Just to show you how boring we are live, here’s a promo clip from our last show in Buenos Aires:
Last week we played Bristol, Boardmasters Festival (to huge acclaim I must add) and Abertillery in the beautiful valleys of Wales. A fella called John Lovell was in Bristol and Wales. We had a chat at both shows and afterwards he sent me this review. “Please rewrite it”, he said, “and don’t mention my name”. Clearly a man of great confidence.
In fact, I enjoyed the piece which evoked the evening so much I didn’t change a word. And, as for not mentioning his name, …………. Ooops!
Here it is:
A Lunchtime Superstar and his Big Heads…
Without being labelled a stalker this was the second time I’d seen Duncan Reid and the Bigheads over the August weekend.
First being at the Louisiana in Bristol on Thursday.
There was a third gig at the huge Boardmasters festival in Cornwall but I gave this a miss (the thought of mixing with 50,000 unkempt surfers and teenagers!).
I’d seen this line up of Duncan Reid, Nick Hughes, Karen Jones and Sophie K Powers a few times over the past year and they are by far the best.
I knew the band were playing Bristol from their Facebook page but didn’t know about Abertilly (as the non Welsh speaking pronounce it) till after reading an article in the South Wales Argus by Leah Powell.
Abertillery met me with a greeting of typical Welsh sunshine. It was pouring down!
I eventually found The Dolls House via the satnav and surprised myself by the location and surroundings.
Houses and mountains. Loads and loads of big Welsh wet mountains with lashings of rain.
Third gig for the band and a very different view.
Bristol with all the shops and road works and, I expect, Boardmasters with sunshine and blue sea.
Paid a few quid to a guy on the door and got a nice black stamp on the back of my hand. No ticket stub to add to my memorabilia.
The venue was downstairs, a compact area with a small stage, bar, dance floor, tables and chairs at the back which the bands used as a set up for their merchandise.
Met and had time to chat to Duncan who always finds time to talk. Usually the chat is after the gig.
The first of the two support acts went on and one song didn’t half sound like Honest John Plain’s “New Guitar “…
When they completed their set, Duncan chatted about songs he had written for his forthcoming fourth Big Head record.
The second support act (Plague UK) played and that’s when it struck me that The Bigheads wouldn’t be on till way past 10pm.
I’d put some pics on facebook from Bristol with the title “First Time I’d seen Duncan Reid and the Bigheads sober”: very ambiguous.
This time we all were sober (all driving home after), and first time I’d had free drinks in a pub even if it was only soda water.
The band opened with “Can’t Stop”, straight into “Montevideo”, “Soda Pressing” and “C’est La Vie”.
Then came “Baby Doll”, ”Let’s Skip to the Good Bit”, “Thinking” and “Just Because You’re Paranoid”.. but for the love of me can’t remember the banter during the pause in “Thinking”..
They were speeding through them and it wouldn’t have been believed that they had previously played the West of England and traveled hundreds of miles.
“Rolling On” was next and there was some banter which included new lyrics featuring tequila and almost a version of rawhide!
It was hot, humid and sweaty. Duncan took his jacket off and chatted about the travels of the Welsh flag seen at many a gig.
He was going to speak some Welsh taught to him by Sophie, the non-rude translation being “I love to eat cornish cheese bell quays”. The literal translation is not fit for a family publication!
An introduction of the band members followed and somehow they all became Jones or Evans: quite apt for Abertillery.
The venue like many others is under threat from residents which seems a little unfair as the wedding party from upstairs joined in, but to the disappointment of the band, failed to bring down any food.
Looking round there were wedding guests dancing in the hall and children’s faces pressed against the doors’ glass windows.
People started to drift in after hearing the music blasting onto the street.
Not sure but maybe those living nearby opened their windows. Rain or no rain, I would have. Maybe the Bigheads saved the Doll?
“Rolling on” was followed by “Bombs Away” which saw Duncan throw in some well-rehearsed choreography moves pointing to each guitar player.
