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Saturday, 18 February 2017

Butler “Butler” 1973 New Zealand Psych Blues Rock

Butler “Butler” 1973 ultra rare New Zealand Psych Blues Rock
Butler "Green River" 1973 dailymotion

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Butler, Christchurch Old University, 1971. Left to right Angel (Robert Adams), Steve (Apirana), Heidi (Matthew Warren). Hori Sinnott is hidden behind Steve on the drums.

Hori Sinnott

Left to right Steve, Hori, Heidi, Angel

Matthew Heidi Warren

Robert Angel Adams

Steve Apirana
Butler were one of few all-Maori rock bands. All four members were originally from Rotorua, but the band actually formed in Christchurch in 1970. Predominantly an underground group, they played their early gigs at the Open Door, before moving into Trevor Spitz's nightspot Aubrey's. 

Having built a strong Christchurch following, the band took stabs at other South Island centres, returning to hometown Rotorua in 1971. From there they began building up a North Island following, proving popular on the University circuit with their combination of originals and Led Zeppelin / Wishbone Ash covers. 

Some television exposure followed with a spot on 'Happen Inn', 'Popco' and 'Free Ride'. This was fairly rare for an underground group and even with this they never really gained much pulling power. In 1973 they recorded a self-titled album for Pye. It was released on the Family label and from it came one single, "Green River"/"Especially For You".............. 

Their fusion of psychedelia, progressive and blues-rock shone in a live setting, and Butler became a highly popular band on the national campus circuit. One of the few all-Māori bands of that era, the story of their formation is one of the most fascinating in NZ rock. 
The creation of Butler was both spontaneous and unconventional. A typical New Zealand rock band circa 1970 would comprise high school pals or early twenty-something Pākehā males, jamming in a garage or rehearsal space. The bonds between the four members of Butler were forged in the tobacco fields of Motueka and a drop-in centre in Christchurch. 
Butler comprised four Rotorua area born and raised Māori teenagers. The original (and only) line-up comprised Steve Apirana (guitar, vocals), Heidi Warren (guitar, vocals), Angel Adams (bass), and Hori Sinnott (drums). 

In a 2013 AudioCulture interview, Steve Apirana, Butler's acknowledged leader, relates the story of the band's formation. “A bunch of us from Rotorua went down to Motueka to work in the tobacco crop. Back then there was a scheme where the government would fly you down. If you stayed working for six weeks, you didn’t have to pay back the fare. They were going to fly us back but we decided we’d try living in Christchurch. We didn’t know how cold it’d get! We were basically street kids. We’d sometimes crash on people’s sofas for a few nights, but we often slept in the park too." 

To find warmth and a cheap meal, the four guys and their friends began hanging out at The Open Door, a Christian drop-in centre on Tuam Street. "It used to be an old pub and it was donated to the Anglican Church," says Apirana. "There were three centres like that in central Christchurch, but we chose this one because it had band gear there." 
In an interview with English music website Cross Rhythms in 1997, Apirana recalled the centre. "It was the only place that would let smelly-looking kids come into their buildings. We were heavily into rock music and they had a dilapidated drum kit, an amplifier and a couple of guitars. They let us play on them and we thought we were the Rolling Stones or somethin'. We would toss a coin to see who was going to play the drums because no-one wanted to play the drums, we all wanted to play the guitar. We taught each other how to play. Being brought up in a Maori community, just about everyone would have a guitar and just about everyone sings. We would have a lot of parties ... and that would be where you learnt to sing as well." 

Apirana started playing guitar at age 15, and a year later he and Warren (who was a year younger) decided they'd start a band. Their dream, however, only coalesced with these jams in Christchurch. "We approached the guy who was running the centre and got him to open it up on a night it was not normally open so we could practice," Steve told Cross Rhythms. "Three days later, the son of the minister offered to be our manager. Here we were, a band formed in three days, nowhere to play, only a couple of instruments, but we had a manager!" 

