On the occasion of the first anniversary of the Stateside Madness Podcast, our British cousins at the Madness Information Service published this interview with hosts Laurie and Poly in the weekly M.I.S. Online newsletter. Read on as our podcasters share their thoughts on this occasion, which just so happens to coincide with hitting the milestone of 5,000 downloads!
M.I.S.: How did the Stateside Madness Podcast come about?
Laurie: The initial idea came about as a result of the COVID-19 pandemic. Madness’ American tour dates were all postponed until 2022, so we needed something to keep ourselves occupied. We wanted to come up with something that would help us battle our COVID isolation and connect with other Madness fans. I had just started regularly listening to a weekly music podcast about another band, and the idea hit me: why not a podcast devoted to Madness?
Poly: Laurie came up with the idea for the podcast and wanted a co-host. Like all things originating in the 21st century I had no idea what a podcast was. I was thinking “radio show,” like “wacky morning DJ.” So, being a pompous windbag, I said yes. While I knew it would be about Madness, I didn’t know a podcast would rely so heavily on talking about things you know and/or being a bit of an expert. Being from Maine, I find expert pontificating abhorrent. I called my mother panicked. “Mum, I’m gonna have to talk a lot about Madness, people are gonna slay me!”
Laurie: But that hasn’t happened, has it? There have been no slayings. I think we have a good balance in our podcast. Poly knows a lot about 2Tone and the Jamaican ska scene, whereas I’m more into 80s pop culture. And that really seems to work! It would be boring as hell if we both approached music from the exact same perspective.
M.I.S.:Why a podcast? What was your goal?
Laurie: There are tons of Madness web sites and online communities, but no one seemed to be creating original media content, or very little. It was important to us that we were content creators. Early on, Poly and I decided that we were not merely going to regurgitate Wikipedia entries. Instead, we wanted to do something completely original with a uniquely American spin. An audio podcast seemed like a natural fit since it allowed us to play snippets of the songs we were discussing.
Poly: We knew there would be song snippets and talking. “Do you like that song?” “Yup, I like that song.” That’s kinda how we started. Early on I came up with phrases like “strong melody” and “upbeat tempo” to describe songs I liked. Stupidly, I might add. Very nearly every good Madness song has a strong melody and upbeat tempo. What the f*** was I supposed to say about the subsequent two hundred songs? Idiot.
M.I.S.:What has been your favourite thing about recording the podcast this past year?
Poly: Special guests are definitely the best part of doing the podcasts. All the guests we’ve had were eager to talk. Less research to do, less carrying the load; it’s like a little vacation for me and Laurie.
Laurie: The guests have been terrific! We interviewed Chris Foreman for episode 15, which was arranged by our friends at M.I.S. That was absolutely a dream come true for me! But I think our real strength has been in getting interviews from other people whose stories haven’t been heard before. We interviewed Nick Woodgate, Woody’s brother, in episode 12, and our listeners really enjoyed that one. More recently we’ve chatted with Hector Walker (episode 16) and tour manager Steve Martin (episode 22). Those episodes were both fantastic! We have had listeners messaging us on social media to let us know that, although they are long-time fans who thought they knew all that there was to know about Madness, they were delighted to hear new stories from our guests.
Poly: I’ve been ecstatic to hear from fellow Madness fans who like the podcast. The Madness fan community has surprised me. Unlike other fan communities, they’re not a vicious bunch of trolls out to get each other. Friendly jabs, sure, but mostly supportive. I’m touched to hear how many take a drink when I say “absolutely” as a filler word or go get a beer when I say “Go get a beer, Stateside Madness.” Glad to know I’m enabling.
Laurie: Yeah, I think there may be a Stateside Madness Podcast drinking game out there now. Speaking of our fellow Maddies, the two fan engagement episodes which we’ve done so far have been an absolute blast (episode 8 and episode 21). Over the past year, I’ve become acutely aware of how many Madness fans there are here in the United States. We’re all about building the American fan community—through the podcast, through our Facebook group and Twitter, and through some planned meetups next year to coincide with the American tour dates.
