Sarah McLeod

Author: Nina Bertok

When Sarah McLeod named her debut album ‘Beauty Was A Tiger’ she couldn’t have found a more appropriate name – the record roars, yet maintains a serene beauty throughout. “That song was based on a dream and I didn’t even know what it meant at the time, but then I started thinking of all the different connotations that could go with that, and I was like ‘yeah, I’m going with that!’

“It was just really strange… I was lying there, and I happened to have my dictaphone by the bed for once, and the whole song just came out in one hit. I knew exactly how the drums would go, what the guitar would do, I even started singing the first line. ‘Beauty was a tiger’ was the first thing I started singing when I dreamt of the melody. The weird thing is that usually I’m so lazy that I hate getting up to go find the dictaphone whenever I get a good idea, and I just try to memorize it, which never works. I hate getting up to go find the thing, so then I start convincing myself it was a shit idea anyway and it probably wasn’t even worth it.”

Lucky that dictaphone was floating near by, because the first single off the new album, coincidentally also called Beauty Was a Tiger, is doing good things for McLeod – and the Living End’s Chris Cheney – at the moment.

McLeod recalls, “I’ve wanted to work with Chris for a few years. About a year ago I bumped into him at a wedding and brought the idea [of a duet] up, and he was like ‘yeah, that’d be cool!’ and as soon as I got around to writing the single I knew it sounded like something he would do. And it’s actually really funny because when I called him up, I kind of had a bit of trouble at first. I thought I had his phone number, but it ended up being Scott’s [Owen, bass], so he picked up and I went ‘Oh hi, is that Chris?’ and Scott said ‘No, it’s Scott’ – and I just couldn’t remember his fucking last name, so I said ‘You mean Scott from the Living End?’ and he went ‘eh-EH’ and just hung up on me! He thought I was some crazy stalker fan!”

Eventually McLeod got a hold of Cheney when her manager contacted the band after one of the Living End’s shows. Cheney’s response to McLeod’s idea was a very positive one, “He said ‘I fucking love it, I’d love to do it, it’s a great idea, let’s go!’, and I was like, ‘Woo-hoo, you ripper!'”

Accompanied by Cheney, their bass player and producer Matt Lovell, the four ran in the Hunter Valley, drank heaps of beer, jammed and recorded in the middle of nowhere and with plenty of time up their sleeves.

“When I was thinking about who I wanted to do this record with, the criteria went kind of like this: for a start, I wanted the band to really fucking swing and just sound totally professional and make all of the songs just come to life – and it’s really hard to put a band together that can actually do that, you know! On top of that, I wanted them to be all really nice guys, because I knew I’d spent so much time with them, and I wanted to basically put together a whole new bunch of mates, really,” McLeod pauses and laughs, “Well, I wanted them to be brilliant musos and I wanted them to be fucking lovely, and cute, and around my own age, and available – it was very difficult!”

However, once McLeod got her dream band together it worked better than she ever could have imagined. “We’re just having so much fun on stage! And I’ve never felt this relaxed on stage in my life. I was in Superjesus for ten very fun years, but I was always writing to please the boys, really. Every time I’d write a song I’d wonder ‘oh, are they gonna love this too?’ and ‘are they going to be able to connect with this idea?’. But now I’m just writing purely and unashamedly whatever comes to my mind – even if it’s cheeky, and even if it gets me in a bit of trouble or whatever. I just say what I want to say, and no one’s going to be affected by it but me. There is a lot more freedom for me this time around.”

What’s On Your Radio

Author: Unknown

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Considering the frequent excursions of genre with their Modern ARTillery, it’s almost a shock when The Living End return to the straight-ahead rockabilly-ish racer rock of their original MO. What’s On Your Radio, as such, is neither freshly “up yours” as their earlier stuff nor as intriguing (if not entirely successful) as their later work. However, as is generally the case with a TLE song, it’s always a joy to hear Chris Cheney rip into another filigree guitar solo, as he does here. It’s nice to know some things never change.

Staying Live Close To Home

Author: Unknown

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Thousands of soft drink-swilling music fans descended on Rod Laver Arena for the Melbourne leg of the year’s biggest cross-promotional event. About 11,000 people packed Sunday’s Coke Live ‘n Local event, which boasted only punters who had bought (and peeled the label from) a bottle of the fizzy beverage.

