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Full text of "Smash Hits Volume 56"

January 22-February4 19| 
35pUSA$l75 



THE LOOl 
BAUHAUS 

THEBEAT- 

photofunnies 



HIT LYRICS 

including: 

SCARY MONSTERS 1 
YOUNG PARISIANS 
IMAGINE 



t\ 



HAZEL 

O'Connor: 
xtc 

in colour 



J 



Steve Strange & Visage 



Jan 22 — Feb 



00@ 

4 1981 **^ 



Vol. 3 No. 2 



3^pffi&?y^ 



"IT HAS come to my attention that the introductory paragraph of the last issue 
was supposedly written by a dog. As the senior member of the editorial staff I 
would like to assure all sensible readers that the perpetrator of that frivolous act 
has been disciplined and I have taken it upon myself to announce the contents of 
this present issue in a more fitting manner." 

"I am pleased to announce that we have procured an interview with that much 
loved entertained Mr Steve Strange, as well as uplifting and instructional articles 
concerning The Look and Bauhaus. We are also proud to be able to offer a 
special Photo Romance Novelette featuring members of The Beat singing group 
and photographic representations of XTC and Miss Hazel O'Connor. Plus the 
latest news, information, household hints, recipes and, er, fab songwords. 
Thank you for your kind attention. You may begin perusing the contents at your 
leisure." 




This magazine is published by EMAP National Publications Ltd, Peterborough, and is 
printed by East Midland Litho Printers, Peterborough. 

Copyright exists on all songs appearing in Smash Hits. They must not be reproduced 
without the consent of the copyright holders. 



FRONT COVER PIC: JOHN TIMBERS 



HITSVILLE U.K. ■ 

By the Clash on CBS Records 

They cried the tears 

They shed the fears 

Up and down the land 

They stole guitars or used guitars 

So the tape would understand 

Without even the slightest hope of a thousand sales 

Just as if, as if there was, Hitsville In UK 
I know the boy was all alone, till the Hitsville hit UK 

(Remember) they say true talent will always emerge In time 

When lightning hits small wonder it's fast rough factory trade 

No expense accounts or lunch discounts or hyping up the charts 

The band went in and knocked 'em dead In 2 minutes 59 

I know the boy was all alone, till the Hitsville hit UK 

(so hit it) 

No slimy deals with smarmy eels in Hitsville UK 

Let's shake and say will operate in Hitsville UK 

I know the boy's felt all alone till the Hitsville hit UK 

The mutants, creeps and muscle men are shaking like a leaf 

It blows a hole in the radio when it hasn't sounded good all week 

A mike and boom in your living room in Hitsville UK 

No consumer trials or AOR in Hitsville UK 

I know the boys felt all alone till the Hitsville hit UK 

Now the boys and girls are not alone now that Hitsville's hit UK 

I know the boys and girls are not alone now that Hitsville's hit UK 

Repeat to fade 

Words and music by The Clash 
Reproduced by permission Nineden Ltd. 






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S TRANGE 
TALES 



I WAS not a Generation X 
roadie," Steve Strange is 
saying, "They saw some 
posters I'd done to advertise some 
Welsh gigs they were doing and 
asked me to do some artwork for 
them." 

That's where it all started. Steve 
Strange was just your 
run-of-the-mill Newport schoolkid 
with orange hair and a tendency to 
spend the weekends thrashing 
around the Northern Soul circuit — 
until he discovered P-U-N-K. 

"When I was fourteen," he casts 
his mind back even further, "I used 
to hitch up to Samantha's in Leeds 
on a Friday night, move to the 
Blackpool Mecca on Saturday until 
midnight, leave to hit the Wigan 
Casino around one, dance all night 
then go for a swim in the local pool 
and head over to the Torch in 
Manchester to finish the weekend 
off. 

"The music," he recalls, "was all 
rare '50s or '60s soul, not that new 
contrived crap like Wigan's Chosen 
Few." 

He promises that Visage, the 
band he's in along with drummer 
Rusty Egan and various members of 
Magazine and Ultravox, won't be 
switching to a repertoire of 
Northern Soul, although he'd like to 
start playing it in the clubs which he 
and Rusty present in certain 
London nightspots. 

RUSTY AND Steve's clubs are as 
good a place as any to begin to 
explain the Steve Strange 
phenomenon. 

They began, in late '77, by taking 
over a London drinking club called 
Billy's for a regular Friday "Bowie 
Night", where devotees of stylish 
rock and adventurous clothing could 
gather, be seen, dance and generally 
enjoy themselves. It was a sharp, 
timely contrast to the grubbiness of 
punk. 

Contrary to many people's 
assumptions, they weren't spoilt 
brats who actually had enough 
money behind them to own the 



. of Steve Strange (n6 Harrington, soul boy, punk rocker, 
exhibitionist, leader of fashion and leader of Visage. 
Steve Taylor (nee cap) tells it like it was and is. 



clubs. They simply took the risk of 
hiring the places regularly one 
evening a week and taking enough 
money out of the receipts to keep 
themselves in porridge and 
eye-liner. 

Steve would stand outside vetting 
the punters to sift out the 
troublemakers and anyone likely to 
destroy the sympathetic 
atmosphere. Rusty, formerly the 
Rich Kids' and later The Skids' 
drummer, was the DJ. His choice of 
music mixed Bowie and Roxy with 
more electronic "futurist" dance 
tracks from Kraftwerk and their 
clan. In the early days he just 
couldn't find enough of it. 

Steve Strange gets annoyed by the 
jibes which often appear in print, 
accusing him of "drinking 
champagne on my father's credit 
card" and other such indulgences. 

Apart from finding them 
personally upsetting — "my father 
died when I was thirteen and 
although my mother is well-off, I'd 
never go to her for money" — such 
unfounded criticisms ignore the 
amount of initiative and enterprise 
which has consistently gone into his 
ventures. 

Now that he's a more well-known 
figure in the gossip-columns of the 
daily papers and a familiar 
man-about-town, people are 
tending to come to him with 
opportunities. He's pretty wary of 
that approach, however, having had 
his fingers burnt once already. 

"After I left home, I went on the 
'Anarchy' tour with The Pistols — 
as a friend of the band. Then I came 
to London and one particular guy — 
I'm naming no names — got me 
involved in something called The 
Moors Murderers." 

Strange joined this outfit — 
tastelessly and provocatively named 
after two of the Britain's most 



notorious child-murderers — 
because "I wanted to be in a band." 

The Sunday Mirror was as far as 
he got, pictures and all, captioned 
with a mouthful of his manager's 
words. 

"I was frightened by it," he says 
ruefully. "It frightened me off 
music. I regretted it very much, but 
at least I learned not to trust anyone 
who puts me in that kind of position 
again." 

Steve Strange retired from the 
public limelight after such a start to 
work in the Rich Kids' London 
office. There, in late '77, he met 
Rusty Egan. The Rich Kids fell 
apart and they began the Friday 
nights at Billy's. 



IN THE beginning, Visage 
started out to remedy the 
shortage of suitable music for 
Rusty's disco. Midge Ure, another 
ex-Rich Kid, came to the club and 
offered Steve some free studio time 
which he had left over from the 
band's deal with EMI. 

They cut some demos with Steve 
singing and, although EMI passed 
them over, producer Martin 
Rushent — who was just beginning 
his own Genetic record label — 
heard them being played at Billy's 
and put up the money for more 
recording. 

More musicians joined in: Billy 
Currie, who was weathering a 
difficult phase in Ultravox's history, 
and three members of Magazine — 
whose whole career sometimes 
seems, very unfairly, to be one long 
difficult phase — John McGeoch, 
Dave Formula and Barry Adamson. 

An album was recorded at 
Rushent's studio in the garden of his 
Berkshire home, only to end up in 
cold storage for nearly a year when 



his record label collapsed through a 
complicated business cock-up. 

Meanwhile, the club scene was 
blossoming. Rusty and Steve moved 
across Central London to the Blitz 
wine bar in Covent Garden, taking 
it over every Tuesday night. 
Commentators, lost for a label to 
describe Steve and the kids who 
share his tastes for costume and 
nightclubbing, still refer to the Blitz 
and him in one breath even though 
he hasn't been using the place for a 
year now. 

Since then there's been Hell, 
where everyone dressed in gloomy 
black "ecclesiastical" garments. 
That was closed down somewhat 
abruptly by the police. More 
recently they've been using 
London's big soulless rock 
showcase, The Venue, on Thursday 
nights. 

That hasn't worked out; Steve is 
dissatisfied "because half the people 
were dressing up and the half that 
weren't were just there to laugh at 
the rest; I can't handle that, it ruins 
the atmosphere." 

Next they're moving on to a very 
expensive upmarket Mayfair club, 
Legends, though they've got the 
owners to drop the entrance fee to 
£2.00 and halve the price of drinks. 
Legends will tide them over until 
their new, specially kitted-out club, 
The People's Palace, is ready. 

They keep at it, says Steve, 
because "London's so absolutely 
dead. The only places you can go 
are gay clubs or very expensive 
places like the Embassy — what else 
is going on?" 



SINCE STEVE and Rusty 
began their clubs, there has 
been an explosion of small 
venues in Central London, not just 
discos, but places like the Comedy 
Store where budding comedians can 
try their hand, and the new clubs 
associated with Spandau Ballet and 
their followers, Le Kilt and Le 

Continues over page . . . 



5 




S TRANGE 
TALES 



Beetroot. 

"The Ballet", as Steve likes to 
call them, are the first band to have 
emerged into the public eye — and 
the singles charts — from the 
audience at Steve's clubs. It's taken 
some time, as Steve explains: 

"Originally there were no new 
bands, but I think that Visage and 
The Ballet putting out vinyl has 
pushed them on quite a bit. 

"The bands are just starting to 
come through; we used our nights at 
The Venue as an opportunity to put 
on ones like Depeche Mode from 
Croc's clubs in Rayleigh near 
Southend and Duran Duran from 
the Rum Runner in Birmingham. 
We even put The Stray Cats on 
when they first came over. 

"Now I get sent tapes all the time 
from kids at Croc's and places, 
asking if Rusty and I will put them 
on. It's great that they just get on 
with it and don't feel that they have 
to be in some bloody supergroup!" 

STEVE STRANGE also provides 
inspiration for another, totally 
different group of young people, a 
new generation of clothes designers. 
He's well known for the endless 
changes of image and clothing he's 
been through: clown, toy soldier, 
puritan, through to the 
indescribably weird outfits such as 
he wore when he appeared in The 
Face. 

His huge teased-out quiff of hair 
used to be a major distinguishing 
mark, though it has now gone in 
favour of a light-coloured thatch of 
strands which flop over one side of 
his face. This is part is of the 
stranded-on-the-beach-for-days 
Robinson Crusoe look, which was 
recently featured in none other than 
The Sunday Times. 

It consists of a large yellow blouse 
with huge billowing sleeves, a 
brown leather breeches 'n' waistcoat 
suit and, lurking beneath a 
half -grown beard, what looks like a 
suntanned complexion. Steve laughs 
at this observation: "It's all out of a 
bottle, this tan." 

The Strange look has been 
fashioned by "people who left art 
college, kicked it in the arse. They 
were told the things they were 
designing couldn't be done, so they 
just got on with it. Now there's even 
a shop, Axiom, in the same King's 
Road market where Rusty has his 
record stall, selling clothes by the 
people who've left college, like 
Melissa Kaplan (who designs a lot of 
Toyah's gear). And the turnover is 
amazing." 

Asked to explain the dressing-up, 
Steve Strange explains it as 



"self-expression; I often look at girls 
or whatever on the Tube and think 
'You could easily be a model or 
something'. I'm just saying that 
people should do what they want to 
do, with clothes or whatever you're 
into." 

Such an outrageous appearance 
can bring on heaviness from other 
people in public, but there's always 
a suspicion about anybody who 
dresses so provocatively that they're 
somehow asking to be abused. 
Steve denies that: 

"I don't go out to get aggravation; 
half the time if you confront 
someone who's shouting at you, it 
just reveals their own ignorance. I 
can't get upset by people knocking 
me like that, only by the more 
personal sneers." 

He recounts, in a mildly amused 
fashion, how one of the music 
papers recently printed a letter from 
a Scottish objector, saying that if 
Steve Strange so much as set foot 
North Of The Border, he would 
personally give him a kicking. To 
Steve's delight, it provoked a flood 
of letters the following week 
defending his right to look how he 
likes. 



JUST NOW, the Robinson 
Crusoe look is going to have to 
do for a few days more, as 
there's a bundle of Visage 
commitments to get through. As 
he's the only member not signed to 
another record label already, 
Strange is the only one to appear in 
the current video of the band's first 
single "Fade To Grey". 

So, as it's just notched up record 
of the week status on radio stations 
in Holland, Germany and France, 
he's off to Europe to promote it, 
along with his co-star in the video, 
Julia, his former girlfriend who's 
well known as the bouffanted 
assistant in PX — the Strange-style 
clothes shop. 

Then it's back into the studio to 
remix "Mind Of A Toy" from the 
album as the next British single. 
And then there's America; Rusty 
and he have been asked to take their 
"electronic disco" over to New 
York where, again, the Visage 
single is already exciting a lot of 
interest (the U.S. arm of Polydor 
Records signed the band many 
months before the British). 

Steve Strange speaks about this, 
as he does all his other activities, in 
a tone of genuine enthusiasm. His 
only worry, he says half petulantly, 
half joking, is his appearance: "I 
don't know what to do for New 
York". 




ELVIS COSTELLO and the ATTRACTIONS. XXLP11 




■ ■ ■ 1 L^- 




8 




\\\v\\\\n\n\\\iHnMiwHuiHinnM 



CALLING STEPHEN Gregory of 
Kempston in Bedfordshire. You 
desired a list of the recorded 
works of Elvis Costello? Well, 
here 'tis. 

The bespectacled one has 
released four albums in Britain; 
"My Aim Is True" (Stiff), "This 
Year's Model", "Armed Forces" 
(Radar) and "Get Happy!" (F 
Beat). There has also been a 
cassette only compilation from F 
Beat called "Ten Bloody Marys 
And Ten How's Your Fathers". 

On the singles front he's been 
anything but a slouch. His first 
45s appeared on Stiff in '77 
("Less Than Zero", "Alison", 
"Red Shoes", "Watching The 
Detectives") before he moved to 
Radar and released "I Don't Want 
To Go To Chelsea", "Pump It 
Up", "Olivers Army", "Radio 
Radio" and "Accidents Will 
Happen". Since relocating with F 
Beat he's added to the list "I Can't 
Stand Up For Falling Down", 
"High Fidelity", "New 
Amsterdam" (also issued as the 
lead track of an EP) and the recent 
"Clubland". 

