Elborados Fury – Drive In Saturday



Inland Revenue's new 24 hr drive thru in Chch

Mick at Grand Opening of Inland Revenue’s new 24 hr drive thru in Chch

Show Your Support… join MICK ELBORADO IS INNOCENT now!


On Saturday August 16, 2009,  Axemen Taxman, grunty bass player and disgruntled employee Mick Elborado decided he had had enough and wasn’t  going to take it any more after years of abuse from the IRD.


Driving into the place that had been his nemesis for the past 25 years he felt an eery calm as he took the final turnoff, revved the vehicle and drove through 3 plate glass windows and into the reception area, then stepped from the car taking care not to trample the glass into the new carpet – “I didn’t want to get in trouble” – and calmly waited for the police to arrive.




Te Tari Taake or Te Tari Turkey?

Te Tari Taake or Te Tari Turkey?

On their arrival he quipped “Its OK officer, I work here!” as they cuffed him and hauled him away.




Its Ok Officer I work here!

Its OK Officer I work here!

When asked for a quote about the split he cited musical differences and wanting to spend more time on his private projects – “My dentistry business is really picking up!” he chirpily quoted to one reporter.


It was fairly obvious robbery was not the motive, in fact as with many people that come through these doors he later noted he later checked his wallet and realised he had left with $150 less than what he came in with. “Even after all these years I still don’t know how they do that” he noted, shaking his head.




Mick doing the hard yards awaiting bail

Mick doing the hard yards awaiting bail

After 6 hours in the infamous Sydenham Prison he was put out on the street on bail with his brother Des.


We will be following his case with interest and keeping you posted.


Post: Amble Testicle Evict, with Micks Blessings

What about these guys??? the Puddle Live-to-air at Radio Volcano, sweet as, direct from another universe

the puddle, live to air, radio volcano, lyttelton, one romantic gesture
the puddle, live to air, radio volcano, lyttelton, one romantic gesture

and this one with different scenery – needs more mick though if you ask me….

The Puddle - same song, better scenery
The Puddle - better scenery in this vid... wish george the best after his stroke - oops sorry that was that other guy

wunderbar REEVIEW PT ONE

Wunderbar, Lyttelton July 2009

The Aesthetics, Stevie McCabe and Bastardwisher =—–Wunderbar 28th July 2009
review by a participant.
PART UNO :

>>>
“Come together – right Now – Over me.”

Gen X . The original punks, methinks the youngest of the Exers gotta be something like 33 or something. Ands there’s the ageism already. And thats the last of it.
And the Ugly Ambition get’s uglier and uglier and with brill creamed quiff’n’quim in the air and the hooting hops and testosteroney we all thought it would fall to pieces.

Wunderbar - Nice People Only
Wunderbar - Nice People Only

But salvage they do and on comes he the Little guy – Littl’ Stevie McCabe and his  gat’n’lappy, and blues as is orignal and as if as original and haast pass- haaart felt as you can linen!  Blues, riff and mulch! Audio that is – up up up the Stevie! Cause the bastards they wish!  And we’ve whipped it awl up! Ballad, plop and Kierkegaardens! Fellow puff knock colour dyke towels! Rockin on over to your best And Band tickle-me-punk!  Roster, roster outward bound to be schtoopid in Mickleodeon ! Oi Oi! Harden up! They actually told me to wear a hat! And those ballads and blues sawngs kept -a comin’! And the adrenaline flowed like lava! and mines immunes seeestem did chatter unt chortle. And the nazis and the jews didst fooozball! And the ROXY musics did SHINE! Sax and all! And meaning went home for christmas dinner! Then the bastardwisher set dried up the air and it was special interest sessions abound. Flights of plunder-beato and post-bonk riffer-refer-ama all making us blush and sneer. Blush and heave-ho ‘harden-up’ skin skin oi oi ‘this ain’t ’76’ bitches snitches and ditches. Jobs and slobs. Hogs and Dogs. Ruffle the feathers of Sunni england. Because opium is live and dangerous and the answer to all you prayers. As is Saint Barnaby. Tracker. Akka Dakka. And next was The Aesthetics. Ruffed up and tuffed up and seering. And oh the agony. And I wanna thank ya.

part two AS soon as possibull!!!!!!!

VIDEO

The Aesthetics at the Wunderbar, July 28 2009
The Aesthetics at the Wunderbar, July 28 2009
bastardwisher
BastardWisher at the Wunderbar, July 28 2009
Creaky Back Stairs - Little Stevie McCabe Live at Wunderbar feat. MattMiddleton
Creaky Back Stairs - Little Stevie McCabe Live at Wunderbar feat. MattMiddleton

Shoes This High – Live 22 June 1980

Thistle Hall, in the '80s
Thistle Hall, in the ’80s – thats the 1980’s for you young-ass mofos

Recorded and mixed by Andy Drey (Steroids/Body Electric) at Billy The Club, 22 June 1980, (incidentally Steve’s 14th birthday)

(recording courtesy of Bob Sutton).

thistle hall poster
thistle hall poster

01 Shoes This High – Monodrone 6:39

02 Shoes This High – Living Hell 1:08

03 Shoes This High – Nose One 3:38

04 Shoes This High – Sop Pong 2:34

05 Shoes This High – Mental Whiff 2:48

06 Shoes This High – Tic Toc* 4:42

07 Shoes This High – Ain’t 1/2 Right 3:27

08 Shoes This High – Fatman 3:56

09 Shoes This High – Gifted? 2:09

10 Shoes This High – Stuk 3:15

11 Shoes This High – Christian Song 4:46

Shoes This High, Newmatics, c.1980
Shoes This High, Newmatics, gig poster c.1980

12 Shoes This High – Menace In Yer Head 1:31

13 Shoes This High – Tunnel Vision 2:00

14 Shoes This High – ——– 0:28

15 Shoes This High – You Sold Out 2:36

16 Shoes This High – Small 2:35

17 Shoes This High – For Too Long 6:12

18 Shoes This High – Scab 3:28

19 Shoes This High – Catshit 1:41

20 Shoes This High – Bull-fight 3:41

21 Shoes This High – Cretin Time 2:14

22 Shoes This High – Beach Muscle 2:44

23 Shoes This High – Don’t Wanna 1:52

24 Shoes This High – R U Happy? 3:35

*Tic Toc was an improv while Kev restrung half of his guitar.

Kevin Hawkins, at the Womb, AK, 1985
the late Kevin Hawkins, greatly missed, at the Womb, AK, 1985 (photo by Stuart Page)

 

“BEAT IT” BOYS Live (1983) (K WoW Loud Mix)

“Beat It” (Jackson M.) (K Wow Loud mix)

AXEMEN recorded live on 4-track at the Star & Garter, Christchurch, New Zealand

Guy Fawkes Day 5/11/83 by Hamish Kilgour (features Steve, Bob, Mick & Stu). 06′29 dur.

Beat It (K Wow Loud mix)

BEAT IT BOYS



[1st Verse]
They Told Him Don’t You Ever Come Around Here
Don’t Wanna See Your Face, You Better Disappear
The Fire’s In Their Eyes And Their Words Are Really Clear
So Beat It, Just Beat It

[2nd Verse]
You Better Run, You Better Do What You Can
Don’t Wanna See No Blood, Don’t Be A Macho Man
You Wanna Be Tough, Better Do What You Can
So Beat It, But You Wanna Be Bad

[Chorus]
Just Beat It, Beat It, Beat It, Beat It
No One Wants To Be Defeated
Show them How Funky Strong Is Your Fight
It Doesn’t Matter Who’s Wrong Or Right
Just Beat It, Beat It
Just Beat It, Beat It
Just Beat It, Beat It
Just Beat It, Beat It

[3rd Verse]
They’re Out To Get You, Better Leave While You Can
Don’t Wanna Be A Boy, You Wanna Be A Man
You Wanna Stay Alive, Better Do What You Can
So Beat It, Just Beat It

[4th Verse]
You Have To Show Them That You’re Really Not Scared
You’re Playin’ With Your Life, This Ain’t No Truth Or Dare
They’ll Kick You, Then They Beat You,
Then They’ll Tell You It’s Fair
So Beat It, But You Wanna Be Bad

[Chorus]
Just Beat It, Beat It, Beat It, Beat It
No One Wants To Be Defeated
Showin’ How Funky Strong Is Your Fight
It Doesn’t Matter Who’s Wrong Or Right

[Chorus]
Just Beat It, Beat It, Beat It, Beat It
No One Wants To Be Defeated
Showin’ How Funky Strong Is Your Fight
It Doesn’t Matter Who’s Wrong Or Right
Just Beat It, Beat It, Beat It, Beat It, Beat It

[Chorus]
Beat It, Beat It, Beat It, Beat It
No One Wants To Be Defeated
Showin’ How Funky Strong Is Your Fight
It Doesn’t Matter Who’s Wrong Or Right

[Chorus]
Just Beat It, Beat It, Beat It, Beat It
No One Wants To Be Defeated
Showin’ How Funky Strong Is Your Fight
It Doesn’t Matter Who’s Wrong Or Who’s Right

[Chorus]
Just Beat It, Beat It, Beat It, Beat It
No One Wants To Be Defeated
Showin’ How Funky Strong Is Your Fight
It Doesn’t Matter Who’s Wrong Or Right

[Chorus]
Just Beat It, Beat It, Beat It, Beat It
No One Wants To Be Defeated
Showin’ How Funky Strong Is Your Fight
It Doesn’t Matter Who’s Wrong Or Right
Just Beat It, Beat It
Beat It, Beat It, Beat It

Loliners – Single release May 2009

Loliners – Single release May 2009 – Another Dead Daddy / Obsessed and deranged

Loliners Single - Obssessed and Deranged cw Another Dead Daddy
Loliners Single - Obssessed and Deranged cw Another Dead Daddy

