#the 'title' is a reference to a song called dirty night clowns

[merryfortune]

let them be buried, buried alive, in their suits, in their ties

[watusichris]

Rock Gunfight in the Antipodes

Listening today to the hot new Grown Up Wrong! comp by Sydney’s Lipstick Killers, whose lone officially released single was produced by Deniz Tek of Radio Birdman, it occurred to me that my old Music Aficionado faux faceoff between Australia’s pioneering bands of the ‘70s (all of which I dearly love) has disappeared into the online ether. It’s time to bring it back.

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By Chris Morris

The mid- to late ‘70s were fertile days for rock ‘n’ roll in Australia. Here and there across the vast but not terribly populous island continent, fires were started by several attitude-filled bands bent on doing things their own damn way. They all managed to make their way off the island, but if they hit the American consciousness, it was for little more than a nanosecond during their heyday.

Who were the truest Rock Wizards of Oz? For this Down Under face-off, I’ve selected three contenders: the Saints, Radio Birdman, and the Scientists. All of them had fairly slim discographies; ironically, the act probably least known in the U.S., the Scientists, recorded most prolifically, with their core line-up producing several magnificent albums and singles during a productive four-year stretch in the early ‘80s. But none of these bands ever stayed together long enough to make a deep impression among the Yanks.

So where’s the Birthday Party, you ask? There are a few things to consider. First of all, though the band and its precursor unit the Boys Next Door were in business from 1976 on, they didn’t release their first LP until 1980. Also, Nick Cave is well known enough that more (king) ink needn’t be spilled on him. Finally, I still resent the fact that Cave stole PJ Harvey away from me, so it’s personal.

On with the showdown…

HIT ME LIKE A DEATH RAY, BABY

The Saints, founded 1974 in Brisbane

The prime movers of the Saints were a pair of literal outsiders: vocalist Chris Bailey, born in Kenya to Irish parents, and guitarist Ed Kuepper, raised in Germany. Thus the otherness of their work is no surprise.

With schoolmate Ivor Hay – who over time would play drums, bass, and piano with them – the pair founded a combo originally known as Kid Galahad and the Eternals (borrowing their handle from a 1962 Elvis Presley picture), but they swiftly renamed themselves the Saints and began playing in their hometown on the northeast coast of Australia.

Listening to their records, which were made in something of a cultural vacuum, it’s difficult to get a handle on where the Saints’ distinctive, aggressive sound came from. To be sure they were aware of such homegrown precursors from the ‘60s as the Master’s Apprentices and the Missing Links (whose 1965 single they covered on their debut album). It’s safe to assume they were conversant with the Velvet Underground, the Stooges, and Lenny Kaye’s 1972 garage rock compilation Nuggets. Yet they bred something utterly their own in the ocean air of Brisbane.

With Hay on drums and Kym Bradshaw on bass, Bailey and Kuepper mounted noisy local gigs that swiftly attracted the antipathy of the local constabulary; they wound up turning their own digs into a club to play shows. In 1976, they recorded and issued a self-financed single featuring two originals, “(I’m) Stranded” and “No Time.” These dire, ferocious songs were distinguished by venomous lyrics, unprecedented velocity, and guitar playing by Kuepper that sounded like a (literal) iron curtain being attacked with a chainsaw.

The record died locally, but a copy of its U.K. issue found its way into the hands of a critic at the English music weekly Sounds, which declared it the single of the week. This accolade got the attention of EMI Records, which signed the band and financed the recording of an album, also titled I’m Stranded, in a fast two-day Brisbane session.

The album, which was ultimately released in the U.S. by Sire Records, blew the ears off anyone who heard it, and it landed with a bang in England, where punk rock was lifting off in all its fury in early 1977. It was hurtling, powerful stuff that stood apart from punk in several crucial ways: While some of the songs were clipped and demonic in the standard manner, the Saints proved they could take their time on expansive numbers like the almost Dylanesque “Messin’ With the Kid” and the sprawling, hellriding “Nights in Venice.” And one has to wonder how British p-rockers took to their perverted take on Elvis’ squishy “Kissin’ Cousins.”

Made by musicians who never considered themselves “punks,” and who in fact abhorred the label, (I’m) Stranded is nevertheless one of the definitive statements in the genre, and it has maintained its force to this day.

Settling in England for the duration, the Saints decided to throw a curveball. One could not find a more profoundly alienated album than Eternally Yours (1978), a series of yowling protests, twisted prophecies, and savage put-downs, including the snarling second version of the single “This Perfect Day.” But, though the record was loud and for the most part swift, the group applied the brakes to their sound somewhat, and a couple of songs, including the caustic album opener “Know Your Product,” were dressed by a soul-styled horn section. Punk loyalists ran for cover.

