Currently spinning: New Zealand Music thread

[ThirdDrawerDown]

[Edited for an ongoing NZ music thread, after NZ music month May 2018 finished]

 

The first of May is the start of New Zealand music month.  So one kiwi-related music item a day, for 31 days? I should be able to do that.  Maybe even a "core" kiwi posting and a "let's argue about the definition" posting. Just because it's the interwebs. Join in, there's plenty of room, it's not a crowded house.

 

Quote

In 1995 New Zealand songs made up just 1.6% of the airtime on commercial radio. Campaigners began to urge the introduction of a quota system that would force commercial radio stations to play more New Zealand music. Some questioned the merits of a quota, arguing that New Zealand music and artists should stand or fall on their own merits. Supporters maintained that the small size of the New Zealand market meant that local talent needed help to compete with the big labels and corporations that dominated the music industry. To promote the playing of local music, a New Zealand Music Week was introduced in 1997.

The place of popular music in our society and its contribution to the cultural well-being of the nation were recognised in 2000 by the establishment of the government-funded New Zealand Music Industry Commission (now the New Zealand Music Commission). The commission sought to ensure more New Zealand music was heard and by a wider audience. To do this, it expanded New Zealand Music Week into New Zealand Music Month. During May each year local acts and music are showcased on broadcast media and in live performances. The airtime given New Zealand music on commercial radio stations increased from around 10% in 2000 to nearly 23% in 2005. The amount of New Zealand music sold also grew, from 5.45% of the total market in 2000 to over 10% in 2004.   Link

 

World Record Store Day in New Zealand appears to be a "world-famous in New Zealand record store day" full of curiosities and instant rarities.

 

Anyway, tonight we started with the finest single ever to come from New Zealand.  On one side a genuine classic, and on the other side an utterly brilliant song that made it to number 1 in New Zealand and the West Island too. A great combination.

 

 

"Counting the Beat" b/w "One Good Reason".  Both songs have not one, not two, but three hooks in them, which is lavish by any standard.  One Good Reason had previously been released by Ripper Records and Mushroom re-did it for the Counting the Beat single.  Here's the cover of the original release and a link to the discogs page to the single and its video, which is also a hoot. Tip: care should be taken when searching for "the Swingers" on the internet.

 

 

 

 

Being in the mood for music that came out of the Auckland punk scene, my thoughts turned to the Scavengers and so I played something from the band that happened after the Scavengers split while overseas.  Two members formed a new band - Ronnie Recent and Des Truction  joined up with Ronnie's girlfriend and a bass guitarist, although Des was ousted in 1982 and eventually just the couple remained.  This is the final album before the two of them disbanded, to reform almost a decade later.  It's not punk.

 

 

 

 

Edited June 3, 2018 by ThirdDrawerDown

[mondie]

Good idea for a thread but what has Dead can Dance got to do with it? I love that Swingers track and never realised they were Kiwi.

 

This is my favourite by any NZ artist and in my top 10 of the '00's. I have been patiently waiting & checking for years for a vinyl release

 

Edited May 1, 2018 by mondie

[metal beat]

34 minutes ago, mondie said:

Good idea for a thread but what has Dead can Dance got to do with it? I love that Swingers track and never realised they were Kiwi.

 

This is my favourite by any NZ artist and in my top 10 of the '00's. I have been patiently waiting & checking for years for a vinyl release

 

 

Brendan Perry family moved to Auckland and he lived their for 5 years before he moved to Melb and formed DCD.   He was Ronnie Regent in the Scavengers 

 

Personally, I love Bailter Space - from Christchurch

 

 

Edited May 1, 2018 by metal beat

[mondie]

39 minutes ago, metal beat said:

 

Brendan Perry family moved to Auckland and he lived their for 5 years before he moved to Melb and formed DCD.   He was Ronnie Regent in the Scavengers 

 

 

2

Ok, explains the connection Was UK born I think.

[Citroen]

Started NZ music month with Nature's Best NZ top 30 songs of all time as voted by APRA in 2001 to commemorate its 75th anniversary in NZ.

