Maude and the Kippers

Press, 11 August 1977, Page 10

Maude and the Kippers

Entertainment scene

By

NEVIN TOPP

With a perverse name like Maude and the Kippers some people would be inclined to think that the “new wave” of punk rock bands had finally reached Christchurch. While the grouo might consider themselves punk, the music is anything but, and it is Maude and the Kippers which heralds a change in the nightclub scene in Christchurch. For this group, one of whom in a witty turn of phrase said he would like to cal! the group Sidney and the Carrots, is from next Wednesday to become the resident band at Adam's Apple nightclub in Lichfield Street. Well, Just who are Maude and the Kippers? For those who have frequented the upstairs bar of the Gresham Tavern, in Cashel Street, on a Friday and Saturday night the answer is obvious. Nancy Keil, vocals and flute. Luke Neary, bass; Bob Ogilvy.

drums: Charlie White, lead guitar; and John Purvis, lead guitar make up Parachute — a name which had no significance to the group. But, it is now a change of name and scene for Parachute with at least 30 commercial songs to learn in addition to its repertoire. For the upstairs bar at the Gresham it will mean a change of music from the basic rock *n' roll that Parachute played. The bar itself has quite a history. I can remember back in '69 going upstairs to giggle at a camp pianist who used to call out parties in between numbers. Bob Ogilvy the drummer for Maude and the Kippers. nee-Parachute. said that he used to back a pianist called “Marilyn” who, at about 9 pm on a Saturday night, would rig up a cassette sound system and go and get changed into drag.

However, times have changed. although the audience that attends the upstairs bar these days

may be no more straight than its predecessors. The first group to really gain popularity in the dingily light room, almost like something out of Parisian nightclub at the turn of the century, was Pork Chops. The group played there for almost two years, but wanted to get out of the place.

It was then the tum of Glide Band and the Sunshine Breakfast Band before Parachute came on the scene.

Parachute has built up quite a following for its basic rock ‘n’ roll — one of the first things I noticed and like about the group. A kind of getting back to the basics.

But, with Nancy Keil (formerly of Baby) joining the group with her powerful voice, they have become more sophisticated. In fact it can be pure com, with Nancy doing a syrupy vocal on "Teenager in Love” which was a nit by Dion and the Belmonts in the late ’sos.

However, it can also be a hard-driving “Southern Man” by Neil Young to "Big Yellow Taxi” and “Woodstock” both by Joni Mitchell, both of which suit Nancy’s voice. The addition of John Purvis on second lead guitar about six weeks ago, has really set the band alight as is evidenced on the rock song “Live Wire.” When I talked to the band, they all admitted being in it for "the money.” But whether they chose to like it or not, there is an underlying tension of being musical artists and being proud of it — why else be conscious of what is being played?

They are also conscious of their shortcomings. The lack of a keyboards player restricts the music they can play or explore, but this is made up to some extent by the flute playing of Nancy.

Parachute will be playing at the Gresham for the final time on Friday night.