Cuttings

VIKINGDOM COME WITH THE RELEASE OF A NEW SINGLE, 'PINEAPPLE FACE'S BIG DAY' AND A FORTHCOMING ALBUM, PETER HOOK HOPES TO PROVE THAT REVENGE ISN'T JUST A NEW ORDER OFFSHOOT, BUT HIS WAY OF MAKING LIFE INTERESTING AGAIN. JON WILDE TALKS TO THE BASS PLAYER ABOUT THE MANCHESTER SCENE, HOW REVENGE STOPPED NEW ORDER GETTING INTO A RUT AND WHY HE'S A ROCK'N'ROLL VIKING WITH EIGHT SOLID INCHES THAT NEVER LET HIM DOWN. PICS: TOM SHEEHAN. PETER HOOK, THE WORLD'S NUMBER one phallic bass guitarist, is sitting at the bar in Sheffield's Leadmill, staring into his pint of Stella Artois, considering his grand revenge. "It's f***ing great to have this," he says. "It's a real kick in the arse for me. Basically, it's like starting all over again. I can count the three most exciting periods of my life: the start of Joy Division and Warsaw; the start of New Order; and the start of Revenge. "There's people out there waiti

MY TEAM PETER HOOK, NEW ORDER MANCHESTER UNITED AS A KID I used to live near Old Trafford. We couldn’t afford to go in, but we used to hang round the stadium. I was about 14 when I went to my first match. It was when the Stretford End used to riot. You spent most of the time watching the fans rather than the match. None of my family supported United and my mates in Salford were City fans. We used to go to the derbies together - there was always a lot of trouble. My God, it was frightening. I guess that was what stopped me from going, and once I got into the band I lost the passion for it. It’s only recently that I’ve been settled enough to buy a season ticket. When I’m on tour, I always watch United’s matches on TV. Football is such a big part of my life. There’s a misconception that New Order are all mad about football because we did the World Cup song. We are supporters but we’re not rabid. It was great to do World In Motion’ and meet the 1990 England team. Gazza drank three bo

Still clumsy, less shy Would you want this man to wear your underwear? Morrissey’s fans do. The ex-Smiths leader sings obsessively of violence and failure, but fandemonium has made him hugely successful. Now, trapped in his image, he admires ‘ordinary boys’ with the freedom to be natural. JON SAVAGE scratches the pop icon and finds a self-conscious man with a hair shirt, who at heart remains an adolescent. SEVEN p.m., a few Thursdays ago. Watched by up to a fifth of the UK population, 'Top of the Pops' is the country's prime source of pop news. Its format is simple and successful, deliberately reflecting the majority experience of pop. Tonight's acts - Yazz, Samantha Fax and Michael Ball — speak tidily of love and obsession. With varying degrees of panache, their moves conform to the spurious, if reassuring, intimacy of advertising. Then there is a calculated irruption. The camera pans to four young men: the back three could have stepped from the hordes of gawky,

THAT MORRISSEY LP TRACK BY TRACK CRITICAL opinion is unanimous on this one—with “Viva Hate!”, Morrissey has returned to the apex of pop spokesmanship and furnished us with an album of redoubtable fables and clarion calls our time. From the wistful and retrospective, to the assertive and plain speaking, this is Morrissey at his fey best, trailing swathes of falsetto glory behind him. Here, the Maker's experts rally round to offer an indispensible and exclusive TTT track-by-track assessment of the latest meisterwerk. ROUGH BOYS A searing account of the playground traumas of the introverted, bespectacled boy who Dared To Be Different, in a hostile Northern environment where introspection earned you a thick ear and the jeers of the shopfloor girls in the Hovis factory across the way. Contains the unforgettable lines, “Rough boys/In the dinner queue/Pushing and shoving like brutes at the trough/No, I didn't mean to touch your bottom/l was pushed from behind/You wouldn’t hit a b

TRACEY AND MOZZ - TRUE LOVE? STREET CREDITED BY JAMES BROWN “I’VE ALWAYS been a fan of public service broadcasts...” was about the only thing you could glean from Phil Redmond's lugubrious prelude to the screening of this for-schools- Brookside spin-off SOUTH . PSB’s are indeed a great notion, even though in truth what they bring to mind is all those mid-'70s animated crusades against 'litter-louts'. You forget that schools programmes fall into the public service domain. As a PSB, South really swings, featuring a cameo by MORRISSEY . As an episode of Brookside it holds its own; it’s a non-suck version of the ghastly Damon And Debbie . If Damon and Debbie had swapped places with South stars TRACEY CORKHILL and  JAMIE HENDERSON , they would have hit Piccadilly Circus fighting off the attentions of The Streets Of London' on the soundtrack. The two gauche darlings Jamie and Tracey pack their spotted hankies to seek out a future (long-term plan) and Jazz,

IN AN EXCLUSIVE INTERVIEW WITH THE CATALOGUE, FORMER WORD-SMITH AND NOW, SIMPLY, WORDSMITH MORRISSEY REELS AROUND THE FOUNTAIN WITH RICHARD BOON, A QUESTION AND ANSWER SESSION THAT DISCUSSES "RANK", RANK AND WHAT RANKLES. First the obvious: why a live album now and why this particular performance? Could you repeat that question in Welsh, please? Fellyr cwestiwm amlwgyn paham'r albwm yma a paham y performiad yma'n arbennig? Ah, now I understand! There is surprisingly little of The Smiths' performances captured on film or on tape. This was recorded by the BBC for the Auntie Pong Show and bits of it were broadcast... in... the late Sixties... or whenever it was. It is used because it is available and good... very good, although there were brighter moments. Wolverhampton Civic springs to mind, when my cardigan went up in flames. Were you there? Sadly, no. Mind you, live self-immolation could only have enhanced your career. Hmm... perhaps. Incidentally,

Johnny Marr Bernard Sumner Brothers of invention Separately, they were the architects of some of the greatest British music ever made. Together, they’re trying to do a bit more than that. Ladeez and gennelmun, cleaned-up, wised-up and trussed-up in some nice Safeways pants, the supersonic duophonlc Johnny Marr and Bernard Sumner. On the first faintly warm evening of the summer a spacious, snow-white, chauffeur-driven Mercedes sweeps through the streets of central London. Inside are Electronic, Manchester's coolest dance duo, en route to Holland Park's upmarket celebrity diner, Daphne’s. Lounging in the back seat, Johnny Marr, former Smiths guitarist and one half of the band, recalls how, the last time he ate in Daphne's, he sat next to Al Pacino. Marr recounts how he eventually persuaded an anxious Pacino to give him his autograph out in the street. Sitting in the front seat, meanwhile, sometime New Order singer Bernard Sumner reckons his current musical partner left