 

Tracklist

1-01	–Fourmyula	Nature
1-02	–Crowded House	Don't Dream It's Over
1-03	–Dave Dobbyn	Loyal
1-04	–The Swingers	Counting The Beat
1-05	–Split Enz	Six Months In A Leaky Boat
1-06	–Bic Runga	Sway
1-07	–Dave Dobbyn With Herbs	Slice Of Heaven
1-08	–Dance Exponents	Victoria
1-09	–Straitjacket Fits	She Speeds
1-10	–Dragon (5)	April Sun In Cuba
1-11	–Split Enz	I Got You
1-12	–DD Smash	Whaling
1-13	–Chris Knox	Not Given Lightly
1-14	–The Chills	Pink Frost
1-15	–Darcy Clay	Jesus I Was Evil
2-01	–Crowded House	Weather With You
2-02	–Pixie Williams & The Ruru Karaitiana Quartet	Blue Smoke
2-03	–Blerta	Dance All Around The World
2-04	–Fur Patrol	Lydia
2-05	–Hello Sailor	Blue Lady
2-06	–Bic Runga	Drive
2-07	–DLT	Chains Featuring – Che Fu
2-08	–The Mutton Birds	Dominion Road
2-09	–Shona Laing	(Glad I'm) Not A Kennedy
2-10	–Split Enz	I Hope I Never
2-11	–The Crocodiles	Tears
2-12	–Th'Dudes	Be Mine Tonight
2-13	–Split Enz	I See Red
2-14	–Dave Dobbyn	Beside You
2-15	–Shihad	Home Again

 

[Citroen]

Murray McNabb "The Way In Is The Way Out - The Music Of Murray McNabb"

This is a great tribute album to the late McNabb. The first lp features his ensemble work, the second lp more modern experimental mainly solo keyboards. The cover is also the work of this talented man. 

 

 

[Citroen]

Unwinding after a grueling day at the sweatshop with some Chris Knox - Seizure

 

Includes No.13 Not Given Lightly from the 30 best songs list above.

Edited May 2, 2018 by Citroen

[Ian McP]

 

[ThirdDrawerDown]

Next is the Headless Chickens with their album Body Blow and the singles "Cruise Control" and "Juice". Juice was APRA's Single of the Year in 1992 and it's wistful melancholy persuades me that it's the Chickens' finest moment, even though the catchier Cruise Control is the one I play loudest, and George became the only number one NZ single for Flying Nun. Cruise Control was re-released in 1993 along with a rejigged Body Blow for the Australian market which, when coupled with singles and remixes, has resulted in a messy discography. The 1991 CD has 9 songs, the 1993 CD has 13 songs some with different mixes, and the 2CD 1994 release is the 1993 release with bonus remixes disc. Recommended.  Discogs has it right, almost nobody else does, and audioculture tells it best.

 

The Chickens may not suit every audiophile's system: yes they used a lot of studio time, samples, electronics and beats, but the really high end systems expose the cellotape and glue of the recordings.  In the same way, even though it's Chris Matthews' band, when I saw them perform I felt like saying, "Take a step back and let the keyboard player sing!" Because the crowd really lifted when "Choppers" was played.  Some people are great live; the true home for others is in the studio. Tip: the early albums are worth tracking down although their best songs are on the convenient greatest hits collection Chickenshits. Why is it convenient? It has two CDs.  You play the first one.  The second CD with its remixes and other supposed delectable collectables is boring.  You throw that disc away.

 

 

Believe it or not, while listening to Dondo Esta La Pollo I was on stereonet reading the thread Progressive Rock 101: Why PROG is essential for the Evolution of Mankind in which I stumbled across multiple references to Uriah Heep. I have felt guilty about Uriah Heep ever since a schoolmate with an older brother was livid that I should like their Demons and Wizards album. Allmusic explain the attitude at the time, there truly was a ferocity about Heep that was unmatched until disco and the Beegees ruined the airwaves:

 

Quote

To irritate snobbish rock critics in the 1970s, all a band had to do was play heavy metal or progressive rock. Imagine their horror when Uriah Heep came along and consciously fused both styles. Uriah Heep was the subject of one vicious critic's infamous quote, "If this group makes it, I'll have to commit suicide." Well then, this critic is probably dead, because the British band did achieve widespread success.

