[{"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":399997567214,"handle":"headless-chickens","updated_at":"2024-06-19T11:46:22+10:00","published_at":"2022-02-08T15:30:56+11:00","sort_order":"best-selling","template_suffix":"","published_scope":"web","title":"Headless Chickens","body_html":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThey were an “alternative, underground band using hi-tech instruments in a low tech way”, controversial winners of the Rheineck Rock Award, the Flying Nun act that came closest to dance music (giving the label its only number one) and, throughout, a vehicle for the singular vision and dark humour of Chris Matthews.\u003cspan class=\"Apple-converted-space\" data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn the beginning – the early 80s - Matthews and Johnny Pierce were half of the uncompromising attack of \u003cb data-mce-fragment=\"1\"\u003eChildren’s Hour\u003c\/b\u003e (along with Grant Fell and Bevan Sweeny) and occasional contributors to the Jefferies brothers project, \u003cb data-mce-fragment=\"1\"\u003eThis Kind of Punishment\u003c\/b\u003e.\u003cspan class=\"Apple-converted-space\" data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn 1985 the pair roped in the more electronically inclined Michael Lawry to form the International Headless Chickens for a one-off performance at the ‘Nitpickers Picnic’. Shortening their name, they released a self titled EP in mid-1986. Their use of samplers, synthesisers and drum machines combined with a claustrophobic sound and Chris Matthews’ dark, often bleak, lyrics quickly set them apart from most of their contemporaries.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn August 1986, Johnny Pierce tragically took his own life and the band stalled – but Matthews and Lawry picked up the pieces again, adding \u003cb data-mce-fragment=\"1\"\u003eChildren’s Hour\u003c\/b\u003e band mate Grant Fell on bass and flamboyant former \u003cb data-mce-fragment=\"1\"\u003eBird Nest Roy\u003c\/b\u003e Rupert E Taylor as a vocalist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn December 1987 the \u003cb data-mce-fragment=\"1\"\u003eHeadless Chickens\u003c\/b\u003e won the second Rheineck Rock award and hilarity ensued. The inaugural winners, South Auckland funksters Ardijah, had – to the satisfaction of the “industry” – parlayed their win into radio play and chart hits. Awarding the prize to such an unrepentantly alternative outfit created an outcry best summed up in a Metro article alleging a “severe lack of judgement” and bizarrely suggesting that, as an alternative band, the Chickens played “music which you can’t actually listen to”. \u003cspan class=\"Apple-converted-space\" data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSomehow, the firmament held together and the band recorded their debut album. \u003cb data-mce-fragment=\"1\"\u003eThe Children’s Hour\u003c\/b\u003e reunion was completed with Bevan Sweeney brought in to add a more human element to the rhythms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReleased in mid-1988, \u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e‘Stunt Clown’\u003c\/i\u003e\u003c\/b\u003e underlined the gaping chasm between established industry and alternative scene – nothing here would follow Ardijah to Top 40 radio rotates; and it amplified unresolved tensions on the other side of the tracks – where such heavy use of emulators and drum programmes sat badly with some.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn its own terms, \u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e‘Stunt Clown’\u003c\/i\u003e\u003c\/b\u003e was a stunning achievement with a huge sweep encompassing everything from the dark driving guitars and rhythms of \u003ci data-mce-fragment=\"1\"\u003e‘Expecting To Fly’\u003c\/i\u003e, the self referential \u003ci data-mce-fragment=\"1\"\u003e‘Do The Headless Chicken’\u003c\/i\u003e and the snarling \u003ci data-mce-fragment=\"1\"\u003e‘Donka’\u003c\/i\u003e to the lighter touch of \u003ci data-mce-fragment=\"1\"\u003e‘Soul Catcher’ \u003c\/i\u003eand the tenderness of \u003ci data-mce-fragment=\"1\"\u003e‘Fish Song’\u003c\/i\u003e – with cello, violin and piano accordion thrown in for good measure. The critics were impressed; the detractors probably still didn’t understood.\u003c\/span\u003e \u003c\/p\u003e","image":{"created_at":"2022-02-10T10:43:01+11:00","alt":null,"width":1054,"height":1054,"src":"\/\/flyingnunaustralia.com\/cdn\/shop\/collections\/Headless_Chickens_Flying_Nun_SQUARE.jpg?v=1644450182"}}]
It’s the middle child ofHeadless Chickensalbums and, as two major releases with quite different track listings, not only kicked off the band’s most successful years – all but one of their chart hits can be found on one or other of the releases – but represents the whole span of those years.
This newly remastered, extended reissue nods to the years between 1991-1994, covering original Body Blow tracks such as the two hit versions ofCruise Control, as well as tracks likeGeorgethat featured on follow up versions of the album. The latter remains Flying Nun’s only #1 chart single to date. Along with remixes, you are further rewarded with rare cuts like their grizzly take onABBA’sSupertrouper.
In the most quintessentialHeadless Chickensway possible Body Blowcarries a mind and a sound of its own. At the time, it was completely unlike anything else before it. Following its 1988 predecessor, the cult-favouriteStunt Clown (winner of the 2018 Taite Music Prize Classic Record), Body Blowwould take the group to new, unchartered heights, reaching a wider audience while managing to stay true to their independent, artistic ways. These years captured on record are a testament to the longevity of theHeadless Chickens’ bold creativity, and long term influence over a new generation of artists. It is one of those few records that translates well into a new era.
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