I got Automatics new single from the label and
the group have been playing for a while. David
Philp was so kind that he answered a lot of
questions from me in the beginning of February
2021.
Please tell me a little bit history of the
group? Have you been playing all the time or
did you have any time you didn´t play together?
If you didn´t play together did you play in any
other groups then?
-I started out doing a brief stint with the Boys
just as they were transitioning from being the
Hollywood Brats. We recorded 4 of my songs down
in their little studio in Mornington Crescent.
Ultimately it wasn’t a good fit and I think it
fair to say that they were a little further down
the musical road than I was. However they did
introduce me to 2 young tea boys at Phonogram
studios. One of them was Steve Lillywhite who
became my room mate and we shared the apartment
close to the Nashville pub for the next few
years which happened to be a great explosion of
bands and ideas in London. I started putting
together the Automatics rehearsing players at
the old Victorian storage unit around the
corner. it was next to a bacon packers which
smelt bad in summer. When we started playing the
pubs things moved pretty fast for us and we got
a residency at the Marquee Club on Saturday
night.
Please tell me a little about every member in
the group right now, age, family, work,
interests and something bad about everyone?
Earlier bands? Other bands on the side?
-It started out with Ricky “Rocket” Goldstein on
drums who went on to play with Stiv Bators and
Sham 69 and later with the Bootleg Beatles!
Walter Hacon was on guitar. He went on to play
with Wreckless Eric. Bobby Collins was bass. He
went on to Holly and the Italians. Rick and
Walter and I are still close though not
geographically. Wally is in NZ, Rick in London
and Bobby is MIA.
Now the band is more fluid. I have played a lot
with Paul Crowder on drums- he produces
documentaries- he did 8-Days a Week with Ron
Howard and that new Pavarotti documentary they
did. A big part of the band over the last 20
years is Jim Wirt. He produces, plays bass and
does the backing vocals. He also produced
Incubus, Fiona Apple, Hoobastank and Jacks
Mannequin. Theres a bit Springfield Missouri
connection there- Jim and sometime guitarist
Brian Coffman played in a band called Fools Face
while in Springfield and Paul married a girl
they were school pals with. Mostly I play with
whatever around. Because Jim runs a studio in
Cleveland now he will add a drummer whose there.
Theres a new kid called Aidan on the new stuff
but I’ve never met him. I had Patrick Warren
from Dylans band on Irish Blessing and Steve
Ferrone from Eric Clapton and Tom Pettys band
…..and whoever interests me at the time.
I can hear much different influences but mostly
good old punkrock and in Irish blessing some
folkmusicstyled music? Favorites from the
past?
-Well back in the 70s we didn’t have all the
categories they have now. There was only music
you liked and music you didn’t. And on the radio
you’d hear Slade and Bowie next to Johnny Cash
and Tom Jones, the Clash, Petula Clark.
Everything so rigid now but back then Wild Willy
Barret, Elvis Costello, Tom Petty were in there
with the Jam and Flaming Groovies and Johnny
Thunders. There are times when you absorb
influences mostly when you are starting out and
times you repel them- I don’t want to listen to
other peoples music when I’m doubling down on
what it is that I do. It only confuses me. In
that period when I was absorbing influence I was
listening to all the usual Beatles, Bowie,
Stones, Dylan but also the English folk rock
band like Fairport Convention and Lindisfarne.
So Irish Bless is Fairport and Lindisfarne
working their way out 40 odd years later through the
filter that is me.
Automatics are you satisfied with the name? How
did it came up? You weren’t afraid that some
other band would be named like this? Which is
the best bandname you know?
-I came up with the name. Then it turned out
there was a band in Coventry that had the name
but Island records made them change. They became
the Specials and the rest is history!!
Other bands periodically nick the name but if
your first act as a supposedly creative outfit
is to steal somebody else’s name, well…its not a
very encouraging sign, is it? The last band to
steal the name defended their case by saying it
was Automatic without an “s” so nobody could
possibly confuse the two of us. They had a hit
with a song called “Monster” so I released a
song called Monsters with an “s” …..so nobody
could confuse the two of them! My song told the
story of how they had spoken with me and ignored
the warnings and got the run around from the
label and is I think the first real conceptual
song. The punk spirit lives on. The prophecy in
the song came true and shortly after the label
dropped them.
What´s the best thing with playing live? Do you
miss it nowadays when covid is around us?
