"1,2,3,4 CAN I LIKE YOU?" The Skrewdriver dilemma. By Seb Murphy- Bates

“Skrewdriver” were (indeed, still are) probably the most hated punk rock band that ever existed. Heiling from Poulton-le-Fylde in Lancashire, UK, Ian Stuart Donaldson’s boneheaded bandits pioneered- nay- nigh on invented- the Neo- Nazi music scene, first articulating the fascist ideologies of the National Front, then forming “Blood & Honour” (supposedly as a reaction to the corruption of those nasty-pasty- greedy- good-for-nothing politicians who ripped off honest “White Noise” acts). Memorable hits include “Tomorrow Belongs To Me”, “White Power”, and “Voice Of Britain”. Whilst the more obscure efforts of this gargantuan gang of gob- shites’ back catalogue feature an inexplicably contradictory cover of Chuck Berry’s “Johnny B. Goode” (tactfully changed to “Johnny Joined The Klan”) and some incredibly bizarre acoustic songs about snow and such. Gratuitous works such as these have secured a ridiculous reputation for said group, and to wear a “Skrewdriver” t- shirt should probably be taken as more than just an expression of appreciation for a musical act.  Rather, it is now a political statement- a cotton pledge of loyalty to the White Power movement suggesting that a dodgy swastika tattoo isn’t far behind that screen print...

 Ian Stuart Donaldson famously died in a car accident in September 1993. After a long and somewhat successful career that consisted of offending decent people with lazy and racist politics, hilariously idiotic interviews and some of the most childish lyrics ever penned- but what about before all of this nonsense?

“Skrewdriver”, the original “Skrewdriver”, formed in 1976 after a younger, yet somehow less naïve Ian saw “The Sex Pistols” play in Manchester, UK. In those early years the band flirted with the spikes n’ studs of punk rock and went crazy for long hair n’ leather, Halford style, during their biker phase. The most striking and long lasting image, however, was of course the boots and braces dominated aesthetic of Skinhead culture. This media un-friendly appearance secured Donaldson and the band a suitably bad reputation helped along by the violence that dogged their gigs. This period also saw the group produce the full- length album “All Skrewed Up” in 1977 and a handful of singles through to 1979 when they split. It was in 1982 that strange occurrences began to materialise- namely Ian Stuart reforming the group with the same moniker as before but different members and rumours beginning to circulate of the band’s supposedly racist stance. This incarnation of “Skrewdriver” operated out of London in a haze of ambiguity as the band continued (amid the whispers) to release “Back With A Bang”, a fresh version of “I Don’t Like You” and the iconic “Boots & Braces”. All was unclear until, in late ’82 at The 100 Club, Donaldson raised his right hand to usher in a performance of “Tomorrow Belongs To Me” with a Sieg Heil he had probably spent the last week practising in front of a mirror, and thus established “Skrewdriver” as a Neo- Nazi outfit. At this point I could examine the paradoxical nature of being a Neo- Nazi Skinhead whilst playing what is essentially pumped- up 12 bar blues, but I fear any deeper an analysis would detract from the main focus of this article.

What we had in the original “Skrewdriver” was a ballsy, energetic and vital Punk Rock outfit who were prototypes- maybe even forerunners- of the Oi! and Street Punk movements, and devised one of the most stand- apart sounds of first wave Punk. This was a band that sounded as though “The Kinks” and “The Who” had been thrown into a fucking blender with chainsaws, hand grenades, grit and spit, somehow shitting the resulting tip onto some Vinyl. They were aggressive, tough, and at this point non- political. That distorted vocal and guitar combination, backed by sharp, charming drumming and a punchy, prominent bass, churning out a blues- oriented fury that any Punk Rocker or Skinhead would surely fail to resist, is in my mind, one of the most powerful trademark sounds ever to make itself apparent in the Punk genre. There is a conviction felt by many, however, that by listening to this early material (which had nothing to do with the reformed poster boys of the National Front) one is somehow endorsing racism. This is a little sensationalist and irrational to say the least: One might as well argue that by listening to “Madonna” we reveal an inner desire to adopt a black baby in questionable circumstances- or that by watching “Mission Impossible” we surrender to scientology- or even that by listening to the “Jackson 5” we are by definition plastic surgery enthusiasts who believe that all children should wear veils and masks in public. I could go on.

