Clint Small - Crack In The Wall and On The Fourth Floor 7"s Au Go Go ANDA-2 and 5, 1979 and 1980

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.

Crack In The Wall [Download]


Have You Got The Feeling? [Download]


Wyvern Parsons, Where Are You? [Download]


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.

On The Fourth Floor [Download]


Daeng [Download]


(I'm) Hep Up To Here [Download]

Clint Small: "Photography by Wyvern (Yes, We Found Him!) Parsons"

It Never Ends: The Numbers and The Riptides - Sunset Strip 7" Able AB-003 and AB-004, 1978, 1979

One of the finest Australian records of the punk era is this 'un, Sunset Strip by The Numbers. There seems to be some latter day criticism by wooden ears that this is too poppy or sixties influenced. Those critics should take off the dunce cap and listen again - the pace is definitively 1978, the vocals disaffected, and the band smashing into each other in a completely endearing fashion. If you were born on Mars and haven't heard it you'll know straight away it's from Brisbane courtesy of the handclap solo - all the Briso bands feature 'em. Since this is an it-never-ends feature we're duty bound to point out the film like card the boys used for the sleeve and the miniscule chance of finding one without ringwear at this late stage. After a few decades we found the one above which had been stored separate to the record. It still shows a visible scratch though, ugh.

At some point word filtered in from down south about another Numbers and the band decided to change their name. This was not a major problem as they had already used and discarded The Grudge and Neon Steal (rumours persist of recordings from this version of the band). The Riptides were born. The Numbers single had been taken to Melbourne and Sydney by Robert Vickers and had been well received, so first point of business was to reissue the record under the new name.  

There's been much supposition over the years as to whether this version is re-recorded, remixed or simply remastered. Starting with the easy ones even the tinniest of tinnitus affected ears can hear the recording is the same. Remastered is a yes - The Numbers has a DB matrix scratch indicating Don Bartley at Studio 301 in Sydney. He captured the energy well. The Riptides version is an EMI Custom pressing plant job - new plates and a softer mastering job. Which leaves remixed. After some intense A/B-ing plus study of the waveforms we're gonna say yes. You can compare below but at the very least the hi-hats are way more prominent on the Numbers version. Mark Callaghan explained in Andrew Stafford's Pig City:

The main difference with the remix was we turned off Dennis’ hi-hat microphone, because at that stage he didn’t realise you were supposed to clamp the hat down when you did a drum roll, so you have the cymbals spilling out over everything!

Once again the band went with easily scratched glossy stock and even with 2000 pressed finding one without ringwear is a frustrating exercise. Bomp took 300 copies so our American readers should be well placed. Ours above still has the slightest hint, ugh. After the band moved to Sydney the last few copies were sold through stores there with the stamped sleeve below, a nice piece of it-never-ends to end with.

Well not quite - don't neglect the two b-side tracks! 

Sunset Strip [Download]


Magic Castle [Download]


Rules Of Love [Download]


Sunset Strip (Riptides) [Download]



In case you haven't seen it - the video. Handclaps at 2:26.

Leap In The Dark - Samurai 7" Sundown SUN 0087, 1984

It was about 10 years back - a heady time when people actually read music blogs - that Dave Lang coined the useful phrase "record-collector-rock". Back then, he used the concept to mean music that is "drool fodder for collector/obsessive dorks: you know, not the kind of music 'regular' folk buy" (or more succinctly, records that are "good to show off but not to listen to"). What he didn't anticipate was the emergence of "meta-record-collector-rock": music made by record collectors, released by record collectors, for a target audience largely made up of record collectors. It's not exactly news that there is overlap in the collector/musician Venn diagram, but that kind of closed cultural feedback loop is a relatively recent phenomenon, right? Hmm, what of the Australian punk collector who, in 1983, created a limited edition of his own band's record with a cover directly referencing the Victims' handpainted 7" EP? What could possibly be the point, other than to amuse said collector and appeal to the OCD of similarly afflicted obsessives? Three decades later, that party trick has worked a treat - the self-aware tribute is even tougher to find than the Victims' original.

