STACK #128 Jun 2016

MUSIC

REVIEWS

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Tim Rogers and the Bamboos The Rules of Attraction

Rolo Tomassi Grievances

Cosmic Psychos Cum the Raw Prawn

It's hard to believe, what with Tim Rogers' esteemed profile and voluminous baggage these last 25 years, that a guest appearance on a Melbourne soul band's album would turn out to be the most successful four minutes of his life. He recalled (a tad ruefully) in 2012 that The Bamboos' I Got Burned took 20 minutes to record; he didn't even write the lyrics. Three year later, The Rules of Attraction redresses that little niggle – here the You Am I guy writes words to guitarist Lance Ferguson's full-blooded demos – while extending the slick-heeled soul outfit's smoky funk in several directions.The cocksure fanfare of S.U.C.C.E.S.S . – spelled out Respect style – turns out to be a classic Rogers tightrope-walk between bravado and self- effacement. It's pegged on a soulful piano and Stonesy horn hook, with Ferguson's late-arriving wah-wah guitar solo reminding us there's more than one star in the building. Easy and the title track, with its falsetto echo of Burned , also seem to comment on the situation as it's unfolding: two parties pooling resources to gamble on something better. You can extrapolate an ironic twist to Better Off Alone , too, as a protagonist named Timothy muses on the value of going solo with the tambourine-shaking backbeat of a full church revival at his back. All told, the division of labour is both seamless and mutually advantageous. It's hard to imagine Rogers writing a groove as pilled-up and panting as Devil I Know , but it's equally hard to hear any singer doing it this kind of justice, from unrepentant lyrics about temptation to the way he slides into the chorus like he's burning rubber down a divorcee's driveway. Best of all is the steamy Saturday night fever of Did I Wake You : from swirling strings to Kylie Auldist's muted handling of Rogers' mortifying romantic scenario, it's the sum of some mighty seasoned parts. (Warner) Michael Dwyer

This wee British five-piece have been nothing if not unwaveringly ambitious over a decade-long career. Frontwoman Eva Spence is always awe-inspiring in her range, as she swings haphazardly from an angelic hum to harnessing the roar of demon spawn. Sporadic time signatures make Grievances an uncomfortable listen, but Rolo have never aspired to appease their audience; in fact, tracks like The Embers are actually some of their most linear and accessible to date. A fantastic addition to the band’s already stellar catalogue. (Shock) Emily Kelly

Is there another band who typify a lost ethos of working class Oz punk- truth with unashamed honesty and credentials to make all the rest weak at the knees? No. These f***ers are not afraid of anything or anyone. With music to inspire stealing a cop car and lyrics to offend fixed- wheel hipsters to the point of self-immolation, the Psychos are as cheeky, angry and depraved as ever. These 10 tracks will never get airplay, mostly owing to the ‘c’ word (and worse) being screamed in every other chorus of this frightening example of a band that STILL delivers rock harder than you ever will. Play it as you mow the lawn, beer in hand, sans pants. (Desperate/Rocket) Chris Murray

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King Parrot Dead Set

Colleen Hewett Black and White

Shelley Segal Strange Feeling

Ben Lee Love is the Great Rebellion The opening track of Ben Lee’s 10th album is called Giving Up On Miracles , but the LA-based Sydney-born singer-songwriter remains relentlessly optimistic, though he concedes he doesn’t have all the answers: “I don’t know how to get there,” he admits. This doesn’t match his masterpiece, Awake Is the New Sleep, and songs such as Happiness (featuring his father- in-law Donovan on backing vocals) won’t appease the Ben Lee haters. But take the leap and the rewards are plenty. “I believe in change,” Lee declares in Goodbye To Yesterday. All you need is love. (Warner) Jeff Jenkins

King Parrot are the band of the moment. No group has worked as tirelessly as this Melbourne five- piece and their attitude has paid off with numerous international/ national tours and encouragement from some major names. Dead Set finds the band working with ex-Pantera/current Down frontman Philip Anselmo and his experience adds some subtle guidance. Beyond this, Dead Set is unrelenting in its approach and is certain to satisfy thee band's rabid fanbase. King Parrot have mastered the live arena, and with Dead Set they prove that they can back it up in the songwriting department. (Rocket) Simon Lukic

This lady sure can sing the blues. Colleen Hewett was Queen of Pop in the ’70s; now she digs a little deeper, opening with a cover of Blues Is My Business . “If trouble were money,” she declares, “I’d have more money than anyone should.” There are some stellar guests, including Gil Matthews on drums, Broderick Smith on harmonica, Lindsay Field and Joe Creighton on backing vocals, and Hewett’s son, William, on guitar. But Hewett is the star of this show. A lifetime of living has gone into this album and you believe every word; she’s made the best album of her career. (Bilarm Music) Jeff Jenkins

Sometimes less is more. After three albums, Shelley Segal’s latest release features just five songs, but it has more emotional depth than just about any album you’ll hear this year. This Melbourne artist reminds of Tori Amos, Kate Miller-Heidke and Ani DiFranco – yep, she’s not afraid to say something. Check out the stunning Sidelined , which deals with body image and relationships. “You want a skinny lover,” Segal sings, “and so I find I have the wrong body.” And when she sings, “I took your soundtrack off my shelf, I’m making room for somebody else", you can’t help but cry. ( True Music) Jeff Jenkins

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