If anyone knows how to contact Jane can they pass this message on. I have Jason’s email so message me back via the Contact page and I’ll pass on his details to you. Thanks

Hi Jane

I’m writing to make an inquiry regarding your tenure as a writer for New Musical Express.

Presently I’m preparing a book on The Smiths, to be published by Omnibus Press. The book is a collection of facsimilies of original articles and interviews, album and single reviews, live reviews and news items, and will include many items from Melody Maker and New Musical Express, including your review of the Smiths’ Los Angeles Universal Amphitheatre, 25-26 August, 1986 gigs (New Musical Express, circa September ’86). IPC has not been able to confirm that you were a staff writer, and I was hoping you could clarify your position at NME during this time. Since IPC has not been able to confirm your position they are only able to issue a licence for use of this review under an archive contract, which does not guarantee the rights to the piece.

If you have since acquired the rights to your review, or if you penned it as a freelance contributor, a fee for its use will need to be discussed – as long as you are happy for it to be included. Apologies, but I do not have the precise date of publication available to me.

Regards

Jason Collins

Advertisements

sarah-champion-on-manchesters-acid-scene-22nd-october-1988

Sarah Champion on Manchester’s Acid scene, 22nd October 1988.

The other 2 pages of the NME feature on the acid scene for everyone joining from Faith Fanzine forum. Do you want more of this stuff?

Bookmark and Share

Stuart Maconie reviews Bona Drag by Morrissey, 20th October 1990

Stuart Maconie reviews Bona Drag by Morrissey, 20th October 1990.

Can’t say I agree with this positive, yet workmanlike review from Maconie. Morrissey was coming up short in the lyric dept. with increasing frequency even during The Smiths and post Viva Hate has bluffed it ever since.

Yet with the breakup of the Smiths still fairly recent in 1990, the starving demanded to be fed, unfortunately there was nothing left on the menu except gruel. Viva Hate had its morsels, Suedehead in particular, but without the foundation of Marr’s compositions and his sublime guitar work, the cracks in Morrissey’s irrelevant lyrics just became more and more apparent. With Bona Drag, Morrissey’s long, slow slide into irrelevance began. It pains me more than you realise that it still continues to this day.

But I will stick up for November Spawned A Monster, which I think of as the last great thing Morrissey wrote. Maconie dislikes it because it’s “so morbid and cheerless” Duh! That’s precisely why I like it. I can empathise with it. Sure it lacks wit and is dressed up in a touch too much metaphor but he’s singing to us, for us, the ugly and marginalized here, instead of prattling on about bloody Ouija boards and the like.

If all this just makes you want to listen to The Smiths, and it really should, then why not break out the old records for another spin and while you’re at it read Taylor Parkes latest retrospective piece on The Smiths over at The Quietus.

Note to self: Do not explicitly refer to a TV programme title that could be misconstrued, especially in conjunction with the sexualised use of the F word, if you do not want lots of people coming to your blog for all the wrong reasons.

Note to Pin-Up Nights: Thanks! You flatter me, but you really shouldn’t encourage me.

I spent a few days with some Glaswegians recently.

“What’s the difference between Glasgow and Edinburgh?”

“Well, Glasgow is a lot friendlier but you’re also much more likely to get stabbed”

Taylor Parkes reviews The Smiths re-issues 25th February 1995

This is absolutely fucking brilliant. I too was one of the doomed and this was my mantra.

Well I wonder
Do you hear me when you sleep ?
I hoarsely cry
Oh …

And in a lovely piece of irony, the cover stars referred to who “will never mean that much” have an advert placed directly under the review. By accident or design?

Bookmark and Share