I ■ I I
The Del Arnitri Co111panion
Issue 6 November 1997 EDITORS' NOTES: They've had a hard time breaking the Deis to the next level in the U.S. for some unknown reason that has nothing to do with NASHVILLE, USA • Things are still going great here at l&P how talented they believe the band to be or how nu:h they Ama's at <:N6f 400 Slbscribers in the UK /Eu~ and I'm at want to sl.ppOrt the band He knows that fans blame the labet about 250 from the U S /Canada (and a few others from for the Deis not breaking bigger 1n the US , and even said he aromdthev«>r1dl takes the blame himself, which I thought was gracious but By far the best thing f()( me in this issue 1s that this is the first undeserved. time we've had one of the band mermers participate k. you'll It's dfficult for fans to understand that no matter how nu:h the see, Justin judged our lyric contest and was so wonderlul in lci>el may want to support a band with as many resources as writing in to explain how he Judged the Sli>missioos and why possible, it must follow a certain path that is responsible from a he picked the winning entry. And to add to the excHemen~ we business pernpective. So I guess my <µ35tion to all the have the excellent interview with Deis Production Manager naysayers out there is ... "If you don't like A&M (and if you Derek McVay by Karen Nesbitt and Lori Royal-Gordon don't, have you checked out the success of their current roster Thanks so much to both Justin and Derek f()( their time and lately?), what label would you rather see Del Amitri signed Sl.W(Xtofl&P. with?" Hit me ... tear my opinions apart. .. I can take it! A! you11 see in the reader's letters section, fans didn't buy my defense of A&M in a past issue and are consistently writing us to e,cpress their frustrabon. The two letters shown are from the News Update .... U.K., but I get my share over here too. So, I'm back on the defensive again Medicine Del Amitri decided to withhold the release of the single In earty August, I ran into Larry Weintraub • A&M VP of Artist Medicine • which was ciJe out in Septembel' • following the Development (US) at a Deis show at The Roxy in Atlanta. death of Princess Diana. From OIi' brief conversation I learned that "Not Where It's Ar
!, http://www.delamitri.com ~II 1 C> 1997 Infidels & Popstars ,
111 ~- '"""''-"'1111'1'\111'1, ....,"'"'"~''"~''"' ...... ,,"""'''''''~1111,--'"""'"'"".. ''"--"'"''''"'""'" '"''''''"'""' ... "'''''""'''''"'""' ... ' Page 2 Transcript of a telephone interview with Justin Those Depressing Deis • Lyrics Quiz from Phoenix Arizona August 27th .... Part IV Excep~ ft wasn't Justin on the phone, it was Quinner. Very obviously. He's back!II Try out your knowledge d Del Amitri lyncs KZON: Justin Cume of Del Amitri, of course, 1n town tonighl. with latost ~iZ. this time focusing uh receiprent of the "wemie award' earlier, 'cause we ... Doug Brown's on because you weren't here... you ddn't stqi by our studio, what's the less than positive lines in thelr songs ... l4) with that? "Justin". We tried to get through before, but, um ... KZON: Oh . .fMKY OON and again, I gotta go to the bathroom and 1. Look who's got a prnsent for sweet little you stuff . "Justin": Yeah there was no answer. KZON: Well, thanks for calling, I am . . I can't tell you how crushed I am that you're not 2. I ain't ever seen the city look so grey ooming by I am your biggest fan in Arizona. "Justin": Fantastic! 3. And you can be a has-been without having been KZON: to ... you you Yeah. I mean I go back ex, remerrber when anything played hem, like, 1990 in that little ch.b? "Justin": In the earty days, aye KZON: Yeah. I booked that clt.b. "Justin": Oh, you 4. In an errpty house full of ashtray dolbts Your formless dd? KZON: So, I go way back with you guys. •Justin" · Fantastic! Mure floats KZON: And. I'm just so excited that you're here, and I'm just 5. And I'm cold and I'm bored and I've wasted all my food 'crushecf that you're not in my studo today. But, you're going to be CX>ing that show at Zia Records ... • Justin": That's correct 6. I'm talking to nothing but time KZON: Have you all set l4) there already? And, gettin' ready to 7. Felt like I was in a field looking for a pin go? "Justin": The craw went over... 000... a wee while ago ... 8. Yeh I wanna cie, I wanna cry but it's too late KZON: Uh-huh "Justin": We're going over in about, half an hour.. KZON: Uh-huh. Well, I love "Some Other Sucker's Paradise" 9. And from jwenile delinquents came the gangs that run •Justin": (laughing) Oh, fantastic. KZON: I think it's a great this town album. And it seems like you turned around raally ~ick from 10. We get the dog's life, tiits train us Twisted. "Justin": Yeah. Well we decided we'd get in and hurry it When fN8fY heavy just erTl)lies your fate all (4). KZON: And ex, what l4)? "Justin": Huny it l4). KZON: 11. sky on Hurry it l4). I love the Scottish ( meaning accent, but said ? ) 12. And so long to everything What's been, uh, most fun on the road this time around? 13. Love's got a knack of ci~ring • Justin": Uh ... we had a great lime in Chicago KZON: Uh-huh. • Justin": LA was pretty fun... KZON: Uh-huh. "Justin": and, 14. With all the cirty tricks and hypocrites you cheat on me uh... normally everywhere we play is pretty good. KZON: Yeah, 15. And you're sitting there wishing you'd never been born you guys ex, a great show. And finally, I think ... one of the things I was so surprised is ... um ... that you guys are... are Scottish you're 16. They ctained the pool while you ciowned in the cteam not,... um... you're not American. Because you write great 17. But fN8fY new cisguise is just another lie to run from American pop songs. "Justin": Yeah, well the two new guys are 18. You get deeper in debt fN8fY you take on your English. KZON: Uh-huh. "Justin": But the resl.. KZON: I won't step lactier of lifelessness hold it against them ... "Justin": No, we don't KZON: Now, tell me, as... as I listen to your lyrics, ya know, over the years, you 19. When Ol/8f the road there hangs those springtime seem like you're getting a little sharper, and you're getting a lynching trees little ... uh ... ya know. ..just uh.. .l don't know... more sarcastic. 20. You tell me that I hold you back you tell me that you're • Justin": That's just more experience. KZON: Uh-huh. "Justin": bored Um ... the more things you come across, the more things you can write about KZON: Uh-huh. "Justin": So, it's great! KZON: Very 21. I've been playing for each ~ reward like game good. "Justin": Um-hmm. KZON: Well, Justin we look f01Ward to show gluttons ex, your set tonight, and of course over al..uh... Zia .. and we're just 22. In the race to life, I am an alse>-ran bummed that you're not here. But.uh .. we'll see tonight "Justin": Next time. KZON: Okay. "Justin": Thanks alotl KZON: 23. And her picture in the M)8I' looked so small and far Good deal. Justin, yeah, ex, make lime to come by my show next away lime, we'll have fun. "Justin": I'll ... make ya a promise of it 24. Snow in a soulless city covers l4) the cracks in the road KZON: All right, thank you ... "Justin": Okay, cheerio! KZON: All 25. Like ever;one else will ex, I'm gonna lie to you right, bye bye ("Justin" hangs up) Justin Cunie from Del Amltri giving us a ring on the phone, and we're gonna play a bunch of 26. She anives and your whole life hurts Del Amitri music and get ya in the mood, their.. uh .. only song 27. Now I'm watching the fumes foul l4) the su,rise so far to get tqi 10 In the US is from their last album Twisted, and that's where we'll start. With Roll To Me. Del Amltri in the 28 Before the phony night stakes its claim on walkers Fabulous Lunctt>ox 101 5 KZON waiting at the junction (Roll To Me) (Be My Downfall) (Not Where It's At from "Some 29 The chill is everywhere Other Sucker's PARADISE")
Page 3 [ l&P Readers' Letters Re: Lack of Internet Access Re: A&M ~ to hear Iha! encr the wtlh
Re: Lack Of Publicity etc ...
