The Story Of Eddie And The Hot Rods: An Unfinished Interview With Barrie Masters

The classic five-piece Hot Rods lineup

L-R: Barrie Masters, Dave Higgs, Steve Nicol, Paul Gray

and Graeme Douglas

By Devorah Ostrov

When I saw Eddie and the Hot Rods at the Half Moon in Putney in 2001, it had been 23 years since I first saw them in San Francisco.

Barrie Masters, the group's lead singer since its formation, sat down with me for an interview before the band went onstage. We talked about the history of the Hot Rods for my fanzine, Teenage Kicks, but I never felt like the interview was truly finished.

But they're still gigging, and I may get to talk to Barrie again. In the meantime, with the help of several sources to fill in the gaps, I figure it's time this story got published. (Update: Although the Hot Rods are still gigging, Barrie sadly passed away in October 2019. This interview with him remains unfinished.)

* * *

"THE HOT RODS are careering through 'Get Out of Denver' at a speed so close to the velocity of sound itself that the song seems to end several minutes before it began when — for what seems like the seventy-second or seventy-third time that evening — half the P.A. system curls up and goes to sleep." (Charles Shaar Murray, New Musical Express, December 11, 1976)

Eddie and the Hot Rods came from Canvey Island (the same area in the Thames estuary as Dr. Feelgood and the Kursaal Flyers) — a faded Victorian seaside resort, where the old landmarks include the Grade II listed Lobster Smack pub, and the new landmarks are oil refineries. By all accounts, the band burst out of the confines of Canvey at 100 miles an hour and for a few months, before punk rock steamrollered over them, the Hot Rods ruled the scene.

Lead singer Barrie Masters

In February 1977, the NME named Eddie and the Hot Rods the most promising emergent act of the year. (Graham Parker and the Rumour placed third on the list, with the Sex Pistols a distant number six!)

And they would leave their mark with a batch of high-octane EPs and LPs — as well as "Do Anything You Wanna Do," arguably one of the best pop singles ever recorded.

Although they achieved some amount of recognition and chart success, fame and fortune eluded them. A mixture of bad timing, lack of record company support, and being ripped-off by their manager (not to mention a possible curse) led to the original lineup calling it quits in 1981. To say they deserved so much more is an understatement.

* * *

"Boring as Belgium," is how Hot Rods' lead singer Barrie Masters defines life in Canvey during the early '70s. "It was dreadful. That's why we started a band." Barrie was still in school when the group formed and was known locally as a championship boxer.

"When you were a young kid you either got into boxing like I did," he explains, "or you got arrested for hanging about on the streets. There was nothing to do. Really. There were no youth clubs. There was nothing like that. We started a group at school because we wanted something to do. It was just through boredom."

It was 1973 when Barrie and drummer Steve Nicol teamed up with bassist Rob Steel and guitarist Pete Ward. Barrie wanted to manage the band, but because he knew the words to the songs, he became the group's vocalist. "That was the only reason I sang," he declares, "because I knew the words. But I was only going to be the singer until we found one." He pauses for comedic effect. "At the moment, we're still looking!"

In the beginning, they were called Buckshee and they saw themselves as an R&B band. However, in his chronicle of England's pub rock scene No Sleep Till Canvey Island, Will Birch classifies Buckshee as a glam rock group. During the interview, Barrie only allows that they were originally called "something stupid, but I can't remember what it was."

"We literally played anything and anywhere," states Barrie. "Anywhere anyone would let us play! Bingo halls... We even played a school fete."

Within a few months of their formation, Buckshee were looking for a lead guitarist to replace Pete Ward. Dave Higgs (who sadly died from cancer in 2013) answered their advert in the window of Chris Stevens Music Shop. "When Dave joined, that's when we actually got serious about it," says Barrie. "Dave was the one who said, 'You can do this seriously. You can charge money for playing, instead of just getting a few beers out of people.'"

Dave Higgs was slightly older than the rest of the guys. "He was really old," remarks Barrie. "He was about 24!" And he had some experience. Most notably, Dave had previously played with a Canvey outfit called the Fix, which featured future Dr. Feelgood members Lee Brilleaux and Wilco Johnson. He'd also been in trouble with the law. "Before Dave joined the band," confides Barrie, "he'd had a 'government-sponsored holiday.' They were gonna lock him up and put him in the madhouse 'cause of drugs and stuff like that."

"Do you remember those old Cruisin' albums?

The guy in those cars was always called Eddie."

In the ad, the group listed the Rolling Stones and the Who as their influences. But those weren't the only bands the boys were listening to.

"People used to think I was weird because I was listening to blues stuff, like the J. Geils Band," says Barrie. "And obviously, there were the Kinks, the Yardbirds — all the British stuff. Dave was more blues and R&B influenced. He was into the American side of it. He had some albums... I fell in love with his records. And that pushed us towards the R&B side. It's funny, that's when we started getting a lot more work. We started getting offered decent pub gigs."

In the early days, they'd been more or less limited to playing around the environs of Canvey Island and neighboring Southend-on-Sea. But as Barrie points out, "Dave was old enough to have a driver's license. He had a job working at a builder's company. He had this open-back builder's truck which we used for gigs. We used to put deck chairs in the back, like you have on the beach. And there was sand; because it was a builder's truck there was sand in the back. And we used to dress up, put sunglasses on and swimming costumes, and drive around. Stupid things! That's when Dave came up with the name — because we had to have a sensible name. The name was changing every time we got a gig."

Why didn't you call it Barrie and the Hot Rods?

"Because Barrie and the... would've sounded STUPID! The only reason it was Eddie and the Hot Rods... We loved the name when Dave came up with Hot Rods! And then we wanted Something and the Hot Rods. Do you remember those old Cruisin' albums? The guy in those cars was always called Eddie. That's how it came about — Eddie and the Hot Rods, and it stuck." (There are also numerous stories about a homemade dummy named Eddie, which was propped up at the back of the stage during their early shows.)

L-R: Dave Higgs, Barrie Masters, Steve Nicol & Paul Gray

In 1975, the Hot Rods made one more crucial adjustment to their lineup. According to Barrie, their bassist wasn't taking the band seriously. "Rob Steel got a job. You know, a sensible job. 'I can't take time off to do gigs.' Bollocks! We got rid of him. We put an advert in the paper [The Southend Echo] and Paul Gray turned up."

Paul was a 15-year-old schoolboy when the Hot Rods recruited him. "Paul's dad had to sign our first deal with Island Records," recalls Barrie. "He was a kid! But he had enthusiasm and he was a ballsy little player, even then. So, obviously, he got the job."

"Paul Gray's only young," wrote Mark P. in Sniffin' Glue, "but he's a real drivin' bass player. His main influence, he told me, was Lemmy. Paul first got his playing together jammin' along to his ol' Hawkwind records. He now listens to the MC5 and the Stooges."

With their lineup sorted, the Hot Rods were ready to make the big leap from Canvey to London. "There weren't many regular gigs in Essex," says Barrie. "There was only the pub circuit around London, and we phoned a few of them up. They said, 'Well... we don't know who you are,' and all this. But we lied and bullshitted our way into a couple."

Remember that time Punk Rock came to town?

From ZigZag #60, May 1976

The Kensington was the hang out for most of the pub rockers of the day. The regulars listed in No Sleep Till Canvey Island include: "Brinsleys, Bees, Ducks, Kilburns, Willies, Feelgoods..."

Eddie and the Hot Rods made their Kensington debut on May 17, 1975, and secured their place on the London pub circuit with a six-week Saturday night residency at the venue. A history of the Hot Rods featured on the website punk77 credits Dr. Feelgood with getting the young band its first show at the Kensington. The writer goes on to say: "Eddie & The Hot Rods quickly developed an enviable reputation as a live act that provided a combination of 60s style garage r'n'b action and thrills, harking back to the early Rolling Stones gigs at the Railway Hotel in Richmond, but with a more energised and grandstanding flavour."

"This Irish fellow named Matt Farley used to run the Kensington," comments Barrie. "He said, 'I'll take a chance.' The first week there were like ten people there. And Matt said, 'You can come next week if you want to.' We were only getting £10 or £15 for playing. Anyway... The next week twenty people turned up. By the third week it was full, and the fourth week it was heaving. Then suddenly the phones started ringing. And we didn't stop after that! We just got loads and loads of gigs!"

What were those gigs at the Kensington like?

"Very hot and sweaty! It's funny... Everyone always says that we're a live band — we feed off the audience and they feed off us. It's the vibe. But in those days, we were used to playing to old people in bingo halls. So, when people actually came to see us... When we were the main attraction and they were screaming and shouting, we would go even more over the top — running around and climbing over everything... hanging and climbing!"

Barrie also spoke about their early gigs in an interview with ZigZag magazine: "It makes you work 'arder to try to draw the audience's attention. We'd get so frustrated from being ignored, that we ended up pushing the PA over and stuff... that kind of thing actually got them to respond, you know."

Advert for Life On The Line

By the Autumn of 1975, the Hot Rods had become a staple on the pub circuit. In early October, they began sharing a Tuesday night residency at the Nashville with Joe Strummer's pre-Clash combo the 101'ers.

In Punk Diary 1970-1979, author George Gimarc writes that "the bands are on equal footing with the headlining slot alternating from week to week."

"Right!" exclaims Barrie. "Whatever we did, they sort of copied it the week after."

Fred Rath reviewed the October 28th Nashville gig for Sounds and informed his readers: "Eddie and the Hot Rods look like those before-they-were-famous pics you get of the Stones, Yardbirds, etc."

On November 7, 1975, a significant rock 'n' roll juxtaposition occurred — although probably no one took any notice. As part of their regular circuit, Eddie and the Hot Rods played at the Red Cow on Hammersmith Road. Meanwhile, over in Holborn, the Sex Pistols crashed through their set at the Central School of Art and Design. In Punk Diary, Gimarc says: "It's total chaos onstage. The band is barely rehearsed, loose, and even frightened." It was the Pistols' second-ever show.

The Hot Rods continued to play the pub circuit through the end of the year and "it was bloody hard work," says Barrie. "To get a PA together, I had to get a job. I started working on building sites, doing glazing. We had an old van and we used to trek... I used to get up at 5AM to go to work and finish at 4PM. We'd drive straight to the pub, there'd be a bag of clothes and we'd be driving along getting changed. Do the gig, drive home, get into bed, and get up and go to work again. It was a nightmare!"

Lew Lewis played harmonica with the group during your early shows. Was he a friend from Canvey Island?

The Kursaal Flyers with Eddie

and the Hot Rods at The Nottingham 

Playhouse - January 18, 1976

"Dave knew him. I was playing harmonica to begin with, and Dave said, 'I know this harp player. This bloke Lew. He wants to come along and have a blow.' I heard Lew play and I threw my harp away! No... I gave it to him. I said, 'You might as well have it, mate.' I was a beginner compared to him. So, he joined the band. But he drove us mad after a few months."

One story has it that Lew was asked to leave the Hot Rods after he jumped off the stage at Reading University and pelted the group with pint pots. In No Sleep Till Canvey Island, Will Birch maintains Lew was fired after a dressing-room tantrum at Brunel University. Wikipedia states that he left after "falling out with the management."

