A previous instalment of the cracking debut singles series enabled the spotlight to be put on Magazine and the quite majestic Shot By Both Sides, released in January 1978.

It would be a further five months before the debut album, Real Life, hit the shops, comprising just nine tracks, one of which was a re-recording of Shot…., but noticeably absent was the single the band had released in the intervening period.

mp3 : Magazine – Touch and Go

It’s very much a song of its era, relying heavily throughout on the new wave guitar work of John McGeogh while Barry Adamson on bass and Martin Jackson on drums provide ample support as the rhythm section. And of course, there’s the unmistakable whining vocal delivery of Howard Devoto, seemingly almost breathless at trying to keep up with the relentless pace of the playing. It’s almost as if Dave Formula’s dainty keyboard solo, which comes in at exactly halfway through the song, is there to enable the vocalist to get a second wind.

Touch and Go isn’t a bad song. It’s big problem is that it is a very long way removed from the brilliance of the debut 45 and it didn’t have enough going for it to make it stand out among the other post-punk singles that were being released in 1978. It’s also quite unlike the other songs that Magazine were beginning to write and record – compare for instance with the opening track on said debut album:-

mp3 : Magazine – Definitive Gaze

I recently came across a review of Definitive Gaze that described it perfectly – ‘it switches between a sci-fi love theme and the score for a chase scene’ (Andy Kellman, allmusic). Touch and Go feels lumpen and unimaginative in comparison, and while there was ample space for it to be included on the debut album, it was a wise decision to cast it aside.

The b-side to the 7” was a real hoot:-

mp3 : Magazine – Goldfinger

Yup…..a cover of the theme tune to the James Bond movie as penned by John Barry and sung by Shirley Bassey. It’s almost as if Howie & co are auditioning for the right to compose and perform the next again Bond movie. The thing is, they would have certainly done a better job than what was used in the 1979 movie in the series – can anyone, without looking it up, recall what Moonraker sounded like?

Fun fact pop-pickers.

Despite being one of the most instantly recognisable of the Bond theme songs, Goldfinger only got as high as #21 in the UK singles charts in 1964, albeit it performed better in the USA by hitting the Top 10.

In fact, only one James Bond theme song has ever reached #1 in the UK. And very surprisingly, that accolade belongs to Sam Smith and his rendition of Writing’s On The Wall, which was written for Spectre in 2015.

Every day is a school day round here…………



January 1978.

I was just getting my head around punk/new wave. At 14 years of age, I was still more into playing and watching football than I was getting my kicks from music. All that was to change over the next few years and I think it’s accurate to say that by my 18th birthday in June 1981, my head had been completely turned by some of the most amazing bands and performers who were integral to what we now lovingly refer to as the post-punk era.

It was around then, just as I was about to gear up for going to university that I discovered Magazine – the only problem being that the band were on the verge of breaking up.

There was a really interesting comment left behind not that long ago – I think it was from Drew – in which he said he envied someone discovering a class act fairly late on in their career as there is so much incredibly good music to go back and discover, and this was certainly what happened to me with Magazine. I can’t now begin to imagine being able to develop and expand my musical tastes without owning a copy of The Correct Use of Soap, the band’s third and best album, although there are moments on each of it predecessors, Real Life and Secondhand Daylight, which can held be held up as equally outstanding and memorable.

January 1978 was when Magazine released their debut single. As I said many moons ago when I pulled together an ICA (it was #35 in the series), Shot by Both Sides is one of the great post-punk anthems that had the audacity to reach #41 in the singles charts and somehow trigger off an appearance on Top of The Pops. The sight of Howie & co. – even in an edited two and a bit minutes clip – was something that scared the millions of viewers as sales dropped dramatically the following week and the band didn’t hit the Top 40. Indeed, despite what would become an outstanding catalogue of singles over the next three year, Magazine never got as close to a hit single as the debut.

The tune is one that dates from the fag-end of Devoto’s days with Buzzcocks, as can be seen from Pete Shelley being given a writing credit. Indeed, the latter used the tune himself some ten months later for Lipstick, the b-side to the hit single Promises, albeit, for some strange reason, Devoto’s name totally absent from its credits.

Shot by Both Sides still has the ability, what is now 40 years on (FFS!!!!!!!) to amaze and startle. All 3 minutes and 54 seconds of it, from the opening riff to the magnificently timed climax via the snarling, paranoid and terrified sounding vocal. It’s as near a flawless and memorable a debut as there’s ever been. Such a pity that the world wasn’t quite ready to embrace fully what this most extraordinary sounding and looking band were offering.

