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My point is, who cares if they
were vastly influential to a bunch of American kids or not?
While the rest of the Western World was stumbling through
soon-forgotten Klaus Nomi and Romeo Void albums during the
initial sprout of old wave, these Aussie trashgods were becoming
Down Under’s rock saviors. Sigh…we should have been as
lucky. As the only living heirs (at the time) to the outlandish
sonic temperament of Iggy's Stooges and the MC5, the Birdmen
roared away atop a mountain of Marshall amps, refining the
essence of Detroit slop rock for a handful of devoted. It should
be noted somewhere here that they were, of course, ONLY 27 years
ahead of their time. Their only American album (released on
punk-friendly Sire label) was roundly ignored at the time as
being past the curve- and much too loud for any ‘60s power
poppists or Paisley Underground-ers (their closest allies) to
behold. In hindsight, the Birdmen’s affinity for Motor City
madness rock may have been too close for comfort. Truthfully,
there wasn't anyone else picking up on the group's
"feedback as a revolutionary means" vibe
("Descent Into The Maelstrom," "Hand Of
Law"). And it didn’t help that they lived on the other
side of the world for simple-minded CBGB’s folks. More than a
quarter-century later, their hell-bent bedlam rocks like no
other; guitars grinding on apocalyptic riffage. My only
question: Whom do I kiss at Sub Pop for reissuing this?
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| Artist |
Radio Birdman |
| Title |
Essential: 1974-78 |
| Label |
SubPop |
| Reviewer |
Richard Proplesch |
| Rating |
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| win stuff |
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