Summary: Peter accidentally runs into the reader when they get home.
A/N: I AM SO SORRY I HAVEN’T POSTED IN SO LONG!!!!! School has been extremely busy lately so if you have requested a prompt it will get done but it might take me a while. Because I feel bad here is a random prompt I wrote a few weeks ago <3
I walk in the door and suddenly fall to the ground with a thud. “PETER! WHAT THE HELL?!” I shout, knowing exactly why I’m on the floor. The silver haired boy appears in front of me in an instant. He shoots me a sheepish smile as he grabs my hands and pulls me onto my feet. “Sorry babe, I wasn’t paying attention.” he says. He pulls me in for a hug and kisses the top of my head. I bury my face into his shoulder and leave soft kisses on his collar bone. I lift my head as I say “you know this is the third time this week you’ve done that”. He sighs and rests his head on mine. “I’m sorry baby.” he says and I can hear the smile in his voice. He knows that that’s my weakness. “Oh don’t baby me mister. You owe me” I say smiling into his shoulder. He removes one of his arms from my shoulders and shuts the door before placing on the back of my head, tangling his fingers in my hair. He looks at me with his beautiful dark eyes and softly says “ I love youuu” dragging out the ‘u’ with a small smile. I lean up and place a gently kiss on the side of his mouth. “I love you too but you still owe me” I say smirking slightly. He raises an eyebrow at me before throwing his arms around my waist and picking me up. I start laughing and he throws me over his shoulder and walks into our shared bedroom before tossing me onto our bed. He softly tickles my sides before literally jumping on top of me. He just lays there with all of his weight fully on top of me for a moment before pushing himself up onto his forearms. I’ve finally stopped laughing and he dips his head down to kiss my lips briefly. As soon as his lips leave mine he attacks me, leaving small kisses all over my face and neck and I start laughing again. He continues for a minute or so before flopping over beside me and pulling me close to his body. “So, am I forgiven?” he asks with a small smirk. I look up at him, playfully rolling my eyes and saying “Of course”. He smiles and places a long kiss to my lips. “I love you” he mumbles against my lips. He pulls away and I say “I love you too. Idiot”. He kisses my forehead and says “I may be an idiot. But I’m your idiot”. I laugh and shift so I’m laying with my head on his chest and his arms wrap themselves around my waist. He rubs my back with his warm hands and I snuggle further into his side. He softly starts humming a slow song and I feel my eyelids getting heavy. Not long after, I fall asleep, wrapped in Peter’s arms, smiling like an idiot.
George D. Henderson (The Puddle) Interview, Part Two
Cover of the 2017 And Band/Perfect Strangers reissue.
did the And Band/Perfect Strangers (1982) split EP come about?
moved down to Christchurch. Bill Vosburgh was living down there and we were
looking to get out of Wellington. We ended up living with a band called The
Perfect Strangers in their practice room, which was Bill and his friends; they
practiced at their house. We bought another tape recorder and started recording
stuff. At some point, we thought, “Well, we could actually put a record out if
we hired a good tape recorder like a Revox.” We found a place that could do
that. Susan’s parents lent us some money to hire it. We made some
recordings—one side from us (And Band), the other side from Perfect Strangers.
It was a 33 1/3 RPM record. It just kind of worked out. We didn’t necessarily
put our best material on it. It was what we were doing at the time. The Perfect
Strangers stuff isn’t typical of them at all, I think. There was some
exceptional stuff Bill was working on at that time. It was more of a freeform,
free-jazz thing they wanted to do on the record.
Roger Shepherd and Roy Montgomery work at the EMI record shop in Christchurch?
Did you take the EP to them to sell in the store?
I think we just gave it to our friends. I don’t think we could have gotten it
into a record shop. It was just being sent around the country to people we knew
who were asking for it. Some of them might have paid us, but I don’t think
money had a lot to do with that. I don’t remember hearing it had been sold to
I knew the original pressing was of a small quantity, but it’s rarer than I
Yes. At that stage, we were part of some big underground network and we weren’t
connected to anything official, and we didn’t trust those people.
