(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )

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(Translated from the Italian by Jakub Krawczynski and Raffaele Dassisti)

After the Buzzcocks's break-up, punk-pop pioneer Howard Devoto formed a new group called The Magazine, and assembled an all-star line-up which included John McGeoch (guitar and saxophone), Barry Adamson (bass) and Dave Formula (keyboard). Their albums were mostly mediocre, but managed to stir a great sensation because, barely a year after the boom of punk-rock, they veered away from its musical aesthetics. Upon closer inspection, they were merely representing the continuation of art-rock which had been invading Great Britain during the 70's. Shot By Both Sides was a hit single from Real Life (Virgin, 1978), which hinted at pompous and baroque form of rock (Definitive Gaze).

Secondhand Daylight (Virgin, 1979) highlighted their imperfections without adding any catchy songs. Rhythm of Cruelty and Believe That I Understand indulged in more complex structures, but at the same time they lacked a sense of genius which could turn them into art.

The Correct Use of Soap (Virgin, 1980) returned to the idea of writing catchy tunes, even augmented by touches of funk. (A Song From Under The Floorboards, Because You're Frightened, Sweetheart Contract).

Magic Murder And The Weather (IRS, 1981) closed the curtains on their career and included innocuous numbers such as About The Weather or Honeymoon Killers.

Howard Devoto's first solo hit, Rainy Season, contained one of best choruses in his career, but by then they had already wasted too many occasions. After The Fact (IRS, 1982) is an anthology of first three albums and the best of all their releases.

As a nail to the punk rock's coffin - they were perfect, as musicians - not so much.

Devoto tried his luck again, with equally boring results, in Luxuria, a duo formed by him and multi-instrumentalist Noko. The single Redneck, albums Unanswerable Lust (Beggars Banquet, 1988) and Beast Box (Beggars Banquet, 1990) served as documents of his artistic ineptitude.

Devoto gave it yet another go with Shelly, in a duo Shellydevoto with the Buzzkunst (Cooking Vinyl, 2002).

On the other hand, Barry Adamson's works had greater significance.

Dopo aver sciolto i Buzzcocks, alfieri del punk-pop, Howard Devoto formo` i Magazine mettendo assieme una formazione galattica con John McGeoch (chitarra e sassofono), Barry Adamson (basso) e Dave Formula (tastiere). I loro album furono alquanto mediocri, ma suscitarono scalpore perche', appena un anno dopo il boom del punk-rock, rinnegavano gia` in toto la sua estetica musicale. Anzi, a ben guardare rappresentavano semplicemente la continuazione dell'art-rock che aveva dilagato in Gran Bretagna per tutti gli anni '70. Shot By Both Sides fu l'hit tratto da Real Life (Virgin, 1978), che peraltro proponeva rock pomposo e barocco (Definitive Gaze).

Secondhand Daylight (Virgin, 1979) acui` il difetto senza aggiungere canzoni orecchiabili. Rhythm Of Cruelty e Believe That I Understand proponevano soluzioni piu` complesse ma senza il genio per farle diventare arte.

The Correct Use Of Soap (Virgin, 1980) torno` all'idea della canzone orecchiabile e aggiunse anzi un tocco di funk (A Song From Under The Floorboards, Because You're Frightened, Sweetheart Contract).

Magic Murder And The Weather (IRS, 1981) chiuse la partita con canzoncine innocue come About The Weather e Honeymoon Killers. Il primo singolo solista di Howard Devoto, Rainy Season, era uno dei loro migliori ritornelli, ma ormai avevano sciupato troppe occasioni.

After The Fact (IRS, 1982) e` un 'antologia dei tre singoli e del meglio degli album.

Come bara del punk-rock funzionarono alla perfezione; come musicisti, un po' meno.

Devoto ci avrebbe riprovato, con risultati egualmente noiosi, nei Luxuria, un duo con il polistrumentista Noko. Il singolo Redneck e gli album Unanswerable Lust (Beggars Banquet, 1988) e Beast Box (Beggars Banquet, 1990) testimoniano dell'inettitudine del personaggio. Ci riprovera` di nuovo in coppia con Shelley, nei Shelleydevoto di Buzzkunst (Cooking Vinyl, 2002).

Barry Adamson dara` opere di ben altro rilievo.

Magazine reunited and released No Thyself (2011) three decades after the fact.

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