Pete Bentham talks about Wilko Johnson

Wilko Johnson, who has sadly died aged 75, influenced numerous guitarists not simply along with his taut, uneven rhythm-is-lead type but in addition his mesmerising stage presence. Pete Bentham of Liverpool artwork punks the Dinner Women is amongst these gamers who’ve genuflected, Telecaster in hand, on the altar of the previous Dr Feelgood maestro.

Pete talks Wilko along with his pal and fellow Johnson devotee Dave Candler.

DC: It’s a tragic time. How did you hear the information that Wilko had died?

PB: That horrible factor the place you see a photograph or video publish about somebody you want on social media, and it doesn’t register at first. Then you definately see one other and one other and also you go “Cling about, what’s occurred?” The identical factor occurred when Pete Shelley died.

DC: The BBC paid tribute the day the information broke by enjoying the Feelgoods’ lone hit single, Milk and Alcohol, and we’ve agreed that didn’t appear fairly applicable.

PB: Yeah. It’s humorous that the later, lesser lineup with out Wilko had the massive hit. It’s an excellent single, however for me, like lots of people, the sting went out of it after Wilko. Gypo Mayo, who changed him, was in all probability technically a greater guitar participant, however Wilko had the hazard and originality in his type and his stage presence.

DC: In fact, we have now to replicate on the truth that Wilko lived longer than he had anticipated after his terminal most cancers analysis in 2013. 

PB: That was miraculous, wasn’t it. And so random {that a} specialist physician occurred to be a part-time photographer at considered one of his gigs and urged he let him have a go at curing him. So it’s a blessing we acquired one other 8 years out of him. Additionally, in that point he loved an enormous renaissance, due to the media protection about his wonderful restoration and the sensible Julian Temple movie Oil Metropolis Confidential concerning the Feelgoods.

DC: When did you first hear Wilko?

PB: Like quite a lot of folks, it was the well-known Outdated Gray Whistle Check look in 1975. It was life-changing on so many ranges. As a child, I liked my older brothers’ and sisters’ Sixties data, notably the early Stones, Kinks and Small Faces, and, as a lot as I liked the music, I simply liked the type and the style and the way they walked it like they talked it. Within the mid-Seventies, I used to observe the Whistle Check and was so disenchanted not simply by the shite hippy prog music but in addition how horrible the bands appeared: scruffy as fuck with no type or presentation, maybe with a number of exceptions just like the Sensational Alex Harvey Band and the New York Dolls.

Then alongside come the Feelgoods with brief hair, sharp fits, and a correct rock n roll perspective. That was the ocean change that music wanted at the moment. In fact, Wilko was mesmerising along with his thousand-yard stare, skittering and uneven guitar type. Additionally, I’ve mentioned this in one other interview earlier than: Wilko’s prime button on his shirt being mounted was some sort of huge assertion. For me, that was the top of hippy and the beginning of punk. Away with the “let all of it hang around” hippy thought and in with the sharp, buttoned-up, going-places, new perspective. Will Sergeant from the Bunnymen lately talked about that quote in an interview additionally.

DC: Would punk have occurred with out Wilko and the Feelgoods?

PB: One thing would have undoubtedly occurred, as children all over the place have been tired of the indulgent prog bands and stadium rock, however perhaps not pretty much as good. Dr. Feelgood have been simply onto that frustration and the necessity to make rock n roll soiled and thrilling once more, two years earlier than anybody else. Youngsters within the UK got here to punk from a variety of totally different angles: some from the proto-punk bands just like the Stooges, New York Dolls and the MC5, some from the arty finish of glam, equivalent to Bowie, Roxy Music and Lou Reed, some from the ‘college disco’ finish of glam like T.Rex and Slade, and a few from the pub rock scene and the likes of the Feelgoods, Eddie and the Scorching Rods and the 101ers. However the Feelgoods additionally had an enormous affect on the New York early punk scene. I bear in mind seeing a remark by the Ramones, the place they mentioned they took the thought of getting a four-piece with a singer within the center and a guitarist and bass participant shifting backwards and forwards on both aspect, straight from Dr. Feelgood.

DC: Why do you suppose Wilko was so influential?

PB: In all probability as a result of he’s actually the one rhythm guitar hero. I can solely consider Bo Diddley other than Wilko. It was that percussive factor he had. Earlier than I heard Wilko, I used to be actually by no means within the flashy, noodly, Eric Clapton guitar hero factor. I used to be extra impressed with the Pete Townshend energy chords factor. So when that shift again to primary rock n roll occurred in 75/76, Wilko was the person. I can’t think about the Johnny Ramone type or Joe Strummer type taking place with out Wilko.

DC: Who have been the important thing bands he influenced?

PB: Firstly, he in all probability influenced the opposite pub rockers, particularly Eddie and the Scorching Rods, who have been sort of the Feelgoods’ proteges. Then clearly all the principle punk gamers like Strummer and Weller. That staccato type additionally influenced individuals who would emerge from the post-punk scene. Andy Gill from the Gang of 4 typically said that Wilko was a serious affect.

DC: You probably did, in truth, strike up a friendship with Wilko within the Nineties. Additionally along with his beloved late spouse, Irene. What are you able to inform me about that?

PB: I used to be working on the Queens Corridor venue in Widnes, and we booked him a number of instances. This could be the late Nineties/early Noughties. However that was a lean interval for him career-wise, lengthy after his Feelgoods and Blockheads heyday. He did have legendary Blockheads bass participant Norman Watt-Roy with him, as he did till lately, however he was doing small venues by then. I don’t suppose we ever acquired greater than 150 in for these gigs, and that might have been mirrored within the charges we paid him. He didn’t have an agent or something; his spouse, Irene, was reserving the exhibits. She used to ring us up in search of gigs, and I used to speak to her. I bear in mind her saying, “We was poor, then we have been wealthy, and now we’re poor once more”.

DC: For many who don’t know of Wilko or Dr Feelgood, that are one of the best albums to start out with?

PB: There are solely 4 Dr. Feelgood albums that includes Wilko. The three studio albums, Down By The Jetty, Malpractice, and Sneakin’ Suspicion, are good, however in some methods Wilko was actually a stay musician and never a studio musician. That’s why the third and stay album, Stupidity, is the one to get and was their number-one album and crowning glory. He additionally had his personal band after the Feelgoods known as Wilko Johnson’s Strong Senders, who made one album which has acquired some nice stuff on it, together with the track Paradise, which was the track that precipitated the massive bust-up with Dr. Feelgood through the recording of their third studio album. That really resulted in him leaving the band. He, after all, performed with Ian Dury and the Blockheads after that, however I’d say the Julian Temple documentary Oil Metropolis Confidential and its follow-up, The Ecstasy of Wilko Johnson, will inform you all it’s essential to learn about him. One factor’s for positive, no one will ever play guitar like him once more. Irrespective of how arduous I attempt!

Pete Bentham And The Dinner Women’ new album, What’s On The Inside Has To Come Out, is out there now at 9×9 Data.