The ‘local’ component came in the form of home-grown acts The Spazzys, Dallas Crane, Spiderbait and The Living End, while P Money’s inclusion on the bill showed that in a globalised world, New Zealand is practically next door.

Despite their diverse styles – punk rock and hip-hop are strange bedfellows, aren’t they? – acts were tied by a jungle backdrop and spectacular light show.

Live music zealots Henry and Andrew from MacKillop College took time out from their own band, Sensei, to see how the big guns do it, while others just wanted to lap up the atmosphere.

Regardless of motivation, everyone showed their gratitude for admission to the exclusive event by joining in a Mexican wave.

And, in Aaron, Miles, Georgie and Mich’s case, by publicly thanking their mum for the Coke.

The Wrights

Author: Unknown

The Easybeats were Australia’s Beatles. Easyfever was Australia’s Beatlemaina. And Stevie Wright was John Lennon downunder. After the group fell apart, Stevie enjoyed a solo career that took in the same highs and lows that he’d experienced with the Easybeats, but once drugs and alcohol took over, they took over with a vengeance, turning the once diminutive, good-looking singer into a bloated caricature of a faded rock star. Last year’s semi warts-and-all biography, Hard Road, by Glenn Goldsmith, shows Stevie these days as a quiet man, living at home with a woman who loves him – Australia’s Syd Barrett. He will almost certainly never sing again. But, thanks to Nic Cester from Australia’s newest international success, Jet, Stevie Wright is back on the charts. Big-time. “Evie”, Wright’s 1974 mega-hit, has been given a new lease of life via the supergroup The Wrights, assembled by Cester after he’d attended the launch of the Glenn Goldsmith biography. The single was released in February, and has been selling up a storm around the country. Proceeds will be directed towards the Salvation Army’s drug and alcohol rehab program, the Red Cross Tsunami appeal, and to Stevie Wright himself. The Wrights’ members are Cester, Kram from Spiderbait, Dave Lane (You Am I and The Pictures), Pat Bourke (Dallas Crane), with Cester providing the vocals on Part I, Powderfinger’s Bernard Fanning (Part II) and Grinspoon’s Phil Jamieson (Part III). Chris Cheney, who contributes some sizzling guitar on Part I, takes time out from his day job with The Living End to talk about the supergroup that just can’t seem to find the time to play together.

Have The Wrights done anything else besides “Evie”?
“No, no, that’s all we’ve done. There’s been a few rehearsal room jam-sessions, but other than that we are a one-hit-wonder (laughs). And we’ve only done three gigs – they just happened to have been really high profile ones. We’d all like to do more, but Nic just had the idea to do the song, and I guess he didn’t know how it was gonna turn out at all, so there wasn’t any long-term thought whatsoever. But the minute we got together we all enjoyed playing together, and after we did the recording we sat back and thought ‘Sounds pretty good, too!’ So it’s something that none of us particularly want to let go, but it seems like it’s a crucial time for everybody at the moment – The Pictures have just done a recording, Jet are, well you know, Jet, Spiderbait are kind of riding high at the moment, and we’re trying to write another album! All those things are priorities I suppose, and it’s be easy to neglect them in a way, and have a bit more fun with The Wrights, but, you know, you have to look after your day job”.

You’ve only played three times (WaveAid, Rove Live and the ARIAs) so is it like the concept is just sitting there, sneering at you, teasing you with the possibilities?
“Yeah, pretty much. And we’ve only done the whole eleven-minute version once, at WaveAid, It was really fun for me because I haven’t really played in any other bands since high school I’ve just been so driven with The Living End thing that I’d forgotten about playing with other musicians, so it’s really healthy just from that point of view – for me, anyway. But I think the other guys all found something in there, too. We’d love to play it more, but there’s no point us all driving to Bundaberg and then playing one song!”

How did it all come together in the first place?
“We toured with Jet last year, and then shortly after we all returned to Australia, Nic had gone to the Hard Road book launch. I think he got the idea from there, that it’d be great to get all these guys together to re-record this song. So I got a call one day from Nic going, ‘I have a plan…’. It was quite weird in a way – and this is no word of a lie- because the week before I’d been down to a record shop on Carlisle Street, and I found a copy of ‘Evie’ there while I was browsing through the 45s, and I remembered it from when I was younger, and so I bought it. So when he called me a week later, I said, ‘It’s really strange that you’re calling me, coz I just bought that!” So I sat down and learnt it and then we got together a couple of weeks afterwards and had a jam on it, and it was really good.”

