The Clash The Complete Guide
Contents 1
Backg Bac kgro round und
1
1.11 Pu 1. Punk nk ro rock ck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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1.1.1 Chara Characte cterist ristics ics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
1.1.2 1.1 .2
Prec Pr ecurs ursors ors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4
1.1.3 1.1 .3
Early Ear ly his histor toryy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7
1.1.4 1.1 .4
Secon Sec ondd wa wave ve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.1.5 Schism Schism and div diversi ersifica ficatio tionn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 1.1.6 Legac Legacyy and later dev developm elopments ents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 1.1.7 1.1 .7
Revi Re viva vall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
1.1.8 1.1 .8
In th thee mai mains nstr tream eam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
1.1. 1. 1.99
Seee al Se also so . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
1.1.10 Ref Reference erencess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 1.1.111 Sourc 1.1.1 Sources es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 1.1.122 Exte 1.1.1 External rnal link linkss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 2
Main Mai n art artic icle le
34
2.11 Th 2. Thee Cl Clas ashh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 2.1. 2. 1.11
Hist Hi stor oryy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
2.1.2 2.1 .2
Poliliti Po tics cs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
2.1.3 Leg Legac acyy and influ influenc encee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 2.1. 2. 1.44
Memb Me mber erss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
2.1.5 2.1 .5
Disco Dis cogra graph phyy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
2.1. 2. 1.66
Seee al Se also so . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
2.1. 2. 1.77
Sour So urce cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
2.1.8 2.1 .8
Reffer Re eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
2.1.9 2.1 .9
Furth Fur ther er re readi ading ng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.1.100 Exte 2.1.1 External rnal link linkss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 3
Thee me Th memb mber erss
47
3.1 Joe St Strum rumme merr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 3.1.1 Biog Biograph raphyy and care career er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 3.1.2 Marri Marriage agess and rel relati ations onships hips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 3.1.3 3.1 .3
Docume Doc ument ntari aries es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 i
ii
CONTENTS
3.1.4 Musi Musical cal equ equipme ipment nt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 3.1.5 Mural in New Yo York rk Cit Cityy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 3.1.6 3.1 .6
Disco Dis cogra graph phyy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
3.1.7 Sel Select ected ed film filmogra ography phy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 3.1.8 3.1 .8
In oth other er me medi diaa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
3.1.9 3.1 .9
Reffer Re eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
3.1.100 Furth 3.1.1 Further er rea reading ding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 3.1.111 Exte 3.1.1 External rnal link linkss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 3.2 Mi Mick ck Jon Jones es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 3.2.1 3.2 .1
Early Ear ly lif lifee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
3.2. 3. 2.22
Thee Cl Th Clas ashh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
3.2.3 3.2 .3
Genera Gen erall Pub Publilicc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
3.2.4 Big Aud Audio io Dyna Dynamite mite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 3.2.5 Rece Recent nt pro projec jects ts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 3.2.6 Musi Musical cal equ equipme ipment nt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 3.2.7 3.2 .7
Reffer Re eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
3.2.8 3.2 .8
Furth Fur ther er re readi ading ng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
3.2.9 3.2 .9
Extern Ext ernal al lin links ks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
3.3 Pa Paul ul Sim Simon onon on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 3.3.1 Biog Biograph raphy/Hi y/Histo story ry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 3.3.2 3.3 .2
Disco Dis cogra graph phyy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
3.3. 3. 3.33
Artt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Ar
3.3.4 3.3 .4
Reffer Re eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
3.3.5 3.3 .5
Furth Fur ther er re readi ading ng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
3.3.6 3.3 .6
Extern Ext ernal al lin links ks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
3.4 To Topp pper er Hea Heado donn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 3.4.1 3.4 .1
Early Ear ly lif lifee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
3.4. 3. 4.22
Thee Cl Th Clas ashh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
3.4.3 3.4 .3
Afte Af terr th thee Cla Clash sh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
3.4.4 3.4 .4
Drummi Dru mming ng sty style le . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
3.4.5 3.4 .5
Disco Dis cogra graph phyy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
3.4. 3. 4.66
Note No tess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
3.4.7 3.4 .7
Reffer Re eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
3.5 Ke Keith ith Lev Levene ene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 3.5. 3. 5.11
Care Ca reer er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
3.5.2 3.5 .2
Disco Dis cogra graph phyy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3.5. 3. 5.33
Note No tess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3.5.4 3.5 .4
Reffer Re eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3.5.5 3.5 .5
Extern Ext ernal al lin links ks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
3.6 Te Terry rry Chi Chime mess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 3.6. 3. 6.11
Care Ca reer er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
iii
CONTENTS
3.6.2 Pe 3.6.2 Perso rsonal nal liliffe . . 3.6.3 3.6 .3 Re Reffer eren ence cess . . 3.6.4 3.6 .4 Bib Bibliliogr ograp aphy hy . 3.6.5 3.6 .5 Ext Extern ernal al lin links ks . 3.7 Ro 3.7 Robb Ha Harp rper er . . . . . .
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69 69 70 70 70
3.7.1 Bi 3.7.1 Biogr ograp aphy hy . . . 3.7. 3. 7.22 No Note tess . . . . . 3.7.3 3.7 .3 Re Reffer eren ence cess . . 3.8 Ni Nick ck Sh Shep eppar pardd . . . . . 3.8.1 3.8 .1 Lif Lifee and car caree eerr 3.8. 3. 8.22 No Note tess . . . . . 3.8.3 3.8 .3 Re Reffer eren ence cess . .
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70 70 70 71 71 71 71
3.8.4 Ext 3.8.4 Extern ernal al lin links ks . 3.9 Vin Vince ce Whi White te . . . . . . 3.9.1 3.9 .1 Bi Biogr ograp aphy hy . . . 3.9. 3. 9.22 No Note tess . . . . . 3.9.3 3.9 .3 Re Reffer eren ence cess . .
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72 72 72 72 72
3.9.4 3.9 .4 4
Extern Ext ernal al lin links ks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Other Oth er per perso sonne nnell
73
4.1 Be Berna rnard rd Rho Rhode dess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 4.1.1 4.1.1 4.1.2 4.1 .2 4.1. 4. 1.33 4.1.4 4.1 .4 4.1. 4. 1.55 4.1.6 4.1.7 4.1 .7 4.2
4.33 4.
4.4 4.5
Early lif Early lifee . . . . . . . . . . . Manag Man agem emen entt . . . . . . . . . Rece Re cent nt . . . . . . . . . . . . . Reffer Re eren ence cess . . . . . . . . . . Sour So urce cess . . . . . . . . . . . . Web, We b, journ journals als and mag magazin azines es . Furth Fur ther er re readi ading ng . . . . . . . .
4.1.8 Ext 4.1.8 Extern ernal al lin links ks . . . . Mikey Mik ey Dre Dread ad . . . . . . . . . 4.2.1 4.2 .1 Bi Biogr ograp aphy hy . . . . . . 4.2.2 4.2 .2 Dis Disco cogra graph phyy . . . . . 4.2.3 4.2 .3 Re Reffer eren ence cess . . . . . 4.2.4 4.2 .4 Ext Extern ernal al lin links ks . . . . Donn Le Do Lett ttss . . . . . . . . . . 4.3.1 4.3 .1 Bi Biogr ograp aphy hy . . . . . . 4.3.2 4.3 .2 Re Reffer eren ence cess . . . . . 4.3.3 4.3 .3 Ext Extern ernal al lin links ks . . . . Billl Pri Bil Price ce . . . . . . . . . . 4.4.1 4.4 .1 Re Reffer eren ence cess . . . . . Guyy St Gu Stev even enss . . . . . . . . . 4.5.1 Earl Earlyy lif lifee and care career er .
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73 73 75 75 76 76 77
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77 77 77 78 79 80 80 81 81 82 82 82 82 82
iv
CONTENTS
4.5.2 Sue and Isla Island nd Reco Records rds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 4.5.3 Late Laterr act activi ivitie tiess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 4.5.4 Dea Death th and leg legac acyy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 4.5.5 4.5 .5
Reffer Re eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
4.5.6 4.5 .6
Extern Ext ernal al lin links ks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
4.6 Sand Sandyy Pe Pearlm arlman an . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 4.6.1 4.6 .1
Biogr Bi ograp aphy hy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
4.6.2 Prod Producti uction on cred credits its[18] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 4.6.3 4.6 .3
Reffer Re eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
4.6.4 4.6 .4
Extern Ext ernal al lin links ks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
4.7 Tym Tymon on Dog Doggg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 4.7. 4. 7.11
Care Ca reer er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
4.7.2 4.7 .2
Disco Dis cogra graph phyy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
4.7.3 4.7 .3
Reffer Re eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
4.7.4 4.7 .4
Furth Fur ther er re readi ading ng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
4.7.5 4.7 .5
Extern Ext ernal al lin links ks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
4.8 Mic Mickk Gall Gallagh agher er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 4.8.1 4.8 .1
Early Ear ly ban bandd wo work rk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
4.8.2 Ian Dury and the Bloc Blockhe kheads ads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 4.8.3 4.8 .3
Other Oth er wo work rk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
4.8.4 4.8 .4
Perso Pe rsonal nal liliffe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
4.8.5 4.8 .5
Reffer Re eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
4.8.6 4.8 .6
Extern Ext ernal al lin links ks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
4.9 Gar Garyy Bar Barnac nacle le . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 4.9.1 Biog Biograph raphyy and care career er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 4.9.2 List Listss of col collabo laborati rations ons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 4.9.3 4.9 .3
Disco Dis cogra graph phyy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
4.9. 4. 9.44
Seee al Se also so . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
4.9.5 4.9 .5
Reffer Re eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
4.9.6 4.9 .6
Furth Fur ther er re readi ading ng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
4.9.7 4.9 .7
Extern Ext ernal al lin links ks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
4.10 Penni Penniee Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 4.10.11 See also 4.10. also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 4.10.2 Ref Reference erencess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 1 00 4.10.33 Exte 4.10. External rnal link linkss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 4.11 Ellen Fole Foleyy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 4.11.1 Early life and career career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 4.11.2 Broadwa Broadway, y, film and televi television sion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 1 01 4.11.3 Persona Personall lif lifee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 1 01 4.11.44 Film 4.11. Filmogra ography phy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 1 01 4.11.55 Disc 4.11. Discogra ography phy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 1 01
v
CONTENTS
4.11.6 Ref Reference erencess . . 4.11.77 Exte 4.11. External rnal link linkss . 4.12 Caroline Coon Coon . . . . . 4.12.11 Lif 4.12. Lifee . . . . . . 4.12.2 Public Publications ations . .
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10 1 01 102 102 102 10 1 02
4.12.3 Ref Reference erencess . . . . . . . . . . 4.12.44 Exte 4.12. External rnal link linkss . . . . . . . . . 4.13 Stev Stevee Bell . . . . . . . . . . . . . . . 4.13.11 Earl 4.13. Earlyy lif lifee . . . . . . . . . . . 4.13.22 Carto 4.13. Cartoonis onistt . . . . . . . . . . . 4.13.3 Aw Awards, ards, books books and exhibi exhibitions tions 4.13.44 See also 4.13. also . . . . . . . . . . . .
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10 1 03 103 103 103 103 10 1 04 104
4.13.5 Ref Reference erencess . . . . . . . . . 4.13.66 Exte 4.13. External rnal link linkss . . . . . . . . 4.14 Futur Futuraa 2000 2000 . . . . . . . . . . . . . 4.14.1 Exhibiti Exhibitions ons and Publica Publications tions 4.14.2 Appearance Appearancess in in other other media media
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10 1 04 104 104 106 108
4.14.3 Ref Reference erencess . . . . . . . . . 4.14.44 Exte 4.14. External rnal link linkss . . . . . . . . 4.15 Ray Low Lowry ry . . . . . . . . . . . . . . 4.15.1 Lif Lifee and work . . . . . . . 4.15.2 The Ray Lowry Foundati Foundation on 4.15.3 Select Selected ed biblio bibliography graphy . . . . 4.15.4 Ref Reference erencess . . . . . . . . .
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10 1 09 109 109 10 1 09 109 11 1 10 11 1 10
4.15.55 Exte 4.15. External rnal link linkss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 5
Associ Ass ociate ated d act actss
111
5.11 Th 5. Thee 10 101e 1ers rs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 5.1.11 Hi 5.1. Hist stor oryy . . . . . . . . . . . . . . . . . . . . . . . 5.1. 5. 1.22 Co Cove vers rs . . . . . . . . . . . . . . . . . . . . . . . . 5.1.3 5.1 .3 Ban Bandd lin line-u e-upp . . . . . . . . . . . . . . . . . . . . 5.1.4 5.1 .4 Dis Disco cogra graph phyy . . . . . . . . . . . . . . . . . . . . . 5.1.5 5.1 .5 Re Reffer eren ence cess . . . . . . . . . . . . . . . . . . . . . 5.1.6 5.1 .6 Fur Furth ther er re readi ading ng . . . . . . . . . . . . . . . . . . . 5.2 Lo 5.2 Lond ndon on SS SS . . . . . . . . . . . . . . . . . . . . . . . . . . 5.2. 5. 2.11 Hi Hist stor oryy . . . . . . . . . . . . . . . . . . . . . . . 5.2.2 5.2 .2 Rec Record ording ingss . . . . . . . . . . . . . . . . . . . . . 5.2.3 Later bands fe featuring aturing members of The London SS SS . 5.2.4 5.2 .4 Re Reffer eren ence cess . . . . . . . . . . . . . . . . . . . . . 5.3 Big Audi Audioo Dyna Dynamite mite . . . . . . . . . . . . . . . . . . . . . 5.3. 5. 3.11 Hi Hist stor oryy . . . . . . . . . . . . . . . . . . . . . . . 5.3.2 5.3 .2 Pe Perso rsonne nnell . . . . . . . . . . . . . . . . . . . . . .
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111 111 11 1 11 11 1 12 11 1 12 112 11 1 12 113 11 1 13 113 11 1 13 11 1 14 114 115
vi
5.3.3
CONTENTS
Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
5.3.4 Other information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 5.3.5
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
5.3.6
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
5.4 The Latino Rockabilly War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 5.4.1
Members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
5.5 Havana 3am . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 5.5.1
Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
5.5.2
Members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
5.5.3
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
5.6 The Mescaleros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 5.6.1
Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
5.6.2
History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
5.6.3
Members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
5.6.4
Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
5.6.5
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
5.6.6
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
5.6.7
Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
5.6.8
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
5.7 Carbon/Silicon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 5.7.1
Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
5.7.2
Band members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
5.7.3
Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
5.7.4
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
5.7.5
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
5.8 The Good, the Bad & the Queen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 5.8.1
Album history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
5.8.2
Band name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
5.8.3
Further plans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
5.8.4
Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
5.8.5
Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
5.8.6 Chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 5.8.7
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
5.8.8
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
5.9 Rock Against Racism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 5.9.1
History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
5.9.2 Love Music Hate Racism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 5.9.3
Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
5.9.4
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
5.9.5
Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
5.9.6
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
vii
CONTENTS
6
5.10 Concerts for the People of Kampuchea 5.10.1 Concerts . . . . . . . . . . . 5.10.2 Selected set lists . . . . . . . 5.10.3 See also . . . . . . . . . . . . 5.10.4 References . . . . . . . . . .
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126 126 127 129 129
5.11 Burning London: The Clash Tribute 5.11.1 Track listing . . . . . . . . 5.11.2 References . . . . . . . . . 5.11.3 External links . . . . . . . .
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129 129 129 129
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Films
130
6.1 ''Rude Boy'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 6.1.1 Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 6.1.2 6.1.3 6.1.4
Songs performed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
6.2 ''The Clash: Westway to the World'' . 6.2.1 Appearing . . . . . . . . . . 6.2.2 References . . . . . . . . . 6.2.3 External links . . . . . . . . 6.3 ''Let’s Rock Again!'' . . . . . . . . .
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131 131 132 132 132
6.3.1 DVD . . . . . . . . . . . . . . . 6.3.2 See also . . . . . . . . . . . . . . 6.3.3 External links . . . . . . . . . . . 6.4 ''Joe Strummer: The Future Is Unwritten'' . 6.4.1 Cast . . . . . . . . . . . . . . . . 6.4.2 Critical reception . . . . . . . . . 6.4.3 Box office performance . . . . . .
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132 132 132 133 133 133 133
6.4.4 Awards . . . . . . . . . . . 6.4.5 Soundtrack . . . . . . . . . 6.4.6 References . . . . . . . . . 6.4.7 External links . . . . . . . . 6.5 ''Concert for Kampuchea'' . . . . . . 6.5.1 Track listing . . . . . . . . 6.5.2 See also . . . . . . . . . . . 6.5.3 References . . . . . . . . . 6.5.4 External links . . . . . . . . 6.6 ''D.O.A.: A Rite of Passage'' . . . . 6.6.1 Plot . . . . . . . . . . . . . 6.6.2 DVD release . . . . . . . . 6.6.3 Cast (in alphabetical order) . 6.6.4 Songs performed . . . . . .
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133 133 133 134 134 134 135 135 135 135 135 135 135 136
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CONTENTS
6.6.5
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
6.6.6
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
6.7 Punk: Attitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 6.7.1
Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
6.7.2
Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
6.7.3
DVD Releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
6.7.4
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
6.7.5
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
6.8 ''Walker'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 6.8.1
Plot synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
6.8.2
Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
6.8.3
Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
6.8.4
Soundtrack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
6.8.5
Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
6.8.6
DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
6.8.7
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
6.8.8
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
6.9 ''Straight to Hell'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 6.9.1
Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
6.9.2
Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
6.9.3
Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
6.9.4 Release and reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 6.9.5
Soundtrack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
6.9.6
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
6.9.7
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
6.10 ''Candy Mountain'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 6.10.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 6.10.2 Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 6.10.3 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 6.10.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 6.10.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 6.11 ''Mystery Train'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 6.11.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 6.11.2 Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 6.11.3 Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 6.11.4 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 6.11.5 Critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 6.11.6 Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 6.11.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 6.12 ''I Hired a Contract Killer'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 6.12.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
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6.12.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 6.12.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 7
Albums
150
7.1 ''Capital Radio'' . . . . . . 7.1.1 Capital Radio E.P. 7.1.2 Capital Radio Two 7.1.3 References . . . .
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150 150 151 151
7.1.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 7.2 ''The Clash'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 7.2.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 7.2.2 7.2.3
Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
7.2.4 7.2.5 7.2.6
1979 US version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
7.2.7 Certifications . . 7.2.8 References . . . 7.2.9 Further reading . 7.2.10 External links . . 7.3 ''The Cost of Living'' . .
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154 154 155 155 155
7.3.1 Track listing . . . 7.3.2 Charts . . . . . . 7.3.3 References . . . . 7.4 ''Give 'Em Enough Rope'' . 7.4.1 Background . . . . 7.4.2 Critical reception . 7.4.3 Track listing . . . .
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155 155 155 155 156 156 156
7.4.4 Personnel . . . . . . . . . 7.4.5 Charts . . . . . . . . . . . 7.4.6 Certifications . . . . . . . 7.4.7 References . . . . . . . . 7.4.8 Further reading . . . . . . 7.5 ''London Calling'' . . . . . . . . . 7.5.1 Recording and production . 7.5.2 Music and lyrics . . . . . . 7.5.3 Artwork . . . . . . . . . . 7.5.4 Release . . . . . . . . . . 7.5.5 Reception and legacy . . . 7.5.6 Planned film . . . . . . . . 7.5.7 Track listing . . . . . . . . 7.5.8 Personnel . . . . . . . . .
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156 157 157 157 157 158 158 159 159 159 160 161 161 161
x
7.5.9
CONTENTS
Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
7.5.10 Certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 7.5.11 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 7.5.12 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 7.5.13 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 7.6 ''Sandinista!'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 7.6.1 Background and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 7.6.2
Releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
7.6.3
Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
7.6.4
Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
7.6.5
Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
7.6.6
Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
7.6.7
Certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
7.6.8
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
7.6.9
Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
7.6.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 7.7 ''Combat Rock'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 7.7.1
Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
7.7.2
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
7.7.3 Mixing and editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 7.7.4 Music and lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 7.7.5
Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
7.7.6 Reception and influence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 7.7.7
Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
7.7.8
Rat Patrol from Fort Bragg track list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
7.7.9
Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
7.7.10 Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 7.7.11 Certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 7.7.12 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 7.7.13 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 7.7.14 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 7.8 ''Cut the Crap'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 7.8.1 Background and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 7.8.2
Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
7.8.3
Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
7.8.4
Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
7.8.5
Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
7.8.6
Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
7.8.7
Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
7.8.8
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
7.8.9
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
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CONTENTS
7.8.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 7.9 ''Concerts for the People of Kampuchea'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 7.9.1
History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
7.9.2 Album track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 7.9.3 Rockestra’s personnel
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7.9.4
Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
7.9.5
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
7.10 ''The Story of the Clash, Volume 1'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 7.10.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 7.10.2 Liner notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 7.10.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 7.10.4 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 7.10.5 Certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 7.10.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 7.10.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 7.11 ''Clash on Broadway'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 7.11.1 Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 7.11.2 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 7.11.3 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 7.11.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 7.11.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 7.12 ''The Singles’' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 7.12.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 7.12.2 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 7.12.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 7.13 ''Super Black Market Clash'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 7.13.1 Black Market Clash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 7.13.2 Super Black Market Clash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 7.13.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 7.14 ''From Here to Eternity: Live'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 7.14.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 7.14.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 7.14.3 Album notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 7.14.4 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 7.14.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 7.15 ''Live at Bond’s Casino'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 7.15.1 Setlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 7.15.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 7.16 ''The Essential Clash'' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 7.16.1 The “This Is Radio Clash” track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 7.16.2 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
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CONTENTS
7.16.3 Track listing . 7.16.4 DVD . . . . 7.16.5 Charts . . . . 7.16.6 References . 7.17 ''Singles Box'' . . . .
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183 184 184 184 185
7.17.1 Track listing . 7.17.2 Credits . . . 7.17.3 References . 7.18 ''The Singles’' (2007) 7.18.1 Track listing . 7.18.2 Charts . . . . 7.18.3 References .
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185 188 188 189 189 189 189
7.19 ''Live at Shea Stadium'' 7.19.1 Reception . . . 7.19.2 Track listing . . 7.19.3 Personnel . . . 7.19.4 Charts . . . . .
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189 189 189 189 189
7.19.5 References . . 7.19.6 External links . 7.20 ''Sound System'' . . . . 7.20.1 Remastering . . 7.20.2 Reception . . . 7.20.3 Track listing . 7.20.4 Bonus DVD . .
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189 190 190 190 190 191 191
7.20.5 Personnel . . . 7.20.6 Charts . . . . . 7.20.7 References . . 7.20.8 External links . 7.21 ''5 Album Studio Set'' . 7.21.1 Remastering . . 7.21.2 Track listing . 7.21.3 References . . 7.22 ''The Clash Hits Back'' . 7.22.1 Background . . 7.22.2 Track listing . . 7.22.3 Charts . . . . . 7.22.4 References . .
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191 191 191 192 192 192 192 192 192 193 193 193 193
Songs
195
8.1 “Bankrobber” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 8.1.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 8.1.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
CONTENTS
8.1.3
xiii
Robber Dub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
8.1.4 Rockers Galore... UK Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 8.1.5
Appearances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
8.1.6 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 8.1.7
Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
8.1.8
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
8.1.9
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
8.1.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 8.2 “Brand New Cadillac” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 8.2.1
Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
8.2.2
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
8.2.3
Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
8.3 “The Call Up” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 8.3.1
Re-releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
8.3.2
Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
8.3.3
Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
8.3.4
Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
8.3.5
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
8.3.6
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
8.4 “Career Opportunities” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 8.4.1
Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
8.4.2
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
8.5 “Clampdown” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 8.5.1 Analysis of lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 8.5.2 Analysis of music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 8.5.3 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 8.5.4 Popular reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 8.5.5
Rock Band music gaming platform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
8.5.6
Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
8.5.7
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
8.5.8
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
8.5.9
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
8.6 “Clash City Rockers” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 8.6.1
Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
8.6.2
Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
8.6.3
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
8.6.4
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
8.7 “Complete Control” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 8.7.1
Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
8.7.2
Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
8.7.3
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
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CONTENTS
8.7.4
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
8.7.5
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
8.8 “English Civil War” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 8.8.1
Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
8.8.2
Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
8.8.3
Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
8.8.4
Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
8.8.5
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
8.9 “Every Little Bit Hurts” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 8.9.1
Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
8.9.2 Alicia Keys version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 8.9.3
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
8.9.4
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
8.10 “Garageland” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 8.10.1 Writing and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 8.10.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 8.10.3 Appearances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 8.10.4 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 8.10.5 Tributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 8.10.6 Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 8.10.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 8.10.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 8.11 “Groovy Times” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 8.11.1 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 8.11.2 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 8.11.3 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 8.11.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 8.12 “The Guns of Brixton” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 8.12.1 Origins and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 8.12.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 8.12.3 Lyrics and meaning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 8.12.4 Return to Brixton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 8.12.5 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 8.12.6 Covers and samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 8.12.7 Other legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 8.12.8 Chart history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 8.12.9 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 8.12.10 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 8.12.11 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 8.12.12 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 8.13 “Hitsville UK” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
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8.13.1 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 8.13.2 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 8.13.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 8.14 “I Fought the Law” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 8.14.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 8.14.2 Bobby Fuller Four version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 8.14.3 The Clash version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 8.14.4 Hank Williams, Jr. version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 8.14.5 Dead Kennedys version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 8.14.6 Other versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 8.14.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 8.14.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 8.15 “I'm So Bored with the USA” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 8.15.1 Song information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 8.15.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 8.15.3 Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 8.15.4 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 8.15.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 8.16 “Jail Guitar Doors” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 8.16.1 Jail Guitar Doors initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 8.16.2 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 8.16.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 8.16.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 8.17 “Janie Jones” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 8.17.1 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 8.17.2 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 8.17.3 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 8.17.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 8.17.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 8.18 “Junco Partner” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 8.18.1 Early recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 8.18.2 Later versions
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
8.18.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 8.18.4 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 8.19 “Know Your Rights” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 8.19.1 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 8.19.2 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 8.19.3 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 8.19.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 8.19.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 8.20 “London Calling” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
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8.20.1 Writing and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 8.20.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 8.20.3 Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 8.20.4 Reissues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 8.20.5 Chart success and critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 8.20.6 Notable appearances and covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 8.20.7 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 8.20.8 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 8.20.9 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 8.20.10 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 8.20.11 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 8.21 “London’s Burning” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 8.21.1 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 8.21.2 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 8.21.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 8.22 “Lost in the Supermarket” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 8.22.1 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 8.22.2 Music and lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 8.22.3 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 8.22.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 8.22.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 8.23 “Louie Louie” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 8.23.1 Original version by Richard Berry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 8.23.2 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 8.23.3 Answer songs and sequels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 8.23.4 “Louie Louie” compilations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 8.23.5 Lyrics investigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 8.23.6 Cultural impact . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 8.23.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 8.23.8 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 8.23.9 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 8.23.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 8.24 “The Magnificent Seven” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 8.24.1 The Magnificent Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 8.24.2 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 8.24.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 8.24.4 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 8.24.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 8.24.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 8.25 “The Man in Me” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 8.25.1 Other recorded versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
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8.25.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 8.25.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 8.26 “Police and Thieves” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 8.26.1 Junior Murvin version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 8.26.2 The Clash version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 8.26.3 Other versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 8.26.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 8.26.5 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 8.26.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 8.27 “Pressure Drop” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 8.27.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 8.27.2 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 8.28 “Remote Control” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 8.28.1 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 8.28.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 8.28.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 8.29 “Rock the Casbah” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 8.29.1 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 8.29.2 Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 8.29.3 Music video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 8.29.4 Single . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 8.29.5 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 8.29.6 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 8.29.7 Chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 8.29.8 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 8.29.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 8.29.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 8.30 “Should I Stay or Should I Go” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 8.30.1 Releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 8.30.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 8.30.3 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 8.30.4 In popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 8.30.5 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 8.30.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 8.31 “Spanish Bombs” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242 8.31.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242 8.31.2 Music and lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 8.31.3 Performers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 8.31.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 8.31.5 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 8.31.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
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8.32 “Straight to Hell” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 8.32.1 Writing and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 8.32.2 Lyrical themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 8.32.3 Musical style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 8.32.4 Alternative version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 8.32.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 8.32.6 Uses in media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 8.32.7 Covers and samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 8.32.8 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 8.32.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 8.32.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 8.33 “This Is England” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 8.33.1 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 8.33.2 Lyrics and meaning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 8.33.3 Reception and release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 8.33.4 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 8.33.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 8.33.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 8.34 “This Is Radio Clash” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 8.34.1 7-inch release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 8.34.2 12-inch release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 8.34.3 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 8.34.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 8.34.5 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 8.34.6 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 8.34.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 8.34.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 8.35 “Tommy Gun” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 8.35.1 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 8.35.2 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 8.35.3 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 8.35.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 8.36 “Train in Vain” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 8.36.1 Origins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 8.36.2 Meaning and inspiration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 8.36.3 Formats and track listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 8.36.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 8.36.5 In popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 8.36.6 Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 8.36.7 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 8.36.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
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CONTENTS
8.36.9 External links . . . . . . . . . . 8.37 “Washington Bullets” . . . . . . . . . . 8.37.1 External links . . . . . . . . . . 8.38 "(White Man) In Hammersmith Palais” . 8.38.1 Inspiration and composition . . .
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8.38.2 Personnel . . . . 8.38.3 Critical reception 8.38.4 Charts . . . . . . 8.38.5 Notes . . . . . . 8.38.6 Further reading . 8.38.7 External links . . 8.39 “White Riot” . . . . . . . 8.39.1 8.39.2 8.39.3 8.39.4 8.39.5
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Inspiration and composition . Reception . . . . . . . . . . Personnel . . . . . . . . . . Cover versions . . . . . . . Charts . . . . . . . . . . . .
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8.39.6 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 8.39.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 8.39.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 9
Discography and lists
9.1 Discography . . . . . . 9.1.1 1977–1978 . . 9.1.2 1979–1982 . . 9.1.3 1983–present . 9.1.4 Studio albums . 9.1.5 Live albums . .
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9.1.6 Compilations . . . . 9.1.7 Extended plays . . . 9.1.8 Singles . . . . . . . 9.1.9 Video albums . . . . 9.1.10 Film/documentaries . 9.1.11 Music videos . . . . 9.1.12 See also . . . . . . . 9.1.13 References . . . . . 9.1.14 External links . . . . 9.2 Films and Documentaries . . 9.2.1 See also . . . . . . . 9.2.2 Notes . . . . . . . . 9.3 Members . . . . . . . . . . 9.3.1 Band members . . .
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9.3.2 9.3.3 9.3.4 9.4 Songs 9.4.1 9.4.2 9.4.3 9.4.4
Timeline . References See also . . . . . . . . . See also . .
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CONTENTS
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Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
10 Text and image sources, contributors, and licenses
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10.1 Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 10.2 Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 10.3 Content license . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Chapter 1
Background 1.1
Punk rock
1.1.1
Characteristics
See also: Punk subculture For the 2009 play by Simon Stephens, see Punk Rock (play).
Philosophy
Punk rock (or
simply "punk") is a rock music genre that developed in the United States, United Kingdom, and Australia. Rooted in 1960s garage rock and other forms of what is now known as "proto-punk" music, punk rock bands rejected perceived excesses of mainstream 1970s rock. Punk bands typically use short or fast-paced songs, with hard-edged melodies and singing styles, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY ethic; many bands self-produce recordings and distribute them through informal channels. The term “punk” was first used in relation to rock music by some American critics in the early 1970s, to describe garage bands andtheir devotees. By late 1976, bands such as Television and the Ramones in New York City, and the Sex Pistols, the Clash, and the Damned in London were recognized as the vanguard of a new musical movement. The following year saw punk rock spreading around the world, and it became a major cultural phenomenon in the United Kingdom. For the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment (ranging from deliberately offensive T-shirts, leather jackets, spike bands and other studded or spiked jewelry to bondage and S&M clothes) and a variety of anti-authoritarian ideologies. By the beginning of the 1980s, faster, more aggressive styles such as hardcore (e.g. Black Flag) and street punk (e.g. the Exploited) had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a broad range of other variations, giving rise to post-punk and the alternative rock movement. At the end of the 20th century, punk rock had been adopted by the mainstream, as pop punk and punk rock bands such as Green Day, the Offspring and Blink-182 brought the genre widespread popularity.
The Ramones ' 1976 debut album laid down the musical “blueprint for punk”, [1] while its cover image had a similarly formative influence on punk visual style. [2]
The first wave of punk rock was aggressively modern, distancing itself from the bombast and sentimentality of early 1970s rock.[3] According to Ramones drummer Tommy Ramone, “In its initial form, a lot of [1960s] stuff was innovative and exciting. Unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock 'n' roll.”[4] John Holmstrom, founding editor of Punk magazine, recalls feeling “punk rock had to come along because the rock scene had become so tame that [acts] like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans, rock and roll meant this wild and rebellious music.” [5] In critic 1
2 Robert Christgau's description, “It was also a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth.”[6] Technical accessibilityand a DIY spirit areprizedin punk rock. In the early days of punk rock, this ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands.[7] Musical virtuosity was often looked on with suspicion. According to Holmstrom, punk rock was “rock and roll by people who didn't have very much skills as musicians but still felt the need to express themselves through music”. [5] In December 1976, the English fanzine Sideburns published a nowfamous illustration of three chords, captioned “This is a chord, this is another, this is a third. Now forma band”.[8] The title of a 1980 single by the New York punk band Stimulators, “Loud Fast Rules!" inscribed a catchphrase for punk’s basic musical approach.[9] Some of British punk rock’s leading figures made a show of rejecting not only contemporary mainstream rock and the broader culture it was associated with, but their own most celebrated music predecessors: “No Elvis, Beatles or the Rolling Stones in 1977”, declared the Clash song “1977”.[10] The previous year, when the punk rock revolution began in Great Britain, was to be both a musical and a cultural “Year Zero”. [11] Even as nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan “No Future";[3] in the later words of one observer, amid the unemployment and social unrest in 1977, “punk’s nihilistic swagger was the most thrilling thing in England.” [12] While “self-imposed alienation" was common among “drunk punks” and “gutter punks”, there was always a tension between their nihilistic outlook and the “radical leftist utopianism”[13] of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, “Punk rock is meant to be our freedom. We're meant to be able to do what we want to do.”[14] The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Scholar Daniel S. Traber argues that “attaining authenticity in the punk identity can be difficult"; as the punk scene matured, he observes, eventually “everyone got called a poseur”.[15]
Musical and lyrical elements
Punk rock bands often emulate the bare musical structures and arrangements of 1960s garage rock.[16] Typical punk rock instrumentation includes one or two electric guitars, an electric bass, and a drum kit, along with vocals. Songs tend to be shorter than those of other popular genres. Most early punk rock songs retained a traditional
CHAPTER 1. BACKGROUND
Johnny Rotten and Steve Jones of the Sex Pistols
rock 'n' roll verse-chorus form and 4/4 time signature. However, later bands have often broken from this format. In critic Steven Blush’s description, “The Sex Pistols were still rock'n'roll ... like the craziest version of Chuck Berry. Hardcore was a radical departure from that. It wasn't verse-chorus rock. It dispelled any notion of what songwriting is supposed to be. It’s its own form.”[17] Punk rock vocals sometimes sound nasal,[18] and lyrics are often shouted instead of sung in a conventional sense, particularly in hardcore styles.[19] Shifts in pitch, volume, or intonational style are relatively infrequent. [20] Complicated guitar solos are considered self-indulgent and unnecessary, although basic guitar breaks are common.[21] Guitar parts tend to include highly distorted power chords or barre chords, creating a characteristic sound described by Christgau as a “buzzsaw drone”.[22] Some punk rock bands take a surf rock approach with a lighter, twangier guitar tone. Others, such as Robert Quine, lead guitarist of the Voidoids, have employed a wild, "gonzo" attack, a style that stretches back through the Velvet Underground to the 1950s’ recordings of Ike Turner.[23] Bass guitar lines are often uncomplicated; the quintessential approach is a relentless, repetitive “forced rhythm”,[24] although some punk rock bass players—such as Mike Watt of the Minutemen and Firehose—emphasize more technical bass lines. Bassists often use a pick due to the rapid succession of notes, which makes fingerpicking impractical. Drums typically sound heavy and dry, and often have a minimal set-up. Compared to other forms of rock, syncopation is muchless the rule.[25] Hardcoredrumming tends to be especially fast.[19] Production tends to be minimalistic, with tracks sometimes laid down on home tape recorders[26] or simple four-track portastudios. The typical objective is to have the recording sound unmanipulated and “real”, reflecting the commitment and “authenticity” of a live performance.[27] Punk rock lyrics are typically frank and confrontational; compared to the lyrics of other popular music genres, they frequently comment on social and political issues.[28] Trend-setting songs such as the Clash’s "Career Opportunities" and Chelsea's “Right to Work” deal with unemployment and the grim realities of urban life.[29] Espe-
3
1.1. PUNK ROCK
The Clash , performing in 1980
cially in early British punk, a central goal was to outrage and shock the mainstream.[30] The Sex Pistols’ "Anarchy in the U.K." and "God Save the Queen" openly disparaged the British political system and social mores. Antisentimental depictions of relationships and sex are common, as in “Love Comes in Spurts”, written by Richard Hell and recorded by him with the Voidoids. Anomie, variously expressed in the poetic terms of Hell’s "Blank Generation" and the bluntness of the Ramones’ “Now I Wanna Sniff Some Glue”, is a common theme. Identifying punk with such topics aligns with the view expressed by V. Vale, founder of San Francisco fanzine Search and Destroy: “Punk was a total cultural revolt. It was a hardcore confrontation with the black side of history and culture, right-wing imagery, sexual taboos, a delving into it that had never been done before by any generation in such a thorough way”.[31]
'look' with various different styles based on these designs. Young women in punk demolished the typical female types in rock of either “coy sex kittens or wronged blues belters” in their fashion.[36] Early female punk musicians displayed styles ranging from Siouxsie Sioux's bondage gear to Patti Smith’s “straight-from-the-gutter androgyny”. [37] The former proved much more influential on female fan styles.[38] Over time, tattoos, piercings, and metal-studded and -spiked accessories became increasingly common elements of punk fashion among both musicians and fans, a “style of adornment calculated to disturb and outrage”.[39] Among the other facets of the Punk Rock scene, a punks hair is an important way of showing their freedom of expression.[40] The typical male punk haircut was originallyshort and choppy; the Mohawk later emerged as a characteristic style. [41] Along with the mohawk, long spikes have been associated with the punk rock genre.[40]
Visual and other elements
For more details on this topic, see Punk fashion.
British punks, circa 1986
The classic punk rock look among male American musicians harkens back to the T-shirt, motorcycle jacket, and jeans ensemble favored by American greasers of the 1950s associated with the rockabilly scene and by British rockers of the 1960s. The cover of the Ramones’ 1976 debut album, featuring a shot of the band by Punk photographer Roberta Bayley, set forth the basic elements of a style that was soon widely emulated by rock musicians both punk and nonpunk.[2] Richard Hell’s more androgynous, ragamuffin look—and reputed invention of the safety-pin aesthetic—was a major influence on Sex Pistols impresario Malcolm McLaren and, in turn, British punk style.[32][33] (John D Morton of Cleveland’s Electric Eels may have been the first rock musician to wear a safety-pin-covered jacket).[34] McLaren’s partner, fashion designer Vivienne Westwood, credits Johnny Rotten as the first British punk to rip his shirt, and Sex Pistols bassist Sid Vicious as the first to use safety pins, [35] although few of those following Punk could afford to buy McLaren and Westwood’s designs so famously worn by the Pistols, so they made their own, diversifying the
The characteristic stage performance style of male punk musicians does not deviate significantly from the macho postures classically associated with rock music.[42] Female punk musicians broke more clearly from earlier styles. Scholar John Strohm suggests that they did so by creating personas of a type conventionally seen as masculine: “They adopted a tough, unladylike pose that borrowed more from the macho swagger of sixties garage bands than from the calculated bad-girl image of bands like the Runaways.”[37] Scholar Dave Laing describes how bassist Gaye Advert adopted fashion elements associated with male musicians only to generate a stage persona readily consumed as “sexy”.[43] Laing focuses on more innovative and challenging performance styles, seen in the various erotically destabilizing approaches of Siouxsie Sioux, the Slits' Ari Up, and X-Ray Spex' Poly Styrene.[44] The lack of emphatic syncopation led punk dance to “deviant” forms. The characteristic style was originally the pogo.[45] Sid Vicious, before he became the Sex Pistols’ bassist, is credited with initiating the pogo in Britain as
4
CHAPTER 1. BACKGROUND
an attendee at one of their concerts. [46] Moshing (Slam Dancing) is typical at hardcore shows. The lack of conventional dance rhythms was a central factor in limiting punk’s mainstream commercial impact.[47] Breaking down the distance between performer and audience is central to the punk ethic. [48] Fan participation at concerts is thus important; during the movement’s first heyday, it was often provoked in an adversarial manner— apparently perverse, but appropriately “punk”. Firstwave British punk bands such as the Sex Pistols and the Damned insulted and otherwise goaded the audience into intense reactions. Laing has identified three primary forms of audience physical response to goading: can throwing, stage invasion, and spitting or “gobbing”. [49] In the hardcore realm, stage invasion is often a prelude to stage diving. In addition to the numerous fans who have started or joined punk bands, audience members also become important participants via the scene’s many amateur periodicals—in England, according to Laing, punk “was the first musical genre to spawn fanzines in any significant numbers”.[50] 1.1.2
and the Stooges.[54] In the early 1970s, certain rock critics began to speak of the mid-1960s garage bands (as well bands that they considered continuing in their line, such as MC5 and the Stooges) as a genre that theycalled “punk rock”.[55][56] However, since the advent of New York and London scenes of 1975-1978andthe subculturethat grew out of them, the term has become most commonly applied to music emerging after 1974. Sixties garage bands are now typically described as garage rock, or, especially in the case of their immediate successors, proto-punk.[57]
Precursors
1960s progenitors
The Kinks onstage during a Dutch TV appearance in April 1967
See also: Garage rock, Proto-punk, Mod (subculture), From England in 1964, largely under the grip of the mod youth movement and beat group explosion, came the and Beat music In the early- to mid-1960s, garage rock bands, often Kinks' hit singles, "You Really Got Me"and"All Day and All of the Night,” both influenced by “Louie, Louie”.[58] They have been described as “predecessors of the whole three-chord genre.” For instance, the Ramones’ 1978 'I Don't Want You,' was largely Kinks-influenced.[59] In 1965, the Who progressed from their first single, "I Can't The 10-note riff from " Louie, Louie" Explain,” a virtual Kinks clone, to "My Generation". recognized as punk rock’s progenitors, began springing Though it had little impact on the American charts, the “cerebral mix up around North America. The Kingsmen, from Port- Who’s mod anthem pre-figured the kind of[60] of musical ferocity and rebellious posture” that would land, Oregon, had a hit with their 1963 cover of "Louie, Louie", considered by some as punk rock’s defining "ur- characterize much of the later British punk rock of the text".[51] The iconic song was originally written and per- 1970s. John Reed describes the Clash’s emergence as a formed by Richard Berry as an ode to the lovelorn con- “tight ball of energy with both an image and rhetoric remobsession, fessions of a drunken Jamaican sailor and displays Latin iniscent of a young Pete Townshend—speed [60] influences, with its “El Loco Cha-Cha” riffs that were pop-art clothing, art school ambition.” The Who and the few rock later pared down to a more simple and primitive rock ar- fellow mods the Small Faces were among [61] rangement in the Kingsmen’s version providing a stylistic elders acknowledged by the Sex Pistols. modelfor countless garage rock bands to come.[52][53] Af- The garage and beat phenomenon was not exclusive to ter the Beatles’ first appearance on the Ed Sullivan Show, North America and Great Briton.[62][63][64][65][66] Various and then with the subsequent string of other success- countries experienced grass-roots rock movements which ful British acts, the garage band phenomenon gathered essentially served as counterparts to what was happenincreased momentum. The minimalist sound of many ing in the North America and Britain, several of which garage rock combos was influenced by the harder-edged are sometimes retroactively referred to as Nederbeat wing of the British Invasion, exemplified by groups such (Netherlands), Uruguayan Invasion (Uruguay), or Group as the Rolling Stones and the Yardbirds. After 1967, U.S. Sounds (Japan), or in other cases as “beat” or “garage garage rock began to fall out of favor, but the raw sound rock”.[63][64][65][66] Australia and New Zealand had active and outsider attitude of groups, such as the Sonics, the beat/garage scenes, procuring a host of bands, such as the Seeds, the Remains, the Standells, and the Shadows of Missing Links whose brazenly primitivistic “Wild About Knight predicted the style of later bands such as MC5 You” would be covered a decade later by compatriots,
1.1. PUNK ROCK
the Saints.[67][68] There were numerous garage rock bands in India during the 1960s, perpetuating the style even into the early 1970s. [64] Los Saicos out of Peru recoded 1965’s “Demolicion”, which is a notable early example of protopunk.[69] AllMusic, writing about Los Saicos, noted that “The guitars sound like nothing so much as fountains of sparks, the drums have a tribal post-surf throb, and the vocals are positively unhinged” and “These guys were a punk rock band, even if nobody outside Lima knew it at the time”.[70] The garage and beat boom dissipated in the late 1960s, but a handful of maverick acts, carried its influence into the 1970s, seizing on its protopunk elements, but brandishing them with greater intensity. Late 1960s to mid 1970s
See also: Glam punk In August 1969, the Stooges, from Ann Arbor, pre-
Iggy Pop , the “godfather of punk”
miered with a self-titled album. According to critic Greil Marcus, the band, led by singer Iggy Pop, created “the sound of Chuck Berry's Airmobile—after thieves strippedit for parts”.[71] Thealbum was producedbyJohn Cale, a former member of New York’s experimental rock group the Velvet Underground. Having earned a “reputation as the first underground rock band,” the Velvet Underground inspired, directly or indirectly, many of those involved in the creation of punk rock. [72] In the early 1970s, the New York Dolls updated the original wildness of 1950s’ rock 'n' roll in a fashion that later became known as glam punk.[73] The New York duo Suicide played spare, experimental music with a confrontational stage act inspired by that of the Stooges.
