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Tracy Franklin Pew (19 December 1957 – 7 November 1986) was an Australian musician, and bassist for The Birthday Party. He was later a member of The Saints, and worked with Nick Cave and the Bad Seeds.

As a member of the Birthday Party, Pew became associated with their "prodigious consumption of drugs and alcohol". In 1982, he was imprisoned for ten weeks in HM Prison Won Wron on charges relating to driving under the influence of alcohol. He died on 7 November 1986 of a brain haemorrhage, after sustaining head injuries during an epileptic seizure; he was aged 28.

Biography

[edit]
Main article: The Birthday Party (band)

Tracy Franklin Pew was born on 19 December 1957 in Australia;[1] he moved with his family to New Zealand in 1959, but they returned in May 1964. From 1972, he attended Caulfield Grammar School in Melbourne. He lived in Mount Waverley and learned to play bass from his friend, Chris Walsh.[2]

Pew joined a rock band, The Boys Next Door, in 1975; it included his schoolfriends Nick Cave on vocals, Mick Harvey on guitar and Phill Calvert on drums.[3][4] In May 1978, they provided three tracks for the Suicide Records compilation by various artists, Lethal Weapons, including two tracks each by Teenage Radio Stars and JAB.[5][6] The Boys Next Door added Rowland S. Howard on guitar in December 1978; in April 1979, they issued their debut album Door, Door on Mushroom Records.[4] In October that year they released a shared single, "Scatterbrain", backed with "Early Morning Brain (It's Not Quite the Same as Sobriety)" by alternative rockers Models.[7][8]

The Boys Next Door and Models were "the first Melbourne bands to rise out of the ashes of that city's hothouse punk/new wave explosion of the late 1970s with a clear vision and wider appeal. While The Birthday Party was hell-bent on kicking down the established parameters of rock music, Models were more clearly pop-oriented".[7]

Move to London

[edit]

In February 1980, The Boys Next Door renamed themselves The Birthday Party and relocated to London.[4] Rowland S. Howard recalls, "About the time of Hee Haw we decided to move to London ... we got very little press and our audience had reached a plateau. There was nowhere we could go. So we figured we had to go somewhere that, by virtue of population, there was more people that would be interested in seeing a band that was not a commercial proposition." In November that year they returned to Australia, released their debut album Prayers on Fire in April 1981, and were back in London by August.[3][4] Pew wrote a track, "The Plague", for Prayers on Fire, but it did not make the cut; it later appeared on Drunk on the Pope's Blood (1991).[9] The Birthday Party returned to the Crystal Ballroom. Ashley Crawford recalls "the only one who looked part of a more-or-less traditional rock'n'roll band was Tracy Pew, inevitably resplendent in fishnet singlet and ten-gallon Stetson, wielding a bass guitar like an AK47 and known to occasionally stuff his head into the centre of the bass drum as he flailed at his bass guitar".[10]

On 16 February 1982, Pew was imprisoned on charges relating to driving under the influence of alcohol and a series of accumulated fines; he was sentenced to ten weeks in HM Prison Won Wron, a minimum security prison farm near Yarram.[3][11] In Rowland S. Howard's words, "I'd been in quite a few trips with Tracy where somewhere along the journey you'd find out the car was stolen. I remember we were driving around Melbourne and there were all these kids' pictures floating around in the back seat. He'd stolen some poor primary school teacher's car." During Pew's stretch at Won Wron, he was temporarily replaced in the band by Chris Walsh (of The Moodists) for the band's subsequent Melbourne shows, and Barry Adamson (of Magazine) and Harry Howard (Rowland's brother) for their UK shows. Pew returned to the band after his release with a gig in Hammersmith on 26 May 1982.[3][12] In August the group relocated to Berlin.[3]

According to rock music historian Ian McFarlane, "Rivalries within the group had intensified, and the prodigious consumption of drugs and alcohol by various members began to undermine any sense of unity. Matters came to a head when Harvey refused to undertake a tour of Australia at the end of May 1983".[3] Gerald Houghton found the group "was a jolly adventure in drugs, alcohol, and more drugs and even more alcohol. Here if you want them are the king-size fuck-ups of guitarist Roland S. Howard, Cave and particularly leather-trousered bassist Tracy Pew. Stories are rampant about the congenial, erudite Pew's excesses, of OD-ing offstage and collapsing on".[13] Howard recalls that they had "spent the last 4 years not really making any money, living in each others' pockets, homeless. We just need to take a ... breath!"

