a very private fascinated by Marilyn Monroe. I don’t mention her just gave me an insight into a lot of people’s jealousies, person. much . . . I avoid talking about her, as I did about which is basically what a lot of it came down to. If i remember he had a deer he’d found injured on the Biondie when I first started: much as I love Debbie there’s anyone hurting you, it’s very often to do with road, and he wanted to look after it. He brought it over Harry, I just kept it quiet. I thinkDebbie Harry’s magic. that. to our house, because we’d got some kennels. But Marilyn took such good pictures. She was such a He gave me the ability to reason things out and unfortunately it died, and I’ve never seen anyone so good model. I really admire her for that. I don’t think understand things like that. upset in my life. people respect that part of her enough. And I’ll be eternally grateful for it as well. It really I can’t get upset about things like that, though I’m not I’ve had my picture taken so many times I can really helps now. hard, or cruel or anything . . . But I dunno, though . . . i respect someone who’s still able to get it across like So he helped you have more self-confidence. sometimes wonder at myself: when I was on a ski-ing that. It’s not just natural. He did in that way, but not in a lot of other ways. I holiday just recently there was this little dog that I’m only learning how to do it. didn’t grow up strong, tough and resilient at ail. It was everyone made friends with, and we called it Quinto. What did you have for breakfast this morning? just that some things he taught me made things easier, One morning one of the girls woke up and saw this A boiled egg. and right up until now they’re really helping me. It’s alsatian eating it ouside in the snow. I thought it was What’s your favourite breakfast? gradually given me more confidence. It didn’t suddenly hysterical at the time. A cup of tea. appear like magic, unfortunately. . . But fortunately as But one of the girls got very upset about it. I thought What’s your favourite colour? well: I wouldn’t have liked to have gone through my she was being pretentious, though, because it was just Black.

10 ROADRUNNER #%%> ''h/ + * <^t; ^ <|ft, >,

Pic. Bob King

Don’t you feel ridiculous chances of a sizeable walk-up to have what could be rooster and hen fighting?’ It’s he’s less in some ways smart wearing inverted geranium tonight). Still wrestling with interpreted as a pretty amazing! Everything’s upside now than he used to be and that technology, I ask Mark derogatory attitude towards down. We’re commenting on the he is basically degenerating. pots? Mothersbaugh and Jerry Casale No. Perhaps not the best women. Like in. . . nature of society the same way Mark: (with enthusiasm that if they’d enjoyed appearing on Mark: Now, now, now there. Fellini did with Italian society. almost knocks me off the chair) way to start. But things aren’t Countdown. They say yes, as too rosy for Devo at the Women don’t get singled out in Out films are surrealistic dips Right! It’s not being the centre of much as we enjoy people our films. Men get just as bad a the universe but thinking that moment. It’s 1 pm on an that have a definite sense of smoking. Score 1-Tourists. treatment. Our case is with the humour and satire that would you are—that’s what gets most unseasonally cold day. At On the show the boys had human mind or lack of it on this only escape Philistines and people into trouble! least the wind’s died down told Molly that they’d heard planet. cretins and THAT’S EXACTLY though storm clouds still strange things about Adelaide. Do you think Devo is Some of that sounds WHERE WE’RE AT! pessimistic, but I’ve heard you threaten. Monday 15th This stirred Molly’s sense of misinterpreted too often? For You were quoted in New York nationalism and he cleverly instance the way ‘Whip It’ was describe yourseives as February ‘Devo Live’, as saying Devo is a musicai optimists.. . replied, “There’s nothing strange initiaily interpreted by some as a outdoors, at Memorial Drive. iaxative for a constipated Jerry: We’re neither. We’re about Adelaide’’. There’s SM song? society. . . Earlier today one gust sent realists! probably nothing too strange Jerry: Oh, year, you know we Jerry: Oh . . . you read that! the stage canopy sailing. about Molly either. But it’s time kind of expect it cause Weil being realists, how much . . . Yeah! faith in human nature do you Frantic road crews bail out to blow my cover. . . everything in this society is up Jerry: Well, that’s right. Listen, conveyer belts and saturated I’m not really from 5MMM-FM side down. It’s hard to explain, have to change all that? I’ll own up to that quote. I did Jerry: (long, long pause) The projectors. Enthusiasm is at all, but from the secret but what is taken to be decent say that. human being always responds dampened, to say the least. society of young women we and upright entertainment is in Do you find continuaily at the last possible second for Worse still, less than one third have here: our minds soft core filth and explaining your concepts, your of the 10,000 available tickets Jerry: Yeah, we did want to what is taken to be obscene is his own survival and we’re ideas, frustrating? Do you get merely suggesting that we’re have sold. A tribute to the know about that. Molly didn’t usually the good stuff. So it sick of it? promoters. Typical of what can seem to know anything about it makes sense that the same reaching a point in history where Jerry: Well it gets frustrating, I treating things in that way isn’t happen to any international act but you wouldn’t expect HIM to. people who like to watch Rod don’t get sick of it. But it does sufficient. So, therefore, in order who wear out their tolerance for What have you heard about Stewart on the ground singing get frustrating when you’re not to respond at the last possible press in the eastern states the society? from between a woman’s spread absolutely lucid about the best moment now, you’ve got to go a where most concerts could sell Jerry: We heard that they legs something about GETTIN’ possible way to describe things, out on a rumour. rented three or four houses and IT—and they love that!—would little further, cause the last you know, you’re not always possible moment is going to Dear old Adelaide. Dear old that they lived in groups. Kinda be the same people who watch good at it. Year, it’s kind of occur sooner than most people Devo. Dear old cannon plugs like random bands like that one ‘Whip It’ and go, ‘Oh Devo’s DEmoralising. that never fit into the Slits video. And that they stuck whipping a woman. Why, this is think it is. Weil, basically, DEvolution. . . And what about the human Superscope when they’re together. These are women who derogatory toward the woman.’ Jerry: . . . yeah . . . race. Where does that fit into supposed to. Dear old elbow like each other. They don’t live They’re also the same people What’s the shortest possible the whole overall scheme of that keeps leaning on the pause for men. They are not who like to watch Olivia Newton way to describe it? things? button. Oh dear! competitive. They consider their John do the splits with a camera Jerry: Ah, ha (deep breath) Man Jerry: The Black Hole!—it’s I’m reminded of THE sex superior and they use men coming up through a glass floor is not the centre of the universe. going to trickle right out the PHONER coming through at for what they’re good for. and then watch ‘Love Without He’s not the highest, most 1.15. Devo have relented to the In some of your songs and Anger’ and say, ‘How can they bottom . . . Well, no. It’s just that evolved being on the planet. it seems safe to say that the demands of the press (or the some of your filmclips you seem show a man and a woman as a He’s losing his capacities. That future will look more like ‘Planet of the Apes’ than it will Sir Thomas More’s ‘Utopia’. Devo’s idea of communication. You’re interested in the dissemination of information. JERKIN' Jerry: That will be the thing that saves us most from the path we’re on. How do you feei about Wiiiiam S. Burroughs writing that ‘communication must become totai and conscious BACK'NTORTH before we can stop it’ and that ‘modern man has iost the option of siience’? Jerry: That’s a Zen idea and William is even more Zen-like than he is aware of himself, I Jenny Eather gets 15 minutes of think. He also loves to play with other people’s ideas-ha ha—he loves to upset them, and that’s a nice upsetting thought. On a Adult Education from J e rry & M ark pragmatic level it’s more like Bucky Fuller’s idea to us. It’s like the planet is your vehicle, your spaceship and no one has from DEVO. the instructions. You should ROADRUNNEP 11 Laughing Clowns

by Toby Cluechaz.

Adelaide’s demoralizing heatwave ruary 13th. I need a hill, I need a hill, to We’re not a bunch of crusaders taking the TC: Last night’s audience was quite polite continues, and my car is slowly driving help start the crying piece of dynamic jazz message to the world, it’s a fairly and attentive, is that the usual response individual statement the band is trying to me mad. I can’t see the sign for the obsolescence. A city built on a coastal you get? m^k© KUEPPER; No, elsewhere it’s a bit more hedgerow. The date is, Saturday, Feb- plain has few hills, except for those usually found in the background. Luckily TC: Are you going to plod away at the rock vocal, then again we have only played here circuit, or are you going to stretch out and twice in the last eight months. Last night’s the main fluorescent drag leading into play other types of venues? audience was like a lunch time university Adelaide slopes; the motel where the KUEPPER: Well, the main problem is be­ audience. Laughing Clowns are residing is in the cause we’re not a serious band we can’t play TC: How is Prince Melon Records struc­ immediate area. in a Ibt of other places. Rock venues are, tured, are members of the band the only Mr Ed Kuepper has a soft voice and a convenient but I would like to get out of them participants or is there some outside dry wit, why don’t I write for Soldier Of for sure, most of them are total dives. It involvement as well? Are there moves Fortune magazine?, he says matter of doesn’t seem feasible for us to leave that afoot to expand operations in terms of factly. Oh well, one man’s meat is circuit, the amount of effort that is involved in releasing other bands on the label? another’s poison. The time is 3 o’clock setting up alternative venues is too much for KUEPPER: It is totally controlled by the band our resources. at this stage. We have released a single by a and life’s little luxuries are stamped with TC: Why don’t you consider the band as band called Hugo*Klang, which is called the Homestead insignia. being serious? ‘Grand Life For Fools And Idiots’. They’re TC: I agonized over whether to come here KUEPPER: I said that lightly. Outside of the made up of a few people that formed the and interview you today, I don’t feel I rock situation we’re not looked upon as being nucleus of Melbourne band Whirlywirld, and understand your music fully enough to serious musicians, I don’t think the conser- are now based in England with a fluctuating question you sensibly about it. Is ihat a vatorium would consider us as being jazz line-up. There’s also a single due for release common problem you’re faced with, that musicians whatever their notions of a jazz in March by a band called Out Of Nowhere, the Laughing Clowns are working in the are. which features a few people from Brisbane rock’n’roil arena but are not a rock band TC: Who do you conceive as being part of one of whom is in a band called The even in the most loosest sense of the your audience? Apartments. And we basically keep our eyes word? DOYLE: It’s a fairly wide range of people I and ears open for new talent, we’re a fairly KUEPPER: It seems to be a problem but I suppose. small company so we’re not looking for any don’t see why it should be. I don’t think one KUEPPER: Yeah, it’s a fairly reasonable huge involvements with people. needs an incredible understanding of music cross section . . . no barriers. to know what we’re doing, basically people will react on the onus of liking it or not. Hopefully as the audience becomes more understanding towards our music there will All pix p®*®; be greater enjoyment there. There is a bit of a problem . . . it’s unfortunate. PETER DOYLE: I think to understand the music tends to almost ignore the actual point of music, because it starts making it cerebral rather than just physical. I think to try to understand it to a point tends to actually miss the point. KUEPPER: It is a problem as far as people view us goes, they seem to be confused as to the level on which we should be judged. On such things I can’t really be all that helpful. TC: Could people be scared of you? KUEPPER: I don’t know. I’m not sure. I don’t feel like a particularly intimidating person. I feel we have always been a reasonably approachable band, so I don’t see how people could be scared of us. Possibly they are, possibly it’s a matter of people not being sure whether to like us or not because not enough people in the press have been able to understand it. Therefore there hasn’t been a unanimous thumbs up for the Laughing Clowns. That’s what is confusing people, Louise we’re not really responsible for that. I don’t know what criteria people use to judge things. TC: What’s happening as far as the TC: Is the Laughing Clowns really a full Laughing Clowns’ recording career goes, blown jazz band masquerading under a TC: So when are you going to descend on is a new release iminent? thin sugar coating of rock? the western suburbs? KUEPPER: We’re releasing a new Laughing KUEPPER: That’s not a very apt description KUEPPER (MORE THAN A HINT OF WRY- Clowns’ single and album in March. The at all. I don’t think we’re a jazz band at all, in NESS IN HIS VOICE): Umm . . . we’ve tried album was partly engineered by Peter fact I quite object to the description. on a number of occasions. It’s very difficult, (Doyle) and took us about three days to TC: How would you best describe your the main barrier is between us and promot­ complete. We’re all extremely happy with the I music then? ers. An audience would have to see us a outcome, by the way the album is titled ‘MR KUEPPER: Oh . . . I would find it really couple of times before they got used to what UDDICH SCHMUDDICH GOES TO TOWN’. I difficult to label the band as anything, but I we are doing, but promoters aren’t impres­ TC: Has the title any significance? would certainly say we’re more of a rock band sed unless people are not enraptured the first KUEPPER: Yes, it has some significance but k„ than a jazz band. Honestly I think we time around. I wouldn’t like to go into any detail. transcend the business of being labelled. TC: As a band you seem to be nourished TC: Did have anything to do on introspection, guilt, and repression. with the new album? Does gaiety ever try to feature in your KUEPPER: No. Tony Cohen didn’t have scheme of things, or is the unremitting anything to do with it. Umm .. . that’s a long grief of the carnival too strong? story 1 won’t go into because there is a fair Laughter and a chorus of Oh no’s. amount of bitterness involved. KUEPPER: I must admjt that I don’t feel TC: Have the Laughing Clowns ever been incredibly guilt ridden. I’rh also a reasonably approached to do any soundtrack work? KUEPPER: A couple of times but nothing „ ivy ^ .s ^ * km'v SkSs jocular fellow so I don’t see where you get that impression from. really has become of it. That’s something I’m TC: From the music. definitely interested in though, unfortunately KUEPPER; Really. One can be sad and the people who are interested in using us happy at the same time, sometimes we all don’t have the money to follow their ideas become a bit laconic. I think your description through. is inadequate again, the band is quite jovial TC: Is the much mooted Birthday Party, and quite light-hearted and gay and carefree. Go-Betweens, Laughing Clowns tour of Yeah, I don’t know what to say to that except England still a feasible proposition? deny it. KUEPPER: We are going to England in June, TC: Are live performances an imposition whether it’s going to be a tour of England I for the band, is the studio your reai don’t know. If they are over there and we are environment? over there then it will be an interesting thing to KUEPPER: No. I think touring starts to try, we basically have to get out of Australia. become a strain after awhile as it does for While we’re over there we are going to anybody. I enjoy playing live sometimes, I release the Prince Melon catalogue, possibly don’t cherish the idea of doing it for 350 days record a Laughing Clowns’ album, and play of the year or something like that. We’re not as much as we can. wealthy enough to make the studio our TC: Did you have a good chuckle over the home. I like recording but I don’t like to spend Maudlin intellectuals ‘Diving Board’? too much time in the studio, I like to do things KUEPPER (in a lackadaisical tone): Yes, fairly quickly. Which apart from being a Yes, we laughed ourselves silly over that Jeffrey Wegner financial necessity I haven’t the patience to one. sit in that environment for weeks on end. Some how Ed, I just about believe you.

