The Lincolns are sharp, smart and write damn fine, modern songs, play with punch and verve, and crowds come out of the undergrowth wherever they play (I’m guessing they’d pull in the middle of the Simpson Desert), and most of the crowd get all gussied up and dance till the pompadours collapse like upset bowls of black pasta.

The Lincolns tour around the country; barely a weekend goes by without another sell-out Lincolns gig somewhere. They work hard at day jobs, too, so the band is their release; yet they drive to every gig and there’s more than 140 songs in their repertoire. Yes, really. And they live in Adelaide. And, their overseas tours have been extremely successful, and there’s another one sorted out for 2017.

This album is worth four bottles. Possibly more. I’ll know in a year’s time, when I’ve finished listening to it. “Antarctica” is a sleeper, and it’ll get you in the end. Probably at night, it feels stronger at night. Lex from Seedy Jesus did the cover, and it’s a beauty, really smart.

And, yes, I’m going to repeat myself: the world is currently awash with brilliant music, much of it - like “Antarctica” - very strong and remarkably commercial. Given the airplay and the backing, "Antarctica" should be in thousands of homes around the world; certainly the USA would like this outfit. That said, I’ve not yet seen Melbourne’s Marilyn Rose and the Thorns - but I’ll rectify that as soon as I can.

Barman, how many bottles can I get away with putting on this? If you’re a literalist, it’s five. Because you can’t go over 100 percent, by definition, can you?

Can you, fuck! Eight bottles, Barman. (ED: Go home, Robert, you're drunk!) This is a special, wonderful box set. Long overdue.

Brilliant. Not my favourite Race record, but nonetheless, another of his albums I’ll be listening to over and over, year in and year out.

Why? Well, apart from anything else, this is one of the most commercially accessible LPs I’ve heard Hugo do. And I’m sure this is more or less by accident.

Four bottles? No, five. I s'pose.

In conversation with one of Sydney’s veteran rock’n’rollers, Doc Ellard of Chickenstones made the point that, to some extent, the early Stones were “trying to get away from being English, because of what America and Americana represented: freedom, freedom of expression, expansion, wealth and exotica”.

It’s hard to imagine Deniz Tek fans being disappointed by his latest release. Radio Birdman fans, maybe not so much.

While Deniz’s last album, “Detroit”, was a brooding, introspective and dark reflection on urban and personal relationship decay, “Mean Old Twister” paints with a broader aural palette. Sax, harmonica and keys are woven into the sound at strategic points, to enhance Tek’s trademark guitar and guitar player’s vocal.