A Space Dust-Up

reprinted with kind permission of ‘sweet’ duane zarakov, from his insightful, churlish, and fascinating blog http://www.geocities.com/duane_zarakov/ ©2001

SPACE DUST

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Space Dust

(some stuff about my band) This has been kind of my main band for, uh, lemme think, 6 or 7 years or something…since ’93 actually, jeez it’s been a while. It’s been going along pretty slowly for the last couple of those years due to personnel redistribution – new people join – nobody ever exactly leaves tho’ – but anyway, all the members live in different towns at the moment. In fact 2 of the members of the last “working” lineup aren’t even in this country anymore (Cameron Bain’s in London [London England that is] & nobody knows where Sean O’Reilly is. Possibly somewhere in South America)(actually he’s been back in NZ for ages – DZ, 15-11-01). I don’t think we’ve played in front of an audience since the Hawkwind support slot in Auckland early last year (can’t even remember) – the last band activity was recording a couple songs for Gillian Ashurst’s movie “Snakeskin” which I think you oughta be able to see soon. Anyway, the band still does technically exist, if anyone was wondering.

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Brother Love

It started in 1993 when I moved back to Christchurch from Auckland & I had this plan to do a new band with Mick Elborado & Brother Love. Both of ’em had been in the last band I’d been in before I left Chch a couple years earlier – that band was Cease To Exist – the plan (mine anyway – not necess. anyone else’s) was that this band was gonna continue somewhat along the same sorta lines, i.e. sloppy “psychedelic” rock – & my sister Violet was going to be the singer. She’d never been in any kind of band before but she could sing & we’d vaguely planned to do this for maybe a couple years.OK so me & Mick & the Brother started payig together – add John Chrisstoffels on bass before Violet started turning up to practices – & we’re off to the races. That’s the 1st lineup of the band, as featured on the 1st couple of record releases – subsequent lineup changes are a Pete Frame nightmare as we meet more & more people that we’d invite to be in our band, Mick starts to hate everybody else in the band & eventually left (although we got him back in the band a couple times)(*)…anyway the full story (+ discography, lyrics, poster artwork, etc etc) is SOON TO FOLLOW. According to Hamish Noonan it all started to go downhill after Mick quit, & he’s an impartial outside observer & I’m not, so it’s probably the truth.

* 1st guy to join us after Mick left was Matt Alien on gtr. Then Matt Middleton on clarinet (added overdubs to stuff by lineup #1 for the “BEATLE!” [18 Wheeler] & “1st to the Future” [Carburetor] LPs). Then Annabel (from the Chch band Hawaii 5-0) (can’t remember her last name) started playing organ with us so there was a couple times we played with a 7-person lineup (see track on the Dirtlove compilation cassette “Say Something Funny” – a live in Timaru version of “Love is Mean”) . Then we went to America & the lineup over there was Violet, the Brother, me, Doug Pearson on synthesiser & violin, & John Allen on bass. (Same lineup minus Violet doubled as the Brother Love band). Then the next person to play with us when we got back I guess was Lisa Preston played organ with us, Bill Fosby played gtr one time at party, also John Segovia (slide gtr) & Rock Hardman guested on 1 or 2 recordings (that mighta been a bit earlier actually).

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Then Violet moved to Auckland so the next incarnation of the band was when I went up there & we started to play with Roddy & Cameron (Constant Pain) – they both played gtr, but later Violet kicked Roddy out…& Sean O’Reilly started playing bass, also gtr & synth & other stuff…the Brother was living in Wellington by this time & he started to come up more often so he was on most of the shows & recordings (none officially released) of this period. That’s 16 people there…Simon Cumings played homemade electronic instruments at the Hawkwind show & Chris Heazlewood played gtr & bass on some recordings we did in Auckland, oh yeah & once Rich Mixture played drums for a few songs because I was passed out drunk (impressive fact – they were the 1st few songs of the set, not the last ones…I got up & started playing even tho’ I felt sick) (I woke up in the back of the place & Heazlewood was shouting in my face, Wake up, your band’s on the stage! & I went Whuh? who’s playing drums? & he went, Your dad. I just wanted to go back to sleep but he made me get up).

P.S. Hamish Noonan never even saw the Auckland Space Dust with Cameron & Sean so the worth of his opinion now that I think of it is somewhat compromised…the person who saw the most Space Dust shows (Chch, American & AK lineups) is Saskia Leek, ask her.

