The Triffids ‎– Born Sandy Devotional

Hot Records (2) ‎– HOTLP 1023
Vinyl, LP, Album


A1 The Seabirds
A2 Estuary Bed
A3 Chicken Killer
A4 Tarrilup Bridge
A5 Lonely Stretch
B1 Wide Open Road
B2 Life Of Crime
B3 Personal Things
B4 Stolen Property
B5 Tender Is The Night (The Long Fidelity)

Companies, etc.



Produced by Gil Norton & the Triffids
Recorded by Nick Mainsbridge at Mark Angelo Studio

Manufactured & distributed in the UK by The Cartel

Picture inner sleeve plus separate lyric sheet

Barcode and Other Identifiers

  • Matrix / Runout (A Side Stamped): HOTLP 1023 A-1U-1--1
  • Matrix / Runout (B Side Stamped): HOTLP 1023 B-1U-1--1
  • Rights Society: BIEM/n©b

Other Versions (5 of 30) View All

Cat# Artist Title (Format) Label Cat# Country Year
HOTLP 1023 The Triffids Born Sandy Devotional(LP, Album) Hot Records (2) HOTLP 1023 US 1986 Sell This Version
VG 50209 The Triffids Born Sandy Devotional(LP, Album) Virgin, Rough Trade VG 50209 Greece 1986 Sell This Version
REWIGLP24 The Triffids Born Sandy Devotional(LP, Album, RE, RM, 180) Domino REWIGLP24 Europe 2015 Sell This Version
C38521 The Triffids Born Sandy Devotional(Cass) Hot Records (2) C38521 Australia 1986 Sell This Version
MCD 7963 The Triffids Born Sandy Devotional(CD, Album) Megadisc MCD 7963 Netherlands 1989 Sell This Version



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September 20, 2013

The Triffids: Born Sandy Devotional

What makes a great album great? Many things, but one is the perfect blending of words and music to support and enhance each other.

Which brings us to Born Sandy Devotional, the third album by Ozzie band The Triffids, a 6 piece from Perth, WA, based around the singing and song-writing of David McComb, and featuring Martyn Casey before he became a Bad Seed, who fetched up in Blighty to seek their fame and fortune. The album was released in 1986, and bought by next to no-one. This is a great shame, as you all missed out. Produced by Gil Norton, who worked on The Bunnymen's Ocean Rain and so no stranger to biiiiiig sounds, it is one of the most wide-screen, epic, positively Cinemascope albums of that or any other decade. It's by no means a happy album, with broken relationships, resentment, revenge, threats of violence, suicide, longing, loss and despair oozing out from every song, biblical imagery applied as necessary, and huge desert landscapes playing as important a role as the characters lost within them. This marriage of the vast sound and the imagery is part of what makes the album great.

The sound, like The Bunnies, is somewhat Doors/Velvets influenced but with rather more interesting uses of instruments: the steel guitars of “Evil” Graham Lee being a crucial component, colouring and enhancing the songs, by turn menacing or haunting; the vibraphones on “The Seabirds”, “Estuary Bed” or “Tarrilup Bridge” adding subtle rhythmic inflections; the harrowing string arrangement on “Lonely Stretch”; the rhythm section of Casey and Alsy McDonald mostly eschew conventional rock 4/4 timing in favour of something looser, with Casey tending to nail the pulse and tempo of the song while McDonald makes the drums more of a melodic instrument.

Then there're McComb's words. The best known song must be “Wide Open Road”, which was seized upon as a sort of theme tune by a number of ex-pat Ozzies, and it gives a flavour of the album as a whole, with a sound in keeping with its title and its lyrics telling of loss, jealousy, a desire for revenge and retribution, all delivered in McComb's wracked, tortured baritone, placing the listener squarely in the protagonist's lonely world. These themes continue through the likes of “Lonely Stretch” (the title's a bit of a clue) and “The Seabirds”, detouring into images of death in “Chickenkiller” and then suicide in “Tarrilup Bridge”, sung in a wavering, affecting, manner by keyboardist Jill Birt, before reaching what is for me the highpoint of the album, “Stolen Property”, reeking of separation, confusion, disdain for an ex, a struggle to accept loss, then ultimately looking towards a new future. The album closes with “Tender is the Night”, again sung by Jill Birt, with its, surely autobiographical, description of “a gentle young man, I cannot say for certain the reasons for his decline”.

McComb had problems with alcohol and heroin use which contributed to his death in 1999...