Stu Kawowski (Axemen, Above Ground) and Steve McCabe (Axemen) both told me how
influential the And Band and Perfect Strangers Rotunda gig was to them and
others in the Christchurch scene. Do you remember that show?
show was later into our period in Christchurch. By this time, Mark was singing
with Perfect Strangers which he hadn’t started out doing. He was singing with
us too, and we had lost Richard Sedger. We were a three-piece then: Susan, me
and Mark. Mark with the Perfect Strangers was more of a high-powered,
rock-n-roll machine. He was a great rock ‘n’ roll singer. Their songs became
more riff based. The Rotunda gig was just us looking for free shows. We were
likely chucked out of the pubs we were playing at. The Art Center might have
thrown us out as well. We were looking for any venue that would have us. The
folks who showed up to the Rotunda gig—a lot of them we’re still friends with
Did the And Band wind down when you and Susan had a child?
It was kind of winding down anyways. I didn’t feel like playing music as much.
I didn’t really like Christchurch. Things hadn’t worked out the way I wanted
them to. Susan and I went to Dunedin to have our child, Emmie. We ended up
moving outside of town on the harbor. I remember recording some music out there,
but I didn’t have any ambition with music at that stage. One night, I was
listening to the radio and they started playing the Chills; songs off the Dunedin Double EP (June 1982). I
thought, “This sounds like Syd Barrett. And they’re playing it on the radio.
Maybe the time is right for me again.” Eventually, I started going into town
and seeing these bands and getting to know the people in them. I especially got
to know Peter Gutteridge and Ross Jackson. Ross had never played bass, but
because we were hanging out a lot I taught him how to play so we could do some
songs together. The Puddle slowly formed around me and Ross. The real coup was
getting Lesley Paris in the band to drum, because she was a reliable, good
drummer. She made the whole thing sound viable, so I started writing songs
The Puddle at Christchurch Technical College, 1985. Photo by Stuart Page.
You always put together good bands, but that early version of the Puddle had
some amazing members: Lesley Paris and Norma O’Malley from Look Blue Go Purple,
Peter Gutteridge, Lindsay Maitland and Ross Jackson.
It was great. I’d like to think that they liked my songs which is why I was
able to get them in the group. There were some other people involved early on
before that lineup stabilized. For some early demos, Bill Vosburgh played
drums. Later on, we did a one-off gig with Shayne Carter on drums and that was
the first really good gig that we played. Ian (Henderson) played drums once as
well early on.
really like Peter Gutteridge. You both seemed to have some things in common and
similar sensibilities. What was working with Peter in the early Puddle like?
I think I met Peter through Ross. They had non-musical interests in common.
We’d hang out with Peter a lot. He was interested in the same things we
were—not having a job and going on long walks. Peter liked experimenting with
sound as well as writing stuff. At one stage I kind of briefly joined the Great
Unwashed. Before I started the Puddle, Pete had joined the Great Unwashed. He joined
up with the Kilgour brothers again and Ross Humphries played bass. About the
time they put out their EP, they played Christchurch and I sat in with them for
one of their gigs. Then David left; he didn’t want to finish the tour. I think
they were getting too big for him. The band wanted to finish the tour, so they
asked me if I wanted to take over for David for a bit. Those were pretty big
shoes to fill, but I gave it a go. I played the last couple of gigs with them.
That was the first experience Peter and I had of playing music together. Pete
was keen on playing keyboards. I couldn’t play the keyboards in my band because
I was playing guitar. I got him to do it. Pete toured with us in early ’85.
That’s the version of the band that got recorded (on Pop Lib). He played quite a few gigs with us. Later on, he started
playing guitar. Pete actually played some of his future Snapper songs with us.
They were sort of proto-Snapper songs. He was developing them before he left us
to form the group. We would discuss experimental ways of making sounds and
recording. Pete was frustrated because he was more into the sound of that. I’m
the kind of guitarist that won’t even bother with an effects pedal if I think I
can get by without one. I don’t even know what the settings on my amp are. As
long as I can hear it properly, I don’t even want to mess with it. Pete was the
exact opposite. He was more interested in the texture of sound. We drifted into
two different camps eventually.
