The Numbers

In the early 1980s, Australia was home to a host of excellent pop and new wave bands such as The Reels, The Dugites, Eurogliders, and Flaming Hands, and Sydney’s The Numbers were no doubt one of the finest. The band went through many lineup changes in their existence from 1978 to 1984, but the one constant was brother and sister duo Chris and Annalisse Morrow. Throughout the group’s existence, Chris shined as a talented songwriter and guitarist, while Annalisse was a strong bassist and gave the material a distinct personality with her hard-edged, commanding vocals.

The group’s first release was a 3-track EP, Govt. Boy, in 1979, which took a louder, faster and overall more punk approach than what was to come. At this point, Chris was the focal point of the band, singing lead on two of the three tracks on the EP. By the time the band signed to the Deluxe label that same year, they had begun moving in a more accessible power pop direction, a shift evident on their first single for the label, 1980’s “The Modern Song.” Along with the cleaner sound came a decision to put Annalisse at the forefront. In a 2008 Mess+Noise interview, Annalisse explained of the decision, “You’re young and you’re taking advice from other people. And by that stage we were with a major label and we had a manager and we were with an agency and those people have a very large influence on how you think, because you’re taking advice from people you believe have the experience. And also personally I always thought I was a much better singer than I was a bass player.” This change in direction proved successful for the band, with the single cracking the Australian Top 50 and the band scoring an appearance on the TV show Countdown. Their next single, “Five Letter Word,” was another national radio hit and brought them further into the spotlight.

Once the band released their debut, self-titled LP in late 1980, they seemed poise to break out internationally. “The feeling I got then was the record company’s expectation was we were going to go absolutely ballistic,” explained Chris in the same Mess+Noise interview. “We were going to go from suburban Thornleigh to Madison Square Garden, we were going to be amazingly huge.” While the debut record included highlights in the form of the previous singles and select album tracks such as the melodic “I Don’t Know” (which found Chris back on lead vocals) and the punky “Hello,” third single “Mr. President” failed to chart and the album - while regionally successful - didn’t break the band as expected.

After a series of lineup changes, the band issued a new single, “Jericho,” and returned to the studio to record their sophomore release, 1982’s 39-51. Armed with more memorable songs and more confident vocals from Annalisse, things looked promising for The Numbers. The album's singles “Big Beat” and “Dreams From Yesterday” as well as standout album tracks such as “Day to Day,” “Blacktown” and “Dancer” sounded a bit like a rougher-around-the edges version of The Go-Go’s and deserved widespread chart success. Unfortunately, by this point interest in the band had waned and the record went largely unnoticed.

After two albums and years of hard work on the road and in the studio with little commercial success to show for it, The Numbers soon called it quits. It wasn’t until the early 1990s that Chris and Annalisse released more music together, this time as Maybe Dolls. While this incarnation of the band gave the duo their biggest success to date in the form of the catchy pop singles “Nervous Kid” and “Cool Jesus,” the band once again faced record label difficulties, grew disillusioned, and a recorded second album was never released.

The Numbers and the Maybe Dolls never achieved international commercial success, but they created a canon of strong power pop songs worth discovering. In 2007, Australian label Aztec Music brought the band to attention once again by releasing a compilation of Numbers material, including highlights from both EPs, rare B-sides and the complete Government Boy EP. The disc is titled Numerology 1979-1982 and is available via the label’s site. In addition, the Blue Pie label recently released the band’s output digitally, and it can be downloaded on Amazon MP3 and iTunes (but beware, many of the tracks are mislabeled in these releases).

The Numbers band members:

Annalisse Morrow - Bass, Vocals
Chris Morrow - Guitar, Vocals
Simon Vidale - Drums
Graham Bidstrup - Drums
John Bliss - Drums
Craig Bloxom - Bass
Russell Handley - Keyboard, Guitar
Marty Newcombe - Drums
Collin Newham - Keyboard, Bass
Marcus Phelan - Guitar
Garry Roberts - Bass

The Numbers discography:

- Govt. Boy (EP, 1979): Government Boy, Private Eyes, Guerilla

- The Modern Song (single, 1980): The Modern Song, Take Me Away

- Five Letter Word (single, 1980): Five Letter Word, Alone

- The Numbers (self-titled LP, 1980): Five Letter Word, I Don’t Know, Mr. President, Hello, When I Get Older, The Modern Song, Partys, Talk to Me, OK, Teenage Wonderland, Wind

- Mr. President (single, 1981): Mr. President, Private Eyes, Guerilla

- Jericho (single, 1981): Jericho (original version), Turn Back (original version)

- 39-51 (LP, 1982): Big Beat, Secrets, Day to Day, Somedays, Again, Dreams from Yesterday, Blacktown, Dancer, Turn Back, Telephone, Jericho

- Big Beat (single, 1982): Big Beat, Telephone

- Dreams From Yesterday (single, 1982): Dreams From Yesterday, Again

- Numerology: 1979-1982 (compilation CD, 2007): The Modern Song, Five Letter Word, Mr. President, Jericho, Big Beat, Turn Back, Dreams From Yesterday, Alone, Partys, Dancer, Secrets, Day to Day, Again, Take Me Away, Blacktown, When I Get Older, Hello, Govt. Boy, Private Eyes, Guerilla

Links:

- The Numbers on MySpace

- 2008 Sydney Morning Herald interview with Annalisse Morrow

- 2008 Mess+Noise interview with Chris and Annalisse Morrow

- Maybe Dolls promo video for "Nervous Kid"

Pearl Harbor & the Explosions - Live in Oakland, 8/24/79

Head over to Wolfgang's Vault to hear a great show from short-lived San Francisco new wave act Pearl Harbor & the Explosions recorded at the Oakland Auditorium on August 24, 1979. Best remembered for their single "Drivin'," the Explosions blended guitar driven, jerky new wave with rockabilly and power pop, all carried by the unmistakable vocals and presence of singer Pearl E. Gates (also known as Pearl Harbor).

