Come on, I will tell you how I will change, when I give you something to slaughter, shepherd boy (Hey!)  Everybody sing (Hey!) Be my, be my toy - We live on blood  - We are Sparta F.C   ~  I don't have a jack knife it went up the hill - where it is going I don't know, shepherd boy (Hey!) everybody says (Hey!) Be my, be my toy - We live on blood - We are Sparta F.C.  ~  You'll have to pay for everything but some things are for free,  we live on blood, we are Sparta F.C.  English Chelsea fans, this is your last game, we're not Galatasaray, we're Sparta F.C. ~  Come on I will tell you how I will change, shepherd boy, everybody says - Be my, be my toy - We live on blood - We are Sparta F.C.  ~  And take your fleecy jumper, you will not need it anymore, Chelsea fan in your bobble hat, you mug old women in the paper shop, everybody says (Hey!)  ~  We are Sparta F.C.  ~  Sparta!

The Fall at The Electric, Brixton. April 25th 2015


on The Pop Group

extract from an interview in 1980,
"I believe that you can't sit down and say, "This record is going to be really weird, nothing else is ever going to sound like this" 'cause that's crap. The Pop Group are the greatest example of that. The Pop Group's stuff is good, but they tried so hard to be different, they just fell flat on their faces, and innovators don't do that."

on PiL

extract from an interview in 1980,
"I feel a bond with PiL. PiL are doing a lot of what we've always wanted to do. They've got the power as well. PiL's stuff is really good stuff in my estimation - turning it all round, which is about time.That's what I mean about having your own style. Can were a perfect pop/rock 'n' roll band in my estimation. A lot of people don't see Can as rock 'n' roll, or PiL as rock 'n' roll, but I do, because it's music you'd never get on the television. There's something out that your parents would not sit through. They're all cliches I know, but a lot of letters we get from kids say "my mum and dad will not allow this in the room!" You get people saying "That guy cannot sing", "He's horrible" or "Listen to the production". It's not just the older generation I'm on about, it goes all the way fucking down. You have to sit down and get into the primal part of it, and they don't want to do it. It's the old Outsiders theory - the rough eventually gets absorbed into the whole..."

on The Pogues

from an NME interview with MES, Nick Cave and Shane McGowan,
"Shane's more, I dunno. To me The Pogues are the good bits from the Irish showband scene, like The Indians. You had that feel, probably lost that now. Your work's good though."

on Arthur Brown

from an interview in Greece with LIFO magazine in 2012, about an Arthur Brown gig in Greece,
"You must be kidding. 'The Crazy World of Arthur Brown'? That’s one of my favourite albums! And artists! Is he still alive? That’s fucking awesome! Yeah! I want to see that!"

on Boney M

 "On my tour bus you have to sit and listen to everything I play. You're not allowed to speak. If I play a cassette or whatever, you sit down, shut up and listen. If you argue, you get kicked out of the bus. I especially like to make a lot of guitarists and drummers listen to stuff like Boney M, because of the discipline of it. And lots of rockabilly...."

on Evil Blizzard

reported in The Lancashire Evening Post in June 2013,

“I like Evil Blizzard, they give me hope that music is alive and kicking”

on Link Wray

"He's just a great guitarist. It's not twangy like The Shadows; there's something really vicious about it. Maybe it's Link's Indian blood! I've got an LP somewhere of Link Wray live, in '88, doing ‘Jack The Ripper’ and ‘Rumble’, and he's just as good – you can't say that about a lot of people. Unbelievable."
on track, Jack The Ripper,
"Yeah, he’s one of the real rock grandads, isn’t he? I think he’s brilliant. He’s a Red Indian, and he makes all his own guitars. He lives in Denmark now, apparently. No, I don’t know why -- why should I? I’ve met him. Was he mad? No, not at all, show some respect! He was a dead nice bloke. He used to make instrumental records that got banned for being too un-record player friendly, because they were too full of distortion and shit like that, hahaha! Link Wray is the only man who can get records banned without even writing f***ing lyrics! He’s a hero, a really great man!"

