1 00:00:00,520 --> 00:00:03,160 Speaker 1: Taking a Walk, it just becomes more and more cool. 2 00:00:03,200 --> 00:00:07,119 Speaker 1: For all the time I played at Fastonbury with Blondie 3 00:00:07,280 --> 00:00:10,840 Speaker 1: on the main stage this summer. We were second on 4 00:00:10,880 --> 00:00:13,280 Speaker 1: the bill. Elwin John was top of the bill. I 5 00:00:13,280 --> 00:00:15,840 Speaker 1: thought I'd go watch John from the side of the stage. 6 00:00:15,840 --> 00:00:17,479 Speaker 1: They wouldn't let me on the stage because they didn't 7 00:00:17,520 --> 00:00:19,840 Speaker 1: have the right pass. And it's supposed to be like 8 00:00:19,960 --> 00:00:23,600 Speaker 1: a free bird festival, and it's like you might as 9 00:00:23,600 --> 00:00:26,000 Speaker 1: well be found the Clocking Network at IBM. 10 00:00:26,360 --> 00:00:29,640 Speaker 2: Welcome to the Taking a Walk Podcast, the show with 11 00:00:29,800 --> 00:00:33,880 Speaker 2: storytelling for musicians and insiders and their love of music, 12 00:00:34,320 --> 00:00:38,400 Speaker 2: hosted by Buzz Night. On this episode, Buzz is joined 13 00:00:38,400 --> 00:00:42,159 Speaker 2: by musician Glenn Mattlock. You know Glenn's work from the 14 00:00:42,240 --> 00:00:46,080 Speaker 2: legendary Sex Pistols and Blondie. Glenn leads the band The 15 00:00:46,159 --> 00:00:50,520 Speaker 2: Maestros featuring Clem Burke of Blondie fame, Gilby Clarke, known 16 00:00:50,560 --> 00:00:53,159 Speaker 2: for his work with Guns n' Roses, and Steve Fishman 17 00:00:53,400 --> 00:00:57,320 Speaker 2: from The Stranglers and the Damned. Let's join Buzz Night 18 00:00:57,680 --> 00:01:00,280 Speaker 2: and Glenn Matlock on Taking a Walk. 19 00:01:01,720 --> 00:01:04,280 Speaker 3: Glenn matt Locke, it's so great to have you on 20 00:01:04,360 --> 00:01:07,680 Speaker 3: a virtual edition of the Taking a Walk podcast. I 21 00:01:07,760 --> 00:01:10,959 Speaker 3: wish we could be walking somewhere in the streets of 22 00:01:11,880 --> 00:01:15,679 Speaker 3: your town in England, but nevertheless, we'll accept the virtual. 23 00:01:16,640 --> 00:01:19,800 Speaker 1: All right, let's fine, and I'll mind being in Boston actually, 24 00:01:19,800 --> 00:01:25,039 Speaker 1: but I was there this year with Plumdie, so yeah, 25 00:01:25,160 --> 00:01:28,200 Speaker 1: I can sort of visualize where you are kind of 26 00:01:28,920 --> 00:01:31,520 Speaker 1: a little bit. Yeah, I know where to get a 27 00:01:31,600 --> 00:01:37,959 Speaker 1: replacement Apple USB charger. That's kind of quite andy in life, 28 00:01:38,360 --> 00:01:41,360 Speaker 1: the modern world we live in. Yeah, in Boston, So 29 00:01:41,520 --> 00:01:41,920 Speaker 1: there you go. 30 00:01:42,560 --> 00:01:48,400 Speaker 3: Well, welcome and congratulations on your newest album call Consequences Coming. 31 00:01:48,560 --> 00:01:52,920 Speaker 3: Can you talk to me about the creative process behind 32 00:01:53,120 --> 00:01:54,520 Speaker 3: Consequences Coming? 33 00:01:55,480 --> 00:01:59,520 Speaker 1: Okay, great, Well, there was one I started writing the songs. 34 00:01:59,560 --> 00:02:01,960 Speaker 1: I know you probably know that we had this thing 35 00:02:02,000 --> 00:02:04,520 Speaker 1: over it called Brexit, and a lot of us aren't 36 00:02:04,600 --> 00:02:06,480 Speaker 1: very happy about it. We think it's the most stupid 37 00:02:06,480 --> 00:02:09,320 Speaker 1: thing this country has ever done. And what it is 38 00:02:09,360 --> 00:02:14,239 Speaker 1: also done is kind of enabled the kind of far 39 00:02:14,440 --> 00:02:19,800 Speaker 1: right government. There were a bunch of networks and I 40 00:02:19,800 --> 00:02:22,520 Speaker 1: don't think they know what they're doing basically, but they're 41 00:02:22,520 --> 00:02:26,079 Speaker 1: doing it anyway, And some of the songs are kind 42 00:02:26,120 --> 00:02:28,760 Speaker 1: of railing against that, and all around the world the 43 00:02:28,840 --> 00:02:33,799 Speaker 1: lurk sort of right, which I think ultimately is untenable. 44 00:02:34,200 --> 00:02:40,079 Speaker 1: And I started writing the songs just before that all happened, 45 00:02:40,600 --> 00:02:43,919 Speaker 1: started recording. I hadn't completed all the songs, but then 46 00:02:43,960 --> 00:02:48,120 Speaker 1: lockdown happened, so I kind of had to put it 47 00:02:48,200 --> 00:02:50,839 Speaker 1: all on hold a little bit, and I thought I'd 48 00:02:50,840 --> 00:02:55,240 Speaker 1: missed my moment, but I was in New York earlier 49 00:02:55,560 --> 00:03:00,920 Speaker 1: this year. Then some stuff we clam for this TV 50 00:03:01,040 --> 00:03:05,680 Speaker 1: program that's being made called Bowery Boy with Ivan Julian 51 00:03:05,880 --> 00:03:08,120 Speaker 1: and Richard Lloyd and climber Back. We did a session 52 00:03:08,720 --> 00:03:11,560 Speaker 1: and I had to go up to Midtown to go 53 00:03:11,600 --> 