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Rip It Up, Issue 175, 1 February 1992, Page 30

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NIRVANA : 3Ds, SECOND CHILD Logan Campbell Centre, Feb 9. Second Child are big with boys. It's a “male” thing, light on fune, heavy on jerky tempos and Uzi guitar breaks. A girl like me finds them kind of alienating. Four very sexy boys making a sexless kind of noise, it's a thing that makes you go “ow” rather than “ooh”. The 3Ds were boss. You read all these glowing reports in American magazines talking about their kooky charm and weird little songs and you think “too cute” but they cook! Two guitars, bass, drums, guitars banging into each other with controlled inprecision creating a loopy sound — goofy, disharmonic and gungey. They only slipped into grown-ups in foyland twaddle on one or two songs — the rest was completely groovy. And finally Nirvana — ushered in not by dry ice or smoke bombs or flashing lights but a Shonen Knife track! The kids had to wait ill the very end of the encore to hear the Nirvana they knew —the Number One USA smash hit ‘Smells Like Teen Magic’ but until - then they squealed and yelped every time Kurt Cobain tuned his guitar and responded rapturously to the other catchy numbers from Never Mind and were aftentive throughout the lesser known moments from Bleach. American indie rock hits the big fime but it would have been better back where it belonged, in a small club packed with a couple of hundred people with the musical edges frayed instead of polished. As a three piece

Nirvana made a big racket, but there was little audience connection, the bass player bopped up and down like Americans do, but guitarist Kurt Cobain could have been singing to himself rather than the hundreds of over-excited teenagers crushing the entire downstairs area — he kept going off on big guitar lead breaks but he didn't take your breath away. Nirvana aren't as great as their number one status would have you believe, they're just quite a cool band, the sort of band you should be able to see any time at your local club, a. good time, but not the greatest. DONNA YUZWALK NEW KIDS ON THE BLOCK Mt Smart Stadium, Jan 25. The Ed thought he’d punish me for not getting my AC/DC review in on time by making me review this one. Little did he know I'd seen them live on TV and | think NKTOB are great! NKTOB have a bad rep for being a | pre-pubescent teen-ballad group, but considering the dollars they’re making I'm not going to argue with their formula — I'm going to audition as the sixth Blockie. ' As an event, this concert was awesome. As a concert, it was sad. The Blockies were obviously just stepping through their routines as part of a rehearsal for Australia and Japan. At the beginning of the set lead singer Jordan often broke up laughing midway through the songs. Half the crew were doing their dance steps while the others just stood there. Why they bothered erecting the lighting rig | don't know, it was completely superfluous. Still, the 10,000 fans in front didn't seem fo nofice. And they were what made the concert. Very young girls

bawling their eyes out at the sight of their beloved heroes. Older young girls dressed in Violent Femmes and 2 Live Crew T-shirts singing all the words with their beloved heroes. Ailing grandmothers forced to haul their chaperonees onto frail shoulders so they could see their beloved heroes. I like The Blockies because of the effect they have on their audience. Rock 'n’ roll is meant to be sick and sleazy and nothing epitomizes it more than ‘Bad Boy’ Donny rubbing himself and doing crotch grabs in front of 3,000 eight-year-olds. How are

mothers meant to explain that? He even said the ‘F’ word, and talked about going back to the hotel to have a beer with the roadies. Very corrupting! EE e S

