Live

Rip It Up, Issue 117, 1 April 1987, Page 32

Live

Rheineck Rock Festival Palmerston North : Showgrounds, March 28 ‘At least it didn't rain” Thus spake Scabies of the Damned before they launched into another hard-driving rock song. Lo ‘Well Ratty it was sunshine for all of the afternoon and the light-breeze-that-was died just before the air force did a flypast. The crowds weren't there, perhaps it was the boredom/fear of a drunken crowd which kept them away — they need not have feared, there was an alcohol ban on which tempered things nicely.

The Event — the afternoon starts timely with three bands from Meltdown Records. The first, the End, have no problem in dedicating each song to someone or something, proving you too can be roadweary in Palmie. ‘Locked’ stands out — those hills do crowd! Cement Garden follows. Again from Palmie, these lads show that music exists in the in-land. ‘Sunday Morning’ is a winner with its melancholic, wistful rolls. Bliss. “Too Slow to Go’ shows that the Pterodactyls are in tune. The Auckland band burlesques their way through a set with some brave bass playing during ‘Germs’ and ‘Cockroaches. Meaningful stuff from the city of the white ant. Three Leaning Men do not thrill. Abrupt chord changes, art rock stuff. This band sure isn't here to win friends, their music barely accessible — a poem to Vince Martin saves the day with a wonderful 60s Doors feel. -

Vrooom go the jets and the Bats follow suit. The charming fourpiece outfit headed by Robert Scott and driven by Paul Kean proved a highlight with counterpoint harmonies, rolling beats and people are dancing! ‘Made Up in Blue' is great, as is ‘Block of Wood'’ and ‘North by North'’ is a fitting finale. : With the arrival of Jordan Luck and his Dance Exponents the crowd really take off and Jordan has them singing and waving hands, “even though I'm blue” The sound tends to merge though, with the bass player thrashing each song into a thumbs'n'thud exercise and guitarist Chris Sheehan, although proving that he can

play, attacks each song with a mallet of sound. ‘Victoria’ will survive through anything and ‘Where's Harry Ratbag’ is one song where everybody enjoys themselves.

It's never too late for Herbs, and the audience are treated to a beautiful mixture of soft, easy rhythms, quite different to the rock'n'roll order of the day. This band deserves their cultural ambassadorship of last year, albeit honorary. ‘Nuclear Waste’' and Taj Mahal’s ‘Everybody is Somebody; proven beautiful songs and the crowd responds. The importance of this band is atmosphere and their spot in the dying sun is a fitting tribute, for it surrounds their music with the pink glow of an Aotearoa sunset — imagine the sway of the ocean current and you've got the mood. This band is great. : . Paul Kelly is a brave man starting and finishing his set with slow songs — the beautiful ‘Randwick Bells' to start and ‘Maralinga’ to finish. Like Herbs, this man is atmosphere. A stage presence which demands your attention and a band that won't let your mind wander. Most of the set’s off the double album Gossip and except for a few lost rhythms the band is tight as. The crowd knows these songs and so they should, PK should go down in folk history as one of the few troubadour/ poets of the Pacific and | wish him all the best. Great singing — three-

part harmonies even! — the sax player blows gas like he's fit to burn and the drummer keeps things bouncing along. Kelly himself seems a man happy, he's found his place on the stage and the only way from here is up. Australia has rock’n’soul! : ¢

Yeehah, it's the Johnnys. Ear piercing proclamations and many beery salutes see a set of self parody through. Ol' Spence sure can whip up a treat on his gat and Hoody beats his bass into submission. None of the ‘| Got the Hoss and She Got the Saddle’ laments from these fellahs. Great renditions of ‘Showdown, ‘The Day Marty Robbins Died’ and ‘lnjun Joe, while the newie ‘Elvisly Yours’ pays homage to a thousand highway songs and sounds better than any of them. Loudn’proud, eh boys! The Clean’s ‘Anything Can Happen’ closes the set and the Johnnys lurch off to more turps’nburps. . The Damned prove.to be the pros of the day, launching into their set which is sure sound and rapid fire, but it all tends to sound the same. These guys may have been punk once but now it’s glam rock and beat which doesn't bop. The “crowd” is already half gone. Thanks Peter Shepherd, a wellorganised and managed concert. The only criticism of the day is levelled to the reader — where were you? It was a great farewell to the summer sun. Tim Byrne / =

