‘Luxury Length’ falling short

Press, 3 June 1982, Page 14

‘Luxury Length’ falling short

BLAM BLAM BLAM “Luxury Length” (Propeller REV2O4).

“Demolition of the W.O.R.K. ethic," screamed Anabella Wow Wow once upon a time, and the New Zealand Band Work Ethic seems to be: make a couple of. singles, go on television, and then do your album. But why? I mean, Blam Blam Blam will have to sell “X’ thousand copies of this record for it to break even, anc in two years how many peoppie will remember the effort that was put into it? Simor Grigg, the .boss of Propeller will, still'have to watch how many sandwiches they grabat the cafe.

They will probably have it released in Australia to try and sell more, but for -it to do that they would have to play there. Blam Blam Blam would be the’Kiwi band that I could knock the least, but. I wonder how much longer they will suffer for “art,” or whatever it is/

Already I know that I prefer the “Maids To Order” EP, which is simple, and relies on the songs, to “Luxury Length.” Mark Bell, Tim Mahon, and Don McGlashan spent too long holed up in the Harlequin studios, I think. Every track features a multitude of effects, and “I Like My Job" and “Learning. (To Like Ourselves Again),” for instance, are far better live. , Dick Driver was in this band for a: “trial period," they tell us how. He contributes vocals to “Pensioner Lbve,” but will acknowledge that McGlashan is a far better singer. And that is shown when the latter comes in for the chorus. The song itself, is brilliant, lyrically — "I’ll even bite your neck, if you’ll pass me my teeth.”

Mark Bell has a good variety of guitar ploys; especially notable are those on “Time Enough,” "Marsha” (which does not dull with age), and “Bystanders.’’ The latter was written by Richard von Sturmer, the Blams’ mentor. I have no idea if it was written specially for the album, but it may be the best track. It is long, but not overly. “Call for Help” has been released as a single, but I cannot condone . that. It is more experimental than anything. -

The title .track is ' extremely busy and features a couplet in. the chorus that makes me grin each time they perform the song. Find that yourself.

Blam Blam Blam have provided an album which neither -excites nor annoys me. “Businessmen”, a very elderly track, is a large and tired cliche, but is the only real, disappointment. I suspect that Blam Blam Blam are glad that they have got this, one out of the way. They need a rest, and we could use some new songs from them. (Incidentally, their van crashed . in the North. Island this week and McGlashan was injured, but not seriously).

“Luxury Length" stops short of being totally enjoyable because they went overboard in the studio. They have the songs which don’t need much dressing up. I am not enjoying criticising a lot of very hard work.

“Stiff Little ; Fingers” DP (Chrysalis X 13089). Stiff Little Fingers are already well-known in New Zealand. In England, this record was a seven-inch (we have twelve), titled “£l.lO Or Less,” but I suppose Fes-

tival thought that calling it “$5.99 Or Less" was silly, so they used a little imagination for the title. S.L.F. fans should move fairly quickly to buy it, because I don’t know how long it will hang around the shops for. However, they should not expect the fire of “Alternative Ulster” or “Gotta Getaway”

The "New Musical Express” was critical of Jake Burns for casting aside his well-worn leather jacket for a trendy zoot suit, as per the cover shot. That was well said. The cover will not appeal to the boots-and-braces brigade who are (rightfully so) pro.bably still flogging “Inflammable Material." The new face is the drummer (S.L.F.’s third), Dolphin Taylor, who used to play with the wonderful, but under-rated Tom Robinson Band. There are four titles. “Listen” is the best. “That’s When Your Blood Bumps” has a neat guitar hook in the chorus. “Sad-Eyed People” and “Two Guitars Clash" aren’t quite ’so good. I’d make sure that I had the first two Stiff Little Fingers albums first. ,

“Dunedin” EP (Flying Nun Records). Take my word. (If you don’t, why read on?) The Chills are going to present a phenomenal single in “Rolling Moon,” very soon. It is one of the best pop songs I’ve, ever heard. If only it transfers well onto vinyl ... ■ Meanwhile, they take the honours on the quadrupleedged “Dunedin” EP. “Kaleidoscope World” and “Satin Doll” are marvellous. I insist that you hear them. Whereas The Clean move towards a shambolic frenzy, live, The Chills concentrate

on all their hooks, which threaten to impale them mid-stream. “Frantic Drift” is not quite in the same class as the other two. but no matter/. Sneaky! Feelings are another glorious combo from the deep south. All this "Dunedin •• Sound" rubbish gets on my nerves a bit, but I believe that there is something in what The Chills say — "we’re so isolated that w’e haven’t got time to concentrate on trends." Pure pop will never be a trend. Live, the Sneakies are more of a show than any lighting systefn. They have worked hard for 18 months to develop melodies and choruses that almost defy criticism.

Their contributions suffer fractionally because they are hesitant on the vocals. “Pity’s Sake," “There’s A Chance," and “Backroom" are hard to fault structurally. They are a bit too long, however. The Verlaines and The Stones are harder than their contemporaries. Their two sides may stand the test of time even better.

Speaking of the test of time, listen to The Stones jab at the surf set with “Surf’s Up.” “Wowooowwow, surf’s up!!” they cry, and the listener is carried away on a wave of enthusiasm.

I prefer listening to these bands at least as much as any “known groups.” If Flying Nun, and recording in a front room, have had their “fifteen” I’ll shut my ears. You might baulk at the (full) price of this. But if you buy a record a week, and you can’t see anything this week, why not take up the “Dunedin” invitation in seven days? —David Swift.