Musical Monday (2024/04/29) – Into the West

I think I have played only one song previously that was written for the soundtrack of a film – “Find You” from the from the film The Stolen. Today’s song plays over the credits at the end of the final film of the Lord of the Rings trilogy – The Lord of the Rings: The Return of the King.

The inspiration to write “Into the West” came from a poignant source. As Howard Shore was trying to write a different closing credits song, the tragic story of Cameron Duncan, a young Māori New Zealand filmmaker who was dying from cancer at 16 years old, moved the team. His imminent passing inspired Shore, Fran Walsh, and Annie Lennox to write “Into the West” as a tribute. The first public performance of the song was at Cameron Duncan’s funeral where it was sung by Annie Lennox.

The Lord of the Rings sound track features Lennox’s voice but the track I’m playing today is from the album Into the West by Julia, released in 2005. The reason I have chosen Julia instead of Annie Lennox is several fold. I fell in love with Julia’s voice the first time I heard it. She has a lovely rich contralto voice but she can also perform beautifully in the mezzo-soprano range. I was gifted the Into the West CD by my daughter, and it is one of the few CDs I still own. I heard Julia’s rendition well before got to see The Lord of the Rings: The Return of the King, and I think that Yulia’s rendition is more soulful – hauntingly beautiful even – in comparison to the soundtrack by Lennox.

Yulia was barely 18 when she recorded the album Into the West. It’s even more remarkable that she had arrived in Aotearoa only two years earlier after she and her mother emigrated from Russia. In those two years she learnt to speak English and completed her high school education. The album achieved four times platinum within weeks of being released and went on to become the number one selling album for 2005. Her second album Montage also became a number one best seller two years later, earning Yulia the status of being the first New Zealand female singer to have back to back number one albums. The two albums demonstrate her linguistic talents with songs in English, Russian, Italian, French, Māori and Spanish.

I don’t particularly care how my family arranges my funeral, and It wouldn’t upset me if a formal send off didn’t occur. After all I’ll be dead, and I’ve never enjoyed crowds anyway. But should they feel the need to celebrate my former life, I would like to think it will be in the manner of Quakers – no formal program, just silence with individuals standing to speak when they feel moved to do so. However, I would like this song played, and the lyrics displayed as my body is taken away for cremation. And on that sombre note, here’s the song. Enjoy!

Into the West – Yulia

Into the West

Lay down
Your sweet and weary head
Night is falling
You have come to journey's end
Sleep now
And dream of the ones who came before
They are calling
From across the distant shore
Why do you weep?
What are these tears upon your face?
Soon you will see
All of your fears will pass away
Safe in my arms
You're only sleeping

What can you see
On the horizon?
Why do the white gulls call?
Across the sea
A pale moon rises
The ships have come to carry you home

And all will turn
To silver glass
A light on the water
All souls pass
Hope fades
Into the world of night
Through shadows falling
Out of memory and time
Don't say we have come now to the end
White shores are calling
You and I will meet again
And you'll be here in my arms
Just sleeping

What can you see
On the horizon?
Why do the white gulls call?
Across the sea
A pale moon rises
The ships have come to carry you home

And all will turn
To silver glass
A light on the water
Grey ships pass
Into the West

Musical Monday (2024/04/08) – Slightly Delic

I’m a sucker for quirky music. Slightly-Delic by House of Nimrod is a fascinating piece of New Zealand music history. It’s a psychedelic pop song released in 1967. A delightful oddity that captures the essence of the summer of Love with its harmonious and experimental sound, the track features a blend of dreamy harmonies and trippy instrumentation, characteristic of the psychedelic genre. While it didn’t achieve global fame, it resonated with local listeners and became a cherished gem.

The House of Nimrod was a short lived band from Auckland. Quoting from the House of Nimrod page on the Audioculture website:
In the context of the times, the group made musical sense. Who better than a folkie and children’s songwriter, who dug classical, jazz, folk and pop – all elements of the current sound – to capture the childlike psychedelic pop of the time? Who better to back him than four survivors of rock and roll’s frenetic beat and R&B years? I don’t doubt the relevance of a Bob Dylan fan like Petersen linking up with an electric band was lost on any of them.