1 2 ROADRUNNER THEATRE OF HATE

explore it and look at it as if you stage clothing, or objects, or were on the outside of it and paraphernalia and there was no then the big picture becomes Devo music to support it it easy. Too many people aren’t wouldn’t happen. They’re all, doing that. , What are they doing instead? ANCILLARY to the music. Jerry: (with much amusement) Your music. Who would you They are a closed system. name as your first musical They’ve got their Walkman on influences? and they’re walking around. Jerry: That’s hard. . . Little men, walking. Mark: It was everything! It was Mark: Right! Conspicuous probably less musicians that it consumers who are trying to was TV and radio, newspapers take up as much space on the and world events. And humans! planet as they can! Jerry: Yeah, right. If you grow Jerry: It’s like (grabbing goodies up in mass culture, which we from the air) I want this. I need did, with everybody else, you this. Now I need this. Oh, I got hear it all, everyday. All the that. Now I want this. . . jingles, all the Top 40 hits, all On that level of consumerism, the old movie soundtracks. It isn’t contradictory to sing about kinda like drifts into your brain ‘Freedom of Choice’ and yet and in Devo’s case we let it sit you invite all your devotees, or for a while and stir it up and whatever, to wear your uniform mutate it through our right down to your hairstyle? imaginations. So we misuse it, Isn’t there a contradiction in we use it for a new purpose. It’s that, your whole merchandising there. There’s no such thing as line? originality on that level. It’s how Mark: I promise you there’s you put things together, it’s all more people that dress like selection. Devo is an aesthetic AC/DC and Van Halen than of selection. dress like Devo! ‘Satisfaction’ was the first But is that a conscious thing? Devo track I heard-taking that SEARCH OF THE It seems like a very conscious structure. . . thing to dress like Devo. Jerry: That’s true. Mutating a Jerry: Well we’re bringing it up! familiar form. In that case with That’s right, conscious. You hit lyrics that are fairly timeless and it. But saying that you’ve made deal with the whole malaise of the point actually. That’s that the twentieth century. Since it’s NEW those people who think they’re still true, that song is timeless. free, millions of them who dress in the T-shirts and the blue Listening to the original Stiff jeans and follow mainstream recording of ‘Satisfaction’ then trends are doing it the version which appeared on WORLD unconsciously. They actually ‘Are We Not Men?’ leads to me think that they are being asking how much influence did individuals. What we are doing Brian Eno have on shaping the by K eith Shadivick is bringing up that contradiction sound of the band? Has he had any long range influence on and making a point of it, making are going to be different. He’s a satire on it and inviting people Devo? Sometime in the not too the band? Well, they’ve got some Jerry: No, I don’t think so. distant future^ Australia will pretty definite views on the sure that he’s already got the ball on a much more fun level to do rolling, and that things have Mark: Right! You can see it be introduced to the sound of world and their place in it. They things on purpose. already begun to shift, as young Mark: Right! To choose our obviously wasn’t one of song Theatre o f Hate via their first come from that long tradition of arrangement or lyrical content or English rock where an indi­ people start to respond to mutations rather than let it just single on Stiff, Do You Believe Theatre of Hate- happen! melody lines. It was on a in The U^estworld? This isnT vidual decides that one of the Well, I guess we can all wait Jerry: So I mean if you want to technical level! their first piece of vinyl by best platforms in existence to Jerry: I think what had more change the world infrastructure and see. Kirk, by the way, is also dress alike, let’s dress alike on any means, but iTs the first to influence was that. . . is a rock group. You see, for determined to undermine the purpose and let’s make it receive decent distribution, something worth dressing for. Mark: We were celibate for four Kirk, the music is basically a importance of 1984. He wants to It’s a costume. THEY are weeks! after about five singles and means to an end — it’s of “defuse” it. He feels that 1^ wearing a costume and don’t Jerry: Yeah, forced celibacy for one official LP on their own secondary importance to the then, youth will be taking over, know it. WE’RE saying it’s all four weeks which never Burning Rome Records. The message it’s carrying for the and the 1984 apocalypse will be costume. happened to us before. We LP, called 'W estworldwill kids v^ o listen to it. Kirk feels redundant. I’m not too sure How reflective is the New were sent to an unfamiliar in due time be released by that his ideas and attitude ha­ whether he’s referring to the Traditionalist’s concept of the country, —out in the Stiff as well. ven’t changed since the band popular conception of what US at the moment with the country with a twenty four track Theatre o f Hate are an odd was started. His theory is that 1984 entails (some sort of year Reagan Administration in recording studio which we’d combination of old and new the last 30 years have produced a when the world will come to an power. Where does that never seen before. THOSE ideas. Their music is modern- middle-class youth culture that end) or to what Orwell was conservatism come into Devo? things really influenced the sounding, with plenty o f drums has a completely different con­ actually writing about, which Jerry: Devo are conservative sound more than anything else and loping rhythm, the singing sciousness from the generations was a type of wortd-wide version radicals, (choke!) We’re tired of and Brian helped to bring it back suitably arch" and passionate, which came before. ’You see, the o f totalitarianism which he’s the old traditions and the people to some form of sanity. It. was and a preponderance of guitar general consciousness is moved already identified as being in who promote them. All that stuff just an unnerving experience. rhythm and ecboey production. forward at specific flashpoints existence in 1948 in specific with Reagan, all those right-wing You’ve gone through a few The music is by no means over the years, and Kirk feels countries, or the popular con­ people, all the evangelical producers since then but now ‘catchy’, or ‘pop’, but then the that there "have been quite a few cept (alternative version) of Christians are promoting the you’re on your own. band aren't looking for that sort o f these since the second world 1984 as a situation which we ail same old tripe that is designed Jerry: We actually produced of thing. It’s when you start to war, including such thinp as anticipate will come about just to confuse people and keep ‘Freedom Of Choice’ ourselves understand what they are look­ Martin Luther King and the because it was predicted by a them down. They’re promoting but Bob Margouleff did receive ing for that the fun begins. But feeling o f ’76. He sees it in terms novelist that it would and there­ fore has become some sort of nostalgia and reverence for the an ‘in association with’ credit in before we start on that. I’ll give of a battle against the forces past in a way that it never even deference to his past you a brief run-down on their which have ruled life in Western surrogate fact. X mean, a lot of people — an awful lot o f people, existed. They’re peddling old performances with Stevie ress so far. Culture since time immemorial traditions and nostalgia to fool Wonder and then on the last e group was started in mid — vested financial interests, the including a lot o f , took people and keep them down. one we totally produced it ■’80 by and Stan bankers, financiers, politicians (and still take) Nostradamus What we’re doing is saying let’s ourselves. We did so because Stammers after they met up at a and so on. He believes he can seriously. I remain unconvinced throw them away. That’s the we thought we know what Devo concert, and they played a wide mobilise the youth o f today to that there’s anything really irony of . It should sound like better than range o f gigs before moving on effectively overthrow all this, about 1984 as a year we’ll ail live through when rt finally arrives cojuldn’t even be a tradition if it’s anybody else and especially to supports for tours by Classix and bring real equality and new, it can only be a tradition in after two experiences with Nouveaux and The Clash, where opportunity to the youth of that we’ll need to defuse. time. But the idea is to look for producers, we were convinced a productive relationship with today. All" the old farts who Anyway, o f necessity, I’ve something that could be a new of that. Mick Jones was struck up. Jones always have run our lives should wandered quite a long way from basis for something rather than TIME’S UP! was to become the producer o f be discarded, and a new, aware, the music o f this band. And, the old ones. THE PHONER is all Theatre’ s vinyl releases, in­ accommodating, enlightened initially, that’s what’s going to create a platform for Kirk to Do you ever feel that the through—New York? London? cluding the latest single & LP. hegemony of youth should pre­ philosophical side, or the ? Within a relatively short space vail. Kirk feels that the present spread his ideas. (He is in­ merchandising side of Devo, NO! The line is direct from o f time, the band was doing its education system and its ideals terested in using ail branches of media to get his message across overshadows your music? 121 King William Street, own headline tours through are a perfect example of some­ to the kids o f today as his Jerry: No, I don’t think so. It’s Adelaide. SAD. Almost one Britain and most o f the E.E.C. thing that should be destroyed projects pick op speed). The just that when people ask us kilometre away! countries, as well as Scan- and rebuilt. questions we have somethmg to Mark strides to the phone, danavia. At an early stage, Terry So, what’s to replace all this? music is not immediately com­ pelling — at least not to me. The say and in most cases with officially adjusts the official Razor came in as the band’s Apparently, Kirk feels that the lyrics are rather obscure, rather other bands when they’re asked hairpiece, rigid-backed sits, manager and he was the man takeover should be accom­ questions they have nothing to concentrates, then in a voice who set up Burning Rome Re­ panied by a commitment to allegorical; it’s alright to have that would make any spud proud cords, the label which Stiff has ideals — people doin^ what they them explained to you by the say. So their music is their only writer in plain spoken English, yells, “HELLO! THIS IS MARK now distributed after a period genuinely believe. Kirk’s man­ aspect. In our case, there are but how many people have that other aspects that reinforce the FROM DEVO! . . . FINE which, according to Terry was ager, Terry, agreed with me that sort of opportunity? The actual THANKS! . . . WHAT? . . . What largely unsatisfactory, when the this had b ^ n one o f the basic music. So just the fact that that music is quite powerful in a way, would I like to request on the label W nt through the standard assumptions behind the hippy exists at all kinda amazes, with lots of beat and ail that. Oh threatens or pisses off certain Hitline? (desperate glance small national distributors in movement of the 60's. Kirk around the room. All present wasn’t so sure about that. After — I don’t know. AH 1 can say is people. But unless there was a the C.K. After ail, being top of that I remain unconvinced. music going on that people were feign renewed interest in their the Independant Charts is small all, that lot are now today’s You’ll all have to listen for interested in, nobody would be scotch) . . . WELL STEVE . . . beer compared with the sorts of bright young City businessmen yourselves, make your own coming around to us and asking HOW ABOUT JERKIN’ unit sales needed to make a real — take young Richard Branson minds up. I’m sure that’s what us about our views, our ideas on BACK’N’FORTH?!’’ impact in the BMRB lists. Hence for an example (my example, by life or anything else. If Mark and Ah, the whackers! stih the way). Ah well, the way o f all Kirk Brandon would want. After I created things like various Jenny Eather Oesh, you might say. But Kirk is all, he’s pretty confident you’ll So, that’s the biog. What about determined that things this time come round in the end. ROADRUNNER 13 W B W YORlc^^

by Keri Phillips

Madison Square Garden is New York’s biggest venue. It’s a gigantic stadium, ugly and impersonal as all such spaces must be. Major sporting events like ice hockey and boxing take place there. So do such down-market forms of entertainment as the Ice Capades and the Ringling Brothers Circus. Because Of its size (it holds twenty thousand) it’s become a sort of gauge of success. If a hand can play the Garden, it’s made it. (needless to say) did two shows there on their recent tour (with the tightest security seen since the Springsteen show: even so, one fan boasted that he had managed to bribe or fluke his way through the fifteen check points and still pay less than the cost of a legitimate ticket). About a year ago, the Police, who must have some sort of patent on making it in America, booked Madison Square Garden for a show. There was much laughing behind hands in the New York record company crowd. Ho, ho, this band will never fill the Garden, etc, etc. The concert was, of course, sold out and there was not even a smirk this time around when the Police checked into the Garden for the New York set of their Ghosts In The Machine tour. Support band for this show was the Go Go’s, who emerged in a veritable blaze of glory from the ios Angeles punk scene last year. The Go Go’s and another group called X are the only bands from this particular melting pot to have made much national impact. Strangely enough, neither the Go Go’s nor X play punk music. X sound rather like Jefferson Airplane, and the Go Go’s . . . well, chances are you won’t have been able to avoid hearing their three minutes of greatness, a truly wonderful pop song called . It did pretty well here, too. So well in fact, that their album of similar but less memorable songs was the surprise smash hit of ’81. Even as I write. Beauty And The Beat is holding its own up there in the Billboard top ten, along with Foreigner and Hooked On Classics, making the Go Go’s the first ever all-female rock group to snag a top ten LP, and the first act in the last twenty months to make the top ten with a debut album. I suppose some of their thanks must go to Miles Copeland, who wooed and won them for his I.R.S. record label last year. The Copeland Connection (he manages the Police as well as being big brother to drummer Stewart) is why these five girls, veterans of three years on the boards, are squeezed in among the Police’s gear on the stage at the Garden. And they don’t do too bad. It’s hard for any band to “fill” a hall that big. As with any large venue, it’s only the people sitting in the 2,000 closest seats that actually get to “experience” the band. The others have to make the event for themselves, stitch it together with drugs, enthusiasm and opera glasses. Anyway, the Go Go’s provide plenty of colour and movement, and some pretty lively pop music. Their set encompasses the Beauty And The Beat material, building up to The Big Hit and what they hope will be The Next Big Hit, . They include Fading Fast, introduced by singer as “a song about those creeps in your life you just can’t get rid of” . The music is played competently enough, but is so limited in scope that you almost wish they’d be a bit bolder and go where they didn’t feel quite so confident. Within their self-imposed boundaries, though, they are impressive, guitarist even essaying some surf-style licks (with great hbmour in the case of the encore, a mostly instrumental work out called Surfing and Spying that recalls the best, and the worst, of the surf music era). The Go Go’s are sixties throw-backs in ways other than their charming almost-competent playing. Their image is squeaky-clean — not for nothing are they in the bath on the cover of their LP. These girls are definitely the sort you could take home to mother. Bright and shiny with enthusiasm, they present none of the sluttish surliness or sleazy sophistication of that other all-girl band of recent years — the ill-starred Runaways. Why, rhythm guitarist even plays with her shoes off, just like Sandy Shaw. Like many sixties pop stars, their lack of expertise appears uncalculated and endearing. One nagging thought did strike, though. Would this band be up there if it were not made up of five cute girls? There is some irony in their rise and rise. What about the dB’s, pop paragons who can run rings round this lot in every What about the Police? They’re pretty cute, too, with good sense makes an appearance but rarely, with a category except. . . well, beauty is such a subjective their bleached blonde hair and Sting’s cheek-bones. willingness on the part of the band to treat their fans as thing anyway. And I do think, the magical middle eight of Although their visual image hasn’t done them any harm human beings and themselves as workers. Although clever Our Ups Are Sealed notwithstanding, they would not have either, there’s no question that they have redefined, and marketing has been essential, this trio has slogged its guts been on that stage if they had been five guys. Such made their mark on, popular music. Their phenomenal out ever since Roxanne allowed them to get their foot in questions are, of course, much too late. I should be asking success is a result of a combination of extremely sensible the door. you which \syokr favourite Go Go. business practices being applied in a medium in which

