Recorded and produced by Magoo at The Dirty Room in Brisbane and Sing Sing Studios in
Melbourne during the optimistic summer of October and November 1998. Assisted at The
Dirty Room by Andrew Lancaster. Assisted at Sing Sing by Dave Davis. Mixed at Sing Sing
by Magoo with Glenn Thompson and David McCormack. “We Wanna Party” recorded and
mixed at 192 Musgrave Rd, Red Hill, Queensland. Artwork by Glenn Thompson with
interference from David McCormack. Custaro is managed by Sarah Longhurst (longee@csi.
com) and Patti Revson([email protected]) with their Macs. Patti Revson courtesy of Mr &
Mrs Revson. Goldeneye and everything else by RB. Thanks to John Bone, Dylan Hughes,
Graham Lee, Staci Slater & The Talent House, Andrew Lancaster, Fender and Paul Thomas
Mastered by Steve Smart with Magoo and David McCormack in December 1998 at Studios
301.
Contact CUSTARO at P.O. Box 254 Spring Hill, Queensland, Australia, 4004.
www.custard.net
[email protected]
Managed by Longshot Artist Management.
Booked by Billions Australia.
P.O. Box 509 Surry Hills, 2010. N.S.W. Australia.
Ph:61 2 9310 4268 Fx: 61 2 9310 4267
c/ The Talent House suite 500, 7211 Santa Monica Blvd,
West Holiwood, LA CA 90046.
PH:323 883 0360 Fx: 323 883 0085

Dear listener. Welcome to the extra part of the album. If you’re reading this it means you’ve taken the time to learn Spanish as I have done, or that you have suited a linguist friend to give it to you translate. I’ll be your host as long as you read this, maybe even later. My name is David McCormack.

Let me guide you through the wonderful world of the bonus…
Here are the songs:

1.Umlaut

2.I didn’t write you a song

3.Pablo has a girlfriend

4.Cat o’ nine tails

5.Nervous Dancer II

“Umlaut” was originally written for the movie “Mullet.” For reasons I can’t mention here, the chance of him appearing in this film is now very slim. This song is definitely better When the Custard plays it live than in this recorded version.

“I didn’t write you a song” is pretty obvious, don’t you think? Don’t ask me to explain, I don’t want to offend no one. I like the breaks in this song because they remind me of the other one, you know which one. It’s the He goes, “come see me, you’ve smiled at me.”

“Pablo has a girlfriend” I wrote it in five minutes, when Paul Medew started to know with his current girlfriend. I was very single at the time. I’m much less single now, and much happier. Originally the lyrics described Paul masturbating a lot, but he insisted that he change it and not tell anyone. I respect your decision. Pablo likes PCs and his girlfriend, although he owns a Mac-style computer, confesses an appreciation of computers in the style of the Mac. Or at least I will He confessed, which shows how love can bring very different people together.

“The Nine-Tailed Cat” was conceded after returning from the Recovery program on a Saturday night tomorrow. We had indulged in loads of cocaine and beer and were very excited about it. I had just read Roberto Hughes’ “The Lethal Shore,” and I based this song on that one from “Weddings. Parties, anything.” This was done by Dave Davis. I believe, and I hope you’ll agree equalized when I say he did an outstanding job.

“Nervous danzarota II” is a different version from the album. I like this version much more.
This was the first version that we recorded, it contains a liberal use of the Renaissance program. Detective Metal was a name I saw in a van when I was on vacation with my wife
Emma Jane McCormack, on Stradbroke Island in October 1998.

The CD ROM element contains scenes from Natcam, an internet camera that is recorded 24 hours a day while we were filming in Melbourne at the Canta Canta studios. Really, there’s not much to look at.

The accompanying song is titled “Valder-rama” I wrote and played using a cheap lowery keyboard.
I originally wanted this to be our first song on the new album. I thought I’d send
It was a clearer signal to the kids that things had changed. But no, the reason kicked in, and “Girls Like That.” it was our first song, and that’s the way it is. Okay. Thank you for reading this and goodbye.

Translated into Spanish by Emma’s friend who is hot (and also speaks some of the language).
I want you to know that I had a lot of problems with the translation of “masturbate” and I had to call my mother.

Custard LOVERAMA. Was the disco era really as silly as it seems from the safety of 1999? Of course it was. Anyone who’s ever seen a man attempt to dance in pants tight enough to make his eyes water and glass-soled platform boots high enough to make his nose bleed will tell you that. But underneath the dizzy glitter of the mirror-balls, underneath the white satin jump suits and the matching white leather patent pumps there was a message, a message pounding along to the crazy jungle rhythms of the disco beat, a message guaranteed to shake one’s booty and/or moneymaker: a message of love. Young people desperately trying to get together before they all turned into lonely old people. It is the end of the millenium and it is time to say, “I remember the ’90s”! Which brings us (near enough, anyway) to Custard’s fourth long-playing album, LOVERAMA.

If ever an album pimp-strutted its way across your living room floor and into your CD player and proceeded to rock the mother-humping house, it’s LOVERAMA. Which may make LOVERAMA the best Custard album yet – not bad considering just How good Wahooti Fandango, Wisenheimer and We Have the Technology are LOVERAMA starts with a hit song. “Girls Like That (Don’t Go for Guys Like Us)”. We know it’s a hit song because it went all the way up to number three on the Triple J Hottest 100 of 1998 and because the kids sing along whenever they get the chance (which is a lot). More importantly, they dance along with it too, which is possibly the key to understanding the carefully concealed messages for better living in the new millennium hidden within LOVERAMA’s thirteen tracks.

The second song is another hit song. We know it’s a hit song because it’s called “Hit Song”. Simple, really. The hooks on this one are as large as fishing regulations and by-laws in most states of the good country of Australia allow. One might be tempted to say that “Hit Song” has “hit song” written all over it. One should not, however, give in to that temptation. (At this point Custard would like to point out that they have never felt the slightest pressure from either their recording label Records, their management, Longshot, or their mothers, Mrs McCormack, Mrs Medew, Mrs Thompson and Mrs Strong, to actually produce a hit song of any kind. In fact, they clearly recall everyone involved with their careers, including their accountants, encouraging them to produce nothing but the highest quality art rock they could imagine.) Then there’s the irresistible bounce of “Monkey”, the gorgeous melodies, ultimate bleakness and soft country twang of “The New Matthew”, the funky gospel of “I Feel Like…) Ringo”, the foot-tapping generic alterna-stomp of “Almost Like a Song”, the soaring choruses of “Correctional Facility of Love” and the wide-open splendor of “Genius”. They’re all wonderful pop songs (what else would you expect from Custard?), and all lovingly produced by the multi-talented Magoo (Regurgitator. Powderfinger TISM. Midnight Oil). Recorded at The Dirty Room in Brisbane and Sing Sing in Melbourne during the heady days of October 1998, Magoo threw his own little something (not that we’re saying it’s little) into LOVERAMA – all of which was captured live on the Custard-Cam, when Custard became the first Australian band to broadcast its recording sessions over the internet. And you can see it all on the special CD-ROM included with the album, which also contains a special secret track from the LOVERAMA sessions. Damn! It’s not a secret anymore, is it?

Custard is a band from the East Coast of Australia. Its members include, but are not limited too:

David McCormack, Guitars and vocals. Drums on “Genius” Paul Medew, bass, Bill Wyman impersonations Matthew Strong, guitar, David Crosby impersonations Glenn Thompson, drums, vocals and guitar on “Genius” Andrew Lancaster, keyboards, videos