Of course, if the visionary Ian Stuart Donaldson had had the foresight to change the fucking name of the band, we could appreciate “Skrewdriver” without coming under fire from anybody- much in the same way as we can appreciate “The Nips” without worrying about drummer Grinny’s later National Front allegiance (Grinny was also the first “Skrewdriver” drummer, interestingly enough, and this probably helps to illuminate my point further). Instead he chose to sully the name of said group, which is why I would agree that wearing a t- shirt, for example, due to what the name has become and it’s eclipse of any other statement that moniker may have once stood for, would suggest at most racist/fascist ideologies on behalf of the wearer and at the very least poor judgement. However, to listen to music that is of no political consequence, music that was released by a band whose frontman’s lyrics changed drastically after the resurrection of the name and group, cannot be considered in bad taste. I am to submit also, that not even Grinny’s affiliations bring the band’s non- political music into disrepute.  The entire group could be bone-headed, black- killing, homosexual- hating morons for all I care (purely as a listener, you understand). So long as this is kept in private and not on my record player, it can fester away in tiny little brains that somehow, when keeping (if indeed this scenario were the case and I am not for one second suggesting it was, merely playing devil’s advocate to validate my stance) said bigotry out of the public works, managed to create a fantastic racket.

 In short, as long as the material was recorded before the official racist party line was towed on record or an integral part of the project, thus allowing the name to become synonymous with such tendencies, one cannot be criticised for partaking in the appreciation of said material. Even hits such as “Boots & Braces” and “Back With A Bang” are acceptable. Whatever Ian Stuart Donaldson meant (in his strange, warped mind) by his lyrics is merely a problem of interpretation and semantics. If he takes the word Skinhead to mean racist thug, then these songs are offensive when contemplated by him. But why should we grant him any authority in this matter when anybody who isn’t a fucking amoeba wearing Dr. Martens knows what the word Skinhead should and does refer to? Shouldn’t we listen to the song and apply the true meaning of Skinhead unless explicitly corrected by the lyricist? Fuck what he thought, I don’t have time to guess whilst he refuses to explicate! Why should we read between the lines when these words had meaning long before Sergeant Swastika and co. rocked up with their oxymoronic misunderstandings of a rich subculture? Why should we have an argument that would have, in part, been avoided had the band simply changed their name upon re-forming? Why should great music be dragged through the mud by what came later? Isn’t this illogical and akin to blaming a child for what he will do later in life as an adult? Isn’t it, in short, a little narrow- minded and all too easy?

                The innocence of these songs and their lyrics, perhaps attributable in part to the ambiguity of the group’s politics at the time in public, is what makes the enjoyment of these records acceptable. In no way is this condoning what came later, and if you ever catch me wearing a “White Rider” t- shirt, I’ll be more than happy to take criticism on the chin! Until, then, I’m going to enjoy my “Skrewdriver” and not give a shit what half- baked political allegations are thrown my way by simple minded hypocrites incapable of thinking for themselves.

There are those who would wonder why I’ve even bothered writing this. I have a friend, in fact, who upon reading this, even supposing he found himself convinced by my arguments, would state “That’s all well and good, pal- but even if listening to their pre- Nazi stuff isn’t morally reprehensible, the music’s shite and not worth the bother!” Some people of this persuasion have argued, that the only reason “Skrewdriver”’s pre-Nazi career is given credit is due to the fact that their Nazi career was so controversial. This school of thought would argue that, had the band not become such a controversial and divisive force, nobody would give a shit about the original music. I find this argument fairly irrelevant to say the least and merely a question of taste that does not concern me. However, whilst I am dealing with this gargantuan topic, I would like to point out that whilst they may not have been as big as “The Sex Pistols” or “The Clash”, I believe that “Skrewdriver” would have enjoyed an inevitable cult following of some description by virtue of simply recording with a distinctive sound during a seminal and interesting time in musical history. Most likely their success would have been akin to groups like “Menace”, who weren’t commercial but couldn’t fail to impress with the noise their guitars made. True, they wouldn’t have been as well known, but at least I could wear a frigging “Skrewdriver” t- shirt and cover “A Case Of Pride” in a band without facing condemnation from erratic and fool- hardy anarchists/ dreadlock appreciation societies! The early stuff will always be worth a dance for this Skinhead. 

Article written by Seb Murphy- Bates.