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Paul Saxton:
From: Editor@Q4music.com
Brothers and Sisters!
I give you... a testimonial! Or rather, another
not-quite-earth-shattering instalment of the Q4music editor's mail.
Last week I asked if you'd care to share your rum music person
sightings and you responded in your gezillions. Thanks to Tom
Gregory of London NW1 we can no longer shake the image of Finley
Quaye dressed only in tracksuit bottoms and carrying a kind of
"Rastafarian terrier" buying pistachio nuts and Jagermeister in a
Primrose Hill grocery. Most exciting of all, Heather Tonks of
Nuneaton vividly recalls sitting in a carriage of the inaptly name
'Sprinter' that links Birmingham with Cambridge. "Two booths away
sat Mark E. Smith," she marvels. "Opposite was shrivelled 'Rivers Of
Blood' orator and Constitutional scholar Enoch Powell; and over the
way, recently deselected old Labour agitator Dave Nellist. Beat that
for an unlikely pop/political juxtaposition!" she challenges. Chew
on that while half-concentrating on what's new on the Q4music
site...
Andy Long:
I went to the Norwich gig and i cant believe that Paul S was at the same gig.
The band that i saw were absolutley outstanding, the best line up that i have seen yet (and ive seen a few). They were tight, professional and full of energy and even more important MES was on top form.
Ta to Richard Galleon for scanning in this and another few bits:
Q interview February 2001
Words: David Cavanagh
Cash for Questions
Amazingly, he was in delightful humour. And he didn't mind talking about porn. But there were harsh words for bank managers, "touchy-feely" drugs and sarky old Anne Robinson. Face the fans, Mark E. Smith of The Fall.
The Columbia hotel in Bayswater is surrounded by scaffolding. Mark E. Smith, who has been residing here on his visits to London since around 1978 (except for one period in the early ' 90s when they banned him) enters the lobby at noon precisely and leads the way to a quiet pub nearby. "They should tear that bloody place down," he says of the Columbia. "This whole area's too fucking trendy." What a relief: he's in a good mood.
Recent interviews with Smith -- he's currently promoting a new and very satisfying
Fall album, The Unutterable -- have varied between the difficult and the awful.
Some journalists have found almost every subject to be out of bounds: the internet
(Smith is bored by it), the high turnover of Fall musicians (Smith hates thinking
about it), the punching of girlfriend and keyboard player Julia Nagle in New
York in 1998 (Smith nearly went to prison and doesn't like to be reminded of
it). Will the Q readers fare any better?
Surprisingly, yes. Over the next hour or so, a captive Smith fields even the most impertinent questions with amusement, showing more tolerance and fondness for his fans than he has done in years. His final analysis is: "They're lovely, aren't they?" But this doesn't mean he has lost his capacity for menace. Later, when a Hyde Park official approaches the Q photographer to tell him he can't take pictures in the park without a permit, Smith intervenes with a ferocious glare. Suddenly, no permit is required…
Will you be writing any songs about the American presidential election - or was
it too surreal for words? Susan Howlett, Oxon
If The Unutterable were to be nominated for the Mercury Music Prize, would you
be secretly pleased? David Rogers, London E1
The Factory Records story is being made into a film with Steve Coogan as Tony
Wilson. Do you think you'll get a cameo as one of Manchester's leading artistes? Jane
Purvis, Great Baddow
Which newspaper do you currently take - and do you trust it? Robert Stanley,
London NW6
Do The Fall hate pop groups like Westlife, or see them as a necessary evil? James
Worthington, London N4
I have a friend in marketing that says that all you have to do to be more successful
is to split up for five years and then reform. You would then be welcomed back
in a blaze of publicity and good feeling. Ever thought about it? Adam Brown,
London EC1
If you were a teenager now, would you be a Radiohead fan? John Oakey, Shoreditch
Is it true that you left your false teeth in Damon Gough's glove compartment
when you got a lift off him in the early days of his career? Ian Baxter, via
e-mail
With hindsight, would you recommend being in a band with your wife? Leah Cartington,
via e-mail
Do you have fond memories of your late-80's ecstasy period? Melissa Geldart, Headingley You once said you thought John Lennon was "the biggest spaz ever".
Why did you say that? Bridget Howe, Leith
Did The Fall's name come from the Nazi word for "operation"? I read this
in William L Shirer's Rise And Fall Of The Third Reich, a known favourite Smith
text. Adam Johnson, Swindon
How much do you drink in an average day? Fiona Poole, Leicester
How much money do you have in the bank? Andy Rankine, Catford
What does Mark E Smith do all day long? Angela Keating, Bradford
Have you ever flown first class on an aeroplane? Sean Bastie, London SW1
I once read that you used to watch the movie Zulu once a week. Do you still do this?
