Mike Bennett: Fronting The Blockheads

Samatha Jade got to discuss fronting The Blockheads with writer, producer and actor Mike Bennett, who is better known for his work in the studio with the likes of Ian Brown, Toyah, The Stranglers, Gregory Isaacs, The Specials, The Selecter, Hazel O’Connor, Wishbone Ash, Emerson Lake and Palmer, BMX Bandits, Bad Manners, and The Fall, who he was also a member of, rather than being front and centre.

The Punk Site has reviewed The Blockheads twice with you as the frontman, including your performance at Rebellion Festival, which must have been quite daunting. How has it come along some four years later?

““I’ve settled in now, but I can’t pretend I haven’t had my difficult moments. It’s been worth it, mixing all that lovely music — Liberty — with everything from funk to the country-reggae offerings of Lullaby For Francis. It’s all about the lyric, never about exact attributes; it’s more about channeling what the lyrics were about and doing a nod towards the great performer and wordsmith Ian Dury. I’m really enjoying it now.”

You recorded two singles, Why Me and Liberty, and made two terrific videos. Tell us a little bit about the process.

“I really enjoyed Why Me because it was a drift through Camden Town. We went to my favourite pub and hotel opposite the Roundhouse, the Enterprise, which was incredible. I love that place — it’s where I do my meetings — so it was particularly enjoyable for me. Then we went to the Good Mixer for the fight scene; the bouncers thought it was for real, and a real rumpus allegedly ensued. I’d rather not say too much, but you can see elements of it in the video. What ended up on the cutting-room floor will no doubt remain there in perpetuity — I say no more! It’s a caper song, brilliantly produced by Chaz Jankel, who wanted me to glean from various escapades and mishaps I’d had — apparently significant to my so-called ADHD ailments. I don’t believe in badge-wearing, which is why in the song and, of course, the video, I send it up.”

“Liberty is a more serious body of work. Its composition and Mick Gallagher on the lyrics. It’s a little bit of a protest song, and the lyrics speak for themselves. You get the overall dystopian setting and the perplexing scenes set out in the rather brilliant, alliteration-oriented lyric that certainly has a message but neverpreaches. Again, it’s all in the song and the video, which was shot live in Southend — my first ever performance of the songs. I was quite literally petrified when a whole camera crew turned up, but there’s nothing like being thrown into the whirlpool at the deep end.”

“The team included John Roberts on drums, Nathan King on bass, the brilliant sax player Dave Lewis — who is so clever in the way he leaves space — Mick Gallagher on keyboards, and Chaz on that totally recognisable, idiosyncratic, brilliant funk guitar, augmented of course by long-term member and legend John Turnbull.”

Did your production work with people like Ian Brown, Bad Manners, The Specials, Hazel O’Connor, Sham 69, and The Fall help you in your work with the band?

“Certainly. Mark E. Smith was another superb purveyor of lyrics, but vastly different from the Ian Dury style. Working with The Fall was an intense experience, but it’s been more, let’s say, diplomatically easy-going with The Blockheads. Yes, it really helps in my work with the band because I use a lot of Mark E. Smith’s performance skill sets to enhance my performance. He was very good at being enigmatic and inhabiting space whilst being very still. I can’t claim that I am particularly the latter, but I aspire to be more that way as we go along. I certainly have good people helping me with The Blockheads.”

“A special shout-out must go to Harley. He amazes me on sound, and Richard and Sai on the merchandise stand have been so much more than people who understand and sell amazing goodies. They worked with The Blockheads long before I joined and have given me fantastic insight into how things should be performed. They constantly advise, even on costume and movement. The Blockheads are a complete consortium — a cooperative, if you like — so what can I say? It’s a team where everyone is equal. There is a democratic policy that runs right through The Blockheads, and I love that. It’s a cottage industry with a strong work ethos, but it’s also a routine that involves well-deserved social events, often back at the hotel — very laid-back. Of course, the catalogue is the most important element — a fine blend of music hall, funk, rock, and punk from a different perspective, transcending genres seamlessly.”

What did you listen to when you were growing up, and has it helped shape your performance with The Blockheads?

“Yes, most definitely. Growing up, I listened to everything from Donovan, Can, Frank Zappa, 10cc, the Sensational Alex Harvey Band, Black Sabbath, Psychic TV, and John Martyn. Actually, Dave Lewis from The Blockheads has told me some great stories about his work with John Martyn. I also obviously got into a lot of new wave stuff — Television, the B-52s, Slaughter and the Dogs, The Circle Jerks, and so much more. I’m sure all that posing in the mirror with a hairbrush as a pretend microphone to a lot of this stuff has helped in some way.”

You also went to university and drama school — did that help you with technique and confidence?

“Training as an actor at drama school and writing for a bunch of stand-up comedians has also shaped what I do. But I’m never happy with what I do — and the day I am, it’s time to give up.”

How familiar were you with the Ian Dury and Blockheads catalogue before you joined?

“New Boots and Panties!! and Do It Yourself formed a substantial element of the soundtrack of my youth. I also loved the album Lord Upminster, produced by Sly & Robbie, although it had a strong reggae element with really tasteful, almost lounge-like infusions. I liked the way Ian Dury stuck to his inimitable style and didn’t go cod-Jamaican like some artists did during that period — ‘”more Cockney in Jamaica as opposed to An Englishman in New York producing very demography challenged white reggae.”

“Nothing wrong with that, of course — I love the Mr. Love Pants album and the two albums that Derek “The Draw” performed on. Same Horse, Different Jockey has some good tunes on it like Express Yourself, but my favourite of the two is Where’s the Party? His delivery always reminds me of the brilliant Robert Wyatt of Soft Machine.I also like Paul McCartney’s version of Partial to Your Abracadabra with The Blockheads, and Shane MacGowan’s Plaistow Patricia. Sinéad O’Connor also did a fairly interesting version with the band of Wake Up and Make Love, putting a different twist on it to suit her inimitable and original vocal approach.”

“It’s incredible how many people have worked with The Blockheads over the years, actually. I liked much of the soundtrack for the Sex & Drugs & Rock & Roll film because Andy Serkis didn’t do a complete copy of Ian Dury — he channelled the original performances without mimicry. He’s a method actor of sorts, I presume — certainly well-studied — and brought a sort of clockwork sensibility to the proceedings.”

Thank you, Mike Bennett, for sharing these thoughts.