Real Gone - The Naked Lunch (Aldora Britain Records)
Surf punk pop is alive, The Naked Lunch has a new single out - and what a bloody good tune it is. “Real Gone” is so catchy. A different version was recorded and released by an earlier line-up back in the 1980s and the song was written by Tony “The Kid” Robertson and Died Pretty legend Ronald S Peno.Play it loud. This is what Sydney’s underground surf rock was/is all about.
The line-up of The Lunch boasts some of Australia’s finest musicians: Tony Gibson on guitar, Murray Shepherd on drums, The Kid on bass and Steve Beaves on vocals. It’s a brilliant single to follow 2019’s “The Naked Lunch” album. The second album is on its way and has the same name as the single. “Real Gone” is real gold and I am so looking forward to hearing the long player. The song is available in digital format here.
Real Gone – The Naked Lunch (self released)
Hello Barflies. The Farmhouse has been rocking these past few weeks as I’ve been kindly gifted an advance copy of The Naked Lunch’s album “Real Gone” and it’s full of surf-punk-pop tunes.
The album is a couple of covers as well as the single, also called “Real Gone” which I reviewed a few weeks back hereat the Bar, so I was very excited when this landed.
Lovegrinder The Album – Lovegrinder (self released)
There’s a popular theory - perpetuated by a few fans of Junkie Rock from Australia’s southern state's capital city – that the so-called salad days of Sydney underground rock and roll were a farrago based on an overdose of second-rate Radio Birdman copyists.
Call it a typically defensive Sydney response but while the "Detroit" handle became a tag of convenience, most of the Harbour City’s bands of the 1980s/early ‘90s had tenuous musical links to the Birdmen. There was a handful of short-lived clones, but for the vast majority it was the energy and undeniable fuck-you-we’ll-do-what-we-want attitude of the Radios that were the hand-me-downs, and not their unique, impossible to replicate mutated musical mix.
Which brings us to Lovegrinder, yet another in the long line of Sydney bands that never progressed higher than the lower support rungs of the very crowded local live scene ladder. Not that there’s any great shame in that. For many, headlining the Tivoli or Selina’s wasn’t the goal because they had no interest in being on the rosters of the omnipotent Dirty Pool, Nuclear or Harbour booking agencies. Playing music was more about knocking around with their mates, consuming beers (or something illicit) and having a good time.