Smash Hits RIP

In 1978 former NME writer Nick Logan birthed Smash Hits on his kitchen table. The first issues cover star was Plastic Bertrand, and Logan so unsure of the magazine he edited it under the pseudonym Chris Hall. He shouldn?t have worried as the Magazine went on to both mirror and shape the pop music of the 1980?s. Its colour posters became wallpaper for teenagers bedrooms. The real revolution was securing the rights to print the lyrics to ?Smash Hit?of the day. These lyrical crib sheets rested between the pages of school textbooks. Scanning the words to Nik Kershaws ?The Riddle? held a greater appeal to me than studying my French verbs.

Smash Hits was my first introduction to the wonderful world of the music press. Interviews and record reviews showed a wonderfully na?ve and witty take on the world of pop. What they may have lacked in terms of critical analysis they more than made up for with humour, pathos and the ability to show no respect for reputation. My distrust of Paul Weller stems from the amount of abuse he suffered at the hands of Smash Hits. He was ridiculed for his angst-ridden approach to music. He came across as Rik from the Young Ones, the people poet with a guitar. Although I admire Jam I don?t love them as I feel maybe I should and Weller?s post Jam music leaves me cold.

Posh, Ginger, Scary, Sporty and Baby owe a great deal of their brand image to Smash Hits. The nicknames came from the pen of a writer at Smash Hits, plain Mel, Mel, Emma, Victoria and Geri doesn?t have the same ring to it does it.

So why has it died on its feet? Well the landscape of pop has been rapidly changing. The rise of the Internet has provided a free source of lyrics. Britpop crossed over into the mainstream media and much of what was special about the music press started to wither. Oasis and Blur where everywhere so there was no need to seek out something like Smash Hits for coverage.

The irreverent style that had won Smash Hits so many fans. Typical question; what colour is Thursday? Is sadly misplaced in this media trained era. Stars can?t stray from the script that the PR people had given them, they parrot out the same answers across a wide range of publications. Why did you need Smash Hits if the same points are made in Heat or The Daily Mail. In stripping bands of any semblance of personality record companies have not only diluted the colour in the charts but murdered the cut and thrust of the pop music press.

In the past Morrissey would drop quotes about Oscar Wilde or colour of his underwear. It was via Smash Hits that I first came across, Jesus and Mary Chain, New Order, The Cure, The Mission and a cast of 1000?s. The publication did have bite. On an assignment to interview New Order, the bands surly reaction and unfriendly nature resulted in a piece that allegedly cost Barney Sumner his marriage. Bizarre Love Triangle made flesh.

It seems odd with Arctic Monkeys defining a tipping point where organic pop seems to be replacing the manufactured variety that Smash Hits has gone now. I guess the NME has stolen the ground that Smash Hits once owned. If they printed song lyrics then the NME would be Smash Hits in indie clothing.

I doubt Smash Hits will be missed as music has been replaced by a general idea of celebrity at the centre of youth culture. The shifting of Top of The Pops to a Sunday is another sign of this. Heat covers this new ground well and should be praised for its stance on weight issues. Not a week goes by without them attacking celeb?s for being too skinny or praising women who are not afraid to be curvy.

It always sad when any form of printed media folds. It means less voices, less opinion and less choice. I hope someone sat at a desk at the NME is dream of a new pop magazine??..

Tony Heywood

Come see my musical musing at

http://highwayfive.blogspot.com/

Hey, nobody said the music business was going to be easy. It truly is a jungle out there filled with: snakes, rats, rabid carnivores, sharks?well, you get the picture. In the course of your musical journey, there will be confrontations, arguments, misunderstandings, and miscommunications. You?ll get jerked around, screwed over, ripped off and disrespected. So, you want to be a rock star? Welcome to your nightmare.

But this is also a business of good people, who?ll give you opportunities and chances and help you out when you least expect it. That?s why it?s so important that you, as musicians and as a band, act professionally and respectfully regardless of the behavior of those you encounter. You don?t have to be a pushover and of course, you have a right to defend yourself against the questionable actions of others, but the music community can be a very small town and the behavior you exhibit will follow you throughout your musical career.

On the flipside of that, there are musicians out there who, either knowingly or unknowingly bring negativity on themselves through their own actions. Short temperedness, egocentricism, brazen entitlement, compulsive lying and just plain old psychotic behavior can brand your band as troublemakers and deprive you of important opportunities that you need to move forward in this business.

So, how can you make sure that you?re doing onto others as you wish they would do onto you? What can you, as musicians do, to eliminate aspects of your personality that may be causing bad blood between you and the people you run across on your way to superstardom?