00:03:13,560 Speaker 1: and do some press, but I couldn't get a cab 54 00:03:13,600 --> 00:03:18,200 Speaker 1: that morning. And I was going to go and promote 55 00:03:18,200 --> 00:03:20,760 Speaker 1: my Consequences coming record, but I couldn't get a cab 56 00:03:20,880 --> 00:03:24,360 Speaker 1: because all the roads were blocked off because coming down 57 00:03:24,440 --> 00:03:29,639 Speaker 1: from Central Park to be arraigned was Donald Trump. So 58 00:03:29,800 --> 00:03:31,720 Speaker 1: I kind of thought, maybe I haven't missed my moment 59 00:03:31,880 --> 00:03:34,360 Speaker 1: at all. So there you go. I don't know what 60 00:03:34,400 --> 00:03:38,440 Speaker 1: your politics are, but he is certainly not mine, So 61 00:03:38,560 --> 00:03:42,720 Speaker 1: there you go. So it's a general heads up that 62 00:03:42,760 --> 00:03:46,640 Speaker 1: we shouldn't be taken for Charlie's basically, but there's so 63 00:03:46,720 --> 00:03:48,520 Speaker 1: good rock and roll teams on the record as well. 64 00:03:48,520 --> 00:03:50,400 Speaker 1: I've got some great players and it plumbs on a 65 00:03:50,400 --> 00:03:53,560 Speaker 1: couple of tracks. Else slicks all over it. I've got 66 00:03:53,560 --> 00:03:57,600 Speaker 1: a Japanese guy called who's like the Jeff Beck of 67 00:03:57,720 --> 00:04:01,000 Speaker 1: Japan plays on a song normal Rise on a lot 68 00:04:01,000 --> 00:04:03,920 Speaker 1: of the bass. I played rhythm guitar on it and sing. 69 00:04:04,040 --> 00:04:07,400 Speaker 1: So yeah, I'm quite pleased with the words come out. 70 00:04:07,960 --> 00:04:10,480 Speaker 3: Well, going back to your moment in New York City, 71 00:04:11,080 --> 00:04:14,480 Speaker 3: I would have been shivering as well. I want to 72 00:04:15,160 --> 00:04:20,039 Speaker 3: ask you, though, as the co creator with the sex 73 00:04:20,080 --> 00:04:27,400 Speaker 3: pistols of anarchy in the UK, how relevant is that now? 74 00:04:27,520 --> 00:04:30,039 Speaker 3: I have to think it's extremely relevant, don't you. 75 00:04:31,160 --> 00:04:33,200 Speaker 1: Well, it kind of is. It's just maybe the guy 76 00:04:33,240 --> 00:04:37,040 Speaker 1: who actually wrote the lyrics that one's my melody in 77 00:04:37,160 --> 00:04:41,320 Speaker 1: tune and song structure and John's lyrics. I don't know 78 00:04:41,320 --> 00:04:43,840 Speaker 1: if John totally believes it now, I'll probably believe in 79 00:04:43,880 --> 00:04:47,240 Speaker 1: it more than him. It depends what your definition of 80 00:04:47,279 --> 00:04:51,039 Speaker 1: anarchy is. If it's self determination, we certainly haven't got that. 81 00:04:51,279 --> 00:04:54,200 Speaker 1: If everything is a complete mess, well then we have 82 00:04:54,279 --> 00:04:56,360 Speaker 1: got that. I do like the line in the song 83 00:04:56,440 --> 00:04:59,960 Speaker 1: the future Dream is a shopping scheme and that thing 84 00:05:00,120 --> 00:05:03,640 Speaker 1: to be the way the world has evolved. I don't 85 00:05:03,640 --> 00:05:07,120 Speaker 1: know if that's necessarily for the better. Really, There you go. 86 00:05:07,640 --> 00:05:10,240 Speaker 1: I make myself sound quite po faced, but I'm not. 87 00:05:10,440 --> 00:05:12,880 Speaker 1: But I think you set revenue to the ground what's 88 00:05:12,960 --> 00:05:17,000 Speaker 1: going on with certain things, and kind of take the 89 00:05:17,160 --> 00:05:20,320 Speaker 1: mickey out of it a little bit when you can, 90 00:05:20,720 --> 00:05:20,919 Speaker 1: you know. 91 00:05:21,800 --> 00:05:26,880 Speaker 3: Yeah, So I want to promote January shows that will 92 00:05:26,880 --> 00:05:30,320 Speaker 3: be coming up. You're doing a West Coast swing San 93 00:05:30,320 --> 00:05:34,839 Speaker 3: Diego and Long Beach. You're playing the legendary Troubadour and 94 00:05:35,360 --> 00:05:38,279 Speaker 3: January on the twenty first, you got a Vegas hop 95 00:05:38,360 --> 00:05:42,320 Speaker 3: and San Francisco. How excited are you about that West 96 00:05:42,360 --> 00:05:42,919 Speaker 3: Coast swing? 97 00:05:43,960 --> 00:05:47,520 Speaker 1: Yeah, I'm looking forward to it. What happened was in 98 00:05:47,600 --> 00:05:49,960 Speaker 1: between the Blondie shows and the summer, we did a 99 00:05:49,960 --> 00:05:54,720 Speaker 1: one off show at the Whiskey I think it was 100 00:05:54,839 --> 00:05:58,520 Speaker 1: the Whiskey of the Roxy, I can't remember, and the 101 00:05:58,600 --> 00:06:01,839 Speaker 1: band kind of clicked. It's Clem Burke on drums is 102 00:06:01,880 --> 00:06:05,000 Speaker 1: helping me out, Gilby Clark on guitar, and Steve Fishman. 