1~(~(~I~N1'llI(~SI.•I~I~VI~ - Ruts · 3 The Gang of Four's later offerings were not consumed in great quantities. Their fourth year with EMIwas a stable foundation. After alJllOsta

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ORANGE JUICE GANG OF FOUR W

BLANCMANGE RED LORRY YELLOW LORRY -fiJ

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cred its ECCENTRIC SLEEVE NOTESA

I~) 9 ASHFIELD AVENU~"

EDITING, MANAGEMENT, INTERVIE\': S, ViHICKHAM

GRAPHICS, PHOTOGRAPHY: TYNE AND WEl\.R

SIMON McKAY • NE16 4SS /.H'••• ,,~ ••••. .IIIIIIIIII :PHOTOGRAPHY: STEPHEN, SHIELA, • •••• ~LINDA, SHARRON. ., _~/:

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~ NO MORE ESN: THE EDITOR HAS RU" OFF TO ~LIVE V,ITH ED\lYN COLLINS. LOVE'S ONLY "AY.

3

The Gang of Four's later offeringswere not consumed in great quantities.Their fourth year with EMIwas a stablefoundation. After alJllOst a two year gapbetween record releases 'IS IT LDVE?'appeared from nowhere. The record companywere wholeheartedly confident of i 1; beinga top ten single. They even threw a playback party. The group had dwindled, nowcontaining only Jon King and Andy Gill ofthe original line up. Sarah Lee had beenin the band since 81/82. A lot of timehad been spent in the USArecently. "IsIt Love?" had plenty of initial backing.Radio 1 was playing it three times a day.It was aimed at an audience unfamilair tothe band. They were dabbling in a saturatedarea. Their record was not strictly uniform,and went unappreciated. "After a yearswork, it was disappointing that the recordstiffed," cOnJJIentsAndy Gill.

The original Gang o.f Four at leastfound themselves in the position to turndownTop Of The Pox in 79 With 'AT HOllEHE FEELSLIKEA TaJRIST'. That was afairly harsh sounding record. "WewereJIIOreof a shocking new thing when we firstappeared," reflects Andy. That was thefirst single on EMI, having left theindependent Fast Records after one EP.

"At the time you had to be independent.Whenwe signed to EMIpeople I knew wouldwalk straight past me in the street.Advances are essential for getting anywhere, othenlise you are condemned tooperating on a snall scale."

Andy Gill has always had a lip anddimpled chin to the Gang's vocalmicrophone. The last LP HARDsaw himdoing a few lead vocals. Jon King, wasnot left mch in evidence on these. Theguitar was dominating on all of the songs.

Whenthe Gang of Four disbanded in '84a parting shot from an innocent ex-Mekonfingered the pulse, "Yeah, they're going toreform as the Andy Gill Experience." Musica:differences? Their lIIlsic differed fromconsumer taste, definately. EMIsteppeddown. Trying to find a new label hadseemed fairly hopeless.

Time spent in America had speeded theDI1sical t1'lU1sition ••••• but so far beyondthe comprehension of a British audience?In America the band were asked, 'How comeyou're doing all this f'mk stuf'f?'"Comparing the records; that feel is onething that has always rellBined CQI1stantoIt has always been cOllpletely r~hmiostuff' ° "~answers himself' ° The &rI'IUI88ment has always been based on similar ideaao_

'Prl1.&

?OU1t7r111tS

The Pale Fbuntains seem to ignorecurrent trends, but pick at a span ofwhat has happened in the last twentyyears.

"Everybody has their faves, they gohomeand listen to. I love sixties nusic.'Cover versions that they have performedinclude 'Purple Haze' and. 'Walk On By'.The interest extends to films ••••• theyhave not borrowed anything for videos oranything. A still from Saturday NightSunday Morning was considered for thecover of a recent single. At the sametime Morrisey borrowed a still from 'ATaste Of Honey'. The Pale F.s were putoff. "Albert Finney was a real person.They didn't just go for a star of thetime when they made the film." Michaelfinds what he has read or heard influenceshim through mood. "It comes out in songwri ting, and the lyrics. I went througha twelve month phase of not writing anylyrics,then I read a book 'whoosh' itcame out. I couldn't believe itl"

The moral of the anecdote is 'don'tjudge a book by the cover'. Cue Michaelwith the story •••• "I think people seethings through two sets of eyes. Wedidan interview with some hip French magazine.The guy was over to interview the Smithsor somebody. His boss told him to interview us too. Half way through the photosession he said that he hadn't reallywanted to do it. Wedid it anyway. Therewas a theme; songwriting. He wanted tosee the surroundings that inspire us. Hewas potting about all over the place;through books; video lists and records.All of a sudden he just freaked out. Hehad heard the album and formed his opili:ms,but when he realised what the album wasinfluenc ed by he saw it in anothe r way.

r.(V.J'T'TNll';-:C: • P1 r:..

"Whenwe play to an audience we wantthem to enjoy themselves. Wewant to enjoyourselves too, by doing the new songs. Werehearse a lot, and we're prolific songwriters anyway. We're always on a high whenwe have a new song to find it's feet,"emphasises Michael Head.

"Wewere being judged on a couple ofsingles. It couldn't be helped. The LP wasa massive relief, we couldn't wait to finishit. There are a lot of influences withinthe band, and it shows throughout the LP.The rrusic doesn't drastically change, butdifferent influences creep in. I think it'sa really good situation," asserts Michael."Weall seem to know how a good song shouldbe done. If Andy says something doesn'tsound right, I'll change it otherwise hewouldn't be in the band, if I was likely toignore his opinion. Everyone has to like thesongs."

Virgin do not actually realise that thetour included only two songs from the LP.The Pale Fbuntains decided if they did anLP set in London, where the Virgins are,they could get away with it. What do Virginknow? Michael supposes they are content toleave a band to find their own feet, as amatter of poliCy, ''They've had good causeto get pist off with us, but they haven't."

Chris assures me that they are goingstraight into the studio to record thesecond LP.

One of Virgin's big men telephonedMichael, before they had actually eigned,and asked him his ambition. It was said tobe writing songs for Shirley Basseyl 'Itoan be arranged, Michael,'was the fatman'sreply. The Pale Fountains only met RichardBranson when they sig~ed •••• they are nowpressing for free air travel.

SH!ON HcKA Y

Sarah Lee is well recognised for herecellent bass playing. She only played onfive of the nine tracks on HARD. It waspurely a style problem. John Astrop suitedthe songs. Sarah was not exactly over themoonabout the prospect.

The Gang Of Four woundup at Leeds andLondon. The only really fitting oities.Reception was warmand. well attended,mainly due to the circumstance. The lastfour was in '82, badly attended, butextremely enthusiastic. As far as Jon Kingwas concerned it started and. finished withthe Leeds date. Not strictly true. Theoriginal two missing membersDAVEALLENand HUOOBUHNHAMappeared from nowhere atHalllllBrsmith on the 'TOURIST'encore •••• butit should have been Leeds•

the Gang. "Everything that I start ischanged, when it is taken to the group.The approach is different."

Andy's fairly unique guitar stylegained the ultimate accolade when he wasrecorded for Rockschool. Wowl Theprogrammedid not present him as well asthey presented other nusicians. Thedemonstrations he recorded at their requestwere not used instead a fairly inept ~dTclip. Andy BUmsup his style saying "helikes the guitar to do both things, reinforcethe rhythm, and sometimes go off on it'sown."

The Pale Fbuntains debut LP should haveimmediately followed' Palm Of MyMind'. Ayear later 'Pacific Street'actually emerged.The delay gave vent to rumours about theband's multi million pound deal with Virgin,falling through. The delay was actually todo with not having a suitable producer. ThePale Fbuntains eventually resigned themselvesto this and produced 'Pacific Street' themselves, aided by an engineer.

The Pale Fbuntains wrote new songs inthis time and recorded them in preference toothers that have slipped away. It was nota case of throwing away the dross; PacificStreet was released. (cheekJ·). They justcould not get the older songs downbeforethe moodchanged. This applies more so live.The tour to promote the LP contained twosongs from the LPt The rest was new material.

'Whenwe started we were a band very IlUchupported by friends, we'd play any oldubbish for a laugh." Someof their earlylongs were as profoundly named as 'CALLME~', they covered Mekons. Rezillosnd others of that era. They have always'een moving in a certain direction though.I've always liked American music more thannglish. So has Jon really. I've neveriked the Beatles, and so IIUchEnglishIUsic has been in that vein. I can now.ppreciate what is good about the Beatles,~t I preferred the Stones. They were.eading straight on from Chuck Berry."

The Gang Of Four got a better reactionn other countries. "Wecould play all overhe place in America, which is basicallybat kept us going. Wehave toured seven

eight times there, over the years. Weould get 1,000 people a night, 3-4,000 inhe larger cities. Wewere in the positiono 0 fer a band that were big in Britainsupport with us, that they would benefit

rom."

Before the split was decided I had.sked Andy Gill if he was as close with'on King in songwriting, as he had beenlreviously.'Intellectually, we can tune in a lot of;he time, of course we had disagreements.'e knew the ideas we were talking about,rhich was the reason for us collaborating.".t this point Andy imagined himself doing a.ot more on his own, but still working in

'Prl1.&

?OU1t7r111tS

The Pale Fbuntains seem to ignorecurrent trends, but pick at a span ofwhat has happened in the last twentyyears.

"Everybody has their faves, they gohomeand listen to. I love sixties nusic.'Cover versions that they have performedinclude 'Purple Haze' and. 'Walk On By'.The interest extends to films ••••• theyhave not borrowed anything for videos oranything. A still from Saturday NightSunday Morning was considered for thecover of a recent single. At the sametime Morrisey borrowed a still from 'ATaste Of Honey'. The Pale F.s were putoff. "Albert Finney was a real person.They didn't just go for a star of thetime when they made the film." Michaelfinds what he has read or heard influenceshim through mood. "It comes out in songwri ting, and the lyrics. I went througha twelve month phase of not writing anylyrics,then I read a book 'whoosh' itcame out. I couldn't believe itl"

The moral of the anecdote is 'don'tjudge a book by the cover'. Cue Michaelwith the story •••• "I think people seethings through two sets of eyes. Wedidan interview with some hip French magazine.The guy was over to interview the Smithsor somebody. His boss told him to interview us too. Half way through the photosession he said that he hadn't reallywanted to do it. Wedid it anyway. Therewas a theme; songwriting. He wanted tosee the surroundings that inspire us. Hewas potting about all over the place;through books; video lists and records.All of a sudden he just freaked out. Hehad heard the album and formed his opili:ms,but when he realised what the album wasinfluenc ed by he saw it in anothe r way.

r.(V.J'T'TNll';-:C: • P1 r:..

"Whenwe play to an audience we wantthem to enjoy themselves. Wewant to enjoyourselves too, by doing the new songs. Werehearse a lot, and we're prolific songwriters anyway. We're always on a high whenwe have a new song to find it's feet,"emphasises Michael Head.

"Wewere being judged on a couple ofsingles. It couldn't be helped. The LP wasa massive relief, we couldn't wait to finishit. There are a lot of influences withinthe band, and it shows throughout the LP.The rrusic doesn't drastically change, butdifferent influences creep in. I think it'sa really good situation," asserts Michael."Weall seem to know how a good song shouldbe done. If Andy says something doesn'tsound right, I'll change it otherwise hewouldn't be in the band, if I was likely toignore his opinion. Everyone has to like thesongs."

Virgin do not actually realise that thetour included only two songs from the LP.The Pale Fbuntains decided if they did anLP set in London, where the Virgins are,they could get away with it. What do Virginknow? Michael supposes they are content toleave a band to find their own feet, as amatter of poliCy, ''They've had good causeto get pist off with us, but they haven't."

Chris assures me that they are goingstraight into the studio to record thesecond LP.

One of Virgin's big men telephonedMichael, before they had actually eigned,and asked him his ambition. It was said tobe writing songs for Shirley Basseyl 'Itoan be arranged, Michael,'was the fatman'sreply. The Pale Fountains only met RichardBranson when they sig~ed •••• they are nowpressing for free air travel.

SH!ON HcKA Y

Sarah Lee is well recognised for herecellent bass playing. She only played onfive of the nine tracks on HARD. It waspurely a style problem. John Astrop suitedthe songs. Sarah was not exactly over themoonabout the prospect.

