Robert Scott

Bass player for the Clean and highly prolific singer-songwriter for the Bats (whom he formed while the Clean were on hiatus in the mid 80s), Rob Scott released his own solo album in 2000, and took the albums name (Creeping Unknown) as his moniker for subsequent tours around New Zealand, Europe and the United States.

However closely linked to the Bats, The Creeping Unknown was a darker album aimed at being an organic cross-pollunation type release (it encompassed a lot of electronically produced soundscapes and texture) than any of his Bats recordings. It faired pretty well, being a pretty clean progression towards a more modern sound (though not quite as effectively as say, Shayne Carters’ Dimmer project).

Scott made his start as an underground tape enthusiast, forming the Every Secret Thing cassette label in the late 70s, and releasing a handful of albums from his own projects (primarily Electric Blood) and many others by the likes of Michael Morley and Denise Roughan (including a very rare Wreck Small Speakers On Expensive Stereos release).

Since 2002 Scott has become increasingly prolific once more, with a variety of home-recorded releases appearing on the low-rent Powertools label, on more professional efforts on Flying Nun, and a couple of joint singles.

Discography (picks in bold)

  • Black Forest 7″ [w/ Alastair Galbraith 1998 Self-Released]
  • The Creeping Unknown [2000 Flying Nun FN447]
  • Tudor Gates EP [2002 Self-Released]
  • @Radio One CD-r EP [2003 Self-Released]
  • Songs of Otago’s Past CD-r [2004 Powertool Records]
  • Tascam Hits [2004 Powertool Records PT065]
  • Moonlighty Potato [w/ Ginna Rocco 2006 Powertool Records PT065]
  • Too Early 7″ Single [2010 A Small Number of Things]
  • Moonlight Potato [w/ Ginna Rocco 2006 Powertool Records PT044]
  • That’s What I Heard 7″ [w/ Adalita Srsen and the Puddle 2010 Fishrider Records]
  • Ends Run Together [2010 Flying Nun FN507]

See-Also

Sheep Technique [01/07/2008]

My very last Sheep Technique (kiwi music show on student radio station RDU); with Paul, and with an aborted interview with Cindy (previously known as Sandra) from former Flying Nun single band 25c.

Bible Black – Hell of a Woman
The Renderers – Low to the Ground
The Clean – Point that Thing Somewhere Else
25c – The Witch
Front Lawn – A Man and a Woman
25c – Don’t deceive me
The Good Housewives – Concerto in D Minor
The Stones – See Red
Spacedust – Too Much Action
3Ds – Outer Space
Steffan Van Soest Hit-Machine – Woman By My Side (Mexican Man)
Ticket – Mr. Music
Shaft – The Downhill Racer
Scorched Earth Policy – Sunset on the Loading Zone
Scavengers – Mysterex
Toy Love – Bride of Frankenstein
Reduction Agents – Urban Yard
Blam Blam Blam – There is No Depression in New Zealand
Pop Art Toasters – What Am I Going to Do
Tomorrows Love – 7 and 7 Is
King Loser – 76 Comeback
Straitjacket Fits – Life in One Chord
Palace of Wisdom – Found and Lost
Wreck Small Speakers on Expensive Stereos – All of This
the Bats – Block of Wood
Snapper – Snapper and the Ocean
Bitch – Wildcat
Die! Die! Die! – Sideways Here We Come
The Androidss – Auckland Tonight
Lawrence Arabia – Half the Right Size

Vacuum Blue Ladder

The Vacuum Blue Ladder formed when Bill Direen joined Stephen Cogle (Bass / Vocals) and Peter Stapleton (Drums / Lyrics), who were also making music as the duo Victor Dimisich Band – a group that would later release an EP on Flying Nun, and can be seen as the starting point for the more recognized Terminals, plus Stapleton and Cogle’s many variations. However – the Vacuum were quite different from these future groups, as Direen was an important creative force in the group who added his own color to their sound and songwriting.

