Though you could legitimately dub them a ‘supergroup’, it seems KING MOB would prefer to be referred to as a ‘beat group’.
Fair enough, in the sense they formed through their singer Stephen W. Parsons’ spell DJ-ing at the Axe Club on London’s Hackney Road. His playlist consisted primarily of old skool pre-punk fare such as Led Zeppelin, The Doors, Ike & Tina Turner etc and it gave him the chance to indulge his long-time passion for the energy of R’n’B: in effect, drawing up the blueprint for King Mob the ‘beat group’ in his head.
Trouble is, in the cold, hard light of day, KM will probably end up pigeonholed as a ‘punk’ supergroup simply through their personnel, so let’s get that outta the way first. Stephen W. Parsons? You probably know him better as Snips (ex-Sharks), from whom he’s also brought along his old mate, guitarist Chris Spedding (also Roxy Music, Elton John, Sex Pistols demo production). Did I say Sex Pistols? Yup, and they’re represented too, in the shape of bassist Glen Matlock, while the drum kit’s manned by Pretenders sticksman Martin Chambers. The only newcomer (to me) is guitarist Sixteen; though I’m told if you live in Dalston you’ll already be aware of his pedigree.
So collectively, they’re KING MOB. Their debut LP is ‘Force 9’ and it ain’t really a punk record at all. Opener ‘Lover of High Renown’ sets the tone with its’ dense layers of guitars, Parsons’ menacingly throaty vocals and Chambers’ consummate playing making it swing from the word go. It may not be ‘punk’, though it IS hard-rockin’ fare, as is the ensuing ‘Who’s Chasing Who’ which has a tough, determined, R’n’B/power pop edge.
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As the album progresses, the band loosen up very effectively indeed. Despite some faintly ridiculous lyrics (“hotter than a microwave/ cooler than the break of day”), ‘Vah Vah Voom’ is funky, chic and a whole lotta fun; ‘American Slaves’ has a dark, rattling rockabilly quality and both ‘Secret Song’ and the deceptively languid ‘Chapel of Love’ show how impressive these guys can be when they slow it down and indulge their collective love for surf music and Link Wray.
Elsewhere, both ‘Make That Call’ and ‘I Was There’ deal with the album’s ‘anthem’ quotient, though they save the best for last with the consecutive KO punches of scratchy, 50s-style rocker ‘Selene Selene’ and the itchy, Bo Diddley-style vibes of the title track which drives us to the chequered flag with style to spare.
Ultimately, whether ‘Force 9’ was made by a ‘punk supergroup’ or a ‘beat group’ is little more than semantics. What’s far more important is that the stormy, slightly sleazy rock’n’roll it summons from the ether is always bracing and quite frequently exhilarating. Take it for what it is and sod the labels.
King Mob online
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