The Gang Of Four woundup at Leeds andLondon. The only really fitting oities.Reception was warmand. well attended,mainly due to the circumstance. The lastfour was in '82, badly attended, butextremely enthusiastic. As far as Jon Kingwas concerned it started and. finished withthe Leeds date. Not strictly true. Theoriginal two missing membersDAVEALLENand HUOOBUHNHAMappeared from nowhere atHalllllBrsmith on the 'TOURIST'encore •••• butit should have been Leeds•

the Gang. "Everything that I start ischanged, when it is taken to the group.The approach is different."

Andy's fairly unique guitar stylegained the ultimate accolade when he wasrecorded for Rockschool. Wowl Theprogrammedid not present him as well asthey presented other nusicians. Thedemonstrations he recorded at their requestwere not used instead a fairly inept ~dTclip. Andy BUmsup his style saying "helikes the guitar to do both things, reinforcethe rhythm, and sometimes go off on it'sown."

The Pale Fbuntains debut LP should haveimmediately followed' Palm Of MyMind'. Ayear later 'Pacific Street'actually emerged.The delay gave vent to rumours about theband's multi million pound deal with Virgin,falling through. The delay was actually todo with not having a suitable producer. ThePale Fbuntains eventually resigned themselvesto this and produced 'Pacific Street' themselves, aided by an engineer.

The Pale Fbuntains wrote new songs inthis time and recorded them in preference toothers that have slipped away. It was nota case of throwing away the dross; PacificStreet was released. (cheekJ·). They justcould not get the older songs downbeforethe moodchanged. This applies more so live.The tour to promote the LP contained twosongs from the LPt The rest was new material.

'Whenwe started we were a band very IlUchupported by friends, we'd play any oldubbish for a laugh." Someof their earlylongs were as profoundly named as 'CALLME~', they covered Mekons. Rezillosnd others of that era. They have always'een moving in a certain direction though.I've always liked American music more thannglish. So has Jon really. I've neveriked the Beatles, and so IIUchEnglishIUsic has been in that vein. I can now.ppreciate what is good about the Beatles,~t I preferred the Stones. They were.eading straight on from Chuck Berry."

The Gang Of Four got a better reactionn other countries. "Wecould play all overhe place in America, which is basicallybat kept us going. Wehave toured seven

eight times there, over the years. Weould get 1,000 people a night, 3-4,000 inhe larger cities. Wewere in the positiono 0 fer a band that were big in Britainsupport with us, that they would benefit

rom."

Before the split was decided I had.sked Andy Gill if he was as close with'on King in songwriting, as he had beenlreviously.'Intellectually, we can tune in a lot of;he time, of course we had disagreements.'e knew the ideas we were talking about,rhich was the reason for us collaborating.".t this point Andy imagined himself doing a.ot more on his own, but still working in

FELT6 7

JULIAN COPELawrence takes himself quite seriously.

The degree of seriousness he attaches to theart of Felt however, is absolute. SOmeofthe points he rrakes are vague, and only fallinto place upon further questioning. Thiscontradicts his fear and anguish of beingmisinterpreted in print. With a swish anda nod; the cutting of his own throat ••••

Crumbling The Antiseptic Beauty, thetitle of their first mini LP came from aline in One Of Lawrence's poems. Lawrenceclaims to write a lot of poetry. Howdoes'le separate it from lyrics? "I hate poetry,hese days, it rrakes me feel ill. WhenI

got a guitar at the end of '77 I stoppedwriting poems. MaybeI grew out of it, itis .ompletely different. I like to retaina poetic theme, and have used a few oldsegments."

Lawrence sees Felt as more of a melodyband. He loves instrumental music. Theearlier records compr ised of nearly fiftypercent instrurnentals. "A lot of the newstuff is completely different, and isn'tlong epics. That was what people couldn'tget into or understand." Lawrence does not

see this a cOllUDercialmove, "I think all ofour stuff is cOlllllercial." Of course Feltthink: of moneyas they write and record theirsongs •••• imaginative titles flow later, whenthey are in the posi tion of any otherlistener. They then title the piece as tohow it seems. Someof the pieces are a trifledreamy. The Japanese have flipped for itall, a bit. As well as the usual Britishmega bands, Japanese magazines are alsoprone to carrying a page or two on Felt.Lawrence did not actually tell me this butit seems those laid back Japs fell forwardfor the pic of Big Lol. on the 'Antiseptic'cover. There is talk of a fan club beingrun over there too.

"We've never been to Japan. They are quietpeople, they j~st seem taken by the delicatefeel of our music."

Maurice had been sitting ~ith Lawrencefor this intervi/ew he did not say rruch, anddisappeared. I felt he was free to butt inwhenever he wished. Anybody is free to, asthe cleaning lady passed I thought she wasabout to speak. I think: she abductedMaurice in her bucket. Lawrence finds hi_self alone. The songwriting is alwaysbetween them. Maurice is an artist though,so he has left and rejoined the band a fewtimes. Lawrence learnt how to write songsalone in that time.

Fel t left Cherry Red before the PillowsAnd.Prayers compilation was released. "Wedidn't want to go on the LP. Wehad thechoice of going on it, or leaving. So weleft. Unfortunately something bad happened.to us. Wehad to go back with our tailsbetween our legs. Westill hated it, butwere glad in the end because so manypeoplebought it."

I could see in their view why they objectedartistically - as they had no control overwhat else was on the record, or the sleeve.Pillows and Prayers was a video too. Fel twere supposed to be in that with PenelopeTree. The idea was they would drive alongin an open top sportscar and end up at ana.irfield. They told Felt first though.''That's terrible, we don't drive around inSPortscars. If you knew anything about usyou would know we could not do that," wasLawrence's reaction speaking for all.Fantastic Something got the part instead.''The video was to end in a big church wedding.All the bands would be dressed in fifties,sixties clothes while Bid got married.

FELT>

The Teardrop Explodes split in 1982.Julian Cope corrments how good the break wasthat he had from then, till he got going asa solo artist.

"I'm muchmore together now. I fallapart more easily than others underpressure. I get bored quickly as well."Julian called a halt to Teardrops forsubstantial reasons.

"I thought Teardrops should finishbecause the third LP was sounding horrible.Wehad gone far enough, and wanted tofinish on a high."

The way paths parted suited Julian. Hecould not abide the idea of dragging it allout with a final tour and a live LP. Thereis a lot of unreleased Teardrops materialthat the record companyhave possession of.

Mercury held onto Julian. He likesthem and hopes to stay with them for awhile. On a commercial level they cannotexpect too rruch, because Julian has neverreally given them much.

''They could have said that they weren'tinterested after the split. I'm quite ahassle to work with."

Julian feels as though he is startingagain now, with new angles available.

"It's very muchan album of songs. Thatis the main thread. It's very simple, butpowerful. I would like them to get stranger,the LP is a little straighter than I expected.I didn't want to weird out good songs for thesake of it."

Julian thinks that when the Jam used abrass section it soUnded cheap and obvious.The Teardrops featured what he thought brassshould sound like. The trumpeters wouldoften cringe as Julian lmmmedtheir part.They did perform the pieces without overplaying them.

Julian hopes to carry on using the sameline up live. In the studio he will use themoccasionally. He will play a lot of theguitars.

If you think: 'yeah, we'll sign to anindependent and retain our artistic controland freedom, forget it. It's just the same.Wehave no control out of England. Wearesigned to Virgin in France. They put out acompilation record. All the continuity waslost. Cherry Red has not got the machinery,it is a small operation. Wesigned to MikeAlway as far as we are concerned so we aregoing to stay with him, on his new labelBlanco Y Negro."

"I like what I play on the bass. Playingit live and singing was ridiculous though.One half of mewas playing a solid rhythm, theother would be really freaking out."

Nowall of Julian 'freaks out'. Nowitis to snall crowds, all the teenybopperehave gone.

"At the Teardrops peak I said in aninterview that 'all the fourteen year oldswill go'. I got a load. of letters baok eaying'no we won't'."

Julian played a tour to sllBll crowds!

"It was a bi t disheartening at first.The people that do come are totally intoit though. That is more important, theyare the ones that count."

SIHON HCKll.Y

Lawrence criticises records he listenedto in his youth for having filler trackson them. He prefers to do short LPs, at abudget price and short live sets. This maychange. Lawrence admits he contradictshimself, but at the momenthe says "I likethings to be brief •••• see yal"

SHI0N lvlcKJ\Y

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SHI0N lvlcKJ\Y

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SHI0N lvlcKJ\Y

SIr-WN McKAY

to say 'thB.nk--you' to everybody out there.We've fucked plenty of people about."

For the firet time Stan is reallyhappy with the product, One :qed Jack."Weall are. A job well done. Even if noone bought it, we'd still be happy, becausewe've achieved something by getting it done.The songs are strongsr, the lIUsicians arebetter. Everybody's working together,instead of Ki:d<:having to tell people whatto do. Everybody has studio experience,and ideas to add."

'ROSIE' is a curious piece, notfEl/ltured on the LP but on the 'Prisoner's'B side. It is based on a negro prisonsong. The lIUsic is sparse between beats.A chain rattle sound adds a glorious touch.

Spear, in one form or another, havenever been far away. They have alwaysbeen coasting along on their own, takingtheir own time, playing the gigs and puttingout the records ••••• durable.

SPEAROF

Stan Stammers had previously told mehow hard Spear of Destiny work. The band'sactions confirm this. Before the 'ONEEYEDJACK' LP was released Spear did a warmuptour; warming up for the LP tour. It wasnot demanded of them, but they felt itnecessary to reinstate themselves on themusic scene. They called it The PrisonerTour. The intro tape was pinched from theITV series. Prisoner of Love was alreadysliding down the charts, so that was fairlyincidental. A tighter band, having sortedall technical hitches showed on the secondtour of Britain, on their path to Europe.

S.O.D. are not bound by commercialconsiderations. 'Prisoner of Love' wasexpected to go higher than it's no.59placing. Lining up a tour is no problem.They usually pull the best part of athousand a night. "We just put out thesingles, the people who come to see us like.Sooner or later the word will spread.Obviously if we were playing to 20,000 anight; a record would go straight into thetop 10."

Stan was very confident about theprevious S.O.D. line up, on the Grapes OfWrath tour. They finished touring, wentto Europe and split. Hypocrisy if it wasmusical differences, but it was not at all.

"Wehad a few problems out in Europe,Certain people couldn't handle it, andstarted getting very silly. I was reallysurprised. It did me in a bit; arrazinghow people change. To think somebodyissomething - then all of a sudden something'sgoing on, it's really silly, "Stan expands,as to what did go on. ''You get treated ahundred times better. The punters thinkyou're the best thing since sliced bread.People start thinking they are popstars,basically. It has always been a problem,right through from Theatre of Hate. Peoplethink they've rrade it, and that's when thetrouble starts.... There is no end as towhat you can do. The thing about the bandnow, is they are all veterans. Wehave allgone wrong before, but we know where. Nowwe're all in it together. This is our lastchance, basically, and everybody knows it.We've had a helluva lot of chances. I'mreally pleased, we've been lucky. I'd like

DESTINYESN: The trouble and delay is rrainlybecause of them?

ES{: So what do you rate as the best thingsyou've done?

P.W: At the moment. I don't know there isone song I have just written. The week wegot out of our contract with WEA,I wrotesome songs that we did just on the energyof being out of a deal, like some of thebest ones I've written. I feel they areanyway, certainly potentially. At themoment, with having just done the LP; I'vegot that in rrr;r head a lot.

P.W.: Mainly, either directly or by themblocking things and being fuckers or justputting bad thoughts in people's heads,and iffing and ulIIDinginstead of lettingus rrake the decisions. Weended up fightingrather than actually doing anything. It'sthe same at Eternal. They like to pretendthey are a label. It's been like a war ofattrition; just waiting to see which sidebroke first, and they broke first, so thatsuits us. We got out of all the debt andwe rrade more money than the Sex Pistols didand we got more free lunches than them aswell.

A WordTo The Wise Guy is a twist of whatit was to be called; The WordsOf The WiseGu;{.

P.W: Success wise? It succeeds on ourterms before it's out so that's not a problemfor me. In terms of chartwise a lot dependson tha1;•. Naw I've got more important thingson'me tlla.tEi.~ .

. . ;CO'·TT-F"::. ~··Pl(..J J, ••. ,. _

P.W: No not at all because I don't ratethat as one of the best things we've done.

ESN: So what about writing, have you haddifficulty living up to the pride of StoryOf The Blues?

because of ilEA. Whenwe were stuck withthem. I was stopped putting anything out.They caused the problem, if we had done itour way it have already been out.

