The information for this image was taken for a story that ran in The Manawatu Evening Standard on 5th June 1991. "We heard this weird song in a café in Taupo that had all these death metaphors in the lyrics," says Chainsaw Masochist bassist Darren McShane, talking about the maudlin streak in their new album Periphery. "The original was pretty straight, so we got rid of all the twee stuff, accentuated the bleakness, and The Last Waltz ended up with a whole new meaning." While Engelbert Humperdinck would probably bust his cummerbund over the attitude of these Flying Nun guitar slappers, the approach illustrates the "hard-edged melody" approach which caresses their sound. "We have the traditional line-up of two guitars and bass play separately, trying not to play the root note of the chord, trying to achieve a layered effect," McShane says. Similar to the Verlaines, perhaps? "Yeah, there are some similarities there, although Graeme Downes does even more bizarre chords." Chainsaw Masochists formed over three years ago, combining the talents of principle songwriter and vocalist Murray Couling, guitarist/vocalist Debbie Silvey, bassist McShane and his brother Ricky on drums. The early material was pure guitar grunge, hence the band's name. The fact that all members have a pretty similar outlook has kept them together through some pretty tough times, says McShane. "We had all been in bands at school, but nothing had really clicked. Then I met Murray, and we discovered we had exactly the same musical tastes. In this business, you get to the point where you just don't want to be on stage together if you're not enjoying it. But everyone in this band likes everyone else's ideas, so there's plenty of mutual respect, which is great." McShane admits the band sometimes comes under fire as a reworking of the well-established Flying Nun formula, which he rejects. "People say to us this traditional formula has been done to death, but I feel you have to keep detached from the musical fashion, just switch into this creative mode and forget about it. Yet we do things you might not at first notice; the off-kilter guitars have not been very well explored, and Debbie's harmonies are certainly very different. So we're all still evolving, and we're certainly not going to get stuck in some easily classified rut." While Periphery sees the band integrating acoustic instruments and integrating accordion and strings into their sound, the music on display at Super Liquor Man Friday night will be harder-edged. "The ballads on the album are more our studio sound while the full-on songs are very close to the live sound we're touring with." Chainsaw Masochist are playing five cities on this Periphery tour, with Palmerston North being the only city outside the main centres. "We've heard in Auckland there's a pretty healthy live scene happening in Palmerston North at the moment, and the (student) radio station is pretty helpful. That's definitely a reason for playing there."
Advertisement from Evening Standard 22nd June 1973 "Fitzherbert Armada Lounge provides intimacy in a rich, relaxing atmosphere, enhanced by the subdued sounds of the John Carson three (Pianist John Carson, bassist Nick Anderson, drummer & featured vocalist Bill Pink) plus Jackie Fitzgerald. Musically and tastefully, the lounges at the Fitrzherbert cater for the connoisseur. Next time try the Armada -- it's a new world for social drinking. Top-line entertainment 6 nights a week. No cover charge. Neat dress essential."
Advertisement from Evening Standard 1st June 1973 "Join the inn-set at Palmerston North's Centre of Musical Entertainment. Drink, dance and listen to the Soundproofs professional reeditions of hits new and old -- (six nights a week & Sat. afternoons). For those who prefer a quiet relaxing atmosphere the John Carson three provide subdued background music. Pianist John Carson, bassist Nick Anderson, drummer & featured vocalist Bill Pink in the new Armada Cocktail Lounge."
Advertisement from Evening Standard 15th June 1973 "Palmerston North's greatest night spot: The Steeple. Fully licenced restaurant, has it all. A-la-carte dinging, a choice of superb wines, top line entertainment 6 nights, dancing, intimate night club atmosphere, exciting music, provided by the Harril Mulaney Trio plus resident vocalists Carol Ruri and Joe Baker. No cover charge. Late supper served 10.30 p.m. to 11.00."
