Brisbanes Presidents Eleven uncovered

Presidents Eleven

By the Golden Boy Roger McDonald

Following in the footsteps of their slightly more successful forbears The Saints, President Eleven were originally a garage/punk band formed in the Brisbane suburb of Corinda. Although earlier versions had a floating membership going under names such as The Zones and IQ Zero, what can be described as Presidents Eleven Mark I formed in 1980 and consisted of:

Ian Whittred – vocals

Damon Faggioni – drums

Greg Baxter – bass guitar

Alex Plecht – guitar

Peter van Vuuren – guitar

At this stage the band’s repertoire consisted mainly of covers albeit played with a Dead Kennedys’ wall of sound, blitzkrieg attack. Renowned for their prodigious drug intake they made some demos of their few original songs including the classic “Got Me, Got You” before a summer’s worth of mushroom tripping, petty thievery, unwelcome attention from the Queensland Police Force and general debauchery saw the break up of their communal household and the band.

When the smoke (and their heads) had cleared, and with no preferred choice of career, Presidents Eleven Mark II assembled for roll call:

Ian Whittred – vocals

Damon Faggioni – bass guitar

Michael Faggioni – drums

Richard Best - guitar

This version of the band boasted a much more professional approach and a tough Detroit rock sound that wouldn’t have sounded out of place on the Citadel record label. Whilst Damon Faggioni made an extremely psychotic drummer in the Mark I version of the band, his musicianship and song writing ability came to the fore in this version of the group, aided and abetted by the more ‘musical’ talents of his older brother Michael on drums and Richard Best on guitar. This line up played almost all original material although they were well known for delivering truly face melting performances of The Damned’s “New Rose” and Radio Birdman’s “Hangin’ On”. The band gigged regularly, supporting international acts such as The Gun Club and recording original material such as “Your Sister Said”, “Rotten to the Bone”, “No More”, “It Could Be You” and a throwaway ditty called “Summer Vacation”. Seduced by the more obvious American Detroit rock sound of the times, Richard Best left to join Brisbane band Les Bon Bons in early 1984.

After trying a couple of different guitarists the band finally settled on Roger ‘Golden Boy’ McDonald as lead guitarist remembering him from The Resistors who had played alongside Presidents Eleven Mark I at their first official show at Bingo Pete’s in the Valley in 1981:

Ian Whittred – vocals, rhythm guitar

Damon Faggioni – bass guitar, vocals

Michael Faggioni – drums

Roger McDonald – guitar

This version of the band (Mark III) saw Damon Faggioni’s song writing talents begin to expand beyond the simple Detroit rock parameters of Mark II and start to take on a more European flavour as witnessed on the moody waltz time ballad “Hold On” and the multi layered arrangement of their rock masterpiece “Lovely Day”. However, in spite of such gems the gimmicky pop song “Summer Vacation” became something of favourite with 4ZZZ – themselves no stranger when it came to the promotion of gimmicky songs. The track was a highlight of the 4ZZZ cassette only release “Queensland in Quarantine”, giving the band their greatest success but at the expense of their hard rock credibility.

With Roger McDonald now on board as lead guitarist the band spent three weeks in Sydney recording their first single “Summer Vacation b/w “Don’t Follow Me” at Emerald City Studios and playing shows with the likes of The Happy Hate-Me-Nots and The Beasts of Bourbon. Although unhappy with the ‘safe’, radio friendly production job done by producer John Zahlika, the single went through three separate pressings, making it to #5 on Sydney’s Out on the Street’s Independent Charts and becoming the first song by a local band to make it to #1 on the 4ZZZ Hot One Hundred. This period saw the band playing on a weekly basis and supporting the likes of Public Image Ltd at Festival Hall. Although arguably the best rhythm section in town with only the Atkinson brothers from Ups and Downs able to lay a glove on them, the fiery relationship between the Faggioni brothers became untenable resulting in Michael leaving the group. The band took this opportunity to go on ‘winter vacation’ for 3 months and consider their options.

