Bruce Griffiths spoke to Tex Perkins, Lachlan McLeod, Stu Spasm, Peter Read, Adrian and 'Big Tex' about the 'Waste Sausage" compilation, the LUBRICATED GOAT mini album, and the THUG Lp, with which they are all in some way connected.

*Why is "Waste Sausage" happening?

Lachlan: Well, some of the tracks on "Waste Sausage" were intended to be released on record in the first place. There was talk of the POOFTERS track and the BUSH OYSTERS track coming out on a single. It's mainly because none of these things that're on the record would ever be available to anybody.

Stu: lt represents a unique period of Australian Rock History. (MUCH LAUGHTER)

*Have all these bands played live?

Lachlan: No, POOFTERS didn't, and neither did TOE.

*What is it about these bands, most of them have been quite short-lived projects - why is that?

Tex: It's just the circumstances. You just do it and somebody either dies or goes away or ... It's just the nature of the band itself. They achieve what they set out to achieve and then there's no more point.

*What is it that most of these bands set out to do?

Tex: Have a lot of fun and make a lot of noise. Most of these bands have never played long enough to gain a large audience.

*Why stop? At what point do you decide that you've had enough with one project?

Peter: When another one comes along. Have another idea, so that one happens, which makes the one previous to it redundant.

Stu: Some of the things are quite spontaneous, and when you've done it one way it's hard to do it again, to just keep repeating what you did off the top of your head to start with. A lot of the recordings we used to do with the Fostex were like that, like where "Jason's Place" (LUBRICATED GOAT) came from.

*How much is entertainment a part of what you do, outside of the people within the band?

Tex: It's all there to entertain.

Adrian: I think it's pushing an audience, see how far they'll go.

*How do you know when you've gone too far?

Adrian: When you get hit, something bounces off your head. (MUCH LAUGHTER)

*You once said, Adrian, that one of the reasons for HOT PROPERTY stopping playing in the city was because the challenge had gone - you could walk out the Hopetoun and not get bashed for looking like you were.

Stu: I never expected that to happen in the inner city. I've always hoped that HOT PROPERTY could play in the suburbs.

Peter: It's a curious thing to be respected for doing something like HOT PROPERTY.

Stu: HOT PROPERTY's really meant to be shown to people that deserve it. That's why we'd really like to do it supporting WA WA NEE & BOOM CRASH OPERA and all those kind of groups. We'd have a hard time getting a gig if we gave a tape to the manager of one of the groups that we'd like to support - they'd say "No way". THE JOHNNYS seem to be tapping into that area, so we've managed to get supports with them (in Melbourne).

Tex: We were supposed to go to Melbourne with the LIME SPIDERS but they threw us off the tour because they wanted a real band.

Lachlan: Due to us being too silly

Stu: People think that HOT PROPERTY just does "grunge" versions of 70s songs, as if you can apply this supposed "grungey formula" to anything.

*How would you describe what HOT PROPERTY was or is?

Lachlan: HOT PROPERTY was never intended to be 70s sort of cabaret band, it was just intended to be unappealing. Full stop.

Stu: Yeah.

Lachlan: And hopefully repulse people.

*So what went wrong?

Lachlan: People pick up on those sorts of things and some reason they like them.

Stu: It's much more light-hearted than our intentions were in the first place. 'Cause you can't do anything too savage.

Tex: We don't hate all those songs. I genuinely like the AC/DC songs we do.

Stu: At first we were just going to do songs that we thoroughly disliked. We'd say "Do you remember this song?", and someone would go "No", and then you'd prompt him a bit and they'd go "Eeuurghhh I remember him, he was fucked", and then you'd do their song and crack up laughing. We didn't practise it properly - we'd just play snippets of songs as much as we could remember and put on these horrible clothes and went "blah blah blah" along with them. They stopped half way through when we first played - the songs would just stop 'cause we used to just do them on the spot. We did them on the spot once with SALAMANDER JIM 'cause we had 15 minutes to fill in at the Strawberry Hills or they were going to dock us, so we just did it all off the top of our head and played about 10 seconds of each song and people genuinely did dislike it that time; they were walking out.

*Would you rather achieve that than have a large audience filling the place to see it?

Tex: No, it'd just be good to have a really obvious effect on people. Like fill up the place to start with and then repulse en masse. But you could do that very easily by just playing shittily.

*So does HOT PROPERTY still exist in Sydney, or is it only a touring thing?

