Roaring out of Brisbane, Australia, in 1977 with the punk-era classic "(I'm) Stranded," the Saints, despite going through numerous incarnations, were a part of rock & roll for more than 20 years, thanks mainly to their indefatigable leader (and founder) Chris Bailey. Although they didn't play anything that passes for punk rock after about 1978,... [+] Read More

Roaring out of Brisbane, Australia, in 1977 with the punk-era classic "(I'm) Stranded," the Saints, despite going through numerous incarnations, were a part of rock & roll for more than 20 years, thanks mainly to their indefatigable leader (and founder) Chris Bailey. Although they didn't play anything that passes for punk rock after about 1978, and despite extended dormant periods, the Saints never officially broke up, and Bailey always seemed to have another version of the band and record ready to release. Saints fans fall into two distinct camps: the punk-era fans (up to about 1980) and the mature pop fans, which for American audiences begins with the release of All Fools Day in 1987. I will here admit my biases and tell you that I am more of a fan of the punk era than of the mature pop era. This has nothing to do with the overall quality of the music; Bailey recorded two fine records with the late-'80s incarnation of the band. It's simply that the feral assault of their first three records (when co-founder Ed Kuepper was in the band) is more interesting and exciting. After Kuepper left in 1979 and the band became Bailey's show, the twists and turns he took them through (horns, folk/blues arrangements, as well his numerous solo excursions) produced some good music, but it was mostly too scattershot and lacked focus. It was simply too difficult to wade through the mediocre material.

Punk-era Saints was exactly what you'd expect: buzzsaw guitars; Bailey's pissed-off, nasal vocals; and locomotive rhythms supplied by bassist Kym Bradshaw and drummer Ivor Hay. After the LP (I'm) Stranded became a modest hit in England, the follow-up record, Eternally Yours, showed some changes (more varied tempos, acoustic guitars) that would set the stage for their third record, Prehistoric Sounds, which combined horn arrangements into a punk-ish sort of R&B. It was at this point that the Saints were beginning to change enough to not resemble the band they were just a scant two years earlier. Kuepper left to form the arty Laughing Clowns and eventually made a number of records as a solo act. Bailey, however, got to keep the name the Saints and soldiered on, taking time here and there to record his own solo records.

To most Americans, the Saints were a dead issue, if they were still an issue at all. (I'm) Stranded caught on with punk aficionados, but hardly anyone else; Eternally Yours came and went without a trace, and Prehistoric Sounds was never domestically released (neither were any of the post-Kuepper Saints records of the early '80s). So, by the time All Fools Day was released in 1987, there were many who thought the Saints were a brand new band -- and they were right. Gone were the rapid-fire guitar sound and bellowing vocals, replaced by sophisticated pop arrangements and more technically accomplished singing. The music was strong, intelligent pop that was better than much of the late-'80s "new wave." The next LP, Prodigal Son, wasn't as good, but did nothing to hurt the reputation of the "new" Saints. Oddly enough, Kuepper got together with Celibate Rifles guitarists Kent Steedman and Dave Morris and performed under the name the Aints. Gigging in Sydney, they generally played a set of (I'm) Stranded-era material, and even recorded a couple of lo-fi live discs, all done for laughs. As for Bailey, he's a credible performer who continued to release interesting records, with or without the Saints. ~ John Dougan, All Music Guide [-] Hide

Like most bands, Australia's Hoodoo Gurus were largely the product of their influences; unlike most bands, however, the Hoodoos channelled their insipration from the vast entirety of the American pop cultural landscape, drawing on such disparate sources as B-movies, bad sitcoms, and junk food -- in tandem with the usual suspects like garage... [+] Read More

Like most bands, Australia's Hoodoo Gurus were largely the product of their influences; unlike most bands, however, the Hoodoos channelled their insipration from the vast entirety of the American pop cultural landscape, drawing on such disparate sources as B-movies, bad sitcoms, and junk food -- in tandem with the usual suspects like garage rock, power pop, and surf -- to create a distinctly kitschy and catchy sound.

Formed in Sydney in 1981, Le Hoodoo Gurus (as they were originally dubbed) were led by singer/songwriter Dave Faulkner, who along with drummer James Baker previously served as a member of the short-lived Perth punk unit the Victims (best known for the autobiographical single "Television Addict"). Ex-Scientist Rod Radalj and Kimble Rendall rounded out the group's initial line-up, and their unique sound (three guitars, no bass) -- along with Faulkner's infectious songs -- quickly earned them a record deal. After issuing the 1982 debut single "Leilani," both Radalj and Rendall quit, and were replaced by former Super-K guitarist Brad Sheppard and bassist Clyde Bramley.

