Looking Back on Kiwi Music - The Golden Years (2/2)

New Zealand has often been strongly influenced by international trends. In the late 20th century, this was more prominent than ever. Though we tend to be a few years behind, world trends had a defining impact on our music. Perhaps this was how we felt connected to the world, a counter to being geographically isolated. In this article, we will track the major points of influence by the decade, and highlight some of the key artists that made it happen.

1950s

Records had been widely available in New Zealand since 1901, and by now most homes had record players. Before the release of ‘Blue Smoke’ in 1949, artists recorded overseas. Now with a small local industry, this era marked the emergence of local popular music.

The arrival of rock’n’roll in the mid 50s was an early blueprint for popular music at the time. Johnny Cooper was one of the first to score a major hit, known as ‘The Māori Cowboy’. First emerging with a cover of Bill Haley’s ‘Rock around the Clock’ and going on to write hits such as ‘Look What You’ve Done’ and ‘Pie Cart Rock and Roll’.

He was a sensation across the country and continued playing into his later years, even touring Vietnam as an entertainer for the Kiwi troops.

Riding a similar wave was Johnny Devlin, ‘New Zealand’s Elvis Presley’, who experienced fame like no other local artist at the time. He sold out shows, had long queues of women wherever he went and threw pieces of his clothes to the audience when performing. One time while touring fans tore off his trousers, broke into backstage and he had to escape out a toilet window. At another show they used fire hoses to deter fans that wouldn't leave him alone.

1960s

Alongside rock’n’roll, other genres were emerging. The Howard Morrison Quartet became a national phenomenon, offering a family-friendly sound that was both humorous and gentle, with strong Pacific influences. Bringing te Reo into the living rooms of Māori and Pākehā, hits like ‘Hoki Mai’ remain popular today.

Folk had a revival, with artists such as Phil Garland resurrecting Kiwi folk ballads. Talent shows like ‘Let’s Go’ were frequent and served as a springboard for many local artists. Ray Columbus and the Invaders topped the charts with their song ‘She’s a Mod!’ and toured Australia and New Zealand with The Rolling Stones.

During the late 60s, styles like rock and ‘The Beatles’-esque pop sound were taking hold. The Beatles had toured in 1964 causing pandemonium across the country. The Hippie counterculture movement resonated with many kiwis. ‘Nature’ by ‘The Fourmyula’ (later covered by The Mutton Birds) was a huge success and is still considered one of our country's finest classics.

1970s

In response to Woodstock, New Zealand hosted its first multi-day pop festival, Redwood70. Despite facing many issues and not turning a profit, the festival marked the beginning of a new cultural era. Later on ‘The Great Ngaruawahia Music Festival’ found some success with an audience of around 18,000 people (the tickets were only $8). Headline acts such as Black Sabbath were intended to fill the niche during a time when artists like Elton John and Led Zeppelin were touring the country.

As the '70s progressed Dragon’s ‘April Sun in Cuba’ had international success, and Hello Sailor’s ‘Gutter Black’ achieved certified gold. New Zealand was beginning to step onto the world stage, though the country was still a melting pot of culture and genres. Local punk was gaining traction with bands like The Doomed, The Enemy and Mi Sex.

Th’ Dudes, which started as a pub covers band, rose in popularity. Disbanding in 1980, some songs became famous in the mid-90s with a resurgence of ‘Classic NZ Rock’. ‘Bliss’ has become the nation’s unofficial drinking song, which is ironic because the song was meant as a satire of Kiwi binge drinking culture.

One of the more influential bands of the decade was Split Enz. They started as an ‘adventurous, flamboyant, art-rock band’ and had a challenging beginning, moving to Australia and England in an effort to gain popularity. With a reputation of visually engaging performances, much of their success was during the 80s after changing to a more ‘Power-Pop’ sound.

1980s

One of the more recognisable songs from this decade is ‘Counting the Beat” by The Swingers. If you have ever watched TV in New Zealand you’ll know it from advertising. Companies are still thrashing the song to this day. VIDEO (https://www.youtube.com/watch?v=p72Z1D1oKbw&ab_channel=GoldStarMusic)

But around the same time, a new sound was emerging from the cities of the South Island. Coined ‘The Dunedin Sound’ and spearheaded by Flying Nun Records, ‘Tally Ho’ by The Clean put the sound in the charts. The style was marked by the use of droning or jangling guitars, indistinct vocals and often large quantities of reverberation. () The Label went on to record many other notable bands such as The Chills, Sneaky Feelings, The Stones and Straightjacket Fits.

The early '80s was a period of civil unrest in the country, characterized by economic anxiety, resentment towards the government, and controversies such as the Springbok Tour. The mood was epitomized by Blam Blam Blam’s ‘There Is No Depression in New Zealand’. The song was used politically and even put to the national anthem and played on radio.

The Dance Exponents (later just ‘The Exponents’) were making a name for themselves. Their first major hit was ‘Victoria’ but later with ‘I’ll Say Goodbye (Even Though I’m Blue)’ and ‘Why Does Love Do This To Me’. Many of their songs are considered Kiwi classics and the band still tours today.

On another note, Herbs was pioneering the Pacific Reggae sound. The music was laid back, upbeat and often carried a political message. Their 1982 hit ‘French Letter’ was a protest to French nuclear testing in the South Pacific, further establishing our country’s anti-nuclear stance. They collaborated with Dave Dobbyn (Th’ Dudes) for ‘Slice of Heaven’ in 1986 which topped the charts in both New Zealand and Australia.

This decade also hosted a new representation for Māori and Islander culture. Most famously ‘Poi E’ by the Pātea Māori Club in 1984 was a national sensation. Music was becoming a bigger platform for indigenous culture. With the revival of te Reo while still feeling the effects of racism and cultural suppression, the song captured the hearts of many.

In 1988, 'E Tū' by Upper Hutt Posse became New Zealand’s first hip-hop release. The track spoke of standing proud in the face of colonialism and paid homage to unswerving Māori leaders like Te Rauparaha, Hōne Heke and Te Kooti. ‘E Tū’ held a distinct style and message unique to the country, and paved the way for the local hip-hop scene.

Perhaps you recognize some of this music, or it is all new to you. There are too many great artists to fit them all, check out the Archive of New Zealand Music and the other links provided throughout if you are interested in reading more.

Author: Destin Finn