on Bo Diddley

"Say you get together with the group, and we're all trying to be friends with each other, they'll all put like Pavement, Sebadoh, REM on;  I'll put bloody Bo Diddley on."
on Hey! Bo Diddley,
"This is the best music ever - just one drum and guitar, out of tune and dead simple. I finally managed to get hold of his 16 Greatest Hits album the other day. It's marvellous. He's very influential but never gets much credit. The Stones just pinched riffs off every second song of his. I met him a couple of times. I lived in Chicago for six months and he lived just around the corner. He was the local sheriff of the borough. He wore a badge. It was surreal. he's a great guy - a real hero."

on 'American Garage'

from Renegade, The Lives and Tales of Mark E. Smith, about his time in 1976,

"I was listening to a lot of 60s garage music, like the Nuggets LP, The Ramones, Patti Smith, German Rock."

on Lou Reed

in conversation with The Wire in 1999,
"Metal Machine Music just cleans your head out. I like that, it's my favourite. It's the best thing Lou Reed ever did. It was when he went bonkers, wasn't it? I had gone right off him by then. I was a big fan at one time, but after 'Transformer' I lost interest in what he was doing. Then he brought Metal Machine Music out and I thought it was just brilliant."

on Prince Jazzbo

on "Every Nigga Is A Winner" from Mr Funny, The Wire in 1999,

"He has no shame, Prince Jazzbo, he just rips off everybody....he's fucking great."

on Mystery Jets

in conversation with the band's frontman, Blaine Harrison,
"I've heard 'Greatest Hits' and it's a f****** good song. I'm not just saying that."

on Augustus Pablo

on his playlist for the Millennium celebration,
"....There's also that Augustus Pablo. You know, decent reggae before it got all that religion."

on The Ramones

"It was all these American records from the 1960s, pre-punk, like The Seeds. And Blitzkrieg Bop by The Ramones. Yeah, put that one in."

on 'Northern Soul'

"Northern soul. Anything. The thing about Northern Soul is that you never know the names or the titles, because it just doesn't matter. I've got all that stuff but I can't tell you what anything's called."

on Marvin Rainwater

on 'My Brand of Blues',
"This is an old country and western rockabilly song and it’s brilliant. He just plays one chord all the way through. Yeah, I know a lot of country and western is totally trite, sentimental slop, but it depends what kind of country and western you listen to, doesn’t it, cock? I know ninety per cent of country music is shit, but ninety per cent of any kind of music is shit, isn’t it? I haven’t even got that many records. I throw a lot of stuff away. I mean, you’ve got to, haven’t you?" 

on Lee Hazelwood

on the track, Sundown,

"I think Lee Hazelwood was really, really good. I love the way this song’s got this big, dead camp cinematic production. Nancy Sinatra was all right, as well. She’d got a bit of talent. She didn’t just sponge off her dad’s name. I couldn’t stand that f***ing Boots are Made for Walkin’ nonsense, though. Lee Hazelwood always sounds to me like a really wired, wiped-out Johnny Cash. Yeah, I always liked him as well. He’s back and he’s hip now? Is he really? F***ing hell!"

on I Ludicrous

on the track, Preposterous Tales,
"They’re very funny, I Ludicrous, and I like a lot of their stuff. They rip off The Fall a lot, ripping off riffs and everything, but I don’t mind that because they make me laugh. If it makes me laugh, it’s OK. That’s a good basic rule. Pavement don’t make me laugh. They don’t make me angry, though. I can’t get angry anymore about people copying The Fall because there’s just been so many. We’ve been ripped off so many times. I Ludicrous are a good funny Northern band. Like the Macc Lads? Well, it’s not quite the same thing, is it?"

on The Walking Seeds

talking to NME about their album, Tantric Wipeout, in 1994,

"It’s five years old now, this. The Walking Seeds were great until they went all f***ing grunge. One of ‘em went on to be in The La’s, you know. I don’t like that many Liverpool bands, cos...well, it’s Liverpool, innit? I never went for Julian Cope, Ian McCulloch, all that stuff. Walking Seeds were all right, though. What’s that you say -- tantric sex is where you have it off in stages? You kiss the first day, fondle the second, gradually get more intimate? You’re getting very prurient, you, aren’t you? Stick to writing about music!"