The departure of Michael Faggioni saw him eventually replaced by Justin Foley, ushering in the final version (Mark IV) of the band:

Ian Whittred – vocals, rhythm guitar

Damon Faggioni – bass guitar, vocals

Justin Foley – drums

Roger McDonald – guitar

Presidents Eleven Mark IV took up where Mark III had left off, garnering press coverage in Juke Magazine, The Courier Mail and the short lived Daily Sun. In January 1986 the group went into Brisbane’s Suite Sixteen recording studios at Milton and recorded six songs for a mini LP to be called “Hold On”. The band continued to play regularly, supporting The Flamin’ Groovies at Easts Leagues Club and even travelling to Townsville for a week to promote the imminent release of their new product. It was meant to rid the band of the unwelcome and unrepresentative albatross of “Summer Vacation” once and for all and also be the catalyst for a successful move to Sydney and a recording deal with either Waterfront Records or Citadel. Unfortunately problems with the pressing of the vinyl were not detected until after the release had been distributed to record outlets. The resulting confusion and frustration saw the release stall and sales dropped off before the first pressing had sold out. Although they continued to play regularly, disappointed, disillusioned and losing enthusiasm, the band limped on until they played their final show on New Year’s Eve 1986 at Morticia’s nightclub.

BODYSNATCHERS Frantic/Mystery- 540 Record Reissue

BODYSNATCHERS Frantic/Mystery- 540 Records - 540 019- 7"

The volatile music streaming out of the underground scenes of Britain and the US in the late seventies presented a lot of possibilities to young burgeoning musicians. Along with the sonic assault anthems of The Sex Pistols and The Ramones, there were variants of these themes in the other worldly works of bands like Wire, The Fall and their ilk This was strange and intense noise that had never been created before, but did have some reference to previous purveyors of ‘art-rock’ like The Velvet Underground etc. It was as if a new language was being spoken made up from many other dialects. Brisbane band from the time,The Bodysnatchers, heard a kindred spirit. This is a re-issue of their one and only single on Savage Music.

Formed in early 1978 and lead by Rod McLeod on guitar, drum machine and vocals (with his brother Gavin McLeod on bass and school friend John Hunter on drums) the band were a short lived studio based outfit. Rod and Gavin were card carrying members of two other local punk outfits The Young Identities and Just Urbain. When the opportunity arose for a cheap and nasty recording session, the 3 piece decided to fill in the last remaining time slot by cramming in 2 short sharp songs that didn’t quite fit in with the sounds arising from the rest of the Brisbane music scene. Drawing on the likes of the Gang of Four, A side ‘Frantic’ was a re-write of a Just Urbain song while its flipside ‘Mystery’ is a sped up/hacked up cover of the Velvets ‘Venus in Furs’. The record has a jarring sound with the vocals more whispered than yelped, while the vintage drum machine drone adds an additional spectral quality. Above and beyond that, it still has the trademark bass heavy, non production values much loved by the rest of the Savage Music family. Released as a 300 limited edition with photo copied cover in 1979, its sound stands as the odd, stumbling step-kid of the label and the band was never to be seen or heard of again. Frantic mystery indeed!

YOUNG IDENTITIES - Positive Thinking- 540 Records Reissue

YOUNG IDENTITIES - Positive Thinking- 540 Records - 540 018- 7"

When you were a kid, did you ever have that crazed urge to put your hand into an open fire or maybe ride your bike into the path of an oncoming bus? Well, it was with a similar mindless obsession that a gang of adolescent misfits from Brisbane Australia formed a punk band in 1978 called The Young Identities.

Teenage rebellion has had many forms over the last five decades, but the ‘punk explosion’ of the mid seventies was clearly a case of blatant mold breaking. It was In that time of unbridled mayhem the brothers McLeod (Clayton,Gavin and Rod) along with cohorts Dave Robinson and Paul Murray needed some sort of outlet from the mind-numbing tedium of their suburban existence. Typical of teens at the time (when time was typically too much of what you had) listening to outsider music was a major part of their lives. The Dolls and The Stooges were godheads, but reproducing that kind of noise seemed above their meage and limited talents. Cue The Saints, The Ramones and The Leftovers. Suddenly there was more to amuse these freaks than under-aged drinking and tearing around on dragsters!

The band quickly congealed like a pimple. Being far too young to get gigs at the local pubs and clubs run by quasi mafia figures and stoner hippies, they perform their raucous routine for their peers at parties and practice rooms. It’s soon decided that if this much fun is so cheap and easy, why not make a record! To make this unlikely dream possible The Young Identities (along with fellow reprobates Just Urbain and The Bodysnatchers) form Savage Music, their own haphazard independent label and book the cheapest recording studios in town. For around $300, all three bands slam down the tunes that would feature on the first 3 Savage Music releases. The Young Identities limited edition 45 boasts 3 tracks and a hand printed cover. It hits the shops in early 1979 but hardly anyone in sleepy old Brisbane really cared much for what a bunch of spotty brats from the backwaters had to say and sales of the record reflected this apathy.

