{"id":13258,"date":"2020-09-11T05:00:31","date_gmt":"2020-09-11T05:00:31","guid":{"rendered":"http:\/\/rpmonline.co.uk\/?p=13258"},"modified":"2020-09-10T19:43:19","modified_gmt":"2020-09-10T19:43:19","slug":"on-safari-with-matt-dangerfield-of-the-boys","status":"publish","type":"post","link":"https:\/\/rpmonline.co.uk\/?p=13258","title":{"rendered":"On Safari With Matt Dangerfield of The Boys"},"content":{"rendered":"

\"\"<\/a>With a brand new box set ready for release we thought we’d catch up with Boys legend Matt Dangerfield and ask him about his time on Safari Records as we look back on the time the Boys went down to a four-piece and all things Safari. I also ask what’s next for one of the finest bands ever to come out of the United Kingdom.<\/strong><\/p>\n

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How was it revisiting the Safari catalogue of releases?\u00a0 Did it bring back fond memories?<\/strong><\/p>\n

Yes\u00a0it did. Best of all was listening to the\u00a0\u201cHell\u201d tracks because\u00a0this is the first time that it\u2019s sounded good on CD. CDs\u00a0didn\u2019t exist when the album was released, and later when the first CD version came out it sounded like\u00a0over-compressed shit. All subsequent CD releases of\u00a0\u201cHell\u201d were copied from that CD so I feel sorry for anyone who bought any CD copies of\u00a0\u201cHell” prior to this release.<\/p>\n

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\"\"<\/a>Were there any songs from the ‘To Hell’ record that you have since revisited during remastering changed how you feel about them? I’ll admit I’ve not played the records for a while and when the news came through about the box set I have since given them a good listening to and there are parts of songs that jumped out at me that I feel I previously missed or had forgotten.\u00a0 Was this the same for you?<\/strong><\/p>\n

Very much so. For the reason I just mentioned, I couldn\u2019t bring myself to listen to\u00a0\u201cHell\u201d on CD since the last century! So listening to it now for me is almost like hearing it for the first time and it all sounds fantastic from start to finish! We still usually include four of the songs in our live set:\u00a0\u201cCan\u2019t Hurt a Memory\u201d, “Terminal Love\u201d, “See Ya Later\u201d \u2013 and we use\u00a0\u201cSabre Dance\u201d as our intro music.<\/p>\n

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I loved reading your notes along with the specific song playing and was surprised to see you wrote lyrics on the way to the studio, and I chuckled at the thought of it happening due to studio time and schedules, etc did you not ever get worried you wouldn’t come up with anything?\u00a0 Out of this process what would you say were your best lyrics?<\/strong><\/p>\n

Well, that was mainly in the early days when we weren\u2019t given much studio time and I was working on two or three songs at a time. But generally speaking, I\u2019ve always\u00a0responded well to deadlines and would often leave things until they really need to be done and then work like Hell. There\u2019s nothing like a deadline to focus the mind.<\/p>\n

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Your notes for ‘Waiting For The Lady’ and the Beatles reference I hadn’t really put it together previously but ‘Independent Girl’ has a real Lennon feel to it. Some of the harmonies throughout ‘To Hell’ have a certain Lennon and McCartney feel is that fair? They were obviously an influence but more so that album (Not that The Beatles would have sounded like you guys they weren’t that good) \ud83d\ude09<\/strong><\/p>\n

Flattery will get you nowhere, but thanks anyway! The backing vocals on\u00a0\u201cWaiting for The Lady\u201d in particular, were Beatles inspired. But we were\u00a0inspired by lots of bands and all the music that we grew up within the 60s which was a great era for musical creativity and innovation.<\/p>\n

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Who Owns The ‘Junk’ tapes now? How complete was the ‘Junk’ album? How does the process go with masters? If you didn’t own them the label did but they didn’t own the songs did they? If they weren’t finished,\u00a0 Could you have gone away – changed a lyric here or a title there and released it anyway?\u00a0 How involved were you with the day to day business of the band and management and label?<\/strong><\/p>\n

The\u00a0\u2018Junk\u2019 tapes are just the rough monitor mixes on cassette from Rockfield Studios that I took away with me to work on ideas, lyrics etc. with the intention that we would come back and complete the album there. But after NEMS didn\u2019t pay the studio and Rockfield wouldn\u2019t release the two-inch tapes, we finally lost our patience with NEMS and went on strike for a few months until they eventually let us go. Our manager, Ken Mewis, generally dealt with the\u00a0label, promotion and tour bookings, but we took care of the creative and recording side of things.<\/p>\n

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How do you look back on the time spent On Safari!?<\/strong><\/p>\n

We had a great\u00a0relationship\u00a0with Safari, which was basically\u00a0John Craig and Tony Edwards. Two great guys who did all the right things for us in terms of albums, tours etc and generally looked\u00a0after us and gave us the freedom to be creative. What more can you ask for as a band?<\/p>\n

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\"\"<\/a>I always loved the cover of ‘Boys Only’\u00a0 whose idea was that?<\/strong><\/p>\n

The designer was John Gordon (I fished out the original vinyl copy to get that detail) who was\u00a0responsible for the\u00a0concept. All I remember that it was our longest and most tiring photo session ever and took a whole day to get all the necessary pics.<\/p>\n

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Going out as a four-piece was it ever not going to happen?\u00a0 Did you think around that time that the band was done? What about the recording process, how different was it?<\/strong><\/p>\n

It was different without Cas but we took it in our stride, I\u00a0knew that the band\u00a0wasn\u2019t finished and it didn’t feel that much different playing live. Recording was as easy going as ever\u00a0and John and myself were\u00a0writing enough songs but we did\u00a0have to work harder on the backing vocals and harmonies without Cas being there.<\/p>\n