The following are a few tips that may help you to make sure you?re exhibiting professional behavior at all times:

1.)Be Timely And Courteous—Whether you?re playing out live or emailing booking inquiries from home, there is never a substitute for courteously or timeliness. At gigs, show up when you?re supposed to, be friendly, treat others with respect, set up quickly, end your set on time, break down quickly, be mindful of other bands on stage, compliment those around you and don?t forget simple things like, ?please? and ?thank you.? When you leave a positive impression in people?s minds, you?ll be high on their list when it comes time to fill an open booking slot, recommend a band for a review, etc.

2.)Make Sure Your Actions Match Your Words—It?s such a simple thing but you?d be surprised how many musicians seem incapable to doing what they say they?re going to. If you book a gig, show up and play. If you say you?re going to bring twenty friends and fans to your gig, do it. If you reserve an ad in a local music magazine, pay for it. If you write a check, make sure that it doesn?t bounce. If you say you?re going to send out a press package or a CD, mail it. It is true that many people in the music business are distrustful of bands that they don?t know, and with good reason in many instances. Build your good reputation in the industry by proving that you will do what you?ve promised. Start small. Once you?ve gain people?s trust, you?ll see more and more doors opening up for your band.

3.)Take The High Road—It may be tough but there?s nothing to be gained from returning someone?s improper behavior with a heap-load of your own. That doesn?t mean that you need to let every industry slime-bag from New York to LA ride roughshod all over your music project but there are ways to deal with the negative behavior in this business without branding yourself with a label equally as negative. Sending firm yet professional letters, making intelligent and informed phone inquiries and, if need be, taking legal action against those who have acted inappropriately are ways to handle unpleasant situations without drawing negative attention to yourself. Public scenes, yelling and screaming, long-winded and ranting emails, threats and accusations and spiteful actions may make you feel vindicated but it may chase away the good people as well as the bad and that just sets your band back.

4.)You Can?t Undo What You?ve Already Done—It?s much harder to undo past bad behaviors, or reverse negative reputations than it is to foster positive ones. It?s best when starting out to avoid acting rash as a rule. If you have a band member that is incapable of keeping his or her cool, perhaps it?s time to rethink his or her place in your group. The entertainment industry has a long memory and a spiteful tongue. Make sure when people speak of you, they?re speaking well.

This may all seem like such common sense that it isn?t even worth mentioning but you?d be surprised how many shows, interviews, tours, and record deals have never materialized because of burned bridges. You may have talent and great tunes, but if your attitude sucks you?ll get passed over time and again. No one wants to work with rage-aholics, egomaniacs or crazies. Don?t let anyone think that?s what your band is about. Sure it?s important to be creative geniuses but if no one likes you, you?ll be performing your masterpieces in the garage for grandma and her Pomeranian. Get smart and treat people right and you may find yourself rockin? all the way to the bank.

Sheena Metal is a radio host, producer, promoter, music supervisor, consultant, columnist, journalist and musician. Her syndicated radio program, Music Highway Radio, airs on over 700 affiliates to more than 126 million listeners. Her musicians? assistance program, Music Highway, boasts over 10,000 members. She currently promotes numerous live shows weekly in the Los Angeles Area, where she resides. For more info: http://www.sheena-metal.com.

For a musician, your songs are your art. They are the physical embodiment of your creative gifts. Every bit of anger, happiness, angst, joy, pain, elation, knowledge or humor goes into the story known as your song. You write and re-write it, scouring over each note and word?perfecting it for recording and live performance.

But when you play it for others, you?re not getting the reaction you expected. Your friends, fans and family seem less than enthusiastic as they dully respond, ?Yeah. That was?um?good.? How could this be? You poured your soul into this piece. This was your ?Stairway To Heaven?! This was your ?Smells Like Team Spirit?! It?s a lyrically amazing ode about the persecution of pagan midwives in grass hut tribes! It flows, it breathes, and it?s seven and a half minutes of pure musical perfection!

Whoa. Stop right there, Mozart. You wrote a seven and a half minute song about the persecution of pagan midwives in grass hut tribes and you?re wondering why you?re thirteen year-old cousin fell asleep in the middle of the fourth verse? You wrote a seven and a half minute song about the persecution of pagan midwives in grass hut tribes and you?re confused as to why your drummer?s girlfriend began calling her friends on her cell phone before the song had reached its bridge?

It may be hard to believe when you?re penning an opus such as this, but the normal human brain is wired a little differently than an accomplished musician?s, like yourself. And although music is art, it?s also popular culture and the goal should be for others to enjoy your creative efforts as much as you do.