Time has been very kind to Magazine in that they gained increasingly in popularity in the years after their demise and their comeback from 2009-2011 in which they toured and released a new album was praised and welcomed in equal measures; at long last, the band members made some money. The one down side was the sad and constant reminder that John McGeogh, whose guitar work had been integral to making the band such essential listening, had passed away in 2004, albeit Noko, who was Devoto’s side kick in Luxuria, did a sterling job in difficult and challenging circumstances.

Is Shot By Both Sides their finest 45? I personally don’t think so and would afford that particular accolade to A Song From Under The Floorboards. But nowadays, if I’m down at the old-fogies indie-disco, I think I’d rather hear Shot…..although if truth be told, I’d much rather dance these days to Definitive Gaze which, when played through expensive and modern speakers, does sound as if it’s from another galaxy altogether.

mp3 : Magazine – Shot By Both Sides (single version)
mp3 : Magazine – My Mind Ain’t So Open



We drank from cups on standard issue sofas under scaffolding
Informed sources said we were seen by observers, it`s a meeting

Howard Devoto has always had a fine way with words. But the thing is, his band always had a fine way with music.

I was very tempted to have Magazine take up the slot on Sundays when the XTC series comes to its conclusion, especially as I’d previously put Buzzcocks under the spotlight, but I’m going elsewhere with it.

This would have been #8 in a series, released in July 1980 on the back of great acclaim for its parent album The Correct Use Of Soap:-

mp3 : Magazine – Sweetheart Contract

The b-side of this 7″ piece of plastic was recorded at the The Russell Club, Manchester on 3rd May 1980. It’s a version that is far removed from the original and shows just how good the band were live back in their prime with Barry Adamson‘s bass and John Doyle‘s drums driving the song on at a frantic pace while John McGeogh (RIP) and Dave Formula batter away at lead guitar and keyboards respectively to create a sonic thunderstorm which will have caused bleeding ears for the sweaty audience in the confinement of such a small venue.

mp3 : Magazine – Feed The Enemy (live)

Compare and contrast with the epic recording of the original, with one of the most sneering vocals ever delivered in history of mankind:-

mp3 : Magazine – Feed The Enemy




This has been by far the most difficult undertaking up till now. I know I keep saying that but its true.

I have 25 Magazine songs that I love in equal measures and picking them out of a hat in a random fashion would most certainly lead to a quality compilation album. I almost went for a cheat by putting together a CD lasting right up to the 78 minutes allowed but realised all that would do is have guest contributors call foul on the fact that they were forced to be disciplined and stick to the 10 tracks. Then I thought about simply replicating the 10-tracks on the 1982 compilation After The Fact, and in doing so copy out the sleeve notes by Paul Morley, but I thought the upgrade from economy to first-class in terms of quality in the writing might have given the game away.  Instead, what follows is all my own handiwork:-


1. Definitive Gaze (from Real Life, June 1978)

It’s the opening track on the debut LP and it was a great way to introduce yourself to the album buying public. It was co-written by Howard Devoto and John McGeoch , respectively one of the greatest post-punk lyricists and one of the most underrated musicians these lands have ever produced. John’s work elsewhere outside of Magazine resulted in the best songs of other bands ever recorded by bands such as Siouxsie & the Banshees and PiL and yet on this track it is the keyboard playing of Dave Formula and the bass notes of Barry Adamson that really make this tune so memorable. It’s a perfect example of how Magazine, while made up of amazing individuals, really were the sum of those talents.

2. A Song From Under The Floorboards (single January 1980 and then included on The Correct Use Of Soap, March 1980)

The band’s third album is rightly lauded as their finest moment with not a duff songs amidst its ten tracks. Indeed it crossed my mind just to feature the album in its entirety as the contribution to this series and leave it at that (see….this is a posting that really has had me thinking!!!).

The Correct Use Of Soap is an unusual album for the fact that it closes with its strongest and most memorable song when the rule of thumb is that you put those first or at a point when you perhaps think it is time to bring a ‘wow factor’ back when things are flagging. Thirty five years on, Floorboards remains a piece of music that has the ability just to stop me in my tracks when it kicks in. And the opening couplet, which I’m told by literary loving friends is derived from the opening lines in a Dostoyevsky novel, remain my favourite lines in a song of all time. I even have the t-shirt.

