Unknown Blues - The Mysterex Entry

The following entry about the Unknown Blues has been copied from the excellent Mysterex blog.

For Dave Hogan, pure blood Irish, fourth generation Kiwi, raised on the banks of the Oreti River beneath a range called Spiritburn, rebel sounds were an integral part of his youth. Not just Irish rebel songs, but classical music and the raucous rock n roll of Elvis, Jerry Lee Lewis, Little Richard and Fats Domino.

Eventually, the Hogan's would follow the flow of the Oreti to Invercargill, where a young Dave Hogan, full of the swagger of rock n roll, and a small town awe of the city, would find some kindred souls and happen upon the rebel sound of R & B. He fell in with a shy Marist schoolmate named Bari Fitzgerald.

To Hogan, Fitzgerald must have seemed like a character out of a blues lament, leaving home at fourteen, driven by his own unknown blues.

Their rehearsal band was completed by Hogan's neighbour, Phil Sharman, and the "professional," Vaughan "Pig" McKay. McKay, late of The Whom, was a welcome addition for his knowledge of chords and past performing experience (as a drummer, he switched to lead guitar in the Blues).

For New Zealand teenagers, especially those who thought The Beatles and The Shadows tame, 1965 would bring a rude (but welcome) surprise in the form of the two most aggressive bands from the emerging London R & B scene. It was the year The Rolling Stones and The Pretty Things toured New Zealand and played Invercargill.

Hogan, already honking away on a blues harp after radio exposure to Not Fade Away, The Rolling Stones' first local release, greeted Mick, Keef, and Co at Invercargill Airport, his understanding mother in tow, and school uniform intact. It was a low key welcome and few fans turned up allowing Hogan to bag some autographs.

Later, that day, he cornered them again in a city milk bar and added Keith, Mick, and Charlie's signature to his FAB centrefold. Keith took some time to chat to the young fan, wondering aloud if he could live in a town like Invercargill. Hogan: "He said it was the first time in a year they'd been able to walk around without being recognised. People stood four feet back like they were a travelling freakshow."

Not that freakshows ever lack for crowds and neither did The Rolling Stones and Roy Orbison double bill at the Civic Theatre. Looking back, Hogan remembers most people were there to see Roy Orbison with a contingent for Ray Columbus and The Invaders, who featured Wally Scott and Jimmy Hill - Mataura boys from just up the road.

The Stones stunned the audience with savage treatments of Not Fade Away, Around and Around, and other tracks from their first album. Hogan was in the front row while Fitzgerald had an even better view from above the stage. Earlier that day, he simply walked in the theatre's back door and finding the theatre empty had a bang on The Stones' guitars, which were sitting on the stage.

In August a second batch of marauding corrupters hit town. Hogan: "They were even wilder, their hair was longer and outrageous, and I ended up liking that better." The Pretty Things were anything, but pretty, ripping up hotel rooms, stumbling drunken around stage and generally not giving much of a fuck about convention. That was it for Hogan and his mates, they appropriated a track off The Pretty Things first album and named themselves The Unknown Blues then set about knocking together a set of Stones, Downliners Sect, Graham Bond Organisation and Pretty Things numbers, and growing their hair long.

Hogan, sick of hassles at school about his hair, quit, and burned his school uniform. The blues finally had him for their own and forty years later he'd still be a practitioner of the moody music from another murky South. When cool dressing John "Rocket" Hancock was recruited as bassist - more for his looks than ability ("Pig" taught him) - the first Unknown Blues line-up was complete.

The embryonic band's practices at their mate's Roger and David Garrick's house often became informal gigs, fuelled by beer, and attended by the band's clique, and friends from a local bikie gang, The Antarctic Angels. By Christmas, they were ready to venture into the public gaze, scoring a gig with the tame Syn and The Answer on 23 December 1966 at the Waverley Bible Class Dance at the Waverley Hall in Herbert St.

Dave Hogan: "I was feeling incredibly nervous. I was quite pissed. We lasted four songs - Judgement Day, Road Runner, As Tears Go By, and In The Midnight Hour. During the first song I was shaking maracas and chucked them over the audience against the back wall where they shattered.

“When we cranked it up wild and raw, and the local Minister told us to turn it down. Vaughan told the Minister to fuck off and he tried to chuck us out." So the band left, leaving Hogan to wail out a harp-led Parchman Farm.

