frs^vi Februar SON ALBUMS T , -V- ! W — I'm hypnotised the I He got a bike by m A motorbike — I got the hots for a drive up t. He like the beat — I got the beat I He like the heat — I got the beat He like the beat — I got the motorbike beat I Chorus y My favourite treat on the motorbike seat Is me and Mr CC He gotta drive — When I arrive you can hear the wheels ^ squeal He is alive — I got the feel for some mean steel appeal f P He got the steel — The squeal appeal ^ He got the feel — The steel appeal P He got the steel — I got the motorbike beat ta Repeat chorus \ But shouldn't we slow down, we're heading for >town i:*:i*»i*"**^^'- On the motorbike ^ Right — give it a kick then I drive it away ^ He flash alright — Ride in the night and I sleep in the day He bike away — Take it away 1 He ride away — I gotta say r He gotta say — I got the motorbike beat J Repeat chorus I Overtake all the creeps I When we go down the street r Me and Mr CC I Words and music by Eugene Reynolds/Fay Fife ' Ltd J Reproduced by permission Dinsong U-' MOTORBIKE BEAT Feb 7-Feb 20 1980 Vol 2 No. 3 The Revillos 2 First of all, for all you puzzled Police fans who are wondering LIVING BY NUMBERS where Stewart Copeland and New Musik 4 Andy Summers got to in this THE PLASTIC issue — relax. The good news is AGE that we're doing personal articles Buggies 4 on each of The Police this time, I starting with Sting this issue. CANT STAND UP FOR FALLING DOWN Stewart and Andy will be along in Elvis Costello 5 good time. You'll also notice that BUZZ BUZZ IT we've finally got our Poll Voting A DIDDLE Form in (third time luckyl) so Matchbox 13 here's your big chance to say I HEAR YOU who rules (and who doesn't rule!) NOW — OK? There's also a competition Jon & Vangelis 14 on page 26 where you can win STRANGE LITTLE GIRL the biggest ever album sleeve! The postmen are gonna love us Sad Cafe 14 this issue . I'VE GOT TO LOVE SOMEBODY Sister Managing Editor Sledge 19 Nick Logan TOO HOT Kool Editor &The Gang 19 Ian Cranna BABY i LOVE YOU TheRamones Features Editor 23 David Hepworth PARADISE BIRD Design Am ii Stewart Steve Bush 24 Andy Ingamells WONDERLAND Editorial Assistants Commodores 25 BevHillier Diane Church NEW ROSE Contributors The Damned 29 Cliff White Robin Katz UNDERPASS Red Starr John Foxx 34 Fred Dellar Julie Logan DANCE STANCE Jill Furmanovsky Dexy's Midnight Runners 39 Advertisement Manager STING: Feature/Colour Photo 7/8/9 Rod Sopp THE WHO 1966: Colour Centrespread...20/21 Tel: 01-439 8801 THE RAMONES: Feature 22/23 Editorial Manager JOE JACKSON: Feature 32/33 NEXT ISSUE Paul Flint MATCHBOX: Colour Poster 40 Editorial and SALE Advertising BITZ ON address: Smash Hits, Lisa 10/11/12 House, 52-55 Carnaby Street, POLL VOTING FORM 16 London W1V 1PF. CROSSWORD This magazine is published DISCO by EMAP National Publications COMPETITION Ltd, Peterborough, and is printed by East Midland Lithe STAR TEASER Printers, Peterborough. REVIEWS Copyright exists on all songs LETTERS appearing in Smash Hits. They GIGZ must not be reproduced without the consent of the copyright holders. FRONT COVER PIC: LFI SMASH HITS 3 The Plastic Age ^-*»i»?issi5|"'^ Records By The Buggies on Island day my metal friend Everv am. Shakes my bed at six clones Then the shiny serving telephones Run in with my a deal fast I make Talking %i«fc in my chest What's this pain here take a rest Maybe I should Chorus send the heart police They ""est >v J To put you under cardiac And as they drag you you^^'°-^^\\^l°'failed a test They tell you that Living in the . age Living in the plastic Looking only half my age face Hello Doctor! Lift my the pace "wish my skin could stand my mind In my bed I read cage watch them fighting in their I'll age? Could this be the plastic «^ Repeat chorus age ' ti^^ Living in the plastic age Plastic age, plastic <#^^^ Repeat chorus ..plastic age Living in the. age Plastic age, plastic Oo^nes. an, r.us,c ,y Trevor Wor,s Island^^TJ^.T'Music. Reproduced by permission BmES Wuftiber 8y New M,.«-. Buess one's ••» "Y numbers ((«,„„ i. >f files Jers now? ^y numbers 'ers now -'"St your number ^^Peattofade ^sandm ^^ProduceS'bl'''J'yJ- '^'^^field. ''usic Ltd. stand Up I Can't Down For ?aV.ng man result of a ,.