PS : Think of all the songs in the history of pop music that have made the singles charts and then join me in being bewildered that this didn’t crack the Top 75….

3. I Love You, You Big Dummy (b-side of Give Me Everything, November 1978)

I have never quite understood the attraction of Captain Beefheart and outwith one song on a compilation album I have nothing within what most folk would describe as a very extensive and eclectic record/CD/cassette collection. And yet I adore Magazine’s take on a song that originally featured on the 1970 album Lick My Decals Off, Baby. The simple explanation is that the cover sounds nothing like the original as Howard & co deliver what I feel is the perfect blend of punk and glam rock with its catchy riffs and sneering delivery complete with additional lyrics from the angry, ill and ugly as sin protagonist to get the message across.

4. You Never Knew Me (from The Correct Use of Soap, March 1980)

The track that helped me get over my first seriously broken heart. I didn’t want to turn around and find that I’d got it so wrong. I had stepped into the deepest unhappiness and while I wasn’t sure if I had ever got to know her I could say in all certainty that she never ever really knew me.

It’s very rare for new wave/post punk acts to nail a ballad in a way that it could be held up as being among their best songs, but Magazine, aided by an achingly beautiful backing vocal from Laura Teresa, pull the trick off with aplomb.

5. Permafrost (from Secondhand Daylight, March 1979)

The ‘difficult second album’ syndrome affected Magazine in that Secondhand Daylight is a fair bit away from any sort of post-punk sound and at times seems to steer awfully close to prog rock. And yet, it was only in subsequent years as the new wave of synth bands emerged from their bedsit rooms, did we all come to realise that much of Secondhand Daylight was ahead of its time, although I’m still not sure about The Thin Air which is a four-minute instrumental that is more or less a John McGeoch saxophone solo (albeit I was fond of including it on compilation cassettes that were designed to be played with the lights dimmed or even totally switched off whenever my girlfriend was in the room with me – she adored sax).

Permafrost is perhaps the ultimate in sneering creep vocals that Howard Devoto seemed to specialise in at the time….its suggestion of taking revenge on an ex-lover in a very unambiguous way meant that this never stood any chance of ever making it onto any smoooooth compilation cassette.


1. Because You’re Frightened (from The Correct Use of Soap, March 1980)

One of the ideas behind today’s compilation is that you can play either side and you have a classic side of vinyl in your hands. That’s why I don’t have a Side B but instead am going for a Double-A side album.

This is the song which opened ‘Soap’ . It immediately indicated that it was going to be an LP with a pace, energy and sound that was a lot different from its predecessor with the band seemingly returning to the punkier new wave rifts and leaving other bands (e.g. Simple Minds) free to explore, develop and deliver the synth based Art/Krautrock side of things. It’s also one of the finest demonstrations of just how great, and I mean GREAT, a guitarist the band had.

2. Hello Mr Curtis (with apologies) (from No Thyself, October 2011)

The idea of Magazine making a new album after a gap of 30 years was worrying. The comeback gigs had been triumphant and in Noko (who had worked closely with Howard Devoto in Luxuria in the late 80s) they had someone with the ability to fill the very big boots of the late John McGeoch who had sadly died in 2004 at the young age of 48. But the idea of new songs was, as I said worrying.

No Thyself is an album that, for the most part, dissipates those worries. It is certainly a superior effort to 1981’s Magic, Murder & The Weather which was recorded at a low point with McGeoch having left to pursue alternative options and Devoto depressed by the failure of ‘Soap’ ; fans and critics alike were of the view that it had been a sad way for the band to initially bring their recording career to an end.

The ‘comeback’ album had a lead-off single and the most immediate thing was that it sounded as if McGeoch was playing on it…it really is uncanny. It’s a tune that wouldn’t have sounded out-of-place in their pomp and heyday and to this fan highlights just how ahead of their time they really were.  The lyric meanwhile, is biting and savage and just a tad controversial. At least we know Howard has no intention of topping himself…..

3. Shot By Both Sides (single, January 1978)

One of the great post-punk anthems, the debut single had the audacity to reach #41 in the singles charts and somehow trigger off an appearance on Top of The Pops. The sight of Howard & co obviously frightened everyone concerned for instead of it climbing into the Top 40 the following week thanks to being exposed to millions of viewers/listeners it dropped like a stone. The band never got near the singles charts again despite releasing a run of cracking 45s over the next three years.