The members took advantage of their connections to the album importing business, encompassing inspiration from the most obscure (in New Zealand’s mid 70s environment) corners with the likes of the Velvet Underground and West Coast U.S. psychedalic artists the 13th Floor Elevators (along with the staple Nuggets bands)… the very best in gritty, noisy and creative garage rock.

Like before we were in Vacuum we had a backyard band sort of thing. We used to play in this room down the back of my parents’ house. A woman called Theresa played guitar with us and we wrote songs. The ones we did with the Vacuum, most of the songs were written by Bill, which was a source of conflict eventually, and so we took our songs and did them with the Victor Dimisich Band
Peter Stapleton

Guitarist / Vocalist Theresa Mcquire joined and left in 1976, making way for Direen to front the band, and soon Peter Fryer had joined on violin. The combination of Direen and guitarist Allen Meek created a rift in the band, with Cogle and Stapleton restricted to the side-lines.

…They got pretty close. Peter and I would come along (to practise), and Bill and Allen would’ve spent a long time working things out. In the end, it sort of goes, that I got fired, by Bill. ‘Cause I didn’t mix with him. I remember.. Peter meeting me over the christmas period, we sort of had a christmas break, and he said oh, Bill wants me to tell you that you’re out (laughs). And I said oh, that’s fine, it suited me. And I was replaced by Segovia
Stephen Cogle: taken from Have You Checked The Children?

Jon ‘Segovia’ Markie (soon to make his name with the Axemen and later Shaft) joined Direen, Meek and drummer Malcolm Grant (the Bats) on bass to complete the final line-up of the Vacuum in 1979. The band eventually dissolved in the very early 1980s, but resurfaced with the short-lived Kaza Portico – Segovia in the mostly-covers outfit the Volkswagons, and later in Ritchie Venus‘s Blue Beetles.

Direen eventually took the shortened Vacuum as the name for his theater group, and continues to write, act and perform to this day.

Discography (picks in bold)

See-Also

The Weeds

Biography

[Profile thanks to Tim Davey]

The Weeds were around for about a year in the mid-80’s, formed with the intention of having fun and seeing just how stupid they could be, while also entertaining people. The band provided a great distraction for its members from the more ‘serious’ music they were making in other groups at the time. The name supposedly came from the fact that all the members were quite skinny at the time.

Robert Scott and Michael Morley had been playing together in the Pink Plastic Gods in late 1984. Following the end of the group Scott (Bass, Vocals) And Morley (Guitar, Vocals) got together with Jeff Harford (Vocals) and Chris Healey (Drums) and The Weeds was born. All except Healey had had much experience in other bands; Scott had been in The Clean and was front-man with The Bats, Morley was in Wreck Small Speakers On Expensive Stereos and Harford had played with Bored Games. Following the tragic end of Doublehappys in mid-85 Shayne Carter (Guitar , Vocals) And John Collie (Drums) were also added to the line-up. An odd feature of the group was that they had two drummers.

Every gig they played involved some sort of dress-up theme which the whole band would participate in. One night they would be playing draped in foliage and weeds, another would be in glam gear or bad taste clothes. Their most outrageous ‘dress-up’ was playing in their underpants on the town hall stage as support to the Verlaines and the Rip at a 4XO dance. Their only out-of-town gigs were at the Gladstone in Christchurch as support to Look Blue Go Purple and in Auckland at Windsor Castle. The latter gig didn’t go down very well and the band realised that dressing up stupidly and playing music was best done only around people who knew you.

The essence of the weeds was not about serious music or writing meaningful lyrics but about having a good time. A review by Sharon Guytonbeck following a gig at the empire spelt this out:

with a couple of friends helping out The Weeds were a lot of groovy fun. Who needs ‘Live Aid’ when you can have this. Yes, The Weeds confirmed my belief that Dunedin is where it’s all happening musically. We don’t need the rest of the world when we can be at The Empire with The Weeds.

