Why Control News Posts

Xray Spex 1977 new book. 2019.

Styrene founded X-Ray Spex in 1976 after seeing a Sex Pistols performance. She and her band recorded their notorious and energetic punk rock anthem “Oh Bondage Up Yours!” in 1977, for more about Poly and the fabulous new book click here- 
https://wam.rocks/2B8x0PI

The Stiff Tours 1977 and 1978The Stiff Record Artist tours were a fabulous promo for the punkish music scene. The Stiff artists, traveled the UK stopping off to petform gigs at city venues. The first tour was known as the Live Stiffs Tour or 5 Live Stiffs, and occured in late 1977.

UK Punks The Duel

 

Bombsite eZine Bob Marley Gig - Mart and Alg

DREADLOCK HOLIDAY IN DEESIDE

Bob Marley, vocals, rhythm guitar
Aston Barrett, bass
Carlton Barrett, drums
Al Anderson, lead guitar
Junior Marvin, lead guitar
Earl Lindo, organ, clavinet
Tyrone Downie, keyboards
Alvin "Seeco" Patterson, percussion
The I-Threes, backing vocals



On July 12th 1980, Bob Marley and the Wailers performed live in front of 4,500 people at the Deeside Leisure Centre. The Deeside concert wasn’t actually in Chester, it was just across the border in Wales in a small town named Queensferry. The leisure centre was used primarily as an ice rink and was not on the music circuit, but was able to attract enough Marley fans to sell out. This was the second to last gig for Bob & The Wailers and the last UK show recorded.
Influential reggae drummer and percussionist Carlton Barrett performed at this gig, his rhythm style is woven into almost every recording the Wailers produced since 1969. Carlton was later murdered outside his home in Jamaica on April 17, 1987.
There was also a Gary Numan Concert at this venue on September 24, 1980


Archive review from the Chester Chronicle

If there's one thing that stands out about a Bob Marley concert, it's the vast repertoire of top material that he and his band can produce.

Although there were a couple of songs that failed to raise the roof at the Deeside Leisure Centre during Marley's recent performance, the audience were kept cheering, clapping and chanting for 90 per cent of the time as one Marley standard after another boomed from the stage.

The concert which drew a vast crowd of around 4,500 people, opened with Marley's band Tuff Gong Uprising backing the I Three's, Marley's own backing singers. Though they received loud applause, it was nothing to compare with the roar that greeted the man himself, dreadlocks flying, pinned by a white spotlight.

The set opened with Natural Mystic, instantly recognisable, before Marley went on to play some of his lesser-known stuff. For the first hour or so, things went well enough, but then came the opening chords of Jammin', and the whole place nearly took off. The concert simply lifted to a different plane. And that was followed by Exodus.

At this point, rather aptly, the band and Marley simply got up and walked off-stage. No had the slightest intention of letting them go, and 4, 500 voices shouting for more put the message across (as if Marley wasn't intending to come back anyway).

The second part of the set included classics like Natty Dread, No Woman No Cry, I Shot The Sheriff, all played with little or no chat in between.

The music was tight without being strictly bound to the album originals, proving if nothing else that Marley is a professional and that his musicians are men of imagination and flexibility, unlike some bands who use tours simple to put across, note for note, the stuff they put on the albums they want to promote.

Last number was a loose version of Get Up Stand Up with the obligatory singalong in the middle of it. Then it was spots off, house light on.

A.F. Chester Chronicle, July 1980.

Bombsite eZine Retro Punk Art

Bombsite has been commissioned to produce 77 punk artwork and promotional material, for bands, and different events. The following are some examples of our 77 retro punk art. If you require promotion work, 77 graphics, press kits or marketing, contact us below

  

  

Bombsite eZine 13

Bombsite eZine 13
Ian England Chester punk Venue, Noise Agents, Shag Nasty, Eric's Forgotten, Wah! Heat, Kings of the Delmar, NYC punk model Steffi Kubicek, Viki Vortex, Malaysian Street Boundaries

bombsite eZine issue 12

Bombsite eZine Twelve
The Derellas, The Skunks, First Time Riot, Shag Nasty, The Spitfire Boys, Radio Riot 2, The Abrasive Wheels, Danger's Close, Brown Bag Records

Bombsite eZine 2009 - The Skunks

Click to enlarge Page 2 Issue 12 www.myebook.com/bombsite1977/

Bombsite eZine 2009 - Shag Nasty Review

Click picture to enlarge

Bombsite Fanzine ; Punks Not Dead

In the early '80s, I found myself in the unlikeliest of places: Toledo, Ohio. A city where punk rock was as foreign a concept as vegan cuisine in a Texas barbecue joint. Sure, there were a few who'd caught wind of it through newspaper clippings, and they'd chuckle about it over their morning coffee. But the truth was, the world back then was vast, and punk hadn't yet seeped into the marrow of Middle America. To quench my thirst for that raw, unadulterated three-chord energy, I'd make pilgrimages to the Big Apple every chance I got. New York City was the Holy Grail, the epicenter of punk's primal pulse. Closer to home, Detroit and the Cleveland Agora occasionally hosted a band or two, but it was a ragtag crew of diehards who'd bother to show up. I remember the Lords of the New Church rolling through in '82, and it felt like a secret gathering, a hundred souls drawn to the music on a nondescript Wednesday night. Then there was that fateful night in '96 when the Sex Pistols graced the Nautica stage in the Flats. The venue was far from packed, but let me tell you, those who were there witnessed a classic. Punk has this uncanny knack for igniting in the places where it's most needed, like a spark in a dark room, and then it vanishes, moving on to mend another societal sore spot. It's a living, breathing entity that shuns commercialization, but vultures are always circling, looking to cash in on its authenticity, as punk quietly slips out the back door, ready to crop up elsewhere, far from the grasp of those who seek to tame it. That's the essence of the "Punks not dead" mantra that's been echoing for over three decades. Now, let me address the naysayers who claim that punk was nothing more than a fashion statement in '76 across the pond. Sure, there was a touch of style on display, and London's Kings Road was a surreal epicenter of it all. The street, a tale of two worlds, boasted wealth on one end and destitution on the other. Kids from every corner of the globe descended on that pavement, drawn by an insatiable curiosity. Over in Europe and across the Atlantic, they'd squat and work in those chic fashion stores, bars, and boutiques, skirting the law just to soak up the vibrant scene. But punk is a restless beast; it moves swiftly, and it found new homes in places like Liverpool, Manchester, Glasgow, and Ulster. These were cities marred by violence and plagued by unemployment, where designer boutiques weren't exactly thriving. Here, the kids pilfered clothes from thrift shops and army surplus stores, transforming them with reckless abandon, spray paint, and dye. The Pistols had already called it quits, and the Clash were deemed sellouts. Yet, punk was too busy trying to mend the fractures of these society's ills to care about appearances. And so, the anthem remains the same: Punks Not Dead. It's an eternal teenager, always seeking its next hideout, its next adventure, before the suits come knocking. For all those who hunger for its unrestrained energy, the journey continues. Punk lives on, ever restless, ever resilient. Thanks, Mart, for the memories and the reminder that punk, like the soul, never truly dies.

Bombsite Fanzine 2009; Ron Reyes Black Flag

Ron Reyes was the second singer for California based punk rock legends Black Flag. Ron, joined Black Flag after original vocalist Keith Morris had quit to form the Circle Jerks. Black Flag needed a singer to go on a tour to Vancouver, Canada, and asked Reyes to fill in as he had been following the band and already knew the songs. Earlier he had played drums in an incarnation of Redd Kross, along with Greg Hetson, who went on to form the Circle Jerks with Keith Morris, and subsequently joined Bad Religion.

