live

Rip It Up, Issue 46, 1 May 1981, Page 18

live

Murray Cammick

Madness, Newmatics Logan Campbell Centre

May 5 First up were the Newmatics. The band have found themselves tagged as a ska group, but, like Madness, they go beyond that.with a. rare sensitivity. The Newmatics' 1 ' fortyfive minute set suffered initially from muddy sound, but . improved vastly after a couple of songs. They roared through their set of what are now pretty well-known songs, ranging from the strong to . the astounding. They performed their warm-up mission with ease and had more than their share of calls for an encore^BßM^Bßt^WM Madness are hard to describe they really do have to be seen. The band is just so damn charismatic irresistable, in fact. Right from the outset, the difference between most touring acts and Madness is obvious. They may be showbiz, but it's i no star trip and they obviously enjoy each other as much as the audience does. They run up and down the stage, they wriggle, they wobble, they push each other around and gyrate but backing" it all up are thesongs.TOMMMlßßWMa To this audience, every song was a hit, even the new ones and the unknown B-sides. It wasn't just the usual evening of greatest hits served up for the New Zealand audience. The guy behind me screamed for 'Swan Lake' about twenty times (he finally got it as an encore) and you got the feeling that if they could have heard him, they would have played it straight away. They were there primarily to be enjoyed, and had no pretensions, no desire to even think about it just dance. The set consisted of about eighty percent of the recorded Madness output, with five or six encores (I lost count) including two "versions of 'One Step Beyond' and Baggy Trousers',

but the individual highlights were too numerous to mention.

Madness are exhilarating, pure unadulterated fun. If you missed it, I hope you kick yourself, because at the, current rate of return of the really good bands, you may have to wait a long time. Simon Grigg

Wellington Zone Concert Concert Chamber, April 3. If there were any doubts as to the increasing buoyancy of the Wellington scene the Wellington Zone Concert dispelled them. Just as the capacity crowd (500 plus and others turned away) showed the increasing numerical support for local bands, the composition of it showed its broadening base. The battered veterans of old punk scenes are finding themselves increasingly outnumbered by new faces fresh from the suburbs. First on were Digits in their first gig for several months. Their material seems to relate more closely to early seventies' British "progressive" influences (i.e. early Genesis) than to the post-punk world and did not find many fans. Next up was the long awaited unveiling of Beat Rhythm Fashion. BRF go all out to paint aural pictures, musical evocations of mood and atmosphere, with no concessions to traditional notions

of rock as good-time dance music. At last an avant garde act with the musical chops to deliver the goods. For show organisers the Steroids, it was also an unveiling of sorts, a new line-up, new material, and a whole new musical direction. Forget the old Steriods equals headbangers equation, they have moved into new, more subtle and varied territory which could see them achieve the breakthrough which has so long eluded them. So far the mood of the evening had been fairly heady and contemplative and it was left to Mockers to provide ,an energetic close to the proceedings. If a few found their more conventional pop rock passe, and showed it, others obviously thought it the highlight of the evening and likewise showed it. A suitably chaotic end to the evening. Buy the record. Les Crew

Rhythm Method Windsor Castle, April 28 After the ; departure of vocalist Bill McGechie, Rhythm Method have added two new members. Ex-Red Mole drummer Phil Steel came in I on vocals and percussion, and part-time member, Mathew Flynn became permanent on . sax and xylophone. The inclusion of new people will not always alter a band's sound, but. in this ; case, it's unavoidablel9BH^HJHßbß| The first set begins with 'Walking Down High Street', the only new song in the bracket. Largely instrumental, it is an exotic blend of American jazz-funk and English new wave. The older material, with its ska overtones, pales by comparison, though 'Mad',. 'Time' and 'Situations' all benefit from the added fullness of the six-piece] s °undMMM After the break, it's straight into the acoustic guitar of 'Dancing Mood', the second new number. It's interesting, though a little repetitive. The band's projected single,

Organisation Winners . The } large j number of entries for the RTC Orchestral ; Manoeuvres In The Dark competition proved a headache. The number, of words in Organisation is over 300. Winners i of the album Organisation are John