In 1983, the Hoodoo Gurus (having dropped the French article) recorded their excellent debut record Stoneage Romeos; dedicated to luminaries like F-Troop's Larry Storch and Green Acres' pig Arnold Ziffel, the album offered such trash-pop treats as the single "I Want You Back," In the Echo Chamber" and "I Was a Kamikaze Pilot." Mark Kingsmill replaced Baker in 1985, leaving Faulkner the band's sole founding member. He responded by writing an even stronger batch of tunes for 1985's college-radio smash Mars Needs Guitars!, an album highlighted by the superb single "Bitterweet" and marked by a widening scope which touched base with demented hillbilly humor ("Hayride to Hell") and crazed surf ("Like Wow--Wipeout").

With 1987's Blow Your Cool, the Hoodoos appeared poised for the big time; their tourmates, the Bangles, even contributed to the singles "What's My Scene" and "Good Times." However, the album failed to register beyond alternative radio, and Bramley exited, replaced by onetime Divinyl Rick Grossman. 1989's Magnum Cum Louder didn't fare much better -- although the singles "Come Anytime," "Another World" and "Baby Can Dance" all garnered significant airplay -- while 1991's Kinky featured "Miss Freelove '69," a smirking look at flower-power romance which was the latest in a long line of near-hits. After a three-year hiatus, the Hoodoo Gurus returned with the harder-edged Crank, produced by Ed Stasium; Blue Cave followed in 1996. In 1998, the Hoodoo Gurus announced they were splitting up, and the career-spanning compilation Ampology was issued in 2000. Two years later, Dave Faulkner, Brad Shepherd and Mark Kingsmill were working together again as members of the garage-influenced the Persian Rugs, and in 2004, after Faulkner had reworked "What's My Scene" from Blow Your Cool as a theme song for an Australian football team, the Hoodoo Gurus reunited (with Rick Grossman returning on bass), staging a successful tour down under and releasing a new album, Mach Schau. ~ Jason Ankeny, All Music Guide [-] Hide

Quick, who's Australia's best rock band? If you guessed Midnight Oil, you probably have the most supporters. But for my money, there's never been an Australian rock & roll band better (or more consistent) than Sydney's Celibate Rifles. Playing stripped-down, loud, and fast Ramones-inspired guitar rock, the Celibate Rifles were one of the... [+] Read More

Quick, who's Australia's best rock band? If you guessed Midnight Oil, you probably have the most supporters. But for my money, there's never been an Australian rock & roll band better (or more consistent) than Sydney's Celibate Rifles. Playing stripped-down, loud, and fast Ramones-inspired guitar rock, the Celibate Rifles were one of the earliest punk bands to emerge during the post-Radio Birdman/Saints era. Taking their cues from these Aussie bands, along with the American hard rock of the Stooges, MC5, and Blue Oyster Cult, the Rifles were led by the twin-guitar attack of Kent Steedman and Dave Morris, and the deadpan baritone of vocalist Damien Lovelock. They exploded out of the gates in 1982 with a series of records (released in Australia only) fueled by high-speed guitars, wah-wah-strangulated solos, and cartoon-ish, tongue-in-cheek lyrics.

Playing initially for crowds of hard rock-loving surfers, it didn't take long for the Rifles to develop a following. Outside of the continent, however, they were virtually unknown. That changed in 1985 with the release of Quintessentially Yours, a lengthy EP that was a collection of tracks from earlier albums. Although the Rifles didn't receive the attention of many lesser American and English bands, the releases kept coming, and they were all excellent. What didn't help was a seeming disinterest the band had in touring America. But when you're an Australian band, it's easy to see why: it's expensive, it takes forever to get there, and why bother when the records aren't getting the kind of reception they deserve? As a result, the Rifles last toured America in 1987, which is too bad, because their great live album (Kiss, Kiss, Bang, Bang), recorded at CBGB's on that tour, proves them to be a white-hot live band.