Towards the end of November, Island Records A&R scout Howard Thompson approached the Hot Rods. But the guys weren't impressed — they thought it was a joke.

"All these people kept coming down from record companies, and we didn't believe them. We were like, 'Yeah, of course you are mate.' We told him, 'There's the bar. Go and get us five pints of lager and then we'll have a little chat with you.' So off he'd go... he'd bring 'em back... BANG! We'd shut the door. 'FUCK OFF!' This went on for about three weeks. Someone finally said, 'He really is from a record company. It's a bloke from Island.' They were seriously interested in us."

In 2008, Thompson told the northforksound.blogspot: "I had no real reference point as to what the hell I was doing. I didn't know if they were going to sell records. All I knew was I liked 'em. A lot. They played the kind of music I grew up with but gave it a rawer edge and a life-or-death intensity that was hard to ignore. Their shows were thrilling." 

Teenage Depression LP - back cover photo 

L-R: Barrie Masters, Dave Higgs, Steve Nicol & Paul Gray

In the interview, Thompson also notes that the Hot Rods were already mixing some original material — "All I Need Is Money," "Double Checkin Woman," "Get Across to You," and "On the Run" — with covers of classics like "96 Tears," "Shake," and "Wooly Bully" (all of which would be included in the group's early discography). "Then they'd play everything as if they were being chased by the cops," he adds.

During their dressing room meeting, Thompson wanted to speak with the band's manager but couldn't get a straight answer. "He seriously suggested we get a manager," recollects Barrie.

And Dave Higgs knew someone. "Dave knew this bloke called Ed Hollis," says Barrie. "Ed had an amazing record collection!"

Also hailing from Canvey, Ed Hollis was nicknamed "1000 Eddie" as a nod to his record collection. He'd been a DJ at a rock 'n' roll pub called The Top Alex, lived in a caravan, and hung around with Dr. Feelgood. Journalist Tony Parsons once famously described Hollis as a "megalomaniac Canvey Island Kim Fowley."

Announcement of the Hot Rods Nov/Dec

1976 UK tour with support from Aswad

In November 1975, Hollis was unemployed. "He said he'd be our manager because he had nothing else to do," says Barrie. "In fact, we made him get a job because he didn't have a telephone. He got a job working for the council or something just so he had a desk and a telephone. And we went to see this bloke from Island Records. They offered us a recording deal! I forget what it was now... six albums over four years? All that boring stuff. Not much money involved. That's why we gigged all the time — so we could eat." (The Punk Diary entry for November 27, 1975, states that the Hot Rods are each "given a salary by Island of £20 a week!")

At this juncture, the band was known for playing R&B, but playing it a lot faster and with more aggression than anyone else. "Oh, yeah!" roars Barrie. "Because we listened to firms like the MC5. Again, that's where Ed Hollis was a big influence on us — with his record collection. He had stuff that I'd never heard!"

Did he introduce you to the MC5?

"Yeah. I'd never heard of them until then."

And the Stooges?

"Oh, yeah! I'd heard of them; heard the odd track. But Ed knew everything about their history, and he had every record. He had millions of albums! Even then, I think he had over five thousand albums — in a caravan. You couldn't move. And he knew where every one was. He was clever when it came to records, I tell ya."

Did Hollis suggest songs for the group to cover?

"He'd constantly suggest them! But sometimes they were a bit weird, you know — Captain Beefheart and things like that. In the van, or whenever Ed met us on the road, he always had two bags. One was like a little suitcase and one was huge! His clothes would be in the little suitcase, and cassettes would be in the huge one. And all day long it would be, 'Listen to this... listen to this...'"

Rods play the Marquee five nights in a row

and then rock Reading - August 1977

As 1976 dawned, there was no mistaking the tidal change taking place in rock music, especially as the Hot Rods' career trajectory more and more often intersected with the emerging punk scene. Was that a good thing for them?

"It was horrifying really. The thing was, when it started happening, we were classed as the number one punk band — because we were first. We thought, that's alright. They found a tag, a name, a label, a pigeonhole... and put us in there. Right? But then, this fashion thing jumped into it. What I knew about fashion, you could write on a stamp. And all these people coming dressed in... I mean, it was a poxy fashion show. I get up there because I like playing this music. It makes me feel good. It makes the people feel good. And that's as far as my thoughts about it went. Then all these bands started coming out of the woodwork, and it was crazy! And they all started because of us. The Jam... the Boomtown Rats... the Clash, obviously. They've all openly admitted that they started because of us."

Trouser Press magazine went so far as to say, "If not for Eddie and the Hot Rods, punk wouldn't have happened." Do you agree with that?

"Right! I don't think it would. I'm not being big-headed or anything, but there wasn't anybody else. Like I said before, there was the pub rock circuit. There were bands like that. And then there was us. There was no one else like us! That's why people used to come and see us. It was just odd to see these four or five geezers playing breakneck speed music with all the energy we could muster and doing it night after night in different places. You'd get kids even then... we'd see them up north... they'd turn up in Holland and Germany... all over... on their holidays following us around. It was a really good feeling, you know. From what we were used to... to suddenly having this adulation. We couldn't understand it. We was normal blokes, really."

Advert for the 1977 Reading Rock Festival

Eddie and the Hot Rods with Uriah Heep &

Golden Earring on Friday, August 26 

On February 12, 1976, pub rock and punk collided when the Sex Pistols opened for the Hot Rods at the Marquee. And the Pistols made the news when they purposefully damaged the headliner's equipment. 

In what could have been a warning to the Hot Rods, the NME's headline read: "Don't look over your shoulder, but the Sex Pistols are coming." 

Neil Spencer reported: "I waded to the front and straightaway sighted a chair arching gracefully through the air, skidding across the stage and thudding contentedly into the PA system, to the obvious nonchalance of the bass, drums and guitar." Afterwards, one of the Pistols notoriously quipped, "Actually, we're not into music. We're into chaos." (You can read the full press cutting here.)

At the time, Dave Higgs fumed: "They can't play or nuffink. They just insult the audience. They wrecked our PA. We waited for them to apologise, but they had fucked off." In hindsight, Barrie contends that it wasn't a big deal, and thinks the incident was pre-arranged by the two attention-hungry managers.

"Malcolm McLaren got in touch with Ed Hollis," he observes. "We'd had this meteoric rise to fame, and McLaren said, 'That's what I want to do.' So, Ed said they could support us. You know, all that press bollocks that came out. The truth be known, what a load of rubbish that was! All it was... Johnny Rotten was kicking the monitors. He thought it was funny. And when he came off, someone said, 'Oi! Other people have to use those monitors. Don't fuck it up before they do their show.' He says, 'Alright...' and walks off. McLaren's over in the corner, and he sort of whispers in his ear... Five minutes later I'm stood at the bar with Steve Nicol and he comes over and says, 'So what 'cha gonna do about it?' I said, 'Beg your pardon?' 'What 'cha gonna do about it?' 'Bout what?' 'Bout me smashing the PA up.' I said, 'Nothing. Forget it.'"

Eddie and the Hot Rods' debut 45 
released February 1976

Rotten carried on pushing for an argument, and he finally said something that got the reaction he wanted.

"I said, 'What the fuck!?' and I gave him a slap. That's all it was. 'Fuck off! Poxy kids!' Something like that, right? Next thing you know, it's on all the front pages: Fight breaks out between Eddie and the Hot Rods and the Sex Pistols! Ed couldn't bloody move because of some journalist or another. 'Johnny Rotten's threatened that next time he sees you, he's gonna rip your head off.' Like an idiot, I say, 'Him? Rip my head off! I'd love to see that happen! That would make me laugh!' So, all this tit for tat kept going on. And I didn't know... I was a bit green... a bit wet behind the ears... I didn't realize that it was Ed and Malcolm behind it."

Within days of the Marquee gig, Island released the band's initial 45: "Writing on the Wall" b/w "Cruisin' in the Lincoln." Both tunes were self-penned originals by the team of Higgs/ Hollis, who continued to write the group's material through the first LP. 

Recorded on Christmas Eve 1975 at Jackson's Studios, with Vic Maile producing, the two songs marked the Hot Rods earliest venture into a recording studio. "It was a real cheapo job to do some demos," says Barrie. He's clearly amused when I ask how long it took to record the 45. "How long is the record? I'm exaggerating, but you know... It was a done-in-a-day job."

Caroline Coon championed the single in her Melody Maker column, but the record flopped. On northforksound.blogspot, Howard Thompson reflects: "Looking back, I don't think anybody in their right mind would have picked either of these songs for a B-side, let alone an A."

L-R: Paul Gray, Graeme Douglas, Steve Nicol, Dave Higgs & Barrie Masters

In June, a cover of Sam the Sham and the Pharaohs' 1965 hit, "Wooly Bully" b/w "Horseplay (Weary of the Schmaltz)" was issued as the Hot Rods' second 45. Produced by Roxy Music's saxophonist Andy Mckay, it also failed to bother the charts, but the B-side memorialized the final appearance of Lew Lewis with the group.

The summer of 1976 was the hottest on record in England, with temperatures hovering around 90 degrees for days on end, and the Hot Rods spent it gigging up and down the country. 

On July 17th, they stopped off in Hastings with Caroline Coon in tow. She described the proceedings for Melody Maker readers: "Barrie Masters, Eddie and the Hot Rods' front man, drove his band down to Hastings from London himself — a sweaty, draining, three-hour bang. He parked the battered van in the car park, flung open the door and within seconds, chin stuck out and hair streaming behind him, he stalked the length of the pier and leapt on to the stage of the Pier Pavilion."

Guitarist Dave Higgs on the cover of the NME

September 18, 1975

"With one resounding B flat chord,

Eddie And The Hot Rods save Rock and Roll"

A week earlier, on July 9th, the band had recorded one of their Marquee gigs. The "Live at the Marquee" EP — featuring amped-up covers of "96 Tears" and "Get Out of Denver" on the A-side, and a medley of "Gloria"/ "Satisfaction" on the B-side — was issued on August 21st. That same day, the Hot Rods (along with Nick Lowe, the Pink Fairies, Tyla Gang, the Hammersmith Gorillas, Count Bishops, and the Damned) were playing the Mont de Marsan festival in France. The EP was a pivotal moment for the group; it went to #43 in the UK singles charts, and its success guaranteed an album release later in the year.  

Barrie reveals that it was Ed Hollis' idea to do an EP. "He said to Island Records, 'Look, we're not ready to do an album. We wanna put an EP out.' Everyone laughed at us. But then, it's funny, Roxy Music of all people did an EP. Then everyone did them!"

Legend has it that Eddie and the Hot Rods were competing with some Australian upstarts to see who could cram the most people into the Marquee that summer. "We still hold the attendance record," brags Barrie. "The BBC news team was down there filming the kids — the queue was from the door down Oxford Street. It was absolute chaos! We just played as hard and as fast as we could. There were so many people there; St. John's ambulance was ferrying people out all night long. Some people would get into the gig, they'd be there five minutes and just black out. It was so hot!"

In his review of the show for the NME, Roy Carr stated: "The Rods have rejected rock as a polite spectator sport, preferring to involve the punters from the off. When the Rods sweat so does everyone." Carr hastened to insert, "It was only the heat that prevented an all-out riot..."