 

Demons and Wizards started Heep's golden run. The final piece of the puzzle fell into place in February 1972 when they recruited the bassist from the Keef Hartley band halfway through an American tour to replace Mark Clarke who was exhausted and nearing a mental breakdown. "Gary [Thain] just had a style about him, it was incredible because every bass player in the world that I've ever known has always loved his style, with those melodic bass lines," Box said.  Allmusic gives Demons and Wizards five stars! It certainly is not the Headless Chickens.

 

 

Edited May 2, 2018 by ThirdDrawerDown

[ZEN MISTER]

The Gary Thain link was always interesting. Such a disciplined player with KEEF HARTLEY BAND, and in the studio with URIAH HEEP also. But listen to his work on the live HEEP album, and you can tell the Schedule 8s are kicking. He is all over the place, sometimes behind the beat, sometimes in front, sometimes out to lunch, all in the best possible way.

 

HEADLESS CHICKENS should have been huge. So much talent in all departments. 

' Body Blow' is a classic.

I have a pet theory that having a crap band name can be the ultimate make or break for a band.

 

Great idea for a thread. I wonder if the New Zealand SNA is paying tribute.

Will pop over and have a look.

Billy.

[LogicprObe]

 

This looks like a good set..............

 

https://www.discogs.com/Various-Natures-Best-New-Zealands-Top-100-Songs-Of-All-Time-The-Complete-Natures-Best-Collection/release/4857282

[mondie]

7 hours ago, Zen Mister said:

HEADLESS CHICKENS should have been huge. So much talent in all departments. 

' Body Blow' is a classic.

I have a pet theory that having a crap band name can be the ultimate make or break for a band.

 

 

Agree, they just never seemed to gain any real acknowledgement for some reason. Gaskrankinstation is a classic, I remember the video being fun too.

[Citroen]

The Clean - Live Dead Clean EP

 

The first vinyl of many I bought from this group and its offspring (check out David Kilgour's Sugarmouth)

 

[mrbuzzardstubble]

On 02/05/2018 at 4:19 AM, Citroen said:

Started NZ music month with Nature's Best NZ top 30 songs of all time as voted by APRA in 2001 to commemorate its 75th anniversary in NZ.

 

Tracklist

1-01	–Fourmyula	Nature
1-02	–Crowded House	Don't Dream It's Over
1-03	–Dave Dobbyn	Loyal
1-04	–The Swingers	Counting The Beat
1-05	–Split Enz	Six Months In A Leaky Boat
1-06	–Bic Runga	Sway
1-07	–Dave Dobbyn With Herbs	Slice Of Heaven
1-08	–Dance Exponents	Victoria
1-09	–Straitjacket Fits	She Speeds
1-10	–Dragon (5)	April Sun In Cuba
1-11	–Split Enz	I Got You
1-12	–DD Smash	Whaling
1-13	–Chris Knox	Not Given Lightly
1-14	–The Chills	Pink Frost
1-15	–Darcy Clay	Jesus I Was Evil
2-01	–Crowded House	Weather With You
2-02	–Pixie Williams & The Ruru Karaitiana Quartet	Blue Smoke
2-03	–Blerta	Dance All Around The World
2-04	–Fur Patrol	Lydia
2-05	–Hello Sailor	Blue Lady
2-06	–Bic Runga	Drive
2-07	–DLT	Chains Featuring – Che Fu
2-08	–The Mutton Birds	Dominion Road
2-09	–Shona Laing	(Glad I'm) Not A Kennedy
2-10	–Split Enz	I Hope I Never
2-11	–The Crocodiles	Tears
2-12	–Th'Dudes	Be Mine Tonight
2-13	–Split Enz	I See Red
2-14	–Dave Dobbyn	Beside You
2-15	–Shihad	Home Again

 

I saw Blerta perform at Corrimal Hall in 1973. Actor Bruno Lawrence was the band's drummer.

[ThirdDrawerDown]

New Zealand music month can't go by without mentioning Kiri Te Kanawa. The case can be made that Kiri is New Zealand's equivalent of Australia's greatest musical artist Nellie Melba except that Kiri doesn't have her face on Australia's $100 bill.  But she has faced one of the largest global audiences in history: she sung at St Paul's Cathedral at the wedding of Prince Charles Windsor and Diana Spencer: about 600 million people watched.

