Drip Dry Jones (aka; myself, Greg and Simon), busking in Lambton Quay, Wellington, circa; 2003
One song I composed that fell between the cracks of Drip Dry Jones and The Curries was called Andy Malcolm's Teapot.
Andy Malcolm was a guy whom I was at Wellington College with during the 1970's, whom also knew Annette when she was living in Auckland during the early 90's.
For her birthday he had given her a little yellow teapot, which became the subject of a tongue-in-cheek song, which I recorded at home.
As it wasn't designated for any band in particular, I released the video under the title of Psychedelic Lemons, a name I had literally made up on the spot a week or so earlier, when a pub manager asked me what the name of my new un-named band was for his associated advertising.
It would remain the Lemons only song for almost four years, owing to the formation of The Curries, who in turn became Blanche Jarvis.
Andy Malcolm's Teapot from YouTube.
Blanche Jarvis
Blanche Jarvis were formed as a band of parents, whom most had children at Muritai School in Eastbourne.
The band comprised of myself and Mark from The Curries. The drummer was a relatively new English immigrant, Steve Wren, who had been in Then Jericho and had worked with Belinda Carlisle and Beach Boy, Brian Wilson.
He really gave the skins a belt. With all respect to all drummers I have worked with in the past, Steve was as tight as a nun's best bits and a true legend.
Other members were to include (periodically) on bass, the late Steve Hooke, who had toured the country as a member of Space Waltz during the mid-70's, the band most famous for their Alister Ridell penned iconic kiwi hit, Out on the Street.
A second guitarist was Phil Hope, an original member of Wairarapa's Kal-Q-Lated Risk, responsible for another NZ classic, Angelina.
Matt Hancock, whom I would later be in a covers arrangement with called Zubric, sang a couple of songs. Jeremy Winters played keyboards and Annette and Ngaire Burley were on backing vocals. John Broadbent joined in on harmonica.
Mark had organised practice facilities at the old Hutt Movie Club's premise at the end of Jackson Street in Petone and while there one Saturday afternoon, Steve Wren looked at a photo on the wall of a former club President and said; "Well, there's the title of the band, Blanche Jarvis.
Blanche Jarvis, circa; 2006. From left - Steve Wren, Mark Battershill, Steve Hooke, Ngaire Burley, myself, Annette and Matt Hancock.
Two versions of Johnsonville Line; in rehearsal for a gig at The Eastbourne Carnival and then live at that gig in 2006.
Blanche Jarvis on stage at the 2006 Eastbourne Carnival; Annette, myself, Ngaire and Steve. Photograph: Murray Reece
Although I tried to keep Blanche Jarvis an output for original talent, it was a difficult assignment with the culture around me. Not that there weren't some other good songwriters in the mix.
Mark had several compositions of his own that were worthy, pretty much in a mainstream rock style, very 70's reminiscent. I put words to two of his lyrical-less compositions; Tea & Thunderstorms and A Place to Go (written about Eastbourne).
Steve Wren was also a solid composer. I put lyrics to two of his soundscape creations; Soul Grinder and other called Ocean of Joy. But our best co-composition was a delightful tune he had which was entitled Home to Rosie. I added lyrics which (light-heartedly) mirrored his mixed feelings about being in a new country and being uncertain that it was his best option.
Steven James Hooke
10 December 1953-15 August 2015
A late Blanche Jarvis song of Steve Wrens and mine, Soul Grinder, was held back as the follow up release (following Andy Malcolm's Teapot) for the Psychedelic Lemons, songs that didn't really fit anywhere.
Following the demise of Blanche, the Lemons took over as my source of original music, simultaneously with playing in two consecutive covers bands (for the first time in my life, I might point out).
That's the next chapter...
During 2005 and 2006, I was involved in the filming of several New Zealand short films (for various reasons).
Epiphany Inc was made by Steve Gillen and Bryan Jones of WETA, simply to try out a new digital lighting programme.
Raising Cane (Growler Box Productions) was a 48 hour film challenge entry, directed by Juliet Bergh.
