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April 3-16 1980 Vol 2 No.7

Greetings, oh ye of impeccabletaste and faultless judgementwho have selected Smash Hits tobe your guide and companion forthe next fortnight! (Can we get offour knees now? Ta.) Regularreaders will know that we've gotall the usual news, features andchart songwords, but we'd alsojust like to point out that thisissue we've also securedexclusive chats with Gary Numanand Public Image, while StewartCopeiand brings to an end ourfeatures on the individual Policemembers. There's also anotherchance to have a crack at winninga mini-TV with our crossword,plus a one-off opportunity to grabyourself a Jam double single andautographed photo! {That's onpage 28.) We expect you'venoticed by now that there's a freebadge on the front cover. (Good,innit'^The badge, you fool !) If youfancy collecting the entire set ofsix (also free of charge) thenthere's a chance to do that too onpage 35. Everybody happy?Good. Then see you in twoweeks . . .

NEXT ISSUEON SALE

Managing EditorNick Logan

Editor

Ian Cranna

Features EditorDavid Hepworth

Design EditorSteve Bush

Design AssistantAndy Ingamells

Editorial Assistant

Bev Hillier

ContributorsCliff WhiteRobin KatzRed StarrFred Deltar

Mike StandKelly Pike

Jill Furmanovsky

Advertisement ManagerRod Sopp

Tel; 01-439 8801

PublisherPeter Strong

Editorial and Advertisingaddress: Smash Hits, Lisa

House, 52-55 Carnaby Street,London W1V 1PF.

This magazine is publishedby EIWAP National Publications

Ltd, Peterborough, and isprinted by East IVlidland Litho

Printers, Peterborough.Copyright exists on all songsappearing in Smash Hits. They

must not be reproducedwithout the consent of the

copyright holders.

\LLET'S DO ROCK STEADYThe Bodysnatchers 4

MISSING WORDSTheSelecter 4

NIGHT BOAT TO CAIROMadness 5

NO ONE DRIVINGJohn Foxx 8

TALK OF THE TOWNThe Pretenders 15

MY PERFECT COUSINThe Undertones 15

STOMPThe Brothers Johnson 19

MY WORLDSecret Affair 24

KINGUB40 25

READY STEADY GOGeneration X 29

JANUARY FEBRUARYBarbara Dickson 32

DANCE YOURSELF DIZZYLiquid Gold 33

THAT'S THE WAY THE MONEY GOESIVI 36

SPIRIT OF RADIORush 39

TURN IT ON AGAINGenesis ...39

GARY NUMAN: Feature 6/7STEWART COPELAND

Feature & Colour Photo 12-14STIFF LITTLE FINGERSColour Centrespread 20/21

PUBLIC IMAGE LTD: Feature 22/23GENERATION X: Colour Photo 29THE BEAT: Colour Poster 40

BITZ 9/10/11A-Z FACT FILE 16PRIZE CROSSWORD 18DISCO 19INDEPENDENTLABELS 26STAR TEASER 28COMPETITION 28REVIEWS 30/31

LETTERSGIGZ

34/3538

SMASH HITS SUBSCRIPTIONSHome and Overseas (Surfacemail); £10(Airmail rates on application).Europe (airmail): £14.40

Write to: Park House, 117 Park

Road, Peterborough PE1 2DS.

JCOVER PIC: SHEILA ROCK SMASH HITS 3

Let's DoRock SteadyBy The Bodysnatchers on 2 Tone Records1,2,3,4

People get ready, gotta do rock steady, aha ahaPeople get ready, gotta do rock steady, aha ahaDo rock steadyDo rock steady, aha aha

When you're feeling blue, all you gotta do, aha ahaWhen you re feeling blue, all you gotta do, aha ahaDo rock steadyDo rock steady, aha aha

On lead guitar, S,S,S,S,S,S,S.J., Miss S.JOn sax, little Miranda

When you're feeling blue, all you gotta do, aha ahaWhen you're feeling blue, all you gotta do, aha ahaDo rock steadyDo rock steady, aha aha

People get ready, gotta do rock steady, aha ahaPeople get ready, gotta do rock steady, aha ahaDo rock steadyDo rock steady, aha aha

Repeat last verse

Last chance to dance, to rock steadyWith the rock steady beat, yeahRock, rock, rock, rock . . rock steady, rock steady

Words and music by R. Thompson, arr.Bodysnatchers.Reproduced by permission Sparta/Florida MusicGroup.

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Missing WordsBy The Selector on 2 Tone Records

Last night when I told you all that stuff Missing words, missing words, it's justYnn HiHn^*™^)! ^^''^^K^'^ ^

Missing words, missing words, it's ustYou didn t understand a word Missing wordsBut you said you did

n.T'! riT"***'®,!^°"«** •'oe I might seem It just don't make sense the way you did

I can't take your liesIt's late, I'm tired, your words justCrackle along the wire

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The things you didYou might have thought that I was dumbBut I'm all wised upGame's up, move on

problem)It's all over now (It's over now)You thought you had It madeIt's over. It's over, it's over

Chorus ;Missing words, missing words, it's justMissing words, missing words. It's just

I wonder if you ever do really care

It's all over now (It's over liow)You thought you had It madeIt's over, it's over, it's over

Repeat chorus toJade

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Words and music by N. DavisReproduced by permission Selecter Copyright/Rak Publishing Ltd.

IMightBoatTo CairoBy Madness on Stiff Records

Night boat to Cairo

It's just gone noon, half past monsoonOn the banks of the river NileHere comes the boatOnly half afloatOarsman grins a toothless smile

Only just one more to this desolate shoreLast boat along the river Nile o

Doesn't seem to careNo more wind in his hairAs he reaches his last half mile

The oar snaps in his handBefore he reaches dry land

But the sound doesn't dampen his smileJust pokes the wet sand

Floats off down the river NileFloats off down the river Nile

All aboard— night boat to Cairo

Night boat to Cairo

Words and music by G. McPherson/M. Barson.

Reproduced by permission Warner Bros Music Ltd.

.m

Gary Numan now onlytalks to people he trusts.Frank Drake and PeterGilbert give us anexclusive report on thelatest in his controversialcareer.

WE PUSH the appropriate buttonon the wall outside GaryNuman's West London flat. Afterwe announce our namesthrough the grill of the outsidesecurity microphone, a buzzautomatically opens the frontdoor. Once inside, a lift whisks usquietly to the third floor. A knockon the door, an eye at thesecurity peephole and we areinside Gary Numan's apartment.

Gary, dressed in a T shirt andje^ns, is relaxed and chatty as hesits cross-legged on the floor. It'sbeen exactly a year since we firstchatted with Gary in a wine barin the London suburb of Ealing.In that time he's become famousand the hero of hundreds of fans— is it frustrating for him nowthat he's reached his goal?"Oh, you mean the 'now I need

new reasons' bit? I wouldn't sayit's frustrating, although i havenoticed that I get very restless alot of the time. I'm back tolooking for something again, likeI was before. Now I sit here forhours and hours, day after day,looking for something more.

"I still want to do something infilms, but I'm not sure whetherI'm confident enough, whetherI've got enough talent to take itfurther than just one experiment,or that I could write enoughshort stories to take it anyfurther than one collection oftwelve.

6 SMASH HITS

"I don't even feel confidentthat I can go on writing songssometimes. In fact, I feel veryunconfident about the wholething!"Gary smiles at his last remark

and we realise that he is a lotmore relaxed these days. Weasked him how he woulddescribe himself?

"I feel like a very old man in avery young body."Why old?"I just feel old, I feel old and

wise."Is this because your success

happened too quickly for you?"I think I have experienced

more at my age than maybe iswise for me. Maybe someoneelse of my age could take it all in,quite easily. As it is, for mepersonally, I find K a lot to takein. I wouldn't say I'm driven toinsanity by it or anything likethat, I just find it a lot to take in."Gary pauses for a moment in

order to explain himself better,and he thinks deeply beforecontinuing.

"Maybe it's the same foreveyone at any age and I'm justgoing through that, but I think Iwould need to be few more yearsolder before I could put up withall the knocking."But doesn't the very fact that

you have got where you areprove to those people that knockyou, that they are not reallyimportant?"Yes, it does, but I have never

said that they are important tothat extent. Not at this levelthey're not important, but it stilldoesn't alter the fact thateverytime I pick up a paper I readsome snide comment or other

and that upsets me, and I getdepressed about it naturally.

"I don't read papers anymorebecause each week they'retearing me down and that getson my nerves after a while."

THE INSECURE, paranoid,weak-willed impression given bythe media to describe GaryNuman in the late '70s certainlydoesn't apply to the person nowsitting before us in front of thetelevision with the sound turneddown.We asked him if he still feels

isolated from people generally?Gary still hasn't lost thatsometimes naive honesty whichis apparent in his answer to ourquestion."Yeah, more than ever!"But what about those at that

write to you and go to your gigs,there's a lot of warmth theresurely?

"Yes, maybe, but it's all veryshort lived isn't it? I'm not stupid

enough to think that they aregoing to write letters to mesaying they're going to love mefor ever, say next year, because Iknow damn well that theyprobably won't."So all that you've mentioned

isn't really any consolation at allbecause it's all sheer fantasy ontheir part and this makes me feelpossibly lonelier than I would'vefelt if I had never got it in the firstplace."

We pointed out that,nevertheless, many people feelwarm towards him for a numberof reasons. Does Gary see andfeel that warmth at all?

"I can see it and I can feel it butwhat I'm saying is, it's only realfor today. It's not like lovingsomebody and loving thatsomebody for the next 50 years;it isn't that real."Most of it comes from young

girls or sometimes young boysand it's sheer childhood fantasiesand teenage crushes on thelatest pop star. Y'know, theystick up a pretty picture and theyfancy it and that's about as deepas the love they have for me goesand for very, very few ofthem it'sanything more than that."Has success changed you at

all?

"Yes, it's made me muchlonelier than I was before."That's very sad to hear you saythat?

"Maybe rt is, but it won't lastforever. It won't always be thatway. It's the price I'm payingnow which I can take advantageof in the future; it's not such abig price to pay, really."Obviously we're talking about

it on the dark side at the momentbut there's lots of good thingsabout it too. I suppose I tend tothink more about the badpoints," (Gary laughs) "that wayI can write more songs."

