Status Quo have been responsible for some good music and some bad album-covers. I can’t decide which is the worst of the covers. I don’t need to explain the appeal of the music, because Brian May does it for me, joining John Peel, Hank Marvin and H.R.H. The Prince of Wales among the big names who pay tribute to a rock institution. Queen were touring Europe at the same time as Quo and May attended one of Quo’s gigs, probably in Germany:
I manoeuvred myself behind the back line, and found myself with my ears midway between the back of Francis’s amp and the back of Rick’s. So, crouching like a true addict, I got a perfect stereo image, and at entirely suitable volume! As they launched into “Down, Down” I could hear the twin clangs of their superb rhythm guitars interacting in perfect rapport, and I thought …this is a perfect moment. A moment of sheer privilege. There is NOTHING in rock quite like these two giants at full throttle … Nothing! (pg. 57)
“Rhythm” is a key word. So is “volume”. Status Quo are very loud. And yes, despite the good songs, they can be very naff too. If they weren’t one of the inspirations for Spinal Tap, they should have been. But I think they were. Maybe even the chief inspiration. The names of both are amphimacers (dum-di-dum), both come from London and both started playing hippyish flower-power music in the 1960s before finding their true path. In early photos of Quo you can see frilly shirts, page-boy haircuts and even jumpers, cardigans and blazers. Then they put on their denim, grew their hair down and started their Piledriver. The Metallica drummer Lars Ulrich, whose first “front-row” show was Status Quo in Copenhagen when he was eleven, calls the cover of that album the “first real head-banging visual unleashed to the masses”.
That’s in the foreword, where Ulrich goes on to describe the effects of the show and the album: “Quo were, to this snot-nosed Danish kid in the mid-1970s, KING SHIT”. But his praise may be misleading. One crucial difference between Status Quo and Spinal Tap, or Status Quo and Metallica, is that Status Quo aren’t heavy metal. They don’t write about Satan, violence or sex and they don’t use stage-props. No Stonehenge or dry ice for Quo: just massed amps and loud riffs. “Our gimmick is that we don’t have a gimmick”, as they say on page 86. So the heavy-metal side of Spinal Tap came from bands like Black Sabbath and Uriah Heep. Spinal Tap play more complex music than Quo too, but Quo don’t mind. They have their simple formula and they’re sticking to it. When they went In Search of the Fourth Chord in 2007, they were joking.
That’s another way they aren’t heavy metal: no pretension or pomposity. No great technical skill or musical innovation either. Very few fans of Eric Clapton think “That could have been me.” Clapton plays too well and has been too influential for fans to easily picture themselves in his shoes. But lots of Status Quo fans must think that. Quo have rocked the world, not re-written rock. This book covers six decades of two blokes in a band: Francis Rossi and Rick Parfitt have always been there, drummers and bassists have come and gone. It would have been better with an index and a discography, but it’s mostly pictures anyway. Like Quo’s songs, some pictures are good, some are bad. After all, only the mediocre are always at their best. Quo haven’t been at their best very often, but I’m glad that they’re still doing it and still enjoying it.
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