I said Clash not
Crass...
I had a brother
and sister and they were buying records and so I was aware of things
like the Beatles. But it wasn't until the first wave
of of Skinheads way back in 1968 that I first came across Ska
music and
Blue Beat. I had all the original
Trojan albums but I dunno where they’ve
gone now. That was my first genre of music I liked and then through
that I got into a bit of
Motown hence I've always liked lots of
trumpets and stuff like brass sections.
| I just toddled along
listening to that sort of stuff, until the next sort of big thing for me,
like for a lot of other people, which was David Bowie. I went off him a bit
when he was into his cocaine thing and doing his 'Young Americans'
bit. Didn’t like that at all; I just couldn't relate to that. Then the Punk thing
came about and that was because I was living
in Bristol at the time, working in the hospital there and a girl
came in wearing pretty odd clothes and I said 'what's all this about?'
And she said 'it's Punk Rock, have you not heard of it?', and I went
'No I haven't', she said 'well there's a really good band playing tomorrow
down the Colston Hall,' which turned out to be the Clash. So I went
along to see it and was just blown away and I knew I had to
be into it. That was it, no turning back then.
At the end of the
Clash gig there
was all these people shouting and saying 'your shit!' and Joe Strummer
stood there and said 'if you think you can do any better go ahead and
start your own band.' And I was like what a great idea! At that time the Clash
didn’t sound like their record, it was really rough and like when you
hear something for the first time, sort of quite shocking. I did
think yeah I could get some mates together and make that sort of
noise. And I thought I could look as good as Paul Simonon; they all
looked smart but he looked terrific onstage and it was that look
that turned me onto it as well - it was
great. |
Paul Simonon
Epitome of the cool bassist |
What generation
gap?
I didn’t form
a band in Bristol because I didn't have
any social friends there. For some reason I never got into it. I'd go down the local pub drinking , there was always older blokes, I
think the younger people went to clubs in the centre. I never
did
and still don’t really like discos and clubs as I still have bad
memories of going to Tiffanys and Room At The Top in Ilford when I
was younger and seeing some of the fights there and stuff.
I've always been interested in just going to local pubs,
so my idea was to go back to Dagenham where I come from and get in
touch with my old friends and start a band with them; basically to just muck about really. But when I got back there I realized
they all got married in the couple of years I'd been away, had kids
and steady jobs and stuff. They had to pay rent and mortgage and that’s when I ended up at
Dial House. Pen was living on his own and said
'what you up to?' I said 'I was into punk rock and gonna start a band',
and he said 'well 'I'll be
your drummer then.' I thought that makes it easier; we'd been friends
for a long long time and I knew we'd have a good time together
and could muck about. That’s all it was and even when we started we still didn’t think we'd get any further then the garden gate. When people came to visit
we could shock a few people and
we'd go 'yeah we're in a punk rock band now' - that sort of thing.
Penny then was in his
30's - maybe 34 or 35 and I was 18- 19. So there was a difference but we
thought well it's Punk Rock, do it yourself and it shouldn’t matter what
age, colour or what sex you are. We never used to
think about it and whose to say what you can and can't do.
And it just seemed to work because he had various contacts though people
he visited and he sort of liked the way I was the working class yob element of it
slightly unnerving people when they came round.
And it just carried on from there really
The kids are
just Crass....
For about two days
we were called Stormtrooper.
Luckily we didn’t keep that name as I don’t think we would have lasted long. It
was my idea not because I was a Nazi or anything but just because I liked the word; I could see it on a
T-Shirt. Mind you Pens idea was Les Enfants Terrible! (a
surrealist film and book by Jean Cocteau) Fuckin hell
(Lol) How could you go on
stage and try to be aggressive with a name like that. Aint gonna work is it? I
thought of Crass because of that line in David Bowie's 'Ziggy Stardust'
-
“the kids were just crass”.
Cover versions?
Doing cover
versions never
came into it. From the start it was do it yourself, write your
own songs, get your own gigs and make your own clothes. This was
really early on and that was never even thought about. You have
to remember even though the members of Crass could play their instruments they
weren't musicians. None of them could read music and that
included me. It was bizarre enough trying to get tunes together
for the stuff we were writing. None of us were into jam sessions or
anything like that, so none of them were gonna sit around for a
couple of hours trying to learn to play. I thought it would be
good to do a few Small Faces numbers but it was never a
consideration at that time.