Return to Melbourne

[edit]

The Birthday Party played their last gig on 9 June 1983,[3] although early in 1984 Pew briefly played bass for Nick Cave – Man or Myth?, the forerunner of Nick Cave and the Bad Seeds, on a live tour.[14] Pew returned to Melbourne to study literature and philosophy at Monash University.[3] In mid-1984, singer-songwriter Chris Bailey asked Pew to join a touring line-up of his punk band The Saints, alongside Chris Burnham on guitar and Ian Shedden on drums.[15] Former Saints' member Ed Kuepper agreed to return and toured with the band, replacing Pew on bass, but left after several weeks due to old conflicts resurfacing.[15][16] Pew contributed to Nick Cave and the Bad Seeds' album of cover versions, Kicking Against the Pricks (August 1986), and performed on Lydia Lunch's concept album Honeymoon in Red (1987).[14]

During his musical career, Pew was credited with playing bass guitar, double bass, wind, and clarinet.[17] He received songwriting credits for "She's Hit" on Junkyard (May 1982), "Sonny's Burning" on The Bad Seed (October 1982) and "Swampland" on Mutiny (1983).[17][18]

Personal life and death

[edit]

According to Gina Riley, comedian from TV series Kath & Kim, Pew dated her in 1976. In April 2009, Riley recalled the relationship on the musical quiz show Spicks and Specks.[19] Pew was prone to epileptic seizures, at times exacerbated by heavy drug use, although he had cleaned up by the mid-1980s. In late 1986, he experienced a fit whilst in his bath, resulting in head injuries so severe he died days later, on 7 November 1986, from a brain haemorrhage.[14][20] He was 28 years old.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tracy Pew

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from Grokipedia
Tracy Franklin Pew (19 December 1957 – 7 November 1986) was an Australian musician best known as the bassist and occasional clarinetist for the band The Birthday Party. Born in , Victoria, Pew grew up in the suburb of Mount Waverley and attended on a partial starting in 1972. Pew joined The Boys Next Door in 1975 as a founding member, playing bass on their 1979 debut album , before the band relocated to and rebranded as The Birthday Party in 1980. With The Birthday Party, he contributed to influential albums including (1981) and Junkyard (1982), where his predatory, repetitive basslines—often played on a —helped define the group's chaotic, noise-rock sound and influenced later acts like and . His tenure with the band was intermittent due to struggles with and , leading to temporary replacements, but he rejoined for their final tours until their 1983 disbandment. After The Birthday Party, Pew briefly joined The Saints and recorded with artists such as and , including contributions to the soundtrack for the 1986 film Dogs in Space. Known for his distinctive cowboy aesthetic—featuring a moustache, , and leather trousers—Pew was also an avid reader of philosophy and English literature, as well as a fan of . He died at age 28 in from a brain haemorrhage triggered by an epileptic , compounded by years of heavy drinking.

Early life

Childhood and relocation

Tracy Franklin Pew was born on 19 December 1957 in , Victoria, to John Pew and his wife Nancy. The family experienced early hardship when Pew's infant brother Gary died suddenly around 1960, an event that Pew witnessed and which reportedly affected him deeply. In 1959, the Pew family relocated to , possibly due to the father's work commitments, before returning to in May 1964. Upon their return, they settled in the suburban neighborhood of Mount Waverley in Victoria, where Pew was raised in a middle-class home environment amid his parents' eventual separation. Pew had a younger sister, , and the family's life in Mount Waverley provided a stable, if conventional, backdrop to his formative years in the eastern suburbs of .

Education and musical beginnings

In 1972, at the age of 14, Tracy Pew began attending in on a part-scholarship. There, he gained a reputation as the class jester, raconteur, and poet, often entertaining peers with his wit and creative expressions, including writing a review of the film Freaks for the school newspaper at age 15. He also engaged in extracurricular activities in the art department, where he created sensitive and outrageous sketches during sociology classes, sharing them with school friends like . During his school years, Pew resided in the suburb of Mount Waverley, a typical middle-class area on Melbourne's outskirts that contrasted sharply with his emerging rebellious personality. This suburban environment, described by childhood acquaintance Garry Gray as an "amorphous suburban sprawl" embodying the "great Australian lie" of , fostered a sense of alienation among Pew and his peers, pushing them toward outsider interests in and . Around age 15 or 16, Pew shifted from playing the in his youth to learning the , mentored by his close friend Chris Walsh, who lived nearby in Mount Waverley. Walsh taught him the basics and introduced him to key influences, including acts such as , , and ' Blue Valentine. Pew practiced diligently. These early lessons and exposures, shared among school friends and the local scene, ignited his passion for music and laid the groundwork for his distinctive style.

