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Glyn Tucker

glyn-tucker

Singer, Songwriter, Recording Engineer.

Here is a brief article written by Glyn Tucker, a great friend and enthusiastic music lover and entertainer.

I was a singer-songwriter-guitarist, and by the mid seventies had quit playing gigs and started a professional recording studio in Auckland. It became well-known over the next 21 years as Mandrill Recording Studios….During that time, as owner of Mandrill we chalked up 22 Gold Albums, 3 Platinum albums.They included Split Enz, Little River Band, Alastair Riddell, Citizen Band, Ardijah, Dave Dobbyn, Shona Laing, The Exponents, The Mockers, Satellite Spies, David Hasselhoff, Kiri TeKanawa, Carl Doy, and many many others….International producers and engineers we worked with included, John Boylan, Kim Fowley, Tim Palmer, Jay Lewis, Ernie Rose, Graeme Myhre, Mark Moffat, Bruce Lynch, Paul Streekstra, Dave McArtney, Harry Lyon, Dave Marrett, Jaz Coleman, and so many others….Working with these guys I got to learn a thing or two … secret techniques the pro’s use every day to give their recordings that special “something” that makes platinum and gold albums….From time to time I intend to write about some of these very special techniques and share them with you right here Behind the Music Scene.
The stuff I’ll be sharing with you does not originate in the classroom, or from a textbook. Instead, I am talking about the stuff that comes off the recording studio floor, and from the producer-engineer’s chair in a sweaty control-room at 4 in the morning, with the air-con broke, and the mix ain’t working because of a badly recorded vocal track!
These secrets emerged from the blood on the studio floor….(probably from the producer trying to cut his wrists)
Modern recording processes, have changed considerably since those pioneering days and nights I spent at Mandrill Studios. However, the laws of physics never change, so no matter what medium or format you are recording with today, these secrets are just as valid as the day they were first used on hit records; perhaps 20 years ago. (or more)I hope I can make your journey a little easier and smooth the way for you in your quest to produce the next smash hit recording that will take the world by storm.
Or perhaps just to make your next demo a work better, or even to produce a work of art of the highest quality for the listening pleasure of those of similar taste.
No matter that you may be working out of a small, poorly equipt home recording studio, without proper acoustic treatment, and no sound-proofing……the principles you will learn will help you get the best out of what you’ve got, and make a real difference to your end result.
So, watch out for my posts.
Have fun makin’ music my friends

Glyn Tucker­

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Sony A7s Camera

Sony a7s

One thing about concert photography that is vital is NO FLASH. This presents some interesting challenges to budding concert photographers and when I started I had no idea. My interest started in the days of film and all I could do was buy a high speed film as I knew the powers to be would never allow a flash. Even though I have been to a number of concerts where flash was used, it is unacceptable, not only for the band but also the distraction for the good people who have outlaid good money for tickets.

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Larry Killip

Larry-Killip

I have had the opportunity of taking some photos of my good friend Larry Killip.

Larry is a fantastic musician, a song writer, guitarist,  singer and in addition a recording engineer (and by the way a terrific photographer himself).. I will talk more about Larry later on but how I got to know him was rather special.

A great many people have helped me shape my life and enjoy a very good career. Where I have arrived at lately has no relationship to where I started, I have come to realise it was these very good people who appeared in my life helped me on my way.
My parents of course were a great influence even though they came from a very humble background. My departure after a miserable three years at Huntly College in New Zealand had sadly placed me on a road to nowhere.

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Hank Marvin Sound

Hank-Marvin

THAT SOUND

There has already been heaps written and published about Hank Marvin. Based in Perth Western Australia for the last thirty odd years and a lifetime of smash hits we just thought our readers may be interested in some of the great articles published about Hank. The following snippet can wet your appetite for more and the link is at the end just in case you wish to read it all.
“This article will attempt to draw together knowledge about the electric guitars used by Hank Marvin, particularly during his time with The Shadows. It has the word “some” in the title because of the extensive period of time over which Hank has performed and also the wide range of music genres covered. He has certainly played many, many more instruments than listed here, particularly after The Shadows early period, and it would be almost impossible to try for a complete list. In particular, I have focused on those known to have been used either in recording or in concert, and so many of the Fender Custom Shop Hank Marvin “signature” guitars, including those released as the 25th and 40th,  anniversary models are not yet included, even though Hank may have played a role in the development of some of them.”
For the full blurb which is well worth reading go HERE: TVS3 Specialty Products