103 00:06:05,720 --> 00:06:08,599 Speaker 1: When we did that show in La quite a few 104 00:06:08,640 --> 00:06:12,480 Speaker 1: people got up with us and Kathy Valentine and Clinging 105 00:06:12,560 --> 00:06:16,760 Speaker 1: Phantom and Kevin Preston, who's the second guitarist in Green 106 00:06:16,839 --> 00:06:19,960 Speaker 1: Day Now, and Fred Ormison as well. Now, whether I'll 107 00:06:20,000 --> 00:06:22,159 Speaker 1: be attract all those for some of those gigs, I 108 00:06:22,160 --> 00:06:25,280 Speaker 1: don't know, but we'll see. You know, it clicks. It's 109 00:06:25,320 --> 00:06:29,279 Speaker 1: a good sort of Anglo American rock and roll band. Really. 110 00:06:29,320 --> 00:06:34,400 Speaker 1: I don't pretend to be, you know, the piper at 111 00:06:34,440 --> 00:06:37,960 Speaker 1: the gates of the new music world. But I've write 112 00:06:38,000 --> 00:06:40,960 Speaker 1: some pretty catchy songs. I think I present them pretty 113 00:06:41,000 --> 00:06:44,640 Speaker 1: good and this is fun to come on down. 114 00:06:45,120 --> 00:06:47,880 Speaker 3: You know, how did you sync up with these guys 115 00:06:47,920 --> 00:06:50,000 Speaker 3: with the members of the band, had you known all 116 00:06:50,040 --> 00:06:51,760 Speaker 3: of them. 117 00:06:52,360 --> 00:06:55,000 Speaker 1: I've known Clem for a long long time. I met 118 00:06:55,080 --> 00:06:58,280 Speaker 1: him when he first came over to London with Blondie 119 00:06:58,360 --> 00:07:01,640 Speaker 1: in the late seventies. Facts I think I met him. 120 00:07:02,920 --> 00:07:05,160 Speaker 1: I did one off gig, was said vicious, at a 121 00:07:05,200 --> 00:07:07,760 Speaker 1: place called the Electric Ballroom, and it's sort of quite 122 00:07:07,800 --> 00:07:10,800 Speaker 1: a legendary one off gig and Blondie came down to 123 00:07:10,840 --> 00:07:12,680 Speaker 1: check us out, and I think I met him then. 124 00:07:12,800 --> 00:07:18,000 Speaker 1: That's probably about nineteen seventy eight, and we kept in 125 00:07:18,040 --> 00:07:21,760 Speaker 1: touch and we'd done loads of different projects with each other. 126 00:07:21,920 --> 00:07:24,320 Speaker 1: Some good, some are bit hair brain. But you know, 127 00:07:24,440 --> 00:07:28,240 Speaker 1: for every thing that comes out you see a musician do, 128 00:07:28,400 --> 00:07:31,960 Speaker 1: there's probably about ten times as many ideas where people 129 00:07:32,080 --> 00:07:34,560 Speaker 1: just gets together and try something out and see what 130 00:07:34,680 --> 00:07:37,560 Speaker 1: comes with it. Then this has kind of coming out 131 00:07:37,840 --> 00:07:42,440 Speaker 1: and suggested Gilby, although I'd met Gilby before. The guy's 132 00:07:42,440 --> 00:07:45,400 Speaker 1: playing bass is a guy called Steve Fishman. Used to 133 00:07:45,400 --> 00:07:48,440 Speaker 1: look the American guy, but he lives. He used to 134 00:07:48,480 --> 00:07:50,520 Speaker 1: live in London, used to be the bass player and 135 00:07:50,600 --> 00:07:53,200 Speaker 1: a big TV show over here with a guy called 136 00:07:53,920 --> 00:07:56,960 Speaker 1: Jonathan Ross, so he was around. So we're kind of friends, 137 00:07:57,000 --> 00:08:00,680 Speaker 1: you know. But it's a good player with them. They 138 00:08:00,760 --> 00:08:03,880 Speaker 1: all play kind of good, you know men. American guys 139 00:08:03,880 --> 00:08:07,760 Speaker 1: play good. They play really good, you know, so and 140 00:08:07,840 --> 00:08:10,400 Speaker 1: these guys do. In fact, I've dubbed the band the 141 00:08:10,440 --> 00:08:13,080 Speaker 1: Maestros because they are all my spros to a man, 142 00:08:13,440 --> 00:08:14,040 Speaker 1: I love that. 143 00:08:14,680 --> 00:08:19,320 Speaker 3: So Glenn, tell me what an average day that is 144 00:08:19,440 --> 00:08:20,960 Speaker 3: joyful is like for you? 145 00:08:23,000 --> 00:08:27,400 Speaker 1: Joyful? Wow, having enough sleep in the morning's kind of good. 146 00:08:27,440 --> 00:08:29,280 Speaker 1: I've been really busy. I've just come off a two 147 00:08:29,400 --> 00:08:32,640 Speaker 1: but I've been all around the UK just doing some 148 00:08:32,679 --> 00:08:35,760 Speaker 1: solo shows, which is what I'm doing tonight. It revolves 149 00:08:35,840 --> 00:08:40,600 Speaker 1: around having enough coffee. Basically, they set it outside my 150 00:08:40,679 --> 00:08:43,960 Speaker 1: local coffee bar, watching the world go by. But I'm 151 00:08:44,040 --> 00:08:47,800 Speaker 1: quite tough at where I live, and I've lived for 152 00:08:47,840 --> 00:08:51,120 Speaker 1: many eight years. But it's kind of like a stellar street. 