-Probably Moth Into the Flame. Its just so
rocking….that beat works. I miss playing to the
fans but I don’t have a big following in the US
where I live here in LA so I ‘m happy to record
on my own. I enjoy the creative process.
And where is best to play? And the worst place?
-The Best for me now is Japan it´s like the
Marquee club in 1978. But I don’t play out that
much and maybe there are others. The worst was
probably a pub in Tilbury where it was so weird
I called our agents the Dick James Agency and
the secretary cheerfully informed me “Oh! No. We
meant to cancel all those gigs after the last
singer got killed”! We played the fastest set
ever and got out of there in 20 mins.
How is to play this sort of music in England
right now? Which type of bands do you play
together with? Are you often plays on
Rebellion?
-I think the last time I played in England was
with the Stiffs in 2006. I was going to play
Rebellionfest supposedly but then covid hit.
When I travel in order to avoid running at a
loss I need to play with local bands otherwise
the airfares and hotels kill me.
When I
play Japan I mostly play with the local guys who
play exactly like the record. I am pals with Philp
Hendricks from the Stiffs and have just
connected with the Starjets so we hope we can
all tour together at some point, “The Lap of
Honor” road show!!
How would you describe your music in three
words?
-Now? It´s different when you are young because
you have all that energy. “When the Tanks Roll
Over Poland Again” goes at a clip that you are
probably not going to sustain over a 40 year
period. Now my songs move slower so they have to
box clever. I’m moving into an area of Punk Folk
but if you listen to the first Automatics album
we did with Steve Lillywhite its there already-
“Wear Your Love Like a Ball and Chain” also “To
the Goodtimes" and “Run Forever”. So three words
that kind of some it up BE AUTHENTIC to what you
ARE. Well that’s 6 but wtf.
What does punk mean to you, is it only a word or
is it a lifestyle?
-If you show a picture of Sid Vicious to anybody
around the world they go “Oh. Punk Rock”. Wrong
fuckers. Punk, before it became about some
fairly useless kid in a dog collar was about so
many different and really interesting things-
Philosophy, Fashion, Music. It was about
embracing the counterintuitive. Its about left
footing the listener, the observer, the thinker.
I think I still do that and the fact that all
that got boiled down to an image of a guy who
couldn’t write, couldn’t play and was kind of a
satellite personality is offensive to me.If you
care about Punk it should be offensive to you
too. But its typical of that Pistols-centric
view of London street culture from 1976-79. Its
a promtionalist lie that got repeated so often
that its become the accepted version. They wrote
ten songs or something. Try the Jam, the
Stranglers or the Clash or so many other bands
that weren’t dressed by Vivien Westwood.
Which song/album or group was it who took you
into punk?
-Maybe Lou Reed. He just took you to so many
unexpected neighborhoods. The Pirates were an
influence on British punk as they were very
rocking in a uniquely English way along with
Gene Vincent who wasn’t. Flaming Groovies
predated punk and were a big influence. The
Automatics got going recording at Phonogram
Studios on dead time with Steve Lillywhite and
the other band he had was Tiger Lilly who became
Ultravox. I don’t know if John was watching what
we were doing but I was certainly watching what
he was doing and I was tape operator on a few of
the tracks on their first album.
What shall a young guy do today to shock their
parents as the way we did when we were young?
They have already seen everything ;-)?
-There was this sudden spin of styles and
fashion and music from 1955-1985 and then just
kind of a repeat and rinse in more polished ways.
Theres nothing left to offend really. You’re a
transexual dwarf fucker with a heroine addiction?
Excellent, well just pull up a chair and we’ll
put the kettle on.
How is it to live in England right now?
Politically? Fascists? Brexit? Covid?
-I live in Los Angeles. I’m a liberal who was
completely offended that my adoptive country
ever got swindled into the whole Trump era.
Because I’m not a resident I don’t feel I have a
right to an opinion on Brexit but I must confess
to being confused as to how it could actually
work. How are bands going to tour in Europe post
Covid? Are they all going to be thrown to the
wolves by the government as we all have been by
them as regards the streaming platforms? Heres
your 6/1000 of a cent.
Is there any good bands from England right
now? Is the punkscene/hardcorescene big? How is
it in your hometown?