Today, after over 30 years, the first Young Identities EP is a much sort after collectors item and has become associated with what is lovingly described as ‘Snot Rock’. Loud, unruly and without pretense. The ages of the band members at the time range from 13 to 17. They were too young to vote and too naïve to care. But they sure could make a wild teenage racket!

So, like some bizarre neglected virgin at the mouth of some mythical volcano, here is their first tortured offering!

JUST URBAIN - Burning - 540 Records Reissue

JUST URBAIN - Burning - 540 Records - 540 017 - 7"

One of the greatest bands ever to come from the early Australian punk scene which is why they made the number 36 spot on Johan Kugelberg's top 100 DIY 45's.A bunch of guys, all to varying degrees somewhat disengaged from mainstream culture & wanting something different. A bunch of guys living in a then non connected world but willing to make the effort to do something beyond go to the footie or go to the pub, like buy the NME, hang out at the local import shop come together through mutual musical interests & form a band. It took some monthsand some membership movement but on an unremembered date in '78 JUST URBAIN (& The Young Identities) 'arrived'. Yeah I think I saw that movie also! Anyway we did gigs, had fun in the practice room & for various reasons were involved with the 2nd Leftovers recording as well as the issue of their EP. So what do you know we take it to the next level in '79--Just Urbain, Young Identities & The Bodysnatchers go into a recording studio & spend an afternoon & a few hundred dollars recording 3 singles & behold not only do we have some singles but our own label is born. Fantastic stuff although it didn't really improve our standing in the local scene. Not that we cared. I wouldn't say we had a lot of attitude but we had enough. You had to make the effort to find us as we weren't looking for you."

Black Assassins interview from X-Change fanzine

Hilarious interview from these Brisbane troublemakers

The End Interview from X-CHANGE Fanzine 1981

The End Interview from X-CHANGE Fanzine issue 4

written by Ian Gray interviewing Brett Myers, Colin Barwick and Jonathon Leikliter. Long before the move to Sydney and Died Pretty

Brisbane early 80's Fanzine x-change

I came across this great pile of old Brisbane zines from my ex-promoter friend Dave Darling recently and thought it might be cool to put it up a few articles on my blog.
X-change was a hand numbered black and white photocopied brisbane punk zine(I use that term lightly because it doesn't really discriminate to punk rock's modern bounderies ). It's very DIY and punk rock in approach and writing but some of the bands are more arty/new wave/etc. It has a lot of local content with reviews of interesting intersate/overseas releases. X-change is the brainchild of Ian Gray. Ian feel free to get in contact if you have any problems with me sharing this.

Mystery of Sixes World Class Brisbane Postpunk

I really love this clip. I'd like the to see the footage from the whole show. Great Brisbane Band.

Free beer for Nudes

Brisbane early punk label Shake Music explained by Rod Mcleod

SHAKEDOWN 1979-83:

How To Become The Local Legends That No-one Remembers!

This is the story of perhaps the most under-funded, under-achieving, no-time and no-talent label in the history of Australian punk rock. In the space of four years, the Shake/Savage label released seven vinyl singles and two cassette compilations, of which they probably sold as many copies each.

Much has been said about how the original punk music of the late seventies motivated the bored teenagers stranded in the mind numbing suburbs of the Western world, and this could be no more apparent than Brisbane circa 1977. Here in a city practically under police curfew, you fucked and fought, got stoned, got married or got out of town. It was breeding ground — but not for music or different concepts, more for hatred and intolerance. The "do it yourself" approach was the only way to go, for as sure as fuck, no one else was going to pull you out of the shit, and so through this philosophy, Shake Music along with Just Urbain and The Young Identities were born in all their deformed splendor.