on The Electric Prunes

"...I didn't really like much, except like garage music from the 60s, and nothing really. So, you had to do your own thing. (The Electric Prunes) ....Yeah, shit like that"

on The Rolling Stones

from an interview with North Carolina radio station WXYC, in 1994, on his favourite Rolling Stone music,
"I like Sticky Fingers, yeah, very much."
 ".....Well, I think that, (they) were pretty patchy actually. I think the Stones stopped in '66, to be honest!"

on Die Krupps

"Well, that Britpop thing doesn't interest me. I've been listening to a lot of Italian dance music. It's really spooky with loads of screams on it, very dark and moody, very much from that side of the Italian character. And I like a lot of German stuff, Die Krupps and all that."

on Henry Cow

from an interview in 1991, asked if his favourite rock'n'roll music was ostensibly teenage music,
"No, not at all. I like all sorts of stuff. I listen to Gene Vincent, and stuff like that. Henry Cow. I keep me mind open, I think. What I don't like listening to is MTV and stuff like that. It just passes right over me, I don't get anything out of it at all. I think it's just bilge, really."

on John Lee Hooker

"......I'm really into John Lee Hooker myself. He's great, solo, without a band. His bands are crap."

on The United States of America

".....I'm into things like Stockhausen, The United States Of America and Gene Vincent and rockabilly."

on Elvis Presley

in conversation with Nick Cave, for an interview with NME journalists in 1989,
"A lot of Presley's good stuff was overlooked. Like, the NME viewpoint that he died when he came out of the army. I think the opposite, his best stuff came after the army"
and arguing with Nick Cave,
 "Look pal, Elvis was the king, right? To me, Elvis were king. He was only the king 'cos he sustained it."

on Odyssey

on the 1977 song Native New Yorker,
"I don't mind a bit of disco. I like their attitude of, 'We're too good for you'. I like their snobbery. It's also top-class playing, that bass and guitar sound although on the first listen it sounds a bit cabaret."

on Frankie Valli, and The Four Seasons

on Walk Like A Man single,
"If you listen to the guitars and drums you realise they're actually really hard group. This is what I think of as proper 60's music. I never liked The Beatles. People just know The Four Seasons from Grease and Oh What A Night but their other records are brilliant. All that high-pitched singing..."

"...I love Frankie Valli's solo stuff as well, like The Night, and You're Ready Now."

on Toots & The Maytals, and The Skatalites

on Revival Reggae from the reggae and ska album, From The Roots,
"I dance around the room to this all the time. Every New Year's Eve I always play Toots and The Skatalites. It's become a weird ritual. I also play them when I'm pissed off at the music business. It's timeless music that stands outside of everything."
 "I used to play The Maytals, Monkey Man, every New Year's Eve, so I guess I'll probably go with them."

on Mr Bloe

on the 1970 cover single, Groovin' With Mr Bloe
"A brilliant instrumental with loads of harmonica. I love that Northern Soul sound.."

on Bud Brewer

on White Line Fever; The Fall did a cover version of on the album, Reformation Post TLC,

"Bud's an American trucker and a big trucking hero. Merle Haggard originally wrote the song. It's not about drugs but the white line in the middle of the road. I first heard it when we toured the Deep South. It was much more raw and raucous than the US punk we were being subjected to. It's Country music mixed with rockabilly and driving; I like that combination. I used to drive motorbikes. I had a Honda 350 but I had to stop as I had too many accidents."

on Nat Stuckey

on Caffeine, Nicotine And Benzedrine from Country Fever,
"Another trucking song. This is really hard sounding."

on Visnadi

on Hunt is Up,

"Vis is an Italian dance fella and this is a fookin' great record. Avante-garde with a strong beat and classical piano. It's really doomy, not cheerful at all. I never get sick of playing it."

and in 1994 in another interview with NME, on Hunt Is Up,
"This is an Italian rave record which is around at the moment. Yeah, that’s right, a rave record. Why shouldn’t I like a rave record? I’ve been getting into loads of Italian stuff lately. I’m not normally into rave music, though. I mean, it just sort of plods, doesn’t it? I don’t do a lot of clubbing, but I have been doing a bit of DJin lately, around Manchester. People just keep asking me to do it. F*** knows why. I just turn up and start playing Italian rave records and rockabilly!
Ha! That does their f***ing heads in!"