IN HIS official fan clubnewsletter, it stated that hewould be appearing on theKenny Everett Video Show onNew Years Eve, singing a versionof "I Die, You Die." We wanted toknow why he didn't appear onthe show. What went wrong?

"Well, the reason we said wewas going to do itwas becausewe were asked by ThamesTelevision to do it, and they saidit would be for the New YearsEve show."We then went and filmed it

and spent a whole day on it. Iwas dancing for about eighthours without a break filmingthis bloody thing, and there werepromises all round that t could goand help with the edKing.

"It was definitely going to beon the New Years Eve showbecause it was 'Looking into the80's', and there was going to bepeople from the 70's like Bowie.And as it was New Years Eve, itwasgoing to show what washappening in the 80's, that sortof thing. This was going to be us,that was our part in it.

"I went down to watch Bowiedo his bit after we'd done ours

and I got thrown out. I was toldby the director that Bowie didn'twant me there, which was fairenough, I suppose."Just you personally or

everyone else as well?"Well, me to start with and

then apparently he was upset byit and then everyone had to go.Later on he stormed off andwouldn't do a sketch with KennyEverett. The next thing we heardwas, we were not being used atall.

"Then we were told that whatwe did and what Bowie did wasnot working well together. Thatwas rubbish because I saw whatBowie did, because I was there,and they are nothing like eachother at all. There is no way thatthey could not have gonetogether."They said they they wanted

us to do the show in the firstplace because it would havebeen good to have aconfrontation between DavidBowie and me on the very lastprogramme of the year, just tocompare if nothing else."And I was all for that, because

it would've cleared the air onceand for all, and hopefully peoplewould have realised, seeing usside by side, that we are reallynothing alike at all. The wayBowie moves and sings and hismusic, is nothing like the way Imove and sing and my music!"Now the fact that he wore a

black leather jumpsuit— and Iwouldn't dare say he wascopying me by wearing black— Iwouldn't dare say that!"Anyway, to go on from that,

we found out later that the manwho directs the Everett showalso works with Bowie duringthe year on his own videos, soobviously there is a big cashinvolvement."And then we all came to the

conclusion, which wasn't deniedat the time by the producer of theshow, that Bowie didn't want uson it and he had pulled this cashlever with the director to get usoff it. And that seems to be whathappened."The last thing we heard from

Thames was that they hadchanged the format of the showand instead of looking into the80's, it was now decided to lookback at the 70's. But that was stillnot a good enough reason totake us off it because we werethe last pop stars of the 70's, sowe should've been on it for thatreason, more than any other."So whatever reason they

said, the fact is we were not on itand there was no reason for usnot to have been on it, exceptthat Bowie didn't want us on itand he used his influence withthe director to get us off it. Nowthat may or may not be true."

IF WHAT Gary is saying is true,then surely he must be verydisillusioned with Bowie?

"Completely! I look at him in acompletely different light now,to how I saw him before. I've losta lot of respect for him because.

if that's how he got where he istoday, by doing that sort of thingto other people, then he's ashitbag!"But doesn't Gary expect too

much honesty from otherpeople?"No, I don't expect them to be

taken off shows just becausehe's worried about opposition,especially as I'm considered bythe press and most Bowie fansalike to be just a cheap Bowierip-off anyway. If I am a cheapBowie rip-off, why is he scared ofhaving me on the sameprogramme?"Obviously I'm not a cheap

Bowie rip-off and I must be thebiggest competition he has hadin about the last seven or eightyears, and what's more, he'sworried ahout it!"

If this is the case, that Bowieregards you as a threat, howdoes it make you feel?

"I'm pleased! I'm justdisappointed that he should haveto resort to such measuresbecause I would like to have

spoken to him and met the man.I've idolised that bloke for sevenyears and the first chance I get tomeet him, he decides to do that."

GARY NUMAN: still asoutspoken, still as honest, still asinteresting. Now he's speakingout more, against the press, thecorruption in the bizz. Acharacter that is easilyunderestimated by those whothink they are so important!As for Gary, he's doing okay

and he's doing K the right wayand doesn't that Just get up hiscritics' noses? Don't it just!

Among the very first of GaryNuman's fans, Peter Gilbert andFrancis Drake run a fanzine called"In The City". Issue 14 is nowavailable containing more onGary Numan, Adam & The Ants,Ultravox, Poison Girls and more,and costs 40p (including post)from: In The City, c/oCompendium Books, 234Camden High Street, LONDONNW1.

SMASH HITS 7

No-OneDrivingByJohnFoxxonM«.IBe«B.oo,

MORESTEPSBEYONDMADNESS RETURN from touringEurope and America in April andlaunch straight into their firstheadlining tour of Britain with theemphasis on venues off thebeaten rock and roll track.Dates are as follows: Llanelli

Glen Ballroom (April 15), CardiffTop Rank (16), Bath Pavilion (17),Torquay Town Hall (18), StAustell New Cornish Riviera (19),Margate Winter Gardens (21 ),Great Yarmouth Tiffanys (22),Peterborough Wirrina Stadium(23), Coventry Tiffanys (24),Bridlington Royal Spa Pavilion(26), Bradford St Georges Hall(27), Deeside Leisure Centre (28),Blackpool Tiffanys (29),Sunderland Mayfair (30), CarlisleAssembly Rooms (May 2), WestCalder Regal Suite (3), AberdeenFusion Ballroom (4), IrvineMagnum Centre (5), BelfastWhitia Hall (7), Dublin OlympicBallroom (8).

THE ANGELIC UPSTARTS releasetheir second album, "We GottaGet Out Of This Place", on April3rd. Glyn Warren has joined onbass following the swiftdeparture of Ronnie Wooden.

FLEETWOOD MAC'S June visit tothese shores is starting to lookmore like an actual tour all thetime. Another date (June 17) hasbeen added at Bingley Hall,Staffs, and Mac will now playJune 25 and 26 at WembleyArena in addition to thepreviously announced shows.

PETE BRIQUETTE plighted his troth to Jane Aire in Dublin theother weeic despite the best efforts of his colleagues to turn thewhole occasion into a farce. Our picture shows Jane having secondthoughts. Who knows? IMaybe it's contagious . .

.

GENERATION X SPLIT

IDENTITYCRISISI WAS issued with the nameJones at birth but I soon chucitedthat in for something moreglamorous. After scoring a minorhit in the Sixties with a silly songabout the little people, I worlcedwith a mime troupe for a whileand then re-emerged wearingeye liner and dresses. This was amite unusual as I'm of the matepersuasion.Since then I've had more hits

than I can count, made a coupleof films, produced a few albumsfor other people and changedstyles so many times that Isometimes surprise even myself.If you nip down to the bottom ofpage twelve you might recogniseme. There again you might not. .

LOOKHERE?10 CC undertake a national tour inMay to promote their new album,"Look Hear?". They begin at theGlasgow Apollo on May 12 and13, continuing with NewcastleCity Hall (14, 15), ManchesterApollo (15, 17), BirminghamOdeon (20, 21 ), Brighton Centre(22, 23), Ipswich Gaumont (24)and Wembley Arena (26, 27).Tickets for all venues are pricedat £5.00 and £4.00. At Brightonthere are also £3.00 seats.Graham Gouldman has also

finisned the soundtrack of a fulllength cartoon feature called"Animalympics", a parody of theOlympic Games, which opens inLondon in the late March. Analbum of the music, plus a singlecalled "Love's Not For Me(Rene's Song)", is coming soonfrom Phonogram.

UPHEAVAL TIME for GenerationX. Not only have Billy Idol andTony James parted companywith guitarist Derwood anddrummer Mark Laff, but they'vealso separated from theirmanager as well. Nobody'ssaying who or why, but it seemsthat instrumentally the foursomehave never really hit it off and soagreed to go their separate ways.Derwood and Laff have since

be^n working with Jimmy Purseyon his solo album in Wales, whileIdol and James have beenrehearsing with friends and planto go into the studio when newmembers are found. Nothingfinal can be announced until themanagement situation is clearedup - - expected to be the end ofApril— but don't be surprised ifthe new members have been

with The Rich Kids and The Clashin the past. (That's got youguessing, hasn't it?).Gen X's new manager, by the

way, is Bill Aucoin who alsomanages the dreaded Kiss.Talking ofwhom . . .

KISS OFFIT'S TAKEN them long enough toface up to it, but Kiss have finallyadmitted they're rubbish. Asguitarist Ace Frehely confessedafter a gig in New Jersey, "Iknow. We can't play to save ourlives." Frehely then went on toown up that drummer Peter Crisswas so bad that he didn't evenplay on the last album.What we want to know is,

where does this leave peoplewho think Kiss are great???

SMASH HITS 9

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CALENDARGIRLBARBARA DICKSON used towork in the local Registrar'soffice in her home town ofDunfermline in Fife and sing infolk clubs in the evening. Thatwas until she was offered a shorttour of Denmark and heremployers wouldn't allow herthe time off. So she quit and tookto singing professionally.She then got the job as

resident singer on the "John,Paul, George, Ringo and Bert"musical show in Liverpool. Theplay, which was based on thecareer of The Beatles, was a hugesuccess when it moved toLondon and led to Barbaragetting her own contract withRSO records forwhom she hadhits with a revamped oldie,"Answer Me" and "AnotherSuitcase In Another Hall" from"Evita".

Recently signed to Epic, shegrazed the charts for them with'The Caravan Song", written byMike Batt. Both that and her hitsingle, "January February", aretaken from her latest album,cunningly entitled "The BarbaraDickson Album"

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OLDFIELDDATESMIKE OLDFIELD embarks on hisfirst ever full scale tour of Britainin May with an eleven pieceband. He begins at BrightonCentre on May 13 and continuesas follows: Stafford BIngley Hall(14), Manchester Apollo (15),Edinburgh Usher Hall (17, 18),GlasgowApollo (19,20),Newcastle City Hall (22), PrestonGuildhall (23), Sheffield City Hall

(24), Bristol Colston Hall (25),Southampton Gaumont(26),Wembley Arena (28, 29).The show will last two hours

and will be accompanied byspecially made films.

