J5pUSA$l75June 11 -24 1981

-^W#

Vol. 3 No. 12

SPRINGSTEEN'S PLAYING Wembley/Hepworth's gorn all trembly/la la la/la la la la!!"

"Orlrlght, guv? Don't mind me. I'm sick as a moon, mate. Over theparrot. I'm just trying' to wrap me eyeballs round this 'ere new issueKnoworrlmean?"

"Orlright, I'll just talk you through the important parts. I gets thball, right, I heads it into the Squeeze feature (making a hell of a deniin me new perm), chips it across The Human League colour shot, tapit out to an Ant on the wing and then whacks it straight betweencouple of Whitesnake mike stands and smack into the top corner o\the Linx centrespread. One — nil. Won meself a motorbike andSpecials songbook too . . ."

"Oh, and I'm opening a boutique, Brian . . ."

GHOST TOWN The Specials 2WOULD I LIE TO YOU Whitesnake 8YOU'LL NEVER BE SO WRONG Hot Chocolate 8ALL STOOD STILL Ultravox 9SPELLBOUND Siouxsie&The Banshees 9THROW AWAY THE KEY Linx 14BODY TALK Imagination 14NOBODY WINS Elton John 18ALL THOSE YEARS AGO George Harrison 19GOING BACK TO MY ROOTS Odyssey 211 1 O'CLOCK TICK TOOK U2 23ONE DAY IN YOUR LIFE Michael Jackson 31MORE THAN IN LOVE Kate Bobbins 31WILL YOU Hazel O'Connor 36LET'S JUMP THE BROOMSTICK Coast To Coast 43

ADAM AND THE ANTS: Feature 4/5/6WHITESNAKE: Feature 16/17LINX: Colour Poster 24/25SQUEEZE: Feature 34/35HUMAN LEAGUE: Colour Poster 44

BITZ 11/12/13TOYAH/MADNESS POSTERCOUPON 12

SPECIALS SONGBOOK COMPETITION 20DISCO 21YAMAHA BIKE/BOOMTOWN RATS COMPETITION 27

CROSSWORD 30INDEPENDENT BITZ 33LETTERS 39/40COMPETITION WINNERS 41GIGZ 42Special thanks this issue to Tel Seago (design)

The charts appearing in Smash Hits are compiled by Record BusinessResearch from information supplied by panels of specialist shcps.

This magazine is published by EMAP National Publications Ltd, Peterborough, and isprinted by East Midland Litho Printers, Peterborough.Copyright exists on all songs appearing in Smash Hits. They must not be reproducedwithout the consent of the copyright holders.

TOWN

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g« sind the music

THE SUN KINGSMark Ellen flies to France (wot, again?) and files the first part of an Antspecial.

Even the pics are his.

WELCOME TO Aix En Provence.It's the kind of "leafy, tree-strewntownship" that travel brochuresalways describe as "positivelydripping with History".Occasional cars hum past

weed-encrusted fountains. Theafternoon sunlight shines on cafetables laden with the evidence ofexpensive meals. The murmur ofcontented voices is broken onlyby the soft chink of emptyingwine glasses. France is putting itsfeet up.

Suddenly a hideous distortedwail erupts from the direction ofthe pavement. Rows of headsswivel to discover that a pair ofdeadbeat hippies with electricguitars have chosen this scenicspot for a painful rendition of"Black Sabbath's GreatestSoundchecks".The crowd aren't exactly

thrilled. Least of all the table atthe back.

"Oy, Do you do requests?"enquires a muscular pale-facedEnglishman with a tattoo on hisarm. They do. "Well, hop itthen!" he grins. They're playingin the wrong key, someoneobserves. "Wrong key? Wrongtown, more like! Where's the tourmanager? Get him to fix up anitinerary. South America. The

Congo. Outer Mongolia . . .anywhere but HERE!"Our musical friends seem to

mistake this for encouragementand come shuffling over, cap inhand. Disquise, quick! "This callsfor only one thing. Men," theCaptain decides, "and that'sHats!" He rises slowly to give thecommand, his three or fourbraids bound in red and goldribbon catching the gentlebreeze. "Haaaats!!", and histhree compadres promptlyacquire table napkins and beginto fashion them intoloosely-constructed turbans.

"First afternoon off they've hadin ages," explains their 'securityman' gleefully. Time off for himtoo. "It's great here," he says,"they never get recognised."

I glance at the boys in question.Jeans, T-shirts, no make-up,napkins on their heads.Adam And The Ants? Know

'em anywhere!

WITH THEIR fifth Top Ten single,"Stand And Deliver", still baskingat Number One back on hometurf, the Ants are moving throughuncharted territory. With themmove the kind of trappings thatindicate a freshly-won Platinumstatus. A massive road crew, an

articulated truckload of gear,wardrobe units, merchandise andmake-up team and a "minder"fresh from service with LedZeppelin. There's even a trio ofsilky black limos hired to glidethem to the evening's venue—the Krypton Ultra-Disco— andthen whisk them back to the hotelat a carefully regulated "on-stagetemperature".

It's what Adam's worked fivehazardous years to achieve, whathe now most definitely needs,and what— in my book — he alsorichly deserves.As he's the first to admit, when

we're staked out in the sun on thehotel patio awaiting the midnightgig, only last February he wasbeing numbered by all andsundry as "the all-time loser".Working with no record companysupport, virtually no money andagainst a daunting wall of publicmistrust, along had comeMalcolm McLaren, sifted throughhis ideas, and then nicked thevery band from under him toconstruct the suspiciouslysimilar-sounding BowWowWow.

"If I learnt anything from him,"Adam admits, succinct as ever,"it's that if you've got an idea,you've got to keep it to yourself.An idea shared," as he found to

his cost, "is an idea halved."At this point he'd enlisted the

unmistakeable song-writingtalents of Marco "The Big Man"Pirroni and, later, the twin drumsupport of Terry Lee Miall andChris "Merrick" Hughes with, atthat time, Kevin Mooney on bass."It's all so simple," explains hisreplacement, Gary Tibbs, late ofRoxy Music. "Kevin sacked thefour of them then they all joinedmy band!"Marco, incidentally, describes

his living habits as "nocturnal".So nocturnal, in fact, that the raremoments he appears before darkare greeted by riotous applause.If he isn't eating, he's asleep inhis hotel room escaping the"dreaded daylight". "France isn'tbad," he scowls at the bakingsunshine, "it's just the weatherthat's so awful!"Adam and Marco's

compositional flair was firstbrought to life by Merrick'sproduction. (You can tell he's asound-man; he spends a happyafternoon listening to a tape of anindustrial steam-hammer andrecording Adam's digital watchwhich plays, on demand, "TheYellow Rose of Texas"). The newAnts' Sound and Vision appearedlast summer with "Kings Of The

Is it a bird? Is it a plane? No . . . it's an Ant in a dressing-gown. ThePerron! peepers are still firmly closed. Next page — The Proof!

Paleskinslnthepink:(left to right) Adam Ant, Gary Tibbs, Terry Lee Miall, Merrick

Wild Frontier" as its calling-card.As Adam recalls, it marked anofficial crossing of the thresholdbetween "rock'n'roll" and"showbiz".

"It took me a long time todiscover that they were two verydifferent things and that one wasmore appealing to me than theother. I felt rock 'n' roll had lost allits colour, all its flair.Showbusiness has got more lifeto it. You have to be of a muchhigher calibre to survive.

"I realised that the mostimportant thing was not tocompete with any other groups.Not to feel jealous of anybodyelse. Just to get on with your owncareer. Also to be very colourful— and to push that to an extreme— and be very 'total' about whatyou do."Another really important

thing, next to The Sound and TheLook, was to create an audience,really, not to cater for one. And toenyoy life," he adds, simply. "Ienjoy it more now than I did

before."

People needed"entertainment", he'd decided atthe time, and not yet anotherband reflecting the gloominess ofthe period via a witless stage actand negative outlook. Theyneeded something, he computed,that wasn't just willing to give upand drop dead."And if it wasn't negative,"

Adam recalls, "it was esotericand far too 'arty' for anyone'sgood. But then, I'm guilty of thatas a writer, too. I think the 'DirkWears White Sox' album was'arty', though a good albumcompared with what was comingout at the time. The topics on itwere a little— shall we say—beyond the grasp of a lot ofpeople that were listening to thegroup."As he points out, it was that

same grass-roots followingwho'd bought "Dirk", and soldout the Ants Invasion Tour priorto the CBS signing, who wentstraight out and bought the

"Kings" single. The combinedforce of 50,000 sales secured aTOTP slot and, once played,250,000 more clapped eyes onsomething irresistibly Brand Newand decided they'd better getthemselves a copy, too.And the rest, in the words of

the prophet, is History . . .

ASKED TO explain himself later,as he waits for a sound-checkamong crates of half-unpackedgear, Adam answers with thekind of clarity and sheerdetermined business sense thatcould almost put StewartCopeland in the shade.

"I've been in the clubs fiveyears now," he'll remind you,"and I don't forget them. I don'tforget what people are like whenyou're supposedly 'a failure'. Iknow w/jy this group issuccessful; because we workvery hard and we're careful aboutwho we work with now— weonly work with professionals.Also," he prods the table-top foremphasis, "the success of theAnts has been due to Television,to the National Press and tocolour magazines like Smash Hitsand Flexipop, and thatrepresents, I think, a revolution in

the Music Industry becausewe've been absolutely hated bythe official music press and yethave still become the mostpopular group in the '80s. Andthat's an achievement becauseyoung people forming groups areabsolutely at the mercy of certainreviewers."Even two years ago, the notion

of an "artist" being abusinessman was consideredalmost immoral and onlyassociated with balding,middle-aged supergroups whospent more time makinginvestments than albums. It's nothard to see why someone who'ssurvived a succession ofmanagers and record deals since'76 isn't about to fall into thesame traps a second time.Interestingly, Adam admiresGary Numan— "the firstnon-airheaded rock star"— forthe simple reason that,business-wise, "he's one of theforerunners in being in control ofyour own destiny."He extends the idea of control

as far as designing (or at veryleast, approving) every Antsrecord sleeve, T-shirt, badge,poster and sticker. And he neverdrinks (the legacy, I discover, of afather who drinks too much),because "in my business youhave to have a very clear mind. Ifyou drink a lot, people tend totake advantage of you."