Lachlan: It will exist in Melbourne, but when we return we'll only play for a really large amount of money (MUCH LAUGHTER) 'cause we're sick of doing it, but if people are prepared to pay a lot of money to see something like that, then so be it.

*Why is it that you seem to get sick of the bands that you're in very quickly?

Lachlan: Well it's pretty easy to get sick of HOT PROPERTY - standing around in front of masses of people, wearing flared slacks and MI-SEX t-shirts, loses it's appeal fairly quickly. (LAUGHTER)

Peter: It's one thing to be an audience and see it occasionally; but being in the group, every time the group plays you're there. I feel like that with every group I've been in.

*What is it that's different about you lot, that you stop the bands you're in quickly, whereas other bands keep going?

Tex: They've got different intentions, they want to do the circuit and build up

Stu: Some bands that start out thinking that they're pretty wild keep on going, hoping that some money comes into it along the way, and when it does they just bend into any shape that they need to keep the money rolling in, and they don't really care about the music after that.

*How much is humour a part of what you do?

Tex: Heaps.

Lachlan: Pretty strong.

Peter: We like to laugh. We like to do something and watch other people laugh at it.

*Do you take the musical side seriously?

Stu: Sometimes in HOT PROPERTY I experience great joy as a musician playing all these hot licks and things and getting them just right, and then I get told off for tuning my guitar and taking delight in playing them. (MUCH LAUGHTER)

*Not HOT PROPERTY, but how much of the other bands is taken seriously?

Tex: Depends what you mean by "seriously". Not "frown" serious.

Peter: Not "trying to achieve something personally for yourself" sort of serious.

Tex: Seriously trying to create.

*I was wondering whether the humourous element was there to make the extremes of the music a bit more appealing, to push audiences more into extreme areas of music? Is there that insiduous side to what you're doing - to take an extreme form of music like say THUG or NO MORE BANDICOOTS but doing it in a humorous way so that people don't find it quite as....

Tex: ... so they will accept it?

Lachlan: It's more self amusement really.

Tex: You're saying "Do we purposely put humour in there so it's easier for people to digest?"

Lachlan: I'd say no.

Tex:It's just the way we do it.

Big Tex: It seems to be a part of everyone's nature.

Stu: You couldn't really write THUG songs in any other way No one in THUG's got a social conscience. You couldn't write a political song in THUG.

*But isn't - perhaps this is a good place to digress to THUG - is THUG any form of statement at all, 'cause it seems quite deliberate.

Tex: Yeah, yeah; THUG's definately an attitude. Sort of 11 proud idiots", proud of being an idiot, proud of being stupid, poking your tongue out, farting, just having fun

*How would you describe what THUG do?

Lachlan: Public foolery... um ... well ... I don't know about that.

*The reason I ask is I was talking to John Foy (Black Eye) - he hadn't seen you, and he saw you at the Piccadilly that night and he came up to me when you finished and said "I haven't got a word for that". (LAUGHTER) With the tapes you use - how much of what goes on on top of them varies, and why use the tapes to start with?

Peter: Personally, for me, so that it's 50% predictable, and 50% whatever I feel like at the time.

Tex: Yeah, that's how I feel about it.

Peter: Because it's one thing to stand there and just be completely spontaneous, but then...

Tex: You need a starting point.

Peter: .... if you've got something, like a block, something you know is going to happen, you can work around it.

*Where do the tape bits come from? Is that the whole ban or just Peter?

Tex: Either Peter or Peter and me make the backing tapes.

*How do they come about?

Tex: Here (Peter's bedroom) on all that stuff.

*Is it just doodling?

Peter: Oh, it's done sort of intentionally. Most of what's there was done in a period of a couple of months - the main block of it - with the intention to do it the way it's been done.

*What's been used? There are some strange sounds; what's on the tapes?

Peter: Mainly pretty distorted versions of sounds, little plastic things, little bass lines.

Lachlan: Things used in ways they weren't supposed to be used. Things used with the wrong intent.

Peter: Yeah, deliberate.

Tex: Broken equipment.

Peter: Yeah, most of it. That's what started the idea; 'cause I used to attempt things, I had an idea, and instead of trying to make the idea come exactly as I thought of it - because that just wasn't possible 'cause everything was broken - I started with the sound, with whatever was broken, and used that.

*How was the THUG album recorded?

Tex: All here.

Peter: I think the THUG album will be quite an unexpected product.

