T.V. Blues \/ Blues \/ Lady Esquire \/ All I Wanna Know \/ Crash Course \/ Young Criminals \/ B.I.C. \/ Disease \/ Stranglehold<\/a><\/p>\nIn respect of finding six original black and white ‘Walkerprint’ larged sized photographs stuffed into the UK Sub’s second LP ‘Brand New Age’ the other week,\u00a0I have great pleasure in showing them off on this post uploaded tonight. The photographs were sent to me originally by whoever was running the UK Subs fan club way back in 1980\/1981 when I was a short\u00a0staying member! Getting these photographs at the time was certainly\u00a0not a bad investment. One years subscription payment,\u00a0slipping a grubby postal\u00a0order written out to the fan club and then sending the envelope to some long forgotten P.O. Box number all those years ago…Result!\u00a0\u00a0I am sure everyone in the fan club would have got the same or similar great photographs but as I had forgotten all about them it was a very pleasant surprise to have them all\u00a0fall into my lap\u00a0pulling out the ‘Brand New Age’ LP to give my favorite UK Sub’s track ‘Warhead’ a spin. Most of my records are in storage at the moment so I could not play the 7″ single format of this track!\u00a0<\/span><\/p>\nAnyway I felt like uploading the debut LP by the UK Subs tonight, ‘Another Kind Of Blues’ which was released in a blue sleeve, along with a blue inner sleeve, pressed\u00a0on lovely blue vinyl and even had two tracks held within the grooves with the word ‘blue’ attached in the title!<\/span><\/p>\nA class LP in any case, although I personally prefer the\u00a0‘Brand New Age’ LP…<\/span><\/p>\nText below lifted from the book by Alex Ogg entitled ‘No More Heroes – A complete history of UK Punk from 1976 to 1980’ – go get the book. Photographs from my collection…of course.<\/span><\/p>\n\u00a0![\"\"](\"http:\/\/i192.photobucket.com\/albums\/z149\/pengy1966\/scan964.jpg\")
<\/p>\n
It\u2019s easy to berate the Subs. After all, they\u2019ve given their critics plenty of ammunition. If you lie down with dogs, you get fleas. And if you lie down in fleapits, where many of the Subs\u2019 endless latter day gigs took place, and you\u2019ve got a singer who was born sometime during the Norman conquests, you\u2019re gonna get hammered by the music press. Especially when you veer into karaoke punk rock albums, when it seemed Charlie Harper was seeking to redefine pointlessness as an art form, and swap drummers and bass players like schoolkids exchange Pokemon cards.<\/span><\/p>\nBut for all that . . . the early UK Subs albums especially, despite what the punk fashion police would have you believe, are engaging, entertaining, and musically literate. Few who do not know these records would associate the UK Subs with the level of finesse and aural bite they often displayed. It didn\u2019t exactly help that they got caught up in the second wave of punk and were bracketed alongside one-trick ponies like the Exploited. But their first four studio albums contain some of the most searing musicianship of the punk era. And the band that produced them was smart, funny and personable. There are also a few treasures to be found on their later output, particularly anything that their genuinely innovative guitarist Nicky Garratt was associated with, but the gems are spread a good deal thinner. <\/span><\/p>\n![\"\"](\"http:\/\/i192.photobucket.com\/albums\/z149\/pengy1966\/scan969.jpg\")
<\/span><\/p>\nCharlie Harper, as everyone knows, was knocking on a bit when punk kicked in. In fact, he was old enough to be a part of London\u2019s last big generational upheaval, the swinging sixties. He\u2019d busked around Europe with a harmonica and an acoustic guitar, hung out with the Rolling Stones (he was at one time nicknamed \u2018Charlie Stones\u2019) and taught Rod Stewart how to play blues harp. Thereafter he set up several pay-the-bills R&B ventures, the first being Charlie Harper\u2019s Free Press Band, titled in tribute to Muddy Waters\u2019 song \u2018Albert Harper\u2019s Free Press\u2019. They split when his fellow band members showed no interest in turning professional, so instead he led the Charlie Harper band and also moonlighted with a group called Bandana. By the mid-70s he was playing countless pub and club engagements alongside Scott Gorham, before he joined Thin Lizzy, as Fast Buck (later Gorham would also record with the Pistols\u2019 Cook and Jones as part of the Greedy Bastards). These nocturnal activities were largely subsidised by his hairdressing business in Tooting.