153 00:08:52,440 --> 00:08:54,520 Speaker 1: There's a TV program called I don't know if you've 154 00:08:54,559 --> 00:08:57,520 Speaker 1: ever seen that. It's a really funny program called Cellar 155 00:08:57,559 --> 00:09:01,800 Speaker 1: Street where the premise of the program is that Keith 156 00:09:01,880 --> 00:09:05,840 Speaker 1: Richard and Mick Jagger run the corner shop, and then 157 00:09:05,880 --> 00:09:10,920 Speaker 1: there's people like, uh, here's the guy in Alfie. Michael 158 00:09:11,000 --> 00:09:14,840 Speaker 1: Caine's in it, and then there's al Pacino supposed to 159 00:09:14,840 --> 00:09:18,560 Speaker 1: be there. Yeah, they're all impressionists and they all live 160 00:09:18,600 --> 00:09:21,280 Speaker 1: in the street, you know, like they're kind of neighbors 161 00:09:21,360 --> 00:09:23,760 Speaker 1: rubbing shoulders. But where I live, I always see Paul 162 00:09:23,800 --> 00:09:27,440 Speaker 1: Weller and Lulu and Chrissy I and we'll just bump 163 00:09:27,480 --> 00:09:29,280 Speaker 1: into each other all the time. So it's kind of 164 00:09:30,240 --> 00:09:32,760 Speaker 1: quite fun really. You know, where you're gigging, Oh well, 165 00:09:32,760 --> 00:09:34,720 Speaker 1: I'm here, I've just come back from America. Where are 166 00:09:34,720 --> 00:09:38,360 Speaker 1: you gigging? I'm going up to Paris tomorrow and all that. 167 00:09:38,600 --> 00:09:40,600 Speaker 1: So it's a good way of catching up so I'm 168 00:09:40,640 --> 00:09:43,920 Speaker 1: quite happy beIN So yeah, if I have enough time 169 00:09:43,960 --> 00:09:45,280 Speaker 1: to do that, I'm happy. 170 00:09:46,000 --> 00:09:49,520 Speaker 3: That's a great description of joy, just running onto others, 171 00:09:49,880 --> 00:09:51,720 Speaker 3: tremendous folks. My god, I love it. 172 00:09:52,280 --> 00:09:56,840 Speaker 1: Yeah, yeah, yeah. And then normally we talk about each 173 00:09:56,880 --> 00:10:01,400 Speaker 1: other behind you got I was doing something about the 174 00:10:01,400 --> 00:10:03,960 Speaker 1: best thing I've ever did. I played with a version 175 00:10:04,000 --> 00:10:07,440 Speaker 1: of The Faces. Rod Stewart never did it, but Ronnie 176 00:10:07,440 --> 00:10:11,319 Speaker 1: Wood and Kenny Jones and Ian mcglagan did it. And 177 00:10:11,480 --> 00:10:14,800 Speaker 1: he was rehearsing, and I went out to dinner with 178 00:10:14,920 --> 00:10:18,319 Speaker 1: Ronnie and Ian mcgligan, the keybole player, and I got 179 00:10:18,400 --> 00:10:19,720 Speaker 1: up and he said, what are you gain? I said, 180 00:10:19,840 --> 00:10:21,480 Speaker 1: I'm going to the Louis. He said, you don't want 181 00:10:21,480 --> 00:10:23,760 Speaker 1: to leave? I said, why not? He said, but well, 182 00:10:23,760 --> 00:10:25,600 Speaker 1: I don't talk about you behind your back. 183 00:10:30,080 --> 00:10:33,200 Speaker 3: Now when everybody gets together just for you know, a 184 00:10:33,200 --> 00:10:35,920 Speaker 3: cup of coffee at the shop. I mean, you guys 185 00:10:35,960 --> 00:10:38,000 Speaker 3: talk current events and everything, don't you. 186 00:10:39,960 --> 00:10:42,000 Speaker 1: A little bit? But if I see, well, it's normally 187 00:10:42,040 --> 00:10:43,880 Speaker 1: where'd you get those jeans from? Well, I've got this 188 00:10:43,960 --> 00:10:47,959 Speaker 1: place down in the Chiltern Street. Now, you know, they 189 00:10:48,000 --> 00:10:50,600 Speaker 1: feel like kind of leve I stay press right, everybody 190 00:10:50,640 --> 00:10:53,480 Speaker 1: are together. Yeah, can you get them in Air Force Blue? 191 00:10:53,559 --> 00:10:55,240 Speaker 1: We are. I think we've got some or you should 192 00:10:55,240 --> 00:10:58,559 Speaker 1: come down and check out. It's pretty mundane really, but 193 00:10:58,720 --> 00:11:01,840 Speaker 1: you know, we don't talk shot too much. You have 194 00:11:01,960 --> 00:11:04,760 Speaker 1: enough of the rest of the time. No, yes, there 195 00:11:04,760 --> 00:11:07,040 Speaker 1: are lots of current events going on at the moment 196 00:11:07,120 --> 00:11:10,560 Speaker 1: and we're living in pretty straight and times. I mean, 197 00:11:10,640 --> 00:11:13,200 Speaker 1: I dan turn on the news after the time. It's 198 00:11:13,240 --> 00:11:15,400 Speaker 1: just too depressing, really, I hear you. 199 00:11:16,720 --> 00:11:18,880 Speaker 2: We'll be right back with more of the Taking a 200 00:11:18,920 --> 00:11:29,120 Speaker 2: Walk Podcast. Welcome back to the Taking a Walk Podcast. 201 00:11:30,679 --> 00:11:33,400 Speaker 3: So tell me how you first became a musician. 202 00:11:34,160 --> 00:11:36,360 Speaker 1: Well, I can I get from a very young age, 203 00:11:36,400 --> 00:11:39,120 Speaker 1: I always wanting to be I was. I said this 204 00:11:39,200 --> 00:11:43,079 Speaker 1: quite a few times. I was about ken. He used 205 00:11:43,080 --> 00:11:46,160 Speaker 1: to listen to the pirate radio stations over here where 206 00:11:47,040 --> 00:11:49,360 Speaker 1: bands like the Kinks and the Who and the r 207 00:11:49,440 --> 00:11:52,439 Speaker 1: Birds and the Stones came through. And then we had 208 00:11:52,440 --> 00:11:55,320 Speaker 1: the best TV show ever already, Steady Go, where those 209 00:11:55,360 --> 00:11:58,320 Speaker 1: bands would play live on and there was a girl 210 00:11:59,120 --> 00:12:02,280 Speaker 1: woman singing on it called Dusty Springfield, and she kind 211 00:12:02,280 --> 00:12:07,160 Speaker 1: of discovered Smoky not Smoky