lobby loyde

THE BARMAN
I-94 Bar barkeep
Sydney, Australia 

“Monday Evening Gunk”
My favourite thing to do on a Monday night. Props to Jill, Wax, Pat and Sonjaat MoshPit, News and Brews co-pilot Rossy,  tech-head Zac, photographer/chronicler of choice Shona Ross, and the many guests and hosts involved. My original Top Ten was going to be a chronological list of Gunk episodes because it would be like picking a favourite child. 

“Goose Lake” – The Stooges (Third Man Records)
What a fucking trip.

"If This Is The Hand I'm Dealt" and "I'm Gonna Cheat As Much As I Can" solo albums by Peter Black
Got to these very late in 2020 and the Hard-Ons and Nunchukka Superfly guitarist just goes from strength-to-strength with his quirky, catchy and compelling solo work. One acoustic, one electric. Get a full hand.

A heads-up to fans of the late Lobby Loyde:The 50th Anniversary Edition of the “Ball Power” LP by the ColoredBalls ships on US label Just AddWater on January 27.

This touchstone of Aussie rock ‘n’ roll should need no introduction. Just in case it does, it's simply one of the finest hard rock albums to ever come out of Australia . You can file it under proto-punk, hard rock or psychedelic boogie.

This pressing has been painstakingly sourced directly from the 1973 quarter inch mix-down master tapes.

In the words of Just Add Water: “This has been an entirely analogue production chain and hasn't been touched by a computer at any stage of the process.

"Hear Coloured Balls as nature intended. Every copy includes a bonus poster!"

There will be 800 copies on black vinyl (100 each on opaque blue with white pinwheel swirl and half orange/half blue have sold out.) Order yours here.

X
Tote Hotel, Collingwood, VIC
Saturday, September 10, 2022

Hello Barflies. Some things don’t change. There's |still nothing finer in old Melbourne town than The Tote Hotel, Collingwood, packed full of like-minded punters with a single purpose of getting their rocks off. And let me say that this Saturday night was no exception.

X were exceptional. I mean, they were just so “on” and tight. And so fucking dirty sounding. Steve Lucas just ripping his guitar. Man. he hits those strings hard. What a sound! I was literally two metres away from the great man.

X were celebrating the  40th anniversary of the classic album, “X-Aspirations”, playing the whole album in running order. How good it was. “Suck Suck” just busted out of the house sound system. Which is where I found Steve wrestling with earlier in the night when I dropped by to pay my pre-gig respects. He and soundie Dazza were in a state, trying to figure out said system. Thank fuck they got it sorted. Onya Dazza .

Kim Volkman (bass) was flashing the coolest pair of shoes I've seen in many a good year. Simon The Drummer was playing his third gig with X and second with Kim. He bashed and crashed through, locking in with Kim as a rhythm section that sounded like they’d been playing together for years.

Before there was punk rock there was Ian Rilen. Then there was X.

X weren't punks in the sense of the term that the skinheads understood but they were primal, punk rock and roll in one combustible package.

Sydney had never seen a band like X whose wrecking ball power centred on Rilen's bass-played-as-a-lead-instrument, the massive backbeat of fellow veteran Steve Cafeiro, the slashing guitar of Ian Krahe and the shredding vocals of Steve Lucas, the latter two rookies.

Living a quiet life wasn't part of the X creed. Krahe's submission to a heroin overdose left the already outlawed X even more out on a limb, but they grimly continued as a trio and proceeded to record their debut album with legendary guitarist Lobby Loyde producing.

"X-Aspirations" became an instant classic, setting a benchmark for a whole legion of new, uncompromising and minimalist bands.

These words (and those that follow) were written for the liner notes for the 2009 re-issue of X’s debut album “X-Aspirations” but were inadvertently shelved. We’re reviving them to coincide with the 40th anniversary tour by the X line-up that lives on after the passing of all original members except guitarist-vocalist Steve Lucas. Lucas has crowd-sourced a Best of and Rarities collection ("X-Citations") on vinyl, copies of which will be available at the gigs. Read on.