",igh'VlAH!

theMouth almighty, Pete Wylie, bounces back

with a 'Word To The Wiseguy' and come back tohaunt WEA. Bugs Bunny cartoons are still asafe bet for them though.

ESN: So what have you been doing?

P.W: I've been to Barbados. The suntan'sgood inni t? I stayed in all week to get it.Nahl I've been working constantly just aboutto cut the LP, sorting out the sleeves, thevideo, all that crap.

ESN: It's taken you a long time to do that.

ESN: Whohave you been wo:d<:ingwith?

~: What style is it, fairly typical?

ES{: What about the LP production?

PW: Anyone who will have me. I've beenwo:d<:ingwith all hands. There was a basicgroup we started it with, but it just gotfurther away. 'tlashy is on it all cos heowed me a lot of moneyand the only way hecould pay it back was by playing on the LP,Just different people like the fellas whodid the last gigs with us, Jerry, Charlie.But I'm not satisfied working that waybecause I want to cover a bunch of stylesand obviously some people are more suitedto one style more than another, so in futureit will be all different people again. Idon't think it will be regular people ~ough,I have got plans for a house band for theother people on Eternal. Use Gary Duyer onsome, use the Last Chant on some stuff.Whoever is right, we will draft in. I'llmake records with two or three druJllners onlike Motownused to have it. I don't meanto imitate the Motownstyle, it's that styleI like. Rather than double tracking usinglive stuff, you know. Live in the studio.

PW: Not that long, not in comparative terms.For what it is, it doesn't matter. What Imean is lengths of time don't come into itfor what you end up with.

IW: It's typical James Last Orchestra.

P.WI I've done it. I worked on it nainlyin London because of the way we started.My ambition this year. is to record an LP onour eight--track in Li~rpool. to see whetherI oan do it there or not. I'Ve got abouttwo LPs worth of stuf'-1' tb.\i has .been sti.1l'1ed

SIr-WN McKAY

to say 'thB.nk--you' to everybody out there.We've fucked plenty of people about."

For the firet time Stan is reallyhappy with the product, One :qed Jack."Weall are. A job well done. Even if noone bought it, we'd still be happy, becausewe've achieved something by getting it done.The songs are strongsr, the lIUsicians arebetter. Everybody's working together,instead of Ki:d<:having to tell people whatto do. Everybody has studio experience,and ideas to add."

'ROSIE' is a curious piece, notfEl/ltured on the LP but on the 'Prisoner's'B side. It is based on a negro prisonsong. The lIUsic is sparse between beats.A chain rattle sound adds a glorious touch.

Spear, in one form or another, havenever been far away. They have alwaysbeen coasting along on their own, takingtheir own time, playing the gigs and puttingout the records ••••• durable.

SPEAROF

Stan Stammers had previously told mehow hard Spear of Destiny work. The band'sactions confirm this. Before the 'ONEEYEDJACK' LP was released Spear did a warmuptour; warming up for the LP tour. It wasnot demanded of them, but they felt itnecessary to reinstate themselves on themusic scene. They called it The PrisonerTour. The intro tape was pinched from theITV series. Prisoner of Love was alreadysliding down the charts, so that was fairlyincidental. A tighter band, having sortedall technical hitches showed on the secondtour of Britain, on their path to Europe.

S.O.D. are not bound by commercialconsiderations. 'Prisoner of Love' wasexpected to go higher than it's no.59placing. Lining up a tour is no problem.They usually pull the best part of athousand a night. "We just put out thesingles, the people who come to see us like.Sooner or later the word will spread.Obviously if we were playing to 20,000 anight; a record would go straight into thetop 10."

Stan was very confident about theprevious S.O.D. line up, on the Grapes OfWrath tour. They finished touring, wentto Europe and split. Hypocrisy if it wasmusical differences, but it was not at all.

"Wehad a few problems out in Europe,Certain people couldn't handle it, andstarted getting very silly. I was reallysurprised. It did me in a bit; arrazinghow people change. To think somebodyissomething - then all of a sudden something'sgoing on, it's really silly, "Stan expands,as to what did go on. ''You get treated ahundred times better. The punters thinkyou're the best thing since sliced bread.People start thinking they are popstars,basically. It has always been a problem,right through from Theatre of Hate. Peoplethink they've rrade it, and that's when thetrouble starts.... There is no end as towhat you can do. The thing about the bandnow, is they are all veterans. Wehave allgone wrong before, but we know where. Nowwe're all in it together. This is our lastchance, basically, and everybody knows it.We've had a helluva lot of chances. I'mreally pleased, we've been lucky. I'd like

DESTINYESN: The trouble and delay is rrainlybecause of them?

ES{: So what do you rate as the best thingsyou've done?

P.W: At the moment. I don't know there isone song I have just written. The week wegot out of our contract with WEA,I wrotesome songs that we did just on the energyof being out of a deal, like some of thebest ones I've written. I feel they areanyway, certainly potentially. At themoment, with having just done the LP; I'vegot that in rrr;r head a lot.

P.W.: Mainly, either directly or by themblocking things and being fuckers or justputting bad thoughts in people's heads,and iffing and ulIIDinginstead of lettingus rrake the decisions. Weended up fightingrather than actually doing anything. It'sthe same at Eternal. They like to pretendthey are a label. It's been like a war ofattrition; just waiting to see which sidebroke first, and they broke first, so thatsuits us. We got out of all the debt andwe rrade more money than the Sex Pistols didand we got more free lunches than them aswell.

A WordTo The Wise Guy is a twist of whatit was to be called; The WordsOf The WiseGu;{.

P.W: Success wise? It succeeds on ourterms before it's out so that's not a problemfor me. In terms of chartwise a lot dependson tha1;•. Naw I've got more important thingson'me tlla.tEi.~ .

. . ;CO'·TT-F"::. ~··Pl(..J J, ••. ,. _

P.W: No not at all because I don't ratethat as one of the best things we've done.

ESN: So what about writing, have you haddifficulty living up to the pride of StoryOf The Blues?

because of ilEA. Whenwe were stuck withthem. I was stopped putting anything out.They caused the problem, if we had done itour way it have already been out.

",igh'VlAH!

theMouth almighty, Pete Wylie, bounces back

with a 'Word To The Wiseguy' and come back tohaunt WEA. Bugs Bunny cartoons are still asafe bet for them though.

ESN: So what have you been doing?

P.W: I've been to Barbados. The suntan'sgood inni t? I stayed in all week to get it.Nahl I've been working constantly just aboutto cut the LP, sorting out the sleeves, thevideo, all that crap.

ESN: It's taken you a long time to do that.

ESN: Whohave you been wo:d<:ingwith?

~: What style is it, fairly typical?

ES{: What about the LP production?

PW: Anyone who will have me. I've beenwo:d<:ingwith all hands. There was a basicgroup we started it with, but it just gotfurther away. 'tlashy is on it all cos heowed me a lot of moneyand the only way hecould pay it back was by playing on the LP,Just different people like the fellas whodid the last gigs with us, Jerry, Charlie.But I'm not satisfied working that waybecause I want to cover a bunch of stylesand obviously some people are more suitedto one style more than another, so in futureit will be all different people again. Idon't think it will be regular people ~ough,I have got plans for a house band for theother people on Eternal. Use Gary Duyer onsome, use the Last Chant on some stuff.Whoever is right, we will draft in. I'llmake records with two or three druJllners onlike Motownused to have it. I don't meanto imitate the Motownstyle, it's that styleI like. Rather than double tracking usinglive stuff, you know. Live in the studio.

PW: Not that long, not in comparative terms.For what it is, it doesn't matter. What Imean is lengths of time don't come into itfor what you end up with.

IW: It's typical James Last Orchestra.

P.WI I've done it. I worked on it nainlyin London because of the way we started.My ambition this year. is to record an LP onour eight--track in Li~rpool. to see whetherI oan do it there or not. I'Ve got abouttwo LPs worth of stuf'-1' tb.\i has .been sti.1l'1ed

ORANGE

Whether Orange Juice are shy ofcOll'lllercial success, or it is that successshies away from them: The periodical lineup changes are hardly a solid foundationfor the band. Edwynsees himself as thefigurehead of the band. He is the only poorleft from the original line up. Even nowhe stresses, that it still feels like OrangeJuice.

"Of the Rip It Up line up only Zekeand ~self understood what O.J. were aboutconceptionally. Unfortunately the bandimploded. There was so nuch tension withinthe group; bittemess,rivalry and animosity.Nownone of the original O.J. are herebecause O.J. is just an abstract conceptwhich exists out with the group, and wejust need to tune in. The others just hadconflicting ideas. That is why they left.It was a nutual agreement. Neither partywould compromise. I would not abide synths;not liking their smooth funkiness. Theyare not very expressive and withoutdynamics. The sound they emulate is ofteninferior to the original sounds."

Edwyncertainly says why he does notlike synthesisers. They could affect thewhole nusical output. The funky synocapatedwork outs were more the habitat of JamesBrown. Edwyn's vocal style would notaccomodate that kind of groundworlc. It waslogical that the band should split.

This era of change left open the backdoor for a Paul on bass and a John casuallyplaying a casual guitar. He is extremelywreckless on stage. John was only conJllittedto doing the last two tours, and iscontributing to the third LP proper.

"My initial selfish reason for doingthe tours was to meet Alan Home, becauseI wanted to nrake records; if I could findanybody I liked."

"John, fell in love with Alan", injectsEddy. Love as opposed to infatuation?

"Packing really ••••• two young mendiscovering their bodies", John commitshimself with bravado.

John's casual approach is typified bythe fact that he did not contribute to 'WhatPresence' •

-Edwyn played all the guitars on it.I could not think of anything."

"John siad he had some ideas but he hadto D.J. in Bristol. Even though he was on aretainer of £500. His first commitment shouldhave been to O.J." says an indignant Ed.

"The trouble was, all myideas for thatsong were on the piano. I can't play thepiano."

"FUnnyyou should say that, neithercan I," relates Big Ed.What else do the two have in cOlllllOn,apartfrom their smittened attitude towards oneanother?

"John has a great big mole on the leftcheek of his buttock. I have a mole on theright cheek of mine", Edwynshows hisobvious boisterous and not uncharacteristically camp mood. He is no longer repressedby the overbearing David and Malcolm.

"They did not allow me to be campbecause they were JlBchomen."

John claims that his greatest influenceson O.J. has been as a 'catalystic queen'.He admits he has not added nuch nusically.

·"Zeke was a bit touchy initially. aboutthe campness when he joined the band. Hedidn' t understand the humour in it. but nowhe's possibly the poofiest in the band."

''He's got the best ass anyway,"intellectualises John.

What of the true inner concept ofOrange Juice? Take it away EdwynChristianAnderson.

"Paul, Zeke, John and myself are greatfriends and we travel about the country ina massive tour bus. It is driven by Ray,who used to be a teddy boy. He calls usThe Gay Teds, even though we are not actuallygay." (Edwyn shows reserve; thinking maybehe has taken the issue too far. Myhandgently fondling his inner thigh seemed tosparlc this). "Our soundsystem blares out,and we rrake coffee on the teasnade. Whenwe reach the inner city we do psychadelicdances in the bus.

We stay in nice hotels. In SwanseaZeke was asleep in a massive double bed inthe early hours of the morning. Grace(the manager) and myself came into get Zekeout of the bed. Wewere fully clothed, Imight add." (My hand must have wanderedagain). "Rather than movehim, we just gotinto bed on either side of him. Zeke wasprobably naked. After a while John camein looking for us. He exclaimed, 'I knowwho you are, the ThompeonTwins' Look; thegirl, the black, and the gay'" nuch to ouranusement."

It is interesting to note that in thattale from the riverbank Edwynalmost stressedthe straight and narrow, in case too nuch ofthe flippancy is lost in a reader's possiblyuninaginative approach to cold print. Ashame to have let the cat out of the bag,though.

t~oday the emphasis is on toilethumour and buttocks. even though it isvery childish and humiliates a group. Whenpeople are reading this they will notrealise that the interviewer, Mopheed. camein to interview us wielding a massive pairof 42" plaster cast buttocks."

That verged on the description of being ajoke. Of course not everybody sharesEdwyn's sense of humour. I ask clownwhether he sees himself as arrogant.

"WhenI am feeling particularlyconfident, that arrogance can turn intoobnoxiousness. As I play mycurrent hitsingle 'My Ever Changing Moods' it isabout how I change mymoods so often. Thewords to that song are fairly selfexplanatory, and will give you more of aninsight to mycharacter. It was our firsthit single since 'Rip It Up', we were verypleased of course."