In early September, with Barrie lip-syncing (badly) to "Get Out of Denver," the group made its first of many appearances on Top of the Pops. "They wanted to know the lyrics," he chuckles. "I had to write 'em out."

Island promo poster

Did you just make stuff up?

"I tried to write 'em down. But I got bored halfway through and wrote down what I thought he [Bob Seger] should have sung."

Did Bob Seger ever say anything to you about the Hot Rods' version?

"No... he said something to some American magazine once. No one had ever heard of Bob Seger in England until we did that. And he didn't even say 'thank you.' He basically brushed it aside."

Before Island released the Hot Rods' first album in November, the label issued one more single — the LP's title track "Teenage Depression" b/w a cover of Sam Cooke's "Shake" — which climbed to #35 in the charts. An entry in Punk Diary discloses that in a bid for radio play, the lyrics to the A-side were altered: "The references to spending money on cocaine are changed to 'things I shouldn't use,' and instead of 'none of your shit' is the innocuous 'button your lip.'"

Work on Teenage Depression was done "in between doing this, that, and the other," says Barrie. "We were always working all night. Ed Hollis loved working all night, not during the day." Punk77 notes: "As a predominantly live band they moved fast. The debut album was done in 4 days."

The group returned to Jackson's and enlisted Vic Maile (who Barrie terms "a lovely bloke") to produce. "Basically," states Barrie, "it was recorded like a live thing — you know, one after the other. It was very crudely recorded, but once we got it down, Vic went to work and did the tarting up. Which wasn't very much. There wasn't much tarting up. Again, it was to keep the power and a live feel about it."

Two of the songs actually were done live. A cover of "The Kids Are Alright" and the Higgs/Hollis-penned "Been so Long" were recorded at the same time as the Marquee EP. In fact, a hodgepodge of covers, some dynamic originals (including the lyrically reinstated title track), a re-recorded version of "Horseplay" bracketed "Wearier of the Schmaltz," and a six-and-a-half-minute freak-out made up the disc. (Just to make things confusing, the US release featured a different track listing: it left off "Shake" and a cover of Joe Tex's "Show Me," but included the entire "Live at the Marquee" EP.)

Teenage Depression (Island Records - 1976)

The LP sold well (it reportedly shipped 20,000 copies in the first week) and reached #43 in the UK charts, but at the time, reviews were subdued, perhaps because expectations were so high. Earlier in the year, ZigZag writer Paul Kendall had announced: "Manager Ed Hollis reckons that when the Rods do get around to doing an album, they'll be aiming for the sort of feel that the MC5 got on Back In The USA."

When he first heard Teenage Depression, Mark P. protested: "A live album would have been better — that would have been an instant classic." And in Trouser Press, Paul Rambali said: "Their live energy is irrepressible, and although they can get it down on vinyl it lacks the charisma which carries it over on stage."

Contemporary reviews are much more positive: "In late 1976, with punk still a flood of records waiting to happen, Teenage Depression was one of the only things that made it worthwhile to get up in the morning." (Dave Thompson, AllMusic.com)

The album's iconic cover art — a garishly colorized photograph of a young man holding a gun to his head — was designed by Michael Beal (he also designed the cover for Metallic KO that year and LAMF in 1977). According to Barrie, the photo was lifted from an American newspaper story: "It was a kid who robbed a supermarket, and the cops chased him. He was a bit of plonker. He ran into a carpark with walls around it and he couldn't get out. He says, 'If you come near me, I'm gonna blow my head off.' And apparently, he did! That's the last picture of him."

Some UK tour dates kept the Hot Rods occupied through the remainder of the year. Meanwhile, the Anarchy in the UK tour featuring the Sex Pistols, the Clash, the Damned, and the Heartbreakers stopped and started around them.

On November 28th, the Hot Rods played the Greyhound in Croydon. That afternoon, ITV aired a special about punk rock featuring the Sex Pistols, the Clash, and Siouxie and the Banshees.

This pic of Eddie and the Hot Rods somehow found its way onto

the back cover of the Damned's debut album!

Photo: Keith Morris

The following night, the Hot Rods were at the Guildford Civic Hall while the Anarchy tour was banned from playing Lancaster Polytechnic. The University heads and town council were against having "that sort of filth within the town limits."

On December 1st, the Sex Pistols appeared on the Today show with host Bill Grundy, and all hell broke loose.

On December 7th, the Hot Rods were at the Manchester Free Trade Hall. That same day, the Bournemouth stop on the Anarchy tour was canceled and hurriedly rescheduled for Sheffield.

By December 19th, the Hot Rods were in Glasgow as the Anarchy tour trundled back to
Manchester for the second time in as many weeks.

On New Year's Eve, the NME listed "Live at the Marquee" as one of the singles of the year, along with Nick Lowe's "So It Goes" and the Sex Pistols' "Anarchy in the UK."

The coming year would start with a publicity gimmick and culminate with a US tour. In between, there was a new addition to the Hot Rods' lineup, another album, and a Top 10 single.

Poster for Eddie and the Hot Rods (with Ultravox) at the Rainbow

 Saturday, February 19, 1977 — this show was immortalized

 on the "At the Sound of Speed" EP 

"There were no such things as days off," asserts Barrie. "I remember Ed Hollis saying once... We were doing a European run, right? So, he's sitting there talking about flights and trains. And I said, 'What do we need trains for? We're driving from there to there...' He said, 'I know, but it's a real long drive. It's about 14 hours.' He said, 'I've worked it out. If the tour manager takes you, you can get a plane from here to there to Nice, then this train will get you to... So, you can do this interview and get to such and such for the gig.' One morning, I woke up in Cologne to see the van driving down the road. And I saw my passport and a piece of paper that said: 'Dear Bazza, we've got to do some mixing and things. Need some guitars for the overdubs. There's a TV interview and two radio interviews to do over the next three days. Please do them. See you back home.' Did they leave me any money? Did they fuck! Not a penny! Most of me clothes were in the van. I've just got my gig bag with my gig clothes and maybe a t-shirt and a couple pairs of socks. And not a penny. I thought, you BASTARDS! So, I was stuck. I had to borrow some money to get a cab to the record company. I said, 'Look, I've got a hotel room paid for the next three days — but that's all I've got. I need some money.' Long story short, I did all the stuff I was supposed to do. And then I couldn't get home. But everything was like that!"

For the Hot Rods, the year really began on Saturday, February 19th at the Finsbury Park Rainbow, where their headlining set was recorded for what would become the "At the Sound of Speed" EP. Memorably, ex-Kursaal Flyer guitarist Graeme Douglas joined the band onstage (although his actual debut with the Hot Rods took place the night before during a warm-up show at Keele University).

Barrie on the cover of Sniffin' Glue #5

November 1976

Graeme had left/been sacked from the Kursaals when he clashed with producer Mike Batt (whose other credits included the Wombles), accusing him of over-commercializing the group. When he got the call from the Hot Rods, who were looking to boost their guitar sound, he jumped at the chance.

Reminiscing about his first show with the Hot Rods, Graeme writes on his website: "Driving back, coming into Southend as the sun was rising, all was right on the planet. I was doing exactly what I wanted to do and I was having a shit-load of fun. Life doesn't get much better." (You can find Graeme's website here: graemedouglas.co.uk)

"Graeme really did fit well," acknowledges Barrie. "Plus, it took the weight off of Dave's shoulders."

The extra guitar also fuelled Ed Hollis' personal vision of the band as a (non-political) English MC5. As Graeme writes: "Ed's ideal line-up was now complete, with myself taking the Wayne Kramer role to Dave's Fred 'Sonic' Smith."

While Graeme was busy becoming a Hot Rod, some Damned fans were bemused to find that their newly purchased copy of Damned Damned Damned featured a photo of Eddie and the Hot Rods. Considered to be the first full-length LP released by a UK punk group, the Damned's debut album was issued on February 18, 1977. But on the back cover of possibly 2,000 copies was a photo of the Hot Rods posing as rats rather than the Damned playing at the Roxy. Stiff Records hoped fans would believe the mix-up was a (record collector's dream) mistake. However, the entry in Punk Diary claims the gimmick "smacks of another marketing scheme ... to drive early sales."

"It was just a joke!" says Barrie. "We were taking the piss out of Rat Scabies during a photo session. Next thing you know, Jake Riviera saw it and said 'BRILLIANT!' He said it was a mistake in order to make it a collector's item."

Back Door Man - from a review by Don Waller

Photo: Donna Santisi

These days, a mint copy of Damned Damned Damned with the Hot Rods' photo can sell for hundreds of pounds. Did Barrie put a few away for his old age pension?

"No! I haven't got any copies."

The Hot Rods' first offering of the year was "I Might Be Lying" b/w "Ignore Them (Always Crashing in the Same Bar)," which struggled to scrape the Top 40. The Higgs-penned A-side was fairly standard stuff. But the guitar-driven B-side (based on an actual escapade which ended with the band being thrown out of Belgium; they were also asked to leave Iceland and Sweden) perfectly showcased the promise of the new Douglas/Hollis writing partnership.

The live "Sound of Speed" EP, recorded at the Rainbow back in February, was finally released in June. Its title was taken from a phrase coined by their A&R rep, and the picture sleeve exhibited the post-show carnage inside the venue.

"Hot Rods fans were rowdy, vocal and liked to 'express' themselves," Thompson explained to northforksound.blogspot. On his website, Graeme gives this account: "What was a theatre with stalls became a dance-hall — the seats were trashed by the excited audience and trampled to matchsticks."

The four-song EP featured the Hot Rods' adrenalized take on J. Geils' "Hard Drivin' Man" as well as live versions of three tunes from Teenage Depression. But just how "live" was the Rainbow EP? While editing the tapes, it was discovered that Graeme's guitar hadn't made it onto the multi-track. "Quelle horreur!" writes Graeme. "With little regard to the truth, it was decided that, if I went into the studio and played along in Real Time with the tracks, that would constitute a Live Performance."

Curiously, although he'd joined the group some months earlier, Graeme was credited as appearing courtesy of CBS Records (the label of his previous outfit). Which continued to be the case on all the Hot Rods' recordings. Why was that?

Advert for one of the stops on the 1978 UK tour with

Squeeze and Radio Stars as support

"He enjoyed playing with us," says Barrie. "We thought it was good. But he had this contract with CBS..."

"I expected them to release me without any problems," comments Graeme on his website. "The corporate minds there realised that there was a New Wave of music happening, and they didn't have any part of it signed. Suddenly they wanted to hold me to my contract and insisted that I supplied them with an album's-worth of new material in demo form. They weren't going to pay me any money to do any recording, they were just going to extract their pound of flesh by refusing to let me sign to Island Records."

"Record companies are like kids," sneers Barrie. "They didn't want him until we did. It's all bollocks!" As a matter of fact, Graeme never signed with Island. Which wouldn't really cause any difficulty unless, you know, he happened to co-write a massive hit record for the Hot Rods.