14 ROADRUNNER Chances are that, as you read these words, Joan Before the release of their latest (and excellent) album, Armatrading is on leg of her Walk Under Ghost In The Machine, their existence had been justified Joan Armatrading Ladders tour. Now Joan Armatrading is rather like an exotic not only by such classics as Roxanne, Can’t Stand Losing foodstuff. Once tasted, initiates tend to become fanatics, You and Walking On The Moon, but also by the fact that Walking Tall ranting and raving at their bemused friends, foaming at the they had managed to trick a white rock audience into mouth when they meet a stubborn non-believer. For better buying reggae music. Not even Bob Marley managed to sell or worse, this woman has little to recommend her to the reggae like the Police did. With the exception of the punter seeking out the flavour of the month in trendy woeful Zenyatta Mondatta, the Police have provided music. Indeed, such is her appeal, that even John Laws, musical value for money. These guys are no spring synonym for scabrosity in Sydney radio, has been known to chickens, and the jazz roots of Sting and Summers have play her stuff. Enough to make even the most broadminded made for something all to rare these days — great pop suspicious. She is also treated with almost mystical music that is also great music. reverence by her followers, her shows being talked of as With their latest LP comes a new twist — the Police go deeply meaningful experiences. You can almost see the political — and it seems to have worked pretty well. Mind emotion washing back and forth between stage and hail. you. Sting’s not about to start any Bolshie revolution, but (At her recent N.Y. show, during a moment of silence, a within the songs on Ghost In The Machine he does espouse man called out: “We love you Joan” , and the place a humanist philosophy and an optimistic attitude to the exploded into applause for five minutes.) possibilities for a reasonable life on the planet — as well Don’t let yourself be put off by all the worshipful as getting stuck into Britain’s racist National Front. For a seriousness surrounding Joan Armatrading, because she multi-millionaire, he’s not a bad bloke! The Police are also really has a lot to offer. A couple of rather folksy albums one of the few bands with a real world consciousness. released at the beginning of her career only hinted at her Their tours recognise the existence of the Third World. power as a song-writer. Not until she joined forces with Although you can’t actually see the arteries hardening producer Glynn Johns for Joan Armatrading and Show Some right there on the stage, these days the band does seem a Emotion, did she reveal herself to be a subtle and eclectic little tired — not surprising after their ceaseless touring, I musician. With these two discs, Armatrading established guess. This does not mean they don’t give it their all, just herself as a writer of quality — up there with the big boys that they don’t have so much to give. Sting and Summers — Van Morrison, Joni Mitchell — someone who drew very are less lively on stage, but the music, on this occasion, much on personal experience for lyrics, but whose was particularly intriguing. Now that they have won their treatment of matters sexual and romantic was capable of audience, the Police can afford to stretch out a bit more touching many. Like Bruce Springsteen, she writes about — incorporate a jazzier feel. Three horn players from New “real life” , but can do it without resorting to cliches about Jersey, calling themselves the Chops Horns, gave the band cars and little girlies. a more rhythmic, soulful sound — as well as a few Her adventurous and evocative lyrics are matched by her problems with the mix, which got a bit murky at times, overall attitude to recording and performing. Not content to depressing when it drowns the sublime voice of Sting. slide into a winning formula with Glynn Johns’ production, Their set incorporated most of the new material, plus old she recorded Me Myseif I with Richard Gottehrer (producer faves like The Bed’s Too Big Without You, Message In A of sixties girl groups, the first Biondie LP and, more Bottle and Bring On The Night. As their repertoire has built recently, the Go Go’s) in an attempt to incorporate more up over the years, they have been able to drop the rock into the jazz//reggae tinged material she had show-stretching instrumental work-outs that formed the been writing. While that album may not have been entirely bulk of their sets in the early days. Some numbers seemed successful, the latest effort. Walk Under Ladders, is simply to go on forever back then, but now (most) songs are given superb. Employing “new wave” producer, a tight, pithy treatment. Very few melodies stand up to (XTC, the Members, 02 and many more), she has slipped more than three minutes exposition (even the best), and majestically into the musical waters of the eighties without what can sound perfect over three minutes often becomes sacrificing diversity, lyrics or heart. It is a stunning album dead boring when extended. and its reproduction on stage is equally impressive. One of Twenty thousand sets of vocal chords seemed to find the attractions of Joan Armatrading is that, unlike many satisfaction with the band. There was more singing along performers, she can cut it on both disc and stage. Her than you would find even at a Bruce Springsteen show. current band, featuring only a couple of players from the Sting prefaced Walking On The Moon with: “Sing in the LP, is the best I’ve seen her with. Youthful and vigorous, middle, otherwise my disappointment will be unbounded” . they keep her up to the mark in a way that former bands of Everyone obliged to such an extent, I hoped to never hear relaxed studio musicians didn’t seem to do. Armatrading another“oyoyoyo” — EVER! One girl even threw her bra herself is much more at ease on stage, dancing around, (with telephone number attached, of course) onto the almost cheeky; and she really “ rocks out” (as they say stage. What I want to know is, now that has here) as well. If you haven’t heard her records before. let her hair go back to its normal brown colour, will the Walk Under Ladders is a good place to start. Have a listen Police follow suit? to it betore she plays your town. You won’t regret it.

ROADRUNNER 15 c c. “This album was really hard work” said Cold What is ‘Letter to Alan’ about? can do is stand there and learn. A few bands we saw in Chisel piano man over dinner at his A DW: There’s a few mates of ours who haven’t survived the Texas, an inspired night playing the Tornado Jam in Texas mat Adelaide motel, just before heading for Thebar- last few years. It’s just a song I tried to put together in a style with the Joe Ely Band and Delbert McClinton and the extr ton Concert Hall for the third of three sold out that a couple of thenri in particular would have got off on. A Fabulous Thunderbirds and all those bands. The things try i nights by Adelaide’s favourite sons. certain style of music the band play that they were quite they were doing to these 7,000 Texans in the open air, fond of. arra The album he was talking about Is ‘Circus Animals’, which were pure rhythm things. I’d never seen a band do Iwa The songs that you’ve written yourself, seem more Chisel’s fifth and perhaps their most important, in a before. you global sense, to date. Although ‘East’ clocked four rhythm based than the ones on ‘East’ - ‘Choir Girl’ and I felt it was something Australian bands. . . I mean there don times platinum and the double live ‘’ ‘Cheap Wine’ for example. Whereas both Steve (Prest- are Australian bands around that swing a bit — English DW consolidated their position at the top of the Australian wich)’s songs are very catchy, very melodic. bands tend to miss the point of that whole thing a bit, getting Shii rock tree, ‘Circus Animals’ is the first aibum that has DW: Yeah. It’s strange for the piano piayer to be into a dancefloor swing going, they’re more into frenetic DW been made with a financiai commitment from their rhythms and the drummer to be into melodies. There’s two pogoing .. . and a lot of Australian bands don’t seem to Eric American record company, Eiektra. One of the reasons why mine are the way they are. We got to a point— swing. And I always thought, ‘Yeah, we swing’, until I saw a DW reason’s offered for the failure of ‘East’ in America was this is just pure musical arrangement I guess — in the few bands that do. thei that the American company had no money to recoup studio with ‘East’ where we perfected — well, we didn’t Seeing the Fabulous Thunderbirds in particular was just Tl from it and therefore didn’t give it the sort of perfect it, a series of bands perfected this four on the floor . . . I mean they’re basically a ‘white boys playing blues’ blue promotional push required. But things shouid be straight ahead rhythm. Just constant bass drum and share type of band, but the way they were playing and the effect blue different this time round. every third beat, played very fast and . . . it’s evolved to be they were having on the crowd was just unlike anything I’d yea Aiso ‘Circus Animals’ wili be released in the UK and the unbeatable rhythm for a pub, y’know? ever seen before. It was just a good hour long lesson in how he V Europe through Poiydor. ‘East’ was never reieased It doesn’t matter what the band before or after you is to do it. y’kn through a European company. doing — you come on and you’re that band doing the And the rhythms on ‘Circus Animals’ that I was fooling becj Prior to talking to Don i’d had a few listens to the finai rhythm — Goodnight everybody else. around with don’t really have too much relation to what they mini mixes (the album is out on March 8th) ahd seen the We used that rhythm on quite a few tracks on ‘East’, but were doing but it’s just that they gave me a kick in the bum sort band perform twice at Thebarton. there’s really nowhere to go . . . it’s not the sort of rh^hm to start thinking about some things that I felt we’d missed. hapi On the first night, Thursday, the band iooked tired you can develop. That’s it. All you can do is lay down that ‘Taipan’ seems to have a real swamp beat to it - a and the sound was a mess (it was the first night with rhythm and put melodies and chord changes and lyrics tropical sultry feel... ‘Wii the sound system). The ciarity and iight and shade that over the top. DW: Yeah. Steve and I were doing a lot of experimenting in mos is so necessary for Chisel’s songs to be effective was It sort of worried me going into a new album and doing the studio with rhythms based on toms — just big tom DW sadiy iacking. I ieft before the end. I couldn’t believe another set of songs on that same rhythm. I didn’t really sounds repeated over and over again. So that turned up on (I la Chisei wouid piay two bad ones in a row and happily want to do that. Also I saw a few bands in America who . . . ‘Taipan’, ‘Numbers Fall’ and ‘Wild Colonial Boy’. The other I die the Friday night show was much better, in fact it was just watching them really, taught me a few hard lessons two are a little straighter. Why Chisel at close to their storming best, with iarrikin about rhythm. There’s a lot of bad bands in America, but the ‘Taipan’ is a bit of a North Queensland childhood sort of DW: bending aimost double as he emptied good ones . . . across a good one, all you song. It’s a fairly swampy landscape up there. may his lungs into the mike, , bearing an uncanny resemblance to Bruce Springsteen, letting rip with some beautifuily economical guitar breaks, Don Waiker, up the back in shadow his hair bobbing iike an excited schoolboy, compact and solid on the bass and ‘Shuffling’ drumming with precision and relaxed style. And as an added bonus harmonica piayer Dave Blight blew some tasty harp, fitting in so well that it was hard to beiieve that he hadn’t played with Chisei or even been on a stage for eighteen months. They boomed out a superb ‘Khe Shan’ to maximum, ecstatic response, the new, extremely catchy ‘Forever Now’ (next single?), ‘Houndog’, ‘’, the big and beaty ‘Numbers Fall’, ‘Don’t Let Go’ complete with Jerry Lee piano from Don, the steamy ‘Taipan’, ‘Merry Go Round’, ‘’, which had the crowd on their feet, ian’s newie ‘Bow River’ and finaliy ‘Goodbye Astrid’. For encores a long version of ‘One Long Day’, then singaiong time with ‘Cheap Wine’, a beautifui version of the old Sam and Dave number, ‘Something Is Wrong With My Baby’, that for white boys singing soui was just superb. Not content with that and with the crowd thundering and baying for more we got ‘Rising Son’, the Equais’ ‘Baby Come Back’ and to take things right over the top a king hit so-tight version ot,‘Twist And Shout’. Audience capitulation was total. Early the next afternoon I called into the motel where the band were staying, to pick up a tape of ‘Circus Animals’ from Don. Lean and rangy as ever, and fresh despite late night carousing at the inn On The Park with Chisel’s original bass piayer, we arranged to meet again after the band’s afternoon soundcheck. ‘Circus Animals’ is, in my view, a successful attempt to avoid the stagnation often associated with large scale success. As Walker explained later, he didn’t want to fail into the trap of producing a ‘Son Of East’ packed with tight catchy pop songs. Walker’s songs are rhythm based rather than melody based, but that’s no cause for commercial concern as Steve Prestwich has come up with a couple of corking tunes, particularly the aforementioned ‘Forever Now’, a bouncy, infectious, semi-reggae/soul number one single if I ever heard one. Ian Moss’s ‘Bow River’ is another immediate stand out, with echoes of The Band in their heyday. It’s not a complete turnaround from ‘East’ — the links are there. But the guts of the album are Walker’s rhythm songs, ‘Taipan’, ‘Numbers Fall’, ‘Wild Coioniai Boy’ and ‘Houndog’. It’s hard for a band like Chisel, a roots band with a history, to find new pastures to explore. But with the emphasis on rhythm Walker and the band seem to have done it. It may have been hard work, but ‘Circus Animals’ is very definitely a step forward for Cold Chisel. What follows is a transcript of the over-dinner interview, conducted to the backing of Beaties muzak in the model dining room, and in the company of lensperson Eric Algra.

V.'''

3on Walker Talks To Donald Robertson

;ric A lgra g e ts d m tter happy.

S ROADRUNNER Jso with Steve demoing such melodic songs — it didn’t ter what we did to them, they were going to be emely melodic, accessible songs — I felt no pressure to and write commercial. I didn’t try to write singles, tight ingements or anything. I had a bit of an indulge. « a bit surprised when i first heard ‘Ho u n d o g - that ’d do a highway biuesiroad song. Because you’ve le so many. ; I think we’ve done one. jping Steei? : Yeah. O.K. (Laughs) : Aiqra: Train? : Wnoops. laughs). ‘Home and Broken Hearted’ was Dne I was thinking of. Yeah, I guess there’s been afew. he line ‘Houndog sitting on the side of the highway js’ was written by Steve’s brother Laurie. He had a iS song with that line in it. And I’d been saying for a few rs now that I’d really like to use that line in a song. And cept saying things like, ‘I’ve got it as a line in my song’ ow? (laughs) So in the end I rang him before this album, ause I wrote ‘Houndog’ around that, and said, ‘Do you d?’ and he said, ‘No, go ahead’ and er, we actually ed out a deal on the whole thing last night. So he’s really py . . . d Coioniai Boy’ seems to be, after three iistens, the it poiiticai in tone of the songs. : Yeah, probably, and it’s pretty safe, New Rhythm Kings. ugh.) In’t want to go too much into politics. r ? : I sort of trust my own understanding of politics enough be to chew the fat with friends and have raves and stuff