We'll come to the Victims EP and its simulacrum in due course, but what intrigues us today is the "anti-meta-record-collector-rock" of the Leap In the Dark 7". Vocalist Mark Overett was a year-zero participant in the Brisbane punk scene, documenting future legends in real time in his fanzine, Fad. These days, Overett is a self-described "anoraky guy who collects Aussie punk records 1976-1981". We applaud the tightness of those parameters, but dig the recording dates of Overett's own work - December 1983 to January 1984! Talk about hiding your light under a bushel. Luckily for Mark, others find worth in music made outside the classic '76-'81 timeframe - Samurai is a neat, punky powerpop track, and yet another example of the endearing tweeness that pervades many a Brisbane record from the Go Betweens on. The EP's two remaining tracks sit at opposing extremes of the tweeness spectrum, and are less endearing as a result. Other band members were Wayne Harvey (drums), Bob Reeves (guitar), and Adrian Mengede (bass).

Samurai [Download]

The Razor Gang - (All I Want For Xmas Is A) Neutron Bomb 7" RG 01, 1982

If you spend as much time as we do in the bins and crates then you're au fait with the basic tenets of quantum record theory. The bit which does our heads in is Schrödinger's Record Paradox, first posited by our learned colleagues over at the Corroseum. It goes like this: an unknown record found in the racks is simultaneously good and bad, until it is forced to collapse into one state or the other. We do this by putting them in our small hadron collider, a circular device where we smash industrial diamond at high speeds (45 rpm to be exact) against the vinyl, and study the results intently, looking particularly for evidence of the elusive punk particle.

So there I was, stood in The Pitt record shop in the 1990s. All of a sudden the Geiger counter in my toolbelt started going fucking ballistic. I took off my gas mask (this was a Bob Gould shop after all) and before me sat the record pictured above. Razor Gang. 1982. Crude sleeve. Military imagery. Neutron Bomb. Drawing of a razor blade. I added up the quantum probabilities in my head and easily cracked 100%. I could almost taste the Nobel Prize.

I quickly hotfooted it past the racks fronted by Danny Graham and Mopsie Beans 12"s (sadly I'm not joking), paid and rushed back to the collider, then based in Surry Hills.

Insert sad slide whistle...

To cut a long story short, my disappointment was such that until I recently pulled it out of the Wallaby Beat powerpop section, admittedly not the most visited part of the archive, this probably hadn't seen action round here for fifteen years.

With that much water under the bridge, the A-side is not too bad at all. Like the Mansons, the direct lyrics and vocals override an overly poppy backing. The "happy Hammond" does add something, though recent comparisons to The Go Betweens' People Say are gilding the turd. The flipside? Let's just say there is no New Wave section in our archive.

(All I Want For Xmas Is A) Neutron Bomb [Download]


Video Dreams [Download]

Frames - Never Coming Home 7" CBS BA 222832, 1981

The late, great Imants Krumins once disparaged my über-fandom of Grand Funk Railroad on the basis that as a young 'un, Grand Funk fans would beat him up for listening to Lou, Bowie and T Rex. So Grand Funk were cavemen and so were their fans - no doubt about that, but when I hear Inside Looking Out I find it hard to care (and I hasten to add, I'm not the only one). In much the same way, I can't expect my prejudices about The Frames to matter to those who didn't live in Perth in the mid-'80s, for whom Never Coming Home will probably sound like a pretty snappy piece of new wave power pop. If you were there, then you will remember the suffocating ubiquity of The Frames, The Jets, V-Capri, Flying Fonzarellis and countless others which essentially amounted to cover bands expecting to be taken seriously when snapping off the occasional original. As they say on the internet, fuck that shit.

Never Coming Home [Download]

Perculiar Clerk - Another Guy 7" Phoenix 13286, 1982

We always enjoy a band that can't even spell its own name correctly, but in this case we're not sure if we're more galled at the misspelling or the aesthetic blunder of referencing Petula Clark. Unlike previous Wallaby Beat illiterates, there's documentary evidence that Peculiar Clerk knew their way around a dictionary (see below), so we can't really blame the band itself. Perhaps lax educational standards at the EMI Custom typesetting department were at fault, but ultimately the buck stops with Tom Misner, owner of Phoenix Records (or, as he might prefer to call it, Phoenix Regords. Yes, Regords). The guy seems to cop the blame for everything else, so why not add proofreading to the list?