Thanks very much to- the first fotJ' ISSUeS of l&P. All I can say IS they are totally brilliant, a real psend1 I find it very frustaling that so fittle DA stuff appeas in the roclc Re: Middlesbrough ,:ress. It seems the only 'Nd)' that DA could appear in NME or Melody I am back with aoo!M sketch This tme irs lam's hrn By the Maker MS if Justin was foond in bed with Liam Gallagler. (Having lain IS not as scary IS out to said this, I've just bc>cqlt Q which has an mteresbng feature on the way, as the sketch making hm be I know, as my mends and I got ,nvrtecl backstage aner !her' concert T&C gig') 111 M!dctesbrough July 14th lhlS Sl1111Tler Thanks rJJ'IS I love One lhing I oo find a bit annoying though is the mrnerous references you alfl '1roj, beware' VOi.ire up nextJ to the lntemel I feel like a real cave ctNella" as I must be one of the few peq,le m the country IMthout a PC Ann-Louise Ekstrom I en,,, the ciscussion of the !>-Sides I have bougll plenty of singles but there are very few people who can boast such a classic collection as the Deis. Like a lot of people A Better Man is my tavomte I think Sleep Instead Of Teatdrops is a major contender The same c,ies1lon spings to mlfld when I listen to the CD singles - "How could they leave this '1lck off the albtrnr A&M wiH have to release a 3 CD box set II my opilllOll for the b-sJdes With regrd to the 7 Habits OI The Delfan' artlcie m l&P4 I was Re: Huddersfield 23 July 1996 In ll1SWlr kl David Hew!tr Jcr the above concert s question in Issue 5 regarding the seUrsl I Wanty The when Def Am,~ ~ Bryan Adams When ou, Ones That You L L The last To Know Kiss Tots ove ead Yoo Nc7Mlere, Always Cold Smar, Sbwt Wit, Me ~mg Good,ye, Just llke A Man, Stone The Brakes On Mecic:i , To Me, Here And Now, Dnving With ' ne, Being Someboct, Else Anctq &JietwottJ, Page 4 Subscribers' Quotes • What You REALLY Think Of l&P .... by Anna 8atwK:k One of the most positive thi~s lb>ut being Edt0f9 of l&P (and I know Darren and Kelli v,;11 agree with me1) is the amazing feed:>ack we get from Sli>scribers Below are a few exce,pts from the many letters I have received recently here in the UK. Hawily for us, they are on the whole veKy COrTl>hmentary, but I get constructive critictsm too, and I oo appreciate tha~ so please let us know what you think we are ooing right and where we can ifTl)l'OW. Firstly thanks for the magazine, it's funny and l look forward to Just a 1ittle• note to say a "BIG• thank imaginatrve, newr mind useful for findng out too receiving every is- you for sending out the Oct/Nov tour dates etc.. 1,ue and find them dates earlier than most of the music rivoting reading. press. I was at the gig in Mictlesbrough (July 14), it was fantastic and my sister is now a convert after Well, thanks for all I was just about to fly off to the St.ates seeing Justin in the flesh and hearing them your help. for six weeks when l&P arrived. perform just as brilliantly live as they oo on CD Midlothian I was able to get 2 front row (Edin and lV, Justin even took req..iests and the ~ burgh & Brighton), a great seat at the - The Candyskins - were good. I only found out Albert Hall and tickets for Newcastle about the gig when I tuned in to a radio station I and Gbsgow (x 2), all before I left. oon't usually listen to, so l&P should come in Thanks again, and keep up the good handy in the future. Keep 14> the good work! work. Hebbum, Tyne & Wear North F'mchley, London It's great to see Just wanted to write to say Thank you very much such a good for the latest Issue of l&P, and also for putting my quality fanzine ad in the classifieds • CHEERS! at such a low Thanks also for the •sucker" • EXCELLENTI cost • well done! Best wishes, Anna, keep up the good woril, much Acton, London appreciated. Leamington Spa, Warlrs Tlw •--aziae •- N»- •• leapa •• I recently subscribed to I&P and gladly re ...... ■i...-e i■--f' Olle •- iC i■ ..iCe laeaneai-,e Co lutow d1ere are aC le..c ceived issue 4. A fine publication indeed. I .iOO Dela. 1-- o..C Chen-. look forward to future issues. H■:, I ■ho offer -llfftraecive m•wi.. I was also impressed with the speed that you alloac •IN- laaz:iae a■ well. Fi.ratty I sent it out to me, you automatically expect to ddak die •a,emr.iae Deed• •• eonttn have to wait for things. tr ■ce ...re OD CIN- ••ad aad iC• •aaie r■claer Claaa ••- _pf'l'IIOaal •xl"'ri•_...L E/tham, London ...... Dall ol ct.. .Call wriO•• i• ..._l■Ce I ..,... aH>C lh-1 AmiCri ■- ildeniewNI What happens to Del Amitri fans??!! )Ir C:.rrif, on CIN- pho~ ltac I don'C •laowt ic from ct.. roobo... 11t .SO.-. I low the article 'I'll see you in the nuthouse". •ak.e •• l■aah ChaC everroae wlao like■ My husband thinks I'm ~ but I've managed to recruit S8Y8ral dw ,O.la ,. •lilnk CIM-y an- •IN-Ir l"'••-•• glrtfriends into the 'chi>"! We've just managed to get seats at the Del __ ...... Amitri concert in Brtghton in October - second rrNi • will Justin be Aaodwr rrlCif'h1• u CIN- N»aCri ..Con wearing his black leather trousers?? We can only ~ • unless you can put in a good word for us! all -• •o It. •• •- ..-pa. •,·.r-, ~- II ,... aN' aot •• •• lac.-r-c h I wonder what the average age of a Del Amitri fan is? We are a ~ IIIN'-■ :,oar NHICri ...Cioa I■ dN-•NI ... of thirty-somethings who haven't felt like this about a band since we ,.. .., ...... were in school' Long may it last fA6t'fb,. IJr ..i J'orhluff' Alton, Hampshire Page 5 Virgin Radio, 9 September 1997 I How I Became Hooked ... 1 by Hilary Gray by Andy Benson It was 5a m, everything was dead, and every third car was I'd liken it to a love affair that starts off slowly but bit by bit actually a looy becomes almost an obsession. I was on my way to London, to be In the audience for Russ & I think I was in HMV Liverpool, probably not long after the Jono's Breakfast Show - the Deis were going to be the guests. release of Change Everything. I was browsing around when I With me were two non-fan friends who kept saying "We can't SU Page 6 The Del Amitri Story - Part 5 as told by Teres., Couch (LadyWiz of lfediaWizard) April 12, 1996 - Delta State University Upon returning home from a fairly disasterous crowd at the Starl by Amy LNCler I'm a newcomer to the Del Amitri worid, only discovering the band two years ago as I meandered past a record shop they haR)8n8d to be playing live in Ever since that moment I've been addicted to their wrenching melody, intricate harmony and coaxing lyrics Given the opportunity lo chat lo Justin Currie before they played Leeds Town And Country Club, I decided to get I'm talking to Justin a COl4)1e of weeks after the release of Some Other Suckers Parade. After five albums, expectations of a neN allum must change. Justin seems to agree: "When you release your first album, you can't believe you've made an album. I rement,er when we got the first cq>ies from Chrysalis of our first album. We were ctiving along the straet in London and we sqiped the van, wound oown the window and gave a stranger a cq,y of the album. You never really feel like that again. Now my expectations are dfferenl The main thing you think about when you put a record out is "Lei's see how long we can tour ii fo(. We like to lour it for at least a year, rf not two.