M

ROADRUNNER 17 © P E ©

like that, but as for getting out there and belting out some There were a couple of interesting moments over the half baked political views to thousands of people . . . it last two nights - Thursday somebody handed Jimmy a makes me feel a little uncomfortable. I’m as into politics as headband from the crowd - which he wore and last anyone can be who’s in a band travelling all the time. I’d night somebody threw you a hat. The bowler hat used to probably feel comfortable if I was a political journalist living be your trademark and the headband Jimmy’s but these in Canberra and knew what was going on . . . . days there’s no . . . you don’t project or use any image The song makes a few good points nonetheless. ‘The country’s run by Anglophiles’. DW: As far as costumes go, no. It’s probably our least DW: That’s probably the most political line on the whole costumed phase for quite a few years. We just couldn’t album, (laughs). One of the things that happens when you think up any. (in a woeful tone) travel overseas, especially if you’re working and not doing it Eric Algra: You used to wear all white at one stage too. as a tourist, is that you’re just about forced to try to work out DW: That was because we’re a bit of an endangered who the hell you are. All those things you take for granted like ‘I’m an Australian’ and everything . . . when you find species, we were doing a tour with the Angels and they all yourself in a country, or a series of countries, which have wore black (laughs). been near the centre of your consciousness for all your life / thought it was interesting that the crowd brought — you know so much about America before you get there along the props for you. — and there’s this underlying assumption that they’re going DW: Yeah. There were people in America arriving at gigs to know the same things about where you come from. with headbands on, just cult fans who’d found the album. Suddenly the place you love and where you’ve spent your It’s really nice when strong images like that fall into place whole life, to everybody around you is not only insignificant, accidently. The headband on ‘East’ was just a complete but they’re not even interested in finding out. It’s like, accident. It was hung over a light while we were doing the suddenly, the first thirty years of your life is insignificant, film clip. To give a bit of shading. I just grabbed it and tied it because they’ve been spent in what is seen over there as a round Jim’s head at a gig, at the Manly Vale. And then you backwater. look at it and it starts to add up — this can do this and this. You go through a bit of a self-respect crisis. Well, no, not But nothing like that happened this time. And I can never so much self respect . . . dream up things like that from scratch. Coming up to this Identity? album I was wracking my brains over things like DW: No, that’s more a personal thing. (exaggerated stage voice) ‘Well what is this album going to Confidence? DW: Mmmmm. be about?’ And what images are we going to use this time? And in the end we just ended up saying well, let’s just put all How did you react to that? Did you find yourself becoming more Australian or did you try and play it these songs on and see how it looks. Because if there is down? any kind of theme in there, it’ll just come out. What about the album cover? DW: Aw, definitely not trying to play it down. Probably DW: I wanted something that was Australian and couldn’t becoming more consciously Australian . . . be mistaken for anywhere else. And that people overseas So what was the general feeling in the band when back from America? Because you laid pretty low, might ask some questions about. And there’s nothing really didn’t you. like Lake Eyre over there. I just wanted a wide flat space with a caravan in it, and with the band sitting out front. I was DW: We had a mixture of successes and disappointments thinking of doing it at Mascot airport, because that was the over there, that can be loosely divided into success live, disappointment with record sales, and radio airplay. only wide flat space nearby and Rod said, ‘Well, dammit, As far as laying low goes, we, Rod (Willis — manager) let’s find the widest, flattest space around and do it and I sat down before we left America and sort of, . . . properly.’ Peter Leavey shot it. He’s a cinematographer because we were expecting especially the Australian who’s done our last couple of film clips. music press to do the normal trick of, when you don’t wipe What about the title of the album, ‘Circus Animals’? out this whole vast country in two months you’re washed DW: I guess that one’s mine too. I was trying to talk up. I put in the line that the only way to handle this, or to get everyone into calling it ‘Taipan’, but no-one else would round this, is just to be completely upfront about what come at it. We had pages and pages of possible titles, happened. . pages and pages of really bad ones. Everyone that’d come Because the way the press usually damage you is if you into the studio would add a couple of names to these pages come back making claims that just don’t stick. Because the that were on top of the desk. And that was just a couple of truth about what successes and failures you’ve had is going words. to come out sooner or later. So what we did was put out a There’s no hidden meaning about people putting you two page press release which said, ‘These good things through hoops? happened,4hese bad things happened’. Simple as that. DW: (emphatically) No. Someone came to review a gig a We didn’t do interviews because there was nothing to few weeks ago and hit me with some John Lennon quote. talk about. Those two pages set it out. We could have done And I said, ‘No, I’ve never heard this quote. The album, interviews and gone into, ‘What we felt about Detroit’ and all categorically has got nothing to do with this John Lennon that... but who’s really interested? And of course about quote. Nothing to do with us being animals being put two weeks after we got back we got locked in the studio for through hoops or any of that.’ But she put the quote in four months, trying to get this album together. anyway. There was so much to digest from the American thing Do you see the rock business as being a bit of a circus? that we were a little disoriented when we went into the DW: I dunno. I think so many things about the rock studio. We didn’t really know which way to go or what to do, business, nice things and bad things. It’s a bit hard for on top of having to follow up ‘East’. So everyone spent the someone immersed in it to get any outside perspective on first six weeks or so in the studio in a daze. it- America, fortunately, didn’t produce stress within the No, I’ve just always liked sawdust and shows and, you band, which quite often happens. Where long simmering know when the agricultural show comes to town — feuds come to a head — it didn’t happen with us. It was just sideshow alley and all that. So that and the cover is sort of a an unaccustomed feeling of uncertainty. We’re normally a half hearted attempt to evoke that sort of atmosphere. very arrogant, confident band, within ourselves, even We’re doing some shows with some circus acts, if it though we might seem to put a fairly modest front outside. comes together, on the Anzac Day weekend in Sydney. That got staggered slightly. Two nights. Bullens eight pole tent, which is gi-gantic. Do you plan to go back to America this year. They’re organising about five or six of the best circus acts DW: Yeah. We’re going back in May. We’ll keep going back from around Australia. A lion act, we’re going to try to get there for as long as it takes. We made as much headway as the Globe Of Death, a few things like that. And us on any band could expect to make on its first trip to America — afterwards to do a real showcase sort of show. And as much headway as any Australian band ever has hopefully we’re going to dig up all these old sideshow probably. And the next time we’ll make a little bit more . . . people who you used to see at the show, maybe fifteen, and after about four trips we’ll be somewhere. twenty years ago. Freak shows, strips shows, Jim Jimmy’s been quoted as saying ‘You’ve Got Nothing I Sharman’s Boxing Tent (?) — try and contact all those Want’ is dedicated to someone in the American record people and have them around. company. Bullens seem to love the idea. DW: (much mirth) Urn. . . yeah... urn. . . you’ll have to ask Wasn’t the album supposed to be released to co-incide him I think. There did come to be, during the Amercian trip, with this current tour? this token villian. A poor hapless guy, who didn’t deserve to DW: Yeah. We’ll have been on the road two months and hold that position at all, but he’d be in the wrong place and one week when it eventually comes out. Fortunately it say the wrong things at the wrong time. And he earned hasn’t affected the crowds at all. But this album has been everyone’s immediate hatred — across the board. He was really hard work. It hasn’t just fallen together at all. like a lightning rod for. . . any flak that we wanted to aim at Especially when I came along with a few of those rhythms ‘them out there’. which didn’t fit the normal ‘East’ rules for pop arrangement. Where’s Bow River (title to one of the songs on ‘Circus Like, one of the many things Mark Opitz is a real expert at Animals’)? is — he’s an excellent arranger. Not to say he arranges DW: (laughs) It’s a cattle station up in the north-west everything, everyone does, but he’s got a very good ear for somewhere. A good way along the coast from Darwin. Ian’s what’s a good arrangement and what’s not. brother, Peter, used to be our roadie, and has actually By the end of ‘East’ we almost had a set of rules — we worked there — we didn’t find this out-until after the song could take a song in a very rough form, and within an hour was written. His only comment was, ‘Great song mate, but I chop it down into a streamlined pop arrangement. But can tell you this — there ain’t no water there’, (laughs) those sort of rules and approaches didn’t apply with a lot of There’s a couple of really nice Hammond-organ type the songs that are on this album. So we had to wrestle with runs in that song, that you don’t use on stage. them for a long time. The first month in the studio was spent DW: It’s not Hammond organ — it’s through just trying to work out how to arrange the stuff. some Leslie speakers. On the album I could get to do two Eric Algra: Did you feel the pressure of having to follow overdubs, whereas onstage I can only play two keyboards up ‘East’? at the same time. DW: No. I think we all just dismissed it. I, personally, don’t I haven’t gotten into the synthesizer much as a think this is nearly as commercial or catchy an album as synthesizer, I can’t seem to do all those synthesizer things ‘East’. It could self really well, but if the band hadn’t got into that younger keyboard players are getting into. I think it’s a certain position with ‘East’ it probably wouldn’t sell very because when you come from being a piano player your well. It doesn’t have that big blockbuster sort of feel about it. mind’s locked into your fingers, and what your fingers are The material is a lot more designed for opening the band doing, all the time. Whereas the younger keyboard players out on stage. We can extend them, have fun with them, don’t get into it from that angle at all. They get into it from a manipulate them whereas the stuff on ‘East’ was so tightly completely differerit angle — the angle of sounds. So arranged you couldn’t really tamper with it without mucking they’ve come up with all the great sounds. I’m only using up the song. the synthesizer to get string sounds and organ sounds It kinda harks back to some of your earlier material. basically. DW: Yeah, definitely. 18 ROADRUNNER IN THE JUMBLED confines of my friend’s living room, between the potted palms, tatty art deco memorabilia, a bookcase stuffed with Hardy Boys’ mysteries, an astounding collection of Enid Blyton epics and three huge piles of Archie Comics, I meet, on three pieces of fading red furniture, four members of the by now famous M Squared touring entourage, the hottest thing to come out of Sydney since the Grand Hotel. The loungeroom, as well as offering all that was mentioned before, Hardy and Joyce, the Bible and Chekov, as well as Orton and Heller, seems a fairly complimentary, though rude, metaphor for the mixed up world of M Squared. M Squared, where ideas and humour and intelligence and honest artistic expression all clash and coincide in the same melting pots, is a new and proven force on the world music scene. M Squared has released material from about twenty different combos since the first in October 1980, a now sold out 12" EP by The Systematics called ‘Rural’. Music has come in the form of singles and albums, 7 and 12" EP’s, and cassettes — featuring an even greater variety of music. You might think, from what someone has told you, that M Squared is one of those wet, artee labels. Not so. I happen to think, and this is based purely on what I’ve heard, that they are an ART label. M Squared’s music is as accessible as that which you hear in elevators and hotel lobbys. The difference is M Squared generally stimulates the senses instead of sending them off into a stupor. Mostly M Squared music can be either a soundtrack for an everyday set of habits and movements, not noticed but still embellishing, or it can be a smart path on which to walk towards the realization that existence does have benefits and can, ‘SOUL OF THE CITY’ most probably in moments of ignored beauty and simple subtleties, be construed as having periods of poetry that lighten the heart, touch the soul and revitalize the mind. The Makers of The Dead Travel Fast (DTFast Come Out From Hiding. henceforward in this piece) are masters in this method and whether taking on the delicious tunes of a ballerina twirling out of a jewellery box or spicing modern urban by Craig N. Pearce. ethnic atmospheres together with a simple sax, a vague synth, gentle piano and other additives they always seem to harmonize the imagination or the dreams of ‘‘Generally, decisions’made by the label are consulted humanity perfectly with the reality of it. by everybody. All the bands are taken into consideration It seems as though M Squared material is a lot easier DTFast are one of the few groups going who almost and if they’ve an idea they’ll say we want to do this and to listen to, to relate to, to accept and utilize than music circumvent the implications of their sound. It’s a sound then everyone will discuss it. which is produced by the Clifton Hill collective. Possibly that wafts in and out of the conscious and the “ It’s not so much the musical direction but its because a lot of M Squared material is more unconscious membranes of the mind, at once soothing presentation and the label’s organization — such as fundamental, more steeped in simple human issues. then pricking points of attention — distracting then whether to release albums or singles and their album They (the M Squared groups) have apparently a much attracting. covers. The music obviously has to be left up to the stronger grass roots fervour and fascination that allows ’ The undeniable warmth and humanity in DTFast’s members of the bands. for acceptance whilst still making just as many musical tremulous little ditties is a force that draws you towards “You see what we’d been doing for years in our inroads as the CHMC — though not achieving their it, like an open fire on a cold winter’s night. One of the bedrooms with tape recorders was making music and innovation in conceptualization and displays of most important achievements of DTFast as well as other thinking no-one would listen to this. Then we’d play it to intellectual refinement which is perhaps the most M Squared acts such as the now defunct Systematics is someone and they would like it and suggest that we get important asset of the CHMC. the fact that they have found a source of energy which it released. So we thought if we’re doing this maybe There is a lot of self-deprecating humour in a number is obviously a modern urban phenomena and have there’s all these other people in Australia or overseas of M Squared acts, specifically The Systematics and the manifested it, in songs which contain, the real soul that are doing the same thing and want to get their new Denial, and I find the element to be a rather sound of the eighties. music released — and maybe we’d like it. definite strand running throughout the whole label. It’s a Forget Soft Cell with their tainted mirror images of “ If we didn’t like it then we wouldn’t release it. That pleasure to find, in any art form, people who are willing Tamla triumphs and The Bureau’s haemophilliac was the original manifesto but I think it’s kind of to laugh at themselves and play down the significance homages to the collective angst of all the horn sections changed since then. Because you get people sending in of what they do. of the world. M Squared contains the newest and the tapes that are clones so you have to have Steve: “We’ve found that in reviews, especially brightest and the most honest hybrid of soul since the censorship”. overseas, that they’ve reacted by saying, hey these sixties, not because it has altered the form a little, but Was it peer groups or music which drew the M guys are human, and I think that’s a really important because it understands the essence of soul and then Squared groups together? quality in the music — a sense of humour or passion reels off sounds that are planted firmly in the “ Well that’s the interesting thing. All these people about something. Take the negativism of The Birthday consciousness and technology of today. Heart is what from different parts of Sydney came together and you’d ' Party. That’s a passion and it’s good. But when it’s just counts — not deep love torn voices or sublime falsetto have the situation where The Systematics and The cold intellectualism or something that’s very smug I turn harmonies — and heart is something M Squared has DTFast were playing together and inevitably they’d get off.” more of than most. Not that this is their intention nor to know each other and Mitch and I would encourage Humour works against DTFast too, as Steve explains their infatuation — just their accidental explanation. everyone to participate in the label as much as they .. . “ People come along expecting a slick experimental As much as anyone involved at all with M Squared could. Not everyone puts in a hundred per cent. It show and when that doesn’t happen they get turned would hate to admit it, there is a vague sound that one balances out” . right off” . associates rather directly with the label. Not quite as I’ve found a noticeable likeness between San How commercially viable do you see yourselves as stringent as the more stylized sounds of English labels Francisco band Tuxedomoon’s album ‘Desire’ and the being? such as Factory or Postcard but still definite enough for DTFast’s album, ‘Vessels’. A likeness that is a lot less Tim: “We never really worry that much about it. one to be able to mention. M Squared is probably the obvious on their new four track single, ‘Why Won’t We Ideally we should remain pretty moderate, I think. We’re first Australian label to attract such a variety of acts who Wake’, which is a stunning piece of moving bravura, a going to change enough, and we’ll never settle down to release sounds that often seem to employ similar cry into the darkness of a society bereft of soul. The anything in particular so that, knowing the normal structures and ideas though not necessarily results. The single is fibrous and enchanting, rhythmic and commercial climate, we won’t fit in — or I doubt whether Able label did it but with only a fraction of the resources, propulsive — you’d be a fool not to attain it. So far it’s we would” . releases and bands on its books and both Phantom and my single of the year, coupling sensibility with sensitivity Steve: “You can still work in a commercial Missing Link (though Phantom does seem to attract so that the dance is in the feet and in the head. framework” . those monstrous guitar pop bands) have released a Is there anything that inspires the DTFast or that they Tim: “ Hmmm, that’s true” . ' much more eclectic variety of groups’ material. aspire to? M Squkred arrange distribution by themselves with M Squared aren’t too happy with the way both the Tim: “ I think that we’re five people who have quite help from Missing Link — and garner mainly alternative media and potential M Squared artists (and possibly diverse tastes which overlap in some areas. I suppose airplay. One never knows (and one certainly won’t stop even the public) categorize them into the contrived, Brian Eno is the most common interest. I think the fact hoping) 2JJJ and 3RRR have helped break more than electronic vein, as Michael Tee, joint owner and that our tastes are so diverse means we don’t have any one non-mainstream artist into the Top 40. benefactor of the label with Mitch Jones as well as singular aspiration or particular musical direction. Our Tim: “The DTFast would like to be in the position being both a member of Ya Ya Choral and Scattered basic strength is trying to do as much as we can” . where we could sell ten thousand albums. Even in just Order, later explained. Do you begin playing with ideas of what you want to purely artistic terms it means you can generate enough Accompanying Michael in our conversation were Scott sound like or is it basically a jamming process? money doing what you really enjoy doing to keep on Holmes from The Same, and Tim Shultz and Steve “Well we jam quite frequently, both onstage and in doing it” . Courri from The DTFast. rehearsal — that’s how a lot of our songs come about. What ties the M Squared bands together? M Squared will probably never be a company with Songs are built up from a very visual image as well; Scott: “ I suppose it’s because we’re all struggling. world wide hits under its belt but that doesn’t lessen its often our music becomes very atmospheric and There’s safety in numbers” . What is it that attracts potential artists to M Squared? value. M Squared offers insights and totally new themes descriptive” . for us to toy with, think about, and occasionally even Do you see it as being a soundtrack to anything in Michael: “ Now, I guess, probably that we’ve survived. dance to — though happily always providing some sort particular? We’ve been going for a year and a naif. And, I think, the of soundtrack for our behavioural tendencies. “Often, yeah” . centralization. The fact that even though the DTFast and Asking Scott how The Same were formed took him off The Systematics come from different areas we can still LETS CRACK THE kernel of the myth, open on a wayward journey relating contacts through friends’ generate enough strength to at least get reviews” . it up for all to see. Surely the first question must be how of next door ’ sisters and so on, finally M Squared’s infrastructure is sort of republican in did the label begin, why did it do so, who did it all, and explaining that the band consists of a quite standard, for nature, I guess. Everyone contributes to the decision on what lines is the label based. Surely? M Squared, lineup that includes bass, guitar, sax some making but when it gets to the bottom line it’s Michael Michael; “Well . . . there was a band in Sydney called percussion and, of all things, a drummer that is actually and Mitch who say yea or nay, simply because it’s their The Barons which contained Mitch and myself who alive and one doesn’t have to set the dials for. Their money. released a record on Doublethink — probably the worst songs have come from the occupants of two houses record ever made. It was recorded on cassette one Have you ever noticed how M Squared has a lot of jamming to form The Same; and the same sound. musicians that play in more than one group? night when we were very drunk and had just listened to How would you describe your music? Michael: “ It’s the only way of keeping your interest. If The Residents’ ‘Duck Stab’. \n the process of doing that Scott: “ I try not to. There’s too many people tagging you devote your music to one way of thinking it we acquired a Revox and a mixing desk and built a things already. I don’t see our music relating to any becomes really bland and you end up thinking why did studio up and gradually updated the studio. specific part of my life. Whatever happens, happens. we even do this. I think it’s healthier for your mentality. “We were recording our own stuff and then other And \ just enjoy it. There’s a lot of improvisation live but “Like I don’t want to be solely concerned with music. people approached us about using the studio and we when we go into the studio it’s a different thing M Squared is working on a movie at the moment. It’s thought, ‘why don’t we form a label and release all this altogether” . our next big venture. We’ve going to try and document music being sent to us?’ — so it evolved. Also, at the our environment around us and feature the music as same time, Doublethink collapsed so people that would DO YOU OFTEN find yourselves being well. Myself, Mitch Jones and Mark Pollack are directing have normally gone there came instead to us — and in compared to the Clifton Hill Music Centre? it — plus ideas from other people of course. We’d like to their dying throes they were sending people over to us Michael: “ No, not at all really. They’re a lot more do a tour where we’d play six nights in each place and anvwav, such as The Systematics. serious than us” . show the film with a different band eaph qight,” . , , ,

