Can it really be three decades since Ruts frontman Malcolm Owen died?

In 1980, just weeks after Ian Curtis’s suicide, another key frontman was dead. And while Curtis has become iconic, Owen and his band – who were already influential at the time of his death – have somehow have been nimbly airbrushed from the annuls of history.

The Ruts, who burst onto the punk-rock battlefield in 1979, were the perfect synthesis of punk and reggae, moving it on from The Clash into a tougher yet powerfully melodic place. Their musicianship was spot on and imaginative, and Owen was briefly given the mantle of spokesman for the punk-rock generation.

He has become one of the great lost front men of UK music; a figure who fronted a key band whose originality, power and influence has somehow been overlooked.

As Joe Strummer once didn’t quite say, ”ËœThe future is rewritten’, and as the past becomes sieved and edited we sometimes lose the story.

There is much debate about nostalgia, but those who are relaxed about such things celebrate the modern and the past with equal ferocity. The problem is that certain icons have become deified and celebrated, while others have been brushed aside.

Whilst someone like the aforementioned and, admittedly brilliant, Ian Curtis hogs the media spotlight, the likes of Malcolm Owen are almost forgotten in the rush to canonise certain accepted figureheads.

It has become difficult to believe that The Ruts were a far bigger group than Joy Division were at the time, with a clutch of hits to their name. They had released a brilliant debut album and had a long lasting, if unrecognised, influence that has stretched through the decades.

The Ruts provided an escape route for the punk movement whose first wave had run its course. For a brief moment in time they threatened to take British punk into the next decade. They could have been the alpha punk band figureheading the UK scene into the 80s, replacing The Clash who were on their American trip already.

The Ruts would have opened the doors for many other like-minded, imaginative combos who wanted to push the form forwards but keep it inside its parameters of thrilling music. They would have added an experimental edge, a space provided by dub and funk and a commitment to mean something to the street and the punk rockers seeking direction.

Unfortunately, when Owen finally overdosed on July 14th 1980 at the age of 25, it effectively ended the brief career of one of the UK’s most exciting bands. It was a double shock to the fans who had assumed that The Ruts were actually the first of a new type of group who were beyond drugs – in reality, they were very much part of the London scene and had a reputation for on-the-road ferocious partying.

The Ruts had promised a future and delivered a stunning 18 month assault that should be remembered to this day.

I can still remember that thrill of discovery three decades ago when the first John Peel plays of the band were broadcast in January 1979.

At school, the clutch of us who were hooked into punk and post-punk would crackle with the excitement of each new discovery that cropped up in the music press or on John Peel.

And it was Peel, of course, who had just played this track ‘In A Rut’ by the bluntly named Ruts, who were coming out of the Southall/Hayes end of London, on his evangelical show that is still yet to be matched in the years since his untimely death. In 2010 there is no way music this edgy would get near so called ”Ëœalternative’ (the most meaningless word in the musical lexicon) radio. It was the same then apart from the maverick Peel, whose show from 1976 to 1985 was perhaps the best radio show ever.

And it was Peel, who in early 1979, played the tune that was getting discussed in thrilled tones by our gangly group of teens. Here, it seemed, was another punk band just when we thought the whole thing had run out of steam.

By the end of 1978 they were already saying that punk was dead, despite the avalanche of the younger kids just getting into it. Punk had seemed to have played itself out. After all, how many more combinations could there be of the three-chord trick?

The Ruts were the first of the second wave bands – the much maligned and constantly misunderstood next phase of punk that took their cue from the initial wave of excitement of the form. Many of these bands thrilled in the rudimentary and matched the desperate times. These were monochromatic years of dissolution and apocalyptic paranoia, and things were about to get a whole lot worse…

Margaret Thatcher was about to get into power, and things were going to get a damn site tougher. Punk’s second wave captured this mood perfectly and seemed to be in a running musical battle with the establishment. The Ruts brief sojourn was one of the key musical fight backs that really meant something in a sea of soppy shite.

The second wave was tougher and more linear than the class of ’77. It has been brushed aside by the media who will endlessly celebrate the mythical and admittedly genius first wave, whilst treating the second wave of punk as a musical leper colony.

The cliché of the second wave and other related genres being thick and unimaginative is constantly proven wrong with a cursory look at the bands involved. From the anarchist, almost art-rock punk of Crass to the superior rock & roll of the UK Subs to the dark feral primal power of Killing Joke: there were so many wonderful moments in this period that it could be argued that the combined second wave of punk and its close mate – the birth pangs for the Goth scene – were infact some of the most fertile breeding ground for British rock ever.

The Ruts debut single, ‘In A Rut’, was primal proto punk that hinted at something far smarter. Its structure was lopsided and anthemic – a brilliant piece of rabble rousing, proto-Clash street aggro – but there was something else going on. Something far smarter and considered, and it came armed with a brilliantly, rough vocal from Malcolm Owen, whose voice oozed a street charisma.