Davis & David Beattie, Hamilton, John Connor, Rothesay Hay and jKay Barclay,*Aria; Winning posters only are Anna Gram Stratford, Mark Gasparich Drury, W. Simpson Hamilton, E.D. Newbigin Christ-

church, Warren Cate Kohi, : Dean Bond Murrays; Bay, David . Baker, W. Lightowler Linwood, Howard Warner Epsom, Garth Thornton Lyall Bay, Wayne Jarvis New Plymouth. —Mill

'Creating Criminals'; is a fine ; dance ' tune, with a strong chorus. In the past, Rhythm Method have shown their influences all too clearly. Although they still | have a problem in the vocals, their recent songs display a new [freshness. Some : hard work in the next few months can -only result in a sound of their own. Mark Phillips The Pointer Sisters Auckland Town Hall, April 21 There we were tin the centre ! circle, second row (reviewer's i perks yunno) and we couldn't | hear the Pointers sing! There was plenty of noise alright, just j that j the amplification was so unbalanced I suspect the sound g man was taking j some personal \ revenge on the girls by burying them in the mix. I think they sang pretty well though because people at J the front downstairs always applauded l enthusiastically. Occasionally the band did quieten down to allow those lovely voices j through. But to catch only desultory snatches of the sing- 1 ing was infuriating, especially; ! considering E the sophistication i of the sisters' act.WflnHd MAslforl the band (which is what I mostly got) they were your standard El Lay Bensonfunk, lumbered with one of, the stodgiest rhythm sections I've sat through flin|| years, even rendering ordinary the normally slinky 'He's So Shy'. The sisters' legs and hips moved to a far livelier rhythm than anything coming over the P.A. The only real instrumental salvation came from the keyboards of the girls' own musical director. With a good : sound system and a band of the" calibre the Pointer Sisters deserve, I think I'd have thoroughly enjoyed the show. Peter Thomson Hip Singles Hillsborough Tavern, April 25.

Hip Singles are Dick Driver (who should need little or no

introduction), Steven Ward (exHoovers) and three Australians plucked from the comparitive wilderness of Monash University and playing in a band for the first time. Hip Singles are an exercise in up-market modern pop, dominated onstage by the formidable presence of Dick Driver, the Frank Spencer persona yet more pronounced. Their repertoire spans twenty originals and four covers, keyboard-oriented, bright and clear. There is a sense of humour throughout, reflected in titles like Bionic Man', 'l'm Not Human', 'Circus Freaks' and 'Elevators'. Humour that is (thankfully) wry and never overstated. A band working in areas such as these will never over impress the hipper-than-thou but Hip Singles know what they're doing and do it well. Their stage presence is entertaining, the songs are intelligent and the whole operation thankfully bereft of pretension/ condescension. Direct Descendants are a different proposition altogether. Seemingly a pick up band, they contributed forty minutes worth of terribly moderne, very remote covers: Martha & the Muffins, XTC, Associates, the mandatory Bowie and some Flowers. The 'hip singles' in the audience (who put on the real entertainment and wretched it was too) loved them. I thought their decision to play 'Damaged Goods' bordered on out and out heresy ... Michael Higgins

Danse Macabre Herco Pilots Rumba Bar, April 27 With two successful world tours under their belts, and a hot single, the Herco Pilots are widely touted as a band to watch. Their set started with a series of carefully-rehearsed instrumental malfunctions which were diverting to say the least. In spite of the fact that they have obviously read their NME's thoroughly (and who hasn't?), the Pilots' music is highly original and engrossing.. While much of it sounds similar, their songs are full of intriguing ideas which more than justify catching the band and forking out for their single. The Herco Pilots and Danse Macabre often perform together -“ not surprising when the Pilots' Gary Russell is the brother of Danse Macabre's vocalist and synthe operator, Nigel. Danse Macabre get full points as one of the few bands making any real use of the synthesiser, and this is reflected in their material. The opinion often ventured in the band's formative stages that they were Joy Division clones has proved unjustified, and Danse Macabre are now one of the most exciting bands in Auckland. Their material, especially 'Torch', is powerful and well thought out. They have the ability to build a strong presence through the evening.