He's also suffered a lot ofmud-slinging for his faith in hisaudience, but there's no denyingsuccess has proved him deadright all along."The audience make you. You

don't bite the hand that feedsyou. You respect them becausethey give you the respect. Thereason I'm able to demandrespect from promoters andpeople in the industry is because

6

my records sell. And who buysthe records? The kids. So theydemand more respect andconsideration than anybody.

"I think the music business islearning that because they wentthrough a period in the '70s ofpushing people to the limits, ofsaying: 'You're going to pay fivepounds for a piece of plasticthat's worth 50p with no cover tospeak of and no lyrics'. And thekids just turned around and said'no'. And what happened? Themusic business nearly collapsed,and it brought it down to aharsh reality which / livedthrough, and / built on, becauseI'm aware of it."And I maintain," he says,

scarcely drawing breath, "thatthe audience is the mostimportant consideration . . .tonight, tomorrow, next year,next century. And once you thinkyou're 'above' your audience,then I think that's the time toseriously re-consider yourcareer."

THIS BEGS the obvious questionof whether the Ants originaldiehard following have a right tofeel "betrayed" by the currentand sudden ascent. We getthousands— literally thousands— of letters on this, and other,Antopics at Smash Hits, I tell him.The postman's had to take amuscle-building course."When a group's been very

'cult'," Adam considers, "andthen gets 'acceptability', there isa feeling— initially— of betrayal.

A feeling that it's got too big toofast. Really, it depends on howfast those fans are maturing. Yousee, somebody could have gotinto the Ants when they were 1

5

and they'd be 19 now! And I can'thonestly look people in the faceand say: 'I expect people toadhere to everything I do and sayfor five years'. I mean, I got intoRoxy Music on their first albumand I'm beginning to waver now.But I still buy Roxy-albumsbecause I know that potentiallyFerry can come up with songslike he did on the first twoalbums, and my heart's stillthere."

Most— if not all— of theseletters, I mention, have thatfeminine touch about them.Adam smiles; the two teenagegirls who've sneaked up behindus to listen in begin to quivervisibly. (One's hitch-hiked fromManchester; the other fromStockholm.)

"Well," comes the explanation,"I think that rock 'n' roll music—or an/ performance,entertainment, showbiz—revolves around Sex in somegold belts. Adam swiftly dolesout six Ants shirts and the French

.

dive off behind the scenes tochange. "Zer contree shange zeGovernment," one explains, "wejuste shange ze T-shirtsI"

I suggest to Adam that there's agrowing similarity of dressamong-Ant fans that mightthreaten their individuality.He doesn't agree. "Imitation is

basic way. So all I've done is to

Marco Pirroni displays his famous bedside manner.

admit it— and oseit! Utilise itinstead of hiding it. Also," hegives another in a series ofpioneer salutes, "I think Sex isthe last great adventure left!"The thing is that if you're too

aware of it— and you try to besexy— it usually ends up notbeing sexy. Sex is something thatmanifests itself in more than justphysical love-making. Fashion isSex; the way you walk, the wayyou talk."

You'll get tired of it one ofthese days.

"I think it might get tired ofme!"

THE BOSS of the Krypton Clubcomes scurrying past, arms allover the place. He and his Frenchfriends feel a bit foolish in theirmatching Stray Cats T-shirts, theAnts entourage being a sea ofbuccaneer strides, braids andgold belts. Adam swiftly dolesout six Ants shirts and the Frenchdive off behind the scenes tochange. "Zer contree shange zeGoverment," one explains, "wejuste shange ze T-shirts!"

I suggest to Adam that there's agrowing similarity of dressamong Ant fans that mightthreaten their individuality.He doesn't agree. "Imitation is

the greatest compliment that anyartist can ever hope for. I canremember imitating Bryan Ferryand The New York Dolls and T.Rex. Everybody goes through astage of imitation and anybodywho doesn't admit it is either aliar or a genius."

THE CARS drift noiselessly ontothe gravel drive outside. The Antspile in and head back to the hotel.The next hour will transformAdam from this chap inuneventful baggy beige trousers,striped top and black buckledboots into the figure that'sgradually replacing wall-paper inthe bedrooms of Europe."You know," he says, "I still

think of England as a base. 'Costhat's where you're born, andthat's where you launch, andthat's where you get the mostfeedback. British audiences are—without doubt— the mostdiscerning and difficult to work tobecause they're the most choosy.

"I always worry when I put arecord out that it's going to be amiss. 'Cos I've had misses.There's just no words to describethat feeling when a recorddoesn't make it. The fact that theybecame hits later didn't affectthat at the time."Every single element of what

you do has to be thought about.You can't cut corners, 'cos if youcut corners, you just suffer in theend."So speaks the voice of

experience. I like him, and admirehim. Me and a few million others.

PART 2to follow. Adam and iVIarco onwhat maices up the Sound, Styleand Vision of the Ants. And lotsabout Red Indians . . .

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363 OXFORD ST. (NEXT TO BOND ST. TUBE) TEL; 619 1240. BEDFORD: SILVER ST, TEL iWibA BIRMINGHAM: NEW ST TEL 6-13 7029. BRADFORD; CHEAPSIDE TEL: !aa8;. BRIGHTON: CHURCHILL SQUARE TEL. 29060. BRISTOL; BROADMEADTEL: 297467,COVENTRY; HERTFORD ST TEL 2l001 DERBY: ST PETERS ST TEL 364700. EDINBURGH; 51 lAMES CENTRE TEL SS6 1236. ENHELD: CHURCH ST TEL. 363 018-1 EXETER: GUILDHALL SHOPPING CENTRE TEL. 3S80-f GLASGOW: UNION STTEL: 321 IBSO.GLOUCESTER: KINGS WALK TEL 322 31. HOLLOWAY: HOLLOWAY RD. TEL. 6071832 HULL: WHITEFRIARGATE TEL; 3 36160, LEEDS: TRINITY ST TEL. 3SS98 LEICESTER: KEMBLE SQUARE TEL: S37333.LEWISHAM:RIVERDAL£ TEL: 852 3449LIVERPOOL: LORD ST, TEL: 708 88SS. LUTON: ARNDALE CENTRE TEL. 3S290. MANCHESTER: MARKET ST TEL: 834 9920. NEWCASTLE; NORTHUMBERLAND ST TEL. 37470 NORWICH: HATMARKET TEL: 25490. NOTTINGHAM; BROAOMARSHCENTRE TEL: S3841. NOTTING HILL GATE: NOTTING HILL GATE TtL. 229 1-176 PLYMOUTH; NEW GEORGE ST TEL: 20067. PORTSMOUTH: COMMERCIAL RD TEL: 29678 SOUTHAMPTON: BARGATE TEL. 336S4. STRATFORD: BROADWAYTEL; SSS 0312. STOCKTON: HIGH ST TEL 66174 SUNDERLAND: HIGH STREET WEST TEL -11267 SUTTON: HIGH ST TEL: 6420084 SWANSEA: THE QUADRANT CENTRE TEL 463094. WOLVERHAMPTON: THE GALLERY, MANDER SQUARE TEL 29978

WHITESNAKE

WOULD I LIETO YOUON LIBERTY RECORDS

Hey girl, if you want meCome an' get meDon't hang around

Or we could spend the night sleeping alone

If you could change your style for a whileLook in my direction

Tell me do I look the kind of guyWho takes advantage of a woman like you?

Or is that what you want

ChorusWould I lie to you, would I lie to you

I would do anything that you want me toBut would I lie to you

(Baby, baby) would I lie to you, would I lie to you(Baby) I would do anything that you want me to

But would I lie to, would I lie to, would I lie to you

Hey girl, if you needSome love an' affection

I'll whisper all the sweet, sweet nothingsI know you little girls like to hear, now listen

If you would change your mindWe could find a night of satin sheet action

I promise I won't do anythingBabe, unless you wanted me to

And that's a fact

Repeat chorus

I don't wanna sleep alone tonightAfter all you put me through

I've spent the whole night searchingFor a woman just like you

Look in my eyesHear the words that I say

If my eyes tell you liesThen baby, it's just because I want you to stay

Repeat chorus to fade

Words and music by Coverdale/Marsden/MoodyReproduced by permission Warner Bros. Music Ltd./C.C. Songs/

Seabreeze Music/Dump Eaton Music Ltd.

YOU'LL NEVER BE SO WRONG

HOT CHOCOLATEON RAK RECORDS

Just two lovers in a seedy cafeSomeone's leaving the waiter says, hey won't you wait

Running nowhere she hides in her roomWhat he told her

Was he had to gat out and soon

It's just a bad affair you've hadNo need to cry don't take it bad

You'll soon be glad when you're far apart

ChorusYou'll never be so wrong

Not for a long timeYou'll never be so wrong

Not for a long time'Cause you're never gonna find

That feeling againYou're never gonna find

That feeling again

Now she's breakingBut what can she doSomewhere out there

A car disappears out of viewFumbles somewhere for stale cigarettes

Looks for numbersThe ones she can dial for four pence

No point in you just looking downNo way that you can turn it aroundYou've got to realise you're free

Repeat chorus

No point in you just looking downNo way that you can turn it aroundYou've got to realise you're free

Repeat chorus

Words and music by R. Wilde/M. WildeReproduced by permission Rickim Music Ltd./Rak Publ. Ltd.

SPELLBOUNDFrom the cradle bars comes a beckoning voice

It sends you spinning you have no choice

You hear laughter cracking through the wallsIt sends you spinning you have no choice

You hear laughter cracking through the wallslt"sends you spinning you have no choice

Following the footsteps of a rag doll danceWe are entranced

SpellboundFollowing the footsteps of a rag doll dance

We are entrancedSpellbound

Spellbound, spellboundSpellbound, spellboundSpellbound, spellbound

And don't forget when your elders forgetTo say their prayers

Take them by the legsAnd throw them down the stairs

When you think your toys have gone berserkIt's an illusion

You cannot shirk

You hear laughter cracking through the wallsIt sends you spinning you have no choiceFollowing the footsteps of a rag doll dance

We are entranced „Spellbound

Following the footsteps of a rag doll danceWe are entranced

SpellboundSpellbound, spellbound

SpellboundSpellbound, spellbound, spellbound, spellbound

Following the footsteps of a rag doll danceWe are entranced

Following the footsteps of a rag doll danceWe are entranced, entranced, entranced, entranced, dance,

dance, dance

Words and music by Siouxsie & The BansheesReproduced by permission Pure Noise/Chappell/Virgin

Music Ltd.