At the time I was a an 18 year old with no friends and unable to tolerate the loud rock music at venues that teens and young adults of the day frequented. I spent most evenings by myself with the transistor radio tuned to Radio Hauraki – a pirate radio station that operated from just outside NZ territorial waters in the Hauraki Gulf. Reception was somewhat sporadic as the the radio signal had to cross a distance of around 500 Kilometres to reach my home town of Whanganui over the mountainous terrain of the North Island’s Central Plateau.

Slightly-Delic – House Of Nimrod

Slightly Delic

Slightly Delic
Slightly Delic

I live in a castle with Fairies and Things
Got lots of gold pieces and diamonds and rings
Last night I had tea with the Man in the Moon
And Aladdin is coming to visit me soon

Slightly Delic
Slightly Delic

Play Hidey go seek with Snow White and the dwarfs
I’ve been for a ride on the Lone Rangers horse
Gotta big golden coach with six horses to drive
But I’m not supposed to cause I’m only five

Slightly Delic
Slightly Delic

The hippies all know me as Chief Sitting Bull
I knew Bah Bah Black sheep when he had no wool
Whatever you’ve done I have done it before
And I’m just full of love for my mother-in-law

Slightly Delic
Slightly Delic

Musical Monday (2024/03/04) – Brandy

The song “Brandy” is a pop ballad that was originally released by Scott English in 1971. It tells the story of a man who regrets sending away his lover, Brandy, and misses her desperately. The song was a hit in the UK, reaching number 12 on the charts there.

Bunny Walters, a Māori pop singer covered the song in 1972. His version was quite successful in Aotearoa, peaking at number four and becoming one of his signature songs. He recorded the song for his album “Evolution”, which featured covers and original songs.

In 1974, Barry Manilow released his own version of the song, but renamed it to “Mandy” to avoid confusion with another song called “Brandy (You’re a Fine Girl)” by Looking Glass. Manilow’s rendition was a huge hit, reaching number one in the US and Canada, and launching his career as a pop star.

The Scott English version of Brandy did not chart in New Zealand, while the Barry Manilow version of Mandy reached number seven on the New Zealand Singles Chart. Therefore, neither of them was as successful in this country as the Bunny Walters version, which peaked at number four.

Of the three versions I’ve included below, my favourite is Bunny’s rendition. Why? It’s probably because for me, it’s the original, having not heard the the Scott English version until quite recently, and having become familiar with it for two years before the Manilow version appeared. I think the relative rankings of Walter’s Brandy and Manilow’s Mandy indicate I’m not the only Kiwi who thought this way.

Brandy – Bunny Walters

Brandy

I remember all my life
Raining down as cold as ice
Shadows of the man
Her face through a window
Crying in the night
And night goes into
Morning
Just another day
Happy people pass my way
Looking in their eyes
I see a memory
I never realized
You made me happy, oh, Brandy
When you came and you gave without taking
But I sent you away
Oh, Brandy
When you kiss me and stopped me from shaking
And I need you today, oh, Brandy

I'm standing on the end of time
I walked away when love was mine
Caught up in a world
Of uphill driving
While tears are in my mind
And left hand driving, oh, Brandy
When you came and you gave without taking
But I sent you away
Oh, Brandy
When you kiss me and stopped me from shaking
And I need you today, oh, Brandy 
(oh, Brandy Oh, Brandy)

Brandy – Scott English

Mandy – Barry manilow

Musical Monday (2024/01/15) – Come to the Sabbat

I hope my readers won’t find this music video as controversial as it was in Aotearoa way back in 1971. The song Come to the Sabbat was originally performed by Black Widow, a British rock band that formed in 1969. The song was part of their debut album Sacrifice, which reached No. 32 on the UK Albums Chart in 1970. The song was also released as a single, but did not chart in the UK or elsewhere.