– Critic 6/8/85

Band rehearsals were for the sole purpose of writing new material which gave their on-stage sound a very fresh feel. In mid-85 the band made some recordings at Dockside Studios on Wharf St which emerged as the Flying Nun single ‘Wheatfields’, a very Velvets-influenced piece that buzzed along with the chorus line ‘It’S Been A Hard Day On The Wheatfields …’. further recordings were made later in the year at Chippendale House which to this day remain unreleased.

By late 1985 the members of The Weeds were being pulled away by their other musical projects and the band faded away. Scott continued with The Bats and Carter And Collie went on to form Straitjacket Fits. Morley was later involved in Dead C, Gate and This Kind Of Punishment while Harford became part of My Deviant Daughter.

The Weeds played only around 15 gigs but will almost certainly be remembered by everyone who saw them for their mix of shock, humor and good music.

Members

  • Robert Scott (Bass/Vocals, 198?)
  • Michael Morley (Guitar/Vocals, 198?)
  • Jeff Harford (Vocals, 198?)
  • Chris Healey (Drums, 198?)
  • Shayne Carter (Guitar /Vocals, 198?)
  • John Collie (Drums, 198?)

Discography

Links

The World

Low key postcard style popsters, the World featured Malcolm Grant (Bats – Brums), Bridget Mulcahey (Bass), Alan Meek (Guitar And Keyboards – The Bilders), Andrea Cox (Violin) and Charles Haywood (Vocals). Released a 7 song cassette album entitled ‘Seven Songs’ on Bob Scott’s Every Secret Thing label.

Discography (picks in bold)

  • Seven Songs [1984 Every Secret Thing EST14]

See-Also

The Bats

Biography

The Clean was never a band to stand still. Several times during the 80’s they broke up, then reformed for a European, New Zealand or American tour, and all three members relocated at least once during these crucial years. So when Rob Scott arrived in Christchurch in the mid 80’s, he decided to form a 4 piece through his garden-city colleagues that would act as an exercise point for his by now prolific song-writing ability.

Switching from bass to guitar meant that the brilliant husband and wife combo of Paul Kean (Detroit Hemorrhoids, The Basket Cases and the mighty Toy Love – primarily bass, but also guitar) and the multi-talented Kaye Woodward (guitar, violin, mandolin etc) took over the rhythm section, with experienced drummer Malcolm Grant (who had played with the likes of The Vacuum and The World) at the throne.

Their first album Daddy’s Highway is considered a masterpiece, a jangle-pop classic showing the groups tendencies for stunning, harmonious guitars, sing-a-long vocals and pounding rhythms. The single ‘North by North’ is a brilliant example of what’s flawed with the international music scene – a song so appealing, carefree and yet focused can go essentially ignored in-spite of itself.

The Bats never really accumulated a particularly strong following throughout the 80’s and 90’s, as their albums continued to sprout up (the brilliant The Law of Things and Fear of God being my favorites) – they were confounded to minor-league college radio airplay, even in their hometown.

With Scott’s movement back to Dunedin in the early-mid 90’s, their output became less prolific, but their popularity saw a considerably upswing during the mid to late 90’s, with the release of the Couchmaster album (and the ‘Courage’ single) and their considerable presence on the soundtrack to the brilliant Topless Women Talk About Their Lives television series and motion picture.

Its safe to say that the bats are now seen as one of the great Dunedin Sound bands, mixing jangle-pop with their own tendencies for melodic vocals, small-town themes and homegrown ethics. They’re a band that prefers a low profile, yet deserves the attention of the world.

They still continue to tour, though Scott’s relocation means this happens much less often – but the remaining Christchurch members formed Minisnap in the late 90’s, with Kaye Woodward providing taking the lead.