on Mouse On Mars

on Subsequence, from Idiology album,
"This is an instrumental from a German teeny band. They sound like computer game music, all bleepy, bleepy, bleepy, but they do unique things with cellos, They make the music all slow and stretched out, too. It's strange."

on That Petrol Emotion

extract from an interview in 1988; replying to a question about his opinion on bands who choose to write songs about prevailing politics, preoccupations and social prejudices of the day,
"....I mean, I like That Petrol Emotion and that, I really do, but I don't want to hear their half-arsed views on Ireland which they got from some politico in Camden Town. When I want to read about politics, I buy New Statesman, it's as simple as that."

on The Groundhogs

"...there are certain things that are indelible...when I hear The Groundhogs or Black Sabbath it still turns me on"

on S-Express

"S-Express are f***ing brilliant, the same as Bomb The Bass, making records for £800 that don't sound like they were made for £800. I couldn't believe it when the guy in S-Express told me he had all my records and he couldn't believe it when I told him I had all his records."

on Orange Juice, and The Fire Engines

Interviewed in Edinburgh about Scottish bands, before a forthcoming gig in 2012,
"I liked Orange Juice. I thought they were great...."
"......There was an electric group. The Fire Engines. I loved them. What's happened to them? If they had been from America they would have been world-famous."

on Patti Smith

"I was messing around with me friends, and that. Doing poems over daft guitar things, trying to be like sort of Patti Smith sort of stuff, just messing around..."
recalling discovering her work in 1975, and style in the early beginnings of the group. Interviewed by Paul Morley.
on best music for 'a night on the tiles' from an interview in 1999, MES describes Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968,
"I'll tell you another great record, that 'Nuggets' compilation that Lenny Kaye did with Patti Smith."

on Sex Pistols

from an interview in May 2013,
“Even pop, rock, it's all very miserable right now. Everyone I meet says that to me. All that I hear is that it's shit. Old people, young people, taxi drivers; there's just nothing there. 'When will the new Sex Pistols come, Mark?' It's not going to happen, is it? It's not.

extract from an interview in 1980,
W"hen you dissect the Pistols they were a sub-Who heavy metal band. It came out beautiful because it was unconscious. That's why with our stuff, I don't want to make it faultless like, `cause then you've just blown it. On the last tour I could see a lot of things getting synchronised which is something we've got to come to terms with."

from an extract from Renegade, The Lives and Tales of Mark E. Smith, recalling 1977,
"A lot of that punk stuff was heavy metal to me. We'd been through the pubs and clubs by then. I liked the Sex Pistols; but except for the lyrics they were only the same as the Sabbath and Zep-like bands we were playing with. It was the same sort of music.  Not bad when it's good."

on Oasis

from an interview in The Guardian in 2008,
"I'd hate to have a brother like Noel Gallagher. What's he doing? Liam is Oasis - he's handsome, he's a good front man, great voice. What does Noel do except write Beatles-type tunes? I've met him a couple of times and you feel like saying, "Shut up!" "

response to a journalist, in 2010, who had claimed Noel Gallagher had attempted to make Oasis sound like The Beatles,
"You’ve heard it all before haven’t you? Well, I have at least. Liam’s got a good voice but it’s a shame he hasn’t got someone behind him cracking the whip more."

on Johnny Cash

on a journalist's comment that he resembles Johnny Cash,
"That's what people have started telling me, but only since he died."

on Iggy & The Stooges

"I suppose its fitting because when I was a teenager I was into what was then considered a cult band - Iggy and The Stooges. They never sold any records at the time. It was a very hard record to get hold of in fact. But I never saw us as a cult group. It was more of an underground thing."
response after being declared 'No.1 Cult Hero' by NME

on CAN

  "I've liked CAN since I was about 13 or 14. I got into them through listening to Peel. Ege Bamyasi is an underrated LP, and it's recorded very well. I like the way it's open-ended. Damo's a good mate of mine – he actually sent me a tape when I was in Tokyo. He doesn't believe in making records any more. He's one of the few heroes I've met. He's still the same." 
on Father Cannot Yell, track from album Monster Movie,
"I'm into Krautrock. At one time it was the only music I listened to. This is an early track before CAN got hip. They were surprisingly rock'n'roll when they got started. It was a case of anything goes with them; they were not afraid to experiment."