Hitmen's second 7", I Want You / Tell Tale Heart (WEA, 100129) sees them start the move from the perfect powerpop of the first 7" to the less interesting macho hard rock of the LPs. The band were nothing if not a great singles band however, and all the 45s are well worth getting. It was said at the time that the A-side, I Want You, was inspired by Kiss' 1979 hit I Was Made For Loving You. Hmm, we can't really hear it. Even down the decades that smells like Record Company bullshit, riding off the popularity of that year's hit. Further, we're pretty sure a man of taste like songwriter Warwick Gilbert would have ripped off prime era Kiss, like Deuce, Strutter or Cold Gin, if he was so inclined.
What is true though is that said Record Company were too cheap to stump up for a picture sleeve, so the band had some printed themselves and hand distributed them to at least the Sydney shops.
On the other hand, through WEA's worldwide reach, the single also got issued in Italy (WEA, Y 70005) as part of The Sound Of The 80s series. Both white label promos and coloured label stock copies exist.
There are mentions on the web of a German issue with the same catalogue number but we're dubious to the point of saying it doesn't exist.
What is maybe less known is the alternative version of I Want You which appeared on a K-Tel greatest hits LP called Squeezed Out later in 1980, alongside The Aliens, The Angels, The Reels and, um, Christie Allen. K-Tel mastering renders the song two seconds shorter but it's the same version with a different mix - louder rhythm guitar post-chorus (an improvement) and big '80s sounding drums (sad slide whistle).
I've been revisiting this for a week now and I'm still not sure that Kill City To New Values Through An Australian Lens was a suitable thesis topic for these guys, or anyone, to have tackled. Mine the motherlode, I say. Still, I'm hard pressed to think of any other band who engaged in such mimickry of the Ig's post Stooges work so more power to them.
Trans 262 started as ME 262, named after a song on the Blue Öyster Cult's Secret Treaties LP. You can hear a 1980 demo, Gonna Die, on Do The Pop! Redux Part One. There you'll also find a complete summary of their existence which we'll summarise here: in the thrall of Radio Birdman (the elephant in the room we won't mention) they were born and played around. For reasons not obvious they were seen in competition to MEO245 so changed their name to Trans 262, also using The Ruse for a while. In 1981 they recorded this EP with Sherbet guitarist Clive Shakespeare. Seems they were disappointed with the result and didn't last much longer. Members went on to The Chosen Few (not that one), Decline Of The Reptiles, Howling Commandos, Rattlesnake Shake, Naked Lunch, The Screaming Tribesmen and The Fishermen. They reunited in 1987, as ME 262 again, to record I Got Nothing (natch) for Hard To Beat, AuGoGo's Stooges tribute double LP.
Band members were Tony Gibson - guitar and harmonies, Ally "Pink" Marr - drums and perversion, Andy Newman - bass and keyboards, Mark Roxburgh - vocals and wanking.
Being the first punk band in Perth is like being the guy who invented planking - sure, you might've been first, but who gives a shit? Still, that hasn't stopped the mantle of Perth's First Punks being bitterly (and publicly) contested. Dave Warner has no time for such trivialities, announcing that his first band, Pus, was not only Perth's but Australia's first punk band, treading the boards at future Perth punk haunt the Governor Broome Hotel as early as 1974. Putting aside the tiresome argument of "first", the fact that Pus took primary influence from The Fugs and felt gazumped by Skyhooks' shtick suggests that Pus was one of those pre-Punk bands that was punk in intent rather than sound. That's never been of much use to us, being people who listen to music with our ears and all. Given that no Pus recordings seem to have survived, in this case we can't even do that.
The closest we get is Dave Warner's first single (Suburban Boy/Donna, EMI Custom PRS-2499), recorded in the UK at Spaceward Studios and self-released in 1976 under the name From The Suburbs. Suburban Boy was a Pus song, and though this version is less polished than the recording we all know as Warner's first release for Mushroom in 1978, the differences are pretty superficial. It isn't punk, but it does establish the parameters for Warner's subsequent work - tales of football and suburban ennui, delivered with a broad (Western) Australian accent. Those themes were also carried through in the label artwork of his next pre-Mushroom single (Summer '78/Australian Heat, Bicton BR-001, 1978), which also hints at the Perth cultural references that would come to characterise his songs, Bicton being the East Fremantle suburb where Warner grew up. The self-applied genre tag "suburban rock" encapsulates those elements, but if you want to know what Dave really thought of punk, go no further than his song of the same name.
