Word #53

Issue 53

July 2007

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Cover star – Leonard Cohen

Word shuffle

1) P4 – second page listing some of the tracks on the free CD. Includes Patrick Cleandenim, Sonnenberg, Asobi Seksu and The Wailin’ Jennies.

2) P19 – the 20 worst singers in pop are listed. Unsurprisingly, given that Smash Hits used to call him ‘foghorn Hadley’, Tony Hadley is right up there (“sounds like an elephant trapped in a shipping container”). Also included are Rod Stewart since 1972 (“approaches his umpteenth covers album with the vim and brio of a man completing Community Service”), Madonna (“the sound of a brittle martinet”) and top spot goes to Mariah (“all technique, gallons of sugary gloop and not an atom of soul anywhere”).

3) P121 – a page of album reviews. Nige Tassell reviews Shady Bard’s ‘From The Ground Up’ (“a compact and bijou Birmingham collective who actually sound rather wonderful – a gentle swell of guitars, piano and strings whose slowness to build should be applauded heartily”). Jamie Bowman writes that ‘Goodbye’ by Ulrich Schnauss “is an album so German it practically wears lederhosen and drives a Merc”. Tiny Dancers’ ‘Free School Milk’ is ‘”curiously confusing” according to Jim Irvin. “one minute the Verve fronted by Neil Diamond, then jaunty tunes like Baby Love and I Will Wait For You summoning up 60’s pop by forgotten acts like Marmalde and Christie.”

4)  P6 –a page of DVD adverts from HMV. You can buy Bowie’s ‘Glass Spider’ DVD/2CD combo for £16.95 (copies on discogs currently going for double that), Iggy & the Stooges ‘Live In Detroit’ for £16 (used copies for £4 on Amazon) and Julien Temple’s ‘Glastonbury’ special edition 2DVD/2CD/book combo for £26.95 (now a tenner on eBay).

5)  P20 – in a neat act of symmetry, the random number generator has chosen the page with the 20 best singers. Lauded warblers include Sandy Denny (“sounded a bit like the Middle Ages’ version of a pop star”), Winston Rodney from Burning Spear (“even if the rooticality doesn’t speak to you, the pipes surely will”) and Russell Mael from Sparks (” the strangle-scrotumed falsettist gave metal vocalists their challenge”). Roy Orbison is proclaimed as the best (“his voice seemed to come from outer space – an unearthly sound that could move in the most unexpected ways”).

Interesting – Sylvia Patterson interviews Paul McCartney and asks him about his Smash Hits nickname.

SP: Were you aware, back in the ’80s, of the full title that Smash Hits used to give you?

PM: Wacky? Thumbs aloft? Macca….Wacky Thumbs Aloft?

SP: “Fab Macca Wacky Thumbs Aloft.”

PM: Is that the full thing? You learned it! I loved that, Thumbs Aloft. And funnily enough it was coined by the guy at the time who looked a bit like me. Mark, the editor. So I thought there was something deep and psychological going on there.”

Mark E Smith is interviewed about favourite music (“the only thing I listen to at home is Italian house, Italian rave and piano house”), books (“I like Malcom Lowry, ‘Under The Volcano’, that’s alright”) and films/TV (“I’m a big ‘Neighbours’ fan – they’ve only got 12 actors in Australia and you can see in all their face how they want to move to London and make a pop record”) in the Word Of Mouth section.

David Quantick reviews some classic BBC comedy DVDs. “Watching Eric Morecambe work is still a joy, because he clearly loved it. He makes lines up, he laughs, he stares at people, he makes faces – he is enjoying himself. Fearless, we see him mock the dignified and make them like it.”

There’s a 3 page article by Robert Monks on how pirates have come to dominate the collective imagination. “The crossover of the juvenile and adult mind is, it seems, at the centre of the pirate mania. The modern conception of the pirate owes a huge chunk of itself to two of the most enduring childrens’ books there are, Treasure Island and Peter Pan. According to Christine Alhadeff, a child and adolescent psychotherapist, the ‘pirate theme’ reflects preoccupations that are archetypal for children. ‘Piratical values reverse the conventional order of things,’ she says. ‘Instead of longing for love and tenderness, the band of self-sufficient men and boys sail off under a skull and crossbones.”

Longer article

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Word Interview #8 – Rhodri Marsden

While I was interviewing Rhodri for a book I’m writing about fanzines it seemed like a good opportunity to briefly talk to him about his recollections of Word. We met in March 2018 at the British Library, a place Rhodri had never been to before. This made me feel like a street-wise Londoner.

We discussed his writing career following his days as a fanzine editor.


RM: When I left university in 1992 I had no idea what I was going to do. I ended up working for Nick Hobbs, who was the manager of Pere Ubu, Laibach and others. He used to manage Henry Cow, he’d been an agent at Rough Trade for many years, he’d set up Recommended Records with Chris Cutler and organised pioneering tours of Eastern Europe with acts like Billy Bragg and Misty In Roots over there. I knew him as the singer with the Shrubs, a C86 band who I’d been to see a few times. I was round at his house to tap him for gig contacts in Eastern Europe for my band at the time, The Keatons, when he asked if I wanted a job as his assistant. It was another one of those moments when someone recognised that I was enthusiastic and reasonably conscientious. He was hugely influential for me in that he was making a living, albeit a chaotic one, out of doing stuff that he thought was important. All of his decisions were motivated by enthusiasm, rather than financial gain; if he needed to buy a thing he would do and worry about it later. He was really good at creating work and making it happen. He was this completely self-contained unit of creativity.

He sounds like a fascinating character.

Absolutely, I still see him occasionally. He lives in Istanbul now, doing the same kind of work. He’s a real eccentric.

Another thing I got from him was that he was an absolute stickler for clarity of communication, whether we were dealing with the Red Hot Chili Peppers’ rider requirements in the Ukraine or communicating with Pere Ubu’s record label. He would write these beautiful, concise letters. He drilled into me that there was no room in this business for omitting detail or not communicating exactly how things are. He wasn’t a writer as such, but he made me good at organising my thoughts in a coherent way. I remember some friends asking me if I’d considered writing for a living, and I thought yeah, maybe I could.