· Touing seems ifTl)Ortanl in the life of Del Amitri. •1 think playing live is the most import.ant thing in a gf"OC.4) like ours. If you cidn't play live, you'd make records in a very dfferanl way, you'd make records purely for their own sake, you wouktl't consider how certain songs would go ~ on stage. When I write a song, or when we are recordng a record, all we're really concerned with is •1s this going to wor1c live?", and that's what you've got in the back of your mind. I could never be one of those bands that just makes records. When we play live it's going to sound pretty much like the album because we record most of our albums live, certainly the last two we dd, so we're doing the same mechanical things as we do on stage. The only cifference is really what the SWld guy ooes ... and how nervous, excited or drunk we are.• But doesn't that restrict the band to doing stuff that only worics live? -Well it does, yeah,• actnits Justin. "There's a lot of acoustic stuff that we never oo live because it doesn't really woric. There are some things that are really fun to try out in the stucio but we'd never do on stage. The limitations of your own talent and abilities are what makes your sound and certainly, one of the limitations we have is we pretty much have lo be able to play everything live because we oon't have a computer or anything.• "How oo you ~ the various kinds of venues you play?" I ask. "There are some shows you oon't take seriously, especially an America You oo record COOl)8l1Y shows sometimes that are really just for the music business, they're not for the peq>le, they're just for sales people and you oon't take them remotely seriously, because, for a start you oon'I get paid, but that's not the main issue .... the main issue is they're not a real audence. You do in stores and things, It's not really a show, it's a pl.blic appearance, we play a couple of songs, we talk to the aucience. I st.W0S8 you aw,oach them all differently. If you're doing a concert in a theatre or large music venue you generally deal with these in the same way, you get pretty neivous and take them cµte seriously, because that is your audence, they've paid money and they expect certain things.• I go on to ask about acoustic sets, ·1 enjoy doing that, but you get over it pretty quickly. We dd an acoustic tour of E~ a couple of years ago. After two or three gigs we'd had enough of it really,• explains Justin. "It's all ci>out intimacy and feeling. and that's line in the right venue, but when you get into a bigger place or if you oo it for a week you just sigh and think "Gis a rock gig•.· "Ive there any songs on any of the albums that you feel you could never play live?" I erqiire. -We can play them all live. Some of them are pretty cfflicult, because some of the bass parts are too dfficult for me to sing and play at the same time, and some of them just don't work very well live. Never Enough on the last album is probably one of the simplest songs that we've ever written, and for some reason we can never make It sound good on stage, I don't really know why. Some songs just don't work as well, that's why our ~oire is pretty much unchanged through the years We still do the same three songs from the second album and the same frve songs from the last one.• One thing that became obvious throughout the conversation was Justin's under esbmation of the band and its success. "Personally, my definition of success is making a record that you know is the best record of the moment, that defines that week or that month,· he explains. ·1 don't regard myself as successful. We're relatively financially successful because we\oe been played on the rado <:Net the years and that earns money, we're songwnters, we make pop singles. We've never made money from selling records, because we've never sold enough records, but we\oe made money from writing songs, so in that respect we are successful songwriters but we're not really a successful band. 1f that makes sense. I don't think we\oe ever made one of those records that nails down a particular period.• continued on page 9 Page8 continued from page 8 Justin goes on to say, "One of the advantages of being a group like Del Amltri is you're not fashionable, you've never been associated with any particular scene, you can just quieUy get on with things and release records. You never suddenly come 1-4> against that wall of irrelevance, because you've never been relevant-With the highly critical self evaluation of his success, I wondered what 0Cel4)ation Justin claimed he held •1 hate the term singer-songwriter. I've always been a bit erroarrassed about saying I'm a musician, because I'm no~ I hardy play anything, I can't play piano or guitar. Now I just &rf I'm a pop Singer because that's basically what I do. I think songwriter sounds a bit pretentious, but when I'm hiring a car I &rf I'm a writel' becaUS8 they won't insure you if you say you're a musician. And if I did have an accident I guess I could always claim in court that they'd have to pay 1.4>, because that is how I earn my living, by writing songs, so it would not be a complete falsehood." A noise at the door incicates the need for Justin to go and sound check. And so the brief meeting is over. Justin prepares for the night's gig as I retreat back into one of many in the audence singing to the songs, moving elegantly out of time to the music and watching in awe at the torrents of sweat in all directions off the skin of the band on stage. CREATIVE WRITERS' PAGE •His Journey" By Vikki Upinski His train shuffles on its tracks. As it cuts through the trees he glances out of the window at the endess countryside. Fields lflOl1 fields, greens and browns, the colours are changing now, it is getting colder. He looks at his watch and sighs, hours until he arrives. W'rrf can he not relax? His mind wanders and he imagines their reunion, smiles, embraces, tears. She haai't gone through with it after all, dd she still want him? Had he another chance? Or maybe there was someone else? Doubts fill his head and his eyes ~- The fields are still staring at him, laughing in his face, as if they know something he does not There had been no invitation, only a short conversation, what made him board this train? It's intuition leadng him again, back her, back to the tear stained face, back to those long warm nights together, back to walking alone and fincing her gone. He blinks away tears and gazes at the fields, they rush past oblivious, to him, the train, to her, the reunfon. But they know, he will be alone in the morning. "... a little something that I wrote." by Darren Holmquist (based on the writings of Justin Currie & lain Harvey) Maggie walks the streets alone, hungiy and afraid. Searching the faces of the passers-by for a look of corr4)8ssion, but her gaze is met with cisinterest and averted eyes. It's been five days since she stepped out onto these streets for the first time. The city has made her suffer to survive. She~ for fN8fY (WOrtunity for 8fll)loyment but finds herself still searching. She was sl,4>POS8d to look ~ the daughter of a man family knows. But, Fred Partington's daughter was missing, or had moved on. Sitting on a park bench she writes, "Life in the city is nothing more than a million cifferent movies all playing at the same time." Her journal is her only friend at a time when she needs a friend mosl it was almost taken away at this oown-frodjen store she was in ear1ier. 