The Unknown Blues’ local notoriety was sealed, and the work offers came rushing in. Now they would be billed as the "wild savage Unknown Blues," "Invercargill's wildest group," and many variations on this theme. The local Saturday News Sports paper loved them and the band would get extensive coverage for their day.

Soon after their first show, Phil Sharman, bowed out and was replaced by Keith 'Wombie' Mason, late of local pop act, The Drifters. This line-up secured a "freakshow spot" on the Big Beat '67 charity tour which took in most of the small towns around Southland. And although there was an absence of Pretty Things inspired behaviour - Bari managing to get thrown off the Wanganella at Deep Cove in the inland lakes area, for unruly drunkenness excepted - reviews were surprisingly good, with at least one reviewer coming to grips with the wild five piece. The scene stealers were undoubtedly the rhythm and blues group, The Unknown Blues, five young Invercargill men whose unpredictable, noisy, demonstrative performance was the feature of the show.

Their songs, Too Much Monkey Business, The Midnight Hour, Land of a Thousand Faces (sic), and I'm A Man received a mixed reception from the responsive audience which gave the artists much applause and encouragement.

After the tour, The Unknown Blues continued playing Southland's small country towns including Otautau, Gore, Riverton and the Lakes District to sometimes hostile, sometimes just plain bewildered crowds. They were also playing regularly around Invercargill, and organising their own dances, their short romance with local promoters over.

Hogan: "We hired halls, printed tickets and called ourselves the Southern Blues League so that the shows became private functions where booze was allowed. We made a bloody fortune." The shows regaled under such hip titles as Kleeks Klook, Hullabaloo '66 and Beat Spectacular - one show being advertised as "a love-in with flowers, flashing lights, and plenty of gutsy numbers." Not that they'd turned psychedelic. Apart from a few Cream and Hendrix numbers they remained a hardcore blues band drawing their later sets from T Bone Walker, Junior Wells, Muddy Waters, and Buddy Guy, and the late 1960s white blues of Fleetwood Mac, John Mayall, and Chicken Shack. They were also a popular support band for touring acts including The La De Das, The Underdogs, and Sandy Edmonds.

They may not have been the most technically proficient band in the country, but live, the Blues could generally hold their own. Dave Hogan describes the band's sound: "Vaughan had wider tastes, but he liked blues guitarists like Dick Taylor, Keith Richard, Eric Clapton, B B King - guys like that - very pro blues players. Bari was one of the best rhythm guitarists I've ever heard. He played like a drummer in his timing and sense of rhythm. He didn't play fancy leads. He'd just sit on a chord and give great guts - a big part of the sound."

Up front would be Hogan, honking away under his long hair on harp, and singing while behind him Mason and Hancock would be pounding out the raw beat. All of them dressed in their version of swinging London fashion. Their reputation soon spread northward and the band became a hot draw in Dunedin, the nearest provincial centre, where they played Sunset Strip, the Agricultural Hall, and R & B bastion, The Cellar Club.

At their peak, they could pack out the swirling psychedelic decorated basement club, playing with local fellow travellers, The Third Chapter and The PIL. One memorable YMCA concert was filmed showing Hancock smashing a redundant semi-acoustic bass, Who-style, in a blistering finale to a hot show. They were not asked back.

Further up the island they played the Downtown club in Timaru, and Sweethearts in Christchurch. Hogan, long a fan of Chants R & B and the city's Stage Door club in Hereford Lane, had been travelling up to Christchurch to see the band up until their late 1966 departure for Melbourne, forming a link that would see the long hair fans of both bands making regular visits to each other's city.

By the time The Unknown Blues hit Christchurch in late 1967 and early 1968, the Stage Door was closed, but luckily for Hogan, he'd already made a valuable contact there who would give the Blues their first opportunity to record.

Barry Coburn was a young Phillips record rep. He'd have a long career in rock management ahead of him with Split Enz, but in early May 1969, he was arranging the Blues first recording session for Viking Records at Robbins Studios. The band drew on their live set choosing two covers, a version of The Ansley Dunbar Retaliation's Warning (originally released on the ultra-hip Blue Horizon label in 1967), and John Mayall's Suspicions. The recordings, complete with horn section as was then the vogue a la the Butterfield and Mayall blues bands, weren't to the band's tastes, and were never released commercially.

