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New Zealand Music Month |
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nick_h_nz 
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 Topic: New Zealand Music MonthPosted: May 02 2022 at 02:28 |
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 It’s May once more, which means it is NZ Music Month once more, which reminds me once more that I have never been very good at keeping up my posts in this thread. So, continuing where I left off, the next three albums from “the list” that I listened to, I didn’t listen to. 🙄 Three more albums from my list (The Knobz, Herbs, and Netherworld Dancing Toys), that have geographical restrictions on their streaming, stopping me from listening to them. But, on the positive side, that’s only five albums in total so far - which is still a lot less than I was expecting. And I didn’t write much for the following two albums I listened to, either. Presumably because Dread, Beat & Blood and Aotearoa were two reggae bands, and I don’t really listen to or know enough about reggae to comment much. But as much as I didn’t really mind not listening to Herbs, due to geographic restrictions, I was very happy to be able to hear the albums from these two bands. These two albums were a very pleasant surprise. I don’t listen to a lot of reggae, and though it’s definitely not unknown for me to like some, there is usually more that doesn’t really do anything for me. I guess with Herbs being NZ’s most well-known reggae band, I was expecting these two bands to sound similar - and they really don’t at all. The Aotearoa album, especially, was really very enjoyable. I’ll definitely be listening to it again, and probably the Dread Beat and Blood album, too. Onwards…  Peking Man Peking Man wasn’t a wonderful listening experience, but it’s hard to know if it’s because it wasn’t that good, or just because the audio quality was so bad on the YouTube videos I had to use to listen to it. The album is available to listen to on all platforms, but it’s one of those that restricted by location. Unlike the others similarly restricted, though, I did manage to find user uploads for the whole album. Some of the videos were better quality sound than others, but none were as good as I would expect to hear from the official streams. Nevertheless, I plowed my way through it. And some of the songs are just as good as the one everyone knows from the album - but I would say less than half. Crowded House Crowded House, on the other hand. Well, there’s not really much that can be said about it. This is easily one of the most important albums in NZ music history, though almost for the wrong reasons. I’ve loved this album from the moment I first heard it. It’s an important album in NZ music history, but also an embarrassing one, really. It got next to no promotion, and virtually no radio play - the usual victim of NZ’s reluctance to play NZ music on the radio. It was only after the album (and particularly that song - you know which one) became huge internationally, that the NZ media not only realised they couldn’t afford to continue ignoring Crowded House, but decided to actively claim the band as one of our own. And in a way, they weren’t, as the band was two thirds Australian (although, some would argue that it was also two thirds Split Enz members, and Split Enz was undeniably a NZ band, as that’s why they’d changed their name from Ends to Enz). But regardless of nationality, Crowded House were the beginnings of an end to the cultural cringe when it came to NZ music. It would still be some time before NZ music was more widely appreciated, and even more before it was more widely celebrated- but there is no doubting that the beginnings of a movement towards more NZ music being played on the radio began here. |
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nick_h_nz
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Posted: February 21 2022 at 03:02 |
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It didn’t occur to me when I made my list, because obviously I never imagined myself going through it as I have, but these next two albums next to each other in my list both have as their most successful single, an ode to a prostitute. 🤔
The Dance Exponents album I know and love, but I’ve never listened to a Sharon O’Neill album before. I enjoyed it more than I thought I would, but less than I probably would if I were more familiar with it at the time. It reminds me of Pat Benatar, whose music I still like probably only because I liked it at the time. If I listened to a Pat Benatar album for the first time now, I suspect I would be as ambivalent about it as I am about this Sharon O’Neill album. So I don’t want to be too harsh about it. It sounds dated, as a lot of ‘80s albums do. You could say that Dance Exponents sound dated, too, but because they have a far rawer and less polished sound, it doesn’t stand out so much. I guess this is reflected in the fact that as successful as Maxine was at the time, it’s Victoria that has become the timeless Kiwi anthem. What Dance Exponents excelled at was their sing-a-long simplicity, that was made for the pub rock scene. I’ll Say