Their next single was the brilliant ‘Babylon’s Burning’, the perfect synthesis of the punky reggae party built around its killer bassline from bassman Segs, who would later be found playing in the Alabama Three. There was even an element of funk to the bass workout and a stunning piece of guitar work from the late Paul Fox, whose playing was always really inventive.

When Foxy died a couple of years ago from lung cancer, the UK lost one of its great guitar players. The UK punk scene rallied on news of his diagnosis and a very special gig was played in London, where a reformed Ruts took to the stage for one last time with Henry Rollins fronting the band in place of the late Malcolm Owen to run through six Ruts songs. When Paul Fox took to the stage an emotionally charged room watched a frail, heroic guitar hero pay his final show.

Rollins claimed he had seen the toughest man in his life and the guitar player, who had by then only one lung left, rocked hard and even moved about the stage. Post gig he collapsed backstage – exhausted, but an heroic figure.

30 years before, his guitar work was key to a band that was re-creating punk rock. Their rhythm section was adding the fluidity of reggae to the toughness of punk. The singles that followed ‘Babylon’s Burning’ were ‘Staring At The Rude Boys’ and ‘Something That I Said’, both of which were key signposts in the musical evolution of the era.

The band’s debut album explored this inventiveness further. Their sheer musicality and sense of adventure was never an excuse for the sort of self-indulgence and snobbery that ruined the fringes of the post-punk scene.

Despite this, The Ruts never forgot that their duty was to the mosh pit and also to the punk political. Their songs referenced the real tension of the UK.

The band were never scared to make a stand in the tense English civil war of the period, and their music cemented the diversity that people almost take for granted now.

All the time Owen was the charismatic frontman with one of those tough, yet emotional voices that score heavily in punk-rock. His stage presence was phenomenal. A rugged and tough face on top of a gangling frame, he dressed smart and looked liked he lived all his lyrics. His words were cutting and eloquent takes on the punk-rock nation and connected with the mainstream. He had the criminal style and the suss to front the band into the next decade and to become a Weller/Strummer/Terry Hall hybrid – but also one of those quirky, ‘we really mean it, man’ frontmen that the UK of that period was conversely so good at creating in that frilliest of decades.

He had been on the endless road for some time. In the early 70s he had been on the hippy trail in India in and later lived on communes in places like Anglesey with Paul Fox. While they all drifted back down south and played in bands it was Owen, who in 1976, after hearing The Clash, cropped his hair and bullied his mates into putting a punk band together.

Easily as charismatic as Joe Strummer, Owen was a brilliant frontman, an impassioned and powerful performer with a deep intelligence and a big heart whose chemical dependencies would sadly catch up with him.

Just when the band was hitting a peak in 1980 with an upcoming sold out UK tour, starting work on a new album and an American tour planned, Owen started to hit the skids. After some gigs were cancelled the rest of the band fired him because of his drug dependency – an act of tough love that temporarily helped to get the frontman to change his ways.

Heartbroken that the band had fallen apart due to his chemical dependency, Owen got straight and persuaded them to reform.

When he persuaded his mates to regroup The Ruts he hit the town. He took one last line of H and succumbed to the deadly kickback from the drug in the bathroom of his parent’s house in Hayes. It was a sad epitaph to a briefly brilliant carer that had promised so much and left so many what ifs.

There was one last single. Recorded shortly before he had been sacked the band had finished work on ‘West One (Shine on Me)’, a dark song that somehow conveyed the hopelessness of the situation. It was a posthumous mini hit.

Owen will always be recognised as one of the coolest punk rock geezers, and a face from the past who could have contributed so much more but at least left behind a brilliant and impassioned legacy that helped to shape our lives.

Anyone who really cares about punk rock deeply cares about the Ruts. Henry Rollins will always tell you about the genius of the band, as will Ian MacKaye, whose work with Fugazi was almost like a continuation of the Ruts experimental work. For many of us in the punk-rock nation, they remain one of key bands of their generation, and a sadness remains in trying to guess what they and Malcolm Owen have become.

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Award winning journalist and boss of Louder Than War. In a 30 year music writing career, John was the first to write about bands such as Stone Roses and Nirvana and has several best selling music books to his name. He constantly tours the world with Goldblade and the Membranes playing gigs or doing spoken word and speaking at music conferences.


  1. The Ruts were a great band. Babylon’s Burning and West One (shine on me) singles and the great reggae tinged ‘jah war’. I remember dancing round the room when ‘staring at the rude boys’ was on top of the pops.

    Another great forgotten bamd from this era was Theatre of Hate, their legion/original sin 7″ still being one of my favs of all time;


    alot of these bands are written out of history by younger journalists, who weren’t there at the time and are not really qualified to know what they are they are talking about.