The band which recorded Suspicions and Warning included Martin Wood on bass. Wood was an English immigrant who'd previously played in Portsmouth's Ash before immigrating to Invercargill, and forming The Incense, one of a number of interesting bands thrown up in The Unknown Blues' wake which included The Judas Embrace (ex Whom members Ross Grenfell and Brian Lamb), and Society's Debt. Wood, in turn, left to be replaced on bass by original drummer, Phil Sharman. Along the way another ex-pat Pom, Chris Smith, who played slide guitar and harp, joined, and left. "Better than the Viking sessions," says Hogan, was their version of Elmore James' Goodbye Baby recorded at Invercargill radio station, 4ZA, after the band placed second at the city's 1969 Battle of the Bands. By then, the end was nigh, and the "little brotherhood that could never be penetrated by anyone else," went their separate ways in June 1970.

Hogan moved to Melbourne, chasing the teenage years he'd lost as a performing musician, and Mason went too, while McKay and Fitzgerald stayed in Invercargill and formed Powerhouse. Both would move to Australia in the 1970s.

Bari Fitzgerald returned to Invercargill in the early 1980s where he now works at the Alliance Freezing Works, fixes up Ford V8s, and prowls the second hand shops looking for obscure blues, rock n roll, and gospel records to add to his large collection. He played briefly in a rockabilly band called Twang Bar Banger.

Dave Hogan, still resident in Melbourne, and married to Jane Garrick, blows a mean harp for pre-war blues style outfit, The Paramount Trio, while also playing in Southern Lightning, and releasing records with both bands to acclaim in Australia.

 He recently formed Blues Hangover with original Pretty Things' bass player John Stax.


Dave Hogans's current band is called Meltdown.

Unknown Blues for Reunion Gig

Unknown Blues reunite after 42 years for Hall of Fame

CHRIS CHILTON

24/06/2011

Legendary 60s Invercargill band the Unknown Blues will reunite with their full lineup for the first time in 42 years in September.

The band, once famously described by rock historian John Dix in his book Stranded In Paradise as being "too loud, scruffy and debauched to stand a chance on the national scene", nevertheless built a fervent cult following in the four years they blazed away on South Island stages, from 1966 to 1970.

Their reunion set will be the highlight of this year's Southland Musicians Club Rock 'n' Roll Hall of Fame show, at the Invercargill Workingmen's Club on September 24.

Unknown Blues frontman Dave Hogan will be one of the four inductees into the Hall of Fame this year.

His name will be etched on the honours board next to drummers Dave "Bang Bang" O'Connor and Stu Carr and singer-songwriter Glen Hayes in a show that crosses over to the next generation of Southland rockers, having previously focused exclusively on Southland's stars of the 1950s and 60s.

Hogan will be joined on stage by fellow Australian-based former band members John "Rocket" Hancock on bass, Keith "Wombie" Mason on drums and Vaughan "Pig" McKay on guitar, along with the Invercargill-based Bari Fitzgerald on guitar.

Unknown Blues mainstays Hogan and Fitzgerald have reunited several times as a duo in recent years to play Invercargill gigs, but the Hall of Fame show will be the first time a full lineup of the band has been on stage together since 1969.

Another feature of this year's show is the induction of Dave O'Connor, who served time behind the traps touring with Auckland rock 'n' roller Tom Sharplin in his band The Cadillacs, as well as playing in a host of Invercargill bands.

His backing band on the night will include his talented musical sons, Dion, Tim, Ben and Arun O'Connor.

Source: Southland Times

A Gentle Feeling - Mark II

With the departure of Lindsay Smith from the fledgling band, Paul Fahey was recruited to take the lead guitar spot.  At the time Paul was playing with a high school band called Society’s Debt which played the Friday night dances at the St Mary’s Hall on the corner of Conon and Eye St’s, Invercargill. I believe the floor was on springs.  Because the band now had two Paul's, Paul Fahey was now called "wee" Paul.