5 At the Coventry club in the New York City borough of Queens, the Dictators used rock as a vehicle for wise-ass attitude and humor.[74] In Boston, the Modern Lovers, led by Velvet Underground devotee Jonathan Richman, gained attention with a minimalistic style. In 1974, an updated garage rock scene began to coalesce around the newly opened Rathskeller club in Kenmore Square. Among the leading acts were the Real Kids, founded by former Modern Lover John Felice; Willie Alexander and the Boom Boom Band, whose frontman had been a member of the Velvet Underground for a few months in 1971; and Mickey Clean and the Mezz. [75] In 1974, as well, the Detroit band Death—made up of three African-American brothers—recorded “scorching blasts of feral ur-punk,” but couldn't arrange a release deal.[76] In Ohio, a small but influential underground rock scene emerged, led by Devo in Akron and Kent and by Cleveland’s Electric Eels, Mirrors and Rocket from the Tombs. In 1975, Rocket from the Tombs split into Pere Ubu and Frankenstein. The Electric Eels and Mirrors both broke up, and the Styrenes emerged from the fallout. [77] Britain’s Deviants, in the late 1960s, played in a range of psychedelic styles with a satiric, anarchic edge and a penchant for situationist-style spectacle presaging the Sex Pistols by almost a decade. [78] In 1970, the act evolved into the Pink Fairies, which carried on in a similar vein.[79] With his Ziggy Stardust persona, David Bowie made artifice and exaggeration central—elements, again, that were picked up by the Sex Pistols and certain other punk acts.[80] The Doctors of Madness built on Bowie’s presentation concepts, while moving musically in the direction that would become identified with punk. Bands in London’s pub rock scene stripped the music back to its basics, playing hard, R&B-influenced rock 'n' roll. By 1974, the scene’s top act, Dr. Feelgood, was paving the way for others such as the Stranglers and Cock Sparrer that would play a role in the punk explosion. Among the pub rock bands that formed that year was the 101ers, whose lead singer would soon adopt the name Joe Strummer.[81] Bands anticipating the forthcoming movement were appearing as far afield as Düsseldorf, West Germany, where “punk before punk” band NEU! formed in 1971, building on the Krautrock tradition of groups such as Can.[82] In Japan, the anti-establishment Zunō Keisatsu (Brain Police) mixed garage-psych and folk. The combo regularly faced censorship challenges, their live act at least once including onstage masturbation.[83] A new generation of Australian garage rock bands, inspired mainly by the Stooges and MC5, was coming even closer to the sound that would soon be called “punk": In Brisbane, the Saints also recalled the raw live sound of the British Pretty Things, who had made a notorious tour of Australia and New Zealand in 1975.[84]
6 Etymology
Between the late 16th and the 18th centuries, punk was a common, coarse synonym for prostitute; William Shakespeare used it with that meaning in The Merry Wives of Windsor (1602) and Measure for Measure (1603-4, published 1623 in First Folio).[85] The term eventually came to describe “a young male hustler, a gangster, a hoodlum, or a ruffian”.[86] As Legs McNeil explains, “On TV, if you watched cop shows, Kojak , Baretta, when the cops finally catch the mass murderer, they'd say, 'you dirty Punk.' It was what your teachers would call you. It meant that you were the lowest.” [87] The first known use of the phrase punk rock appeared in the Chicago Tribune on March 22, 1970, attributed to Ed Sanders, cofounder of New York’s anarcho-prankster band the Fugs. Sanders was quoted describing a solo album of his as “punk rock— redneck sentimentality”.[88] In the December 1970 issue of Creem, Lester Bangs, mocking more mainstream rock musicians, ironically referred to Iggy Pop as “that Stooge punk”.[89] Suicide’s Alan Vega credits this usage with inspiring his duo to bill its gigs as a “punk mass” for the next couple of years.[90]
Patti Smith , performing in 1976
Dave Marsh was the first music critic to employ the term punk rock : In the May 1971 issue of Creem, he described ? and the Mysterians, one of the most popular 1960s garage rock acts, as giving a “landmark exposition of punk rock”.[91] Later in 1971, in his fanzine Who Put the Bomp, Greg Shaw wrote about “what I have chosen to call “punkrock” bands—white teenage hard rock of '64–66 (Standells, Kingsmen, Shadowsof Knight,
CHAPTER 1. BACKGROUND
etc.)".[92] Robert Christgau writing for the Village Voice in October 1971 refers to “mid-60s punk” as a historical period of rock-and-roll.[93] Lester Bangs would use the term “punk rock” in several articles written in the early 1970s to refer to mid-1960s garage acts. In his June 1971 piece in Creem, “Psychotic Reactions and Carburetor Dung,” he wrote, “then punk bands started cropping up who were writing their own songs but taking the Yardbirds’ sound and reducing it to this kind of goony fuzztone clatter. ... oh, it was beautiful, it was pure folklore, Old America, and sometimes I think those were the best days ever.”[94] In several places in a 1971 article in Who Put the Bomp, Bangs refers to Britain’s the Troggs and bands of their ilk as “punk.”[95] In June 1972, the fanzine Flash included a “Punk Top Ten” of 1960s albums.[96] By that December, the term was in circulation to the extent that The New Yorker 's Ellen Willis, contrasting her own tastes with those of Flash and fellow critic Nick Tosches, wrote, "Punk-rock has become the favored term of endearment.”[97] Inthelinernotesofthe1972anthology LP, Nuggets , musician and rock journalist Lenny Kaye, later a member of the Patti Smith Group, used variations of the term in two places: first “punk rock,” in the essay liner notes, to describe the genre of 1960s garage bands, and then, later, “classic garage-punk,” in the trackby-track notes, to describe a song recorded in 1966 by the Shadows of Knight.[98][99] In the January 1973 Rolling Stone review of Nuggets , Greg Shaw commented “Punk rock at its best is the closest we came in the '60s to the original rockabilly spirit of Rock 'n Roll ...” [100] In February 1973, Terry Atkinson of the Los Angeles Times , reviewing the debut album by a hard rock band, Aerosmith, declared that it “achieves all that punk-rock bands strive for but most miss.”[101] Three months later, Billy Altman launched the short-lived punk magazine, which pre-dated the better-known 1975 publication of the same name, but, unlike the later magazine, was largely devoted to discussion of 1960s garage and psychedelic acts. [102][103] In May 1974, Los Angeles Times critic Robert Hilburn reviewed the second New York Dolls album, Too Much Too Soon. “I told ya the New York Dolls were the real thing,” he wrote, describing the album as “perhaps the best example of raw, thumb-your-nose-at-the-world, punk rock since the Rolling Stones' Exile on Main Street .”[104] Bassist Jeff Jensen of Boston’s Real Kids reports of a show that year, “A reviewer for one of the free entertainment magazines of the time caught the act and gave us a great review, calling us a 'punk band.' ... [W]e all sort of looked at each other and said, 'What’s punk?'"[105] By 1975, punk was being used to describe acts as diverse asthe Patti Smith Group, the Bay City Rollers, and Bruce Springsteen.[106] As the scene at New York’s CBGB club attracted notice, a name was sought for the developing sound. Club owner Hilly Kristal called the movement “street rock"; John Holmstrom credits Aquarian magazine with using punk “to describe what was going on at CBGBs”.[107] Holmstrom, McNeil, and GedDunn’s mag-
1.1. PUNK ROCK
azine Punk , which debuted at the end of 1975, was crucial in codifying the term.[108] “It was pretty obvious that the word was getting very popular”, Holmstrom later remarked. “We figured we'd take the name before anyone else claimed it. We wanted to get rid of the bullshit, strip it down to rock 'n' roll. We wanted the fun and liveliness back.”[106] 1.1.3
Early history
North America
The origins of New York’s punk rock scene can be traced back to such sources as late 1960s trash culture and an early 1970s underground rock movement centered on the Mercer Arts Center in Greenwich Village, where the New York Dolls performed.[111] In early 1974, a new scene began to develop around the CBGB club, also in lower Manhattan. At its core was Television, described by critic John Walker as “the ultimate garage band with pretensions”. [112] Their influences ranged from the Velvet Underground to the staccato guitar work of Dr. Feelgood's Wilko Johnson.[113] The band’s bassist/singer, Richard Hell, created a look with cropped, ragged hair, ripped T-shirts, and black leather jackets credited as the basis for punk rock visual style.[114] In April 1974, Patti Smith, a member of the Mercer Arts Center crowd and a friend of Hell’s, came to CBGB for the first time to see the band perform. [115] A veteran of independent theater and performance poetry, Smith was developing an intellectual, feminist take on rock 'n' roll. On June 5, she recorded the single "Hey Joe"/"Piss Factory", featuring Television guitarist Tom Verlaine; released on her own Mer Records label, it heralded the scene’s do it yourself (DIY) ethic and has often been cited as the first punk rock record.[116] By August, Smith and Television were gigging together at another downtown New York club, Max’s Kansas City.[114] New York City
Facade of legendary music club CBGB , New York
Out in Forest Hills, Queens, several miles from lower Manhattan, the members of a newly formed band adopted a common surname. Drawing on sources ranging from
7 the Stooges to the Beatles and the Beach Boys to Herman’s Hermits and 1960s girl groups, the Ramones condensed rock 'n' roll to its primal level: "'1-2-3-4!' bass-player Dee Dee Ramone shouted at the start of every song, as if the group could barely master the rudiments of rhythm.”[117] The band played its first gig at CBGB on August 16, 1974, on the same bill as another new act, Angel and the Snake, soon to be renamed Blondie.[118] By the end of the year, the Ramones had performed seventy-four shows, each about seventeen minutes long.[119] “When I first saw the Ramones”, critic Mary Harron later remembered, “I couldn't believe peoplewere doing this. The dumb brattiness.”[120] The Dictators, with a similar “playing dumb” concept, were recording their debut album. The Dictators’ Go Girl Crazy! came out in March 1975, mixing absurdist originals such as “Master Race Rock” and loud, straight-faced covers of cheese pop like Sonny & Cher's "I Got You Babe".[121] That spring, Smith and Television shared a two-monthlong weekend residency at CBGB that significantly raised the club’s profile.[122] The Television sets included Richard Hell’s “Blank Generation”, which became the scene’s emblematic anthem.[123] Soon after, Hell left Television and founded a band featuring a more strippeddown sound, the Heartbreakers, with former New York Dolls Johnny Thunders and Jerry Nolan. The pairing of Hell and Thunders, in one critical assessment, “inject[ed] a poetic intelligence into mindless self-destruction”.[32] A July festival at CBGB featuring over thirty new groups brought the scene its first substantial media coverage. [124] In August, Television—with Fred Smith, former Blondie bassist, replacing Hell—recorded a single, “Little Johnny Jewel”, for the tiny Ork label. In the words of John Walker, the record was “a turning point for the whole New York scene” if not quite for the punk rock sound itself—Hell’s departure had left the band “significantly reduced in fringe aggression”.[112] Other bands were becoming regulars at CBGB, such as Mink DeVille and Talking Heads, which moved down from Rhode Island. More closely associated with Max’s Kansas City were Suicide and the band led by Jayne County, another Mercer Arts Center alumna. The first album to come out of this downtown scene was released in November 1975: Smith’s debut, Horses , produced by John Cale for the major Arista label.[126] The inaugural issue of Punk appeared in December.[127] The new magazine tied together earlier artists such as Velvet Underground lead singer Lou Reed, the Stooges, and the New York Dolls with the editors’ favorite band, the Dictators, and the array of new acts centered on CBGB and Max’s.[128] That winter, Pere Ubu came in from Cleveland and played at both spots.[129] Early in 1976, Hell left the Heartbreakers; he soon formed a new group that would become known as the Voidoids, “one of the most harshly uncompromising bands” on the scene.[130] That April, the Ramones’ debut album was released by Sire Records; the first single was
8 "Blitzkrieg Bop", opening with the rally cry “Hey! Ho! Let’s go!" According to a later description, “Like all cultural watersheds, Ramones was embraced by a discerning fewand slagged off as a badjoke bythe uncomprehending majority.”[131] At the instigation of Ramones lead singer Joey Ramone, the members of Cleveland’s Frankenstein moved east to join the New York scene. Reconstituted as the Dead Boys, they played their first CBGB gig in late July.[132] In August, Ork put out an EP recorded by Hell with his new band that included the first released version of “Blank Generation”.[133] Other New York venues apart from CBGB included the Lismar Lounge (41 First Avenue) and Aztec Lounge (9th Street).[134] At this early stage, the term punk applied to the scene in general, not necessarily a particular stylistic approach as it would later—the early New York punk bands represented a broad variety of influences. Among them, the Ramones, the Heartbreakers, Richard Hell and the Voidoids, and the Dead Boys were establishing a distinct musical style. Even where they diverged most clearly, in lyrical approach—the Ramones’ apparent guilelessness at one extreme, Hell’s conscious craft at the other—there was an abrasive attitude in common. Their shared attributes of minimalism and speed, however, had not yet come to define punk rock.[135] Chickasha, Oklahoma gave birth to avant garde, glam-punk bands Victoria Vein and the Thunderpunks in 1974 and Debris’ in 1975 whose selfreleased underground classic Static Disposal was released in 1976. The album has been touted as an inspiration by numerous bands including Scream, Nurse With Wound, the Melvins and Sonic Youth.[138][139][140] In 1975, the Suicide Commandos formed in Minneapolis. They were one of the first U.S. bands outside of New York to play in the Ramones-style harder-louder-faster mode that would define punk rock.[141] Detroit’s Death self-released one of their 1974 recordings, “Politicians in My Eyes”, in 1976.[76] As the punk movement expanded rapidly in the United Kingdom that year, a few bands with similar tastes and attitude appeared around the United States. The first West Coast punk scenes emerged in San Francisco, with the bands Crime and the Nuns,[142] and Seattle, where the Telepaths, Meyce, and the Tupperwares played a groundbreaking show on May 1.[143] Rockcritic Richard Meltzer cofounded VOM (short for “vomit”) in Los Angeles. Meanwhile, in Los Angeles, performer Alice Bag formed the punk music group the Bags in 1977. Alice influenced the Hollywood punk scene by incorporating Mexican and Chicano musical culture into her music through canción ranchera—which translates to “country song” and is associated with mariachi ensembles—as well as estilo bravío, a wild style of performance often seen in punk. [144] In Washington, D.C., raucous roots-rockers the Razz helped along a nascent punk scene featuring Overkill, the Slickee Boys, and the Look. Around the turn of the year, White Other U.S. cities
CHAPTER 1. BACKGROUND
Boy began giving notoriously crazed performances.[145] In Boston, the scene at the Rathskeller—affectionately known as the Rat—was also turning toward punk, though the defining sound retained a distinct garage rock orientation. Among the city’s first new acts to be identified with punk rock was DMZ.[146] In Bloomington, Indiana, the Gizmos played in a jokey, raunchy, Dictators-inspired style later referred to as “frat punk”.[147] Like their garage rock predecessors, these local scenes were facilitated by enthusiastic impresarios who operated nightclubs or organized concerts in venues such as schools, garages, or warehouses, advertised via inexpensively printed flyers and fanzines. In some cases, punk’s do it yourself ethic reflected an aversion to commercial success, as well as a desire to maintain creative and financial autonomy.[148] As Joe Harvard, a participant in the Boston scene, describes, it was often a simple necessity—the absence of a local recording industry and well-distributed music magazines left little recourse but DIY.[149] Australia
At the same time, a similar music-based subculture was beginning to take shape in various parts of Australia. A scene was developing around Radio Birdman and its main performance venue, the Oxford Tavern (later the Oxford Funhouse), located in Sydney’s Darlinghurst suburb. In December 1975, the group won the RAM (Rock Australia Magazine)/Levi’s Punk Band Thriller competition.[153] By 1976, the Saints were hiring Brisbane local halls to use as venues, or playing in “Club 76”, their shared house in the inner suburb of Petrie Terrace. The band soon discovered that musicians were exploring similar paths in other parts of the world. Ed Kuepper, co-founder of the Saints, later recalled: One thing I remember having had a really depressing effect on me was the first Ramones album. When I heard it[in 1976], I mean itwas a great record ... but I hated it because I knew we’d been doing this sort of stuff for years. There was even a chord progression on that album that we used ... and I thought, “Fuck. We’re going to be labeled as influenced by the Ramones”, when nothing could have been further from the truth.[154] On the other side of Australia, in Perth, germinal punk rockactthe Cheap Nasties, featuring singer-guitaristKim Salmon, formed in August.[155] In September 1976, the Saints became the first punk rock band outside the U.S. to release a recording, the single "(I'm) Stranded". As with Patti Smith’s debut, the band self-financed, packaged, and distributed the single. [156] "(I'm) Stranded” had limited impact at home, but the British music press recognized it as a groundbreaking record.[157] At the insis-
1.1. PUNK ROCK
tence of their superiors in the UK, EMI Australia signed the Saints. Meanwhile, Radio Birdman came out with a self-financed EP, Burn My Eye, in October.[158] Trouser Press critic Ian McCaleb later described the record as the “archetype for the musical explosion that was about to occur”.[159] United Kingdom
By 1975 the movement was already well established in London andhadbeen growingfor a number of years, with non-gigging and recording bands like the Flowers of Romance who went on to gain near mythical status. Inspired by music from the Velvet Underground, Iggy Pop and early David Bowie at one point the band featured Sid Vicious, Marco Pirroni and Viv Albertine, who later joined the Slits. Following a brief period unofficially managing the New York Dolls, Briton Malcolm McLaren returned to London in May 1975, inspired by the new scene he had witnessed at CBGB. The Kings Road clothingstore he coowned, recently renamed Sex, was building a reputation with its outrageous “anti-fashion”.[163] Among those who frequented the shop were members of a band called the Strand, which McLaren had also been managing. In August, the group was seeking a new lead singer. Another Sex habitué, Johnny Rotten, auditioned for and won the job. Adopting a new name, the group played its first gig as the Sex Pistols on November 6, 1975, at Saint Martin’s School of Art[164] and soon attracted a small but ardent following.[165] In February 1976, the band received its first significant press coverage; guitarist Steve Jones declared that the Sex Pistols were not so much into music as they were “chaos”.[166] The band often provoked its crowds into near-riots. Rotten announced to one audience, “Bet you don't hate us as much as we hate you!" [167] McLaren envisioned the Sex Pistols as central players in a new youth movement, “hard and tough”.[168] As described by critic Jon Savage, the band members “embodied an attitude into which McLaren fed a new set of references: late-sixties radical politics, sexual fetish material, pop history,...youth sociology”.[169] Bernard Rhodes, a sometime associate of McLaren and friend of the Sex Pistols, was similarly aiming to make stars of the band London SS. Early in 1976, London SS broke up before ever performing publicly, spinning off two new bands: the Damned and the Clash, which was joined by Joe Strummer, former lead singer of the 101'ers.[170] On June 4, 1976, the Sex Pistols played Manchester’s Lesser Free Trade Hall in what came to be regarded as one of the most influential rock shows ever. Among the approximately forty audience members were the two locals who organised the gig—they had formed Buzzcocks after seeing the Sex Pistols in February. Others in the small crowd went on to form Joy Division, the Fall, and—in the 1980s—the Smiths.[171] In July, the Ramones crossed the Atlantic for two London shows that helped spark the nascent UK punk scene and
9 affected its musical style—"instantly nearly every band speeded up”.[172] On July 4, they played with the Flamin' Groovies and the Stranglers before a crowd of 2,000 at the Roundhouse.[173] That same night, the Clash debuted, opening for the Sex Pistols in Sheffield. On July 5, members of both bands attended a Ramones gig at Dingwalls club.[174] The following night, the Damned performed their first show, as the Sex Pistols opening act in London. In critic Kurt Loder's description, the Sex Pistols purveyed a “calculated, arty nihilism, [while] the Clash were unabashed idealists, proponents of a radical leftwing social critique of a sort that reached back at least to ... Woody Guthrie in the 1940s”.[175] The Damned built a reputation as “punk’s party boys”. [176] This London scene’s first fanzine appeared a week later. Its title, Sniffin' Glue, derived from a Ramones song. Its subtitle affirmed the connection with what was happening in New York: "+ Other Rock 'n' Roll Habits for Punks!"[177] Another Sex Pistols gig in Manchester on July 20, with a reorganized version of Buzzcocks debuting in support, gave further impetus to the scene there. [178] In August, the self-described “First European Punk Rock Festival” was held in Mont de Marsan in the southwest of France. Eddie and the Hot Rods, a London pub rock group, headlined. The Sex Pistols, originally scheduled to play, were dropped by the organizers who said the band had gone “too far” in demanding top billing and certain amenities; the Clash backed out in solidarity. The only band from the new punk movement to appear was the Damned.[179] Over the next several months, many new punk rock bands formed, often directly inspired by the Sex Pistols.[180] In London, women were near the center of the scene— among the initial wave of bands were the female-fronted Siouxsie and the Banshees and X-Ray Spex and the allfemale the Slits. There were female bassists Gaye Advert in the Adverts and Shanne Bradley in the Nipple Erectors. Other groups included Subway Sect, Eater, the Subversives, the aptly named London, and Chelsea, which soon spun off Generation X. Farther afield, Sham 69 began practicing in the southeastern town of Hersham. In Durham, there was Penetration, with lead singer Pauline Murray. On September 20–21, the 100 Club Punk Festival in London featured the four primary British groups (London’s big three and Buzzcocks), as well as Paris’s female-fronted Stinky Toys, arguably the first punk rock band from a non-Anglophone country. Siouxsie and the Banshees and Subway Sect debuted on the festival’s first night; that same evening, Eater debuted in Manchester.[181] On the festival’s second night, audience member Sid Vicious was arrested, charged with throwing a glass at the Damned that shattered and destroyed a girl’s eye. Press coverage of the incident fueled punk’s reputation as a social menace.[182] Some new bands, such as London’sAlternative TV, Edinburgh’s Rezillos, and Leamington's the Shapes, identified with the scene even as they pursued more experimental music. Others of a comparatively traditional rock 'n' roll
10
CHAPTER 1. BACKGROUND
1.1.4
Second wave
By 1977, a second wave of the punk rock movement was breaking in the three countries where it had emerged, as well as in many other places. Bands from the same scenes often sounded very different from each other, reflecting the eclectic state of punk music during the era. [192] While punk rock remained largely an underground phenomenon in North America, Australia, and the new spots where it was emerging, in the UK it briefly became a major sensation. [193][194] The Sex Pistols ' " Anarchy in the U.K." poster—a ripped and North America safety-pinned Union Flag.[183] Jamie Reid 's work had a ma jor influence on punk style and contemporary graphic design in The California punk scene was in full swing by early general.[184] 1977. In Los Angeles, there were the Weirdos, the Ze-
bent were also swept up by the movement: the Vibrators, formed as a pub rock–style act in February 1976, soon adopted a punk look and sound.[185] A few even longeractive bands including Surrey neo-mods the Jam and pub rockers the Stranglers and Cock Sparrer also became associated with the punk rock scene. Alongside the musical roots shared with their American counterparts and the calculated confrontationalism of the early Who, the British punks also reflected the influence of glam rock and related bands such as Slade, T.Rex, and Roxy Music.[186] One of the groups openly acknowledging that influence were the Undertones, from Derry in Northern Ireland.[187] In October, the Damned became the first UK punk rock band to release a single, the romance-themed "New Rose".[188] The Vibrators followed the next month with “We Vibrate” and, backing long-time rocker Chris Spedding, “Pogo Dancing”. The latter was hardly a punk song by any stretch, but it was perhaps the first song about punk rock. On November 26, the Sex Pistols’ "Anarchy intheU.K." came out—with its debutsingle the band succeeded in its goal of becoming a “national scandal”. [189] Jamie Reid's “anarchy flag” poster and his other design work for the Sex Pistols helped establish a distinctive punk visual aesthetic.[184] On December 1, an incident took place that sealed punk rock’s notorious reputation: On Thames Today, an early evening London TV show, Sex Pistols guitarist Steve Jones was goaded into a verbal altercation by the host, Bill Grundy. Jones called Grundy a “dirty fucker” on live television, triggering a media controversy.[190] Two days later, the Sex Pistols, the Clash, the Damned, and the Heartbreakers set out on the Anarchy Tour, a series of gigs throughout the UK. Many of the shows were cancelled by venue owners in response to the media outrage following the Grundy confrontation.[191]
ros, Black Randy and the Metrosquad, the Germs, X, the Dickies, Bags, and the relocated Tupperwares, now dubbed the Screamers.[199] San Francisco’s second wave included the Avengers, Negative Trend, the Mutants, and the Sleepers.[200] the Dils, from Carlsbad, moved between the two major cities.[201] The Wipers formed in Portland, Oregon. In Seattle, there was the Lewd. [202] Often sharinggigs with the Seattle punks were bands fromacross the Canada–US border. A major scene developed in Vancouver, spearheaded by the Furies and Victoria’s all-female Dee Dee and the Dishrags. [202] the Skulls spun off into D.O.A. and the Subhumans. The K-Tels (later known as the YoungCanadians)and Pointed Sticks were among the area’s other leading punk acts.[203] In eastern Canada, the Toronto protopunk band Dishes had laid the groundwork for another sizable scene,[204] and a September 1976 concert by the touring Ramones had catalyzed the movement. Early Ontario punk bands included the Diodes, the Viletones, Battered Wives, the Demics, Forgotten Rebels, Teenage Head, the Poles, and the Ugly. Along with the Dishrags, Toronto’s the Curse and B Girls were North America’s first all-female punk acts.[205] In July 1977, the Viletones, Diodes, Curse, and Teenage Head headed down to New York City to play “Canada night” at CBGB.[206] By mid-1977 in downtown New York, punk rock was already ceding its cutting-edge status to the anarchic sound of Teenage Jesus and the Jerks and Mars, spearheads of what became known as no wave,[207] although several original punk bands continued to perform and new ones emerged on the scene. The Cramps, whose core members were from Sacramento, California by way of Akron, haddebuted at CBGB in November 1976, opening for the Dead Boys. They were soon playing regularly at Max’s Kansas City.[208] The Misfits formed in nearby New Jersey. Still developing what would become their signature B movie–inspired style, later dubbed horror punk, they made their first appearance at CBGB in April 1977.[209] Leave Home, the Ramones’ second album, had come out in January.[210] The Dead Boys’ debut LP, Young, Loud
1.1. PUNK ROCK
11
a major media phenomenon, even as some stores refused to stock the records and radio airplay was hard to come by.[225] Press coverage of punk misbehavior grew intense: On January 4, 1977, The Evening News of London ran a front-page story on how the Sex Pistols “vomited and spat their way to an Amsterdam flight”. [226] In February 1977, the first album by a British punk band appeared: Damned Damned Damned (by the Damned) reached numberthirty-six on the UK chart. The EP Spiral Scratch , self-released by Manchester’s Buzzcocks, was a benchmark for both the DIY ethic and regionalism in the country’s punk movement.[227] The Clash's self-titled debut album came out two months later and rose to number twelve; the single "White Riot" entered the top forty. In May, the Sex Pistols achieved new heights of controThe Misfits developed a " horror punk " style in New Jersey. versy (and number two on the singles chart) with "God Save the Queen". The band had recently acquired a new [211] and Snotty, was released at the end of August. Octo- bassist, Sid Vicious, who was seen as exemplifying the ber saw two more debut albums from the scene: Richard punk persona.[228] Hell and the Voidoids’ first full-length, Blank Generation, Scores of new punk groups formed around the United and the Heartbreakers’ L.A.M.F.[212] One track on the lat- Kingdom, as far from London as Belfast's Stiff Little Finter exemplified both the scene’s close-knit character and gers and Dunfermline, Scotland’s the Skids. Though most the popularity of heroin within it: "Chinese Rocks"— survived only briefly, perhaps recording a small-label sinthe title refers to a strong form of the drug—was writgle or two, others set off new trends. Crass, from Essex, ten by Dee Dee Ramone and Hell, both users, as were merged a vehement, straight-ahead punk rock style with the Heartbreakers’ Thunders and Nolan.[213] (During the a committed anarchist mission, and played a major role Heartbreakers’ 1976 and 1977 tours of Britain, Thunders in the emerging anarcho-punk movement.[229] Sham 69, played a central role in popularizing heroin among the London’s Menace, and the Angelic Upstarts from South punk crowd there, as well.)[214] The Ramones’ third alShields in the Northeast combined a similarly strippedbum, Rocket to Russia, appeared in November 1977.[215] down sound with populist lyrics, a style that became The Ohio protopunk bands were joined by Cleve- known as street punk. These expressly working-class land’s the Pagans,[216] Akron’s Bizarros and Rubber City bands contrasted with others in the second wave that Rebels, and Kent’s Human Switchboard. Bloomington, presaged the post-punk phenomenon. Liverpool’s first Indiana, had MX-80 Sound and Detroit had the Sil- punk group, Big in Japan, moved in a glam, theatrical lies. The Suburbs came together in the Twin Cities direction.[230] The band didn't survive long, but it spun scene sparked by the Suicide Commandos. The Feederz off several well-known post-punk acts.[231] The songs formed in Arizona. Atlanta had the Fans. In North Car- of London’s Wire were characterized by sophisticated olina, there was Chapel Hill’s H-Bombs and Raleigh’s Th' lyrics, minimalist arrangements, and extreme brevity.[232] Cigaretz.[217] The Chicago scene began not with a band By the end of 1977, according to music historian Clinton but with a group of DJs transforming a gay bar, La Mere Heylin, theywere “England’s arch-exponentsof New MuVipere, into what became known as America’s first punk sick, and the true heralds of what came next.”[233] dance club. The Crucified, Tutu and the Pirates and SilAlongside thirteen original songs that would define clasver Abuse were among the city’s first punk bands.[218] In sic punk rock, the Clash’s debut had included a cover of Boston, the scene at the Rat was joined by the Nervous the recent Jamaican reggae hit "Police and Thieves".[235] Eaters, Thrills, and Human Sexual Response.[217][219] In Other first wave bands such as the Slits and new enWashington, D.C., the Controls played their first gig in trants to the scene like the Ruts and the Police interspring 1977, but the city’s second wave really broke the acted with the reggae and ska subcultures, incorporating following year with acts such as the Urban Verbs, Half their rhythms and production styles. The punk rock pheJapanese, D'Chumps, Rudements and Shirkers.[220] By nomenon helped spark a full-fledged ska revival moveearly 1978, the D.C. jazz-fusion group Mind Power had ment known as 2 Tone, centered on bands such as the transformed into Bad Brains, one of the first bands to be Specials, the Beat, Madness, and the Selecter.[236] identified with hardcore punk.[217][221] June 1977 saw the release of another charting punk album: the Vibrators’ Pure Mania. In July, the Sex Pistols’ third single, "Pretty Vacant", reached number six and the United Kingdom Saints had a top-forty hit with "This Perfect Day". ReThe Sex Pistols' live TV skirmish with Bill Grundy was cently arrived from Australia, the band was now considthe signal moment in British punk's transformation into ered insufficiently “cool” to qualify as punk by much of
12
CHAPTER 1. BACKGROUND
tuting Australia’s second wave were Johnny Dole & the Scabs, the Hellcats, and Psychosurgeons (later known as the Lipstick Killers) in Sydney;[243] the Leftovers, the Survivors, and Razar in Brisbane;[244] and La Femme, the Negatives, and the Babeez (later known as the News) in Melbourne.[245] Melbourne’s art rock–influenced Boys Next Door featured singerNick Cave, who would become one of the world’s best-known post-punk artists.[246] Rest of the world
The stark cover design of Wire's debut LP, Pink Flag , symbolized the evolution of punk style. [234]
the British media, though they had been playing a similar brand of music for years.[237] In August, the Adverts entered the top twenty with “Gary Gilmore’s Eyes”. As punk became a broad-based national phenomenon in the summer of 1977, punk musicians and fans were increasingly subject to violent assaults by Teddy boys, football yobbos, and others. A Ted-aligned band recorded “The Punk Bashing Boogie”.[238] In September, Generation X and the Clash reached the top forty with, respectively, “Your Generation” and "Complete Control". X-Ray Spex' "Oh Bondage Up Yours!" didn't chart, but it became a requisite item for punk fans.[239] In October, the Sex Pistols hit number eight with "Holidays in the Sun", followed by the release of their first and only “official” album, Never Mind the Bollocks, Here’s the Sex Pistols . Inspiring yet another round of controversy, it topped the British charts. In December, one of the first books about punk rock was published: The Boy Looked at Johnny, by Julie Burchill and Tony Parsons.[240] Australia
In February 1977, EMI released the Saints debut album, (I'm) Stranded , which the band recorded in two days. [241] The Saints had relocated to Sydney; in April, they and Radio Birdman united for a major gig at Paddington Town Hall.[242] Last Words had also formed in the city. The following month, the Saints relocated again, to Great Britain. In June, Radio Birdman released the album Radios Appear on its own Trafalgar label.[158] The Victims became a short-lived leader of the Perth scene, self-releasing "Television Addict". They were joined by the Scientists, Kim Salmon's successor band to the Cheap Nasties. Among the other bands consti-
Meanwhile, punk rock scenes were emerging around the globe. In France, les punks , a Parisian subculture of Lou Reed fans, had already been around for years.[248] Following the lead of Stinky Toys, Métal Urbain played its first concert in December 1976.[249] In August 1977, Asphalt Jungle played at the second Mont de Marsan punk festival. [250] Stinky Toys’ debut single, “Boozy Creed”, came out in September. It was perhaps the first nonEnglish-language punk rock record, though as music historian George Gimarc notes, the punk enunciation made that distinction somewhat moot.[251] The following month, Métal Urbain’s first 45, “Panik”, appeared.[252] After the release of their minimalist punk debut, “Rien à dire”, Marie et les Garçons became involved in New York’s mutant disco scene.[253] Asphalt Jungle’s “Deconnection” and Gasoline’s “Killer Man” also came out before the end of the year, and other French punk acts such as Oberkampf and Starshooter soon formed.[254] 1977 also saw the debut album from Hamburg’s Big Balls and the Great White Idiot, arguably West Germany’s first punk band.[255] Other early German punk acts included the Fred Banana Combo and Pack. Bands primarily inspired by British punk sparked what became known as the Neue Deutsche Welle (NDW) movement. Vanguard NDW acts such as the Nina Hagen Band and S.Y.P.H. featured strident vocals and an emphasis on provocation.[256] Before turning in a mainstream direction in the 1980s, NDW attracted a politically conscious and diverse audience, including both participants of the left-wing alternative scene and neo-Nazi skinheads. These opposing factions were mutually attracted by a view of punk rock as “politically as well as musically...'against the system'.” [256] Scandinavian punk was propelled early on by tour dates by bands such as the Clash and the Ramones (both in Stockholm in May 1977), and the Sex Pistols’ tour through Denmark, Sweden and Norway in July the same year. The band Briard jump-started Finnish punk with its November 1977 single “I Really Hate Ya"/"I Want Ya Back"; other early Finnish punk acts included Eppu Normaali and singer Pelle Miljoona. The first Swedish punk single was “Vårdad klädsel"/"Förbjudna ljud” released by Kriminella Gitarrer in February 1978, which started an extensive Swedish punk scene featuring act such as Ebba Grön, KSMB, Rude Kids, Besökarna, Liket Lever, Garbochock, Attentat, and many others. Within a
1.1. PUNK ROCK
couple of years, hundreds of punk singles were released in Sweden.[257] In Japan, a punk movement developedaroundbands playinginanart/noisestylesuchas Friction, and“psych punk” acts like Gaseneta and Kadotani Michio. [258] In New Zealand, Auckland’s Scavengers and Suburban Reptiles were followed by the Enemy of Dunedin.[217] I.[259] Punk rock scenes also grew in other countries such as Belgium (the Kids, Chainsaw),[260] the Netherlands (the Suzannes, the Ex),[261] Spain (La Banda Trapera Del Río, Kaka De Luxe),[262] and Switzerland (Nasal Boys, Kleenex).[263] Indonesia was a part of the largest punk movement in Southeast Asia, heavily influenced by Green Day, Rancid, and the Offspring. Young people created their own underground sub-culture of punk, which over time developed into a style that was completely different to the original movement.[264] Punk emerged in South Africa as direct opposition to the conservative apartheid government and racial segregation enforcement of the time.[265] Bands like Wild Youth and National Wake led the way in the late 1970s and early 1980s, followed by Powerage and Screaming Foetus from Durban and Toxik Sox in Johannesburg in the mid 1980s.[266] 1.1.5
Schism and diversification
Flipper , performing in 1984
By 1979, the hardcore punk movement was emerging in Southern California. A rivalry developed between adherents of the new sound and the older punk rock crowd. Hardcore, appealing to a younger, more suburban audience, was perceived by some as anti-intellectual, overly violent, and musically limited. In Los Angeles, the opposing factions were often described as “Hollywood punks” and “beach punks”, referring to Hollywood’s central position in the original L.A. punk rock scene and to hardcore’s popularity in the shoreline communities of South Bay and Orange County.[267]
13 As hardcore became the dominant punk rock style, many bands of the older California punk rock movement split up.[268] Across North America, many other first and second wave punk bands also dissolved, while younger musicians inspired by the movement explored new variations on punk. Some early punk bands transformed into hardcoreacts. A few, mostnotably the Ramones, RichardHell and the Voidoids, and Johnny Thunders and the Heartbreakers, continued to pursue the style they had helped create. Crossing the lines between “classic” punk, postpunk, and hardcore, San Francisco’s Flipper was founded in 1979 by former members of Negative Trend and the Sleepers. [269] They became “the reigning kings of American underground rock, for a few years”.[270] Radio Birdman broke up in June 1978 while touring the UK,[158] where the early unity between bohemian, middle-class punks (many with art school backgrounds) and working-class punks had disintegrated.[271] In contrast to North America, more of the bands from the original British punk movement remained active, sustaining extended careers even as their styles evolved and diverged. Meanwhile, the Oi! and anarcho-punk movements were emerging. Musically in the same aggressive vein as American hardcore, they addressed different constituencies with overlapping but distinct antiestablishment messages. As described by Dave Laing, “The model for self-proclaimed punk after 1978 derived from the Ramones via the eight-to-the-bar rhythms most characteristic of the Vibrators and Clash. ... It became essential to sound one particular way to be recognized as a 'punk band' now.”[272] In February 1979, former Sex Pistols bassist Sid Vicious died of a heroin overdose in New York. If the Sex Pistols’ breakup the previous year had marked the end of the original UK punk scene and its promise of cultural transformation, for many the death of Vicious signified that it had been doomed from the start.[273] By the turn of the decade, the punk rock movement had split deeply along cultural and musical lines, leaving a variety of derivative scenes and forms. On one side were new wave and post-punk artists; some adopted more accessible musical styles and gained broad popularity, while some turned in more experimental, less commercial directions. On the other side, hardcore punk, Oi!, and anarcho-punk bands became closely linked with underground cultures and spun off an array of subgenres.[277] Somewhere in between, pop punk groups created blends like that of the ideal record, as defined by Mekons cofounder Kevin Lycett: “a cross between Abba and the Sex Pistols”.[278] A range of other styles emerged, many of them fusions with long-established genres. The Clash album London Calling, released in December 1979, exemplified the breadth of classic punk’s legacy. Combining punk rock with reggae, ska, R&B, and rockabilly, it went on to be acclaimed as one of the best rock records ever.[279] At the same time, as observed by Flipper singer Bruce Loose, the relatively restrictive hardcore scenes di-
14
CHAPTER 1. BACKGROUND
minished the variety of music that could once be heard into regular rotation. However, the music was often deat many punk gigs.[192] If early punk, like most rock rided at the time as being silly and disposable. [287] scenes, was ultimately male-oriented, the hardcore and Oi! scenes were significantly more so, marked in part by the slam dancing and moshing with which they became Post-punk identified.[280] Main article: Post-punk New wave
Main article: New wave music In 1976—first in London, then in the United
Debbie Harry performing in Toronto in 1977
States—"New Wave” was introduced as a complementary label for the formative scenes and groups also known as “punk"; the two terms were essentially interchangeable. [281] NME journalist Roy Carr is credited with proposing the term’s use (adopted from the cinematic French NewWave of the 1960s) in this context.[282] Over time, “new wave” acquired a distinct meaning: Bandssuchas Blondie and TalkingHeads fromtheCBGB scene; the Cars, who emerged from the Rat in Boston; the Go-Go’s in Los Angeles; and the Police in London that were broadening their instrumental palette, incorporating dance-oriented rhythms, and working with more polished production were specifically designated “new wave” and no longer called “punk”. Dave Laing suggests that some punk-identified British acts pursued the new wave label in order to avoid radio censorship and make themselves more palatable to concert bookers. [283] Bringing elements of punk rock music and fashion into more pop-oriented, less “dangerous” styles, new wave artists became very popular on both sides of the Atlantic.[284] New wave became a catch-all term, [285] encompassing disparate styles such as 2 Tone ska, the mod revival inspired by the Jam, the sophisticated poprock of Elvis Costello and XTC, the New Romantic phenomenon typified by Ultravox, synthpop groups like Tubeway Army (which had started out as a straight-ahead punk band) and Human League, and the sui generis subversions of Devo, who had gone “beyond punk before punk even properly existed”.[286] Newwavebecameapop culture sensation with the debut of the cable television network MTV in 1981, which put many new wave videos
During 1976–77, in the midst of the original UK punk movement, bands emerged such as Manchester’s Joy Division, the Fall, and Magazine, Leeds’ Gang of Four, and London’s the Raincoats that became central postpunk figures. Some bands classified as post-punk, such as Throbbing Gristle and Cabaret Voltaire, had been active well before the punk scene coalesced;[290] others, such as the Slits and Siouxsie and the Banshees, transitioned from punk rock into post-punk. A few months after the Sex Pistols’ breakup, John Lydon (no longer “Rotten”) cofounded Public Image Ltd. Lora Logic, formerly of XRay Spex, founded Essential Logic. Killing Joke formed in 1979. These bands were often musically experimental, like certain new wave acts; defining them as “post-punk” was a sound that tended to be less pop and more dark and abrasive—sometimes verging on the atonal, as with Subway Sect and Wire—and an anti-establishment posture directly related to punk’s. Post-punk reflected a range of art rock influences from Captain Beefheart to David Bowie and Roxy Music to Krautrock and, once again, the Velvet Underground.[11] Post-punk brought together a new fraternity of musicians, journalists, managers, and entrepreneurs; the latter, notably Geoff Travis of Rough Trade and Tony Wilson of Factory, helped to develop the production and distribution infrastructure of the indie music scene that blossomed in the mid-1980s.[291] Smoothing the edges of their style in the direction of new wave, several post-punk bands such as New Order (descended from Joy Division) and the Cure. crossed over to a mainstream U.S. audience. Bauhaus was one of the formative gothic rock bands. Others, like Gang of Four, the Raincoats and Throbbing Gristle, who had little more than cult followings at the time, are seen in retrospect as significant influences on modern popular culture.[292] A number of U.S. artists were reclassified as post-punk; Television’s debut album Marquee Moon, released in 1977, is frequently cited as a seminal album in the field.[293] The no wave movement that developed in New York in the late 1970s, with artists such as Lydia Lunch and James Chance, is often treated as the phenomenon’s U.S. parallel.[294] The later work of Ohio protopunk pioneers Pere Ubu is also commonly described as postpunk.[295] One of the most influential American postpunk bands was Boston’s Mission of Burma, who brought abrupt rhythmic shifts derivedfrom hardcore intoa highly experimental musical context.[296] In 1980, Australia’s Boys Next Door moved to London and changed their name to the Birthday Party, which evolved into Nick
1.1. PUNK ROCK
Cave and the Bad Seeds. Led by the Primitive Calculators, Melbourne’s Little Band scene wouldfurther explore the possibilities of post-punk.[297] Later alternative rock musicians found diverse inspiration among these postpunk predecessors, as they did among their new wave contemporaries. [298]
15
buted that year as a hardcore band. They were followed by the Cro-Mags, Murphy’s Law, and Leeway.[307] By 1983, St. Paul's Hüsker Dü, Willful Neglect, Chicago’s Naked Raygun, Indianapolis's Zero Boys, and D.C.'s the Faith were taking the hardcore sound in experimental and ultimately more melodic directions.[308] Hardcore would constitute the American punk rock standard throughout the decade.[309] The lyrical content of hardcore songs is Hardcore often critical of commercial culture and middle-class values, as in Dead Kennedys’ celebrated "Holiday in CamMain article: Hardcore punk bodia" (1980).[303] A distinctive style of punk, characterized by superfast, Straight edge bands like Minor Threat, Boston's SS Decontrol, and Reno, Nevada's 7 Seconds rejected the selfdestructive lifestyles of many of their peers, and built a movement based on positivity and abstinence from cigarettes, alcohol, drugs, and casual sex. [310] Skate punk innovators also pointed in other directions: Big Boys helped establish funkcore, while Venice, California's Suicidal Tendencies had a formative effect on the heavy metal–influenced crossover thrash style. Toward the middle of the decade, D.R.I. spawned the superfast thrashcore genre. Both developed in multiple locations.[311] Sacramento’sTales of Terror, which mixed psychedelic rock into their hardcore sound, were an early influence on the grunge genre.[312] D.C.'s Void wasoneof Bad Brains at 9:30 Club, Washington, D.C., 1983 the first punk-metal crossover acts and influenced thrash [313][314] aggressive beats, screaming vocals, and often politically metal. aware lyrics, began to emerge in 1978 among bands scattered around the United States and Canada. The first major scene of what came to be known as hardcore punk Oi! developed in Southern California in 1978–79,[299] initially around such punk bands as the Germs and Fear.[300] Main article: Oi! The movement soon spread around North America and internationally. [301][302][303] According to author Steven Following the lead of first-wave British punk bands Blush, “Hardcorecomes fromthe bleak suburbs of Amer- Cock Sparrer and Sham 69, in the late 1970s secondica. Parents moved their kids out of the cities to these wave units like Cockney Rejects, Angelic Upstarts, the horrible suburbs to save them from the 'reality' of the Exploited, Anti-Establishment and the 4-Skins sought cities and what they ended up with was this new breed to realign punk rock with a working class, street-level of monster”.[17] following.[317][318] For that purpose, they believed, the Among the earliest hardcore bands, regarded as having music needed to stay “accessible and unpretentious”, [319] made the first recordings in the style, were Southern in the words of music historian Simon Reynolds. California’s Middle Class and Black Flag.[302][303] Bad Their style was originally called “real punk” or street Brains—all of whom were black, a rarity in punk of any punk; Sounds journalist Garry Bushell is credited with era—launched the D.C. scene.[301] Austin, Texas's Big labelling the genre Oi! in 1980. The name is partly deBoys, San Francisco’s Dead Kennedys, and Vancouver's rived from the Cockney Rejects’ habit of shouting “Oi! each song, instead of the time-honored D.O.A. were among the other initial hardcore groups. Oi! Oi!" before [320] “1,2,3,4!" They were soon joined by bands such as the Minutemen, Descendents, Circle Jerks, Adolescents, and T.S.O.L. in The Oi! movement was fueled by a sense that many parSouthern California; D.C.'s Teen Idles, Minor Threat, ticipants in the early punk rock scene were, in the words and State of Alert; and Austin’s MDC and the Dicks. of the Business guitarist Steve Kent, “trendy university By 1981, hardcore was the dominant punk rock style not people using long words, trying to be artistic ... and losonly in California, but much of the rest of North Amer- ing touch”.[322] According to Bushell, “Punk was meant ica as well.[306] A New York hardcore scene grew, in- to be of the voiceof the dole queue, and in reality most of cluding the relocated Bad Brains, New Jersey’s Misfits them were not. ButOi was the reality of the punk mytholand Adrenalin O.D., and local acts such as the Nihilis- ogy. In the places where [these bands] came from, it was tics, theMob, ReaganYouth,and Agnostic Front. Beastie harder and more aggressive and it produced just as much Boys, who would become famous as a hip-hop group, de- qualitymusic.”[323] Lester Bangs described Oi! as “politi-
16
CHAPTER 1. BACKGROUND
Crass were the originators of anarcho-punk. [330] Spurning the “cult of rock star personality”, their plain, all-black dress became a staple of the genre. [331]
Strength Thru Oi! , with its notorious image of British Movement activist and felon Nicky Crane[321]
cized football chants for unemployed louts”.[324] One song in particular, the Exploited’s “Punks Not Dead”, spoke to an international constituency. It was adopted as an anthem by the groups of disaffected Mexican urban youth known in the 1980s as bandas ; one banda named itself PND, after the song’s initials. [325] Although most Oi! bands in the initial wave were apolitical or left wing, many of them began to attract a white power skinhead following. Racist skinheads sometimes disrupted Oi! concerts by shouting fascist slogans and starting fights, but some Oi! bands were reluctant to endorse criticism of their fans from what they perceived as the “middle-class establishment”.[326] In the popular imagination, the movement thus became linked to the far right.[327] Strength Thru Oi!, an album compiled by Bushell and released in May 1981, stirred controversy, especially when it was revealed that the belligerent figure on the cover was a neo-Nazi jailed for racist violence (Bushell claimed ignorance).[321] On July 3, a concert at Hamborough Tavern in Southall featuring the Business, the 4-Skins, and the Last Resort was firebombed by local Asian youths who believed that the event was a neo-Nazi gathering. [328] Following the Southall riot, press coverage increasingly associated Oi! with the extreme right, and the movement soon began to lose momentum.[329] Anarcho-punk
Main article: Anarcho-punk Anarcho-punk developed alongside the Oi! and American hardcore movements. Inspired by Crass, its Dial House commune, and its independent Crass Records label, a scene developed around British bands such as Subhumans, Flux of Pink Indians, Conflict, Poison Girls, and the Apostles that was concerned as much with anar-
chist and DIY principles as it was with music. The acts featured ranting vocals, discordant instrumental sounds, primitive production values, and lyrics filled with political and social content, often addressing issues such as class inequalities and military violence.[332] Anarchopunk musicians and fans disdained the older punk scene from which theirs had evolved. In historian Tim Gosling’s description, they saw “safety pins and Mohicans as little more than ineffectual fashion posturing stimulated by the mainstream media and industry.... Whereas the Sex Pistols would proudly display bad manners and opportunism in their dealings with 'the establishment,' the anarchopunks kept clear of 'the establishment' altogether”. [333] The movement spun off several subgenres of a similar political bent. Discharge, founded back in 1977, established D-beat in the early 1980s. Other groups in the movement, led by Amebix and Antisect, developed the extreme style known as crust punk. Several of these bands rooted in anarcho-punk such as the Varukers, Discharge, and Amebix, along with former Oi! groups such as the Exploited and bands from father afield like Birmingham’s Charged GBH, became the leading figures in the UK 82 hardcore movement. The anarcho-punk scene also spawned bands such as Napalm Death, Carcass, and Extreme Noise Terror that in the mid-1980s defined grindcore, incorporating extremely fast tempos and death metal–style guitarwork.[334] Led by Dead Kennedys, a U.S. anarcho-punk scene developed around such bands as Austin’s MDC and Southern California’s Another Destructive System.[335] Pop punk
Main article: Pop punk With their love of the Beach Boys and late 1960s bubblegum pop, the Ramones paved the way to what
17
1.1. PUNK ROCK
became known as pop punk.[336] In the late 1970s, UK bands such as Buzzcocks and the Undertones combined pop-style tunes and lyrical themes with punk’s speed and chaotic edge.[337] In the early 1980s, some of the leading bands in Southern California’s hardcore punk rock scene emphasized a more melodic approach than was typical of their peers. According to music journalist Ben Myers, Bad Religion “layered their pissed off, politicized sound with the smoothest of harmonies"; Descendents “wrote almost surfy, Beach Boys–inspired songs about girls and food and being young(ish)".[338] Epitaph Records, founded by Brett Gurewitz of Bad Religion, was the base for many future pop punk bands. Bands that fused punk with light-hearted pop melodies, such as the Queers and Screeching Weasel, began appearing around the country, in turn influencing bands like Green Day and the Offspring, who brought pop punk wide popularity and major record sales. Bands such as the Vandals and Guttermouth developed a style blending pop melodies with humorous and offensive lyrics. Eventually, the geographically large midwest U.S. punk scene, anchored largely in places like Chicago and Minneapolis, would spawn bands like Dillinger Four who would talk a catchy, hooky pop-punk approach and reinfuse it with some of punk’s earlier grit and fury, creating a distinctive punk rock sound with a regional tag. This particular substrate still maintains an identity today. The mainstream pop punk of latter-day bands such as Blink-182 is criticized by many punk rock devotees; in critic Christine Di Bella’s words, “It’s punk taken to its most accessible point, a point where it barely reflects its lineage at all, except in the three-chord song structures.”[339] Other fusions and directions
From 1977 on, punk rock crossed lines with many other popular music genres. Los Angeles punk rock bands laid the groundwork for a wide variety of styles: the Flesh Eaters with deathrock; the Plugz with Chicano punk; and Gun Club with punk blues. The Meteors, from South London, and the Cramps, who moved from New York to Los Angeles in 1980, were innovators in the psychobilly fusion style.[340] Milwaukee’s Violent Femmes jumpstarted the American folk punk scene, while the Pogues did the same on the other side of the Atlantic, influencing many Celtic punk bands.[341] Hardcore punk was combined with hip hop, creating rapcore.[342][343][344][345][346] Other bands pointed punk rock toward future rock styles or its own foundations. New York’s Suicide, L.A.'s the Screamers and Nervous Gender, Australia’s JAB, and Germany’s Deutsch Amerikanische Freundschaft were pioneers of electropunk. The Ex, from the Netherlands, were in the art punk vanguard.[347] Chicago’s Big Black was a major influence on noise rock, math rock, and industrial rock. Garage punk bands from all over—such as Medway's Thee Mighty Caesars, Chicago’s Dwarves, and Adelaide's Exploding White Mice—pursued a ver-
sion of punk rock that was close to its roots in 1960s garage rock. Seattle’s Mudhoney, one of the central bands in the development of grunge, has been described as “garage punk”.[348] 1.1.6
Legacy and later developments
Alternative rock
Main article: Alternative rock The underground punk rock movement inspired countless bands that either evolved from a punk rock sound or brought its outsider spirit to very different kinds of music. The original punk explosion also had a longterm effect on the music industry, spurring the growth of the independent sector.[349] During the early 1980s, British bands like New Order and the Cure that straddled the lines of post-punk and new wave developed both new musical styles and a distinctive industrial niche. Though commercially successful over an extended period, they maintained an underground-style, subcultural identity.[350] In the United States, bands such as Hüsker Dü and their Minneapolis protégés the Replacements bridged the gap between punk rock genres like hardcore and the more melodic, explorative realm of what was then called "college rock".[351] A 1985 Rolling Stone feature on the Minneapolis scene and innovative California hardcore acts such as Black Flag and Minutemen declared, “Primal punk is passé. The best of the American punk rockers have moved on. They have learned how to play their instruments. They have discovered melody, guitar solos and lyrics that are more than shouted political slogans. Some of them have even discovered the Grateful Dead.”[352] Bytheendofthe 1980s, these bands, who had largely eclipsed their punk rock forebears in popularity, were classified broadly as alternative rock. Alternative rock encompasses a diverse set of styles—including gothic rock and grunge, among others—unified by their debt to punk rock and their origins outside of the musical mainstream.[353] As American alternative bands like Sonic Youth, which had grown out of the no wave scene, and Boston’s Pixies started to gain larger audiences, major labels sought to capitalize on the underground market that had been sustained by hardcore punk for years.[354] In 1991, Nirvana emerged from Washington State’s grunge scene, achieving huge commercial success with its second album, Nevermind . The band’s members cited punk rock as a key influence on their style.[355] “Punk is musical freedom”, wrote singer Kurt Cobain. “It’s saying, doing, and playing what you want.”[356] Nirvana’s success opened the door to mainstream popularity for a wide range of other “left-ofthe-dial” acts, such as Pearl Jam and Red Hot Chili Peppers, and fueled the alternative rock boom of the early and mid-1990s.[353][357]
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CHAPTER 1. BACKGROUND
Emo
For more details on this topic, see Emo. In its original, mid-1980s incarnation, emo was a less musically restrictive style of punk developed by participants in the Washington, D.C. area hardcore scene. It was originally referred to as “emocore”, an abbreviation of “emotivehardcore”.[358] Jimmy Eat Worldtookemoinaradioready pop punk direction,[359] and had top ten albums in 2004 and 2007. Heavy metal
Main article: Heavy metal music In the beginning, the heavy metal created by Judas Priest was music of slow tempos and little aggression. When punk rock exploded in '77 in the music scene mainstream, many bands like Motörhead (pioneer NWOBHM) combine the dense sound of heavy metal with dirt and speed of punk rock creating a new movement called New wave of British heavy metal where many bands were influenced by many punk bands like Sex Pistols, the Damned and Ramones, among other bands. From this new style of heavy metal, they grew others even moreaggressive styles Carrie Brownstein , performing with Sleater-Kinney in 2005 but always influenced by punk rock, like Speed metal (much influenced by punk rock and NWOBHM), Thrash metal (influenced by hardcore punk and speed metal), Death metal (which combined the thrash metal and Dbeat) and Black metal (influenced by death metal and Horror punk). The Riot Grrrl movement, a significant aspect in the formation of the Third Wave feminist movement, was organized by taking the values and rhetoric of punk and Queercore using it to convey feminist messages.[361][362] In 1991, a concert of female-led bands at the International Pop UnFor more details on this topic, see Queercore. derground Convention in Olympia, Washington, heralded the emerging riot grrrl phenomenon. Billed as “Love In the 1990s, the queercore movement developed around Rock Revolution Girl Style Now”, the concert’s lineup a number of punk bands with gay, lesbian, bisexual, or included Bikini Kill, Bratmobile, Heavens to Betsy, L7, genderqueer members such as God Is My Co-Pilot, Pansy and Mecca Normal.[363] The riot grrrl movement foreDivision, Team Dresch, and Sister George. Inspired by grounded feminist concerns and progressive politics in openly gay punk musicians of an earlier generation such general; the DIY ethic and fanzines were also central elas Jayne County, Phranc, and Randy Turner, and bands ements of the scene.[364] This movement relied on media like Nervous Gender, the Screamers, and Coil, queer- and technology to spread their ideas and messages, creatcore embraces a variety of punk and other alternative ing a cultural-technological space for feminism to voice music styles. Queercore lyrics often treat the themes of their concerns.[361] They embodied the punk perspective, prejudice, sexual identity, gender identity, and individual taking the anger and emotions and creating a separate rights. The movement has continued into the 21st cen- culture from it. With riot grrrl, they were grounded in tury, supported by festivals such as Queeruption.[360] girl punk past, but also rooted in modern feminism.[362] Singer-guitarists Corin Tucker of Heavens to Betsy and Carrie Brownstein of Excuse 17, bands active in both the Riot grrrl queercore and riot grrrl scenes, cofounded the indie/punk band Sleater-Kinney in 1994. Bikini Kill’s lead singer, For more details on this topic, see Riot grrrl. Kathleen Hanna, the iconic figure of riot grrrl, moved on to form the art punk group Le Tigre in 1998.[365]
1.1. PUNK ROCK
19
Following the lead of Boston’s Mighty Mighty Bosstones and two California bands, Anaheim's No Doubt and Long Beach's Sublime, ska punk and ska-core became widely popular in the mid-1990s. By 1996, genre acts such as Reel Big Fish and Less Than Jake were being signed to major labels. The original 2 Tone bands had emerged amid punk rock’s second wave, but their music was much closer to its Jamaican roots—"ska at 78 rpm".[371] Ska punk bands in the third wave of ska created a true musical fusion between the genres. ...And Out Come the Wolves , the 1995 album by Rancid—which had evolved out of Operation Ivy—became the first record in this ska revival to be certified gold; [372] Sublime’s self-titled 1996 album was certified platinum early in 1997. [368] In Australia, two popular groups, skatecore band Frenzal Rhomb and pop punk act Bodyjar, also established followings in Japan.[373] Green Day and Dookie's enormoussales paved the way for a hostof bankable North American pop punk bands in the following decade.[374] With punk rock’s renewed visibility came concerns among some in the punk community that themusic was beingco-opted by the mainstream.[370] They argued that by signing to major labels and appearing Billie Joe Armstrong of Green Day , performing in 1994 on MTV, punk bands like Green Day were buying into a system that punk was created to challenge. [375] Such controversies have been part of the punk culture since 1977, 1.1.7 Revival when the Clash was widely accused of “selling out” for signing with CBS Records.[376] The Vans Warped Tour By the 1990s, punk rock was sufficiently ingrained in and the mall chain store Hot Topic brought punk even Western culture that punk trappings were often used to further into the U.S. mainstream.[377] market highly commercial bands as “rebels”. Marketers capitalized on the style and hipness of punk rock to such an extent that a 1993 ad campaign for an automo- 1.1.8 In the mainstream bile, the Subaru Impreza, claimed that the car was “like punk rock”.[366] Along with Nirvana, many of the leading By early 1998, the punk revival had commercially grunge artists of the early 1990s acknowledged the influ- stalled, [380] but not for long. That November, the Offence of earlier punk rock acts. With Nirvana’s success, spring’s Americana on the major Columbia label debuted the major record companies once again saw punk bands at number two on the album chart. A bootleg MP3 of as potentially profitable.[367] its first single, "Pretty Fly (for a White Guy)", made it was downloaded a record 22 milIn 1993, California’s Green Day and Bad Religion were onto the Internet and[381] The following year, Enema of both signed to major labels. The next year, Green Day lion times—illegally. put out Dookie , which became a huge hit, selling nine the State, the first major-label release by pop punk band and sold four million million albums in the United States in just over two Blink-182, reached the top ten [368] In January 2000, the years.[368] Bad Religion’s Stranger Than Fiction was cer- copies in under twelve months. tified gold.[369] Other California punk bands on the in- album’s second single, "All the Small Things", hit the While they were dependent label Epitaph, run by Bad Religion guitarist sixth spot on the Billboard Hot 100. [379] critics also found Brett Gurewitz, also began achieving mainstream pop- viewed as Green Day “acolytes”, teen pop actssuchas Britney Spears, the Backstreet Boys, ularity. In 1994, Epitaph released Let’s Go by Rancid, of comparison for Blink-182’s Punk in Drublic by NOFX, and Smash by the Offspring, and 'NSync suitable points[382] The band’s Take Off Your each eventually certified gold or better. That June, Green sound and market niche. Day’s "Longview" reached number one on Billboard 's Pants and Jacket (2001) and Blink-182 (2003) respecModern Rock Tracks chart and became a top forty air- tively rose to numbers one and three on the album chart. play hit, arguably the first ever American punk song to do In November 2003, The New Yorker described how the so; just one month later, the Offspring’s "Come Out and “giddily puerile” act had “become massively popular with conPlay" followed suit. MTV and radio stations such as Los the mainstream audience, a demographic formerly [383] sidered untouchable by punk-rock purists.” Angeles’ KROQ-FM played a major role in these bands’ crossover success, though NOFX refused to let MTV air Other new North American pop punk bands, though ofits videos.[370] ten critically dismissed, also achieved major sales in the
20
CHAPTER 1. BACKGROUND
first decade of the 2000s. Ontario’s Sum 41 reached the Canadian top ten with its 2001 debut album, All Killer, No Filler , which eventually went platinum in the United States. The record included the number one U.S. Alternative hit "Fat Lip", which incorporated verses of what one critic called “brat rap.”[384]
•
Metropolis Video
•
PVC clothing
•
GoNightclubbing
1.1.10
References
[1] Erlewine, Stephen Thomas, “The Ramones: Biography”, Allmusic . Retrieved on October 11, 2007. [2] Bessman (1993), pp. 48, 50; Miles, Scott, and Morgan(2005), p. 136. [3] Robb (2006), foreword by Michael Bracewell. [4] Ramone, Tommy, “Fight Club”, Uncut , January 2007. [5] McLaren, Malcolm, “Punk Celebrates 30 Years of Subversion”, BBC News, August 18, 2006. Retrieved on January 17, 2006. [6] Christgau, Robert, "Please Kill Me: The Uncensored Oral History of Punk , by Legs McNeil and Gillian McCain” (review), New York Times Book Review , 1996. Retrieved on January 17, 2007. Justin Sane and Chris#2 of Anti-Flag , performing in 2006
[7] Rodel (2004), p. 237; Bennett (2001), pp. 49–50.
The effect of commercialization on the music became an increasingly contentious issue. As observed by scholar Ross Haenfler, many punk fans "'despise corporate punk rock', typified by bands such as Sum 41 and Blink 182”.[385] At the same time, politicized and independentlabel punk continued to thrive in the United States. Since 1993, Anti-Flag had been putting progressive politics at the center of its music. The administration of George W. Bush provided them and similarly minded acts eight years of conservative government to excoriate. Rise Against was the most successful of these groups, registering top ten records in 2006 with The Sufferer & the Witness and two years later with Appeal to Reason. Leftist punk band Against Me!'s New Wave was named best album of 2007 by Spin.[386] Elsewhere around the world, "punkabilly" band the Living End became major stars in Australia with their selftitled 1998 debut.[387] The Yeah Yeah Yeahs's album Mosquito has been classified as art-punk.[388]
[8] Savage (1992), pp. 280–281, including reproduction of the original image. Several sources incorrectly ascribe the illustration to the leading fanzine of the London punk scene, Sniffin' Glue (e.g., Wells [2004], p. 5; Sabin [1999], p. 111). Robb (2006) ascribes it to the Stranglers' inhouse fanzine, Strangled (p. 311). In fact, Strangled , which only began appearing in 1977, evolved out of Sideburns (see, e.g., " Strangled ". Xulu Brand Comics. Retrieved 2009-03-19.)
1.1.9 •
See also
List of First wave punk bands
•
List of First wave punk musicians
•
List of Second wave punk bands
•
List of punk rock festivals
•
Timeline of punk rock
•
Latino punk
[9] Blush (2001), pp. 173, 175. See also The Stimulators— Loud Fast Rules 7″ Killed By Death Records (September 21, 2006). [10] Harris (2004), p. 202. [11] Reynolds (2005), p. 4. [12] Jeffries, Stuart. “A Right Royal Knees-Up”. Guardian. July 20, 2007.
The
[13] Washburne, Christopher, and Maiken Derno. Bad Music . Routledge, 2004. Page 247. [14] Kosmo Vinyl, The Last Testament: The Making of London Calling (Sony Music, 2004). [15] Traber, Daniel S. (2001). “L.A.'s 'White Minority': Punk and the Contradictions of Self-Marginalization”. Cultural Critique. 48 : 30–64. doi:10.1353/cul.2001.0040. [16] Murphy, Peter, “Shine On, The Lights Of The Bowery: The Blank Generation Revisited,” Hot Press , July 12, 2002; Hoskyns, Barney, “Richard Hell: King Punk Remembers the [ ] Generation,” Rock’s Backpages , March 2002. [17] Blush, Steven, “Move Over My Chemical Romance: The Dynamic Beginnings of US Punk,” Uncut , January 2007.
21
1.1. PUNK ROCK [18] Wells (2004), p. 41; Reed (2005), p. 47.
[47] Laing 1985, p. 34.
[19] Shuker (2002), p. 159.
[48] Laing 1985, p. 82.
[20] Laing (1985), p. 58; Reynolds (2005), p. ix.
[49] Laing 1985, pp. 84–85.
[21] Chong, Kevin, “The ThrillIs Gone”, Canadian Broadcast- [50] Laing 1985, p. 14. ing Corporation, August 2006. Retrieved on December [51] Sabin 1999, p. 157. 17, 2006. [52] Pareles, Jon (January 25, 1997). “Richard Berry, Song[22] Quoted in Laing (1985), p. 62 writer of 'Louie Louie,' Dies at 61”. New York Times . The New York Times Company. Retrieved April 27, 2016. [23] Palmer (1992), p. 37.
[25] Laing (1985), pp. 61–63
[53] Avant-Mier, Roberto (2008). Rock the Nation: Latin/o Identities and the Latin Rock Diaspora , p. 99. Routledge, London. ISBN 1441164480.
[26] Laing 1985, pp. 118–19.
[54] Sabin 1999, p. 159.
[27] Laing 1985, p. 53.
[55] Bangs, Lester. Psychotic Reactions and Carburetor Dung . Anchor Books, a division of Random House. 2003. pg. 8, 56, 57, 61, 64, 101: reprints of articles which appeared in 1971 and 1972, that refer to garage bands such as the Count Five and the Troggs as “punk"; pg. 101 associates “Iggy” and “Jonathan of Modern Lovers” with the Troggs and their ilk (as being punk); pg. 112–113 speak of the Guess Who as “punk”—the Guess Whohad made recordings (i.e. their hit version of Shakin' All Over,” 1965) as a garage rock outfit in the mid-1960s; pg. 8 makes a general statement about “punk rock” (garage) as a genre: "... then punk bands started cropping up who were writing their own songs but taking the Yardbirds’ sound and reducing it to this kind of goony fuzztone clatter ... oh, it was beautiful, it was pure folklore, Old America, and sometimes I think those were the best days ever."; pg. 225 is a reprint from article which appeared in late-70s, that refers back to garage bands as “punk”
[24] Laing 1985, p. 62.
[28] Sabin (1999), pp. 4, 226; Dalton, Stephen, “Revolution Rock”, Vox , June 1993. See also Laing (1985), pp. 27– 32, for a statistical comparison of lyrical themes. [29] Laing (1985), p. 31. [30] Laing (1985), pp. 81, 125. [31] Savage (1991), p. 440. See also Laing (1985), pp. 27–32. [32] Isler, Scott; Robbins, Ira. “Richard Hell & the Voidoids”. Trouser Press . Retrieved 2007-10-23. [33] Strongman (2008), pp. 58, 63, 64; Colegrave and Sullivan (2005), p. 78. [34] See Weldon, Michael. “Electric Eels: Attendance Required”. Cleveland.com. Retrieved December 19, 2010.