 

I'm probably not the best person to critique an opera singer. My knowledge is paltry. I do know that opera is much like doom metal, death metal and black metal in that it has a particular set of vocal stylings and conventions that require a fair bit of technique and training to achieve the proper results. As with anything musical, it also helps to have a foundation of natural talent and Kiri certainly has that. Many years ago I was in an opera-loving friend's apartment and while we were chatting a soprano came on the radio.  I interrupted myself to ask, "who is that singer?"

 

"Kiri Te Kanawa".   

 

"Is it possible to have a voice that is too good or too pure?"

 

Allmusic put it a different way, that she has a beautiful soprano and has always chosen material that is within her range. Take a look at her entry if you want to see lots of four and five star ratings. Today I bought a couple of items to do my own research for this posting (the LP has five stars).

 

 

You can see that both items are collaborations: Lerner and Loewe, also Verdi and Puccini. The My Fair Lady is interesting enough and Te Kanawa's Eliza simply shines on "I Could Have Danced All Night", however it doesn't do enough to persuade you away from the original soundtrack as being the definitive version. I found it hard to suspend my disbelief - on CD, Kiri comes across as merely playing at being a Cockney; she was probably more authentic on the screen.  I've added it to the list of weird things you have to believe to enjoy shows and opera: such as that the large lady is actually a willowy love interest; the lady is always the last person standing; that hairy-knuckled single-eyebrowed sports commentators know something about this stuff.

 

My attention span for opera in general and sopranos in particular is brief, normally just long enough to change to a more amenable radio station. But I got through this entire album unscathed.  And impressed, truth to tell.  There really are no flaws in her voice.  Just when you think she should be straining or struggling she proves you wrong. I was going to put in a metaphor like a big chevy changing gears and then you really hear the sound of the engine, but there isn't even a sense of changing gears.  It's simply that if that's what the music requires, then it will be delivered. And done in a way without sharps or flats (you'd expect that, at this level of performance) but without harshness, nor brittleness nor fragility in particular notes, keys or parts of her range. By the end of the album I was not fatigued by the voice, which is a rare thing for me and sopranos. It's also obvious that the likes of My Fair Lady is a sideshow by comparison. This stuff, with all its demands, is the real deal.

 

As a child Kiri was mentored and sponsored to develop her talent.  Now retired, she has set up a foundation to give to younger singers the opportunities she had. The biography on the Foundation's web page is straightforward and refreshingly free of hagiography. Well worth a look.

 

But it's true that Kiri does lack an edge.  As I put Messrs Verdi and Puccini back in the LP sleeve I realised that I still have the Swingers and the Suburban Reptiles earworms playing in the jukebox in my head and it's a beautiful thing.  What could I put on the platter that had that same catchiness; that had that same edge? It'd have to be something that showed real talent to be at that high standard of writing. I suppose hitting #1 in Australia would be a sign of talent, at least some of the time. So, to make no bones about it, I put this on straight afterwards.  It's definitely not a prima donna.

 

 

 

 

Edited May 3, 2018 by ThirdDrawerDown

[BuzzzFuzzz]

As a young fella I enjoyed Footrot Flats...

 

Dave Dobbyn 'Footrot Flats - The Dogs Tale' 1986 On The Ball Productions. CBS, USA. CBS, Aust.

Dave Dobbyn, The Herbs and 'Slice of Heaven' were a regular at our warm up 'session' for a night out.  Ahhh, those 'old' days.  Surely a fitting tribute to NZ Music, a fun movie and a fun soundtrack.  A fitting testament to the Kiwi Arts with the Animation, Music, Film and Comedy.  Gotta love the Kiwi's.  Any Conchords people out there?

 

A quick edit; 'Counting the Beat' and 'I Got You' are right up there on any list for me.  I've also posted on Currently Spinning, Head Like A Hole '13'. 

Edited May 4, 2018 by BuzzzFuzzz

[t_mike]

One out of left field for you.

 

[mrbuzzardstubble]

Don't forget Dunedin art rockers, The Dead C.

