Magazine - "Real Life" Vinyl, LP, Album, Reissue, Spain, 2013/1978 (ViNiLiSSSiMO)

Out of the brilliance of the Buzzcocks came Howard Devoto and his band Magazine.  In the same nature as Eno leaving Roxy Music, all of a sudden as a fan one is spending more money on record releases by these two artists.  The same goes for Buzzcocks and Magazine.  Eno needed to move on from the Roxy Music /Bryan Ferry format, and do Devoto had to remove himself from The Buzzcocks world to make new music that is more orchestrational and borderline, theme music for various spy films that are never made.   Like Ferry, Devoto surrounded himself with incredible musicians/songwriters John McGeoch (the guitar hero of post-punk Scotland), Barry Adamson (who knows the importance of theme song to an imaginary film), Dave Formula, and Martin Jackson. 

"Real Life" is one of those albums that came into my life at the perfect time and place.  I heard its first record/single "Shot By Both Sides," and to me, it was more powerful than the Sex Pistols' "Anarchy in the U.K."   The feeling that Devoto couldn't trust either side and the fact that he's surrounded gave the listener the sense of the dread of such cinematic works as "The Third Man."  Where all the sides are being played, and one is just part of the system that offers supply and consumes.  Still, a powerful song and performance that is one of the great 45 rpm single that uses that format as both restrictive and contained within its 7 inches. 

Magazine is very much the perfect vehicle for Devoto's creepy Kafka-like character within the noise made by the band.  Majestic, riff-orientated, with overtures to the Brecht/Weill world as well.  It's music that is a well-designed puzzle, which again reminds me of Roxy Music.   At the height of Punk, Devoto and company offered structure and somewhat an operatic approach to their songs.  Not big budget theater mind you, but opera for the gutter, where one is laying there and looking up at the stars, or at the very least, looking at the theater's (venue) ceiling.   "Real Life" suggests that listeners were perhaps living in a dream of their own, or someone else's reality.  Devoto like a surgeon, or at the very least, a gourmet chef, cut into the bone of the song, and delivers a meal that's perfect, but also full of after-taste approaches that linger on one's mouth, ears and eyes. 

There are classics on this album such as the above-mentioned song as well as "The Light Pours Out of Me" (too bad Sinatra never covered this song), but my other favorite besides "Shot By Both Sides" is "The Great Beautician in the Sky," which has a drunk Brecht quality that appeals to my sensibility. Indeed a remarkable album from a great band. 

Magazine "Secondhand Daylight" LP, Album, Vinyl, 1979 (Virgin)

Out of the furnace that's punk came Magazine.  More Roxy Music than Sex Pistols, but in truth, Magazine lives within its own world.  Howard Devoto is the foundation where the music serves his lyrical and vocal talent.  Not a classical singer in the Bowie mode, but more of the street urchin who's deformed and not quite ugly, but beautiful.  "Secondhand Daylight" is the second album by Magazine.  It's different from the first in that the sound or songs are most majestic and cinematic in its scope.  It has been said that the band wanted John Barry, the film composer, to produce this album.  That would have been a natural relationship between the icy professionalism and amoral aspect of Barry's work against the Magazine aesthetic of emotional loss and slightly unbalanced in a world of harsh realities.  

Magazine made great albums, but "Secondhand Daylight" has always been a favorite of mine, and I notice hardcore Devoto fans prefer this album the most, compared to the others.  The scope is larger and the talents of the band are pretty magnificent.  John McGeoch is an underrated guitarist with plenty of elegance and orchestrational sense in playing within the band's grooves.  Dave Formula is the keyboardist with the closest abilities to 'think'  soundtrack music in the Magazine texture, and drummer John Doyle and bassist Barry Adamson are dream players, within the context that's Magazine.   Elegance comes to mind when listening to this album.   Not by wealth, but education. This is smart music made by aware musicians.  "Permafrost" is perhaps the perfect Magazine/Devoto song. It builds and builds and the language was shocking when I first heard the song in 1979. I remember it being direct and to the point, and when I hear it now, it's like honesty being played out in a world of ill illusion. 

Devoto has the Dylan bite but I prefer his poetry to the American master songwriter.   He has Johnny Rotten's snare, but there's a great deal of tenderness in his anger.   The jazzy overtures that show up here and there is close to Bowie/Mike Garson's approach to throwing that additional texture into the mix.  I'm also haunted by the beautiful opening of side two's "The Thin Air" which may be McGeoch's greatest moment on vinyl/tape.  