[35] Young, Charles M. (October 20, 1977). “Rock Is Sick [56] Laing, Dave. One Chord Wonders: Power and Meaning in and Living in London”. Rolling Stone. Archived from the Punk Rock. PM Press. Oakland, CA 2015. pg. 22–23. original on September 14, 2006. Retrieved October 10, Laing writes that the term, “punk rock” was used “gener2006. ically” (i.e. as to designate a genre) in the early 70s to describe mid-1960s garage rock bands—he quotes Greg [36] Habell-Pallan, Michelle (2012). “Death to Racism and Shaw from the late 70s referring to how it was used in Punk Rock Revisionism”, Pop: When the World Falls the early 70s to designate the genre: “Punk rock in those Apart: Music in the Shadow of Doubt . p. 247-270. days was a quaint fanzine term for a transient form of midDurham : Duke University Press. ISBN 9780822350996. 60s music ...” Pg. 21 recognizes a “strand” of punk that started long before the mid 70s, but this view is not in[37] Strohm (2004), p. 188. tended to be late-70s “retrospectivism,” but rather, based [38] See, e.g., Laing (1985), “Picture Section,” p. 18. on testimony from early 70s critics, as the next two pages emphasize. Pg. 23 emphasizes that the development of [39] Wojcik (1997), p. 122. the punk “aesthetic” started with the early 70s critics (although the actual subculture would not manifest until the [40] “Little, Joseph (August 10, 2011). “A History of Punk mid 70s). Music and its Effect on British Culture and Society”. rockandrollreport.com. Retrieved December 13, 2015. [57] G. Thompson, American Culture in the 1980s (Edinburgh: [41] Wojcik (1995), pp. 16–19; Laing (1985), p. 109. [42] Laing (1985), pp. 89, 97–98, 125.
Edinburgh UniversityPress, 2007), ISBN 0-7486-1910-0, p. 134.
[43] Laing (1985), p. 92, 88.
[58] Kitts, Thomas M. Ray Davies: Not Like Everybody Else. Routledge. 2007. Pg. 41
[44] Laing (1985), pp. 89, 92–93.
[59] Harrington (2002), p. 165.
[45] Laing (1985), pp. 34, 61, 63, 89–91.
[60] Reed (2005), p. 49.
[46] Laing (1985), p. 90; Robb (2006), pp. 159–60.
[61] Fletcher (2000), p. 497.
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[62] Bangs, Lester (2003). Marcus, Greil, ed. Psychotic Reac- [68] Cockington, James (2001). “Sunshine Sounds”. Long tions and Carburetor Dung (First ed.). New York: Ancor Way to the Top: Stories of Australian Rock & Roll . SydBooks, a division of Random House Inc. pp. 56–57, 61, ney, NSW: Australian Broadcasting Corporation (ABC). 64, 101. ISBN 0-679-72045-6. pp. 210–211. ISBN 978-0-7333-0750-8. [63] Marks, Ian D.; McIntyre, Iain (2010).
Wild About [69] “Punk Music’s Origins Traced To A Surprising Place”. You: The Sixties Beat Explosion in Australia and New The Huffington Post . Retrieved 2015-11-20. Zealand . Portland, London, Melbourne: Verse Cho-
rus Press. pp. 7–9, 11–35. ISBN 978-1-891241-28-4. [70] ¡Demolición!: The Complete Recordings Allmusic review Also see: Everett True’s Australian Garage Rock Primer (website)True’s Australian Garage Rock Primer [71] Marcus (1979), p. 294. [64] Bhatia, Sidharth (2014). “1, 4”. India Psychedelic (First ed.). India: Harper Collins. pp. 10, 51. ISBN 978-93- [72] Taylor (2003), p. 49. 5029-837-4. On pages 10 and 51 the author says that the [73] Harrington (2002), p. 538. term often used for many the Indian bands of the 1960s is “garage bands”. Source B: “New Book on India’s 1960s– [74] Bessman (1993), pp. 9–10. 1970s Rock Scene: Highly explosive out of time garagepunk from India!". Combustibles . Nissim Ezekiel. Re- [75] Andersen and Jenkins (2001), p. 12. Vaughan, Robin (June 6–12, 2003). “Reality Bites”. Boston Phoenix . Hartrieved July 24, 2015. vard, Joe. “Mickey Clean and the Mezz”. Boston Rock [65] Source A: Erlewine, Stephen Thomas. “AllMusic ReStorybook . Robbins, Ira. “Wille Alexander”. Trouser view: Nuggets, Vol. 2: Original Artyfactsfrom the British Press Guide. Retrieved 2007-11-27. Empire & Beyond”. AllMusic . AllMusic, a division of All Media Network, LLC. Retrieved July 21, 2015. Source [76] Rubin, Mike (2009-03-12). “This Band Was Punk Before Punk Was Punk”. New York Times . Retrieved 2009-03B: Viglione, Joe. “The Troggs Live at Max’s Kansas City 15. (Review)". AllMusic . AllMusic, a division of All Media Network, LLC. Retrieved July 24, 2015. Source C: Unterberger, Richie. “Trans-World Punk Rave-Up, Vol. [77] Klimek, Jamie, “Mirrors”, Jilmar Music ; Jäger, Rolf, “Styrenes—A Brief History”, Rent a Dog . Both retrieved 1–2: AllMusic Review”. AllMusic . AllMusic, a division on November 27, 2007. of All Media Network, LLC. Retrieved July 11, 2015. Source D: Unterberger, Richie. “The Syndicats: Artist [78] Ohtaka, Toshikazu; Akagawa, Yukiko. “Interview with Biography”. AllMusic . AllMusic, a division of All Media Mick Farren”. Strange Days (Japan). Archived from the Network, LLC. Retrieved July 10, 2015. Source E: Unoriginal on May 8, 2008. Retrieved 2008-01-10. Soundterberger. “Simla Beat: 1970–1971 (Review)". AllMusic . wise, we wanted to be incredibly loud and violent! That 2015 AllMusic, a division of All Media Network, LLC. says it all. The hippies wanted to be nice and gentle, but Retrieved July 24, 2015. Source F: Unterberger, Richie. our style was the opposite of that peaceful, natural atti“The Missing Links: Artist Biography”. AllMusic . Alltude. Music, a division of All Media Network, LLC. Retrieved July 18, 2015. Source G: Lymangrover, Jason. “Los [79] Unterberger (1998), pp. 86–91. Nuggetz Volume Uno:'60s Garage & Psych From Latin America: AllMusic Review”. AllMusic . AllMusic, a di- [80] Laing 1985, pp. 24–26. vision of All Media Network, LLC. Retrieved July 10, [81] Robb (2006), p. 51. 2015. Source H: Unterberger, Richie. “GS I Love You: Japanese Garage Bands of the '60s (Review)". AllMusic . [82] Neate, Wilson. “NEU!". Trouser Press. Retrieved 2007AllMusic, a division of All Media Network, LLC. Re01-11. trieved July 30, 2015. Source I: “Algo Salvaje: Untamed 60’s Beat and Garage Nuggets From Spain, Vol. 1”. All- [83] Anderson (2002), p. 588. Music . AllMusic, a division of All Media Network, LLC. [84] Unterberger (2000), p. 18. Retrieved July 31, 2015. [66] Palao, Alex. “Get Me to the World on Time: How the [85] Dickson (1982), p. 230. sound of Nuggets Engulfed the Globe”. (essay). Nuggets: [86] Leblanc (1999), p. 35. Original Artyfacts from the First Psychedelic Era, 1965– 1968 (4-CD Box Set). Rhino 1998. On page 26, Palao [87] Quoted in Leblanc (1999), p. 35.
discusses the role of garage outside of America.
[67] Marks, Ian D. and McIntyre, Iain. Wild About You:
[88] Shapiro (2006), p. 492.
[89] Bangs, Lester, “Of Pop and Pies and Fun”, Creem, December 1970. Retrieved on November 29, 2007. Verse Chorus Press. Portland, London, Melbourne. 2010 ISBN 978-1-891241-28-4 pg. 7 (McFarland introduction: “garage-punk/R&B/pscyh” to describe various [90] Nobahkt (2004), p. 38. groups from the time of which the Missing Links are the [91] Shapiro (2006), p. 492. Note that Taylor (2003) misidenfirst mentioned), pg. 87 (“punk pioneers”), pg. 98 (detifies the year of publication as 1970 (p. 16). scribing band appearance in photo: “the definitive Australian punk image of all”) [92] Gendron (2002), p. 348 n. 13. The Sixties Beat Explosion in Australia and New Zealand.
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[93] Christgau, Robert (October 14, 1971). “Consumer Guide [108] Taylor (2003), pp. 16–17. (20)". Village Voice. Retrieved July 23, 2016. [109] Valentine 2006, p. 54. [94] Bangs, Lester. Psychotic Reactions and Carburetor Dung . Anchor Books, a division of Random House. 2003. pg. 8. [110] Valentine 2006, pp. 52–55. Taken from article, '"Psychotic Reactions and Carburetor Dung,” which appeared in June 1971 edition of Creem— [111] Savage 1991, pp. 86–90, 59–60. refers to garage bands such as the Count Five as “punk [112] Walker (1991), p. 662. rock” [95] Bangs, Lester. Psychotic Reactions and Carburetor Dung . [113] Strongman (2008), pp. 53, 54, 56. Anchor Books, a division of Random House. 2003. [114] Savage (1992), p. 89. Reprint of article, “James Taylor Marked for Death” which appeared in Creem, in winter-spring edition, 1971, [115] Bockris and Bayley (1999), p. 102. that refers to garage the Troggs and similar bands as “punk” on pg. 56, 57, 58, 61 (“punko”), and 64. [116] “Patti Smith—Biography”. Arista Records. Archived from the original on November 3, 2007. Retrieved 2007[96] Taylor (2003), p. 16. 10-23. Strongman (2008), p. 57; Savage (1991), p. 91; Pareles and Romanowski (1983), p. 511; Bockris and [97] Willis, Ellen, “Into the Seventies, for Real,” The New Bayley (1999), p. 106. Yorker , December 1972; reprinted in Willis’s Out of the Vinyl Deeps (2001, University of Minneapolis Press), pp. [117] Savage 1991, pp. 90–91.
114–16. Italics in original.
[118] Gimarc 2005, p. 14. [98] Kaye, Lenny. Original liner notes for Nuggets LP. (Elektra, 1972): first he uses the term “punk rock” to describe [119] Bessman (1993), p. 27. genre of 60s garage bands: “The name that has been unofficially coined for them—"punk rock”—seems particu- [120] Savage 1991, pp. 132–33. larly fitting in this case...” then later, in the track-by-track notes, he uses the term, “garage punk” to describe a song [121] Deming, Mark. ""The Dictators Go Girl Crazy!" (review)". Allmusic. Retrieved 2007-12-27. by the Shadows of Knight as “classic garage punk” [99] Houghton, Mick, “White Punks on Coke,” Let It Rock . [122] December 1975. [123] [100] Shaw, Greg (January 4, 1973). “Review of Nuggets”. Rolling Stone.
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Anderson, Mark (2002). “Zunō keisatsu”, in Encyclopedia of Contemporary Japanese Culture, ed. Sandra Buckley (London and New York: Routledge), p. 588. ISBN 0-415-14344-6 Azerrad, Michael (2001). Our Band Could Be Your Life (New York: Little, Brown). ISBN 0-31678753-1 Bennett, Andy (2001). "'Plug in and Play!': UK Indie Guitar Culture”, in Guitar Cultures , ed. Andy Bennett and Kevin Dawe (Oxford and New York: Berg), pp. 45–62. ISBN 1-85973-434-0 Berthier, Héctor Castillo (2001). “My Generation: Rock and la Banda' s Forced Survival Opposite the Mexican State”, in Rockin' las Américas: The Global Politics of Rock in Latin/o America , ed. Deborah Pacini Hernandez (Pittsburgh: University of Pittsburgh Press), pp. 241–60. ISBN 0-8229-4226-7 Bessman, Jim (1993). Ramones: An American Band (New York: St. Martin’s). ISBN 0-312-09369-1 Blush, Steven (2001). American Hardcore: A Tribal History. Los Angeles: Feral House. ISBN 0922915-71-7.
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Campbell, Michael, with James Brody (2008). Rock and Roll: An Introduction , 2d ed. (Belmont, Calif.: Thomson Schirmer). ISBN 0-534-64295-0 Carson, Tom (1979).
"Rocket to Russia", in Stranded: Rock and Roll for a Desert Island , ed. Greil Marcus (New York: Knopf). ISBN 0-39473827-6 Catucci, Nick (2004a). “Blink-182”, in The New Rolling Stone Album Guide, 4th ed., ed. Nathan Brackett (New York: Fireside/Simon & Schuster), p. 85. ISBN 0-7432-0169-8 Catucci, Nick (2004b). “Green Day”, in The New Rolling Stone Album Guide, 4th ed., ed. Nathan Brackett (New York: Fireside/Simon & Schuster), pp. 347–48. ISBN 0-7432-0169-8 Colegrave, Stephen, and Chris Sullivan (2005). Punk: The Definitive Record of a Revolution (New York: Thunder’s Mouth). ISBN 1-56025-769-5 Coon, Caroline (1977). “1988": the New Wave [and] Punk Rock Explosion . (London: Orbach and Chambers). ISBN 0-8015-6129-9. Creswell, Toby (2006). 1001 Songs: The Great 1-56025-915-9
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Dickson, Paul (1982). Words: A Connoisseur’s Collection of Old and New, Weird and Wonderful, Use ful and Outlandish Words (New York: Delacorte).
ISBN 0-440-09606-5 •
Diehl, Matt(2007). My So-Called Punk: Green Day, Fall Out Boy, the Distillers, Bad Religion—How NeoPunk Stage-Dived into the Mainstream (New York:
St. Martin’s). ISBN 0-312-33781-7 •
Dougan, John (2002). “X-Ray Spex”, in All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul , 3d ed., ed. Vladimir Bogdanov,
Boot, Adrian, and Chris Salewicz (1997). Punk: The Illustrated History of a Music Revolution (New York: Penguin). ISBN 0-14-026098-6 Buckley, Peter, ed. (2003). The Rough Guide to Rock (London: Rough Guides). ISBN 1-84353105-4
Burns, Rob, and Wilfried Van Der Will (1995). “The Federal Republic 1968 to 1990: From the Industrial Society to the Culture Society”, in German Cultural Studies: An Introduction, ed. Burns (Oxford and New York: Oxford University Press), pp. 257–324. ISBN 0-19-871503-X
Songs of All Time and the Artists, Stories and Secrets Behind Them (New York: Thunder’s Mouth). ISBN
Bockris, Victor, and Roberta Bayley (1999). Patti Smith: An Unauthorized Biography (New York: Simon & Schuster). ISBN 0-684-82363-2 Bolton, Andrew (2013) Punk: Chaos to Couture.
Burchill, Julie, and Tony Parsons (1978). The Boy
Chris Woodstra, and Stephen Thomas Erlewine (San Francisco: Backbeat). ISBN 0-87930-653-X •
Ellis, Iain (2008).
Rebels Wit Attitude: Subversive Rock Humorists (Berkeley, Calif: Soft
Skull/Counterpoint). ISBN 1-59376-206-2.
30 •
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Erlewine, Stephen Thomas (2002). “The Birthday Party”, in All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul , 3d ed., ed. Vladimir Bogdanov, Chris Woodstra, and Stephen Thomas Erlewine (San Francisco: Backbeat). ISBN 087930-653-X Fletcher, Tony (2000). Moon: The Life and Death of a Rock Legend (New York: HarperCollins). ISBN 0-380-78827-6
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Frere-Jones, Sasha (2004). “Bad Brains”, in The New Rolling Stone Album Guide, 4th ed., ed. Nathan Brackett (New York: Fireside/Simon & Schuster), pp. 34–35. ISBN 0-7432-0169-8
•
Friedlander, Paul, with Peter Miller (2006). Rock and Roll: A Social History, 2d ed. (Boulder, Co.: Westview). ISBN 0-8133-4306-2
•
Friskics-Warren, Bill (2005). I'll Take You There: Pop Music And the Urge for Transcendence (New York and London: Continuum International). ISBN 0-8264-1700-0 Gaar, Gillian G. (2002). She’s a Rebel: The History of Women in Rock & Roll , 2d ed. (New York: Seal). ISBN 1-58005-078-6
•
Gendron, Bernard (2002). Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde
•
(Chicago and London: University of Chicago Press). ISBN 0-226-28735-1 •
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Gimarc, George (1997). Post Punk Diary, 1980– 1982. New York: St. Martin’s. ISBN 0-312-16968X. Gimarc, George (2005). Punk Diary: The Ultimate
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Glasper, Ian (2004). Burning Britain—The History of UK Punk 1980–1984 (London: Cherry Red Books). ISBN 1-901447-24-3 Goodlad, Lauren M. E., and Michael Bibby (2007). “Introduction”, in Goth: Undead Subculture, ed. Goodlad and Bibby (Durham, N.C.: Duke University Press). ISBN 0-8223-3921-8
•
Gosling, Tim (2004). "'Not for Sale': The Underground Network of Anarcho-Punk”, in Music Scenes: Local, Translocal and Virtual , ed. Andy Bennett and Richard A. Peterson (Nashville, Tenn.: Vanderbilt University Press), pp. 168–83. ISBN 08265-1450-2 Gray, Marcus (2005 [1995]). The Clash: Return of the Last Gang in Town, 5th rev. ed. (London: Helter Skelter). ISBN 1-905139-10-1
Hannon, Sharon M. (2009). Punks: A Guide to an American Subculture (Santa Barbara, Calif.: Greenwood). ISBN 978-0-313-36456-3 Hardman, Emilie (2007). “Before You Can Get Off Your Knees: Profane Existence and Anarcho-Punk as a Social Movement”. Paper presented at the annual meeting of the American Sociological Association, New York City, August 11, 2007 (available online). Harrington, Joe S. (2002). Sonic Cool: The Life & Death of Rock 'n' Roll (Milwaukee: Hal Leonard). ISBN 0-634-02861-8 Harris, John (2004). Britpop!: Cool Britannia and the Spectacular Demise of English Rock (Cambridge, Mass.: Da Capo) ISBN 0-306-81367-X Hebdige, Dick (1987). Cut 'n' Mix: Culture, Identity and Caribbean Music (London: Routledge). ISBN 0-415-05875-9 Hess, Mickey (2007). Is Hip Hop Dead?: The Past,
Heylin, Clinton (1993).
From the Velvets to the Voidoids: The Birth of American Punk Rock
(Chicago: A Cappella Books). ISBN 1-55652-5753 •
• •
Haenfler, Ross (2006). Straight Edge: Hardcore Punk, Clean-Living Youth, and Social Change (New Brunswick, N.J.: Rutgers University Press). ISBN 0-8135-3852-1
(Westport, Conn.: Praeger). ISBN 0-275-99461-9
848-6.
•
Gross, Joe (2004). “Rancid”, in The New Rolling Stone Album Guide, 4th ed., ed. Nathan Brackett (New York: Fireside/Simon & Schuster), p. 677. ISBN 0-7432-0169-8
Present, and Future of America’s Most Wanted Music
Trainspotter’s Guide to Underground Rock, 1970– 1982. San Francisco: Backbeat. ISBN 0-87930-
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Greenwald, Andy (2003). Nothing Feels Good: Punk Rock, Teenagers, and Emo (New York: St. Martin’s). ISBN 0-312-30863-9
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Heylin, Clinton (2007). Babylon’s Burning: From Punk to Grunge (New York: Canongate). ISBN 184195-879-4 Home, Stewart (1996). Cranked Up Really High: Genre Theory and Punk Rock (Hove, UK: Codex). ISBN 1-899598-01-4 Jackson, Buzzy (2005). A Bad Woman Feeling Good: Blues and the Women Who Sing Them (New York: W. W. Norton). ISBN 0-393-05936-7 James, Martin (2003). French Connections: From Discothèque to Discovery (London: Sanctuary). ISBN 1-86074-449-4
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Keithley, Joe (2004). I, Shithead: A Life in Punk (Vancouver: Arsenal Pulp Press). ISBN 1-55152148-2 Klein, Naomi (2000). No LOGO: Taking Aim at the Brand Bullies (New York: Picador). ISBN 0-31220343-8 Knowles, Chris (2003). Clash City Showdown (Otsego, Mich.: PageFree). ISBN 1-58961-138-1 Laing, Dave (1985). One Chord Wonders: Power and Meaning in Punk Rock . Milton Keynes and Philadelphia: Open University Press. ISBN 0-33515065-9. Lamey, Charles P., and Ira Robbins (1991). “Exploited”, in The Trouser Press Record Guide, 4th ed., ed. Ira Robbins (New York: Collier), pp. 230–31. ISBN 0-02-036361-3 Leblanc, Lauraine (1999). Pretty in Punk: Girls’ Gender Resistance in a Boys’ Subculture (New Brunswick, N.J.: Rutgers University Press). ISBN 0-8135-2651-5
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Lydon, John (1995). Rotten: No Irish, No Blacks, No Dogs (New York: Picador). ISBN 0-312-11883-X •
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Mahon, Maureen (2008). “African Americans and Rock 'n' Roll”, in African Americans and Popular Culture, Volume 3: Music and Popular Art , ed. Todd Boyd (Westport, Conn.: Praeger), pp. 31–60. ISBN 978-0-275-98925-5
•
Marcus, Greil, ed. (1979). Stranded: Rock and Roll for a Desert Island (New York: Knopf). ISBN 0394-73827-6
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Marcus, Greil (1989). Lipstick Traces: A Secret History of the Twentieth Century (Cambridge, Mass.: Harvard University Press). ISBN 0-674-53581-2 McCaleb, Ian (1991). “Radio Birdman”, in The Trouser Press Record Guide, 4th ed., ed. Ira Robbins (New York: Collier), pp. 529–30. ISBN 0-02036361-3 McFarlane, Ian (1999). The Encyclopedia of Australian Rock and Pop (St Leonards, Aus.: Allen & Unwin). ISBN 1-86508-072-1
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versity Press). ISBN 1-56639-545-3 •
McNeil, Legs, and Gillian McCain (2006 [1997]). Please Kill Me: The Uncensored Oral History of Punk (New York: Grove). ISBN 0-8021-4264-8
Mullen, Brendan, with Don Bolles and Adam Parfrey (2002). Lexicon Devil: The Fast Times and Short Life of Darby Crash and the Germs (Los Angeles: Feral House). ISBN 0-922915-70-9 Nichols, David (2003). The Go-Betweens (Portland, Ore.: Verse Chorus Press). ISBN 1-891241-16-8 Nobahkt, David (2004). Suicide: No Compromise (London: SAF). ISBN 0-946719-71-3 O'Hara, Craig (1999). The Philosophy of Punk: More Than Noise (San Francisco and Edinburgh: AK Press). ISBN 1-873176-16-3 Palmer, Robert (1992). “The Church of the Sonic Guitar”, in Present Tense: Rock & Roll and Culture, ed. Anthony DeCurtis (Durham, N.C.: Duke University Press), pp. 13–38. ISBN 0-8223-1265-4 Pardo, Alona (2004). “Jamie Reid”, in Communicate: Independent British Graphic Design Since the Sixties , ed. Rick Poyner (New Haven, Conn.: Yale Pareles, Jon, and Patricia Romanowski (eds.) (1983). The Rolling Stone Encyclopedia of Rock & Roll (New York: Rolling Stone Press/Summit Books). ISBN 0-671-44071-3 Porter, Dick (2007). The Cramps: A Short History of Rock 'n' Roll Psychosis (London: Plexus). ISBN 0-85965-398-6 Purcell, Natalie J. (2003). Death Metal Music: The Passion and Politics of a Subculture (Jefferson, N.C., and London: McFarland). ISBN 0-7864-1585-1 Raha, Maria (2005). Cinderella’s Big Score: Women of the Punk and Indie Underground (Emeryville, Calif.: Seal). ISBN 1-58005-116-2
McGowan, Chris, and Ricardo Pessanha (1998). The Brazilian Sound: Samba, Bossa Nova, and the Popular Music of Brazil (Philadelphia: Temple Uni-
Myers, Ben (2006). Green Day: American Idiots & the New Punk Explosion (New York: Disinformation). ISBN 1-932857-32-X
University Press), p. 245. ISBN 0-300-10684-X
• •
Miles, Barry, Grant Scott, and Johnny Morgan (2005). The Greatest Album Covers of All Time (London: Collins & Brown). ISBN 1-84340-3013
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Reed, John (2005). Paul Weller: My Ever Changing Moods (London et al.: Omnibus Press). ISBN 184449-491-8 Reynolds, Simon (1999). Generation Ecstasy: Into the World of Techno and Rave Culture . London: Routledge. ISBN 0-415-92373-5. Reynolds, Simon (2005). Rip It Up and Start Again: Post Punk 1978–1984. London and New York: Faber and Faber. ISBN 0-571-21569-6.
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Robb, John (2006). Punk Rock: An Oral History (London: Elbury Press). ISBN 0-09-190511-7 Rodel, Angela (2004). “Extreme Noise Terror: Punk Rock and the Aesthetics of Badness”, in Bad Music: The Music We Love to Hate, ed. Christopher Washburne and Maiken Derno (New York: Routledge), pp. 235–56. ISBN 0-415-94365-5 Rooksby, Rikky (2001). Inside Classic Rock Tracks (San Francisco: Backbeat). ISBN 0-87930-654-8
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Sabin, Roger (1999). Punk Rock: So What?: the Cultural Legacy of Punk . London: Routledge. ISBN 0-415-17030-3. Savage, Jon (1991). England’s Dreaming: The Sex Pistols and Punk Rock . London: Faber and Faber. ISBN 0-312-28822-0.
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Savage, Jon (1992). England’s Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond . New York: St. Martin’s. ISBN 0-312-08774-8.
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Shapiro, Fred R. (2006). Yale Book of Quotations (New Haven, Conn.: Yale University Press). ISBN 0-300-10798-6
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Schmidt, Axel, and Klaus Neumann-Braun (2004).
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Die Welt der Gothics: Spielräume düster konnotierter Tranzendenz (Wiesbaden: VS Verlag). ISBN 3-
531-14353-0 •
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Shuker, Roy (2002). Popular Music: The Key Concepts (London: Routledge). ISBN 0-415-28425-2
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The Songs, the Artists, the Genres, the Dubious Fashions . London: Rough Guides. ISBN 1-84353-229-
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Sinagra, Laura (2004). “Sum 41”, in The New Rolling Stone Album Guide , 4th ed., ed. Nathan Brackett (New York: Fireside/Simon & Schuster), pp. 791–92. ISBN 0-7432-0169-8
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Taylor, Steven (2003). False Prophet: Field Notes from the Punk Underground . Middletown, Conn.: Wesleyan University Press. ISBN 0-8195-6668-3. Taylor, Steve (2004). The A to X of Alternative Music . London and New York: Continuum. ISBN 08264-8217-1. Thompson, Dave (2000). Alternative Rock . San Francisco: Miller Freeman. ISBN 0-87930-607-6. Unterberger, Richie (1998). Unknown Legends of
Unterberger, Richie (1999). Music USA: The Rough Guide. London: Rough Guides. ISBN 1-85828421-X. Unterberger, Richie (2002). “British Punk”, in
Valentine, Gary (2006). New York Rocker: My Life in the Blank Generation with Blondie, Iggy Pop, and Others, 1974–1981. New York: Thunder’s Mouth.
ISBN 1-56025-944-2. •
Spitz, Marc, and Brendan Mullen (2001). We Got the Neutron Bomb: The Untold Story of L.A. Punk
(New York: Three Rivers Press). ISBN 0-60980774-9
St. Thomas, Kurt, with Troy Smith (2002). Nirvana: The Chosen Rejects (New York: St. Martin’s). ISBN 0-312-20663-1
danov, Chris Woodstra, and Stephen Thomas Erlewine (San Francisco: Backbeat). ISBN 0-87930653-X
Turbulent Life, Times, and Music of Green Day
•
Strongman, Phil (2008). Pretty Vacant: A History of UK Punk (Chicago: Chicago Review Press). ISBN 1-55652-752-7
All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul , 3d ed., ed. Vladimir Bog-
Spitz, Marc (2006). Nobody Likes You: Inside the (New York: Hyperion). ISBN 1-4013-0274-2
Strohm, John (2004). “Women Guitarists: Gender Issues in Alternative Rock”, in The Electric Guitar: A History of an American Icon , ed. A. J. Millard (Baltimore: Johns Hopkins University Press), pp. 181–200. ISBN 0-8018-7862-4
cisco: Backbeat. ISBN 0-87930-534-7.
Smith, Kerry L. (2008). Encyclopedia of Indie Rock (Westport, Conn.: Greenwood). ISBN 978-0-31334119-9 Spencer, Amy (2005). DIY: The Rise of Lo-Fi Culture (London: Marion Boyars). ISBN 0-7145-31057
Stark, James (2006). Punk '77: An Inside Look at the San Francisco Rock N' Roll Scene , 3d ed. (San Francisco: RE/Search Publications). ISBN 1889307-14-9
Rock 'n' Roll: Psychedelic Unknowns, Mad Geniuses, Punk Pioneers, Lo-Fi Mavericks & More. San Fran-
Simpson, Paul (2003). The Rough Guide to Cult Pop: 8.
Stafford, Andrew (2006). Pig City: From the Saints to Savage Garden, 2d rev. ed. (Brisbane: University of Queensland Press). ISBN 0-7022-3561-X
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Walker, Clinton (1982/2004) Inner City Sound (Portland, Oregon: Verse Chorus Press) ISBN 1891241-18-4 Walker, Clinton (1996) Stranded (Sydney: Macmillan) ISBN 0 7329 0883 3
1.1. PUNK ROCK
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Walker, John (1991). “Television”, in The Trouser Press Record Guide, 4th ed., ed. Ira Robbins (New York: Collier), p. 662. ISBN 0-02-036361-3 Walsh, Gavin (2006). Punk on 45; Revolutions on Vinyl, 1976–79 (London: Plexus). ISBN 0-85965370-6 Weinstein, Deena (2000). Heavy Metal: The Music and Its Culture (New York: Da Capo). ISBN 0-30680970-2 Wells, Steven (2004). Punk: Loud, Young & Snotty: The Story Behind the Songs (New York and London: Thunder’s Mouth). ISBN 1-56025-573-0 Wilkerson, Mark Ian (2006). Amazing Journey: The Life of Pete Townshend (Louisville: Bad News Press). ISBN 1-4116-7700-5 Wojcik, Daniel (1995). Punk and Neo-Tribal Body Art (Jackson: University Press of Mississippi). ISBN 0-87805-735-8 Wojcik, Daniel (1997). The End of the World as We Know It: Faith, Fatalism, and Apocalypse in America
(New York: New York University Press). ISBN 08147-9283-9 1.1.12 •
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External links
Fales Library of NYU Downtown Collection archival collection with the personal papers of NYC punk figures. A History of Punk 1990 essay by rock critic A.S. Van Dorston “We Have to Deal With It: Punk England Report”, by Robert Christgau, Village Voice, January 9, 1978 Black Punk Time: Blacks in Punk, New Wave and Hardcore 1976-1984 by James Porter and Jake Austen and many other contributors Roctober Magazine 2002
33
Chapter 2
Main article 2.1
The Clash
in the perception of what is possible in the music industry, from subject matter to authenticity to quality control to price ceilings.”[4] The Clash were an English punk rock band that formed in 1976 as part of the original wave of British punk. Along with punk, their music incorporated elements of reggae, dub, funk, ska and rockabilly. For most of their 2.1.1 History recording career the Clash consisted of Joe Strummer (lead vocals, rhythm guitar), Mick Jones (lead guitar, lead Origins: 1974–76 vocals), Paul Simonon (bass guitar, vocals) and Nicky “Topper” Headon (drums, percussion). Headon left the Before the Clash’s founding, the band’s future members group in 1982, and internal friction led to Jones’s depar- were active in different parts of the London music scene. ture the following year. The group continued with new John Graham Mellorsang and played rhythm guitar in the pub rock act the 101'ers, which formed in 1974. By the members, but finally disbanded in early 1986. time the Clash came together two years later, he had alThe Clash achieved commercial success in the United ready abandoned his original stage name, “Woody” MelKingdom with the release of their self-titled debut al- lor, in favour of “Joe Strummer”, a reference to his rudibum, The Clash, in 1977. Their third album, London mentary strumming skills on the ukulele as a busker in Calling, released in the UK in December 1979, earned the London Underground. Mick Jones played guitar in them popularity in the United States when it was released protopunk band London SS, which rehearsed for much there the following month. It was declared the best album of 1975 without ever playing a live show and recording of the 1980s a decade later by Rolling Stone. In 1982 only a single demo. London SS was managed by Bernard they reached new heights of success with the release of Rhodes, a sometime associate of impresario Malcolm Combat Rock , which spawned the US top 10 hit "Rock McLaren and a friend of the members of the McLaren the Casbah", helping the album to achieve a 2× Platinum managed band, the Sex Pistols. Jones and his bandcertification there. Their final album, Cut the Crap, was mates became friendly with Sex Pistols Glen Matlock released in 1985.[1] and Steve Jones, who would assist them as they tried out The Clash’s politicised lyrics, musical experimentation, potential new members.[5] Among those who auditioned and rebellious attitude had a far-reaching influence on for London SS without making the cut were Paul Sirock, and alternative rock in particular.[2] They became monon, who tried out as a vocalist,[6] and drummer Terry widely referred to as “The Only Band That Matters”, Chimes. Nicky Headon drummed with the band for a originally a promotional slogan introduced by the group’s week, then quit.[7][8] After London SS broke up in early record label, CBS. In January 2003, shortly after the 1976, Rhodes continued as Jones’s manager. In Februdeath of Joe Strummer, the band—including original ary, Jones saw the Sex Pistols perform for the first time: drummer Terry Chimes—were inducted into the Rock “You knew straight away that was it, and this was what it and Roll Hall of Fame. In 2004, Rolling Stone Magazine was going to be like from now on. It was a new scene, ranked the Clash number 28 on their list of the 100 great- new values—so different from what had happened beest artists of all time.[3] fore. A bit dangerous.”[9] At the instigation of Rhodes, Critic Sean Egan summarised what made them excep- Jones contacted Simonon in March, suggesting he learn so he could join the new band Jones was tional by writing, “They were a group whose music was, an instrument [6] and is, special to their audience because that music in- organising. Soon Jones, Simonon on bass, Keith Levwe could find really to play sisted on addressing the conditions of poverty, petty in- ene on guitar and “whoever[10] justice, and mundane life experienced by the people who the drums” were rehearsing. Chimes was asked to aubought their records. Moreover, although their rebel dition[11]for the new band and got the job, although he soon stances were often no more than posturing, from The quit. Clash’s stubborn principles came a fundamental change The band was still searching for a lead singer. Chimes re34
35
2.1. THE CLASH
calls one Billy Watts (who “seemed to be, like, nineteen or eighteen then, as we all were”) handling the duties for a time.[12] Rhodes had his eye on Strummer, with whom he made exploratory contact. Jones and Levene had both seen him perform and were impressed as well.[13] Strummer, for his part, was primed to make the switch. In April, he had taken in the opening act for one of his band’s gigs—the Sex Pistols. “I knew something was up,” Strummer later explained:
“So I went out in the crowd which was fairly sparse. And I saw the future—with a snotty handkerchief—right in front of me. It was immediately clear. Pub rock was, 'Hello, you bunch of drunks, I'm gonna play these boogies and I hope you like them.' The Pistols came outthat Tuesday eveningandtheir attitude was, 'Here’s our tunes, and we couldn't give a flying fuck whether you like them or not. In fact, we're gonna play them even if you fucking hate them.'"[14]
On 30 May, Rhodes and Levene met surreptitiously with Strummer after a 101'ers gig. Strummer was invited to meet up at the band’s rehearsal location on Davis Road. After Strummer turned up, Levene grabbed his guitar, stood several inches away from Strummer, looked him in the eye and then began playing “Keys to Your Heart,” one of Strummer’s own tunes.[15]
Early gigs and the growing scene: 1976
After rehearsingwith Strummer for less than a month, the Clash made their debuton 4 July 1976, supporting the Sex Pistols at the Black Swan in Sheffield. The band apparently wanted to make it on-stage before their rivals in the Damned—another London SS spinoff—made their own scheduled debut two days later. The Clash would not play in front of an audience again for another five weeks.[21][22] Levene was becoming disaffected with his position in the group. At the Black Swan, he approached the Sex Pistols’ lead singer, John Lydon (then going by Johnny Rotten), and suggested they get a band together if the Pistols ever broke up.[23] The night after their debut, the band members along with most of the Sex Pistols and much of the rest of London’s “inner circle” of punks showed up at Dingwalls club to attend a concert by New York’s leading punk rock band, the Ramones. Afterward “came the first example of the rivalry-induced squabblingthat was to dog the punk scene and undermine any attempts to promote a spirit of unity among the bands involved.”[24] Simonon got into a scuffle with J.J. Burnel, the bass player of the Stranglers. A slightly older band, the Stranglers were publicly identified with the punk scene, but were not part of the “inner circle” centred on the Sex Pistols.[24] With Rhodes insisting that the band not perform live again until they were much tighter, the Clash rehearsed intensely over the following month. Strummer later described how seriously the band devoted itself to forging a distinct identity: “We were almost Stalinist in the way that you had to shed all your friends, or everything that you'd known, or every way that you'd played before.” [25] Strummer and Jones shared most of the writing duties— "Joe would give me the words and I would make a song out of them”, Jones later said.[26] Sometimes they would meet in the office over their Camden rehearsal studio to collaborate directly.[24] According to a later description of Strummer’s, “Bernie [Rhodes] would say, 'An issue, an issue. Don't write about love, write about what’s affecting you, what’s important.”[27] Strummer took the lead vocals on the majority of songs; in some cases he and Jones shared the lead. Once the band began recording, Jones would rarely have a solo lead on more than one song per album, though he would be responsible for two of the group’s biggest hits. On 13 August, the Clash—sporting a paint-spattered "Jackson Pollock" look—played before a small, invitation-only audience in their Camden studio.[28] Among those in attendance was Sounds critic Giovanni Dadamo. His review described the band as a “runaway train ... so powerful, they're the first new group to come along who can really scare the Sex Pistols shitless”. [29]
Rhodes gave him 48 hours to decide whether he wanted to join the new band that would “rival the Pistols”. Within 24 hours, Strummer agreed.[16] Simonon later remarked, “Once we had Joe on board it all started to come together.” [10] Strummer introduced the band to his old school friend Pablo LaBritain, who satin on drums during Strummer’s first few rehearsals with the group. LaBritain’s stint with the band didn't last long (he subsequently joined 999), and Terry Chimes—whom Jones later referred to as “one of the best drummers” in their circle— became the band’s regular drummer.[17] In Westway to the World , Jones also says, “I don't think Terry was officially hired or anything. He had just been playing with us.”[18] Chimes did not take to Strummer at first: “He was like twenty-two or twenty-three or something that seemed 'old' to me then. And he had these retro clothes and this croaky voice”.[12] Simonon came up with the band’s name after they had briefly dubbed themselves the Weak Heartdrops and the Psychotic Negatives. [19][20] He later explained the name’s origin: “It really came to my head when I started reading the newspapers and a word that kept recurring was the word 'clash', so I thought 'the On 29 August, the Clash and Manchester’s Buzzcocks Clash, what about that,' to the others. And they and opened for the Sex Pistols at The Screen on the Green Bernard, they went for it.”[19] —the Clash’s first public performance since 4 July. The
36 triple bill is seen as pivotal to the British punk scene’s crystallisation into a movement,[30] though NME reviewer Charles Shaar Murray wrote, “The Clash are the sort of garage band that should be speedily returned to the garage, preferably with the motor still running”. [31] Strummer later credited Murray’s comments with inspiring the band’s composition “Garageland”.[32] In early September, Levene was fired from the Clash. Strummer would claim that Levene’s dwindling interest in the band owed to his supposedly extravagant use of speed, a charge Levene has denied. [33][34] Levene and Lydon would form Public Image Ltd. in 1978. On 21 September, the Clash performed publicly for the first time without Levene at another seminal concert: the 100 Club Punk Special, sharing the bill with the Sex Pistols, Siouxsie and the Banshees and Subway Sect.[35][36][37] Chimes left in late November; he was briefly replaced by Rob Harper as the Clash toured in support of the Sex Pistols during December’s Anarchy Tour.[38] Punk outbreak and UK fame: 1977–79
[S]igning that contract did bother me a lot. I've been turning it over in my mind, but now I've come to terms with it. I've realised that all it boils down to is perhaps two-year’s security ... Before, all I could think about was my stomach ... Now I feel free to think—and free to write down what I'm thinking about ... And look—I've been fucked about for so long I'm not going to suddenly turn into Rod Stewart just because I get £25.00 a week. I'm much too far gone for that, I tell you. [39] —Joe Strummer, March 1977 By the turn of the year, punk had become a major media phenomenon in the UK. On 25 January 1977, the Clash signed to CBS Records for £100,000, a remarkable amount for a band that had played a total of about thirty gigs and almostnone as a headliner.[40] As Clash historian Marcus Gray describes, the “band members found themselves having to justify [the deal] to both the music press and to fans who picked up on the critics’ muttered asides about the Clash having 'sold out' to the establishment.”[41] Mark Perry, founder of the leading London punk periodical, Sniffin' Glue, let loose with what he would later call his “big quote": “Punk died the day the Clash signed to CBS.”[42] As one band associate described it, the deal “was later used as a classic example of the kind of contract that no group should ever sign—the group had to pay for their own tours, recordings, remixes, artwork, expenses ...”[43] Mickey Foote, who worked as a technician at their concerts, was hired to produce the Clash’s debut album, and Terry Chimes was drafted back for the recording. The band’s first single, "White Riot", was released in March 1977 and reached number 34. The album, The Clash, came out the following month. Filled with fiery punk tracks, it also presaged the many eclectic turns the band
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would take with its cover of the reggae song "Police and Thieves". "[A]midst the Sex Pistols’ inertia in the first half of 1977, the Clash found themselves as the flagwavers of the punk rock consciousness”, according to music journalist and former punk musician John Robb.[44] Though the album charted well in the UK, climbing to number 12, CBS refused to give it a US release, believing that its raw, barely produced sound would make it unsalable in that market.[45] A North American version of the album with a modified track listing was released in 1979, after the UK original became the best-selling import album of the year in the United States.[46] Chimes, whose career aspirations owed little to the punk ethos, had left the band again soon after the recording sessions. He later said, “The point was I wanted one kind of life and they wanted another and, like, why are we working together, if we want completely different things?" [47] As a result, only Simonon, Jones and Strummer were featured on the album’s cover, and Chimes was credited as "Tory Crimes”. Strummer later described what followed: “We must have tried every drummer that then had a kit. I mean every drummer in London. I think we counted 205. And that’s why we were lost until we found Topper Headon.”[48] Headon, who had played briefly with Jones’s London SS, was nicknamed “Topper” by Simonon, who felt he resembled the Topper comic book character Mickey the Monkey.[49] An excellent musician, Headon could also play piano, bass andguitar. The day after he signed up, he declared, “I really wanted to join the Clash. I want to give them even more energy than they've got—if that’s possible";[39] interviewed over two decades later, he said his original plan was to stay briefly, gain a name for himself, and then move on to a better gig.[50] In any event, Strummer later observed, “Finding someone who not only had the chops, butthestrength and the stamina to do it was just the breakthrough for us”.[51] In May, the band set out on the White Riot Tour, headlining a punk package that included the Buzzcocks, Subway Sect, the Slits and the Prefects.[52] The day after a Newcastle gig, Strummer and Headon were arrested for stealing pillowcases from their hotel room.[53] That same month, CBS released "Remote Control" as the debut LP’s second single, defying the wishes of the band, who saw it as one of the album’s weakest tracks.[54] Headon’s first recording with the band was the single "Complete Control", which addressed the band’s anger at their record label’s behaviour. It was co-produced by famed reggae artist Lee “Scratch” Perry, though Foote was summoned to “ground things” a bit and the result was pure punk rock. Released in September 1977— NME noted how CBS allowed the group to “bait their masters”—it rose to number 28 on the British chart and has gone on to be cited as one of punk’s greatest singles.[55][56] In February 1978, the band came out with the single "Clash City Rockers". June saw the release of "(White Man) In Hammersmith Palais", which surprised fans with its ska rhythm and arrangement.
2.1. THE CLASH
Before the Clash began recording their second album, CBS requested that they adopt a cleaner sound than its predecessor in order to reach American audiences. Sandy Pearlman, known for his work with Blue Öyster Cult, was hired to produce the record. Simonon later recalled, "[R]ecording that album was just the most boring situation ever. It was just so nitpicking, such a contrast to the first album ... it ruined any spontaneity.”[57] Strummer agreed that “it wasn't our easiest session.”[58] Although somelisteners complained about its relatively mainstream production style, Give 'Em Enough Rope received largely positive reviews upon its November release. [59][60] It hit number 2 in the UK, but it was not the American breakthrough CBS had hoped for, reaching only number 128 on the Billboard chart. The album’s first UK single, the hard rocking "Tommy Gun", rose to number 19, the highest chart position for a Clash single to date. In support of the album, the band toured the UK supported by the Slits and the Innocents. The series of concerts—there were more than thirty, from Edinburgh to Portsmouth—was promoted as the Sort It Out Tour. The band subsequently undertook its first, largely successful tour of North America in February 1979.[61] Changing style and US breakthrough: 1979–82
The “iconic” cover of London Calling[62]
In August and September 1979, the Clash recorded London Calling. Produced by Guy Stevens, a former A&R executive who had worked with Mott the Hoople and Traffic, the double album was a mix of punk rock, reggae, ska, rockabilly, traditional rock and roll and other elements possessed of an energy that had hardly flagged since the band’s early days and more polished production.[63] The title of the track also happened to be heavily influenced by the BBC World Service call signal and the panic that resulted in Three Mile Island nuclear scare.[64] It is regarded as one of the greatest rock albums
37 ever recorded.[65] Its final track, a relatively straightforward rock and roll number sung by Mick Jones called "Train in Vain", was included at the last minute and thus did not appear in the track listing on the cover. It became their first US Top 40 hit, peaking at number 23 on the Billboard chart. In the UK, where “Train in Vain” was not released as a single, London Calling' s title track, stately in beat but unmistakably punk in message and tone, rose to number 11—the highest position any Clash single reached in the UK before the band’s break-up. Released in December, London Calling hit number 9 on the British chart; in the United States, where it was issued in January 1980, it reached number 27. The cover of the album, based on the cover of Elvis Presley's selftitled 1956 debut LP, became one of the best known in the history of rock.[62] Its image, by photographer Pennie Smith, of Simonon smashing his bass guitar was later cited as the “best rock 'n roll photograph of all time” by Q magazine.[66][67] During this period, the Clash began to be regularly billed as “The Only Band That Matters”. Musician Gary Lucas, then employed by CBS Records’ creative services department, claims to have coined the tagline.[68] The epithet was soon widely adopted by fans and music journalists.[69] Around the turn of the year, the band members attended a special private screening of a new film, Rude Boy; part fiction, part rockumentary, it tells the story of a Clash fan who leaves his job in a Soho sex shop to become a roadie for the group. The movie—named after the rude boy subculture—includes footage of the band on tour, at a London Rock Against Racism concert, and in the studio recording Give 'Em Enough Rope. The band was so disenchanted with it that they had Better Badges make buttons that declared “I don't want RUDE BOY Clash Film”.[70] On 27 February 1980, it premiered at the 30th Berlin International Film Festival,[71] where it won an honourable mention.[72] The Clash had planned to record and release a single every month in 1980. CBS balked at this idea, and the band came out with only one single—an original reggae tune, "Bankrobber", in August—before the December release of the 3-LP, 36-song Sandinista! The album again reflected a broad range of musical styles, including extended dubs and the first forays into rap by a major rock band. Produced by the band members with the participation of Jamaican reggae artist Mikey Dread, Sandinista! was their most controversial album to date, both politically and musically.[73] Critical opinion was divided, often within individual reviews. Trouser Press ' s Ira Robbins described half the album as “great”, half as “nonsense” and worse.[74] In the New Rolling Stone Record Guide, Dave Marsh argued, "Sandinista! is nonsensically cluttered. Or rather seems nonsensically cluttered. One of the Clash’s principal concerns ... is to avoid being stereotyped.”[75] The album fared well in America, charting at number 24.[76]
38 In 1981, the band came out with a single, "This Is Radio Clash", that further demonstrated their ability to mix diverse influences such as dub and hip hop. They set to work on their fifth album in September, originally planning it as a 2-LP set with the title Rat Patrol from Fort Bragg. Jones produced one cut, but the other members were dissatisfied. Production duties were handed to Glyn Johns, and the album was reconceived as a single LP, and released as Combat Rock in May 1982. Though filled with offbeat songs, experiments with sound collage, and a spoken word vocal by Beat poet Allen Ginsberg, it contained two “radio friendly” tracks. The leadoff single in the US was "Should I Stay or Should I Go", released in June 1982. Another Jones feature in a rock and roll style similar to “Train in Vain”, it received heavy airplay on AOR stations. The follow-up, "Rock the Casbah", put lyrics addressing the Iranian clampdown on imports of Western music to a bouncy dance rhythm. (The singles were released in the opposite order in the UK, where they were both preceded by "Know Your Rights".) The music for “Rock the Casbah” was composed by Headon, who performed not only the percussion but also the piano and bass heard on the recorded version.[77] It was the band’s biggest US hit ever, charting at number 8, and the video was put into heavy rotation by MTV. The album itself was the band’s most successful, hitting number 2 in the UK and number 7 in the US. Disintegration and break up: 1982–86
After Combat Rock , the Clash began to disintegrate. Headon was asked to leave the band just before the album’s release because heroin addiction was damaging his health and drumming.[78][79] Chimes was brought back to drum for the next few months. The loss of Headon, well-liked by the others, exposed growing friction within the band. Jones and Strummer began to feud. The band opened for the Who on a leg of their final tour in the US, including a show at New York’s Shea Stadium. Though the Clash continued to tour, tension continued to increase. In early 1983, Chimes left the band after the Combat Rock Tour because of in-fighting and turmoil. He was replaced by Pete Howard for the US Festival in San Bernardino, California, which the Clash co-headlined, along with David Bowie and Van Halen. The band argued with the event’s promoters over inflated ticket prices, threatening to pull out unless a large donation was made to a local charity. The group ultimately performed on 28 May, the festival’s New Music Day, which drew a crowd of 140,000. After the show, members of the band brawled with security staff.[80] This was Jones’ last appearance with the group: in September 1983, he was fired. Shortly thereafter, he became a founding member of General Public, but left that band as they were recording their first album. Nick Sheppard, formerly of the Bristol-based band the Cortinas, and Vince White were recruited as the Clash’s
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new guitarists. Howard continued as the drummer. The reconstituted band played its first shows in January 1984 with a batch of new material and launched into the selffinanced Out of Control Tour, travelling widely over the winter and into early summer. At a striking miners’ benefit show (“Scargill’s Christmas Party”) in December 1984, they announced that a new album would be released early in the new year. The recording sessions for Cut the Crap were chaotic, with manager Bernard Rhodes and Strummer working in Munich. Most of the music was played by studio musicians, with Sheppard and later White flying in to provide guitar parts. Struggling with Rhodes for control of the band, Strummer returned home. The band went on a busking tour of public spaces in cities throughout the UK, playing acoustic versions of their hits and popular cover tunes. After a concert in Athens, Strummer went to Spain to clear his mind. While he was abroad, the first single from Cut the Crap, the mournful "This Is England", was released to mostly negative reviews. “CBS had paid an advance for it so they had to put it out”, Strummer later explained. “I just went, 'Well fuck this’, and fucked off to the mountains of Spain to sit sobbing under a palm tree, while Bernie had to deliver a record.” [14] However, critic Dave Marsh later championed “This Is England” as one of the top 1001 rock singles of all time.[81] The single has also received retroactive praise from Q magazine and others. “This Is England”, much like the rest of the album that came out later that year, had been drastically reengineered by Rhodes, with synths and football-style chants added to Strummer’s incomplete recordings. Although Howard was an adept drummer, drum machines were used for virtually all of the percussion tracks. For the remainder of his life, Strummer largely disowned the album,[79] although he did profess that “I really like 'This Is England' [and album track] 'North and South' is a vibe.”[14] In early 1986, the Clash disbanded. Strummer later described the group’s end: “When the Clash collapsed, we were tired. There had been a lot of intense activity in five years. Secondly, I felt we'd run out of idea gasoline. And thirdly, I wanted to shut up and let someone else have a go at it.” [82] This period of disintegration which feature interviews with members of the Clash is the subject matter of Danny Garcia’s book and film, The Rise and Fall of the Clash.[83] Collaborations and reunions: 1986–present
After the break-up, Strummer contacted Jones in an effort to reform the Clash. Jones, however, had already formed a new band, Big Audio Dynamite (B.A.D.), that had released its debut late in 1985. The two did work together on their respective 1986 projects. Jones helped out with the two songs Strummer wrote and performed
2.1. THE CLASH
for the Sid and Nancy soundtrack. Strummer, in turn, cowrote a number of the tracks on the second B.A.D. album, No. 10, Upping St., which he also co-produced.[14] With Jones committed to B.A.D., Strummer moved on to various solo projects and screen acting work. Simonon formed a band called Havana 3am. Headon recorded a solo album, before once again spiraling into drug abuse. Chimes drummed with a succession of different acts. On 2 March 1991, a reissue of “Should I Stay or Should I Go” gave the Clash its first and only number 1 UK single. That same year, Strummer reportedly cried when he learned that “Rock the Casbah” had been adopted as a slogan by US bomber pilots in the Gulf War.[84] In 1999, Strummer, Jones and Simonon cooperated in compiling of the live album From Here to Eternity and video documentary Westway to the World . On 7 November 2002, the Rock and Roll Hall of Fame announced that the Clash would be inducted the following March. [85] On 15 November, Jones and Strummer shared the stage, performing three Clash songs during a London benefit show by Joe Strummerand the Mescaleros.[76] Strummer, Jones and Headon wanted to play a reunion show to coincide with their induction into the Hall of Fame. Simonon did not want to participate because he believed that playing at the high-priced event would not have been in the spirit of the Clash. Strummer’s sudden death from a congenital heart defect on 22 December 2002 ended any possibility of a fullreunion. In March 2003, theHall of Fame induction took place; the band members inducted were Strummer, Jones, Simonon, Chimes and Headon.[76] In early 2008, Carbon/Silicon, a new band founded by Mick Jones and his former London SS bandmate Tony James, entered into a six-week residency at London’s Inn on the Green. On opening night, 11 January, Headon joined the band for the Clash’s “Train in Vain”. An encore followed with Headon playing drums on “Should I Stay or Should I Go”. This was the first time since 1982 that Headon and Jones had performed together on stage.[86]
39
the 1970s Clash B-side “Jail Guitar Doors” with Billy Bragg. The song is the namesake of a charity founded by Bragg which gives musical instruments and lessons to prison inmates. Jones, Headon, and Bragg were backed by former inmates during the session, which was filmed for a documentary about the charity, “Breaking Rocks.”[87] Simonon and Jones were featured on the title track of the Gorillaz album Plastic Beach in 2010. This reunion marked thefirst time thetwo performershad worked together in over twenty years. They later joined Gorillaz on their world tour for theremainder of 2010.[88] In July 2012, Strummer’s daughters, Jazz andLola, gave a rare interview to discuss the upcoming tenth anniversary of their father’s passing, his legacy and the possibility of a Clash reunion had their father lived. Jazz said “There was talk about the Clash reforming before he died. But there had been talk for years and years about them reforming. They had been offered stupid amounts of money to do it, but they were very good at keeping the moral high ground and saying no. But I think if Dad hadn't died, it would have happened. It felt like it was in the air.” [89] On 9 September 2013 in the UK (and a day later in the US), the Clash released Sound System, a twelve-disc box set featuring their studio albums completely re-mastered on eight discs with an additional three discs featuring demos, non-album singles, rarities and B-sides, a DVD with previously unseen footage by both Don Letts and Julien Temple, original promo videos and live footage, an owner’s manual booklet, reprints of the band’s original 'Armagideon Times’ fanzine as well as a brand new edition curated and designed by Paul Simonon and merchandise including dog tags, badges, stickers and an exclusive Clash poster. Both Mick Jones and Paul Simonon oversaw the project including the re-masters. The box set came in a package shaped as an 80s ghetto blaster. The box set was accompanied by 5 Album Studio Set , which contains only the first five studio albums (excluding Cut the Crap), and The Clash Hits Back , a 33-track, two-CD best of collection sequenced to copy the set played by the band at the Brixton Fair Deal (now the Academy) on 19 July 1982.[90][91] In a 3 September 2013 interview with Rolling Stone, Mick Jones discussed the band reuniting saying it likely would have never happened. Jones said “There were a few moments at the time I was up for it (Hall of Fame reunion in 2003), Joe was up for it. Paul wasn't. And neither, probably, was Topper, who didn't wind up even coming in the end. It didn't look like a performance was going to happen anyway. I mean, you usually play at that ceremony when you get in. Joe had passed by that point, so we didn't. We were never in agreement. It was never at a point where all of us wanted to do it at the same time. Most importantly for us, we became friends again after the group broke up, and continued that way for the rest of the time. That was more important to us than the band”. Graffiti commemorating Joe Strummer Jones also statedthat the Sound System boxsetwasthelast Jones and Headon reunited in September 2009 to record time he will ever be involved in the band’s releases. “I'm
40
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not even thinking about any more Clash releases. This is it for me, and I say that with an exclamation mark.” Jones said.[92] On 6 September 2013 the three surviving members of the classic lineup (Mick Jones, Paul Simonon and Topper Headon) reunited again for an exclusive BBC Radio 6 Music show to promote their legacy and the release of Sound System.[93] In an October 2013 interview with BBC 6Music, Jones confirmed that Strummer did have intentions of a Clash reunion and in fact new music was being written for a possible album. In the months prior to Strummer’s death, Jones and Strummer began working on new music for what he thought would be the next Mescaleros album. Jones said “We wrote a batch - we didn't use to write one, we used to write a batch at a time - like gumbo. The idea was he was goingto go into thestudio with the Mescaleros during the day and then send them all home. I'd come in all night and we'd all work all night.” Jones said months hadpassed followingtheir work together when he ran into Strummer at an event. Jones was curious as to what would become of the songs he and Strummer were working on and Strummer informed him that they were going to be used for the next Clash album. [94] 2.1.2
Politics
The Clash’s music was often charged with left-wing ideological sentiments.[95] Strummer, in particular, was a committed socialist. The Clash are credited with pioneering the advocacy of radical politics in punk rock, and were dubbed the “Thinking Man’s Yobs” by NME .[96] Like many early punk bands, the Clash protested against monarchy and aristocracy; however, unlike many of their peers, they rejected nihilism. [46] Instead, they found solidarity with a number of contemporary liberation movements and were involved with such groups as the AntiNazi League. On 30 April 1978, the Clash played the Rock Against Racism concert in London’s Victoria Park for a crowd of 50–100,000 people;[97] Strummer wore a T-shirt identifying two left-wing revolutionary groups: the words “Brigade [sic ] Rosse”—Italy’s Red Brigades— appeared alongside the insignia of West Germany’s Red Army Faction.[98][99] The moment that best exemplifies the Clash ... took place in August 1977, at a music festival in Liege, Belgium. The band was playing before 20,000 people and had been under fire from a crowd that was throwing bottles at the stage. But that wasn't what bothered lead singer Joe Strummer. What enraged him was a 10-foothigh barbed-wire fence strung between concrete posts and forming a barrier between the group and the audience ... [He] jumped from the stage and attacked the fence, trying to pull it down ... The Clash were the only performers at the show who tried to do anything about the obstacle. They were more willing to run the risk of
the crowd than to tolerate barbed wire that was meant to fend off that crowd. This is more or less what the Clash were about: fighting the good fight that few others would fight.[8] —Rock historian Mikal Gilmore Their politics were made explicit in the lyrics of such early recordings as “White Riot”, which encouraged disaffected white youths to riot like their black counterparts; "Career Opportunities", which addressed the alienation of low-paid, routinised jobs and discontent over the lack of alternatives; and “London’s Burning”, about the bleakness and boredom of life in the inner city.[100] Artist Caroline Coon, who was associated with the punk scene, argued that "[t]hose tough, militaristic songs were what we needed as we went into Thatcherism".[101] The scope of the band’s political interests widened on later recordings. The title of Sandinista! celebrated the left-wing rebels who had recently overthrown Nicaraguan despot Anastasio Somoza Debayle, and the album was filled with songs driven by other political issues extending far beyond British shores: "Washington Bullets" addressed covert military operations around the globe, while “The Call-Up” was a meditation on US draft policies.[102][103] Combat Rock 's "Straight to Hell" is described by scholars Simon Reynolds and Joy Press as an “around-the-worldat-war-in-five-verses guided tour of hell-zones where boy-soldiers had languished.”[103] The band’s political sentiments were reflected in their resistance to the music industry’s usual profit motivations; even at their peak, tickets to shows and souvenirs were reasonably priced.[46] The group insisted that CBS sell their double and triple album sets London Calling and Sandinista! for the price of a single album each (then £5), succeeding with the former and compromising with the latter by agreeingto sell it for £5.99 andforfeit alltheir performance royalties on its first200,000 sales.[104] These “VFM” (valuefor money) principles meantthat they were constantly in debt to CBS, and only started to break even around 1982.[1] 2.1.3
Legacy and influence
In 2004, Rolling Stone ranked the Clash number 28 on its list of the 100 Greatest Artists of All Time, [105] and in 2010, the band was ranked 22nd on VH1’s 100 Greatest Artists of All Time. [106] According to The Times , the Clash’s debut, alongside Never Mind the Bollocks, Here’s the Sex Pistols , is “punk’s definitive statement” and London Calling “remains one of the most influential rock albums”.[99] In Rolling Stone's 2003 list of the 500 greatest albums of all time, London Calling ranked number 8, the highest entry by a punk band. The Clash was number 77 and Sandinista! was number 404.[107] In the magazine’s 2004 list of the 500 Greatest Songs of All Time, “London Calling” ranked number 15, again the highest
41
2.1. THE CLASH
for any song by a punk band. Four other Clash songs made the list: “Should I Stay Or Should I Go” (228), “Train in Vain” (292), “Complete Control” (361), and “White Man in Hammersmith Palais” (430).[56] “London Calling” ranked number 48 in the magazine’s 2008 list of the 100 Greatest Guitar Songs of All Time.[108] Jake Burns of Stiff Little Fingers, the first major punk band from Northern Ireland, explained the record’s impact: [T]he big watershed was the Clash album—that was go out, cut your hair, stop mucking about time, y'know. Up to that point we'd still been singing about bowling down California highways. I mean, it meant nothing to me. Although the Damned and the Pistols were great, they were only exciting musically; lyrically, I couldn't really make out a lot if it ... [T]o realise that [the Clash] were actually singing about their own lives in West London was like a bolt out of the blue.[109]
Stripes and the Strokes evince the Clash’s influence.[119] Among the many latter-day British acts identified as having been inspired by the Clash are Babyshambles, the Futureheads, the Charlatans and Arctic Monkeys.[118] Before M.I.A. had an international hit in 2008 with "Paper Planes", which is built around a sample from “Straight to Hell”, she referenced “London Calling” on 2003’s "Galang".[118] A cover of "The Guns of Brixton" by German punk band Die Toten Hosen was released as a single in 2006.[120] A version by reggae legend Jimmy Cliff with Tim Armstrong from Rancid was scheduled for release in November 2011.[121] American-Irish punk band Dropkick Murphys released a cover of the song on Anti Heroes vs Dropkick Murphys in 1997.[122][123] In June 2009 Bruce Springsteen & the E Street Band openedtheir concertin Hyde Park, London, with 'London Calling'. The concert was later released on DVD as Bruce Springsteen and the E Street Band: London Calling - Live in Hyde Park . Bruce Springsteen, Little Steven, Dave
Grohl and Elvis Costello performed the same song at the Grammys in 2003 as a tribute to Joe Strummer who died the year before. In 2009 Springsteen & the E Street Band even covered Strummer’s “Coma Girl” while in 2014 and along with Tom Morello, they openedsome of their shows on the High Hopes Tour with "Clampdown". The band has also had a notable impact on music in the Spanish-speaking world. In 1997, a Clash tribute album featuring performances by Buenos Aires punk bands was released. [124] Many rock en español bands such as Todos Tus Muertos, Café Tacuba, Maldita Vecindad, Los Prisioneros, Tijuana No, and Attaque 77 are indebted to the Clash.[125][126][127] Argentina’s Los Fabulosos Cadillacs covered “Should stay or should I go!", London Calling's “Revolution Rock” and “The Guns of Brixton” and invited Mick Jones to sing on their song “Mal Bicho”. [127] The Clash’s influence is similarly reflected in Parisfounded Mano Negra's politicised lyrics and fusion of musical styles.[128][129] The band’s 1982 hit, “Should I Stay or Should I Go”, is featured in multiple episodes of the 2016 Netflix sci-fi drama series, Stranger Things , which is set in 1983.[130][131][132]
The Clash also inspired many musicians who were only loosely associated, if at all, with punk. The band’s embrace of ska, reggae and England’s Jamaican subculture helped provide the impetus for the 2 Tone movement that emerged amid the fallout of the punk explosion.[110] Other musicians who began performing while the Clash were active and acknowledged their debt to the band include Billy Bragg and Aztec Camera.[111] U2's the Edge has compared the Clash’s inspirational effect to that of the Ramones—both gave young rock musicians at large the “sense that the door of possibility had swung open.”[112] He wrote, “The Clash, more than any other group, kick-started a thousand garage bands across Ireland and the UK ... [S]eeing them perform was a lifechanging experience.”[3] Bono has described the Clash as “the greatest rock band. They wrote the rule book for U2.”[113] In later years, the Clash’s influence can be heard in American political punk bands such as Rancid, Anti-Flag, Bad Religion, NOFX, Green Day, and Rise Against as well as in the political hard rock of early Manic Street Preachers.[114] California’s Rancid, in particular, are known as “incurable Clash zealots”.[115] Thetitle track of the band’s 2.1.4 Members album Indestructible proclaims, “I'll keep listening to that Main article: List of the Clash band members great Joe Strummer!"[116] The Clash’s involvement with Jamaican musical and production styles has inspired similar cross-cultural efforts by bands such as Bad Brains, Massive Attack, Classic line-up 311, Sublime and No Doubt.[117] They are credited with Joe Strummer – lead vocals, rhythm guitar laying the groundwork for LCD Soundsystem's “punk[118] funk”. Jakob Dylan of the Wallflowers lists London Mick Jones – lead guitar, backing vocals Calling as the record that “changed his life”. [99] Bands identified with the garage rock revival of the late 1990s Paul Simonon – bass guitar, backing vocals and 2000s such as Sweden’s the Hives, Australia’s the Vines, Britain’s the Libertines, and America’s the White Nicky “Topper” Headon – drums, percussion •
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•
•
42
CHAPTER 2. MAIN ARTICLE
2.1.5
Discography
•
Gimarc, George (2005). Punk Diary: The Ultimate Trainspotter’s Guide to Underground Rock, 1970– 1982. San Francisco: Backbeat. ISBN 0-87930-
Main article: The Clash discography
848-6. OCLC 60513159. Studio albums •
The Clash (1977)
•
Give 'Em Enough Rope (1978)
•
• •
London Calling (1979)
•
Sandinista! (1980) •
•
Combat Rock (1982)
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Cut the Crap (1985) •
2.1.6 •
See also
The Clash – Wikipedia book •
•
The Clash on film
2.1.7 •
•
•
•
•
Sources
Buckley, Peter, ed. (2003). The Rough Guide to Rock (3d ed.). London: Rough Guides. ISBN 184353-105-4. OCLC 223842562.
