LIVE

Rip It Up, Issue 124, 1 November 1987, Page 42

LIVE

Headless Chickens, Skeptics Gluepot, Oct 3 This was a night of such intensity and passion that you could be forgiven for wondering what alien ingredient besides standard Anglo Saxon blood (aided no doubt by varying quantities of alcohol) was coursing through all the talented veins performing. An effigy of the laidback kiwi was torn to shreds by the Headless Chickens, the broken pieces passed on to the Skeptics and incinerated by their burning, tempestuous wall of sound. Who cares about tunes and rhythms when musical souls are bared with such emotion and ferocity, not an everyday occurence in the land of she’ll-be-righters. It was a very sober-looking Chris Matthews who took to the stage (Saturday night this is), and by the second song, ‘Do the Headless Chicken,’ the crowd was already moving closer to watch Rupert Taylor shadow-play Indonesian style, and receive the fermenting torrent of energy. But it was energy not in its raw state but programmed and synthesised and stylised and staged so that no matter how impassioned was Chris’s voice or how frenetic Grant Fell’s bass playing, there was still a feeling of spontaneity and vitality that was lacking. Whereas the Skeptics were so full on that had they been charged with another watt of cacophonic energy

they probably would have selfimmolated on stage. Drummer Don White pulverised his kit, John Holvorsen scratched abrasive distortions from his guitar and Nick Roan added to the discordant melee on bass, keyboards and backup vocals, a combination which left not a few skulls in the audience numb. But the chappy in the most bizarre head space of the evening was undoubtedly lead singer David D’Ath, who flung himself round like a mannequine tortured by malevolent spirits. His fanatic and febrile chants and cadences merged genius with lunacy, and passion with terror to forge a hypnotic spell over those who could handle such an unholy racket. Just as well he’s the lead singer of an exceptional band and not a politician. Or is it...? Susan Camden Beaver and Friends Gluepot, October 17 The occasion was a farewell to Beaver, who was off to London for a two-week stint at Ronnie Scott’s famed jazz club. The first set was devoted to the sort of material she’s been developing in recent years: beautiful old songs that are beloved of jazzoriented musicians for their melodic and harmonic treasures. It takes a mature, intelligent singer to breath freshness into the standards like ‘I Can’t Get Started’ and ‘Solitude,’ and Beaver showed herself fully equal to the task. Mind you, she was supported by a band that included Brian Smith, Peter Wood, Billy Kristian and South Island guitar legend, Mark Kahi. Kahi, making a rare appearance in these climes, also took a couple of solo spots. As lovely as the music was, it by no

means found favour with all the usual Gluepot crowd, one of whom was heard to mutter, “This stuff should be at the Regent, not here.” The complainant soon ceased his moaning once Beaver took the stage for her second set. With a change of guitarist and guests Hammond Gamble and, later on, Sonny Day, the course became a solid helping of rockaroll and R&B. Yes, Beaver and Hammond duetted on 'Should I Be Good, ’ and yes, Sonny did a 10 minute rendition of ‘Savin’ Up.’ (He even asked us “Areyafeelinawright?”) The crowd loved it all and packed the dancefloor that had stayed vacant throughout the first set. A finale of ‘Dust My Broom’ brought onstage together all nine musicians who’d featured throughout the evening. If the second set was what the Gluepot had wanted all along, it’s more likely music from the first that Beaver will be honing up with the musicians she'll be encountering in London. Peter Thomson Flesh D-Vice Gluepot, October About the most exciting part of Flesh D-Vice’s Halloween night was the mad axeman outside who managed to hack at a couple of unsuspecting punters’ limbs. Inside, the long-established Wellington hard rock band was offering little in the way of tricks or treats. They delivered a steady stream of tight speed thrash originals and covers that were well executed but made for a predictable and boring performance. ■ Gerald l’ve-been-in-the-eye-of-a-hurricane Dwyer belted out the lyrics in his usual rock star fashion accompanied by Eugene Pope, long-

