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FOR Ffi!€HF MAC4SthtE Resunnctim lqaHe


Thirty FsnsF

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Ccntenbs: Detalls:' of a ti-rree ,day trip Lo ;-onCon, a,n evenlng ln Cuiseley r, 'a morrrlng ln Leeds, and. a phone call to ShefflelC. Prt-nted. by



NMX, Devon.



:ket Street




Ed.tted, by


I Rldhad

Kelshlox, Hesi



,,1 7;:


Laui"ef Crescent,



Llmlted rumbers fiUi*nedral, "**r*ebti.r* coples of lssues, q and. two,;arc' ng*t{' r , , .,'' :th 'black avallabIe r+lth d.lff#rent'.co.v $;i *ul,-...,,1.borrd'gr







,,1 t'-n








C . N.

ere lnflueneed. by Buzzcocks, Stranglers

Stlff Llttle Flnger^s, Magazlne, Joy Dlv1slon sone (ffffrng) and.r &s thelr nane Jokers in lceland, "ugg"st

BonrerandtlreHornbatsi;..b.o.otiggtapd',...'' revlews and. antX-r,rar. , Issue Twor Interrrlews d,th Polsbn Gl,fls, KU3-1ng Joke, Glrls af "our Best, New Model Army, JooJ-2, $leedl and. the Shakes. Fanzine


of 'refuslng to get orrt of the borLng; refuslng to let themselves Bo.' n stage they all wear black ' the sane olour as their polltlcs r A1though,'it€, dontt class ourselves as a uns.,.b we've been eaught up ln the post ur' 'thi4g beeause we play nost of glgs uppo,4lilg .?unk bands. So the audlence s rt61ntry ,a punk one " The naln prcblem s that ,people frcrn rcund" here don't cone Ito see us r, They }lvet because of the way :we llve but they don t seen to reallze the cjause. They thlnk we're playlng glgs ln garages. t' They"



whe:re they

surrounded. by

ocaL apathy. hey accuse the loca1 youth

Artwork ard graphlcs by Rlchard Jevons at Hewltt Taylor Studlos..' '


are fforn Gulsely, Leeds

lalm, :justlf,Lab1y, 'to be

jover artwork and g:aphics "o-orainatlon by Richard Jevons frorn orC-glnal nrate:i-al by Lawrence Dupre, Peter Chr^Lstopherson Genesls-P-Orridge and Throbblng G.i"tI* .

D. and C. N.D .

Issue : fnterrfler*s,'wi,th the Splzzles ;,, and. Pete [Iba; Re-€ews of'rThrobbing Grtstle, The Roorn, Poison Gtrlsf , Autopla and fanz.lnes. Artlcles on punff.,fron cotrespondent"s arlf ,;' ,-

Hltch e gultar.o,.standlng on stalrsr toy gun ln hand whlch ls rnakirrg BEtsP BEEF nolses. r. .standlng on stager e&rs fllled. wtth, feed.back frorn hls own gultar. ilon T,,- bass, vole€. o..slttlng on bd,

d.rtr&lrtg and burylng. . . . starxling on sta€e, attenrptlng to persuade the audlence to Do'The Optlmlstlc, ./'Paul - ,,ns. .. .slttlng on stage r lnstllllttg the lndustrd"al beat to the F\rnhous€ r Kelgh1eY

wlth then on the Apathy conrpllatlon assette.' F\rture freak t eassette recorded Ln; Sem.w1 to thern r Hltch , I28 0tfey Road., Gulseley, Leed.s.

.Fr"eak 'e

all coples w111 lnclud. E . speclal lnserts. Subser{ptlon entltLes you to 'the ,latest "t"" , , issue sent to, :yo1r' dlrectlf,r upon lt's releas .' Thls costs f2"5A for the,next ten lssues or €L .25 for the nexb flve r r+hlch w111 contri-bute tonards,prtntlng costs.

postage cha4gp and



r AIL at, the cotta6e ln Nor,th Wea1d, the Creatlve 0rson Wells fans, the

Thanks to

glrls at'number 2,0I; John Peel, Requlem, Stephen S1n6leton, Clulstlne anl. Jud,tttr (Rough Trad.e), Henltt Taylor Studlos, boys arrl

l,larcus Fettrerby, Dave and everyone r+ho has shonn lnterest and support.


thro $ITBBrNC


The l,llsslon




"T.G. are now part of the lrcck canon they have left a , slgnlffd"nt Uoay?f work I behlnd. rhe onr3r probren, last laugh, rs that tt'" hr ;""i and. the """uy - as serLous or a.s neanJ.ngful as you want to nake lt. lltrlch karres T.G. ercactly r*rere I suspect ttrey;a ,be - just klcklng arcund. a corise.',iik; to - Jon Sava6e's bnrtal s,lonaly of T"G. appearl-ng ln a :retmspectlve artlcle ln booklet contalned. ln the !h" hlstorl,cal tBox



Set t .

Tt: "slgnlfleant Al'INult

body of lrorr(,, runs thusr ffipgg'1'' Lp. Llve at the rcA, southamptorr Br{-ghton and. the nat cIub. 'After cease ro' the or{.6r-na1 "sEcol\tD

soundtrack of the c0uM Transmlsslons ftlrm. Ortgual-ly released, on rndustrLal Recorrls but after the first ?95 coples .were sold. Fetlsh Record.s used the *"ir* prates as rndustdal to press a furbhe" zooo -r*i"r, Here sord ln blackr whlte and red eoverc with ughtrdng bolt rqo and natt frnr"sh. These plates Here destroyed. and lt *""re-pressed by Fetlsh Llth the Lp tlil.e -u"crc "second. AnrnraL Report" add.ed. to trr"

sleeve. fn

June 1981 the I,p was *_"uta6aln lrltt' the muslc playlng backwarls and a ehamber rnrslc ensenble m.lxed lnto slde 2, lrltt' Z0O0 sold ln gloss T.G. logo covers as before. :SITED " /"Ttw,ow B ZOI,IBIE" slngIe. After sares on rnd,ustrt al the slngre lras

20 1000


rrade Hlth gultar ln the centre sectlon of Bzcosey's cut extL A further 2000 coples Herre lssued ]oud. b.y ind.ustrtal wlth a ,r"ri verslon of ?-,BZ (one mlnute longer ;il'tr"i" nolses raln and burnlrrg flesh. ) 1000 ilere lfi, whl vynll r 100o ln crf,rstar crear vyrril. Arl pressln€;s now deleted. gressed



2000 eoples


pressed by f nd.ustrLal

1000 of rfilch contalned stnrcturarlst Splra1s r*rlch nade lt look as tJrorgh ttrere rere elght tracks of qluar length. Sld.e Onel f ,B.M. , Hlt By noct, UnltA, Yalley of the Shadow of Death (leter Chrlstopherson), Dead on Arz{,val_, and Ifeeplng (Genests p-Onrldg"). Side Two r Hanbrtrrger Lady, Hometlne

(Cosey. tr'a^nnl nrttr ), sft*-{ChSq Garter), E-Loll, Deathtftreats (An;nfiours) of sorrd., and Brood on ttre [16or. Ibleted.