Unknown Blues

Unknown Blues -1966-70

Dave Hogan, vocals, harmonica 1966-70

John “Rocket” Hancock, bass guitar 1967-69
Martin Wood, bass guitar 1969
Phil Sharman, drums 1966-67, bass guitar 1967-69
Keith “Wombie” Mason, drums 1967-69
Vaughan “Pig” McKay, lead guitar 1967-70
Bari Fitzgerald, rhythm guitar 1966-70
Chris Smith, slide guitar, harmonica 1969

Wild, unruly and staunchly alternative, Unknown Blues have a special place in Southland’s rock history. They were the Rolling Stones bad boys to every bright-eyed Invercargill Beatles pop group and gained heaps of notoriety as the wildest band in the land.

Unknown Blues were formed by a group of friends who had no pretence to be anybody but themselves and play the music they enjoyed. The band was a searing blast of no-conformity in the Southland music scene – one of the first to play rhythm ‘n’ blues covers when all other bands were pumping out rock and roll beat standards. They took their name from a track on the 1965 self-titled debut by English group the Pretty Things, who had played in Invercargill.

Hancock was the chosen one in the band, recruited mainly for his looks as he couldn’t play an instrument when the band approached him in the street. McKay soon taught him how to play bass.

The Unknown Blues’ debut in 1966 has become the stuff of legend. They were on the bill at a Waverley Bible class dance with bands Sin and The Answer and had their mates from the Antarctic Angels motorcycle group in the audience. The boys cranked up their amps and let rip. The local minister was enraged.  He marched up to the band to complain about the band’s volume and, after a heated discussion, Unknown Blues were kicked out.

It was pretty obvious that Unknown Blues were going to have to organise their own gigs, which they did, hiring halls and giving their names like Klees Kook, Hullabaloo ’66 and Beat Spectacular.

Due to the spirit of rebellion rife in the band, their unkempt appearance and wild stage antics, the Unknown Blues were soon the talk of the town, most of it not about their music.

Hogan worked as a compositor for the Southland Times and made sure the Saturday Sports music pages featured regular Unknown Blues stories to keep the band’s profile buzzing.

They practised at a house that the neighbours called “the noise box” and also at a central city hangout called The Ranch.

Unknown Blues played regular double gigs with Invercargill band Judas Embrace.

They performed in the Big Beat ’67 charity tour of Southland and were support act for the La de Da’s their Auckland equivalent band the Underdogs and Sandy Edmonds.

Following a “Love In” gig at the Scottish Hall which featured flashing lights, flowers and psychedelic patterns on the walls, Unknown Blues headed north to Dunedin, Timaru and Christchurch, where they attracted a loyal following.

A Dunedin venue called the Cellars was a frequent gig, attended by the band’s hippy (sic) fans.

While in Christchurch in 1969 Unknown Blues had their first recording session for Viking Records at Robbins studio.  They cut two covers, Warning and Suspicious but these were never released. Back home in Invercargill they recorded at 4ZA radio studio a cover of an Elmore James song titled Goodbye Baby. 

On Sundays the band would frequent the Artist Coffee Lounge in Don Street. This later became Tillermans Restaurant, where Fitzgerald and Hogan had a revival gig in 1999 with friends and guest artists Dave Baker and Richard Lindsay.

Unknown Blues entered the Invercargill Battle of the Sounds and won a controversial second place before disbanding.

Eighteen years after they broke up, veteran rock writer John Dix wrote this affectionate tribute to the Unknown Blues in his excellent New Zealand rock essay Stranded in Paradise: “There is nothing remotely pop-starrish about these lads. They knocked about with the Antarctic Angels and their reputation for hosting wild, drunken parties was transferred to their live performances  … They were popular with promoters because of their floor, show potential, stumbling around stage drunk, destroying tambourines and microphones, and arguing and brawling among themselves…. Too loud, scruffy and debauched to stand a chance on the national scene …. R&B fanatics swore by the band and they enjoyed a genuine cult following from Dunedin to Christchurch.”

Dave Hogan made the local papers as “the schoolboy still in his uniform” after he found time inside school hours to greet the touring Rolling Stones when they arrived at Invercargill Airport in 1965. He managed to obtain some special autographs when he met them again, later, at a milk bar.

Hogan secured a front-row seat at the Civic for the Stones concert but his friend Fitzgerald did one better. He and a mate just walked through the unattended back door at the theatre, had a play on the Stones’ guitars and found an overhead viewing spot above the stage.

In 2005 Hogan’s Melbourne-based band The Meltdowns won the Australian Blues Song of the Year award for Little Lies.