CARE TO dance? Then pray let uspoint you in the direction of a setof ten EPs just released by WEA.Each of these four trackerscontains a selection of the best ofsixties soul, as represented bythe finest products of the Staxand Atlanticlabels.There are forty tracks involved

so we can't list them all, but wewill mention such classicexamples as Wilson Pickett's "InThe Midnight Hour", DonCovay's "See Saw", Ben E. King's"Stand By Me" and Sam AndDave's "Soul Man". Thesecompilations have been stuck outto answer the demand frompeople of the mod persuasiontrying to track down the originalmod faves, as well as folkswho've heard a million coverversions and now fancyinvestigating the originals.You don't have to wear a parka

to appreciate theseepoch-making sides. Being aliveis a good enough start.

FRATERNAL FUNKTHE BROTHERS Johnson are brothers. (Makes a change.) Louis(bass) (left) and George (guitar and vocals) were discovered byveteran producer/arranger Quincy Jones who took them toA&M four years ago and produced their first album, "Look OutFor No. 1" with considerable success. With "Strawberry Letter23", The Brothers made their first and most rewarding stab atthe British charts up till now, when they're scoring heavily with"Stomp" from their fourth album, "Light Up The Night'

.

DON'T ALL RUSH AT ONCERUSH WERE formed in Toronto, Canada, in 1974 by guitarist AlexLifeson, bassist and singer Geddy Lee and drummer John Rutsey.After cutting two albums, "Rush" and "Fly By Night", Rutsey left andwas replaced by Neil Peart who immediately took charge of writing theband's lyrics, frequently based on the unpleasant "philosophy" ofright-wing extremist Ayn Rand.Since that time, the band have thrived on Peart's epic compositions,

with long story songs taking up whole sides of albums like "Caress OfSteel" and "21 12". After recording two albums at Rockfield Studios inWales, the band have returned to their native land to cut their new set,"Permanent Wave", from which the current single, "Spirit Of Radio",is taken.

ALL TIMETOP TENDave Wakeling(The Beat)

1. TOOTS & THE MAYTALS:Pomp And Pride (Trojan).

2. SMOKEY ROBINSON & THEMIRACLES: Tracks Of MyTears (Tamla Motown).

3. MANFRED MANN: Ha HaSaid The Clown (Fontana).

4. THE CONGO: Children Cry(Black Art).

5. TIM BUCKLEY: SweetSurrender (Discreet).

6. TAPPER ZUKIE: Viago (Mer).7. ELVIS COSTELLO:

Secondary Modern (F-Beat).8. PERCY SLEDGE: When A

Man Loves A Woman(Atlantic).

9. THE UNDERTONES: MaleModel (Sire).

10. CAPTAIN BEEFHEART:Moonlight On Vermont(Bizarre).

/ like all of these because ofttieir lyrics, especially the TimBuckley one.

(N.B. Toots & The Maytals, TheCongos and Tapper Zukie are allreggae; Tim Buckley was anAmerican singer-songwriter;Percy Sledge's is a soul classicand Captain Beefheart is anAmerican, er, eccentric! Ed.)

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The man who formed The Police stressesthe importance of faith and gestures a lot.

David Hepworth sits still and listens.

STEWARTCOPELAND

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STEWART COPELAND is the kindof person who can fill a room tobursting all on his own. This isn'tjust down to the fact that hestands well over six foot—although that helps— or the wayhe paces about a lot and gestureswith his long arms to make apoint.

Stewart has what in theatrecircles they call presence. Acombination of totalself-confidence and a sort ofbuccaneer charm. I wasn'tsurprised to learn that he's

studied Mass Communications inCalifornia.

AS HIS father was an employeeof the American government,much of Stewart's childhoodwas spent shunting betweenvarious foreign postings. His first

band were The Black Knights,formed from the teenagechildren of various European andAmerican workers in Lebanon.They were followed by TheUndertakers and The Nomads,Stewart in the drum seat witheach one, "mostly just forphysical exercise".

When his father was posted toLondon, Stewart underwent hisfirst exposure to the music sceneproper at a Jimi Hendrix concert.

In his mid teens, Stewart wasbitten for life by the experience.

Elder brother Miles wasalready involved in the rockscene, managing a small stableof bands that included WishboneAsh and The Climax Blues Band,and Stewart spent his schoolholidays helping out. For a whilehe was a roadie for WishboneAsh. Later he was to act as tourmanager for Joan Armatrading;all invaluable experience and achance to examine the musicbusiness from top to bottom.

When the time came for him togo to college, Stewart was sentback to America to study at theUniversity of California in

Berkeley. He left without gettinga degree after receiving a callfrom Curved Air, another bandmanaged by brother Miles, tocome and be their drummer.The year was 1975. Curved Air,

a rather lightweight"progressive" band fronted bySonja Kristina, weren't gettingvery far. They lasted long enough

for Stewart to play on two morealbums and then ground to a haltjust in time to avoid beingsteamrollered by the New Wave.At that point Stewart himself

decided to form a band and so hecontacted a rock journalist inNewcastle called Phil Sutcliffe toget in contact with Sting. He'dseen the latter playing with LastExit on a night off in Newcastlebut the two hadn't met orspoken. Stewart asked if Stingwould like to come down andtalk about forming a band.

I asked Stewart if the idea wasto get him down to London andthen mould him into his ideallead singer?"Yes, exactly," he says

forthrightly, "because what hehad was talent but he was justplaying the wrong thing. Heprobably would have beensuccessful anyway playing thewrong thing or whatever he wasplaying— because he's that kindof talent."

But weren't you worried thatyou didn't know him at all? Hecould have turned out to be anunmanageable personality."Well, I asked him to come

down and we talked and I playedhim my tapes of stuff that I had

written and told him about myideas. I think he was impressedwith my personality and obviousambition and I had a plan, astrategy.

"There was no money and nonothing but I convinced him thatit would be a working group andthat it would work out. Wecouldn't find a guitaristimmediately so we got HenryPadovani who was a friend ofmine who had only played in onegroup. But he was wildlyenthusiastic and could churn outthree chords really well."

MEANWHILE STEWART hadbeen passing his spare timemooching round the punk clubsthat were springing up at thetime in London. He'd come torealise the vital importance ofthose three chords and he didn'tentertain any illusions aboutfashion. He knew that if his newbaby was to survive and flourish,it had to attract the kids whowere following The Pistols andThe Clash.Stewart just modestly thought

that his band could and would bea lot better than the competition.He was right but it took him along time to prove it.

"Without what The Clash did,there would be no Police. Thosebands created another worldwith another set of rules. Nowsome of those rules were just asirritating as the old rules but atleast it was a new free-for-all — anew playground to go and playin . . . with a different set ofbullies."

These new bullies didn't takekindly to older boys like Stewart,Sting and Andy coming roundtheir playground. Thus IllegalRecords was set up togetherwith brother Miles and friendPaul Mulligan to release theentirely self-made "Fall Out",since others kept their distancebecause "Miles' punkometer,Mark P, had decided we wereuncool."

"I was writing the songsbecause Sting's material justdidn't fit. I didn't know anythingabout writing songs but I fakedit. And we had a fifteen minuteset which gradually turned into atwenty minute set and so on."But as soon as we hit the road

that was the last note that I everwrote. I was too busy thinking ofbooking trucks and P.A.s andgetting to the gigs and hustlingthe agent and everything. And so

Curved Air get it together irt the country. Stewart is on the far right next to his ladyfriend Sonja Kristina.

SMASH HITS 13

Sting was dissatisfied with thematerial because it was prettyshitty and the only way toimprove it was to write bettermaterial himself.

"in fact, the flalc we got at thebeginning was probably welldeserved. We were not all thatgreat a group."

DURING THIS period it wasStewart's enthusiasm andAmerican get-up-and-go thatheld the band together.

"It was my group and I had tokeep Sting's morale up, keepnews coming in to him, makehim think he was in a group.Because he got, for instance, anoffer from Billy Ocean for fiftynotes a week and I had to talkhim out of it by saying 'look, it'sjust around the corner'."But basically we just had faith

in each other, I suppose. Thenwhen.Andy joined we knew whywe had faith in each other.Because suddenly we couldrealise the potential that we'dhad in our heads but wasn't quitehappening. One minute themusic was not good and weweren't getting anywhere andthe next minute the music wasgood and we were gettingsomewhere."At first Stewart and Andy

didn't get along too well. WithAndy being a much moreexperienced musician than eitherof the other members, Stewartwas forced to let go his positionas commanding officer of ThePolice.

"So we put up with theabrasive qualities in each otherand have since developed a veryworkable bond," says Stewart."We're constantly pushing eachother and egging each other on.Confrontation is the usualatmosphere of the group. Wehave rows but they're all overwith very quickly.

"Actually, they're kind ofritualised. It's just that nobody inthe group is allowed to getcomfortable because we're alltoo jealous and egotistical forthat. In The Police we maintainquality control. We're still just ascynical about each other's ideasin spite of any success."What I want to do is beat

Sting's next single that he writes— as far as I'm concerned I'vestill got some unfinishedbusiness. I'm not just sitting backhere and just thinking, that's it,that'll do, because I've still gotambitions that are unrealised."Neither is Sting— because

his next three songs Andy and Iwill probably hate. The minutewe find one we love we'll gostraight in on it and get the bestout of it. It's kind of a matter ofsurvival to make it hot for eachother."

THE POLICE are fortunate in thatthey have mastered the knack ofmaking records very cheaplywithout spending hoursrehearsing before entering thestudio. Stewart explains thatSting usually comes in with a

14 SMASH HITS

new song which he plays to theother two on an acoustic guitar.The three of them then argue thetoss for a couple of hours beforerecording. Sounds a cinch,doesn't it?Stewart has numerous

theories about how so manybands go wrong. They go for thebiggest record company andgrab the largest advance, thenspend months in expensivestudios and end up having tocompromise more and more inorder to pay back the massivedebts they run up. The Clash forinstance.