By the time Prehistoric Sounds was issued in late ’78, the dejected Bailey and Kuepper were moving in different directions, and you can hear it in the grooves. The record is slow, almost listless at times, and its logy originals are complemented by incongruous Otis Redding and Aretha Franklin covers with none of the energy of earlier Saints soul-blasts. It is an album primarily for loyalists, and by then there were few in that number.

Kuepper exited the band on the heels of the third album’s release and returned to Australia, where he enjoyed a long career as leader of the Laughing Clowns; Bailey continued to perform under the Saints mantle with a shifting lineup that at last count numbered more than 30 players over the course of 37 years

Bailey and Kuepper reunited for one-off gigs in 2001 (at the ARIA awards ceremony) and 2007 (at Australia’s Queensland Music Festival).

THERE’S GONNA BE A NEW RACE

Radio Birdman, founded 1974 in Sydney

People who toss the “punk” handle around often throw Radio Birdman into the mix, but the sextet from Australia’s Southeast Coast may be best referred as the world’s youngest proto-punk band.

Its mastermind was guitarist, songwriter, and producer Deniz Tek, a native of Ann Arbor, Michigan, who emigrated to Sydney in 1971 to study medicine. As a teen, he got a chance to witness Detroit’s most explosive pre-punk bands – the MC5, the Stooges, and the Rationals; he would later wind up collaborating with important members of all those groups.

After apprenticing with and getting bounced from a Sydney band called TV Jones, Tek formed Radio Birdman (its name a corruption of a lyric from the Stooges’ “1970”) with singer Rob Younger; the lineup ultimately solidified with the addition of guitarist (and sometime keyboardist) Chris Masuak, bassist Warwick Gilbert, drummer Ron Keeley, and (on and off and then on again) keyboardist Pip Hoyle.

Rapidly acquiring a fan base made up of some of Sydney’s lowest elements, including members of the local Hell’s Angels, Radio Birdman ultimately took over a bar, re-dubbed (in honor of the Stooges, of course) the Oxford Funhouse, as their base of operations. The band’s severe Tek-designed band logo emanated fascist-style vibes for some; at a co-billed appearance in Sydney, the Saints’ Chris Bailey remarked from the stage, “We’d like to thank the local members of Hitler Youth for their stage props.”

Despite much antipathy and some attendant violence, the band maintained a loyal local following, and in 1976 it issued a strong four-song EP, Burn My Eye, via local studio-cum-independent label Trafalgar. This was succeeded the following year by a full-length debut album, Radios Appear.

Anyone looking for something resembling punk will likely be disappointed by that collection. The band wears its all-American hard rock/proto-punk influences on its dirty sleeve. Radios Appear is dedicated to the Stooges (whose “No Fun” was the lead-off track on the Aussie issue of the LP), and a song co-written by Tek and Stooges guitarist Ron Asheton, “Hit Them Again,” was cut during sessions for the record. Tek pays deep homage to MC5 guitarist Wayne Kramer with his playing, and blatantly cops a signature lick from the 5’s “Looking at You” at one juncture. The album title was lifted from a Blue Öyster Cult lyric, and the Tek-Masuak guitar-bashing bows to their multi-axe sound. Finally, in both Younger’s sometimes Morrisonian vocalizing and Hoyle’s Ray Manzarek-like ornamentation, homage to the Doors in paid in full. Given that Sydney is a beach town, there’s even a frisson of surf music in the mix.

Bursting with power-packed originals like the apocalyptic “Descent into the Maestrom,” youth-in-revolt anthem “New Race,” the cryptic, insinuating “Man with the Golden Helmet,” and Tek’s autobiographical “Murder City Nights,” Radios Appear was a power-packed set that established Radio Birdman as Oz’s leading rock light.

However, renown did not equal success in Antipodean terms. In 1978, the band cut its second album, Living Eyes, at Rockfield Studio in Wales; it was a solid effort that included remakes of three Burn My Eye numbers (including the wonderful Tek memoir “I-94,” about the Michigan interstate) and excellent new originals like “Hanging On,” “Crying Sun,” and “Alone in the End Zone.” But, with success seemingly within their grasp, Sire Records – their American label, and the Saints’ as well – switched distribution and cut their roster, leaving their new work without a home. Within months of this catastrophe, Radio Birdman disbanded.