The band were black and funky (with the exception of two token whiteys) and kicked ass, their acid version of ‘Step by Step’ could play at The Box any night. | leamnt the names of all the Blockies because their fans (called Blockheads, I'm told) would hold up their programmes and turn fo the appropriate page for whoever was doing lead vocals and wave them ever

so gently from side to side. It was great afternoon. NICK D’ANGELO DAVID SANBORN Mandalay, Jan 31. I never would have thought it. The guy who released all those albums of boring jazz-rock fusion — car radio music for falling asleep at the wheel — knocked my socks off in as invigorating a concert as I've attended in a long time. Sanbom’s sextet opened with a furious funk that set the tone for a two and a half hour set of consistently

energetic music. Given expectations the venue had been decked out with white-clothed tables and chairs for sedate listening. As it turned out, what we needed was a large dancefloor. | was struck by the contrast to the Wynton Marsalis concert of a year or so back. Where the Marsalis group might be compared to an elite, custom-built sports car that rarely went above third gear, Sanborn's outfit may seem production line, but they're top of the range and they like driving to full capacity. I heard a few jazz connoisseurs getting picky. Okay, so the keyboard player wasn't that hot a soloist and, sure, individual musicians tended to haul the music in different directions when they soloed. But there were so many compensations. Drummer Sonny Emory and percussionist Don Alias played stuff beyond what I'd ever expected — at times alone, but especially together. I'm no drum freak, but these guys were awesomely musical. They could flail away unaccompanied and | was riveted, while in their support of the others they provided a polyrhythmic base as strong and lush as deep pile axminster. And then there was guitarist Robben Ford (who may look in his early 20s, but I've got albums with him playing that were recorded as early as 1974). His comping was extraordinary and his solos built with the logic and dynamics of a master. -

The biggest individual surprise, however, was Sanbom himself. That often irritating semi-squeal of recordings has become the urgent, resonant wail of a genuine soulman. - Over the pulsating and funky rhythms of his band, Sanbom’s alto was a passionate testament to his R&B roots. His choice of material from the likes of

King Curtis through to Marcus Miller was entirely appropriate. In a band, half of whom rank among the very top of America’s session players, it was to be expected that they’d function as an exiremely fight and slick ensemble. The fact that they also performed with such energy and, at times, individual brilliance made the evening truly memorable. Maybe I'm not about to rush out and re-investigate Sanborn’s albums, but if he tours here again I'm going like a shot. PETER THOMSON FREE RAP CONCERT Manukau City Court, Febß. Between the Bombay Hills and the Manukau Harbour lies South Auckland. The largest growing city in New Zealand with the greatest Polynesian population. Not surprising for Manukau City Centre to play host to five acts with the emphasis on rap and soul. Co-ordinated by the Otara Music Centre, this gig was F.R.ES.H. Semi MCs haven't been seen around inner city traps for a while. Great to see them again in fine form and fine voice. Details are hazy as the act to follow, Houseparty, blew everyone else away. There's three of them, a brother, a sister and a palagi. Starting with last year’s release ‘Dangerous Love’, a soul-laden track that could cut it on any dancefloor in the world. Their short set had so much rhythm, grace and splendour for once band, yall. e Slam n’Jam say they're Straight outta Auckland” and this too is their immenent single. They interrupted the set fo infroduce their extended family for a display of Samoan dancing. Accompanied by drumming on improvised instruments ie large biscuit fins. It was very energetic and the only organic actforfoday. By comparison MC OJ and Rhythm Slave — and this may be due to saturation — seemed pallid and predictable. Too much lickle spliff¢ ‘Money’ saw them at the end of the set redeeming themselves with the usual humour and energy. Guest were the order of the day and mid-set they infroduced Danny D. Rapping, haranguing and assaulting the audience. Wrods spilled forth at - sprint pace. Sharp, very sharp. Lastly were a very large Upper Hutt Posse. Acid Dredd, Wiya and D. Word on vocal duty. Teremoana fronting for a lilting ‘Stormy Weather’ and a Posse only version of ‘Black Pear!’. Guesting here was Picasso from Wellington's Rough Opinion, with more politics, - some expressed in Samoan. lfsa movement now, well established as the premier rap act in Aotearoa. Today they were just plain messy. The message is there, issues. wholeheartedly addressed. The message can't be just loud, it must be clear. The Posse left the stage to their new DJ Rhys B. He finished with a precision mix that was techno treat. Who's in the house? ' As we all feel the economic pinch its a shame there can’t be more free entertainment. There will be more gigs at Manukau City over the next few weeks, keep yr eyes and ears open. Meanwhile, thanks - thanks to Auckland International Airport for the continuous awesome bass. BARBIE : BALANCE, BEEFCAR, ITCH Gluepot, Jan 24. A night of new talent here, the sort of evening that is always fun even if / the bands suck so hard they could take the chrome off your exhaust pipe. This particular night looked like being good from the moment | walked in to see two members of Phobia doing an acoustic set. Although this is the sort of concept that could be intensely lame, it sounded fine and | could actually work out what they’d been singing all this time.