Peculiar Clerk formed from the ashes of Latis, a Zep/Heep/Quo cover band based in the western Sydney suburb of Blacktown. In 1979, the band ditched both its name and its heavy rock repertoire for revved up Beatles, Who and (of course) Petula Clark covers, a smattering of self-penned tunes, and the obligatory skinny ties. In lengthy self-analysis over at the Peculiar Clerk website, various members acknowledge that the arrival of punk made their former setlist obsolete, but are at pains to note that they were not a punk band themselves. All signs point to that subgenre we've come to know and tolerate, Oz Rock/powerpop, but setlist staples like the Undertones' Teenage Kicks and originals like Disco (Destroys Your Mind) show that their hearts were in the right place (though singer Peter Keen's assertion that disco sucks "starts with 's' and ends with 'k'" has us rethinking that entire first paragraph).

In 1982, two originals were recorded at Central Recorders by the then-active lineup of Keen, Rob Manego (bass), Peter Marples (guitar), and Steve Askins (drums). The resulting single, Peculiar Clerk's only release, pairs a couple of energetic powerpoppers which should get the job done nicely for fans of The Word et al., though we hasten to add that microscopic examination reveals no trace of a chorus on either side.

Peculiar Clerk folded in 1984 but not before playing an impressive double-header, performing firstly to around 30,000 people at a festival on the banks of the Parramatta River, followed by a nighttime gig at their Blacktown RSL home base. The band describes one of those venues as "a filthy cesspool" - take a tour of their website to find out which.

Another Guy [Download]


Miss You [Download]

Peculiar R Us

Manikins - Love At Second Sight 7" SMX55051/2, 1980

In August 1979, Perth's Manikins became the first of that city's Class of '77 to head East. A short tour of Brisbane, Sydney and Melbourne followed on from the good reaction to the band's first two singles. On their return to Perth the band released a great cassette called Live Locally featuring nineteen songs culled from their set. In fact the band had recorded fifty songs, almost their entire (all original!) inventory, in a midnight to dawn session at Sweetcorn Studio following the Talking Heads' February 1979 show at Perth Concert Hall. The cassette was a mixture of the band's favourite songs with those deemed to have featured least mistakes. Should you have trouble finding it, most of the tracks can be heard on the self-titled LP/CD from last decade.

Three of the songs reappeared the next year on the band's third single. These versions were re-recorded at Perth's Planet Studios and were mixed at Paradise Studios in Sydney. Needless to say the pro-studios cleaned up the band's sound and while not completely anodyne, it's a pity that the balls evident on the earlier versions had retracted at least part way inside the band's body. In particular the fantastic, sloppy guitar caught on the tape versions is toned down. Nevertheless, good songs all, and worthy of your time.

Like the Numbers and XL Capris, we can but warn you against approaching the band's later major label stuff. We again thank DNA fanzine for their excellent record of happenings in Australia's South and West; this time issues 7 and 34, the Perth punk issues.

Love At Second Sight [Download]


Nuisance [Download]


All I Care About [Download]

What should have been - the Live Locally version of Love at Second Sight.

Mansons - I Died Four Times 7" Angelwood BS-002, 1982

One of the very few bands from Newcastle who could rightly be called a punk band, The Mansons popped out one 7" in 1982. Like a revved up Monkees with a gnarly guitar sound and a gruesome sense of humour, the band gives the impression they would have been a fun live proposition. This is supported by the band-members' monikers - Harry, Curly and Monkee Manson, and Donny Anarchy.

The topside is good slice of pop-punk with the lyrics spat out at a fast pace. The flipside is powerpop. The guitar is good but the vocals and rhythm section sound a bit tired; we assume it was recorded second.

The band existed from 1981 to 1983 and seem to have received mostly negative press in a town where boogie-till-you-puke rubbish was always better supported. You can read the extended history and see more photos like the below at the band's useful blog.

I Died Four Times (But I Don't Wanna Talk About It) [Download]


What Is Her Name? [Download]

The Lonely Boys (and The Breakers)

Two weeks ago we covered the excellent News flexidisc that featured Sweet Dancer Au Go-Go, and many moons ago we looked briefly at Kim Fowley's visit to Australia. Today we tie them together with the tale of Jarryl Circus's flirtation with the animal god of the streets, via the Lonely Boys.