BY ULTRAVOX ON CHRYSALIS RECORDSThe lights went outThe last fuse blew

The clocks all stoppedIt can't be true

The programme's wrongWhat can we do

The print-out's blockedIt relied on you

The turbine cracked upThe buildings froze upThe system choked up

What can we doPlease remember to mention me

In tapes you leave behind

ChorusWe stood still

We all stood stillStill stood still

We're standing still

The screen's shut downThere's no replyThe lifts all fallA siren cries

And the radar fadesA pilot sighs

As the countdowns stallThe read-out lies

The turbines cracked upThe buildings froze upThe system choked up

What can we doPlease remember to mention me

In tapes you leave behind

Repeat chorus

The black box failedThe codes got crossedAnd the jails decayedThe keys got lostEveryone kissed

We breathe exhaustIn the new arcadeOf the hol'ocaust

The turbine cracked upThe buildings froze upThe system choked up

What can we doPlease remember to mention meIn tapes you might leave behind

Repeat chorus twice

Words and music by B. Currie/C. Cross/W. Cann/M. UreReproduced by permission Island Music/Mood Music

9/

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Friday Night Saturday MorningAVAILABLE IN 7 AND irMARKETED BY CHRYSALIS RBCOBDS LTD.

SATURDAY NIGHT FEVER '81 STYLE . . . LIVE!

SAT. 20 JUNE COVENTRY Butts Athletic StadiumSpecial Guests Hazel O'Connor • The Bureau •Reluctant Stereotypes • The PeopleA PEACEFUL PROTEST AGAINST RACISM

SAT. 27 JUNE ROTHERHAM Herring ThorpePlaying Fields FREE CONCERT

SAT. 4 JULY LEEDS Potter Newton Park A RSpecial Guests ASWAD • THE AUPAIRS and ^Uothers CARNIVAL AGAINST RACISIM R P M

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GREATEST SPLITS

THIS WEEK we've been treatedto the almost deafening sound ofPop Groups Splitting.The first nail in the coffin is the

death of Magazine as we know it.Mastermind and vocalist HowardDevoto has quit the ranks notthree weeks prior to the releaseof the band's fourth and gleefullytitled LP, "Magic, Murder AndThe Weather".

"I felt a change for me hasbeen long overdue," Devotocomments on this untimelydecision, adding he may eithergo solo or "something moreanonymous". (He's still his oldstraight-talking self, that's for

sure.)

Strife, too, in the Skids camp.Guitarist and founding memberStuart Adamson has packed hisbags, Richard Jobson being nowthe only original Skid left. Stuartcites his living in Scotland as themain cause of "a total lack ofempathy" between himself,Jobson and bassist RussellWebb.

Stuart's pursuing a solo career,while The Skids will soldier on,more as a studio band than a liveone, enlisting additional

musicians for a follow-up to their"Absolute Game" LP in theAutumn.And finally, lead singer Pauline

Black has decided to leave theSelecter for a solo career. Theboys in the band apparently wishher well.

AFTER COUNTLESS years in thesecure embrace of MotownRecords, Diana Ross has left forpastures new. Capitol Records

have just signed what they callan "exclusive long-termrecording agreement" with her,with no new product planned as

PdcksIiWAY 'IAN DURY is back with formerBlockhead and song-writingpartner Chaz Jankel. After amuch-publicised split followingthe "Do It Yourself" LP, Jankelwent solo, his best known worksince being "Al No Corrida",recently covered by QuincyJones.The upshot is apparently a

funk/disco album, on whichthey've enlisted the talents ofJamaican sessioneers SlyDunbar and Robbie Shakespeare(who've lately backed GraceJones, among countless others).Recorded at Compass Point

Studios, Nassau, tracks includesuch unlikely titles as "SparticusArtisticus", all of which indicatea drift away from the usualBlockhead mould.No release date yet, but it

shouldn't be a long time coming.

THE SCARS, currently makingsomething of a splash in theworld of colourful pop, embarkon a short tour to promote theirrecent single "Everywhere I Go".Catch them if you can at

London Venue (June 16), LeedsWarehouse (18), SheffieldUniversity or Limit Club (20),Edinburgh Valentinos (21 ), or—anchors aweighl — TynemouthRoyal National Lifeboat Institute(July 29).

BRUCE SPRINGSTEEN seenoffering Dave Edmunds one ofhis songs backstage at Wembley.Never let a Dai go by, eh?

A GALAXY of stars (as they say)turned out to applaud The NuttyBoys on their recent Americanjaunt. Among those seen to beadding their vote were DavidBowie, Pete Townshend, JohnLydon and all of The Jam.

E.. C.&>'^

WHAT, NO Polecats Feature?Noticed did you? Apologies allround, but the boys' punishinggig schedule has caused anunavoidable delay and you'llhave to wait 'til the next Issue.Get yourself a cardboard rock 'n'roller to make the fortnight passquicker (See below!).

IT'S COMMON knowledge thatElvis Costello has always had asoft spot for country music, andso it's no surprise to hear that heis currently recording his nextalbum out in Nashville. Handlingthe production is one BillySherrill, better known at large forturning out such tear jerkers asTammy Wynette's "Stand ByYour Man". The album, whichwill probably mix new Costellosongs with country standards, isexpected in the autumn^

" 0)

EE

RAPPING'S BACK and it seems tohave taken root just abouteverywhere bar Wigan.

Initiated by funk djs who tookto talkin' in rhyme over the discsthey span, and then turned into"toasting" by reggae djs, it'snow become anyone's game.This week alone, friends, you

can choose between BarnsleyBill's new rapper's delight " 'EeeBah Gum Trouble At Mill"(something like that, anyway)which The Yorkshire Pud deliversin his refreshing local dialect.

Or else there's the "WikkaWrap" by The Evasions onGroove records. Over a bubblingfunk backbeat, aheart-warmingly boring AlanWhicker sound-alike intonessuch gems as: "You've gotta getup to get down/So really go totown I"

Or, in a slightly more subtlevein, there's an offering fromTalking Heads rhythm sectionChris Frantz and Tina Weymouth(plus help) in the guise of TheTom-Tom Club. Dubbed "WordyRappinghood", it's aimedsquarely at the more intelligentend of the market.Any more and we'll keep you

posted!

YOU GUESTOUR FATUOUS Fact Dept.brings you yet more utterlyuseless information to make lifejust that teeny bit moretolerable.

Here he is. Elvis Presley byname; cardboard by nature. Alife-size (6ft) figure of fun, to beprecise, that folds convenientlyinto a sitting position by way ofcreases at both waist and knee.The idea behind this is

ridiculously simple (and simplyridiculous). Elvis is the latest inline in a "Spare Guest" seriesthat's already brought you suchwafer-thin celebrities as TheQueen and Maggie Thatcher. Ifyou're unable to fill that lastdinner party seat, for a taxingseven quid you can invite aFamous Person and thus stunyour more impressionable palswith your enviable socialconnections.Not much good at filling those

"awkward pauses", though.

11

GET YOURPOSTERS HERE .

.

ROLL UP. Roll Up! Get yourMadness/Toyah posters overhere! Those days of waiting arefinally over. One at a time nowand no pushing at the back!

First off; have you got all theequipment you need to takeadvantage of thisonce-in-a-llfetime offer? Downbelow is the third of the tokenswe've been running In recentissues. (Don't panic if you've onlygot two— we'll be including anextra one in the next issue.) Next,you'll have to muster the paltrysum of 45p (which includespostage and packing); allcheques and P.O.s to be madepayable to Smash Hits.Send your coupons and the

payment to: Toyah/MadnessPoster Offer, Smash Hits, 14Holkham Road, Orton Southgate,Peterborough PE2 OUF, andallow 21 days for delivery. Don'tforget to state how many postersyou want— if it's two you'll need6 coupons and 90p, etc— anddon't, fer Gawd's sake, forget toinclude your name and address.All posters are in glorioustechnicolour— Toyah on oneside. Madness on the other—and they'll be arriving folded andnot rolled.Any more questions? Well get

on with it while stocks last!

'Madness Toyah!

I POSTER i

! 1 TOKEN i

12

ALL TIME TOP TENGLENN TILBROOK

1. KASENETZ-KATZ SINGINGORCHESTRAL CIRCUS: QuickJoey Small (Run Joey Run)(Buddah). First ever punk record.2. MICHAEL JACKSON: Don'tStop Til You Get Enough (Epic).The definitive dance record. Wistihe'd record one of ours.3. JIMI HENDRIX: The Wind CriesMary (Track). Understated guitar.Underrated song.4. ROBERT WYATT: Strange Fruit(Rough Trade). Bessie Smithsong in the '30s which madeseven people commit suicidewhen first played on the radio.5. MADNESS: Alt the Madnesssingles (Stiff). An incrediblesingles group.6. CUFF RICHARD: Devil Woman(EMI). Classic British popproduction by the old devilhimself7. THE MONKEES: Last Train toCtarksville (Bell). Classic USproduction-line pop.8. THE BEATLES: StrawberryFields Forever (Parlophone).Damn good backwards bit at the

'm^rid.

m. ELVIS COSTELLO: AlisoniStiff). Simply one of the bestsongs ever, written by one of thebest song-writers.10. THE UNDERTONES: It'sGoing To Happen (Ardeck). THESummer record of '81. Andprobably '82/3/4 etc.

AUGUST DARNELL sounds likeone of those mysterious namesthat invariably appear in the finalcredits of a movie or TV series.Could it be the lighting man on"Xanadu" or the secondwardrobe assistant for "Edwardand Mrs Simpson"?

Mr. D., in fact, is one of themost exciting and inventiveforces behind the new cha-chadancebeat that's currentlyflooding discos.

The story begins back in theearly '70s when Darnell wasteaching English at a High Schoolin New York. His half-brother.Stony Browder Jnr., invited himto join a new outfit called Dr.Buzzard's Original SavannahBand. He accepted and becamethe group's lyricist andbass-player.