Then came lich, who didn't really do it for me. They were basically a party rock band with a wacky frontman who

shouted the whole time, some funky bits and a big appeal among the members of the audience who were wearing glow-in-the-dark headbands. fihame really, cause the drummer was ot. - Beefcar came on next and despite very limited rehearsal, were great. Driven along by some really sharp drumming courtesy of Miles from Salad ‘Daze, these guys were fluid, punchy and made you wish they knew more than 15 minutes worth of songs. That didn’t matter so much when you . realised half of Meatcar were still onstage as Balance, and the sound was only going to get better. Once again I'm going fo throw around terms like energy and enthusiasm, but when you hear a band like Balance who have these qualities in abundance, if's easy to see how important it is. Musically, Balance were playing what is basically hardcore, but that term dosen't really sum up what was happening, so maybe | should just categorize them as good and leave it at that. There was no full-on speed attack happening, Balance fooled around with tempos, melodies and even some catchy riffs, while remaining pretty solid and simple all the while. Allin all a very worthwhile night and if these guys become stars, | can sit around saying ‘Well | remember seeing them at the Gluepot in '92. KIRK GEE SALAD DAZE THUNDERMONKEY, NARCISSI Dog & Trumpet, Jan 17. This was an exceptional evening for Salad Daze. An unprecedented attendance coupled with the interest in their new single set the stage for one of the most enjoyable local gigs of the last six months. Sadly though, it looks like being one of the last at this excellent venue. Apparently us punters were not of a high enough quality for the proprietor’s taste. ; Narcissi were surprisingly good for only their second performance. They come across as a gothic hard rock band with definite Cult leanings. Many people had come to see Hamilton’s Thundermonkey, but their performance wasn't as memorable as their name. | felt sympathy for the vocalist’s tonsils, which were subjected to one hell of a thrashing. Their music seemed to be little more than generic Sub-Pop heaviness, with the obligatory amount of hair waving. To describe Salad Daze as a cut above would be a small compliment to a band that has worked so hard over the last three years. Their sound was dogged by overpowering bass and an inadequate vocal mix, but this didn't prevent the quality of songwriting from shining through. The new (and heavily Fugazi-influenced) direction taken since Miles Gillett joined the group has won them a whole new audience and maintained the interest of the loyal. Admittedly, it is hard, if not impossible, to be original in such a musical style, but Salad Daze manage to give this brand of melody punkrocka New Zedland stamp. They are a valuable and hard-working addition to the few New Zealand bands releasing successful independent music in such a competitive indusiry. LUKE CASEY SUPERGROOVE RIOT RIDDUM SOUND SYSTEM LEADERS OF STYLE ; The Box, Jan 26. Now this is my kind of show, three different aspects of the local ‘funky’ scene playing in a nice broiling little club, always the best place to see live music. First up, my favourites of the night (and favourites with a lot of others if crowd response was any indicator), Leaders Of Style. These guys are just another young rap act with lots of fairly obvious American influences and some great posturing, but they also have a real sense of what makes rap good. The rhymes flow fast and smooth, the

beats are great, a DMC finalist on the turntables can’t hurt and, best of all, they really enjoy themselves on stage. Along with Rough Opinion, we could be seeing the new wave of local rap, and | like it a lot. ' Around the other two acts we had Riot Rhythm Sound System doing their thing, which is just fine. Mr Bader-Meinhoff lays down the beats

and assorted vocalists do their stuff in a fairly impassioned manner. It sure - beats listening to a tape through the PA and RRSS boast the talents of Bobbylon, who is our local equivalent to Aaron Neville, only not as cheesy. The lad sings like an angel, but looks like he should be in jail. ('Like Willy DeVille only worse’, to quote Mr Dubhead.) ;

