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reviews of 'puawai' 
'You have been warned of a major talent'
The New Zealand Herald
(Herald rating * * * *)
Part-waiata, part-folk, part-spoken word, and all class from the Christchurch-born singer.
This Kapiti Coast-based singer-songwriter was in these pages a fortnight ago, saying her music had been described as 'kinky indigenous symphonies'. To which we might add kindly, don't always believe what people tell you.
Baker's enticing, folk-based music walks the line between Joni Mitchell in its melody-bending and entrancing vibrato, and Bic Runga in its elemental elegance. But it also has the added depth of her Maori heritage in the occasional use of te reo and the waiata tradition.
With slippery bass, lap steel, djembe drum, cello and traditional Maori instruments used discreetly, this diverse collection runs from a cappella to full-bodied folk and spoken word pieces over picked acoustic guitar.
Baker sings of the power of nature in a way which is heartfelt but never cloyingly sentimental, of the fires of love which both warm and sear the heart, and of her heritage.
The final track is a spare rendering of the beautiful ballad Secret Love, which she treats with reverence.
Baker has just published her first book of poetry (matuhi | needle), and this album is a finalist for Best Folk Album of 2004.
The winner will be announced when Baker and the other contenders (Bob McNeill and John Sutherland) play the Auckland Folk Festival at Kumeu on January 30).
You have been warned of a major talent.
(Graham Reid)
'Gorgeous stuff'
Air New Zealand In-flight Magazine
March 2005
Gorgeous stuff from poet/singer/songwriter Baker, whose voice is at times reminiscent of Joni Mitchell, all yearning highs and rich lows. Te reo Maori and traditional Maori instruments make well-placed entrances on this must-have piece of New Zealand.
'A creative and musical stroll'
New Zealand Musician Magazine
NZM December/January 2005
Hinemoana Baker weaves the spoken word with the sung, Te Reo Maori with English, space with clutter, beauty with sadness. From He Mihi in a cappella greeting voice to the final song, a lovely cover of Secret Love, I was happy to be taken on a creative and musical stroll through Baker's sound ideas. An assortment of instruments including Taonga Puoro (Maori instruments), very cool lyrics and strong poetry, a clear and precise voice, some music to dance to, some to close your eyes to and always there are the stories. Love songs of the heart and of physical passion. Baker plays a fine electric and acoustic guitar and has arranged music to surround her breath in warmth and clarity. My favourite song at the moment is Blue Sky in which Baker shares the stage with Tyree Robertson. Already an acclaimed poet, play-write, singer, musician, recording artist, 'puawai' is Hinemoana Baker.
(Mahinarangi Tocker)
'Voice soars'
Rip It Up
...Baker's ethereal voice soars in her higher ranges, becoming almost operatic in parts. Impressively, she sounds just as good in a low register. This album would go down well with the same audiences Moana Maniapoto has captured in the international market.
(Narelle Jackson)
'Obvious passion and joy'
Smoke Notes
http://www.smokecds.com/cd/36419
Musician and writer Hinemoana Baker has performed around Aotearoa / New Zealand since the mid-90's. Born in Christchurch, brought up in Whakatane and Nelson, her tribal connections range from the Otakou Peninsula to the Horowhenua and maunga Taranaki, while her non-Maori ancestors came from England, Bavaria and Holland. Despite critics and audiences raving about Hinemoana Baker for nearly a decade (she has toured nationally several times, and has shared stages with the likes of Hayley Westenra, Hinewehi Mohi, Tyree Robertson and Charlotte Yates), this fine album is in fact her debut full-length release.
Compared with everyone from fellow compatriot Mahinarangi Tocker to the likes of international stars such as Joni Mitchell, Carole King, Shawn Colvin and even Dido, Baker's music combines supreme vocals, tight technical rhythms and tunings, obvious passion and joy, and expressive poignant lyrics expressed in her many languages - from te reo Maori to rhythmic scat to the language of literature. The songs themselves have many different voices: from the anthemic rock track "Free" to the delicate raindrop feel of the title track and the sweeping summer-scape of "Blue Sky". While none of her songs become traditional waiata, Hinemoana often flows into singing in te reo Maori and powerfully incorporates the sounds of calling that are heard when women karanga.
