Brando Rising – Brando Rising (self-released)

And, PLAY LOUD. What a fuckin' sound!

Ooooh, you're in for a stompin', whompin' treat. Only 100 copies, so get it while you can. Right, so, it's taking me a while to get my head round the enormity of this, okay? There's lots to pay attention to, which isn't at all possible, so endless re-listens are on the cards.

It's taken Brando Rising a little while to put this out, and from Kelly Hewson's muscular, sinewy opening bars to vocalist Ripley Hood's closing shouts, you're hooded, grabbed, stuffed unceremoniously into the boot and taken for a bumpy, gritty ride to into some sort of moral swamp. God knows what your babbling explanation for skimming the casino take will be, but you know you're in trouble ... and you'll have “Brando Rising” on repeat in no time flat.

Shout-outs to Melbourne engineer Dugald Jayes and Adelaide master Paul Handley; the detail in Brando Rising's sound is huge, and must've taken weeks to wreak. You can all but see the barnacles on Rip's voice, the dirty grain on Hewson's guitar, the liquid liquorice of Tony Robertson's bass and the big-hall sound of Steve Whan's drums. This is one tuff disc.

Sure, the stars here are Rip's vocal and Kelly's extraordinary guitar; both are in a magical lock-step akin to riding a board down a perfectly dangerous wave. All adrenaline rush and suss and soaring magnetics. Magnificently, neither stay precisely the same as the CD progresses. Sure, there's a distinctive style, but you can't say that the songs are 'too similar' ... they veer around potential musical log-jams and long-haul trailers like dodgems on red cordial.

Truth is, it takes some very special musicians to back this sort of pairing: Tony and Steve handle the job with the kind of aplomb you'd expect from Alice Cooper's touring band. If you absolutely must have a comparison, I suppose it would be that of a heavy, melodic punk band who've mutated into something everyone can get into (“The Gun” is a perfect example). The weight of the band is carried lightly (see “Karl Malden Part 2”), yet there's no song which doesn't try to get into skull (and into your pants: Rip has an audio stage presence even when he isn't there in person. Keep yer jocks on, blokes).

If the band half-way as good as this on a stage, watch out whoever plays with them, the sound alone will crack you into next week.

No, I'm not going through the songs one by one just for you. Half the time I'm too busy bouncing around the room, or driving the car too fast, singing along. This is what you want from a rock album  - total immersion. I'd use the term “classic” but you wouldn't believe me. Don't, in fact. Get the thing and hear it for yourself.

Bugger it. Look, the pacing is very well thought-out; the slower songs (like “Elastic Convergence”) come in at just the right time. The three parts of “Karl Malden” are worth the price of admission alone; it's a hell of an achievement, telling the man's story in a form which has us champing at the bit for more. So many bands just set up a song and batter their way through it, and it's done and dusted. Subject closed. Here we have a band celebrating the whole enchilada, each take on the subject equally compelling yet different. Seamlessly put-together.

How very many hours of rehearsal “Brando Rising” took to get themselves just right I cannot conceive. Such a big, brash, visceral sound - the band swagger when they need to, drop on their knees when it's absolutely called-for and, given that it's being proffered to you ungrateful bastards, they're clearly making a sizable donation to the poor box.

While I'm here, I'd also like to point out that “Brando Rising: features the first time I've heard a clever-clever long-hair term like “defenestration” in a song which hasn't been inserted to make the singer look clever, but an integral concept (to “Song 42”); among other things the song refers to Russia's recent cheery, heart-warming habit of chucking dissenting billionaires out of windows, leaving local plods “baffled” (and presumably a bit richer). It's perfectly simple, constable, these billionaires have a weird fetish of ironing the curtains everywhere they go, you know, and sometimes they just get a bit over-excited when the window's open and ...

The last song, “Okay! Alright!”, is a right royal set closer, raising the band to the heavens. 

Who are these blokes again? They've provided a couple of pics, and they all look like they play starring roles in a crimsploitation flick. I'll leave it to you to imagine the poster (presumably including a billionaire or two effortlessly flying - or plummeting - through the air)

Kelly Hewson: guitars; Tony 'The Kid' Robertson: bass and backing vocals; Steve Whan: drums; Ripley Hood: lead vocals

So, part two. Ripley Hood is a vocalist and occasional security guard. This means that if you hassle him on stage, he really does know some bad blokes who'll turn up in the wee hours in tight suits.