"Unfortunately, with all theirpious attitudes and all theirsloganeering, they just wentstraight into the jaws of themonster that they were talkingabout, straight into CBS,absolutely the paramount worstsituation, the monolith!"The Police can keep tabs on

every area of their business. Evenbefore they were big, Stewartsays, he could walk straight intotheir record company's officesand see the managing directorwithout having to make anappointment. It's this avoidanceof bureaucracy that has madetheir rise to the top so smooth oflate.

Stewart once managed a bandcalled Cat Iron (which featuredKim Turner, currently their soundman.) "That's where I learnedeverything about what not todo."What I told Sting was, look,

we'll catch those kids, make 'emlisten to us and then we'//decidewhat to play to 'em. And we didjust that with the success of'Roxanne'.

"It took us two years ofstarving and all that other stuff,paying our dues and working ourballs off to get there. But now,having got them listening to us,we're now in the position thatwe can play what we want tothem."Does that mean you can play

them anything and still maintainyour position?

"Well, I don't know aboutanything because we haven'ttried that yet. We haven't playedthem any crap yet. There'snobody who's going to tell uswhat we can or cannot play. Thepress can't touch us— we'reinvulnerable.

"So, either we can release crapand make money or we canrelease good music. And that'sdown to us. If we've got talentwe'll make good music. If wehaven't got talent and it was justa flash in the pan, if we hit itlucky, then we'll disappear. Butthe point is we're calling theshots for the time being."Every time I write something

that I think is brilliant, I think,Where's the next one gonnacome from? Right now I haven'tgot a tune In my head. Stinghasn't got a tune in his headeither. So right now it lookspretty bleak as far as another hitalbum's concerned, but it'llcome.

"I don't know why it comessome days and not other days—I wish I did. There's no assurancethat the next piece of music anyone of us writes is gonna be anygood."

FINALLY, DO The Policerepresent anything exceptthemselves?"No absolutely not. We

haven't got any political

message to stir the kids. We'renot trying to effect any politicalchanges, we're not trying toopen doors of consciousness forthe kids. That was all JohnnyRotten's job and he did it prettywell.

"We're just tune pickers.That's all The Beatles were."

Ah. Them again. Seems like asuitable place to leave it.

Talk Of The TownBy The Pretenders on Real Records

out loud in a crowdEverybody heardIt was the talk of the town

Chorus

/Repeat chorus

My PerfectCousinBy The Undertones

on Sire

Records

NOW I've got a cousin calledKevin

Xa^;s^"^Vs%K^ndneat^ '

Sl=SnS£p^niacKet

?K^ me and Kevin are justnot the same

ChorusOh my perfect cousinWhatlliketodohedoesnt

He's his family'spride and |0Y

His mother's littlegolden boy

He's got a degree i"E«'"°"^"=^

Maths, Physics andBionics

He thinks that I'm acabbage

'Cos I hate UniversityChallenge

Smartboy Kevin wa^c.^huteoHe always beat me at

Subbuteo

Cos he "flicked to kick

And I didn't know

Repeat chorus

.

SruytaraShisattentionBut what a shame, it's

in vain

He will neve'

'

Cos' '

Repeat chorus

words ar^d music by D.O'-VeZ/Z/M^ B^^J/e/

Reproduced by permissionWarner Bros

Miusic.

2s

5

m ^

fcj**;

SMASH HITS 15

A-Z FACT FILEYOUR WHO, WHAT, WHEN,WHERE GUIDE. AN OCCASIONAL SERIESABBA have just completed amonth in the studios and a newsingle is expected at the end ofApril to be followed by an albumbefore the end of the year.

THE BUZZCOCKS are currently athome in Manchester writingsongs with a view to releasingeither an EP or a double 'A' sidesingle some time in the nextcouple of months. There arevague plans to make a movie ofsome sort and some of the songsare being worked on with that inmind.The singles compilation album,

"Singles Going Steady", thatUnited Artists planned to put outis being held up until the band'splans are a little clearer. Therewill, however, be a new studioalbum in the autumn.

THE BOOMTOWN RATS aregetting ready for a major worldtour which begins in April andtakes in Canada, USA, Japan,Australia and New Zealand. BobG -Idof will be hosting an editionof the 1 Tees TV series"Alright Now" which willhopefully be transmittednationwide in the near future. NoBritish tours or recordingplanned for a long while yet.

BONEY M are recording anumber of European TV showsbefore taking a long break whileLiz Mitchell has her first baby.

KATE BUSH has been plagued byhold-ups on her third album butnow hopes for a May or Junerelease, with possibly a singlebeforehand. No tours areplanned.

THE B52's have just returnedfrom a successful Japanese tourand are now recording theirsecond album in Nassau forsummer release, when they alsohopeto tour Britain.

16 SMASH HITS

OAVIO BOWIE has been In NewYork for some time now,recording with producer TonyVisconti and also Blondieguitarist Jimmy Destri, possiblyfor a new album. No toursplanned.

CHEAP TRICK are in London atthe moment, mixing their sixthalbum. Release is due inSeptember.

CHIC are finishing an album atthe moment. Mainmen Edwardsand Rogers will produce otherartists after that but no namesyet. No tours planned.

THE DAMNED are rehearsing atpresent with a temporaryreplacement for bass player AlgyWard who has left to form hisown band called Tank. RatScabies will be appearing in afilm called "Breaking Glass"playing guitar.

DEVO have just finished theirthird album but have no UK tourplans.

DIRE STRAITS are currentlywriting for their third album, duethis autumn. No British tours till1981!

DAVE EDMUNDS is currentlyrecording his new album withNick Lowe producing.

IAN DURY, like everyone else itseems, is currently writing for hisnew LP!

ELO are currently in Munich,recording the Jeff Lynne pennedsoundtrack to a film called"Xanadu" (starring OliviaNewton John!). Asingle fromthis soundtrack will probably bereleased later this year, but noother definite releases or toursare scheduled.

THE JACKSONS are also in thestudio, involved in an album forautumn release. Progress may beheld up, however, because Randyhas just been in a car crash. Theystill hope, however, to tourBritain later this year.

THE JAM are currently resting,with no touring or recordingplans.

BOB MARLEY has a new studioalbum released this June when(Jah permitting) he'll also betouring this country.

BILL NELSON'S new album wasrecorded some time ago but ashe hasn't got a record companyat the moment, no release isscheduled.

GARY NUMAN is currentlytouring Europe and the Far Eastbefore returning to Britain andthe studios. Plans for a live EPhave been shelved and the newLP "Telekon" isn't scheduled forrelease till September, when hewill possibly tour again.

THE POLICE only intend playingone more British date this year,probably a major festival with atleast some of the proceeds goingto charity.

THE PRETENDERS are currentlyin the USA and have no plans forBritain at the moment.

PUBLIC IMAGE LTD's plans areas vague as ever. Lydon andLevine are now in Americapromoting "Metal Box", whileWobble has a solo album andsingle, called "The Legend LivesOn" and "Betrayal" respectively,out this month. No other UKactivities are planned.

TOM ROBINSON is currently inthe studio with his new bandSector 27, recording their firstalbum. A big summer tour is onthe cards.

ROXY MUSIC are putting thefinishing touches to their newalbum and will release a singlecalled "Over You" as soon aspossible. Bryan Ferry isn't doingany solo work but bassist GaryTIbbs will be appearing in thenew "Breaking Glass" film in amajor role.

SEX PISTOLS Paul Cook andSteve Jones are possiblyrecording solo albums but no oneseems to know their currentplans.

SPARKS are back in Los Angeles,preparing for their new album,probably to be recorded withGiorgio Moroder again. In amonth's time.

BRUCE SPRINGSTEEN iscurrently finishing off an albumand a tour will follow, possiblyincluding the UK. Because he'ssuch a perfectionist, CBS have noidea wi^en this will be and the LPis already very late.

/Is

in3a.

STATUS QUO will not be touringuntil October because of RickParfitt's cartilage trouble.

Drummer John Coghlanmeanwhile Is keeping his hand inwith a few dates with his bandDiesel.

SUPERTRAMP, having finishedtheir massive world tour, areliterally doing nothing, nor havethey any plans.

ROD STEWART is in Los Angeles,working on, guess what, his newalbum, for release later this year.He hopes to tour Britain inDecember.

THIN LIZZY are currentlyfinishing off an album for nextmonth release and a British tourwill follow. Phil Lynott has a soloalbum, "Solo In Soho", out thismonth and will also be hosting anedition of Tyne-Tees' "AlrightNow".

THE TUBES are also busy writingfor their new album, but, they'llalso be appearing in this new"Xanadu" film in a shortsequence. Fee and Vince will alsobe appearing in an American filmcalled "All Washed Up". AEuropean tour in the autumn ishoped for.

THE WHO are currently touringEurope before going to TheStates for more dates. PeteTownshend has a solo album,"Empty Glass", released thismonth.

WINGS have a solo album fromDenny Laine coming soon, andPaul is also working on solomaterial.

THE ORIGINALSOUNDTRACKALBUM

DAVIDESSEX

ALBUM 9109 634

)r* THE RANK ORGANISATION PRESENTS

DAVID ESSEX • CRISTINA RAINESAND BEAU BRIDGES IN

"SILVER DREAM RACER"WITH CLARKE PETERS AS CIDER HARRY CORBETT DiANE KEEN LEE MONTAGUE SHEILA WHITEPRODUCED BY RENE DUPONT WRITTEN AND DIRECTED BY DAVID WICKES MUSIC BY DAVID ESSEXMUSICAL DIRECTION AND ARRANGEMENTS BY JOHN CAMERON A DAVID WICKES PRODUCTIONFILMED IN PANAVISION [Yl l "lu

RELEASED BV RANK FILM DISTRiBUTOflSIN SELECTED THEATRES

M/C 7231 447 phonogram |l,*^

SMASH HITS 17

A MINI^"S#»

OK, gang— here's your second chance to win our ace prize of a splitnew portable mini-TV, complete with Sin screen and radio! And to topit all off, there'll be a copy of The Sex Pistols' "Flogging A Dead Horse"greatest hits compilation going along with it! Here's how to go aboutgetting your mitts on 'em : the first correct entry opened after theclosing date (April 20) wins the mini-TV and the copy of "Flogging ADead Horse". The next 25 correct entries opened will each receive acopy of the Sex Pistols' album. Got it? Then get with it . . .

