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Waves ofshockand nausea struck musicfansthe world overlastweek. bare weeks afterthe losstothe music industry of Phil Lynnot. The sad occasion wasthe British Phonographic Industry's annual awards. henceforth to be known as the Phil Collins Awards in memory ofthekiss-curlediiZ year-old genius'sthwarted attemplsto gelas soddenaslhe restoflhe assembled throng. Sympathy must also be awardedtoguestofhonour Norman Tebbitt who. while usually exuding the calm servility of a man who knows he will bethe one whoturns out the lights whenthe cabinelfinallyshuts up shop. was understandably nervous allhelhoughtolllulling hislinesin front of an estimated 100 million people. (Seriously 100 million?) Nor was be able to turn to Miles Copeland forsupport. had he feltthe need. After securing his place as talking point of the industry on Channeldthe night before with his necessarybutconfused differentiation betweenfree enterprise and capitalism. Miles had found the lure of a night in Grangemouth with The Stying-Ritestoo much. He was probably having more funthan QUO/oOl the musicbiztypes inthe hallthat night. The progress ofthis inexorable behemoth, the BPl Awards. was only lightenedforthebrielmomentsthatlt took to acknowledge Dave Stewart and ourvery own Annie Lennox. Then itwas backto the mostpredictable. and dull. awards ceremony these eyes have ever witnessed. Maybe I just haven't cottoned on yet. butthere's more tension and uncertaintyinthe bleeding Oscars than in this heap of bilge that took up an hour and a half of BBC prime time. John Peel announced on his programme later. his mind clearly set atrestbythe affirmationthatHuey Lewis and The News really arethe greatest rock ‘n' roll band in the universe (something we hadhitherto only suspected)thatsome plucky being inthe industry had risked his chances of everbeing accepted by polite society again by voting forCrewe‘s maverick HalfMan HallBiscuitinthe BestNew Act category.

Radio Forth‘s Colin Sommerville. two hourslaler. wasa little less philosophical and launched intoa protracted and rehearsed rantagainst practically everyone who was withina half-mile radius ofthe ceremony. particularly anyone who was near enoughTebbittobreathethe same air. it was all to very little effect. Norman wasn‘tgoingtoflashhis haunted half—smile atthe camera and beam "Thank Heaven for Bogshead' at us. Nor was Geroge Michael goingto spitinhis eye. underany circumstances. True. the cultural and artistic role of the awards(exceptmaybe in Dave and Annie‘s case)was secondaryto the celebration of a booming British industry. Thatithas become so successful isn‘t in itselfsomething to be ashamed of. but the music on display certainlywas. so itwas a wise slanltotake.

Apartfromthe whole affairbeinga piece ofbadtelevision. the most worrying aspectofitwasthe very awardthatTebbitwasthere to present to Wham! and EllonJohnfortheirrole intaking ‘the anus ofculture‘(Nick Cave1982) behindthe lron Curtainto China and the USSR. Norman surely can‘tbe alone inrecognisingthe value ofil—lnfiltratingCommunistcountries without a single drop of blood being shed. withoutasinglediplomatbeing found in bed with a nubile Party member. withoutevenasingleClA agentfoundlioating lna reservoir. And nextyear? The blood turns to iced water atthe verythought. (Mab)


The Crows: The Sun Went In (Ravin‘ Records) Afew bars intothisatrack 12in and I thought ‘Aarh. the Waterboys'. but don't letthat putyou off. There‘sthe same yearning forthe unknown and scaling the heights as Mike Scott and his campfire crew. but it‘s not half as embarrassing. The Sun Went ln lopes along at a nice pace. the catchy chorus driven by an insistent guitarrilfthatactuallyimproves with repeated listening. The brass is possiblysuperfluous in places but that‘s made up for with a way-back-in-the-mix sax solo inthe

middle. Complaints? Perhaps a bit muted, but it sounds like a standout live song. And the Bowie-esque vocals are only to be expected. Mr Fox on the B-side could be an outtake from The FursTalkTalkTalk LP. butl‘d definitely make a pointofseeing them live ill were you. and awaiting the LP with fevered brow.

Kick Reaction: Yesterday. Today. Tomorrow/Stoppingto Speak (Precious) My copy doesn‘t make it quite clearwhich is the A-side. but both are soulful pop songs. or poppy soul. Yesterday. Today. Tomorrow gets my vote: clipped. agitated funk guitar. a lovely little bass riff that pops up now and again and a habit of sounding like it‘s going to break into Hey Joe any minute. which itneveractually does. Indeed. lwas disappointed when they didn't play this at the post-Red Wedge gig inthe Assembly Rooms. sol must like it.


o All change in the Glasgow Club scene asthe SubClub has movedtoa larger venue every Friday night in Rooftops. Sauchiehall Street. One of the most interesting developments inthe wake of this bold move is how quickly two otherclubs havetaken overevenings formerly inhabited bythe SubClub in theirold venue. Lucifers. The Perfect Beat lives in there on a Saturday night. making its re-appearance alter a long absence from the Thursday night dancefloor in Henry Afrikas. Friday in Lucilers (in Jamaica Street) now hosts The World‘s BiggestClub (incidentally. thistitle isajoke) so its seemsthat not only arethere more placestotant pis yourtroubles away in these days. but Glasgow businessmen are convinced thatlhe city can support intense leisure activity. I‘m not... 0 The renaissance of Glasgow pop continues with the release of a batch of great singles— Hue and Cry‘s Here Comes Everybody: Kick Reaction's Yesterday Today Tomorrow; Love and Money's The CandyBarExpress' and Hipsway‘s The Honeythief. Look out also lorThe Primevals new album Sound Role on New Rose Records. 0 Major Managerial Mistakes Part II took place at The Barrowlands earlier this month at the Jesus and Mary Chain gig. Whilethousands ofprolo-punks jammed intothevenueto see the future of rock and roll. many were disappointed ifyou were standing at the back itwas obviousthattheJAMC had brought too small a sound—system with them. The new hype—The Jesus and Mary Chain—The Ouietest Band In The World? 0 Good news at last for the unluckiest band in existence The Painted Word. Next monththey are recording a single for indie label Mother Records. Based in Ireland. this isthe infantlabel of U2 so I hope the Words have a safe journey.

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