"TrcrrY JAzz fiINK GreATs" Lp. Flrst 2000 on rndustrnar lncluded a black and. Hhlte poster and only 5000 coples were pressed. untl-r lt sas recut and messa€e ngf, pook

n:ls here'r seratehed ln the centre on sld 2. Deleted on Industr.l,a1 r r€-re1eased. by f tallan Recond.s of Bologna. '


'TffiATT{EN EAfiffi', Lp. The flret coples only were p:ressed in see?Bs ttrmugh blue vynil as a reminder of the oJeii; presslng of 'Seeond Annual ReporL' all , rn black arur strir avalraur" :tr"1copres fron RT. Bottr pressln€;s on . Ihe album captures the rlve IndustrLal sourd of T.G. lrlthout the often urqlred,rctabr.e lnfluenee of adverrse playing condrtlons on the nusLc and teehirlcal f,ua11ty.


eane over ne,,

slngle. Both t:cacks Lvol,ve anound Gen's vocals. SoLd. in canoufLage printed. ba6 on . olDnENAlf{,,1,,D1stant

Dreans (farte),,

slngle. T.G. experC.ment wlth eleciro_ pqp' sord ln carnoufla€e prtnted. plastlc bag on fndustrtal. 'DISCIPLfNE" sold ln glossy. nlctune sleeve of T.G. stood, o,rt*lal ex-Nazl Fnistry of Propoganda ln g"r1fn-ots F"tish. fro verslons of 'Dlsciplrne' ri*r"--*l- -*'


Subverb 3

AT ?tifl"dns" live LP. Psychic rally on 4 December B0 at Rafiers ln Manchester, England, Slde One t Illurninated 666, Betrayed., l,Iomb of



Co1arytlon, Very FrtendLy, SornethLn1 came over ffi€ r Playgrcund.. Slde Two Playground. r AusCtruLlzz, Devll 's Gaterray, Hastlrgs , Dlsclpline . Released on ltallan Record.s, s





llve cassette. Llve

A?,2 tri'uNK"

Heaven, London 23fr December 1980" See 'f nfo:mation for Psychlc Youth'

artlcle, 'hE HATE you (urfi,E Grnls)"/"t'Elve krmckle ihuffle" slngle. Released by Sordlde Sentl-

"I{USIC FROM fi{E DEAITI FACT0ru" llve LP, Record.ed at the Factory, HanchestBr. Released on Death Reeords. Extrenely nre (posslbly only 5A coples).

'YOU DON'T KNO Vf'/"Damaru Sunr.Lse" slngle. rrcn Ilve concert_ at Sheffleld Universlty. lvallable kdth Red Ronpies arxl :osslb1y through I taIlan Record.s of Bolgna.

Sleazy and Gen are now nlurlng Psychlc TelevlsLone El'tfrnftea conpany that lntend.s to market alternatlve vldeo cassrr

nental (Rouen, France), nolr unavallable, rnd Ad.olescent RecorCs (San FranclscorUsA).



iubtLtled Entertalrunent through Paln, fncludes Lreated wttlr ertra reverb and. echo verelons )f Hambrnrger J,ady, tlot on the Heels of Iove, iubhum&rrr $/f e', Slx Slx Slxtles, Blood. on bhe Floor, 20 Jazz FUnk Greats, Tlab GuIs, (a backr+ard verslon of Slug Balt), Unlted, rlhat a Day and. Ad.renalln. Released by Rough frad.e (U. S. Inc . ) but easlly avallable ln the I.K. 'ruNEnAL IN BEff,IN" Ilve LP. Record.ed. dlgtrlly Ilve at the 5W6 CIub ln Berlln on Zensor Record.s, Berlln. Includ es Sld.e Otile s

italned By Dead. Horses, Tralned. Condl.tLon tf Obedlence , Zero ' s Death . Sld.e fro I {onnonr Raudlve Bumber Expert ment, lf Death, F\rneral ln Berlln and. Trade lbflclt.

l1ve LP. Recorded Llve aL the Kecar Pavlllonr Go1den Gate Par{<, ian Franclsco, Callfornla. The very last :oncert of Throbblng Gr'Lstle who perfoned rlth t}re Church Pollce and Fllpper. Releasl(l on Thermldor Reeords. [.G. ts ttelectro-pr{,mttlvlsm" technlque 1s rsed thmughsu! to magnlflcent effect. Tracks lerfo:med were Dead Sou1s, Guts on the Eloor, )lrcle of Anlnals, Looklng for the Oto) Ilslon and. Volce r tr\rneral Rltes r ft)k{-ts llylng, Persuaslon USA (San F:nanclscg Sotrg), the Process r ard. Dlsclpllne ( n"prf se) . 'MISSION 0F DEAD SOULS"

ettes., and, actlng as edttoriaL consultants to a Ilne of books to be publlshed by Rough T:=.d.e. i"n ! "T .G n r{as a pro ject, not a U.fe. "iy" " MeanwhJ.le ChrC.s Carter ard, Cosey Fannl Ttrttl have fo:med the Creatlve Technology Insti.tute. I lntewlewed then at the F'lne ArLs Lecture theatre, Leeds Polyteehnte . I*rat klrd of thlng ls C,T.I. dolng?

' tHeartbeat I and. tTrance t albums have been released on Rough Tzade. lle are also produclng vld.eos brut the

problem Hlth then ls that not ever]one ean afford to brry then. l{e sold

the T.G. vld.eos for €18 whl,ch ls


e:q)ensive for somethlng you may only r,ratch a few tlnes. To overeone thls pmblen w.e are trylng to nake lt posslble for



brt stlIl

to see the video rlthort havlng to biy 1t, perhaps by sone klrrd of leaslng systen. We also w111 be shontng the vldeo at clubs because not everyone has acces to a vld'eo record€r. tf


The rHeartbeat' album ls vely much a sarpler of rfiat they pLan to d'o ln the future e shourlng some of the

posslbll,ltles open to them" 'hlt yourself j,n Los Angeles' e the most haith and unnel,entlrg track on the a1b'unt centres arot"lnd CIrrtst gultar wodr. Caslo Kt30s and synths are used to

rnake soma awesonlely beautlful sounds ln'Thls f s Me' and, movlng stlll'


+ Subvert t.

-T I I :


fr rs



i t I

the electro-pr:lmltlvlsm from T"Gn ls extended, upon ln 'Voodoo' though the feel of t'he album rnalrrly relates to 'Twenty Jazz Fbnk Greats' era. However the album ls not nereIy half a Tfinobblng GrtstLe. Chr*.s and. Cosey have actually beneflted. fronr thls new set-up and. the sound, 1s always fresh and orlglnal . !'lhere f feel they have succeeded most i"s the lncorporatlon of a heavy beatr never ln T.G . r ln 'Bust Stop' and the title track f Heartbeat t , two subl,ly atmospher"l-c tm'cks. "TRAN@" ls an album of acoustlc and. elect-

't go baclr and. . remlx lt. lhat's rshy of the nlxes atre vely welrd because t sounded. alrlsht when we were d.olng 1t the headphones but rather d,lffertnt en we played lt back. l{e felt the overa.ll feei of the albrrrn could.n't be captured. lf we rrere to d.o lt all agaln so He've :oeleased. lt as lt lst' one

tfrry has the gultar.-been softened down not used as such on the tHeartbeat


rcn1c instmmentatlon by Chris and Cosey. The mechanlcal rhythrn of T.G . (e.g. Disclpllne ) has found lts way lnto thelr wod< and appears pred.omlnantly in ' Cor+boys ln Cuba' in ny vlew the flnest plece they have prcd.ueed. to d.ate . Some of the , nhat they d escri"be &s r "welld rnlxes" affect the quallty of a couple of the tracksl 'Lostt and 'Re-&Lucatlon throu Iabsur' but other:wlse the effects are excellent and. a lot of the new ideas have wor*ed. weIl. The trlbalistlc feel of 'Voodoo' frcm the first altvurn 1s contkmed. ln rThe Giants Feet' The two errtremes of elongated synth notes Hlth slrarp electronlc perrcusslon cone tog-

ether to make t funpulse t , a short srnooth end to the flret sld.e A warrn welcone to the long absent 'Heathen' eornet of Cosey rhlch appeatrs on 'Secret' over a Human League -esque backing and Cosey's volce as lt has never been heard before. 'Untll' uses the brisle d.isco rt2ythms r+hlch Chr{.s e4perC.mented. wlth on 'lE/?A' but the albqrrn closes r*lth the awesome beauty of 'Heartbeat' mlraculously bettered by 'The Gates of Anclent Cltles', the alburn ls a nld1r{-ce LP whlch means lt should sell ln shop- for about t3.50. :