Tex: It's not going to have very many things from the live set.

Peter: Very few; it'll be things that no-one's ever heard before. Rather than someone put the record on and expect to hear what they've seen live, they're going to hear things that've been created in the atmosphere of this room. Of a studio. Oh, it's not really a studio ...

Tex:It's really difficult to try and duplicate what goes on live.

Peter: That's what's happened. We were approached to do the album, and trying to recreate the live thing I was completely lost because when it comes to "live" I don't know what I'm playing and suddenly here it was, play the tape, and I started and thought "What do I play in this song?"

*So it's not the same backing tapes forming the basis of the album?

Peter: No.

Tex: We attempted to do all those songs that we do live but it was hard to recreate it to record. We felt like we had to be running around doing somersaults.

Peter: Yeah, because that's how the live THUG is created. It's not created by being organised. And as soon as we started trying to organise it, it just didn't have anything to do with the live thing.

*How do you think people will translate from seeing you live to the album?

Tex: It's just a different medium. "This is the THUG album done by the THUGees for a different purpose This'll be what you listen to at home. Peter: THUG live music is made for the idea of you standing in a hotel drinking beer.

*Is the live stuff that thought out? Do you go out with that in mind, to create something for that environment?

Peter: Well, yeah, to a point, I do. I try to do something that will fit the situation.

Adrian: I think you instinctively entertain.

Peter: Yeah, that's a good way of putting it.

Adrian: 'Cause that's what I get from THUG - it's always "happening" up there.

Peter: Live I felt that I needed the pressure of "having to do it", rather than organising something and knowing "this is going to work and that's going to work".

Tex: The THUG album is the same attitude as THUG live but different sounds, different approach. There's lots of things on it. Nearly 30 titles.

*Where do the inspirations for THUG lyrics come from? What inspires things like "Fuck Your Dad" for instance? (LAUGHTER)

Tex: Things that make us laugh. Situations. They're just words that little kids'd say. Stupid things. There's not much thought in THUG. THUG hasn't got a lot to say. THUG just want to entertain and be entertained.

*THUG are also one of the 13 bands that appear on "Waste Sausage", I thought it'd be a good idea to get you to run through the others - who they were/are and where the recordings came from. TOE?

Tex: TOE is the singer from PURPLE VULTURE SHIT.

Adrian: He's a plumber.

Stu: He knows everything there is to know about turds.

Lachlan: The world's finest frontman.

Peter: John Farnham was a plumber.

Tex: He was obsessed with shit, and vomit, and he's also the president of the Northern Territory Anti Nudist Association.

*Is he the guy that leaps out of carcasses of animals?

Tex: Yeah, that's right.

Peter: Oh, I wouldn't say "He leaps out of the carcasses of animals". Once he lept out of a carcass on stage. Tex: Toe Biter. Chris Cashell. The TOE tracks came from a tape he made - it was like a letter from Darwin to this guy - Justin - that I was living with in Melbourne. A whole 60 minute tape worth of little TOE songs, and two of them are on it.

*Where's the GRONG GRONG track from?

Lachlan: The last ever GRONG GRONG performance, with THE PUBLIC IMAGE. I just thought it was the best GRONG GRONG song of the lot.


Tex: THE POOFTERS is me, Lachlan, and this guy - Steve Coory.

Peter: It's like an embryo of BUSH OYSTERS really.

Tex: Yeah. It was done just before I went overseas, and was supposed to be put out on an EP, on Red Eye, but it just took so long that the enthusiasm for doing it waned.

*Next thing on the track list is LUBRICATED GOAT, so this looks like the LUBRICATED GOAT rave...

Stu: That's from when we used to sit around and record in one of the flats here. lust after I got back from England. I was so clogged up from not being able to do anything there, suddenly 1 got really creative. We used to just sit around, usually in the middle of the night, and record about 3 or 4 songs a night. Did that a couple of times.

*Who's in the LUBRICATED GOAT on "Waste Sausage"?

Stu: Me, Peter, Kevin from MADROOM, Patrick who's in BOX THE JESUIT, Nick Needles .... It's got percussion played on there that's egg-beaters being hit on tables and stuff - we never had any drums.

Peter: That was when I came tack from Adelaide with a 4-track I'd bought there, and that was the first load of things I recorded.

Stu: There were 6 songs, and we used to call them "the hits" and listen to them all the time. That track was the most popular.