The information for this image was taken for a story that ran in The Manawatu Evening Standard on 28th March 1990. "Public perception of dancefloor music has now surpassed the sound your average guitar, bass and drums line-up can deliver, says Tribe of Two keyboardist, guitarist and vocalist Mike Miers. The advantage with using sequencers and high technology is that we can multi-track the sounds and create the music heard in the clubs within a live format -- it's become unrealistic to try and recreate that sound with a small group, so we programme up to 20 instruments with multi-track techniques to provide the instrumentation we require. Tribe of Two are a new synth-pop duo playing on the Palmerston North scene -- they opened at Chantelle's last weekend and continue this Friday and Saturday nights. Starting time is 11.30 pm. Along side Miers, Brent Maharey plays synthesised drums and handles most of the vocals. The drum pads act as triggers to play whatever kind of sampled drum sounds are required. Both musicians have a long history in Palmerston North bands, playing in SP2 and Snatch as they worked their way towards recreating the sounds of bands like New Order, the Cure and OMD. Not surprisingly, the Pet Shop Boys are seen as the role model for their own writing. The duo have written six originals so far and plan on recording after building a reputation with live work. Miers says one myth he'd like to dispel is the idea that the music is pre-recorded on tape before the performance. About half the keyboards are presequenced so I can play guitar -- with Brent it's about the same ratio. Sometimes people get the idea that tapes are being used, but in actual fact, each instrument is producing its own sound live -- there is no audio taping involved. [Pictured] Tribe of Two ... Mike Miers, left, and Brent Maharey."
This image was taken for a story that ran in The Manawatu Evening Standard on 14th March 1990. "Bumpin' Ugly, Super Liquor Man, Reviewed by Sean O'Connor. Another week and another out-of-town band at Super Liquor Man - good news indeed. Wellingtonians Bumpin' Ugly provided Palmerston North music lovers with a refreshing alternative to the guitar rock usually found at the venue. Versatility was the key to Bumpin' Ugly's fine performance. This was illustrated immediately by the first song of the night -- a full on funk piece which flowed effortlessly, naturally a quieter jazz feel, thus providing a pleasant juxtaposition. Similar chameleon-like adaptability characterised much of the first set. The second set leant more toward acid house and rap. The softer moments of the opening set were abandoned in favour of powerhouse dance beats, and the night was completed by a bizarre, hyped up version of Jimi Hendrix's Voodoo Child (what else?) The ability to switch rapidly between the many styles they have mastered ensured Bumpin' Ugly appealed to a cross-section. Each song was delivered with smooth professionalism of truly international standard, the polish largely due to John McDermott (from the Bilders) undeniably one of the best drummers in the country. His enormous skill simultaneously provided both a tight, sold rhythmic base and the dynamic spark of originality which made Bumpin' Ugly's performance better than most. Never cliched, never boring, always captivating: McDermott commanded a range of beats which matched the many styles of the group. Add to this the subtle, pleasantly unobtrusive, alternately slapped and running base-lines of Gerard Tahu and you have an impressive rhythm section. The melodic instruments, guitar (Jeremy Jones) and keyboards (Peter Jamieson), meshed solidly with bass and drums, and added tasteful solos which rarely stooped to indulgent displays of technical virtuosity. Arthur Tuahore's competent vocals and friendly manner set up a warm rapport with the quietly responsive crowd of around 40. This enthusiastic attitude rubbed off on the audience and created a enjoyable, easy-going atmosphere. Thew sound mix, although a little loud, was about as near perfect as small pub acoustics will allow -- the finishing touch. Overall, Bumpin' Ugly delivered an interesting variety of music which they obviously enjoyed performing. The band are comparable to almost any commercially accepted dance/funk act, and they certainly have the skill and songs to succeed. With overseas work to follow, will this be another New Zealand success story sadly (through necessity) fulfilled outside of New Zealand? [Pictured] Bumpin' Ugly's Arthur Tuahore (left) and Gerard Tahu get in the groove at Super Liquor Man last week."
The information for this image was taken for a story that ran in The Manawatu Evening Standard on 23rd September 1987 "The End are back in town after their South Island tour, having performed 18 shows in venues ranging from West Coast pubs to campuses and trendy night-spots. Vocalist/guitarist Paul Campbell said he felt the band's original songs, off their just-recorded album "The Ultimate Game" well down well. Apart from Hokitika, Greymouth, Westport and Nelson, The End played five gigs in Christchurch and also found time for Wellington nightspots The Playroom and The Cricketers. The band met up with artist Calum Hay in Christchurch, and he is spending some time with them working on design and videos for the album. Immediate plans are to play more Wellington venues while finishing off the mixing with Nigel Stone, with a 21-date North Island tour planned for the album's Christmas release. Bassett Road Murders guitarist Des Kerr has been confirmed as guest musician for the tour, as has Leonard Carney, who formerly pounded the skins for Cement Garden."