I got to a point with Nick where the job was getting too stressful. It was taking up weekends and I was getting calls from angry people on the side of the world at 3 a.m. I quit on Christmas Day in 2000. My idea was that I would leave the job and get into writing, but I didn’t have a strategy. I decided to give it six months, and very early on I got a job working on a website for a BBC drama series called Attachments. Then I got to know a few people, pitched a feature for Time Out and it went from there. Bearing in mind how the media has changed in the last 20 years, I was very lucky timing-wise. I just sneaked in under the wire.

How did you first get involved in doing some work for Word magazine?

I can’t quite remember… I’m not sure how David and Mark became aware I existed. It might have been because I was friends with Michèle Noach, the artist, who used to be married to Robyn Hitchcock. Robyn and Michèle were part of a kind of Chiswick social scene with Peter Blake and various others. Mark Ellen was central to all that, so I’d met him a few times. Also, I suppose by that time I’d amassed a lot of Twitter followers, so David might have been aware of me through that.

I’ve never written very much about music. In around 2003 I’d had a column in the Observer Music Monthly called ‘Guitarist Wanted’. The idea was they sent me undercover to audition for bands I had no intention of joining and then write about the experience. It was really stressful because it involved deception, which I’m not very good at. I also remember that my remit was to be mildly amusing but they took all the jokes out – a very common thing, I’ve discovered since, but at the time it left me highly distressed. I remember the editor and deputy editor took me for lunch after six months of this and I thought ‘Ooh, this is a good sign’. But they told me they weren’t going to do the column anymore and asked if I wanted to review some records instead. I didn’t really want to, but I thought I should show willing. They sent me to review ‘You Are the Quarry’ by Morrissey. I had to go to a plush office and spend an hour and a half with this album, and I remember writing a review which could be summed up as ‘Well, I think it’s alright but who cares what I think?’ And that was the only time I got paid to review a record.

But while I’m not very good at writing about music, I think I’m quite good at writing about the making of it. I think the first thing I wrote for Word was about the art of songwriting. It was looking at how a song emerges, how do people prepare mentally, do they sit down with a guitar or a keyboard, do they have a special room, what comes first, words or music and so on.

And you went on to write some other pieces for them?

I think the main one, which ended up being a three-parter, was about the noises that made pop music. It was looking at the building blocks of pop, things like the Beach Boys’ use of theremin, Big Muff distortion pedal, Motown tambourine…

The cowbell?

Exactly, like ‘Don’t Fear The Reaper’! More cowbell! Also the 808 cowbell on ‘Dance With Somebody’. Over the three issues it became quite a sizeable piece of work. I remember there was some interest from Radio 2 about doing a documentary but it never happened. I also went on a Word podcast to talk about it.

Were they fun to do?

Yeah! I think I ended up doing two of those podcasts. Green and also I did some Scritti songs in the broom cupboard at the office.

Were you a fan of the magazine?

Yes, mainly because I really liked the people that made it – Andrew Harrison, Fraser Lewry, Kate Mossman… And Mark is such an extraordinary force of nature. I know him quite well now through Michèle. She does these festivals in the Arctic, in a small town in Norway called Vadsø. She invites some of her favourite musicians to go up there, and we put together a show over the course of a week and then perform it. The most recent one involved me, Terry Edwards, half of REM, John Paul Jones from Led Zeppelin, Alexis Taylor from Hot Chip – a very improbable collection. Mark came on the first one and he’s just great. I don’t know anyone as enthusiastic as him. When you enter a room and see him there you just think ‘Oh, brilliant, Mark’s here!’

Word #52

Cover star – Nick Cave

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June 2007

Word shuffle

1) P68 – 4 page feature by Graeme Thomson about the continuing careers of dead musicians in the digital age. “In the decade since the internet began influencing the way we discover and consume music, a number of previously low-lying artists have seen their posthumous profiles enhanced by online activity. The net is, after all, the perfect foil for compulsive fandom: the essential pulse of obsession has always been about unearthing the new before anyone else, and a medium that combines technology and community in the eternal now of cyberspace provides the perfect vehicle for expanding the reach of those who died without a platinum album or a Time magazine cover.”

2) P117 – reviews of new albums by Travis (“a fine, cynic-slaying return to the fray”), Wiley (“he’s already contemplating retirement – in the unlikely event he means it, his valediction is a fitting memorial”) and Wilco (“full of melancholy and world-weariness”).

3) P128 – from the book reviews section. David Quantick summarises ‘London Pub Reviews’ by Paul Ewen. “It’s a voyage through the perpetual dark afternoon of a man’s soul, where each pub visit ends like this: ‘I was scooped out of the cushioned waves and thrust onto the dry, safe streets of Chelsea’ (The Surprise in Chelsea) or this: ‘When I came to a barman from the Three Kings was dabbing my face with an ice-cold cloth’ (The Three Kings of Clerkenwell). Impressionistic and possibly even made up, this tour of drinks and drunkeness gives a much more accurate impression of London pub life than some drab star-ratingy guide to ales and facilities.”

4) P19 – After the Only Ones decide to reform after 26 years apart, Graeme Thomson lists some of the bands who could be tempted to get back together again, such as The Smiths, The Stone Roses and Abba. He concludes that it’s unlikely for The Jam. “Previous comments from Weller suggest a certain reticence – ‘It will never happen. Me and my children would have to be starving and in the gutter before I’d even consider that.’ A couple more albums like Studio 150 should do the trick.”

5) P23 – John Naughton interviews Armando Iannucci for the ‘Facetime’ section.

“JN: You went to Oxford, after which I understand you almost had a career in the Civil Service.

AI:  I was doing my Finals and I had no idea what I wanted to do, so I sat the Civil Service exams. Before I knew it, I was up in front of the final board of the Treasury, but eventually they said, ‘We don’t think you’ll take this seriously’, which was probably correct.”