In addition to these regular 
releases there have been a few 
giveaway editions. A 45 pairing 
"Neat Neat Neat" with "Stranger 
In The House" came free with 
"This Year's Model"; at the end 
of '78 a single featuring 
"Wednesday Week" and "Talking 



Jll 



In The Dark" was given out to 
people attending the man's 
London shows; a live EP entitled 
"Live At Hollywood High" 
accompanied "Armed Forces". 
Most of these loose ends can 
be found either on the cassette 
mentioned above or on the 
American compilation "Taking 
Liberties". Elvis is also featured 
playing two songs on the album 
"Live Stiffs" currently available 
on MFP at a budget price. 




JULIA WALSH of East Ham is 
smitten with the Blockhead 
above. Problem is she ain't sure 
who he is. In order to identify the 
object of her affections she 
stapled him to the letter (his 
picture that is). The name's John 
Turnbull, Julia. 

FOR THE benefit of Two 
Jamaican Ginger Growers from 
Broadstairs (Broadstairs?), Bob 



Marley was born on April 6th, 
1 945, at Rhoden Hall, St Anns, 
Jamaica (no, we don't know 
which bed) and has been married 
to Rita Marley since the mid 
sixties. They have innumerable 
children. 

WE'VE HAD many enquiries 
concerning the 2 Tone/ska 
movie, "Dance Craze" which 
should be on general release by 
the end of February. It features 
Bad Manners, The Beat, The 
Specials, The Bodysnatchers, 
The Selecter and Madness 
performing live in various 
locations and will carry an "A" 
certificate. The movie will be 
preceded on February 6th by a 
soundtrack album on 2-Tone 
featuring contributions from all 
the bands appearing. 

TALKING OF Madness, Howard 
North of Edgware needs to know 
the highest chart position 
reached by The Nutty Boys with 
"Night Boat To Cairo". This toon, 
which was actually the lead track 
of the "Work, Rest And Play" EP, 
got as far as number six on April 
9th last year. It's last year already. 
Don't time jes' fly! 

FINALLY, PAUL Murrell of 
Cheshunt, requires a Damned 
Discography. 
We begin in 1977 with their 




Stiff debut single "New Rose" 
which was followed by "Neat 
Neat Neat", "Problem Child" and 
"Don't Cry Wolf". While on Stiff's 
books they put out two albums, 
"Damned Damned Damned" and 
"Music For Pleasure", and 
produced one other 45, 
"Stretcher Case Baby", which 
was given away to punters at a 
series of Marquee gigs in late '77. 

After that they broke up for a 
while, reforming in 1979 and 
recording for Chiswick where 
they have made two albums, 
"Manchine Gun Etiquette" and 
"The Black Album", and five 
singles, these being "Love 
Song", "Smash It Up", "I Just 
Can't Be Happy Today", "History 
Of The World Part One" and 
"There Ain't No Sanity Clause"/ 
"Hit Or Miss". 




CARES, THROW HlH 
TO *TH£ LIONS! 



9 



John Lennon &lbko Ono 



(JUST LIKE) STARTING 
OVER 

on Geffen Records 

Our life together is so precious together 

We have grown we have grown 

Although our love is still special 

Let's take a chance and fly away somewhere alone 

It's been too long since we took the time 

No-one's to blame, I know time flies so quickly 

But when 1 see you darling 

It's like we both are falling in love again 

It'll be just like starting over — starting over 

Everyday we used to make it love 

Why can't we be making love nice and easy 

It's time to spread our wings and fly 

Don't let another day go by my love 

It'll be just like starting over — starting over 

Why don't we take off alone 

Take a trip somewhere far, far away 

We'll be together all alone again 

Like we used to in the early days 

Well, well darling 

It's been too long since we took the time 

No-one's to blame, I know time flies so quickly 

But when I see you darling 

It's like we both start falling in love again 

It'll be just like starting over — starting over 

Our life together is so precious together 

We have grown we have grown 

Although our love is still special 

Let's take a chance and fly away somewhere 

Over and over and over 

Starting over 
Over and over and over 

Words and music by John Lennon 
Reproduced by permission Lenono Music. 



WOMAN 

on Geffen Records 



Woman I can hardly express 

My mixed emotions at my thoughtlessness 

After all I'm forever in your debt 

And woman I will try to express 

My inner feelings and thankfulness 

For showing me the meaning of success 

Ooh well, well 

Ooh well, well 

Woman I know you understand 

The little child inside the man 

Please remember my life is in your hands 

And woman hold me close to your heart 

However distant don't keep us apart 

After all it is written in the stars 

Ooh well, well 

Ooh well, well 

Woman please let me explain 
I never meant to cause you sorrow or pain 
So let me tell you again and again and again 
I love you yeah, yeah now and forever 
I love you yeah, yeah now and forever 
I love you yeah, yeah now and forever' 
I love you yeah, yeah now and forever 

Words and music by John Lennon 
Reproduced by permission Lenono Music. 




10 






Imagine there's no heaven 

It's easy if you try 

No hell below us 

Above us only sky 

Imagine all the people 

Living for today 

Imagine there's no countries 

It isn't hard to do 

Nothing to kill or die for 

And no religion too 

Imagine all the people 

Living life in peace 



You may say I'm a dreamer 

But I'm not the only one 

1 hope some day you'll join u? 

And the world will be as one 







Imagine no possessions 

I wonder if you can 

No need for greed or hunger 

A brotherhood of man 

Imagine all the people 

Sharing all the world 



But I'm not the onlv one 



And the world will live as one 

Words and music by John Lennon 
produced by permission Northern Songs Ltd. 



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Wsrnm mm mm 



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SQUEEZE 
EM IN! 

THE NEW Squeeze album — as 
yet still untitled — has now been 
completed and is due for release 
in early February. Produced by 
Elvis Costello and Roger 
"Undertones" Bechirian, it was 
originally going to be a double 
album playing at 45 rpm but 
financial reasons dictated that the 
seventeen finished tracks be 
whittled down to twelve for a 
conventional single album. 

Meanwhile Chris Difford is now 
a proud father — his wife Cindy 
gave birth to a baby girl (name of 
Natalie) on December 28. 




Lou Reed 



"ROCK AND Roll Diary 1967-80" 
is the title of a new double album 
from Lou Reed on the Arista label 
on which you can hear material 
from nearly every stage of one of 
the most influential careers in 
rock and roll. 

Kicking off with a clutch of 
classic Velvet Underground 
tracks from the period 1967-70, it 
then takes in the David Bowie 
collaborations which brought 
Lou his first commercial success 
as well as providing a brief taste 
of most of his recent solo 
ventures. It very wisely omits 
anything from the 1976 disaster 
"Metal Machine Music", widely 
reckoned to be the most 
unlistenable record ever made. 

12 



SOMEHOW IT seemed only right 
that the fanzines that emerged in 
the slipstream of punk should 
appear haphazard at best and, at 
worst, sloppy and 
indecipherable. But now that 
Spandau Ballet, Visage and 
company are coming to the 
forefront of the scene there's a 
call for a new kind of fanzine, one 
that puts more emphasis on pure 
style. 

Although "I.D." calls itself a 
fashion magazine it has little to 
do with the world of "Top-Shop" 
Instead it zeros in on the more 
striking aspects of costume with 
a heavy accent on do-it-yourself 
and jumble sale chic. 

Although it will cost you a fairly 
hefty 60p, "I.D." (No. 2) boasts 
page upon page of strong 
pictures, most of them of the 
sort of folks who woud cause 
an outbreak of dislocated necks 
were they to parade down the 
average high street. There are 
hard core punks with kingfisher 
spikes, outrageous posers, 
latterday teds and even a traffic 
warden, as well as an informative 
piece on Spandau Ballet and 
small features dedicated to 
almost anyone with plenty of 
front. 

This intriguing, stylish 
publication is available from 
Better Badges at 286 Portobello 
Road, London W.10 or from I.D. 
at 71 Sherriff Road, London NW6 
for 60p plus 20p p&p. 




picture 
ling playing pool? 
e this. The Beat are all 
keen fans of Photo Love Weekly, 
the well known cult story 
romance magazine. (No kidding 
— that's where they got the title 
for "Hands Off, She's Mine!") 

Anyway it seems Dave Steele 
has long nurtured a secret 
ambition to appear in one of 
these dramatic photo features 
and now he's n anaged just that, 
with Mr. Wakeling also 
appearing in a cameo role. 

Our spies on the scene 
smuggled us out some outtake 
pictures (people smiling when 
they're supposed to be in high 
drama etc.) and we've put them 
together with a touch of 
affectionate humour to make a 
very different story which you 
can find on pages 34 and 35. The 
genuine article, however, 
appears in the issue of Photo 
Love which comes out on 
February 7. 

Dave Wakeling — pictured on 
the set where the story was 
tographed — apparently 




enjoyed his taste of acting so 
much that he's signed up to star 
in another photo-novel later on. 
(Next week Ranking Roger in 
Playschool?) 

The other pool player pictured 
is none other than Dick Bradsell 
— co-writer of 'Twist And 
Crawl" — who went along to 
lend moral support (and the bus 
fare home.) 



THE STRANGLERS seem to be 
going into the publishing 
business full time. Following 
Hugh Cornwell's "Inside 
Information" account of his short 
stretch in Pentonville Prison, 
drummer Jet Black is writing a 
chronicle of the band's run in 
with the French authorities in 
Nice. The book which is 
described as "a cynical view of a 
ridiculous situation" is called 
"Much Ado About Nuthing" and 
will be published through S.I.S. 
next month. There are a couple of 
changes to the band's February 
tour schedule. Cardiff Top Tank 
(8th) is cancelled and a date at 
Durham University on the 23rd 
has been added. 



DAVE WIGGINS of Liverpool received a special bonus Christmas 
present this year in the shape of a Korg Micro Preset Synthesiser, 
the first prize in our Orchestral Manoeuvres competition from 
last year. Dave was presented with his passport to stardom by the 
boys in the band a few days before the holidays at OMD's personal 
rehearsal hall in Liverpool. 

Letter-opener extraordinaire and all round organisational whizz 
kid Linda Duff went along to oversee the ceremony and here we 
see the four of them looking mightily pleased with themselves, 
despite the fact that nobody's bothered to plug the machine in. 
Much thanks to Andy and Paul of OMD and Korg synthesisers for 
their cooperation. 




SPLIT ENDS 



THE JOE Jackson Band have 
broken up. The decision to go 
their separate ways was 
prompted by drummer Dave 
Houghton's desire to quit 
because of personal reasons and 
Joe's unhappiness with the 
responsibility of keeping a 
permanent band on the road. 
In the immediate future Joe 
plans to produce the debut album 
from new A&M signings The 
Keys and devote more time to 
projects "not necessarily 
involved with music". It seems 
likely that if Joe does form 
another performing unit it will 
include bassist Graham Maby. 
The band's final gig, last month 



in Holland, was recorded for 
possible release in the future. 

Talking of break ups it looks as 
if Graham Parker has further 
loosened his ties with The 
Rumour. The band are off to 
America to work with Garland 
Jeffries while Parker, who didn't 
tour to support the release of his 
last album, "The Up Escalator", is 
said to be contemplating an 
acoustic solo album. 

Although the official line is that 
they will work together in the 
future if it's mutually convenient, 
there are no concrete plans and it 
would appear that Parker is quite 
happy to maintain the lowest of 
low profiles. 




vwvwvwwwwwv 

THE 

ORIGINAL 

NUTTY 

BOYS 

WE FEEL a duty to warn you of an 
album that has recently wormed 
its way into the racks of your local 
discerie, a phonographic item 
entitled "Chipmunk Punk" by 
(you guessed it) The Chipmunks. 
Since their original emergence 
in The Fifties, this trio of furry 
dopey looking critters — Alvin, 
Simon and Theodore — have 
squeaked their high pitched way 
into the hearts of all right thinking 
four year olds via children's radio 
programmes on both sides of the 
Atlantic. 




Their return from retirement is, 
however, ill advised as 
"Chipmunk Punk" shows. For a 
start it doesn't have an awful lot 
to do with punk, consisting as it 
does of various screeching cover 
versions of tunes made famous 
by The Knack, Tom Petty, Blondie 
and Queen (?). 

The general consensus of 
opinion around here is that the 
band have never quite recaptured 
the bite and edge that they had 
before making their first million. 
Alvin still sings well but 
somehow you can tell that his 
heart isn't in it anymore. 




TO COPE with the enormous 
demand for tickets for his March 
19th and 20th Wembley shows, 
Bruce Springsteen has 
announced an additional three 
dates at the same venue, on April 
2nd, 3rd and 4th. 




FULL NAME: Richard Farrell 

Jobson 

BORN: 6.10.60, Kirkcaldy, Fife 

BROTHERS AND SISTERS: John, 

Michael, Brian and Francis 

EDUCATION: St Columba High, 

Dunfermline 

HIGH SPOT OF EDUCATIONAL 

CAREER: Foiling the hierarchy by 

receivings '0' Levels 

FIRST CRUSH: My big brother's 

girlfriend 

FIRST RECORD PURCHASED: 

"Transformer" by Lou Reed 

FIRST LIVE SHOW ATTENDED: 

Mott The Hoople, Edinburgh 

Odeon 

PREVIOUS JOBS: None 

PREVIOUS BANDS: None 

MARRIED OR SINGLE: Single, 

but the surveyors are in 

CHILDREN: None??????? 

PRESENT HOME: London 

LOWEST POINT OF CAREER: 

"Into The Valley" 

PRPUDEST ACHIEVEMENT: 

Days In Europa 

HERO: Peter O'Toole 

DESERT ISLAND DISC: "LaMer": 

Debussy 

TRUE CONFESSION: Love 

Scottish women 

FAVOURITE ITEM OF CLOTHING: 

Toga 

FAVOURITE BREAKFAST FOOD: 

Marmalade 

PET HATE: Cynics 

THE BIGGEST MISTAKE I EVER 

MADE: Talking too much. Much 

too much. 

FAVOURITE FILM: "The Ruling 

Clsss" 

FAVOURITE TV PROGRAMME: 

"Life On Earth" 

FAVOURITE ACTRESS: Ingrid 

Bergman 

COLOUR OF SOCKS: White 



J 




THE DAY after John Lennon's 
death, EMI received 100,000 
orders for his old single, "Happy 
Xmas (War Is Over)". That's 
public demand for you. People 
express their feelings via their 
wallets. It's no surprise therefore 
to see that Penguin Books have 
swiftly reprinted all the Lennon 
books on their lists. 

There are three. The first two, 
"In His Own Write" and "A 
Spaniard In The Works", are 
collections of poems, sketches 
and perverse fairy tales put 
together during the swinging 
sixties. Both of them, although 
amusing and clever in parts, 
betray his debt to writers like 
Spike Milligan and Hilaire Belloc 
in their zany wordplay, relentless 
use of the pun and occasional 
violence. 