Their music was just as exoticas their moniker— anadventurous cocktail of '40sSwing and modern dancefloorrhythms. They put out two sharpalbums and had a million sellersingle with "Cherchez LaFemme" in '76. But the morethey experimented, the moreanxious their record company,RCA, became.As Dr. Buzzard disintegrated,

Darnell launched into anassortment of offshoots likeGichy Dan's Beechwood No 9album, which fused calypso withdisco. Then he met one MichaelZilkha who together with oneMichel Esteban (a French T-shirtand badge manufacturer) wassetting up a new label called Ze.

Darnell quickly became a vitalspark in Ze both as a producerand writer/performer. Therecords poured out. Darnellwrote songs for the AuralExciters' album "Spooks InSpace", which combined nimbledisco with sci-fi settings. Heproduced and wrote numbers foCristina whose cheeky version cthe old standard "Is That AllThere Is" was banned from radioplay-

He did a 12" remix of JamesWhite's bizarre howler "ContortYourself", which later influencedbands like A Certain Ratio and 23Skidoo. He wrote and produced ahit for Machine in theeffervescent "There But For TheGrace Of God Go I".

It's an understatement to saythat Ze and Darnell liked theunusual. A handy way ofcatching up on their combinedpast and present is to get"Mutant Disco", a newcompilation that showcases notonly many of the Ze bands butalso the general feel of the labelitself.

Darnell's most importantproject so far is Kid Creole andthe Coconuts, a crazy collectiveof musicians kept under controlby Darnell and his long-standingcompadre. Sugar Coated AndyHernandez. Just to confusematters a little more, Andy hasstarted up his own sidelines. Aswell as a bit part in the film"Serpico", he has recentlyreleased the single "Me No Pop

I" under the name of CoatiMundi!This week also sees the release

of the second Kid Creole album,"Fresh Fruit In Foreign Places"and it's dynamite. Once again,Darnell vaults over thetraditional musical boundariesand liquidises an irresistiblemilkshake made from salsa,funk, soul, reggae. Broadwaymusicals and idioms from the'20s. '30s and '40s. He even nipsacross language barriers and hassnippets of his wry words inItalian and German.The effect isn't smart-alec style

for its own sake but a genuinelynew fantasy package tour wherethe hotel rooms are finishedrather than half-built andsomething different happensevery five beats.How could you resist someone

who can concoct a couplet like:"This Latin music's got me soconfused . . . The accent's worsethan Cockney!"

Ian Birch

Sugar Coated Andy Hernandez(or Coati Mundi) in revealingTarzan gear. Lead Coconutvocalist, Lori, in wide eyes anddread locks. Lori is alsoapparently a US gymnast ofsome repute.

JOE JACKSON, the man whobrought you a good threeClassics of the 45 mould, is nowabout to bring you somethingelse altogether.

Tapped, no doubt, from hisyears of piano lessons andplaying the Cabaret circuit, it's tobe "a repertoire of Jump Music,Jive Music and Swing, drawnalmost entirely from the 1940's";stuff by Cab Calloway (star of"The Blues Brothers"), LouisJordan (Doug Trendle hero) and"other Hep Cats".

For the record, Joe Jackson'sJumpin' Jive, as they're known,comprises the Jackson Bandanchorman Graham Maby onbass, and five new facessupplying drums, piano, clarinet,trumpet and saxes.Not a permanent arrangement,

this. They'll play the UK and theStates at the end of June/Julyand record something — weknow not what— before Joereturns to his own music in theautumn.

NUMAN FANS who've bought acopy of "Gary Numan ByComputer" (Omnibus) and havefound It's since disintegrated,fear not as help is at hand!As pointed out in our review of

the book (Issue May 14). thebindings of the first batch to beprinted were none too secure.This has now been rectified; thedistributors inform us thatsubsequent copies will not fallapart and have agreed to replaceany that did. If you bought yoursfrom Mail Order Music, thenreturn it to them and they'll sendyou a new one and even refundyour postage.Gary Numan himself,

incidentally, was never consultedabout the book in the first place.It appears that the wholeoperation was carried outwithout his consent.

DISCODAN'SVERB OF The Week: to "discofy".Discofication is alive, well, andshaking everything from itsbooty downwards In Canada, thehome of discofier.

Daniel Colombier it was thatfirst applied the process to thework of the great Georgia danceband. The B-52's. Unbeknown toeither band or their recordcompany. Island, Danre-produced a few of their

ENZ IN SIGHTSPLIT ENZ have forsaken theNew Zealand outback to make abrief tour of the UK. Promoting aworthy new LP 'Waiata", and thecurrent single "History NeverRepeats", they're to be ablysupported by Department S. whoalso have a new single out (onJune 19). Putting their best footforward, it's titled "Going LeftRight" recorded with split Enzproducer David Tickle.

Dept. S. are also in the throesof securing a permanent recorddeal, though just who's in therunning, they're not letting on.

MUFFIN DOINGMARTHA LADLY, one of twosuch Marthas that once frontedThe Muffins of "Echo Beach"fame, resurfaces in the guise of

The Scenery Club.She's done a fair amount of

footslogging world-wide sincethe October split which is theinspiration for their new singlefor DinDisc entitled"Finlandia"/"Tasmania".

mobile tracks replacing theirfairly sparse backing with echoeffects, beefed-up bass and loadsof tricky percussion, this merely

for the delights of the locals in ^his dance parlour. mThe B's (as they're *

affectionately known), heard tellof it, tracked him down, andwere so pleased with the resultsthey've asked him to discofysix-tracks for official Island

release.

So far "Party Out Of Bounds","Private Idaho" and "Give MeBack My Man" have been giventhe new feet treatment, all togreat effect. Wonder if The B'swish they'd done it like that inijthe first place?

FULL NAME; Marco Pirroni.DATE AND PLACE OF BIRTH:27.4.59, London.HIGH SPOT OF EDUCATION:Being singled out at college for

having green bits In my hair. (Iactually found out that theteachers had been told to ignorewhat I wore and not comment onit. I was so proud!).FIRST CRUSH: Lynsey De Paul.FIRST RECORD PURCHASED:'Grandad" — Olive Dunn.FIRST LIVE SHOW ATTENDED:Slade, Wembley Pool.PREVIOUS JOBS: None.PREVIOUS BANDS: SlouxsieAndThe Banshees, The Models.Rema Rema.MARITAL STATUS: Quite happy,thank-you (Single). (I'd like tomarry Marie Osmond).

BOWL UPMILTON KEYNES Bowl, first puton the venue map by The Policelast summer, opens its gatesagain on August 8. This time it'sThin Lizzy who'll be trying todraw the 27,000 capacity crowd,backed by three support actswho've yet to be finalised.Running from 4 in the

afternoon to 10-30 at night,

tickets are £7 (advance), £8 onthe day, and available—including a SAE— fromN.J.F./Mk.ll. PO Box 4SQ,London W1A 4SQ. Don't forgetto state how many you want andmake the required chequespayable to N.J.F./Nk. II. Andallow 28 days for delivery.

NAME OF MATE: Reg Varney.PRESENT HOME: My Mum's orthis hotel.

LOWEST POINT OF CAREER:When "Ant music" got toNumber 2 In the Charts, Adamand I had no money to buy a cupof tea.

PROUDEST ACHIEVEMENT:Eating six cream crackers in oneminute.FAVOURITE FANTASY: Being aSecret Agent and having a carwith built-in guns.HERO/HEROINE: Andy Mackay.Mick Ronson, Laurence Harvey.DESERT ISLAND DISC:"Pyjamarama" — Roxy Music.FAVOURITE BOOK: Hate reading.FAVOURITE FILM: Goldflnger".FAVOURITE TV PROGRAMME:"The Munsters" and "Little AndLarge" (when they doimpressions of us).FAVOURITE ITEM OF CLOTHING:Black and white boots (from"Sex"), blue raincoat.

FAVOURITE BREAKFAST FOOD:Crunchy bacon.PET HATE: Boredom.WHY I AM ALWAYS BORED: Cozthere Is never anything to do.TRUE CONFESSION: I like JoeDolce.

THE BIGGEST MISTAKE I EVERMADE: Bleaching my hair white.BEAUTY IN WOMAN: SheenaEaston.BEAUTY IN MAN: ClintEastwood.WORST VENUE EVER PLAYED:Middlesbrough Rock Garden.

COLOUR OF SOCKS: Must bePink!

13

\^

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THROW AWAYTHE KEY

\ By Linx on Chrysalis Records

.\4' f//M'

fk0'

Heard that you careBut I don't knowSo I don't even allow myself to think so'Cause maybe I've been let downOne too many times beforeThe things you're sayingI don't believeBy pretending things aren't realLife doesn't touch me'Cause everything I don't want to see does not exist

ChorusI'm closing my mindClosing my mindBelieving half of what you seeAnd none of what you hear is easyClosing my mindClose it and throwing away the key

Now as I lie awake in my bedI can feel the silence taking shape in my headAnd it's too late for anyone to communicateI had some good friends lost on the wayWho would listen but not hear the things that I saidSo now I go on living as if the world was dead

Repeat chorus twice

As I lie awake in my bedI can feel the silence taking shape in my headNow I go on living as if the whole world was dead

Repat chorus to fade

Words and music by Grant/MartinReproduced by permission Solid Music Ltd./RSM Music Ltd.

'^£

Morning afternoon and nightWe lay together side by sideSearching for lust, searching for breathSearching for the touch of lifeNo words are spoken, the only sound we hear isBody talk, body talk

The heat of passion is such a beautiful thingAs it overflows pleasure growsAll the dreams it can bringYour lips and your eyes and gentle sighs withBody talk, body talk

Cool and calm so soft and pureA touching momentHidden feelings once exploredBut have meltedWe were two souls torn apartWith bitter edgesTrue expression not aggressionWe have become oneBody talk, body talk

Cool and calm so soft and pureA touching momentHidden feelings once exploredBut have meltedOh, we are two souls torn apartWith bitter edgesNew expression not aggressionWe have become oneSearching for lust, searching for breathSearching for the touch of lifeNo words are spoken, the only sound we hear isBody talk, body talk

Repeat to fade

Words and music by JolleY/Swain/John/lngramReproduced by permission Red Bus Music Ltd.

