DURY DUTY

Do It Yourself with Ian Dury & The Blockheads...

I was watching a documentary on YouTube about John Barnes the other week and it really made me think (more deeply than I had before) about the alarming lack of black football managers in the UK leagues.

Haven’t taken the time to analyse and contemplate the world football scene ratio on the matter in detail - there have been some great ones, but few and far between I’d say.

In the EPL there are currently two. Nuno Espírito Santo at the Premier League side Nottingham Forest and Darren Moore at Port Vale in League Two. Jermain Defoe in an assistant manager role at Rangers is the only one that springs to mind in recent years in Scotland.

Barnes had an ill-fated spell as Celtic head coach (under King Kenny as director of football) in the 1999/00 season which ended very embarrassingly - after 8 months and 29 games - in the famous drubbing by Inverness Caledonian Thistle and the timeless, iconic and genius tabloid headline that followed.

Might have been The Sun but hard pushed to think of a better one ever penned - football related or otherwise. Got there first. The Daily Sport’s Shoots You, Sir when Versace was murdered also a memorable 90s one of the uncouth, sensationalist tabloid genre. So bad, it’s good.

His record up till that game hadn’t been ‘that’ bad, but it wasn’t great and it wasn’t to be.

Unlike the Glasgow music scene as well as the city itself (more recognised for its collectivism and community spirit) the Glasgow football scene is a very scrutinous and fickle business, to use diplomatic terms. You need to win all the time. Second best won’t normally cut it.

Nowhere near a Top 10 gaffer in Celtic’s history by any stretch, but not the worst. Statistically better than both Josef Venglos and Liam Brady’s tenures respectively, I think. Could be wrong.

Funny how the general consensus would deem Barnes as considerably inferior to those names in Celtic’s managerial lineage. Ultimately, none of them cut the mustard. They didn’t win enough matches.

There are so many football managers and coaches - top flight or otherwise - in the broad professional working realm. Lots of them aren’t great. And with England’s strong pedigree of outstanding, homegrown black football talent, it does seem an odd anomaly.

Short spells at the Jamaica national team and then, when they came calling, Tranmere Rovers being the only others on his CV, despite Barnes being very keen to work more as far as I can gather from what he has said on the matter. Don’t think his stats were ‘that’ bad… But alas, he never had much chance or opportunity to do more professionally.

Anyway…

This piece isn’t really about prejudice or football managers. Don’t know anywhere near enough about either subject, esp. the latter beyond the west of Scotland’s legendary quartet of managerial magnificence - Alex Ferguson, Jock Stein, Matt Busby and Bill Shankly.

Will try to weave their collectivist, socialist football world views into something on here at some stage.

The words coming up do touch on disadvantage, misfortune and adversity but - as ever - they mostly relate to amazing music.

Another industry of many - if not all - where we see major under-representation, whether that be racial, class-based, gender-based or disability-based is the music industry. Neuro-cognitive and neuro-divergent-based are ones where I think music and the arts actually maybe begin to come close to performing. Could still do much better though.

"A rock ‘n’ roll vagabond with the wit and intelligence of Noël Coward and Oscar Wilde” wrote the sleeve-notes in 2014’s Ian Dury: The Studio Collection release on Edsel Records.

A distinctive and distinguished English musician, singer-songwriter and poet, Ian Robins Dury is best known for his bold, boisterous and brilliant work in the UK punk and new wave scenes of the late 70s and 80s.

Born in Harrow, London, he contracted polio at seven years old which left him with a lifelong disability seriously affecting his mobility.

I think disability is criminally under-discussed as far as isms and schisms go; and in so far as the many disadvantages in life people can have. The fact there actually isn’t a widely known ‘ism’ relating to people with disabilities says it all. It’s just accepted and ignored in equal measure, by and large.

The associated systemic prejudices and obstacles to existence are huge. Not to mention the lack of access to opportunity - both literally and figuratively. Stack ‘em high supermarkets (and society) not particularly helpful if you’re in a wheelchair.

"When I was a kid, I couldn't even walk. But I found out that if you can't walk, you can still have a good time. And that's all that matters."

