SWEETWATERS

Rip It Up, Issue 67, 1 February 1983, Page 2

SWEETWATERS

Plpl

It’s over for another year. The world’s last great four-day festival. And perhaps it was the last. Armed with Chillybins, sleeping bags and backstage passes, Don Mackay, Russell Brown, Mark Everton and Duncan Campbell caught every band on the main stage and a couple on the Aerial Railway. (Mr. Caddick & J.A. heroically stepped in when unconsciousness came between one writer and his task). So if you weren’t there, can’t remember, or just want a second opinion, read 0n...

F R I DAY MOCKERS The Mockers never seem to get the breaks. Their third Sweetwaters and they get the opening spot before the band that is supporting them on tour! The sound was dreadful but the Mockers came through. Andrew Fagen was having one of his good days and he radiated confidence under difficult conditions. The highlights were Trendy Lefties' and the closing number 'My Girl Friend is Cleopatra'. RB DABS The Dabs seem to have a problem lifting themselves out of that honest Jam-pop three-piece groove. They were likeable, but failed to hold the audience's attention. The standout in the set was, as usual, 'Heartful of Soul'. RB BLOND COMEDY Blond Comedy have some of the same problems as the Dabs (see All Mod Cons) and a few of their own. But they turned in a competent set and Tony leapt round the stage in a fairly entertaining fashion. Next please. RB NETHERWORLD DANCING TOYS First N.I. appearance for this seven piece, including three horns, from Dunedin, promoted from Monday night because of the INXS cancellation; Tight, snappy and motivated they made the most of the opportunity. Despite the Sam and Dave and Wilson Picket covers, on the original material they often sounded more like a rock band with horns than a soul band. DM DAGGY AND THE DICKHEADS The pride of Taihape we-hawed their way through an energetic set

showing why they are regarded as one of the funniest damn/dumb (delete according to taste) rockn' roll bands around and a real bunch of cool dudes, as evidenced by the presence of Mssrs White and Morris. Mark Kennedy impressed as a considerable front man but an unfortunately more considerable non-singer. DM NARCS As tight as much of the audience late on Friday evening. Opening with 'First Chance to Dance', the Narcs ripped through their set with verve and confidence. A couple of promising songs from the new mini-album, a sing-a-long 'Over My Head' and an encore 'I Can See For Miles' for the people on hills who probably could.ME HIP SINGLES This human yo-yo Dick Driver must be seen. Always totally in, on and round the beat his tall thin frame rockets round the stage like a seimograph needle. Again though the music doesn't quite match the delivery. Thoughtful, well put together songs, but little edge or immediacy. After the Party' is a hit though and the crowd loved it. ME MIDNIGHT OIL Midnight Oil had the dubious distinction of being the first 'major' band of the festival. Visually they were as stunning as ever. Bald Peter Garrett (wearing initially a brightly coloured jacket and cloth hood) strode around the stage like a crazed robot, fingers outstretched and arms mechanically in time with the music. The band took the chance to air several tracks from the new album and rounded out the evening with old favourites from Head Injuries and Place Without a Postcard. Despite turning in a high energy set with the tightest diamond hard playing

you'll see anywhere in the world, the crowd's unfamiliarity with most of the material and Garrett's continual politicking meant the band failed to draw the reaction usually associated with Sweetwaters headliners. CC ROSE BAYONET Midnight, Sweetwaters turned into a rock concert. Rose Bayonet gave the punters their money's worth ... even if the sound system almost died of shock. They performed HM at its loudest, most visually exciting, best. Don't believe me? Ask the disappointed thousands who were refused an encore. JA DI EH ARDS Despite recieving probably the worst beer can bombardment of the weekend from the neanderthals, Diehards managed one of the few really entertaining sets. They are obviously young but with a whole heap of catchy Human League type, silly, simple pop songs and a lively, stylish front-boy with an apparently chronic Judy Garland fixation, they would seem to have a great future. DM SATURDAY BIG SIDEWAYS A tailor-made festival band, these people made friends with their sheer size and energetic output. The music from 11 sources has now been fused in a common direction, a testimony to the hard work they've put in together. Songs from the new album due next month and a nice surprise in 'Falling'. Let's hope Big Sideways stay around. ME HATTIE AND THE HA VANA HOTSHOTS The carnival came to Sweetwaters on Saturday afternoon. A vision of yellowness in front of a band that skipped from light samba to fruity blues. Hattie amazed the audience with three costume changes and cabaret-style panache. It was a show to make you feel good and smile at your neighbour. Pity no one started a conga line. ME MIDGE MARSDEN Final performance for the current incarnation of Midge Marsden's blues boogie journeymen. Always notable for robust rather than sensitive interpretations of their material, they stormed through a set of tried and true crowd pleasers in characteristic fashion. DM TAJ MAHAL Taj Mahal's set proved pretty ideal, daytime, festival fare. The approach seemed to be to play 'mix and match' with songs and styles, with elements of blues, reggae, calypso and soul all tossed into the blender. The results were sometimes bizarre, as with the reggae version of the Four Tops' I Can't Help Myself', sometimes a bit throwaway, as with the funky jam rave-up on the 'Purple