The Mushroom releases by Dave Warner's From The Suburbs litter dollar bins from coast-to-coast, so exploring those records is easy and cheap (go and do it!). What brings us here today is a timely re-examination of the post-Mushroom, self-released Half Time At The Football 12" - timely in that Warner, like me, would be grinning from ear-to-ear after the Fremantle Dockers' preliminary final win over Sydney on Saturday night, sending Freo to the AFL grand final for the first time. If I was to really twist the blade, I'd add that half time was about the point when Sydney Swans supporters could have switched off their TVs (sorry, Professor). A live favourite and something of a career constant, Half Time At The Football is quintessential Warner, bringing to the table all of his usual thematic concerns but with a relentless, sloppy two-chord attack that would sit much more comfortably among Spaceward's credits than the '76 recordings.
We can't leave before tying up the last of Warner's punk-era self-released records, especially given today's theme. To your right, you will see the East Fremantle Sharks' team song, released in 1979 with a blue-and-white label to echo that club's colours - that year saw East Freo defeat the South Fremantle Bulldogs to take out the WAFL premiership. Warner gets a songwriting credit and his voice is allegedly on the recording somewhere, but who can tell with the boofheads from the '79 Sharks caterwauling over the top? No sound files on this one - hell will freeze over before the East Freo team song appears on this blog. Carn the Bulldogs in 2014, and go the Dockers!
Clint(on) Small was a contemporary of Rowland S. Howard and Au Go Go label chief Bruce Milne at the Swinburne Community School. His first named band, apart from the various freeform jam bands that played at the school, was Tootho and the Ring Of Confidence, shortened to TATROC, in 1975, with Howard on sax and Graeme Pitt of Champagne Edge on bass. You can see photos in the extras on the DVD of Autoluminescent.
After that Small remained a somewhat mysterious figure. We don't think we've ever seen anything written about him contemporaneous with his early records, which seems strange given his connections with the Melbourne punk mainstream, such as it was.
The facts are thus thin on the ground and are deduced from the record covers. Small played in an early lineup of the Little Murders, he's on their second 7". His own first 7" from 1979 is a great record: high energy, tough riffing, good solos and impassioned vocals. Clint plays guitar and sings and Wallaby Beat favourite Jarryl Wirth (News, Lonely Boys, etc.) is on bass and guitar - his classic guitar sound can be heard on Wyvern Parsons, Where Are You?, which also sounds like it could be a News song. Mark Graeber plays drums.
There's two sleeves for this one, both feeding off Milne's taste for 3-D postcards - he used to ask people to send them to him in the early shop mail order catalogues. The horse sleeve seems to turn up less then the camels sleeve, althought we're told there's equal numbers of both.
The same lineup put out a second 7" in 1980. It's a slightly more relaxed affair but still worthwhile. The A-side, On The Fourth Floor, is most similar to the previous record, but really only cuts loose for about ten seconds at the end. Daeng sounds like an outtake from The Rise And Fall Of Ziggy Stardust And The Spiders From Mars. After that Small's next release was the Steel 12" from 1983 - it starts moving in a more hard rock direction and suffers from Jarryl Wirth's non-involvement. There were more self-released records through the eighties, which we've never investigated.
Before the Cosmic Psychos, there was Rancid Spam. That's some crucial science we learned from the new Cosmic Psychos documentary, Blokes You Can Trust, screening in all discerning theatres around the country. Rancid Spam featured a teenage, pre-Psychos Ross Knight plus - according to Knighty - the two other punks in the small town of Kyneton, rural Victoria. Along with some cool happy snaps, the film also shows a tantalising glimpse of a 1977 Rancid Spam demo tape. Surely we can't be the only ones wondering what treasures might be found on that cassette. The fine fellows at Aarght are giving the early Cosmic Psychos records the reissue treatment - perhaps they might be persuaded to look into it.