ROADRUNNER 19 r

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I The Clash A Bo Diddley-beat version of ‘Guns of Brixton sung [Capitol Theatre, I by bassist, Paul Simonon, opens in front of a cyclone 5?&. wire fence, newspaper headlines of riots and shots of [Sydney Iviotent street fighting. The punk professionals have [not only done a lot of homework and careful planning The opening night of The Clash’s ‘Magnificent I but they also leave no question as to whose side we’re Seven Tour’ of Sydney starts with lead singer, on. Multiply that by 2,000 fans a night for seven nights guitarist and writer, Joe Strummer, politely and you could start your own riot. The tension is [relieved, slightly, with an up-tempo Stand By Me”. thanking the support act. No Fixed Address, for For tour-title-track, ‘The Magnificent Seven’, we are their work . . . and in the same breath ‘London [shown what looks like New York’s skyline at night, \ Calling’ bursts onto the packed house, scoring a alternating with Amerikana — Holiday Inn, Neon lights, success first up. fast food and street scenes. “Weatherman and the Two thousand happy punks getting just what they crazy chief/ One says sun and one says sleet/ A.M. the came for, screaming, “i iive by the river... coo coo [F.M. the P.M. tool Churning out that boogaloo.’’ coooo!” and The Ciash wipe out any chance of being a Joe Strummer leads his raspy voice into ‘Wrong ’Em studio fake band. A great start to the show quickiy \Boyo’, with back-up from Mick Jones’ smoother Ifollowed by another favourite, ‘Career Opportunities’. [support vocals. They ask for electric fans, but instead I Strummer announces that he’s going to kili Mickey get a dead fox and a note about mandies and brandies. [Mouse and Snoopy for being Yankee pigs and a slide Strummer takes the opportunity to advertise the Civic [show lights the backdrop for ‘Washington Bullets’. Hotel and an offer from 2/56 somewhere in King’s

20 fioadfUriner lot worse. A tense reggae beat leads to a bass solo. Strummer slides in whilst Jones sets the scene with background guitar and into ‘Garageland’ knocking everyone off their feet. Clash leave the stage again, but return for the second bracket in their encore, with ‘Safe European Home’, followed by ‘Armagideon Time’ with bitting out, his wiry street-kid arms pounding witn slides of starvation and deprivation. The Clash Cross, before drummer, takes a Simonon’s bass, for ‘Somebody Got Murdered’. compromise nothing. strap-on vocal mike for the ‘Sandinista’ song, ‘Ivan Clash run through ‘Koka Kola’, ‘ The Clash have a very heavy message and they make meets G.l. Joe’. (And The Law Won)’ and Into a wild cry, “What are we it painfully clear. Amnesty International would be The slides return featuring hammer-and-sickle al­ going to do, nowwwww? . . . Working for the proud of The Clash, as should every thinking human. In ternating with the American eagle either side of a . ” Orange flashing lights add a bit of panic these days of showmen and pretty entertainers some soldier In helmet and gas mask. Men and tanks (both to Headon’s rim shots. All stops are out and with a people can remember their souls. Soviet and U.S.) swap with cartoons of President Jelly giant crash the Clash unplug and depart the stage. They also remember their art. ‘London’s Burning!” Bean and the Politburo sans two heads. The bloke behind me, Chris, says that they’re the they scream and fire. Strummer falls to the floor as the A brawl starts In the front row as the band introduce only contemporary rock band in the world and he’s rest of the band powerhouse their way into ‘’ ‘Brand New Cadillac’. Strummer kneels on the stage bigger than me. But he’s almost right. (Never forget Ian and then back off for a long instrumental opening to ‘JJ and motions Jones to cut. Silence. “You guys in the Dury.) J Jimmy Jazz’. Again they unplug and bow to the orange shirts, get over ’ere. There’s no hurry . . . we The Clash do the audience titiliation segment, crowd. Cheering, chanting, hooting and screaching can sort this out (without having to involve the police) running out the back for a pee and a quick drink whilst into the stage microphones, the Capitol’s patrons start . . . we don’t want anyone getting themselves killed, we stamp our feet, clap hands and scream for an to leave, via the bar at the back of the house. Until the alright? Can we work out a peace settlement?’’ encore. They’ve only done a bit over an hour so far and punk professionals return for their fourth and final The Capitol collectively cranes its neck to have a when they return under a barrage of streamers they fire encore. look at the free entertainment and photographers jump through a new song, then the very popular ‘Tommy ‘Police On My Back’ and absolutely the last number on chairs to click shots. It’s all over with screaming Gun ’ and ‘Charlie Don’t Surf’, backed by nasty slides of for the two-hour show is ‘I’m So Bored With U.S.A.’. and Headon’s machine-gunning drumming U.S. Marines and soldiers with tortured prisoners and a David Langsam.

ROADRUNNER 21 SYNTH HEAVEN?

Tangerine Dream Somehow, somewhere, they resolved their scattered Thebarton Town Hall, inspirations into a riveting Adelaide cauldron, an overwhelming The first time Tangerine vortex which grabbed your ears Dream played in Adelaide by the throat and hauled your (1975), many people came guts into a manic invocation. away from their concert at Under the blue lights and filmy webbing they worked away, Festival Theatre expressing while we waited to see what the general idea that it was a strange denizen of the sonic brilliant show, but what had dimensions would materialise. actually happened? No one With an air of cautious could really remember very modesty, Edgar Froese picked much except that it took up a guitar and advanced to the them completely out of their forefront. Although basically heads and seemed endlessly simple in his approach, Froese fascinating at the time. What can play a guitar. He continued playing through to the interval, can you write about such an at which time the collective work event? of the band had reached that The phenomenon was point of total musical abandon but were swamped by the Bay basically similar this time which is where (in this Ultravox, Machinations sound, the punishment for around, but with a few notable City Rollers, and the Rich Kids failure being an eternity spent reviewer’s opinion) a good Palais, Melbourne did have one great single. differences. First difference, of concert starts. Interval break? listening to the entire Ralph course, is the venue. There’s no {Marching Men b/w Here Come Records catalogue.) Another You must be kidding. But that’s This was a night of many The Nice, available at a bargain point in presenting a contrast what they (and we all) did: riveting interlude was Your between Thebarton and the richly comic moments, but bin near your home.) And Midge Name Has Siipped My Mind, stopped. learned one of life’s hard Festival Theatre. They have Somehow the same peak was the most hilarious of them during which a light with ancient nothing in common beyond was when began lessons — how to thrust from lampshade was lowered to shine never quite reached after the hips with a Fender and not shelter from the elements. interval. The opening sequence, his first new romantic on Midge (seated on a canvas Another difference is the lack of look like a clown — during his chair) and his jaundiced with intriguing subterranean elephant dance behind his Thin Lizzy stint. These days, fancy video effects. T. Dream bangings and clangings, synthesiser bank. Imagine; a complexion; a coup de theatre used only the humblest and he’s lapping up the rewards of corny enough even for Tom established a promise which double chinned vision of a all that hard graft — and where most basic lighting, through was never really fulfilled. Waits. necessity apparently rather than depression-era Englishman are Les McKeown, Glen But then came , Towards the end it became a in a salesman/clerk’s uniform Matlock, Phil Lynott today? choice, though it did not detract little soggy, though they reverently delivered to sighs of from their music. Simply, the (greased hair, white shirt, tie Not poncing efficiently on relief, and afterwards, if you marshalled their resources quite stage at the Palais under cherry was missing. admirably for a five minute and braces) pumping a squat wanted, you could to listen The final major difference is body back and forth to the circular light banks and never to various slices of lukewarm encore, and left eveiyone with a approaching the metaphorical musical structure. In 1975 they slightly more up feeling. droning rhythm, just as if he suburban disco wrapped up in were still into going on stage edge of things, that’s for sure. watery textures from the In general, T. Dream lean was a teenage idol from One could go on and on about with little more than a few vague heavily on a sense of drama to ! Irresistibly, I factories of Kprg and Yamaha. ideas and relying on their this band being just an REO Or alternatively, you could go make their music work. It was thought of Bob Hoskins in Speedwagon for a abilities to improvise. In achieved at odd times during the home. I made the latter choice, Adelaide, then, it worked, a little the “Pennies From Heaven” Countdown-trained audience and there was some pleasant concert at the expense of much TV series, a sheet music who sneer at Yankee too well perhaps. In the work, but at other times the Japanese koto music playing on intervening time they have gone salesman translated to the pomp-rockers because they the radio as I walked through effort involved was too apparent, don’t rip-off tatty Expressionist more for frameworks and or the mix of sound too blurred, Dionysiac heaven of his the door. preconceived ideas. Does it dreams, and then finding he themes for their video clips, but P.S.: The Machinations were indistinct or just plain loud to be that really isn’t necessary. hinder or hurt? doesn’t much like it after all. crammed on to a fraction of the comprehensible. Nevertheless, What we were here for after Frankly, it was often a there is no other band which You just had to laugh. stage, and at the Sydney hindrance. Part of this is due to all was that excellent song Ultravox concert apparently had handles the particular energies Unfortunately, this was a night Vienna, a radio artifact that’s up the truly atrocious acoustic T. Dream attempt to work with in when such entertainment in a the power pulled on them by the properties of Thebarton Town there with the best British headliner’s road crew. They anything like a successful musical sense, was harder to ballads, as good as anything by Hall. Many of their more cultured manner. I doubt that anyone come by. Ultravox presented, deserved better, for their lines depended on either Procul Harum, the Moody Blues, light-heartedness if not their was disappointed. (as we knew all along they or the Walker Brothers in one of subtlety or clarity which was It is worth mentioning also would) a portentous lightshow music. Their their more sulky moods. But hammered remorselessly into that they were supported by half and a soggy refurbishing of dim patterns are well-planned, their noise by overamplification. I’m before Vienna’s longed-for energetic singer extremely an hour’s music from a technoflash memories, bereft of arrival, we had to sit through sick of going to concerts and even the tinny energy an ELO or limited in range, and most of fourpiece percussion group forty minutes (I was looking at losing my hearing, but it’s the whose name I never learned. a would bring to their songs hover fairly witlessly fashion to be deaf. It took a my watch) of comatose between doom and dance. Working with drums, such an occasion. What we had pretension. The most while for the band to warm up, to be satisfied with was the There’s one shining exception; glockenspiel’s and some vocals, sleep-making moments were the and during this period (fifteen they operate in similar realms to thinnest veneer of professional­ Average inadequacy from their minutes or so) they relied on awful Accent On Youth and a Lobby Loyd-produced EP. It T. Dream and if anyone ism, and credit must be given fuzzy instrumental accompanied cliches and safe sequencer where it’s due. Midge Ure is hums in the brain and should be answering the vague description by chemical smoke and muted rhythms to maintain a musical I have given seems to be nothing if not an old pro (in a single; the Machinations have flow. There was no disputing the disco lighting. (Another vision at least as rhuch right as anyone performing anywhere near you it every sense of the word), and rose here; four honest toilers musicianship involved, but might be worth your while it’s gratifying to see him making, else in the world to be one-hit captured by some cruel something was missing. With having a look. at last, an impact in the wonders. electronics tycoon, imprisoned in reservations, this applied to —Span colonies. Slik deserved a hit in a dungeon and ordered to Adrian Ryan. much of the concert. Australia with Forever and Ever produce a new synthesiser

22 ROADRUNNER The Teardrop Explodes : Passionate Friend (Mercury) The Teardrop Explodes : Colours Fly Away (Mercury) Passionate Friend is pure psychedelic pop in the vein of Jeff Beck’s ‘Hi-Ho Silver Lining’ (1967). Exhuberent and exhilarating. ‘Colours Fly Away’ is more psychedelic Byrds and brass. Both authentic recreations and rather nice.

Bob Dylan : The Groom’s Still Waitinq At The Altar (CBS) Far and away his best born-again song, a little wild and reckless, no heavy sermonizing and a sort of ‘Rainy Day Women’ confusion permeating the whole thing. I think I prefer ’ version though.

Madness : It Must Be Love (Stiff) They keep coming, these nutty boys. This is slow, a little sentimental but immensely likeable. Look, it’s no use ignoring them — they just ain’t gunna go away.

Bill Wyman : Come Back Suzanne (A&M) Living proof that life do6s begin at forty Mr. Wyhian usually bassplayer for someone or another, unleashes another novelty’ itern on a suspecting world. He must enjoy it cos he doesn’t need the money.

Skids : Iona (Virgin) In which Richard Jobson discovers his The Orphans : Hop Skip Jump (Rough Celtic roots and comes over as some sort Diamond) of mutant of Rabbie Burns and Disco for mental defectives. Horrible. Rob Roy McGregor. Absolutely fantastic (especially the synthesized bagpipes.) Jo Kennedy : Body and Soul / Paul Kelly and the Dots : Rocking Institution Rose Tattoo : Out Of This Place (Mushroom) (Alberts) Snippets from ‘Starstuck’. Jo Kennedy Cheetah : Bang Bang (Alberts) ruins quite a nice Splitz Enz song while AC/DC : Let’s Get It Up (Alberts) Paul Kelly does a fairly innocuous From the Vanda and Young School Of rockabilly workout on the flip. These don’t Heavy Beat come the latest three assaults bode well for the musical component of on this nation’s sensibilities. They’re all the movie. from albums, but if you prefer headbanging in small doses (like me) then : Loud Music In Cars there’s nothing better around. Play the (Stiff) / Cheetah and the AC/DC back to back for Pretty pedestrian workout from the maximum braincell damage. ex-Leeds United captain.

Rod Stewart : Young Turks (WEA) The Comsat Angels : Eye Of The Lens Stewart goes Springsteen and fuck me if (Polydor) The Clash : This Is Radio Clash (Epic) the old groaner doesn’t sound better than A very good single. Tense and ominous The Clash brutalise each style of music he has done for years. I’m probably just an atrnosphere is created by the repeating they tackle and this hacked up piece of old softie at heart because I reckon this is guitar arid thudding rhythm and the words New York rap is no exception. But, the best single around at the moment. are semi-incanted giving a semi-hypnotic dammit, I just know their hearts are in the quality. Don’t be surprised if you find right place, and that counts for a lot these The Go-Go’s : I Am The Beat (Illegal) yourself looking over your shoulder after days. If you’ve made that leap of faith, Not a patch on the superb ‘Our Lips . . . ’ listening to this. you’ll know what I’m on about. — too much garage and not enough beach scenes. Monotonous. Toyah : Thunder In The Mountains (Safari) Prince : Controversy (WEA) How someone who can’t sing has made Chic-like funk with a slow burn. such a career out of music is beyond me. Eminently danceable and hummable. This leaves me bewildered. What’s the Check it out. point? Synthetic Dream : Fee-Fy (Was A Rich Man) (Innocent) Ambient rhythms for design studios and art colleges.

