Record Mirror, March 15, 1980 39 Hot and cold Jam THE JAM Palladium, New York THE HUGE staid portraits of Browne, Zappa and Ronstadt staring blankly down on the foyer of the New York Palladium gave nothing away: in a couple of hours one of Britain's proven Cut and dried new wave bands would be playing here. Hot from a successful British tour, The Jam were on their fourth trek of the US and were about to break down the barriers. Not that they are unknown - anything but - but while the music press had Shown a mild enthusiasm, acceptance on the airwaves had proved smite elusive. Setting the scene for the battles were the inmates who, since the turn of the year have become virtual NY residents, and the Speedies - a bunch of post pubes- cent Brooklinites who were fast, surprisingly adept and fun. The Speedies went overboard in their quest for stage presence, though, i at times stumbling around THE JAM: kept the upper hand. like puppets with a few broken strings. And who can and flounces. Transylvanian feminine. of vam- take a band seriously when it gets its kicks from throw - Shades Mg boxes of breakfast cereal into the orchestra pire nights, white witches dressed in black, peasant pits? weddings The Inmates played a dry, capable set of sixties R8B and nineteenth century heiresses. and rockabilly, which was appreciated Lene's famous gestures don't mystify, they spring but dwarved in from the cavernous Palladium. Much of Hurley's vocals the music. And the music is hard, direct pop with a gift were lost, and Gunn's and Oliver's effortless fretwork for atmospherics. Solo chunky guitar from Les went unheeded. But Wilson Chappell's corner, Lens's Chris Stein, the man aside Pickett's 'Danger Zone' the turned a good few heads, there muse, plus Motown bass and lots of organ. And were cheers for 'The then Walk' and 'Dirty Water', until rampant jealousy herald- the voice, all Eastern European and operatic, ed the band's departure for !deep and throaty then soprano high, melodramatic and London. serious, Bruce Foxton must surely win some sort of best believing in itself. The organ dominates with, echoes - dressed bassist award. In his Harry of barrel house wedding marches and pea- Fenton winter col- sant lection, he adopted a dances. Eastern European refugee music meets cool, calculated poise straight British off. Weller, on the other hand, looked like he had been rock. The set consists of Just about everything from turned away from the doors of a miner's welfare club. 'Stateless' and a wealth Being three, the Jam have no room for Fóx- 'Flex,' solid of Intelligent pop l error, but concentrating on ton and Buckler maintained a tight pulse for Lene and Les' songs. Lens's voice most of the and appearance set, leaving Weller an extrovert tree hand for the bum- somewhat diverts attention from the fact that the two a mers. Fortunately, apart from some messy work in an are great songwriting team. The band are a perfect foil, otherwise powerful 'Strange Town', he kept these to a making Lane's wander- minimum. ings instantly accessible. All the hiccups, giggles and The crowd were obviously attuned to Weller's gut trillings and saxophone honkings are as much a part of and gumboid vocals, but he wasn't near his best, Lane as her right arm. Not tricks of the trade, just her fee natural make up. $he carries the rockers and handles although natural speed gave him enough energy to spit "Too out raucous renderings of 'Mr Clean', 'Little Boy Tender (To Touch)' like a seasoned balladeer. r Soldiers' and 'Eton Rifles'. The slight edge of panic mystery and confused y . alienation lust adds the necessary grit to the music. +r No risks were taken with the lights . mostly sim- The silent screen comes to life. Nobody wanted her to ple white spots apart from a yellow but effective stark leave. MARK COOPER backlit blanket during a haunting 'the Butterfly Collec- tor' and 'Down In The Tube Station At Midnight'. End of set. Not a soul makes for the door. Yet the XTC - wait doesn't seem sincere, more like the kid who waits Old Waldorf, San 'Francisco behind to clean Miss's blackboard. The first encore I is thump- shots are fired with 'The Place Love' which the East coast a few times now but But XTC HAVE toured ing but stroppy- The Jam seem to be blowing ft. is San Francisco debut. Incredibly, 'Drums Buckler's bringing things back this their hang on In there. And Wires' Is their first release In the States, a first .0 , 1 together, Foxlon's Lace Is