•
Coon, Caroline (1977). 1988: The New Wave Punk Rock Explosion. New York: Hawthorn. ISBN 08015-6129-9. OCLC 79262599.
•
Eddy, Chuck (1997). The Accidental Evolution of
Egan, Sean (2014). The Clash: The Only Band That Mattered . Maryland: Rowman & Littlefield. ISBN 978-0-8108-8875-3.
•
Johnstone, Nick (2006). The Clash “Talking": The Clash in Their Own Words . London: Omnibus Press. ISBN 1-84609-400-3. OCLC 466967080. Letts, Don (director) (2001) [2000]. The Clash: Westway to the World . Sony Music Entertainment. ISBN 0-7389-0082-6. OCLC 49798077. Reynolds, Simon; Press, Joy (1996). The Sex Revolts: Gender, Rebellion, and Rock 'n' Roll . Cambridge, Mass.: Harvard University Press. ISBN 0674-80273-X. OCLC 30971390. Robb, John (2006). Punk Rock: An Oral History (4th ed.). London: Ebury Press. ISBN 0-09190511-7. OCLC 0091924677. Salewicz, Chris (2006). Redemption Song: The Ballad of Joe Strummer . New York: Faber and Faber. ISBN 0-571-21178-X. OCLC 238839364. Savage, Jon (1992). England’s Dreaming: Anarchy, Sex Pistols, Punk Rock and Beyond (US ed.). New York: St. Martin’s Press. ISBN 0-312-08774-8. OCLC 318418456. Strongman, Phil (2008). Pretty Vacant: A History of UK Punk . Chicago: Chicago Review Press. ISBN 1-55652-752-7. OCLC 173299117. Topping, Keith (2004) [2003]. The Complete Clash (2d ed.). Richmond: Reynolds & Hearn. ISBN 1903111-70-6. OCLC 63129186.
D'Ambrosio, Antonino (2004). Let Fury Have the Hour: The Punk Rock Politics of Joe Strummer (1st ed.). New York: Nation Books. ISBN 1-56025625-7. OCLC 56988650. 2.1.8
6. OCLC 35919230.
•
•
Campo, Alberto (1998). Clash. Florence, Italy: Giunti Editore. ISBN 88-09-21509-5. OCLC 8809215095.
Rock'n'Roll: A Misguided Tour through Popular Music . New York: Da CapoPress. ISBN 0-306-80741-
•
•
Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626.
Ferraz, Rob (August 2001). “Joe Strummer & The Clash – Revolution Rock”. exclaim.ca. Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239.
References
[1] “Clash star Strummer dies” (STM). Entertainment . BBC News World Edition. 27 December 2002. Retrieved 20 November 2007. [2] “Strummer’s lasting culture Clash” (STM). Entertainment . BBC NewsWorld Edition. 23 December 2002. Retrieved 20 November 2007. [3] “The Clash by The Edge”. Rolling Stone Issue 946 . 15 April 2004. [4] Egan, Sean (2014). The Clash: The Only Band That Mattered (Rowman & Littlefield), pp. vii. ISBN 978-0-81088875-3. [5] Robb 2006, pp. 130–132. [6] Gray 2005, p. 72.
43
2.1. THE CLASH [7] Gray 2005, p. 56.
[31] Salewicz 2006, p. 162.
[8] Gilmore, Mikal (3 March 2011). “The Fury and the [32] Letts 2001, 24:23–24:43. Power of the Clash”. Rolling Stone (1125): 60–79. [33] Robb 2006, pp. 215–216. [9] Robb 2006, p. 151. [34] Savage 1992, p. 220. [10] Rowley, Scott (October 1999). “Paul Simonon’s first ever [35] Gray 2005, pp. 164–166. bass interview”. Bassist Magazine. London (10). [11] Gray 2005, p. 79.
[36] Robb 2006, pp. 216–223.
[12] Strongman 2008, p. 103.
[37] “The Clash Sex Pistols 100 Club Festival”. blackmarketclash.com. Archived from the original on 4 November 2007. Retrieved 27 November 2007.
[13] Robb 2006, pp. 192, 193.
[14] “Interview”. Record Collector . Joe Strummer Resource. [38] “1976 – The Clash Live”. blackmarketclash.com. Retrieved 31 December 2007. 2000. Retrieved 5 December 2008. [15] “keithleveneinterview - MUDKISS FANZINE”. Mud- [39] Coon 1977. kiss.com. Retrieved 2014-04-17. [40] Gray 2005, p. 216. [16] According to band biographer Marcus Gray (2005), “Bernie phoned him a day ahead of schedule, and de- [41] Gray 2005, p. 217. manded an answer there and then” (p. 127). In West- [42] Gray 2005, p. 218. way to the World , Jones confirms the 48-hour deadline, while Strummer says it was he who made the callafter just [43] Roadent, quoted in Strongman 2008, p. 199. 24 (11:34–11:40). Jones elsewhere gave a different account, according to which Strummer was originally given [44] Robb 2006, p. 325. 24 hours to decide, and Rhodes called after just eight [45] Gimarc 2005, p. 61. (Robb 2006, p. 194). [46] Henke, James (3 April 1980). “There'll Be Dancing In [17] Letts 2001, 17:16–17:22. The Streets: The Clash”. Rolling Stone: 38–41. [18] According to Gray (2005), Rhodesasked Chimesto rejoin [47] Letts 2001, 18:09–18:16. (pp. 133–34). [19] Interviewer: Unknown; Presenter: Kurt Loder. “MTV [48] Letts 2001, 30:30–30:41. Rockumentary”. http://www.londonsburning.org/art_ [49] Gray 2005, p. 244. Gray misspells the character’s name mtv_rockumentary_1.html. London, England. MTV. as Micky. Missing or empty |series= (help) [50] Letts 2001, 38:07–38:11, 38:33–38:35. [20] Topping 2004, p. 12. [51] Letts 2001, 38:35–38:44. [21] Gray 2005, p. 143. [52] Robb 2006, pp. 329–339. [22] Loder, Kurt (13 March 2003). “The Clash: Ducking Bottles, Asking Questions”. MTV News. Retrieved 17 [53] Robb 2006, p. 338. November 2007. [54] Strongman 2008, pp. 201–202. [23] Robb 2006, p. 196. [55] Strongman 2008, pp. 203–204. [24] Gray 2005, p. 144. [56] “The RS 500 Greatest Songs of All Time”. RollingStone. [25] Letts 2001, 14:57–15:08. 9 December 2004. Archived from the original on 20 November 2007. Retrieved 22 November 2007. [26] Robb 2006, p. 326. [57] Letts 2001, 42:43–42:56. [27] Savage 1992, p. 232. Jones’s later take on the matter: “Bernie had a hand in everything. Not the lyrics—he [58] Ferraz 2001. didn't help with the lyrics. He didn't tell us not to write love songs, as the myth goes—that’s kind of simplified [59] Gray 2005, p. 291–292. version of it. He told us to write what we knew about” [60] Marcus, Greil (25 January 1979). “The Clash: Give 'Em (Robb 2006, p. 197). Enough Rope”. . Archived from the original Rolling Stone
[28] Robb 2006, pp. 195–197. [29] Strongman 2008, p. 133. [30] Robb 2006, pp. 212–215.
on 18 March 2008. Retrieved 29 March 2008. [61] Kozak, Roman (3 March 1979). “Surprisingly Few Clashes Noted As the Clash Tours the Nation”. Billboard : 103.
44
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[62] Kerley, Paul (17 June 2010). “London Calling cover hon- [84] “Revolution Rock: Documentary Pays Tribute to Clash oured”. BBC/6 Music. Retrieved 17 June 2010. Frontman Joe Strummer”. Canadian Broadcasting Corporation. 1 February 2008. Archived from the original [63] Metzger, John (November 2004). “The Clash London on 13 March 2008. Retrieved 13 April 2008. Calling 25th Anniversary Legacy Edition”. The Music Box. Retrieved 19 November 2007. [85] Vineyard, Jennifer (7 November 2002). “AC/DC, Clash, Police To Be Inducted Into Rock Hall Of Fame”. MTV. [64] {{cite web url =Template:Http://www. Retrieved 2 September 2008. oxfordmusiconline.com.ezproxy1.library.arizona. edu/subscriber/article/epm/78254?q=the+clash& [86] “The Clash’s Mick Jones and Topper Headon reunite afsearch=quick&pos=4& start=1 title = Clash - London ter 25 years”. NME . UK. 14 January 2005. Retrieved 15 Calling accessdate = 28 September 2016 last = Larkin January 2005. frist = Colin publisher = Oxford Music Online }} [87] “Billy Bragg teams up with “Clash"-ers Mick Jones & [65] Erlewine, Stephen Thomas. “London Calling Review”. Topper Headon for “Jail Guitar Doors"". Denver Thread. allmusic.com. Retrieved 19 November 2007. 21 September 2009. Retrieved 25 May 2010. [66] Battersby, Matilda (16 June 2010). “London Calling: [88] “Gorillaz 'thrilled' to work with The Clash”. Digital Spy. Tracey Emin and friends pay tribute to the Clash’s 'offi24 February 2010. Retrieved 8 March 2010. cial war artist'". The Independent . UK. Retrieved 17 June 2010. [89] Lena Corner (28 July 2012). “Our dad, Joe Strummer, remembered | Life and style”. London: The Guardian. [67] Gray 2005, p. 503. Retrieved 1 September 2013. [68] Diehl, Matt (2007). My So-Called Punk (Macmillan), p. [90] Michael Hann (21 May 2013). “The Clash to release new 187. box set of remastered albums and rarities | Music”. London: theguardian.com. Retrieved 1 September 2013. [69] Norris, Chris (21 July 1997). “Cult Cash Clan”. New York . [91] “Sound System: Music”. Amazon.com. 25 May 2013. Retrieved 1 September 2013. [70] Gray 2005, p.334. For image of button, see “The Clash Pins”. WWWhatsup Online Pinstand. Retrieved 10 Au[92] Andy Greene (2013-08-30). “Mick Jones on Clash Box gust 2011. Set | Music News”. Rolling Stone. Retrieved 2014-0417. [71] Gray 2005, p. 334. [72] “Prizes & Honours (1980)". Internationale Filmfestspiele [93] “I Clash si riuniscono per una notte alla BBC Radio | RaBerlinprint. Retrieved 11 August 2011. diomusik musica e programmi radio live”. Radiomusik.it. Retrieved 1 September 2013. [73] Jaffee, Larry (1987). The Politics of Rock (Popular Music and Society), pp. 19–30. [94] “The Clash - Mick Jones: 'Secret Joe Strummer Tunes Could Have Sparked The Clash’s Comeback'". Contact [74] “Clash”. Trouser Press. Retrieved 4 September 2008. Music. Retrieved 4 October 2013. [75] Marsh, Dave. “The Clash”. In Dave Marsh and John [95] “The Clash” (JHTML). Retrieved 17 November 2007. Swenson, eds. (1983), The New Rolling Stone Record Guide (Random House/Rolling Stone Press), pp. 99–100. [96] McCarthy, Jackie (22 December 1999). “White Riot”. Seattle Weekly. Retrieved 26 March 2008. [76] “The Clash”. Induction. The Rock and Roll Hall of Fame and Museum. 10 March 2003. Retrieved 19 November [97] Gray 2005, pp. 277–278. 2007. [98] Hazan, Jack; David Mingay, Ray Gange, Joe Strummer, [77] Gray 2005, p. 380. Mick Jones, Paul Simonon, Nicky Headon, Buzzy Enterprises, Epic Music Video (2006). Rude Boy (Documen[78] Letts 2001, 1:07:11–1:08:09, 1:08:59–1:09:54.. tary, Rockumentary). New York, United States: Epic [79] Cromelin, Richard (31 January 1988). “Strummer on Music Video. ISBN 0-7389-0082-6. OCLC 70850190. Man, God, Law and the Clash”. Los Angeles Times . Re[99] “Joe Strummer”. The Times . UK. 24 December 2002. trieved 19 November 2007. Retrieved 29 August 2009. [80] Gray 2005, p. 398. [100] Gray (2004), pp. 145–146, 158–159, 169–171. [81] Marsh, Dave (1989). The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made (Penguin), pp. 77–80. ISBN [101] Gilbert 2005, p. 190. 0-14-012108-0. [102] Gray (2004), pp. 355–356 [82] Johnstone 2006, p. 104. [103] Reynolds & Press 1996, p. 72. [83] ,author= Danny Garcia publisher= Thin Man Press, London. ASIN 956247326. [104] Gray (2004), p. 349.
45
2.1. THE CLASH
[105] “100 Greatest Artists: The Clash | Rolling Stone Music | [128] Buckley 2003, p. 367. Lists”. Rolling Stone. Retrieved 21 August 2011. [129] Campo 1998, p. 5. [106] “VH1 Listed 100 Greatest Artists Of All Time”. Today24News. Retrieved 19 March 2012. [130] Gidick, Sarah (August 3, 2016). “5 Things to Know About Winona Ryder’s Stylish Comeback Show, 'Stranger [107] “The 500 Greatest Albums of All Time”. Rolling Stone. Things’". The Hollywood Reporter . Los Angeles, Cali18 November 2003. Archived from the original on 23 fornia: Prometheus Global Media. Retrieved August 22, June 2008. Retrieved 23 May 2012. 2016. [108] "Rolling Stone 's 100 Greatest Guitar Songs of All Time”. [131] Reed, Ryan (August 1, 2016). “Hear 'Stranger Things’Stereogum. 30 May 2008. Retrieved 23 May 2012. Inspired Mixtape Featuring Smiths, Clash”. Rolling Stone. New York City: Wenner Media, LLC. Retrieved August [109] Strongman 2008, pp. 188–189. 22, 2016. [110] D'Ambrosio 2004, p. 298. [132] Coates, Tyler (August 1, 2016). “The Stranger Things [111] Gray, Chris (24 December 2002). “Fans Mourn Passing Soundtrack Isn't As Eerie, But It’s Still Gloriously '80s”. of the Political Man of Punk”. The Independent . UK. Esquire. New York City: Hearst. Retrieved August 22, Retrieved 28 August 2009. 2016. [112] Stockman, Steve (2005). Walk On: The Spiritual Journey of U2 (Relevant Media Group), p. 10. ISBN 0-97603572.1.9 5-8. [113] D'Ambrosio 2004, p. 262.
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[114] D'Ambrosio 2004, pp. 192, 251, 257, 298, 318–319. [115] Kot, Greg (4 September 2003). “Rancid: Indestructible". Rolling Stone. Archived from the original on 1 June 2008. Retrieved 28 August 2009. [116] Milner, Greg (25 September 2003). “Punk Survivors Keep Up the Fight”. Spin. Retrieved 28 August 2009.
•
•
[117] D'Ambrosio 2004, p. 257. [118] “Ten Modern Bands Inspired by The Clash”. ShortList.com. Retrieved 28 August 2009.
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[119] D'Ambrosio 2004, pp. 262–263. [120] “Single—'The Guns Of Brixton (Unplugged)'". Die Toten Hosen. Retrieved 2 September 2011. [121] Rachel, T. Cole (11 August 2011). “Progress Report: Jimmy Cliff”. Stereogum. Retrieved 2 September 2011. [122] “Dropkick Murphys — The Guns Of Brixton (The Clash Cover)". NME .
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[123] Anti-Heroes and Dropkick Murphys – Split at Discogs [124] Lannert, John (29 March 1997),“Latin Notas: Manzanera to Attend Latin Confab”, Billboard , p. 33. [125] Lannert, John (1 November 1997), “Latin Notas: IFPI Looks to Harmonize Sales Data”, Billboard , p. 42; Linhardt, Alexander Lloyd (16 October 2003). “Album Review: Café Tacuba—Cuatro Camino". Pitchfork. Retrieved 28 August 2009. Birchmeier, Jason. “Café Tacuba—Biography”. Allmusic. Retrieved 28 August 2009. Careaga, Roberto (17 January 2009). “Claudio Narea: El hombre que perdió todo por Los Prisioneros”. La Tercera. Retrieved 16 May 2010. [126] Campo 1998, p. 6. [127] Eddy 1997, p. 181.
•
•
•
•
Further reading
Clash, The (2008). The Clash: Strummer, Jones, Simonon, Headon. London: Atlantic Books. ISBN 1-84354-788-0. OCLC 236120343. Egan, Sean (2014). The Clash: The Only Band That Mattered . Maryland: Rowman & Littlefield. ISBN 978-0-8108-8875-3. Garcia, Danny (2013). The Rise And Fall Of The Clash. London: Thin Man Press. ISBN 978-09562473-2-2. Green, Johnny & Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890. Gruen, Bob & Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Kaye, Lenny; Lester Bangs; Kosmo Vinyl (2000) [1991]. Clash on Broadway (2nd ed.). New York: Sony Music. OCLC 54426634. Lowry, Ray (2007). The Clash. Warwick: Angry Penguin. ISBN 1-906283-36-2. OCLC 165412921. Miles, Barry (1981). The Clash. London and New York: Omnibus Press. OCLC 7676911. Needs, Kris (2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 0-85965-348X. OCLC 53155325. Quantick, David (2000). The Clash. Kill Your Idols. London: Unanimous. ISBN 1-903318-03-3. OCLC 59417418.
46 •
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CHAPTER 2. MAIN ARTICLE
Smith, Pennie (1980). The Clash: Before and After . Boston: Little, Brown. ISBN 0-316-80169-0. OCLC 8034340. Tobler, John & Barry Miles (1983). The Clash. London and New York: Omnibus. ISBN 0-71190288-7. OCLC 21335564.
2.1.10
External links
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Official website
•
“The Clash”. Rock and Roll Hall of Fame.
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The Clash Website
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The Clash’s channel on YouTube
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Legacy Recordings Official Site
•
Documentary of The Clash on YouTube by Google Play
Chapter 3
The members 3.1
Joe Strummer
“Strummer” redirects here. For those who strum stringed musical instruments, see strummers. John Graham Mellor (21
August 1952 – 22 December 2002), known by his stage name Joe Strummer, was a British musician, singer, actor and songwriter who was the co-founder, lyricist, rhythm guitarist and lead vocalist of the Clash, a punk rock band that was formed in 1976 as part of the originalwaveof British punk. Their music also incorporated elements of reggae, ska, dub, funk, rap, and rockabilly. The Clash were one of the most prominent of the emerging bands in the UK punk rock scene, with their second album, Give 'Em Enough Rope (1978) reaching number 2 on the UK charts. Soon after, they began achieving success in the US, starting with London Calling (1979), and peaking with 1982’s Combat Rock , reaching number 7 on the US charts and being certified 2× platinum there. The Clash’s politicised lyrics, musical experimentation, and rebellious attitude had a far-reaching influence on rock, and alternative rock in particular.[1] His musical experience included his membership of the 101ers, Latino Rockabilly War, the Mescaleros and the Pogues, in addition to his own solo music career. Strummer’s work as a musician allowed him to explore other interests, which included acting, creating film scores for television and movies, songwriting, radio broadcasting, and a position as a radio host. Strummer is one of the iconic figures of the British punk movement. Strummer and the Clash were inducted into the Rock and Roll Hall of Fame in January 2003. In his remembrance, Strummer’s friends and family established the Strummerville Foundation for the promotion of new music.
in the Scottish Highlands, was a nurse. His father, Ronald Mellor, was a British foreign service diplomat born in Lucknow, India. Ronald Mellor had an Armenian maternal grandfather and a German Jewishpaternal grandmother.[2] The family spent much time moving from place to place, and Strummer spent parts of his early childhood in Cairo, Mexico City, and Bonn. At the age of 9, Strummer and his older brother David, 10, began boarding at the City of London Freemen’s School in Surrey. Strummer rarely saw his parents during the next seven years. [A]t the age of nine I had to say good-bye to them because they went abroad to Africa or something. I went to boarding school and only saw them once a year after that – the Government paid for me to see my parents once a year. I was left on my own, and went to this school where thick rich people sent their thick rich kids. Another perk of my father’s job – it was a job with a lot of perks – all the fees were paid by the Government. — Joe Strummer[3]
He developed a love of rock music listening to records by Little Richard and the Beach Boys as well as American folk-singer Woody Guthrie.[4] (Strummer would even go by the nickname “Woody” for a few years). Strummer would later say that “the reason [he] played music was the Beach Boys”.[5] [David] was a year older than me. Funnily enough, you know, he was a Nazi. He was a member of the National Front. He was into the occult and he used to have these deaths-heads and cross-bones all over everything. He didn't like to talk to anybody, and I think suicide was the only way outfor him. What else could he havedone[?] —Joe Strummer[3] 3.1.1 Biography and career By 1970 his brother David had become estranged from The early years (1952–1976) his family and had joined the National Front. His suicide in July profoundly affected Strummer, as did havJoe Strummer was born John Graham Mellor in Ankara, ing to identify his body after it had lain undiscovered Turkey, on 21 August 1952. His mother, Anna Macken- for three days.[2] After finishing his time at City of Lonzie, a crofter's daughter born and raised in Bonar Bridge don Freemen’s School, Ashtead Park, Surrey, in 1970, 47
48 Strummer moved on to the Central School of Art and Design in London,[6] where he briefly flirted with the idea of becoming a professional cartoonist and completed a one-year foundation course.[7] During this time, Mellor shared a flatin thenorthLondon suburb of Palmers Green with friends Clive Timperley and Tymon Dogg. In 1971 Strummer became a vegetarian and remained one until his death.[8] I bought a ukulele. No kidding. I saved some money, £1.99 I think, and bought it down Shaftesbury Avenue. Then the guy I was busking with taught me to play Johnny Be Good. [...] I was on my own for the first time with this ukulele and Johnny Be Good. And that’s how I started. —Joe Strummer[3] In 1973 Strummer moved to Newport, Wales. He did not study at Newport College of Art but met up with college musicians in the Students’ Union in Stow Hill and became vocalist for Flaming Youth, renaming the band the Vultures.[9] The Vultures[1] included three former members of Rip Off Park Rock & Roll Allstars, the original college band co-founded by Terry Earl Taylor. For the next year he was the band’s part-time singer and rhythm guitarist. During this time Strummer also worked as a gravedigger in St Woolos Cemetery.[10][11] In 1974, the band fell apart and he moved back to London where he met up again with Tymon Dogg. He did street performance for a while and then decided to form another band with his West London roommates. The band was called the 101ers,[1] named after the address of their squat (101 Walterton Road, in Maida Vale).[9][12] The band played many gigs in London pubs, playing covers of popular American R&B and blues songs. In 1975 he stopped calling himself “Woody” Mellor and adopted the stage name of Joe Strummer, and insisted that his friends call him by that name. The name “Strummer” apparently referred to his role as rhythm guitarist, in a rather self-deprecating way. Though left-handed, he was taught to play right-handed by his friend Tymon Dogg. Strummer was the lead singer of the 101ers and began to write original songs for the group. One song he wrote was inspired by his girlfriend at the time, Slits drummer Palmolive. The group liked the song “Keys to Your Heart”, and picked it as their first single.[3]
The Clash (1976–86)
Main article: The Clash On 3 April 1976, the then-unknown Sex Pistols opened for The 101ers at a venue called the Nashville Rooms in London, and Strummer was impressed by them.[1] Sometime after the show, Strummer was approached by Bernie Rhodes and Mick Jones. Jones was from the band London SS and wanted Strummer to join as lead singer. Strummer agreed to leave the 101ersandjoin Jones, bassist Paul
CHAPTER 3. THE MEMBERS
Simonon, drummer Terry Chimes and guitarist Keith Levene.[12] The band was named the Clash by Simonon and made their debut on 4 July 1976, opening for the Sex Pistols at the Black Swan (a.k.a. the Mucky Duck, now known as the Boardwalk Sheffield, England).[12] On 25 January 1977, the band signed with CBS Records as a three-piece after Levene was fired from the band and Chimes quit. Drummer Topper Headon later became the band’s full-time drummer. At the band’s induction into the Rock and Roll Hall of Fame, the Clash was said to be “considered one of the most overtly political, explosive and exciting bands in rock and roll history”.[13] Their songs tackled social decay, unemployment, racism, police brutality, political and social repression, and militarism in detail. Strummer was involved with the Anti-Nazi League and Rock Against Racism campaigns. He later also gave his support to the Rock Against the Rich series of concerts organised by the anarchist organisation Class War. The Clash’s London Calling album was voted best album of the 1980s by Rolling Stone magazine (although it was released in late 1979 in the UK; it was released in 1980 in the USA).[14] During his time with the Clash, Strummer, along with his bandmates, became notorious for getting in trouble with the law. On 10 June 1977, he and Headon were arrested for spray-painting “The Clash” on a wall in a hotel. On 20 May 1980, he was arrested for hitting a violent member of the audience with his guitar during a performance in Hamburg, Germany. This incident shocked Strummer, and had a lasting personal impact on him. Strummer said, “It was a watershed—violence had really controlled me for once”. He determined never again to fight violence with violence.[2] Before the album Combat Rock was released in 1982, Strummer wilfully went into hiding and band management represented that he had “disappeared”. Bernie Rhodes, the band’s manager, pressured Joe to do so because tickets were selling slowly for the Scottish leg of an upcomingtour.[2] It was planned for Strummer to travel to Texas in secret and stay with his friend, musician Joe Ely. However, Strummer, uneasy with his decision, decided to genuinely disappear and “dicked around” in France. During this time, Strummer ran the Paris Marathon in April 1982. He claimed his training regime consisted of 10 pints of beer the night before the race. For this period of time, Joe’s whereabouts were not only a mystery to the public, but the band’s management as well. Joe later said this was a huge mistake and you “have to have some regrets”. This was in spite of the popular success of the single "Rock the Casbah". During this time band members began to argue a lot, and with tensions high, the group began to fall apart.[12] In September 1983, Strummer issued the infamous “Clash Communique”, and fired Mick Jones.[12] Topper Headon had earlier been kicked out of the band because of his heroin addiction, and Terry Chimes was brought
3.1. JOE STRUMMER
back temporarily to fill his place until the permanent replacement, Pete Howard, could be found. This left the band with only two of its original members, Strummer and Simonon. Rhodes persuaded Strummer to carry on, adding two new guitarists. [12] Under this lineup, “The Clash Mark Two”, they released the album Cut the Crap in 1985. The album was panned by fans and critics alike and Strummer disbanded the Clash. The disintegration of the band and the reasons behind it are the subject of Danny Garcia’s 2012/3 book and documentary, The Rise and Fall of the Clash.[15] Solo career and soundtrack work (1986–1999)
Strummer, backing with the Pogues in Japan. Photo: Masao Nakagami
A year later, Strummer worked on several songs for the 1986 film Sid and Nancy , including “Love Kills” and “Dum Dum Club”. Strummer also later worked with Mick Jones and his band Big Audio Dynamite, contributing to the band’s second studio album by co-writing most of the songs as well as producing the album along with Jones. In 1987, he played a small part in the film Walker , directed by Alex Cox, as a character named “Faucet” and wrote and performed on the film’s soundtrack. He starred in another Cox film that same year called Straight to Hell , as the character Simms. Straight to Hell also featured London-Irish folk/punk band the Pogues, both as actors and contributors to the soundtrack. Strummer joined the Pogues for a tour in 1987/88, filling in for ailing guitarist Philip Chevron, who wrote (in May 2008) on the band’s online forum: “When I was sick in late 1987, I taught Joe all the guitar parts in an afternoon and he was on tour in the USA as deputy guitarist the next day. Joe wrote all the tabs in his meticulously neat hand on a long piece of paper which he taped to the top of the guitar so he could glance down occasionally when he wasonstage.” Thistour would be the first of several collaborations with the band. In 1989, Strummer appeared in Jim Jarmusch's film Mystery Train as a drunken, short-tempered drifter named Johnny (whom most characters refer to as Elvis, much to Johnny’s dismay). He made a cameo appearance
49 in Aki Kaurismäki's 1990 film I Hired a Contract Killer as a guitarist in a pub, performing two songs (“Burning Lights” and “Afro-Cuban Bebop”). These were released as a promotional 7-inch single limited to a few hundred copies, credited to “Joe Strummer & the Astro Physicians”. The “Astro Physicians” were in fact the Pogues (“Afro-Cuban Bebop” got a re-release on the Pogues’ 2008 box set). During this time Strummer continued to act, write and produce soundtracks for various films, most notably the soundtrack for Grosse Pointe Blank (1997). In 1989 Strummer produced a solo record with the band the Latino Rockabilly War in 1989. The album Earthquake Weather was a critical and commercial flop, and resulted in the loss of his contractwith Sony Records. He also did the soundtrack to the movie Permanent Record with this band. Strummer was asked by the Pogues, who were fracturing as a band, to help them produce their next album, releasedin1990as Hell’s Ditch. In 1991, he replacedShane MacGowan as singer of the Pogues for a tour after MacGowan’s departure from the band. One night of this tour was professionally recorded, and three tracks (“I Fought the Law”, “London Calling”, and “Turkish Song of the Damned”) have seen release as b-sides and again on the Pogues’ 2008 box set. On 16 April 1994, Strummer joined Czech-American band Dirty Pictures on stage in Prague at the Repre Club in Obecni Dum at “Rock for Refugees”, a benefit concert for people left displaced by the war in Bosnia. Although the set appeared impromptu, Strummer and the band had spent the days leading up to the eventrehearsing and “hanging out” in Prague. The show began with “London Calling” and without pause went into “Brand New Cadillac”. In the middle of the song, the power went out. Once the power was back on, Strummer asked the audience whether or not they would mind if the band started over. They then began again with “London Calling” and continued on for another half-hour. After these self-described “wilderness years”, Strummer began working with other bands; he played piano on the 1995 UK hit of the Levellers, “Just the One” and appeared on the Black Grape single “England’s Irie” in 1996. In 1997, while in New York City, he worked with noted producer and engineer Lee Perry on remixed Clash and 101ers reissue dub material. In collaboration with percussionist Pablo Cook, Strummer wrote and performedthe soundtrack to Tunnel of Love (Robert Wallace 1997) that was featured in the Cannes Film Festival in the same year. In 1998, he made a guest appearance on the animated television show, South Park and appeared on the album Chef Aid: The South Park Album featuring songs from and inspired by the series. During this time, Strummer was engaged in a legal dispute with the Clash’s record label, Epic Records. The disagreement lasted nearly eight years and ended with the
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CHAPTER 3. THE MEMBERS
label agreeing to let him record solo records with another label. If the Clash were to reunite though, they would have to record for Sony. During the nineties, Strummer was a DJ on the BBC World Service with his half-hour programme London Calling. Samples from the series provide the vocals for “Midnight Jam” on Joe Strummer and the Mescaleros’ final album Streetcore. The Mescaleros and other work (1999–2002)
In the mid-to-late 1990s, Strummer gathered top-flight musicians into a backing band he called the Mescaleros. Strummer and the band signed with Mercury Records, and released their first album in 1999, which was cowritten with Antony Genn, called Rock Art and the X-Ray Style. A tour of England, Europe, and North America soon followed; sets included several Clash fan favourites. This is my Indian summer ... I learnt that fame is an illusion and everything about it is just a joke. I'm far more dangerous now, because I don't care at all. — Joe Strummer to Chris Salewicz – 2000[9] In 2001, the band signed with Californian punk label Hellcat Records and released their second studio album, Global a Go-Go. The album was supported with a 21-date tour of North America, Britain, and Ireland. Once again, these concerts featured Clash material ("London’s Burning", “Rudie Can't Fail”, "(White Man) In Hammersmith Palais"), as well as covers of reggae and ska hits ("The Harder They Come", “A Message to You, Rudy”) and the band regularly closed the show by playing the Ramones' "Blitzkrieg Bop". He coveredBob Marley's "Redemption Song" with Johnny Cash. In the same year, Strummer and the Mescaleros performed the song "Minstrel Boy" for the film Black Hawk Down, a haunting and emotive Celtic tune that is played during the evacuation of PFC Todd Blackburn during the Battle of Mogadishu and again over the end credits.
Strummer performing in Brooklyn, April 2002
On 15 November 2002, Strummer and the Mescaleros played a benefit show for striking fire fighters in London, at the Acton Town Hall. Mick Jones was in the audience, andjoined theband on stage duringthe Clash’s “Bankrobber”. An encore followed with Jones playing guitar and singing on “White Riot” and “London’s Burning”. This performance marked the first time since 1983 that Strummer and Jones had performed together on stage. [13] Jones later remarked that it was totally unplanned and that he felt compelled to join Strummer on stage. Strummer’s final regular gig was at Liverpool Academy on 22 November 2002, yet his final performance, just two weeks before his death, was in a small club venue 'The Palace' in Bridgwater, Somerset, near his home. Shortly before his death, Strummer and U2's Bono co-wrote a song, "46664", for Nelson Mandela as part of a campaign against AIDS in Africa. Strummer had been scheduled to play at Mandela’s SOS fundraising concert in February 2003 on Robben Island. Mick Jones later recorded a version of the song in studio, performing both the vocals and guitar work, that has yet to be formally released.
Death and legacy (2002–present)
On-stage Strummer wires himself up into an inhuman dynamo of sweaty, trembling flesh, fearful enough to have one wondering when the ambulance brigade will rush to his rescue with a straight-jacket. While he tilts his bullet head at acute angles, his agonising face screwed into an open wound, he wields his Telecaster like a chain saw. His magnetism is totally original – more like an Olympic strong man imploding all his energy into a final recordbreaking lift than anything seen on a rock'n'roll stage before. Off-stage, he’s the Clash member with the lowest profile. —Caroline Coon[3] Strummer died suddenly on 22 December 2002 in his home at Broomfield in Somerset, the victim of an undiagnosed congenital heart defect.[13][16][17] His estate was valued at just under £1 million, and he left all the money to his wife Lucinda.[18] Strummer was cremated, and his ashes were given to his family. Strummer was instrumental in setting up Future Forests (since rechristened the Carbon Neutral Company), dedicated to planting trees in various parts of the world to combat global warming.[19] Strummer was the first artist to make the recording, pressing and distribution of his records carbon neutral through the planting of trees. [19][20][21] In his remembrance, Strummer’s friends and family have established the Strummerville Foundation for the promotion of new music.[22] The foundation also holds an annual festival with the same name. In January 2003, the Clash were inducted into the Rock and Roll Hall of Fame.[13] At the Grammy Awards in February 2003, “London Calling”was performed byElvis
3.1. JOE STRUMMER
Costello, Bruce Springsteen, Steven Van Zandt, Dave Grohl, Pete Thomas, and Tony Kanal in tribute to Strummer. Another tribute to Strummer occurred in the same month at the rock club Debaser in Stockholm, when some of Sweden’s most famous rock musicians paid their tribute to Strummer by performing songs written by the Clash (the exception was Nicke Borg and Dregen from Backyard Babies, who performed "I Fought the Law", which the Clash had covered). At the end of the concert, the Swedish punk band Ebba Grön reunited for the tribute, aided by Mick Jones on guitar. At the time of his death, Strummer was working on another Mescaleros album, which was released posthumously in October 2003 under the title Streetcore. The album features a tribute to Johnny Cash, “Long Shadow”, which was written for Cash to sing and recorded in Rick Rubin's garage, as well as a remembrance of the terrorist attacks on 11 September 2001 (“Ramshackle Day Parade”), and a cover of Bob Marley's "Redemption Song", which Strummer had also recorded as a duet with Cash. The Cash/Strummer duet version appears on the 2003 box set Unearthed . November 2003 saw the release of a video for “Redemption Song”, directed by Josh Cheuse. The video features the painting of a memorial mural, by graffiti artist REVOLT, on the wall of the Niagara Bar in the East Village of New York City.[23] On 22 December 2003, a year after his death, a tribute show/benefit was held at Irving Plaza in NYC. Bands that played were: Ari Up; Clem Snide; the Detachment Kit; Dirty Mary; Hammel on Trial; Jesse Malin; New Blood Revival; the Realistics; Eugene Hütz; Radio 4; Secret Army; Ted Leo; Vic Thrill & the Saturn Missile.[24] The show was videotaped by punkcast.com but is as yet unreleased. The Belfast punk rock group Stiff Little Fingers recorded a tribute song“Strummerville” on their album, Guitar and Drum. Al Barr, lead singer of the Boston punk band Dropkick Murphys, named his son Strummer in honour of Joe.[25] German band Beatsteaks pay tribute to Strummer on their album Smack Smash with the song “Hello Joe”. In 2004, German punk band Die Toten Hosen released an EP called “Friss oder stirb”, which included a tribute song for Strummer called “Goodbye Garageland”, which is a lyrical co-production with Matt Dangerfield from London’s 77 punk band the Boys. Boston Punk Rock Band Street Dogs recorded a tribute song called “The General’s Boombox” on their album State of Grace, and New Jersey’s the Gaslight Anthem recorded the song “I'da Called You Woody, Joe” on their album Sink or Swim. Attila the Stockbroker's Barnstormer released “Comandante Joe” on their album Zero Tolerance. On 12 February 2005, the Class 47 locomotive 47828 was named “Joe Strummer”. The nameplates were unveiled by his widow Lucinda Tait in a ceremony at Bristol
51 Temple Meads railway station.[26] On 22 July 2005 Tait unveiled a plaque on the house in Pentonville, Newport where Strummer lived from 1973 to 1974 and where his first foray into recorded music, “Crummy Bum Blues” was recorded.[27] “That Was Clash Radio”, a short story by Charles de Lint, was written in response to Strummer’s death and features Strummer in a minor role.[28] New Orleans-based rockers Cowboy Mouth released a song called “Joe Strummer” on their album Voodoo Shoppe. The song tells the story of a man who had to break up with his girlfriend because "...she didn't know who/Joe Strummer was.” The popular track is a tonguein-cheek salute to Strummer and The Clash that received significant radio play in 2006. In addition, the Joe Pernice-penned “High As a Kite”, included on the Pernice Brothers' 2006 album Live a Little, was, in part a tribute to Joe Strummer. Lyrics included, “Heavy downbeat of one and the show began/London calling, strike up the contraband” and the memorable opening to the chorus, “We wore pictures of Strummer.” A play by Paul Hodson called Meeting Joe Strummer premiered at the Edinburgh Festival in 2006, and toured the UK the following year.[29] In conjunction with the Strummer estate, Fender released the Joe Strummer Tribute Telecaster, combining elements of Joe’s main guitars, namely an attempt at the “road worn” finish of his 1966 Telecaster, which he used until his death. The first 1,500 guitars come with a Shepard Fairey designed “Customisation kit” with stickers and stencils, which resemble some of the designs Strummer used on his guitars.[30] Joe Strummer’s impact is referenced by the Hold Steady in the song “Constructive Summer”, a song featured on their 2008 album Stay Positive. In this song the band sings “Raise a toast to Saint Joe Strummer. I think he might havebeen ouronly decent teacher.” In November 2009, Tonara, a town in Sardinia, Italy, dedicated a street to Joe Strummer.[31] On 22 December 2010, CJAM 99.1 FM, a radio station in Windsor, Ontario, Canada, declared the eighth anniversary of his death “Joe Strummer Day to confront poverty in Windsor-Detroit.” For 24-hours, the station played nothing but Strummer-related music, wrapping the sounds around reports about poverty from North America’s hardest hit economic region—WindsorDetroit. CJAM (which is located near the banks of the Detroit River, a kilometre from downtown Detroit) and its board of directors have since officially decided to make it a yearly event, and is hosting its 7th Annual Joe Strummer Day on 22 December 2016. In January 2011 a motion was started to grant Strummer his own street in the Spanish city of Granada.[32] On 21 August 2012 and what would have been Strummer’s 60th birthday, Hellcat Records released an exclusive 57 song digital download album titled Joe Strummer and the Mescaleros, The Hellcat Years . The album fea-
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CHAPTER CHAPTER 3. THE MEMBERS MEMBERS
tures Strummer’s three Hellcat albums along with various b-sides and live songs including Strummer’s 15 November 2002 concert concert which which featured eatured Mick Jones. Jones. Hellcat Hellcat also announced that on 25 September 2012 they will rerelease release remastered remastered versions of Strummer’s three records he recorded for Hellcat on both CD and vinyl.[33] and Strummer’s 15 Nov. Nov. 2002 concert, concert, Live at Acton Town Hall was was released as well through Hellcat Hellcat on 23 November 2012 as an exclusive limited to 2200 copies 2 LP vinyl for Record for Record Store Day. Day. In January 2013, Joe Strummer had a plaza named in his honour in the Spanish city of Granada.[34] Placeta Joe Strummer is at N37.16892 W3.58771 (722m) on a junction between three narrow roads the Calle Vistillas de Los Angeles, the Cuesta Escoriaza and the Calle Paseo Palmas. About 650m south of the Alhambra.[35] In June 2013 a mural of Strummer was unveiled on the corner of Portobello of Portobello Road and Road and Blenheim Crescent. The unveiling was attended by a number of Strummer’s former friends including Mick including Mick Jones and Jones and Ray Ray Gange. Gange.[36] In an October 2013 interview, Mick Jones confirmed that Strummer indeed had intentions of reforming the Clash Clash and new music music was even even being written. written. In the months prior to Strummer’s death, he and Jones got together to write new music. Jones said at the time he assumed the new songs would be used on albums with the Mescaleros. A few months following their work together, Jones ran into Strummer at an event event and asked him what he intended to do with those songs. Strummer informed Jones that they were going to be used for the next Clash record.[37] 3.1.2
Marriages Marriages and relationsh relationships ips
In 1975, after being offered £120, Strummer married Pamela Moolman, a South African citizen, so she could obtain obtain British British citize citizensh nship. ip. He bought bought his signat signature ure Fender Telecaster,, later painted black, with the money. Telecaster money. In 1978, Strummer started a relationship with Gaby Salter shortly after her 17th birthday. birthday.[2] The couple remained together for 14 years and had two daughters, Jazz and Lola, but did not marry as Strummer had been unable to locate and divorce Moolman.[2] During his relationship relationship with Salter, he had multiple affairs spanning the 1980s. [2] In 1993, Strummer began an affair with Lucinda Tait, which finally ended his relationship with Gaby Salter.[2] Strum Strumme merr and Tait Tait marri married ed in 1995 1995 andre and remai mained ned so until until [38] his death in 2002 from cardiac arrest. 3.1.3 3.1.3
Docume Documenta ntarie riess
Let’s Rock Again! is a one-hour music documentary, di-
rected by Dick by Dick Rude, Rude, that follows Strummer as he tours in America and Japan with the Mescaleros. It premiered at the Tribeca the Tribeca Film Festival in Festival in New York, May 2004.
Redemption Song: The Ballad of Joe Strummer is is a 2006
biography of Strummer by Chris Salewicz.[2] Joe Strummer: Strummer: The Future Future Is Unwritten Unwritten is a documentary about Joe Strummer by Julien by Julien Temple. Temple. It comprises archive footage of him spanning his life, and interviews with friends, family, and other celebrities. It debuted at the 2007 Sundance 2007 Sundance Film Festival. Festival.[39][40][41] Tribute Tribute Concert: Concert: Cast a Long Shadow Shadow is a recording of the October 2007 tribute and benefit concert held in honour of Joe Strummer in Los Angeles. It features Love features Love & Rockets,, Zander Schl Rockets Schloss oss,, Hellride and many many other other artis artists. ts. It was released in DVD format as by MVD Videos in December 2010.[42] Let Fury Have the Hour is is a documentary directed by
Antonino D'Ambrosio, D'Ambrosio, in which the figure of Strummer “looms large in the background”.[43] The movie debuted at the 2012 Tribeca 2012 Tribeca Film Festival. Festival.[44] Quiero tener una ferretería en Andalucía is a 2014 documentary about Joe Strummer’s relationship with Andalucia, and especially with Almeria, where he lived in the 1980s and '90s. I Need a Dodge! Joe Strummer on the Run Run is a 2015 docudocumentary by Nick by Nick Hall. Hall. It revolves around Strummer’s life in Spain and tells the story of the mysterious disappearance of his beloved Dodge convertible.
3.1.4 3.1.4
Musica Musicall equipm equipmen entt
Strummer’s main guitar throughout his career was a 1966 Fender Telecaster that Telecaster that originally came in a three-colour sunburst with a white pickguard. Strummer acquired acquired the guitar in middle of 1975 while playing with the with the 101ers. 101ers. After joining the Clash, the guitar’s body and pickguard were refinished in grey auto primer and then painted black. By 1979, the word NOISE was stencil stenciled ed on the upper part of the body, a rasta a rasta flag sticker flag sticker was placed at the horn of the pickguard, and an “Ignore Alien Orders” ders” sticker sticker was placed above above the bridge. bridge. By the release of Give ‘Em Enough Rope, the guitar was fitted with a bridge with individual saddles and the original Kluson tuners were replaced with later model tuners and a large question mark was spraypainted on its back. The guitar would remain in this configuration throughout his career with the addition of stickers on its body. Thegui The guitar tar’s ’s blac blackk paint paint became becamewo worn rn down down dueto due to Strum Strum-mer’s playing and on many places the original sunburst finish finish andbar and baree wood wood shine shiness throu through gh,, exce except pt for the the squar squaree where Strummer Strummer taped his setlists. In 2012 modern artist Karl Haglund paid Haglund paid tribute to this guitar in one of his iconic guitar paintings.[45][46] The Fender The Fender Custom Shop has created a Joe Strummer tribute Telecaster with a reliced flat black finish.[30] Strummer was naturally left-handed, but was taught to play guitar right-handed by his close friend Tymon friend Tymon Dogg. Dogg.
53
3.1. JOE STRUMM STRUMMER ER
Memorial to Strummer on 7th Street at Avenue A, New York York City.
nied by a large celebration, attended by Mick Jones. [55] 3.1.6 3.1.6
Discogr Discograph aphy y
The Clash
For For more more detai details ls on this this topic topic,, seeThe see The Clas Clashh disc discogra ography phy..
Strummer in 2001 with his guitar
The 101ers Solo
Strummer had reckoned his left-handedness on a righthand hand guit guitar ar as a draw drawba backand ckand clai claime medd it caus caused ed him him to be underdevelo underdeveloped ped as a guitarist, guitarist, although although his style of playing was unique. He also used three Fender Esquire Esquire models, one from 1952, a white blonde with slab fretboard from the mid1950s[47] and another from early to mid-1960s with a white pick guard and rosewood fingerboard.[48] The Esquire is a one-pickup version of the Telecaster. Prior to using any Telecaster oriented guitar, before buying his 1966 model, he used as main guitars a Gretsch a Gretsch White [49] Falcon and Falcon and a Hofner. For amplification Strummer was known to use amplifiers such as a Roland a Roland Jazz Chorus, Chorus, a Selmer Bassman while he was in the 101ers, a Vox a Vox AC30 and various various Marshall Marshallamplifiers amplifiers,,[50] buthis but hismai mainn amplifi amplifier er [51] wasa Musi Musicc Man HD 212,150. 212,150. Strummer commented commented on hisch his choi oice ce of ampli amplifie fierr with with “I don't don't have have time time to searc searchh for those old Fender tube amps. The Music Man is the close closest st thing thing to that that sound sound I've I've found” ound” andtha and thatt the“pl the “plas asti ticc [52] motif on the front is repulsive.” 3.1.5 3.1.5
The Latino Rockabilly War The Mescaleros Mescaleros
3.1.7 3.1.7
Select Selected ed filmogra filmograph phy y
3.1.8 3.1.8
In other other media media
•
•
The Bedroom Secrets of the Master Chefs , a novel by
Irvine Welsh published Welsh published in 2006, has a fictional Joe Strummer being implicated implicated in a paternity scandal. •
Mural Mural in New New York York City City
In 2013 the mural of Joe Strummer outside Niagara bar on the the East Vill Village age of Manha Manhatt ttan, an, New New York ork City City was was de[53] stroyed due to construction. On 19 September 2013, a new mural was unveiled.[54] The unveiling was accompa-
Joe Strummer and the Mescaleros appeared on the British British musici musician an JoolsHoll Jools Holland’s and’s show show Later in in 2000. 2000. Strummer, Warren Strummer, Warren Zevon, Zevon, and Tracy and Tracy Chapman, Chapman, as well as an ensemble cast, sang "I " I Fought the Law" Law" at the finale. The show, and this episode, is occasionally shown in the US on Ovation on Ovation TV. TV.