Both bands are acts to be proud of, a rare combination of

intelligence and a real feel for their music.

Simon Grigg

Split Enz, Penknife Glides Logan Campbell Centre,

Not so much a band these days, more of an institution. I've lost count of the number of times Split Enz have played farewell New Zealand concerts as they leave to seek their fortunes overseas. And each time the band has been subtly or radically different. By my calculations this is Enz Mark Nine, and possibly the best yet. Streamlined, polished and immensely powerful. In his review of Waiata, Roy Colbert commented on the group's new-found guitar muscle. This carries through on stage as well. Neil has never sounded so confident. His ringing power chords on 'History Never Repeats' showed another side to Split Enz. They are one helluva rock band.

It's strange seeing Noel behind the drum kit, but then that's a logical extension of his former role. While he lacks Mai Green's inventiveness, he has considerable rhythmic drive. He and Nigel Griggs give the band a propulsive energy, to fit the aggressive thrust of the new songs.

Tim and Neil indulge in a little, friendly, sibling rivalry, pulling bigger and better rabbits out of their respective hats. Back and forth they go, from 'Hard Act To Follow' to 'One Step Ahead’ to 'Shark Attack' to 'I Got You'...

The list goes on and on, every one a gem, folks. Needless to say, the audience

went cross-eyed with delight. And once again, we wish Split Enz every success. Exports like this we need more of. Penknife Glides came on to scattered booing, deservingly chided later by the elder Finn But there was none of that by the time they finished their set. If you think you know a better band in Auckland at present, please show it to me. But I'll be very hard to convince. The group is, as Shakespeare once I saidhhotlMmH Duncan Campbell v.'"'' Stevie-Wonder I Western Springs, April[l3% For two days the rain kept falling and Auckland fans wondered whether Stevie would play. If it had been dry 40,000 L people would have packed the Springs all wondering, what will he play? With eighteen albums, where do you start? Usually Motown acts dismiss their early recordings in token medleys, . viewing them as primarily the record company's achievement, not their own. (On a live album, Marvin Gaye described his early hits as a "Fossil Medley".) But Wonder has far greater respect for his fossils and his older fans. At 7.40 Monday night, he ripped gleefully into early hits 'For Once In My Life' (not his own composition), 'My Cherie Amour' and 'Signed, Sealed, Delivered' from 1968, 1969 and 1970 respectively. Others followed. ,9||MU

Right from the disco guitar break in 'For Once In My Life', it was obvious that Stevie and Wonderlove were not merely copying sacred charts. Appropriately only Stevie and his all

important bass player were front stage. Behind him on a higher stage were four dancin' horn players, four dancin' woman vocalists and the basic band. On occasions arrangements dispensed with the horns and the singers. Wonder performed two ballads alone and Wonderlove did one song without Stevie.

But the highpoints were when the whole unit was at full tilt on a Stevie Wonder penned chorus. First peak came with 'Boogie Down Reggae Woman' (with harmonica solo), 'Let's Get Serious' (manic little number written for Jermaine Jackson), 'Living For The City' (Wonder fell backwards off his stool), and Sir Duke' (the Wonder chorus?). On songs such as these the band achieved an amazing richness of sound. From there he performed 'Sunshine Of My Life', 'Superstition' (oldie the crowd responded most warmly to), 'l'll Be Loving You Always' and then Masterblaster', his remarkable tribute to Bob Marley. At the song's close Wonder and band left the stage leaving only the bassist playing for a minute or so. Wonder returned for a four song encore, Hotter Than July's 'Do Like You' first and 'Birthday' last. A great finale, Stevie has achieved so much, yet he directed his audience towards the achievements of another, Martin Luther King. Though the weather dampened the event and the crowd response, Stevie Wonder was still both musically and visually captivating. A great night.

April 29