Prior to News' initial breakup, Circus had made his way to the Melbourne Hilton to play some tracks for Fowley. The News website takes up the story:

As Gavin was preparing to vacate Faraday St in December, intelligence reached him that before the band went bust, Jarryl had been setting up (on the sly) a solo career with US producer Kim Fowley. Fowley was then a name, having worked all around the world, successfully often enough, since the early sixties. He was making a well publicised visit to Melbourne and Sydney looking for bands to produce. Among the flow of hopeful artists was Jarryl, who played Fowley some News material. The material went down well and Fowley set Jarryl up with sessions at AAV studios from December into 1979. He recruited a backing band and they were recording as the Lonely Boys.

The backing band was centred around Jim Manzie, who had had considerable local success in the mid-seventies in Ol' 55, a fairly weak fifties revival act.  Manzie played bass and recruited Ol' 55 drummer Geoff Peterkin, kiwi session muso Martin Fisher on keyboards, and Scott Douglas on rhythm guitar. Circus, back under his real name Wirth, sings and plays guitar. The sessions, which Inner City Sound says were actually at Armstrong's, yielded four songs which appeared over the next eighteen months on various Fowley sponsored compilations.

The first tracks to appear were in August 1979 on the Vampires From Outer Space LP (USA Bomp 4005 1979). The LP also had a release in the UK (London SH-Z 8543) and in Germany (Line LLP5013) featuring the garish cover at the top of the post. Fowley raves in the liner notes:

Underworld rumors led me to the Lonely Boys in darkest Melbourne, Australia. The bold diplomat, Jarryl Worth, on "Phantom Poster Man", screams of the new falcons, the subhumans demanding their place in the race. Vegetable Minds who have heard this slice of life decree "It's Got Industrial Action".

Whatever. The tracks, the above mentioned Phantom Poster Man (more likely a tribute to the ubiquitous street poster company) and Ugly Girl, bleat the Oz rock past of the band over anything Wirth might have brought from News. Fowley sneaks a co-writing credit on both.

Phantom Poster Man [Download]


Ugly Girl [Download]

Where Is The Sun was the next to get a guernsey, on the Waves (An Anthology Of New Music Vol 2) LP (USA Bomp 4008, also Germany Line LLP5063,  and Canada Bomb 124) in 1980. This song is a bit better, sounding like it was recorded in the wee early hours of darkest Melbourne. In fact this was recorded the night that the News' Faraday St home/base/recording studio was fire-bombed (January 3, 1979). Once again Fowley's liners are hysterical. Potted highlights include that the band started as an "anti-disco group", "their code is alienation plus radiation, the expectation of desperation. They're in control of their rock 'n' roll, they're not old, and they're not on the dole", "the group plays motorcycle club parties and hospital charity dances. Among their influences are Gary Gilmour, the Trashmen, the Dead Boys, and Octavius Caesar".

Where Is The Sun [Download]


Finally Sweet Dancer A Go Go turned up on the Kim Fowley's Hollywood Confidential LP (USA GNP Crescendo GNPS 2132, also in Greece on MusicBox SMB 40130), later in 1980. Ross Wilson is credited with arranging and he and Keith Glass sing backing vocals. You will recognise the song from the News flexi, though now with more doctrinaire drumming and restrained guitar. Still, a good song is a good song. Although Fowley doesn't cop a credit here, Gavin Quinn did take issue with the Wirth songwriting credit:

It seems that at their meeting, Jarryl claimed that he wrote and arranged what Fowley was hearing. When Gavin heard this much through friends in the business, he was predicably not happy. In the beginning, he had written all Babeez/ News material. He was a skilled and prodigious writer: "Gavin had this pop/punk vision and his rate of churning out songs was really fast" [John Murphy]. But Jarryl began writing with Gavin and compositions were collaborative from then on: "I'd lay down the parameters, he would work out the hard stuff. He had a much better appreciation of key and chordal structure than I did. He knew what I wanted, so between the two of us we managed to perfect it. He wasn't too good with melody, so developed a lot with melody. Towards the end it was all a group effort. Regardless of whose songs they were, the band arranged them and made it happen." [Gavin].

Sweet Dancer A Go Go [Download]



The story doesn't quite end there. The band then rebranded as The Breakers and after supporting the B-52s on their tour released one 7" on Powderworks in 1980. This is pure Countdown new wave, over-produced and over dramatic. The choruses are OK.