"He saw something in us," says Apirana. "He said ‘see how far you can take this'. To me, it was just a dream. I didn’t expect anything from us. We started practising more and saving up to get proper gear within a year. He kept us on the straight and narrow, as we were all over the place emotionally then.” 

Perhaps not totally straight and narrow, he mentioned to Cross Rhythms. "We still got into a bit of trouble, but we stopped the crime side of our lives. I'd been in trouble all my life, sent to boys homes, family homes and stuff, and I just carried that into my adult life." 
There was safety in numbers for Apirana and his fellow street kids then, he recalled. "There were eight or nine of us, so we never got bothered by anyone ... except the police." 

The story behind the choice of band name has a tragic side, says Apirana. "Butler was one of our friends, a street kid too. He was maybe going to be our singer. He was a good-looking guy with a big afro. He’d be out on photo shoots and we’d often see his poster around, modelling clothes. He was going to call into the drop-in centre for us to audition him, but I was picked up by the police that day, for non-payment of fines, and I spent the weekend in Addington Prison. Butler turned up for the audition but it wasn’t on. He went out to a party instead and later that night he was killed in a car crash. We didn’t have a band name then and we decided to call ourselves Butler as a tribute to him." 

Nicknames for some of the band members stuck. "Heidi was nickname of our other guitarist Matt Warren, and Angel and Hori were nicknames too, dating back to our Rotorua days," says Steve. 

The natural musical talent of the newly minted band was soon audible. "Even the staff and social workers and the mostly middle-class pākehā volunteers there started to enjoy it," Steve recalled. "We started to get a following, and we’d play a concert there every Sunday night. Word of mouth spread and it was often packed. Quite a few students and general town people started coming. There were plenty of Polynesians and Māori in town, so we’d get invited to play at their parties and weddings sometimes too.” 
The campus circuit 
As a buzz around Butler built, the band was invited to play orientation week gigs at the University of Canterbury, starting in early 1971. I had just begun studies there, and I have fond memories of beer-soaked campus gigs featuring Butler serving up high-energy and more than competent cover versions of the songs we'd play in our frigid student flats. 

Apirana recalls, "We built up a repertoire of covers early on. People loved Hendrix, Santana and Joe Cocker, stuff we liked too." A next step was to begin writing group originals. "I’d write some words that rhymed and the others chipped in," says Steve. 
One asset that helped Butler stand out was a warm sense of humour, something their peers often lacked. One website post remembers Steve introducing a Santana cover as a song "by Carlos and the Sultanas". Another post on the ProgNotFrog site recalls their Christchurch Town Hall gig supporting Osibisa: "When someone's guitar strings broke, the band left onstage started singing a song about 'blowing their big break' cause the guy broke his guitar strings." 

The eclectic sound of Butler came naturally, Apirana explains. "Growing up in the 50s and 60s we all liked pop music, whatever was on the radio," says Apirana. "Howard Morrison was a big influence, 'cos he was from Rotorua." In a June 2013, Māori TV interview called Unsung Hero, Apirana expanded on this. "I watched Howard Morrison sing with the Quartet, and I saw the reaction of the audience, all loving him. I thought, 'that's what I want'." 
"When I was 15 or 16 the psychedelic and hippie thing started so I got into people like The Lovin' Spoonful, Vanilla Fudge, and Donovan," says Apirana. "By the time we got to Christchurch, we had a head full of different stuff. Initially I thought blues was boring, all that 12 bar stuff, but from hanging around student flats then I heard more of it. I loved early Fleetwood Mac and John Mayall. I became a huge Peter Green fan, as a guitarist and singer. Then of course there was Hendrix, Santana, Jeff Beck, Clapton and Janis Joplin – all that blues-rock. I always loved vocal harmonies too, from The Beatles to The Four Seasons and early Bee Gees. It was more the cool stuff we’d play at gigs though. Another inspiration was a Māori band from Rotorua, Collision, and we rather modelled ourselves on them." Other New Zealand rock bands to have a big impact on the young Apirana included The Underdogs, The La De Da’s, and The Human Instinct with Māori guitar hero Billy TK. 

