[{"id":400792682734,"handle":"cds","updated_at":"2024-08-07T14:50:08+10:00","published_at":"2022-02-21T19:43:15+11:00","sort_order":"manual","template_suffix":"","published_scope":"web","title":"CD's","body_html":""},{"id":399999205614,"handle":"flying-nun-records","updated_at":"2024-11-04T08:40:05+11:00","published_at":"2022-02-08T16:04:47+11:00","sort_order":"manual","template_suffix":"","published_scope":"web","title":"Flying Nun Records","body_html":"","image":{"created_at":"2022-02-08T16:04:46+11:00","alt":null,"width":300,"height":300,"src":"\/\/flyingnunaustralia.com\/cdn\/shop\/collections\/L-20365-1498236818-5866.jpg?v=1644296686"}},{"id":399998484718,"handle":"the-stones","updated_at":"2024-08-07T14:50:07+10:00","published_at":"2022-02-08T15:48:28+11:00","sort_order":"best-selling","template_suffix":"","published_scope":"web","title":"The Stones","body_html":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"page-bio-intro\" data-mce-fragment=\"1\"\u003eDunedin’s The Stones were masters of the telling one-liner. “We want to be God,” guitarist Wayne Elsey told the indie masses at Punakaiki festival near Greymouth in April 1983, before chopping out a stunning version of ‘Fad World’, crammed with guitar improvisation.\u003c\/div\u003e\n\u003cdiv class=\"page-bio-body\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"truncated wysiwyg-content\" data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElsey was mocking southern piety and punk’s egalitarianism, while slyly (and knowingly) referencing John Lennon’s controversial comparison of The Beatles’ popularity with that of Jesus Christ.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"full\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"wysiwyg-content\" data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFive months earlier in December 1982, bass player and vocalist Jeff Batts “apologised” onstage to New Order’s Wellington audience for “not wearing the right clothes”.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn 1983, they’d tell Michael Higgins in\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eRip It Up\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ethat\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eThe Clean\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewere the best band in the world – “Our ambition is to have them support us.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEvery music scene needs someone like The Stones – Wayne Elsey (guitar, vocals), Jeff Batts (bass, vocals) and Graeme Anderson (drums, organ) – the abrasive, short-lived Dunedin trio, who are the least known of the city’s early 1980s indie groups. A band both of and outside the community, who ruffle feathers, and in doing so, lay down overt challenges to those around them, bringing any developing status quo into stark relief. Perhaps that’s why the group has slipped so easily into the background of one of New Zealand music’s most oft-told tales.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn literary journal\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eLandfall\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ein 2011,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eThe Rip’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eAlastair Galbraith\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eremembered Jeff Batts mostly for his demeanour – “Jeff Batts, Lucifer of my teenage world, calmly pouring brilliant scorn and deadpan sarcasm,” he wrote, nailing the moody personality, a telling piece of the Stones puzzle.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the same story, Galbraith considered Elsey a more complex being – “Lean, kind, disillusioned shoulders, a wry head tilt that really listened. He said bitter things of life, looking off in other directions, and funny things with a cast-up pure gleam” – also highlighting Elsey’s benevolence in taking the young musician aside after a disappointing show to encourage him to carry on.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt’s a memory of the blond, elfin Elsey that was shared by some touring Auckland indie groups, who despite so often being pitched in opposition to the far south scene would often find a friend in Elsey.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","image":{"created_at":"2022-02-10T11:12:44+11:00","alt":null,"width":1225,"height":1230,"src":"\/\/flyingnunaustralia.com\/cdn\/shop\/collections\/The_Stones_Flying_Nun_SQUARE.jpg?v=1644451965"}}]
A compilation from Flying Nun originals, The Stones - Three Blind Mice includes the bands' contribution to the legendary Dunedin Double, Another Disc Another Dollar EP as well as never heard before live recordings.
Curated by New Zealand/Noise legend Bruce Russell (The Dead C, Xpressway Records), with liner notes by Shayne Carter (Straitjacket Fits, Bored Games), design + illustrations from Alec Bathgate + Chris Knox and mastered by Tex Houston (The Clean, 3Ds).
"The Stones were birthed by singer/guitarist Wayne Elsey's decision to quit Bored Games to start a band that sounded like The Clean. Their debut came on the 25th April 1981 at an Otago University, a gig headlined by Bored Games (Shayne Carter) and new comers The Chills and The Verlaines (a line up which in retrospect, would make any Flying Nun/low fi pop fan drool). Elsey's vision for a band that sounds like The Clean didn't really come to fruition. The Stones were too bright to not to create their own sound, one wrapped in braggadocio and swagger. Fast, aggressive guitars, driving rhythm section with a knack for fluid pop structures. Charismatic and smart, The Stones had the ability to sound completely empathetic and threatening all at once." - Shayne P. Carter
"The Stones were a Dunedin band: 1981-83. During the cultural highpoint of southern New Zealand music these three Romans with a 1970s Falcon station-wagon floated it with the best..." - Bruce Russell.
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