Marc Hunter – circa 1987
“Yes, they’ll crucify me / Yes, they’ll sanctify me” – ‘Ramona’ (Paul Hewson)
“All Texans are faggots,” declares Marc Hunter, the vocalist with New Zealand rock band Dragon. It is late 1978 and Dragon is playing a support gig to U.S. bluesman Johnny Winter…in Texas. Marc has been squabbling with the sound and lighting technicians and trading barbs with an increasingly hostile audience. This prompts the outburst which may be the high-point (or low-point?) of Marc’s mercurial behaviour. He recalls, “I’m standing up there in a crucifixion pose with my arms out, really gone, with heaps of eye make-up on, looking like some sort of twisted priest.” Unsurprisingly, the band is pelted into retreat. Broken glass and smashed pieces of tables and chairs litter the stage. Todd Hunter, Marc’s elder brother and Dragon’s bass player says “We get off stage and there’s dead silence…Marc says ‘I think that went okay’.”
Todd Hunter (born 22 June 1951) and Marc Hunter (7 September 1953 – 17 July 1998) are born in the tiny town of Taumaranui on New Zealand’s north island. They are the sons of Stuart and Voi Hunter. They come from a musical family and, from childhood, perform professionally in their parents’ jazz band. Todd plays guitar and Marc plays drums. As the boys grow up they spend a lot of time in Maori clubs with New Zealand’s indigenous people because, as Marc puts it, “We liked their attitude. They were into music, f***ing and fighting.”
Todd and Marc play in a variety of local bands together and separately. One of these bands is Staff, for whom Todd plays bass. In 1972 Dragon is formed from the wreckage of Staff. The group’s name of Dragon is chosen for some half-baked cosmic hippie astrological significance. The founding line-up is: Graeme Collins (vocals, piano), Ray Goodwin (guitar, vocals, keyboards), Todd Hunter (bass, vocals) and Neil Reynolds (drums). Dragon comes together in Hamilton, New Zealand. According to Todd, they played “Twenty-four hours a day at a commune for a bunch of Americans. There were no songs; just jamming.”
The ‘clean-living’ Graeme Collins is dismissed by his more ‘hedonistic’ colleagues in 1973. Ivan Thompson is brought in on keyboards, but Dragon still needs a lead vocalist in place of Collins. Enter Todd Hunter’s younger brother, Marc, who also offers saxophone and percussion. Neil Reynolds departs and Neil Storey becomes their new drummer.
“We were going somewhere,” claims Todd Hunter, but adds, “We knew not where.” ‘Somewhere’ turns out to be Auckland, the major city on New Zealand’s north island. By this time, Dragon favours a ‘heavy progressive sound’ somewhere between heavy metal and artistic pomp. In early 1974 Dragon wins the top honour at the Auckland Festival’s all-day Rock Marathon. This leads to them signing a recording contract with Polygram. It is during this time that Todd comes to the realisation that, “Okay, we’re going to have to play our own songs.” Their first album is ‘Universal Radio’ (1974) in June.
Dragon has a month-long residency at ‘The Golden Dragon’, a nightclub on the Pacific island of Fiji. Their colourful stage show at the time includes ‘a transvestite mime troupe, pregnant strippers, rotting pigs’ heads on microphone stands, and rampant destruction of instruments and stage equipment.’
Returning to New Zealand, Dragon embarks on a national tour in 1974. In the process, drummer Neil Storey is sacked and keyboardist Ivan Thompson quits. Drummer Geoff Chunn is brought in, creating a four-piece version of Dragon in 1974, joining Marc and Todd Hunter and guitarist Ray Goodwin. This configuration lasts only a few weeks before disbanding. However, since Dragon still has scheduling commitments, they quite quickly reform with their third version for 1974 consisting of Marc and Todd Hunter, recalled drummer Neil Storey, and guitarist Ray Goodwin being joined by a second guitarist, Robert Taylor, recruited from a band called Mammal.
