PHOTOS BY TERRY MOORE
KEY (Numbered clockwise): 1. The entourage gets laid back at that oasis of the road, an all-night service station. Behind them is the fleet (including Wayne Elsey's Austin 1100) that took them the distance. 2. The view from atop the unique circular bar in Gore as the Expendables play. 3. Two new Chills, Martin Kane (left) and Peter Allison on unfamiliar instruments for the stunningly titled 'Bee Bar Bee Bar Bo’. 4. On a dull Sunday in New Plymouth what else was there to do but a little busking? They didn’t make any money but there was something rather nice tossed from a passing car. 5. Children’s Hour: Johnny Pierce on bass and Chris Matthews with probably the most tasteless of the hats he wore on tour. 6. Tour manager Dave Merritt winces as (L-R) Johnny Pierce (Children’s Hour). Wayne Elsey (Doublehappys) and Bevan Sweeney (CH) demand their survival money in Christchurch.
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Rip It Up, Issue 81, 1 April 1984, Page 20
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156PHOTOS BY TERRY MOORE KEY (Numbered clockwise): 1. The entourage gets laid back at that oasis of the road, an all-night service station. Behind them is the fleet (including Wayne Elsey's Austin 1100) that took them the distance. 2. The view from atop the unique circular bar in Gore as the Expendables play. 3. Two new Chills, Martin Kane (left) and Peter Allison on unfamiliar instruments for the stunningly titled 'Bee Bar Bee Bar Bo’. 4. On a dull Sunday in New Plymouth what else was there to do but a little busking? They didn’t make any money but there was something rather nice tossed from a passing car. 5. Children’s Hour: Johnny Pierce on bass and Chris Matthews with probably the most tasteless of the hats he wore on tour. 6. Tour manager Dave Merritt winces as (L-R) Johnny Pierce (Children’s Hour). Wayne Elsey (Doublehappys) and Bevan Sweeney (CH) demand their survival money in Christchurch. Rip It Up, Issue 81, 1 April 1984, Page 20
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