*The LUBRICATED GOAT mini album that's also coming out on Black Eye - that was recorded "properly", wasn't it?

Stu: Yeah, that's done in a proper studio, except for 2 songs that me and Martin Bland currently in PRIMEVILS) did. We recorded 2 songs on his Fostex in Adelaide that are instrumental, more or less, except one's got whistling, which is designed as music for strippers. There's 7 tracks all up. The rest of them is much different to the LUBRICATED GOAT we had here. The LUBRICATED GOAT we had here got really slack. All these people that were in it were going through ... were getting really irresponsible (LAUGHTER). It wasn't very funny. It wasn't fooling anyone when we used to do it here live 'cause it was just this really unrehearsed thing that wasn't meant to be done in such a sloppy way. It was obviously really unrehearsed and could've been better if more organised. The one I had in Perth was much more organised.

*Why did one come about in Perth?

Stu: I bumped into Brett, from THE KRYPTONICS, when I was in England, and I'd formed a group with him there but was finding it difficult to get anything done. When we came back to Australia I was trying to get him to move over here and he said "No, I can't. Why don't you come to Perth? If I get you some gigs you can afford to". So he arranged me these gigs and I went over there and played for a while and did the mini album recording while I was there. It's much different from the one we had here. It's quite fast and furious, the stuff we recorded. A lot of that is to do with the way the other two guys play. It's played as heavily as we can - it hasn't got heavy metal lead breaks like whatever - it's just really blistering music.

Peter: There's a bit more of Stuart The Man in it, rather than Stuart The...

Stu: ... Cabaret Ham. (MUCH LAUGHTER)

Big Tex: Stuart The Clown.

Stu: Yeah, I was a bit of a cabaret ham for a while. I've managed to sort of purge myself of that through various activities, like CHICKEN HOLDER.

Peter: I don't know about purged you. (MUCH LAUGHTER)

Stu: You can't ham it up much more than CHICKEN HOLDER. Except for PIG HOLDER. (LAUGHTER)

Adrian: I really liked CHICKEN HOLDER.

Peter: Yeah, so did I.

Adrian: One of my all-time favourite bands.

Stu: CHICKEN HOLDER was a sophisticated nightclub act. When I was in Perth I was doing CHICKEN HOLDER in places as well. It's an exercise in how much you can get away with under the pretence of the performer (LAUGHTER). Me in this really disgusting outfit going around acting like some sort of sexy drag queen. Sort of like being Marlene Dietrich. You'd just go around and sit on people's laps and that, 'cept it's really unappealing having me come up and sitting on your lap (MUCH LAUGHTER) Instead of being nice to people, it's sort of like "terror crooning" - "oh dear, he's coming over here" - you'd go over and sit on their table and stroll back to the stage with one of their drinks and you'd squeeze their cheeks and slap 'em across the face and sit on their laps and put your arm around them. I know I wouldn't like someone to come up and do that if I was trying to watch a group.

*Who was backing CHICKEN HOLDER?

Stu: There's instrumental tapes and this little box I've got that makes noises, called the Unit, and a mic, stand. I'd get a chicken from the supermarket and put it on the mic stand and attach the Unit to it, and then Brett who was playing in LUBRICATED GOAT - he'd have some sort of funny costume as well, fishnets and stockings - Lachlan used to do it sometimes as well - and he'd play the chicken with the drumstick - you'd hit the chicken and it makes funny noises ....

Adrian: Booowwwrrnngggg!

Stu: ... and you'd have it through pedals and that (LAUGHTER). And people are usually quite disgusted with that. The police turned up a couple of times when I played in Perth and I had to nip out the back door. Another time Brett had an arguement with this guy who was quite offended by it and said it wasn't music. He threatened to stuff the chicken down Brett's shirt, so Brett stuffed it down the guy's pants. And then there was a bit of a scuffle ....

*Are there any other manifestations of you lot that I've missed?

Tex: The legendary SNOT COLLECTION that started it all. Peter: Yeah, why was that not included? I would've thought SNOT COLLECTION would appear on "Waste Sausage".

Lachlan: Ahhh ... well, I don't know whether ... it was a bit rich....

