4WD Touring Australia – June 2018

(Ben Green) #1

4wdtouring.com.au | 097


The search...before it even had a name or a trademark.

In the late seventies Surng World magazine had become the perfect place
for Bruce Channon and Hugh McLeod to show off their disparate styles of surf
photography. Bruce was more of the ‘straight-shooter’, with Hugh lending the
magazine more of an arty edge...these were the days of solarized photos and
weird painted frames around shots, after all.
In 1984 they worked together, with a few other shooters, on a concept book
all about the trek west into the desert breaks of Western Australia. Today, these
breaks are still the bastion of adventurous surfers who want to head far beyond
the crowded parking lots of the east coast. In many ways, this book was one of the
biggest inspirations behind what 4WD Touring Australia was, and still is. Our rst
issue featured the Coral Coast, with some of the same breaks that were featured
in this book. We went back in Series 5 of the show to surf places like Red Bluff and
Gnaraloo, places that had been ignited in my imagination after reading this book.
I’ve since collected a bunch of old surng coffee table books produced over the
years. I’ve got one that’s just on Red Bluff, with heaps of history and photos from
back in the day...when surng was even more of an ‘exploration’ than it is today.
But at the heart of that collection, this book will always have a special place. It
not only shaped what kind of surfer I am, and what kinds of places I’ve fallen in
love with...it helped to shape what 4WD Touring Australia was going to be when
it was nothing more than a rough idea in my head sitting next to a campre on
Teewah Beach.
So thanks boys for the inspiration, for the photos and the dreams!

There is no way that Billy Corgan hadn’t
listened to My Bloody Valentine’s Loveless
a few hundred times before he wrote and
recorded Siamese Dream.
It blows my mind to think that the sound
of this album isn’t Billy rocking a million
pedals at once, but it just a fuzzed, distort-
ed Strat layered over and over itself and
then compressed down into a milky haze of
warm vibrations.
In a way, this album was the sound of the
early nineties as much as Nevermind ever
was, even it sold a fraction of the copies.
I think the difference was that Nirvana
went into the studio with Butch Vig kind of
against their will - there’s a legend that says
that Kurt wouldn’t multi-track his vocals until
Butch told him that John Lennon had done
it. And so much of what makes Nevermind
so damned good is what Butch brought to
the table.
Corgan went into the studio fully aware
that he was going to be essentially writing

pop songs in the Loveless style. It was a
studio approach to music, as much as an ex-
perimental, punk way of looking at things.
It’s no surprise that Vig was the producer
on this album too...and it makes you won-
der how much of that 90s sound was thanks
to Vig as much as the artists he was work-
ing with, in the same way that Phil Spector
shaped the sixties and Rick Rubin affected
the eighties.
The studio sessions are pretty legendary
too, with the drummer disappearing for
days-long benders, Corgan re-recording
all of the guitar and bass overdubs himself
and meticulously planning his own suicide
throughout the recording process.
Alan Moulder ended up mixing the
album, requested by Corgan after his work
on Loveless.
Siamese Dream is a symphony for
Generation X, a punk, progressive, grunge
masterpiece in thirteen movements. And it
still works, twenty-ve years later.


Free download pdf