The song was covered by Timberjack, a New Zealand pop rock band, in 1971. Their version was a top seven hit in New Zealand, reaching that ranking for three weeks in October 1971. The music video presented below was recorded specifically for Timberjack’s entry in the 1971 Loxene Golden Disc Award. The song was considered controversial – so much that at it’s first airing TV1 audiences jammed the switchboard with complaints. Some of the negative black and white imagery was reversed for its airing the following week, but still caused so many complaints that again the TV1 switchboard was jammed. That was the last time the video was played on NZ television. As well as the nudity, the song also shocked many with its chorus of “Come, come, come to the Sabbat/ Come to the Sabbat – Satan’s there!”

If I recall correctly, Come to the Sabbat was still at number 7 the week I left New Zealand for Japan and marriage. I remember this song being stuck in my head during the journey. Possibly it played on one of the audio music channels during the Auckland – Sydney leg of the trip on Air New Zealand. I doubt it would have been played on the QANTAS leg from Sydney to Tokyo, for as far as I know the Timberjack version didn’t play outside Aotearoa.

I believe that Come to the Sabbat did not make it into the charts anywhere apart from New Zealand. Pehaps one of my readers would like to correct me if I am mistaken. The song did not receive much attention in the USA, and was not widely played or distributed there. The song’s satanic and occult imagery would have likely been met with hostility and condemnation by the conservative Christian groups in the Bible belt, being a region of the southern and central USA that is known for its strong religious beliefs and practices.

Timberjack broke up around the same time as I returned to New Zealand in late 1971. According to the NZ History website:

Timberjack had grown out of the Wellington band Dizzy Limits, which had enjoyed moderate success in late 1969 before heading to Britain in 1970. The band returned with its new name, and its record label, Ode, announced that ‘Black Magic and its music has finally arrived in New Zealand.’ ‘The name sounds heavy and the music is heavy, reflecting the latest trends in progressive music.’ Timberjack was promoted as a group that ‘can surpass overseas artists’. ‘Come to the Sabbat’ was to be both the beginning and the end for the band. It split up in late 1971.

https://nzhistory.govt.nz/media/photo/timberjack-come-to-the-sabbat

Timberjack – Come To The Sabbat, 1971

Come to the Sabbat

Help me in my search for knowledge,
I must learn the Secret Art.
Who dares to help me raise the one
Whose very name near stills my heart?
ASTAROTH
Discard your clothes and come on foot,
Through streams and fields and moonlit moors,
Your bodies soaked in secret oils,
Perfumed herbs will heal your sores.
Join me in my search for power.
Wives and husbands bring your kin.
We'll be as one within the hour.
Let the Sabbat now begin.
Come, come, come to the Sabbat.
Come to the Sabbat - Satan's there!

Musical Monday (2024/01/01) – Pō Atarau/Haere Ra

I wasn’t going to bother with Musical Monday today as nothing really inspired me, but then I read Jill’s post Auld Lang Syne over on Filosofa’s Word, and thought “We have our own farewell song, so why not share that?” So I am.

The origins of Pō Atarau/Haere Ra are uncertain and what fact are known, are often in dispute. It is generally thought that the tune was originally composed in 1913 by the Australia Albert Saunders under the pseudonym of Clement Scott as a piano piece called Swiss Craddle Song. Like most Kiwis. I’m not going to let the possibility that the tune was composed by an Aussie spoil a song we like to claim as our own.

The song was adapted by Maori soldiers during the First World War as a farewell song, with the title “Pō Atarau” and lyrics in Maori. In 1920, Maewa Kaihau, a Maori songwriter, wrote an English verse for the song, starting with “This is the hour”, and modified the tune and the Maori lyrics. She called it “Haere Ra Waltz Song” and it became popular as a wharfside farewell song for ships leaving New Zealand.