Interesting – Eamonn Forde wonders if Apple and EMI’s recent deal will mean the end of Digital Rights Management. “In the face of profit warnings and a declining market share, EMI is punch drunk and in need of a fix – quick or otherwise. It’s rumoured EMI got a $5M advance by Apple to go down the DRM-free route, but the other, less vulnerable majors won’t be so easily swayed. Both Warner and Universal are implacably opposed to dropping DRM.”

Simon Day reveals his taste in music (“I love rappers, particularly Biggie Smalls, Grandmaster Flash, Aesop Rock, Dr Octagon and all those who don’t make porn films and eat liqeur chocolates with their pants showing and their shoes undone”), TV (“just watched season one of The Wire again on DVD – its dissection of the Baltimore drugs scene is like looking at one of those ant farms in the National History Museum – it shows you everything from the bottom to the top”) and books (“Ingenious Pain by Andrew Miller is impossible to describe, read it now please”).

An interesting letter from Stephen Brown: “Just to let you know that since that article you ran last summer about my old band The Trees being sampled by Gnarls Barkley, our album On The Shore has been reissued and is doing well. Very well considering it was recorded 37 years ago! And to think the ball started rolling because of The Word. Thanks to all at the magazine.”

Sinead O’Connor talks about her place in the music business. “I had the Bono chat; he came round to my flat in north London with an Ella Fitzgerald LP. I just wish I could remember what he had to to say.

In England and Ireland I’m still perceived as this crazy woman. If you’re too honest you just get crucified. Your label tell you it’s your fault. You’re in rehab, they’re on a yacht. Really, no-one gives a flying fuck about you. My advice to a young person going into the music business would be this: don’t. Find something else to do because the price it exacts is too fucking high.”

In the same article, Nigel Blackwell of Half Man Half Biscuit says “I’ve never thought much about the music industry because I don’t feel that I’m part of it. There’s been no career plan and a distinct lack of ambition. It was a happy accident. I’m the last person to give advice, but once it got to a point where I thought I could do this for a living, the less-is-more thing seemed like a good idea. Don’t saturate people.”

Longer article

Jude Rogers interviews Fountains Of Wayne – the most Word band of all Word bands.

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Word #51

Cover star – Rufus Wainwright

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May 2007

Word shuffle

1) P12 – two page interview with Carla Bruni by Ian Reeves. “What the two women (Marianna Faithfull, her friend and English teacher) share is their own place in the tabloid history of The Rolling Stones. Bruni’s 1990’s affair with Mick Jagger (three decades or so after Faithfull’s) was the sort the red-tops like to describe as ‘on-off’ and is often cited as the last straw for his marriage to Jerry Hall. There are plenty of other names in the cuttings file too – including Eric Clapton, Kevin Costner, and, bizarrely, Donald Trump.”

2) P70 – Christopher Bray writes a two page feature on the 50th birthday of Sweet Smell Of Success. “Before Sweet Smell, Burt had been either the acrobatic athlete of colourful costumers, or the femme fatale’s fall-guy. After it, he was as often cast as a hard-nosed huckster as he was a hero. Had Mackendrick (Alexander Mackendrick, the British director) coaxed a new kind of performance from his star, or had he merely exposed Lancaster’s heartless, reamed-out vanity to the world? Norman Mailer, who wrote a biography of Gary Gilmore and so ought to know, once said that the only time he looked into the eyes of a born killer was when he met Burt Lancaster.”

3) P126 – The Home Service section in which Word writers enthuse about their current passions. Jude Rogers talks about her recent trip to the Pacific North West and says that “musical highlights from over the pond included Alela Diane’s fantastic The Pirate’s Gospel on every boho cafe radio, the Mountain Goats and Pony Up! in the Doug Fir Lounge in Portland – the latter a young female four piece who do a nice line in sassy, how-dare-you-dump-me-riot-grrrl numbers – and Peter Buck walking past us in Seatlle, wearing massive cans and an anorak.”

4) P103 – A page of adverts: the ‘Collector’s Edition’ of OMD’s Architecture & Morality, Loney, dear’s new album Loney, Noir (“Loney , dear should be 2007’s Jose Gonzalez” – Clash magazine) and 6 Bananarama albums are remastered and expanded and available at Borders.

5) P17 – a two page feature on Crowded House’s comeback gig on a boat, in front of 400 people. Neil Finn tells Jon Bennett: “In a way there were more more obstacles in my mind when Paul was around. Paul isn’t around now and we miss him desperately. We could have carried on when he left ten years ago if we’d applied ourselves but we could have gone mad. There’s a lot of psychosis in being in a band and it was right to do something else. There is a strength in the way Nick, Mark and I relate to each other and it can grow and develop and be organic. If I’m going to be in a band, what other band is there? Why would we name it differently?”

Interesting – David Hepworth believes that we’re living in a ‘Golden Age Of Music.’

“On a simple quantative basis, there is infinitely more music to be enjoyed. The new stuff pours forth and the old stuff doesn’t go away. The 17 year-olds I talked to knew who who Jimi Hendrix was. I’m not sure I knew very much about Django Rheinhardt. I was locked in the present because the past didn’t seem to have been invented. Now and in the future, an increasing proportion of the catalogue of record companies, the floor space of megastores and the digital catalogues of online retailers will be taken up by that which has been done in the past rather than that which has just appeared. In fact the whole idea of ‘back catalogue’ is a nonsense. And as Andrew Harrison pointed out recently, this has the effect of blurring the difference between new and old. Thanks to the iPod, everything from Loius Armstong’s Hot Fives to the new album by Clipse swims around in a permanent now.”

Andrew Collins reviews Arctic Monkeys’ difficult second album. “Now Turner has turned 21, the lyrics have matured along with his problem skin. He misses Sheffield (“Dorothy was right though”) and a mystery girl (“In my imagination, you’re lying on your side, with your hands between your thighs, ” he coos on 505 a thematic sequel to lovely B-side Despair In The Departure Lounge). And it seems that married women have been throwing themselves at him on tour. When on the Shakespeare’s Sister-indebted The Bad Thing, a suitor takes off her wedding ring, he’s “struggling to think of an immediate response”.

