Graduating from collecting comics, to buying selling and trading back issues, led to publishing a catalogue of the comics I had to trade (the young entrepreneur age 12), which then became a fanzine about comics, and then finally as school ended and my father bought a nice new photocopier that worked a dream, a small press publisher of an anthology of Australian comics, called Fox Comics. At the same time I developed an interest in radio, or more specifically at outlet for my various pop culture obsessions.

After initial fill-ins with fellow comic fan and co-worker Leaping Larry L (Leaps and I both worked from time to time at Melbourne comic shop Minotaur, one of the original owners of which, Philip Bentley worked with me also on Fox) on Melbourne public radio station 3RRR. Naming the show Fast Fictions (after a UK small press comic similar to the original Fox) I learnt the craft at Monash University’s student radio, 3MU, where we broadcast to the sum total of the student union at 9am (i.e. no-one).

After a year of trial and error, utilising one of my closest friends, Scott Fraser as a foil, I made the leap back to 3RRR, working graveyards and fills until earning a slot.

Locking in another of my closest pals, James Young, we became the Bod and the Dog. My nickname derived from a wrestling reference with additional ironic connotations courtesy the Leapster. By the late 80s, Fox Comics had become a fully fledged magazine, which I co-published with US publishers Fantagraphics. But comics, especially Australian alternative ones, were like marginalising yourself in a box no one would open. And since I didn’t really write, and certainly didn’t draw, it was hardly looking like a long term career.

Paradoxically my interest in new music had outgrown pretty ordinary 1970s countdown roots, and I was busy spending my income on local and imported vinyl at my favourite stores Augogo and Greville, and playing those records on our radio show. I loved the Australian indie scene and labels like Citadel, Waterfront, and Augogo and the cool records they released.

Then in the summer of 1987 James and I saved up all our holiday cash and went to the UK for a month on what we then named the “Cold as a Bastard” tour. Obsessing over one of my favourite bands of the early 80s, The Barracudas, whilst in Paris I tracked down an ep “Stay Overnight” by a French band, The Surrenders, produced by Robin Wills (guitarist of the Barracudas).

Back in Australia and struck by what a genius release it was, I wrote them a fan letter (keep in mind in the late 80s it was all pen, paper and airmail). To my surprise Michel from the band responded that it would be great if I could find someone to release their record.

Being a bit naive and stupid, I thought people would clamour for power pop sung in lilting French accents by a band that had never played outside of France, so I asked Bruce Milne at Augogo. He said no (hardly Augogo’s style given their pre-grunge stylings) but suggested that perhaps I release it myself.

At this stage I had no idea what this entailed, but given that vote of confidence, I thought ‘why not’. Comics was hardly giving me bragging rights (try impressing girls by saying you published alternative comics was akin to telling them you possessed an interesting genital fungus) and indie rock seemed somehow more grown up.

So I did the obvious thing – I asked my mates. I sold the dream to Scott, James, and another school friend David Michell, and together I put in the lion’s share (from memory I might have sold some shares my folks gave me) and the other guys put up a couple of hundred each, and we licensed the Surrenders, “Loaded Dice” 7” single, complete with previously unreleased b-side.