Radio Hauraki Reunion 2016

Bob Leahy

The forthcoming Radio Hauraki Reunion

December 2016 is the 50th Reunion of Radio Hauraki in New Zealand. I was lucky to be a small part of this amazing history in 1966. Four young New Zealanders, the eldest only 27 years old at the time took on the New Zealand Government and established a Pirate Radio Station in the Hauraki Gulf on board the “Tiri”.
After a long four year battle the station was granted a land licence and Radio in New Zealand Changed forever. There is no doubt Radio Hauraki played a major role in supporting New Zealand recording artists and their talent. People like Peter Posa, Sir Howard Morrison, Gray Bartlett and many other famous New Zealand musicians were given air time by the station. Sadly here in 2016 there is very little airtime given to our recording artists any longer. TVNZ (Television New Zealand) and most existing radio stations refuse to acknowledge our local efforts. No doubt much discussion will take place about this at the forthcoming reunion although I suspect nothing will change. The media in my opinion is now a circus, run by unprofessional people with little or no qualifications and zero respect for the people who led the way in the past.
There is no no effort required for TV or Radio presenters to have a reasonable command of the English language, the thick kiwi accent has taken over from the articulate people who ruled the airwaves in the past. We all know the music and the quality of recording has suffered too. MP3 is the chosen mode of compressed music most people accept and listen to on their Ipods and they seem to think it is high quality. In fairness it is probably better than the old cassette tape that many will have forgotten about too, but most are missing the real deal. Major efforts in the recording process by distinguished recording engineers have created wonderful recorded music that many people seem to miss out on.
Enough of the lecture and the bleating, at least here is a recorded interview by Jack Tame (a talented kiwi) speaking with David Gapes and Ian Magan, two of the original creators of radio Hauraki.

The featured picture is of Bob Leahy the FIRST voice to be heard broadcasting from the original “TIRI” in 1966. What a voice, leaves the presenters of today in the dust.

Nelson Snapafest

Martin Cilia

Nelson was the city to host the two day Snapfest event on Friday 16th September 2016. The attraction for me was the Australian band “Mental as Anything” featuring Martin Cilia whom I have been following some time. Martin is a well established guitarist who is known for his ability throughout the world.