The more interesting of the 
three is undoubtedly "Lennon 
Remembers" (£1.95), an 
extended interview that was 
originally published in 1970, B' 
when Lennon was trying to 
establish an identity outside of 
The Beatles. It finds him talking 
about his life and work with 



REMEMBERS 




extraordinary candour and 
insight. Although much of what 
he said he later retracted or 
contradicted, "Lennon 
Remembers" remains a 
remarkable tribute to the restless 
intelligence and creative powers 
of a very special man. 

ELVIS COSTELLO and The 
Attractions will tour the nation 
during March to plug their new 
album, "Trust" (not "Tryst" as 
some Idiot wrote in the last 
issue), and this time they'll be 
concentrating on the major 
towns and cities. 

They kick off on the first of the 
month at St Austell Riviera Lido 
and continue in this fashion: 
Exeter University (March 2), 
Bristol Colston Hall (3), 
Birmingham Odeon (4), 
Wolverhampton Civic Hall (5), 
Bradford St Georges Hall (7), 
Manchester Apollo (8), 
Edinburgh Playhouse (9), 
Glasgow Apollo (10), Newcastle 
City Hall (11), Lancaster 
University (13), Bridlington Spa 
Hall (14), Liverpool Empire (15), 
Sheffield City Hall (16), Brighton 
Centre (18), Hemel Hempstead 
Pavillion (19), Hanley Victoria Hall 
(20), Leicester De Montfort Hall 
(22), Derby Assembly Rooms 
(23), Cardiff Top Rank Suite (24), 
Guildford Civic Hall (25), 
Hammersmith Odeon (27, 28), 
Ipswich Odeon (29), Oxford New 
Theatre (30) and Southampton 
Gaumont(31). 



THE LATEST artist to turn his 
attention to matters nuclear is Ian 
Gillan whose next single, 
released on January 30th, goes 
under the title "Mutually Assured 
Destruction". This is the theory 
that the American and Soviet 
military expound when they try 
to convince us that nuclear war 
will never occur as long as 
neither side can be certain of 
emerging the victor. That's a 
weight off your mind, now, isn't 
it? 

Gillan are undertaking a short 
series of dates during the month 
of March, taking in Bournemouth 
Winter Gardens (2), Blackburn 
King Georges Hall (3), 
Nottingham Rock City (4), 
London Rainbow (5) and 
Newcastle City Hall (8). This last 
show is a benefit for Radio 
Lollipop, an organisation 
dedicated to providing 
entertainment for children in 
hospital. The night before this 
charity event, March 7th, the 
band plan a surprise appearance 
at an unnamed venue in the 
North West. Local fans are 
advised to keep ears to the 
ground and eyes peeled. What 
they do with their noses and 
throats is their own business. 



THE PHIL Collins solo album, 
"Face Value", will be released on 
February 13th. It includes the 
current single, "In The Air 
Tonight", a new version of the 
Genesis number "Behind The 
Lines" and a cover of The Beatles' 
"Tomorrow Never Knows". 



ALL TIME 
TOP TEN 

Colin Moulding (XTC) 




THE MO-DETTES remain on the 
road for the next week or so, 
playing York University on 
January 30th and continuing at 
Middlesbrough Rock Garden (31 
Manchester Rafters (February 2), 
Leeds Warehouse (3), Colwyn 
Bay Pavillion (4) and 
Wolverhampton Polytechnic (7). 



1. THE KINKS: Autumn Almanac 

(Pye). The song I most want to 
hear when I come back from 
touring. 

2. THE BEATLES: Revolver 
(Parlophone). The classic album 
— one to listen to all the way 
through. 

3. DIONNE WARWICK: Walk On 
By (Pye). Great song, great 
singing, great chord changes! 

4. M: POP MUZIK (MCA). The 
record that's most likely to get 
me doing Leslie Phillips' dance 
steps in discos. 

5. PINK FLOYD: Arnold Layne 
(Columbia). Reminder of a 
period. I was eleven — a difficult 
time for boys. 

6. IGGY POP: The Passenger 
(RCA). Cruising around in 
German taxis music — mainly at 
night. 

7. ROLLING STONES: She's A 
Rainbow (Decca). Different from 
anything else they'd done. 

8. RAY CHARLES: Hit The Road 
Jack (HM V). Kept hearing it on 
Two Way Family Favourites. 

9. PETER GABRIEL: Games 
Without Frontiers (Charisma). A 
landmark in the use of a rhythm 
box. 

10. GARY GLITTER: I'm The 
Leader Of The Gang (Bell). 
Terrace anthem from the biggest 
turkey ever to enter tinfoil. 



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15 



T Jt 



*&&> 







!*•> 



GREATEST HITS the new exciting magazine that rediscovers the names who have 
dominated the charts over the past twenty five years. 



Included in Issue No. 1 : 

THE SOUNDS OF THE SIXTIES : Beginning our A-Z of British beat groups from this most 
important decade of pop music. HENDRIX — VOODOO CHILE: Ten years after his death Dave 
Marsh commemorates one of the greatest musical innovators of all-time. ELVIS ON SCREEN: An 
exhaustive catalogue of the King's film career, and the first in an occasional series of film features, 
'Rock in Vision'. — < 



THE BEATLES AND THE HAMBURG 

CONNECTION: Hamburg was where 

Liverpool bands went to get their acts 

together. The Beatles were no 

exception and this major feature recalls 

their experiences in Germany and the 

growth of Hamburg's thriving club 

scene. BARGAIN BIN BLITZ: Our 

regular guide to where to find the rare 

vinyl . . . and how little you can pay for it 

WIN-A-JUKEBOX: Yes, you could be trie lucky winne 

chockful of records, in our easy to enter competition. 

kup op to mt with me ouues 

GREATEST HITS — AT YOUR NEWSAGENTS NOW! 




16 




A Little In Love 

By Cliff Richard on EMI Records 

' It's been so long, you say you've had fun 

And you've been happy with the things you've done 

Now you feel strange and a little unreal 

Well, I can understand the way you feel 

You're just a little in love (just a little) 

You're just a little in love (just a little) 

Well, I can see what's happening to you 

You feel in love but it's just not true 

i And there's one thing you ought to know 

Ooh, I need you so 

I'm just a little in love (just a little) 

I'm just a little in love (just a little) 

You say you're willing to learn 

You need a friend 

A friend who will help you 

- 'Cos you're just a little in love, oh yeah 

A little in love, you are 

A little in love with someone you just like to see 

Like me you're in love, oh yeah 

I A little in love 

^. 

You know sometimes you look somewhere 

You're not alone but there's no one there 

No one to turn to 

No one to see the way you're feeling 

Just like me 

Just a little in love (just a little) 

You're a little in love (just a little) 

Now you say you're willing to learn 

You need a friend 

A friend who will help you 

'Cos you're just a little in love, oh yeah 

^ A little in love, you are 

A little in love with someone you just like to see 

Like me you're in love, oh yeah 

A little in love 

Repeat and ad lib to fade 

Words and music by Alan Tarney 
' Reproduced by permission ATV Music Ltd. 



Rapture 

By Blondie on Chrysalis Records 



Toe to toe 

Dancing very close 

Body breathing * '<-»-! 

Almost comatose ,<-' it 

Walfcto wail 

People hypnotised 

And they're stepping lightly 

Hang each night 

In rapture 

Back to back 
Sacroiliac 

Spineless movement 
And a wild attack 

Face to face 

Sightless solitude 

And it's finger popping 

Twenty four hour shopping f 

In rapture 

Fab five Freddy told me everybody's fly 

DJ spinnin' I said my my 

Flash is fast. Flash is cool 

Fransoir ce pas Flashe no deau 

and you don't stop, sure shot 

Go out to the parking lot 

and get in your car and drive real far 

and you drive all night and then you see a light 

and it comes right down and it lands on the ground 

and out comes the man from Mars and you try to run 

but he's got a gun, and he shoots you dead and he eats your head 

and then you're in the man from Mars, you go out at night 

eating cars; you eat Cadillacs, Lincolns too. Mercuries and Subaru 

and you don't stop, you keep on eating cars 

Then when there's no more cars you go out at night and eat up bars 

where the people meet face to face, dance cheek to cheek, one to one, 

man to man, dance toe to toe, don't move too slow cause the man from 

Mars is through with cars, he's eating bars, yeah, wall to wall, door 

to door, hall to hall, he's gonna eat 'em all, rapture, be pure, 

take a tour through the sewer, don't strain your brain, paint a train 

and you'll be singing in the rain, said don't stop, do punk rock « 

Words and music by Chris Stein/Debbie Harry 1 
Reproduced by permission Chrysalis Music Ltd. 




By Deanne Pearson 

WITH RED Starr rockin' round Russia at the 
time of writing, I find myself up against his 
unique filing (?) system — the key to which is 
a note explaining "everything's in 
archaeological order" — trying desperately 
to first locate and then review this issue's 
indie releases. 

Although they don't seem to be in any 
order — archaeological or otherwise — they 
were eventually tracked down (if I told you 
where, you'd never believe me), so here we 




NARAZETHUVEEP Nazareth 



WARDANCE/PSYCHE Killing . 



independent albums top 10 



SIGNING OFF UB40 






Gradu 


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GROTESQUE (AFTER THE GRAMME) Fail 






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TOYAH! TOYAH! TOYAH! Toyah 






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FRESH FRUIT FOR ROTTING VEGETABLES De 


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1 Cherry 


Ed 


STATIONS OF THE CRASS Crass 






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UNKNOWN PLEASURES Joy Division 






Fac 


N THE FLAT FIELD Bauhaus 




At 


A FACTORY QUARTET Various 


Fac 


tiry 




SONS AND LOVERS Hazel O'Com 



The Mekons 



go. 

Top of the pile (although it wasn't) has got 
to be the On-U-Sound sampler single, 
featuring one brand new band, London 
Underground, and one not-so-new. The New 
Age Steppers. 

The latter are all members of various 
bands who have all worked with one another 
before. On vocals we have the inimitable Ari 
Up from The Slits, playing drums is Pop 
Group/Slits percussionist Bruce Smith and 
numbers are made up by a couple of 
musicians from reggae band Creation Rebel. 
Their cover version of Junior Byles" "Fade 
Away" captures all the raw aggression of 
early Slits and the style and fluency of 
reggae. It also has a spontaneity and 
freshness to it which comes about when 
sympathetic individuals enter the studio and 
find their ideas complement each other 
perfectly. 

"Fade Away" is an edited track off the 
album "New Age Steppers Volume One" 
which is due out at the end of Feburary on 
the On-U-Sound label, distributed by Rough 
Trade. The single's an absolute gem and if 
you buy nothing else this month then you 
must have this. 

On the flip side is a new young outfit called 
London Underground who have done some 
gigs with Creation Rebel and are described 
by Rough Trade as a collection of "vagrant 
musicians" who have eventually got it 
together to form a band. At the moment they 
are working on an album with Judy Nylon 
and this track, "Learn A Language", is 
apparently the only one fully mixed so far. 

Like "Fade Away" it is gloriously seductive 
reggae, fused with weird background noises 
and topped with a tape of "Learn A 
Language" instructions which is 
mesmerising and hypnotic. (If you've been 
subjected to a language lab at school, you'll 
know the feeling.) 

Also distributed by Rough Trade is the first 
release on their own Baby label from Dublin 
band. The Virgin Prunes. It's a four track E.P. 
containing "Twenty Tens", "Revenge", "The 
Children Are Crying" and "Greylight". 
Although hardly the stuff to set the soul on 
fire — it mainly consists of shouting, crying 
and babbling noises interspersed with spine 
chilling sound effects to produce an ice-cold 
atmosphere — it is a fine example of 
imaginative improvisation and worth a listen 
for all is weirdness. (Just don't expect to 
bop.) 



The Blue Orchids from Manchester are 
actually on the Rough Trade label and their 
first 45, "The Flood" backed with "Disney 
Boys" bodes well for the future. Both rhythm 
and momentum are strong with dashing 
guitar breaks and crashing cymbals; their 
problem is a tendency to fall apart now and 
again in their enthusiasm to show what they 
can do and how quickly they can do it. But 
somehow they manage to pull themselves 
back together again and it all makes sense in 
the end. Although The Blue Orchids contain 
two former members of The Fall, 
vocalist/keyboard player Una Baines and 
vocalist Martin Bramah, this is by no means 
obvious. 

I pounced eagerly on "Sell Out Before The 
Fall Out", an E.P. from Michael Byrd And The 
Commercials on Another Record Label (39, 
Meadowside, Lancaster) if only because it 
boasted "with members of The Selector" on 
its cover. It was not however ex-members 
Charly Anderson and Desmond Brown but 
new boys James Mackie and Adam Williams 
contributing saxophone and backing vocals 
respectively on this fairly run of the mill 
collection of 60s influenced poppy numbers 
with their slight R&B overtones. Appealing 
harp and sax touches, but nothing to get too 
excited about. 

B-Movie, a Midlands band, have their 
second record out, a follow up to last year's 
45, "The Soldier Stood Alone". This time it's 
a twelve inch and a strange cross between a 
single, an EP and an album with the first 
side, "Nowhere Girl" revolving at 45 while 
the five tracks over on the flip are 33s. It's a 
promising collection with a distinct jazz 
flavour, echoey guitar and keyboard effects. 
Available from Dead Good Records, 292/3, 
High Street, Lincoln, Lines. 

Despite numerous line up and label 
changes. The Mekons are still in business. 
After getting their start with Fast Product 
they moved to Virgin and recorded one 
album before being dumped. Now they've 
come up with a second long player for Red 
Rhino Record (9, Gillygate, York). 

Their style and approach haven't changed 
significantly. They may have slowed their 
music down but the playing is still rather 
shambolic, the vocals flat and grey and the 
overall effect sadly depressing. They are in 
the process of recruiting two new members 
so maybe they'll improve matters. Here's 
hoping. 



18 



bauhaus 




BY FRANCIS DRAKE & PETER GILBERT. 



HITE ON black, starkly 
visual, a band who offer as 
much to the eyes as the 
ears and as much for the mind as the 
body — BAUHAUS. 

Bauhaus are one of the newest 
names to join the growing list of 
alternative chartbusters, bands that 
include Crass, UB40, Joy Division 
and The Dead Kennedys, to name 
just a few. 

Based in Northampton, Bauhaus 
were formed in January 1979 and 
within six weeks had already 
produced a demo that was to 
become their first (and some would 
say finest) single, "Bela Lugosi's 
Dead". 