The Shape was a NZ Film school project for Gareth Evans, as was Redundant (directed by Mike Smith) and Pot Luck (Andre Cox.)
THE NEARLY MAN
I’ll check out ‘The Dom’ and ‘Job Search.com in the morning.
There’s not much on offer and less in the coffers, they’re draining…
but I’m not complaining. I’m the nearly man.
The butter is rancid, my attitude candidly cautious.
I can’t play the martyr without the pro-rata infectious…
I’m pretentious like the nearly man.
I’ve always gone close but the last post has proved quite elusive.
I contravene lifestyle to stay here and play while conducive…
I’m exclusive like the nearly man.
An old raconteur that we used to call ‘Sir’ in my school days,
demanded respect at the risk of neglecting the new ways,
tell me, who pays? The nearly man?
Draconian values are lost in the shallows of reason.
A poignant reminder that narrow can blind you this season…
and I’m freezin’…like the nearly woman.
(c) Carlton McRae, 2000
STANLEY GRAHAM
Stanley Graham's got a gun,
he's just the type to shoot someone.
He's just the kind to come unstrung.
As the rain comes falling down
on this western place.
Stanley stalks without a sound,
Stanley leaves no trace.
In the town the talk is cheap,
"what you sow is what you reap".
Another cow, it died today,
that makes three within a week.
(c) Gregory Pugh-Carlton McRae, 2000/2003
ANDY MALCOLM'S TEAPOT
What's in that little yellow pot upon the sill?
Fenugreek and flowers, the air is morning still.
I Alice watch some liquid as it falls into my cup.
Life is full of choices, now it's time to drink it up.
Andy Malcolm, Andy Malcolm,
Andy Malcolm's teapot.
That cares and worries of this world have gone away.
Well maybe not but least they won't be back today.
I Alice watch some liquid as it falls into my cup.
Life is full of choices, now it's time to drink it up.
Andy Malcolm, Andy Malcolm,
Andy Malcolm's teapot.
(c) Carlton McRae, 2004
I CAN'T GET HER OUT OF MY HEAD
I saw her yesterday, she was just as I remembered,
I can't get her out of my head.
Was thinking of a time when we were lost and lonely
and she wandered into my bed.
I can't get her out of my head.
I wasn't out there looking for anything to happen.
Simply, I wasn't prepared.
Not that I was anti, just wasn't in the market,
I can't get her out of my head.
I can't get her out of my head.
I saw her yesterday, she was just as I remembered,
I thought my emotions were dead.
That glint in her eye was enough to convince me,
I turned to myself and I said.
I can't get her out of my head.
(c) Carlton McRae, 2005
JOHNSONVILLE LINE
Early summer of '89,
too much sun and too much wine.
When status anxiety abandoned my sobriety,
I left my love on the Johnsonville line.
Sometimes we need a friend,
sometimes the stars won't bend.
But I'll regret until the day I die,
the day I lost, the day that I
left my love on the Johnsonville line.
I tried and tried to put things right,
You say i'm poison, you may be right.
But I'd have given you my soul,
honey that's life, that's rock n' roll,
I left my love on the Johnsonville line.
We live to love another day
and maybe things are best that way.
It doesn't stop my aching heart,
together alone, forever part,
I left my love on the Johnsonville line.
(c) Carlton McRae, 2006
STEAL YOUR HEART AWAY
Come down from your ivory tower.
Sometimes we must behave.
'Tis better to speak your mind
than to talk beyond the grave.
I want to steal your heart away.
You're like a candle in the wind.
A bird on the wing.
Such cruel, yet brittle strength,
if there is such a thing.
I want to steal your heart away.
We're running out on the sun,
where winter whispers know
that when the grasp is lost,
we've nowhere else to go.
(c) Carlton McRae, 2006
HOME TO ROSIE
Don't want to waste my time
in this sunny clime,
but when the heat is on,
plenty to be said and done.
It's all ahead of me, history is history!
What is gone is gone,
time to chase those clouds and fun.
I'm here today and I'm here to stay
come what may...
Oh dear, I'm off my beer,
made up my mind to get out of here.