The information for this image was taken for a story that ran in The Manawatu Evening Standard on 9th November 1988 "Super Liquorman fires up again on Friday night with two bands -- one from Auckland, the other from Wellington -- which together should provide some of the most interesting experimental sounds heard since The Builders last played here. Drone are an innovative contemporary music/performance group based in Auckland who are presently making an extensive tour of New Zealand. The band features a variety of musical instruments; from the conventional guitar, bass and drums to the more classical violin, cello and piano. Their songs are a combination of classical, art and rock concepts -- sometimes sparse and open, sometimes full and energetic but always aurally and visually engaging. The band has performed throughout New Zealand in a variety of venues encompassing outdoor festival, hotels, art galleries and cafes. [Pictured] Drone ... in search of the sound of one hand clapping."
This image was taken for a story that ran in The Manawatu Evening Standard on 6th March 1991 "First Year Bash, featuring Emulsifier and Bassett Road, Massey University, March 1. Reviewed by John Saunders. Yo Dudes! Orientation kicked off in Massey's revamped social hall last week, as first-year students and assorted hangers-on fired themselves up for a great night out with mutoid-metal funksters Emulsifier. The beer was frothing uncontrollably as local support Bassett road took the stage for their final gig, their traditional "rock band" sound of the past now roaring away into something much harder and nastier., Bassist John Copeland's vocals were sounding particularly impassioned; guitarist Des Kerr harder-edged and much more interesting. Despite their patchy career, the band ended on a high note. Emulsifier then hit the stage, and three songs into the set, I'm plotting their early demise. This trio would like to sound like Red Hot Chilli Peppers, their funky Gary Clail beats overlaid with all the usual Jesus Jones/PWEI guitar, but what we got in reality was a bunch of pretentious prats who apparently had no idea their barking monotone raps were bypassing most people completely. Admittedly, it wasn't much help having a chap on the mixing desk who believed the muffled sound outside the hall was what everyone inside was hoping to hear. I gave them the benefit of the doubt and changed location, listening to a few more songs. Still no luck. All I noticed was a drummer and bassist who had the funky groove thing well in hand, with the drummer taking lead vocals in many songs. Perhaps the cover (We're Gonna Rock) Your Radio had some sense of urgency, the heavy metal posturing at least provided a laugh. A slight ripple of applause was heard. But by the time Hendrix's Manic Depression was dredged up, I was beginning to feel a little that way myself. An early retreat seemed the only solution."
This image was taken for a story that ran in The Manawatu Evening Standard on 20th July 1988 "Died Pretty, Chris Knox, Nick Smith and band. Massey Social Hall, July 14. It was a cold night as a small but dedicated crowd trooped into the Massey Social Hall last Thursday to see Australian band Died Pretty's first performance in Palmerston North. First up was Nick Smith, normally seen solo on the stages of New Zealand purveying his particular brand of socially and politically inspired songs to the public. What was different about this show was that Nick appeared with a backing band and the difference was immeasurable. Songs that had previously jarred their way into people's consciousness took on a whole new force. Next up was veteran of innumerable New Zealand music projects, Chris Knox, this was his first solo visit to Palmerston North and the crowd was obviously eagerly awaiting his performance. They definitely weren't disappointed. With charm to burn and sharp wit he literally conducted the crowd on a tour of a series of mainly new but typically inspired Chris Know originals. By the time Died Pretty came on the crowd had thinned somewhat. The band seemed to be winding the crowd up quite well by the time they got to their third song, a cover of Neil Young's Loner, however, they never really managed to reach the peak I expected. There were some individual highlights like Lost, the title track of their new album, and the fast moving Crawls Away which also featured an impromptu appearance on harmonica by a member of the crowd. However the cold night took its toll on crowd enthusiasm, not to mention playing havoc with the strings of Brett Myers guitars. At one stage he was snapping at least one string per song. It must have been hard for a band used to playing to crowds of a couple of thousand to get extremely enthused over the prospect of playing to a small crowd in a huge chilly hall and it showed in their overall performance. Overall though, it was a good night's entertainment and it's perhaps merely a sign of the times that the crowd was not larger. [Pictured: Nick Smith -- new perspective with additional backing band. Photo by Mark Lapwood].[Pictured: Ronald S. Peno fronts Aussie band Died Pretty at Massey. [Photo by Mark Lapwood]."