"Gonna break out of this city

Leave the people here behind

Searching for adventure is the type of life to find

Tired of doing day jobs with no thanks for what I do

I'm sure I must be someone

Now I'm gonna find out who

Why don't you ask them what they expect from you

Why don't you tell them what you are gonna do

You'll get so lonely, maybe it's better that way

It ain't you only, you've got something to say

Do anything you wanna do

Do anything you wanna do"

"Do Anything You Wanna Do" was one of two songs that Graeme was working on at the same time; the other was "Quit This Town." Both would enter the UK singles charts, but only one became Eddie and the Hot Rods' signature tune — and it wasn't "Quit This Town."

"Do Anything You Wanna Do" b/w "Schoolgirl Love"

The picture sleeve 45 featured Aleister Crowley 
wearing Mickey Mouse ears.

On his website, Graeme states that "Quit This Town" began with a visit from Barrie and Ed, and some scribbled lyrics. "See what you make of these," Hollis told him. "I want MC5 meets Iggy and the Stooges."

"I had been working on an uptempo song about leaving Sarfend," writes Graeme. "I wanted to call it 'Quit This Town,' so I let them hear that..."

The next day, continues Graeme: "A scramble of writing that reminded me of Aleister Crowley's 'Do what thou wilt shall be the whole of the law,' metamorphosed in my brain to the Springsteen-inspired 'Do Anything You Wanna Do.' When Barrie and Ed came round that day, I presented them with working drafts of the two songs."

Released at the end of July (under the snappier "Rods" moniker), "Do Anything You Wanna Do" spent the summer climbing ("unrelentingly" says the entry in Punk Diary) the singles chart, until it got to #9. It was the NME single of the week, and in his review for Sounds, Alan Lewis stated: "I suspect that this record will reach the widest audience so far — slowed down and tuneful enough to get pop air play, hard and fast enough for the street."

In the US, Trouser Press proclaimed: "This is without doubt the best thing they've ever done." While Don Waller's review in Back Door Man included a photo of Graeme captioned: "This man wrote the best pop single of 1977."

Did having a Top 10 hit change your lives?

"Bloody hell did it change our lives!" Barrie shouts. "I went to see my mother... Woke up one morning... My mother said, 'Here's a cup of tea and there's some Japanese girls outside.' Straight up!"

Life On The Line advert with the group's

1977 US tour schedule

They were camping on the front lawn?

"Yeah, really! They'd come from Japan. Obviously, not just to see me [although that would make it a better story]. They'd arrived at something like 2AM. So, they sat and waited. Anyway, the next thing I knew my mother invited them in for a cup of tea. I was in my underpants. 'Oh... arrgh... urgh...wot?' Then, there were a few things like... I went out one Sunday morning, hungover, feeling like shit, trying to get a newspaper and a pint of milk. And everybody's stopping me in the street asking for autographs, and I look like I've been in a car crash. Girls going all silly and things..."

Did it come as a surprise, having a hit single?

"Yeah, it did really. I don't care what anyone says, every pop band would love to have a hit single. And we were lucky enough to have one. But a lot of people get the wrong idea. They think as soon as you've been on Top of the Pops — they think you're stinking rich! So, in your local pub..."

Everyone wants you to buy them a drink?

"No! If you buy them a drink, you're a flash bastard. And if you don't... 'All that money and he can't buy us a drink.' You can't win. It's a funny old situation."

The fabled "Curse of the Hot Rods" has to do with the 45's picture sleeve, as journalist Peter Watts recounts in his blog: "In recognition of his contribution to the song's genesis, the band decided to put Crowley on the cover of the single. But they also felt his glowering visage was not really in the spirit of the band, so manager Ed Hollis attached a slightly comical pair of Mickey Mouse ears to Crowley's head. Great cover, big mistake. According to rumour, this image soon came to the attention of Jimmy Page, a Crowley apostle who lived in Crowley's old house, had a vast collection of Crowley paraphernalia and was fascinated by the occult... The band were told that Page placed a curse upon Eddie and the Hot Rods for their disrespectful treatment of the Great Beast. From that moment, the band were plagued by problems." (You can read the full story here.)

Sitting L-R: Graeme Douglas, Barrie Masters,
Dave Higgs. Standing: Steve Nicol, Paul Gray
Photo: Keith Morris

"That caused a lot of trouble," confirms Barrie. "'Do what thou wilt shall be the whole of the law'... bit too serious. So, we put the Mickey Mouse ears on him. And Page went mental, didn't he! Fucking sending death threats. He put a curse on us! Well, it's bloody well funny because everything went tits up after that. It really did. I mean, I don't believe in that shit, but everything really did go tits up. And we're still talking about it today. It does have an effect, I'm telling you."

Eddie and the Hot Rods played the Marquee for five nights in a row during the week leading up to the August Bank Holiday, and on the Friday they "Rocked Reading" — sharing the opening day's bill with Uriah Heep, Golden Earring, and half-a-dozen other heavy rockers.

It had been raining non-stop for weeks before the festival and the wet conditions caused the PA to cut in and out. At www.ukrockfestivals.com/reading-77 John Connell recalls: "Mud. Mud everywhere. Rain and mud. More mud." Despite that, Martin Platt's "most vivid memory was Eddie and the Hot Rods and how they attempted to play once the power was down."

The Hot Rods were already big news in the summer of 1977, and then came this endorsement from MC5 vocalist Rob Tyner: "Now, I realise that it's not fashionable to dig the Rods... Being your basic rock and roller at heart, I really do dig the Rods. Maybe the dudes in plastic bags and fuchsia hair don't know, but the little girls understand... I've developed a real affection for [them] both musically and personally, and I believe that they have the best chance for America of all the bands I've seen here." (Rob Tyner, New Musical Express, October 1, 1977).

Tyner was in the UK to promote the reissue of his group's back catalog, and the NME had commissioned him to write an article about the punk scene. Howard Thompson didn't waste any time introducing him to the Hot Rods, as he told the northforksound.blogspot: "I quickly arranged a one-off deal where the band would back him on a couple of his tunes." The recording sessions for "Till the Night is Gone (Let's Rock)" b/w "Flipside Rock" took place a couple of days after Tyner joined the Hot Rods onstage at the Chelmsford City Rock Festival on September 17th.

Robin Tyner & the Hot Rods

"Till the Night is Gone (Let's Rock)" b/w "Flipside Rock"
That's Graeme Douglas hiding under the redaction tape.

"We were big fans," enthuses Barrie, "and Ed Hollis was a complete MC5 nut! We met up, did a rehearsal together, and recorded four or five songs. Island said they'd put it out as a single." The collaboration between Tyner and the Hot Rods wasn't given much publicity and didn't garner much attention but "it was a nice little project," says Barrie.

Despite the curse (and Tyner's suggestion that it was no longer fashionable to dig them), the Hot Rods were still on a roll. Their second LP, Life On The Line, was released on November 4th, to coincide with a major US tour. Technically, the tour began with a handful of shows in Canada; their US debut was at Max's Kansas City for a three-night stand starting on November 10th.

(According to Peter Crowley, Max's music and art director from 1975-1981, they weren't originally scheduled to play the club: "I ran into the Hot Rods at the Marquee in the spring of '77. They told me they were going to make their US debut at the Bottom Line. I steered them to Max's Kansas City.")

Trouser Press columnist Jim Green described the PR circus that met the group in New York: "The Rods had arrived at La Guardia Airport to be greeted by a bunch of journalists and photogs bussed out to meet them by Island, not to mention the three hired 'yobs' staging fake punch-ups for the cameras while publicists handed Rods 45s to any and all passersby — tourists, airline personnel, cops. Who? It's an English punk-rock band."

"We are not a punk band," Barrie told anyone who would listen. "Anytime I spoke to any interviewer, I said, 'We're nothing to do with punk! Fuck all to do with us!'"

Barrie states that the Hot Rods played "fifty-six shows in fifty-four days" on their first US tour, and for a few of the dates they supported the Ramones and Talking Heads.

Did you guys like the Ramones?

"Yeah!"

And the Talking Heads?

"The Talking Heads were a funny band. If you saw four gigs... one gig would be blinding, one would be good, and two would be mediocre. It was always the same. If they'd done a couple of mediocre gigs, I'd always stay and watch the next couple because you knew they'd do a blinder. It was funny!"

Ramones, Hot Rods and Talking Heads
at the Masonic Auditorium, Detroit - Nov 23, 1977

Handbill designed by Gary Grimshaw

What about the Ramones?

"They were the same every night!"

Following New York, the tour went down the East Coast through Annapolis, Washington DC, Baltimore, and Boston. On November 19th, it was back up to the Capitol Theater in Passaic, New Jersey — where Joey Ramone suffered severe burns when a vaporizer exploded in his face. 

Winding through the Midwest, the Hot Rods stopped in Pittsburgh, Detroit, Chicago, Milwaukee, and St. Louis. Late November/early December, they were in California for shows at the Mabuhay in San Francisco and the Whisky in Los Angeles.

At least that's the printed tour itinerary, but it's missing several dates, including the Old Waldorf in SF, which almost certainly took place before the Mabuhay.

According to Graeme, who very kindly answered my tour questions via email: "I'm sure there were some more dates that were slotted in during the down time. The Old Waldorf fits. I believe we went from there to the Las Vegas Atlantic Hotel with Robin Trower and Wishbone Ash, then to UCSD in San Diego before driving up the highway to LA with Spencer Davis for three nights at the Whisky. When we got back to NYC, we played NYU with Mink DeVille and CBGBs — not sure what dates those were but definitely just before Christmas."

At the end of the tour, MT Laverty caught up with them for another Trouser Press feature. But having received what they thought was a lackluster reception in New York, the guys were a wee bit disgruntled that day. Under the headline "Eddie and the Hot Rods are so BORED with the USA," Dave Higgs complained about American audiences: "You'd think they were watching television rather than watching a band."

"What was your favorite city of all those you visited on tour?" enquired Laverty.

Eddie and the Hot Rods pose for Trouser Press
in Tommy Dean's office at Max's Kansas City.

Photo: Ebet Roberts 

"I can't remember where we were," offered Dave.

"I don't know..." added Graeme helpfully. "Frisco, maybe."

"What American bands have you liked?" Laverty pressed on.

"Uhhh...." stalled Graeme.

"Ask us about the ones we don't like," countered Dave.

On his website, Graeme recalls: "We found it hard to come to terms with the New York City low life that came to the gigs there, although Paul seemed to enjoy himself as junkies and gay boys competed for his attention. We were holed up at the Mayflower, on Central Park West, whilst Ed Hollis had booked himself into the Essex House, a far swankier hotel. He spent most of that tour in NYC, while we schlepped round the country."

Before the Hot Rods left New York, rumor has it they played at CBGBs in exchange for free beer.

"It's true!" laughs Barrie. "We had a party that night!"

While they'd been away, Life On The Line had scaled the UK album charts (it eventually settled at #27), and "Quit This Town" became a Top 40 single.

According to Barrie, the LP took eight days to record (twice as long as the first album). "We just knocked it out," he says. "Because again, we were so busy touring. It was literally, we've got a day off here and a day off there. So we recorded it really, really fast!"