Song :LoLiners: obsessed and deranged

Buy single here:

http://www.amplifier.co.nz/artist/46319/the-loliners.html

Loliners: History

Lo liners Started 2004
Ex trash/grungeriotgrrlpunk with gats


Some history:
Lisa Preston – keyboard, drums, guitar, vocals
Bands: Portage, Nux-Vomica The Axemin, Snort, Thee Hellfire Club, The Luvin’ 44’s, The Ginger Group, The Tryhards, Loliners


Joanne Billesdon – lead and rhythm guitar & vocals
Bands: The Stepford 5, The Renderers, The Axemin, I M Force, Snort, The Hellfire Club, The Strap-ons, The Tryhards, Lo liners


Sharon Warhurst – Bass guitar
Bands: The Stepford 5, Snort, I M Force, Thee Hellfire Club, Lo liners


Russell Covyne – Drums…
Bands: mainly Boy Bands

Gig Report – Newtown Panda Battle, Adelaide Hotel, Newtown, Wellington, NZ, May 1 2009

By Steve McCabe

Newtown Panda Battle, May 1st & 2nd 2009
Newtown Panda Battle, May 1st & 2nd 2009, Lower North Island, New Zealand
We arrived in Newtown after a 10 hr drive from Auckland through the scenic wasteland that is Godzone North, Maui’s Fish, Te Ika O Maui.

p1040835_16k_stink_poster

At the Adelaide a live rugby match (Blues vs ‘Canes – ‘Canes shredded the Blues 45-27) was on the big screen at the opposite end of the pub to the stage.

Axemobile“Nothing happens till after the rugby” we were told cheerfully by more than one person. We went out for a nibble.

When we got back Angel Dust, playing first so as to maximize available drinking time, had started soundchecking and this eventually evolved into their set.

Angel Dust

The ‘Dust played a hard-rocking, suitably shambling set without descending into wallowing to an appreciative and diverse audience.

Roddy Pain

The congregation consisted of various Wellington radical / fringe factions come to support their favourite local bands and take in some of the out-of-town action on offer (Angel Dust, Hairdos and Axemen), punters left over from the rugby, and a few pandas who kept pretty much to themselves.

Angel Dust: Disorder out of Chaos
Angel Dust: Disorder out of Chaos

Panda Battle Battle Panda: Iron Maidens
Panda Battle Battle Panda: Iron Maidens

View video on You Tube View video on You Tube

wtf1
Panda Battle Battle Panda: They blacken our eyes, they blacken our ears

Next Panda Battle Battle Panda had started setting up their ironing board and roar-checking the mikes.

Their set was a beat laden layercake of subsonic bass and drum beats overlayed with primitive roars screeches and squeals breaking into sloganised snippets of singing – kinda like the Slits and Crass jamming with Cabaret Voltaire in the jungle…

Panda Battle Battle Panda
Panda Battle Battle Panda

After ironing out a few technical issues, they pressed on through their set with crowd pleasers like ‘blacken our eyes’ and ‘what is she wearing?’

Auckland’s Hairdos (pronounced Hare – dooz), widely touted as the next big thing in perky kiwi punk-pop, played next.

p1040706_hairdos_adelaide

Their set covered a range of their material and the slightly B-52s reminiscent “Night Creeper” was one of the many highlights of an energetic audience friendly set – lots of dancing

p1040695_hairdos_adelaide

p1040822_hairdos_whanganui_cafe_logo

 The Hairdos: Perky punk
The Hairdos: Perky Punk Prototypes

View video on You Tube

Newtown: So good they named a town after them
Newtown: So good they named a town after them

View video on You Tube

Playing in their eponymous hometown, Newtown were the home team favourites.The 2-piece played their cheerful enthusiastic punky numbers to the delight of their audience contingent and the out of town-ers alike.

p1040715_newtown_adelaide

Kirsten and Greta (celebrating their second anniversary this very night!) swapped instruments mid-set showing their dexterity and making a nice dynamic change.

p1040718_newtown_adelaide

The Axemen were next on the agenda. Not having played in the capitol city for years, they were joined by their resident capitol city guitarist, Dragan Stojanovic to complete the classic 4-piece Derry Legend album line-up.

p1040742vig_twk_sh_16k

In keeping with the dairy theme promoting the recent ‘Big Cheap Motel’ re-release, they screened ‘Milk’, the new Sean Penn movie on the sports screen at the far end of the bar.

Ernie Abbott, R.I.P.
Ernie Abbott, R.I.P.

Time-travelling through a range of material spanning the last 2.5 decades, they finished of with an epic version of the highly suitable and relevant ‘Ernie Abbott‘, a chilling song about the caretaker killed in the trades hall bombing in Wellington in 1984.

Axemen: Old Farts Never Sleep
Axemen: Old Farts Never Sleep

View video on You Tube

Review: Big Cheap Motel ’09 from Satan Rulez

Reprinted from: http://satanrulez.blogspot.com/2009/03/zap.html

Who's Nailin' Paylin? HUSTLER COVER

“…Built around a thick guitar line that is distorted until it becomes a fluid conveyer belt of sound… ”

“…hermetic tribes… ”

“… The Pornographic Milk Drink contains rotating metal spoke on a ferris wheel guitar… ”

“…Pleasantly skewed junkyard Buddy Holly rhythm lines played atop walls of distorted uber-rock riffs that contain the weight and force of a Flipper-like death dirge and the occasional saxophone blurt frame the basic vehicle for the band’s Brautiganian lyrical worldview... ”

Outside of a few ardent music fans, hipsters and record collectors, how many Americans ever heard of the Axemen before the Siltbreeze reissue campaign? I’m guessing not many of us had the pleasure and, yet, the band steadily released albums throughout the last two-and-a-half decades. At face value, it seems like the band just wishes to entertain themselves and devotees by performing and recording their take on the music they enjoy. These hermetic tribes usually end up being the most effective musical acts because their mission really cannot fail. If the mind’s creation gears continually turn and you possess the unique ability to, at once, channel and transform the music that inspires you, not much could go wrong. Such is the case with the Axemen.

The Big M corporation shamelessly used this appallingly sexist image to promote their range of flavoured milk in the early 80s - the axemen were not about to let these corporate milk merchants milk mens mouths with their product
The Big M corporation shamelessly used this appallingly sexist image to promote their range of flavoured milk in the early '80s - the Axemen were not about to let these corporate milk merchants milk mens' mouths with their product lying down

So, TJ Lax provides the public with a vital service and a history lesson by releasing not one but two Axemen reissues in 2009. The first installment, 1984’s Big Cheap Motel, proves why this band deserves the reissue treatment and the attention it will likely receive by bearing the Siltbreeze tag. Like a more cohesive version of their UK brothers from other mothers on the Street Level Records roster, the Axemen kick grimy, postmodern, crooked punk-jazz sermons filtered through a boombox haze and serious subject matter that is littered with in-jokes. Milk, sexism and breasts all factor into a biting take on UK anarcho-punk lyrics soundtracked by a serious defacto homage to the aforementioned Street Level sounds.

In fact, the second tune on the album—billed as a rehash of album-opener “Big Fat ‘M’”— sounds like a looser a Good Missionaries outtake tracked on top of a Danny and the Dressmakers tune. A dense, plodding rhythm line lays the grounds for a strange, possible anti-sexism rant wherein the singer exhibits the same off-kilter, slurred sing-speak vocals as Mark Perry. Interrupted by chatter and greasy guitar-driven sound experimentation, the song detours into a shapeless pile of intersecting ideas before briefly rising back into its initial structure. The results of the expedition on the second rendition of “Big Fat ‘M’” could be disastrous and annoying if its slant on song construction continued for an entire album.

This appalling image appeared on New Zealand for one of Big Ms early 80s campaigns
This appallingly sexist image appeared on New Zealand billboards and TV sets for one of Big M's early '80s campaigns

But the Axemen duck this possible pitfall and keep Big Cheap Motel fresh and exciting by providing a home base of sound to which they can return after their journey into a foreign territory commences. Songs like the title track and “The Pornographic Milk Drink” showcase this sound without sacrificing the variety of execution techniques that runs through the album. Pleasantly skewed junkyard Buddy Holly rhythm lines played atop walls of distorted uber-rock riffs that contain the weight and force of a Flipper-like death dirge and the occasional saxophone blurt frame the basic vehicle for the band’s Brautiganian lyrical worldview. “The Pornographic Milk Drink” contains rotating metal spoke on a ferris wheel guitar leading into a sludgy sewage drain of a riff. Lead guitar lays the groundwork for a boogie-infused take on the band’s sound, as big ‘70s hard rock sounds collide with the band’s surrealist take on Crass Records political sloganeering.

Big Cheap Motel - the Axemen's ode to the fight for womens rights
Big Cheap Motel - the Axemen's ode to the fight for womens' rights

Built around a thick guitar line that is distorted until it becomes a fluid conveyer belt of sound, the title track reaps the benefits of its relative simplicity. The mantra of “Big cheap motel/ Big Tamla motel” pairs with the lava guitar flow to form a song that would work fine with guitar and vocals. But each time the Axemen run through things, a slight variation on the initial theme seems to arise on the next go-round—an off-rhythm guitar line, extra guitar fractures, a more minimal drum beat. The initial riff melts into small, blurry guitar bridges. A faux-Dick Dale guitar construction spackled in the cracks of “Big Cheap Motel” wanders to whatever rhythmic variation that the guitarist feels best compliments the tune. All the slight variations keep the sense of adventure that Big Cheap Motel showcases intact.

