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).
*Tic Toc was an improv while Kev restrung half of his guitar.
(recording courtesy of Bob Sutton).
*Tic Toc was an improv while Kev restrung half of his guitar.
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.
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.
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.
(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.)
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.”
“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 🙂
[reprinted with the permission of author, George D Henderson]
1978 – 1980
I arrived in Wellington at the start of ’78, newly punked up after seeing Dylan Tate’s epochal “Radio With Pictures” punk special and Sex Pistols interview (outside Buck House) at the end of ’77. Meanwhile I had, in Dn in ’77, bought a copy of Damned Damned Damned from mr Knox and jammed with Bathgate and Dooley with my best friend Lindsay Maitland (who – get this – had nothing ever to do with the Clean and couldn’t play drums – even Clean style, which is to say Mo Tucker style – to save himself. How DO these things start?!?) My amp died and got left at their flat in the (now) shop on corner of Arthur/Russel st. Loved Dooley’s drumming even then: reminded me of Drumbo ((Beefheart’s main collaborator John French, all rolling toms)) – as vital as Knox to the excitement that was the Toy Love sound.
On arrival in Wellington I crashed at Ex-Invercargill (hometown of Knox and I) proto-punk guru Bob Sutton’s house (more on him – a very influential non-musician – later, hopefully). I courted Susan Ellis by mail, got into smack with Dick Sedger, and auditioned for Bill Direen (then a smarmy commercial radio DJ called Bill Diamond) after selling him one of our packets of H (when they were still good), who also auditioned for me. I played him the song that became “Mamelons D’Amadou”, but was then called Sodomy (Sodomie, tout est permis, je penetre le peluche penumbre, indocile codentu – very Genet). Dunno (don’t care) what he played but remember thinking his guitar and voice even reedier than mine and nothing to write home about. He never got back – wanted musos not rival writers, quite rightly, I assume. (His songs and mine would eventually get much better.)
Just as well because soon after we sold some H to Kevin Hawkins and – as I had a Farfisa Organ – was invited into his existing band The Amps, a (mostly) punk covers band with Kev (gat) Chris Plummer (drums) Mike someone (bass) and Brent Hayward (vocals). Vietnamese Baby, Johnny Too Bad, Police and Thieves, See Emily Play, a few derivative originals including City Girl “High heel shoes – baby can you walk? Pills and booze – Baby can you talk? City girl, its a sunny night, City girl come and play with me tonight” that became The Lollipop Man for The And Band later. Richard Sedger picked up a young girl working in a record store (he was always doing that – it was he that scored Sam Swan for the scene later), Jessica Walker (Jane’s sister, from Dunedin – she introduced us to the kids that became Clean-Chills-Snapper) and she learned bass and after a split the Amps became The Jellyfish (she replaced me on bass so I could play farfisa and guitar): this was me & kevin sharing vocals, chris and Jessica. On a good night I think we were pretty seminal – the Syd Barret, Lee Perry & Beefheart influence seeping into the Punk/ new wave (Elvis Costello this year’s model big influence esp on my keyboard playing/writing then) matrix.
Now it gets complex. I wanted to follow my Syd Barret/steve naive-jonah lewie/Lee Perry/Kevin Ayers – and especially Slapp Happy c. Desperate Straights inclinations, while Kevin and Jessica (now a couple, like me and Susan) were into PIL, Beefheart, and wanted to get – uglier where I wanted to be pretty, Freeform where I wanted structure and vice versa – Chris was a fence sitter who liked both but after a spell with us went with the better organised Kevin and Jessica- who took back Brent Hayward as a singer and became the defiant, abrasive, negative Shoes This High, who, like the Gordons, attracted an ugly violent bootboy following (slumming rich kids on DMA) that beat up and scared off most other fans – then they moved to Auckland and without Brent (who became smelly feet and Fats White) became the mostly instrumental, Dave Mitchellesque Fishschool.
Meanwhile there was The Spies – Me, Susan, Richard (bass) and Chris. We are well covered in George/Wade Churton’s classic “Have You Checked The Children” book on the post-punk NZ scene. Chris was (mostly) replaced with Mark Thomas, a renegade “street kid” with both the natural Maori talent for guitar and melody and a psychedelic craving much like mine. Before he died, Mark performed the best Iggy Pop cover (Dirt) I have ever heard – an even better voice than Shayne Carter, which is saying a lot. Another genius wasted.
Richard Susan Chris and Mark, with me and Bill Vosburgh as decoys, stole a revox tape deck, 8 channel mixing desk, and some good amps and speakers from shops: an amazing operation I can take no credit for. We recorded several reels – and got busted with everything.The cops eventually gave us back the tapes, which still exist : they’re reviewed and discussed in that highly readable work “Have You Checked The Children?” by Wade Churton.
Bill Vosburgh was the child prodigy from Christchurch who originally taught the Gordons the Detroit sound and how to write snappy riff-based songs. So we followed him to Chch, without Chris – The And Band.
The Tall Dwarfs thread on ILM is fascinating – love, hate, or both him Chris Knox is a Monolith of this scene and you have to deal with him or his legacy at some stage. I went to Ak in 1978 to see the Enemy at Zwines (and Susan Ellis in West Auckland somewhere) and they blew me away. Chris did all kinds of crazy shit, but the songs were stronger than punk, and the sound was so professional – yet – spontaneous sounding. To me the late Enemy and early-to-prime Toy Love were the same thing exactly with keyboards added and poppy hooks in the new songs (the Troggs and Bubblegum – TL used to do yummy yummy yummy – a big influence on the difference between the 2. They also did a searing Positively 4th street). The Spies opened for them twice. And contrary to Mr Dix in “Stranded in Paradise”, the Cuba Mall free sunday gigs (outdoors, central downtown Wellington) were organised (c. 1979) by Mark Thomas and Chris Plummer (Spies) and Marty et al. (Wallsockets) and started by both bands. The Ambitious Vegetables came along 6 months later and got the credit from Dix. Our high point was getting Toy Love to play. That was so sweet. Downhill from there – I played on Datura once. 7 beats to the bar, then 61/2, then 4, then 5; dried up my voice and made me forget to sing and play. Made me think I was singing and playing when actually not. That would have been a better scene with better drugs. It was all STP/DMA and bad pills, datura and cactus.
If history is the record of the crimes and follys of mankind, we sure made history back then.