1977, Peter Miller from Brisbane's outer Western suburbs was already a minor player in the city's punk music scene. He worked part-time at Discreet Music, one of only two local record stores that imported U.K and American music. He edited one of Brisbane's first fanzines, The Rat, and ran local punk gigs outside the premises of the Darra Cement Works. He was also trying his hand at managing Brisbane punk legends, The Leftovers. It's while working at Discreet one Saturday morning that Peter meets the McLeod brothers (Rod, Gavin and Clayton) from Brisbane's outer Southern suburbs. They range in age from 13 to 17, print t-shirts and have wild ideas of forming a band. With similar tastes in music, collaboration is set in place. Peter brings in Robert Lewis and Dave Holliday and the roller coaster begins. We don't want to keep world domination waiting.

Originally called Silent Noise, Just Urbain were: Peter Miller ~ vocals, Robert Lewis ~ guitar, Rod McLeod ~ guitar, Dave Holliday ~ drums, Gavin McLeod ~ bass.

This line up doesn't last long after initial rehearsals. Gavin becomes bass player in the fledgling Young Identities: Clayton McLeod on vocals and Dave Lawless on guitar. Another Dave, Dave Robinson, later replaces Lawless and Paul Murray is bought in on drums and here's where the fun begins. No one can play, outside Paul, a maniacal drummer in the mold of Keith Moon. The only decent piece of equipment is Dave Robinson's 50-watt Marshall. The early practice sessions are more about underage sex and drinking, and the songs tend to sound like the aforementioned pursuits. Rehearsals are wall-to-wall teenage fun with no real thought of playing live. A gig is organised at the 1978 Discreet Xmas party but before either band can get near the stage, Brisbane band The Hard-Ons trash the P.A.

Earlier in the year, Peter and Dave have covered the studio costs for The Leftovers "Cigarettes and Alcohol" E.P and its all agreed recording is the way to go. We find the cheapest studio in town and book 8 hours for $300. In that one session, Just Urbain, The Young Identities and late ring-ins The Bodysnatchers (Rod: guitar/vocals, Gavin: bass, school friend John Hunter: drums) record and mix the tracks that were to become the first three Savage Music releases; and doesn't it show! Our engineer was more likely used to producing radio jingles and voice-overs — not a bunch of snotty nosed freaks with no idea and too much enthusiasm. The singles are pressed at EMI custom in Sydney (100: Just Urbain, 300: Young Identities, 300: Bodysnatchers) and released as Savage Music 001, 002, 003 to worldwide apathy. It didn't seem like it at the time, but a new local label now existed.

It came as no real surprise when the records didn't sell. No press and no gigs didn't help. The first gig would come later at the 'Ready Steady Go' dance at Griffith University supporting The Leftovers. This created a handful of believers, but the Brisbane scene at this time is famous for its malice and mistrust between bands. The Savage Music mob were seen as hopeless amateurs, three chord punk thugs, too young and hopeless to be considered for live work in the city's pathetically undernourished music scene. So it is left to practice rooms and parties where the bands form their meager fan base. One such rehearsal session numbered over 40 teenaged fans, which resulted in some youthful vandalism, which in turn attracted five paddy wagons to haul our little gang off to the infamous Caxton Street Police Barracks. Phone books were used but not for their original intention.

Eventually, gigs do start to happen, though very infrequently. A favoured trick was showing up for other bands' shows, then through fair means or foul, stealing some precious stage time. These shows usually end up in smashed gear and drunken stage invasions by the growing number of pimple faced punters. Just Urbain are viewed as too weird, too uncontrolled. The Young Identities are seen as too young, too loud. So it is decided later in 1979, to return to the studios. Just Urbain's 'Hospital Bed' (004) E.P and The Young Identities 'New Trends' (005) E.P are recorded in Forest Glen Studios, 80km north of Brisbane at the recommendation of local band The Fun Things. Dave Robinson has departed The Young Identities and Rod takes over guitar duties. Our engineer, Mungo Coates, is a lot more encouraging, making the recording process much more fun. The singles are pressed again at EMI Custom. Covers are hand printed and limited release of 300 each. The label changes name from Savage Music to Shake Music but still nobody is buying. The world still hates us and we still hate them.