The last of those records, Go The Hack, is notable not only for featuring the best Australian song ever to sport a D-beat, but also for being the last release by the line-up with guitarist Peter Jones. Jones was soon replaced by Robbie "Rocket" Watts, allegedly after an audition at which Watts blew up two amplifiers. You won't often find us quoting Ian McFarlane's Encyclopedia of Australian Rock and Pop, but his conclusion that the change in personnel didn't alter the Cosmic Psychos' sound might be the most insightful analysis in that book. Yup. Watts had previously played in I Spit On Your Gravy and the Quivvering Quims. And, before that, Sharp Toys.
Um, who? Just as Rancid Spam included the only three punks in Kyneton, Sharp Toys must have been the four biggest freaks in neighbouring Castlemaine - the kind of freaks Rancid Spam would have beaten up as a matter of general principle. Among said freaks were Robbie Watts and older brother Rex. The only trace of Sharp Toys' existence is a handful of tracks on a 1980 compilation LP, Goldfields Rock, released as a fundraiser for community radio station 3CCC-FM in Castlemaine. Of the four songs, Nuclear Daisy is our favourite, a world away from the wah-drenched fuzz-storm of the Cosmic Psychos, but even at this early stage Robbie possessed a nimble set of fingers and the song really opens up when he rips his solo. A song-ending explosion wins brownie points, too.
There are a number of places on the web where the remaining tracks on this LP can be heard, so we'll leave interested readers to explore that for themselves. On second thought, we'll direct you to the Rock On Vinyl blog, which tells us of the band members that "I suspect they didn't go onto bigger and better things". Hmm, perhaps Rock On Vinyl should stick to cutting-and-pasting its information directly from Wally Beat [sic].
Whenever we feel that the occasion requires an '80s movie namedrop, This Is Spinal Tap usually covers the essentials. Today, however, we're reminded of a more unlikely reference - Ivan Reitman's sheissewerk about the lighter side of eugenics, Twins. You plead ignorance? Allow us to give a synopsis. Arnold Schwartzenegger and Danny Devito play - you guessed it - twins; separated at birth, they go on to lead very different lives. A grey-haired plot device informs us that this is because first-born Arnie is a genetically engineered übermensch, whereas Devito was an unexpected side-effect, a by-product of the leftover turd genes. The film ends with Arnie being sent back from the future to infiltrate the Kennedy gene pool; meanwhile his short, fat scumbag twin makes a living as a taxi dispatcher before going on to co-host American Pickers. Uh, or something like that.
In June 1978, employees at the Festival Records plant pressed the Victims' TV Freak 7" (SMX-46871/2) before changing the plates and using the leftover vinyl to press a little-known single by Kevin McLaughlin and the Murrumbidgee Orchestra. As the afterbirth to the monstrous Victims EP, this punk-era curiosity has remained virtually unheard beyond Canberra music aficionados and hardcore Wreckless Eric freaks. Its B-side is a relatively faithful, contemporaneous cover of Eric's Whole Wide World, some additional keyboard being the main point of difference. Hard to go wrong with a song this good, but it's still just a cover, and perhaps less than essential listening for anyone with the original filed away. The A-side needs to be heard by no one, ever.
For us, the single's main interest lies in its backstory, told in full over at the Canberra Musicians website. There you'll find a band enamoured with the Oz Rock tradition accidentally stumbling across the "new music". We've seen before how non-punk "punk" records emerged prior to many genuine Australian punk bands releasing records of their own. Though not as early in the game, the Murrumbidgee Orchestra is yet another example:
"When George [Bennett, vocals] came back from Britain he brought with him some new music called 'punk'. One song stood out, Wreckless Eric's Whole Wide World. George and Willie [Ian Winter, guitar] had another original called Thunder on the Mountain. We recorded them out at Airsound in Fyshwick and had it pressed in about a week. We sat back and waited for our first single to go roaring up the charts, bringing us fame, fortune and home delivered pizza. We are still waiting, but early days".
Wrong, wrong, wrong. We try to make a habit of not being wrong, but sometimes the mistake was made long ago. This one hurts because I owned this record in the early '80s and purged it almost immediately, deeming the band too suburban, too MMM, too rocky. Ugh, how wrong could I have been.
Fast forward thirty years and a copy of this showed up in an online auction out of all places, Midwest America. Oh no, I thought, another pissweak record being pimped as KBD. But the listing had sound clips and over the next ten or so minutes, well, that's when my walls really started to crumble. Behind rocky vocals is a band coming across like a Brisbane powerpop band, the aesthetic choices being highlighted by short, tight guitar solos, and lyrics about the ups and downs of drinking and enjoying your youth.