Daniel Miller of Mute Records is interviewed by Toby Manning. “Being a producer is a pain in the arse because I’m not very good at being the conciliator. Depeche go through these long cycles of splitting up and not splitting up. One of them will ring up and go. ‘I’m fucked off with X or Y’. A lot of it is about not wading in and letting time do the job to be honest. I’ve never said, ‘No, don’t split up’, I say. ‘Don’t decide now, see how the tour goes’. It usually works out.”

Rob Fitzpatrick reviews Basil Kirchin’s album on Trunk Records, Particles. “We Don’t Care is breezy jazz whipped and whizzed to buggery, Amundo takes one rumbling bassline and squashes it into extraordinary new shapes, The Dice Is Cast is like Bernard Herrmann with his head in a huge electronic bread bin.”

Longer article

Following an article about Pentangle in Word 50 , Colin Harper, the compiler of their box set, replies to their criticisms.Word51 002Word51 003


Word Interview #7 – Andrew Collins

I met Andrew in the autumn of 2017 in a café in south London.  Before the actual interview started we were talking about records. As a music journalist whose enthusiastic reviews in the NME were an important component in many of my vinyl purchases, I was happy to discover that Andrew continued to have a connection to music’s physical objects.

…the next house move we thought, ‘Do we really want to move these heavy things?’ Something in me clicked and I decided to just keep the 7” singles. I’m glad we did because they’re like photos in a photo album but they can be played. They’re lovely objects.  Also, they’re kind of rarer because the vinyl revolution is about 12” albums. I found a flight case online that was designed for singles and the collection fitted perfectly so it felt like it was meant to happen. You could literally carry it – it’s heavy but next move it will definitely come along.  All the 12” singles and LPs went though.

I sold the lot to a nice guy that used to come down to London from Newcastle. I’d not met him before and he turned up in his Range Rover. He said ‘”You can leave the room and I’ll sort them into two piles – one of records that are worth something and the rest aren’t worth me buying but I’ll take them off your hands if you like.” The pile that was worth anything was pretty small although the wad of cash was nice. I just kept a small pile of 12” singles so I could do an eighties disco if anyone asked me to – some elongated remixes of Echo and the Bunnymen tunes and stuff like that. I’ve only been asked once since then as a promotional event for one of my books but I was glad I had them. I think keeping the 7”s helped to counteract the emotional upheaval from having to get rid of a load of records.  I’m not sentimental about CDs really. My old ones are mostly at my Mum and Dad’s house. I went up there an few years ago and said “I’ll do you a deal. I’ll clear the loft out and get rid of anything in there that’s from when I left home in 1984.” I put boards down to make the space more useful for them and put some boxes of CDs up there. It was a good deal, everyone benefitted. When Bowie died I went up to see them for the weekend, took some bags up and collected all his CD albums. They’re all on i-tunes but somehow it seemed important to have them as objects.

I think the world is still getting over his death.

I genuinely believe that when he died the whole world started falling apart. He got out because he knew it was time to go – unfortunately. And as for keeping magazines, I wish I had all the Word magazines. That’s why we need you!

Well, that leads us nicely on to the first question… when did Word first come onto your radar?

I was slightly out of the loop with EMAP at the time. In 2003 I was working for five days a week at 6 Music. In fact I remember that one of the first times I was in the magazine was for one of those articles where you’re asked for recommendations, you know ‘Books For a Rainy Day’ or ‘Records You’d Save In A Fire’. There was a photo of me alongside it with shoulder length hair. The first piece I actually wrote was ‘How To Be An EastEnders Writer’ which was lovely to do because it was something I knew about. At that stage it was two people I’d worked with for years who had formed a publishing company that I didn’t even know about. I think Mark or Dave must have got in touch and said they were starting the magazine. I was quite wrapped up in 6 Music then – if someone told me now that that they were starting a magazine and they were people I knew and loved I’d be banging on their door! I was quite busy but I was really glad to be asked to do a decent-sized piece about EastEnders and then I just started picking up more bits and pieces as I went along. From day one to the final issue there was just no downside to any of it. It was the magazine that came at the right time for me and for the people who read it. I subscribed from the beginning because I knew that Dave and Jerry needed subscribers as you can imagine. A lot of American magazines survive on subscriptions and I wanted to support my friends in their venture. I wasn’t writing for it then so it wasn’t for mercenary reasons!

There was a lot of fun in writing for it. I didn’t go to the office much, it was too small, but I liked the atmosphere they created, not just in the office but from Mark’s emails or if he called you up. I was coming up to forty in 2003, exactly the right age. I was a similar age to Andrew Harrison and Fraser Lewry and a bit younger than Mark and Dave. As you approach your forties there’s no difference with people in their fifties and sixties. The years make less difference but they make a lot more in your twenties and thirties. At the end of your thirties you think ‘Wow, I’m an adult now’ but you still think ‘They’re in their forties’. And then you get to forty and you admire anyone who does anything at any age! I think ‘good on you’ to anyone who achieves anything from that point, anyone who makes something brilliant. Why should life slow down?

It was the right magazine at the right time and if I’d never written for it I still would have bought every issue. It was only after a few years that I asked Jerry for a guest subscription – by then I was quite a regular contributor.

You were writing articles in every issue by that point?

Yes, it was the first time I had a column anywhere and it was about TV to begin with, called ‘Telly Addicts’. I’d been on the TV programme in the eighties and I’ve managed to recycle the title as a TV review column for The Guardian and a blog which no-one looks at but I felt that I could own it. It was brilliant, you still had to pitch, you couldn’t just write about you liked and I liked that discipline. I’ve always admired columnists, usually political but often cultural as well. One of the reasons I like The Guardian is that their columnists are the best ones. Some of them, like John Harris are friends and that helps but that’s not why I think they’re great – I just think they’re excellent writers. The Guardian has kept me as a reader because of their columnists.