Despite this serious set-back in his formative years, Dury’s overarching strength, resourcefulness and attitude helped develop and foster a strong sense of independence and resilience which would later heavily inform his personality, his take on life and his catalogue of amazing work as an artist.

Fragile of body. Powerful of mind.

He left school at 16 and set off to the Walthamstow College of Art, where he met and befriended pop artist and teacher, Peter Blake. Here, and with the pop-art pioneer Blake’s input, his creative talents and skills as a visual artist were harnessed, honed and nurtured.

This period and his disability would prove to be heavily informative and influential for him and his approach and attitude to music and performance. He graduated with an MA in painting from the Royal College of Art in 1966, following on from that period in Walthamstow.

I see aspects of Dury’s playful and mischievous personality and overall unconventional spirit and approach in the late, great Andrew Weatherall. Not to mention their similar and signature, unapologetic dapper-punk-Dickensian dress-sense. Cut from the same cloth I would say.

As the 70s dawned, he became involved in the emerging punk scene, forming the staggeringly outstanding Ian Dury & The Blockheads after the 4-5 year Kilburn and the High Roads pub-rock project that preceded them.

The Blockhead’s unbelievably funky and distinctive style of music blended punk rock, pub rock, jazz rock, disco and funk flavours in a very unique concoction. Sometimes with provocative, wily and witty wordsmithery in the lyrical content. Sometimes the words were more doggerel-like nonsense that just rhymed and sounded good.

Both songwriting routes highly impressive if you ask me. Very crafty.

His lyrics often explored themes of defiance, disability, disadvantage and the struggles of everyday life.

Their breakthrough came in 1977 with the album New Boots and Panties! Pictured with son, Baxter Dury on the iconic sleeve, the album introduced and unleashed Dury's distinctive vocal delivery, sharp wit and cheeky rhythmic wordplay to the world.

The album included big hits like Sex & Drugs & Rock & Roll - a rebellious and shameless anthem that captured Dury's quintessentially cynical take on fame, excess and the music industry in an accessible, controversial and beamed-in-from-another-planet form and fashion.

The music on the album is marked by its blend of humour, social commentary and raw, working-class, often nostalgic energy and sensibilities.

Upon its release it remained in the UK album charts for 72 consecutive weeks.

A reasonably and relatively comparable American equivalent in terms of being (and sounding) unlike anything else before or since might be Kid Creole and the Coconuts. Both conveyed a colourful, contemporary yet classically old-fashioned, hugely idiosyncratic and flamboyant flavour and style. Transcending the banality and hardships of humble backgrounds to take on the world with panache and style. Both outfits have plenty top quality party music under their belts. Both always hit the spot for me.

Hit Me With Your Rhythm Stick - the other major hit from New Boots and Panties! - became one of their signature songs and further cemented Dury's reputation as an innovative and charismatic songwriter and performer.

Easy to take Hit Me and Sex & Drugs for granted given their popularity and over-exposure but they really are exceptional pieces of eccentric and accomplished disco and punk influenced pop music.

Clever Trevor is my favourite track on the debut album. The b-side to the Sex & Drugs single, Razzle In My Pocket also ace. Both Top 5 Block-head-busters for me.

1979’s follow-up record Do It Yourself is also a tremendous album. Following the success of the debut LP and developing and moving the sound along nicely, it came at a crucial moment in Dury’s career as he continued to unintentionally forge his identity as an unconventional, iconoclastic cult figure in British music.

Unlike its predecessor, which was bristling with catchy hits, Do It Yourself took a more experimental approach, with Dury embracing a mix of playful melodies, rockabilly rhythms and jazz influences. He really knew his onions in terms of music history and musicality and, with the band’s help, managed to combine this knowledge, respect and application to great effect.

The album's title itself reflects the DIY ethos he and the band had and which typifies and defines the spirit of the mid-late 70s punk and post-punk realms. Might have been coincidence, but I sometimes think this overarching DIY spirit that was in the air during the period would have likely (subconsciously) inspired and played a heavy role in the confidence of Dury’s creative initiative.