Big Cheap Motel LP Label

Big Cheap Motel is one of those records where you can imagine the band’s thought process as they delve into any musical alleyway that pleases them. Though the names and age range of the band members are hard to discern from the liner notes (the insert contains poorly Xeroxed photos of the band and each band member’s name printed in black magic marker with an arrow pointed to his place in the photo), Big Cheap Motel contains the wide-eyed looseness of a bunch of kids in a garage trying to mimic the music they enjoy. Let’s do a hardcore tune. Let’s try inserting a drill sound on this one. The refreshing results vary wildly from the artists’ that may or may not have inspired the Axemen but the band’s affinity for the challenge and reward of artistic creation shines through.

Posted by s. kobak

Review: Big Cheap Motel ’09, Alternative Music Talk

Reprinted from: Alternative Music Talk

The Axemen: A NZ Protest

Big Cheap Motel '09 LP

It’s understandable that Australia and New Zealand have a contentious relationship. I used to live in Cleveland, don’t anymore, but still cringe whenever I see a Stealers logo anywhere. The fact, though, that the Aussies recently claimed that New Zealanders are hermits, or some such, seems a bit beyond me. Anyway, New Zealand, as much Australia, has a pretty rich and important musical history. The Tall Dwarfs (sic) and Chris Knox have impacted current indie musical trends in a pretty noticeable way. You’d be able to hear it even if Jay Reatard didn’t tell us straight out.

But a less lauded band – the Axemen – in the early ‘80s mined similar territory to Knox. They were a bit more noisey. Ok. A lot more noisey. The trio comprised some scene veterans and when Bob Brannigan, Little Stevie McCabe and Stu Kawowski came together, a more twisted vision of what pop should be was spat from speakers. Perhaps their most enduring – and time specific – document comes in the form of Big Cheap Motel (it’s there, but you gotta look for it).

At a time when British punk bands wrote songs about Maggie being some body part and American punkers criticized Reagan on a daily basis, the Axemen took a more localized view of politics. Being slated to perform at a festival early in 1984 at a public park, the band was prepared to run through a set of their previously written material, but sponsorship of a milk company – Big M – prompted the trio to compose eleven new songs to comment upon the perceived problem.

Supposedly, the band took issue with the sexist imagery displayed at the festival. Although, there aren’t any specifics to be found in the interwebs as to what, exactly, the problem was. Either way, it inspired some stripped down, rock thudding. Most frequently, the Flying Nun label and its stable of acts are in some way checked in relationship to the sound found on this disc. But the Axemen sound way more furious than anything else that I’ve come across on that label.

The occasional inclusion of a sax, as on the anthemic “Stupid Symbol of Woman Hate,” points to the breadth of work that these folks were listening to. It isn’t quite Funhouse from the Stooges, but that track does ratchet up repetitive punk tropes along with the bleated chorus. And for some reason, this track sounds a bit better recorded than a few others.

A few other tracks leap out of the pile, which, for a great deal of the long player suffers from less than desirable sound. But even if you can’t understand the words to “Pornographic Milk Drink,” you can sense the band’s dedication to what they have to say as the disheveled punk track plays out. The inclusion of an extended Stones cover – “We Love You” – is a bit confusing since this performance, in part, was meant to defy corporate shenanigans. But if you’ve heard the Cock Sparrer version, you may have already heard the best rendition of the track.

If the historic and political perspective of this work was removed, I don’t know that we’d still be talking about this disc twenty some years after it was recorded. But it’s an artifact. And it’s one that fits into the linear narrative of rock history.

Post: Came Best Vice

Review: Big Cheap Motel ’09, Volcanic Tongue

Reprinted from: Volcanic Tongue

TIP OF THE TONGUE 08 MARCH 2009

“…free jazz skronk…radical prole violence…”

“…punk primitive avant garde smarts…”


Axemen
Big Cheap Motel
Siltbreeze
LP
£13.99

Fantastic vinyl issue of what was originally a cassette from a group that were an anomaly even within the relatively eclectic environs of the original Flying Nun catalogue. This New Zealand group released a bunch of vinyl and cassettes, all of which took the basic Kiwi-pop blueprint and exploded it with classic UK art/damage moves, crude free jazz skronk, radical prole violence and punk primitive avant garde smarts. Big Cheap Motel was recorded live at Hagley Park Ritual and Peterboro Studios and was conceived as an anti-corporate/sexist action aimed at the sponsorship of a Christchurch Summer Rock festival by a milk company: “Stoopid Symbol Of Women Hate/The Pornographic Milk Drink”. Still, the sonics are nowhere near the kinda ‘worthy’ protest music that have sunk so many student duds, this kinda rallying owes more to the blunt, subversive style of the early Fall or the art-punk aggression of the Swell Maps/Steve Treatment cultus, referencing classic rock/roll yucks like Steve Mackay’s signature saxophone sound or the tantrums of Half Japanese while maintaining the kinda dazed topographical haze that defines alla the best NZ/FN action. This sits perfectly on the Siltbreeze label, joining the dots between early avant garage moves and the label’s own deeply-embedded crude-fi aesthetic and if you’re into classic outsider modes in the hands of musical Neanderthals but dig ’songs’ more than ‘noise’ then this is the white stuff: highly recommended.

Axemen “Hey Alice” in Tom Lax mix, THE WIRE magazine online

thewire-logo

 

 

 

A passing search for “Axemen” at THE WIRE today discovered The Axemen’s ditty “Hey Alice” within a special guest mix from Tom Lax, that was itself within a 90 min downloadable set called Adventures In Modern Music 06 November 2008 by Derek Walmsley. (who is one dry-arse nigga, but he plays some frikkin wack shit !!!)

Here’s the entire tracklist:

James Brown
Funky President (People It’s Bad)
from Reality
(Polygram CD)

Joel Stern
Stradbroke Verse

from Objects Masks Props
(Naturestrip CD)

Anders Dahl
Untitled

from Doorbells
(Bombax Bombax CD)

Valerio Cosi
Making Love In Lhasa

from Collected Works
(Porter CD)

Harry Pussy
Showroom Dummies

from You’ll Never Play This Town Again: Live, Etc 1997
(Load CD)

George Coleman
Innocent Little Doggy

from Bongo Joe
(Mississippi LP)

** mix from Thomas Lax of Siltbreeze **

1. The Manatees, No Good
2. Tone Deaf And The Idiots, Why Do Politics Turn Men Into Toads?
3. What, Cynical Blitz
4. Saccharine Trust, Disillusion Fool
5.Kosmonautentraum, Werkzeugmacher
6. Slight Seconds, New Me
7. If Only, if Only
8. Axemen, Hey Alice
9. Second Layer, Zero
10. Iceplants, Hanoi Jane

***

Black Uhuru
Going To Zion

from Randy’s 50th Anniversary
(North Parade CD)

Impact All-Stars
Ordinary Version 3

from Randy’s 50th Anniversary
(North Parade CD)

Eleh
Eleh 009: Phase One – Sleeps Golden Drones Again 

from Floating Frequencies/Intuitive Synthesis III
(Important LP)

THU20
Untitled

from Tilburg
(Korm Plastics LP)

T++

Audio1995 8_2
(Apple Pips 12″)

THE WIRE magazine online

Times New Viking ♥ the Velvets 
with Psychedelic Horseshit

(reprinted from the website of Wexner Center for the Arts, Columbus Ohio – home of Times New Viking)

Times New Viking
Times New Viking

9PM Sat 14 Feb ’09

For our closing party for the exhibition Andy Warhol: Other Voices, Other Rooms—and to celebrate Valentine’s Day—local breakout band Times New Viking play their own versions of the eternally lovable tunes of the Velvet Underground, the art rock icons launched with the help of Warhol himself. 

TNV, like the Velvets, know the addictive lure of twisted pop riding on buzzing droning riffs, and they’re keen to rev up the Velvets songbook with fresh interpretations.

Psychedelic Horseshit, also from Columbus, kick things off.

 

Click below to listen to the entire 69 minute Velvets set by TNV (95MB MP3)

TNV-velvets

2893_war1

Set list:

01. Run Run Run 
02. I’ll Be Your Mirror
03. I’m Waiting For My Man
04. All Tomorrow’s Parties
05. Sunday Morning
06. Venus in Furs
07. Can’t Stand It Anymore
08. Heroin
09. Pale Blue Eyes
10. Here She Comes Now
11. Femme Fatale
12. After Hours


This is WWIV – LSM confronts the Iron Eagle

WWIV Song Cycle

01_Rock_Mountain

Rock Mountain

02_Push-A-Way

03  What Is Rock?

04  Back_2_The_City

05  Man-i-mal

ascent_of_man

06_I Wanna_Rock_It

07  Rock-n-Roll_Neanderthal

snake

08  Black_Snake

09  Heavy_Water

10  Iron_Eagle

Iron Eagle

This is WWIVIn 1999, Marty Sauce and the Source’s principal songwriter and G.I.C.S.N. conceptual guru Davey G approached Little Stevie McCabe about doing the soundtrack arrangements for his visionary (but alas unreleased – until now!) apocalytic concept album and rock opera, tentatively entitled “This is WWIV!”*USA Eagle

The libretto for this ethereal and ungodly masterpiece revolves around the epic journey of a young shepherd boy ‘Hombreo’  (to be played by a clean-shaven Marty Sauce) to the city after he sees a nuclear missile launch from the hills of his homeland, where he is tending his sheep.

Indian Nuke

In the still of the clear Afghani night Hombreo can see its trajectory for miles with crystal clarity, and follows it with his keen shepherds night vision [his eyes being locally referred to as so-called ‘sheep seeking missiles’] to its destination, where he sees an awe-inspiring and terrible sight; a huge white-orange flash followed by a billowing mushroom-shaped pillar of smoke rising in slow motion over the horizon like a startled king cobra emerging from its basket, shimmering against the rhinestoned velvet wallhanging which is the desert sky.