The Brisbane scene in 1980 is rapidly stagnating, so we try something different. Some smart arse buys a guitar tuner — now for that fourth chord! Just Urbain and The Young Identities go sideways a notch. The Young Identities have such a bad reputation for being underage, beer-guzzling trouble makers, that they change their name to Kicks. (The Young Identities last gig is at Fortitude Valley's infamous Pinocchio's. The ever increasingly psychotic Paul Murray leaves the stage mid-song to relieve himself, only to be forcibly returned by Clayton and Gavin.) Just Urbain after having nothing but bemused reactions from audiences decide to leave live work to a minimum and become studio wankers extraordinaire. The three chord thrash era is nearing its end for the Young Identities but they still like to play fast and so record two tracks 'Leather' and 'Godzilla' at Multi Media Studios in Spring Hill early 1980. Just Urbain return to Forest Glen to record 'Goddess' and 'Sounds Like' with new member Wolfgang Kuepper (brother of Ed) on synth. All four tracks are released later that year as a combined cassette E.P, in its own fetching hand stitched cloth bag (in McLeod tartan, of course!) this was Shake Music 006, easy and cheap, limited to a run of 50 and only distributed locally — but it does make its mark. Some people are starting to take notice.

The gigs for Kicks are still few and far between, but always memorable (stage fights, fans being thrown into the Brisbane River from a moored container ship, hecklers set upon by over zealous followers, etc etc) In 1980 a regular gig was established at a seedy subterranean gay bar called 'The Silver Dollar' in the heart of Brisbane's Fortitude Valley. Here once or twice a month Kicks crash through a set of originals along with a handful of Glam rock favourites from their pre-teen years. It is here that Just Urbain returns for their last ever gig. Facing a hostile bunch of the new Brisbane punk brigade, the unusual sounds of Just Urbain has the slack jawed audience not knowing where to look, let alone decipher what they are hearing. The band finish with a drone and The Silver Dollar shuts its doors three weeks later. Peter and David head for the UK and put Just Urbain on temporary hold. They would return later to create a fitting epitaph.

In 1981 an opportunity arises which nobody could refuse. A friend of Rod's has worked as a caterer for a run down bingo hall above the much-missed Silver Dollar and offers the area as a weekend venue. Running the place is approached with the same haphazard bravado as the label. The bingo hall is huge which makes it possible to put on some of Brisbane's newest unheard bands together with the more established groups from within the city's Art Rock Mafia. Violence by bouncers at the handful of other clubs around town made Bingo Pete's a welcome addition to what was passing as Brisbane's underground music scene.

The first gig in June features Michael O'Connell (ex-Apartments), Die Tanzen, The Flying Squad (with original Young Identities guitarist Dave Robinson), The Pits and Kicks. Having a band run venue with an open liquor licence and lenient entry requirements finds the place packed on opening night, but in typical fashion nothing goes to plan. The increasingly erratic Paul Murray has chosen this time for his final freak out — storming off by the gig. A replacement drummer (Mark Young) is quickly kidnapped from another band but after only four songs the brothers themselves are trading blows with most people believing this to be part of the usual mayhem.

Bingo Pete's continues changes name to The Factory for a further three months before the old blue haired bingo girls could no longer handle the filthy graffiti, smashed toilets and discarded syringes. The end of another wild adventure with no one to blame but ourselves and our no-good mates. Even offering to buy off the Valley cops couldn't save us.

Late 1981 and Kicks record and release their first vinyl since their name change. By this time most Brisbane bands are either art school fag hags, power pop poseurs or Detroit dickheads. But the band — forever slaves to their origins — still stagger around in their leather jackets and Chelsea boots. The whole Brisbane scene is stagnating so badly it smells. 'Return of the Action Man/The Secret' (Shake 007) is unleashed with more than a nod to the emerging Goth sound. Goth appealed more than anything else that was around because of its links to Glam and the fact that you didn't have to look like some fourth generation Wally who had just discovered punk rock. Kicks gain quite a following, gaining positive reviews in the street press but still have to deal with their troublesome reputation on stage. Live shows range from diabolical supports for interstate pretenders to all-in guest appearances by anyone who felt like mounting the stage. Now with a second drummer (Matt McGrorie) joining the band they try something different again. Sounding like a cross between The Glitter Band and Killing Joke, with regular appearances by Warren Lamond (ex-Leftover), Kicks stick out like a sore thumb on the lackluster Brisbane groove circuit.

By 1982 several like-minded bands are starting to appear in the shape of The Mystery of Sixes and Public Execution (whose debut vinyl single was to be produced by Rod). Another joint cassette single is released as Shake 008 coupling early Public Execution demos with two Kicks tracks (Kicks theme/Red Blood) from the Action Man sessions. With a photo copied cover, it is meant for nothing more than friends and only 25 are produced. This becomes the last official recording Kicks will release while the band existed.