Apart from the good time feel what I really like about this record is the stripped back production. Although these guys were aiming to be Oz Rock stars, in the studio their sound was like any other mid-fi inner city sound recording, relying on feel and not modern studio trickery. Given the antiseptic sounds of so many similar bands from the era who "made it", we're left with a what-could-have-been reaction to the whole genre. Bent Elbows, maybe with the aid of the credited "alcoholic adviser", got it right.
So to the songs: St Lucia Road is about the band's home, the road leading from Toowong out to the University Of Queensland at St Lucia, and now renamed Sir Fred Schonell Drive. References are also made to another local landmark, Hawken Drive, Rec week (the first week of the University year), and not dropping out before 4ZZZ's third Joint Effort; Free-way Connection is about joining your friends for a piss-up down the South coast; the plaintive Scoring Sugar is an ambivalent drug song; and the probable highlight - Chip On The Shoulder Boy, the great Queenslander affliction writ small. Here the protagonist is picking fights at the R.E. (Royal Exchange Hotel at Toowong), talking big while on the sauce - one great line "Woodstock is over, throw your beads away".
We're in Melbourne again, trying to pin down a record so undocumented we have to divine what we can from the sleeve. Clue one is the photo: three norms (Melbourne, '79 style), and a bloke channelling Lou Reed's arsehole phase with his all black getup and mirror shades. Clue two is the dedication to Kim Fowley on the rear sleeve and label. Now we don't know if the Slugs got on their knees before the animal god of the streets when he visited Melbourne but the August 1979 recording date is about right so we like to think they may have. We also imagine him screaming "get these old fucks out of here and bring me some malleable teenagers!".
Putting those clues together we imagine a band taking bits from Rock'n'Roll Animal, Fowley's mid to late '70s LPs, and perhaps those mirror shaded greats, the Blue Oyster Cult. But the reality is probably a bit more mundane, and comes from clues three and four: the thanks to Tinsley Waterhouse, Melbourne blues legend; and the production by David Pepperell (and the thanks to "mystery guitarist Keith" (Glass?)). Effectively, our boys are rubbing shoulders with Melbourne's rhythm and blues royalty.
The tough, sinewy riff to the A side, Catch My Breath is certainly placing us in rock'n'roll territory, but the flipside is effectively an electric blues song. The guitar sound is filthy, but, you know, it's still just the blues...
All up we have a record that sits just on this side of the good/bad line, just on this side of the rock/blues line, and just on that side of the getting laid/not getting laid line. We'll let you listen to the lyrics for that last bit. Let's just say Makeshift sound like they have more pull with the ladies than this crowd.
So quipped Gus Chambers one night at the White Sands tavern, shortly after a disgruntled publican pulled the plug on his band. Such was Gus's rage, he momentarily forgot how to count - you can hear the results on Rupture's Sex, Drugs and Rupture CD. Antipathy to the ol' Dullsville is something of a Perth punk tradition, the most well-known example of course being The Victims' Perth Is A Culture Shock. However, the Perth kiss-off we really wanna hear seems to have remained unrecorded.
Paul Keating famously described Australia as "the arse end of the world"; Arsehole Of The Universe – a song variously attributed to the Exterminators or its short-lived offshoot, Sad Sack and the Bags – narrows down the anatomy and ups the cosmological denominator in laying waste to late-'70s Perth. Readers who have internalised Harry Butler's Perth punk family trees in B-Side #6 and DNA #34 will know that the Exterminators existed from May to November 1977. The band's core – Rod Radalj (guitar) and Boris Sudjovic (bass) - morphed into the Invaders (no relation) in December 1977 when Kim Salmon (guitar/vocals) joined the fold, the band in turn becoming the Scientists in May 1978 when James Baker, fresh from the recently disbanded Victims, occupied the kit. Readers who have internalised the Scientists' Wikipedia page could probably tell you much the same thing.
Sudjovic didn't last long in this line-up of the Scientists, exiting prior to the recording of the classic Frantic Romantic / Shake Together Tonight 45; Radalj played on the single's A-side, and left the band soon afterwards. The pair soon teamed up again in April 1979 as the Rockets, and along with Allan Stewart (vocals), Peter Johnson (guitar), and Johnny Cole (drums), supplemented a set of Heartbreakers and Ramones songs with high-energy originals. Accounts from folks in the know have the band pegged as a shit-hot live proposition, reportedly Perth's closest approximation to the Detroit-via-Sydney rock of Radio Birdman.