_{The firm of Robertson, Hood, Hewson and Whan.}

RB: Let's ask about what you don't want to answer. Where did you grow up? Why did you move? What influenced the young and impressionable Rip? Also, did you change your name?

RH: I grew up in Adelaide and moved to Sydney in 1984, aged 21 with the band Gun Control. At that time there was only so far you could go as a band based in Adelaide and we felt that we'd pretty much done everything we could.

We thought if we didn't move to Sydney or Melbourne we'd be stuck in Adelaide forever and we wanted to broaden our horizons. We chose Sydney as it felt more appropriate for the type of band Gun Control was. And Sydney had a very vibrant music scene during those days. So we made the leap and changed the band's name to Funhouse after some promoters kept thinking they were booking The Gun Club for some stupid reason.

But as for what influenced me, well ... That's a pretty difficult question to answer. Everything in life influenced me really. I'd certainly been a cinema and music lover since I was a toddler, playing my Mum's old Beatles records over and over on my little stereo. And they were the original pressings by Decca, etc, too! Later I was put through professional drum lessons from the age of seven, so it came as a surprise that I ended up becoming a singer. I certainly never thought I had what it took to be a frontman, let alone not being able to sing at the time.

RB: I'm bloody impressed with the LP. 

RH: I'm very proud of it. Strong songs, strong performances and strong production. We spent a whole year mixing and remixing it. I think it paid off and I believe it's the best thing I've done recording-wise. Tony Robertson has had a big impact on the group. Incredible bass playing and he sings with me on every number.

RB: Tell me a bit about how such a legendary character as Tony Robertson came to be in Brando Rising.

RH:  Well, we couldn't have been more fortunate. Tony had been living in Melbourne for some time. He moved there well before I did. We'd known each other for a long time, though not that well. I'd supported The Hitmen a handful of times with Mushroom Planet, The Four Stooges and even with Funhouse back in the day.

We'd been long-time fans of his abilities right back to the original New Christs and he'd played on some of our favourite records, including the aforementioned band's classic single, “Like A Curse”. Tony and I had gotten a little more familiar after some recent Hitmen supports when that band reformed and then we ran into each other socially at gigs in Melbourne.

He came over to my home one day for a social visit which was when I played him Brando Rising's first release, an EP featuring the band's original line-up and he really dug it. It was not long later that I simply rang him and asked if he'd be interested in having a jam with us, as we suddenly found ourselves needing a new bassist. Tony was very enthusiastic about it, which of course was wonderful, and he fit in like a glove. He was given full rein to do his thing, which also included my desire to have him sing with me as much as he liked, especially as I'd been a bit frustrated by the lack of backing vocals up to that point.

He instantly clicked with guitarist Kelly, and even more importantly, drummer Steve Whan, who admitted to being a little nervous at the first jam. His input into the song writing and everything else has been huge. The end result has been a great friendship, an instant musical chemistry and a debut album we're all very proud of."

RB: You've really worked hard on this band. Spent a lot of money and time. What is it that makes Brando Rising special..?

RH: I think it's down to the band's personnel. Their abilities as both musicians and songwriters, the mix of personalities, their experience, etc. The band doesn't really sound like other hard rock groups. We wears our influences on our sleeve, but in that, creating something fresh and dynamic. I personally wanted it to be the ultimate rock outfit, one where I could inject a lot of my experience as a professional actor in to both performance and the actual singing itself. And, y'know, it may well end up being my final lash at this type of material. 

RB: You're something of a showman. Where, how did you get started? How did it become ... a necessary part of you..?

RH: That was all thanks to Adelaide's late great Ian List, my dear old mate who moved me from being his band's roadie to his band's frontman. And that was when I was still in high school!

But I certainly never thought I could sing. I seem to recall him saying something about it being my “look” and that I had a good tone to my voice or something. So from that moment on, I went really hard at teaching myself to sing. The only real voice training I had was much further down the track when I studied acting. And that definitely expanded my vocal abilities, not to mention all the theatre I did after that. But the music bug bit me at such a young age that even after working as a professional actor for years, it called me back again after I did a guest spot in a one-off supergroup a few years ago. It's certainly in the blood, I guess you'd say. It's impossible to ignore the itch.