ls also developlng new technology whlch cone under the banner of Cneatlve Technology Instnrnents Llnlted. . Irlhat pla.ns are thene for C.T.I.L.? "One ldea ntrlch we are hoplng to use 1s havlng laser beans polntlng lnto a room and nhen a bean ls brcken lt w111 trLgger off a sound. So lf there lrere people danclng or movlng about lt would. make sruslc. "I{e're deveLoplng synths nhlch a}most play themselves so that when there ls a repetltlve rtff we don' t have to play lt agaln and a6a1n. For the 'T::ance' LP a new technlgue of composltlon was used.. tlhat d.oes thls entall? tttle used. a eor:ple of mlcroeomposerc puting all the record.lng that He needed lnto them, then playlng back combl"ned r+ith syntheslsers, gultar and vocals. T?re prroblem 1s that ycu CTI

i* "f




'On, ttre nert alburn ltf s ttrere a€a1n, 1t's llke T.C. a€aln. 0n one traek on the new alhrn 1t's rea1ly heavY " 0n the flmt album we wanted to show pecple ttrat we ctuld. d.o lots of dlfferent thlngs ' Then on Trance lt's golng back to T.G. a bit more brt the next one w111 be fferent agaln. Llke T,G. w€ rant not to be predlct-able as to nhat ls cornlng next. Lllke Status Quo's flret albun ls exactly the same as the latest one. rl I*rat klnd of reacti-on has the 'Hearbeat' album hadi tthen lt has been revlewed theynve usually been good. ones, especlally tn Anerd-ca, where tt has a.1so been plalred on tlre radi.o. tt Have you fourd that you stlII have a of T.G. supporters? lot oA Iot of people are saylng that there lsn't much gultar ln lt, and a lot of ttrem miss ttrat. But then agaln we do get new fans because 1t!s d.lfferent. 'soneone wrcte to me saylng tha't, they dldn I t llke 'Heartbeat' , whlch ls flne, brt then they star-ted saylng, 'llhy canlt you do'lt llke lt used. to be ln T.G.?' If they want tlrlngs' to be just ttre sane a^s they were they'Ll just have to stlck ln time. tt Ilo you stlll kee? ln toueh lrfth Gen and SIeazy?

'f t's qulte arnlcable between DSr there are no hostllltles or anythlrrgr but lt's very much a buslness arrangenent, because of all tJ:e money that was lnvolved ln T.G. so most of, the tlme when re neet them lt t s at the accountbnts. t' lfhat klnd. of thlne dld. you talk about today 1n your lectune? "Just your attltude to llfe really. hha. lt turned. ('lrt to be was that a lot of people thought t,l-at ycm had to be Fsponslble for ather people's :reactlons to what you w{: re doing. In other wonis -

d.on't d"o ?.nfthlng that



ru nlght upset people. Lead, a ltte totallX.', . free of tfnngs that nake ysu thlnk. " How d.o you flnd' belng on Rough T:nade co*p*"ui wlt}r belng ott Induslrd-al? n'Ttr; maln d.tfference ls that lt takes all the ad.nlnlstratlonal worj< away from us r All He have to d.o ls present thern wlth tJ:e product and' they release 1t"' l{hat Here the ftnal t.G. glgs ln fimerlca'Ilke? 'iit e San Franctsco glg was the best one ?re ever dld. The Kezar Pavlllon has , goi a nrbber surface and' so the r+ho1e ii""" ;; bounclns up and d.orrn ln drythm iatn ure uuslc - lt was fantastlc. The supporL gpup, Ellppâ&#x201A;Źrr _always d'o a rri.i-r.1p of tfte maln band when tlrey 'are p1ayl{ srrpport to someone. . r . . . they fua an-houiand' a half of 'subhunan" t'In !.A. 1t r{â&#x201A;ŹLS terrtble - evelyone lras golng 'Can I have your autggraph? lle c6uld- iust have stooa there for an hour and they +rould have thought lt was '



lout tn:e lras tJre plress' Portx'ayal of fou, CoseY, as a sl."sy sex queen of

lhe avant gard.e?

"You only get to be say 1t so they make

that 1f the Press 1t thernselves'. If

they say lt often enough you do

5 SubverL

the ptess tr:flng to k111 us off and saylng that we were fascists, now the ptress are saylng, !{hy dld you spllt up?' and givlng us rale revler+s. T.G . are sel11rrg nore reco:rds today than ever before. " u



"tr''Ilm AISUlilS" i a boxed set on Fetish l-ncludlng 'second Annual Report' wlth nuslc baekrards and. chamber nuslc rqt xed.

thrroughout Slde 2i 'Twenty Jazz Funk Greats' to wlth qystery addltlonal flgrre added photo on the coveri 'Heathen Earth I and" 'Mlsslon of Dead Ssuls' llve LP frcn ttre last ever T.G. eoncert at the Keear PavlLlon ln San Franciseo, The eovers of all five altnrms ph<ltos of the ortglnal red'ueed' wXth a black border. 0n1y 5000 sets have and they cone 1n a strcng been prod.uced -Uox card. wlth htstorl,cal archlve booklet on T,G . wtth photos and. text. Scarce nunbers left at Rough Trad.e .


Lt." I ,lL leave the last words to chrj-s ' taklng about T.G r iCt"- rronic ttiirrg ls that rlow T. G . have sp}l-t up, after havlng yeaffi of having :


@ Rlchald Jevons i-;t to be reprod.uced wlthout permlsslon


As the Polson Glrrs are all about change tt's suqprlslng that they are totally dlfferent group conrpared. to ? ttre one r lnte:nriewed tn" F", club, Leeds l-n Febnrary 19g1."t-


Basslstl Beznhard.t Rebourer left the blnd by nutual agreement ne€rr t}re end. of- last year and HELs replaced. tempor_ by Nll who perforieA throusharr ?dft the bads 'Tota' Eryosure, cltD beneflt tour. llhen Nlr refi to str,u,y chlnese Pete, also of erbellJn*ffet, took over _tenporart ly nntl1 Chrt s Gnce fmm Sheffteld. jolned. ntro pf""" an anazlng fzetless bass. HF I t'The best ne* matertal re rve got ls a Hhlte h,*d.ropl' l:o": eryIalns flreir change ln dlrectlon. I,ts : *ile've been playlng d celtatn kld' of ard'lencJ tor a veryalong trme end xe thlnlc flrat lf they ir"rr*rrit got ttre ness:ge ?sH, tlrey never lrtll. ,, Itre change encoqpasses the ,rdln" from Erposune' to the beauty of lToAf 'Prcnenade fnorbelle' to pop *or,* , Soft Touch t . (sarual) DTsAnMAMENT : l{hen tl'e band recorrd,ed. ,Dlrty Hor*' lt lras a blatant attack on the lnteznatpolltlcs of war and hor lt rerated. lonar to vlolence ln tlre home. The latter subject has now taJren a nore pedonln_ ant role ln thelr work as th"l feer ttrat only by dearlng wlth per^sonar polltrcst!"y persuad.e lndtvlduals to change. :1n RF I "The og{ thlng t}rat can posslbly change ls lrrllvlduals.. r d,onlt thlnl change 1n lnstltutlons or goveraments lf golng to actually achleve a,rrythlng. r thus ttre semal d.lslrmamant stance, abandonnent of the-".* roles, ls an tnpoltant step as li affects all our gyeryday llves. 'Soft Touctr' ls thelr equlvalent of rren E you want 'Don't want ne, or tTears are not Enotrgh t arrl perhaps pop ehar*s tfie PoP the I .. charts ls S"T lh"y"u3;ffi:. ,inp of the pops,? the Polsons olfe'd do 1t :l lf we iou'd. go on wlthout looklng s111y." As rell as pqp songst the bard, have adop_ .