Some more “Boys” tunes followed in “Brickfield” and “First Time” which got the crowd singing and jumping, and “Terminal love”, the Old Grey Whistle Test guitar version, my favourite.
Duncan joined the crowd during “First Time” doing well to avoid the water on the floor from the air conditioning unit above the front of the stage.
After a few more it was into the encore: “That’s the Way it is”, “Shortest Song in the World” (three times), “One Night in Rio” and “Sick on You”.
One of the best performances from the band I have seen and, looking at their smiles and the body language between them all, they did as well.
At the end they looked exhausted. I took about five photos of the evening: unknown for me to take so few, and the reason why? It’s hard to snap when you’re singing and jumping.
I know they went down well with a good Welsh crowd from seeing the people round the merchandise table at the end of the gig.
They liked The Kid and hope he comes back with his Big Heads sometime in the future, and there is a future for The Dolls House.
So, a fourth album in the pipeline, the songs are gonna have to be belters to get any chance featuring in any future Big Heads sets..
Sorry Duncan you’re going to have to play the set faster or longer 😉
We have just a handful of the following shirts left so we are giving them away for the price of the post (which is about £2).
If you would like one please email firstname.lastname@example.org with the model and size you would like and your address. We’ll give you the amount of post to pay by PayPal and send it to you. Simple as that! There aren’t many though so get in quick.
Here they are:
- Purple “Thinking”: Sizes available: XL (Now SOLD OUT), Small, Ladies Large (All Gone!), Ladies Medium (All Gone) and Ladies Small
2. Black “Thinking”: Sizes available: Small and Ladies Large (Ladies Large now SOLD OUT)
3. Black “Action”: Sizes available: Ladies Medium and Small
4. Purple “Action”: sizes available: Small. (All gone)
5. Black Guitar control: Size available: Small (Now SOLD OUT)
I’m rather ashamed to say that I owned no means of playing vinyl until last year when I was sent the test pressings for Bombs Away. “It is your responsibility to make sure there are no mistakes and all is in order” said the attached note. “Heavens, I’d better buy something to listen to them on”, I thought, and did.
And so I was inducted into the expensive and inconvenient world of vinyl. But – boy do they sound good, with a depth and separation you just don’t find on other means of playing music. Thus, when Steve Metcalfe sent me the recently released “splatter” version of The Boys first album, I had something to hear it on as opposed to just look admiringly, as had been the case with previous Boys reissues.
And it does look great as you can see:
Believe it or not I hadn’t listened to any Boys albums all the way through for decades. That may sound shocking and probably is but, to borrow an analogy from the late, great John Peel, the feelings I have toward my career in music are similar to those I have for football: results from 40 years ago have a certain interest but what really consumes me is next weekend’s fixture.
But as I put the needle on the first grooves, the opening riff of “Sick on You” came blasting out accompanied by a raft of memories from those far distant days when we were all young, skinny, leather be-trousered, and blessed with thick, jet black hair topping off undeserved good looks. And with the unshakeable belief of youth that this was the start of world domination, when our current obscure penury would be transformed into fame, riches, and a stream of never-ending hot and cold women carrying all the drinks we wanted.
The album started in an odd way for me on the sticky bar carpet of The Marquee, after one of our many sweaty gigs there. A beaming, familiar looking, expensively dressed, mature (to my young eye) lady approached through the throng of leather jacketed urchins with smiling husband in tow. In a rich, husky voice, she told me how wonderful the gig had been. “You aren’t the normal type of girl who says hello after a show”, I thought, as I tried to remember where I’d seen that face before and work out why someone who wouldn’t be seen dead at a punk gig was being so nice.
In fact it was Elkie Brooks who was then a world superstar with a huge international hit titled “Pearl’s a Singer” to her name. The smiling husband was a chap called Pete Gage who was forging a career as a record producer. The two of them had previously been in the band Vinegar Joe with Robert Palmer (whose “Johnny and Mary” is one of my favourite electro pop tracks as it happens), and Pete had been put forward by the record company to produce our first album. “Funny old choice” I thought when I found out later but, “What the hell, it’ll be alright”. I could be relied on to get most things wrong in those days.