Following in the tradition of acclaimed compilations like “Boogie” and “(When The Sun Sets Over) Carlton”, Festival Records and WMA are releasing a new collection of music from Australia’s sharpie subculture of the ‘70s.

“When Sharpies Ruled – A Vicious Collection” is a power-packed 23-track CD packaged with a slipcase, 28-page jewel case booklet with liner notes and a separate 60 page booklet of Sharpie snaps. It’s billed as “the ultimate aural and visual statement on the infamous Australian youth movement and gangs of the ‘70s” and who are we to disagree?

Sharpies were a uniquely Australian, working class phenomenon from the late ‘60s to the late ‘70s. Notorious for causing trouble, they’re remembered for their startling style sense - tight Italian cardigans and razor cut hair were favoured – and outrageous dancing.

X-Aspirations - X (SL Express) 

The (mild) hype accompanying the 40th anniversary edition was deserved and - and then some. This is as essential an Australian “punk” album as the Radio Birdman and Saints debuts - even if comparatively few people noticed at the time. 

The reputation of “X-Aspirations” as the ultimate in primal, spontaneous and minimally brutal music fron this part of the world (Australia) has grown with every re-issue, and this re-mastered vinyl version is surely the last word. 

Sydney-reared and as street-level as a band could be, X had all but been destroyed by reputation and reality by the time they went into Trafalgar Studios in 1979. Venue owners despised them and the crowd they attracted. Gigs inevitably ended with a full house, physical damage, spilled blood and a warning for the band not to come back.

There’s always something to recommend Unbelievably Bad even if their tastes extend to the extreme end of the cultural scale (black metal, splatter movies, hardcore) compared to your average, probably older, I-94 Bar reader.

There’s not much in the ranting of Cannibal Corpse’s ex-frontman Chris Barnes or the chick from the so pretentious Circle Pit to trouble me, but on the other hand a lengthy chat with Ian Cunningham from Birdman fans The Chosen Few is alway going to be a worthy read. Issue 16 is a cracker with the other stand-out an interview with Ian “Bobsy” Millar, the last surviving link to Lobby Loyde and the Coloured Balls. It’s also timely with the “When Sharpies Ruled” compilation recently dropping.

It's 13 years since he passed from cancer but the reputation of Lobby Loyde is not diminishing. We live in crazy times but one of the sane things occurring right now is that the trailblazing Australian guitarist, bandleader and producer is finally getting his dues outside his homeland. 

As leader of the Coloured Balls, Loyde set a benchmark in Australia for innovative hard rock. The "Ball Power" and "Heavy Metal Kid" albums, both released in 1974, are all-time classics.  As a player in The Aztecs, Rose Tattoo and solo, the earlier Wild Cherries and Purple Hearts,

Loyde blew up more amplifiers and sent more people deaf than anyone who followed. As a producer in the 1980's, he was a force behind albums for the Sunnyboys, Painters and Dockers, Machinations and X.

Re-issues of his Coloured Balls albums and Lobby's solo work on the Aztec label re-lit the spotlight in Australia in the '90s. Just Add Water Records is deep into a program of vinyl re-issues, out of Berkeley, California.

They've done a killer job on three singles and an LP re-issue of "The First Supper Last Or Scenes We Didn't Get To See". 

We decided to track down label owner JASON DUNCAN and ask him about Just Add Water's mission to re-visit the music of Lobby Loyde, and a select bunch of other similarly-minded rock and roll outsiders.

Depending on which side of the footpath you were on in the Australian 1970s, Sharpies were either misunderstood working class rebels or teenage thugs and bullies.

One Sydney Sharpie who went by the name of Big Victor (name changed to protect the guilty) would wait at suburban railway stations looking for long-haired surfers with the intention of breaking their surf boards and, if need be, a bone or two in the process. The Sharpies in Melbourne may have been different.

This is their soundtrack - ironically of mostly long-haired bands. The only real sharpie bands would have been Lobby Loyde and the Colored Balls and Buster Brown, whose singer Angry Anderson was a sharp. Certainly, Billy Thorpe had a sharpie haircut for while. The music is Australian 1970s pre-punk heavy rock/glam and as a collection that's representative of this era, it is nothing short of excellent.