^2!HcJ.ilS4Sc>Jfe:alX&-

15

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16

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buy it. My reaM^5 "*/'*»'« toand although ^°«'\the h'ueswrote about soc^?'l'''".asn'enthey also wrote inn^^^nswomen in „V°"9s aboutways. • •

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hutWotttVe7y5:S'^*---are tongue in cheek" "* S'"^'"

,?Sf/L';Sr;''^ps, thetheir follow." sTn^^" '^a'n'xingBreak My Heart a *"' to "Don't,fr«"n "Come An' r^^/?" " trackWould I Lie To Vn"'o '=«"«""•ythatth;underivin„^"'«'=«to'•nt.mentofth'eXg"?s...er,

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17

mmwmPRCI=l=SSIONAU

^ THE NEW SINGLE18

NOBODYWINSBY ELTON JOHNON ROCKET RECORDSThey must have toved each other onceBut that was many years agoAnd by the time I came alongThings were already going wrongI felt the pain in their pretenceThe side they tried hard not to showBut through the simple eyes of youthIt wasn't hard to see the truth

ChorusAnd in the end nobody winsWhen love begins to fall apartAnd it's the innocent who payWhen broken dreams get in the wayThe game begins,the game nobody wins

They must have teved each other onceBefore the magic slipped awayAnd as their life became a lieWhat love remained began to dieI used to hide beneath the sheetsI prayed that time would find a wayButwKh the passing of the yearsI watched as laughter turned to tears

Bapimtchorus

We used to love each other onceWith all the passion we possessedBut people change as time goes bySome feelings grow while others dieBut ifwe learn from whatwe seeAnd face the truth while we still canThen though the passion may be goneSome kind of love can still live on

MepaaUiaehofas andad lib to fade

Words andjnusic by Dreau/OsbomeReproducfdbypermission Martin Coulter Music Ltd

George HarrisonAll Those Years Ago

ON DARK HORSE RECORDS

I'm shouting all about love

While they treated you like a dogAnd you were the one who had made it so clear

All those years ago

I'm talking all about how to giveThey don't act with much honesty

But you point the way to the truth when you sayAll you need is love

Living with good and badI always looked up to youNow we're left cold and sad

By someone the devil's best friendSomeone who offended all

We're Hving in a bad dreamThey've forgotten all about mankind

And you were the one they backed up to the wallAll those years ago

You were the one who imagined it allAll those years ago

All those years agoAll those years ago

Deep in the darkest nightI send out a prayer to youNow in the world of light

Where the spirit free of the liesAnd all else that we despised

They've forgotten all about GodHe's the only reason we exist

Yet you were the one that they said was so weird

All those years agoYou said it all though not many had ears

All those years ago

You had control of our smiles and our tearsAll those years ago

All those years ago

All those years ago

All those years ago

Words and music by George HarrisonReproduced by permission Ganga Music Publishing B. V. 1981

i '.J.-'-.r SS'

ON TOURJUNE .

w«»ir

« RETFORD Porterhouse ,, ^

9 DUBLINMagnet Bar

20 DUBLINMagnetBar

19

WIN A SPECIALS S0N6B00K

F»»«JUST WHEN we thought we'dcome up with a truly spiffingwheeze in the shape of our lastissue, what should drop onto thedesk but a copy of "SpecialIllustrated ", a similarly reversible

book of Specials songwords.Great minds, eh?Anyway, this excellent volume

features words (and guitarchords) for most of the band'soutput to date, each compositionillustrated in savage buthumorous style by a Specials fancalled Nick Davies.

All in all a fine piece of work, asyou'll be able to see foryourselves if you can win one ofthe twenty five copies we'regiving away in this competition.And, to add that extrasomething. The Specialsthemselves will be autographirtgeach edition!

All you need is a littleknowledge of The Specials'

INCLUDES

NITE KLUB

(DAWNING OF A)

NEW ERA

CDNCRETE JUNGLE

STUPID MARRIAGE

TOO MUCH TOOYOUNG

GANGSTERS

RAT RACE

RUDE BOYS OUTTA

JAIL

MAN AT C&A

HEY LITTLE RICH

GIRL

DO NOTHING

STEREOTYPES

INTERNATIONALJETSn

distinguished catalogue, enoughto tell us exactly which of theirsongs begin with the followinglines.

a) "Is this the in place to be . . ."

b) "You're working at yourleisure . . ."

c) "I'm going out tonight, I don'tknow if I'll be alright . . ."d) "Snow is falling allaround . . ."

Dot the relevant titles down ona postcard and send them (withyour name and address) toSmash Hits SpecialsCompetition, 14 Holkham Road,Orton Southgate, PeterboroughPE2 0UF.The first 25 correct entries to

leap out of the bag on June 25thwill each win an autographedcopy of "Specials Illustrated".Now quit dreaming and get onthe beam!

.>/W»T»a3L7.-*

^..•.-

(Sf^

I ^/

LEVEL 42, the unassuming groupwho slipped into the chart with"Love Games", are probably thefirst group to come along who

Originally contracted to EliteRecords they made an albumwhich was never released beforesigning up with Polydor. "LoveGames" was their third single forthe label. "We were reallythrown in at the deep end," saysLindup. "But the live experiencehas been good for us. The clubshave an atmosphere that'salmost like a holiday camp. I

,think the funk scene is one of thehealthiest things going."The group got their name from

the number 42, which isreckoned to be the answer to themeaning of life in the radioseries, "Hitchhikers Guide To TheGalaxy". Their first produceradded the "Level" for noparticular reason.

As three of the four arequalified drummers I wondered ifthey intended bringing a doubledrum sound to their upcoming

owe something to both Kool AndThe Gang and "The HitchhikersGuide To The Galaxy"!Coming from the Isle of Wight

and consisting of Phil and BoonGould, Mark King and MikeLindup, they have their rootsfirmly in jazz, naming Miles Davisand Herbie Hancock as earlyinspirations.

Lindup explains that as thefour musicians have been playingin various combinations for eightyears now, they can hardly beaccused of jumping on any funkbandwagon, although they haverelied on the club scene forall-important exposure.

album. "We did some doubledrumming on earlier stuff. Butthe media Is only just becomingaware of that. The Burundi soundhas been around for a long time.It's just that Adam wrapped it upwith Gary Glitter and made theformula trendy. So I'm not sure ifwe'll use it again."

Fans should be able to find outthe answer soon v^^hen their firstalbum is completed. Meanwhilethey're on the road, both assupport for Heatwave and intheir own right. A sizzling time isguaranteed for all.

Robin Katz

BACKGOlNGJia'y

„,a ajoW°''

^roro-Ao-"'"

Go'"9bf*2o

Get theircharttopping album

i INfiRDELITYfeaturing thesmash hit single'KeepOn Loving\bu'...and geta FreeT.Shirt!

Available on

cassette

EPC 40-84700

A free T. Shirtwith the first ten albums or cassettes^purchased thisweek from the following dealers.BRADY'S

Market Square, Presfon

CALLERS LTD.Northumberland Street,

Newcostle uponTyne

DAWSONSSankey Street, Warrington

DISCOVERY69 Regent Street, Leomingfon Spo

DISCOUNT RECORDSGeorge Stree), Altrinchom

GOLDEN DISC4/5-177 Soufhchurch Road, Southend

l&NRECORDSCrighton Street, Dundee

JUMBOMerrion Centre, Leeds

LISTENRentieid Street, Glasgow

LONG PLAYER RECORDSof Canterbury and branches

REO SPEEDWAGON"HIGH INFIDELITY"EPC 84700

other albums also available "You Can Tune A Piano, But You Cant Tuna Fish; & "A Decade Of Rock & Roll 1970-1980" (Double Album),

22

11 O'CLOCK TICK TOCK

23

SMASH HITS

ft ^

^1

ON SALE JUNE 20

The monthly magazine thatpremiered with an outrageoussell-out will continue to cap-ture the style that counts.

A giant fold-out portraitposter of Bowie that unfoldsthe many faces of the man,with a B-side of Linx — sharpfunk proving that (new) styleknows no limitations.

Broadway meets London asSpandau Ballet taste the highlife/nightlife, and Kid Creoletalks a tasty tale of new NewYork.

A hair piece that's simplybouncing with beauty (hip hiptoup6) and the latest look withYa Ya clothes.New Sounds, New Styles —

the premise and the promise; afull colour companion to livingyoung that looks as good as itsounds.

It hits the streets on June 20,cost 65p. Order your copy now.

k\l

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m^ ^^^^H 1,^^^H^-^'M^^ ^^^^^ks'^-1

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mmZIIKHA OF ZE THE EEEIING OE fUNK

ON YER BIKEGive! Give! Give! Tliat's the waywe greet tlie recession downhere at Britain's most carefreemusic magazine.You've had free albums.

You've had free cassetterecorders. You've even had videomachines. So it was inevitablewe'd get round to giving you ameans of transport, to wit abrand spanking new YamahaRD50 MX motorbike. There it isin the picture. We obviouslydon't have to tell you that it has asingle cylinder two-stroke 49ccengine with both drum and discbrakes or that it boastsDe-Carbon IVIonocrosssuspension. You know all thatalready.

What you may not realise isthat you don't have to be asixteen stone rugby player tohandle this particular piece ofmerchandise. This is alightweight, manageablemachine suitable for anyone 16or over. (If you're not yet oldenough to qualify for a licence,you can always garage it untilyou celebrate your sixteenthbirthday.) Instead of the £459 listprice, all this particular bike willcost you is five minutes with asharpened pencil.And— as if that wasn't enough

— the 25 runners up will findtheir record collections graced bythe addition of an autographed12" copy of "Up All Night", a rareBoomtown Rats track whichhasn't yet seen the light of day inthis country.

And— intake of breath— ifyou don't make it into the top 26you may yet find yourself one ofthe 100 further folks with a BarrySheene flexi-disc winging its wayto their door.

Convinced? Well, here's whatyou do. Cunningly concealed inthe Star Teaser are the names often very well-known singers.{Singers, please note.) Theycould run horizontally, vertically,diagonally or even backwards.They all run in an uninterruptedstraight line with all the letters inthe right order. Some letters are

Vroom vroom.A Yamaha RD50 MXawaits the winner.