<\/span><\/p>\nThe fourth or fifth incarnation of his various R&B combos were the Marauders. He decided to switch tack after a few nights at the Roxy watching bands like the Damned. \u201cTo me,\u201d reckoned Harper, \u201cpunk was an excuse for fanatics to have their say, people like me who never had a chance before, people who have just been laughed at. Blokes like me who\u2019ve just been through life being sneered at, fingers pointing, saying, \u2018That\u2019s the local nutcase\u2019. When punk came along it was the best thing that ever happened to me. I was accepted.” The Damned would remain a particular influence, as he recalled to Phaze One fanzine. \u201cThe Damned are one of the bands that actually changed my whole life. I was going to Damned gigs, jumping around and then playing completely different music the next day.\u201d A new name was evidently required so he opted for the Subversives, later trimmed to the Subs, and finally the UK Subs when he learned of the presence of a Scottish band of that name on Stiff Records. <\/span><\/p>\nOf course, Harper was in a unique position to compare the impact of the swinging 60s with the somnambulant seventies, as he confirmed to me in 2005. \u201cThe punk explosion was almost an exact parallel to the 60s R&B scene. In fact, early punks adopted all the 60s style, buying up all the old clobber. \u2018My suit only cost a quid,\u201d someone would say. Then someone would announce, \u2018Mine was 50p!\u2019. \u2018Yeah, but it\u2019s held together with safety pins.\u2019 Every band played a cover version like \u2018Wooly Bully\u2019, a big hit in the 60s, every band has a sixties song on plastic, so the similarities were there.\u201d<\/span><\/p>\nThe line-up quoted at the start of this entry, essentially the Marauders in punk garb, was soon shuffled, shortly after Harper suffered his \u2018first\u2019 heart attack, largely as a result of prolonged sulphate use. Rehearsals at the Furniture Cave on the King\u2019s Road saw Harper\u2019s flatmate Greg Brown replace Anderson, who joined the Pentecostal Church, while Steve Jones took over on drums and a saxophone player, Dave Collins, was added. Of much greater import was the recruitment of guitarist Nicky Garratt, Harper\u2019s soon to be longstanding co-writer. Classically trained but principally self-taught, he moved to London from Leicestershire on 1 January 1977. Previously he\u2019s enjoyed a minor career in a local blues band with Honey Boy Hickling and Big Al Taylor, then a band with Geoff \u2018J.B.\u2019 Blythe, later of Dexy\u2019s Midnight Runners. <\/span><\/p>\nIn London he formed the Specimens, a short-lived punk band, though their song \u2018Ronnie Biggs\u2019 did transfer to the Subs\u2019 set, where it became \u2018B.I.C.\u2019. He\u2019d been advised to check out Harper\u2019s group, who had \u201cloads of gigs booked\u201d, but had mistakenly presumed they were called the US Jets. \u201cI first met Charlie at his apartment, where I was waiting for him to return from his salon,\u201d Garratt told me in a letter in 1991. \u201cCharlie was a hairdresser with a small business at the rear of a clothes store where the band would meet before gigs to load the ancient Marshall PA into the van. The UK Subs, as they turned out to be called, had been playing since the end of 1976 with a variety of personnel fronted by Charlie. They played a mix of punk and R&B with, at that point, a temporary guitarist and even a sax player filled in on covers like \u2018Wolly Bully\u2019 and \u2018Talking Book\u2019.\u201d<\/span><\/p>\n![\"\"](\"http:\/\/i192.photobucket.com\/albums\/z149\/pengy1966\/scan968.jpg\")
<\/span><\/p>\nNicky <\/span>Garratt made his debut at the Western Counties pub on 15 October 1977, three days after that first meeting, and without an audition. \u201cHe was dressed in black and looked like a young Wilko Johnson,\u201d Harper later recalled. \u201cI played the early demos that we did and he liked them and that was it.\u201d \u201cAlthough we kept the extra guitarist and sax player for another week,\u201d Garratt told me, \u201cCharlie and I put together a core of punk songs for the set in those two days before the first show. The songs included some that Charlie had written like \u2018I Couldn\u2019t Be You\u2019 that Charlie had reworked while in the Marauders and \u2018Stranglehold\u2019, along with new (more punk style) songs we wrote together like \u2018Telephone Numbers\u2019 and \u2018Illegal 15\u2019. Suddenly the Subs were a 100% punk band.\u201d Albeit one with a musical pedigree, as Garratt notes. \u201cCharlie had a \u2018street\u2019 background as far as live performances, while I had five years\u2019 training on classical guitar, as well as earlier bands. Charlie\u2019s \u2018get up and play\u2019 spirit certainly taught me a great deal, but I think our musical DNA was fully loaded before that.