The New Yorker was a model for The Word and is all about people occasionally writing a column. It’s a very personal magazine. For my fortieth birthday Stuart Maconie bought me the best birthday present that you could get, a year’s subscription to it. At that point I was aware of it but I’d never actually sat down and properly read an issue. The ‘Talk Of The Town’ section of The New Yorker was the template for the first part of The Word. You’d have an article, go down a column, then the next story would start and then an illustration just like The New Yorker. The Spectator and The New Statesman did a similar thing but they were the first music magazine to do that. It just felt so grown up. The Word was bigger too so you felt more like holding it and keeping it. It was the best magazine to be in. As a shop window you thought ‘I’m going to do my best stuff for this magazine, I’m going to hone it and not just hack it out.’ I think a lot of people, the writers of my generation who’d come through the NME like Stuart Maconie, David Quantick and others, had been accused of knocking it out. I remember Stuart being unhappy when Danny Kelly asked him to bang something out. He was really offended by the terminology because no writer wants to be seen as a hack. I think everyone is a hack occasionally, especially on a weekly, even more on a daily. When I got to Q there seemed to be less of that attitude. There’s something about move from newsprint to a glossy that makes you care more. I cared a lot when I was at Q because I was learning and I was young and trying to prove myself but I cared even more about what I wrote for The Word. Mark Ellen was in a more executive role when I was at Q, he was always one step above the editor but always visible and hands on. I’d been under him at Select with Andrew Harrison as my editor and under Dave at Q so the idea that those two would pop up in their own scrappy little office in Islington with a scary lift – it was just too good to be true.

I remember there was a classic Word feature, where they got all the writers to contribute one thing. You’d be asked something like ‘What’s the greatest vocal performance in a song?’ Clearly the best way to approach that is to try and think of something that no-one else is going to do. I did Method Man’s ‘Tical’ which is my favourite track by him. It’s the most incredible performance – he’s got a low voice and has a lot of spit in his mouth. It’s not particularly pretty but you can pick his voice out in the Wu Tang Clan. He does this weird thing in the song where he goes into a falsetto, really odd but brilliant. It was only about seventy five words but it was great on the page because everyone chose different things. I was so proud to be asked, I’m sure everyone else felt the same way. It was treasure trove of thought and knowledge and powers of description and interest in things and yet it was the spread of all music. I’d love to go back and read it. That can never be on a website, there’s something about holding it. It makes me feel like an antique dealer, who really appreciates something you can hold.

There’s some unnecessary panic at the moment about kids reading things off screens but you just look at whatever the thing is that everyone else is using to look at things. We were brought up with the printed word so we still have an interest in that. For me the big question about The Word is why couldn’t it have carried on as a website? Dave said there was no money in it and it was a business decision. Once it couldn’t be a magazine it had to stop which is the saddest thing about it, it felt doomed to fail.

Did you go on the website and forums much?

When it folded I didn’t so much, it made me sad. Sometimes I’d be sent a link if I was mentioned so I‘d go and wade in because I like to have my say if people are talking about me. On The Guardian I sometimes stupidly start looking at the comments but there are too many so I try to stick to the newest or the oldest and let it go. When I was writing things for them, I always read all the comments as I felt that if it had my name on it, it was my responsibility to respond. You develop a little community of your own. That’s been the best thing that’s happened since The Word really, getting to do that at The Guardian – they have a similar sensibility.

The most hurtful thing that ever happened was a letter that The Word printed about my piece about joining a film society. It was a piece that David had commissioned for the back section, those personal stories. I’d written what I felt was a loving and affectionate history about this society. It was set in the early eighties when I was a teenager, a key time in my life when I got to see loads of X-rated horror and foreign films. I loved writing it and had spent ages on it. Someone wrote a letter saying it was the most boring thing they’d ever read – not just in the magazine, but the most boring thing ever! The fact that they printed was more annoying than the fact that he’d written it. I wished it had been online as I wanted to respond to it saying “I’m so sorry, I hope you didn’t read all of it. It sounds like you did in which case I apologise about making it so long.” I thought, ‘I’m not going write a letter for them to print. Who cares?’ and just had to let it go.

Favourite memories of The Word?

Always the podcasts.

How many were you on?

Quite a few I think. I started my podcast with Richard Herring around the same time. I had no idea that my laptop had GarageBand on it, I didn’t know what it was. I was on some of the earlier podcasts before Matt Hall got involved, when the sound quality wasn’t quite as good. It sounded like an echoey room – which it was. Dave and Mark were there, they opened up the laptop and it already had this GarageBand programme on it with channels and a little external mic. I said “What’s this, where did you get it from?” They said it was already on the computer. After the first one I went back to Richard, who used to be a guest on my 6 Music show where we used to have fun going through the papers. I thought we could sit down and chat into it for an hour and just put it out there, we only needed to buy a mic. It didn’t cost anything to put it onto iTunes. Without it I wouldn’t have had those five years of me and Richard almost making a career out of it. We used to do gigs that we’d get a bit of money for. When we split up it was mentioned in The Guardian’s ‘Media Monkey’ page, that’s how big it was.

You had the recent reunion on Richard Herring’s Leicester Square Theatre Podcast. How was that?

I really enjoyed it. Do you know why I enjoyed it? Because years had passed and I always followed who was on it. I felt no bitterness towards him, even though it ended in some acrimony. After it all finished very publically (we both wrote blogs about it) he invited me to his wedding so there was clearly no deep-seated ill-will. Then I went to Edinburgh and saw his show, we went for drinks afterwards and so on. At that point he’d met the woman who went on to become his wife so it was natural that we would spend less time together. I’d watched his Leicester Square podcasts and he’d get fantastic guests on like Stephen Fry and also sometimes less well-known guests from the comedy circuit. The less famous ones were sometimes better. I loved the fact that he’d worked out a way of financing it so it ticked over and he’s got a lot of fans.

