IN SEARCH OF SMASH HITS

Rip It Up, Issue 87, 1 October 1984, Page 16

IN SEARCH OF SMASH HITS

BY DUNCAN CAMPBELL

DAVE DOBBYN INTERVIEW

When : December 1984 comes around and I’m taking stock of the year’s musical outpourings,: it’s as sure as\j^>

snow on the Desert Road that a wistful little song called ’Whaling’ will emerge very near the top of the heap. How Dave Dobbyn manages to tug the heart strings so simply and effectively still escapes me. Maybe it’s because his own heart is poured into the songs he writes. That one was written one lonely night late last year, while his wife was not with him (you didn’t really think it was about whales, did you?). No, it’s the man of the sea, or the man adrift, if you like:

I'm whaling, next port of call , i Back in my sweet baby’s arms • In a room, 'close, savouring our Idvez^gSEt While we got rest and recreation ... ttHfffffffw; The last line alone is classicjDobbyn, the wry t humour never far below the surface The violin was played by a member of Australian folk group the Bushwackers and the very funny video was : filmed on the docks at Sydney’s Darling Harbour, with Peter Warren playing the superhero, having to put on the big show one more time.;Meanwhile as Warren rides to oblivion, Dobbyn is back . on dry land, casting covetous glances at the love- : ly Debbie Main, Warren's real-life girlfriend ... Returning to reality, we catch up on the events! of months gone by and, specifically, the lack of

Sgj. w y*-> recorded output from DD Smash. We had been promised a new album in March and quite a few tracks had been recorded by last Christmas. By $ then, Dobbyn was all but settled in Sydney.-Plans went amiss, however, when nature intervened in the form of appendicitis, which got very messy and necessitated two or three operations. Besides that, Dobbyn felt very jaded after constant touring. Adjusting to a new environment ! also had some effect, along with the desire for a new sound.

\ The result is Dobbyn’s second studio album, The Optimist. As he predicted in RIU last year, it’s miles ahead of Cool Bananas, in the sophistication of both songwriting and recording technique “We were lucky in terms of.the songs we had to pick for the album,” he explains by phone from Sydney. “I tend to write economically, instead of just picking a few songs out and wasting the rest I can't bear the thought of saying goodbye to a song. Recently, as an exercise, I wrote down all the songs I’d written over the past couple of years. There are a few that I probably won't use again, but they were all used in some place, they were on; B-sides or played live or something. 1 5 think ‘Well, if Smash can’t use it, 111 use it somewhere else, maybe somebody will want to record it’. I’m writing like that now. I can see the day coming when someone is going to record one of my songs. That will be great, I’d love that. “We ended up using about 25 people on the album, the old lineup plus a whole lot of players from around : here ? (Sydney). It was a f chance to ! really explore , because; <we (didn’t : have any deadlines. I • was I just about “i living iin the studio,

with the guitar, synthesisers and stuff, so I just took my time. That’s why I took a big break, it’s been the first chance I’ve had to do the sorts of things that normal people do go to the library, go into town, see some friends, things like that. “It’s been a big break but it’s been worth it because Peter and I are working together really well. As well as the album we’ve got a whole lot of new songs, the whole approach has changed and we’ve had a chance to play with various people. So by the time this new band is together and cooking well probably come to New Zealand early in the new year and people will see why there had to be changes.” Dobbyn still isn’t saying who will be in the new DD Smash, apart from Warren, his right hand man. Saying goodbye to (ie: firing) the old band was not an easy task but he says it had to be done.

"Had we just gone into the studio with the band and recorded the album it would have been pretty stifling, for me anyway. “Charlie Fisher (producer and part-owner of Sydney’s Trafalgar Studios) has a whole lot of people at his disposal. So if I wanted a particular sound, we’d get in a keyboards player who had a particular synthesiser, or whatever. It was great, because I learned so much about instruments and arranging, it was like a school as well. Now, next time we go in and record, I’ll probably do it a different way, get the band in and get most of the songs down live. We did actually manage to do some live studio recordings this time, just adding on backing vocals and things like that afterwards.”

Bruce Lynch’s bass playing features on several tracks, where Dobbyn has ventured into funkier fields. There are places where Lynch’s playing resembles that of Jaco Pastorius. He joined Dobbyn in Sydney for about 10 days and in that time they laid down more than half a dozen tracks, including a whimsical late-night jazz piece entitled ‘Headstart’.