JUICEI select mywords carefully before

asking Edwynwhether 'he checks his egodaily for growths?'

,~t's a new word for it. I usuallycall it willy." Edwynpauses ••••• "I havefar greater peace of mind now; completelyrelaxed, completely confident •••• a quietsort of confidence. Often when people arefeeling insecure they over compensate. Thatis where you find all that bravado ••••quietly confident."

Snug?"Somemay call it snug. yes." Edwyn's

lips point, his cheeks pouch beneath thegleam of his eyes. I even commentedatthe time as to how taxing it would be totranscribe that look of total selfsatisfaction.

EDVYN'S MOLE SEARCH

ORANGE

Whether Orange Juice are shy ofcOll'lllercial success, or it is that successshies away from them: The periodical lineup changes are hardly a solid foundationfor the band. Edwynsees himself as thefigurehead of the band. He is the only poorleft from the original line up. Even nowhe stresses, that it still feels like OrangeJuice.

"Of the Rip It Up line up only Zekeand ~self understood what O.J. were aboutconceptionally. Unfortunately the bandimploded. There was so nuch tension withinthe group; bittemess,rivalry and animosity.Nownone of the original O.J. are herebecause O.J. is just an abstract conceptwhich exists out with the group, and wejust need to tune in. The others just hadconflicting ideas. That is why they left.It was a nutual agreement. Neither partywould compromise. I would not abide synths;not liking their smooth funkiness. Theyare not very expressive and withoutdynamics. The sound they emulate is ofteninferior to the original sounds."

Edwyncertainly says why he does notlike synthesisers. They could affect thewhole nusical output. The funky synocapatedwork outs were more the habitat of JamesBrown. Edwyn's vocal style would notaccomodate that kind of groundworlc. It waslogical that the band should split.

This era of change left open the backdoor for a Paul on bass and a John casuallyplaying a casual guitar. He is extremelywreckless on stage. John was only conJllittedto doing the last two tours, and iscontributing to the third LP proper.

"My initial selfish reason for doingthe tours was to meet Alan Home, becauseI wanted to nrake records; if I could findanybody I liked."

"John, fell in love with Alan", injectsEddy. Love as opposed to infatuation?

"Packing really ••••• two young mendiscovering their bodies", John commitshimself with bravado.

John's casual approach is typified bythe fact that he did not contribute to 'WhatPresence' •

-Edwyn played all the guitars on it.I could not think of anything."

"John siad he had some ideas but he hadto D.J. in Bristol. Even though he was on aretainer of £500. His first commitment shouldhave been to O.J." says an indignant Ed.

"The trouble was, all myideas for thatsong were on the piano. I can't play thepiano."

"FUnnyyou should say that, neithercan I," relates Big Ed.What else do the two have in cOlllllOn,apartfrom their smittened attitude towards oneanother?

"John has a great big mole on the leftcheek of his buttock. I have a mole on theright cheek of mine", Edwynshows hisobvious boisterous and not uncharacteristically camp mood. He is no longer repressedby the overbearing David and Malcolm.

"They did not allow me to be campbecause they were JlBchomen."

John claims that his greatest influenceson O.J. has been as a 'catalystic queen'.He admits he has not added nuch nusically.

·"Zeke was a bit touchy initially. aboutthe campness when he joined the band. Hedidn' t understand the humour in it. but nowhe's possibly the poofiest in the band."

''He's got the best ass anyway,"intellectualises John.

What of the true inner concept ofOrange Juice? Take it away EdwynChristianAnderson.

"Paul, Zeke, John and myself are greatfriends and we travel about the country ina massive tour bus. It is driven by Ray,who used to be a teddy boy. He calls usThe Gay Teds, even though we are not actuallygay." (Edwyn shows reserve; thinking maybehe has taken the issue too far. Myhandgently fondling his inner thigh seemed tosparlc this). "Our soundsystem blares out,and we rrake coffee on the teasnade. Whenwe reach the inner city we do psychadelicdances in the bus.

We stay in nice hotels. In SwanseaZeke was asleep in a massive double bed inthe early hours of the morning. Grace(the manager) and myself came into get Zekeout of the bed. Wewere fully clothed, Imight add." (My hand must have wanderedagain). "Rather than movehim, we just gotinto bed on either side of him. Zeke wasprobably naked. After a while John camein looking for us. He exclaimed, 'I knowwho you are, the ThompeonTwins' Look; thegirl, the black, and the gay'" nuch to ouranusement."

It is interesting to note that in thattale from the riverbank Edwynalmost stressedthe straight and narrow, in case too nuch ofthe flippancy is lost in a reader's possiblyuninaginative approach to cold print. Ashame to have let the cat out of the bag,though.

t~oday the emphasis is on toilethumour and buttocks. even though it isvery childish and humiliates a group. Whenpeople are reading this they will notrealise that the interviewer, Mopheed. camein to interview us wielding a massive pairof 42" plaster cast buttocks."

That verged on the description of being ajoke. Of course not everybody sharesEdwyn's sense of humour. I ask clownwhether he sees himself as arrogant.

"WhenI am feeling particularlyconfident, that arrogance can turn intoobnoxiousness. As I play mycurrent hitsingle 'My Ever Changing Moods' it isabout how I change mymoods so often. Thewords to that song are fairly selfexplanatory, and will give you more of aninsight to mycharacter. It was our firsthit single since 'Rip It Up', we were verypleased of course."

JUICEI select mywords carefully before

asking Edwynwhether 'he checks his egodaily for growths?'

,~t's a new word for it. I usuallycall it willy." Edwynpauses ••••• "I havefar greater peace of mind now; completelyrelaxed, completely confident •••• a quietsort of confidence. Often when people arefeeling insecure they over compensate. Thatis where you find all that bravado ••••quietly confident."

Snug?"Somemay call it snug. yes." Edwyn's

lips point, his cheeks pouch beneath thegleam of his eyes. I even commentedatthe time as to how taxing it would be totranscribe that look of total selfsatisfaction.

EDVYN'S MOLE SEARCH

44/46 High Bridge

Newcastle upon Tyne NEl 6BX

an excellent choice tor a sincle. "Tbe lyricsare brilliant, although we did change acouple at' linea."Siephen Luscombe enth1l88a on the idea ottaking an S.••.ed1eh pop group'. 80n& and.performing it in an um18ual way. "We'veus.d things you wouldn't .xp.ct. likeIndian 1nstnuDents. Th. combination worked.It'll a good attitude to take. Blancmange arenot trying to touch on Ind.1.a.n~8t1C. but areinspired by all the possible ne.••.approachesto what they are do1D.g.

"We don't pr.tend to understand it."H.n 1& really p1et. "We're looking all the

time and .xplor1ng, "Steph.n has a wch Illor.sober pre8enc ••••• but, in bounds Heil; "In a.en.e we're lapping it up, not in the .en.e thatwe're taking advantag •• We're 11.tenlog quitecaret'U11y, as we11•••• 80 how'. your bum tororacking walnut.?"

"D.1ra ManUka worked with the BeaU ••yeare earlier. "

"He didn't argue. Jleil."1'e. he did."

"B. worked. w1th George Harrhon""The BeaUe •• "

"Ceorge Harriaon."

"J.lrigb:\ whatever. "St.pben give. in.-rhe ditterence between Ol.lr interest &Ddaeorge Barrison'8 is hi. ext.nded. into thelIliTBtical and religious."

"Although not initially," Neil doesnot sound particularly smug.

"Our's does in an abstract sense,comparing the religions. On ll\Y part anyway,Hinduism, Islam and all the rest of them••••connect them all together and see them incontext of DUsic and culture and work intowhat l~e're doing."

"We're into prime evil scream at themomentand trying to find our five year oldselves."

"It's not just that.""I am."

"It's taking on a superficial levelwithout immersing ourselves in one aspector another, remaining on the outside andholding a clearer view."Blancmange's second single 'God's kitchen'comes to mind. That was about Stephen'sand Nei1's Christian upbringing and theirultimate rejection of it.

"Wecan stand later and laugh at it,but still feel respect. Religion is a verypotent force. It would no~ have lasted solong if it was inheritantly evil. Something.as powef'ful as', :i'Ei.l~PQncannot be condemned'•.It, and people a~' ba,sic;Ll1y good." . ,

BLANCMANGEAn eighteen month period between HAPPY

FAMILIESand the new LP, MANGETOUTto meseems a long time. Neil Arthur thinks thatis not too long a gap. "Ql.licker than a fewother bands. Elvis hasn't done muchsincehe died, "he jokes in exceedingly bad taste.Instead of an apology he adds, "I likedElvis, I still like him." 'MANGETOm" tooksix months longer than expected though, asthe extra time was taken to remix a coupleof tracks. There have been occasional liveappearances. WhenI state to Neil the bandhad seemed fairly quiet, he raises hisvoice, "bollocksl" and then hits me with alist of hit singles. ''Wehave to keepquiet between singles."

I was surprised when Blancmange tookthe pop charts by storm with Living On TheCeiling, followed by Waves. Neil issurprised everytime they get a single inthe charts. I think a lot of people will besurprised at the next single The Day BeforeYou Came. It is their ipte:r:p,retation ofAbba's minor hit, in '82. Neil thinks this

•....•• SOCIETY •.....•.

T-SHIRTS .••PVC JEANS •.CRAZY COLOUR •.STUDS •..PVC THINGS ..SUITS .....LO~D DRESSES AND EVEN.

LOUDER SHIRTS, AND ....OTHER SYMPTONS OF THIS

SIMON HcKAY

"Zeke and I are compatible obviously.John has an outlook for a solo career, sothere are no ego problems in the group.He is quite lazy though, but he has saidhe will work with O.J. when he does nothave his ownwork to attend to. It's allfairly democratic now•••• Things haveturned out well tor Orange Juice and 'WhatPresence' is a wonderful single."

WhenStephen and James were bootedfrom the original O.J. they were treatedas scapegoats. Edwynshows regret aboutthe way they were treated. He showscaution now when David and Malcolm are thetopic.

"The split didn't sadden me. Ithought it was really good. It's been amassive relief."

Edwynstresses that the more recent splitwas for different reasons. The problemthis time was not lack of corrmercialsuccess. Here's looking at the new band:

"No, they were all for a formal pressannouncement. Wedidn't want to publiciseit. I didn't want people to think O.J.were no more I saw it more as a parting ofways, and that, two membershad left. Itstill feels like Oranee Juice."

•

~ _ALterJaTtv~~1 FasHIoN

SEND S.A.E. FOR OUR HUGE

CATALOGUE OF CLOTHING

~ 'e>

~

The split was not announced officially.I heard a few rumours. It was obvious thatDavid am Malcolmwere working together onprojects that just were not Orange Juice.Was the press silence a moveon the recordcompa:ny's part; holding back with therelease of information so that it wouldcoincide with 'Texas Fever'?

John mentioned that he had alreadyrecorded some guitar for what Edwynhasdescribed as the third LP proper. As wellas the danger of John recording moregui tar, Foetus 'just popped into the studioand shit all over salmon Fishing. In NewYork, which just happened to be the trackon the mixing desk; deficating. This waswithout forrral arrangement, the same thingcould happen at a:ny time really.Describing the next release as the 'thirdLP proper' hardly compliments 'Texas Fever'and makes it sound rather improper. DoesEdwynreserve criticism tor it's existence?

"You have to remember it was recordedin the same period ot time when things weretraumatic and came to a head. WhenI listento it, it is evocative of that period oftime and the turmoil. I cannot listen to itobjectively, but I think it's a very goodalbum. The reason it is a mini is becauseot the split."

! .•.

44/46 High Bridge

Newcastle upon Tyne NEl 6BX

an excellent choice tor a sincle. "Tbe lyricsare brilliant, although we did change acouple at' linea."Siephen Luscombe enth1l88a on the idea ottaking an S.••.ed1eh pop group'. 80n& and.performing it in an um18ual way. "We'veus.d things you wouldn't .xp.ct. likeIndian 1nstnuDents. Th. combination worked.It'll a good attitude to take. Blancmange arenot trying to touch on Ind.1.a.n~8t1C. but areinspired by all the possible ne.••.approachesto what they are do1D.g.

"We don't pr.tend to understand it."H.n 1& really p1et. "We're looking all the

time and .xplor1ng, "Steph.n has a wch Illor.sober pre8enc ••••• but, in bounds Heil; "In a.en.e we're lapping it up, not in the .en.e thatwe're taking advantag •• We're 11.tenlog quitecaret'U11y, as we11•••• 80 how'. your bum tororacking walnut.?"

