Stranded in The Jungle. Jerry Nolan’s Wild Ride by Curt Weiss (Backbeat Books)
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- By The Barman
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The cover does not lie. It was a wild ride for Jerry Nolan, drummer from the New York Dolls and Johnny Thunders and the Heartbreakers. And it’s all outlined in detail in Kurt Weiss’s gripping, 310-page biography.
Much of the wild nature of the journey was self-induced: in a New York underground rock scene where junkies were prominent, Jerry was one of the most notorious. A bigger fiend than his running mate Johnny Thunders, some say.
His death at the unripe age of 45 - on life support, fighting bacterial meningitis and pneumonia - was more than likely related to his two decades of intravenous heroin use. He was HIV-positive at the end - and possibly in the grip of AIDS, the author suggests.
Curt Weiss (aka Lewis King) drummed in Beat Rodeo and succeeded Nolan in the lesser-known Rockats. He met Nolan only in passing. His style is incisive and direct, and his critical faculties are those of a rock and roll player, which is no bad thing when talking about Nolan's technique.
Lager Than Life - Squeeze The Pig (self released)
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The production veers towards the threadbare in parts but there's a lug-headed charm about this CD from a blokey band from Perth. "Lager Than Life" is the debut release for Squeeze The Pig.
At eight tracks long it's too short to be an album and too long to be an EP. Let's stick with the tried and tested label "Mini Album" for the time being.
As if you hadn't guessed from the cover art, "Lager Than Life" is all about fast cars, motorcyles, beer, smokes and rock and roll. It's meat and potatoes and doesn't try to be anything that it isn't.
An engaging double-header in Melbourne
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- By Patrick Emery
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Camp Cove.
A scenario The Barman will appreciate: My place of employment has organised for middle-managers to attend a two-day leadership and management session. The notional proposition is clear: to build engagement across and up through to the more senior levels of the corporate hierarchy.
"Engagement", in this context, is a corporate-speak for constructive interaction in the workplace. You can talk to someone, but unless you’re both engaged, it’s just words. And what are words for, when no-one listens anymore?
We’re assembled at the venue, a mid-range hotel-cum-conference venue in Melbourne’s CBD. The room is small and stuffy. The only window looks out to construction works being undertaken across the street. The décor is unimpressive, patterned brown carpet like a Brunswick sharehouse, uncomfortable chairs, inconveniently placed supporting pillars.
King Cobra - The Senior Service (Damaged Goods)
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Effortlessly cool instrumental soundtrack music by a band drawn from the UK Medway scene. The Senior Service make epic songs.
If you don’t know the names Jon Barker (organ), Graham Day (guitar), Darryl Hartley (bass) and Wolf Howard (drums and percussion), you’ll know the bands they’ve played in, like Billy Childish and the Buff Medways, The Mighty Caesars and The Prisoners.
Hammond organ to the forefront, The Senior Service march to a drumbeat made familiar by predecessors like Booker T and the MGs. This is their second album and it could have filled the soundtracks of any number of spy movies, film noir thrillers or whimsical British dramas.
KURT COBAIN ALERT! Three Fall books reviewed
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- By Robert Brokenmouth
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The Rise, The Fall and The Rise - Brix Smith Start (Faber)
The Big Midweek: Life Inside The Fall - Steve Hanley and Olivia Piekarski (Route)
You Can Drum But You Can't Hide - Simon Wolstencroft (Route)
Yep, You read the headline correctly. I'm serious. Cobain was such a fan of The Fall he tried to get on their tour bus and travel with them.
The Fall refused.
There's an absence in our culture. You may not have noticed. It's like some necessary abscess has been entirely excised from our cultural body. We needed that pain, that savagery, to tell us what we are, what we shouldn't be, and to remind us that we can be more than what we are.
This article is all about Mark E. Smith. Because his personality, his drive and charisma shoved a certain rock'n'roll band forward through barrier after barrier...
Carry On The Con - The Braves (Spooky Records)
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- By Robert Brokenmouth
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Another day, another of those astonishing records from Melbourne label Spooky. The Braves, now on either their fourth or fifth LP, show no signs of that "running out of ideas" thing which so many bands suffer. On the contrary.
In fact, you might not like The Braves. Face it, you play what you're used to, or variations of it. Partly, I accept, because what's common on the mainstream formats is such awful rotten sludge, but partly because... you're all used to the ordinary.
Not my fault you no longer have an adventurous bone in your body, you old fart. And as for you young 'uns who haven't yet worked out that just because it's new doesn't mean it's any good...
Live PBS 106.7FM - No Fixed Address (No Fixed Address)
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- By Robert Brokenmouth
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Saw this unexpectedly in Streetlight Records in Adelaide and instantly snaffled it.
No Fixed Address (or NFA, as the Social Security acronym had it) was what every itinerant/traveller/boho put down as their address when they turned up in a strange town and went to lodge their form. Meant they weren't entitled to rent assistance.
The reason this release only gets its beer bottle rating is for the songs - not the memories. Certainly not for the sound - whoever did this was either having difficulties or not paying attention. The bass doesn't dominate like a liquid hot night in Adelaide, somehow to the fore and in the background at the same time; the guitar seems cleaner than I remember it, the pace seems slightly faster (though that could be time playing tricks) and, perhaps Veronica Rankine wasn't playing that night as I can't hear her sax.
The Aints! aren't just the flowers in your dustibin
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- By The Barman
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Johnny Thunders and the Heartbreakers famously played “rent parties” at the turn of the ‘70s when they’d finished living in the UK and were back home in New York City.
What proportion of the proceeds from their sporadic gigs went towards keeping a roof over their heads was purely speculative. There were other activities to feed and audience members used to throw loaded syringes onto the stage.
Things were a world removed at the Manning Bar in Sydney on Friday night, where the audience threw two bouquets of flowers at Ed Kuepper.
We’re drawing a very long bow here, I know. This was the first leg of a modest two-city run (the next one in Melbourne on March 23) by Ed’s band The Aints. Chances are, the most popular drug in the room was Lipitor. The objective here is not to pay the rent – shit, Ed Kuepper now has a Brisbane park named after him so he can always live on a bench there - but to fund new recordings.
If that’s not exciting news, you’re in the wrong bar.
Past Masters Volume 1 - The Bils (self released)
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- By The Barman
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Going in with open ears and no expectations, this unassuming album is a revelation. It launched with little fanfare and was spoken about online but was unheard by these ears until after a copy was pressed into my hands backstage at a gig.
Somebody said it was country. A little. It's copped a flogging on the CD player. It’s mostly warm and breezy blues-pop, from a husband and wife duo, one of whom you might know in their other guise.
The Bils are Bil and Michelle Bilson. They play everything between them (guitars, bass, keys and drums) and share vocals. Bil’s other gig is drumming with reincarnated Australian power-pop legends the Sunnyboys. He also played with The (Sunnyboys-related) Sparklers and the gloriously acid punk Doctor Stone. Can’t confess to knowing Michelle’s musical pedigree but it doesn’t much matter. The back story’s not as important as what's going on at the front-of-house.
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