'What cfya have under your coat?" This over-sized security guard asked as he blocked the exit with the bulk of a~ Sumo wrestler. ·1rs just a little something that I wrote." She raplied, pulling it out to prove the book was indeed hers. He took the book to examine il She feared it 'M>t.lld be oonfiscatad, orly to be passed around the wretched 8111)1oyees of this horrible store for a laugh. The thought of others leafing through her journal as if it were no more than weekly periocical sent a cold shiver down her spine. He perused a page or two, and handed it back with a smile. It was the first genuine smile she'd seen since she first stlq)ed on the pavement of this oofeellng city. Page Q I European Tour 1997 ] Stockholm, Electric Garden, 27 September 1997 by Magnus Thome So they finally came back to Sweden again!1 I oon·t knoW exactly how big the venue was but I'd guess that around 500 peqlle were there, and the ch.t> was really packed! Perfect for the fans, I hate arenas. I placed a big pile of Infidels flyers in the entrance. I think almost the whole pile was used ~If Vocy good sound, slightly loud though, I had a bit of a problem hearing properly until today :-). Lights where ok (handed by Derek) The band sang and played very well apart from 4 - 5 mishaps when somebody played a totally wrong chord or something, with the immedate reaction of the band almost falling over each other laughing. Maybe a typical Swedish Del audence, lot's of guys around the age of 30-35, although some of them had dragged their gir1friends along .. ok there where some gir1s there too. There wasn't much jumping around and dancing, but in between songs the crowd went crarf screaming, clapping, stomping and whistling! In rrrf opinion the band seemed to enjoy the Waking Hours stuff most, then everything REALLY took off. The new stuff they seemed to just want to, more or less, get over with? Odd. Anyway, In my opinion they had just slightly less fun than last year at Gino's. The press here in Sweden has in reviews of the concert been VERY positive. They followed the playtist apart from Justin taking a request just before Be My Downfall. So he dd a short version of To Last A Ufetime Just with his acoustic guitar. He didn't do the whole song and excused himself with ·not knowing it in this key" since the gU1tar was strawed up to play Be My Downfall In the back of the audence there was a guy with a very JX>Werful voice screaming "Long Way Down" about a hundred times or so. His llq.lest was not acknowledged. Somewhere along the way they inserted a brief • Mama Mia" of ABBA I think that was in Driving... or possibly Hatful... They also inserted a brief 60-70s song somewhere. I think it was a Buffalo Springfield song. Playlist which I got from Derek: Some other Suckers Parade Just Uke A Man ( do they Af_WAYS have this as number two?? It works great.) Always The Last To Know On a quite - to me· new style) Cruel Ught Of Day (tonight's •dfficulr song. Last year they cid Crashing Down instead) Not Where It's At Paper Thin (they seem to like this one .. ) Here And Now ( a bit of a problem with the falsetto part. .. ) What I Think She Sees Roll To Me (the crowd not going very crazy, it never hit here in Sweden more than any other Del song) Move Away Jimmy Blue (and now the band really woke up, from here until the break they really rocked} The Ones That You Love Lead You Nowhere Hatful Of Rain Start With Me Stone Cold Sober band left.. everybody went crazy Medicine To Last A Ufebme Be My Downfall (everybody s1ng1ng ... ) band left again .. everybody went crazy tearing the roof down again Driving With The Brakes On Kiss This Thing Goodbye Page 10 I European Tour 1997 I Bremen, Modemes, 30 September 1997 1. SUCKERS PARADE by Peter Hornberg 2. JUST LIKE A MAN I am just back from Bremen, Germany, where I saw Del Amitri live at a place called Modemes. 3. LAST TO KNOW From my place to Bremen is about 400km (which is t CRUEL LIGHT OF DAY .tx>ut 260 miles I guess) and the trip was more than worth itl! 5. NOT WHERE IT'S AT In COOl)arison with the Gambndge concert there were 3. PAPER THIN To ~ r.'21fle two cifferences: first, the sound was much, much better • vocy loud, very good• but not "over-steered" (can you 7. HERE & NOW ~lfl~Jl.s ~ follow me?). Second, them is a new Del Amitri singer. 3. WHAT I THINK SHE SEES one with short, spiky hair and no whiskers ..... but as soon 1 as he started singing it turned out to be Justin ..... ~- ROLL TO ME fofs~r; ' The place was not very big, I think it could hold .tx>ut 700 peq>le, and it was packed!!! The atmosphere was 10. JIMMY BLUE JvsJ-f"' great and the whole band is at its best at the moment I 11. ONES YOU LOVE ~ really like the new guys a lot. After the concert I immediately begged one of the 12. HATFUL OF RAIN roades for a the setlist, which I copied for you. I asked Justin to write this text on the setlist, which of course he 13. MOTHER NATURE'S\.~~~ cid, as you can see. 14. START WITH ME ~.. - Maybe this is of interest to the Dut~Belgian fans: I 15. STONE COLD SOBER asked Justin 'Wtrf is them no Dutch or Belgian concertr He answered "I don't know, we always love to 1. MEDICINE come to Holland and played Paradso Amsterdam in the past; I think ma)t>e the record company is not supporting ~- BE MY DOWNFALL------us enough over there .. ." 1. DRIVING ) VICC TUI~ TWll\lr- I Know What The Name Means!!!!• Possibly REAL TIMID And{? 'RIDI' METAL' What's Rici? RAIL TIMED Hence the obsession with trains.. MATED URI Uri?? LITRE MAID Alcohol? ARMED ITIL Arrfone know what an itil is? LAID MITRE Sex & soccer TIMED UAR No names mentioned here.. l'M TIRED AL Who's Al? MALTED 'IRI' Back to drinking again .. DARE LIMIT 3 each ID IM LATER The lads use the Internet? Vikki Lipinski Cu"entJy no Internet access :-{ Page 11 Old Concert Photos I by Gary Hawick I QM Union, Glasgow University, 24 October 1989: The show at the QM Bar was arranged because Justin Currie said they'd been booked to play at Stirling University, but were "thrown our. This was before Nothing Ever Happens was a hit and the band were still playing songs like The Return Of Maggie Brown. Virgin Records, Glasgow, February 1990: The show was only three tracks played acoustically. If I remerroer right they were This Side Of The Morning, No Holding On and Nobng Ever Happens, and lain told a jol Page 12 I I Old Concert Photos (cont'd) I #x:Ne left and right Glasgow Barrowlands, March 1995 Left, below left and right Edinburgh Playhouse, July 1995 All photos on these two pages© G81}' Hawick Page 13 Submitted Highlights from the US Tour of 1997 July 30, 1997 Boston MA (Taire Ruffing, Karen Nesbitt, Lori Royal-Gordon) Well, we have proved beyond a shadow of a doubt that it is possible to suffer intense sleep deprivation and still have a thoroughly great time. The first show we caught was at The Paradise in Boston and it was by far the best. We were totally unprepared for the sight of Justin's (nearly) bald head. By now, you've already