Have you seen The Weakest Link? Anne Robinson's
almost as sarcastic as you. Paul Murray, Birmingham
Has there ever been a politician that you felt was worthy of your vote? Keith
Bond, London SE23
Of all the ex-Fall members, who were you most sorry to see leave? Lee Angus. Carlisle
Your lyrics used to be a lot funnier. Are you losing your sense of humour? James
Cartwright, via e-mail
Do you ever stay up late watching the soft porn on Channel 5? Andy James. Birmingham
Are you on speaking terms with John Peel these days? Apparently you tore a strip
off him last time he said hello to you. Tim McDonald, Plymouth
When Pavement ripped off The Fall you were furious. How come it's all right for
Elastica to do it? Ben Gerard, London 5E7
When Bonehead left Oasis, did you think of inviting him to join the mighty Fall?
Liam Silver, Lincs
Did you watch Big Brother? Ian Mackie, London NW3
Have you ever regretted not having kids? If only to fill Future line-ups of The
Fall. Doug Smith, Clifton
Were you scared that you might go to prison after the New York incident?
Giles Perry, Woking
Over the past five years there has been a vast
number of pointless Fall compilations and live material released. I know Fall
albums don't sell in Oasis-style proportions, but are you really that hard up?
Reuben Willmott, lpswich
Whatever happened to those wonderful shirts you used to wear in the Cruisers
Creek period? Paul Grant, Swansea
Do you think The Fall have had unusually bad luck? Or has it been swings and
roundabouts? Mark Thompson. via e-mail
Smith, your fans are concerned about you. Are you in a never-ending depression
or should we mind our own business?
Daniel Wilson, via e-mail
Thank you very much.
Stefan:
added a few things to the Fall gigography....
1) some b&w photos of the RPM, Toronto, Sept. 13 1994 gig.
http://www.visi.com/fall/gigography/94sept13_photos.html
many thanks to Sandeep Atwal for sending me these.
2) two vintage flyers from the May 26, 1979 Cambridge Corn Exchange gig,
recently excavated from my spare room.
http://www.visi.com/fall/gigography/79may26_flyer1.gif
http://www.visi.com/fall/gigography/79may26_flyer2.gif
I also have a great poster for this gig and will upload a photo soon.
3) a more recent flyer from the Sept 24 1994 San Francisco Fillmore
gig, which Jim Hildreth sent me almost seven years ago!
http://www.visi.com/fall/gigography/94sept24_flyer.gif
A plea:
There must be loads of Fall flyers, posters, photos, ticket stubs, set
lists, and assorted ephemera in the Fallnet collective -- please consider
sending me photocopies or scans to add to the gigography.
David Humphries:
http://www.wes.ukgateway.net/Fall/FallIndex.html
smurf:
I've uploaded some pics from the above gig in the Photo's are of the
Otalgia Yahoo club.
http://clubs.yahoo.com/clubs/otalgia
Pat:
Just a brief pub service announcement that two sites have congealed most of
the viscous slime of Lovecraft Net references into pulsating &
foul-smelling but very handy archives:
(contains a ref to Spectre vs. Rector as an example of Lovecraft in
"popular culture")
(provides annoying popup windows, but also contains all stories & some
other reading materials; one contributor is editor S.T. Joshi)
Etan: (from NME):
<<
NEW ORDER's PETER HOOK, The BUZZCOCKS' HOWARD DEVOTO and THE FALL's MARK E
SMITH are among the names set to feature in a forthcoming television
documentary charting the SEX PISTOLS' legendary 1976 Manchester show - a gig
that is said to kicked off the whole MANCHESTER scene.
The performance, at Manchester Free Trade Hall on June 4, was attended by
own a clutch of people, amongst them Morrissey and Factory Records boss Tony
Wilson, but subsequently thousands have claimed to have been in attendance.
The documentary, 'I Swear I Was There', to be broadcast in the UK on May 31,
is said to be the definitive account of the seminal show. It features
previously unseen footage and a recreation of the gig.
"It was absolutely bizarre, the most shocking thing I have ever seen in my
life," recalls Peter Hook. "They looked like they were having such a
fantastic time, I just thought we could do that. Literally, the next day I
went and bought a bass guitar for £35. I got home and thought 'What the
bloody hell am I going to do with this?!"