Mart; Ron you were the second singer for California based punk rock group Black Flag, Can you describe the scene and who or what influenced you during this early period?

Ron; First some history

Before Punk, I listened mostly to David Bowie, Elton John, Queen, T-Rex, Rolling Stones, Led Zep, and Black Sabbath. All British bands. But the real turning point for me from typical teen age music appreciation to rock freak musician wannabe was when I first heard and saw Kiss. The Hotter than Hell album cover blew my mind and everything changed from that point on. I went to Mira Costa High School in Manhattan Beach California. I was a total total outcast. I actually lived "on the other side of the tracks" in the Redondo Beach High school district, which was far far less preppy and snobby. But it had drug and gang problems, so my mom sent me to Mira Costa instead. Probably the worst years of my life. I had ZERO friends and would ride to school on my silver unicycle dressed in my custom made Ace Frehly silver lame space suit with full make up and 12 inch platform heals I made in wood shop. The teachers and students would laugh and ridicule but I didn't care. At this point I met 2 other outcasts in school and we started to put a band together which was mostly Kiss covers and Hendrix songs cause Gary the guitarist was a Hendrix Freak. That was when I started to think about "MAKING " music. But that didn't go anywhere and one day out of the corner of my eye I started to notice this small group of glam/punk girls in the halls. They were like a breath of fresh air, and a hint of things to come. At the same time a "rocker" girl friend of mine gave me the Sex Pistols God Save the Queen 7 inch single. THAT TOTALLY TRANSFORMED EVERYTHING. I went straight home and tore down all my Kiss Posters and started listening to the Rodney on the Roq Radio station. That's where I first heard all the British punk bands and the Ramones!!!! So the music I listened to went from fully over produced rock with tons of overdubs, effects, artsy fartsy textures and dynamics to straightforward 3 chord 1234-1234 tempos and loads of bad ass attitude.

The same girl who gave me the Sex Pistols single, told me about the Masque and the emerging punk scene in Hollywood. She would go to places like the Starwood and the Roxy to see long hair glam bands, and drop me off in her car at the Masque. I was sooo intimidated I would only go in for a moment at a time and then come outside and just listen and look from a safe distance. After the shows I would meet Debi at the Roxy parking lot after hours party.

I became a big fan of all the original Hollywood bands like The Germs, X, Weirdoes, The Sreamers, Bags, etc. Often I would ride my bicycle 20 plus mile to Hollywood to see these bands. In the early days, I looked like a little Handsome Dick Manatoba with long hair and black platform shoes left over from my glam and Kiss years. The first time I would change my dress was at the 1977 punk rock fashion show at the Hollywood Palladium. I went wrapped up in clear cellophane, all tangled up in guitar chords, hand made buttons pinned all over and a hangman's noose ta top it off. I must have looked like a Weirdoes wanna be. After that night there was no turning back. But, I was extremely shy and introverted so I would continue to go to the gigs and hang out by myself, too scared to talk to the Hollywood punks.

Mart; During the early days of punk you followed some of the bands. Can you tell us a little about who they were? What drew you to Black Flag? Was their a relationship with you and other punk bands? Good or bad?

Ron; So yeah like I said the Germs, X, Weirdoes, The Screamers, Bags, Dickies, Controlers, I loved the Avengers and the Zeros!!! etc. And it is interesting that many of these bands as well as bands like Devo, Blondie and even the Ramones had a little art school/glam damage in their roots, so I had a natural attraction to them. I don't remember there being any unifying dogma or mantra to "save the world" or "smash the state" with these bands. It was just Argh I'm fcked up with nuthin ta do so lets go crazy, but you know not in some backwoods hillbilly psycho way or some suburban jock rock way, there was something far more creative at play.

Meanwhile, my best buddy Dez and I were neighbors in Redondo beach (just a couple of blocks away from the Fleetwood where I would finally quit Black Flag mid song.) would sit around listing to Rodney on the Roq and were starting to put a band together. we were called the Happy Tampons or the Fucking PorkChops. We were heavily influenced by Wire, I think we knew the whole Pink Flag album gosh that was just so amazingly different then, anything I was into before and then there was Eater!!! Eater was cool cause they did Bowie and Velvet Underground songs. So you see, more artsy stuff. So I guess Dez and I were just a couple of arty fartsy guys?!?! He also loved the B52s, so go figure.

Then there was Black Flag. We started hearing about the Panic/Black Flag band and they were local from Hermosa Beach which was cool cause we were neighbors!!! So we started crashing their practices and I think the first time I saw them at a gig was at the Moose Hall in Redondo Beach with the Alley Cats. Holy Shit were they totally different then any other punk band I
had ever seen. There was absolutely nothing even remotely pretentious or artsy fartsy about them. They had ZERO "cool" factors you know they did not get their cloths from Poseur. But Greg Ginn just blew my mind. There was no one that came close to his ferocity and intensity! and it wasn't constrained or contrived at all. And it's not like he was the most technically perfect guitarist I had ever heard but from that moment on no one would ever come close. I loved Pat Smear, Johnny Thunders, Ron Ashton, Johnny Ramone and others but no one played with utter abandon like Greg. Chuck was a monster as well and again it was as if these guys came from another planet where they had never seen a punk band or even a regular rock n roll band or had any idea of how to behave in an acceptably cool fashion. They were NOT "cool or dignified". They were completely undignified. And Keith was just so crazy in an "I DON'T CARE WHAT YOU SAY" sort of way. and you just knew he meant it. Robo was another eccentric freak in his own quiet silent ways. Actually if there was anyone who was cool it was Robo. The way he played his drums in such an upright sitting position. Not a whole lot of outward emotion but just intensely suave.

So Black Flag sorta spoiled Punk Rock for me. At least the Hollywood artsy fartsy version. I mean I just loved all the other bands but holly shit Black Flag just made them all sound so incredibly small in comparison. Looking back, It was the beginning of the end for me as far as punk rock went. Cause, I really don't care what others say, but no one was as fierce as Black Flag in a real pure organic natural way. Others would come with their intense stage presence, scowling appearance and pre-fab sound and look but it all seemed contrived by comparison. Even my versions of Keith's songs were mere replicas. You see, I had regrettably read the punk rock manifesto script and knew what was expected. You know what I mean? It was like I was following in someone's footsteps where the mold had already been cast. Yeah, I would bring my own spin to it but the original Black Flag members never got the "memo" and if they did they must of just laughed their heads off at the notion. So as for me, I was ruined from that moment.

Mart; Many fans remember you as the real sound and energy of Black Flag and an icon for the period. Into the 80's the sound and scene developed into something else. can you give us an inside look of how that development felt to you?

Ron; A lot of that has to do with my appearance in the Decline of the "Western Civilization" movie. That movie sort of defined the era or at least a certain time and place . I haven't seen the movie in years except for clips on you tube but I think the Black Flag stuff has really aged well. That's because it was different from the other stuff. Gosh I get a kick out of listing to Greg and Chuck (back then we used ta call him Gary) they were soo full of BS just taking the piss out of every one. Chuck with his Brain surgery spiel is just classic. I was soooo nervous cause you know it was just so strange having cameras in your living room. And it was entirely unscripted and one of us were used to having people asking us our opinion about shit. The other thing is the Jealous again record is a really good record.