This is WWIV symbols

“Red Sky at night, shepherds delight” he murmers to the assembled throng of sheep,  now huddled, shivering, at the base of his rough-hewn towelling and sackcloth candlewick bedspread.

Hombreo takes off for the city and has his shepherd-boy eyes opened clockwork-orange style, real horrorshow like, by the myriad bestial and despicable sights he sees along the way, culminating in the grand finale, which takes plays in the lair of the bald, beclawed and bewildered Iron Eagle. Afight ensues ansd the inevitable happens.

Hombreo at first tries to behead, then is bemused by, then finally befriends the metallic bird, and together they rule the land forever from 1000 feet below the scorched earth at ground level.

This Is WWIV - Poster

* Other names shortlisted: “Apocalypse Soon”; “Nagasaki 2000”; “Boom!!!”; “Miss Afghanistan”; “Where Eagles Iron”; “It Aint Half Hot, Omam!”

Post: Talc Betel Vices Emit

You’re in the army, now, lad!

Despatches from Dr Chad’s gig in Wellington 23.01.09

Rakin it in in Wellington - pic by Norbert
Rakin' it in in Wellington - pic by Norbert Haley - Click for Norb's gallery

Thanks to our wandering AV recordist Norbert Haley, we have a 33 minute set of Eugene in full swing at the Happy Bar in Wellington last week (23/01/09), and a few snaps too.

Dr Chad live at Happy Bar Wellington (32MB mp3)

Check out 2 tracks from ‘Election’ [2008]:

Eugene Chadbourne – Your USA My Face

Eugene Chadbourne – I hate the man who runs this bar

Radio NZ interview with Chadmeister:

Radio NZ Interview 2 Feb 09 – Eva Radich / Eugene Chadbourne

Vosburgh on AXEMEN

Vosburgh playing Shustak's Segovia 12-string 05/01/09
Vosburgh playing Shustak's Segovia 12-string 05/01/09

At the recent MONSTER GIG at Christchurch’s glamorous crumbling Media Club, Bill Vosburgh handed Kawowski a single A4 sheet with a few paragraphs written on it all in capitals, relating to his earliest recollections of THE AXEMEN days in Christchurch (1983-1987).

Phosby Still, with 'tash
Phosby Still, with tash - Dec 2008

Luckily he stuck around and performed an incendiary blues rock set that night, as well as jamming with Steve, Stu & Helm at 4am New Year’s Day out at South Brighton, and also playing a few songs on various acoustic guitars on subsequent visits to Kawowski’s seaside hideaway.

Vosburgh's perfectly spelled memories all in caps
Vosburgh's perfectly spelled memories all in caps

I REMEMBER WATCHING THE AXEMEN PLAY AT THE GLADSTONE AND THE FIRST 45 MINS CONSISTED OF STEVE FIDDLING AD INFINITUM WITH HIS ‘PAUL BUNYAN MACHINE’. AN ENTHUSIASTIC AMATEUR ELECTRICIAN, STEVE HAD SOMEHOW ATTACHED A FUZZ-BOX AND IT TOOK HIM THAT LONG TO FIX IT WHILE BOB AND STU MANFULLY IMPROVISED IN THE BACKGROUND.

AFTER A WHILE, THEY TRANSCENDED THE COMICAL AND THE PIECE BECAME A SURREAL EPISODE OF PERFORMANCE ART.

**********************************

AS I RECALL, THE AXEMEN WERE INCREDIBLY PROLIFIC, AND THEIR RECORDINGS, WHICH WERE PRIMITIVE TECHNICALLY IN THE EARLY STAGES, CAME THICK AND FAST. THEY GOT SOME LIMITED SUPPORT FROM RADIO U.

STU KAWOWSKI WAS AND IS A MARKETING GENIUS AND PRODUCED NOT JUST T-SHIRTS, BUT TROUSERS, STICKERS ETC, AND PRODUCED A MURAL THAT STOOD PROUDLY IN CHRISTCHURCH FOR OVER 10 YEARS, AS WELL AS MANY OTHERS THAT DIDN’T LAST SO LONG.

ALL IN ALL I WOULD HAVE TO SAY THAT THE AXEMEN ARE ONE OF THE LOOPIEST AND MOST ORIGINAL BANDS I’VE EVER SEEN AND I’M GLAD THEY’RE BACK ON THE ROAD.

A NOTE ABOUT STEVE’S COFFEE WINE: STEVE MADE THIS COFFEE WINE AND THEN DISTILLED IT – STRANGEST ALCOHOL I EVER TRIED. IT WAS MORE LIKE A BARB, AND I RECALL WALKING ACROSS THE SQUARE AFTER A COUPLE OF SHOTS AND HAVING TUNNEL VISION!

-Bill Vosburgh Dec 2008

THE AMERICAN EXPERIENCE by RITCHIE VENUS

 

Ritchie Venus c. 2000 AD (timeless)
Ritchie Venus c. 2000 AD (timeless)

In 1988, Little Stevie McCabe and I spent most of May and part of June in the United States. The purpose of our trip was partly to perform, and partly to make and renew contacts on behalf of the record companies we represented (Sleek Bott and Onset Offset). We were both trying to get albums released by American companies, partly to overcome the problem of getting New Zealand records pressed, and also because the records of both of us attracted more interest in the U.S. than they did in New Zealand. Indeed, it always amazed me that I could get things reviewed in New York and Boston without difficulty, but not in New Zealand!

Stevie McCabe + bird, the Coromandel
Stevie McCabe + bird, the Coromandel

Before the trip, I had a number of expectations. For a start, I was under the impression that New Zealand music was currently sought after in a manner somewhat akin to the British Beat boom of the Sixties, although on a much smaller scale. I was surprised to find how much smaller a scale the interest was: most shops were as reluctant as the New Zealand ones to stock records released by small independent companies. The fact that New Zealand pressings were not sealed in cellophane didn’t help. One New Orleans, shop that had in the past exhibited enthusiasm for New Zealand music, had become disillusioned because it had not sold.

 

guns of mt roskill
guns of mt roskill

Few, however, gave the impression of having ever been remotely interested in any of it. The stock excuses were that the records had to be released through an American company, or that a shop could not buy records from anyone who did not have a vendor’s licence.

The latter had no apparent basis in law, as there were some shops that would buy stock from us, although sometimes they would take it only on a sale-or-return basis (“on consignment”) as in New Zealand. Onset Offset never received any money from such deals!

 

 

 

Ritchie's Slide guitar rule
"One Slide to rule them all " - Ritchie's Slide guitar rule

Onset Offset having received requests from American critics for records and tapes to review, I expected a greater interest from critics than one found in New Zealand, where a review copy sent to a publication occasionally resulted in a review, but was more likely to end up in the nearest second-hand shop. In this, I was not disappointed: my experience of American critics of independent records was that they generally turned out to be enthusiasts keen to build up their own collections in return for constructive and encouraging reviews in the magazines for which they wrote. Of particular note in this respect were Byron Coley of “Forced Exposure” and Fred Mills of “The Bob”.

Looks like a million bucks
Looks like a million bucks

As a performer, I expected the remuneration to be better than in New Zealand. While I was aware that New Zealand audiences were well known for their lack of response, I had no particular expectation of American audiences. As it happened, I was pleasantly surprised by the enthusiasm with which our performances were received. Americans, it seemed, understood what New Zealanders do not, i.e. that if a performer receives no encouragement in the early stages of a performance, it is almost impossible to build up any momentum, with the result that when the audience fails to indicate its approval or disapproval, the performance is likely to become more and more mechanical as it proceeds, leaving both the audience and the performer dissatisfied.

 

Zombies, New Orleans
Zombies, New Orleans

Whereas New Zealanders will sit like zombies waiting for the performer to win them over, Americans give one the benefit of the doubt and display enthusiasm from the start, which greatly affects the quality of the performance they get. As far as the money was concerned, however, it proved to be no better than in New Zealand. In San Francisco, where we performed and also worked for a promoter putting up posters, we were promised more for both than we actually received. Everyone in the music business there seemed to be perpetually insolvent, especially when it was time to pay performers.

 

VenuVenus and McCabe - Tour Poster designed and printed by Steve McCabe
VenuVenus and McCabe - Tour Poster designed and printed by Steve McCabe

My final expectation was that while there was likely to be more competition in America, there would also be more opportunities. What I found was that there was indeed infinitely more competition in the form of an unbelievable number of bands, most of which seemed incredibly well-rehearsed and displayed an energy that would probably have been frowned upon in New Zealand alternative music circles in those days. At the same time, however, each city seemed to have the same number of venues as a typical New Zealand city. While almost every band I encountered had a record out, there existed a similar situation to that in New Zealand where one could be revered by many who would do anything for you except buy your records.

Neither of us eventually found American companies to release our records, but we made valuable distribution deals, which at least ensured that our records would continue to be available in the United States.

 

"...one had to try to look intimidating..."
"...one had to try to look intimidating..."

As a performer, I am bound to say I would prefer to be in America than New Zealand. Nevertheless, in other ways I came to feel it was a nice place to visit, but an undesirable place to live. The ever-present beggars and hustlers were a nuisance, especially in New York, where one had to try to look intimidating to discourage as many of them as possible, and where any attempt at friendliness to a stranger was likely to be perceived as an attempt to get money from him/her. Also, despite being well armed at all times, I seldom felt very safe in the city centres, which seemed full of suspicious-looking characters.

 

"I was frequently impressed by the friendliness of people of all races"
"I was frequently impressed by the friendliness of people of all races"

On the credit side, I was frequently impressed by the friendliness of people of all races. Indeed, the racial problems we heard about were not as apparent as I expected. While I was there, I never wished I was back home, and my experience with Customs upon my return made me wish I had not bothered coming back: overzealous Customs officers seemed to think that anyone carrying a guitar case was a drug smuggler, and in a (fruitless) search for drugs they dismantled my guitar, went through my baggage and clothes, and took my souvenirs.

