2001 - That's Entertainment

That's Entertainment

Date: 2001
Author: Mike Gee
Featuring: Chris Cheney

 

ROLL ON - Track by Track

With Chris Cheney (CC) of Living End and Mike Gee (MG) of That's Entertainment

Roll On
CC: A stomping song for the underdog. We wanted a real foot stomper with a trade off between the lead and backing vocals. It gives the album a good kick start.
MG: Shit. Mum, me ears hurt. Trav's drums are bloody huge. Rip-snorting anthem mixes up the Clash and AC/DC. Oi, oi, oi. Sometimes Chris Cheney sounds awfully like Rotten. The middle break is pure rock (70s). The chords at the end are pure Steve Jones.
Pictures In The Mirror
CC: My attempt at Weller-meets-Costello jamming a new wave idea. It's a tale of an ex-Page Three girl who's ashamed of her previous occupation. Public perception can be a tricky one.
MG: Bloody aggressive little sods. Love the faster-than-light-chug-a-chug chords. Nice switches in tempo verse and chorus.
Riot On Broadway
CC: Spotlight on the rat race that is New York City. I refer to riot as in excitement, a blast, it's all happening, you've got to move with it or get trampled. One of the more roots-based songs on the album.
MG: Starts with feedback. The bio says this has rockabilly rhythm. Me thinks it kicks ass. Has some lovey glissando guitar dropped in just before the chorus. The lead break is right out f the Angus Young guitar solo manual. Things get trashed towards the end.
Staring At The Light
CC: Some people see death as simply the end of it all, some see it as a natural progression into the next life and some people are just plain fascinated with the idea. A completely different song to the rest but we like variation.
MG: Nicely built guitar-intro. Actually, they're gonna hate this, it's a bit of twisted stadium rock. Just listen to the chorus - Axl or Bon Jovi could do it, no worries. Well done. Fab guitar stuff at the 2.20 mark. More great guitar chords at the 3.30 slot. Nifty ending. Don't be surprised if it's a single.
Carry Me Home
CC: A breakneck-speed drinking tune about that "one last drink you must have!" It could be a little tricky to sing after a few beers. We wanted this to be a three-minute thrash-country-jazz-rock mix-up with a twist.
MG: Opens with crashing drums , guitar pyrotechnics and adrenalin-plus. Kind of Deep Purple (Speed King) meets Baby Animals (Ain't Gonna Get) meets Black Sabbath. A monster.
Don't Shut The Gate
CC: The idea was a swampy rock tune touching on the sensitive issue of immigration laws in Australia. I wanted the line "Don't shut the gate" to be as simple and direct as possible.
MG: Fat chords open a rather spooky and potent smack in the head musically and lyrically. The chorus will be one of this clenched fist, arm pumping moments in live shows when the whole crowds chants the title. Good middle break, again.
Dirty Man
CC: The 1960s English pop influence is fairly strong on this one. We wanted this to be a power pop sort of number. It's the tale of a big time operator that comes undone, ultimately winding up in the can. The chorus is the mind of the desperate crim venting his feelings.
MG: Don't know about the power pop definition. The opening is pure Sex Pistols' Pretty Vacant (as is the major chord that appears infrequently). The remainder is pure Jam. Mods come on out. Paul Weller would love it. A stand out track.
Blood On Your Hands
CC: Reggae meets Sham 69. This is our take on being given instructions by somebody who hasn't a clue or is covering something up. Got blood on your hands?
MG: Politically concise and the album's rootsiest track. White boy reggae that suddenly slices into punk anger before slipping back to the riddims. Nice idea (although Sham 69 were a bit naff).
Revolution Regained
CC: About the continuing struggle of East Timor and the foreign militia that invaded and took everything, including many lives. It's hard to believe it's happening only two hours from the Aussie coastline.
MG: Has a fab, chug-a-chug galloping rock chord and bass under the verse. Brit rock fans are gonna love this. Lyrically astute, musically diverse (there's a few tempo twists and turns here), it's another strong track.
Silent Victory
CC: This was meant to be the simplest of rock tunes but it did end up taking a few turns. It's all about overcoming personal barriers, having a bit of hope: "one more silent victory".
MG: AC/DC meets The Who, baby (pick the track, yourselves). The chorus is another anthemic bit. Love the ending. Don't want to be in the mosh when this goes down.
Read About It
CC: I find it interesting when criminal figures like Manson, Chopper and Gacy become celebrities within the society they were outcast from in the first place. We love to read the front page exclusives and wonder what goes on inside their minds.
MG: Quite complex song that's a real grower. Good lyrics all about madness, criminal minds and the average punters ability to fantasise about pure human horror. Cop the middle 'clever dick' instrumental stuff. Most impressive.
Killing The Right
CC: Probably the trickiest song we recorded because it has a fairly intricate arrangement - which was something we wanted to explore on this album. It refers to killing the right to be who you are: racial and social prejudice.
MG: Starts off like The Clash's London Calling - check out the chop of the chords - but the verse is pure pop that runs into - as Chris says - some nifty tempo and tonal stuff. The instrumental break is excellent and deliciously twisted.
Astoria Paranoia
CC: A nervous and agitated song about being in an uneasy or paranoid situation. Interpret it how you will. It's influenced by the English psychobilly movement in the early 80's and The Beach Boys!
MG: Scott Owen's bass stands out in places here. The big harmony middle - The Beach Boys bit - is an effective tool for some spectacular contrasts and another blistering guitar break out of the rock handbook. Strange song that points to the future as the 'End get more complex.
Uncle Harry
CC: We wanted this to sound like a pub chant. It turned out more like a rollercoaster with an extremely inebriated singing football team thrown in. Everyone's got a memorable uncle. We have the advantage of singing about one of ours.
MG: Eton Rifles style chorus - probably closest to the spirit of the first album. Just a knockabout song with a nice middle that proves despite their desire to deliver a plonkers anthem, they can't resist screwing around. Will be somewhat massive in the drip trays of Australia.

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