-Recently I started listening to Nations Radio
UK and United DJs radio station and they have a
thing called the Heritage charts. The format is
older bands who make new music and so I’ve heard
really good records from the Starjets, the
Vapors, Phil Hendricks from The Stiffs, The
Chords, John Rossell from the Glitter Band. They
are still true to their punk origins but they
are making more accomplished records. So much of
what the Punk audience want is for you to play
the same set you played 40 years ago. I’ll do a
bit of that but if you are still doing what you
did 40 years ago when you were learning, you
might want to ask yourself what the fuck you’ve
done with your life!
What do you know about Sweden? Have you been
here sometime?
-I have been to Stockholm and I have Viking
blood. Theres a pic of my Great Grampa in the NE
of England and he looks like a Viking straight
out of Central Casting. Casino from the Boys was
a pal and he tells me it is a major rock capital
though I have never played there. Yet. I married
a woman who is a quarter Swedish.
Have you heard any good bands from Sweden?
-Well Abba of course but I’m sure if you are
living in Sweden you have been hit over your
head with a hammer with that stuff. It was
interesting to me because they never wrote lyric
until the recorded track was finished. I think
that got me thinking of recording as part of the
songwriting process. You have to be light on
your feet. You can’t stay stuck on what your
initial idea might have been if you want the
story to grow with the telling.
-Me. I don’t think I ever cover songs except
very rarely. It’s my tale and I’m telling it.
I’m making a dark little movie or telling a
twisted little story. It’s not just the words
and its not necessarily poetry. Sometimes it’s
the sound and the rhythm of the words. Its where
the emphasis of the word lands in the narrative
of the melody.
Is there any subject that you never will write
anything about?
-No nothing. Ever. Lou Reed taught us all that.
Except for Hello Kitty. You must never write
about that!
Politic and music, does it goes hand in
hand? Which is your most political song? Is it
important to get out your opinions in music?
-To make your music political is to abandon or
at least postpone the songwriters art in order
to highjack it as a vehicle for whatever you
want to proselytize about. So I don’t do that.
Except for sometimes…..”Cardboard Kingdom” is
about homelessness but it observes more than it
tells you which side you should be standing on.
I have a new one called “Daylight Robbery”
that’s about how streaming platforms rape the
artists. That´s as close as I get on political
songs.
Best political band/artist?
-Clash did it probably better than anyone. But
it´s a bankrupt ideal that somebody who is good
at one thing- in this case making records- has
authority to lay it out for everybody else.
Maybe I don’t object so much on principle but it
is very hard to do well.
You had Johnny Thunders on a song from 1978 on
guitar, howcome he played with you?
-When I was living with Lillywhite we went to go
see Johnny when the Heartbreakers first came to
England. They were brilliant and they were
TIGHT. All the English bands we knew were loose
goose because we were making it up as they went
along. None of them had toured playing the same
thing the same way every night which is how
bands get tight. By the time Johnny got to
record “So Alone” we had dragged him down to our
level and he was loose and making it up again
and that’s what made it great. We became friends
in the days before Johnny became unknowable as
all junkies inevitably must. After he moved out
of Oakley Street he got a flat in Soho so he’d
come down to watch me soundcheck at the Marquee
and we did a few gigs together and he played on
the first Automatics record. Leading up to “So
Alone he borrowed my vinyl LP of the Shangri Las
on Red Bird Records. He was obviously influenced
by that as he covered “Great Big Kiss”. He
played Downtown by Petula Clark which he thought
was a secret song about heroine on my old Gibson
in my bedroom and ended up writing his own
Downtown that was on the record. He knew I was a
Bolan guy so he asked me to sing “He Was a
Wizzard” with him which was his tribute after
Marc died suddenly.
Johnny
didn’t play with many other bands so I was
pleasantly surprised when he played with us.
Do you think that music(lyrics and so on) can
change anyones life, I mean people who listens
to music?
-Music has powers and the writer is the just
thes unwitting conduit of that. I´ve heard from
people who say this song of yours changed my
life but its hard for me to imagine how it might.
But I remember singing “Run Forever” in Japan
and watching these two girls at the front just
weeping. How does that work? But I think a good
song, a genuine song can change moods, evoke
things. I try
not to be manipulative.
Your favorite recordcover alltime? Who does
your recordcovers? And do you have any good
recordstores in your hometown?
-We had several good record stores. They’re all
gone now but there are ones hanging on in places
like Silverlake. Jeremy Kidd has been doing my
most recent covers and I enjoy his work. He is
an artist in his own right. Marnie Weber did the
Jukebox of Human Sorrow artwork and Sting did
Britannia.