A debut that was so inspiring and 
brave at the time, it's a song that 
slowly creeps up on you from the 
beginning with Kevin Haskins' cool, 
nervous heartbeat drums coupled 
with the sparse, stealthy bass lines 
of Dave Jay. The piercing guitar of 
Daniel Ash cuts like glass deep into 
your subconscious and the whole 
aura of sound is completed with the 
deep, commanding, calm but 
austere voice of Peter Murphy. 

We asked Peter Murphy what the 
inspiration was behind that first 
song? 

"Bela Lugosi, the theme of 
Dracula and the Vampire. It's just a 
really wonderful, sort of attractive 
theme which we wrote about and 



really pulled off well, I think! It 
really captured the whole feel of it. 
Really, it was taking the subject and 
the theme and putting it into a . . . 
(pause). . . a song, full stop." 

That first single was released as a 
one-off on Small Wonder Records, 
an enthusiastic independent label 
based in Walthamstow in London. 
The band's second single began 
their association with 4AD Records 
and "Dark Entries" became the 
label's first vinyl release and 
consequently reached number one 
in the Alternative Charts. 

The third single had the unusual 
title of "Terror Couple Kill 
Colonel", taken direct from a 
newspaper headline concerning the 
assassination of a British colonel in 
Germany by a couple of terrorists 
for no apparent reason. The song 
was written as an observation on the 
strangeness of the event. Despite 
the seemingly political connections 
of "Terror Couple Kill Colonel", 
Bauhaus have very little to say 
about politics, as in the 'Houses of 
Parliament' type. 

Their debut album, titled "In The 
Flat Field", was released last 
November. Sadly it received mostly 
scathing criticism but Bauhaus are 
pretty used to that by now. 
Whatever, the album shot to 
number 1 in the Alternative Charts 
within weeks of its release and even 



scraped into the bottom end of the 
BMRB charts. 

Most of the criticism aimed in 
Bauhaus' direction is that they're 
too "arty", "pretentious" and "too 
weird". We asked the band how 
they would answer these criticisms? 

Peter Murphy replied 
immediately: "I'm not inspired to 
answer them at all", he explained 
confidently, "because that would be 
placing them in a position where we 
respected their say or their opinion 
— which we don't!" 

A positive answer, but the fact 
that Bauhaus are made up of three 
other similarly positive characters 
also has its disadvantages. During 
the interview for example they 
would often argue among 
themselves but at least it showed 
that their answers were not 
premeditated. 

Daniel confirmed this: "If you do 
argue or debate with each other, it's 
better because it kicks out all the 
shit. If there was one person who 
said, 'this is what we do', it would be 
very one-sided." 

Bauhaus are a stunning band to 
watch live, with the visual emphasis 
largely on black and white in sharp 
contrast. ("Coloured lights are for 
Christmas trees," comments Dave 
Jay). Peter Murphy is physically 
absorbing to watch, resembling a 
new-age vampire flitting recklessly 



around the stage, occasionally 
picking up a strobe light 
illuminating his whole body, giving 
the illusion that his supple body is 
being mechanically controlled. 

One of the highlights of their 
stage set is their performance of 
Marc Bolan's "Telegram Sam" and 
so it wasn't surprising that this song 
emerged as their fourth and latest 
single. 

Daniel Ash: "We liked that 
attitude of Marc Bolan. The 
particular image he was putting 
across, the whole thing. He could do 
it better than anyone else. It was 
very simple but it worked. 

"A lot of Marc's lyrics didn't 
mean a thing. In a way you could 
say they were total rubbish, 
ridiculous even, but he was able to 
pull it off — that is what was so good 
about him. He could spit in the faces 
of those sort of serious, supposedly 
elite people and say 'Look, I'm 
doing this — it's really bland and it's 
pop music!' but even so he just 
seemed to have that magic that 
made it all work." 

Likewise Bauhaus too have that 
special quality that sets them apart 
from the crowd, that all important 
presence and aura of 
professionalism, conviction and 
style. Put them on the top of your 
list of bands to check out — we 
don't think you'll be disappointed. 



y : jpowto* 



■Of'! 




MUCHO MONDO BONGO 



B00MT0WN 

BATS 

ALBUMS 

JO BE WON 



FANCY YOURSELF, do you? Reckon you know what's shaking, eh? 
Think your knowledge of rock and roll is comprehensive enough to 
entitle you to a free copy of The Boomtown Rats latest hot long 
player, "Mondo Bongo"? 

Well you'd better be fit, because the little quiz we've laid out 
below is guaranteed to gauge just how near you keep your ear to 
the ground. In fact a few of the posers aren't quite as simple as they 
might initially seem. 

Anyways, mull them over at your leisure and then send the 
completed form to Boomtown Rats Competition, 14Holkham Road, 
Orton Southgate, Peterborough PE2 OUFto arrive before February 
5th. 

If you're one of the twenty five lucky (and knowledgeable) 
winners you've got our permission to fall in love with yourself. 

O.K., sheep this side, goats the other . . . 

1 . "Embarrassment", "Baggy Trousers", "Night Boat To Cairo" and "The Return Of 
The Los Palmas 7" are all singles by Madness. Which is the odd one out? 



2. Two famous British solo artists have in the past studied with mime artist Lindsay 
Kemp. Kate Bush is one. Name the other. 



3. Which Boomtown Rets single mentioned "The Five Lamp Boys"? 



gar rW? 



4. Which member of Blondie is British? 



5. Which band's debut album was called "Three Imaginary Boys"? 



6. Name the following singers' backing bands, a) Elvis Costello; b) Bob Merley; c) Ian 
Dury. 

7. Which band have their own label called Reformation? 



8. Which Surrey town do The Jam hail from? 



9. Name the first album by Adam And The Ants. 



10. Name the first Police single. 



NAME: 



ADDRESS: 




-r. ">-«-""** 





THE POLICE/ THE JAM/ SPLIT ENZ/ THE SPECIALS/ IRON 
MAIDEN/ AC/DC/ BLONDIE/ ELVIS COSTELLO/ THE 
PRETENDERS/ BRUCE SPRINGSTEEN/ HUMAN LEAGUE 
GARY NUMAN/ MICKEY JUPP/ DEVO/ B52's/ SECTOR 27 
SLITS/ BOOMTOWN RATS/ SQUEEZE/ THE BLUES BAND 
and many MANY MORE. Your No. 1 is sure to be in this 
exciting — colourful 128 page book. THE NEW MUSIC is 
now available in the UK. It's a must for the New Music 
people. — And the price? It won't make a hole in your 
pocket — Just £2.95. Get it from your newsagent or record 
shop NOW. 

City Magazines Ltd., 

Park House, 

165/177 The Broadway, 

Wimbledon, 

London SW19 1NE. 

Tel: 01-543 2133. 



THE TIME IS NOW - THE BOOK "THE NEW MUSIC" 



20 



nc/J 



She had a horror of rooms, she was tired, you can't hide beat 
And when I looked in her eyes they were blue but nobody home 
Well, she could've been a killer if she didn't walk the way she do 

and she do 
She'd opened strange doors that we'd never close again 

She began to wail, jealousies, screams 
Waiting at the lights, know what I mean? 

Scary monsters, super creeps, keep me running, running scared 
Scary monsters, super creeps, keep me running, running scared 

Well, she asked me to stay and I stole her room 

She asked for my love and I gave her a dangerous mind 

Now she's stupid in the street and she can't socialise 

Well, I love the little girl and I'll love her till the day she dies 

She wails, Jimmy's guitar sound, jealousies, scream 
Waiting at the lights, know what I mean? 

Scary monsters, super creeps, keep me running, running scared 
Scary monsters, super creeps, keep me running, running scared 

Scary monsters, super creeps, keep me running, running scared 

Words and music by David Bowie 

Reproduced by permission Bewlay Bros. Music/Fleur Music 




U^y -rf 




J 



■HMBHinjinaii" 




SPJUlDftU BULLET 
THE FREEZE 



%THE FREEZE (VERSION) 
A SINGLE AVAILABLE 

IN7&12 - 



Chrysalis 



21 



($**■ 



I'm afraid 1981 hasn't exactly 
seen an avalanche of new 
releases, so this week's column 
might indulge in just a little 
barrel scraping. Motown attack 
the movie soundtrack market 
with two singles out this week 
featured in forthcoming films. 
Diana Ross (who seems to be 
riding on the crest of a wave 
following her liaison with Chic) 
changes style temporarily and 



lends her talent to a 
melodramatic ballad entitled 
"It's My Turn" (Motown) (also 
the name of the film). It's not a 
patch on her more recent 
material and the B side is a lift 
from her 1974 album "Last Time I 
Saw Him". I'll give this one a 
blank. 

The Temptations fare slightly 
better with "Take Me Away" 
(Motown) (from the film "Loving 
Couples") — a pleasant Stylistics 
type ballad. Up funking the 
tempo for a mo, we have Fatback 
coming on like James Brown 
with "Let's Do It Again" 
(Polydor), a great dance track 
with plenty of weird sound 
effects. As Baron Frankenstein 
said to his assistant 'it could be a 
monster'. L.A.X. (who?) also turn 
in a pretty tasty offering with 
"All My Love" (Epic) which 
seems to have all the right 
ingredients to be a hit. 

Tata Vega has revived the old 
nutmeg "You Keep Me Hangin' 
On" (Motown) and made a pretty 
good job of it. Tata has a strong 
voice which does this great 
number justice. 

Some other releases out at the 
moment which don't really do 



disco top 40 



T"~OONT STOPTHE MUSIC Yarborouoh & Peopl es., 

I 3 27 BAPP PAYBACK .lames Brown _ _ 

4 16 i oimt GONNA STAND FOB IT Ste vte Wonder 



Mercury 117 



Motown 111* 



38 GANGSTERS 01THE6R0OVE Heatwave 



( 6 19 YOUBE TOO tATE Fantasy 

; 2 DOYOUFfEUJYJ^WEo^yJrairt. 



Paviltion 121 



71 LOVE MONEY Funk Masters 

I 9 9 STRETCH B.T. Express 

10 NEW HANf.TOGETHEB Odyssey 

H 30 ALL M Y LOVE LAX 



Tania 127 
Excatiber 112 



12 28 lYm iKNOWIYOUCANOOITCentralUrie 
[ 13 4 CEUBBATION Kool &Thefian3 



Mercury 122 



^-—y^^ GONNAJf^ OU UP Patrice Rushen 

15 NEW TAKE IT TO THE TOP Cloud __.,, 

16 NEW THE L0UOER Peter Jacoues B and 
[ 17 12 I SHOT THE SHEBIFf tight Ot The W ojH 

1g 26 CRUISIN' J-TOWN Hiroshima . _ 



I 18 NEW IT'S MY TUBN Diana Boss 
20 NEW HEI P ME OUT Beggar & Co 



| 21 NEW ITS A LOVE THINS Whispers 
22 8 WHAT A FOOL BELIEVES Aretha Franklin 



23 NEW GET YOURSELF TOGETHER Mystic Touch 

24 25 LET IT FLOW Gro ««r Washington Jr 

25 NEW LETS 00 IT AGAIN Fatback 



78 NEW laYINC m THE) WINGS Of LOVE Leyelj2 
27 NEW MAGIC Tom Browne 



■pt n HEARTBREAK HOTEL Jacksons 



28 NEW LOW wn'ONGEBHASAHOLDJoJWixBristot 

38 NEW 6" 'PMINE0avidBendeth 

31 33 FUUOFFIBESh 6jaroax_ 

I 3; 32 ST EPJN^SEjjYJDANC EB Harry Mosco 

33 8 I t«E WHAT YOU'RE J WHjiJOMB^aaalS' 

34 16 I'M COMING OUT Diana Ross 
36 "40 THROW rrowmcarneo. 




i 37"~!7Hii=AlMlis jc^^ 

I 37 39 JAMMIN' Oemo Cates 

38 20 GROQVE JjNWil lie Beaver' Hale 
I 38 22 EVEBY BOOYGETU P U.K. Players 

[ 40 24 iFWUjyAucwrnwni^ 



Prelude (Imp) 113 

Scor pio (IMP) 127 

TK 




much for me, but you might like 
to check for yourselves are: 
Fantasy's "You're Too Late" 
(Epic), "Setting It Out" by 
Enchantment (RCA) — a funky 
little sound — and "To Prove My 
Love" by Ned Doheny (CBS), a 
jazz number. 



A thousand apologies for the 
lack of news, hopefully there'll be 
a few more things occurring by 
the next ish. 

Beverly 
P.S. That photo on page 39 
definitely caught me at the 
wrong angle! (Excuses, excuses). 