Fred Cass and the Cassette : Xmas In America (Australian Branch) (Fred Cassette Co.) Either Fred’s starting his run early or I’ve left mine a bit late. Terrible recording quality, but quite amusing in an inner-city Melbourne sort of way. For friends and kitsch-ophiles only.

Cnr. Frome St & Rundle St Phone 223 7363 Adelaide umbtrello m u / K

Japan : Visions Of China (Virgin) A simply stunning, slightly slinky Sino — Nipponese concoction this one. Funk for USED RECORDS opium smokers or ethnomusicology for the smart set? Whatever your bent, this’ll bend it further. Shake ail round! BOUGHT & SOLD

The Church : (Pariophone) In stock In a way unrepresentative of the album, New Order ‘Movement’ which is a lot more atmospheric and (dare New Order Single, T and 12”. I say it?) psychedelic, but more in keeping with the established Church style of Cramps ‘Crusher’ 12”. ‘typically ringing Byrds style guitar’ Of singles and albums. (J. Doe). Irresistible after four listens, after And many more. which it gets even better. Is this the taste of victory? DEFINITELY THE MOST COMPREHENSIVE RANGE OF INDEPENDENT RELEASES IN ADELAIDE ENGLISH & AMERICAN IMPORT SERVICE.

ROADRUNNER 23 THE CHURCH

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24 ROADRUNNER Redgum to alleviate the confusion, do nothing to help interpret, the second industrial Brown Rice and Kerosine revolution. The thing about computers is to (Epic) use them wisely, not write silly songs about Molotov Cocktails. After all, isn’t accommodation what Redgum have tried Simon and Garfunkel to do with the rock music business? The Central Park Concert Michael Atkinson is also responsible for (Geffen) the worst track on the album, the unforgiveable “ Your OS Trip”. The song sounds terrible, Michael’s voice is simply “ Brown Rice an(j Kerosine” is the not up to singing it, and the words are very thir(j album from Redgum, and, I’m annoying. The song is addressed to a very sad to say, it is the most Christian Dior female Australian touring disappointing. The reason for this is Europe. It contains self righteous criticism Plenty of others make a living out of anthem for a befuddled brain, nothing that it trivialises issues, to repetitive, of her fucking a boy in ; of her building them. And if the reply is that then beats the whimsy of “ The 59th Bridge unimaginative arrangements, in the staying in the Hilton in Athens and being we’re building useless machines for Street Song (Feeling Groovy)”. Paul name of Popularisation of the Word. It unmoved by a demonstration; of her not multinational corporations, a songwriter Simon could write good songs, and often is not a fitting heir to “If You Don’t seeing the “blood between the stones” in should find a way to write about that did. But those words relate to a different . Michael, people like that A) aren’t process. The Commodore itself is world now; one in which people were self Fight You Lose’’, and “ Virgin Ground”. worth knowing; B) are certainly not worth innocent. I suspect it’s satirised because of consciously rocks and islands; didn’t feel With “ Virgin Ground” , this one time wasting one’s time over by writing a song style. A worn cuffs attack on a very easy right about graduating to a “job in group of philosophy students built on the about them. With such a stupid model for victim. plastics” ; one in which we could be moved ideological foundation they’d laid in their a song, any generalisation of “ message” I like Redgum. I like what they’ve tried to by lines such as “the words of the folk debut “If You Don't Fight You Lose”. becomes impossible, and the song the years. But from this album I prophets are written on the subway walls “ Virgin Ground” had a wonderful balance remains an uninteresting portrait of a think they’ve started doing something else. . . .” It’s luxury angst. It’s cute observation of light and darkness, toughness and wit, nouveau rich bitch. Funny how the years pass. One night you of the America mum and dad built and poetry and doggerel. But the balance, There are two other criticisms I have to go to bed a political performer. You wake believed in. Now, of course, everyone in even on that album, was a fine one. The make. “ Caught in the Act” is an infectious up next morning as another limp social America believes in that America, and problem with this latest album is that, for little piece in which Chris Timms (I think) satirist. Do better. these impish glances are just quaint relics the most part, those values have all been takes the vocal lead and handles it well. of basement folk. confused, and that fine balance has been The song is about how it’s good to rip off It’s good that record companies bring upset. Social Security, A.M.P., A.N.Z., Myers and out albums like these. It gives one a This is not to say that the album does others. Yet in the next song, “ Yarralumla While Redgum might be the old folks, chance to remember how things felt, way not have anything worthwhile for the Wine” we are told that, surprise surprise, the limousines belong to Simon and back then, and to assess the true listener. On the contrary, “ 100 Years On” “a tax dodge accountant is a Garfunkel. They sold middle class angst to importance of something that, at the time, is an emotive, tightly-written reworking of businessman’s best friend” . Where, one middle class yanks, and made a whopping seemed so important. The the song which should be our national asks, is the line to be drawn? Would it be profit out of it. The thing that one finds half-remembered lines can be dusted off anthem, “ Waltzing Matilda”. That braying alright for a, say, poorish shopkeeper to rip amazing is that this sixties stuff is still for one more recall, a half-mumbled voice of is controlled in off Bankcard? Is it alright for struggling popular enough in America for half a ' sing-along, before final consignment. The this song, and the pathos of the words is rock bands to draw social security, and million Yanks to show up on a cold day in closet can be properly cleared out. translateci into an emotive piece. It is as have a tax dodge accountant? The Central Park, New York, to hear the same Sluiced. Perhaps the most important song good as anything they have written, and problem with Australia is that there are no old songs. Only now the songs that might for those half million Americans at that recorded. So too are the other two songs neat lines like that to be drawn. The have come from the heart come from the concert, clutching at the warm past with Schumann has contributed to this album; blurring of class and income in Australia mouths of two polished performers with cloying emotions, is the one about death, — “ The ” , about the Australia makes moral judgements like that both extremely unconvincing smiles. They and renewal. It applies to love; it also we thought we had and which is moralistic, and open to charges of looked so good in the sixties, as serious applies to ideas, life, and folk singers. Lay disappearing before our eyes, and “ Where hypocrisy. The other criticism relates to young men and then as slightly woosy then to rest, you sentimental Yanks. Ya Gonna Run To” , which is a gritty, this. I’m sick of such targets as silver hippies. The photographs'that come with worthwhile song, the rough equivalent to Commodores being chosen as a butt of this double album, “Live in Central Park” , “August, die she must “ The Money's No Good” from “ Virgin Redgum humour. A Commodore is an make them look like nothing more than The autumn winds blow chilly and cold; Ground”. Like many of the tracks from this ordinary Australian car, like the sacred FB actors. . September I’ll remember album, “ Where Ya Gonna Run To” deals in Holden immortalised in “One More Boring There are some good songs to be A love once new has now grown old.” part with mining. One verse foresees the Thursday Night in Adelaide”. Plenty of recalled, nonetheless: ’“ The Boxer” always likely consequences for Adelaide and Port Australian workers own Commodores. was an exceptional song, and for an Larry Buttrose Pirie of a uranium operation in the north (Adelaide by the way has already had its share of nuclear waste, from the British atomic tests at Maralinga in the 50’s) . . . “Enrich the oxide out of Port Pirie And the toxic gases they won’t even Old Folks And Limousines see But where ya gonna go When the north wind blows Where ya gonna run to now ...” There are several other good songs, too, notably the Verity Truman-Michael Atkinson piece “Parramatta Gaol 1843”. Verity’s unusual voice (some people say it’s off key) gets right inside the song, and if given half a chance by the musical instruments that accompany her, she would have brought off a potent modern folk song of rebellion. But she’s not given half a chance; not even a chance at all, in fact, because of a booming bass guitar and a tempo that barely lets her gasp out the words. The result is a song which could have been very powerful reduced to a mindless dance tune. The same criticism of arrangements applies to many songs on the album. In trying to reach a bigger audience with their political message, they have substituted standard, stupid arrangements for honest music. Does every track have to have bass and drums? Does the listener’s head have to be nodding madly before they might enjoy the music, listen to the words? Some other tracks do work reasonably well with a “ rhythm section” arrangement, however. “Lear Jets Over Kulgera” , for instance, about the nice kinds of mining company officials one might bump into in the outback; and the comic “The Federal Two Ring Circus” , which allows Chris Timms and Verity Truman to do imitations of John Kerr, and, I believe, Dame Maggy. But both of these are Michael Atkinson songs, and it’s the songwriting of Atkinson that seems to have suffered most from Redgum’s new role as a commercial touring band. There is no grit, no analysis, no guts in these songs. There is nothing of the quality of “Killing Floor” , and “ Ted”. In place of incisive, thoughtful writing, we have the same old figures being made the butt of the same old jokes. It might get them laughing at Narrabeen, but they’ll forget what you’ve said in the time it takes to order another beer: So what was once poetry has become gags, entertainment. “ Yarralumla Wine” is just another “It Doesn’t Matter To Me”. On a different level, “Brown Rice and Kerosine” the title track, is too pat, too cute, too easy. Lines like “people before machines” do nothing

ROADRUNNER 25 dreamlike, and even more African (notably Godfey & Creme Was (Not Was) in terms of those modern-day Desert Shut Up and Play Yer Guitar Ismism Was (Not Was) Sands sounds, that go hand in hand with (CBS) most Western ideas of the romantic, dark (Polydor) (Ze) continent). Bring on the Nubians! The There’s plenty of fun for the footlights B-52’s fiddle while incense Byrne’s! on Godfey and Creme’s latest disc; It’s a fact of life that funk is For me, the best album the Mothers BUT where does that leave us? I said monologues that turn a wicked phrase splintering right, left and centre. The of Invention ever released was that the B-52’s made Trash with flash, and and spin a merry mile. The progenitors of Funkadelicattessen is still selling it Weasels Ripped My Flesh. It was the so they do. This may be a wonderful, the Gizmo device have certainly spared spice, the New York kitchens (you first of their albums I bought (after sometimes even interesting, collection of nothing on the production of this album, don’t really believe it’s from the streets hearing the Mothermania sampler) B-grade sounds but it’s still forgettable, effect and smoothness rolled into one. do you?) spits up a rap a minute and was as far removed from my perhaps disposable. For all this band’s expectations as I could then imagine. claims towards danceability, one soon Words make Ismism, in the shaded whilst the Hollywood tinsel is loses interest in it, as one is apt to do with background the electronic music is left to getting meatier. The pale flounders in It took a while to hunt up the early, satirical records on import, and in the music which, in repeating itself over any stretch interestingly but never over­ England have even pitched in, not to length of time, eventually offers no bearingly. In format and context Ismism mention the Chicsters whose particular meantime I came across Hot Rats, surprises, but rather lulls the listener into bears a resemblance to - fairy floss has already lost its sting. Chunga’s Revenge, and the live ‘deep sleep’. OF course music like this can Clarke’s work minus that gentleman’s There’s a Prince on my left, a whole spinoffs from 200 Motels which were work; the most successful track on famous phlegm, though a bunch of Queens, and of course a then starting to appear. ‘Remain in Light’, was ‘Listening Wind’, as variety of equally odd voices more than King buried in his legend over yonder. While appreciating the diversity of his much because of a real sympathy and work from 1967 to 1973, the Zappa I truly intelligence in the lyrics, as the fact that substitute. Yes, it’s still a happy family this little appreciated belonged to the midperiod Ismism was recorded and spliced together at the Heads do have the ability to sustain tribe on the dancefloor. stuff in which he flirted with jazz-rock line interest. As for this, I don’t think so . . . Godley and Creme’s Lymehouse Studios. And Was (Not Was) register their vote pure music. His 1973 concert at Apollo They play all of the instruments on the nine Boring fun. Is it possible? somewhere to the left of the Clinton Stadium largely pursued this style and Earl Grey tracks, except when joined by guest musician delegation (if that’s at all possible.) Their affirmed those impressions. When he Bimbo Acock on saxophone. music weighs in like a heavyweight on the eventually returned to lyrical stuff and Side one opens with something of a naked way up, fast footwork, a flurry of punches. overdone, repetitious, stale jokes, I went Blam Biam Blam lunch, ‘Snack Attack’. A hilarious spoof on Was (Not Was) is that joke someone told off him completely. the trials and frustrations of being a diet you last time you were dancing. Was (Not Shut Up and Play Yer Guitar is the Blam Blam Blam crazed American, wired jaws and all. Was) sound like a drugged beast, drugged album I have subconsciously awaited ever (Propeller) Memorable lines abound . . . “ I can’t eat no up that is. Their funk is cement layers of since. The boxed set of three albums more, I gotta use a straw. How do you take an instruments and voices. Dig in. consists entirely of guitar solos from live You’ve probably heard one of this overdose or even pretend to do it, when the And who would have thought ZE, that recordings dating from 1979. Given that last straw is the one in your mouth and you band’s songs {There is No Depression label of pale suits and cocktail samba, solos are usually a climatic point in rock can’t suck sleepers through it.” Way back in in ) on the wireless. It would have snared them? Well, me for and roll, it makes a considerably intense the mix generally clock around, one. ZE market commercial oddities, offering. (and the following cut. Got to be while Bimbo Acock adds some fine bursts of ambiguous product, usually from New Guilty) are the first two tracks on this saxophone. Once again the absurd gets Many of the themes and motifs around York. But Was (Not Was) are from Detroit, which Zappa works here are necessarily 2T 51" mini-album, and as it happens, pushed a fraction further on the song ‘Joey’s that dirty city responsible for a crop of the tightest and strongest songs. Camel’, a not so modern tale about the similar and repetitive. He knows about half diverse musicians, both good and a dozen genuinely unique tunes and Blam Blam Blam are a very casual re-discovery of the Ten Commandments and horrendous. Detroit isn’t , group whose songs have a string and the resulting situation comedy built up exploits them in appropriate contexts. Manchester or Memphis, Tennessee. Listening to the whole album can be a cellotape sound to them. They throw their around their inevitable loss . . . “ Dear Who’d care. strain, but also surprisingly interesting. collective energy into the maintenance of a Mother, I’m lying on a white hot blanket, wish Starting with their splendid debut Wheel Because Zappa is a good guitarist, if a steady, jarring beat, full of deliberately you were here, we’re a thousand miles from Me Out, that absurd artefact of funk meets slipped discs and sharp edges thrown in Cairo and it’s taken us a year to get this far.” somewhat technically obsessed one, and Beckett, the Wases have followed that exciting to listen to. And after all, this is the like knives. Sometimes they hit, sometimes Ah, the base material of biblical epics. And rainbow that led out of the Mothership and they miss, sometimes they just nick the onwards we go to a Saturday afternoon waste album I wanted to hear for eight or nine into the sea (or was it the desert?) Their corner of your earlobes and make yotr land puzzle ‘The Problem’, guaranteed to years. music is thigh slapping crunch funk, a If the album seems to be a compilation swear. exasperate in the first instance. soup of overdubs, a mulch of influences Live on a stage or in a pub they would On side two the hee-hawing continues in of highlights, that is because that is what it fighting it out. The album is patchy, probably overamplify their music (like most the best tongue in cheek tradition, is. If it lacks a sense of deliberate simultaneously nerve wracking and pudgy. other bands) if they could afford to. Overall welcome to ‘Wedding Bells’ and the sounds construction (a guitar album conceived and It’s overdone, overindulged, overcooked: I find their music tends to grate on my of the islands. Remember, no ring no composed as such from the word go), that just my kind of meal sometimes. I’d is because he has yet to do that. If he nerves a bit but the subject matter of the naughties type of moralizing? The laminex/ recommend it if I had the inclination for songs (groaning under the lurex ode does. I’ll be keeping my eyes open for it. ‘Sale Of The Century’, just has to be that sort of thing. economic/political burden) appeals to my the piece de tinsel of the whole album. A As it stands, this compilation is a welcome So what do you get? I’m not saying. Just sense of humour and fair play. 1950’s big doo-wop production number change from his general output. expect the largest ensemble ever gathered It’s impossible to judge the band on the spilling the sugar like some deranged ‘Wan­ The second and third albums of the set on a record untouched by George and basis of this — mini-album or long EP? derer’, and what a first line to dwell on . . . ‘‘If impress me the most. The first two sides Bootsie (well maybe untouched, but I Well, who knows. It’s a bit slapdash and I’ll they auctioned my heart on The Sale Of The tend to be a bit clattery. Zappa has wouldn’t bet on it.) The songs scrape the probably done his best to insure that the wait until I hear more from them. Century, would it still be there at the end of bones of black music till they scratch like the show?” Everything comes to an end, and arrangement of cuts is the best possible ______Span the sound of chalk on a blackboard. But with available material, although a definite what better way to end than with ‘The Party’. more pleasurably. The 12" mixes of a A Zappaesque sounding array of bitchy and lack of continuity remains. Rod Esther couple of the songs are best, but the Nevertheless, more of the same would bumptious conversational snippets done in album is more convenient. Was (Not Was) Back to Earth the appropriate voices, to thp sounds of be welcome. It probably annoys Zappa, fit in a box on the side of the record pile, a but his true strength is here rather than in (Larrikin) slapped up funk and weirdo effects. The large one. They have all sorts of sincerity of it a ll. . . ‘‘Who do you have to fuck his pretentious and often mealymouthed attachments, all brands of gimmicks. attempts at social criticism. to get a drink around here?” They’re great (not great.) Everyone says Rod Father, whether consciously or Godley and Creme have satirized to their things like that when they write about Span unconsciously or a mixture of the two, hearts content on this project, and you’ll them. What would you do? seems to be attempting a couple of definitely find yourself accompanying them Was (Not Was)’s appeal to the masses difficult coups. with laughter. No way can this be considered may well be limited by their creepiness, B-52’s as a straight comedy album that will diminish First of all, this album is attempting to their smell of middle age, but they’ll be Mesopotamia transmit a message of urgency to all with time. The music and production devishly welcome on the dancefloor for some time give it many facets and an assured long life. (Warner Bros.) concerned about our divorce from the to come. Out Come The Freaks, Tell Me Earth and all creative pursuits. The album Toby Cluechaz That Tm Dreaming and Go . . . Now! flex has a sort of ‘‘rock opera” style, with leg muscles, whistle and thump very The B-52’s aim is, and has been, to Eather’s songs sandwiched between an convincingly. The rest is a psychedelic produce ‘trash with flash’, as they say; opening and closing instrumental piece haze; I’ll tell you how good it is when I the sort of thuddingly insistent trash of {Epilogue Starts and. . . Ends), composed remember. Have fun. ______Tim McGee the least admirable disco, with all the by Eric Zarrella and producer Chris artistic trimmings of a post-Warhol Eggleton. America, thrown in — or so it would Second, Eather is trying to make it as a singer/songwriter in a way to fit the ’80’s. seem. Warhol gave birth to Jonathon Further, he is possibly trying to get IMPACT RECORDS Richman’s songs about icecream men something off his chest or is simply and shopping plazas. Talking Heads distilling the results of a few years of Mail Ord^r Service tunes about apartment buildings, and wandering and occasional, hobbyist the B-52’s melodies on beach parties. songwriting. Here the themes, whether lofty, routine No. I don’t believe that. The songs or insignificant, are reduced in context with sound far too constructed for that, not only modern, ‘permissive’ America. ‘Cake’, for in their format, but Eather’s voice gives the instance, deals with the baking of an, as impression of someone who is unrelaxed yet, undetermined brand of, (you guessed as far as singing goes. He intones, it), cake. However the repartee between incants, almost sermonizes his lyrics in a the two girls indicates a bit more than just nasally tone that makes them hard to a culinary decision: ‘. . . it takes a long concentrate on for too long at a time. time to rise’, ‘let’s get this thing in the The songs have a Nimbinish, oven’, ‘I can’t wait to put the icing on this Down-To-Earther feel about them. Eather’s cake’, and so on. style reminds me of Mike Quarmby ‘Mesopotamia’, natters on inanely how (probably still alive on the folk circuits) ‘6 to 8000 years ago, they laid down the except that Quarmby was a better law in Mesopotamia’, and leaves it at that. songwriter. I could never quite handle Since the music is fairly evocative though, Quarmby either. it would seem that the songs mood The feeling of the album is desperation. dictates the subject matter; the lyrics are The desperation has a saddening effect in totally secondary. This is the theme music that what Eather is trying so hard to do — to all those 40's and 50’s Bagdhad epics. confront us with reality — he has not fully Better still, to ‘Abbott and Costello Meet achieved himself. The album is The Mummy’. pretentious, not in an extraverted sense, That David Byrne produced this is but in that other, “ innocent” sense, where markedly obvious. His tribal city synth an individual is trying so hard that it sounds pervade this EP like the proverbial shows, and shows as a serious flaw. I Egyptian plague. Especially notable is would genuinely like to like this album and ‘Deep Sleep’, with an introduction that say it’s a good one. I can’t. could have been lifted from ‘Remain in Span Light’, except that the track is even more 26 ROADRUNNER ROADRUNNER im iiiiiiiAiii