Alternate photo from the "Do Anything You Wanna Do" 45 shoot

L-R: Graeme Douglas, Barrie Masters, Steve Nicol, Paul Gray & Dave Higgs

Generally acknowledged as the group's finest album, and its biggest seller, Life On The Line wiped away the Hot Rods R&B pub rocker past in favor of a more exuberant pop/punk/ rock 'n' roll approach. In the NME, Phil McNeil advised: "If 'Do Anything You Wanna Do' didn't already forewarn you... this is not the same Eddie and the Hot Rods that used to whack out 'Wooly Bully' down the Marquee last year." And Sounds writer Pete Makowski said: "This is the Rods doing what they wanna do, the best way they can, and it's bloody good."

As co-writer of six of the nine tracks on the LP, how much of an influence did Graeme have on this new direction?

"Everyone seems to put it down to Graeme," says Barrie. "I'm not taking it away from Graeme — a lot of it was because of his songwriting. But the band changed. A lot of it was me and Steve, really. We just got fed up. Everything was just like BASH, QUICK, WACK it down and get it out! And we had Steve Lillywhite. He was only a young kid, but he had some great ideas. [Lillywhite is credited as assistant producer along with Graeme Douglas and the Rods; Ed Hollis is listed as the album's producer.]  Whenever Ed weren't in the studio, we'd put some stuff down that was really good, different — melodic. So, we were kind of pushing it that way. Ed was trying to push us the other way. There were lots of people pushing and pulling us. Which is good in a way, 'cause in the end, there's a kind of common denominator which comes out — which was that sound. But Steve Lillywhite never gets the credit he was due. He was brilliant that boy. Clever boy!"

Life On The Line (Island Records - 1977)

Yet something — or more accurately someone — was missing from the LP's cover art, which featured individual photos of four out of five band members. 

The entry in Punk Diary verifies that "entanglements ensued" with Graeme's former bosses at CBS, and his picture was deleted. For his part, Graeme could be seen sporting a spiffy "CBS SUCKS" t-shirt in publicity pics!

 "The album is actually a gatefold," says Barrie, "and Graeme was supposed to be in the middle, but we had to take his picture out. They [CBS] didn't want his picture on it. But there's different covers, depending on the country. There's some that are just a single cover with Steve on the front; I can't remember who's on the back. And others have three people in the middle, and there's some with two. I don't know what the problem was. I never could understand it."

With Life On The Line, the Douglas/Hollis alliance really came to the fore. Graeme has been quoted as saying, "Dave Higgs was the person who wanted me to join the Hot Rods, because he admired my guitar playing and wanted to fatten up the sound a bit with him concentrating on rhythm guitar." Nevertheless, he also replaced Dave as the group's primary songwriter. Indeed, Dave Higgs is only credited with one track on the album: the epic "Beginning of the End."

Did this upset him?

"No, Dave needed a break," states Barrie. "He had too much weight on his shoulders. We were just spreading it around a bit. The only thing we were pissed off about normally, like most of the time, was that we were all writing. But Ed was telling us that Island wants this as a single, and they want these tracks for the album. And it was never any of mine, Steve's or Paul's. There's three tracks on that album which have nothing to do with Ed and Graeme. One day, this bloke from Island said to me, 'We've been fighting to get those on.' And he was serious! I found out that Ed was making shitloads of money. He was a bastard like that. That's why he got the heave. No... it wasn't that. He was getting into drugs."

Christmas Eve 1977 at the Roundhouse

Eddie and the Hot Rods with the Only Ones

Eddie and the Hot Rods closed out 1977 with a Christmas Eve show at the Roundhouse with the Only Ones as support. Even so, over the previous twelve months, the UK's musical landscape had completely transformed. 

In Sounds, Chas de Whalley wrote: "I would have expected Christmas Eve with the Rods at the Roundhouse to turn into something of a real party, wouldn't you? Well, strangely enough, it didn't." Punk Diary provides a sobering recap of the year-end polls: "The Hot Rods who were voted on heavily in 1976 are virtually absent from this year's NME Readers Poll. The Sex Pistols dominate the honors, including Best Group, Best Album and Best Single."

"When we came back from the US," reflects Barrie, "the spitting thing had started. Arrrgh! It would get all over everything — equipment, clothes..." In our interview, Barrie cites this as "one of the reasons why we went back to America really quickly." However, it's more likely that the second US tour didn't take place until much later, which Graeme calls a "bad move" on his website.

In early 1978, the Hot Rods undertook a UK tour to promote Life On The Line with Radio Stars and Squeeze as support. On his website, Graeme says, "It was a good tour... and it was one that enhanced our reputation as the most potent live act in the country."

According to Graeme, a quick return visit to the States was discussed at this point, but it was shelved due to a lack of funds. He writes: "A meeting with Island Records, who were also facing bankruptcy, told us that our finances were extremely shaky, even with all the royalties that were accruing."

On the punk77 website, Paul Gray says: "For a band that had constantly toured and sold tons of records, we had little to show for it, and later we realised that we were effectively broke."

Some reports allege that Ed Hollis had badly mismanaged the Hot Rods' affairs and had misappropriated large sums of the band's money to fund a drug habit. Hollis passed away in 1988, probably as a consequence of long-term heroin addiction.

Eddie and the Hot Rods 
with Radio Stars and Squeeze
Friars Aylesbury - February 18, 1978

Featuring a cast that included Jools Holland on keyboards, Lee Brilleaux on harp, and Linda McCartney on backing vocals, Thriller — the group's third album and its last on Island Records — wasn't issued until March 1979, a full 16 months after Life On The Line. Presumably, part of the delay was because its predecessor was still selling well.

"Life On The Line sold really well," Barrie emphasizes. "So, Island said take a bit of time with the next one. We'd recorded the first one at Jackson's really cheaply; the second one was recorded in a bleeding church. We said, 'Let's find a proper studio, and we want a proper producer.' So, they got us Peter Ker. He wore tweed jackets and things like that. Gawd!" (Best known for his work with Arthur Brown and Love Sculpture in the 1960s, Ker had recently produced Approved By The Motors).

Barrie continues, "We recorded it at Abbey Road... I know the Beatles used it, but it was built for orchestras. It was all wrong. And the daft thing is, when we did the rough mixes, it sounded like the fucking dog's bollocks! Really good! Even if I say so meself. That album, between mixes, is a real good album. An album I'd be proud to say, 'I did that.' But the finished product is well lame. I'm ashamed of it. I really am."

There's precious little documented information to be found about the Hot Rods' second US tour (even the band are unsure about the actual dates), but it ties in timewise here. "I have a feeling that it would have been the fall of '78, after the recording of Thriller," guesses Graeme in one of our email exchanges. "We played a few shows with the Police and Tom Petty but didn't get back out to the West Coast because we'd run out of money." 

Barrie describes the second US tour as "Hard. Bloody. Work."

On his website, Graeme mentions that the Hot Rods were already beginning to splinter: "The band had not been playing together for some time, what with external commitments by Paul and Steve with various Yankee musos, and the edge was gone. What used to be tight was sloppy, although there were still the occasional nights where we performed well."

He's also aware that by then, they'd missed their opportunity. "The audiences were not there. Apart from good attendances when supporting Tom Petty and the Police, we were not earning enough to pay for the tour. We were driving 4-500 miles a day between gigs with no hope in hell of sticking to the 55 m.p.h. speed limit, and no money to pay the inevitable speeding fines. The only way to get paid was to get to the gig, and the only way to get to the gig was to charge the fines to my Visa card. We had to abandon the tour and fly back home."

Graeme models the latest in CBS SUCKS attire.

Photo from Graeme's website. Photographer is unknown (although it
might have been taken at the same photo session as the one in
Tommy Dean's office above).

In March 1979, the group toured the UK in support of Thriller. Opening for the Hot Rods were the Members, who had stormed to #12 in the UK singles charts with "The Sound of the Suburbs" a month earlier and were scoring again with "Offshore Banking Business."

On the punk77 website, Paul Gray states: "[The Members] were actually getting more airplay than us... Where we were starting to sound tired and, dare I say it, jaded, they were fresh and enthusiastic. Looking back on it now we were knackered, we'd been worked to the bone, and there was no fooling the punters. We were drinking loads — a bottle of Jim Beam for me, Southern Comfort for Bazza, Vodka for Dave — it would all be gone before we left the dressing room... What had once been a great adventure had ceased to be fun and, although we wouldn't have admitted it, we were going thru the motions."

The grind of incessant gigging and financial strain had taken its toll. They needed a break, but Barrie grumbles: "No one thought of saying, 'Let's send them to the Canaries for a couple of weeks and let 'em sit on the beach. Let 'em change color from white to bronze. Give 'em some food instead of cocaine.' That never happened. I mean, we had Graeme Douglas — he did tours of hospitals. Literally, out of one hospital, do the gig, then back into the hospital. Move into another hospital, do the gig, into another hospital. Paul Gray spit up blood every day for about a month. Steve was constantly shaking. He couldn't stop shaking for weeks. It was stupid."

Eddie and the Hot Rods in the centerfold of Look In magazine.

The magazine is dated 1978, however, this photo was most likely taken

on the roof of the K West Radio building in LA during the 1977 US tour.

In May, the Hot Rods were fighting rumors of a split. The Punk Diary entry for the 29th has all the details: "Talk of a breakup was fuelled by the band being dropped by Island. Their manager, Roger Harding explained that the band is maintaining a low profile while they work up new songs and new stage routines. Paul Gray is currently touring with the Members while Barrie and Steve are playing in a side group called Plus Support. It's uncertain if the Rods are really through or just in a holding pattern. What is clear is that in five short years, the world surrounding them has changed dramatically and they might not be able to compete as Eddie and the Hot Rods."

In August, the Hot Rods were still together (after a fashion) and signed to EMI — although Barrie asserts Island didn't drop the band. Instead, he indicates their manager instigated the move to a new label: "That's when Ed Hollis wasn't getting his own way at Island. Chris Blackwell [Island's founder] said to me, 'If you're gonna go, you have my blessing. I really hope you do well. But remember, you've always got a home here.'"

Eddie and the Hot Rods on the cover of Sounds

Poll Winners issue - February 19, 1977

In 1980, EMI half-heartedly issued the Al Kooper-produced Fish 'n' Chips. It was the Hot Rods' fourth (and final) major label LP, but Barrie calls it "a waste of time."

"EMI spent all this time and money recording it," he argues, "and then said they weren't gonna release it." When the album did "slip out" there was no publicity behind it, and it disappeared without a trace.

Barrie also concedes that they hadn't written enough material to fill the record. "There weren't enough songs. That's why there's some odd bits. That's the only thing I don't like. There's some funny old things!"

Was there any unreleased EMI material?

"There must have been because we were planning another album. It never got recorded, just demoed. I don't know how much there was now or what it was."

Harry Maloney had replaced Ed Hollis, and both Paul and Graeme had left before recording even started on Fish 'n' Chips.

In early 1980, Paul jumped ship and replaced Algy Ward in the Damned. Graeme exited a little earlier due to his deteriorating health. "My diabetic control was slipping," he writes on his website, "and I was experiencing more and more episodes of hypoglycaemia (low blood sugar). This made my judgement quite arbitrary and my behaviour quite weird."

Graeme made his departure during a gig at the London Lyceum when, halfway through the show, he handed his guitar to a photographer and crawled about the stage trying to bite the drummer's ankles. "The memory of Steve valiantly trying to keep time whilst simultaneously bashing Graeme on the head with his sticks is one that will live with me forever," muses Paul on the punk77 website.