This image was taken for a story that ran in The Manawatu Evening Standard on 15th November 1982 "Last night I walked from the Joe Cocker concert in the Sports Stadium dazed and numb. I had just witnessed an unforgettable performance. After a fine 45 minute opening set from Hammond Gamble and Stuart Pierce, which was well recie3ved by the 3000-plus crowd, Cocker staggered out on to the stage amid roars of applause. As always he appeared unmoved and uncertain -- confused and almost lost. There was nothing uncertain, however, about the voice or the flailing arms -- they were unmistakably Cocker. Head thrown back, the arms seemed to move almost involuntarily -- the fingers twitching spasmodically. From the opening track, Cocker had the crowd in his palm. The spirit was infectious, particularly in front of the stage where people waved their arms in the air and swayed to the music. The opening bars of A whiter shade of pale immediately drew applause. The delivery was spine tingling. Despite the utter magnetism of Cocker, it was impossible not to be conscious of his five-piece band and two backing vocalists -- they were dynamic. [The full article can be read on the newspaper microfilm held at the City Library.] [Pictured] Joe Cocker ... 65 minutes of sheer magic."
This image was taken for a story that ran in The Manawatu Evening Standard on 5th August 1981 "The Cure like to have a concert atmosphere controlled as soon as their audience walks in the door. "That's why" said guitarist, vocalist and keyboard player Robert Smith, "members of the band made a film to support their New Zealand tour. We wanted an atmosphere we could control and regulate from the very beginning. We wanted to set the mood and rather than leave it to some support band, we made a film." the 30-minute film was projected on to two huge screens above the stage in the Manawatu Sports Stadium last night. The idea for the film originated during the making of the British band's second album "Seventeen Seconds". We had some ideas left over after the recording, and rather than just sort of throw them away, as usual we thought about a film. "Carnage Visors" turned out to be a chunk of black and white animation - a single, flowing piece with puppets jerking and writhing to the specially written sound-track. [The full article can be read on the newspaper microfilm held at the City Library.]"
This image was taken for a story that ran in The Manawatu Evening Standard on 16th July 1986 "Acoustic duo Circa have been pulling some sizeable crowds to their Wednesday night performances at the Raw 'n' Juicy Café recently. But entertaining the eaters isn't all Frances Anderson and Sue Pugmire are interested in. Since they got together late last year and began jamming informally they've performed several times at peace gatherings and often get asked to play women's nights for various organizations. Although they wouldn't class themselves as strictly feminist, they are very aware of being women, they say. The name Circa comes from Circe, the enchantress from Greek mythology. "It also implies something circular or going in cycles which I think's quite appropriate," says Sue. Both had extensive musical backgrounds before they met. Sue particularly ... "I was in my first band when I was 13 with my oldest brother. All my brothers were involved in music." Her main interest was initially in folk music and folk rock crossover material. She was president of the Palmerston North Folk Club for five years and still maintains an involvement there. Frances says she seems to have always been involved in music, although never in any real band format. "It was mostly a case of spontaneous performances, doing some singing now and then." Her background was more centred on rock and blues styles. Together they describe their sound as a mixture. It's a relaxed style and they play what they like -- be it jazz, folk, blues, whatever ... "We both love harmonies and we have a lot of mix-and-match vocals," says Sue. "We're very keen to write more originals," Frances says, "but if we like a cover we'll do that too." At this stage the cafe is their only regular venue but neither woman feels restricted. A few weeks ago they recorded three songs on four-track for a peace record. Increasing their line-up is another consideration, often spurred-on by friends joining them for the odd performance. One way or another we could be hearing a lot more from Circa. [Pictured] Circa Duo, Frances Anderson (left) and Sue Pugmire -- doing the Square thing or just singing in the rain."
The information for this image was taken for a story that ran in The Manawatu Evening Standard on 23rd March 1973 "The Certain Sounds 73, which is to give a concert in the Freyberg School Hall tomorrow night, visited the Girls' High School yesterday… The group consists of Gus Rowe, Jo Smith, Rob Packer, Moyra Speir, Mike Hibbert, and Philip Manley, and campaigns for the Youth For Christ movement."
The information for this image was taken for a story that ran in The Manawatu Evening Standard on 7th June 1982 "Elvis Costello once said he wanted to keep his music as varied and different as possible. He once mused that was the only way to survive and enjoy it. Costello showed us all last night in the Manawatu Sports Stadium how he survived and enjoyed these past five years or so, with an hour and 20 minutes of intelligent and diversified music. And he was so confident about it all. Costello, the angry young man of the music industry who has shunned media and the wishes of record companies. has a reputation as one of the most influential new wave artists in Britain. He is certainly one of the most innovative. He carefully avoided many of his "country and western" Almost Blue songs, sticking to songs from his new LP, Imperial Bedroom, and the favourites from My Aim is True, This Year's Model, Get Happy and Trust. The taste of his new album said it was nothing like the shock of his last. Costello and his three Attractions flew from one song to the next, often blending the transition from one to the other leaving barely a breathing space. [The full article can be read on the newspaper microfilm held at the City Library.]"