This line-up cuts Dragon’s second album, ‘Scented Gardens For The Blind’ (1975) released in March. The sound of the band “changes as different members join,” Todd Hunter points out.
After another New Zealand tour, Dragon elects to base themselves in Australia. “We were actually heading to Canada,” Todd Hunter explains, but they “get as far as Bondi [a beachside suburb of Sydney in New South Wales].” Hearing radio reports of the freezing temperatures in Canada, the band decides to remain in the warmer climes of Australia. Their first single in Australia is ‘Starkissed’ but it is unsuccessful. Another change of membership is made in 1975 when keyboardist Paul Hewson joins their ranks. “We’d been an art rock band early on for a couple of albums,” Todd Hunter confirms. “But we knew we had to get out of that so we dragged Paul Hewson over from New Zealand after we’d failed miserably with our first single in Australia because we knew he had such a great pop sensibility. We didn’t know that much about him except that he wrote great songs. He was such a natural songwriter.” For a short time, Ray Goodwin remains part of the group, but the guitarist soon departs and Dragon is again a five-piece band in 1975. Dragon faces a setback when their equipment is stolen.
Dragon leaves Polygram for CBS Records. Paul Hewson’s first song for the band, ‘Show Danny Across The Water’, doesn’t work but, according to Todd Hunter is “a step in the right direction.” ‘Wait Until Tomorrow’ in 1976 is also considered ‘a failure’. The band’s new manager, Robert Raymond, locks them in his office overnight with instructions to write two hit singles by morning. Todd Hunter: “So we stayed there and wrote ‘This Time’. The other one, I think, was ‘The Dreaded Moroczy Bind’, which was about a chess move.”
In 1976, to publicise ‘This Time’ (AUS no. 26), Dragon make their first appearance on ‘Countdown’, the Australian Broadcasting Corporation’s music television program.
The group composition ‘This Time’ is Dragon’s biggest success so far. Robert Taylor’s soaring, keening guitar wafts over the claim that “This time / Gonna head in the right direction.” Giddy with new resolve, in the vocals Marc Hunter boasts, “Salt in the sea, birds in the air / Now I, I lost my love and I don’t care.”
The band’s newfound momentum is short-lived. In September 1976 drummer Neil Storey dies as a result of a heroin overdose. Marc Hunter describes this as “an amazing shock to the band.”
Dragon take stock and reorient themselves. In 1977, Kerry Jacobsen (born 1954) is added to lend his skill at the drumkit to the band. This is the classic Dragon line-up: Marc Hunter (vocals), Robert Taylor (guitar), Paul Hewson (keyboards), Todd Hunter (bass) and Kerry Jacobsen (drums).
Marc Hunter is a flexible and versatile vocalist, but his chief strength is his showmanship. He is a magnetic frontman, his lanky frame brandishing the microphone stand as though he is a gap-toothed dashing pirate on the deck of his own ship. Marc is also highly volatile. One moment he is endearing and charming, the next he is arrogant and cruel.
Marc and Todd Hunter’s relationship often seems akin to Cain and Abel. Marc’s reckless escapades cause stolid Todd to shake his curly head in despair, all the while maintaining rock solid support both for his errant brother and his fellow musicians. At home and in private the siblings’ relationship is probably less cut-and-dried, but this is the impression left by their public personas.
Robert Taylor adopts a praying mantis style of movement while providing Dragon with most of their instrumental flourishes. His contribution to their sound is significant and too-often overlooked.
The weight of the band really rests on Paul Hewson. His honky-tonk keyboard work is a ready foil for Robert Taylor’s guitar, but even more significant is what Todd Hunter describes as “the songwriting genius of Paul Hewson.” He becomes Dragon’s chief composer, knocking out “these pop gems,” as Todd puts it. Yet Hewson nurses a tragic secret. “He had scoliosis you know, his spine was breaking apart,” Marc Hunter says, explaining the keyboardist’s familiar hunched-over posture. “He had to soak his hands in very hot water before he could go on and play. It gave him incredible arthritis.” It also leads him to a nasty heroin habit to ease the pain, despite the cautionary example of Neil Storey’s death. Marc Hunter too indulges in heroin, but that’s typical of Marc’s philosophy of living dangerously.