heard about this so let me just say that it's a radical change and the conscensus was that scruffy was better. They opened with Some Other Sucker's Parade and played quite a few from the new album (NW/A, What I Think She Sees, Cruel Ught of Day) and Paper Thin which sounded awesome. The rest was the usual mix . The new intro to Always The Last To Know rocks and Marie was brilliant on the drums. Kris is really good too. Lots of dancing around, lots of eye contact with the audience and a big grin on his face most of the time. Apparently that was contagious too, as Andy was smiling and dancing and having a whale of a time behind the keyboards. The guitar techs on either side of the stage were dancing their hiney's off too, and generally making us howl with laughter whenever we looked their way. They did two encores, when they came out for the first one we held up signs for High Times, Make It Always Be Too Late and Downfall, which Justin held up to show everyone in the audience. They then proceeded to do a near perfect rencition of Downfall with Drowned On Dry Land thrown into the middle and Andy up front on the accordion. It was the first time I had heard them do all of Drowned and not just a verse or two. They finished with Kiss This Thing Goodbye which was sort of fitting. All in all, they looked to be having fun up there, the crowd was terrific. July 31, 1997 - New York City (Taire Rufflng, Karen Nesbitt, Lori Royal-Gordon} The show was not so good that night since the audience was crap. The band didn't seem to appreciate the crowd and vice versa. The set list was the same as the night before except for a brave attempt from Justin to do Fred Parlington's Daughter for a persistent fellow down front He only got through a verse and a half before he forgot the words and gave up. That much was fun to hear though. Instead of Drowned on Dry Land they did New York, New York in the middle of Downfall which was hilarious and sounded pretty good since it was coming from Justin. Aney was doing his best to drown out Justin's vocals with the accordion. August 1, 1997 -Sea Bright New Jersey (Tafre Rufflng, Karen Nesbitt, Lori Royal-Gordon} We got there early and were treated to the sight of Justin lounging on the patio with a book. What was really funny was that while he was sitting there, NW/A was played and he never even blinked. I don't think he was reading though, just waiting it out As the last few bars were playing he started nodding slightly as if counting them off and when it was over he looked around to see if anyone had noticed! Very surreal. The set list was the same again and the show was terrific. The audience was enthusiastic without being obnoxious. They had some technical problems which had Justin and lain ~set at times, but they got over it pretty fast When it came time for encores Justin promised to do some requests and he settled on Whiskey Remorse which came off really well . Then he started to play Downfall in the wrong key and had to start over even though lain told him it would have been just fine. It was going on 2am when they did Kiss This Thing Goodbye August 7, 1997 - Atlanta GA (Kelli Smith) My attention to detall has really been lost lately ... the guys all looked great though ... very stylish and "where it's ar in my opinion. Justin's hair is cool and Kris went blonde which I think looks great... Quinner's blonde now too. It was a very normal show with a good selection of songs from all the albums. Real highlights for me were: ""Driving with the Brakes on• this sounded so great and confirmed my thought that this is one of my favorite ballads . .. Kris Do1limore: I love this guy, he has great energy on stage and seems like he's having a blast.. plus, his background vocals are excellent • he's very cute and charming too. " At!Of was smiling and goofing around during a lot of the show. " Some of the new crew members were dancing and doing high kicks backstage (Daw Sills) Really excellent show. Extremely well played, very energetic and fun Backing vocals get a lhurrbs ~ (I told 'em !hose in-ear monitors would help lain!). Andy does blazing accordon solo (I kid you not!) during Downfall then rocks out on guitar oown by Kris ciJnng Being Somebody Else (and sings too!)! This Side Of The Morning was played, as was the first verse of Opposite View. Paper Thin is very cool, when are we going to get it as a b-side? (Karen lfcBride) It was nice to see them back in a ch.b setting after last year's "Taste of Chicago" outdoor concert. Everything from the new album sounded good: 'Not Where /rs Ar, "Some Other Sucker's Parade", "Medcinlf, "What I Think She sees• and ·cruel Ught of Day". I was mildly disappointed that some of my new faves were left ou~ particularly "High Times· and "Make It Always Be Too Late•. Justin kept the crowd amused with his comments between songs, including a delightful impersonation of Janet Jackson and a great deal of razzing of the new guys. "Be My Downfa/r, one of my personal favorites, was interrupted with a bit of "Drowned on Dry Land' - as always, everyone went nuts for Andi/ and his trusty accordion. I was extremely excited when Justin began 'Opposite View - only to out it off after the first verse! Oh, and my vote on the new haircut is thumbs up ... August 20, 1997 - Seattle WA (Melissa Wiechmann) The Showbox was pretty similar to the other venues that Del Amitri have playeci. It was a mid-sized club, but was not sold out After the opening dialogue, you know, 'the nighties! night in Del Amitri's lives,• the guys came out on stage. They seem genuinely excited to be playing. It seems that the three- The only mlss-ques was a point when lain was CNer next to Kris, and was doing some big guitarist move, and bonked Justin aside the head with his flailing slumming hand. Justin thought it funny, as ad everyone else. During Start With Me, the regular set ender, Justin left the stage and came down in front and boUnced and danced like one of the aucience. He was there for probably 2 full minutes. He was truly among friends down there, and I think he sensed rt. continued on page 22 Page 16 And The Winner Is ... ~ most d you will remerrt>er, we announced a lyric writing contest last May in Issue #4 . We _had twenty-seven wonderful entries, lhlrlk you \Jf!JY much to all who participated. But, of course, there can be only one offietal winner. we caught ~ with Justin after a show in Atlanta this August He graciously agreed to be our judge, which made lhls contest even more exciting. [Thanks again Justin!] We sent him a package with all the entries spiral bound in a book. Each entry was sent with only an enlly number on the top, no names or country origins to unconsciously influence the judging. After Justin picked the winner, he made some notes in the book, signed it as part of the prize for the winner and sent it back with this letter Minneapolis 1st Sept. '97 Dear l&P, It's the last date of the U.S. tour tonight and I've finally found the time to get this stuff together. I chose the winner about three weeks ago, pretty much the first read through. The one problem I had in judging was that at least half of the submissions seemed to have little or no connection to the competition