The Jazz Years: Arthur Sheep, Alan Right et al
Several blocks north of Christchurch’s Cathedral Square (in itself a home for nutters, wizards, punks and winged rats), just before you reach Bealey Avenue, lies a rambling cacophony of flatlets and the home of quite a different variety of nutters, freaks and certified intelligentsia too. Probably a “Clifford flat” (most of those grand old mansions that were gutted, renovated and reduced to cabin-sized rat warrens were the cash cows of a tight old bastard known as “Clifford”), the house in question (see Artie Sheep’s Place located on Map 2a) was home to an eclectic analogue collective of jazzy, opiate-preferring jazzerati, some of whom were on the bunk from their Wellington lives, and all of whom were partial to an AXEMEN experience or two. (It seems that a 1/2 Japanese LP was receiving high rotation ratings on the premises and that the AXEMEN sound was close enough for them to dig it.)
A concerted effort to hijack the jazz guys’ studio began in earnest, early 1984. Firstly, McCabe moved into a shoe-box recently vacated by John Segovia (studio axe sessionist extraordinaire) aka Rent Hamilton (watch for a story about his Country Connoisseurs unit sometime in the future). Eventually the semi-paranoid permanently-opiated brass section in the bigger front flat were familiar with Stevie in close proximity. Bob’n’Stu cased the joint subliminally, then quickly ventured into the darkened bowels of the hallowed ether-dank hallways of Arthur Sheep’s free-form mausoleum up front. Within hours Sheep’s woolly plan to record with his Burroughsian tribe of squeakers had turned a full 180° and our heroes had taken command of the jazzbos’ prized Nakamichi cassette deck (together with a large room full of drums, percussion instruments, amps, mics, etc). . .
The “Shear the Sheep” Sessions delivered a unique and delightful flock of tracks, a foil to the usual behemoth AXEMEN metallic wall-o’-sound. Click here to hear the AXEMEN trio’s “Nab The Lamb” from those same sessions (also appears on the AXEMEN’s semenal A SCAR IS BORN release from 1984 – often described as an assault on “Sgt Pepper.”)