The album version of the song is marginally different (the thing most noticeable is that each chorus of the single begins ‘Shot, Shot by both sides’ while the LP is simply ‘Shot by both sides.’ It’s a tune co-written with Pete Shelley who loved it so much that he used it for the track Lipstick some ten months as the b-side to the hit single Promises but rather naughtily didn’t give Howard a writing credit……….

4. Thank You (Falettinme Be Mice Elf Agin) (Peel Session, May 1979)

Magazine didn’t do too many covers but when they did it wasn’t in any half-hearted or lazy way. It was inconceivable for a post-punk band to do a take on a #1 soul single from 1970 far less for them to make it sound as if it was a post-punk piece of music. The band and the label knew they had something special here and released it as a single in March 1980 hoping, forlornly as it turned out, for greater success than ‘Floorboards’.

It would subsequently appear on ‘Soap’ a few months later and become a firm favourite among fans, but it was only in 2000 that most of us got to hear the Peel Session thanks to the release of a 3xCD box set (unless of course we had been paused over the pause button when it had been broadcast in 1979 as part of a session promoting songs from Secondhand Daylight).

5. The Light Pours Out Of Me (from Real Life, June 1978)

A classic album should ideally end with a song that makes you want to flip it over and listen to the whole thing again. This does exactly that…….

It will always have a special place in my heart as it was the first song I ever heard Magazine perform in a live setting when I went, with Mrs Villain, to see them in Manchester in February 2009.

There are tracks missing from this compilation that I can’t believe I’ve left off. I know I haven’t chosen my favourite ten Magazine songs but I feel what I have done is completely in the spirit of this particular series.

mp3 : Magazine – Definitive Gaze
mp3 : Magazine – A Song From Under The Floorboards
mp3 : Magazine – I Love You, You Big Dummy
mp3 : Magazine – You Never Knew Me
mp3 : Magazine – Permafrost
mp3 : Magazine – Because You’re Frightened
mp3 : Magazine – Hello Mr Curtis (with apologies)
mp3 : Magazine – Shot By Both Sides
mp3 : Magazine – Thank You (Falettinme Be Mice Elf Agin) (Peel Session, May 1979)
mp3 : Magazine – The Light Pours Out Of Me



(A repost from 8 April 2010)


For years, I thought that the Factory mogul was the brains behind the production of this, the third single from Magazine released on 17th November 1978.

Turns out it was a totally different Tony Wilson…one who for years worked at the BBC. Stupid me…..

For some artistic reason, Howard Devoto insisted that Give Me Everything be released without any marketing campaign and with no review copies to be sent to the music press. Almost as if he wanted it not to succeed. And almost as if he wanted to avoid dealing with any music journalists.

However, the review penned by Dave McCullough in Sounds showed that the strategy somewhat backfired:-

At last I have Howie and his chums sussed. They’re really The Muppets in disguise laughing their scraggy-heads off while the hundred thousand punks STILL take them seriously. This is dreadful – the lyrics proving more cringeworthy even than usual. ‘You’re so oblique and easy’. Look – Howie – you’re as much a poet as Len Fairclough is a poet – so why don’tcha sod off – you baldy little pain?

Or had it backfired?? Howard’s response was to send the journalist a cheque for £10 with the words:-

Your review of Give Me Everything was so unbelievably sympathetic, was so to the point that this £10 of my enthusiastic and shrieking money must go to you. You’re not so oblique but you’re so easy. You must have it. I hope you can see that. I’m sorry it couldn’t be more. Please cash it. Have a Christmas. Howard.

Which was of course printed in full in the following week’s edition of the paper…….an incident that helped inspire the later song Feed The Enemy.

mp3 : Magazine – Give Me Everything
mp3 : Magazine – I Love You You Big Dummy

The b-side is a cover of a Captain Beefheart song (now there’s something I never ever got….and as a consequence have nothing of his/theirs on vinyl or CD). It remains one of the most popular Magazine recording ever as evidenced by its inclusion in the sets of the comeback gigs in February 2009.

I wonder if the journo and Howard ever kissed and made up??

Oh and as a wee bonus, here’s yer Peel Sessions versions:-

mp3 : Magazine – Give Me Everything (Peel Session)
mp3 : Magazine – I Love You You Big Dummy (Peel Session)

Broadcast on 24 July 1978, some four months before the 7″ single was released.