\u201d<\/span><\/p>\nWith the line-up now settling down to Harper, Garratt, Slack returning on bass and Jones on drums, they secured residencies at the Western Counties and Tooting\u2019s Castle pub. Jones was replaced by Rory Lyons in November 1977 as the group, whose HQ remained Harper\u2019s Totting salon, where he coiffeured punk hairstyles for the likes of Adam Ant, further honed the new material. A show at Brighton\u2019s Buccaneer venue on the 18th was filmed by Southern TV and transmitted in January 1978 \u2013 a photograph from the same show later appeared on the cover of the American release A.W.O.L.<\/span><\/p>\nOn 21 November they cut their first demo as the UK Subs, featuring \u2018Stranglehold\u2019, \u2018Tomorrow\u2019s Girls\u2019 and \u2018Disease\u2019, at YMC studios. \u201cOur first attempts at recording were not good,\u201d Harper told me. \u201cWe all recorded together in the studio to get a more \u2018live\u2019 sound, but it was hard to capture the live energy and attack\u201d. Two days later they played Croydon Scamps to a crowd of absolutely no-one \u2013 the manager being required by his licence to put music on, receiving \u00a335 for their efforts before the doors were even opened. Later that month they made their debuts at London\u2019s most prominent punk venues, the Roxy and Marquee.<\/span><\/p>\n\u00a0![\"\"](\"http:\/\/i192.photobucket.com\/albums\/z149\/pengy1966\/scan966.jpg\")
<\/span><\/p>\nSteve Slack was losing interest, but agreed to remain while the band made their recorded debut as part of the Farewell to the Roxy compilation album (the UK Subs\u2019 set, recorded on 28 December 1977, was later released as Live Kicks). His elder brother Paul took over immediately this was completed, and was given three days to prepare for his debut show at Liverpool\u2019s Eric\u2019s. In attendance that night were representatives from Stiff and Chiswick, both of whom passed on the group, though Stiff would later issue Live Kicks, much to the band\u2019s consternation, shortly after debut album Another Kind Of Blues had charted. But then Charlie had sold off the publishing rights to the Roxy set in exchange for a crate of beer while down the Vortex one night.<\/span><\/p>\nThe group, with Robbie Bardock stepping in for Lyons, who later moved on to King Kurt, continued to gig extensively throughout London, at the Vortex, Bridge House, Music Machine and 100 Club. Their 10th January show at the latter saw Paul Weller and Joe Strummer number among the audience. \u201cWe were supporting a reggae band,\u201d Lyons recalled, \u201cWe\u2019d finish a song and Charlie would say, \u2018We\u2019re just waiting for the drummer to catch up.\u2019 I ended up tying him to a table in the bar by the end of his scarf after the gig. He didn\u2019t even notice and the table and drinks toppled over when he got up to walk away.\u201d At the end of January they\u2019d secured a five-week residency at the Mitre in Tooting, which unfortunately fell through when the landlord was hit on the head with a pool ball. <\/span><\/p>\nOn 3 February 1978 they entered the studio for the second time to record \u2018Tomorrow\u2019s Girls\u2019 at Barry studios in London, but were unable to get the right drum sound. Despite the failure of these sessions, they continued to pull good audiences at venues including the Mitre and Forrester\u2019s Arms in Tooting, Battersea Arts Centre, Putney\u2019s White Lion, the Moonlight Club, Music Machine and Canning Town Bridge. In so doing they established a reputation as the hardest gigging band of their generation and Harper as the James Brown, or indeed, Peter Pan, of punk music. However, getting gigs was becoming increasingly difficult as the group faced bans from at least five pubs, as their volatile audience swelled and proved a little boisterous. At one point Wayne County accused them of having a \u2018fascist\u2019 following, which was unequivocally denied by the band, who also played a couple of Rock Against Racism shows to emphasise the point.<\/span><\/p>\n\u00a0![\"\"](\"http:\/\/i192.photobucket.com\/albums\/z149\/pengy1966\/scan965.jpg\")