Kerry Jacobsen is the quietest of the crew – at least in terms of personality. He is ‘much given to the bluesy-boogie side of the band’, giving his long-suffering drumkit a good bashing.
As for the sound of Dragon, they are “a straight pop band” in Todd Hunter’s estimation. Marc Hunter chimes in, “It’s still pop music. That’s always been the prime attraction. I like the idea of making basically disposable music which, through fluke or artistry, can last for a long time…Pop doesn’t receive enough honour. It can sometimes be a high art form.” Yet, as Todd points out, there is a “big disconnect between what happens on records and live…A big dichotomy between the band [live] and this bright, shiny ‘Countdown’ pop…They wanted us to be marketable…[when we were a] rude bunch of ugly guys…”
Kerry Jacobsen’s debut with Dragon is on the single ‘Get That Jive’ (AUS no. 13). The song sports a tight in-the-pocket rhythm courtesy of Jacobsen and bassist Todd Hunter. Over this funky groove, Marc Hunter sings “Standing by the jukebox / Drinking with the boys again / You think you’ve got it made, boy / When she’s out on the street again.”
Dragon’s first album for CBS is ‘Sunshine’ (1977) (AUS no. 24). This is the first of four albums by Dragon that are produced by Peter Dawkins, a New Zealand expatriate. ‘This Time’ and ‘Get That Jive’ are both included on this album. The title track, ‘Sunshine’ (AUS no. 36), is a lazy piano sprawl with jazz-influenced guitar and a saxophone break. In the lyrics, Marc Hunter bites down hard on the line “Spider-Man is in Alcatraz / Saying some things can’t be beat.”
‘Running Free’ (1977) (AUS no. 6) is released later the same year. The highlight of the set is Dragon’s best song, ‘April Sun In Cuba’ (AUS no. 2). Co-written by Marc Hunter and Paul Hewson, the song is ‘inspired by a chess tournament where title-holder Bobby Fischer blamed the sun in his eyes for the loss.’ Fischer played in Cuba in February 1956 and, again, ten years later in 1966. However the lyrics seem to mingle these events with the Cuban missile crisis of 14 – 28 October 1962. Fidel Castro, the ruler of Cuba, allowed Russian missiles to be set up on the island, within firing distance of the U.S.A. causing considerable agitation for U.S. President John F. Kennedy (JFK) and the American people. The lyrics refer, in part, to “Castro in the alleyway, talkin’ ‘bout missilin’ / Talkin’ bout JFK and the way he shook them up.” The song is a kinetic slice of pop with a choked guitar rhythm. Todd Hunter claims “‘April Sun In Cuba’ is probably my favourite Dragon hit, though I hear it now on the radio and can’t believe [how thin] the production…sounds…We sounded so small.”
Both Marc and Todd Hunter become romantically involved with Australian rock journalists. Marc and Annie Burton have a son, Titus. Todd takes up with Jen Jewel Brown around 1978. She begins co-writing songs with Todd as Jenny Hunter-Brown. This becomes her byline in the press too. Both relationships prove relatively short-lived. Marc being Marc, is also romantically linked to Australian actress Kate Fitzpatrick and Australian singer Renee Geyer – though the latter may be more like a close friendship.
Next up is the arrogant, woozy, one-off single ‘Konkaroo’ (AUS no. 40) from 1978. Paul Hewson’s lyrics have Marc Hunter wailing that he is “Standing in fire.” Yet even when there’s “Hare Krishnas knockin’ on my door / But I don’t want no saviour.”