Musical career

The Boys Next Door era

Tracy Pew joined The Boys Next Door in 1975 at the age of 17, taking on the role of bassist alongside schoolfriends on vocals, on guitar, and Phill Calvert on drums. The band, formed in a year earlier by Cave, Harvey, and Calvert while attending , transitioned from high school covers to original material influenced by the emerging punk movement. Pew, who had recently begun learning bass from friend Chris Walsh, brought a raw energy to the lineup, helping solidify their presence in the local scene. As the band's bassist, Pew contributed to their early gigs in Melbourne's burgeoning punk scene, starting with private parties and college shows in 1977, such as at Swinburne College and a residency at the Royal Oak Hotel's Tiger Room. His aggressive, predatory playing style—characterized by strong, repetitive riffs and a growly tone achieved through a and Vox Supreme amp—drove the band's punk sound, drawing influences from acts like the Stranglers and . This intensity was evident on their debut Door, Door, released in 1979 on , where Pew's foundational basslines anchored tracks amid the group's chaotic energy. He also received songwriting credit for "The Plague," a leftover from the album's sessions that highlighted his emerging lyrical input. The Boys Next Door's music evolved from straightforward punk to more experimental elements, incorporating darker themes and anarchic structures during their Australian phase. This shift culminated in late 1979 when the band signed with independent label Missing Link Records under manager Keith Glass. They relocated to in early 1980 and changed their name to The Birthday Party, marking the end of their formative punk era and the beginning of a more direction.

The Birthday Party years

In early 1980, The Birthday Party relocated from to to pursue greater international exposure in the burgeoning scene. The move positioned the band amid the UK's vibrant music underground, where they quickly garnered attention from key figures like broadcaster . By the summer of that year, they signed with the independent label , which would become instrumental in amplifying their reach across . The band's tenure in London yielded two landmark albums that showcased their evolving intensity. Prayers on Fire, released in 1981, featured Tracy Pew's driving bass lines, including the hypnotic pulse on tracks like "Nick the Stripper" and the titular "Sonny's Burning," contributing to the album's raw, mutant edge. This was followed by Junkyard in 1982, where Pew's lumbering yet lithe bass anchored the chaotic energy of songs such as "Swampland," blending ferocity with blues-inflected menace. Seeking a more immersive creative environment, the group relocated to in mid-1982, drawn to the city's underground pulse and artistic fervor. There, their sound intensified, incorporating noise-rock dissonance and improvisation, elements that amplified the albums' experimental undercurrents. Pew expanded his role as a , contributing on "Yard" from and on "A Dead Song," alongside wind instruments that added textural depth to their sprawling compositions. The Birthday Party's live performances during this period epitomized controlled chaos, with frenzied sets marked by violent spectacle and audience provocation across tours in , the , and through 1983. Pew's prowling stage presence—often described as a dangerous, foundational force—embodied the band's feral dynamism, prowling the stage like a predator amid the sonic turmoil.

Imprisonment and band hiatus

On 16 February 1982, Tracy Pew was arrested in for of alcohol, along with additional charges including of a sewing machine, clothing, and food items from a , as well as providing a false name to police—claiming to be Peter James Sutcliffe, the Yorkshire Ripper. These offenses, compounded by prior unpaid fines, resulted in a ten-week prison sentence at Won Wron, a minimum-security facility in Victoria, . Pew served his time from February to May 1982, during which he engaged in menial labor and completed a leather craft course as part of the routine. The isolation and physical demands of incarceration exacerbated his ongoing health struggles with and alcohol dependency, creating tension within The Birthday Party as the band navigated the uncertainty of his absence amid their intensifying creative and personal conflicts. With Pew sidelined, guitarist temporarily switched to bass to maintain the band's momentum during the promotion of their 1982 album Junkyard and select live dates, including U.S. tours. This shift altered the group's sound and dynamics, as Howard's style differed from Pew's raw, propulsive approach, contributing to a period of instability while the band grappled with lineup changes and mounting internal pressures. Pew was released on 26 May 1982 and rejoined shortly thereafter for their remaining European performances and final studio recordings, such as contributions to the compilation The Birthday Party's Greatest Hits later that year. However, the hiatus had deepened rifts, with Pew's reintegration marked by lingering resentments over the replacement and the band's chaotic lifestyle, factors that accelerated their dissolution in mid-1983.