Burn Rubber On Me (Why You Wanna Hurt 




By the Gap Band on Mercury Records 

I gave you my money 

I gave you my time 

Why you wanna hurt me girl 

Are you serious 

I'm just curious 

Why you wanna hurt me girl 

Just because you're not for real 

Why you wanna hurt me girl 
Just because you're not for real 

Why you wanna hurt me girl 

Chorus 

I never ever had a lover 

To put the pedal to the metal 

And burn rubber on me 

Charlie oh no (no, no) 

You took my money you took my time 

Made me think everything was fine 

Then you upped and ran away 

And made me just go crazy 

Repeat chorus 

Just because you're not for real 

Why you wanna hurt me girl 
Just because you're not for real 

Why you wanna hurt me girl 

Repeat chorus 

Just because you're not for real 

Why you wanna hurt me girl 
Just because you're not for real 

Why you wanna hurt me girl 

You told me to go up the block 

To get you a strawberry pop 

When I got back to the flat 

You had burned rubber out the back 

I went to the closet and saw no clothes 

All I saw was the hanger and poles 

I went to the phone and called your Mother 

Told her you had burned rubber on me 

Charlie oh no, no, no, no, no, no, no 

Just because you're not for real 

Why you wanna hurt me girl 
Just because you're not for real 

Why you wanna hurt me girl 

Repeat chorus ad lib to fade 

Words and music by L. Srmmons/C. Wilson/R. Taylor 
Reproduced by permission Total Experience Music (Leosong) 




oomtown JJctf s 







&£%£%, LP6359 042 MC7150 042 free poster with every LP & cassette on initial shipment 










SMASH HITS 

XTC 



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THR?WNtW^Y 



On Liberty Records 



"-nances thrown away 
Com ni^J? ™» *or*ons 



Then there 



>rown away 

^t&^^^r^-our Side 



"™ n awa V- thrown away 



•ad to go away 
W !ir alMs .Wd and .|| is over 



s and hypocrisy 

» t^c^re^VaTwe'tr 1 °" ° U ' *«* 
Thrown away. ^Si-lj, 

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Ain't Gonna Stand For It 

By Stevie Wonder on Motown Records 

Don't wanna believe what they're telling me 

That somebody's been picking in my cherry tree 

Don't wanna mistrust nobody by mistake 

But I hear tell someone's been digging round in my cake 

And I ain't gonna stand for it baby 

And I ain't gonna stand for it baby 

And I ain't gonna stand for it baby 

Nah-ah-nah-ah 

And I ain't gonna stand for it baby 

And I ain't gonna stand for it baby 

I ain't gonna stand for it baby 

Nah-ah (nah-ah nah-ah) 

Nah-ah (nah-ah nah-ah) 

Don't wanna believe what somebody said 

But somebody said somebody's shoes was under my bed 

Don't wanna cause nobody no bodily harm 

But somebody's been rubbing on my good luck charm 

I ain't gonna stand for it baby 

I ain't gonna stand for it baby 

I ain't gonna stand for it baby 

Nah-ah (nah-ah) 

I ain't gonna stand for it baby 
I ain't gonna stand for it baby 
I ain't gonna stand for it baby 

Nah-ah (nah-ah nah-ah) 

Nah-ah (nah-ah nah-ah) 

Oh, oh, oh, oh, my, my, my, my, my, my 
Oh, oh, my, my, my, my, my, my 

Oh, oh, oh, oh, my, my, my, my, my, my 
Oh, oh, my, my, my, my, my, my 

No, I ain't gonna stand for it baby 

And I ain't gonna stand for it baby 

And I ain't gonna stand for it baby 

Nah-ah (nah-ah) 

I ain't gonna stand for it baby 

And I ain't gonna stand for it baby, no 

And I ain't gonna stand for it baby 

Oh, oh, no, no, no, no, no (nah-ah) 

Nah-ah I ain't gonna stand for it baby 

And I ain't gonna stand for it baby 

And I ain't gonna stand for it baby 

Nah-ah (nah-ah) oh, oh, oh 

I ain't gonna stand for it baby 

I ain't gonna stand for it baby 

Repeat and ad lib to fade 

Words and music by Stevie Wonder 
Reproduced by permission Jobete Music Ltd./Black Bull 




ACROSS 

;H5ompanion of cuddly Carta 

and gruesome Grot (7,7) 
7 Slit person (3,2) 
S & 19 Bowie single taken from 

bis "Low" album (5,3,6) 
1,0 Partridge of XTC 
13 Qifford of Squeeze 
16 Specials' ode to idleness!? 

J2.7) 
yf Distinctly ordinary and 

anaemic Scottish funk band! 
.(7,5) 
. jKt, Nutty frontman 
22 See 12 

2*&26 down Sounds like The 
Jacksons have been on one of 
those Tardy Tours Ltd 
holidays! • 
*» It's the Doctor 
27* Singer in a thermometer 
3fi A Who? 
:34 See 23 
32" Quo fabrications? 



ANSWERS ON PAGE 39 



DOWN 



jKTheir first hit was "Gertcha" 

J2' 3 ' 4) 
2 Actor/singer who starred in 

"Quadrophenia" (4,7) 

% Pam's turned into a sound 

enlarged 

4 Creator of 1 across 

.5 Girls' name/Hot Chocolate 

oldie 

6 TV series which provided a 

recent top ten hit 

8 Well-known horror movie 

11 What Ian Oury wanted to be 

on a recent single 

_128t22 Radio One DJ 

14 See 15 

15&14 Remember Mott The 

Hoople? Remember their 

singer? 

18 Mel Brooks' murder mystery 
homage to Hitchcock (4,7) 

21 Cats without owners? 

19 See 9 
23&31 Great PIL beer (anag. 5,7) 

25 Harry Webb's stage surname 

26 See 24 

28 Another Who? 

29 1980 No 1, theme from a US 
TV series (1,1,1,1) 





27 




JOHN LENNON: Woman 

(Geffen). That Lennon never 
succumbed to cynicism is again 
evident on this second slxe of 
filleted emotion from "Double 
Fantasy". Touching in the 
extreme, this simplistic 
sixties-styled ballad highlights 
the shortcomings of McCartney's 
"love" songs. Another hit, 
needless to say. 

THE QUICK: Young Men Drive 
Fast (Epic). Two more polished 
young men who've spent all their 
savings at Johnson's. From the 
cliche title — young men drive 
fast, indeed — you'll have 
gathered that this is fairly 
standard rock fare, Americanised 
pop that's had the required 
keyboard and syndrum 
treatment. They don't exactly 
sound dead but they could well 
be on the way. 

THE RAMONES: I Wanna Be 
Sedated (RSO). Robert Stigwood 
carries on milking the "Times 
Square" soundtrack with two 
Ramonic standards. Cute but 
deadly. 




M: Keep It To Yourself (MCA). 

Cultured tribal rumblings, but 
one wishes Robin Scott would 
shuffle off into self imposed 
obscurity and settle for being a 
one hit wonder as he originally 
implied he would. An album track 
pulout to fulfil a contractual 
obligation I shouldn't wonder. 

PAUL SIMON: Oh Marion 
(Warner Bros). A vaudeville tune 
that's classy and all that jazz. 
Engaging even, but only 
compared to Leif Garrett. 

MICHAEL DES BARRES: I'm Only 
Human (Dreamland). This is 
typical Dreamland material; 
American power pop cynically 
produced by the incredibly 
wealthy Mike Chapman. A shame 
that everybody concerned here 
doesn't realise the importance of 
some sort of commitment. 

28 



DIANA ROSS: It's My Turn 
(Motown). Cloying ballad that 
marks a step back in he girl's plan 
for world domination. 

DESMOND DEKKER: Many 
Rivers To Cross (Stiff). Jimmy 
Cliff standard taken slightly faster 
than the original. Well played, but 
ultimately a pretty futile release. 

HONEY BANE: Turn Me On Turn 
Me Off (EMI). Produced and 
co-written by one James Pursey, 
the A side is just a mediocre song 
which even has to resort to a half 
hearted disco bass line. Best 
effort here is a new reading of old 
old oldie, "Tain't Nobody's 
Business If I Do" which will have 
ex-Bane playmates Crass up in 
arms. 

BILLY JOEL: Sometimes A 
Fantasy (CBS). Billy Joel, I 
suspect, is a frustrated phone 
booth vandal and dearly, in his 
heart of hearts, wishes he was a 
Dead Kennedy. Instead he's 
trapped in producer Phil 
Ramone's vacuum with millions 
of dollars, limos and Steinways 
and all the other transient 
rewards that come of being a 
damp — one up from "wet" — 
American songwriter. Ah, but is 
he happy? Bloody right he is. 

TONY KOKLIN: Claude Monet 
(Reincarnation Of An Artist) 
(Chiswick). "I may be Claude 
Monet, I may be Claude Monet/I 
definitely know I'm not Van 
Gogh/But I may be Claude 
Monet/Hey hey". Beyond belief. 

SPANDAU BALLET: The Freeze 
(Reformation). Hold that there 
front page! The "I was a Jacobite 
before you were a Jacobite" boys 
and their second chart cert. This 
glides along on one of those 
disco bass lines and again shows 
a certain amount of two fingered 
prowess from the keyboards. A 
hit band; the only thing I hold 
against them is their blatant 
exploitation of the music and 
fashions of underdeveloped 
countries. By this I mean their 
sponsorship deal with Scots 
Porridge Oats is an insult to the 
nation that was genocidally 
stomped at Culloden. 
(Ronnie Gurr comes from 
Scotland — Ed.) 

GEN X: Dancing With Myself 
(Chrysalis). In terms of fashion. 
Gen X were the Spandau Ballet of 
'77 and this is a re-release of the 
excellent single that escaped at 
the end of last year and showed 



that a prolonged layoff hadn't 
affected their pop sensibility; 
instead it had bolstered their 
technique. With "Untouchables", 
another track from the new 
album, and two oldies (Gary 
Glitter's "Rock On" and the 
appalling "King Rocker") it all 
adds up to good value. 



SGTROCK 



$ 



XTC: Sgt Rock (Is Going To Help 
Me) (Virgin). The first sons of the 
new vaudeville jazz it on up. 
Excellent; a hit; so what's new? 

DEPARTMENT S: Is Vic There? 
(Demon). Another solid little 
single on Demon, an indie that's 
making its name with quality 
"unfashionable" guitar based 
bands. This lot used to be called 
Guns For Hire and they offer up a 
fine bass vocal with a cover of 
Bolan's "Solid Gold Easy Action" 
on the flip. 

GILBERT O'SULLIVAN: Hello It's 
Goodbye (CBS). Here's the rub. 
All of you creeps who pretend to 
have been Gary Glitter fans in 
days of yore are about to be 
found out. Everyone knows that 
anyone who was anyone back 
then regarded "glitter" as 
nothing more than a waste paper 
basket and went in, instead, for 
personally initialled college 
cardigans. However, I digress. 
Good old Gilb has been 
welcomed back into the industry 
of human happiness and then he 
pushes bilge like this and 
"What's In A Kiss" at us. That's 
gratitude for you. 

JOHN COUGAR: This Time 
(Riva). "I've had a lot of girls in 
my life," blurts our John, so he 
must be okay in his own 
unassuming little way. Sashaying 
up the American charts as I write 
presumably, this is low life 
Frankie Miller on buttermilk and 
vitamins. John is over 
twenty-one and in his spare time 
enjoys killing commies, water 
skiing and trying to follow up "I 
Need A Lover". 



singles 

By Ronnie Gurr 



THE CLASH: Hitsville U.K. (CBS). 
From "Sandinistal", this is the 
first decent single they've come 
up with since "London Calling", 
with admirable sentiments on the 
independent labels scene pushed 
out over a Tamla-like bass and 
keyboard backing. Mellow 
tinkling xylophone, girlie chorus 
and a monster hit, I would think. 

BETTE MIDDLER: Big Noise From 
Winnetka (Atlantic). No jokes 
about big noses from Winnetka 
blowing in and blowing right out 
again. This ancient song is the 
kind of thing The Andrews Sisters 
went in for before moving into 
the liver salts business. 
Crossover appeal, folks. 

POSITIVE NOISE: Give Me 
Passion (Statik). And talking of 
the healthy scene down among 
the small men, here we have 
some giants. This Glasgow bred 
band positively (sorry) bristle 
with verve and style. From a 
forthcoming debut album which 
should be epic. 

WILLIE GARDNER: Golden Youth 
(Cuba Libre). As someone 
remarked, it sounds like Cliff 
Richard singing Bowie, as 
tasteful and excellent as that. 
Gardner's voice cracks 
beautifully as he intones 
breathlessly. Pop with soul. 




ULTRAVOX: Vienna (Chrysalis). 

A twelve inch release that 
justifies the waste of vinyl. The 
title track from a patchy album, 
it's nevertheless haunting. Two 
unreleased titles on the flip and a 
spectacularly tasteful sleeve. 

TANGO BRIGADE: Donegal 
(Epic). From the band who were 
formerly known as Star Jets — 
not that this new name is any 
better than the previous dog tag 
— this is punchy, guitar based 
pop and not a million miles away 
from the fine job that Fingerprintz 
are doing. 



albums 



BEADUr. 




BLONDIE: Rapture (Chrysalis). 

Special disco mix of track from 
"AutoAmerican" catastrophe. 
The bass is turned up, valium is 
prescribed for Clem Burke and 
the whole shebang liberally 
sprinkled with Chic-style fairy 
dust. Ms Harry, for 'tis she, then 
lopes into what the colonials call 
a "rap". It soon becomes 
obvious, however, that the gel's 
stream of consciousness is 
running a little dry. To sum up 
then — whoop de doo and to and 
fro, it's Blondie getting next to 
Kurtis Blow, with a funky beat 
that's reet petite and swells and 
bells they could be Chic, Harry 
tarries as she opens her trap, 
talkin' rubbish you could call it 
(c)rap. 



SECTOR 27: Total Recall 
(Fontana). Although it bounces 
along in fine style to Jo Burt and 
his bubbling bass, this remix of a 
song from Sector 27's debut is 
not as strong a contender as 
"Looking At You". More 
interesting by far is the B side 
"Stornoway", an updated 
"Albatross" with Stevie 
Blanchard shining on guitar as 
drummer Derek Quinton recites a 
recitation for those in peril on the 
sea. 




NASH THE SLASH: Dead Man's 
Curve (DinDisc). At last! A hero 
for the walking wounded! Using 
electric mandolins, electric 
violins, electronic percussion, 
keyboards, pedals, voices and a 
"device", Nash recreates the Jan 
and Dean surf sound with no little 
aplomb and wins a few laurels. 
Damn near irresistible. 



BOOMTOWN RATS: Mondo 
Bongo (Mercury). Despite his 
Worzel Gummidge dress sense, I 
have oft been impressed by the 
sharpness of Paula Yates' lesser 
known sidekick. On the occasions 
that he's succeeded in 
transfern'Eitf his wit and 
intelligenclbnto vinyl, the results 
have been just short of 
superlative. Although this album 
never quite equffs "Mondays", it 
is nevertheless an interesting 
departure, adventurous in both 
material and arrangements and 
the first Rats album not to sound 
like a collection of singles. It may 
lack depth in places but it is 
nevertheless well planned and 
«xecuted. (7Vi out of 10) 

Geoffrey Deane 



ELVIS COSTELLO: Trust (F.Beat). 

He's not blow&it yet and he's not 
showing any sign. The only risk 
he runs is of letting his ear for the 
telling line run away with him. 
But that reckons without his 
ability to vary the attack without 
ransacking the armoury and the 
wristy versatility of The 
Attractions, not to mention 
producer Nick Lowe's faultless 
taste. If you want the flavour of 
"Trust", try blending "This Year's 
Model" with "Armed Forces". 
Better still, buy it. This one makes 
five indispensable L.P.s. Now 
really, what else did you honestly 
expect? (9 out of 10). 

David Hepworth 

™| RUNAWAYS (WITH CHERIE 
CURRIE): Flaming Schoolgirls 

(Cherry Red). In '78 the late 
Runaways' hard boozing heavy 
metal found convenient shelter 
under the banner of American 
street punk. From 1981 they just 



sound like Girls School gone soft- 
flaming awful. This album boasts' 

previously unreleased tracks" 
(how generous!) shuffled in 
among some leaden live cuts, 
* studio padding and a couple of 
sugary Beatles covers. All clout 
and no inspiration; a fitting 
epitaph really. (2 out of 10). 