So, how can you make sure that your writing experience is as positive as your audience?s listening experience? What can you, as musicians do, to eliminate aspects of your songs that may alienate, confuse or just plain bore your fans?

The following are a few tips that may add success to your songwriting experience:

1.)After Four Minutes, It Becomes Background Music—Music aficionado?s aside, the average person has roughly the attention span of a young adult hummingbird. As a songwriter, you need to grab your audience?s attention and hold it until the end of the song before they flit off to something else more interesting to them. Although four minutes (or less) may seem like the blink of an eye when a songwriter is storytelling, it?s a very long time to expect your run-of-the-mill club-goer or web-surfer to stay fixated on your music.

2.)Tell Your Story As Directly As Possible—We all love allusions, allegories, vague references, and subtle metaphors but use them sparingly or become a beat poet. A little abstractness goes a long way when writing a popular song. Song lyrics fly into people?s minds as quickly as the bassist plucks out quarter notes. If you make your lyrics too complicated, then your audience may still be trying to figure out the verse when you?re already playing the chorus. This could prompt the average listener to tune out your masterpiece, order another beer and switch on their Ipod.

3.)If English Is Your First Language, Use It In Your Song—It?s great that you?re an educated, cultured, artistic intellectual sponge. But remember that most people who hear your music are not book worms or art whores. Big, involved words make for memorable song lyrics but use them occasionaly. It?s good for your fans to ponder the meaning of a particular lyric but give them too many to ponder and they?ll get so caught up in the words that they may forget your song.

4.)Obscure Musicality Can Be Confusing Too—Lyrics aren?t the only way to confuse the average listener. Obscure time signatures, discordant instrumentation and avant guard drum lines may seem like genius to your fellow musicians, but if your listeners can?t tap and/or hum along, you may find yourself only invited to perform in underground opium bars where the audience members have all had one too many hash brownie.

If you?re not sure where to begin, start simple. Write a short, but sweet, song that packs an emotional punch in a universal way. Write about something everyone is familiar with: love, politics, lifestyle issues or the sociology of being a human being on the planet. Once people have fallen in love with your music, it will be easier to get them to give the extra listen to your more complicated, artistic pieces.

Remember that just because a song is popular or easily understood, doesn?t mean that it?s not good creativity. Art is subjective, and truly in the eye of the beholder. Your least favorite song could be someone else?s favorite. You never have to stop being creative or artistic, just acknowledge that there?s an audience out there that wants to hear what you have to say?but they?ll need to be able to comprehend it first.

Sheena Metal is a radio host, producer, promoter, music supervisor, consultant, columnist, journalist and musician. Her syndicated radio program, Music Highway Radio, airs on over 700 affiliates to more than 126 million listeners. Her musicians? assistance program, Music Highway, boasts over 10,000 members. She currently promotes numerous live shows weekly in the Los Angeles Area, where she resides. For more info: http://www.sheena-metal.com.

Hey honey, can you go to the store and pick up a few songs? My iPod needs filling!

That sounds a bit silly, but it seems to me that that is what?s happening to the popular song these days. People buy single songs for .99? or rip one or two tracks from a CD to load up their iPods. Then they categorize them so that they have songs for sunny days, rainy days, break-up days, and laundry days. The songs become a commodity and random fodder for our daily soundtrack. And don?t even get me started on ring tones!

It?s not all the fault of the consumer either. Songwriters are lured by the possible exposure and money they can earn from a commercial endorsement or the placement of one of their songs on a WB network show. And like these shows, the music is getting predictable and boring; they say the same things in the same ways with the same musical approach. I listen to these songs and I just say – So What? -

Thus I?ve come to create a whole new category of pop music called, in my book, ?So What Music?. The songs are well played, the singers, for the most part are ok, and there is nothing really ?wrong? with the songs except that I?ve heard them before in some guise or another. I?m an XM Satellite radio subscriber and as I bounce around the twenty or so channels that offer popular songs of some style or another I realize that there really are not a lot of signed artists that offer something ?new?. Perhaps that?s why they are signed – oooh I?m being cynical – maybe, but it does seem that the bigger acts are the ones that appeal to the middle. And, I guess there?s nothing wrong with that, it?s been happening since pop music became pop music, but? So What?

