Audio 1
CLASH: NO two ways about it. All I can do is echo and re-emphasise Chris Brazier's sentiments in MM of two issues ago:
Alternative Ulster No. 72, published circa 1978, priced 20p, featuring contributions from Steve Morrissey and Danny McAndrew. Issue #72 (1978)
Review of Music Machine concerts
Alternative Ulster No. 72 :
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Page 1 : The cover features a futuristic warrior and promises a 32-page "local bands special" alongside coverage of The Clash , Springsteen , and Wilko Johnson .
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Page 5 : This "Focus on Manchester" report provides a detailed, critical review of Magazine's album "Real Life" and thanks contributors including Steve Morrissey .
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Page 7 : Danny McAndrew reviews the Northern Carnival Against the Nazis , praising the Buzzcocks' performance as a "total triumph" for Manchester .
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Page 25 : Clare and Cathy review a chaotic, star-studded Clash gig at the Music Machine featuring guest appearances by members of the Sex Pistols and Sham 69 .
Alternative Ulster No. 72
Cover Page
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Header: ALTERNATIVE ULSTER No. 72
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Price: 20P
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Illustration: A hand-drawn female figure in futuristic combat gear holding a rifle, standing against a landscape.
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Speech Bubble: "SO YOU THINK NOTHING EVER HAPPENS IN BELFAST THEN, SUCKERS?"
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Content Teasers: * INSIDE: the motors , wilko , SPRINGSTEEN , CLASH + local bands special
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32 Pages!
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SUPERIOR IMAGES
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Here is the transcription for Alternative Ulster No. 72, Page 5 in sentence case, using plain text with bolding for names and titles and italics for quotes.
Focus on Manchester
Focus on Manchester (What!, again?) (yes; again!!) 2: Welcome to the second part of the A.U. probe into the n/w scene in Manchester . First of all, though, I think I must apologize to all those who entertained hopes of obtaining the Buzzcocks bootleg from A.U. . As I stated in No. 34 ~ I was genuinely led to believe that I could obtain a number of copies from the main source, but for several reasons we ended up with none, though I am still trying so don't give up hope all those of you who enquired.
Meanwhile, back in Manchester , several bands, a couple of solo singers and a poet are getting impatient - so, on with the review, and this month's things are: John Cooper-Clarke , The Nosebleeds , Magazine , Joy Division , Punicured Noise , A Certain Ratio + a review of the Anti-Nazi League concert. Special thanks this time to: Steve Morrissey , Chico , Mark Smith , Mark Cropper , Junior , Laurence Beedle of Rabid Records , Lawrence (of no "record label" - and no relation) and Danny McAndrew .
M - A - G - A - Z - I - N - E
I can't really see any way that I can write a band like Magazine out of this article on Manchester and other bands - they cannot be ignored, not with the neo-legendary incredible Howard Devoto at the helm - lyricist, vocalist, focal point of the group, part-time genius + part-time pseudo-intellectual balding wimp!
Magazine have often been criticised for having it too easy - only altogether a matter of 8 or 9 months + already 2 singles and an album under their belts. The criticism is justified to a certain extent but the L.P., I feel, saved them - if it hadn't been as good as it was the music press would have torn them apart, for up till the release of "Real Life" they'd had 1 great single, 1 disappointing single + 2 awful b-sides and many thought they were finished.... but then came the L.P.. Aha! It must have taken a while for the Devoto / McGeoch songwriting combination to come into its own - surely Howard Devoto must have missed the Shelley partnership - that was obvious in
Out of "Real Life" in a continuous effervescent flood. Ah! But where do they go from here? It is interesting to see the change that has undoubtedly taken place in Howard Devoto since forming Magazine . When he left the Buzzcocks he said he "couldn't commit himself to anything in the long-term" because he "changed all the time" . Has Howard Devoto then settled down to a life of being a rock'n'roll star, or will he surprise us once again?
The early days of Magazine + even on the L.P., where Magazine songs proper took over from the old Buzzcock -era influences, the 2 tracks that stand out for me are "Shot By Both Sides" + "The Light Pours Out Of Me" - both partly Peter Shelley compositions.
The rest of the album is, however, no let-down. "Real Life" is, simply, flawless - it is a superb platter. The music is excellent with Dave Formula's keyboards + synthesiser + what have you adding a delicate lightness, beaty + variety to the songs, along with some scintillating guitar work by John McGeoch .
Commanding lyrics, droning, (almost) harmonious vocals intertwine with complex keyboards, guitar + rhythm structure to produce a marvellously clear, refreshingly original sound.
"I got this bird's eye view / its in my brain / clarity has reared / its ugly head again // so this is real life // you're telling me // that everything // to be ." - "Definitive Gaze" .
Thus begins the L.P. and for the next 41 mins. Magazine explore the watery depths of the rock'n'roll ocean surfacing eventually laden with sparkling priceless gems like "Light" , "Definitive Gaze" , "My Tulpa" , "Motorcade" .
It is a lively, refreshing album - bright, positive - progressive - "The Light Pours Out Of Me" draws Howard Devoto + it does - it pours.
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Heart beats up love -
Magazine are: Howard Devoto - vocals John McGeoch - guitar Dave Formula - keyboards Barry Adamson - bass Martin Jackson - drums
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The Northern Carnival Against the Nazis - Alexandra Park: M/CR (Page 7)
Image Description: This hand-drawn and lettered page on yellow paper documents a concert at Alexandra Park on Sunday 15th July . It features three black-and-white photographs: a group of musicians (top), a guitarist playing in profile identified as being from Steel Pulse (center), and a group shot of the Buzzcocks (bottom). The page includes a credit to Danny McAndrew for the review.