ted a varlety of styles that has glven ttrem an alr of freshness. ny knowledge they ate ttre flr=t To band ln the lnd,eiend.ant to use Ern orehestrar &s they "f,ait" d.ld. on t lfargasn, . To Ureat aorrn pF_ concelved eonventl0ns glves "ucf, the band €ur extra valuer er vftal of llrr_

predletablllty. ""a"" As lTake p: Toys fron ttre Boys, dldn't ftt ln ,,ftf, tfr; ;;d;lnstnrnents they have recorrled, P|rcIy as a voca-l ha:mony wtrleh lt glves lt the lmnlcar tntst ertng lts lyrLcal. contentr ofconsld,sound._ lng llke a sea siranty , ' ?hey are sonertrat dl;l[us1oned, sone of the p3"d" paradtng as by punk. vsr "r'n otry that bands rho call themselves "uipased the the alternatlve and, propos" inJIJra_

ualtty are all pfayfng the sane three chord. badh. - Th; proUi", that bands r.rtro are *peaifng in ls the nane of freedon, non_confoi:nfty, honesty and tnrth are aotually !:1$ d'ornln1ted by the fear to-be dtfferetrt, fear t; try ttilg; p€rr.,, After the y-rrd stopped pi;frr,s ttve lrlth Grass they dle a CI{D tT:' Pllled ln Belfast a,nd,beneflt recozdea a live album, .Tota1 nry""urJr. LB I "The llve albun contalned very ltttle audlence reacttorr ,"infy because there

wErs hard,ry'"tyor.r t'ere an:l Vl . s volee lras rough and hoarse


Subvsr+ ?

whlch ls dylng to be tough llke bully boysJ" Thelr relatlonshlp wlth the aud.lence ls surnmed. up by Lanee. LB "You al-ways have

r to be one step ahead or one step*ays lnstead of just glvlng them rfiat they want. " RF: "lJhen He sta.rted ile used a nettrod of confrontatlon ln that we played one song stralght after another and. no-one ln atl audlence had been ln that sltuatlon before


whe::e they weren't allowed one second off . we want to contlnue to eonfrcnt people



then we've got to glve them somethlrc apart fnom just !O nlnutes of nolse, of very uelI-intentloned, lntense, emotlonal screamlr€. We've got to go beyond. that to malntain the confrontatlon." VS r "I d.on t t thlnk re can glve people anythlng concrete that wlll last except one thlng and that's that people go away fmrn our glgs more ln toueh Hlth thelr own self, wlth ttrelr own lndlvlduallty

Glrls cont.

as r+e'd. been dolng hea'ry glgglng for four reeks before the reeordi_ng. " Folrowlng this actlvlty they began wor{< on !h" as yet untltled new album wlth help from varJ.ous frlends which wilr have rj- or 14 trz.cks tneLud.lrrg 'Fear of Freed.oft' , , Cqy' and 'Ri,o Disco Sil-nkt . The bands most beautlfur product to d.ate, 'Pronenade Tmnorterre

t shourd have been ilre

than when they calne, more 1n touch wlth

blggest seller slnce 'Hhlte chr{.stmas' but lnstead merely bubbled ln the seedier regl of the independ.ent ehart. RFI "It sasn't :revlewed by anyone and lt never got played. on the radio. The project we unlertook was to make a record ilrlt was as classy as tllat one was. r thlnk lt r+ork really well. It took a lot of time to record - a lot of ene€y and effort. Thelr eneounters lrlth the rnuslc press have left them sceptleal to say the least. BFr "rn the nusle press you'd. thlnk there would be soneone rfto could. just d.o a professional job. I mean to talk to Jtou r understand. r.lhat you 're saylng and. go back and rr:lte someihlng reasonable about lt, or

at least


feellngs that they've got, thelr


hunanlty " "The only way

?re can do that ls by exposlng oureelves (totaf Exposure) in all our hunanlty and. Not to become so armoured and so safe as to forget that. tt "B1g ehanges can cone fnorn your lltt1e actlons, take a lLttle, just a snall ehanee" - Don't go home Tonight.

Rlchard Jevons Not to be :neproduced wlthout pernlsslon. Reviews r 7" Z0UNDSI Danelng (nough Tnde) The band.s fear of becomlng one




ttre flnest Pzoduct' fron HaIl. lt ttrts gig the audlence d*: ""*!Olte'l1ed..by_far stattonary untl)- they pl"i.a 'r.^ion;(',u.r" E1:P:"!" d B-3"".ChaJes'kevboards tstjfr{"v.Df* at.the tenslon 6t*""tt whaly-ou ao anrl you aon'i-- n::itpl: do") ffd"_"9loe1ng a fln backdrop to a portrayal Queenrs

"ffi ff I'Hffi ffi l: . :S,F*Tofi ,*,Fl i:"S:.:fri:",lilP#"i1ff:"*.T*$ rn that sltuatton He at€ ln control .t ;|;-ffiqreets glrL/gbl neet! bovr ph!-Iosophy ln audlence and ln a way lt ls calcul-ated. " )the fo::m of a p.qppy -tongue-1n--chlc pop of Zourds' That's ><ltong.- lhelr-a1bun, 'iune singLe, "ty=""-""" nis1c.,, rhey clte 'La or a rlrm rhey shol I ),(t:Sn^tf*:).{ (tot }a!es! "n "i*pi. so B:ave) are also of the aud.tence;i-yo;ns-r;i;;;i"fr;;" Hvaerre auf $.t' wlthr thelr mouths oi"n and then suddenl; I l*"ommend'ed. when 'Bully Boys' ls played they go wlld f -tnIE EUSINESS: Snash the Discos (secret) and start actlng like bu1ly boys.


::j ; :. t

ff i' S t

to do ge-'nil"







*, *. *l*,p":'*' X il'l: li;dil Ji:T"*d. $i,i:ii l:.;. in front of an audlence bZjCarrpafgnr lnclucllrg a_sneerLlg_attack on \,


f|t| soulboy mentallty. 'Dlsco Glrl-s' po"sesses [U " raw raucuous punk sor:nd and the intlanthem, 'snash the DLsco' continues -FZd.lsco _cont. lage 10.-__


I?lE INTRODUCII0N: Sheffleld furikacTiats,, saxqphonlst Stephen S1n61eton had just flnlshed hls tea a"s I spoke to h1n on the phone wlth



lbelr record coqpany, Phonogram, gave them a vast sum of noney nhen ': they jolned rfilch they see as a loan ntrlch allows them to d.o buslness " *The record coqpany seen to thlnk that we can d.o tnenty thlngs at once. Llke arranglng trtps to Australla and. Aneri-ca and, saylng that He can wri,te

the bands's album, 'Lexlean of Love', at the top of the eharbs. Vlce Versa, the ba^nd rho supporbed Throbbing Gri.stle at the F. Club, became tlred of ttre Ltnltatlons of thelr synthsongs on the plane ! " eslsed sound and becane ABC. the band's projected vlslts to HI'IV "Hien I played. ln that band lt was really shops arourd. the country to neet just sorb of develqllng ourselves muslcfans had to be postponed as Martj.n aIIy. Te always planned to be d.olng; went to Aner{.ca and. Germany to ar:ange things llke thls.'f record deals for throse *f thhk lt's a god to''neet people 'Dolng tlrlngs llJre thls' means belng on Top of the Pops, Swap Shop and. at at Hl'fVs because a lot of the .tlne number one but stlIl pr.oduelng soulful you are rnalclng soneone reaIIy hap?y just by talklng wlttr then for a few reeord.s whleh you can feel ln the lntense enotlon that has gone lnto every Ilne. nlnutes. tt Don't you feel that by slgnlng auto"I{hen we released. tTears Are Xot Enough' everTrone thougfit that we'd. been golng graphs you are sonewhat elevatlng for two years or so because of the yourselves? *lilost of tJle tlme an autog:aph ls exper^Lence we galned lrlth Vlce Versa. " just a monento of when you have net Although 'Tears Are Not Enough' ls a classic pop song 1t seemed to be laeklng someone. Llke I've got a book full a certaln somethlng that thelr new of lyrtcs that I've lrrttten but on nateri-a1 possessssr one page ttrere ls Davld Bowle's "After we d.ld the ortglnal 'Tears' we autog:aph and that paâ&#x201A;Źe is more were d.lsappolnted. wlth the productlon. lrnporta.nt to me than all the otherc. After that tho:gh He got Trevor Horne one fan wrcte to me and asked. me to prcduce us and he has r.eally lroproved which grcups I llked and. I sald. Altered frnage:i so sl're sent me Cla:re

