posted 2/21/2008 8:40:37 AM

Crushed Butler – An Interview with Darryl Read

by Steve Krakow

How long was your earlier band the Krayon Angels around? How old were you then? Did you gig out?

The Krayon Angels existed for around 8 months --- from beginning to end. I was 17, and we played the Marque Club/The Revolution/and a two week stint at a disco club in Bristol. We also recorded a demo album ---- to be released years later in 1998 by Dig The Fuzz records UK. I also formed the whole group for Emperor Rosko, who put me together with his brother Jeff --- who was the singer. The line up consisted of Lou Martin (Killing Floor)/ Stuart (Mac) McDonald (Killing Floor)/ Chris Gibbons/ Jeff Pasternak and yours Truly.

What was the "black outfit" with Rosko Gee you played with from Tottenham called?

The group was called the Keith Locke band, and I got the job from an ad in the MM, they auditioned a load of drummers and I got it, and was the only white guy in the group. I then moved in with the group, and became part of their black family ---- for a while. Line up was:
Keith Locke (vocals)/ Derek Johnson (lead guitar) later to play with Bob Marley/ Rosko G. (Bass Guitar)/ Later to play with Traffic and Can/ Darryl Read (Drums).

Who came up w/the name Crushed Butler?

I came up with the name. At the time I wrote out around 35 potential names (including The Clash which I thought was too stereotype); I read them out to Ray, and we decided that the name Crushed Butler was the most original. Alan Butler was still in the group at the time, but the name had no relevance to him, other than the name turned out to be a foreboding physic premonition ---- as years later Alan died under the hoofs of a horse.
What songs besides CCR's "Keep on Chooglin" and Small Faces' "Song of Baker" did CB jam on?

You Really Got Me/ Move it/ Shakin' All Over (before the Who did it)/ American Woman/ Come On Everybody

Had you heard Jesse "Ray" Hector's earlier rockabilly bands?

No. Ray used to talk about the Mod stuff he'd been in, which at the time I thought was third rate when I heard a couple of recordings: as I really knew my Mod stuff. Though he did tell me about some gigs he'd done at the Two Eyes which sounded to me like early skiffle.

What else was recorded at the '69 "it's my life" session?

“Let It Ring” which is now an instrumental.

What is "let it ring" like????

A Raw Small Faces number, and jagged round the edges like a Punk trying to play something melodically nice --- the vocal track was lost , so its now an instrumental --- due for release in an all new CB compilation for the USA

Who were the boxers that went to CB gigs?

I can’t remember all their names, but they were all teenage rough and ready cats who came from a boxing club; that one of our managers ran; called Gerald Horgan (Cat Stevens original manager) -- he used to bring them along --- I saw Gerald last week we are still great friends. Graham Breslau also went to the same boxing club hence teaming up in CB management with Graham.

Where was the bombsite where the publicity photos were taken?

Kilburn/ Maida Vale--the bombsite was just down the road from Ray's house, and I thought it was a good back drop for our style --- so we shot a bunch of photos there. The famous one as well as all others were taken on an Kodak Instamatic 127 camera by Tony Gohill.

What was the Bell Pub like where you eventually practiced?

The Bell Pub ---- London Colney; was on a roundabout and its cliental comprised of farmers/sales biz men/builders and decorators, needless to say when we had our cheese rolls/crisps and drinks we didn't fit in. The rehearsal room was in the back grounds of the pub and in a little social hall. *A year after CB broke up I found myself there again with another group called Dizzy with Steve Forest --- just out of Silverhead.

What was the unreleased instrumental "Uncrushed" like?

UNCRUSHED was like a sledge hammer being smashed onto a zildjian cymbal with a telecaster guitar whining through a guitar amp cabinet that the devil designed. As a Gibson bass thunders through all in speeded animation, tying the whole sound down as the relentless hi-sped riffs splatter the lazy heads of a now restless audience, who now want more! No Mercy No Limit No Compromise No Deals!
Were you a fan of 3rd bassist Mac Macdonald's band Killing Floor? (I am!!)

.... a lot of stories to tell.... (read part two of my novel/biog: the Angel Of Dust when I finish it). I was a friend of Stuart McDonald, as before I put him in Krayon Angels --- I nearly joined Killing Floor as a young drummer.

Why did you go through so many bassists? it was almost like Spinal Tap w/drummers it seems.

Any trio needs a sturdy rhythm section-- that does not mean it has to be technical or clever, but it must have power. Subsequently the only two guys that really had it were Stuart Macdonald and Barry Wyles. Mac couldn't make a proper commitment; but when short blond spiky haired Barry joined --- for me that was it! He could play like a punk Jack Bruce and was exactly the same size as Ray and I. The group looked like Clash/Pistols seven years before they did, and would have certainly blown both outfits off the stage with pure RR CB energy. I'd still take on Paul Cook from behind a kit now, anytime!

What inspired the extremely punk “Factory Grime"? What else was recorded at that session?

