Ode Records NZ
Ode records was started in 1968 by Terrence O’Neil-Joyce and still operates today under different ownership. Throughout the 70s and 80s they released hundreds of albums and singles covering all facets of the musical spectrum. Amongst these are some of the funkiest and rarest New Zealand records ever pressed to wax. Here’s my top 11 Funky Ode Records releases, in the order that they’ve occurred to me in!
The Golden Horn Big Band – S/T (Ode 1975)
When I first reviewed this album, I said something like “New Zealand’s answer to the Daly Wilson Band”, but if I’m really honest, this album blows Daly-Wilson out of the water. More than anything else, this album reminds me of one of the best ever big-band funk records, ‘Dinha Mantha’s Power’ on the French PSI Library label. The band jams hard with a jazz sound that’s rooted in funk sensibilities right the way through. The compiled cuts that featured on the ‘Respect Overdue’ compilation are far outnumbered by other killers that didn’t make it on. I guess they didn’t want to have a compilation featuring just one artist! From ‘Dead Ringer’, to the fantastic, even if a little understated, cover of Quincy Jones’ ‘Hikky Burr’, this album burns with energy. Buy this record if you can find it. It remains one of the hardest Ode releases to source.
Quincy Conserve – S/T (Ode 1975)
The most consistently funky of their four albums, and the only one to be released on the Ode label. The Quincy Conserve play some hard, hard funk cuts on this release, the most obvious of which is the cover of Kool & the Gang’s ‘Funky Stuff’ with its great loping groove. But the whole record bursts with funky energy right from the opening bars of “Person to Person” with its sharp bass-line, right through to the rocky ‘Fault Line.’ ‘Havana Strut’ is a great long Latin funk cut with a nice breakdown midway that rolls into a thumping drum break with congas crashing all over the place. Definitely an album to track down if you’re looking for the funkiest thing ever to come out of New Zealand (well, The Open Souls might have earned this title in recent years!).
1860 Band – s/t (Ode 1978)
Another tough to find release on New Zealand’s Ode label. It’s not as out-and-out funky as The Quincy Conserve album, or as hard hitting as the Golden Horn Big Band, but it has its moments nonetheless. The group can best be described as a jazz-fusion ensemble, and they sound like a late-70s Kool & The Gang at their best moments. The band’s odd name is derived from the 1860 Hotel at which they held residency in the mid to late 70s. The group was made up of a number of well-known New Zealand musicians of the time, including Rodger Fox on trombone and Peter Blake on keys. Both of the strongest cuts on this album were also released as alternate sides of a single: the instrumental funk cut ‘Us’ and the vocal disco-funk cut ‘That’s the Kind Of Love I’ve Got For You.’ The band also turn in a decent version of ‘California Dreaming’, but the highlight of this record for me is the longest number, ‘Porky’, with its midway percussion breakdown that really sets things off. Overall a great record.
Kevin Clark Group – Edwards on Saturday (Ode 1975)
Of all the funky releases on the Ode label, this rates as by far the hardest to find. Kevin isn’t that well known outside New Zealand, but he has released a number of albums and has played on even more, and he continues to record today. In the 70s he used to front the house band for the popular ‘On Saturday’ TV show, and this album was released following the show’s success. He is joined by singer Fran Barton for this album, and she sings on most of the tracks. The second issue of the ‘Respect Overdue’ series featured three tracks from this rare album, and this was how I came to know of it. To date I have still never seen a copy for this album for sale anywhere. When I finally tracked down a DJ who had this album, it turned out that his copy was THE copy that they recorded from for the respect overdue compilation. After on-going negotiation, I traded a number of titles (featured here on this site) for this copy. Check out the great funky intro number, ‘Edwards on Saturday' (first in the soundclip below). When I parted ways with the collector who previously owned this copy, he asked me to record him a CDR of ‘Gringo The Rushes Oh’ because it’s a nice scat jazz number, and that’s really his thing. Not mine so much, but the cut is nice for what it is. The other cut to check for is the aptly titled ‘Funky Munky’ that bubbles along quite nicely. In fact, now that I look at the credits, all the funky cuts are Clark originals and the rest of the cuts on this album are covers. If only he’d composed the whole thing, or released more records, for that matter! As far as I know, all his other releases were on CD only.