Like New Boots and Panties!, a range of characters and stories are conveyed creatively throughout. Almost like a book of short stories in album format. Stories often biting in their social commentary. Satire blended English humour with a sharp critique of societal norms, you could say.

While not as commercially successful as New Boots and Panties! - Do It Yourself did highlight Dury's ability to fuse wit with poignancy. Firming up his position as one of the most unique voices of the era and in UK pop music history.

If you want a job done properly… etc.

Despite not having the same widespread impact as the debut, it has since been recognised, revered and appreciated for its ambitious spirit and for the way it captures a unique blend of working-class realism, surrealism and offbeat, upbeat charm and charisma.

Quiet is my favourite track it on the album. Also in my Top 5 Jukebox Dury.

Another Top 5 of theirs recorded around this time but not on the album is Reasons to Be Cheerful, Part 3.

The juice of a carrot. The smile of a parrot. A little drop of claret. Anything that rocks…

The DIY album sleeve is a story in itself.

It was designed by the mind-bendingly talented and boundary-pushing graphic designer and artist, Barney Bubbles for the release on Stiff Records. At least 34 known alternative sleeve versions were created, some say as many as 48. Each one featuring a different ostentatious ‘Crown Wallpaper’ design.

I sometimes wonder how many other people have that album and - of them - how many have the sleeve that I’ve got. And how many might have the one at the top of this piece… or the one directly above.

Really love that kind of inventive and industrious independent marketing of the punk and post-punk product of the period. Fascinating business. Highly creative.

Many labels knocked The Blockheads back, but Stiff jumped on them immediately.

I’ll need to write a bit more about the bold Barney Bubbles sometime too.

A quick starter for ten…

He is quite possibly my favourite visual artist and graphic designer of all-time. Criminally under-appreciated. The perfect collaborator and co-conspirer for The Blockheads at that moment in time among numerous other influential and pivotal artists and acts of the 60s, 70s and 80s.

From touching on early Stones visual ‘b(r)and’ identity to masterminding Hawkwind’s creative identity both on-sleeve and on-stage. From Kevin Coyne artwork to John Cooper Clarke as well as pretty much the entire Stiff and Radar Records rosters’ multifaceted look and feel.

He also made promo videos - the likes of Ghost Town by The Specials, Tempted by Squeeze, Jungle Music by Rico and The Lunatics Have Taken Over The Asylum by Fun Boy Three. Through to designing the punchy and iconic block caps NME logo that we are all very familiar with and the punchy iconic blocky Blockheads logo too.

Staggering, multidisciplinary body of artistic work. The above only scratches the surface. Massive hero.

Another essential Dury collaborator (and outstanding artist in his own right) that needs to be called out and celebrated is - of course - Chaz Jankel.

An English musician, songwriter and producer best known as being a founding father of The Blockheads with Dury. From a similar art school background, his talents as a multi-instrumentalist, arranger and creative mind played a critical role in shaping the sound of the group.

As the band’s keyboardist and guitarist, he co-wrote and contributed loads including many of their biggest tunes. The big, iconic smashes as well as the lesser known jams.

Right up there in terms of his ability to craft tight, infectious grooves, Jankel also brought a unique style to the band's live performances, fusing musical innovation with a sense of playful eccentricity. He really was the funky rhythm section driving force of The Blockheads project.

Over and above his work with the band, he carved out a successful and highly impressive solo career, releasing albums that explored a very eccentric and enigmatic mix of funk, disco and electronic music. His 1981 single Glad to Know You became a cult hit, showcasing his versatility and ear for catchy, danceable melodies. Amazing. The Kitty Grant cover version in 1983 also outstanding.

Without You from 1983 would be my favourite Chaz tune I think, but there are many. Number One, Questionnaire and 3,000,000,000 Synths also right up there.

Over the years, he worked as a session musician and producer, collaborating with a wide range of artists from various genres, establishing his place as a respected figure in the UK music world.

Well worthy of further exploration for fans of off-kilter dance music of any form.