Source: 45 South in Concert

A Gentle Feeling 1968 - Beginnings

Around the middle of 1968 a new band called A Gentle Feeling took shape.  The new venture was initiated by Dave Stubley (drums) who got together with Paul Egan (bass and vocals) and Lindsay Smith (lead guitar).  Both Dave and Paul had previously played in Dunedin bands and met up through those connections.  This line-up never performed in public due mostly to the inability to rehearse properly (lack of practice space, gear and transport) and Lindsay Smith’s decision to leave.

A Gentle Feeling - 45 South In Concert - An Overview

According to the luminary Southland band bible, 45 South in Concert, “The Gentle Feeling (sic) were a rock covers/originals band that won the Southland heat of the Battle of the Bands and placed fourth in the South Island finals.


The list of those musicians who were part of the band includes:


Ray Eade - bass guitar; Paul Fahey - lead guitar; Rob Fahey - vocals; Kelvin Fisher - guitar, bass guitar, organ and saxaphone; Bryan Gerrard - vocals, bass guitar; Steve Mallon - drums; Peter O'Neill - keyboards;  Tony Ross - vocals; Dave Stubley - drums.


The band was resident at the Strobe YMCA dance and had a popular original tune, Tomorrow's Gone. A 1969 profile of the band written by Southland Times journalist Colin Hogg click here in his weekly Southland Beat column revealed the young rockers were single-minded about playing music they wanted to, rather than what the crowds wanted to dance to. To ensure they had the freedom of choice in their repertoire, The Gentle Feeling would often play at smaller venues.


They weren’t shy, that’s for sure. Members of The Gentle Feeling went on to make their names in other bands. Bryan Gerrard went on to play in Vision and Link; Tony Ross joined Abraham, Edge then Vision; Steve Mallon went to Prentice; Ray Eade went to Abraham, Vision and then Tom Sharplin and the Cadillacs; Kelvin Fisher to Prentice and then Terry Gavin’s band the Next Move based in Sydney; and Peter O’Neill joined glam rockers Space Waltz who had a big hit in 1974 with the single Out on the Street.”


The first correction to the 45 South in Concert entry that needs to be made is that David Stubley called the band “A Gentle Feeling” and not "The Gentle Feeling" Second the list of musicians who were part of the band through its various stages of life  also includes Paul Egan (1st & 2nd iterations) and Brendan Keehan (3rd iteration). From my understanding Peter O’Neill went on to play with Watchdog and then Baby (Christchurch) before joining “Wonder Ones” the band formed by Alistair Riddell after Space Waltz. Let me know if that’s not correct Peter.

The Small Faces and The Who 1968 Tour

In late January 1968 The Who, The Small Faces and John Paul Jones the ex lead singer of Manfred Mann came to New Zealand as part of their first tour down under. It was a controversial tour as you will see.


For the New Zealand leg of the trip concerts were scheduled for Auckland (29 January) and Wellington (31 January). Tickets went on sale for two shows per day in each city, a matinee (6pm start I think) show and an evening show. I managed to get a ticket for the matinee show in Wellington which was to be held in the Wellington Town Hall.

Getting to Wellington was a long trip and took around 24 hours. First there was the train ride from Invercargill to Lyttelton which in those days of steam would have taken about 12 hours stops included. The next leg from Lyttelton to Wellington was by overnight ferry – the Wahine. As fate would have it the Wahine foundered a couple a months later in April 1968 at the entrance to Wellington harbour with the loss of 56 lives.


In those days of overnight ferry’s passengers arrived at the terminal just opposite the railway station and very convenient for those wishing to catch a train north. These days the ferry terminal is used by the Cook Strait Bluebridge ferry.

In Wellington I stayed at the People’s Palace which is a budget hotel located on Upper Cuba St. The original hotel building is still there and is part of a large hotel complex.

The tour was controversial, although at the time most concert goers would not have known the full extent of what happened or was to happen. The following piece from click here sums it up nicely.



"The "Big Show" tour by The Who, The Small Faces and ex-Manfred Mann vocalist Paul Jones should have been a dream ticket, but the only Australian/NZ visit by both the two legendary Mod bands was unfortunately a disaster in many respects. Almost from the moment they stepped off the plane, the groups ran into conflicts with the establishment and the media, who saw them as a dangerous and corrupting influence.


