Page 10 Advertisements Column 1

Rip It Up, Issue 63, 1 October 1982, Page 10

a * VS A /T m <f) m LAST LAUGH FOR PRECISE CREATIVE 8 TRACK OR 4 TRACK : RECORDINGS . For sls an hour! Vulcan Lane Ph 794-562 n. «c>n • dwlders -!>er See 2 i|" r~V,goodie E.P. High 3os Piano 5-00 [ 4,. qq jThe T 5 00 Glean] II y Ho 2'W - soool\e B . R Great Sounds.. S,CH5 ,C H Grglt'fnq •Dungdin Double E.P. I c - —i ■ «=«■ — — --J 2'^R Pin Group |£,P. s^<=\ t _. cft^rc e Gordons L.P. g-qq frßnf/bn r* ►Tall Dwarfs E.P. 5*99 . —■■ l svr-t Mainly Spo»n»*ardS 45_ 2^q 3FSsap^^^Wj ess«> r £.P. 5-99

5 SIMS NO SWIM! MIDGE MARSDEN BAND: 12 Bars From Mars (Peak Records) And this is one of the best musical surprises of the year. Live, The Midge Marsden Band is a rest their voices on. lovely, raunchy, rough-and-ready, As it is, Marsden turns in a rocking blues combo. wonderful performance as the song Marsden has been around the Kiwi surges to a peak with a stirring and Aussie rock traps for years, . saxophone solo from Dennis Mason, blowing his harmonica, singing ana Even after that, side two stands as occasionally clutching a guitar with • the stronger, the long line of bands that stretches Starting with Wayne Mason’s right back to Barri’s Breakaways in Shooting in the Dark, a strong midthe mid-’6os. •paced rocker lifted by some sneaky Last year he finally made an album Dire Straits guitar from Farrell, the in his own right with his own band side iust goes from strength, stretchThe Midge Marsden. Connection. It ing all the remaining three tracks ont was a fairly patchy collection of old to five minutes plus. • - blues, stage favourites plus new, . Someone Else’s Cars another .rockier songs. A thin sound didn’t winner from Ryan— rumbles in on a help. Bo Diddley drum pattern from Ross The new album is a quantum leap. Burge and uncurls one of the best. Recorded in Auckland’s Harlequin choruses of an album full of good studio under the producership of Lee choruses. Connelly, it’s nothing short of stun- The album’s magnum opus, Don’t ning. m Corners!Askthat Mountain, They’ve moved from blues to swirls in on a piano phra§e Split Enz’s rhythm and blues and rhythm and Eddie. Rayner would be proud of blues with a fire, a sway and sweet before it takes to the air on the thrust melody, we’re all probably just not of John Dodd’s bass guitar, prepared for. This is the track that really leaves The opening Carry My Blues Away the roots behind, developing as it has the raunchy rocky sound down , does, into a piece of singular beauty pat, as has the beefy I Wanna Be With and a showpiece for. Ryan’s wohderYou. Track four side one, and Hard Finally, Blue Murder, a slinky R&B Town, penned by Marsden and piece of the sort Ry Cooder would be guitarist Michael . Farrell, is prime most fond. Sax from Dennis Mason knee-jerk boogie, steaming along on a and acoustic guitar from Lee Connel- . surging wave of guitars and tight ly shimmer alongside, Farrell’s slide bass and drums. guitar. One Wheel in the Sand, up next, is A marvellous album, no question. • the one to stand us all on our heads, Terrific songs, exciting and successthough. From the pen of keyboards ful excursions into new musical player Liam Ryan, it’s a sad ballad of areas, stand-out performances from '. . magnificent proportions. The sort of everyone in this fine band and great song either Tom Waitts or Randy, sound from Messrs Connelly and , Newman sometimes they’re not engineer Steve Kennedy. .that far apart would be proud to five stars —no sweat. Colin Hogg on rock albums rest their voices on. A B As it is, Marsden turns in a wonderful performance as the song ß A surges to a peak with a stirring saxophone solo from Dennis Mason. Even after that, side two stands as the stronger. Starting with Wayne Mason’s Shooting in the Dark, a strong midEaced rocker lifted by some sneaky Eire Straits guitar from Farrell, the side iust goes from strength, stretch- NEW RIBIIM ing all the remaining three tracks out to five minutes plus. Someone Else's Cars another winner from Ryan rumbles in on a Bo Diddlev drum pattern from Ross Burge ana uncurls one of the best choruses of an album full of good choruses. The album’s magnum opus, Don’t Stand in Corners/Ask that Mountain, swirls in on a piano phra§e Split Enz’s Eddie Rayner would be proud of before it takes to the air on the thrust of John Dodd’s bass guitar. This is the track that really leaves the roots behind, developing as it does, into a piece of singular Deauty and a showpiece for Ryan’s wonderful keyboard textures. Finally, Blue Murder, a slinky R&B piece of the sort Ry Cooder would be most fond. Sax from Dennis Mason and acoustic guitar from Lee Connelly shimmer alongside Farrell’s slide guitar. polyGram \ . ■ , V / • ■ / / - A marvellous album, no question. Terrific songs, exciting and successful excursions into new musical areas, stand-out performances from everyone in this fine band and greatOCTOBER )20 ONERAHI, WHANGAREI sound from Messrs Connelly and engineer Steve Kennedy. ls,l6 HILLCREST, HAMILTON 21 WIRI TAVERN Five stars no sweat.l9 DB WHANGAPAROA 22,23 MAINSTREET, AUCK MIDGE MARSDEN B A N D NEW ALBUM BARS polygram m L_X >*• .... I \ 3r X 11 / X / z TOURING OCTOBER 20 ONERAHI, WHANCAREI 15,16 HILLCREST, HAMILTON 21 WIRI TAVERN 19 DB WHANCAPAROA 22,23 MAINSTREET, AUCK