Is it important to get out physical records of
your stuff? Why or why not? Vinyl, CD, cassette,
what do you prefer if you could choose whatever
?
-I do. It might be my age but the commitment to
the artist doesn’t seem real until you have
something of theirs in your hand. West of
Wherever is on vinyl most of the others are on
cd and I just got copies of “A Grand Swandive
into the Void” which as you know is my latest.
Please tell me a funny thing which have happened
during your career and under some gig?
-In the very early days we used to do Guerrilla
gigs where we would put a generator on a flatbed
truck and load up our instruments and gear and
just appear places. Nobody else did that. We
played down the Kings Road at the height of the
Teds v Punks war and got stuck in traffic right
outside the Teds pub. It was like poking a
hornets nest and then finding that your feet
were stuck in concrete. There was no more
playing now it was just fighting. Guitars were
swinging along with mic stands and bar stools.
The driver who had no idea what he had been
getting himself into was having a hysteria fit
in the front cab. Then just as it looked like we
were all going to be beaten to death by an angry
mob the traffic cleared and we got a clear run
down to Sloan Square. I remember that as I
looked behind me all the cars were pulled over
onto the curb and the mob of Teds were charging
down the middle of the Kings road. Wally got a
broken finger on the left hand which is bad for
a guitarist and that night we were playing the
Marquee so we shot it up with pain killer and
played anyway.
You’d think we would have learned our lesson,
right? Think again because only a few weeks
later we……well that’s a story for another day!
How does your audience look like? Which people
do you miss on your concerts? Which is the
biggest band you ever have played together
with?
-In Europe they are all the same guys who were
there 40 years before but fatter with less hair
but in Japan its a whole new generation. I think
there are young fans who are getting into what
we did back then. What else is there? Rap,
hiphop, Trance, Electronic? Come along with us
lads and lassies- this a lot more fun. The Jam,
the Clash- they big enough for you? LOL We did
Reading Festival in 1978 and that was a big
deal. People as far as the eye could see.
Please rank your five favoriterecords, five
favoriteconcerts and five most important things
in life?
-That Clash one with Spanish Bombs on….Jam
“Setting Sons”…theres a Waterboys one I
like…..Pogues “If I Should Fall From Grace with
God”….more these days I like Brian Wilsons “Smile”.
Greatest shows? Well that first Johnny Thunders
and the Heartbreakers was fantastic. Eddy and
the Hot Rods were great in the early Nashville
gigs. I remember seeing the Police getting booed
off supporting X-Ray Spex. I used to go with
Lillywhite to clubs to see acts he was
interested in producing so there were so
many….Members, Ultravox, Rockpile.
First, last and most expensive record ever
bought?
-The one from the bargain bin that I never
played.
Is it boring with interviews? Is it much
interviews?
-No but this one´s going on a bit. LOL I can
talk about music easily.
I have some great memories from great times.
Do you care about reviews? Which is the most
peculiar you ever had, with this band or any
other band you have been to?
-I pretend I don’t but in truth how can you
not?. I´m always happy when somebody “gets it".
I learned to live with bad ones a lot in the
early days because the British music press hated
punk. They hated it! Then I realized why- they
were all Progrock bass players who didn’t have a
gig anymore. And they were mean as cat shit
about it. Read any of the reviews of most punk
acts from those days and they are all incredibly
dismissive and mean spirited. Across the board.
They’re probably down the boozer now telling all
their mates how they single handedly enabled
Punk rock!!
Wisdomword?
-Good luck with translating all this into
Swedish!!
Something to add?
-For a moment I’d like to address the new bands,
the next generation of punkers. There are bands
who can get by on their musicianship alone but
they are few and far between. Learn to distrust
virtuosity. Its all about the song. A good song
goes more or less how you expect it to go with a
few important exceptions. You have to provide
the exceptions. You lead them along but then you
have to left foot them. Take it somewhere they
were not expecting. Then reward them with the
familiar. Tune. Tune hard. Bring the intro riff
back over the end in a different way. Have a
prechorus imbetween the verse and the chorus.
Always have a middle 8 even if its not 8. Brush
your teeth. Clean behind your ears. Make
allowances for the artists seemingly endless
capacity for self deception. Delve deeper into
what you are until one day you wake up and it´s
time to avoid all other influences. Remember
this above all- its more important to be
different than it is to be good. |