RB: You and Kelly Hewson have worked together many times, and it really does seem that you're both very comfortable together. What is it about this particular working relationship..?

RH: Well, we met in 1979/1980 when Gun Control were forming and auditioning guitarists. Kelly became the band's axeman and we developed a great working chemistry which gradually extended in to a great friendship over time, one that has lasted to this day. But that was the only real time we played in a band together.

They were formative years and for decades I'd harboured a desire to work with him again, as I think he is truly gifted. So I moved from Sydney to Melbourne a few years back and we decided to team up for another bout. And lo and behold, the chemistry is still there, and our songwriting is stronger than ever before. He's one of the best guitarists on the planet in my view and I feel very fortunate to have him there with me. 

RB: You have a dreadful, dreadful sense of humour. I was watching “Carry On Again Doctor” and cracking up at the line 'oh no, you mustn't' as Charles Hawtrey is chased around the room by a horny Dr Screwer (Sid James) ... have you ever done stand-up..?

RH: Oh god no, not really. It's probably the most difficult profession out there. I've done a lot of comedy though, mostly in theatre. I even played Withnail in the very successful touring stage version of British cult movie, “Withnail & I” during the ‘90s. But that's different. It's situational, scripted and involves other actors to play off.

I did appear in a number of sketches on television comedy series like “Comedy Inc”, etc. My ventures into comedy were certainly more fun than playing villains and cops and all manner of dysfunctional characters which I mostly did during the years as an actor. But stand-up is another thing altogether. The thought of standing alone on a stage cracking jokes that fall flat in dead silence is truly nightmarish.

RB: Lastly, for now anyway ... from Facebook posts, and the band name, I gather you're an avid fan of noir ... how did that start, and how does that influence your songwriting (and dress sense)...?

RH: Well, it doesn't really. There's only one song on the album that is truly a tribute to film noir, which is “Point Blank”. But we do love and celebrate cinema, and some tracks reference particular moments in films. And “Karl Malden” is obviously about the actor of the same name. “Bellissimo Bebe” is a salute to 1970's Italian/French starlet, Edwige Fenech. Overall though, the subject matter of most songs on the album have nothing to do with cinema.

(I'll just interject here and point out that if you're going to put cinema references into your songs, and have the cover of the CD look like it's dropped out of Chicago in 1935, it's a more than fair cop that you're influenced by them. And my idea of noir includes “Streets of San Francisco”, so there. Who said noir couldn't be filmed in daylight?  “Karl Malden”. “Quo Vadi”' seems to have been influenced by the film of the same name - the Latin tag means “where are you going?”, which Rip repostes with “there is no place to go”- so that's half the LP... I guess it depends partly on Rip's definition of noir, too.)

RB: Also, any tips for forgotten classics..?

RH: As in movies? Crikey... Have you got a spare couple of days?

Well, things like “He Walked by Night”, “T-Men”, “The Racket”, “Raw Deal, etc. They're acclaimed by film historians, but largely forgotten or missed by general cineastes. But true aficionados of Noir would know them. They all feature some of the best cinematography film noir is known for, with all the shadow and light, and feature great actors like Mitchum, Richard Baseheart, Robert Ryan. 

Let's end on the light-hearted chorus from 'Point Blank'

My 380 is my pal
You always knew I was born to kill
Your secret stooge is a B-grade sap
Hey there buddy, meet my fist

 Six, no, seven bottles. Breathtakingly good. 

- Robert Brokenmouth

Click this link m.me/108681019878548 
Also available in store at Gold Mine Records in Carlton, Victoria

Kelly Hewson’s pungent guitar tones and vocalist Ripley Hood’s sense of high drama make Brando Rising sound markedly different from most of the Melbourne rock scene. The “Brando Rising” album is a brooding, occasionally brutal, with lyricxs that are like a walk through somebody else’s psychiatric file.

Let’s talk pedigree: Hewson was a member of Gun Control (with future New Christ and Celibate Rifle, Pauly Larsen), and Hot Tomatoes in Adelaide in the 1980s and currently plays in punk mainstays Glen & The Peanut Buttermen. Rip was in Gun Control, too. 