Robins. She discovered Tamla Motown 212 00:12:07,280 --> 00:12:10,800 Speaker 1: and then they like Smokey Robinson and Diane Warwick and 213 00:12:10,880 --> 00:12:14,160 Speaker 1: the Supremes and Martha Reeves and Fandela's all playing live. 214 00:12:14,679 --> 00:12:16,640 Speaker 1: That's kind of what got me game. But there was 215 00:12:16,679 --> 00:12:19,400 Speaker 1: another band that was on there a lot called the 216 00:12:19,440 --> 00:12:22,840 Speaker 1: Small Faces, which kind of mess the morephosed into the faces, 217 00:12:22,880 --> 00:12:24,800 Speaker 1: and I just kind of dug them. They were all 218 00:12:24,840 --> 00:12:27,920 Speaker 1: like young kids, mogs as we call them over there, 219 00:12:28,000 --> 00:12:30,720 Speaker 1: played great. Steven Merritt was a great singer. It just 220 00:12:30,800 --> 00:12:34,040 Speaker 1: kind of got me going, really and that's when I 221 00:12:34,080 --> 00:12:38,680 Speaker 1: got a guitar for Christmas and start having to go learning. 222 00:12:38,800 --> 00:12:41,240 Speaker 1: It wasn't very good back then, but she sticked with 223 00:12:41,320 --> 00:12:45,960 Speaker 1: something long enough. Just by a process of osmosis, you 224 00:12:46,000 --> 00:12:46,720 Speaker 1: pick things up. 225 00:12:47,679 --> 00:12:52,400 Speaker 3: Yeah, So, first record album you ever bought and first 226 00:12:52,520 --> 00:12:54,320 Speaker 3: concert you ever went to? What was it? 227 00:12:55,400 --> 00:12:59,600 Speaker 1: Well, the first record album I have not maybe not album, 228 00:12:59,679 --> 00:13:04,240 Speaker 1: but I've got two. I can't remember. I bought first singles. 229 00:13:04,240 --> 00:13:06,280 Speaker 1: I don't have enough money for albums, but I got 230 00:13:06,760 --> 00:13:08,920 Speaker 1: You really got Me by the Kink. So the fact 231 00:13:08,960 --> 00:13:10,400 Speaker 1: I can see it over the other side of the 232 00:13:10,440 --> 00:13:14,080 Speaker 1: room is the Twist and Shouty by the Beatles. Got that? 233 00:13:16,320 --> 00:13:18,360 Speaker 1: I think? What was the first album I bought? I 234 00:13:18,360 --> 00:13:22,080 Speaker 1: think the first album I got was Sergeant Paper for Christmas, 235 00:13:22,320 --> 00:13:24,400 Speaker 1: and I dug it out the other day. I rarely 236 00:13:24,400 --> 00:13:28,319 Speaker 1: play it, but it's still got the cardboard inner thing 237 00:13:28,400 --> 00:13:30,240 Speaker 1: in it, you know, with the medal that you can 238 00:13:30,280 --> 00:13:34,120 Speaker 1: cut and cut out, and sort of badge as you're 239 00:13:34,120 --> 00:13:37,640 Speaker 1: supposed to pin on, and the cardboard mustache. But I 240 00:13:37,720 --> 00:13:39,920 Speaker 1: never cut it out because I thought it would probably 241 00:13:39,960 --> 00:13:42,480 Speaker 1: look a bit stupid a ten year old kid, you know, 242 00:13:42,640 --> 00:13:46,320 Speaker 1: So it's still christ And the first gig I ever 243 00:13:46,360 --> 00:13:50,240 Speaker 1: went to see I got some really cheap tickets for 244 00:13:50,520 --> 00:13:52,439 Speaker 1: the girl I was going out with when I was 245 00:13:52,480 --> 00:13:55,600 Speaker 1: at school, and we went to see a band at 246 00:13:55,600 --> 00:13:57,880 Speaker 1: the Royal Abbit Hall called Pentangle, and I don't know 247 00:13:57,880 --> 00:13:59,560 Speaker 1: if you've ever heard of them. They're kind of like 248 00:13:59,640 --> 00:14:04,480 Speaker 1: Fault Yes Rock. And we went because there was a 249 00:14:04,559 --> 00:14:09,240 Speaker 1: TV show called Take Three Girls and they've done the 250 00:14:09,240 --> 00:14:15,600 Speaker 1: theme music for it. But I was really pleased I 251 00:14:15,640 --> 00:14:18,120 Speaker 1: went to that because it was like Dave Mattox and 252 00:14:18,200 --> 00:14:23,720 Speaker 1: John Renbourne and Jackie mcshe and Danny Thompson on bass, 253 00:14:24,160 --> 00:14:26,280 Speaker 1: you know. So I saw those guys in there praying. 254 00:14:26,480 --> 00:14:29,640 Speaker 1: I was quite pleased about that, but then I kind 255 00:14:29,640 --> 00:14:31,920 Speaker 1: of started getting into like more hard rock stuff. I 256 00:14:31,960 --> 00:14:34,640 Speaker 1: was a big fan of a band called the Sensational 257 00:14:34,760 --> 00:14:36,920 Speaker 1: Alex Harvey Band. I don't think they did a lot 258 00:14:36,920 --> 00:14:40,400 Speaker 1: in America, but they were kind of like a proto 259 00:14:40,640 --> 00:14:44,680 Speaker 1: punk band faces. I went to see it good a 260 00:14:44,720 --> 00:14:47,600 Speaker 1: few times. In fact, I saw them at Wembley when 261 00:14:47,640 --> 00:14:50,840 Speaker 1: they were supported by the New York Goals, which was 262 00:14:50,840 --> 00:14:53,320 Speaker 1: the very original band with Billy Marcy Is still playing 263 00:14:53,360 --> 00:14:56,520 Speaker 1: drums not long before he died, so I kind of 264 00:14:56,560 --> 00:15:01,520 Speaker 1: been there at some of the right moments in musical history. 