You got the Puddle going in about ’83, correct?
started the band in ’83, but it got going in ’84; we started playing live that
year. We recorded (Pop Lib) in 1985.
Lindsay died in either 1986 or 1987. We were taking too many drugs, the guys in
the band anyway. We lost Lesley and Norma because we were so unreliable. By the
end of the ‘80s, we ended up with a few different drummers. I went to prison
for a short while around 1990. I was walking into labs and getting ether which
I was really into; chemist shops as well. I got caught and it made me refocus
my ambition on getting the Puddle together as a pop group. I wanted to make a
focused, non-experimental album, if you know what I mean. Around this time, the
start of the 1990s, you got dance culture in rock music. I could relate to
that. I understood that stuff. I was listening to Prince before other folks in
Dunedin were. I knew what needed to be done. I started up a band that had the
old elements of the Puddle, but it had a relaxed feel around things. We got
some good players in on that band. We released a single on Flying Nun and we
recorded the album Songs for Emily
Valentine that was released later (recorded in 1992, the album came out on
Powertool Records in 2006). That was our most commercial period I would say.
What was your relationship with Flying Nun like? Obviously, you had a
connection with Lesley Paris. It seemed like she was the person responsible for
singing all the good acts after the Mushroom buyout.
Thanks to having Lesley in the band we were able to get our albums released. I
don’t think they would have been otherwise. They weren’t released on Flying
Nun’s main catalog; if you look at our catalog numbers, they got their own set
of numbers apart from the label’s main series. That was fine by us! God bless
them, because we never would have had records out had they not pressed them. On
the other hand, kind of dealing with them was really frustrating. They were an
indie label; they really didn’t know how to make money or market stuff. So when
we started doing material that was commercial, that would have been worth
promoting, they didn’t have a clue what to do with it. It felt like we had something
more commercial at the time than anything else they were doing, and I mean that
in the right way, and Flying Nun did nothing with it. It’s the dilemma of the
that note, the “Thursday” single you released in 1993 was exceptional pop. It
was your last Flying Nun release and I think one of your strongest songs from
I think so. We had an album of that stuff, but we couldn’t get them interested
Into the Moon
(1992) was great. I realize it has Pop
Lib on it, but the new material, like “Everything Alright,” is exceptional.
the best album from that period. What we’re doing there is a live set that we
played a lot. We were very familiar with the songs. They were songs that worked
well live that we recorded.
it the lack of enthusiasm from Flying Nun that caused the Puddle to lay dormant
for over a decade?
It was always hard keeping a band together when not enough people were coming
to the gigs. People hadn’t heard the records. It was never a problem in
Dunedin, but if we went on tour it would be a problem. People didn’t really
know about us in the rest of the country. In Dunedin, we had a following and a
sick with Hep C. I had a drug habit. I didn’t feel particularly creative for
years at a time again. It was typical of me. I do stuff in spurts. I’m
motivated and enthusiastic about the possibilities of what I’m doing, and once
I’ve done that I’m not going to keep repeating myself. It was a bit of all of
that. It was a combination of being sick at the time, but I had also played out
what I was trying to do.
the mid-‘90s I was in a band called Mink. It was sort of a techno-pop group
that would do maybe a third of their stuff with my songs. I had that outlet for
my songs. I was writing stuff that wouldn’t necessarily fit in with a rock
group. There were a variety of different musicians in Mink.
By the end of the ‘90s, I
had fallen out of music. I wasn’t really well enough to play. In the early
2000s, I started getting my shit together. I was getting healthy. I started playing
with Ross (Jackson) again and the drummer from Mink, Heath Te Au. We started
playing live again, playing well I thought. One night we were playing at this
place called Chick’s Hotel (in Dunedin) and a woman came up and introduced
herself. I had known her earlier in the ‘90s. We clicked. She ended up doing
the cover art for our next record. The very next day, I got a phone call from
someone we played with back in the ‘80s, a guy named Richard Steele, who said,
“I really want to make a record. Do you want to record an album for me?” Two
life-changing things happened to me within a day of each other. We ended up
making the album that became Playboys in
the Bush (released in 2010). It was the first really proper studio
recording that I had done. We recorded that in 2005.
