Nest egg (The Phoenix Foundation) (LP 4485 - 4489)

The Phoenix Foundation  Pegasus (CD, The Phoenix Foundation Records, 2005) ***  

The Phoenix Foundation   Happy Ending (CD, Flying Nun Records, 2007) *** 

The Phoenix Foundation    Buffalo (CD, EMI Records, 2010) ****

The Phoenix Foundation   Fandango (CD, Universal Music. 2013) ****  

The Phoenix Foundation   Give Up Your Dreams (CD, Memphis Industries Records, 2015) **** 

Genre: NZ Music, alt rock

Places I remember: The Warehouse, JB Hi Fi, Slowboat Records

Fab, and all the other pimply hyperboles: Buffalo

Gear costume: All in an Afternoon (Pegasus), Bright Grey (Happy Ending)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: It was Samantha's love of the band that got me interested in the first place. She'd gone to Victoria University in Wellington and heard the band and played me some of their stuff. She was right! It was good!

Pegasus was their second album (I don't have Horse Power, their debut). It has a smattering of very pleasant-sounding acoustic guitar driven folk rock mixed in with heavier electric guitar alt rock sounds. 

The band at this stage was a six-piece combo: Warner Emery (bass); Will Ricketts (percussion); Richie Singleton (drums); Conrad Wedde (guitar), Samuel Flynn Scott (guitar, vocals, keyboards), and Lukasz Buda (guitar, vocals, keyboards). Along the way they have also enjoyed contributions from many other local musicians.

Third album, Happy Ending, was a turning point in that it expands on the foundation (sorry) of Pegasus. Overseas critics were also starting to pay attention and the album got good reviews in music magazines like Mojo (I was also paying attention).

The album starts strongly with Bright Grey (a single and a video by Taika Waititi) and then meanders along through similar territories as Pegasus but with an expanded musical palette.

Buffalo was a mostly excellent album, although the first half is better than the second half which tends to drift by a tad, apart from Orange & Mango that is. The title track and Orange & Mango are superb but there needed to more of those kinds of songs on the album for my money.

Fandango is a two CD album but it still feels like side one and two, meaning they pull off a double album without any bother. It allowed the band to try a variety of styles and to stretch out on some songs - for almost 18 minutes in the case of Friendly Society.

The final album on my list is Give Up Your Dreams. It's a return to the crisper alt pop of Buffalo in many ways, with some catchy tunes such as Jason. There's also more reliance on synth driven pop (like Flaming Lips) which takes a little bit of adjustment.

Where do they all belong? Apart from Horse Power, their debut, I've also yet to catch up on their last album Friend Ship (2020).

Singing my song (The Partridge Family) (LP 4480 - 4484)

The Partridge Family  The Partridge Family Album (Vinyl, Bell Records, 1970) *** 

The Partridge Family  Up to Date (Vinyl, Bell Records, 1971) ***  

The Partridge Family  Sound Magazine (Vinyl, Bell Records, 1971) ****  

The Partridge Family  A Partridge Family Christmas Card (Vinyl, Bell Records, 1971) **  

The Partridge Family  The Partridge Family Notebook (Vinyl, Bell Records, 1972) ***  

Genre: Pop, Bubblegum

Places I remember: Real Groovy Records, Slowboat Records, Viking Haul

Fab, and all the other pimply hyperboles: I Woke Up in Love this Morning (Sound Magazine), I Think I Love You (The Partridge Family Album)

Gear costume: I Can Hear Your Heartbeat (The Partridge Family Album)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: Scoffers and haters beware - The Partridge Family albums are quality products. The 'band' produced some great pop albums that were hugely popular.

Based on the real-life family group The Cowsills, and like The Monkees, this was a manufactured pop group for a TV show, and like The Monkees - I loved the show. I knew at the time that there wasn't an actual band. Even I wasn't naive enough to think that six-year-old Chris Partridge was a real drummer.

The actual music is superb thanks to the iconic Los Angeles–based session players popularly known as the Wrecking Crew. This group of musicians included Dennis Budimir, Louie Shelton, Tommy Tedesco, Joe Osborn, Max Bennett, Larry Knechtel, Mike Melvoin and Hal Blaine.