‘O Zambezi’ (1978) (AUS no. 3) is Dragon’s best album. The first single is ‘Are You Old Enough?’ (AUS no. 1), an airy pop hymn to jailbait. “See the lady in the street car light / Colour a la Toulouse [presumably a reference to French post-impressionist painter Henri de Toulouse-Lautrec] / Television and a red, red wine / But won’t you tell me the truth.” The clarifying addendum following the title question, “For love”, is almost buried in the mix. In other words, is the object of desire above the legal age of consent for sexual intercourse or is the narrator risking a statutory rape charge? That’s all there if you listen closely enough, but many fans probably just bask in the golden glow of its sunny melody. Renee Geyer is among the backing vocalists on this song. “’Are You Old Enough?’ was a really weird song to play,” claims Todd Hunter, “It was all over the place.” No one is less impressed with it than the song’s author, Paul Hewson, who threatens not to be involved in promoting it if CBS issues ‘Are You Old Enough?’ as a single. Of course he backs down. The album’s other hit is another Hewson song. ‘Still In Love With You’ (AUS no. 27) is a bit like a younger sibling of ‘Are You Old Enough?’ It has a resigned tone with a classy string section overlying its decadence: “Stuck downtown in a local bar / Drinking rum and smoking tar.” As the band’s main songwriter, Paul Hewson contributes the bulk of the songs on ‘O Zambezi’. The best of the rest from him is the calmly evocative ‘One Look Across The Water’. One of the strengths of the album is the quality of the songs from the other band members. Robert Taylor pens the deliriously surreal title track, ‘O Zambezi’; Todd Hunter and Jenny Hunter-Brown offer a pair of muscular pieces, ‘Politics’ and ‘Company’; and the album closes with Marc Hunter’s quirkily disjointed ‘Burn Down The Bridges’. It’s a true tour de force.
Yet while Dragon is scoring so well creatively, their other life, as a band on the road, is falling apart. Perhaps the ugliest side of the band is Marc Hunter’s habit of taking a young girl from the audience each night and then mock-raping her on stage. “He was demonic,” Todd Hunter says of his brother’s behaviour. Todd says that the “mock rape thing lasted until these feminists starting getting up and punching him in the face.” “Dry humping is a definite phase,” says the barely repentant Marc. ‘Fuelled by smack [heroin] and champagne,’ Dragon are out of control. ‘At the peak of the band’s career Marc and Paul Hewson reportedly maintain two hundred dollar a day heroin habits and Dragon is mentioned in evidence during a Royal Commission into drugs because of their links to the infamous “Mr Asia” syndicate.’ “Our inherent weakness was always this tendency to self-indulgence,” observes Marc. “Left to our own devices we became this horrible, degenerate sloppy thing that poured itself on stage every night.” Following this is what Todd calls “the U.S. catastrophe,” the late 1978 support tour for Johnny Winter and the confrontation in Texas. “Sebastian Chase, our manager, had a totally white face…,” recalls Marc. “And so that was it for us for that trip to America.” “I didn’t have a great time in the ‘70s,” sighs Todd. “I was sober…It was mad…It got more and more dangerous…Marc was just killing himself. We had to fire him or he’d have destroyed himself.” Marc is dismissed in early 1979. “I did have problems with drugs and alcohol,” he admits. “If I hadn’t been fired, I don’t know what would have happened. I would probably be dead.”
For nine months in 1979, Dragon exists without Marc Hunter. Two members are added to the group: Billy Rogers (lead vocals, saxophone, harmonica) and Richard Lee (violin). Dragon reposition themselves as a collective of serious musicians. ‘Power Play’ (1979) (AUS no. 64) features ‘Love’s Not Enough’ (AUS no. 37). This Paul Hewson song has Billy Rogers claiming “Every morning I wake up, baby / In heartbreak hotel / Every morning I wake up with the blues.” With its electric violin, sliding bass notes and honking sax, it’s a different, yet familiar sound. ‘Counting Sheep’ is the underrated follow-up and Todd Hunter’s ‘Motor City Connection’ is also noteworthy. Yet for all its impressive qualities, the new look Dragon is wounded by Marc Hunter’s absence. “What a dumb thing to do,” Todd says with the benefit of hindsight, looking back on his brother’s dismissal. Dragon grinds to a halt and disband in 1980.