Unfortunately, the Rockets' sole single (released in May 1980 by import record shop White Rider) doesn't quite capture that attack. Mean Mistress is fine punky rock and roll, somewhat hobbled by bog-standard riffing and typically "Perth" production (hard to put a finger on the defining characteristics, but to paraphrase Justice Potter Stewart, we know it when we hear it). That said, we have found ourselves coming back to Mean Mistress again and again over the years, surprised each time by the energy of the performance. The flipside, Little Donna, is slower and wimpier, alternating between a singular pedestrian riff and a truly cringe-inducing middle-eight. 'Nuff said. Five hundred copies of the single were pressed, housed in a silver cardstock sleeve overlaid with either a black or white screen print. In our experience, there's no discernable difference in rarity between the two sleeve colours, though white seems to have surfaced more frequently in recent times.
Sudjovic has reflected that the Rockets "lasted much longer than they should have, two months would have been about right". By the middle of 1981, he and Radalj's disdain for Perth and disaffection with the band had reached critical mass, with the pair leaving both the Rockets and the city for the perineum of the universe, Sydney. There, Radalj teamed up with two ex-Victims to form Le Hoodoo Gurus, and Sudjovic rejoined the Scientists to spearhead the band's swamp-rock phase. The pair would eventually regroup in 1986 as the Adorable Ones, a.k.a. the Dubrovniks. Back in Perth, the Rockets continued with line-up changes to fill the Croatian-sized void, and pursued a less interesting hard rock-tinged sound. This direction can be heard on Automatic, the revamped Rockets' contribution to the West compilation LP (96fm/Polygram MX198965/6, 1981), where somewhat confusingly they sit back-to-back with the Invaders, an unrelated band led by ex-Bakery vocalist John Worrall. A cassette from 1983 showcased more of the same with flourishes of the old punk and roll sound, but the band would fold with no further vinyl releases.
For most record collectors it-never-ends is a stock-in-trade, a rule-of-thumb, a goddamn fact-of-life. For others though, like us for example, completism is not an unobtainable goal but the level to be met in every instance. Another such person is Mark Taylor of Sydney band Lipstick Killers and more recently the collector behind the conceptual greatness of the G45. Are you familiar with the G45? It is a compendium of US '60s garage 45s ordered by a three pronged ranking system. You can view the list in all its glory here.
In the G45 ranking the R factor (Rarity) and the S factor (Sonics) are more-or-less explanatory, but the groundbreaking aspect is the third rating, L for Legend. Like the number zero (or nihil) for ancient mathematicians, this gives us a new way of understanding the ebb-and-flow of records and why some are more desired at certain times than others. In the spirit of that, today we cover the ins-and-outs of the first Lipstick Killers 45 - Hindu Gods (Of Love) / Shakedown U.S.A.
The Lipstick Killers' story has been told at least thrice - in B-Side fanzine, then in Prehistoric Sounds, and then for the worldwide audience on the i-94 freeway. Let's recap:
post (our Wallaby Beat forebears) the Psychosurgeons' breakup the band morphed almost immediately into Lipstick Killers, final singer Stan Armstrong being replaced by Filth's Peter Tillman, and Kim Giddy coming in on bass. David and Mark Taylor on drums and guitar made up the rest of the band;
in 1979 the original rowdy, high-energy line-up recorded their debut single, Hindu Gods (Of Love) with Steve Harris of the Visitors on piano and Deniz Tek behind the desk;
a year of growing popularity in Sydney based on legendary live performances followed;
encouraged by Greg Shaw's enthusiasm the band moved to L.A. in late 1980 for a year and, while they played several shows, nought was coming of it so they broke up, eventually returning home.
Hindu Gods (Of Love) / Shakedown U.S.A (AUS Lost In Space, PRS-2661, 1979)S3/R3/L3
The first issue was an Australian EMI Custom press in a handsome picture sleeve. This one is elusive (especially without ringwear) and has maintained its legend status over the years, probably due to the sonics. Great songs, great riffs and strong vocals. Only the fact that the songs don't unhinge themselves keep it from reaching the rarefied heights of the S4s and S5s. 1000 pressed.