Subvert, 9

eorlt,i. r roga t s autograph amd ihat s on







Do you flnd golr€ lnto :li{/'s easY? "l,lhren He were recordlng the aLbum we spent

about three nonths as a neally close unit worklng ln the wlth just the four rnerabers 6f the band s d basslst, an englneer and. a produc€r. Then we came stralght out of that klnd, of close knlt envlronnent lnto Ht{Y at Odord. Clrcus, London wtth IIOOO people wantlng to see usl It was terrd-fylng! "The thlng about golng lnto HlvIVs ls that we're naturally shy people so lt can be a

blt embamasslng sometln€s. tr The album ls fu}l of rnuslcal conple:dtles wlth the use of an orchestra addlns to the possibllltles open to then. r'Sorne people think that we go a bit over the top by uslng orchestras but I see no

lf an orchestn sults the sorg.rr 0bvlously the use of an orehestra on a record. has lts problems wtren you cone to d.o lt ll-ve. They plan to overcome this W usi a sta6e show conslstlns of the four menbers of the grcup , a basslstr tro keyboardst percusslonlits and an elght-pleee strLng seetlon rfilch Stephen assures ne ltill end up sounllng }l-lce a full orchestla due to speclal effects. "bn tour re w111 play elty halls rather than snall clubs where r+e'd. have to play for seven nlghts lf evelyone nho wanted' to see us was to d.o so. rl Hor d,o you thlnk you'd. eqpe wlth ttre audlenc hysterLa whleh Haircut 100 and. Drran Iluran have had to face? "Ii ttrene ars lots of scneanlng glrls at the front Martln has got some new beetlecmsher:s so he w111 klcl( them ln the face 3 I tfilrlk we should be able to cqpe 11{th that sort of thlng anyway ttre rmrslc w111 be lord' enough to d.ronn lt out tt Hopefrrlly thls won' t happen anyway asi ttre band are not ln the sane up-terpo pqppy veln as band.s llke Halrcut. tho cqrld screa^o whlle l{artln ls shoutlng "Slsters and. brothers! should help each other.... ." ln" 'Look of Love't? l{hat about pressure to become a hlt nachlne ! wLll be totally dt-fferent "The next "ttnnof Lovet as we dontt nant to fron ,Le:d,can just d,o the same album all over agaln' tle want to remaln u"i""afctable. so w11.1 be a change frorv songs ard. prod.uctlon t' t tle:dcan LP the reason nhy we should.n't use them



Thls article appears as lntrtductlon to n lnte::rrlew whlch wlll hopefully occur thln the next two months wltlt the ersonnel of ABC. In tJ:e neantfune speclal anks to Stephen Slngleton for hls t1me, ner€y and helpfulness. Rlcharrl Jevons I'Iot to be reproduced Revlewsi 7" cont.... the hectle ha:d[ core pace also wl1d.Iy apparent ln 'Day O-Banana Boat Song', non-dlsco verslon of course " $NFLISf I The House That Man Bu1lt Contalns ConflLlct, I've had Enough, I{arganes and Bllnd. Attack. SoId 1n wrspamund. cover of photos of 'The Horse' deslgned by B.A. Dada and Confllct for

no more than 8qp. "Remember renemberl uy Far*es - the ort}y nan to enter Parllament wlth good. lntentions r " 3c:catchedln the centsp. RUDIMENTAFf PEM I Fa:rce (Crass) Iniluaes Bloody Jellies, Zerc Agaln' Mlce Race , Deflned, By Age, Bubble, Sacrd-filce ' osnetlc P1a€ue, Subd'ued Vlolence ' 0n1y ln SoId' Farce. and BII-ebaIl The uman, around covdr of ghoullsh art wor{r by NlcI( Bllnko wlth posltlve sleeve notes by Grant Matthews for no more than BOp. "We Imow nothlng of fall-ure - the farce iontlnues" scmtched. ln the centre.


I Falthless foIlow qP the smootttest d'lsc of '81? Wlth the snoothest d'lsc of '82 of couse I falthless (farts 1 arld' 2) has the classy feel of the usweetest Glrl'' and. contlnues the Scri-ts' d.::anatlc change frcm psychopathlc punk to soulful $tax. see also Asylums ln Jemsalen and the long analted. albun. SCRITfI POLITTf

How d.o you


{tEEIltA BALIETI Bag sold. ln resealable ba€ whlch contalns a 6adge r postgr, fy4c book and tap9, for

t2 irom )O|'fid,x , c/o 1'37 Blenhelm Cres. r Lordon. rhrbella Be}] et are zllIah Mlnx - lead. voca-ls, G6 stone - bass, VOealSu Sld, Attlon - d.mns, Andy - gultar, Eugene - Synth. Pm'ctlse yott Ballet steps to Tt flelfastr A Drearn 0f Honey, Newzr S1ant. and' i

t0' Subvert

Slld.e, lter Kralc Tral(r Blues and E)d.t.







ls beatlng d.orrn upon the station at Nor-bh tleald " An o1d car grawls up the ta:macadam d.rive, f enter the vehlcle clutchlng qy lugga6e ba€ fuIl with fanzln€s r tape record€rr The sun


notebook and. junk, North -w-eald. is left behrind. to lts rru.raI

rueanderings rhlle the car follows a d.irt traekr p&sslng a governrnent lnstallatlon, &nd pulls up amtr d. fresh green

surrcundings. A cu;) of tea, a hand.ful of cashew nuts a ftlght of stalrs I & C50 ln a cassette d.rive, an lntervlewr . , A Disturbance r two bud.gert gars lneessantly ehlrylng. An Issue l hrnk. ,

NrAr "Ord.glnal1lr punk meant people trylng to change the way ln xhlch .. people relate to thlngs W dolrrg songs that nean sonethlng and d.olng tt thenself; just achraly rnaklng a statement, I d.on't thtnk the Exp}olted of AntlNowhere League ane actually dolng that because you can't do anything : ,: on a major record label. " PWr "llhat they're dolng ls ' just lnd.ustry t s ldea of punk n " NA r "I thlnk, punk actually change tJrlngs and that as soon as the buslness saw that they had to ,capltallse on lt. f"t there are so many Gnds around lfr* countqy nho you never hear about :


aren't l-nterested. ln gettlng thelr name ln the muslc press and appeartng on Top of the Pops. They're r*ro

the punk band-s, shard-ng equlpnent, do1ng glgs together, glvlng out lnformatl,on. " l{A : *Ps1ft ls an approach, a way of thorght. Obvlously tt's dangerous to label anythi-ng . Sorne people d.on't even call thernselves punks because they don't conform to what the image of a punk 1s." An Establlshmentr RAR Does yolr attltud.e'to nAR as "1000ts

of rfilte


standing ln e pad<" stlll


IIA: ttThat was a cornment on pseud.onacho nho at that tlne were, ln the same way as the ruslc buslness Here, uslng somethlng that actually neant sornethlng to thelr own ends and lt stlIl stands. the rhlte man's still stancllng anyway ! " PH: "It really went beyond that to suggest that racisrn ls 1n fact arl lssue, and it's not understood", aJrd lt lsn't exposed.. At that tlme especlally the nhlte people seerned ;, to have solae klnd of assumptlon to lrhat raclsm was about, without lnv-.' estlgatlns lt, wlthout realLy ,consid-ertng it. " JOY r "The RA R carnivals' t goir€