M.I.S.:What can your listeners look forward to in the future?
Laurie: Well, in the immediate future we’re working on an episode all about Prince Buster, similar to the one we did on Ian Dury (episode 19). We’ve been talking about doing an episode about American bands who have cited Madness as a musical influence, like No Doubt and the Mighty Mighty Bosstones. And Poly really wants us to do an episode about the more adult side of Madness that he wants to call “Sexy Time for Madness.” That should be a good one, with lots of blushing involved.
Poly: We’ve got some more special guests in the works. Details are not hammered out, so it’s still secret. Other than that, I’d say we’re working on making the leap to video podcasts. Maybe not entirely but for special occasions, like The House of Fun Weekender; I’m gonna be there this year doing a podcast. Again, details are still being hammered out, but we’re gonna make it awesome.
M.I.S.:Anything else you’d like to say, either to the band or to the fans?
Poly: The podcast and Stateside Madness in general have been really fun and I’d say really good for me. The previous year has been challenging for everyone, and for me to have a project, scheduled meetings—and fun ones at that—was really helpful. I was never one to reach out to or chat up strangers, but SSM, M.I.S., Seven Ragged Men, and All Things Madness have forced me to be better about it. Odds are, I’ll make a lame reply to one of your posts sooner or later.
Laurie: It’s been so gratifying to me that people have taken the time to reach out and tell us, “I learned something new from your podcast,” and that people are listening and care what we have to say. We appreciate all the support we’ve received from M.I.S., Chris Foreman, Steve Martin, and others affiliated with the band. And thank you to our listeners! Without you, there would be no podcast.
Editor’s Note: Welcome aboard our first guest blogger: Laurie Alfaro, Stateside Madness Social Media Director and Podcast Producer. Laurie has contributed this glossary in conjunction with her deep-dive podcast on The Liberty of Norton Folgate. Sit back, relax, and we’ll travel many a long dim silent street… together! – D. Trull
In 2009, Madness released their magnum opus The Liberty of Norton Folgate, a concept album referring to a small area in east London named after Norton Folgate Street. Historically, this area was known for its colorful immigrant population, especially in Victorian times. Rightly or wrongly, the Liberty of Norton Folgate had a reputation for lawlessness, crime, and prostitution.
The album concludes with the ten-minute, ten-second epic title track, “The Liberty of Norton Folgate.” The song references many people and places in Victorian England that may not be known to American audiences. In this article, I will outline the people and places mentioned in the song to give listeners some context so that they can truly appreciate this masterpiece.
“This is the story of the Liberty of Norton Folgate” (0:10)
As we learned in Episode #23 of the Stateside Madness Podcast, Norton Folgate was a liberty in Middlesex, England, adjacent to the City of London in what would eventually become the East End of London. A “liberty” is an area in which rights reserved to the king had been devolved into private hands; in other words, it was self-governed, ruled by a court of ten elected officers who derived their authority from the people. Notable for the time, the elected officers included women. It was an 8.7-acre site originally occupied by the Priory and Hospital of St. Mary Spital. Playwright Christopher Marlowe was a resident of Norton Folgate, and the first-ever staging of a Charles Dickens play was held at the City of London Theatre in Norton Folgate (titled The Pickwick Club or The Age We Live In). William Shakespeare himself reportedly lived and worked in the neighborhood as well.
A short time ago Old Jack Norris died suddenly and an inquest was held on the body, before Mr. Stirling, Coroner, at the Black Horse, George-street, St. Giles’s. It was reported the deceased had starved to death. The evidence proved, that latterly the deceased, who was nearly seventy years of age, was unable to pursue his occupation of a dealer in shrimps, which, from his peculiar cry, gained him the appellation of the “Musical Shrimp Man”….
Battling Levinsky versus Jackie Berg (0:42)
Battling Levinsky was the world light heavyweight champion from 1916 to 1920. Jack Kid Berg, or Jackie Kid Berg, was an English boxer born in the East End of London who became the World Light Welterweight Champion in 1930. Both were inducted into the International Jewish Sports Hall of Fame. Since their boxing careers took place much later than Victorian times, their inclusion may seem like an anachronism; but after all, Suggs is taking a broad survey of Norton Folgate’s history that extends to street hucksters flogging bootleg DVDs.