Later projects and collaborations

Following the Birthday Party's final performance at the Seaview Ballroom in St Kilda, , on 9 June 1983, the band officially disbanded, and Pew returned to to resume his studies in and English literature at university. In the years that followed, Pew maintained ties to the Australian scene through sporadic collaborations. He briefly joined and the Bad Seeds as a touring in early 1984, supporting their nascent performances during the transition from the Birthday Party era. Later, in 1986, he contributed bass lines to select tracks on the band's covers album , including the rendition of "Hey Joe," and to the single "The Singer," specifically on Roy Orbison's "Running Scared." These appearances marked Pew's direct involvement in the Bad Seeds' evolving sound, blending his raw, aggressive style with Cave's emerging direction. Pew also had a short tenure with The Saints from mid-1985 to 1986, serving as their touring bassist during promotions for the album A Little Madness to Be Free. Although no official studio credits appear on the record, his live performances with the band during this period helped bridge punk roots with their maturing rock sound. Additionally, Pew participated in Melbourne's underground scene by providing bass for "Shivers" on the 1986 soundtrack to the film Dogs in Space, a project capturing the city's vibrant, chaotic pub rock and punk milieu of the late 1970s and early 1980s. Prior to these efforts, Pew had experimented with solo-oriented work, including co-writing the track "The Plague" for a 1985 compilation, though its origins traced back to earlier Birthday Party sessions. His contributions during this phase often highlighted his versatility, occasionally incorporating alongside bass in informal jam sessions and local projects, though few were formally documented before his death.

Personal life

Relationships

Pew developed deep non-musical friendships with schoolmates and , rooted in their shared youth at , where they bonded over art, humor, and mischief. regarded Pew as his best friend, reminiscing about their mutual "chaos and outrage" and Pew's sharp wit, which provided intellectual companionship during high school sociology classes and beyond. similarly recalled Pew's charisma and barbed humor, describing him as the "life of the party" who offered grounded, witty counterpoints in their social interactions. These bonds extended to forming the "Art House Gang" with drummer Phil Calvert, a tight-knit group that shared interests like films and aquariums while living together in . Details on Pew's in adulthood are sparse, though his , Nancy Pew, remained connected and later reflected on how the death of his younger brother Gary from a —when Tracy was three—profoundly shaped his empathetic and sensitive personality. Nancy noted instances of his emotional depth, such as crying during a viewing of the film , possibly evoking familial loss. Pew's social circle in Melbourne's community centered on the bohemian St Kilda area, where he associated with non-musical figures including photographer Polly Borland, artists and Jenny Watson, and actor , influencing a lifestyle of artistic experimentation and close-knit camaraderie. These connections fostered a dynamic environment of creative and social exchanges outside formal collaborations.

Health challenges

Tracy Pew developed in his early adulthood, with the condition manifesting more severely from the late onward due to increasing stress, , and an unstable lifestyle associated with his emerging music career. Seizures became more frequent during periods of high intensity, such as extensive touring and performance demands, often leaving him unreliable for rehearsals and shows. Pew's heavy involvement with substances began intensifying in the late , coinciding with his time in The Boys Next Door and later The Birthday Party, where heroin, amphetamines, and excessive alcohol consumption were rampant within the band's environment. This not only fueled erratic onstage behavior—such as stumbling or collapsing mid-performance—but also intertwined dangerously with his , as drugs and alcohol lowered his and worsened overall health stability. The combination contributed to legal troubles, including his 1982 imprisonment for charges related to and , which stemmed directly from alcohol and substance-influenced actions. Following his release from in 1982, Pew made efforts to manage his conditions by pursuing studies at university in , marking a short-term shift toward and structured daily life that temporarily improved his reliability and reduced triggers. However, these periods of relative stability were fleeting, as the cumulative effects of his earlier lifestyle continued to impact his health amid ongoing personal and professional pressures.