ZZ Top : Western Springs, March 14 Okay, already, what's with all this enraged yuppie bit, the Star with its Wild Youth on Rampage paranoia, and the talkback shows full of declining poverty values. Give us a break ferchristsake. Seemed like a nice bunch of people to me, areal community, of sorts, like a Woodstock for V 8 boys. The Texan trio gave us a nice bit of high-powered blues in the night, with Billy Gibbons demonstrating that beneath all the technology of the latest albums, the guitar remains king, and the basic beauty of the blues will never change. -

Opening with a crunching ‘Got ‘Me Under Pressure; things never let up, moving from the hi-tech boogie of ‘Sleeping Bag’ and the pounding ‘Can’'t Stop Rocking’ to old favourites like Jesus Never Left Chicago’ and a great version of ‘La Grange’ — just magic. It was amazing just how many songs this band has done over the years, and perhaps it is only now that they are really hitting their peak with stuff like ‘Legs’ being a contemporary classic, and being one of the highlights of this particular show, next to the tender rendering of ‘Rough Boy’ and the funky ‘1 Wouldn't Touch it With a Ten Foot Pole’ (about the Star perhaps). - The boeys looked real good, but ‘it was a hard job getting a look at drummer Frank Beard hidden in the back, the dance steps were cool and crowd reaction was hot. Everybody had fun doing the ‘Tube Snake Boogie' and ‘Tush’ was the ultimate in boogie down. | can't wait to see them again. Jimmy Barnes was also impressive, with a bit of rockabilly in ‘Rising Sun’ and the massive anthem of ‘Working Class Man! When Michael Hutchence teamed up with Jimbo for ‘Good Times' the place went wild. Yep, there's nothing better than a huge helping of blues and boogie. Kerry Buchanan The Happy Accident Maidment Theatre, March 6 Alternative entertainers’ state of the art gang show, grim overtones (the performance was dedicated to Johnny Pierce) spliced with wild and wacky humour. This update of the Nitpickers Picnic was characterised by rare sincerity and spontaneity.

Agnes of Dog, comic duo. Terry (aka Rupert E Taylor aka Birdsnest Warwick) and Trish (Maxine Phlegm) on loan from the Titoki Opera Society, bridged eight varied media acts with tap dancing, an illustrated rendition of ‘There's a Place for Us’ (and the Kids) and their original Dunedin feminist rock group the Four Tits with live go-go hostages from the audience. ;

During interval, in their false teeth and dahlia decorated dressing room, Trish confessed “When you're improvising you don't know whatyou'll do next!” Terry: “It'll be drugs and booze next — think of the Kids, Trish. | wouldn't have wasted the money on the petrol if I'd known shed go like this” Massive Stereo hid behind wigs, a fire curtain and hulking hi-tech equipment to play absolutely soulless industrial machines. Steve Roach, I'm surprised at you.

Gaskrankenstation are the revamped Stalker Stilt Theatre. Interior space doesn't suit the scale of their performance, but witty costumes and apposite music gave charm to their Salt, Pepper and Little Tomato characterisations. They reappeared as silhouette performers in Jac Dwyer's Shadow Theatre, a visually gorgeous blend of Indonesian tradition and contemporary imagination with gothic narration. The Te Kani Kani o te Rangatahi dancers featured in several items. Their crazy hoedown ‘Mountain Dance’ was an exuberant exercise in creative kinetics, the whole complex rhythm pattern winding down to a sandwich break as the munching troupe wandered off the stage. : Chris Knox gave his most intense and convincing performance in years — a courageous self-revelation, sung, chanted and howled autobiography with a cyclic background video of Chris's haircuts and growth. ; Barbie, in a duel persona costume, presented original poetry — Ophelia's mad scene, scatalogical not herbal. Graeme (Humphries) and the USSR featured piano and violin. Outstanding — anti-propagandist