•
In the Ridley the Ridley Scott film Scott film Black Hawk Down, the song “Minstrel Boy” from the Mescaleros’ album "Global "Global a Go-Go" Go-Go" is featured featured during the evacuation evacuation of PFC Todd Todd Black Blackbur burnn during during the Battl Battlee of Mogadi Mogadish shuu and again over the end credits “Johnn “Johnnyy Apple Applesee seed”, d”, a song song from Joe Strum Strumme merr and the Mescaleros’ 2001 album Global a Go-Go, is feafrom m ture turedd as the the them themee song song to the the HBO HBO seri series es John fro Cincinnati , aired in the summer of 2007.
54 •
•
CHAPTER CHAPTER 3. THE MEMBERS MEMBERS
The song “Mondo Bongo” by Joe Strummer and the Mescaleros is featured in the 2005 movie Mr. & Mrs. Mr s. Smi Smith th. The song origina originally lly appear appeared ed in two different scenes during the movie, but was removed from the later scene in the Director’s Cut.
The 101ers were eventually supported by a nascent Sex Pistols. Pistols. Mellor Mellor adopted the stage name of “Joe Strummer”. Impressed Impressed by by the power power of the Sex the Sex Pistols, Pistols, the newly self-coined Strummer determined that the 101ers were “yesterday’s papers” by comparison. It was time to strike out anew. And this led to the start of The Clash. c) “This is my Indian summer...I learnt that fame is an illusion & everything about it is just a joke. I'm far more dangerous now, because I don't care at all.” – Joe Strummer to Chris Salewicz – 2000.
Joe Strummer wrote the (unused) title song for the 1997 film 'Divorcing Jack' based on the novel by Colin Colin Bateman, Bateman, which which exists exists as an an unrelea unreleased sed demo. demo. Various Clash music was included in the movie. His death is also the starting point for Bateman’s novel [10] Don J Whistance’s Whistance’s Clash Clash Site - “Joe the Early years” (Reyears” (Re'Driving Big Davie'. trieved 7 February 2014)
3.1.9 3.1.9
Ref Reference erencess
[11] JoeStrummer.org - “Bio” “Bio” (Retrieved (Retrieved 7 February 2014)
[12] Westway 2001. 2001. [1] “Strummer’ “Strummer’ss last lasting ing cult culture ure Clas Clash” h” (STM). (STM). Entertainment . BBC News News World World Edition. Edition. 23 December December 2002. Retrie Retrieved ved [13] “The Clash”. Clash”. Induction. The Rock and Roll Hall of Fame 20 November 2007. and Museum. 10 March 2003. Retrieved 19 November 2007. a) Quite simply, simply, the Clash were were among the most [2] Salewicz 2006. 2006. explosive explosive and exciting bands in rock and roll history. b, c) If not exactly a reunion, it was a rapprochement. rapprochement. On [3] Coon 1977. 1977. 15 November 2002, Jones and Strummer shared the stage f or thefirst time time in nearl nearlyy 20 years years,, perfo performi rming ng three three Clash Clash [4] Will Gilgrass. “Blogs Gilgrass. “Blogs - Now Playing @6Music - #Strumsongs during the encore of a London benefit show by Joe mer6Music”.. BBC. Retrieved 2013-06-17. mer6Music” Strummer Strummer and the Mescaleros. Mescaleros. This raised raised hopes for a [5] The Playlist Special Special – Sean Lennon, Lennon, Rolling Stone Clash reunion, which were dashed when Strummer died of a heart attack on 22 December 2002. [6] Brian Brian J. Bowe Bowe (2011) (2011).. The Cl Clash ash:: punk ro rock ck ban band d . Berkeley Heights, NJ : Enslow. ISBN 9780766032323. 9780766032323. p. 14. [14] “Clash star Strummer dies” (STM). dies” (STM). Entertainment . BBC Accessed August 2013. News World Edition. 27 December 2002. Retrieved 20 Novembe Novemberr 2007. Rolling Rolling Stone voted London Calling, Calling, [7] “Strummer’ “Strummer’ss last lasting ing cult culture ure Clas Clash” h” (STM). (STM). Entertainment . their classic 1980 album (released in 1979 in the UK) as BBC News News World World Edition. Edition. 23 December December 2002. Retrie Retrieved ved the best album of the Eighties. 20 November November 2007. 2007. a) Born John Graham Graham Mellor Mellor in 1952, Strummer was the son of a diplomat and was given Man a middle middle-c -clas lasss upbri upbringi nging ng at boardi boarding ng school school in Surre Surreyy be- [15] Garcia, Danny. The Rise and Fall of the Clash . Thin Man Press, London. ASIN London. ASIN B00ANX0V6M B00ANX0V6M. . fore going to study art in London – before deciding that it was a “lousy set up”. dies” . BBC News News.. 27 Decemb December er b, c, d) He had immersed himself in music since child- [16] “Clash star Strummer dies”. 2002. Retrieve Retri eved d 11 February Februa ry 2009. Joe Strummer, Strumm er, the hood, and his own musical career began when he started leader of legendary Seventies punk band The Clash, has street performing with a ukulele at Green Park tube stadied of a suspected heart heart attack aged 50. A spokesman spokesman tion. He played in two bands, the Vultures and the 101ers, for Strummer, real name John Graham Mellor, said the but when The Sex Pistols supported the 101ers in west singer died at home in Broomfield, Broomfield, Somerset, on Sunday. London in 1976, Strummer saw the possibilities open up for him and was inspired to form The Clash. [17] “Clash star Joe Strummer dies”. dies”. Entertainment . CNN. CNN. 23 December Decemb er 2002. Archiv Arch ived ed from the from the original original on on 17 [8] “Joe Strummer chicken story”. story”. YouTube YouTube.. 2008-02-03. 2008-02-03. November 2007. Retrieved 23 November 2007. StrumRetrieved 2014-05-20. mer, who was the band’s guitarist, vocalist and songwriter [9] Encoule, Jean (2003). “Joe Strummer – 1952–2002”. 1952–2002”. alongside alongside Mick Jones, died on Sunday at his farmhouse in trakMARX.com. Retrieved 17 November November 2007. a) Joe Somerset, southwestern England. Strummer was born in Ankara, Turkey, in 1952 & christened John Graham Graham Mellor. Mellor. His famil familyy spent time in [18] “Clash frontman Joe Strummer leaves £1m will”. will”. Daily Ankara, Cairo, Mexico City & Bonn, before Mellor reMail . 7 January 2007. Retrieved 23 November 2007. Joe turned to the UK to attend the City of London Freemen’s Strummer, the former frontman frontman of punk band The Clash, School in Surrey. Mellor left school & enrolled at Cenleft an estate worth nearly £1 million, it was revealed yestral College of Art but left “after about a week”, heading terday. straigh straightt for for the undergr underground ound & squat squat culture. culture. Mellor Mellor spent spent time time livin livingg in Wales, ales, playin playingg in knock knock-ab -about out bands bands andus- [19] “Joe Strummer’s Strummer’s Char Charity ity Work, Even Events ts and Causes”. Causes”. ing the nickname “Woody” inspired by Woody Guthrie’s Look to the Stars. Retrieved 29 March 2010. name. b) The The Vult Vultur ures es in time time led led to The The 101e 101ers rs,, a grou groupp of West est [20] “Forest tribute to Clash star”. star”. BBC News world edition. London-based squatters named after their squat address. 19 January 2003. Retrieved 29 March 2010.
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3.1. JOE STRUMM STRUMMER ER
[21] “YOUR PLANET – Part 2: 'I Want to Put Back What [34] “BBC News - Joe Strummer has a Spanish plaza named I'Ve Taken Out'". Out'". redOrbit. redOrbit.com. com. 20 Septem September ber 2005. in his honour”. honour”. Bbc.co.uk. 2013-01-16. Retrieved 2013Retrieve Retrievedd 29 March March 2010. Joe Strummer: Strummer: The world’s world’s 06-17. first carbon neutral artists, Joe Strummer was involved in Richardson, Martin (2013-07-02). “Went up a hill and setting up the company and his large forest on the Isle of [35] Richardson, came down: down: Pico de Veleta Veleta and Placeta Joe Strummer Strummer Skye has become a memorial to him. - Granada calling”. calling” . Oakesave.blogs Oakesave.blogspot.co.uk. pot.co.uk. Retrieved [22] “Strummerville: A Charity in Honour of Joe Strummer 2013-09-01. of The Clash: Whats It All About?". About?". Strummerville: The unveiling”. 15 June June 2013 2013.. ReReJoe Strummer Foundation for New Music. Retrieved 29 [36] “Joe Strummer mural unveiling”. trieved 9 July 2015. March 2010. Clash - Mic Mickk Jones: 'Secr 'Secret et Joe Stru Strummer mmer Tunes Tunes [23] D'Angelo, Joe (17 November 2003). “Joe Strummer [37] “The Clash Could Have Sparked The Clash’s Comeback'". Comeback'" . Contac Contactt Leaves Final Mark on New York With New Video” Music. Retrieved 2013-10-04. (JHTML). mtv . Retrieved 29 November 2007. Clip features cameos cameos by Rancid, Rancid, actor actor Matt Dillon, Dillon, filmmak filmmaker er Jim [38] http://www.mtv.com/news/1459290/ Jarmusch. autopsy-finds-joe-strummer-died-of-cardiac-arrest/ . Retrieved 2015-11-16. Missing or empty |title= (help ( help)) [24] “Fillmore NY @ Irving Irving Plaza – Artists”. Artists”. irvingplaza.com. Retrieved 29 November 2007. Joe Strummer Tribute – Wes (7 November November 2006). “Exclusive: StrumAri Up (of The Slits); Clem Snide; The Detachment Kit; [39] Orshoski, Wes mer Documentary To Premiere At Sundance” (JSP). Sundance” (JSP). BillDirty Mary; Hammel on Trial; Jesse Malin; New Blood board . Retrieved 29 November 2007. “The Future is UnRevival; The Realistics; Radio 4; Secret Army; Ted Leo written”, Julien Temple’s new film on the life and career (solo); and special guests of late Clash frontman Joe Strummer, will have its U.S. premiere premiere in mid-January at the Sundance Film Festival Festival in [25] [25] Helmer, Helmer, April April (23 April April 2004). 2004). “Drop “Dropkic kickk MurPark City, Utah. physs alw phy always ays sing loud, prou proud” d”.. The Express-Times Express-Times . Dropkickmurphys.com.. Archived from the Dropkickmurphys.com from the original on original on 20 [40] “BB “BBC C – So Some mers rset et – In Pi Pict ctur ures es – Jo Joee St Stru rumm mmer er”” October 2007. Retrieved 13 March 2008. (SHTML). Where I Live – Somerset – Celebrities and Events . BBC News. Retrieved 29 November 2007. Julien [26] “Engine named after Clash singer” (STM). singer” (STM). BBC NEWS. Temple’s biopic of The Clash front man, entitled Joe 12 February 2005. Retrieved 6 July 2007. The Class 47 Strummer: The Future Is Unwritten, Unwritten, receives its premiere premiere Diesel, which is owned by Cotswold Rail, is being named at The Palace in Bridgwater on Saturday, 5 May 2007. after the singer, who lived lived in Bridgwater, Somerset. He This photo is of a campfire in Somerset. died aged 50 in 2002.”... ..."The ..."The locomotiv locomotive, e, and plaque plaque showing showing Strummer Strummer’s ’s Kevin (26 January 2007). “Sundance 2007). “Sundance Review: Joe name, were unveiled at Bristol Temple Meads station by [41] Kelly, Kevin Strummer: The Future is Unwritten”. Unwritten”. cinematical.com. cinematical.com. his wife, Lucinda. Retrieved 29 November November 2007. If you can imagine what it would be like to try to document the life of one of your [27] “Plaq “Plaque ue fo forr Cla Clash sh le legen gendd St Strum rummer mer”” (STM). (STM). BBC closest friends after their death, and to assemble everyNEWS. 22 July 2005. Retrieved 29 November 2007. The thing into feature film length, you can probably see how friend friend who arranged for a tribute t ribute plaque to Joe Jo e Strummer difficult the process might be. on the house where the punk legend wrote his first song admits he would have hated it. [42] MVD Visual at Visual at AllMusic AllMusic.. Retrieved 10 December 2010. [28] de Lint, Charles (2005). Charles (2005). The Hour Before Dawn . Burton, Defore, John (10 April 2012). 2012). “Let Fury Have the Hour”. Hour”. MI: Subterranean Press. pp. 10–11. ISBN 10–11. ISBN 1-59606-027- [43] Defore, hollywoodreporter.com. hollyw oodreporter.com. Retrieved 11 January 2015. 1. Goldstein, n, Gary (January (January 2013). 2013). “Revi “Review: ew: 'Let 'Let Fury Hav Havee [29] “MEETING JOE STRUMMER”. STRUMMER”. Middle Middle Ground Ground The- [44] Goldstei the Hour' doc featur features es artistic protest”. protest”. LA Times . atre Company. Retrieved 29 March 2010. [30] “Joe Strummer”. Strummer”. fender.com. Retrieved 29 March 2010. Related articles: •
“Strummer Telecaster Guitar Based on Legendary Clash Leader’s Famous DIY Instrument”. Instrument”. Fender. Retrieved 29 March 2010.
[45] Archived 13 Archived 13 October 2012 at the Wayback the Wayback Machine. Machine. [46] “A tribute to Joe Strummers Fender Telecaster guitar”. guitar”. Strummerguitar.com. Strummerguitar.com. 1976-04-10. Retrieved 2013-0617.
[47] “Maximum Energy: Energy: The Gear of the Original Original Punks” Punks”.. Premier Guitar. Retrieved 2012-03-26. [31] Buquicchio, Cesare (19 November 2009). “Sardegna punk, una via per Joe Strummer” (in Strummer” (in Italian). L'Unità. L'Unità. [48] “A tribute to Joe Strummers Fender Telecaster guitar”. guitar”. Retrieved 29 March 2010. Strummer Strummerguita guitar.com r.com.. 10 April 1976. 1976. Retrieve Retrievedd 201203-26. [32] Archived 16 Archived 16 January 2011 at the Wayback the Wayback Machine. Machine. [33] Cericola, Rachel. “Hellcat Rachel. “Hellcat Records Celebrates 60 Years [49] “A tribute to Joe Strummers Fender Telecaster guitar”. guitar”. of Joe Strummer With Digital Release | GeekMom”. GeekMom”. Strummerguitar.com. Strummerguitar.com. 1976-04-10. Retrieved 2014-05Wired.com. Retrieved 2013-06-17. 20.
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CHAPTER CHAPTER 3. THE MEMBERS MEMBERS
[50] “Unknown Forum”. Forum”. 2013-06-17.
Websit ebsitetoo etoolbo lbox.c x.com. om. Retri Retriev eved ed
•
Have Have the Hour: Hour: The Punk Punk Rock Rock Polit Politics ics of Joe Joe StrumStrummer . New York: York: Nation Nation Books. Books. ISBN 1-56025-
[51] Archived 17 Archived 17 February 2012 at the Wayback the Wayback Machine. Machine.
625-7. OCLC 56988650. 625-7. 56988650. Edited with an Introduction by Antonino D'Ambrosio.
[52] Musician Magazine 1980 [53] “Joe Strummer”. Strummer”. EV Grieve. Retrieved 2014-05-20.
•
[54] “East “East Seventh Seventh Street, Street, 4:31 p.m., Sept. 19” 19”.. EV Griev Grieve. e. 2013-09-19. Retrieved 2014-05-20. [55] “Joe Strummer mural unveiling on 7th Street (Niagra) East Village (Lower East Side)". Side)" . YouTube. 2013-09-19. Retrieved 2014-05-20.
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•
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Coon, Caroline (1977). Caroline (1977). 1988: The New Wave Punk Rock Explosion. London: Hawthorn. ISBN Hawthorn. ISBN 0-80156129-9.. OCLC 79262599. 6129-9 79262599. D'Ambrosio, Antonino (2012). Antonino (2012). Let Fury Have the Hour: Joe Strummer, Punk, and the Movement that Shook the World . New York: Nation Books. ISBN Books. ISBN
•
9781568587196.. 9781568587196 •
Salewicz, Salewicz, Chris (2006). Redemption Song: The Ballad of Joe Strummer . New York: Macmillan. ISBN Macmillan. ISBN 978-0-571-21178-4.. OCLC 76794852. 978-0-571-21178-4 76794852.
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Films and documentaries documentaries • •
•
D'Ambrosio Antonino; Antonino; Joe Strummer, Billy Strummer, Billy Bragg, Bragg, Wayne Kramer, Kramer, Tom Morello, Morello, Gogol Bordello, Bordello, Eve Ensler,, Antibalas Ensler Antibalas,, Thievery Corporation, Corporation, Tommy Guerrero,, Chuck D, Guerrero D, Boots Riley, Riley, Manu Chao, Chao, Ted Leo,, Hari Kunzru, Leo Kunzru, Edwidge Danticat, Danticat, Suheir Hammad,, Stace mad Staceyann yann Chin Chin,, TheCoup TheCoup,, John Say Sayles les,, Lewis Black,, Ian Mackaye, Black Mackaye, Fugazi, Fugazi, Minor Threat, Threat, Sean Hayes,, Public Hayes PublicEnemy Enemy,, The Komi Kominas nas,, Street StreetSweeper Sweeper Social Club, Club, The Slackers, Slackers, El Meswy, Meswy, DJ Spooky, Spooky, Fury Have Have the Ho Hour ur Eugene Hutz (2012). Let Fury (DVD). New York, NY: SNAGFilms; A Bricklayers Union Production. Retrieved 2013-04-10. Letts Letts Don Don;; Rick Rick Elgood, Elgood, Joe Strummer Strummer,, Mic Mickk Jone Joness, Paul Simonon, Simonon, Topper Headon, Headon, Terry Chimes, Chimes, The Clash: Westwa estwayy to the World World Clash (2001). Clash (2001). The Clash: (DVD). New York: Sony Music Entertainment; Entertainment; Dorismo Dorismo;; Uptown Uptown Films. Films. Event Event occurs occurs at 3:50– 4:50; 8:40–11:40. ISBN 0-7389-0082-6. 0-7389-0082-6. OCLC 49798077.. 49798077
Davie, Davie, Anth Anthony ony (2004).
Joe Strum Strumme merr & the the Mescaleros: Mescaleros: New and Previously Previously Unpublished Photographs . Nort Northa hamp mpto ton: n: Eff Effec ecti tive ve.. ISB ISBN N 00-
9548568-1-3.. OCLC 64898380. 9548568-1-3 64898380.
Sources Books
Fury D'Ambrosio, D'Ambrosio, Antonino Antonino(13 (13 October October2004) 2004).. Let Fury
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Vision of a Homelan Homeland: d: Davie, Anthony (2004). Vision The History of Joe Strummer & the Mescaleros . Northampton: Effectiv Effective. e. ISBN 0-9548568-0-5 0-9548568-0-5.. OCLC 123775358. 123775358.
DeCurtis, Anthony Anthony(2003 (2003). ). “1952–2002 “1952–2002 Joe StrumStrummer – A tribute to the late Clash singer and songwriter, plus his final remarks on the rise and fall of the legendary punk band”. Rolling stone. San Francisco, CA: Straight CA: Straight Arrow. Arrow. 914 (27). ISSN 0035791X.. OCLC 96002520. 791X 96002520. Ferraz, Rob (August 2001). “Joe Strummer & The Clash – Revolution Rock”. Rock”. Exclaim!. Retrieved 22 December 2010. Passion Is a FashFash Gilbert, Gilbert, Pat (2005) [2004]. [2004]. Passion ion: The Real Real Story of The Clash Clash (4th (4th ed.). ed.). London: Aurum Press. Press. ISBN 1-84513-113-4. 1-84513-113-4. OCLC 61177239.. 61177239 Clash: Return Return Gray, Marcus (2005) [1995]. The Clash: of the Last Gang in Town (5th (5th rev. rev. ed.) ed.).. LonLondon: Helter Skelter. ISBN 1-905139-10-1. 1-905139-10-1. OCLC 60668626.. 60668626
Matula, Theodore (Decembe (Decemberr 2003). “Joe StrumPopular Music and Society Society. mer, 1952–2002”. 1952–2002”. Popular Bowling Green, Green, Ohio: Taylor Taylor & Francis. 26 (4): 523–525. doi doi::10.1080/0300776032000144968 10.1080/0300776032000144968.. ISSN 0300-7766. 0300-7766. OCLC 89586252. 89586252. Needs, Kris (25 Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X.. OCLC 53155325. 85965-348-X 53155325. Yewdall, Julian Leonard; Nick Jones (1992). Joe Strumm Strummer er with with the 101 101er erss and the Clash, Clash, 197 1974– 4– 1976 . London: London: Image Image Direc Direct.t. ISBN 0-9519216-
0-6. OCLC 28502630. 0-6. 28502630. Photo Photogra graph phss by Juli Julian an Leonard Yewdall; introductory text by Nick Jones. 3.1.11 3.1.11
3.1.10 3.1.10 •
Exter Externa nall links links
Further Further reading reading
Clash: Strummer, Strummer, Clash, The (1 Octob October er 2008). 2008). The Clash: Jones, Simonon, Headon. London: Atlantic Books. ISBN 1-84354-788-0. 1-84354-788-0. OCLC 236120343. 236120343.
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Joe Strummer at Strummer at the Internet the Internet Movie Database
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Obituary by Paul Bond on Bond on the World Socialist Web Site
57
3.2. MICK MICK JONES JONES
•
3.2.2 2 The The Clas Clash h Harr Harris ison on,, Brad Brady. y. "The Cultural Offices of Joe 3.2. Iowa Journal Journal of Cultural Cultural Studies Studies 1 Strummer.” Strummer .” Iowa (2002): 33-56. Main article: The article: The Clash When he was 21, he and Paul Simonon were introduced The Legend Joe Strummer Web Web Site
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The Joe Strummer Foundation Web Foundation Web Site
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3.2 3.2
Micck Jone Mi Joness
Not to be confused with Mick with Mick Jones (Foreigner guitarist). guitarist). Michael Geoffrey “Mick” Jones (born 26 June 1955)
is an English musician, singer and songwriter best known as thele the lead ad guit guitari arist, st, co-le co-lead ad voca vocalis list,t, cof cofounde ounderr andson and songgwriter for The for The Clash until Clash until his dismissal in 1983. Afterwards, he formed the band Big Audio Dynamite with Don Letts. Letts. Jones Jones has recently recently play played ed with the the group Carbon/Silicon along along with with To Tony ny Jame Jamess and and has has tour toured ed the the worl worldd as part part of the the Gorillaz live live band. band. In late late 2011, 2011, Jones Jones collaborated with Pete with Pete Wylie and Wylie and members of The of The Farm to form The Justice Tonight Band. 3.2.1 3.2.1
Early Early life life
Jones was born in Wandsworth Wandsworth,, London, England to a Welsh father, Tommy Jones, and a Russian Jewish mother, Renee Renee Zegansky. Zegansky.[1][2] He spen spentt much much of his his earl earlyy life living with his maternal grandmother, Stella Class, in South London. London. Jones’ cousin is Grant is Grant Shapps, Shapps, the Tory the Tory [3] MP for MP for Welwyn Welwyn Hatfield. Hatfield. Jones went to Strand to Strand School in South London – and then on to art school, because "[he] thought that’s how you get into bands and stuff”.[4] But even before the before the Dolls, Dolls, I used to follow bands around. I followed Mott followed Mott the Hoople up Hoople up and down down the country. country. I'd go to Liverpool to Liverpool or or Newcastle or Newcastle or somewhere—sleep on the Town Hall steps, and bunk the fares on the trains, hide in the toilet when the ticket inspector came around. I'd jump off just before the train got to the station and climb over the fence. It was great times, and I always knew I wanted to be in a band and play guitar. That was it for me. — Mick Mick Jones Jones to Gibson Gibson Backs Backstag tagee Pass Pass [5] Holiday Double Issue 2006
He started gaining recognition as a guitarist in the early 1970s with his glam his glam rock band, rock band, The Delinquents. A short time time later, later, he met met Ton Tonyy Jame Jamess and formed ormed theproto-punk the proto-punk London SS. SS. By 1976, that band had broken up and remaining maining members members Jones, Jones, Paul Paul Simo Simonon non and Keit Keithh Lev Levene ene [6] were seeking a new direction.
Mick Jones (centre) on stage with the Clash
to Joe to Joe Strummer by Strummer by Bernie Bernie Rhodes (the Rhodes (the self-proclaimed [7] inventor of punk rock) in a dirty squatter building in Shepherd’s Shephe rd’s Bush Bush.. The band rehearsed in a disused railway warehouse in Camden Town Town and The Clash was formed formed.. Jones Jones played played lead guitar, guitar, sang, and co-wrote co-wrote songs from the band’s inception until he was fired by Strummer and Simonon in 1983. Jones’ lack of punctuality played a major role in his dismissal from the band. Jones agreed to give a rare interview about the disintegration of The Clash and the reasons behind his dismissal from rom 'his 'his own own band' band' in Danny Danny Garci Garcia’s a’s 2012 2012 docume documenta ntary ry [8] film and book The Rise and Fall of the Clash. For his time with The Clash, Jones, along with the rest of the band, was inducted inducted into the Rock the Rock and Roll Hall of Fame in Fame in 2003.[9] While promoting the band’s 2013 box set, Sound System, which Jones says will be the final time he ever works on Clash music, he discussed the band reuniting prior to Strummer’s death.
TherewereafewmomentsatthetimeIwas up for it (Hall of Fame reunion in 2003), Joe was up for it. Paul wasn't. And neither, probably, was Topper was Topper Headon, Headon, who didn't wind up even even coming coming in the end. It didn't look look like a performance performance was going going to happen anyway. anyway. I mean, you usually play at that ceremony ceremony when you get in. Joe had passed by that point, so we didn't. didn't. We were were neve neverr in agreement agreement.. It was never at a point where all of us wanted to do it at the same time. Most importantly importantly for us, we became friends again after the group broke up, and continued that way for the rest of the time. That was more important to us than the band.[10]
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CHAPTER 3. THE MEMBERS
more “best of” collection, called Super Hits , was released in 1999. Main article: General Public Jones announced the reuniting of Big Audio Dynamite in January 2011, and they performed at the Lollapalooza After his expulsion from The Clash, Jones was briefly a music festival in 2011. founding member of General Public. Though he is listed in the credits of the band’s 1984 début album All the Rage as an official member, Jones left General Public part way 3.2.5 Recent projects through the recording process and was replaced by Kevin White. White’s picture appears on the back cover; Jones’ Carbon/Silicon picture does not. Jones did play guitar on many of the album’s tracks, including the North American top 40 single Main article: Carbon/Silicon In 2002, Jones teamed up with hisformer London SS col"Tenderness". 3.2.3
General Public
3.2.4
Big Audio Dynamite
Main article: Big Audio Dynamite Leaving General Public behind, in 1984 Jones formed Big Audio Dynamite with film director Don Letts, who haddirectedvarious Clash videos and later the Clash documentary Westway to the World . The band’s début album This Is Big Audio Dynamite was released the following year, with the song "E=MC²" getting heavy rotation in dance clubs, and both singles “Medicine Show” and “E=MC2 " charting in the UK. For Big Audio Dynamite’s second album, No. 10, Up ping St., Jones reunited with Strummer. Together, the two wrote several songs on the album, including “Beyond the Pale”, “V. Thirteen”, and “Sightsee M.C!"; Strummer also co-produced the album. Their reunion did not last long, and following that collaboration, the two did not work together again for some time. Big Audio Dynamite’s third album, Tighten Up, Vol. 88 , featured album cover art painted by the ex-Clash bassist, Paul Simonon. Shortlyfollowingits release, Jones developed chicken pox and pneumonia, and spent several months in hospital.[11][12] After his recovery, Jones released one more album with Big Audio Dynamite, Megatop Phoenix , before reshuffling the line-up, renaming the band Big Audio Dynamite II and releasing The Globe album. The BAD II lineup had an international #1 hit with their song "Rush", topping the Billboard Modern Rock charts in the U.S. and singles charts in Australia and New Zealand. In 1990, Jones was featured on Aztec Camera's song “Good Morning Britain”, with Roddy Frame. The band’s line-up was reshuffled again in 1994, and they released the album Higher Power under the name Big Audio. In 1995, a greatest hits album, Planet B.A.D. was released as well as a studio album called F-Punk under the original Big Audio Dynamite name. A further album, Entering a New Ride was recorded in 1997, but was only released on the internet because of a disagreement with Radioactive Records, their then record label. One
Mick Jones playing with Carbon/Silicon at the Carbon Casino VI event on 22 February 2008
league, Generation X and Sigue Sigue Sputnik member, Tony James to form a new band named Carbon/Silicon. The band has toured the United Kingdom and the United States and has performed a number of anti-fascist benefit concerts; they have also recordedthree albums: A.T.O.M , Western Front and The CrackupSuite which wereavailable on-line for free. Their first physical CD release was The News EP . The band encourage their fans to share their music on P2P networks, and allow the audio and video taping of their shows. Their first song, “MPFree” is an anthem for P2P file sharing. Similar in many respects to Jones’ earlier work in Big Audio Dynamite, Carbon/Silicon aims to break the traditional approach to rock and roll. The band was described
59
3.2. MICK JONES
by Alan McGee as "...the Stones jamming with a laptop,” and they make use of samples in their recordings and live shows. The formation of the band was catalysed by the internet and p2p file sharing. The first song written by Jones and James was entitled “MPFree,” in which they expressed their willingness to embrace the technology of the internet and file sharing, in the interest of spreading music, rather than profit. On seven consecutive Friday nights in January and February 2008 Carbon/Silicon played a series of gigs at the Inn on the Green, right under the Westway in Thorpe Close, between Ladbroke Grove and Portobello Road, London. As well as Carbon/Silicon there were many special guests, including appearances by Sex Pistols' Paul Cook and Glen Matlock, former Clash drummer Topper Headon and multi-instrumentalist and former Mescalero, Tymon Dogg.
Gorillaz
Jones reunited with Simonon on the title track of Gorillaz 2010 album Plastic Beach: both of them performed in the Gorillaz live band supporting Plastic Beach. The band headlined the 2010 Coachella Festival, Glastonbury and Festival Internacional de Benicassim. The Justice Tonight Band
In late 2011, Jones agreed to play songs by the Clash live again, collaborating with Pete Wylie and members of the Farm to form The Justice Tonight Band. The band formed with the aim of promoting awareness of the Hillsborough Justice Campaign. The Justice Tonight band have been joined onstage at different gigs by several other musicians sympathetic to the cause, including Billy Bragg and Paul Simonon. Shane MacGowan joined them onstage in Phoenix Park when The Justice Tonight Band supported the Stone Roses as part of their Reunion Tour on 5 July 2012.
Producer The Wallflowers
Jones has also been an occasional producer. In 1981 he produced Ellen Foley's second album Spirit of St. Louis . Jones was in a relationshipwith Foley, andco-wrote songs for the album with Strummer and Tymon Dogg. Players on the album included members of the Blockheads, Tymon Dogg and all four members of the Clash.[13] In 1981, Jones co-produced Ian Hunter's Short Back 'n' Sides LP with Mick Ronson. He also provided guitars and vocals for several songs on the release. In the same year, he produced Theatre of Hate's first album Westworld released in 1982, written by Kirk Brandon. Jones also played guitar on the title track, “Do You Believe in the Westworld”. Joneswould alsorecord and produce Aria of the Devil in 1982 by Theatre of Hate at Wessex Studios, which did not get released until 1998, when the master tapes were found by Kirk Brandon. He produced the London-based band the Libertines' debut album Up The Bracket (2002). Jones stayed on to produce the band’s second album The Libertines . He also produced Down in Albion, the debut album of former Libertines lead singer and guitarist Pete Doherty's new group Babyshambles. Jones is also credited with contributing guitar and vocals to “Mal Bicho”, the lead track of Los Fabulosos Cadillacs' album Rey Azucar . He provided the score for Nick Mead’s film, Dice Life – the Random Mind of Luke Rhinehart , a contemporary dance film created by Nick Mead and Wayne McGregor, featuring Luke Rhinehart, author of The Dice Man.
Jones collaborated with alternative rock group the Wallflowers as a guitarist and backing vocals for some tracks on their 2012 album Glad All Over . Rachid Taha
Mick Jones was a featured guest on Rachid Taha’s Zoom album (2013) (together with Brian Eno) and Jones toured with Rachid Taha as part of the Zoom project. [15][16] 3.2.6
Musical equipment
Jones’ first guitar was a Gibson Les Paul Junior with a P90 pick-up, which he bought because Johnny Thunders used one. The Junior was his main guitar up until late 1977 or early 1978, and after that as a backup and studio guitar. Around the same time he also owned another Les Paul Junior, all black (formerly red) with a black pick guard, which was smashed at a performance in 1977. He then switched to a Gibson Les Paul Standard and later to Gibson Les Paul Customs. Jones also occasionally played an Olympic White Fender Stratocaster (for live versions of “Straight to Hell”) and several Bond Electraglide Guitars that were donated to him by Andrew Bond, who made the guitars. For effects Jones mainly uses MXR pedals including a Phase 100, a Flanger, an Analog Delay and a Noisegate as well as a Roland chorus or Space Echo effect.[17] During his days At the NME Shockwave 2007 awards, Jones took to the with the Clash, Jones used a Marshall Plexi amplifier and stage and performed "(White Man) In Hammersmith occasionally a Fender Twin with a 2x12 cabinet. He later Palais" with Primal Scream.[14] changed to a Mesa Boogie amplifier with two Marshall
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CHAPTER 3. THE MEMBERS go to Liverpool or Newcastle or somewhere—sleep on the Town Hall steps, and bunk the fares on the trains, hide in the toilet when the ticket inspector came around. I'd jump off just before the train got to the station and climb over the fence. It was great times, and I always knew I wanted to be in a band and play guitar. That was it for me.
Mick Jones playing his Fender Thinline Telecaster at Carbon Casino VI
4x12 cabinets that he used throughout the rest of his career with the Clash.[18] 3.2.7
References
[1] “Mick Jones (I) – Biography”. Internet Movie Database. Retrieved 17 December 2007. Sid Vicious gained the enmity of The Clash’s MickJones due to his habit of wearing a Nazi Swastika t-shirt. Jones, who is Jewish, and the rest of The Clash vowed they would never appearon stage with the Sex Pistols. [2] Gray, Marcus (2010). Route 19 Revisited: The Clash and London Calling. Soft Skull Press. ISBN 1593763913.
[6] Renshaw, Jerry (22 May 2000). “From Here to Eternity – The Story of the Clash”. The Austin Chronicle . Austin, Texas: Austin Chronicle. OCLC 32732454. When Mick Jones finally began attracting attention for his guitar playing, he was in a glam rock outfit, the Delinquents, complete with long hair, feather boas, and poncey trappings; in time he would meet up with Tony James (later of Generation X and Sigue Sigue Sputnik) to form the London SS. With a revolving-door cast of players including future members of the Damned, Chelsea, and PiL, London SS took the first stack-heeled, shambling steps toward punk, naming among their influences the Stooges, MC5, and New York Dolls, and in the process acquiring future Clash manager Bernie Rhodes. By 1976, London SS had fallen apart, and Jones found himself in a new band with guitarist Keith Levene and art-school drop-out Paul Simonon. Simonon had spent much of his time hanging out with his West Indian pals and immersing himself in reggae, ska, and skinhead fashions, elements that would later be part and parcel of the Clash. Meanwhile, in another part of London, 24-year-old John Mellor was bashing away in pub-rock outfit the 101ers. The band caught the interestof Simonon andJones, still in search of a frontman to round out their line-up. Related news articles: •
“Music: From Here to Eternity”. The Austin Chronicle. weekly WIRE.com. 22 May 2000. Retrieved 17 December 2007.
[7] In a television interview, Strummer said, after drawing the camera to Bernard sleeping against a wall, “He invented punk...it was obviously too much for him”, referring ironically to a statement of Rhodes himself. The scene and the statement are featured in the documentary Joe Strummer: The Future Is Unwritten . [8] Garcia, Danny (2012). The Rise and Fall of the Clash . London: Thin Man Press. ISBN 9780956247322. [9] “The Clash – Induction”. TheRockand RollHallof Fame and Museum. 10 March 2003. Retrieved 19 November 2007.
[10] Andy Greene (30 August 2013). “Mick Jones on Clash Box Set | Music News”. Rolling Stone. Retrieved 20 May [4] Letts Don; Rick Elgood, Joe Strummer, Mick Jones, 2014. Paul Simonon, Topper Headon, Terry Chimes, The Clash (2001). The Clash: Westway to the World (Documentary). [11] Robbins, Ira Robbins; Jem Aswad; Michael Azerrad. “TrouserPress.com :: Big Audio Dynamite” (PHP). New York, NY: Sony Music Entertainment; Dorismo; TrouserPress.com. Retrieved 17 December 2007. The Uptown Films. Event occurs at 3:50–4:50. ISBN 0-7389disappointing Tighten Up Vol. 88 reaches no such peaks 0082-6. OCLC 49798077. and now sounds like a fairly brazen attempt to get hip [5] “Stay Free: Mick Jones Looks Back at The Clash”. Gibcommercial airplay. The fault is seldom with Jones’ songwriting but more with the slick sheen laid over the leaner, son Backstage Pass Holiday Double Issue 2006 . Gibson.com. December 2006. Archived from the original less aggressive beats. The LP yielded “Just Play Music” on 10 September 2007. Retrieved 17 December 2007. and “Other 99,” but a pall was thrown on the release as But even before the Dolls, I used to follow bands around. Jones fell deathly ill shortly after its appearance; having I followed Mott the Hoople up and down the country. I'd contracted pneumonia, he was hospitalized for months. [3] Newsnight, BBC2, 14 April 2010
61
3.3. PAUL SIMONON [12] “Punk Legends Form Rock Band Carbon/Silicon”. Na- 3.2.9 tional Public Radio: Music. Retrieved 29 January 2008. [13] Allmusic.com
•
External links
Carbon/Silicon Official Website
Justice Tonight Band Website [14] ChartAttack.com Staff (2 March 2007). “Doherty And Moss’ Naughtiness Overshadows Arctic Monkeys at NME Awards” (CFM). News . Chart Communications. Retrieved 27 April 2009. Jones joined Primal Scream to close the show with a cover of The Clash’s "(White Man) 3.3 Paul Simonon In Hammersmith Palais,” which was performed in honour of the storied venue’s imminent closing. Primal Scream Paul Gustave Simonon (born 15 December 1955) is an also played “Movin' On Up”, “Country Girl”, “Rocks” and English musician and artist best known as the bassist for “Swastika Eyes”. the punk rock band The Clash. More recent work in•
cludes his involvement in the project The Good, the Bad [15] “Trans Musicales de Rennes 2012 : 12 concerts à ne pas louper”. FranceTVinfo – Culturebox. 4 December 2012. & the Queen in 2007 with Damon Albarn, Simon Tong and Tony Allen and the Gorillaz album, Plastic Beach Retrieved 8 November 2014. in 2010, which along with Albarn saw him reunite with [16] John Lewis (26 June 2013). “Rachid Taha/Souad Massi Mick Jones. – review (Barbican, London)". The Guardian. Retrieved 12 November 2014. [17] Archived 23 August 2001 at the Wayback Machine.
3.3.1
Biography/History
[18] “Interview with Mick Jones”. Web.archive.org. 27 Oc- Simonon was born in Thornton Heath, Croydon, [1] tober 2009. Archived from the original on 27 October Surrey. His father, Gustave, was an amateur artist and his mother, Elaine, was a librarian. He grew up in both 2009. Retrieved 20 May 2014.
3.2.8 •
•
•
•
Further reading
Clash, The (1 October 2008). The Clash: Strummer, Jones, Simonon, Headon . London: Atlantic Books. ISBN 1-84354-788-0. OCLC 236120343. Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890.
•
•
•
Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
the South London area of Brixton and Ladbroke Grove in West London, spending arounda year in Siena and Rome, Italy with his mother and stepfather. Before joining the Clash, he had planned to become an artist and attended the Byam Shaw School of Art, then based in Campden St, Kensington.[2] In 1976, hemet Mick Jones andsix months later the Clash was formed when Joe Strummer joined, with Jones on lead guitar. Simonon learned his bass parts by rote from Jones in the early days of The Clash and still did not know how to play the bass when the group first recorded. He is credited with coming up with the name of the band and was mainly responsible for the visual aspects such as clothing and stage backdrops. [3][4] He was also immortalised on the front cover of the band’s double album London Calling: Pennie Smith's image of him smashing his malfunctioning bass guitar during a 1979 concert in New York City has become one of the iconic pictures of the punk era.[2][5][6][7][8] Simonon played bass on almost all of the Clash’s songs. Recordings that he did not play on include: “The Magnificent Seven” and “Lightning Strikes (Not Once but Twice)" on Sandinista! (played by Norman Watt-Roy), "Rock the Casbah" on Combat Rock (played by Topper Headon), and 10 of the 12 tracks on Cut the Crap (played by Norman Watt-Roy). Sandinista! featured bass played by Jones or Strummer, some but possibly not all of which Simonon later re-recorded once he rejoined the sessions after filming Ladies and Gentlemen, The Fabulous Stains .[5][9] Simonon’s contrapuntal reggae/ska-influenced lines set him apart from the bulk of other punk rock bassists of
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CHAPTER 3. THE MEMBERS
the era in their complexity and the role of the bass guitar within the band.[10]
Simonon promoting the band Havana 3am in Tokyo, Japan
After the Clash dissolved in 1986, Simonon started a band called Havana 3am. They recorded one album in Japan before breaking up. He also participated in a Bob Dylan session along with the Sex Pistols' Steve Jones that became part of the Dylan album Down in the Groove . Also, Simonon works as an artist – his first passion before joining the Clash. He has had several gallery shows, and designed the cover for Big Audio Dynamite's album, Tighten Up, Vol. 88 , as well as the cover for "Herculean" from the album The Good, the Bad and the Queen, a project with Damon Albarn on which Simonon plays bass. Paul reunited with Damon Albarn and Mick Jones on the Gorillaz album Plastic Beach, and was also the bassist of the Gorillaz live band supporting Plastic Beach, along with Mick Jones on guitar. The band headlined the 2010 Coachella Festival, and took up residence at the Camden roundhouse for two nights in late April 2010. In 2011, Simonon spent time aboard the Greenpeace vessel Esperanza incognito under the guise of “Paul the assistant cook” in response to Arctic oil drilling in Greenland by Cairn oil. He joined other Greenpeace activists in illegally boarding one of Cairn’s oil rigs; an action which earned him two weeks in a Greenland jail. His identity was revealed to other crew members after the voyage, and he joined Damon Albarn and the other members of the Good, the Bad, and the Queen for a performance in London celebrating Greenpeace’s 40th anniversary.[11] 3.3.2
Discography
Paul Simonon at the Eurockéennes of 2007
•
Sandinista! (1980)
•
Combat Rock (1982)
•
Cut the Crap (1985)
With Havana 3 am •
With the Good, the Bad & the Queen •
The Good, the Bad & the Queen (2007)
With Gorillaz •
With the Clash •
See also: The Clash discography
Havana 3 am (1991)
Plastic Beach (2010) Simonon reunites with Clash guitarist Mick Jones on the album’s title track. The Fall (2010) (in Aspen Forest)
•
The Clash (1977)
3.3.3
Art
•
Give 'Em Enough Rope (1978)
•
London Calling (1979)
An artist his whole life, Simonon’s passion for painting began as a child. His father, Gustave, was an avid amateur painter and Simonon spent a lot of time in his studio,
63
3.3. PAUL SIMONON
often sleeping there. It was here, surrounded by books and pictures pinned to the walls that Simonon first encountered the works of 19th and 20th century masters, from Impressionism to Cubism and beyond. Introduced to an artist friend of his father’s, Simonon assisted him on projects at an inner city London school, learning the basics of using paint and then supplementing these skills by teaching himself at home. He took up a scholarship at the prestigious Byam Shaw School of Art, then based in Campden St, Kensington (now part of Central Saint Martin’s College of Art and Design) but left before his studies ended to play with the Clash. Using his days off when on tour with the band to visit museums and galleries, Simonon’s enthusiasm for, and knowledge of, the history of art has been a lifelong passion
painting tradition, these oils on canvas are as much selfportraits as they are still lifes, functioning as a visual diary in paint. Wot no Bike is Simonon’s personal exploration of British subculture and counterculture in the post-war decades.
Influences
2015
In addition to a love of French modernist painting of the late nineteenth century (which took him to the islands of French Polynesia on thetrailof Paul Gauguin), Simonon’s painting practice has been heavily influenced by 20th century realism, particularly by the work of the American Ashcan School and the Kitchen sink realism school of painters of 1950s post-War Britain, specifically by their documentation of the living conditions of the working classes. Each style focused on the banal and ordinary while depicting the resultant misery, angst and, at times, violence. In Britain the fractious domestic and economic situation of post-war austerity formed a part of the wider social realism movement, both in the arts and popular culture. It gave rise to the emergence of the subcultures and served as a backdrop to the emergence of Ted, Biker and Rocker subcultures that first appeared in these years, subcultures that actually spanned economic and class divides. Growing up in London in the 1960s, Simonon’s first experiences of this came in the form of the clash between the Mods and Rockers subcultures, a tension which fuelled into the wider dynamics of the ‘angry young man’ attitude and social unrest that came to define youth culture of this period, and which were the genesis of Punk culture in the 1970s. While Simonon is cautious about drawing parallels between his music and his painting, it is clear that British subculture of the 1950s, 1960s and 1970s has been, and remains, essential to both aspects of his life and work. Key exhibitions
Wot no Bike,[12] ICA Nash and Brandon Rooms, Lon-
don, 21 January – 7 February 2015, Simonon’s most recent exhibition was Wot no Bike at the ICA Nash and Brandon Rooms, London. In this series of new paintings, Simonon depicted his own everyday personal effects including biker paraphernalia such as jackets, boots, helmets, and gloves, alongside his packets of cigarettes and books. Autobiographical in the modernist and realist
To accompany the exhibition, Simonon published a limited edition hardback publication also titled, Wot no Bike,.[13] Featuring 24 of the new paintings it includes an introduction by David Lancaster, a writer on classic bikes and culture and an interview between Simonon and Tim Marlow, Director of Artistic Programmes At the Royal Academy of Arts, London.[14] Selected solo exhibitions
Wot No Bike, ICA Nash and Brandon Rooms, 21 January
- 7 February 2015 2008
Paul Simonon Recent Paintings [15] 2002
From Hammersmith to Greenwich [16]
Selected group exhibitions 2001
Art Tube Exhibition London Underground 2001
Notting Hill Arts Exhibition 2001
Colony Room Show 1998
Eyes Of A Child [17] 1998
Crusaid Edinburgh Art Centre 1996
John Martin Gallery 3.3.4
References
[1] “Find My Past”. Search.findmypast.co.uk . Retrieved 2016-06-26. [2] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, the Clash (2001). The Clash, Westway to the World (Documentary). New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 3:50–4:50; 19:30–55:00. ISBN 0-7389-0082-6. OCLC 49798077.
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CHAPTER 3. THE MEMBERS
[3] Presenter: Kurt Loder. “MTV Rockumentary”. MTV Rockumentary. London, England. MTV. [4] “MTV Rockumentary Part 1”. londonsburning.org. Retrieved 6 December 2007. Mick Jones: One of the names that we had before we had the Clash was the Weak Heartdrops from the Big Youth song. Another I think was the Psychotic Negatives, but now neither of those worked. Paul Simonon: It really came to my head when I start reading the newspapers and a word that kept recurring was the word “clash”, so I thought “the Clash, what about that,” to the others. And they and Bernard they went for it. [5] Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of the Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239.
•
Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd
•
ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890. •
•
[6] Topping 2004, p.12. [7] Green 2003, pp.195–196.
Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626.
•
[8] Sweeting, Adam. “Death or Glory”. Uncut . October 2004. p.70.
Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
[9] Deeth, John. “Turning Rebellion Into Money: The Story 3.3.6 External links of the Clash”. jdeeth.home.mchsi.com. Retrieved 18 February 2008. The Clash website •
[10] Prato, Greg. Paul Simonon Biography. AllMusic. Retrieved on 24 February 2008.
•
Interview with Bass Player magazine From Punk to Paint (BBC Interview)
•
[11] Fitzgerald, Brian. “Stories from the Rainbow Warrior: Jailhouse Rockstar”. Greenpeace International. Retrieved 14 November 2011. [12] 9 hours 50 min ago. (2016-05-25). “Home | Institute of Contemporary Arts”. Ica.org.uk . Retrieved 2016-06-26. [13] “Wot No Bike - Special Edition Book with Print”. Paul Simonon. Retrieved 2016-06-26. [14] “Royal Academy of Arts”. Royalacademy.org.uk . Retrieved 2016-06-26.
•
Paul Simonon’s gallery at BBC
•
Gallery at Art-Tube.com
•
Interview with 3:AM Magazine
•
Interview with Bassist Magazine
3.4
Topper Headon
[15] “Thomas Williams Fine Art”. Thomas Williams Fine Art. Nicholas Bowen “Topper” Headon (born 30 May 1955), known as “Topper” because of his resemblance Retrieved 2016-06-26. to Mickey the Monkey from the Topper comic, is an En[16] “Hazlitt, Gooden & Fox”. Hazlittgoodenandfox.com. Re- glish drummer, best known as the drummer of the punk trieved 2016-06-26. rock band The Clash. [17] “Saatchi Gallery/". Saatchi Gallery. Retrieved 2016-06- He Joined The Clash in 1977 and his drumming skills 26. were a vital part of the band. He was dismissed from the
band in 1982 because of his drug use. 3.3.5 •
•
Further reading
3.4.1
Early life
Clash, The (1 October 2008). The Clash: Strummer, Jones, Simonon, Headon . London: Atlantic Books. Topper Headon spent his early childhood in Crockenhill, northwest Kent, before attending Dover Grammar School ISBN 1-84354-788-0. OCLC 236120343. for Boys.[1] He started playing drums at an early age and Gilbert, Pat (2005) [2004]. Passion Is a Fash- was a jazz fan, citing Billy Cobham as a strong influence. ion: The Real Story of The Clash (4th ed.). Lon- In 1973, Headon joined the cult progressive rock outdon: Aurum Press. ISBN 1-84513-113-4. OCLC fit Mirkwood. He appeared with them for a year and a 61177239. half and they supported major acts such as Supertramp.
3.4. TOPPER HEADON
65
He later played with a band which opened for Ameri- “Drumming Man” as a single, which featured Headon’s can R&B legends the Temptations[2] and admits to falsely “DuKane Road” on the B-side. His own composition claiming that he played with the Temptations.[3] “Hope for Donna” was included on the Mercury Records sampler Beat Runs Wild , in the same year.[6] During the 1980s Headon produced albums for New York band Bush 3.4.2 The Clash Tetras and contributed drums to Chelsea’s Underwraps (1989), before becoming involved with a court case over Main article: The Clash his drug habits. He still makes occasional public appearances and it was I knew Mick [Jones] a year and half ago. For a week I after one of his shows that he was informed of the death played with the London SS. I really wanted to join the of Clash frontman Joe Strummer. An emotional Headon Clash. I want to give them even more energy than they've stated: got — if that’s possible. —Topper Headon[4] Originally Headon joined the Clash in 1977 with the inIt’s taken Joe’s death to make me realise tention of establishing a reputation as a drummer, before just how big the Clash were. We were a pomoving onto other projects,[2] but he soon realised their litical band and Joe was the one who wrote the full potential and remained with them for four and half lyrics. Joe was one of the truest guys you could years. Headon appeared on the albums Give 'Em Enough ever meet. If he said 'I am behind you', then Rope (1978), The Clash (1979 US version), London Callyou knew he meant it 100 percent. [7] ing (1979), Sandinista! (1980) and Combat Rock (1982), as well as several landmark singles the Clash recorded during their early period. Also of note are his lead vocal on “Ivan Meets G.I. Joe” from Sandinista and his work on Headon was extensively interviewedfor the JoeStrummer: the hit single "Rock the Casbah" from Combat Rock , on The Future Is Unwritten documentary film about the late which Headon composed most of the music and played Clash frontman. He related his experiences during this drums, piano and bass guitar. He also appeared on Super period, how he became addicted to heroin and how there Black Market Clash (1993), which included B-sides from were problems before his dismissal. Topper also said that seeing the video of "Rock the Casbah" with “someone the band’s single releases. else (Terry Chimes) in my place playing my song” caused Clash singer/guitarist Joe Strummer is quoted as saying him to fall in even greater depression and heavier drug that Headon’s drumming skills were a vital part of the addiction. band.[3] Tensions rose between Headon and his fellow band members due to his addiction, and he left the band On 11 January 2008, Carbon/Silicon, a new band with on 10 May 1982, at the beginning of the Combat Rock the line-up of Mick Jones, Tony James, Leo Williams tour. The band covered up the real reason for Headon’s and Dominic Greensmith, played a show at the Carbon departure, the apparent growing use of heroin, claiming Casino Club in Portobello London. Headon joined the band on stage during the Clash's "Train in Vain (Stand by Headon’s exit was due to exhaustion.[2] Me)". An encore followed with Headon playing drums In a later interview for the rockumentary The Clash: on "Should I Stay or Should I Go". This performance Westway to the World , he apologized for his addiction marked the first time since 1982 that Headon and Jones and speculated that had he not been asked to leave the had performed together on stage.[8][9][10] Clash, the band might have lasted longer and might possibly still be together.[3] He also lamented the fact that the In a February 2008 newspaper article Headon revealed best known Clash line-up had been considering a reunion that in 2003 he started to experience serious back pain, a at thetime of Strummer’s death, after thepositive reunion frequent complaint of ageing rock drummers. Diagnosed with hyperkyphosis, a forward curvature of the back, he during the Westway to the World rockumentary.[3] underwent intense posture adjustment treatment and continues to exercise daily. He notes that, on his recent ap3.4.3 After the Clash pearance with Jones, he exhibited his new upright stance. After leaving the Clash, he was considered as drum- The BBC featured Headon in a February 2009 feature mer in Mick Jones’ post-Clash band Big Audio Dyna- on drumming as therapy.[11]He shares some of his story mite[2] and played in a short-lived group called Samu- in a brief video interview. In 2012 Headon was interrai, with bassist Pete Farndon, guitarist Henry Padovani, viewed by fellow drummer Spike Webb, sharing stories Clash and his experiorganist Mick Gallagher, and vocalist Steve Allen (for- from his years drumming for The [12] ence writing 'Rock The Casbah'. merly of Deaf School).[5] Headon subsequently focused on recording a solo album Waking Up (1986). He also He currently lives in the Dover area of Kent, in the southreleased a cover version of the Gene Krupa instrumental east of England.[13]
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CHAPTER 3. THE MEMBERS
3.4.4
Drumming style
As a drummer, Headon often employed a distinctive style which emphasised a simple bass-snare up-down beat, accentuated with closed hi-hat flourishes. Such a method can be found in the songs "Clampdown", "Train in Vain", and "Lost in the Supermarket". His drumming on "Train in Vain" has been characterised as one of the most important and distinctive beats in rock music. [14] Writes Scott Kenemore, “his contribution to the music was tremendous, and his drumming remains an undiscovered treasure for too many.”[14] 3.4.5
Discography
With the Clash
See also: The Clash discography
•
•
Give 'Em Enough Rope (1978) The Clash (1979 U.S. release of the album; originallyreleased in 1977, Headonplays drums on "Clash City Rockers", "Complete Control", "(White Man) In Hammersmith Palais", "I Fought the Law", and “Jail Guitar Doors”)
[2] Prato, Greg. “Topper Headon > Biography”. allmusic.com. Retrieved 12 December 2007. a) Sandy Pearlman dubbed Headon “The Human Drum Machine,” due to his impeccable timing and skills. b) Headon grew up a soul and jazz fan (an early influence was ace fusion drummer Billy Cobham), and he was once a member of a local group that opened a show for The Temptations. c) Headon’s original plan was to stay with the Clash for only a year – which he figured would give enough time to get his name known so he could move on to another more “suitable” group. Headon quickly realised that the group was not just a one-dimensional punk band, as they branched out and touched upon a wide variety of styles – all the while never losing sight of their original punk ideals. d) a heroin addiction had drawn a wedge between Headon and the rest of his bandmates. e) After a planned reunion with Jones (who was expelled from the Clash himself a year after Headon’s dismissal) in the group Big Audio Dynamite failed to work out, Headon focused on recording a solo album. [3] Letts Don; Rick Elgood, Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, The Clash (2001). The Clash: Westway to the World (Documentary). New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 37:00–39:00. ISBN 07389-0082-6. OCLC 49798077. [4] Coon 1977.
•
London Calling (1979)
[5] Padovani, Henry (2009). Secret Police Man. Pen Press. pp. 6–8. ISBN 978-1-907172-83-0.
•
Sandinista! (1980)
•
Combat Rock (1982)
[6] Cooke, Brandon; Pete Shelley, Tom Verlaine, Topper Headon, Hipsway, Curiosity Killed the Cat, Wet Wet Wet, Love and Money, Swing Out Sister, Zerra One (1986). Beat Runs Wild (LP recording). London: Mercury. OCLC 51782857.
•
Super Black Market Clash (1980/1993) drums on all tracks except on “1977” and “Listen”
Solo discography
Topper Headon has released one studio album, one EP, and three singles as a solo artist and featured on several other artists’ albums.[15] Studio albums
EPs
Singles
3.4.6
Notes
[1] Finlay, Simon (25 August 2013). “Topper Headon: why the Clash has reunited”. Folkestone Herald . Retrieved 26 February 2014.