Then in 1945, Gracie Fields, a British singer, learnt the song during her visit to New Zealand and sung it on a BBC radio show in July 1947. It quickly rose to top placing on England’s hit parade where it remained for 23 weeks. It’s popularity resulted in the label London Records thinking that this was just the song to break into the lucrative US records market. So in January 1948, 24,000 records (weighing 6 tons) were shipped from the UK to the US.

At the time, it was the biggest shipment of foreign records ever to hit the U.S market. It proved to be a hit in America, and the song was recorded by several American singers in early 1948. Most notably, the song was recorded by Bing Crosby and entered the US charts in February 1948. It became Crosby’s 42nd song to enter the US charts, and perhaps appropriately (as it is a farewell song after all) his last.

Given its international popularity over the years, it’s perhaps not surprising that it became the first New Zealand song to sell a million records, although none of the profits nor royalties from those sales came back to Aotearoa.

The song is widely recognised and appreciated as part of the Kiwi culture and identity. It is often mistakenly considered as a traditional Maori song, but it is actually a blending of Maori and European traditions to produce a song that could be understood and appreciated by both the Maori and Pākehā. Today Pō Atarau/Haere Ra is often sung in Aotearoa where Auld Lang Syne might be appropriate elsewhere.

I’ve included two versions of Pō Atarau/Haere Ra. The first is taken from a 78 rpm recording released in 1927. That’s 96 years ago!! It’s doubtful that i’ll ever play a recording older than that! The next is a recording by Hayley Westenra released in late 2008 – a mere 15 years ago. Finally I’ve included the Bing Crosby version of Now is the Hour from 1948, although it is my least favourite of the three by far being sung only in English.

Ana Hato and Deane Waretine – Po Atarau (Now Is the Hour) 1927

Pō Atarau/Haere Ra (Now is the Hour) – Hayley Westenra (2008)

Pō Atarau/Haere Ra

Pö atarau
E moea iho nei
E haere ana
Koe ki pämamao

Haere rä
Ka hoki mai anö
Ki i te tau
E tangi atu nei

Now is the hour
When we must say goodbye
Soon you'll be sailing
Far across the sea
While you're away
Oh please remember me
When you return
You'll find me waiting here

Now is the hour
When we must say goodbye
When you return
You'll find me waiting here
When you return
You'll find me waiting here

Bing Crosby—Now Is The Hour

Musical Monday (2023/12/18) – Pepeha

The song

The song “Pepeha” by Six60 and released in 2021, is a bilingual song that is sung in both English and Māori. The word pepeha refers to a traditional Māori form of self-introduction, where the speaker describes their ancestry and connections to the natural environment, such as which waka (one’s ancestors arrived in Aotearoa on, and what mountains, rivers and marae are important to the speaker and their family roots.

The band members collaborated with Māori language experts and musicians to create a pepeha that would apply to all New Zealanders. The song is a celebration of New Zealand’s unique cultural heritage and the way in which Māori words are becoming embedded in New Zealand English.

In the song, the band members describe their connection to the land, sea, and mountains using Māori words such as “mana”, “aroha”, and “whanau”. These words have no exact English equivalent but are used to express deep cultural concepts that are unique to New Zealand. For example, “mana” refers to a person’s prestige, authority, or power, while “aroha” means love, compassion, or empathy. Similarly, “whanau” refers to the extended family, and “waka” means canoe.

Thus, the song “Pepeha” is a beautiful tribute to New Zealand’s rich cultural heritage and the way in which Māori words are becoming embedded in New Zealand English. While it may be difficult for non-Kiwis to understand the meaning of the song, it is a testament to the unique cultural identity of New Zealand and the way in which its people are embracing their heritage.

The band

Six60 is a New Zealand pop rock band that was formed in Dunedin, Otago in 2008. The band consists of Matiu Walters (lead vocals, guitar), Ji Fraser (lead guitar), Chris Mac (bass guitar), Marlon Gerbes (synthesiser), Hoani Matenga (bass guitar), and Eli Paewai (drums). The band’s name is derived from the street number of the house they lived in while studying at the University of Otago, 660 Castle Street.