P.P.S. – this just in –

From: Hamish Noonan hnoonan@hermes.otago.ac.nz
To: tedium2000@hotmail.com
Subject: space dust
Date: Fri, 20 Apr 2001 14:44:24 +1200 (NZST)
Bullshit i saw that band (or something similiar) at this stupid white wall gallery in K’ rd and they were a fucking terrible free noise band that even Bruce Russell would be ashamed of. I took photographic evidence that you are welcome to.

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po box 6283, dunedin, new zealand
[XXXX]@ihug.co.nz (03)477-7345

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OK, sure, all true, he was there & it was pretty rude. In our defence tho I gotta say that it was the very 1st attempt at putting together the AK. version of the band & in fact I had just arrived in that town that day so we hadn’t practiced together or anything, we just hooked up with Roddy & Cameron & went, OK, turn up & turn on. With predictable results. I’d like to see those photographs tho’.

P.P.P.S. – (Re: “BEATLE!” -) It was supposed to be our 1st album (although all recorded around the same time as “1st to the Future”) but it’s still unavailable to the world at large…We got our share of the copies (about 75 of ’em, don’t ask me for one ’cause they’re all long gone) to bring home with us from America in 1996 but then we never heard from the guy again. We were getting real bugged about it, but then we found out from John Allen last year that his wife got cancer so doing a record label was understandably way down on his list of priorities. Last I heard his wife was better & it was back on, but I dunno. I still haven’t heard from him (Tom Scharpling) & now the only other person I know that might know where he is, John Allen, he’s kind of slipped off the radar screen too. If you know where he is tell him to write me ok.

THE WORD IS OUT etc.

THE AXEMEN IN DUNEDIN
2-3 MARCH 1984

SUMMARY

The Axemen performed three times in the weekend, writhing, inciting and typically incredulous they made no new friends and many shady enemies, their calloused hands bleeding and cutting and scarred from the tortuous anachronisms that are is their Wall of sound, their particular(ly) seedy breeding ground, a kind of William S. Burroughs of the NZ rock set, an oh-so-shallow silhouette of the festered world they infest and poke around in, no more here than there, no more there than here, giving nothing away but blind frenetics, shenanigans, bagels and festoons of fatty skin, hating every note more as they play it, yet pouring out their love even as gladly, as they rid themselves of their consciences and collective consciousness against a skeletally conceived backdrop of bizarre and feelingless, but yet feeling, love, love, love + hate.

So the law wins again, hah, the Axemen still lose and nothing never changes, don’t you forget it, even as the grass grows under your table and on your lawn, law’s long arm is ever reaching to pluck it.

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Ah Ya The Infamous Nax Tour

axemennuxvomica_ngaruacave_takakahill_crop800This series of shows took place over the top of the south island and the west coast during Jan 1986 and involved a decrepit and terrifyingly brakeless commer van, copious quantities of opium tarbrew and ether …

Nux Vomica and the Axemen on tour together …Were we all in the one van? I cant exactly recall .. Nux Vom at that time was Lawrence Lens guitar and vox (also demented super8 documentarian of the Axemen phenomenon), myself (intrepid sole female chauffeur and yamaha electone player) Philip Alron Hubbard on bass and Chris Smallfry on drums and that guy Pete [Gorman] from EOE on 2nd guitar .. and Mr Al Right sax player extraordinaire .. And the Axemen Steve, Bob, Stu and Gordy B and Mr Al Right sharing sax duties with both bands … plus a PA and all the gear for both bands . All squashed into one not very big van …We played to approx 8 drunken bogans in Richmond after we werent allowed to play in the public bar as arranged …. We played in Takaka after a horrifying ordeal involving brake failure coming down the Takaka Hill ( thanks Dad for that driving lesson that included the stuff about handbrakes and low gears when experiencing braking issues) . In Takaka the hotel owners missus asked me “Are you doing some dry cleaning dear?” when she ventured upstairs to tell us that our dinner was ready and the scent of ether was wafting out from several of the rooms some of us were staying in. “Yes Ma’am” I remember replying , “I’m just cleaning the boys’ jackets for tonight’s gig.”

We played in Greymouth which was a blast and the aftermatch function was even better.

