Whats THE Matter Boy?

When Vic Godard & Subway Sect recorded their debut album. They had a shedload of great songs. Problem was, there was now no band to play them. Manager Bernie Rhodes had sacked the rest of the band and just kept Vic on.

With Godard’s reluctant cooperation, Rhodes and co-conspirator Mickey Foote recruited the Chimes Brothers (one of whom, Terry, had filled in in a similar fashion on the Clash’s debut LP) as the rhythm section, and in a stroke of genius—or perhaps career suicide—the Black Arabs to provide music and backing vocals. Against all odds, they actually came up with something that no one expected—a masterpiece. 

Godard is in rare form, and the tunes are immediate and engaging. Godard, however, saw the writing on the wall by 1978—punk was over and he was already moving on to his next sound. It would eventually lead him to Tin Pan Alley, a Cole Porter obsession, and Jo Boxers, but on What’s The Matter Boy? it led him somewhere else entirely, namely backwards roughly two decades to the 1950s. Opening salvo “Birth & Death” sets the tone for the LP in magnificent fashion. A zingy rockabilly sound with nary an amplified instrument in sight, jaws must have dropped when the Black Arabs opened their mouths for the Jordanaires-esque doo-wop backing vocals. 

Throughout the remainder of the album, Godard and company channel the spirits of Buddy Holly and the Crickets, Gene Vincent and the Blue Caps, and Eddie Cochran—real “punk rock” innovators of their era—updated with Godard’s abstract lyrics and crooning, and some seriously catchy melodies. To go so far retro like this at the height in 1978? Now that’s the spirit of punk. Do it your way, however you can. But just do it. 

Unfortunately, next to no one heard it. The album wasn’t released until 1980, when its impact was severely compromised and any hype the Subway Sect name might have had from that initial Pistols/Clash explosion was long gone. The mix was positively wretched, and original copies bear very little evidence of their even having been a rhythm section in the studio. Sales were virtually nonexistent, despite a perfect five-star review by influential journo Dave McCullough. His opening lines: “The range covered on this album is enormous. It’d take months to map.” 

It is a shame that here we are, 40 Odd years later, and no one has really even tried. 

Shirley Lee of Spearmint sums up why those who love Godard are so devoted to him rather eloquently: “Some artists inspire with a fondness that goes beyond the sum of their work. Some artists inspire a sense of well being just be existing, because of their attitude, because of their principles. Some artists inspire appreciation that can seem like a secret club—if you meet someone who’s in that club, you can tell that they’ve got enough suss, enough style, enough taste—you know you’re going to like them. Vic Godard is one of those artists.” 

I implore you to join the club. 

By: Todd Hutlock 

(Originally from Stylus Magazine)