Prince Tui Teka – S/T (Ode 1974)
Prince Tui Teka was quite the prolific performer in New Zealand back in the 70s, and he also put out a few albums and singles on the Ode label. In many cases, it was actually the Quincy Conserve who played as his backing band, which would account for the, at times, funky accompaniment. Mr. Teka was, for the most part, a soul singer with a penchant for the ballad-y end of the spectrum. This is best exemplified on this album in his fantastic version of Al Green’s ‘Let’s Stay Together’, a favourite soul song of mine since it was also the song my wife and I chose for our first dance. But I digress… Much of the rest of the album is made up of traditional Maori compositions, since this singer is himself a native New Zealander. Most of these numbers are a little snoozy, at least to my ears. The other highlight on this record is the upbeat ‘Heed The Call’, with a very lively breakbeat intro that comes back for a second round halfway through. I’ll admit I haven’t heard the other Prince Tui Teka albums, so I can’t comment on how this one stacks up, but it’s certainly worth checking out.
Space Case – Executive Decision (Ode 1981)
The first album of three albums by this New Zealand fusion outfit that included some of New Zealand’s best jazz musicians, such as Frank Gibson (drums) and Brian Smith (sax). Brian Smith and keyboardist Murray McNabb composed the whole album which was recorded in Auckland. The Brian Smith-penned “Knight” is a nice upbeat jazz funk number very much in a CTI vein. “Brothers” is also CTI-esque, although a little more subdued. “C.C.C.” is probably my favourite cut on the album, with nice funky drums on the intro before the sax gets going, and there are a few nice changes to keep things interesting. These three numbers make up the second side of the album, and I add with no hesitation whatsoever, that I have written off the first side as noodley fusion with no real character or appeal. Luckily they get into the swing of things on side 2 and don’t let up. So, if you want to waste 15 minutes or so after you find this record, feel free to try proving me wrong about side 1, or do yourself a favour and just flip the damn thing over!
Rodger Fox Big Band – Time Peace (Ode 1975)
An often overlooked funky big band from New Zealand, the group put out a few albums during the 70s and 80s. Rodger Fox was fairly prolific in his own right, contributing to lots of other New Zealand recordings as well. This is probably the best of the Rodger Fox Big Band albums, and it’s also the first. The album is generally known for the great cover of Kool & the Gang’s ‘Open Sesame’ that was also released as a 7” single, but there’s other great stuff on here to. ‘Time Piece’ is a great moody jazz funk number with some heavy horns. The ‘Star Wars’ theme is very disco sounding, but still has a certain charm about it. ‘Fly in My Soup’ is also nice on the groovy big band tip. One of the easier to find Ode titles worth tracking down.
San Francisco TKOs – Herm b/w Acid Lady 7” (Ode 1973)
Although the A-side actually ended up on a compilation of otherwise exclusively Australasian material, this band actually hails from Los Angeles. The owner of Creative Vibes mistook the release for a rare New Zealand group and issued it on the compilation before realising his error. What is noteworthy about this release is that the b-side is exclusive to this New Zealand pressing, making it highly sought after by collectors and DJs. The A-side can best be described as deep funk, but the b-side is a little more acid-rock sounding. ‘Acid Lady’ did recently receive a reissue on the Bay Area Funk compilation series. Although this single is not a New Zealand recording, this rare New Zealand issue of an already obscure deep funk release still represents an important release in the Ode catalogue, and one of the most sought-after New Zealand 45s ever released.
Gigi – Honey Do b/w Don’t Let The Disco End (Ode 1978)
An obscure little New Zealand disco number with a bubbly sound. Well… I’m assuming this is a New Zealand recording because I can find no other information about this release elsewhere. The A-side is a string-laden disco cut with very commercial-sounding female vocals. The flip is in similar style, but with a catchier vibe to it, and slightly less of a cheese factor. It’s saving grace is that half-way through, this really subtle vocoder vocal comes in before a bit of a breakdown until the singers return.
Quincy Conserve – Rockin’ Chair b/w Super Strut (Ode 1975)
While the A-side is lifted from the self-titled album that I reviewed above (and no, it’s not the Gwen McCrae tune as I had hoped!), the B-side appears only on this single release, and it’s one of their funkiest ever cuts. It is, of course, a cover of the Deodato-penned number, and it chugs along with a super-fast keyboard riff and heavy drums to boot. Great guitar work on the verse as well, and the horns chime in to provide the familiar chorus.
Golden Horn Big Band – Salsoul Hustle b/w Lucretia MacEvil (Ode 1976)
The second album by this seminal big-band featured both sides of this rare single, and since they represent the best of the album, I thought I’d review this single instead. Plus, it’s easier for me as I don’t have to talk about songs I don’t really like! With a name like ‘Salsoul Hustle’, you’d expect disco with an element of funkiness, right? If you answered yes, you’re dead on the money. But the B-side probably wins again with this 45. This track, already covered by fellow countryman Claude Papesch, is a killer interpretation of the upbeat jazzy number. With organ well in-place, 'Lucretia' grooves along with fantastic brass flourishes and a heavy backbeat.