ACROSS, 1

" And l\4uzak", a hitforM

5 Trio whose first hit was "InThe City" (3,3)

7 . . . tallcing of whom, this istheir current chart climber(5,11)

11 Mr Chappell, Lene's •boyfriend/song partner

13 --- Leppard14 Ian, formerly of Mott The

Hoople16 Graham so rumour has it!17 Madness' Mr Smash18 The original mod band20 "Off The "--"by Michael

Jackson21 Facades rearranged,

producing tears in thesandwich bar!! (3,4)

22 & 32 Duetted with EltonJohn on the No. 1, "Don't GoBreaking My Heart"

23 John Cooper Clarke forinstance

25 Martha's beach (beach beachbeach)!?

28 Refer to the works of Status?29 They're hiding in Black

Sabbath!!31 Teenybopper band whose

oldie hits included "TigerFeet"

35 & 37 Word treats (anagram)

36 American southern state inBowie song title

37 See 3538 Tourists' label

DOWN1 Follow-up to "One StepBeyond" (2,4)

2 Booker T knows his veg7!3 The Skatallites made the

original of this ska oldiecovered by The Specials ontheir hit EP (4,2,8)

4 "My Sharona" band (3,5)5 8t 15 Fern Kinney's smash

(8,2,3,9)

6 Leo turns around and joinsJeff's band!

8 & 27 Chic hit, can't be bad!9 Like Sham's kids ... or DaveSexton's red devils!

10 King Queen!?12 Like Gary's friends?!15 See 5 down19 What kind of Manoeuvres In

The Dark?24 Eatto it. . . or dance to them\

(3,4)

26 Chart snack for Shakin'Stevens! (3,3)

27 See 830 Actor/singer Mr Faith32 See 2233 Descriptive of 2 Tone music34 This rodent hates Mondays!

CROSSWORD No. 33 WINNERSSTEREO WINNER: Katya Candio, Hanham, Bristol.ALBUM WINNERS: Karen Booth, Leeds; Joanne IVlesham,Holtwood, Kent; Ms. C. Fletcher, Queens Park Hospital, Blackburn;Tracey Polden, Keynsham, Bristol; Michael Tharme, Bebington,Wirral; Adrian Binfield, Halsemere, Surrey; Helen Marples,

Hathersage, Nr. Sheffield; Jonathan Hodgson, Great Ayton,Middlesbrough; Andrew Gibbs, Wedmore, Somerset; Gary Drage,Finham, Coventry; Stuart Costema, Nr. Wellington, Somerset;Helen Jones, Mountain Ash, Mid-Gamorgan; Sarah Ebbs, StantonSt. John, Oxford; Andrew Davies, Greenmount, Bury; Mrs S.Prince, Bromley Cross, Bolton; Dawn Cope, Pointon, Lines; AndrewWesterman, Kettlethorpe, W. Yorks; Pippa St. John, Hampden Park,Eastbourne; Philip Carr,Wesham, Nr. Preston, David Mosely,Lympsham, Somerset; Mick Williams, Bell Green, Coventry; MickFrankland, Epworth, Doncaster; Ian Merryweather, London Nil;Chris Sherlock, Rainham, Essex; Steven Marriott, Waterthorpe,Sheffield.

How to enterSimply solve our crossword puzzle,writing the answers in ink, pen orballpoint.

Complete the coupon with your ownfull name and address, then cut it outand post it in a sealed envelopeaddressed to: SMASH HITS (Cross-word No. 35), 117 Park Road, Peter-borough PE1 2TS.Make sure it arrives not later thanApril 20, 1980, the closing date. Sen-der of the first correct entry checkedafter the closing date will win themini-TV and album. Senders of thenext 25 correct entries will eachreceive a copy of the Sex Pistolsalbum. The Editor's decision on allmatters relating to the competition

. will be final and legally binding. Nocorrespondence can be entered into.The competition Is open to all readersin Great Britain, Northern Ireland, Eire,Channel Isles and the Isle of Man,excluding employees (and theirfamilies) of Smash Hits and East Mid-land Allied Press.

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Rob Jones' Disco Pick

Bobby Thurston "CheckOut The Groove" (Epic)One of the hottest disco soundsaround at the moment is thisrecord by Bobby Thurston,"Checl< Out The Groove". As analbum tracic this record has beenvery popular in clubs and discosfor some months now, andthanks to Epic Records it's nowavailable in the UK as a single.

U-'*

As you'll probably know, I've been inhospital for the last couple of weekshaving my tonsils removed. Not avery pleasant operation, I might add,but luckily all went well and I'm backin full swing again. Only snag is, Ican't reach those high notes when Iburst into song! Thanks to Froggy forfilling in the gap at such short notice— cheers. Frog I

It's surprising how quickly thecharts can alter. I've noticed quite afew changes and a few newiescreeping in, also a couple that I canremember mentioning a while back.One of them is "Love Injection" byTrussel (Asylum), also "Holdin' On"by Tony Rallo (Calibre); it's good tosee these doing well.Same goes for Rose Royce with a

record that has always been one ofmy favourites of theirs,"Doh Boy". It'staken from their album "In FullBloom" (Whitfield) that also

contained their classic "Wishing On AStar". What a pity their tour wascancelled.

With Froggy being as on the ball ashe is, it doesn't really leave me with agreat deal to mention, but a few that Ireckon are good, danceable andworth a name check are "Motivation"by Atmosfear (Elite), "Check Out TheGroove" by Bobby Thurston(Prelude), "Just A Touch Of Love" bySlave (Atlantic), "Standing Ovation"by GO (Arista) and thenew one byOne Way featuring Al Hudson, "NowThat I Found You" (MCA). These areprobably our most popular soundsaround at present.So until the 17th, it's bye for now!

Bev.

Oh, I just remembered— I could havetold you about my exciting night inTramps (I go to all the best places)with Leif Garrett but I'll spare you!

StompBy The Brothers Johnson on A&IVI RecordsSteppin' out, the weekend's open wideFill it up, let's blast the jams and rideWhile we're cruisin' around in the streetListen up for the partyin' feetSlap me five, that's the placeWe've arrived, it's aliveEverybody take it to the top, we're gonna

ChorusGonna stomp all nightIn the neighbourhoodDon't it feel all rightGonna stomp ail nightWanna partyTill the morning tight

Running, running, running

The set is hot, there's people wall to wallOld ones, young things, short ones standing tallSo grab the one with the smile on her faceAnd hit the floor and stay right on the caseThe heat is on and the funkJust won't leave us aloneEverybody take it to the top, we're gonna

Repeat chorus twice

Stomp, step down in it, put your foot where you feel the fitStomp, you don't want to quit, put your heel where you're feeling it

Repeat chorus three times

Stomp, step down in it, put your foot where you feel the fitStomp, you don't want to quit, put your heel where you're feeling it

Repeat to fade

Words and music by L. Johnson/G. Johnson/V. Johnson/R.Temperton.Reproduced by permission Sunbury Music Ud/Rodsongs.

TWOTHIS WEEKS

1 T TOGETHER WE ARE BEAUTIFUL FERN KINNEY2 3 STOMP BROTHERS JOHNSON3 9 DANCE YOURSELF DIZZY LIQUID GOLD« 15 WORKING MY WAY DETROIT SPINNERS

8 PONT PUSH LEON HAYWOOD

^^4 HOLDNG ON TONY RALLO

7 NEW CHECK OUT THE GROOVE BOBBY THURSTON6 TONIGHT I'M ALRIGHT MICHAEL WALDEN

I 7 CUBA GIBSON BROTHERS10 2 AND THE BEAT GOES ON WHISPERS11 12 LOVE INJECTION TRUSSEL

! 5 ROCK WITH YOU MICHAEL JACKSON13 11 MOTIVATION ATMOSFEAR

I 17 STANDING OVATION GO15 RIGHT IN THE SOCKET SHALAMAR13 JUST A TOUCH OF LOVE SLAVE

17 20 YOUNG CHILD RONNIE LAWS UNEW THE GET DOWN MELLOW SOUND PLAYERS ASSOC

19 10 YOU KNOW HOWTO LOVE ME PHYLLIS HYMAN20 33 CISSELIN' HOT CHUCK CISSEL2 1 14 HAVENT YOU HEARD PATRICE RUSHEN

i 21 OOH BOY ROSE ROYCE19 IN THE STONE EARTH WINDS FIRE

I 38 PATAPATAOSIBISA

25 35 IT WILL COME IN TIME BILLY &SYREETA26 22 ON THE RADIO DONNA SUMMER27 29 RAP-0 CLAP-0 JOE BATAAN28 NEW IFYOUWANT ITNITEFLYTE

16 RHYTHYM TALK JOCKO30 24 BOYS IN BLUE LIGHT OF THE WORLD31 NEW TONIGHTS THE NIGHT SHARON PAIGE32 37 MOVIN- BRASS CONSTRUCTION U

25 SELF SERVICE LOVE GUARDIAN ANGEL . Rf34 30 THIS IS LOVERS ROCK EARGASM35 28 I CAN FEEL IT STOP

27 THE WORLD IS A GHETTO WAR37 NEW LET ME ROCK YOU KANDIDATE

i NEW NOW THAT I FOUND YOU ONE WAY 8. AL HUDSON39 NEW EASY STREET SISTER SLEDGE

) 26 WE GOT THE GROOVE PLAYERS ASSOCIATION

WEA 113A&M 121POLO 130

ATLANTIC 123

20TH CENTURY 114

CALIBRE. 118

EPIC 120/126

ATLANTIC 121/126

SOLAR

ELEKTRA

ATLANTIC 110

UNITED ARTISTS 134/129

; VANGUARDARISTA 116

ARISTA 132/134

ELEKTRA 130

WHITFIELD

CBS 112/116

PYE 126

MOTOWN 96CASABLANCA 128

SALSOUL 116

ARIOLA

PHIL INT 114

ENSIGN 128

SOURCE 118/122UNITED ARTISTS 119/124

RADIC/MATUMBI REGGAEVENTURE REGGAECALIBRE 124

COMPILED BY RECORD BUSINESS MAGAZINE FROM SALES AT SPECIALIST DISCO SHOPSIMP = IMPORT. BPM ^MMMMMIIMUTE.

i^i

-^

THE SEX PISTOLS were the bandthat changed my life. No otherband would have motivated meto sprint out to the shops everyThursday to buy the musicpapers to see what they weredoing this week. It was likehaving a bunch of mates with aWilkinson sword verbal styleattracting all the publicity.

