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Manufactured and Marketed by

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••••••••••••••••••••••
27 ! ? ~ ~s~ ~ ~ e l by KarenSchlosberg

46 Un Service
by1'a Robbins
6 Hello It's Me 46 Surface Noise
by Mick Farren
7 Raving Faves 49 Green Circles
by Jim Green
7Don't Believe a Word! 49 America Underground
fry Rn111a11 ::nlkmvski fry Robm Payes
32 Reviews 56 Classified Ads
Clash ,md 01/ierf
34 Hit and Run 58 HotSpots
by]n11 Yn1111g

TROUSER PRESS (ISSN 01'64-1883) Is published monthly by Trans-Oceanic Trouser Press, Inc., 212 Fifth Ave., New York, NY 10010. Second-class postage paid
at New York, NY and at additional entry points. Postmaster : send address changes to Trouser Press Subscription Dept., PO Box B, Old Chelsea Sin.. New Yori!,
NY 10113. Entire contents of Trouser Press is copyright C 1982 by Trans-Oceanic Trouser Press, Inc. All rights reserved-none of the contents may be used or
reproduced in any way without written permission of the publisher. Appl ication to trademark "Trouser Press" and the Trouser Press logo is pending. Unsolicited
editorial submissions are welcomed. but must be accompanied by an SASE. Trouser Press takes no responsibility for their return.
 FAX 'N' RUMOURS
Looking veryflushed
Clash Down the Drain?
Rock 'n' roll will never be dull a
long as we've got the Clash!
Always a great one for drama,
joltin' Joe Strummer returned
from his unauthorized leave of ab-
sence (Fax 'n' Rumours, TP 76)
just in time for the Cla h' Ameri-
can tour. Drummer Toppper
Headon, however, didn 't make the
trip. In his place was veteran
Terry Chime (once dubbed
"Tory Crime "by the Clash) who
ba hed the kin on the first Clash
LP. Headon reportedly plit be-
cau e he was tired of political
mu ic. A pokesper on aid he ·
might rerurn to the band after a
vacation. Then again, he might
not. Tell the truth!
* • * Flushco pre idem Martin Katz
Meanwhile, American
production of the band's new
"Combat Rock" LP was brought
to a creeching halt on June 18 by
order of a judge in ew Jersey. It
seems the track "Innoculated City"
incorporates part of a TV
commercial for a toilet bowl
cleaner called 2,000 Flu he . (This
is not a joke.) Flushco Inc. of Pa -
saic, ew Jersey, the maker of aid
product, took umbrage and ought
and received an injunction to halt
distribution of the offending disc.
Future edition ofthi naughty LP
will have the 2,000 Flushes bit
edited out. If you bought one of
the fir t 150,000 copies, you've got
a collector's item.
But Flu hco doesn't intend to let
the matter drop there. Finding
"lnnoculated City" to be "highly
anti-militaristic in nature and cal-
culated to bring the military chain
of command into contempt and dis-
repute," the company is also suing
for damage to its reputation.
characterized his customer a a
traditional-minded and patriotic
bunch that doe "not con ti-
tute a highly sophi ticated egment
of the buying public." [So that's
who buys Clash records. - Ed.]
Don't intellecruals ever clean their
toilets?

Them
Changes
TP contributor Jon Tiven has
departed the Jim Carroll Band.
His guitar pot at Carroll's recent
NYC gigs was filled by another
rockin' writer (or is it writin'
rocker?), Lenny Kaye, formerly of
Patti mith's group.
Troy Tate's exit from the
Teard.rop Explodes leaves
Julian Cope with only two full-
time flunkey .
ottish band TV21 ha dis-
banded. o ha London's blues-
ba ed inc Below Zero. Gosh!
T.V. Smith's Explorers have
expired prematurely. Condolences
to T.V., who's been a a TP fave
ince his Advert days.
John Mayall ha resurrected
the Blue breaker tag and gone a-
touring with a band that includes
old mates Mick Taylor (formerly
with ome other blue -rock
band) and John McVie (who's
still in Fleetwood Mac, of
cour e).
Neil Young's signing with
Geffen Record ends an almost 15-
year as ociation with Reprise, and
leaves Frank Sinatra the sole
resident at the label.
Driving'Em
Backwards
itwits in the California legi la-
rure insist that rock records played
backward contain satanic me sage .
What Trou er Press wants to
know is, where do they find turn-
table that rotate counterclockwise?
Anyway, good old Rhino Record
in Lo Angeles ha relea ed a
12-inch EP by Germany's Check-
point Charlie that acrually doe
play backward, from the inner
groove to the outside edge. That'll
confu e 'em.
Building Up
the Destroyers
George Thorogood and the
Destroyers, in conjunction with
Rounder Records, have inked a
deal with EMI America to bring
their hard-driving blue -rock to a
larger audience. Thi entry into
the "big time" merit applause,
but also seems a bit sad . Thoro-
good used to take off from perform-
ing during warm weather to devote
hi full energie to playing base-
ball; now he's opening dates for
the Stone in Europe. Is that
really progress?
James Honeyman Scott
Pretenders guitarist Jame
Honeyman Scott, 25, died in
London June I 6. Anyone who
heard hi dynamic playing knows
how much he had to do with the
band' ucce .
Boardwalk Record prexy eil
Courting Time
Willie ile i eeking a declara-
tion of bankruptcy under Chapter
7 of the Bankruptcy Code, with
the goal of terminating his long-
term contract with Ari ta. live
Davis's label has failed o far in its
attempt to block the move. hould
ile succeed, the effect on relations
between companies and arti t
could be profound indeed,
providing everyone can figure the
* Thomas, "Hooked on Music" by
* *
K-Tel International has pres-
ured Rhino Records into with•
drawing it " Hooked on Henny"
45, a compilation of hoary witti·
cisms from proto-punk Henny
Youngman. K-Tel claim own-
Bogart succumbed to cancer at
age 39 on May 8. Bogart was the
guy behind Buddah (bubblegum)
and Casablanca (Kiss, Donna
ummer) Record , a well a the
platinum succes of Joan Jett' "I
Love Rock 'n' Roll" album.
ership of the "hooked on" phrase
(as in the grisly "Hooked on Clas-
sics" hit). Rhino says they're co-
operating "not out of a sense of
wrong doing [sic], but in an effort
to avoid the vast sums it would
require to mount a proper legal de-
fen e."
Wait a minute! What about such
previous records as " Hooka
Tooka" by Chubby Checker,
"Hooked on a Feeling" by B.J.
Mac Davis, and "Hooked on
Love" by Ian Gomm? Wore,
what about John Lee Hooker?
What about Dr. Hook?
In the future, will it be forbidden
10 have hooks in records?
 FAX 'N' RUMOURS
Auctionable Artifacts
Almost six months to the day
after Sotheby's L ndon held a
much-celebrated rock 'n' roll auc-
tion (Fax 'n' Rumours, TP 72),
Sotheby's ew York incorporated
approximately 50 lots of rock 'n'
roll ephemera into a "Colleccor'
Carrousel" auction.
The ew York auccion wasn't
nearly as crowded or a ex iting as
the one in London; nor was there
as much material offered. Predict-
ably enough, most of the lots con-
sisted of Beatles mem rabilia, in-
cluding an awful ketch of Pani
Boyd drawn by Paul McCartney
in 1965 (it sold for $850), a Beatie
wri rwatch ($375), the usual selec-
tion of autographed pictures and
album covers, several gold and
platinum singles and albums, and
lot of miscellaneou collectors'
item : packets of hai r from each of
the Fab Four, a tablecloth coa t-
ers, a belt buckle, a wallet and
Yellow Submarine bubblegum
card .
" Price given to the rock item
were spotty,'' admitted Pamela
Brown Sherer, otheby's collect-
X X
Hove You looked At The Sun lately
7
Now APPEARING
UNDER THE BIG BLACK SUN
IN NOR TH AMERICA & EUROPE .
X
ible exp rt, who wa al o the au -
tioneer. " People eemed to
re pond not to the handmade
things like drawings, but to
material that was really evocative
of the period."
That might explain why one of
John Lennon's series of"Bag
One" lithographs, another of
which sold for about $9200 in
London, went un old here. By
contra t, a British placinum di c
awarded Lennon for his "Rock ' n'
Roll" album, complece wirh auto-
graph and cwo small caricature. by
him, brought in $7000 .
Brown herer expre sed di ap-
pointment over ocheby' failure
co auction off the 1964 prototype
for the original Moog synthesizer,
escimated at $15-$20,000. Overall,
the ew York auccion wasn'c the
"marvelous ucce s" that Brown
Sherer called London's, but no
doubt Sotheby' ew York will
continue to include rock items in
it c lie tibl auction . The Lon-
don branch is planning another
full-fledged rock ale this fall.
~A•
◄ ,,
◄◄
•T•
Under The Bia Block Sun
THE NEW ALBUM FROMX
PRODU C ED BY RAY MAN Z A~ E t< .
Lewie Laughs
Last
Jona Lewie's fine "Heart kips
Beat" tiff LP can't get a US re-
lea e, even on Stiff America, but
he hasn't let it get him down.
Lewie has recorded "Heart of
tee!," a promotional record for
Lamborghini car that will be feat-
ured at auto h ws around Europe.
ay t go, Jo!
►
►
TROUSER PRESS/September i982
Sacrilege
Ga ng of Four's Jon King got
hi tched. Patti Smith is immer ed
in marital bliss and expecting a
baby. Bryan Ferry's reportedly
due to tie the knot, and his betroth-
ed is reportedly with child a well.
much for the Revolution.
One-Sided
Love Affairs
Columbia Records is experiment-
ing with slightly cheaper one-sided
singles he re, but R A's K
branch has backed off the idea.
Bow Wow Wow's "I Want Candy"
initially hit British record hops
without an underside, but intense
negative reaction fro m the public,
press and BWW manager Malcohn
McLaren forced the company to
reconsider. The English sy tern of
roya lty payments prevents a
sizable price reduction on one-
ided 45s. How about going back
to cylinder ?
5
 Write to Trouser Press
212 Fifth Avenue
New York, NY
10010
Publisher
& has now become part of the
Editorial Director
Ira A. Robbins
Editor
Scott Isler
JETT SETTERS
Thanks very much for the
Art Director
Joan Jett cover story (TP 74).
Judy Steccone What a thrill it's been lately;
people I really like (Joan and the
Go-Go's) actually in the Top 10!
Contributing Editors
Michael Wieczorek
Jim Green Bridgeport. CT
Dave Schulps
After listening to Joan Jett's
Jon Young
new album and seeing her in
concert , I have newfound hope
Advertising Director that I too can become a rock
star. All I need to do is learn one
Steve Korte
guitar chord (maybe two), find
some exceedingly average back-
Office Manager up musicians, re-do some old ,
Linda Danna Robbins classic tunes, rip off some others
for their melodies and I'll be set.
Wait-I 'm forgetting a gimmick.
Administration How about spitting on the audi-
ence (or has that been done al-
John Gallagher
ready)?
In any case, if I keep my music
Production average enough, I'll probably
end up with a number one song
Kathy Frank
and an album in the Top 5. Who
knows-maybe I'll even get a fa-
Staff vorable review in your mag.
Wayne King M. Cukovich
Ann Arbor, Ml
Fred Wasser
Jay Paquette
Joan Jett on the cover? Who's
Joan Jett? Tarantula Lobo
Willimantic, CT
Promotion Who 's Tarantula Lobo?-Ed.
Joel Webber
RAH- RAH RAMONES
Thanks for the bitchin' Ra-
mones autodiscography (TP 74).
It's about time those guys got
Subscription address: some comprehensive coverage.
Post Office Box B Too bad all of those new wave
disco clones can't read about
Old Chelsea Station them in Rolling Stone. I mean ,
New York, Y 10113 how can they be good without a
synthesizer and girls?
Nancy Tracy
Business/Editorial San Jose, CA
212 Fifth Avenue
N ew York, NY 10010 I was very disappointed to
read Joey Ramone's remark that
(2 12) 889-7145 the Ramones have played every-
where in America with the excep-
tion of Utah and Wyoming. I
. - - - - - - - - - - - - - don 't know about the latter, but I
was a member of the full house
back in 1979 when, during their
Cover photo by third encore, Joey declared,
Brian Ans "Salt Lake, tonight you're No. 1!"
Kevin Avery
Salt Lake City, UT
6 TROUSER PRESS/September 1982
Joey Ramone replies: " He's
right . "
SYNTH SIZERS
Thanks for the article on syn-
thesizers (TP 74). It's about time
someone gave credit to the pio-
neers of the instrument: Keith
Emerson as performer, Robert
Moog as inventor.
It's true that the synthesizer
band instead of its main attrac-
tion. Anybody who wants to hear
the Moog put to the test should
listen to Emerson , Lake, and
Palmer's Brain Salad Surgery.
By the way, your magazine is the
top rock music publication in
existence today. Keep up the
good work! Stephen Vann
Albany, GA
Having studied electron ic
music composition and utilizing
synthesizers in many different
fashions, I was somewhat sur-
prised and rather annoyed at
your limited view/portrayal of
synthesizers. It's a common (and
unjustified) misconception that
the synthesizer is a keyboard in-
strument. Although your article
did attempt to clarify that a syn-
thesizer's keyboard does not
actually produce any sounds,
the art icle nonetheless promul-
gated the notion of synthesizer=
keyboard.
Today's programmable syn-
thesizers are undoubtedly more
useful than older patch-type
un its for the performance-orient-
ed keyboard player wh o seeks a
variety of sounds. However,
speaking in purely musical terms,
nothing can beat patch synthe-
sizers for flexibility In creating
virtually any sound , imaginable
or otherwise!
Synthes izers are used in
creating music, not cheap sound
effects. It is more than a fancy
electronic organ . (No, I do not
own stock in any synthesizer
company.)
Thanks for a great mag .
Todd Chanko
New York, NY
MAKE MINE MAD
Thanks for Paul Weller's
timely piece, " Make Mine Mod"
(TP 74). There is a small contin-
gent of Modernists in Berkeley.
Out here in the land of sunshine,
sharks and used cars, caring for
one's appearance is a struggle ..
We are constantly surrounded
by entropic death-rock fans bur-
bl ing " fuck a mod," not to men-
tion wealthy topside-types
ragging on us for not being able
to afford to dress exactly right.
It's time we realized who our real
enemies are: the polyester fools
in Cadillacs who intend to use us
as cannon fodder. I have very
close friends in leather jackets
who quite agree.
The other day I saw on sale (in
a very respectable record store)a
T-shirt sporting the union jack
and the slogan: " 01! (The New
Breed)." The long arm of fascism
reaches across oceans, just as
the more positive sty list move-
ment has.
When all is said and done,
those who are meant to be truly
Cool will find it coming from
within . Erik Rader
Berkeley, CA
Wayne King calls the instru-
mental " Circus" on the new Jam
LP "useless" (Reviews, TP 74).
Any critic who calls any music
useless has no business in jour-
nalism or art , and gets no re-
spect from me.
Up yours, Mr. King. You obvi-
ously know nothlg about music,
let alone the appreciat ion of it.
Jon Nagel
Ludington, Ml
Wayne King replies: " Since no
music should be called use-
less-although you feel that the
critic, that unrepentant assassin
of artistic freedom, can be- just
where do you keep all your Pat
Boone and Pork Dukes records?"
SPARR IN' FARREN
Mick Farren 's Surface Noise
in TP 74 concerning the state of
radio and music in general was
great. It's too bad the people
who need this article probably
don ' t read TP. (Keep trying .)
Trouser Press is the best new
music magazine I have ever read.
It 's always informative and fun
with intelligent articles, not the
dribble filler you see in other
mags. Patty Foisset
E. Northport, NY
Mick Farren 's Surface Noise
really fired me up! I couldn 't
agree more with his statement
that " the public are a bunch of
sheep who can be herded in any
direction with the right st imu-
lus." I, for one, am sick and tired
of hearing these mass-market
corporate bands on the air-
waves. Down here in Texas you
can 't turn on the radio without
hearing slop from Styx, Journey,
Rick Springfield, etc.
I forced a few of my friends to
read the article, but to no avail.
They still listen to their overpro-
duced, underperformed records.
My only hope to make them
come around is to chain them to
chairs and force them to listen
to an all-night session of early
Ramones, Stooges and Velvet
Underground. If they survive I
will consider them converted . Do
you think it can work? Any ad-
vice will be appreciated.
Mark Howell
Houston, TX
Mick Farren's latest article
was pretty frightening-not that
his column is ever particularly
upbeat! The description of the
Continued on pag e 57
 PAPAL BULL DEPT:

"Swnmer means fun," sang Bruce and

Terry, and to a lot of people summer also
means music: wafting from open windows,
blasting from car radios and ponable tape
players, providing a backdrop for the pres- THE MASS IN f MINOR
ent and a memory jog for the futwe. The
strong nostalgic element to summer rock WITH -nti'EL"Et1Rtc ~
songs bas been taken to near-pathological
extremes by the Beach Boys. Ironically,
· PRtJNES '' """"<A
although the Beach Boys received more
votes than any other anist for this topic,
nooc of six soogs nominated gained enough
:I n \\_ •nd 't e Clash
l\
of a plurality to make the list below.
Blotto's sue comes even after dis-
counting a transparent attempt to stuff the
JoE ST"u11MER
i,,tE CU\SH ON TME =
LEFT T ~(;.), ~, U==~n
\
EVE OF 1lfEIR1"t>UR ~ . ~
Raving Faves ballot box. ( e know who
you are, and you can't fool us!) The other r-==:;;:====
winning songs are mostly summer-rock
standards, with a panicularly strong show- AS THE OPENINq-
ing from the Ramones and dark-horse
entries from the Undenones and the Sex
Pistols, not usually thought of as a sun 'n'
1\C.T ·FOR 1ME POPES
fun group. BRmSM RPPEA~-
Eddie Cochran's hardy perennial
"Summcnime Blues" would have topped
the list if we tallied songs, not perform-
e NC.ES BECAUSe
ances; besides the two versions below, Of' -A DISAE.aE'E -
Raving Favers also voted for Blue Cheer's
recording. MENT A~ TD WHO
Less obvious choices: Maurice Forrester
selected "The Star Spangled Banner"
StiOOU) 6ET
("as played before any baseball game")
while Arthur Niehaus opted for at
TOP SIWNE:f.
"King" Cole's "The Christmas Song": "I
play it every August when it gets hot and
humid."
I. " I Wanna Be a Lifeguard"-Blono
"Summer in the City''-Lovin' Spoonful
3. "Rockaway Beach"-Ramones
4. "Holidays in the Sun"-Sex Pistols
"Hot Fun in the Summenime"-Sly
and the Family Stone
"In the Summenime" -Mungo Jerry
7. "Dancing in the Soffl''-Martha Reeves
and the Vandellas
" Here Comes the Summer"-Under-
tones
"My Sharona"-Knack
"School's Out" -Alice Cooper
"Sheena Is a Punk Rocker"-Ramones
( \
"Summenime Blues" -Eddie Cochran

rK I
"Summertime Blues"-Who
Bubblhag Under
"Delius (Song ofSummer)"-Kate Bush ,l il(( 1\~
"In the Sun"-Blondie
"Light My Fire"-Doors
" Pipeline" -Chantays
UR~ QUEEN tlAD TO CJ\McEL
p,&~
"Sealed with a Kiss"-Brian Hyland A CONce.,q IN £NE.Lf\N0 8ECJWSE
Question 151
Suggested by Jim Walsh: Non-performers
Of: I\ LN:.k OF AJ)£Qt,ft 16 T01LET5!
(up to three) who have contributed the most (8RrTI\INS ENTIRE SOPPL'f HAD 8PfN
"ev10tlSL-V 800l<ED 8Y1t£ ~E.)
to rock. Deadline is September 10, 1982.

TROUSER PRESS/September 1982 7


By Jane Lupo
hat do Bruce Springsteen, Southside Jo~ny and
W Huey Lewis have in common? Asbury Park 1s about
3,000 miles away from Mill Valley in Marin County,
California, but not so far that all three didn't have access' to
the same funk and soul records. According to Lewis, "We all
copped off the same people: Otis Redding, Four Tops,
Smokey Robinson, Marvin Gaye!"
Lewis has more in common with Springsteen and Lyon
than musical influences. Together with his five-piece band
the News, he has set out to conquer the charts by convincing
people that goodtime "party" music is here to stay_. Like a
seasoned politician hungry for votes, he executes his reper-
toire with sincerity and professionalism, displaying an
intense desire to be liked. Just as his predecessors succeeded
by working over a crowd until it was thoroughly converted,
Lewis and the News seem bent on acquiring mass acceptance
by appealing to universal emotions. The band's songs con-
sistently aim for the heart of the maner-no heavy statements
here-and that's the only way Huey Lewis would have it.
"I think it's OK to be normal these days," he says after
"I think it's OK to be norma4
it's OK to wear the white hat.
It's always been so popular to
wear the black hat. What's
romantic for me is normalcy. "
a sardine-packed engagement at the Ritz in cw York. "It's
OK to wear the white hat. It's always been so popular to
wear the black hat. But if there's one thing I want to get
across, it's that there's something romantic about being an
everyday, middle-of-the-road person having an everyday,
middle-of-the-road affair. Like the average guy who's not a
standout in any way. What's romantic for me is that kind of
normalcy."
For such an independent-minded, take-charge guy, an
affinity for "normalcy" seems paradoxical. Yet the whole
point behind the News' refined, latter-day white R&B is that
you can reach more people without resorting to extremes and
still be effective in getting your message across. Perhaps
Lewis is only substituting "normalcy" for "straightforward-
ness," as when he says, "I don't see a lot of difference be-
tween the hardcore punks and some brands of faceless MOR.
Obviously they're on opposite ends of the spectrum, but
they're both extremists of some son, and I don't think either
of them got it right. It's like the far right and the far left be-
coming the same thing in politics. I don't insist on every-
thing being out of tune and overly aggressive, but at the same
time, I don't think it has to be dipshit conon candy either."
Lewis entered the music business five years ago as a har-
monica player by joining a California pub-rock outfit, Clove_r,
which went from a promising breakthrough-and a studio
stint backing Elvis Costello on My Aim Is True-to even-
tual downfall after two albums for Phonogram in England
that "stiffed admirably." Still, it proved a productive period
for learning the ropes. "When Clover went to England, we
were managed by Jake Riviera and Dave Robinson. Jake is
the one who was responsible for bringing us to England, and
Nick Lowe was gonna produce us.
"I think the definition of pub-rock is 'anything and
everything and preferably a little drunk' -which is exactly
what Clover was. We could never describe the music. Every-
one would say, 'How would you describe yourselves?' and
we tried everything from 'rock 'n' roll' to 'kind of a synthesis
of country, rock, soul, funk . . . ' So pub-rock was as good a
handle as anything."
After the demise of Clover, Lewis and keyboardist Sean
Hopper returned to San Francisco and started a jam session
at a local club. The News became official when the band's
manager Bob Brown brought Roger Watson of Chrysalis
Records to see "the second gig we ever played."
On their 1980 debut album, Huey Lewis and the
News, and more prominently on the recent release, Picture
This, the News has tried to bridge the gap between distinc-
tive pop and all-out commercialism. The first album was
shaded with an overall attitude of recklessness, replete with
power-pop flavorings and quirky tempos, while Picture
This is more carefully conceived, its premeditated approach
affording a fuller, richer, more "standard" sound. Several of
the tracks are a calculated attempt at zeroing in on the charts,
which appears to have worked.
Lewis is pragmatic regarding this orchestrated shift in
gears. "I knew this was a do-or-die album. Our first record,
although critically acclaimed, didn't sell. This one had to
sell; it is, after all, a business. In England, where there isn't
as much competition for that same entertainment dollar,
radio is still preny much alive. You can have a nice idea and
be slightly out of tune and still get a hit. That's why it's all
very good for the Clash to flip the finger at American radio,
and then write the way they choose. But they can pay the
rent in England with their hit records there. [ Wrongo!-IAR]
In this country, if you don't have a hit single, you can't break
even. They won't let you make records."
To combat the problem, Lewis and the News chose to
Continued on page 52
ELVIS COSTELLO. MASTERPIECE?

"IMPERIAL BEDROOM:' ON COLUMBIA RECORDS AND TAPES.

ELVIS COSTELLO IS ON TOUR. JUDGE FOR YOURSELF.
Produced by Geoff Emenck From an onginal Idea by EMs Costello "Columbia· IS a trademark of CBS Inc 1982 CBS Inc
 tan and installed him in a comfortable hotel room to receive
interviewers. He discourses on the group amid debris typical
of the cultured tourist/musician: camera equipment and tape
cassettes, mostly ef oriental music.
Japan may enjoy prominence and respect today, but not
long ago they were considered a bad joke. When Londoners
Sylvian, his brother Steve Jansen (drums), Rob Dean (guitar),
Richard Barbieri (keyboards) and Mick Karn (bass) debuted
in 1977 on Ariola with Adolescent Sex, it was obvious the
band had bitten off more influences than they could chew.
Visually they embraced a somewhat passe glitter: all flash
clothes, makeup and strange hair. Musically, their extreme
dependence on Roxy Music and David Bowie made them
impossible to take seriously. Obscure Alternatives, the
follow-up, improved only slightly on a bad situation.
"We dislike the first two albums intensely because they
were done for all the wrong reasons," Sylvian notes. "We
were just learning how to play. There was so much pressure
from the record company and management, saying they
knew what we should be doing; we had to struggle to keep
free of that. The records came out caricatured.
"Ariola signed us for our appearance. They didn't hear
the m1:15i~; th~y were that kind of company. We'd take tapes
to them and they'd sit there with stopwatches. If a song
didn't reach the chorus in the first 30 seconds, it wasn't right.''
Serious reassessment was in order after the first two LPs.
"We felt we had to come up with something we were really
happy with or change quite dramatically. Ifwe didn't achieve
what we were out to achieve, there was no point going on.
Looking back on what we'd done, we saw what was wrong
with us."
The turnaround began with the single "Life in Tokyo,"
produced by Giorgio Moroder of Donna Summer fame (and
more recently David Bowie's collaborator on the Cat People
theme). Japan stopped trying so hard.-Sylvian allowed the
languid quality of his voice to come through without resort-
ing to mimickry, and the musicianship was smoother and less
strained.
Following a third LP with Ariola, Quiet Life, the group
switched to Virgin and started gaining fans in earnest.
Japan's music grew progressively more distinctive and
understated- so much so that guitarist Dean was out of a job.
"We were using guitar less and less, so I decided it would
probably be better for lfim to leave the band." Dean is cur-
By Jon Young rently a member of Los Angeles band Vivabeat.
on't be fooled by David Sylvian's mild manners. Tin Drum expanded Japan's following and even won

D Japan's singer i one tough character in a pinch,

judging by his account of a recent run-in with the
group's British label, Virgin.
"The making of Tin Drum got totally out of hand. It
was taking a long time," the blond, 25-year-old bandleader
recalls. "The record company had a budget they were trying
to make us stick to, and we'd gone over it. There was a phone
call to the studio from the head of the company saying, 'It's
gotta be finished tomorrow.' I said, 'It'll never be finished to-
morrow.' He said, 'Then that's it. You're not gonna have an
album. Just top work now.' We were calling each other's
bluff. I told him, 'Then you won't have an album to release
and you just wasted 70,000 pounds. You might as well give
u a few more thou and and get an album.'
''That did it."
Sylvian relates this tale with the quiet confidence of
someone who knows he holds all the aces. Gentlemen Take
Polaroids and Tin Drum, Japan's la t two relea es, have
made the group a commercial and critical success back home
in England. Epic, Virgin's American outlet, has similar
hopes for the band stateside. To gain the largely-unknown
Japan some attention here they've flown Sylvian to Manhat-
critical raves. Although pleased, Sylvian exhibits calm skepti-
cism about the band's new media acclaim back home. "It's
for financial reasons, I think. The music press is losing
power. Kids are growing up knowing how cynical and
untruthful the music press is sometimes. A lot of bands have
come up recently that were put down by the press in the
past. Public demand has made them too big to ignore."
An inscrutable
takes on the US
· · OfJJlljashion
Corporate rock logic would seem to dictate that Japan
now embark on constant touring to consolidate their UK
successes and help push Japan, a new US compilation
drawn from their last two British efforts. This is not your
standard band, however.
"Japan has split up until October, when we'll get back
together for an English tour. We'll go to Japan in January;
Continued on page 52
 ~~still Li~-~
The Rolling Stones
(Ameri an Concert 1()81 )

d and
·in orp.{ ; )
1981~~
_ _,.:..:.:...
11ec°'~d,ngCo,p e A _,,.,
~
'°"""""""'""'''"
 ... and now for something
• Haircut One Hundred •
proves that neatness counts
By Karen Schlosberg
''H e' sma hed up hi hotel room
already this morn ing ... "
" Our suite at the top."
" Maurice White's here and we've
smashed hi room u p a well. And we
threw a color television and our
drummer out the window."
" I've got a limo five inches down the
road! "
" It's great-it hasn't affected our lives at
all, we' re till the same boy next door. .. "
Mark Fox and ick H eyward have taken
the giggle about as fa r as it can go. The two
extremely clean-cut, well-dre ed young
men ining in the re taurant of their ew
York hotel are one-third of H aircut One
Hundred, one of Britain's newe t, bright-
est and mo t successful pop groups. ow
in the tates for a hort (but well-received)
mini-tour, the band is doing quite well-
both its debut album (Pelican We t) and
single (" Love Plus One") are in the Top
50 and till moving up. onsidering that
they're English and have only been together
a year, such American acceptance is
astounding. Haircut has managed the
seemingly impos ible task of remaining un-
cla ifiable but not caring con ervative
American radio away with a bright, bubbly
mixture of melod ic pop, Latin-funk
rhythms and da he of jazz.
Haircut's fi rst single, " Favourite hirts
(Boy Meet irl)," came out in England in
September, 1981. It climbed into the K
Top 5 and went ilver in ovember. Their
second ingle, " Love P lu One," out the
beginning of January went to number
three. o when their album wa re-
leased all England seemed to be get-
ting (sorry) H aircut .
Media coverage of the band in England
ha been fav rable, to say the lea t. Mo t
review and interviews have reflected an
affectionate, unre erved warmth u ually
saved fo r a new baby. Too good to be true?
Well take ick Heyward ongwriter/
guitarist/lead inger, ju t turned 21 till
living with his mum and dad . He re emble
a Di ney chipmunk with a oft-I oking
thatch oflight-brown tou led hair. Re-
minds you of your best friend's kid
12 TROUSER PR ESS/September 1982
brother-a bit of a pain, maybe, but cute.
Hi young(e t) fan call him " ncle ick"
and follow him around. Fond of big wooly
jumper ( wearers) and big wooly knee
sock worn over pant . ed to work in
commercial art.
Or percu ionist Mark Fox, 24, nattily
dre sed in a gray pinstripe suit complete
with brace ( u pender ) and a tie. Look
like he stepped out of GQ: requisite height,
lender frame, hining hair and deep
dimples. ed to teach German to 11-tc>-
l -year olds and once left some of their
homework on a plane bound for a Glasgow
gig. His students didn't realize he was in
the band until late fall; now they stand out-
ide hi hou e "with candle and thing ,
houting 'Mr. Fox, we love you!'"
I this any way to run a pop group?
" The group i n't really like a rock 'n'
roll group," ays the dapper Fox. "It' six
young gentlemen from England-and a
token American (drummer Blair Cunning-
ham] just to give it a colonial effect."
The e ix young gentlemen-Heyward,
Fox unningham, sax player Phil mith
guitari t Graham Jone and ba i t Les
eme - have sparked off what Fox
(among other ) calls a Chariots of Fire and
Brideshead Revisited look. That clean-cut,
innocent, whole ome tyle of dress to-
gether with Haircut's clean-cut, innocent,
whole ome mu ic are partly re ponsible for
the perpetually youthful aura that
surround them . Fox ha jokingly called
Heyward the " Lady Diana of rock 'n' roll.
ick is the virgin of 1982."
art of Haircut's image dilemma-
P or their lack-of-image dilemma, a
they would have it-is the fault
of the ever-trendy Engli h mu ic pre ,
say the boy .
" We tarted out as a group which was
on the fringe of di co with the fir t ingle,
'Favourite hirt ' " Fox explain , "and
everybody thought oh it' one of the e
rt-of-fa hion-type Latin band like Blue
Rondo a la Turk, B or even pandau
Ballet. And all the disco lounge-lizard,
mirror po eur who wore the bla k gea r
and listened to oft Cell and Human
League in the dark club decided to
latch onto u . We thought, oh, that' a bit
weird ... "
The omber lounge-lizard types enjoyed
Haircut anyway ("then the rest of the eve-
ning they'd be listening to really heavy-
duty stuff like Joy Divi ion and the
Cure")--until the band became popular.
At that point the trendie decided that
Haircut One Hundred was "either a media
hype or just a bunch of teenyboppers,"
and left the lads to their younger fans
mo tly girl between 11 and 16 and their
parent who often accompany their
children to Haircut concerts. Talk about
whole ome-every mum and dad wants a
Haircut for their daughter. (Except, per-
haps, one American family who e 13-year-
old ran awa from home to ee the band in
ew York during their vi it here.)
" I don't know about 'whole. ome' ," say
Fox sighing. " This is another press thing.
Because you wear white clothes and because
you I k like that you get regarded as whole-
some, clean and puritanical. Obviously
clothes are really, really important, but I
think far too much is made ofit in England."
Besides the innocent look, there's the
innocent mu ic. Even though Haircut 's
hybrid includes more than a touch ofhip-
twitching Latin beat on record it' still
a clean and cri p as cellophane. The band
say they deliberately went with that ap-
proach for the album and have kept their
live show more spontaneous, with rough
edge and "raucou "energy.
"We go for a three-minute pop song on
the album, but live we go for three-min-
ute leg " Heyward announ c .
"Leg activity," Fox tran !ates. " M usic
to tremble your knees to."
Heyward the band' principal ong-
writer, write and often talk in pictures.
He'll take a random point and illu trate it,
filling out place with people and their car ,
clothes and habit , making up torie a
he goes along. Heyward is a true child of
televi ion, having been influenced by
many early-'60s show a well a ephemeral
images in adverti ing. His lyrics rarely tell
tories so much a present images that
ugge t feeling .
" The lyric are pasmodic," Heyward
say . He then half-rap , half-chant the
TROUSER PRESS/September 1982 13