I'm going home to Rosie.
People stop and stare,
I see them everywhere.
But what their eyes don't see
is everything that is really me.
Should I let them in?
That would leave me pretty thin,
'cos I know that with my friends
sunny days will never end!
I'm here today and I'm here to stay
come what may...
Oh dear, It's not my year,
made up my mind to get out of here.
I'm going home to Rosie.
(c) Steve Wren-Carlton McRae, 2005
A PLACE TO GO
Hope and light come crawling in,
these early days of spring.
Birdsong and the rain I hear
this fertile evening.
Rhododendrons blossom and
the bleeding petals flow
to the river mind recalling,
I have some place to go.
A summer breeze is cooling
on a January day.
Feet and hands burn in the sand,
north of Rona Bay.
A red suburban sunset
when the harbour tide is low.
Peace of mind in knowledge that
I have a place to go.
Valleys are in tune in autumn,
all decaying gold.
a link to days of future past,
when new becomes the old.
Thoughts of food and warmth
begin to dominate, I know.
Comfort too, that digs are near,
a special place to go.
A sultry sky of winter grey
one winter afternoon.
I'd like to play, but run away
to a corner of my room.
Looking south to Cook Strait
tells me all I need to know.
Lesser rays mean shorter days
and I have a place to go.
(c) Carlton McRae, 2005
TEA & THUNDERSTORMS
We’re having the time of our lives, the time of our lives.
We’re having the time of our lives in this thunderstorm.
Won’t you take tea on the lawn?
All our fires are fading away. The stone cold black has mellowed into grey.
Through the night I sit here drinking wine,
rolling through a verse of ‘Auld Lang Syne’.
Some strange sound I can’t resist, through this rain and urban mist.
The cares that infest the day just steal away.
The street beneath her feet is steel and glass. Showers from the clouds of summer past.
Twilight space where ghosts and people meet.
Her unseen company tired of walking the beat.
Some strange sound I can’t resist, through this rain and urban mist.
The cares that infest the day just steal away.
Once the locusts coat of gold was seen to be getting me nowhere.
The shiel was the shell of the ladybug Queen.
Her coat of a thousand mingled dyes was born on the wings of the butterfly,
tea & thunderstorms my friend, we’re living at the rainbows end.
All our fires are fading away. The stone cold black has mellowed into grey.
Through the night I sit here drinking wine,
rolling through a verse of ‘Auld Lang Syne’.
Some strange sound I can’t resist, through this rain and urban mist.
The cares that infest the day just steal away.
(c) Carlton McRae, 2006
EIGHT ARMS TO HOLD YOU
As evil slithers through the fog,
the guiding likes are thin.
Temptation is an ugly thing,
yet hard to call a sin.
When all around indulge at will
in tantric ecstasy.
We drink until we've had our fill,
fulfilling destiny, so...
how you gonna save the girl?
Not a lot of blood is spilled,
so come and join the creed.
Come and taste the vampire kiss
and join the friends who feed.
Dinner at the Old Chateau,
you're forced to stay the night.
A Hammer Horror from the vault,
the bats have taken flight, so...
how you gonna save the girl?
With eight arms to hold you
an many eyes to see.
You're lying their and waiting honey,
(one bite and it's all over baby)
dead in front of me.
(c) Carlton McRae, 2006
FOR YOUR LOVE
And for your love, I would have given it all.
There was no way of knowing just how we'd fall.
But I don't even know which way to go!
All I really know is you can't fill your soul
with the dimes in your pocket, they aren't for changing.
I don't even know which way to go!
All I want to say or write this day
is be my friend, until the end.
It was a time for difference, a time for change.
When even the least disturbance will always remain.
So please, no thoughts of sadness, no time to be sad.
Only contemplation of the times we had.
But I don't even know which way to go!
All I really know is you can't fill your soul
with the dimes in your pocket, they aren't for changing.
I don't even know which way to go!
All I want to say or write this day
is be my friend, until the end.
I would have given you my soul.
I would have given you it all...for your love.