Stu: THE SNOT COLLECTION was me, Lachlan, Tex, Dave Taskas, Ewan and Adrian, and Toe Biter even made an appearance. It was like a supergroup. We played at the Strawberry Hills, 'cause when I was in ZULU RATTLE we had this gig booked and the band broke up and we didn't tell them, and about 2 days before the gig we decided to put together a group to still play the gig. They expected ZULU RATTLE to turn up and play, but the SNOT COLLECTION played, and we wrote 15 songs in one afternoon. Lachlan: Things like "Piss On My Boots". Stu: And "The Average Male Has 6 Erections While He's Asleep" and "Slap Gran With A Fish" and "Biker's Bum". There's a tape of the SNOT COLLECTION live at the Strawberry Hills.

*So why is the SNOT COLLECTION material "too rich"? (MUCH LAUGHTER)

Lachlan: If there's a "Sausage Part II", then perhaps...

Tex: I'm even offended by some of the SNOT COLLECTION material.

Stu: Yeah, I've been abused for playing the SNOT COLLECTION tape to people.

Tex: "Biker's Bum" is one of the most offensive songs you'll ever hear in your life.

Lachlan: It's quite a catchy tune.

Tex: BUMHEAD ORCHESTRA was another good thing. That was an orchestra where I conducted about 16-17 people all playing different instruments. We had different signals - I'd conduct the thing - none of the orchestra would know the "piece" as such - they'd just know the signals I'd give and just follow what I'd do and it turned out very good.

Peter: For instance, one signal for fast, one signal for slow.

Lachlan: There was also a signal where everybody in the group had to do a raspberry.

Tex: I'd like to do that again.

Peter: Yeah. Things like that, it's an idea that revolves around an attitude.

*Getting back to the "Waste Sausage" bands - NO MORE BANDICOOTS - what have you got to say about them, Adrian?

Adrian: Oh........ (LONG SILENCE)

Peter: Come on!

Lachlan: Maybe you could talk about some of the songs. "Two Bums For One"..? (LAUGHTER)

Adrian: It's sort of a stream of unconsciousness, basically .....

Lachlan: And you have a theme...

Adrian: Yeah, every night's been a theme night - Pirate Night, Golf Night, Used Car Salesman Night, Jungle Night, Space Shuttle Night, Nude Night .... we want to start on posters now to encourage people to come in costume. We' be having a Re-enactment Of The Battle Of Britain Night (MUCH LAUGHTER), and a Mass Murder Night, and a Lost In Space Night. Like I was saying, it's just natural entertainment. It's like Stuart said, trying to get away with as much as possible under the guise of music. Much more than music. It's just trying to do things to extremes, constantly, as much as possible. It's to entertain yourself, as much as the audience, who often isn't there anyway. So you just do things to entertain yourself and push it further than what you can do, not just the people watching. Go further than you did before.

*How do you mean?

Tex: Bigger sets, bigger browneyes....

Adrian: Yeah, just get more epic. Take your clothes off more.

Lachlan: Bigger cocks (MUCH LAUGHTER)

Adrian: More tasteless, more overtly disgusting ... just more than what happened before.

*The songs actually seem to have some form though, they're really written.

Adrian: Well the strange thing is that the more gross it gets, the better the songs seem to come.

Peter: Or the more gross the intention...

Adrian: ...and you finally in s ome cases are able to stop thinking entirely, and that's when things really start becoming interesting. When you're really doing something is when that massive grey blob in your head stops getting involved.

*The lyrics for 'BANDICOOTS stuff are really strange, like "Hay Baler" and things, they're just really weird.

Adrian: "2 Bums For 1" is like that - "Daddy's been out butt-punchin'/Should've been at business luncheon/Now he's turned yellow/And mum's run off with another fellow/ 2 bums for 1, 2 bums for I..." (LAUGHTER) 'cept it's just really yelled quick. You never hear the actual words, it's just the sound of the words.

Tex: Oh, I can understand them.

Peter: Yeah, you'd be amazed what you hear out front.

Adrian: The drum machine is just this thudding dull noise that happens behind, and you've got a continual racket from Mark and Barry's singing, yelling ...

Peter: But that's not to say that there's nothing more than making a racket.

Adrian: Yeah. What comes out is almost we haven't got much control of. You do what you feel like you should do and it comes out and that's it. I don't try and consciously direct what I do.

Peter: That's when it's a similar sort of way that I operate in THUG. A situation where you can do almost anything. Depends who's looking at you. When you're standing on stage and there's an audience looking at you every audience is different, therefore every time you want to make a different sort of sound for them, maybe say a different word for them... to them, perhaps not for them.