He released a fantastic JJ Cale-esque swampy-country-blues record in collaboration with Michael Messer in 2024. Music Brings Us Close Together from that one a Top 5 tune of the year for me. Maybe my Top 1.

Back to Dury Duty. Throughout the 80s, he and The Blockheads continued to release albums and tour with varying levels of commercial success. His music retained its idiosyncratic charms but by the end of the decade their fame had somewhat waned.

Despite this, he remained an esteemed figure in the UK music scene. His 1989 album Mr. Love Pants was well received by critics but failed to achieve the same commercial impact as his earlier work.

In the early 90s, Dury's health began to decline significantly due to complications from his polio. He continued to perform and record but in 1998 was diagnosed with cancer, which he fought until his death in 2000 age 57.

Dury’s legacy lives on through his amazing contribution to the musical universe. His songs and spirit continue to resonate with fans for their insightful and challenging lyrics, authenticity and originality.

Remembered not just as a key figure in the punk and new wave movements, but also as a symbol of resilience and creative spirit in the face of adversity.

The absolute number one from his canon and the one that exemplifies that adversity and everything about him, his life and his take on the world has to be Spasticus Autisticus.

Written by Dury and Jankel, recorded at Compass Point and featuring the likes of Sly & Robbie and Tina Weymouth among the musicians involved. Check out the backstory and subsequent banning from the BBC for further qualification of quality.

The 12” sleeve also designed by Barney Bubbles, also next level.

Everything about it basically. Magic.

An enjoyable documentary feature on the life and work of everyone’s favourite new wave wordsmith, artist and joker can be found below…

It’s an honest, candid, raw and insightful documentary that explores Dury’s personal life experiences, his career and the challenges he faced with his battle with polio.

The film was made in 1983. A period by which Dury had achieved significant success in the music world. So it shows that side of things to a degree but also (arguably more interestingly) it provides an amazing glimpse into his complex character and the many inputs and factors that shaped his music.

Dury is inarguably one of the true greats for me. A rare specimen of a human being who was - by his nature and strength - able to rise above the not inconsiderable adversity and set-backs in his life.

This is not the norm. Many aren’t as fortunately blessed and gifted in that regard. I think they need more of our consideration and support.

Final point to make. Have to get it in there. Dury was a massive Steely Dan fan. His various eloquent and informed voxpop inputs on the Classic Albums Aja episode is one of many, many highlights of that fantastic programme.

The great man died 25 years this year. Expect a Dury & Jankel Spicy Crisis radio special at some stage...

He’d have made a very interesting football manager…

Thanks to the amazing ScottishTeeVee on YouTube for the upload. That channel well worth a delve.

Like opening the door of the most amazingly colourful cabinet collection of vintage 80s and 90s musical VHS and Betamax content ever. Have lost hours on the channel. Thanks to good mate and top egg, Andrew Manson for the top tip on that one a few months back.

Good sense told me, once was enough.

But I had a cocky eye for more of this stuff…

This is also well worth a read if you fancy a deeper dive into Dury’s work. A reappraisal of Dury’s recorded output on the WriteWyattUK blog from back in 2014. The black and white portrait near the top also from that site.

More on Barney Bubbles insane body of work can be found on top egg, Paul Gorman’s BB website and on Insta.

Here’s what the brain behind ScottishTeeVee on YouTube has to say about the film…

"Ian Dury documentary. In 1983 a special edition of the Tube was cancelled, this was broadcast in its place.

I recorded it on BASF L750 Betamax tape 0067. Ian Dury, lead singer of the Blockheads, talks about how becoming disabled has affected his life and music. This documentary - featuring a mix of performances, interviews and fly-on-the-wall footage - explores the strong links between his life and song writing. Dury explains the thinking behind the provocative single Spasticus Autisticus - his critical response to the first International Year of the Disabled.”

A Top 5!

1. Spasticus Autisticus
2. Clevor Trevor
3. Reasons To Be Cheerful, Pt. 3
4. Razzle In My Pocket
5. Quiet

The Blockheads play some dates across the UK soon including St Lukes in Glasgow on 29th March. Deets here.