sydney

Born out of a surf club fundraiser, this trio from the Manly Dam Delta on Sydney’s Northern Beaches have just rolled out album number two. “Gypsy Mojo” makes it clear that if The Hollering Sluggers have sold their souls to the Devil at the Brookvale Oval crossroads, they ain’t getting a refund.

The Sluggers are a trio playing blue collar blues with a distinct rock and roll edge. There’s no new ground being broken on “Gypsy Mojo” but that’s not going to worry fans of this style. It’s honest and unpretentious blues-rock.

Good god, what a fucking racket.

“Johnny Streetlight” is four-and-a-half bottles of joyous, fresh-faced old school rock’n’roll, soaked in piss and substance abuse and if you treat it right you’ll lose part of your hearing (just don’t eat the worm at the bottom). There’s no bad songs on “Johnny Streetlight”, they’re all good for gold. If this band had been around in the mid-‘80s they woulda been huge.

The inner sleeve pic by Leif Alan Creed makes the band look positively criminal (one gentle soul makes up for his lack of pupils by wielding a rather lethal saw).

Pop – Simon Chainsaw (Bad Apple)

The ‘80s isn’t such a bad place to hang out. Simon Chainsaw has been there, musically speaking, since his former band The Vanilla Chainsaws, tasted success 30-something years ago, and this is his 14^th album under his own name.

That '80s reference isn't inferring Chainsaw's musically moribund. Simon rarely sits still and was already Sydney's hardest-working musician before COVID fucked without  the universe. The Chainsaw sound is instantly familiar, a sweet but tough mix of melody and downstroke power, and naturally uses what was learned during a golden time of Australian music. It's translatable toi places where Real Rock and Roll survives.

Rod Hunt is a passionate sharp shooting Sydney music photographer and has been perfecting his craft for more than 25 years. Now an accomplished and sought-after snapper, he has many published works and awards under his belt.

Hunt’s upcoming exhibition, “Rod Hunt: Portraits, Pits & Punks” draws on his extensive catalogue of work for his first major solo show taking place from February 16-26 at Chrissie Cotter Gallery in Camperdown, Sydney. Legendary Australian music photographer Tony Mott will be guest speaker on opening evening.

As a teen, Rod frequented his local music venues, shooting punk outfits such as Hard-Ons, Massappeal and the Hellmenn, at places like Sutherland Royal Hotel and Penshurst Den, the Lansdowne, the Journo’s Club, the Hopetoun and the Evil Star.

A slightly edited version of the mockumantary about Sydney '90s garage punk misfits The Crusaders, "The Kids Are All Wrong", is back on Vimeo after some sad sack had the oriignal cut taken down. Enjoy! 

ASHLEY THOMSON
Ex-Kelpies, Rollcage, Brother Brick, Panadolls
Sydney, Australia

Top Ten Gigs I wish I was at drunk

Beatles - @ the Kaiserkeller - Hamburg, Germany. October 1960.
From the era when the Beatles played four sets a night, 50 days straight, making themselves an extremely tight rock n roll machine. Heineken ja ja!

The Doors - @ Whiskey a Go Go - Los Angeles, USA. August 1966
Mostly I just want to hear a fat version of “The End”. I’d probably drop a trip as well. JD. 

Coloured Balls/Lobby Lloyd - @ Sebastians, Melbourne. Saturday April 15, 1972 
I’d make sure I was fucking hammered and slammed my head into the PA when they did their “torture rock porn” version of Heartbreak Hotel, suck more piss indeed. Just beer. 

Robert Johnson @ anywhere around the Mississippi Delta, USA. 1935
“Hellhound on my Trail” is one of the most beautiful songs I’ve ever heard. Moonshine. 

The Byrds @ Whiskey a Go Go - Los Angeles, USA. 1966
So influential, changed everything, still listening to them. A trip as well? Not sure. Watermelon wine. 

FULL FLOWER MOON BAND 
SUNFRUITS
(and VILLE VALO)  
Metro Social Club, Sydney
Saturday 16 March, 2024
Photos by DIGBY FROG

Brisbane's Full Flower Moon Band is one of the best, and most inventive bands in Australia; simply put they’ll lift the hairs on your arm. Bold statement, but true. The reasons why will be clear if you read on.