The Roxy Club &
First Gigs - Banned From The Roxy OK
We actually played there twice. The one that
ended up being stopped was I think maybe the 4th
or 5th gig we done. The first one we did was the
squatters festival, that was in Huntley (?) Street in
London. I think the second one might have been at the Roxy and that
one went off alright ands we were called Crass then. That’s when I met a
lot of the Deptford punks, Charlie who played in a experimental band
called This Heat. I used to hang around with that lot
a lot. The third might have been when Crass played at Covent Garden,
they had a Festival there as well because it was being built at the
time. But Pen couldn’t do it for some reason, cant remember why, so
Charlie from This Heat stood in for him. Some bloke filmed
it on a video and showed a bit to me, so somewhere someone's got
some of footage of Crass without Penny Rimbaud. The disastrous
Roxy
one was the fourth or fifth gig.
To be honest I cant remember that much about it. I
do recall I was pretty much out of
it through nerves and excitement. A lot of my mates were there from
Deptford so I was really excited with them being there and they
were giving me joints and stuff so I was puffing away. I remember
I was really bad coz I threw up on the street outside. Where usually
I would have gone home to bed, I couldn’t coz I had to go onstage. I
think Pete had had a few drinks but Pen, the way he wrote about it
he made out he was stone cold sober but he wasn’t. He'd have drunk
about 2 or 3 bottles of red wine before the gig. he was so gone he wasn’t
recognizing bits of the drum kit when they turned up. You know out of all
the the 1000s of gigs I done your always gonna get a bad one
eventually. It just happened to be a bad one that night. I don’t
think it was the epiphany that Pen wrote about it but for him I think it was a turning point.
In fact that went for all of us. It was stupid to do
a gig wrecked because you may as well not bother and it made us straighten our act
up; if we are singing serious songs then we should be serious about
it. But looking back on it it was was just one of those crap gigs;
it was never repeated.
It wasn’t
until 'Feeding' came out that we started getting a bit of
recognition
and even then it took a couple of months for people to turn up at
gigs with Crass written on their backs. So up until that point we'd
just been writing these songs and material and performing it. We
didn’t have any idea it was gonna be picked up or anything like
that. I think most of us, myself included thought we sounded a bit
crap, coz in my ears I thought to be punk rock you gotta sound like
the Sex Pistols or the Clash or the Damned with that sort of
rhythmic bass coming
through and big drum sound. No we had the
military drums and the weird noise coming along and I was not so sure about
this but then it was really strange coz people picked up on it and
bought all the records and everything and what we were doing and how
we were playing it clicked with what they were thinking.
|
So we didn’t set out to
deliberately make those songs as political as they later came to
be. With the way that people either read into it or took away
from it, or got inspired by it. Then what happened was the real
seriousness came in when we started receiving fan mail and we
realized that people weren’t just reading the lyrics as it wasn’t
like 'we love your music send us a badge', it was when you write
about this and what do you mean about that - really involved
questioning
letters. So then when we were writing it was like make sure you
can defend every word, coz people are gonna be scrutinizing what we
are writing about. So the next bit was we could not be seen as not
being serious.
It turned into a fucking
nightmare! (lol) No-more can I just
write sort of football terracy songs, about I hate the government;
now I've got to write why and then I've got to be able to defend it all
- it was like a
University degree sometimes. (lol) |
 |
Polarising
people - the media - punk rock divide having a go at the Clash
The Clash thing for
me wasn’t a
vicious attack I went along with that because CBS promoted the Clash and
it 'wasn't for revolution it was just for cash' and the the Clash
did go to America and good luck to them because they became the big band they
wanted to be. I always always bought all their records (I
couldn't not) and they were the first band that inspired me. I always thought,
though sadly it never happened, that one day I would meet Joe Strummer and we'd have a
really nice time together because I think Joe Strummer understood
what we were saying. So it wasn’t a vicious attack at all,
whereas there's the bit in 'Punk Is Dead' that goes 'Steve Jones your Napalm…..'
coz I just think that bloke was a fucking idiot. I didn’t mind that
at all.
People from the
media like Tony Parsons got the arsehole with us because there's a
line in 'End Result' which goes 'I hate the living dead and their
work in factories. They go like sheep to their production lines.