The "Nervous Breakdown" single introduced and defined Black Flag up to that point but the Jealous Again Sessions refined the sound considerably especially Greg's guitar work. The Guitar solo stuff on "Jealous Again" and "Revenge" are just so cool. Keith's vocals were so natural, I mean he didn't sound like anyone else at the time. And I wasn't there, but I bet, there were not many takes or overdubs. Yet I spent a lot of time on the vocals, cause I was inexperienced I guess. My voice was probably "technically" better with a greater range and more melodic then the other BF singers, but really who cares about that when it comes to Punk Rock. I guess compared to Keith, Dez and especially Henry my vocals had a sort of Pop edge to them. And you know I just loved bands like the Last, Red Cross and the Decedents, the Plugz and the Zeros. And even, oh god help me for admitting this, but does anyone remember "Shock" I wanna be spoiled??? Oh and while I am at the task of destroying any credibility as a true punk rocker, let me say I loved the Go Go's!!! Those bands sang with intensity but there was a hint of Pop flavour.

Later on my Pop sensibilities would take full form in my "Crash Bang Crunch Pop" band. But overall my favourite Black Flag singer is Henry. I don't like all his stuff, but I think he was the definitive Black Flag Singer who had the whole package. And the gigs I saw live after My war and around slip it in were just memorizing. Holy shit Henry was good at what he did!!!

I come across a lot of stuff on-line about who is the best Black Flag singer. And there is some real heated and passionate discussion over it all. I played a small part during a short period and I really think that was meant to be. Chuck talks about the length of the songs coming from the inspiration, and I can totally relate. For me I was inspired to do what I did, and then that was it. I just wanted to have fun but Greg and Chuck were getting really serious, I just could not get behind some of the songs like Damage and Life of Pain etc.

As far as the emerging 80's west coast sound. Well, I really have got mixed feelings about all of that. By that time everyone had read the script. You know it was supposed to be fast, loud, aggressive, angry, hateful, smash the state, fuck the world, in your face blah blah blah. I totally love loud fast aggressive music even to this day, but, I really wasn't depressed or all that angry. And I really didn't feel all that oppressed or pissed off at anyone. I was just having too much fun. I was in a band, folks were digging what we were doing, girls were starting to come around and I liked girls I didn't want to piss them off or degrade them. The rest of the guys were getting into some real gross stuff which was just so much macho misogynistic crap.
Then the orange county surf jock punks started coming around and it was like they were all ex-marines or something. God I just hated the vibe they brought to the gigs. Don't get me wrong some of the suburban and OC bands that were coming out were great . Middle Class, the Crowd, Agent Orange (oh man they were fantastic!!!) the Adolescents, TSOL. Yeah, I really liked these bands. But for some reason the crowds that were emerging around these bands, and Black Flag in particular were just insane, and not in a good way, at least not from where I was coming from.

Mart; Was there one incident that you can determine as the point where punk rock exploded on the West Coast? Roughly what date did that occur? What was the influence? And who was involved?

Ron; I guess most folks would point to the emerging hardcore scene. But you know that was exactly the shit that turned me off of the whole thing. It just seemed so one-dimensional. The Weirdoes and the Dickies, X (man talk about a band with dynamics!!!), Germs, the Last, Avengers, Zeros, Screamers all had so much flavour in comparison to a lot of the hardcore stuff. Man, I can't even watch the American Hardcore movie, it just looks and sounds like crap to me (except for Bad Brains and ok a few others!!!) I know I'm gonna piss of a lot off people, but I just hated most of that stuff. Guys in that movie are getting all romantic over it and making it out to be some profoundly important part of music history. I just don't get it at all. I can feel all the hate mail coming, but hey, I'm just telling it like I saw/felt it

But I can appreciate where it came from, and by that time the Hollywood music was getting a little diluted with too much heroin and drugs, so in some respects the hardcore stuff was like a breath of fresh air.

When I moved up the coast to Vancouver bands like DOA, the Rabid and the Subhuman's were great. DOA had sooo much power with Biscuits and Rampage and Joey was so fierce. Joey is really the only North American politically inclined punk that I respect. Cause I just can't stomach most political punk. It is just so black and white it reminds me of over zealous right wing religious hate mongers. But DOA's smash the state stuff seemed so much more sincere and I always felt that it was more then just burn it down you know, I think Joey has the integrity to inspire some positive change not just hey lets fck it all up and bail.

The other thing I liked about the North West/Vancouver music scene at the time was that it was somewhat naive and immature in a good way, you know, it seemed to keep its purity for longer then the LA scene did. And there was a good mix of pop bands like the Dishrags Pointed Sticks who by the way are working on a new record and what I've heard so far is fantastic. The Modernettes were sooo much fun, and they had the Braineaters who I would later join for a while. The Braineaters had some things in common with the Screamers.

I just seemed to fit in so well with the west coast Canadian Punk Scene. There was far far less division like in the California South Bay area. A smaller population forced bands to share members so you had guys like Chuck Biscuts or his big brother Dimwit (RIP) playing in 6 bands. And there was this Fck Band thing where you would just play for fun and beer. Lots and lots of good ole Canadian beer!

I remember coming back to LA for the premiere of the Decline movie and I was around for several gigs in east LA featuring the new OC type bands. I just hated it and ran back to Vancouver. Where I kept on rockin on my terms, in a tone of fck bands and then called it a night. I would not have done it any other way.

That's it

Ron

Ron's Web Links

www.myspace.com/reyesx6

www.breakmyface.com/bands/blackflag1.html

http://en.wikipedia.org/wiki/Black_Flag_(band)

Bombsite Fanzine : 77 Originals The Spurts

Young energetic and free, The Spurts started their band with four school friends after catching the spirit during 1977. DIY from the start, they organized their own gigs at local community centers and at a wild youth hang out they called the bungalow. Members associated with this band would later join the Cure and Depeche Mode.
The 77 line up were Dave Coltman, Steve Manuell, Paul Langwith and Dave Walsh. After a few changes by 1979 the band members were; Steve Manuell, Paul Langwith, Perry Bamonte, & Clive Kemp. Ralph Malph played bass for a few gigs.
During 2007 The Spurts re-grouped for some gigs and some studio work, and today they are still rocking the capital and their live performances are catching a buzz.
The band line up today is; Steve, Dave, Vicki Vortex and Paul.
Here Steve Manuell tells how it was;

Mart; The original Spurts were based a few miles outside of London. In those early days would you say that you were part of the Kings Road scene? Or did you go over to see what was happening?
Steve; We were all 14 year olds (sounds so young) we went up the Kings Rd regularly, but the place was swamped with the NEW crowd . It was a real eye opener, you learn very fast, clothes, attitude, ideas, music. drugs. It was the best place to find out the latest band, event.etc.

Mart; What single event drew the band into the energy? And roughly what month year did that occur?
Steve; The day after the Sex Pistols/Grundy show on TV, me & Dave were talking about, wanting more. Suddenly there was some dangerous stuff going on, music and style. We needed this! We thought we'd find like minded people to get our own thing started.