And Harry Vanda came down to the sessions…
“That was just the ultimate! To be in the studio with him showing me and Davey the right note to play and so on – it was just amazing. Then sitting around drinking beer and listening to AC/DC and hearing the Easybeats story, which was just incredible – one of the highlights of my life, really!”

You can stop now…?
“Yeah, mission accomplished!” (Chris laughs wildly)

RSPCA & The Living End

Author: Unknown

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One of Australia’s most popular and successful bands, The Living End, recently donated their time to help support the RSPCA‘s biggest fundraising event of the year, the 2005 Million Paws Walk. As keen animal lovers and supporters of the RSPCA, the members of The Living End took time out from their hectic touring schedule to show their support. The Million Paws Walk on Sun May 15 at Bonython Park is a chance for animal lovers to walk together and unite for the same cause – to raise much needed funds for animals in need. If you would like more information on the RSPCA Million Paws Walk, just log on to <www.millionpwaswalk.com.au> or call 8212 6871.

Neverending Story

Author: Tommy Las Vegas

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The Living End were lucky enough to tour the US with Jet and The Vines, “there was a healthy rivalry and it pushed us all, which was fantastic,” drummer Andy Strachan tells Tommy Las Vegas.

It’s hard to know where to start with a band that has had platinum record sales, major national and international tours, ARIA awards, mainstream airplay and critical reverence heaped upon it, but talking to The Living End, it’s pretty obvious pretty quickly that all of those endorsements are secondary to their passion for the music they make. This passion and sincerity were fundamental to their success when they first burst into the mainstream with their self-titled five-time platinum debut album in 1998 and are integral to the momentum they sustain today. In keeping with their humility, they take none of their accolades for granted of course, but an ardent self-belief is still inherent in the infectious smashes that they continue to churn out today.

“I don’t think the success we’ve had plays on anyone’s mind really, except for the way in which we tend to put a lot of pressure on ourselves – individually, probably more so than as a band,” says drummer, Andy Strachan. “But I think anything that comes along is just a bonus. We do what we do and obviously we try to do it the best that we possibly can, so when you achieve something, or when something like a gold record is given to you, you don’t even think about it, it just comes along and then you go, ‘fuck, that’s awesome,’ It’s still like Christmas every time something like that happens to me and I think the other guys are the same.”

Modesty aside, given singer/guitarist, Chris Cheney’s highly publicised, almost fatal car accident on Victoria’s Great Ocean Road in 2001, it’s obvious why the band takes nothing for granted. This was undeniably their most challenging and frustrating period. Cheney’s slow rehabilitation prevented him from picking up the axe for many months and then just as he was edging towards recovery, then-drummer Travis Demsey quit the band. Ultimately though, the jeopardy that the band was in revitalised their hunger and with the addition of Strachan, brought them closer together. After the release of last year’s album, Modern Artillery, which debuted at #3 in the ARIA charts, the band undertook extensive global touring in 2004, racing across the US with Blink 182 and No Doubt and also partaking in the Aussie Invasion tour with Jet and The Vines.

“It was a fucking awesome tour, it was my favourite tour to date, I don’t think I had any preconceived ideas of what it would be like before we left, but getting to know those guys was fantastic. They’re all down to earth and lovely people and every night was basically just a joy,” says Strachan. “You get to watch two great Aussie bands – or three actually, with Neon too – and it’s really inspiring and such fun to be a part of. And obviously Jet are doing massive things over there; I wasn’t surprised by the crowds that were turning up and the energy that they were getting across, but it was pretty overwhelming and very impressive. And every night we tried to play the best we possibly could, but I think the experience pushed every band to another level; If one band had a great night, then it was the next band’s job to do better than that. There was a great camaraderie between the bands, but there was a healthy rivalry too and it pushed us all, which was fantastic.”

With plans already underway to start work on a new album after an upcoming national tour, the Melbourne trio’s schedule for the rest of the year is hectic. Their forthcoming double DVD and singles collection CD, The Living End: From Here On In (1997-2004), is about to inundate record stores too, and for a band that is still arguably in its formative period, it’s no mean accomplishment to already have enough singles to fill a full album. Besides the singles CD however, the double DVD is also a substantial addition to any fan’s collection; it boasts exclusive documentary footage, all of their film clips and an entire live gig. According to Strachan, the package is as much an introduction to The Living End as it is a retrospective release.