Boom boom. Autographed Rats vinyl for the runners-up.

used more than once; some notat all.

THE ONLY CATCH IS THATONE OF THE NAMES IS USEDTWICE I Pick out the ten names —some are full names, some justsurnames or stage names— andwrite them in the couponprovided, starting with thesinger whose name was usedtwice. Then complete thesentence below using no morethan 20 words and mail thecoupon off to Smash HitsYamaha Competition, 14Holkham Road, Orton Southgate,Peterborough PE2 OUF, to arriveno later than June 25th.

All the information's there. Allyou have to do is sniff it out. Nowget with it . . .

D X G B V E T S LD Y L N

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Name:

Address:

27

ANGELIC UPSTARTS: IUnderstand (EMI). Bit differentthis one. I mean, a NewcastleBrown-flavoured rap about animprisoned Rasta, set against adub-like backing. Not the sort ofstuff to set the discos alight is it?Did I hear somebody say "Thankgoodness for that"? Mysentiments exactly. CheersMensI, for once you got It right.

BRAMTCHKAIKOVSKY:Breaking Down The Walls OfHeartache (Arista). And using anArmoured Division to do it,judging by the sound of things.Still, the original Tchkaikovskyused the sound of cannons on his'181 2' so I guess such things runin the family. Now will someonereissued the original hit versionby Bandwagon and give us all atreat?

KIRSTY MacCOLL: There's A GuyWorks Down The Chip ShopSwears He's Elvis (Polydor). Justan average sample of rocked-upcountry music from the daughterof famous folkie Ewan MacColl.But isn't the title wonderful?

PROI=l=S5ICNAI^

PROFESSIONALS: Join TheProfessionals (Virgin). Perhapswe should have realised earlierthat Cook and Jones only joinedthe Pistols because they couldn'tget into Blade. And now they>e28

making up lost time (or should Isay playing extra time?) with afootball chant of a song whichwill doubtless be used as somekind of Professional anthem atthe end of gigs. I guess NoddyHolder would have sung it betterbut then, he doesn't spell half aswell!

THE SPECIALS: Ghost Town (2Tone). A tune full of Easternpromise about towns that aregoing west, due to the currentrate of unemployment. But youdon't have to live in Corby orTelford to appreciate JerryDammers' increasing brillianceor Rico's flair for jazz licks of theritzy kind on this ace 12-incher,which also include LynvalGolding's emotive "Why?" andTerry Hall's humourouslydescriptive "Friday Night,Saturday Morning".

CLIMAX BLUES BAND: I LoveYou (Warner Bros). "When I wasa younger man, I hadn't acare/Foolin' around, hittin'thetown, growin' my hair." Suchopening lines are enough tostrike terror in the hearts ofmusic-lovers from any neck ofthe woods. Suffice to say thatthings just get worse after thatand the whole thing ultimatelydrips like old fashioned runnypaint put on two inches thick.Blues band— what blues band?TYMON DOGG: Lose This Skin(Ghost Dance). Actually a singlefrom The Clash's 'Sandinista'album— check track one on sidefive if you don't believe me—'Lose This Skin' features the33rpm-played-at-45rpm-voice ofDogg rendering his simplisticlyrics over a hotdog hoedown offiddles, presumably multidubbedby Dogg himself. In an age whenso many are safely jumping onband-wagons and followingfamiliar paths, Tymon'sindividual way of things comesas a refreshing change andproves that folk-rock is still aliveand well and living in theDogg-pound.

THE GRASSHOPPERS:Teardrops Fall Like Rain(Polydor). A lack-lustre attempt tomake a Buddy Holly styled hit,using a song fashioned byone-time Crickets Jerry Allisonand Glen Hardin. But Buddy Hollydied in 1959. This record diedabout 20 seconds after beingplaced on the turntable.

BUCKS FIZZ: Piece Of The Action(RCA). More ultra-gooey butultimately chart-boundbubblegum from the latestsuccessors to Abba, BrotherhoodOf Man and the rest of the songcontest wind-up dolls. All right,they were good enough to beatthe rest of Europe. But then, sowere Liverpool F.C. and they didit in real style.

THE PEOPLE: Musical Man(Race). A loping reggae tribute toRico by the band CharlieAnderson and Desmond Brownput together following theirdeparture from the Selecter. It'san attractive enough proposition,with Desmond sprayingkeyboards into every crevice andleaving no conceivable gaps. Butwill The People succeed wheresuch fine outfits as Aswad,Matumbi and Misty have failed?

JUDIE TZUKE: I Never KnowWhere My Heart Is (Rocket). HeyJude, this one Is sad/You've sunga wet song and made it wetter/Sothis time we'll pardon you andjust part/Hoping you'll start/Todo things better.

TOOTS AND THE MAYTALS:Papa Dee Mama Dear (Island).Good natured high-jinking fromthe man whose live at

:Hammersmith album proved tobe one of last year's mostrewarding reggae offerings. Thiscurrent single, reminiscent ofLennon and McCartney's'Ob-La-Di Ob-La-Da', probablywon't provide Toots with his firstUK hit. But at least it serves toshow he's back in town.

10 CC: Les Nouveaux Riches(Mercury). Well-produced,immaculately performed music-to-sell-specially-blended-coffee-by. I remember when 10CC made some of the freshestpop records heard on theairwaves. But that was a verylong time ago.

THE STEP: Chain Gang (Epic):Quick, Cholmondeley, hand outthe medals! For The Step havebravely elected to remake SamCook's soulful classic and thusinvite comparisons with anall-time great. Amazingly theycome out of the ordealunscathed, so it's at least a VC forthe lead singer and a batch ofCBS orders of merit for his fellowheroes. It makes a chap damnedproud to be British, what!

singlesby Fred Dellar

THE FLYING LIZARDS: LoversAnd Other Strangers (Virgin). Tinwhistle riffs, cutesy Patti Palladinnursery rhymes, wayward winds,a steel-drum interlude and adirector who introduces thewhole schemozzle as 'Mens Club— take one'. Yep, it's just anotherDavid Cunningham-designedjigsaw— though some mightrightly claim that this one hasseveral pieces missing.

SAD LOVERS AND GIANTS:Imagination (Last Movement).Cross-pollination at work as thevariety Police Populartus mergeswith the species NumanSyntheticus to produce abloomer of good shape thoughone that lacks something in theway of real colour. Grownalongside the RickmansworthAcquadrome, or so I understand.

WASTED YOUTH: Rebecca'sRoom (Bridge House). A ghoststory, no less, and one thatPolydor apparently wanted tomarket as a futurist offering tillthe band hit that notion on thenoddle. But sincerly, folks, it's thekind of item that wouldn't soundout of place on a Spandau Balletalbum. Or the charts, come tothink of it.

THE METEORS: Radioactive Kid(Chiswick). High gradepunkabilly, raw, rocking andpunctuated by Hammer horrorscreams. Dare I say even betterthan the Cramps? There, I've saidit I

JOE ELY: Dallas (MCA). A greatsong with a memorable openingline— "Didja ever see Dallasfrom a DC9 at night?"—performed in a manner that issheer Texan magic. Not that thedisc stands a snowball in hell'schance of charting. But if there'sone thing that ol' Hepworth and Iagree on, it's the quality of Ely'smusic. I thought you'd like toknow that.

PSYCHEDELIC FURS: Pretty InPink (CBS). Not the most potentcut from the band's "Talk TalkTalk" album, but probably onethat's melodic enough to bring alittle trade into the furriers. Moreinteresting is the flip on whichRhett Butler growls the lyrics ofthe 53 year-old "Mack The Knife"without apparently touchingupon any of Kurt Weill's originalmelody. But, strangely enough,Butler's menacing interpretationmakes more sense than BobbyDarin's hip 1959 chart dominator.

SECOND IMAGE: (Get YourFinger Out) Pinpoint The Feeling(Polydor). Cool-breeze harmonyvocals, a brass-section that clipsthe edges, street-whistles and aguitarist that seemingly clucksalong. Yes, it's your everynight,well-made, down-at-the-discofootwarmer, harmless and evenenjoyable. But could you point itout in a line-up of six? Somehow,I doubt it.

SIOUXSIE AND THE BANSHEES:Spellbound (Polydor). A winnerdespite Siouxsie's arch vocals,now all part of the rent-an-actressscene foisted on an gulliblepublic, brain-numbed by TVcommercials and memories of"Rock Follies". Compensationcomes in the form of anenthralling 12-string gallop thatencompasses high hurdles andwater-jumps, keeping listenerson the edge of their shootingsticks till the post is reached.Sorta spellbound, in fact!

TYGERS OF PAN TANG: Don'tStop By (MCA). Here's a goodsign — a heavy metal mob usingdynamics instead of just keepingthe db's high. The lead vocalcomes strong and sinewy too butthe material is just run of the ironfoundry and lacking in character.Someone should put a sign in thewindow stating 'Outside helprequired on songwriting'. Whoknows? Maybe even Russ Ballardcould turn up.

GRAHAM BONNET: Liar(Vertigo). Speak of the devil and... So here's the aforementionedBallard R. providing a song forGraham Bonnet, who's been inthe business long enough toknow a winner when he hears it.Mind you, he heard this one along time ago; in 1968, in fact,when Three Dog Night took it upthe U.S. charts.

ELTON JOHN: The Fox (Rocket).Elton's undiscerning Americanaudience seems to gobble up hisendless releases like so manytranquilisers. This one fits thesame old pattern with lyricssharedjjetweentheall-too-obvious themes of GaryOsbourne and the wordyphilosophies of his age-oldpartner Bernie Taupin. There'salso a drawnout sentimentalinstrumental, elegantly producedand utterly forgettable. Just likethe early '70s ... (5 out of 10).

Robin Katz.

ECHO AND THE BUNNYMEN:Heaven Up Here (Korova).Forsaking the usual notions oftune and Immediacy, theBunnymen take " atmosphere"as their main text. The songs arecascading tides of sombrerhythm floating a strained guitarand Ian McCulloch's plaintive,passionate voice. Likewise, thelyrics describe richly colourfulimages (some nicked from '60s '

songs; others from Vorkie Barads.), as intense as they areimpossible to fathom. It's a boldadvance from the "Crocodiles"debut in every way and — asthey're not a "singles" band —an essential purchase. (9 out of10).