serious, Weller's finished the old Barry Andrews And taste that forgets about with the feedback. They are building, building. keyboard dominated XTC, A new start and the beglnn, now they're belting out David Watts' - the Jam have campaign, guitars to the fore. The what they're at fag of their Stateside the upper hand and know word however seems to be out, the Waldorf is full A second encore? Hell, it's 12 below outside and get- though the crowd re- wind still runs a dis- enough and excited enough, , ting colder by the minute. But the to the end as if in awe of In Wardour Street'. mains irritatingly subdued tant second to a rousing 'A -Bomb XTC's skill. colours and laid claim to a r The Jam have captured the The music is a verbal mixture of puns references decent spot on the Stateside circuits. and asides and emerges, as with Talking Heads, -a never even saw the bot- what On a sour note, Paul Weller is a tight structure containing hints 01 madness and tle missed an earlobe in the dying seconds. r that barely against the formality to express emotion straining of the music. .i--i Even the idiot who threw it should be able Madness with control, it's the form that gives their j comment. some form of opinion but It was hardly music its particular tension, a sense that something's i - lfair C '- about to break. The hysteria emerges in little yelps and i shrieks while the music charges precisely on. favourite question, another way 'Is it POP?' is XTC's This week Record Mirror gives you the chance to win KC and BRUCE WOOLEY of asking just what Is pop. Introducing the song after LENE LOVICH / calls from the audience Andy partidge counters "How the Sunshine Band's latest album -'Greatest Hits' - San Francisco world the Mabuhay Gardens, can you ask that, the country that gave the a collection of old and new hits like, The Don't worry folks, however it's packaged, it's 'That's Way San sco Knack? 'Shake Your Lene ovich's premiere still pop." XTC both accept and subvet pop, their music Booty', 'Please Don't Go', and lots more. lX's, a drrriinkn ldry takesLplace unscheduled eat theatinynce - consciously about pop. They work off its on stage for is self The first 25 correct new wave disco. Lene loins Fingerprintz rhythms, finding their own beat In a top heavy bass, entries drawn out of the bag get a copy of and does a rousing version of Jimmy and lots of chunky rhythm guitar courtesy this amazing album -- who the encore the evening's solid drums knows this time it could be your O'Neill's 'Say When' from 'Stateless'. of Partridge. letterbox the postman boogies along for So get in front of a tiny crowd. also delight in confounding expectations. If those pens best moment the heels of But they Her San Francisco debut proper, hot on most pop consists in giving you what you want, moving and answer the questions below NOWT over here takes place at the swea, in arousing ex- the release of 'Flex' original and reverencing the cliches, XTC delight ty sold out Fab Mab, San Francisco's bubble and leave you hang- COUPON for Lene and the pectations only to prick the lasting punk club. A shot in the arm the wander off in surprising directions, only range, good at making ing while club. She's best at close to return to the conventional when you least expect it. and they love her, ad- friends. She loves her audience the head and the feet Name They are her charmed circle, The result is that XTC move miring and protecting. tend to leave the rest of you unmoved, witness the her and confirmation. Camera immobile crowd tonight. There's a lot of anger and Ir- Touring with Lene are Bruce Wooiey and the Address Comparison. ritation In these songs but XTC are no cavalry charge Club and they form an interesting than righteous and clever and intense, with a garage band. They're more sinister Wooley'a album Is both stories, sinister ones like 'Making Plans For tendency to the superficial and the clever. Live, he's all they tell days Nigel', all insinuation and implication. surface and pose a dated survivor from glom rock warnings They work through 'Drums and Wires' and include a with a smug smile on his face and facile first File next to Gary couple of old stands, unashamedly plugging the about the takeover of technology. at record the crowd like his two albums ("available on import any good Numen and Buggies. He treats "available everywhere and at Answer the 3,questions below. bathroom mirror, store," and the new one, a pose, the your local drugstore".