Friday, June 29, 2012

Pharcyde touring NZ

The Pharcyde have announced a live show in Auckland for August 18 at The Studio, presales up now at iticket... the 20th anniversary tour.... Wellington show rumoured for Aug 17.

The lineup coming here according to the promoter will be Bootie Brown and Imani, with a possible third member coming also.

As you can see from this recent story in the LA Weekly, Fatlip and SlimKid3, ex members of The Pharcyde recently performed their former group's album Bizarre Ride II the Pharcyde in it's entirety, but Bootie Brown and Imani were absent.

"...Last month, to celebrate the 20th anniversary of The Pharcyde's seminal album, Bizarre Ride II the Pharcyde, label Delicious Vinyl threw a huge party at the Roxy. The club was filled to capacity with fans eager to see the work performed in its entirety; it was so packed that even the show's publicist couldn't get in.

...While SlimKid3 (pronounced "Slim Kid Tre") and Fatlip performed, the other two original members critical to Bizarre Ride's creation — Imani and Bootie Brown — were noticeably absent. Turns out only the latter two, lesser-known, artists are legally allowed to use the Pharcyde handle, while the better-known ones (SlimKid and Fatlip) tiptoe around it."

ADDED: A different take on the Pharcyde, via

"Brown and Imani continued the Pharcyde Ride, having their attorneys look into their former record label’s accounting, as they felt they were never properly compensated for their works while on the label, which included never receiving any royalties for any of their recordings. They informed Tré of their plans to pursue this venture, asking for him to go in with them on it so they could all reap the benefits of whatever was being held back. According to them, Tré did the opposite, and reported their plans to Mike Ross and Delicious Vinyl.

While the end result of these actions is that that royalties are now indeed being paid, Imani and Brown believe the label being tipped off prevented them from obtaining everything they are rightfully owed...."


Great acoustic performance from the king of the meoldica, Augustus Pablo, with Hugh Mundell. First half is Augustus on guitar, then switches to melodica. Hat tip to Keegan for the link

Thursday, June 28, 2012

White Stripes free screening

White Stripes at Freemans Bay Primary. Spot the school piano on the right
"October 2003 - The White Stripes are touring the world in support of their acclaimed fourth album 'Elephant', which contains their massive world-wide hit 'Seven Nation Army'. 

Jack and Meg had always wanted to play at an elementary school, and finally got the opportunity at Freemans Bay Primary School in Auckland.

They played seven songs during an intimate lunchtime show for the pupils and staff in the school's auditorium, all recorded on one VHS camera. There was little advance warning and no media present.

The footage taken that day has never been released before. It is now being issued as part of Third Man Records 'Vault' series.

Real Groovy Records are pleased to announce they will be holding an in-store, one time only public screening of this unique performance on Thursday the 28th of June at 7pm. Admission is free."

Dominic Roskrow 91

I dug this article out after a conversation with ex-pat Andrew Dubber, who has crossed paths with Dominic Roskrow, now a reknowned whisky reviewer and writer. 

Dubber remembers Roskrow as a music journo at the Herald "...with whom I never, ever agreed – at first, as a matter of taste, and then, as time went on, as a matter of principle." He even wrote a piece in 2007 on how he bought records based on Roskow's reaction: "It got to the point that for quite a few years I was able to buy a record entirely unheard simply because Dominic Roskrow had hated it."

Now, Dubber is also a whisky blogger and he wrote in that piece "Just wait till I know a thing or two, and I’ll be happy to cross imaginary swords with Dominic Roskrow again." 

And then he did meet Roskrow, at a whisky event in Scotland in late 2010. They bonded over a mutual love of the music of Shayne Carter, after Roskrow had rumbled Dubber for his earlier post. "Dominic and I got on very well together indeed… which is just as well, really – because on day two, they gave us weapons...." 

Roskrow popped up on Twitter recently when Dubber and I were discussing that era, and mentioned he still had the interview I did with him. He's on Twitter here: @Whiskytasting.

From Stamp magazine, July 1991 by Peter McLennan

Dominic Roskrow: The Last Word

So, the Herald's infamous rock writer is leaving - a nation of black jerseyed Stamp readers rejoice loudly. But just who is Dominic Roskrow , and who the hell does he think he is? Well few people in this town even know what he looks like, a bit of an enigmatic figure, really. By the time you read this he will have jumped ship - yes folks, Dominic gets the last word.

