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Pop CultureAugust 24, 2017

Chartlander: What was on the airwaves the day Robert Muldoon called the snap election

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Every week Chartlander travels back through time, landing in a different year on the official New Zealand singles chart in the hopes of (re)discovering forgotten Top 40 gold. Today we continue our tour of significant election moments.

The date is Thursday the 14th of June, 1984. Tonight, New Zealand’s prime minister Robert Muldoon will get ratarsed and call a snap election. It will become one of the nation’s most notorious political moments, and many people will wonder what it must have been like in his Beehive office in the hours leading up to the announcement – was he, for example, listening to the radio?

Let’s say he tunes into the home of today’s hit music: 2ZM Wellington. What songs from the official singles chart will he hear, and how might they influence his decision-making as the evening wears on? Will Kenny Loggins’ number one hit encourage him to ‘cut footloose’ and schedule the election with only four weeks’ notice?

Maybe Lionel Richie’s ‘Hello’ will haunt him through the wireless as he imagines it is Marilyn Waring’s deciding vote on the nuclear free bill singing “Is it me you’re looking for?” Maybe Phil Collins’ harrowing divorcecore hit ‘Against All Odds (Take A Look At Me Now)’ will come on and tear his brittle heart asunder. Maybe the Dance Exponents’ ‘I’ll Say Goodbye (Even Though I’m Blue)’ will play in a kind of cruelly obvious foreshadowing. Or maybe he will just slip off his shoes and allow himself the pleasure of dancing alone on the ninth floor to ‘Girls Just Want to Have Fun’.

☝️ Number One

Kenny Loggins – ‘Footloose’

If the singles chart is anything to go by Kiwis were dancing up a storm in the winter of 1984, and Kenny Loggins’ huge ‘Footloose’ was the main attraction. It remained in the top ten throughout the month-long election campaign; there’s every chance Labour leader David Lange kicked off his Sunday shoes and had a dance to it at some stage after becoming the new prime minister on July 14.

Cover alert: The 2011 remake of Footloose featured a countryfied cover by Blake Shelton.

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#7: Time Bandits – ‘I’m Only Shooting Love’

File under: songs that should have been on a GTA: Vice City radio station but weren’t. Time Bandits would in a couple of weeks become possibly the only Dutch band to have a #1 in New Zealand – until the Venga Bus rolled into town from Rotterdam. ‘I’m Only Shooting Love’ marries Chic-style funk with wussy falsetto vocals to deeply satisfying effect; it should be an essential part of any ’80s-leaning DJ’s repertoire.

#22: Tracey Ullman – ‘They Don’t Know’

To some English-born comedian Tracey Ullman is known only for debuting a series of short animations about a family called the Simpsons on her The Tracey Ullman Show starting in 1987. For a brief time before that (between 1983 and 1985) she also had a successful music career, and this – one of two Kirsty MacColl covers she did – was her biggest hit. An ‘80s throwback to the ‘60s girl group phenomenon, it is as close to a perfect pop song as you could ever hope to hear.

Cover alert: Ullman’s other Kirsty MacColl cover ‘Terry’ was about having a boyfriend who’s in prison.

#28: Shannon – ‘Let The Music Play’

An influential tune in the history of popular dance music, Shannon’s ‘Let The Music Play’ sets the course for a style that would explode later in the decade. It peaked at #2 on the New Zealand singles charts, which is higher than it got in any other country – a point of national pride and proof we sometimes accidentally have good taste.

Cover alert: Jordin Sparks’ 2009 single ‘S.O.S. (Let The Music Play)’ borrows heavily from the Shannon original.

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#21: INXS – ‘I Send A Message’

The second single off 1984’s The Swing LP, ‘I Send A Message’ lived much of its chart life in the shadow of the scorching first single ‘Original Sin’. Produced by Nile Rodgers, this is a funky and commendable choice if you’re looking for a slightly deeper cut in the INXS catalogue; the video is a classic ‘80s marriage of artistic pretension and extreme dorkiness (see: 2:55).

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#34: Mel Brooks – ‘To Be Or Not To Be (The Hitler Rap)’

https://www.youtube.com/watch?v=ZtSWAARzm3A

“Don’t be stupid, be a smarty – come on and join the Nazi Party” seems about a million times too tense to be in the chorus of a satirical comedy rap in the current climate but it was apparently absolutely fine in 1984 when Mel Brooks’ ‘To Be Or Not To Be (The Hitler Rap)’ hit the New Zealand singles chart.

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#44: Frankie Goes To Hollywood – ‘Relax’

The best thing that ever happened to Frankie Goes to Hollywood was getting this song banned by the BBC for lines like “Relax, don’t do it, when you want to come” being simply… too rude. The ban propelled the Trevor Horn-produced hit to #1 in the UK (it peaked at #10 in New Zealand), something the song’s risque video and print advertising had somehow failed to do. The band maintained the lyrics were not rude but in fact about ‘motivation’, until confessing all in the liner notes of their 1984 album Welcome to the Pleasuredome: “When it first came out we used to pretend it was about motivation, [but] really it was about shagging.”

Cover alert: The band Powerman 5000 covered ‘Relax’ for the Zoolander soundtrack in 2001.

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Footloose fever

New Zealand was in the grips of Kevin Bacon dancing fever in June 1984 and the singles charts bore the brunt of it with three songs off the Footloose soundtrack populating the top 50. Bubbling under Kenny Loggins’ number one hit were Deniece Williams’ ‘Let’s Hear It For The Boy’ at #9 and Shalamar’s ‘Dancing In The Sheets’ at #11. Bonnie Tyler’s ‘Holding Out For A Hero’ would join them a couple of weeks later; John Cougar Mellencamp’s ‘Hurts So Good’ had already been there back in 1982 and Foreigner’s ‘Waiting For A Girl Like You’ in ‘81.