They live on illusions, don't face the realities. Well that whole song was written
about when I grew up in Dagenham, and when I was at school I had 2
choices either supermarket or Ford factory and so that’s what I was
writing about there. So I wasn’t just saying that’s it stupid to go
and work coz you do have to go and work because well you have to get
money from
somewhere.
What we didn't like
about the media was they would say come on over and do these interviews for Sounds, NME
and then they’d take stuff you said out of context or change
stuff and we just didn’t like it anymore.
 |
Then you had Gary
Bushell who was really just a gossip monger and who would start
stupid things like Lol Pryor
who used to manage the Business, and he put in Sounds ‘oh
Lol Pryor reckons he can drink more beers that so an so’ and this
sort of little resentment grew between Lol Pryor and this other
guy. He would do things like that all the time and I would
think like oh 'stick it up yer arse, I'm really
not interested, you know!' If you complained about it he'd just
put that in next weeks issue making you look like a right little
whingeing twot. We were better off without them and anyway
we had our own PA system so now we can rule
the world. We can change the system and all this sort of stuff. I think we were hoping that other people would bring out
alternatives to the establishment of the press. |
The band that plays
together stays together!
Other members of
Crass may have a different take on this, but for me my recollection
of it was that I used to hang around with bands like Conflict and
that was always down the pub together as a bunch of buddies helping each other
out and
stuff. Crass weren’t drinkers and so I have no anecdotes about when
Crass went down the local or when Crass went to someone’s
birthday and we all got out of it and did this and that you know. There
are no anecdotes of that sort. After our recognition and higher
profile more
people latched on to it and wrote to us and the more
serious we became. We had to comply with it, well not comply with it but
to become more serious. We did have a laugh; we were having fun
all the time. It just doesn’t
come across in the songs or the stage act. It was like how do I
perform them songs with a smile on my face? It just cant be done. Another
thing is I was always shitting myself from terrible stage fright
which I still suffer from! When I get frightened I get like don’t come
near me, get this sad look on me face and
tend to shun people. It wasn’t an act believe me; just fear. I
always think it was a shame that we didn't as a bunch of people just
use to hang out. We used to
hang out at Dial House or Crass mansion as I liked to
call it, not that it was a mansion, but that’s were we used to hang
out. If I wanted to go out down the pub it would have to be with
other people apart from Crass. It was a great shame.
Err Steve you're
not singing on this album - Penis Envy
| At first, I
though well 'fuck you then!' and then I thought I kinda like the idea
of that as I kinda liked the wind up of people expecting it to be me, to be boy yobbie. Shouting away there and it it turns out to be,
well fuck me its just birds singing. Listen to it and you might
learn something. No one except Patti Smith was doing it, although
she wasn’t as hard line as Crass were. Like the Feminist
issues and trying to approach that and its like the women should be
singing about it. Up until then the only thing I had to do with
feminism was the burn your bra thing and Germaine Greer. I
tried to read the 'Female Eunuch' but God that’s so boring. I
tried to read
SCUM (society for cutting up
men) by Valerie Solanis and I hated that - all that cutting
men's balls off sort of thing. So for me it was refreshing
and interesting to learn about this idea of feminism, but not as a
hate thing just not wanting to be oppressed and that made me think
of the way I perceived women. |
 |
Same as the racist
issue now when you look back on the way you used to talk and you
think how could I have done that. But that’s how it was in those
days and the interesting thing about that record is that I think it
did promote other females in the audience to do vocals and stuff. It
also started blokes thinking about it and trying to write non sexist
lyrics.
Our audience at
that time comprised
70% me and 30% women. Or maybe even 80%-20%. Not a lot of women there. At
the same time I only remember about three black people in the
audience at Crass gigs. There we were trying to bring together black an white
- unite and
fight and all the sort of stuff and while we
were singing out there they were nicking all our car radios. Great!!!
