Live

Rip It Up, Issue 108, 1 July 1986, Page 28

Live

Tim Finn

Galaxy, July 4 It was the final night of an Australasian tour which, by all accounts, had not gone according to expectations. In Auckland, the man who had led his last band through nearly a week of farewell performances at the Logan Campbell Centre couldn’t fill that venue for one night on his own. No doubt eating humble pie was a blow to Tim Finn, but those who attended the re-scheduled concert at the Galaxy received a rare treat. Mr Finn rose above any disgruntlement he should by rights have had and gave a confident, friendly and professional show to the reduced but enthusiastic audience. Finn showcased new material right from the start, warming the audience to his new style — enthusiastic applause greeted even brand new songs — eventually rewarding them with a bouncy singalong version of 'Fraction Too Much Friction,' one of the evening’s high points.

His dexterity in shifting performance styles was enthralling. Moving from a soaring and majestic ‘No Thunder, No Fire, No Rain’, through to ‘Six Months in a Leaky Boat’, roaring back through a man-

ic and glowering ‘Staring at the Embers’. The band he had behind him were efficiently tight but seldom rose far above mere adequacy. On several occasions Finn was pushing himself and his singing to the limit, looking to really take off. Each time the extra shove he needed from his musicians was not forthcoming, or else deliberately restrained. Oh, what might have been.

Tim Finn is a superb singer with some very fine songs. As a solo act he has yet to find his niche, and a wider audience. A big hit is what he needs to really sever the Split Enz millstone. Despite the worries this tour must have caused him and his entourage, the grin that split his sweat soaked and happily tired face at the end of the night was no fake. Good on ya, Mr Finn — a trouper indeed. Brendon Fitzgerald Jesus on a Stick

Windsor Castle, June 19 The Windsor was extremely full (there was even a queue — a queue!). Nearly everyone was wearing black, no one was observing The Great New Zealand Smoke Free Week, and all were straining their eyes to read Jesus on a Stick between sets.

Not least, of course, we were there to welcome back Alec Bathgate, the prodigal Dwarf, and see the Tall ones play. Yippee!

But first, the comic, Jesus on a

Stick, a collection of pieces from a number of artists (and some musicians), including Hamish Jackie Dwyer, Martin Phillipps? Chris Matthews and Fane Flaws. It’s edited/instigated by Chris Knox, and bloody good it is too. And if you couldn’t read it in the Windsor’s semi-darkness you could catch a glimpse of what lay inside the covers through the larger-than-life cutouts of various comic characters displayed on the walls and stage. Yah! Comic art meets musical art!

Goblin Mix played first, and didn't do too well, compared to other times when they’ve fried ma brains, this was a flop. Even ‘Travelling Grave’ was a mess, but you can’t have everything.

The Headless Chickens were positively malevolent compared to Goblin Mix. Using backing tapes and the volume turned up to 12 they are quite awesome, if (at times) overdone; cooked beyond perfection. Presumably they do have their tongues to the left of their cheeks, but that’s never stated. This is serious. They do have some particularly good songs though (‘Monkey Jar’), and are a fine figure of a band; Chris Matthews is a great singer. Finally, the Tall Dwarfs, and I’m amazed Chris Knox carried it through, he had the ’flu and I found myself wincing with pain sometimes as he strained his already shredded throat. The Dwarfs did (more-or-less)

kick ass with ‘Maybe’, ‘Turning Brown and Torn in Two’ and even ‘Photographs of Naked Ladies’, which Chris introduces as a bit of sexist nostalgia, which is funny, I always thought it was an anti pornography song. Pretty damn good though, despite the obvious pain he was experiencing. At this point I have to say my memory becomes cloudy —-1 had to go home and nurse my ’flu. If you can’t find Jesus on a Stick in your town send $4 to Sleeper Subvisuals, 2 Hakanoa Street, Grey Lynn, Auckland. Buy the comic; see the show! Fiona Rae

Ardijah The Brat, June 27 It’s fair to say that A Certain Type frequents the Brat and when they play host to a band, the contrast in audience can be startling. At least, it was to the young man standing next to me, agape at one woman’s rubber skirt. But Ardijah, out of place in this dance-a-rama? Not a chance.