Butler's career took a significant leap in 1972 when they took over from fellow blues-rockers Ticket in a residency at top Christchurch music club, Aubrey's. Apirana told Māori TV, "Ticket were like The Beatles to us. They were the number one band around. I'd go to see them whenever I could, getting tips from their compositions." 

Regular playing at Aubrey's, support slots for visiting bands like Daddy Cool and other gigs in Christchurch and beyond helped Butler hone their skills, and they began asserting themselves as one of the best live bands in the country. 
A Record Deal 
This fast-growing reputation led to an invite to appear at the now-legendary Ngaruawahia Festival in early 1973, alongside such other fledgling New Zealand bands as Dragon and Split Enz. "Back then everyone was getting record deals," notes Apirana. "Our manager asked around for a deal and Pye took us up on it. They put us on a new label, Family. I think John Hanlon was the only other artist on it." 

Initial high hopes would soon sour, however. "In June 1973 we went into Stebbings studio in Auckland to make our first album. It was a fantastic studio but we had a hard time with the producers and engineers. We were very green about the studio. We thought we’d just play live, but they wanted to record our parts separately. We were so used to playing together as a band that we got so disoriented by this. It was such an unpleasant experience." 

Butler's disenchantment with the record and the label grew as time went by. "It took them 18 months to release it and by then we’d progressed more into prog rock and bands like Wishbone Ash. We weren’t even playing many of those songs on the record." An initial single had a cover of Creedence Clearwater Revival hit 'Green River' as the A-side, but it fared poorly. "The label never really got behind it," Apirana laments. 
On the Butler album, nine group originals nestled alongside covers of 'Green River’, Cher's hit 'Bang Bang’ and the Four Tops classic 'Reach Out I’ll Be There'. 

Despite the album's failure, Butler remained popular on the touring circuit, and they opened for such visiting groups as The Average White Band and Osibisa. "It was great to meet legends like that," he says. 

The story behind the AWB slot is an interesting example of positive racial discrimination. "When Average White Band toured New Zealand in early 1975, they wanted a black band to open and they asked us. We did three gigs with them, Nelson, Mount Maunganui and Auckland. That was a great tour." 

Apirana notes that, "Some of the media attention we got around the country was based on being all-Māori. We were proud of that identity and we did get some gigs because of that." 

By 1976, Butler were hoping to make another album, one that better captured their improved musical chops, but internal and philosophical differences within the band deepened, causing them to call it quits in 1977. 
A key factor here for Steve Apirana and Heidi Warren was their deepening faith, Apirana recalls. "By the end of 1976 we had new management and we’d bought a bus, but the timing was not so good. We became Christians and that had a big impact on Heidi and myself especially. We split when our bassist Angel decided he wanted to spend more time on his marriage and with his family. Both Heidi and I had been married and had children by then. After Angel‘s wife said he had to reassess things, we decided not to replace him. Heidi and I decided to explore the Christian music scene and make more of a commitment to Jesus." 

The problems inherent in pursuing both their faith and a rock and roll life came into full focus when Butler was offered the support slot for a show by a musical hero, Joe Cocker. They reluctantly turned it down in as it conflicted with a bible study night and their friends Dragon stepped in. 

Reflecting on their earlier rock and roll lifestyle, Steve Apirana now candidly expresses some regret. "We treated our wives like rubbish. We thought it’d all be fine when we bought them fur coats and flash cars!" 

Steve is equally blunt in explaining why such material gains never came Butler's way. "We were a messy and undisciplined band. We were not a hungry band. We were unambitious in terms of working hard. We spent too much time trying to find drugs. I remember Dragon were rehearsing in Christchurch at one stage, so we thought we’d go over and hang out with them. They were like ‘sorry guys, we’re working'. This was in the middle of the day. They were working hard – they had plans. We just thought it’d come to us, so I guess we were arrogant then.” Kerry Doole ...Audio Culture............. 