Goodbye was one of my favourite songs as a wee sprog, and it wasn’t just me. I remember when a student teacher at intermediate school had us sing it as part of a music lesson. I don’t think I’ve ever known more enthusiasm from a class to sing a song. Followed by another duo of albums that are almost like Sharon O’Neill and Dance Exponents, in that one is polished and poppy and the other rawer and rockier. I liked The Narcs more than I expected to, but it is a really bizarre album that comes across like a band that hasn’t quite decided what their sound is. They had some massive success, helped a lot by being the support band for DD Smash, just as that band blew up across NZ; and they were one of very few Kiwi acts (apart from Split Enz) to get an international record deal. Yet, listening to the album now, after all this time, it’s kind of hard to know why. It’s almost a case of my liking every other song, and being indifferent or actively disliking those around. I don’t really mind the opening song (their biggest hit), but I think that’s more because of the rose tinted glow of nostalgia, and familiarity with it, than anything else. The band is at its best when it is making angular, spiky music caught halfway between new wave and new romantic - and the rest is just schmaltz and pap. The Mockers, though, are an entirely different kettle of fish. Their album from my list was restricted by geography, so I listened to their “definitive” compilation, which includes pretty much all the tracks from it. (I think only two were missing.) And I guess that goes to show how important this one album was in their discography, to take up the lion’s share of the compilation. The Mockers are still such a blast to listen to, and I really should buy this compilation. The Mockers must also have been one of the first rock bands I ever saw live, when I was around nine or ten. They played a free gig in the Octagon as part of the Dunedin Festival in, I’m guessing, 1985/86. I have only the vaguest memories of this, but they are good memories. Edited by nick_h_nz - February 21 2022 at 03:06 |
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nick_h_nz
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Posted: February 21 2022 at 02:53 |
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it looks like the last album from the above list I wrote about here was Cool Bananas, so heading back to Facebook, here’s what I wrote about the next two albums on the list, neither of which (despite their fame, importance and influence), I had ever listened to. And it seems one of them remains an album I’ve never listened to! 🙄
I couldn’t find the most celebrated Prince Tui Teka album anywhere to stream, but I didn’t want to not listen to him, so I chose to listen to his “The Māori Album” instead. I have vague memories of Prince Tui Teka performing on the telly, but I was a very young sprog. He has a wonderful voice, and it’s no wonder that with his physical presence, self-deprecating charm, and his voice, that he was as charismatic and well-loved as he was. I can’t say I would be rushing out to buy a Prince Tui Teka album after listening to this, but it was far more enjoyable than I expected it to be. I wasn’t expecting to enjoy Poi E, the album, as much as I did, either. Even though I love the song of the same name, I wasn’t sure I could listen to a whole album that sounded like that. But actually, there’s almost nothing else on the album that does sound like that. The album has a really interesting flow, as it moves across sounds and styles the further one progresses through it. I definitely prefer the earlier songs and tracks, as the sounds do tend to start to sound a little dated towards the end. No doubt they probably sounded fine at the time time, but I did almost hit the skip button once. Thankfully the album comes around full circle, and has an impressive final number in Paikea. Oh wait. What’s that? There’s another song. And there’s nothing wrong with it, per se, but it sticks out like a sore thumb. I guess I need to mention Poi E, the song. It’s pretty incredible really, that a song sung entirely in Māori topped the charts, staying at number one for four weeks, and not just becoming the biggest selling Kiwi song of 1984, but the biggest selling song of 1984. Even now, it’s still a well-loved and well-known song. A Kiwi institution. |
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cstack3
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Posted: August 08 2021 at 20:30 |
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From the Facebook post by the OP:
"A few years ago, I decided to make a list of 150 important and/or influential Kiwi albums. It’s on Facebook, but I think it can be viewed regardless of whether or not someone is signed up to that platform." The list is presented roughly chronologically. I don’t know exact release dates, and although I could probably have looked them up on Discogs, or similar, I don’t think the order matters too much, anyway. It’s a list. It has 150 items in it. That’s it, really...
Edited by cstack3 - August 08 2021 at 20:32 |
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I am not a Robot, I'm a FREE MAN!!