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Leo Sayer and Lulu

Leo-Sayer

A small review on Leo Sayer and Lulu, by Glyn Tucker

On a miserable wet Sunday night in Auckland, on 26th June, 2016 at Civic Theatre in Auckland, I went along to see a couple of singers from a bygone era perform a clutch of old songs for a mostly middle-aged audience. One of the prime motivators for checking them out was the venue. I have become disenchanted with stadium concerts that are so impersonal that one seldom experiences the soul of the performers. Any attempt at connecting with the audience on a personal level is usually substituted with the glitz and glamour of digital light shows and mega-production gimmicks. And the sound quality can be sadly  miss-interpreted as sound quantity.
So I shuffled to my comfortable seat in the Civic auditorium, along with 2,000 similar grey-haired blokes and coloured-haired blokesses and was early enough to check out the stage set-up. It looked encouraging. A nice Ludwig drum kit sitting proudly on its riser in the centre rear of the large stage, flanked by Fender bass and guitar amplifiers (one bass, two guitars) and surprisingly two sets of keyboards, one stage-left and another at stage-right. My gaze then shifted to the interior of the theatre, and I was reminded what a magnificent auditorium this is. From the twinkling stars in the midnight blue ceiling to the big golden cats sitting either side of the stage, with their illuminated green eyes staring out, this is a classy place. It’s reminiscent of a Las Vegas Showroom, but with less glitz and more traditional character. Not to mention the very natural-sounding acoustics that never get in the way of the music.
With every seat in house supporting a backside, the off-stage announcer introduces “Ladies and gentlemen, Leo Sayer and Lulu” and they enter from opposite sides of the stage to perform their first duet. Both of them were dressed casually, Lulu sporting a cool black hat, black jeans, and shirt/waistcoat affair; Leo in blue jeans and chequered shirt and sport coat, and of course with his trademark frizzy hair. They are both small people, but so dynamic! It was obvious from the get-go, this was going to be a good night. The band was great, and the sound mix was perfect! I cannot remember ever making that statement about the sound of any concert over the past 20 years. But this time it all came together in a wonderful blend of clear, precise vocals and awesome guitars, keboards and drums at a solid volume level that “did the business” without completely demolishing our eardrums.
As the set evolved, it became apparent that additional backing vocals were added by way of a single female singer, augmented by both guitarists and both keyboardists, as required. The harmonies were brilliant, and once again beautifully mixed. After a couple of duets to kick off the show, Lulu left the stage and Leo did his stuff for two or three songs after which Lulu came on and did the same.
They finished the first set together again before the interval. The audience was typical of the age-group; applauding strongly but politely at the end of each song, but remaining silent throughout performances.
After the interval they started winding the audience up. Lulu did a segment where she got to tell some stories about her days with Maurice Gibb and she sang a couple of Bee Gees hits. “To Love Somebody” was superb (with lovely BV’s as described above). A highlight for me was her story about Maurice and Barry writing “Run to Him” and Robin coming in late to provide the main chorus. This was a well rehearsed segment where Lulu seamlessly moved from talking into singing mode to portray the songwriting process, and back to story-telling mode. The back and forth switches were handled seamlessly by Lulu and the band. Brilliant!
By the time Lulu performed her amazing version of “Shout” everybody was out of their seats singing and clapping along, including Leo, on stage with her. Then Leo did his monster hit, “You Make me Feel Like Dancing” and the whole place went wild. Lulu showed her dancing skills and Leo showed his lack of them. These last two encore numbers capped off a great show.
Other highlight performances were, Leo’s “When I Need You”, “ More than I can Say”.
Duets “Moonlighting”, “Long Tall Glasses(I Can Dance)”, and a great version of Bob Seeger’s “We’ve Got The Night”, an then Lulu’s “ To Sir With Love”, Bowie’s “The Man Who Sold The World”.
I came away feeling that Leo Sayer is still a very good singer, whilst Lulu struck me as being exceptional; and both are almost 68 years of age! A great concert from a pair of absolute professionals, the likes of which are rare in this age of digital gimmicks and manufactured videos.
Glyn Tucker

Montreux Jazz Festival 2016

Montreux Jazz Festival

Memorabilia at Montreux Jazz Festival
Anyone visiting Switzerland in July 2016 should not miss this great opportunity at Montreux, home of the Montreux Jazz Festival.
For the 50th Montreux Jazz Festival, Galartis invites you to discover Montreux Music Memorabilia, an exhibition-auction on the theme of music and arts, July 2-8 2016 at Casino Barrière Montreux. Music instruments, golden records, jukebox, pinball, Montreux Jazz Festival collectors, artwork by Keith Haring, Julian Opie, Romero Britto, Ben, Robert Combas, photographs of Charlie Parker, Led Zeppelin, Tina Turner, sculptures of Nina Simone, Miles Davis, autographed guitars by B.B. King, Carlos Santana, the  Rolling Stones, David Bowie…
Submit your items and order the catalogue at mmm@galartis.ch
By taking part in this unique event, you help support the Claude Nobs Foundation. State-approved foundation dedicated to preserve and develop the Montreux Jazz Festival audio-visual Collection for Educational, Scientific and Cultural purposes. The Montreux Jazz Festival Claude Nobs’ Legacy, is the first audio-visual Collection inscribed on the  UNESCO Memory of the World Register.

 

Ray Woolf and the Mike Walker Trio

Ray Woolf
Bill-Belton

Bill-Belton

Here is a review of last years special concert with Ray Woolf and the Mike Walker Trio written by Bill Belton.