Members

  • Robert Scott (Vocals/Guitar, 1982 -)
  • Paul Kean (Bass/Guitar, 1982 -)
  • Kaye Woodward (Guitar/Bass/Vocals, 1982 -)
  • Malcolm Grant (Drums)
  • Michael Summerfield (Live Viola, 2017)
  • John Christoffels (Live Cello, 2017)

Discography

  • By Night 12″ EP [1984 Flying Nun FN024]
  • And Here Is Music For The Fireside 12″ EP [1985 Flying Nun FN031 / FNe22]
  • Made Up In Blue/Trouble In This Town/Mad On You 12″ Single [1986 Flying Nun FN060 / FNuk1]
  • Daddys Highway [1987 Flying Nun FN079 / FNe23]
  • Block Of Wood/Calm Before The Storm/Candidate 7″ Single [1987 Flying Nun FN084]
  • 4 Songs 12″ EP [1988 Flying Nun FN104]
  • Compiletely Bats [1988/1990 Compilation Flying Nun FN Bat001 / FN143]Rn
  • Law Of Things [1989 Flying Nun FNd30239 / FNe33]
  • Smoking Her Wings/Mastery/Passed By 7″ Single [1990 Flying Nun FN124]
  • The Black And The Blue/Watch The Walls 7″ Single [1991 Flying Nun FNk11013]
  • Boogie Man/Jetsam/Mama Come Watch Cd Single [1991 Flying Nun FN K11033]
  • Fear Of God [1991 Flying Nun FN217]
  • Silverbeet [1993 Flying Nun FN260]
  • Courage/Mind How You Run/Slow Alright/The Wind Is Sad Cd Single [1993 Flying Nun FN261]
  • Live At Wfmu 7″ EP [1994 Merge Mrg058]
  • Under The Law/Spill The Beans/Sir Queen(Live) 7″ Single [1994 Flying Nun FN291]
  • Spill The Beans Cd EP [1994 Flying Nun FN291]
  • Couchmaster [1995 Flying Nun FN301]
  • Afternoon In Bed EP [1995 Flying Nun FN341]
  • Thousands Of Tiny Luminious Spheres Compilation [2000 Flying Nun FN413]
  • At The National Grid [2005, Pocket Music]
  • The Guilty Office [2008, Arch Hill, AHR036]
  • Free All The Monsters [2011, Flying Nun, FNCD513]
  • The Deep Set [2017, Flying Nun, FNLP568]

Links

 

The Clean

Biography

Formed in 1978 by David Kilgour (gat/vox) and Peter Gutteridge (bass / vox), and eventually settled on Hamish Kilgour (drums / vox) as the permanent 3rd member after an assortment on configurations came and went (Doug Hood enjoyed a short tenure as vocalist, before leaving town as Toy Love‘s sound man, and Lindsay Hooke featured in several configurations).

Gutteridge was a major force in the band until artistic differences saw him leave (later forming Snapper), to eventually be permanently replaced by Rob Scott in 1980. They were at their prime when touring in the early 80’s, and the compendium of these years (entitled Compilation) documents this period beautifully.

The Clean developed what was dubbed the Dunedin Sound. A somewhat dark take on noise rock that incorporated elements of classic pop, driving rock’n’roll. Sardonic and almost creepy take on lyrics, with vocals to match. David Kilgour employed open guitar tunings and Rob Scott produced rhythmic, repetitive bass lines, that Hamish Kilgour would compliment with pummeling, primal drum rhythms (though role changes were common, all 3 members sung and played guitar) – all tinted by the Kilgour brothers penchant for psychedelic and scratchy lo-fi.

Over the course of the next 20 years, the band would go on long breaks and split a number of times for the members to form their own bands (most notably Rob Scotts’ the Bats and David Kilgour‘s solo outfits). After original single Tally Ho shot up the New Zealand chart in 1981 – simultaneously establishing The Clean and the Flying Nun label that had formed around them, The Clean released the pinnacle of their recorded out – the hugely influential Boodle Boodle Boodle ep. The EP managed to actually better the singles success, eventually reaching number 5 in the New Zealand singles chart (astounding for an independent release in the early 80s) and remaining in the charts for a full 6 months, easily reaching gold status.

The follow up EP ‘Great sounds great, Good sounds good..’ was another success, but by now the band were tiring of their new found fame, and worried about the effect success would have on their music. Needless to say The Clean disbanded at the top of their game in 1982 with the release of the momentous Getting Older single (a genuine perfect pop song). It wasn’t long though before the original clean line-up (with a returning peter gutteridge) reformed as the Great Unwashed – a poppier and more acoustically based approach than their early recordings. The Great Unwashed never quite reached the peaks of The Clean and again they disbanded (after a mere 2 EP’s yet again), with each member going back to their subsequent side-projects.