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BrufordFreak
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Posted: August 06 2021 at 06:25 |
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Yeah, problem: time and money are short so can't decide which album/EP to buy first. Think I'm gonna go with Momento Mori. Each one of those amazing four songs spoke to deeply and individually. Thought I was gonna float away or explode while listening to "Amino." Also, loved the vocalist on "A Copy of Yourself"--want more of that! I love the great, clear, melodic sound--such dynamic range in every track! |
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Drew Fisher
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nick_h_nz
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Posted: August 06 2021 at 01:29 |
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HDU is easily one of my favourite NZ bands, and probably the band I’ve seen perform most. I made a point of trying to make it to any of their gigs I could, because they are amazing - possibly the best band I've seen live. The first time I saw them, I was almost literally blown away - so much more (of everything) are the three piece live, than they are on their studio output. They are ear-bleedingly loud, and I learnt to wear earplugs. They are the kind of band you can feel in your stomach as strongly as you can hear. And yet, it's never just noise. That would be unbearable. HDU are pure pleasure - at HIGH volume. Truly eargasmic, and I guess potentially orgasmic too, by virtue of the vibrations through one's body. They are, for me, the very definition of a “power trio”. You are right that here isn't really one sound that is representative of them as a whole, as the band have explored so many different sounds over the years. Hence I usually just leave the Bandcamp link. I didn’t actually expect you to like the band. Of everyone I know who has heard the band, only one of my friends or family likes them. So it makes me feel a little warm and fuzzy if I have introduced one more fan to the band. |
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BrufordFreak
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Posted: August 05 2021 at 15:44 |
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Man, Nick! Your thread and its suggestions simply reconfirm my problem: I f*#king love music! There is too much great music out there as yet undiscovered (by me) waiting to overwhelm and suffocate me!
I LOVE all of the HDU albums/songs I've been listening to on their bandcamp page--such wonderful diversity in their styles even from song to song! And I am absolutely drowning in the beauty of Solace! I think I must have some kind of soul connection to those guys cuz their music just drops me to my knees! So much music, so little time! |
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Drew Fisher
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nick_h_nz
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Posted: August 05 2021 at 07:05 |
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Jakob definitely feature in my list of most important/influential albums. I had Solace in the list, but obviously Sines is a pretty bloody good album. I love Mice on Stilts, but I did try to be as objective as possible when creating my list, and I couldn’t justify including them despite how much I like them. Looking at my FB page, going through my list this May, I listened to Solace on 12 May:
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BrufordFreak
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Posted: August 05 2021 at 06:00 |
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Don't know how I missed this when it started in May. Lots of interesting artists to explore here!
I'm only going to mention two albums/bands that I stumbled upon in the last ten years that, for me, continue to remain favorites and regular rotationists on my playlists: Jakob's Sines - one of my favorite Post Rock albums of all-time, I think the band achieved, with this album, an astonishingly perfect blend of classical and rock sound to create a nearly perfect album. Mice on Stilts. Both albums are amazing, but the emotion conveyed by every single song on Hope for a Mourning makes it truly one of the most powerful albums to come out of the 2010s. I'm glad I found this thread, Nick. I look forward to exploring some of your featured suggestions (as well as those from others'). |
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Drew Fisher
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nick_h_nz
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Posted: August 05 2021 at 05:14 |
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I had forgotten I’d even started this. I guess I followed through on my FB page (posting every day in May), but forgot to keep up to date here. Glad I introduced you to something new. And, he’ll yeah, The Human Instinct is soooo good! 🤘🏻 (Their first three albums, anyway…) So, in an attempt to catch up, here’s the next two albums on my list that I listened to, and somehow, though both are bona fide Kiwi classics that are instantly recognisable, I’ve never listened to either, and I honestly don’t know why I’ve never got around to them. There’s far more that I like or love from both Don McGlashan and Dave Dobbyn than that which I don’t, so it was almost a given that I would enjoy both of these albums. Blam Blam Blam’s “Luxury Length” doesn’t appear to be available to stream, but it looked as if every track from that album was on “The Complete Blam Blam Blam” - as you would expect with a title like that. So that’s what I listened to, which meant I had the additional treat of probably their most well known song, the bitingly satirical “There is no Depression in New Zealand”. My favourite Blam Blam Blam song is probably still “Don’t Fight It Marsha, It’s Bigger Than Both Of Us”, but there are definitely quite a few contenders to usurp its position now. I was really pleasantly surprised by DD Smash’s “Cool Bananas”. I was expecting to enjoy it, but not like it as much as I did. I guess I thought it was going to be mostly like bouncy and poppy opening number, “Devil You Know”, but it’s far spikier and more eclectic - even reminding me of Adrian Belew at times! This was the first album by a Kiwi artist to debut at number one on the NZ charts, and it’s definitely deserving of its place in NZ music history - and the next step in the career of Dave Dobbyn, post Th’ Dudes. Edited by nick_h_nz - February 21 2022 at 02:45 |
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ming2112
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Posted: August 05 2021 at 04:51 |
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Hi Nick, I've been NZ for almost 2 years and always try to find some nice NZ music but can't make me satisfied. Thank you for listing those amazing music. The human instinct is sooooo good.