Mart; Did you find it difficult to get gigs or did you get a break somehow? I understand that The Spurts first proper gig was at the Lindisfarne Catholic Center. Many of those early gigs were chaotic and surrounded with tension.
Was the audience receptive to your sound?
Steve; In 1977 we started the band. a couple of Woolworth's guitars, etc. We organized parties just so we could play. usually 60+ friends squashed into the Bungalow front room. The drummer Paul's dad lent us the money to buy some 100 watt speakers etc,and a place to practice. The police turning up was a regular thing. We played every where the Punks hung out in the Southend/Essex area. Youth clubs, a school, pubs, clubs. There were a lot of gigs, no money or just a couple of pounds. We got a great reaction from everyone. That first gig was scary, cos there were loads of people, but not our usual school mates. This was a proper crowd, a few down the front instantly started moving, so we were doing something right.
Loads of tension, loads of violence from bikers , teddy boys, football thugs. It all added to the determination of us to play! We played one gig straight after I had been beat up by 3 bikers.
It was the normal every week happening.

Mart; Did you record any songs? Or did the lyrics survive? And are they now part of your line up?
Steve; Some stuff survived, We had hours of tapes which sadly got stolen in 1981. There are 2 or 3 songs on tape, but not the best quality. We still play,
"Keep on coming"
"Watch out"
"Who's laughing now"
and "Sexperience" is floating about ..
I still had a lot of the lyrics, which we later made in to full songs "Germs" being one of them.
There is a demo of "keep on coming" from late 1979, but I had left, Dave had left so it was not typical "SPURTS" sound.
I would say that is how we sound now, it captures our RAW sound from then, but with a bit more experience.

Mart; I know that things sped along pretty fast for UK punk. And I believe that is why so much of the media did not understand it. And as you pointed out, it was a young scene. Can you describe who's sound or music influenced the early band? Were each of you influenced by different music?
Steve; Bowie's Ziggy was there before punk, Pub rock stuff, Dr Feelgood. When punk started main bands were Adverts, Damned, Lurkers, Slaughter & the dogs and 999. Me & Dave were the main writers then. The others in the band were dragged along at first.

Mart; By 1979 you had streamlined your line up. Were you starting to get noticed and integrate with other bands?
Steve. By 79 the band was every where. A major part of the Southend/Essex scene. A lot of people used to come down from London for the gigs/parties. We would mix bands, play with/along with people like Alf Moyet. Bands used to come to the practice Bungalow on a regular bases, the early Depeche Mode lot, Vince Clark etc. Everyone was playing something then.

Mart; Paul and Perry would go on to play with some big bands. How did that occur ? or how were those contacts made? Through friends, other bands or an agent?
Steve; Paul is a very good drummer, and ended up helping out every local band at some stage. his Dad owned the Bungalow (practice place) so everyone played there. As I said before that's how he did a lot with the early Depeche's. Perry was always there, he lived at the bungalow I believe.
His brother was involved with The Cure early on, and ended up roadie-ing. Dave roadied for Slaughter, 999 and a bit with UK Subs, I think. He knew everyone up London by then.
There were never agents, only mates etc. A guy Richard from fanzine "Strange Stories" sort of managed a bit. Got a demo made (no one knows where it is now?)
In those early days we all helped each other out, a great big punk family.

Recent release The Spurts are Coming five track EP;

Mart; The band re-formed in 2007. So how does it all feel today? Is there a new scene breaking out? Does this lousy economy play into this somehow?
Steve; Well the excitement was like going back to 77, although I think its only us original first timers. The music still has the energy, but alas a lot of the people don't. There is far more apathy now. The times have changed.
Every one can sit on their arses with computers, TV, Internet, not bother to go and see live music. Regards a new scene, well I believe that the punk scene will slump back into the shadows again. Due to the next generations not getting involved. Too many old men (which I'm one of) It can't survive on nostalgia. That's not punk. Fresh ideas, fresh approach, more youth!
The economy will always push people to cry out for change. Punk should be about music revolution and social attitude change.

Web Connection
http://www.myspace.com/spurts77
http://www.thespurts.com

Bombsite Fanzine 2009; The Skunks Exclusive

The UK's love of expression and freedom to innovate, has helped them produce many unique rockers. The Skunks could be characterized this way. They were part of the original core of 77 rockers that carved out a recipe for British punk music. Nobody will argue about that. With a distinguished bass line that fueled a more complex mix The Skunks have their own punk sound and their compositions are still refreshing today.
Recently performing live, the band still has what it takes to give the nostalgic a reminder of how it was "back in the day". Plus, there will be plenty of youngsters discovering how techno dance rap has submerged our music into a lost haze of overlaying and sampling.

Above; Bombsite has The Skunks playing at Liverpool Polytech on October 7th 1977 supporting the Buzzcocks. We are fairly certain the Skunk photos were taken on that evening. Confirmed date here; 20thcpunkarchives/oct/id24

Gerry : Yes Martin, we played Liverpool, wow even then, I'd read the books of Paul, George and I could relate to all of their beginnings as similar to our own. And actually we had a lot in common with the Beatles as it turned out. Their experiences in Berlin in the early sixties seemed very similar to the kind of lives we were living on the road at the time.

Martin; Whilst touring outside of London did you perform at Manchester's Electric Circus or Eric's club in Liverpool?

Gerry: The Skunks toured with Gen x, UK Subs, Wayne County, Killjoys, Spitfire Boys, XTC, and others too numerous to mention. we used to bump in to loads of touring musicians at the motorway service stations at the time, and would catch up on all the gossip and action, there were no mobile phones at the time, so a lot of things were really word of mouth. Bands then were
not famous as such so there was a bond between us all in a way. I remember Liverpool Poly very well, it was probably our first real gig. We just got up, plugged in and did our set. The audience were fantastic that night, and I think we were all highly nervous and charged for the performance, but then that became the norm for our performances throughout that time ( one of the things that the WHO picked up later in the year when we were spotted by them playing at the Vortex Club supporting Generation X ) Our singer at Liverpool Colin Ward was great as usual he for me epitomised the real Punk Rock at the time, for us it was the gateway in to live music and the opportunity to experiment with recording for the first time. Colin exemplified the youth that was frustrated and angry with the society of the time, despite working occasionally as a builder and his young age, he already had a young family and felt that music and songs were a perfect way to vent his anger. I took over on lead vocals when Colin left the band.
We supported The Buzzcocks at Manchester Free Trade Hall it was a Radio Manchester do, there must have been 5000 people in the place the night we played.
I thought The Buzzcocks were good and the locals loved them I think at the time there was piece in Sounds about Pete Shelley buying his first Council house( Sounds 1977 ).Well the first thing is we loved the Spitfire Boys. I think wed met them before the Manchester gig, possibly earlier in the year at The Roxy, Convent Garden. They were a great bunch with no pretensions', and were very good live ! I think we lost touch with them later in our career.
The other thing I would say of the time, was that people from the audience would offer to put the band up when no accommodation was arranged in advance ( which was nearly always ! ), that gives you an idea of some the character of the people.

Frank: I remember doing Eric's Club mainly because of a conversation I had after the show with Jean Jacques Burnel. He came down after the Stranglers had played in the town, along with members of the notorious gang that followed them at the time. His hand was all cut up where he'd just knocked out an over keen fan that tried grab his mic stand. He caught the end of our show and was very complimentary. I found out that we had a lot in common at the time!
Martin; Can you describe the different flavour of Liverpool verses the Manchester [or North] scene during the 77 period? The energy, the support bands, the fans etc.
A: Frank: I just remember this insatiable appetite and inquisitiveness for more that was much more intense in the North. I wouldn't say the South audiences were "blasé" but it seemed that the South had easier access to all the main bands at the time. This was London, because you only had to go just outside London, areas like Milton Keynes and Watford on the M1 corridor to see the difference. This could be why Liverpool and Manchester became such powerhouses of creativity in there own right. It seemed that the Manchester scene was more energetic, more audience and band connection than in Liverpool. That's not to take anything away from Liverpool, we loved playing there and always looked forward to it and it's just a subtle difference.