Steve Apirana — guitar, vocals 
Heidi Warren — guitar ,vocals 
Angel Adams – bass guitar 
Hori Sinnott – drums 

01. Bang Bang – 4:00 
02. Suicide Ride – 4:32 
03. We’re Getting Nowhere – 2:47 
04. In The Morning – 3:06 
05. Especially For You – 3:11 
06. Green River – 3:32 
07. Reach Out – 3:07 
08. Tilde Jane – 2:13 
09. Mistake – 1:38 
10. Southern Magic – 1:49 
11. Here We Come – 2:50 
12. Mirror Don’t You Weep – 4:29 

Panther “Wir Wollen Alles!” 1974 Germany Private Kraut Rock

Panther “Wir Wollen Alles!” 1974 Germany Private  Kraut Rock
A largely polito-Kraut underground rock band from Ahrensburg, formed in 1972, in Ton Steine Scherben, Tobogan or Lokomotive Kreuzberg vein, with rock 'n' roll edges too - but no folk!.............

Those who claim that this LP has proto-punk sounds are pretty far off, and similarly far off is Dag Erik Asbjornsen who accused Panther of playing short rock'n'roll songs. True, there are a few duff boogie tracks on this LP, but the majority of the songs presented here are very nice, sitting squarely in a typical German agit-rock aesthetic which means one half political rants and one half excellent jamming hard-rock. Two longer songs ("Kingesperrt" & "Vodka-Lemon") are particularly good, with inventive guitar playing and some recognizably German synthesisers bubbling on the background, the other stuff is decidedly more pedestrian, though still decent. And they were pretty extreme in their anti-capitalist stance - the GEMA word on the label is spelled as GEMAfia!..............

Klaus "Julle" Ahrens (bass, guitar, vocals) 
Gregor Ahrens (drums) 
Olaf Lietzen (drums) 
Klaus Schulz (lead guitar, vocals) 
Gert Lange (guitar, vocals) 

Manne Rόrup (synthesizer) 
Richard Borowski (bongos)

1 Wir wollen Alles 4:20 
2 Papiertiger 5:18 
3 Putte muß bleiben 2:50 
4 Mach die Augen auf 4:33 
5 Daimler Se 4:16 
6 Eingesperrt 7:26 
7 Die Sirene heult 2:31 
8 Wodka-Lemon 9:07

Sam Hunt & Mammal "Beware The Man" 1972 New Zealand Psych Folk Rock

1974 L to R Julie Needham, Mark Hornibrook, Kerry Jacobsen, Rick Bryant, Robert Taylor and Tony Backhouse.

A poster for Mammal and Tamburlaine at Wellington club Lucifer's in 1972

Bill Lake, 1974

Mammal in 1973 L to R Tony Backhouse, Julie Needham, Kerry Jacobsen, Mark Hornibrook, Robert Taylor and Rick Bryant.

Mammal live at the 1973 Great Ngaruawahia Music Festival, coming on just after Black Sabbath

Mammal, 1972 (at Lucifer's Nightclub). Left to right Rick Bryant, Bill Lake, Patrick Bleakley, Mike Fullerton, Tony Backhouse, Robert Taylor

Mammal, 1972. Left to right Bill Lake, Mike Fullerton, Rick Bryant, Patrick Bleakley, Tony Backhouse, Robert Taylor

Mammal, 1973. Robert Taylor, Rick Bryant

Mammal, 1974. Clockwise from left Mark Hornibrook, Rick Bryant, Robert Taylor, Tony Backhouse, Kerry Jacobson, Julie Needham

Mammal, 1974

Mammal, Auckland Town Hall, 1973

Rick Bryant, Mammal, 1973

Robert Taylor, 1974

Sam Hunt & Mammal  "Beware The Man" 1972 New Zealand Psych Folk Rock
Band formed by youth from Wellington, capital of New Zealand, in 1969 . In 1972 the poet Sam Hunt began playing gigs with the group reciting some poems during the songs. The experiment was so successful that the Mammal, along with Sam Hunt recorded an album in 1972 the only one of them. After fights and several lineup changes the band ended in 1974. 
The album Beware the Man brings 11 tracks of psychedelic rock, most of the time acoustic and soft style, with passages of folk and country. Some songs begin with poems spoken by Hunt, the songs are well played , with interesting mixes of electric and acoustic guitars, keyboards, sax, harmonica and violin. A beautiful album, Pearl recommended for fans of acid folk and psychedelic rock............ 

In December 1969, after Original Sin had folded, Simon Morris and Bill Lake, from that group, teamed up with Tony Backhouse to form an acoustic trio called Mammal. Early in 1970, with Backhouse playing bass guitar, Mark Hansen, who had previously played with Abdullah's Regime, was added to the line-up to play drums, and the group turned electric. Bill Lake, who liked acoustic and had set up a part-time acoustic group, the Windy City Strugglers, while playing with Original Sin, now used this group as his outlet to continue his acoustic activities, while continuing to play with Mammal. 

When Gutbucket folded in mid-1970, Rick Bryant, who had also been with Original Sin, joined the group on saxophone and vocals, bringing Mike Fullerton, the Gutbucket drummer with him to replace Mark Hansen. 

All the members were students at Victoria University. Up until this time, there had been very little effort to present rock music on campus. While playing as Original Sin, they never actually played on campus. Graeme Nesbitt, another student at the University had a lot to do with changing that situation. He was actually a folkie who later gained national exposure as a member of Country Deal, who were finalists in the 1971 Studio One Series. He formed the Blues-Rock Society at the University and playing at this was regarded an important gig by most of Wellington's bands. 

Even while Rick was a member of Mammal, he also ventured out periodically up until 1973 with another band he put together called Rick and the Rockets. Their most stable line-up included Graeme Nesbitt and Peter Kennedy on guitars, Rick on vocals, Kris Smith on bass and Jeff Kennedy on drums. 

During most of 1971, Mammal didn't do many gigs as its members were trying to concentrate on studies. This soon changed in 1972 when Graeme Nesbitt took over management of the group. This brought about a line-up change with Simon Morris leaving to form a soft-rock band called Tamburlaine. Simon was replaced by Robert Taylor on lead guitar. He was from Waipukurau and had also been a Victoria University student, but had dropped out. He had been occupying himself doing some solo gigs, occasionally playing with the Windy City Strugglers and fronting a country rock band called Chum. With Morris's departure, Tony Backhouse moved to keyboards, allowing another of the old Gutbucket group, Steve Hemmens, to join the group on bass. 

While playing more gigs than they used to, they still concentrated on studies, but when opportunities allowed, they did manage to play on campus at New Zealand's other main Universities at Auckland, Massey and Canterbury. The group boasted three songwriters, so this gave them quite a wide diverse range of music for their repertoire. Although playing basically dance-orientated music they soon got a reputation for being an arty band. It was not often that New Zealand rock bands comprised of members holding University degrees. In mid 1972, Mammal's arty reputation saw them getting involved with poet Sam Hunt. He was a poet who was beginning to reach a wider audience, selling his books in numbers not previously heard of for a New Zealand poet. He has befriended Backhouse and he introduced Sam to the other members of Mammal. The result of this meeting led to a series of varsity concerts featuring Mammal with Sam Hunt as guest. Initially Sam would read poems between sets, but this evolved into concerts with poetry with musical accompaniment. These concerts were so successful that the concept was captured on record and an album was released before the end of 1972. The album was called "Beware The Man" and released as Sam Hunt and Mammal. Also an EP came out called "Sandshoe Shuffle (Selections From Beware The Man)". 
At this time Hemmens left and he was replaced by Patrick Bleakley on bass. In January 1973, Mammal appeared at the Ngaruawahia Music Festival and gave one of their better performances. After this they went on a North Island tour. When the tour was over, Bill Lake called it a day. In June 1973 there were further line-up changes, Bleakley left and was replaced by Mark Hornibrook on bass, Mike Fullerton was replaced by a young 18 year old drummer Kerry Jacobsen, and Julie Needham was added to the line-up on electric violin. 
This new line-up, along with Lake's Windy City Strugglers, Sam Hunt and Tamburlaine, took off on a very successful Universities tour. Mammal also invested in an old bus and in December 1973, hit the road for a mammoth four month tour, taking them from Kerikeri in the north, right through to Westport in the south. Although the idea of self-promoted tours had been pioneered by Blerta, it was Mammal manager Graeme Nesbitt who brought a professional approach to the practice. Nesbitt would arrive in town two or three weeks before the band, hire suitable premises, place newspaper ads, distribute posters, and organise publicity. 

In April 1974, just one month after completing their tour, Nesbitt sent the band on the road again. This was too much for Needham and she called it a day. Her place was taken by adding another guitarist, Peter Kennedy, who had played part time with Rick and the Rockets. 

Halfway through their North Island tour, the bus died an overworked death and all their subsequent bookings were cancelled. Instead they took up a residency at Wellington's Speakeasy Bar. This was a different audience to what they had been used to and it didn't prove very successful. Unrest grew strong within the group and the end was near. They played a farewell concert at the Wellington Opera House in September 1974. 

Apart from their output with Sam Hunt, the group only ever released one single in 1973 called "Wait"/"Whisper". 

Peter Bleakley and Rick Bryant both made appearances with one of the many combinations of Blerta. Tony Backhouse and Peter Bleakley were later to appear in Spats. Both Taylor and Jacobsen went on to play with Dragon. This came about because Graeme Nesbitt became Dragon's manager. 

Rick Bryant had been juggling his time between academia and rock and roll since 1966. In 1974 he made a decision that rock and roll was his calling, and he has remained a professional singer ever since. After Blerta, he went on to Rough Justice, Top Scientists, the Neighbours, and the Jive Bombers.....New Zealand music................ 

In the early 70s, Mammal were an important New Zealand band: original, ambitious and talented. The paucity of their recordings means their significance has sometimes been overlooked. At a time when New Zealand’s musical landscape was dominated by pop acts and covers bands, Mammal were pioneers of an uncompromising experimental rock. 
They travelled the country in a psychedelic-painted bus, boasting an eye-opening light show and challenging audiences with their often-lengthy original songs, extended instrumentals and elaborate harmonies. They were one of the first NZ bands to use a synthesiser on stage. A showpiece of their set was ‘Play Nasty For Me’, an epic original that could last upwards of half an hour and ran the gamut of musical styles, from country and western to heavy metal. They would also pepper their sets with a smattering of unexpected covers, such as The Temptations’ ‘Cloud Nine’ complete with five-part harmonies and Motown funk arrangement. 

Mammal was known as a university band. This referred in part to their academic accomplishments: in addition to Rick Bryant, there was pianist/guitarist Tony Backhouse with a degree in composition, and guitarist/mandolin player Bill Lake, who was working towards a doctorate in philosophy. But the university tag also indicated that it was student audiences who were most receptive to the group’s unconventional mix of acid rock and sophisticated soul. 

Their tours, which frequently but not exclusively took them to campuses, were organised by the group’s manager, Graeme Nesbitt. A counter-cultural entrepreneur, he pioneered a local touring circuit for what at the time were referred to as “underground” bands. (Today such bands would be classified as “alternative”). Groups that sometimes performed with Mammal included Tamburlaine, Billy TK and Powerhouse, Butler, The 1953 Memorial Society Rock ‘n’ Roll Band, Dragon and Split Ends. 
Mammal also played at festivals, including the Great Ngaruawahia Music Festival in 1973, where they took the stage in the early hours of the morning, some time after Black Sabbath. 

Mammal was formed in Wellington in 1971 from the remnants of several other capital city bands. Vocalist Bryant previously sang with Lake in the acoustic Windy City Strugglers and electric Original Sin. Backhouse had been involved in rock operas and staged happenings (Jenifer, Santa’s Liquid Dream), had written songs for 60s pop act The Avengers and studied classical composition. He and Lake had also played together in Simon and the Mammals, a short-lived precursor of Mammal (other members of this group, Simon Morris and Mark Hansen, went on to play in Tamburlaine). Lead guitarist Robert Taylor had moved to Wellington from Waipukurau, ostensibly to go to university but in fact to make music with Bryant, with whom he shared a love of blues and funk. 

