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- নিউজিল্যান্ডীয় সুরকার (bn)
- New Zealand musician (en)
- Uus-Meremaa muusik (et)
- ceoltóir Nua-Shéalannach (ga)
- musicien néo-zélandais (fr)
- musicista neozelandese (it)
- muzician neozeelandez (ro)
- músic neozelandès (ca)
- músico neozelandés (gl)
- מוזיקאי ניו זילנדי (iw)
- músico neozelandés (es)
- muzikant uit Nieuw-Zeeland (nl)
- موسيقية نيوزيلندية (ar)
- músicu neozelandés (ast)
- musikari zeelandaberritarra (eu)
- músico neozelandês (pt)
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- Bike (en)
- The Orange (en)
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- Wellington, New Zealand (en)
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- Dunedin, New Zealand (en)
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| dbp:name
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- Andrew Brough (en)
- Fruit Salad Lives (en)
- Take in the Sun (en)
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- Blue Meanies, The Orange, Straitjacket Fits, Bike (en)
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- Andrew Brough, Malcolm Welsford (en)
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- September 1985 (en)
- Summer 1996/97 (en)
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- Andrew Brough (en)
- Review of a gig played by The Orange in May 1985, Dunedin fanzine Garage (en)
- Andrew Brough on Radio New Zealand, 1998 (en)
- Andrew Brough, 1993 (en)
- John Collie, Straitjacket Fits drummer (en)
- Roger Shepherd, founder, Flying Nun Records (en)
- Shayne Carter, Dead People I Have Known, 2019 (en)
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- Andrew definitely added a melodic sense to the band, but right from the start really there was this feeling that Andrew's songs were a bit wimpy! However, it did work and created interesting tension in the music. (en)
- It worked really well from a record company perspective, having that light and dark with two songwriters. It wasn't just two guitarists, or singers, it was songwriters with different styles which brought another dimension. (en)
- I was allotted two or three songs on an album which just wasn't enough. It was basically unsaid, you know, that I wouldn't be contributing more than 25[%]. It was just this underlying sort of factor, tension almost, that no more was required. (en)
- The truth is The Orange are building their own wee solar system of excitement and mood. Riff climbs upon melody, climbs upon rhythm, climbs upon fade-out and then charges back with Bunnymen-ish fervour. Symphonic. Brough's vocal brushstrokes are shaking off initial timidity. He understands the maelstrom that a guitar can be without striving to be an instrumental god. He has the most sympathetic rhythm pals around. (en)
- You take a song, and you've got three-and-a-half minutes. And the idea of that song is you blow people away...you're obviously not going to blow everyone away, but hopefully the response is "wow, this is making me feel really good." I'm trying to write songs that people will enjoy. (en)
- Andrew's role in the band was important. His harmonies, guitar, and pop sensibilities did a lot to shape our group. I liked Andrew. He was smart, cultured in an unpretentious way, with a twisted sense of humour. He was as unforgiving as the rest of us, but he also had the quickest temper – snapping sometimes and barking at the stage crew or others on the periphery. I always found it ironic that his public image was that of the gentle altar boy set upon by the bully Carter. (en)
- I was making a compromise for what I really wanted to do musically. And there came a point when I said to myself "y'know, I just want to leave". [...] I wasn't writing enough [songs]. [...] In a band where two people are sharing the songwriting, two people who have got visions of how they want a band to sound, these creative differences create a conflict. [...] The idea of the Straitjacket Fits is to be a good rock n roll band, and to be a good rock n roll band you need some kind of cohesiveness, you need to share the same outlook. It just became increasing [sic] apparent there were too many differences. So on one hand I had to leave because I wanted to pursue my own thing, and on the other hand, for the good of the band, for the good of what Straitjacket Fits wanted to do. (en)
- I'm glad we did Melt. You know, I'd go straight to Melt as a better example of what we were about [than Hail]. A lot of money spent on it, quite a professional engineer, and a professional studio. (en)
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