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ROADRUNNER 27 Booker T Steeleye Span I Want You Recollections Sally Oldfield Best of (Festival) (Swansong) (Chrysalis) Playing in the Flame Hey you! Yeah you reading this. (Bronze) You got any Dave Edmunds albums. A fairly straightforward collection of This band (no relation) seem to be discoey soul. Booker T has been No?? You ought to be taken out and making a comeback, and despite all Apparently Sally Oldfield is very happy shot. And that goes for all your mates around too long to make mistakes and the predictable cynicism from some probably too long to bother about with her musical style as it is evidenced on and everybody else who hasn’t quarters are likely to do it without any this album, and intends to proceed in a taking chances either, but if you live in supported this Welsh wizard who has trouble. similar manner with a more or less perhaps more than any other person a tenth-storey town house it should The album is a mixture of tracks permanent group. kept the true and pure flame of match the wallpaper or the living room covering the period from 1972 to 1980. There is no doubt that she is a original burning sweetly carpet. Some have previously been recorded as remarkable vocalist and a mature The funkier stuff is on side one. The through the waves of aural pollution singles, some are from live concerts, constructor of songs. Her supporting other side tends to get more laidback and others probably come from former albums musicians on this album are more than that assault our ears daily. smoochy. but there is insufficient information on the capable of fleshing them out with colour Well now you’ve got your big chance One exception is Electric Lady, the cover to allow more details. and texture, but there is a schmaltzy you wombats. If you can put the bloody instrumental which opens side two. It’s It’s a very long record — running to tendency that at times becomes a little too ‘Best of Blondie’ at the top of the cocktail bar soul, dancing into idiosyncrasy nearly an hour — and includes scattered syrupy. You need a pair of reliable stilts in chartmosphere there’s NO BLOODY in places, and clears the nasal passages. spoken introductions where necessary. places. EXCUSE why you can’t do exactly the Span Although it’s tempting to suggest this Her concerns are romantic in the same for this tasty little licorice pizza. album as an introduction to the speculative extreme, using love and relationships with This is IT, you dumbos. The best. Beats Steeleye fan of the future, in my opinion an unsparing dash of spiritual feeling to to dance to, melodies to hum, choruses to the one fault of the album is that it is too explore one’s destined path and karmic sing, and arrangements to marvel at. All cluttered, and lacks the consistency of habits. The cover depicts her in Oriental the ingredients perfectly proportioned and Johnny Guitar Watson generally released albums. dress, absorbed in playing her bongos and of unsurpassed quality. Songs—some old, The Very Best O f. . . However, with a range of material that heedless of the threats of tiger or dragon. some new, lots borrowed and (almost) embraces traditional folk, Xmas carols, and The album is easily listenable, although blue—from ‘Get It’, ‘Track On Wax 4’, (Festival) such off the beaten track possibilities as the schmaltz and the spirituality (which so ‘Repeat When Necessary’ and ‘Twangin’! Camptown Races, it remains a tightly often seem to run together in this sort of So what are you waiting for schmuck? Watson was apparently one of Jimi packed nutshell of this band’s varying music) seem highly artificial a lot of the Donald Robertson Hendrix’s major influences. talents. And Maddy Prior’s voice is a virtue time. I prefer her relatively more casual, He plays, sings and talks up-tempo in itself. earlier work. blues with talent and a vengeance. Span Span This record has spent a lot of time on my turntable over the last week or so. Garland Jeffreys It will probably continue to do so. I will something slightly endearing about probably even investigate other Rock’N’Roll Adult Garland Jeffreys. He may never scale the records by this individual whose name (Epic) pop heights of a Billy Joel but he can still is so familiar but whose music has so Mark Gillespie write a tune like Matador that slinks along far been unheard. attractively within its dream-world Watson’s voice and guitar both have a Sweet Nothing parameters. And in the final analysis the lilting, sharp-tongued, swaggering walk to (Wheatley/EMI) muddled way in which he sets out to them. On almost every track he captures Garland Jeffreys is one of those present an image of a half-caste street the attention, nails you down and insists rebel and ends up revealing himself as just American entertainers that another confused New Yorfc pseudo you listen to him bitching out all his right-thinking Australians love to hate; problems, real or imagined though they intellectual may be deserving of sympathy may be. He declares himself like a the kind who sweat ambition, worship rather than scorn. Meanwhile, this album drunken war veteran and, in the success, and wrap up all their makes for more pleasant listening than appropriate lingo, “ lays it on you” . neuroses and multi-media each and every piece of vinyl effrontery by Gangster offlc Love and Booty Ooty (on backgrounds into a package that’s Meatloaf, , Billy Joel or Melissa side one) have that irresistible quality of suitable for any market from Manchester, but is no substitute for the still good classic blues. It’s All About the $ Bill rock’n’rawl to chat shows. awaited live or greatest hits set from the and Strung Out present other facets of the Representatives of this race of bland once and future underground king of the same gem. A couple of tracks (like Love whole genre, the wonderful Johnny monsters include Billy Joel, Ellen Couger, a young man who deserves to be Jones) are a little too slow, Watson is at Foley, and lots of others hanging out his best when he’s got a gripe. He doesn’t richer than all his tribe but still remains write his own songs, but he makes other in the middle ground between Barry obscure. people’s his own with supreme confidence. Manilow and Bruce Springsteen (and Mark Gillespie is a member of a much And you really can see where Hendrix that’s a gap that’s not as wide as one rarer breed than the professional New got some of it from. might think.) York egotist, the Australian Span Jeffreys has been trying hard for years singer-songwriter. His 1980 debut, “Only now, but has fallen steadily behind in the Human” , was a moody, well-balanced great race since the initial impact of his blend of melody, husky singing and superb “ Ghost Writer” debut, itself a highly playing from Melbourne’s finest rock listenable if facile blend of cooled-out guitarist, Ross Hannaford. On “ Sweet reggae, polished “street talk” , and Nothing”-, Hannaford is missing and so are melodies that were quite fetching in a all the virtues of the previous outing. The meandering kind of way. only track on which even a modicum of “Rock’N’Roll Adult” is a live album, a energy is displayed is on the opening predictable last grasp at the big time, and Nothing Special, and then it’s downhill all it contains all the standard moves. There the way. Gillespie’s listless vocals are are a clutch of hits-that-missed {Ghost backed by his own tinkling keyboards and Writer, the Stones-chorded Wild In The guitars and loungeoom funk rhythm tracks Streets) and exhumed sixties standard (96 that are as about as exciting as watching Tears) and a calculated toothpaste being squeezed out of a tube. audience-connection ploy with R.O.C.K. The only imaginative moment here is You have to hand it to this ageing boy; he Pileup, a song which used to be given a knows how to spell out his cliches. For tense live treatment by Gillespie’s live rock fans, there’s an added attraction in band but is here reduced to the comatose the presence of the Rumour, who’ve level of its surroundings. What makes this signed on as Garland’s backing band for half-hearted project more curious is that the money and discipline involved. Here the lyrics are uniformly apocalyptic in their they play with more force and tightness im a^ry, abounding in references to than they ever managed with Graham “ rivers of blood” , “tongues of fire” and Parker, and the whole package is wrapped “ strange things happening” (maybe the up by producer-of-the-year Bob born-again Dylan has found an antipodean Clearmountain in a sound that cracks and disciple) but the strangest thing happening jolts . here is the fact that this unnecessary But even though every slice of emotion album was ever issued. here is so carefully calculated, there’s Adrain Ryan RECORD FACTORY