It never occurred to me whilehopelessly devoted to Johnnythat their constant appearance inthe Press would constitute anykind of overkill, but after a while,the vultures got bored sittingaround sharpening theirbeaks.The Sex Pistols had had their runfor their money, and it was abouttime things got back topredictable normality.

When it finally happened. InJanuary 1978, John Lydonseemed to disappear off the faceof the earth. He made no attemptto have his name or his faceplastered over the covers. Heshowed a total disregard for theconventional methods of getting

22 SMASH HITS

Kevin Fitzgerald visits Public Image.

a new band going. He knewthey'd be battering his doordown in a matter of weeks.When Public Image Ltd finally

stepped out from behind thesafety curtain, the papers hadneverJieard anything like it, andthere were panic stations. Toanyone with a pair of mobile feetand an eye for sharpnon-Seditionaries clothes, it

sounded like dance music, butsince that excludes all rock

writers, the scene was set for anintellectual dissertation onJohnny Groundbreaker and hisRule-breaking Funsters.Throughout 1979 there was far

too much going on to worryabout PiL, after all. They didn'tconstantly tour the country, andthey still made that awful racket."Death Disco" was reviewed asthough the idea of using a discorhythm was the equivalent ofbelching in front of your family

while watching the Queen onChristmas Day. What would it allleadto?There were those who were

convinced that it was all just abig joke and that Lydon wouldget down to it, shoulder to thegrindstone, and they sat aroundwaiting to be proved wrong. Soeither PiL were being ignoreddue to their lack of worth, or theywere featured as a vaguebackdrop, an excuse forinterviewing John Lydon.With the release in December

of the tin-can 12 inch "Metal

Box" set, it all changed. John'screw had earned their crust, butnot because the critics could

dance to the music, but becausethey now reckoned they'd got itall sufficiently sussed out. Thethreat was at an end.On realising this, of course,

John was supposed to welcomethem with open arms and

apologise for being so awkward.

But he didn't.

THE PiL "team" consists of sixpeople, all of whom have knowneach other since the pre-punk

days. What they had was what ittook to make their attitude intotheir fortune— the ability to seethat a large proportion of the

public like to live dangerously,

using someone else to do it allfor them.Not that the PiL "board" are

like that, of course. There's the

actual members of the band—featuring new drummer MartinAtkins — and there's JeanetteLee, who arranges dealings withthe record company. Virgin, andwith all would-be-interviewers.

One reason she does this is thatif she didn't do it, John, Keith andWobble would never see thelight of day, they're that lazy.

There's also Dave Crowe, anold friend of John's who's notaverse to shutting the famousLydon lips with a rasped insult.And they all live together in a bighouse in Chelsea, isn't that nice?When I was there, the day was

divided into two halves— themore active half is called"John'sup" and the other, morelow-key half is known as"He'sinbed". John's definitelythe one who wears the checktrousers, and who's been eatingMy porridge?The phone never stops ringing,

and there are various methods ofsilencing it, the best one of whichis a deft hoof that knocks thereceiver up and down in asplit-second.

I'd originally intended tointerview all the members of theband together but seeing as howwe never arranged it properly, Ihad to spend most of the timewith John. At first I was dumblyawed by him; you kmaw,meeting the hero and that. As aresult, I clammed up but thedeafening records and numerouscans of grog nudged my feeblebottle level into first gear.

The first thing that came tomind: what was the first recordyou ever bought? Mine wasShowaddywaddy, in 1974.

"I've no idea, although it wasprobably something like that.D'you remember when I said onthe radio that time that I liked T.Tex and Gary Glitter, and then itbecame really hip to say howmuch you'd liked them? Thatwas a real joke. God."With one pearl of a question

under my belt, further topics tobe raised consisted mainly ofstuff about the Pistols, althoughwhen the "Bollocks" album wasmentioned, he said:"Me and Sid did a brilliant

version of that album."Loads of guitars and overdubs,

wasH?"You bet your life it wasn't."So, had John and Sid been

allowed to put a grubby paw onthe "Bollocks" tapes, aneducated guess would suggestthat the result would have beenan early fore-runner of thebass-heavy megastomp of PiL.But then it would have changedeverything considerably.

I asked John what had madehim knock around with Wobbleand Sid when they were attechnical college, taking thestraight and narrow to paradiseby clocking up 'O' Levels?"Simply the fact that they

were the only two worth talkingto. Everyone else was soddingabout in the queues, flittingabout saying 'Oooh, what 'O'level can I do now? Oo, yesGeography's a nice one.' Wewere all in the boozer having abevy."

FOLLOWING THE release of"Metal Box", many of the bands'early critics had now decided tolike it. The album review wasactually the cover story on one of

them, for God's sake. What didJohn think of the reviews?"Ha, ha. At first I thought it

was a searing pisstake, and Ithought 'good'. But it's not—they actually seem to like it. BigDeal. I'm still not interested intalking to any of them."John detests the way the press

has such an unchallenged powerto pronounce on music, asthough crystallising publicopinion for evermore, and hefinds it offensive the way thephilosophisers move in likeheavyweights and mask dancemusic in grave, seriousovertones."They don't dance to music,

they like to scurry around theirnice offices with their new BobDylan albums. They're all in theirlate twenties, they're clingingonto their lovely rock musicbecause they know they'll godown when it goes down. Andbecause they can't understandour music, they either slag it as ajoke or try to analyse it. They'vegot no idea."

It also makes things a lot lesseasy to analyse if there aren't theusual cluster of live gigs toreview. PiL's unwillingness toplay strings of date for no otherreason to promote recentproduct, is quite simple.

"A gig is something you'remeant to enjoy, a.nd that includesthe band, you should get somekind of entertainment. We've gotno intention of going round thecountry playing for no reason."But when I do a gig, I'm up for

days, which is another reason wewon't tour. It just kills you. I can'tjust go, 'Oh, that's that, time forbed now'. You work up too muchadrenalin."

The band have started to usesynthesisers, and tracks like"Bad Baby" and "Careering" aretwo examples of the waysynthesised noise can beincluded without it ending uplike a Rick Wakeman symphony.Just recently, the Whispers' "TheBeat Goes On" shows howrestrained use of a Moog (it's anoise machine, to me) can addblocks of sound to a basicrhythm track, withoutcompletely obliterating the heartof it.

PiL have been doing the samefor nearly a year, but the fact thatJohn is an ex-Wall Of Sound ExPistol plus the ridiculous stigma(call it ignorance) that says thatRock Groups, i.e. whitemusicians, can't make dancemusic that's not a headbanger'sheaven, means that they'reshunned, because they threatenthe controlled wildness of themusic scene.Every other rock act you care

to mention is just a zoo creature,totally dependent on its keeper— reactionary know-alls left overfrom the sixties. Public ImageLimited are different. As Johnsaid: "All the idiots only learntthe first lesson of Punk; Firstlesson— Do It Yourself."Second Lesson— Do It

Properly."

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SMASH HITS 23

By Secret Affair on i-Spy Records

I can feel that taste for life slipping awayAnd striking the lost chordI find nothing new to saySomeone told me I'm all dressed up with nowhere to goI should have that sinking feelingMy head hung low

ChorusBut this is my world todayMy world you're living in everydayAnd this is my world todayAnd I couldn't have it any other wayIn my world

Well, my mind has its reasonsFor talking aloudSo when people turn and stareI just feel so proudThe things they say won't come as any surpriseIn an instant they become distant cries

Repeat chorus

My world, my worldMy world, my world todayFor ever and everFor ever and everFor ever and ever

Repeat chorus ad lib to fade

Words and music by David CairnsReproduced by permission Bryan Morrison Music Ltd

MY WORLD

W^¥ ÔODMAN & /TROWNJUST 'Moments' before

As the Moments they wereresponsible for some of the bestsmooth soul of recent years, withhits like "Love on a two-way street,""Girls," "Dolly My Love" and"Jack-in-the-Box."

Now as Ray, Goodman &Brown, they are still producing the

best contemporary soul around.

LP 9109 800 M/C7231 600 Single 6008 800

Their first LP, simply titled

"Ray, Goodman & Brown'* containstheir recent and best sounds yet.

Released as a single, "Special

Lady" is a track from this LP.

Both the LP and single arealready smash hits in the States.

B iniuk(;!c(lhvphonogram

24 SMASH HITS

King by U.B. 40 on Graduate Records

,,oovP«°

fe^o/l^-o^^

^^ytoa; '"•and,-,"'"accepj "'"/land

. produced by Perr.iss,on^ GreduateMus,a/^M^^s,c

King, where are your people now?Chained and pacifiedTried in vain to show them howAnd for that you died

Repeat last verse to fade

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Please include 30p p&p. State size SML and send money with your order to:STARPRINTS, 202 main street, newbold verdon, leics.

cantMods sew-ons only £1GREAT FOR YOUR PARKAI

ARM SEW-ONS(AP-APSjALL6

VARIOUS BANDS: East (DeadGood Records LP)I hate to put down anyone who'sgot the courage and energy toput out their own stuff, but reallythis 1 5 track compilation jobmainly just shows that whilethere's a tremendous amount ofgreat talent lurking round thecountry, there's an awful lot ofpretty average stuff as well.The gory details: The

Cigarettes from Lincolncontribute three tracks of fast,energetic stuff: straightforward,competent but strictlyunimaginative. The aptly namedB Movie from Mansfield providemore of the same; onemoderately interesting rattle 'n'roller and one so average it's

painful.

Worse still are The PseudoExisters from Lincoln, who knockout two tuneless 1 977 rants forwhich the word "Godawful"might have been invented, andthe embarrassingly bad Half Lifefrom Spilsby, Lines., about whomI'll be kind and say nothing.Thus far we've had mainly

three chord bashes, devoid ofany real individuality ororiginality, or even anythingmemorable thirty seconds later.Things can only get better.