The songs range in subject matter from the percussive bi-lingual "Missing You" (about love and longing) to the uplifting "Talk You Up" (take charge and stay positive) to the contemplative "Puawai" (in which Hinemoana reflects on the experience of learning te reo Maori as an adult) to the only cover on the album "Secret Love" (a live favourite that was a huge hit for Doris Day in the 50's and Kathy Kirby in the 60's).
A fine album that will appeal to those who enjoy the sound of the more traditional and folk based singer-songwriter. Recommended.
reviews of e.p.
'Haere Atu Ra'(1999)
'Highlight for me was Motel, a funky, ironic look at love and lust. Hinemoana also fully embraces her Maori heritage, which was a gateway of understanding for me.' (Melbourne's Folklife magazine)
Alanis should be so lucky.' (Winston Watusi, Bay Times)
what the punters say about 'puawai'
from abe.net.nz
'kia ora, this is not a review... 'puawai' is the latest offering from the talented hinemoana baker. released by jayrem records, it features 14 tracks of hinemoana's own unique blend of music, spoken-word poetry and te reo.
one thing that struck me about this cd is how well some of the older songs were translated from their 'singer-songwriter' beginnings to multi-timbral pieces. followers of hinemoana will recognise songs from her earlier cd's and/or her live performances - they're all here with a new lease of life. the transition from 'singer-songwriter plays guitar' to 'let's add some drums and bass' is a phenomenon that seems to trip up a lot of folk singers. i hate using the term folk singer' but it's pretty much the best way for me to describe a person and their guitar.
don't get me wrong, i'm all for cd's where all that is heard is the songwriter and their guitar ('bradley nowell and friends', 'pure white') but in the case of hinemoana's songs i always wanted to hear more. i wanted polyphonic assaults and orchestras recorded up in the himalayas. hinemoana's songs are so well-structured and so powerful that they seemed to crumble with the foundations of mere guitar and voice. her voice demands something that can equal it's force, something that is going to do it justice. many songwriters have progressed to the 'band sound' and it hasn't always worked. puawai is the case study. it's the winning formula that could save a lot of careers or boost them, which ever you think is the best option.
starting off exactly as her live sets do, with a mihi, you're then greeted with 'free', a surprisingly radio-friendly track that signals the arrival of hinemoana to the world of amplifiers, drums and on-point backing vocals. but drums! 'motel', the favourite of crowds around the country, has turned into an almost-western jaunt. add slide-guitar, brushed snares and bass, and you've got something that sounds like the musicians are having more fun than anyone has had on cd.
'puawai', in my opinion, is the jewel of the crown. cello, cicadas and hinemoana weave the most atmospheric piece of music that isn't on film. it wont be long until it is, trust me.'nga wehenga' is an audio version of the novel everyone has inside them. strange analogy i know, but if you've followed hinemoana's career you'll get it. why wouldn't a published writer/poet have spoken poetry on her songs? everything hinemoana baker is thrown into the mix (no pun intended, i promise) and this track is your result. the magnum opus.
from a fireside jam ('talk you up') to more spoken-word, more hinemoana baker with sweet vocals peering out of the clouds ('long time coming home'). the album, which actually feels like an album - not a collection of songs, continues on with 'yes i will'. when i first heard this album, 'yes i will' was the point where i realised that this album works. an album should personify the artist, it should be a true reflection of the person behind the words and music. listening to puawai is an aural handshake, a musical embrace, it's hinemoana baker - pleased to meet you.
'you and me' is addictive musical themes and subliminal instructions to find the lyric book. clever lines and languid spoken-word. who's genius idea was it to put a piano in there? prepare to wear out your repeat button. 'blue sky' is the reward, it's the optimistic credit theme. electric guitar that sounds like flying through clouds and one of those catchy hooks again. this is stumbling into a bright white light. it's a couple's first moment. it's an affirmation.
don't let my ramblings put you off, puawai is an incredibly good album from an incredibly good artist. it's one to play the parents, it's one to play on sundays, it's one that you should really have in your collection. chur.'
reviews