Brett Myers, former guitarist of the acclaimed Australian band Died Pretty, admits he is a poor judge of his own work. In 1991, after weeks mixing the band's fourth album, 'Doughboy Hollow', in London, he nervously played a tape at the New York offices of Beggars Banquet. The first song, 'Doused', electrified the room, and by the second, 'DC', staff were dancing and cheering. Myers recalls thinking, 'Oh, maybe this is pretty good.'
Thirty-five years later, 'Doughboy Hollow' is finally receiving a vinyl reissue, so limited that it sold out on pre-orders. The label Eminent assures more are being pressed, but this echoes the album's initial struggle to achieve commercial success despite critical acclaim.
A Creative High-Water Mark
Died Pretty, originally from Brisbane via Sydney, had a reputation for volatility. Their earlier records drew on the Doors and Velvet Underground, but 'Doughboy Hollow' marked a shift. The songs were immediately appealing while maintaining the band's identity, with Ron Peno's majestic vocals and clear lyrics. Dave Faulkner of Hoodoo Gurus calls it the album where the band fulfilled its promise, saying, 'It seemed effortless, like they could do anything they wanted.'
Myers credits English producer Hugh Jones, known for work with Echo and the Bunnymen, for making the band sound sleek without being slick. Jones, nicknamed 'Slasher Jones', cut up and rearranged songs for maximum impact, focusing on space and simplicity. Drummer Chris Welsh was reined in from his Keith Moon-style thrashing, adding to the album's polished feel.
Dark Themes and Missed Opportunities
Despite its accessible sound, the album retained a heart of darkness. Faulkner notes that 'Sweetheart', often played at weddings, is actually about serial killer Ed Gein. Despite strong radio play in Australia, the album's momentum stalled after its mid-1991 release. Manager John Needham says it sold about 18,000 copies—double previous releases but not enough for a breakthrough.
Issues with distributor Festival Records hampered sales. Peno alleged Festival refused to print more copies after stock ran out, assuming the band had peaked. Needham now cites poor distribution and the shift from vinyl to CDs as factors. The album peaked at No. 19 in Australia but quickly fell away, and overseas sales were disappointing. Myers says, 'That was my one surprise, that it didn't do better overseas.'
A Lasting Legacy
Still, 'Doughboy Hollow' remains a creative high point for Died Pretty and Peno. Myers praises Jones for drawing out Peno's best performance. Faulkner, a close friend of Peno, still regrets what might have been, saying, 'It still stings, because they don't make them like him any more.' The vinyl reissue offers a chance for this overlooked classic to finally find its audience.
