Nov 212010
Coloured Balls, “Working Man’s Boogie”
For serious musicians who want to jam and party without the threat of getting laid, Coloured Balls may be your band. But be certain of your decision or your balls may turn a color this shade of blue!
Honorable mention: Alison Gros, for those of you who fancy partying with a guy in a quilted knit vest.
What about Daddy Cool!
http://www.youtube.com/watch?v=oQfAZVsz6KM
I initially had them in contention! I forget why they didn’t make “the cut,” but they had some cool stuff too. Most likely I simply forgot to add them as I watched about 3 hours of this stuff late last night. Had you heard of these bands in their time? I had no idea they existed until last night. They’re seriously fun and manage to boogie without getting into all that cock-rock posturing of AC/DC. I need to see if there’s a compilation of this stuff available, like an Aussie Nuggets.
Some good stuff here, definitely enough for a Nuggets collection. Did you check out Kevin Borich? I found out about him researching the La De Dahs for the RTH World Cup this summer and he had a pretty fair career down under.
And to answer your question: Axiom
I believe I was on a bill with The Dingoes in 1977?…. I wasn’t aware of the others at the time though I was recently turned on to Billy Thorpe
Very cool – to both of you, k. and andy! I’ll have to look up Borich. I didn’t come across any of his stuff the other night.
Hmm… tough call here. I’m torn between the Colored Balls and the Dingoes.
I initially didn’t even bother to listen to Axiom because their name is so stupid, but after K’s comment, I gave them a shot. Not bad, but they’re no Colored Balls.
I wouldn’t have taken you for a Coloured Balls type, cdm.
I think it goes back to coming of age in the 70’s. I have a soft spot for Big Dumb Rock (assuming that we’re still talking about the band Colored Balls). If I had to choose though, I’d probably go with the Dingoes.
Billy Thorpe & the Aztecs, 1964 version: awesome! Great moves, weird tones, classic Look, and awesome song.
Billy Thorpe & the Aztecs, 1973 version: AWFUL! Crappy look, no moves, one-dimensional song. And those lyrics!
I can tell you *exactly* how the intra-band politics shake out in the Madder Lake singer argument:
Guitar player: just happy to finally have a vehicle for showcasing his awesome chops (i.e.: what singer?)
Drummer: the band party animal, good friend of singer’s, has lots of funny stories to tell about the last few times him and singer guy got drunk together, assumes the band would fall apart if it weren’t for the the vital role singer guy plays in it.
Keyboard: plays the role of luke warm water in the dispute, changing sides with each compelling argument pro- and con-.
Bassist: Can’t *stand* him.
Master’s Apprentices: unified, yes. Rockin’? Not so much.
Coloured Balls are a direct, if unknowing, antecedent of the Clash.
Discuss.
I’m disappointed, HVB, that you’re not as strongly behind the ’73 edition as you are the ’64 one! I thought we’d high five over both.
BINGO! If memory serves there’s a specific moment when you can see the bassist’s feelings on this matter scrawled across his face.
Please explain, HVB. Re-watching the enviously titled “Working Man’s Boogie” I’m thinking of all that Pearl Jam should have been. The face by the guy with the Amish beard at the 2:10 mark is priceless. Then watch how the singer immediately plays off that face! You don’t see facial interplay this strong across the board in most bands; grunge was a genre created for just this dynamic. Check out the drummer’s reassuring faces throughout, man. Brilliant. I may have to compare the facial work in “Working Man’s Boogie” to Temple of the Dog’s “Hunger Strike” video to gauge whether grunge ever lived up to Coloured Balls’ promise.
Working-class bloke-ism, check.
Purposely untidy presentation, check.
Bellowing, spit-cup, mostly out-of-tune vocals, check.
Total devotion to the Rock, check.
I admit they’re a progenitor of the earliest Clash years only, but I stick by my analysis.
Fair enough, hrrundi, but I encourage you – and all Townspeople – to pay particular attention to the relay of rock faces from the 1:54 through 2:15 marks of “Working Man’s Boogie.” You don’t see this sort of facial dynamic across a band’s lineup too often. I suspect only Temple of the Dog ever came close.