LISA PRESTON

Shoes This High – STH 7″ EP (Recorded 21.12.80)

In 1986 Stu Kawowski succumbed to the magnetic attraction of “The North.” At first he thought it was the Wellington effect, so he ventured up there for a few months, and moved in with The Skeptics for a while, first at Nick’s pad in Brooklyn, and later crashed at Writhe Recording, their studio cnr Walter & Vivian Sts. About a block away was an upstairs flat at the end of (and simply known as) “Kensington Street.” Here could be found the talented Walker sisters, Jane & Jessica, Tracey Walsh, and some other guys, all of whom had been in bands, were in bands or hung out with bands. Jane had been in Toy Love, Tracey had a band called The Yellimin, and Jessica had been in a band called Shoes This High.

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Shoes This High (Dec 1980) Back L to R: Brent Hayward, Chris Plummer. Front L to R: Kevin Hawkins, Jessica Walker (pic Peter Avery)

Flashback #1 to sometime around 1980/1981:

Kawowski was still a “band virgin” (unless you count his several years snare drumming for the Marlborough Boys’ College and Blenheim Municipal Brass Bands… hmmm I thought not) but he was into some cool music at that time: Can, The Fall, Pere Ubu, Joy Division, Swell Maps, Capt. Beefheart… So not long after, when he found himself wandering around Wellington in the Willis St area, he somehow recognised a beautiful distorted, energetic sound bouncing off the walls of the empty twilight city. After walking around a few corners he finally discovered its origin: There, in a dimly lit, near empty hall, were four skinny musicians frantically rehearsing some amazing music on stage. None of them objected to his presence, so he was able to stay and enjoy a private audience with one of New Zealand’s best bands of that era, Shoes This High.

Shoes This High - STH (1981) 7" 4-track EP (STH 001-A, STH 001-B)
Shoes This High - STH (1981) 7" 4-track EP (STH 001-A, STH 001-B)

1. the nose one

2. Foot’s Dream

3. a mess

4. Not Weighting

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Five years later, Kawowski was visiting Kensington St, he entered the house, was walking down the hall when suddenly a knife came whistling out of a side door a few metres ahead “THUNK!” and stuck into a life-size silhouette of a person painted on the wooden wall. “DONK!”, “WHAM!”, “THUNK!” as three more throwing knives landed in the figure’s heart, followed by “DING” as a Kung-Fu star split its forehead between the eyes. Satisfied that the barrage of sharpened circus cutlery was depleted, Kawowski bravely entered that door and came face-to-face with the martial arts expert: Jessica Walker, Shoes This High bass player.

In 1987, the Axemen convinced Flying Nun Records to do a second album. They cut a deal with The Skeptics, that allowed them to take advantage of their newly built 16-track studio Writhe Recording, the outcome being “Derry Legend”, the follow-up to their debut double vinyl “Three Virgins” (1985). The Axemen had already released several cassette albums on their own Sleek Bott label,  but those vinyl releases effectively enjoyed the Flying Nun ‘stamp of approval’ in addition to their international marketing and distribution network.

 “Mourning of Youth” (1987) – AXEMEN

(Steve’s ageless dirge reveals a prone McCabe at Chippendale Hall, Dunedin 1987, coins on shut eyelids, candles melting into offering hands, unattended cigarette smoking between his lips, 1957 Isle of Man Golden Jubilee TT races flicker across his corpse-like demeanour.)


For McCabe’s “Mourning of Youth” composition, he’d mentioned that a viola would sound good in there, so before you know it, the master knife-throwing, catgut stroking Jessica Walker was enlisted to lay down some wailing and plucking that, says Stu, “had all of the hairs sticking out on the back of my neck!” (This harrowing, haunting track was also selected by the late Kurt Cobain for one of his personal mix-cassettes track-listed in his posthumously published diaries.)

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p236 Kurt's diary "Mourning of Youth" on a mixtape playlist

Flashback #2

By the time the Axemen and Kevin Hawkins crossed swords paths in Auckland, while day-tripping there during their sojourn at the Whangarei Buskers Festival in December 1985, Shoes This High had disbanded, Fishschool was no more and Kev had metamorphosed into the proudly homosexual Screamin’ K. Hawkins, collaborating with various musicians credited as “& His Walk-In Lovers.” While “love at first sight” doesn’t exactly describe the relationship that existed between Kev and Bob Brannigan (though given Bob’s growing interest in psychic phenomena at the time, “love at second sight” is peculiarly apt), the older rocker charmed the pants off the repressed rebel and touched him in ways few men hitherto had, and none since.

