UPPERHUTTPOSSE-2

Liner Notes by Kerry Buchanan

Legacy. An apt title for this celebration of positive struggle against the weeping wound of capitalism and the lingering paralysis of colonialisation that continues
to hinder and alienate the Tangata Whenua of Aotearoa.
The posse since 1985 have remained steadfast in their combative desire to represent the answers to questions many have kept in denial. UHP have constantly and forthrightly placed the concerns of Maori people to the forefront; in their time they have produced four albums - Against the Flow (1989), Movement in Demand (1995), the Maori language works of Ma Te Wa (2000), and Te Reo Maori Remixes (2002). Formed during the influential influx of Afro-American hip hop that was perhaps the first musical-cultural force that offered a challenge to the immense strength of reggae, which had such a cultural resonance to all Polynesia. Reggae told stories of struggle and its beats seemed as natural to us as the waves rolling upon the beach. However hip hop offered something else, it gave a language bursting with rebellion, the process was one of an accumulated narrative of protest. Rapping is a style of story telling, akin to the oral traditions enshrined in Maori culture; the narrative, the process of bringing truth and wisdom through talk. Hip hop was encoded with “street wisdom”, even the beats brimming with funk spoke with a cultural voice that found favour with many in Aotearoa.
Most just vicariously lived the hip hop culture, what made UHP the avatars of Aotearoa hip hop music, was the use of hip hop as a backdrop to their perceptive interpretations of history. Debunking the hegemonic process of European history tracks like E Tu praised and told the narratives of Maori warriors and leaders, a political rereading that has real resonance and meaning.
The subsequent album “Against the Flow” proved to be a truly outstanding work in every facet, Aotearoas’ first burst of hip hop that now has become an enshrined facet of our musical world and one held with great pride. UHP were the first and most important hip hop act in Aotearoa.
Still representing the UHP spirit is Dean Hapeta aka D Word aka Te Kupu constantly working on investigating the nature of struggle; through the medium of film and continuing musical releases, both as Te Kupu and through UHP joints. Essentially the spirit of cultural protest remains the same as it was in 1989’s “Against The Flow“ although lyrical maturity and the use of Te Reo Maori has strengthened the message.
This new work from UHP features Te Kupu (who also produced the album), original member M.C Wiya, Nat Rose, singers Joe Hauwaho and Tihikura Hohaia, Emma Paki also appears on seven tracks. Let us not forget Hapeta’s own eleven-yr. old daughter Ataahua who graces two cuts.
Legacy incorporates both English and Te Reo Maori tracks, the musical programming from Hapeta provides a variety of feels from minimalist swirls, 70’s urban funk, digital reggae sways and soundbeds layering flutes and guitars that wash under the beats.
The songs represent some of the Posse’s best work; the Maori disc has the double beauty of the music and the language. “Huia” begins with its call to community, and also has the nice addition of a version of UHP’s very first song, “World of Confusion” unreleased until now and transfigured in the Maori version of “Ao Raruraru”. A lovely twist is “ Ko Te Tino Aroha Nui” a version of “The Greatest Love of All” from Ataahua Hapeta-Taereau.
The English disc has bangers in “Ngati” a hip hop throwdown about manifesting struggle and the uplifting of a people’s spirit “Ganga Wars” is a sleng teng rhythm drop that MC Wiya dominates, and the closing track “E Te Iwi” features fine vocals from Tihikura Hohaia.
Two tracks are of particular interest, one the dancehall laced boom of “Sight Divine” reminiscent of the great “Ragga Girl”. Here we have a duet of sorts even though it features the vocal talents of five singers; Joe Hauwaho and Emma Paki in the choruses with verses by Te Kupu, Nat Rose and MC Wiya concerning the attractions of love, where the male is struck by the female’s beauty and promises much. “Such a pretty flower as a girl like you / Needs a Ngati that’s gonna treat her true / I will never ever make you blue / If I ruled the world I would give it to you.” However the female has been hurt before and desires more than physicality. “Already though my body’s giving in / but it’s in my heart you have to win.”
The other is “Hold I True”, a tribute to political and cultural activism that upholds protest as a necessary and vital act. Lyrically this is UHP at their best combining Maori and English lyrics of beauty and power all expressing love for the people and the truth of struggle, as these lines demonstrate. “True yes it’s true, for the people show we what to / Cause resist pump that fist for true justice we persist / Yes resist, staunch that fist for true justice we insist.”
As always a strong presentation of lyrical skill, musical diversity and an unflagging dedication to the eternal struggle and the desire for truth. These lines from the title track personify the unflagging UHP spirit and their fortitude in struggle.
“(We are) The legacy of aroha reign supreme / (We are) The legacy of strength against fear / Kia Kaha! Do ya know what we mean.”