"D.1ra ManUka worked with the BeaU ••yeare earlier. "

"He didn't argue. Jleil."1'e. he did."

"B. worked. w1th George Harrhon""The BeaUe •• "

"Ceorge Harriaon."

"J.lrigb:\ whatever. "St.pben give. in.-rhe ditterence between Ol.lr interest &Ddaeorge Barrison'8 is hi. ext.nded. into thelIliTBtical and religious."

"Although not initially," Neil doesnot sound particularly smug.

"Our's does in an abstract sense,comparing the religions. On ll\Y part anyway,Hinduism, Islam and all the rest of them••••connect them all together and see them incontext of DUsic and culture and work intowhat l~e're doing."

"We're into prime evil scream at themomentand trying to find our five year oldselves."

"It's not just that.""I am."

"It's taking on a superficial levelwithout immersing ourselves in one aspector another, remaining on the outside andholding a clearer view."Blancmange's second single 'God's kitchen'comes to mind. That was about Stephen'sand Nei1's Christian upbringing and theirultimate rejection of it.

"Wecan stand later and laugh at it,but still feel respect. Religion is a verypotent force. It would no~ have lasted solong if it was inheritantly evil. Something.as powef'ful as', :i'Ei.l~PQncannot be condemned'•.It, and people a~' ba,sic;Ll1y good." . ,

BLANCMANGEAn eighteen month period between HAPPY

FAMILIESand the new LP, MANGETOUTto meseems a long time. Neil Arthur thinks thatis not too long a gap. "Ql.licker than a fewother bands. Elvis hasn't done muchsincehe died, "he jokes in exceedingly bad taste.Instead of an apology he adds, "I likedElvis, I still like him." 'MANGETOm" tooksix months longer than expected though, asthe extra time was taken to remix a coupleof tracks. There have been occasional liveappearances. WhenI state to Neil the bandhad seemed fairly quiet, he raises hisvoice, "bollocksl" and then hits me with alist of hit singles. ''Wehave to keepquiet between singles."

I was surprised when Blancmange tookthe pop charts by storm with Living On TheCeiling, followed by Waves. Neil issurprised everytime they get a single inthe charts. I think a lot of people will besurprised at the next single The Day BeforeYou Came. It is their ipte:r:p,retation ofAbba's minor hit, in '82. Neil thinks this

•....•• SOCIETY •.....•.

T-SHIRTS .••PVC JEANS •.CRAZY COLOUR •.STUDS •..PVC THINGS ..SUITS .....LO~D DRESSES AND EVEN.

LOUDER SHIRTS, AND ....OTHER SYMPTONS OF THIS

SIMON HcKAY

"Zeke and I are compatible obviously.John has an outlook for a solo career, sothere are no ego problems in the group.He is quite lazy though, but he has saidhe will work with O.J. when he does nothave his ownwork to attend to. It's allfairly democratic now•••• Things haveturned out well tor Orange Juice and 'WhatPresence' is a wonderful single."

WhenStephen and James were bootedfrom the original O.J. they were treatedas scapegoats. Edwynshows regret aboutthe way they were treated. He showscaution now when David and Malcolm are thetopic.

"The split didn't sadden me. Ithought it was really good. It's been amassive relief."

Edwynstresses that the more recent splitwas for different reasons. The problemthis time was not lack of corrmercialsuccess. Here's looking at the new band:

"No, they were all for a formal pressannouncement. Wedidn't want to publiciseit. I didn't want people to think O.J.were no more I saw it more as a parting ofways, and that, two membershad left. Itstill feels like Oranee Juice."

•

~ _ALterJaTtv~~1 FasHIoN

SEND S.A.E. FOR OUR HUGE

CATALOGUE OF CLOTHING

~ 'e>

~

The split was not announced officially.I heard a few rumours. It was obvious thatDavid am Malcolmwere working together onprojects that just were not Orange Juice.Was the press silence a moveon the recordcompa:ny's part; holding back with therelease of information so that it wouldcoincide with 'Texas Fever'?

John mentioned that he had alreadyrecorded some guitar for what Edwynhasdescribed as the third LP proper. As wellas the danger of John recording moregui tar, Foetus 'just popped into the studioand shit all over salmon Fishing. In NewYork, which just happened to be the trackon the mixing desk; deficating. This waswithout forrral arrangement, the same thingcould happen at a:ny time really.Describing the next release as the 'thirdLP proper' hardly compliments 'Texas Fever'and makes it sound rather improper. DoesEdwynreserve criticism tor it's existence?

"You have to remember it was recordedin the same period ot time when things weretraumatic and came to a head. WhenI listento it, it is evocative of that period oftime and the turmoil. I cannot listen to itobjectively, but I think it's a very goodalbum. The reason it is a mini is becauseot the split."

! .•.

I state that the law is based on thetne commandments.

Stephen's point was not as specific asthat, but he moves on to say, "Half of thosewere evil. They were based on an evil cult,and were due to certain conditions of thetime." Stephen's aggressive statementcontinues. ''The Jews weren't very nice.They destroyed half of Egypt and that's whythey were enslaved. It's not in the biblelike that, and has been distorted. Peoplereadily pick anything up in the book, thecreed." Stephen takes his information from~rious sources, and fits the correspondingpieces.

Back to Pope John Paul Arthur, so holyis lis answer when I ask him if he'sconscious of what is becoming a greatesthits set.

"You're a bit of a dogsbumwhen itcomes to asking questions. I'm going toreally fuckin lay into you now. Wecan'thelp having hits. That's why people cometo see us in the first place. We're doinghalf new and half' old."

I explain that what prompted thisparticular question was that when the PaleFountains toured to promote their debut LPthey played three songs from it. WouldBlancmange prefer to be playing more newsongs. Their set list has not changedgreatly in two and a half years."There are a few tracks we could not do liveon the LP, and the B side of 'Don't Tell Me'which I prefer to the A side."

"It's good to keep things like thatseparately," adds Stephen.

"It would be silly to attempt some ofthem live, with six people. If we reallywanted to do them we could get them on tape.You nade a point about there being a lot onsome of the earlier backing tapes, but we dohave a conscDus•••• I've got you now. Sorry,You've nade your point: One track on theLP featured 19 of mlfvoices. It would bepretty silly singing to a backing tape of18 of mlfvoices. Maybeon the next tourthough, I could explain it then."

Neil would not mind announcing it atevery date. Neil was not ready to do itthis time. ''Neither was Stephen •••• onlybecause he doesn't sing on it."

Blancmange do not have a shortage ofsongs though, despite the Abba cover version.MangeTout was taken from a short list ofthirty. The previous singles releases wereincluded by choice. While this informationwas sapped from Neil he unintentionallymentioned the material he writes for himself.He does admit to keep songs separate forhimself, and is sure Stephen does the same.He is not likely to give vent to any otherpackage of performance.

Neil's vocals are very straightforwardon quite a complex mix of simple sounds."It's not complicated music that's thebeauty of it, and what I really like about it,because it's so honest." The lyrics of My

Baby are intentionally as obnoxious and ascliched as possible. Part of it is purelybanter. Very Paul Youngish I thought.

"Poor Paul, we knew what we were doing,"stabs Neil.

Blancmange have always had a remarkableamount of stage presence even as a duo. Nowthere are six, they are more relaxed. Stephenstill has momentsof sheer terror when he isnot playing anything, he relieves himself. bystudying his echo level monitor, as thoughit's flicker mattered. Neil meanwhile, has afixation with EXIT signs. "Stephen used tolook at me, that really worried me. I wouldlook at him, and he would be worried. Iion't look at the people on the front now~s much as I would like to while I am singing.In between singing I can block out the lights~d see what is going on."

WhenNeil waves at the audience,fifteen peoPte in one area claim 'he waswaving at me, and wave back. Neil is nottaking the piss though when he looks oneway and waves another •••• not muchurineanyway. The notes passed to him onstageIII1st be pretty kinky though. "Not for me,"snaps Neil ascerting his kinky standards.The mark the band have been wearing ontheir foreheads, on stage is not part of asexual ritual. It means simply, good luck.Neil delDOnstrates, tapping me there hardenough for me to feel justified in callinghim 'bastid'. Neil BUmSup what he likesabout me though. "You're so easy to havea go at, you encourage it." I did notwish to marry him, though. Whowould wishto be Neil pecked? ••• poor Paul'(Young)said Neil. Poor Stephen, more to the point.

Sn~ON McK,".Y

S?1t17~SWhenThis Charming Manhad just been

released, Morrissey was finding reactionto it very agreeable. "Things seem to growweekly, which is a very nice feeling. Butobviously we have our sights set on something very high. Wehave the maximumfaithin everything we do."

The Smiths signed to RoughTrade awareof how manygroups sign to lIBjors anddisappear instantly without a scream. RoughTrade have proved, that they are not a drawback.

ESN: Whynot have signed to Factory?

M: There is a time for a different anglefrom Manchester. Wecould have joined theFactory throng and we would have possiblybeen just filed and forgot ton, because theillBge of Factory as a record company issimply so large that you have to standbehind it. I think it was time for adifferent angle and take a different route.Wewere approached by lIBnymajors but RoughTrade were just a very comfortable alternative.It's really crucial to us to remainfollowing our path in every direction. Atthe end of the day, if it is not ourproduct it has no worth.

ESN: With success, are you coerced byyour public?

M: Perhaps, but we feel in everything wedo we just really try to please ourselveswhich doesn't have to be inverted orpleasant, but that's the attitude we have.Wehave to please ourselves, otherwiseeverything has no value. Really we willjust follow our hearts and do what we wantto do. We're really quite lucky, I suppose,that we'll find lots of triends.Wehave no unpleasantness or violence inany direction. As people turn to gigstheir attitude seems to change••••• Theybecome very peaceful individuals so Ithink we have a very positive effect onpeople, even though the lyric isn'talways that positive.

There was an attempt in '83 by adaily paper to throw the Smiths lyricsback at them, coupled with a 'paedophiliaaccusation'. It was played up enormously,but knowing it came from one unpleasantsource showed it was all desperatelyfabricated, which relaxed us.

I have ~lways had a very surefootedattitude, but it is often construed asarrogant. Weknow exactly what we wantand exactly how we can get it. It's notblind ambition, we don't want to _stepeople's time in idle boasts but I thinkyou ha.;e~is very strong attitude othez-

wise people just think you are wishywashy. If you are weak, you will go downand you will suffer.

ESN: Do you all feel this way?

M: Weall have a very dissimilar modeof.thinking but it's very general, and strongdetermination in every manner.

Morrissey has been interested inpopular IlI1sic since he was five yearsold."We a.re all very interested in IIUsic.Lyrically, the things that stir me mustcome from literature - I feel music andli terature can be combined•••• there isa style of thinking so rarely expressedin popular music which I think we have.Lyrically there has always been a veryrigid guideline and I think it's time theydid. It doesn't have to be dangerous, it'sjust a forthright way of thinking.

~: was This Charming Maninspired byliterature?

M: Not really. It's just a particularattitude that I believe has to be pushedforward. To me there's a great deal ofirony and humour in it. The whee ideaof being charming and handsomeand havinga very positive attitude. Music has beendevoid of that because pop music has beenso depressed and inverted. Everythinghas been so sterile. The whole idea ofencouraging charm is the but thing thatanybody can do at the molllUlt.

ESN: With such instant wcce •• , won't yoube knocked down just as quickly'?

M: I don't know any artist who ha. beanliked by every single individual.ObViously that will happen, that's ju.tthe way life is. I find prediction. a~tthe future is all kind of futile emotion.and futile worries. What happens will bebecause we are so strong willed and beOAQ ••

musically we are at a. very introductorystage. Wewill be very strong.

I state that the law is based on thetne commandments.

Stephen's point was not as specific asthat, but he moves on to say, "Half of thosewere evil. They were based on an evil cult,and were due to certain conditions of thetime." Stephen's aggressive statementcontinues. ''The Jews weren't very nice.They destroyed half of Egypt and that's whythey were enslaved. It's not in the biblelike that, and has been distorted. Peoplereadily pick anything up in the book, thecreed." Stephen takes his information from~rious sources, and fits the correspondingpieces.

Back to Pope John Paul Arthur, so holyis lis answer when I ask him if he'sconscious of what is becoming a greatesthits set.

"You're a bit of a dogsbumwhen itcomes to asking questions. I'm going toreally fuckin lay into you now. Wecan'thelp having hits. That's why people cometo see us in the first place. We're doinghalf new and half' old."