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nick_h_nz
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Posted: May 28 2021 at 12:18 |
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Two albums I’ve never listened to, and was pleasantly surprised by how much I enjoyed them both. I expected to enjoy The Crocodiles, but not at much as I did. I wasn’t sure what to expect from Graham Brazier’s album, as though Hello Sailor have never been a favourite of mine, Billy Bold is a bloody powerful song, that it’s hard not to like. The Crocodiles in a way grew out of Blerta, being formed by Bruno Lawrence and Fane Flaws from that group. But I knew only Tears, and you don’t really hear how much of a jazzy groove Bruno gives to much of the album in that song. In a way, that song (as great as it is) isn’t really indicative of the album. And the second single released from the album is easily the weakest, so it’s no wonder I don’t recall ever hearing it before. But wow, the rest of the album is pretty much fantastic. There are some really jazzy bridges and codas at times that took me by surprise, and took the songs somewhere else. I can hear now why this album gets so many props given to it. This Graham Brazier album is even more of a surprise. I absolutely love this album. In retrospect, the Hello Sailor songs I don’t mind as much are all Brazier-penned - so maybe my problem with them comes more from the compositions of Dave McCartney and Harry Lyons. Then again, despite some similarities in style, this has quite a different sound. It’s simpler and more direct - almost more of a singer/songwriter vibe. I can’t get over how much I like this album. I’d never listened to it previously, purely because Hello Sailor never really resonated with me. Followed by two unlikely post punk success stories, one lovingly remembered, the other almost forgotten. The Clean’s Boodle Boodle Boodle was massively important, though that perhaps wasn’t so obvious at the time. But this was a small indie band on a small indie label that somehow against the odds, and with no radio play (apart from on student radio stations), managed to make the top ten. In fact, Boodle Boodle Boodle managed to stay within the top 20 for almost six months, and reached as high as number four in the charts. As Flying Nun's first major success, it was largely responsible for the label's continued survival and the start of its growth into New Zealand's most internationally famous independent label. Boodle Boodle contains two of The Clean’s most well-known and most well-loved songs, in Anything Could Happen and Point That Thing Somewhere Else (the latter of which happens to be my absolute favourite Clean song). They were influenced by post punk and Krautrock, but played their own unique take. Long out of print, you can now easily hear Boodle Boodle Boodle on the 2cd Anthology album, which is how I listened to it today even though I’ve chosen to feature the original cover art. The Screaming Meemees also were almost unthinkably successful. Their See Me Go single was the first Kiwi song to debut at number one in the NZ singles chart. What’s more, the band were still at school, so not even able to perform the song in many of the usual venues due to their young age. When their one and only album was released, they were still in their teens. The album didn’t fare so well, as the backlash had already started, but it still made the top twenty. A lot of people resented the immediate success these young lads had, and Tall Poppy Syndrome has always been a common occurance in NZ. One of the criticisms was that their sound wasn’t as original as it could have been. I have to say, I never noticed back then (and I had the album on cassette), but listening now, I can see that the detractors probably had a point. However, even if they wore their influences on their sleeve, they played well, and they played hard, and they still sounded damn good. It’s no wonder that they still had the younger audience buying the album, even if those older and wiser had decided this was not a band they wanted to support, or, at times, even acknowledge. It’s kind of scary how quickly the Screaming Meemees fell off the radar. Their album was one I never bought the cd for when I upgraded my collection from cassette, which means this was the first time in decades that I’ve listened to it. I suspect it possibly wasn’t even available to buy on cd if I had wanted to, but I assume it is now, as the album I streamed was “Remastered and Expanded”. Listening to it again today, it’s such a shame that they were one and done. It may not be the most original material, but they were young, and there is a whole heap of passion and potential here. I don’t know if it’s just the rose coloured specs of nostalgia, but I loved hearing this album again, and I will definitely be listening to it again. Edited by nick_h_nz - May 02 2022 at 01:53 |