On to Supergroove, who have been gamering much praise as funksters around these parts. Now personally, | don't really see a lot of funk in these guys. To me, funk has more to do with the feel behind someone like George Clinton, its not something a bunch of suburban kids can pick up when they get bored with playing blues. What these guys do have, however, is more

sheer enthusiasm than any 10 other local bands put together. When they walk onto the stage, it’s their’s for however long is necessary, and they use every inch of it. What's even more impressive is just how tight these guys are — there’s some really serious talent developing in Supergroove, as in all the acts playing tonight, it's now just a case of them being able to B>

» develop without the classic NZ backlash taking them down. KIRK GEE VIOLENT FEMMES JPS EXPERIENCE Powerstation, Jan 22. Life can play some nasty tricks on you sometimes. Last time the Femmes were herg, | had no desire to see them, but went because a friend wanted to. | walked out very happy after being utterly blasted by a great show, the right mix of everything had happened and I'd been there.

This time around | wandered along happily, hoping for the best. | conspired to miss most of JPS as, adept though they are, they just don't do it for me. | realise it’s totally bogue to say ‘Oh, | always liked the earlier stuff’ but that's the way it goes. Then on to the Femmes and, horror of horrors, | didn't like them either! The x-factor from last time just didn’t seem to be there, they seemed comfortable and secure, and that just ain’t rock ‘n’roll. Its not that they were bad, a rapturous capacity crowd ate up every last second of it, i's more that they weren't bad. The Violent Femmes seemed to have progressed from tortured misfit intellectuals to College supergroup intellectuals, with a show to match. The boys came out and did

their thing, scattering stuff from the first album through the set so as the crowd could sing along, cruising through sharp, jazzy solos with total ease which prompted an incredible Pavlovian response from the crowd who howled every time Brian Ritchie took a step forward and just generally having a fun old time.

Now, | don't think there’s anything wrong with having fun, but this could have been any halfway competant alternative party band from a surf club up there, its just the Violent Femmes have read more philosophy. I've got angst in my pants and | need to dance? Sorry, not me. KIRK GEE

DREAD ZEPPELIN MOJO NIXON ~ HALLELUJAH PICASSOS Powerstation, Jan 31. Sort of an exiravaganza of all that's wrong (or right) with rock, so what better way to start the whole thing than with local stylistic crazies the Picassos. Not so much a musical blend as a head-on collision, these guys take hardcore, reggae, Napalm Death and a few other things no one’s thought of names for yet, and let it all happen. The end result is vigorous to say the least, and although I'm sure the more settled musical tastes there weren't completely sold on the Picassos, they kicked ass and | liked ‘'em. Mojo looked and sounded like the bastard offspring of Jethro Bodine and

George Thorogood and, equipped with only a cricket helmet, a guitar and more attitude than you thought possible, he delivered a solo set that sent the weaker elements of the crowd running for the back bar. What was most impressive was the way the polifically correct types hid, while the more mainstream elements of the crowd loved Mojo, singing along and howling with delight every time he attacked another sacred cow. Basically Moijo is a big dose of redlity, albeit a slightly twisted reality. He dosen't dress in whatever the magazines tell us we should wear, he dosen’t act like he knows the secret of the universe and will share it through an understanding of his art, he just plays basic three chord rock 'nroll, sings about what he