Eddie and the Hot Rods — New Flag Poster

Official website: www.eddieandthehotrods.com

Barrie allows that "we did a few bits and pieces on our own for different firms" during the early '80s (such as his own long-term stint with the Inmates, and Steve Nicol spending time with One the Juggler), but he insists that the Hot Rods never really split up.

And really, the band is still going today — albeit with Barrie now the only original member. (Please see the update from Dipster Dean below.)

There's just time to ask a question about one of my favorite Hot Rods' tunes before Barrie has to go. Was the phone number in "Telephone Girl" (838-5924) anyone's actual number?

"Ha! When we wrote it, the number I chose happened to be someone's number in England. So we thought, we'll just find a number that ain't used. Well... that number ain't used in England. We didn't think about any other countries, did we? Oh my god, did we get into trouble! On the first American tour, every time I did an interview... 'We've got a few people who aren't very happy that you used their phone number.' I just kept saying, 'I'm sorry.' We didn't think the record was even gonna come out over there."

(Update: Dipster Dean has noted in the comments section that Barrie and drummer Simon Bowley restarted the Hot Rods in early 2000. The lineup which included Richard Holgarth and Chris Taylor on guitars, Simon Bowley on drums, and Dipster on bass continued to tour and record until Barrie’s death in October 2019.) 

* * *

Since publishing this article, I've been in touch with Keith Coton, who was looking after the Hot Rods fan club during their second US tour. Keith kindly filled in the missing details for the tour, including the fact that it took place a full year later than had been thought. Keith writes: "As Graeme says in the article, money was tight. I'd bought my own flight, but once there [I was] looked after well in return for long stints at the wheel and help with the humping. For the fan club, I kept a diary of the tour... We left Heathrow for JFK on 19th September, 1979. I remember that 1st night we all went to The Only Ones at a club called Hurrah."

Keith's gig list (copied below) shows that the band was driving long distances between consecutive dates, as they crisscrossed sections of the East Coast, Canada, the Midwest, and the South over the course of three-and-a-half weeks.

Advert for the Hot Rods three-night 

stand at Max's Kansas City in 1977

(Courtesy of Peter Crowley)

September 20: Philadelphia, PA - Hot Club
21 NYC - Diplomat Hotel
22 Rochester, NY - Penny Arcade
23 Dover, NJ - Showcase
25 Long Island, NY - My Father's Place
26 Boston, MA - Paradise Theatre
27 Buffalo, NY - Stage One
28 Toronto, Canada - The Edge
29 Toronto, Canada - The Edge
30 Detroit, MI - Bookies
October 2: Chicago, IL - Mother's
3 Chicago, IL - Mother's
4 Peoria, IL - 2nd Chance
5 Gary, IN - Harry Hopes
6 Milwaukee, WI - Zaks
7 Minneapolis, MN
9 St Louis, MO - Fourth & Pine
11 Columbia, SC - University (with the Police)
12 Atlanta, GA - Agora Ballroom (with the Police)
13 Atlanta, GA - Agora Ballroom (with Tim Curry)
14 Tuscaloosa, AL - Bama Theatre (with the Police)
15 Nashville, TN - Exit Inn (with the Police)

Many thanks to Keith Coton for his help, and Graeme Douglas for all his assistance. Also, thanks to Kevin Shepherd for his enthusiasm and encouragement.

I am grateful to several websites, books, and magazines for providing information used in my research of the Hot Rods' history. Here's a list of those I found particularly useful:

Websites and Blogs:
www.eddieandthehotrods.com
www.punk77.co.uk
northforksound.blogspot.co.uk
www.rockmine.com
www.philjens.plus.com
www.45cat.com
www.allmusic.com
onlyrockandroll.london
www.southendpunk.com
graemedouglas.co.uk
www.rocksbackpages.com
greatwen.com
ukrockfestivals.com
Wikipedia.com

Books:
No Sleep Till Canvey Island - The Great Pub Rock Revolution by Will Birch (Published 2003 by Virgin Books)
Punk Diary 1970-1979 by George Gimarc (Published 1994 by St. Martin's Press)

Magazines/Fanzines:
New Musical Express
Sounds
Melody Maker
Trouser Press
Back Door Man
Sniffin' Glue
ZigZag

The Broken Homes: An Interview With Bass Player Jimmy Ashhurst

Originally published in Rave-Up #17 (1989)
By Devorah Ostrov

The Broken Homes - publicity photo

"The band has been misunderstood over the years." Jimmy Ashhurst, bassist for the Broken Homes, isn't complaining about the lack of recognition his group has received so much as he's trying to understand why.

"It seems like it's been difficult for business people — record company people and agency people — to figure out what kind of band we are. We're just a rock 'n' roll band. It's not that difficult to figure out, but you can't sit 'em down and explain it. You feel like an idiot! You just kind of go, 'Fuck, what are you? Stupid!?' But that doesn't help your situation. And until they figure it out, you're fucked! I don't mean to sound bitter or cynical... but I am."

Although you wouldn't guess it from Jimmy's rant, the Broken Homes were easily signed to MCA and have just completed two major tours supporting the Georgia Satellites and Joan Jett. When he phoned, the guys were entering the studio to record a cover of Creedence Clearwater Revival's "Born on the Bayou" for an upcoming Oliver Stone movie, as well as preparing material for their third album.

The Broken Homes first grabbed my attention when Stiv Bators, an early fan of the group, played me a demo tape he'd confiscated. However, it wasn't until their second LP, Straight Line Through Time, that I actually had a chance to immerse myself in their bluesy rhythms and soul-searching lyrics.

Their next album promises to deliver more of the same, with a few slight variations on the theme. "There'll be a couple of weird influences this time," remarks Jimmy.

Straight Line Through Time LP (back cover pic)
Photo: Jim Herrington

It seems that singer Michael Doman has taken a profound interest in '70s super-funk group Sly and the Family Stone.

"That might creep into the album somewhere," warns Jimmy. "I'm kinda hoping it doesn't, but it may."

Andy Johns, whose credentials read like a who's who of rock 'n' roll, will be producing the new album, and Jimmy hopes this will give the Homes some additional clout. "You can't get much more famous than Andy Johns," he says. "If that's what it takes, we've got it."

And hopefully, MTV will treat the next Broken Homes' video with more respect than the last one. "The Howling," from Straight Line Through Time, was subjected to the ridicule of Smash It or Trash It during the "Yo MTV Raps" hour. Guest host Jazzy Jeff added insult to injury by declaring: "Broken Home boys... Go home!"

Not surprisingly, the video was soundly trashed and thrown into the abyss termed "light rotation." Or as Jimmy laments, "Whatever they call it when it's shown at 4:30 in the morning."

The history of the Broken Homes and Jimmy's own musical career follow no established pattern. In fact, until a chance meeting with the Damned's Rat Scabies, Jimmy had no idea what he wanted to do in life. He laughs as he recalls Rat's advice: "Rat basically convinced me that I would be useless unless I learned how to play an instrument."

The two met up while Jimmy was "dirt-bagging it" around Europe a few years ago. He ended up staying with Rat in London, where the drummer gave him a bass and taught him how to play it. When he eventually returned to Los Angeles, Jimmy kept busy by joining five different bands at the same time.

L-R: Kreg Ross, Jim Swahl, Michael Doman, Jimmy Ashhurst, Michael Graves

During a show with "some silly punk band," Jimmy found a note attached to his amp. It was from the one group he wasn't already part of — the Broken Homes. The note said: "We've got management and we've got a gig at the Roxy. If you wanna do it, ring us up."

"I'd never played the Roxy before," observes Jimmy, explaining what initially appealed to him about joining the band. "I thought that was really cool!"

After the Roxy, things happened fast. "We were virtually signed at that show," he says. "All of a sudden, all these guys in suits and ties appeared out of nowhere!"

Due to the dismal Hollywood club scene a couple of years ago, the Broken Homes found themselves gigless for almost a year between their first and second albums. But that didn't stop Jimmy from playing.

He can be heard backing up Stiv Bators on his solo single "Story in Your Eyes"/"Have Love Will Travel," issued through Bomp. "We were up for a few days and decided to make a record," remembers Jimmy about that collaboration. "It got really hairy after about four days with no sleep! At the very end, Hein Hoven [Damned producer] came in with a Fairlight computer and mucked everything up."

Straight Line Through Time 

 (RCA - 1988)

A second venture with Stiv also involved Slim Jim Phantom of the Stray Cats and Broken Homes' guitarist Kreg Ross. Although never released (to Jimmy's knowledge), the unlikely foursome recorded versions of Slade's "Gudbuy T' Jane" and the Hurriganes' "I Will Stay."

Jimmy also lent his talents to the Damned, playing bass on "Would You" (featuring Rat's girlfriend on vocals), which appears on the B-side of the obscure "Shadow of Love" Ten Inches of Hell mix.

More recently, Jimmy could be seen onstage with Finnish rockers Smack, who were in Los Angeles looking for a label deal. While they searched for a permanent bassist, Jimmy was recruited for their Southern California gigs.

"I really liked playing with Smack," says Jimmy. "I was getting real lazy with the Homes. Not only is our music more laid back, but we've been doing it for so long that rehearsals are just a joke. Playing with Smack woke me up. It was good for me to have to learn three albums worth of material in a week!"

Of course, no side project could pull Jimmy away from his commitment to the Broken Homes. And while he wishes his band was better known, he's taken a commendable stand on the subject of selling out. "We're sticking to our guns," he firmly states. "We're not gonna change anything for the quick buck. That could've been easily done, and it hasn't. People will realize that our music is good, whether they realize it now or five years from now. We will be recognized at some point in time. That's compensation enough for me."

It Was 1980! The Specials Were Doing Their First US Tour & We Were Publishing The First Issue Of Idol Worship: An Interview With Sir Horace Gentleman

Originally printed in Idol Worship #1 (May 1980)
Interview by Devorah & Joey

Devorah interviews Sir Horace Gentleman for Idol Worship #1

Photo: Vicki Berndt

The Specials were in the Bay Area a while back, playing their "special" brand of reggae to packed halls. After we'd attended several of their shows, Sir Horace Gentleman was nice enough to let us interview him following the show at the S.F. Warfield Theater.

IDOL WORSHIP: Did you expect this big of a response in America?

HORACE: Not at all. I was very worried because reggae doesn't seem to have taken off here. I kept imagining that someone would come up to us and say, "It's alright, but your rhythm guitarist is playing a beat behind."

IW: How would you define the type of music you play?

H: It's dance music, based on early Jamaican music, which is SKA.

IW: Is there a large reggae or SKA scene in England?

H: There is now. We just had a number one single in the singles charts!

Chrysalis advert for the debut album

IW: Which one?

H: It's a live EP which was recorded on our last tour, with "Too Much Too Young," "Guns of Navarone," and a medley on the other side.

IW: What size halls do you guys play back in England?

H: On our last tour, it was these size halls [Warfield] and bigger — but without seats in! That was one of our prime considerations, that there would be no seats on the dance floor and that there would be no restrictions as far as age.

IW: Where did you get the band's name from?