Pundits are divided about whether Dragon-without-Marc or Marc-without-Dragon would be more disastrous. In reality, both suffered, yet neither venture was creatively barren.
Marc Hunter remembers, “I got fired and was told to p*** off.” He continues, “I p***ed off to Morocco and London. I was gone for about seven months. I vaguely came back to sanity after a very intense five years [i.e. 1975 – 1979].” Marc cuts a solo album, ‘Fiji Bitter’ (1979), produced by Richard Lush, an Australian noted for his luxuriant sound. The single, ‘Island Nights’, is written by Tony Scuito and Sam Egorin. It’s a swirling hard-minded piece of exotic pop. The synth-heavy stomper ‘Don’t Take Me’ follows.
‘Big City Talk’ (1981) is Marc Hunter’s second solo album. The title track, ‘Big City Talk’, is another strong piece of hard pop.
In 1981 Todd Hunter hooks up with Johanna Piggott, the lead singer of Australian band XL Capris. She becomes Todd’s partner in life and music. Together they have three children: Harry, James and Joey. XL Capris folds in 1982 but, with Todd’s sponsorship, Johanna Piggott records sporadically under the alias of Scribble.
In 1982 the classic Dragon line-up – Marc Hunter, Todd Hunter, Robert Taylor, Paul Hewson and Kerry Jacobsen – reunites for the ‘Class Reunion’ tour to ‘pay off some debts.’ They record a one-off single for EMI, the self-produced and slinky ‘Ramona’ (AUS no. 79). Plans are made to record a whole album, with Trevor Lucas producing, but these intentions go unfulfilled. The band moves to Polygram, Dragon’s pre-CBS label.
Marc Hunter makes another solo album, ‘Communication’ (1983).
At this point, Alan Mansfield enters the story. An American keyboards player, he produces Dragon’s next single, ‘Rain’ (AUS no. 2, US no. 88). The song is co-written by Todd Hunter and Johanna Piggott. “Ice on the window / Ice in my heart / Foolin’ with thunder / Every time we start,” the lyrics say in part. But what is really remarkable about ‘Rain’ is the sound: Dragon has clearly moved into the 1980s. It’s tunnelling synth pop with twitches of electric guitar. Not everybody is impressed: drummer Kerry Jacobsen decides he’s not interested in this new direction and quits. Todd Hunter made a bet with Alan Mansfield during the recording sessions. The deal was that if ‘Rain’ didn’t top the charts, then Mansfield had to become a member of Dragon. ‘Rain’ is the band’s biggest hit for some time, but it doesn’t reach the top. Thus Alan Mansfield joins Dragon. “He took up the function of being between Marc and I at certain times which was very useful,” claims Todd.
‘Body And The Beat’ (1984) (AUS no. 5) is co-produced by Alan Mansfield and Carey Taylor. Taking over on drums is Terry Chambers (born 18 July 1955), late of British band XTC. “It was certainly put together in a different way to how we used to work,” Marc Hunter acknowledges, speaking of the album. “It was built up from the rhythm tracks, so in a sense it’s much colder…” ‘Rain’ is included on this album. ‘Magic’ (AUS no. 33), co-written by Marc Hunter and Robert Taylor, is a shimmering machine from which emanates the words “We can stand in an arc of fire / Run from sorrow to joy.” ‘Cry’ (AUS no. 17) is another contribution from Todd Hunter and Johanna Piggott that runs on a contrasting propulsive rhythm section, a high vocal chorus and sheer brute power. ‘Cry’ is also unwittingly prophetic: “You only live once and you might die young.” Marc shares a credit with Todd and Johanna for ‘Wilderworld’ (AUS no. 42), a synth-heavy beast: “Oh, in my wilderworld / My will be done.” ‘Body And The Beat’ is described as ‘among their best ever’, but Paul Hewson, upon whom Dragon so heavily relied in the past, is confined to one co-writing credit.