<\/span><\/p>\nThey picked up yet another new drummer, Pete Davies, in April. He was aboard for the group\u2019s debut John Peel session, recorded on 23 May. Such was Peel\u2019s enthusiasm for the band that he offered to finance their debut single, after sympathising over the lack of record company interest. (Two further Peel sessions followed, on 6 September 1978 and 17 June 1979). Their first national tour came as a support to the Farewell To The Roxy album, an ill-fated Scottish haul alongside Blitz, Acme Sewage Co and the Jets. Funding was non-existent and the group subsisted by undertaking washing up duties. They were forced to hire a car, on Nicky Garratt\u2019s girlfriend\u2019s credit card, in order to get back to London. Garratt: \u201cBy the time the tour happened, the UK Subs were by far the biggest band on it. Really, the attempt to do the tour was puzzling, as none of the other bands were really doing much. It was like the UK Subs and a ton of opening bands. I think the organisers were trying in vain to promote a couple of bands they were managing.\u201d A series of supports to Sham 69, Girlschool, Tubeway Army and the Ramones, who would later cancel, at the Plymouth Metro, on 6 September, lifted their spirits somewhat.<\/span><\/p>\nPrior to that, on 11 July 1978, the UK Subs entered Spaceward Studios in Cambridge and cut three tracks; \u2018C.I.D\u2019, \u2018I Live In A Car\u2019 and \u2018B.I.C.\u2019. <\/span><\/p>\nThese would comprise their debut single, released as part of a one-off deal with City Records, the only label thus far to express any interest. Garratt: \u201cWe most likely met Phil Scott of City through Girlschool, who were close friends of the Subs at the time. He was a good guy and did his best for us, as far as I can remember.\u201d The single was released in eight different colours, establishing the Subs\u2019 reputation for rainbow vinyl. The a-side was informed by the old bill constantly sniffing around their shows at the Castle in Tooting. \u2018I Live In A Car\u2019, always one of the band\u2019s most enduring tunes, was \u201cjust about living in a tour van and not seeing much of anything else. The basic idea was that when the taxman or anyone’s after you you’re never there, you’re in the van, you’re away somewhere else. That’s the kind of basic message, whenever anyone’s trying to get money off you, you’re not in. Which was very, very convenient. Most of the time.\u201d A second TV appearance followed as part of a BBC2 Omnibus documentary on independent record labels. <\/span><\/p>\nFollowing the single\u2019s release the Subs signed to Alistair Primrose\u2019s Ramkup management team, including manager Mike Phillips, on 16 May, over a couple of beers at the Prince William Henry in Blackfriars. He negotiated a deal with RCA subsidiary Gem later that month. The group were now \u2018proper\u2019 punk recording artists, though, interviewed by Garry Bushell for Sounds in August, Pete Davies insisted: \u201cI don\u2019t consider us to be a punk band, because punk when it started was young kids who didn\u2019t really know how to play. We\u2019ve all been playing for years apart from Paul, the bassist, who started from scratch. He learnt the bass in about one week before we played Eric\u2019s.\u201d In the same interview, Harper pointed out how the band had changed. \u201cWhen UK Subs started we were really political. We did a couple of numbers like \u2018No Rules\u2019 and \u2018World War,\u2019 which was about the Baader-Meinhoff gang, and was about 24 seconds long. We had to slow it down to 30 seconds so you could hear the words. We\u2019ve dropped the heavy political angle now because when we get on stage we just wanna forget reality and create our own escapism.\u201d <\/span><\/p>\nSessions for the band\u2019s debut album began on 29 May 1979 at Kingsway Studios in London\u2019s Strand, owned by ex-Deep Purple singer Ian Gillan, whose bass player John McCoy would serve as producer, mainly because he\u2019d previously worked with Samson, who shared the Subs\u2019 management. Sessions were preceded two days earlier by an appearance at the Loch Lomond festival alongside the Buzzcocks, Stranglers and Skids. They also became tabloid fodder on the intervening day when they ran a story about fan Phil Sick bumping into Prince Charles in Windsor and inviting him to a subsequent Subs\u2019 show at the Music Machine. Other versions of this story have Subs\u2019 fans writing to old jug ears and receiving a personal reply stating he had a prior engagement. Either way, it sounds like a record company scam to me. “Actually the original incident was purely a fluke,\u201d Nicky Garratt told me in 2005, \u201cas some of our fans walked across the side of a polo field where Prince Charles was playing. The press actually brought them together – it made the front page of the Daily Express and the Sun. It was our management who tried to make a meal of it by inviting the prince to the Music Machine.\u201d <\/span><\/p>\nThe sessions were interrupted by another \u2018toff\u2019 related incident, an appearance on June 11 at the Cambridge Trinity May Ball. This was filmed for the recently re-released Julien Temple documentary, Punk Can Take It. The film originally ran as a support feature to Breaking Glass, Scum and Quadrophenia, ostensibly because Gem also ran GTO films and thus had some clout in that area. It was notable for the pitched battle that took place between around 200 local punks who were unable to get into the venue. Some of the footage was actually taken from the Great Rock \u2018n\u2019 Roll Swindle, which Temple had recently been working on, as he indulged in a little celluloid cut and pasting.