Saturday, 24 December 2016
Only Thinking/Where Do They Go/Antipodes Army/Blue Day/I Lose Control/Don't Look Back In Anger/5 O'clock In The Morning/Why Did You Leave/Stranger In You/Delinquent Daddy/Lady Janice
It was New Zealand that gave birth to Mi-Sex. A name and a sound in 1977 that grew out of combining the collective creative energies of a cabaret singer Steve Gilpin, an art-rock Bass player Don Martin, a talented Southern drummer Richard Hodgkinson, a frustrated guitarist/song writer Kevin Stanton and a funk/dance keyboard player Murray Burns. Together Kevin & Murray forged a song writing partnership that anchored Mi- Sex throughout its four albums. These five new connections quickly dissolved their pasts, as they reinvented themselves, passing into the new era of new wave/electronic music and uniting fully as the sound that was to become Mi-Sex... Mi-Sex (the name originating from a song they performed by the British group Ultravox), recorded their début single, “Straight Laddie” in New Zealand. A punk parody with hints of Ian Duryesque vocals and a snatch of The Stranglers in the keyboards.
Now setting house records in New Zealand Mi-Sex decided to take their new found sound & look to Australia. Within a very short time, on the strength of their highly energized and semi-theatrical live shows, were soon one of Sydney’s most popular bands. Mi-Sex were signed by A&R/record producer Peter Dawkins to CBS. This relationship proved highly successful, and in 1979 released their début vinyl LP, “Graffiti Crimes” with singles “But You Don’t Care” and the prophetic single, “Computer Games” going top ten in New Zealand, Canadian, German & South African charts. Thanks to strong initial support from the ABC's Double Jay radio station and its nationally televised pop show ''Countdown'', Mi-Sex went number one in Australia. In November 1979 this culminated in a landmark performance at the Sydney Opera House in the ''Concert of the Decade'' Quote: “Credit must go to this New Zealand band for its international hit single, "Computer Games," which preceded the glut of similar-sounding British chart entrants by a year or more.”