“That was a little excursion for me; I’d made a demo of it at the time Bruce arrived here and dug it out when we’d finished all the work we’d planned with him. It was a bit of a giggle at first, but we finally decided it was really worth working on. So we got a guy from Jenny Morris’ band to play acoustic piano and we just laid it down late one night when we were all feeling good. We always thought of that as the Las Vegas number” Tobacco Indian’ was written virtually in the same breath as ‘Whaling; while Dobbyn was living out of suitcases in a Kings Cross hotel. In the lobby was one of those wooden Indians which used to stand outside American cigar stores. Dobbyn endowed him with a personality, “staring, streetwise, unsmiling, smug and totally stubborn: The song features heavy layers of synthesisers

and a production not unlike Nile Rogers. ‘Whaling’ has already run into problems with some Australian radio stations, drawing sneers from programme directors (“a special breed” says Dobbyn) who don’t bother to listen to it properly and then ramble on about saving whales and “dead issues”. It’s got to the stage where Dobbyn will probably change the title for release anywhere else in the world, to avoid any more hassles.

‘Guilty’ was a standout during last year’s performances and gets its first studio workout here. Dobbyn confesses to having sung it with a stupendous hangover, which, on reflection, actually suits the song. Andrew Clouston provides a smoky sax solo and backing vocalists include Sharon O’Neill.

‘Open Up; the album’s most up-tempo number, is described by the author as “80s ragtime”. It reminds me of Little Feat, around the Time Loves A Hero period, taking its rhythm from the guitar, which Dobbyn says he was playing like a banjo. It was played a couple of times towards the end of last year’s Christmas tour with the old band and looks set to continue as a high point on stage. ‘Don’t Give Up’ is best described as South Pacific reggae, coming close to both the Hulamen and the Pelicans in its approach. It was recorded virtually live in one take, with Dobbyn playing guitar and singing at the same time (it takes confidence to do that in a studio). “What A Day’ recalls Bowie’s Young Americans period. "I liked what he did on that album,” says Dobbyn. “Even though he was only about 50 per cent successful. He did a nice song with that Luther Vandross song (‘Fascination’).” Mention of Vandross brings us to The Optimist's only cover version, ‘She Loves Me Back: Our esteemed editor, Soul Brother Murray, is responsible for this, having given Dobbyn a tape of some soul classics. “I don’t know what hell think of our version, hell probably think we’re hassling with his roots,” laughs Dobbyn. (Murray says he’s "getting used to it”.)

‘Magic What She Do’ is a sweet, summery number which will most likely become a single later on. The lyrics were scribbled down in the studio kitchen early one morning, after Dobbyn got obsessed with the melody and spent all night playing it back to himself, only to be interrupted by the cleaner. ‘Surrender’ is a mellow ballad, very soulful, with emulated strings behind it and an eccentric chorus vocal which grows on you. It’s one of Dobbyn’s trademarks, the ability jump octaves with apparent ease.

"I always think of those as being rather humorous, they really nod towards melodrama, just throwing it all away. I only started doing those sorts of things when I got used to being a singer, especially in the studio: I just got used to just letting it go. Once you relax it comes much easier and it’s an ongoing thing.” Dobbyn seldom has voice problems and his singing has become even stronger since quitting smoking. He extends himself vocally throughout the album, confident in his singing role. 'I Met A Loser; the B-side of ‘Whaling; doesn’t appear on the album but is already gaining airplay and with good reason. With its killer chorus line it’s destined to become an all-time favourite. The lyrics are a bit of a put-down unusual for Dobbyn. “It was a bit of a weird one because I'd never written lyrics like that before. I met this guy I used to know in school, and it’s funny how people can turn out quite differently from what you expected. He was quite a flamboyant personality when I knew him before but he’d decided to take the safe way, instead of being a motivator. I found we didn’t have much to talk about. You know the type?” Yep.

