the record is called ‘Poi and Piupiu’ and features a number of poi items, nowhere on the cover are these two words explained. A brief reference to the excellent cover photo which shows members of the choir clad in piupiu and twirling their poi would have been sufficient. In presenting records, and indeed Maori culture in general, we often assume a knowledge of (to us) commonplace things which the average tourist and casual buyer of souvenirs does not possess. Verdict: A first rate recording.

MOODS OF THE MAORI HMV CSDM 6258 12 in. 33 ⅓ L.P. This is a sample of the type of Maori record which all companies put out from time to time — a pot-pourri of items, most of which have usually appeared on records devoted in whole to the particular group featured in the excerpt. It is an inexpensive way of putting together a new record and has the advantage for the casual buyer of variety of item and presentation. The album cover of ‘Moods of the Maori’ claims this to be a ‘unique collection’. I personally would substitute the word ‘undistinguished’ for unique. The notes go on to say, ‘… one may still hear the ancient love chants, poi dances, action songs and warlike hakas performed at any Maori pa’. This implies to me a country dotted with traditional Maori villages wherein one can wander at will and expect to hear a simple folk tilling their soil and performing haka and what-have-you with gay abandon. HMV would be well advised on future records to leave out such inaccurate nonsense and concentrate instead on notes which give some genuine information about the performing groups and their items instead of just their names. Side one begins with Hukarere Girls' College singing ‘Karu’. This is followed by the Waioeka Maori Cultural Group performing ‘E te Tau’. This is an item totally lacking any merit whatsoever. Personally I believe that this type of item degrades Maori culture. It starts as an action song. An obtrusive guitar belts out the rhythm in a style reminiscent of a steam hammer. In the middle of the item the group switches to English and for the rest of the time asks ‘Do yer lerve me, do yer, darlin’. Te Aute Maori Boys' College follow with ‘Hine e

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Hine’. The harmonies and singing are generally good in this item but it is marred by poor timing in some lines and a consistent inability to sustain the notes at the end of lines. The boys then perform a haka. Hukarere Girls come on again with an action song in which half the performers try to drown the other half by endlessly shouting ‘karanga’ on each beat. Waioeka return to redeem themselves slightly with ‘Te Marama i te Po’ and ‘Pakete Whero’. However, the items are jazzed up and sadly lacking in grace and finesse. Ngati Poneke ends side one with an innocuous little vocal group singing ‘Haere Ra’. This is hardly representative of a group with such a high reputation in the choral field but it is a fitting conclusion to a very disappointing side. Te Aute Boys lead off side two with ‘Ruaumoko’, a classic haka which is all too seldom heard on record. This could not be called a definitive rendition but it is quite competent. Waioeka presents an insipid and rather confused performance of ‘Wiata (sic) Poi’. Ngati Poneke's second contribution is labelled as ‘Takiri’ but is in fact ‘Tahi Miti Toru e’. Hukarere follows with a pleasant but overly strident collection of hand game calls sung to various tunes, including ‘Banana Boat Song’. The disc improves with the last three items. ‘Takahi Ra’ by the Hukarere Girls is catchv with some good singing. Te Aute finish off with a pleasant solo and chorus, ‘Tangi Mai’, and a spirited action song, ‘Tihei’. There is quite a striking photograph on the front of the cover but somehow I found it symbolic that the predominant colour on the reverse side is black.

AOTEA TUA-TORU Viking Stereo VP 260 12 in. 33 ⅓ L.P. This is indeed a Maori record with a difference. I do not imagine it will have a great