enzed faves

Rip It Up, Issue 100, 1 November 1985, Page 28

enzed faves

In this 100th issue we've invited several of our writers, past and present, to select their favourite New Zealand records and thus highlight some of the significant recordings released in the years Rip It Up has been published.

MARK EVERTON

I’m a fan of New Zealand music. I don't mind admitting it and I've a feeling I'm not alone. For ages though I made excuses, was it just some sort of misplaced patriotic zeal? Was

it pretentious to think New Zealand music spoke to me with my voice? And what was the thread that tied all authentic local music together and made it so obviously different? Well, apart from the indefinable "kiwiness" of it all, I would have to say the difference lies in the strength of the songs and the reason for their existence. The constant fretting over production standards leaves me cold; if the song isn’t there in the first place no state-of-the-art knob-twiddling is going to rescue it. But while the debate rages, musicians who simply want to make their music their way get slagged for their enterprise and the essential quality of their songs gets overlooked. This is especially true as the industry whips itself into frenzied expectation of international success.

New Zealand is the only English-speaking country that has never produced a worldwide smash hit. Nowadays a lot

of time and money is going into rectifying that situation. Great. But while some music is created for sale overseas most New

Zealand music continues to be made for its own sake, because the people involved believe it's worth it and believe that it's good. Therein lies the spirit of artistic endeavour. Therein, for better or worse, lies the spirit of New Zealand music. Trying to choose 10 favourite local records from the last eight years has been an unsatisfactory experience. So much gets left out. However I hope the following selections back up this preamble in showing, individually and collectively, the talent and integrity of those who make so much fine music for our ears.

The Moon , the Spines: Possibly the best. Intelligent, articulate, sensitive, funny, sad, there is so much to savour on this record. Excellent playing. A bright star indeed.

And Here Is ‘Music For the Fireside ', the Bats: The closest thing yet to the definitive New Zealand record (I think). Rustic, folk flavour coupled with a sardonic city edge. Totally human. Wonderful songs, great bass. ‘Counting the Beat’, the Swingers: A magical song of sparkling originality. Should have been the international hit being sought now with music that pales by comparison. ‘Radiation’, Topp Twins: A timeless song reflecting fears of a barren future. Possesses the absolute power of the utterly simple.

‘Rolling Moon’, the Chills: Lacks the spirituality of ‘Pink Frost' but arguably more spirited A neat arrangement allows the track to roll on regardless.

Luxury Length , Blam Blam Blam: Remains a landmark LP. Music of poise and purpose, not afraid to let emotions or politics show through. A record that says a lot

about New Zealand, its people and its place in the world. In short, quite brilliant. ‘Poi E’, Patea Maori Club: A legend. A derivative mix, granted, but a celebration unequalled in our musical heritage. Dizrythmia, Split Enz: A step away from the total originality of Mental Notes but nevertheless a record that set the scene for the Enz’ phenomenal success. A live-wire collection of hits. As potent today as ever, a cut above the competition, as usual. Send You, Sneaky Feelings: Just a great record. At last a band prepared to leave space in their songs for the listener to explore. Poignant, evocative, moody. Love it to bits. ‘Now’, Pop Mechanix: A loud, proud, anti-social rally cry. A rip-snarling pop song from a dynamic band. All right, attack, NOW.

TROY SHANKS

‘See Me Go’, the Screaming Meemees: I still Scream Meemee.

‘There Is No Depression In New Zealand’, Blam Blam Blam: There Are No Sheep On Our Farms. ‘Doobie Do Boy’, the Newmatics: I'm the one and only ... 'Billy Two’, the Clean: Revenge of the killer acoustic guitars. ‘Counting the Beat’, the Swingers: Phil Judd counts to 5 and goes to 1.

‘Going Round In Circles’, the Prime Movers: Silly pop for getting dizzy to. ‘Kaleidoscope World’, the Chills I like it. How’s that for one good reason?

‘Occupational Hazard’, the Whizz Kids: “Ripper’’ said Reena. Mecca’, Otis Mace and Rex Reason: The guitar ace trips on chawarmas. Someone To Blame', Export Lamb: Music For Sheeps.

RUSSELL BROWN

Whittling down to 10 this list of my favourite NZ recordings has been a pain in the heart. I sat down and took five minutes to scrawl about 30 choices onto a piece of paper and I didn't really want to drop any of them. Two criteria employed here: the personal thrill I get from each record and the record’s

importance in getting us where we are now. I could say more but Mark Everton says most of what I want to say anyway. These are in no order whatsoever...

Hallelujah, the Verlaines: The hard edge of articulacy and sophistication. 'Ballad of Harry Noryb' is awesome. ‘Rebel’/'Squeeze’, Toy Love: Some first single. Has the unimpeachable qualities of melodic grace and lyrical penetration.

‘Tally Ho', the Clean: This song's opening starts stopped hearts. The most enthusiastic and positive Clean recording.

The Gordons, the Gordons: Recorded and mixed in 22 hours at Harlequin. Definitively direct minimalism.

‘Counting the Beat', the Swingers: The biggest and brashest pop. a perfect example of Phil Judd sense-from-nonsense.

Soloman's Ball, the Builders: In particular. ‘America’ is sublimely beautiful and 'Son Of Kronos' is sublimely scary. ‘Rolling Moon', the Chills: The whole single. Beats out 'Pink Frost’ by virtue of the two great songs on the flip. ‘Turning Brown and Torn In Two’ Tall Dwarfs: A fragile voice sings honest words over a punishing tape loop. The song-video combination is the most

affecting I have ever heard-seen. ‘Charley’, Split Enz: My favourite Split Enz song, by far John Cale’s too! What's Be Happen?, Herbs:

A harder Herbs, and a bloody urgent record. Its rock-reggae-Pacific melting pot is unique to Aotearoa.

And, to make up for that, the 10 LIVE ones, again, no order.. Verlaines, Newmatics, Chills, Clean, Toy Love, Tall Dwarfs, Goblin Mix, Children’s Hour, Screaming Meemees ('81), Androids.

FRANK STARK

Gutter Black', Hello Sailor: The rebirth of the NZ single. ‘Rebel/Squeeze’, Toy Love: Most bands would have milked a whole career out of just one of these. ‘One Good Reason', The Swingers: The unfairest fate in NZ pop? That Phil Judd isn't an Art Rock millionaire like David Byrne.

‘Feel So Good', The Spelling Mistakes: The absolute purest pop. ‘Turn of the Century', Beat Rhythm Fashion: Ah, sweet melancholy of youth. ‘Marsha’, Blam Blam Blam: Stepping outside the agitpop too show what we really felt like. Stepping outside the agitpop to show what we really felt like. ‘Barking Up the Wrong Tree', The Hulamen: That’s how NZ soul could sound. 'Victoria', Dance Exponents: Maybe the last song you'll catch me singing in front of the bathroom mirror.

‘Poi-E’, Patea Maori Club: All that aroha and you can’t stop dancing. ‘Long Ago’, Herbs: The best harmony singing on the sweetest tune.

Netherworlds Scoop Awards!

The Netherworld Dancing Toys won several categories in the Music Awards including Song of The Year, Single of the Year with 'For

Today', Group of the Year and Album or the Year for 'Painted Years'. Other winners include Andrew Fagan as Top Male Vocalist and Peking Man's Margaret Urlich as Top Female Vocalist.