Arnold Circus (2:00)
This area had once been one of the worst slums in London. In 1890, the entire area was razed, and a new housing development was built in its place. According to Atlas Obscura:
Rather than lifting London’s poorest from squalor, the Boundary Estate forced them into neighboring slums. The construction of the estate did, however, succeed in revitalizing the immediate neighborhood. Crime and violence in the area decreased substantially and Arnold Circus was viewed as a haven by London’s Jewish immigrant community.
Petticoat Lane (2:03)
A clothing market in Spitalfields. In the late 1800s, the area experienced a wave of Jewish immigrants fleeing persecution. Many of these immigrants went into the garment industry and set up stalls in the clothing market.
The Well of Shadows (2:04)
According to author Ed O’Regan, the Well of Shadows is a play on words referring to Shadwell in London’s East End. (Shadwell = Shad Well, Well of Shadows.) In his book Well of Shadows, Underground London (AS Publishing, 2013), he writes:
The social history of London’s East End is that wave upon wave of poor and/or dispossessed immigrants: Hugenots [sic], Irish, Jews and, more recently, Bangladeshis.
The local gang of Bangladeshi youths called itself ‘The Shadwell Massive’.
In Victorian times, the Shadwell area was a slum where opium dens and prostitution were rampant.
Archipelago of Malay (2:33)
This refers to the island chain between Australia and mainland Indochina. The Malay Archipelago consists of 25,000 islands and islets, including East Malaysia, Indonesia, Papua New Guinea, and the Philippines. Portions of the archipelago were ceded to the British Empire under the Anglo-Dutch Treaty of 1824.
Shadwell’s Tiger Bay (2:39)
Shadwell, mentioned earlier in the song, was a popular docking location for ships traveling up the River Thames. The rough-and-tumble nature of the area surrounding the docks earned it the nickname “Tiger Bay.” According to Ed Fisher in The Dictionary of Victorian London:
During the Victorian times, “Tiger Bay” was used (mostly by sailors but by others as well) to refer to various of the worst slum areas or districts as well as a few actual streets near the east-end London docks. Allegedly, the nickname was inspired by the awful nature of the brothels (and their operators) in the worst areas where many of the sailors were so badly treated.
“The Welsh and Irish wagtails” (2:45)
A wagtail is a songbird. Here, the wagtail is a metaphor for the people from Wales and Ireland and their native music. This thought continues in the next line, as “The music hall carousal is spilling out into bonfire light.”
Mr. Truman’s beer factory (3:06)
Located on Brick Lane in Tower Hamlets, Truman’s Brewery was once the largest brewery in the world. “Giants dancing up the brick wall” refers to the shadows of drunken revelers cast across the building’s iconic brick exterior. Joseph Truman became owner of the facility in 1683 or thereabouts. (Records from this time are a bit sketchy.) The brewery was passed down over many generations in the Truman family. Its famous 160-foot chimney is now a historical landmark. Today, The Old Truman Brewery is an events space and cultural center.
Spitalfields, Whitechapel, Tower Hamlets (3:14)
Spitalfields and Whitechapel are districts in the East End of London within the London borough of Tower Hamlets. Known for its dense immigrant population, in Victorian times this area was most famous as the hunting grounds of Jack the Ripper. Interestingly, the 2009 Madstock festival that coincided with the release of The Liberty of Norton Folgate shifted from the traditional Finsbury Park venue to Victoria Park in Tower Hamlets.
Due to its large South Asian population, Brick Lane is nicknamed Banglatown (as in Bangladesh). Suggs seems to mispronounce it as “Bangletown.”