standing guitar screecher of note. But Eugene didn't really look like he was enjoying himself much tonight. Maybe he was thinking about his imminent new role as a father or maybe he was just missing Dwayne, their old bass player now in England. I missed Dwayne. Not that there was anything wrong with Andy Steroid’s bass playing, he was great. He just didn’t leap about like Dwayne used to (and he’s not so cute). Sitting on the drummer’s stool instead of Brent Jenkins was 20-year-old J P of Dutch blood. Brent's in the father way too so he couldn’t make it. It must be hard to be a member of a hard living rock group with sprogs on the brain. Doesn’t really go with the image. Neither did the audience fit the bill really. A motley bunch of jaded punks and hippies who’d let their mohicans grow out. It’s tough trying to age gracefully. Sue Camden Wild Poppies Rock Theatre, Wellington The Wild Poppies are a Wellington band that have decided to up anchor and head for greener shores. England has opened her arms and at least three-quarters of the band are on their way. Their last concert was held at the Rock Theatre to a largely admiring crowd who managed to negotiate their way down the dark alley way. An intimidating journey for those who are paranoid, hate the dark, or are just plain nervous. It has been great to see this venue back in use. Nothing will quite emulate those seedy heydays when the Swingers or Toy Love were igniting the night, but nevertheless, full marks to Steve Cochrance and Skank for doing thier bit and doing something for the music scene. The Poppies re-released their Heroine album with a new mix. Most songs of the night come from that excellent debut album. A few minor sound problems beset the night with the guitarist, Robert Axford, losing sound but soon he's up and pumping. This band likes to create a laidback sound where the electric guitar acts as a semi slide to caress your moods, heighten expectations or lower anxieties — early 70s psychedelic! The high points of the night are a version of their beautiful song off the Skank compilation record When the Wind Blows, ‘Walkabout,’ with its entrancing melody line. Their new single is well worth checking out too, ‘Where is Wellington’ — great stuff, and does anyone really want to know the answer? But it is a sad goodbye to yet another New Zealand band off to plod in the wild blue yonder, though I hear the drummer has stayed behind. Farewell lads and best of luck. I hope the British enjoy the taste! Tim Byrne The Drone Ensemble Auckland, October2B Industrial lullabies from the Dr Seuss school of music. Oildrum barbecues turned upside down and wired up as kotos, giant megaphones welded to arcs and poles, a dustbin lid and the old school bell feature in the Drone installation. Six operators in white overalls manipulate the sculptures/instrumetns with druidic solemnity. Ingenuity provided as much entertainment for a warmly indulgent audience as the gentle, percussive Drone music. Drone opened their programme with the dissonant sounds of the three kotos played in different timI ing and developed a light, challenging composition against a backing tape with what sounded like elephant I squeals. The more conventional songs lacked substantial structure: tenuous vocals, undercut by tedious two chord bass, enhanced by Rosemary Whitehead’s sympathetic keyboards and one chaming violin piece. Darryl Hocking and Daniel Newnham’s whimsical, untuned metal sculptures, beaten, plucked and bowed, were the mainstay of visual interest and sonic surprises. Megaphones swung on horizontal poles relayed sounds to each other in ‘Gate Piece.’ Huge metal flanges became bells. The final composition ‘Full Glass’ brought classical touches, an unresolved circular sequence and cicada orchestra percussion to a dynamic crescendo. The Drone Ensemble are at their best when they are taking risks. I’d like to see them extend their range of risks —create more mediums for exploring sounds, develop bolder compositions, and inject a little humour. Jewel Sanyo Ladies at Le Bom Auckland, October 24 A welcome diversion from tongue in cheek crooner Mark Phillips, last seen exhorting Jimmy Nail to warble ‘Somewhere Over the Rainbow’ — two ladies — Jennifer Ward Leland and Maria Monet sang standards from Gershwin, Billie Holiday et al. Jennifer Ward Leland gives a glamourous performance as a cabaret per-

former and trilled a delightful ‘Ain’t Misbehavin'. Maria Monet is an accomplished scat singer whose effortless, honeyed delivery and perfect timing inspired the Le Bom ensemble to a genuine late night jazz modd. Should happen more often. Jewel Sanyo