(lol)
Crass
and the music biz - in the charts and Top of the Pops?
 |
I don’t recall
that. There used to be a newspaper purely for the record business
and I remember at one point John Loader phoning up really excited
because we were selling more records than AC/DC. It was bizarre
and I think it was 'Nagasaki Nightmare' that made it into the sales
charts at number 19. If it had continued we would have been
eligible for the record to go into the charts. But I don’t remember
ever getting an offer from TOTP. I was surprised when John Peel gave
us a session at the BBC. I just didn’t think he'd be into it
but obviously he was. To actually be played on the radio was
weird; I didn’t expect that at all. |
No and that was the
beauty of it really. The way the Crass machine used to run gigs
would actually be done through letters. We didn’t have mobiles
in them days or computers and email; just land line telephone or Royal
Mail. We used to hand out leaflets at gigs and stuff, we'd meet
local support bands playing and ask 'anyone know where we can play in
wherever?' and then they would say we know so and so in Preston
here's the phone number. Other times people would just phone us and say
'we've got a scout hut in Worcestershire will you come and play it next Friday',
'yeah Ok, we'll be
there'. It couldn’t happen like that nowadays, well maybe it could
but I couldn't it really. It worked like that all the time. There were a
lot of bands like Conflict, Poison Girls and Dirt. All of that bunch
of people later came to do records on Crass' label. Ian Astbury
of the Cult used to follow us around on tour sleeping in doorways and stuff with Colin out of
Conflict and look where he ended up. I'll asked him
if Crass reformed could we support him. (lol)
Crass the brand
The reason we
always put a Crass symbol on whatever record we did was that people
flicking through the records at record shops would know instantly it
was a Crass thing and would buy it on the strength of that.
This
gave whatever band we put on there a chance to sell records. So
it was a marketing ploy. As you know it had a 'pay no more than
this' message on it so I don’t think we made any fucking money out of it to tell
the truth. If we did I don’t know where its bloody gone but that
wasn’t even a issue. We could see what was going on; that suddenly lots
of bands had sprung up singing about nuclear war and Margaret
Thatcher
and all wearing black and we wanted to try not get polarized or preach
to the converted. That’s why we always went for quirky bands say like Lack of knowledge.
You cant say they were punk; they
were more Kraftwerky like. Annie Anxiety, Cravats, Snipers
and the Mob - we really tried to give it variation.
It would have been really easy for us to get a strong punk catalogue
together. But as we said to Colin from Conflict 'look at some
point your gonna have to do your own thing on another label coz we
are gonna have to start putting restrictions on' as he wanted to put
the names and addresses of seal clubbers on his record. We said
well we don’t really agree with that so that’s why we then had the
policy of every band just does one record. If they want to do more
with us it then goes on to the other label which was called
Corpus Christie then they can do what they like.
Changing peoples
lives - Crass' Corporate responsibility
We felt a massive amount
of responsibility. I still don’t
know what to really say to them when people come up to me today and
tell me Crass changed their lives. I felt responsible for whatever
we produced and to be good. It had to stand up there and be 101%. I
couldn’t sell out on those people; my conscience wouldn’t allow it. We
knew there's no way that Crass could have gone on TOTP; there
would have have been at least 5000 people screaming and shouting at
us down the phone and not coming to gigs. Mind you there
was no way they would have let us
do songs like 'Owe Us A Living' on TOTP. Now I'm trying to think of a Crass
song that ain't got a swear word in it and I cant think of one. Of
course we were so hard lined, hard nosed and stubborn about
it we would have said 'fuck you' anyway!
I'm reminded by
Crass everywhere and its impact. Where I live now up here in
Norfolk, there's a little village just down the road called
Stanhope (?). It's just a little market town and there's a pub
there and they’ve got Crass songs on the jukebox and people
are still interested. I went on
holiday once to Greece and met a bloke from the bar there and got
talking... 'what do you do?' 'well I'm a singer in a band', 'oh what sort
of band?' 'you know don’t think you would have heard of them, it was
this band called Crass.' 'Fucking hell your Steve Ignorant.' He'd been
singing 'Owe Us A Living' in the shower that morning. It’s a funny thing
but wherever you go in the world I’m always gonna bump into to
someone that’s knows or plays Crass. So we didn’t need TOTP. I saw the
Sex Pistols on there and they looked so fucking stupid doing it,
and old Sham 69 with Jimmy Pursey and that water pistol.
Fucking
hell. I'd do that and get a real gun and put it down there!! (lol)
Trouble...
There was
intimidation from the Police to stop us playing and we
used to get our phones tapped; we knew that for a dead cert. There
used to be a long road that lead up to the Crass house and they used to
drive up and down with all their lights on. The local Bobby would
pop in for a ostensibly a cup of tea and he'd be looking along the herb
rack and all this sort of thing (lol) Punk rockers used to at North
Weld
or Epping station and the police would deliberately send them in
the wrong direction or stop and search them in the street. As
regards to them stopping us playing they couldn’t really do
that. We were however banned from Bournemouth I think. We
weren't meant to go
even within the Town limit. We did some gigs under a different
name called Shaved Women but that only because we would play small
venues, lots of people could get in and plus we would get a lot
of Skinhead trouble at the time so that helped avoid that.