Dan Leno and the Limehouse Golem (3:48)
Dan Leno was a music hall comedian famed for his bawdy songs and drag routines. Author Peter Ackroyd wrote a 1994 murder mystery novel set in Victorian London, Dan Leno and the Limehouse Golem. The book’s fictional serial killer, a menace in the vein of Jack the Ripper, is named for the Limehouse district of Tower Hamlets. Though it was pure fiction, Ackroyd’s novel starred a number of historical figures including Dan Leno and Karl Marx. It was published in the United States as The Trial of Elizabeth Cree and adapted into a 2017 film, The Limehouse Golem. Suggs cites the psychogeographic approach of Ackroyd’s London: The Biography as an influence in his conception of “The Liberty of Norton Folgate.”
“Have a banana” (4:23)
“Let’s All Go Down the Strand” was a massively popular 1910 music hall song about having a night out on the Strand, a lively thoroughfare about 3 miles west of Norton Folgate. An ad-libbed audience singalong line got permanently tacked onto the chorus: “Let’s all go down the Strand, have a banana!” (much like various additions to “Sweet Caroline” popularized by American sports crowds). “Have a banana” has become an emblematic Cockney catchphrase much favored in the Suggs repertoire of stage patter.
Madness guitarist/songwriter Chris Foreman recently honored us as a guest on the Stateside Madness Podcast, chatting with hosts Laurie Alfaro, Poly Collins and Bobby Rubin. In the following excerpts from the rollicking interview, Chrissy Boy discusses the band’s plans and hopes to get back to touring and recording, the new American greatest hits album, the process of writing “Our House,” memories of early visits to America, and the real important scoop here, which is the untold origins of his ever-popular “Showtime!” solo cabaret routines.
Poly:Chris, thank you for joining us, and if you’d be so kind, why don’t you tell us what the last year’s been like for you?
Oh yeah, pretty normal. Up in my loft. Has something been going on that I missed? (Laughs.) No, it’s been terrible, of course.
Last March, we were going to go to Dubai and get some hot weather. And suddenly our tour manager calls it off. And it’s been like that ever since, really. Yeah, it’s kind of like I had all this stuff in my calendar, obviously coming to the USA. So this stuff will come up in my diary, you know, like I’m supposed to be in Paris. And I’m in a shopping mall.
But yeah, it’s been difficult for everyone, hasn’t it? So you know, I’ve got a nice house, big garden, sort of on the outskirts of Brighton. So it’s okay, you know, for me.
Poly:I suppose that’s the same for very nearly all of us. We were so looking forward to the American tour. But we’re willing to hang in there.
I don’t know if we’re going to come, I’m afraid. This year, anyway. You know, Punk Rock Bowling’s been put off again. I’ve written a few songs, so that’s good. And we’ve met up a few times, the band. We started renting this unit. There was a kind of thing here where, “It will calm down a bit, you can almost go back to normal.” And we’ve rented this kind of industrial unit and we’ve put a load of equipment in, and we met there, yeah. We came up with a couple songs, so you know. We’re ready. (Laughs.)
Poly:Great! We’ll be looking forward to that.
Laurie:So Chris, so why are you releasing an American compilation at this time, and what’s your favorite song on the compilation?
Well, the compilation was supposed to tie in with the tour. So I guess they kind of had it on the spreadsheets for a while and we have to release it at some point, because I suppose they must have manufactured it. And that’s the kind of business side of things.
My favorite track? I don’t know, gee… You know, it’s kind of all about the hits, isn’t it? I mean, I always really liked “The Prince,” you know. And I enjoy playing it live, it doesn’t get too tired. There’s something about that song. So let’s go with that. It is on the compilation, I assume? (Laughs.)
Laurie:I do hope you guys get to tour America, because I’ve never seen you live, and this was going to be the year. I was gonna go to Vegas and finally see you.
Oh, Vegas! I love Vegas.
Laurie:So do I. So fingers crossed.
We were, as you say, stoked. Because, you know, you get loads of cheap clothes. (Laughs.) It’s fantastic. Yeah, stuff like Penguin, not to promote a brand. I went in the Penguin shop last time I was there, and I was wearing a Penguin shirt. And the guy said, if you come in wearing Penguin, you get a discount. So you know, win-win.
