Cover star – Johnny Marr
1) P7 – the contents page which includes Mark Ellen’s editorial. “The Word office developed a theory that you could actually date people by their phrases, the once-fashionable jargon from their twenties they’d refused to abandon. Pour someone three glasses of red and if they claim to be “pie-eyed” they’re your mother, if they’re “slaughtered” they’re your wife, and if they’re “gurp”, “baked” or “totally twunted” they’re probably your children.”
2) P45 – a page of photos from the recent Word-sponsored Cornbury Music Festival including the opening act The Love Trousers (featuring Mark Ellen), Imelda May, The Waterboys and the Feeling.
3) P38 – Jim Irvin writes about selling his record collection. “I once asked the late John Walters, esteemed producer of Peel’s show for many years, why he was selling his records. ‘I’m not so much losing a record collection as gaining a conservatory.’ This makes perfect sense to me now, having just lugged many boxes of records into a new flat and wondering what I was doing it for. Yes, apart from a congenital, autistic, male impulse to hoard, what made me start filling rooms with records?”
4) P95 – a page of gig adverts. Trying to sell tickets to you this month are Crowded House, Martha Wainwright, Brian Wilson, The Human League, Catherine Feeny and David Sylvian.
5) P70 – a page from Roy Wilkinson’s four page interview with Richard Hawley. “As ever, the voice, melody and arrangements that define Hawley’s new album find him channelling Roy Orbison, old Disney soundtracks and ancient Sun studio slapback delay. But there’s more to Hawley than simple retro magnificence. Amy Winehouse mixes age-old soul-pop with lyrics about Wimbledon-born US rap masters – Slick Rick – and phrases as distinctive as ‘What kind of fuckery is this?’ Hawley, too, combines the familiar and the novel. Encompassing both the Memphis of Elvis and BB King and the Yorkshire of Keith Waterhouse, Hawley has perfected a kind of rockabilly Billy Liar.”
Interesting Robert Wyatt says that his “… biggest influence is records I don’t like, including my own. It’s a bit like if you have tattoos saying I Love Ann. Then she dumps you a month later and you’re going out with Mandy. You think, ‘If I add an M and a Y…’ and it all gets a bit scratchy. Records are like fading tattoos. They’re eradicable more or less, and if you knew that when you were making them you’d have been much more circumspect.”
Andrew Harrison describes Johnny Marr – “Not everything that Marr does succeeds and his work is too diverse for one person to love all of it indiscriminately. But I can’t think of anyone else in British music who has tried such unpredictable, off-script moves. Paul Weller in his post-Jam identity crisis, perhaps, when he lurched from cafe jazz to R&B and finally house before returning to the horny-handed AOR that he was good at – but Marr is in no need of that sort of capitulation.”
Siouxsie Sioux is interviewed by Barry McIlheney who asks what occupies her time when at home in France. “Watching sport, especially Wolverhampton Wanderers. My brother picked them as his football team in the ’50s and they became my team too, thought any time I mention this they always seem to do badly. What I loved about them was the black and gold kit and the gold wolf’s head. That was it for me! I remember Derek Dougan. The Doog! He was a skinhead before there were skinheads.”
In Don Arden’s obituary Andy Gill writes “On one occasion, he was said to have stubbed a lit cigar out on the forehead of another business rival, Clifford Davis. And when his own daughter, Sharon, lured Ozzy from Arden’s clutches, she was savaged by his dogs in an incident she described as ‘horrific’, triggering a miscarriage. What a lovely bloke!”
Tahita Bulmer, singer with the New Young Pony Club loves ‘Fun House’ by The Stooges. “Thanks to that records I drank a lot of tequila, took a lot of boys home and climbed the scaffolding on buildings that were being renovated.”
In the 99% True section we learn that Prince played 23 different instruments on his first album, that he briefly adopted the alias Alexander Nevermind and that his 2006 live show grossed $87.4 million.
Graeme Thomson interviews David Peace