‘God Had a Megaphone’ with slides and dancers making a political statement about the media. Headless Chickens made the meatiest musical offering of the evening — fiercest talent in Auckland today, gloomy, sensuous, with screwy intellect and muscular impact — buy their record. Women _in white with movies projected on their aprons writhed up the aisles for the final song ‘Slice’ (of your diseased whakapapa) while - dancers staged a bizarre family reunion and stilts stalked on stage. The Happy Accident presented a refreshingly real showcase of cooperative creativity by performers outside the commercial mainstream. Hopefully an annual event. Jewel Sanyo Greg Hickman Memorial Playroom, Christchurch, r March 3 When a personality as charismatic as Greg “Bags” Hickman passes away, it's a sad occasion for many people. When that personality is someone as involved with music as Bags there is only one thing to do — have a damn ‘good party (or schlonging, as Bags would put it). : And a good party it was, with Fat Sally leading off by blasting a few cobwebs away with their own brand of heavy metal. Songs such as ‘Ballroom Blitz’ kept conversations to a strained minimum and one was left to wonder about the: strange line of headbanging individuals lined up at the front of the stage. By the time Neat Little Knockers (surely one of the longest lasting covers bands) came on, the dance floor was packed. Although Kevin Emmett remained on drums, as he did most of the night, and Brent Williams’' guitar screamed through the likes of Van Halen's version of ‘Pretty Woman, the Knockers werent quite as heavy as Fat Sally and would appear to have adopted a “cowboy” stance, with songs by the Hoodoo Gurus, the Johnnys and Jason and the Scorchers being predominant. The Edge (minus Dick Driver) raced through a short set of their ‘classics” and had everyone singing along with their ode to punk ‘Ol They were joined by Robin and Dale from Boy, who managed a couple of songs before the event

became a free-for-all with various musicians (including Don Rae, Jordan, Eddie Olsen, Rhys Dagg, Lesley Birnie) invading the stage to contribute to the chaotic version of ‘Wild Thing’ and ‘Gimme Some Lovin’ which ended the night. One got the feeling of being back in the old Aranui on a Saturday afternoon, when having a good time was more important than questioning the validity of covers bands, which is the only way to remember a good friend to local music. All profits from both Monday (which featured Roco Cola, the Rodgers and just as much schlonging) and Tuesday nights went to Greg’s family. John Greenfield Orientation Mardi Gras Albert Park, Auckland, March 8 ; The weather was fine, crowd thick and various, dogs docile, but the entertainment less inspiring than that which we might expect from such an established group of musicians. Probably the explanation for the relative inertia lies in the fact that many of them had performed the night before to the better of their ability at the Maidment — and a sunny Sunday is very energy-depleting. : The whole afternoon started slow, as the starting time of noon meandered into 1.30 while the collecting crowd were subjected to the setting-up of the PA. The Abel Tasmans broke into the afternoon in half-strength, both in numbers and commitment, but changed their line-up often enough to keep up a sort of mementum. Graeme Humphries’ magical fingers moved a little slower than usual, although | must admit to being captivated by the ‘BBQ’ song, even in its bastardised version. And indeed, to being a fan of the Abels at their best.

Even the vivacious Topp Twins were rather subdued, although their set after Dead Famous People picked up some energy. DFP should try for more interest in their vocals, and | found their version of ‘Age of Aquarius’ odious and flat, on par with the current remake of ‘Funky Town, but they did some lovely instrumental work, and | suspect would be tighter all round in different circumstances.

The Bats proved a good finish to the afternoon — even the sun

came out and even the semi-cool dropped their pretensions to dance. Robert Scott’s vocals were mixed too loud for my likeing, especially as he can't hold a tune too well, but | think the crowd were relieved to be able to tap along.

Gaskrankenstation, with the stilt-walkers, seemed to be the only entertainment apart from bands, and again, the setting limited their impact, especially for those who had seen them the night before under lights and with ‘amuch superior PA. Maybe there was other stuff after the Bats, but | fled. A pleasant enough way to spend an afternoon, and the fact that none of the acts put on much of an act was due to poor organisation and a generally slack attitude rather than lack of talent. Still, the crowd remained quiet, .and that’s the most that any good citizen can hope for. Christine Rogers Abbey’s Star Quest : Whangarei Skating Rink, March 29 - Haven't you always wanted to be Phil Warren in Studlio One? “Listen, Maurice and Mabel, don't wear nylon cardies on TV ... did you knit them yourselves?” But hell it's hard work being a judge at a “battle of the bands” talent quest; | didn't know when | was dragged from the scratcher at 6.30 am on a Sunday that itd be 3.30 am Monday before | saw home again. By that time 20 bands had passed before my eyes and ears, 20 bands, five songs each, with ever-lengthening turnarounds ... Thankfully (don't all judges say this?) the bands were all of a remarkably high standard and extremely well rehearsed. Only the songs let them down — out of 100 songs, only half a dozen originals stood out. So, Ladies and Gentlemen, put your hands together for ... Whangarei’s Short Story were first up, a two-piece playing laidback Dire Straits/Gray Bartlett guitar lines against a drum machine. From Ruawai came Joe Public, fast punk rhythm guitar, a great drum sound and sludgy bass. Lots .of energy but a bit dense. Trax from Kaikohe would fill the dancefloor playing their covers in a pub: INXS, Jason & Scorchers, and a bulldozer version of Billy Idol's ‘White Wedding. Blind Ambition from Whangarei seemed to emulate Pat