H: We used to be called the Automatics, and then the Coventry Automatics, because we heard of a band in London called the Automatics and they had a record deal. We were offered some gigs on tour with the Clash in England in 1978, and the day we were to do the first show, we got a letter from the London Automatics lawyer saying, "You are not to use the word 'Automatics' in your name or else you will be sued." So, we had like four hours to sort of change the name. We just threw some names around in the van and decided about five miles from the gig that it would be THE SPECIALS.

IW: How long did it take before everyone said, "Hey, this is great!"

H: About March or April of last year, it started to get good. We finally got "Gangsters" released — we released it ourselves, by an organization called Rough Trade.

IW: When did Chrysalis pick up the group?

H: After "Gangsters" was released. We met Rick, who's our manager, and he got our record out to the DJs. In England, there's a late-night show, done by a bloke called John Peel. He plays independent singles and new wave stuff four nights a week, and he played "Gangsters" a hell of a lot! Then it crossed over to the daytime DJs, and then it became one of the DJs "Records of the Week." Then we did some gigs in London and people began to take some interest, and then the record company thing started. Chrysalis was just the best of the bunch. We said, "We want our own label; we want to sign other bands onto this label and we want total control over it." It really got silly towards the end. WEA were ringing us up saying, "This Chrysalis deal, we'll double it." It was bonkers!

IW: How did you decide to do your promotions in black and white?

H: We were blessing the '60s, sort of the mods and skinheads. It's not just the mods and skinheads, but a complete mixture of styles. Black and white was kind of like pop art and op art. All of the mods used to have black and white checks on the handlebars of their scooters, so the black and white checks came in that way. Black and white was very simple. Plus, as far as the LP cover goes, it was cheaper. We could've had a full-color sleeve, but the album would have cost a bit more.

IW: Is it true that you guys don't like the London scene? That you want to stay in Coventry?

H: Yeah. Brad, our drummer, is the only one who lives in London. I tend to get complacent. The reason I don't want to live in London is because one day I looked in the paper and saw I could go to see the Talking Heads at the Hammersmith Palais, the Jam at the Rainbow, the Bodysnatchers at the Windsor Castle, and so on. But I get really complacent. So, we all live in Coventry, where nothing happens. But when something does happen, it's great! It becomes a major event. I like it there. There are people there who know me as a van driver, which was the job I had before I joined the band. And they keep saying, "When are you going to get a decent job?" That keeps your feet on the ground, which I think is important.

IW: What kind of music do you guys like to listen to?

H: When I'm off the road, I listen to anything but reggae, blues, and SKA. No, that's not true. Everyone has very individual tastes. I'm into sort of old Tamla-Motown. I don't know what the other people listen to.

IW: How does the English scene differ from the American scene?

H: The English scene picked up a lot faster. If a band is good, it travels very quickly by word of mouth. London is like the nerve center of England. Perhaps in America, it's split a bit between New York and Los Angeles. I don't know if you'd agree with that or not.

The Specials with SVT at Tresidder Ballroom

Stanford, California - February 15, 1980

IW: Yeah. Have you guys done any TV shows, like Top of the Pops?

H: Yeah. We've done TOTP and the Whistle Test.

IW: Did you hear what happened when they played your record on American Bandstand?

H: "Gangsters"? Someone said it was too punk!

IW: Yeah. Some girl from Texas said, "It's too punk! I can't dance to it."

H: Can't dance to it... That's ridiculous!

IW: That's what we said!

H: That's funny. It makes me laugh.

IW: Are you going to do any American TV shows?

H: There was a rumor that we might do a Saturday Night Live. They want us to do it sometime late in March, but we'll be heavily into recording schedules then, so I don't know about it. Stop asking me serious questions. Ask me some silly questions now!

IW: What's your favorite breakfast food?

H: Peanut butter on toast! Makes me very anti-social to the rest of the band.

IW: What brand of shampoo do you use?

H: The cheapest. Do you have a car? Could you give me a lift back to the hotel?

IW: Sure, but we have to take a bus to get to the car. We can lend you a quarter.

H: Alright, then.

IW: Is it hard for all seven of you to get along on the road?

H: Yeah! No, actually it's nice because if you're fed up with a particular person, you can go talk to someone else. There are three sort of cliques in the band. There's the blacks, the low-life humans, and the sensibles. Blacks are sort of like the marijuana culture. Roddy, although he's white, is a black because he's into the marijuana culture and he's sometimes a low-life human too. I tend to be king of the sensibles, although I have become a bit low-life of late.

IW: Did you get to see Alcatraz?

H: Only briefly. I didn't get to take a boat out to it, which is annoying. I bought some lovely postcards with a view of Alcatraz saying, "Lovely time, wish you were here."

IW: Well, you can go to Trafalgar Square and write us a letter about it, and we'll go to Alcatraz and write you a letter about it. We can exchange tourist T-shirts.

The bus ride to the car - Horace sits with Idol Worshiper Sue

Photo: Vicki Berndt

H: Yeah, awful Beefeater T-shirts! That's one of the nice things about coming out here. I can be a total tourist. The other week I was paddling in the Pacific, and the connotations of me living in England and paddling in the Pacific was like, something tremendous! Although it was freezing, and people thought I was stupid.

IW: Do you enjoy touring?

H: Well, I haven't much choice, have I? Yes, I do! I never thought, two years ago, that I'd be stomping around America. I've always wanted to come to America.

IW: How did you get the name Sir Horace Gentleman?

H: It's like the reggae names. Everyone's got funny names. Brad's name is Prince Rimshot, sometimes.

IW: Where do you guys get your suits?

H: Second-hand stores, mostly. Now some band members have money and have been known to buy full-price suits. I disapprove of that whole-heartedly. The suit I wore tonight, that grey one, cost me six quid — $12. I got some lovely button-down shirts in a Goodwill store the other day for $1.89 each. I bought six! This girl that works at... was just telling me about that store, but their suits are $40. That's 20 quid!

IW: The thing is, the stuff they have you already own. That's why they stock it, so we can look like our favorite bands!

H: When we started out, we were dressing like our audience, sort of like skinheads. Now that we're getting popular, people are beginning to dress like us.

IW: How did you like working with Elvis Costello on your record?

H: Fine! It was alright.

IW: Are you going to work with him on the second album?

H: No, I don't think so. We're going to use Dave Jordan, who's the engineer on the first album and does our sound onstage.

Chrysalis advert for The Specials appearance on

Saturday Night Live

IW: Are there times you wish you had just stayed a van driver?

H: Sort of the split second before the plane's about to land and sometimes one or two minutes before I go onstage. I get a bit nervous all the time, but that's all. If I can cope with a hangover in Los Angeles, then I'm alright!

IW: What do English people think of Americans? Do they have any stereotypes?

H: Yes, of course, they do! We get the tourists — like the fat bloke with the Bermuda shorts and Hawaiian shirts, three cameras, and a hat. Or else those suits with the massive checks.

IW: Plaid!

H: I suppose you have the stereotyped Englishman — the pinstriped suit, bowler hat, and umbrella, going, "Awfully, awfully nice to see you." It works both ways.

IW: Did you do any Midwestern shows?

H: Oklahoma City, Salt Lake City...

IW: How did those go?

H: Oklahoma City was really funny! The Police were meant to do two shows there, but they pulled out of the gig because of Sting's voice and Stuart Copeland's back. So, we ended up doing one show in Oklahoma City — actually, it was in Norman, which is just outside of Oklahoma City in a 600 capacity theater. I was really worried about it being a "redneck" state and the announcer saying, "I'm sorry, all you Police fans. The Police aren't playing, and now here's a band from England that you've never heard of, that doesn't play rock 'n' roll." I was really worried, but we went on and it went great. It was nice getting back to an audience that had never heard of us before, grabbing them by the throat and saying, "You will dance!"

IW: I noticed at Stanford that a lot of people don't know what reggae is, or how to dance to it, but they enjoyed it anyway. Even if it wasn't the punk rock they expected.

H: Yes, they sort of pogo slowly. Dancing to reggae is really fascinating; it's a lot slower... [Here Horace gives us a lesson in skanking.] You've got to see people like Neville and Lynval do it. Reggae is on the second and fourth beat, that's where the bass drum goes and that's how you dance to it.

Full-page Chrysalis advert
Trouser Press magazine - May 1980

IW: How long have you been playing the bass?

H: Do you have a lot of room in your fanzine? I've got quite a nice story. When we were doing those dates at the Music Machine with the Clash, on the last day, I spoke to Paul Simonon, who's quite a shy bloke actually, and he says, "I really like your bass playing. How long have you been playing?" I said, "I've been playing for eight years, but only seriously for the last three years." He turns around and scratches his head and says, "Yeah, I wonder when I'll start taking it seriously." Which was the perfect answer from one of the Clash.

IW: Do you get much time to look around the cities?

H: We had a couple of days off in Los Angeles, and it was really nice. I got to put my feet in Cary Grant's footsteps, and I got to see the Hollywood sign and all that!

IW: Did you go to Disneyland?

H: Yes! It was amazing! We went on Space Mountain and the Pirates of the Caribbean and the Haunted House... It was great!

IW: Did any movie stars come to see your shows in Los Angeles?

H: Randy California from Spirit came on the last night and was seen dancing but was probably drunk. I did get to meet Rod Stewart's bass player...

IW: Was Andy Warhol there when you played New York? [One of the IW editors has an Andy Warhol fetish — Other Ed.]

H: No, but Ian Hunter and Mick Ronson were going to come to the gig in New York, but only if they could stand in the sound booth. We said, "Either you're in there with the punters, or forget it."

Here Horace gathers up his clothes and we all catch the bus back to the car. On the bus, Horace clears up a misunderstanding...

IW: Is it true you guys don't like the Clash? I saw you tearing up the cover of a magazine with a picture of Joe Strummer on it at the record store.

H: NO! NO! That's not true at all! The reason for that was because they were giving them to us for nothing. They had to rip the top off so they could send them back as damaged. Christ, the Clash are great!

Idol Worship #1 featuring the Specials,
the Clash & Madness
(Clash photos by Vicki Berndt)

On the ride to the car, we pass Haight Street, which Horace was excited to see since he was somewhat of a hippie a few years back.

We met up again later at the Mabuhay where Horace, Brad, Terry and Jerry were watching the Go-Go's, who'd opened for them in LA. After advising him against the Mab's fare, Gwen, Spike, Vicki and Sue took the famished bass player to Zim's for a late-night snack.

Everyone laughed as he showed us his Roddy Radiation imitation. (Suck in your cheeks, bend your ears out, and say "Bollocks!") And the wire-rimmed glasses Horace wears offstage are fake! He picked up several pairs in Seattle so he can "look like a professor on a lecture tour rather than a pop star." We also got clued in that one of the Clash is married! It seems that some years ago, a member of the group married a European girl for several hundred pounds so he could buy his first guitar and she could get British citizenship. (When the Clash were here, this story was confirmed by sources close to the group — they're still married legally, but he "hasn't seen her for years.")

Finally, in the early morning hours we dropped Horace off at his hotel to get a bit of rest before his 7am flight, and these IWers headed home with some memories of a very Special night.