As they continued recording and maturing, the Rifles were unafraid to take risks with their tried-and-true loud-and-fast sound. Soon, acoustic guitars entered the mix, tempos slowed, pianos tinkled in the background, and vocal harmonies were added. None of this increased technical skill and studio experimentation diluted the band's strengths (i.e., feral power); In fact, it may well have made them a better and more interesting band. Another development was the increased politicization and social consciousness of their material. No longer were they simply sarcastic, funny boys. Rather, they were addressing serious political, environmental and social issues, thanks to Lovelock's sharp, insightful lyrics, all without any condescension or simplistic rhetoric.

In 1989, Rifles albums were suddenly no longer available in American release, a fact that didn't help the band in their quest to develop an international following. As a result, their great album Blind Ear was available (when you could find it) only as a high-priced Aussie import. Also, there were signs that the Rifles were nearing the end: Steedman and Morris were playing around Sydney with other musicians and producing new bands; Lovelock released a solo album (It's a Wig, Wig, Wig, World) with members of the Church; and the time between Rifles releases seemed to grow longer. Another dispiriting sign was the 1992 release of Heaven on a Stick, which despite a wonderful title, sounded tired and tossed off. Fortunately, all this speculation turned out to be wrong, and in late 1994, the Rifles stormed back with Spaceman in a Satin Suit, an exhilarating return to form. A nonstop barrage of power, volume, and sharp songwriting, it shreds virtually every effort by the '90s generation of guitar-based alternarock careerists, and is easily the band's best record since Blind Ear. They may be a grizzled bunch of punk rockers, but there's nothing the Celibate Rifles couldn't teach young rock bands. ~ John Dougan, All Music Guide [-] Hide

Velvet Underground-influenced post-punk from Australia. ~ John Dougan, All Music Guide

Velvet Underground-influenced post-punk from Australia. ~ John Dougan, All Music Guide [-] Hide

The Saints were to Australia what the Sex Pistols were to Britain, and the Ramones to America. Picking up the germ planted by the defunct Stooges, MC5, Velvet Underground, and New York Dolls, the Saints sparked the Far East punk rock movement with a blasting, blistering, scorching sound no one had heard before. Moreover, the Saints were blitzing... [+] Read More

The Saints were to Australia what the Sex Pistols were to Britain, and the Ramones to America. Picking up the germ planted by the defunct Stooges, MC5, Velvet Underground, and New York Dolls, the Saints sparked the Far East punk rock movement with a blasting, blistering, scorching sound no one had heard before. Moreover, the Saints were blitzing the unsuspecting in their home of Brisbane in 1973, long before the Sex Pistols or the Ramones had even begun. Australians today hold the Saints in greater reverence than any rock band in its history, save for the Easybeats. After their incendiary, self-released debut 7" single "(I'm) Stranded" b/w "No Time" blew minds of a raving British press on import in 1976, subsequent sales of the single proved to the industry that the upstart punk movement was in fact commercially viable. The Saints pocketed a worldwide deal with EMI Australia, who rush-released "(I'm) Stranded" in Australia and Britain (and in the U.S., on the heavyweight punk label of the time, Sire records) to capitalize on the new trend. This first LP was actually nothing but eight rough-and-raw demo tracks the band had no intention of releasing, plus the two sides of the much better, cleaner-sounding single. The heavy, buzzing racket on the eight demo tracks borders on unintelligible, they're so cheaply recorded, but nothing can stop a collection of cracklers this intense, with two absolutely astounding, blues-heavy ballads thrown in for great balance -- "Messin' With the Kid" and "Story of Love" drip with genuine, bratty soul. Of the hard-fast tracks, even today's punk fans are amazed at the sheer tenacity and outright fire of "Nights in Venice," "One Way Street," and "Erotic Neurotic." Hear history burning. ~ Jack Rabid, All Music Guide [-] Hide

What turned out to be the final Died Pretty album, at least as far as can be determined, was something of an odd affair, at once a stab at more mainstream tastes and a refinement of the group's own approach. The lineup went through a slight change -- Robert Warren replaced Clark on bass -- but otherwise it was the same band and the same... [+] Read More