Lachlan: I've seen numerous occasions where people have just gotten up and started thwacking instruments and a lot of the time it's pretty awful. But generally both of these things (THUG, BANDICOOTS) work quite well because there is a sort of format.

Tex: Yeah, like Peter was saying before - you have a starting point, which is concrete, which will unchange, and you just colour it in.


Lachlan: That was originally Jackie, Belinda and Phillip and Patrick who are both in BOX THE JESUIT. Jackie went overseas and then Tex took over the bass and played once, or twice

Tex: But the thing on the record is all them.

Peter: The track on the record is one of the last, if not the last gig. It's at French's.

*Where is the BUSH OYSTERS thing from?

Lachlan: That was from the first ever BUSH OYSTERS show, at French's.

Tex: BUSH OYSTERS were a great band.

Peter: They were a very musical band.

Tex: BUSH OYSTERS came together when I came back from Adelaide. Me and Lachlan just went around and asked all these idiots if they wanted to do something and they said "Yes!" and it came together in about 2 weeks. Very easy, it came together so quickly.

*Why did that stop?

Tex: That was my fault. I stayed in Adelaide, because of love.

Lachlan: It was also a good band to cut off fairly' quickly, even though I liked it. It could've continued, but the way it worked out was ok to me as well.

Adrian: It spawned a lot of other bands as well.

Lachlan: We played a couple of really dreadful shows with THE ANTI NOWHERE LEAGUE, which wasn't a good thing for us. BUSH OYSTERS weren't very compatible with ANL.

Adrian: That was the band I've felt the free-est playing in of any I've been in.

Peter: BUSH OYSTERS is possibly one of the only "rock" bands I've been in that I've thoroughly enjoyed. I miss it a lot.

Adrian: Great! Let's do it again'

Tex: Find a drummer. That was the other reason. Ralph was going through a real fuck-up period during the BUSH OYSTER period. He had this psychotic friend that actually had a chemical imbalance in his brain, which made him sort of mad ...

Lachlan: And Ralph sampled his medicine.

Tex: Ralph went under the guise of him to the clinic and took his medication.

Peter: It was a drug called Modicate. This is true, by the way.

Tex: And for about a month Ralph was totally unpredictable, even to himself.

Lachlan: His limbs weren't working properly, and he needed all 4 to play the drums. He'd come around feeling quite enthusiastic but he couldn't get his arms and legs to work.

Peter: He was pretty emotional too. At any moment he'd suddenly burst into tears.

Tex: We'd be playing, and you'd notice something had gone wrong, and you'd turn around and Ralph would be motionless, with this stunned phased expression, at the drumkit. Or he'd just wander off somewhere.

Lachlan: He only ever took the medication once, but the effects lasted for a good month. It was a very powerful drug.

*Next on the album is REAL FUCKING IDIOTS - Adrian? Which recording is that from?

Lachlan: You'd better tell us who was in that, 'cause I don't know.

Adrian: It was Tom who's now in Feedtime - he played bass - he used to break 3 bass strings a night, and blow up people's amps - Minda, who's dead...

*And drew the Feedtime "Shovel" possum ...

Adrian: Yeah, that's right, and Tim Spy ...

*Who got chased out of the country...

Adrian: Yeah, he got evicted from Australia. Madge played trumpet. Yvette played drums. And I sort of played saxaphone. The 'IDIOTS were the ultimate primitive band. Most people, when they say they're primitive, kind of think they're primitive, but the 'IDIOTS didn't even know what they were doing. And that was what was pretty good about it. Peter: You wouldn't think so, though, by listening to the music that came out.

*No, the music's really together.

Adrian: Well it was, that's it. It's just one of those things that happened, like the BUSH OYSTERS. I think there's certain really good bands in time, and everybody (involved in this) has been involved in some. 2 or 3 really good bands. And the 'IDIOTS was a good band.

Peter: But then for any of them to continue on, they would've lost ....

Adrian: That's the funny thing, the really good ones only seem to have gone for a short period.

*The 'IDIOTS stopped playing quite a while before Minda died, didn't they?

Adrian: They stopped playing, yeah. They played about 20 times all up.

Lachlan: That would be the oldest track on this record.

*Is that off the 1st tape - "Real Fucking Idiots"?

Adrian: Yeah. There were 3 'IDIOTS tapes released. One was a 6 minute tape. I nicked all these 6 minute tapes from a recording studio. I was very popular. People thought they were getting a real bargain for $2. It's just one of those good things that just started and