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.