IRASS cont. . o.

lt's just lots of people golng lnto ttre park to llsten to t' to get

anynhere because


SI; "I've ah*ays thought that because there' centurtes of black people been ogpressed by r+hlte people there's not much that people can do or say to charrge that. It's just patrcnlsir€ r or llber:aI, to label somethlng a6alnst

r^aclsfiI. " NAI "l'lay,be lt ls an

lssue and maybe there Has somethlng at stake r+hen lt starbed but as soon as the Llbenl lefty wankers eould. see that therre was an lssue that they could make into thelr own so tiat they could pretend. to know what lt was like to be black in the stneet then they got off on it. They put on an nAR show and. thought that 'I'n new as rruch ogpressed as a black person. ' Llke fuck aue they ! They ean walk d.or+n the street wherever they are and lt's just not .ttre sane for a black" perso and. lt's not the same a€ standing ln a g1g

elther. ftts beyond. that, ltts not'H€&ring a badge, 1t's an attltude. I{e dld. a couple of glgs for nAR. The one we d"ld in South Lond.on was the only glg we'd ever been pald for at that tlrne artd lre got qulte a large amount of money, and thatts whe:re lt was t'You have got to be careful because lt 1s that kind. of attltude whleh thirrks 'There's somethlng that I can latch onto and pretend that I'n flghtlng a€a-inst.' Llke the antlNazt League was largely responslble, 1n 'London at least, for creatlng the Brttlsh f'lovement. Thene are a relatlvely small group of people xho aetually felt lt rlth1n thenselves tJ:at they actually hated blacks but as soon as lt was publlslsed and the Antl-NazL League lras cneated then ln r€sponse to the pattretlp way thre ANt was publlclsed a'lot of people saw lt a.s the : heavy naeho lmage to be nclst, So lt had. exactly the wposlte effect." NAr "As soon as somethlng ls turned lnto a soclally nelevent lssue then lt d.oes backfl Llke CND has now beeome very d onlnated by that klnd of attltude. An attltud.e whleh says, 'l{hen chooslr€ the speakers for the rally wetve got to have sornebod.y to rQpFes-' ent the trade unlons and someone from every department of the church etc. 'I mean thatt s shlt 1sn't it?,' r CI{D r "0n the level that they arq presently operatlng CND obr'lorrsly a1e havlng an, effect




12 Subverb

in that 250,000 people turned up to a rnareh " As far as they t re eoncerned the numbers nore than anyttrlng alie lnrportant. l,lhether or not the people there aetually see themselves as dolng anythlng but addlng to the ranks of a CND d erno ls debateab1e. "

A Prod"uct s Fa1kland.s Elexl

; "l{e we:ren't golng to cerne out ln a bIlc lntenrlew and say anythlng about where lt cane from or anythlrg. "Basieally r.rhere tt eame frorn lsn't lmporb ant. The fact ls that there ls a flexl dlse around whlch a lot of people flnd obscene. I don t t tnlnk anythlng can be ELS obseene as nhat ls happenlng ln the Falklands, and what ls continulng to happe PW: "I think people are really insulted-


by se:nra1 lnnuend,o

and. so-called se:ma1

havlng ttrose suggestions obscenetles and 'nhat jurtaposed wlth actually dld go orlr you prcbably only knox hralf of lt now'

it puts people in the posltlon of .reaetlng to tfr" glsclnlty of lt brt only reactlng to senral obscenltles. The cross over_ between the two ls obrvlously very corrplex. It puts people ln a reaI plckle beeause they t re having to censor thelr own reactions to the obscerdty ln the Falkla^ndS. f' I{asn t t there sone reactlon from the l'Ilnlstqf of Defenee? NA r "The flexl was wtthdrawn from a lot of shqls, there were a lot of Publie corrplalnts abort lt, questlons were ?sked ln the House of Commons about lt. It created. a stlr altlough probably not as rrmch of a stlr a"s lt should have. Obvlou the author{tles aren't lnterested' ln adverse pubIlclty. " PWr "In te:ms of effect the establlshnent ean trt bulLze ard subd.ue all the eonmerclally e)ccess thlngs. For lnstanee a penon porred petrol over hlnself andburnt hlnself to death artsJ-de a HOr establlshnent near Sallsbury and that '-' rras covered by flve ltnes ln thre 'Evenlng Stand.arl.' . So the effects of the flexl are very well contrpled by the establlshnent but the ld.eas ttrere are golng to catch up wlth people sooner or later," A War: The Falklarrls

thlnk oPpqsed the ln the Falklarrits? PWr "It depend.s how you ask the question reaIly. If you aslc a pelrsorr 'Do you thlnk it's a good. ldea to kllI people?' you 'd flnd very few people saylrrg, t Yes ' If you sald 'Do you think lt's rtght for one pelrson to ki1l another person?' the

How many people d.o you


contr.., be, 'No.' ff you pui it, 'Do you thlnk jjrt-tain should. defenC lts possessions? ' a sutrs tantlal number of people would say, . 'Yes t . The actual way that CfulSS

answer noul,l

the prcblen reached BrLtain was controlled by ?hatcher and tJ:e pec'p1e close to her. It was a d.lplornatlc problern and thene are answersi to that klrxf of problem that don't lnvolve kl1llng people. The questlon reached the publfc and the $ay that lt, was handled Has a product of the goverrutent. " NA: "&rzlng all that there were loads of stupld. qlnlon polls about r*rether you support the Falklands !{ar. A lot of peop}e rhen put on the qpot Ilke that tor the parby llne. AIL ttre paper were fuJ-l of glordous boys on ttre Fa1kland.s, 'H 1s for

let's al l go ktl1lng ard. have a t1ne. If people read that then 1f sone oplnio:r poII cotses qp and. asks then lf they suppor* the H€rr ln the Falklads ttrey ane golng to say, tYes. t * Plfr "Hhat ls lnsldlousi abqrt ttrat ls r*rat has actually been zrrr ttsl by the gsvernment i-n that they ane nlnlrt qg ttre coturtry ln a constant state of nar. lbe manlpulatlon requked in a, state of so-called. peac€." HA r "ff tlrere retre trc questlorrs asked ? flrstly, 'Ib Jrqr sn4port the fact that the Prine lfl-nlster ls sedlng off qulte a ]'arg.e perentage of 'the' nale populatlon of thtr.s curntry to be slaughtered. ln a fucking str4rld. oyer ttre soverelgnty of a penguln sanctr:aty? t people rould say, 'No. t If say that, rThe Union Jack should. be kept flylng at all costs, and. ttrat natlonal prt de ls of prd-ne lqlortance, ' people would a€ree. If ysu say, 'Do you strpport the fact that the Prd,ne Mlnlster ls serullng off a fleet that ls golng to cost f;I.Z bl1llon whlch ls golng to be talren out of your payroll d.urt ng the next twenty or thlrty years?'' they'd. say, 'No' so lt's all so fucklng lud,lcrcus." Hero t , and


PWi "l,lhat has been avoi.d.ed., and suppressed. ls the reason why so nany people were

