Sydney powerpop mods Fast Cars are hitting the crowd-funding trail for their debut album...a mere 35 years after they kicked off.
Fast Cars were a fixture on the Sydney mod scene of the 1980s, issuing a single (“Saturday’s Girl” b/w “No Love Today”) and an EP to great acclaim and lots of Sydney airplay. The first incarnation of the band was around from 1980-84.
Whatever happened to the split-single 7” where bands of a feather got pissed in a studio together, slapped out a song each and whacked out a record with a song on either side? The styles didn’t always blend but that was much of the charm. The split single seems to have fallen from favour, despite the resurgence of vinyl. Reality is that it never really went away and here’s a great example from two Sydney bands.
Who knows if there was a pitch to the label? If there was, it probably went something like this: Find a gap in powerpop troubadour Paul Collins’ crazy schedule, put him in the studio with garage production king Jim Diamond and the house band for Detroit’s Ghetto Recorders, give them a cases of beer and let the music flow.
Collins (The Beat, the Nerves, The Breakaways) writes perfect rocking’ guitar pop like hipsters steal oxygen. It’s in his DNA; he has equals but there’s nobody better. A good proportion of these songs would be mainstream hits in a more enlightened and less disposable time.
The advice doesn’t come often around here but when it does, it’s always free. So here’s a dose: If you see a record with The Dahlmanns’ name on it and you’re into powerpop, buy it. The same goes for Andy Shernoff (but you probably knew that already). This one has both so how can you go wrong?
The Dahlmanns arewife-and-husband,Line Dahlman and Andre Dahlmann, plus a bunch of other Norwegian Dahlmanns, currently Otto, Jan Erik, Magnus, and Pål. Shernoff is the songwriting genius behind The Dictators (R.I.P.) and his own solo work. Andy wrote both songs and duets with Line on the A side.
Didn't have much time for mods, generally. Growing up in Sydney in the heyday of great, Birdman-inspired music in the 1980s, their thing seemedmore contrived than anything else (although, in retrospect, there was a great deal of energy in evidence on the Sussex Street scene, when it crawled up the stairs and seeped into the Trade Union Club.) The Green Circles are a mod-influenced band from Adelaide, and the good news (for me) is they're more V-6 than Vespa.
Guitar pop like this has no equal. Rob Griffiths has been writing and playing it longer than anyone can remember. Little Murders are a Melbourne institution and the current line-up is the longest serving. Each of these facts is connected.
The re-birth of the Stoneage Hearts sounds like a sequel to “High Fidelity”: Three guys walk into a record store at various times, buy the new Red Kross album from the owner and they all decide to form a band. They rehearse at nights in the shop, record an album, tour together and achieve global success.
Apart from the last bit about the worldwide success, the story is true. Not that global domination isn't possible, but more on that later.
This is the third incarnation of this Melbourne garage-pop band and apart from a stack of classic garage and powerpop influences, drummer Mickster Baty is the only constant. Previous line-ups were fronted by Danny McDonald (P76) and Dom Mariani (The Stems, DM3) with Ian Wettehall (Seminal Rats, Phillesteins, Freeloaders) on bass then and apart from guest Farfisa organist and Mickster, this one is populated by relative unknowns. Not that it matters a jot. They’re up to the mark and this is a great record.
FLASHBACK TO DATELINE 2002: A disclaimer first - I'm responsible for releasing the new Young Modern album "Live at...." on my reactivated Grown Up Wrong! label, so everything below should be taken with a grain of salt... Of course this is a band whose music turned my head in a big way back in '79, and who ultimately turned me onto the Flamin' Groovies and Big Star, so I do reckon you should pay some attention...
Young Modern existed between 1977-79. They formed in Adelaide, played their first gig supporting Radio Birdman, became a popular draw in their home town and moved to Sydney where they soon split, having been picked up by a powerful agency who had them working in the wrong venues. Along the way they cut a great self-released single with Steve Cummings of the Sports producing, and did some demos that came out after their split (with the single sides added) as the "Play Faster" album on the Local label - an album which also became the first release on Aztec when reissued on CD some years back.
Named "the first powerpop from Down Under" in a news piece in the Jan '79 issue of Bomp! (written by legendary Birdman/Hitmen soundman Andy 'Mort' Bradley), they had killer tunes by the bucketload (mostly written by rhythm guitarist Vic Yates and singer John Dowler) and did great covers of things like 'Mr Tambourine Man', 'She Loves You' and 'Its All Over Now'.
Tis the season to be jolly, as if you didn’t know, and Perth-based international pop collective The JAC have a Xmas present for us all.
The JAC is Perth musician Joe Algeri whose bands include Jack and the Beanstalk, The Britanincas, The Outryders and, most recently, The Jangle Band.
Each year, Algeri releases a Xmas song. On “Christmas Without Maria” Joe’s on vocals and guitar and he’s ably assisted by The Christmas Crew. On this recording, they’d be Briitannicas bassist Herb Eimerman (USA), Swedes Steffan Johansson (the Lemon Clocks, the Melted Hearts) on drums and Lars Brusell on keys, Finn Andy J Prinkkila (the Lieblings, the Sugarrush) on guitar and Paul Colombini (The Outryders) on guitar. Egomaniac Music personnel Erika Algeri and Lydia Algeri assist on backing vocals.
Recorded over the Internet in various studios around the world, it’s a free Bandcamp download - so get to it.
It’s been a long time between drinks but the DM3 cocktail remains as sweet as ever, without losing any of its bite. This limited edition, double A-sided 45 shows off the Fremantle trio’s trademark tight harmonies and guitar-fuelled melodies, just right.
Sounding every bit like a band born out of time, The Favourites have released their debut album - 40 years after they expired.
Throw your mind back to 1977-79 (pretend, if you weren’t born) and think about the music de jour in the UK. Punk? Ska? New Wave? It sure wasn’t Power Pop. What was around used the descriptor New Wave and was at the mercy of the notoriously fickle UK music media. So-called provincial bands (not based in London) had their work cut out.
The Favourites grew out of two Nottingham bands, the DTs and Plummet Airlines, the latter signed to Stiff Records. Their two-and-a-bit-year existence was peppered by recording sessions and live work, and they shared stages with Squeeze, The Rich Kids and The Only Ones.
Hello from the Dimboola Farmhouse, I-94 Bar barflies. Mick Medew is a legend, a Queensland Music hall of famer and Australian pub rock icon, and he absolutely nails it with his new album “Open Season” with his band the Mesmerisers.
The Mesmerisers? We have Lois Andrews bringing the bass and her beautiful backing vocals, and she is amazing. Michael Charles is on drums. Yes, that Michael Charles, drummer on Mick’s most famous Screaming Tribesmen EP, “Date with a Vampire”. The pair just nails it and make a fabulous rhythm section.
Rounding things out on lead guitar is Brian Mann, also ex-Screaming Tribesmen and a gifted player who also doubles behind the recording board. He produced this album and it was mastered by Don Bartley. These gentlemen know how to get the sound down.
Do you still believe in record labels? Back in the ‘80s, being released on an imprint that you knew and loved (Bomp, Citadel, Waterfront) was a surefire indication that a band possessed a “certain” sound, and was good.
Screaming Apple is the garage rock label in Germany that doesn’t release duds, so hearing about it collaborating with Australia's Off The Hip for an album by a band called The Smart Patrol was always going to be news falling on receptive ears.
Here's some music for the weekend, courtesy of powerpop king Paul Collins. It's the lead-off single from his new album "I Need My Rock and Roll" which is reviewed here.