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*Behind the Music – an interview with Big Baa Baa*

It's a fine line between mutton and lamb.

For over 20 years South Dunedin's Baa Baa and the Black Sheep have been treading this line on a deluge of home recorded cassettes showcasing their dynamic melodical vision.

Concentrating mostly on what might be regarded as their 'pop' output 'Men Of Constant Rhythm' revels in the kind of breezy enthusiasm one might find at a mid-70s 'key party' (what ever happened to those?) or outside the gates of a Velcro Peasants after-party.

If there has been one constant in the world of Baa Baa it has been the presence of their producer, Big Baa Baa. Meeting him at the door of South Dunedin's Baa Baa Studios I am immediately impressed by the warmth of the man and the size of the cheese roll in his hand. As he leads me up the stairs brushing crumbs off his jacket and into the famed control room we sit down on to sheepskin clad rocking chairs to begin one of the best interviews I have undertaken this year.

Immediately we get down to brass tacks.

What has been the impetus for this release? "I have no idea!" says Big Baa Baa, enthusiastically.

The true identity of Baa Baa and the Black Sheep does not remain a closely guard secret. It's Tarzan and Mark. Mark and Tarzan. Marzan and Tark. Yet the two musicians remain essentially private figures. How would Big Baa Baa describe the personalities of the two maestros? "You'd have to ask their mothers, I think. They're the ones that have known them the longest.” He continues. “But to me, they're like brothers". He pauses "Not my brothers, you understand, more like, you know, each others brother".

Surrounded by recoding equipment and a variety of how-to manuals, my eye drifts to the shelf in the corner. On the spine of several cassette cases I glimpse a series of legendary titles - Rome in a day, C'mon In, Baileys. "Whoah”, I say, “wouldn't mind hearing those!" Big Baa Baa seems distracted. "Cheese roll?" “No, thanks”, I reply. “Ok”, says Big Baa Baa.

Lets talk about Baa Baa and the Black Sheep's relationship with the press. It's the first time I see the big man get angry. "I don't want to talk about the Otago Daily Times" he snaps. "Otago Daily Crimes, if you ask me"

Let's look at the songs. Grimm Apocalypse. What's that about? "The Nuclear thing" replies Big Baa Baa, visibly relaxing at this change of subject. "Very big in the '80s". He pauses. "And the mid '40s. And the mid-60s. Particularly if you were in California during the Summer of Love". He pauses again and proffers a plate. "Cheese Roll?"

Trying to bottle lightning has always been the holy grail for science. Big Baa Baa attempts a similar feat when describing Baa Baa's music.

“In the studio, the boys respond to their instruments and whatever's on their mind. Yeah, it could be women, it could be ... School... do you know rap music? They watched a lot of TV back then” he says, suddenly becoming animated.

In amongst the Baa Baa narrative theres no avoiding the sheep in the room - why no live gigs? Big Baa Baa sighs. "It's basically a venue problem. We thought this new stadium in Dunedin might solve it. But… it's still not big enough".

My time with Big Baa Baa was drawing to a close. I must admit that even after our interview i remained unsure if i had managed to fully penetrate the mystery of Baa Baa and the Black Sheep.

As we say goodbye at the door to Baa Baa studios the big man offers one final word of reassurance to this young writer. "Wow, you sure asked me a lot of questions! I think you must be a very good journalist!"

- Ben Steadbrough