Bobby:Just echoing what Laurie said, I’ve been really looking forward to you all coming to the States. I’ve not seen you before. I do have tickets for the Boston and New York shows. Back to the compilation album, what’s your hope for the album? Is it meant to reconnect with U.S. fans, or is it meant to bring in new U.S. fans?
Yeah, it’s kinda like keep the wheels, you know, the big wheels going. And yeah, maybe people think “what’s this, it looks pretty cool” and discover us, you know, that kind of thing.
Poly:Do you guys have any influence on what gets selected for the tracks, or do you feel it was just kind of obvious what the songs are going to be?
It’s kind of really difficult, because we were originally on Stiff Records in England for pretty much all our career. But we did an American deal with Sire Records with Seymour Stein, who’s kind of legend. We really liked Seymour and we liked Sire Records. So we kind of went along with that, for a few years. And then the Geffen thing came about because a guy from Geffen called John Kalodner, who’s another legend. He came to England and he heard “Our House” and he said, “This is a hit.” So that Geffen thing is kind of like Frankenstein’s, you know. It was based on the album we had out, The Rise and Fall. That was that, and they licensed some other tracks.
So I suppose this is the first kind of comprehensive… Look, you know I’m going to throw it out that we’ve done loads of greatest hits albums, everybody does. It’s kind of like that Walt Disney thing, you know. They used to re-release the films every few years. (Laughs.) You know, I’m not “anti” it. So you know, we try and make sure that the artwork’s good, and stuff like that. Because actually we kind of did a similar album in England, with a similar artwork, and I thought that might go down well with our American friends. But yeah, that’s it. It’s not like, you know, some master game plan. (Laughs.) Yeah, that was to accompany the tour, you know. Maybe we’ll release another one next year, eh?
Laurie:So one of the things that’s notable about this particular compilation is this is the first time that you’ve released the song “Bullingdon Boys” on a physical medium.
Oh yeah, of course.
Laurie:I wanted to ask you to explain a little bit for American fans who might not understand what that song is about.
In America you’ve got Harvard and places like that, haven’t you, I suppose? And it’s about a group of people that became very influential, and there’s this club [at Oxford] called the Bullingdon Club. Yeah, a lot of them, you know. The Prime Minister, he’s one of the Bullingdon boys. So that’s kind of what it’s about. You know, the elite, as it were. So it’s kind of good to have some contemporary stuff on it as well.
Bobby:This Go-Go’s documentary that was released fairly recently has a lot of people talking, and I’m wondering what it was like to hang out with the Go-Go’s? What can you tell us?
Yeah, it’s a shame, because I really wanted to be in the documentary, but I live in Brighton and for one reason or another I didn’t make it. But I mean, we came to L.A., it’s the first time we’ve been there, you know. And we played at the Whisky, and I was at the hotel and the rest of the band went to see the Go-Go’s. And they came out like, “Whoa, these girls! This girl Charlotte, she had the old whammy on!”
They were great fun and a great band, they really were, you know. They had some good songs and you know, they rocked. And, erm, we had great affection for them, shall we say.
Poly:Chris, while we’re on that time around the early ’80s, what was your favorite other band from that era?
It’s difficult really. (Pause.) I’d have to say Van Halen (laughs). No, it’s because, I don’t know when that album came out and they did “You Really Got Me.”
And it was on the radio in heavy rotation, and I went and got the album that’s got that on. And I kind of really liked that. But I didn’t go and see them. I mean I liked a lot of things, but really, yeah, it’s hard to say because a lot of the time we’d be playing with The Specials and those kind of bands. I liked quite a lot of stuff in the ’80s. I mean, hip hop came out, I really like Run-DMC, Schoolly D, LL Cool J. But yeah, I’m quite eclectic, so I didn’t really have a favorite per se.
Poly:I’m glad you mentioned Van Halen, because I try to ask everybody about the Kinks every time I get. When you mentioned “You Really Got Me,” the Van Halen cover, how formative would the Kinks have been in your sound or just for you as fan?