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(IMPORT) SINGLES 8. ALBUMS BUCK O FF FROM EVERYWHERE WE STOCK REAL ^ ^ ^ ^ « SEE VIDEOS . . all local records & cassettes T-SHIRTS, THIN LIZZY PATCHES, THE MOST COMPREHENSIVE IRON MAIDEN RANGE OFAUSTRAUAH i EHGUSH M d g e s , p o s t e r s , MICHAEL SCHENKER IHDEPEHDENTLPsAHD SINGLES PHOTOS, UFO IN SOUTH AUSTRAUA GILLAN including MAGAZINES, etc. . . Regular, Postcard, GAP, Deluxe, Rough Diamond, POST CARDS - Green, Larrikin, Au Go Go, Sprint, Powderworks, ALL HEAVY WE ALSO STOCK Stunn, Rough Trade, 4AD, Factory, Ralph, Giant, Crass. METAL. NEWWAVE. i;. L 28 ROADRUNNER Fast Forward 008/009 Further, the arrangement of material is sensible and well considered. It cannot be (Cassette Magazine) a mistake that all interview material is to be found on cassette one, sides a and b, To celebrate their first full year of while cassette two contains only a commercial semiviability, the compilers selection of music without interruption or of Fast Forward have released a discontinuity. I find this extremely sensible. double issue of this unusual Cassette one becomes an occasional magazine. An attractive vinyl wallet sampler, whereas cassette two is a double album in its own right, marred only by the contains two c-90 cassettes (the listener’s musical preferences. magazine proper) and a thick booklet Sides a and b contain interviews with entitled “Annual Report” , which Ian Dury, Kraftwerk, and the Cure, contemplates the present and future of including a live cut {100 Years) by the Fast Forward, offers inforniation on latter. There is also an interview with current local , and data interstate band Machinations, with samples on some of the people who appear of their work, and a handful of tracks within the magazine itself. breaking up the wall of spoken word. If the standard of this issue is a fair The music itself is wide ranging. Fast on the band’s EP, together with a running criterion, one can only hope that its Forward features a mixture of Australian (Last Gasp Cassette^ interview between tracks (The Fast producers find enough subscribers or bands (such as Sardine v and People With (Available through Resonant Rcecords: P.O. Forward shuffle). One very noticeable thing distributors to assure Fast Forward’s Chairs Up Their Noses) and overseas Box 301, Subiaco, W.A. 6008) about these four songs is, they uncannily future. The material is chosen with good music, ranging from the curiously Faustian retain the band’s distinctive sound even discrimination, showing no signs of artificial Dutch band O.R.D.U.C. to artists from the At last something to be genuinely though they play a diverse range of styles. padding to flesh out the issue. It is a feat American Dub Communique sampler. interested in, The Triffids. A Perth From the deterministic pop of ‘Reverie’ to no less remarkable for the apparent Some are not to my taste; others have band now residing and playing in ‘Joan of Arc’ a very tongue in cheek hybrid simplicity and commonsense of issuing a caused me to make copious notes Sydney who comprise of: David of a country song, to the sardonic music magazine in audible format. concerning contact addresses for bands ‘This Boy’. such as Guilded Youth, Dead Can Dance, McComb on vocals and guitar, Robert Side B features a beautifully crafted and The Invisible College. McComb on guitar, , and vocals, Finding the tracks you want on Alsy MacDonald on drums. Will Akers song called ‘Spanish Blue’, a song that could and should be on the play-list of the successive listenings, of course, remains a on bass and vocals, and Margaret most conservative and progressive radio problem, and for this a listing of exact time Gillard on organ, piano, and vocals. stations in this country. The song is about per track might be helpful, but this is a After listening to The Triffids I find Perth and the lifestyle formed around the minor gripe, like the booklet which myself confused by infatuation and Mediterranean Climate they experience, accompanies the magazine. It has no trepidation. I have to become a miser with guitars and castanets enact a latin feel... arrangement corresponding to the words tp talk about their purity, I am sure “ Nothing happens here, nothing gets done cassettes themselves, and is so packed my time would be more wisely spent if I but you get to like it.” with bits and pieces of scattered just listened or to their music One sometimes wonders how bands of information that it probably requires a rather than write about it. Self protection great feeling like The Triffids and month’s reading to assimilate. I still don’t on my part maybe, but some people Go-Betweens could ever form in Perth and know whether it has any information deserve a wider audience and I have to Brisbane, amid all the reactionary cant and concerning The Invisible College (but at remember that I am in a position to write grubby money. But somehow they do, the least it has their address). about them. So buy The Triffids. resoluteness gained from such an From its greetings-from-space opening Why should you buy The Triffids? environment and the continuing will to play to the edited PiL riot at the New York Ritz Because the pop they play is not only innovative music is enough to heave any which closes the magazine. Fast Fon^/ard infectious it’s unusually smart; read as band to the top of the scrap heap; if not, is a superb production, and one which I sweetness and a thumping rhythm section, we the audience are to blame. Resonant would be happy to support if I had the lyrics as empathic as they are insidious, Records have housed the cassette in an money. Prices are irrelevant for this article harmonies and other idiosyncrasies, eye catching vinyl pouch so you won’t as the Annual Report contains a baleful humour... a skin of dark shadow. And miss it, plus an information sheet and suggestion that prices will rise after quavering emotion, David McComb’s voice sticker are provided as well. Please don’t February. If you’re interested, write to them is the rich centrepiece. Side A of the be misled by my stylistic doodling; this is and find out what’s happening. Send for an cassette contains four songs that appeared fantastic pop. issue. You won’t be disappointed. Toby Cluechaz. Span Contact P.O. Box 251, Fitzroy, Vic. 3065

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Thurs. 18 Bombay Rock, Qld. Sun. 28 Prospect Hill, Melb. Fri. 19 Qld. University. Tues. 30 Doyleson RSL. Sat. 20 San Miguell Camaray, Syd. Wed. 31 Bexley North, Syd. Sun. 21 Paddington Town Hall. Thurs. 1 Maxies, Syd. Mon. 22 Sundowner Hotel. Fri. 2 Vicar of Wakefield, Syd. Tues. 23 Family Inn Hotel. Sat. 3 Manleyvale Hotel, Syd. Thurs. 25 Jump Club, Melb. Sun. 4 Bondi Regis, Syd. Fri. 26 Club Chevron, Melb. Mon. 5 Bayview Tavern, Syd. Sat. 27 Seaview Ballroom, Melb. For further Information Phone (02) 356 3188.

ROADRUNNER 29 i 1

Dear ‘Sir Donny’, Dear Don, It was truly heartbreaking to What happens when you put Roadrunner, I’ve got to hand it to you, your Jenny Eather sure is a lucky see the crowds turn out for this one tall, fair-haired, sometimes publication is without doubt the girl. And R.R. readers aren’t year’s party “shows”. Yes that’s described handsome man, once best, most interesting music rag doing badly for themselves, right — to see the performing imitating everyone from Johnny in Australia. But look at your either. The article “ Of Hart and animals go through the motions, Rotten to Kamahl, slightly Heroes” has most certainly exactly you quick-minded people schizophrenic not knowing competition — JUKE for the young pubescent AM top 40 set, helped fill in the gaps of info, — just like the seals at the zoo. whether his surname is Wells or missing on such an increasingly “ . . . AND FOR HIS NEXT Hart, accomplished as a singer, and they seem to get most of their “current” news from your good band. It was fabulous TRICK, NICK WILL JUMP songwriter, and guitarist, and hearing all of Mr Harts views on FROM THE MONITOR INTO having an affiliation with cats; back issues anyway — and RAM that meanders around the band and its music. Yet it THE CROWD” , cue for much especially the blonde, modelling makes one wonder what the kicking into personage on the sorts called Gloria, with one current fads, with sickly sweet “arty interpretation” with every other members of the band have floor. again tall, fair and questionably to say. Jenny E. has assured us That’s why the Newcastle gig good-looking gentleman, comment made by a band being deep and meaningful and just how talented Mr Hart really is, was so good. They refused to respected bass guitarist and be it in the rock band or with a perform the tricks, and Nick sat harmoniser, with steadily right to start getting artificially excited about. Your February pencil and paper. If one member down as did Tracy, hence the growing acceptance as has so many talents to his malevolent, spiteful cries “We singer/songwriter, whose issue was great, with a great review on the Girlfriends/Reels credit, it becomes astounding to want the real Birthday Party” , security blanket lay withih the think what the other three have “You didn’t pay to see us” , (oh frames of a red, inconspicuous Gig by Dave Miller — but Dave EDITOR & PUBLISHER you may have not noticed or to offer. Just catching the band but it’s much more fun to see object, and whose previous live once reinforces that you react than for you to see us Donald Robertson careers extend from being an may have forgotten one other good song the Girlfriends did; multi-talented facet. Maybe perform) and from the girls next ADVERTISING uncle to joining the police force? Jenny E. will get sent out on to me “ Newcastle lures ya” ! — If you were then to add to this “Gone With The Wind” — it’s Lyn Saunders (02) 331 6622 great stuff, but the big problem another mission to catch up with wrong band girls, Australian combination one comparatively the other three, so R.R. readers Crawl were down the road. SYDNEY EDITOR: small, dark-haired, some say with most of their other music is the super boring repetitive guitar will know the band complete. I preferred Nick’s classic Giles Barrow cute; some say not-looking man, Thanks again to all those “Look I know we’re boring, but whose keyboard excellence rhythms and identical melodies, MELBOURNE EDITOR: but what a great sax player they concerned with the 2 page we’ve all got headaches tonight, more than speaks for itself, and article on the Little Heroes, and no one is allowed to touch the Adrian Ryan (03) 347 3991 who’s also accomplished in have. really are “ it” the perfect marriage of beautiful I’ll look forward to more in the singer.” Cheeky boy. BRISBANE: harmonies and small screams future. I’m sorry things turned out this and comments, and who is bop and bad taste. The clash David Pestorius interview was also tops, Look into Sarah's crystal ball; way. The Birthday Party do not rarely seen without a thin black She predicts ’82 as the year for deserve the same trendstoppers PERTH: tie, a hat, and jumpers with reaffirming that they still are a garage band and can still hit the Little Heroes. I think, I might, as the ones who think Hunters & Michael Mullane salt-patches; we would have a I must, I know I’m happy if that’s Collectors are the BIG THING hard, their tour was a 2 V2 hour LONDON: trio on our hands — what sort of the case! (for this month). I must not bitch, trio I couldn’t really say. And knockout! Run out of things to Chris Saiewicz say, except keep on feeling the but the hitting of empty gas adding the finishing touch with cylinders does not turn me on. another tall, arguably handsome, pulse of Aussie music. NEW YORK Philip Jenkinson, I’ve said my piece, Thankyou Keri Phillips dark-haired man, who has come Birthday Party, thankyou Craig, a long way from seeing Gary lead singer of the soon to be Reasons To Be Cheerful (Part mega-successful “ Proverbial thankyou for the space. CONTRIBUTORS: Glitter on stage at Festival Hall Anna. Stuart Coupe, Toby Verbs” . Unemployment, Rising Prices, to playing it himself, and whose P.S. Please readers no more of Political upheaval — Oh what a Cluechaz, Jenny Eather, Earl respect as a drummer grows by this “thanx” bit. It stinks. grand land we live in. Thank Grey, Tyrone Flex, Span the week, forgetting his past as P.P.S. Anybody who had a letter God our bands are top quality Hanna, David Langsam, a lover and earning a cleaner When an Editor at the end of published last issue (Feb), slash. and far from being stuffed, as Adrian Miller, Ruthven reputation, and who’s about to a ‘Letters’ column writes “ more, your wrists now you total the same cannot be said for conquer the world with Clutch more, more” that’s exactly what morons. Lisa Bayo, what would Martinus, Craig N. Pearce, much else. While so many of Enterprises, may just leave us he’s gonna get. How refreshing RAM know of talent? Brecon Walsh with a group of men hard to it was to see in your last issue our giants like Chisel, Enz, Angels etc. . . were off overseas, DESIGN & LAYOUT: explain. Maybe it all results in a 3 letters concerning The Little Dearest Ed, - abundant time was on our And Productions — band described as slightly Heroes’, instead of reading Oh, thank goodness you’ve hands to catch some of the not Richard Turner, Kate courageous, heroism only in about the usual hype. It’s great informed us, for a moment there small doses though, whose to see a magazine like R.R. so well known bands. It’s I was beginning to think maybe Monger, name seems remotely tied with giving space to up-and-coming fabulous to see so many . . . no I must erase such awful Australasian bands making a (081223 4206.TVPESETTING: the study of numerology. What bands. And to complete it with a thoughts from my mind name for themselves, and being SA Typecentre 211 8811 to call themselves; stuffed if I 2 page interview with the lead immediately. But after a band supported solidly all around the can work it out!!?!! singer was a great finishing dominates the gig guide through DISTRIBUTION: country, especially at a time ‘Those Girls’ don’t mind if a touch. Great to see you print ’81, and appears as a must for Gordon & Gotch band goes off the road for a few material on bands your readers when strikes and conflict seem any music-loving rager, and then for Australia and New obviously wanna hear about. I continuously apparent. While months, no not at all (get the cannot be found anywhere for Zealand T)lade away from your wrist personally would have liked to Men-At-Work, INXS, and many the first six weeks of ’82, and, Jacko, it’s blunt. I’ve already have seen that whole edition other bands broke through the as usual, is not mentioned by PRINTER: charts with good AM support, tried that.) And of course they filled with news on the band, but any magazines, one begins to Bridge Press, Seventh St., many other bands struggled don’t begin to miss all the greed refined, 2 pages was an conjure up in the mind Murray Bridge, S.A. 5253 brilliant live new material that excellent start. Maybe next time through, gaining a multitude of Ph: (085) 32 1744. respect with only FM exposure. disastrous thoughts of the band isn’t on the worn out album (pull you may decide to fill every inch no longer being toge . . . no, I Let’s hope they all too get a the rope tighter or your feet of space with info on, and cannot let myself think this way. ROADRUNNER is registered chance of joining the AM play might touch the ground.) Would drawings by, the band. Once 1 should have guessed it would for posting as we ever feel like that? (Lay off Clutch and the boys get going. lists, before the government take a great paper like Publication No. SBF 1813 decides to ban music. the kitchen knife, that’s mine I’m sure you’d find them capable Roadrunner to come out with a One band to gain in Recommended retail price to use). of filling every page of issues 2 page article on the band just popularity, especially going by lasting the whole year. (With when one might think they may $1. (Pleeeeze print this letter. After their increasing dedicated ample space provided to have quietly disb . . . trust HEAD OFFICE: your great article on the band following, was Little Heroes. advertise ‘Clutch Enterprises’ of D. Robertson & the boys to have last issue, it’ll be easy for Their music is both extremely 2 College Road, course — Business must come saved the day. Why if I would everyone to guess who it’s well played, and always KENT TOWN S.A. 5067. first!) Seriously, thanks heaps have to live my life from day to about. Thanks a lot.) enjoyable. Rogert Hart’s talents Ph.: (08) 42 3040. R.R., and keep up the excellent day, never seeing the Little standard. seem endless, as each song Contributions are welcome they expertly play seems Heroes live again it would By the way Taylor, I’ve been inevitably lead to my pushing but must be accompanied by destined to be a classic. And Dear Roadrunner, waitin’ for hours; so where’s the the button on my bloody flowers??? John’s singing/songwriting is of a S.A.E. if you desire them to Boy, have you rushed to the self-constructed atomic bomb, be returned. top of my list of favourite equal quality. Add David and Alan’s brilliant musicianship and so as the world could avoid Australian Rock Magazines. such depression (Amazing what That two page article on THE you really have one of the best Dear Roadrunner, rising bands in the country. they teach in schools these LITTLE HEROES really did you days.) Great to see you heading It’s a fuckin’ miracle!!! The Congratulations Little Heroes . . . credit. It seems uncanny that it back for the Road again boys. takes a S.A. magazine to do a Illustrious One has sent forth an maybe you should run the angel, by the name of Jenny country. And thank goodness great story on a Melbourne Roadrunner had the sense to Eather, to grace the pages of band. I can’t congratulate you Love ‘The Illegal One’ write about the band, before the enough for covering the band in Roadrunner with a 2-page no-bullshit story on a no-bullshit world resulted in a huge such a brilliant manner. explosion; incredible how band. And what a superb story it Being from Melbourne myself, advance physics and chem. are was. It’s about bloody time I’ve had quite a few Dear Craig N. Pearce, in schools today. Roadrunner had an article on opportunities to catch the band Thankyou so much. I feel You may have thought The Little Heroes, but don’t stop live. Never have I seen their immense sympathy that the Landscape Gardening and now. We want more of The Little crowds leave disappointed. whole Birthday Party set-up had Ceramic arts were all that were Their catchy tunes are often Heroes in your mag. and less to be explained word for word to crap. These guys are bloody needed in the Rock bus, but I well-known, so their following is the baffled morons in the end, tell you. Physics & chem. brilliant, but don’t take my word obviously growing, even without but you did it so well. classes sure come in handy! much media support. By what for it. Get off your arses, all you Congratulations. you wrote in the interview, it roadrunners, and see these As far as I recall you didn’t sounds like ’82 may be the year guys live, or get your grubby use the words “ manic” or for the band, when finally their paws on one of their licorice “ primitive” once. I’ve always- musical talent will be pizzas and hear their amazing preferred the Birthday Party recognised. I’m sure R.R. will fill talents on vinyl. method of violent repetition to us in on The Little Heroes This is THE YEAR of The get their songs across to those progression, and hopefully the Little Heroes. You have been trying to get their dance worths rest of Australian media will warned. out of an evening, but if it had to follow suit. from be spelled out, you did it more The ‘Snobbed One’ “ no speeka da english” . than adequately. (Were you there????) .

30 ROADRUNNER '<¥* >s" 1^; S<' ’'^>,!„

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THE BE UR R E D C R U l i i i M

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