This image was taken for a story that ran in The Manawatu Evening Standard on 17th June 1992 "Cool Bananas have the quiet, brooding intensity which set them apart from many of their peers. Hearing them blow their cool blend of be-bop, jazz-blues and free fusion at Sweet Blues Cafe on Sunday nights, one could be forgiven for thinking it was a return to the coffee bar scene of the 1960s. "Maybe there is something of the old Nicoberg days in the music and the audiences we are attracting," says guitarist Terry Schindler. "It's very interesting how kids are turning up who're wearing all the latest gear, then come up and admit they've never heard of Miles Davis or Charlie Parker, but they're really into what we're doing." Bassist Rod Shotton agrees: "I get the feeling many people are becoming tired of always having to go into bars to hear a live band. Young people are looking for venues which don't cost a fortune, where they can drink coffee and hear themselves talk." Since Cool Bananas formed from the ashes of the more avant garde groups, Jetejormama and Free Fusion, the trio have been rehearsing a set of structured arrangements, from within which just about anything can happen. "We're using more formal arrangements now -- head arrangements that we return to for a sense of continuity," says drummer Martin Rose. "This means we have to listen to each other intensely, bouncing ideas off each other, and the audience in a small venue such as Sweet Blues are picking up on that. We might lead in with a regular timing, then shift to irregular for the soloing, then sense together when it's coming back around to the head. This gives a sense of excitement, it's real coffee music. Cool Bananas would be wasted in a bar. [Pictured] Cool Bananas are (from left) Terry Schindler, Martin Rose and Rod Shotton."
This image was taken for a story that ran in The Manawatu Evening Standard on 23rd September 1980 "Wellington band Backstreet are in Palmerston North tonight (Tuesday) for one concert only, complete with badges and posters. The four-piece group has only been together for about four months, playing mainly at The Club in Wellington, but hopes to have a single out by Christmas. Backstreet were in the city about a month ago. Vocalist Chris West said they've sorted out a lot of new material since then. The single is likely to be "fairly rocky and very dance orientated." The bans will also be competing in The Battle of The Bands next month. They will appear at the Cloverlea. [Pictured] Allan Jenkins, left (guitar), Barton Price (drums), Don MacKay (bass) and Chris West (vocals and guitar)."
The information for this image was taken for a story that ran in The Manawatu Evening Standard on 13th May 1992 "A tribute to Bob Marley, featuring former Palmerstonians Brian Taite, is being held at The Albert tonight. Taite last played Palmerston North two years ago with the Twelve Tribes of Israel. He is now promoting his new single, Lost in Love, and has two more tracks to do to complete a new album. "Brother Zeb", as he is known, recently spent some time at "reggae school" in Jamaica, learning so of the finer points of his craft. From Palmerston North, Taite and his act go to Wellington, then to Dannevirke, before winding up in Hawkes Bay. In August, the act goes to Japan, to a reggae sunsplash."
This image was taken for a story that ran in The Manawatu Evening Standard in July 1981 "The news that Brent Eccles' drumming could be heard five miles away comes as a surprise to Angels' member Brent Eccles. "I worked hard at it last night. I always work hard at it." The Angels played a the Manawatu Sports Stadium in Palmerston North last night as part of a short New Zealand tour. It's Brent's first overseas tour with the Australian band. New Zealander and ex Citizen Band drummer Brent has only been with the band for four months. "Citizen Band had done a very successful tour of Australia when we all just decided to knock it on the head. We quit, and I spent quite a few months mucking around and looking for jobs. I heard the Angels needed a new drummer, so I went along for an audition, and, well here I am." [The full article can be read on the newspaper microfilm held at the City Library.] [Pictured] Lead singer, Doc Neeson of the Angels in one of his rare relaxed moments during the concert last night. Doc leapt into the air, lay on he floor and even climbed on to one of the tiered-seat stands in the audience to sing in French to the audience."
This image was taken for a story that ran in The Manawatu Evening Standard on 1st December 1978 "Appearing at the Albert Motor Lodge this weekend is Amul-Nurf-Nurd, a Napier based group which comprises some of the best musicians in the country. The band features Andre and Mark Jayet, formerly with Ragnarok, Andy Combe and Mike Chimside, late of Thoroughbred, and vocalist Chris Baker. This is the group's second visit to the Albert, where it is proving to be very popular."
