Andrew Matheson - Sick on You: The Disastrous Story of Britain’s Great Lost Punk Band
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You want to know what its like
Condemned to live with you
Its some kind of daily suicide
Some phase that I outgrew
I aint sadistic, masochistic
You and me were through
Im sick to death of everything you do
And if Im gonna puke
Babe Im gonna puke on you
Sick On You
The Hollywood Brats, 1973
An imprint of Penguin Random House LLC
375 Hudson Street
New York, New York 10014
First published in Great Britain by Ebury Press in 2015
Copyright 2016 by Andrew Matheson
Penguin supports copyright. Copyright fuels creativity, encourages diverse voices, promotes free speech, and creates a vibrant culture. Thank you for buying an authorized edition of this book and for complying with copyright laws by not reproducing, scanning, or distributing any part of it in any form without permission. You are supporting writers and allowing Penguin to continue to publish books for every reader.
Cover photographs and Gered Mankowitz.
by Tom Pilston.
All other photos from authors collection.
Blue Rider Press is a registered trademark and its colophon is a trademark of Penguin Random House LLC
Library of Congress Cataloging-in-Publication Data
Names: Matheson, Andrew.
Title: Sick on you : the disastrous story of the Hollywood Brats, the greatest band youve never heard of / Andrew Matheson.
Description: New York : Blue Rider Press, [2016]
Identifiers: LCCN 2015047029 (print) | LCCN 2015047709 (ebook) | ISBN 9780399185335 (trade pbk.) | ISBN 9780399185342 (eBook)
Subjects: LCSH: Hollywood Brats (Musical group) | Rock musiciansEnglandBiography.
Classification: LCC ML421.H654 M38 2016 (print) | LCC ML421.H654 (ebook) | DDC 782.42166092/2dc23
LC record available at http://lccn.loc.gov/2015047029
Version_1
For Kerry
This tale comes via memory, reel-to-reel, diary, acetate, journal, and cassette.
I was eighteen years old, six feet tall, 148 pounds, sopping wet, and, like Dylans farmhand on Maggies Farm, I had a head full of ideas that were driving me insane. Most of those ideas revolved around starting a band.
I was driven by the purest of all the emotions: hatred. I hated absolutely everything I heard in the charts. Music needed to be grabbed by the lapels and shaken up.
So I got some cash, a suitcase, and a guitar, and off I went to London where legend had it the streets were paved with gold records. I also took with me a set of rules. Five rules chiseled in granite, sacrosanct and unbreakable. Follow these rules and I would create the perfect band.
Rules for a Rock N Roll Band
~ The Template ~
- Four or five members maximum. No sax, no horn section, no keyboards, no Moog-synthesizer boffin, no backup chanteuses, no nothing. Two guitars, a bass, drums, and singer, thats it. Think the Beatles, Kinks, and Who for four, Stones for five.
- The singer sings. Thats it. No hanging a guitar around his neck mid-show and strumming a few cowboy chords to show he can play, no sitting at the piano for a poignant ballad or two, and definitely no tambourine bashing. And for Christs sake, no standing on one leg and sucking and wheezing into a flute like that hobo in Jethro Tull. At a pinch a shake of maracas but just for a portion of a song then toss them aside. If a singer cant think what to do with himself during a bandmates solo he should consider a career as a bank teller.
- Great hair, straight hair, is a must and is nonnegotiable. If a member starts going thin on top put an ad in the Melody Maker immediately. If he has too tight a natural curl or, saints preserve, a perm, well, shame on you for hiring him in the first place. Be firm about this; a hat wont work.
- No facial hair. Girls, or at least girls youd ever deign to paw, do not swoon over the Grateful Dead. Jerry Garcia is no sane, recently showered girls idea of a pinup.
- No girlfriends. They are cancerous for the esprit de corps. They lower the bands collective sexual currency and can twist a measly bass players brain until he thinks he should get a triple-album solo deal and headline Vegas.
Two words: Yoko and Ono.
I still believe in these rules but as fate would have it we broke most of them.
Staring up. Standing in steel-toed rubber boots and filth-encrusted overalls; standing in the mud and the crud, staring up. Standing in crypt-like total darkness pierced only by the beam from the lamp on my hard hat, a beam growing weaker by the minute as the battery pack on my belt dies. Staring up, waiting for, praying for, the cage.
The cage, the chariot comin for to carry me home, at long last descends into this stinkhole. Clanking, juddering, the jail-cell-on-cables crashes to a halt. The chainlink guillotine door rises. I climb aboard. The guillotine crashes down and I get yanked up to the blessed, sunlit surface, never to go down a mine again, I pray, for the rest of my life.
In the shower I lather up in terror as usual, eyes wide open and stinging from soap. Keeping a sharp lookout because these Canadian nickel miners are a tribe of knuckle-dragging, grunting, violent troglodytes. They know its my last day and theyve been making noises about cutting my hair.
Twenty hours later and Ive escaped. Ive got a blue cardboard suitcase with white leatherette piping in my hand and a black Vox Mark VI teardrop guitar at my feet.
Im eighteen years old.
Ive got a thousand bucks in my pocket.
Im standing on the cobbles of Carnaby Street.
London, that great cesspool into which all the loungers and idlers of the Empire are irresistibly drained.
Arthur Conan Doyle
London. Whats it like, this town in July 1971? This town just past the fag end of the sixties? This so-called Swinging London? Let me tell you, its bloody marvelous. It is tawdry and garish, filthy and littered and chokingly diesel perfumed. It is filled with a thousand hucksters and shysters and gypsy girls in Piccadilly with sprigs of heather already pinned to your lapel before you can protest, palms held out and a cross my palm with silver, for luck, the veiled, unsubtle threat of misfortune should you not, with coin, comply. It is teeming with girls and the girls are stunning, teetering around in stack-heeled, knee-high boots, in suede micro-miniskirts with gossamer scarves, Cleopatra eyeliner underlining fluttering Twiggy lashes.
Union Jacks are everywhere, flapping amid the gargoyles on the stone buildings, hanging in whipping-in-the-wind plastic rows on the shops and stalls, on T-shirts, knickers, tea towels, socks, ashtrays, salt and pepper shakers, bowler hats, bobbies hats.
Rule Britannia.
Britannia rules the airwaves.
Maybe.
Chirpy Chirpy Cheep Cheep by Middle of the Road, a song that makes you want to drive spikes into your ears and crucify your brain, hits number one in the charts and stays there.
The Beatles are dead. Poor, pure, blond, bitchy Brian drowned. Jimi choked. Morrison, reduced from a pretentious West Coast pseudo-poet, albeit with great hair and a svelte physique, to a bloated, bearded metaphor, soon to float, barely, in a Paris bathtub.
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