„ the living ^^h hurt own tears Who's been «''«;,Vrness „, ^^ Sadness is all mv >' si I can't confuse me Still" it wrt NOW I've lived up with fear I grew stop me But that don't From loving vou up T' can't stand , ^^ Allen Jones 4e«| #' ^11^1 r. i^l^ SMASH HITS 5 the rliew single Save Me c w Let me entertain you • From the album O'JcOV I iVf KILLER'S 6 SMASH HITS In the first instalment of a four part close-up on the band of the moment, the man with the voice talks to David Hepworth about The Beatles, "Quadrophenia", Newcastle, STINGhard times and world domination. THE ENTRANCE to Sting's West rock writer called Phil Sutcliffe you'd been in Black Sabbath or those punk bands have stayed London basement flat is partially who also at knew Stewart you were the ex-bass player of the blocked by pedal cars same level." and a wide Copeland, at that time playing Deep Purple. selection of footwear. The pedal drums with London band Curved "That was what struck the SO WHAT were Last Exit actually cars belong to his 3-year-old son Air. When Stewart found himself chord with me when The Sex like? Tom, the boots to the father. In with a night off in Newcastle Phil Pistols came along and just one corner of the spacious "We were like The Police in living took him to see Last Exit and, turned the whole thing over. I many ways in that we were very room stand a few guitars and a well, work it out for yourself. related to that two fingers up to eclectic. Lots tape recorder — the tools thrown in there. But of his Sting takes up the story. the industry which had kept trade. me at the time there was no way "I left teaching and spent a few out for the same amount of time. that it was commercial." Taller than I expected in his months just being a pro musician So I related very strongly to that sloppy pullover I was told that parts of and jeans, he in Newcastle. There's quite a lot even though the music didn't hit "Reggatta De Blanc" were taken flops on to the sofa and yawns, of work — just clubs, pubs, me at first. from old Last Exit rubs his eyes and strokes the material . working in pit orchestras and "I enjoyed the energy and the "Obviously I pilfer from old stubble on his chin. The eyes are backing cabarets. youthful exuberance. But the songs. There are definitely bright and intelligent, his "I was hoping to get a deal music was disappointing until it elements of Last expression casual but attentive. Exit in The with Last Exit but at that time it got on record. Live I was Police," he laughs. "We certainly The band have just finished a was just impossible. No one impressed by the event rather sound a lot more like Last Exft gruelling but rewarding British would listen to your tapes unless than the music. And most of than Curved tour and what spare time he has Air or The Kevin AyersBandl" before they fly off for a four What were The Police month world tour is being taken like before up by meetings and interviews. Andy Summers came along, at Most bands in their position the time when Henry Padovani would not be talking to the press was playing guitar and their only at this point — they've got no claim to fame was one single called "Fall Out", new record out, nothing to sell, and a lot of bills? and, let's face it. The Police don't "Very different. It exactly need publicity. was the time But he's got an hour of radical punk and everybody before was he's due at the local police shouting lyrics about borstal breakouts with three station to reclaim his stolen car chords and" lowers and he doesn't mind talking. — voice — "we were discovered playing a minor chordand I could actually WHAT WAS the first music that sing and we were looked struck Sting back in the Sixties down upon. Our credibility when he was at school in was all wrong. Newcastle? "Mind you, we hadn't got a sound I 'The Beatles and black music. together and wasn't really interested to be quite I'm twenty-seven and I grew up honest. I wasn't contributing with soul when I was fifteen and songs. It sixteen. Otis Redding and Aretha was all Stewart's idea. He had the idea for calling Franklin and all those people. the .band The Police, he'd written all Then I listened to blues, then the songs and rhythm and blues and then into we had Henry and we just did it.