This interview may enlighten you to his views, confirm your worst fears, or just plain upset you. Ah, ain't opinions fun? First big question, what suburb do you live in Dominic? "Grey Lynn." Well, there's that mystery solved.

He got his start in journalism at the Sheffield Star in England, moving into music reviews, came to New Zealand to work on the Sun, took over the Entertainment section and when that folded, moved to the Herald after Colin Hogg's departure. He's been here nearly four years now, so what made him leave his native land?

"Well, the mining strike killed off Sheffield as a community, I saw a lot of what I believed in destroyed, I was very disillusioned - the Sun advertised, I got the job, came here for six months, and stayed."

He arrived here already a fan of New Zealand music: "I got into REM, Thin White Rope, picked up on Aussie guitar bands, Hoodoo Gurus, Go Betweens, the Triffids, then it wasn't a big step to be given a Chills album, then I wanted the Verlaines - I imported a lot through a record shop in Sheffield, so I came here quite knowledgeable, I've always been fond of it.

“I think it was very hard to be accepted by people in the music scene - I never claimed to always get it right, I never claimed the way I approach my journalism was always right, I said this is how I do it, and my opinion is it's right and and your opinion is just as valid if it's not.

“You can't divorce what I do from what Graham Reid does, because we play off each others strengths - he's very knowledgeable about local music, its history, and I know more of what's happening with music overseas. We sit down each week, as a policy, and decide whats going to be covered, and if Graham wasn't there I would've done it,and could've done it, it's just he's better at it."

What changes has he seen in local music during his time here? "I've seen the rock scene break down barriers, the fact that Push Push will play with the Nixons and MC OJ and the Rhythm Slave is a big step up. In the heavy-rock scene, an area I checked out when I first got here, it's exciting to see bands like Push Push starting to identify a New Zealand sound within the genre, and I think New Zealand has got over its inverted snobbery toward heavy rock music - 'cos ' like it or not, those people are dedicated, they work hard at it, and even if it's not to everyone's taste, I think it's patronising to assume it can't be important. And the traditional viewof Flying Nun as electric folkies is finally going - perhaps the biggest change is people here are more open minded than when I first came here".

Now, here's where we put ol' Dom on the spot. What do you think of Stamp?

"Well, I think it's great that Stamp has got people going out and seeing new bands. I read every word of your magazine, cos as far as I'm concerned that's where the filtering process begins.

“Someone from the Stamp crowd once stopped me in the street outside Cause Celebre on Xmas eve last year and harangued me - they said shouldn't I be going out and breaking new bands and wasn't that my job? No it's not, that's the job of the Stamps, Monitors etc.

“Of course every journalist wants to be first to break a new band, but there's only one of me, and even if I did see everything, the Herald wouldn't publish it. I also know that there are people out there whose opinion is a lot more on the ball than mine is these days. At the same time I think Stamp should get past its problem of having to impress a certain number of people. I read the REM review in the last issued and it's an apology for liking a record, and I can't understand that.

“I think to be opinionated is great. Having to apologise for something is ridiculous, and I'm not having a go there, ifts just that Stamp is respected, and it should be opinionated - it can be opinionated about me, that's fine, but it can't be opinionated about REM without worrying what someone's friends think."

How do you feel about the term 'Roskrowed' entering popular usage? 

"I'm flattered. I've always taken issue with the term as its usage implies that I missed support bands and that isn't what happened. I didn't review support bands and thats a totally different thing. I find it funny though, the number of times I saw other people Roskrow, I think other writers do it more than I do. The fundamental difference between Stamp, Rip It Up and the Herald is that I only have twelve paragraphs, on an average of thirty words a paragraph. Now you tell me you can do justice to a band in three paragraphs or less - I don't think you can do it."

I suggest that for local bands, failing to get a mention at an overseas support, a high point in their career, is very disheartening.

"I accept that, after that point was made to me on BFM, I started to introduce the name of the support band on the heading, but it's very patronising to review an overseas band and at the bottom to add, oh one of our bands supported them. If you go over the support bands, a high numberof them have been reviewed in the Herald.

“You see, when people say they want to be mentioned in print, what they mean is they want to have a good review in print. If I see a good band supporting an international act, I will try and go and see them and review them in their own right. This argument goes round and round, people will go 'sure, but they were playing with an international act and should be recognised as such'. I choose not to. There's no right or wrong on it. I'm under pressure from the Herald's editorial policy to be reasonably populist, the restrictions, whether they're fair or not, are there.''