Later in that year Peter and David have returned to Australia and set about recording The Final Program, the last shake Music single. With Robert Lewis long gone and missing it practically becomes Just Urbain Mk 1 again with Rod reverting back to guitar and Gavin in on bass. With this line-up it was once again back to Forest Glen to record "I'd Rather Stay Home And Watch TV" and "Obsession". Both songs are old Just Urbain mainstays and were backed with "Goddess" and "Sounds Like" to make the last Shake Music (009) EP. It seems like a full circle. The record is released in 1983 with a hand-printed insert and is possibly the rarest of Shake releases.

For Kicks the end is nigh. The Brisbane scene has become so stale; it is painful to continue. Still the band returns to the studio one more time with the new two-drummer line up they record "In Fear of God" and re-record stage favorite "Red Blood". It's like after all this in cheap studios playing shitty venues the band could find what buttons work. "God" is later released on Brisbane Punk compilation At the Solicitors Request LP in 1985. The last ever Kicks gig is the first we were ever offered by local alternative radio station 4ZZZ. It was a drunken shambles at the National Hotel in a city that should have been put out of its misery a long ago. It was time to put the band to bed once and for all. We came, we saw, we pissed off.

And that is basically it. All the bands you have just read about were never fondly remembered in Brisbane outside of a faithful few. It's been down to a handful of interstate overseas overseers to look back at this town's musical history to find and admire what was among the muck. Maybe there was not all that much to appreciate but for some short time back when nothing mattered some little shits left a mark in a big shithole!

Pineapples from the Dawn of time "Too Much Acid"

Screamin Stevie's Australia RocknSoul

The Coloured Balls Devils Disciple fuck yeah

Jim Rockfords Reviewed in Rave

Jim Rockfords Moving at the Speed of sound

(Turkeyneck)

Motorbilly, post-punk rock & roll band delivers

The Jim Rockfords have accumulated a decent-sized local fanbase and are known to perform energetic and highly entertaining sets. The occasional incendiary guitar lick from Phill Wilson and Fred Noonan, combined with the kicking and screaming of harmonica enthusiast and frontman Junior Hickey, are proven to get punters moving. Their newest material, as heard on their debut 11-track Moving At The Speed Of Sound, provides a similar feeling to what you’d expect from one of their shows, taking cues from Etta James, Radio Birdman and the Flamin’ Groovies, they’ve perfected the art of garage punk rock and delivered it simply, effectively and straight into your face. This straight-up style coupled with rock-hard bass lines from the very talented Kylie Lovejoy and powerful beats from drummer Mitch “Mayhem” Humphrys pull together a sound that references the ’50s as much as now and won’t disappoint faithful motorbilly rockers.

LANAH MATHENY

Bertie Page Clinic Loaded Up new video out now.

XMAS party madness and other oddities

december 2010

Well as another year comes to an end we here at turkeyneck have finished all the years releases including the career spanning Blowhard compilation (which was 2 years in the making), Screamin' Stevie's 2nd album for turkeyneck and also a swag of newcomers to the label, Hell Crab City, The Prehistorics, Bertie page Clinic and The Jim Rockfords. So now thats all done and dusted what does 2011 hold instore for the little label that shouldn't. There is talk of a Murder Junkies australia only album, also an Insane Hombres collection, I Spit on your Gravy's magnificent Fruit Loop City and new recordings from our long lost adelaide contingent KAMIKAZE. A second album from Chucknee, Starsludge's debut and a Fred band Best of.

And possibly some compilations from Brisbane's overlooked early 90's scum rock heyday.

In the new Year Turkeyneck will be trying out a once a month Showcase residency at the Beetle Bar for Turkeyneck Bands and friends under the Banner of TURKEY-TIKI TIME Starting saturday February 5th more details to follow.

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NEW RELEASES Galore

November has been a busy month with the launch of Blowhards Best of Five Minute ride Thru Hell at the Jubillee and The Jim Rockfords launching theirs at The Powerhouse and for the hat trick The Bertie Page Clinic will be launching their debut at the Wickam Hotel on the 3rd of Dec.

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THE ANNUAL PSYCHEDELIC CRITMASS PARTY

Once a year this rolls around for all the turkeys to gather round the coop

and get slaughtered.