and just read like other people's song lyrics and private poetry. However one or two made real attempts at del amitri pastiche - #11 (by Jacqueline Collingwood of England], #12 [by Rhiannon Law of England], and especially #25 [by Mark Shepherd of England] which was a close second. It has tons of dels buzzwords carefully inserted throughout - driving, moon, jewels, tarmac, etc., but it was just a little too cloying for my taste. Some people got it completely wrong from my perspective. One entry was called ''The Creek" - a less British expression you could not find, I reckon - we have gullies and glens in Scotland, not a creek in sight. The main reason I chose "Best Luck I've Ever Had" [by Karen McBride of Chicago, U.S.] was because I rather liked it for itself, parody or not. It has some original elements especially the middle eight, but it's also packed with delisms - the minutae of the first verse "the teacups, the hairspray... " the ironic use of "luck" in the chorus which turns up in similar fashion in "Ceasefire" & "Lucky Guy", the silent movie metaphor which reminded me of "Learn to Cry" and of course is describing a standard del theme - non-communication (eg: "Tell Her This" "Never Too Late"). Then the bridge sealed it for me - the "list" middle eight - a favourite of mine - and a brilliant oblique rhyme - "better" and "forget her" (see "Won't Make It Better" or countless Beatles songs - always a winner). The last verse has some great stuff - "she took all the clocks" sounds very Del to me and what follows actually is a Del line from an as yet unrecorded song called "One Step At A Time" which goes " Let the traffic take the strain, let's you and I just listen to the blood run through our veins" - a coincidence that reveals how in-tune the author is with this competition. The final pay off is typically del - it works very well - probably better than anything I've done. All in all #7 wins by a length - I'd love to hear the music! The one thing that did surprise me was the lack of "babe"s and "baby"s which are the most frequently used words in my lyrics if not most pop songs. "Baby" has a great sound to it and Is very u~eful when you're two syllables short of a great linel So it was odd that only one or two entrants picked up on that 1was expecting to be a bit ruffled at these parodies - nothing like someone's imitation of you to slap your weaknesses in your face. But on the whole I was amused and impressed. Anyhow, the bus leaves in an hour so it's time for T.V., a nap, and a shower. Thanks again for all your enthusiasm, organisation, and efforts to promote Del Amitri. If you want to send the winner my comments in this letter or use it in the mag I don't mind, I just hope everyone who entered knows that It was a lot of fun and seriously absorbing reading through all of them. Cheers for now, Justin Page 16 BEST LUCK l'VE EVER HAD ENTRY #7 By Karen McBride V. 1 After a million stops and starts, hke a busy train slation, we've finally reached the end. Running out of steam, yeah, and running out of patience, runntng out of time to stay "friends• Now she's packing 14> the leacl4)S and the hairspray and the cat in a box of reality, because once l4)00 a time love lived within these walls but we am its latest fatality CHORUS: And it's not at all like me to be silent but would it matter to say I'm so glad? And she's so sincef81y wishing me luck without saying if it's good luck or bad. But it seems to me her leaving is the best luck I've ever had. V2. I'm staring al my shoes and smoking like a chimney, ignoring her pantomime. It's like two silent movies playing in the same room, at the V8fY same time. And when the last remnants of love are ~ in new~. catalogued and stored, She slips out of my life without even a sigh, too apathetic to slam the door. CHORUS: And it's not at all like me to be silent, but would it matter to say I'm so glad? And she's so sincerely wishing me luck without saying if it's good luck or bad. But it seems to me her leaving is the best luck I've ever had. BRIDGE: A ratbit's foot, a horseshoe, a four leaf clover - I coukti't have done 8trf better. So neatly, so cleanly. so CJJlckly, it's OYer, and I oon't even have to wish I could forget her. VJ. Now there's a silence hovering heavy- in the air, like the swoet mist after it rains She took all the clocks so all that I hear oow is blood crawling through my veins I'll enjoy it this way, 'cause tOITIOO'OW they say is wheo loneliness settles in, And I'll be out chasing rairbows down on&-way streets, tryin' to get lldy again. Page 17 - ·ooN'T CALL us "ROADIES" A Candid Conversation with Deis' Production Manager, Derek McVay by Lori Royal-Gordon and Karen Nesbitt Derek ·Der McVay is a busy man Responsible for putting together each and every Del Amrtn concert, he's the one you see runT11ng MOUnd uke crazy before, during and after the show, making certain everything goes smoothly for the band and ,ts fans We first approached him about ttus interview in New York City, then discussed it in more detail in Sea Bnght New Jersey We spoke to him in San Francisco about conducting it in Los Angeles, but the band and crew had to fly back and forth for a performance in Cincinnati mbetween, and Derek was antiapabng major exhaustion. We finally caught Derek with a few moments of free time at Cane's Bar & Grill in sunny San Diego, California. There on the beach, under the swaying palms, he graciously answered our questions about the tedln1ca/ side of things while the rest of the crew took a we/I-deserved dip in the sea l&P: How many peq:,le are in Del Amitri's road crfNI? Derek: Well, there's ttvee backline technicians, Brian Carroll, Budoe Rennie, and Ken Maxwell. There's our sound engineer, Dave Kay, and then there's me, ltghting designer and prodJction manager So that's a total of five Back home we have a mon1t0f engineer as welL And of course we've got Ian "Quinnef Quinn, also. He's the tour manager. l&P: Did he get that nickname from the band? Derek: Well, we've got lain in the band, as well So he just became Quinner l&P: Quinner is the lour manager; you're the production manager. How is Quinner's job different from your job? Derek: 8aS1Cally, Quinner's main thing is to look after the band Especially when we're in America, he might have to gel them to interviews and rado shows and then bring them back. His job is to look after the band, collect the money, and look after that money. My job 1s lo set 1.4) all the shows, advance all the shows with the promoters. make sure that we have crew, load-m bmes, running sched.Jles, that we have parking, that we have all the basics and minutiae of a day's existence. That's what I do. So he looks after the band and the money, and outside of that. I do it all, really. (Laughs) The show. l&P: Where did your nickname come from? Derek: "Del." Well, back home, Derek shortened is Del. I've been introduced to people as Del Amitri. (Laughs) l&P: And do you correct them, or do you just let that go? Derek: Well, once we let it go, and I think it was in Canada . it was someone from the record company. He said, "Hey, Del Amitri!" And lain went, "Oh, this is Del Amitri." These guys were talking and going ·1 love your