[7] “Celebrity Tributes to Joe Strummer”. strummernews.com. Archived from the original on 18 December 2007. Retrieved 12 December 2007. It’s taken Joe’s death to make me realise just how big the Clash were. We were a political band and Joe was the one who wrote the lyrics. Joe was one of the truest guys you could ever meet. If he said 'I am behind you', then you knew he meant it 100 percent. [8] Harper, Simon (12 January 2008). “The Carbon Casino – The Clash reunited! Pair jam after 25 years”. Clash Music. Retrieved 15 January 2008. For the first night of their six-week residency in West London’s Inn On The Green, Carbon/Silicon had promised surprises, but few had realised that meant the reunion of Mick Jones and the powerhouse drummer of The Clash, Topper Headon. [9] “Clash members Topper Headon and Mick Jones reunite on stage”. Punknews.org. 13 January 2008. Retrieved 15 January 2008. For the first time in 25 years, former Clash members Mick Jones and Topper Headon have shared the stage together. The reunion took place at Carbon/Silicon’s “Carbon Casino” residency, and comes five yearsafter Mick joinedJoe Strummer on stage at theBrixton Academy.
67
3.5. KEITH LEVENE [10] “The Clash’s Mick Jones and Topper Headon reunite after 25 years”. NME . UK. 14 January 2008. Retrieved 15 January 2008. Clash drummer joins Carbon/Silicon at London show [11] “Can our natural rhythm heal us?". BBC. 10 February 2000. Retrieved 7 June 2010. [12] “Topper Headon (The Clash) talks about 'Mad, Bad and Dangerous’". YouTube. 5 May 2012. Retrieved 5 May 2012.
•
•
Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
3.5
Keith Levene
[13] Headon, Nicky (9 February 2008). “Backache calling ... Nick Headon reveals the treatment that helped his back Julian Keith Levene (born 18 July1957in MuswellHill, pain”. Daily Mail . UK. Retrieved 10 February 2008. [2]
London) isanEnglish pop musician. He wasa founding [14] Kenemore, Scott (21 March 2007). “All Talk and No member of the bands The Clash, and Public Image Ltd Stick”. PopMatters. Archived from the original on 25 (PiL).[3] March 2007. Retrieved 12 December 2007. a) Rock fans everywhere recognise his opening beat to the Mick Jones song “Train in Vain.” A typical example of Topper’s excellent work, the beat is both catchy and deceptively complicated. b) Despite hispersonalfailings, hiscontribution to themusic was tremendous, and his drumming remains an undiscovered treasure for too many.
[15] “Albums by Topper Headon – Rate Your Music”. rateyourmusic.com. Retrieved 12 December 2007. [16] “Bob Tench at Allmusic”. allmusic.com. Retrieved 14 December 2008. [17] Headon, Topper (1986). I'll Give You Everything (LP recording). England: Mercury. OCLC 29290615.
3.4.7 •
•
•
•
•
•
References
Clash, The (1 October 2008). The Clash: Strummer, Jones, Simonon, Headon . London: Atlantic Books. ISBN 1-84354-788-0. OCLC 236120343. Coon, Caroline (1977). 1988: The New Wave Punk Rock Explosion. London: Hawthorn. ISBN 0-80156129-9. OCLC 79262599. Retrieved 2011-09-19. Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890. Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279.
3.5.1
Career
As a youth, Keith Levene was a progressive rock fan who had served at age fifteen as a roadie for Yes on their Close to the Edge tour.[4] In 1976, he became a founding member of The Clash and The Flowers of Romance. Levene was responsible for helping to persuade Joe Strummer to leave the 101ers and join the Clash. Although he left The Clash before they began recording, he co-wrote “What’s My Name”, featured on their first album.[5] Levene wrote the music at the Black Swan club when the Clash and Sex Pistols performed there in July 1976; on the same night, Levene suggested to Lydon that they consider a possible future collaboration.[6] After the Sex Pistols disintegrated, Levene and Lydon co-founded Public Image Ltd (PiL). His guitar work was later imitated by others, including The Edge of U2. Levene was one of the first guitarists to use metallic guitars, such as the Travis Bean Wedge and Artist as well as the Veleno, the latter of which was nicknamed the “Leveno” in his honor.[6] He was heavily involved in the writing, performing and producing of PiL’s early albums: First Issue, Metal Box and Flowers of Romance. Levene left PiL in 1983 over creative differences concerning what would eventually become the band’s fourth album, This Is What You Want... This Is What You Get . He later stated this was a difficult decision for him but he felt he had to in order to maintain the integrity of the project.[3] In 1984, he released the original versions of the songs on his own label [7] under the title Commercial Zone which was the original working title of the album. In 1985 he moved to Los Angeles where he formed a company with his second wife, journalist Shelly da Cunha. [8] In mid-1986, Levene was asked to produce demos for the album The Uplift Mofo Party Plan by the Red Hot Chili Peppers at Master Control in Burbank with engineers Steve Catania and Dan Nebenzal. Also in 1986, Levene worked together with DJ Matt Dike, experimenting with sampling techniques and hip-hop for Ice T and Tone Loc on their early recordings for Delicious. [9] In
68
CHAPTER 3. THE MEMBERS
1989, he released his first solo release, Violent Opposi- Singles tion, on which members of the Red Hot Chili Peppers If Six Was 9 (Rykodisc 1988) performed.[3][6] In 2003, Levene contributed to industrial rock super Stille Im Meine Hamburg/ Clothesline (Overzealous group Pigface's album Easy Listening..., and he has reEditions 1990) (Kendra Smith/Keith Levene & Hilleased several solo records, among which was the Killer lel Slovak) in the Crowd EP in 2004. At an impromptu appearance at the Musicport Festival in Bridlington Spa on 24 October 2010, where they were 3.5.3 Notes joined by vocalist Nathan Maverick, Levene returned [1] “Press Archives | MPL February 1985”. Fodderstompf. with former PiL bassist Jah Wobble. In 2011 Levene Retrieved 2013-06-17. contributed to three tracks on the album Psychic Life, a collaboration between Wobble and Lonelady.[10] [2] “Search birth records 1837–2006 | Fully indexed birth •
•
In early 2012, after some planned Japan gigs were cancelled because of visa issues, Levene and Wobble played various venues in England, Wales and Germany as Metal Box in Dub. This was followed by the release of a foursong EP,[11] Yin & Yang.[6] In the spring of 2014, Levene went to Prague to record “Commercial Zone 2014”, which was backed via a crowdsourcing campaign at Indiegogo.com. 3.5.2
Discography
Studio albums •
Violent Opposition (Taang!/Emergo/Rykodisc 1989)
•
Murder Global Demos (Archive 2008)
•
Yin and Yang (Cherry Red 2012) (Jah Wobble &
Keith Levene) •
Search 4 Absolute Zero (self-released 2013, Gonzo
Multimedia 2014) •
Commercial Zone 2014 (self-released 2014)
records”. Findmypast.co.uk. Retrieved 21 January 2012. [3] Di Tondo, Kathy. “Recalling PiL: The Commercial Zone Era with Keith Levene and Maureen Baker”. Retrieved 20 January 2014. [4] Reynolds, Simon (February 18, 2006). Rip It Up and Start Again: Postpunk 1978-1984 . Penguin Books. ISBN 0143036726. [5] Gross, Jason (February 2001). “Keith Levene Interview”. Perfect Sound Forever . Retrieved 11 March 2015. [6] Di Tondo, Kathleen M. “Keith Levene’s Search for Absolute Zero”. Mudkiss . Retrieved 20 January 2014. [7] “PIL Records, Inc”. (registered 30 January 1984 by Keith Levene, 1 Fifth Avenue, New York NY 10003, dissolved due to inactivity 26 September 1990) [8] “Multi-Image Group”. (registered on 19 June 1986 by Shelly Da Cunha, 830 North Kodak Drive, Los Angeles CA 90026, now suspended) [9] Dan LeRoy (2006). Paul’s Boutique. Continuum. pp. 14, 17. [10] “Jah Wobble & Lonelady To Explore Psychic Life”. The Quietus. 16 August 2011. [11] “Jah Wobble & Keith Levene EP”. 30 Hertz Records. February 2012.
Extended Play
3.5.4 •
Back Too Black (Iridescence 1987) •
•
Keith Levene’s Violent Opposition (Fundamen-
tal/Taang! 1988) •
Looking for Something (Taang! 1988)
•
Murder Global: Killer in the Crowd (self-released
•
2002, Underground Inc. 2004) •
EP aka Mississippi (Pressure Sounds/30 Hertz 2012)
(Jah Wobble + Keith Levene) •
Meeting Joe (self-released 2015)
•
References
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890.
69
3.6. TERRY CHIMES
•
Gruen, Bob; Chris Salewicz (2004) [2001]. The featured in the music video for the single, "Rock the CasClash (3rd ed.). London: Omnibus. ISBN 1- bah.” After the Jamaican World Music Festival of 1982, 903399-34-3. OCLC 69241279. he left for the third and final time.
Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 0- Other bands 85965-348-X. OCLC 53155325. After leaving The Clash, Chimes drummed in bands in Topping, Keith (2004) [2003]. The Complete Clash cluding Johnny Thunders and the Heartbreakers briefly (2nd ed.). Richmond: Reynolds & Hearn. ISBN in 1977 and 1984, Cowboys International in 1979, Gen 1-903111-70-6. OCLC 63129186. X from 1980 to 1981, Hanoi Rocks in 1985, The Cherry Bombz in 1986 (with ex Hanoi Rocks mem DiTondo, Kathy (3 May 2013). “RECALLING bers Andy McCoy and Nasty Suicide and ex Sham PiL: The Commercial Zone Era”. Louder Than 69/Wanderers/The Lords of the New Church Dave TreWar. Retrieved 19 January 2014. gunna) and Black Sabbath on their Eternal Idol Tour in 1987–88.[2] He also played drums with Billy Idol for a period of time.[3] 3.5.5 External links •
•
•
“Interview with 3:AM Magazine”. 3:AM Magazine. Later years “Interview for Mudkiss by Kathy DiTondo”. In 2003, he was inducted into the Rock and Roll Hall of Fame as a member of The Clash. At the induction ceremony, he gave an acceptance speech praising Topper 3.6 Terry Chimes Headon’s work. A May 2008 profile in the Daily Mail newspaper detailed Terence " Terry" Chimes (born 5 July 1956, Stepney, how Chimes, a teetotal vegetarian, having been cured of London, England)[1] is an English musician, best known serious arm pain on his first show in 1987 with Black as the original drummer of punk rock group The Clash. Sabbath by the band’s personal chiropractor, eventually He originally played with them fromJuly 1976 to Novem- turned to that occupation himself.[4] ber 1976, January 1977 to April 1977, and again from May 1982 to February 1983. He later drummed for He was nominated as a Scouting in London Ambassador Hanoi Rocks in 1985, before the band broke up that same for the Scout Association Region for Greater London at [5] year. He briefly toured with Black Sabbath from July an Adult Appreciation ceremony in 2008. 1987 through December 1987, and in a one-off gig in Chimes has been linked to an Irish film called May 1988. He also appeared as their drummer in Black “Ringsend”. The film is also set to star Martin Kemp.[6] Sabbath’s music video for their single “The Shining” from He currently plays drums for The Crunch[7] and the Anita their 1987 album The Eternal Idol . Chellemah Band. •
•
3.6.1
Career
The Clash
3.6.2
Personal life
Chimes is a practising Catholic.[8] Since 1994, he has Terry Chimes was a member of the proto-punk band worked as a chiropractor in Essex at his clinic, Chimes London SS, which also featured Mick Jones and Paul Chiropractic. He also runs chiropractic seminars. Simonon who, with Chimes, would team up with Joe Strummer and Keith Levene to form The Clash. 3.6.3 References Both Chimes and Levene subsequently left, but Chimes was brought back to record the band’s self-titled debut [1] Du Noyer, Paul (18 September 1997). The Clash. Modalbum, The Clash. On the album sleeve, he was credited ern Icons. London: Virgin. p. 93. ISBN 1-85227-715-7. as Tory Crimes. After recording the album, Chimes left OCLC 58830766. the band once again and was replaced by Topper Headon. [2] blacksabbath.com – Band member page for Terry Chimes In 1982, Headon was forced out of the band for his drug includes a photo of Chimes in a Black Sabbath video; addiction, and Chimes was asked to rejoin. He partiche did not appear on any Sabbath recordings. In 2013 ipated in The Casbah Club tours for both the USA and he joined THE CRUNCH with Sulo Karlsson (Diamond the UK, a brief tour supporting The Who, and the folDogs), Terry Chimes (Clash), Dave Tregunna (Sham 69) and Mick Geggus (Cockney Rejects). lowing Combat Rock tour back in the USA. He was also
70
CHAPTER 3. THE MEMBERS
[3] “From the Clash to a chiropractor ... Top complemen- 3.7 Rob Harper tary therapist tells why he changed his tune | Mail Online”. Dailymail.co.uk. 17 September 2013. Retrieved Rob Harper is an English musician, noted for being an 2014-08-03.
early drummer for The Clash from December 1976 until [4] “From the Clash to a chiropractor ... Top complementary January 1977. therapist tells why he changed his tune”. Daily Mail. 10 May 2008. Retrieved 2008-05-11. [5] Archived 8 September 2008 at the Wayback Machine.
3.7.1
Biography
Harper started out playing guitar in a college band and
[6] “Legal News | The Irish Film & Television Network”. when the singer invited a guitarist called Mark Knopfler Iftn.ie . Retrieved 2016-01-24. [7] http://www.metal-rules.com/metalnews/2015/06/13/ terry-chimes-the-crunch/ [8] Teahan, Madeleine (28 January 2014). “Punk rocker describes his return to Catholicism”. Catholic Herald .
3.6.4 •
•
•
Bibliography
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890.
•
•
•
Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
3.6.5
External links
to join, Harper switched to the bass so that Knopfler could join on guitar. It was Knopfler’s suggestion to name the band The Cafe Racers. After college, Harper went to Sussex University and at that time he was invited by Knopfler to play bass in the band that was to become Dire Straits. Harper declined his offer as he was concentrating on his studies at University. During his year at Sussex University (he dropped out in mid 1976), he played in a band called The Rockettes, [1] (as a lead guitarist) with William Broad (later to become Billy Idol) (vocals, rhythm guitar), Phil Siviter (drums) and Steve Upstone (bass).[2] In December 1976, Harper joined The Clash on the December 1976 “Anarchy Tour” supporting the Sex Pistols. After the tour, Harper quit and the band replaced him with their original drummer, Terry Chimes, who was the drummer on the Clash’s first album. Harper’s drumming does not appear on any studio recordings, but can be heard on the 9 December 1976 bootleg recording of the Clash playing at the Electric Circus in Manchester. Harper was for a time the guitarist in a South London R&B band called The Marauders, a band set up by UK Subs singer Charlie Harper. When The Marauders became the UK Subs in 1977 Harper switched to drums, alongside bassist Steve Slack. The pair left the UK Subs later in the year to form The Dazzlers. Harper later formed a short-lived UK power pop band called The Dazzlers as a guitarist (he was equally proficient on guitar and bass in addition to drums). They released several singles (including “Lovely Crash” in 1979) and an LP produced by Tommy Ramone, although the band split up shortly before the album was released. 3.7.2
Notes
•
Official website
[1] “The Rockettes”. myckryck.co.uk .
•
thecrunch.london
[2] “The Official Billy Idol Website”. billyidol.com. Retrieved March 17, 2008.
•
chiropracticheaven.com
•
Should I stay or should I go now? (BBC News Mag- 3.7.3 References azine, Fri 20 October 2006) Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). LonBlack Sabbath Online: Terry Chimes •
•
71
3.8. NICK SHEPPARD
don: Aurum Press. ISBN 1-84513-113-4. OCLC remember sitting in a different city watching it, thinking, 61177239. 'There isn't a band'". The Clash finally split up shortly afterwards. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). Lon- From 1986 to 1989 he collaborated with Gareth Sager don: Helter Skelter. ISBN 1-905139-10-1. OCLC (formerly of The Pop Group and Rip Rig + Panic) in Head, but their three albums made little impact. Shep60668626. pard next worked with Koozie Johns in Shot, which Green, Johnny; Garry Barker (2003) [1997]. A Riot signed with I.R.S. Records in 1991, with Copeland as of Our Own: Night and Day with The Clash (3rd manager; the band’s recordings were never released. ed.). London: Orion. ISBN 0-7528-5843-2. OCLC Sheppard moved to Perth, Australia in 1993, and has 52990890. formed/played in two local bands, Heavy Smoker and the Gruen, Bob; Chris Salewicz (2004) [2001]. The New Egyptian Kings with Shakir Pichler. Sheppard owns Elroy clothingstore on Beaufort Streetin Mount LawClash (3rd ed.). London: Omnibus. ISBN 1- the [2][3] ley. In July 2002, it was suggested that he would be 903399-34-3. OCLC 69241279. guest guitarist on a Japanese tour with Johns’ new band, Needs, Kris (2005-01-25). Joe Strummer and the Sinnerstar. The tour was cancelled. Legend of the Clash. London: Plexus. ISBN 0- In 2007 Sheppard formed The DomNicks with Dom 85965-348-X. OCLC 53155325. Mariani (The Stems, The Someloves, DM3), together Topping, Keith (2004) [2003]. The Complete Clash with bass player Howard Shawcross (The Elks) anddrum(2nd ed.). Richmond: Reynolds & Hearn. ISBN mer Marz Frisina (The Chevelles). This combo play a mix of Mariani and Sheppard originals with a spread of 1-903111-70-6. OCLC 63129186. 1960s and 1970s garage rock and soul material. In 2009 they released an EP, Hey Rock 'n' Roller , which was produced by Wayne Connolly (The Vines, You Am I). The 3.8 Nick Sheppard DomNicks toured with the Hoodoo Gurusand performed in Sydney and Melbourne at the Joe Strummer tribute Nick Sheppard is a Bristol-born guitarist best known for concert, 'Revolution Rock'.[4] being in the well-known punk band The Clash for a short time. 3.8.2 Notes •
•
•
•
•
3.8.1
Life and career
[1] The Colourtapes, The Spics and The Review [2] “Young, 17 and looking for something exciting”.
Nick Sheppard was educated at Bristol Grammar School, PerthNow. 5 December 2011. Retrieved 8 July 2016. one of Bristol’s leading public schools, and was in the same year as fellow musician Mark Stewart of The Pop [3] Foster, Brendan (2 March 2016). “Beaufort Street Festival in Mount Lawley cancelled after becoming too expenGroup. He started at 16 with The Cortinas, named afsive”. WAtoday. Retrieved 8 July 2016. ter a well-known British car, the Ford Cortina. The band moved from R&B towards covering songs by punk fore- [4] “Honest rock from a seasoned combo”. Subiaco Post . Post runners like the New York Dolls and The Stooges. “In Newspapers. 25 September 2010. p. 54. retrospect, I suppose we were very hip,” Sheppard says. “We were listening to the right records, as we were right there at the right time.” The Cortinas’ singles, “Fascist 3.8.3 References Dictator” and “Defiant Pose” both appeared on Step Forward, the label run by Police manager Miles Copeland, Gilbert, Pat (2005) [2004]. Passion Is a Fashas did their only album “True Romances”. The band split ion: The Real Story of The Clash (4th ed.). Lonup in September 1978, after which Sheppard played in a don: Aurum Press. ISBN 1-84513-113-4. OCLC number of bands, including The Viceroys and The Spics, 61177239. [1] a Bristol-based big band. Gray, Marcus (2005) [1995]. The Clash: Return Sheppard moved to California, then back to Britain. of the Last Gang in Town (5th revised ed.). LonWhen The Clash sacked Mick Jones in 1983, Sheppard don: Helter Skelter. ISBN 1-905139-10-1. OCLC and Vince White replaced him, and he toured America 60668626. and Europe with them in 1984, playing on their final album Cut the Crap. The album attracted criticism through Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd manager Bernie Rhodes' intrusive production and use of a drum machine. When “This Is England” reached a numed.). London: Orion. ISBN 0-7528-5843-2. OCLC ber 24 in the UK charts, Sheppard is quoted as saying: “I 52990890. •
•
•
72 •
CHAPTER 3. THE MEMBERS
Gruen, Bob; Chris Salewicz (2004) [2001]. The 3.9.3 References Clash (3rd ed.). London: Omnibus. ISBN 1 Gilbert, Pat (2005) [2004]. Passion Is a Fash903399-34-3. OCLC 69241279. ion: The Real Story of The Clash (4th ed.). Lon Needs, Kris (25 January 2005). Joe Strummer and don: Aurum Press. ISBN 1-84513-113-4. OCLC the Legend of the Clash. London: Plexus. ISBN 061177239. 85965-348-X. OCLC 53155325. Gray, Marcus (2005) [1995]. The Clash: Return Topping, Keith (2004) [2003]. The Complete Clash of the Last Gang in Town (5th revised ed.). Lon(2nd ed.). Richmond: Reynolds & Hearn. ISBN don: Helter Skelter. ISBN 1-905139-10-1. OCLC 1-903111-70-6. OCLC 63129186. 60668626. •
•
•
•
•
3.8.4
External links
•
Artist Direct biography
•
Sheppard playing with The Spics on YouTube
3.9
Vince White
31 March 1960, Marylebone, London, England) better known as Vince White, was one of the guitarists recruited by The Clash to replace Mick Jones after he was fired from the band in 1983.[1]
•
•
Gregory Stuart Lee White (born
3.9.1
Biography
White graduated in astronomy and physics from University College London in 1981, and in fine art from Middlesex University in North London.[1] White, along with Nick Sheppard, was one of the guitarists recruited by The Clash to replace Mick Jones when he left the band in 1983. He toured with the band, but only made a minimal appearance on the album Cut the Crap. The band finally split up in 1986.[1] Vince White has dedicated his whole life to music, specializing in all blues-based forms of music, rock, country. old-school to contemporary. Over the last several years he has shared the stage with many of his guitarplaying heroes, including BB King (3 times), Johnny Winter, Edgar Winter, Jimmie Vaughan, Robben Ford, Dick Dale, Lou Ann Barton, Pointer Sisters, Macy Gray, Berlin, The Motels, Ian Hunter, Robben Ford, Leon Russell, John Mayall, and many others. In 2007, White wrote his account of the final tumultuous years of The Clash, titled Out of Control: The Last Days of The Clash published by Moving Target books. He is currently an artist living in Notting Hill, west London.[1] 3.9.2
Notes
[1] “Vince White Biography”. vincewhite.com. Retrieved 28 February 2008.
•
Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890. Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
3.9.4
External links
•
Vince White Homepage
•
Vince White at AllMusic
•
“Clash Photo Rockers”. Free.fr.
Chapter 4
Other personnel 4.1
Bernard Rhodes
Bernard Rhodes is a fashion designer, record producer,
songwriter, manager and impresario who was integral to the development of the punk rock scene in the United Kingdom during the middle 1970s. He is most associated with two of the UK’s best known punk bands, the Sex Pistols and The Clash. It was Rhodes who was responsible for discovering John Lydon and arranging the audition in the King’s Road for him to join the Sex Pistols. He also introduced a young Mick Jones and Paul Simonon to Joe Strummer and together with Keith Levene they formed The Clash. Rhodes was an important force behind The Clash, notonly managingtheir business, butalso handling marketing and creative direction of the band. He left the band from 1979-1981 to pursue other opportunities, but tensions in the band led to singer-guitarist Joe Strummer demanding (and getting) his return in 1981. Other groups managed by Rhodes include The Specials, Dexys Midnight Runners, Subway Sect, Jo Boxers, The Lous, Black Arabs, Twenty Flight Rockers and Watts from Detroit. Rhodes built and then operated out of his Camden studio Rehearsal Rehearsals in what is now Camden Market. The area around the studio rapidly became a well known hangout for punks and contributed to the growth of Camden as a hip area. Since the break-up of The Clash, Rhodes has continued to be involved in fashion design and the music industry, as well as various political and social causes.
68 Hamilton Terrace, St Johns Wood. Mick Jagger, Marc Bolan, musician Mickey Finn, theSmallFaces, Guy Stevens (who Rhodes later brought in to produce The Clash)[1] were regular visitors. Towards the late 1960s Rhodes won a Design Council award for a children’s educational toy he designed utilising newly developed plastic techniques.[2] T shirts
In the early 1970s Rhodes had a shop in the Antiquarius Market, Chelsea selling his hand printed silk screen designs on shirts andT-shirts, plus a selection of rare vintage reggae records.[3] During this time he became re-acquainted with previous friend Malcolm McLaren and his girlfriend Vivienne Westwood, who were operating out of SEX boutique at 430 King’s Road. Finding they shared a similar philosophy, Rhodes and McLaren went into business together collaborating on several T-shirts which were then sold in SEX.
Westwood wanted to expand the sleeveless T-shirt clothing line. Rhodes was an ideal colleague with his skill of printing and 'complex, meandering discourse threw up many new ideas.”[4] The T-shirt You're Gonna Wake Up One Morning and Know What Side of the Bed You've Been Lying On was created and printed by Rhodes in his handwriting for the Sex boutique. McLaren explained that Rhodes idea was 'to create a dialogue.'[5] Rhodes has described the difference between himself and 4.1.1 Early life McLaren: “Malcolm [McLaren] likes to titillate but I get [6] Bernard Rhodes was raised in Stepney, east London. He down to substance”. says he never knew his father. He was then placed in an orphanage in South London where he remained until he 4.1.2 Management was 15. His mother was a Russian-Jewish evacuee. She worked for Huntsman’s in Saville Row making suits for Cary Grant and later Hawes & Curtis where John Pearse who co-owned Granny Takes a Trip was her apprentice.[1] In the early 1960s Rhodes and Pearse shared a flat at
Sex Pistols
By 1975, SEX had become a hangout for a bunch of teenagers from which the Sex Pistols would emerge. Rhodes took the group under his wing while McLaren
73
74 was in New York looking after the New York Dolls.[7] Original Sex Pistols member Glen Matlock describes Rhodes contribution as making them understand the importance of being clear cut. 'He (Rhodes) had a real ability for making people decide exactly what they were trying to do.'[8] John Lydon states that he was wearing a 'I Hate Pink Floyd' T-shirt when he was spotted by Rhodes on the Kings Road who insisted he meet McLaren, Steve Jones and Paul Cook in the local Roebuck pub that evening. After this get together, Rhodes had Lydon come back to the shop to audition for the role of singer.[9] Lydon says that Rhodes “was important to me in so many ways...He would indicate to me where the problems with the Pistols would be in the future. He would sow a seed and then wait to see if I would pick up on it.[10]
CHAPTER 4. OTHER PERSONNEL 1979-1981
From his Rehearsal Rehearsal studio, Rhodes nurtured and managed groups Subway Sect, The Specials, Dexys Midnight Runners, The Black Arabs and other musical projects. The intro to The Specials’ version of “Gangsters” begins with the line: “Bernie Rhodes knows: don't argue!"[15] Dexys Midnight Runners’ single “Dance Stance” was released in 1979 on the Oddball Productions label owned by Rhodes .[16] Rhodes later signed the group to EMI Records. The first album by Subway Sect, What’s the Matter Boy, was also released by Oddball in 1980. Rhodes introduced the idea of using a Burundi drum beat to McLaren[17] who gave it to Adam Ant. This led to the sound of Kings of the Wild Frontier (1980) by Adam and the Ants.[18] Club Left
The Clash
During the early 1980s Rhodes opened Club Left in Wardour Street Soho.[19] After his offer to co-manage Sex Pistols was rejected by McLaren, Rhodes was instrumental in The Clash's for- Club Left performances included Dig Wayne, Tom Cat, Lady Blue, Johnny Britton, Sade, Bananarama, Georgie mation in 1976. Fame and Slim Gaillard. The regular house band was Vic Mick Jones was wearing one of Rhodes’ Wake Up T-shirts Godard and the Subway Sect. when he approached Rhodes after a Sex Pistols gig thinking he was a keyboard player. They started talking about Sean McLusky states that Rhodes gave him a break at groups and the relationship was the starting point for what Club Left in 1981 and then got a deal and success for his band JoBoxers. McLusky says, “Bernard never got the would eventually become The Clash. [11] credit for things that were his. He has been the undefined Joe Strummer credits Rhodes as his mentor, stating “He force”.[19] constructed The Clash and focused our energies and we repaid him by being really good at what we did”. [12] Rhodes told them to write about social issues occurring Return to The Clash at the time, i.e., the housing problems, lack of education, dead-end futures.[12] Strummer said if Rhodes did not come back and manage [20] Strummer said that Rhodes was the only one who under- The Clash he would quit. stood how one should go about getting known.[12] Once back, Rhodes decided to remix “Magnificent 7”. Paul Simonon stated that Rhodes “set up the whole punk A 12” single dance remix, “Magnificent Dance” was rescene basically. He saw how non-musicians like myself leased on 12 April 1981. Production was credited to “Pepe Unidos”, a pseudonym for Strummer, Rhodes and and John (Lydon) could contribute.”[13] Paul Simonon.[21] Pepe Unidos also produced “The Call Rhodes called his friend Guy Stevens in to produce the Out”, a re-mix of “The Call Up”. Polydor recordings in 1977.[14] The group later used Stevens to produce London Calling. He also sought out Lee 'Scratch' Perry to produce the single “Complete Bonds NYC Control”.[12] On 25 January 1977, Rhodes signed The Clash to CBS Mick: 'Bernie came back on the scene because people Records and Maurice Oberstein who promised to allow thought that we'd gotten out of control and the first thing to do was book us for seven nights in New the group to do what they wanted on record and CBS he wanted [22] would promote it. After a couple of albums, including York'. their first, which Rhodes helped produce with Mickey The residency at Bonds NYC in the first two weeks of Foote, he felt the group were drifting away from their June 1981 was organised by Rhodes on his return as manstreet ideals and they parted company in late 1978. ager of The Clash. Support acts included Grandmaster
75
4.1. BERNARD RHODES
Flash, The Sugarhill Gang, Dead Kennedys, Bad Brains, Texan bad boy Joe Ely, Lee Perry and Funkapolitan. Rhodes states that it was because of these Bonds NYC shows that the public became more interested in hip-hop. “I endeavoured to get these guys on like Grandmaster Flash; not that most of the audience liked them but that led to a helluvalot”.[23] The record company were not behind the triple album Sandinista! recorded in Rhodes’s absence[24] but Kosmo Vinyl states that with the Bonds NYC residency, The Clash “clawed their way back into the Premiership”. [25] Jones’s sacking
event, Rhodes stated that: 'calling me a racist is like calling Margaret Thatcher a Marxist'.[31] In April 2010, Rhodes also caused controversy at his friend Malcolm McLaren’s funeral[32] when he accused Vivienne Westwood of “being part of the Establishment” before going onto the platform to deliver his own eulogy: “If we’re not careful we're going to turn Malcolm into John Lennon, into a saint. Malcolm was no saint.”[33] At the after funeral gathering, Rhodes and Westwood were photographed chatting happily by celebrity photographer Richard Young. In her recent autobiography, Westwood comments on the funeral saying Rhodes was quite justified in what he said, she was talking too much about herself and her ideas.[34]
Paul Simonon states that Rhodes was not aware that Mick Jones was going to be sacked nor in favour of the action. 4.1.3 Recent Simonon states that Jones believed Rhodes to be responsible and did not find out until the Rock Hall of Fame Rhodes was part of an exhibition at the London Jewish induction.[26] Museum called Entertaining the Nation: Stars of Music, [35] After Jones was sacked, Strummer and Simonon held Stage & Screen . blind auditions to recruit two new guitarists. Strummer He has designed a biker range of T-shirts for Lewis states they auditioned somewhere near 350 guitarists and Leathers. found Nick in the first batch, Vince in the second. [27] 4.1.4 Cut the Crap
According to guitarist Vince White, the working title of The Clash’s last album, released in 1985 was Out of Control . The title was changed by Rhodes shortly before its release. Rhodes also produced the album under the name of 'Jose Unidos’. He co-wrote allof the songs with Strummer. Strummer stated “This is England” was the last great Clash song and it has inspired many, including Shane Meadows who made a movie and TV show of the same name.[28]
References
[1] Gilbert 2005, p. 81. [2] Gilbert 2005, p. 82. [3] Letts 2007, p. 50. [4] Savage 1991, p. 83. [5] Gorman, Paul (2006). The Look . London: Adelita. p. 137. ISBN 0-9552017-0-5. [6] Savage 1991, p. 102. [7] Strongman 2008, pp. 84-85. [8] Matlock, Glen (1990). I was a teenage Sex Pistol . London: Omnibus Press. p. 32. ISBN 0-7119-1817-1.
Doug Watts
In 1990, Rhodes relocated from Los Angeles to Atlanta, Georgia where Doug Watts, the lead singer of a black metal band Naked Truth asked him for help. Rhodes brought in a new bass player and rehearsed the band over several months. Rhodes independently produced the album Green with Rage. He then signed the band to Sony Records.[29]
[9] Lydon 1993, p. 75. [10] Lydon 1993, pp. 117-118. [11] Gilbert 2005, p. 60. [12] The Clash 2008, p. 88. [13] Gilbert 2005, p. 78. [14] Gilbert 2005, p. 117. [15] Adams 2009.
St Martin’s incident
[16] White 2005, p. 205.
In May 2007, Rhodes caused controversy at London’s [17] Vermorel 1987, p. 236. St Martins College, when he was accused of using the [18] Vermorel, Fred and Judy (1987) [1978]. Sex Pistols the word 'niggers’ during a speech he was giving about street Inside Story. London: Omnibus. p. 236. ISBN 9780711[30] 910904. fashion. In a published interview directly after the
76
CHAPTER 4. OTHER PERSONNEL
[19] G Spot 1993, p. 39.
•
[20] Gilbert 2005, p. 286. [21] Punknews.org & 1993.
•
[22] The Clash 2008, p. 290. [23] Gruen 2001, p. 241. •
[24] Gruen 2001, p. 240. [25] Gruen 2001, p. 242. [26] Salewicz, pp. 373-375.
•
[27] Len Righi (1984-04-20). “Joe Strummer tells why the Clash is carrying on”. mcall.com. Retrieved 1984-04-20. Check date values in: |access-date= (help) •
[28] Neil Spencer & James Brown (2006-10-29). “Why the Clash are still Rock Titans”. theguardian.com. Retrieved 2006-10-29. [29] RiffRaff March1992. [30] Sabuhi Mir. “Clash Culture-Central St. Martins”. rock feedback.com. Retrieved 2007-05-01.
•
•
[31] Mojo 2007. [32] Mirror.co.uk. “Vivienne Westwood in Malcolm McLaren funeral row”. Mirror.co.uk. Retrieved 2010-04-24.
Letts, Don (2007). Culture Clash: Dread Meets Punk Rockers . London: SAF Publishing Ltd. ISBN 0-946719-89-6. Lydon, John (1993). Rotten:No Irish, No Blacks, No Dogs . London: Hodder & Stoughton. ISBN 0-34063528-2. Savage, Jon (2001) [1991]. England’s Dreaming: Sex Pistols and Punk Rock (2nd ed.). London: Faber & Faber. ISBN 978-0571227204. Strongman, Phil (2008) [2007]. Pretty Vacant: A History of UK Punk (US ed.). Chicago: Chicago Review Press. ISBN 1-55652-752-7. OCLC 173299117. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186. Vermorel, Fred & Judy (1987) [1978]. Sex Pistols The Inside Story (3rd ed.). London: Omnibus Press. ISBN 9780711-910904. Westwood & Kelly, Vivienne & Ian (2014). Vivienne Westwood . London: Picador. ISBN 9781-447254126.
Films and documentaries
[33] O'Hagan 2010. [34] Westwood & Kelly 2014.
•
[35] The Jewish Museum London 2012.
4.1.5
Sources
Books •
•
•
Clash, The (2008). The Clash. London: Atlantic Books. ISBN 978-1-84354-788-4. Coon, Caroline (1977). 1988: The New Wave Punk Rock Explosion. London: Hawthorn. ISBN 0-80156129-9. OCLC 79262599. Retrieved 2011-09-19.
Letts Don; Rick Elgood, Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, The Clash (2001). The Clash: Westway to the World (DVD). New York, NY: SonyMusic Entertainment; Dorismo; Uptown Films. ISBN 0-7389-0082-6. OCLC 49798077.
4.1.6 •
•
Web, journals and magazines
Adams, Owen (30 March 2009). “Label of Love: 2Tone Records”. Culture > Music > Label of love. Guardian.co.uk. “The Clash - Super Black Market Clash”. Punknews.org.
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). Lon- Related articles don: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Fisher, Judith (March 1992). “Naked Truth”. Riff Raff Magazine. Riff Raff. Gruen, Bob (2001). The Clash Photographs by Bob Gruen. London: Omnibus Press. ISBN 1-903399 Holden & Van Schreven, Michael & Keld (Aug 34-3. 1993). “Def by Misadventure”. G Spot (8). van Schreven & Westall. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). Lon “Gangsters by The Specials”. Songfacts.com. don: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. “Clash Culture - Central St Martins”. RFB. •
•
•
•
•
•
4.2. MIKEY DREAD
77
“Vivienne Westwood in Malcolm McLaren funeral him his own radio program called Dread at the Controls , row”. The Daily Mirror . www.mirror.co.uk. where he played almost exclusively reggae. [3][4] Before long, Campbell (now using the DJ name Mikey Dread) O'Hagan, Sean (25 April 2010). “The surreal day had the most popular program on the JBC. Well known we laid the old anarchist to rest”. The Observer . for its fun and adventurous sonic style, Dread at the ConGuardian.co.uk. trols became a hit all over Jamaica. Examples of Mikey Pattison, Louis (7 May 2007). “Clash manager’s Dread’s distinctive radio chatter can be heard on the US racist outburst a reminder not to get rose-tinted release of the RAS label LP African Anthem Dubwise. about punk”. The Guardian. Retrieved 6 May 2012. He also began working as a recording artist, Lee “Scratch” Perry producing his signature tune “Dread at “Bernard Rhodes speaks”. Mojo. July 2007. p. 18. the Controls”, also recording for Sonia Pottinger and Joe performing with the Socialist Roots sound Righi, Len (20 April 1984). “Joe Strummer tells Gibbs, and [3][5] system. Inevitably, JBC’s conservative management why the Clash is carrying on”. The Morning Call . and Campbell clashed, and he quit in protest in 1978, be “Ex-Clash manager causes uproar with N-word”. coming an engineer at the Treasure Isle studio, where he CMU Daily - On The Inside. CMU Music Network. began an association with producer Carlton Patterson.[3] They co-produced Dread’s own work (e.g. “Barber Sa4 May 2007. Retrieved 2013-01-07. loon”) and that of others.[3] “Last chance to see - Entertaining the Nation”. News . The Jewish Museum London. 27 January By the late 1970s he had started his own DATC label, working with artists such as Edi Fitzroy, Sugar Minott, 2012. and Earl Sixteen, as well as producing his own work. [3] The label released Dread’s albums Evolutionary Rockers (released in the UK as Dread at the Controls ), and World 4.1.7 Further reading War III . Salewicz, Chris (2006). Redemption Song: The Bal- Campbell’s music attracted the attention of British punk lad of Joe Strummer . New York: Macmillan. ISBN rockers The Clash, who invited him over to England to 978-0-571-21178-4. OCLC 76794852. tour with them in 1980, going on to produce some of their music.[3][7][8] Although initially suspicious of the strangers, Campbell soon became the best of friends with 4.1.8 External links the band, producing their famous "Bankrobber" single[9] and performing on several songs on their 1980 album Official website Sandinista!.[10] Campbell also toured with The Clash across Britain, Europe, and the US, gaining many new fans along the way.[10] He studied at the National Broad4.2 Mikey Dread casting School in London in 1980 and in 1984 studied advanced recording technology at the North London PolyMichael George Campbell (4 June 1954 – 15 March technic.[4] 2008),[1] better known as Mikey Dread,[2] was a Ja- Duringthe early1980s he provided vocals with thereggae maican singer, producer, and broadcaster. He was one of collective Singers And Players on AdrianSherwood's Onthe most influential performers and innovators in reggae U Sound record label.[5] Dread produced ten dub tracks music. for UB40 and toured Europe and Scandinavia as their support artist.[6] Some of his works in the United Kingdom include host4.2.1 Biography ing series such as Rockers Roadshow and narrating the [3] Born in Port Antonio, one of five children, from an six-part Channel 4 reggae documentary series Deep Roots early age, Campbell showed a natural aptitude for en- Music .[3][4] He later recorded “The Source (Of Your Digineering and electronics.[4] As a teenager he performed vorce)" for Warner Brothers Records US, which obtained with the Safari and Sound of Music sound systems, and regularly rotated video airplay. worked on his high school’s radio station.[5] In 1991, Dread recorded Profile and African Anthem ReHe studied electrical engineering at the College of Arts, visited . He also toured in Europe and the US withFreddie Science and Technology, and in 1976, started out as McGregor, Lloyd Parks, We The People Band, and the an engineer with the Jamaica Broadcasting Corporation Roots Radics Band. (JBC).[4][5][6] Campbell wasn't impressed that the JBC’s In 1992, he collaborated with former Guns N' Roses guiplaylists mainly consisted of bland, foreign pop music at tarist Izzy Stradlin on a duet entitled “Can't Hear 'Em”.[3] a time when some of the most potent reggae was being He was nominated for a NAIRD award, an award from recordedin Jamaica. He convinced hisJBCbossesto give •
•
•
•
•
•
•
•
•
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CHAPTER 4. OTHER PERSONNEL
Mikey Dread performing at SOB’s NYC on 8 April 2003
Mikey Dread, 2006
the Billboard Magazine, for his work on his 1990 compilation album Mikey Dread’s Best Sellers . In 1993, Mikey Dread was involved in several projects, including his tour supporting the album Obsession and working in TV with the Caribbean Satellite Network (CSN) where he was Program Director and on Air personality as well as Producer of various shows. In 1994 he presented The Culture Award of Honor in the Martin’s International Reggae Music Awards in Chicago. In 1995, he worked as a Radio DJ for WAVS 1170 AM and WAXY-AM 790 in Miami, Florida. In 1996 he participated in the Essential Music Festival as a performer in Brighton, UK. Mikey furthered his knowledge of TV/Video Production at the Art Institute of Ft. Lauderdale, where he graduated in 1996 with Honors and at Lynn University in Boca Raton / Florida where he earned a Bachelor of Arts Degree in International Communications, with Magna Cum Laude honours. He performed live with The Clash, UB40, Bob Dylan, Carlos Santana, Macka B, and many other bands and artists. He also produced artists such as Sugar Minott, Junior Murvin, EarlSixteen, WallyBucker, Sunshine, Jah Grundy and Rod Taylor. He also worked closely with producer Trevor Elliot to launch musical career of singer Edi Fitzroy. Mikey Dread was the featured artist on "Lips Like Sugar"with Seal for the soundtrack of the 2004 film, 50 First Dates .[6] After many years working as a producer and singer, Campbell withdrew from the business and moved to Miami where he furthered his college education with courses in electronics andbusiness, andran the Caribbean Satellite Network TV station in Miami.[5] Campbell shrewdly waited until all of his existing contracts expired and then regained control over his entire catalogue; He began re-releasing much of it on his own Dread at the Controls record label. He performed at the Montreux Jazz Festival in 2002 and at Glastonbury Festival in 2004, and toured the UK in
2006.[4] Dread, together with The Blizzard of 78, featured on The Sandinista! Project , a tribute to the 1980 Clash album Sandinista!, with the song “Silicone on Sapphire”. The tribute album, recorded in 2004, was released on 15 May 2007 by the 00:02:59 Records (a label named after a lyric from the Sandinista! song “Hitsville UK”).[11][12][13] In October 2007, it was announced that Campbell was being treated for a brain tumour.[14] He died on 15 March 2008, surrounded by his family, at the home of his sister in Stamford, Connecticut.[1] 4.2.2
Discography
Studio albums Compilations Singles •
“Love the Dread” (1978), DATC
•
“Step By Step” (1978), 40 Leg
•
“Barber Saloon” (1978), Warrior
•
“Roots Man Revival” (1979), High Note
•
“African Rap” (1979), Wild Flower
•
“Rasta Born Baby” (1979), Roots International
•
“African Map” (1979), DATC
•
“Break Down the Walls” (1980) (DREAD 1)
•
“Rockers Delight” (1980), DATC
•
“Jumping Master” (1980), DATC
•
“Reggae Gone International” (1980), DATC
•
“Warrior Stylee” (1981), DATC
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4.2. MIKEY DREAD
•
“Rocky Road” (1982), DATC/Do It
•
“Roots & Culture” / “Jungle Dread” (1982), DATC (DATCD 008)
•
•
“Bad Man Posseé" (1982), DATC - with Junior Murvin “Pound A Weed” (1982), DATC - with Roots Radics
•
“Warning” (1982), DATC
•
“Heavy Weight Style” (1982), Do It
•
“Sunday School” (1983), DATC
•
“Reggae Hit Shot” (1984), DEP International
•
“Knock Knock” (1985), DEP International
•
album by Madlib; ANTCD102) •
•
“Rude Little Dread” (1986), DATC
Auralux Reggae Showcase (2004; compilation al-
bum by various artists; LUXXCD007) •
50 First Dates (2004; compilation album by various
artists) •
Radio Clash (2004; compilation album by various
artists) •
Best 1991–2004 (2004; compilation album by Seal)
•
Echodelic Sounds of Future Pigeon (2006; album by
Future Pigeon) •
•
Blunted in the Bomb Shelter Mix (2002; compilation
Singles Box (2006; compilation album by The Clash;
Sony BMG) •
“The Source (Of Your Divorce)" (1989), Warner Bros US
Down in a Tenement Yard: Sufferation and Love in the Ghetto 1973–1980 (2007; compilation album by
various artists; TJDDD352)
•
“Choose Me” (1989), DATC
•
Family Front (2008; Album by Habakuk; 5935240)
•
“King of Kings” (2001), Higher Ground
•
Royale Rockers: Reggae Sessions (2008; album by
Appears on •
The Trojan Story Vol. 2 (1982; compilation album
by various artists; TALL 200) •
•
•
Funky Reggae Crew – Strictly Hip-Hop Reggae Fusion (1989; compilation album by various artists; The Roots of Reggae Vol. 1 (1991; compilation al Larks From the Ark (1995; compilation album by History of Trojan Records 1972–1995 Volume 2
•
Arkology (1997;
•
Rockers Galore (1999; compilation album by The
compilation album by Lee “Scratch” Perry; CRNCD 6) Clash; ESK 47144)
Classic Reggae: The Producers (2000; compilation
album by various artists; MCCD 444) •
References
[2] Pronounced as /ˈmaɪki drɛd/
(1996; compilation album by various artists)
•
4.2.3
Singers and Players – Leaps and Bounds (1984; Cherry Red), “Autobiography (Dread Operator)" and “Vegetable Matter”
Lee “Scratch” Perry; NTMCD 511) •
Iration – Generation Time (Ft. Mikey Dread)
[1] Lusk, Jon (19 March 2008). “Mikey Dread: Renaissance man of reggae”. Obituaries . The Independent. Retrieved 19 March 2008.
bum by various artists; MCCD 014) •
•
Singers and Players – Staggering Heights (1983; OnU Sound), “School Days”
926 011-1) •
Casino Royale)
Dub Reggae Essentials (2000; compilation album by
various artists)
[3] Thompson, Dave (2002) Reggae & Caribbean Music , Backbeat Books, ISBN 0-87930-655-6, pp. 99–101 [4] Clayson, Alan (2008) "Mikey Dread", The Guardian , 25 March 2008. Retrieved 26 April 2016 [5] Katz, David (2015) "How Mikey Dread revolutionised Jamaican music several times over", Fact , 15 September 2015. Retrieved 26 April 2016 [6] “Mikey Dread – forever at the Control”. Lifestyle. The Jamaica Observer. 17 March 2008. Archived from the original (ASP) on 30 March 2008. Retrieved 20 March 2008. [7] Letts, Don; David Nobakht (2008) [22 January 2007]. Culture Clash: Dread Meets Punk Rockers (3rd ed.). London: SAF. ISBN 0-946719-99-3. OCLC 181422771. [8] Letts, Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash (2001). The Clash, Westway to the World (Documentary). New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 31:45–32:43. ISBN 07389-0082-6. OCLC 49798077. The Dread meets the Punk rockers uptown Clash open the Roxy (Jan 1977)
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CHAPTER 4. OTHER PERSONNEL
[9] “The Singles (CD version)". SONY BMG Music Enter- [27] Rick Anderson (23 July 1992). “Come to Mikey Dread’s tainment Store. Retrieved 19 March 2008. Dub Party – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 20 May 2014. [10] Gilbert, Pat (2005) [2004]. “8–13, Epilogue, Discography, Bibliography”. Passion Is a Fashion: The Real Story [28] “World Tour – Mikey Dread | Songs, Reviews, Credits, of The Clash (4th ed.). London: Aurum Press. pp. 321, Awards”. AllMusic. Retrieved 20 May 2014. 332, 362, 367, 373–388. ISBN 1-84513-113-4. OCLC [29] “Rasta in Control – Mikey Dread | Songs, Reviews, Cred61177239. its, Awards”. AllMusic. 10 December 2002. Retrieved [11] Clash, The; Joe Grushecky; Katrina Leskanich; Willie 20 May 2014. Nile; Ship & Pilot.; Soul Food (Musical group); Sunset Heroes (21 September 2004). The Sandinista! Project A [30] “Life Is a Stage – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. 26 April 2007. Retrieved 20 May Tribute to the Clash (Compact Disc). England: 00:02:59 2014. Records. OCLC 178980813. [12] “The Sandinista Project”. sandinista.guterman.com. Re- [31] “African Anthem/Happy Family – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 20 May trieved 19 March 2008. 2014. [13] “Cary Baker’s conqueroo – The Sandinista! Project Announcements”. conqueroo.com. Retrieved 19 March [32] Sean Westergaard (1 July 1991). “S.W.A.L.K./Rockers Vibrations – Mikey Dread | Songs, Reviews, Credits, 2008. Awards”. AllMusic. Retrieved 20 May 2014. [14] Walters, Basil (28 October 2007). “Not at the control: Mikey Dread has brain tumour”. Lifestyle. The Jamaica [33] “The Prime of Mikey Dread: Massive Dub Cuts from 1978–1992 – Mikey Dread | Songs, Reviews, Credits, Observer. Archived from the original (ASP) on 11 FebruAwards”. AllMusic. 18 January 1999. Retrieved 20 May ary 2008. Retrieved 19 March 2008. 2014. [15] Stephen Cook. “African Anthem – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 20 May [34] “Best Sellers 2 – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. 4 January 2006. Retrieved 20 May 2014. 2014. [16] Jo-Ann Greene. “Dread at the Controls – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. Retrieved [35] “Dread at the Controls/Evolutionary Rockers – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. 4 20 May 2014. January 2006. Retrieved 20 May 2014. [17] “World War Three – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 20 May 2014. [18] Ralph Heibutzki. “Beyond World War III – Mikey Dread 4.2.4 External links | Songs, Reviews, Credits, Awards”. AllMusic. Retrieved Official website 20 May 2014. •
[19] “Dub Merchant – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. 9 February 2006. Retrieved 20 May 2014.
•
Official Label website
•
Official Podcast with Insomnia Radio website
Mikey Dread Online Memorial [20] “Jungle Signal – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. 9 February 2006. Retrieved 20 May 2014. Articles •
[21] Jo-Ann Greene. “Pave the Way – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 20 May 2014.
•
[22] “S.W.A.L.K. – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 20 May 2014.
•
[23] “Happy Family – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 20 May 2014. [24] Rick Anderson. “Profile – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 20 May 2014.
Complicated Dread: the Mikey Dread interview Complicated Fun, 21 June 2006 Mikey Dread Interview: Mikey Dread at the controls trakMARX.com – Punk Rock... & Roll, trakMARX 21 – October 2005 – The No Time To Be 21 Issue
4.3
Don Letts
[25] “African Anthem Revisited – Mikey Dread | Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 20 May Donovan “Don” Letts (born 10 January 1956) is a 2014.
British film director, DJ and musician. Letts first came to [26] “Obsession – Mikey Dread | Songs, Reviews, Credits, prominence as the videographer for The Clash, directing Awards”. AllMusic. Retrieved 20 May 2014. several of their music videos. In 1984, Letts co-founded
81
4.3. DON LETTS
the band Big Audio Dynamite with Clash guitarist Mick tured in the exhibition Return of the Rudeboy at Somerset Jones, acting as the group’s sampler and videographer be- House in the middle of 2014.[4][5] fore departing the band in 1990. In a conservative culture that feels like Letts also directed music videos for Musical Youth, The punk never happened, the time is right for Psychedelic Furs, The Pretenders and Elvis Costello as Return of the Rudeboy. well as the feature documentaries The Punk Rock Movie — Don Letts[5] (1977) and The Clash: Westway to the World (2000). 4.3.1
Biography Music
Letts was born in London, and educated at Tenison’s School in Kennington. In 1975, he ran the London clothing store Acme Attractions, selling “electric-blue zoot suits and jukeboxes, and pumping dub reggae all day long.”[1] He was deeply inspired by the music coming from his parents’ homeland, Jamaica, in particular Bob Marley. After seeing one of Marley’s gigs at the Hammersmith Odeon(June 1976) Letts was able to sneak into the hotel and spent the night talking to and befriending Marley.[2] By the mid-1970s Acme had quite a scene, attracting the likes of The Clash, Sex Pistols, Chrissie Hynde, Patti Smith, Deborah Harry and Bob Marley. Seeing the crowd at Acme, the then promoter Andy Czezowski started up the Roxy, a London nightclub during the original outbreak of punk in England, so that people could go from the store and have some place to party. As most bands of that era had yet to be recorded, there were limited punk rock records to be played. Instead, Letts included many dub and reggae records in his sets, and is credited with introducing those sounds to the London punk scene, which was to influence The Clash and other bands. As a tribute, he is pictured on the cover of the EP Black Market Clash and the compilation Super Black Market Clash. He was able to use the fame and money from DJing and the Acme story to make his first film, The Punk Rock Movie (1978).
In 1978, Letts recorded an EP, Steel Leg v the Electric Dread , with Keith Levene, Jah Wobble and Steel Leg. After [Mick Jones (The Clash guitarist)|Mick Jones]] was fired from The Clash, he and Letts founded Big Audio Dynamite in 1984. In 1990 Letts formed Screaming Target.[6] As of 1 April 2009, Letts is presenting a weekly show on BBC Radio 6 Music. Books
In 2006, he published his autobiography, Culture Clash: Dread Meets Punk Rockers .[7] Films
Since his first movie, The Punk Rock Movie, Letts has expanded to doing documentaries and music videos for multiple bands. In 1997, he travelled to Jamaica to direct Dancehall Queen.[3] His film Westway to the World won a Grammy Award in 2003. Filmography (as director)
Letts quit theretail business to manage the band The Slits. Music videos He was able to get The Slits to open for The Clash during the White Riot tour. While on the White Riot tour he decided that management was not for him, but continued 4.3.2 References to shoot material for The Punk Rock Movie .[3] Letts went to Jamaica for the first time when, after the [1] Don Letts (24 October 2001). "'Dem crazy baldheads are my mates’". The Guardian. Retrieved 16 December Sex Pistolsbroke up, Johnny Rotten decidedto escapethe 2007. media frenzy by going with Richard Branson to Jamaica. It was on this trip that Branson was inspired to start up [2] Don Letts (24 May 2007). “Don Letts: In his own words Virgin's Frontline reggae record label.[1] - Special to BobMarley.com”. Retrieved 16 December I guess he thought that since I was black and Jamaican – well, sort of – he'd be in good hands. Little did he know that the closest I'd been to Jamaica was watching The Harder They Come at the Classic Cinema in Brixton. — Don Letts [1]
2007. [3] CharlotteRobinson (12 July 2002). “DON LETTS”. popmatters. Retrieved 16 December 2007. [4] “Return of the Rude Boy” at Somerset House, 13 June– 25 August 2014. [5] Return of the Rude Boy website.
A portrait of Don by photographer Dean Chalkley fea-
[6] “Don Letts Biography”. Retrieved 3 March 2012.