It’s a Saturday night. It’s raining, I am standing at the bus top, irritated and looking at the timetable. Damn, the bus is late again and I’m going to miss the connecting ferry.  Fuck privatisation. It has turned the local bus service to shit.

Approaching is a cool rock ‘n’ roll couple who look about my age, one of them wearing a Chimers T-shirt (a rarity in my part of the world.)

We strike up a conversation about the appalling bus service as they have walked from another stop after giving up waiting for a bus that will never arrive. 

One of the Greater Sydney region’s most rocking bands (OK, Wollongong actually), The Dark Clouds, are determined to give the vinyl edition of their wickedly great album “My Way Or The Highway” the welcome it deserves.

The CD’s been out for a while (you can find multiple reviews from us here) but it always sounds better on vinyl, doesn’t it? 

TheDeanov and Terry agree and that’s why they’re hosting a free gig at The Crowbar in Leichhardt in Sydney’s inner-west on Saturday April 24, with their Evil Tone Records labelmates The Strike Outs in tow.

It’s an early show in the front bar, kicking off at 6pm, so you can kick on and party to your liver's delight into the night afterwards.

Mother - Members of The Professors (self released)

You'd think that all the barrels had been scraped. It's not as if there hasn't been a pile of annotated double CD sets purporting to present a Nuggets-style reproduction of the punk/new wave, not-so-halcyon Australian sounds of the late ‘70s.

Okay, I know that Filth were recorded at the Adelaide University gig but I can only assume those tapes have vanished.

But other than that, what could be still out there?

I should have known something was up when late '70s inner-Sydney raised guitarist Bruce Tindale started posting gleeful pictures of yore on his Facebook page. This morning I was rudely awakened by a ding on my phone. The ding led to this.

_{Jessie The Intruder makes a point, The Grand Wizard adds riffage.} 

The Psychotic Turnbuckles
White Knuckle Fever
The Stallers
Factory Theatre Fusebox, Marrickville, NSW
Saturday, April 17 2021

This was my the first concert since early 2020 that did not have some form of restrictions like seating (although numbers were capped) and what a great night it was. Held in the Fusebox at the Factory Theatre, a smaller and more intimate venue than the adjoining main performance space, this was the perfect venue to showcase three top rate bands.

Starting proceedings were The Stallers who were the perfect reason you cannot afford not to get early to a gig and not catch the support bands. "Tight", "loud", "devastating", "passionate" are four words to sum up the powerhouse of The Stallers.

Rocks
The Strike-Outs
The Jane Does
The MoshPit, St Peters, NSW
Saturday, April 1 2023

Punk rock takes us all back to a simpler time when schooners were cheaper, carpet was stickier and life much simpler.

The humble MoshPit bar at the St Peters end of King Street in Sydney aims to capture that simple spirit. It’s all dive bar ambience and vintage posters, and its modest capacity and open-door booking policy make it a much-needed nursery for the city’s underground bands.

This show was a mix of the old and the new. It was a 3pm kick-off and the place resembled the back bar of an RSL club at two-up start-time on ANZAC Day with a battalion of old soldiers lining its walls.

Sunnyboys will celebrate 40 years since the release of their eponymous debut EP with a one-off show on December 13 at the Sydney Opera House’s  Joan Sutherland Theatre. Tickets are extremely limited so join the Sunnyboys mailing list by 10am on November 26 for your chance to secure pre-sale tickets. General tickets are on-sale on Tuesday, December 1 via sydneyoperahouse.com

_{Half of the Flaming Hands: Julie Mostyn, Warwick Gilbert and Jeff Sullivan. Drummer Baton Price is obscured.  Murray Bennett photo}

In preparation for their upcoming support slot with the Sunnyboys at the Enmore Theatre, the band calling themselves "The Strangers" - aka The Flaming Hands - lined up a show at Marrickville's Factory Floor.

The Thursday night crowd gathering outside the venue contained many familiar faces of gig goers and musicians from what was loosely termed the "Detroit Scene" of the late '70s-early '80s from which The Flaming Hands emerged.

