That's a helluva title. It's also a limited edition split single featuring Sweden's Nomads and Norwegian power pop wonders The Dahlmanns, put together for the 60th birthday party in Spain of Next Big Thing zine creator and all-round top bloke, Scotsman Lindsay Hutton.

Just 500 were pressed up for the shindig in Madrid and only a handful remain available...

If you don't know, The Dahlmanns are the World's Best Power Pop Band. No arguments, thank you very much. "Fireball" is the theme song of a Gerry and Sylvia Anderson pre-Thunderbirds TV show ("Fireball XL5") and it was the first 45 that a pre-pubescent Lindsay ever bought in the early 1960s.

Sydney band The Holy Soul have a way with collaborating with the rich, at least in in history, and infamous. Here’s another example of that maverick magic. 

Seven years ago, The Holy Soul combined with Damo Suzuki (Can) and a Drone to punch out a live album on Repressed. This time out, it’s a half-studio/half-live 45 of similar vintage, this time with Rocket From The Tombs and Pere Ubu frontman David Thomas, with whom they played on a blink-and-you-miss-it Australian visit.

“Master of The Universe” is the A side (it’s a Hawkwind cover) and hovers between industrial skronk and space rock. Theremin and a throbbing bottom end underlay dry guitars and Thomas’s unique, plaintive vocal. A melange of guitars - presumably John Hunter and Trent Marden or both - and synth raises the tension in the breakdown before Sam Worrad’s hypnotic bass resumes its ominous march. 

The live “Man In The Dark” starts with the wheeze of Thomas's accordion wheeze and plays itself out with restraint for its five-minute duration. Delicate guitars chime to a subtle bass-line while Thomas expounds on (I think) a lapsed relationship, half-talking, half-crooning. Measured and magnificent. it was left off the live album that you can find here. The link below will lead you to the single. Odds are it won't last long. 

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There’s more than a touch of Birdman about this Australian-Japanese collaboration recorded in Tokyo - and that shouldn’t be a shock. Deniz Tek’s involved as a player, co-writer and arranger. His guitar’s all over the both tracks of this CD single, with the rest of the backing provided by Japanese players.

“Gin No Suzu” - apparently it’s Japanese for a meeting place at Tokyo’s main railway station - is a neat rocker, one of those driving songs built on a tightly-wound riff and Penny Ikinger’s assured vocal. It’s more straight-up than Penny’s noir rock and psych pop outings and would sound great as enlightened radio fare. 

“Ride On Cowboy” is a touch darker with a chunky bass-line, double-tracked vocal and compact guitar solo. If this is indicative of the album that’s currently being shopped, bring it on. 

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"Yesterday’s Town" is huge. You think you know where she’s going, but she doesn’t take you there. The lyrics are like a stripped-back novella. Suzie really nails the slow/uptempo dynamic with her romantic guitar and sweet and smoky (by turns) voice.

Suzie’s been going about her career the right way (photos, film clips  bios and downloads

). She's moved from Melbourne to London and is building a profile. Her production on "Yesterday’s Town" is superb, and the song itself begs for mainstream airplay, and I can only assume the majors are scampering with intent toward her right now.  

Dave Favours & The Roadside Ashes is a Sydney band that plays both sorts music - Country and Western - whose debut single recalls T Tex Edwards, the maverick punk-country artist from Dallas, Texas.  

Band leader Dave Favours used to be in The Delivery and has been at this alt.country thing a while. Like T. Tex, Favours has an appreciation for country’s less-travelled roads and a bit of punk in his background. 

“Part Time” has a laconic, resigned feel, with pedal steel bleeding through the lyrics about demons, deep inside, and drinking. Dave Hatt (bass) and Simon Li sit in the pocket nicely. 

The single is not dead. It’s just shifted sideways. These days it’s a taster or a teaser to a new LP, rather than a serious stab at the big-time.

Long gone are the days when The Temptations, Slade, or REM could issue a song and watch the dollars roll in. 

Never heard of Lonely Stretch? It’s their first release, I don’t think they’ve played any gigs yet (spare me that tedious bullshit about how "ya gotta’ play a bazillion gigs and go into thousands of dollars worth of debt before you’re considered to have paid yer dues") and they’re all Adelaide, kinda, with a knowing series of drives to and from Melbourne under their belt.