Occasionally people would ask him on Twitter when he was going to have me as a guest and I noticed he would never respond. I thought it was really funny, I guess he just thought ‘I’m not going to get involved’! I did wonder if he would run out of comedians at some point. I was never going to ask but loads of people kept asking me and I would just say something like ‘I think it’s too soon, it would be too awkward’ so it didn’t look like I cared. When he asked me, I said yes straight away. I thought I’d do it in a way that draws back a bit of the moral high ground for me because I’d been painted as the villain of the piece. 6 Music had asked me to pilot a show with Josie Long. I’d told him about it and did the pilot. They wanted to get her on the station but she didn’t have much radio experience so they decided to put her on with an experienced presenter who liked comedians – and that was me. We did that show and went on to do six months, at which point he and I had split up. He said I’d been duplicitous because he thought I’d put my career before my relationship with him even though what I’d done with Josie hadn’t had any bearing on what I’d been  doing with him as 6 Music had got fed up with him.

So, when he invited me I said yes. I thought it would be a great thing to do and I love performing, as I found out when I was working with him. I thought I would just go out there with an absolutely confident attitude. A lot of the audience were people that used to come and see us so they’d be happy to see me. I said “I’m the most anticipated guest you’ve had on. It’s easy to get Stephen Fry, he’s got an agent – but you’ve got me now!” His job as the interviewer when he’s with Stephen Fry is clearly delineated but it’s different with me because we used to be equals. This time he had to interview me and listen to what I had to say. I stopped and said to the audience at one point “He’s never asked me this many questions before.” On our podcast he’d talk about himself, I’d talk about myself and we’d talk about silly things; it dawned on me how weird it was, him asking me about things I’d done in my career. So I enjoyed it, not to get back at him because beforehand we’d had a hug and been pleased to see each other. I liked going off on my flights of fancy too which you can only really do on stage.

Like the Frog Tape riff?

Yeah, I hadn’t planned that but that’s why it worked, I just got my teeth into it. It was important to me because I’d been doing a lot of DIY! I listened back and thought it was pretty good.  Long ago I decided not to be a stand-up comedian because I sort of was one for a while. I did one run at Edinburgh and a few years with Richard. It was good that it happened when I was older because if I was younger I might have thought I should have a go at this. It got to the point where I didn’t want to go out every night and that’s insulting to all stand-up comedians because the one thing you have to do is gigs. If you’re married or have other things you want to do in the evenings or just like to be in bed by half past ten, then it’s not for you. Not that’s it’s a young person’s game but it’s better if you’re single with nothing else to do in the evenings. I did a free show (the safest way to do it) in Edinburgh, people came and it was full every day for the run. I remembered my lines, got some laughs and some kind comments from other comedians. There’s an idea that comedians hate non-comedians having a go but that’s not true. Sarah Millican and Gary Delaney came to the show and gave me tips about how to deliver certain lines and I took their advice. It was nothing but fun but when I got home I thought I can’t be doing it anymore. I love going to watch comedy but I’m past the point of trying to do it properly. So when I went on the Leicester Square Theatre podcast with a little audience of partisan nerds it was great fun but I can’t see why we’d do it again – it wouldn’t be a reunion.

Do you listen to any other podcasts regularly?

Predictably enough I listen to Bigmouth! I was on one of the first episodes; Andrew Harrison has given me some dates to do others but they’re always on the one day I can’t do. I’d love to do it again, it’s in a proper studio and feels very professional. It’s always the day I have to be at the Radio Times. I’ve been running the film section there since 2000 and it’s completely different to every other magazine I’ve ever worked on. It’s huge and there’s so much to process. The subs are people that tend to have been there for a long time because it’s a proper skill and you need a certain mind-set. You have to get every listing right and there are so many channels now. There’s a lot of  information in there, apart from all the features. They’re the glamorous pieces at the front of the magazine and the film section is halfway between the two. We pick out certain films to write about and I get to choose a ‘Film of the day’ which I tend to write quite fast, there’s no time for inspiration. The main skills you need are over-confidence and punctuality both of which I believe I have. I have a humble view of my talents but they’re good ones; doing something to order, spell-checking, reading over it at least once and trying to be amenable if you’re there in person. Everyone else is there working their arses off to get the magazine out so you can’t come in and be like Oscar Wilde. You come in, sit down and get on with it. I don’t mind bashing it out because if you also read it back then that’s not bashing it out. I would never name them but…there would occasionally be a piece in Q magazine written by people of a certain level, named writers, and as features editor you’d sometimes get a feature which looked like someone had started writing it, put a couple of quotes in and think it was done. I’d get furious and think ‘You got where you are by working hard and gaining a reputation, don’t piss it away now.’ One I can mention is Tom Hibbert, a brilliant example of individual talent who I only got to work with for a few years because he was in a bit of a decline. When he was in his pomp, doing his ‘Who The Hell…?’ pieces, no-one else could compete. His legacy was sealed by that point and by the time I got there he was still doing it. His copy would come in, not quite crayons on sheets of A4 but pretty raw. There was brilliance in it but as an editor you had to shape it. That was quite easy with Who The Hell…?’ as it had quite a straightforward structure with quotes in it. There’s only so much madness he could get into it, most of it came from his interview technique –which was just to shut up. He’d have Jimmy Saville or someone, ask them a question and then sit there. Once they’d answered it he’d keep nodding, waiting for them to say something else. It‘s a brilliant strategy but it takes a bit of nerve. I’m not sure I’d be very good at; in fact I’d be shit at it, I’d start talking immediately if someone wasn’t saying anything. Anyway, a piece came in from Tom, a think-piece about The Eagles. There was some reunion and we didn’t have an interview so we thought we’d get Tom to write something about them instead.  When the copy came in it wasn’t quite a stream of consciousness but you couldn’t just ring Tom up and get him to change a few bits and I needed the thing on the page. So, as Features Editor, I just plucked the Omnibus book on The Eagles off the bookshelf and went through it. I looked at Tom’s piece again just adding in names of band members and some facts. It read well on the page, plenty of Tom in it but it was also factually correct. I felt like I’d been a conduit for the unbottleable spirit! You can’t have too many unbottleable spirits on a magazine, not when there’s a deadline but you probably could on a website. I love the idea that I got to edit someone like Tom Hibbert.