When I was a kid I went to the Kresge?s dime store and bought 45?s for 75? and traded those around with my friends, but I also bought albums (when I had the cash). The albums I bought usually had an arc to them and I would listen to the first side and then want to turn over to the other side to hear how the thing ended. Born To Run is a prime example and I can?t listen to just the song Born To Run without humming She?s the One right after it. It?s the next chapter in the story. These albums had songs that had depth and imagery and the albums themselves had an arc to them that demanded that I listen to the entire CD.

So who is doing this these days? If you take a listen to this week?s podcast I feel that the three artists that are spotlighted do and I can name a few signed artists like Elvis Costello, Springsteen, and an up and coming favorite of mine Ryan Adams. We as discriminating listeners have to wade through a lot of mish-mash to get to the real good stuff. But it?s well worth the search and hopefully this podcast is a good place to jump off.

Darryl

Darryl Gregory is the host of Unsigned Underground, a monthly podcast that is all about the independent musician. Darryl also reviews unsigned CDs on his blog Unsigned Music Reviews. Darryl is a freelance musician, teacher and owner of Blue Cave Studios in Connecticut.

Back in the days of what was the explosive Woodstock music scene of Bristol and the West Country, a vocalist emerged from the new genre, known as indie, in the shape Gerard Langley. Hardly, as you would first think, a name to be reckoned with in the glitzy world of music showbiz, but a fairly stable name even so. Along with his brother, who took up the position of drummer, they soon gathered together a collection of some of the most talented and composed musicians in the city area. In fact, they were, as they called themselves, The Blue Aeroplanes, known to have the biggest musician – participation in, probably, modern music history.

Although their commercial contribution to the world of music looks vaguely more successful that a Pop Idol winner, their gritty and uniquely timed anthems had far from been on the same level. Langley, the headman was known, in the fast growing indie scene for his deep, menacing and half spoken vocals and other than supporting a then, little known U.S band called, R.E.M, although the band had collaborated with Michelle Shocked on one track.

It would appear that there seems to be a silent, yet, growing interest in this distant indie band who, tragically, graced only the bottom half of the Top 75 at any given time. It perhaps should be more the question of why didnt they ever make the grade? Well, that could be answered as simply as bad timing. Due to their haunting renditions of a familiar Smiths sound, they would have been noted as to be almost a decade out of date. I do believe that if they had been around a lot earlier, then their level of success would have vastly improved. That comatose style of backing vocal, at the time of, Jacket Hangs was the tones of Rodney Allen, Alex Lee, John Langley and Andy McCreeth, was more along the lines of The Waterboys, which, is certainly no bad thing, but on listening back to Blue Aeroplanes tunes today, we find ourselves puzzled as to why they werent better recognised. What we dont perhaps remember, is how much the talent odds were stacked against them. With a sound that was unique and so in tune with the outside world, it was also the backdrop of every other band at the time. Not to mention the members list grew to around thirty…

It is also arguable that there were far less talented bands around the time of the mid Eighties to the early Nineties, who, simply didnt deserve to achieve the success that they did. Who really could have forgotten that rhythmic perfect of John Langleys drum backing and that non melodic, jangle effect on guitars from Lee and Allen? They fused together as a band and never failed to let their fan base down. They might have been predictable in their approach to their own expression of indie music, but at least that meant never having to cringe ferociously at surprising and embarrassing diversions.

Their first notably successful album, Bop Art, in April 1984, may have sounded more like a Gene Vincent take on an old Transvision Vamp album, but it was surprisingly fresh enough to create a lasting appeal on certain listeners who, it would seem, became the backbone of the circle of devoted fans today. Although, since their early days, when their influences swayed heavily towards Elvis Costello and The Velvet Underground, they have somehow taken what they had learnt from these artists and actually drawn up, by themselves, a sound that, truly, came from themselves. We wonder how it came to be that they had come and gone from so many record labels. Their career path has certainly trodden a steady route through all the alternative labels of that time. Finally, standing firm behind the legendary label that brought us Icicle Works and Gene Loves Jezebel – Beggars Banquet, they had driven the idea through following bands, that it was the way that stable, tight knitted bands worked to get the maximum coverage.

Albums followed plus a couple of singles that failed to make any lasting notability with the regular record purchaser. Tolerance in 1986 and Spitting Out Miracles in 1986, after which, they enjoyed little in the way of pleasing positions from a string of EPs and one or two singles that followed.

They did, however, change their attitude through this far from joyful period in their early career. Shifting from Art Rock and layered pieces to dirty, simple guitar rhythms and slapping drums, their move towards the indie scene seemed sensible and optimistic. Two singles followed through another label, Chrysalis, Jacket Hangs, and ..And Stones, first in February and second in May 1990. Both failed to cut into the Top 70. Albums trailed accordingly in the shape of Swagger, (1990), Beatsongs, (1991) and Life Model, (1994). The middle of these, Beatsongs, graced the Top 35, but failed to hang around longer than three weeks. They had, already, toured with R.E.M in 1989 by this time, who, were enjoying critical acclaim with their politically observed, Green, the year before.