Benatar, but vocalist Maria Turner was relegated to tambourine after the first number. Their energy was hampered by the songs, though the Gary Moore cover was well sung. Puhoi power trio Jura put their heads down and steamrollered away like Cream, good improvisations, but very indulgent. | get the feeling they went away smiling. Feeling woozy and battered? A quick quiz — who were the first band on? Cmon, buck up — there’s 15 bands to go! , Candy Apple Grey (Whangarei) presented muscle bound rock, needing more life, especially in the bass. Take a hint: the Church cover sounds better than the Cure; there's more to work with. Auckland’s Jack Pudding were a pleasant surprise. Looking like 1982 — with a haircut on synth out front — and needing polish, but with plenty of potential, as shown by ‘The Pirate Song’ The frontman Graeme Rhodes worked hard to be interesting, and best of all, sung his dark visions in tune. Tony Crawford's New Era Band was actually just Tony with a Darth Vader-like rack of machinery. But what a voice! Steve Winwood singing ‘Every One's a Winner’ and ‘Hey Jude’ to a backing track. Tony, loosen up, geta band, and cream it. Warkworth’s Zig Zag had ‘a grunty vocalist, built like a-brick skinhead, and a fine choice in covers: ‘My Generation’ and () Paul Kelly’s ‘Darling It Hurts’ The Pegs stood out, a well-rehearsed Auckland Byrds, with good harmony singing, accessible melodies and fine songs. Assured and capable, its time to go vinyl. Halfway there! On come Liverpool Direct, exubérant local Beatle freaks, with fine, note-perfect versions of ‘Day Tripper, and ‘| Saw Her Standing There’ but really guys, you look like the new Knack.: After a long long break came Stick No Bills from Auckland, with female vocalist in jodhpurs out front, confidence and ability shone from all five, though they need a catchy song and more light and shade in their set. Paihia's Mike Nettman Trio with Carol Power were the odd ones out — restaurant jazz, excellent but bland players. Dodgy vocalist but great bassist Richard Hammond; the crowd loved his solo. But ... ‘My Favourite Things'? Wha'sis — John Coltrane? NZ's David Lee Roth has been found!

He's Nicholas York Whittingham, midriff-baring lion-maned vocalist from Auckland’s Red Adair. Anthemic HM from a Queen-ish band of narcissists; sadly, form without content — the songs need tightening, and less cliches — follow the bassist’s individuality, not the frontman's posing. Auckland’s Dark Harbour are a covers band, but vocalist Marty Clark was the discovery of the day. A great, true, blues voice. The band added something to the unstoppable ‘| Feel Good, though the rhythm guitarist should let things breath a little. DR

On the home straight now, with Auckland's Jamboree — a very professional stage manner, but a disappointing live act after their excellent recent EP. The songs get rather tedious, and the strong rhythm section doesn't make up for the weak vocals. Seven Deadly Sins were next, with the sound of Auckland soul, and they shone like a diamond in a day of heavy rock. Superb, crisp, airy playing, with plenty of feel. Two great covers — ‘Shaft theme’ and a Rufus track — but best of all, two excellent songs of their own, particularly ‘Standing on the Edge! Whangarei’'s Bad Baby were a rarity — a blues trio based around a woman vocalist/guitarist. But really, pretty ordinary. Things were beginning to feel like Mainstreet on a Monday, and | craved for a fast forward button. The Dolphins brought a nice groove with them from Auckland, but the first song (and vocalist) was the highlight; good bass player and saxist. Finally, nearing midnight, Auckland’s The Keep were dirgey, but with good qualities — melodies, sounds and vocals — but a weak rhythm section. ‘Moonlighting’ was a standout.

Organiser, start the engine of the getaway car! Ladies and Gentlemen, the Winners! First (S3OOO from local garage Abbey’s, plus 10 hours at Harlequin Studios) — Seven Deadly Sins. Second (SIOOO from Abbey’s) — Dark Harbour. Third ($500) — Stick No Bills. The prize for best original song ($1000) was a tie between Jack Pudding and the Pegs. Now, around of applause for the fellow judges for keeping spirits up all day: Debbie Harwood, Trevor Reekie, Liam Ryan, Dianne Swann and Margaret Urlich. :

Chris Bourke