    • Loved the Ruts, Malcolms “we’re playing like a bunch of wankers tonight – you already noticed right?” always makes me laugh.

      The Crack is still good listening all these years later, and you’re both right, no one makes as much of a fuss about the Ruts as they deserve.

      Mind you, that’s not too bad, at least don’t have to endure a Ruts equivalent of a legion of indie kid wankers telling me their favourite clash song is “should I stay”.

      I love that Rollins gets uber-fanboy over them too. I think he has like 10 different copies of the Crack in different sleeves and vinyl.

      Can we have another excellent reminder about the Subs, and the immortal Charlie Harper?

  2. Great article, although I really wish the author had chosen to have this proofread prior to posting as the spelling throughout is appalling and were it not that the Ruts were one of my favourite bands, I wouldn’t have stayed the course.

  3. Great stuff… The Ruts really did deserve to be much bigger.The Crack is a fantastic album.
    It’s good to see that some legendary musicians remember them.

  4. Does anyone know if there’s a significant amount of tracks in the vaults that would make for a sterling reissue edition of THE CRACK? Graeme S is correct: That album is still vibrant, decades after the fact.

  5. The Ruts were the band most of us wanted, or expected, The Clash to sound like. The Ruts were powerful, subtle, moody, angry, slow, fast, very fast and down-right bloody brilliant. AND they covered a naked Captain Sensible in cow shit! ‘The Crack’ still stands the test of time. ‘Babylon’s Burning’, ‘In A Rut’ and ‘Staring At The Rude Boys’ still raise the gray hairs on the back of my neck. Great music to listen to, dance to and riot to!

  6. Thanks for the article. I remember hearing about Malcolm Owen’s sad demise on the radio. I always had the ruts down as a band who had enormous potential. Yes, the stuff we got was great and we should be thankful for that. Only shame is never getting to see where they would have gone had mr Owen lived longer.

  7. Neil, top idea. I might do the same (though I hope to be around for a while yet). It’s entirely appropriate for a funeral song.

  8. Superbly put, amazing band. I remember writing a piece on them for my first fanzine in the early 80’s. Malcolm’s story was so sad, I felt a close affinity to the band. A huge loss

  9. John, that was a brilliant read. One of the great bands indeed. Totally cool seeing Dave Ruffy and Segs still out plying their trade under the banner of Ruts DC and showing that the music of The Ruts still has something to say all these years on.

  10. West One. Play that full tilt whenever I need a kick start. The few bits of Malcolm on YouTube ram home what a loss he was. That connection with misty in roots and people unite down in southall was the real deal as well. Walk it like you talk it. I was at a gig in Guildford where the BM came down in force and the ruts fronted them up. Christ they were tough days when you really did need to know which side you were on. Great work john

  11. Saw The Ruts at Eric’s Liverpool. I was only a kid and so it was the afternoon under 18 performance. I remember that the support band (The Flys) couldn’t play for technical reasons. They apologized and threw out badges to the audience. The Ruts were amazing from the start and were so loud that I was half deaf for days after. I went home drenched in goz and itching to get an electric guitar. Over 30 years later that afternoon gig still rates as one of the best I’ve ever seen. The Ruts should have been the band to keep punk alive and kicking. Instead the scene was hijacked by the Bushell brigade and that was that.

  12. Great article John, the Ruts still get right under my skin! West One shine on me – transports me back to my mate’s bedroom, a group of us bunking off school getting up to no good, listening to music. Happy Days! I’m going to see the Ruts DC in Bristol on October 18th – I’ve heard good things about them and am looking forward to it… Cheers!

  13. […] feel that anti-fascism is integral to the punk movement. The Clash and The Ruts were both active in promoting anti-racist causes; and in today’s punk scene, bands like the […]

  14. Great band. My memories are of beating Malcolm at pool in the Hambro Arms pub in Dawley Road, Hayes, discussing with his girlfriend about her decision to wear a rabbit skin coat, going to a couple of parties at the Ruts squat just down from the Hambro and the magnificent Rock Against Racism festival at Southall park featuring the Ruts and Misty In Roots. Just heard of the passing of Kevin Williams who worked with me at the EMI factory in Hayes and was one of the organisers of the Southall festival.

  15. the first gig i went to was The Ruts at Guildford University 22nd november 1979, i recall punks with spiky hair non stop spitting and skin heads spitting back, Malcolm Owen saying ‘we are playing like a bunch of wankers’ but all we could hear was that classic guitar from Paul Fox and the band tight giving an amazing performance, they must have ended the show late as i had to walk home to Maidenhead from Guildford having missed the last train that was a long cold frosty night! I saw them again in February 1980 at the Hexagon in Reading again a fab performance memories i shall never forget…….


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