Thankfully, throughout the later 80s and into the 90s, The Clean never really stayed apart for too long, and after a while the (now cemented) trio of Kilgour, Kilgour and Scott were back to a more permanent existence (or at least productive between variable lengthed hiatus). Their first album proper Vehicle was a well rounded example for the band, if lacking a bit of the spark from their early eps. After establishing a reputation on the us college scene in the early 90s – yet another reunion album was planned. Modern Rock came out in 1994, and was a fairly wild departure from The Clean’s signature sound, being somewhat fragmented and often unfocused. It did however show that The Clean were capable of a wider scope, with strong pop elements and less heavy-handed lyrics than its predecessor’s.

Unknown Country – which could probably be considered their first comeback album seems to divide their fans more than any of the other albums. Its poppy where their previous albums were rocky, and quirky where they had been driving and somewhat chilling. I like the change in direction, but i know a lot of other people see the album as a band caught in two minds (usually attributed to their on again / off again history).

In 1996 Flying Nun started work on a tribute album to The Clean as part of their own 15th anniversary celebrations, gathering together a number of the musicians that define the New Zealand music scene, as well as those that have been influenced by The Clean with their own work. Overseas artists Pavement, Guided by Voices and Barbara Manning added their own tributes along side those from not only Flying Nun acts, but also the likes of a number of current electronic acts and other significant kiwi artists and bands. The album (titled God Save The Clean) was a success, and the release culminated in a gigantic gig in Auckland where The Clean were joined by a great deal of the artists who paid tribute – making a great night all round, and putting The Clean back into the limelight on the New Zealand scene.

This rekindled interest may have been a wake-up call to the boys, as they quickly became a semi-regularly touring band, and eventually began focused recording again. The result – Getaway is something of a triumph, a successful reformation by all counts and an excellent taster of The Clean’s current sound, check out the full review for more detail. The trio followed up their positive press in the United States (The Clean’s releases are now tied to David Kilgour’s US home – Merge Records) with Anthology, another document highlighting The Clean’s seminal earlier material on the first disc, but now accompanied by a well-constructed summary of their subsequent release on a 2nd disc.

Currently the band still remain mostly in hiatus. Hamish firmly resident in New York (with the Mad Scene and his own solo career), David seems to be forever gaining in stature as a solo musician in Dunedin – the Nashville recorded Frozen Orange album being a particular success. Rob Scott has always been a bedroom musician back in Dunedin (outside of the mostly-Christchurch based The Bats), though its taken Powertool Records till just recently to finally put one of his home releases out in to the market, with Tudor Gates arriving in 2004.

Members

  • David Kilgour (Guitar/Vocals, 1978 -)
  • Hamish Kilgour (Drums/Vocals, 1978 – )
  • Peter Gutteridge (Bass/Vocals, 1978 – 1979)
  • Doug Hood (Vocals, 1978)
  • Lindsay Hooke (Drums, 1979)
  • Debbie Shadbolt (Bass, 1979)
  • Jessica Walker (Bass, 1979)
  • Rob Scott (Bass/Vocals, 1980 -)