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Total this week: 3

The Narcs’ ‘Heart and Soul’ hits the charts next week; The Chills’ ‘Pink Frost’ the week after that. But this week, the Kiwi Flagbearers number just three: Dance Exponents’ ‘I’ll Say Goodbye’ is #20, The Mockers’ ‘Swear It’s True’ #24, and Patea Maori Club’s smash hit ‘Poi E’ at #33.

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Patea Maori Club – ‘Poi E’

There is a lot of iconic cover art on the singles chart this week. The Smiths’ ‘This Charming Man’, New Order’s ‘Blue Monday’, Julio Iglesias and Willie Nelson’s ‘To All The Girls I’ve Loved Before’… None of these hold a candle to Patea Maori Club’s ‘Poi E’. Ordinarily an LP cover would be disqualified from this category via a strict single covers only policy, but this one deserves a dispensation. Conceptualised by Dalvanius Prime and brought to life by artist Joe Wylie, ‘Poi E’ remains the pinnacle of New Zealand cover art.

Previous episodes of Chartlander:

#2: November 27, 1999

#1: August 10, 1991


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SILVER FEATURE

Pop CultureAugust 24, 2017

Announcing the historic finalists of the 2017 Silver Scroll Awards

SILVER FEATURE

And the history making five finalists for the 2017 Silver Scroll Award are…

‘Close Your Eyes’ by Bic Runga (written by Bic Runga and Kody Nielson)

‘Green Light’ by Lorde (written by Ella Yelich O’Connor, Jack Antonoff, and Joel Little)

‘Horizon’ by Aldous Harding

‘Life of the Party’ by Chelsea Jade (written by Chelsea Jade Metcalf and Leroy Clampitt)

‘Richard’ by Nadia Reid

In case you didn’t notice, this is the first time ever that the performers of all five finalists are female. It’s a year where New Zealand music feels as vibrant and urgent as it has in a long time and mostly due to female artists, including incredible albums by some of the finalists (okay, Bic Runga’s Close Your Eyes was released last year, and, who knows? Maybe Chelsea Jade’s album will follow later this year).

Here’s what we said about the finalists when they were released:

‘Close Your Eyes’ by Bic Runga

But, I must say, the highlight of the album is title-track (and original composition) ‘Close Your Eyes’ with its Stereolab-esque layers of voices and organs. Need I recommend more? – Henry Oliver

‘Green Light’ by Lorde

‘Green Light’ is reminiscent of Robyn’s ‘Dancing On My Own’ and feels like Lorde asserting her place in the pop genre. The green Lorde sings of is not the natural New Zealand forest green Kiwi artists so often capitalise on – it’s the glowstick green of a preteen New Year’s Eve, the neon hue of the public bathroom where you rush your makeup before catching the train into town. Directed by Grant Singer, the video shows Lorde dancing on her own in city streets and back seats. Singing of a love she has to leave, and all the rumours surrounding it, ‘Green Light’ is pop excellence, and a faultless first single from her forthcoming album Melodrama. / Amanda Robinson

‘Horizon’ by Aldous Harding

‘Horizon’, the first single from Aldous Harding’s forthcoming album Party, is straightforward and certain, rooted in her gothic folk past, but not bound to it. Three piano chords repeat throughout, leaving room for her singular, trembling ghost of a voice to settle in. It would be remiss to assume her tremors signal hesitance – ‘Horizon’ is sure of itself, a controlled haunting. The track was produced by John Parish, most well known for his work with PJ Harvey and Tracy Chapman and is Harding’s first single for British independent label 4AD, home of Cocteau Twins, Pixies, Bon Iver, St Vincent, The National, and Grimes. The video features Aldous’ mother, dressed in white and full of grace, practising tai chi in a tree-lined field, interspersed with Aldous, wet hair and wild eyes lined in red, reminiscent of Park Chan-Wook’s Lady Vengeance. Radical softness, weaponised vulnerability, a gentle rage; no matter how you slice it, Aldous’ voice shivers sharp as a knife. / Amanda Robinson

‘Life of the Party’ by Chelsea Jade

In 2015’s ‘Low Brow’, Chelsea Jade was anchorless and anxious, appealing for a lover to deliver the impossible: “hold me closer than you knowhow to”. Two years later and, while she may be confessing she’s not the “LOTP”, as she’s been touting the single on Instagram, Chelsea Jade is a more immediate, more urgent, more self-possessed presence: “I don’t know better / But I do know best”. In the verse her voice is small and matter-of-fact – there’s even a discernible New Zealand accent – and effectively stripped bare of any production effects, even reverb. It contrasts against the airy confection of the Carly Rae chorus like stones with confetti, and lends a new world-weariness to her characteristically wry observations: “I never mean it when I’m sorry/And I’m sorry, for that.” ‘Life of the Party’, writes Chelsea Jade, is in part about the “learning about the reality of myself, for better or worse”. Self-knowledge suits her. / Elle Hunt

‘Richard’ by Nadia Reid

Nadia Reid continues the run-up to her second album Preservation with another confident, assured, full-bodied folk rock song. Her voice remains the centerpiece, with layers of guitars twinkling, plucking and shivering and drums steadily banging throughout. Poor old Richard though. I’m not sure what happened to him but it sounds bad. Arrogance, love, blood, teeth, revenge maybe. I can’t figure it out, but maybe he deserved it. Shit, this album’s gonna be super good. / Henry Oliver


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