The background singers featuring members of two bands - the Ron Hicklin Singers and the Love Generation provide the so so harmonies and they have two very ho-hum solo moments on two tracks.

That leaves Shirley Jones and David Cassidy representing the actors on the TV show. And whaddaya know! David Cassidy not only looked great, but he could sing great too. 

The huge hit was I Think I Love You, but there are some excellent songs elsewhere on the debut, like I Can Hear Your Heartbeat.

The second album, Up to Date, repeated the successful formula from the previous year with the Wrecking Crew, but this time they doubled the hits: I'll Meet You Halfway and Doesn't Somebody Want to Be Wanted. The whole album was more consistent than the debut and it emerged only four months after it.

Album number three, also in 1971, is Sound Magazine. All the same session musicians appear again, so the high quality is maintained. The songs are terrific and David Cassidy's vocals had grown in confidence and were more nuanced. The big hit from the album was I Woke Up in Love this Morning.

Their third album of 1971 was A Partridge Family Christmas Card. The majority of songs on the album were Christmas standards like The Christmas Song (with Shirley Jones on lead vocals). The Wrecking Crew were again on board. As with the other three albums, it was hugely successful commercially.

Notebook is the last one on my list (so far). The album is the first indication that their time was up. No hits came from it, but the same musicians didn't suddenly forget how to play, so this album is an under-rated PF offering, I feel. We Gotta Get Out of this Place is a fun version of the Animals' hit.

By this stage in their career David Cassidy is the only real participant on the records. It wouldn't be long before that sham had run its course and he continued with a successful 'solo' career (begun in 1972 while he was also performing on The Partridge Family albums).

Where do they all belong? I'm missing a couple of albums that are on my wants list: Shopping Bag (1972); Crossword Puzzle (1973); Bulletin Board (also 1973). I have no Cassidy solo albums, nor any plans to collect them.

Utah (The Osmonds) (LP 4479)

The Osmonds  Crazy Horses (Vinyl, MGM Records, 1972) ****  

Genre: Pop, rock

Places I remember: Vinyl Countdown

Fab, and all the other pimply hyperboles: Crazy Horses

Gear costume: Life is Hard Enough Without Goodbyes

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: I bought this mainly for the novelty value of the title track. The rest of the album is a good attempt to toughen up the band's image. Donny Osmond's vocals don't get much attention as a result.

Merrill and Wayne Osmond are the vocalists most used for their rockier delivery. To their credit they and Alan Osmond in various combinations, write all of the material on the album. It's a strong effort. 

However, while it's a worthwhile attempt, the band can't really shake off their cutesy, wholesome image fully. It's too ingrained in their psyche.

Where do they all belong? I do own a Greatest Hits compilation as well and maybe that's a better place to start, as it provides a comprehensive overview. 

Metallic spheres (The Orb) (LP 4478)

The Orb  Metallic Spheres (CD, Columbia Records, 2010) ****  

Genre: Prog rock, electronica

Places I remember: FOPP

Fab, and all the other pimply hyperboles/ Gear costume: Metallic Spheres   

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: I managed to find this on a visit to Covent Garden's amazing FOPP store in 2011. I am not a fan of electronica, but I am a fan of Pink Floyd and David Gilmour. He features prominently on Metallic Spheres so I had been looking for a copy.

The Orb is basically Alex Patterson who provides 'sound manipulation', and keyboards plus a revolving series of partners. In the case of Metallic Spheres it is Tim Bran. Youth also contributes his unique skills to the album.

Ambient techno is the order of the day as the album meanders along very pleasantly. It's perfect album to relax to on early morning commutes, or late evening relaxing at home.

Where do they all belong? A great addition to the ambient techno collection which includes Bass Communion, Eno and Bonobo.