This image was taken for a story that ran in The Manawatu Evening Standard on 6th February 1991 "BB King, Palmerston North Opera House, January 10. Wednesday night, the last week in January, and Riley B. King made his first visit to Palmerston North. From all over the city, people of all ages, races and walks of life came to cram the Opera House and hear this legendary "king of the blues" in action, and the man was not about to send anyone away disappointed. First up, his highly-disciplined seven-piece band -- under the direction of nephew Walter King -- got things cooking with a dynamic warm-up set, then B.B. King -- resplendent in ample cummerbund, bow tie and pink dinner jacket -- was warmly welcomed: immediately cutting loose with a raunchy update of the old Cab Calloway favourite Let the Good Times Roll. The invitation was enthusiastically accepted. Shifting up the heat with the pulsing R&B rhythm of When All's Said and Done, King worked a tight path of mounting tension, climax and release, his guitar Lucille edging the band into top gear with stinging, plaintive sustains, interspersed with clusters of precisely placed staccato runs. The slow blues Ain't Nobody's Business was a change for trading lines with trumpeter James Bolden, the audience by now being drawn into the performance: whistling, stomping , replying to the vocal lines like some gospel crowd from the deep south. A tongue-in-cheek Sweet Little Angel found the blues boy easing in with the nooks and crannies of gypsy king Django Reinhardt, moving on to wailing feed-back sustains with control most rock guitarists would kill for. Keyboardist James Toney laid down a sultry, Southside Chicago mood for the slow blues Chains of Love while King added a heavy dose of gospel with the vocals, often skirting the border between singing and pentecostal spoken word. Continuing the showcasing of talent within the band, bassist Michael Doster took the spotlight, moving like lightning over his five-string fretboard during an impressive solo. The intensity of stomping and cheering increased accordingly. Pausing as master of ceremonies, King then introduced his band -- adding a few stories, poking fun at himself -- then eased into a plaintive Darling You Know That I Love You, his latest single Peace to the World and an upbeat version of the U2 collaboration When Love Comes to Town. the encore of When the Saints Go Marchin' In was pure gospel. Throughout his two hours on stage, King's set was pure energy, a reminder of the well where the creators of "rock" and all its hybrid forms first journeyed for inspiration. Instrumentally, his guitar playing was sounding better that ever, his fluid, rich vibrato and bending of notes effortlessly shaping the lines to sound like the human voice. Vocally his famous falsetto notes were heard only rarely, but despite his age and obvious fatigue at the end of the show, King still had a rootsy, fire-in-the belly style which could not fail to impress. Perhaps some of the crowd were unhappy about the absence of his classics Three O'clock Blues, How Blue Can You Get, My Own Fault and Sweet Sixteen, yet I got the feeling he was ready for more encores, only needing a little more encouragement to take the show to a real climax. But no matter. B.B. King at the Opera House was pure gut feeling. No posing, no riding on previous reputation, just playing -- and singing -- each song as it came, straight from the heart. Anyone left unimpressed should have stayed at home and watched telly. [Photos by Dionne Ward]"
This image was taken for a story that ran in The Manawatu Evening Standard on 2nd October 1991 "Warts 'N' All are a band with a difference, bringing their particular blend of folk, jazz and blues to the Little Theatre on Friday. Made up of (from left) Frances Anderson, Judy Douglas, Simon Burgess and Sue Pugmire, the group has been formed from various members of Circa, Witches 3 and Electric Fence. They've recorded for National Radio and can be found playing their unique style of music at festivals and in city restaurants. Other performers playing on Friday include the popular Battered Hats Ceilidh Band, who play British and Irish celtic music, with a touch of Australian and New Zealand folk. Celtic harpist Celia Briar was born in Ireland where she won the All-Ireland Champion title before moving to New Zealand three years ago. Kapiti Coast singer-songwriter Mary Campbell will also perform. The concert, which starts at 8 pm, will be a fund-raiser for the Palmerston North Folk Club's festival during Labour Weekend at Flock House. (Photo by Dionne Ward) "
