Sent into the archive, the following text is from the cover of The Red Skulls autobiography:
The enduring image of West Midlands youth on the move, the Red Skulls’ distinctive logo was worn with pride by many a young music fan during late the 1970s.
Local heroes as well as national icons, the Skulls found their greatest success in the early 1980s. Within six weeks of their legendary audience appearance on ITV’s Tiswas, Red Skull patches could be seen on denims, bomber jackets and snorkels as far afield as Alcester Lane’s End and Monyhull.
From their formative NWOBHM days, all through their flirtation with New Romantic, their brief conversion to Rastafari, and their eventual move into the Power Ballad genre, the Skulls always remained true to their beginnings.
Looking back, this is an achievement which few of their more trend-conscious peers can boast, one which the Skulls attribute to their ethic of producing no music whatsoever during the course of their career.
“That’s what always set us apart,” they note, “When we started out, we had nothing. Other bands, they lose that over time. They get too proficient, they buy amplifiers and other gadgets, they write songs. But we took the Eastern approach and thought; ‘Hang on, is nothing a bad thing? Maybe that’s our thing, maybe that’s the special something that makes us what we are as a band’. And you’ve gotta hold on to that.”
Some say the Skulls’ success was their eventual downfall, while others cite growing musical differences. Academics point to the arrival of early home videogames, arguing that these crude machines were responsible for a fading interest in rock music, particularly among the band members themselves.
Nevertheless, some 35 years later, the Skulls and their fans can look back together with pride, as they often do, and say one thing with certainty:
“We were always ourselves.”