We were staying in Melbourne for a week and I was looking for a good
Aussie bar band on a Saturday night so Anita could experience that
side of my life.
driving around fruitlessly for a good hour I settled on a last resort
– The Arthouse on the northern border of the CBD. This place hosts anything and everything, audiologist usually bands formed by
misguided or frustrated Uni students. Tonight it was rockabilly night. From what I could tell this is the music of violent, itinerate Irish
factory workers stuck in the ’50’s. At least that was the impression
these bands and their fans gave. Lyrics were unintelligibly
delivered, guitar lines were rapid & messy, the bass was an electric
upright, the crowd was aggressive, careless & carefree, BUT the
drumming was awesome. Most of all, everyone seemed to have an agenda, well illustrated by
this guitar. The Vietnam sticker dissuaded me from allowing Anita to
get too friendly with it’s owner.
I can’t say I was ever a big Roxette fan, here but I was partial to a few of their perfectly-crafted, ABBA-like power-pop gems – those that verged closer to the rock side of the genre.
Well, Roxette have returned after some apparent serious health issues for Marie over the years.
The album itself seems to be rather quiet and introspective, and as a whole doesn’t appeal to my thirst for heavy drums and guitar, but the first single, “She’s got nothin’ on (but the radio)” is an instant power-pop classic!
It wouldn’t sound at all out of place on their first few albums, with the only real difference being the use of modern technology giving it just a tad more polish.
Why don’t you step into the timewarp and take yourself back to when pop was both fun and rockin’.