Leicester's Sincere Americanscertainly put in a brave effort butnot even sax, handclaps or agood arrangement can disguisethat they haven't much of tune tostart off with. VTS + NS fromNew York (Lincolnshire!!) alsoonly get one track which is a pity,since "High Rise Failures" Isinteresting, clever, actuallymemorable and shows realpromise, even if it is about urbandecay.

London's Whizz Kids are alsonot bad, though still nothingstartling. Their two cuts are betterpaced with at least some kind ofmelody and originality but bothhave their roots firmly in the past."Comalife" is good, though.

singles

Tessa of the S/its.

The haunting "Chance Meeting"by Joseph K (Absolute 45's) iscertainly something different. Aslow, deliberate beat, distinctivetoy organ sound and gruff voiceall combine to highlight a goodmelody line with a catchy hookthat sneaks in and refuses toleave, and there's a neat speedierinstrumental close.The 'B' side "Romance" is

equally good: more modern, darkpop plus more beat and goodguitar work, but still keeping thesame low key, intenseatmosphere. Gets better withevery play. Buy this one.(Contact: SAE to Campbell, 1Cheyne Street, Edinburgh 4)"Madison Fallout"/"AutoMekanik Destruktor" (PipelineProduct) from Basczax(pronounced Bassax) also takes acouple of plays to get into but isanother good one. Coming nicelypackaged in a plastic casing anddismantling sleeve, this featurestwo interesting full length piecesfrom a well developed band withkeyboards and sax, like a harsher,more industrial early Roxy Music.Simpler arrangements would

suit their good melodies better,

26 SMASH HITS

but well worth investigating.(Contact: SAE to PipelineProducts, 70 Roseberry View,Thornaby-on-Tees.)

Bringing a much needed smileare The Plague with their "InLove" (Evolution). With its brightred, chequered, fold out sleeveand pale pink seethrough vinyl,this two-guitar four piececombine tongue in cheek humourand homebrewed energy with aneat cranked up pop song aboutteenage love.The 'B' side, "The Wimpy Bar

Song" is another good "love"song: slower, also well puttogether with great lyrics abouttomato sauce and old frenchfries. Like it, like it! Ideas, controland a sense of fun — this bandhave got real possibilities!The Pop Group's"Where There's A Will, There's AWay (Y Records) is downrightcommercial for them and actuallylistenableforthe rest of us. Thistime a superbly tight disco-stylefunk rhythm section provides theback up for the usual provocativehowling vocals and squawkingsax out front. By far the best thingthey've done and recommended.By contrast. The Slits, who

occupy the other side, are merelyokay. After the magniificent"Typical Girls" and "Cut" album,they've clearly been listening toThe Pop Group too much for theirown good. "In The BeginningThere Was Rhythm" jerks andstumbles along with nonoticeable tune, and not evenArl's zest and personality cansave it from dragging on toolong. A pity, but still interesting.(Contact: SAE to Scott, RoughTrade, 202 Kensington Park RoadLondon W.1 1.)

Red Starr

THE FATAL CHARM: Kevin Davies (bass, vocals), PaulArnall

(guitar, vocals). Kevin Gallagher (drums), Sarah Simmonds (lead

vocals), Dave Barker (keyboards).

This leaves us withNottingham's Fatal Charm, theonly act on the album who reallydeserve to be called "good".Their three tracks are miles aheadof the rest. Energetic withoutneeding a sledge-hammer, theyhave catchy tunes, a bouncy beat.

neat arrangements and play wellto boot. They definitely have thatstar potential and certainlydeserve your close attention.The rest? Well, you pays yer

money . . .(Contact: Dead Good Records,292/3 High Street, Lincoln.)

independent singles top 30THISWEEK

TWOWEEKSAGO TITLE/ARTIST LABEL

1 1 KING/FOOD FOR THOUGHT UB40 Graduate2 - WHERE THERE'S A WIIL Slits/Pop Group Y (Rough Trade)3 2 WHERE'S CAPTAIN KIRK? Spizz Energi Rough Trade

4 - CAR TROUBLE Adam And The Ants Dolt5 () MOTORHEAD Motorhead Big Beat

6 WARDANCE Killing Joke Malicious Damage7 — TREASON (IT'S JUST A STORY) The Teardrop Explodes Zoo8 8 GIVE 'EM HELL Witchfynde Round

9 9 (I'M IN LOVE WITH) MARGARET THATCHER Notsensibles Snotty Snail10 FEEDING OF THE 5000 Crass Small Wonder

11 3 TRIBAL LOOK/BIRD IN FLIGHT Toyah Safari

12 5 YOU CAN BE YOU Honey Bane Crass13 14 NANTUCKET SLEIGHRIDE Quartz Reddington's

14 20 SELF-MADE SUICIDE E F. Band Redbali

28 SHOOT OUT THE LIGHTS Diamond Head Happy Face4 FIERY JACK Fall Step Forward

1 5 ALTERNATIVE ULSTER Stiff Little Fingers Rough Trade

SHEEP FARMING IN BARNET (AP) Toyah19 13 GIMME SOME LOVIN' Vibrators Rat Race20

10

REALITY ASYLUM Crass Crass21 SOLDIER SOLDIER Spizz Energi Rough Trade

22 26 ONE OF THESE DAYS Trespass Trial23 11 WHITE MICE Mo-Dettes Mode

24 23 CALIFORNIA UBER ALLES Dead Kennedys Fast Product

25 _, KEBAB TRAUME Deutsche Americanische Freundschaft Mute7 DAYS OF SPLENDOUR Jameson Raid GBH

1 8 TRANSMISSION Joy Division Factory

1 6 VICTIMS OF THE RIDDLE Toyah Safari

SUSPECT DEVICE Stiff Little Fingers Rigid Digits

NERVOUS BREAKDOWN White Heat Vallium

independent albums top 10THISWEEK

IWOWEEKSAGO TITLE/ARTIST LABEL

1 - SONGS THE LORD TAUGHT US Cramps Illegal2 1 STATIONS OF THE CRASS Crass Crass3 2 SHEEP FARMING IN BARNET Toyah Safari4 COUNT DRACULA AND OTHER LOVE SONGS Quartz Reddington's5 6 UNKNOWN PLEASURES Joy Division Factory6 5 INFLAMMABLE MATERIAL Stiff Little Fingers Rough Trade7 4 PRINCE BUSTER'S GREATEST HITS Prince Buster Melodise8 PASS OUT Inner City Units Riddle9 3 LIVE AT THE YMCA Cabaret Voltaire Rough Trade10 — RETURN Duritti Column FactoryCompiled by Record Business from a nationwide panel of specialist shops.

Only titles not coanected with major record companies are eligible.

POSTAL BARGAINS FROM: PERMAPRINTS (DEPT. S.H.21) P.O. BOX 210, 96 NEWINGTON GREEN RD., LONDON, N.I.

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Details as follows:— Colours: Red, Yel-low, Blue, Black and White. Sizes: SmI,Med. and Large.

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When ordering state size, colour andone alternative colour.

129 CONTENTSCap Sleeves

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SMASH HITS 27

The names listed are hidden in the diagram.They run horizontally, verticaliy or diagonally— many of them are printed backwards. Butremember that the names are always in anuninterrupted straight line, letters in sequence,which ever way they run. Some will need to beused more than once. Others you won't needto use at all. Put a line through the rtames asyou find them.Solution on page 38.

AL HUDSONANDY GIBBASWADBARBARA DICKSONBOB SEGERBROTHERS JOHNSONCAIROCHUCK BERRYCOCKNEY REJECTSCOMMODORESCRYSTAL GAYLEDARTSDISTRACTIONSf=OREIGNERGENERATION XGENE VINCENTHONEY BANEIGGY POPIVOR BIGGUNJAGSJANET KAYJOURNEYKEITH MICHELLLABELLELINDA LEWISLOCOMOTIVEMADNESSNEIL DIAMONDNINA HAGENORLEANSPEARL HARBORPETER TOSHPROCOL HARUMPSYCHEDELIC FURSRUBETTESSAMMY HAGARSLITSTONY RALLOTOURISTSVAN HALENWIREX RAY SPEX

FNDNOMA 1 DL 1 ENHCLGPY U B O LLARYNOTOBLEE

R R E G E SBOBOBAMRSENNE R C Y G 1 KRABTMALTHEO1 E A A T 1 OC

1

AOBXESCVSG B J K N TBGIDSRNAI IAND K T E LYRODAOONRMNH1 C U E C DGROYAB 1 SUHHOSURNNGEXSVNRTROTAJT H N A 1 SSPSI lAASTILSE C E J V SEENSXHRBSEERV O Y G E XTAENLLEERKNE1 R 1 N N THXROARNREALHT 1 D E E AEPC 1 RAEENYBTO A G B G LOOWTEEGNAGMOM C U E L PRAYCNPNGB 1 YR

R N E Y PLG lAEOL 1 YBPBC R B G 1 HGEERTAFEEREAA G WU 1 KG 1 TTOARNOTN

LINDA LEWI SRRSOOVEEA W S D A DNEY 1 XPAFH 1 RYH A A L STRADTENDAMTRN M C W S TCEJ ERYENKCOCL O C S R UFC 1 LEDEHCYSPL 1 N A L ERAGAHYMMASHA

TWO-TONEBELTS

CHECK

It s,t s,t S/t Si

ttti

BEAT GIRL

SKA

GANGSTERDANCING

MADNESS

SPECIALSFACE

C-? ."

Artist

_>£Song

Ready steady go, ready steady goReady steady go, ready steady go

I'm not in love wKh televisionI'm not in love with the radioI'm not in love with the Kings Road, oh oh ohBecause I'm in love with Cathy McGow-ow-ow-ow-anAnd she said

ChorusReady steady goWell, all the things she saidLike ready steady goWell, weren't it fabulous?Ready (ready)Steady (steady)Go!