– Post by Ritchie Venus, Rock’n’Roll Idol, ruthless businessman, artefact collector, rnr analyst, film and popular culture historian, writer, singer, songwriter

EAT SKULL

Eat Skull – 9.15.08, Excerpt I, Sneaky Dee’s, Toronto

camera: ayal senior

 

EAT SKULL ~ SICK TO DEATH 

~ lp (siltbreeze) $14.00

eat skull are a quartet hailing from portland, oregon, co-masterminded by rob enbom (former bushwacker in the ranks of hospitals and hole class) and another original hospital, rod meyer (the greatest living genius of punk). previous eat skull efforts include a cassette-only ep and a pair of 7-inches, all of which might be out of print. like their brethren and forebears, eat skull runs a post pattern deep beyond pop and punk. they bring to the game an extrasensory appreciation of new zealand’s south island sound (great unwashed, axemen), cleveland art-damage skronk (modern art studio, x-x), and the wretched excess of forgotten midwest hardcore (stiff legged sheep, chemotherapy). vinyl-only edition of 800 copies.

Some Bullshit Podcast: Episode One features Axemen “Pacific Ocean”

Nestled amongst fellow Kiwis Chris Heazlewood,  The Gordons– (live at Taita pub, 1982) and illuminaries Jad Fair and The Raincoats sits a somewhat abruptly truncated “Pacific Ocean” by The Axemen on this nearly 60 min sHit-Fi podcast… 

Some Bullshit Podcast: Episode One

sunday, december 30, 2007
Listen: HERE
SubscribeHERE         

Time: 57 Minutes, 11 Seconds
Tracks: 19
Genres: Lo-Fi, Post-Punk, Punk, Noise-Rock, Dicking Around In The Bedroom With A Tape Recorder, Vomit, Proto-Twee, Gay/Homosexual

1- Baby Bird (US)- Track Six (2007 Demo)
2- The Mad- “I Hate Music” (“We Love Noize” EP, 1978)
3- Ex-Humans- “Ex-Humans” (“Anofeli Epiviosi” LP, 1984)
4- Astronauts- “Survivors” (“The Survivor” EP, 1979)
5- The Pix- “Speed On The Toilet” (“Even Iets Rechtzetten” 6-Track Cassette, 1983)
6- The Freeze- “Psychodalek Nightmares (“In Colour” EP, 1979)
7- Gordons- “Machine Song (Live)” (“Live At Taita Pub”, 1982)
8- Chris Heazlewood- “Something Here” (“Rat Fink A Boo Boo” LP, 1990)
9- Car Commercials- “Growing Up” (“A Young Victoriaville” Cassette, 2007)
10- Icky Boyfriends- “” (“Talking To You Is Like Being Dead” Compilation, 2003)
11- Dexter- “Alike Deer” (“Snackhouse” LP, 1999)
12- Bunny Brains- “Meal Ticket” (CD*1993)
13- File Under Pop- “Corrugate” (“Corrugate”, 1979)
14- The 49 Americans- “Don’t Sing The Blues” (“E Pluribus Unum” LP, 1980)
15- People In Control- “Pail Fail” (“When It’s War” Single, 1981)
16- Fabulous Diamonds- “1.49” (“Fabulous Diamonds” EP, 2007)
17- The Raincoats- “No One’s Little Girl” (“Kitchen Tapes” LP, 1983)
18- Axemen- “Pacific Ocean” (“Three Virgins, Three Visions, Three Versions”, 1984)
19- Jad Fair- “Starry Eyes” (“Monarchs” LP, 1982)

 

Axemen – Three Virgins, Three Versions, Three Visions (1986) on lost-in-tyme blog

PLEASE NOTE: Read comments below

for an update on the lost in tyme AXEMEN article

and news of their removal of the “Three Virgins” download.

The administrator RainyDaySponge is a thoroughly cool guy

who has a very interesting site (full of muchas oscuridades)

that is always getting better.

Check it out.


The lost in tyme site specialises in offering unavailable music to appreciative fans.

picture-17

Here’s the manifesto:

Site Info & Archives

This is Lost-In-Tyme’s new site.

As it is a site and not just a blog, you can now enjoy our forum discussions, read lengthy articles about Lost In Tyme (but not forgotten) bands and artists, and of course visit our blog for a trip back in Time with some of the best (and rarest) music you can listen.

Once again we want to make clear that we post only records that are out of print and you can’t buy them at the record stores (physical or digital). The only way to find some of them is to pay a good deal of money for a used copy, and several you can’t find them at all. In the 21 months of Lost In Tyme first circle we received over 50 e-mails or comments from the artists themselves, saying thanks for posting their music. Someday we will post these comments (at least what we could rescued – because several were deleted along with Lost In Tyme).

So, if an artist/band don’t want his/her music posted here, or a label has re-released a record (and we’re not aware of this) or if someone of our visitors knows that something we’ve posted is still in print (and provide the link to prove it) just send an e-mail or make a comment about it. We will remove the link and we will replace it with the link pointing to the site where one can buy the record or the artist’s site. It’s that simple. We don’t want to harm anybody, especially the artists we love.

Remember that this site was made with just this in mind: the gathering of music lovers, the exchange of any knowledge we may have about this kind of music and the discovering of Lost In Tyme music.

We are waiting for your comments, suggestions etc. about this site, in the Guestbook page. You are very welcome to contribute if you like and of course to participate in Lost In Tyme’s forum, where we hope that out friends will find interesting threads.

Well it so happens they have been offering a download of Three Virgins, but they’ve been asked to cease and desist. According to their manifesto above that shouldn’t be a problem.

Anyway, here is their somewhat charming post on lost in tyme:

Axemen – Three Virgins, Three Versions, Three Visions (1986)


three-virgins

Early Swell Maps blues sessions? The Fall playing Kinks’ songs but they don’t know the lyrics?
There’s no other album in the entire New Zealand music so chaotic, so brilliantly cacophonous and so totally denying any label, music style or genre, like this double album from the Axemen, released by Flying Nun, in this great label’s absolute peak, in 1986.

49649Flying Nun was so great because, for several years, would release music by any, and I mean any, band that Roger ShepherdChris Knox andDoug Hood thought that had something interesting, no matter what musical style it had. This concept produced some of the best music of the 80s, not only because the three mentioned above have an excellent taste, but also because, 20 years before that period, there was something in New Zealand’s water, that caused the appearance of a continuous series of very talented artists – the more obscure of them can be heard in the 3 volumes of Rarer  Than Radium compilations herehere and here.

But even for Flying Nun “Three Virgins…” was extreme and something that couldn’t get under the “Flying Nun sound” no matter how we expand the term – and here is the proof: There’s not a track from the Axemen in any of the several compilations that the label released though the years. Even in the non-exclusively Flying Nun based Rarer Than Radium series, I couldn’t fit them in.

So what is this all about?
Three Virgins, Three Versions, Three Visions is a double album, made by three 20-years old Kiwis (Bob Brannigan, Steve McCabe, Stu Kawowski) with the help of their friends. In the 22 tracks of this album they managed to include every musical style under the sun – from Mark Stewart’s mumblings to good-time tunes, from blues played with “big, huge pipe organ” to Krishna chants and from post-punk saxophone-based tracks to muddy guitar noise. The recording and production is totally (and deliberately) DIY and although the mixing was made in two different studios, the singer’s voice often seems to come from a different room that the rest of the band.

I’d say that the Axemen did a Kinks-style, ironic comment on music and life, passed it through Frank Zappa & Mothers lunacy and they paint it with the punk/DIY colours of the early 80s. Sharp, brilliant and full of references songs like “Chant Number Nine”, “The Yeasty Mayor” “Talk With God”, the full-of-ideas playing and the nerve to put out a 2LP set as their first release, prove once again that the hormones of youth are magical things.

26473

If you search for the Axemen in the web, you’d be surprised from the many videos of them you’ll find – several of them in Stu Kawowski’s Axemen page on myspace (and his YouTube site -ed)

Here is the first part of Axemen’s story, as written by Steve McCabe (you can find the rest here – along with many releases (as a band or solo from the members) – I don’t know if these have been ever actually released or are simply existing in Steve’s archives.

Axemen say– “Yes indeed, all of these albums are available here on CD

A Brief History of The Axemen – The Early Years.
In The Beginning (by Steve McCabe)

The Axemen began life as a seething mass of algae in a cess-pool located at the back of a disused factory somewhere in North Dunedin, New Zealand.

The exact location of the cess-pool has unfortunately been lost to the ravages of time, but the factory still stands – a disused, vacant shell with little hope of being restored to its former majesty.

Following a sudden meteor storm in 1983, the Axemen rapidly evolved, developed fully functional hands and ears (where before there had only been useless stumps) and metamorphosed rapidly into one of the most radical, chaotic and inspired rock bands of all time.

The exact details are hazy now as I pen this tome from my Hotel room in Auckland, New Zealand, June 1997, but as I recall…

23303

Bob [Brannigan] and myself were happily punting along the River Avon in Christchurch, New Zealand in January, 1983 – I distinctly remember the occasion as Bob was, for once, holding the punt-oar. The day was dreary – grey, overcast and drizzling with a fine mist which settled gently before condensing and trickling off the seven plastic beer flagons placed [for ballast] in the centre of the bright red punt.

From which direction the football came I do not directly recall, but come it did – striking Bob squarely on the forehead and causing him to swagger, try and get his balance back, then topple over backwards (I often wonder how much worse it could have been had he been standing at the time). Next thing you know, who should pop around the corner hollering “Can I have my ball back, please?” but Mr Stu Kawowski. I had not encountered this man before, but I can still vividly recall the moment; the cheeky grin, the Joe 90 “milk bottle” glasses (later to be replaced with the trademark John Lennon style spectacles), the wind rustling through the shaggy tresses of his russet-red hair.