They had achieved as much as they could in those early times. They appeared in such audience participating venues such as the Town And Country Club in Kentish Town, North London; a venue known for the closeness felt through band and crowd. It was a favourite for indie and up and coming bands. Regulars there had been Hard Rain, Then Jericho, Three And A Half Minutes, not to mention, unknown Scottish smilies, Wet Wet Wet. Some, who got to see the B.As always commented on their live performances, noting them as born gig masters. After all, not all bands could boast their own Polish dancer in the shape of Wojtek Dmochowski.

It has undoubtedly crossed the minds of some of you when we say we must still remark on the history of The Blue Aeroplanes when they seemed to have achieved so little. One is for sure, they have remained true to themselves – never faltering in any shape or form, always pleasing to the eye and enjoyable to listen to. They take you back in time to a place in music history where bands were made up of young people who actually played instruments. Any band of that time, composed, rehearsed and performed over and over again to get it right. They worked hard, sweated and were devoted to their craft. Unlike today when a band is only made up of people who can just about sing and who couldnt compose a tune and lyric if their lives depended on it. This, I think it why, we should still celebrate bands like The Blue Aeroplanes for their determination and continuous contribution to British music. Whether it was experimental with different musicians and arrangements of sounds laced together with synths and percussions or taking the dive into all that was the bitter, edginess of the birth of indie, they have gathered up the growing trends into their arms and come with their own style of sound. They came back with gusto in 2000 with the album, Cavaliers/Roundheads, and now, just this year, 2006, we see the release of a long awaited, two CD set of a remaster of the 1990 album, Swagger, probably their most rewarding and well received album of the Nineties. This re working contains 14 bonus tracks and goes, unmistakeably as, Swagger Deluxe. The B.As are back, still standing strong and still eagerly eclipsing new sounds with traditional B.A rhythms and techniques.

We feel as if we know them know, but exactly where, when, how and why the band formed originally and who gelled with who is not entirely known. Their initial birth seems to be a mystery, and perhaps only known by Bristol residents and those who knew them, so it is with this, that they remain intriguing and their records, desirable. These ordinary student, type guys, who are now in their forties, still capture a moment in time when music was still exciting and new; when records were still bought in Woolies on vinyl and singles were only 45s for 45 pence. As far as The Blue Aeroplanes themselves go, all we know is that in Bristol and also in certain places of the Globe, this band still take a secret pride of place in the musical Hall of Fame.

Michelle Duffy 2006

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When the day of the gig arrives, youll need to pack some essentials. You will want to take a bottle of water with you, and some money, (although I mostly avoid, the array of merchandise) and you will also need some music, for the way there and back. An mp3 player is good, or some CDs if youre going by car. If its a rave, dont forget your glow-sticks. Finally, when you have your tickets in hand, youre ready to go. Set off early, as its a lot better than being late.

On the way there, my friends and I always play the music of the band we are going to see. It gets us pumped up for the gig, and also if its the kind of band, where you can learn some of the lyrics, then its always good to sing-along with the band at the gig.

When we get there, we find the venue first, and if weve got time, we go for something to eat or drink. Inside the venue, I like to get as close to the front as possible and most people also want the same, but I usually manage to get within the first eight rows of people.

Its important to throw yourself into the performance of the main band as much as possible, and you can only have a break from the one footed, swaying, moshing experience, if you literally going to be sick, or faint, within the next five seconds. Until that point, you must carry on, regardless.

Remember what clothes your friends are wearing, and then between songs, you can find your friends again, if you have been separated (and if you want to find them again). Failing that, take a flag with you and wave that about.

When the gig is over, wait around incase there is an encore, and if so, go even crazier than the last song you just heard. If not, be happy with your ringing ears, and aching limbs, and feel sorry for whoever has to drive home like that. Drink your water, if you took some, or find a twenty-four hour supermarket, and stack up on bottles of water and sugary snacks. Another great idea, is to phone all your friends and tell what an awesome gig they missed. They might be asleep, but it doesnt matter, they need to hear about it now.

On the journey back, I do not listen to the band Ive just seen as the music on CD always seems a bit flat, after hearing it live. I avoid that CD for a few days, but instead listen to similar music, or if I have another gig coming up, I listen to that CD on the way home.

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