Album Remarks & Appraisals:
"Just in time for it's celebration as part of the DON'T LOOK BACK series of concerts DIED PRETTY's classic 'DOUGHBOY HOLLOW' is relaunched. This deluxe new edition features extensive liner notes and BONUS DISC OF DEMOS AND OTHER MATERIAL and comes in a super-deluxe digi. Originally released in '91 Doughboy Hollow is an all-time Australian classic. It notched up close to Gold sales features three classic hits (Sweetheart"" ""DC"" & ""Godbless"") and has been OUT OF PRINT FOR OVER 6 YEARS. THE BONUS DISC includes the complete Doughboy Hollow demo sessions together with one album outtake - 15 tracks in all."
Rolling Stone (3/5/92, p.70) - 3.5 Stars - Very Good - "...accessible, even beautiful pop-rock music that conveys dark messages honestly...combines Australian folk melodies, near-Gothic heaviness and rock & roll dynamics to create a sound that causes shivers..."
Option (May-June/92, p.101) - "...They play garagerock as if their garage were the entire Australian countryside...The band continues to integrate the spacious explosions of Brett Myers's guitar with increasingly concise songs..."
Died Pretty: Ronald S. Peno (vocals), Brett Myers (guitar), John Hoey (keyboards), Steve Clark (bass), Chris Welch (drums).
Additional personnel: Amanda Brown (violin), Sarah Peet (cello), Sunil De Silva (percussion).
Recorded at Trafalgar Studios, Sydney, Australia in April, 1991.
With the lineup unchanged from the Every Brilliant Eye era, Died Pretty returned to Australia to record Doughboy Hollow with producer Hugh Jones. The result was probably their best album yet, an evocative, rich series of performances with both Ron S. Peno and Brett Myers at the height of their considerable powers. Peno's voice is fully his own at this point, yearning, mournful, intense, and more all at once, while Myers' guitar work simply grabs the mood and sets it throughout, from the chiming yet dark guitars on "Doused," to his often delicate tones on "Turn Your Head." The classic rock roots of the band as a whole enable them to become the equal of their models, making it a sad loss that the album didn't receive the attention that it deserved. While John Hoey's keyboards still sometimes are little more than arrangement, his touches like the persistent then relaxed piano line on "D.C." show he has his own skill, while stronger lead performances crop up throughout the album. Chris Welsh's drumming, meanwhile, has grown ever more sophisticated and sharp with time, able to capture the swings from full-on charge to gentler moods. A guest violinist and cellist provide extra shade and elegance, as on the folkish/martial ballad "The Ballad of Stanmore," and its immediate follow-up "The Love Song," a sweet, gently swinging number that, in fact, delivers the opposite sentiments from what the title would indicate. In general, Doughboy Hollow is a little more relaxed and ruminative than many previous albums -- not as many nuclear strength rave-ups outside of tracks like "Godbless," which itself is actually a little sparer and less flailing than in the past, but not without its traditional killer Myers solo. The energy gets a different kind of focus, like the steady surge and punch of "Stop Myself," with Peno overdubbing his harmony vocals to great effect. ~ Ned Raggett