Yeah, I wrote a song called “E.R.N.I.E.,” which is on our second album, and classed it as really like the Kinks, you know. And when I grew up, the Kinks were around. They were absolutely brilliant, and at that time in my life, everything I’m writing sounds like the Kinks, you know.
Even that song was about quite a strange thing, you know. E.R.N.I.E. is a machine that picks these numbers like a lottery. It’s a kind of government lottery. There are these things called premium bonds, I’ve got some actually. Last year I won like, not a lot, about four or five times I won £25. And that’s not a fortune, but you don’t get anything with your money in the bank.
But The Kinks, and some of these things, it’s like… you sort of write a song and then you think, “It does sound a bit like this.” I never set out thinking, “I’m gonna write something like this,” you know. I did one the other day that’s a bit like Bryan Ferry or Roxy, later Roxy, who we obviously liked a lot.
Laurie:So speaking of songwriting, you and Carl co-wrote the band’s biggest international hit, right? “Our House.” When you guys recorded it, when you did the video, was there ever any kind of feeling that that was gonna blow up internationally, the way it did?
I’ve been talking about this recently. Sort of like, I came in with this song, it wasn’t really very good. And you know he did the lyrics, and then the band slowly, you know, we got it a bit Motown. I suppose we did used to think, especially the first couple of albums, “Get a song, right, but do it ska.” (Imitates ska rhythm.) You do it kind of offbeat, we were always sticking that thing in. And then we kind of got away from that. We thought when we did this, we did it kind of Motown. I think our producer, he’s the one that really made (sings chorus)“our house,” you know that, it kind of changes the rhythm. Which I didn’t really think at the time.
But yeah, I didn’t think… I thought this is good, you know. I thought “Tomorrow’s Just Another Day,” that’s the one. I thought it was so good it would be a bigger hit. This one, yeah, it’s done very well, and (laughs) I do quite well out of sync licenses, you know. People want to use it. So yeah, it’s done me well!
Laurie: I have to make a confession. I grew up watching your videos on MTV, and when I first saw the video for “Our House,” I absolutely fell in love. But the scene, where you’re playing, first you’re playing on the tennis racket and then you’re going through like the the ’60s and the ’70s glam, I honestly thought you were three different people. I didn’t realize that it was the same person!
It’s just a costume, innit? Yeah yeah, because, for once, we’ve got a song that hasn’t got a sax solo. Because Lee’s always you know, “I want to be flying!” I thought, “Yeah, I want to be like a kid with a tennis racket,” you know, starting off and going through those eras of music. Rockabilly, you know, another favorite of mine. It was fun doing that, yeah.
Bobby:I’m really interested in knowing about any of your past experiences on U.S. tours. What’s one of your favorite memories or experiences?
The first time we ever came to America, we went to New York. And we’ve been told it’s going to be quite cold, so we had those coats, those crombie coats. So we kind of go around a bit like this gang. And we had this manager at the time, and he said “Guys, I know you’re busy. Go to this bar, there’s this bar everybody goes to. All the musicians go there.”
So we kind of walk in this bar, and I was thinking, “Hey, there isn’t many chicks.” And it was a gay bar, you know. And it was just hilarious, we had such a laugh. Because it was that kind of thing where, you know, the kind of lumberjack kind of thing, “Oh, you know, we’re not…” And I don’t want to get into bad territory or be un-P.C. or something. I mean, we didn’t realize that that everybody is this bar was gay.
That was like one of the earliest experiences we had of going to New York. And we stayed in this hotel called the Iroquois Hotel. And it’s just like you’ve seen in the films, you know. It’s all marble, there’s some old black guy cutting people’s hair. We thought, this is great. Then you got up to the rooms (laughs), all the doors have been jimmied open, I mean it was like such a dodgy hotel.
So yeah yeah, we love New York and Boston and flipping you know, we took to America, you know. Because you guys kind of talk English, you know. (Laughs.) We’re not talking about Canada. But New Jersey, yeah, what was it? “We’ll deliver anywhere except New Jersey.” We kind of got all the references, you know. Yeah, I think that first tour was great. We were in these cars and all they had was FM radio. That’s probably where I heard Van Halen, you know.