Six60’s self-titled debut album was released on 10 October 2011 on their own label Massive Entertainment. The album was produced and mixed by Tiki Taane and debuted at number one in the New Zealand charts and was certified gold within its first week of release. Their first two singles, “Rise Up 2.0” and “Don’t Forget Your Roots,” (which I played in Musical Monday (2022/09/19) – Kia Mau Ki Tō Ūkaipō / Don’t Forget Your Roots) reached number one and number two, respectively, on the RIANZ singles chart and were both certified double and triple platinum. In 2018, the band won five Vodafone New Zealand Music Awards and were the most streamed artist by New Zealanders on Spotify.

Six60’s unique sound, which blends elements of soul, electronica, drum and bass, pop rock, and R&B, has helped them gain a large following in New Zealand. The band’s music is known for its catchy hooks, upbeat rhythms, and positive messages. Six60’s success can also be attributed to their energetic live performances, which have helped them build a loyal fan base. The band has played sold-out shows across New Zealand, including a historic concert at Western Springs Stadium in Auckland, where they became the first New Zealand band to play a sold-out concert at the venue.

In summary, Six60’s unique sound, catchy hooks, positive messages, and energetic live performances have helped them gain a large following in New Zealand. Their success can also be attributed to their unconventional approach to the music industry and their ability to connect with their fans.

SIX60 – Pepeha (Lyric Video)

Pepeha

Ko Mana tōku maunga
Ko Aroha te moana
Ko Whānau tōku waka
Ko au e tū atu nei

Mana is my mountain
Aroha is my sea
Whānau is my waka
And all of that is me

Ahakoa pāmamao
Kei konei koe
Though you are far away
I hold you near

I'll keep the home fires burning
So you can see clear
Kia maumahara mai rā
Nō konei koe

Ko mana tōku maunga
Ko Aroha te moana
Ko whānau tōku waka
Ko au e tū atu nei

Mana is my mountain
Aroha is my sea
Whānau is my waka
And all of that is me
Ko mana tōku maunga
And all of that is me

Musical Monday (2023/12/04) – Whispering Afraid

This weeks song is a hauntingly beautiful track that I fell in love with the moment I first heard it. Whispering Afraid is the title of the debut album by New Zealand singer-songwriter Shona Laing, released in 1973. It is also the name of the fourth track on the album, which Laing described as “just growing up, dreaming and wondering what’s going to happen to me”. The album was a commercial success in New Zealand, earning a gold certification and three awards for Laing.

The Song Whispering Afraid was never released as a single, but the album did include three singles that made it into the NZ charts: “1905” (peaking at #4) which I featured in Musical Monday earlier this year on June 12, “Show Your Love” (also peaking at #4), and “Masquerade” (peaking at #11). The album consists of folk rock and pop songs, written by Laing when she was only 16 years old.

Laing started her musical career in 1972 as a 17-year-old schoolgirl after coming runner-up in the New Zealand television talent show New Faces with her song “1905“. In 1973 she won two RATA awards: Best New Artist and Recording Artist Of The Year. Perhaps she’s best known for her song “(I’m Glad) I’m Not a Kennedy” which peaked at #2 on the NZ charts had limited success on Billboard’s Alternative Airplay charts peaking at #14 in 1987. Eight of her songs have made it into the NZ Top 40 charts, and in 2013 Laing was inducted into the New Zealand Music Hall of Fame.

“Whispering Afraid” by Shona Laing, 1973

Whispering Afraid

Whispering afraid
Of my tomorrow
Scared to see my young days fly away
And though I'm not so old
My days of mud and puddles
Seem so long ago

I see them sitting around together
Talking about politic and the weather
Wine to evade the sorrow
But if it don't come today
It'll come tomorrow

I've been thinking hard about my time
Where I'm gonna go and what I;ll find
And my cliff top castles fade away
To a suburban home on a winter's day

What should I expect from life
Who will I know
Where will I go

I'm to young to reminisce
But at the time there's "remember this"
And I think of my first cigarette
And yet
I want so much to grow
I want everyone to know
I'm no longer a child