''I think the group has got
lots to do with advertising."
uncontrollable urge for fireplug knows no con traint -
not even broad daylight!
rapping bridge of"Favourite hirts":
"'Feel the rhyme/Take the time/Go
fighting to the top' and thing like that
are quick fla hes of youth that don't
bear any relation, but suddenly you get
'boy meets girl' and that explain the
whole song.
"From the age of 15 to 20," he contin-
ues, "no doubt about it, you' re influenced
by relationship . I mean in two year ' time
I could be writing about Reagan . I might
grow up one day and wr,ite about things
like that. But I'm not now. The love song
that I write have got different lyric ;
I use word like Toblerone, orway,
tea and scones. Love song that are
actually more true-to-life love songs than
sexual love songs [sing in ari obnoxious
macho rock star voice, bangs imaginary
power chord]-'Woman need baby, ki~s
me! '-which is very much just ex and
trousers and the way you get when you
have a guitar over you."
" I haffbin vatchink eeck's progre -
sion zhrough ze pop musik industry, "
Fox says in a thick German accent "und
I seenk dat itz ver' fascinatink becauz
he used to be vorkink in ze advertising
field, yah, Neeck? Ze commercial artist,
und it zeems to me zere's a combination,
a synthesis of boyish natural emotions of
post-pubescent natural urges and the ad-
vertising industry-"
"I used to design porridge packets and
cocoa-pops, and things like that," Hey-
ward say cheerily. "I used to have to
think up lines."
14 TROUSER PRESS/September 1982
Mark Fox
"And," Fox yodels, " Cheer-i-o ! Ob-
viously it's a part of it, like your memo-
rie -bjt of things around you, like these
one-off advertising line . I think the group
has got lot to do with advertising." He
mentions the "Love Plus One" video,
which has cameo appearances by such
plugland heroes as the uine s beer tou-
can and a black man with a skull and cross-
bones who' a familiar fixture in a British
chocolate advertisement.
"I was brought up on Daktari," tart
Heyward, " Marine B oy, Calling Captain
Scarlet-"
"Flipper," Fox add .
" Stingray, Thunderbirds-"
"Brady Bunch-"
"Partrtdge Family . .. You could really
get close to the e cartoon and things,"
Heyward ay , " Remember Time Tunnel?
I started to walk along the treet and think
that I was in different times."
" Actually, I think this group's got more
to do with commercial television than it's
got to do with anything else," Fox ays,
" and yet the pre has just labelled it as,
like, a nostalgic, naive group."
That' not really so, because the band i
just reaching back to their roots- they're
just one of the first whose roots are in
commercial televi ion rather than
radio or an older sibling's record player.
Heyward was born in 1961, making him
hardly old enough fo r nostalgia. It's more
like a yearning to keep some child-like,
fre h qualitie . And there's nothing wrong
with that.
ne rea on for the " no talgia" tag is
0 an often-cited similarity between
Haircut One Hundred and that
epitome of commercial TV pop, the Mon-
kees. The M onkees were often mentioned
by Heyward in Engli h interviews as influ-
encing his formative year ("We've all got
a common feel for supermarkets and the
Monkees' eries," he told Record Mirror),
but he now eems eager for Haircut to part
with such unwanted bedfellows. Compari-
sons were especially rife with the announce-
ment of a Haircut TV erie in Britain's
not-too-distanrt future; one paper appar-
ently misquoted Heyward as saying he
wanted Haircut to be the next Monkee .
"I can't remember the Beatles or Mon-
kees or anything," Heyward says, a bit
miffed. "All I remember i itting down on
a aturday morning and trying to get my
mum out ironing, and then standing there
watching the Monkee getting my tenni
racket and miming to the theme tune. "
" The media in England love to make out
that they' re very influential and have a
great part to play in the music bu ine "
Fox says, "when in fact they just hang
around and look for anything they want to,
and cover it with a lot of rubbi h half the
time. They heard the word 'televi ion
program' and they heard the words 'pop
group'-"
" And 'series'," Heyward adds.
" And they decided that erie plus pop
group equals the Monkees."
Heyward swear the show i going to be
"nothing like the Monkees. " As written by
Chris Langham, who ha worked on such
English shows as the satirical [but un-
ftmny-IAR] N oc the ine O'Clock ews
and The Muppet Show ( atirical in its own
way), Heyward says their comedy will be
on the black side. o zany Monkee antics
for these guys!
" Our mu ic may at time be happy and
frivolou and pontaneous," Fox ay , "but
if the show was just pie-in-the-face there'd
be no point doing it, 'cause people have
done pie-in-the-face humor a million time
better than we could do it. "
Well, it' off to Los Angeles for Haircut
One Hundred. First there' the small
matter of a scheduled photo session. Fox
insists on shaving his perfectly smooth
face; ten minutes later we find our hero
holding a bloodied ti sue to his throat.
Bassist emes appear , spiffily dres ed in
baggy trou ers, short-sleeved hirt, sleeve-
less vest, bowtie and carefully arranged
wavy hair. Fox points out emes's "space-
age, aeronautically designed quiff,"
de cribing-and demon trating-its won-
derful flexibility when poked like chis or
that. emes di appears to repair the
damage. Later, during the shoot, Fox
nearly deprives himself of the opportunity
to sire a future generation of Foxes by
falli ng the wrong way on a fireplug. (Hey,
did you say this guy was a teacher?). Zany?
Nah. ■
 T P F le x i- F il e # 9
DAVID JO H A N SE N
TH ES ON G
PER SON ALITY CRISIS
taken from the
Produced by Ron evison; recorded live,
new album, Live It Up .

Dolls were the most

Long befor e the Sex Pistols, the New York
rock ' n' roll band to ever come down the pike; their
outrageous
e g
a· o were a signi ficant
pioneering efforts over a decad
for the new band s that follow ed . Davi d Johansen
inspiration
the style- setter for the Dolls, and
was the singe r, the lyricist and
called it quits in 1976 , his solo caree r promised
when the band
his own, Johan sen has
much . Now with four albums on
hims elf as a top-n otch urban rock 'n' roller with a
established
rts. H is latest
rabid following for both his records and conce
e, Live It Up, was recor ded last
Blue Sky releas
Crisi s" was one of
February at Boston's Paradise. " Personality
mem orabl e tunes ; this ver ion connects the
the Dolls' most
sen to be a captivating
past with the present and shows Johan
performer .
ALBUMS
TH EB AN D Davi d Joha nsen (Blue Sky/ 1978)
(lead and rhyth m
David Johan en (lead vocals); Huw Gower In Style (Blue Sky/ 1979)
m guita r); Brett
guitar); David Nelson (lead and rhyth Here Com es the Nigh t (Blue Sky/ 1981)
Mach ine (drum s); Char lie G iordano
Cartw right (bass); Tony Live It Up (Blue Sky/ 1982)
(keyboards).

ti• on ay ...
re ce • e '
•
a
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15
TROUSER PRESS/September 1982
BLONDIE :=:::,>urv,1 ·~NG
VIN YL
Blondie is the new
wave success story, from
Bowery boys-and girl-
to glamorous chart-top-
pers. Yet the band has
never felt it had to toe
any musical party lines.
Singer Debbie Harry,
guitarists Chris Stein and
Frank Infante, keyboard
p~yer Jimmy De~tri,
bassist Nigel Hamson
(replacing original Blon-
die Gary Valentine) and
drummer Clem Burke are
an often volatile brew, but
after a Jairly stable seven
years together they'~
proven their worth on six
albums, not including ~
Best of Blondie compi-
lation and solo LPs by
Harry and Desm·. On the
f o/lowing pages the mem-
bers of the band (minus
Infante, whose status as a
Blondie was unclear at
press time) provide a be-
hind-the-scenes look
their work.

PROTOTYPES EP
Debbie Harry: I met
Chris when he was a bass
player for Eric Emerson. He
would go down on his knees
and everything; he was really
different as a bass player than
he is as a guitarist. I thought
he was marvelous. But I think
it fits him better intellectually
to play a guitar than bass.
Jimmy Destri: Chris was a better ba s
player than all of u . He had a really great
bass feel.
DH: We hadn't recorded anything and
we wanted to hear what we sounded like
on tape, and have a fairly decent quality
demo to play for people. I was the only
one who had recorded before.
Clem Burke: The little se ion with
Alan Betrock: We went to somebody'
basement somewhere in Queen . It was
like no one actually knew where they were
going. I'm not sure how we got there, it
mu t have been in Debbie' Camaro. o
one really knew what we were gonna do. I
remember playing piano on "Platinum
Blonde," and we all thought it ounded
great.
DH: It was July and it wa so hot and
humid that we couldn't keep anything in
tune. It was like being under water.
Plus there wa no sound in the room, no
acou tics. I think that if tho e thing were
mixed properly they would be a little bet·
ter. The proponions are a little bit
whacked out.
We were always a king Betrock for the
tape, we aid we'd buy it. He wasn't doing
anything with it but he didn't want to let
it go, 'cau e he obviously had plans for it.
BLONDIE
CB: Blondie was basic-
ally done live, with the four
musicians playing.
DH: All the songs were about death
[laughs] . They ju t seemed to come out
that way. We liked comic book and tuff
like that. Everybody collected comic
books and was always reading comic
books. The place wa full of comic books.
JD: Plaza ound, where we recorded
the album, i at Radio City Music Hall.
The whole place is uspended on prings
because of the vibration of the Rockette
rehearsing next door.
CB: The studio had a big shade on the
control room window. One time we were
in there mixing and we pulled up the
shade and there was like a 40-piece orche .
tra on the other side of the glas while we
were mixing " Rip Her to hreds" or
omething. Later on I was surprised how
small ome recording studios were be-
cause Plaza Sound was massive.
DH: We wrote "X Offender" around
ovember, December of 1975. That was
the first "X" ong-the first anything
with an X in it. There were no groups
named X, no ongs named X, nothing.
We were going to call the song "Sex Of-
fender" but ome people had a few doubts
about that, so I aid call it "X Offender."
CB: I think "X Offender" i the best clash of per onalities in the audience for
thing we've ever done. I like the 45 mix tho e show .
'cause it's so compressed and tinny and o " In the Flesh" wa intended as a single,
pectore que. It's almost like an an piece. because [producer Richard] ottehrer put
"X Offender" totally amazed everybody, a lot of work into it, with backup inger
'cause they didn't know what to expect and all that stuff I think what Blondie was
from us and it wa a total production, not about at that point was going totally crazy
just the live ound at CBGB's. It should onstage, making a much noise and racket
have been a hit. a pos ible.
The video of "X Offender" was sup- JD: I always thought Richard Gottehrer
posed to have been shown on an Australian wa a very good producer. He maybe
TV show, Countdown, but when the tape wasn't as trong and committal with us as
came on it was " In the Flesh." Everyone he hould have been, or as Mike Chap-
ru hed out and aid they wanted " In the man was later. But he was always very
Fie h," o "In the Flesh" became a num- good, always ha a great ound and he
ber one hit in Australia. It created huge makes great records, fun record . Very en-
problems when we finally got to Au tralia, tenaining record . He's basically a nice
because the people that were tuned to guy. He wasn't tough enough to get into
such things knew we were a ew York the pain and mi ery of being here.
underground punk rock group from the DH: "Man Overboard" was suppo ed
depths of the Bowery. But then the other to have a Latin ound, and I think
half of the audience expected a band that Richard gave it more of a girl-group
played light pop ballad . There wa a real sound.
 had been popular, the d.j .s would finally being poured into us-people in the in-
listen to u . It turned out to be a monster dustry started to believe in Blondie. We'd
in England and France. I didn't know this had a couple of hits in England, and that
beforehand but t. Denis is the patron gave us the belief that if we could do it
saint of France. Psychic choice. there-we have the right producer now,
CB: Our second hit single in England, and he was thinking the same thing. o it
after "Deni "was "(I'm Always Touched was an initial concentration on the part of
by Your) Pre ence Dear." I put in a lot of Mike Chapman and us to break America.
work on that. It was a fitting wan song It was a very tough nut to crack.
for [compo er] Gary. The way the drum CS: Everybody was excited about
come in always remind me of "Day working with Mike Chapman but nobody
Tripper." was prepared for it. Gottehrer is very re-
CS: "I'm on E" was about running out laxed and was intere ted in capturing
of gas-being empty. If you listen to the inspired moments rather than personify-
lyrics, there's a reference to driving in a ing a performance or making a hybrid per-
car. I played bass on "Fan Mail," formance. Mike's theory is that if you can
" Denis" and "Youth abbed as Sniper."
DH: Thi was the fir t time I worked
up the lyrics after hearing the music-
which is a much better way to write song .
Chris Stein: This album There's only one place where I would
say we should have done thing differ-
was angrier, more anti-estab- ently: the two or three-month period after
lishment than the first. recording Pia tic Letters. In tead of
DH: I didn't expect Gary alentine to going right to LA for those gig with
be playing on this record. I didn't think he Frank [Infante] on ba s, we hould have
had wanted to be in the group anymore tayed in ew York and got a good
for at lea t half a year before. I think he player, figured out what we were gonna
had a lot of ideas about what he wanted to do, or gone to LA to get omebody instead
do and he felt Blondie was holding him of having to do gig right away. We had
back. never had a period of time when we
CB: The second album had a totally weren't b oked or didn't have something
different atmo phere from the first, what to do where we weren't under pre ure to
do something once, you can do it again
with [then-manager) Peter Leeds breaking come up with product or have an obliga- better. He would make u do thing over
the new to us about going to Chrysalis tion to fulfill. Our manager made us lose
and over again until we got up to his stan-
Records. I had mixed emotion , 'cau e I our per pective and lo e control of the
dards. And nobody was prepared for that.
didn't really know what it meant. And I band at this time. He put us on the road CB: It probably wa a bit tense at first.
felt ort of bad about Gary leaving. I quit before we had a chance to regroup, as it
But I think that was the idea of actually
the band right after he left, sort of threw awere-re-organize the band. That threw
going professional. With Mike it was very
tantrum . I felt at wit's end a bit on Plas- u totally off balance for about two years.
intense. Our fir t two albums weren't
tic Letters, not having a ba s player and done with the idea of making hit record ,
lo ing a friend at the ame time, and being they were just playing, almost free form.
o new to it all. I think that album's really PARALLEL LINES But then the idea with Mike was to make
good· Richard Gottehrer' a really good a hit album. Parallel Line wa the
producer. Tho e early albums hold up to • harde t we had yet worked on an album.
this day. [English bassist igel Harrison joined Blon- DH: Everybody wa really concentrat-
JD: Pia tic Letter was a very dark al- die after spending most of the 1970s first ing, trying to make a good record. Mike
bum. Plaza ound was a dark tudio, the with Silverhead and then with ex-Door key- worked u really hard. I don't think Clem
Rockette were getting older Radio City boardist Ray Manzarek's ice City.} was ready for it. Gonehrer let him get
was closing ... away with murder so to speak, but Mike
I wrote six ong on Plastic Letters Nigel Harrison: I literally was Mr. Perfection. lem wa real sur-
and not one ha a groove that' imilar to walked out on Ray, which prised; he really worked on that record.
the others. " o Imagination" is directly H: I could never understand what a
inspired by Lou Reed's "Lady Day"-
was a horrible thing for me to
you know, nightclub decadence. The do. I felt real guilty, but Ray
whole album is like a portfolio of illu tra- was very supportive of my
tion from a graphic arti t. lot of good
ongs on there-for hri it wa a tep- joining Blondie.
ping tone into what he would finally lock DH: igel had een us at the Whi ky in
into on Parallel Lines. LA the first time we were out there with
C : We were getting into ynthe izers· Gary. He knew who we were, and what
I don't think Jimmy had a synthe izer for our material was like.
the fir. t record . We had been to England H: I was on the road with Blondie for
and were influenced a lot by the punk ix months, all around the world, before
scene building up there. we recorded Parallel Lines, o musically
We did "Deni "because we had it on a we were real tight.
K-Tel compilation-44 Golden Oldie JD: The first time we all had a trong
or something-and we thought it wa. a belief that Blondie could work wa just be-
great song. fore Parallel Line . We were changing
DH: I thought if we played a song that producer , changing label , money was
18 TROUSER PRESS/September 1982
record producer was meant to do until I
met Chapman. He drove us to insanity at
times. "Chris Stein always wanted to do
JD: The rea on I re pect Mike Chap-
man is that he' as arrogant as I am. I once
threw my keyboard at the guy-a $50,000
disco songs. He's a dadaist.''
ynthesizer. I picked it up threw it and -Jimmy Destri
said, "You play it." But he could do the
same thing to me. That's how we battle it
out, and that 's why it works. Tokyo, and the taxi driver started tapping written. With "Pretty Baby" I was saying,
DH: We worked up the Parallel Lines his hand on the steering wheel. When we oh god, what am I gonna write, what am I
material in a mall studio downtown, and came back to the US we found that the gonna write. The night before I had to re-
then we came uptown and recorded it. erves weren't together anymore and we cord the vocal I finally got an idea.
Chapman helped us on the arrangements. said, gee, we should record this. NH: I listen to songs like "Pretty Baby"
JD: Chris always wanted to do disco NH : I used to make home tapes with and it sounds to me like it's got all the
songs. He's a dadaist. We' re running two tape recorders and a rhythm machine. ambiance, all the magic of the first take.
through this new wave/I hate di co/punk My original music for " One Way or But it wasn't.
rock scene, and Chris wants to do "Disco Another" wa this psychedelic, Ventures- CS: "Fade Away and Radiate" had
Inferno" and "Love to Love You Baby." like futuristic surf song gone wrong. been lying around ince the first album.
We used to do " Heart of Glass" to up et Jimmy really liked this piece of music We u ed to do the exact ame arrange-
people. It was his idea to bring it back, but and we would play it while on the road. ment, except I did a modified version of
as a funky song. Then Debbie picked up on it; she came the solo. Robert Fripp came up to us at
DH: " Heart of Glass" was an old ong up with the "getcha-getcha-getcha' s. The the Palladium in ew York, one of the
ofours. We changed the feeling ofit when ending, where it gets crazy, wa Chap- fir t times we played there, and said he
we recorded it becau · e it wasn't fitting in man's idea. liked us. We hit it off and he ended up
with the rest of the record. We always CS: "One Way or Another" really putting his guitar licks on the song .• We
called that our disco song, even when we helped us break through in America. I still had it all finished, but we were excited to
were doing it as a funk ong, around 1975. hear it u ed as background during baseball have him do it.
CS: The original arrangement of games. For the last two albums we've CB: The end of that album wa the
" Heart of Glass"-as on the Betrock talked with Mike about consciou ly whole group sleeping on the floor of the
demo -had doubles on the high-hat cym- making songs that can played at half-time. Record Plant at about 6 o'clock in the
bals, a more straight-ahead disco beat. JD: "Picture This" i basically my morning, and waking up to see Mike and
When we recorded it for Parallel Lines ver e music, Chris's choru music and his engineer at the time, Peter Coleman
we were really into Kraftwerk, and we Debbie's lyrics. We all had little pieces of walking out of the room and bitching
wanted to make it more electronic. We one another's song , just throwing in bits. about having to carry the e 24-track tape
weren't thinking disco as we were doing it· I always write with the band in mind. back to LA. It wa just like, bye, we'll ee
we thought it was more electro-European. DH: It's scary when it's getting time for ya. We all went back to sleep on the floor,
e planned to release " Heart of Glass" rou to sing and you don't have the lyrics and Mike and Peter left.
a a single, but we wanted to hold it back,
becau e we knew we were gonna get
tagged with the disco thing. We didn't
want to release it first from the album.
The album was out six months before it
came out.
CB: Our record company didn't ee
any hit singles on P arallel Line at the
time. They put out "I'm Gonna Love
You Too" as the first single off the album,
and it bombed totally. Then they put out
" Hanging on the Telephone" in America,
and that bombed. Then " Heart of Gia s"
became a hit, and the album went back
up the charts. It took around 35 weeks to
get into the Top 10. ntil the Go-Go's,
we were the band to take the longest to get
an album into the Top 10. Parallel
Lines is a classic album. I think when
people think of Blondie they think of
Parallel Lines, " Heart of Glass . .. "
CS: "I'm Gonna Love You Too" was a
Ramonesy-type thing that dated back to
the CBGB's period. We hadn't intended
it a a single, but Chrysalis wanted to re-
lease it becau e the Buddy Holly revival
was going on.
DH: Jeff Pierce from the Gun Cllub
was a fan of ours. He sent our manager a
cassette of "Hanging on the Telephone"
by the erves, Jack Lee's band. We were
playing it in the back of a taxicab in
19

CS: That was done fast-
in three weeks, the fastest
record we ever did with Chap-
man. H e was into a looser ap-
proach at the time, more
spontaneity. Also, Mike
wanted to get out of N ew
York as fast as possible.
DH: We weren't under the ame pres-
sure we had been. Leeds wa n't in the
studio making our head crazy, playing
mind game on us. He wa there all the
time, he hung out.
CB: We were out from under Leed,
we had been touring a lot and we had a lot
of hit records in England and Europe by
then. I considered this to be my album in
a lot of ways. I'm all over the place on it,
but not in a negative sense. The song are
very up, and there are a lot of punk rock
elements. That' our mo t rock 'n' roll
album. With a title like Eat to the Beat,
it has to be.
JD: "Dreaming" wa recorded live.
" Living in the Real World," the song
" Eat to the Beat," the ba ic track for
" Slow M otion" -we did all that stuff live,
it was great. Only "Atomic" and one
other ong were done with a dick-track
[electronic metronome]. By Eat to the
20 TROUSER PRESS/September 1982
Beat Chapman had really sharpened u
up. Also, we had ju t come off the road,
and it's great to play in a studio after being
on tour.
CB: " Atomic" was suppo ed to be the
last di co ong. We aid we'd do one more
di co song and then that wa it. "Atomic "
though, sound like Duran Duran to me.
CS: Jimmy came up with the idea of re-
viving " Die Young tay Pretty," which
was an old ong of our . We wanted to do
a reggae song and that number had alway
been arranged that way. We thought
" The H ardest Part" might do something
in the tate as a single but one thing I've
learned is that one never knows. o much
of it ha to do with politics, crazines . If
hit records only concerned people's taste
and not all the e weird prejudice about
what type of mu ic it is, they would be a
lot easier to pick.
CB: Eat to the Beat went platinum
but it didn't have any hit record (in
America) on it. "Atomic" went to number
one in England.
JD: Eat to the Beat was a big letdown
for me. I loved that album . But unfortu-
nately we put in a lot of ongwriting talent
without one unifying idea.
NH: The mo t digusting experience of
all time for us was choosing a new
manager. Very few group have had to sit
in a room while 36 managers try to sell
you on why they're o wonderful. I don't
trust any of these people; it' just a busi-
nes , and I hate the bu ine s side of music.
The first few weeks the whole band would
go, 12 to 2, at our accountant's office. As
the day went on ju t lem and I went
there, then I'd go there alone to talk to
manager 'cau e no one wanted to know
about it. We were making Eat to the
Beat, and it ju t doe n't go with the
creative proce . ome of the e guys are
more how bu ine than the group them-
elve . We decided on hep Gordon who
wa the fir t guy we aw out of the 36 that
we interviewed.
''CALL ME''
DH: Giorgio Moroder
handed us a demo on a cas-
ette. The whole first verse
came to me after seeing Amer-
ican Gigolo. Once I had that,
that was the basis for the rest
of the song.
We only went into the tudio with him
one day [for a projected Moroder/Blondie
album]. He' u ed to studio musician who
come in, play and leave. He make records
in 15 hour , which i not the way Blondie
works . He couldn't work the way we
work and we couldn't work the way he
work.
AUTO AMERICAN
CS: Autoamerican solid-
ified our relationship with
Chapman. After that we felt
a lot more committed to each
other.
D H: Thank goodne Mike wa till
available to u . He aved our neck on that
one.
CB: The pressure with Autoameri-
can came after it wa released. The record
company went through the roof because
the album was o weird to them. They
didn't hear any hits. They ju t heard
string and mariachi horn .
JD: Chris took the most interest in the
whole album .
C : We wanted to get away from a
mold. I was really angry at the time; a lot
of that stuff wa a lap in the face to criti
and people with preconceptions about what
we were and what new wave mu ic wa
suppo ed to be. I was appalled by the way
new wave was being absorbed into the
main tream. By the time we did Auto-
arnerican, new wave had been totally
ab orbed, the ame way hippie were
ab orbed. The album may have confu ed
people because it was so eclectic; the
linking theme was the diver ity of it all.
Rolling Swne said I was trying to destroy
pop music; they're out of their minds.
NH: I think Clem felt a little odd
about Autoamerican. After doing Eat
to the Beat he couldn't really lay into it;
there's only a certain way you can play
"Rapture."
CB: I'm really proud of my playing on
"Rapture." Autoamerican is the album
where I gave up wanting to play like
Keith Moon and decided I want to play
like Steve Gadd. Autoamerican was
fun; we got to spend two months in Cali-
fornia. I'm always up for a free ride.
CS: "Rapture" was one of the few
songs we've worked up in the studio. We
did two versions; one was slow, a Christ-
mas rap with Fast Freddie, the rapper,
duetting with Debbie. That was on the
Fkxi-Pop flexi-disc. After we cut that track
we felt it should be faster, peppier.
There's a great bass break in the first
version.
JD: "The Tide Is High" is very similar
to "X Offender" musically.
"Angels on the Balcony"-these weird
metaphysical lyrics came to my head
about a haunted movie theater where a
greaser got shot. You see a phantom ciga-
rette in the theater.
"Do the Dark" is about Satan. The
Stones made the devil into George San-
ders, I wanted to make him into John
Travolta-Satan as a disco guy, "walk on
glass with the master."
"Walk Like Me" is about the whole
rock 'n' roll scene. Real nasty. Just call me
sick, sick, sick on that album.
CS: I went to see Camelot and "Follow
Me" stuck in my head. By doing some-
thing corny like that I was trying to wake
people up to the validity of that type of
music. I felt new wave fans were getting as
stuffy as opera lovers: "I can't lsiten to
that-it's not about teenage suicide and
doesn't have raging guitars in it." The
band thought I was insane.
"Live It Up" is an old song.
THEHUNT ER
CB: Classic record com-
pany quote: When we were
beginning The Hunter, they
said, "Well, we hope this
isn't another album like Auto-
american." What do you
mean, you hope there's not
gonna be two number one
singles on the album?
CS: This was the .first album done
pretty much in the studio, with very little
pre-production. We wanted to experi-
ment, to stretch the limits a little. The
record evolved during the session. Nigel
had lots of idea tapes. "Orchid Club" was
a simple riff that we structured; "War
Child" was the same thing. I had the
theme and title of"English Boys."
NH: I brought in a tape of "War
Child," and the band really jumped for
that one. Chris thought it was like the
Jackson 5. My other song on the album,
"Orchid Club," was kind of a Marvin
Gaye cop.
JD: "Danceway" is my little story
about my band. Debbie said, write a song
about us!
NH: I thought we were gonna do "The
Hunter Gets Captured by the Game" like
the Marvelettes' original, but I think
Chris and Mike decided they wanted it
real primitive-sounding. When I hear it I
keep waiting for the whole drum kit to
come in.
DH: I don't think that song's ever been
covered the way we did it. We tried to get
a King Kong feeling.
CB: The Hunter is the composite al-
bum (after Best of Blondie). Every phase
that Blondie's been through manifests it-
self on this disc.
NH: The challenge now is just to keep
growing. This last album we definitely
grew, and I know we're capable of more.
There's no way we can ever backtrack. ■
 Another tab TP discovery!
B y mid-1969 the Doors were firmly entrenched
as the number one American rock 'n' roll band.
Their first three album had gone gold and each
of their nine singles climbed it way up the charts. They
were commanding big buck to appear before va t crowd in
concert halls, auditoriums and sports arena from California
to the shores of the Atlantic.
Jim Morrison's name and face had national recognition
and the press was always ready to report his more out-
rageous e capades. Life magazine ran an article about the
Doors and their music, complete with photos of the police
busting Jim and dragging him off the stage in New Haven,
Connecticut. The writer could find no justification for the
arrest; just another example of Jim enraging the uptight
sensibilities of the local guardians of authority and morality.
In March of 1969 Jim wa charged with, among other

NORRl~ON
things, indecent exposure during a performance in a hot
and vastly overcrowded auditorium in Miami. ewspaper ,
wire services and rock magazines told the world about it
and most people concluded that he had indeed flashed his
cock in concert. Because he was a public figure who
advocated freedom, he wa pre urned gwlty from the start.
Fame had turned from laurel wreath to millstone.
Despite the triumphs and the troubles, Jim managed to
keep his ense of humor. He reli hed danger, fun and