• Mark Ellen 

STEVE WINWOOD: Arc Of A 
Diver (Island). For fifteen years 
now Steve Winwood has been 
one of Britain's most 
distinguished singers and 
instrumentalists. This second * 
solo album has been a long time 
coming and, although it 



.o-it-yourself 
music making. All the 
instrumental parts were played 
by Winwood, but What he gains 
in precision he sacrifices in 
friction and immediacy. Even his 
churning Latin-flavoured dance 
numbers seem to have been 
fashioned in a vacuum. Get 
yourself a rock and roll band 
boy. (5 out of 10) 

David Hepworth 

UFO: The Wild, The Willing And 
The Innocent (Chrysalis). Some 
people make music through a 



they find they have a knack for it. 
^|Only the best have both and UFO 
"tiave only the latter. Armed with # 
small library of riffs ana 
thunderous rhythms they achieve 
their avowed intent of "rocking^ 
. But, with lyrics that are 
consistently hackneyed and 
occasionally ludicrous and vocals 
that are never below full stretch, 
they render even their best 
efforts unconvincing. Despite the 
fact that, as hard rock bands go 
they're almost thoughtful, there's 
little that they do which has any 
ring of truth about it. (5 out of 10) 
David Hepworth 

BASEMENT 5. 1965-1980 
(Island). Any band fronted by a 
former record company head of 
design is running the risk of 
sacrificing musical content to 
image. This the Five almost do, 
allowing a raucous production 
aimed at creating "atmosphere" 
and their over-seriousness about 
social "message" to swamp the 
excitement of their powerful 
blend of dub and distorted rock 
More of the straightforward 
adventurousness of "Immigrant" 
next time, please. (6 out of 10) 

Steve Taylor 
GEN X: Kiss Me Deadly 
(Chrysalis). This long delayed 
third album opens strongly with 
"Dancing With Myself" which is 
the sort of perfectly acceptable 
pop punk that Gen X have always 



done well. But from there on their 
fascination with rock and roll 
mythology takes over and they 
end up soundjng every bit as 
dated as Tony James looks. Even 
the enchanting guitar 
contributions of John McGeoch 
and the somewhat less subtle 
approach of Steve Jones do little 
to compensate for the overall 
blancjness of the material. This 
music's lost its taste. Try anothc 
flavour. (2 out of 10) 

Geoffrey Deane 

MTUME: In Search Of The 
Rainbow Seekers (Epic). Mtume 
(pronounced Em-Too-May) is the 
band fronted by 

guitarist/composer James 
Mtume, one of the most 
influential figures in disco/funk 
circles. Their brand of "nuclear" 
funk is not a million miles 
removed from the work of 
George Clinton and E, W&F and, 
to these ears, every bit as 
enjoyable. Apart from a counle nf 



Danads this album consists of 
eight high class funky dance 
numbers, the best being "Dance 
Around My Navel"(l). A great 
first purchase for '81. (8 out of 10) 
Bev'Hillier 



ROSE ROYCE: Golden Touch 

(Whitfield). Rose Royce seem to 
have faded from the singles 
charts of late and, oftfirst 
hearing, this new alburn doesn't 
sound to have any material to 
change that situation. However it 
does prove that they are still a 
force to be reckoned with. The 
ballads may be under par but the 
funkier efforts are really class 
material, although more suited to 
the dance floor than the 
airwaves. The horn section 
deserve a special mention as 
does new female singer Richee 
Benson. File under fairto 
middling. (6 out of 10) 

BevHillier 



S*. 



a* 




teaser 



The names listed are hidden in the 

diagram. They run horizontally, 

vertically or diagonally — many Of 

them are printed backwards. But 

remember that the names are 

always in an uninterrupted straight 

line, letters in the right order, 

whichever way they run. Some 

letters will need to be used more 

than once — others you won't need 

to use at all. Put a line through the 

names as you find them. Solution 

on page 42. 



ANGEL CITY 

ANGELWITCH 

AEROSMITH 

AC DC 

BLACK SABBATH 

BLOODROCK 

BLUE OYSTER CULT 

BUDGIE 

CREAM 

DEEP PURPLE 

OEF LEPPARD 

ETHEL THE FROG 

GILLAN 

GRAND FUNK 



HAWK WIND 

IRON BUTTERFLY 

IRON MAIDEN 

JUDAS PRIEST 

KISS 

LED ZEPPELIN 

MAGNUM 

MOTORHEAD 

MOUNTAIN 

PRAYING MANTIS 

QUARTZ 

ROBIN TROWER 

RUSH 

SAMSON 

SAXON 

SCORPIONS 

STARZ 



STEPPENWOLF 

TED NUGENT 

TYGERS OF PAN TANG 

UFO 

URIAH HEEP 

VAN HALEN 

VARDIS 

WHITESNAKE 

WfTCHFYNDE 



TAN 
N N N 
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"It's top of the league! 



"The Grundig RR220 is one of the finest radio 
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It costs about £66, and for that you get a superb 4-band 
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With Grundig!' •*-«■£ £ Jfc PrecisetyGnindigPreciseh/right 




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spjinnnii BULLET 

The Freeze 

On Reformation/Chrysalis Records 

• 

Blue 

Sing la lune 

Sing lagoon 

These visions are making me stay 

The art is pretending it's art 

The question is where do you pay? 

Unpack my case one more time 

I'll cancel my train once again 

Destiny give me a day 

Erogenous zones win again 

Blue 

Sing la lune 

Sing lagoon 

These visions are making me stay 

The art is pretending it's art 

The question is where do you pay? 

Unpack my case one more time 

I'll cancel my train once again 

Destiny give me a day 

Erogenous zones win again 

Blue 

Sing la lune 

Sing lagoon 

These visions are making me stay 

The art is pretending it's art 

The question is where do you, do you pay? 

Words and music by Gary Kemp 
Reproduced by permission Copyright Control 




31 



IT'S FIVE o'clock on a Wednesday 
afternoon at the BBC Television 
Centre. The five bands appearing 
on Top Of The Pops this week are 
running through dress rehearsal 
after a full day of hanging around 
with precious little to do save visit 
the BBC bar and canteen. 

The stage in the far corner heaves 
and groans under the considerable 
combined weight of everyone's 
favourite buffoons, Bad Manners, 
while on either side Racey and Chas 
and Dave clown around and 
opposite, Sad Cafe preen and pose. 

All familiar faces, but in the 
wings, awaiting their turn, stand 
newcomers The Look who have 
sprung almost from nowhere to 
number 30 in the charts, the highest 
new entry that week with "I Am 
The Beat". This was released in 
November last year, quickly picked 
up on — first by Simon Bates and 
then by almost all the other Radio 1 
jocks — and then held on to over 
the Christmas period. 

"I've waited a long time for this," 
The Look's tall (6' 2") bassist Gus 
Good says with deep satisfaction. 
"I've always watched Top Of The 
Pops since I was a little kid, and said 
'one day I'll be up there'." But it 
must have been becoming a more 
and more distant dream over the 
three years that The Look have 
been around looking for a recording 
contract. 



THE LOOK first got together in 
Cambridge, their home town. 
Keyboardist Mick Bass and vocalist 
and guitarist Johnny Whetstone 
founded the band, Gus and then 
drummer Trevor Walter joining 
later. They mumble about their ages 
being "mid-twenties", but a few 
pints on in the BBC bar finds them 
admitting that Trevor is the oldest at 
30, Gus the youngest at 25, with the 
other two hovering somewhere 
midway. 

They gigged around a lot and 
made innumerable tapes which were 
religiously touted round record 
company A&R departments. "It 
was like everyone goes on holiday 
once a year, but we'd go into the 
studios, record a demo and take it 
round to all the record companies," 
says Mick, who is short and 
plumpish, complains about Gus's 
height a lot and asks the BBC 
cameraman if he could possibly do 
something to make him look tall and 
skinny. 

The band's collection of short, 
polite, almost identically worded 
rejection slips grew (and 
incidentally may now be used to 
decorate their first album sleeve), 
but they were determined to keep 

32 




DEANNE PEARSON 
GIVES THE LOOK THE ONCE OVER 



on trying. No great hardship, they 
insist, because they love playing and 
gigging. But they were not making a 
living from it — indeed usually lost 
money on gigs — and they all 
wanted to be professionals. Instead 
they worked, as assorted builders, 
mini cab drivers, and hotel and store 
porters (alongside Pete 
Townshend's brother in Selfridges 
once, Johnny proclaims proudly). 
Trevor "did accounts" and also 
played for a while with Johnny 
Wakeling, who had a number one 
hit about five years ago with "In 
Zaire". 



The Look were going through 
band managers as quickly as jobs. In 
1977 they had one who actually 
turned down a deal with Chiswick 
Records, saying he could get the 
band a much better deal. Six months 
later, and no further on, he simply 
disappeared. 

It seemed strange that the band 
hadn't tried putting a single out on 
an independent label, or even doing 
it themselves, if they were really so 
determined. Although they mutter 
that they had thought about it, it 
seems likely that it was their 
succession of managers who put 



them off. 

Their present manager, Frank 
Rogers, butts in saying 
independents don't have the money, 
the distribution, the push. They 
don't have as much as the majors, 
agreed, but a lot more than an 
unknown and unrecorded band on 
their own, and independents do 
present a wealth of opportunities, 
even if they are only used as a 
stepping stone. 

"Well, we probably would have 
gone for an independent if we 
hadn't have got a deal with a major 
this time," Johnny mumbles. 

BUT THEY did. October last year 
saw them with a new manager, a 
new demo tape, and an instant and 
obvious chart single, "I Am The 
Beat". Stuart Watson, "the man at 
MCA", hadn't even wanted to listen 
to the tape (any tapes, apparently, 
having just signed four HM bands) 
but he did. Then, convinced "I Am 
The Beat" was going to be a hit, he 
signed The Look. 

It's a two single and one album 
deal, with options in between, and 
"not very much money", the band 
cautiously admit. But who cares? 
They're on TOTP and have all had 
new clothes bought down the King's 
Road that very morning. They were 
even picked up in a white limousine 
courtesy of MCA for the occasion 
"We had to peek from behind the 
curtains and check it wasn't the 
milkman first though," Mick 
confides. Yet they're still earning 
considerably less then they were as 
builders and mini cab drivers. 

UP ON stage they go at last — new 
leather jackets, waistcoats and 
shoes squeaking, faces twitching 
nervously. They must feel stupid 
banging and strumming away on 
unplugged instruments, and miming 
their own song, to an empty studio 
at first and later to a hundred or so 
young teenagers who are smiling 
and bopping for all they're worth to 
the frantic commands and arm 
signals of the TOTP producer 
herding them from spot to spot to 
suit the needs of the cameras. 

The punters have to watch out for 
the huge but agile BBC cameras 
which shoot across the studio floor 
like greased lightning, with little 
warning, scattering all in their wake 
— maybe killing a few every now 
and again for all I know. 

The Look see the funny side of it 
all though, and after a couple of 
runs through at the dress rehearsal 
are quite happy and relaxed "live". 

And one thing's for sure, neither 
hell nor high waters are going to 
keep these boys away from their 
television sets on the night. 




Request Spot: 



DREAM SEQUENCE 

By Pauline Murray & The Invisible Girls on 

Illusive Records 



My mind is 

A turmoil 

Of messy colour 

Now I'm crossing 

The bridge of conscious 

And self control 



Now I'm running 

Through a maze 

A maze of bushes 

There's a station 

"jll of people 

ng strangers 

Choruf 

mi i .m ride ~" 

\ oil IH'M'I 
( YiHI Ill'Vn i;..| 
'\ i M I *." . I J 1 I ulr .!\\ .1\ 

You iu'\i'i know 

I YOU 1K'M-I BO) 



\re cotinB 



Somcbo 



--- ■ %&&r,$ 7 - 



>r_. IV ^- u ■& t ~J> J « 



RHI 



Artist: Pauline Murray & The Invisible Girls 
Title: Dream Sequences 
Year: 1980 Label: Illusive 
ReqTjested by: Tracy Lonsdale, Thornaby, Cleveland. 



&/&A CONFESS 1 was a teenage pinkie-sniffer!' 




kwwqiwM$it... 



Unfortunately the car is locked so they decide to steal Joan's 
umbrella instead . . . 





THE END 



Ujp ^ [7 IT'M, v 



(IS GOING TO HELP ME) 
Virgin Records 




- 5 - r.i 



•\> 









I'm enlisting overseas aid 

Need assisting, help with a maid 

Get the expert on mademoiselles 

He could diffuse any bombshell 

If I could only be tough like him 

Then I could win 

My own small battle of the sexes 

Chorus 

And Sgt. Rock is going to help me 

Make the girl mine, keep her stood in line 

And Sgt. Rock is going to help me 

Make the girl mine, keep her stood in line 

Make the girl mine, wave the victory sign 

I'm invading territories 

Girls are foreign and strange to me 

Get the expert at kissing and stuff 

While he stays easy when things get rough 

If I could only be tough like him 
Then I could win 
My own small battle of the sexes 

Repeat chorus 

■metimes relationships don't go as planned 

Some girls can make themselves so cold 

A no-mans land 

If I could only be tough like him 

Then I could win 

My own small battle of the sexes 

Repeat chorus to fade 

Words and music by Andy Partridge 

Reproduced by permission Virgin Music 

(Publishers) Ltd. 



SPECIAL 4TRACK 12 INCH 



DANCING WITH MYSELF • UNTOUCHABLES 





Rude boy wants to write to a rude 
girl/skinhead. Must be into two-tone 
music and be attractive. Also to 
accompany to gigs if possible. Write to: 
Andy Moore (16), 13 Manor Road, Ruislip, 
Middlesex HA4 7LA. 

Two rude girls wish to contact some rude 
boys/skinheads, aged 15-17. We like The 
Jam, Police, Specials, Beat, Madness and 
Selector. Our hobbies are swimming, 
roller skating and boys. Photos if possible 
to : Carol + Lynda, 6 The Fairway, 
Lowestoft, Suffolk NR33 9JA. 

Martin Fairweather, 17, and my favourite 
groups are Specials, The Jam, The Beat 
and Madness. I like football and am a 
Pompey fan. Girl penpal required, aged 
16-20. Photo to: 207 Jervis Road, 
Stamshaw, Portsmouth. 

Numan fanatic (13) wants a boy or girl 
aged 13-15 to exchange points of view. 
Hates heavy metal and punk. Must have a 
sense of humour, not too mad. AH letters 
replied to, please exchange photos. Write 
to: Lynne Hopkins, 57 Hinksey Path, 
Abbeywood, London SE2. 

Youth wanted for a young quiet girl from 
anywhere in the world. Must like heavy 
metal, and be aged 16-19. 1 also like disco 
and most other music. Please throw your 
missiles at: Debbie Westerman (16), 74 
Willow Lane, North Featherstone, 
Yorkshire. 

Big Numan fan (15) who also likes any 
electric music (me) wants to correspond 
with a fit female (without curly hair) who 
likes most music, dancing, going to gigs, 
etc. Write Write to : Peter Stockton, The 
Grange, 21 1 Crewe Road, Alsager ST7 2JJ 
P.S. I also like lots of other things. 