_{X in full flight in Sydney. Murray Bennett photo}  

Forty years of X and there’s a national tour to celebrate. Who would have thought? Certainly none of the original members, of which Steve Lucas is the only one remaining alive.

Lucas and bassist Ian Rilen were, of course, the only constant members of X. Almost. Even Ian was went briefly MIA from one line-up. The pair’s tumultuous relationship has been documented in many places and they were the heart and soul of the band.

Grace Cummings and Band
Metro Social Club, Sydney
Saturday, August 3 2024
Photos: Sandra Kingston

Grace Cummings is a once-in-generation Australian artist.

It is two years since I first caught her at the Great Club in Marrickville in Sydney’s inner-west, with less than a hundred others on a cold Thursday night.

It was a show by a remarkable artist with swagger and brutally heart wrenching songs that left us in awe.

Accompanied by a band with attitude, she took her vocals from a whisper to paint-stripping level, leaving the hairs on your arms standing up.   

Her remarkable album “Storm Queen” has been on my turntable regularly since, but her records don’t fully capture the live experience.

In an alternative universe where justice prevails, Leadfinger would be spending their Friday night cranking out a two-hour set to a packed Hordern Pavilion. Five-thousand sweaty people would be singing along to every word of every song from their newest - superb - album.

Instead, they’re middle-of-the-bill and out front of a half-full Factory Floor in Marrickville. And the thing is, to watch them and to listen to those brilliant songs played with such passion and fire and love, you wouldn’t know the difference on stage.

This was only my second Leadfinger show. My first was at the Blood Bank Benefit for Mick Blood in 2014. I’d heard of them but not heard them. I spent the next 40 minutes standing there with my jaw on the ground going “Who the fuck are these guys and where have they been all my life?” Now to be fair, I had waged a blitzkrieg on sobriety that day and only remember general amazement, and a scorching cover of “City Slang”, but I blabbered about them for ages to everyone I spoke to in the real and cyber worlds.

The Beasts – the band populated by the surviving members of the Beasts Of Bourbon - will perform two very special shows in Melbourne and Sydney this August to celebrate 40 years since the original band’s foundation.

Tex Perkins, Kim Salmon (guitar), Charlie Owen (guitar), Boris Sujdovic (bass) will be joined by drummer James Baker, fresh from the last-ever Victims show in Perth.

Friday, 11 August – Factory Theatre, Sydney
(Tickets)

Sunday, 13 August – Croxton Bandroom, Melbourne (Tickets)

Tex Perkins takes up the story:

Forty years ago, I was a skinny 18-year-old kid living in Darlinghurst in Sydney having the time of his life - playing gigs, taking and drinking everything within arm’s reach!

Constantly meeting and bonding with people in other bands who would turn out to be lifelong friends.

When my band up and left me in the dead of night by the side of the road with a month long residency, it was those friends that were there to help me pick things up and start again.

It seems a lifetime ago when the two great outposts of Sydney rock and roll were its northern and southern beaches. They were feeder tributaries to the inner-city and spawned bands like the Celibate Rifles and the Trilobites, to name just a couple. 

The venues that were their spawning grounds have long closed down, the bands willing to play their own music thin on the ground. Only a hardy few are still willing to take a risk and make the swim up-stream.

Blue Oyster Cult. Fashionably obscure forerunners or collective remnants of past glories? Only in it for the money tourists or a heritage act with a reputation to uphold and something still to say? The first band to make the umlaut cool? You can debate these things until you're Blue in the face. The only way you're going to find out is to get off your arse and see for yourself.

I often put forward the argument about his Bobness that if any new artist produced a run of albums with the depth and quality of "Time Out Of Mind" in 1997 until "The Tempest" in 2013, we would hail them as a lyrical genius, the likes of which we'd not heard since Leonard Cohen.

We would be in wonder of this songwriter who draws Americano from his depth of styles, whether it be through darkened Southern blues, Western swing, folk ballads, rockabilly or Irish balladering.

We'd note the remarkable gravel in the vocals akin to Tom Waits and Shane Mc Gowan, and the way they descend to a whisper, the aural equivalent of the oldest oak tree, all weathered and timbered.

But it's Dylan. No singer/songwriter compares, and there is no other career like his.