Death

Circumstances

Tracy Pew died on 7 November 1986 in , , at the age of 28, from a brain haemorrhage triggered by an epileptic he suffered while bathing. The occurred at his girlfriend's , where he was staying, and resulted in severe head injuries when he struck the bathtub during the episode. His girlfriend discovered him motionless in the bathtub upon returning home from work several hours later. An confirmed the as the haemorrhage stemming from the head trauma inflicted during the , with no evidence of a direct ; the incident was linked to Pew's long-standing , which had been exacerbated by years of heavy alcohol consumption. In the months leading up to his death, Pew had been active in musical projects, contributing bass to ' album , released in August 1986. He was also studying and English literature at a university in , reportedly viewing his music career as a "dead end" and seeking a more stable path. Some accounts suggest that his recent attempt to quit drinking may have contributed to triggering the fatal .

Aftermath

Pew's girlfriend discovered his body in the bathtub on 7 1986, following an epileptic seizure that resulted in fatal and a haemorrhage. The news reached his former bandmates, including , who responded with deep sorrow, describing Pew as "a troubled man, extraordinarily complex and alone knows what was actually going on beneath all of Tracy's excesses and his bravado," adding, "I loved him very much. I miss him very much – miss the chaos and the outrage!" A private funeral was held in shortly after, featuring recordings of Deep in the Woods and ' "Somewhere," with the program card displaying a smiling portrait of Pew alongside Friedrich Hölderlin's poem: "O stillness of the shadow world, / even as you are, so was I." Pew was interred at in . His passing, occurring just days after the release of Nick Cave's Your Funeral… My Trial, resonated deeply within Australia's punk and post-punk scenes, where it was covered in the music press as a profound loss amid the era's chaotic undercurrents.

Legacy

Musical influence

Tracy Pew's signature bass style was characterized by its prowling, aggressive, and minimalist approach, often featuring repetitive, predatory riffs that emphasized raw intensity and tonal grit over melodic complexity. Playing with stainless steel picks on a Fender Jazz Bass, Pew produced a gravelly, snarling tone with significant low-end rumble and treble attack, creating a "prowling and genuinely dangerous foundation" that underpinned the chaotic interplay between Nick Cave's howling vocals and Rowland S. Howard's angular guitars. This style drew from influences like Chris Walsh of The Moodists and JJ Burnel of The Stranglers, but Pew elevated it into a visceral, slow-burning menace, as heard in tracks like "King Ink," where his "slow and evil" lines set a template for the band's sound. Pew's approach significantly shaped bass techniques by prioritizing sonic aggression and textural depth, inspiring a generation of players to focus on propulsive, beastly lines that drove the genre's evolution toward . His loud, predatory bass—described as the "heart" of The Birthday Party's sound—pushed beyond conventional punk roots, influencing broader and aesthetics through its emphasis on dissonance and confrontation rather than harmony. This intensity is evident in how Pew's playing transformed the band's early punk energy into something more feral and experimental, contributing to the "St Kilda sound" and leaving an "extraordinary influence" on bassists worldwide. Within The Birthday Party's discography, Pew played a pivotal role in the shift from punk to , particularly on the 1982 album Junkyard, where his bass provided a growling, wriggling undercurrent that amplified the record's grimy torment. On opener "She's Hit," his rumbling introduction over sparse cymbals establishes a menacing pulse that evolves into chaotic noise, while tracks like "6" and "Blast Off" showcase his snarling attack supporting the band's extreme dynamics. This evolution marked a departure from melodic structures, embracing raw, unpredictable ferocity that defined the album's confrontational edge. Pew's multi-instrumental versatility added a unique dimension to Australian music history, as he occasionally incorporated into live improvisations and early recordings, blending punk's aggression with jazz-like experimentation. Having played in his youth, Pew featured it on the proto-Birthday Party track "Death by Drowning," infusing their sound with dissonant, improvisational elements that foreshadowed the band's noisy boundaries. This rare fusion of bass-driven with woodwind improvisation distinguished Pew's contributions in the Australian scene, where such versatility was uncommon amid the era's rock-focused intensity.