The principals scattered, to Younger’s New Christs and Tek and Hoyle’s the Visitors; Tek, Younger, and Warwick Gilbert later joined MC5 drummer Dennis Thompson and the Stooges’ Ron Asheton in the one-off New Race. Tek also later recorded with Wayne Kramer and Scott Morgan of Ann Arbor’s Rationals in Dodge Main.

Radio Birdman’s original lineup reunited for a 1996 tour; in August 2006 – after four of the original sextet regrouped to record a potent new album, Zeno Beach – the band played its first American date ever, at Los Angeles’ Wiltern Theater. Your correspondent was there, and it was freakin’ incredible.

IN MY HEART THERE’S A PLACE CALLED SWAMPLAND

The Scientists, founded 1978 in Perth

Among the important Aussie bands of the ‘70s, the Scientists were among the first to be directly influenced by the punk explosion in New York.

As guitarist-singer-songwriter Kim Salmon – the lone constant in the Scientists’ lineup during their existence – wrote in 1975, “Reading about a far-off place called CBGB in NYC and its leather-clad denizens, all with names like Johnny Thunders, Richard Hell, and Joey Ramone, got me thinking…I immediately went searching for Punk Rock. What I found were The Modern Lovers and The New York Dolls albums.”

Salmon first dabbled in the new sound with a band bearing the delightfully punk name the Cheap Nasties. Cobbled together in Perth – the Western provincial capital of Australia – from members of such local acts as the Exterminators, the Victims, and Salmon’s the Invaders -- the early Scientists were as derivative as one might imagine. Their early songs, heard on their self-titled LP (the so-called “Pink Album”) and an early single and EP, sport original songs authored by Salmon and drummer-lyricist James Baker, the backbone of shifting Scientific crews through 1980. The tunes range from straight-up Dolls/Heartbreakers rips (“Frantic Romantic,” “Pissed On Another Planet,” “High Noon”) to buzzing romantic pop-punk in a Buzzcocks vein (“That Girl,” “She Said She Loves Me”).

Not terribly promising stuff, but, after the departure of Baker for the Hoodoo Gurus in 1981 and a brief stint in a trio called Louie Louie, Salmon assembled a new Scientists who would prevail for nearly four years. That outfit – Salmon, guitarist Tony Thewlis, bassist Boris Sujdovic, and drummer Brett Rixton – promptly relocated to Sydney and started making the noise they are noted for.

By that time, Salmon had begun cocking an ear to the Birthday Party (and no doubt paid careful attention to the sordid noise on the Melbourne group’s 1982 album Junkyard), had discovered the miasmic voodoo of the Cramps, and started grooving to the dissonant, slide guitar-dominated racket of Captain Beefheart and his Magic Band. In short order, he would also absorb the bluesy downhome assault of Los Angeles’ roots-punk outfit the Gun Club.

The Sydney-based Scientists hooked up with indie label Au Go Go, which issued a devastating run of careening, mossy records by the band in 1982-83 – the vertiginous singles “This is My Happy Hour”/“Swampland” and the corrosive “We Had Love” (backed by a faithful cover of Beefheart’s “Clear Spot”), and the heart-stopping mini-album Blood Red River, which bore the churning “Set It On Fire,” “Revhead,” and “Burnout.” Others were essaying a similar style, but the Aussie youngsters were beating their elders at their own game.

Eying the big time, the band moved to London in 1984. Some opportunities presented themselves initially: The band got European tour slots with the Gun Club and early Goth act Sisters of Mercy. But their deal with Au Go Go fell apart acrimoniously; while they made a pair of fog-bound albums, You Get What You Deserve (1985) and The Human Jukebox (1987) for Karbon Records (and a set of re-recorded songs, Weird Love, was issued in the U.S. by Big Time Records), they scraped by in Britain.

Defections from the ranks commenced in ’85, and by early 1987 the depleted Salmon used money from a housing settlement to move back to Australia, where he founded a new band, the Surrealists.

Still valued among the cognoscenti, Salmon, Thewlis, Sujdovic, and latter-day drummer Leanne Chock appeared, at the invitation of Seattle’s Mudhoney, at London’s All Tomorrow’s Parties Festival in 2006. Earlier this year, Chicago-based archival label the Numero Group issued a comprehensive four-disc box of the band’s original recordings.

So, at the end of the day, who is the all-time champeen of ‘70s Oz rock?

Scoring on points, the Saints are tops for Being Punk First with additional wins in the Pure Noise and Weltzschmerz categories, Radio Birdman takes the Technical Ability and Old-School Attitude slots, and the Scientists prevail in the Loud Young Snot and Grunge Thug division.

And the championship belt goes to…the Saints!