“I look at it like a book end. It’s like an insight into what’s happened up until now and it pretty much leaves the next album wide open. Although we’ve written two brand new songs for this album too and one of them is on radio at the moment and it’s a big departure from the kind of stuff that we’ve done in the past,” says Strachan. “But, yeah, I think it just ties everything up and give us a fresh slate. I suppose we can pretty much go in any direction we want from here, which is pretty healthy, I reckon.”

As with any band, Strachan notes that the changes in the music climate from 1997 until now have had their impact on The Living End; the rigours of life in a tour bus have taken their toll too, but Strachan – still new compared to Cheney and [double bassist] Scott Owen – is as passionate as he has ever been. Notching up awards for the Best Bass Guitarist and the Best Lead Guitarist at this year’s Jack Awards hasn’t done any damage to the band’s morale either, but the electricity between the three of them has been most crucial to their ability to steamroll any music industry hurdles.

“I think the music climate changes constantly. It’s definitely changed since 1997, with different trends and styles coming in and out of fashion and I think it has impacted upon music in general,” says Strachan. “The music industry hasn’t been a pleasant place for a long time, but I think The Living End has managed to stay above water by almost ignoring all that bullshit that goes on. We’re very focused about what we do; it’s our job and it’s our life and there aren’t really any distractions, we just do it to the best of our ability and we still have goals and aspirations. It’s what we want to do and it’s what we love doing, so there’s no reason why we wouldn’t be 120 per cent into it.”

The Living End

Author: Nathan Jolly

Issue 8 2004

Andy Strachan of The Living End talks to Nathan Jolly about the state of Australian rock, greatest hits sets and Craig Nicholls, amongst other things.

The Living End story is deeply ingrained in Australian folklore; the rise from obscure rockabilly covers band, to their independent release of the 3rd highest selling single in Australian music history, through to the car-crash that nearly claimed front man Chris Cheney’s life, and forced the band off the road for a year. And of course the comeback album and the greatest hits set to curtail the eight-year recording career. But according to drummer Andy Strachan, the best is yet to come. “The title of the record (From Here On In) sums it up. It covers then til now, and the future is open.”

Andy Strachan joined The Living End in 2001, and he still holds the enthusiasm that he had when he was a fan of the band. While very much a fully-fledged member of the group, he is still able to talk gushingly about Chris Cheney’s abilities, and the amazing back catalogue of songs that the band has amassed. He says it is this profilic streak that forced the best of compilation.
“There was so much stuff, that our manager came to us and said ‘we have so many hours of footage that if we don’t use it, it’d be a real shame’, and then we went back through the archives, and discovered ‘Fuck, the band has had that many singles!’ So it was just a bit of spring-cleaning, and the fans on the site have been asking for a DVD for ages. Plus it leaves the next album open. I think it’s long overdue. We’ve spoken about a rarities collection too. There’s so many songs that deserve to be on an album, but for whatever reason they haven’t. Such a huge backlog of songs. Maybe we’ll release a collection of demos.”

“If you were in Australia in ’98, you were a fan of this band. There’s no way you could have lived in Australia, and not known about The Living End,” he continues. It is clearly evident throughout the entire interview that Strachan considers it an honour to be in Australia’s premier rock band, and it’s a distinction he is happy to put in the yards for. A few months ago the band toured America with fellow Australian bands “Jet” and “The Vines” as part of the “Oz Invasion” tour, a tour that saw the band playing a string of sold out shows across America. “It was fantastic, Best tour ever”, he enthused. “It was fun, challenging, bloody exciting…every show sold out, nothing like it has happened for many years. It was good to be Australian.”

“The fact that all the bands are Aussies says a lot really. Everyone got on great. Craig from ‘The Vines’ gets seen as a little out there-he’s not really. He’s a very gentle, lovely guy. Just because he goes a little weird on stage…the Jet guys love a drink and partying, and they are genuine guys as well. How many millions have they sold? They appreciate it all as well. Made me proud to be Australian.”

In the spirit of this patriotic display, it comes as no surprise to hear that a bit of good old-fashioned one-upmanship played a key role on the tour.
“We all took it like a competition, trying to get one up on the next band. Trying to make it hard to follow our show. It was healthy and meant we all played really well, at every show. Everyone was at 120% throughout the whole tour.”

