The UK band may have bum-rushed the charts during the ‘80s and early ‘90s with their powerful brand of R&B-tilting punk, but on the evidence of a new studio album, there’s plenty of fuel remaining in the tank. Following the text, check out some recent live video clips.
BY JOHN B. MOORE
Legendary British rockers The Godfathers could easily spend the next couple of decades coasting on Gen X nostalgia, hitting the festival and theater circuit every summer to cycle through an endless greatest hits set from Birth, School, Work, Death and More Songs About Love & Hate. But to quote band founder and front man Peter Coyne “We’re not dusty museum pieces!”
Throughout the ‘80s and ‘90s The Godfathers churned out one great album after the next, mining a sweet spot between punk rock and classic R&B. They band called it quits for a while, when Coyne tried to walk away from music and simply “just be a human being.” But normal life didn’t take and the band was back to playing music again.
After a long time away from the recording studio, Coyne has reassembled The Godfathers and recorded their best album since 1991’s Unreal World. The latest, A Big Bad Beautiful Noise is a clarion call to the world of rock, an album crammed with big guitars, strong hooks and soaring vocals.
Coyne, who is currently touring across Europe with the band took some time recently to talk about the
BLURT: It’s been years since you last recorded as The Godfathers. What got you to do it again?
PETER COYNE: Well, we did something in 2000 and took and eight-year break. In between that I didn’t want to be in any other groups and was quite happy just being a human being. So, I got a call from Kris Dollimore, who used to be in The Godfathers and was putting together a band, and I said, “I’m not really interested, to be honest.” I then said, “Well, who’s in it?”
“It’s Rat Scabies on drums and me on guitar.” and I said “I’ll do it. Just like that.” We did that for about a year. We were called The Germans, recorded a bunch of demos and did about eight gigs, but we never made proper recordings which I always thought was a damn shame. Then I got The Godfathers back together to promote (the anniversary of) our debut album, Hit By Hit, in 2008 and that’s how it all started again. (Below: “Rewind Time” from the new album.)
In getting the band back together, and recording that great live record (Shot Live at 100 Club) in 2010, did that show you that there was still an appetite out there for more from The Godfathers?
Definitely, because we were playing gigs all around the world and there was still interest in The Godfathers. There was a lot of love out there for the band. That was quite pleasing to discover, so we started it all again. (Below: classic early hit “Birth, School, Work, Death”)
You guys certainly have a slew of songs that go back decades, which fans still relate to. You could just as easily make a comfortable living, and I’d assume easier, touring solely off playing the hits. Why keep writing new music and record again?
I’m not interested, neither is anyone else in this lineup of the band, in reflective glory or trading on what we’ve done in the past as The Godfathers. I think we’ve made some fantastic records with the band: Hit By Hit, Birth School Work Death, More Songs About Love and Hate, Unreal World, that one’s that’s called “the Orange Album,” they’re the sort of classic Godfather recordings as far as I can work out, but we wanted to do something with this new album that’s a completely different sonic adventure. We didn’t want to do More Songs About Love And Hate, Part Two and Hit By Hit: The Sequel; Unreal World: The Follow Up. Not interested; No, thank you. We’ve done things like that before. Our job right here, right now is to make rock and roll for today and make it sound even better, if it’s possible, then we’ve done with the group in the past. We’ve got high benchmarks in this band, lofty standards and we don’t want to drop the load ever. And I think A Big Bad Beautiful Noise is a fantastic album. It’s a collaboration between everyone in the band, it’s not just me.
This is the first time you’ve recorded with a lot of the folks that are in the band now. Were there any rules or outlines about writing that you had?
Not really. The only rule was that all of these songs must be great, they must have something special about them. Writing came completely naturally. I’d done a lot of work with Steve (Crittall, guitar) and I’d just show up with a lot of lyrics to his studio in Soho, London and I’d explain what I thought was the best way to approach it. He’d turn around, have a think about it and then start working musically about what fit. We’d bat it about between the pair of us and within half-an-hour to 45 minutes we’d always have a great number we could work with. The same with Mauro (Venegas, guitar).
Over the past 10 years or so, a lot of younger bands have cited The Godfathers as a musical influence. Were there any bands that influenced this album when you were writing it?
Not really. I think we were copying The Godfathers, copying our own sound if you know what I mean. Everyone is influenced by someone. I think A Big Bad Beautiful Noise is influenced a little bit by The Stooges. I think musically “You and Me Against the World,” the finishing track on the album, borrows a little bit from David Bowie. Musically it was inspired by the death of David Bowie and lyrically from the fallout of Brexit and what’s happening at this moment.
It’s very pleasing that bands in the States, and in fact all around the world, are influenced by The Godfathers because we’ve definitely been influenced by the bands that came before us and it’s great to get that feedback from other groups. There’s a couple of American bands, Local H and Spoon have covered Godfather songs on their records and there’s that band Mars Volta that said that whole album (editor’s note: Noctourniquet) that was influenced by The Godfathers. That’s fantastic.
I know you guys have started a tour in Europe. Any chance you’ll be in the U.S. now that the record is out?
I’ll be quite honest with you, we’re seriously looking into it. It is so expensive, you wouldn’t believe it, for British bands coming to America. It’s a lot easier for American bands to come to the UK. It should be no problem to get us to the States, but you’ve got to pay for visas, you’ve got to pay for flights. It’s incredibly expensive. We really want to do it though. We love to play live and with an album like A Big Bad Beautiful Noise you’ve got to hear this live. We’re not dusty museum pieces this is fresh rock and roll music that we want to deliver to people. We want to go back to the Motherland of rock music and deliver this to the yanks.
Top photo credit: Sean Robert Howarth / Live photo: Monty Strikes