'm not in love with Juke Box JuryI'm not in love. Thank Your Lucky StarsI'm not in love with T-T-T-TwiggyBecause I'm in love with Cathy McGow-ow-ow-ow-anAnd she said

Repeat chorus

Well, I was in love with the Beatles (ooooh)I was in love with the Stones (and no satisfaction)I was in love wKh Bobby DylanBecause I'm in love with rock 'n' ro-o-o-oll

Repeat chorus

Ready steady goGo, go. go, goReady steady goReady steady who?Ready steady stoneGo, go, go

Words and music by Idol/JamesReproduced by permission Chrysalis Music

SMASH HITS 29

SINGLESBy David HepworthFirst, I must deal with mycorrespondence. I am grateful tothe Arsenal and Police fan whowrote from Enfield to point outthat he/she didn't care for theway the Singles Column wascurrently laid out. Thank you foryour helpful advice. Now whydon't YOU go stick YOUR headup a dead bear's {Look, Dave, it'sno use being diplomatic—you've got to be firm with 'em!Ed.).

It's been many a moon sinceBrian Robertson departed theranks of Thin Lizzy but "FaceDown" (EMI) finds his new bandWild Horses putting their faith inthe same old swirling guitarduetting. All they need tocomplete the impression is PhilLynott himself, but he's occupieddoing the same business on hisfirst solo work, "Dear MissLonelyhearts" (Vertigo), a cooler,more'^airy variation on the usualthree fehord fandango. Nowwould somebody point out thepoint of all this after schoolactivity?

Down in the Sixties graveyard,the old songs keep on rising outof their plots to haunt us.The Angelic Upstarts try

walking in the footsteps of theirNewcastle ancestors TheAnimals with "We Gotta Get OutOf This Place" (Warner Bros).Never mind the fact that theydon't so much walk as limp, asong of any description is animprovement on the closing timerants that they have dealt in up tonow.

30 SMASH HITS

If only they had the nerve toclimb inside an old song andrearrange the furniture a little,like ZZ Top have done with "IThank You" (Warner Bros). Herethe old soul standard is bound uppretty tight and walks on tiptoeswhere it used to go pacingaround. Strong stuff. The DanceBand croon about Stax music on"Stacks Of Tracks" (Cool King)with suitable regret but whybother checking into this whenthe originals are all beingreissued?We beam back briefly to the

modern world where all issmooth as formica and shineslike bacofoil. "Furtive Winks"from Cuba (Ariola) is another ofthose fidgety new records,brimming with cleverness andweighed down with smart-asshumour.The same could also apply to

"Clean Clean" by The Buggies(Island) were it not for thecunningly buried hook line thatsurfaces after a few plays. Theseboys are masters of the middleeight. But it's as easy to findrecords like this obnoxious as it isto say they're catchy.The Members lumber along

amiably with "Romance"(Virgin), doling out the kind oflocker room wisdom that TheSpecials seem to handle so muchmore convincingly."Break It To Me Gently" by The

Planets (RiaKo) is one of thosefuriously professional poprecords where nothing has beenleft to chance and even less to getexcited about. Alan Jonesdisplays similar qualities with"You're Making My Heartache"(Active), coming across like aman who's frittered away hisyouth listening to too manyrecords, his every step dogged bymemories of the past.You want professional? We got

professional. You want a greatrecord? We have one of thosealso. "I Feel Love" (GTO) byDonna Summer is making itssecond lap of the track, a princelyrecord whose elegant motion andmagnificent tension tempts me tobelieve that most synthesisersare played by people wearingboxing gloves. This stupendousarticle just about single-handedlyjustifies the invention of thosedangerous little electronic boxes.

Ah well, back to the world ofthe worthy but ordinary. EddieAnd The Hot Rods' muchpostponed return to vinyl, "AtNight" (EMI), displays much ofthe swashbuckle (if there isn'tsuch a word, there ought to be) oftimes past. But it also reeks of thedesperation of people trying tomake a great record, just like theydid in the old days.XTC never seem to be ruffled

by such considerations and their"Wait Till Your Boat Goes Down"(Virgin) is more deserving eventhan "Nigel". It's a deliberate,oddly disturbing record builtaround a descending hook linethat is simplicity itself.

Judas Priest, if nothing else,have the distinction of beingquite the silliest band in thewhole world, and "Living AfterMidnight" (CBS) is no let down.Like toddlers dressing up on awet afternoon. Priest strut aroundin leather and warn us of thechilling and supernatural thingsthey're going to do after the clockstrikes twelve. Would it hurt to letus know that they're human?

Stevie Wonder is in seriousneed of a touch of inspiration, as"Outside My Window" (Motown)suggests. Where he used toswing with so much verve, henow toots with barely anyconviction. I like Joe Jackson butnot "Kinda Kute' (A&M). It's goodenough, jolly enough andassuredly catchy enough, but hecan make much slyer, moreaffecting records when he wantsto, and without sacrificing any ofthe commercial appeal.The Cretones and The

Textones have very similarnames and broadly similarrecords in "Real Love" (Planet)and "I Can't Rght It" (Chiswick)

respectively. DisposableAmerican pop with a punk gloss."Rooms In Your Roof is Micky

Jupp (Chrysalis) is an attractivelittle R&B shuffle; the usualclever words, the usual tastefultimid production. Mickey, youcan do better.Maybe he should cop an earful

of the art of Captain Beaky AndHis Band whose 'Trial Of HissingSid" (Polydor) breaks entirelynew ground in its continuingquest for new and excitingmodes of expression. Brave,funny, sad, intensely moving anddaring in its bold grasp of the realissues of living in the year 1 980,this band are something morethan just plain old rock and roll.They are plain old tripe, as mymother was fond of saying. (Yes,but is he guilty? Ed.).

Despite the fact that they'reneither as powerful nor as slick asWho records, I've always got asoft spot for Pete Townshend'ssolo efforts and "Rough Boys"(Atco) is no exception. As a songit follows the classicWho route(fast, with a middle sectionalmost like an anthem) but itsomehow seems less bloatedand pretentious than it wouldhave done had the whole bandbeen on the case.Madness may be sloppy as hell

but they're anything butcalculated. Their new EP "Work,Rest And Play" (Stiff) includesyet another track from theiralbum, "Night Boat To Cairo"with three new tracks, the best ofwhich is the hilarious andfuriously catchy "Don't Quote MeOn That", a cautionary tale thatsprang from Chas's ill-starredmeetings with the music press.So here I am, all ready to bed

the typewriter down and leg it

home when, lo and behold, newsingles from The Pretenders andThe Undertones.So I place The Pretenders'

effort on the office hi-fi(coal-fired, interestingly enough),sit back and . . . now this is morelike it. 'Talk Of The Town"represents the kind of risk morebands should take more often; anundisciplined, almost jazzy sortof ballad thingy with a vocal thathovers above brilliant guitartextures. It takes three plays to

. pull you towards it and kisses youfull on the mouth on the fourth.

Chasing it a little breathlesslyare The Undertones and "MyPerfect Cousin", a MickeyBradley inspired song poking funat his clever brother Martin whoappeared not so long ago on"Mastermind". The lyrics arelovely and it's delivered with thekind of spirit that you naturallyassociate with The Undertones,but I can't help wishing they'd letus hear some of the slower, moresatisfying material that they'vegot stashed away.

It's been a pleasure talking toyou. Must fly.

ALBUMSTHE WHISPERS: The Whispers(Solar). If it wasn't for the brilliantten minute version of "And TheBeat Goes On", you could sumthis up in a word or two.Surprisingly, it contains moreslower, relaxed, smoochynumbers than the instant, fast,danceable tracks you'd like tohear. Instrumentally it's verygood, but very Stylistics and verytiresome in places. The fastsounds hold the album togetherbut unfortunately not for longenough. (5 out of 10).

Bev Hillier

TONY RALLO & THE MIDNITEBAND: Burnin' Alive (Calibre).Les Francais may never makerock 'n' rollers but they cancertainly come up with thedancing goods. Like the superb"Holdin' On"— here in its full7:35 minute glory— this has reallife and spark to it. Tuneful andpunchy, it goes straight to thefeet but is interesting to listen toas well. Simply, it's the bestclassy disco album since Chicand Michael Jackson. Hearing isbelieving I (8 out of 10).

Red Starr

PURPLE HEARTS: BeatThatI(Fiction). Why's everybody insuch a rush to make albums? ThePurple Hearts are still trying todecide what to play, let alonewhat key to play it in. This debutcatches them rifling through TheJam songbook and The Whoguitar tutor, barely able to comeup with half a verse which isrecognisably their own. In ayear's time, they're going to wishthey hadn't cut this. (4 out of 10).

David Hepworth

ORIGINAL MIRRORS: OriginalMirrors (Mercury). This album isa headache. Not because it'sparticularly grim— mostly it'squite fair— but becauseeverybody's trying too much atonce. The best things are usuallythe simplest— here basically apop band totally overload somequite promising melodies withrelentless, one-paced attack andnever ending, far too busyarrangements— presumablyaimed at creating mystery action.

In fact too much goes on toremember anything but the mostobvious. Start again fromscratch. (5 out of 10).

Red Starr

MENTAL AS ANYTHING: MAA(Virgin). Never let it be said thatwe hold anybody's nationalityagainst them. Not evenAustralians. MAA are a fairlywitty, rather earthy pop groupwho work in a territory not thatfar removed from Squeeze andarrange their sometimes slightsongs to maximum effect.Someday they might make areally impressive record, if theyget the chance to sit around andthink about it. For the moment,I'm impressed with the guitarist.(6 out of 10).

David Hepworth

WRECKLESS ERIC: Big Smash(Stiff). A pity Wreckless haslumbered himself with thisdrunken fool image so that noone takes him seriously—because the man's a genius. Herehe seeks that elusivebreakthrough via this bargaindouble with two sides of hisgreatest sandwiching a newalbum of some of the bestraucous pop-rock you're everlikely to hear. Everything fromgritty to witty, it's great stuff andbrilliantly enjoyable. Buy this one— both you and Eric deserve it. (8out of 10).

Ian Cranna

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B.A.ROBERTSON: InitialSuccess (Asylum). A miteunfashionable and all that but(whisper it) I quite like this. I've

always had time for a good smartaleck and B.A. has stuffed thiswith enough in jokes to script TheMuppet Show, laced it with manya catchy choon and arranged thefinished article with meticulouscare. Past experience suggeststhat its charm will wane with timebu