1986 02 22 "From Manchester With Love" Review, No 1 magazine

MANCHESTER ON THE MERSEY

Manchester bands flock together to save Liverpool’s council. Anna Martin wonders where the Liverpool bands have all gene. Kerstin Rodgers wonders where her spare film is.

Two big groups, New Order and The Smiths, have both put their best side forward for the staging of the ‘Support Liverpool Labour Council’ Benefit, which has been organised in support of the 48 Labour councillors who have been put in court by the Official Receiver.

As we wait outside, one smart-mouthed Scally quips that the benefit is actually to raise money to pay for the Royal Court’s electricity bill!

GERM WARFARE

At 7.55pm precisely, and with a minimal amount of stage elaboration/decor New Order take to the stage like germs to an open wound—fierce and assaulting. Bassist Peter Hook strikes his ‘guitar-hero’ pose and the band battle on relentlessly. Although not what you might describe as much to look at on stage, New Order save themselves with the classic ‘Love Will Tear Us Apart’. And songs like that will always be enough.

Next on is Salford’s poetic genius John Cooper Clarke, who does his best ‘walking toilet-brush’ impression, whilst his obscure sense of humour and verbal gymnastics do the rest. Fifteen minutes was never so entertaining!

After the Fall have walked on, played and gone off, Margie Clarke (star of A Letter To Brezhnev) sings a couple of Ukranian-style songs, and introduces the man of the moment—Labour MP Derek Hatton. This has a mixed effect. . .half the audience shout abuse; the other half cheer. Derek Hatton tackles his ‘Fight back with the Labour Party. . .’speech, and then introduces The Smiths.

FLOWER POWER

At times resembling a wilting gladioli, Morrissey spins, gyrates and contorts his body, as his lilting vocals and poetic words enrapture the audience. Casting a thousand and one flickering shadows, his dishevelled form pirouettes across the restrictive stage boundary. Like a fluttering butterfly, Morrissey whirls his seductive charm.

The whimsical ‘Frankly Mr Shankly’ and the new single ‘Big Mouth Strikes Again’ see The Smiths battling for the lead in the ‘big-ish band’ stakes. The songs remain potent and special in their own way. As always, the yodelling sequence in ‘The Boy With The Thom In His Side’ is to be treasured and it sends a tingle down your spine.

By the time ‘William, It Was Really Nothing’ gets into full swing, Morrissey has sacrificed his body and soul. . .and also his shirt (to a fan in the crowd). He returns in a new shirt for an encore; which ends with him writhing on the floor as the rest of the band send notes cascading around the hall.

Vulnerable, yet intelligently agile, The Smiths retain their crown of thorns—but of the benefit itself it must be said: where were the Liverpool bands, to support their own party? Tonight, all the aid came from Manchester!