ATlANTA,8-A
adventure. As oon as life in LA started to become burden-
some or predictable, he would seize any opportunity to get
away. When no legitimate excuse presented it elf, he would
simply disappear for a few day or weeks .
In May of 1969, a telegram from the Atlanta Inter-
Artie e Pho o y national Film Festival provided Jim with a way out of LA .
The Festival, honoring the Doors movie Feast of Friends
with a gold medal, had extended an invitation to the film-
makers to pick up the award .
When Jim asked me to accompany him to Atlanta, I
accepted without hesitation. I was just a itchy to be on the
road as he was, and I wanted to see Jim in a setting that
would be difficult for him to dominate and relatively
immune to his pre-established fame . He had recently grown
a beard so that for the first time in his career he was
virtually unrecognizable .
We threw a change of clothes and a selection of books
in carry-on bags and left for the airport. We were very
late and as we were ru hing to the boarding ramp in an
airline electric cart, it suddenly occured to me that Jim was
always mis ing or almo t mi ing planes. Paranoia,
induced, no doubt, by racing too fa t through jet fumes,
seized control. Was fate trying to warn Jim not to fly?
Could it be that he was destined to die in a flaming era h
and his subconscious mind was trying to hinder him from
getting on planes? It could happen at any time, even on this
flight!
All of a sudden the. trip to Atlanta lost its appeal. Jim
noticed me turning pale and holding on, white-knuckled, to
the tube frame of the electric can that was speeding us
towards our departure gate.
" Don't worry, man . We'll make it. They'll hold the
plane," he said.
It was not exactly the reassurance I wanted, but of
course he was right; they did hold the plane.
After a few drinks I began to lose the creepy feeling of
impending doom, and somewhere over Texas my first
experience with fear of flight had evaporated . When I told
Jim about my delusion, he looked out the window before he
said, "I wouldn't mind dying in a plane crash. It would be a
good way to go."
"A good way as compared to what?" I asked .
"I just don't want to die of old age or o.d. or drift
off in my sleep." He seemed to have given the subject
TROUSER PRESS/September 1982 23
 seriou cons1derauon.
"Dying in your sleep seems like the most pleasant and
least painful way."
"Yeah, but you don't get to experience anything, you
just slip right into it. I want to feel what it's like. I want to
taste it, hear it, smell it. Death i only going to happen
once, right? I don 't want to miss it."
"What's to experience? Your whole life flashing by in
single frame curs? I could do without it."
" Don't knock it if you haven't tried it," he said.
We landed without my having to review my encap u-
lated life at high speed. At the festival headquarters we were
greeted by Mr. J . Hunter Todd, the head honcho who was
delighted, even thrilled, to have Jim to how off. Jim and I
were equally delighted with Hunter's attache ca e which
contained a built-in mobile phone, the first we had ever
seen. Jim had to try it, placing call to LA (no one wa in),
and to an Atlanta d.j .. Jim asked him to plea e announce ·
the next day's showing of Feast of Friends. The d.j. imme-
diately put Jim on the air to make the announcement
himself via the mobile phone.
Although the film was screened in the middle of the
day, the theater was almost filled . During the 14-minute
rendition of"The End," which climaxe Feast, not
one person in the audience moved . Jim's face in close-up
wa almost eight feet high on the theater screen. Following
his eye and straining to hear his every word, the audience
seemed pellbound.
For me, watching the film with this enthusia tic
audience was almost like eeing it fresh, for the first time . I
was swept up in the emotional re ponse to the ong and
images. Accident of juxtapo it ion and the hard-edged
documentary reality gave the film a vibrant urgency.
After the light came up, Jim was introduced and
speedily surrounded by fans. Most just wanted to stand and
24 TROUSER PRESS/September 1982
stare; ome a ked question : "How do you like Atlanta
Jim?" "Why is the band called the Doors?" "Did you
ever meet the Beatles?" The bolder girls ventured do e
enough to touch him .
Jim endured it all good-naturedly: the frivolou que -
tions, the requests for autographs, the touches. Many
people a ked to see the film again, while other wanted the
Doors to "plea e play" in Atlanta.
Jim came away with his pockets full of invitation ,
phone numbers and addresses.
That night Jim and I wandered down to what had been
de cribed to u as Atlanta's "hippie" section. We were
invited to a rent party in one of the older ictorian·houses
which was inhabited by college students, runaways, street
people, artist , musicians, army deserters-the whole spec-
trum ofa '60 commune environment. Jim was treated with
univer al reverence, and I was assumed to be a member of
the Doors, hence ales er deity.
The young people in Atlanta eemed much more con-
ervative in life tyle and appearance in comparison to the
West Coa t, where people dres ed in fanciful, colorful
clothes that made them re emble pirates, princesses,
gyp ies, clown , bikers, magicians, cowboys, Edwardian
fops, Indian and Hindu gurus. At thi party, men wore
jean and work shirts or T-shirts, while the women dressed
as if they had never heard ofCarnaby treet. Grass was
passed around furtively, while tales were told of constant
police harassment.
In contrast to his arrogant, cool, distant and wild stage
stance, Jim was open, approachable, funny and friendly
with the e young fans . A circle of girls, almost like a
protective shield, sat on the floor at his feet. He seemed
completely at ease, comfortable and natural. When a collec-
tion was taken for a beer run, he slipped a $20 bill in the
pot and even offered to help carry the booze back to the
 In contrast to his arrogant, wild stage stance,
Jim was open and friendly with his young fans
house. He was undemanding and helpful, the perfect guest.
I cracked up watching him help out in the kitchen, pre-
paring snacks. He picked out albums, changed records,
passed out beers and listened to complaints about cops,
school and parents. He did not offer advice, but he shared
his own similar experiences. His presence at the party,
and especially his no-bullshit lack of preten ions, conveyed
a total equality. It was like he was one of them and his fame
was theirs to share, because he spoke for them.
Did he really represent the attitudes of 14 to 25-year-
olds all over the country? And ifhe did, was it the well-
spring of his anger and belligerence toward society? Could
the e young people who admired him be the source of his
power?
un wasn't so cooperative the next night at the
ards ceremony banquet. We had not been told
that the event was formal and even if we had, Jim
would not have changed his leather pants and suede jacket
for a tux and bow tie.
More than 400 people sat at eight-place tables in the
enormous banquet room of the Hyatt Regency Hotel. As
we were led to our table, 800 eyes followed us, signaling a
mixture of curiosity and di approval. I was hoping that we
would be seated at an unoccupied table in a comer o that
we would not have to make small talk with these dressed-up
folk who were obviously twice our age and more than a
little upset at our appearance.
Instead, we were placed at a table near the center of the
room already occupied with other award winner . We
introduced our elves and Jim, in a magnanimous gesture,
ordered six bottles of Pouilly-Fuisse to be shared by our
fellow diner .
The first cour e brought a vivid portent of what a
disa ter the meal would be. My oup was watery and
disagreeably flavored. Jim didn't bother to taste his . In-
stead, he emptied his water tumbler into the soup bowl and
proceeded to fill it with the excellent French white wine .
The big water glass held more than a third of the bottle. To
the woman aero s the table who watched him, Jim ex-
plained, "I never eat soup."
He didn't touch any of the other courses either, but
kept filling hi water glas with wine. For the most part,
table conversation swirled around us, but whenever Jim
was asked a direct question, he an wered with non-
sequitur , or funny one-line remark .
"Where are you young men from?" the woman on my
right asked us in a weet drawl. "From the top, ma'am,"
Jim said, pointing hi finger and lifting his eyes.
Although he never said anything mean, Jim's remarks
were interpreted as derisive. He wa trying to poke hole in
the puffed-up vanity of our fellow awardees, but it wasn't
working. The only unplea ant person at the table was a
middle-aged guy who claimed he produced TV commer-
cials in Florida.
"I guess no one told you boys that this wasn't a rock
concert," he began as soon as we sat down. He wanted to
know ifour film was "x-perri-mental." He pronounced the blinding by the strobe-happy awards photographer, Jim
word as if it denoted an incurable brain disease. kissed the cutie and came back to the table, beaming from
"I've seen 'x-perri-mental' films from that fella Brak- ear to ear, the plaque tucked under his arm.
hage, and I didn't get anything out ofit but a headache." A few minutes later, as we were leaving the banquet, I
" Serves you right," Jim muttered, but our antagonist was noticed the TV commercial producer from Florida reach-
still talking and didn't hear him. ing for the only full wine bottle on the table. I stopped to
"You fellas make films like that, hard on the eyes?" watch. He grabbed the bottle and as he lifted it to his glass,
I was feeling feisty and full of wine, so I decided to take a montage of reactions flickered across his face, 24 frames
him on. I asked him what camera and film stock he used to per second. He went from surprise at the bottle's warmth,
shoot his commercials and whether he preferred the stock to bafflement, to reluctant realization, to disgust, to anger,
pre-flashed or post-flashed and were his crews IA TSE or to rage, to . .. I didn't stay to see the rest.
ABET? I caught up with Jim and told him about it as we
He didn't know what I was talking about. His confu- exited, mimicking as best I could the guy's facial expres-
sion and lack of technical knowledge were apparent to sions. We stopped at the door and laughed so hard that the
everyone at that table. enormous room full of people turned to stare. Jim waved
" I hire boys who know that technical stuff. I know the plaque at them and we left. I'm sure they thought we
what sells!" he replies. "And I don't show up at a banquet were both certified loonies and probably very dangerous
with dirty clothes .... " H e was ready to go on in this vein dudes. ■
but his wife, a lady of not insignificant ize, hushed him,
and I decided to ignore him .
Jim was never impolite, but he became incoherent after
three water tumblers of wine. I was so shockingly drunk
that I had real trouble sitting balanced c:1 my chair. A pan
ofmy brain kept nagging me to remember something, but a
weet fog had ettled in my memory.
What I had forgotten all evening was that one of us was
going to have to get up to accept the award. In fact, the
awards portion of the banquet had already started and was
proceeding on the dais . I could see it clearly in double
vision.
I think I moaned out loud. Everyone at the table,
except Jim, must have interpreted this to mean I was going
to be sick because there was a sudden retreating of chair
from my general vicinity. Jim looked at me, his eyes at half e
,::,
C
mast, and gave me a lopsided, engaging smile . "'
·;:;
"Ain't this great?" is what I think he aid, but between "'
:::;
,c
hi slurred speech and my alcohol-impaired hearing, he C

could have said anything. u:"'

" You gotta get our award," I managed to say. He
tarted to get up.
" ot now ." I pulled him down.
" You go get it," he said. "You did it." He searched
through the wine bottles, but they were, by this time, all
empty.
" o ... you have to get it, man," I said. "I can't .. . "
"O K, OK, but you hould, really . ... "
Jim, realizing
. no one
.
It was going to be a toss-up for disaster for whoever got
up to get it.
was paying attention,
The attention of everyone else in the room was now
firmly focu ed on the dais where lovely young ladies in low- grabbed an empty
cut gowns were handing plaque and certificates to an
endle s st.ream of grinning filmmakers. Jim, realizing that bottle, unzipped his fly
no one was paying the slightest bit of attention to him,
grabbed an empty wine bottle, shoved it under the draping
white table cover, unzipped his fly and enjoyed the reliefof
and emptied his
emptying his bursting bladder. Finished, he returned the
now almost filled green wine bottle to the table, placing it
bursting bladder.
among the empty ones.
I don 't think anyone noticed Jim 's unique urination,
but I began to worry about that full wine bottle. I thought it
would be a afe idea to get it off the table and was about to
tell Jim so when I heard the m .c. announce our award .
Jim jumped to hi feet and stood swaying next to the
table, holding on with his fingertips, trying to regain
balance and equilibrium. I was trying to get to my feet to
lend a hand, but before I could ri e, he lurched off,
shuffiing and stumbling through the maze of tables.
On the dais a deva tatingly cute and voluptuous girl
handed Jim a gaudy black and silver plaque. Jim gave her
his room key in return. After being subjected to near
26 TROUSER PRESS/September 1982
 Interview By
Karen Schlosberg
It's been 15 years since Dave Edmunds
recorded his first single. Whether acting
the pop star, producer, engineer, recluse
or fan, the 39-year-old Welshman has,
through his music, assumed the responsi-
bility of standard-bearer for traditional
rock 'n' roll-the man who will safely
bn'ng 1955 into the 1980s and beyond.
Edmunds is a man of many notes but
not that many words. He can be charm-
ingly self-effacing, but unden1eath he
seems stubbornly determined to do things
his way, and he's probably nght. He has
worried about not having a direction,· he's
felt guilty about putting out albums full
of diverse styles; he's doubtful when told
that he does have a personal, recognizable
sound that gives all his music a reference
point; and he still has "recurring mght-
mares" that he will not be able to earn a
living playing music.
The first interview for this autodiscog-
raphy took place in March of 1981 in
New York, during a bnef promotional
tour Edmunds did for both the Con-
certs for the People of Kampuchea
LP and the thenforthamzing Twangin ...
(see TP 63). Round two was held this
past January, several months before the
release of his latest album, D .E. 7th, in
the London house where Edmunds was
living at the time. The domestic scene
included Edmunds's wife pacifying their
then-four-month-old son who was crying
in the background; his dog munching bis-
cuits, s~ezing into the tape recorder and
generally disregarding masterly com-
mands to "stay!" (causing Edmunds at
one point to good-naturedly fling the
small Yorkie out of the room); phones
n·nging; ·and a cozy fire blazing away in
the hearth.
We next caught up with Edmunds on
the road in May, in Providence, Rhode
Island. He was on a US tour in sup-
port of D .E. 7th, and we hope it's the
last time TP will have to mention
"Sabre Dance" to Edmunds-a great re-
lief to both parties, no doubt. Edmunds
was bemusedly obliging throughout, still
wondering who his fans are and why he's
got them.
"I don't count myself among others
who've had hit records, the sercal/ed
'stars,' which I think is a good attitude to
have. I feel all the time like I'm a fan who
just happened to experience the other side
of the fence as well. " -KS

•••••••••••••

Prehistory
I left school just before· my
15th birthday. I had a succession
of jobs and got fired from most
of them for not being able to pay
attention. I wa ju t thinking
about rock 'n' roll songs all the
time, having them running
through my head and working
out the chord . I thought I'd bet-
ter get a job-I can't go on
through life like this, Ii tening to
rock 'n' roll record . o I went to
a government training center
and became a mechanic, to make
some use of my life. And I was a
good mechanic, act~ally. I really
enjoyed it, working in the gar-
age, on the cars. Perhaps I could
fall back on that.
[In 1967 Edmunds released a
single, "Morning Dew" b/w "It's
a Wonder," as a member of the
Human B eans. ]
I don't know where the name
Human Beans came from. We
[Edmunds on guitar with bassist
John Williams and drummer
Tommy Riley] recorded at
Kingsley Ward's studio in Rock-
field, and he had some kind of
deal with EMI, which wasn't a
particularly good one, as I recall.
He just took that record up to
them and someone at EMI put
that name to it . I didn't care-I
just had a record out. That was
amazing!
LOVE SCULPTURE
Singles (1968)
Tommy Riley left and we got
Congo [Bob Jone ] in. We were
called · the Image before that .
But the name Love culpture,
that's the weirdest name. Tom-
my thought it up, though he left
before we recorded anything.
There were some clever effects
on "River to Another Day."
The backwards guitar solo actu-
ally made sense, it wasn't just
mumbo-jumbo . When you
rever e the tape to do a back-
wards solo, you don't know
where you are. It starts from the
end, and goes back to the begin-
ning. And we really worked on
it, o that when it was reversed
back the other way it wouldn't
be just hit and miss, like it was
with the Beatles. And it worked,
it was great. There was a very
complicated end, too, a fade
which was so over the top that
28 TROUSER PRESS/September 1982
the record company faded it be-
fore it got there. I wonder if I've
still got the full version ome-
where. Was it a definite attempt
to make a Beatie -type record?
Ye , absolutely.
I wish we had recorded some
of the Beatles ongs we did, actu-
ally, 'cause we used to do some
quite adventurou stuff. doing "I
Am the Walrus" with a three-
piece band and "A Day in the
Life," and things like that . It
used to work; on a good night, it
was great.
" abre Dance" wa omething
we recorded right off the cuff. It
was my idea. We u ed to sup-.
port the ice whenever they
came down to Wales, and I
loved them. Keith Emerson
used to do that "Rondo" and
things like that, and I just want-
ed to find a "Rondo," really. I
don't know why I chose "Sabre
Dance." We were up in Kings-
ley's little studio one day and we
ju t did it, we put it down. And
it sounded great, as I remember.
I was just thinking the other day,
actually, that I must find it, and
maybe release it, or give it away
or something.
We did another version for
John Peel [BBC radio show Top
Gear], and that was horrendous!
I heard it about a year ago, and
it's awful. But Peel liked it, be-
ing the oddball he is. He liked it
and played it twice, and it ran
over into news time and caused
confusion ~ith the program-
ming.
· · We came up to London to re-
cord it as a single. It was a nine
o'clock in the morning session.
We did it once, that was it . That
and the B-side ["Think of Love,"
an Edmunds composition he
doesn't brag about] were record-
ed and mixed in three hours.
"Sabre Dance" is the most
unlikely hit record. The first
question in the interviews I did
was whether it was speeded up .
It wasn't. I'd never heard of
vari-speed then. We used to do
it faster, as we got more used to
playing it, faster and longer
every night. The version on the
album [Forms and Feelings]
was longer. It's horrible, I don't
like that one at all.
" abre Dance" ju t kept us in
wages. We had 40 pounds a week
each· that kept us going for
something like a year, then all
the money was gone. But, see,
the money we made from "Sabre
Dance" went to pay for the al-
bum Blue Helping, which
didn't sell that much . We didn't
know that at the time. You find
tho e thing out afterward . It
seem so great, you've got this
hit record ... but it wa like it
wa happening to someone
else. I just knew it was so tem-
porary I could not take it seri-
ously at all.
"Blues Helping"
(1968)
It was not at all repre entative
of the band's live sound. There
wa never much identity to the
band, anyway. We just wanted
to make an album-didn't mat-
ter what sort of album . If they
wanted us to make a blues al-
bum, right! Blues album coming
up. And that was it. I listened
to a few blue records; I didn't
even know what "blues" was.
· It has no overdubs to speak of,
it's just the band playing. It
was recorded in something like
12 hours. I think it was received
pretty well. I remember the
main theme of the reviews was
that you could tell it was a
white band. There was no trying
to sound black or anything. We
came across as just a couple
of white guys trying to play
blues. It was as honest as that,
really, there were no preten-
sions at all.
"Forms and Feelings"
(1969)
That second one wa very
weird. That's a good example,
actually, of the fact that the band
didn't know what to do. I mean,
just doing rock 'n' roll was very
unfashionable, couldn't have
done that. I suppose, if it had
been left up to me, that's what I
would've done.
I'd met a couple of guys, Mike
Finesilver and Peter Ker. They
were pretty good songwriters,
and we used some of their songs.
They helped produce the album
as well. It's not an album I'm
that proud of, though there are
a couple of good tracks on it. I
like "People People"; I thought
it was clever, not just lyrically.
"In the Land of the Few" is all
right. "Farandole"-that was a
pretty good effort. It took days to
work that out. The rest is just
rubbish, really. Confusion. "You
Can't Catch Me" is awful. I
don't like that much; I don't
think I did at the time.

Rockfield
, sessions
(1968)
We did them one night; we
took ome speed and stayed up.
It wa me, John and [guitari t)
ickey ee and I think Terry
[ illiam , drummer later in
Rockpile) was on one of them .
We ju t rayed up all night. John
had this double ba s which he
didn't know how to play, and he
wa getting the e horrendou
bli ters on hi hand , o he had
the e big garden glove on. We
marked off the fret with big
white tape, 'cause a double ba s
doesn't have fret . And it
worked out they ounded great.
It was only done for fun we
never dreamt of releasing them .
I lost the tapes. The tudio
moved, the building changed
and a load of ruff was lo t. But
I've found two of them now .
[" y Baby Left Me" appeared
on Get It, "Baby Let' Play
Hou e" on Twangin ... ] There'
two left: " M y tery Train" and
" ood Rockin' Tonight." As I
remember, "Good Rockin' To-
night" was the best of the 101. I
found the 8-track of it, but it's
on an inch pool, and I don't
know of any studio that still ha
tho e machines.
"I Hear You
Knocking"
(1970)
I'd known the original when it
was first relea ed and then for-
gotten about it. nited Artists
re-relea ed it as a ingle in about
1969 or '70 and it didn't do any- quite knowing which way to go,
thing at all. Jt fitted into thi
format I had in mind for a il-
bert Harri on song "Let' ork ly off-guard.
Together. " I wa going 10 do
that but anned Heat did it fir t,
which really pis ed me off Then
I wa driving along in the car
and heard the miley Lewi
thing come on. I thought, hang
on tructurally that' exactly the
same. o I used that in read.
I was living by Rockfield and
I wa banned from driving-
speeding, you know. When you
get three endor ements you're
automatically banned for ix
month or omething. So I went
up to London on the train with
my tape of " I Hear You Knock- but it's not bad. I like it because tunity coming 'round again,
ing" to play to the record com- I had to use my own ingenuity 'cau e it was such a weird, one-
pany, EM!. And on the way for special effects. AU I had off theme for a film .
ba k- I wa in fir t class me- wa a de k-you know, a record-
one had given me a first-clas ing console-a tape machine
ticket-my tape wa up on the and ome microphone , and
luggage rack, and I fell a leep. I none of the gadgets you get now
woke up and the carriage wa harmonizer and all that. If you
full of kinhead , young kid wanted any p cial effects you
about 16 or 17. One of them had had to, a I say, u e a bit of ima-
a big axe. I took another I k, gination. That wa the fun of
and they were ju t looking at making records back in those
me- I was pretending to be days. ow it's just harmonizers
a leep-there were about ix or and things that' ll do this and
even of them. I thought, "Oh that, which I rarely u e, if I can
hri t, I can't make a run for help it.
it, my 'I Hear You Knock- The little bit before " It in't
ing' tape's up there." And they Ea y" was a track I'd done of
laid into me and beat me up . Andy Fairweather-Low's which
They didn't u e the axe thank- I then decided not to use. It
fully, but they beat the shit out wa on the 8-track tape, the
ofme. master reel; it was the previou
EMI turned it down. o then I take. When I was doing the
played it to Gordon [Mills] and mix of"lt Ain't Easy," I spooled
he aid, "Right, I'm starting a back too far with "It Ain't
label [MAM], and we'll put it Easy" 's ettings, the echoe
out a MAM I." It didn't have and all that. This other track
anything going for it. There was tarted spinning and it sounded
one quarter-page ad in Billboard interesting. o I just faded it up
and Cashbox for one week and a bit, back down, and lung it
the ame in the Engli h trade . in there, for absolutely no rea on
And that was it. It ju t took what oever.
off-everyone liked it and played
it and bought it.
"Baby I Love You"
"Born to Be with You"
Solo singles (1973) .
(1971)
The Phil pector sound was a
"I'm Comin' Home" was a great challenge, you know. I had
Jerry Lee Lewis thing. It' to do it by myself, that wa the
traditionally called " Old Black thing. I mean, you can get hun-
Joe"-ju t omething I wanted dreds of people in and do it in
to do. one take, or you can get one per-
" Blue Monday" wa a blatant son and do it in hundred and
attempt to try to follow up " I hundreds of take . nd that' the
Hear You Knocking." It didn 't way I did it.
work at all. I uppo e if I had It served a purpo e, ina much
been really on the case I could've a it taught me how to make rec- ~ - - - •
had a big album then . I wa be-
ing lazy and complacent, and not
ord but it did get a bit lonely. I
wouldn't like to go back to that
L------------,
again.
anyway. The success of " I Hear Barry Gibb wrote one ong for
You Knocking" caught me total- me, a nice on of ong. I think
maybe I tarted recording it but
I bought a brand-new Jaguar never fini hed it.
from the garage I used to work
in a a fitter. That wa good- FIiming Stardust
ju t went in, wrote out a check- (1974)
but I really didn't start living out
pop- tar fa nta ies. I just bought a
I certainly wouldn't want to be
nice house out by the studio, got
in a film again . God! Horren-
married and ettled down. Then dou ... I was up at six in the
I got divorced and started all morning to go to the location-it
over again. wa all on location. We would
fini h at ix in the evening, but
"Rockpile" I'd have to go straight into the
(1972) tudio and carry on recording
while all the other actor would
The album had no direction, go to bed. I can't see the oppor-
IL------------
TROUSER PRESS/September 1982 29

"Subtle as a Flying
Mallet" (1975)
Some of the songs on Subtle
as a Flying Mallet, like "Da
Doo Ron Ron," were done for
Stardust. RCA [Rockfield's label
at the time] had to buy back
some of the ongs to stop some-
one else buying them, to protect
their ani t. Then to justify buy-
ing them back, they put them
out. That's why they're on
Subtle ... "Da Doo Ron Ron"
had a girl's voice on it in the
film, then I put my vocal on it.
"Shot of Rhythm and Blues"
and "Leave My Woman Alone,"
as it turned out, weren't used in
the film in the end.
"New York's a Lonely
Town" (1976)
[Edmunds recorded the Trade-
winds oldie at Rockfield, and a re-
vised "London" version in Holly-
wood.]
I've just got hold of "Lon-
don's a Lonely Town." I've
bought it back from RCA, so
we'll put it out next year .. I
didn't quite get it in time; with
all the snow around it would've
been marvelous for this Christ-
mas. Great record . I put some
extra harmonies and percussion
on it, which is different than the
one on the Pebbles album. I
can't imagine where they got
that from.
Signing to Swan Song
(1976)
Things son of ground to a halt
there. I was waiting for Kingsley
to renegotiate a deal with RCA,
which took him forever to do-
in fact, he' only just done it in
the past year. othing seemed to
be happening so I thought, well,
I better go somewhere el e.
I was recording a few bits, and
Robert Plant came down to the
studio to listen. I was going to
sign with Rocket Records, but
they were taking so long, as law-
yers do. Then Robert stepped in
and asked if I'd fancy coming to
Swan Song. He was giving me a
good deal, o I went.
"Get It"
(1977)
I did most of it myself, at
Rockfield . It took about three
weeks, I think. Some stuff I did
30 TROUSER PRESS/September 1982
with Nick [Lowe] at Pathway: "I
Knew the Bride" and " Here
Comes the Weekend." We did
that at Pathway, and then I took
it to Rockfield and put a string
bass on it and tidied it up a bit.
Graham Parker called me up
from the studio. They wanted a
bit of rockabilly picking on
"Back to Schooldays." That's
how I got it.
"Where or When" was a bit. ..
messy. I was just into that Beach
Boys thing at the time, doing
loads of harmonies.
ick came up with the idea
for most of"Little Darlin'," and
I think I put a few things in as
well. I like it; again, "it's on of a
Beach Boys sound.
"Tracks on Wax 4"
(1978)
That was done at Eden Stu-
dios, very fast. I can't remember
much about that. It's the cover I
don't like; it's put me off it. I
tend to forget that album be-
cause of its cover. It was Jake's
idea [as in Riviera, manager of
Elvis Co tello, ick Lowe and,
at one point, three-fourths of
Rockpile; as Dave says, " He
never managed me." ]. He picked
the photographer, he picked the
photo .. .It was bulldozing tactics.
He said, all right, that's it! If you
haven't got any better ideas,
you'll just go with that one. If
I'd've got a better idea, I
probably would've insisted on it
being used. But I didn't.
" ever Been in Love" is a
good'un, I love that track. It was
suppo ed to be like a Sam Cooke
thing, like " Bring it on Home to
Me" or something. [Sings] "You
ought to see-ee, the way my
friend stare, whenever we-ee're,
out in a pair"-that son of thing.
But it didn't work out in the
studio, it sounded really ...
wimpy. So we decided to speed
it up, change the words and all
that.
"Readers' Wive " wa written
by oel Brown. I've never met
him. He used to have a band
called the Tooting Fruities-
from Tooting [South London],
of cour e. "Readers' Wives" be-
ing the subject of, uh, certain
publications. I think they've got
them in Hustler as well, you
know, when readers send in
photos of their wive -that's
what it' about.
U ing the same backing track
for "Hean of the City" [as on
Lowe's Pure Pop for ow
People] was a stupid idea of
Jake's. What the hell do I want
to sing "Heart of the City" for?
"Repeat When
Necessary" (1979)
Elvis Costello sang "Girls
Talk" to me on a guitar. My
version took a bit of doing.
We didn't do it right away; I
was just thinking about it for
a couple of days while we car•
ried on recording other things.
And then I thought of doing
it at that speed, because the
speed Costello sang it to me was
breakneck, just too fast. So I
slowed it right down by about
half. ick put in the line, "It's
a more or less situation inspired
by girls talk," I think. For
some reason that verse was one
line shon.
Graham Parker sang "Crawl-
ing from the Wreckage" on a
cassette, just a guitar and vocal.
I did "As Lovers Do" [the B-side
of the "Crawling" ingle] 'round
about the Get It time, or maybe
a bit before-early '75, down at
Rockfield with ick. We resur-
rected it for the single. It wa
just me and ick on that; ick
played bas and I played every-
thing else. Yeah, those were very
early days, before Rockpile or
anything, though it was after
Brinsley Schwarz had broken
up. I wonder why it wa n't on
Get It. I like it.
"Sweet Little Li a" has just
the rough vocal on it. When
making record you put down a
rough vocal so that everyone
playing the ong know what the
hell's going on. I put the rough
one down, ju t messing about,
but once Alben [Lee] put his
guitar on, I decided to leave that
as the feature and put that louder
than anything else. o I think I
would've been a bit more recog-
nizable had I done a proper
vocal.
"Dynamite" was an old Cliff
Richard record, a B-side. In fact,
he recorded it again, even after I
did it, and put it on a B-side of
one of his hits, back in the last
year. That was another one Jake
kept on about. I wouldn't have
done that. Jake kept saying that'd
be a good one for me to do.
"Seconds of Pleasure"
ROCKPILE (1980)
I like the album but it seemed
to have a bit of an identity prob-
lem. The cover was Jake's idea. I
thought it was the most hideous
album cover I'd ever seen. It was
done in such a rush, the record-
ing and the printing, we didn't
have any say in it at all. I just
looked at it and thought it was
horrendous! It really put me off.
"If Sugar Was as Sweet as
You" is a Joe Tex song. Jake was
going on about how we had to
do this album quickly, it had to
be finished in three weeks' time
and all that. o I went through
my record collection, which I
really didn't like doing, just re-
hashing old songs again.
"Wrong Again": That was
Jake screeeeaming in the studio
one night, yelling at the top of
his voice that he wanted us to do
this Squeeze song. orbing
against the song, but-we0, per-
haps I shouldn't go on about
him . ...
Time has just flown since
Rockpile broke up. It was un-
doubtedly for the better-you've
no idea how happy I am to be,
not just out of the band, but out
of the whole thing.
"Twangin ... "
(1981)
Twangin... was done well
before the Rockpile album, but
we thought it would be just a bit
silly putting the two albums out
together. Swan Song held back,
and it sat around for six months.
The cover is from the same
photo session as the Get It cover,
but a different pose and it's a
painting of the photo-a paint-
of me looking moody.
Francis Rossi of Status Quo
suggested "Singing the Blues"
to me. I don't know why. I think
the idea was for me and hfm to
do it, but I got there first. Will
Birch [of the Records] gave me
the idea of recording " Almost
aturday ight." I wasn't fami-
liar with the song at all.
I did "The Race Is On," a
George Jones song, with the
tray Cats. It's great, too I love
it. It was during a break we took
in recording when I was produc-
ing their first album. We were
talking about the song, then de-
cided to do it. It took about 35
minutes.
There are a few throwaway
tracks on it which I never would
have recorded under normal ci r-
cumstances, but Jake was sort
of-"come on, you've got to do
it, put anything on it, release it,
we want to get on with the Rock-
pile stuff." He didn't give a shit
about any of that solo stuff.
That's why the cover was so hor-
rendous on Tracks on Wax; he
didn't really care. There were
songs we used to do in sound
checks, just fucking about, like
"Three Time Loser," and he'd
go, "Come on, do that, put that
one on." Normally I never would
have chosen that. And 'Tm
Only Human" is awful.
"Concerts for the
People of
Kampuchea"
That was good fun: four day
at Hammersmith Odeon in Lon-
don, a charity thing for the
people of Kampuchea. There
were six guitarists onstage, and
almost everyone did the guitar
solo in "Let It Be." Everyone
was wailing away during that
guitar solo, thinking they were
the only one doing it-I know I
did. It's Laurence [Juber, Wings
guitarist] actually playing the
solo on the album.
"D.E. 7th"
(1982)
I enjoyed making it. It took
about five weeks, with weekend
off. It would've been released
much earlier if it hadn't been for
the Best Of album [Swan. Song
released a Best Of compilation
LP around Christmas]. I don't
like it when albums hang around·
they can start turning into mon-
sters. There's always something
you won't like about an album,
and you should just settle for
that 'cause you'll never get it;
you just keep on doing it and do-
ing it. Takes the fun out of it, for
a start.
It's nice if you can write your
own ongs, but Elvis Presley
never wrote his own songs and
he was creative. I think as long
as they're good song it doesn't
matter who wrote them. But
then I would say that, wouldn't I?
"From Small Things" is basic-
ally the same as Springsteen's
demo except for the end bit, the
key change, and the horns-
there are no horns on his ver-
sion. Working with horns is
something I've wanted to do for
a while. I think if I'd've suggest-
ed it in Rockpile I would've got
shouted down for it. I don't
know, I never tried it, but I'm
sure it wouldn't have come off.
remembered all the words,
'cause I didn't have a copy of it.
It's great having that freedom to
I fancied doing a bluegrass
get hold of things like a good
thing, and I thought "Warmed
banjo player, a horn section and
Albert Lee to do a few things.
Over Kisses" would be good.
I went to see Springsteen at
And it's great, with banjo pick-
Wembley. I thought I'd go anding and Albert Lee wailing
see what all the fuss was about,
away. It worked really well.
'cause I wasn't that keen on theI met this guy Liam Grundy
in a pub in London where he
records. They were all right, I
liked the "Born to Run" single.
was playing the piano, and I got
to talking to him, 'cause he was
They had an after-gig party. I
went back, there was a tap onreally good. I got on very well
with him, and he played this
my shoulder, and there was the
tour manager who said, "Wouldsong, "One More Night." He
wasn't trying to push his songs
you come back to Bruce's dress-
ing room, he'd like to meet or anything, he just started play-
you." I didn't even know he ing it, and I said, "That's great!
knew ofmy existence. We got on
Play it again!" He played it
about six times for me. I was
great. There was a guitar there,
and he picked it up and said,booked in the studio to start
work on the album the next day,
"I've got this song for you," and
so we went in, he wrote the
he played it. I liked it, so I re-
corded it.* words down for me, played the
NRBQ and I have the same piano, and we got it in one take.
music publisher and though I'd
It worked so well. It was the first
heard of them when they did atime I'd ever sung it.
tour and album with Carl Per- Someone in Seattle gave me a
kins some time ago, I'd nevertape on one of the Rockpile tours
heard them until "Me and the years ago. Some guy just came
Boys." Now I'm a huge fan of into the dressing room and said,
"Here's a tape of stuff that you
theirs. I think they're an incred-
ible band. like, I know you'll like it." And
"Warmed Over Kisses" was ait was all unreleased Phil Spec-
tor stuff, things like that, and
hit, I think, for Brian Hyland in
the early '60s. His version was
Chuck Berry's "Dear Dad." I
slow, in ¾ time. I always liked
didn't want to do any more
Chuck - Berry songs-I thought
the song, and for some reason I
* Paragraph from a BBC radio I'd done enough of them-but I
had to do that one, 'cause it's so
interview qy Trevor Dunn.
obscure. ■

