By Murray Cammick
My first encounter with Dragon was at the Albert Park band rotunda in the mid-1970s. In those days, original rock music faced an uphill battle, and Dragon was a band that relentlessly worked to break through. Before their move across the Tasman Sea, they laid down two albums in New Zealand, Universal Radio (1974) and Scented Gardens For The Blind (1975). It was in Australia, collaborating with fellow expat producer Peter Dawkins, that they ignited a string of chart-topping hits.
Marc Hunter commands the stage in 1975, performing for a Radio Hauraki concert in Auckland’s Albert Park. – Murray Cammick
Back in 1974, Dragon’s frontman Marc Hunter reached out to the photography department at Elam Art School in search of someone to capture band photos. I was suggested, though perhaps a bit too inexperienced at the time. I recall a somewhat uninspired photoshoot against a desert-themed mural near a used car lot. It wasn’t my most memorable work, and I wasn’t called upon again for their photoshoots then. During that period, I was still living at home, and my Mum acted as my receptionist. She distinctly remembered Todd Hunter as a very pleasant and polite young man. She was absolutely right.
An early Dragon photo session utilizing a mural beside a used car yard close to Auckland’s Mt Eden jail. From left to right: Ivan Thompson, Neil Storey, Todd Hunter, Ray Goodwin, and Marc Hunter. – Murray Cammick
In 1974, attending an Osibisa concert at the Auckland Town Hall was made even better by Dragon being the opening act. My ticket placed me in the choir seats, an unusual spot behind the stage, offering a unique perspective. I enjoyed both bands, but Hot Licks, the music magazine of the era, wasn’t as enthusiastic about Dragon. In the July 1974 issue, Graham Donlon’s review stated: “Local band, Dragon, had the tough job of starting the evening’s entertainment. At times sounding like Yes, Wishbone, J S Bach, and even The Shadows, they didn’t generate much excitement with their overly complex music. A little too derivative perhaps? During the interval, while talking to a friend, an acquaintance asked; ‘What did ya think o’ that heap of shit?’ My sentiments exactly. Sorry boys!”
Dragon captured from the choir seats of a packed Auckland Town Hall concert in June 1974. – Murray Cammick
One of the more peculiar photo opportunities arose when a rather disheveled-looking Dragon performed a semi-acoustic set in the Auckland University Student Association’s quad. Free lunchtime entertainment was a common perk of compulsory student union membership back then. In the background, you can see the Maidment Theatre (1976-2016) under construction – a building that’s now also gone.
Dragon in a semi-acoustic performance in the A.U.S.A quad in 1975, with the Maidment Theatre being built in the background. From left to right: Marc Hunter, Ray Goodwin, Neil Storey, and Todd Hunter. – Murray Cammick
Student unions had elected committees, including the coveted position of “Social Controller,” responsible for enhancing student social life. One questionable idea from an elected “class clown” was to organize a concert at Western Springs headlined by Dragon. It turned out to be a disaster, with very few people paying to see a band they were used to seeing for free in Albert Park. Photos from that day, however, suggest Marc was still happy to have played at Western Springs.
Bartons provided the sound system for the Western Springs show, but the Students Association seemed to have skimped on the P.A. budget. – Murray Cammick
Post-concert, Marc Hunter appears pleased that a photographer showed up, even if the crowds stayed away. – Murray Cammick
Marc Hunter and Ray Goodwin share a smile for the camera. – Murray Cammick
After releasing two hit albums, Sunshine and Running Free, the once prog-rock band Dragon returned to New Zealand in January 1978 to headline the Great Western Music Festival in Oratia, West Auckland. The lineup also featured Hello Sailor, Citizen Band, Rockinghorse, and Midge Marsden’s Country Flyers. Dragon performed their pop hits to a somewhat perplexed audience. Their Australian success hadn’t yet translated to New Zealand airwaves.
On January 15, 1978, Dragon headlined the Great Western Music Festival at Moller’s Farm in Oratia, west of Auckland. – Murray Cammick
Dragon, from left: Robert Taylor, Todd Hunter, Kerry Jacobson, and Marc Hunter. – Murray Cammick
Robert Taylor silhouetted against the stoic Auckland crowd. – Murray Cammick
Rip It Up magazine declared Hello Sailor “the chief crowd pleasers” of the day, as the audience was more familiar with their music. ‘April Sun In Cuba’ hadn’t yet become a major hit in New Zealand, and Dragon didn’t receive the hero’s welcome they might have anticipated. The final photo captures Marc Hunter and Graham Brazier, former flatmates from the infamous Herne Bay villa known as Mandrax Mansion. Harry Lyon recently recalled their belief that they were sophisticated drinking German Blue Nun bubbly. Marc Hunter is indeed holding a bottle in the photo.
Marc Hunter of Dragon with his old Ponsonby flatmate Graham Brazier, backstage at the Great Western Music Festival, 1978, with their sophisticated 1970s rock star drink of choice: German Blue Nun bubbly. – Murray Cammick
In the February 1978 issue of Rip It Up magazine, Marc Hunter articulated his evolved philosophy: “Now it’s a laugh. We enjoy it. Before it was serious. It was ooh, ooh man … I hit a wrong note, I’ll cut my throat. Now we just get pissed and play.”