And so we gathered at Morgan Studios in Willesden on the first day. This was serious stuff. The studios had been used by Paul McCartney, Rod Stewart, Elton John, Pink Floyd ………. the list goes on (although Wikipedia doesn’t see fit to mention that one of the most important early punk records was made there). Recording was nerve-wracking, especially as engineers at the time looked down on punk bands. We were given a Frank Zappa look-alike who was enamoured with the fact that he’d been working with ex Thin Lizzy guitarist Gary Moore. While he was setting up he played us some recent sessions just to show how technically excellent it all was. Yep, -that certainly set me at ease.
Modern digital recording is the best thing invented since the baby mop (seriously: check it out). If you make a mistake you go back and, in the same way you correct spelling on a word document, you just repair it. You have the freedom to take risks knowing that it’s OK if you mess up. But in those analogue days of huge, two inch thick, reel to reel tape recorders, where edits required an engineer with a razor blade, you had to do it again and again until you got it right. And time was money. It was all a little daunting and stressful.
We set up altogether with drums, bass, guitars and keyboards and hammered out the basic backing tracks. Stifling as the atmosphere was, we had been playing those songs live regularly for months and rehearsing as a collective, playing them over and over until we were tight. When we listened to the first results back on powerful, state of the art audio equipment it was like a rocket in the blood stream. We were buzzing and this was going to be great. Even Frank Zappa was won round and became a willing and supportive accomplice.
And in those days we were quick. I believe it was all done in something like a week. We moved somewhere else for vocals, maybe a studio in Soho. Sometimes Matt or Cas would put backing vocals on by themselves where it was just a harmony on top of the lead but, as often, those trademark Beatles bvs would be a group effort, albeit under Cas and Matt’s direction, with everyone round one or two mikes. I particularly remember Soda Pressing with Matt and I singing a dual lead vocal (very Everly Brothers) and Cas coming in for a three part chorus, all of it doubled up so that three singers became six. “Stunning”, I thought.
And then a pivotal moment. We gathered at the record company, NEMS, to hear Pete Gage’s rough mixes. It was shocking. In place of Matt and John’s dual guitar attack the mix was dominated by a wanky Hammond organ. It was as weak as Theresa May in a determined mood. There were fisticuffs with the record company. To give him his due, Ken Mewis our manager fought our corner like an untamed beast: no mean feat for an effeminate ex-hairdresser more used to carrying a handbag than attacking with it. We wanted to go back in to add overdubs and remix. In the end, Ken won the day.
The album became what it was because of that decision. Most of the band were there most of the time with the occasional exception of John and Jack who were always subject to the pull of the pub and bookie. In one of those absences we discussed how weak the guitars on First Time were. Matt went back in and put down a really loud and meaty overdub which comes in after the first two chords played by John. I know John was really upset by this at the time. First Time was his song on the album and now you couldn’t hear him play. But, in my opinion, the new guitar was totally right for the track and helps make it the classic which John should be so proud of.
As it happens, including the joint effort on Soda Pressing, I sing lead on half the album. But First Time is the only vocal I’m really happy with. I hadn’t yet found my character and it shows as I too often try to be the hard young punk I was not. Something a good producer would have spotted and put right? Who knows? It’s frustrating in hindsight that by the time I was capable of great vocals (check out the version of Terminal Love with my voice, Jimmy Brown on Odds n Sods and Silver Bells on The Yobs Album) singing opportunities were rare in The Boys. But First Time was just right.
However, we made one crucial, huge mistake. All of the vocals were mixed too low. It’s generous of Matt and Cas to take the blame for this by being listed as producers on recent editions of the album. They really shouldn’t be so tough on themselves, 😉 , because it was a group decision. We were all there in the mixing room. There is one exception to this. To his great credit, and how I wish we had listened to him at the time, Jack Black fought till he was in tears to change everyone’s’ minds and make the vocals louder.