Of course, that could all change tomorrow, but that’s rock ‘n’ roll for ya.

[blackkudos]

Biz Markie

Marcel Theo Hall (born April 8, 1964), better known by his stage name Biz Markie, is an American rapper, beatboxer, DJ, comedian, actor, singer, reality television personality, grartist, and commercial spokesperson. He is best known for his single "Just a Friend", an American Top 10 hit in 1989. In 2008, "Just a Friend" made #100 on VH1's list of the 100 greatest hip hop songs of all time. Biz Markie currently lives in Howard County, Maryland, and has helped support County Executive Ken Ulman during his fundraisers.

Markie has been called "the Clown Prince of Hip Hop."

Early life

Markie's career began on Long Island, New York. He attended and graduated from Longwood High School in 1982.

Career

1980s

Before he got famous Biz Markie was interviewed in the 1986 cult documentary Big Fun In The Big Town. Markie released his debut album, Goin' Off in 1988, which attracted a fair amount of attention, largely due to the lead single, "Make the Music With Your Mouth, Biz". The album also featured the underground hit singles "Nobody Beats The Biz", "Vapors", and "Pickin' Boogers".

On October 10, 1989, Biz Markie's second studio album, The Biz Never Sleeps was released on Cold Chillin'/Warner Bros. Records, produced by Biz, his cousin Cool V and Paul C. The single "Just a Friend", in which he alternates between rap and singing, became Markie's most successful single, reaching #9 on the Billboard charts.

The song interpolates the 1968 song "You Got What I Need" by singer/songwriter Freddie Scott, whose basic chord and melody provided the base for the song's chorus. "Just A Friend" was ranked 81st on VH1's 100 Greatest One-Hit Wonders in 2000, and later as number 100 on VH1's 100 Greatest Songs of Hip Hop in 2008.

The music video, directed by Lionel C. Martin, chronicles the rapper's woman problems. At the climax of the video, Biz Markie's character stumbles upon a girl he was trying to date kissing another man she had previously referred to as "just a friend". It also includes a memorable scene of Biz singing the chorus dressed as Mozart in 18th-century clothing with a powdered wig in a candlelit room while playing the piano. This scene was likely inspired by the video for the 1986 hit "Rock Me Amadeus", which was in turn inspired by the 1984 film Amadeus.

1990s

Markie's third studio album I Need a Haircut was released on August 27, 1991, on Cold Chillin'/Warner Bros. Records and was produced by Biz Markie and his cousin Cool V. Sales of the album were already low when Markie was served a lawsuit by Gilbert O'Sullivan, who claimed that the album's "Alone Again" featured an unauthorized sample from his hit "Alone Again (Naturally)". O'Sullivan's claim was upheld in a landmark ruling, Grand Upright Music, Ltd. v. Warner Bros. Records Inc., that altered the landscape of hip-hop, finding that all samples must be cleared with the original artist before being used. In accordance with the ruling, Warner Bros., the parent company of Cold Chillin', had to pull I Need a Haircut from circulation, and all companies had to clear samples with the samples' creators before releasing the records. This development reflected the increasing popularity of hip-hop and the financial stakes over which releases were set. Biz responded in 1993 with the mischievously titled All Samples Cleared!, but his career had been hurt by the publicity emanating from the lawsuit, and the record suffered accordingly. Additional bad news came when the video for the track 'Toilet Stool Rap' was labeled Worst Video of the Year on the Fromage show from Canada's MuchMusic.

For the remainder of the decade, Markie occasionally made television appearances, including guest appearances on In Living Color (including as contestant Damian "Foosball" Franklin in the recurring game show sketch "The Dirty Dozens" and as Marlon Cain in "Ed Bacon: Guidance Counselor") and in a 1996 freestyle rap commercial on MTV2. He also made numerous guest appearances with the Beastie Boys, Check Your Head (1992), Ill Communication (1994), Hello Nasty (1998), and their anthology The Sounds of Science (1999). He also rapped on the song "Schizo Jam", on Don Byron's 1998 release, Nu Blaxploitation (Blue Note/Capitol) and worked with Canibus on the first track on the Office Space soundtrack (1999). He also rapped on the track "So Fresh" alongside Slick Rick on Will Smith's 1999 album Willennium.

In 1996, Markie appeared on the Red Hot Organization's compilation CD, America is Dying Slowly, alongside Wu-Tang Clan, Coolio, and Fat Joe, among others. The CD, meant to raise awareness of the AIDS epidemic among African American men, was heralded as a masterpiece by The Source magazine.