(c) Carlton McRae-Dan Hayston, 2007
The as yet un-named Curries, rehearsing for my 40th birthday at the home of Mark Battershill in Alicetown, Lower Hutt.
The Curries
The Nearly Man and Greg's Stanley Graham were two songs written (and co-written in the second example) for Drip Dry Jones, but as previously mentioned, the recordings unfortunately went no further than the drawing board.
In early 2006, Simon (and wife Wendy) departed Wellington for the big smoke of Auckland and that was the end of the Jones boys. Their most meritorious moment had been playing at my 40th birthday party in January, 2003, along with a reformed Pagans.
The success of the latter (with Simon's business partner, Mark Battershill as Andrew Richards replacement) was so successful, that we decided to record some new songs as The Curries.
So early in 2004, we travelled to Tauranga to record at Otumoetai College, Simon's old school, under the guidance of Ian McGregor. The three songs chosen were Fairytale Tune (Dibble), Something You Learn (Battershill) and my composition, an ode to Deep Purple and their ilk from the early 70's, Can't Get Her Out of My Head.
The Curries in Tauranga, Easter, 2004. Michael PA Paterson, myself, Mark Battershill and Simon Dibble.
(Below) the cover of the Maharaja Banquet CD, released after the second trip to Otumoetai College to record with Ian McGregor.
The Curries were relatively short lived. We did go back to Tauranga in 2006 for another long weekend and another recording session. This time my composition was another filthy rocker called Johnsonville Line, which would become more synonymous with Blanche Jarvis.
The song recalled the tale of a day during The Pagans life-span, when I made a tragic decision regarding my choice of partner, an unceremonious act that would haunt me for years.
I was infatuated with the subject of the song and yet discarded her for another, who was a tragically existential woman whom I should have known better than to go anywhere near.
Why do we do these crazy things?
It became obvious during the second trip to Tauranga that the idea of producing three tracks over the weekend wasn't going to work, so with the drum tracks in the can, we did a live recording of them and a few other songs, which included two that Simon and I had written during the days of The Pagans; Tombstoned in Bolton Street Cemetery and Saturday Live at Three.
The posthumously released Maharaja Banquet, contained another Pagan hangover, Life Inside A Jar, written by Simon and I in 1989.
Members of both The Curries and Blanche Jarvis often played together, as in this shot from a gig at the Boundary House, under the guise of the Simon Dibble All Star Band.
ZUBRIC
From 2006-2009, I played in a corporate cover's band called Zubric in Wellington, led by occasional Blanche Jarvis front man, Matt Hancock.
It was the first covers band I had ever been involved with in over 25 years in the music business. In fact, I could count on one hand the amount of cover songs that former bands I had played in had done during that time.
Zubric were a very talented bunch of individuals and were received more like an originals outfit, as they carried off that persona, rather than my perception of traditional covers acts, who were generally more like clones.
The band played several decent gigs in Wellington (and Taupo), but the one true performance of significance was headlining the 2009 Queenstown Winter Festival.
It was the one and only occasion where a covers band has got the nod and we were sandwiched between Op Shop (2008) and Dragon (2010).
Zubric were well received in Queenstown, largely due to Matt's magnificence as a front man, equalled by his nephew, Dan Hayston, an awesome man who plays a blistering, smoking guitar.
(Above) June 30, 2009, Mardis Gras, Queenstown Winter Festival
(Below) Zubric play a wedding at Acacia Bay in Taupo, circa; 2008
While strictly a covers outfit (with the exception of Can't Get Her Out of My Head), I put some words to a Dan composition called For Your Love, Zubric's sole venture into doing something original, well that was the intention anyway.
The demo version, all that exists, is below...
Zubric perform Can't Get Her Out Of My Head at the 2009 Queenstown Winter Festival (Mardis Gras) and on the Inter-Islander Ferry en route back to Wellington. The gig footage provided by Ross Merriman, Verity filming the sequence on the ferry.
A photo shoot for Zubric in the Bolton Street Cemetery in Thorndon, Wellington, circa; 2009. From left: Tara Merriman, Dan Hayston, Matt Hancock, Gareth Mair, myself.