records," and all that I said, ·rm sooy, I think yotlve got it wrong. I'm their prociJction manager and lighting designer." l&P: So you bring the whole crew with yoo? Derek: Yeah, we bring everyone with us We don't use any American staff at all. l&P: How often do you stay in hotels, and how often do you just sleep on the bus on the way to the next place? Derek: The cre-N sleep on the bus until a day off. That's normally five or six days when the crew are on the bus, and then we get a day off In a hotel The band get a hotel f!'Jery day. l&P: Is that a budget decision? Derek: Yeah, it's a budget decision And also, if you have the band on the bus at all times, (a) they get pissed off and bored; (b) they can't get a shower and look after themselves, so they get bred and gru~ and also we can't keep the bus clean 'cause they're on there malung a bloody mess the whole time [Laughs) l&P: You must feel like ~re living in each other's pockets, anyway. Derek: Well, we are, yes I mean, eve,yone's there There's a COlf)le of us who look after cleaning the bus and making it nice, but most of them don't, you know? l&P: Do you want to name names? Derek: No, no, no (Laughs] They know who they are. l&P: We knew you'd 5a'J that Derek: Wei.I, you know that's the way it goes. You've got people like me--l'm so anal retentive, I hke a n,ce clean place, but other people don t care if they IIY8 hke a slob That's something you have to accept and live with. l&P: So when you're traveling from ~ to place, eve~s on the bus How many peqlle can you put on the bus? Derek: Twelve We have twetve bunks, so we can sleep twelve people But countJng the band we only have eleven, so we have one spare bunk • Page 18 l&P: If you have a two-Oay dnve to get somewhere, do you st~ at a hotel then? Derek: No, we st~ at a truck st~ normally l&P: And in each city, are there local people that help yoo? Derek: There's local PA companies and local lightmg C00l)Sntes that we use as well l&P: They do the mixing board and the hghbng? Derek: Well, they put it all oo~ and we operate We don't allow anyone to operate apart from us. So they just deliver the systems and set tt l4> A lot of times it's in-house alreactf, they just switch it on, and we do the rest l&P: You don't actually hire any t80'l)Orary pEq)le? Derek: Not Derek: Yeah, 'cause they're my friends. Just OON I've been offered to do a band back home called Texas. So I could have been doing them as well, but Del Amitri are my friends; I've been with them siooe '88. That's a long time, you know? And it's a farTllly, as you know, it's a big family thing ... I mean, we all love each other. [Makes sappy face, then laughs} l&P: Has the whole crew been with Del Amitri as long as you have? Derek: Brian's been here a year I~ than I have, and then it's me-I've been here the next longest-then Quinner, and then Budde as well BU Derek: Well, you're actually trying to make profit, but this sort of level of touring c:Ner very hard 0 thing a on here, It's 11 main 15 not to let the band lose money, 'cause they're oor friends We don't want them to lose money. l&P: Where does the budget come from? Derek: We budget how much hotels are going to cost us, how much wages are going to cost us, how much transport ls going to cost us, P8f dems everything to do with what you would thmk a normal existence is Page 19 c:o.itmued from page 19 l&P: And where ooes the money come from? Derek: The money comes from the promoters who pay us lo perfoon at their venues So we end up wllh column A. which is what ts costing us. and collMM B, wt-ch is what we're taking in And then we have a shortfall or a profit on that. We're trying not to ha\ae a shortfall. we're trying to break evan or make a profit, so we can keep the band g01ng If they have a shortfall every tour they come OW/ here, they can't tour America Back home we make a profit l&P: Do you haw a standard cootract. or l&P: 'Ml0S8 jcb IS 1I to dactde whether Of not you'll accept that offe(? Derek: It's normally the management and the band. I'll get sent the dates, and so will Quinner and John Reid, the manager We'll all look at them and say, well that seems fair, that's a fair offer, it works NoonaUy it comes to do with sched.Jling, actually, 'cause we could have saneone offenng us huge amounts of money down in New Mexico, but if it's a three day l&P: We've noticed that you all get out of here V8l'f ~ickly How fast can you tear down a SOON? Derel: Half an hour l&P: Does~ help with that? Derek: We all try to help each other. Part of the thing with Del Amilri Is we try--« myself as prodJC:tion manager- try to get eY8f)'008 to work together as a team °' a family A lot of backline technicians won't oo that; they Just do their Job and that's rt But we try not to oo that- we try to help each other 'Cause when you're out for frve or s,x weeks somewhere, all you've got are your tnends 'MlO are ai the road, really, to help you if something goes wrong l&P; How oo you get the ~t around? Derek: In the bus We used to take a truclc around Wtth all our own gear- we'd bring all ocr gear CNel' from the U K.--but it Just was so siHy We were doing smaU cftbs with enough gear to cb a theatre show. We sort of made a decision to scale everything down and make ,t small and neat to fit into the bus l&P: Does the venue pr0'-'ide arrt ecµpment? It seems as Ulolql you're usmg afferent monitors ~ trrne Derek: We use whatever the house has got tor us We don't bring OlJ' own monitors PA and hghls and monitors are always in--house We don't tour anything l,ke that. l&P: What oo you bring (1'18(> Do you also root some 8(Jipment when you get here? Derek: We only bring ~tars We own cµte a bit of stuff aver here, and we're also given a lot of stuff from afferent manufactl.fers Gbson gives us a lot of stuff, and Oberheim. We own the bass 8t'll)lrfiers, and some of the other stuff we own, and we keep rt in storage in New York. l&P: So you own a set ol ecµpment for the United States, and another set of ~ipment for back home? Derek· Yeah And we bring all the guitars OYOl I think we brought about twelve °' fourteen guitars ovor-something lrke that It's a lot of g.,tars Page 20 ,r l&P: What about the ctum kit? Do you buy spares? Derek: Yeah, we buy spares we just buy stuff whenever we need 11 We just bought a drum kit from Slingerland, which I know ,s a good manufacturer, at the beginning of the tour So that will go into storage now, and that will be our American ctum kit. l&P: In case something breaks, do you have a back~ of everything? Derek: No, we oon\ actually You know what's going to break-things that break mostly are sb'ings and l&P: You guys have to put ~ with a lol How cid you get into this business? How do you get a job like this? Derek: I was a musician originally, a bass player. I made some records and all that-Justin's got one of them. [Smiles} So I cid that, and then I worked in a sh.do and ran a PA company l'w just always been in the music ind.Jstry, since I was eighteen, really. l&P: Is that pretty typical? You know someboo(, and that's how you get the job? Derek: Yeah, it's quite typical. Things just come along, you know? And it's all word of mouth. They give courses and such back home, but you won't get