z prior understanding of the group.
The Clash
Combat Rock
Epic FMLN2/FE37689
By Ira Robbins
From the start, the Clash has made a religion
out of being non-conformists-either by rarely
doing what would appear to be in their best in-
terests, or by refusing to fulfill people's expec-
tations of them. The secret to all this, of
course, is that they themselves don't know
what's next on the agenda; their unpredictabil-
ity isn't so much a moke creen as a blank
screen. As a result, a lot of speculative writing
constantly dogs them. Every new record runs
into the same futile argument: Are they true
musical revolutionaries, discarding any style
that has become uncomfortable, or are they
merely dilettantes, easily bored and petulantly
moving on to new toys?
As soon as the world became widely aware of
the Clash, the group started shedding skins
and doing things that drove people crazy. Joe
Strummer's recent disappearance, which
caused a major tour shakeup, and the depar-
ture of drummer Topper Headon for political,
not musical, differences, added further fuel to
the discussion. Both developments can be read
as either stupidly self-centered or defiantly
individualistic. Their albums raise the same
paradox.: self-indulgence or artistic experssion?
London Calling, all four sides of it, took in so
much more musical territory than its predeces-
sor, the hard-rocking, love-it-or-leave-it Give
'Em Enough Rope, that it left some listeners
unmoved and uncertain about the Clash's new
direction. Yet there were enough comforting
noises to satisfy most fans who were able to
hear the Clash building on and expanding, not
denying, their prior work.
Sandinista! was decidedly more trouble-
some, No matter how much you loved the
Clash there was no way to wholeheartedly en-
dorse the whole thing. They had failed to edit
themselves, and the great moments were di-
32 TROUSER PRESS/September 1982
luted by the chaff, to a varying degree de-
pending on who was listening. No one could
convincingly deny its excellence or relevance
but, again, a lot of people had trouble reconcil-
ing this new version of the Clash with their
In the great tradition of David Bowie and
(now) Elvis Costello, the Clash had become
chameleons, shedding some of their past each
time they entered the studio. They have al-
ways been defiantly unconcerned about losing
old fans on new terrain-and some fans found
that no amount of slavish loyalty could make
the music meaningful any longer. For many, I
gather, Sandinista! did the trick. Hardier
Clash followers will find Combat Rock pre-
senting them with a whole new ser of challenges.
For a group once so down-to-earth that even
their concessions had integrity, the notion of
an "arty" Clash album was unthinkable. Re-
gardless of an artistic ethos that embraced reg-
gae, rockabilly, blues and more, the notion of
Allen Ginsberg reciting poetry on a Clash al-
bum would have been too ridiculous. That col-
laboration, "Ghetto Defendant," works to
good effect, but the relationship between this
record and the unpretentious Clash of yore is
tenuous. If you like "I'm So Bored with the
USA" or "Train in Vain," Combat Rock
might just as well be by the Osmond family for
all its guarantees ofClashitude.
Before all this gets totally misread, I want to
clarify two points. First, this is an almost great
album. Second, the Clash has every right to
make whatever kind of music it wants, but the
band's audience has an equal right not to fol-
low them on their adventures. At this stage,
every Clash record must be considered by it•
self. Comparisons to the previous work of a
band with the same name hardly matter any-
more.
Okay, so here's the album. It's called Com-
bat Rock and it's by a group called the Clash.
I understand that the drummer who played on
the record has left the band for political rea-
sons. That means this must be pretty serious
stuff. And from the first song on the first side,
"Know Your Rights," it is. This street-corner
polemic, powered by a one-note rhythm track,
is intellectually interesting but hardly a song.
Thus the first challenge: a song that is actually
a speech ("public service announcement,"
Strummer calls it) with guitar. No pretense
here, but not really what you expect on an al-
bum either. "Car Jamming" is a rap-influ-
enced song; Ellen Foley's backing vocals are
the most musical thing about it. An emphasis
on percussive sounds-including chicken-
scratch guitar and multi-tracked drums- make'
it rather tedious.
Although the Clash has never been obsessed
with scoring hit singles, their prior attempts in
that direction have been pretty amusing.
"Should I Stay or Should I Go?," probably the
simplest thing they've ever recorded, may be
raw and raucous but it sounds like a chart•
topper. Two chord guitar, overdriven fuzz
bass, casually loose group vocals (some in
Spanish) and Mick Joqes's impeccably tuneless
singing make this little love tale a winning bit
of fluff. For a group that tries so damn hard to
be serious, this reveals an almost exuberant
sense of fun. (Or maybe that's concealed cyni-
cism-a coldly calculated attempt to beat the
charts by dressing a tune up like a lamb.)
"Rock the Casbah" move& and grooves,
proving that style changes can't suppress the
Clash's unique noise. "Red Angel Dragnet"
throws in a weird counterpoint between Taxi
Driver's protagonist, Travis Bickle, and Paul
Sirnonon's spoken vocals. The band's peren-
nial fixation with American cinema and the
urban nightmare-blended perfectly in the
movie that's now taking the rap for John
Hinckley- are brought together for a powerful
number. " Straight to Hell" shows that the
Clash hasn't lost its ability to sound tender and
sensitive. It's one of the album's most beautiful
tracks, and the first pretty Clash tune to be
sung by Strummer, not Jones.
If Combat Rock had stopped there, with
one side of excellence, it would have been half
a great album. Side two is where all the confus-
ing stuff starts. "Overpowered by Funk" in-
cludes spoken graffiti propaganda from Furura
2000 and a repetitive, " I wanna be black" riff
sound. It's obviously futile to point out that
this neo-disco is no different from the garbage
that hauled 'em into Studio 54 at the heights of
the genre's original popularity, and that Andy
Warholing it into credibility by calling it art is
both phony and racist. Furthermore, sticking
one track that can be played on what is euphe-
mistically called "urban" radio in the midst of
an album not likely to appeal otherwise to that
audience seems more of a calculated move than
if they covered "Bette Davis Eyes." Should
the Clash try a little opera and some country/
western as well?
My "rockist" prejudice considers the non-
rock of "Sean Flynn" a flop. Sparse, flute/sax
riddled and without structure, this track
(ostensibly about Errol's son) makes neither
sense nor a clear impression, even after numer-
ous playings. " Ghetto Defendant," the most
pretentious item here, creates a great dark
mood, even if Ginsberg's words make no sense
and sound quite foolish. "lnnoculated City"
trods some traditional ground but even Mick ,
Jones's multi-tracked vocal can't improve a
basically tepid song, and the montage with a TV
commercial for toilet bowl cleaner is so clichM
and obvious that it's embarrassing. The final
track is a Strurnmer campfire tale ("Death Is a
Star" ) set to a waltz-like shuffie with Tymon
Dogg's cocktail lounge piano and Topper
Headon's brushes(!). It's attractive and almost
likable, but naggingly pretentious all rhe same.
The Clash has built a career on innovat~on
and activism. Their fight for acceptance has
been hard but successful. The challenge of
consistently battling consistency has made
their job much harder than it might have been
had they been willing to settle for the easy way
out . No one can fault them for their sincerity
or musical integrity, but no one has to like
their records either. Combat Rock is a near-
great album, but the budding artsiness it evi-
dences suggests that the old Clash is gone and
nearly forgotfen . D

Also reviewed this iuue: GUii of 4,
Cure, Roxy Music, Verlaine, Idol,
Cnnshaw, Fun Boy 3, Plabal,
Hapn, Jobamen, Toots, Third
World,BlackUhuru,ICIWngJoke,
Abwlrts, die Kapazidt, Deo, Bull,
Lunch, Necellaries, Beades boob,
Who book ....
Gang of Four
Songs of the Free
Warner Bros. 23683·1
The title of Songs of the Free, Gang of
Four's third album, refers to those who are free
from the debilitating traps of capitalism: moral
compromises, exploitation of the poor, self-
gratification at any cost. Most people, though,
aren't free, and this forms the basis for the
Gang's rhetoric. - joined by grandiose minor-mode organ swells,
Considering their sporadic recorded output,
it's possible Gang of Four spends an agonizing
amount of time figuring out how better to
articulate the failures of modem man. Yet this
album, while a distinct improvement over the
lackluster Solid Gold, stays on familiar terrain
throughout. For a band that originally set out
to re-invent rock 'n' roll, Gang of Four might
do better re-inventing themselves. Not that
Songs isn't interesting, but the Gang is
struggling to recapture the lofty standards set
by its stunning debut LP three years ago.
A recent single, "To Hell with Poverty,"
promised awesome things ahead; here Gang of
Four just sounds uncomfortable letting loose
in the studio. The thundering rhythm section
of new bassist Sara Lee (ex-League of Gentle-
men) and drummer Hugo Burnham has been
smoothed down to a few minor rumblings, and
Andy Gill has toned down his turbulent guitar
breaks. Structurally, the band resembles a well-
oiled machine where before they were a stam-
pede, out of control and dangerous.
But they haven't lost their bite. Gill and writ-
ing partner Jon King sing fervently and with
ringing contempt for the paradoxes of free
enterprise on "Life! It's a Shame" and "We
Live as We Dream, Alone." Indeed, their
dogma is so unrelenting it makes one wonder if
power and success would traumatize them.
The heavy-handed music combined with
stem discourse can be suffocating. Fortu-
nately, sparks fly on the first side. "Call Me
Up," a lyrical extension of "What We All
Want" with soaring vocal trade-offs and a
memorable chorus ("Having fun/Is my reason
for living"), slaps the new hedonists. "It's Not
Enough," a caustic probe of marriage, fea-
tures a marvelous display of angst from Gill; "I
Love a Man in Uniform" and "Life! It's a
Shame" show the band at its most mesmeriz-
ing. When every instrument clicks into place
like a line of marching soldiers, Gang of Four
is formidable. And "they're still the only Marx-
ist funk band in creation. -Graham Flashner
The Cure
Pornography
A&M SP-4902
The Cure-advocates of pop musi as a mal•
leable form-have razed the hard-and-fast
rules, and in turn have raised the ha~kles of
perplexed scribes trying to ascertain what they
are "about." The band has chosen the path of
greatest resistance, turning standard guitar/
bass/drums/keyboard functions inside out and
ROUGH
creating jarringly stark tone poems that pro-
ceed with a glacier-like swiftness to compel lis-
teners to make certain concessions.
Foremost among these is to accept the dis o-
lution of traditional pop structures. Chord pro-
TRADE
gressions, predictable instrumental and vocal
interplay are tossed out the window; the Cure
imposes an order that at first seems contrary to
the basic precepts of rock 'n' roll. For them,
lyrics are everything. Instruments may set the ROUGH TRADE MAIL-ORDER
scene, but they seldom stray from merely creat- 326 SIXTH ST.
ing atmosphere. SAN FRANCISCO, CA. 94103
Pornography continues this approach, but (415) 621-4045
adds a few new wrinkles. Changes in dynamic TOLL FREE# 800-272-8170
levels and tempos are in contrast to previous
efforts. Guitarist Robert Smith's lyrics are bleak LP1:
PERE UBU Song of the Balling Man 5.75
(when not harrowing), though there are some
TOILING MIDGETS Sea of Unrest 5.75
gradations in intensity. "Cold," with the omi- MAUREEN TUCKER Playln' Possum 5.75
nous scraping of Simon Gallup's bowed bass CABAAETVOLTAIAE2x45 9.50
CHRIS & COSEY Trance 8.50
gets the full gothic treatment. Loi Tolhurst's CHAIS & COSEY Heartbeat 8.50
BLUE ORCHIDS The Greatest Hit 8.50
drums bang too loud and too long; they de-
THE GO-BElWEENS Send Me A Lullaby 8.50
stroy the mood. Yet on the next track, the title BLURT Blurt 8.50
tune, he eases up and flows with the logic of mix- THEATRE OF HATE Live In Berlin 7.00
ing muffied, treated voices with Smith's impas- TUXEDOMOON Divine 8.50
sioned wail decrying his sickening lust for SWELL MAPS Collision Time 8.00
ROBERT WYATT Animals
carnage. In "The Hanging Garden" (nice 8.00
ROBERT WYATT Nothing Can Stop Us 8.50
double entendre) the Cure revs up but has no- GILBERT & LEWIS Mzui 9.00
where to go, and the arrangement falls flat . MIKEY DREAD S.W.A.L.K. 9.50
Their customary excruciatingly slow pace HUGH MUNDELL Mundell 8.50
would have worked much better. SECTION 25 Key of Dreams 9.50
They use the studio and their own pop SUN AA Strange Celestial Road 8.50
BOSTON NOT LA. 30 Track Punk Com pl•
instincts effectively to underscore some of the
lation 5.75
lyrics. "A Short Term Effect" stresses ephem- FLEX YOUR HEAD 32 Track Punk Com-
eralness with Smith's echo-laden voice deceler- pilation 5.00
ating at the end of each phrase. The song FLIPPER Generic Flipper 5.75
closest to basic pop, "A Strange Day," has S.P.K. Lelchenschrel 5.75
VOICE FARM The World We Live In
overdubbed backing vocals plus a delineated 5.75
JOY DIVISION Unknown Pleasures 5.75
verse and chorus wrapped in some strangely JOY DIVISION Closer 5.75
consonant guitar figures. JOY DIVISION Still (Double LP) 10.75
Pornography is a ponderous work, ham- JOY DIVISION Still (limited ed. cloth)18.00
pered somewhat by the turgid pop noir themati- NEW ORDER Movement 5.75
cism. It is also uncompromising and challeng- LYDIA LUNCH 13.13 7.00
FLESH EATEAS Forever Came Today 7.00
ing, as Smith's imagery exposes but doesn't DAVID THOMAS Sound of the Sand 5.75
explain his existential dilemmas. Collectively, PANTHER BURNS Behind the Magnolia
the Cure say much by what they leave unsaid. Curtain 5.75
-Charles McCardell THROBBING GRISTLE Greatest Hits 5.75
THE RAINCOATS Odyshape 5.75
YOUNG MARBLE GIANTS Colossal Youth5.75
Roxy Music THE FALL Grotesque 5.75
Avalon
Warner BrosJE.G. 23686· 1 12"1:
Hard to believe. It's been a full decade since NEW ORDER Temptation/Hurt 4.75
SCAITTI POLITTI FalthlessNerslon 4.75
Roxy Music sprang full-blown upon the world JAH WOBBLE Fading/Nocturnal 5.00
with the frenzied "Virginia Plain" and that re- VOX POP 3 Track EP 5.00
markable debut LP. Over those 10 years the BLURT Ruminant Plinth 4.75
band's sound has undergone inevitable re- MAXIMUM JOY White & Green Place 4.75
finement, but their outlook remains the same. VIRGIN PRUNES Pagan Love Song 4.75
CHROME DINETTE Robot Love 3.50
Bryan Ferry may currently be the only die-
hard romantic who does the term justice. 451:
Roxy can't really be considered a group any NEW ORDER Temptation/Hurt 2.50
more; it's mainly Ferry's show. The other two VIRGIN PRUNES Pagan Love Song 2.50
remaining originals now fulfill a less overt role: THE FALL Look, Know/I 'm Into CB 2.75
SCAITTI POLITTI FalthlessNerslon 2.50
Guitarist Phil Manzanera stays largely in the
background (a far cry from his early flash) and CASSETTES:
Andy Mackay's silky saxophone continues to SUB-POP 7 w/Bonemen of Barumba, Get
be an incidental pleasure (no more wildness Smart, Yard Apes, David Fair, Pell Mell
here, either). Zyklon, etc. 6.00
. Avalon pursues the course followed by
Flesh+ Blood, the quietest Roxy album up to
POSTAGE RATES:
1 or 2 discs: S2.00; 3 or 4 discs: $2.35; 5 or 6
that time. This one is even more subdued; discs: $2.75; 7, 8 or 9 discs: $3.00; from here
most of the time it doesn't qualify even vaguely on In add SOC for each additional 3 discs.
as rock 'n' roll. Nevertheless, it only occasion- FREE JOY DIVISION FLEXI (KOMAKINO/IN·
ally bores; Ferry usually has a couple of mis- CUBATION) WITH EACH ORDER AVAILA•
BLE SEPARATELY FOR $1.(JO TO COVER
fires per LP anyway. He's concocted the · POSTAGE, ETC. .
obligatory singles ("More Than This" and
"Take a Chance with Me") complete with
TROUSER PRESS/September 1982 33
maddeningly catchy choruses and other tunes
are at least equally gripping, for different rea•
sons. The languid "While My Heart Is till
Beating" finds him weakly in isting "I never
will lay down" in a po itively frightening style,
while elsewhere he murmurs "I'd do anything
to turn you on" o wi. tfully that it' more a
regret than a promi e.
JO ANDERSO /Animation
(Atlantic D 19355)
hort of undergoing a complete arti tic face-
lift this is the mo t encouraging act Anderson
could commit. While Jon still favors cosmic
lyric and exaggerated songs, Animation's
cri p interplay of vocals and instruments re-
calls how innovative and thrilling early Yes
could be. Bur whether he's merely exploiting
nostalgia or is actually intere ted in making lis-
tenable records again remains to be een.
PETER BAUMANN/Repeat Repeat
(Portrait ARR "38059)
Formerly a Tangerine Dream space critter,
Baumann now practices nice-guy synth-pop.
He strengthen. the human element by using
real guitar and drum , only to fulfill the stereo-
type of the cold mechanic with flat songs and
impassive singing. Mangled English of the
month: "There is nothing new at all/Isn't
there, isn't there?"
ROSANNE CASH/Somewhere in the Stars
(Columbia FC37570)
Cash ju t get better and beuer at going
straight to the heart of a song without pausing
for ideshow theatrics. Problem: Where' her
audience? overing material ranging from
John Hiatt to Tom T . Hall, she's not trendy
enough to be hip, not hallow enough for easy
Ii tening, and definitely too good to be con-
fined to the country music ghetto. Maybe she
hould record an album with George Jone .
CHELSEA/Evacuate
(IR P70603)
• Despite acquiring a marginal amount of
poli h, Che) ea till embodie the common-
man outrage that made "Right to Work" a
standout of early punk. The endle s line-up
changes mauer little, since it' Gene October's
raging-bull vocals that set the tone. The big
bellower makes houting sprees like "War
Across the ation" believable through sheer
force of will.
RV COODER/The Slide Area
(Warner Bros. B K3651)
For all hi devotion to the finest blues and
country convention , Cooder ometimes erve
a curator instead of working up hi own
weat. On The Slide Area, however, he' ex-
ceptionally frisky, driven to funky heights by
Jim Keltner' rattling' drum. and a go pelish
chorus that includes main rays Bobby King
and John Hiatt. Plu typically dandy guitar
licks, especially on "Blue uede hoes."
THE 4 SKINS/The Good, the Bad & the
4Skins
(UK Secret EC4)
T he Skins augment sullenly hoarse vocal
34 TROUSER PRESS/September 1982
Bryan Ferry used to search for the meaning
of life in parties and reckless romance. ow
he's just as resolute but far less demonstrative.
He seems to be crooning mainly to himself.
rather than to an audience, which suggests a
disturbing ense of isolation. Avalon has
the emotional brilliance of other Roxy Music
LPs, and is even more chilling. -Jon Young
HIT and RUN
By Jon Young
and indelicate execution with a few legitimate
tunes, though many of the songs don't survive
the rough handling. Unfortunately for the
band, this kind of railing against politicians,
injustice and so on ha become so old hat that
it doesn't matter if they're sincere or not.
HEART/Private Audition
(Epic FE38049)
Despite boasting the greatest diversity of any
Heart disc to date, Private Audition often
sounds strained. Ann oversings, as if uncertain
how to approach the material. More confusing
than compelling, this one has all the marks of a
transitional LP.
INSTRUCTIONS
(Radio RR 19356)
Originally a 1980 Canadian release (re-
viewed in TP 57), Instructions' blend of elec-
tronics and humanism is more common-place
today, though just as accompli hed. Owen
mith sings of romance and computer. with
equal fervor, though he's far too proper to make
waves. A hipper upertramp won't make it.
M-ROBIN SCOTT/Famous Last Word
( ire SRK3672)
Scott may never score another hit to match
his techno-novelty smash "Pop Muzik," but it
won't be for lack of ideas. This intriguing
cra7y-quilt of production quirks and goofy rhy-
thms follows its own bent logic, u ing his
flippant Bowie inflections to partially obscure
some pretty smart tunes. Is this a joke or a big
tatement?
ROBERT PALMER/Maybe It's Live
(Island ILPS9665)
Palmer's built his career on uninspired bor-
rowings from other , most notably Little Feat,
Moon Martin and Marvin Gaye. The six live
"greatest hits" here don't alter that impres ion;
they' re not even well-recorded. The studio cuts
at least boast some genuine soul in the backing,
but suave Robert continues to suffer from ter-
minal stiffnes .
QUEEN/Hot Space
(Elektra E 1-60128)
Love 'em or hate 'em, Queen undeniably
has dazzling production, instrumental preci-
ion and ingenious vocal arrangements. ever-
theless, technical expertise devoid of fee ling
leave an extremely bad taste, particularly on
the first side' pa. teurized-proces funk. "Un-
der Pressure," their exotic collaboration with
Tom Verlaine
Words from the Front
Warner Bros. BSK3685
With Words from the Front, Tom Ver-
laine's career shapes up as a tug of war between
his internal weirdne s and the demands of con-
ventional entertainment. On paper he is simply
David Bowie, shows up the rest of the LP as
exceptionally useless.
THE REDS/Five Vear Plan
(Canadian Stony Plain SPLJ 048)
Generating an intense racket fiercer than any
heavy metal band, Philadelphia's Reds are a
stunning example of succes ful risk-taking.
Chaos always lurks nearby-each member
pulls out all the stops-yet they're literate and
incredibly tight. Highlights include heart•
stopping drums and scary, possessed vocals.
Iggy and the Stooges might have sounded like
this if they'd gone to college.
THE ROLLING STONES/"Still Life"
(American Tour 1981)
(Rolling Stones COC39 I 13)
If you're at all curious, the Stones' fourth
live set will repay that interest with festive
noises galore. The days of danger may be long
gone, but the playing on the fast songs is con-
sistently propulsive and occasionally explosive.
(The slow ones drag.) Check out "Twenty
Aight Rock" and "Let Me Go" for prime
examples of sloppy splendor.
SHAKIN' STEVENS/You Drive Me Crazy
(Epic ARE38022)
Barely more authentic than Sha a a,
Stevens delivers often excellent material with
enough gu to to render his strong resemblance
to the late-' 50s Presley more pleasing than
offensive. The Brits think so, anyway; he's a
big star there. Eight of these couon-candy
boppers also appeared on 1981 's Get Shakin'.
Sneaky!
JOHN WAITE/Ignition
(Chry alis CHR 1376)
Try ro forget that he sang with the Babys.
Waite's exciting solo debut crackles with
metallic energy that highlight the tune in-
stead of ob curing them-a rare case where
overproduction helps. Compari ons to Rick
Springfield wouldn't be totally inappropriate,
though you get a lot more hard rock 'n' roll
here. And Waite doesn't re emble a low-
budget Paul Rodgers anymore.
Newer: PETE SHELLEY's fab Homo-
sapien (Arista), with three different tracks
than the import; 10cc's Ten Out of 10 (War-
ner Bros.), with four tracks different from the
import.
Older: Rockabilly Stars Volume 3(Epic),
the best hootin' and hollerin' in this series yet;
Time Piece /The Best of Eric Clapton
(R 0 ), a barren harvest; Deep Purple in
Concert (Portrait), from '70 and '72, strange
timing indeed; the BEACH BOYS' Sun-
shine Dream (Capitol), middle-period re-
runs. ■
m exceptional guitarist and songwriter, but in
reality Verlaine produces music so idiosyn-
cratic and overbearing that you have to wonder
how tho e unfa miliar with him would be will-
ing to accept it . With Television, the straight-
forward rock 'n' roll tendencies of his band-
mates usually kept tho e feve red visions within
the realm of comprehension. On his own,
there's always the danger that an impenetrable
lyric, elongated solo or squawking vocal will
plunge you into a sinkhole of confusion, never
to return.
His third solo LP, Words from the Front
is characteristically inconsistent yet continu-
ally intriguing, principally because even the
weakest compositions are littered with flam-
boyant six-string interjections. Though the airy
"Days on the Mountain" fails to justify it nine-
minute length, the light, rippling guitars ulti-
mately succeed in capturing the dizzy sense of
ecstacy he seeks to depict. The title track, a
leisurely evocation of wartime doom, may slow
to an annoying crawl, but Verlaine plugs the
center of the song with a simultaneously
anguished and graceful solo that's magnificent.
Moments like this explain why he get com-
pared to eil Young.
When the songs match the playing Verlaine
hits the jackpot. " Present Arrived" mates a
nervou , spidery riff to unexpectedly playful
singing; the strained fa! etto that invokes "a
love so true" conveys delirious joy. And on
"Postcard from Waterloo" he augments a
romantic melody with one of tho e bitter weet,
searing solos that makes your skin crawl.
Like eil Young, Verlaine gets criticized
most for his vocals, when in fact each facet of
his talent contributes to a powerful whole. Al-
though he ometimes goe overboard, he'
often both compelling and palatable. 1n a
world of calculating hustlers, it's nice to hear
someone who's not faking it. - Jon Young
Billy Idol
Chrysalis CHR1377
Billy Idol' sure had hi up and down .
When "new wave" was just a rumor from
across the sea, Billy was the unbelievably cool-
looking singer of Generation X, which turned
out to be one of the most musically timulating
bands to emerge from that first as ault. either
es ential nor forgettable, Generation X out-
stayed their welcome a bit and left a very mixed
recorded legacy.
Idol's decision to go solo and relocate in
ew York held the potential for either great
success or total rec-biz oblivion. The good
news is that, after a mediocre EP last year (on
which the best tune wa Gen X' tremendou
" Dancin' with M y elf'), he's come up with a
pretty solid album . Using a band composed of
local unknowns and working with producer
Keith Forsey, Idol emerges as a flexible, emi-
competent vocali t with a grasp of numerous
idioms and a real flair for writing and styling
newly-Gothamized songs.
Billy Idol leads off with a dynamic dance
number, "Come On, Come On," that has one
of my favorite pop hooks-a monotonic guitar
riff clashing with an ascending chord pattern-
and great drumming by Steve M i sal. An Ian
Hunterish pseudo- oul shouter (that means
backup singers and gr itty vocals) called " H ot
in the City" shares more than a titular similar-
ity to ick ilder' " Hot Child in the City,"
but works on its own. " obody's Bu iness"
EVIEWS READER REVIEWS RE
Talk about equality-Marshall Crenshaw,
TP subscriber, has his debut album reviewed by
five other TP subscribers. For a critic's choice, it
seems some of our readers have a few reserva-
tions, while the rest concur wholeheartedly.
Marshall Cren haw's debut album is a com-
pilation of 12 pleasant rune which smoothly
glide together into a fine album. Crenshaw
doesn't try to rock too hard, but his music
cannot be labelled " pop." Rather it is happy
mid-tempo pop-rock, complete with tambou-
rines, bells and handclaps.
The album contains several potential hits,
especially " Someday, Someway" and " She
Can' t Dance." " The U sual Thing," a rocka-
billy-tinged song, contains great harmonizing
and some excellent Buddy H olly- tyle guitar
riffs. Crenshaw's best tune, " Brand ew
Lover," is reminiscent of ear ly '60s pop, com-
plete with high-pitched " dip-dip" background
singing.
Cren haw's fine guitar work, brother Rob-
ert's perky drumming and bassist Chris
Donato's excellent playing blend together for
a tight, crisp sound . The trio is also capable of
amazing harmony and Cren haw' voice,
though limited, is believable and crystal-clear.
This album will have you snapping your
fingers, tapping your foot and inging along.
Bobby Reed
King port, T
DER REVIEWS READER REVIEWS READER REVIEWS REA[
Marshall Crenshaw is just another cor-
porate "new wave" album, covering the same
ground as Edmunds and Lowe; at times he
even tries to sound like the former . Crenshaw,
in other words, is a copy of a copy. Maybe it's
just basic rock ' n' roll, except it sounds so
weak and uninspired. The material, mostly
written by Crenshaw, becomes predictable
after a while. The production is not bad, but
lacks any life. Even the artwork's obnoxious
colors should warn one to beware.
This album would be great for people who
want something " new" to listen to without
really findin g anything different. ot overly
bad, just noth ing new and nothing worth my
listening to. Bill Ardis
Richardson, TX
Crenshaw stands out among the recent
flood of '60s-styled pop rockers chiefly by vir-
tue of his songwriting ability. Like Dave Ed-
munds, he has a talent for penning catchy
tunes that ound like you've heard them be-
fore even if you haven't. However, he eschews
Edmunds' countryish tendencies in favor of a
purer rock style falling somewhere between
Motown and the Beatles. The sparse but
pointed arrangements erve mainly to empha-
size the melodic and Cren haw's vocals.
That's plenty, ince his inging (which also re-
minds me of Edmunds} is earnest and con-
vinci ng throughout, de pite the usual boy-
wants-to-meet-girl lyrics required of this
genre.
o new ground is broken here, but who
cares? This is the kind of stuff AM radio was
made for. Loy Stewart
Tulsa, OK
Old Marshall has on a yellow hirt with
green stripes on the cover. A quick listen
makes it apparent that women are on M ar-
shall's mind. The song " Girls" is about a guy
with girls on the brain. Eleven out of 12 songs
are about love and/or women. Only "Rock-
in' Around in NYC" is not strictly about
women.
Mu ically, Marshall Crenshaw break no
new horizons but relies on many influences.
The inging and music suffer throughout
from a defin ite Jack of dynamics. Marshall
never get excited inging, nobody gets ex-
cited playing, and I didn' t get excited Ii ten-
ing . Better luck next time. Daniel A. Tuta
Gano,OH
An excellent pop album, con istently good
through all 12 songs. A few _cut (" Rockin'
Around in NY ," " he Can' t Dance," " Cyn-
cal Girl" ) excel above the others. This
was the fi r t time I heard Mar hall Cren-
shaw's work, but I am sure we will all be
hearing a lot more from him-I know I'll be
looking for it. Jayme Guida
Yardley, PA
TROUSER PRESS/September 1982 35
mixes a Sweet-like track with decidedly Idol
vocals to make it catchy in a vein not unlike
"Dancing with Myself." Steve Stevens may
not be as good a guitarist as Gen X's incompar-
able Dcrwood Andrews, but his solo on "No-
body's Business" states his case very nicely.
Employing now-obligatory pseudo-tribal
drum sounds, "Love Calling" showcases the
emotional depth Idol can muster; alternating
between a soft croon and a heanfelt shout, , lent, Bananarama) are used as instruments as
such lyrics as 'If you wanna rub-a-dub-rub-a-
dub-love" are interspersed with exhonations to
"Rock on!" and " Clap hands!" which arc
funny, recalling David Essex's " Rock On" hit
of many centuries ago. "Hole in the Wall" is
built on a tremendous U2 guitar imitation, and
the melodic "Shooting Stars" weaves a strong
mood that Idol milks for all it's worth.
Without the camouflage of a group to pro-
tect him, Idol's vocal shoncomings arc awfully
evident, yet the sophistication of his writing
and a positive, confident attitude more than
make up for it. Trying to grow from new wave
nobody to American rock star without having
any trendy bandwagon to ride seems a formid-
able challenge; Idol's rampant absorption of
contemporary influences is probably as good a
strategy as any. But for someone so obviously
born a star, Idol faces a hard road on his way to
the top. -Ira Robbins Three don't lose their sense of humor. But it's
The Fun Boy Three
Chrysalis CHR1383
"It ain't what you do, it's the way that you
do it," the song goes, and it's also how much of bitingly funny political song (it can be done).
the Fun Boy Three's debut album goes. You
may recall the FB3-Terry Hall, Neville
Staples and Lynval Golding-as members of
the late, great Specials, who were at the cutting
edge of England's ska revival. Fun Boy
Three partakes of the Specials' fondness for
sociaUpolitical commentary couched within
rhythms not usually associated with pop
music, but this is nor a third Specials album.
Built around a rhythm box, as it says in the
bio, each song is built up in layers; vocals (with
sweetening provided by FB3's female equiva-
much as any of the sound effects, which in-
clude various jungle noises, crashes, whistles
and shouts. This is, rather, an album of sound
effects shaped into song structures. As such,
the first side is winy and innovative, while the
second side becomes repetitive. Too many
songs ("Best of Luck Mate," "Funrama 2")
are built over one endlessly repeating riff, usu-
ally in a minor key.
"Faith, Hope and Charity" spews out shop-
worn phrases in a rhythmic chant until they
become meaningless through repetition ("One
for you and one for me/Money doesn't grow
on trees/But babies come from ladies").
"Alone" has a moody rinkytink piano (have
you ever heard a moody rinkytink piano?)
pounding out ragtime over Latin-based percus-
sion. "Sanctuary" is a Gregorian chant(!).
Even on the duller second side, the Fun Boy
the first side that gels. "It Ain't What You
Do" is delicious; "The Telephone Always
Rings" is a son of tribal rockabilly, with
English phones ringing away in time; "The
Lunatics Have Taken Over the Asylum" is a
If the Fun Boy Three want to piece songs
together out of musical flotsam, they should
find a strong identity to inject into them. As
the song also goes, "that's what gets results."
-Karen Schlosberg
Pigbag
Dr. Heclde and Mr. Jive
Stiff TEES103
Pigbag is, well, different: six musicians, in-
cluding a trumpeter, trombonist and two saxo-
phone players, and not a singer in the bunch.
These young white Britishers play uptcmpo,
Latin-flavored jazz-funk; their "Papa's Got a
Brand New Pigbag" was a refreshing change
in the UK Top 5 singles chans.
But the requirements of an album arc differ-
ent from those of a 45. Dr. Heckle and Mr.
Jive's extended view of Pigbag reveals a group
with more technical ability than emotional
range. Their hit single's formula-brass licks
punched out in unison or basic harmony over
steaming percussion-sounds formulaic indeed
by the time you've choogled through " Getting
Up," " Big Bag" and "Brazil Nuts." Ruling
out vocals leaves only instrumental solos for
textural variety; Pigbag's few solos seem
content to add texture (screeching sax, muted
trumpet) without content.
When the band departs from uptempo work-
outs they enter more problematical territory.
"Dozo Don" and " Wiggling" are mood pieces
with bass ostinatos supporting electric-violin
glissandi (the former) and wandering trumpet
scales (the latter) and smears (both). " Brian the
Snail," the most unfortunately arty piece on
the record, opens with squawking clarinet and
cello gradually submerged by tape-looped
noise. This intro reappears after a percussive
section, only to fade out and be replaced by a
ragged snatch of " Skater's Waltz." A good joke

