Chris Spedding should need no introduction for any fan of British rock . One of the most gifted and versatile guitarists of his generation he has straddled pop, rock, jazz and punk for almost half a century. He’s done this with ease whilst finding time to play with many major figures of music scene such as Roxy Music, Elton John, John Cale, and Paul McCartney.
He has just joined forces with friends Glen Matlock (bass – Sex Pistols), Martin Chambers (drums – Pretenders), Stephen W Parsons aka Snips – (vocals – Sharks) and new guitarist Sixteen as KING MOB to release a new album and tour. Jason Barnard of the Strange Brew Podcast catches up with Chris to find out more:
Hi Chris. You’re part of the brilliant new group King Mob at the moment. Can you tell us a more about the band and how you got together?
Steve was the prime mover. I’d known him since we were both in the 1970s band SHARKS. After that band broke up we stayed in touch and worked on each other’s projects over the years. My connections with Glen & Martin go back almost as far, but it’s only recently that we actually played together. 16 is the new discovery and Steve found him. He’s fitting in remarkably well – you’ll have to ask him what it’s like playing with a bunch of old geezers.
To me there seems to be a fifties feel in the group’s sound – with a danger and rawness lacking in many of today’s bands. Seems ironic?
We’re just playing the songs the way we think they should be played. We’re not consciously trying to create a specific sound. We like they way we sounded on day one and we’re not going to mess with it.
What tracks should we look out for on the new “Force 9” album and when we see King Mob live?
Selene Selene and Va Vah Voom are good songs. We debut on Nov 17 at 229 The Venue in London.
Going back to the sixties and early seventies – what are your main memories of the industry at the time?
The 60s were dominated for me by the Beatles. We’d all wait for the next new record they’d put out. The early 70s were divided for me between session work – which is one big blur of studios every day – and the SHARKS (1972-4) when I gave up studio work for 2 years.
You’ve worked with artists from the lesser known to the legendary, who have been your favourite people to play with?
I would have to say the legendary.
From the tracks you’ve recorded, in your own right and in session, which ones stand out for you?
Well I can’t get away from MOTORBIKIN’ – so that stands out. I’m a one hit wonder!