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Marc Hunter, opening for Osibisa. Dragon received a harsh review in the July 1974 edition of local music magazine Hot Licks. – Murray Cammick
Opening for Osibisa at Auckland Town Hall, guitarist Ray Goodwin and keyboards player Ivan Thompson. – Murray Cammick
Albert Park appears timeless, but staging is now built beside the old band rotunda, unlike in the 70s when Dragon performed there. – Murray Cammick
Drummer Neil Storey, in his signature slouched style, during the Albert Park band rotunda days as a stage. – Murray Cammick
Bassist Todd Hunter exuded a dauntingly strong presence in the band’s progressive rock phase. – Murray Cammick
When Dragon played Albert Park, teenagers who couldn’t see them in hotel bars joined their regular audience of serious young music enthusiasts. – Murray Cammick
Newcomer on drums: Kerry Jacobson. – Murray Cammick
At Western Springs, from left to right: Ivan Thompson, Ray Goodwin, Neil Storey, Marc Hunter, and Todd Hunter. – Murray Cammick
A 1975 Auckland University Students Association concert at Western Springs headlined by Dragon was a flop, drawing only a few hundred attendees. – Murray Cammick
Dragon bringing energy to their performance at the Great Western Music Festival, 1978. – Murray Cammick
In January 1978, in Oratia, Marc Hunter embodied the rock star image, and Dragon had the hit song ‘April Sun in Cuba’ ready to conquer their home country. – Murray Cammick
Marc Hunter showcasing his stage presence. – Murray Cammick
Guitarist Robert Taylor injecting rock energy into Dragon’s pop hits. – Murray Cammick
A hint of dismay on Marc Hunter’s face, highlighting the challenge of being a rock star without local radio support. Dragon’s record company, CBS, launched a New Zealand branch the same week as the festival, partly to address this airplay issue. – Murray Cammick
Brothers Todd and Marc Hunter working to connect with their original fanbase. – Murray Cammick
After achieving significant success in Australia, Marc Hunter returned to New Zealand as a fully realized rock star, in both image and substance. – Murray Cammick
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Dragon – The Sound of the Streets
Alastair Dougal, Rip It Up, February 1978
During Dragon’s performance at the Great Western Music Festival, amidst the crowd’s calls for their latest single, ‘April Sun in Cuba’, one long-time fan shouted out for ‘Weetbix’. This request sparked laughter on stage, and the following day vocalist Marc Hunter commented, “My God, what a fossil,” when reminded of the heckle.
His reaction underscores the dramatic transformation Dragon had undergone since leaving New Zealand three years prior. Back then, they were a somewhat ponderous “progressive” band playing original material alongside more commercially viable songs. Despite two albums and relentless touring, they gained little traction locally, prompting their move to Australia, the “Big Apple” of the region.
Their initial experience was sobering. As Marc Hunter explained, “We went there thinking we were a terrific band with all that long-winded crappy stuff with 20-minute lead guitar breaks. We thought we’ll teach these swine … we’d heard the stuff they were playing over there and thought it was terrible. I mean it was pop music.” Marc then mimics a disgusted expression. “We thought ooh … ooh,” he says mockingly, “pop music. But we learned.”
What exactly did they learn?
“We learned how to condense it into three minutes,” explains lanky guitarist Robert Taylor.
“We learned how to condense it into three minutes,” guitarist Robert Taylor elaborates. “Before leaving, we considered being commercial a kind of betrayal, something impure. Now, we’re simply a pop band,” Marc states. “I mean, when we left New Zealand, we genuinely believed that playing music was its own reward. Oh, wow, far out … playing music.” Marc parodies a spaced-out demeanor.
“But after five years of that, still lugging your own equipment, you start considering if there might be more to it.”
However, the shift in musical style wasn’t solely a pragmatic adjustment to commercial realities. “We were starving in a dingy apartment in Paddington, and it became clear that our music and our lives were completely mismatched. Life was incredibly tough and day-to-day,” Marc recounts, “so the music became more concise, more direct.”
Robert adds: “Everything became very economical. Is this a good song? Can we perform it effectively on stage?”
Marc: “We didn’t consciously decide to change. The environment forced change upon us. Once we adapted, we found that, at least for the moment, it suited us.”
Their first Australian album, Sunshine, undeniably reflected their circumstances – urban anxiety set to a 4/4 beat, packed with catchy hooks. But even after recording it, they had to actively promote its strengths to the Australian public.
“That album sold because we went out and pushed it. We played every venue we could, anywhere and everywhere. Even now, we still play Leagues Clubs, pubs, and clubs. We’re constantly working to expand our audience, to stay visible and fill seats.”
“Consequently, when our new album Running Free was released, it went platinum in five weeks, a direct result of all that groundwork.” Furthermore, this consistent exposure and their ability to deliver quality music earned them numerous accolades from Australian music publications: best new band, best album, and more.
Robert points out another benefit of constant work: “It’s good practice for America, where we’ll have to start all over again.” Their contract with American label Portrait guarantees them a shot at the US market, though their strategy at this stage remains unclear, with a support tour across America being the most probable plan.
But with Dragon’s pragmatic attitude, they remain unfazed. Marc: “Now it’s a laugh. We enjoy it. Before it was serious. It was ooh, ooh man … I hit a wrong note, I’ll cut my throat. Now we just get pissed and play.”
And Robert adds with a laugh, “And let everyone else worry about us.”
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Besides Dragon, The Great Western Music Festival also featured The Country Flyers, Rockinghorse, Citizen Band, Living Force, and Hello Sailor. Rip It Up’s review by Bruce Belsham concluded:
And then came Dragon. Three and a half years in Australia had instilled confidence in Dragon, enhanced Marc Hunter’s vocal abilities and his command of an audience. The younger Hunter brother had become a focal point, playfully teasing the crowd with his drawling, theatrical stage presence, dominating the hit singles with polished vocal performances, and captivating with his dynamic movements. Dragon’s performance felt tailored to their Australian market, opening with their strongest and most recognizable material from Sunshine and concluding with some high-energy boogie. It was clear that Dragon had refined their act and were doing very well for themselves.
So, staying just long enough to see Living Force perform with their characteristic crispness and enthusiasm, we, like most of the crowd, departed, nursing ringing ears, tired limbs, and sunburn.