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nick_h_nz
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Posted: May 28 2021 at 12:05 |
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I only just saw this! I love it! There is definitely some kakapostrock and tuatararagarock in the list. And I guess, in a way, it’s all kiwirock (although I recognise you are probably referring to kiwi Krautrock - which certainly does exist). Anyway, this made me smile, so thanks for posting it! |
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nick_h_nz
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Posted: May 14 2021 at 08:56 |
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 The second Split Enz album in my list of 150 important and/or influential NZ albums. I tried not to repeat artists in the list, but I couldn’t leave either Mental Notes or True Colours out. And, in a way, they are almost different bands, and certainly have very different sounds. This is probably THE Split Enz album, when it comes to people ranking their albums. It might not be my favourite Enz album, but I can completely hear why it is for so many others. Shark Attack provides an over the top opening, before the famous I Got You (which found a new lease of life and audience, after Pearl Jam added it to their playlist at concerts across the world). What’s The Matter With You isn’t so exciting, but there’s nothing particularly wrong with it. Double Happy is one of my favourite Enz tracks. They’ve always had some fantastic instrumental numbers that are inventive and enjoyable (and generally from Eddie Rayner). I Wouldn’t Dream of It is pure Tim Finn pop that’s more similar to his solo material (eg Fraction Too Much Friction or Staring at the Embers) than Split Enz, but because of the eclectic nature of True Colours, it fits right it, despite its differences. I Hope I Never is as beautiful as it ever was. Nobody Takes Me Seriously is kind of like What’s The Matter With You. It’s nothing to write home about, but it’s not a song I’d skip or say I dislike. Missing Person is the sound of the Enz to come (and wouldn’t, for example, sound at all out of place on the final album, See Ya Round). In a sense, it’s the least inventive song on the album, but no less enjoyable for that. I actually really like it, but it’s a good thing it comes before Poor Boy, and not after! Poor Boy is just such a good song. How Can I Resist does well to follow it, and succeeds largely because of how different it is. Finally, another piece of instrumental genius, with The Choral Sea. True Colours is pretty much a perfect mix of the quirky and more straightforward sides of Split Enz, and sequenced amazingly well so that the stronger songs never overwhelm the “weaker” ones. And really, there are no weak songs on here, though some of the simpler, more poppy songs do perhaps sound more dated than others. But at the time, this album is one I would have called perfect. And even if it no longer still sounds so perfect to my ears, it’s still an enormous album in terms of NZ music history. Edited by nick_h_nz - February 21 2022 at 02:16 |
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nick_h_nz
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Posted: May 02 2021 at 15:22 |
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 Two more albums I know and love, both of which probably post punk and/or new wave, but coming from musicians formerly of prog bands, so sounding a little different and more interesting to me than a lot of other post punk bands. Mi-Sex’s Graffiti Crimes is probably unfairly overlooked because of hit single Computer Games, which really isn’t particularly indicative of the overall sound of the album. And as much as I like Computer Games, and as much as it was the song that made me buy the album, it is probably the least interesting, and also my least favourite, on Graffiti Crimes. It feels like it doesn’t quite fit, and that’s probably because it wasn’t originally on the album at all. Mi-Sex is easy to make fun of, but the way they blended the punky pub rock that was the norm in NZ with synth pop managed to stay on just the right side of the cool/cheesy line for me. The Stranglers and Ultravox (from whom they took their name) are both obvious influences, but I like Mi-Sex more than anything I’ve heard from either of those bands. With both a guitarist and keyboard player coming from NZ prog bands of the past, the musicianship of those plays notably in opposition to the more punk sounds of the rhythm section and vocals. It makes for an interesting collision of sounds. The Swingers’ album is also overshadowed by one song - and one that is even more of a timeless Kiwi anthem than Computer Games. But at least Counting the Beat never sounds out of place. The album is full of gems, even if that one song does shine more brightly. The sound reflects Phil Judd’s past in Split Enz, and foreshadows the sounds to come of Schnell Fenster. I love this album. I’ve included the original Practical Jokers cover, although I think the only way you’ll find the album these days is as the repackaged, resequenced, and retitled Counting the Beat. Edited by nick_h_nz - February 21 2022 at 02:19 |
