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Smash Hits Volume 39 S if iiS \i riiiiiii^ n InTheKi THE SF ORCHE HOT CI DExrs incoloiir SJ^gjggpMSiffljJilfJ!?^ iBiiliiMiiiBiiillMM^^^ lllliiliH 2 SMASH HITS ,^^ May 29-June 11 1980 Vol.2No.1T NO SELF CONTROL Peter Gabriel Fancy watching John Peel eat his 4 dinner? No, come on, we're RESCUE serious — it's our special prize Echo &The Bunnymen ^^or part of it, anyway) for our 4 " competition this issue. If you still WE ARE GLASS don't believe us, turn to page 28 Gary Numan where the grisly details will be 5 revealed. Other notable notables MESSAGES in this issue include your last Orchestral Manoeuvres In The Dark 7 chance to win a mini-TV with the crossword competition, our THE BUCKET OF WATER SONG special T-shirt offer (that's on The Four Bucketeers 8 page 36) and finally a big welcome to Marie Casto, whose RAT RACE illustrations have been appearing The Specials 13 on the past few issues' singles reviews. Mark starts his own JUST CAN'T GIVE YOU UP Editor' comic strip this week and you IwtCranna Mystic Merlin 14 can find him on page 26. That's it for now — see you in two YOU GAVE ME LOVE Features Editor weeks . David Hepworth Crown Heights Affair 14 LET'S GET SERIOUS Design Editor Steve Bush Jermaine Jackson 19 MIDNITE DYNAMOS Editorial Assistants Matchbox BevHillier 24 Linda Duff LET'S GO ROUND AGAIN Average White Band Contributors 25 Robin Katz THIS TOWN AIN'T BIG ENOUGH Red Starr i Sodrks ^1 Fred Dellar w Mike Stand ^ PULLING MUSSELS FROM A SHELL Kelly Pike Squeeze 32 Jill Furmanovsky Mark Casto IN THE KITCHEN AT PARTIES Steve Taylor I Jona Lewie 32 Advertisement Manager I'M ALIVE Rod Sopp Electric Light Orchestra 39 (Tel: 01-439 8801) Assistant ORCHESTRAL MANOEUVRES: Feature.6/7 Adre Harper THE SPECIALS: Feature 12/13 Managing Editoii NEW MUSIK: Colour Centrespread ... 20/21 Nick Logan -x HOT CHOCOLATE: Feature 22/23 Publisher SPARKS: Colour Photos 31 Peter Strong THE HUMAN LEAGUE: Colour Poster 40 NEXT ISSUE Editorial and Advertising address: Smash Hits, Lisa ON SALE BITZ 9/10/11 House, 52-55 Carnaby Street, LETTERS 36/37 London WtV tl*. I PRIZE CROSSWORD 16 GIGZ 38 This magazine is published DISCO 19 by EMAP National Publications COMIC STRIP 26 SMASH HITS SUBSCRIPTIONS Ltd, Peterborough, and is STAR TEASER 28 Home and Overseas (Surface primed by East Midland Litho mail): £10 Printetb. Peterborough. COMPETITION 28 (Airmail rates on application). Copyright exists on all songs REVIEWS 28/29 Europe (airmail): £14.40 appearing in Smash Hits. They INDEPENDENT Write to : Park House, 11 7 Park must not be reproduced LABELS 34/35 Road, Peterborough PE1 2DS. without the consent of the copyright holders. J mONJ COVER PIC: PAUL COX/L SMASH HITS 3 1 Got to get some steep I'm so nervous in the night But I don't know how to stop I don't know how to stop Chorus ('Cos) I don't know how to stop I don't know how to stop If I said I'd lost mv way sympathise? Would you I got to pick up a phone Could you sympathise? I will call any number I'm jumbled up I will talk to anyone I'm losing my touch Maybe I know I've gone too jumbled up far I'm Much too far I've touch gone this time Maybe I'm losing my Don t want to think what I've done have it anyway But you know I didn't Repeat chorus Chorus Won't you come on down to my There are always hidden silences you come on down to my rescue? Won't Waiting behind the chair They come out Things are wrong When the coast is clear Things are going wrong They eat anything that moves you tell that in our song? Can I go shaky at the knees what I want anymore Don't know l-'ghts go out First I want a kiss Stars come down like a swarm of it all bees And then I want No self control chorus Repeat Repeat 10 times Rescue, rescue, rescue You know I hate to hurt you Things are wrong I hate to see your pain Things are going wrong But I don't know how to stop I don't Can you tell that in our song? know how to stop Losing sense of those harder things Street Is this the blues I'm singing? after street Is this the blues I'm singing? Night after night I walk Is this the blues I'm singing? on through the rain I walk Is this the blues I'm singing? on through the rain Repeat chorus and ad lib to fade Repeat chorus to fade Words and music by McCullough/ Sergeant/De Freitas/Pattinson Words and music by Peter Reproduced by permission Reproduced Gabriel by permission ClioLe Ltd Music Ltd. /Hit &\Run