But I mean that was our first tour, it was great because we liked New York, the kind of new fans, the cool clubs. And L.A. was, you know, the Whisky. But then in between there’s some fun places. Boston’s great, there’s the Paradise Club in Boston. Yeah, we had a lot of fun. I don’t think you can beat that first experience of everything that we’ve seen on television.
You know, to us it was so exciting. I suppose you guys, maybe you see England and Big Ben and all that, I don’t know if you’ve been to England, and then you get there and “Whooo!” (Laughs.) It’s like that. You know, “It’s Times Square! Look at those taxis!” You know those big yellow New York cabs, which Travis Bickle of course had in Taxi Driver. We were like obsessed with them and we’re only getting in them. No, it’s always been fun, really, America yeah.
Poly:So our friend Donald, who does our blog and website, part of the admin team, is dying to know about “Showtime.”
(Laughs.) What happened there was… In fact, it was in America. There was me, Lee, Carl and Suggs – yeah, we’re quite a little gang, you know – and we went to see The Matrix, the first Matrix film. And it’s quite mind-blowing. And there’s this guy in front of me with his girlfriend and he’s getting really agitated, you know. He’s loving it, he’s really one of those New York guys. So there’s a bit in The Matrix, if you haven’t seen it, where he says “We need guns, lots of guns,” and all these guns appear.
And this guy went, “Yeah! Showtime!” And you know why the guy said it. Because he knew it was going to be absolute mayhem, all right?
So you know, going many years later, we’re doing this show somewhere, and I was a little bit, you know… “refreshed.” (Laughs.) And I looked at the setlist and I thought, you know what? After this song, it was all hits, you know, right at the end. All hits. And I thought, “It’s showtime.” It’s showtime, you know. And I said, “Suggs, gimme the mic!” And I went, I dunno, I think I just said, “IT’S SHOOOOW-TIME!” you know?
Because me and Suggs generally have a lot of fun onstage, making fun of each other, or I try and make him laugh – sometimes I’m really annoying. But he thought it was really funny, so the next gig we do, he goes, “What time is it?” So I went “SHOWTIME!” And then I started going “Let’s get ready to rumble!”
One day, I thought you know, I’ve gone as far as I can with this, so I got “Highway to Hell.” And I put it in a music thing, so I just had the beginning (imitates guitar riff), you know. And I kind of just spliced in the choruses. And we’re in Amsterdam and I hadn’t told any of the band, so I got the sound guy to play it onstage. So Suggs says “What time is it?” and then “Highway to Hell” comes out of the PA, and I started singing “Highway to Hell” and the band are like…?
And “Highway to Hell,” it’s like, I think you could go to the Amazon rainforest and people there would know it. You know, the most remote, anywhere in the world, everybody knows that song. So yeah, they were like mind-boggled.
And then I kind of like really ran with it, and started doing “Livin’ on a Prayer.” That was one of my favorites. Same kind of method. (Laughs.) But then a few years ago, I kind of stopped doing it. But between me and you, I’ll tell you… when we come back, we’re gonna do it. Yeah, the first show, and I’m not telling them. (Laughs.) You know there’s some things you do, there’s some really good ones where the audience filmed it. Then there’s people like booing, obviously.
I mean, you know that guy in that band, The Hives? They are flippin’ brilliant. Check them out, Bobby. They’re sort of kind of punky, but they’re really not. And they do things like, they’ll all wear top hats, they kind of look really good. And we played with them a few times and I really like them. And I was having a drink with them, and the singer went, “Hey, why the karaoke?” I said, “That is not karaoke!”
But yeah, that’s where it came from. From watching The Matrix, you know, to my looking at that setlist. And I was doing that “Let’s get ready to rumble” and then somebody said, you know, if you come to America and say that you could – because that guy owns the rights to it or something – I could probably get sued for a billion dollars.
Poly:All right, Chris, on many of our earlier podcasts I am always hypothesizing about how young British folks got into ska. So my question to you is, early on in the formative days of the band, who of the members were really bringing ska into your sound? And did any of you, once you did get going, did any of you really feel like there was a real movement happening?