265 00:15:02,440 --> 00:15:04,800 Speaker 1: It was a bit annoyed. I could have possibly gone 266 00:15:04,880 --> 00:15:07,040 Speaker 1: to see The Stones and I part with Mick Taylor, 267 00:15:07,040 --> 00:15:08,720 Speaker 1: but I had a job on a Saturday and I 268 00:15:08,720 --> 00:15:13,560 Speaker 1: had to deliver Missus Brown's groceries. I couldn't go. But 269 00:15:13,680 --> 00:15:16,360 Speaker 1: I skyped off a month or so later to go 270 00:15:16,400 --> 00:15:19,320 Speaker 1: and see Humble Pie support and Grand Funk Railroad. That 271 00:15:19,440 --> 00:15:23,080 Speaker 1: was kind of good. Wow. So would. 272 00:15:24,720 --> 00:15:28,400 Speaker 3: There'd be a particular musician or artist that you really 273 00:15:28,440 --> 00:15:32,000 Speaker 3: dig that would surprise our listeners of the podcast about 274 00:15:32,040 --> 00:15:32,840 Speaker 3: Glenn Matlock. 275 00:15:33,960 --> 00:15:35,960 Speaker 1: I don't know if it would surprised them too much, 276 00:15:36,000 --> 00:15:38,560 Speaker 1: and it's not been any secret, but I was always 277 00:15:38,600 --> 00:15:40,560 Speaker 1: a big fan of Ronnie Lane. That's why I got 278 00:15:40,560 --> 00:15:42,320 Speaker 1: a bass He was the bass player in the Small 279 00:15:42,360 --> 00:15:45,800 Speaker 1: Faces and then the bass player in the Faces. That's 280 00:15:45,800 --> 00:15:48,760 Speaker 1: why I'm so tough to get to play with the Faces, 281 00:15:48,800 --> 00:15:53,240 Speaker 1: because I could play all his bass parts. And McLagan 282 00:15:53,760 --> 00:15:56,360 Speaker 1: he said, look, Glenn, you know looks like you've got 283 00:15:56,360 --> 00:15:57,920 Speaker 1: the gig. Are you sure you're up for this? And 284 00:15:57,960 --> 00:16:01,240 Speaker 1: I said, Mac, this is nickname. I said, I can 285 00:16:01,280 --> 00:16:04,000 Speaker 1: play these songs backwards, and he went out great. I said, 286 00:16:04,040 --> 00:16:06,200 Speaker 1: it's just forwards I struggle with and he laughed and 287 00:16:06,240 --> 00:16:09,480 Speaker 1: it kind of but you know, I like Running because 288 00:16:09,480 --> 00:16:11,440 Speaker 1: he had a real kind of tender side as well. 289 00:16:11,600 --> 00:16:14,520 Speaker 1: And he had a great band after the Faces called 290 00:16:14,560 --> 00:16:19,040 Speaker 1: Slim Chants, and he's very kind of heartfelt songs. And 291 00:16:19,120 --> 00:16:23,120 Speaker 1: in fact, I was talking to Kenny Jones, the Faces drummer, 292 00:16:23,280 --> 00:16:25,240 Speaker 1: and I said, what happened to Ronnie Lane? Why did 293 00:16:25,240 --> 00:16:28,320 Speaker 1: he leave? And he said, think about it. Then he 294 00:16:28,360 --> 00:16:31,680 Speaker 1: said he wrote all these fantastic songs and every night 295 00:16:31,800 --> 00:16:34,000 Speaker 1: he was going on stage with one of the best 296 00:16:34,720 --> 00:16:38,200 Speaker 1: rock soul singers ever, Rod Stewart, and he'd never have 297 00:16:38,280 --> 00:16:40,320 Speaker 1: a chance to sing any of his songs live, so 298 00:16:40,480 --> 00:16:44,600 Speaker 1: no wondery blinking that you know, so, yeah, that makes 299 00:16:44,600 --> 00:16:47,200 Speaker 1: some kind of sense. But I like all kinds of music. 300 00:16:47,200 --> 00:16:50,840 Speaker 1: I've got very catholic taste. I like Anthony Newley, you know, 301 00:16:51,000 --> 00:16:54,560 Speaker 1: like big show tunes. I like Jacques Bell, I like bebop, 302 00:16:54,680 --> 00:17:00,320 Speaker 1: kind of jazz, big fan of Mose Allison, and and 303 00:17:01,480 --> 00:17:04,240 Speaker 1: I like kind of crowd rock, you know, like can 304 00:17:04,400 --> 00:17:08,400 Speaker 1: and Pathwork and stuff like that. I think the only 305 00:17:08,520 --> 00:17:11,960 Speaker 1: answer in music is how well executed it is, you know, 306 00:17:12,119 --> 00:17:15,639 Speaker 1: how much heart goes into it. It doesn't really matter about 307 00:17:15,640 --> 00:17:17,240 Speaker 1: the idiom too much. 308 00:17:18,000 --> 00:17:20,639 Speaker 3: You mentioned Mos Allison. What was that song he'd said, 309 00:17:20,960 --> 00:17:24,800 Speaker 3: your mind is going crazy and your mouth is working overtime. 310 00:17:24,880 --> 00:17:25,800 Speaker 3: Do I have that one right? 311 00:17:26,680 --> 00:17:29,119 Speaker 1: Your mind is on vacation, but your mouth is working 312 00:17:29,200 --> 00:17:33,280 Speaker 1: over time. Yeah, that one. You'll be a lucky structure. 313 00:17:34,920 --> 00:17:38,560 Speaker 1: Let's everyone, I am talking that the yardbirds coming and talking. 