Sometimes you’d get poor copy from a name writer who wasn’t an unbottleable spirit, just a writer who was very good and you’d think ‘Just read it back!’ So even there, there were people who were coasting a bit. I never felt that at The Word. I’d pitch three or four ideas to Mark every month, usually in an email and he’d pick the one he liked. He’d often say “No, I’m not sure about that, that’s not going to work. Have another think.”  That was fine though because no magazine should be a free pass, you should earn your place as a contributor.


I recently met Billy Bragg at The Green Man music festival and asked him for a question for you. He told me to ask you when you’re writing another rock biography. (Andrew had written Billy’s biography ‘Still Suitable For Miners’)

All the stars were in alignment when I was asked to write the book. I’d been a fan of his before I was even a journalist. I was at the NME around the time of his album Don’t Try This At Home. It was bold, a pop record and I’d have loved it whether I was writing about him or not. I was Features Editor then and had the video for the single Sexuality, directed by Phil Jupitus. Go Discs, his record label, sent it to me knowing I was sympathetic and in a position of some power. I took it in to Danny Kelly and said, “You’ve got to watch this video!” It was a great song and video and I thought it was time for Billy to be back on the cover. I said I’d write it as I was a fan and occasionally I’d give myself a cover feature to write – not that often because it’s a bit naughty. I did the same for My Bloody Valentine when ‘Loveless’ came out. There was no argument so off I went to meet him with my tape recorder. We started the interview on foot, walking along the canal in Camden and ended up in the pub. He’s everything you want; a brilliant interviewee, he’s always got lots to talk about and he’s a great musician. We got on well and he identified me as a fan. When I got to Q, his next album came out and I put myself forward to write a piece, again as Features Editor. We did a series of epiphanies with the headline “Still Suitable For Miners” (I’ve copyrighted that pun!). It was about things that changed his life like joining the army or hearing Dylan for the first time. It was a good Q feature, an artist we all know about but maybe some things in there that we don’t know. He was about 39 at that point.

When I left Q and was cast into the world of freelance danger, my friend Ian Gittins at Virgin Books rang me up and asked if there was anyone I wanted to write a biography about. The two I said I’d like to do were The Cocteau Twins or Billy Bragg. I went to Billy first and he said, “It’s funny you should say that.” He was thinking it might be a good time to do it because he and his partner had had their son. He started thinking about mortality and handing things on. Lots of good writers had wanted to do his biography but he’d always said no up to then because they’d wanted to write about his political views. He said “You’ve written about me and not always just about my politics.” He was about to turn to turn 40 and selling a flat that he’d lived in while he was single so it felt like the right time in his life. I had the time and so I wrote it over the next six months. I met his family, went to his Mum’s house, visited Oundle where he’d formed Riff Raff in the Northamptonshire wilds and went to Dublin together where he was recording the album with Wilco. We were in this house that the record company had rented for him and it was full of members of Wilco. We slept in this little spare room together – separate beds – but that’s how close we got! I listened to the music he was referencing while I was writing it, things I hadn’t listened to before, lots of folk music, much more Dylan because he’d been a big influence on him and Jackson Browne.

I’m very proud of the book. It first came out in 1998 and every three or four years Virgin have been in touch and asked for an updated version with a new chapter. He deserves it and it says a lot about him that they want a current edition on the shelves. It’ll be the book’s 20th anniversary in 2018 and he’ll turn sixty soon so hopefully they’ll ask for another chapter. I put the same amount of care and attention into this as a Word or a Q feature. You have to be proud of something if you’re going to put it out as a book. It’s great that anyone is still putting books out. I’ve always been optimistic and I don’t think books will ever completely die really because they should have already. If vinyl can survive, books definitely can.


You can follow Andrew on Twitter – @AndrewCollins

The updated, 20th anniversary edition of ‘Still Suitable for Miners’ will be published by Virgin Books in May 2018

And see if you agree with the choices Andrew has made for his mp3 player on his entertaining 143 blog

Previous Word interviews: Jude Rogers , Mark Ellen , John Naughton , Paul Du Noyer , David Hepworth, Andrew Harrison

Word #50

Cover star – Joni Mitchell

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April 2007

Word shuffle

1) P129 – half page adverts for the soundtrack of Hot Fuzz (with “exclusive track from The Fratellis”) and A Tale of Two Cities by Mr. Husdon & The Library. They have a myspace page should you wish to know more.

2) P86– the 1st page of a 2 page Cat Power interview by Jude Rogers. “Two days before the Brit Awards, Best International Female Nominee Cat Power is in a bed in a Park Lane hotel, chain-smoking fags, squished up on pillows, sniffing wax dug from her ear with one hand and forgaing around in her knickers with the other. Later she’ll fart – waving a lighter around to hide the smell – and pee in front of me quite happily. All this while looking elegantly dishevelled, bambi eyes peering through her fringe, like she’s an arty ad in The Face.”

3) P95 – from Robin Eggar’s 5 page interview with Joni Mitchell. Robin asks why she hates critics so much.

“They hold you in your decade. You are supposed to stay neatly in your decade and then die. From my sixth album on they were dismissive while I knew I was still growing. It was an extraordinary rejection of good work. I know enough to know when I’m doing good work but fools were reviewing it. I’d see the crap they’d elevate. I don’t care for fame and fortune but the rejection of my later work was too extreme.”

4) P120 – from the album reviews section. The most column inches on this page are given to Saltbreakers by Laura Veirs. Robert Sandall writes that “Veirs is still recognisable as the daughter of a geologist mother and a marine biologist father whose idea of the perfect holiday was to go camping in the wildest parts of the wild. To listen to her 6th album is to be imaginatively transported into the world of a wide eyed, serious-minded child for whom the minute observation of dawn sunlight, starry skies, giant waves, black butterflies, and a vast array of other eco-phenomena, acts as a prism through which all of her emotions are expressed.”