<\/span><\/p>\nThe UK Subs\u2019 first release for Gem, \u2018Stranglehold\u2019, gave them their strongest ever chart showing in June, peaking at number 26, selling 75,000 copies and bringing an appearance on Top Of The Pops. The \u2018Stranglehold\u2019 tour began soon thereafter, though the group decided to pull out of a planned appearance at the Glastonbury festival (which brought them a front cover story for Sounds). However, their final show at the Lyceum was also filmed for Punk Can Take It, and four of the tracks were recorded and issued as the \u2018For Export Only\u2019 12-inch, later given away free with copies of the Crash Course album. They actually had more punch than the parent album, too. A third single, \u2018Tomorrow\u2019s Girls\u2019, was readied, the cover featuring Joanne Slack, Paul\u2019s sister, who also briefly ran the group\u2019s fan club. It sold almost as well as its predecessor and brought another Top Of The Pops appearance. <\/span><\/p>\nRiding the momentum, Another Kind Of Blues, initially released in blue vinyl, reached number 21 in the national album charts on release in September, as Pinnacle re-released \u2018C.I.D.\u2019. Garry Bushell gave the album a five-star review in Sounds, noting the songs were \u201cShort, sharp, fast with great hooks, nifty, simple guitar\u201d and that the album was a \u201cnear perfect slice of good time high energy punk.\u201d Certainly, none of the songs outstay their welcome. \u2018Young Criminals\u2019 was originally written to be played as the fadeout to the film Scum. \u2018Rockers\u2019 was not, according to Charlie, a challenge to the new mod movement, but an adaptation of an old song called \u2018Totters\u2019 \u2013 totters being gypsies, and the name of a pub the group used to play. A strong blues influence, courtesy of Harper and Garratt\u2019s previous bands, could be detected, alluded to in the album title. Producer John McCoy actually co-wrote and played on a rough version of \u2018Crash Course\u2019 with Nicky Garratt while the rest of the band were on a lunch break. Another Kind Of Blues also started the tradition of Subs\u2019 albums being issued in alphabetical order (apparently, long-time Subs fan Tim Burgess of the Charlatans can name them all \u2013 how very fascinating). <\/span><\/p>\nA 35-date national tour, including three successive nights at the Marquee, also began in September. By this time \u2018Tomorrow\u2019s Girls\u2019 was resident in the Top 30. Booked to appear on Top Of The Pops, the band refused to pull at show at Exeter and insisted their record company fly them down after they\u2019d recorded their clip. And to make sure the fridge was full. For their next single they elected to record their cover of the Zombies\u2019 \u2018She\u2019s Not There\u2019, which again hit the top 40 and brought them to Top Of The Pops. Because Harper couldn\u2019t hit the right range, Paul Slack handled the vocals after they\u2019d toyed around with it during sound checks. Later Charlie would slate it as \u201cawful\u201d, though its rama-lama haste is actually quite endearing. The year was rounded out by their first, 12-date tour of America and Canada, beginning on 20 November 1979, and including two shows as support to the Police.<\/span><\/p>\nBrand New Age, this time produced by Harper and Garratt at Underhill Studios with engineer Laurie Dipple, was released in January 1980, and reached 18 in the charts. Many of the lyrics were written in the studio by Harper at the mixing stage, while the more esoteric musical inspirations included Syd Barrett\u2019s \u2018No Man\u2019s Land\u2019 (on \u2018Rat Race\u2019). Once again Garry Bushell gave it five stars in Sounds, though the band might as well have not existed for all the attention trendier publications like the NME would afford them. The highlights included the nugget-tough \u2018Emotional Blackmail\u2019 as well as opener \u2018You Don\u2019t Belong\u2019 and a brace of fine singles. These comprised \u2018Warhead\u2019, soon to become the Subs\u2019 signature tune, constructed over a thumping bassline Paul Slack used to play at sound checks, which Charlie wrote the words to one day in a chip shop, and \u2018Teenage\u2019. The latter was a bit of rabble-rousing aimed at the mod revival scene (and a song Mr Harper routinely dedicates to himself on set, despite now being well past 60). While \u2018Warhead\u2019 was probably Harper\u2019s finest lyric, the sort of prophetic Nostradamus text that Jaz Coleman would