It’s now a year since all our worlds were turned upside down by the tragic death of Steve Smith. Steve was not only the coolest bandmate and rockingest drummer on the planet, but also a real friend with a big heart and a wicked sense of humour. Steve had the unique ability to be beloved by all he met without giving an inch away in terms of pure brutal honesty. It was this total lack of bullshit, this total disregard for uptight politeness, that meant people really listened to whatever he said.

Steve’s drumming was at the heart of an extended family of London bands. His playing was instantly recognisable not only for its strength and style, but also for its characterful human quality which immediately drew you in. Like the man himself, it spoke with an unsettling honesty that somehow always left you rooting for him.

In the months after Steve died, we all decided that he’d have wanted us to carry on, and slimming down to a 4-piece with Rob switching to drums seemed the most appropriate solution. Rob and Steve were after all as close as brothers, and huge fans of every note or beat that the other one played. We hope that the album they completed together as two fifths of Mean Vincent will also appear soon.

Finishing the Venus Ray album was obviously painful, and some material was discarded as inappropriate, but we’re proud to offer the record as the band’s tribute to a lovely guy and irreplaceable musician.

Diggory Kenrick


Uncut Magazine April 2003

In title alone the new album is much more downcast than their 2001 debut Chuck Berry Vs IBM, and with good reason. The death of Venus Ray drummer Steve Smith midway through recording turned this otherwise confident successor into an involuntary epitaph. Maybe it's coincidence but there's definitely something hauntingly melancholic about the Pavement-ish opener "Melody" or the gentle, soporific "Sunglasses". At least Smith went out rocking, drumming up a storm on "Hurricane", typical of their Big Star-meets-Joe Meek soundclash.

Simon Goddard


Steve Smith loved rock 'n' roll, in all of its many varieties. In fact, he was once an avid and highly informed participant in an intense conversational trawl through the past quarter century of British music. Needless to say, we failed to turn-up a decent homegrown rock 'n' roll band since The Sex Pistols. Steve was a connoisseur of the stuff and, what’s more, he was fit to play the drums with the best of 'em.

Let's face it, you've either got it or you ain't; Steve most certainly did. As is proper with any great drummer (and Steve was), his style was of the singular variety – if you heard him play once, you’d recognise his work anywhere. Steve was such an instinctive and instructive player, always adding an edge to any band he crossed sticks for. The playing styles of Steve's early heroes sure made themselves heard (and felt) later on. The likes of London’s very own Paul Cook, New York's Mr Jerry Nolan, The Replacements' Chris Mars, The Who's Keith Moon, Blondie's Clem Burke, The Raspberries' Jim Bonfanti and Little Feat's Ritchie Hayward should have dirty great grins on their Faces (oh yeah, Kenney Jones!) for inspiring such a masterful tub-thumper.

Steve was the finest friend and bandmate.

Joss Hutton

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