Rock musician quote of the year: “If you put a four-legged table on rough ground, it’s wobbly. But if you put a three-legged one [there], it stays there.” The erstwhile Sex Pistol, Rich Kid, Philistine, and more has never been unsteady, that’s for sure… Mr. Matlock explains. Additional reading at this fan site and at his Facebook page.
BY DAVE STEINFELD
Among the many “what if” questions that abound in rock and roll’s 65-year history, it’s interesting to wonder what might have happened if Glen Matlock had not left The Sex Pistols.
The popular narrative, of course, is that Matlock didn’t actually leave — that he was sacked by Johnny Rotten and company for liking The Beatles and for not being “punk” enough. While the relationship between Rotten (or Lydon) and Matlock has been bumpy over the years, it’s also clear that the popular narrative isn’t factual. Bearing in mind that there are three sides to every story, the bassist’s claim that he left the Pistols by choice is substantiated, among other things, by the fact that he had already started another band. The Rich Kids unveiled their debut album, Ghosts of Princes In Towers, in 1978.
What’s also clear is that with all due respect to the Pistols, the band suffered musically from Matlock’s departure. Even Rotten told the noted UK music journalist Jon Savage, “Glen was… the best musician out of the lot of us.” His replacement, Sid Vicious, certainly added to the Pistols’ legend — and there’s no question that his attitude was more in line with their punk rock ethos. But it’s also obvious that Vicious had little (if any) musical ability. He wasn’t much of a bassist and, unlike Matlock, added nothing to the band’s songwriting catalog. In truth, he was little more than a junkie who was in the right place at the right time.
Matlock, on the other hand, has spent the last four decades or so as a working musician. The Rich Kids called it a day as the ‘80s dawned but he stayed busy — and has remained busy to this day. He’s played with everyone from Iggy Pop to The Faces (probably the band who influenced him the most) and, more recently, has fronted The Philistines. Matlock has also reunited with the other three Pistols (Rotten, guitarist Steve Jones and drummer Paul Cook) for the occasional tour.
This year, Matlock is touring in support of his most recent solo effort, Good To Go. In June, he did a three date mini-tour of the States which kicked off at Joe’s Pub in NYC. The show itself was just Matlock and his guitar but he turned in a spirited and diverse set to an adoring crowd. In addition to several tunes from Good To Go (including the single “Sexy Beast”), he included songs from both the Pistols and Rich Kids catalogs as well as covers of Bowie’s “John, I’m Only Dancing,” Richard Hell’s “Blank Generation” and Scott Walker’s “Montague Terrace in Blue.” I spoke with him backstage, before the show, and found him to be a down to Earth guy with a singular history and a good sense of humor.
Tell me what prompted this sort of mini-tour of the States that you’re doing now.
Well, I put my album out at the tail end of last year. I’m not the most organized guy in the world, and I didn’t get to tour it. [But] earlier this year in England, I have done. I just finished a full band tour. Right after that, I met this guy Jon Halpen, who said, “Do you wanna come do some shows [in the States]?” And they offered me these three shows as a ‘come and say hello’ kind of thing. Then maybe I’ll come back in September with a band.
So, are these shows solo?
These are totally solo. It’s something that I’m used to doing. I’ve been doing loads of solo shows, all around the world, for the past 10 years. I’ve played in Japan, Australia, South America — Iceland, even. That’s why I made my [new] record sound the way that it does. Instead of doing a heavy rock record, I’ve really enjoyed doing the acoustic thing.
Most of the [new] album was done [in upstate New York]. We recorded about 18 songs but a few were covers we did for a laugh. And then when I [went] back to England, I thought “Well, this is not quite an album.” Not the number of songs but [how] they all fit together as a kind of whole. So, I wrote a couple of other songs that were a bit more in keeping with what the album was about in my mind.
I’m fortunate in that I’m a musician. I get to travel the world and see how it is. [And] it’s pretty much the same everywhere. Not in terms of how much money you’ve got and all that. But people wanna feed themselves, they wanna look after their families, they wanna be able to cut loose and not be told what to do. Wherever you go in the world, it’s the same. You know, I’ve just come back from Palestine.
Can I ask you a little about what that was like?
Well, it was horrible [for the] Palestinians. You do not want a border wall in Mexico. It’s divisive; it creates so much trouble and dissent. And they’ve got walls everywhere [there], snaking in and out…. Until you go there, you don’t see it. You know, I came away thinking “If you put people in cages, you shouldn’t be too surprised if they want to rattle [them] every now and then.”
I [also] wanna ask you some stuff about back in the day. What was the inspiration for “Ghosts of Princes In Towers?”
Ah! Are you coming to the show [tonight]? I was gonna tell that story!
Basically, I didn’t want to be a second division Sex Pistol; I wanted to do something different. And I wanted to get the singer Midge Ure, who we all thought was very good. He’d had a number one record and was a bit of a teen idol with a band called Slik: kind of pop [with] big, dramatic beginnings.
So, I wanted him in the band. He was gonna be in the band, then he wasn’t, then he was, then he wasn’t. He couldn’t make his mind up! So [in the meantime] I thought, “Sod this, I’m gonna do some gigs.” Mick Jones from The Clash was a friend of mine. [He] played guitar and I had a go at singing. We did this gig in London at a place called The Vortex. And because I didn’t wanna be a second division Sex Pistol, we thought we’d look a bit different. It was the height of punk [but] we were kind of growing our hair out a little bit and had sort of slightly flouncy shirts on. And somebody wrote a review and said, “The band came onstage looking like the ghosts of princes in towers.” So, I thought, “Oh, that’s interesting.”
But a few other ideas were going through my head at the same time. I’d been reading a lot of Jean Cocteau. He’d written a book called Thomas the Impostor, about this bloke who just lies his way through life and gets shot in the first World War. And then also, it was the height of the teddy boys vs. the punks and the punks vs. the skinheads. Everybody was trying to be forward-looking but they were all staving each other’s heads in. I didn’t think that was right. So somehow, it’s all in the song.
Interesting. It’s a good song!
I love it. It’s about something.
What’s an album that really influenced you early on?
A Nod Is As Good As a Wink to a Blind Horse [by] The Faces. It opens with “Miss Judy’s Farm,” which is one of the best rock-soul workouts ever. The Faces seemed like they had a laugh about everything, all the time. Ronnie Wood’s pretty much my favorite guitarist. Ian McLagan’s my favorite keyboard player — really unsung. And any 15-year-old boy wanted to be in The Faces.
What do you have on the agenda for the rest of this year?
Well, I’ve got this show tonight [and then] two more: Hollywood and Long Beach. So, I fly to Los Angeles tomorrow. I might hang out in the States for a little bit. And then I’ve got pretty much enough songs for a new album. So, I’ve gotta decide how I’m gonna go about doing [that]. Then we’re going to Japan in July, and there’s talk about coming back here and doing a band show in the fall. I’m kinda busy.
One last question. What did each of the four of you bring to the original Pistols that was unique?
Steve and Paul were the kind of musical sound, I think. I was the tunesmith. Came up with lots of riffs and some of the guitar parts that Steve plays. He interprets them very well but they’re my little ideas. And John was the nut case with the chip on his shoulder. But the real attitude for The Sex Pistols came from Steve Jones. He was what you’d call a bit of a Wide Boy, a likely lad. Like something out of a Jean Genet book.
When I was in the [Pistols], there wasn’t four people in the band; it was like a triangle. It was John… Me… And Steve and Paul. [But] you know what? If you put a four-legged table on rough ground, it’s wobbly. But if you put a three-legged one [there], it stays there.