At low volume on a deficient system you can hear them. But I remember the first time I heard the record at the Speakeasy, with big speakers in a big room. The singing had disappeared. All the people on the night looked at me as if to say, “have you made an instrumental album?”.
There was one meeting where Jack argued furiously for a remix. Our publicity guy, a man renowned for locking himself inadvertently in the toilet, countered Jack’s arguments by pulling out a copy of “LAMF” by The Heartbreakers. “It’s alright”, he said, “Listen, this is how punk albums sound”. And so the day was won by listening to possibly the worst produced album of all time and deciding ours was better and therefore OK. And anyway, Jack was a drummer so he wasn’t to be taken that seriously.
But, modern digital mastering techniques have managed to bring the vocals a little more to the fore and there are so many great things that make this album the classic that it is:
First, the song writing by Matt, Cas, John, and bits by Andrew Matheson, is beyond compare.
Second, the ensemble playing is as tight as the bra on a “before” picture in a Weight Watchers ad, and as hot and powerful as South Carolina’s Reaper Pepper. To add to this, Matt’s lead playing is right up there. Check out “Living in the City”. The most efficient solo ever?
Thirdly, Matt’s lead vocals, my vocal on First Time and all of the backing vocals are inspired and inspiring. The element that set The Boys apart from all other punk bands at the time and which, whether they know it or not, was imitated by a whole generation of Pop Punk and Power Pop bands.
So: a classic album, flawed certainly, but a classic nonetheless. Probably bettered by Alternative Chartbusters but an album which, together with other ground breaking albums of that year, changed the course of music forever.
The “Splattered” version of The Boys’ first record is available on Fire Records
Hear the first album on Spotify:
It was a cold day, then as now, and I had the bright idea of taking snaps on the Thames Clipper, a fleet of boats which pass up and down the River Thames, through the heart of London, as part of the public transport system. If you visit London the Clipper is the best few pounds you can spend. First take the Docklands Light Railway from Bank to Greenwich. This is pronounced grenitch in that illogical way that Londoners invented purely to mystify American tourists -see also Marylebone, pronounced marlibone with no Mary in it, and Madame Tussaud’s, pronounced two swords. At Greenwich wander round this historic oasis of old world charm, a rare South London survivor from the ravages of WW2, and then past the Cutty Sark, a preserved tea ship which looks like it ran aground from The Pirates of the Caribbean.
From there you’ll reach Greenwich Pier and can alight the clipper in the direction of Embankment, to partake of the best near free show in London. The Thames viewed from the river is magnificent. Best seen at night, some inspirational lighting shows off such treasures as The Tower of London, Tower Bridge, Shakespeare’s Globe Theatre, and a host of other beauties too numerous to mention.
Much to the curiosity and amusement of passing tourists (“who are you?”, “What are you doing this for?”, “I love your shoes!”) Dave and I took some snaps around Greenwich, The National Theatre, and on the clipper. But the best was reserved for the jetty at Embankment.
At that casting off point on a Saturday, party boats galore take gangs of Hen Parties and Stag Dos off down the river for bacchanalian nights of drunken reverie. At about 7pm the evening had not yet started so hens were not yet mingled with stags. Rather the two were in separate groups, eyeing each other from their own territory, the boys drinking cans of beer and the girls laughing as they waited for the boat. We took some shots but by this time I was frozen right through to my eyes.
Shivering by the water, we called it a day and strolled across Trafalgar Square and up St Martin’s Lane to The 12 Bar Club in Denmark Street, previous centre of London’s Music Land. Most of Denmark Street has now been redeveloped and certainly the 12 Bar is no more. Back then it was a dark refuge for London’s rockers and home to the highest, smallest and therefore easiest to fall off stage in the world.
And so I thought: “I can’t call another city home” a line which stuck with me and grew into the song “Another City” on “The Difficult Second Album”.
