Ripley Hood in front of Brando Rising. Robert Brokenmouth photo.
In which your scribe receives news and loses it a tad. This is a very partial review… I missed quite a few things … oh, dear.
So, an Adelaidean in Melbourne negotiates buses, trams, and other hurdles (including a Lebanese cab driver who’s lived here for 40 years and still has an accent like a wheel of cheese to a plastic butter knife) to arrive at a record shop.
With a Budget flat-bed truck outside.
The Fleshtones joined by Miriam Linna (and Dave Champion at right of stage) . Photo: LePetitRusse
The “Wheel of Talent” was spinning in northern Ontario, Canada, baby. Oh yeah!
I very rarely open the newsletters and catalogs I get from various labels and bands but for some reason I was drawn to this month’s from Norton Records.
What do I see but that the mighty Fleshtones are playing two hours from home. And Sudbury hometown girl, Miriam Linna (head honcho at Norton Records, ex-Cramps drummer and solo artist in her own right), was going to be joining them. On stage. So, yeah, I had to go.
The On and Ons Glenn Morris and Jon Roberts with guest guitarist Murray Cook . Shona Ross photo
At the risk of stating the bleeding obvious, this was a night of three contrasting but not dissimilar bands when The Smart Folk, Loose Pills and The On and Ons weaved their guitar pop web over Marrickville Bowling Club. It was also the album launch for The On and Ons' wonderful CD "Welcome Aboard".
These sorts of night are infrequent in Sydney these days. Ones where the bands on the bill complement each other and the venue doesn't turn people off, so they turn out in good numbers.
You’re here to read a live music review? Hang in there. There's a bit of preaching to go through, first...
Ho to The Gov in Adelaide once more, for Vic of Mr V Music and the organiser of tonight’s barney headlined by Young Modern (pictured right), has kindly placed my name on the door.
As you may know, The Gov is opposite a vile concrete pissoir with the flashing lights known as the Adelaide Entertainment Centre, which also reminds me of a huge birthday cake concealing a rather unpleasant surprise for the party-goers.
Which is one more reason why going to the Gov is so enjoyable, because it is a haven of hospitality, pubby goodness, good cheer and competent and friendly staff.
There have been times when I’ve been at the Gov and seriously considered not crossing the road to see whatever humungous stars await inside the concrete barn, but simply to stay in the cosiness and get cosily and happily fuddled instead.
Pange, Chris and Yolanda of Beat Taboo.
The Beat Taboo,
The Metro, Adelaide, Friday, August 18, 2017
The Grace Emily, Adelaide, Saturday, August 19, 2017
Pics by Mandy Tzaras
For a while there I didn’t think I’d be able to see any bands this weekend, as your poor scribe being pulled in several directions at once seems to be a bit of a hobby for some.
So we were only able to squeeze in Melbourne visitors The Beat Taboo on both nights of their Adelaide stand. I must apologise to the other bands, they know who they are, and, be reassured, I will see them again, properly.
In the meantime, I would like you to cast your mind back to the dimly recalled halls of the (yes, I know, here we go again) 1970s and 1980s.
Ben Corbett makes a point to the crowd as SixFtHick play on.
In May 2012, I had the good fortune to travel to Brittany in France to see HITS plays three club shows in the cities of Brest, Lorient and Lannion. The brilliant Ben Salter happened to be touring France at the same time, so he arrived, guitar in hand, to see his friends in HITS - and was promptly added to the bill for those gigs.
HITS and Salter were welcomed with open arms and rapturous applause, but I started to hear French people say the same thing to them after every show - "You have to play at Binic!"