Creature of doom (The Only Ones) (LP 4474 - 4477)

The Only Ones  The Only Ones (Vinyl, CBS Records, 1978) ****  

The Only Ones  Even Serpents Shine (Vinyl, CBS Records, 1979) ****  

The Only Ones  Baby's Got A Gun (Vinyl, CBS Records, 1980) *** 

The Only Ones  The Best of The Only Ones: Another Girl, Another Planet (CD, CBS Records, 2006) ****   

Genre: Alt rock, power pop, new wave

Places I remember: Marbecks Records, Amoeba Music

Fab, and all the other pimply hyperboles: Another Girl, Another Planet (The Only Ones)

Gear costume: Out There in the Night (Even Serpents Shine)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: The Only Ones became MY band in 1978-1980. 

I was working at Marbecks Records during my University holidays and I fell hard for the first album. It was such a breath of fresh air in 1978: Peter Perrett's distinctive drawl and his singular approach to his songwriting; the inventive guitars of John Perry; and the authoritative engine room provided by seasoned campaigners Mike Kellie on drums and Alan Mair on bass.

Although its best moment is the instant classic Another Girl, Another Planet, the rest of the album has a great variety of approaches. These guys were able to play superbly to provide different shades of new wave music.

Even Serpents Shine is a superb follow up. No difficult second album syndrome for The Only Ones. The songs are catchy and well-arranged and while there is no instant classic pop hit this time, the songs are better overall in my opinion.

Their third album, Baby's Got a Gun was also their final album. They changed things up from the first two and tried a more commercially minded producer and the album was their most successful in terms of sales. Weird then that they should give up at this point.

Although I sold BGAG at one point, I've now bought back a copy. I'd still rate the other two albums ahead of it, but it's great to have the complete set.

Where do they all belong? The Best of The Only Ones - Another Girl, Another Planet is a handy one stop shop compilation. It has 21 songs that cover their career from 1977 to 1980. Only four years, but such quality!

This air I breathe (The O'Jays) (LP 4473)

The O'Jays Ship Ahoy (Vinyl, Philadelphia International Records, 1973) ****  

Genre: Soul

Places I remember: Slowboat Records

Fab, and all the other pimply hyperboles: For the Love of Money

Gear costume: Now That We've Found Love

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: I had read some great reviews of this album and so it had been on my list for ages before I chanced upon a copy on a visit to Wellington's Slowboat Records.

There is a thematic cohesion to the album built around the title track (and the cover image) which considers the slave trade to America. Although that serious subject matter is there along with comments on other social issues, the romantic soul sounds of The O'Jays are still very much present as well. 

The team of Gamble and Huff are responsible for producing the album, and they contribute some terrific songs - including the awesome For the Love of Money. Eddie Levert's lead vocals are superb on that one and throughout the album.

It makes for a unique album that succeeds in different ways. Not too many socially conscious albums have a hit single as well. 

Where do they all belong? A great soul album!

Self-esteem (The Offspring) (LP 4470 - 4472)

The Offspring  Smash (CD, Epitaph Records, 1994) ****  

The Offspring  Ixnay on the Hombre (CD, Columbia/Epitaph Records, 1997) ***  

The Offspring  Americana (CD, Columbia Records, 1998) ****  

Genre: Punk rock, pop, punk metal 

Places I remember: St Lukes music shop, Real Groovy Records

Fab, and all the other pimply hyperboles: Staring at the Sun (Americana)

Gear costume: Self Esteem (Smash)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: I first came across The Offspring on a sampler compilation. Their punkish sound with pop smarts and sense of humour were the factors that endeared me to the band.

Smash delivers on every front. It was their third album and their commercial breakthrough thanks to the successful run of songs - Come Out and Play, Self Esteem, and Gotta Get Away.

Their fourth album - Ixnay on the Hombre continues the guitar riff fun but maybe without so many commercial hooks. Nevertheless, four singles came from the album - All I Want, Gone Away, The Meaning of Life, and I Choose. It wasn't hardcore, and it had enough heavy metal crunch for me to stay current with the band.

The final album on my list was their fifth - Americana. It again contained a lot of bright punk pop moments like the huge hit Pretty Fly (For a White Guy) and She's Got Issues but Staring at the Sun was my favourite track - all boiling energy. Love it! 

Where do they all belong? I lost track of them post Americana.