Various Artists

Alright In The City

UMNZ4749617
Release Notes
  • All transfers from disc and original master tapes by Steve McGough at Stebbing Studio
  • Four page insert with detailed liner notes, ephemera, and photos
  • Compiled by Grant Smithies and John Baker
  • Produced for re-issue by John Baker
  • Three songs with Highway in the title
  • Limited to 300 copies worldwide

Thunderous! Mammoth! And thats just the drum breaks! Add fuzzy guitars, full on wah-wah action, deep grooves and that KLASSIC KIWI D.I.Y attitude – ALRIGHT IN THE CITY is a collection of late sixties / early seventies F-U-N-K-Y hard rock from New Zealand.

Post-Woodstock, the NZ rock scene accelerated from the beat years of the mid sixties, gobbling some psychedelics on the way and concentrated on the G-R-O-O-V-E. With the availability of even-louder locally made amps and sympathetic producers, rhythm sections of the time could now easily compete with the screaming guitars. Bass players who had cut their teeth on many a garagey nugget in the NZ sixties scene Neil Edwards from The Underdogs, Dave Orams (ex Breakaways, Underdogs, & Bitter End) with Quincy Conserve, Rick White (ex Tom Thumb) in Farmyard all lay down some philthy bottom end action in their respective combos.

The NZ guitar gods of the time are all present on Alright In The City: Billy TK with his self penned track Highway for the Human Instinct; Jesse Harper / Doug Jerebine from his legendary UK recordings of 1969; Eddie Hansen blazes with Ticket on their 4+ minute monster Highway Of Love; and Harvey Mann leads The Underdogs on It’s A Blessing. Co-compiler Grant Smithies writes …
“With its rhino heavy drum breaks … Harvey Mann sounds seriously seedy throughout, with his petulant nasal whine and grubby off mic groans, and his treble heavy guitar solo is sharp enough to draw blood”

Quincy Conserve provide the title track and to quote Grant Smithies -
“it’s a miraculous pile up of blaring horns, syncopated handclaps, and (singer) Hayman’s distinctive husky howl all nailed to the floor by drummer Richard Burgess, who just won’t quit banging out those funky breaks.”
This is the same Richard Burgess who would go on to produce Spandau Ballet and have some hand in starting the New Romantic movement.