An Objectlon? r The Authord.tles Have iqr had. any obections from tJ:e

autlrord.tles slnce the two pollcenen eane rqurxl for a cup of tea? NA: "lhat's ihl level on whlch lt ls... pollcemen eame round for cups of tea. lfe' tle haven't actually done anythlng wortJry of bust. tt Pt{: "Ife've had. people nrrurlng a:round. sendlng clnculars to vari.ous ccnrnclls trylng to nake lt dlfflcult for us to p1ay. " NA r "There was an lnvestlgatlon that was nade about the 'Reallty, Asylum' slngle ard. lf lre had been wantlng to explolt lt on a publlclty level we eould have but we anen't lnterested. ln destrcylrg ntrat has becone an effectlve outletr our i record label. Although lt ls a statement that we would, support lf we were taken to n


worrled by wtrat Has golng onr although t t of ttre world., ras that 'the world r€rs brought lnto a sltuatlon that cqrld. easlly have got sut of hand. and. lt wasn't our ownershlp of a snall patch of d.esolatlon lt was our government being prepared to rt sk everythlng, and that means everythlns, for r*ratever reason. For then to reason that that ls a useful cours€ of aetlon ls just absolutely unbelleveable. " NA r "As lt Ha,s they managed to contaln lt so ttrat, ln thelr terms, only a thousand. people got l(lL1e'd i a. thorsand. peoglle thoughtlessly slaughtered,. They don't glve a fuck was happenlng on ttre other sld.e

about anyones life anrl that's dis:;ustlng. " There is dlsa6reement, between Pete and. And.y over whether the pr-lbllc knew what Has at stake dur{.ng the Falklands Har. NA : "F1aybe they are alrare of what's at stake but they don't bat an eyel1d when the Forelgn Offlce says, 'We 're preparred to 11e, whenever we conslder lt's neccessary to lle about how many have got killed over there. r Nobody w111 ever know how naiy got kllled. over there. Do you tlrlnk the public's reactlon was echolng the vlews of the PH; "Tbe publlc d.oesnf t have a collectlve way of reactlng. It's not used to the ldea of a collective Hay of reactiflg." HA: "I d.on't thlnk you ean know what the publ*lc's reactlon to the whole tnlng ls beeamse thelr reactlon ls not e)gressed. by an oplrdon polI. The papers aren't a reflectlon of rfiat's golng on as they're a dlrect tool of the governnetlt. "



A Relatlonshlp r Tbe Aud.lence

'l{hen you're on stage do you ever feel the people r*ro are watchlng yorr are looklng

up to yoLl? NA: "Obvlously lf we put qrrselves on a plltforrn to present what we have-to p:reseni we are qpen to that sort of abuse with people seelng us as belng heroes, 0n otkrer levels He d.o everytdftg that $e can to get

rtd of that, Llke lf someone comes up for an autograph we -eL-?bon't be so fucklng stupld.3 lthat do yqr want ny autograph for? I'n just the sane as yo&r. f 'rte got just as much potentlal as yT hav€. ' . lhene ls funage of looklng ard, asks us





t I

t I






cont.. ..

up to peopJ.e who stand. on a sta€e. I thlnk that nlnety per cent of the people who ask for arr tographs d.on't want to say that at all but they thlnk that they are expected to say. Often after that you can start to chat about conpletely lllfrelated areas nhich Ls r.d:at they actually wanted to talk about. The only reason that they have eone up for that conversatlon

the stage. If we ar:e accesslble to people that's really good. because that's nhene the potentlal about glgs ls, the best thlng about glgs ls meetlng Thts klnd of close contact with thelr supporters d.emand.s ertra efforts frorn eaeh member of the group notably ln the form of replylng personally to each of the ll00 Ietters each neek. hrr:tng my vlslt they have a backlog of ls

because you we,re on

1400 nhlch range frcm eleven and. twelve year oId. punkles asklng lf they carr 'eone and l1ve 1n your comnun€, ' or if there ls a 'Crass A:my' to old friend.s of the group relatlng thelr present actlvtties. The oqe Hhlch rnoved. me most was from someone who had been knocked down by a hlt-and-run Lr{ver - thls storyts a real tearjed(er. l{hren ln hospltal he was uneonscious and then nhen .he eame round. he told. his Mun and Dad that he would llke to see Crass. 5o nembere of the group vlslted hlm glvlrrg hlm fanzlnes and records although he ilas ln a really ba4 state and probably d.ld,n't reallze what was golng or. Hhen he flrst wrcte baek to thank them hls writlrrg r,ras :realIy d.lsjolnted. and. lt was obviously a reaJ straln to wr{-te but hls last letter r,ras smootl: and ilor+lng d.ue to hls miraculous reeovery . thelr corunltment extends as far as belng up t111 three 1n the rnornlng printlnS r deslgnlngr collatlngi wrtting and genenlly d olng work whlch wsuld. be d.eslgnated to record conpany or a fan elub by other band.s wlth the same wor*Ioad. 'Cha'l-stl The Alburn' should, be out by the tine youlre readlng thls. It ls a double album boxed set nlth poster and booklet


a sneak p::eview of and can it uncondltlonally. Other releases lnelud.e 'Bullshit Detector 2' a corrrpilation of tapes the band have recelved , Cravat t s t hrb Me Out' (oo detalls as I gave my cgpy to John Peel), an AntJrrax slrrgle, 'Uearlr of the Flesh' poems by Andy T., and Dirt llve album r The band have also flnanced tl:e settlng up of t}re Corpus Christl label . Releases includ.e a twelve lnch EP Lry ttK Delay and which



FIux of Plnk Ind.lans' album. Flnally the cllche of tCrass' Conrnune' often used, ln artlcles on the band 1s really a rather'ralsleadlng 11e. To put the :record stralght they llve ln a well furnlshed eottage 1n the country r+here all possesslons are shared and. each member does the rodr he or she feels they are nost able to d.o


Richard Jevons Not to be reproduced r+ithout pe:mlsslon


anti-nar compllatlon alb{.lm sold wlth large lyrlC sheet for 93,25 on P1)( recold.s, PO Box 3, Sheffleld, As you probably know by now the Polson Glr1s. 'statement' ls by: far the flnest track' on thls record. (o= any other for that natter) . Those fyrj-cs ! That volcel rt's a classlc the polsons will f1nd. harrt to better. captaln 'H"ppy ralk' senslble contlnues the feel he achleved. rl{th Dorry Mlxtune on the 'Captaln Speakingn Ep. on Crass Htth 'Hey Jo' whlch shrorrs how the lnd.lvldua1 wourd cqpe sunrlvlng the Holecaust. rhe fact that lt successfurry manages to follow 'statement' itrows iLfis. guality though Lt lacks tfre i-ntenslty of the An

forementioned. tracl(.

lux of Plnk rnd.lans seem to be developlng n the 'New Smell I EP on Crass . thelr ontributlon, 'Taploca Sunris€r. rfiiets the ppetlte for thelr forthcornlng Lp. Amerd-cans, ttre Dead KennedlS r aF on thelr usuar fom Hlth 'I(lnky sex Makes the Iforl.d Go Round.' Hhlch entalrs a phone earl betreen ttre u.s. secretary of lfai a-rrd. the .K. Prine I'llnister rho arrange the Thkd. llorLd. llar to boost ttre economy. tcontlnulng ln decreaslns anount of creativety tl:ere's the 'stm.ngely wonderful" "

Danse Soeiety, Qutte Unnervftg, and Canker

Qpera, ttre t$otentLally excellent,' l.lau the rock star, Rat Scabies, and, flnally wa]-lonlng ln blood red. Tr.otsky-lte slqans are Infa tporer to the people' Rlot and Angellc .yletory for EMI anns manrfaeturers 'Upstarts. X Hoore has the audaclty to carl t}re polson Glrls boring and then enthuse about rnfa R[ot who sound nore ].lke Not the Nlne O r Clock News' satlrical punks ln , Gob on You' than Mel,' Ronan & Co. "At 1east werl1 go to heaven/we't I fly down frcm a cloud so htgh/ and spit dor"rr below and hlt thern ln the Ble. " I,lho needs satlre when the 'real tf,Xng t. ls so pathetlc? Maus and The Systen,



ing, puts on h1s herr.dphones, speaks io ther natlon, ard. then eontinuesln m1d.-converslti,on. *nione llstenlng to hls show can hardly bave rnlssed the vast fiumber of LlveqpudIt'an banls. 'rlhere does the Llverpool " '

