32-450: Bananafishbones is the name of: a song by the Cure from the album The Top a German rock band of Sebastian Horn Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Bananafishbones . If an internal link led you here, you may wish to change the link to point directly to
64-528: A "weird and wonderful" album with songs that "seem both enticing and faintly dangerous". In contrast, Barron at Sounds noted that The Top is "too often not the true bottom line in reflected experience to be indisposable", but nevertheless prophesied, "In 20 years' time, when the next generation blush with excitement at the word 'Psychedelic', it'll be regarded as a classic". On a more skeptical note, NME reviewer Danny Kelly considered it self-indulgent, qualifying it as "an ambitious, difficult record". In
96-438: A full scale magazine, more generally aimed at dance band musicians, under the title The Melody Maker and British Metronome . It was published monthly from the basement of 19 Denmark Street (soon relocating to 93 Long Acre ), and the first editor was the drummer and dance-band leader Edgar Jackson (1895-1967). Jackson instigated a jazz column, which gained in credibility once it was taken over by Spike Hughes in 1930. This
128-500: A group of journalists, including Simon Reynolds and David Stubbs , who had run a music fanzine called Monitor from the University of Oxford , and Chris Roberts , from Sounds , who established MM as more individualistic and intellectual. This was especially true after the hip-hop wars at NME , a schism between enthusiasts of progressive black music such as Public Enemy and Mantronix and fans of traditional white rock ended in
160-487: A retrospective review, Q writer Tom Doyle dismissed The Top as "a transitional record of forgettable songs". Thomas Inskeep of Stylus Magazine wrote that The Top "may well be the nadir of their catalog", concluding he would call it "a transitional album and leave it at that, for what came subsequently was an honest-to-goodness marvel". Chris True of AllMusic noted that while it is "an album obviously recorded under stress, drink, and drugs", Smith's ability "to fuse
192-408: A time when they were praised by the rest of the press. In 1993, they gave a French rock band called Darlin' a negative review calling their music "a daft punky thrash". Darlin' eventually became the electronic music duo Daft Punk . Australian journalist Andrew Mueller joined MM in 1990 and became Reviews Editor between 1991 and 1993, eventually declining to become Features Editor and leaving
224-504: A victory for the latter and the departure of writers such as Mark Sinker and Biba Kopf (as Chris Bohn was now calling himself), and the rise of Andrew Collins and Stuart Maconie , who pushed NME in a more populist direction. While MM continued to devote most space to rock and indie music (notably Everett True 's coverage of the emerging grunge scene in Seattle ), it covered house , hip hop , post-rock , rave and trip hop . Two of
256-466: The Record Mirror had published the first UK Albums Chart . From 1964, the paper led its rival publications in terms of approaching music and musicians as a subject for serious study rather than merely entertainment. Staff reporters such as Chris Welch and Ray Coleman applied a perspective previously reserved for jazz artists to the rise of American-influenced local rock and pop groups, anticipating
288-695: The Cure , released on 4 May 1984 by Fiction Records . The album entered the UK Albums Chart at number ten on 12 May. Shortly after its release, the Cure embarked on a major tour of the United Kingdom , culminating in a three-night residency at the Hammersmith Odeon in London. After recording psychedelic album Blue Sunshine for the one-off project the Glove during summer 1983, Robert Smith finished off
320-721: The Mirror" and the title track of the record. The Top album was released on 4 May 1984 by record label Fiction . It was a commercial success in the UK, peaking at No. 10 on the UK Albums Chart . "The Caterpillar" was the sole single released from the album. Upon its release, the reaction in the British press was mostly positive. Steve Sutherland of Melody Maker praised the album for its "psychedelia that can't be dated", while Andy Strike of Record Mirror called it "a record of wicked originality and wit". In Smash Hits , Mark Ellen deemed The Top
352-583: The Osmonds , the Jackson 5 , and David Cassidy . The music weekly also gave early and sympathetic coverage to glam rock . Richard Williams wrote the first pieces about Roxy Music , while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker ' s New York correspondent. Andrew Means started writing for Melody Maker in 1970. During his time, he