Syl Sylvain Talks About The Teardrops (And The Dolls And The Criminals)

Originally published in do-Wop #2 (1981)
By Devorah Ostrov

Syl Sylvain and the Teardrops (RCA Records 1981)

"In America today it's like... well, like beating your head against the wall." Syl Sylvain is sat beneath the covers in his Los Angeles hotel room, telling me why it's been difficult getting his songs heard. 

"They just want a lot of hype," he says. "They want to see the Plasmatics or something."

Syl arrived in Los Angeles on tour to promote his new group, the Teardrops, and his new LP, Syl Sylvain and the Teardrops.

So far, all the shows (New Orleans and Texas) have gone smoothly, although Syl hasn't been pleased with the advance publicity — or more specifically, the lack thereof — for the tour and the album. "They [RCA Records] don't seem to realize... Even though we're a brand-new act, we don't need a hype-type advertisement. But you still gotta tell people that we're around! That's why we came here. If it were up to them, we wouldn't have even come out here."

"They see us as an East Coast-regional sort of band," he continues. "We just want to entertain period. We're not trying to entertain kids just in New York or anything like that. We want to go anywhere that they want us."

L-R: Danny Reid, Syl Sylvain, Rosie Rex

RCA publicity photo by Kate Simon

Even RCA's refusal to support a Teardrops tour couldn't stop Syl from doing it anyway.

"You know how we got out here?" he asks. I tell him that I heard something about how they drove across the Mojave Desert in a borrowed Chevy Chevette.

"After RCA passed on the tour, we got a couple of vehicles and decided to make the trip. Somebody stole the car like three or four days before we started out! But this fan of ours had moved out to New York. She doesn't drive her car, so she lent it to us. That's how we made the trip, in her little Chevy Chevette."

It should be added that a few days later, while in San Francisco, the Chevy Chevette wound up in the middle of a Teardrops vs. Cholos war outside the York Hotel and came out of it with a smashed front windshield. Syl has the worst luck with cars.

Syl was born Sylvain Mizrahi in Cairo, Egypt, and spent several years of his childhood living in Paris before his family immigrated to the US. "I always had a hard time," he giggles. "People were making fun of my clothes even when I first got over here. I had brown shoes, and brown shoes were like, WHOA! And I had 'suiciders' [platform shoes so big you could supposedly jump off them and commit suicide], and that was WHOA too!"

Sylvain Sylvain (circa 1981)

Photo: Vicki Berndt

This seems like a good place to insert a condensed history of Syl's first (and some might say most notorious) group: The New York Dolls. Sylvain was going to school in Queens, with his best friend Billy Murcia (the Dolls' original drummer, he died before their first album was recorded) and Johnny Genzale (Thunders), when he decided to form a band.

"The name Dolls is mine," he states, despite some reports that give Johnny the credit. In the beginning, Syl actually tried to kick Johnny out of the group because he was "a bit of a hard-on." However, Johnny returned, proved his worthiness, and wasn't sacked after all. Lead singer David Johansen was introduced to the guys by the same friend who later introduced Syl to Rosie Rex (now the Teardrops' drummer) — and the New York Dolls were unleashed upon the world!

New York Dolls publicity photo

L-R: Arthur Kane, Jerry Nolan, David Johansen,

Syl Sylvain and Johnny Thunders

As well as being accountable for the Dolls' moniker, Syl was also largely responsible for their look. Before the Dolls, Syl had been a fashion designer. In fact, he made the first pair of láme jeans! And he designed the silver lamé jumpsuit that he wore on the back of the Dolls' debut LP. He describes it as "the wet look before the wet look came in."

When I beg Syl to divulge the sleaziest story he can about the Dolls, he hesitates and says that everything they did came naturally. But he doesn't have any problem when it comes to the sleaziest person involved with the Dolls — that would be Malcolm McLaren.

"Malcolm used to say he was our manager," remarks Syl. "Well, that's the sleaziest story I've ever heard! Anybody that could've gotten us red pants could've been our manager."

The pants he's referring to were part of the controversial Red Patent Leather — "better red than dead" — outfits the band once wore. Since the Dolls were never politically inclined, it's interesting how Malcolm, the Dolls, and the red pants became entangled in that infamous performance.

Advert for Syl's first solo album

Sylvain Sylvain released in 1979 (RCA)

"It wasn't as much of a political thing as people think," asserts Syl. "Like I said, it started with one pair of red pants. Then everybody said, 'I want red pants!' And then... 'Let's get the red shoes.' Then, when it was all red, Malcolm's great idea was, 'Let's hang up the red flag now.' David thought that was a great idea, and basically, they were the only ones who liked it."

"David wasn't my spokesman," Syl points out, "but people would look at that show and think, 'Well... Johnny and David are the leaders of the band.' They said that today in the LA Times — that I was a sidekick in the Dolls. And that now I have such a good band, that I'm still a sidekick!"

It's a little-known story, but shortly after the Dolls broke up, Malcolm approached Syl about becoming the lead singer of the Sex Pistols. "He kept telling me about these kids [Steve Jones, Paul Cook, and Glen Matlock] who hung out at his store, and how he could get them to do anything he wanted. It just sounded to me like another Dolls, and I didn't want to be part of another thing like that. I didn't want to be a politician. I wanted to do something musical."

After he turned down Malcolm's offer, Syl went to Japan and carried on working with David Johansen. He also put together his own band called the Criminals (featuring Tony Machine on drums). Sadly, although the Criminals were one of the finest groups playing in New York, their material was difficult to pigeonhole. And according to Syl, at a time when everyone was concerned about what was punk and what wasn’t, that doomed them.

Criminals 45 "The Kids Are Back" b/w

"The Cops Are Coming" (Sing Sing Records - 1978)

"To the kids, we had a jazzy sound," he explains. "But back then ['77/'78] they just wanted like, Television or Patti Smith — a real punky, anarchy sort of group. Then, uptown, the business people said, 'The Criminals? Forget it! That's punk and we want disco.'"

After the Criminals broke up, Syl issued a wonderfully poppy self-titled solo album, and in 1980 he formed the Teardrops with Rosie Rex and Danny Reid.

"Our show is all history," comments Syl. "We even do a couple of Dolls' and Criminals' numbers. It depends. If people call out stuff and they know things, we'll do it for them."

Of course, Syl has his own definition of the Teardrops' bopping beat: "We call it Puerto Rican-reggae. You know, the record company didn't like that. They said, 'We won't be able to sell that.' And I said, 'With the advertising you put out last year, I need something that's going to self-advertise.'"

What was the advertising like last year?

"It wasn't!" he exclaims. "That's why I was trying to get it this year. The name Teardrops is such a great name. And you know, like with all great things... You make it up and you put it together. They take it, they take things out, and then they put it out. That is life as it is right now."

Syl Sylvain and the Teardrops 

L-R: Rosie Rex, Syl Sylvain & Danny Reid

Needless to say, Syl Sylvain and the Teardrops is a terrific LP! As Syl puts it: "It's dancing, romancing music."

"That first album is very influenced by my years in the Dolls," he observes, "and what happened afterwards. This album is very influenced by what's going on with me now. The music is growing a little more. But basically, it's still me!"

* You can read my extensive interview with Sylvain spanning his life up to the early days of the New York Dolls here: devorahostrov.blogspot.com/2017/09/sylvain-sylvain

Rox Rocks From Hayward To Japan

Originally published in East Bay Band Calendar, December 1979
By Devorah Ostrov

Rox with vocalist Dyan Buckelew center. Dyan left for a solo career

after the group returned from Japan. She later married Rick Derringer.

They're not the Runaways, and they're weary of the constant comparisons to that heavy metal outfit. "We try to interest the audience with our music," says Rox bassist Toni Falconio. "We can't avoid the fact that we are girls, but we hope that the audience will like our music and not just us."

And after listening to these East Bay rockers, the only comparison to be made is that both groups are all females. Rox — consisting of Falconio, vocalist/guitarist Nina Markert, keyboardist Gere Fennelly, and drummer Christie Nehlick — are all highly accomplished musicians, each with many years of musical experience behind her. There's a toughness in each one, a defensiveness that comes from having to prove herself in a male-oriented field where females are barely tolerated.

While they were rehearsing at Pearl Studios in Fremont, it became a running joke that neighborhood boys would appear at the door wondering who was playing such hard-core rock. And they'd always be taken aback to find GIRLS behind the instruments.

In fact, according to Markert, the only people who don't think Rox is equal to comparative male bands are "guys who don't want girls to make it because they don't want us to show them up."

Cover of the "American Kan Kan" 45

Although recognition has been slow for them in the Bay Area, a recent seven-month tour of Japan found them on the same level as most top American bands, playing to packed halls, being chased for autographs, and hounded for television commercials.

Rox (spelled Roxz before the tour) had been together for less than a year when a rep from Shinka, Japan's largest music publishing company, saw them perform at San Francisco's Mabuhay Gardens and signed them to a Japanese contract.

In Japan, the girls were well taken care of, with all their expenses paid for by Shinka (including chauffeured transportation). They were also given extensive promotional advertising, such as a "shopping tour" of Japanese malls, several TV appearances (two were "dubbed," the rest were filmed live) and dozens of radio interviews.

And, of course, at each promotional stop, the fans were waiting for them. "We had some fans that would follow us to radio stations and wait three hours just to see us," comments Markert. "And when we'd drive away, they'd chase our car!"

L-R: Christie Nehlick, Gere Fennelly, Toni Falconio & Nina Markert

(Photo of Rox originally used in the East Bay Band Calendar)

"At concerts, they would throw all these little superballs onstage and streamers and balloons," adds Falconio. "They have guards standing in the aisles to make them sit down, but you know, if they didn't, it would be total insanity."

Not bad for a group that got its start scarcely two years ago by taking first place in the Hayward Battle of the Bands with a set featuring Kiss' "Detroit Rock City," Thin Lizzy's "Jailbreak," and Montrose's "Rock the Nation" — during which Falconio slipped and fell and Markert's guitar somehow got out of tune.

While they were in Japan, Rox recorded an album (half in Japanese) called Tantrum (only available by import), and two 45s — "American Kan Kan" and "Okay Boys" — written for them by Japanese songwriter Tokura.

They weren't allowed to record their own material because "the company didn't think we could sell anything." But Markert argues that it was the other way around. "You should have heard it ['Okay Boys'] before we rearranged it. We were pulling our hair out, saying, 'We can't rearrange this. It's too far in the pits!'"

As for the album, Nehlick says they're happy with their playing but that the production "could have been a lot better. When we went into the studio, the Japanese producer said, 'Use this amp, use this... this... this...' Next time we go in, it will be nice because we'll know how to use the sound the way we want to."

Rox pose with Abba for a Japanese music magazine!
(Photo courtesy of Gere Fennelly)

Although the LP won't be released in America, it supposedly shows a totally different side of Rox. With the Japanese idea of hard rock being the Bay City Rollers, the girls were forced to record tunes in the commercial pop vein.

"Not pop like power pop," states Fennelly, "but pop like puppy pop." Quite a change for these rockers whose sets usually include Van Halen, Scorpions, Cheap Trick, and Led Zeppelin covers, as well as their own self-penned heavy rock numbers.

Still adjusting to the culture shock of not being chased down the street and only recently returning to Bay Area stages, Rox want to dispel any rumors of their demise. They are still together and rocking harder than ever!