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\"\"<\/a>Would you say that John recording with Pete Stride made him a more confident writer and bandmember?\u00a0 He brings quite a bit to the table for Boys only and sings on quite a few.\u00a0 How did you decide who sang what?\u00a0 are there versions recorded say of ‘Monotony’ with you delivering a vocal and Duncan or was that never done? because you say he (Duncan) sang it live.<\/strong><\/p>\n

Yes, John had become more confident and also had become a better singer. As regards who sang what, I usually only sang the songs that I\u2019d written or written with Cas, and Duncan usually sang John\u2019s and a few Steel\/Dangerfield songs that we thought would suit his voice. I think\u00a0\u201cMonotony\u201d was only ever likely to be sung by John on record.<\/p>\n

\"\"<\/a><\/p>\n

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You got to record in some iconic studios such as Rockfield, Pye and Olympic were you aware of your surroundings at the time?\u00a0 Was there a favourite? or a particular song you look back on that you really nailed because of where you were.\u00a0 Rockfield had the toilet at the end of the hallway with a mic in the hall did you ever apply such techniques?<\/strong><\/p>\n

Yes, I was definitely chuffed to be using the same studios where some of my favourite tracks had been made. Rockfield\/Dave Edmonds\/Sabre Dance; Pye\/The Kinks etc; Olympic\/lots of Stones stuff etc. Rockfield was probably my\u00a0favourite for its vibe because you also lived there and could totally concentrate on the recording. \u201cBrickfield Nights\u201d was definitely\u00a0\u2018nailed\u2019 there.<\/p>\n

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When the band gets back to playing live is there a chance some of the more obscure tracks might creep into the set?\u00a0 You mention songs like ‘Little White Lifeline’ and its solo would sound great live.<\/strong><\/p>\n

We sometimes slip in a lesser known track. We do\u00a0\u201cLifeline\u201d at acoustic gigs sometimes but without the solo, because even straight after recording that solo, I was never able to play it again.<\/p>\n

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When you have writing credits say like on ‘Schoolgirls’ Cas yourself and John how do you decide who gets on the credits?<\/strong><\/p>\n

It\u2019s usually decided on the spot – if anyone added anything of substance to the song they\u2019d get credit.<\/p>\n

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Changing up songs like ‘Kamakaze’ in the style of VU for ‘Jap Junk’ whose idea was that and was this done on any other songs because it’s quite a departure the saxophone is great on the single mix<\/strong><\/p>\n

The minimalist drums were my idea of a tribute to the Velvets, who first opened my eyed to punk, and I think we\u2019d always had it in mind to get a sax on the song.<\/p>\n

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\"\"<\/a>How many more tapes might there be with the likes of ‘Cry Tomorrow’ on them? Fantastic stuff, maybe another acoustic album is on the cards with some of the rare tunes mixed with the more popular ones you did on the acoustic album. a live acoustic album recorded at Rebellion because a couple of acoustic sets were fantastic from the pubs almost acoustic stage and then the opera house were real highlights?<\/strong><\/p>\n

Well those tapes turned up out of the blue, so who knows what else might turn up. We may consider another acoustic album – it\u2019s a lot easier to make than a full studio album, as is a live album.<\/p>\n

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The band always did great covers are there any you think would have really suited you guys?\u00a0 Any you worked on that never got recorded?\u00a0 The other side of it is other people covering The Boys.\u00a0 Who have you particularly admired any jump out as doing a great job or really getting what the song was about?\u00a0 Michael Monroe did jimmy Brown and it must always be great when Die Toten Hosen release a covers album and include a Boys Song.<\/strong><\/p>\n

I love Michael\u2019s version of \u201cJimmy Brown\u201d. I also like the Hosen\u2019s versions of \u201cFirst Time\u201d and \u201cBrickfield Nights\u201d, and Nicky Sudden\u2019s cover of \u201cIndependent Girl\u201d.<\/p>\n

\u00a0\"\"<\/a><\/em><\/p>\n

The live album sounds fantastic,\u00a0 I’ve always liked the BBC sessions, from some of my favourite bands possibly, because the BBC always had great engineers and their sound recording was top notch and the live ones always sounded so good what are your thoughts on the live album?<\/strong><\/p>\n

Yes, it\u2019s true those Beeb producers and sound engineers were very good and worked very quickly, which really suited us as we\u00a0generally\u00a0record fast. I remember that the BBC sound people always seemed to have\u00a0beards, maybe it was a job requirement.<\/p>\n

You illude to it not being your usual audience.\u00a0 The applause sounds great even after the ‘worm song’ their faces must have been a picture.<\/strong><\/p>\n

They were very polite.<\/p>\n

I’ve mentioned it to Steve but it would be great to have these ‘Safari’ recordings as a vinyl set I wouldn’t need my glasses then for the booklet which is great to read your memories of each song.\u00a0 Did you ever keep diaries or is it just a sharp knack for remembering.\u00a0 What next for the Boys?\u00a0 Is there anything left in the archive or what about new material.\u00a0 ‘Punk Rock Menopause’ was such a great album is there going to be a follow-up?<\/strong><\/p>\n

We\u2019d love to get them out on vinyl and a lot of our fans would love it so who knows?<\/p>\n

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\u201cAnyone buying the Box Set directly from The Boys this month (September 2020) will be given a PDF document of Matt Dangerfield\u2019s full Safari notes along with an unreleased 1979 demo of \u201cNew Guitar In Town\u201d. For more information email The Boys at\u00a0info@theboys.co.uk<\/a>\u201c<\/strong><\/p>\n