Haze’ riff that never actually arrived at the song, but the combination of good natured bounciness and fine musicianship certainly hit the right note with the crowd. DM TOOTS AND THE MA YTALS Toots proved himself not only one of the great voices in contemporary music but also a pretty mean evangelist and showman. His music falls at the end of the reggae spectrum that shades back into American soul music and the style of his performance was very much in the soul tradition. The songs were spiced not only with movement and showmanship but also with the message', the object being to deliver the audience not just an entertainment event but an uplifting experience. On this occasion Toots had his work cut out to rouse the rather sun-sapped audience to the required level of participation ■ but ultimately managed. The band handled the many changes in pace and tempo required by. Toots' mid-song sermons and exhortations with awe inspiring ease. The songs played spanned a large portion of his already lengthy career/several were stretched out into fairly major work-outs but it was inevitably the hit single, 'Beautiful Woman' held back for the encore that proved the big crowd pleaser. DM JOHN MARTYN A difficult man to categorise, a survivor from the folksy singer songwriter phenomenon but with a strong jazz bent, he seems, these days, to be taking a rather harsher, more direct, electric approach. The combination of some pretty intense material with his gutsy bluesy vocals, nasty guitar and the atmospheric jazzy accompaniment from the rhythm section made him one of the popular hits of the weekend. Already a man with a strong cult following in this country Martyn undoubtedly made more than a few converts to the cause. DM

SCREAMING MEEMEES . After the impact of a couple of bright singles has worn off, the Meemees can start to sound monotonous. Certainly, they made little impact beyond the frontline punters. This band needs to gig more in more appropriate venues. A little more exposure to the bright lights could add volumes to their songwriting. DC THE LEGIONNAIRES New Zealand's hybrid supergroup could do no wrong in front of this crowd. Not even the sound problems bothered them very long. A predictable show, but safe as houses, thoroughly enjoyable and a lesson in survival. Top it off with a new national anthem in 'Billy Bold' and it's money in the hip pocket. DC THE PSYCHEDELIC FURS If Richard Butler wants the Furs to be taken seriously he must be joking. They were great, but let's get it straight, they were as 'serious' as the Rolling Stones. Butler was a superb playactor, all Bowieesque gestures of emphasis and junkie stares. '‘You're so sweet," he would say coyly, camply, when the audience applauded. Just Hunky Dory. Brother Tim flashed his bass around in time-honoured rock style and guitarist John Ashton tried to get as much of the limelight as possible. And the music? The old songs worked the best - 'Sister Europe', 'Dumb Waiters'. 'lndia' was an inspired choice as a closing song a corrupt assault. The Furs succeeded because they were able to adjust to the alien surroundings and establish a contact with the audience. For the implications of failing to do that, just recall Ultravox at last year's festival. The Furs could have been better but they could have been a hell of a lot worse. RB TOMORROW’S PARTIES The slot after the Furs was an unfortunate one for the band, but they made the best of it. Singer Monique varied from entertaining to embarrassing; her versions of Lou Reed songs are not to be encouraged. RB

