I am partial to poetry.
Well what a coincidence your playlist slot happens to cover Rabbie Burns' day. Just saying.
I am partial to poetry.
hmm I feel a bit of Karen Mathieson might get an airing.Well what a coincidence your playlist slot happens to cover Rabbie Burns' day. Just saying.
the violin work in the third was lovely in conjunction with her voice. Like her voice albeit the production helps her.
Sorry @Coatigan , I didn’t give your playlist the attention it deserved ,apart from the festivities I was packing up the house and travelling back from the US.Thanks to the handful that gave this a go, during the off-period when everyone is in a time warp of sorts. @Mancitydoogle for stepping in, as well as doing all of December.
Hopefully see lots of engagement with Journo's playlist, as we return to routines and post holidays patterns.
Hope I'm not jumping the gun but I believe it's me to go and it is Monday. So here is a nothing to do with bringing in the New Year playlist...
Around the same time as the Paisley Underground in California the Dunedin Sound was taking off in New Zealand, centring not surprisingly on the Southern city of Dunedin, a long way from the major city of Auckland, never mind the rest of the world. Influenced by the likes of the Velvet Underground and the Stooges and incorporating elements of the Beatles and the Byrds they would go on to be cited as influences by the likes of REM and Pavement. The sound was synonymous with the legendary record label Flying Nun.
I can’t claim to have been aware of it at the time (late 70s into the 80s) or even when I spent a couple of years living in NZ in the 90s but I’m a big fan now, fetishising as I do the country I sometimes wish I had made my permanent home but which I connect to nowadays through the culture (and fine wines).
The Clean- Tally Ho. The Clean have been described as the most influential of the bands on Flying Nun. This wasn’t the first single released on the label but was the first to trouble the charts in NZ and is typical of the slightly shambolic low fi sound of theirs. They had a bit of a chequered history, splitting and reforming a few times and consisted of the Kilgour Brothers and Robert Scott, more of whom shortly. Sadly drummer Hamish Kilgour was found dead early in December having been reported missing by his family two weeks earlier.
The Chills- Pink Frost. The Chills had many line-up changes and were essentially the vehicle for song writing main man Martin Phillips. The most likely to achieve mainstream success, the story of the Chills is almost a typical rock’n’roll tale of tragedy, success, drugs, failure, acrimony, and redemption. There’s a fascinating documentary available for those who may be interested. I was torn between this and their slightly later classic Heavenly Pop Song. As the saying goes, if you like that…
The Bats- Made up in Blue. When not playing bass for the Clean Robert Scott was leading the Bats who released their most recent album a couple of years ago and have kept their original line up intact since forming (albeit with a long hiatus or two). They are my favourite of the Dunedin Sound bands, maybe because of that longevity and consistency. In truth they haven’t changed much but their fans love what they do so why would they. Similar in sound, to my ears anyway, to the Wedding Present. This was the first single released by Flying Nun in the UK and was single of the week in NME
The Verlaines- Doomsday. Led by Graeme Downes who then went on to become head of music at the University of Otago and has research interest in Mahler and Shostakovich. Not that you’d know if from the music of the Verlaines although being named after a poet and some of the literary references in their songs hint at someone who isn’t your average Joe. Their “signature” tune is Death and the Maiden but this is my favourite of theirs, I love the way it ends… and then starts again.
Straitjacket Fits- Down in Splendour. Part of the second wave of the Dunedin Sound and a departure from earlier bands, sounding more like the likes of Ride. Two contrasting styles from their songwriters Shayne Carter and Andrew Brough, the latter writing this. Ultimately tensions between the two saw Brough leave the band