Mopping the beads of sweat from his furrowed brow, Bob lurched up, hoarsely shrieked “I’ll give you your ****ing ball back allright and fair clocked him one with the aforementioned orb. The tense situation now somewhat diffused, Kawowski piped up, “Gizza ride in your punt, mate!”. I can’t quite recall whether it was Bob or myself who replied “Step aboard, Matey!” but next thing you know, there we were, the three of us, in the bright red punt, cruising at a rate of knots that particular punt had not previously thought itself capable of.

There was something about the rhythm of Kawowski’s deft strokes wit the punt-oar; something vital and overwhelming about the way he pushed that punt to its very limits. There was an unspoken, unfathomable feeling that this was perfection, this was bliss, this was the way of the future – Brannigan, Kawowski & McCabe – an untouchable, dynamic unit not to be messed with.

After formally voicing what we all knew we were feeling, that we should immediately form the most invincible and solid rock combo ever known to man, the pact was sealed with a flagon of beer apiece. The day ended with a solemn blood oath and a resolution that we would have our first rehearsal the very next day, but in order to maximise our potential, to ‘potentise the blend’, a pilgimage would be required to the famous “Seedy Dive” boondocks area of Dunedin. This area was well-known in the early eighties to have the highest ratio of musicians and artists to the square mile of any region in the country. Of course, the remnants of the thriving mime and clown scene from the seventies still lived in the area, but we had the feeling that in the searing Dunedin summer of ’83, the Dive was going to be the place to be. That year, Dunedin had the longest, hottest heatwave in recorded history.

Ready To Roll? 100 Classic Kiwi clips online at NZ Film Archive

rtr-100-classic-kiwi-clips

rtr_header_graphic

Our man Kawowski has some clips on there, check them out: 

AFFCO by The Skeptics (Director)
AFFCO by The Skeptics (Director)
Buddy by Snapper (Director)
Buddy by Snapper (Director)
Jerusalem by Andrew Fagan (Director of Photography)
Jerusalem by Andrew Fagan (Director of Photography)

The website says, 

The Film Archive houses thousands of music videos in its collection. We’ve had fun selecting a representative 100 videos for you to watch right here. We’d like to find out which video is the most popular so please vote for your favourite(s). Just remember, you’re voting for your fave music video, not your favourite song.

We will announce the Peoples’ Choice during Music Month in May 2009. Every month until voting closes at the end of April 2009 one lucky voter will receive a mystery prize for their efforts so tell your friends.

Voting closes at the end of April 2009.

Rules:

There is no limit to the amount of times you can vote, or the number of songs you can vote for. You can only vote for a particular video once per session and you must push play to be able to cast your vote. You are free to return and vote for the same video again if you wish.
To vote, simply select the number of stars out of 5 you think the video deserves.

  • 1 star: Ka pai = Not bad
  • 2 stars: Tino pai = Pretty choice
  • 3 stars: Rawe! = Sweet as
  • 4 stars: Tau Kē! = Totally awesome
  • 5 stars: Tūmeke! = Out of it!

 

Contact us:

Please contact us if you can fill in any missing details. If you have a story to share, or if you have NZ music videos to deposit into the Archive we’d love to hear from you. Find out more about depositing at the Film Archive

The portrait of Johnny Segovia

The Picture of Johnny Segovia
This eery Portrait of Johnny Segovia which still remains at 1000 and such and such Colombo Street, ageing daily at twice the normal rate, has kept the real mr segovia alive and kicking (and gigging) for years - hell may have no fury as to whether his weatherbeaten and leathery friends who are no more leathery and weatherbeaten than him have any resentment about the deal, he made the deal and is still the most fantastical guitarist there is, i weep when i hear him every time

In the bathroom of the Clifford flats in Colombo Street Christchurch, tiny but complete with actual bath, number 1000 and something and housing some of the most dynamic musicians and artists in the city at this time (around 1984) lies still to this day a faded and weary print, the last remaining remnant of the way Johnny Segovia would have looked had he not stopped looking his age when he turned 25.

In photo after photo since this time Segovia’s appearance in real life is virtually and spookily unchanged, an uncanny throwback to his 60s roots, still looking the same today as when he graced the stage with legends such as the new zealand elvis, Johnny Devlin, and the master himself, Ritchie Venus. The haunting print itself reveals a greyed, withered image, frail as a mountain goat on an alp pass, weak at the knees and trembling like a forty-year-older version of himself. This is the price to be paid for doing a deal with the devil and becoming the legend that is johnny segovia.

The print itself is now faded almost beyond recognition, each day the hair gets a little greyer, the wrinkles a little deeper, the horror of the image reflecting what might have been had the great one not pledged his troth to the king demon, diablos himself, the great wanderer, the king of the mix, monsieur el demono, il diablo, the five headed monster, the sulky beast, the kidder of all kidders, the goat with no head, the fleeceless lamb, the white nigger, the bleached blackman, the go with the flow te aro flow know what you know but take what you have to go to and fro, to and fro, hey ho let’s go!

Tables turned, as scary as it may be, no matter his fame and prowess in the bedroom, all the fame and adulation, it all comes down to the Markie spirit and the legend which will live on forever, the little kiwi battler who thinks he’s an Aussie, the nigger who thinks he’s white, the rocker who effortlessly plays country, the trailer trash who can’t pull a trailer… the guy we wish we all could be but most of us are too scared to try.

The Scapegoat - for those about to rock
The Scapegoat - recently sacrificed for those about to rock

For those about to rock, we salute you.

Johnny Segovia, the scapegoat for which there is no equal except for the umbilical scapegoat of Mephistopheles (depicted at right) – Holy Saints I can’t believe that’s not yak’s butter!

post: Tab Emetic Tics Level

TIMES NEW VIKING ~ hot trio on Siltbreeze/Matador rock out at SxSW in Austin, Texas

Times New Viking is a lo-fi indie rock band from Columbus, Ohio. The line up consists of guitarist Jared Phillips, drummer Adam Elliott, and Beth Murphy on keyboards. Murphy and Elliott share vocal duties. They are currently signed to Matador Records and were formerly signed to Siltbreeze Records. They have released three records: 2005’s Dig Yourself, 2007’s Present the Paisley Reich, and 2008’s Rip It Off, which NME gave an 8/10. Rip it Off reached #17 on the Billboard Heatseekers chart.

SXSW ‘Siltbreeze’ Showcase 13 Mar 2008

TIMES NEW VIKING outside Sound on Sound Records SXSW ’07

Saturday, 3/17/07. Bleached out, sounds amazing. Penultimate song of the set, “Let Your Hair Grow Long.” We got sunburned.

Times New Viking on MySpace

Sounds like: Breath in: snuff a line speed, a half hour jump on your cheap amplifiers, salad yet once a half hour with you yet cheaper guitar against the wall. Write eleven popliedjes, lay the emphasis on cryptic and forget everything your song teacher you ever learned has. Seek your neighbor girl on and tell her that your musics will make. Lay her emphatically from that she must not try to sing. Stick, now that you it really are, also just your tongue between her lips till you certainly are that they that rather has not. Give her then you eleven popliedjes and (optioneel) a guitar. Question her these eleven popliedjes with you together to not to sing, expect of it surplus. Mess what with the buttons on the amplifier, let the hamster of your neighbor girl also once over the strings run, sign the head of the father of your neighbor girl on the skins of a Bears Smit drumstel, call her feather ten-year-old little brother and lay from that its father him really real hatred. Breath out: and voila, Yourself Summoned. Sounds good? Sounds in it really yet better. Blessed with a delicious dose ADHD-spontaneity and a fine nose for popmelodieën know Tim New Viking on Summoned Yourself a particular charming pot borrow-fi garagepop down to dump. A kind of contemporary version of The Shaggs, but then without the implicit family tie. More a neighbor boy-neighbor girl tie thus.

Times New Viking – Dig Yourself

Available Formats: CD / Vinyl LP / iTunes
Price: Vinyl LP $15.00 (U.S. Postpaid) / $9.99 iTunes

Times New Viking – Present the Paisley Reich

Available Formats: Vinyl LP / iTunes
Price: Vinyl LP $15.00 (U.S. Postpaid) / $9.99 iTunes LP

The Spiderwebs in Beijing (you are not a hero until you have visited the great wall)

Jeff and Steve McCabe, photoshoot, Tianenman Square
Jeff and Steve McCabe, photo-shoot, Tianenman Square
In 2007 Jeff and Steve McCabe decided to reform their family two-piece and do a tour of the hotspots of Beijing, long a stronghold of their Asia-Pacific fan-base.

At the same time Steve, a long time poster aficionado, wanted to study and practice the art of the communist propaganda poster, the better for indoctrinating the uninitiated back home in Godzone.

Peking Ducks Wings Welcomes The Spiderwebs
Peking Ducks Wings Welcomes The Spiderwebs

Spiderwebs Dragons Arms poster
Spiderwebs Beijing Dragons Arms Poster

We were met at the airport (pre-Olympics, a barn-style affair populated mainly by peasants with their hopeful blackboards “Mr Smith” , “Ms Jones” etc., the more ambitious of them adding “China world tours” or “Trans Europe Express” to add credibility to their cause) by Mao’s former mistress Mao Gon Get Sum (her by-line: “Oh yeh another thing, I just luv klaftwerk, can you get me on the next tlain to eulopa?”)

Spiderwebs - Shanghai Workingmens Club Poster
Spiderwebs - Shanghai Workingmens Club Poster
Hearing her voice reminded me of my failures in the past, especially the way they accented themselves whenever an emotional/important bit came up – i dunno how it does it but it do. now thats just getting tacky, fool.