knows and leaves art to the English bands with bobs. Mojo careened around happily and obscenely, played all the greats from ‘Beer Ain’t Drinkin’ to ‘Elvis is Everywhere’, attacked the likes of ‘the fat rich guys’ racing boats’ and completely won the crowd over. How could you not enjoy a guy who puts on a cricket helmet and invites the audience to throw beer cans at him? Then to Dread Zeppelin, who came onstage to the Don Ho classic Tiny Bubbles’ and blew the crowd away with sheer spectacle from there on in. Tortelvis was truly huge in every sense of the word and was resplendent in a beautiful jump suit, wig and duct tape sideburns. He did the whole Elvis thing perfectly while the band ripped totally, Carl Jah and Jah Paul Jones unleashing

superb solos every step of the way. The entertainment factor was huge, especially when Put-Boy sent the ladies weak at the knees with an awe inspiring exofic dance to ‘Wipeout. The highlights were too many to describe, but the band rocked, the crowd went wild and rock ‘n’roll seemed to make sense. ‘ Speaking as one who has never seen Elvis or Led Zeppelin live, nor taken acid, and regrets missing these experiences, | think | experienced all three in one show with Dread Zeppelin. Sure, the musical snobs will sneer and listen to another Velvet Underground record, sure, you may never want to see this thing more than once in case the joke wears thin, but for that one glorious night The King was back to his rightful place in the galaxy of rock. Oh yeah, | think some of the guitar parts were prerecorded. KIRK GEE DUNEDIN Dunedin is coming out of its holiday slumber as students cruise back into town . .. and the new and improved Crown prepares for reopening. The result of several weeks of hard work and exireme renovations is greater space and the creation of a dance floor. The bar has diminished, the bottle store’s vanished and there’s three close-circuit TVs for the non-techno phobics lounging in the added seats ... Snapper and David Kilgour rise to the occasion 14 and 15 Feb ... after an Orientation appearance Rampant will be no more. They've amicably split due to different projects, particularly People’s Promotions who are concentrating on what they hope will be a South Island-wide Music Storm this year . . . the forthcoming departure of Alan Haig leaves Snapper drummerless and looking. If you're keen‘and good, approach the band when their national tour hits town or phone Peter Kaye (03) 473-7712. Same man, same number for details of a fresh live venue, the Wharf hotel which is now taking bookings for touring and local acts . .. Death Ray Cafe haven't and are not about to disband. Plans for the year include an EP or LP release which will apparently see the band “coming back hard and fast” . ... after a break or two a new bassist and same old drummer after all means the return of Isolation Backlash . . . the new Puddle recording Info The Moon is set for release in March, CD and cassefte only. The band itself is set for a Christchurch visit this month, could that mean one day they'll tour? : The Radio One Top 50 for ‘9l was saturated with local talent, established and new, from the likes of Puddle, Chooks, 3Ds throughto Some Velvet Morning, Glove Puppet and Funhouse. But heading the listener-voted chart was Tin Soldiers with ‘Crush The Dream’ ... 3Ds’ US expedition has been put back to late April / May ... Side On 3 features gripping pieces on Shayne Carter, David Kilgour, George Henderson and more, available for $3 from 219 Dalzail Road, Dunedin . .. Radio One mag Spec is also out now, it includes young band profiles, a JPS interview and the endlessly fascinating cartoon series by ‘Super Shayne’ creator Chris Stapp. Just send $2 to Radio One, PO Box 1436, Dunedin . . . more markefing; in honour of Lou Reed’s 50th birthday on 14 March, Central Otago’s tiny St Bathan's is celebrating madly with 24 hours of music and videos. For SSO you too can do it, and receive all the food and drink your frame can handle while you're there. Space is limited, contact Laurence Frewer, c/Vulcan Hotel, St Bathan's quick . ... Orientation looms near and once again excels itself, as ‘92 includes Bats, Able Tasmans, Push Push, JPS Experience, and Aussie Abba tribute ouffit Bjom Again {see interview elsewhere this ish), while young guns My Deviant Daughter and Tin Soldiers gained good spots. Roll on varsity

NATASHA GRIFFITHS