The Mekons

by John Dougan
More than any band that came out of late-70s England, the Mekons (the name taken from the popular sci-fi comic Dan Dare) have perhaps the most devoted fans of any band even remotely connected to punk rock. And why not? Over the course of several decades, this band, with an ever-shifting lineup (only Jon Langford and Tom Greenhalgh remain from the original lineup), produced some of the best rock & roll on the planet, be it amateurish rock-noise, cool synth-driven pop, guitar rave-ups, or postmodern country & western, the Mekons have done it all and done it with style, grace, and a ribald sense of humor.
Emerging from the same Leeds University scene that begot Gang of Four, the Mekons werent as overtly political as their Marxist-inspired brethren, but their punk rock pedigree and unsubtle anti-Thatcher and -Reaganisms did set them apart from the post-punk worlds innumerable careerists and posers. Their early recordings were exceedingly lo-fi affairs that valued emotion and energy over anything that remotely resembled musical proficiency. Songs like Never Been in a Riot and 32 Weeks sound as if the band entered the studio, arbitrarily decided who was going to play what, and started the tapes rolling. It was fun, challenging, and anarchic — principles to which the band clung, musical genre notwithstanding, ever since their inception.
From the time of their debut album, The Quality of Mercy Is Not Strnen, the Mekons had turned into a slightly more accomplished post-punk band that, like their pals in Gang of Four, wielded trebly guitars and shouted vocals over semi-funky rhythms tracks. The songs lacked focus, but this was a bizarre record that, for all of its oddly ingratiating music, offered little insight as to whom was making it. This remained true for a couple of years or so as the band (basically Langford, Greenhalgh, Kevin Lycett, and whomever else they could rope into a session) made one exciting, enigmatic, and extremely difficult-to-find record after another.
In 1985, after it seemed the earth had swallowed them whole, the Mekons released the startling Fear and Whiskey, a ragged country album influenced by the ghosts of Hank Williams and Gram Parsons that was unlike anything theyd ever recorded. Thus began the second coming of the Mekons, who finally began to reach an underground/alternative rock audience that had missed them the first time around. Soon they began touring more frequently, putting on clamorous, exciting shows. Talented new members jumped on board, like violinist Suzie Honeyman and singer Sally Timms, and even former Pretty Thing Dick Taylor was a Mekon for a while; records started coming out with more frequency and, despite considerable trouble from major labels that sent them back to the indies, could be found in nearly any record store. From Fear and Whiskey through subsequent records including The Mekons Rock n Roll, Curse of the Mekons, Retreat from Memphis, and Natural, they continually reinvented themselves: sodden country band, wise-ass folk-rock band, cranked-up guitar band, trouble-making punk band. Whatever the scenario, what has remained consistent throughout the Mekons existence has been great, great music.