Oh life, where are you taking me?
Why hold back when it's so plain to see
That there's no time to sit around and wait
It'll soon be too late . . . . to live

Whispering afraid
Of my tomorrow
Scared to see my young days fly away
Dreams to evade the sorrow
But if it don't come today
It'll come tomorrow

Musical Monday (2023/11/27) – Heavenly Pop Hit

Heavenly Pop Hit is a song by the New Zealand band The Chills, released in 1990 as the lead single from their second album Submarine Bells. The song was written by the band’s leader and vocalist Martin Phillipps, who described it as “a song about hope and the power of music”. It’s a catchy and upbeat pop tune, and typical of the Dunedin Sound, features jangly guitars, keyboards, and harmonies. The song’s lyrics express a sense of wonder and optimism, as the narrator imagines flying through the sky and listening to heavenly music. The song also references the band’s struggles with fame and success, as they sing “Once we were damned, now I guess we are angels / For we passed through the dark and eluded the dangers”.

The song was a hit in New Zealand, reaching number 17 on the singles chart. It also received some international attention, especially in the UK, where it was praised by critics and played on BBC Radio 1 by John Peel. The song was also featured in the 1991 film The Commitments, as well as in several TV shows and commercials. The song is considered one of the Chills’ best and most popular songs, and one of the classics of the New Zealand music scene. In 2001, the song was ranked number 97 on the list of the APRA Top 100 New Zealand Songs of All Time.

New Zealand music has had little influence in the development of music genres internationally, with perhaps one exception. The Dunedin sound had a significant influence on the evolution of indie rock as a genre, both in New Zealand and overseas. It is a specific subgenre of indie pop and alternative rock that originated in Dunedin, Otago, in the early 1980s. It is closely associated with Flying Nun Records and is considered to have been a key factor in the origination of indie rock as a genre

The Dunedin sound established an independent and DIY ethos that challenged the mainstream music industry and its conventions. Dunedin bands were mostly self-produced, self-recorded, and self-released, using low-budget equipment and techniques. They also created their own distinctive aesthetic and identity, often incorporating elements of their local culture and environment. The bands showed that indie rock could be a creative and authentic expression of musical and artistic vision.

The Dunedin sound introduced a distinctive sound and style that blended jangly guitars, melodic hooks, and lo-fi production with influences from punk, psychedelic, and pop music. It was characterised by a mix of simplicity and sophistication, noise and harmony, energy and melancholy. Dunedin bands experimented with different musical forms, structures, and textures, creating songs that were catchy, original, and diverse. The Dunedin sound influenced the sound and style of many indie rock bands around the world, especially in the US and the UK, such as R.E.M., Yo La Tengo, Pavement, The Smiths, and The Stone Roses.

The Dunedin sound fostered a sense of community and collaboration among the indie rock scene in New Zealand. Dunedin bands were part of a network of musicians, labels, venues, fanzines, and radio stations that supported and promoted each other. Dunedin bands often toured together, shared members, and collaborated on projects. They also inspired and influenced many other bands and artists in New Zealand, such as The Datsuns, The Naked and Famous, The Phoenix Foundation, and Lorde. They also gained recognition and appreciation from the international indie rock community, especially from influential figures such as John Peel, Kurt Cobain, and Stephen Malkmus.

The Dunedin sound was a musical and cultural movement that has had a lasting impact on the evolution of indie rock as a genre. Dunedin bands created a unique and innovative sound and style that challenged the mainstream, expressed their identity, and connected with their audience. They also contributed to the development and diversity of the indie rock scene in New Zealand and around the world. The Dunedin sound is considered to be one of the most important and influential musical movements in New Zealand’s history.