This year its being held at the BEETLE BAR 350 Upper Roma St

on Saturday Dec 18th. The Door admission is $10 but the first 50 payers get a free Turkeyneck CD. The Entertainment for the night is supplied by The Pineapples From the Dawn of Time, The Vaginabillies, The Prehistorics(Syd) Screamin’ Stevie’s Australia and the Fabulous Wayne Keys Show. Doors open at 8pm so come along and let your freak flag fly.

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Bertie Page Clinic joins the turkeyneck Roost

BERTIE PAGE CLINIC ROCKNROLL IN A G-STRING

This Debut 9 track album is instores early december featuring the one and only Miss Bertie Page. Available from turkeyneck Now

Bertie Page Clinic is the perverted child of burlesque and classic rock. Australian Cabaret star Bertie Page heads up this wicked little band of retrograde rockers. Their punchy tracks are a collaboration between Miss Page and composer Phill Wilson (Chucknee, Deep Blue Orchestra, founding member of BlowHard). These garage punk band combine the best elements of yacht rock, punk rock and poodle rock, pulled off with a Jim Steinman flair.The instrumental lineup features John Meyer (The Good Ship), Clint Morrow (The Soundcasters) and James Lees (Silver Sircus). Bertie leads the charge with her hard belting vocals and sees that her stable of fine young men are kept in line.2009 saw the Clinic playing shows up and down the east coast, disgracing venues in Sydney, Melbourne and Brisbane, and playing with the likes of Spencer P. Jones (Beasts of Bourbon), and Spitfireliar.

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Jim Rockfords are Moving at the Speed of sound

The Jim Rockfords got together December 2007, When Fred (of 6fthick fame, though on guitars in the Rockfords, jumping up from the drummers stool in the Hick) and Junior, (a familiar voice and rocking harp player in the Blues scene) approached Kylie Lovejoy (Bassist for Lovejoy and Chick Flick) about bringing some toons they penned to life.. Phil Wilson (Blowhard, Chucknee) Greg Jard (Blowhard) on second guitar and the skins, then 3 weeks later they were thrown into their first gig. Originally under the guise of a side project, it then took on a life of it's own playing gigs galore treating audiences with a lethal dose of their Pineapple flavoured muscular Motorbilly Rock and Roll. They soon had a loyal following and a reputation as a high energy live act, pulling together a sound that references the 50's as much as the now, but never hanging off the coat tails of either. After a whirlwind tour of France, Drummer Greg fled from the constant gigging and Mitchy Mahem took over the skins. Touring down south and scoring some cool supports, New Christs, Lime Spiders, Hitmen, X, and even LA Guns. They had a ball as the closing act for the Greazefest, and looking real forward to their upcoming support with Reverend Horton Heat in December. But, now finally come October 2010 a well overdue Debut album 'Movin' at the Speed of Sound' has been recorded at Blackbox studios with Recording extraordinaire Jeff Lovejoy (Powderfinger, Cruel Sea, Regurgitator to name but a few, also Kylies Brother), released through Turkeyneck records and they are chuffed to be launching it this Sunday November 14 at the Powerhouse in an afternoon of Beer swigging, ass shaking and love making.. Rockabilly buddies the Ten Fours will be joining them, hitting the stage about 3.30, followed by the Rockfords who will rock your socks off.

THE JIM ROCKFORDS JOIN THE TURKEYNECK ROOST

TN.22 THE JIM ROCKFORDS

MOVING AT THE SPEED OF SOUND

Turkeyneck is proud to present you the future of the Bar Band."The Jim Rockfords" debut 11 track album "Moving at the Speed of Sound" This is hard edged R'nB' tinged garage punk. With a swag of songs full of regret, loss and booze filled redemption. This is maximum rnb crossed with boogie boogie heaviness, think Coloured Balls mixed with the Supersuckers. Led by the all singing' all harmonica slinging reprobate Junior Hickey and his cast of brisbane barflies. With a tight guitar based production and a solid as fuck rhythm section this album will not disappoint.

They'll be launching their masterwork on Sunday afternoon November 14th at Live Spark at the brisbane Powerhouse with the wonderful Ten Fours and entry is free.

Distributed in Australia by the Fuse Music Group

Available from November 15th at www.turkeyneck.com.au

PRETTY BOYS DEBUT EP AVAILABLE NOW ON iTUNES

http://itunes.apple.com/us/album/just-another-statistic-ep/id398044054