Connectlon eome frorn? tnl: lras, born on the srnart sld e of the Rlver Mersey florn a. secure mldd.Ie elass backgpund. - schools and thlngs . " Ds you rea}Iy think the Merseysld'e blnd's

yolr pla{ are as good. as s&f , flpn



of pl1y$g too nany l{ornich ban{s as neIL ! I thlnk so r Jres. You ean o,n1y play what ysu've hea:d and .'tltatts lfiat Itve Lreard. If yorr go somenhere l-ike Blrmlngham wtrere you would assu$e from the slze of the p)-ace that there would, be a lot of interestlng bands hrt there just aren'i realIy. But there d.o seen t o be a dlsproportlonate nulqber sf god bands flg* Llverpool and dh€a€ have been several that we wanted' io get sesslons fron that we rather held back f:ron for e:ractly the reason ttrai

,llPeople accuse ,r€

yoll t-re saylng. tt During my stay wlth Crass and

Glrls-th; general

'lf on August 30t!. {1* Iate nlght shol ls ttre only conslstant outlet on the alr:waves for lnd.ependant barxls i'lhen I telI hlm I have barely rnlssed a shor for the past three or four years he sayst "You rmrsl lead, a very borLng nlght-llfe ! " I met John Peel at Bmadcastlng House ln 3,6,whene he tsas pre-recorrllrrg 'Peel's Pleasultes I I hls equlvalent of 'Walters's Ifeekly' *" he ls stardlng ln for John Halters ' As i enter the d.uII rcom John ls slttlng alone at a clrcular table with a plle of ' records and. a palr of headphones. ttT'ltls lsn't the set up for ny usual programfil€s l rf he tells Iner "I platr the- record.J myself then." Playlrrg the records today ls Chrts tycettn John's prcduc€rr who ls sepelsted frcn us by a large ' sheet of sound'-proofed glass ' Chr{-s ls wlth two teehnlcllns' one wtro presse the bqttons on a glorl"fled tape :iecordett the other slf,des knobs up and d.orm to adiust

John Peel w111 be



recorrllng leve1s. John fonrarns me that the lnterrrler rrfll be d.lsjolnted. - -often he sud.denly stops tall(-




ls that


have become smug "Pecgfle usually say thlngs llke that 'whetl ygu d.on I t play thelr recotd's. I had a huge ntn-ln wlth a bloke atrout eight weeks a€o ln a pub round th..

eorner and. we alnost came to- blollS n He Has golng on about what I belleved and. . *hat he belleved and he'd' say something ,llJ<er t1{e11, of course tnhen the r*or{<lng .classes are unlted..... and. I'd sa1lr. 'Hold on a second I Hor are you golng to .'achleve that? ' Then he'd. look at hls

his eyes to heaven and say soneth!.ng Ulce, 'This fellow's poiftlcaiLy nalve. ' I{hat tt turned out ,-was tlrat I hadn't played hls recsrd; ,'r0bvlously I ive st1Il got thlngs that I belelve ln ?"4 thlngs that I try and do As you get yotr ten{ to becone nore tnrqull , ard f 1ve got nlfe aad fotrr chlld,ren so ln a sense your perspectlves alter lnevltably. It'd. be ardul lf they d.ldnt,t, Ttrat t s one of the reasons I lLYe ' to contlrnral fear of havlng some klrd of mates ard, :m,lse

spk{.fual e:rper{.ence, llke raklng-up^ ln tire nornlng ana belng born a€aln Cha-lstlan - I just lrate the ldea of f{fog. tP tcnontng all the €u1swers. I don't know th; answers and. f d'on't pretend' to "31 !l1lt the organtsatlons ard the people r,rho havg an answer to everythlng I flnf SnbverL L5

lpgst-l{gm Gqtlop r perfo*"J *i*urg1.rck; Fy,,Fg Mlllg Fpnd fq*' the fkst tirne slnbe he was Flx, Ii 'r-[effi:[6fy sentlmentar. A lot of peopre ,s Dadp d.ld.n: t copg hone from the war at al1 . I never saw nlne t111 I was slx and. ft's one of the vely earli.est memorles I had and. I c€ul just remember the sta"dlum ln ti+th th+Ig' Bilng roqrrd. Ll::poi}_ And, lt all seems r€d as ttrough you were glasses ]ooklyrg At lt through fuzzy ""aqnd a b+nd plaVlnA. t{hen the horses came pxt thgY pleygd -f that. If I had more tlme on thg ia4tg, 16 sure thls w111 plss Crass qf even rnore, I 'd play thlngs like that all the tlme , I'lhen thre flrst lssue of 'Col}u sion ' came out lt mad.e me reallze ttrat ln a sense I've bgen palnted lnto a corner by the sons of Joy Dlvlslon. 0bvlotrsly I loved Joy Dlvlslon'and'stfll d,o brt lt made me reallze lhat by lforce of clrcumstan'ees that was all yo-u were llstenlng to. I thlnk you should be bored. .tra emba:rassed lV "1*"y" just because there 's nowhat you'lve point dolng lt othen+lse. So I alnays flnd that by the end. of the week I can't walt to get starbed on another week of plagrammes so that you can sort out sone of the pmblens arul try and make lt more lnterestlng. t' hrh; have you lgnored, Trcbblng Gristle? "I also lgnore thlngs llke bagplpe muslc' but there lsn't room to play everythlrrg . Agaln !t's emba::raslrrg, f d.on't llke the thlngs that Throbblng Gr.l-stle d.o so there 's no potnt me puttlng them on. I have to try and. stay tnre to my standard. I just try to play thlngs whlch are lnteresting'and.

those grcups at all and when f 've met them they?ve been rather nlce and I feel

euilty that r don't like thelr stuff more. I thlnk a lot of the tlme Attlla was just rcmantlslslng the workl4g class, lj-ke saying, 'Don' t d.rink cocktalrs because the

mlddle class drt nks them. ' "I dldn't get that feellng. from lt. I thlnk what he was saylng tirere was that lt was ttre muslc press nore than aaythlng

ithat lrttated, hlm. ?helr attltude ""ro,sJ to be, partlcularly the NME these days, that everybody ls parb of the cocktall generatlon an{ of course qulte plainly people aren't. They're wrltilg- thlngs, rather Ilke DJ, s do on thelr programnes about thlngs that are outsld"experLegce and ln a sense that"rEryOay seems to me to be 'tfmstlng thclr prLvcllfued posltlon dovn peqtle, s th-rrats.'r r llhat do you trrrr* about crassr polltlcs? "0ne ,of the ad,vantages of gettt-ng older ls that you just suddenly see that there aren't any cut arad. dry answers as to what peopre must d.o because that's sort of rlke fasclsm really. . I see rnyself as belng a soft atarchlst though f ,n not really a politlcal man rea1ly. ,' tlhat about ln Lg?6 *f,"tr you were playlng

I have to Ilke lt because I have to slt there and llsten to the buggars muself. Anothrer one of the problems is thrat people say that I play too many obscure recorrls and I know people woilld prefer to hear the blg names. Thls hal always been the case wlth people wantlng thlngs that they've already heard. You have to bear ln rnlnd, that the majorAty of people d.on't live in Lond.on, Leeds , Manchester or Ed.lnbutgh . " Thls lntenriew wlll be contlnued ln the' next trssue of StJB\fEm so for now i,t will have to suffice to say that not onJ-y rs John the onry DJ at Radlo One wlro d.oesn't-petbnd to be ni;;teen he ls arso the most serf-cr{-trcal orr€. H; attacks hlmself as belrtg contlnually d=e,presped and ov€r-welght but hp Looked. jolly affi healthy ?nougrr when r saw hlm. IIe deser\res your ""nr_{llJ' !FF,, r_, c Rlchard Jet';krs Not to be reproduced wlthrout ,*rrfrbs.lon. .-

Yes ?

"i{oLd on a second

, I wasn't ! That's one.. of those accusatlons I get where people say I used to play Jethro TuIl Oiep Purp1e. I played Yes nhen they"na flrst started but they were gtlte gold- tfren by the standard s gf the timg . 6U.rf o,rsly ybu play r+hat you thought was good at th; ltr" and Altened fnqges:'clgirly weren,t around. ' tf then.





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