When I'm On T.V. [Download]


Lipstick And Leather [Download]


Though apparently publishing and even recording deals were signed for overseas it appears that was it. The band's swansong was a brief appearance in the background half way through the film that popularised the phrase "slack-arsed molls" (chime in at 6:08):

Moral Support - Need Love 7" Ridiculous R01, 1980

We've had Oz rock gets once lucky, how about half-lucky? Non-Australians might think this is a pretty neat piece of power pop, and as far as the chorus goes we'd agree with you. In fact the chorus is great! However non-Strines are lucky to probably have never heard a little band called Australian Crawl, who our boys ape a little too closely through the verses, kinda ruining it for us.

Nevertheless, great punky sleeve, good chorus. Worth 2:46 of your time?

Local diggers may stumble across a Moral Support LP from the same year - that's the UK Christian new wave/powerpop band, whose album was pressed in New Zealand.

Need Love [Download]

The Numbers - Govt. Boy 7" Local Label 3, 1979

The Numbers began in the North West Sydney suburb of Thornleigh. Brother and sister Chris and Annalisse Morrow had played together at home for many years before unleashing themsleves on the world with a string of drummers. Today we concentrate on their first release, a three track 7" on the Local Label (home of the Sheiks, Paradox, Young Modern and Mopsie Beans), which was recorded in 1978 and came out in 1979. A comprehensive interview with the band by David Nichols can be found over at Mess + Noise. From that interview, Chris Morrow recalls the first record:

It was about being a kid who went to a government school. I guess it was really – I wrote that with Marty Newcombe, who was the original drummer in the band – that whole working class thing. Through Marty we met a guy called Arch Brown, and Arch worked with what was called the Blacktown Music Co-Op. I think it might have been one of those initiative things through Blacktown council, or it might have been just a group of ordinary citizens. At that time the whole “hey anybody can put out a 7” single” mentality was burgeoning, and you could do-it-yourself to get a record out and get some recognition, so during that whole period that was taking place in the western suburbs. We did two or three gigs for the Blacktown Music Co-Op and Arch put us in the studio to do the EP. He was really instrumental in the band’s early career, and he was the band’s tour manager for a long time after that.

Interestingly, Brown and Chris Morrow went on to begin writing a rock opera about the government boy living in Blacktown. Nothing came of it, though a version of the song Blacktown can be heard on the band's second album, 39:51.

The Govt. Boy EP is a good one, with a strong, urgent delivery, simple drumming and good guitar lines. The dual male and female vocals are also used to interesting effect. There's an element of all the instruments fighting with each other to get to the end of the song, but, those were the times. It's that urgency which was lost when the band set off on the path of commercial success, being picked up by ex-AC/DC manager Michael Browning for his Deluxe label.

This is the point in the post where we find something nice to say about the band's later career. So, um, ah, they weren't the worst band to find some measure of Countdown level success. Will that do? They also had records released in the UK and Europe so keep your eyes peeled. In other Wallaby Beat related tidbits Marcus Phelan from The Works joined on guitar for a while, and drummer Simon Vidale was involved in the Barons and Scattered Order (in fact Mitch Tee did the Numbers live sound for a while). The full, convoluted line-up changes are well handled over at RetroUniverse.

Govt. Boy [Download]


Private Eyes [Download]


Guerilla [Download]

Two of the EP tracks were reissued on a 1980 B-side which managed to get both song titles and the year of recording wrong.

News - I'm So Confused 7" Missing Link MLS-14, 1980

Back when we only listened to punk rock there were just five Australian powerpop records that would get turntable time around here - the Numbers/Riptides' 77 Sunset Strip, The Scientists' first, The Marching Girls, The Zorros and this puppy. 

News' third single, fourth if you count the Babeez, contains perhaps the purest pop song amongst all of those, I'm So Confused. It's a brilliant track with strawberry melodies, the requisite self-doubt about a girl in the lyrics, and a downtempo bridge lifting to a powerful finish. It's also another example of piano being used to good effect in early Australian punk (see Leftovers, Fun Things, Just Urbain). That Girl is a fast-paced and somewhat demented new wave track, lent a certain uniqueness with an analogue synth solo and count-ups in two languages (to eight, mind you).