Discography

  • ‘Tally Ho!’/That Platypus’ 7″ Single [1981 Flying Nun Fn002 / Ying One]
  • Boodle Boodle Boodle 12″ EP [1981 Flying Nun Fn003]
  • Great Sounds Great, Good Sounds Good.. 12″ EP [1982 Flying Nun Fn Good001]
  • ‘Getting Older’/’Scrap Music/Whatever I Do It’S Right/Wrong’ 7″ Single [1982 Flying Nun Last1]
  • Odditties [1985 / 1995 Flying Nun / Cleano Productions Fn Odd One / Fn223]
  • Live Dead Clean 12″ EP [1985 Flying Nun Fn Ldc 001]
  • Odditties 2 [1987 W/ The Great Unwashed Flying Nun / Cleano Productions Fn Odd 2]
  • Compilation [1988/1990 Flying Nun Fn Comp001 / Fn154 / Fne03 / Fnuk03]
  • In A Live 12″ EP [1990 Flying Nun Fne29]
  • Vehicle [1990 Flying Nun Fn147]
  • Modern Rock [1994 Flying Nun Fn292]
  • Late Last Night 7″ Single [1994, Dark Beloved Cloud, DBC020]
  • ‘Trapped In Amber’/’Ludwig’ 7″ Flex-Disc [1994 Bonus With Fn292 Flying Nun Fn311]
  • Unknown Country [1996 Flying Nun Fn349]
  • Getaway [2001 Flying Nun Fn459]
  • Slush Fund Mini-Album [2001, Arc Life]
  • Anthology Double-Cd [2002 Flying Nun Fn468]
  • Cracks In The Sidewalk Ep [2002 Arc Life Arclife015]
  • Syd’s Pink Wiring System [2003 Cleano Cleano0001]
  • Mashed Compilation [2008, Arc Life, AHR033]
  • Mister Pop [2009, Arch Hill/MORR Music/Merge, AHR042/MM095/MRG325]

Links

 

Detroit Hemorrhoids

Biography

Early Christchurch punk band, evolving out of the standard Rock’n’Roll / R’n’B covers formula in 1975 to eventually cross over as the scene took hold in the late 70’s.

Soon after his arrival (from England) Oliver Scott formed with multi-instrumentalist Nicky Carter the nucleus of what would eventually play live as the Detroit Hemorrhoids. Stablised by late 1975 as Scott, Carter, Paul Kean (bass), Jane Walker (drums) and Mark Wilson (lead guitar), the band began by playing parties and a golden bay commune.

What made the Hemorrhoids different from all the other long-haired rock bands (apart from their female drummer) was their choice of material.

Whilst there were no originals, Scott taught the band songs which no other hotel act were doing; material by acknowledged punk antecedents the Velvet Underground (5 songs), Pretty Things (“Roadrunner”, “Hey mama, keep your big mouth shout”) and Iggy Pop (“I need somebody”, “Search and destroy”).

Also, there were ‘old’ pop hits like “You keep me hangin’ on” (Vanilla Fudge version), the Crystals “Da do ron ron”, Roxy Music’s “Virginia plain” and others in an eclectic, but generally hard rock / r’n’b set.

– From Wade Churton in his triple essay book ‘Glam, Punk, and Scorched Earth Policy’:

The Hemorrhoids would go on to become one of Christchurch’s formulative punk bands, centered around the Mollett Street Market space which survived through the late 70’s. Kean and Walker would later leave for Auckland as The Enemy transitioned from Punk to New Wave to become Toy Love.

Members

  • Oliver Scott (Vocals, 1977 – 1978?)
  • Nicky Carter (Guitar, 1977 – 1978?)
  • Paul Kean (Bass, 1977 – 1978?)
  • Jane Walker (Drums, 1977 – 1978?)
  • Mark Wilson (Guitar, 1977 – 1978?)

Discography

Links

Dissolve

Mid 90s outfit from the legendary Roy Montgomery, joined by former Remarkables guitarist [and fellow Christchurch resident] Chris Heaphy. Their excellent Third Album From The Sun features contributions from heavyweights John Chrisstoffels (cello, drums – the Terminals), Kaye Woodward (guitar, vocals – the Bats), and arnie van bussel (bass guitar – Night-Shift studio).

Discography (picks in bold)

  • That That Is..Is (Not) [1995 Kranky Krank005]
  • Third Album From The Sun [1997 Kranky]

See-Also

Electric Blood

brothers rob (the bats, the clean) and andrew scott, graham mckerracher and jim straing (who was also in the magick heads with rob scott) – a formulative bedroom band (rob’s first) that released a number of cassettes on their own every secret thing label in the early 80s, before the material was finally compiled onto cd in the mid 90s.
discography
picks in bold