The band released only one album, an eponymous effort from 1980, before Harbor embarked on a solo career with 1981's Don't Follow Me, I'm Lost Too (1981), Pearls Galore! (1984) and Here Comes Trouble (1995).

This particular performance includes all nine tracks from the sole LP, most notably the infectious "Drivin'," the effervescent power pop gem "You Got It (Release It)" and the frantic fun of "Shut Up and Dance." The band also plays some covers, including Nick Lowe's "Let's Eat," "Black Slacks" by The Sparkletones and "I Can Feel the Fire" by Ron Wood. Throw in a couple originals that didn't make the album, and you have a set that gives you a better idea of what the band was all about than what was released on record.

Listen here

Tracks:
1 - Let's Eat
2 - Up and Over
3 - Don't Come Back
4 - Stop Me
5 - Black Slacks
6 - So Much for Love
7 - Nerves
8 - Keep Going
9 - (Get a) Grip (On Yourself)
10 - Drivin'
11 - The Big One
12 - Shut Up and Dance
13 - You Got It (Release It)
14 - I Can Feel the Fire

THE DB'S - 'The Sound of Music' now available digitally

The classic 1987 dB's album, "The Sound of Music," is now available again after years being out of print.

The album is the band's fourth, and second after the departure of integral member Chris Stamey. In Stamey's absence, singer-songwriter Peter Holsapple kept the band going strong, creating an album full of straightforward, thoroughly enjoyable jangle rock. The LP features some of the band's finest songs in the form of rollicking and melodic power pop cuts such as "Change With the Changing Times," "Molly Says" and "Sharon."

You can purchase the album for download via Amazon MP3 and iTunes.

Keep an eye out for a brand new dB's record (featuring both Stamey and Holsapple) tentatively scheduled for release this fall.

THE MOTELS - 'Shock' demos

Head over to the New Wave Outpost message board to grab three rare demos from The Motels, recorded during the sessions for their 1985 album, "Shock."

The songs, "Ice House," "I'm a Liar" and "Midnight Nightingale," are strong enough to have been included on the LP, but for some reason were left off. "Ice House," in particular, is a great slice of upbeat new wave/power pop with a memorable melody and standout vocals by Martha Davis.

"Shock" was the final LP from the original band. Davis released a new Motels album, "This," with a new backing band in 2008.

New Posts Coming Soon

Thanks to everyone who continues to visit this site despite the recent lack of updates.

The Vinyl Goldmine isn't dead, it just went into Winter hibernation.

Stay tuned for updates coming very soon...

In the meantime, enjoy this new wave/power pop classic, "Switchin' to Glide," by the Kings.

MI-SEX - Castaway / Young Maniacs (7" Single)

I previously posted a 1984 LP, "Where Do They Go," by New Zealand new wave act Mi-Sex, which was the band's final album and represented a shift from quirky synth pop to more straightforward new wave pop. One of the album's strongest tracks, "Castaway," was actually a single two years prior.

The song is one of the catchiest new wave tunes you'll never hear on flashback radio, and one that belongs on any list of the best 80s songs the world forgot (or maybe never knew in the first place). The 1982 single version is quite different from the version that appeared on "Where Do They Go," offering a much less polished take of what would eventually become the album cut.

The B side, "Young Maniacs," is an album track taken from the 1981 LP "Shanghaied."

Mi-Sex - "Castaway" / "Young Maniacs" (7" Single, 1982)

Track listing:
1 - "Castaway"
2 - "Young Maniacs"

CD Fit for Vinyl: KAI REINER - Self-Titled LP

In his online biography, Hamburg's Kai Reiner says that being dragged to a Brian Wilson concert against his will just a couple years ago changed his life and inspired him to play pop music. It's a bit hard to believe his conversion was so instant and recent, as his 2008 debut, self-titled LP sounds more like the work of someone who has been lovingly listening to power pop music for years.

From the opening chords of track number one, "Cold Summer," it's obvious that this record is tailor made to appeal to any power pop enthusiast. The hooks are plentiful, the melodies pristine and the delivery sincere. As the record progresses it doesn't let down, with "Only We Both Know," "Hey K," "I Don't Want Your Crown" and "It's Over" all boasting instantly memorable melodies and spoonfuls of pop sweetness. Closing track "Shine" is another highlight, featuring an excellent chugging beat, an addictive guitar riff and contemplative lyrics. Most of the material is upbeat yet bittersweet, a mood made more pronounced by Reiner's earnest, almost deadpan vocal delivery. Musically, many of the songs bring to mind the power pop classic "Black Vinyl Shoes" by Shoes, with the material's fuzzy guitars and straightforward, unassuming vibe.

If you're into pop music with 60s-inspired melodies, loads of hooks and jangly guitars, this one is definitely worth a listen. Besides, any musician that ends his bio with, "Kai has become a much friendlier person now that he plays Pop music. Henry is Kais dog. Henry is a nuisance. He has to be taken for a walk twice a day. If not, he will take it out on the furniture," surely deserves plenty of fans.

You can say hello to Kai on MySpace and pick up the CD on CD Baby.

For a taste, here's the video to "Cold Summer."