The difference of Perth music: A scene in cultural and historical context

Abstract

In the present article, I think about the importance of Perth's culture as a crucial context in which the popular music of Perth has developed. In the case examined in the present article, Perth music in the 1960s and 1970s can be understood as a scene that evolved in situ. Its localism was certainly not a function of any attempt to market ‘Perth music’. Rather, as we shall see, the Perth music scene as I describe it has arisen in a particular geographic place with specific qualities and, as I will argue, these qualities have had identifiable effects on the music produced in Perth.

Notes

1. See, for example, Keith Negus' (1992) discussion.

2. For further discussion on the Triffids, see Stratton (2007a, 2008).

3. Quoted here from the Various Artists the Clarion Call liner notes compiled by Alec Palao.

4. On Johnny Young's later career, see David Nichols (2006).

5. See Stratton (2007b and Forthcoming).

6. The best critical commentary on the Troggs, albeit from an American perspective, remains that by Lester Bangs (1988).

7. A good history of the Scientists can be found on the web, on the Noise for Heroes website (http://www.nkvdrecords.com/kimsalmon.htm).

8. The 100 Club Punk Festival, at the 100 Club in Oxford Street, had a line up that included the Sex Pistols, the Clash, Siouxsie and the Banshees, the Vibrators and the Buzzcocks.

9. One history of the Leederville Punk Festival can be found at: Ross Buncle's site for the Orphans on his Perth punk site (http://www.perthpunk.com/orphans_story.htm). Buncle's site also contains reminiscences by a number of the contributors to the Perth punk scene and is an important source for understanding the history of that period.