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After serving over 40 years in Manchester’s first punk rock band, it’s vocalist/guitarist Steve Diggle’s time to shine.

In his new autobiography, Autonomy: Portrait of a Buzzcock, the last surviving original member of the Buzzcocks details his upbringing, life in Manchester’s rougher neighbourhoods, his first guitar (a Hayman 40/40 bass nicked by his father that would change his life), meeting Pete Shelley for the first time, and the tribals and tribulations of being in one of the most celebrated punk bands to come out of the UK.

Diggle’s got a wonderful sense of dry humour, and while wearing his love for Manchester close to his sleeve, does not leave out the grim, working-class blue-collar town that he grew up in.

I came from nothing. I’m scrapbook Northern factory-fodder class. I had no hope or prospects in life. Then punk rock saved me, same as it did Pete. It made my childhood rock’n’roll dream come true.— Steve Diggle

Each chapter is named after a Buzzcocks song, for the true fans.

Diggle likens that first gig with The Sex Pistols as being born again. The first time, in St Mary’s Hospital, in 1955, as Steve Diggle from Manchester. This time, in the Lesser Free Trade Hall, 1976, as Steve Diggle from Buzzcocks.

His brother Phil, a budding artist, eventually moved from sketching to chucking paint on the wall à la Jackson Pollock. When his parents would look at the two and ask, “Why can’t you two be normal?”, the brother would laugh and and say to Diggle, “Us two, we’re the chips that fell through the basket.”

[Buzzcocks at Vancouver’s Rickshaw Theatre; photo © Ariane Colenbrander/Vancouverscape]

All along, Diggle knew that he didn’t want to be a guitar player, and has never regarded himself as one either. He wanted to learn how the guitar worked, but didn’t want to learn other people’s songs nor styles, only wanting to play guitar like Steve Diggle, thus arriving at the conclusion that the only person that could teach him guitar was himself.

Being on the dole for most of his young adult life taught him the value of time, as he poured through used books purchased on the cheap with whatever pocket money he did have. Looking back, he was mentally preparing himself for something, yet had no idea what that was. He just knew he’d be ready for it.

Eventually he began to write ‘bits and bobs’ of poetry and other thoughts, so lyrics became a natural progression for him. Those future beloved Buzzcocks tunes were created in his bedroom during the dole years (late 1973 to around 1975), while his ‘Mam and Dad’ were at work. The pile of dishes would still be there when they came home, but they accepted the fact that their eldest son was a hopeless case.

When Diggle met Shelley by pure accident at a Sex Pistols gig where Malcolm McLaren introduced them, he knew he’d met a musical kindred spirit. Amazingly enough, there were only about 30 or so in attendance. Amongst the earliest fans: Mark E. Smith of The Fall, Bernard and Hooky from New Order, and Morrissey.

In the early days, Howard Devoto was part of the line-up and as he left following their first EP release, Spiral Scratch, Diggle saw the pieces come together: the band’s chemistry, and line-up changed, and Diggle went from bass guitar to guitar.

As luck would have it, through Devoto, the band was introduced to his girlfriend Linder, who was connected to graphic designer Malcom Garrett, who went on to design all the band’s album covers and promotional material. And from that came Jon Savage, who together with Linder, launched fanzine The Secret Public, which would eventually morph into Buzzcocks’ official fan magazine.

[John, Pete, Steve, Garth: The early days, pre-Steve ‘Paddy’ Garvey]

Once the band had gained a level of notoriety, they were invited to tour with the Clash on a Screen on the Green gig, the crystallization of the entire punk explosion. The holy trinity of UK punk rock – Sex Pistols, The Clash, and Buzzcocks, was complete. And for just one quid, early fans had the chance to see all three under the same roof!

I’m not trying to recreate the past, I’m trying to create the future.— Steve Diggle

Entertaining memories for Diggle include early bass player Garth and his little food quirks, and Diggle and Shelley’s shared love of Moët & Chandon Champagne, which wound up on their rider. They wouldn’t accept anything but, or wouldn’t go on stage. “No Moët, no show-ay” even became the band’s catchphrase.

I really enjoy how the author reminisces about early days in venues such as Olympic Studios, musing over the fact that The Rolling Stones’ Sympathy for the Devil, Bowie’s Diamond Dogs, and other iconic works were recorded in that very studio.

[Pete Shelley, final Vancouver performance; photo © Ariane Colenbrander/Vancouverscape]

Of course, the band’s breakup (and reforming) are given due diligence in this book, and Steve thoughtfully describes his emotions after losing his mate after 42 years of making music together. It’s a touching read that’s never dull. “Boredom?” I think not.

Diggle’s brilliant story describing an afternoon the band spent recording Why Can’t I Touch It made me rush to our turntable to give it a long overdue replay. Diggle and Shelley had a magical run together, and though the band lives on with Diggle at the helm, it was that symbiotic musical relationship that defined their signature sound.

Out now on Omnibus Press, Autonomy: Portrait of a Buzzcock is available online and at select booksellers in the UK and North America; UK £20/USD $30/CAD $44.50.