a job. It's who you know and how you work on the road. It's a very small, close-knit community. When I go back home, I know 8WfY0118 in the U.K who ooes this, just about And they all know how you are, and If you'll get on with them, or get on with someone else. You spend such a long Ume together, you can't have someone whose character is a bit ~stionable Or you just end up on a bus . . . l&P: Killing each other? Derek: [Laughs] Well, yeah. l&P: The band actually hires you? Derek: Yes, I'm hired dmctly by the band. l&P: And do you hire the other people, or ooes the band hire e-10ryboo{? Derek: Oumner and the band and John and myself, we all know who we want to hire, really. And if someone has to leave, we'll try to find someone who's s~tJc to us to come bade in But it's the bands decision in the end. If they oon't like someone, they tell us and we have to say bye-bye. l&P: They don't like them, but you get to do the cirty work, 1s that it? Derek: Well, Ouinner normally or John Reid will have to oo that, really l&P: In the relative scale of things, is Del Amitri a fairly easy band to wor1c with, once you know what they want? Derek: Yes They're one of the best bands to work with; that's why we're all so loyal lo them. And we have been for 8 long time, because they're a great bunch of guys l&P: Well, they sure seem that way Derek: That's the WWtf they are They're the same way to us l&P: So you woukti't have to do that drty job very often Derek: No, we oon•~ actually. Hardy fMK has 11 been done. For other bands, it's ~•le common, but not with Del Amitri. l&P; You said that they're your friends, and that's why you're loyal to them. Are they your favorite band to wot1< with? Derek: Yeah. I mean, I work with a lot of other people, but the Deis are my favounte band to wor1c with, yeah. l&P: We're Infidels & Popstars How else could you posscbly answer us? Derek: But it's true [Loughs] I oon't have to be here It's ITT'f choice Paga 21 conhnued from page 15 August 24, 1997 - Los Angeles CA (Karen Nesbitt, Lori Royal-Gordon} The tage al the El Rey Theater was kind of a triangle, and dunng the show Justin said that it was just like the Nr Force and he was ~he squa CLASSIFIEDS COLLECTOR: Interested in trading tapes of live shows, radio appearances etc. Write to Mike Gomoll at MGomoll@wor1dnetattnet or in care of your l&P subscription address. MITCH KERR would like to hear from fans anywhere in UK, Europe, USA or wherever who have tapes of concerts or racio sessions or TV~ Material from 1983 to present available to swap only. Write to him at 49 Townhead Street, Strathaven, ML 10 6DH, Scotland, or e-mail him at [email protected]. WANTED. Fans of Del Amitri from anywhera in the wood, any sex, any age! I'm 16, female and desperate to get in touch with fans as I know none1 Write to Me Hunt 42 Synehurst Ave, Badsey, Evesham, WOfCS, WR1 1 SUL, England. DEDICATED DELS FAN wishes to contact other fans from anyNhere (but particularty in Harts area) with a view to gigs (anywhere and everywhere possible). Also wanted: Deis videos, b-sides, bootleg etc. Please contact: Rhiannon Law, 5 Parkside, Welwyn, Herta, Al.6 900, England. DEL AMITRJ FOLLOWER {25) would love to write to fellow fans, particularly Scottish Justin Currie lookalikes as I cig his 51debums Please contact Kay McGivem, 1 Newton Green, Hyde, Cheshire, SK14 4HY, England. DISTRESSED DEL AMITRl FAN· Due to burglary and someone helping themselves to my CD collection I would appreciate ~~ who knows how lo or can help me In replacing the following CD singles: Tell Her This pt1&2; Driving With The Brakes me pti&2; and R~i To M~ pt1&2. I am also after a cx:,;11 of Move Away Jimmy Blue on r vinyl or CD single. Can an~ help please {fair pnces paid): Jenny Dowling, 458 Weston Road, Weston CoYMf, Stoke-On-Trent, Staffs, STJ 600, England SWAP """"""ete 4CD 1· ·led · H ""'',... irru edtion box of Change Everything singles Trade only Tempt me Any offers? AnaeW u_tchi~san, 23 Wooctlall Park Avenue, StaMlngley, Pudsey, Leeds, West Yori(shire, LS28 7HF, England. (Disclaimer: Buy/trade at , · your own nsk. We do oor best to check everything oot but l&P and Tt's Editors assume no legal 'esponsib/lity for lmnsactions made throogh these classified ads) Page 22 Subscriptions Notice: This Delzine is a non-profit making, multi-national venture created first and foremost to PROMOTE THE BEST BAND IN THE WORLD and to promote the WWW page dedicated to themll To subscribe please write to the address nearest you as detailed below. We are able to take credit cards for world-wide subscriptions - 4 issues for $14 (U.S.) $19 (worldwide)••. those subscriptions may be placed by mail, on-line, by phone (in the U.S.) 615-320-9790 or by fax 615-327-9436 (please include your credit card #, exp. date, name, address and phone). Any surplus funds collected (trust us, there aren't many) will be ploughed straight back into advertising and making future issues bigger and better. And don't forget... we need your contributions and input as well as your subscriptions, so please send your articles, reviews, etc. to your subscriptions address or by e-mail to any editor (addresses on page 2). UK EUROPE us OTHERS 1 ISSUE OF INADELS & POPSTARS £1.50 £2.00 $ 4.00 NIA 4 ISSUES OF INFIDELS & POPSTARS £5.00 £6.50 $12.00 $19.00 • for subscribers In the •others• category, please send subscription Info 811d payment in U.S. S lo the U.S. address below. • if you ete interested in back issues, please lei us know with your subscription... we'll lei you know when we reprint. Send subscriptions to: UK & Europe: USA and All Others: make cheques (£.sterling onlyJ payllble to: make checb end nr.o. (U.S.S onlyJ payable to: 'Infidels & Popstars' 'Infidels & Popstars' 'Infidels & Popstars' Infidels & Popstars P.O. Box 2799 1219 17th Ave. S., Suite 1 Bournemouth BH7 6ZG Nashville, TN 37212 England USA You can also mail a\•1ay for more information on Del Amitri to this address P.O. Box 747, Uddingston, Glasgow, G71 7HW, Scotland This is the official Del Amitri Information Service. run by volunteers. They keep a large mailing list. distribute the Deis Newsletter and also attempt to answer fans' letters. They are wonderiul and have been very supportive of l&P so we thank them very much!! Special thanks from all the Editors go to the following people who keep us informed about all things in the world of Del Amitri ... and without whose ill)Ut and Sl4JP()rt this ptblication would be ilT'4)0SSible: ALISON BELLACH (USA) CAROLINE BELLACH (USA) DOUG BROWN (USA) TERESA & DOUG COUCH (USA) ANDREW DOUGLAS (N. IRELAND) MICHAEL GOMOLL (USA) JERE GOUGH (USA) KAREN NESBITT (CANADA) DAVID WARTIK (USA) LORI ROYAL-GORDON (USA) TAIRE RUFRNG (USA) DAVID SILLS (USA) MAGNUS THOME (SWEDEN) TINA MAIDMAN (ENGLAND) MITCH & HEATHER (SCOTLAND) JPR MANAGEMENT LTD A&M RECORDS PGA The Editors would also like to thank the following people who have contributed to this Delzine: GARY HAWICK (ENGLAND) PETER HORNBERG (NETHERLANDS) HILARY GRAV (ENGLAND) AMY LEADER (ENGLAND) ANDREA BUTTERWORTH (ENGLAND) ANN-LOUISE EKSTROM (SWEDEN) VIKKI LIPINSKI (ENGLAND) NEIL SMITHIES (ENGLAND) ANDY BENSON (ENGLAND) BOBBI RICHARDSON (USA) KAREN McBRIDE (USA) MELISSA WEICHMANN (USA) Page 23