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nick_h_nz
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Posted: May 02 2021 at 15:07 |
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Today’s second day of NZ Music Month listening from my list of 150 important/influential albums began with two albums I know and love. Ragnarok released only two studio albums (and one live album), and Airlord only one album. And that’s a shame, because both of these bands were terrific. Surprisingly, both are easy to find to stream on your favourite platform (which I was not expecting), so I highly recommend both of these. Ragnarok play some superb psychedelia that’s almost Eno-esque at times, and Airlord play twisted and deranged symphonic schizophrenia that’s one half Judd-era Split Enz, and the other half Gabriel-era Genesis, while not really sounding too much like either. And now, two fairly legendary albums (in NZ if nowhere else) that I’ve never listened to. Unfortunately listening to Hello Sailor has in no way changed my opinion of them. They may be a hugely important and influential band in NZ music history, but they do nothing for me. Still, as they were on my list, they were required listening this NZ Music Month.... Th’ Dudes, on the other hand, have certainly titled their album well, because this is definitely Right First Time. I’m ashamed to have never listened to this until now. Opening with the magnificent Be Mine Tonight is pretty brave. How do you follow that? Actually, with probably the worst song on the album, which is probably not that bad an idea, as anything would be underwhelming after Be Mine Tonight. This effectively works as a palette cleanser, before heading back into more meaty fare. There are so many good songs on this album, and I knew none of them until today. Edited by nick_h_nz - February 21 2022 at 02:24 |
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nick_h_nz
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Posted: May 01 2021 at 15:16 |
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Final three for the day, and all albums I know and love. I’ve managed to listen to twelve albums from my list of 150 today, and had to miss one that I was unable to stream due to geographic restrictions. These three were all released in 1975 - the year I was born - and all three would easily feature in my top ten favourite albums from 1975. Dragon’s “Scented Gardens for the Blind” was the second and last album released on Vertigo. After this album, they moved across the sea to Australia and away from their progressive routes towards huge commercial success as a pop band. Unlike Genesis or Split Enz, they never retained any prog within their pop years. The writing was somewhat on the wall with the lyrics to the opening number, but this was a pretty glorious last hurrah. It’s funny to think that New Zealand’s biggest bands at this time were all prog, or at the very least prog related. For even if it would be hard to argue that the Dragon and Enz albums from 1975 are not prog, calling Space Waltz prog is probably more contentious. However, Alastair Riddell’s biggest influences were the art rock of Roxy Music and David Bowie, so even if it were not rock, it was still undeniably weird to many. Riddell was sometimes called NZ’s answer to Bowie by the media, though I’ve heard that’s not something he was particularly happy about. Nevertheless, when Mike Garson brought his Bowie Celebration to NZ, Riddell was made a part of the show, and one of the main drawcards for the Kiwi audience. And Mental Notes. What can I say about Mental Notes. It’s just bloody amazing. Only Phil Jones could deliver the otherwise innocuous line about going home to his mother, and make it sound like something Norman Bates might say. The whole thing is barely on the right side of lunacy, with some of their greatest songs. The Enz never made another album as good as this one. Phil Judd was the voice of Split Enz for me. Yes, I love Tim’s stuff, and yes I love Neil’s stuff, but Phil was the dark creative spirit of the band. Catchy and hooky, sure, but darker and weirder. Bi-polar suffering Judd has described much of his musical output as making him miserable, and being an ugly, unhappy, unpleasant experience. He said of this album, “I can bring myself to listen to Mental Notes still, about once a decade. I have to work myself up to it, but I still keep in touch with that one. There are some songs on that album I still like.” Mental Notes is absolutely my favourite album, but even I can admit to it being a disconcerting listen. But then, maybe that’s part of why it’s my favourite?