In 1985 half of Dragon’s six members leave the group. Only Alan Mansfield and the Hunter brothers remain. Gone are Terry Chambers, Robert Taylor and Paul Hewson. Just hours after quitting the band, on 9 January 1985 Paul Hewson is found dead in Auckland, New Zealand. It is a drug overdose, but is officially ruled as ‘misadventure’. Hewson’s spinal problems had been escalating. “He would have been in a wheelchair in a couple of years,” notes Marc Hunter. “It was inoperable.” Todd Hunter observes “There’s nothing like someone in your band dying, the loss is incredible.”
Alan Mansfield begins a relationship with Sharon O’Neill, a singer-songwriter from New Zealand.
Dragon regroups, adding Australian guitar whiz Tommy Emmanuel (born 31 May 1955) and American drummer Doanne Perry. A pleased Todd Hunter declares that “With Doanne and Tommy that band was really hot.” This unit records ‘the expensive and ambitious’ ‘Dreams Of Ordinary Men’ (1986) (AUS no. 18) in upstate New York with eccentric pop maestro Todd Rundgren producing. The first single from this set is ‘Speak No Evil’ (AUS no. 19): “You’ll see it / And you’ll hear it / Baby, don’t speak no evil.” The trio of Todd Hunter, Johanna Piggott and Alan Mansfield compose this track, accentuating the pummelling bass and grunting bottom end. The gothic tone of ‘Speak No Evil’ extends to the title track, ‘Dreams Of Ordinary Men’ (AUS no. 17), whose lyrics darkly state “We have nightly public meetings / But we slept in private hells / Now we feel no guilt or vengeance / We just couldn’t help ourselves.” This song is written by the whole band (minus Tommy Emmanuel) and features popping bass and a plastic drum sound. ‘Western Girls’ (AUS no. 58) has an oriental keyboard feel added to its message of feminine empowerment. The songwriting is shared between Alan Mansfield, his partner Sharon O’Neill, Marc Hunter and producer Todd Rundgren.
Following this release, Dragon tour Europe as a support act to American singer Tina Turner. The only catch is the band are rebranded overseas as Hunter instead of Dragon. “It was just stupid,” fumes Todd Hunter. It was feared that Dragon sounded like the name of a heavy metal band…but it turns out the Europeans (also?) thought Hunter sounded like the name of a heavy metal band. It all turns into a debacle. The cost of their most recent album, the European tour, the name change for foreign markets…Doanne Perry packs it in and Polygram drops the band in 1987.
Thanks to managerial entrepreneur Glenn Wheatley, Dragon switches to RCA / BMG Records. With David Hirschfelder providing additional keyboards, their first offering is the band’s only non-original single, a cover version of U.S disco act Kool And The Gang’s 1980 hit ‘Celebration’ (AUS no. 11). This proves to be Tommy Emmanuel’s swan song as he moves on to a solo career.
Reduced to just the Hunter brothers and Alan Mansfield, Dragon releases the blues-injected stand-alone single ‘River’ (AUS no. 78) in 1988.
Marc Hunter marries fashion designer Wendy Heather and they have two children: Isabella a.k.a. Bella (born 1989) and Jackson.
‘Bondi Road’ (1989) (AUS no. 18) is produced by Dragon and David Hirschfelder. Alan Mansfield and Sharon O’Neill pen the nostalgic single ‘Young Years’ (AUS no. 18): “Those were our young years / Our wings were drying in the sun / Now the winter at our window feels so cold.” ‘Summer’ (AUS no. 49) is a song full of jittery anticipation for the return of warmer weather. Marc Hunter’s wife, Wendy, contributes to the lyrics and the couple share songwriting credit with David Hirschfelder. To promote the album, Mike Caen (guitar) and Mitch Farmer / John Watson (drums) flesh out the band.