Ultravox - "Three Into One" Vinyl, LP, Compilation, 1980 (Antilles)

This is how I see the world.  The center of the world is Roxy Music.   From that world (in theory) came Magazine.   And then there's another layer, and that's Ultravox when John Foxx was their chief lyricist and singer.  Keep in mind that these bands didn't imitate Bryan Ferry and company, but soundwise they do share a certain vibe.   Magazine to me is magnificent, Roxy is beyond magnificent, and Ultravox is the little brother that tries very hard to be magnificent.   Foxx and company do have that JG Ballard vibe as well, but I think there are other bands out there that were better than Ultravox in that respect.  Still, a world with Ultravox is not a bad thing at all. In fact, I enjoy the first three Ultravox albums a lot.   "Three Into One" is a compilation of the first three Ultravox albums, and issued after Foxx left the band.   What was Ultravox then, is different with Midge Ure in the lineup. 

I think the critical elements for Ultravox in general (both versions of the band) is Billy Currie's violin playing mixed in with his keyboard talents.  He has a very distinctive sound, and at times he can sound like Dave Formula, Magazine's keyboard player) who ironically enough worked with Steve Strange's Visage project.  In actuality, it's one big family.  The other is John Foxx, whose presence I presume is one from the Punk aesthetic but has a deep interest in science fiction literature, and like Bowie adopting literary works to his music, Foxx did the same.  "My Sex," "The Man  Who Dies Everyday," and "Hiroshima Mon Amour" have traces of a Ballard landscape, and it's interesting that Foxx never saw the film "Hiroshima Mon Amour" but took the title for his own purposes. 

Ultravox is conservative compared to Magazine.  Not politically speaking of course, but in the sense that their music is rarely experimental and is straightforward rock, but with added touches of electronica that gives their music so much flavor.  They can also come up with gorgeous melodies such as "My Sex" and "Hiroshima Mon Amour."   In a nutshell, Ultravox is a good band, that made good albums, but nothing exceptional about them.  Perfectly workable and enjoyable in an equal manner.  They also worked with the greats of their time:  Eno, Steve Lillywhite, and Connie Plank.  A good singles band.  Nothing wrong with that!

Magazine - "The Correct Use of Soap" Vinyl, LP, Album, 1980 (Virgin)

Magazine is one of the great post-punk bands.  It's a combination of vocalist Howard Devoto's lyrical writing skills, delivery and of course the magnificent presence of the other members of Magazine.  "The Correct Use of Soap" is their third album (four altogether), and I think the strongest of the litter. Due to Martin Hannett's production which is dry as a desert in a drought and the great songs written by the band at this time.  Keep in mind there is no such thing as a 'bad' Howard Devoto record, but there are some that are better than others. 

Hannett has a distinct sound for his recordings, and they are identifiable as a Phil Spector, or George Martin sound. Everything he has done one can imagine his DNA all over the record.  Still, he doesn't overpower the artist but compliments his sound techniques to their aesthetic.  The perfect example is "A Song From Under The Floorboards" which is a combination of the excellent production/sound meeting a fantastic song. There are layers in the recording, but it has a mono touch where you don't know where it is coming from.  In fact, perhaps one imagines that they are hearing something there, but could be the listener's ears adding touches to the record.  Hannett never over-produces a record, but often the music is contained in an airless room.  There is a psychology behind Hannett's work that is not open to the world, but very much all put in the corner of space.  Which is perfect for Magazine, especially Devoto who works his lyrics/vocals as a pencil sketchpad than say a vast canvas of someone like Scott Walker or David Bowie.  For Devoto, it's the details more than the big picture that one finds interesting.  

The opening cut on side one "Because You're Frightened" is the proto-type Magazine sound/approach.   It's sinister, dark, and more of a torture of small cuts than a big wound across one's neck.  The melody is beautiful, like all of Magazine's music, yet, it's a song that is attached to a certain amount of madness or danger.   "Model Worker," "I'm a Party," "You Never Knew Me," and "Philidelphia" blend into each other very well.  As a mood, it's like one big piece of music or a movement with five parts.   The only weak song for me on side two is "Stuck," but again it's comparing an apple with an orange.  

The great surprise here is their cover of Sly Stone's "Thank You (Fallettinme Be Mice Elf Agin)" which is just as great as Sly and the Family Stone's version.  There is a funk here on this song, but  "The Correct Use Of Soap" does lean on a groove, which is very funk influenced.   The sound of the band A Certain Ratio (another Factory record/Martin Hannett band) does show up on the album, but in a very faint afterthought. 