Martin; You are regarded as a London punk band, did you get to play with the Pistols or the Clash during the old Roxy, Vortex days?

A: Frank. No, we didn't play with the Pistols or the Clash, but filled in for them and often met them on the London club scene. The Pistols pulled out of a gig at "Knickers" in Keighley . We were in the middle of a tour of the North and we had a night off so we did it. Obviously we were a bit apprehensive 'cos these people had paid money for the Pistols and were gonna get the Skunks, but it turned out to be one of the best gigs we had ever done. Supporting us that night was a young very talented John Cooper Clarke.
The owner of the club was so relieved that he tipped a bag of flour over my head whilst playing our third encore ! We also covered for the Clash when they pulled out of Birmingham University , not so friendly this time ! A group of hairy, tanked up, greaser bikers infiltrated the crowd and started heckling aggressively. They were upset 'cos they'd paid to see the Clash and were not prepared to listen to us. Big mistake came when Gerry started heckling back.. We just managed to escape with a few cuts n' bruises, but fuck me it was close !!
Martin; Bombsite fanzine photographed you playing live in Liverpool during 1977. At that gig you were supporting the Buzzcocks. Can you remember any interesting events that occurred at that concert? Or maybe another Buzzcocks event?
A: Frank: I just remember how friendly, warm and welcoming it all was. Not much gobbing !
The Buzzcocks were a great band to support. They never did that old trick of keeping the PA volume down and jacking it up when they came on.
Martin; Tony Wilson was an integral part of developing the early scene around Manchester. Did he play any role at your Manchester events?
Frank: Not to my knowledge.
Gerry: I think Tony may have compared the Free Trade Hall show, I'm afraid we never met him but obviously we were aware of Joy Division, and to this day Love Will Tear Us Apart is my favourite song. My other regret is not getting to meet up with Paula Yates !!

Martin; It is interesting that you brought up the Spitfire Boys. They have almost been lost from the Liverpool radar. But, during the day they were an energetic punk band and way ahead of other Liverpool bands. Their single British Refugee is a classic 77 punk gem. And singer Paul Rutherford would go on to become a crucial part of British pop culture with Frankie Goes to
Hollywood. Do you have another Skunks Spitfire Boys incident or memory?

Gerry: We knew the Spitfire Boys pretty well, they were around the same age, and we had a lot in common, what with starting out at about the same time. We cant remember when we first bumped in to them, may have been one of the Northern shows, I know they played Manchester Free Trade Hall on the same bill as The Buzzcocks and us. Think we spent a lot of time just generally fooling around !! We kind of lost touch when we went back South and they were based up North. I remember their music though, it was really high energy with some great songs. I didn't realize Paul went on to Frankie's though! Seem to remember playing on the same bill as them possibly with the Killjoys. The Killjoys had a lovely looking bass player who we all fancied!

Martin; From the more up market Sloane Square, to the council estate district called World's End a visit to the Kings Road in the late 70's was a journey towards self expression. For the punks who colonized it in 1976, there was revolution in the air, and the hot weather that year helped, too. Were the Skunks drawn to the Kings Road clubs, pubs and record stores? Do you remember the Man in the Moon where so many punks got started?

Frank: Being only 14 in '76 and having grown up in Clapham, The Kings Road was a whole new area to explore. Colin Ward, our first singer when the band was called Dole Q, enticed me down there the first time, 'cos he was part of the "arranged" Punk 'n Teds fight. I have to say, although I liked a scrap in those days, it just did not feel right.
We had our musical and fashion differences, and I liked there stuff, so why were we fighting?
I later went on to write a song called "Backstreet Fighting" which was influenced by this and all the troubles in Brixton with the line "It's not ourselves we oughta fight " Over the years we spent more time in Kings Road. Saturday was the big day for groups of punks hanging around outside shops like "Boy". That summer of '76 was amazing. You could sense the whole movement taking pace and it was great to be on the "inside" of it.
We always started at the Sloane Square end, where the 137 bus stopped and would make a beeline for Malcolm McLaren's shop SEX, renamed Seditinaries and later BOY. We then wondered up to Worlds End and things would just develop. Some of the best days and nights happened where nothing was planned or structured, you never knew where or who you would end with! I can't remember if we ever played The Man In The Moon?

Gerry - Yeah the Kings Road on a Saturday was a laugh. Imagine all the Sloane Ranger debutantes in their Barbour jackets and Wellingtons, mixed in with the squaddies based in the Army barracks stationed nearby, then you had us lot all punked up, and then the obligatory Teddy Boys who would come down to see what was going on!, and the poor ordinary residents out doing their shopping! I suppose it made for a pretty intimidating atmosphere, but somehow every one put up with everyone else I bought some nice shirts in the Boy shop ( think it was pretty expensive though ! )
I think I remember nearly getting caught spraying the SKUNKS !! graffiti over there back in the day! What we wouldn't do for some free publicity ! In fact the graffiti on London bridges, and even outside the Roxy stayed there for years ! I think a lot of Joe public from that time remember us purely because of the graffiti they would drive past every day!

Martin; On Tuesday June 7th 1977, the high day of Queens Jubilee celebrations, the Sex Pistols attempted to interrupt the Jubilee festivities by playing live from a boat on the River Thames. The long holiday weekend started on Friday June 3rd, The Bombsite Boys hitched down to London. Can you remember what the Skunks were doing? [I see you played Brighton on Sat]

Gerry: Think we might have gone over to the Nashville rooms. We never did get to play the Brighton gig as Hugh Ashton our bass player broke his finger when we were moving our equipment in to the venue. Some great parties over there though. The clubs always seemed to be in really small places like the basements of some of the houses near the sea front.

Martin; The Skunks were seen as having a young Who sound, and as I remember, The Skunks were somewhat linked between punk and the 77 mod movement. As young guns were you inspired by The Who's music? Did your meeting and further partnership with them change your focus away from Punk and more toward the Mod revivalist scene?

Frank: Briefly maybe, but we were just developing as musicians and Gerry started playing a synth. It was just a natural progression. You learn't a few more chords and wanted to use them.
We never wanted to say "hey look how clever we are,'cos your all playing with three major chords and we can throw in an augmented 9th!" It was more just enjoying being a bit more "musically challenged "without trying to recreate the likes of Emerson Lake and Palmer!
If anything, we moved towards a punk version of the new romantics. We were started hanging out with Steve Strange at "The Blitz" and he and Rusty Egan tried to poach us from our management. Steve's parties were the stuff of legend!!

Gerry - Yeah I'd agree, Pete always liked the music we produced, and it gave us the opportunity to play and record at Maison Rouge Studios in Battersea, and Pete's Eel Pie Island set up. Plus we had some decent amps and guitars for a change, so if anything they helped us to develop our sound even more. Had some funny experiences where we met Genesis in the bar at Maison Rouge, and over drinks we helped them with the design of one of the album covers ( it was a jigsaw on the floor ), but they still went on to use it! Seem to remember Elkie Brooks popped in once to say hello, that was a funny meet ! On the sound, I think its fair to say that as we had been going to the Marquee most Saturdays pre 77 , we heard Baba O Reilly, and Teenage Wasteland quite a few times . I don't think we intentionally modeled our music on the Who, it just happened that we sounded very much like them when ( especially when we played live ! )

Martin; I read that Alex Harvey was with Pete Townsend at a gig during 1977. The Alex Harvey band was part of the earlier pub rock scene, and would have an influence on the later scene. Did the Skunks get to meet Alex Harvey on that evening?

