Artist description Bunch of starry eyed, twenty somethings, who like nothing better than to take the piss out of each other, hit some skins, and rip some chords after work. That's us, but don't try and apply any sort of formula to our music, it doesn't work. We are the musical equivalent of the Platypus, more intensely juxtaposed and paradoxical than can be adequately expressed in words here. Come and see for yourself at the next gig, and check out my new green shirt.

Music Style Roots in British Rock'n'Roll of 60's and 70's, offset by contemporary punk/grunge edge.

Musical Influences Beatles, Rolling Stones, Kinks, Pink Floyd, Hendrix, Bowie, Led Zeppelin, Kiss, Sex Pistols, Chisel, The Clash, Joy Division, The Smiths, The Cure, U2, New Order, Hoodoo Gurus, The Stone Roses, Blur, Teenage Fanclub, Oasis, Manic Street Preachers, Ash, Radiohead, You Am I, Suede.

Similar Artists None

Artist History More Parrot Than Man. A statement, yet still a question; an imaginary oasis and a cross to bear; flesh and blood but completely intangible. How, why, who? Sometimes in its enthusiasm to get out and explore the world, a young magpie chick will pursue it’s mother over the nest wall. But a chick cannot fly, until its wings are grown. The result of such a venture is often spectacular, but messy. So it was with Straz and Hump. For years, Straz was imprisoned in a nest of musical deprivation, fed intermittent grubs of share house jams and amateur recording sessions. So he existed with sufficient nourishment to stay interested, but not to attain the strength and fatness of song he desired. Days whiled away, five fingers, intertwined amidst 6 strings. A cocoon of blissful noise that threatened to yield no butterfly.Hump passed through life more easily than most, his talents obvious to, and rewarded by all; however misguided. In reality, he was a musical accident waiting to happen. A bundle of muscular sinews and twitching nerve endings, he seemed more prone to poke his own eye out unintentionally, than charm a throbbing drone out of a bass guitar. But beneath the fidgeting exterior, lay a genius of sound stretching from the distant rumbling of a charging Cavalry brigade, to the sonic boom of a stealth bomber delivered like a knockout punch from Iron Mike.Eventually, Straz was drawn from solitude towards the Hump, as iron filings to a magnet. Also caught up in the gravitational pull of this central core were Alchie (rhythm guitar) and Klem, drums. In one night, "The Fruity Boys" rocked Avoca (NSW Central Coast) to its knees; in a giant open beach party. A spectacular departure from the nest, and a messy result. The Fruity Boys discintegrated amidst turbulent soul searching, as Alchie and Klem decided to seek their destinies elsewhere. Out of the ashes, rebirth. New drummer Bec, crossed paths with Straz and Hump. Masquerading as a professional business person by day, Bec possessed the pulsating primal rhythms of a Masai Warrior calling the tribe to war. From humble beginnings, parradiddling a guitar case, some serious hardware was soon purchased. The new unit danced like cobras to a snake charmer as Bec took them on a percussive journey ranging from lazy mornings sleeping in with the pitter patter of rain on the roof, to ducking for cover from volleys of machine gun bullets on the poppy fields of France. Enigmatic Coley, also entered the fray, but seemed to view being part of the group like dancing on a knife's edge; painful, intolerable for long, with a long fall either side, one way or the other. A new name "More Parrot Than Man," began an intense period of creativity. The debut gig at Sussex Inlet, is still mentioned in the same breath as the Stones at Altamont speedway. The single "Prawn Envy," you can judge for yourself on this website.As feared, Coley embarked on a mysterious hiatus from the band, but is still close friends with the group to this day. The central core of Bec, Hump and Straz were forced to bide their time, practise furiously to build a repertoire, and seek the injection of new blood to revitalise their stage presence. The answers came sooner than expected in the guise of Big Maxxy, a singer falling somewhere between Bono and Johnny Rotten (a jack of all trades but master of none). Zorb, one of Melbourne's hottest unsigned session guitarist, also answered the call (on the strength of his rendition of Eidelweiss at Straz's wedding) to come to Sydney (reuniting a long and fruitful guitar partnership with Straz, that had been ripped apart by the forces of supply and demand in their younger years). The Mopars now have a number of serious gigs under their belts, but have experienced some instability in their line up. Big Maxxy is no longer with the band, and sadly Hump has hung up the bass in favour of travel (after sporting one of the meanest mohawks ever seen). After a brief reunion on bass, Coley has once again pulled the plug, with Philthy taking over the reigns. Phatter sounds were never heard emanating from the Probe, as in the hands of it's increasingly adept new buddy. Regular line up changes in no way affected the enthusiasm or skill, in which the Mopars went about their work. The Acct Managers Conference gig on 27th July was relatively successful in the face of a tough crowd. In reality, the Mopars should proabably never have been there, and the organisers have a lot to answer for. However, certain ageing carcasses were cajoled from there seats, and sweated it out to some swampy rock like they hadn't in many a year. This gig was a turning point for Coley, who despite playing the most skilful bass ever heard in the outfit, shied away from the spotlight and the pressure of entertaining a crowd as only he could. Once again he left the band, after the 2nd West Ryde gig that weekend; going out on a drunken high, bass flailing wildly. Zorb was loving it, living the rock star lifestyle. He was flown up to Sydney by a multinational corporation, and fed/accomodated for the night of the Acct Managers Conference gig. He would be a permanent fixture until the final gig at the Annandale on Sat Dec 8th 2001. More recording followed, producing 'Far Away,' and 'Bad Radar'. The Annandale gig was a huge occasion for the Mopars. A great venue, for a great band. More importantly, it was an opportunity to unveil a new set of origina songs to the general public. These were received with great enthusiasm, and the gig was a resounding success. Important in the result, was the performance of Philthy on bass, who with 5 months exerpience under his belt, acquitted himself above expectations. The Mopars have declared it their final gig, but who knows what the future holds?

Group Members Straz - Guitar, Vocals. Bec - Drums, Percussion, Vocals. Philthy - Bass. Zorb - Guitar, Vocals. Hump - Much missed Foreign Correspondent. Coley - On again, off again stringed instrument player.

Instruments 1990 Cherry Red, Gibson Firebird (Reverse). 1967 Gretsch, Chet Atkins, Tennesean, hollow bodied electric, with Bigsby Tremolo Uint. 1963 Hofner Semi Acoustic. 1978 Gibson Marauder. Probe Bass Guitar (origins unknown, sound = awesome) Pearl Drums.

Albums Oskar be a Cymbal EP, featuring single

Press Reviews Stayed tuned for review from Triple R's 'Phenomena' program.

Additional Info Taxidermied Rosella, in terrarium.

Location Sydney, New South Wales - Australia

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