Music Zoo Music/Warner Bros. PuhUsltirq 1. SMASH NflS 5 — The Acceptable Face Of Synthesisers Steve 1ayk)r meets Orchestral Manoeuvres In The Dark T'S A Friday night at a typical stupid. So w« formMl tMt sffteMt th* olootrlc piano. think). "After a year of it being college gig somewhara naar rook bM4 mNmI TH* M MNl just the two of us on stage it London's Elephant & Caatla. )teV04 iMol ymitii oluko. lljMwt "ILICTmCITY" attracted the became boring for us so we virtually live." / The customary sweaty room It Ml tllM IMIff Mil ilM WVl iMr9# lorfor roaerd eompanlas' decided to play '^ five of full of studious-looking types tinMo wo poifonwi i ««oro ot Intoroot aa dM tha novel way "Now only songs out downing gassy beer and going KrMS |S fSfllMi UWf MM f#WI thoy parformod, Andy tang and fifteen use tape — things like through the ritual Itnown as dub wMali — aooiNMowaiv atnimmod hit batt, Paul fiddled Mystereality', because none of Waiting For The Band. hat boon fortod to alooo wMi a foMy w*ody-looklng us can play sax, or others where Eventually four rather neat rooowtlvl. koyboord and Winaton tha tape it's too difficult to change the young men take the stage. Two "Roflor and Hto, who ran tti* rooerdor tat at tho back of tha synthesiser settings between station themselves behind club, llkod ut a let, woro ttaga playing guitar, aloetronlc songs. I guess we've been spoilt nifty-looking metal frames which Intorottod In our mutle to whon poreuaalon, OKtra keyboard parts by being able to do most of it support various keyboards and wo ttartod OMO thoy gavo ut our — even a saxophone. (Such a before hand in the past." Habitat-style reading lamps. firttgigthoro." versatile chap.) The third guy stands in the Partly through living on thi Soma of the audience, THE FINAL stimulus to change middle at the front, bass and Wirral, which kopt th* pair however, couldn't take it. came towards the end of last microphone at the ready. The separata from tha mora "We put him clearly on stage in year when OMD were invited to last lad sits down behind a thowblzzy ambltlont of young full view so that no-one thought support Gary Numan (gasp!!) on drumkit which appears to have mutlclant over the water and we were cheating," the band his first British tour: been attacked by thieves on the partly through their musical explain, "But people still felt it "Gary heard our single at way to the gig; hardly any drums tastes, th* original idea of OMD wasn't right, that it should be Beggar's Banquet (the record that is on) left. took shape. live." shop/label Numan and These are Orchestral "I was vary Interested in The emphasis on recording really liked It, came to see us play liked Manoeuvres In The Dark and Kraftwerk and similar German meant that Orchestral at the Nashville and that they proceed to pump out an synthesiser bands like Neu and Manoeuvres were looking for too, so he got his manager to extremely tasty set of songs; so on," Paul says. "Andy and I something rather special from a ring us up and ask us to do the bouncy, danceworthy bass and heard Kraftwerk's 'Autobahn' record company. tour. electronic percussion (hence the and thought it was so exciting — "We've always wanted the "We did really well on that mini-kit) with strong vocal why play rock and roll when money to build our own studio. tour. His fans seemed to take to very easily, which surprised us melodies and a lacing of there's something that different We need to get into a studio to us rf»i,-^v -C economically used synthesisers. and exciting?" work out our ideas properly, but 'cos our music is very different. No guitar, but no doomy Paul had played piano in The Id don't like working in somebody "We travelled in the same Teutonic dirges either. Just in '77 — it was the first proper else's because then you have to coach as him between gigs. He's healthy '80s pop with an instrument he's bought — and he book time and you've got your a very shy person. He thought we enjoyable imput of technology. began experimenting with two days or so to record a single didn't like him for the first week writing actual tunes. and if it's not quite right by the and didn't talk to us. Once he OUR LAST encounter with OMD "W* wanted to make end, that's it!" realised that wasn't true, he was — as they shall be referred to highlights In all these electronic OMITD didn't have to wrangle very friendly.
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