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[7] Letts, Don; David Nobakht (2008) [22 January 2007]. 4.4.1 References Culture Clash: Dread Meets Punk Rockers (3rd ed.). London: SAF Publishing. ISBN 0-946719-99-3. OCLC [1] http://workhardpr.com/bill_price/bill_price.php 181422771. [2] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash [8] Letts, Don; The Clash, Joe Strummer, Mick Jones, Paul (2001). The Clash, Westway to the World (Documentary). Simonon, Topper Headon (15 April 2008). The Clash New York, NY: Sony Music Entertainment; Dorismo; Live: Revolution Rock (Documentary/TV movie). New Uptown Films. ISBN 0-7389-0082-6. OCLC 49798077. York: Legacy Recordings. OCLC 227211002. [9] http://www.bbc.co.uk/programmes/b07yv0qj [10] http://worlds-enders.blogspot.com/. Missing or empty |title= (help)
4.3.3
External links
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Don Letts at the Internet Movie Database
•
Don Letts’ Culture Clash Radio at BBC Programmes
•
Don Letts Homepage
4.4
Bill Price
August 1944 – 22 December 2016) [1] was an English record producer and audio engineer who worked with The Clash, The Sex Pistols, Guns N' Roses, Sparks, The Jesus and Mary Chain, The Nymphs, The Waterboys, Mott theHoople and Simon Townshend(Pete Townshend's younger brother). He was chief engineer on the first three solo albums by Pete Townshend: including Empty Glass and White City: A Novel . He contributed to documentaries about The Clash such as Westway To The World .[2] Bill Price started his engineering career in the mid-60’s when he was an engineer at Decca Studios in West Hampstead, recording artists such as Tom Jones. One of the final recordings he helped engineer at Decca before departing to Wessex Studios in November 1969 was the multi-million selling "Reflections of My Life" by The Marmalade. Price helped build AIR studios Oxford Street, where he spent many years. During that time he engineered some of the major albums of the 1970s and 1980s including the Sex Pistols’ Never Mind the Bollocks, Here’s the Sex Pistols , and mixed Nilsson’s "Without You". He was the chief engineer/manager at Wessex Studios, the London studio where the Clash and the Sex Pistols recorded much of their work. Bill Price (8
4.5
Guy Stevens
Guy Stevens (13 April 1943 – 28 August 1981) was a
British music industry figure whose roles included DJ, record producer, and band manager. He was influential in promoting R&B music in Britain in the 1960s, gave the rock bands Procol Harum[1] and Mott the Hoople their distinctive names, and co-produced The Clash's album London Calling. 4.5.1
Early life and career
Stevens was born in East Dulwich, London. His father died when he was six, and at the age of 11 he was enrolled at Woolverstone Hallboarding school near Ipswich. After being expelled for rebelliousness, he started work with his brother in the insurance industry, at the same time starting a record collection of blues and R&B records, imported from the U.S.. He married in 1962 and had a son the following year.[2] In 1963, he began running a weekly “R&B Disc Night” at the Scene Clubin Soho,runby Ronan O'Rahilly, at which Stevens played often obscure Stax, Chess and Motown records, attracting a growing number of mod clubgoers and musicians, including members of The Who, The Small Faces, The Yardbirds, The Rolling Stones and The Beatles. Stevens soon began compiling and annotating reissues and compilations of American records, particularly for EMI. He also started writing for the Record Mirror , and wrote the first UK press profiles of such musicians as Muddy Waters and Howlin' Wolf.[2][3] 4.5.2
Sue and Island Records
Stevens was approached by record company executive Chris Blackwell in 1964 to run the Sue record label in the UK, as an offshoot of Island Records. He took responsibility for releasing a string of successful R&B singles on Sue in the UK, including records by Ike and Tina Turner, Rufus Thomas, Elmore James, Wilbert Harrison, Donnie Elbert, and Inez and Charlie Foxx. He also compiled and annotated The Sue Story compilation LPs.[3] Stevens used More recently he worked again with Mick Jones in his the Sue label to put outobscure American singles not only band Carbon/Silicon and mixed The Veils' albums Nux from the U.S. Sue group of labels, but from many small Vomica and Time Stays, We Go. independent record companies, and some of the bigger
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4.5. GUY STEVENS
ones. It became widely influential. Stevens was also president of the Chuck Berry Appreciation Society, and had a say in the UK releases that Pye International put out by Berry, Bo Diddley and others on the Chess and Checker labels. It was Guy Stevens who brought Berry to the UK for his first tour after paying his bail to get him out of jail for offences under the Mann Act.[4]
again dropped Stevens, and signed to Tony DeFries' company MainMan. Mott’s fifth album, All the Young Dudes , was produced by David Bowie.
He broke into record production at Blackwell’s suggestion in 1965, firstly on a single by Alex Harvey and then producing live albums by Larry Williams and Lee Dorsey. The following year, he was appointed head of A&R at Island Records. His first signing to the label was Birmingham band The V.I.P.s, who soon changed their name to Art. Stevens produced their early recordings, before they added keyboardist Gary Wright to become Spooky Tooth. Stevens also managed and produced Hapshash and the Coloured Coat, an artistic and musical collaboration between the band Art and designers Michael English and Nigel Waymouth, which led to the album Featuring the Human Host and the Heavy Metal Kids .[2][3] Stevens also introduced lyricist Keith Reid to keyboardist Gary Brooker of The Paramounts. He encouraged them to write together, and reportedly commented to Reid at a party that a friend had turned “a whiter shade of pale”. The resulting song was recorded by Brooker’s newly formed band, named Procol Harum by Stevens, and – though turned down by Blackwell at Island – went on to become one of the defining songs of the era.[2] In 1968, Stevens was imprisoned for several months for drug offences, during which time his record collection was stolen, leading to a breakdown. However, on his release he returned to Island Records, and produced albums by Free, Mighty Baby, and Heavy Jelly.[2]
By the mid-1970s, Stevens’ activities had become increasingly erratic as a result of his chronic alcoholism.[3]
Mott the Hoople
While working for Island, Stevens was fundamental in the formation of Mott the Hoople. The band was originally called “Silence,” with the line-up of Stan Tippins on vocals, Mick Ralphs on lead guitar, Verden Allen on keyboards, Overend Watts on bass, and Dale Griffin on drums. Envisioning a band with a sound that would be a combination of The Rolling Stones and Bob Dylan, Stevens recruited and mentored Ian Hunter as lead singer, and demoted Stan Tippins to road manager. Stevens also named the band after the Willard Manus novel, which he had read while in prison.[5] Stevens served as the Mott’s manager, and produced their eponymous 1969 debut album and its 1970 follow-up, Mad Shadows (1970). After Mad Shadows met with poor sales and negative reviews, Mott dispensed with Stevens’ services and produced their third album, Wildlife (1971), by themselves. After that album’s commercial failure, Mott re-recruited Stevens to produce the Brain Capers album (1971). On the verge of splitting up in 1972, Mott
4.5.3
Later activities
The Clash
In 1976 Stevens was present, although notclearly as a producer, on a demo session which The Clash undertook before they were signed. Mick Jones recalled that: At the session, Guy was there for a while and then he got upset about something. I think the other guys, the sound engineer Vic Smith and Chris Perry from Polydor, just wanted to record a demonstration session and take it to A&R and get the band signed. They didn't know how to deal with Guy, because everything with Guy was like a major number. In 1979, the band recruited Stevens to produce their album London Calling. The band themselves have always held up Stevens’ input as a major factor in the album’s popularity and quality. The Clash involved Stevens because they recognized the influential role he had played in the British beat and blues booms of the 1960s. The Who, The Small Faces, The Rolling Stones and many others used Stevens’ knowledge of the American R&B and soul scene as a source for their own repertoire, having heard of him through his deejaying at the New Scene Club. Stevens’ involvement with the production of London Calling is explored extensively in Marcus Grey’s book Route 19 Revisited: The Clash and the Making of London Calling (2012).
4.5.4
Death and legacy
Stevens died on 28 August 1981, at the age of 38, having overdosed on the prescription drugs he was taking to reduce his alcohol dependency.[6] In 1981, The Clash wrote a song for, or about Stevens, who haddied the same year: “Midnight to Stevens”. Itis a lush sweeping songthatsounds unlike almost anythingthe Clash recorded despite the range of styles on Sandinista! and Combat Rock . It was released originally as the b-side of a 12” Clash single in the summer of 1982. It was later released in 1991, when it appeared on disc three of Clash on Broadway. Stevens’ involvement in Mott the Hoople’s early career was covered in the 2011 documentary, The Ballad of Mott
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the Hoople.[7][8] Stevens also produced Free’s debut album Tons of Sobs , the eponymous debutalbum of Mighty Baby, and the debut of Spooky Tooth, Supernatural Fairy Tales .
held a Marshall McLuhan Centenary Fellowship at the Coach House Institute (CHI) of theUniversity of Toronto Faculty of Information as part of the CHI’s McLuhan Program in Culture and Technology.
A poem in tribute to Stevens was included by Ian Hunter on the lyric sheet of his 1983 CBS album All Of The Good Ones Are Taken, which concluded: “I remember the guy 4.6.1 with the electric hair at that first rehearsal standing there. You gave your heart - you gave your soul. God bless you, Guy - Rock n Roll!"
In assessing himself, Stevens stated, “There are only two Phil Spectors in the world... and I'm one of them!"[7] 4.5.5
References
[1] “Guy Stevens: uniter of Brooker and Reid”. Procolharum.com. Retrieved 2014-05-20. [2] Kris Needs, “Mayhem’s Go-To Guy”, Record Collector , #460, December 2016, pp.38-44 [3] Biography, Allmusic.com. Retrieved 8 November 2016 [4] “The Generalist: CULT MUSIC: GUY STEVENS”. Hqinfo.blogspot.co.uk. 2012-02-26. Retrieved 2014-0520. [5] “Guy Stevens: some Hoople history”. Procolharum.com. Retrieved 2014-05-20. [6] “London Calling”. Theclash.org.uk. Retrieved 2008-0111. [7] Tim Dowling. “The Ballad of Mott the Hoople – TV review | Television & radio”. The Guardian. Retrieved 2014-05-20. [8] “The Ballad of Mott the Hoople (2011)". Internet Movie Database. Retrieved 2014-05-20.
4.5.6
External links
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Procol Harum.com biography of Guy Stevens
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Guy Stevens at Find a Grave
4.6
Sandy Pearlman
Samuel Clarke “Sandy” Pearlman[1]
(August 5, 1943 – July 26, 2016) was an American music producer, artist manager, professor, poet, songwriter, and record company executive. He was best known for founding, writing for, producing, or co-producing many LPs by Blue Öyster Cult, as well as producing important albums by The Clash, The Dictators, Pavlov’s Dog, Space Team Electra, and Dream Syndicate; he was also the founding Vice President of eMusic.com. He was the Schulich Distinguished Professor Chair at the Schulich School of Music at McGill University in Montreal, and from August 2014
Biography
Pearlman was born in the Rockaway neighborhood of Queens, New York,[1] the son of pharmacy operator Hyman Pearlman.[2] He received his B.A. from the State University of New York at Stony Brook in 1966. In 1967, Pearlman hand-picked musicians for a rock band to perform the lyrics that he was writing, based on his Imaginos poems. He dubbed the band “Soft White Underbelly” (from a World War II speech by Winston Churchill) and later changed their name to "Blue Öyster Cult". He managed the band (with Murray Krugman) from 1967–1995, and produced or co-produced 7 of their studio albums, and 4 of their live albums. Significantly, Pearlman was co-producer, with David Lucas and Murray Krugman, of BÖC’s "(Don't Fear) The Reaper" in 1976.[3] The song reached No. 12 on the Top 40 charts[4] and has remained an FM radio staple since. On the Rolling Stone list of top 500 songs of all time, it is listed as No. 405.[3] In 1966, he was introduced to the founder of Crawdaddy! magazine, Paul Williams, by Playboy political analyst Michael Horowitz; by 1967 Pearlman had become one of the original rock music critics of the magazine along with Williams, Jon Landau and Richard Meltzer, with Horowitz later penning a cover profile of Jim Morrison for Crawdaddy! in April 1969. Pearlman was considered an important figure in the development of both alternative and commercial American rock music, and for his intervention in British punk. He was drafted by record company CBS to produce Give 'Em Enough Rope, The Clash's second album, which gave the band their largest audience to date, and also produced many of the tracks that were compiled in "Black Market Clash". He was described as the “Hunter Thompson of rock, a gonzo producer of searing intellect and vast vision.”, in the Billboard Producer Directory.[5] Pearlman also worked as a full-time artist manager, managing the careers of Blue Öyster Cult, Black Sabbath (1979–1983), Romeo Void, The Dictators, Shakin' Street, Aldo Nova and others. In the 1980s, he pioneered the mega-tour stadium format of several bands traveling together, sharing promotional costs and production and travel costs, a format persisting today with the Lollapalooza Festival, the Lilith Fair and related tour packages.[6] In 1983, Pearlman leased Studio C in San Francisco’s The Automatt Studios from studio owner David Rubinson and dubbed it Time Enough World Enough Studios. After The Automatt closed in 1984, he leased Studio C
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4.6. SANDY PEARLMAN
at Hyde Street Studios from studio owner Dan Alexander. Pearlman ran a recording operation in Studio C as Alpha & Omega Studio from 1986 until 1991. He also used it for his own projects, including those on his short-lived MCA-distributed label Popular Metaphysics, and he also sub-leased it to other producers and artists. In1989hetookoveraspresident of the alternative record company 415 Records and established a production and distribution deal for the label with MCA Records, before purchasing the company and changing the label’s name to Popular Metaphysics. The label was short lived, but it signed a few solid acts and released their records on the MCA label, including Love Club (1990), Manitoba’s Wild Kingdom (1990), and World Entertainment War (1991).[7][8][9] The 1991 edition of Mark Garvey’s Songwriters’ Market , published in 1990, carried a listing that read as follows: "*SANDY PEARLMAN, INC., 245 Hyde St., San Francisco CA 94102. (415)885-4999. A&R Director: Natasha V. Record producer, record company (Popular Metaphysics, formerly 415), recording studio (Alpha & Omega Recording, Hyde Street Studios).”[10]
Awards
Pearlman was the recipient of 17 gold and platinum records.[5] 4.6.2 •
•
•
Production credits[18]
1972 – Blue Öyster Cult – Blue Öyster Cult 1973 – Blue Öyster Cult – Tyranny and Mutation 1973 – The Mahavishnu Orchestra – Between Nothingness and Eternity
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•
•
1974 – Blue Öyster Cult – Secret Treaties 1975 – Pavlov’s Dog – Pampered Menial 1975 – Blue Öyster Cult – On Your Feet or on Your Knees
•
1975 – The Dictators – Go Girl Crazy!
•
1976 – Pavlov’s Dog – At the Sound of the Bell
1976 – Blue Öyster Cult – Agents of Fortune In the late 1990s, Pearlman served as the founding vice-president of e-music.com, a subscription store for 1977 – The Dictators – Manifest Destiny download-to-own online music and audiobooks that is 1977 – Blue Öyster Cult – Spectres headquartered in New York City and now owned by Dimensional Associates. eMusic was one of the first 1978 – The Dictators – Bloodbrothers sites to sell music in the MP3 format, beginning in 1998. As of September 2008, eMusic had over 400,000 1978 – Blue Öyster Cult – Some Enchanted Evening subscribers. [11] He also served as vice-president of media 1978 – The Clash – Give 'Em Enough Rope development for MoodLogic.com, the first on-line music recommendation engine, from 2000–2003. 1980 – Shakin' Street – Shakin' Street In 2009, Sandy Pearlman was appointed as an at-large 1984 – Dream Syndicate – Medicine Show member of the National Recording Preservation Board (NRPB) of the Library of Congress.[12][13] 1985 – Blue Öyster Cult – Club Ninja Pearlman was the Schulich Distinguished Chair of music 1988 – Blue Öyster Cult – Imaginos at McGill University in Montreal, specializing in the programs in music theory, sound recording and music 1998 – Cosmic Free Way – Red Flowers technology; he later served as Centenary Fellow at the McLuhan Center for Culture and Technology at the University of Toronto, where he co-taught a course on Dig- 4.6.3 References ital Media Distribution.[14] Additionally, he was a visiting lecturer at Harvard, Stanford, University of Califor- [1] Jon Pareles, “Sandy Pearlman, Producer, Manager and Lyricist for Blue Öyster Cult, Dies at 72”, The New York nia Berkeley, UC Santa Cruz, and an invited speaker at Times , July 26, 2016 the Mill Valley Film Festival, Future of Music Coalition, Canadian Music Week and SxSW Festivals. As a [2] Albert Bouchard interview on hotrails.co.uk by Ralph, Professor and as a public speaker, Pearlman lectured on Feb. 12, 2005 the architecture of the music industry, strategies for remonetizing music downloads, and the history and future [3] “500 Greatest Songs of All Time: No. 405, Blue Oyster Cult, 'Don't Fear the Reaper'". Rolling Stone. Retrieved of music. He owned Alpha & Omega Recording, a 72May 30, 2011. track analog recording facility in San Rafael, California. His production career was managed by Peter Shershin at [4] "(Don't Fear) The Reaper”. Rolling Stone. Wenner PubBreathing Protection, Inc.[15] lishing. 2004-12-09. Retrieved 2007-06-06. Pearlmandied on July 26, 2016 inMarinCounty, Califor- [5] “Breathing Protection Producer & Artist Management: nia from pneumonia due to stroke-related complications. Sandy Pearlman”. Breathing Protection. Retrieved July He was 72.[1][16][17] 2, 2011. •
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[6] Billboard Encyclopedia of Record Producers, entry on 4.7.1 Sandy Pearlman, ©1999 [7] “All Music Guide: Love Club, Lime Twigs and Treachery”. Retrieved 2011-06-28. [8] Ginsberg, Geoff. “All Music Guide: Manitoba’s Wild Kingdom Biography”. Retrieved 2011-06-29. [9] “All Music Guide: World Entertainment War credits”. Retrieved 2011-06-30. [10] Garvey, Mark (1990). Songwriter’s market, 1991: where & how to market your songs . Writer’s Digest Books. p. 273. Retrieved June 30, 2011. [11] “FAQs | Support”. Emusic.com. Retrieved 2014-05-20. [12] Klein, Howie (2009-09-06). “Rock Music Legend Sandy Pearlman On The Passing Of Feminine Culture Power Source, Ellie Greenwich”. Huffington Post. Retrieved July 1, 2011. [13] “National Recording Preservation Board of the Library of Congress”. United States Library of Congress. Retrieved July 1, 2011. [14] http://cilp.law.utoronto.ca/curriculum-programs/ digital-media-distribution-jdm3619hf [15] “Breathing Protection, Inc. Background”. Retrieved 2011-03-03. [16] Swanson, Dave (July 26, 2016). “Producer Sandy Pearlman Dies at 72”. ultimateclassicrock.com. Ultimate Classic Rock. Retrieved 2016-07-26. [17] “Legendary BLUE ÖYSTER CULT Producer SANDY PEARLMAN Dies At 72”. www.blabbermouth.net . July 26, 2016. Retrieved 2016-07-26. [18] “Blue Oyster Cult Discography: Production Credits, Sandy Pearlman”. Retrieved 2011-07-04.
4.6.4 •
Dogg moved to London at 17, signed to Pye Records (under the name Timon) and recorded a single, “The Bitter Thoughts of Little Jane” featuring Jimmy Page and John Paul Jones.[3] Moving to Apple Records, Dogg recorded tracks produced by Peter Asher featuring Paul McCartney on piano and James Taylor on guitar. Dogg then toured with The Moody Blues and worked closely with Justin Hayward to produce many tracks, “Now She Says She’s Young” being released as a single in 1970.[4] Dogg became part of London’s early 1970s underground scene. Moving into a squatted property in Westbourne Grove, Dogg made a living playing in folk clubs and busking with house mate Joe Strummer.[5][6] Dogg regularly played at the Charlie Pig Dog Club with the 101ers and when Joe Strummer joined The Clash, Dogg was invited to contribute tracks on Sandinista! and Combat Rock .[7][8][9][10] Other notable housemates from that time included all female punk band The Slits. In 1978, Dogg moved to the North East of England with artist Helen Cherry. [10] Dogg released Battle of Wills during the 1980s. In 2000, Dogg met up with Joe Strummer again at the Poetry Olympics curated by Michael Horovitz. The two performed an impromptu set of songs together, with Lily Allen in her début stage performance as backing singer.[11][12][13][5] Shortly afterwards, Dogg joined Strummer’s band, The Mescaleros, and the two worked together until Strummer’s death in 2002 producing songs such as “Mondo Bongo” and “Johnny Appleseed”.[10] Dogg has continued to write and record his music. In 2010 Cherry Red Records released a compilation of songs from 1967 – 2009 called The Irrepressible Tymon Dogg and Thin Man Pressproduced a CD of Dogg’ssoundscapesettings of extracts from Louis Aragon's A Wave of Dreams in2012.[14]
External links
The Village Voice, BÖC reviews by Robert Christ-
gau •
Career
4.7.2
Discography
Solo recordings
Blue Öyster Cult FAQ
•
http://www.findagrave.com/cgi-bin/fg.cgi?page= gr&GSln=pearlman&GSmid=47428064&GRid= 167439460&
With Joe Strummer and The Mescaleros Guest appearances
4.7.3
4.7
Tymon Dogg
Tymon Dogg (born Stephen John Murray)
is an English singer-songwriter and multi-instrumentalist. Dogg’s career started early with shows at the Cavern and Peppermint Lounge in Liverpool when he was 15. As well as pursuing a solo career, he collaborated with many bands and musicians including The Clash, and was a member of Joe Strummer's last band, The Mescaleros.
References
[1] Archived 6 May 2006 at the Wayback Machine. [2] “Tymon Dogg | Biography”. AllMusic. Retrieved 201508-13. [3] “Timon - Bitter Thoughts Of Little Jane / Rambling Boy (Vinyl)". Discogs.com. Retrieved 2015-08-13. [4] “Timon - And Now She Says She’s Young”. Discogs.com. Retrieved 2015-08-13.
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4.8. MICK GALLAGHER [5] Anthony Davie. CAMION BLANC: JOE STRUMMER & THE MESCALEROS . CAMION BLANC. pp. 50–. ISBN 978-2-35779-584-6. [6] Pat Gilbert (1 November 2011). Passion is a Fashion: The Real Story of the Clash . Aurum Press. pp. 78–. ISBN 978-1-84513-802-8.
•
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Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186. Joel Whitburn (15 April 2007). The Billboard Albums: Includes Every Album That Made the Billboard 200 Chart . Record Research Incorporated.
ISBN 978-0-89820-166-6.
[7] Chris Knowles (1 December 2003). Clash City Showdown. PageFree Publishing, Inc. pp. 42–. ISBN 9781-58961-138-2. [8] Tony Fletcher (9 April 2012). The Clash: The Music That Matters . Music Sales Group. pp. 79–. ISBN 978-085712-749-5. [9] Pat Gilbert (2004). Passion is a fashion: the real story of the Clash. Aurum. ISBN 978-1-84513-113-5. [10] Chris Salewicz (13 May 2008). Redemption Song: The Ballad of Joe Strummer . Faber & Faber. pp. 201–. ISBN 978-1-4668-2162-0. [11] Zoe Howe (4 November 2009). Typical Girls? The Story of the Slits . Omnibus Press. pp. 155–. ISBN 978-085712-015-1.
4.7.5
External links
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Tymon Dogg – The Godfather of Anti-Folk fan site
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Tymon Dogg & The Quikening’s Myspace page
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Bio at Strummernews
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RateYourMusic page
4.8
Mick Gallagher
[12] Music, Books on Music, and Sound Recordings . Library of Congress. 1985. [13] Simon Warner (14 March 2013). Text and Drugs and Rock 'n' Roll: The Beats and Rock Culture . Bloomsbury Publishing. pp. 190–. ISBN 978-1-4411-4303-7. [14] Hall, Duncan. “Hastings celebrates its fishy heritage on The Stade Open Space”. The Argo. The Argo. Retrieved 13 August 2015.
4.7.4 •
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Further reading
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Gray, Marcus (2005) [1995]. The Clash: Return Mick Gallagher and Davey Payne, with The Blockheads, at Waof the Last Gang in Town (5th revised ed.). Lon- ter Rats, July 2011 don: Helter Skelter. ISBN 1-905139-10-1. OCLC Michael William “Mick” Gallagher (born 29 October 60668626. 1945) is an English Hammond organ player best known Green, Johnny; Garry Barker (2003) [1997]. A Riot as a member of Ian Dury and the Blockheads[1] and for of Our Own: Night and Day with The Clash (3rd his contributions to albums by the Clash. He has also ed.). London: Orion. ISBN 0-7528-5843-2. OCLC written music for films such as Extremes (1971) and After 52990890. Midnight (1990), and the Broadway play Serious Money (1987). Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. 4.8.1 Early band work Leigh, Spencer (1975). The Last Trumpet . tymonMick Gallagher started his musical career in Newcastle dogg.net. Retrieved 24 February 2008. with The Unknowns in the early 1960s. He played with Needs, Kris (25 January 2005). Joe Strummer and the Animals during 1965, replacing their founding memthe Legend of the Clash. London: Plexus. ISBN 0- ber Alan Price. He moved on to form The Chosen Few, 85965-348-X. OCLC 53155325. where he played alongside Alan Hull,[2] who later formed
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CHAPTER 4. OTHER PERSONNEL
Lindisfarne. Other associations include Skip Bifferty, Peter Frampton's Camel and Cochise.[3] In 1977 Gallagher was playing in a band called Loving Awareness, including John Turnbull, Charley Charles and Norman Watt-Roy. Charles andWatt-Roy worked as sessions musicians with Ian Dury, and when the group went on tour, Gallagher and Turnbull were invited along. This band became the Blockheads.[4] 4.8.2
Ian Dury and the Blockheads
Main article: The Blockheads Under the management of Andrew King and Peter Jenner, the original managers of Pink Floyd, Ian Dury and the Blockheads quickly gained a reputation as one of the topliveactsof newwave music.[5] The Blockheads’ sound drew from its members’ diverse musical influences, which included jazz, rock and roll, funk, reggae and Dury’s love of music hall. Gallagher’s Hammond sound was a major contribution to the band. The single "Sex & Drugs & Rock & Roll", released 26 August 1977, marked Blockheads’ Stiff debut. Although it was banned by the BBC, it was named Single of the Week by NME on its release.[6] The single issue was soon followed at the end of September by the album New Boots and Panties!!, which, although it did not include the single, achieved platinum status. In October 1977 Gallagher and the band started performing as Ian Dury & the Blockheads,[4] when the band signed on for the Stiff “Live Stiffs Tour” alongside Elvis Costello & the Attractions, Nick Lowe, Wreckless Eric and Larry Wallis. The tour was a success, and Stiff launched a concerted Ian Dury marketing campaign, resulting in the Top Ten hit "What a Waste", and the hit single"Hit Me with Your Rhythm Stick", which reachedNo. 1 in the UK at the beginning of 1979, selling just short of a million copies. Again, “Hit Me” was not included on the original release of the subsequent album Do It Yourself . Both the single and its accompanying music video featured Davey Payne playing two saxophones simultaneously during his solo, in evident homage to jazz saxophonist Rahsaan Roland Kirk, whose “trademark” technique this was. With their hit singles, the band built up a dedicated following in the UK and other countries, and their next single "Reasons to be Cheerful, Part 3" made number three in the UK. The band’s second album, Do It Yourself , was released in June 1979 in a Barney Bubbles-designed sleeve of which there were over a dozen variations, all based on samples from the Crown wallpaper catalogue. Bubbles also designed the Blockhead logo.[7] Jankel left the band temporarily and relocated to the U.S. after the release of “What a Waste” (his organ part on that single was overdubbed later) but he subsequently re-
turned to the UK and began touring sporadically with the Blockheads, eventually returning to the group full-time for the recording of “Hit Me with Your Rhythm Stick"; according to Gallagher, the band recorded 28 takes of the song, but eventually settled on the second take for the single release. Partly due to personality clashes with Dury,[6] Jankel left the group again in 1980 after the recording of the Do It Yourself LP, and he returned to the USA to concentrate on his solo career. The group worked solidly over the eighteen months between the release of “Rhythm Stick” and their next single, “Reasons to Be Cheerful”, whichreturned them to the charts, making the UK Top 10. Jankel was replaced by former Dr. Feelgood guitarist Wilko Johnson, who also contributed to the next album Laughter (1980) andits two hit singles, although Gallagher recalls that the recording of the Laughter album was difficult and that Dury was drinking heavily in this period.[6] The Blockheads briefly reformed in June 1987 to play a short tour of Japan, andthen disbanded again. In September 1990, following the death from cancer of drummer Charley Charles, they reunited for two benefit concerts in aid of Charles’family, held at The Forum, Camden Town, with Steven Monti on drums.[8] In December 1990, augmented by Merlin Rhys-Jones on guitar and Will Parnell on percussion, they recorded the live album Warts & Audience at the Brixton Academy. The Blockheads (minus Jankel, who returned to California) toured Spain in January 1991, then disbanded again until August 1994 when, followingJankel’s return to England, they were invited to reform for the Madstock! Festival in Finsbury Park;[8] this was followed by sporadic gigs in Europe, Ireland, the UK and Japan through late 1994 and 1995. In March 1996 Dury was diagnosed with cancer and, after recovering from an operation, he set about writing another album. In early 1998 he reunited with the Blockheads to record the album Mr Love-Pants . In May, Ian Dury & the Blockheads hit the road again, with Dylan Howe replacing Steven Monti on drums. Davey Payne left the group permanently in August and was replaced by Gilad Atzmon; this line-up gigged throughout 1999, culminating in their last performance with Dury on 6 February 2000 at the London Palladium. Dury died six weeks later on 27 March 2000.[9] Gallagher continued with the Blockheads after Dury’s death, contributing to the tribute album Brand New Boots And Panties , then Where’s The Party. The Blockheads still tour, and in 2009 released Staring Down the Barrel .[10] They currently comprise Watt-Roy, Jankel, Gallagher, Turnbull, John Roberts on drums, Gilad Atzmon and Dave Lewis on saxes. Derek The Draw (who was Dury’s friend and minder) is now writing songs with Jankel as well as singing. They are aided and abetted by Lee Harris, who is their "aide de camp".
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4.9. GARY BARNACLE
4.8.3
Other work
Gallagher played on two of the most influential Clash albums, London Calling (1979) and Sandinista! (1980),[11] and made live appearances with the band, also playing on their last album Cut the Crap (1985), for which he never received a credit. Gallagher worked with the Clash’s drummer Topper Headon again in a short-lived band called Samurai, and again when they recorded Headon’s Waking Up (1986), appearing with Bobby Tench and Jimmy Helms. Samurai guitarist Henry Padovani briefly described Gallagher in his memoir: “He had a family, was the serious one of the group, never snorted any coke and managed to somehow control Topper [Headon] a little. Playing with this talented musician was a pleasure.”[12] Gallagher has also performed and recorded with Paul McCartney, Roger Daltrey, Robbie Williams, Dave Stewart and Annie Lennox.[13] More recently he returned to perform with The Blockheads and John Steel's The Animals and Friends. Gallagher has also written music for films such as Extremes (1971) and After Midnight (1990), and the Broadway play Serious Money (1987).
[11] “Clash albums”. AllMusic. Retrieved 26 March 2010. [12] Padovani, Henry (2009). Secret Police Man. Pen Press. pp. 6–8. ISBN 978-1-907172-83-0. [13] “Mick Gallagher”. rockartistmanagement.com. Archived from the original on 28 August 2008. Retrieved 26 March 2010. [14] Fletcher, Tony (2012). The Clash: The Music That Matters . Omnibus. Retrieved 4 September 2016. [15] discogs.com. “Maria Gallagher Discography”. Retrieved 2016-09-17.
4.8.6
External links
4.9
Gary Barnacle
1959,[1] Dover, England) is an English saxophonist, flautist, brass instrument arranger, composer and producer, primarily noted for session work, live work incl. various Princes Trust Concerts at Wembley Arena, the Royal Albert Hall and the National Exhibition Centre (NEC) in Birmingham, plus the Nelson Mandela 70th Birthday Tribute at Wembley Stadium in 1988, and television/video appearances, during the 1980s and 1990s, with a large number of popular 4.8.4 Personal life music acts, including The Clash, Ruts D.C., Level 42, Gallagher has three children, Luke, Ken and Maria. In Visage, Paul Hardcastle, Kim Wilde, Holly Johnson, 1979 the children sang on a release of The Clash’s “Ca- Marilyn, Derek B, Eternal, Soul II Soul, Jamiroquai, Jimmy Ray, Tina Turner, General Public, Soft Cell, Elvis reer Opportunities.”[14] and “Guns of Brixton” [15] Costello, Del Amitri, Shed Seven, T'Pau, Roger Daltrey, David Bowie, The Big Dish, The Cross, Pet Shop Boys, 4.8.5 References Stock Aitken Waterman and Paul McCartney, among others. He was also in an electropop duo called Leisure [1] “Mick Gallagher biography”. theblockheads.com. Re- Process from 1982–83, with ex-Positive Noise singer, trieved 26 March 2008. Ross Middleton. Gary Barnacle (born
[2] “About the Chosen Few”. Retrieved 4 September 2016. [3] “Mick Gallagher”. AllMusic. Retrieved 26 March 2010.
4.9.1
Biography and career
[4] Clarkson, John. “Interview with Mick Gallagher”. Re- The early years (1977–1980) trieved 3 September 2016. [1] [5] “The Blockheads hit us with a rhythmic Portsmouth gig”. Gary Barnacle was born in Dover, England in 1959. 18 December 2013. Retrieved 3 September 2016. He started playing in bands in and around the Dover area,
with his father Bill Barnacle, his brothers Steve Barnacle and PeteBarnacleand their friend (Nick) Topper Headon. Then he moved, with his two brothers, to London in 1976 and began a career as a session musician. Barnacle performed the saxophone part in many songs and albums by [7] “Barney Bubbles obituary”. Aural-innovations.com. ReThe Clash. Early examples are “City of the Dead”, B-side trieved 29 January 2009. of "Complete Control", “1-2 Crush On You”, the B-side [8] “Ian Dury and the Blockheads”. Retrieved 4 September of "Tommy Gun" released as a single on 24 November 2016. 1978, and their version of Booker T. & the M.G.'s' classic “Time Is Tight”, released on the 1980 extended play [9] “Rockstar Ian Dury dies”. BBC News. 27 March 2000. Black Market Clash. Both songs can also be heard on the Retrieved 4 September 2016. 1993 compilation album, Super Black Market Clash.[2] He [10] “Discography”. AllMusic. Retrieved 4 September 2016. also played on their later albums Sandinista! released on [6] Technical Direct (UK) Ltd. “Mickey Gallagher interview, October 2008”. Demon Music Group. Archived from the original on 15 October 2009. Retrieved 30 December 2009.
90 12 December 1980 as a triple album, the single This Is Radio Clash released on 20 November 1981 and Combat Rock released on 14 May 1982 through Epic Records. He was introduced to The Clash through their drummer, and school friend of Barnacle’s, Topper Headon, and reportedly became involved in The Clash’s infamous 1978 “pigeon shooting” incident.[3] Barnacle formed a horn section in 1978 with trumpeter LukeTunney, called theHit AndRun Horns (named after the band that they were members of at the time). In 1979 they added Annie Whitehead on trombone. These three played on many sessionstogether for the next 3 years or so (until Pete Thoms came in on trombone in 1982). Barnacle collaborated with The Ruts on their first two albums, both on Virgin label, The Crack , released in September 1979, and Grin & Bear It , released in October 1980. After the death of their frontman, Malcolm Owen, found dead from a heroin overdose on 14 July 1980 at the age of 26,[4] the band continued as Ruts D.C. (where “D.C.” standing for the Latin term “Da Capo”, meaning “back to the beginning”) in a different musical vein. [5] Barnacle became a stable member of the band and they released two other albums, Animal Now in May 1981 on Virgin, and Rhythm Collision released in July 1982 on Bohemian Records. Ruts D.C. split in 1983.[6][7][8] During 1979– 1980 he also contributed to M's debut album, New York • London • Paris • Munich , released in 1979, and to Sanity Stomp, released by Kevin Coyne in 1980.[9] The 1980s (1981–1989)
In 1981, contributed to the debut albums by Positive Noise - Heart of Darkness , Stray Cats and In Trance as Mission by Simple Minds plus "Power and the Passion" by Midnight Oil and also performed saxophone on Rick Wakeman's 1984,asolo concept album based on theclassic novel Nineteen Eighty-Four by George Orwell.[9] That year he also played saxophone on the Black Snake Diamond Röle debut solo album by former Soft Boys frontman Robyn Hitchcock. But, one of Barnacle’s longest associations has been with Level 42, with whom he has played on several albums, including the band’s 1981 debut, the 1984 True Colours , the 1985 World Machine, and the 1987 Running in the Family . From 1990 to 1994 Barnacle toured with Level 42 and recorded two of the band’s albums, Guaranteed and Forever Now.[9] The horn section he formed with British trumpet and fluegelhorn player, John Thirkell, for Level 42 is known as The Hen Pecked Horns.[10] Since then, Barnacle and Thirkell provided the horn section to many recordings, and, along with trombonist Peter Thoms, they formed The Phantom Horns, one of the UK’s most respected horn sections that appears on a number of recordings from 1987 on.[11] They also recorded a widely acclaimed brass-sample CD Phantom Horns , which was re-issued by Zero-G as a double CD-rom in 2011. Equally impressive, and more comprehensive, was Brit Horns brass-sample CD featuring
CHAPTER 4. OTHER PERSONNEL
Gary Barnacle, Peter Thoms and Stuart Brooks, which was re-issued as a double audio/WAV CD by AMG in 2010. Both of these sample CDs have, and continue to be, widely used on commercial recordings worldwide. In 1982, he and ex-Positive Noise singer, Ross Middleton, formed an electropop duo called Leisure Process. TheBand released four singles on Epic label, two in 1982, “Love Cascade” and “A Way You'll Never Be”, which featured Mark King and Phil Gould of Level 42, and two in 1983, “Cashflow” and “Anxiety”. All four singles were produced by Martin Rushent.[9] In 1982, Barnacle also collaborated on Julien Clerc's Femmes, Indiscrétion, Blas phème, Mike Rutherford's Acting Very Strange , Marius Müller-Westernhagen's Das Herz eines Boxers , and with Visage on their second album. Two years later, in 1984, with his brother Steve already in the band, when Billy Currie and Dave Formula departed the band, Gary and Andy Barnett replaced them for what would become Visage’s Beat Boy album, which was released in September 1984 and produced two singles, "Love Glove" and "Beat Boy". A decision to make Visage a live band instead of a strictly studio-based project failed and the band subsequently split in 1985.[9] In 1983, he contributed to Catch as Catch Can by pop singer, Kim Wilde (whom he dated in the mid 1980s),[12] and also to In Strict Tempo by Dave Ball, Private Dancer by Tina Turner. Barnacle later toured in Europe with “The Queen of Rock 'n' Roll” and participated in the recording sessions of her 1989 album Foreign Affair . He also appears in the 1983 edition of Drama of Exile by Nico, where he also played the drums, Right Now by The Creatures, Dalek I Love You by Dalek I Love You, Jerky Versions of the Dream the only solo album recorded by Howard Devoto, Secret by Classix Nouveaux, Vocabulary by The Europeans, C'est C Bon, the last pop album by Carlene Carter, Working with Fire and Steel by China Crisis, a collaboration that was repeated later in 1986 with the release of What Price Paradise. The year ended with the publication of the soundtrack for Educating Rita, a multi-award winning and nominated film based on Willy Russell's playof the same title, directed by Lewis Gilbert, and with music composed by David Hentschel.[9] 1984 saw Barnacle contribute to the recording sessions of This Is What You Want... This Is What You Get by Public Image Ltd, In the Long Grass , the last studio album by The Boomtown Rats, All the Rage, the debut album by General Public,[7] This Last Night in Sodom by Soft Cell followed by Vermin in Ermine , a solo project by Marc Almond and The Willing Sinners.[13] He also performed on Olympia by Hong Kong Syndikat, Bite Black and Blues by Raoul and The Ruined, In on the off Beat by Hey! Elastica, and Influences , a solo album by Mark King of Level 42. But, another Barnacle’s longtime association started that same year with Elvis Costello for whom he provided saxophone for Goodbye Cruel World ,[14][15] and then, for Imperial Bedroom, released in 1987. He also appears on many of Costello’s compilation albums.[9]
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4.9. GARY BARNACLE
In 1985, Barnacle participated on the release of No Jacket Required , asoloalbumby PhilCollins,aswellastothereleases of Phantasmagoria by The Damned, Easy Pieces by Lloyd Cole and the Commotions, Some People by Belouis Some, The Dream Academy's eponymous debut album, Knights Like This by Peter Blegvad, and Mad Not Mad by Madness.[9] The following year he appeared on Writing on the Wall by Bucks Fizz, Stop Start by Modern English, Dancing in my Sleep by Dave Adams, U-Vox , the last album of the Midge Ure years, by Ultravox, Cutting Crew's debut album, the UK number one album Silk and Steel by Five Star, Sooner or Later by Murray Head, the debut album by Erasure, Into the Light by Chris de Burgh, Big Canoe a solo album released by former Split Enz frontman Tim Finn, Press to Play by Paul McCartney,[16] and 1st Down & Ten by Keep It Dark. [9] Also in 1986, he appeared on Absolute Beginners : The Original Motion Picture Soundtrack , playing on tracks by David Bowie - the single "Absolute Beginners", Style Council, Ray Davies, Working Week and Gil Evans, among others. During this period John Thirkell joined forces with Pete Thoms and Barnacle to form the Phantom Horns. 1987 was another prolific year for Barnacle, who was featured on the hit singles "China in Your Hand" by T'Pau, "Roadblock" by Stock, Aitken and Waterman and "Breakout" by Swing Out Sister. He also contributed to the releases of Red by The Communards, Banzai Baby by Sandii & the Sunsetz, Rick Astley's debut album. This last was a collaboration that was repeated with the release of Astley’s second album, Hold Me in Your Arms , released in 1989. Also in 1987, he performed on Feelin' Good About It by This Way Up, Can't Wait to See the Movie seventh solo album released by Roger Daltrey of The Who,[17] Stand Up by Jo Lemaire, Never Never Land by Simon F, If by Hollywood Beyond, and on Swing Out Sister's debut album as well as on their third studio album, Get in Touch with Yourself , released in 1992.[9] In 1988, Barnacle worked on Bullet From A Gun by Derek B, Human Animal by Karel Fialka, Creeping Up on Jesus by The Big Dish,[7][18] No Winners with saw Barnacle working for the first time with Paul Hardcastle and then repeated on Hardcastle’s Sound Syndicate, released in 1990, and The Jazzmasters released in 1992.[19] 1988 also saw Barnacle participating to the release of the debut album by celtic rock group Hothouse Flowers, Yazz's debut album, The Jeremy Days by The Jeremy Days, then followed by the 1990 Circushead , Monster Jam by Ambassadors of Funk, Union, the debut album of the American singer and songwriter Toni Childs, Rage by T'Pau, Working Girl OST, Steppin' Out by Daryl Stuermer, No Outsiders by Judy Cheeks, and 24hrs by Scarlet Fantastic.[9] 1989 saw Barnacle engaged in the releases of Moss Side Story, a concept album by Barry Adamson, Boomerang by The Creatures, a British duo formed by singerSiouxsie and drummer Budgie, Here Today, Tomorrow Next Week! by Björk's band The Sugarcubes. After the band split
in 1992, Barnacle contributed to Björk’s first two solo albums, Debut , released in 1993 and Post , released in 1995. In 1989 he also participated to the releases of Bass! by Simon Harris, The Beautiful South's debut album as well as their second album, Choke, released in 1990, Hard Reyne by Australian singer and songwriter James Reyne, Bankstatement , a solo project by Genesis keyboardist Tony Banks, Waterfront by Waterfront, and I'm Still Here by Eartha Kitt.[9] The 1990s (1990–1999)
In 1990, Barnacle appeared as a session musician on Naked by Blue Pearl, Trading Secrets with the Moon by The Adventures, the debut album by English boy band Big Fun, Dangerous by Andy Taylor, First Time Ever by Joanna Law, Melting Down on Motor Angel by Sunsonic, Running from the Guns by Die Laughing, Stand Strong by Junior Giscombe, Jordan: The Comeback by Prefab Sprout,[11] and December by Dag Kolsrud, which was followed by December II , released in 1991. Also in 1990, he appeared on Always The Last To Know by Del Amitri. In 1991, he also worked on Meanwhile by German synthpop group Camouflage, Changing Faces final studio album from Bros, Black Meaning Good by Rebel MC, Marchand de cailloux from French artis Renaud, Let’s Get to It , the fourth album by Australian pop singer Kylie Minogue,[9] The Apple by A Man Called Adam,[11] and the eponymous album by Rain Tree Crow, which was the name used by the English new wave band Japan (excluding Rob Dean) when they briefly reformed for this one-off project.[11] 1992 saw his collaboration with Soul II Soul for their third studio album, Volume III: Just Right , an experience that was repeated later in 1995 for Volume V: Believe. Also in 1992, he worked on Mind Adventures by Des’ree, Boing!! by Jefferson Airhead, Praise by Praise, and Grass Roots by Takagi Kan.[9] The following year Barnacle participated in the realization of Jamiroquai's debut album, and also worked on Guru’s Jazzmatazz, Vol. 1 by Guru, To Hell with Humdrum by Kingmaker, and One and All by Supermax.[9] In 1993, he played on James Brown's Universal James album (produced by Jazzie B). In 1994, he played on Jamiroquai's The Return Of The Space Cowboy album. He released his first solo album, Love Will Find a Way , and contributed to El pan y la sal by Spanish pop band Presuntos Implicados.[9] Also in 1994, Barnacle appeared as the saxophonist in the house band on the spoof chat show Knowing Me Knowing You with Alan Partridge. The following year, worked on Hold On by Jaki Graham, The Tooth Mother by Mick Karn, Love and Respect by Marla Glen,[9] and on Billie Ray Martin's debut album, Deadline for My Memories .[11] In 1995, he played on 10 cc's Mirror Mirror album. In 1996, he took part in Jamiroquai's biggest-selling album to date:- Travelling Without Moving (11.5 million copies worldwide). From 1996 onwards, his appearances be-
92 came more sporadic. Nevertheless, he participated in the realization of Status Quo's Don't Stop, an album of cover versions that includes guest appearances from The Beach Boys, Brian May of Queen, and Maddy Prior of Steeleye Span, and the Sputnik: The Next Generation's eponymous album featuring Tomoyasu Hotei, both released in 1996. Games by Happy Clappers, and Feedback by Vargas Blues Band, were released in 1997. [9] In 1997, he played on and arranged brass for the No.1 single I Wanna Be The Only One by Eternal. In that same year he played on the big US hit Are You Jimmy Ray ? by Jimmy Ray and his subsequent eponymous album released in 1998. In 1999, he appeared as a session musician on When The Good Times Come by Hard Rain.
Recent projects (2000–present)
He returned to the music industry in 2001 when he and Hugh Hopper, Jakko Jakszyk, Dave Stewart, and Clive Brooks recorded a new version of “As Long as He Lies Perfectly Still” by Soft Machine for the compilation Man In a Deaf Corner: Anthology 1963–1970.[20] In 2002, Barnacle released his second solo album, Paradise.[9] In 2004, he played sax/flute on Between The Sun And The Moon by Brenda Russell. During this period he co-wrote and recorded an instrumental project with Mark King, also involving Bill Sharpe (Shakatak), and still awaiting release. Other acts for whom Barnacle has contributed live or in session have included Pet Shop Boys, David Bowie,[21] and ABC.[9] He worked frequently with Stock Aitken Waterman as a session musician in their PWL studios. Barnacle is frequently credited as an arranger of woodwinds, brass and string instrument on his session work.[9] Barnacle also plays flute, keyboards and drums. In a career spanning more than three decades, Gary Barnacle has backed the stars of pop and rock and has seen the birth of new groups and musicians, experimenting with versatility across a variety of different musical genres and their associated styles. In 2008/2009 he produced and arranged indie pop band Propeller and produced Ray Guntrip’s Out Of The Blue jazz project and he appeared as session musician and brass arranger on The Collection by Jools Holland, and as session musician on A Long Way Back by Roger Cotton. PlushewasinthestudiowithMattJohnson of Jamiroquai and singer J. C. Bentley. In 2010 he was featured on Carried By The Storm by Bronz and on some live tracks on the Living It Up CD by Level 42. 2011 saw him appearing on La Musica by Ray Foxx (feat. Lovelle), This Is Love by Yazz, plus new releases by Ray Guntrip and Tina May, the new CD from Vlad Miller and Notes from Underground (released in 2012). In 2012 he worked on recordings by Project 5, The Geoff
CHAPTER 4. OTHER PERSONNEL
Everett Band (feat. Albert Lee), Vlad Miller, Debbi Parks/Tony Haygarth project and the Blackjack Horns (featuring Nik Carter/Jack Birchwood/Steve Fuller). In 2013 he engineered, produced and played on the single “Any Minute Now” by Andrea Magee, played on the 'Jank' ep by The Jacs and recorded with Blackjack Horns on a production by Walter Afanasieff called "Love Letters" by Brenna Whitaker, among others. 2014 saw him recording on the Mue album by Emilie Simon (with the Blackjack Horns) and the Cutting Crew album (again with the Blackjack Horns). 4.9.2
Lists of collaborations
Barnacle has worked with a large number of popular music acts, including: (Note:- unless otherwise stated, the credits below mean studio work only.) •
The Clash
•
The Damned
•
Public Image Ltd
•
The Ruts/Ruts D.C. (studio and live)
•
The Beat (live only)
•
Stray Cats (studio and live)
•
Pearl Harbour and the Explosions (studio and live)
•
Spear of Destiny (live only)
•
Positive Noise (studio and live)
•
Pete Shelley
•
Morrissey
•
Audioshock
•
Howard Devoto
•
Barry Adamson
•
Shed Seven (studio and TV)
•
Simple Minds
•
China Crisis
•
The Teardrop Explodes
•
Hothouse Flowers
•
Lloyd Cole and the Commotions
•
The Boomtown Rats
•
M (studio and TV)
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4.9. GARY BARNACLE
•
Madness
•
Simply Red
•
Dexy’s Midnight Runners
•
Kylie Minogue
•
The Beautiful South
•
Dannii Minogue (studio and live)
•
Level 42 (studio, live, live TV, video and TV)
•
Jason Donovan
•
Mark King (studio, live and TV)
•
Bucks Fizz
•
Nik Kershaw
•
Amazulu
•
Bros (studio and video)
•
The Communards
•
Go West (live and TV)
•
Sarah Jane Morris
•
Waterfront (studio, TV and video)
•
Erasure
•
King (studio and live)
•
Wet Wet Wet (live and TV only)
•
Paul King (live and TV)
•
Cutting Crew
•
Five Star
•
Modern English
•
The Pasadenas
•
•
10 cc
•
This Way Up
•
Visage (studio and TV)
•
Halo James (video only)
•
Steve Strange/ Strange Cruise
•
The Style Council (studio and TV)
•
Ultravox
•
Tears For Fears (TV only)
•
Boy George
•
Swing Out Sister
•
Marilyn (studio and TV)
•
Tina Turner (studio, live, TV, video and live TV)
•
Holly Johnson
•
T'Pau (studio and video)
•
Pet Shop Boys
•
Toyah
•
Nick Kamen (TV only)
•
Tom Jones (studio, live and TV)
•
Jimmy Ray
•
Engelbert Humperdinck
•
Paul Hardcastle
•
Barry Ryan
•
The Jazzmasters
•
Cilla Black
•
Samantha Fox
•
Dusty Springfield
•
Kim Wilde (studio, live, video and TV)
•
Sandie Shaw (studio and TV)
•
Tiffany (TV only)
•
Petula Clark
•
Wilson Phillips (TV only)
•
Cliff Richard
•
Sinitta
•
Michael Ball (video only)
•
Yazz (studio, live, TV and video)
•
Ben Mills (live only)
•
Rick Astley (studio, live and TV)
•
Jane McDonald (TV only)
•
Spandau Ballet (studio and TV)
•
Eartha Kitt
•
Andy Taylor (of Duran Duran)
•
Chris de Burgh
•
Duran Duran
•
Gilbert O'Sullivan
•
INXS
•
Les McKeown (studio, live and TV)
Keep It Dark (studio, live and TV)
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CHAPTER 4. OTHER PERSONNEL
•
Elkie Brooks
•
Nico
•
Beverley Craven (live only)
•
Marc Almond (studio and live)
•
Sally Boyden
•
Jim Foetus aka JG Thirwell (live and TV)
•
Rebekah Ryan
•
Mick Karn (studio, live and live on TV)
•
Andrea Magee
•
David Sylvian
•
Michelle Collins
•
Rain Tree Crow
•
Suzi Quatro (live only)
•
James J.T. Taylor
•
Jim Diamond (studio, video and TV)
•
The Big Dish
•
Status Quo (studio, live, video and TV)
•
Jamiroquai (studio, live,TV and live TV)
•
The Beach Boys (studio, live, video and TV)
•
James Brown
•
Eric Clapton (live and TV)
•
Soul II Soul
•
George Harrison (live and TV)
•
Massive Attack
•
Ringo Starr (live and TV)
•
Q-Tee
•
Jeff Lynne (live and TV)
•
The Cookie Crew
•
Brian May (live and TV)
•
Eric B. and Rakim
•
Roger Taylor/The Cross
•
Guru (of Jazzmatazz) (studio, live and TV)
•
Ray Davies
•
Donald Byrd (live only)
•
Allan Holdsworth
•
Oliver Lake
•
Daryl Stuermer
•
Roy Ayres (live only)
•
Chester Thompson (live only)
•
David Sanborn (live and live TV)
•
The Phenix Horns
•
Ronny Jordan (studio and live)
•
Alphonso Johnson (live only)
•
Derek B (studio,live, TV and live TV)
•
General Public
•
Chante Moore
•
Soft Cell (studio,live and TV)
•
The Chimes
•
Elvis Costello (studio and live)
•
Driza Bone
•
Graham Parker (live and TV)
•
Lighthouse Family
•
Del Amitri
•
Londonbeat
•
Prefab Sprout
•
Eternal
•
The Creatures (studio and TV)
•
Ruby Turner
•
Siouxsie And The Banshees
•
Jaki Graham
•
Roger Daltrey (studio and TV)
•
David Grant
•
Phil Collins (studio and live)
•
Junior Giscombe
•
Mike Rutherford (studio and video)
•
Caron Wheeler
•
Tony Banks
•
Ruth Joy
•
Genesis (TV only)
•
Evelyn Thomas
•
David Bowie
•
Nona Hendryx
95
4.9. GARY BARNACLE
•
Chaka Khan (studio and TV)
•
Midnight Oil
•
Taylor Dayne (live and TV)
•
Dragon
•
Maxi Priest
•
James Reyne
•
Daddy Freddy
•
John Farnham (live and TV)
•
Junior Reid
•
The Box Tops (live only)
•
Arrow
•
•
Laurel Aitken
•
Tradition
•
King Sunny Adé
•
Gene Rondo
•
Lemmy Jackson
•
Des’ree
•
•
Geno Washington (studio and live)
•
Edwin Starr (studio and live TV)
•
Sam Moore (of Sam and Dave) (studio and live)
•
Wilson Pickett (live only)
Sonny Okosun/Sonny Okosuns/Sonny Okosun's Ozziddi
Blo (Berkley Jones/Laolu Akins/Otu Lemmy Jackson)
•
Oby Onyioha
•
Patrick Juvet
•
Spagna (TV only)
•
Supermax
•
Klaus Hoffmann
•
Marius Müller Westernhagen aka Westernhagen
•
Kristine W
•
Vittorio Grigolo (live only)
•
Loredana Berté
•
Julien Clerc
•
Robert Cray (live and video)
•
Si Cranstoun (live and studio)
•
Jimmy Ruffin (live only)
•
The Temptations (live and TV)
•
Johnny Moore (of The Drifters)
•
Joe Cocker (live and TV)
•
Lenny Kravitz (live and TV) Huey Lewis (live and TV)
•
•
Alain Bashung
Keef Hartley (live only)
•
•
Valerie LaGrange
•
Sheena Easton (TV only)
•
Emilie Simon
•
k.d. lang (live and TV)
•
Renaud
•
Michelle Shocked (live and TV)
•
Tonton David
•
Ricky Martin (live and TV)
•
Luc Plamondon
•
Marc Anthony (live and TV)
•
Rose Laurens
•
Gloria Estefan (TV only)
•
Rozlyne Clarke
•
Julio Iglesias (TV only)
•
Isabel Pantoja
•
Trini Lopez (live only)
•
Rachid Bahri
•
Al Jarreau (TV only)
•
José Luis Perales
•
Michael Bolton (TV only)
•
Francisco Xavier
•
Joe Roberts (TV only)
•
Ramoncin (studio and live)
•
Lindy Layton (studio and TV)
•
Presuntos Implicados
•
Tim Finn
•
Tam Tam Go !
96
CHAPTER 4. OTHER PERSONNEL
•
Rui Veloso (studio, live and TV)
•
Hugh Padgham
•
João Pedro Pais
•
Stephen Hague
•
Pedro Camilo
•
Youth
•
Edoardo Bennato
•
Dan Hartman
•
Tony Joe White
•
Luciana Caporaso (TV only)
•
Yosui Inoue
•
Simon Law
•
Motoharu Sano
•
Lee Hamblin
•
Hajime Mizoguchi
•
Ross Anderson
•
Masahiro Motoki
•
Jazzie B
•
Chara
•
Nick Launay
•
Watauchi Katsuyuki
•
Peter Lorimer
•
Ann Lewis
•
Steve Anderson (musician) (Brothers In Rhythm)
•
Beverley Knight (live and TV only)
•
Peter Collins
•
Dina Carroll (live and TV only)
•
Paul O'Duffy
•
Harriet
•
Tom Dowd
Juliet Roberts
•
•
George Martin
Haywoode
•
•
Mike Hurst
Maria Whittaker
•
•
Phil Wainman
Ola Onabule (studio and live)
•
Simon May
•
Lance Ellington (live only)
•
David Richards
•
Paul Young (live and TV only)
•
Mike Vernon
•
Paul Carrack (live and TV only)
•
Martin Rushent
•
Rod Argent (live only)
•
Bill Price
•
Deaf School (live/live recording)
•
Gus Dudgeon
•
S'Express
•
Roy Thomas Baker
•
Stock, Aitken and Waterman
•
Carlo Vila
•
The Sugarcubes
•
Billy Livsey
•
•
Björk (studio and live TV)
Colin Thurston
•
•
Jon Kelly
•
Steve Hillage
•
Mike Howlett
•
William Orbit
•
Paul McCartney (studio, live and TV)
Barnacle’s services have been called upon by the following top producers, engineers, and arrangers : •
Clive Langer and Alan Winstanley
•
Tom Dolby
•
Stock, Aitken and Waterman
•
Phil Thornalley
•
Mike Hedges
•
Colin Campsie
•
John Hudson
•
George McFarlane
97
4.9. GARY BARNACLE
•
Gary Bell
•
Louie Louie/Louis Louis/Louie Vega
•
Howard Gray
•
Zeus B. Held
•
Ian Prince
•
•
Leon Ware
•
Bernard Butler
•
Lenny White
•
Mike Gregovich
•
Lemmy Jackson
•
Julian Mendelsohn
•
Martin Meissonnier
•
Mike Ging
•
Martin Moll
•
Ricki Wilde and Marty Wilde
•
Gary Langan
•
Charlie Gillett
•
Ken Scott
•
Ron François
•
Alex Sadkin
•
Scobie Ryder
•
Michael Kamen
•
Gil Norton
•
Gil Evans
•
Ryoji Oba
•
David Bedford
•
Graham Gouldman
•
David Lindup
•
Rafe McKenna
•
Phil Pope
•
Terry Brown
•
James Simpson
•
John Eden
•
Steve Brown
•
Bob Sargeant
•
Fiachra Trench
•
Bobby Eli
•
Anne Dudley
•
John Ryan
•
Bruce Woolley
•
Steve Chase
•
Stephen Stewart-Short/Steve Short
•
Stuart Bruce
•
Bert Bevans
•
Wally Brill
•
David Ball (musician)
•
Trevor Vallis
•
J.P.Iliesco
•
Nick Patrick
•
Hein Hoven
•
Chris Sheldon
•
Rusty Egan
•
Walter Turbitt
•
Midge Ure
•
Gary Stevenson
•
Glen Skinner
•
Steve Osborne
•
Neil Brockbank
•
Paul Oakenfold
•
Paul Riley
•
Pascal Gabriel
•
Ali Campbell
•
Ian Levine
•
Ian Penman
•
Simon Harris
•
Adam Sieff
•
Pete Oxendale
•
Del Taylor
•
Ric Lee
•
Neal X/Neal Whitmore
•
Pete Gage
Dee Harris/Dave Harris
98
CHAPTER 4. OTHER PERSONNEL
•
Roger Bechirian
•
Alan Shacklock
[1] Gregory 2002.