For those of you blessed with Spotify you can hear the song here:
If you don’t have Spotify you can hear it on our bandcamp page HERE
Got a hat or a jacket that’s looking a bit naked?
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One of the New Year bonuses for us has been the multitude of “best of 2017” reviews where our third album, “Bombs Away”, featured highly. Completely at random, we had the No.15 spot in Vive Le Rock’s albums of the year (total bollocks, of course: we should have been No.1 🙂 ) and even as far as New Zealand that man of taste and distinction, Steve Scanner, had us as one of his highlights (See here).
The majority of retrospectives have picked highlight tracks as “The Man on the Desk” (which I wrote about here) and “I Can Fly”, neither of which we currently play live. So: February will see us in the rehearsal studio trying both out to see if we can bring them into the set.
But in the meantime there lies a spot in France on the border with Spain at the western end of the Mediterranean, where the Pyrenean mountains tumble into the sea. There’s a Spanish flavour to the area. In the local markets you’ll find paella vans plying a brisk trade, selling take away tubs of that rich mixture of rice, saffron, chicken, seafood and chorizo. The restaurants specialise in fish grilled “a la plancha”, palm trees abound in the capital Perpignan, and the locals keep their superb wines to themselves: both sweet and dry muscats, and rich, smooth reds which are better than most wines from more famous regions.
In a place I call the garage (because it looks like one) you can take your own bottle and they’ll fill it up from a pump for three euros a litre. The same wine, if you buy it in a bottle on a supermarket shelf, will be in the expensive section for 15 euros.
The odd graffiti you come across will declare, if you can decipher the language, “We are not French, We are not Spanish, We are Catalan”. Rugby is big in the area (both Union and League) and attending a match at Perpignan (or USAP as it’s known)’s Stade Aime Giral is like being at an international. It’s “Us against the French”. They even sing the Catalan national anthem.
As you might guess by now, I go there often. As often as I can in fact. And not just physically. If I’m having a tough day, if some cad has said something nasty to poor, little sensitive me, if it’s raining and howling outside, if Nottingham Forest have once more lived down to expectations, if Rebellion have ignored my emails , if I have this damn Australian flu that’s doing the rounds and can’t think, if …………….. (you get the picture) off I fly in my mind to the land where the Tramontane blows, where the beaches merge into the horizon to the north and mountains to the south, where the colours are blood and gold, where the exiled Picasso paid for his supper by sketching on the back of cheques so that restauranteurs wouldn’t cash them, and where the days merge into a slow reverie of sun, wine and the rosemary tinged scent of the garrigue.
And so I must thank Anna Donarsky, first guitarist in the Big Heads, and now guitar tech to Ron Woods, Pete Townsend and other sundry superstars, for giving me the musical inspiration for my love song to the “Pays Catalan”. Anna provided a gorgeous, haunting bridge and chorus to which I added intro, verse, instrumental passage and, of course, lyrics.
If you have Spotify you can hear “I Can Fly” here:
Otherwise you can hear it for free on our Bandcamp site (here) where you’ll also find the lyrics.
The Brudenell Social Club in Leeds is a gem of a venue. Perfect size, great stage, proper backstage, great city, lovely Yorkshire people: all was set fair.
We were a bit worried about playing on the first Friday after New Year. Would everybody be on dry January or skint or just recovering from the excesses of the previous week? And in truth advance sales hadn’t been great. We’d even resorted to some promotion which was demanding as there was no way Facebook was tolerating the advertising of a show including a band called The Fuckwits who, along with the witty, quirky and just generally wonderful Pete Bentham and the Dinner Ladies, were our support for the night.
But commeth the hour and the good folk of Yorkshire didn’t desert us. A great turnout was present as we took to the stage.
Now there’s one thing my voice seems not to be able to survive: stage smoke. Just one puff seems to be enough to remove all the moisture from my throat and leave me with a croak where my once mellifluous, seductive, uplifting, honey-dewed tones of a siren used to be. The effect is quite horrible to hear.