The show was promoted by The Buzzcocks' Pete Shelley and Howard Devoto after
reading the Pistols' first ever review in the NME.
The gig had such an impact that a month later they played Manchester again,
this time to a full house. They were supported by The Buzzcocks and
Slaughter And The Dogs. "If the first gig was the detonation, the second was
the cloud and noise everyone knew something was going off," Devoto says.
However, one person not impressed by the Pistols was Mark E Smith. "They
were alright, but I remember thinking we can do better than that," he says.
A book, also called 'I Swear I Was There', is being published to accompany
the programme.
>>
18 May 2001: The Guardian - Page 22 - (863 words)
Friday review: trainspotting:
HOME ENTERTAINMENT MARK E SMITH By: Will Hodgkinson He has kept the Fall going
in one form or another since 1977, when he launched their gloriously awkward
career by performing songs like Bingo Master's Breakout and Psychomafia at an
office party for the staff of a Salford supermarket, but Mark E Smith is still
as unintelligible, inspiring and infuriating as ever.
He still lives in his native Manchester, has a tendency to talk out of the side
of his mouth, make mumbling sounds and, most testing of all, stare in silence in
front of a bottle of beer.
"I was a clerk for two years, and a docker for about a year," he finally says,
of his life before the band. "Clerk's life was OK. One thing I would say is that
when we got into rock music, we didn't realise that the music business is a lot
more conservative than clerical life. I think there are better people in the
clerical world. Everybody wants to be somebody else in rock."
Smith says he formed the Fall as a reaction to the kind of music he was expected
to listen to and his record collection is mostly made up of obscure American
music from the 1960s - garage punk from the white teenagers, and northern soul
from the black singers.
"There was no music when I was 15 or 16," he explains, sort of. "It was all
crap. What I listened to was Nuggets, 60s bands. That was the only stuff around
that was tolerable. I'm not talking about 70s punk, which was awful, I'm talking
about mid-60s American garage punk. Do you understand?" I assure him that I do.
Smith's favourite band from the 1960s garage days is the Seeds, the acid-punks
led by Sky Saxon, who once had hits with songs like Lose Your Mind, something
which, by all accounts, Saxon has now succeeded in doing.
The Seeds had one style - snarling vocals, tinny organ, two chords at the most -
which was used for every song they ever recorded, and they had a hit with
Pushing Too Hard, one of the greatest complaint records in rock.
"The Seeds are my group. The Seeds are great. What me and my friends used to do,
when we were unemployed, on the docks, blah blah blah, was order records by the
Seeds from America. You would go into a Virgin Records shop in 1972 and they
would say: 'You can't have this, what you need is Tubular Bells by Mike
Oldfield. Go on, it's only pounds 1.50.' It's mind control. They used to boast
about how they could get any LP, and they couldn't.
"To wind 'em up we would go there and say, 'Can you get us that record of the
MC5 live in bloody Los Angeles?' They'd say, 'Don't you want the Grateful Dead?'
'Nope.' 'How about Pink Floyd Live?' 'Nope. I want MC5 and the Stooges and the
Seeds.'"
Smith wavers between citing his favourite garage-punk tracks - Liar, Liar by the
Castaways, You're Gonna Miss Me by the Thirteenth Floor Elevators, I'm Gonna
Make You Mine by the Shadows Of Knight - and continuing his tirade against the
workings of Virgin. "The Australian series of compilations called Pebbles are
the best. There's a band on one called the Drive-In Stupid, which is a great
name. They only did two songs.
"But Virgin are against that kind of music. The surreal thing is that when you
try and get a train ticket off Virgin in Manchester, you go through the same
bloody palaver as you did in 1972 when you tried to get a record by mail order
from their record shop. Bet you haven't got Mr Pharmacist by the Other Half.
That's a good one. The Fall did a version of that."
Most of the garage bands only got round to recording a couple of songs before
getting drafted or going off to college, but a few recorded entire albums. "I've
got an album by the Barbarians," is Smith's proud boast. "They had a drummer
called Moulty who only had one hand. It's rare, that album. I've got it.
Ah-huh."
It's hard to imagine him looking up to other singers for inspiration, but he
will admit to a fondness for Johnny Cash.
"He's all right, Johnny Cash. But it's the same old thing every song. Captain
Beefheart was good, though. Back end of Trout Mask Replica is his best stuff.
Clear Spot is all right, that was the one after, but Trout Mask Replica was the
one that was the real test - to a lot of people."
The story goes that Captain Beefheart himself, Don van Vliet, made his band
practise out in the desert for months on end under a no drink and no drugs
policy, until they were so good that they could record the entire double-album
in one take - and what they recorded is one of the most famously inaccessible
albums ever made.