Happy Listening.




A few years ago, a couple of folk I knew from the Little League events decided that a night dedicated to The Smiths and Morrissey would be a good idea.   I’ve long-planned to get myself along, but for one reason or other it just never happened until last Friday night when Aldo made sure of it by purchasing a ticket for me in advance.

Even then, I almost never made it along.  I was very tired after a hard few days at work and wasn’t sure if a night in basement venue beneath one of Glasgow’s best pubs was really what I was after.

One of the things I most feared was that it would be a hardcore crowd made up of Morrissey look-a-likes standing around just trying to pose and be noticed.  There were a handful of such creatures, but the vast majority of the 200 souls who were lucky enough to get tickets were there for a great night out on the dancefloor.  I wasted little time joining in despite the fact that I had told Aldo beforehand that in an effort to pace myself I had mentally drawn up a list of songs that were certainties for dancing to and a list (including some of the better-known band and solo material) that were strict no-nos.  I got carried away (as I feared!!) and danced myself dizzy, mostly without the aid of alcohol to throw off any inhibitions as I was very quickly onto bottles of water to stop the dehydration.  

Even when the DJs played non-Moz material I couldn’t drag myself off the floor – not when you get stuff like The Wedding Present, The Cure and Associates thrown in….and as the night went on I knew I’d pay the price the following morning when I’d inevitably wake up with another realisation that I’m not as young or fit as I used to be and that I really out to know better at my age.

And all this despite me leaving more than an hour before the end of the event to catch the last train just after midnight and so missing what  many of the showstoppers that the younger Aldo was able to shake his frame to before the lights came up.

The next Strangeways night will be in August 2014.  Details will be unveiled at this facebook page (where incidentally a photo of my good self taken last Friday night can also be found).

So a huge thanks to Robert, Carlo, Angela and Hugh for a magnificent and memorable evening, made all the more special by the fact that all proceeds, as with all the Strangeways events, went to a local charity with a second charity benefiting from food bank donations on the night.

Sadly, the laptop that was used to supply the tunes for the evening was missing a few of the more obscure b-side cover versions which meant my request for the one that matched my t-shirt couldn’t be realised.  I’ve been promised it will feature next time….so I better get myself along to make sure….and next time I will finish the night along with everyone else.

mp3 : Morrissey – A Song From Under The Floorboards

It’s a good version.  But nothing can ever hope to match the original….

mp3 : Magazine – A Song From Under The Floorboards



Excuse the absence of the Saturday singles posting… will return next week.  Instead I wanted to round off  the nostalgia fest with the posting from the old place when I realised that the TVV readership was largely made up of folk who liked to wallow in nostalgia rather than have me offer opinions on new and emerging music.  It was from this point on that the blog went 95% retro:-

21st May 2007


Thanks to everyone who took the time to leave comments over the past few days – seems that most folk prefer when I do postings featuring songs from the 80s and 90s rather than more modern or recent music. As I’ve mentioned before, I’ll try and do requests as well, but obviously won’t be able to over the coming weeks.

Today’s posting features some different versions of one of my favourite songs of all time. It originally appeared on the LP The Correct Use Of Soap that came out in 1980 (an LP that is sure to be featured in greater depth in the not too distant future on TVV), although I’m offering the Peel Session version that was broadcast on 7th January 1980:-

mp3 : Magazine – A Song From Under The Floorboards (Peel Session)

There’s been a couple of cover versions that I’m aware of, the most fanous of which appeared on a b-side of the 2006 single, The Youngest Was The Most Loved:-

mp3 : Morrissey – A Song From Under The Floorboards

The other version is by a man behind this particular cover version was part of an 80s act called Jellyfish, of whom I have a couple of songs on tape:-

mp3 : Jason Falkner – A Song From Under The Floorboards

I’m delighted at long last that Magazine and Howard Devoto are getting lots of critical praise. They were one of my favourite acts of the early 80s, and remain the one band that I regret never having seen live – I had a couple of opportunities but it just didn’t happen.


2013 Update

Little did I know that less than two years after writing the above post there would be a Magazine reunion and I’d see them play in Manchester, Glasgow and Edinburgh inside a six-month period.

mp3 : Magazine – A Song From Under The Floorboards (live 2009)

By now I should be back from Canada.  I’ll hopefully get back into the groove of posting some stuff that has nothing to do with the old place.  Thanks for bearing with me this past couple of weeks.