I think every one was going through that
sort of violence at gigs at the time. Conflict and
Flux of Pink Indians and all those bands also got a load of trouble
at their gigs. Coz at that time it was do it yourself; you don’t
need security; we can stand up for ourselves, but that didn’t quite
work out like that. But as much as there was horrible gigs like that
there was really good ones as well…
I had certainly
changed my view on anarchy and peace towards the end of Crass.
Thinking back on it
I think if it hadn’t been for the other members of Crass I think
that’s the direction I would have gone in; the direct
response. You know sod that! I'm not
letting anyone trash my fucking gig. Anyone belts me gets it back
twice as hard. I am a pacifist but it doesn't mean you can slap me round the face. I think that’s the way I would have gone, but
we tried it, we tried the Ghandi non violent thing
and sometimes it worked and sometimes we got the shit kicked out
of us. For Conflict the way they worked was the way they dealt with
it and the Omega tribe did it like that. It’s a
pity for Conflict coz they are always getting it tarred as 'oh violent
bastards' well they should have seen the violent bastards coming
through the windows trying to bash people up. That really
wasn’t fun.
Achieving Crass'
aims and their place in music
I think we did
yeah. Ok we didn’t change the system; we didn’t get Anarchy and
peace and all that. Everyone living in TV and blue sky every day,
cups of tea on the lawn. But what we did get out of it
really was to create an awareness of things like alternatives,
politics, current affairs and vegetarianism you know and I think that’s where
if your talking in terms of success I think that’s where that lies,
because I haven't got my own recording studio and I don’t go to
parties with Elton John and stuff. You wont see me walking down the
red carpet at Leicester Square or anything. For me I think
that’s where the success lies. As I say I can go to just about any
country in the world or any city in England and I will bump into
someone that knows Crass. So we did achieve setting up a network
and inspiring people to take it further than we could have took
it.
Funny enough I just
been thinking about getting a little Crass tattoo after all these
years. Only a little one coz I think it will hurt. (lol)
Crass written
out of punk history...
For a start there's not that much footage of Crass Live. Video
cameras weren't around in those days or if they were they were
expensive and huge heavy bloody things. No punks in those days
could afford that. There's some photographs around. In a way
Id love to have seen Crass perform live coz it must have looked
amazing. I've spoken to certain people that have said well what did
we look like, and they're like 'overwhelming and really
terrifying but brilliant' but of course I never saw it. The only thing I do
get peeved about is when you get a program on punk and we are not
even mentioned. It will skip from Billy Oddball and
Generation X then it will zip over to Green Day or something
like that. Where's all the 'Stop The City' bits or even if you
aren't gonna mention Crass where's the mention on all the hard line
alternative stuff that went on? Coz the alternative charts in those
days was taken up with bands like Crass, Conflict, Flux and all that
sort of stuff. It does annoy me a little
bit but sod it it's just the way it goes.
Bands now...
I have to say I
don't any! (lol). I mean
I got worried last night coz I thought I know absolutely fuck all, I
don’t even know who's in the charts. People say to me have you
listened to Razorlight or someone light and I thought who the fuck
is that and suddenly I got worried I thought perhaps I'm turning
into one of these people that reach a certain age and don’t listen
to any more new music. What I found myself doing is going back to
listening to Motown and Ska. And I'm getting into, and I know its gonna
sound so fucking pretentious, but Miles Davis, John Coltrane and a
bit of jazz music. But I really really like film
soundtracks, like The Godfather, Long Good Friday, Gangster No 1, Once
Upon A time In America and stuff like that. Taxi Driver, that’s a
great one one you can have it playing and just get on with other
things and it helps me to write lyrics to it as well.
Moving Forward!!
I've stirred up a
real hornets nest here.
I am looking forward to it but really getting nervous. I don’t
know if you looked at the Southern website, there's a forum on there
and the sort of things people have been writing on there you'd think
I'd blasphemed against Allah (lol) Yet on Mortarhate website everyone's for it.