It has been suggested that Smith has taken a few leaves out of Beefheart's
dictatorial approach to work, and the man himself isn't about to deny it. "I
sometimes give the group the wrong address for the studio. Because by the time
they find it, they're really annoyed. They play better that way."
ENDS
http://www.guardian.co.uk/Archive/Article/0,4273,4188504,00.html
John Howard:
http://www.furious.com/perfect/thinkingfellows.html
PSF: Do you mix up hi-fi and lo-fi stuff on the same song?
BH: Yeah, that's a favorite thing. I was talking to someone recently about
"Sports Car" from Tangle [1989] and how it has this horrible recording of my
voice. We were talking about the beauty of ghetto blasters--they don't make
these any more, ghetto blasters with built-in mics--they have this really
killer automatic compression. And if you had to get a band playing and it's
a really dynamic thing, just sort of crashing great improv, but it's a real
song, these compressors can give you the most intense sound. Because every
new little thing that comes along just squashes everything else. Violence is
captured in there. It gives you the feeling that a lot is being squeezed
through a small hole. And it energizes me to hear that. So we did this vocal
that was recorded on the worst old reel-to-reel out on the front steps,
while it was raining, while somebody inside kept hitting different
distortion boxes.
That was so early for us in California that we were still having people come
to us and telling us who we sounded like or who we should listen to if we
didn't know. A lot of people were making really good assumptions about where
we were getting stuff. They just weren't right. We hadn't heard the Swell
Maps, and none of us had ever really listened to Captain Beefheart and the
Fall. And the Fall had this one really beautiful song where it's going along
with this really relaxed, sort of Velvet Underground feel, and suddenly you
hear a tape machine and it sounds like somebody's recording of the song is
in the background.
PSF: Yeah, "Paint Work."
BH: Yeah! It's beautiful. There's something about that that fills me
with.... It's so much more of a story or something. It suddenly just expands
the whole song into something that makes it more real.
Tree Falls on Disneyland Visitors
http://dailynews.yahoo.com/h/ap/20010504/us/disneyland_accident_3.html
"The accident is the latest in a series of mishaps that have brought
scrutiny to the park.
"Three people were injured on rides from September to January, and a
6-year-old girl had part of her left finger pulled off when it caught
in a toy rifle in January. The toy guns since have been removed.
"In 1998, a Washington state tourist was killed and his wife and an
employee were seriously injured when a cleat used to moor the
Columbia sailing ship ride ripped loose."
The Record and Tape Exchange in Notting Hill have original type written lyrics to It's The New Thing for sale for a mere £350...
Northern Soul - The Lizard, Issue 4, May 1995
The Fall are back with their - get this - 21st LP (27 if you count compilations) and a new seven-piece, two-drummer line-up including, of all people, Mark E. Smith's former wife Brix, who left the band in 1989 following the break-up of their marriage. Lucy Nation talks drugs, dance crazes and Dr. Kiss Kiss with the great man. White Lightening: Peter Morris.
It's a hard fact to grasp - me, I'm 28 and as such arguably too old even to consider trying-but, for some of the younger people reading this (those born since November 1977, when the group recorded their debut single, 'Repetition') The Fall have literally been around for ever, like Princess Di and pound coins and people who live in cardboard boxes under railway stations. The only comparable group from my own experience would be somebody like The Rolling
Stones, and this parallel is (with the obvious proviso that the Stones have been utter catshit since 1969, if not always) an instructive one, for the British pop Media's reaction to new product from either is roughly the same: like, here's another Fall/Stones LP, its the same as the last 25 but, what the hell, respect is (grudgefully) due 'cos they're an Institution.
Now I don't know about The Stones, but The Fall are by no means standing stiIl. Their new Cerebral Caustic LP marks a definite departure from the group's heavily technology-based sound of recent years with rough-edged guitars and live-sounding drums dominating most of the mixes, and Mark E. Smith's characteristically reverb-free vocals buried in the noise of the group. Sure, I'd have to say there's realty nothing on it that approximates to the greatness of a 'Middle-Mass', a 'Smile', a 'Gut of The Quantifier', even a 'Paranoia Man In Cheap Sh*t Room" (except maybe 'Bonkers At Phoenix', more of which later), but it's a good record for all that, especially at high volumes where you can hear the detail.
