Touched by the hand of GOD

GOD visited Melbourne in 1987. Au Go Go Records was a shop and record label located amongst the red brick warehouses, abandoned factories and cobblestone lanes of Abbotsford.  

Proprietor, Bruce Milne was one of the first to be touched by the hand of GOD. It was an experience that changed his life, a “golden moment”, recounts Milne. 

Milne was handed a demo cassette of  My Pal, a song by a young punk band with a precocious nameGOD 

500 copies of the 7” vinyl first-press sold out quickly followed by 1500 more 

It wasn’t only Milne who was touched by this golden musical moment; GOD have been described as possibly the greatest Australian band you have never heard, and  My Pal is considered one of the classic punk rock songs in Australian music history.  

It may also surprise you to know that many rock gurus think of it as the unofficial rock anthem of Melbourne.  

What is it about My Pal that makes it so great?  I’m rocking along Citylink on my way to the airport when I enquire of my passenger and music advisor, a conservatorium trained jazz guitarist – who just happens to be my son… 

My Pal, by GOD, have you heard them?.. of course you haven’ttell me what you think, I want your considered opinion.”  

I switch the sound system to my iPhone and crank up the volume and lose myself to the song. 

“Aussie pub punk…messy, raw, nice riff and driving bass…I like itI really like how the outro returns to the intro,” he smiles, who are they again?” 

Musically,  My Pal  has an under-produced soundyou might expect of punk but that’s where expectations end.  

It intros with a distinctive catchy, chiming riff that revolves around a circular five-note melody; the song is carried by messy, energetic drums and a driving bass, a three-cord progression overlaid with angst-ridden vocals.  

The lyrics are barely decipherable but the chorus is raw and emotive: 

“You’re my only friend / you don’t even like me.” 

Joel Silbersher, GOD’s lead singer/guitarist/songwriter has been compared to Nirvana’s, Kurt Cobain, who followed some years laterwhile others liken his vocal style to Motorhead’s, Lemmy Kilmister.  

The combination, deliver an unexplainable energy, a mojo that resonates. Dave Laing, Record label owner sums up the appeal. 

“For indie kids it’s an indie song, for punk kids it’s a punk song, for rock’n’roll people it’s a rock’n’roll song. It can be a pop song if you want it to be. It just seems to appeal to everybody in the alternative kind of world. It just covers all those bases.” 

The real surprise is that Silbersher and his band: Matty Whittle, Tim Hemensley and Sean Greenway were just 15 and 16 years old when they recorded  My Pal 

Not surprising perhaps, when you consider they were playing in bands since they were 10.  

In the space of three-years, GOD made a raucous appearance on the music TV show Countdown, released two albums and played approximately, seventy live gigs. 

However, the huge success of the single My Pal became overpowering for the band,  dominating their other material and audience interest. While for a time, it fell out of favour with GOD, it  remains an enduring Australian punk classic, feted and covered.

Silbersher and Whittle are still active in the industry but tragically, Hemensley and Greenway could not cling to the GOD-like immortality of  My Pal; both dying from heroin overdoses.   

As a touch of bitter irony, My Pal featured on the soundtrack to Underbellythe TV series of the infamous Melbourne gangland wars, for control of the drug trade and racketeering. 

GOD: live on Countdown

Book Review: The Black War: Fear, sex and resistance in Tasmania

The Black War: Fear, sex and resistance in Tasmania

Nicholas Clements, 2014. Published by University of Queensland Press

Black War

“Our night’s sport made a dozen less natives whom we left to rot…”

The Black War, Nicholas Clements’ debut historical work presents a shocking account of the depravation and inhumanities inflicted upon the Tasmanian Aboriginal population and the escalating brutality of their retaliation. The success of this extraordinary work lies in its unique approach: Clements draws research from eminent historians such as Henry Reynolds and NJB Plomley, along with a variety of records including personal transcripts to assay accounts of clashes from colonist and Aboriginal perspectives.

The result is at times confronting, particularly the graphic depictions of death and warfare. His examination dispels the history wars and assertions that Aboriginal people were impotent victims of a dominant colonial force. Instead, Clements reveals the indigenous Tasmanians as ferocious and merciless adversaries who instilled fear in the invaders, severely impeding expansion of the colony through their use of guerrilla warfare. His account valorises the effectiveness of the Tasmanian’s resistance, comparing their violent successes with those of the Maori.

Despite evidence showing that the Tasmanian Black War was the most evenly matched frontier conflict in Australia’s history, the tragic reality was that five to seven thousand Aboriginal people were decimated forty years after the British invasion. By 1843, only two full-blood indigenous Tasmanians were known to be alive. As Clements states, “Per capita…the Black War was one of the most destructive wars in recorded history.”

This well written and logically structured account has successfully encapsulated a balanced, if not stark and sobering view of the formative years of colonisation. A view formerly overlooked by educational curriculums and military history. The Black War provides an exposition of attitudes and experiences of both black and white, illuminating one of Australia’s darkest periods.

– Mark Cashion

Published: The Australian Writer, December 2014