Frank: Alex Harvey was with Keith Moon and Pete Townsend the first night we met them when we supported Generation X at The Vortex. Had a piss next to him and could not help look over the pissoir, .Yep, I saw Alex Harvey's cock!

Gerry - I don't think either of them were at the Twickenham gig. I borrowed Petes 1952 Fender Telecaster for that show, and unfortunately busted the neck, when I missed the down stroke of the closing chord of the closing number! I had some explaining to do when I had to give it back the following Monday in pieces ! He was great about it , to be honest, even though it cost 2k to put it back together ! Still I must be the only musician / guitarist that can boast that I have smashed up one of Pete Towsends guitars!!!
On our My space site, there are pics from the gig, and also a record book from one of the audience who scored it a measly 4 out of 10, I didn't think we played all that bad!!

Martin; Do the Skunks plan to play live in the future?
Frank: We have been invited to play at Rebellion next year, and a massive gig in Poland this coming August. Yes, and we played Bar 12 back in June 08, with Lloyd Grossman and Eddie Ten
Pole amongst others. (Camera phone videos of the show are also available on the Skunks site : skunksukofficial )
I think everyone who was there that night would say it was a fantastic night. And really reminded me of what it was like to see and hear what we would have sounded like in the Skunks heyday , we haven't changed that much. Still as mad as ever, although Id like to think we have improved musically !
We probably won't go full time touring, but you might see us pop up here and there, as occasional support. Gig details will be on the My Space site. skunksukofficial
Good from the Bad
Back Street Fighting
Above were released on Eel Pie Island Records, only 2000 were printed and its now a collectors item

Bombsite Fanzine 2009; Magnum 77 Dead Boy

They originated from Cleveland Ohio, as one of the offshoots of a proto-punk band named Rocket From The Tombs, but soon moved to New York and gained a reputation as one of the most important punk bands surrounding the legendary CBGB's club in the late 1970s as the Dead Boys.
In the group's heyday Jeff Magnum, Stiv Bators, Cheetah Chrome and the Boys were loud, brash, violent, and nihilistic, and by the end of 1977 they were touring the UK with the Damned. The Dead Boys took punk rock to new heights with their audience incitements and fast, three-chord songs they produced a sense of havoc and punk rock freedom. Their classic first record, Young, Loud, and Snotty followed, and has made a huge contribution to American punk rock culture. Characterized by Stiv Bator's nasty audience provoking antics, along with the band's aggressive power chord punch, the Dead Boys have earned their title as one of the greatest and most influential punk bands in history. Back in the day their punk classic "Sonic Reducer" offended everyone it was meant to offend and became the band's anthem. The Dead Boys took American punk into a new realm of rock and inspired many bands with their excessive brand of destruction. The band's legacy continues to grow and both Pearl Jam and Guns 'N' Roses have covered their material, and we should expect others to follow. In this Bombsite exclusive Bass player Jeff Magnum reflects on the beginning for the Dead Boys.
The Dead Boys were: Stiv Bators (vocals); Jeff Magnum (bass); Cheetah Chrome, Jimmy Zero (guitar); Johnny Blitz (drums).
Rocket To The Tombs: members included the Peter Laughner and Dave Thomas, who went on to form the legendary Pere Ubu.
The Dead Boys will be remembered as one of the most significant punk rock bands to develop out of the US in the mid 70's. There was an interesting scene blossoming from Michigan and Ohio that included Iggy, the MC5's, old partners Pere Ubu and the Dead Boys. Maybe it was a social, or a new generation of expression. Can you help to describe what it was that assisted the music development?
Jeff: Boredom! I really believe that whole blue collar, rust belt, midwest-stuck-working- in-a-factory-forever- mentality had a huge effect on the high energy bands ya mentioned. Those were desperate times, working some loser job in a nowhere factory by day, and drinking beer in dumpy bars with your friends and bitching about yer life at night. Fed up with crappy hippie
bands and their dull 15 minute jams, some people got creative in this deep misery and wrote great songs and made great albums. Kinda like how "punk" was born outta frustration, well that was a mouthful.
Were there other mid west bands that were just as expressive who have been forgotten over time? Roughly when did you first hear the punk rock term used?
Jeff: I'm not sure I know what years yer referring to, so here's my all over the place answer! In the late 60's a band called Black Pearl made a really good LP on Atlantic Records (SD 8220) that I still listen to. I didn't like alotta the Cleveland bands in the early 70's, the bar bands found brief
success playing bullshit cover songs and dressing up like Peter Frampton, and the Cleveland "punk" bands in the day did nothing for me. Nobody was better than us. I think I first heard the word "punk" in 1976 on an NBC-TV news magazine program called "Weekend". They did a story on the Damned and the Brit "punk" scene.
There was something drawing the garage scene to New York venues, the Mud Club, Harrah's and CBGB's were becoming stimulated with a new type of rock and roll. When or how did you realize that you needed to be part of that movement?
Jeff: Things were not working out for us in Cleveland. Moving to New York was an option that could not be ignored. We got labeled as a "punk" band and things took off and life improved (we got a "manager", a record deal, and a NY audience that loved us).

The chemistry between the Dead Boys and the Damned appeared to blend very well, leading both bands to develop the frontier of punk rock by marrying the US scene and the UK scene together. By November 1977 the Dead Boys were preparing for a UK tour alongside their newly formed alliance. How were your expectations looking forward to playing the UK? Were you aware of the controversial nature of the scene?
Jeff: Don't make too much outta the Dead Boys/Damned "alliance". We opened for them on their second album tour in England, Scotland, and Wales. Nobody had ever heard of us (the 1st Dead Boys LP had not yet been released in Europe) and I thought we blew 'em off the stage night after night. I gotta admit that some of the shows got pretty intense with the kids and their punky ways, but what the hell. I knew they weren't just gonna stand there and watch us.

Above; The Dead Boys 1977 UK Tour Poster
By late 1977 many UK regional councils and authorities were working overtime trying to shut down this outrageous youth phenomena called punk rock. The attendance for the Damned, Dead Boy 77 UK tour was affected by these government restrictive mandates. Was this something you were aware of, or had been expecting?
Jeff: Is that for real? Sounds like something the Damned mighta made up to explain their low attendance on their tour. Actually, I remember some punk kids saying at the time that punk was over and done in England, the scene was dead. I just figured attendance was low for the Damned because they (and that LP) weren't very good.

