The Saints perform the resurrection rites to their original and legendary first three albums, I’m Stranded, Eternally Yours and Prehistoric Sounds.
That is why this incarnation of the band is being marketed as Saints ’73 -’78. To bring the firepower and manic intensity of those first three salvos which cemented their place in Punk history.
Present tonight are Ed Kuepper guitar, and Ivor Hay drums. It was with Chris Bailey that the band formed in Brisbane in 1973. Three schoolmates calling themselves Kid Galahad and the Eternals, a nod to Elvis of course.
They were a garage thrash band and wanted to compete with the likes of the Stooges and MC5. In truth there are always a myriad influences being thrown into the pot and it is a mysterious chemistry which keeps individual members together long enough to come up with music (Know Your Product).
The original band held up to those first three albums before the nucleus became too unstable to hold together.
It was Chris Bailey who drove the Saints bus for over 45 years until his death in 2022.
To continue the ride, the original two, Kuepper and Hay are joined by Mick Harvey (Birthday Party, Bad Seeds) guitar and keyboard, Peter Oxley (Sunnyboys) bass, and Mark Arm (Mudhoney) lead vocals.
A super group, of sorts.
To warm up the evening in molten fashion, we have local band Bloodbags kicking the game off.
A power trio of drums, bass and Andrew Tolley on guitar. Drums come over the top, and it is mostly a relentless riff barrage. Body hits which have a strangely relaxing and therapeutic effect.
Rhythmic drones, harsh vocals, medium pace to flat out delivery.
The Saints appear on stage eschewing any fanfare and hit top gear immediately with This Perfect Day (from Eternally Yours).
It’s the guitar sound that hooked us all in at the start. Meshed, lacerating and able to scythe through your head in a bracing and agreeable way. A fair match for Johnny Ramones chainsaw was Kuepper’s buzzsaw.
Orstralia and No Time. Chris Bailey had a bratty whine. Mark Arm has a focussed snarl and can channel a malevolent intent. He tends to enunciate the words clearly for impact
On Brisbane (Security City) the singer is growling with intent like Iggy the Stooge.
Lost And Found is Rock’n’roll at its heart with the lyrical preoccupations of Punk. Ain’t nobody tells me what to do now/ I heard all the lies and been promised the world.
Story of Love and Run Down sound like great Pub Rock you would have heard from the likes of a Dr Feelgood and the Wilko Johnson axe-wielding guitar attack
The Chameleon slows the tempo, and the ominous portents remind me of Black Sabbath. Harvey adds a little keyboard colour here, but it’s really the horn section trumpet, saxophone and trombone which lift this song’s spirits.
Horns on a Punk band? The Saints were resistant to the tag early in their career. They wanted to broaden their palette and not be restricted in that fashion. Part of the tension that led to Kuepper leaving the band in 1978 to pursue his own Laughing Clowns project.
Horns are heard to great effect on Messin’ with the Kid.
That song signals the energy levels to be dialled up as the band hit out with, I’m Misunderstood, I’m Stranded and Know Your Product. Bedrock honed fury and brought me back to the halcyon days off ’77 to ’79, when we were all caught in the last Big Bang of popular music to date.
The band has been honed and locked in from the start, and an hour has packed in 16 songs. Of course they come back for more.
It is not a sell-out crowd tonight and would be one of the best-behaved for former wild Punk pioneers. In truth the crowd resemble the older men on stage.
Private Affair is a great deep dive into a song apparently not performed since the mid 70’s.
They end with Nights in Venice. It is Punk energy and nasty Rock’n’roll, but they extend on the vamp, with horns and a saxophone blowing free jazz. Ends with screaming vocals.
The Saints resurrect and tap into their original source of inspiration.
Rev. Orange Peel
Photos Courtesy of 13th Floor and Chris Zwaagdyk