With three Australian bands loose on the road, it would come as no surprise to hear the tales of rock and roll debauchery, of televisions thrown out hotel windows, and drinking blasts. According to Strachan, this isn’t the case with The Living End.
“We are pretty well behaved. I wish I could tell you otherwise,” he laughs. “We’ve a job to do, and we enjoy it, and don’t wanna piss it up against the wall. There’s some bad comedy going on when we tour. That’s about it.”

In America, The Living End found themselves outselling the other two, more established bands at the merchandising table most nights. I was surprised to hear that the fans were already well acquainted with the band.
“Yeah absolutely. There is a big cult following over there. We haven’t had any radio success, and to be that far from home, and have people singing along to every song, it shows that once a fan, always a fan. The Living End has always been a band that’s exciting to watch and to listen to.”

The reasons for this loyalty are varied, from great songs, an energetic live show, the raw energy of the punk-fused sound, or maybe it’s the Aussie spirit that was captured on the tour. But Strachan is happy to simplify it all.

“It’s The Living End bug, you catch it, and that’s it. Don’t worry I was like that too. I caught it.”

From Here On In The DVD 1997-2004

Author: Unknown

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‘The Living End’
From Here On In The DVD 1997-2004
EMI

The Living End – From Here On In DVD is a must see for all Living End fans. Having spent my uni days listening to them on the radio and seeing them at the ANU Bar, this DVD reminded me why I like them so much.

Influenced by The Who, The Clash, The Sharps and The Beatles, along with a myriad of 50’s rockabilly music, The Living End have created the Punkabilly genre of which they are king.

Disc One gives all the favourite music videos including the two that started their rocket to fame, Prisoner Of Society and Second Solution. Festival clips from Summersonic, Splendour in the Grass and Big Day Out take up the 2nd half.

Disc Two features a two hour doco which gives some fascinating insight into the origins of this band, how they started and their musical influences. The brilliant innocence of their early days contributed greatly to their success and there are a few lessons for anyone wanting to be a rock star. Footage of their early gigs is hilarious for the fashions and the crowds and when they go off at Falls Festival in 1998 (I was there!) it makes you want to just go to summer festivals all year long.

A must see for any Aussie music fan.

From Here On In – The Singles 1997-2004

Author: Mike Wafer

The Living End / From Here On In – The Singles 1997-2004

Chris Cheney has to be one of the best guitarists, singers and songwriters in Australian music. His melodies are always supremely catchy, his riffs and solos superb blends of rockabilly, blues and rock and the pop song formula (verse, chorus, verse etc) never over or under-done. The biggest, and possibly only, flaw of The Living End is their absolutely appalling lyrics. The band’s love of acts such as The Clash, or perhaps their desire to become them, lead to extremely outdated and utterly bullshit ’77 London working class punk gibberish that has no relevance today. If it weren’t for the lyrics then every song of these 14 blisteringly catchy singles would be regarded as classics, rather than teen-demographic tunes of token ‘fuck society’ rebellion. In short, no one takes this band seriously on the issues they address, which is sad, because their heart is in the right place, but the difference between The Living End and, say, Midnight Oil is a matter of articulation. Chris Cheney’s voice is so crisp and clear that ignoring the lyrics is hardly easy, but as soon the band let their instruments take the driver’s seat it is dead easy to remember what is loveable about this band.

This singles collection is well worth owning, as there is not a bad song on it, just keep it out of reach of school kids or it might rev them up to dye their hair, rip their jeans or, heaven forbid, vandalise a phone box.

The Living End

Author: Ryan Smith

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It’s been far too long since The Living End graced us with our presence. But with a collection of singles and a DVD soon to hit our shelves, the band decided now was as good a time as any to make their triumphant return. And believe me, the fans are looking forward to it.

We also know singer/guitarist Chris Cheney is excited. “I’m really looking forward to the tour,” he gushes. “Some of the shows we’ve been doing overseas have been great, and I just feel we’re playing really well as a band. Better than we ever have before. Plus it’s always good playing your own bloody backyard, particularly because there’s so many more songs people back home know and get into. When you play overseas you sometimes struggle to get people into it. So I’m just looking forward to the usual Aussie craziness that’s usually at our shows.”