“The ‘80s was better [than the ‘70s],” reflects Todd Hunter. Certainly, in this decade Dragon were more mature and business-like.
‘Bondi Road’ is really the last Dragon album. Todd Hunter drifts off into producing music for television and movies. Marc Hunter cuts a couple of solo albums, ‘Night And Day’ (1990) and ‘Talk To Strangers’ (1994). Marc tours with a shifting cast of hired hands as Dragon, but the difference between this and his solo work can be hard to discern. Todd, Marc and Alan Mansfield put together ‘Incarnations’ (1995) (on Roadshow Music) with familiar friends like Robert Taylor, Tommy Emmanuel, Kerry Jacobsen, Sharon O’Neill and Renee Geyer.
Marc Hunter dies of throat cancer on 17 July 1998.
Years later, in 2006 Todd Hunter reactivates the Dragon name. Todd takes on some low-key gigs together with Mark Williams (vocals), Bruce Reid (guitar) and Pete Drummond (drums, vocals, keyboards). They release re-workings of old hits as ‘Sunshine To Rain’ (2006) on Liberation. With Reid and Drummond as songwriters, they issue ‘Happy As I Am’ (2009) on Ozmo Music and the EP ‘Chase The Sun’ in 2011.
Dragon in the 1970s was a volatile outfit. Tremendous creativity existed alongside dangerous lifestyles. “Chaos was a very big part of it,” Todd Hunter concurred. The 1980s witnessed a more disciplined style of both music and performance for Dragon. If it did not reach the heights of the previous decade, it didn’t sink to the lows either. The story of Dragon was about Alan Mansfield, and Robert Taylor, Paul Hewson’s songwriting and many other talented contributors. Yet, most of all, it seems to the story of Todd Hunter and his younger brother, Marc, the wayward soul who proclaimed “I absolutely love and adore Todd. He’s my best friend.” ‘Dragon had a massive impact on the Australian music scene…They were the closest Australian pop audiences got to the very spirit of rock ‘n’ roll.’ ‘They were a union blessed with charisma, arrogant energy and an incisive yet disdainful rock vision.’
- ‘Daily Telegraph’ (Sydney, Australia newspaper) Jeff Apter (20 October 2011) (reproduced on dailtelegraph.com)
- ‘Across The Table’ – Video interview with Todd Hunter conducted by Ben Sorensen (22 July 2011)
- ‘Dragon: Snake Eyes On The Paradise – Greatest Hits 1976 – 1989)’ – ‘A Dragon Tale’ – Sleeve notes by Glenn A. Baker (Raven Records, 1998) p. 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13, 14, 15, 16
- wikipedia.org as at 10 June 2013
- milesago.com as at 10 June 2013
- allmusic.com, ‘Dragon’ by Jason Ankeny as at 21 July 2013
- Radio Wammo Show (New Zealand radio program) – Todd Hunter interview (8 September 2011)
- ‘Friday On My Mind’ by Ed Nimmervoll (Five Mile Press, 2004) p. 115
- ‘The Big Australian Rock Book’, ‘Dragon’ by Ed St. John (Megabooks, 1985) p 100, 101 – plus information on Scribble and XL Capris from p. 161, 167
- ‘The Illustrated Rock Handbook’ edited by Roxanne Streeter, Ray Bonds (Salamander Books, 1983) Kool And The Gang information p. 126
- ‘Herald Sun’ (Melbourne, Australia newspaper) – Item about Bella Hunter by Colin Vickery (28 August 2012) (reproduced on heraldsun.com)
Song lyrics copyright Sony Music International P/L, Polygram Australia P/L, BMG Music Australia P/L and Todd Hunter on behalf of Dragon
Last revised 19 November 2013