Soon the gay guerrilla planted his seed in the young punk’s garden of earthly delights and romance blossomed. The pair pashed in public and back in Christchurch camped inside Kawowski’s Rolleston Ave foyer, staging a mini bed-in a la John & Yoko, only way gayer and with no international media attention. “We even had sex in the backseat of the Starliner,” boasts Bob, “en-route between Christchurch & South Dunedin. Thanks to Kevvy’s gift of love, at last I was able to laugh at the atmosphere of stultifying despondency that permeated NZ intercity bus-services in the mid-80s.”

Despite growing health problems, Hawkins continued to use drugs on top of his prescribed withdrawal medication, frequently blacking-out and injuring himself; this behaviour frightened Bob and the couple parted acrimoniously. “I used to joke with him, saying If you die, I’ll fucking kill you! We had a falling-out and he went back up north, no contact for about a year, then he died. It was like a beautiful fairy story gone terribly wrong. But what a guy! A total magician.”

Flashback #3

“Around the end of 1986,” Stu recalls, “I remember running into Croatian Axeman extraordinaire Dragan Stojanovic busking in Manners Mall just near McDonalds (one of his regular Wellington busking haunts). He told me that Kevin Hawkins had just died but that he’d seen him the previous week, and that Kev was over the moon ‘cos he’d fulfilled one of his lifetime dreams: Fucking someone in a cemetery. En route downhill from Victoria University after some event up there, he and his companion wandered through the remains of the desecrated old cemetery, and did the deed against a gravestone.”

(BTW if anybody knows where Dragan is can they please ask him to get in touch with AXEMEN – email or comment on the blog…)*

    -Saki Tuskwow & Ann Gribabbon

    *P.S. we found him shacked up with his sister Sonja in his brother’s house in the Hutt 🙂

Mingus.. McCartney.. Agro.. Baird

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This STEREO post, in STEREO, celebrates two great bassplayers who brought a whole lot of bottom to the Axemen sound (examples of which are included as mp3s below, in STEREO) and inspired the band totally and permanently…totally and permanently…totally and permanently…

Bass Face #1: M. S. Agro, the taxman in the Axemen

M. S. AGRO was Mick Elborado, who played in early 80s Christchurch group Drowning Is Easy and from 1982-6 was part of the incredible Scorched Earth Policy, a band about whom Stu, Steve & Bob soon made their own policy—never to miss them in action.

Stu: Buck from Scorched Earth Policy saw Axemen play at the Star & Garter and invited us to play with them. Stevie was impressed because he’d seen Buck before hanging around the pub laughing with a bunch of people and he commented, “Looks like we’re in with the gentry, now.” Bob of course totally mishears Steve and thinks SEP are Bobbie Gentry’s backing band.

Steve: Comes the gig with SEP, Brannigan is late, Stu & I are trying to calm down the audience going, “We’ll start when our buddy from South Dunedin gets here; must be having a rough time crossing the Rakaia bridge, etc.” Mick offered to fill in & so we started playing, Bob finally arrives & he’s got all these Bobbie Gentry LPs he brought up with him on the bus to see if he can get their autographs on. Mick played the whole set with us & Bob kept on trying to get him to play ‘Ode To Billie Joe,’ only Mick totally mishears & starts playing ‘Billie Jean.’ After that we saw his band play, they were spookily good & Bob had this weird puzzled look on his face. Mick played bass with us for a couple of months after that.

Bob: The first time I saw Scorched Earth Policy, I think I’d been drinking coffee wine & they just made complete sense, but in a really scary way. They were all these things that I thought it would take a band years to become, so fierce & focused, & really distinctly their own sound (& I think they’d only been together a short time by then), no Bobbie Gentry stuff at all. I was convinced they must all be psychotic. But when they weren’t playing they seemed like these really low-key relaxed people. Maybe they were allergic to their audience, like Superman & kryptonite, and SEP had to erect these sonic barriers simply to be able to stand there long enough to play some songs. Then by the time they finished playing they’d be sapped of their superpowers and just wander around chatting and drinking like nothing weird had gone on. Stevie & I dubbed this manner the Scorched Earth Policy “tic” or SEPtic, and devoted long hours (the 80-minute ones) to uncovering its secret. These sessions became known as the SEPtic Think-Tank. When their DUST TO DUST record came out, around 1984, we conducted numerous Vulcan mind-melt exercises using it as soundtrack and concluded that while we enjoyed coffee wine (the Think-Tank morphed into a Drink-Tank pretty fast), those Scorchers must’ve been drinking radioactive blood.