It's really strange coz you were talking about the
protectiveness about Crass. I was offered to do this gig and I was
Ok I'm not really sure about it so I thought I don’t wanna get up there and do
the usual thing.
| You know it will be
an Anarcho punk thing with Steve
Ignorant and that will be it and everyone's
satisfied. And I thought no I'm fed up with that and I thought Id
really like to do a performance of 'Feeding Of The 5000' as it is on
the record, without 'Asylum' coz I mean only Eve Libertine could do that.
I don’t want to touch that; that’s a separate thing. I couldn’t invite other members of
Crass to do it, I don’t think they would have done it anyway, coz
the minute you get more than one ex member of Crass to perform
people think Crass are reforming and that’s definitely not the
case. The other reason I wanted to to it was because I think it
would just be a great thing to do. In a way it's me saying to the
the members of Crass, 'look how great it was! weren't it fantastic?' I have been reading the lyrics and
rehearsing
them and all of the songs except I think 'Angels' are still relevant.
|
 |
| |
|
 |
But because feeding is only about 30mins long if that, I'm gonna
do 'Big A Little A' and 'Bloody Revolutions' complete
with brass section as I want to recreate all the
radioey bits. I'll do 'Shaved Women' as well, 'How Does
It Feel' coz I think that’s still relevant too and
it's a bloody
cracking song. I might round the whole thing off with a Schwarzenegger song, which is ‘The
Way Things Are’. I'm doing it for
2 nights and its gone from me thinking
Ill do just a little ½ hour slot in amongst all the other bands to
snowballing to me thinking now I'm headlining for two nights at the
Shepherds Bush Empire. I have got
proper musicians to do it, they've all been in different punk bands and stuff. So its gonna be a
really
respectful, smart, really well done, well worth going to see
performance. I've got Tony Barber on lead guitar, I've got
Gizz Butt who used to be in the Prodigy and English Dogs
on guitar as well, I've got the drummer from the Boys who also plays
for Die Toten Hosen and Bob Butler from
Schwarzenegger he's a really nice geezer. And me, and then and
I've got a women called Sadie who's gonna perform the
women bit. |
I went down there to look at
the Empire and its like
this old music hall and well I've been getting into the old music hall
cockney songs. People like
Marie Lloyd,
Gus Elen and
George Robey all performed at the
Shepherds Bush Empire and I m so excited to be singing in the same
place with my version of cockney hall music thing. I'm thinking of
getting a little band together and playing some of the obscure but
poignant music hall songs to do with the working class and that. But really at the moment all
I'm really doing is eating, sleeping and
shitting about this fucking gig in November.
It really is bizarre
coz everyone is really up for it, really excited by it, and I'm like
fucking hell!. I said what security you got and he said we use Show Sec and I said
fuck they were the bunch of horrors that
caused a lot of trouble at Brixton when I did the
'Gathering
of the 5000' with Conflict. But they are totally different now.
They are not allowed to get physical now and if people get onstage
they are hauled off taken back outside and put back in the venue. It's not like taking you out the back and beating
you up. So how
times have changed.
All I can say to would be
critics who say I've sold out and
I'm doing it for money. Well I'm Not. It's been done for the right
reasons, I cant explain what those reasons are it - just feels right. If it didn’t I wouldn’t fucking do it.
The promoter also has a policy that
some of the money has to go to worthy causes, so he was like what
would you like your whack of it to go to? I said Id like it to go
to the Lifeboats at the village I live in now. Apparently I've been slated for that as well.
I should have donated it to a crisis
centre or to polio victims. I mean fucking hell
where do these people get off telling me what I can and cant
do. The gig is turning into a big thing and it's scary. I know if I cock it up I will never be able to show my
face outside my door again. It's really a big deal for me and I
know if I cock it up in front of the ex members of Crass its gonna
be terrible. its got to be right. So I'm really getting my
professional head on now talking to all the other band members for
the night
making sure they are on the ball - and they are!
Some will I think
Joy De Vivre, Phil Free and Pete Wright will go. I'm not sure about Penny coz he
doesn't agree with the gig. He's given me permission to use his material but he said 'I
don’t know why you're doing this Steve' but no-one else seems to mind out of Crass
but for
some reason he doesn't agree with it. I thought fair enough
that’s alright as I don’t agree with some of the stuff he does
either.
The
Empire gigs aren't far away now...
Oh shuddup, you
make me want to go to the toilet!
With that the
interview finished.