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nick_h_nz
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Prog Metal / Heavy Prog Team Joined: March 01 2013 Location: Suffolk, UK Status: Offline Points: 6737 |
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Posted: May 01 2021 at 09:50 |
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John Hanlon was Aotearoa’s premier singer-songwriter, often veering into progressive folk territory similar to Roy Harper, but usually far more mainstream. He was fantastically successful at the time, and then strangely long “forgotten” and/or swept under the rug, before being “rediscovered”, so to speak. Higher Trails was his highest charting album, and contained two of his three highest charting singles. Numerous bands and artists have cited his influence, and I knew his name, but none of his music. I’m not so fond of the more mainstream sounding songs, but when he goes into more proggy territories, my interest soars. I really like a lot of the songs on this album, while others I would t switch station if they came on the radio, but I doubt I will ever be wild about. There’s enough here, though, to make me want to explore more of Hanlon’s discography. My favourite song from this is definitely the opening number: The next album on my list was not new to me, but I have a feeling the last time I listened to it was last year, upon hearing Max had slipped away. Listening again today just reminds me what an awesome album this is, and the biggest song on it is not even the best, which says a lot because it is a bonafide Kiwi classic! This may be the first Max Merritt album I listened to this NZ Music Month, but it will definitely not be the last. I’ve not listened to all his albums, so I may as well use this month to fill in some gaps. But, man, this album..... 🥰❤️ Edited by nick_h_nz - February 21 2022 at 02:14 |
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nick_h_nz
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Prog Metal / Heavy Prog Team Joined: March 01 2013 Location: Suffolk, UK Status: Offline Points: 6737 |
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Posted: May 01 2021 at 08:01 |
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Two famous, or perhaps more correctly, infamous Kiwi institutions. I knew Blerta, as I’m sure most Kiwis once upon a time did. I even knew a couple of their songs. But what I had never done is listen to one of their albums. Nevertheless the band was so important and influential in NZ music history, and this album in particular often receiving the most praise and acclaim, that they had to be included in my list, and my NZ Music Month listening. They were renowned for having far greater musical talent than one might expect, and capable of playing incredibly well, or incredibly sloppily, as the mood took them. Loosely, one could describe their sound as an eclectic, psychedelic, jazzy, Zappa-esque melange of clever, silly and bawdy music, singing and spoken word. Unfortunately their studio recordings reputedly never reached the heights of their live performances, which I can believe - as, although the albums is still far more impressive than I expected, it’s still a little underwhelming. But it is only my first listen, and I will be returning for more. If Blerta has some spoken word, Fred Dagg has even more. In fact there’s far more spoken word than music on his debut album, “Greatest Hits”. This album remains one of New Zealand’s greatest selling albums, and has been re-released under varying names since. I was surprised by how much I knew from the album. There were some tracks I knew I knew, but far more that I didn’t know I knew. I recognised almost every skit, which I guess just goes to show that these really were Fred Dagg’s greatest hits.... Edited by nick_h_nz - February 21 2022 at 02:10 |
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nick_h_nz
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Prog Metal / Heavy Prog Team Joined: March 01 2013 Location: Suffolk, UK Status: Offline Points: 6737 |
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Posted: May 01 2021 at 07:33 |
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This is the first album I listened to today from my list that I am familiar with (the sixth on my list, but fifth I listened to today, as Creation by the Fourmyula is geographically restricted so while it is on Spotify, Amazon and YouTube, I can’t listen to it in the UK). This is a fantastic album of psychedelic/acid blues rock in the vein of Hendrix. So as Hendrix is listed here, under proto-prog, then I figure I can feature this album in my list of proggy Kiwi moments. The band put out three pretty bloody wonderful albums, before turning into (of all things) a country band. Billy TK was the powerhouse behind their sound, and it’s no wonder that when he left he called his own group Powerhouse. As far as I’m aware, that band didn’t release an album, so the three Human Instinct albums remain the place to go to hear Billy TK at his incendiary best. I’m no great fan of the cover that opens the album, but the title track that follows is just beautiful! Check. It. Out! This is a great profile on Billy TK: https://www.audioculture.co.nz/people/billy-tk |
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nick_h_nz wrote: