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Pop Mechanix - Zoo - Cowboys and Engines, plus History part 3 скачать в хорошем качестве

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Pop Mechanix - Zoo - Cowboys and Engines, plus History part 3
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Pop Mechanix - Zoo - Cowboys and Engines, plus History part 3

AI REMASTERED We should go to Australia! Who said that? We were made in Christchurch, and enjoyed touring north to Auckland. Our best songs here    • Видео   plus History part 1 - plus live at Mainstreet, the end of the last night before Splash Alley became Pop Mechanix    • Pop Mechanix - The End of the Last Night B...   Andrew McLennan joined the band after Richard Driver left on 27/6/1980. Although we had lost a very good frontman, and the foremost organiser of tours and publicity, Richards vocals suffered from a speech impediment. Later we loved his Hip Singles songs and forgave him, but he took the money and ran, leaving us with just enough cash between us to get gas to Auckland. We burnt the drum riser beer crates on the edge of Lake Taupo, cooked some sausages and shared half a bottle of wine and vowed to get a better singer and never go back. We unloaded the trailer and left it outside the hire place in Hamilton, we’d gone there following a trio of accidents after leaving Christchurch. Dawn was breaking as we drove our uncomfortably cramped van into Auckland with amplifiers strapped to the roof. Mike Chunn was very good, his confidence in our songs and his experience was reassuring. We got a flat and jobs, and soon heard that Andrew Snoid wanted to join on the condition that he be given a songwriting credit for all the songs we’d previously written. This is a ridiculous travesty of copyright law and Mike ought to have told Andrew to grow up, we ought to have called his bluff, but instead it happened. South Island acts know the frustration of the industry, including rock magazines like Rip It Up, being always based in Auckland, the profile of the Whizz Kids was already greater than any South Island band could achieve, and we were desperate. Blam blam blam were excellent too, and we were a fortunate opportunity for Andrew, a very good singer with a vibrant stage presence. There was every chance for him to make his mark, a visually compelling gifted vocalist/entertainer. Auckland audiences celebrated. We didn’t tour so much anymore. Kevin was from Christchurch, Scott, Mason and I were from small rural communities, so touring through the North Island cities was exciting for us. I don’t think Andrew viewed touring down through the boonies in the same way as us. We had recorded our first single, Now, with Richard Drivers vocals, and had to replace those with Andrew McLennan singing. The song got some airplay but it’s a pathetic little ditty, and I was gutted that the far better Radio song was the B side, meaning it would never be an A side. Something between private art school pretensions and a union mentality were in control of the bands choice of singles, many decisions we made were to the detriment of commercial success, including Jumping Outa Windows, a suicide note, being chosen as a single. Once again a great commercial song, The Way I Dance, was relegated to a B side. There was nothing else to do but go along for the ride. The Ritz was released by RCA, a different record company, in between, once again, the choice of a quirky song, in denial of the obvious pop machine we’d become. All our songs were recorded and making the Mandrill Demos available is another project. By the spring of 1980 Pop Mechanix were established in Auckland and performing at different pubs, all the right places, in a vibrant post punk scene with the Swingers, Screaming Meemees and the Newmatics. Kevin and I had jobs at a seatbelt factory for a few months, later I painted the outside of a house to get the money for a Vox continental organ, red, on Z legs with black and white keys swapped. My guitar was a blue teardrop shape but a poor Vox copy, and we had Vox AC30 amplifiers, a Roland amp for the keyboard, and I ought to mention that we also had a rising debt. We stayed in more upmarket motels when we toured, flew to Christchurch for a performance at Jelly Park, the 6000 turnout was a crowd record for kiwi bands in Chch. By the end of 1980 we were on the brink of National awareness, Ray Columbus had written in The Listener that we were “where the real action is”, though we were still quite frustrated at lack of radio airplay. The plan was interesting, supposed popularity would buy our singles, and that should impress the radio stations. As if conviction made hits. Personally as a lover of good commercial radio songs all my young life, I thought we ought to just straight out give the radio stations what they wanted, we had an album of great little pop songs, surely radio songs, like… I wanna hear it, I want to hear it, on the radio! We would have been publicising radio!!!! If we’d made a video, we would have been advertising radio… History part 4 - How we blew the Sweetwaters crowd away, went to Australia, and became NZPop then Zoo is continued at    • Видео   Read The Invisible Band, a novel in weekly chapters by Chris Moore at   / bearclb  

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