The rebellious image of the " 'Orrible 'Oo" naturally attracted the attention of the Australian press, who had long since acquired a well-earned reputation for being difficult, insensitive and often downright provocative. Even the media-friendly Monkees ran into problems with belligerent Aussie journos during their tour later that year when they were aggressively grilled about their attitude to the Vietnam War.


The hostility of the Aussie press corp is recounted by both Ian McLagan (who devotes a whole chapter to the tour in his excellent memoir All The Rage) and by Keith Moon's biographer Tony Fletcher. Both describe the hostility which erupted after a jet-lagged McLagan (of The Small Faces) told Aussie journalists to "fuck off" when questioned about his recent UK pot bust. (see below). This resulted in the touring party being harassed on a daily basis by the press.


According to rock historian Paul Conn, there were constant conflicts with the promoters over the "appalling" sound system. Fletcher and McLagan both mention problems at the Sydney concert, including the Stadium's revolving stage - according McLagan, the stage was actually pushed around manually, and when Steve Marriott got "pissed off" with the men pushing it they simply left it in one place, to the considerable annoyance of group and audience alike. By the next day, the press had the bands pegged as "Bad Tempered Louts". Several other incidents upset the establishment, including Pete Townshend allegedly punching out an Australian journalist (who can blame him?), altercations between band members and aggressive 'fans', and the groups' public expressions of frustration with the concert arrangements.


Not all of the tour was a bad experience, though -- McLagan fondly recalls their reception in Adelaide, where the groups were met by a troop of expatriate English Mods, who gave them a "scootercade" escort into the city, took them to the pub, and then down to the beach.


The problems and frustration finally came to a head during the flight back to Sydney from Adelaide on 28 January. Ansett Airlines in those days did not permit in-flight drinking but, according to McLagan, members of Paul's Jones' Australian backing band had smuggled bottles of beer onto the plane and were passing it around. A stewardess complained to Who roadie Bob Pridden, who was evidently in no mood for a lecture, and told her "...in no uncertain terms where to get off." (McLagan).


The stewardess immediately complained to the pilot, who radioed ahead and arranged for the touring party to be intercepted by airport security and police at Melbourne's Essendon Airport. The party was escorted off the plane and into the First Class lounge -- where, to their great amusement, they were served with drinks! -- after which they were escorted onto their flight to New Zealand.


Prime Minister John Gorton sent Pete Townshend a telegram telling The Who not to come back to Australia; Townshend reportedly sent back a fruity reply and left Australia swearing never to return -- a promise he has kept faithfully to this day! Once in New Zealand, things calmed down briefly, although they again ruffled establishment feathers in Auckland when Keith Moon indulged his famous penchant for wrecking hotel rooms.


A more detailed account of the tour, are contained in Tony Fletcher's 1999 biography Moon: The Life and Death Of A Rock Legend, and from Ian McLagan's wonderful memoir All The Rage (1998).


In 1998 New Zealand born British writer Andrew Neil published a special book about the tour, called A Fortnight Of Furore (Mutley Press). It covers the tour in great detail, and includes exclusive interviews with key participants, previously unpublished photos and memorabilia, a full reproduction of the rare, original tour programme, and a complete Australia and New Zealand Who/Small Faces discography.


There was a comical postscript to the story in 2000, when Roger Daltrey and John Entwistle returned to Australia as part of another "Big Show" -- the Ultimate Rock Symphony tour -- which included guitarist Simon Townshend, younger brother of Pete. It was reported in the Sydney press that at one of the shows, Daltrey made pointed reference to the events of the '68 tour and the Gorton telegram, and vented his "anger" by smashing a guitar on the stage. Unfortunately, instead of using his own guitar, Daltrey inadvertently grabbed Simon Townshend's prized $2000 Maton acoustic guitar and reduced it to matchwood!”


To be honest I can’t remember a great deal about the actual concert. John Paul Jones opened the show followed by the Small Faces and lastly the Who. I was up in the circle looking down on the stage as the photos above show.


There has been much written and spoken about the Small Faces/Who tour. There is a series of Radio New Zealand pod casts available online about the tour which were aired around the time the Who returned to New Zealand in March 2009 click here . You will need to scroll down to find the audio files but it is well worth the while to hear what Andy Neill has to say and to listen to Simon Morris’s exaggerated account of the Wellington show.