Mammal’s original rhythm section of Steve Hemmens (bass) and Mike Fullerton (drums) were both with the blues band Gutbucket, with whom Bryant sometimes sang. When Hemmens left in 1972 to study art in England he was replaced by Patrick Bleakley. When Bleakley left a year later to join BLERTA, he was succeeded by Mark Hornibrook, and when Fullerton departed the drum seat he was replaced by Kerry Jacobson. 
In 1972 Mammal recorded what was intended to be a trilogy of albums with poet Sam Hunt, for Red Rat, an independent record label set up by alternative book publisher Alastair Taylor (who found success with several counter-cultural publications including Tim Shadbolt’s Bullshit and Jellybeans, the controversial Little Red Schoolbook and a New Zealand edition of Rolling Stone magazine, as well as several volumes of Hunt’s poetry). Backhouse and composer Ian McDonald set Hunt’s poems to music, which Mammal performed while Hunt recited the occasional verse. Only an EP and one album of the proposed series were ever released. Titled Beware The Man, the album did not really represent Mammal’s live sound. The group toured with Hunt while the title track became a staple of their live repertoire. 

In 1973 they released a double-A-sided single, ‘Wait’/‘Whisper’, which was more representative of their complex, harmony-rich sound. A follow-up single (‘Rock ‘n’ Roll Woman’/‘Solo’) was recorded at Wellington’s HMV studios, but remained unissued. 

After Lake’s departure in mid-73, Backhouse moved to guitar, sharing occasional keyboard duties with Taylor, while Julie Needham was added on violin and vocals. 
This incarnation of Mammal made a promotional film of the song ‘Beware The Man’ under the direction of Roger Donaldson (who would later find fame with New Zealand features such as Smash Palace and Hollywood hits No Way Out and The World’s Fastest Indian). But like many of Mammal’s pioneering projects, this early music video never reached the public. 

Mammal’s performances were characterised by a DIY element. Once, at a concert in St Matthew’s cathedral in Auckland, Nesbitt – hoping to enhance the group’s light show with special effects – ordered a roadie to procure a smoke machine. The roadie returned with a portable stove and a flammable powder. In a pre-Spinal Tap moment, the band became engulfed in black clouds as the cathedral filled with acrid fumes while the hapless roadie could be seen side-stage, attempting to put out the blaze with a tea towel. 

A drug bust while on tour in 1974 helped to cement their counter-cultural credentials, but scotched their hopes of breaking into the burgeoning pub circuit. 

Mammal broke up at the end of 1974 when they were unable to find a suitable replacement for Hornibrook, who was leaving to concentrate on his electronics business. Taylor and Jacobson subsequently joined Dragon and found fame in Australia. Bryant became a featured vocalist in BLERTA before going on to lead his own rhythm and blues-based bands, including Rough Justice and the Jive Bombers. Backhouse went on to play in art-pop groups Spats and The Crocodiles and lead a gospel choir. 

Mammal lives on in a handful of recordings, but mostly in the memories of those who saw them live. It’s hard to imagine anyone who experienced the group in full effect – rake-thin Robert Taylor contorted over his guitar, Bryant beating hell out of his tambourines, and a film depicting the life-cycle of the blowfly flickering on the screen behind them – was not in some way changed by the Bollinger 3 Aug 2013 ...from Audio Culture...... 

Bill Lake (Guitar / Harmonica / Vocals) 
Tony Backhouse (Bass Guitar / Keyboards) 
Simon Morris (Guitar / Vocals) 
Mark Hansen (Drums) 

A1 A Valley Called Moonshine
A2 Beware The Man
A3 A Wind Of Wolves
A4 Walking The Morning City
A5 Hot Water Bottle Baby Blues
B1 Sandshoe Shuffle
B2 When Morning Comes
B3 Lyn
B4 Collision
B5 Con The Man And Melissa
B6 Bracken Country

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“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958