This image was taken for a story that ran in The Manawatu Evening Standard on 12th July 1989" The Warratahs, the Albert, July 4, reviewed by Chris Bird. King Wally's rampant Aussie league side wasn't the Only Game in Town last Tuesday night. While the Lewis boys were sending the President's men into a spin at the showgrounds, across town at The Albert the Warratah boys were setting the Woods on Fire themselves. Outside it's cold. Inside singer/guitarist Barry Saunders and company are warming it up double quick for "Mum, Dad and the kids". The enthusiastic down-to-earth approach to their music by the Wellington five washes across the crowd -- the young ones hit the dance floor first and the foxtrotters follow suit soon after as the band breaks into their latest offering on the singles charts, St Peter's Rendezvous, you kinda know you're glad you're not outside at the league. The pace of the night doesn't slacken ... the mixture is right between ballads, good old foot stomping country and a smattering of honkey-tonk -- thanks to the extra exposure of Wayne Mason on keyboards and accordian [sic] and Nik Brown's fiddle. This extra use of the mandolin, accordian and harmonica is a feature of the band's latest album, Too Hot to Sleep, which debuted in the top 10 in hometown Wellington and has already climbed to No. 28 nationally. The album is closer to the band's country roots with a more balladish content about it than the hugely successful first offering, The Only Game In Town. That's why the boys are in town -- it's the first stop on a nationwide tour to promote the new album. The crowd mood bubbles along nicely right till the end and no one's worrying about stepping on anyone's feet on the dance floor, cause Mum, Dad and the kids are having a great time and everyone's smiling ... it's the infectious nature of the music -- something for all ages. A Chuck Berry number Brown-eyed Man really gets them going and so does Drivin' Wheel and Setting the Woods of Fire -- two rock 'n' roll gems from the Only Game In Town album. Mixed with the ballads, Hands of My Heart, Burned All of My Love, Maureen and a real pearl from the new album Nothing Ever Happens, and we have a night to remember. The concert only confirms that the Warratahs are the only band in their league on the country rock scene, and they aren't about to be kicked into touch. "
The information for this image was taken for a story that ran in The Manawatu Evening Standard on 20th February 1979 "The long awaited appearance locally by Video is taking place this weekend at the Albert Motor Lodge. Phil Scott and the rest of the band have been rehearsing hard, especially for this gig. After the Albert, Video are to appear at Massey Orientation week, and at the Majestic Hotel next Tuesday before embarking on their North Island Tour."
The information for this image was taken for a story that ran in The Manawatu Evening Standard on 23rd January 1982 "Tony Littlejohn, once better known as a vocalist and instrumentalist with Bruno Lawrence and Blerta of "Come Dance all around the World" fame, is in Palmerston North this weekend with his own band, Ghetto. The band plays a combination of reggae, country rock and jazz rock - all original music written by Tony over the last six years. They have spent the last year touring around New Zealand, and Tony has delighted with the audience response they have received. "Our music is not all loud, some of it is really quite sophisticated - I think we've got quite an exciting and distinctive sound," Tony said. They group still plays "Dance around the World", but it's a jazzed up version now. Next weekend the group will be playing for a second time at Sweetwaters, but this Sunday night, they are performing in the Palmerston North Concert Chambers. Although they have been playing together for only one year, they have been inspired enough by their reception around the country to plan an overseas tour later in the year. They are also working on their own album "Jigsaw Pieces". The six-member band consists of Tony, his brother Terrence, who is particularly popular with the fans for his base (sic) playing. Boyd Dickson (drums), his brother James on sax, percussion and vocals, and two vocalist cousins, Mina Paikea and Louise Nathan. The band will do a circuit of all university campuses before heading overseas.
This image was taken for a story that ran in The Manawatu Evening Standard on 29th September 1978 "Tom Sharplin's rock and roll show hits town next week, and it promises to be even better than his last band. Last Saturday, Tom and the boys appeared on television's Ready To Roll and impressed. Tom will be appearing at the Awapuni Hotel. The last time he was there 1000 people turned up."
This image was taken for a story that ran in The Manawatu Evening Standard on 18th August 1978 "Thoroughbred, the former Dunedin professional rock band, which are back in the city this week for a two-week spell at the Lion Tavern. Palmerston North seems to be becoming the group's second home, judging by the number of gigs they have performed here in recent weeks. They have just completed a stint at the Albert. Since appearing last in the city, keyboards player Steve Larkin has left to return to the South Island, where he has teamed with the band's former drummer, Ray Moore, and guitarist, Jim Taylor, to form a new group. Thoroughbred in the meantime, have decided to continue as a four-piece outfit comprising Andy Combe (guitar), Brian Secue (lead vocals), Mike Chimside (bass guitar), and Nihat Orerel (drums). All four are experienced musicians, with Andy formerly with Flick of the Wrist, Frenzy, and Loving Memory, while Brian was with Battle of the Bands finalists the Third Chapter. Nihat, who has over ten years of professional experience in Turkey, Europe and the States behind him, was more recently with Clearlight. Thoroughbred embrace a variety of styles, but keep mainly in a rock direction, with numbers by bands such as Supertramp, Santana, Led Zeppelin, Fleetwood Mac, and Boz Scaggs well to the fore.
