JC CARROLL of THE MEMBERS: Plenty Of Time For The Beach
An interview by Sarah Kidd.
British punk band The Members formed in 1976, but it was their single ‘The Sound of the Suburbs’ released in 1979, that saw them become infamous, the track itself becoming an anthem for the youth living within the sometimes-claustrophobic confines of suburbia.
Albums were made – three in fact – before the band disintegrated in 1983, only to reunite some twenty-four years later. Throughout this time JC Carroll has remained one of the most fascinating members of the band. Known not only for his talents with The Members but for his multi-instrumentalistion, love of reggae and work with film soundtracks.
His greatest gift is that of being able to tell a story, and when someone like Carroll has done as much as he has and worked with people such as Glen Matlock, Dee Dee Ramone, Joe Strummer and more – you can guarantee that there certainly will be a few stories to tell!
I caught up with JC Carroll ahead of his Auckland show to discuss the burbs, his latest solo work and just why fans should not miss this incredibly intimate show…
It is indeed well documented that you yourself hail from ‘the burbs’; you once stated that when you first started out it was to prove that not all punk bands were from the inner city… Would you say that there was a distinct difference in sound between that of music from the city vs music from the burbs?
“The music of the suburbs is indeed different to the music of the city. The Members sound is not dissimilar to that of The Jam and Sham 69. I often say that we learn to play guitar and we learn to play the guitar really well because there’s nothing else to do in the suburbs.
I come from Surrey and it is worth noting that some of the best guitarists in England come from Surrey; Jimmy Page, Jeff Beck and Eric Clapton. They got good at guitar because there was nothing else for them to do. If it wasn’t so boring living there I wouldn’t have written ‘Suburbs’”
Reggae was a huge influence in your life – it is also a significant part of the culture here in New Zealand – what first drew you personally to it?
“I was attracted to the space in reggae and the dub effects. There is a record called Screaming Target by Big Youth which was a huge influence on me. Also, I was privileged to see Bob Marley [and the Wailers] perform at the Lyceum Theatre in London the night they recorded ‘No Woman No Cry’” [1975]
‘Sound of the Suburbs’ was undoubtedly a huge hit for The Members – it basically was an anthem. Did you ever predict it becoming what it did? And why do you believe it was so popular?
“The first time we played ‘Sound of the Suburbs’ was in the Marquee Club in London the Marquee is one of the most famous rock clubs in our capital city.
I knew the minute we played it that it would be a huge hit, crowd went crazy like they hadn’t heard it all their life. It became popular because it is about the fans not the band. The song is not about The Members it’s about the fans that’s why they love it.”
You have worked with many great musicians over the years (Rat Scabies being one of my personal favourites) however it must be said that your time with The Members has always been key…
“It was fantastic working with Rat, but my main group will always be The Members it is a lot of work keeping a band together.”
When it comes to the track ‘Offshore Banking Business’ it is often cited as an early example of ‘White Reggae’ – was this for you personally a journey of moving from being a fan of the genre to being a creator?
“I hate the expression ‘White Reggae’ because when we first did it there was this idea that white people couldn’t play reggae.
It’s reggae! It doesn’t matter what colour the people who play it are. The first Members reggae song was written by Chris Payne called ‘Rat Up A Drainpipe’. The Members were unique as a punk band because we incorporated slow reggae in our act.”
You are a multi-instrumentalist who notably performs with both the accordion and mandolin. Why those instruments and has learning to play them always come easy to you?
“Mandolin and accordion got me work as a soundtrack and film musician. They were the instruments that are used to get back to my French and Irish roots. Learning instruments isn’t easy but I found that by expanding my palate my film music became more expressive.”
Was it learning to play the aforementioned instruments that sent you down the path of performing folk music (Wise Monkeys) or the other way around?
“When The Members stopped functioning in 1984 I needed to learn new skills and buying a mandolin in a flea market and an accordion in a pub suddenly took me on a different path. That path included playing with Wise Monkeys and doing sessions for people like famous film composer Michael Kamen.”
You just recently released West Byfleet Selfie; can you speak a little to the concept of the album?
“West Byfleet Selfie is called West Byfleet Selfie because that’s what it is. It’s an album I recorded myself at home in my studio. I was going to call it something poncey like ‘Painting in the Sky with Sound’ but I suddenly realised that it was a self-portrait in sound. The album uses my film soundtrack palette rather than my Members rock ‘n’ roll one.”
I love the track ‘So Many Shades of Blue’ can you please tell me a little about it?
“‘So Many Shades of Blue’ is one of those songs that follows you round like a dog you can’t lose. It’s not hugely successful but there is something about it that charts my transition from punk musician to English blues musician.
I love the music of Peter Green and early Fleetwood Mac and that period of English music where they took the blues and turned it into something very, very English. That’s what I’m trying to do with this song. Really glad that you enjoyed it!”
Well I am also rather intrigued by the track ‘Looking for Love’…
“’Looking for Love’ is a little bit of out of place on the album because it should’ve been a song called ‘My Inspiration’ which I shelved at the last minute.
It’s a song about a guy who is going around all his girlfriend’s seeing if any of them will have him. The accordion part takes its inspiration from a riff by my favourite Zydeco [musical genre that evolved from Cajun and Creole music] player Clifton Chenier.”
‘In 1972’ features not only the guest vocals of Melissa Jo Heathcote but they are set to the Love Story theme are they not? Why did you choose to do this?
“There are several reasons why I chose to record this song, the first being I love it. Originally Danny Lia wrote it as an instrumental and the words, theme from love story where added later. I thought well if somebody else hasn’t written the words then I might as well have a go.
Daniel Lia wrote some fantastic film music and was an accordionist, so I identify with him and his chord progression. I wanted to write a story about people who are disabled and love and use a Sting / The Police type reggae beat.”
Your upcoming solo show in Auckland will be rather intimate – thrilling for fans, a return to roots for yourself?
“I have been doing some solo shows in the UK and there is something about playing your song with just an acoustic guitar that is both challenging and illuminating. As a musician I like to strip things back occasionally, do it basically. I’m a bit like an old tart, you can’t resist pulling another trick…
I also love my New Zealand friends, I look forward to catching up with them on my way to Fiji.”
Finally, what can your New Zealand fans expect to hear? And do you have any messages for them?
“My message to my New Zealand mates is get your arses down to the gig. I know it’s a bank holiday weekend and some people like to go to the beach, but my advice to you is that there is plenty of time to go to the beach all year round – JC Carroll is only in town once every 4 to 5 years! Come down, have a chat and enjoy the show.
I will be playing a selection of Members hits songs from my photo album and a few cover versions! My solo shows are like a stand-up comedian with the guitar and I have some great stories to tell. I look forward to seeing you all in New Zealand!”
JC Carroll is performing live in Auckland this Friday 19th October at The Thirsty Dog. Tickets are still available from Under The Radar, but get in quick as this is sure to sell out!
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