[ThirdDrawerDown]

Nice postings happening on this thread! As for there being a NZ stereonet, who knew?

 

A friend reckons the Footrot Flats album is best bought on CD, because there's a couple of clunkers among the genuine hits and so the rugby song can be skipped.  I tell him he's not being loyal to the musos.

 

It's time for an anthology.  This collection opened my ears and eyes to New Zealand music of the 1960's.  But first, here's the great cover, with its psychedelic rainbow colours and the pot of gold at the beatle boots, the silhouettes of drums and guitars, the yellow spotlights, all happening happily above a New Zealand alone on the globe and with the question - How Was the Air Up There? The beatle boots hearkened back to the very popular Loxene Golden Disc compilations.

 

 

This is a very happily compiled album which plays as a classic '60's jukebox of white R&B and rock songs.  The energy is great! For a time I thought "How was the Air Up There" was one of the best songs ever.  If there is a dud track on Side 1 - and I'm not sure there is - it's be Ray Columbus's "She's a Mod" which to modern ears is now just a little too locked into its time. Songs include The Fourmyula's "Nature", the Avengers "Love Hate Revenge", Hubb Kapp and the Wheels "I'm Happy Too", and other nuggets. On the inner, each band has a bio, essential in pre-internet days.  discogs says it is Garage Rock, Pop Rock, Beat, Psychedelic Rock and has the track listing and copies

 

 

But arguably the finest song is this one:

 

 

Take a listen to that harmonica lead in the opening bars. I reckon it's because of that sound that Flying Nun bands from the start didn't stick to the standard punk band lineup of two guitars, bass and drums. They could get the same sound from keyboards.

 

Quote

In November '66 "How Is The Air Up There" reached the finals of the Loxene Golden Disk awards (New Zealand's equivalent of the Go-Set Pop Poll) but although the Las De Das were popular favourites, they did not win. In the meantime they had also been laying down tracks for their debut album. The 14-track self-titled LP was a collection of stage favourites; although their stage repertoire was about 50/50 originals and covers, the album was all covers. Nevertheless, it was a winning mixture of pop, soul and 12-bar blues, including The Small Faces' "Hey Girl", Sam Cooke's "Shake", "Land of 1000 Dances", the Bacharach & David hit "Little Red Book", the ubiquitous "Bright Lights, Big City", and Mose Allison's "Parchman Farm". Released in time for Christmas 1966, it immediately sold out of its first pressing.

 

They made another major tour of NZ in January 1967, which included their first South Island appearances, but before it kicked off, the band cut their next single. They had been looking for suitable follow-up to their last hit, but Stebbing was wary of trying another original just yet, after the disappointing experience with Don't You Stand In My Way. As luck would have it, they found what they were looking when they met the legendary Claude Papesch, the prodigiously talented (blind) multi-instrumentalist who had made his name in Johnny Devlin's backing band, The Devils. Just back from a stint in Australia, Papesch introduced them to Bruce Channel's "Hey Baby" and predicted it would be a surefire hit for them. They cut it immediately, released it as their next single (b/w "Other Love") in February, and just as Claude had predicted, it was a smash, giving them their first #1 hit in March 1967.

 

It gave [the La De Das] a double distinction -- it was the first New Zealand-made single to reach #1 on the newly-established NZ Hit Parade and it knocked The Beatles' "Penny Lane" / "Strawberry Fields Forever" off the top spot!  

                                                                                                                                                                                               (link to Milesago)

 

The La De Das continued to cross the Tasman and met with some success in that market too. Milesago refers to a crowd of 200,000 people at the Myer Music Bowl in Melbourne and says that by mid-1973 "the band were being hailed as Australia's leading live act and Borich was widely regarded as our pre-eminent guitar hero."

 

 

Eh? Those were my italics. Let us define the word "Our".  No, we will let Australian fantasy novelist Justine Larbalastier do it for us.  In her delightful novel How to ditch your fairy (think: Summer Heights High meets Muriel's Wedding with magic thrown in) the schoolgirl protagonist laments her future.  She will never be an "Our". Fame is not for her. Our Kylie, Our Kathy, Our Nicole, Our Ashleigh, Our Jelena - she would never be famous.  In Larbalastier's world, which is surprisingly similar to an Australia near you, the Glossary tells us:

 

Quote

Our: a celebrity from New Avalon. So called because New Avaloners think all celebrities belong to them, thus Our Zora-Anne

 

Tip: We are told that in these parts nowadays "Our Rolf" is not a thing.