"He made strange animal somds,

screamed and cried out as if in pain... ,,

"Give us an hour for magic ... "

Jim Morrison wrote two years
before his death in 1971.
The legend of Jim Morrison
has far outlasted that hour.
Close friend Frank Lisciandro
knew Morrison "as he changed
from a slinky rock idol to a
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AN HOUR FOR MAGIC
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for Pigbag, an endurance test for everyone else.
As with British skiffie and trad jazz bands of
yore, perhaps we shouldn't criticize so much as
be amazed Pigbag is making this music at all.
With time and practice they may even sharpen
their writing skills and cut down on the self-
indulgence (e.g. the campy band-member in-
troductions and swing put-on at the end of
"Orangutango"). For now, less is definitely
more. -Scott Isler
Nina Hagen
Nunsexmonkrock
Columbia ARC38008
Nunsexmonkroc k is an album that would
have assassinated whole parties back in the
psychedelic '60s. And with it, Nina Hagen fully
establishes herself as rock's princess of dark-
ness, combining in her work black magic,
hippie utopianism and a fine sense of chaotic
stru~e. Astute readers may note that this
bears a strong resemblance to heavy metal of
the Black Sabbath/Led ZepPf:lin ilk. It's true;
Hagen encompasses that-and more.
Which should be pretty boring. But it's fas-
cinating. Make no mistakc-Nunsex monk-
rock could be painful to listen to if one weren't
in the right mood, despite the presence of such
musical virtuosos as guitarist Chris Spedding.
Hagen is Marianne Faithfull on speed, Lene
Lovich crossed with Klaus Nomi and dissected
by a William Burroughs cut-up technique. Just
as Hagen's lyrics switch unpredictably be-
tween languages (German/English) and subject
matter (Rastafarian philosophy, heroin, Viet-
nam, necromancy), the album's style varies
from low operatic form to straight rock to reg-
gae inflections to severe tape manipulation.
'IHf:Y LAUGHED WHEN I SAID
''CASSE'I*I'E-ONLY'' AI,BUMS!
There is little overt coherence to Nunsex- vocal style is, this rather conservative set of
monkrock, but we can safely assume that tunes suits his delivery well and provides the
little was intended. The result is a fiercely necessary foil for him to come across as some-
strong and unflinching work, a powerful one beyond a mere cult figure. There is even a
throwback to the days of "personal state- chance that his record company will be able
ments" in an era of increasing equanimity. to score a hit from this non-greatest hits col-
Hagen has blessed (or, if you prefer, cursed) lection.
us with a tense vision of the world, and while Like most "live" albums, it is probable that
she has probably cut herself off from wide- some studio sweetening has been done here.
spread appreciation she has now made herself Some of the tracks themselves (as well as most
worthy of consideration as a-dare I say it?- of the vocals) sound very studio-ish, and far
serious artist. -Alec Ross more precise singers than Johansen don't hit
notes with such accurate intonation, but in any
David Johansen case one could take this as a fair representation
of his live show minus the "filler tunes."
Live It Up Ex-Records guitarist Huw Gower adds a
Blue Sky ARZ38004
nice tuneful touch here, and producer Ron
David Johansen seems ready and willing to Nevison captures the sound without losing the
be typed as a '60s cover artist on his live al- spirit of the band.
bum, with his touring band providing the Johansen's medley of the Animals' "We Gotta
punch . Considering how eccentric his basic Get Out of This PlacdDon't Bring Me Down/It's
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TROUSER PRESS/September 1982 37

Jamaican Reggae
on American Vinyl
Toots & the Maytals
Knock Out
Mango MLPS9670
Third World
You've Got the Power
Columbia FC37744
BlackUhuru
Tear It Up-Live
Mango MLPS9898
Raiders of the Lost Dub
Mango MLPS9705
A multiplicity of sub-styles lumped together
under reggae's broad umbrella, the notorious
inconsistency of reggae anists large and small,
the music's near-total lack of airplay on radio
or in clubs-all this presents an intimidating
challenge to the American reggae dilettante
facing a bewildering and seemingly anarchic
array of discs crowding the reggae bins of hip
record stores. The formidable prices of im-
pons would suggest singles might be safer
bets; US release of an LP is no guarantee of
quality, as this handful of recent releases
mnfirms.
FllSt the good news. I wouldn't agree with
the title of Toots Hibben's new LP, but I'd
certainly say he wins the decision. Consider-
ing bis orientation as a singles anist, that
makes an impressive two in a row; Toots's last
studio album, Just Like That, was one of his
most solid yet. The earlier record's tendency
toward sprightlier tempos isn't repeated on
Knock Out but the songwriting is generally
stronger.
No heavy riddims here; that's not the gos-
pel/soul-based Toots's strong suit anyhow.
His rhythm tracks arc rarely emphasized
(by any of bis producen, now including him•
self on Knock Out) like those of the Wallen'
Barren brothcn, or Robbie Shakespeare and
Sly Dunbar, who ride a riff intensely. Melody
and vocals arc the thing for Toots. Heck,
some of Knock Out ain't even reggae but al-
most all of it's good. "Missing You," a
straightforward ballad, actually sustains inter-
est throughout its six minutes; "Beautiful
Woman" has pedal steel guitar and near•
yodeling on the chorus. Keep it up, Toots.
Third World, for all its insistence on Rasta•
farian lyrics, seems to have long been itching
to · reach the American mass market. The
band's latest single, "Try Jah Love," nearly
broke them in the US. Secular radio didn't
take to its religious lyric, but disco-smack per•
cussion, chugging rhythm guitar and William
"Rugs" Clarke's smooth yet sincere singing
make for one of the year's best dance records.
Pity the rest of You•ve Got the Power
doesn't hold up. Third World's LPs never
have, due to limited songwriting ability and a
misdirected piddling around with jazz/rock/
disco/reggae fusion (sometimes omitting reg•
pc). Third World is good at grabbing hold of
a riff and letting sJicknesa and a sense of dyna-
38 TROUSER PRESS/September 1982
mies take over without straying far from the
reggae rhythm. Clarke's " Ride On" and
Stevie Wonder's "You're Playing Us Too
Oosc"-Wonder also wrote "Try Jah Love"
-carry it off. Luckily, those are the f11St three
cuts on the album, so you can skip the rest. Or
buy the single (the impon 12-inch has the
full-length LP version) and sec if Third
World can put it together next LP.
Black Uhuru may well become the reggae
stars of the '80s, not by fusion with another
music but by updating rootsy rhythms with
electronic touches and production. Leader
Michael Rose is a strong singer and song•
writer, with a flair for melody and (especially
for reggae) trenchant lyrics that made the
band's last album, Red, an instant classic.
Tear It Up-Uve amounts to a conccn
version of Black Uhuru's f11St (UK only) al·
bum. All but one of that record's songs are
here, plus "Sinscmilla" and the otherwise
non-LP "I Love King Selassie." Although in-
cluding gems like "Shine Eye Gal," "Plastic
Smile" and "Guess Who's Coming to Din-
ner," the live sound isn't as full as the studio
versions, the vocal mix is erratic and there's
too much echo. (And we could all do
without Sly Dunbar's drum solo on "Sinsc-
milla. ") Tear It Up-Uve's chief advantage
over Black Uhuru is its domestic release,
making it more readily available and cheaper
than the imponed debut LP.
Raiden or the I.oat Dub may be the first
all-dub release by anything approaching a
major American label. (Mango is distributed
by Island.) Dub is often more fun to create
than listen to. If you don't have the taste it
may seem linle more than electronic fingcr-
painting, which unfonunatcly is sometimes
the case. Too much of Raiden sounds like
anlcss gadgetry, the usual techniques of
dropping out or adding echo to vocals and
backing tracks supplemented by high-tech
sound effects.
Included arc tracks by the Paragons, the
Viceroys, Junior Delgado, Ijahman, the Wail•
ing Souls, Burning Spear and four by Bladt
Uhuru. Dunbar and Shakespeare, having pro-
duced and played on over half of these, also
did the dubbing on half. Their cuts arc the
most successful, tending to create moods
around the rhythm tracks rather than gutting
and rcstuffmg them with goopy synth effects.
Even so, the fantastic aspects of Raidni of
1/w Lost Ark must have suggested to all the
dubstcn involved that they "get spacey,
man." "Convoy Hijack" (previously Bladt
Uhuru's "Sponji Reggae"; all tracks arc re-
titled after scenes from the film) highlights
percussion effectively, but "Dub of Gold"
(the Viceroys' "Hean Made of Stone") might
as well have been called "Anteatcn from
Venus" for all its swoosh-swack noises. I ltill
prefer dub from veteran produccn like Joe
Gibbs, and then one track at a time.
-Jim Green
M y Life" is amazingly strong and soulful. " Is
This What I Get for Loving You" brings back
the feel of the Ronettes fairly well, and "Reach
Out (I'll Be There)" works (but could have
fared better as a medley with " Melody"). Old
tunes like " Frenchette" and " Funky but Chic"
surpass the original recorded versions, and
even if David Johansen seems like a new wave
Mick Jagger who lost his Keith Richard, his
sense of entertainment, humor and taste
makes up for any mus ical vacuum.
-Jon Tiven
Killing Joke
Revelalions
EG/Maliclous Damage EGMD3
As I write, Killing Joke is in a weird state of
disarray, with singer Jaz and maybe the others
allegedly freakin g out and runn ing off to Ice-
land . Which means that Revelations may
be the band's swan song. Well, they never
promised us optimism.
Allowing that these guys have never been
Brill Building tunesmiths, only "Empire
Song" (previously out as a single) and the sar-
cast ic " Have a Nice Day" have anything
resembling (standard) verse/chorus structure-
and both are straight out of the " Wardance"/
" Follow the Leaders" mold . Except for " Land
of Milk and Honey," a predictable sneer at the
pop music business, the lyrics depict social col-
lapse and dehumanization . Co-producer
Conny Planck has no audible effect on Killing
Joke's wall-of-angst other than burying
Youth's bass and evening out the overall
sound . (Not necessarily a plus-the 45 of
" Wardance" worked because all the instru-
ments sounded completely wrong.)
Revelations brings to mind Gang of Four
and Wire . Killing Joke is fond of trenchant
social lyrics and a danceable beat, and they
occasionally indulge in blank artiness and noise
for noise's sake. The absolute brutality of this
band's strident sonic grind is unique, though.
That attack redeems all their other faults to
Killing Joke fans . -Robert Payes
Abwlrts
Der Westen 1st Elnsam
Mercury 6435 155
Die Kapazitlt
Lelchte Stlmmung
Konkurrenz 6435 143
Deo
Innovative Communication KS80.017
You may not have noticed, but German rock
bands are once again creeping back into the in-
ternational spotlight. Ten years ago that coun-
try had a hammerlock on avant-garde rock; to-
day's German bands fit in a lot easier with pop
trends elsewhere while retaining a Teutonic
flair.
" Abwiirts" means "downward." The lyrics
on Der Westen lat Einsam ("lhe West is
alone" ) reflect an appropriate psychological/
political outlook: "I crush your pretty face
with my lawbook," sneers the despot/narrator
of "Sci Froh" ("be happy"). "Give thanks
with your death for my great patience."
Heavy, nicht wahr? Other songs deal with de-
pression, alienation, murder (military and civil-
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&nenmizaav P.O. BOX 607-B CARRBORO, NC 27510 USA

Publlahing Contncu All 45'1, 7" &. 12" E.P.'1 have (A) Auamlla (G)Gmnany
COUNTRY (8) &ilium (H)Hollond
picture aleevn CODES: ' (C) Canada (I) holy
HOW CAN I WIN? unlna noted by an • (D)Domncic U)Japon
(F) Franc, (UK)Enaland
JUDGING: 1-----T-O_U ___
R_G__U-=ID--ES---- ----+-------.2-, .-E.-P-.••------ -t '
Judging la a two step proccu. Firlt your
1011g will be liatened to by people who make
BLACKFOOT - Dry Country/Train Train (liv,)/ On Th< Run (liv•)
their living liatenlng and playing mlllic. BEACH BOYS - Official . . Souv•nir Booki«: •·summ<r. 197ij
(0)$7.25
Record Company Executives, MIiiie Tour: · 25 P¥ bookl<t. (D) $3.95
BUDGIE - .. If wallow«!. Do No, lndutt Vomicina' 12·•. 4 cracks.
ERIC CLAPTON - fficlal Souv<nir Bool<kc: ""Anodi<r
Publiahen, Radio Penonalltlea, and various (G)S6.75
Tick<1 Toor. 1981. 17 i>aK<boolti«(D)$3.95
00

musical performen. Their scores will be
tabulated and count • 1/2 of your song's
score.
The second step to the judging la listener
111ponae to your song. All 1011p entered In
the MRP TALENT SEARCH will be aired a
minimum of three times owr commercial
radio, frequency 90.3 FM Stereo. The
llatener lllponH to your song will be the
second half of the judging.
HOW CAN I ENJ'ER?
I. Record your orlgnal (wordl & music) song
on a cuaette tape, making sure you use a
ll)od quality cuaette since your song will be
aired. Do not Include any sonp with
offenalw languaae, It will be returned.
2. Record only one song on the c:auette and
iDclude a lyric sheet lilting the 10111'1
comp011r(1), and perforrnlna artist or poup.
3. An entry fee of $10.00 must accompany
your entry to help pay for judging, ndlo
time, and adwrtillng expe-.
4. Mall your tape to:
MRP TALENT SEARCH
Peachtree Drlw
Box328
Crozet, VA. 22932
The sooner your tape la recelwd the more
air play it can recelw, however, only the
ftnt three alrlnp will be used for judging.
•••••••••••••••• ••••••••
Thia contest ii open to amateun only. You
may not enter If you are a member of BMI,
ASCAP, or any other performing art1
orpnlzatloo MRP TALENT SEARCH
FLEFIWOOD MAC - Official US Souvt:nir Bookl<t: •• Rumour ··
Tour. 25 P"I" boold<t. (D) $4.75
FOREIGNER - Official US Tour Boold<t .. Doublo Vision" Tour
"78. 17 PliO' bookl«. (D) $3.95
THE ROLLING STONES - Ofllc,al .S. Souv<nlr Bookl<t:
"'Tattoo Yoo - Am<rican Toor "8 1. " 25 P¥ boolti«. (D) $4.95
BRUCE SPRINGSTEEN & THE STREET BAND - fficial S
Souvnur Bookl<t: "'Th.: River .. Tour. lS P•I!" bookl«. (DJ $4.95
1---------A-L_B_U _M_S_______--I
t---------- ----------- ~
THE BEACH BOYS - Pony. 12 crack h...- LP w/ly;I shttt. Ul
SIJ.50
THE BEAilES - Rock 'N" Roll Music. 28 <rack, 2 L.P. ""
w/ poscor. phoio bookl<t. Ul $ 26·90
BLACK SABBATH - Rock l.qi<nds. 7 1ra ks. (A) $8.95
DAVID BYRNE - Th< Ca1httin• Whttl. Sonp fTom ch< Broadway
Production. 11 uac!•• U) $14.90
THE CHOCOLATE WATCHBAND -Th< Inn« My,!lquo. 8
track rd..uo. (A) $l 4 -50
!~t.~~~~K&AriiE-;_
Lyric shttt. Ul $14.90
~~:O~! ~~;~~~~-so
GILLAN - Mr. nh...-s,. 10 <radt,. ( K) $8.50
KING CRIMSON - Dlsdplin<. 7 tracks • •/lyric . UJ $14.90
THE KINKS - You R•ally Goe Mo. 12 1rack compU11ion ( 1964-70).
(F) $7.75
THE KNICKERBOCKERS - u ... 12 ,rack « -i..u• w/ orlginal
track S<"l«tion &. l«vc- graphi . (G) S 10 .50
MARTHA AND THE MUFFINS - This Is Th< le< A,.. ( ) $9.25
PAUL M.CARTNEY - McCarcn,y ( 1st tolo). 14 trocks w/ pc<fold
k,v, and lyri htt<. U) $ 14.90
STEVIE NICKS - S.lla Donna. 10 u adt,. U) $14.90
ORCHESTRAL MANOEUVRES IN THE DARK - Archil«<ur•
And Morali!y. 9 1rack w/ lyrics. U) $ 14.90
ALAN PARSONS - I Roboc. 10 1racks w/lyr ic shttt. U) $14.90
PINK FLOYD - Moro. Sound<rack from ch< film. 13 uacks
w/ 1a1tt Id l«Y< and 2 1"'11' pho!o iou,r,. U) $14.90
PINK FLOYD - W ish Yoo W«• H«o. Holf-S,--J M<llk,.,J. UJ
$ 17.90
THE POLICE - udandoo D"Amour. 10 tracks w/lyric shffl. UJ
$14.90
THE POLICE - R"Pna 0. Blanc. 11 <nck• w/ lyric shm. U)
$1 4.90
THE POLICE - Z<nyan. Mondatta. 10 crack• w/ lyric shttt. UJ
$14.90
QUARTERFLASH -Quarcnflu h. Lyric Shttt. UI $14.90
QUEEN - A Day A, Th< Rae... Lyric shttt. UJ $14.90
THE RESIDENTS - Th< Tuna Of Two Citin. IZ ttacks. (DJ $7.50
SCORPIONS - Toi« Off: Hoc 6. Hnvy. 10 track .. bnc or•
' 77) Kt. (G) $8.95
BRUCE SPRINGSTEEN - Grtttinp From Aabury Pork. 9 <rack•
w/ pooccard skvo. Ul $14.90
DEAN TORRENCE (ol Jan & Dean) - Music Phu. II: 1977,
1981. 12 ,nck w/ lyric shttt. U) $14.90
THETROGGS -SwGold. 2 LP... bnc or· .... (0)$13.75
-THE TURilES - Th< Boa, Of... 10• mini L.P. on RED VINYL.
(0) $4.95
U2 -Octobn. 11 ttacks w/ lyrica. {J) $14.90
THE WHO - Quadrophrmio. 2 LP. ,.. w/ booltk<. U) $23.90
THE WHO- Who"s Nn!. 9 cracks w yrlcs. U) $IJ.50
KATE BUSH - ""On - · · 12•. 4 livo crock, . (H) $6.75
ERIC CLAPTON - I ho! Th< Shttiff/ Coc1in</ Knockln° 0,,
H<1vm·, Doo, (livo) (UK) $4.95
ALICE COOPER - For Bri,ain Only/Und<r My Whttls (liv,) Who
Do You Think Wo Aro (livoV Modd Cici:cn (liv•) (UK) $5.25
DEAD KENNEDY'S - Too Drunk To Fuck (non-L.P.)/Th< Pr,y
(non-L:P.) ( K) $4.75
IAN OURY & THE BLOCKHEADS - ··s.x
6. Dr• 6. Roc.k 6.
Roll'"+ 5 PHOTO LABEL 12•. Ul $11.90
A ~ K OF SEAGULLS - 1 Ran/ M....-IPick M• Up{UK)
KLAUS FLOURIDE (ol 1he Dad Kennedy'•) - Shormln"
Br•ad/Th< Drowning Cowboy (UK) $4.95
FOREIGNER - u.,...,,IH..J Gam.a (livo)/Hor blood.d (liv,) (UK)
$5.25
JAPAN -Ghous/Th• An Of Pani<S (liv•)(UK) $4.95
KRAFTWERK - Showroom Dummi<S/Numb.rs/Pock<t Calcubtor
(UK) $ .75
4
GARY NUMAN _ Music For Chamt"koN (uc<nd.d
vtt1ion) ois< Nois</ Bridtt! Wlw Bri.i.,. (UK) $4.75
MICHAEL SCHENKER GROUP-Cry For Th< Nocionl/ Arm<d
And R<1dy (liv•)/l nco Th< Ar<N (liv<) (UK) $4.75
XTC - - u..
00
And Mor•·· PHOTO LABEL 12· . 6 <ncks. U) $11.90
XTC - S..-. WorkiO(COv.nlmo,"" 4 <rack 12•E.P. (U K) $4.75
,. E.P.'a
1---------.:......;;;
7 ;,;;,.;.;:~--------- 1
XTC - .. Nu Thup In Our Houa,·· E.P. 4 cracks (3 non-L.P.). With
1pn:iol .. mlnl•th<att• .. di<-CU<. pc<fold ol«... (UK) $J.2S
•
t----------- ------------ 1
7" 45'1
l------------= .:..----------1
ADAM AND THE ANTS -Goody Two Shoes (non-L.P.)/R,d
Scab(non•L.P.). W i<h foldou, poo«a:r ol«... (UK) $3.00
THE CLASH - Know Yo ur Ri..na/Fint Nlghc Beck In London
(UK)$3.00
THE dB't - N...,land/pH Factor (non-L.P.) (UK) $3.00
'
DAVE EDMUNDS - M• And Th< Boya/ ~ Of Hnns(U,..)
(UK)$3.00
DAVE EDMUNDS- Warm«! 0.., KiMn(L<f< 0..,
Lov•J/Loulsiana Man (UK) $3.00
IRON MAIDEN - Th< Numb.r Of Th< - / RfflWfflb.r
Tomorrow (liv,). RED VINYL. (UK) $3.00
LED ZEPPELIN - lrnnuaran< 5oc>c/H,y, H,y, Wha, Can I Doi
(non-L.P.) U) $3.95
('74- MOTORHEAD - Iron FisttR.mnnb.r M•, l·m Gon. (non•LP~
Led. Ed. RED VINYL. (UK) $3.00
SCORPIONS - No On• Uk. You/ Now! (UK) $3.00
SQUEEZE - Black Cofftt In B«I/Th< Hun, (UK) $3.00
PETE TOWNSHEND - Fae< Dane.a. Pt 2/Man W1tthlnc(non-
L.P.). (UK) $3.00
TRIUMPH - M._;c Pow,r/Fipn Th< Gooa Fight (UK) $3.00
PI<;:TURE DISCS
BLONDIE - .. bland Of lolt Soul, 7• PICTURE DISC. bland Of
00

raenw the rlpt to refuse any and all
entries.
If you wllh MRP TALENT SEARCH to
record your song • It la being aired ooe of
the three tlrnea, pi- encloae a self
ad.tr.ed1tampedenwlope (80 cents), and
an additional fee of $S.00. MRP TALENT
SEARCH will proffde the cmette tape.
No liatriea W■ leA-,...
After October 31, 1'82
X - L<» Anpko(IK L.P.). 9 tracks. (D) $7.95 lolt SouJ,/Drap,ffy (UK) $5.25
XTC - Enplsh s.ni..-,.10 track, w/lyric , httt. U) $14.90 BLONDIE - ..Th< Hun,.. .. L.P. PICTURE DISC. 11 melt, . (UK)
YES -Th< Yn Album. Lyric ,httt. UI $IJ.50 $16.95
THE WMBIES - Sh< 1 No! Thn•. 14 ttack compilarion. (UK)
0
JETHRO TULL - ••Broadoword"" 7•· PICTURE DISC. (UK) $5. 75"
$8.25 THE MOTELS - "'Tait• Th< L (Ou, Of Lo.(tt)" ' 7"' PICTURE DISC.
THE YARDBIRDS - Th< Sinp,a Hi11. 10• •• 1,nc of• 1<1. (UK) • (UK)S3.95
$7.25 UFO - .. Bock ln,o My Uf.•• 7·· PICTURE DISC. (UK) $4.50
THE YARDBIRDS - fiv, Uv• Yordbirds. 10 mcks. R«o<d.d liv, BILL WYMAN - "'Bill Wyman .. Led. «I. L.P. PICTURE DISC. 10
In 1964 w/ Clapron. (C) $7.25 ttacks. (UK) $1 2.95
SCHEHERAZADE RECORDS o,dmit,c;
(919) 9'f2•J1.f2 IZ:00-S,OO PM (EST)
( A.1 F.. lldai.l)
Fo, VISA, M...c.ml/ Chons• Nia -'1I
SCHEHERAZADE RECORDS boo 1he __, complece and up,to,dace caca1osue In 1he U.S. Wrlce f« ou, hw amlape.

ORDERING lNSTRUcnONs
MRP TALENT SEARCH In conjunction with Minimum Ordon $7.00
90.3 FM Stereo reaenw the right to retain Paymenta Money Ord<n. VISA 6. Maoc,rciwte (shipp,d within 24 hours). P1ymm1 by-' ch«b att accqnd buo need 21 daya fo, c1wc1i co
dnr b.for• proc...ln1. All poymm11 in U.S. fund. on I U.S. bank. M.....C..... 6. VISA CUIC<>tll<n lncludo Card M. Expirllion Datt ond Sipanft
any and all lapel for future air play. 11 it aPJ)("an on card.
Poo,- Add $2.25 for ,i,., ffllir< order.
c....dlan: Add $4.25 fot <h, h• 1,...,
ond S-.75 ($.SO fot 7• dioca) fot nch oddilional il<m.
Fonip,, Add $4.75 for <h, IK k<m ond 754 fot - h addidonal icnu.
•• I
ian) paranoia and a general inability to cope.
" I kill you/I kill my elf7I embrace you/I love
you," runs an interesting quatrain from "Tier-
lieb" ("animal love").
The mu ic accompanying these sentiments
(which a. on all these records, are sung auf
Deutsch) is par ely arranged and often throb-
bing, thank. 10 primitive drumming. Indeed
Abwiirt appear. to have been influenced by
ang of our in political and musical ap-
proach, and Public Image Ltd. in its specific
u e of scratchy guitar over funk rhythms. But
the band' music can be disturbingly original:
a low-frequency drone gradually overpowers
"Tierlieb " and " i Froh" feature an evil
organ melody over slimy guitar and di con-
tinuous drum patterns. nsettling 10 say the
least.
The ong lyrics on Leichte timmen-
"carefree (or in. ignificant) voices"-are any-
thing bur carefree. nlike Abwiirt , though,
die Kapazitiit ("the authority") . ers them to
nappy, synthe izer-oriented riffi and an elec-
tronic beat. (Thi trio is apparently drummer-
less.) The di co yncoparion and clipped
phrases of " Keiner Hort auf Mao Te-Tung"
("no one Ii. tens to Mao T e-Tung") would
und ultra-hip blaring in an American rock
club.
The rechno-poppy music either enhance or
helps you ignore the subject matter. " ew
York doesn't intere. 1 me/ Because the police are
corrupt there " the troubled narrator of
"O .. R.L." declares " Ge ell chrafr. kritik fur
Anfiinger" (" ocial critique for beginners")
coolly describe. an economically-motivated
murder on board a train. "In Meinem Zim-
mer" ("in my room") owes nothing to the
Beach Boys: "In my room I it . .. I drink . .. I
die," the inger recite glumly to the accom-
paniment of frantic ticking and a sorted other
. unds. The band freaks our a bit at the end,
with the hysterical " Musik fur die Heilanstalt"
("music for the . anatorium") and backward
" hristy Brown," but overall die Kapazitiit
crafi its mu. ic with the care you'd expect from
the land of Leica and Mercede .
Deo's full-length album plays at 45 r.p.m.
and was produced by Klaus Schulze, an elec-
tronic compo er/performer from the first Ger-
man rock wave. Tho e novelties a ide (and the
record doesn't ound that impre sive despite its
45 speed), Deo itselflacks the high-tech aesthetics
of die Kapazitiit and the intensity of Abwiirts.
This quartet plays likable dance-rock based on
common licks and chord change . ot surpris-
ingly, the ongs lash out against Deo's stultify-
ing indu. trial homeland in the Ruhr basin-
explicitly in " Ruhrgebiet," implicitly in anti-
conformity tract like " Killerautomat," " Be-
quem" ("comfortable") and "Exakt eutral. "
For musical variety Deo employs kicky drum-
beat , sickly organ among other keyboards
(and guitar) ornamentation, reggae-ish ba on
"Andre Welten " ("other worlds") and even
the " Pet er Gunn" ba s-srring lick on "Vorbei"
("past"). The gloriously ta tele album cover
rams home the ourcc of the band's name-
from "deodorant." - ott Isler
Toni Basil
Word of Mouth
Radial Choice BASIL 1
The one thing you expect from every record,
good or bad, is some impres ion of the people
behind it. Whether it's the performer, the
producer or even the ongwriter-usually you
get a feeling for somebody's thoughts about
somethinK, What's remarkable about American
video director-c11m-Briti h chart . tar Toni
Basil's Word of Mouth is that it conveys
nothing.
Produced by Trevor Veitch and Greg Math-
eison, Word of Mouth epitomizes modern
pop free of exces baggage (including musician
credits). The tunes percolate agreeably, shaped
primarily by a variety of keyboards that range
from even-tempered synth to nostalgic rolling
organ in the fa hion of early Blondie. Basil
sing competently, if unremarkably, staking
out a safe turf omewhere between the flaki-
ness of Lene Lovich and the coolness of
Debbie Harry. On a clumsy cover of "My
Little Red Book" and the rockin' original
"Thief on the Loo e" she sounds leaden, being
unable to summon up the required amount of
aggression. Basil fares con iderably better on
the reggae-flavored "Hanging Around" be-
cau e she get a chance to indulge in operatic
emoting, and on the UK hit "Mickey," where
she struts exuberantly, driven by a punchy
beat reminiscent of"My Sharona."
Word of Mouth concludes with no less
than a trio of Devo tune : "Be tiff," "Pity
You " (retitled "You Gotta Problem" here, for
some reason), and the previously unheard
" pace Girls." All involved do a truly impres-
ive job of imitating the spudboys, which
finally allows the LP to acquire a personality.
Too bad it's borrowed.
According to the cover, Word of Mouth is
also available as a videocassette, o maybe you
have to see it to experience the full impact. As

EB, GOD, COUNTRY,

and

,1,aonn, 1•1

DISCOVER THE SOUND OF YOUNG AMERICA.

FRONTIER, PO BOX 22, SUN VALLEY, CA 91352 (213)845-9031

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40 TROUSER PRESS/September 1982

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by calllng 131 31559-2272 anytime. You may bring a box or crate of records for a S5 admission fee. General
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~
a record, it's not wonh getting heated up about out of LA but you can' t take LA out of Chris•
one way or the other. -Jon Young tian Lunch. -Alec Ro s

Christian Lunch The Necessaries

Shark Bait
Konkurrenz 6435 105
Some people will do anything to make a rec-
ord . Christian Lunch abandoned Los Angeles
for Germany after an EP on his own Fish
Ranch label was generally ignored, and teamed
up with a number of T eutonic comrades to
form a sort of alternative Deut ch Amerikan·
ische Freund chaft.
Despite a small reputation garnered from
his appearance on Jello Biafra's Let Them Eat
Jellybean anthology, Lunch's work comes
off as "surf-punk meets DAF"-a minor arti·
fact of the German "nju waaf." H e i n't with•
out talent, but there's not much imagin-
ation or daring to Lunch' songs. Many of
them-including the anthologized "Jokes on
You," a virulent protest against the Reaganite
Right that conjures up bad memories of David
Peel-bear strong re emblance to late-'60s psy-
chedelic rock, a problem not helped by the
electrodrivel that forms a striking but pointle
backdrop to the straightforward rock simplex
Lunch seems fa cinated with.
After a few numbers this tuff becomes
something of a drone. But that would be toler·
able if Lunch weren't so convinced of his own
cleverne s as to infect every track with it. Like
mo t "clever" people he makes irony the
entire point instead of keeping it in check. ice
punchy instrumentals, though, and the singing
in German and French (as opposed to English)
sounds pretry good too. You can take Lunch
PO Box 390, Dept. T , Old Chelsea Stat ion
New York, N 10011 (212)675-2768
BOOKS
Event Horizon
Sire SRK3574 The Beatles Down Under
ew York's ece saries have quite a his- (Glenn A. Baker, Wild & Wooley, Glebe,
tory behind them: bassist Ernie Brooks was NSW, Australia)
an original Modern Lover, and for a short This mindboggling work is no more-and
time they had a combination band mem• certainly no less-than its title implies: a run·
her/mentor in Chris "have quiff, will rifl" down of the Beatles' tour of Au tralia and ew
Spedding. (None of this, mind you, is evident Zealand in June 1964. The tireles Glenn
in the grooves of Event Horizon-just Baker has recon tructed the event in often ex-
thought you'd like to know). cruciating detail, from financial groundwork to
What we have here i a pop band, albeit one a city-by-city replay of the three-week blitz.
which owes more to uch trailblazing CBGB When your eyes tire of struggling with the tiny
groups as Television and Talking Heads than type (and occasional misspelling) in this 128·
the Raspberries-to-Knack powerpop axis. page, 8"x10½ " softcover, you can pore over
Despite a pumping rhythm section and the few hundred photographs that accompany
stark, jangling guitars, the overall ound is the text .
dark and rather introspective. Likewise, gui- Baker has drawn heavily upon contemporary
tarist and chief songwriter Ed Tomney's sing- newspaper accounts. (Australian tabloids appar•
ing voice sounds muted, almost detached. ently had little else to write about that month.)
Rambunctiousness is not in the band's vocab- For a fuller perspective he ha interviewed
ulary-even the few guitar and keyboard solos native tour promoter and officials, the hapless
ound careful and deliberate. Producer Bob d.j.'s a signed to scoop each other with
Blank reinforces the mood by compressing exclusive Beatlenews, and other Australian af-
the instrumentation into a solid backdrop be- fected by the event. The procession of unfam il-
hind Tomney. iar names call anenrion to the book's only struc•
But this i n't a " downer" album by any rural fault: lack of an index. The Beatie ' con-
means; a certain sense of humor is needed to certs, slighted a bit in the running chronology,
write a song about vowel sounds ("AEIOU"), receive a separate chapter at the end. There'
and " tare-of-the-Art " is offset by a chorus of also an Australian Beatles di cography.
funhou e noises. The thoughtfulnes behind Why should anyone but Beatles psychotics
Event Horizon works in its favor . The eces• bother with The Beatles Down Under? Becawe
saries don't practice musical glad-handing, and the book is not about just the Fab Four but
that in itself is admir(lble. - Robert Payes thei r interaction with a repre ive ociery; the
Cure Atte, Cute .t.rnlletdam81 llatv·ltd ed S18
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Attention deale,s; most titles available tor
wholesale.