It’s true: the band’s shows are notoriously crazy. I have fond memories of punters literally hanging from the rafters of the venue on more than one occasion The Living End have visited our fair city. “It’s hard to explain really,” says Cheney. “It’s like when people come to our shows they just really let themselves go. And it’s quite a sight to behold when you’re up on stage. I don’t do anything else other than play in a band so for me it’s like an enormous release, it’s a great outlet. And I guess people go to our shows for the same reason. A couple of beers in the belly and off they go…”

Over the years The Living End have grown to be quite a big player in the Australian music scene. A lot of bands have come and gone, but The Living End seem to be here for the long haul. Cheney is quick to explain how that feels from a band’s point of view. “It’s weird because lately we’ve been getting a lot of younger people coming to our shows. It’s like there’s a whole new generation of kids who are becoming aware of the band. Maybe their older brothers or someone were playing our albums and they’ve caught on… But while we were in the States, all these American kids were coming up to us and were totally fascinated by the band; they were asking all sorts of questions about why we do this and why we do that. But to some extent we’re just emulating what they invented. Like having a double bass, and our rockabilly influence especially – it was all American so it’s weird to have American kids coming up to us and asking us to tell them all about it,” he laughs. “I just guess there aren’t any bands over there who are doing what we are – they’ll be a fully fledged rockabilly band, but the fact that we’ve always mixed things up makes us different. We still keep the visual aspect and style, but when we record songs, we like to throw it all into the basket and not stick to the one thing.”

Earlier in the year, The Living End treated the United States to a night of amazing Australian music touring with The Vines and Jet. “The Vines headlined every night, thought Jet probably should have,” says Cheney. “It was a funny situation though, because we were going on first. But it was fine actually, because The Vines have sold a lot more albums in the United States than we have, and Jet were starting to get really big there. So when we were offered a spot on the tour, at no time did we think we should’ve been headlining. We just thought ‘okay, we’ll go over there and play to our audience and their audience, and it’ll be a good combination of people in the crowd and we’ll try and win them back and give the other bands a run for their money.’ I mean – we had to. We were the Aussie rock veterans.”

The Living End have earned the rank almost pushing ten years of releasing music as compiled on the forthcoming ‘From Here On In: The Singles 1997-2004’. The CD will coincide with the release of a companion DVD. “It was strange,” admits Cheney. “When the idea for the DVD was first thrown out there, I said we weren’t really the kind of band who shoots a lot of footage of crazy stuff. We don’t get girls to take their tops off, we don’t smash up hotel rooms and film it just for the sake of a DVD. But then I was really surprised when it was all put together and the guy who collated it was saying it was going to be over two hours long and he was chopping a whole heap of stuff out. I think it’s good that it actually tells a story without having to resort to any of those cliche rock ‘n’ roll moments. I just never knew we had that much footage. I seriously don’t remember the camera being around enough to warrant a two-hour documentary.”

“I’d always said that if we ever decided to do something like this, we’d want to do it properly and not just have a half hour of us fucking around. But I guess after so many years you forget just how often stuff was filmed and how much has happened. Some of the stuff that’s on there I’d totally forgotten about. There was some moments where I was wondering if I really wanted to sit and watch it all again anyway… But there’s nothing too embarrassing in there,” Cheney chuckles. “Just a lot of hairspray.”

‘From Here On In’ documents the band’s entire career, from their humble beginnings in the Melbourne suburbs to the present, complete with the appearance of “new” drummer – Adelaide’s own Andy Strachan. When quizzed about how Strachan fit into the dynamic of the band Cheney laughs but is quick to point out he was just what they were looking for. “When Andy joined the band, of course we knew a little bit of his background and stuff. One of the main factors about him was the fact that he’d played in a band called The Runaways when he was sixteen or something, playing drums for a band that played fifties and sixties covers. And it’s funny because at that time we were doing the same thing in Melbourne but we were called The Runaway Boys. Plus, he’d also said that he grew up with a next door neighbour who was always playing Madness and The Stranglers. So he had a love of fifties stuff as well as seventies and eighties new wave stuff, which is the basis for our whole band really.”

“It’s funny though because the press still seem to refer to him as ‘the new guy’. We just do it on the rare occasion when we really want to rev him up,” laughs Cheney. “But i think Brian Johnson from AC/DC is still referred to as ‘the new guy’, and look how long that’s been…”