314 00:17:39,640 --> 00:17:42,920 Speaker 1: I got to say, if I said things splendid, someone 315 00:17:42,960 --> 00:17:45,920 Speaker 1: would be offended. If I said things were awful, it 316 00:17:46,040 --> 00:17:51,680 Speaker 1: might just be out laughing talking. It just don't pay it. Yeah. 317 00:17:52,160 --> 00:17:56,440 Speaker 1: I actually saw him play some jazz place maybe about 318 00:17:56,480 --> 00:18:01,880 Speaker 1: fifteen years ago. That was cool, awesome, And I've always 319 00:18:01,920 --> 00:18:04,920 Speaker 1: thought this I always thought my generation sounded a bit 320 00:18:06,320 --> 00:18:10,199 Speaker 1: Mosares and mosaics and Isha and I did see some 321 00:18:10,359 --> 00:18:13,719 Speaker 1: interview where Pete Townsend owns up to that because they 322 00:18:13,760 --> 00:18:15,879 Speaker 1: did young Man Blues, which is one of his songs, 323 00:18:15,880 --> 00:18:18,080 Speaker 1: but a whole groove of my generation. It's almost like 324 00:18:18,119 --> 00:18:20,800 Speaker 1: a polka, which is like, you know, a two bits 325 00:18:20,800 --> 00:18:25,320 Speaker 1: that and let's come to Moses and kind of groove. 326 00:18:26,119 --> 00:18:29,520 Speaker 1: So yeah, and I'm also a big fan of a 327 00:18:29,520 --> 00:18:33,240 Speaker 1: guy called Georgie Faine, so he totally ripped off mos 328 00:18:33,280 --> 00:18:37,880 Speaker 1: Allison with his voice. You did that song? Yeah, pretty baby? 329 00:18:38,000 --> 00:18:42,639 Speaker 1: Tell me what you see that? You know that quite. 330 00:18:42,600 --> 00:18:44,440 Speaker 3: Played with their Morrison. 331 00:18:44,760 --> 00:18:47,600 Speaker 1: Yeah, there are those people. They're all kind of mates 332 00:18:47,640 --> 00:18:50,040 Speaker 1: with each other, you know, and I like that. You know, 333 00:18:50,160 --> 00:18:52,880 Speaker 1: people kind of accuse me sometimes of playing with too 334 00:18:52,880 --> 00:18:55,920 Speaker 1: many different people, but all the people I like, they'd 335 00:18:55,960 --> 00:18:59,840 Speaker 1: always prop up on different albums and and things, and 336 00:19:00,440 --> 00:19:03,040 Speaker 1: I think it's kind of good, you know, the whole 337 00:19:03,520 --> 00:19:07,040 Speaker 1: family motown thing, like everybody played on everybody else's record, 338 00:19:07,119 --> 00:19:11,240 Speaker 1: you know, Yeah, let's go that's cool. You know. 339 00:19:12,240 --> 00:19:15,639 Speaker 3: So when you're in a studio, can you describe what 340 00:19:15,760 --> 00:19:18,040 Speaker 3: your creative processes is like? 341 00:19:19,160 --> 00:19:22,960 Speaker 1: Well, normally I have the way the song goes, you know, 342 00:19:23,080 --> 00:19:25,560 Speaker 1: the set of calls in the tune, and he's kind 343 00:19:25,560 --> 00:19:28,320 Speaker 1: of hopefully decided on the key before you get there, 344 00:19:28,359 --> 00:19:32,200 Speaker 1: and we just kind of throw it around with the guys. Yeah, 345 00:19:32,200 --> 00:19:34,879 Speaker 1: and there might be an important riff. As long as 346 00:19:34,880 --> 00:19:37,360 Speaker 1: the lead guitarist plays the important riff, he can come 347 00:19:37,440 --> 00:19:39,879 Speaker 1: up with what he likes. In fact, I said to 348 00:19:39,920 --> 00:19:41,880 Speaker 1: el Slick was in the studio with me. He said, 349 00:19:41,920 --> 00:19:44,679 Speaker 1: I don't know what kind of solos to do on 350 00:19:44,720 --> 00:19:47,440 Speaker 1: this one. I said, Ell, I suggest you do a 351 00:19:47,480 --> 00:19:49,280 Speaker 1: good one, because it's going to have your name on 352 00:19:49,320 --> 00:19:52,439 Speaker 1: the record, and if it's a bad one, people are 353 00:19:52,440 --> 00:19:54,720 Speaker 1: going to think you're the network and not me. You know, 354 00:19:55,480 --> 00:19:58,280 Speaker 1: he's stronger words than he went. Okay, I get it, 355 00:19:58,359 --> 00:20:03,040 Speaker 1: Matt Luck. I love it. I really have a laugh, 356 00:20:03,160 --> 00:20:07,560 Speaker 1: you know. And Nick nick Lowe, you've probably heard of 357 00:20:08,480 --> 00:20:14,359 Speaker 1: produced order the Elvis Costello and all that is ad 358 00:20:14,400 --> 00:20:17,600 Speaker 1: age for a record production is slipe it down and 359 00:20:17,680 --> 00:20:20,320 Speaker 1: tart it up. And that's kind of quite quite a 360 00:20:20,320 --> 00:20:24,760 Speaker 1: good maxim I think. Really, yeah, I love it. 361 00:20:25,440 --> 00:20:28,800 Speaker 3: So what, in your opinion is the current state of 362 00:20:28,880 --> 00:20:30,240 Speaker 3: the music business. 363 00:20:30,520 --> 00:20:32,520 Speaker 1: Oh, I don't know. And more I know about the 364 00:20:32,640 --> 00:20:36,960 Speaker 1: music business. The less I know, it just keeps changing. 