HENCHMEN WEVE COMME TO PLAY

Rip It Up, 15 December 1983, Page 16

HENCHMEN WEVE COMME TO PLAY

Russell Brown

Popular music has developed certain traditions, certain faiths which are kept through the years by successive groups of youths. England's long-running Northern Soul scene is one example. And there have always been fervent cores of mods and rockabillies whose ranks periodically swell and then wane. And then there's the Detroit Legacy. If you didn't know Detroit,was the city that in the late 60s gave us, among others, the MCS and the quite incomparable Stooges. This legacy is unconcerned with sartorial style it concentrates on the raw rock 'n' roll that those bands played. There's been a traceable line of groups keeping the faith more obvious examples have been Australia's Radio Birdman and the Saints. While Radio Birdman dedicated records to the Stooges, Auckland's Henchmen dedicated their last single, 'Do the Maelstrom' to Radio Birdman.

"We empathise with them, with all the shit they went through," explains singer Tony Goth.

Goth and his fellow core member, guitarist Norm Dillinger, have been through their share of ups and downs too.

The group began life as the Dum Dum Boys, playing a few Ramones and Stooges' covers as well as originals. After co-opting in a few other musicians they played in the 1980 Battle of the Bands at the Windsor Castle. They were voted the worst band to appear and told never to come back by the judges. "But it was the judges who didn't like us," smiles Goth. "We got quite a reaction from some of the crowd."

Since then there has been a succession of drummers and bass players playing with the pair. They often seemed to leave at vital moments and Dillinger had to play bass on the Dum Dum Boys' album Let There Be Noise. So why don't the musicians stay?

"Usually they can't handle the total commitment," says Goth. "I think it's just the New Zealand thing. Two years is about as long as a band lasts."

"I don't like Split Enz but I admire the way they've stayed together and done what they wanted. They're the only band in this country that h as," adds Dillinger. . That first album was quite a remarkable effort. Manager Robyn Vamp and Goth and Dillinger had to sell virtually all their household effects fridge, vacuum cleaner, etc to pay for it. It has sold about 800 copies through mail order, shops and even street selling. After two years they have just got another fridge but they're still living without many home comforts. The name change to the Henchmen was made last year with the

release of a cover of Iggy's T Got A Right'. Since then there's been 'Maelstrom' and now a new album, We've Come to Play, recorded this time at Progressive! "We wanted a very raw, live sound, which is why we went to Progressive," Goth explains. "At Harlequin they like to clean up anything that sounds the least bit raw and we wanted something that sounded live. And also it's too expensive."

Like all their records, this one will be paid for and distributed by the band. They also book all their own gigs, often in hired halls.

'That way we get 100 per cent," Goth explains. "We don't believe in some clown getting 15 per cent for doing nothing." They now have record outlets around this country and in Australia and are looking at distribution in America and Europe.

For all that the Henchmen are unable to get weekend spots at most established venues and haven't been able to talk Radio With Pictures into doing a video. 'They've been putting us off for the last two years," says Norm. "The usual excuse is that they're not filming any New Zealand bands at the time."

Although they draw a viable crowd whenever they do play, the Henchmen don't plan to keep on knocking their heads against the wall in this country. Goth, Dillinger and Vamp (they've just lost another drummer and bass player) will be heading for Australia next year. They've applied for an Arts Council grant and would like to do some more recording before they leave. But <vhy the brick-wall attitudes that have made the decision to shift

necessary? "Because we don't compromise," Goth says firmly. "We're not willing to sell out to any musical trend."

■ And so they remain steadfastly determined to plough their own furrow which is now influenced, they say, by the Doors and Pink Fairies too. In their talk they're dismissive of other kinds of music but maybe that's part of the package. Their self-belief is exceptional. As Goth puts it: "This band is a lifetime thing.''