Scorched Earth Policy, l-r mick, buck, brian, mary, andrew
Scorched Earth Policy, l-r mick, buck, brian, mary, andrew

* * *

ON WITH THE MUSIC . . .

mouldie (leg story) excerpt (stereo)
— this is just under 2 minutes of a song that sometimes went on longer than 10 (see below). Luckily someone turned the tape on and got this much, as it’s a fine example of early axemenomena and Mick is playing bass all over it, in a hurry that is pure Agro, frantic but precise. Live from the Gladstone, Christchurch, New Year’s Eve 1983.

shirt-cuffed like a bladder (stereo)
— Mick pins this song down from the getgo and the way his riff melds with Stu’s propulsive chug is so Vulcan it has pointy ears and finds ordinary humans fascinating though illogical. Then the six million dollar man theme staggers out of Steve’s guitar. There’s a version of this on MICK’S DANCEFLOOR (MIX) but that’s a combined live/studio splice; this one is all live (it’s alive!) at the Star & Garter, the first time Mick played with the band, November 4, 1983, and quite likely the first time he ever heard this song.

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The next two songs are live from the gig postered above, the Flying Nun Recording Party (affectionately known as the Flying Fuck) held at the Gladstone on 10 December 1983. That gig probably merits a post of its own (anyone?), but let’s stick with Mick for now. Earlier that same day he rehearsed with the Axemen and saxophone addict Arthur Sheep, ostensibly learning a batch of new songs but fortuitously stumbling upon oblique nongenre sci-psy-sigh-fi spacepunkjazz while they were at it (see & hear the ETHER BREATHER HABITAT post, currently available in mono but eventually to be rejigged in STEREO). Mick’s spirited playfulness in combination with the Sheep’s playful spiritedness excited the others so much that they deliberately didn’t practice a new song of Steve & Bob’s called “Pulp For The Masses” but played it at the gig anyway. The sheer amount of sound the band generated for their half-hour set that night had been equaled at some earlier freak-outs (and once at a love-in), but it had never been recorded before on anything bigger than a walkman. The other big part of the excitement about the gig was that each set would be recorded on an 8-track reel-to-reel, and for many if not all of the bands who performed, the prospect of getting their material down via such hi-tech wizardry was intoxicating enough, never mind the coffee wine, the ether, the codeine, the beer. Of the 9 songs Axemen played, 8 were caught on 8-track, and the last song, “The Yeasty Mayor,” turned up on the last side of the THREE VIRGINS 2LP released by Flying Nun 2.5 years later. Meanwhile back at the Flying Fuck, notice the atomic-blood-slurping Scorched Earth Policy were on the bill SO MICK PLAYED TWICE! Even the guy’s aura is in STEREO. . .

pulp for the masses (stereo)
— Steve: “This is a tribute to the late Jimi Hendrix.”

the founders-day man (stereo)
—Steve: “This is a tribute to the late John Lennon.”

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Fastforward about a month to a riotous gig at the Star & Garter on 7 January, 1984. Wellington punk stirrers the Barbaric Bunnies (notorious for their Shirley Bassey-inspired poke at mere males called “Hey Big Wanker!”) came to town and their shared show with Axemen was promoted in the local press as featuring “Two All-Women Bands.” On-stage that night, Bob quipped to the audience, “Obviously there was some sort of mistake in the newspaper ad; one would hardly describe the Barbaric Bunnies as women.”

the zit (stereo)
— this starts off sounding remarkably like “The Yeasty Mayor” but Mick’s bouncing 2-note drill, Stu’s falling-down-the-stairs dactylologisms, the Sheep’s sebum-drenched saxblowing, the eerie twin-guitars-as-dying-walrus element and Stevie’s indecipherable lyrics give it a distinct identity of its own.

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Jump back to 28 November 1983 and this sizzling set from the Gladstone. The live mix is by Hamish Kilgour, who can be heard at several points trying to identify the source of a raucous storm of feedback & radio noise, concluding correctly that it was Stevie’s FM-wave-transmitting guitar interfering with the p.a.

a wall of sound (stereo)
—another song that exists as a “studio” version on the MICK’S DANCEFLOOR (MIX) album, but this live take takes the cake, eats it, poops it out, bleaches the poop and folds it all back into the cake, only to repeat the process, totally & permanently. “One of Steve’s best songs ever, and Stu & Mick are complete monsters on it”—Bob.