What turned out to be the final Died Pretty album, at least as far as can be determined, was something of an odd affair, at once a stab at more mainstream tastes and a refinement of the group's own approach. The lineup went through a slight change -- Robert Warren replaced Clark on bass -- but otherwise it was the same band and the same producer, Hugh Jones, recording once again in Australia. There's plenty to love about Trace, but it is in parts a brighter, slightly lighter album -- but who's to knock the band for that particular approach? "Harness Up (Soul's on Fire)," which an earlier version of the group might have really torn through, gets an easy pace and swing here, sounding just right as it goes, Peno and Myers once again at the core of it all. The most radical track is "110 B.P.M." -- as the title indicates, it's actually a stab at dance groove, if not necessarily moving at said speed. Successful? More than might be thought -- while it's clearly a dipping of toes into a genre the band had never otherwise been associated with, it's a dark, smoky track with snarling work from Myers and aggro vocals (and lyrics!) from Peno. All this said, there are some things that are forever Died Pretty, and the lead single from the album, "Caressing Swine," is a great example, with a low, rumbling rhythm, some quick, slashing guitar from Myers, and an air of general intensity building up to a fine chorus. The strong rave-ups of the past aren't as prominent here, continuing the pattern of Doughboy Hollow, but the overall sense of passion hasn't changed a bit. Myers takes a fine vocal bow on "Til We Get It Right," while the frazzled drama of "The Rivers" is a deserved standout, and the beautiful "Seize Your Ways" concludes the album. On balance, a fine way to end. ~ Ned Raggett, All Music Guide [-] Hide

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The Hoodoo Gurus followed the excellent Stoneage Romeos with the equally swell Mars Needs Guitars!, a second helping of Dave Faulkner's wonderfully skewed kitsch-pop confections. While the band's basic m.o. hasn't changed all that much in the interim -- '60s-era pop, garage rock, and cowpunk remain their key musical reference points --... [+] Read More

The Hoodoo Gurus followed the excellent Stoneage Romeos with the equally swell Mars Needs Guitars!, a second helping of Dave Faulkner's wonderfully skewed kitsch-pop confections. While the band's basic m.o. hasn't changed all that much in the interim -- '60s-era pop, garage rock, and cowpunk remain their key musical reference points -- Faulkner's skills as a songwriter have grown perceptibly: the opening "Bittersweet" is an absolute gem, with other highlights like "Death Defying" and "Show Some Emotion" trailing not far behind. Also commendable is the Gurus' sharp wit -- from the hillbilly freakout of "Hayride to Hell" to the primitive B-movie stomp of the title track, their affection for the guilty pleasures of trash culture is infectious. Irresistible fun. ~ Jason Ankeny, All Music Guide [-] Hide

"Shake some action/Psychotic reaction/No satisfaction/Sky pilot, Sky Saxon/That's what I like/Blitzkrieg bop/To the jailhouse rock/Stop stop, at the hop/Do the bluejean bop/That's what I like!" In the first verse of "(Let's All) Turn On," Hoodoo Guru's frontman Dave Faulkner summed up the band's aesthetic so well that elaborating almost seems... [+] Read More

"Shake some action/Psychotic reaction/No satisfaction/Sky pilot, Sky Saxon/That's what I like/Blitzkrieg bop/To the jailhouse rock/Stop stop, at the hop/Do the bluejean bop/That's what I like!" In the first verse of "(Let's All) Turn On," Hoodoo Guru's frontman Dave Faulkner summed up the band's aesthetic so well that elaborating almost seems pointless, but while it's obvious that Faulkner and his friends had a healthy appreciation of rock & roll's past, one listen to their debut album, Stoneage Romeos, made clear they thought music was having a pretty good present, too. The Hoodoo Gurus played power pop with the force and enthusiasm of a full-bore rock band, and while they loved '60s garage rock (as if "(Let's All) Turn On" and "In the Echo Chamber" would permit any doubt on the subject), there was a lot more going on than that -- check out the pop rock of "I Want You Back," the neo-exotica of "Zanzibar," the psychobilly of "Dig It Up," the heartbroken lament of "My Girl," and the straight-ahead rock of "I Was a Kamikaze Pilot." Faulkner, guitarist Brad Shepherd, bassist Clyde Bramley, and drummer James Baker loaded their songs with catchy melodies and killer pop hooks and played 'em with the sweaty enthusiasm of a crack rock & roll band that knew the value of a great tune. And Stoneage Romeos is funny as hell without sounding like the work of a joke band; the Gurus loved a good laugh, but they loved a good tune even more. Stoneage Romeos ranks with the most solid debut albums of the 1980s, and if you don't like the Hoodoo Gurus, I suspect you don't like rock & roll very much. ~ Mark Deming, All Music Guide [-] Hide