Dominic Roskrow, 1991. Photo: Stamp/Sonoma Message

As for live coverage after Dominic departs, who can tell? "The live reviewing side is a freelance job, I'm paid separately to do that, it's extra to what I do - my replacement Jill Graham works shifts on the news desk, and I at least had every night free, so I really hope live coverage stays, but there will probably be a period of readjustment.

“The old school journos at the Herald do not see music as a valid art form, they say to me 'what you're doing is promotional work, and lets face it, it's not very important stuff anyway'. And that's not the view of the editor and the features editor, who are very supportive. Every word we write has to be checked and approved. Mention drugs, big issue! I got pulled to pieces on a story I wrote on the Happy Mondays earlier this year, I was told the managing director was livid, that was the word they used. So it's hard.

'Rock criticism in this country |has improved a lot, I still think it needs to be more cocky. I read someone like Nick D'Angelo - he's opinionated and I take great offence at what he says- but I always read it because it's great entertainment and I think that we still have to understand that in rock journalism, at the end of the day it's entertainment - sure, it's important to the bands, important that it's taken seriously - but a very high proportion of the public aren't interested in po-faced journalism. It's the ability to accept where the job ends and where the entertainment begins.

“All anyone should ask for is that their rock critic is liked or disliked as critics, and not as people. I mean, people who'll never met me can't say what I'm like. For example, when I first met my girlfriend Natalie, she told someone that she'd met me, and she was told that I was a womaniser, she wouldn't last ten minutes with me, and I was someone to have no respect for. But I didn't know this, and I met these people sometime later and knew nothing of it, sat down and chatted, had a good time, and they later admitted to Natalie that they were totally wrong about me.

''I don't like that bitching behind the back scene, it's really destructive - it's bigger of someone to say 'we've got nothing against you but I dont like your writing'. I just hope the Butthole Surfers really do put their review on the cover of their next record.

''In this country I still think that if you climb out of the trenches, (and I hate using war analogies) you'll find most of the bullets come from behind. Its like, the only time you hear this term chart hype is when a local band gets in the charts - 'do you really think they sold that many records?' You never hear that when John Smith from England goes top ten, but as soon as it's a local band...''

In recent months, your reviews have been getting more extreme - either unqualified praise or hellfire and damnation - what's going on, Dominic?

"See I'm free now so as far as I'm concemed I can openly say exactly what I like about bands, I'm probably more opinionated now that I'm leaving than I've ever been. I think I've got as far down the road as I'm going to, and I'm aware that without going more over the top, I'm in danger of repeating myself - I find myself looking at my use of words and saying hey I said that weeks ago or whatever.

“I think I've started to lose the passion for what I do in terms of writing, I'm not enjoying music as much as I did, I'm looking forward to listening to music as a fan, rather than having to write about it. So when I come back, I'll come back as a fan, and I'll actually pay to get into bands.

"The other thing is, and I have to say this, all I've ever done - I don't care if people accept this or not - but I've always fought very hard to make sure there was a certain amount of integrity in the music scene - and what we're battling against is a corporatism of rock, to the point where journalists are meant to be under record company promotional guidelines.

"I'm very disillusioned with the way music these days is treated as a product and the people who work in the music industry (with some notable exceptions and I always say that 'cos I always get in trouble with this comment), those people don't love music, they don't go out and see bands, they're people who, if you're not doing them a favour by giving them a good review - they're not really interested in you. They are people who go home at six o'clock to a life that has nothing to do with music.

“I have an admiration for Stamp, 'cos they are people who care. Deep down, whatever these people have said about me at Stamp, the reason they've done it is cos they genuinely care, and that to me is the most important thing of all.''

What bought about your decision to depart?

''My reasons for going are personal ones, I need to spend time with my family, but I'll be back in New Zealand within the year. I'm passionately anti-Thatcher (even though she's gone), I've been back three times now, each time seeing my England drift away from me.

“It really dawned on me when - well, I've always been a snob about France, typical English, and last time I was back, I went to Paris, and it wasn't just seeing my girlfriend that made Paris, it was the Parisians, talking to them about nuclear policy, the Pacific, very friendly people. I made the effort to speak French, and the only time I was unhappy during my whole holiday was in Normandy, a group of young English tourists came through, they were beer nasties, out to drink and pillage - I know it's foreigners abroad and all that, but I looked at them and I refused to speak English, and it was like a small version of Dances with Wolves.