42 TROUSER PRESS/September 1982

 in 1964 was a hothouse of permissivene. s nor Rigby' and the horn-bedecked 'Got to Get biography, the Who in 1982 are being
in comparison. As is well known by now, You into My Life'" and on to the "odd-ball covered in depth from all different angles .
Bearlemania was a sociological prelude to more and avant-garde" adventures of John and Both R ichard Barnes {the co-author of The
violent youth ferment in the '60s. Isolated Yoko. Wings fans, at least, may be pleased to Story of Tommy) and Dave Marsh are tack-
Australia may not have gone on to contribute learn that "after 19 years at the top, Paul ling biographical projects, but beating both of
its hare of Weathermen · the amazing mob M cCartney couldn't be going stronger." them onto the shelves is this respectable effort
scenes and public displays occasioned by the The Beatles for the Record eems to have been by former M elody Maker scribe Chris harle •
Beatie 'visit, however, reflected by their inten- perpetrated in equal ignorance of both the worth. The /llusrrated Biography : The Who
sity a proportionately greater pirit of rebellion. English language {"the more softer Beatie easily becomes the best Who book currently
Baker' writing is direct but not dry as he ongs"; "an extremely Lennon-type available, and not just by default either.
move through a hysterical cycle of airport and song") and the rudimentary facts of Beatles The focus of the book, as its title implie , is
hotel scenes ridiculous pres. conferences and history. Though every Beatlefan will recall on it superb collection of photos. The variety,
all-night orgies. Although it doe n't explain the Ringo walking out on the Maharishi because rarity and abu ndance of the hot give the
whys of Beatlemania, The Beatles Down Under "the food was too spicy" and Paul leaving a book the feel of the /llusrrated Record series, an
is as detailed a portrayal of the phenomenon a. few weeks before John and George finally impression aided by including a listing of the
you're likely to find. And it doe have a lot of called exy adie's bluff, For the R ecord blithe- Who record released during the times being
picture. . - ott Isler ly portrays "the foursome packing their bags discu sed.
and heading home from India." ame are Charlesworth declares hi adoration of the
misspelled on every other page and the book band up front, in the introduction but his
The Beatles for the Record even contradicts itself repeatedly. For instance journalistic kills prevent the snappy narrative
(Totem Books, Don Mills, Ont., Canada) after discovering that "Love Me Do" peaked from becoming a fanatical rant . The heer
At first glance this slim, glossy, LP-sized at number 21, we read that " omething'"s length of the Who's hi tory makes it difficult
picture book might be mi taken for the latest number four showing wa "the wor t po. ition for a straight chronology to avoid degenerating
"updated" permutation of The Beatles: An 11- that any Beatie single had reached ." into a mere recitation of dates place and oft•
ltmrared Record by Roy Carr and Tony Tyler. One could dredge up dozens of simi lar heard anecdote . Without overt repetition,
But Beatie people will be quick to pot a boners· the jaded aficionado might eve n find Charle worth connects the events into one
rrea ure rrove of newly unveiled color phot , rhem hilariou . But in the end one i left coherent stor , although it doesn't go particu-
many taken either on rhe . et of Help! or during dumbfounded that at this late date so exten- larly deep e pecially in asse sing the band's re-
the teleca t "All You eed ls Love"IOur sively chronicled a tory could be o wretch- corded work or its place in rock' pantheon .
World se ions. edly botched. Beatie people who can't re. ist The only re ervation regarding The /llus-
nfortunately, however the pictures are For rhe R ecord's pretry picture may be well trat d Biography : The Who worth noting i the
poorly pre ented and arranged {the 1966 . ec• advised to cut them out and rhrow the rest of bu yness of the layout. On many page there's
tion prominently displays a hot from 1963); thi pointle. s book away. - ichola Schaffner too much for the eye to focu on; things get
and-to put it mildly-the accompanying cluttered between the record Ii ting , captions,
text has none of Carr and Tyler's caustic photos and italicized text. Indeed, the u e of an
wit. Every epi ode in the anonymou authors'
The Illustrated Biography: italic typeface throughout makes it eem like
ofr-told tale is reduced to an embarrassing The Who one long introduction. Perhap. that's appro-
diche, from the "day [that] the greatest mu · (Chris Charlesworth; Omnibu s Press, priate though becau e an introduction to the
ical partnership the world has ever known London) Who is what thi b k really i , and a good one
wa forged" through the "violin-laden ' Elea- After years of surviving without a proper at rhat. -Wayne King

WHOLESALE
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• Carleton

TROUSER PRESS/September 1982 43


Summer Means
More Compilations!
To The Shores of Lake Placid
(UK)Zoo4
Tokyo Mobile Music I
(UK) Mobile Sult Corporation SUIT1
Walkln' After Midnight
(Belglan) St. Germain ST1
Red Spot
Subterranean SUB15
Punk and Disorderly
Posh Boy PBS131
Mandatory Music
Tremor TRLP103
The bands who formed the Liverpool neo-
psychcdclic explosion a few years back-Echo
and the Bunnymen, the Teardrop Explodes,
Big in Japan and Dalek (I Love You}-all re-
l.cased records on the local independent, Zoo
Records. Lake Placid, one of the most visu•
ally beautiful record packages in recent mem-
ory, combines rare tracks by all of the above
(plus some offshoots) for a con istently im-
pressive disc. The highlight (for FM radio lis-
teners at least) is an early, unreleased version
of Teardrop's "When I Dream." A complete-
ly to~notch endeavor.
From the land of Sony comes an audio col-
lage mixing Tokyo street sounds with some of
SEND $7.00 TO BOX RECORDS
44 TROUSER PRESS/September 1982
Japan's best modem bands. Assembled by an
Englishman for an English label, Tokyo
Mobile Mu le I is a significant step into the
next age of compilations . This is essentially an
audio magazine; songs are used less as discrete
piece by different groups than as examples of
a general topic. The sound effects are hardly
narrative, but a sense of artistic conception
sets the album apart from other compilations.
Bands include Hikashu and Lizard (both re-
viewed in TP 48), Yukihiro Takahashi of Yel-
low Magic Orchestra, Earthling, Salon Music
Akiko Yano, a highly individual vocalist.
Along with the Plastics (not included here),
the e are the prime mover in Japan's new
wave, which blends native musical traditions
with electronic high-tech. Entertaining and
bewildering.
Belgium's new wave hasn't made much of
an impact here. Even Crepuscule's Fruit of
the Original Sin sampler (TP 71) contained
few local bands. A new label's first release,
Watkin' After Midnight, matches Fruit's
weirdness but not quite its level of quality.
The least derivative and most promising of
the bands are Sphinx (sax/acoustic guitar/bass
voice), Texas Tomados (warped Batman
theme and detective music) and the Kim
Novak's (arty send-ups of beach-party kitsch
and less). Unessential but tres chic.
Subterranean, one of America's finest and
most prolific indie labels, has released a
number of influential and prescient San Fran-
cisco compilations. Red Spot is the latest and
mo t impressive. Pressed on white vinyl with
a bright red label and cover art to match, the
7115 BLANCO RD. SUITE 114-175 SAN ANTONIO, TX 78216
attractive packaging belies the subversive and
downright demented nature of the music
there. Out of eight bands, PIL soundalike
Arsenal and Pistolsish Woundz are the
record's most ac ible participants. The
Fried Abonions' "Joel Selvin" is an unfet•
tered hardcore tirade against a local music
critic. Minimal Man's eight-minute "Shower
Sequence" is a dub assemblage based on the
film Psycho. Get the idea?(912 Bancroft Way,
Berkeley, CA 94710.)
Posh Boy tends to favor Southern Cali-
fornia hardcore bands; Punk and
Disorderly, however, is a collection of
second-string British soulmates like Vice
Squad, Demob, Chaos UK, UK Decay and
the Adicts. (There's also one item by our very
own Dead Kennedys.) The music falls some-
where between 1977 punk and mock heavy
metal. Recording and performing quality is
inconsistent; does anyone care? A solid slab of
fast-'n'-loud. (PO Box 38861, Los Angeles,
CA 90038.)
Tremor Records continues to dish out solid
albums and singles from its Detroit base.
Mandatory Music is the best Michigan
sampler I can recall. The Boners play doofy,
Dollsi h r'n'r with real panache; Cinecyde
pounds out hard and fast punk with sneering
vocals; the Pigs arc as silly as their name
suggests; the Cubes play arty synch-pop;
Mark Nonon updates the Stooges. My pop
nerve is tingled most by Natasha's "Enough
Said," a swell tune featuring Sarans Ver Lin's
voice and Dan Bunerwonh's piano (403 For-
est, Royal Oak, MI 48067.) -Terry Rompers
From
Contai ns
THE SPHINX
DON'T GIVE UP HOPE
WALL STREET BLUES
&7MORE
POWERED BY
BO.SE
© 1982 Box Records
 45/ EPs ($2 .50 . English impart and all haye
pie sleeves unless noted otherwise)
a CURE-HANGING GAROEN / 100 YRS• 2 ltvo DBI. EP $5
D GARY PANTER-TORNAOER/IT ALIAN (USA) • l1ee P0S""'
a SOLIOARITY-OISARM / OESTINY tUSA)
a STRAY CATS-LONELY NITES / I MORE DAY (JAP) $3.50'
D STRAY CATS-WHATS GOIN / CAT STRUT (JAP) $3.50"
D STRAY CATS-RUNAWAY BOYS / MY ONE OESIRE
D STRAY CATS- ROCK THIS TOWN I CAN"T HURRY LOVE
D STRAY CATS -STRAY CAT STRUT / DRINK THAT BOTTLE
D STRAY CATS-YOU OON"T BELIEVE/ CROSS THAT BRIDGE
D STRAY CATS-MISS PRISSY / SWEET / SOMETHING (LIVE)
a SURFARIS-PUNKLINE/ SCATTER (USA) 8-slde ••.,
12" IMPORT LPs ($9 and English import unless
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10" & 12" 45/ EPs ($5l English import, all have
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D ALTERED IMAGES-PINKY BLUE / JU MP / THINK THAT• 12"
a ANTI-NOWHERE LEAGUE-WE ARE THE LEAGUE O, Oi LP
D BLONDIE-THE HUNTER ""' ctsc ol neweSJ LP $1'
a MARC BOLAN • T . REX-ACROSS AIRWAVES p,c ctsc $1'
D DAVID BOWIE-CAT PEOPLE (PUTTING OUT FIRE)• 12"
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D JAMES CHANCE-THAT'S WHEN YOUR •3 (FAA) 12"
a CHRIS & COSEY-TRANCE e, TG merrtMts LP
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 I'm sure most rock The (un)importance of rock lyric ·
fans would agree that
lyrics are an important 0 e d s oc
component of songs.
Any song that get lent mi ogyny, Bruce Springsteen's sexist con- doubtedly more prevalent on televi ion than
enough play on the descension, Led Zeppelin's occultism and the anywhere else. I'm concerned with up-front,
radio or in clubs is brutality of the Sex Pistols have all been voiced. right-out-in-the-open concepts, such as the
guaranteed to stay with How fans of these artists reconcile their af. woman-hating and general irtsensitivity of
scores of listeners. fection with the expression of attitudes th'!y hardcore, where thoughtle s rhetoric lumps to-
They may not get all of may not share presents an imere ting que tion, gether anti-Reaganism, anti-nucleari m and
the specifics down (re- but I fear that a lot of the time their re- anti-whatever else is handy into one blurred
member Creedence sponse is simply not to deal with the issue. mess that is not nearly as political as its sup-
Clearwater's "there's a That's not good enough for thinking people- porters would suggest. Arena rock, with its
bathroom on the one needn't advocate a thorough politicization tasteless sexual vulgarity and utopian Ayn
right"?), but repetitive of contemporary music, but it seems ridiculous Randi h libertarianism, i equally horrendous.
line tend to stick like to blithely accept ideas that one doesn't agree M cCartney/Wonder 's "Ebony and Ivory" at
flypaper. with just because some rock singer delivers it least expre es a nice sentiment, no matter how
The bulk of " pop" in a song with a catchy chorus. lame it may be, but how do you really feel
songs tend to be mean- Beyond the blind simplemindedness of about the tones' delicately put "Little T&A"?
ingless, or at least in- ignoring lyrics and responding solely to the Can you really divorce the pathetic machi mo
nocuous, but do the sounds, it seems obvious that bands who stand of that little ditty from the toe-tapping beat and
ones that pre ent a def- for-or sing about-reprehensi ble ideals still like yourself when the record ends? And
inite philosophy or atti- should be boycotted, no matter how cool their haven't you always felt a tad queasy about
tude influence people's guitar player is or what a great sound they singing along with Lou Reed on the. Velvet
feelings about life in general and about the rec- have. Music is a form of communication, Underground's "Heroin"? And remember all
ords themselves? Furthermore, what signifi- and popular music is a powerful tool. ot the controversy that surrounded the Beatles'
cance should be attached to the ideologies of heraring what people ay in ongs doesn't , " Revolution"?
the people who make the music? make sense. The issue becomes more complex when
Over the years, rock's harmle sness in the I'm not suggesting that great danger lurks in musicians step out of their art and actively
' 50s has given way first to political rebellion the grooves of today's long players. That identify them elves with causes or candidates.
in the '60s and then to the fragmented in- "satan" bullshit one nut recently fabricated There must be some Jackson Browne fans who
dividualism that has characterized the last after listening to "Stairway to Heaven" is are for nuclear energy or people who like Styx
dozen years (or thereabouts). Questions have merely another instance of the sort of paranoid and don't believe in olar energy, or, for what
sometimes been raised about rockers' ideol- witchhunting that has always plagued artists. it was worth, Allman Brother fanciers who
ogies as presented in their records and in the That's not what I'm talking about; hidden voted against Jimmy Carter. Musicians are cer-
media. Complaints of the Rolling Stones' vio- messages and subliminal suggestions are un- Continued on page 52

or the second time in its history this col- into a US Air commercial 59. Quaaludes
umn present a list. This time, it's some 26. Plastic Bertrand 60. Britt Ekland
of the things that have made rock 'n' roll 27. Jonathan King 61. Altered Image
what it is today. 28. Lydia Lunch 62. Johnny Halliday
I. Colonel Tom Parker 29. Yoko Ono 63. Every record label that's ever dropped
2. Connie Francis 30. Johnny Moped Captain Beefheart
3. Saturday Night Fever 31. Woodstock 64. Whoever gave Todd Rundgren the idea
4. The Partridge Family 32. Let It Be that he was a genius
5. Don Kirshner 33. Rush 65. Paul Weller's pre s interviews
6. Fusion 34. The Incredible String Band 66. Paul McCartney's thumb
7. nny&Cher 35. The Knack 67. Freddie Mercury
8. Rolling Stone 36. Metal Machine Music 68. Barry Manilow
magazine 37. The Eurovision Song Contest 69. K-Tel
9. Stevie icks 38. Jimmy Osmond 70. Leon Ru sell
IO.Emerson, Lake, & 39. Darby Crash 71. The return of the Chipmunks
Palmer 40. The day Motown moved to LA 72. The day Rod Stewart first saw LA
11. Pat Boone 41. Bill Aucoin 73. The day Elvis was drafted
12. Chad and Jeremy 42. Styx 74. The first rock ' n' roll band to get a bill-
13. Christopher-Cross 43. Clone bands board on Sunset Strip
14. "I Will Survive" 44. The Mod revival 75 . The idea that the Hell's Angels were on
15. The Bay City Rollers 45. Buddy Holly's pilot anyone's side but their own
16. Gregg Allman 46. Solid Gold 76. Cocaine
17. Eddie Cochran's 47. Leo Sayer 77 . The first mu ician to discover that hotel
chauffeur 48. The day Joe Walsh joined the Eagles rooms would break
18. The Grammy 49. The day Gene Simmons discovered his 78. Jerry Keller
Awards tongue 79. Barry McGuire
19.Journey 50. The day Bob Dylan gave up drugs 80. Rocker who turn into critics
20. Bobby Vinton 51. The day the Beatles discovered the cello 81. Critics who make records
21. Elton John at Dod- 52. The day Chuck Berry first went to jail 82. Critics with a mu ical education
ger Stadium 53. The day Chuck Berry wrote "My Ding-a- 83. Probably critics, period
22. The Song Remains Ling" 84. Heroin
the Same 54. Barry White 85. Swimming pools
23. Rick Springfield 55. Dick Clark, the world's oldest teenager 86. Heroin
24. "Yesterday" 56. All but four of Elvis Presley's movies 87. The term "rockism"
25. The man who made 57. All but one of Patti Smith's records 88. Heroin
"Summertime Blues" "58. Abba Continued on page 55
 " ... synthesizer-based rock with socially relevant lyrics."
-Robert Payes, Trouser Press

" One of the most creative rock bands in the Tri-State area. "
- The Aquorion Weekly

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Singles. All new. lrnpon/domestic. $3.00 each.
KING CRIM Hean beat/Requiem (excerpt)
ADAM ANT Goody Two hoes/Red Scab
GE ESI Paperlatc/You M ighr RccalVMc and Virgil
PETE TO HE D Face Dances Pt. 2/Man atching
Cl.A H Know Your Righ r~int ight Back in London
IRLSCHOOL C'mon Let' Gol(live) Tonighr/(livc)
Demolition Boys
- Don't Call It Lov ildlifc/Don't top
OCIAT Oub Country/A.G. It' You Again
PA 10 Jump for Joy/The tory
THEATRE OF HAT E The Hop/Conquistador
BOY THREE The Telephone Always Rings/The
Alibi
FT ELL Torch/lnsccure Mc
PUT Z I Got You/Double Happy
THE DAMNED Love Son 'oisc, oisc, o·
LE E LOVICH Lucky umber cw Toy
TOM VERLAINE P061card from atcrloo/Clcar Ir Away
COM AT ANGELS h's H istory/Zinger
BLOOD Bunon p/Raumcn
UB40 Love I Love ls All Right/One a Penny•
XT o Thugs in Our House/Ota.in of Command/Lime-
light/Over Rusty arcr
HOLLY & JOEY {Vincent& Ramone) I Got You Babe/
H LLY & THE ITALIA S On More Dance
THE BEAT vc It for Later/What's Your Best Thing?•
GA 'G OF FO R I Love a Man in Uniform/The
orld at Fault
SQUEEZE Black Coffee in Bed/The Hunt
-Labelled with Love/Squab on Fony Fab •
DEPECHE MODE The Meaning of Lovc/Oberkom
(it's a small town)
BOB DYLAN Lenny Bruce/Dead Man, Dead Man
MAR BOLA Cat Black/Jasper C Debussy
ADAM & THE ANT Ant rap/Friends
- Prince Charming/Christian d 'Or
- Antmu ic/Falf.in
- Ktck/PhysicaVFricnd
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- tand & Deliver/Beat My Guest
-Dog Eat Dog/Physical (You're So)
-Zcrox/Whip in My Valise
- Kings of the Wild Frontier/Press Darling
-Can rouble/Kick
GARY MAN & DRAMATI Love ccds o Dis-
guisc/DRAMATI : Take M c Home
BOOMTO RAT House on Fire/Europe Looked
gly
JOH F XX Dancing Like a Gun/ wirnmer 2
L TRA VOX The Voice/Paths and Angles
-All tood till/Alles Klar
LA RIE A DER O O Superman/Walk the Dog
dB' Judy/ yclcs per Second
JERRY HARRISO Things Fall Apan/Worlds in Col·
lision
STRAY CATS Little Mis Pri y/(livc) wcct Love on
My Mind/(live) Something El
- You Don't Believe Mc/Cross That Bridge
DEYO Through Being CooVRacc of Doom (w/poster)
RI HARD LLOYD Get Off M y Cloud/Connection
B.E.F. & SANDIE HA Anyone Who Had a Hean
(vocal b/w in trurncntal)
STIFF LITTLE FINGERS Talkback/Good for othing
BILLY BREM ER Laughter Tums to Tcarsffircd
and Emotional (and Probably Drunk)
WHO Join Togcthcr/(live) Baby Don't You Do It•
-Let's Sec Action/When I Wa a Boy•
DAVID BOWIE Sorrow/Am tcrdam
-Fa h1on/Scrcam Like a Baby
JAM Absolute Beginners/Talcs from the Riverbank
B40 The Eanh Dies Screaming/Dream a Lie
ELVI COSTELLO & THE ATTRACTIO
Your Toy (live)' ry Cry Cry ondcring
EL I COSTELLO Sweet Dreams/(livc) P ycho
- H igh Fidclity/Gcning Mighty rowded
-Accidents Wtll Happen/Sunday's Best•
ROXY M IC More Than This/India
- The me Old Scene/Lover•
- Tra.shffra h 2
BANANARAMA & BOY THREE Really Saying
Something/Give s Back Our Cheap Fares
Cl.A H English Civil War/Pressure Drop
-Clash City Rockers/Jail Guitar Doors
BOB DYLAN Hean of Mine/Let It Be Mc (alt .)'
SQ EEZE ls That Lovc/Tru t
TALK.IN HEADS Houses in Motion (alt. vcrs.)'Air
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 BILL NELSON: work (as he did with M eat Loaf). But what's a
"Eros Arriving" b/w portly songwriting guitarist to do? Write
"Haunting in My songs, mostly with an intelligent lyricist like
Head"-(UK) Mer- Will Birch of the Records, and put 'em out on
cury WILIA. Ah yes, Stiff Three of these sides suggest no more than
the intriguing number a likable, slightly humorous journeyman, but
el on previewed for "Laughter T urns to Tears" how Bremner
tho e harp enough to ha the goods to be successful; it's a classic
pop down to one of his "break-up" song-Greg K ihn, are you listen-
US club dates last year.
:D
ing?-done with tasteful understatement. If
The qua i-Oriental riff "Laughter" isn't a hit here for Bremner, it
finds elson' agile probably will be for someone else. (Remember,
0
bass leaping around his Edmunds did " Queen of Hearts" long before
vocal (with its own mem- Juice ewton.)
orable leap into falsetto) ECHO & THE BUNNY.ME : "Back of
r and feathery guitars.
Seductive. T he flip, and
Love" b/w "The Subject"-(UK) Korova
KOW24. Nothing to match their debut LP, but
m
two other tracks avail- the Bunnymen know how to get plenty of mile-
able in a limited edition age out of two chord . (They actually get into a
en
double pack ("He and third one on an ill-advised bridge.) ("Breaking
leep ~ere Brothers" the") "Back of Love" gallops along, overbear-
'o/w "Flesh " WILL44), ing in a good cause. You have to be a fan or a
make far less impact, reviewer to want to hear this more than once or
though the latter pair is twice; it doesn't grow on you enough to test
definitely of interest to elson aficionado . your endurance any further. The flip sounds
(Adam Ant cohort Chris "Merrick" Hughes like fledgling art-punks recorded in omeone's
co-produced and drums on the A-side.) basement.
BILLY BREM ER: " Loud Music in LEISURE PROCESS: " A Way You'll
Cars" b/w "The Price Is Right"- (UK) Never Be" b/w "Love Ca cade"- Col-
Stifl'BUY125; " Laughter Turns to Tears" umbia 44-02989. Yup, a release of the
b/w "Tired and Emotional (and Probably second single by this dynamic duo, with an ex-
Drunk)"- (UK) Stiff BUY143. Everybody tended version of their cintillating debut.
probably wrote Bremner off a the poor rela- (The same two titles are on the current UK 12-
tion of the Rockpilers. Dave Edmunds and inch, but this " Love Cascade" is from the pre•
ick Lowe can make their own way, and vious 12-inch of which 11 was the A-side.) "A
drummer Terry Williams will always find Way You'll ever Be" is a smart, lick riff, the
Mystery Hit of the Month 1104 Commonwealth Ave., Boston, MA 02215.)
From the Alternate Top 10
ONYX: "Call of the Wild" b/w "S.O.S."
- u-Age SBJ 8201. This come in a leop- If you live within gobbing distance of a fairly
ard-print sleeve with preciou little data as to hip club or college radio sn11ion, chances are
how or when it was made· judging from the you've heard one or both of these record . Chi-
equally-befogged Bo ton critics quoted on the cago's MINISTRY may dress " new roman-
promo sheet, nyx consist of one Beveur a tic," and they play that funky white-boy music
female who "sings," and one Judd tone, a but " old Life" (b/w "I'm Falling" & "Pri-
male who does everything el. e. What I dn mental," Wax Trax! 110072X) is one dance
know is that "Call of the Wild" is the best tune that doesn't make me gag. Head Minister
song Public Image Ltd . never wrote. Rum- Al Jourgensen supplies bass sproings barking
bling ba (in the best guitar and zombified vocals while the re t of
Wobble tradition) and the band contribute drum and extra synths.
commanding drums et (Personal kudos to whoever plays the killer
up a dilly of a rhythm trumpet lick in the "Cold Life" chorus.) on-
hook, over which coast sumer warning: Beggar Banquet has a ver-
deep- pace synthe izer sion out of this with "Primental" replaced by a
and Beveur's treated poorly-executed dub of " Cold Life" which
mumbling. (the song'. h uld be avoided at all cost . (2449 orth
weakest element, but Lincoln Ave., hicago IL 60614 .) Back in
infrequent enough to ew York ity, the I DIVIDUALS' Aqua-
ign re). The flipside' marine EP on Lu ti nlust didn't quite pull
more of the ame only my chain (see TP 73) but "Dancing with My
with a syncopated 0 ives" (b/w " ur World" & " 7 Hour by
rather than traight Motorboat," Plexus MKA609) is a marked im-
beat . hon and sweet provement, the group' quick, par. e ound
unlike PIL who usually having gelled into a distin t voice. This one
don 't know when t works because it short-circuits expectations:
top, but IO minute of Glenn Morrow describes how the devil danced
"Call" wouldn't sate me. with all tho e wives, then adds, "He wa
As it i , I'm dying to dres ed in white"-an un-demonic shade, to
hear the previous Onyx be sure-and Janet Wygal's ba paradoxic-
single, "Jet et" b/w ally supports the beat by counterpointing it.
"Saturn 09" -whattaya rand by for a review of the new Individuals
say, Judd? (Box 433, album in the next issue or o. (Plexus Trading
kind Spandau Ballet seems to have run out of,
with prominent sax from Gary Barnacle. A
lightweight extrapolation of Bowie's disco-soul
period? (cf. Ro s Middleton's harmonies with
him elf.) Anyway, you now have no excuse
not to own "Love Cascade," a likely enrry on
my 1982 Top 10.
BA ANARAMA & FUN BOY THREE:
"Really Saying Something" b/w "Give Us
Back Our Cheap Fares"- (UK) Derarn
ANAi . In which the Fun Boys return the
compliment; their own "It Ain't What You Do"
with Bananarama as guests was a sizable UK
hit. The multi-rhythmic style relies more on
percussion and vocals than other instruments,
yet is well suited to this Motown number.
"Really Saying Something" is looser than Ba-
nanarama's "Aie e Mwana" debut and it lacks
a bit of 00mph. The flip, written by the band
with Department S singer Vaughn Toulouse,
isn't a protest but hip elevator music.
ATF (AFfER THE FIRE): " Der Kom-
missar" b/w "Nobody Else But You"-
(UK) CBS A2399. A pleasant surprise. I liked
the band's first relea e, "One Rule for You,"
but what followed was cliched, diluted new
wave that ounded too much like a main tream
band seizing upon some superficial characteri -
tic . "Der Kommissar," however, is a delight-
ful catchy confection of no small ingenuity,
with a funk riff, a "rap," a goofy chorus about
Continued on page 55
Some of the singles reviewed in this column were
supplied by Bonaparte Records, 118 West Third
Street, New York, NY 10012.
203 West 25th St., ew York, NY 10001.)
A Coupla White Girls Rock.ing
Also known as the future-and past-of girl
groups. The BANGS are pure '60 pop, right
down to their miniskirts (brief pause for a
gently exist "yeah!") and the way they blend
Perula Clark and the Mama & the Papa
(vocally) with the Monkees (musically) on
"Getting Out of Hand" and "Call on Me"
(Downkiddie D KOO I). Bouncy and guile le s,
with surpri ingly good production values for
an obviously low budget. Recommended . o
address, but they eem to come from L.A.).
ANOM Y, on the other hand, dre like roller
maiden. from outer space· too bad they haven't
mastered all those synth toys they list on the
sleeve. eak ound and static arrangements do
in Bowie's "TVC 15" and their own "Lone
Wolf" (Inner Landscapes VG360), and both
songs go on too damn long. I know synthe-
izer aren't "organic" sounding, but that's no
excu e t • ound gutless. (Write to the band at
4363 Baychester Ave., Bronx, Y 10466.)
E is for etcetera
CINECYDE: I Left My Heart in Detroit
City (LP)-Tremor TRLP-104 . After a
bunch of singles and compilation cuts on their
own label, this Motor City trio (the MC3?)
finally have an entire album out. I'm a little
nonplus ed by the cover-two stick-wielding
kids picking over the (white) victim of a racial
hooting-but the music inside manages to
make up for it: good hard-rock with matter-
Continued on page 52
emt,e, 1912
AMERICA'S GETTING FOOLED