Factory Grime was inspired with what surrounded us ---- factory workers making a pittance and going nowhere, living like slaves and lives unfulfilled. Ray (Jesse) was like that anyway and after CB folded he continued his cleaning job --- which he still does to this day! I think I saw CB as an escape for all the council kids--you know, some of whom were working in factories, I saw the whole group being like Council Estate Rock! As well as being very Rock 'n' Roll and somehow untouchable! Hector was at his peek in CB, the Gorillas were like middle of the road in comparison. Ray with CB was the best front cat in the world.

Was 4th bassist Barry Wyle's pre-Queen band Smile any good?

Never saw them or really talked about them, I did however see a photo of them on a poster or flyer and thought the band and the name looked like a bunch of drips. Strangely enough we did end up in the new Delane Lea Studios Wembley with the members of Queen staring down at us in rehearsal before recording; looking very jealous. Never did find out what happened to those recordings --- perhaps they'll surface.

What prompted the name change to "Tiger"?

I changed the name to Tiger after Ray and I had tried every Label and agency ---- no one wanted to book or record a very aggressive and energetic punk band. The name change was supposed to give us a new identity and perhaps change our luck. I did get a cool article in Petticoat magazine about the group. And around this time we got Alan to rejoin the band.

If you were the one hanging out with Third World War, how did hector end up with the Hammersmith Gorillas name, taken form one of their songs...?

I was hanging out with Terry Stamp and Jim Avery of Third World War (with whom I ended up writing songs with), and also their manager Jon Fenton. One day Jim Avery gave me the demo of their new album Third World War II, and on it was a track titled Hammersmith Guerrilla which I liked. Ray and I had split the band for around 6 months, and I had got back in touch with him in view to having another go. We talked and thought it would be a good idea, and I said to Ray why don't we call it the Hammersmith Guerrillas ---- he said yeah, we never reformed but he stole the name for his next outfit.

And who was the gal who told you to go see Third World War?

The chick was called Judy and she worked on the reception at the Cabin studios Shepherds Bush, she'd seen me play at an audition, and knew TWW were looking for a drummer as they also rehearsed there ---- so she fixed up and audition for me ---- I didn’t get the job as Jim Avery at the time thought I was too chaotic and not technical enough, however their roadie Alan (H) who'd worked with Hendrix thought I was great.

What did you write with Jim Avery?

Only a few songs --- one was 'On The Streets Tonight', which was an old unused tape demo I heard way back in the early 70's on a revox demo at Jon Fenton's pad, and a few years later remembered it --- spruced it up with Jim and finally recorded a great proto punk version of it in 1976 with a whole new middle 8 of words and music. I did however, write and record a whole bunch of stuff with Terry Stamp over 20 years! As always way ahead of their time…

What did you record in the 70's?

A whole bunch of Stuff! The first thing was with CB 'High School Dropout'-- 2 versions. The next was with Terry Stamp of TWW: a Stamp composition titled 'Razor City' Which I have the master to and as-of-yet is unreleased! It was coincidentally recorded at Regent sound --- where CB did their first recordings two years previously. Then in early 1976, 5 tracks at Polydor as lead vocalist/writer with Steve Forest (Silverhead - lead guitar), and Charlie Harty (bass). Then with Andy Mackay of Roxy Music ---- who produced me in a Punk group, featured and made up for Rock Follies 77' (episode 3: the Hype); there is a DVD of this series out which features us as Captain Zero's Punk group. We did 4 tracks in the studio with Andy ---- 'Pig Fat Mamma’! being one! There were loads of demo recording with various artists --- including Smooth Loser (another name I gave away) in 1971 with Jeff Pasternak and Chris Gibbons (two other assholes) from Krayon Angels-- I also have the only copies of that! What's good these days is when you working with Faces like Ray Manzarek ---- you feel in good company, and subsequently the work is big time cool, and superior...

How did you get on as a Who roadie? And why did Speedy Keen end up being your main focus? Was it the the Third World War connection?

I never worked as a roadie for The Who. What did happen was that I was hanging around Tracks office; being a pilled-up nuisance and having nothing after CB split, and had got into some amphetamines amongst other stuff. Chris Stamp, the Who's manager gave me a job at Track supposedly to help promote The Who, but Speedy Keen clocked that I was an artist and had me helping him in the studio recording most of the time over 6 months. Speedy became a close friend as did Jim and Terry as was the cat who was to become the Who's manager, Bill Curbishley --- whom I asked to manage me before the Who asked him to manage them. May I add that Chris Stamp was and is a great cat!

Did you have any run-ins with Terrance Stamp?

Yes! And subsequently I will not have any further contact with him. Basically he and Avery fucked me over on a deal I set up through Bill Curbishley (Who did me a favor!) with Steve Albini --- on which I was supposed to drum on --- this was a few years ago. But I won’t get into that one and a whole bunch more ---- just yet! (check out the new book The Angel Of Dust --- when its out!)

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