Shake Summation

Rip It Up, Issue 119, 1 June 1987, Page 34

Shake Summation

Crowded House ‘Something So Strong’ (Capitol 12”) History never repeats? In 1964 Capitol successfully marketed charming, refreshing pop to a blanded-out USA. Now, here comes the Fab ’free. ‘Something So Strong’ epitomises Neil Finn’s knack for hard-driven acoustic guitar based melodies, made for singalongs, and unspoilt by Mitchell Froom’s crisp, natural production. ‘Can’t Carry On’ (from the CD) is a slight piece of Enzy paranoia, produced by Eddie Raynor with a great Rubber Soul middle eight. The album version of ‘I Walk Away’ completes this three-track EP; on a songs-for-cents basis, the LP is better value. Yesterday’s sound today, but pure pop for now people.

Ardijah 'That’s the Way’ (WEA 12”) Not a dancer and held down by the heavy guitar, ‘That’s the Way’ is saved by the wonderful chorus, with Betty Monga’s silky voice multi-tracked to "reggae it up!” Coproduced by Ryan Monga and American Tony Hermeke, it's as accomplished as anything ever done here — but great production also needs good taste. The gem is on the B-side, which Ryan produced alone with a light touch. The seductive ‘Give Me Time’ has another great vocal and outclasses the soft soul that’s been dominating our charts for months. The mini piano concerto at the end should be saved for live gigs, though; as a 7” this would be dynamite. Fat Sally ‘Shadow of the Night’ (EMI 12”) Fat Sally has plenty of grunt and only disappoints during slower moments. But “Warrior Bold’ aside, this five-track EP must fuel some great parties in Christchurch,

where sound police are called and the neighbourhood cats run away. Keith Palmer has a Mercurial voice that could strip paint, and Nightshift Studios have achieved a superb fat and raw sound for the standard guitar-bass-drums lineup, only let down when keyboards are added. Good songs, ‘Today’s Pressure’ and the title track standing out, with surprise endings. Another fine hunk of Kiwi metal. Hammond Gamble ‘Photograph of Your Heart’ (WEA 7”) Hammond’s familiar anguished voice returns to a plodding verse, but it comes alive at the uplifting chorus which takes me back to the better moments of early 70s radio: the Hollies and (yes) Ringo. The whimsical flip ‘More Photographs’ mixes things about, extends the Queen guitar solo and lets producer Dave McArtney make his mark.

Jenny Morris ‘Body and Soul’ (WEA 12”) Jenny goes INXS part two. Not as instant as ‘You’re Gonna Get Hurt’ but though the backing dominates, her voice eventually sneaks up on you. The voice threatens to take off on ‘Animal Magnetism’ but the song holds it back. The slightness of the material is shown by the C&W version of

Tve Just Seen a Face,’ a Beatles throwaway with a vitality that carries tjzie ER With challenging pop material, Jenny Morris outclasses the competition; singing rock, she sounds like a tomboy. Satellite Spies ‘Private Detective’ (Reaction 7”) With the credibility of Sledgehammer but not the wit, ‘Private Detective’ has a plethora of catchy elements (the snappy opening,

the tricky high guitar chords) but it’s trying too hard to be a natural pop song. The excellent slinky bass playing carries over to the more melodic busy-busy B-side ‘Walk Away With Pride.’ Chris Bourke Ralph Bennett Fat ’n’ Sassy (Ode) This album by Ngaruawahian bluesman Ralph Bennett has been out for a year now, but may

be in increased demand following Bennett’s gigs this month (including the Jason and the Scorchers' support). It’s strictly a blues/rock album, leaning heavily on the influence of Elmore James, indeed James’ showpiece, Robert Johnson’s ‘Dust My Broom’ is one of the tracks. Fat ’n’ Sassy’s sound is raw and thick, Bennett’s a mean blues guitarist with a hot slide, and only on the slow numbers would this disappoint for fans of the genre. CB