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.
mm '■':-
S^ns
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.
K
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14
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I!Knn 8 ™V.K SJ?I°/^ : , . C ^ r 4 R ^ HILL S Q UARE TEL: 29060. BRISTOL: BROADMEAD TEL: 297467. COVENTRY: HERTFORD ST. TEL: 21001. DERBY: ST. PETERS ST. TEL-
l&i&JPi&'JSiSSiiiS- \t£S& < ££JS £ - TEL: 556 1236 ' ENflE1 -D: CHURCH ST. TEL: 363 0184. EXETER: GUILDHALL SHOPPING CENTRE TEL: 35804. GLASGOW: UNION ST. TEL-
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BROADMARSH CENTRE TEL. 52841 NOTTING HILL GATE: NOTTING HILL GATE TEL: 229 1476. PLYMOUTH: NEW GEORGE ST. TEL: 20067. PORTSMOUTH: COMMERCIAL
?o EL -i, 2 . 96 J 8 ,V^ U J H . AMPT £ N i BARGATE TEL: 32654 - STRATFORD: BROADWAY TEL: 555 0312. STOCKTON: HIGH ST. TEL: 66174. SUNDERLAND: HIGH STREET WEST
TEL: 41267. SUTTON: HIGH ST. TEL: 6420084. SWANSEA: THE QUADRANT CENTRE TEL: 462094. WOLVERHAMPTON: THE GALLERY, MANDER SQUARE TEL- 29978
All offers subject to availability.
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
ale
GROTESQUE (AFTER THE GRAMME) Fail
Rough Tr
de
TOYAH! TOYAH! TOYAH! Toyah
Sa
a i
FRESH FRUIT FOR ROTTING VEGETABLES De
Hi Kfi
r"iF»(J\
1 Cherry
Ed
STATIONS OF THE CRASS Crass
Cr
-■'■;
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.,
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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
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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
E B
S
I
D
R
A
V
C
Z
F
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"It's top of the league!
"The Grundig RR220 is one of the finest radio
recorders around.
It costs about £66, and for that you get a superb 4-band
radio with a cassette recorder that includes Grundig
Intermix and record mute facilities.
The powerful 2V2W output gives the RR220 its great
sound. And if that's not enough, it looks good as well.
You're onto a winner G R U H D I G
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.
■■■ ■■- ■
)NEY
iANE.
.New single
. Turn Me ON Turn Me OFF
(limited edition includes extra single FREE)
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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
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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
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38" x 25" £1.40 EACH:
P2 THE STRANGLERS
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P3252 UNDERTONES
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P3261 SECRET AFFAIR
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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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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
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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
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David Hepworth
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Kasper de Graaf
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Rod Sopp
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Adie Hegarty
(Telephone: 01-439 8801)
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Red Starr
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Peter Strong
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Ventnor
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ADAM AND THE ANTS
Bivouac
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STEVE STRANGE
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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