I always say this to anyone starting a band. Find some sort of songs that you like and learn them, and play them – unless you’re just geniuses and you’ve got your own songs straight away, which there’s nothing wrong with that. But that’s what we did. So we started this band and we’re playing like the Coasters, Fats Domino, Elvis, “Tequila.” We’re doing all those kind of old standards, right?
And I think it was probably Suggs. He said “Oh, I’ve got this,” I think it was actually Georgie Fame doing “Madness,” and I thought this is good, you know. I think we kind of started doing that and we started doing “One Step Beyond.”
And it was just like, ’cause we liked it. We liked those songs. And to tell the truth, I never thought we really played that music brilliantly, compared to a lot of the other bands. And then we started writing our own songs, some which would be reggae. But something like “Land of Hope and Glory” isn’t, or “Bed and Breakfast Man,” so we had this kind of weird little thing going.
And then this band Specials started getting pretty big. And then we met them, Suggs met Jerry Dammers and said we’ve got this band. They put a single out. So we kind of became part of this thing, and I think it’s because all of those bands, they were all kind of round about our age, you know. (Mutters) I’m older than some of them.
But we can remember when that music first came out, you know. We liked it, but you know, we also liked glam rock, everything. That’s one of the things about our band – I think everybody’s got very varied tastes, not just one thing. You know, we never said, “We are a ska band.” In fact, if you look at the second album, I kind of said that in an interview. I don’t think we were. But it was a great thing to be involved with, you know. I mean, every now and then, I wrote this really good kind-of-reggae song the other day, actually. I’ve done a couple. It’s very good.
And that’s kind of what happened and that’s that. And don’t let anyone tell you otherwise. Anyone from our band, because they don’t know what they’re talking about. They can’t remember anything. We just did a book called Before We Was We, you may have read it? Before we did the book, we were on tour and we were discussing it. And I said, “Oh yeah, when we went to America…” and you know, most of them couldn’t remember that we went to America in 1979. I mean how you couldn’t remember that? I had to go and Google it. “Yeah, boomers” and show them. I won’t say who – it was about all of them. (Laughs.)
It was crazy times. The other day I was thinking, oh, you know when you think if you could go back in time, anytime in your life, I thought L.A. 1979. Walking around to get some beer from this liquor store. And this girl came along, like lycra trousers on, you know, sort of hair and roller skates on, and she collides into me. It doesn’t happen in Camden Town, you know.
Laurie:All right, you’ve mentioned that you’ve been working on writing a few new songs. Are there plans for a new album anytime soon?
Oh yeah, we’ll be doing a new album, we’re always doing a new album. I’ve done a lot of songs that aren’t any particular genre. Here’s one that’s kind of reggae-ish. (Plays part of a demo.)
Honestly I was like, sitting on the john. You know, just contemplating. I was probably on Instagram. I wasn’t actually, you know, going to the toilet. And I thought of this tune and I sung it into my phone. That’s what I do. I sing it into my phone and email it to myself, and I drag it into a music thing. That’s a good one, that. And I’ve been writing some lyrics. So you know, it could be a few changes round here when you come see Madness. If Suggs is just on maracas, you know. (Laughs.) Sorry, kidding. He’s a good singer, yeah. He’s one of the best.
Can’t get enough SSM via this blog and our social media? Now you can listen to our American-accented take on the nuttiest sound around with our new Stateside Madness Official Podcast!
SSM team members Laurie Alfaro and Poly Collins are your hosts for our new audio venture. “We’re coming at this from a specifically American perspective,” Laurie says. “As American fans, there are things maybe we perceive a little bit differently, like in the lyrics and song meanings. Some weeks we’ll do an album review, a deep dive into the album tracks. Other weeks I’m hoping we can devote an episode to one specific member of the band. We hope to have some exclusive content as we get closer to the American tour dates.”
Stateside Madness Official Podcast is now available for streaming and download from these popular podcast services listed below. Pod up, listen, and DANCE!