I explain that what prompted thisparticular question was that when the PaleFountains toured to promote their debut LPthey played three songs from it. WouldBlancmange prefer to be playing more newsongs. Their set list has not changedgreatly in two and a half years."There are a few tracks we could not do liveon the LP, and the B side of 'Don't Tell Me'which I prefer to the A side."

"It's good to keep things like thatseparately," adds Stephen.

"It would be silly to attempt some ofthem live, with six people. If we reallywanted to do them we could get them on tape.You nade a point about there being a lot onsome of the earlier backing tapes, but we dohave a conscDus•••• I've got you now. Sorry,You've nade your point: One track on theLP featured 19 of mlfvoices. It would bepretty silly singing to a backing tape of18 of mlfvoices. Maybeon the next tourthough, I could explain it then."

Neil would not mind announcing it atevery date. Neil was not ready to do itthis time. ''Neither was Stephen •••• onlybecause he doesn't sing on it."

Blancmange do not have a shortage ofsongs though, despite the Abba cover version.MangeTout was taken from a short list ofthirty. The previous singles releases wereincluded by choice. While this informationwas sapped from Neil he unintentionallymentioned the material he writes for himself.He does admit to keep songs separate forhimself, and is sure Stephen does the same.He is not likely to give vent to any otherpackage of performance.

Neil's vocals are very straightforwardon quite a complex mix of simple sounds."It's not complicated music that's thebeauty of it, and what I really like about it,because it's so honest." The lyrics of My

Baby are intentionally as obnoxious and ascliched as possible. Part of it is purelybanter. Very Paul Youngish I thought.

"Poor Paul, we knew what we were doing,"stabs Neil.

Blancmange have always had a remarkableamount of stage presence even as a duo. Nowthere are six, they are more relaxed. Stephenstill has momentsof sheer terror when he isnot playing anything, he relieves himself. bystudying his echo level monitor, as thoughit's flicker mattered. Neil meanwhile, has afixation with EXIT signs. "Stephen used tolook at me, that really worried me. I wouldlook at him, and he would be worried. Iion't look at the people on the front now~s much as I would like to while I am singing.In between singing I can block out the lights~d see what is going on."

WhenNeil waves at the audience,fifteen peoPte in one area claim 'he waswaving at me, and wave back. Neil is nottaking the piss though when he looks oneway and waves another •••• not muchurineanyway. The notes passed to him onstageIII1st be pretty kinky though. "Not for me,"snaps Neil ascerting his kinky standards.The mark the band have been wearing ontheir foreheads, on stage is not part of asexual ritual. It means simply, good luck.Neil delDOnstrates, tapping me there hardenough for me to feel justified in callinghim 'bastid'. Neil BUmSup what he likesabout me though. "You're so easy to havea go at, you encourage it." I did notwish to marry him, though. Whowould wishto be Neil pecked? ••• poor Paul'(Young)said Neil. Poor Stephen, more to the point.

Sn~ON McK,".Y

S?1t17~SWhenThis Charming Manhad just been

released, Morrissey was finding reactionto it very agreeable. "Things seem to growweekly, which is a very nice feeling. Butobviously we have our sights set on something very high. Wehave the maximumfaithin everything we do."

The Smiths signed to RoughTrade awareof how manygroups sign to lIBjors anddisappear instantly without a scream. RoughTrade have proved, that they are not a drawback.

ESN: Whynot have signed to Factory?

M: There is a time for a different anglefrom Manchester. Wecould have joined theFactory throng and we would have possiblybeen just filed and forgot ton, because theillBge of Factory as a record company issimply so large that you have to standbehind it. I think it was time for adifferent angle and take a different route.Wewere approached by lIBnymajors but RoughTrade were just a very comfortable alternative.It's really crucial to us to remainfollowing our path in every direction. Atthe end of the day, if it is not ourproduct it has no worth.

ESN: With success, are you coerced byyour public?

M: Perhaps, but we feel in everything wedo we just really try to please ourselveswhich doesn't have to be inverted orpleasant, but that's the attitude we have.Wehave to please ourselves, otherwiseeverything has no value. Really we willjust follow our hearts and do what we wantto do. We're really quite lucky, I suppose,that we'll find lots of triends.Wehave no unpleasantness or violence inany direction. As people turn to gigstheir attitude seems to change••••• Theybecome very peaceful individuals so Ithink we have a very positive effect onpeople, even though the lyric isn'talways that positive.

There was an attempt in '83 by adaily paper to throw the Smiths lyricsback at them, coupled with a 'paedophiliaaccusation'. It was played up enormously,but knowing it came from one unpleasantsource showed it was all desperatelyfabricated, which relaxed us.

I have ~lways had a very surefootedattitude, but it is often construed asarrogant. Weknow exactly what we wantand exactly how we can get it. It's notblind ambition, we don't want to _stepeople's time in idle boasts but I thinkyou ha.;e~is very strong attitude othez-

wise people just think you are wishywashy. If you are weak, you will go downand you will suffer.

ESN: Do you all feel this way?

M: Weall have a very dissimilar modeof.thinking but it's very general, and strongdetermination in every manner.

Morrissey has been interested inpopular IlI1sic since he was five yearsold."We a.re all very interested in IIUsic.Lyrically, the things that stir me mustcome from literature - I feel music andli terature can be combined•••• there isa style of thinking so rarely expressedin popular music which I think we have.Lyrically there has always been a veryrigid guideline and I think it's time theydid. It doesn't have to be dangerous, it'sjust a forthright way of thinking.

~: was This Charming Maninspired byliterature?

M: Not really. It's just a particularattitude that I believe has to be pushedforward. To me there's a great deal ofirony and humour in it. The whee ideaof being charming and handsomeand havinga very positive attitude. Music has beendevoid of that because pop music has beenso depressed and inverted. Everythinghas been so sterile. The whole idea ofencouraging charm is the but thing thatanybody can do at the molllUlt.

ESN: With such instant wcce •• , won't yoube knocked down just as quickly'?

M: I don't know any artist who ha. beanliked by every single individual.ObViously that will happen, that's ju.tthe way life is. I find prediction. a~tthe future is all kind of futile emotion.and futile worries. What happens will bebecause we are so strong willed and beOAQ ••

musically we are at a. very introductorystage. Wewill be very strong.

SIHON McKAY

Bourgie Bourgie claimed to have the

democracy of 'what I say goes'. What wi 11MCA Records say to Bourgie Bourgie?

Kei th is about to start up again, pauses

realising how easily he has been wound up,and cooly continues "Yes we do enjoyworking in the studio ••• " Keith resents

being expected to sxplain himself becausehs is in a band.

"Entertainers often have to," notes Paul.

Paul injects in a lighter tone, "Trulysubvereive."

Michael continues, "It is up to you to

convince anybody around you. It is in yourinterests."

Michael responds, "You are responsible to

the people you like. The things you think

are wrong you should try and destroy," with

a lIlOremodest opinion.

I fusl them, 'What if you are in the

minority? If you take yourself so seriously?You will lead a very frustrated life.

thriving on simpliCity. Their views

differed to the point of confrontation, withthe merest catalystic blink from ~self.

Keith sees himself as having responsibilities

as a citizen, and responsibilities tosociety.

~~

ESN 6ORANGE JUICE, MONOCHROME SET,UNDERTONES, SPEAR OF DESTINY,SEX GANG CHILDREN,BELLE STARSALARM, BLACK, FARMERS BOYS,THOMPSON TV'INS.

BACKISSUES

ESN 4BUNNYMEN, SIMPLE MINDS, ~AlOO,GANG OF FOUR, ROMAN HOLLIDAY,KISSING THE PINK, BLUEBELLS,OK JIVE, FASHION, BELLE STARS,CHINA CRISI~, THE DAINTEES

ESN 5U.i!, 'l'RAC:2Y THORN, bt;:\);','HEN,T~IOMPSON TV,'INS, SOUTHERN DEA",CULT, AZTEC CAMERA, HIGSON', .HAZEL O'CONNOR, PIGBAG.Halla. ill realistic a.bout the tact that

they got 'to mllDber 4 in the indepd.end.e.ntcharts, and that yeu bave to .ell 40,000 a..,eek to get in the top 50. "If..,. haveany aiJa at all it is to see it through tothe largest possible public. We don't haveto cOll1)romise. Just pick. the right ord.rot singles to represent tbe band."

fac. vi th the preefNre ot a reoord co~1. that they eo.ti.a talce apa to get aonc.together. Hallalll told IM of the corapari~nb.tw •• a aOll« DO"ifand a rough tape at ittwo ,.." &«0. You rtay have all your liteto writ. your tir'at lP, .,.be .ix IDOI1th.towrit. th. a&coM, md it ba.a to be better.-V.'.- got the .ter1al, ..,. 0Nl do 1t.J.rT7 18 in .01. control ot the l1rlc.. WeC&Ilall contribute a bit to lbe ::ualc. Ki.lyriC. are escellent, we can't tAmper withtheID; no point. He ba. a atron« id ••. ot..,bat songs should and abould Dot 'be abau.t.Qul't8 ott_ "'a get 80me good hAlt tonnedsonp. It b. doesn't get the lyrlc., theyare dropped. In.vitably it's wortb it, Il1lce to th..i.nk that everythin& that doea goout is •• really good aoD.«. All the \lta1throu&h •••• every part i. at a song thatll'IlIanssOlDethiD«, and not juat a nice tune.••.ith a blab ov.r the top at it. Jerrylistens to the sonp, goes attay to "'ork igeta aD idea and eomea back."

GUITARSRED

Hallam says they are pleaea.ntlysurprised at the way people have war.ned. tother.l. Th. Smiths invited. them to supporton what was considered the most prestigiousand eenetieial tour in five years. Much tothe S;niths' credit they turned down largebribes trom maJor companiel trying to breaktheir bands. Th. Red Cui tars were losingmoney on each date. [,100 tor .even peoplea night did not cover e%pen•• s, although the1081 vas an inveatment, they could not quiteeee it through. Tbe Smiths were ertrelMlycooperattve. Tbe Red Cuitara .••.ere allowedtull use ot the light. P.,l. and roadcre..,.

Tbe Red Guitare have opted tor a veryind.ependent approach. They released 'CoodTechnolos;y' and 'F&.ct' 'themeelv... Red.Rhino were u •• d tor dhtribu.tion.

"Their 1nvolve:!.mt .,... paadve, tbeydon't go out and. pueh a record. They werekeen on the recorda, more eo on't'acH Tb.,.wound people up at the right time," say.Ballae lAwh, guitariat vith the 't:and. Th.Red Cuitars are the record company. Theycould not aCCord pluggers or ad•• in thelIl1eic papare. "POrtun:ltely the record. ~ldthem•• lves, lIfhich is how it should. be."

It the Red..Cuitara .••.•re not trying tob. ind.ependent the cash advance ot a recordco~ would. have enabled them to finishthe tour. There was not even a currentrecord out tor th.m to promote. The t .••.o.ingle. we,.. to be put togotber witb the SI J-.! 0 N tJl C K I,. V

addition ot 'Paris Prance'. They could not "'. ~ ~ r. .•.. ES N 7finhh satiatactory recordi.np in time.

Hall •••• appreciated the benetit. ot the A ZTEC CAMERA, DEPECHE ~lODE,

~~qu=~~b:,,~;~n~~i:a,.: ~b S~h;,:~~~:' IIICRODISlIEf- EVEllBOD! IS FAN'I'ASTIC BIG COUNTRY, ALARM, HURRAH,the,point tbat they both put paBBion into the EYELESS IN GAZA, BEN I,' ATT,

""ne. It co~~: :c~t~~~i~/~:~'~~e:tr~1ng'SOPHISTICA'!'ED BOOM BOOM, JOOLZ,The Red Cuita,.. pride themaelve. tbat .leeve note. (aM you can road tbe= tor NE." HODEL ARMY, CHERRY BOYS,

they bave negotiated tor .verything they yeurs.lt) .raphaaia. ho.., ..,idely ace.uibh the PAUL YOUNG.have, and they do not bav. a ~r. band teel they are. The sound is spa-res, &Dd"W.'re nert cookies." 8&y_Rallamaa he exc •• alvely pleasant at times. Th. dNlll AVAILABLE AT 40p EACH (INC. P.)"ll •••• ot the najor d&ale the _ bave eound 10 particul.rly .tandard. and uninviting. WRIT" TO ECCENTRIC SLEEVE NOTEStumed down. "We ,,",re not beinc greedy Tb. nude lends itaelt to more. f"""

but we """t a very largo degree ot coo.t:"'l SEE PAGE 2, FOR OFFICE ADDRESS.a. to hOW'the mone,. h apent. COlD8the time Th. lyrics are v.ry .toryiah •••• P.t.r .we'll do a goocl d•• l. Witb a co~ wbo •••.•••aid, Jane looked. 1I0re likely to be an LP ESN COPYRIGHT production ofu. enou811." One p•.••ble= they would have to than a novel though. any material is forbidden.

