Live

Rip It Up, Issue 97, 1 August 1985, Page 36

Live

David Taylor

Ardijah Sidewalk 42nd St Auckland, August 10 To a large percentage of New Zealanders, the backing track to their lifestyle is funk, and, to quote Parliament (Clinton's, not Lange's), “nothing but the funk." A vastly different dance stance to those who hold that the Dance Exponents, or Flying Nun represent the New Zealand sound. Every weekend, clubs are packed with people dancing to the DJ's discs and watching some of our best musicians, the musicians who make up what some call in a demeaning voice “just the club band." The three top bands at the moment are Ardijah, Sidewalk and 42nd St— all play funk but each has its different style . and approach.

Ardijah's strong points lie in the hard bottom line of Ryan Monga's bass when he hits the opening riff to Jeffery Osborne's 'Stay With Me Tonight’ it’s just pure class. The two vocalists, Betty Monga and Tony Nogotautama, have a perfect grasp of what makes up a good rhythm and blues vocal style; at times real cool and sweet and then nice and tough. It would be good to see the band push them to the fore, with just a microphone, rather than standing beind the conga drums. Their choice of covers and sense of dynamics is great, world class material. Sidewalk have a lighter feel, a finely honed clean sound, obviously a lot of work has gone into achieving such a professional tone. Mike Hall handles Marcus Miller's bass lines on 'Loving You' in fine style, with guitarist Pat Pratt throwing in some jazzy touches. Vocalist Dawn Wingeatt handles things real nice, with wonderful versions of This Song's For You' and the SOS. Band's 'Just Be Good To Me'. The use of drum

machine is good, because they need something to fill out the sound a bit more, give it that extra funky punch. The word "punch" is a good way to describe 42nd St. The band just hits you, the vocal section of Barrie Wetmi. Kathy Rapana and Georgina Tewhata really cook. The girls move well and do a great version of Teena Marie's 'Lover Girl'.

everyone on stage is in constant movement. A real visual treat, in the grand tradition of New Zealand showbands. Highlights include a version of Earth, Wind and Fire's anthem 'Boogie Wonderland’ and a percussive treatment of Bodywork; which evolved into some dynamite jamming, featuring Niki Nahi on percussion. When it comes to visual presentation, '42nd St' has it all over the other

bands. The girls looked perfect, the horn section worked well, the whole band put on an exciting show. All these bands have been working for years, working on cover versions that enable them to consolidate their strengths, to hone their skills. People tend to think that playing covers is something to look down on, but in a club situation, bands are expected to play familiar songs and there is nothing demeaning or easy in performing very complex arrangements like Earth Wind and Fire’s 'ln the Stone! There is no question about how hard-working and talented all these bands are the big question is what are they going to do with it? If these bands are going to do their own material, and go into recording studios, they're going to run into many problems. The level of sophistication and expertise needed to translate black American funk onto vinyl just isn't here. The bands are ready for a new

move, but there is no one out there able to help. The bands need arrangers and producers who understand the nature of the sound. Alas, there don't seem to be too many NZ Nile Rodgers out there. It’s really a cultural thing, the club scene is based in South Auckland, in clubs like Club New York in Papatoetoe (great neons and an enthusiastic atmosphere) and Cleopatras in Panmure (great owner and friendly people). Clubgoers are predominantly Polynesian and working class. The link between this audience and black Americans is perhaps stronger than you might imagine, it's a cultural bond. Here, some of the antagonism towards club bands is in many ways a political thing. In other words, a disguised form of racism. This intensifies the bands' sense of identity, and that isn't a bad thing. The future for these bands is now looking brighter, however, with some people interested in record-

ing and arranging these bands. Simon Lynch, the keyboardist in Sidewalk, has the talent and with some overseas experience could put something down on vinyl. All the bands have the potential to define a real New Zealand funk sound after years of consolidating their sound and learning from American bands, they’re just great. It's your fault if you miss something this good. Kerry ‘Controversy’ Buchanan Lady Sings the Blues Performance Cafe, July 25 Having never been to the Performance Cafe before, it was an enjoyable experience to walk into a small, crowded, very warm place that was jumping and except

for set changes that’s the way it stayed all night. Got the picture? Sorry to have missed 'Cut Lunch and a Team of Huskies’ two women from what was Siren, I believe. We arrived half way through Katy Soljack’s set and caught 'Ain't Nobody’s Business’; settling in for a good night looked easy. Everyone else seemed to know the women performing and Maria Monet was given an almost ecstatic welcome. She looked wonderful, sang wonderfully and I particularly remember 'Sleazy! Maria Monet is a PRESENCE! Last were Mahia Blackmore and two other women who're in Meg and the Phones. Mahia has a voice that, truly, pins you to the wall I can’t remember song titles but by this time it was Danceville, Arizona, they were amazing. I do remember Mahia, Katy and Maria’s

version of the Vanilla Fudge’s ‘You Keep Me Hangin' On! A great ending to a neat, neat night for me anyway, as it was exit to work. Lady Sings the Blues is about women’s blues raunchy and dancy and entirely good for your soul. It's also happening every month at the Performance Cafe from now on time! Fiona Rae Taj Mahal Suva 'RIU' writer David Taylor was recently banished to Fiji by virtue of his employ with HM Government, but he found that life in the isles has its compensations like meeting blues legend Taj Mahal: Taj Mahal is huge. The blues equivalent of Mr T. He’s recently

been holidaying in Fiji with his family. One evening in Suva I attended a private dinner party at the Java Restaurant at which Taj, his spouse Inshira and their brood were guests of honour. For a man who sings the blues with feeling, Taj is very positive. He enthuses about New Zealand, having toured several times, most recently for Sweetwaters in 1983, and a more extensive progress through provincial centres in the North Island. On those trips he met Herbs and rates them very highly. Take note of that recommendation; Mahal is an eminent musicologist well versed in American black music and that of the Carribean. He also also raved about Dalvanius’ ‘Poi E’.

Ideally he would like to see musicians from the Pacific basin share their distinct heritages. On a popular level unfortunately the mechanism for that collaboration might be difficult to find. There’s precious little money available, in New Zealand let alone the rest of the Pacific for such worthwhile projects. Taj is now living on one of the outer islands of Hawaii. He plays solo when the mood takes him and enjoys it. Recently he’s been involved in a TV project with George Star Wars Lucas. This one has something to do with the Ewoks, will screen in the northern fall and includes Taj’s musical contributions. Other recording? "Only bits and pieces.” After the meal the guitar appeared. A lengthy 'Freight Train’ introduced 45 minutes of sheer delight. The ambience in the restaurant was ideal and the music hung in the air as Taj’s gravelly tonsils caressed blues words. The second item was from the Mississipi Delta. Traditional gutsy fare. Then there was a tender rendition of ‘Stagger Lee’. At one stage a bottle fell over.

The clunk drew Taj out of his performing trance. "Hey, no problem,” he said. "Y’know in Texas some bars have chicken wire up to protect the band from broken glass. People just throw bottles at the band. It’s a real rough place. Just check your guns at the door.” Laughs. "You think I’m jivin? Go theah!" Another three songs, including a drastically rearranged version of Mitch Ryder's 'C C Rider! On two, Inshira provided vocal support. A soul voice, warm and strong, it made the right contrast with Taj’s raw chords. Taj and Inshira Mahal are good family people. The music they made was exuberant and affectionate. Mahal isn’t plugging for the Top 40 (although his back catalogue or the available compilations are worth seeking out). His personal values have lead him in search of a better lifestyle. I reckon he’s found it.