Tlll AIERICA
the album by FOOLS FACE
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HUEY LEWIS/From page 8
produce their second album themselves as a
means of insuring a sense of autonomy. The
result is a stronger group effon-rough-and-
ready on the one hand, as in the live remake of
the old Hollywood Flames hit "Buzz Buzz
Buzz," yet slick and well-rehearsed on the
other ("Tell Me a Little Lie," "Change of
Hean"). "Some bands make records," Lewis
says, "then they go and try to imitate them on-
stage. I think the record should try to capture
what the band is about. I wanted to get the
band's personality on the record, and I felt we
could best do that ourselves since I know when
Chris [Hayes, lead guitarist] is gonna freak out,
how many takes he's wonh; when Mario (Cip-
ollina, bassist] has done his best, when the
drummer (Billy Gibson] and sax player Uohnny
Colla] are good. They're all different.
"To their credit, Chrysalis was so in back of
us that they really wanted to put us with a top-
flight, LA-type producer. I don't blame them
for that; I just wanted to convince them that I
could do it myself. If anybody was gonna draw
that fine line between the Grateful Dead and
Paul Revere and the Raiders, I'd rather have
it be me." ■ commercial popularity today, but not among
JAPAN/From page 10
afier that's the only chance we'll get to come
over here."
Odd timing, one could say.
"That's what they say in England . We've
just taken off there in a big way and there's no
band to promote what's going on . It 's sort of a
weird situation, but we always work on in-
stinct. I didn 't want to get sruck where you
make an album, go on tour and do publicity
around and around . We've never bothered
with promoting things at the right times,
which is probably why it's taken so long for us
to take off. Now just seems like the right time
to work on different projects."
A creative band like Japan ha. alternative. .
During the lull Sylvian has recorded a si ngle
with Yukihiro Takahashi of Yellow Magic Or-
chestra that continues the experimentation
with oriental theme~ so prominent on Tin
Drum. Karn has had his sculpture exhibited
in London; Jansen took photos and wrote
poetry for the catalogue .
Sylvian has so little of the traditional rock
hustler in him that he even declines 10 talk up
the band's first domestic release in four years.
"I'm not happy with it. I didn' t like the idea
of splining up the two albums. Tin Drum is a
whole concept even down to the cover [on for-
eign pressings, a shot of Sylvian earing ri ce
underneath a picture of Mao). Epic was going
to release Uapan] in the original cover even if
they put different track. on it. Then they sud-
denly came up with this awful cover [a close-up
of Sylvian)." From his placid tone of voice.
you'd think this annoyance transpired 10 years
ago. "If somebody's interested, they should try
to find Tin Drum on import. I'm sure they' ll
get a lot more out ofit. " [/11 gratitudr fnr th,:, in-
terview, Epic officials prevailed 11pn11 , ~lvia11 10
play a groundbreaking date in Beirut. -Ed. ]
Sylvian can't even guarantee there will be
another Japan LP. " If Japan makes another al-
bum, it's got ro be of high quality. There's no
way we're gonna do somet hing below standard
just because another record's expected by
October. " Then, with a sofi . mile he adds.
"It's in no way definite, but I think there will
be another album ."
As always, David Sylvian's sublime poise
blankets his feelings. ■ writers who could just a. easily be writing
LIP SERVICE/From page 46
tainly entitled to hold opinions, both privately
and publicly. At some point, though, people
who idolize them are going to be affected one
way or the other by the views that gain promi-
nence. Either the artist is going to lo e follow-
ers du~ to the opinion voiced, or the audi-
ence's ideas will become more like those of
their musical icons. either possibility ha
much to do with pop music.
Perhaps the stickiest permutation of this
question arises when religion is involved.
Gospel records are enjoying unprecedented
rebellious rock fans, who don't sit still for
Sunday-school seriousness. Yet an incrca ing
number of religiou rockers who don't mind
declaring their spiritual beliefa have been more
or less accepted, in direct relation hip to how
softly they peddle their faith. Unless religion i
presented as diffuse, generalized mu h a
record's chances for commercial success
among rock 'n' rollers are very slim indeed. (Dy-
lan's conversion was one of the most roundly
derided musical events oft he last few years.)
This hardly explains the popularit y of
reggae, which holds beliefi in pired by a reli-
gion called Rastafarianism that I doubt are
shared by many non-Jamaicans, including fan
of the music. Except for those reggae artist
who are not Rastas there's no way to avoid
the religious content of the song and not
sharing the faith would seem to present a real
obstacle to a complete appreciation of reggae
music. I don 't know how people who don 't
accept Rastafarian precepts can wholeheartedly
embrace song imbued with them . There arc
undoubtedly simpletons who agree with the
marijuana aspects ofRasta culture and use that
as their focal point in listening to reggae; that
hardly matches the seriousnc s and impor-
tance, both religious and political, that reggae
holds for its faithful. Bob Marley wa. unques-
tionably a brilliant musician and an extremely
positive social and political force, but some-
thing of a religious fanatic from a white Amer-
ican standpoint, and that has always detracted
from my fully appreciating his work.
I remember the entrance of Meher Baba into
Pete Townshend's life by the results it pro-
duced . From the earliest mention-a credit to
Baba as "avatar" on Tommy- to its fullest
and most cringewort hy flowering ("Parvar-
digar " a prayer set to music on Who Came
First) Townshend's faith became a major
aspect of his art, and influenced the path of the
Who in ways that many fans found difficult to
accept.
Rock music has always enjoyed enormous
freedom of expression. At one time, rock had
distinctly political att ributes, regardless of the
literal content of the records. Liberalism and
the youth-culture-as-community presumption
have long since disappeared· music has become
the conduit for much more diverse and weirder
thought . In a sen e, rock is now in the realm
of literature . ew wave has opened the door
to much less mainstream people espousi ng
idea. that are light years away from the typical
lovey-dovey bullshit that ha always been the
tuff of hit records. Things have gotten a lot
more real- when someone sings about suicide,
don't think it can't come to pass. We're into a
generat-ion of thoughtful intelligent song-
diarie . And if you're going to take a peek
you'd better be ready to face some difficult
idea . ■
UNDERGROUND/F rom page 49
ings of heavy metal (the guitar ound) and pre-
hardcore garage punk. H ard to believe that
such edate-looking guy could come up with
such aggressive music, but that's life, or some-
thing. Be t cut : " Wondering Why." (403 For-
est Royal Oak MI 48067.)
CHROME: "Firebomb" b/w "Shadows
of a Thousand Years"-Risky NX5264.
Thi i (I believe) Chrome' first American re-
lease not on their own iren label since the
Subten-anean Modem compilation on Ralph a
few year. back. It 's also 1ar from their he. t
work . .:a in away from the abrasive fury of
Alien Soundtracks or Half Machine Lip
Moves. Methinks now wirh the pre ence of a
live rhythm section (the . tench brothers ex-
Pearl Harbour). remaining Chromers Damon
Edge and Helios reed are attempting to be-
ome a band a. nppo. ed to an underground
irritant , which was their main strength . (1280
2nd Ave.,. an Franci. co, CA 94122.)
C R ICK E : "For You" b/w "They
Came Crawling"-T.M.I. 0011. Go1 a
whole packet of stuff from Pitt sburgh-based
T .M.I. , but this is the only one in the 101
worth more than a cur. ory spi n. Two-chord
dan e/atmosphere on the A-side, a fast rocker on
the 8 a rnge r who'. been boning u1 on hi.
Psvchedeli Furs and Peter Gabriel albums.
and ome fa irl y wild sax . Rough but promi. -
ing. (6010 Penn Circle outh Pitt . burgh PA
15206.
SV. TF.M 56: "Metro-Metro" b/w "In
the Old World"-Detour 56. onsidering
all the wrirds1uff tha1' c me our of levclan<l
and its environs over the y.:ar. thi. i . urpn. -
ingly mainst ream . \J hich is not 10 . ay it '.
A R fodder by a long rrctch, but it ought to
he . B th . ides are hard-edged ro k . hot
rhrough with a generous helping of lush . yn-
rhe iza. cry European sounding (a. the B-
side title . uggests) and quite catch to boot.
(Writ e to the band at 262 10 Emcrv, ll:vcland
OH 441 28. .
011 . T STF.RS: "That's When the
Brick Goes Through the Window" b/w
"Earn While You Learn" & "Smoke"-
Various VRS2. ii taS//'r.<? . trangcr thing.
have come out or Wi. con. in althnuch I
couldn ' r name any right off the bni [/ /1a1•e·.<m11r
rela1ivr.< 11,rre, h111 //1ey'/'/' 11n1 100 wcirl. - lA R.)
Spiritual children of Blurt (ba , drums and
saxophone), al beir . ardonic rather than psy-
chotic. Rather tuneful too. But when the
si nger describe. the fl ymg brick on 1he A-side
as "just a little hello" you wonder-would you
let your daughter marry an Oil Ta ter? (Fa-
ther. and other curiou. oul can addre s their

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TP 14 ... Keith Moon, Genesis, Lou Reed, Free, SB&Q, Michael Brown
TP 15 ... Dr. Feelgood, Boxer, Roy Harper, Nazareth, Sailor
TP 16 . . . Queen, Graham Parker, Kevin Ayers, Steve Hill age
TP 17 ... ELO, Grlmms, Be-Bop Deluxe, Easybeats, Tommy James
TP 18 ... Bowle (part 1), Entwistle, UK new wave, Little River Band
TP 23 . . . Bryan Ferry, Jimmy Page (part 3), rare Stones, Blondie
TP 24 . . . Elvis Costello, Boomtown Rats, Be-Bop Deluxe, Man
TP 28 ... Pink Floyd, Townshend (part 2), Television, ELP, Pere Ubu
TP 32 ... Ray Davies, Peter Gabriel, Robert Fripp, Brian Eno
TP 35 .. . Devo, Guitarists (part 2), Buffalo Springfield, Jules & Polar Bears
TP 36 ... Lou Reed, Elton John, Clash, Capt. Beef heart, Brand X
TP 37 ... 5th Anniversary Issue: Who fllm, Zappa, '74-'79 chronology
TP 39 . .. Elvis Costello, Dylan, Dire Straits, Ian Hunter
TP 40 . .. Ron Wood / Keith Richards, Faces family tree. Viv Stanshall
TP 41 . . . Cars, Police, Tom Robinson, Mick Taylor
TP 42 . .. Blondie, Fripp, Devo, Japanese Rock, Wings, A's
TP43 ... Bowle, Brian Jones, Ian Oury, Todd Rundgren
TP 44 .. . Talking Heads, NY Dolls, Kinks, B-52's, Magazine
TP 45 ... Pollce, Joe Jackson, Abba, Shoes, Mods, Undertones
TP 46 .. . Speclal End of Decade Issue: Best LPs, '70s history
TP 47 ... Frank Zappa, Iggy Pop, Aerosmith, Sports, Madness
TP 48 ... Clash, Tom Petty, Boomtown Rats, 20/20, Specials
TP 49 ... Nell Young, Elvis Costello, Fleetwood Mac, Genesis
TP 50 . . . Ramones, T. Rex, reggae, Pink Floyd, Gary Numan
TP 51 ... Beatles, Public Image, Joan Armatrading, Squeeze
TP 52 .. . Townshend, Alice Cooper, J. Geils, Motors, Motels
TP 53 . .. Kinks, Ian Hunter, Townshend, Dave Edmunds
TP 54 . . . Rolllng Stones, Roxy Music, Undertones, Beat
TP 55 . .. Springsteen, Devo, Peter Gabriel, radio, Tom Robinson
TP 56 . . . Cars, Jeff Beck, Dire Straits, Liverpool Tree, Split Enz
TP 57 ... Cheap Trick, B-52's, Buzzcocks, John Hiatt, AC/DC
TP 58 .. . Gary Numan, XTC. Beat, technorock bands, Ultravox
TP 59 . . . Rockplle, Police, Gang of Four, John Lennon, 1980 Review
TP60 .. . Clash, Stiff tour, Clone Rock , Martha & the Muffins
TP 61 ... Elvis Costello, Byrne/Eno, Winwood, Who
TP 62 ... Blondie, Squeeze, Utopia, Jam, Nazareth
TP 63 . . . Sex Pistols, Adam & the Ants, U2, heavy metal, Dave Edmunds
TP 64 . .. Tom Petty, rock discos, Steve Marriott, Plimsouls
TP 65 . . . Doors, John Entwistle, southern punks, Joe Ely
TP 66 .. . Sleaze In rock, Southside Johnny, Madness
TP 67 ... Pretenders, Roy Wood, Tubes, Cure, Kraftwerk
TP 68 . . . BIii Wyman, Go-Go's, Greg Kihn, rock videos
TP 69 . . . Adam & the Ants, Who, Bow Wow Wow, Duran Duran
TP 70 ... Devo meets WIiiiam S. Burroughs, year-end review
TP 71 ... Genesis, King Crimson, U2, with free Japan flexl-dlsc
TP 72 .. . Talking Heads, Led Zeppel in, Steve Lillywhite, free XTC flexl-dlsc
TP 73 .. . Pollce, synthesizers, Flngerprlntz, with free Buggies flexl-dlsc
TP 74 ... Joan Jett, Ramones autodlscography, Phil Manzanera, with free
John Hiatt flexl-dlsc
TP 75 . . . Nick Lowe, John Hiatt, Ultravox family tree, with free Human
Switchboard/Alex Gibson flexl-dlsc
TP 76 ... Squeeze, Human League, Hardcore Rock, Brian Eno, Romeo
Vold, Split Enz
Index ... A complete guide to every Issue of TP (1974-1981) includes
two back issue $1 .25 discount coupons
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MODERN SOUNDS WITH THE MOST:
ADOLUCENTS- (Frontler)
LAUIUE ANDEIISON/IIUffllUlh/Olomo -
• yw,e TIie Quy I Wenllo.... /2 l"9)
STIV IIATORS- "Dleconnect.d"
aLACK FLAG - "Dime,.,,.
BLASTERS- "Slffll"/wl" Marle Marle1
IIICHARD 80NE- "Efflllfl/ng lhlodln"
(haunting electronic sounds; very ltd.
edition, fine LP)
GLENN BRANCA - "TIie Aac1na/on"
CHOIII INVISIILE - same
CHRISTIAN DEATH - -,,.._11,0, Pain "
CIRCLE JERKS- "G-p Sea"
CIIICLEJEIIKS- "WlldlnTIMS,,..11"
CUIILEW- (BIII Laswell of Ma lerlal)
FAST -"lHlhr IOJI From A. Jungle"
FLESHTONES- •11-n God11"
FLIPPER - "Generic"
GERMS- "LIN Al TIie Wllla/rer•
IILLY HANCOCK - "Sllltln' T/111 IIA8
,..,..,.
HUMAN SWITCHIOAIID- "LIN "
'Wllo'9 lalldlng. .. •
JOYDIVISION- •A,.,.l1rd1m•
JUSTINTIIOUILE- same
LATE BRONZE AOE- "llln ot lall(llrllln" $6.98
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MECHANO- •Enllllld"(Outch prog, band) $6,98
PANTHER BURNS 1"11• Cllllton)-
"lelllnd 11.C. •
OLEN PHILLIPS BAND -"Dlrlr Ugllll"
ROBERT OUINE/J. HAIIIUS - "Eecape•
IIOMEO VOID - .,,.. A c-,on•
DIIED scon -"Ina,,,,_,., Accldenr"
(ex-Zakary Thaks)
SOUL PATIIOL- (Garege Sounds)
T.S.O.L-"DI-WIIIIM••
GENERAL INTEREST LP■ :
IIAD IIEUOION - "How Co,,ld Hell
lleW
.....
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IEATLESw. llUDY- "Vol. 2"
IEATLESONOS- (llarloua l•b 4 novelty cuts)
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JOHN CALE- "Acedlmr In,..,,,.
DAWOS-"My Town•
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DICTATORS- . . . ., 1h .,._llff" (llve)
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JOHN FOGERTY- some (deleted 191)
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LULU- "HHNn Eerlll & SIi,.- (Bowle
produeed cuts)
IIODEIIN LOVEIIS-"TIM Orlg/11119
1s t Pressing I
IIONKEES- "Site Henge Otlf"
RICK NELSON- •4 You"(obscure 101
Nll8Q- "Worlr111ot1$crepe•(2 LPs)
PLAN NINE- "F1111tnllon" (60s covs)
IIUNAWAYSwJOANJETT -(mlnlLP)
RAY SIIITH-"LIN 'U"(SUN RAB artist) $6.98
ROLLING STONES- "Sllcty Fingers•
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D0U0 SAHM/FREDDY FENDER (wlRoky
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SIIIDOUGLASQUINTETwlDonOoldle
(Instrumentals LP) S7.98 ea LENNY KAYE- "Clllld • -•
· Siil DOUOLAS QUINT. - "f + 1 = 4"(orlg.) S10.00 KID TATEA-"WIIHII On Fl,_,new Rlpsaw)S2.50
SURF IIAIDERS - "lla""'8 of LOIi surr
TELEVISION- "Anow"' (My Father's
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DEAN TORA NCE-"Mnlc /lfleu 2"(Ja . 15.98
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REAL KIDS - "All lClndu Olrla" $2.50 1110 ORANDE- (ex Mouse & Traps) $5.98
• 11.E.M. - "lledlo , _ Europe•
AOUSERS - "Perl)' Girl"
ROLLING STONES- "Dleco Potlr"PS
$2.50
$2.50
STRANGE- "Tra11llucenl World;" "flew ,._,.
(the original Florida Issues)
STRANGE (TEIIIIY BROOKS)- • Htgll Fl,a,;"
S30.00
IIONETTES - "lONr, l -r" + J
S8.00
$,4.00 Ji:S~"" 11111111 LON" (his contempora'la.98ea
212-243-4793 IIOTTEIIS - "SIi On lly Fece Sime Ntcta• $5.00
SKELETONS - "Ver, Lael Dey;" "Trane
(1'1am-8 pm EST) Am" S2.50ea INTERVIEW RECORDS:
TIii llmlted pr111lng public 11rvlc1 ai-a
PAm SMITH- "111111111 Cllrl1fm11" SJ.00
SPACE NEOIIOS-"Go To llu11l1"S2.50 "Tell leatu,e wolce I mu1lc ol fealvfed artlata. Nonna~
111111111 Lin" (flexl) S,4.00 ly awalleble to DJa only, ,,_, IH""8 C1111 artist
per aide. 10% dlaco,,nt on purchase ol 3 or,_.
"HaNelou,,x..... Wld"(lld) $5.00
cover- SYMPTOMS (Skelelons)- "DoulJII $/tor" $2.50
BILLY SY NTH - · srete ol con,u1lon"(ep) $5.00
at once.
115 IICh
TAXI BOYS- "I Cen't IClct " + J SJ.00 BEACH BOYS/DYLAN; BEACH BOYS (Hffll
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$6.98 OAIIY CHARLSON - "IIHI UN" (orgy
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Ta Te" (B & W Sleeve)
S9.98 ERIC COLLINS - · s1toe11rlnge"(Ohlo mini LP) SJ •st1r1111n" + J (PlcSleevePortugueseep) $7.98
$5.00 cheslnut compilation w. Rock ln'
Ramrods etc.) $6.98
d81 - •11-u11lon;""Sllnd1 For... • S9.98ea "Elepllenl Men• (promo disc for Chlc•go BOULDERS - "Vole. 1,2, o, J • S5.98ea.
$6.00 EPICYCLE - "Specie/ Firs! Edlllon" $6.98 appearances, Bowle on sleeve only) EAR PIERCING PUNK (Trashmen etc.) $6.98
S 15.00
S7.50 MICHAEL GUTHRIE BAND- "Dlteel Hite• $6.98 1NO- (promo only hits compilation) S25.00 OLIMPSES (500edltlon) S13.98
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F11ll•1f"; " l'Nttlnt Sier"; "LON You TIii PE88LES- (Vols. 1,2and5thru 10) S6.98ea
Is.,
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S6.98
"ln Tllelled" (12"), "TeltlaC,.._p"f71 s-4.98ea.
S/IONSORS-111-1 clever edged pop)
T - y"; "And To
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$6.98 SPECIAL LIMITED EDITIONS
Mrffll"; "Citing
Down• :!
A
=~ PSYCHEDELIC UNKNOWNS-
WEST COAST-EAST SIDE REVIEW•
2LPs set ol Chicano Punk
(Vol. t) S10.00
V.A. NUOOETS- (Delrolt materia l 2LPs) S15.00
S12.98
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$5.98 Slyle 1 man performance) $5.98 BADGES - "Bow Wow Wow" (bone); IIOlll•CASSETTE ONLY LPa:
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WILD GIRAFFES - "lllgllt Now" $6.98 FRIPP- •4 Fr. Ea-u,e•or•Lo.o .· 12" S10.00ea JAMES CHANCE/CONTOIITIONS-"LIN In N. Y. •
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SJ.00 • (program bOoklet w. early Bruce pica) $5.00
S10.00 BLONDIE- • 1111n une• + J/onlydemoe) $5.00 SPRINGSTEEN - "Al llequ1111d" S30 12" EP FAVORITES
$5.98 (200 edition 1st press available C S30) SYLSYLVAIN -"ll1dlolnl1m,.,. S9.99
S9.98 BONGOS - "11/epllolo leM"(orlg.) SJ.00 POSTERS: STONES - T1ttoo You (M ick or Kel1h); ANOIIY SAMOANS -"lna/de My 8raln"
$,4.98
$6,98 BUSH TETIIAS - · - · S2.50 ELVIS COSTELLO w. SQUEEZE; AVENOEIIS-"111111111 Nlner" (Steve Cook
$6.98 CHESTEIIFIELDKINOS-"H1y Ullll81rd" $2.50 RICK SPRINGFIELD S5- prod.) s-4.98
COSMOPOLITANS- "WIid , , _ Party" $2.50 ZAPPALOO (discography bOOk) $6, CHINA WHITE- "Dence 11111111,,_.
$9.98 J OSIE COTTON - •Jo1tnn111. U. Queer" $,4,98
$5.00 CIIASH COUIISE IN SCIENCE- "Signe/a From
$5.98 JOHNNY COUOAll -"tl.S. Mell"ep $5.00 80■ REISSUES Pier 11" $5.00
$,4.98 MARSHALL CRENSHAW- ·s-111,n,-.
fl. L CRUTCHFIELD - "Tra,,,_,. $,4.98
Oonne Heppen"12" $,4.00 THE ACTION - "TIii Ulllm111• S9.98 FAMILYFUN
-"llecord" $,4.98
$6.98 LINK CIIOMWELL - "Cru, Ute A Fo•• $2.50 BAIIIAIIIANS - "Are You A ao, ... • 6.98
$,4.98
NEW MATH- TIiey Wall! Among You" $5,48
$6.98 dBa - "Tllo,,glll You Wented lo IC- SJ.00 IIIIDWATCHERS- "SoufflFlorldefOI" S9.00 ROMEO
VOID -"N,r Sey N•r" $5.48
• dla - "81ect I Wlllt1•rSou1 l(J11• $2.50 CHOCOLATE WATCHBAND -"No Wer Ou!";
"ln...,11,a11q111• SPORT OF KINGS- "On I T1ll 8ulldlng" S,4.98
$9.98 DEADKENNEDYS - "T00D111nt1oF•ct• S2.50 S14.98ea.
COUNT FIVE - ""9ycllollc ll11c11on• SWINGING MADISONS- "Vo/1,e• + J $,4,98
S8.98 DEYO - •s111a,,c11on• (Bomp orlgln•I) $,4,00 $7.98
TAXI BOYS- - <•••Real Kids; greall ) $,4,98
DIVINE - "Born To . . c ....,.-(TV star!) $2.50 FANTASTICBAOOYS -"TIIIEml'm ... • S13.98 TWEEDS-"MnlcForCerll1dlo
e• $,4.98
$2.50 FINE WINE- /llobJGrape) ~German Press)S9.98
FLAMIN' OIIOOVIES- "lll TIii 10J 11111" FIRE ESCAPE- ""9,cllollc ll11cllon" $9.00 VISA I MASTERCARD with S25 mlnlmun pur,
S9.98 (French PS) $6.00 BOBBY FULLER - .... , Of" $6.98 cha1111cludlng -taga. INCLUDE CARD I , Ea,
FLESHTONES- •Affllrlcen ...r;• "1111- OEMS -(G lrl-g roupanthology) $7.98 plratlon date I a'9neture a, on care!.
S6.98 HH Cllln,er" S2.50ea. KNICKERBOCKERS- "$fly Wttll u,· MINIMUM OIIDEII IS SI. Payment by 110 I dnllt I
(45s comp.): "l/11"; •J•rlr & Twine" S10.98 ea. check (ellow 15 bual,... daya cleera.-)1110.
$5.98 ROBERT FRIPP - "SIient Nlglll" (orig. red
$5.98 flexl) S10.00 LADEDAS -"84- 7&;""11112,..,. S19.98ea. NY Stele ,esldenta must edd applicable la.lea.
S10.00 GERMS - •Formlftll"rLIN" $2.50 LITTEII - -S100Flne"(UKlssue) S25.00 /IOSTAOE: S2.50peronler(US~ •-taddr9aa,.
$5.98 GET SMART - "Worda 11-• S2.50 LOVE- ". .11O1" 6.98 quired for UPS clellwe,y. OVERSEAS: UK, Qer.
$5, RICHARD HELL (w. Verla ine) MISUNDERSTOOD - . . ., ... TIie D-m• S9.98 many, Holland, Speln, ltely: S5 llrsl LP;
•oon't o,•• + J SJ.00 MOUSE I THE TRAPS- "/lubllc Eaecullon• AUSTRALIA I SCANDINAVIA counttlea SI for
HENDRIX - •su1plcl0U1"/'Hol Tr/fflr" 2.50 (French compllalion Issue) S1 t .00 flrat LP; JAPAN, FRANCE, Belgium 17 llrst LP.
S17.98 PETEIIHOLSAPPLE- "ltlgltltTn,ct"+ 2 SJ.00 MOVINOSIDEWALKS -•Flea/lbact" S17.98 For all countttea Ira 12.75 1ac:h eddltlonal LP
JAN I DEAN/4 SEASONS, etc.
'°
• INDIVIDUALS- • oenclng "'"' 11111-· SJ.00 NIOHTSHAOOWS - "llNAIT/IISpol"
PAUL IIEVEIIE/RAIDERS- "Sende• LP
$6.98 (Allli For & S3 lo, first and S1 Heh adclltlonal•
S7.98 CANADA: 13.50 (first LP); .75 ea. additional 12
- "Jlnglff•ep S12.00 SHANOIIILAS-"'85" Slt .00 (l at 45) .50 H. eddl.
S2.50 SHIVAS HEADBAND -
"Tetl lie To TIie Mine.• S12.98 For callloglp,lce Hall only, you mu1I llnd 11.
$6,98 LEFT BANKE - "And 1 D•r"(reunlon) $5.00 SOIIIIOWS - "Tete A HHrl" (Span Ish) , • .98
RICHARD LLOYD- "Get Off My Cloud" $2.50 SWAMP IIATS -("11'9 Nol E11y + ere.) $6.98 PLEASE MAKE MONIES PAYA.I L£ TO "DISOUES
S15,00 LYIIES- "How Do You K_. (great 60s TURTLES - "It Aini lie . . ,._. $6.98 DU MONDE."
sou SJ.00 UOLY DUCKLINOS- (orlglnal 60s cuts) S7.98 Plea11 llat a-IN....,_ p,oealble.
queries to Box 92823, Milwaukee, WI 53202.)
MODERN PICKLES: "We Are the
Modem Pickles" b/w "Colors" & "Blue
Baby Baby White"- eanderthal. Two
sets of Canadian brothers make up the Modem
Pickles. "We Are ... " lets you know that they
don't care if they're fickle, and (like a certain
Muppet frog) proud to be green; it may easily
be the silliest band antheQJ since the Monkee
theme. ( 1320 De Longeuil, Quebec GI S 2G I,
Canada~
SURFACE NOISE/From page 46
89. The suggestion ofa psychedelic revival
90. Whoever gave Todd Rundgren the money
91. Whoever gave ELO the money
92. Oti Redding's travel agent
93. Jim Morrison's bartender (who now works
for Tom Waits)
94. Whoever introduced the Ramone to Phil
pector
95. Kim Fowley
96 . Ron Wood
97. hipping platinum
98. The fact that bands were allowed to pi s
away fooli h amounts of money jerking their
egos
99. The fact that bands were uddenly pre-
vented from pis ing away fooli h amoum of
money jerking their ego
100. The systematic extermination of free-
form radio
101. upergroup
102. Johnny Thunders
103. More heroin
104. The Continental H yatt Hou e on unset
Boulevard
105. Cowboy hats on other than cowboys
106. The right-wing con. piracy against what
Richard Goldstein, writing in the Village
Voice, called "the concatenate culture that i
lodged under the rubric 'sex and drugs and
rock 'n' roll' ."
107. Annette Funicello and Frankie Avalon
108. Albert Goldman
109 .... and, for that matter, Danny ugerman
110. Guitar wor hip
111. The Gibb family
112. Beatlemania the movie
113. Joe Cocker on arurday iglu Live
I 14 . PIL at the ew York Ritz (at least that's
the way they planned it)
115. Whoever old the Brian ii on catalogue
for unki t commercials
116. The idea that geniu is pain
117. Peter oone
118. Paul imon
119. Art arfunkel
120. Art rock
121. Jack Daniels
122. pace Invaders
123. atin tour jacket
124. The backstage pass
125. AOR
126. "American Pie"
127. The first time a record company put a
mu ician on hold
128. The first time a record company execu-
tive told a mu ician thar the check was in the
mail
129. Picture discs
I '30. Collectible
131. ' uru
112. wamis
13'3. Religion in general
134. The Moody Blues (with the exceprion of
" o ow!")
135. Deep Purple
136. The Concert for Bangla Desh
137. Steve Strange
138. The whole busine of the end groove on
Sgt. Pepper, who-wa -the-Walrus and Paul-
is-dead
I 39. Stevie icks (twice)
140. Tommy in all it forms
141. The Jefferson Airplane (partially)
142. The J effer on Starship (totally)
■ 143. Christgau's Consumer Guide
144. The belief that Keith Moon was human
145. Humans who try to live like that
146. Delaney & Bonnie
147. Zager and Evans
148. Crosby
149. tills
150. ah (but not Young-maybe)
151 . The Rock & Roll Book of Lists ■ out ofrwo ain't bad!
GREEN CIRCLES/From page 49
a Big Brother figure, and synths and guitars
aswirl. It makes you wonder what took ATF so
long.
TEARS FOR FEARS: "Suffer the
Children" b/w " Wino"-(UK) Mercury
IDEAi; "Pale helter" b/w "The Pri on-
er"-(UK) Mercury IDEA2. Thee guys
are rather pure popsters. Their only link to the
"new romantic " (a ide from from-heavy hair-
styles) is an extensive use of synths; they feel
no compunction about using guitars or even a
children's chorus. The songs are just as emo-
tional as the duo' moniker; touching ballads
all kinds of neat stuff
from trouser press!
page I
~•· _.........
_._ . ......'
Trouaer Praa Collect
a bi-monthly magazine with tons of
and tape ads (auction and set Silk)
New and improved ...
heads will turn and
pulses will quicken when
you enter a room while wearing
the Trouser Preu t-ahirt!
This 50% conon/50% polyester tan
shin is emblazoned with a bold red
logo. Available in S-M-L-XL for $6
(domestic postage included). Order
from Trouser Press, 212 Fifth Ave.,
New York, NY 10010.
that avoid goopines through thoughtful ar-
rangement . Even o, an album of this sruff
might be stifling, however melodious.
SPIZZENERGI2: "Mega City 3" b/w
"Work"-(UK) Rough Trade RT 06.
Who'd expect a rurdily entertaining record
from pizz and pals? You may recall him a
pizz Oil, Athletico Spizz 80, or maybe just a
the jerk with the grating voice who e " oldier
Soldier" and "Where's Captain Kirk?" you'd
enjoy in a dance club, but find terribly irritat-
ing on your own stereo. Yet I played "Mega
City 3" five times in a row and still like its
punchy guitar , pinball-blip synths and good
little melody; Spizz even makes a grand effort
to hit all the note on key. The flip, about what
a mu ic hound doe when he gets home from
"Work " i also cute-for two listenings. One
THE ST AR GAZER : Groove Baby
Groove (EP)-(UK) Epic EPC-A1924;
Hey Marie (EP)-(UK) Epic EPC-AlJ-
2422. Yet another schtick: ancient rock 'n'
roll as alien artifact. One of the e EPs' leeves
ha a piffy pie of the boys in rent·a-ruxe look-
ing ready for a remake of The Girl Can 't Help
It . But great haircut and funny expres ion do
not a record make (where've we heard thar be-
fore?), which i why the 'Gazer ' moderately
enthusiastic a ademi m lead them right up
their tail . Five Brit and a andinavian
digging up an Italian oldie ("Hey Marie"}-at
lea t the way they do it- sound about as excit•
ing as pani h twi t records two decade after
the fact. ■
Wow! It' our ister publi
well-researched collector-orient
anicles and discographies ... and
more. Only $5 for one
(six issues) or 11 for one year
first class mail. Or $1.50 for a
sample · sue. Send orders to TPCMt
PO Box 2450, Grand Ccnml
Station, New York, NY 10163.
Trouser
Press

