I would like to thank all of you witty, sophisticated folks who contributed to the discussion of great two-siders and cool Australian picture sleeves in recent days. I'd like to thank Stephen L. for reminding us of this record, which neatly merges the two concepts. The lone Eastern Dark 45 is nearly sacred in the Little Hits hut, an object the boys and I like to gaze upon with awe before spinning it at a volume that will sterilize roaches.

The Eastern Dark were formed when James Darroch left the Celibate Rifles to more fully pursue his glorious vision of the Beach Boys fronting the Ramones. Tragically, he was killed on tour in 1986, and as a result the band was sadly under-recorded. Two things worth mentioning though: 1) If you find the "Long Live The New Flesh" EP on What Goes On, you need to put that Modest Mouse remix EP right the hell back in the racks and stick with the real rock. 2) A good deal of the band's material, including both sides of this 45 and the "New Flesh" EP are on a CD released by Australia's Half A Cow Records.

I got my copy from Brian Kirk for buying him lunch at the Steak and Shake in Champaign-Urbana. Patrick Hawley (Twiggy/Pansy Division/Prisonshake/Erik Voeks/The What Gives) was there too. Ahhh...glory days will indeed pass you by.

Dave Allman and Mark Johnson may recall that sometime during 1989, there was a Bar None sampler cassette called Time For a Change that was, for about a month, our favorite record. It had Freedy Johnston's "Fun Ride," "King Of Joy" by Bill Drummond, a couple of Rage To Live tracks, and "Living Life" from Kathy MacCarty's (of Austin's Glass Eye) absolutely wonderful Dead Dog's Eyeball: The Songs of Daniel Johnston (which has just been re-issued). Oh, and two Embarrassment tracks ("D'ya want I should fuck somethin'?"). And this little gem by Illinois's Otis Ball (and the Chains). He was discovered by They Might Be Giants (that's them singing on the chorus) and made this one album. He has been heard from since only on samplers and tribute albums, (or in karaoke form) many of which are catalogued here.

Re: the LP title. Doesn't Game Theory have a line in "The Real Shelia" that goes "I'm gonna love you until I do?" Coinicidence...I wonder.

Unlike many of his neo-mod contemporaries, Anthony Meynell was able to do more than make a couple of good singles that sounded like the (early) Jam; his later efforts blended the Byrds and Beatles into a then-contemporary sound that sometimes suggested Big Star. While this early 45 is overtly mod-ish, it suggests that Meynell could work a pop hook, whereas so many lesser Weller wannabes relied entirely on anthemic chants.

The UK's Fischer-Z (say "Fisher Zed") are often maligned as strident new-wave goofballs, and while it's true that an LP might provide an overdose, I've always enjoyed their singles. This one is a huge favorite, both commercial and creepy at the same time. The lyrics and lead vocal stand out; singer John Watts makes a perfectly believable stalker.

Fischer-Z singles have been known to change hands for as much as $3.99, while their albums may set you back a fiver. A solid career retrospective CD would be well worth having though.

The Summer Suns (named after the Chris Stamey gem) seem to consist of Kim Williams and whoever else is available at the time. Over the years great Australian popsters like Dom Mariani (Stems/SomeLoves/DM3), Gary Chambers (Hoodoo Gurus), and Joe Algeri have all conributed to the handful of Suns 45s that have appeared since their first, "Rachel Anne" on Easter Records back in the late 80s. They also did singles for Waterfront, Bus Stop, Parasol, and House of Wax, as well an LP on House of Wax and a 10" on Get Hip. This is perhaps my favorite example of their mix of breathy vocals, mushy sentiment, and ringing guitars, and one of the records that kickstarted my personal Oz-mania.

Steve Mitchell is a leading authority on UK punk and twee pop, and he wrote all of your favorite Pooh Sticks songs. Those things along make him very popular here in the Little Hits mansion, but if those weren't enough, today we examine his collaboration with Michel von der Woude, International Language. The duo has thus far produced one LP, a delightful concept piece about groupies and fandomania entitled Where the Bands Are. WTBA spun off a couple of singles; the one presented here was pressed up as a promo-only sort of device with blank labels.

Unfortunaltely, International Language had their record released by SFTRI, which made it sort of inevitable that it would get lost in the shuffle. The same week this CD came out, for instance, SFTRI also released records by the Devil Whores, the Demon Prostitutes, the High School Cheerleader Sluts, God Scum, Scum God, and three different Billy Childish records, all of which, unlike Where the Bands Are, had sleeves portraying horned women with large pointy breasts.

Steve is rather good-natured about the fact that Where the Bands Are did not make him a household name, but lately, as he relaxes with his lovely wife, his cats, and many, many punk rock 45s, he is plotting another IntLang record. We'll keep you posted.