SUNDAY PHHbHHBHBIB MILTOWN STOWA WA YS Ex Newmatics and others heading off into more uptempo funky territory but retaining at this stage perhaps a few too many rough edges for maximum impact. They : have a couple of pretty useful vocalists and some interesting material, but of a too urbannocturnal style to be displayed to best advantage in broad daylight' in the middle of a paddock. DM wmmamatm ■■■ THE GURLZ The Gurlz really pulled one out [of; the bag, the twin vocal attack of Kim Willoughby and Shelley Pratt sweeping aside the rather ugly rape vibe with which a large portion of the audience reacted to the sight of a predominantly female band. If the songs are a little too lightweight, this is redeemed by an educated sense of humour. DM HERBS . Tight, heartfelt Herbs delivered. Tight, heartfelt and melodic and the audience recognised it. This band just seems to be getting better and better. The enlarged line-up has increased the scope of the music, without changing its spirit. It can only be good that ideas like those in 'French Letter' and 'Crazy Mon' can reach such a large audience. The band sealed its favouritism with the audience with the introduction of three Polynesian dancers. Just wait for' the album. RB ÜB4O HI First impressions of ÜB4O were that they had had one smoke too many before taking the stage. The first few songs were sloppy and the band was slow coming together. "This is an early single of ours ■and.it's called 'I Think It's Going to Rain To ...' 'ell, we've just done that one!" said Toaster Astro and the crowd laughed knowingly. Things got better, from about then and at times the band touched on •tthe brilliant. Not all of ,the success could be attributed to the musicians, however.,When things took a dubwise turn the man at the controls was able to pluck voices, instruments, sounds out of the mix with elegance and precision. The highlight came in the encore when

Herbs joined the band on stage for ' a stunning, extended 'Madam Medusa' and 'Food for Thought'. The weather may have been cool but ÜB4O were hot. ,■ iRB;.; . THE NEIGHBOURS After the goodwill generated by ÜB4O, the Neighbours had a good crowd to work with. Their kind of soul was suited to the occasion and they turned in- their usual tight performance. ' RB DANCE EXPONENTS This band, with all its advance publicity, still leaves me cold. They've managed two recognisable singles and a decent video clip, but there's nothing else there to suggest a big future. Copybook pop music lacking identity. DC ' • DD SMASH What a lovely lad he is. All made up just for the occasion, doing what he loves best, making people smile. The new songs, on a single hearing, sound just fine. The horns add the garnish without being overpowering, and lan Morris is a real trouper, having also helped out Daggy and the Dickheads. Dave, have an MBE, with my compliments. DC THE CHURCH y The world is already cursed with many humourless Englishmen pounding out dreary dirges for miserably, self-obsessed people. We don't need humourless Australians doing the same thing. The Church mesh their twin guitar sound comfortably enough, but they project all the personality of a nylon bathmat. The sixties were never as maudlin as the Church make out and they do the decade a disservice by recycling it through ■i dark glasses. . .IMBlflfer. DC ■ . SPLIT ENZ ■ r The Enz marked their decade with almost an anti-greatest hits show. Some chestnuts from Mental Notes dusted off, only a couple of gj new ones this time, some obvious crowd-pleasers and surprise omissions including I Got You'. No showing from Phil Judd either ... but Robert Gillies, Paul Crowther and Mike Chunn arrived to resemble the reunion. Simple joys done well. Trellis . and toi toi stage set. Fire-eater to begin, Tim and Neil's parents spotlighted during the totally endearing

'Haul Away', the version of 'Proud Mary' that had us all aghast till 'One Step Ahead' emerged, calls for 'Charley' that couldn't be ignored. The start of their new decade demands a new reason to carry on. Commercial success is theirs. Because the Enz are the Enz I don't think they'll want to stop there. ■mhmime] GNOMES OF ZURICH As the name suggests the band isn't yer average. In fact just about the only band on the main stage that did anything erratic, unpredictable and almost lovable. Dressed in assorted costumes the Gnomes paced themselves through a well-executed, original set. A spark of life at Sweetwaters was a rare thing. ' - ME • • MON D A Y ■ THE ROY ALES These guys seem to have an idea or two kicking around, it's just inexperience that prevents them fully developing what they've got. Bass player Alan Evans knows a bit about assembling reasonable tunes. If they can persuade their guitarist to get a haircut and stop behaving like an HM poser, they'll be on the right track. They should also dump fatuous nonsense songs like 'Kiwi Girls'. DC MANTRA They billed as -the country only Maori heavy metal band'. Their music is a great, gross, sloppy, ponderous thing. Two giant, clammy hands trying to throttle you into submission. As pleasant as a British Army greatcoat in the Sahara and about as useful. Listening to it even without the howling gale would have been an ordeal. It was a relief when the power failed. DC NO TAG Battling against the elements and last-day apathy, No Tag came off pretty well. Vocalist Paul was [visibly nervous, but he and the band worked hard. The boize were soon bopping down the front and the wind didn't seem so bad. How long No Tag can go on like this is doubtful, but they serve a purpose at the moment. RB