later make Killing Joke\u2019s speciality, the b-side was also worth checking out for Harper\u2019s harmonica-driven instrumental \u2018The Harper\u2019 and a cover of Lou Reed\u2019s \u2018Waiting For The Man\u2019. \u2018Teenage\u2019 was also backed by two of the band\u2019s strongest songs of the period, \u2018Left For Dead\u2019, which could have been Motorhead, and the sterling \u2018New York State Police\u2019 (\u2018Keep your mouth shut or we\u2019ll break your nose\u2019)<\/span><\/p>\nIn February they embarked on a major European tour as support to the Ramones (a bootleg from this period, Dance And Travel in The Robot Age, recorded at the Palilido in Milan, offers an effective souvenir of these happy times). On their return they were back to Top Of The Pops to perform \u2018Warhead\u2019, which had reached number 29 in the charts, and they returned again for \u2018Teenage\u2019. We\u2019re at a crossroads now,\u201d Charlie confessed to Garry Bushell, \u201cthe temptations are coming up, the big houses, the holidays abroad, and we\u2019ll either split through it, or see it through to a real brand new age.\u201d<\/span><\/p>\nShows in Scotland followed, though Paul Slack had to be temporarily replaced by brother Steve when he caught pneumonia. At the same time Charlie recorded his solo single \u2018Barmy London Army\u2019, rejected by the rest of the band, with Chelsea\u2019s guitarist, dedicated to Jimmy Pursey, whom he felt was getting a hard time. \u201cOne of those drunken nights down the Marquee, there was a R&B band on and the record company were down there. They suggested I should find a band like this for their label. And I replied that I’d do their single for ’em, me being the R&B man, and it all stemmed from there and demos we did . . . I thought \u2018Talk Is Cheap\u2019 should have been the a-side but the record company thought otherwise.\u201d Blow me if Pursey\u2019s legal representatives didn\u2019t then pursue him for half the royalties for using the \u2018Kids Are United\u2019 chant – which must have amounted to about 30p when all\u2019s said and done. Charlie went on to record another solo single, \u2018Freaked\u2019, most notable for its excellent b-side, \u2018Jo\u2019. There was also an album of covers, Stolen Property, on which he was joined by a cast of thousands including Rachel Dolly Mixture, Paul Davies and Steve Slack of the Subs and Mood Six\u2019s Tony Conway. It\u2019s not unlistenable, surprisingly.<\/span><\/p>\n\u00a0![\"\"](\"http:\/\/i192.photobucket.com\/albums\/z149\/pengy1966\/scan967.jpg\")
<\/span><\/p>\nA 21-date full UK tour to promote Brand New Age culminated in a May 30th show at the Rainbow, but inter-band tensions had begun to surface. According to Harper\u2019s comments at the time, Slack and Davies had become a little star-struck with the group\u2019s new found popularity. It ended in a fist-fight one night after a Dutch TV show, and the two factions parted company after their management\u2019s attempts at mediation failed. Slack and Davies briefly formed the reggae-influenced Allies to pursue a direction they\u2019d forlornly attempted to push on the Subs. \u201cI think the pressure within the band was quite high at that time,\u201d Garratt told Ian Glasper. \u201cPete and Paul seemed to be unhappy, and as I recall, complained quite a lot. We were doing an awful lot of shows. Charlie and I felt the Subs were our baby, I suppose. We were working on stuff all the time and a natural crack formed between us.\u201d<\/span><\/p>\nAlex Ogg <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"C.I.D. \/ I Couldn’t Be You \/ I Live In A Car \/ Tomorrows Girls \/ Killer \/ World War \/ Rockers \/ I.O.D. T.V. Blues \/ Blues \/ Lady Esquire \/ All I Wanna Know \/ Crash Course \/ Young Criminals \/ B.I.C. \/ Disease \/ Stranglehold In respect of finding six original black […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-5172","post","type-post","status-publish","format-standard","hentry","category-links-downloads"],"_links":{"self":[{"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/posts\/5172","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/comments?post=5172"}],"version-history":[{"count":7,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/posts\/5172\/revisions"}],"predecessor-version":[{"id":5180,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/posts\/5172\/revisions\/5180"}],"wp:attachment":[{"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/media?parent=5172"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/categories?post=5172"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/tags?post=5172"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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