For all but their regular audience, Ardijah have appeared out of nowhere, complete, professional and capable. Ardijah have the sound mixed just right. Everything on cue. No bum notes. A five or six song set was an advertisement for the band rather than a real gig, slotted in between the dance tracks.

I’m not the only sucker for Ardijah’s professionalism. From

the opening cover of ‘Let’s Talk About Sex’ to the very ‘Sexuality’ and ‘Give Me YOur Number’, the audience was well pleased, if a little taken aback by this sudden abundance of glossy style. Even Betty Monga’s heartfelt vocals on ‘Somebody Else’s Guy’ seemed to be smoothed over by the band’s precision. Ardijah mean business in the best possible way; to cover is not a sin, to be funky is not to be flabby. A four-piece that puts out more than other Auckland bands of twice the size — and you know who you are. Yet things had only just begun to warm up when the band finished with their Ar! Dee! Jah! theme song. And a terrible voice did sound through the air and from above, a mere slice of vinyl, even more slick and clever, grabbed everyone’s attention. And a mere mortal writer did wonder if this would always be the result when you tried to out-slick a record, and he did make a mental note to see them again at a less distracting venue. Chad Taylor

The Insect, the Suspenders, Human Lawnmowers Windsor Castle, June 14 It’s encouraging that with the increase in live music venues in Auckland more and more lesser known bands are starting to crawl out of the woodwork to perform. I’ve only ever heard of the Insect before, and they are quite good

tonight — the sound is tight and rhythmic, with excellent drumming that binds it all together. Act the Fan’ is a catchy song, and a few others stood out in their short set. They do overdo the cynical lyrics sometimes (who really wants to know about St Tropez?), but they’ll be worth seeing again.

On the radio it said the Suspenders were Nick Hansen’s “new" band, but it just looked like Nick and friend playing about. They have two guitars and a song about being run over by a bus, it’s a bit different, a bit ambitious, and a bit dull. Nick Hansen has obviously got a good voice, and there’s a lot of Lou Reed influence in there, but overall they couldn’t help sounding a bit bare.’

Whether you liked it or not, it’s a welcome change to be able to talk over a band occasionally — thanks for going easy on the volume — and they do a fair cover of the Temptations’ ‘My Girl’.

Last on were the Human Lawnmowers, a surprise package with a nice name. They’re a young three-piece with original songs and a bit of musical ability. Unfortunately nothing sounded too good tonight and the vocals seemed to get drowned in the music. For a band with a bit of hidden talent they run dangerously close to becoming a Dunedin soundalike. C’mon guys, you can do more than just keep the grass down.

Ben Jackson

James Brown Wembley Arena, London, April 19 Brother James read the gospel. Brother James paid tribute to the international language of love, spelt MUSIC, “something that’s in all our souls ...” Brother James honoured the dead, and the living.

But first the James Brown Show honoured James Brown. Maceo Parker, the man with the sax, toasted the band, the band toasted Maceo Parker, and the audience toasted show business. The audience had come to see the man, James Brown, but what they saw was show business, and what a business it was. The musicians were not ordinary musicians, they were without a doubt James Brown musicians. “I can take an ordinary musician and turn him into a James Brown musician”, and the difference between the ordinary and the James Brown is immeasureable. The James Brown Show has the power to take the music wherever it wants. God willing.

‘Prisoner of Love’, ‘lt’s a Man’s, Man’s, Man’s World; 'Sex Machine’, ‘Ain’t that a Groove’, songs from nearly two decades past are still part of the James Brown Show, all as fresh as if they had just been born, executed with energy, confidence and urgency. From the Creator, to the musician, to the audience ... split second timing! ‘Living in America’ has been James Brown’s first Top 10 single in the UK, and his first Stateside since 1968. James Brpwn is once again hot property. There have been reports in the press that he can ho longer ‘do it’ like he once did. Untrue ... falsehoods perpetrated by fanatics whose only passion is the downfall of all that is American. At a time when it is unwise to be openly American. The James Brown Show is not ashamed to be proud.

At this time in music the influence of Mr Brown’s mainline is continuously reappearing in many forms of music, but there is only one James Brown, and his street heat is hotter than ever, and with a new major recording contract, perhaps this street heat will finally find its way to your feet. Yes, the show was great.

C Roy Williams