“When I was in Paris I thought, one; I do want to come back to Europe for a while; and, two, I do want to break my links with England so I can make my home in New Zealand. Maybe I'm over the top 'cos I'm leaving and I'm a bit emotional about is all; I sometimes think some people don't believe it... they say 'wow, you're so lucky to be going' and I am, I choose to go, I dont have to. There are things I have to do over there, and that's so I can come back here and break that link once and for all."

Say goodbye, wave hello.

Wednesday, June 27, 2012

Gensu Dean instros

Free download of some dirty hiphop instrumentals from Gensu Dean. Check em out.

"Armed with a dusty SP-1200 and equally weathered records, Gensu Dean made a splash in the indie rap scene with his debut LP Lo-Fi Fingahz..." here's the instrumentals off that disc... 

Colman Bros on wax

Wah Wah 45s are dropping the rather splendid Colman Bros album from last year on vinyl, out now with bonus 7 inch with remixes from Herbaliser and Tall Black Guy.

"We all know this is how jazz really should be listened to, and we listened when you demanded that the Colmans' already classic debut be released on wax. Not only does it come with full sleeve notes and artwork, but we've also popped a little treat inside for you!

Open it up and you'll find an exclusive 7-inch featuring never before released remixes of the Brothers Colman courtesy of the legendary Herbaliser, and producer de jour, from the US Tall Black Guy.

Inspired as always by 60's and 70's jazz and samba, typical of legends such as Freddie Hubbard & Horace Silver, and groups like Peter Herbolzheimer's Rhythm Combination & Brass, the Colman Brothers' eponymous debut combines the influences of this golden age with their own deft production skills, and a little vocal assistance from Colman sister, Sara."

CATCH THEM LIVE THIS SUMMER (for you northern hemisphere peeps)
- Saturday 30 June - Mostly Jazz Festival, (Main Stage) Birmingham, UK
- Sunday 1 July - Mostly Jazz Festival, (Jazzlines Stage) Birmingham, UK
- Saturday 14 July - Swingin’ Groningen Festival, Groningen, Holland
- Friday 20 July - TBC (Colman Brothers Big Band)
- Saturday 21 July - Manchester Jazz Festival, UK (Colman Brothers Big Band)

Porirua reggae, 1985

Dread Beat and Blood from mid 80s, some great Kiwi reggae. Their album Tribute To A Friend is still available on CD/digital from Amplifier over here....

David Grace formerly of Dread Beat and Blood is currently touring with his band Injustice, as backing band for Andrew Tosh (son of Peter Tosh), tour dates below... Hat tip to DLT for the vid

"Andrew Tosh's visit to the country is in celebration of a Jamaica's 50th anniversary as an independent nation, as well as the formation of The Wailers, brought together by Peter Tosh, Bob Marley and Buddy Livingstone. 2012 also marks 25 years since Peter Tosh was tragically killed in a home invasion for extortion.

New Zealand's own David Grace & Injustice are musical warriors for Maori independence and sovereignty. Their record Weapons of Peace is a powerful album combining the use of Maori and English language in a variety of musical settings - haka, reggae, soul and pop - covering mainly themes of indigenous rights and capturing the spirit of the Pacific.

This musical collaboration is a unique event. You should get along to any of the shows if you can!"

Thursday 28 June - 420, Auckland
Friday 29 June - The Kalah Bar, Ngongotaha
Saturday 30 June - The Matinee, New Plymouth
Sunday 1 July - Hot Lava, Ohakune

Tuesday, June 26, 2012

Julien Dyne 'Glimpse' vinyl release party

Julien Dyne 'Glimpse' vinyl release party at Conch Records 115a Ponsonby Rd , Auckland, Thursday 28th June 6pm. Sounds like fun!

Featuring performances from Christoph el Truento // Parks // Julien Dyne // + more. Free drinks + vinyl for sale on the night.


Via SFMOMA: "‎TIME just shared this iconic cover from a 1984 issue featuring Andy Warhol’s portrait of Michael Jackson. Jackson passed away 3 years ago today, but he’s still the king of pop."


Taimi Uma - Kas Futialo ft Victor Keil

New tune from Tha Feelstyle, Kas Futialo. "Dedicated to my great grandma VE'EVE'EO from Sapapalii and to my mother LAGI ."