Tributes and recognition

Pew's bass work featured on the posthumous release of Lydia Lunch's album Honeymoon in Red, recorded in 1982 with members of The Birthday Party but issued in 1987 by Widowspeak Productions. His contributions to The Birthday Party also appeared in archival compilations such as the 1992 Hits collection, which gathered previously released and unreleased material from the band's active years. Tributes from peers have emphasized Pew's inventive musicianship and chaotic energy. Nick Cave, in reflections shared during interviews, described Pew as "a troubled man, extraordinarily complex" and "a huge inspiration to many musicians," noting their shared boundary-pushing dynamic: "Tracy and I escorted each other to the very edge of things, but he was the leader due to his ferocious intelligence, his courage, and his superior wit." Cave further highlighted Pew's lasting stylistic impact, stating that "Tracy’s bass line in ‘King Ink’ – slow and evil – would become the template for many Birthday Party and Bad Seeds songs going forward" and crediting him as "the prowling and genuinely dangerous foundation" of the band. These sentiments are echoed in Ian Johnston's 1996 biography Bad Seed: A Biography of Nick Cave, which details Pew's pivotal role in shaping Cave's early career and the post-punk scene. Documentaries and books have further preserved Pew's story within The Birthday Party's narrative. The 2023 film Mutiny in Heaven: The Birthday Party, directed by Ian White, chronicles the band's rise and turmoil through archival footage, photographs, and interviews with surviving members, prominently featuring Pew's contributions and persona despite his absence. Similarly, Mark Mordue's 2020 biography Boy on Fire: The Life and Music of Nick Cave includes accounts from Pew's family and bandmates, underscoring his intellectual depth and influence on Australian music. Modern recognition of Pew's legacy appears in cultural nods and ongoing influences, particularly through and the Bad Seeds' evocation of his era in performances and recordings. Cave has reiterated Pew's foundational role in the Bad Seeds' sound, describing him as "the master and originator of the predatory bass line, pushed up super-loud," an approach that informed the band's predatory rhythms and intensity. While Pew himself received no individual Australian music awards during his lifetime, his brief tenure with The Saints—inducted into the in 2001—ties him to broader punk recognition in the country.

References

  1. https://www.discogs.com/artist/260120-Tracy-Pew
  2. https://au.rollingstone.com/music/music-features/the-transverberation-of-tracy-pew-25685/
  3. https://www.thebirthdayparty.com.au/
  4. https://www.theguardian.com/music/2023/oct/26/the-birthday-party-the-danger-drugs-and-rancour-behind-nick-caves-post-punk-band
  5. https://tributes.theage.com.au/au/obituaries/theage-au/name/richard-pew-obituary?id=59774172
  6. https://www.i94bar.com/~i94barrocks/interviews/1144-proto-punk-is-so-yesterday-garry-gray-on-st-kilda-sacred-cowboys-and-making-sydney-sit-up-and-listen
  7. https://www.fromthearchives.org/bnd/chronology.html
  8. https://www.punkjourney.com/boys-next-door.php
  9. https://fromthearchives.com/bp/chronology.html
  10. https://4ad.com/artists/thebirthdayparty
  11. https://rockandrollglobe.com/new-wave/the-art-of-arson-the-birthday-partys-prayers-on-fire-at-40/
  12. https://www.discogs.com/master/20060-The-Birthday-Party-Junkyard
  13. https://pitchfork.com/reviews/albums/the-birthday-party-junkyard/
  14. https://thequietus.com/opinion-and-essays/anniversary/the-birthday-party-junkyard/
  15. https://rowland-s-howard.com/articles/1983-offense.php
  16. https://music.fandom.com/wiki/The_Saints
  17. https://secondhandsongs.com/performance/43711/all
  18. https://sydneyreviewofbooks.com/reviews/the-boy-from-wang
  19. https://www.theguardian.com/music/2008/feb/23/popandrock.features
  20. https://www.thebirthdayparty.com.au/tracy-pew-bio
  21. https://www.scribd.com/document/779061844/Bad-Seed-Nick-Cave
  22. https://dhjhkxawhe8q4.cloudfront.net/harpercollins-nz-wp/wp-content/uploads/2020/11/18142930/Boy-on-Fire_approved-Digital-Sampler.pdf
  23. https://www.findagrave.com/memorial/231352743/tracy_franklin-pew
  24. https://lydialunch.bandcamp.com/album/honeymoon-in-red
  25. https://www.discogs.com/release/389498-The-Birthday-Party-Hits
  26. https://pitchfork.com/thepitch/the-new-documentary-about-nick-caves-early-band-the-birthday-party-is-a-thunderous-post-punk-time-capsule/
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