In 1997, Markie appeared on the Rolling Stones' song "Anybody Seen My Baby?" on their album Bridges to Babylon. His part was shortened on some radio versions. Biz also teamed up with Frankie Cutlass on his third single and music video titled "The Cypher Part 3" with some of Marley Marl's Juice Crew veterans.

In 1999, Markie appeared on Len's song "Beautiful Day" on their album You Can't Stop the Bum Rush.

2000s

In 2002, Markie appeared as an alien in Men in Black II with Will Smith and Tommy Lee Jones, essentially playing an alien parody of himself, whose native language sounded exactly like beatboxing. Between 2002 and 2003 he appeared in episode 5 of the TV series Fastlane playing himself as a nightclub DJ. In 2003 he appeared in the international television series titled Kung Faux performing a series of voice over characters featured in a variety of episodes. In 2004, his song Vapors appeared on the soundtrack of Rockstar's popular videogame Grand Theft Auto: San Andreas which featured an old school hip hop radio station, Playback FM. In 2005, Biz detoured from his recording duties to appear on the first season of the television show Celebrity Fit Club which challenged celebrities to lose weight by a combination of diet and exercise. Biz Markie lost more weight than anybody else in the competition. That year, he was also in an episode of The Andy Milonakis Show.

Biz Markie was a cast member on Nick Cannon's Wild 'n Out, seasons 1 and 3. Biz also does the beatboxing segment, Biz's Beat of the Day on the Nick Jr. show Yo Gabba Gabba!.

Biz Markie began 2008 opening for Chris Rock's "No Apologies" tour. Biz Markie's act includes spinning records ranging from old school hip hop to Lynyrd Skynyrd and then performing "Just a Friend". Biz Markie's playlist includes the following: "Children's Story" by Slick Rick, "Rapper's Delight" by The Sugarhill Gang, "Billie Jean" by Michael Jackson, "Holiday" by Madonna, "Wake Me Up Before You Go-Go" by Wham!, "It Takes Two" by Rob Base and DJ E-Z Rock, "The Breaks" by Kurtis Blow and "Robot Rock" by Daft Punk.

In December 2009, Biz Markie appeared in a RadioShack commercial, repeating the line: "Oh Snap! Guess what I saw!" from his song "Just A Friend". That same year saw his debut with Andy Milonakis in television commercials for the commercial Internet service, Tune Up.

2010s

In 2010, Biz Markie appeared on VH1's 100 Greatest Artists of All Time, providing commentary throughout the series. Biz Markie himself was not included on the list. On November 9, 2010, Biz appeared on The Aquabats! new EP, Radio Down! in the title track. On November 11, 2010, Biz sat in with The Roots on Late Night with Jimmy Fallon, and performed "Just a Friend" with actor Jeff Goldblum.

In 2012, Markie appeared several times on MTV2's new game show Hip Hop Squares, a spin-off of the popular game show Hollywood Squares.

In 2012 Biz Markie made an appearance in the track "2012 (You Must Be Upgraded)" by Oklahoma band The Flaming Lips alongside Ke$ha.

In 2013 Markie toured with the Yo Gabba Gabba! live show.

In 2013, his song, "Just a Friend" was featured in Saints Row IV, which included a Pop station 107.77 The Mix FM.

He appeared in the CN show MAD, as the Hip Hop Hobbit.

He voiced rapper Rhymez and his DJ, Tiny Timmy Scratch It, on Randy Cunningham: 9th Grade Ninja episode "Hip Hopocalypse Now".

He guest starred in the SpongeBob SquarePants episode "Kenny the Cat," in the episode's title role. His voice acting work also includes the voice of Snorlock the Beatboxing Slug in an episode of Adventure Time.

In 2014, he appeared in the Syfy network movie Sharknado 2: The Second One as Vinnie the pizza shop owner.

Also in 2014, he threw a ceremonial first pitch for an Oakland Athletics baseball game.

In 2016, his song, "Just a Friend" was featured in the Netflix Series Love as an ending theme for episode 4. He also makes an appearance in a song titled "The Noisy Eater" off the critically acclaimed album Wildflower by The Avalanches.

Discography

Studio albums

1988: Goin' Off

1989: The Biz Never Sleeps

1991: I Need a Haircut

1993: All Samples Cleared!

2003: Weekend Warrior

Compilations

1994: Biz's Baddest Beats

1996: Schoolhouse Rock! Rocks

1998: On the Turntable

2000: On the Turntable 2

2002: Greatest Hits

2006: Make the Music with Your Mouth, Biz

2009: Ultimate Diabolical

2009: "Yo Gabba Gabba"

2010: The Aquabats Radio Down!

Wikipedia