365 00:20:37,119 --> 00:20:41,000 Speaker 1: I think there's a I hate all the kind of 366 00:20:41,880 --> 00:20:46,080 Speaker 1: also tuned five or six songwriters on a song and 367 00:20:46,119 --> 00:20:48,840 Speaker 1: it all sounds the same. I think it's become a 368 00:20:48,840 --> 00:20:51,719 Speaker 1: bit soulless. But there's always people having to go at 369 00:20:51,760 --> 00:20:55,800 Speaker 1: doing things. But it's always kind of been like that. 370 00:20:55,840 --> 00:20:58,040 Speaker 1: It's just the way the world goes. It just becomes 371 00:20:58,119 --> 00:21:03,960 Speaker 1: more and more all the time. I played at Fastonbury 372 00:21:04,440 --> 00:21:08,840 Speaker 1: with Blondie on the main stage this summer. We were 373 00:21:10,320 --> 00:21:12,960 Speaker 1: second on the bill. Elton John was top of the bill. 374 00:21:13,080 --> 00:21:16,359 Speaker 1: I thought I'd go and watch Elton John from the 375 00:21:16,400 --> 00:21:17,800 Speaker 1: side of the stage. They wouldn't let me on the 376 00:21:17,840 --> 00:21:21,280 Speaker 1: stage because I didn't have the right pass. It's ridiculous, 377 00:21:21,720 --> 00:21:26,439 Speaker 1: you know. And then my son came and he couldn't 378 00:21:26,440 --> 00:21:28,359 Speaker 1: get in because I've given him a past, but it 379 00:21:28,440 --> 00:21:30,399 Speaker 1: wasn't the right pass to get in the catering bit. 380 00:21:30,520 --> 00:21:33,600 Speaker 1: So I snuck out the back way, went round and 381 00:21:33,680 --> 00:21:38,440 Speaker 1: even though I was about to play the the security 382 00:21:38,480 --> 00:21:40,560 Speaker 1: bloke said below, haven't got the right pass. I said, well, 383 00:21:40,560 --> 00:21:43,720 Speaker 1: I've just come out there. No, that's it. It's crazy, 384 00:21:44,000 --> 00:21:46,280 Speaker 1: you know, And it's supposed to be like a free 385 00:21:46,880 --> 00:21:50,399 Speaker 1: spirited festival, and it's like you might as well be 386 00:21:50,480 --> 00:21:55,119 Speaker 1: five o'clock and at work at IBM. 387 00:21:55,240 --> 00:22:04,160 Speaker 3: Well, well, closing, what advice would you give to musicians 388 00:22:04,160 --> 00:22:07,119 Speaker 3: that are starting up who are listening to this podcast? 389 00:22:09,200 --> 00:22:11,520 Speaker 1: It got for it really and take the rough with 390 00:22:11,640 --> 00:22:17,080 Speaker 1: the smooth. It's you know, I think if you if 391 00:22:17,119 --> 00:22:20,040 Speaker 1: you get distracted by a day job or something like that, 392 00:22:20,240 --> 00:22:22,600 Speaker 1: you kind of have to suffer fear a little bit 393 00:22:22,680 --> 00:22:25,480 Speaker 1: and take it on the chin if it don't work, 394 00:22:25,880 --> 00:22:31,040 Speaker 1: but a bitter perseverance, using your noodle, using your head, 395 00:22:31,280 --> 00:22:35,800 Speaker 1: and don't keep making the same mistakes twice. It's kind 396 00:22:35,800 --> 00:22:39,440 Speaker 1: of good, you know. If something is not working, it's 397 00:22:39,760 --> 00:22:42,120 Speaker 1: you're not going to get a different result by doing 398 00:22:42,160 --> 00:22:46,000 Speaker 1: the same thing. No, I've been kind of fortunate. It's 399 00:22:46,000 --> 00:22:49,640 Speaker 1: spit up and down, but I do know that I'll 400 00:22:49,640 --> 00:22:52,200 Speaker 1: probably get a phone call once in a blue moon 401 00:22:52,280 --> 00:22:54,480 Speaker 1: to come and do something. You know. The whole blondie 402 00:22:54,480 --> 00:22:59,959 Speaker 1: thing came out of the nowhere. Yeah, I know everybody 403 00:23:00,119 --> 00:23:02,919 Speaker 1: is not in that position, but we just kind of 404 00:23:03,520 --> 00:23:05,480 Speaker 1: I think the thing is is you got to be 405 00:23:06,400 --> 00:23:10,160 Speaker 1: cool with the right people and as as a pate event, 406 00:23:10,240 --> 00:23:12,800 Speaker 1: they're getting big and I start getting ask you with people, 407 00:23:13,440 --> 00:23:15,560 Speaker 1: and you never know when you're gonna slide down the 408 00:23:15,600 --> 00:23:19,880 Speaker 1: greasy pole. So you know, be good to pat roading 409 00:23:19,920 --> 00:23:21,679 Speaker 1: the way out because you never know when you're be 410 00:23:21,680 --> 00:23:27,080 Speaker 1: coming back. Family, But on just be reasonable good advice. 411 00:23:27,800 --> 00:23:32,840 Speaker 3: Well, Glenn Mattlock, congratulations on the latest album, Consequences coming 412 00:23:33,440 --> 00:23:38,160 Speaker 3: and have fun on the West coast swing there in January, 413 00:23:38,880 --> 00:23:42,520 Speaker 3: San Diego starting on the nineteenth and right through up 414 00:23:42,560 --> 00:23:47,400 Speaker 3: till the twenty fourth and San Francisco. So, Glenn Mattlock, 415 00:23:48,040 --> 00:23:49,480 Speaker 3: thank you so much and honor to. 416 00:23:49,480 --> 00:23:49,879 Speaker 1: Talk to you. 417 00:23:50,720 --> 00:23:54,840 Speaker 2: Thanks for having us, Thanks for listening to this episode 418 00:23:54,880 --> 00:23:58,080 Speaker 2: of the Taking a Walk podcast. Share this and other 419 00:23:58,160 --> 00:24:00,840 Speaker 2: episodes with your friends and follow of us so you 420 00:24:01,000 --> 00:24:04,320 Speaker 2: never miss an episode. Taking a Walk is available on 421 00:24:04,400 --> 00:24:09,480 Speaker 2: the iHeartRadio app, Apple Podcasts, and wherever you get your podcasts.