The title track is one of those beautifully crafted songs which Dobbyn can turn out. In contrast with the upfront, funky numbers it’s probably a bit of a sleeper. I have a feeling it’s going to be the most enduring song, which is probably why he chose to draw attention to it. "I wrote the lyrics from the point of view of a character I could play, a bumbling type who always manages to get over hurdles and is always optimistic, even in a blind, headstrong, almost tragic way.” If he makes a mistake or two

At least he does it with style We're laughing our way to the future ... "I consider myself to be an optimist overall, even though I will get depressed about something. But that’s also ironic in a lot of ways, because I can often not handle just basic practicalities. As far as being a practical person goes, forget it, and as far as that sort of living goes, I’m a complete failure (laugh). "Professionally, though, I’m very optimistic right now. I can’t wait for the album to come out and have mv pride confirmed.” Pride is something that Kiwis abroad need plenty of, to sustain themselves in the face of considerable patronising, particularly from Australians. "Certain areas over here were a bit cautious about DD Smash, I think. Prior to ’Whaling’ being released and the clip being screened, people thought of us as a quaint New Zealand band. You're continually staking your claims but that’s changed now, since the album has been filtering around, people are looking forward to it being released.

“On the other hand we’ve had to make a few adjustments. Most of those songs were written in Australia and recorded in Australia, which I’m continually explaining to people saying ‘Look, stop talking about New Zealand. I grew up there, I love the place, it’s fantastic, but we live here.’ I think they expect you to become an Australian but of course I refuse to; I’m a New Zealander, I say Tush and chups’ (laughter). But as far as my work is concerned it doesn’t really matter to me. I know where my roots are, growing up in Glen Innes, but in terms of the work, I dont ponder too much. I think of an individual as an individual, same with the music, rather than coming from a particular place.”

Do you ever stop and say to yourself “What the

hell am I doing here?” Oh, often (laughter). I mean, this whole business is madness. The idea of going out on the road with a band, in financial terms, is totally frivolous, but we’ll do it. I think the advantage for Smash is that we’ve played in pubs in Blacktown with just two people watching, we’ve played to packed concert halls in New Zealand, we've played support gigs, we’ve played to festival audiences, we’ve done all that. A lot of the bands working here on our level have never had that opportunity. It comes from being trans-Tasman, I think we’ve been really lucky that way. "I’m feeling really confident about this band and this album, that we can take them anywhere. I’m glad John Telfer realises that too.” Telfer manages Joe Jackson, already a Dobbyn fan, and will be looking after the band's interests in Britain, Europe and the USA. Dobbyn’s manager, Roger King, has been jet-hopping around the world in the last few weeks, talking with record company executives. A big international deal is in the wind, but King prefers to keep that under wraps for now. Dobbyn admits to being a bit out of touch with developments here. He’s coming back to present some of this year’s Music Awards and is looking forward to catching up.

"I think I’m more interested in a small band that has got a little vibe somewhere in the city. There are so many places to play in New Zealand and a lot of people have got to be thankful for that. The same goes for Australia. Mind you, there are a lot of forces working against that, like antiquated liquor laws, fire regulations, breathalyzer police. But I think the bands that are coming up in New Zealand, bands which are taking their time, not rushing into the star trip, they’re going to achieve something. Some of those Flying Nun bands, like the Chills, which have a bit of an edge

to them. That’s healthy. But it would be nice to see the Music Awards open out a bit more, see the machinery change its view, so it’s not just Auckland or not just Wellington which is finding out about these new acts. I’d like to see a few more individuals come out of New Zealand, I think that’s going to happen.” What about the songwriting aspect? Do you have to be able to get up and perform your songs as well to attract attention? “No, I think it does come down to your songs. If you’ve written a good song you can communicate it and people can play it and record it. It’s not really important that you’re a good performer as long as you know what feeling you have to communicate with that song. That’s all that matters, because it always comes down to the songs. So has the success in Australia of New Zealand performers come down to the strength of their songs? "Well, put it this way. I think we can write them as well (laughter). I’d go so far as to say we can write them better too. My attitude has changed from working here in the past couple of years. I can say things I never thought I’d say, being a New Zealander. It’s not the New Zealand thing to be cocky and say ‘Listen here, I can write great songs’, that’s not the sort of thing you say on home ground but over here I say it all the time.” (laughter) Is that adapting to the environment?

Yes, because that’s the sort of environment you’re working in. You’ve got to stake your claim, you’ve got to come on, you can’t be humble and quiet.” You can’t be a pessimist either.

Duncan Campbell