“Heavenly Pop Hit” by The Chills, 1990

Edit: Some readers have reported the video above is inaccessible. If you can’t view it, try https://www.youtube.com/watch?v=yvYihKlgzOg or go to your preferred YouTube site and enter The Chills Heavenly Pop Hit into the search box

Heavenly Pop Hit

Each evening the sun sets in five billion places,
Seen by ten billion eyes set in five billion faces,
Then they close in a daze and wait for the dawing,
But the daylight and sunrise 
Are brighter in our eyes,
Where night cannot devour golden solar power

Once we were dammned now I guess we are angels
For we passed though the dark and avoided the dangers
Then I awoke with a start to startling changes
All the tension is ended,
The sentance suspended,
And darkenss now sparkles and gleams.

And it all seems larger than life to me
I find it rather hard rather hard to believe.

So I stand as the sound goes straight through my body,
I'm so bloated up, happy, and I throw things around me.
And Im growing in stages, and have been for ages,
Just singing and floating and free.

Dum de dum dum
Its a heavenly pop hit
If anyone wants it.
Dum de dum dum
Its a heavenly pop hit,
Its something that we're humming as 
We swoop low on trees, or we sweep under carpets,
We can dive into suns though its not recommended,
We can hover, silent, and listen, closely...

It all seems, (all seems)
Larger than life to me,
I find it, (find it)
Hard to believe,

So where was our home,
Well, our home was in tears,
For it's fruit has gone bad,
They'd been that way for years
Yet their lives are elsatic,
They should be fantastic,
They should be expanding.

Dum de dum dum
Dum de dum dum
It's a heavenly pop hit,
If anyone wants it.

Dum de dum dum
Dum de dum dum
It's a heavenly pop hit,
For anybody,
For those that still want it.

Musical Monday (2023/11/20) – Te Ahi Kai Pō

Te Ahi Kai Pō by Ria Hall is a song that tries to find resolve through times of despair. It is one of two songs in Te Reo Māori (the Māori language) taken from her debut album “Rules of Engagement”, which was released in 2017. The song is inspired by the Battle of Te Ranga, which took place in June 1864 near Tauranga, where many Māori were killed by the British army in retaliation for their defeat at the Battle of Gate Pā. The song title means “the fire burning away the darkness” and is a metaphor for finding peace and hope after the trauma of war.

“I’ve used this battle as a metaphor for the composition, contemplating on how to find solace and peace after the onslaught and dispossession. This song is applicable to anyone through any phase of their lives where times are challenging, and encourages an introspective look to find the fire burning within. It is a constant reminder that no matter how tough it gets, there is always a way to achieve resolution and peace within.” 

Ria Hall

I’ve provided two stunning versions of Te Ahi Kai Pō. The first is the official music video sung by Ria Hall, and the second is a live performance by Teeks. Enjoy

The official music video for the song was directed by Shae Sterling and shot at Ihumātao, a historic site in Auckland that has been occupied by the local Māori since the 11th century. The video features Ria Hall singing and dancing with two other performers, Kasina Campbell and Matiu Hamuera, in a surreal landscape created by infrared cameras. The video aims to symbolize the aftermath of war, the loss of life and culture, and the resilience of the Māori people.

Ria Hall – Te Ahi Kai Pō [Official Music Video]

In March 2019, Teeks performed Te Ahi Kai Pō live with the Auckland Philharmonia Orchestra (APO) and the kapa haka group Ngā Tūmanako at the Auckland Town Hall. The concert was sold out and received rave reviews from critics and audiences alike. The performance was part of a special collaboration between Teeks and the APO, where they arranged and performed some of his songs as well as some of his favourite songs by other artists, such as Ria Hall, Prince, and Nina Simone.

The performance of Te Ahi Kai Pō was a highlight of the concert, as Teeks delivered a stunning rendition of the song with his soulful voice and expressive gestures. He was accompanied by the APO, conducted by David Kay, and the Ngā Tūmanako, who provided the backing vocals and the haka movements. The performance was a tribute to the Māori culture and history, and a celebration of the Māori language and music.