Ray Woolf with The Mike Walker Trio 
Auckland Jazz and Blues Club PT Chev RSA
I’m still buzzing from a night of great music, mostly standards, all well known, and played and sung by wonderful musicians.
Jazz, Blues, Boogie and even Rock all with really interesting and powerful easy to listen to arrangements.
Having played with Ray in 4 different bands in the 60’s and 70’s including one with Mike, I know his voice and he has never been better. His renditions of standards were original, very entertaining and performed by a truly great singer.
The Mike Walker Trio with top Bassist Pete McGregor, and drummer extraordinaire Bruce King, played powerful, sensitive, and at at times “huge” backing for Ray.
Mike my all time favorite Kiwi keyboard player played with a style that only he is capable of.
His solo in Stormy Monday played with a “Jimmy Smith” Hammond tone was simply outstanding he raged over his keyboards and was suitably acknowledged by a knowledgeable audience.
His amazing timing and chord structures were a lesson on how a jazz keyboard should be played.
Mike was great in the 60’s and you just have to listen now to see where he has risen to, wow, just beautiful.
He appeared to be enjoying himself and he continued to add to my musical pleasure.
Ray has been for over 50 years, our most versatile, and talented entertainer topped off with having a great voice.
He has a feel for Jazz and Blues that few have achieved.
Yes, I am raving a bit but he is my favorite entertainer.
Thank you Auckland Jazz and Blues club, a place I have not been to before, however, it is a monthly night and it won’t be my last, especially if these great musicians are playing…..Bill Belton.

Chris Parkinson Broadcaster

Tiri
Chris Parkinson

Chris Parkinson

What is normal? Is there a part of humanity that is classified as normal? Or are we all individuals?
Maybe look at it from another angle, are we meant to be normal?
If so what is normal?
These are questions we have been asking each other for years. Over time society has changed its values, we have become more lenient, broadcasting has changed attitudes to the way programs and events are presented to the public and daresay over the next few decades things will become even more liberal.
This brings me to the event of today May 3rd 2016 and the day we said goodbye to a New Zealand icon, not only a long time broadcaster, a unique voice of New Zealand radio since  the 1960’s.

A voice over artist rejected by the once feared New Zealand Broadcasting Corporation that was sensationally put squarely into its place by this man along with three other colleagues who changed the face of New Zealand broadcasting for ever.
Christopher Robin Parkinson departed our planet at 10.20pm on Wednesday 27th April and today we celebrated his life at Mantels in Westhaven Marina at 2pm.
Many of the people who attended the event knew Chris well, they understood how unique he was and the type of individuality he displayed but many did not know just how clever he was, how he was able to turn his hand to anything and usually succeed.
Chris was pedantic in anything he took on, he had without doubt one of the very best voices ever heard on New Zealand radio.
Chris was one of the four founders of Radio Hauraki a pirate radio station that was created in 1966 and spent four long years tossing around in the Coalville channel in the North Island of New Zealand.
Radio Hauraki ended up with a land licence and to this very day although arguably significantly different still exists and broadcasts an FM signal to fans all over the country who have no idea how the station ever came about.
Chris carved a career from broadcasting, working for many other radio stations around the nation.
A well articulated speech was given by Denis O’Callahan one of the other founders of Radio Hauraki.

However in addition to the cultivated and well groomed voice Chris had many other talents. He was a racing driver, seriously involved in Mini sevens, he created one of the very first internet ISP providers in New Zealand, he understood computer programming and started with a Radio Shack TRS80 in basic computer language and became an expert in the cobalt programing language along with a clear understanding of Linux computer skills.
Chris did not suffer fools, he was first in putting everyone in their place, correcting their diction when they spoke (regardless of race), did not accept second rate service by companies and restaurants etc. He became an accomplished magician, he obtained and pilot licence and bought his own aircraft and qualified as a helicopter pilot.
There is no doubt here was a person who was an absolute individual who lived his life his way, yet had two dedicated kids who respected and loved his unique and distinguished achievements.
Chris Parkinson was without any doubt a special individual who has left a legacy to many and carved a significant part of New Zealand history.