And as we stood ready to crash into the opening chord of Can’t Stop, first song of the show, I spied the tell tale trail of deadly, white, puffs of doom escaping from a blower above the stage, drifting toward me like The Fog in that film by John Carpenter.
And so, quite reasonably, I let out a little girly squeek of panic and leapt into the air, waving my arms about in order to grab the attention of the sound and lighting guy, the man responsible for spreading the end of the world (-well my voice anyway) across the stage.
Unfortunately, after decades of practice with a heavy Rickenbacker bass (now resplendantly purple, by the way) slung round my neck, I am rather good at jumping. And so my head went straight into the sharp corner of a pa speaker cabinet hung above the stage.
For the first time ever, after many decades of experience, I heard and saw an entire audience, in perfect unison, to a man and women, with shocked looks on their faces, say: “Ouch!”.
Karen, Nick and Sophie had similar looks (actually Nick was laughing, the heartless bastard!). “You’re bleeding”, said Karen, a vegetarian so not used to such things. I rushed into the dressing room thinking: “Shall I put a plaster on” but realised there’s very little you can make stick to your hair. The wonderful Chris Jones, promoter for the night, had left some lovely soft, white towels for us. They didn’t stay white for long.
I thought I’d stopped the bloodflow and so ran back on stage to launch into the show. Completely oblivious, I had no idea I still looked like an extra from a spaghetti western until the next day I saw this photo on Facebook, a testament to the unfaltering bravery, and never say die willingness to suffer for his art, character of your humble bass playing Big (Red) Head!
Most songwriters write about themselves, things that happen to them in their lives or people they come across. After all, what do we all know the most about? Our own lives and thoughts of course.
But I don’t know Jed Lifeson. Like so many people these days he’s just someone I came across on the internet. Not even a facebook friend, just someone on YouTube.
He’s had a hard life. Moved to Hamilton, Ontario from Serbia as a kid and hated it. The people seemed so hard, miserable and cold. It was only later he realised the only hard thing about them was their lives. They were down trodden but capable of great kindness. When Jed was near rock bottom he discovered they would treat him as a human being and lift him up.
And he had hard times. He fell into drugs and ended up in jail sleeping on concrete.
But the hardest time was when he came home to find his mother in a diabetes induced coma, on the point of death. Jed prayed that if God would allow him one last chance to tell his mum how much he loved her he would mend his ways. So when she recovered, Jed ran out into the street, dancing all the way home.
He hasn’t stopped dancing since then. He sees it as an act of positivity to brighten the days of the hard pressed folk of Hamilton. So now, he doesn’t see sad people because everyone who sees “the dancing guy of Hamilton” is smiling. And they see him dancing everywhere because that’s what he does – all the time. Waiting for the bus, at the shops, in the street: he’s dancing.
Here’s a great little film about Jed. It’s well worth taking 10 minutes to listen to Jed telling his own story much better than I can:
And have a listen to this: the song inspired by Jed’s story:
Or if you don’t have Spotify please follow this link:
In 1975 I left school. I’d been to a place where if you didn’t work they beat the shit out of you. That, combined with a bit of ability, meant that, having spent hours smoking in a local cafe, playing pinball and listening to Slade, I still left school with some average to good qualifications. Just about enough to enable me to apply for Cambridge University, one of the best colleges in the world where it was generally considered that graduates were made for life.
So I left the council house in Canterbury I’d grown up in with my mum, to move to London to live with my Dad in the embarrassingly named and therefore to be lied about on all occasions: Ponsonby Terrace. The idea was that I would go to a college which specialised in getting oddballs into Cambridge. But I was sick to the back teeth with school and did no work whatsoever. They didn’t beat the crap out of you there and I duly failed the entrance exam.
Needing some money, I joined old school mate, Jack Black, working in a T shirt printing factory where the boss was a Rod Stewart look a like northerner called John Splain. The day generally started with a cup of tea and a joint and carried on with more joints while listening to the rare decent music on offer in 1975 (mainly the Faces who our leader had modelled himself on).