Mark Ellen

DOLL BY DOLL: Doll By Doll(Magnet). Unfairly dismissed ontheir past two LPs as beingold-fashioned, Doll By Doll playto their strengths — broodingpower, romantic themes,glorious melodies — and headfor pastures new. With JackieLeven's liquid falsetto broughtsensibly to the fore, they cast aclassic mould of traditional rockmingled with Carribean, Spanishand early folk music. A lightersound and, mercifully, a lightermood. Try it, you may well like it.(8 out 10).

Mark Ellen.

JEAN-MICHEL JARRE: MagneticFields (Polydor). Monsieur Jarrecould have easily pumped outanother breath of fresh"Oxygene" but this musicalworld-tour proves moreenergetic than either of itsmega-selling predecessors. It is,arguably, wallpaper music, buthis creative inclusion of Latin andAfrican rhythms, and theintrusion of The Real World —through liberal sprinklings ofsuch sound effects as laughter,trains and stereosonic jets—moves it all up a notch. (7 out of'-).

Johnny Black.

UB40: Present Arms (DEPInternational). UB40's genuinelove of reggae/dub, plus theirmeaningful lyrics, combine tomake this a very successfulventure. Their stylish melodiesand arrangements join togetherto produce a very classy overallsound. They could try taking aleaf out of The Beat's book,though, by occasionallyattempting something a littlemore uptempo which mightsound as if it was enjoying itself.The album comes complete witha free 12" which makes it an evenmore worthwhile investment.(7'/2 0Utof 10).

Beverly Hillier.

KEN LOCKIE: The Impossible(Virgin). In which the formerCowboys International mainmandoes lots of vital, modern andgenerally striking things with thearrangements and individualinstruments, but the songsthemselves are on the whole notvery interesting and Ken himselfis no great shakes as a vocalist.All of which is emphasised by thepresence of one really great song— "The Puppet" — which has allthe passion, flow and melody theothers lack and would make agreat No. 1 for Bryan Ferry.Otherwise there's little here thatother people don't do better. (6out of 10).

Red Starr.

PHIL SEYMOUR: Phil Seymour(Boardwalk). Hunky Phil madehis first impact with the DwightTwilley Band, but thiswell-crafted album probablywon't make him a householdname. Despite its succulentlymelting guitar, strident piano and

multiple fuzz bass tracks,"

craftmanship and a pretty facesimply aren't enough when youralbum has only about foursubstantial songs. Even thoseplough furrows we tend to leaveunsown in this part of the world.It might sell a million in his nativeAmerica but, unless we have aheatwave, it won't meanjelly-beans over here. (4 out of10).

Johnny Black.

5S^'

BLACK UHURU: Red (Island).Whipped along by the muscularrhythm partnership of Sly Dunbarand Robbie Shakespeare (whoalso took care of production), theBlack Uhuru trio respond withsome of the most spritely and ^^lean reggae rockers in a goodwhile. Leaned againstguitar/bass figures soelementary that only anear-genius could play them,their lusty, youthful vocals evenmanage to survive the inevitabledescent into Rastaspeak,investing their simple, insistentsongs with much punch andmaximum snap. Pin down a copyand dance with it. (7% out of 10).

David Hepworth.

EDDY GRANT: Can't Get Enough(Ice). Like Marvin Gaye, Eddy' ,Grant is obviously no slouchwhen the party-clock reachesmidnight. It's time to stopchanging singles apd'get down tosome serious dancing. Chocfullof unmistakable romanticyearning, he's fused together asteamy collection of ninepulsating reggae, funk and discotracks. A hot, tasty album worththrowing a party for. Includes '"Do You Feel My Love" and"Can't Get Enough Of You". (9out of 10).

Robin Katz.

ACROSS>pA devil of a tabel for 1 downy9 A Chas & Dave-type song,

though it's actually by thegroup of the same name (5,3)

X^ockabilly quartetM^ & 28 Odd bird in XTCJt\/linb»ppy sort of eating placel^ TV comedy series that starred

A.-eonard Rossiter (6,4)yfSi 22 Does he cook a hot

oi«»l for Ultravoxl?jWpBee 27 down'Jff Real surname of both Cliff

JMchard and Gary Numan^ LoneDJ?ZClegendary rock 'n' roll singer^JMho died in a plane crash (5,5)/rf There's someone famous in

Costa Rica?l,13 Apparently her name's Ena! IJS;;;]nstrumentJSyjt was a hit for Flying Lizardsi»,See10>r23 across was a punk rocker

in this group's 1978 hit (3,7)

DOWN^/f^^tetfperms Ant (anag. 10,1)^;MBrother of Stewart, manager

• of Police (5,8)^§he stars on Stiff>&rSee24^ Leeds new wave band whose

cuirent album is "Solid Gold"

J4,2,4)JjTSIade singer>8 Famous David Bowie oldie

that's been a hit at least twicesince release (5,6)

;f3 Marty's girl (3,5)J«;iritled (!) Stranglers hit^;i« Last in the charts with a John

.Lsnnon song (5,5),22>ee14SMTSi 5 TV series starring i4enry^ Winkler^,^Name given to a 'rough'

record ortape& IS i.e. folded milk (anag.4,8)

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ANSWERS ON PAGE 42

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THE CENTRE OF SOUNDS

ONE DAY IN YOUR LIFEJBy Michael Jacksonon Tamla Motown RecordsOne day in your lifeYou'll remember a placeSomeone touching your faceYou'll come back and you'll look around you

One day in your lifeYou'll remember the love you found here

LYou'll remember me somehowf Though you don't need me now

I will stay in your heartAnd when things fall apartYou'll remember one day

One day in your lifeWhen you find that you're always waitingFor the love we used to shareJust call my nameAnd I'll be there

You'll remember me somehowThough you don't need me nowI will stay in your heartAnd when things fall apartYou'll remember one day

One day in your lifeWhen you find that you're always lonelyFor the love we used to shareJust call my nameAnd I'll be there

Words and music by S. Brown lll/R. ArmandReproduced by permission Jobete Music Ltd.

MORE THAN IN LOVEBy Kate Bobbins and Beyond

on RCA Records

More than you could knowMore than I can show

Thoughts deep down inside of meIt's hard to show how much I feel for you and me

More than in loveYou're a part of me

And the feeling's so muchMore than in love

And it's hard to seeHow anyone could say with pride

Never loved or triedWe've a different meaning in the words

I love you, I love you

More each passing dayMore than I can say

AH my feelings say it's rightRemember how I thought I'd lost you on that night

More than in loveYou're a part of me

And the feeling's so muchMore than in love

And it's hard to seeHow anyone could say with pride

Never loved or triedWe've a different meaning in the words

I love you, I love you

More than in loveYou're a part of me

And the feeling's so muchMore than in love

And it's hard to seeHow anyone could say with pride

Never loved or triedWe've a different meaning in the words

i love you, I love you

More than in loveSo much more than in love

More than in loveMore than in love

So much more than in love (more than in love)More than in love

Feeling so much more than in love

Words and music by Leng/MayReproduced by permission ATV Music Ltd.

«!». «

NEW SINGLENever GonnaCryAgain

7"andl2''versions

both available in special bags

Produced byEurythmicsand Conny Plank

Eurythmics are Annie Lennoxi. ;.&: and Dave Stewart

By Ian Birch

THE REVOLUTION rage returns this weekwith a vengeance. Everyone's on asoapbox, pointing a finger at Injustice andbennoaning the decline and fall of WesternCivilisation.

While their intentions might behonourable, their records can behorrifying. Rock and politics have neverstruck up a comfortable relationship.Invariably, the "message" is either barkedout with the kind of dogmatic passion thatjust puts people off or is set to the kind of

limp music that is as predictable as a TVparty political broadcast.

Not even the grandpappy of protest.

The

independent singles top 30TWO

THIS OTEKSWEt« AC Tmi/»imsT UBEl

1 10 TOO DRUNK Ond Klnntdys Cherry Red

2 1 DONT SLOW DOWN/DONT LET IT PASS VOU BV Ue40 Graduate

3 2 IWMiTTOBEHIEEToyih Safari

4 22 THE aESUmECnON EP Vico Squad Revolver

f 6 GO rOB GOLD Girls At Our Basil Heppy Birthday

6 4 PAPA'S GOT A BRAND NEW PIG BAG Pig Bag y7 _ NEWUftDa|>8GheMade Mutei 5 WHrOisdiarga Clay

9 3 SLATES (EPI Fan Rough Trade

n 20 CHARM . AND rn AGAIN Positwe Noisa Static11 - WIKHA WRAP Evasions Groove Production12 _ TEDOrBEARRadSovina Starday13 13 NAGASAKI NIGHTMARE Crass Cress

1< 16 FOUR SORE POINTS (EPI Ami Past Rondelet

15 14 DOGSOFWABExploitad Secret

1i _ OUR SWIMMBI Wire Rough Trade17 11 REBEL WITHOUT A BRAIN Thaaire 01 Hala Burning Roma

11 24 LET THEM FREE (EPI AntiPasli Rondolat

19 3 CANOVSKIN Fire Engines Pop: Aural

20 J SING ME A SONG Marc Balan Rarn

21 2i CEREMONT New Order Factory

22 27 FOUR FROM TOVAH lAPI Toyah Safari

23 19 ORIGINAL SIN Thealre Of Hate SS

24 IB ALLSTSTEMS GO' Poison Girls Crass

2S 12 CHANCE MEETING Josef K Postcard

2t _ LOVE WILL TEAR US APART Joy Division FactoryV 26 REBECCA'S BOOM Wasted Youth Bridge House/Fresh28 21 CARTBOUBLf Adam & The Ants Dolt

29 _ rOUAu Pairs 02131 - ZEBOX Adam SiTlie Ants Oolt

independent albums top 10THIS WEEKSWEEK AGO TITtE/AimST UBE

_ PRESENTARMS UB40 DEP Intettiationol_ ANTHEM Toyah Saleri

1 PLAVING WITH A DIFFERENT SEX Au Peirs Human

2 PUNKS NOT DEAD Exploited Secret

_ HEART OF DARKNESS Positive Noise Static4 HE WHO DARES WINS Tlieetre Of Hete SSSSS

3 TO EACH. ..A Certain Retio Factory

_ FRESH FRUIT FOR ROTTING VEGETABLES Dead Kennedys Cherry Red6 DIRK WEARS WHITE SOX Adam & The Ants Oolt

10 8 SIGNING OFF U840 Graduate

'L ^" ") Lesley, Pau.SRI

Bob Dylan, found a satisfactory solutionand the reason is that the two areas arelike oil and water. They simply don't mix.But that doesn't stop people tackling themonster . .

