Once it’s established we can hear each other, Matlock heads inside, bemoaning his laptop’s flat battery as he does so, hence his need for handheld communication. Perched on the front steps of his home, being beamed via mobile phone. I wondered if, like me, my digital date had been over-egging his ease with this latest communication form.īut before I could type, ‘Stand by your phone and I’ll call you in five’, the man himself Zoom-ed into view. Glen and his bandīut come the appointed day and time, the only face filling my laptop’s screen was mine. ‘Any chance you could do it via Zoom’? ‘Sure’, I replied, a confirmed virgin when it came to hosting cyberspace socials with strangers, albeit one that is known as part of a band whose musical and cultural influence stands credible comparison to the Mop Tops and the pelvis-thrusting, burger-snaffling King across the water. Matlock plays a London residency with five nights at the Boisdale Club in Canary Wharf, London, from 30 July to 3 August.In an exclusive interview, Glen Matlock shares what’s next for him and what exactly are the chances of the Pistols ever touring again. In my live show I do a bit of everything to keep everybody including myself happy. I didn’t set out to write a Sex Pistols album and fail miserably. It’s quite personal, but there are some tongue-in-cheek funny bits in it. “When it comes to music, I like some actual music in the music!” says Matlock of the album. Matlock went on to work with an extraordinary array of musicians including Iggy Pop, the Dammed, Primal Scream, Mick Jones, Midge Ure, Gary Kemp, Ronnie Wood and such punkn contemporaries as Rusty Egan, Mike Peters, Tom Robinson and Kirk Brandon. Matlock was only 16 when he joined the Pistols, and co-wrote such iconic punk songs of theirs as ‘Pretty Vacant,’ ‘Anarchy In The UK’ and ‘God Save The Queen.’ By the release of their seminal Never Mind The Bollocks, Here’s The Sex Pistols album, he had been replaced in acrimonious circumstances by Sid Vicious. I think Bowie would have been proud of that song. I said let’s go with it and he built it up. “The sustained sound in the background behind the guitar riff was Earl, it’s pretty off the wall. The basic chord structure is like ‘Spanish Harlem’ or ‘Stand By Me,’ juxtaposed with Earl’s Ebow guitar which is like something from Bowie’s ‘Heroes.’ I think ‘Speak Too Soon’ is my favourite song on the album. In the words of Lennon, I’m writing for the kids that have grown up with me.
“It’s well known I like the Faces and a bit of Bob Dylan, and it’s all incorporated in there somewhere.
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