On November 18th you joined the Damned tour in Cambridge England. On November 20th the tour reached Manchester's Elizabethan Room and then on December 7th it was back up north to play Liverpool's Mountford Hall. Was there an incident or something you remember from the tour about your Manchester or Liverpool dates? Do you remember Eric's night club in Liverpool?
Jeff: No.
During your first UK tour did you get to spend time with the Sex Pistols or the Clash?
Jeff: Hell no. They didn't come out and hang with us, maybe because "punk" was an American thing and we did it better.
During your 1976 term playing in NY with the Dead Boys, were you and the others close to the Ramones?
Jeff: Personally, I was never "close" to any of the Ramones. I loved 'em live, and their first 3 albums were great.
You most recent project with the Cyclones see you playing bass on their new records. Is there a tour of some other material being released soon?
Jeff: Cyclones Vin and Dave asked me if I would play on 3 tunes. I did and I had a blast! It's a good rockin' CD and they should be proud of their work!Yes thanks Jeff and thanks again for your contribution to rock and roll.
Above; Dead Boys Sonic Reducer Live

Bombsite Fanzine 2008; Shag Nasty

above; Original London Punks Shag Nasty
Shag Nasty got an early start on the anarchy scene with their first shows at the now legendary "Man in the Moon" pub venue on Chelsea's Kings Road during 1976. Band members Gary Sharp and Riff Starr were friends with Joe Strummer, who gave them £500 from the Clash's advance from CBS Records to get Shag Nasty started. The band toured mostly around London, but on Sunday 17th July 1977 they arrived in Birmingham to play the "Britain's Burning" outdoor punk concert. Shag Nasty were headlined alongside the Clash, the Saints, Subway Sect, Cherry Vanilla and others, before the gig was canceled by the local council. The ensuing event was a venue switch and an enthusiastic gig at Barbarella's night club.
In this Bombsite Zine 2008 exclusive, Shag Nasty guitarist Riff Starr, and bass player Straka , discuss how the band were associated with the early London punk core. Including, how original drummer Paul 'B. P.' Hurding moved on to join X-Ray Spex, and their close ties to "The Stables" in Camden town.
Shag Nasty released one single during 1977. The raw, but energetic sound of "Looking for Love" should be part of any 77 punk enthusiasts collection.
During 2008 Shag Nasty regrouped to tour Britain and have stepped back in the studio to put final touches on some recently discovered original recordings.

The new band line up is
Riff Starr (Original Band Member) on Guitar and BV
Nick Aloha Starr (Original Band Member) on Drums
Bow Starr (New Band Member) on Lead Vocals
Straka Starr (New Band Member) on Bass Guitar and BV

Martin -Some of your first gigs were down at the "Man in the Moon" on the Kings Road. Many punks from other parts of the UK heard the calling and would make there way down to London during the early scene, even before we had a name for what was going on. Bombsite 2008 wrote about a weekend where the Unwanted were playing and Joe Strummer, Mick and Paul arrived on Motorcycles to hang out at the joint. Can you recall an interesting incident or something that happened at the Man in the Moon that describes the period?
Riff -It wasn't unusual for Joe and the rest of the Clash to go down to "The Man in the Moon". It was a regular place for most punks in the London scene, especially on the Sunday evenings, when the X-Ray Spex “Punk Promotions” were happening. Otherwise, midweek everyone including those who were known as the poser punks would go down to The Roxy. The Roxy was probably the best known and most popular of the London punk venues. A real happening place to go to. For those of you who don’t know, the “Poser punks” were those who had loads of cash, bought themselves into the scene, and had the latest top designer £100.00 bondage trousers and the like. We all know one don't we? They were quite different from the average Joe, who would sort out their own gear, instinctive and more expressive.

When Joe Strummer would go down the "Man in the Moon", he would usually arrive pillion on the back of Sebastian Conran’s motorcycle. For those of you who don’t know Sebastian, he had a beautiful Gold Suzuki 750 – four. It was a great bike. Sebastian was a great friend of Joe's in the early days. They drifted apart later, but I think that was because The Clash camp forced him out somehow. Although, I don’t know much about it. They used to hang about together a lot, and were really close, I thought. Sebastian was very much involved with the “Clash factory”, helping out with all things Clash.

The Clash had a lot of good people around them. Helping with clothes design, music sleeve art etc. I remember, the band were very focused on what they wanted to say, and they had the right people, committed people helping them achieve it. Bernie Rhodes was big on The Clash, I mean B.I.G, Big.

Going back to the "Man in the Moon", I recall one occasion at the venue when we played with X Ray Spex. We borrowed some of their gear to play that night. I must say, we got a little carried away with our heads and the moment. We ended up smashing or damaging some of their gear and Poly went nuts. I doubt that she has had many good word to say about us. She didn’t back then, and probably still doesn’t today. After all these years, sorry Poly!! The trouble was the music and the scene could become quite intense, it was part of the moment and movement I guess.

The "Man in the Moon" had a great reputation, and many bands can now be linked back to it. It sounds like it was some great big punk venue! But it was really quite small. I recall you could only get about 50 or so people in there at any one time. It was downstairs in the basement area.
The Spex would always arrange the gigs there, and they would headline there most weeks. I think each Sunday, with other bands supporting them, Poly was giving them a bit of a break. Like us - Shag Nasty, Adam and the Ants, Menace etc. A lot of the punk crowd were made up of friends of the bands. Many of the punters were on the band guest lists in one way or another. I doubt anyone made anything on it, but it wasn’t about making money from what I could see. It was about the scene and the message. It was really cool, very intimate. I never saw any trouble inside, but outside was a very different story. There was always violence. It would get you down! It was like all punks were enemy number one. There was always loads of violence on the street there locally. The Teds, the Teds hated the punks so much! You would always get large groups of Teds, hanging out. Looking for punks to kick up in the air. They would single you out, and you had to be quick on your toes, It wasn’t fun.

I remember one evening after playing there, leaving with my brother in law Steve (at the time), carrying my guitar case. As we were walking towards the train station I got abuse from a small group of Teds. I couldn’t keep my mouth shut and I had to have a dig back. Guess what? It wasn’t before long we were getting chased down the road by a multitude and we were clearly heading for a kicking. We got away. It is surprising how fast you can run when you need to. We both escaped a good kicking that night.

The only Northerners I can remember at the "Man in the Moon" were the guys from Screwdriver. I can’t remember them playing there. They might have done, but I can remember them hanging out there a few times. London was a great place, still is of course. But at that time it was dangerous being a punk. People hated punks, especially Teds. I remember it became a regular thing that Teds from as far away as France would come over for the weekends just to kick punks up in the air. That wasn’t much fun.

Martin - Do you remember The Clash, The Pistols or others as regulars at the Man in the Moon?
Riff - I can’t recall the Pistols ever being down at the Man in the Moon so to speak. I do remember Sid Vicious, but I think that was before he joined them, I’m not sure. They were always down the Roxy. The Roxy was the place to hang out, the place to be. I only ever remember them being there. I remember one night, I don’t know how it happened, but had words or something with Johnny Rotten. It ended up with someone from “their click” coming over to sort me out, or something? Things didn’t work out with Johnny’s plan though, and he got pissed off, as the guy he sent over was an old school friend of mine (Barry Jones), We used to live in the same area of London, and we ended up just chatting, drinking and having a laugh about it.

I remember The Clash at the "Man in the Moon" Joe was there more than the others. Regulars also included Adam and the Ants, Suzy of the Banshees and the guys from Swank. They were a good band, the singer is now actor Gary Olsen, great guys. It was a great scene, intimate and mostly good natured, that is inside?!

above; Shag Nasty's 1977 Classic Punk Single
Martin - During 1976 The Kings Road was the epicenter for the punk scene in the UK. There was something in the air that summer. What do you remember as an incident, gig or political that would ignite the UK punks that summer?
Riff - I don’t think there was a single unique event that caused the explosion in the true sense! It kind of crept up. Initially, there were only a handful of punks, and then you looked around and the numbers started to swell. The movement just got bigger and bigger and it was all about the music, the message, the rebellion, and later fashion and image took over. The explosion, I suppose you can call it that, was when the fashion shops took hold of it. People eventually just got a taste for it and this caused the movement to gather a little speed. Vivian Westwood’s designs really captured the mood and image of the punk scene, and everyone just copied what she was putting together. That’s how I saw it anyway.