5) P24 – Andrew Collins compares the past to the present and wonders if we’ve made progress. Among other things chat shows, record shops and the charts were better then. Pubs, salad and comedy are better now.

Interesting – The 20 best and worst pop fashion items as decreed by The Word. 3 of the worst are: David Bowie’s Union Jack tailcoat and goatee, circa ‘Earthling’ (“looks like some kind of right-wing Doctor Who”), The Style Council’s ‘Brideshead Revisited’ period (“is there a less convincing Wodehousian aesthete than Merton Mick?”) and Mark Knopfler’s headband (“as bad as wearing a ponytail at the front – actually worse”). 3 of the best are: Devo’s flowerpot hats (“splendidly mad and the perfect millinery for a band that was three quarters cartoon anyway”), the codpiece worn by Larry Blackmon of Cameo (“crimson genital crash helmet still gives all who saw it the heebie-jeebies”) and Johnny Rotten’s bondage trousers (“these garish and impractical ‘perv-trews’ – as Smash Hits was wont to put it – put the wind right up grans, coppers, teachers and other DOOMED OLDIES. Will clothes ever terrify like this again?”)

Lauren Laverne writes about doing the 6 – 7 am slot on XFM. “At six in the morning I’m often exclusively broadcasting to people driving home from having affairs, the depressed, people who’ve cried themselves awake over store-card debts, milkmen and criminals. That’s my demographic . I genuinely love them and I care about them deeply.” Danny Baker helms the 4-5 pm slot on BBC Radio London. “I only play records that will cheer people up. There is absolutely no rhyme or reason as to what works. Whether it’s Joyce Grenfell or bleeding Kashmir by Led Zeppelin.”

Grenfell gets another mention in the DVD review pages (for Joyce Grenfell, The BBC Collection DVD) reviewed by Hazel Davis. “Grenfell had the ability to highlight mundane details pre-Alan Bennett and string them out to their awkward and embarrassing conclusions.She honed idiosyncrasies with a style both gentle and genteel.”

Andrew Collins loves The Wire. “The real test of your Wire-appreciation is whether or not you’re prepared to stand up and say it’s better than The Sopranos. I am. The Sopranos is operatic, playfully metatextual and Freudian; it invites analysis – and gets it. The Wire is plain-speaking, unmanicured and, due to its pace, a far subtler proposition.”

Longer article

Rob Fitzpatrick catches up with the recently reunited Pentangle.

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Word #49

Cover star – Amy Winehouse

March 2007


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Word shuffle

1) P23– the first page of short Tracey Thorn interview by Sylvia Patterson to coincide with the release of Out Of The Woods. Tracey describes the album as “bed-sit disco torch songs” and says that she will never sing live again due to stage-fright.

2) P43 – a full page advert for the Good, The Bad & The Queen which The Times calls “tear inducingly beautiful”

3) P72 – part of a 5 page feature on Tinariwen by Andy Gill. “In Gao we purchase our cheches, the turban headgear made from 3 metres of muslin wound around the head, vital protection from both sun and sand. The indigo one I select it, I’m told, the favoured colour of the Tuaregs – the blue dye that stains the face serves as sunblock, imparting the blueish-brown complexion that led to them becoming known as ‘the blue men’. I, on the other hand, just look like Papa Smurf.”

4) P10 – a double page spread on the news that The BRITs is going live again. “Ever since 1989, when that odd couple Mick Fleetwood and Sam Fox had their lack of TV experience compounded by the incompetence of whoever was directing traffic backstage, the BRIT Awards have been recorded the night before broadcast. This inevitable surrender to the requirements of telly has had the sad effect of depriving the event of the giddy promise of disaster which makes it interesting.”

5) P29 – John Simm is interviewed by Andrew Harrison. “My main memory of 24 Hour Party People is being wasted all the time. If you weren’t on set, someone would come and sort you out. It was very real, shall we say, especially for the lads who were playing Happy Mondays. I don’t know why they’re not dead.”

Interesting – Sylvia Patterson spends some time with Amy Winehouse. “Amy is not your run-of-the-mill gel alright, more the blueprint for a Catherine Tate character called Pop Star In A Skip. A born caricature, she’s an erratic combination of Mae West, Liam Gallagher, Bez, Tracey Emin, Popeye The Sailor Man, a temperamental teenage goth and a lecherous East End barrow-boy to whom everyone is ‘darlin’.”

Graham Gouldman talk to Paul Du Noyer about 10cc. “If Strawberry Studios hadn’t existed I doubt we would have come together. We did two albums there with Neil Sedaka. Then we did an album with this guy called Ramases. He thought he was the reincarnation of Ramases II, but in fact he was a central heating salesman from Sheffield.”

Harry Hill is “…working on a concept album based on the International Top Trumps Society in the style of The War Of The Worlds. It details this game Top Trumps played by Hitler, Bruce Forsyth, Morrissey and Roland Rat. And watching is Helena Christiansen, for some reason. My voice narrates in the Richard Burton style. When Brucie crashes out (he claims his drinks were spiked) I’m asked to sit in. Then it goes into a song, Let Me Play My Top Recipe Top Trumps Cards. I’ve written it, and I’ve laid down all the narrations and recorded one of the songs, with Steve Brown, my musical director. They’re playing recipe card Top Trumps. So Hitler would play his Devilled Kidneys with Rice. And Forsyth would match with Boiled Egg or something.”

Ricki Lee Jones talks about her respect for Laura Nyro. “I loved and adored her. She had long black hair and pale purple lipstick and she played the piano by herself and would wail and put words together in a strange, poetic and super-feminine way with these Bernstein-Stravinsky intervals. In New York Tendaberry she wrote about characters in the city which made me really want to go there.”

Dorian Lynskey has a strange opening to an interview. “So what exactly is The Word?” inquires Bryan Ferry, sounding a little like a high court judge. “Is it in colour?”

Longer article

Andrew Harrison writes about musical nostalgia and the changes that the iPod has brought.

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