Anyway, Mao Gon took us the very next day to the aaaaal right honky tonk women market in downtown beijing (simply ‘southside’ to locals)

To be continued…

Mick Agro (slight return)

The (definitive article) Axemen (an mnemoir), or the slight return of M S Agro.

Another otter down
'Otters have died'

I remember the Axemen, the Axemen, the name (anag) passed over in the monumental and indefinitive Shute tome apart from a hemi-semi-demi-paragraph on page 340
noting in part that they were a notorious 90’s group, as well as that Bob was a leaden songwriter, and omitting the hard-won honorific ‘Little’ from McCabe’s name.

Like Calling Sir Cumference, Cumference [that would be an editorial cumference call – ed] but that’s the trouble with harry) — as the title of the book is (if the spine is to be trusted) ‘NZ Rock 1987-2007’ a group supposedly from the 90’s (I’ve added an apostrophe to allow fair use of Shute quotes) would seem to fall into the slightly left of middle of that bi-decade, and as the Axemen were both the beginning and the NZ, the
hardplace and the rock, the a-fore 1987 and the a-hind 2007, we need to examine all that’s left to find out if he’s right in leaving them somewhere out. There.

The Psychotic; Reactions; Hand-carburettors; Dung: The psychotic is almost certainly the, equal parts psychic dance-‘all, Stu, my first meeting with him when I was being psychically screened for what was euphemistically termed ‘session-work’ was one of the most terrifying experiences I’ve yet, or in the
future, had.

Stu screamed at me, blue neck veins standing out like drumsticks in Gracelands, ‘Just play the fucking E, string, nothing else, don’t fucking watch the others, if you do you’re dead. Otters have died’ As I was
auditioning for drums the instructions were difficult to follow. He threw me off the kit, and started drumming ‘in constipated fashion’ to show me what he envisag’d that the otters would want.

A fuzztoned whale
A fuzztoned whale

‘Hey!’ said one voice, that I would later find out was Bob, ‘that’s it, the missing link’. I thought he was referring to my admittedly simian visage, but looking up I percieved that he was looking up and looking up also, the quiet one, McCabe.

They stopped playing their guitars, but the noise from the amplifiers sounded exactly the same. Like fuzztoned whales. Being chased by Japanese scientists for their own good. Through a wah-wah.

Can you play bass. can. you. Play. bass? McCabe asked Bob. Brannigan said to Steve ‘Stuart can’ McCabe walked over to Page who hinted to Cardy that Kowawski was unable toplay.

How many of them were there. I pulled out my fingers and counted.
Still three, but the fastest moving three that I ever saw. A pre-blur blur.

Micks fingers - part of the reason he is such a legendary bass player
Micks fingers - part of the reason he is such a legendary bass player and cant count like others

‘We need an unthinking person to play ploddy lines and not ask questions about structural niceties’ McCabe mused. I put up my hand, actually for persimmon to leave the room, but they garbed the wrong end of the schtick. ‘You’ll do’ said
the psychotic, psychotically. ‘I will?’ said I. ‘It’s I do. Do it’ said Bob and thus I was initiated. The last two words being the mot secret tattooed on me. A fact later regretted when I served time. It could have been worse, I
might have been trying to join the scouts, or the salvation army.

Reactions: I was never a catalyst, accelerant, oxidiser, or agent of reduction, purely the litmus paper that turned bluish if there was enough bass. The notes
didn’t come easily. ‘0 – 0 – 5 – 7 – 0 – 3’ yelled McCabe over Brannigan’s bagpipes. I played ‘0 – 0 0 – 0 – 0 – 0’. ‘Stay away from the A string, it’s dangerous, McCabe mentored. ‘And D and whatever the little one is’ Bob added.
I was gradually twomentored into submission. Rather than learn to avoid strings I sellotaped everything but the big one to the neck of my double-bass. Then I found it was easier just to ‘break’ them before, or immediately during, playing. Soon I was ‘0 – 12 – 0 – 12 – 23 – 2 – 5”ing with the others. But far less erotically, far more eratically.

We played, people left, we stopped, they came back, we played the second set, they left again but when we stopped they didn’t come back. Bob started incorporating sudden stops into songs, hoping that if there was a pause the not-quite-audience would get whether they were coming or going confused and

head the wrong way and hear us when they were trying not to. This became a nightmare. ‘You’re quite a good reggae bass player’ Roger Sheppard said once. ‘I like the way that you never actually play with the drums or guitars but are always a step ahead of, or behind them, and the way the bass carries on when all else is silent’ I hung my head, a good luck charm given to me by McCabe.

 If the head is swingin don't bother ringin
If the head is swingin dont bother ringin

‘Watch the head, if it’s swinging we’re playing’ he wrote down for me. He was right. not Al Right, but the advice helped. Some. But not me.

We played on a balcony at a party at someone’s parent’s house with Scab Union in the middle of the afternoon, a small suburb within a suburb. One of the people listening offered me a cup of warm lemon juice. Success at last. In earlier days there’d have been a quick shout of Gardy-Loo, rather than this kind of
shout. I felt we were progressing. ‘We’re not progressive’ Stu muttered [to be fair, he’d spent the morning listening to Emerson, Lake and Palmer and was in a particularly bad mood – ed].

telepathy
* Stu does it telepathically* - bumper sticker, 1987

I’d forgotten International Stu’s telepathic powers and the fact that his deafness carried over to them. ‘You’re thinking you’ve forgotten my telepathic towels’ he taunted. There was no escape. The neighbouring residents, still anonymous, but probably influenced by the sonic vibes reverberating their unknown bones,
agreed.

When I was plunking the E I thought back to my first encounter with McCabe, sneaking into EMI on Colombo Street, to put his cassettes into the album bins.
“You’ll really like the Gorillas’ Robyn assured me, as McCabe sneakily sneaked around in his sneakers, squeakily shreiking, and sheepishly bleating.
‘Grillers?’ I asked. Robyne pulled the recording tape out of the album racks, Little Stevie had finally worked it out, put the tapes in covers too big for anything but the record bins, and because the integrity of the other records required they be kept flat the tape had to be at the front. ‘Boy eats girl’ I read. There was a beautifully and simply draw diagram of a boy and girl together, the girl however had been covered in dotted lines of the type used in cookbooks to indicate cuts of meat. ‘The music’s a bit like that’ Robyne said.
I looked dubiously at the cover and the other Gorilla releases in the shop, a rare Pete and the Pigeons tape nestled up to SPC Eh?, and I guess in Dunedin similar scenes were taking place with regard to Glyph Richard. Where similar beauteous shop assistants assisted prospective record purchasers.

Bertie Germ, Dick Weir on 3ZB
Bertie Germ, Dick Weir on 3ZB

‘Can I hear a bit of this here Gorilla band’ I asked. McCabe, still in sneakers, winced, many a sale had been lost at this point. ” ‘Bertie Germ can’t die’ is probably the best introduction” said McCabe’s confederate and so I heard McCabe for the first time.

‘It’s not much like the Stranglers’ I commented. ‘Sssshhhh!’ they both said. I haven’t spoken since. I left penniless, but Penny never really liked me anyway. I ws clutching a limited release extra cassette by Salli Rog and the Tokin’Blacks. Shrubbery Dub. This as well as anything Robyne had been passed by Steve in the last month. McCabe  left rubbing his hands, off to buy coffee beans, and climb the winestalk.

In the same omniverse…

A flock of seagulls
A flock of seagulls

Brannigan, now there’s a name to conjure with, half braggart, half harridan, half Finnegan, but always awake. An astronomer to the stars by trade. As most do I first encountered him playing guitar. ‘Can you nae put a small token of your appreciation into my well worn hat?’ he asked as he played everything Van Morrison had written to that date in a rapid unmuddled medley.

I nodded dumbly and dropped a duplicate copy of Shrubbery dub into his hat. ‘Money, none of that damned plastic, and I don’t take EFTPos or play chess’ he said sternly. I ran, as a flock of seagulls descended on the white haired fellow in the square. He ran after me, breaking windows as he struggled to catch up. There was to be no gain without breaking panes. Suddenly The Police rescued me. It was a Sting operation. I never saw Brannigan after that until the initiation. He was led off in cuffs, a collar, and the top hat. Otherwise naked, but stylish.

All this time Kowawski was in his own underground band, Above-Ground, determinedly subteranean in their refusal to sink to the level of most other bands in Christchurch. (notabene: A quick glance at Youtube will show you that the other important bands in this period in Christchurch were Maiden China and the White Boys, both of whom went on to be household names). The Above-Ground story and the’Gone Aiwa’ cassette are freely available on ebay, although freely in this case means you’ll be parting with $100 or so. That’s enough to get you into 20 Axemin gigs at 1980 prices. And at 2008 prices.

Then there was the second gig, but that’s another story, as was my sudden expulsion from the band because I had no sense of humour and started playing the A string rather than the ever increasing 24’s, the subsequent formations, the inclusion of women in the front line, the Peace Aotearoa gig which resulted
in riots and war, but always the same number of people in the audience, the faces constantly changing, although those of us who returned again and again to watch swore we could never let anything like this happen again.

Damn, no matter what I took I could nae work hand-carburettors or dung into this, although both feature prominently in other Axemen History which never repeats, only ripples. That must be the required 250 words, which are worth at least a quart or a pitcher. Can I stop now? Is anyone there? Is this the
real life or just fantasy? I can’t go on, I’ll go on Ill, The Horror, The Horror. Ice cream in cones across this guy. A way a lone a last a love a long A xemin.