I have to give credit here to the whole group beside the genius of Devoto. They are guitarist /horn player John McGeoch (one of the greats of the British post-punk generation) future Bad Seed (among other bands)  bassist Barry Adamson, the drummer John Doyle, and the John Barry/soundtrack keyboard style of Dave Formula.   They make a beautifully orchestrated sound for Devoto and his lyrical brilliance. 

Magazine - "After The Fact" CD, Album, Compilation, 1989 (I.R.S. Records)

For me, the band Magazine is or was the foundation where a lot of post-punk bands based their aesthetic on - especially Radiohead and The Bad Seeds.   It's very much an orchestrated sound surrounding the vocalist and lyricist Howard Devoto.   Therefore a real band where each member of the group contributes to the overall sound that embraces Devoto.  Think of it as a heist job where criminals get together to rob a horse betting track or a bank.  Each member of the gang is crucial in making sure everything works out together.   In turn, I think Magazine were influenced by Roxy Music.  

"After the Fact" is a compilation album of their 45 rpm singles and b-sides.  Magazine issued singles that were separated from the albums.  Not sound wise difference, but often the single wasn't on the 'official' album.  Perhaps they were the last traces of the 60s mentality of the importance of the 45 rpm single, and that it was a different medium.   There is not a bad cut on this album.  Magazine were a fantastic 'singles' band.  

Devoto singing "Goldfinger" is the perfect fit.  At one time, the group wanted to be produced by John Barry, which makes perfect sense with respect to their aesthetic.  Not in a campy way, because Magazine doesn't do 'camp.'   More to do with the John Barry sound of mixing strings with the voice. It's a shame that they never had the opportunity to write and produce a James Bond theme song. Nevertheless in the world of Magazine that are so many treasures to explore.  Also if the song is on the album, usually it's a different recording.  For example, "Shot by Both Sides" is an entirely different recording.  I believe the single, their first recording, didn't have any keyboards on it.   So if you do buy this album, you really don't have to worry about getting repeated tracks, except for their late single "About the Weather" and "A Song Under the Floorboards." 

"A Song Under the Floorboards," "Upside Down," and "Touch and Go" are Magazine classics.   The classic lineup of Barry Adamson, John Doyle, Dave Formula, and guitarist John McGeoch couldn't be better.   "After The Fact" came out after the band broke up, and it was a series of moments that became perfection, practiced by a gang of visionaries. 

Ultravox! - "Ha! Ha! Ha!" CD, Album, Reissue, Remastered, 2006/1977 (Island)

Not to be confused with the much later Ultravox with Midge Ure, this is the first version of the band that included the singer/lyricist John Foxx.  "Ha! Ha! Ha!" is their second album, and much improved from their first, in my humble opinion.  Foxx had a JG Ballard bent with regards to his lyrics or even with the visual aspect of the band.  At the time I thought of them as Roxy Music Jr.  Or a cousin of Howard Devoto's Magazine.   Like those two other bands, Ultravox! had an orchestrational touch to their music, meaning not strings (although there is violin in the mix) but the way the band was set-up with a wash of sound coming from them. 

They came on the scene at the height of the punk era, and was for awhile marketed as a 'punk' band, but clearly that is not what or who they are.  Songs "ROckWrok" and "The Man Who Dies Everyday" project an icy future of bleakness, and their classic "Hiroshima mon amour" (title based on the film, but I suspect that they didn't see the movie) is a beautiful electro-melody.  Steve Lilywhite did the production which is clean and energetic.  A great second album. 

Magazine "The Correct Use of Soap" CD, Album, U.S., 1991 (Original release 1980) (Caroline Records)

One of my favorite (and there are many, to be honest)  post-punk bands is Magazine.  Howard Devoto backed by a super band of sorts, with Barry Adamson, Dave Formula, John Doyle, and guitar god John McGeoch.  Their sound is orchestrational in the same line as Roxy Music, in fact, they remind me of that band, due to not an image, but the way the music is put together.  Every player in the group contributes to the group, and Devoto turns on his magic to make it work fantastically.  

Without a doubt, this is their most commercial album, with solid songwriting, but the album moves from one track to another without a weak link.  The one other influence I pick up on is Motown.  I suspect the whole band is into the classic Motown sound.  That, and a touch of funk mixed with the post-punk aesthetic and that vision to look out to the world makes Magazine a very unique musical force of its time. 

Devoto is a superb lyricist.  No one writes lyrics like him.  Full of literary references, such as Fyodor Dostoyevsky runs through the songs, especially their incredible "A Song From Under the Floorboards."  One of the great classics to come out of that era.  Sinister, disturbing, and yet magnificent.   Their cover of Sly Stone's "Thank You (Falettinme Be Mice Elf Agin)" shows that they truly admire genius in other worlds.