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mouldie (leg story) (stereo)
— this is a full-length version of the song fragment this post started with, recorded live at the Gladstone two nights later, on 2 January 1984. The performance is a mimetic enactment of the Axemen-with-M. S. Agro gestalt & this recording serves as its perfect snapshot for-all-time and a fine highlight to end this short introductory survey of one great bassplayer’s input into the band’s evolution-revolution. Mick’s bass climbs & climbs but never reaches the top, and his playing sounds just as energetic after 9 minutes as it does after 9 seconds. At a point about 8 mins 20 secs in, the weirdly processed guitars sound like a flock of angry birds attacking Artie’s laughing-clown sax. Stu drums like crisco (a cross between disco & Crass), cuing Stevie to start reciting “Nagasaki nightmare.” The whole thing seems to end about 2 mins before it actually does, and a lot of weirdness is generated by the mixers, the guys from Say Yes To Apes, who’d played an inspiring set earlier on that same night (future post idea! They Came From Even Further South Than South Dunedin – The Unbelievable Truth About Say Yes To Apes & The Invercargill Diaspora).

Early on in 1984 Scorched Earth Policy activity required Mick’s undivided attention and he would play bass live with the Axemen only a handful more times, such as at the Hagley Park Summer Festival Big M incident on January 14 that formed the basis of protest album BIG CHEAP MOTEL. He would also appear as a special guest on some of the tracks on THREE VIRGINS recorded the following year. His involvement in the Axemen was only a redhot splinter from the huge blazing log that is his musical career (see also Richie Venus & The Blue Beetles, The Terminals, Dadamah, Gas, Space Dust, etc), but it embedded itself in the group’s soft flesh, festered, and became a permanent cyst; stab it with your steely knives all you might, you will not kill the legend of M. S. Agro, the bass beast.

Bass Face #2: Gordo Baird, the mysterious Nodrog

As almost absolutely nothing is known about the mysterious Nodrog (the gentle giant sometimes called Gordo, claimed by some to be one Gordon Baird, possibly the offspring of painter Annie Baird, perhaps an old South Dunedin buddy of Bob Brannigan’s, hypothetically vegan, potentially linked to crucial South Dunedin sound groups such as (speculatively speaking, of course) Circadian Deregulation, Atomic Radio, White Noise, and The Earthlings, quite likely related to lead-guitarist B. B. Ryan, supposedly a teenage motorcyclist, conjecturally a long-distance hitchhiker, presumably present at the final ever gig at Snail Clamps in Palmerston North in 1985, enigmatically absent from the State Trinity Theatre THREE VIRGINS recording sessions earlier that same year, surmisably a participant in the Axemen-Nux Vomica tour of Nelson & the West Coast in 1986, postulatively a non-drinker, theoretically a victim of guitar-theft, putatively a huge fan of Jimi Hendrix, maybe at present a music teacher at a prestigious school), little remains to be said.* He is definitely present on the following made-in-Christchurch recordings, all from August-September 1984, and he certainly plays bass throughout. If anybody reading this can locate the mysterious Nodrog, Gordo or Gordon Baird, the Axemen want to hear from him, totally & permanently. Now listen on. . .

*This article about a beloved fellow traveller with the Axemen is a nub. You can help Y2K by embigifying it. Please deposit relevant info via Leave a Comment below.

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my second blood (stereo) a sack of good/sack of goods (stereo) botts of brown booze (stereo) what it’s like (the revox) (stereo)
— Pre-England St Hall gig practise at 212 Peterborough St, 21 August 1984. Rumour has it Gordo’s wonderfully understated “mousepower” tone was achieved by filling the room with pot smoke & recording his heartbeat while he performed interpretive dances to oblique directions from the others (unverified).

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happy birthday bernadette (stereo) the key to happiness (stereo; some source damage but if that hinders your enjoyment you’re at the wrong site altogether that’s no lie) first few bars (i went into) (stereo)
— Recorded at Peterborough St again, 15 September 1984, in preparation for Bernadette Smith’s 21st birthday party (hence selection #1). Sounds like Gordo’s bumped up the volume on his amp this time, and the hearifiable presence of Al Right on high-flying sax urges the mysterious Nodrog on to some deep bottomdwelling profundity. This same session produced the cool song “The Mind,” but it’s time up now for the first BASS/OFF, so that shall wait for a future post.

Thanks to Mick & Gordo, all the best wherever you may be now.