M. S. ‘Mick’ Aggro

Phosby, Formby, Philby – more Spies connections

Phosby, Formby, Philby

There was much speculation in the 80’s regarding the Axemen and their cronies loyalty to their country, especially when it came to their fraternisation with potentially seditious elements and the protest movement in civil uprisings such as the 1981 Springbok Tour and Homosexual Law Reform citizen actions."Mobilise July 3" - Springbok Tour Poster, 1981

New Zealands shameful 1981 Coat Of Arms
New Zealands shameful 1981 Coat Of Arms

New Zealands equivalent of the Secret Service, the Security Intelligence Service (SIS) were known to be taking an interest in the group and there were clicks on the phone, sporadic police raids on practice sessions and unusual activity in the bushes outside their abodes on more than occasion (although sometimes that was just Bob and Kevin Hawkins).

Robert (later Sir Robert) Muldoon, 1977
Robert (later Sir Robert) Muldoon, 1977
NZ SIS Official Seal
NZ SIS Official Seal

The SIS, an inspiration for the name of the band the Spies, were very active around this period, having been unleashed in 1987 by drunken megalomaniac Prime Minister Robert Muldoon (PM 1975-1984) to act as his personal goon squad (until he sanctioned the Red Squad and Blue Squad to enforce virtual martial law in 1981).

Muldoon used the Springbok Tour as an excuse to thumb his nose at the Gleneagles agreement in a way which was later copied by George W Bush and the PATRIOT Act in reaction to 9/11) , quelling and ripping apart anyone opposing his grand and overbearing schemes.

Neil Roberts attempted to blow up the Wanganui Computer in 1982, killing himself in the act
Neil Roberts attempted to blow up the Wanganui Computer in 1982, killing himself in the act

Little wonder the SIS took an increased interest in stirring and seditious activities when 22 year old anarchist Neil Roberts who took it upon himself to try and destroy the Wanganui computer, repository of the dossiers the government held on each and every New Zealand citizen.

Neil Roberts' chilling epitaph was an inspiration to the Axemen
Neil Roberts chilling epitaph was an inspiration to the Axemen and many others

The sombering message he left on the wall before blowing himself to smithereens “We have maintained a silence closely resembling stupidity” was an inspiration to the Axemen and had a light-speed bone-chilling effect on Steve McCabe who immediately recorded and released a tribute to the act under the name of the Sydenham Ois, citing the phrase and the chilling wording of Roberts prophetic tattoo “This punk won’t make 23”.

[mp3s here when located]

Roberts became an icon to many and still inspires a new generation of anarchists when they hear the story, and events are often held in his honour in New Zealand in much the same way as Guy Fawkes is commemorated in England.

posted by: A Beet Civic Smelt Let


The truth about the Skeptics’ A.F.F.C.O video

(The truth about the Skeptics’ A.F.F.C.O video reprinted with kind permission of Stephen Judd from his juicy SPLEEN blog)

(September 12, 2003 ~ Stuart Page writes):

Hey Stephen

I read with interest your rave about meat — the dancing spring lambs, the eviscerator (Wow), and the Skeptics A.F.F.C.O. video.

Your story was not quite accurate — I know this because I initiated it, directed it, shot it, and edited it. Here for the first time, is the whole story which for some reason I just felt inspired to write — maybe it’s because I just found out that one of my favourite people of all time Johnny Cash has just passed away?

©Brilliant Films/Skeptics 1988
©Brilliant Films/Skeptics 1988

In fact I used to see the Skeptics whenever they played — the first time was in 1985 in Christchurch, and it wasn’t long before every Skeptics show started with A.F.F.C.O. — a song which still blows me away and cuts to the bone of NZ culture, ha. Well I was also lucky enough to play a gig with the Skeptics in Palmerston North at Snail Clamps in 1985 with my band The AXEMEN. We had just recorded an album “Derry Legend” at the Skeptics studio Writhe in Wellington with Nick Roughan from the band engineering and co-producing with the Axemen. Later, when it came to paying for the final mixing — we’d run out of money, and I’d just asked the Skeptics if I could make a video for A.F.F.C.O. — which they agreed to. So Don White suggested we just swap the video for the mixing costs. Beautiful!

Meantime I’d moved to Auckland and hooked up with some old buddies up there who agreed to try and sneak into the Westfield Freezing Company to shoot some footage for the vid. We drove out and checked at the office for permission to have a look around, figuring we’d case the joint and comeback later to shoot. Well there was a youg guy working in the office who was excited that we wanted to look around, and took us on a guided tour around the factory. Jesus, I saw guys wading around up to their waists in blood, a six foot stainless steel chainsaw which split a whole cattle beast in two down the middle. a one-armed skin-ripper man whose missing limb was ripped off by a chain wrapped around the cuff of a cattle skin as it accellerated vertically. He got compo, and his job back. Phew! Anyway I decided to film on the sheep floor, more iconically NZ, and easier to get around (less blood and water flowing across the floor where we needed to have electric cables for our lights).

©Brilliant Films/Skeptics 1988
©Brilliant Films/Skeptics 1988

We left and went away to Penrose for lunch — and found it difficult to eat, so my mates (one of whom was a vegetarian) said they’d only go back and do the shoot if I got them pissed on champagne first. This I was informed would help them deal with the mass destruction of innocent animals. So, I agreed, and purchased two bottles of the Australian champenoise, which were summarily swilled, I don’t remember joining in as I had a lot of work to do — but I might have had a swig or two).

So we returned to Westfield works and hooked up with our young friend from the office who took us in and looked after us while we moved slowly down the chain from the initial slaughtering being done by some Muslims who said they preferred to be here killing sheep — rather than having to fight Israel in the Middle East. They had a red line painted on the wall in the direction of Mecca, which although they were supposed to pray to every time they cut a throat, they smiled and said they never bothered.

©Brilliant Films/Skeptics 1988
©Brilliant Films/Skeptics 1988

Along we moved shooting 100′ rolls of 16mm film on a wind up Bolex camera, and lighting the scenes with a 2kW ‘blonde’ and an 800W ‘redhead’. The cables were swimming in a watery blood mixture but luckily we didn’t short out any circuits. Near the end of our short shoot, I became aware of a rippling of descent amongst some of the employees of the works. And in fact while we were shooting the final scenes, a union rep was trying to have us evicted. Our young friend (who must have been the manager’s son to wield this authority over the unionist) managed to hold them off and showed us the side exit. We literally ran to the waiting Morris Minor as the management were entering the front doors.

The scenes of the ‘meat packing’ were shot elsewhere at a factory called Kellax in Mt Wellington and the management were in fact told straight up that I was doing a music video for a song about meat packing. The boss let us in to the factory where frozen meat was band-sawed into pieces and shrink-wrapped before being packed into manila cartons. He was very friendly, and as I had agreed I sent him a copy of the video when it was finished, but no comment was received. I actually sent a copy of the video to Westfield also and asked them if they would make their staff aware of it in case they wished to see it as some had indicated while we were shooting. No feedback from them either.

It has been written that this video was “vegetarian” or “animal rights” inspired etc, which is actually incorrect also. Although neither the Skeptics or I have anything against such groups or ideologies, (in fact I applaud their efforts to manifest their feelings towards our animal friends), this song was written purely about some guys who “pack meat” and the video was made in that light — not wanting to cast any aspersions on the workers in the meat trade — but to document the “process” of a sheep’s life in contemporary NZ. I guess we got carried away wrapping David d’Ath the singer in glad wrap and baby oil and food colouring — but it was the natural result of a collaborative effort by those present at the shoot in an upstairs room at my Freemans Bay flat.

©Brilliant Films/Skeptics 1988
©Brilliant Films/Skeptics 1988

The video has been screened a few times on TV now — once on the last show of Radio With Pictures by Karyn Hay, and again on SPACE apparently. It has also been screened at various art exhibitions in NZ and film archive screenings in Wellington. It features on my Brilliant Films Music video compilation NOISYLAND released through Festival Records in NZ 1992.

  • Kind regards, Stu
  • Some Pauls

    axemen-some-pauls

    Paul Bunyan (Axemen Theme)
    — version #1 is from Hell Farm, August 1983, with Steve & Bob on guitars. This version was released on the rare AXE OF THE APOSTLES cassette later that month.

    Paul Bunyan (Axemen Theme)
    — version #2 adds Stu K. on drums, from the Jetty St “Equinox” gig in Dunedin, 24 September 1983. This version was never released, can’t think why, there’s even Lisa Preston saying a few words at the start!

    Paul Bunyan (Axemen Theme)
    — version #3 adds M. S. Agro on bass, from the Gladstone, 28 November 1983. Live mix by Hamish Kilgour. Never released.

    Paul Bunyan (Axemen Theme)
    — version #4 adds Artie Sheep on sax, from the Gladstone again on 10 December 1983, at the Flying Nun recording party otherwise known as the Flying Fuck. This appears to be the last time the Axemen theme would be played, though in the 1990s there was an eerily similar tune played at gigs supposedly entitled “Son Of Paul Bunyan” as yet unrecovered from the Axemen/Sleek Bott vaults (it’s spooky in there). This version was either never released, or else maybe it’s the version on side 4 of A SCAR IS BORN, but as no copy of that album is at hand, that’s impossible to ascertain at present.

    Read more about Paul Bunyan, the giant tree-biter, here:

    strange birth, breaking windows, sawing legs off parents’ bed, etc.

    Paul’s giant pipe

    fakelore? for shame!

    a catalog of Bunyans (Mecca for the big guy’s admirers)

    almost World War III (the true story of Operation Paul Bunyan)

    Some more Pauls

    the literary classic
    the literary classic
    the education co-op
    the education co-op
    the fridge magnet
    the fridge magnet
    the conetop beer
    the conetop beer
    the lily
    the lily
    the religious shrine
    the religious shrine (Brainerd, Minnesota)
    the bench
    the bench
    the pinball machine
    the pinball machine
    the echeveria again
    the echeveria

    another beer!
    another beer!