Bourgie Bourgie had quite an orthodox

approach. Back to basic, individual styles.

The members had orthodox styles, although

they were quite different. They complimented

one another. The songs became economical,

Paul Quinn is now pursuing a career

as a singer, as opposed to being a bandmember. It all seems quite rellBrkable.

Singers usually havs a few hits, decide

they are the value of group and leave.

It usually takes a few years for peopleto realise that their musical differences

are a problem.

'Breaking Point' was almost a hit for,

Bourgie Bourgie. 'Careless' was not.Paul Quinn claims that there is always a

lIBrket for Bowie impersonators. 'Paul is

such an Edwyn. Paul stretches his voice

fUrther, the basic sound is similar,

similar lips, quips. So apt, the release

of Pale Blue EYes.

PALE FOUNTAINS(p.S)

On. :ninute he cwldA't wait to get out otthe door, the neX'\ 'W. couldn't get rid othim." Qu,ite a lot ot time .e ••• to bespent doing vamu. 1.nten'1e...... Th.,.occaaiona.lly do a da,y at 1Dtervie"'. 1.a thehotel next to the record. co~. Th.hotel ha, •• 24 hour bar. Interviewingstart. abou.t 10 •••• 'rh. drinka Iee.pcolll1.n«&Dd.by the at"ternoon the Pale '.atind the".slv •• ab-olut.ly blad.d..red. ••••and. a little ..,ithout OOllll)OlIU.l'e.In walk.the atereotype BoD.«~n« man, accord.1.ngto 1enD,1'E'wirett, &Dd.that jun kUlsthem•••• hie peraiate.nt bow1n«. Cur1cnul,y-.n0l.l8b 'TbaNc Tou' li(l&. no.1 in Rone ICongtor tive ..,eeka, &:14 no.1 in South J..tricaa1 eo_ point.

f'le POunta1n. t.l t like atocJcin«till •••• 'C.be.nthey joined. Culture Club &:od.tn. Siq)le Jti.nd. on a day ot Japan.sepublic relationa in 1.oDclon. Chris, "Butthey kne. ua by na-l Th.y b&d.to have aninterpreter. .••• w.re sure they ..,ere laying'get the.. b&ld1ea ott'."They sa,. 'they love your nusic, &nd ..,hen",111 you co_ and play in Japan", accordin«'to tbe int.rpret.r.

The ~le 1ount.ains vill nevsr be v.rytight live. it ia by choic ••••• practi ••lo •• e enthu.iasm. They ..,ill always tallund.r so•• cri tiC1s1l tor that. Sod. it, 1tis the b.at \ltay.

sn~OH tkK.:.Y

MIGHTY WAH! (p8)When you. are starting a band,

;rou. are I10t aware ot the nusic bu..ine •• 10Y'O'lare not bothered about it. You are inthe mate buaineea tor three IIIOntha, and.10\1 .et the NXEaD1 all that &Di they putall the ideas that YOJ.are suppoeec1 tocarry aut a orueacl. a.gauuJt the au.icbuaine.s, Wich distracts ;you t'rom ~re1lIlporta.Dt tbing'B. Tb••..• are tbinge I ohoW.dbave bel!lll1 doi.n,g all alon« ..,hleb I driftedtrom., 10'1 mo"'. I t••l nov that 1't'.coaing atraight. 1'ba't's ~ i't 1. The11gh'tJ" Wahl W. have alwaJ1l called. it Th.11&bty Waht bu't ne'Y'llr had it in print. Bllt1't'a 8'traight now, it b the right tillS.BaT1Ag done tMs, we have cleared a lot atthe sMt Ol1t at our attitudes a.od. oth.rpeopl.' IS attitudes a.nd sorted. out aprototype way tOnRLrd.. Not rul.e. but aaet of etand.arde. Th1.Age"'. ",on't let,.1. in our ",ay. We bave sorted all thatebit out .0 X think the next stutf ",u 1be eaoier to bring out.

No'" Th. )U«My W.hl are concentratingon elearing up any m1aconceptions peoplehav. h ad. Und..r the come back c1rcu_taneeaa COllllll8ntof optimism waa A sign, altboughlMde a fe'" w.eks b.fore 'COID8Back'. rel.as ••

"People M,.ing one bit "'onders and all thatcrap, but w • ..,ill prove to people this year ••The re", people who had faith; the faith "Ulbe ju.tit'ied." .

~,·VIT) r1."·~~'T'nT

SMITHS (pIS)C)N: What ot the oOJr1)&rhonebet"'.en ,TOUrnude and tbat ot' the sixtie.?

I: Th.re ..,Ul always b. labela, the "holethine n1!IJc•• lite •• a1er. I oan sillplystand. up and. retute them. What doee it1DNon,the sixtiea? I don't kno".

!Sf t Do 1'0\1 r8ll'*l'Ib.r thelll?

)(1 I am 24. I •.•• a ohild ot the .1rli •••I vaa a very •.• re ohild. I aa d.ep rooted.in the .irth., but X'. Dot a nost&le10treak in &n1'direot10n. I think people.till have the same interest. and t ••.n.We ahould not look back on the a1xt1e. a.

W1tb the ambition ot rHCbiD« as ~people •.• possible ..• alar •• ambitlon; m.a.tlorrieae)" •••• tb •• doine it. Tbe,. vant toattack :)very'th.tnc, exploit e•• r,-iht.nc aDd.app_r on Cb.a-n PlaT' Pop, beoau.e it1. the" to b. ut1111ed. It ehO\lldn't bel.t't to p.ople 11Jc.eModem 8o-.ooe andBcnm1e Tyler.

"\A. VI l' Ht PTIN

J'tOAT UP C.P. - JOT'S ADDRESS

Thh 1. buioally th;e MW Rip Ri« ADd.Puio. It 1. hlrl,J inall11n.c. A. a danoerecord it la not oluttered and. leav •• alittle .c)re to the l_.1D&Uon and. roo. torexpn,.ion.

Where

Paul Quinnfinish the

the idea.

is out.

does this leave Bourgie Bourgie?is still under contract to

LP. He does not seem crazy about

Personal promotion of the product

ENERYTHING Bur THE GI RL - EDm

The feel is natural and flowing. It

draws on various styles without being narrow

or copyist. Elien is not particularly twee,but never abrasive. The scope between

extremes is broad enough. Tracey claims the

bite is in the lyrics. They are precise,

and leave little doubt as to which way the

teeth are barbed. Tracey's lyrical style

has changed radically, and has lost it's

rdrea~ doesn't make sense to everybody'

quaE ty. Tender Blue shows two sides of

the bed, it must surely stand in line as a

BBC Play Fbr Today script. Generally the

lyrics are more concerned with life andlove after rOllBnce. ROllBnce is the aspect

bands usually concentrate on. The lyrics

on Eden could. prop up any Country and

Western publisher; amongst the songs ofdivorce.

Ben plays a noteable organ, which

particularl;}· suits Frost And Fire. Tracey

or Ben sing the vocal that suits them. Aswell as their guitars there are additional

instrument B inc luding brass.

Some of the songs pass me by, but

overall the collection is impressive.

SIHON McKAY

Bourgie Bourgie claimed to have the

democracy of 'what I say goes'. What wi 11MCA Records say to Bourgie Bourgie?

Kei th is about to start up again, pauses

realising how easily he has been wound up,and cooly continues "Yes we do enjoyworking in the studio ••• " Keith resents

being expected to sxplain himself becausehs is in a band.

"Entertainers often have to," notes Paul.

Paul injects in a lighter tone, "Trulysubvereive."

Michael continues, "It is up to you to

convince anybody around you. It is in yourinterests."

Michael responds, "You are responsible to

the people you like. The things you think

are wrong you should try and destroy," with

a lIlOremodest opinion.

I fusl them, 'What if you are in the

minority? If you take yourself so seriously?You will lead a very frustrated life.

thriving on simpliCity. Their views

differed to the point of confrontation, withthe merest catalystic blink from ~self.

Keith sees himself as having responsibilities

as a citizen, and responsibilities tosociety.

~~

ESN 6ORANGE JUICE, MONOCHROME SET,UNDERTONES, SPEAR OF DESTINY,SEX GANG CHILDREN,BELLE STARSALARM, BLACK, FARMERS BOYS,THOMPSON TV'INS.

BACKISSUES

ESN 4BUNNYMEN, SIMPLE MINDS, ~AlOO,GANG OF FOUR, ROMAN HOLLIDAY,KISSING THE PINK, BLUEBELLS,OK JIVE, FASHION, BELLE STARS,CHINA CRISI~, THE DAINTEES

ESN 5U.i!, 'l'RAC:2Y THORN, bt;:\);','HEN,T~IOMPSON TV,'INS, SOUTHERN DEA",CULT, AZTEC CAMERA, HIGSON', .HAZEL O'CONNOR, PIGBAG.Halla. ill realistic a.bout the tact that

they got 'to mllDber 4 in the indepd.end.e.ntcharts, and that yeu bave to .ell 40,000 a..,eek to get in the top 50. "If..,. haveany aiJa at all it is to see it through tothe largest possible public. We don't haveto cOll1)romise. Just pick. the right ord.rot singles to represent tbe band."

fac. vi th the preefNre ot a reoord co~1. that they eo.ti.a talce apa to get aonc.together. Hallalll told IM of the corapari~nb.tw •• a aOll« DO"ifand a rough tape at ittwo ,.." &«0. You rtay have all your liteto writ. your tir'at lP, .,.be .ix IDOI1th.towrit. th. a&coM, md it ba.a to be better.-V.'.- got the .ter1al, ..,. 0Nl do 1t.J.rT7 18 in .01. control ot the l1rlc.. WeC&Ilall contribute a bit to lbe ::ualc. Ki.lyriC. are escellent, we can't tAmper withtheID; no point. He ba. a atron« id ••. ot..,bat songs should and abould Dot 'be abau.t.Qul't8 ott_ "'a get 80me good hAlt tonnedsonp. It b. doesn't get the lyrlc., theyare dropped. In.vitably it's wortb it, Il1lce to th..i.nk that everythin& that doea goout is •• really good aoD.«. All the \lta1throu&h •••• every part i. at a song thatll'IlIanssOlDethiD«, and not juat a nice tune.••.ith a blab ov.r the top at it. Jerrylistens to the sonp, goes attay to "'ork igeta aD idea and eomea back."

GUITARSRED

Hallam says they are pleaea.ntlysurprised at the way people have war.ned. tother.l. Th. Smiths invited. them to supporton what was considered the most prestigiousand eenetieial tour in five years. Much tothe S;niths' credit they turned down largebribes trom maJor companiel trying to breaktheir bands. Th. Red Cui tars were losingmoney on each date. [,100 tor .even peoplea night did not cover e%pen•• s, although the1081 vas an inveatment, they could not quiteeee it through. Tbe Smiths were ertrelMlycooperattve. Tbe Red Cuitara .••.ere allowedtull use ot the light. P.,l. and roadcre..,.

Tbe Red Guitare have opted tor a veryind.ependent approach. They released 'CoodTechnolos;y' and 'F&.ct' 'themeelv... Red.Rhino were u •• d tor dhtribu.tion.

"Their 1nvolve:!.mt .,... paadve, tbeydon't go out and. pueh a record. They werekeen on the recorda, more eo on't'acH Tb.,.wound people up at the right time," say.Ballae lAwh, guitariat vith the 't:and. Th.Red Cuitars are the record company. Theycould not aCCord pluggers or ad•• in thelIl1eic papare. "POrtun:ltely the record. ~ldthem•• lves, lIfhich is how it should. be."

It the Red..Cuitara .••.•re not trying tob. ind.ependent the cash advance ot a recordco~ would. have enabled them to finishthe tour. There was not even a currentrecord out tor th.m to promote. The t .••.o.ingle. we,.. to be put togotber witb the SI J-.! 0 N tJl C K I,. V

addition ot 'Paris Prance'. They could not "'. ~ ~ r. .•.. ES N 7finhh satiatactory recordi.np in time.