Two girls who have a great sense of 
humour want to hear from males of 15 * 
with similar interests which are: going to 
discos, music, fave groups being The Jam, 
Madness, The Police and Specials and 
many more. Send photo if possible to: 
Sue and Claire, 23 Tennyson Avenue, 
Mexborough, South Yorkshire S64 OAX 

Two girls Lesley (17) and Mandy (16) 
would like to hear from two male 
skinheads (16-19) who wear braces, doc 
boots etc. Our fave groups are Madness, 
Bad Manners. Send photo if possible to: 
77 Ryle Street, Bloxwich, Walsall W63 
3AR. 

Bored 15-year-old Numan fanatic (male) 
wants to write to male or female 
Numanoids, crazies or u.d's anywhere. 
Also into Foxx, Bunnymen, O.M.I.T.D. and 
doing ridiculous things. Sense of humour 
essential. Please write to: Mark Smith, 1 
Diamond Cottages, Burnham Road, North 
Creake, Fa ken ham.. Norfolk. 

Shy, doleful-looking sly fox, interested in 
folk to hard rock to jazz rock, willing to 
overcome others in boredom while 
exchanging "heard it thru' the grapevine" 
gossip on music, sports or normal 
everyday life. Write (before World War III 
breaks out) to: Roy Mantel (25), P.O. Box 
4506, Safat, Kuwait, Arabian Gulf. 



Wanted: male Numanoid clones (boiler 
suit essential, streak in hair optional) for 
fanatical Numanoid female, into O.M.D., 
Foxx, Ultravox, Monty Python and science 
fiction. (Photo appreciated.) Write to: 
Tracy Marshall, Fox Hall Farm, Asgarby, 
Sleaford, Lines. 

Modette (14) wants to write to mods or 
modettes (14+). Likes most mod and ska 
groups, nutty dancin', Lambrettas and 
wearing mini dresses. Photo if possible to: 
Lynne Watson, 23 Marina Drive, Allenton, 
Derby. Also, rude girl wants 
skinheads/rude boys and girls to write to 
her (Ann, aged 13) at same address. Likes 
wearing jeans, braces, docs, Fred Perry's 
and listening to Specials, Madness, Beat, 
etc. 



buddies 



Four females require four handsome 
males aged 13-15 who like going to discos 
and hate homework. Must enjoy either 
Madness, The Police or Bad Manners. 
Photos if possible. Please write to: Shaz, 
Nick, Michelle and Helen, 325 Glebelands 
Road, Sale, Cheshire. 

Hi, I'm Julia and I'd like a dishy boy to 
write to aged 15-18. Must like The Police, 
The Beat, Madness and 2-tone. Must 
dislike heavy metal. So if you fit write to : 
Julia White, Peamore Farm, Alphington, 
Exeter. 

Logan Walker (15) wishes to correspond 
with young females around same age. 
Likes rock 'n' roll, going to the pub, discos, 
playing pool, pinball and space invaders. 
Write to: 19 Kirkton Road, Fenwick, 
Kilmarnock, Ayrshire, Scotland. 

15-year-old girl would like a biro buddy 
into Numan, Split Enz and crazy about 
pickled onions. Dislikes punk. Thin Lizzy 
and mushy peas. If you are 15+ and a 
complete idiot, please scribble a note to: 
Shaz, 15 Park Road, Watford, Herts. 

Scottish punk/rude girl living in England, 
wants to correspond with Irish punk/rude 
boy, aged 17+. Interests: The Clash, S.L.F. 
Undertones Moondogs, Specials, etc. 
Must have a great sense of humour and be 
really mad. Write to: Lizzy McLean (17), 25 
Cheviot Place, Peterlee, County Durham. 

I (that's me by the way) would like to 
write to a male/female who's 14+. I'm 
crazy about Gary Numan and various 
other electric acts. I hate heavy metal, 
rockers and Spurs. Please write to: 
Dhespo Evagora, 83 Whitehouse Way, 
Southgate, London N14. 

I em 17 and like most music, including the 
Polecats and the Stray Cats. Girl penpal 
desperately wanted. Write to: Andrew 
Briscoe, 36 Howard Close, Hailsham, East 
Sussex. 

We're three girls looking for skinheads 
aged 15-17. Our names are Katrina 
Butcher (15), Kerry James (15) and Nik 
Carlson (15). Our favourite groups are 
Madness, Specials, Body Snatchers, UB40 
and Bad Manners. We all support the 
same football team, T.H.F.C. If there's no 
skinheads, then we'll have punks. Write 
to : Niki Carlson, 68 St. John's Close, 
Mildenhall, Suffolk 

1 8-year-old rude girl wants to write to 
18-year-old rude boys/skinheads. 
Definitely likes Specials, Madness, Adam 
And The Ants etc. Likes parties and 
concerts. Veronica Neary, 14 Forrest 
Avenue, Marsh, Huddersfield HD1 4PL, 
Yorkshire. 

17-year-old Numanoid (and Beatles fan) 
wishes to commence correspondence 
with intelligent and humorous literary 
genius. My hobbies: attempting to play 
the guitar, writing poetry and songs, 
reading anything from Sci-Fi to 
psychology. Contact: Sheyna, 77 
Canniesburn Road, Bearsden, Glasgow 
G61 1HB. 

I am 15 and would like a penpal who likes 
Blondie, Selector and Hazel O'Connor. I 
hate heavy metal. I like writing German, 
going to discos and parties, swimming 
and football. Write to Terry Fenton, 3 
Avondale Road, Carlton, Nottingham NG4 
1AE. 

I have very long brown hair, brown eyes 
and am 5'5" tall. I like the Boomtown Rats, 
and tennis. I would like a boy 14-15, from 
Germany if possible. Write to: Tracey 
Baird, 69 Trecharne Road, Barry, 
Cadoxton, Glam. 

Three delicious dollies aged 16 urgently 
need three males aged 16-20 for 
correspondence; fans of Police, sports, 
"Tiswas" and "Soap". No mods please. 
Write to: Becky, Netty and AM, 14 
Tennyson Road, Cleethorpes, Sth. 
Humberside DN35 7LF. 




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37 




125 BLONDIE: F17 'TRIUMPH: F289 J0 | N P3260 KATE P3247 GARY, p3 287 BLONDIE- 

(Ulf.»ie) 23-X33" THE A RMY: BUSH: NUMAN: V «*>J «««■ 

95p 23"x33""95p 25" x 38" £1.40 25" x 38" £1.40 «»*"-« 



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£1.30 



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B139 STATUS QUO 

B153 paul McCartney 

B164 CARLOS SANTANA 
B171 JIMMY PAGE 
B187 FLEETWOOD MAC 
8189 BLACK SABBATH 
B198 PINK FLOYD 
B201 GENESIS 
B205 FREDDIE MERCURY 
B217 QUEEN 
B218 KISS 
B220 IAN DURY 
B223 ELVIS COSTELLO 
B224 JOHNNY ROTTEN 
B225 THE CLASH 
B227 THE STRANGLERS 
B229 THE JAM 
B230 BILLY IDOL 
B231 E.LO. 



B329 ROB HALFORD 
1261 GARY •* (JUDAS PRIEST) 

NUMAN:29" x 39" £1.35 23" x 33" £1.30 

AVAILABLE — ALL IN FULL COLOUR 



P3275 ELVIS: 

25" X 38" 

£1.40 



33" x 23" £1.30 EACH: 

B234 RITCHIE BLACKMORE 

B241 MIKE SCHENKER 

B243 RUSH 

B255 BUZZCOCKS 

B263 DEVO 

B271 BRUCE SPRINGSTEEN 

B282 LENE LOVICH 

B291 LED ZEPPELIN 

B301 SEX PISTOLS 

B304 SELECTER 

B306 JOHN LYDON 

B307 BLONDIE 

B308 ANNE LENNOX (Tourists) 

B309 PRETENDERS 

B322 DEF LEPPARD 

B323 MOTORHEAD 

B326 SAXON 

B327 IGGY POP 



38" x 25" £1.40 EACH: 
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P84 RAINBOW 
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P3252 UNDERTONES 
P3254 WHITESNAKE 
P3255 JUDAS PRIEST 
P3261 SECRET AFFAIR 
P3269 THE SPECIALS 
/P3273 MADNESS 
P3279 SELECTER 
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P3284 IRON MAIDEN 
P3297 STIFF LITTLE FINGERS 
P3303 JOHN LENNON 
P3308 JOHN 8i YOKO 



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THE FAB FOUR: YOU 
WRITE 

ON READING issue December 25 
I found an informative and 
interesting feature on The 
Beatles. It showed me how much 
The Beatles changed millions of 
people's lives. Although I was 
only born in 1964, 1 can 
remember, although I admit not 
much, some of The Beatles music 
from the good old 60s/70s and I 
can claim that we have some of 
the original albums. 

I am one of the many 
"teenagers" who love The 
Beatles and their music though it 
makes me angry to see some 
people "convert" to Beatles 
music just because some bloody 
idiot shot John Lennon. We true 
Beatles fans of the Eighties 
appreciate every article written 
on The Beatles so I am asking 
you, on bended knee, please 
please print more, in fact quite a 
lot. I know I wouldn't be the only 
person who would enjoy this. 
Paula Maxted, Folkestone, Kent. 

PLEASE THANK David Hepworth 
for doing such a good feature on 
The Beatles. But "Please Please 
Me" got to No 1 and not No 2 as 
you wrote. We would like to ask 
you why you didn't write all The 
Fab Four's singles in the record 
charts; you didn't put "Back In 
The U.S.S.R." and "Yesterday" in 
or the E.P.s. Also, why didn't you 
include all the albums? 
Michelle and Fiona. 

We've had a number of letters 
pointing out various facts that 
were omitted from our Beatles 
piece. But plainly it would be 
impossible to write a 
comprehensive history of such a 
phenomenally successful 
outfit in the space of 1500 words. 
Even the scores of books 
dedicated to them miss out 
something and we decided to 
settle for trying to describe the 
far reaching and lasting effect 
they had on rock and roll. Our list 
of their hits purposely didn't 
include any reissues or singles 
released after the band had split 
up, so that explains the absence 
of "Yesterday" etc. "Please 
Please Me" did not make the top 
spot on the Music Week/BBC 
chart. 

COMPLAINT 

DEAR KELLOGGS, 

I would like to complain about 
the poor quality of a packet of 



Frosties I bought at Presto's, High 
Street, Gosforth, Newcastle on 
32/1 1 /80. As well as being crisp 
and crunchy, they were actually 
coated in sugar. I expect to 
receive a lot of money and other 
goodies. Enclosed is a Frosty. 
An Idiot, Newcastle. 

THE NOLANS (EPISODE 
37) 

I AM one of many, but so far I am 
the only one bold enough to 
actually come out of the closet 



of objective musical criticism (not 
to mention bitchy remarks). Your 
readers can do better! 

After all, what else do I pay 35p 
per fortnight from my student 
grant for, apart from the chance 
to read the kind of mature, 
sophisticated correspondence 
that gets into your letters page. 
Paul Atlow, Deeside. 

P.S. Am I the only Moody Bl 'es 
fan in existence on this earth? 

Nope. There's one in Derbyshire 
somewhere. 



DID YOU KNOW? 

PLEASE PRINT a picture of Bev 

Hillier and Cindy Difford because 

we think they are the same 

person. 

Two Squeeze Fans. 


Cindy at her wedding; Bev in a 
booth. Uncanny resemblance, 
wouldn't you say? Must be 
identical twins. 




i 


' I 1 

li 1 f vi I- 






f Jl! mktoggJm Wkj 



and defend The Nolans. They are 
a talented bunch of nice, well 
mannered girls and you lot would 
do well to take a leaf out of their 
book. Surely they have a right to 
sing and surely people who enjoy 
what they sing should be able to 
live in peace without being 
slagged off as "prissies" and 
"nice people" and shouted at 
across streets and stared at in 
public conveniences. (Uh? Ed.) 

We all have a duty to perform 
and we should unite and crush 
out all these slaggers. We have a 
right to like who we choose to 
like. We are still fans (even if 
most of us, excepting myself (19), 
are senile and middle-aged) and 
should be able to listen to "Gotta 
Pull Myself Together", "Who's 
Gonna Rock You?" and the 
Woolies advert without this sort 
of annoyance. 

Stick it out to the end. 
Marc Clay, Peterborough. 

WHAT? JUST one snide crack 
about The Nolans on the last 
issue's letter's page? 

Tut tut, aren't we falling off a 
bit from our usual high standards 



HEPWORTH TO 
EMIGRATE? 

WHY DO we have to suffer 
pathetic articles on The Police 
every second issue? No doubt the 
latest article was done in order to 
attract buyers in American now 
that Sting and Co are big 
business over there. The only 
good thing about it was that it 
meant David Hepworth was out 
of the country. If we're lucky then 
the Customs men might not let 
him back in. (Suits me, pal. D.H.) 
Since I started buying your rag, 
I have never seen an article on 
those super-Swedes, Abba. O.K., 
so they're not everybody's 
favourites, but neither is Sheena 
Easton, and you've done an 



article on her. So please can we 

have something on Abba as soon 

as possible. After all, they are 

popular. 

Abba Fan, Tadcaster, Yorks. 

We plan to organise an interview 
with Abba next time they're in 
the country. Be patient. 

SOFT AS A BABY'S 
BOTTOM ... 

NOW LISTEN here you 
cheapskates at Smash Hits. I 
noticed that half the pages in my 
"Smash Hits" (Dec 25th) were of 
a cheaper, thinner quality. We 
were still asked to pay 35p for it 
though, and there were also less 
pages than usual. 

I can still remember the big sob 
story you gave (Sep 18) when 
you were putting the price up 
from 30p. "The way things are it 
was either that or a poorer quality 
magazine . . . In these dark days 
of economic hardship ... it is the 
duty of each and every 
responsible citizen to tighten 
their belts, pull up their socks . . . 
etc." 

Where you expected us to get 
the 35p from "in these dark days 
of economic hardship" I don't 
know, but we managed it, and 
now I think your socks are 
beginning to slip and sag. So 
hurry up and pull them up. 

This comes from a poor girl 
with cold feet because she goes 
without socks in order to pay for 
ths mag. 
Jane, Huyton. 

I'VE SEEN Gary Numan's 
important little places. 
A Johnson's Cotton Bud. 



OKAY, WHAT have you done to 
"Smash Hits" (issue Dec 25th)? 
We don't want any excuses. We 
just want the truth. What do you 
mean, what are we on about? 
We're on about the pages, that's 
what. They feel different, that's 
what. It's a good job they're not 
all like that, 'cos we'd probably 
do something stupid like vowing 
never to read "Smash Hits" again 
Continues over . . . 