Martin - You mention that Joe Strummer lent the band cash to get things off the ground for Shag Nasty. Did you ever pay the money back?
Riff - Well, when we say loan. We actually mean it was more of a bung of some cash to some friends, it was a gift. Joe gave us the money, that is Gary and I. Tosh and Paul joined as a consequence of what came next. You see Gary (Shag Nasty singer) was a great friend of Joe's. Gary and Joe worked together in a kitchen in some hotel. This is before the The Clash days when Joe was in the 101’ers. They were really quiet close. We hung out together and we saw the 101’ers loads of times. We had the same desires when the punk scene erupted. We put Shag Nasty together on the back of the £500.00 Joe gave us from the CBS advance, when the Clash got signed, this was big money. The average weekly wage from what I remember then was probably only about £25.00. So this was heavy. I remember Gary and myself meeting Joe down at The Roxy when he gave us the money. Having a good drink together over it, celebrating if you like, on what musical venture we were about to embark upon. I remember getting an old Arbiter guitar, an Amp head, speaker and fuzz box. The money also meant we were ready to advertise for other members for the band. We put an advert in The Melody Maker. That was the best paper to put an advert in, so you got to the right people. Tosh (bass player) and Paul (Drums) answered to the add. Paul who was called Paul BP - Big Paul. Hurding left us and joined the X Ray Spex later on. When Tosh and Paul joined the band we actually had our auditions at the Clash camp in Camden, "The Stables” is where the Market is now.
All things “Clash” really came from The Stables. Songs, clothes, art work, everything, It was like Clash HQ. I remember Bernie didn’t really like us there. He didn’t like anyone there when the Clash were rehearsing, probably to keep the band focused on their material, I don’t know. Any how we rehearsed there as well, It was a great place. You actually felt part of something, the buzz. I remember Don Letts, Rodent and later Glen Matlock used to of course hang out there. When Glen split from the Pistols his new band the rich kids rehearsed there, like us.

Bernie was great with the Clash. He was a driving force with them. Even down to his car! He was 100% behind supporting them. I remember he had an old Renault. I can’t remember the model, but it had “the Clash” as the registration [license plate] number, It was CLA 5H, a really cool plate.

Getting back to the £500.00. I can’t remember paying it back in anyway. Or even being asked for any of it back. Joe was like that, It was a starter if you like for some friends. Joe was spirited that way. If it hadn’t been for Joe, “Shag Nasty” wouldn’t have happened and BP in turn probably wouldn’t have been the drummer in the Spex!

"Shag Nasty" had some great times and some not so. Like losing Paul (BP) Hurding to the X- Ray Spex. He was a great drummer and probably more of a musician than the rest of us. He also had more of a musical drive and you could see it. This is probably why Poly poached him from us. She knew he was good. They watched him grow and had a place that needed to be filled, and Paul was put into that place. It was the right place at the right time for him. Soon after Paul joined them they started recording, I think, and then they went on the USA tour. There was no hard feelings. Still none now.

Nick Shirley then joined the band and we carried on playing. Gigging mostly around east London and down on the west scene. Things were going ok. We started getting a good following, but because of differences between us at the time we drifted apart. Our last gig I think was headlining at Ronnie Scot’s. I can’t remember the date, it's a shame. We had I think great potential, but it didn’t work out.

Now we’re back and loving it. A bit older and more experienced, but we can see the same problems now as back then. They say nothing changes. Any how we’re here and we are gonna be around for a while!! Enjoying it.

above; London Punks Shag Nasty 2008

Martin - In the Joe Strummer movie "The Future is Unwritten" some old friends of Joe sat around a campfire and recall memories of this punk hero. Is there something that you recall about the man that you will remember forever?
Riff - The thing that really described Joe for me, and summed him up was passion, his passion for music. How he linked everyday life, not just here, but anywhere in the world to his music. The lyrics, the feel, the message. He was very passionate about music, as a means of being able to translate the message, any message through his music.

I remember he always wanted to own his own radio station. To play music and expose the tunes and artists he loved and moved him so. He understood the scene, and he wanted passionately to be part of it. He did, he moved from the 101’ers to the Clash as he saw what was happening. He was able to absorb what was happening around him and his London. The time, the politics, the unjust things that were also happening, and he saw its relevance. He acted like a punk activist. He saw the writing on the wall.
It said “The Clash” and he became a spokesperson for a whole generation.

Martin - Can you explain the reggae and or dub part of how punk music unfolded?
Riff - Some musical onlookers don’t understand, or see a natural link in genres. My view on this and why these genres merged is explained two fold.
Firstly - similarities can be seen when you look at the origin of both Punk and Reggae styles. Both styles of music really emerged from social depression, or environments or situations where people spoke out against their oppression, or what they felt they were experiencing, from their governments or governing bodies.
Secondly – By virtue of the above ideology, both musical styles have some common goals or a common bond. Bands or musicians that played either style found themselves playing alongside each other and sharing stages together.

Both styles, Reggae and Punk then cross pollinated over time, thus creating blends of both of these styles. They began to co exist, drawing each of the styles together and becoming on occasion even more experimental.

Martin - During 1977 Shag Nasty would start to see gigs where the they played alongside reggae bands.
Riff - Shag Nasty featured a couple of times on the bill of great Reggae artists such as Dillinger, Clint Eastwood and Burning Spear. I can’t remember the dates but recall each gig were within weeks of each other in the latter part of 1977. The first of the two gigs was at a venue in Brighton supporting Dillinger, together with Burning Spear and the second in London at The Rainbow Theatre again supporting Dillinger with Clint Eastwood. Both gigs were packed with both Reggae and Punk fans.
I recall in the early days Joe Strummer and Mick Jones of the Clash going out to Jamaica to soak up the Reggae musical scene for themselves; seeking to also experience life in Jamaica. No doubt looking for musical inspirations. I seem to recall the trip gave rise to inspiring the great Clash song “Safe European Home” on the “Give them enough rope” album. The Clash went on to mix and match or merge many other musical styles over the years within their music; but one thing in my view was consistent throughout was the influence of Reggae and or Reggae dub.

Martin - Did Shag Nasty get to play any punk venues in Manchester or Liverpool during 77? Was there a difference with the punks in the North of Britain?
Riff - The furthest North Shag Nasty played was Birmingham, on the Britain’s Burning Clash tour. It was difficult getting gigs outside the London scene, as everyone hated you. They didn’t want you there! Initially anyway. There was a good scene outside London and punk was quiet unified, but, It was more often than not local shows, for local punks in Punk satellite venues. Pushing their own messages. Doing their own scene. These satellite venues soon started to pop up everywhere, I guess through local persistence and passion. Punks were not going to go down without a fight. We seemed to play most of our gigs in London.

From what I remember the Punks scene was quite universal. I remember the scene was strong in a few places, Manchester, Birmingham and Sheffield. And, the band and fan relationships were strong and unified. I think this was due to the fact that punk music was all about getting up there and doing it yourself. Anyone and everyone was encouraged to pick up a guitar and make good music. The music was no longer being dictated by the likes of the “Jimmy Page’s” and the “Rick Wakeman’s” of the world of music. The rules had changed. This is why I think real punk music is in the main basic, raw, intuitive, approachable musicians not aloof and self indulgent. Anyone should be able to play it.

Fans were bands and bands were fans. There wasn’t a divide between them. I think those punk musicians or bands that forgot this weren’t or aren’t real true punks. They were or are something really quite different. Make your own mind up on who these were or are. You don’t need some old punk like me to tell you.

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2008 Distorded Magazine