‘Te Ahi Kai Pō’ Live at the Auckland Town Hall with the APO and Ngā Tūmanako (2019)

He aha rā te ao e hora nei Ka kore noa ahau i a koe Nā te aha rā koe i moumou atu ai Ko te kura Ko te kura koti whero He onekura toto te whakangarotanga   Ki te riu o te whenua I tau ai taku mauri I tau ai taku ngākau Ka rongo ahau i te aroha Ka kite ahau i te ahi kai pō   Taukapo mai taku hinātore Taukapo mai i te pōkerekere I te pōuriuri Taku hinātore I tau ai taku mauri I tau ai taku ngākau   Ka rongo ahau i te aroha Ka kite ahau i te ahi kai pō Ka hika taku ahi Ki a koe rā kautetetū Ka hika taku ahi   He ahi kā E mahana i taku kiri māeke He ahi i tāmō He ahi e kore e mātao He ahi i tāmō He ahi e kore e mātao He ahi i tāmō He ahi e kore e mātao! https://lyricstranslate.com

I am told that translating song such as this from Māori to English is at best approximate due the differences between the Māori World and the Pākehā world. I hope this translation does the original Māori lyrics justice . What is this world that I see I am nothing without you Why did you waste your life in this battle The red coats The red coats of blood The land stained with blood Lost you are, to the pits of the earth My peace is found My heart is still I feel your presence As the fire burns away the darkness Shine my beacon Shine through the despair Shine through the darkest of nights My beacon My peace is found My heart is still I feel your presence As the fire burns away the darkness My fire is sparked By Kautetetū My fire is sparked Its heat is intense My cold skin will be warmed My quivering body will be warmed An enduring fire A fire that will never be extinguished

Musical Monday (2023/10/30) – Rain

For me, the lyrics of a song are important and I prefer lyrics that refer to something other than romance. But I have a confession to make. There is a particular type of music where the lyrics don’t matter at all. And here I’m not referring to a genre, but to a technique – the Wall of Sound that was popular in the 1970s and 1980s.

In a Wall of Sound track, I find that the vocals disappear, and the human voice becomes one more layer in that dense, layered sound. The technique lifts me up and carries me away, perhaps in a way that drugs do to people. I’ve never partaken, not even weed, so I’m relying on hearsay.

Today’s video clip is Rain by the New Zealand group Dragon, and was released in July 1983 as the first single from their seventh studio album, Body and the Beat. The song was co-written by the band members and brothers, Marc and Todd Hunter, and Johanna Pigott who was Todd’s partner at the time. The song is about a troubled relationship that is affected by the “rain”, which symbolises hardship, depression or perhaps some other form of struggle. The singer asks his partner not to “go out in the rain” and tries to find shelter from it himself.

Rain reached the number 2 spot on the NZ Top 40 Singles Chart in September 1983 and remained in the top 40 for a total of 26 weeks, from August 1983 to February 1984. It is the only Dragon song to make onto the US Billboard Hot 100 where it peaked at number 80 in mid 1984. I apologise for the visual quality of the video which appears to have been captured directly from the popular weekly NZ pop music television show Countdown, but I prefer the sound quality over other versions available on YouTube. The child appearing in the video is Todd Hunter’s son, Oscar Hunter.

Dragon – Rain.

Rain

It's a happening thing, and it's happening to you
Full moon and thunder, ribbons of blue
Ice on the window, ice in my heart
Fooling with thunder, every time we start

It's been raining for so long
It's been raining for so long

Oh is it any wonder, the streets are dark
Is it any wonder, we fall apart
Day after day straight rain falls down
All over town, rain coming

It's been raining for so long
It's been raining for so long

Don't you go out in the rain
Don't go out in the pouring rain
If you go out in the rain
We'll never have that time again

Is it any wonder, streets are dark
Is it any wonder, we fall apart

All these feelings that seem so wrong
Remember when we were so strong
Well it's been raining for so long
It's been raining I can't go on

Don't you go out in the rain
Don't go out in the pouring rain
If you go out in the rain
We'll never have that time again

Don't you go out in the rain
Don't go out in the pouring rain
If you go out in the rain
We'll never have that time again