Our trustworthy boss spent most of the day bunking off, hiding upstairs on a mezzanine floor where he could throw things down onto mine and Jack’s heads, thinking we didn’t know what he was up to even though he was giggling uncontrollably at the hilarity of his actions.
One day, on hearing that Jack played drums and I played bass, the to be renamed Honest (on account of his oft used phrase “I did, -Honest!” while telling porkies) John Plain invited us over to “jam” with his mates Casino Steel and Matt Dangerfield. They were forming a band to be called “The Boys” who were going to be the next Beatles, if not bigger. An antidote of short, catchy songs to blow away all the rubbish infecting the airwaves and concert halls at the time.
And so I arrived, 18 years old, at 47a Warrington Crescent. There should be a blue plaque there. Inside this damp basement, mould growing on the kitchen wall, was a tiny, four track studio. The electricity was hooked up to a lamp post outside, bypassing the meter. Various intimidating (for this youngster) “adults” (none older than about 26) were taking turns to play the intro bars to Slow Death by the Flamin’ Groovies for about four hours at a time. One of them was a curly haired, confident local called Mick Jones. A good looking fella called Billy Idol had made the long way over from Bromley, a quiet Brian James lurked along with various others who would coalesce over the coming months into various bands.
1976 was a hot summer. I remember it being the USA’s bicentennial and a bunch of Americans held a large party in the communal garden to the back of 47a. All the nascent punks gatecrashed this feast of free booze and burgers and I ended up passed out on the grass dressed from head to toe in white which by 4 am, when I woke, was various shades of green.
But the summer ended and a deadline I had been pushing to the back of my mind approached. In September I had a place to study Chemical Engineering at University College London. Not Cambridge, but a very good university all the same.
So I left the job printing T shirts and went to register for my course. At the end of the first day I went back home and told my father I had made a decision. With all of my 18 years of worldly experience I had given University a look and didn’t like it. I wasn’t going back because The Boys were going to be a big band and being a punk was what I was going to do.
My Dad was delighted (Ummmm – no he wasn’t).
So, off I trotted to the dole office to see if I could get any money to live on. They decided that, as I had left my job voluntarily and was living at home, they would give me the princely sum of £5.50 per week. Not unreasonably, and as an incentive to get a job or go back to college, my father decided to charge me £5 per week rent. So I had 50p per week to myself and had to get to Warrington Crescent every day to rehearse with The Boys in that little studio, as well as play cards, drink tea, and see if anyone was generous enough to buy me the odd pint in the pub.
So, no choice, I had to walk there and back every day, a round trip of almost three hours as the following Google Maps screen shot shows (it appears that 47 Warrington Crescent is called Venetian House now that all the old Italians, squatters and church property renters have been moved out to make way for the rich of London).
Through sun, wind and rain, in the morning and in the dead of night, a young man, head full of dreams of fame, fortune and women, looking like a star but still on the dole (to paraphrase Ian Hunter) would make his trek to eventual, hoped for success, past some of London’s most famous landmarks and richest neighbourhoods, with not a penny in his pocket.
Sometimes I tried hitching but had to ask to be set down immediately as most of the rides were given by old men who wanted something in return I wasn’t inclined to give. Boy I was innocent.
One day on my trek up the Edgware Road Mick Jones came running up behind me, ruffled my hair and shouted “Hello Dunc, Alright?” as he ran on and jumped on the number 6 bus which would pass near Warrington Crescent, the place I was headed to. The Clash had just signed to CBS and so he was on a weekly wage. “You rich bastard”, I thought, “Being able to afford a bus” as I trudged on.
But good comes from everything, and forty years later, thinking back to those days of penury a song emerged. A song of hope and dreams.
You can hear it here:
If you don’t have Spotify listen here on Bandcamp: Click here
I hope you like it. I’m particularly proud of the last chorus with its answer vocals. And with the guitar riff, if Led Zeppelin played power pop this is how I imagine it would sound!