Motor City Is Burning: A Michigan Anthology 1965-1975 – Various Artists (Grapefruit Records)

Proof positive, if it was actually needed, that a Golden Age of Rock ‘n’ Roll existed in one of the 50 states of the USA other than Califonria and that it encompassed much more than just the Stooges and the MC5.

In Australia, of course, we have a skewed view of the so-called “Detroit Scene” (a name that almost no Americans of my acquaintance use, by the way.) We learned from the teachings of Radio Birdman leader and expat Michiganite Deniz Tek who landed here to study medicine in 1974, spreading the word about those bands in evangelistic fashion.

Of course Birdman were always much more than those two trace elements - they were just the ones on the high-energy scale that caught the imagination of most. If you’ve ever engaged the Kona Coffee Farmer in conversation for more than five minutes you’ll know his passion for the Stones and his knowledge of local acts like the SRC and the first band he saw live, Ann Arbor heroes The Rationals.  

Buckle Rash – Broham (Bad Apple/Dark Roasted)     

Country Music doesn’t rate much space around these parts but scratch the surface hard enough with a wooden nickel and you’ll find it, lurking like a grinning red-headed uncle in rock and roll’s family tree. The births of the modern versions of the blues and country appear on American timelines that run through the Appalachian backwoods and the mid-western dustbowls of the 1920s.

The Australian strain of Country Music, on the other hand, is much more bastardised. It rose to prominence in the post-World War II years. In the ‘70s, media maven John Laws hitched his wagon to it, telling a generation: “You’ve never been trucked like this before”.

Chinese Democracy Manifest: Greatest Hits Vol 2 – Mazinga (self released)

Born in the 1990s Basement Scene of Ann Arbor, Michigan, and honed in countless dive bars across the wide expanses of The Great Lakes State, cosmic punks Mazinga have re-emerged after a decade break with their second long-player. The title, “Chinese Democracy Manifest: Greatest Hits Vol 2”, is a mouthful but the record packs a big enough punch to make your teeth rattle.     

The band calls it "Maximum Cosmic Punk". Coffee farmer Deniz Tek labels it “tight as hell with great rhythm playing behind killer solos” and drums that remind him of the late Scott Asheton.

Good Times Gone Bad – Peter Simpson (Verified Records)

It was in a review of ex-Dubrovniks member Peter Simpson’s “Return of the Diletante” EP that we asked, ‘Where’s the full-length album?’, and “Good Times Gone Bad” is the answer. The good news is that it was worth the eight-year wait.

“Good Times Gone Bad” winds the sonic clock back to Australian underground rock’s halcyon days of the 1980s, when guitars were blaring out of pubs on every second inner-city corner and even permeating mainstream radio. A more simple time with simpler songs, and of course, most good times inevitably do go bad.

At times, “Good Times Gone Bad” sounds like The Dubrovniks with less of thefr latter-day gloss. Inevitable, really, with Simpson front and centre and old bandmates Chris Flynn and Boris Sudjovic along for the ride on backing vocals. That said, it’s a Peter Simpson record. He wrote all nine songs, plays guitars and sings.

This Masthead – Infinity Broke (Love As Fiction Records)

If Jamie Hutchings’ better-known band of the ‘90s, Bluebottle Kiss, was a child of grunge (at least in the ear of the major label to whjich it signed), Infinity Broke owes its parentage to something less well defined and commodified: Dissonance.

“This Masthead” is the band’s fourth album and now on Perth label Love As Fiction, usually a home for ‘90s re-issues. The quartet is loosely built on a drums-guitar base that brings a stack of influences to bear. The PR blurb says: “Hypnotic avant rock with teeth” and (for once) it’s accurate.  

Formed in 2013 by Hutchings (vocals and guitar) after Bluebottle Kiss wound down (for the time being, as it turned out), the rest of the band is his brother Scott Hutchings (drums and guitar), Tyrone Stevens (drums and percussion) and Reuben Wills (bass). “This Masthead” grew out of jamming, and the loose spontaneity at its heart is immediately apparent. Its nine songs balance noise rock with faint melodies. It’s not straight up rock. It is addictive. Take the plunge.