Live

Rip It Up, Issue 82, 1 May 1984, Page 16

Live

Jeremy Templer

Car Crash Set Zanzibar, April 25. Car Crash Set have pulled off this "we want to make every gig special, so we'll only play every now and then" bit with style. There's a genuine buzz about Zanzibar this night and those who normally would never dream of ascending those stairs are joining the perennial queue at the slowest bar in town. The floor clears and attention focuses on the stage. The first song draws approving nods there's a ring of confidence here. Big, busy, aggressive dance music. But into 'Beat Street' and the cracks start to show. It's a dumb song with dumb lyrics and it's not the only one in the short set. I know the idea isn't really to listen to the words but the banality is intrusive at times. The elegant clarity of Those Days' is the main respite here.

If the songs dragged then the sounds partially made up for them. Guest bass player Ryan (plucked, I understand, from a

resident covers band) is a real find. He twangs and plunks in fine, funky fashion but there's a kind of rock element that effectively holds down the bottom end. It was a pity that he often couldn't be heard in the mix. Guest singer Sharon Tuapawa fared worse - her pure voice was the finishing touch on the 'Those Days' single but it was lost to the live version.

Some complained about the volume and it was a little excessive but to my mind a bit of muscle is basic to what (I think) Car Crash Set are attempting. They've picked up the gauntlet to play something more than flaky dance music and they haven't quite held it together. I'd like’ to see Car. Crash S°t succeed - they've got mor*. smarts than most of the other synthesiserists put together.

Thus far, the Car Crash Set have had the sounds but not the songs. They're not going to get a lot further until they even things up. Russell Brown Katango The Bell Boys The Venue, April 21.

Easter Weekend, Auckland’s Venue is less than full, and the Bell Boys clear the dancefloor. They're a model support group; competent but uninspiring, playing songs you're familiar with almost before you've heard them. In an overlong set only their mediocrity is impressive and whoever steals their Tom Petty records will be doing them a favour. Boys, open your ears ... Katango's influences are similarly obvious, potential pin-ups playing synthesiser pop. In the normal run of things you would be well familiar with their records before they started playing live. They come preprogrammed for a receptive audience and start rather shakily. But the dancefloor fills and, technical problems overcome, they find their stride. Versatility, however, is not Katango's strong point and they clearly promise more from a recording studio than the stage. There they may find their own identity. One other thing these Katango guys could be a bit more imaginative. I mean, fer chris'sakes, every one of them calls his synthesiser 'Roland'.