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LIVE

Netherworld Dancing Toys My Three Sons, En Can MA Gladstone, August 21 My Three Sons (and a daughter) don't fall into any of the neat categories the Christchurch music scene has established for itself. Singer-guitarist Bevan Rapson always said he wanted the band to sound like Dave Edmunds. They don't. Rapson has the band's entire quota of stage presence. He sweated, shut his eyes and sang as hard as he could. His lyrics are built through a constant process of improvisation and evolution, even on stage. This is how a song called 'Gladstone' can be about the Crucifixion. Rapson's voice is coarse, strong and occasionally tuneful. Bassist Bruce Findlay's tenor is an ideal harmony and should be used more often. Deb's sweet, jazzy sax is an ideal contrast to Rapson's earthiness. Her break in 'Look Away' was heavenly. Some of the songs were just too clumsy, however. They are capable of better and will achieve it. Watch them next time. En Can MA weren't supposed to play, they just went backstage and asked if they could do a couple of songs. They were loud, arrogant ('This song is called ... 'Eat Shit' ") and played too long. I liked them. Netherworld Dancing Toys' name made them sound like some sort of third-rate Danse Macabre. To be approached with trepidation? No fear. NTD are a Dunedin soul band. Dexys take their place alongside Sam and Dave and Wilson Pickett among the covers.

The crowd loved NTD, the dancefloor was full before the end of the first set. All kinds of dancers, from the hip to the

decidedly non-hip. The trouble with being a soul band is that you gotta have soul. NTD didn't always. They were thoroughly genuine, just sometimes a shade wimpy. Songs like 'Midnight Hour' fizzed where they should have burned. Guitarist Malcolm Black should be doing most of the singing. His was the strong voice. Highlights included Sam and Dave's 'Hold On, I'm Coming', a great 'Louie Louie' and "Where Are the Flowers?' by guitarist Nick Sampson. The horn section was excellent. NTD were good, honest fun. I’d go and see them any day of the week. But young soul rebels? Nah. Russell Brown Urbs, Bombers Windsor, August 25. The Bombers are Deineke Janson (guitar), Webster (bass), Larry DeZoete (drums) and Sonja Waters (ex Instigators, keyboards). They are the original Bombers who debuted over a year ago, except Sonja, who joined about three months back. Despite having strong frontpersons, the band were messy and the sound wasn't that good. However, playing to about 25 people on a Wednesday night can t be that inspiring and judging from previous nights they are capable of better things. Urbs won the 'Best Band' title in this year's Christchurch Battle of the Bands. They are comprised of principal songwriter and guitarist Bill Direen (ex Builders), sometime songwriter and fulltime bassist Campbell McLean and drummer Malcolm Grant. By Direen's own admission, it wasn't a good night. For a start, Campbell kept hiding behind the speakers. They started off the set with slower songs which tended to run together in a long, monotonous yawn. But when they hit their stride, they seemed to gain more

confidence. The excellent 'Moderation' and a great mutated 'You Can't Do That' stood out. Barry Morris Urbs Coloured Pencils Reverb Room, August 28. Well, what a night! When did people last stand on their seats and scream for more at an Auckland pub gig? What about the stripper? What about Bill Direen? What about Chris Knox playing the keyboards with a Fosters can, his elbow, his head? Coloured Pencils and Urbs playing for the last time in their present incarnations. Coloured Pencils noise, verve, no monitors ... kinda like punk rock, remember punk rock? These guys are drastic, booping saxophones, slash/strummed guitar, overwhelming drumming from Rex Visible, forget the lyrics, peg it all on Frank Steentjies playing consistent bass all the way. Urgent message to the nervous system - get loose. Best songs: 'Collapsed', 'Festering', 'Social Welfare'. The Coloured Pencils are Rex Visible (guitar and drums), Steve Marsden (drums or guitar), Frank Steentjies (bass), Pat Pencil (vocals), Brian St John (sax and beer bottle), Bruce Pencil (sax). In contrast Urbs play so clean and tightly structured they seem almost tame to start with. But this band has massive cumulative effect. They start slow and work up to hysteria level, siren guitar and sustained scream on 'Accident'. Bill Direen is a giant talent as guitarist and vocalist it was his night. He was ably assisted by Campbell McLean on bass and Malcolm Grant playing drums, with occasional Chris Knox on keyboards.

High points: too many to number, some titles for the record Thought I Knew You', 'Red Sky', 'Jesus' and grand finale 'Magazine' with everyone jumping when the buzzer rang. Jewel Sanyo Midge Marsden Connection Willie Dayson Blues Band GluepoU August 13. With both bands due for an album release shortly, this double bill provided the punters with an idea of what to expect. If the level of music from both bands is duplicated on vinyl then both albums should do well. First up Midge Marsden's Connection stirred the sizeable crowd into life with their mix of bluesbased material and well-crafted pop songs. Marsden was his usual exuberant self with solid vocals and harp, ably supported by nice guitar work from Mike Farrell and equally as nice keyboards from Liam Brady. The crowd were treated to a selection of old and new songs, the set being rounded out with a rousing version of Louis Jordan's classic, 'Caldonia'. After a considerable break due to a lack of power, the Dayson Band stormed onstage with their interesting blend of standards, originals and steamy, slow blues. Best songs from a top-notch performance were Magic Sam's The Way I Love You', which featured an excellent guitar solo from Dayson, and an extended. version of 'How Blue Can You Get', during which Marsden came back onstage to join in a harp duet with Dayson frontman, Brian Glamuzina. All in all, a good night with both bands turning in good performances which augers well for the future. Pat Evers

This article text was automatically generated and may include errors. View the full page to see article in its original form.I whakaputaina aunoatia ēnei kuputuhi tuhinga, e kitea ai pea ētahi hapa i roto. Tirohia te whārangi katoa kia kitea te āhuatanga taketake o te tuhinga.
Permanent link to this item
Hononga pūmau ki tēnei tūemi

https://paperspast.natlib.govt.nz/periodicals/RIU19820901.2.37

Bibliographic details
Ngā taipitopito pukapuka

Rip It Up, Issue 62, 1 September 1982, Page 24

Word count
Tapeke kupu
1,020

LIVE Rip It Up, Issue 62, 1 September 1982, Page 24

LIVE Rip It Up, Issue 62, 1 September 1982, Page 24

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