The information for this image was taken for a story that ran in The Manawatu Evening Standard on 17th October 1979 "Think are an original 70's New Zealand rock band playing their own brand of highly listenable dance music flavoured by the many talents and diverse roots of the individual members. Bassman/singer Allan Badger turned professional at the age of 16 and played with many New Zealand bands before forming the successful Tracks who toured extensively for over a year. He then helped form the early three-piece Think. In 1975 Think was joined by guitarist Phil Whitehead whose professional career spans 10 years playing in both New Zealand and Australia. He had been associated with other name bands like Father Time and the long-established Human Instinct. Currently his playing is highlighted by his brilliant use of the recently developed Roland guitar synthesizer which must be heard to be believed. [The full article can be read on the newspaper microfilm held at the City Library.] All this week, Think are appearing at the Awapuni Motor Hotel and according to the band's manager, Lindsay Flint, a number of complimentary admission tickets are available from the Central Service Station."
The information for this image was taken for a story that ran in The Manawatu Evening Standard on 26th February 1992 "The Topp Twins are off again, cracking jokes, serving up another hilarious slice of the New Zealand lifestyle. This time Lynda and Jools have been joined by percussionist/vocalist Nettie Bird, the trio mixing new songs and old favourites in their Camping Out national tour. "Camping Out has lots of connotations. It's a very gay, happy time. Everyone can remember staying in camping grounds as a kid, so it's a very New Zealand thing," says Jools. "Summer wasn't happening so we decided to have some fun and create our own summer, inside a theatre. We think it's pretty important for people to come out right now, just to be entertained. That's the most political thing anyone can do." The twins' Camping Out show is set in the 1950s, so tacky props -- terry-towelling sunsuits, crimplene pants and plastic sandles [sic] -- are the fashion accessories. While the show includes many new songs, the old favourites such as Untouchable Girls have also been included. Unlike previous tours, Camping Out finds Lynda, Jools and Nettie remaining "in character" for the whole show. "We've always had this running theme of music, and that keeps the whole show together. In Camping Out, Lynda becomes the communicator, welcoming everyone to the camping ground, turning the audience into the campers. Participation is essential." The twins have no qualms about supporting New Zealand's nuclear-free position, with Greenpeace having had a booth at each show. "Already we've had the Mayor if Napier inviting the entire American war machine to pitch camp there, which is quite alarming. Internationally, it's our anti-nuclear position which is always a talking point at our shows. Whether it be Britain, Canada or Australia, people come up and say they admire our stand. We believe it's one of New Zealand's greatest selling points, yet that can only be fully recognised once you've left the country." The Camping Out show premiered in Auckland before Christmas to full houses and favourable reviews, suggesting the Topp Twins have become something of an institution in New Zealand comedy. Jools says its really about being honest with your audience. "Most comedians get their laughs by putting someone down, but we prefer to have the audience laughing with us. While some might feel uncomfortable about three lesbian women doing a theatre show about camping out in the 1950s, being down to earth in our approach pulls us through. We're not trained actresses, so we only really know how to dress up and be silly and have fun. People like the way we use music and comedy to communicate these things, to reflect New Zealand as we see it."
This image was taken for a story that ran in The Manawatu Evening Standard on 9th July 1986 "Palmerston North band Thin Red Line are off to Auckland tomorrow to record songs for a new EP. The record, their second, will probably go under the title Simplicity. Again, Phil Yule will produce and Mascot Studios will be the recording venue. TRL are now down to a three-piece following the departure of vocalist Karen Rush to Wellington shortly after the debut's Ep release. Bass player Steven Thomas has assumed vocal duties assisted by Fiona Masters (guitar/flute/percussion). Keyboard player Dave White said the new sound is quite different because of the change of vocalist and many of the old songs have had to be replaced. "Some elements of the music are pretty similar because of my keyboards though." The band recently did the final mix on their contribution to the upcoming Meltdown Records compilation of Palmerston North bands -- a song called Economics. Live work will begin when they return from Auckland, starting with a gig at the Teachers College on July 23. [Pictured] Thin Red Line's July 1986 line-up is (left to right) Fiona Masters, Steven Thomas and Dave White."