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#1733106629404384-493: The UK top 10 single " The Lovecats ". Porl Thompson was credited for playing saxophone on "Give Me It". All the songs are credited to Smith but three tracks were co-written with Tolhurst: " The Caterpillar ", "Bird Mad Girl" and "Piggy in the Mirror". The album's style is eclectic, with Smith using various instruments including violin and flute . "Bird Mad Girl" is in a Spanish style, while "Wailing Wall" contains Middle Eastern undertones. Sounds critic Jack Barron described
416-1006: The advent of music criticism . On 6 March 1965, MM called for the Beatles to be honoured by the British state. This duly happened on 12 June that year, when all four members of the group (Harrison, Lennon, McCartney, and Starr ) were appointed as members of the Order of the British Empire . By the late 1960s, MM had recovered, targeting an older market than the teen-oriented NME . MM had larger and more specialised advertising; soon-to-be well-known groups would advertise for musicians. It ran pages devoted to "minority" interests like folk and jazz, as well as detailed reviews of musical instruments. A 1968 Melody Maker poll named John Peel best radio DJ, attention which John Walters said may have helped Peel keep his job despite concerns at BBC Radio 1 about his style and record selection. Starting from
448-411: The cover. Several journalists, such as Chris Bohn and Vivien Goldman, moved to NME , while Jon Savage joined the new magazine The Face . Coleman left in 1981, the paper's design was updated, but sales and prestige were at a low ebb through the early 1980s, with NME dominant. By 1983, the magazine had become more populist and pop-orientated, exemplified by its modish "MM" masthead, regular covers for
480-403: The intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Bananafishbones&oldid=1209202958 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages The Top (album) The Top is the fifth studio album by English rock band
512-403: The likes of Duran Duran and its choice of Eurythmics ' Touch as the best album of the year. Things were to change, however. In February 1984, Allan Jones , a staff writer on the paper since 1974, was appointed editor: defying instructions to put Kajagoogoo on the cover, he led the magazine with an article on up-and-coming band The Smiths . In 1986, MM was invigorated by the arrival of
544-484: The magazine in 1993. He then went on to join NME under his former boss Steve Sutherland, who had left MM in 1992. The magazine retained its large classified ads section, and remained the first call for musicians wanting to form a band. Suede formed through ads placed in the paper. MM also continued to publish reviews of musical equipment and readers' demo tapes , though these often had little in common stylistically with
576-477: The mid-1960s, critics such as Welch, Richard Williams , Michael Watts and Steve Lake were among the first British journalists to write seriously about popular music, shedding an intellectual light on such artists as Steely Dan , Cat Stevens , Led Zeppelin , Pink Floyd and Henry Cow . By the early 1970s, Melody Maker was considered "the musos' journal" and associated with progressive rock. However, Melody Maker also reported on teenybopper pop stars such as
608-418: The new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME . He recruited Jon Savage (formerly of Sounds ), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four , Pere Ubu , and Joy Division and of new wave in general. Vivien Goldman , previously at NME and Sounds , gave
640-415: The opening track "Shake Dog Shake" as "urbane metal". Prior to its release, the Cure had been promoting the forthcoming album, performing live twice on UK television. In late February, they had played two songs on BBC Two 's Oxford Road Show , "Shake Dog Shake" and "Give Me It" and in early April, they had appeared on Channel Four 's The Tube to perform three other tracks, "Bananafishbones", "Piggy in
672-510: The paper improved coverage of reggae and soul music , restoring the superior coverage of those genres that the paper had in the early 1970s. Internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more "conservative rock" music it had continued to support during the punk era. Coleman had been insistent that the paper should "look like The Daily Telegraph " (renowned for its old-fashioned design), but Williams wanted