Transcription: The Northern Carnival
After avoiding most of the speeches by consuming product at the nearest public house, (typical Nazi League supporter) we gathered beneath the sinister presence of Sooty - that is the notorious Strangeways prison, from where, under the heavy surveillance + auspices of H.M. Constabulary , we marched through about 3 miles of dark, satanic Manchester , a fine modern shopping precinct me mate thought "nice" + where he'd like to live.
Anyway, I missed the first group; a reggae band - I don't even know who they were, but suddenly it was the Buzzcocks . They looked good and dressed immaculately. I've seen them twice before down south + both times it took about half an hour for them to warm up. But today it was a total triumph from the start. Buzzcocks in Manchester , there in front of a crowd who loved them. Northern New Wave soul, intense pulsebeat, single rhythms been seen with that buzzed up edge peculiar to the Buzzcocks .
The set was fairly long - well over an hour I guess, and they just do have a fuckin' good repertoire. They drew heavily from the album, played most of the singles, did "Breakdown" , the old fave, and encored with "Boredom" . They did a couple of new songs which were right up to scratch. That they sounded so good amongst such a wealth of favourites is quite an achievement. I'm glad I didn't pay seven quid to watch a millionaire protest singer through binoculars going through the motions at an old airfield festival in Surrey . Of course, our lads were there backstage afterwards talking to the kids and signing autographs. It would've taken The Clash or Matlock + Rotten in a Pistols reunion to follow that.
Next on were "China Street" . They were V. competent reggae/boogie merchants (???) but didn't fire my sluggish imagination too much, so I fell asleep, succumbing to the alcoholic excesses of the previous night, which were taking their toll.
Steel Pulse were enjoyable, but again, not overwhelming. The day, tho' perhaps not a momentous historical occasion, was far more pleasant than its London counterpart, where the adverse physical conditions of drought, famine, claustrophobia and exhaustion were appalling. Here one could recline under the sun - no Q's for food + drink + the sound was not that bad for an outdoor event. Finally-only socialism can destroy fascism forever-at its roots-anarchy only opens the door for them!
Danny McAndrew
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The Clash at the Music Machine (Page 25)
Image Description: This yellow fanzine page features a review of The Clash performing at the Music Machine . The top right corner attributes the writing to Clare and Cathy . The right margin contains a vertical strip of film stills showing the band in performance, while the bottom of the page features several larger black-and-white live photographs. A handwritten note at the bottom right reads "By Clare Dobson (pics 'n' all!!)" . The page is marked A.U. P. 25 at the bottom center.
Transcription: The Clash at the Music Machine
After several confrontations with a large unpleasant bouncer I manage to get to the backstage bar. The first band are already on. I have no idea what they were called or what they were playing, but they were mostly female. I get a drink and watch the stars go by; Paul Simonon is at one end of the bar with a crowd of fans while Mick Jones is at the other standing alone. Soon they both retire to the dressing room leaving only Topper Headon (misspelled as Nicky) in the bar. The only time I see Joe Strummer is when he arrives, a lot later, barely recognisable, shoulders hunched in a large jacket, face half hidden by a hat. He is not seen again 'til The Clash take the stage at about 12.30.
Next on are The Specials , a punk/reggae band from Coventry . Their set is good, the best numbers being "New Era" and "Everyones Special" at the beginning and end. When they're finished I get talking to a bouncer who tells me Suicide are "bad news" . I'm prepared for the worst. I'm sure they don't intend to be funny but Alan -the vocalist's- Max Wall walk while singing about desperate factory workers who kill their whole family before committing suicide make me laugh hysterically throughout their short set.
After half an hour of rockabilly records The Clash are suddenly on. The first few minutes of their set is a shambles. We get two versions of "Complete Control" ; the first drums/guitar/harmonies not joined 'til halfway through by Joe Strummer's vocals; somehow they reach the end while Paul Simonon and numerous roadies struggle to fix the silent bass. When everything is O.K., from there it's "Tommy Gun" which with "When Johnny Comes Marching Home" is the most immediately impressing of the new material live. The pace is furious; as soon as they finish one number it's "1-2-3-4 1-2-3" and straight into the next. From the first album they do "I'm So Bored With The U.S.A." , "Londons Burning" , "Police and Thieves" , and "Garageland" .
Mick Jones is the most active on the far side of the stage dancing and running on the spot while delivering great (stoned) guitar. Joe Strummer either sings from the extreme front of the stage, while the audience reach out to touch him, or crouched on the drum rostrum shielding his eyes from the spotlight. After what seems like only a few minutes but what I discover was an hour they're finished. A second drumkit is set up. The Clash return joined by Paul Cook (drums) and Steve Jones (guitar hero, poses). Joe Strummer says "Don't call this a supergroup it's a fucking awful group" . With that they do "Janie Jones" . The second drumkit makes the already small stage minute but Steve Jones and Mick Jones still find room to leap about while Joe Strummer stands flattened against the side of the stage. It's chaotic. Suddenly, and from nowhere, Jimmy Pursey springs into action and the gig ends with a confused "White Riot" . I've heard The Clash dismissed as just-another-punk-band but on the evidence of this gig and what I've heard of the new stuff they rise above any 'wave'.
Clare + Cathy
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The Official Clash 
Clash City Snappers