ANSWERS TO CROSSWORD ON PAGE 27 

ACROSS: 1 Captain Kremmen; 7AriUp; 9 "Sound And (Vision)"; 10 Andy; 13 Chris; 16 
"Do Nothing"; 17 Average White (Band); 20Guggs; 22 Reid; 24 "Heartbreak (Hotel)"; 26 
Hook; 27 (Freddie) Mercury; 30 Pete (Townshend); 31 Gabriel; 32 "Lies". 

DOWN: 1 Chas and Dave; 2 Phil Daniels; 3 Amps (anagram of Pam's); 4 Kenny (Everett); 

"Emma"; 6 "Minder"; 8 "Jaws"; 11 "(I Want To Be) Straight"; 12 Mike; 14 Hunter; 15 Ian 
. 18 "High Anxiety"; 19 "(Sound And) Vision"; 21 Stray (Cats); 23 Peter; 25 (Cliff) Richard; 
^26 "(Heartbreak) Hotel"; 28 Roger (Daltrey); 29 "MASH." 



39 



From previous page 

and you wouldn't like that, would 

you? So come on, get back to 

writing on good quality glossy 

paper, instead of bad quality bog 

roll. 

Donna and Jayne, High 

Wycombe. 

P.S. Here's an extra kiss for David 
Hepworth. X. (Dunno why I'm 
bothering though, two faced 
Prat). 

Because we're always looking at 
ways of holding down the price 
of the mag without reducing the 
amount of contents, we used 
cheaper paper on that particular 
issue as an experimental 
economy. We wanted to see how 
it looked and find out whether 
many people would notice the 
difference. Judging from your 
letters quite a few of you did. 
We'll bear it in mind. 

BELTING JOE 
STRUMMER IN THE GOB: 
YOU WRITE 

I COULD belt Joe Strummer in 
the gob for saying that it's 
inhuman the way bands like The 
Jam have got it all sewn up and 
jump into the No 1 spot when 
they feel like it. 

The Jam deserve all the 
success they get because they 
work hard and care for their fans. 
Not like Joe Strummer whose 
only skill is banging his gums at 
other people. It's obvious 
Strummer is a jealous cretin. 
JammyJoe, Jam-upon-Trent. 



GROVEL 

I THINK you do a fantastic job 
with the mag. Since I started 
work in September as a 
compositor in a printing firm I 
now realise how much hard work 



mm 



goes into producing such a 
publication. It is very well printed, 
unlike other music mags. People 
who complain about mistakes in 
crosswords etc. wouldn't if they 
knew the effort that went into 
producing it. Getting it printed 
and distributed in time is a 
problem, I know, but you do it 
very well. So all you moaners 
who complain, DON'T! 
Paul of The Image, (The New 
Group of Bromley). 

All that crawling just to get a 
plug for his band. This boy's 
going places! 

MARLEY RIDDLE 

HEY, YOU lot! In the December 
25 issue, you v. kindly printed the 
lyrics to "Johnny Was" plus four 
fantastic pics of SLF. But at the 
bottom I notice you wrote 
"Words and Music by Rita 
Marley". Now on the inner sleeve 
of "Inflammable Material", it 
says "Johnny Was" by R. Marley, 
which could mean either Rita or 
Bob. I thought it meant Robert. 
On the actual record label it says 
by Bob Marley. So who's right. 
You or Rough Trade? 
Marion, Bristol. 

Jake Burns, who very kindly 
dropped in the office to OK the 
lyrics to said song with us, 
explained the confusion. Seems 
that the song is adapted from an 
old traditional number and it was 
decided in the Marley camp that 
it would be safer for the new 
version to be credited to Rita in 
case of any legal problems. 
Nothing like putting it in the 
wife's name, eh? 

READER OF THE WEEK 

AT LONG last I have decided to 
put pen to paper and give all you 
morons who slag off David 
Hepworth a piece of my mind. 



If you were a critic you would 
have to give your views on the 
records and I bet you wouldn't 
say you liked them all. Anyway, I 
think Dave writes the truth about 
most records, but then even if I 
disagree with him I don't start 
ripping my hair out. Surely you 
don't take the critic's words 
seriously. Everybody has to make 
up their own minds about a 
record and Dave is only giving his 
view. If you have to rely on a 
critic's view about a record then 
you must have a very simple 
mind. 
Sandy, StAnnes. 



MR MARK ELLEN 

I BELIEVE that the move of Mike 
Read to the breakfast show on 
Radio One was an historic event 
in the history of British Pop 
Music. Because this slot is the 
most listened to show of the day, 
it is probably true to say that the 
bulk of listeners were influenced 
by the music that was played on 
it by that disco lover Dave Lee 
Travis. 

This obviously gave disco an 
unfair advantage over other 
types of music, and consequently 
it figured highly in the charts over 
the past years. 

But now, with Read doing the 
show, introducing new, 
less-known bands as well as the 
popular current groups and even 
playing a little disco, I'm sure that 
the future charts will become 
more interesting and varied, 
without the disco domination. 
James Benning, Brighton. 

P.S. Thanks for printing the 
picture of Mark Ellen, but surely it 
would be more useful to readers 
if you put in a full length photo so 
we can get him where it hurts! 

And where would that be, pray? 



DEAR JAMES And His 
Bunnymen, 

How dare you insult The 
Srriurfs by comparing them with 
Mark Ellen (bleah!). Your 
eyesight must be very poor as it 
is plainly obvious that he is one 
of St Winifred's School Choir. 
A Dedicated SmurfFan, Two Star 
Petrol Pump, National Garage. 

POLITICS 

I WAS surprised, nay astounded, 
by the number of intelligent 
"anarchist" letters you printed in 
Issue Dec 25th. 

The writers of the letters, 
although presenting some valid 
and interesting points, did seem 
rather blind to the consequences 
of obtaining such an idealistic 
state. In a state "without leaders" 
surely chaos would set in and 
some singleminded person 
would try to gain control, 
because not even the most 
perfect of societies would have 
total security from usurpers. 

The country would be in a 
worse state than it is now if such 
"anarchy" were to be 
experimentecTwith, even worse 
than under the Right Horrible 
Margaret Thatcher. 
Andrew Kenning, Merthyr Tydfil. 

POINTS? 

PLEASEPRINTthisaslam 
getting desperate and must get it 
off my chest . . . 

BUSTENHALTER ! ! 
K., Blandford. 

P.S. Happy New Year. 
P.P.S. I'm a P.S. artist. 
THE ANNUAL Queen Fan 
Convention will be held at the 
corner of Brookdown Avenue, in 
the call box. Both members are 
invited. 
Chas. 



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P3289 
P3286 
P3163 
P3164 
P3294 
V1 152 
V1151 



£1.95 



BRUCE 
SPRINGSTEEN 
P3276 25"x38" 
63x93cms£1.60 

| % 

1 J**** ' 






HAZEL O'CONNOR 
K1269 39"x29" 
99x74cms£1.60 




STING V1172 

31"x23" 79x59cms 

£1.60 



POSTAGE & PACKING ONE OR TWO POSTERS 
ADD 45P THREE OR MORE - ADD 60P 



KATE BUSH V1 167 

31"x23" 79 x 59cms 

£1.60 



MM 

BLONDIE V1 154 

31" x 23" 79x59cms 

£1.60 




DAVID BOWIE 
S1698 39"x27" 
00x68cms£1.95 




LAUREL AND 

HARDY K1 178 B/W 

39"x29" 100x74cms 

£1.76 



ADELE AND FOAL 
N1362 25"x38" 
63x93cms£1.95 



TIGER AND CUB 
M1627 25"x38" 
63x83cms£1.95 



WHY M1697 B/W 

38"x25" 93x63cms 

£1.95 




BLONDIE P3167 

25"x38" 63x93cms 

£1.60 



JAMES DEAN P3237 OLIVIA .NEWTON. 

25" x 38" 63x93cms ' °™ K*L_ 

£1.95 B/W 25 x38 £1 6 6 3 ,<93c ' ns 



JOHN LENNON 

P3303 25" X 38" 

£1.60 



LESLEY PROMOTIONS (DEPT S/H) 162 UNION STREET, LONDON SET OLH. 
POST TO LESLEY PROMOTIONS: 162, UNION STREET, LONDON SE1 OLH. 

NAME (please print! 

ADDRESS 

Please rush Catalogue(s) and/or Poster No(s) 

I Enclose £ Including Postage and Packing as Priced above 






41 



CrlCrZ 

Remember to check tocaily before setting out in case of late alterations. Compiled by Bev Hillier 



THURSDAY JANUARY 22 

UFO Middlesbrough Town Hall 

FRIDAY JANUARY 23 
Hazel O'Connor Oxford Polytechnic 
Black Sabbath Bridlington Spa Hall 
Toyah Sheffield Polytechnic 
Angelic Upstarts Scarborough Taboo 

SATURDAY JANUARY 24 

UFO Carlisle Market Hall 
Hazel O'Connor Coventry Theatre 
Black Sabbath Leeds Queens Hall 
Toyah Newcastle University 
Angelic Upstarts Walsall Town Hall 
U2 Strathclyde University 

SUNDAY JANUARY 25 

UFO Liverpool Empire 
The Who Leicester Granby Hall 
Hazel O'Connor Bath Pavilion 
Black Sabbath Stafford Bingley Hail 
U2 Valentino's Club 

MONDAY JANUARY 26 

UFO Birmingham Odeon 
Hazel O'Connor Exeter University 
The Who Sheffield City Hal 
U2 York University 

TUESDAY JANUARY 27 
Black Sabbath Bristol Colston Hal 
Toyah Leicester University 
U2 Manchester Polytechnic 

WEDNESDAY JANUARY 28 

UFO London Hammersmith Odeon 
Black Sabbath Cardiff Sophia Gardens 
Toyah Bradford University 
U2 University of East Anglia 



THURSDAY JANUARY 29 

UFO London Hammersmith Odeon 
Hazel O'Connor Worthing Town Hall 
Angelic Upstarts Bradford Tiffany's 
U2 Northampton Polytechnic 

FRIDAY JANUARY 30 

Tim Who St Austell New Cornish 

Riveria 

Bad Manners Aberdeen University 

Black Sabbath Southampton 

Gaumont 

Toyah Nottingham Rock City 

Angelic Upstarts Bolton Sports Centre 

U2 Loughborough University 

SATURDAY JANUARY 31 

The Who St Austell New Cornish 

Riviera 

Bad Manners Strathclyde University 



Black Sabbath Crawley Leisure Centre 
Toyah West Runton Pavilion 
U2 St Albans City Hall 

SUNDAY FEBRUARY 1 
Bad Manners St Andrews University 
Black Sabbath Poole Arts Centre 
Toyah Dunstable Queensway Hall 
U2 London Lyceum 

MONDAY FEBRUARY 2 

Black Sabbath St Austell New Cornish 

Riviera 

Bad Manners Newcastle-upon-Tyne 

Royaity 

TUESDAY FEBRUARY 3 
Bad Manners Hull University 
The Who London Rainbow 

WEDNESDAY FEBRUARY 4 

Hazel O'Connor Portsmouth Guildhall 



Editorial and Advertising: 

Smash Hits 

52-55 Carnaby Street 

London W1V1PF 

Editor # 

Ian Cranna 

Features Editor 

David Hepworth 

Design Editor 

Steve Bush 

Production Editor 

Kasper de Graaf 

Editorial Assistants 

Bev Hillier 

Linda Duff 
Editorial Consultant 

Nick Logan 

Ad Manager 

Rod Sopp 
Ad Assistant 
Adie Hegarty 

(Telephone: 01-439 8801) 

Contributors 
Robin Katz 
Red Starr 
Fred Dollar 
Mike Stand 
Jill Furmanovsky 
Mark Casto 
Steve Taylor 
Mark Ellen 
Deanne Pearson 
Ronnie Gurr 

Publisher 
Peter Strong 




BOWIE BUREAU 

11 Gloucester Rd 

Ventnor 

Isle of Wight 

DENNIS WATERMAN 

P.O. Box 134 

London W2 4DN 

ADAM AND THE ANTS 

Bivouac 

Cathedral House 

1 Cathedral St 

London SE1 

STEVE STRANGE 

c/o Martin Barter 

9 Disraeli Rd 

Putney 
London SW1 5 



AU * ANT£ 



PARISIANS 



Young Parisians are so French 

They love Patti Smith 
Young Parisians are so French 

At the Champs Elysee 
I want to go to Paris with you 
Just to see what the French boys do 
Why don't you come to Paris with me? j 

And see the young Parisians I 

Young Parisians are so French I 

They sit on the metro 
Young Parisians are so French 

Not like me and you 

I want to go to Paris with you 

Just to see what the French boys do 

Why don't you come to Paris with me? 

And see the young Parisians 

'Alio, et maintenant 

I want to go to Paris with you 

Just to see what the French boys do to you 

Why don't you come to Paris with me? 

And see the young Parisians 

Young Parisians are so French 
They're always called Dubois 
Young Parisians are so French 

Talk nothing but French 

I want to go to Paris with you 

Just to see what the French boys do 

Why don't you come to Paris with me? 

And see the young Parisians 

They're so French to me 

They're so French to me 

They're so French 

Words and music by Adam Ant 
Reproduced by permission C. Control 



Did you slip the noose when the beast broke loose? 

The elephants graveyard ain't the place to be 

And white turns black, dies of heart attack 

The elephants graveyard needs a change of scene 

You got the money but who needs the tension 

And fear's no cheaper on the old age pension 

There's just one thing that I forget to mention 

What have you got to lose when you know 

Chorus 

That you're (they were) guilty till proven guilty 

Isn't that the law? 

Guilty till proven guilty 

That's what we all saw 

You do the blue rinse shuffle with the beach boy muscle 

The elephants graveyard ain't the place to be 

Waiting all your life for the golf-cart life 

The elephants graveyard needs a change of scene 

You see the judge and then you check the jury 

She does her hair and calls the lawyer cutie 

It's Disneyland under martial law 

Twitch on the TV tell me what you saw 

Repeat chorus 

Justice isn't blind 

It just looks the other way 

Not from want of trying 

I have nothing left to say 

The sky burns bright, twenty-four hour night 

The elephants graveyard ain't the place to be 

And you don't pay death duties when you're on death duty 

The elephants graveyard needs a change of scene 

You came here looking for the peace and quiet 

The healthy air and the healthy diet 

The sea's so calm but the street's a riot 

Taken years off your life when you've no years left to give 

Repeat chorus and ad lib to fade 

Words and music by Bob Geldof 
Reproduced by permission Sewer Fire Hits 



THE ELEPHANTS GRAVEYARD 



OWN 



MERCURy | 
RECORDS 



43