I noticed on Playboys in the Bush you
recorded a song (“Purple Horse”) Lindsay Maitland wrote.
the old days of the And Band and the Spies I wasn’t really a lyricist. I didn’t
write many of my own lyrics and the ones that I did weren’t particularly great.
I’d steal lyrics from whomever I could. The people around me were wittier than
I was and I’d take their poems and put them to music. I might’ve chipped in
with lines here and there. The gist of “Purple Horse” I wrote in the days of
the And Band. Lindsay was in the room and he contributed those lines. I never
finished the song until the Playboys in
the Bush session. I liked the idea and I wanted to finish it. They’re
Lindsay’s lyrics finished much later. Like a lot of musicians, I keep the old
stuff locked into my memory. Some of the contributions are from people who have
After working with
Richard Steele, I started recording with Ian (Henderson) because he had a
studio as well. That was the No Love, No
Hate album (2007) and The Shakespeare
Monkey (2009). We revived The Puddle in the 2000s.
You got really productive.
The New Existentialists, 2015. Photo by Hayley Theyers.
did. I felt like I had wasted all this time. There is a lot to catch up on. I
felt younger and full of energy. I enjoy playing again. It’s something that
always goes well now, but that wasn’t always the case. I was traveling down to
Dunedin to play with the Puddle and the other guys were traveling up here to
Auckland to tour. I just thought, “I really need a band in Auckland.” I met
these two young guys, Nathan (Bycroft) and Jamey (Holloway). We formed the New
Existentialists. We got a little help from Chris Heazlewood of King Loser on
synthesizer. We recorded an album a couple of years ago, and you got your hands
on part of that (2017’s “Elton John/Mysteries of the Worm” 7” on Spacecase).
was pleased to see Chris on the track. I really like Cash Guitar, King Loser and Olla. Of course, he played in Snapper
That’s right. The circle remains unbroken. What we’ve got now is a power-trio
and it sounds like a power-trio should. But I’m not a flash lead player. I
wanted to hear other sounds. Chris has this random synthesizer sound to throw
in there. It’s like an Eno touch. Some of the great ‘70s bands, like Hawkwind,
Amon Duul II, and Pere Ubu, had synthesizer players that were not really
musicians. They put this electronic sound into the music. It’s not necessarily
going along with the arrangements at all. I was looking for something like
got the Puddle and the New Existentialists going. What’s on the horizon,
I want to do some shows to promote the single and put out a full-length with
the New Existentialists. I’ve got two records worth of material. The album you
pulled some tracks from is a tribute to the music that I listened to in the
‘70s. It might sound that way only to me, but the idea was to put music on it
that could’ve only been made in the mid-‘70s. It wasn’t to have any form of
styling or sound that was new after punk hit. It was the theme for the record.
It was about hard rock before funk got into it. The earliest reference in it is
to the Beatles and the newest reference is to the New York Dolls.
In a way, the record is a reference to all the left-of-the-dial music you were
listening to in Invercargill when you formed your first band (Crazy Ole and the
Panthers) with your brother. You mention “Detroit punks” in one of the
George: It is. A lot of that came from just reading the NME. We didn’t even necessarily have
the records they were writing about. I could really relate to the prose—the
myth people like Charles Shaar Murray were creating about the records.
George D. Henderson, 2017. Photo by Hayley Theyers.
I found this list posted on twitter by Teenage Fanclub’s very own Norman Blake who was pointing out that the guy who recorded all these acts was heavily involved in the new Teenage Fanclub album.
So not being able to resist ephemera from the Glasgow music scene of teh early 80s I had a look and among the pop legends of the era such as Aztec Camera, Orange Juice and The Bluebells there was also the less acclaimed Dreamboys!
The guy is called Davy Henderson and as the list shows he recorded The Dreamboys on 3 occasions in 1980/81. A bit of hunting around on the internet also reveals that he was a member of Glasgow band The Fire Engines which Peter name-checked in a fan encounter video with the band “The Safety Fire” at Glasgow Central station back in 2013.