Has your band lost its lead singer?
Oieck the "lost and found" section in Trouser Press'
Oassified Advertising
.,/
Classllled a_d rates appear at the end
of the ad ll1tlng1. Deadlines are the
tenth of each month.
WANTED
GO-GOMANIAC wants everything
from everywhere-live recordings,
foreign singles, newspaper/magazine/
fanzine articles, promos, rarities, any-
thing interesting. Crazy but not rich-
reasonable prices only. Trades nego-
tiable. Steven Thomson, 1000 Curtis
#709, Pasadena, TX 77502.
WANTED: PHOTOS of Keith Richards
offstage or backstage. Clear close-
ups or waist-up. Prefer recent . D. Park-
er, 3132 Hawthorn, Franklin Park, IL
60131 .
WANTED: Iggy Pop/Sex Pistols live
recordings on cassettes. Buy or trade •
from my collection. Also VHS videos.
Chet Eppert, 947 Jenkintown Road,
Elkins Park, PA 19117.
RECORDS
NEW WAVE RECORDS. low
prices, large selection. Imports,
Independents, collectors' Items.
Stiff products, Punk magazine
back issues and more. Send
stamp for catalogue to: Venus
Records, PO Box 166-TP, Cooper
Station, New York, NY 10276.
When In New York, visit our store
at 61 W. 8th Street (2nd floor).
COLLECTORS: '60s acid/Mersey/punk
originals. Many of the best and rarest .
Craig Moerer, Sixties List, Box 19231 ,
Portland, OR 97219.
JAPANESE IMPORTED records ex-
clusively. 10,000 + titles mail order
catalogue $3 postpaid. YSL Records,
Box 8330-T, Van Nuys, CA 91409.
RARE ALBUM S: collectors' items, im-
ports, undergrounds, live recordings,
promos. Beatles, Stones, Who, Zeppe-
lin, Hendrix; Dead, Springsteen,
Zappa, many more. 600 titles, 20.page
catalogue $1 (deductable). Misty
Mountain Roe, PO Box 5471 , Winston-
Salem, NC 27113-5471. (919) 768-3325.
GRAND OPENING! We meet or beat
their price. Independents, import LPs,
45s, and 12", books, audio compo-
nents. Catalogue 50¢. Audio Dis-
counts, 5892 Oxford Drive, Greendale,
WI 53129. (414) 421-6808.
TROI ISER PRF
RECORDS
LIVE GANG OF FOUR LP: "Gang
Bang." Over 45 min. of their best
material (13 tracks). Quality recording,
PIS, limited supply. Send $5 plus $1
postage per copy to: RP Prod., PO Box
13536A, Orlando, FL 32859-0536.
JOHN & YOKO 2 Virgins, original al•
bum, mint condition. $1 ,000.00 Tel No.
(516) 485-6123.
ffel!ur,~
~
aN/ 4 ,-
Toy,v ,/It</.
BEACHBOYS
wce stereo box set
(DTCL-2813). .. .. . .. . . .. . . $35
PIULLIP GLAS
"Eio tein on the Beach" box et
out of print . ...... .. ... . $29.99
KINKS
"Kontroversy" .......... . . $15
"Face to Face" .. . ........ $15
These are still sealed and have
rivet drill hole
5 or more Kinks albums ... $10 ca.
ST ANDELLS
Original pre ing Tower label. till
sealed. "Try It" .. .......... $20
DAVIDBOWIE
Original issue "Evening With
Bowie" 1975 interview disc. Radio
release only .............. . $12
ELVIS COSTELLO
Belgium blue vinyl "My Aim ls
True" . ............. . .... $12
SCHOOi.KIDS
RECORDS
523 E. Libeny, Ann Arbor,
MI 48104 (313) 994-5103
Visa/Mastercard accepted
Postage:$ 1.00 first LP· 25¢ ea. addl.
Foreign orders: will quo1e price.
CATALOGUES/LISTS
BR ITISH PROGRESSIVE MUSIC: the
'70s. Send for extensive listing to
Rock Revelations, PO Box 151 , King-
ston, Surrey, England KT11 HU.
WHY WAIT when you can have
the newest records right now? Our
bi-weekly newsletter lists all the
latest new music imports and
domestic independent label re-
leases, previews of coming attrac-
tions, and subscriber-only spe-
cials. Send $3 for six months of
musical bliss! Right Now Rec-
ords, PO Box 21201C, Columbus,
OH 43221 .
SEXESSION. To sexeed Is to find Im•
ports at low prices. The time has
come! Enormous catalogue free. Sex-
esslon, Dept. 2, 621 Corliss Ave., Phil•
llpsburg, NJ 08865.
CATALOGUES/LISTS
FREE CATALOGUE. Punk, '50s, elec-
tronic, reggae, new wave records by
mail. Write: Infringe Records, PO Box
836-P, Downey, CA 90241 .
IMPORTS, DOMESTICS: 45s, LPs,
EPs. Specializing In picture sleeves
from all over the world. We're new, we
aim to please. Give us a try! Free cat•
alogue. Free search service. Send
wants to: Echo Records, PO Box
17764, Philadelphia, PA 19135.
ELVIS COSTELLO, the Clash, Dead
Kennedys and more British and Amer-
ican albums, 12" s and singles. Big se-
lection of British and American publi•
cations and books. Send 20¢ stamp
for list. Cross-Country, Dept. 1130, PO
Box 50416, Washington, DC 20004.
METAL MAYHEM STRIKES ! Free cat-
alogue of the best American, Cana-
dian and world-wide heavy metal.
LPs, EPs, etc. Send want lists. Write:
Metal Mayhem, PO Box 190, Erlanger,
KY 41018.
FUSION RECORDS, hundreds of pro-
gressive, collectors' Items, picture
discs, Imports and Jazz records at un-
believable low prices. Send for our
free catalogue. Fusion Records &
Videos, Inc., PO Box 15230, las
Vegas, NV 89114.
SOUNDS GOOD RECORDS &
TAPES presents a complete
selection of Imports, new wave,
'50s and '60s, jazz, golden oldies
and collectibles. All these plus
new releases at unbelievable
discount prices! Fast malling ser-
vice and reliability have kept cus-
tomers satisfied for over seven
years. For free catalogue send
this ad to Sounds Good Records &
Tapes, 9535 Cozycrof1 Ave., Chats-
worth, 9A 91311 .
HEAVY METAL RULES! Heavy metal
imports. Tired of drab, commerc ial
rock? Millenlum Imports offers the
best of the world 's hardest rock deliv-
ered to your door. For free catalogue:
Millenium Imports, 3158 East Burn-
side, Portland, OR 97214. (503) 23Hl601 .
SQUARE DEAL RECORDS 100 +
pages of cut-out/bargain LPs from
$1 .49, 50 pages of rare LPs, most
under $5.00. Import singles and LPs
from $1 .99, 200 + pages of indepen-
dent labels, new releases, buttc~,s,
patches, posters, and more! Send for
free Information on the best mall
order catalogue anywhere! Whole•
sale Inquiries Invited. Box 1002, Dept.
H, San Luis Obispo, CA 93406.
WAYSIDE MUSIC deals In avant-
garde, progressive and improvisation-
al music In all categories; rock, cham-
ber, jazz. Huge selection of cut-outs
priced at $2-$5! We also carry a select
group of current import and domestic
records by many artists you 're not
likely to find elsewhere, Including the
" Rock In Opposition" groups and
many Independent labels like Atem,
Random Radar, Spoon, L'Orchestra
and Metalanguage. We know no
boundaries except good music. From
Harry Partch to Piccio dal Pozzo to
Philip Glass, to Evan Parker and many
more. Free catalogue! Wayside
Music, Dept. T-3, Box 6517, Wheaton,
MD 20906-0517.
CAT ALOGUESi llSTS
SHANE'S record finding service. Try
us! We love to get used! Send re-
quests plus three 20¢ stamps for cat-
alogue. Shane, PO Box 6314, San Ra•
fael, CA 94903.
80s PUNK & PSYCH: Send two 20¢
stamps for our 40 page list of the
rarest punk, psych and new wave rec-
ords. Metro Music, PO Box 3931 .
Hyattsville, MD 20787.
HARD-TO-FIND records In rock field!
Send for catalogues with wants to
Adlibitum Records, PO Box 103, Tap-
pan, NY 10983.
FANTASTIC SELECTION of imported
LPs, 45s, EPs, limited editions and
rarities. Free catalogue. Record Rock-
er, PO Box 7787-TP, Chicago, IL
60680.
FREE PROMOTIONAL ALBUMS. Con•
cert tickets, stereos, etc. Information:
Barry Publications, 477 82nd St.,
Brooklyn, NY 11209.
DISCOUNT OLDIES: Giant catalogue
of oldie 45s and LPs from 1950 to pres-
ent. Send $1 to Discount Oldies, Box
77T, Narberth, PA 19072.
TAPES
LIVE AND RAR E TAPES fortrade/sale.
From punk to hard rock, metal to reg-
gae, fusion to space. From the '80s,
'70s and '60s. Send two stamps (or
trade/sale list) to Rigor Mortis Unin-
corporated, PO Box 3364, Fullerton,
CA92634.
RARE TAPES. Hendrix, Zeppelin, Van
Halen, Sabbath, some others. Send
20¢ stamp for list. Trades welcome!
Kram, 2626-26th Ave., San Francisco,
CA94116.
RARE ROCK recordings from the
1960s, 1970s and 1980s. Please send
for free catalogue to: Acme, PO Box
14438, Minneapolis, MN 55414.
CONCERT TAPES: Send for free list
of over 500 concerts. Transcriptions,
Box 20214, San Jose, CA 95160.
RARE TAPES: Costello, Squeeze,
Rockpile, Clash, Heads, U2 and more.
Send SASE to TOP Productions, PO
Box 785, Valley Stream, NY 11582-0785.
PHOTOS
ACTION CONCERT PHOTOS! '79-'81
Aerosmith, AC/DC, Allee, Cult, Elton,
Priest, Queen, Rush, Sabbath, Seger,
Stones, Trick, Van Halen, ZZ Top and
more. New '82 Journey, Rod, Kenny
Rogers, Saxon, UFO. $2 for sample
(specify) and catalogue. Rock Shots,
Dept. TP, PO Box 225, Lockport, IL
60441 .
FRONT ROW & OFFSTAGE
COLOR PHOTOS
AC/DC, Ants, Ouy, Bowie, Dead, Heart,
Jlml, Journey, Led Zep, Petty, Police,
REO, Springfield, Stones, Jett, Van
Halen, Who and over 400 other Pop,
Rock and English act s. Longest In the
business. Largest selection Highest
quality. Send $2 for catalogue and 2
sample photos. List favorite bands
for samples.
PINES/ELLIOTT PHOTOS, LTO.
PO BOX1122, DEPT. TP
MADISON SQ. STATION
NEW YORK, NY 10159
 PHOTOS
RARE 1974 COLOR PRINTS: glossy
8x11 Rolling Stones, Jagger, J. Geils,
Hendrix, Bette Midler, McCartney,
Harrison. Send $1 for print of your
choice and complete list. Dealer In-
quiries welcome. Box 683, Norwich,
Yr 05055.
TREAT YOURSELF to dazzling color
photos of Ants, Bowle, Go-Go's,
Kinks, Tu bes, Waitresses. For details
write to: Happy Snaps, 1301 Ridge-
view Circle, Downington, PA 19335.
ROCK PHOTOS
150 PERFORMERS
SEND $1 . FOR 40 PA GE
ILLUSTRA TED CATALOG .
MEN TION YOUR FAVORITE.
A Smile Photos, Ltd.
~ BOX 15293-TP
CHESAPEAKE, VA 23320-0293
FREE CATALOGUE: " Celebrities. "
Screen, rock, TV. Great photos. Per-
sonal addresses. Rare autographs.
12077 Wil shire, #501-8, Los Angeles,
CA90025.
FRIPP-ENO-COSTELLO more! New
music postcards. Stark black on
wh ite, from original art work. $1 for
samples, illust rated list. Altese,
31 15A W. Genessee, Lansing, Ml
48917. (Dealer inquiries we lcome.)
T-SHIRTS
SIOUXSIE T-SHIRTS, Roxy Music, Sex
Pistols, Adam Ant, Japan, T. Rex (Slid-
er), T. Rex (Dandy), XTC, Psychedelic
Furs, Patti Smith, Syd Barrett, Sid
Vicious, Johnny Rotten, Beaver Cleav-
er, Velvet Underground, Eno (Science),
Fripp & Eno, King Cri mson, Sparks,
Soft Cell, Brian Jones, Klaus Sch ulze,
Marianne Faithful!, Gen X, Stray
Cats, PiL (Flowers), Ultravox, Cap-
tain Beefheart, Yardbirds, Bowie, Un-
dertones, Wire, Iggy, Dave Edmunds,
Nick Lowe, U2, Lou Reed, Buzz.
cocks, Magazine, Alfred Hitchcock,
more. $7 each. (3 for $19.) 75¢ cata-
logue includes shirt s, buttons. Burn-
Ing Airlines, Dept. T, 530 Pingree Ave.,
Trenton, NJ 08618.
FREE CATALOGUE of over 75 differ-
ent silkscreened designs. Send SASE.
Ph iladel phi a T-Shlrt Museum, 118
s. 18th St., Dept. TP, Phil adelphia, PA
19103.
REGO.A£ T-SHIRTS
Black Uhuru, Bob Marley, Peter
Tosh, Burning Spear, Marcus Gar-
vey, Haile Selassie, Rockers
Movie, Walling Wailers, Ethiopian
Flag, Jamaican Flag, Roots-Rock·
Reggae, Spllf•Rockers. One for $8.
Two for $15. Three for $21 . Add $2
postage and handling. Send
check, money order to Splif-Rock-
ers, 124 W. 36, Dept. TR, New
York, NY 10018.
QUALITY T-SHIRTS, sweatsh irt~ and
Jerseys. Killing Joke, Dead Kennedys,
Black Flag, Psychedelic Furs, New
York Dolls, Pistols, Clash, Go-Go's,
Stray Cats, Doors, Monkees, Beatles,
Kinks, Dave & Ray Davies, Buddy
Holly, Gene Vincent, Eddie Cochran.
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send your na me. / can we do, Mick? Don't berate us
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TROUSER PRESS/September 1982
HELLO/From page 6
fast-food pervert who handled ·
Styx really sickened me.
Unfortunately, I suppose we
all have to face the fact that rock
Is a multi-million dollar business
run In corporate boardrooms. It
does not concern Itself with any•
thing as mundane as quality. On
the plus side, there are a few
fuck-ups who occasionally break
through to shake things up; Joan
Jett is one shining example.
Come on, folks. Wake up!
Support the underground-any
underground! FM radio Is deplor•
able and AM is beneath con•
tempt. We must not let the fat•
cat business bastards win this
game! Tom Conte
Yonkers, NY
Mick Farren's warning Is valld
and desperately needed.
Today's record-buying youth is,
indeed, taking the shape of a
McDonald's hamburger: mass-
prepared, mass-packaged and
tacking the taste It had in years
past.
Unfortunately, the majority of
people this warning Is geared to
will never see It. It is the respon-
sibility of spineless disc Jockeys
to devote airtime to new wave
and punk. (See, they've even got
me putting labels on music.)
One more thing. Please tell
Derek Sutton he is stupid to
think he Is the future of rock. He
can take marketing lessons from
MIies Copeland If he wishes to
learn how to promote a rock
band. Allen Palmer
Botsford, CT
Regarding Mick Farren's Sur•
face Noise, all I have to say is,
" No shit." Anyone who reads TP
knows that Top 40-and the In•
fantlle, witless audience that
supports it-sucks. But what
for the sins of others.
I, for one, have permanently
given up trying to Influence the
smarmy musical attitudes of my
friends. Why should I care how
many zltfaced adolescents buy
Styx albums? As far as I know, It
Just cuts down on their drug
money. And I kind of enjoy being
in a close-knit clique that buys,
supports and appreciates new
music. How can you argue with a
Styx fan (read: idiot)? Why waste
your time? Alfred McAnespy
Houston, TX
How can you schmoes print
Mick Farren's spiel In the same
Issue that has the tall of chippy-
rock Joan Jett on the cover?
You guys really dropped Trou'
on that one. Doug Firbank
Cincinnati, OH
57
 • •••• ••••
• •••••••••••••••••••
........·=·.... • • ••••• •
•
........ •
.•.·•.•.•
•
...... •
...
•:•···· .....
• • • • •• • • • • • • • • •• • • • •
- ...... .
...·.· .... .....
flOTfPO,! f
d&L inda
Richa r Thom pson
" lt seems ~1kde aThompson sang
saw you,
" Lm a f Doing W rong ."
on " For S? ame o
•
•
... ..•.....
• • ••• • • • •
• • • • • • •

•
• • •:

TheJa rn • -~·-~
• •••••
=··· ••.......
···••••••
• • ·•• • ~ e. e

. ·.·.·...
.
•• •• •••• •
~
•• ••
•
I

The Gun Club

NYC
LONE STAR CAFE
D ista te for fa me notwithstand-
ing, Richard and Linda Thompso n
are more in the spotlight than ever
before, touring the US fo r the fi rst
Damn right .Mark Aeischm ann
PALLADRJM NYC
Under a wide banner 1ha1 said
" Trans-Gl obal Unit y Express," the
Jam played an intense SO-minute

'
time in their long career- 15 year s,
if you count Richard 's cofounding
of Fairport Convention, one of
rock's largest and oldest extended
I with his neatly cut hair, youth-
musical fa milies.
The wait was well-rewarded for
New York-area fa ns who gorged
themselves on the Thompso ns' two
nights at the Bottom Line and sub-
sequent one-nighter at the tiny
Lone Star Cafe. With rhythm gui-
tarist imon Nicol (ex-Fairp ort,
now with the Albion Band), drum-
mer D ave Mattacks (also ex-Fai r•
port) and newcome r Pete Zorn on
bass, the Thompso ns are playing
sets that combine their powerful
English-b ased balladry with exhi-
larating rock 'n' roll. Record-
industry fears that thei r music is too
idiosyncratic for American tastes
have proven un fo unded; I dragged
along four fr iends, most of them
unfamiliar with this music, and
every one came away impressed .
It was inspiring to hear Linda
Thompso n sing. Even with the
strain of touring and smoke (the
bane of clu b performers) on her
voice, she used dramatic phrasing
to pull memorab le moment from
" Withered and Died," " Pavanne"
and " Dimm ing of the Day" (t he
latter two done solo with Richard 's
acoustic guitar). Though visibly
fragile, she command ed great
surges of emotion . When he
announce d a song by " my best
friend," the late Sandy Denny, and
did " I'm a Dreamer, " the audience
was devastate d .
Richard Thompson is no slouch
as a singer either, as anyone who
was mesmerized by his acoustic sets
in January can attest. But with
Stratocaster in hand, his guitar
playing commanded the mo t atten-
tion. Driven by drummer Mattacks '
warped panache, Thompso n played
creatively on nearly every song and
turned " Shoot Out the Lights,"
"Borrowe d Time" and the set-
closing " For Shame of Doing
Wrong" into magical expositions of
inventiveness. " Sloth," an old
Fairport number, was a dazzling
exercise in dynamics that waxed
exotic when bassman Zorn picked
up a bass flute for a solo. But it was
the band's Fairport axis that pro-
vided the climactic moment when
Thompso n and Nicol locked lead
guitars at the end of"Great Balls of
Fire."
set to a half.empt y Palladium .
Songwrit er/guitari st Paul Weller,
fully serious demeano r, hon-
MY FATHE R'S PLACE sleeve knit sport shin buttoned
ROSLY N,NY tight to the neck and an ever-
everberat ed wn present wad of chewing gu m,
Quiet Roslynlr d·ng bodies the looked like he was on holiday
the sound or;,o '~ade its twice· from prep school. Yet he attacked
ni ght Black ag Island debut. his guitar and m icrophone with
postpone d Long_ now offi cially fu rious passion, spi tt ing out lyrics
Nassau Coun_ty ,s I
so fiercely that the tendon in his
hardcore terntory. has a better- neck stood our.
Saccharin e Trust Black
EP out on The band didn't let up for a mo-
than-aver age I This night, how-
ment. Augment ed by a two-man
Flag's SSTf~~~ d -to make mu~h of horn/perc u sion/keyboard section
ever, they . T o their credit, a (nattily attired in suits), the three-
an impression . avo1 ·ct the speed· piece Jam fought its way through a
• ngs
lot of the1r so f too-fast and too· terrible sound system 1ha1 repeat-
rock cul·d\ ~i~\: ssist went above edly threatene d to render Weller's
loud, and t he call of hardcore guitar completely inaudible .
and beyon~~ his riffs, but the Though they focused mostly on
with so_me n't buying. their current album (The Gift),
crowd 1ust was ks M inor Threat doing nine of its 11 songs, material
DC proto-pu~ of the evening, from mo t oftherr previous L Ps
were th_e su~r~:aviest slam· wa included (" Start!," "Thar's
generaun g t--d_ . g and overall Entertain ment, " " David Watts"),
ming, stage ivdm Ian MacKay (in· as well as quire a few si ngles ("Fu-
hem Lea er " ay
may f he " straight edge w
ore a bellower
neral Pyre," " Butterfly Collector,"
ventor o t the terrific " Dreams of C hild ren").
of life) ~ay be; the has a trench· If Weller i the mi nd of rhe Jam
than a singer, u and d id more
(have you ever seen a picture of him
antly funn y stagebo rap rds. Threat is
· pace the a smiling?) and drummer Rick
than Just ful bridge be- Buckler its backbone , then bassist
a sharp, powehr vy met al and flat- Bruce Foxton is its heart . Weller
tween sm art ea
hides behind his forbiddi ng ma k,
out thrash . d about five Buckler behind his drumkir, bur
F lag waste .
Black . •n and tuning Foxton is all over the stage, dancing
minutes plugg~ng ~harged into and smiling and projecting real
up, but one,~ t ey thing was just warmth and enthusias m . Ir 's a
"TV Party e~eryd considere d balance that obviously works
peachy . For a a"otoriou s punk wonderfully in England, bur the
America' s most nk d more like your likelihood the Jam will ever achieve
Flag loo. ed garage ban d·,
comb o, large-scale success in the States is
average \ong-ha1re Rollins has let unfortuna tely poor. In a nation that
even singer Henrky .m (and was fee l- prefers Brits who Americanize, the
. bac
his ha~r gro:efensive about ~t) . . Jam will al ways be too English .
ing might y d between blmdmg- It 's also doubt ful (but thankfull y
They alternate nd slower, hapeless so) that the Jam's support band, the
fast hardcore a . the genuine ag- G un C lu b, wi ll ever ri:ceive success
dirges, contrahsunlgayers (especiall y in their native America . They
· n oft e DP kowski) ·h
· wit
gress10 played an overlong hal f-hour set
bassist ,chuck i:Ss play-actin g and fu ll of thoroughly irri tating songs
Henry s_ sha~: New drummer that had no melodies to speak of,
psychotic roa . a standout , and sounded alike, and grated on the
Emile Johns?n ~a:hm guitar held
Dez Cadena s r h~r when Greg I ears. Bands like the Gun C lub give
punk a bad name. As someone was
the sound toget
Ginn proferred one od
f-tune lea s.
mark out·O Fl kills ants on con•
fhis trade-
I
' overheard to say, they present a
good case for gun control.
\ Karen Schlosbe rg
If"B\ack ag Happi·1Y Dead
,, • e One
tact, sign m Robert Payes
Ant.
 7" ingle E.P.s
Adam Ant - Goody Two Shoes 3.00 Bow Wow Wow- Ch ihuahua 3.00 Duran Duran-My Own Way 3.00 Klaus Nomi- Lightning Strikes 3.00
IIC/DC-Lel's Gel It Up 3.00 Brian Brain - Another Million Miles3.00 Exploited-Barmy Army 3.00 Mari WIison- Beat the Beat 3.00
Afraid of Mice- Popstar 3.00 Bauhaus- Spirit 3.00 Echo & Bunnymen-Rescue 3.00 Madness- House of Fun (pie disc) 3.00
AC/DC - About lo D,e 3.00 The Business- Smash the Discos 3.00 Elvis Coslello- New Amsterdam pie Motorhead - Motorhead/City Kids (7"
A Certain Ratio-Nice Slits Water 3.00 Bush Tetras- Too Many Creeps 3.00 disc 3.50 blue vinyl) 3.00
Adam & the Ants- Friends/Kicks/ Clapham South Elevators-Leave Me Elvis Costello- I'm Your Toy 3.00 New Order- Everything's Gone
Physical 3.00 Alone 3.00 Elvis Costello- You Little Fool & 2 Green 3.00
Adam & the Ants- Stand &Deliver3.00 Chron Gen- D,scoteque 3.00 tracks (non-LP) 3.00 New Order- Temptation 3.00
Adam & the Ants - Kings of the Wild Damned - Black Out (pie disc) 5.00 Fad Gadget -Sat. Night Special 3.00 Ne,vous Germans- These Boots Are
Frontier 3.00 The Clash- Bank Robber 3.00 Fall - Look Now 3.00 Made for Wal kin' t 3.00
Altered Images- See Those Eyes 3.00 The Clash- I Know Your Rights 3.00 Family Fodder- Film Music 3.00 T.V. Personalities-3 Wishes 3.00
Altered Images- Happy Birthday 3.00 Cars - Since You've Been Gone 3.00 Feelies- Raised Eyebrows 3.00 Roxy Music- Avalon 3.00
Aflered Images-A Day's Wait 3.00 Visage- Night Train 3.00 Flamln Groovies- River Deep, Moun- Peter and the Test Tube Babies-
Angelic Ups Iarts - Never Say Die 3.00 The Cure-Charlette Sometimes 3.00 tain High 3.00 Banned from the Pubs 3.00
Angelic Upslarts- We Golla Get Oul D.A.F.- Sex UnterWasser 3.00 4-Skins- Yesterday's Heroes 3.00 Echo and the Bunnymen- Breaking
Of This Place 3.00 dBs- Neverland 3.00 Free E.P.- AII Right Now (long) 5,30 the Back 3.00
Anl i-Pasli - 6 Guns E.P. 3.00 Dave Edmunds- Me & the Boys 3.00 Flock of Seagulls-I Ran (7" pie Siouxsle-Fireworks 3.00
Anli-Pasli - Let Them Be Free 3.00 Depeche Mode- Meaning of Love 3.00 disc) 5.50 Genesis-3x3 3.00
Associates- a Quarters 3.00 David Byrne- Big Blue Plymouth 3.00 , Pete Townshend-Face Dances 3.00 Sparks- When I'm With You (dbl.
Azlec Camera- Matress of Wire 3.00 David Bowie- Wild is the Wind 3.00 Haircut 100-Fantastic Day 3.00 limited) 3.00
Bananarama- Really Saying David Bowie- Putting Out Fire 3.00 Heaven 17- Fascist Groove Thang3.00 Spandau Ballet -lnstinction 3.00
Somethi~ 3.00 David Bowie- Baal dbl. E.P. 3.00 Huang Chung- Ti-Na-Na/I Can't Spectres- Stories (Glenn Matlock)3.00
Bauhaus- Spirit 3.00 Depeche Mode- Just Can't Get Sleep 3.00 Stray Cats-Lillie Miss Prissy & 2 3.00
Bauhaus- Searching for Santor! 3.00 Enough 3.00 Human League- Being Boiled E.P.3.00 Squeeze-Black Coffee 3.00
8111 Nelson- Living In Limo & 2 3.00 Depeche Mode- New Life 3.00 Human League-Love Action 3.00 Teardrop Exp.- Ha Ha I' m Drowning/
Bill Nelson- Do You Dream in Color? Depeche Mode- See You 3.00 Japan- Cantonese Boy 3.00 Poppies in the Field (dbl. 7" ) 4.50
4-track E.P. 3.00 Dexy's- The Celtic Soul Bros. 3.00 Judy Nylon- Carlolla 3.00 Killing Joke- Chop Chop 3.00
Beat- Save It For Later 3.00 Dexy's- Show Me 3.00 John Cooper Clarke- The Day My Pad Theatre of Hate- The Hop 3.00
Black Flag - Louie Louie 3.00 Dexy's- Keep II (pt. 2) 3.00 Went Mad 3.00 Yazoo- Only 3.00
Black Sabbath - Turn Up the Night 3.00 Del Byzanleens- Draft Riot 3.00 Joe Jackson-Real Man 3.00 The Wanderers- Ready to Snap 3.00
Siouxs,e & Banshees- Fireworks 3.00 Dolly Mixture- Everything & More 3.00 Partisans- 17 Years of Hell 3.00 The Weatherman & Friends-Life 3.00
Bongos- The Bulrushes 3.00 Drinking Electricity - Subliminal 3.00 Teardrop Explodes- Tiny Children 3.00 XTC- Ball & Chain E.P. 3.00

,~ri~.m TRADIN G TERMS:

Send all orders to 101 -32 Dupont St.,
Plainview. New York 11803
All money must be in U.S. dollars.
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SHIPPING:
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record & $1 .00 each up lo 3 12"
records. Add $4.00 for 4 to 7 singles &
25q; each up to 12 singles.

albums 12" sin les & E.P.s

ABC - Tears Are Not Enough 4.50 Aswad- Pass the Cup 5.00
Associates - Sulk 8.00 The Clash- Combat Rock 9.00 B-Movie- Now Here Girl 5.50 Modern English-Life in a Glad
Blue Orchid-Greatest Hits 8.90 Eric Burdon- Come Back Sdtk. 10.00 Styx-Rockin the Paradise 5.75 House 4.75
Black Uhuru - Chill 10.50 Hawkwlnd - Church Of 11 .00 5.75 ABC- Look of Love 4.50
MSG - Ready to Rock
Circle Jerks-Wild in the Streets 7.25 Randy California - Euro-American 9.00 Loverboy- Workin for Weekend 5.75 Haircut 100- Favourite Shirt (Boy
Doors- Other Voices 9.50 Robert Wyatl - Nothln' Can Roxy Music- More than This 5.75 Meets Girl) 4.75
Doors- Full Circle 9.50 Stop Us 9.00 Klaus Flouride-Shortnin Bread 5.00 Haircut 100- Love Plus One 4.50
Anti-Nowhere League- We are the Gun Club 9.00 Blondie- Rip Her to Shreds (& 2) 4.50 The Jam- Town Called Malice 4.75
League 9.50 Decline of Western Civ. 9.00 Bauhaus- Bela Lugosi is Dead 5.00
dBs- Repercussion 10.00 Joan Jell - I Love R&R 5.75
Toyah- The Changeling 9.50 Genesis-Spot the Pigeon 5.75 5.00
Dave Edmunds- Rockpile 7.50 Gary Numan - We Take Mystery
Adam Ant - Dirk Wears White Sox 8.00 Bow Wow Wow-Go Wild In the
Mouse & the Traps t4.00 Echo & Bunnymen - Breaking the
Blondie - The Hunter (pie disc) 15.00 Country 4.75 Back of Love 5.00
Steve Roberts- Do You Know Who Frank lappa- 200 Motels 14.00
The Cure-Charlotte Sometimes/Faith Kate Bush- On Stage 5.75
I Am? 10.50 The Names-Swimming 9.50 (live version) 4.50
Angelle Upslarts- Still From Gang of 4- Man in a Uniform 5.00
Tom Robinson - North by N/West 9.00 David Bowie-Golden Years 5.50 Soft Cell- Torch 5.00
The Yardbirds-1 st recordings lhe Heart 10.50 David Bowie - Putting Out Fire 4.75
The Damned - DBL Black 12.00 Heaven 17--Play to Win 5.00
featuring Clapton $13.00 Flock of Seagulls-Space Age Love 5.50 New Order- Temptation 4.75
Phil Manzanera- Primitive Guitars 9.50 Flipper- Genius 5.00 Dead Kennedys- Holiday in Orange Julce-LO.V.E. 4.50
The Who- Quick One/Sell Out $13.00 Genesis- 3 Sides 14.00 Cambodia 4.50 Japan- Cantonese Boy 4.75
The Turtles- It Ain't Me Babe 7.00 8111 Nelson-New dbl. LP Love That Marianne Faithfull-Broken English &
14.80 Tears for Fears-Pale Shelter 5.00
The Runaways- Mama We're All Whirls 5.75
Sister Morphine Pete Shelley-Homosaplen 5.00
Crazy Now! (4-song mini LP) 5.00 Theatre of Hate- Live in Berlin 8.00 Devo- Whip It 5.00 Bow Wow Wow- See Jungle 5.00
Exploited-Troops of Tomorrow 8.50 Stranglers-Golden Brown 5.75
B.E.F. Presents- Music of Quality 8.90
Punk & D,sorderly-V.A.
Dave Clark 5-Best Of (14 tks.)
8.50
7.00
cassettes Peter Gabriel ~ ! Don't Rentember 5.95
Japan - 5 Songs
Human League-Don't You Want
5.95
Altered Images- Pinky Blue
Boomtown Rats- Charmed Lives
Alan Vega- Juke Box Babe
5.00
5.00
4.50
Animals-All Time Greatest Spandau Ballet - lnstinclion 4.50
Peter Green - White Sky 10.50 Me? 5.50 XTC-Ball & Chain 4.50
Gun Club- Fire of Love 8.50 (24 big hits) 12.50
Judy Nylon- Pal Judy 9.50 Stray Cats- First 10.00
Jubilee X- Sdtrk. (Adam Ant, Eno) 9.50 Stray Cats- Second 10.00
June 1, 1974- Cale, Eno. Nico live 9.50 Human League- Reproduction 10.00
Love- Da Capo (Ger.) 8.25 Sex Pistols- Floggin' 10.00 In Their Own Words: books on the Status Quo-Tom Hibbert 7.50
King Crimson- A Young Person 's B.E.F.-Muslc of Quality 10.00
Adam Ant - Dirk Wears White Beatles, Stones, Who, Elvis C. 6.40 R. Stones-David Dalton 16.50
Guide (2-LP anthology) 12.75 Who-Illustrated d1scograpny
Socks 10.00 Beatles- A Day in the Life 9.25
Siouxsie & Banshees-Scream 8.25 9.50 , hard cover 11 .00
Joy Division-Still 12.50 Clash-Before & After
Pink Floyd-Sdtrk. from More 7.00 Talking Heads- By Miles 4.75
10.00 David Bowie-Black Book 11 .00
Blue Cheer-Vincebus Eruptum 7.00 Joy Division - Unknown Pleas.
Joy Division- Closer 10.00 David Bowie- Profile 11 .00 The Who-Illustrated Biography 12.00
The Jam-Modern World by Cool Cats- 25 years of rock & roll
W E HAVE A MASSIVE CATALOGU E WITH 1,000's OF TITLES. Numbers 8.75 style 12.25
Rock on Film- Ehrenstein/Reed 11 .00 Mike McCartney- Thank You Very
YOU WILL GET ONE FREE WITH A $50.00 ORDER. Encyclopedia Metallica 7.50 Much 10.00
ALL OTHERS PLEASE SEND $5.00. Elvis Costello- Reese 11 .00 Motorhead- Motorhead 7.00
Every year young people from all over rhe world come co the romantic
Greek Islands.
Michael and Cathy came from America for one uncomplicated summer
before facing the future. Li na came from France co enjoy rhe freedom of
being alone ... together they find an unexpected experience far beyond
their fantasies.
Randal Kleiser, rhe director of GREASE and THE BLUE LAGOO ,
now bri ngs you his mosr provocative film, SUMMER LOVERS.

It's one summer you'll never forget.

A RANDAL KLEISER Production " SUMMER LOVERS" Starring PETER GALLAGHER, DARYL HANNAH, VALERIE QUENNESSEN.
Music Score by BASIL POLEDOURIS. Film Editor ROBERT GORDON. Executive Producer JOEL DEAN . Produced by MIKE MODER.
Written and Directed by RANDAL KLEISER. Color by Technicolor. ® A Filmways Picture. 11HT11IcT10 R
l Soundlnlck Album Available on WARNER BROS. RECORDS AND TAPES. I at l!DOL8Y STEREO!"• © Film~ays Pictures. Inc. 1982
All Rights Reserved.
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COMING THIS SUMMER TO A THEATRE NEAR YOU.

 DAVID JOHANSEN - 4:51
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Personality Crisis
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Produced by Ron Nevison

'1,..c- Published by Lipstick Killers (ASCAP) 1973 '<v ·

~ i-1, ® 1982CBS, Inc. ,(,,«-~'
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