Hall •••• appreciated the benetit. ot the A ZTEC CAMERA, DEPECHE ~lODE,

~~qu=~~b:,,~;~n~~i:a,.: ~b S~h;,:~~~:' IIICRODISlIEf- EVEllBOD! IS FAN'I'ASTIC BIG COUNTRY, ALARM, HURRAH,the,point tbat they both put paBBion into the EYELESS IN GAZA, BEN I,' ATT,

""ne. It co~~: :c~t~~~i~/~:~'~~e:tr~1ng'SOPHISTICA'!'ED BOOM BOOM, JOOLZ,The Red Cuita,.. pride themaelve. tbat .leeve note. (aM you can road tbe= tor NE." HODEL ARMY, CHERRY BOYS,

they bave negotiated tor .verything they yeurs.lt) .raphaaia. ho.., ..,idely ace.uibh the PAUL YOUNG.have, and they do not bav. a ~r. band teel they are. The sound is spa-res, &Dd"W.'re nert cookies." 8&y_Rallamaa he exc •• alvely pleasant at times. Th. dNlll AVAILABLE AT 40p EACH (INC. P.)"ll •••• ot the najor d&ale the _ bave eound 10 particul.rly .tandard. and uninviting. WRIT" TO ECCENTRIC SLEEVE NOTEStumed down. "We ,,",re not beinc greedy Tb. nude lends itaelt to more. f"""

but we """t a very largo degree ot coo.t:"'l SEE PAGE 2, FOR OFFICE ADDRESS.a. to hOW'the mone,. h apent. COlD8the time Th. lyrics are v.ry .toryiah •••• P.t.r .we'll do a goocl d•• l. Witb a co~ wbo •••.•••aid, Jane looked. 1I0re likely to be an LP ESN COPYRIGHT production ofu. enou811." One p•.••ble= they would have to than a novel though. any material is forbidden.

Bourgie Bourgie had quite an orthodox

approach. Back to basic, individual styles.

The members had orthodox styles, although

they were quite different. They complimented

one another. The songs became economical,

Paul Quinn is now pursuing a career

as a singer, as opposed to being a bandmember. It all seems quite rellBrkable.

Singers usually havs a few hits, decide

they are the value of group and leave.

It usually takes a few years for peopleto realise that their musical differences

are a problem.

'Breaking Point' was almost a hit for,

Bourgie Bourgie. 'Careless' was not.Paul Quinn claims that there is always a

lIBrket for Bowie impersonators. 'Paul is

such an Edwyn. Paul stretches his voice

fUrther, the basic sound is similar,

similar lips, quips. So apt, the release

of Pale Blue EYes.

PALE FOUNTAINS(p.S)

On. :ninute he cwldA't wait to get out otthe door, the neX'\ 'W. couldn't get rid othim." Qu,ite a lot ot time .e ••• to bespent doing vamu. 1.nten'1e...... Th.,.occaaiona.lly do a da,y at 1Dtervie"'. 1.a thehotel next to the record. co~. Th.hotel ha, •• 24 hour bar. Interviewingstart. abou.t 10 •••• 'rh. drinka Iee.pcolll1.n«&Dd.by the at"ternoon the Pale '.atind the".slv •• ab-olut.ly blad.d..red. ••••and. a little ..,ithout OOllll)OlIU.l'e.In walk.the atereotype BoD.«~n« man, accord.1.ngto 1enD,1'E'wirett, &Dd.that jun kUlsthem•••• hie peraiate.nt bow1n«. Cur1cnul,y-.n0l.l8b 'TbaNc Tou' li(l&. no.1 in Rone ICongtor tive ..,eeka, &:14 no.1 in South J..tricaa1 eo_ point.

f'le POunta1n. t.l t like atocJcin«till •••• 'C.be.nthey joined. Culture Club &:od.tn. Siq)le Jti.nd. on a day ot Japan.sepublic relationa in 1.oDclon. Chris, "Butthey kne. ua by na-l Th.y b&d.to have aninterpreter. .••• w.re sure they ..,ere laying'get the.. b&ld1ea ott'."They sa,. 'they love your nusic, &nd ..,hen",111 you co_ and play in Japan", accordin«'to tbe int.rpret.r.

The ~le 1ount.ains vill nevsr be v.rytight live. it ia by choic ••••• practi ••lo •• e enthu.iasm. They ..,ill always tallund.r so•• cri tiC1s1l tor that. Sod. it, 1tis the b.at \ltay.

sn~OH tkK.:.Y

MIGHTY WAH! (p8)When you. are starting a band,

;rou. are I10t aware ot the nusic bu..ine •• 10Y'O'lare not bothered about it. You are inthe mate buaineea tor three IIIOntha, and.10\1 .et the NXEaD1 all that &Di they putall the ideas that YOJ.are suppoeec1 tocarry aut a orueacl. a.gauuJt the au.icbuaine.s, Wich distracts ;you t'rom ~re1lIlporta.Dt tbing'B. Tb••..• are tbinge I ohoW.dbave bel!lll1 doi.n,g all alon« ..,hleb I driftedtrom., 10'1 mo"'. I t••l nov that 1't'.coaing atraight. 1'ba't's ~ i't 1. The11gh'tJ" Wahl W. have alwaJ1l called. it Th.11&bty Waht bu't ne'Y'llr had it in print. Bllt1't'a 8'traight now, it b the right tillS.BaT1Ag done tMs, we have cleared a lot atthe sMt Ol1t at our attitudes a.od. oth.rpeopl.' IS attitudes a.nd sorted. out aprototype way tOnRLrd.. Not rul.e. but aaet of etand.arde. Th1.Age"'. ",on't let,.1. in our ",ay. We bave sorted all thatebit out .0 X think the next stutf ",u 1be eaoier to bring out.

No'" Th. )U«My W.hl are concentratingon elearing up any m1aconceptions peoplehav. h ad. Und..r the come back c1rcu_taneeaa COllllll8ntof optimism waa A sign, altboughlMde a fe'" w.eks b.fore 'COID8Back'. rel.as ••

"People M,.ing one bit "'onders and all thatcrap, but w • ..,ill prove to people this year ••The re", people who had faith; the faith "Ulbe ju.tit'ied." .

~,·VIT) r1."·~~'T'nT

SMITHS (pIS)C)N: What ot the oOJr1)&rhonebet"'.en ,TOUrnude and tbat ot' the sixtie.?

I: Th.re ..,Ul always b. labela, the "holethine n1!IJc•• lite •• a1er. I oan sillplystand. up and. retute them. What doee it1DNon,the sixtiea? I don't kno".

!Sf t Do 1'0\1 r8ll'*l'Ib.r thelll?

)(1 I am 24. I •.•• a ohild ot the .1rli •••I vaa a very •.• re ohild. I aa d.ep rooted.in the .irth., but X'. Dot a nost&le10treak in &n1'direot10n. I think people.till have the same interest. and t ••.n.We ahould not look back on the a1xt1e. a.

W1tb the ambition ot rHCbiD« as ~people •.• possible ..• alar •• ambitlon; m.a.tlorrieae)" •••• tb •• doine it. Tbe,. vant toattack :)very'th.tnc, exploit e•• r,-iht.nc aDd.app_r on Cb.a-n PlaT' Pop, beoau.e it1. the" to b. ut1111ed. It ehO\lldn't bel.t't to p.ople 11Jc.eModem 8o-.ooe andBcnm1e Tyler.

"\A. VI l' Ht PTIN

J'tOAT UP C.P. - JOT'S ADDRESS

Thh 1. buioally th;e MW Rip Ri« ADd.Puio. It 1. hlrl,J inall11n.c. A. a danoerecord it la not oluttered and. leav •• alittle .c)re to the l_.1D&Uon and. roo. torexpn,.ion.

Where

Paul Quinnfinish the

the idea.

is out.

does this leave Bourgie Bourgie?is still under contract to

LP. He does not seem crazy about

Personal promotion of the product

ENERYTHING Bur THE GI RL - EDm

The feel is natural and flowing. It

draws on various styles without being narrow

or copyist. Elien is not particularly twee,but never abrasive. The scope between

extremes is broad enough. Tracey claims the

bite is in the lyrics. They are precise,

and leave little doubt as to which way the

teeth are barbed. Tracey's lyrical style

has changed radically, and has lost it's

rdrea~ doesn't make sense to everybody'

quaE ty. Tender Blue shows two sides of

the bed, it must surely stand in line as a

BBC Play Fbr Today script. Generally the

lyrics are more concerned with life andlove after rOllBnce. ROllBnce is the aspect

bands usually concentrate on. The lyrics

on Eden could. prop up any Country and

Western publisher; amongst the songs ofdivorce.

Ben plays a noteable organ, which

particularl;}· suits Frost And Fire. Tracey

or Ben sing the vocal that suits them. Aswell as their guitars there are additional

instrument B inc luding brass.

Some of the songs pass me by, but

overall the collection is impressive.

Red Lorry Tellow Lorry·. operation.hAve been •• l!'~erpetua.t.ing. They etarted.with a baD1t'Ul of gigs, wbicb ribiLnced a.d.lIIO. Red. Rhino were w!'ticiflrlUy illlpr888ed.,and have 110W releaeed tour dngle.. Tbel&teat ot wtLicb. ie KonIce~ OIl Juice.

All the money msJte on gigs goes backuto the ~nd. they take nothing ou't torthe_elves. They play a lot ot gigs, in theproeess ot b.tilding up. In Belgium a.nd.Sweden they are gaining aiI1>lay, press and.diatribution.

Red Lorry YellOW'Lorry vas intended. tobe an extremely tacky name, and 'laS createdin response to Sex Cangs and. Death CuIts.It was intended to say Dothing aboot theIIILlsic.

It is Dot easy for the Lorries tointroduce Dew 60ngs to the set. Aparttreaa an othenolise conventional line up, the,.pIa,. with. & drum track, and combine thiswith & drua:mer, Kick Brown. This adds 1DOr8power.

WWith the drums on top you get the'human reel' too, the best ot both worlds,"claims Dave Woltenden. guitar. --rhere a.rea lot ot things a drulDner can't do, which.ean be achieved with. this arranger.wmt."Nick impresses.The sparseness depends on wbat is best torthe song. The idea is sonething graduallyevolved for them. It does occasionallyhave it's drawbacks though.

"U we have a poxy P.A. and I can. thear the foldback, we·re f'\1cked. It'sreally hard keeping up to the drum machine&Ddnot losing ring. Mistakes do show,"tUck Brown modestly confesses. Dave thinks'lick MS reached a level of consistency,having played so aueh.Pla,-ing live so otten red.u.ces the Deed torrehearsals. They are aware that they doDot always get the cba.Dce to e:J:Pa.~ newideas while they are still fresh.

The Lorries feel busy now, tor thetirst t1me. "It's better for us, instead.of bavi.ng everything in dribs aDd dnLb8.Vhen you have a month between every gig,U •• like doing your tirst gig everytime,"decide. Cb.rb. "We try to operate &S atight a unit as possibl •• "

There onc. was a heavy lll8tal guitarist,'betore Dave, in the Lorries. The,. lNdd.enl,.realised what was W'l"Ong. Th. tor:tlerI'litariat d,id not realise until ODenightiD. the pub. when be vas to •• t th.m, bu.ttound only his g\litar. l)ave talks abouttrust.

"If' you. don't truat on. another the reis no point."

Paul Southem, ba•• &nil vocals, teele theyhave the right woricizl« eo.binatiou. TheLorrie. have a .parte. Chrls teela th.y are,and. it la good to be so, cOlllDercial iD th.irown '01&,..

Tb. Lorries are glAd. they did not havea lot ot prese 'lChenthey tor1B8d. •••••••vou.ld not have been V'Ort~ ot it then. fl.are now, aDd. WUlt to reI •••• &z1LP. but w.will n.ed 80N press to 80 with it," -)"8Cb.rb. It is a ~.

"This eound. naive b.lt w. don't likeperi.rin« people to help ue. It's so •.•.ebnic.r wbc people -.rat to do ao_t.h1n.« torue."

Xo.t ot wbat the Lorri •• do le b&ee4arw.nd. intensity. Chrl. t.el. the ater1alcurt.", bit it: all ha. their .t&aIp ODit.

SIMON McKAY

,

Documents

1~(~(~I~N1'llI(~SI.•I~I~VI~ - Ruts · 3 The Gang of Four's later offerings were not consumed in great quantities. Their fourth year with EMIwas a stable foundation. After alJllOsta