Using less technology was very conscious," says an unstereotypically genial and good-humoured Smith, 'cos it was getting a bit sludgy, with the process we were using and that. As you probably know, it's all computers in studios now, and they're always losing the plot really. You can't get to people like Craig and Steve and myself to play to drum machines, so... if I hadn't got Brix and Karl (Burns - genius drummer/gui-tarist whoas h~ been in and out of The Fall since its inception) back, I think it probably would have ground to a halt. I said this to the group, y'know: We don't need fucking drum machines to lead the way. I've got two of the best drummers in the world, in my estimation, and one of the best bass players, so what's the point? Just use it for effects..."
Was this a quick record to make? Are you familiar with the working of a studio yourself? "I just stand behind
the engineer and shout."
For me, the undoubted high point of Cerebral Caustic is 'Bonkers At Phoenix', wherein a fragile and beautiful Brix-sung pop tune is buried under a thick blanket of aural slurry: fairground noises, rasp-ing synths, Smith shouting through a loudhailer. At first, I tell him, I was cursing you, thinking 'Bah! Only decent tune on the record and they've done this to it..." but then the realisation dawned that what I was listening to was a direct sonic representation of the off-your-head-at-a-festival experience: the sound of a Rock band thinned to vapour and blown away on the wind, with a cornucopia of unrelat-ed noise passing closer by. It's an audacious mix, even by The Fall's standards.
"That's my experience of festivals, I'm afraid," smiles Smith. "People shouting at you with megaphones."
So The Aphid is like a dance step where you get the aphids and put them in the jar?
Totally. You like his stuff, obviously.
I thought Blade Runner was similarly point-missing.
Ever thought of going into screenplay writing? He hasn't
Have you thought of putting out a book of prose?
Absolutely. Not only that, I immediately offer him a page in The Lizard on the subject of his choice.
With any luck, this will come to fruition. We don't get paid for this anyway, Mark-we do it for love and free CDs-so you'd hardly be stealing our bread and butter.
All this talk of Philip K. Dick emboldens me to climb aboard the bus to Pub Boresville and venture my comparison of The Fall's position relative to the Rock Mainstream as being similar to that of Science Fiction to mainstream literature: enduringly popular, though seldom in the best-sellers league; looked down upon by snobs as somehow not 'proper'; more concerned with a high turnover of raw ideas than with shite like technique and finesse, often with an almost unfinished quality. Oh, and the covers are usually terrible. He's immediately oft at a tangent.
How do you think E culture has changed the face of Pop music?
What do you think of E as a drug?
No, it's overpriced and the quality isn't reliable.
He's laughing here. What's your favourite drug?
It seems to me, Mark, that the standard of both Rock music and musicianship has been higher in the US for years.
It's funny, because I like Pavement, but one thing that always mys-tifies me is journalists claiming they have a Krautrock influence. I mean, I can hear Can in The Fall's music, but not in Pavement's.
Talking of which, I remind Smith that in the Fall lyric book (1984 or so) he claimed that he saw his only artistic rival as Prince..,
You wouldn't even go it they gave you an award?
We've probably had this, but:
Dragnet press-release, late 1979:
WHY ARE YOU SMILING?
" The Fall; influential, arrogant, accurately hypercritical of rock apathy"
ADD ON THIRTY YEARS NOW YOU'VE GOT SPIT McBURNS
The songs on ""Dragnet" are about psychics, showbiz, chances, criminals, prisons, results of the Boer War, pop, cruel jokes, paranoia and stimulants of all kinds, demons and more. The follow-up to 1stLP " Live At The Witch Trials" (Much OK'd and acclaimed), that's as much "Dragnet" has in common with that record. This is band and fate's policy. Change equals growth. 'We're better because all our songs are different' - M. Leigh
This record celebrates The Fall's 3rd year of existence against all odds. Thanx to all who helped make it possible (YOU'LL STILL HAVE TO BUY IT)
Overleaf you can meet the people who wrote and recorded it, if you go for that sort of thing.
"I must create a new regime/Or live by another mans
I could use some pure criminals/ to get my hands on some royalties"
Tracks on "Dragnet" are:
COMPLETE AND UTTER DISCOGRAPHY:
INFERNAL PERSONNEL phase 3
STEVE HANLEY (19) bass guitar
MARC RILEY(55) guitars, vocals
MIKE LEIGH(24) drums
MARK E. SMITH (13) ld vocals etc.
In winter they like pullovers and thick coats, while in summer they go more for cotton garments. 80% of them are Mancunians in fact, and all members like the Residents - even those who haven't heard them.
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31 May 2001 This is the latest news and gossip off FallNet for those with weak stomachs.
Recent news....
010429 IR, UK gig reviews
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