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#1733106629404704-540: The paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman. In 1980, after a strike which had taken the paper (along with NME ) out of publication for a period, Williams left MM . Coleman promoted Michael Oldfield from the design staff to day-to-day editor, and, for a while, took it back where it had been, with news of a line-up change in Jethro Tull replacing features about Andy Warhol , Gang of Four and Factory Records on
736-518: The paper's writers, Push and Ben Turner, went on to launch IPC Media's monthly dance music magazine Muzik . Even in the mid-1990s, when Britpop brought a new generation of readers to the music press, it remained less populist than its rivals, with younger writers such as Simon Price and Taylor Parkes continuing the 1980s tradition of iconoclasm and opinionated criticism. The paper printed harsh criticism of Ocean Colour Scene and Kula Shaker , and allowed dissenting views on Oasis and Blur at
768-440: The paranoia and neuroses of former work with his newfound use of pop melody and outside influences" makes the record "a necessary step in the evolution of the band". All songs written by Robert Smith, except where noted. Side A Side B The Cure Additional musicians Production Shipments figures based on certification alone. Melody Maker Melody Maker was a British weekly music magazine , one of
800-582: The rest of the paper, ensuring sales to jobbing musicians who would otherwise have little interest in the music press. In early 1997, Allan Jones left to edit Uncut . He was replaced by Mark Sutherland, formerly of NME and Smash Hits , who thus "fulfilled [his] boyhood dream" and stayed on to edit the magazine for three years. Many long-standing writers left, often moving to Uncut , with Simon Price departing allegedly because he objected to an edict that coverage of Oasis should be positive. Its sales, which had already been substantially lower than those of
832-545: The singer's dormant career. During the interview Bowie said, "I'm gay, and always have been, even when I was David Jones." "OH YOU PRETTY THING" ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, "Yeah, it was Melody Maker that made me. It was that piece by Mick Watts." During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett , Waylon Jennings , Pink Floyd , Bob Dylan , and Bruce Springsteen . Caroline Coon
864-413: The world's earliest music weeklies; according to its publisher, IPC Media , the earliest. In January 2001, it was merged into "long-standing rival" (and IPC Media sister publication) New Musical Express . It was founded in 1926 by Leicester-born composer, publisher Lawrence Wright as the house magazine for his music publishing business, often promoting his own songs. Two months later it had become
896-458: The year composing and working on two other studio albums at the same time: The Top for the Cure and Hyæna for Siouxsie and the Banshees . Smith was still the official guitarist of the Banshees while he wrote The Top . For The Top , Smith teamed up with Cure co-founding member Lol Tolhurst , who had given up drums for keyboards, and new drummer Andy Anderson , who had previously performed on
928-596: Was changed to a 16 page weekly newspaper in 1933. Ray Sonin joined the staff in 1939, progressing to news editor and then 10 years as managing editor until 1951. Sonin subsequently joined the New Musical Express . The Melody Maker ( MM ) was slow to cover rock and roll and lost ground to the New Musical Express ( NME ), which had begun in 1952. MM launched its own weekly singles chart (a top 20) on 7 April 1956, and an LPs charts in November 1958, two years after
960-409: Was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell , Joan Armatrading , Lynsey de Paul , and Twiggy . She then went on to make it her mission to promote punk rock. In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as
992-502: Was later developed later into "Jazz Corner", edited by Sinclair Traill and then Max Jones , one of the leading British proselytizers for jazz. There were regular reports on jazz happenings in the United States, and the magazine secured the first British interview with Louis Armstrong in July 1932 while he was over for a visit. Odhams Press took over the magazine in 1928, and the format
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1024-432: Was prolific and had the responsibility of covering folk music. He was with the paper until 1973. He later wrote for The Arizona Republic . He was also a freelancer and wrote for Sing Out! , Billboard , Jazziz , Rhythm and Songlines etc. In later years he was a fiction writer. In January 1972, Michael "Mick" Watts, a prominent writer for the paper, wrote a profile of David Bowie that almost singlehandedly ignited
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