In some ways the pop slant was no accident. While political, buzzsaw punk dominated the band's early sound, there was more than a nod to pop as well. As retold at the excellent Babeez/News website, (well worth starting at page one and reading the whole thing), "revved up" bubblegum covers had appeared in News' set quite early on. 

People step on our toes, as the Fraser Government has; but we're not going to take it lying down, we're going to fight back. But, we want to keep it Pop!

The end of the first phase of the band started with John From The Suburbs' departure to drum for Crime and The City Solution. Things started to fall apart with Julie Relentless also leaving and Jarryl Circus following Kim Fowley to L.A. Around the same time they had recruited a second guitarist in Russell Urban (né Irvine). 

Singer Adam Five took Urban and grabbed some new members in Kim Morton on bass and Limp Member (Dorland Brey) on drums. Gigging solidified the band and then Missing Link offered them the chance to record a single at Richmond Recorders with Tony Cohen. Prior to recording they added a keyboard player from the Carlton scene, Graham Lewis. Keith Glass and Ross Wilson provided backing vocals.  The single eventually sold 1500 copies but after an East Coast tour with mixed results the band called it a day.

Five continued to make music but as the quality went down he had the decency to rename the band, slightly, to New 5; unlike Chris Bailey who should have considered the Saint 5, or the Shit Saints, or something equally apt.

I'm So Confused [Download]


That Girl [Download]



More from the Wallaby Beat badge collection



The So+So's - Can't Say Love 7" Beta Beat Records ß003/13346, 1982

Like many Festival Records pic sleeves of the era, The So+So's announce their one and only single as a "Limited Edition". Sure, but not as limited as the band's cassette releases, which we've never so much as laid eyes on. If you're holding, drop us a line. We're not exactly sure where to place this one - it's mildly punky in the verses, a bit powerpoppy in the chorus, and kinda mod-ish in the overall aesthetic (Rickenbackers, a Modern Sounds Now motto and a curious backwards endorsement for Pete Townshend). It's also decidedly EP's-like in its disregard for the rules of punctuation. Whatever, we're suckers for a strong, driving and melodic chorus so let's just go with powerpop. Pretty good, though it does suffer from the too clean/too loud drum sound that infects most of Basilisk Studio's post-1980 output. The flipside is downtempo and moody, and altogether undistinguished.

Can't Say Love [Download]

Eleven Eleven - Devastate Me 7" MAC Records J031/S, 1983

Here's a surprise. An Ed Ball-esque mod-pop 7" hailing from Brisbane in 1983. I knew the band and the 7" existed but never picked it up. It took borntobepunched's recent virgin trip to the Sunshine State, and his unjaundiced ear, to open my eyes to this one.  I lived through the Brisbane equivalent to the Paisley Underground  and while it had its moments, it seemed the kicks were harder to find compared to the punk stuff the city is rightly famous for. I was wr-wr-wr-wr-wrong, and it wasn't the only local record I misjudged badly, as we'll find out later in the year.

The hit is the B-side, (Machismo For) What We Need. Sure, the song title is as clumsy as they come, but the tune is great! Starting with guitar stabs, it launches into a critique of materialism over a really good piece of Anglo-pop. That's not to deny the A-side: a plaintive, disaffected love song with gurgling bass lines and clunky solo. We'd prefer power pop to have straight ahead punk guitars but, when it's done well, we'll take this dainty, priggish, tight-laced substitute any day.

So who was Eleven Eleven? We were intrigued too, so we visited the musty Paisley wing of the archives and found a manila folder with some gig flyers and a photo (see below). Turns out there's an Ipswich connection! A while ago, when discussing the Toy Watches, we mentioned The Colours, whose song Blue Shirt is etched in the memories of those who were there. It turns out one of them continued to write great songs in his next band. Stand up Mitchell Kunde, on guitar and vocals. Andrew Palmer on rhythm was also in The Colours. Dale Jones on bass and Scott Austin on drums rounded out the lineup. Eleven Eleven played from 1983 to 1985 before half the band rebranded as The Nasties.

(Machismo For) What We Need [Download]

Devastate Me [Download]

Debut performance: midnight shift at the New Exchange

"What we need is a new hairdresser..."