Both moved to Sydney and landed in Funhouse. Hood found his way into Mushroom Planet, pursued an acting career, and fronted the Green Spiders and the 4 Stooges. Fate decreed they’d both end up in Melbourne in the same band.

No idea of drummer Steve Whan’s antecedents but his playing is solid enough to keep company with ex-Hitmen, New Christs, Little Murders and current Naked Lunch member Tony “The Kid” Robertson. He’s the possessor of a killer tone and one of the best bassists to sling four strings since the salad days of Sydney in the ‘80s.   

Hewson’s siren-sustain guitar signals that things are becoming serious in opener “Bellissimo Bebe”, a dark tale of switchblades and black hats. Robertson’s walking bassline introduces “Lust For Adoration” before Hewson’s fuzz wall kicks in and Hood begins declaiming about being a number. 

“Elastic Convergence” is the bluesy mid-album pause for breath and rides on the back of more guitar pyrotechnics and one of Hood’s best vocals on the record.  “Wherever I am I’m in my mind,” Rip sings in “60 Seconds Over” and you better believe it. 

Things turn abstract on the three-part “Karl Malden” suite that starts with an “FBI” TV series intro and ends with a metal-tinged word salad that seems to be in tribute to its namesake.

“The Gun” is a bit easier to get your head around (the melody of which at least partially recalls Mick Farren’s “Bella Lugosi” to these ears.) “Quo Vardis” and a live track, “Okay Alright!”, featuring some stinging slide, puts a lid on it in impressive style.  - The Barman
1/4

Hello I-94 Barflies. Well folks, The Farmhouse has been rocking this last few days with Melbourne band Brando Rising’s self-titled album. It’s bloody good, folks, and some mighty fine musicians make up this band.

I’m talking about a lineage spanning Hitmen, Lime Spiders and Glen and The Peanut Butter Men, to name a few. Kelly Hewson is on guitar, Tony “The Kid” Robertson plays bass, Steve Whan is on the drums and it’s Ripley Hood on vocals and charisma.

Last December I was lucky enough to be in Melbourne to see Brando Rising at a little bar in South Melbourne. A  handful of enthusiastic punters and I got to hear a blistering set of songs that the band told me was going to comprise their  first album. “Fucking awesome - this should be good,”  I was thinking out loud.

After proudly getting my new T-shirt at the gig, I waited and waited until last weekend. There she was in the mail: the album. Seven months later, but worth the wait. Twelve songs to rock the Farmhouse and I tell you this, it’s sound just as good recorded  on tape as the live gig was .

“Bellisimo Babe” kicks off the CD  and it’s a killer opening track. The bass and drums really drive this song. It leads into “60 Seconds Over”, and it’s garage-punk rock at its best.

“Lust for Adoration” showcases the killer vocal of Mr Ripley Hood. This man can sing and The Kid’s melodic and driving bass-work is brilliant. “Song 42” and “Elastic Convergence” give Kelly Hewson his chance to shine and have great guitar playing.

Now folks, here is a section of music that, to be quite honest, has me puzzled. I don’t know what the fucking hell it is but it comes in three parts: ”Karl Malden Part 1, 2, and 3” is a run of three ripping songs that are all different but sure to have you scratching your head, too. I won’t spoil the surprise but I will leave you with this thought: Shit, they are good songs.

“The Gun” and “Point Blank” keep this album rocking along, but “Quo Vadis” is my favourite track. It’s head-banging, foot-stomping, and it’s stuck in my head at the moment. Drowning out all the other bullshit, it is.

Okay Alright (Live)” is the last track and it’s another ripping tune. The band in the flesh really is as good as this one proves.

Now, just a shout out to Dugald Jaye at Sound Park Studios Melbourne. What a sterling job he did, producing and engineering the album. Paul Handley’s mastering is fabulous.

OK, Barflies, this is a limited run with only 100 available so get in quick or miss out. You can buy it here and copies are also available at Gold Mine Records in Carlton. At $25 including postage, it’s a fucking bargain, punters, and make sure you catch the band at launch gigs in Melbourne. Sydney and Adelaide.

Until next time folks, take care. From The Farmhouse. - Ronald Brown