 

Edited May 4, 2018 by ThirdDrawerDown

[ThirdDrawerDown]

Today I played this, and followed it up with Boodle Boodle Boodle on vinyl.  The vinyl sounds better. There's plenty of information on the internet so suffice to say that the allmusic review is accurate; my personal opinion is that Anything could Happen, Point That Thing Somewhere Else, and Beatnik are high points of New Zealand music; and one of the finest lyrics is:

 

"sometimes I just feel too much

and I don't want to feel at all."

 

 

Actually what Anthology does is show the paths travelled by David and Hamish Kilgour, and Robert Scott.  By the end of CD2 you can pick the songwriter for each song but at the start it didn't matter who the songwriter was, the songs came from the gestalt that was The Clean.  The divergence is not unexpected and they earned it as they grew into their own bands and careers, but goodness that moment when Boodle Boodle Boodle landed and The Clean was a seamless three-headed beast! First I heard about it was when a socially inept student came into the shop I was employed in and in a stentorian voice raved about the EP and how much the band got paid for it, $2,000 or $6,000 I forget which.  But for all their longevity and productivity The Clean do have a flaw: they really don't know how to finish songs or, more likely, see no particular need to bother. Too often the music just stops, and yet their jams are superb. That thing where the Velvet Underground plays Sister Ray for up to forty minutes? We'll have some more of that, please (and you get it on Anthology).

 

Tip: The Clean didn't come out of nothing. The better histories of this time do mention The Enemy and Toy Love.

 

https://thespinoff.co.nz/music/18-04-2017/the-best-band-in-the-world-without-question-an-oral-history-of-the-cleans-boodle-boodle-boodle/

 

 

 

 

Staying with 1981, we turn our attention to something quite different: Sheena Easton's first big single.  It led the composer to give up her own career and concentrate on songwriting.

 

Quote

"You Could Have Been with Me" is a 1981 single by Sheena Easton from her album of the same name. The single reached number 15 on the Billboard Hot 100, while its Adult Contemporary peak was number 6.

 

 

 

 

 

 

 

Edited May 6, 2018 by ThirdDrawerDown

[Citroen]

Great minds think alike! Played earlier

[ThirdDrawerDown]

Today we have a couple of tight bands that can play extremely well.  So it comes down down to "how good are the songs, arrangements and production?"

 

There is always room for this sort of thing - straight up garage-based rock music with influences of 60's R&B, Chuck Berry, and 1970's punk. It's all very well done and live they were an impressive energetic unit but if songs that have "Party party party" and c'mon c'mon c'mon" as the refrain aren't your thing, then this is not for you. The impulse to turn up the volume is tempered by a slight harshness in production discernible when it's played loud. Overall a good example of its type - representative without being generic, and in the final wash the D4 are inessential.

 

 

This next album hit number 1 in Australia and is also a good example of its type.  Several hit singles came off it and once you get past the derivative songs that the producers stacked at the front of the album - ohh listen, INXS! Bon Jovi! must buy this! - you get to hear the band's own sound, preferences, and voice.  This has an excellent cover of "I Want to Take You Higher" - this band is tight and can play! The critics make comparisons with Cold Chisel but that's lazy, it's more to do with the key of some songs and the vocal phrasings arising from them; if there are comparisons to be made then look to "Burning Cross" for the Midnight Oil sensibility. 

 

 

 

 

 

[Citroen]

David Kilgour and the Heavy Eights - Left By Soft 2011

 

 

Aldous Harding 2014

 

Edited May 6, 2018 by Citroen

[LogicprObe]

 

I was waiting........................but no one did it.

 

One of the greatest live tracks ever!

 

 

 

[cafe67]

Headless chickens were already taken , so I'll mention.........

 

 

 

 

 

 

Edited May 6, 2018 by cafe67