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MAGAZINE

One of the earliest and best post-punk bands, they kept the nervous energy of punk and added elements of theatrical, atmospheric art rock. After leaving the Buzzcocks in 1977, vocalist Howard Devoto formed Magazine with guitarist John McGeoch, bassist Barry Adamson, keyboardist Bob Dickinson, and drummer Martin Jackson. One of the first post-punk bands, Magazine kept the edgy, nervous energy of punk and added elements of art rock, particularly with their theatrical live shows and shards of keyboards. Devoto's lyrics were combinations of social commentary and poetic fragments, while the band alternated between cold, jagged chords and gloomy, atmospheric sonic landscapes. Magazine performed their first concert in the fall of 1977 and were signed to Virgin Records by the end of the year; by that point, Dickinson had left the group. The band recorded its first single, "Shot by Both Sides," as a quartet; Devoto had written the song with his former Buzzcocks partner, Pete Shelley. Appearing in early 1978, the single gathered good reviews on both sides of the Atlantic and charted in the U.K., peaking at number 41. Before they recorded their debut album, keyboardist Dave Formula joined the lineup...

"SECONDHAND DAYLIGHT"

tracklist

Side A: FEED THE ENEMY - RHYTHM OF CRUELTY - CUT-OUT SHAPES

TALK TO THE BODY - I WANTED YOUR HEART

Side B: THE THIN AIR - BACK TO NATURE - BELIEVE THAT I UNDERSTAND - PERMAFROST

1979      LP     VIRGIN RECORDS    2473 773

MADE IN FRANCE     ORIGINAL PRESSING

GATEFOLD SLEEVE

NOTES: On label : A3 is misspelled Out-Out Shapes

 Barcode and Other Identifiers

Barcode: none

Other (Price Code): POL 360

Rights Society: SACEM SACD SDRM SGDL

LABEL: VIRGIN - DARK RED LABEL - SILVER TEXT

Catalog on cover: 2473 773

Catalog on labels: 2473 773   2473 773 1 / 2473 773   2473 773 2

Matrix / Runout (Side A, Stamped): VIG  XXX  2473 773 1Y 380 POLYGRAM  ˄1

Matrix / Runout (Side B, Stamped): VI  XX G 2473 773 2Y 380 POLYGRAM  ˄1

On labels: rim text "All Rights.......Prohibited"

Distribution Exclusive Polydor

℗ 1979 Virgin

SACEM SACD SDRM SGDL(boxed)    Fabriqué en France

Production...........Virgin Mus. Ltd.

On Back Cover: Tracklist + Credits

℗ 1979 Virgin Records Ltd.       © 1979 Virgin Music (Publishers) Ltd.

Distribué par Polydor.........Paris

Imprimé et Fabriqué en France     Imp. SIAT - Paris

grading

RECORDS EX but (please, read above description)

SLEEVE VG+ but (please, see pictures and read above description)

Secondhand Daylight, the second Magazine album, sounds like it must have been made in the dead of winter. You can imagine the steam coming out of Howard Devoto's mouth as he projects lines like "I was cold at an equally cold place," "The voyeur will realize this is not a sight for his sore eyes," "It just came to pieces in our hands," and "Today I bumped into you again, I have no idea what you want." You can picture Dave Formula swiping frost off his keys and Barry Adamson blowing on his hands during the intro to "Feed the Enemy," as guitarist John McGeoch and drummer John Doyle zip their parkas. From start to finish, this is a showcase for Formula's chilling but expressive keyboard work. Given more freedom to stretch out and even dominate on occasion, Formula seems to release as many demons as Devoto, whether it is through low-end synthesizer drones or violent piano vamps. Detached tales of relationships damaged beyond repair fill the album, and the band isn't nearly as bouncy as it is on Real Life or The Correct Use of Soap -- it's almost as if they were instructed to play with as little physical motion as possible. The drums in particular sound brittle and on the brink of piercing the ears. Despite the sub-zero climate, the lack of dance numbers, and the shortage of snappy melodies, the album isn't entirely impenetrable. It lacks the immediate impact of Real Life and The Correct Use of Soap, but it deserves just as much recognition for its compellingly sustained petulance. Even if you can't get into it, you have to at least marvel at "Permafrost." The album's finale, it's an elegant five-minute sneer, and as far as late-'70s yearbook scribbles are concerned, "As the day stops dead, at the place where we're lost, I will drug you and f*ck you on the permafrost" is less innocuous than "All we are is dust in the wind":::(AllMusic)