The first US pressing appeared on Bomp side-label Voxx. First presses come in the Blow Your Mind - Go Voxx! / Join The Voxx Rebellion company sleeve. The label font size is smaller, the Bug Music Group publishing credit is on one line, and the matrices read "Hindu" and "Shake". This variation is slightly harder to track down than the next though let's not pretend much teeth gnashing will occur before you get any of these. It appears the company sleeve can still be obtained on other 45s at the Bomp Store.
The second Voxx pressing comes with a redesigned label - larger font size, Bug Music Group credit over two lines, and more mundane catalogue number matrix etchings. The company sleeve too is redesigned, a less imperative, more self-referential "The spirit of the 60s, the sound of the 80s." This would appear to be the most common version.
Hindu Gods (Of Love) / Shakedown U.S.A (USA Voxx, 45-1003 1990?)S3/R2/L1
At some stage a third pressing took place, this time on silver labels. Somewhat surprisingly, given the perfunctory nature of much of their work, Bomp/Voxx added a lurid red picture sleeve for this actually quite seldom seen version. We vaguely recall this appearing for a few years on Bomp catalogues from about 1990. Unheralded at the time, and barely mentioned since, I can't imagine not wanting to own it.
The rest of the Lipstick Killers discography varies from a walk in the park (Inner Mystique comp 7", Mesmerizer variations), to the mildly sweat inducing later 7"s.
Hindu Gods (Of Love) also appeared on two Bomp compilations, the Experiments In Destiny double LP (Bomp! BLP-4016) and the Where the Action Is! promo sampler LP (Bomp! BLPR-3001, 1980).
No music today, surely these songs are either known to you or easy enough to get by dragging your sorry arse to a record shop mouse to an online purveyor of musical items. The songs are readily available on several recent CD compilations - Hindu Gods (Of Love) on Do The Pop! and Tales From The Underground, and Shakedown U.S.A. on Do The Pop! Redux Part One.
Update March 2013 This typed insert surfaced recently.
Hard not to respect a record that so prominently displays a smashed 45 of the The Seekers' The Carnival Is Over. While we fully endorse that sentiment, it's a shame the same can't be said for Smashing Records, the lead song from this obscure single by Perth's Hooker (PJ Hooker on the label; PJ Hooker Band on the back cover; Hooker Band elsewhere). Quality control prevents us from posting it here, but the curious may want to check out this particularly noxious version, recorded live in 1982 at the Nookenburra Hotel. Be warned that it is 3:05 of your life you will wish you could get back.
Thankfully, the keyboards and new wave affectations which blight the live footage are largely absent from the single. Recorded two years earlier, its B-side is a creditable exercise in powerpop/rock. In fact, as a suburban Oz Rock take on the Marshall-amped powerchords of fellow Perth-ites The Manikins, Don't Stop fits neatly into the accidental powerpop genre discussed here previously. Though the musical terrain overlaps, we hasten to emphasise that the two bands approached it from very different angles. Their respective odes to the commercial radio DJ speak for themselves - compare Smashing Records ("I am a DJ...the greatest hits, the hottest licks", delivered without irony) with Radio World from the first Manikins 45 ("You like the way the DJ speaks but he just gives me the shits"). The artwork accompanying both singles further highlights differences in approach, but for now we'll leave Hooker's back cover to your imagination.
Despite plugging away on the local scene for another few years, there would be no further releases. After calling it quits in 1983, various members turned up in other Perth bands throughout the remainder of the '80s and into the '90s - Phil Foord surfaced briefly as bassist for well-regarded local rock band The Jackals, while at the other end of the spectrum, singer Steve Letch joined the much-maligned Kaper (scan back-issues of Party Fears zine for the headings "The three worst bands I've ever seen" and "Bands I would rather not have suffered"). Guitarist Marcus Sturrock looked further afield, rubbing shoulders with a who's who of Oz Rock out-of-towners, as documented extensively on his website.
Think you know a lot about Australian records in the punk era? We promise to astonish you with stuff off everybody's radar. We apply quality control so our powerpop has power, our glam has prominent balls, our punk is spiky and our DIY is far, far out there. We'll also do it-never-ends exposés of sleeve variations and inserts you didn't know existed. Strap yourself in and enjoy the ride.