.

The Au Pairs have taken the politics ofsex as the subject matter for their first LP,called Appropriately, "Playing With ADifferent Sex". With the exception of"Armagh" which delves into thedistressing situation in Northern Ireland,every song tells a different story of howmen and women hurt and deceive eachother in their private lives.They also look at the pressures of trying

to be "modern" and "liberated". Oftenthese fancy terms are nothing more thansmokescreens for selfishness andhypocrisy. It's deliberately hard-hitting

stuff because the Au Pairs want toconfront their audience and arouse aresponse.They literally wear their beliefs on their

sleeve which has a stirring picture of two(Mongolian?) women freedom fighterszipping across a field with bayonets to thefore. And that's not all. Inside are a coupleof giveaway transfers showing the samedetermined faces which you can iron onyour sleeve.Sometimes the words work and

sometimes they sound like a fevered rant.The songs, generally powered by a wirybassline, hit a groove and then bob in andout of it. But it isn't enough. They needmore definition and colour which theproduction, despite being admirablysharp and spacious, doesn't supply.{Contact: SAE to 2 King's Road,Hazelmere, Surrey).The Au Pairs are kindergarten material

compared to "Kangaroo?" (Rough Trade)by no less than The Red Crayola with Art& Language.RCWA&L is made up of Rough Trade

diehards— like Epic Soundtracks (one ofSwell Maps), synthesiser wizard AllenRavenstine (of Pere Ubu), Lora Logic(Essential Logic) and Mayo Thompson(who /sthe Red Crayola).With such toe-tapping titles as "Born To

Win (Transactional Analysis with GestaltExperiment)" and "A Portrait Of V. I. LeninIn The Style Of Jackson Pollock", you canimagine the politics here come straightout of those ridiculous seminars held inthe TV series of "The History Man".

It's egghead obscurity gone mad,

although the production tries to make theexperiments as accessible as possible andMayo tries to inject some humour. Butwhat's the point? Who but like-mindedpeople are going to buy the LP, let alonelisten to it and even enjoy it? (Contact:SAE to Rough Trade, 137 BlenheimCrescent, London W1 1).Kevin Armstrong used to lead the South

London band. Local Heroes. Before theybroke up, they recorded some of theirbetter known stage numbers. These havebeen collected and under the banner of"New Opium" make up one side of a newdouble-header from Oval. On the other isKevin's strictly solo work which he's called"How The West Was Won".There's not a lot of difference between

the two slices which must only go to showhow important Armstrong was for LocalHeroes. The result is a little like JoeJackson at Speaker's Corner: the rhythmshave a marked reggae dip while the wordsrail against the politics of big business and"the age of oppression". The problem,however, is that the songs rarely hangtogether and when they do, as in the caseof "Love Is Essential", they never lift off.(Contact: SAE to 156 Kennington ParkRoad, London SET 1).The brain behind The Passage is Dick

Witts, who could easily become an '80shero for those who like a mixture of theserious and the interstellar. The fact thattheir album title "For All And None" (ADisc By Day And Night) was lifted from"The Aesthetic Dimension" (aheavyweight tome by a heavyweightphilosopher, Herbert Marcuse) says agreat deal.

Their lyrics aren't so much politicaltracts as arty parables. Life becomes onebig orchard in "The Great Refusal" wherewe're told: "So most of us will pick thefruit/and some of us will wash thefruit/and most of them will eat thefruit/and some of us will raise morefruit . . ." What can you say?

In fact, the Passage sound like an unholyalliance of early Pink Floyd (the spookyeffectsand the willowy drums) and lOcc(the fragmented structures and thecleanliness of the production). With achemistry like that, don't be surprised ofthey're filling astrodomes in five yearstime. (Contact: SAE to 203 RusholmeGardens, Manchester M14 5LS).Next week, something lighter.

33

WE'D BEEN talking, Chris Difford.Glenn Tilbrook and I, for morethan a hour when the subject ofmanagers came around for whatseemed like the tenth time. Chrishad earlier described Squeeze as"unmanageable" and jokedabout finding a new businessbrain by putting a card in thewindow of The Brook StreetBureau. In an attempt to pin himdown on the subject I wonderaloud whether there are anyparticular personality conflictswithin the band.Glenn was the first to answer:

"I don't think we find it difficultto agree . . ."

"Yes we do!" cuts in Chriswithout missing a beat. Then heSlips his songwriting partner oneof those sidelong glances thatannounces the imminent arrivalof a burst of gurgling laughter.And, sure enough, here it comes,making the long trip from theankle region and finallymanifesting itself in the form of aprolonged and infectious guffaw.Amid much thigh slapping, theinterview giggles to aconclusion.

THE LAUGHTER, although itcomes only in short burstsbetween prolonged periods ofreflection, does these boyscredit. As the year 1 980 pulledaway from the jetty. Squeezewere only too pleased to wave itgoodbye. It was a year whenthey said goodbye not only topianist Jools Holland and theirmanager Miles Copeland, butalso it seemed to their previouslyunerring instinct for writing hits.Enter, in the nick of time, ElvisCostello, a long-time admirer ofDifford and Tilbrook's quietlyinspired work. It's Costello'sname (along with redoubtableengineer Roger Bechirian) whichclaims the production credit onthe band's fourth (and best?)album, "East Side Story". WithCostello's patronage and themanagerial guiding hand of theextremely imaginative JakeRiviera it seemed only a monthago that Squeeze were about toshake off their rather anonymousimage and claim the rewardsthat their steady creativity andwit has long entitled them to.However, even that business

arrangement has beenterminated ("by mutualdisagreement," as Glenn puts it)and Squeeze are back in themarket for a manager. It's notthat they're either idiots or primadonnas; merely that previousexperiences have bred a healthyscepticism. "We feel that we'vehad our fingers burnt withmanagement," explains Glenn,"and we're very reluctant tomake another commitment to amanager unless we feel 100 percent positive in every way. Ipersonally find the idea ofentering into a contract veryscary unless I know what's goingon."Consequently Squeeze are

content to watch the wheels goround for a while, happy in the

34

No fancy packaging or fast-fading colours. Just purepop power that lasts through a thousand spins.

David Hepworth cops a pacicetfrom Chris Difford andGlenn Tilbrook.

knowledge that "East SideStory" is a considerable piece ofwork which for the first timebrings out the full bittersweetflavour of their songs. Theaddition of Paul Carrack at thekeyboards has given them a newpoise and swing and no longerdo they sound as if they're moreinterested in moving on to thenext tune than playing the one athand.Some of this is down to an

increased maturity in the actualwriting— compositions like"Tempted" and "Someone Else'sBell" have an assurance that hasoften evaded them in the past—

and much of it is down to thesympathetic ear of Costello, amusician without equal when itcomes to the all-importantbusiness of shape. The initialplan was for this long player toappear as a double EP with fourdifferent producers handling aside each; Paul McCartney, NickLowe, Dave Edmunds and Elvishad ail expressed interest.However when contractualproblems put the blocks on thatapproach, Costello took over thewhole project."People like Elvis," explains

Chris, "because they're verytalented themselves, they're very

intelligent when it comes togetting performances out ofpeople, getting people to singand play well."The most important thing as

far as Glenn is concerned whenchoosing a producer is "it's gotto be someone with a bit ofheart. Rather than just sometechnically wonderful producer."

EVEN THE most cursory squint atTOTP these days rams home asimple message. If you want toget ahead, get yourself an image.Slip on those crazy clothes;appoint yourself the leader of atribe. Make those folks at homesit up. Make 'em spill their tea.Squeeze, on the other hand,make the average stage handlook striking. When I enquirewhether there was ever a timewhen they completely lost faithin the band's commercialprospects, the matter of visualsobviously comes up.

"I've got a lot of confidence inthis band and in oursongwriting," says Glenn. "Ithink that's what's going to carryus through. I certainly don't thinkit's going to be on the basis ofour personalities on the screen.We haven't got an Adam or aSting or someone like that. Ithink it's going to be the weightof our songs and our playingthat's going to pull us through.It's a different approach and it'smaybe not quite as exciting assome other bands, but thereagain I think our chances ofstaying around a lot longer are alot better."

Does this boil down to an oldfashioned belief in the theorythat quality always pays off?Surely it very often doesn't.

"K's not that I'm saying thatour stuff's better quality thanAdam or Sting, what I do think isthat their things are moreimmediate and that perhaps in ayear's time I can't see themdoing quite as well. Whereas Ican see us doing better becausewe haven't reached the sameheights of success."

Chris chips in at this point withone of those vivid one-liners thatare the mark of the great lyricwriter: "They're more like Boldor Zap and we're more like Persil— the old traditional wash that'llbe around for years." The grinquickly spreads until it threatensto tumble off the edges of hisface.

You mean like Square DealSurf?

Yes. Yes. Much laughter. Theseboys even provide their ownheadlines. The Completeinterviewees.

THE FAMOUS Difford humourremains intact. These days,however, H is buried furtherinside the songs. He confesses tobeing relieved to have left behindthe droll singing style of "CoolFor Cats" and extended his vocalrange considerably on songs like"Someone Else's Heart", not aneasy tune to deliver and a far cryfrom the chipper breeziness of

previous albums."I was rapidly becoming the

Sid James of Punk," he laughs,betraying the fact that theprevious night had been spentwatching "Carry On" movies. "Ihad to put a stop to that. I thinkMadness have taken over thatslot now."

WITH AN opening line like "Youleft my ring by the soap", thecurrent single, "Is That Love",shows off the increasingstrength of Difford's lyrics. Likeall great openers it immediatelygets the song into focus. It wasan idea that occurred to Chris notlong afte