Posts by Simon Grigg
Last ←Newer Page 1 2 3 4 5 Older→ First
-
@Robert. Yes it's a true story (although it was Jagger) but Rosetti said ""Yeah I know who he is, and he can afford it. $5"
I love the Bruno Lawrence story. Bruno was often down at Celebre on a Weds or Thurs, usually with John Dix. Very late one quiet night we were downstairs and the top door was shut...you rang the bell to get in. The bell went and Tom went up. It was Bruno, in filthy paint covered clothes and workboots. Tom said "Bruno you can't come in here dressed like that" and shut the door.
Two minutes later the bell went and Tom went back up. There was Bruno completely naked asking if this was better....
-
once dedicated a song to me in 1998, during Beats Per Minute, when I was in Baton Rouge and very homesick, listening on the tubes. Thanks dude. :)
A pleasure. I was, as I remember, pretty impressed that anyone could pick us up in Baton Rouge. This was, after all, 1998 and we'd had a couple of calls from Sydney and we had Wellington listeners but streaming on dial up required dedication.
Although not ostensibly gay, it was queer-friendly
It wasn't something we'd consciously tried to be..we just opened our doors to people who we thought would be comfortable around the people we liked and wanted to mix with, regardless of their sexuality, and blocked those who had a problem with that. The barrier was always if you made other people uncomfortable we didn't want you, and a lot of the people I've worked, played and been close to over the years are gay.
Mostly we were extra-ordinarily lucky with the people we had protecting our door, with the late Roseti Tanoi being the godfather and tutor to them all. Most of the generation of smart, non-aggressive and in-touch doormen that dominated the better clubs in Auckland from the mid nineties onwards owe him a debt (and happily admit it).
-
I was there the night that The Body Electric played, and a somewhat worse-for-wear Barry Jenkin disapproved so strongly that he unplugged the stage power lead. I don't recall what happened after that ...
I booked that gig and Alan Janson and I have been mates ever since. Barry hated it. I love Barry but his world kinda narrowed after the end of the punk thing. Apparently at the AK79 reunion he was telling me off, to my face, for bringing disco to NZ. Apart from the fact that I'm a million miles from being responsible for that, I wasn't even at the gig...he was berating an innocent party
-
Cheers all.
Simon, you forgot to mention the pool table.
U2 bought it in when they hired Celebre and we argued against it but it never left
Freebass
was the band that Nathan and Joel played with before Nathan and The Enforcers. It was led by the Harrop Brothers and grew out of Jazz Committee, which the Harrops and The Haines played in as teens...Joel early teens. They released the album RAW: Live at Cause Celebre on Kane Massey and Mark Tierney's Deepgrooves label, which is long deleted now, although I managed to track down a copy on Ebay this week to replace my long missing copy.
That drummer Tony was a nice geezer, wasn't he?
Tony Hopkins, a rather legendary figure in NZ music who'd played with countless people including Johnny Devlin & The Devils. That was one of the highs of CC for me, hanging with those sorts of guys..Frank Gibson, Tommy Addlerly, Bruno Lawrence and many more faces of the NZ music scene when I was a kid. Without exception they were wonderful and Tom, Ann & I used to sit and listen to the stories for hours
Housequake!
I loved Housequake..fantastic parties which just added to the breadth of what we were all trying to do. You were able to use the 'just back from London' angle, which worked wonders back then, to take the music we were pushing to a wider audience..they were important gigs. I think when they happened we were all pretty positive about anything which pushed what we (and I mean others like Jason Miller and Grant Fell too with their parties at the Railway Station circa 89/90) saw, rightly or wrongly, as a something musically important.
-
I think it's time to kill this thread because I actually quite like you and it's getting us into areas we don't need to go to
-
is a little premature, and possibly a little blinkered from your personal perspective. Russell was fairer with his "of the popular music era" comment and if he'd added on "in western culture" that would have been more on the money.
Thus proving how woefuly out of touch you are..do you have any idea how far hip hop has moved into Asia, Africa and much of the third world..it's massive, perhaps the most global of all post jazz based genres. I found it funny that you tagged things like electronica and drum'n'bass above..two genres that couldn't exist without the massive influence and vibrancy that the hip-hop revolution bought.
I might sound arrogant Rob, but your comment was still ignorant and I reckon that aside from a few old buggers moaning into their beers about the good old days you're pretty much on your own here.
contemplate the implications of that rather than being offended that someone pointed it out.
yep contemplated it, worked out that lotsa people are doing ok out there, although they've been discounted by you upthread because they do have an audience that wants to pay to see them. It still comes down to you not making people excited enough to want to pay to see you. Nothing else matters. I dunno how many times I've heard people recite this over the years and it's always someone else's fault.
And I've contemplated this century and the fact that my name appears on a fair number of records, including a number one single and several platinum albums..but I guess they don't count since people like them, eh?
Like I said, it's harder to make music that people like rather than music that people don't like..the latter usually need someone to blame. End of post.
-
I'm not going to make sweeping generalisation about what essentially boils down to a matter of taste. I'll leave that to you.
Liking or not liking the genre is neither here nor there Rob. I don't like huge parts of it but so what. I'm not a fan of bluegrass but I'm well aware of it's influence and importance, same with Choral Music or Gregorian Chant. To deny it is just, lets be generous, ignorant.
And I'm thinking that not understanding it's importance or being an informed observer of what's happened since about '82 probably disqualifies you from discussing contemporary issues like copyright in the digital age.
What's' yer fave Buzzcocks' B side?
-
Lord Lucan
His Lordship is in Marton
-
My Dad loves Captain and Tennille.
Captain used to hang with Charles Manson.
Behind that sugary façade....
-
100-odd pages and no closer to resolution!
Not true.
In the last 24 hours we've worked out that Rob a) hasn't liked or listened much to anything since 1982, b) can't count, c) is a bit bitter and twisted that there is no audience for the music his mates and scene are making and playing, d) doesn't think that people who have found an audience who buy or listen to their music (or attend their gigs...not fair..they had a smash hit says he) should be counted, and e) that it's all to be blamed on those bloody file sharers even though he has no way of proving that aside from the fact that c) is happening.
I think we've reached a fairly clear end result and once you apply that to much of the thread it makes some sense.
(PS...I know some of this is a bit harsh but Rob's been happy to take a few swipes at others which are less than fair, not least RB, so swings y'know.....)