•
Paul Hardiman
[2] Salewicz 2007, p. 203.
•
John Brand
[3] Knowles 2003, pp. 24, 32, 42, 77.
•
Pete Schwier
[4] Simmonds 2008, p. 137.
•
Flood
[5] Greene-Allmusic.
•
Adam Fuest
•
Alan Moulder
•
Curtis Schwartz
•
Simon Hanhart
•
Mike Neilsen
•
Al Stone
[12] Kim Wilde.
•
Nick Tauber
[13] Reed 1999, p. 37.
•
Max Norman
[14] Perone 1998, pp. 19,30.
•
Carey Taylor
[15] Thomson 2004, p. 164.
•
James Guthrie
[16] Badman 2009, p. 404.
•
Jean-Paul 'Bluey' Maunick
[17] Bogovich-Posner 2003, p. 18.
•
Monty Norman
[18] Robbins-TrouserPress.
•
Mick Glossop
[19] Schwann Spectrum 1995, p. 249.
•
Walter Afanasieff
•
Kris Ife
•
Ian Caple
Sources
•
Biddu
Books
4.9.3
Discography
4.9.5
[6] Buckley 2003, p. VII. [7] Robbins 1991, pp. 57,275,568. [8] Gibbs 1996, p. 247. [9] Credits. [10] Forevernow.com. [11] Phantom Horns.
[20] Bennett 2005, p. 377. [21] Pegg 2006, p. 381.
•
Main article: Gary Barnacle discography •
•
Love Will Find a Way (1994)
•
Phantom Horns (1995)
•
Paradise (2002)
4.9.4
References
•
See also
Badman, Keith (2009) [1999]. The Beatles Diary. Volume 2: After The Break-Up 1970–2001. London: Omnibus. p. 404. ISBN 0-85712-001-8. Bennett, Graham (2005). “Soft Machine Discography”. Soft Machine: Out-Bloody-Rageous . Daevid Allen, Hugh Hopper and John Etheridge. London: SAF. p. 377. ISBN 0-946719-84-5. OCLC 60668224. Bogovich, Richard; Posner, Cheryl (2003). The Who: A Who’s Who. Jefferson, North Carolina: McFarland. p. 18. ISBN 0-7864-1569-X. OCLC 51518398.
•
Leisure Process
•
Members of Public Image Ltd.
of the World: Non-western Musicians in their Own Words . Brooklyn, New York: Soft Skull. pp. 245–
•
Touring and studio musicians of Phil Collins
260. ISBN 1-932360-60-3. OCLC 56809540.
•
Bordowitz, Hank (2004). “Miriam Makeba”. Noise
99
4.10. PENNIE SMITH
•
Buckley, Peter (2003). The Rough Guide to Rock Records (3rd ed.). London: Rough Guides. p. VII. ISBN 184353-105-4. OCLC 446772461. Meanwhile, the Love Will Find a Way (CD). Gary Barnacle. Japan: remaining Ruts regrouped with Gary Barnacle (saxVictor Entertainment. 1994. ophone/keyboards), and withFoxtaking over as lead vocalist, as Ruts DC (from the Latin da capo, mean Love Will Find A Way at Discogs ing 'from the beginning'). But the creative chemistry Paradise (CD). Gary Barnacle. Japan. 2002. had gone, ... •
•
•
•
•
Paradise at AllMusic. Retrieved 4 May 2010. Gibbs, Alvin (1996). Destroy: The Definitive History of Punk . Great Britain: Britannia. p. 247. ISBN 1-899784-00-4. OCLC 34737812. Web Gregory, Andy (2002). International Who’s Who in “Gary Barnacle Discography: Credits”. Discogs. Popular Music (4th ed.). London: Europa. ISBN Retrieved 9 May 2011. 1-85743-161-8. OCLC 469506912. •
•
•
•
•
Knowles, Chris(December 2003). Clash City Showdown (PDF) (PDF). Otsego, Michigan: PageFree Publishing. pp. 24, 32, 42, 77. ISBN 1-58961138-1. Retrieved 29 April 2011. Pegg, Nicholas (2006). The Complete David Bowie. Richmond, London: Reynolds & Hearn. p. 381. ISBN 1-905287-15-1. OCLC 656148747. Perone, James E. (1998). “ALBUM DISCOGRAPHY”. Elvis Costello: A Bio-Bibliography. Westport, Connecticut: Greenwood. pp. 19, 30. ISBN 0-313-30399-1. OCLC 39733293.
•
•
•
•
• •
•
•
Greene, Jo-Ann. “The Rutts”. Allmusic. Retrieved 2 May 2011. Mueller, Carl. “Gary Barnacle, John Thirkell, Krys Mach & Annie McCaig”. Forevernow.com. Retrieved 6 May 2011. “Phantom Horns Discography”. Discogs. Retrieved 10 May 2011. Robbins, Ira A. “Big Dish” (PHP). TrouserPress.com. Retrieved 29 April 2011. “Kim Wilde” (in Norwegian). musikalske.net. Retrieved 11 May 2011.
Reed, Jeremy (1999) [1995]. The Last Star: A Study of Marc Almond (Rev. ed.). London: Creation Books. p. 37. ISBN 1-84068-006-7. OCLC 59417730. 4.9.6 Robbins, Ira A. (1991). Robbins, Ira A., ed. The Trouser Press Record Guide (4th ed.). New York: Collier. pp. 57, 275, 568. ISBN 0-02-036361-3. OCLC 23732024.
•
Further reading
Outside Looking in. Mitchell, Pete (2006). Derbyshire, England: The Derwent Press. p. 62. ISBN 1-84667-011-X.
Salewicz, Chris (15 May 2007). Redemption Song: 4.9.7 External links The Ballad of Joe Strummer (1st American ed.). New York: Faber and Faber. p. 203. ISBN 0-571 Gary Barnacle at AllMusic 21178-X. OCLC 76794852. Gary Barnacle discography at Discogs Simmonds, Jeremy (2008). The Encyclopedia of •
•
•
Dead Rock Stars: Heroin, Handguns, and Ham Sandwiches . Chicago: Chicago Review. p. 137.
ISBN 1-55652-754-3. OCLC 182735382.
•
Gary Barnacle discography at MusicBrainz
•
Gary Barnacle on Facebook
Thomson, Graeme (2004). Complicated Shadows: The Life and Music of Elvis Costello . Edinburgh: Canongate. p. 164. ISBN 1-84195-544-2. OCLC 4.10 Pennie Smith 60377979. Pennie Smith should not be confused with television presenter and newsreader Penny Smith. Journals and magazines •
•
Schwann Spectrum.
Santa Fe, New Mexico: Pennie Smith (born in London) is an English photograStereophile. 6 (4): 249. 1995. ISSN 1065-9161. pher, known for having photographed several rock musiOCLC 26790231. Missing or empty |title= (help) cians. She specialises in black-and-white photography.
100
CHAPTER 4. OTHER PERSONNEL
Smith attended Twickenham Art school in the late 1960s, studying graphics and fine art. With others, she collaborated with graphic designer Barney Bubbles and music journalist Nick Kent in producing Friends magazine from 1969 to 1972. In 1970 she designed the sleeve for the Pink Fairies debut release Never Never Land . Her first major photographic commission was to cover a 1970s Led Zeppelin tour. Smith went on to work at the NME as staff photographer until the early 1980s. In her career, Smith has photographed some well-known rock musicians including: Led Zeppelin, The Rolling Stones, The Who, Iggy Pop, Sweet, The Clash, The Jam, The Slits, Siouxsie Sioux, Debbie Harry, U2, Morrissey, The Stone Roses, Primal Scream, Manic Street Preachers, Radiohead, Blur, Oasis, David Smith and The Strokes. In addition to her portrait work she hascoveredtours with musicians, including a photograph of The Clash’s Paul Simonon smashing his bass guitar on the stage in New York City during a 1979 tour.[1][2] The photograph went on to be used on the cover of the Clash album London Calling, designed by Ray Lowry, and received Q magazine's “Greatest Rock 'n’ Roll Photograph of All-Time” award in 2002.[3] Smith’s work has appeared on the covers and pages of the NME , on album sleeves, promotional material and has featured in books. In 1980 her best selling book, The Clash, Before and After , was published.[4] In late 2009 multiple images by Smith were included in the"WhoShotRock&Roll" exhibit of rock photography at the Brooklyn Museum. In Jan 2010 Smith’s London Calling image was issued on a postage stamp by the Royal Mail.[5] Smith currently lives and works in a disused railway station in West London, which she bought and converted into a studio while she was a student, and freelances in black and white reportage photography. 4.10.1 •
See also
Tony Mott
4.10.2
References
[1] Green, Johnny; Barker, Garry (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. pp. 195–196. ISBN 0-7528-5843-2. OCLC 52990890. [2] Sweeting, Adam. “Death or Glory”. Uncut . October 2004. p.70. [3] Judd, Terri (24 January 2002). “One Hundred Timeless Rock'n'roll Moments, and the Photographers Who Turned Them into Icons”. The Independent . London.
[4] Smith, Pennie (1980). The Clash: Before and After . Boston: Little, Brown. ISBN 0-316-80169-0. OCLC 8034340. [5] “Classic Album Covers – British Design on stamps 7 January 2010”. Norvic Philatelics. Retrieved 2010-01-08.
4.10.3 •
•
External links
Pennie Smith at the National Portrait Gallery An interview with PennieSmith atthe WaybackMachine (archived 31 August 2005)
4.11
Ellen Foley
Ellen Foley (born
June 5, 1951) is an American singer and actress who hasappearedon Broadway and television, where she co-starred in the sitcom Night Court . In music, she hasreleased foursolo albumsbut is best known for her collaborations with rock singer Meat Loaf.[1][2][3][4][5] 4.11.1
Early life and career
Foley was born in St. Louis, Missouri, the daughter of John and Virginia B. Foley. [6] Foley attended Webster University.[6] Foley gained high public recognition singing the duet with Meat Loaf on the hit single "Paradise by the Dashboard Light" from the 1977 album Bat Out of Hell .[7] Although Karla DeVito (who toured with Meat Loaf in support of the album) is featured in the music video, DeVito is lip synching to Foley’s vocals.[8] Her debut album Night Out was released in 1979; the album’s single “What’s a Matter Baby” was a minor hit, reaching No. 92 on the US Charts.[9] The album itself peaked at No. 152, and was produced by Ian Hunter and Mick Ronson. Foley recorded a memorable duet with Ian Hunter in 1980, “We Gotta Get Outta Here”. Her creative relationship with Hunter also led her to singing backing vocals on the Iron City Houserockers' 1980 album Have a Good Time but Get Out Alive!, produced by Hunter, Ronson, and The E Street Band’s Steven Van Zandt.[10] She can also be heard on the 1979 Blue Öyster Cult album Mirrors singing on the title cut, and also on The Clash album Sandinista! (Released in 1980), in the songs "Hitsville UK" and “Corner Soul”, and on the unreleased track “Blonde Rock 'n' Roll”. In 1981, all four members of The Clash appeared on her second album The Spirit of St. Louis , and Mick Jones and Joe Strummer co-wrote a number of songs for the album.[11] Jones produced the album, which also featured members of The Blockheads, and peaked at No. 137 on the US charts.[11] In 1982, she provided backing vocals on The Clash’s song “Car Jamming” from the album Combat Rock .[12] The Clash’s hit song "Should I Stay or Should I Go", written and sung by
101
4.11. ELLEN FOLEY
Jones, was about the turbulent relationship he shared with Foley at the time.[7][13] Shereleased her third solo album Another Breath in 1983; it failed to chart. [14] In 1984, she sang backing vocals on Joe Jackson’s album Body & Soul and had a large role in the music video for Utopia’s “Crybaby”.[2] Foley was one of four female vocalists to front the band Pandora’s Box, formed by Jim Steinman in 1989. Their album Original Sin was the first to feature the song "It’s AllComingBacktoMeNow" (vocals by Elaine Caswell); both Meat Loaf and Celine Dion had separate chart successes with that song, years later. [15][16]
•
Spirit of St. Louis (1981) Epic[9]
•
Another Breath (1983) Epic[9]
•
About Time (2013)
Note: all of these were originally issued by Epic [9] within the U.S. on vinyl LP. They have been reissued on Compact Disc by Wounded Bird Records.[14] Compilations •
4.11.2
Broadway, film and television
Foley lives on the Upper West Side of Manhattan and continues an active career in music and has appeared on Broadway in such shows as Me and My Girl and the revival of Hair , and off-Broadway in Beehive.[2][3] She originated the role of The Witch in Stephen Sondheim's Into the Woods at the Old Globe Theater in San Diego,[3] but was replaced by Bernadette Peters before the musical opened on Broadway.[17] Foley did eventually play the role on Broadway, as of August 1, 1989.[17] Her best known television acting role is that of Billie Young on Night Court for one season (1984–85),[3] after which she was succeeded by Markie Post as Christine Sullivan, who hadalways been Reinhold Weege's first choice for the public defender part, but Post had been unavailable while under contract on the television series The Fall Guy on ABC.[18] Foley was reportedly let go from the series because producers felt her relationship with star Harry Anderson was more like that of a brother and sister.[19] She had roles in Miloš Forman's film adaptation of the stage musical Hair (1979), as well as the films Fatal Attraction (1987), Married to the Mob (1988) and Cocktail (1988). She was also in the short-lived 1977 series 3 Girls 3, co-starring with Debbie Allen and Mimi Kennedy.[3]
Singles •
“We Belong to the Night” / “Young Lust” (1979)
•
“What’s a Matter Baby” / “Hideaway” (1979)
•
“Sad Song” / “Stupid Girl” (1980)
•
“Stupid Girl” / “Young Lust” (1980)
•
Personal life
“Torchlight” / “Game of a Man” (1981)
•
“Torchlight” / “Le palais” (1981)
•
•
•
In 1990, Foley married the writer Doug co-author of the Off-Broadway revue Showing Off and graduate of Amherst College.[20] The couple live in Manhattan with their two sons, Timothy and Henry. As of the mid-2000s, she teaches voice at The Paul Green School of Rock Music in Manhattan, New York City.[5] Filmography
4.11.5
Discography
Studio albums •
Night Out (1979) Epic[9]
“Boys in the Attic” / “Beat of a Broken Heart” (1983) “Nightline (Single Version)" / “Beat of a Broken Heart (1983) “Nightline (Dance Mix - Long Version)" / “Nightline(Dance Mix - Short Version)" “Nightline(Dub)" [12” Maxi-Single] “Heaven Can Wait” (2015)
4.11.6
Bernstein, [20]
4.11.4
“The Shuttered Palace” / “Beautiful Waste of Time” (1981)
•
•
4.11.3
The Very Best of (1992)
References
[1] Ruhlmann, William. “allmusic ((( Ellen Foley > Overview )))". allmusic.com. Retrieved February 27, 2010. [2] “Ellen Foley - Biography”. IMDb.com. Retrieved February 27, 2010. [3] “Ellen Foley Biography (1951-)". filmreference.com. Retrieved February 27, 2010. [4] “Albums by Ellen Foley - Rate Your Music”. rateyourmusic.com. Retrieved February 27, 2010. [5] “School of Rock – School Staff”. SCHOOLofROCK.com. Archived from the original on March 29, 2010. Retrieved February 27, 2010.
102
CHAPTER 4. OTHER PERSONNEL
[6] “Douglas Bernstein Weds Ellen Foley, Fellow Actor”. The New York Times . 1990-04-30. ISSN 0362-4331. Retrieved 2015-12-02.
4.12
Caroline Coon
[7] “The Uncut Crap - Over 56 Things You Never Knew About The Clash”. NME . London: IPC Magazines. 3. March 16, 1991. ISSN 0028-6362. OCLC 4213418. “Should I StayOr ShouldI Go” was written byMick about American singer Ellen Foley, who sang the backing vocals on Meatloaf’s Bat Out Of Hell LP
ist and political activist. Her artwork, which often explores sexual themes from a feminist standpoint,[1] has been exhibited at many major London galleries, including the Saatchi Gallery and the Tate.[1]
Caroline Coon (born 1945) is an English artist, journal-
Related news articles: •
Peterson, Tami. “The Uncut Crap - Over 56 Things 4.12.1 Life You Never Knew About The Clash - NME March 16, 1991”. londonsburning.org. Archived from the Coon was born to a family of Kent landowners and had original on July 17, 2012. Retrieved December 11, five brothers. She left home at 16 and came to Lon2007.
[8] Murray, Richard. “It’s all coming back to me now”. Rick’s World . heyrick.co.uk. Retrieved February 27, 2010. [9] Stone, Doug. “allmusic ((( Night Out > Overview )))". allmusic.com. Retrieved February 27, 2010. [10] “The Official Ian Hunter Website - Biography”. ianhunter.com. Retrieved February 27, 2010. [11] “allmusic ((( Spirit of St. Louis > Overview )))". allmusic.com. Retrieved May 28, 2009. [12] Gray, Marcus. The Clash: Return of the Last Gang in Town. page 382. Hal Leonard Corporation, Oct 1, 2004. ISBN 9780634082405 [13] “The Clash: Biography : Rolling Stone”. Stone.com. Retrieved February 27, 2010.
Rolling-
[14] “allmusic ((( Another Breath > Overview )))". allmusic.com. Retrieved February 27, 2010. [15] “everyHit.com - UK Top 40 Chart Archive, British Singles & Album Charts”. everyhit.co.uk . [16] “Celine Dion - Chart history | Billboard”. www.billboard. com. Retrieved 2015-12-02. [17] "'Into the Woods’, 1986 Old Globe Production and 1987 Broadway Production”, Sondheimguide.com, accessed August 2, 2012 [18] “Markie Post Interview: Part 2”. North Hollywood Toluca Lake Patch. 2011-01-20. Retrieved 2011-04-06. [19] TV Guide August 8–15, 1985. [20] New York Times. “Douglas Bernstein Weds Ellen Foley, Fellow Actor” April 30, 1990. [21] honorduffy(22 March 2014). “Lies I Told My Little Sister (2014)". IMDb.
4.11.7
External links
•
Ellen Foley at the Internet Movie Database
•
Ellen Foley at the Internet Broadway Database
don to find a job. She lived in Notting Hill and began by doing some modelling work, including making a softcore porn film.[2][3] Trained as a figurative painter, she became involved in the 1960s underground movement in London while still attending art school. In 1967, with Rufus Harris, she co-founded Release, an agency set up to provide legal advice and arrange legal representation for young people charged with the possession of drugs. She remains politically active, campaigning primarily for feminist causes, including the legalisation of prostitution. In the 1970s, she became involved in the London punk scene, writing about the bands for Melody Maker and providing artwork for groups such as The Clash, whom she briefly managed, and The Police. In the "Punky Business " episode of the BBC comedy series The Goodies , Jane Asher plays a parody of Coon (“Caroline Kook”), the dream lover of Tim Brooke-Taylor's aspiring punk rock star. She also inspired Robert Wyatt's lyrics for the Matching Mole song “O Caroline”, The Stranglers' “London Lady” and, according to herself,[4] Bob Dylan's "She Belongs To Me", though this claim is highly questionable since most Dylan experts would argue that the song is actually about either Joan Baez,[5][6][7] or Dylan’s future wife Sara. Coon’s artwork is provocative and is particularly concerned with the human nude. In 1995 her painting, Mr Olympia, was not shown at Tate Liverpool because the male subject had a semi-erect penis.[1] In June 2000 she won damages of £40,000 and legal costs of £33,000 from publisher Random House after author Jonathon Green made false claims in his 1998 book All Dressed Up: the Sixties and the Counterculture.[8]
4.12.2 •
Information page and discography
The Release Report on Drug Offenders and the Law,
Sphere Books, 1969, ISBN 0-7221-2445-7 •
•
Publications
1988:
The New Wave Punk Rock Explosion,
Hawthorn Books, 1977, ISBN 0-8015-6129-9
103
4.13. STEVE BELL
4.12.3
References
4.13.2
Cartoonist
[1] Ellen, Barbara (2000-07-28). “Stillfightingthe bad guys”. The Observer. Retrieved 2008-01-29. Steve Bell is probably best known for the daily strip called If..., which has appeared in The Guardian newspaper [2] Jan Moir “What Caroline Coon did next”, in: The since 1981, and since the mid-1990s he has also been that Guardian; March 17, 1983, Sixties, p. 6 newspaper’s principal editorial cartoonist. [3] “gavcrimson: The Naked World of Harrison Marks”. Collections of his cartoons have been published, and he Gavcrimson . Blogspot. 2008-08-29. Retrieved 2012-11- has also illustrated original books in collaboration with 11. authors. He has made short animated films with Bob
Godfrey, including a shortseries of animated cartoons for
[4] “Biography”. “carolinecoon.com”. Retrieved 2011-05Channel 4 television in 1999 to mark the 20th anniversary 03. of Margaret Thatcher’s rise to power, entitled Margaret [5] Shelton, R. (1986). No Direction Home. Da Capo Press. Thatcher - Where Am I Now? . He has appeared in a radio programme about the life of 18th century caricaturist p. 272. ISBN 0-306-80782-3. [6] Gill, A. (1998). Don't Think Twice, It’s All Right . Thunder’s Mouth Press. pp. 71–72. ISBN 1-56025-185-9. [7] Williamson, N. (2006). The Rough Guide to Bob Dylan (2nd ed.). Rough Guides Reference. p. 223. ISBN 9781-84353-718-2. [8] Michael Smith“Sex-for-charity slurcosts £40,000”, Daily Telegraph, 13 June 2000
4.12.4 •
External links
Caroline Coon at the Internet Movie Database
4.13
Steve Bell
For other persons, see Steve Bell. Steven Bell (born 26
February 1951) is an English political cartoonist, whose work appears in The Guardian and other publications. He is known for his left-wing views and caricatures. 4.13.1
Early life
Born in Walthamstow, London, and raised in Slough, Bell moved to North Yorkshire with his family in 1968, where he trained as an artist at the Teesside College of Art. He graduated in film-making and art at the University of Leeds in 1974 and trained as an art teacher at St Luke’s College, Exeter (nowadays University of Exeter – St Luke’s Campus) in 1975. He taught art for one year in Birmingham before becoming a freelance cartoonist in 1977. His comic strip Maggie’s Farm appeared in the London listings magazine Time Out from 1979 and later in City Limits , and Lord God Almighty appeared in The Leveller in the 1970s. In 1980, he contributed a cartoon interpretation of the lyrics to Ivan Meets G.I. Joe to the inner lyric bag of the Clash's triple album Sandinista!
James Gillray. Earlier in his career he wrote and drew the Gremlins comic strip for the British comic Jackpot . Bell’s parodies include Goya's The Sleep of Reason Produces Monsters (in an editorial cartoon about the UK Independence Party[1] ); William Hogarth's The Gate of Calais about the ban on UK meat exports following outbreaks of foot-and-mouth disease and bovine BSE; and before the 2005 General Election when it briefly seemed as if the Liberal Democrats might seriously threaten Labour - J. M. W. Turner's The Fighting Temeraire, in which a chirpy Charles Kennedy as tug-boat towed a grotesque and dilapidated Tony Blair to be broken up.[2] Following the death of Margaret Thatcher, for his cartoon the next day, 8 April 2013, Bell adapted an illustration by Gustave Doré of Farinata in Dante's Inferno, giving Thatcher the speech bubble “Why is this pit still open??" with reference to the closure of coal mines after the miners’ strike of 1984–85.[3] Bell’s cartoons often feature grotesque characters, and have sometimes caused controversy. During the November 2012 Israel/Gaza conflict The Guardian published Bell’s cartoon showing the Israeli Prime Minister, Benjamin Netanyahu, as a puppeteer controlling William Hague and Tony Blair.[4] It was asserted by Dave Rich blogging for the Community Security Trust that the illustration was comparable to those featured in Nazi and other antisemitic publications.[5] While Bell defended his cartoon,[6] the newspaper’s readers’ editor Chris Elliott concluded in an article on 25 November: “While journalists and cartoonists should be free to express an opinion that Netanyahu is opportunistic and manipulative, in my view they should not use the language – including the visual language – of antisemitic stereotypes.”.[7] The UK’s Press Complaints Commission PCC received 22 complaints, but ruled on 19 December that it was unable to take the matter further. [8] In the run-up to the United Kingdom general election, 2015, there was outrage on Twitter over an If cartoon strip depicting Scottish National Party (SNP) leader Nicola Sturgeon as refusing to compromise on their “core demand” for “incest and Scottish folk dancing”. Numerous tweets branded Bell as racist, while others said
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CHAPTER 4. OTHER PERSONNEL
that it was no more outrageous than his cartoons mock- [8] Jennifer Lipman “PCC rules no breach over Steve Bell Gaza cartoon”, The Jewish Chronicle , 19 December 2012 ing other politicians.[9] There were over 300 complaints made to the Guardian and nearly 1000 comments under [9] Jack Sommers “SNP Guardian Cartoon By Steve Bell the online cartoon, mostly negative. The wording referred Branded 'Racist' In Social Media Outrage”, The Huffingto a quotation attributed to Sir Arnold Bax, who said a ton Post, 11 March 2015 Scottish friend had told him “You should make a point of trying every experience once, excepting incest and [10] Elliott, Chris (15 Mar2015). “I may not always agree with Steve Bell, but I defend his right to draw”. the Guardian. folk dancing.”[10] During the Scottish independence refRetrieved 30 Sep 2016. erendum, 2014, Bell’s cartoon strip depicted Sturgeon’s “Yes” campaigning as promising “No Noness ... and [11] Bell, Steve (13 November 2014). “Steve Bell’s If ... on Yes Yesness; Nationalism, Socialism: together they go Nicola Sturgeon’s new Scotland”. the Guardian. Reso well!!"[11] trieved 30 September 2016. [12] Press Gazette , Roll of Honour, accessed 24 July 2011
4.13.3 •
•
•
Awards, books and exhibitions
[13] The Independent , 19 February 1994, Reporter nurtures a scoop British Press Awards “Cartoonist of the Year” 2003.[12] [14] Steve Bell, Biography
What the Papers Say Awards “Cartoonist of the Year” 1994[13] 4.13.6 External links Political Cartoon Society “Cartoon of the Year” Bellworks - Bell’s archive of his cartoons (2001, 2008) and “Cartoonist of the Year” (2005, 2007)[14] Belltoons.co.uk/books - a full list of Bell’s published books Honorary degrees from the Universities of Teesside, Sussex, Loughborough, Leeds and Brighton.[14] Guardian cartoons by Steve Bell Bibliography: Steve Bell has had 29 books published The Art of Comedy, an interview with Steve Bell, since 1981. A full list is available on his website. from suchsmallportions.com •
•
•
•
•
•
4.13.4 •
See also
•
Interview alongside Martin Rowson
•
Interviewing Robert Crumb, 2005
Dropping the Pilot •
4.13.5
References
•
Biography article at British Cartoon Archive, University of Kent Interviewed at ICA by George Melly, 1987
[1] https://www.theguardian.com/cartoons/stevebell/0, 7371,1234690,00.html [2] https://www.theguardian.com/cartoons/stevebell/0, 7371,1470547,00.html
4.14
Futura 2000
Warning: Page using Template:Infobox artist with
[3] Steve Bell on Margaret Thatcher’s death – cartoon : Com- unknown parameter “bgcolour” (this message is shown ment is free : guardian.co.uk, British artists remember only in preview). Margaret Thatcher: Morrissey, Billy Elliot, Ding Dong the Witch is Dead - chicagotribune.com [4] “Steve Bell on Tony Blair and William Hague’s role in Israel-Gaza clash – cartoon”, The Guardian (website), 15 November 2012
[5] Dave Rich “Jews, puppets and the Guardian”, Community Security Trust *(blog), 16 November 2012, [6] Jennifer Lipman “Steve Bell defends Guardian cartoon”, The Jewish Chronicle, 22 November 2012 [7] Chris Elliott “Open door: The readers’ editor on… accusations of antisemitism against a political cartoon”, The Guardian, 25 November 2012
Futura formerly known as “Futura 2000”[3]
is an American graffiti artist. He started to paint illegally on New York City's subway in the early seventies, working with other artists such as ALI. In the early eighties he showed with Patti Astor at the Fun Gallery, along with Keith Haring, Jean-Michel Basquiat, Richard Hambleton and Kenny Scharf. Futura painted backdrops live on-stage for British punk rock band The Clash's 1981 European tour.[4] In 1985, he was on the first meeting of the graffiti and urban art movement in Bondy (France), on the VLP's initiative, with Speedy Graphito, Miss Tic, SP 38, Epsylon Point, Blek le rat, Jef Aérosol, Nuklé-Art,
105
4.14. FUTURA 2000
Banlieue-Banlieue… More recently, he is a successful graphic designer and gallery artist. One of the most distinctive features of Futura’s work is his abstract approach to graffiti art. While the primary focus, during the 1980s, of the majority of graffiti artists was lettering, Futura pioneered abstract street art, which has since become more popular. Conversely, his aerosol strokes are regarded as different from those of his peers, as they are as thin as the fine lines achieved only through the use of an airbrush.
Futura artwork photo : Stephane Bisseuil
Futura vintage from the 1980s
Futura artwork
Futura on show
While he is primarily known as a graffiti artist, much of hisworkisasan illustrator and graphic designer of record sleeves, first becoming involved with The Clash; producing a sleeve for their "This Is Radio Clash" 7” single and handwriting the sleeve notes and lyrics sheet for their album Combat Rock . He also toured extensively with The Clash during the Combat Rock tours, “performing” with them on stage byspray painting backdrops whilst the band performed. Years later James Lavelle resurrected his career by getting him, alongside Ben Drury, to produce the artwork for several releases on Mo' Wax records; this also led to Futura producing the imagery which has largely defined Lavelle’s Unkle project. During the 1990s he was involved with clothing compa-
Paintings by Futura
nies such as GFS, Subware and Project Dragon. More recently much of Futura’s artwork has evolved into the production of highly collectible toys, Sneakers; and a di-
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CHAPTER 4. OTHER PERSONNEL
tralia 2001 - Futura, Colette, Paris, France 2000 - bOb, New York, USA 1999 - Variant, New York, USA 1996 - Futura 2000, Musée des Beaux Arts de Tourcoing, Tourcoing, France - Solaria, Fukuoka, Japan - Futura 2000, Livestock Gallery, New York, USA 1994 - Futura 2000, Gallery Cotthem, Knokke, Belgium - Futura 2000, Time Space Light, New York, USA 1993 - Futura 2000, Martin Lawrence Gallery, New York, USA - Futura 2000, Zero One Gallery, Los AnThe artist at the MoCA LA show geles, USA verse range of creative media, working with Recon, Nike, 1992 - Futura 2000, Galerie du Jour Agnès b., Paris, The North Face, Medicom Toy, Undercover, Supreme, France Levi’s and A Bathing Ape. 1991 - Futura 2000, Galerie du Jour Agnès b., Paris, Futura also designs his own clothing under the label Fu- France tura Laboratories with a store located in Fukuoka, Japan. 1990 - Futura 2000 – New paintings, Phillipe Briet His mostrecent exhibition Future-Shock was presented by Gallery, New York, USA - Futura 2000, B5 Gallery, Andy Valmorbida and curated by Nemo Librizzi at 560 Monaco Washington Street in New York City. Past galleries who 1989 - Futura 2000 - Ultimes Obres, Galeria Arcs & have organized one man exhibitions include Fun Gallery, Cracs, Barcelone, Spain (catalogue) - Futura 2000 - New Tony Shafrazi Gallery, Philippe Briet Gallery, Galerie du Works, Galerie du Jour Agnès b., Paris, France - Futura Jour Agnès B., and Galerie Jérôme de Noirmont. Mu- 2000, Musée de Vire, Vire, France (catalogue) seum exhibitions include “New York / New Wave” at PS1 (1981), “Coming from the Subway” Groninger Museum 1988 - Futura 2000, Philippe Briet Gallery, New York, (1992), “Beautiful Losers” (2004)and“Art in the Streets” USA (catalogue) MOCA (2011).[5] 1986 - Futura2000, Semaphore Gallery, New York, USA In 2012, Futura designed the special edition Hennessy 1985 - Futura 2000, Michael Kohn Gallery, Los Angeles, V.S. bottle. USA - Futura 2000, Tony Shafrazi Gallery, New York, Futura’s new book, published by Rizzoli, came out in USA 2014. 1984 - Futura 2000, Fun Gallery, New York, USA - Futura 2000, Michael Kohn Gallery, New York, USA - Futura 2000, Tony Shafrazi Gallery, New York, USA 4.14.1 Exhibitions and Publications 1983 - Futura 2000, Four Blue Squares, San Francisco, USA - Futura 2000, Fun Gallery West, San Francisco, Solo shows: USA - Futura 2000, Baronian-Lambert, Gent, Belgium 2014 - Solo Show, Magda Danysz Gallery, Paris, France; - Futura 2000, Yaki Korinbilt, Amsterdam, Netherlands - Solo show, Schusev State Museum of Architecture, - Futura 2000, 51X Gallery, New York, USA - Futura Moscow, Russia; - Solo show, MD Gallery, Shanghai, 2000,Six Gallery - Futura 2000,Fun Gallery, New York, China; USA - Futura 2000, Galerie Yvon Lambert, Paris, France 2012 - Future-Shock, Valmorbida, New York, USA - 1982 - Futura 2000, Fun Gallery, New York, USA FUTURA 2012 – Expansions, Galerie Jérôme de Noir1981 - Futura 2000, Soul Artists Alternative Space, New mont, Paris, France (catalogue) York, USA 2009 - Futura 2000 – Collection Patrick Lerouge, Ecole Spéciale d’Architecture, Paris, France - Futura 2000 - Group Shows: Odysee Two, 95 Gallery, Art forum Berlin, Germany 2012 - Deep Space, Joseph Nahmad Contemporary, New 2008 - Futura 2000 – Strategic Synchronicity, Phantom York, USA City Galleries, Pacific Electric Lofts, Los Angeles, USA 2011 - KINGS, SUBLIMINAL PROJECTS, Los Angeles, USA Kindergarten, Galleria Civica, Modena, Italia 2005 - Futura Year In Pictures, V1 Gallery GRAFFITI NEW YORK 80´s, Galerie Jérôme de Noir2003 - U.N.K.L.E, ICA Gallery, London, UK mont, Paris, France - Art in the Streets, The Geffen Con2002 - The Futura 2000 Place, Space 3, Sydney, Aus- temporary at MOCA, Los Angeles, USA (catalogue)
4.14. FUTURA 2000
2009 - Natural Selection, Atkinson Gallery, Somerset, Royaume-Uni - From Style Writing to Art (A Street Art Anthology), Galerie Magda Danysz, Paris, France (catalogue) - Graffiti – Etat des lieux, Galerie du jour Agnès b.., Paris, France - Ne dans la rue: Graffiti, Fondation Cartier pour l’Art Contemporain, Paris, France (catalogue) - Futura, Phil Frost, Stash, Cuadro Fine Art Gallery, Dubaï, UAE 2008 - The Elms Lesters Book and Christmas Exhibition, Elms LestersPaintings Rooms, London, UK (catalogue) Beautiful Losers – Contemporary Art and Street Culture, Exposition itinérante (catalogue) : La Casa Encendida, Madrid, Spain 2007 - Small, Medium and Large, Elms Lesters Paintings Rooms, London, UK - Futura 2000 and Jose Parla – Pirate Utopias, Elms Lesters Paintings Rooms, London, UK - Beautiful Losers – Contemporary Art and Street Culture, Exposition itinérante (catalogue) : Museum Sztuki, Lodz, Poland - Locked and Loaded, Joshua Liner Gallery, New York, USA 2006 - Ugly Winners, Galerie du Jour Agnès b.., Paris, France - Beautiful Losers– Contemporary Art and Street Culture, Exposition itinérante (catalogue) : La Trienale di Milano, Milan, Italia; Le Tri Postal, Lille, France 2005 - Icygrape No.1924, Elms LestersPaintings Rooms, London, UK - Beautiful Losers – Contemporary Art and Street Culture, Exposition itinérante (catalogue) : Orange County Museum of Art, Newport Beach, USA; Contemporary Museum, Baltimore, USA; University of South Florida / CAM, Tampa, USA 2004 - East Village USA, New Museum of Contemporary Art, New York, USA (catalogue) - Beautiful Losers– Contemporary Art and Street Culture Touring show (catalogue): Contemporary Art Center of Cincinnati, USA; Yerba Buena Center for the Arts, San Francisco, USA 2001 - Renaissance 2001, N.Y.C.U.E.M (New York City Urban Experience Museum), New York, USA - Graffs, Galerie du Jour Agnès b.., Paris, France 1999 - Pittura Dura : Dal Graffitismo alla Street Art, Palazzo Bricherasio Foundation, Torino, Italia (catalogue) 1998 - Reproduced 98. Marok vs Futura, Berlin, GermanyCologne, Hamburg, Munich, Francfurt Germany 1997 - The Tramshed, London, UK 1995 - Summersault Festival, Melbourne, Australia 1994 - Spraycan Art, Sixth Congress Gallery, Tucson, USA - Le Temps d´un Dessin, Galerie de l´Ecole des beaux Arts de Lorient, France 1992 - Group Exhibition, Klarfeld Perry Gallery, New York, USA - Coming from the Subway - New York Graffiti Art, Groninger Museum, Groningen, Netherlands (catalogue) 1991 - Federal Reserve, Washington D.C., USA - Musee
107 du Trocadero, Paris, France - Coleen Greco Gallery, NY, USA - Galerie du Jour Agnès b.., Paris, France - Martin Lawrence Gallery, New York, USA - Liverpool Gallery, Bruxelles, Belgium 1990 - Artists of the year, Philippe Briet Gallery, New York, USA - Galley B5, Monaco - Michael Kohn Gallery, Los Angeles, USA - Galerie du Jour Agnès b.., Paris, France 1988 - Museum of American Graffiti, New York, USA 1987 - Michael Kohn Gallery, Los Angeles, USA 1986 - Semaphore East, New York, USA 1985 - Flow Ace Gallery, Los Angeles, USA - Kentucky Litho Building, Louisville, USA 1984 - Homage to Picasso, Tony Shafrazy Gallery at Forum International Kunstmesse Zuric, Hall 7, Booth 703, Zurich, Switzerland - Miauhaus, Thread Waxing Space, New York, USA - Summer Exhibition, Fun Gallery, New York, USA - Arte di Frontiera : New York Graffiti, Touring exhibition (catalogue) : Galeria d´Arte Moderna di Bologna, Bologna, Italia; Palazzo delle Esposizioni, Roma, Italia - Urban Confrontation, Ben Shahn Gallery, William Patterson College, USA - Galozzi La Placa, New York, USA - New York Graffiti, Louisiana Museum, Copenhagen, Denmark (catalogue) - Seibu Gallery, Tokyo, Japan - Graffiti, Groninger Museum, Groningen, Netherlands - Robert Fraser Gallery, London, UK - Classical American Graffiti Writers and High Graffiti Artists, Gallery Thomas, Munich, Germany 1983 - Post Graffiti, Sydney Janis Gallery, New York, USA (catalogue) - New New York, Brentwood Gallery, St Louis, USA - Painting, Sculpture, Totems and 3D, Tony Shafrazi Gallery, New York, USA - Champions, Tony Shafrazi Gallery, New York, USA (catalogue) New Art at the Tate Gallery, Tate Gallery, London, UK (catalogue) - Graffiti, Museum Boymans - van Beuningen, Rotterdam, Netherlands (catalogue) - Fay Fold Gallery, Atlanta, USA - Fun Gallery, New York, USA - 51X Gallery, New York, USA - Greenville Museum, South Carolina, USA - Gallery 121, Antwerpen, Belgium - Monique Knowlton Gallery, New York, USA - American Graffiti Gallery, Amsterdam, Netherlands 1982 - New York Now, Exposition itinérante (catalogue) : Kestner-Gessellschaft, Hanovre, Germany; Kunstverein Munchen, Munich, Germany; Musée Cantonal des Beaux Arts, Lausanne, Switzerland; Kunstverein fur die Rheinlande und Westfalen, Düsseldorf, Germany Kenny Scharf and Futura 2000, Tony Shafrazy Gallery, New York, USA - South Bronx Art Show, Fashion Moda, New York, USA - Dondi, Futura 2000, Zephyr, Bank of America, Hong Kong, China - New York / New Wave, P.S.1 Contemporary Art Center, New York, USA - ESSES Studios, U.C.S.C., Santa Cruz, USA 1981 - Beyond Words : Graffiti Based-Rooted-Inspired Works, Mudd Club, New York, USA - New York/New
108 Wave, P.S.1, Institute for ArtandUrban ressources, Long Island City, USA - Events, Fashion Moda, The New Museum of Contemporary Art, New York, USA (catalogue) 1980 - Graffiti Art Success of America, Fashion Moda, New York, USA - S.A., Soul Artists Alternative Space, New York, USA Public collections:
- Collection de la Société Générale, New York, USA - Fonds Municipal d´Art Contemporain de la Ville de Paris, France, Paris, France, France - Musée de Vire, Vire, France - Museo de Arte Moderna di Bologna, Bologna, Italia Publications:
CHAPTER 4. OTHER PERSONNEL
Kirwin, Alan W. Moore, The New Museum of Contemporary Art, New York, USA 2004 - Beautiful Losers – Contemporary Art and Street Culture textes de Alex Baker, Thom Collins, Jeffrey Deitch et alt., Aaron Rose et Christian Strike, New York, USA - DPM - Disruptive Pattern Material textes de Hardy Blechman, Alex Newman, Edition Frances Lincoln - Experimental formats & packaging: creative solutions for inspiring graphic designtextes de Roger FawcettTang, Daniel Mason, Rotovision - Disruptive Pattern Material: An Encyclopedia of Camouflage textes de Hardy Blechman, Alex Newman, Editions Firefly Books, U.S.A 2002 - Aerosol Kingdom – Subway Painters of New York City textes de Ivor L. Miller, Edition University Press of Mississippi, Jackson, U.S.A 2001 - The graffiti subculture: youth, masculinity, and identity in London and New York textes de Nancy Macdonald, Palgrave Macmillan 2000 - The new beats: culture, musique et attitudes du hip-hop textes de S. H. Fernando, Editions Kargo FUTURA textes de Ben Drury, Liz Farrelly, Andrew Holmes, Editions Booth-Clibborn 1999 - Pittura Dura : DalGraffitismo alla Street Arttextes de Luca Massimo Barbero, Renato Barilli et alt., Editions Electa, Milan, Italia 1998 - Generations of youth: youthcultures andhistory in twentieth-century America textes de Joe Austin, Michael Willard, NYU Press 1997 - New York Graffiti Art: Coming From The Subway: Histoire et Developpement d’un Mouvement Controverse Editions Farthest Star, VBI, 1992, VBI 1997 1992 - Coming from the Subway - New York Graffiti Art Stefan Eins et alt., Karl Muller Verlag Editions 1989 - Futura 2000: Oeuvres Récentes textes de Elisabeth Hess, Musée de Vire, France 1988 - Subway Art textes de Martha Cooper et Henry Chalfant, Editions Holt Paperbacks 1987 - New York Now textes de Carl Haenlein, Editions Kestner-Gesellschaft, Hanovre, Germany - Spraycan Art textes de Henry Chalfant, James Prigoff, Thames & Hudson 1983 - New Art at the Tate Gallery texte de Michael Compton, Edition The Tate Gallery, London, UK 1981 - Events, Artist invite Artists, New York, USA: New Museum text by Betty Fox, Edition The New Museum of Contemporary Art, New York, USA
2012 - FUTURA 2012 – EXPANSIONS Texte de Paul Ardenne, Galerie Jérôme de Noirmont, Paris, France Graffiti, une histoire en images Bernard Fontaine, Editions Eyrolles, Paris, France - Is The Art World Ready for Graffiti? Steven Hager, Steven Hager at Smashwords, Los Gatos, USA 2011 - 100 artistes du Street Art sous la direction de Paul Ardenne, textes de Marie Maertens, Editions de la Martinière, Paris, France 2010 - Beyond the Street: The 100 Leading Figures in Urban Art textes de Patrick Nguyen, Stuart Mackenzie, Edition Die Gestalten Verlag 2009 - From Style Writing to Art (A Street Art Anthology) textes de Magda Danysz, Marie-Noëlle Dana, Galerie Magda Danysz, Paris, France, Editions Drago, Italia - Né dans la rue: Graffiti textes de Hervé Chandes, Edition Fondation Cartier pour l’Art Contemporain, Paris, France - Blade - King of Kings Henk Pijnenburg, Henk Pijnenburg Edition - Natural Selection textes de Fiona McKinnon, Iain Cadby, Edition Atkinson Gallery, Somerset, UK - Graffiti New York textes de Eric Felisbret, James Prigoff, Luke Felisbret, Edition Abrams - American Graffiti Margo Thompson, Parkstone International Edition - Subway Art: 25th Anniversary Edition textes de Martha Cooper, Henry Chalfant, Edition Chronicle Books 2008 - The Elms Lesters Book and Christmas Exhibition textes de Ben Jones, Paul Jones et alt., Edition Elms Lesters Paintings Rooms, London, UK - Street Art: The Graffiti Revolution textes de Cedar Lewisohn, Editions Tate, London, UK 2007 - The Warhol economy: how fashion, art, and music drive New York City textes de Elizabeth Currid, Princeton University Press 2006 - Plastic culture: how Japanese toys conquered the world textes de Woodrow Phoenix, Kodansha Interna- 4.14.2 Appearances in other media tional - Can´t stop won´t stop: une histoire de la généraOn The Clash's Combat Rock , Futura delivers a spotion hip-hop textes de Jeff Chang, Editions Allia ken word part on the song "Overpowered by Funk". 2005 - East Village USA texts by Dan Cameron, Liza TheClashalso appeared on hissong “The Escapades •
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4.15. RAY LOWRY
of Futura.”[6]
•
•
Ray Lowry (28
August 1944 – 14 October 2008) was an English cartoonist, illustrator and satirist, possessing In Emile de Antonio's 1982 film In the King of Prus- a highly distinctive style and wit. He contributed to sia Futura creates the film’s opening title as a graffiti The Guardian, Private Eye, Punch and the NME amongst mural. many other publications. Lowry lived in Rossendale, On the album MiLight Futura’s voice can be heard Lancashire. giving a shoutout to artist DJ Krush.
In DJ Mehdi's 2002 music video “Breakaway”, Fu- 4.15.1 Life and work tura covers an entire room with his signature tags in Lowry was born in Cadishead, Salford, and attended black marker and spray paint. Urmston Grammar School. His father was a bricklayer. Inthe2005film Just For Kicks , about sneaker culture He worked in Manchester and London, and although he in hip hop, as himself. had no formal art education he first became known as a John Mayer's 2006 music video "Waiting on the cartoonist during the 1970s. It was less well known that World to Change", alongside graffiti artists DAZE Lowry was also a painter of urban landscapes following in the footsteps of his unrelated namesake L. S. Lowry. and the Tats Cru. Lowry drew cartoons for a wide range of publications, The 2006 video game Marc Ecko's Getting Up: Con- and with the emergence of the 1960s underground press tents Under Pressure as himself. he was published in Oz and International Times, which In a Motorola advert as himself. https://www. led to a long and better-paid relationship with the New Musical Express, including a weekly cartoon strip 'Only youtube.com/watch?v=OUgglbG4mKI Rock'n'Roll'. Lowry’s love of raw 1950srock androll was the perfect complement to the new punk mentality that emerged in the late 1970s. He saw the Sex Pistols infa4.14.3 References mous Anarchy tour at the Electric Circus in Manchester and there he met The Clash. A friendship struck up with [1] http://www.discogs.com/artist/47366-Futura-2000 the band which led to an invitation to accompany them [2] http://www.discogs.com/artist/47366-Futura-2000 on their 1979 tour of the USA. From this he created the [3] “Futura Reflects on the Past - Page”. Interview Magazine. artwork for their London Calling album sleeve, using a photograph by Pennie Smith. Retrieved 2014-05-20. In the 1980s Ray wrote a column in The Face and was [4] Futura; Fab 5 Freddy “Futura Talks With Fab 5 Freddy” a regular contributor to The Guardian. Lowry continued Art In the Streets. Skira Rizzoli/ MOCA, 2011 to create memorable art and remained obsessed by rock [5] “Galerie Jérôme de Noirmont - Galeries d´art France and roll. Near the end of his life produced a long series Paris”. Denoirmont.com. Archived from the original on of colour images inspired by the 1960s British tour by 2013-05-16. Retrieved 2014-05-20. American rockers Eddie Cochran and Gene Vincent. •
•
•
•
•
[6] “Futura 2000 - The Escapades Of Futura 2000 (Vinyl) at Ray eventually moved to Rossendale in Lancashire, and Discogs”. Discogs.com. 2003-01-09. Retrieved 2014- although he no longer worked for periodicals he never stopped painting and drawing, and near the end of his 05-20.
4.14.4 •
•
•
External links
www.futura2000.com Magda Danysz Gallery - Paris Futura 2000 discography at Discogs
4.15
Ray Lowry
life he was taken up by the See Gallery, Crawshawbooth in Rossendale. An exhibition at the See in 2008 proved very successful and Ray began to plan new schemes including paintings inspired by another namesake Malcolm Lowry's Under the Volcano. Ray died suddenly at the age of 64, after years of ill-health, and was found at his home in Waterfoot, Lancashire, on the morning of Tuesday, 14 October 2008.[1] r 4.15.2
The Ray Lowry Foundation
In 2009 The Ray Lowry Foundation was set up by Ray’s Warning: Page using Template:Infobox artist with son, Sam, and Julian Williams and Jackie Taylor of the unknown parameter “imagesize” (this message is shown See Gallery in Rossendale, Lancashire. The aim of the only in preview). Foundation is to create an organisation that ensures Ray’s work will continue to be remembered and appreciated,
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CHAPTER 4. OTHER PERSONNEL
and to create a fund in Ray’s name that will provide financial assistance with mentorship to individuals and art projects. This will include providing a scholarship to a student studying a course in art to a higher degree level and to make financial awards linked to individual artbased projects. The Foundation has helped with placing Ray’s work included as part of the Malcolm Lowry exhibition at the BlueCoat Gallery, Liverpool, and a major public exhibition of his work at the Salford Gallery and Museum for December 2009. A major exhibition is being planned in Leeds for 2010. A retrospective of his works is being held at The Idea Generation Gallery, London from 18 June – 4 July 2010 in aid of The Ray Lowry Foundation. As part of the exhibition 30 creatives, including Tracey Emin, Nick Hornby, Billy Childish, Harry Hill, Paul Simonon and Humphrey Ocean, have produced reinterpretations of The Clash's iconic London Calling album cover in aid of the Foundation.[2][3] 4.15.3
Selected bibliography
Collections of his work •
Only Rock 'n' Roll 1980 ISBN 0-86104-320-0
•
This Space to Let 1986 ISBN 0-349-12208-3
•
Ink 1998 ISBN 1-899344-21-7
As an illustrator •
The Penguin Book of Rock and Roll Writing 1992
ISBN 0-14-016836-2 •
Rock Talk 1994 ISBN 1-899344-00-4
•
Funny Talk 1995 ISBN 1-899344-01-2
•
A Riot of our Own: Night and Day with The “Clash”
1997 ISBN 0-575-40080-3 4.15.4
References
[1] “RayLowry 1944–2008”. News . Mojo. 14 October 2008. Retrieved 15 October 2008. [2] Ray Lowry: London Calling, Idea Generation Gallery [3] Godwin, Richard (15 June 2010). “London Calling again”. Evening Standard . Retrieved 16 June 2010.
4.15.5 •
•
External links
Personal web site raylowry.com The Guardian obituary
•
Biography at the British Cartoon Archive, University of Kent
Chapter 5
Associated acts 5.1
The 101ers
and twenty-six and they played good because they'd spent a few years getting that far. But they were just too old. What I really wanted was to get in with some young yobbo’s who I was more in tune with. — Joe Strummer[4]
The 101ers were a pub rock band from the 1970s playing
mostly in a rockabilly style, notable as being the band that Joe Strummerleftto join TheClash.[1] Formed in London in May 1974, the 101ers made their performing debut on 7 September at the Telegraph pub in Brixton,[2] under the name 'El Huaso and the 101 All Stars’. The name would later be shortened to the '101 All Stars’ and finally just the '101ers’. The group played at free festivals such as Stonehenge, and established themselves on the London pub rock circuit prior to the advent of punk. 5.1.1
History
The group was named after the squat where they lived together: 101 Walterton Road, Maida Vale, although it was for a time rumoured that they were named for "Room 101", the infamous torture room inGeorge Orwell's novel Nineteen Eighty-Four . Theband’s earlygigs includedseveral at the Windsor Castle and a residency at the Elgin.[3] They were supported by the Sex Pistols at the Nashville Room on 3 April 1976; this is when Strummer claimed he saw the light and got involved in the punk scene. [1] Joe Strummer commented on this event in the Don Letts documentary Westway to the World on the end of the 101ers by saying “5 seconds into their (the Pistols’) first song, I knew we were like yesterday’s paper, we were over.”[1] By the time their debut single, “Keys to Your Heart”, was released, Joe Strummer was in The Clash and the band were no more.[2] Clive Timperley later joined The Passions, Dan Kelleher went to Martian Schoolgirls and The Derelicts.[2] Richard Dudanski went on to work with The Raincoats, Basement 5 and Public Image Ltd.[2] Tymon Dogg worked with Strummer briefly in The Clash, playing fiddle and singing his original song, “Lose This Skin”, on Sandinista!, and later in The Mescaleros.
The 101ers’ recorded output was initially limited to one single. However, by 1981, interest in The Clash was at its height and a second single and a compilation album Elgin Avenue Breakdown was released.[2] Several of the tracks on the latter album were live recordings, and there is no evidence that the band ever conceived of these recordings as a full-length album. Until his death in 2002, Joe Strummer had been planning to re-release Elgin Avenue Breakdown , complete with previously unreleased tracks that would encompass everything the band ever recorded. The project was completed with the help of Strummer’s widow Lucinda Tait and former drummer Richard Dudanski, and released in May 2005 as Elgin Avenue Breakdown Revisited via Astralwerks in the US and EMI in Europe. The last track on the 2005 re-issue was an 8-minute version of "Gloria" recorded on 22 May 1976 at the Cellar Club in Bracknell. This was recorded two weeks before the 101ers finally split.[5] Joe Strummer joined The Clash who played their first gig at the Black Swan, Sheffield supporting the Sex Pistols on 4 July 1976. 5.1.2
Covers
The Clash had played “Keys to Your Heart” live at around the same time it was reissuedas a single. The Hypertonics have also covered this song. [6] 5.1.3 •
I know the 101ers were good. In fact, as far as sound and excitement went we were much better than Eddie and the Hot Rods. The other guys in the group were twenty-five 111
Band line-up
John “Woody” Mellor aka Joe Strummer – Guitar, vocals
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Clive Timperley – Guitar, vocals
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Dan Kelleher – Bass, guitar, vocals
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Richard Dudanski – Drums Simon Cassell aka “Big John” – Saxophone Alvaro Peña-Rojas – Saxophone
Sources Books •
Marwood Chesterton aka “Mole” – Bass guitar(until Oct. 1975) •
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Antonio Narvaez – Drums Julian Yewdall – Vocals, harmonica Patrick Nother – Bass (1st gig) Martin Stone – Lead guitar (final gig) Tymon Dogg – Fiddle, vocals
5.1.4
Strong, Martin C. (2003) [1999]. “101'ers’". The Great Indie Discography (Revised and enlarged ed.). Edinburgh: Canongate. p. 109. ISBN 1-84195335-0. OCLC 52530784.
Films and documentaries •
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Coon, Caroline (1977). 1988: The New Wave Punk Rock Explosion. London: Hawthorn. ISBN 0-80156129-9. OCLC 79262599. Retrieved 2011-09-21.
Discography
Letts Don; Rick Elgood, Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, The Clash (2001). The Clash: Westway to the World (DVD). New York, NY: SonyMusic Entertainment; Dorismo; Uptown Films. Event occurs at 8:40– 11:40. ISBN 0-7389-0082-6. OCLC 49798077.
Singles
5.1.6 •
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“Keys to Your Heart” (Joe Strummer) b/w “5 Star Rock & Roll Petrol” (Strummer, Dan Kelleher) (Chiswick/Big Beat 1976)
D'Ambrosio, Antonino (2004-10-13). Let Fury Have the Hour: The Punk Rock Politics of Joe Strummer . New York: Nation Books. ISBN 1-56025-
625-7. OCLC 56988650. Edited with an Introduction by Antonino D'Ambrosio.
“Sweet Revenge” b/w “Rabies” (Chiswick 1981)
Albums •
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DeCurtis, Anthony(2003). “1952–2002 Joe Strummer – A tribute to the late Clash singer and songwriter, plus his final remarks on the rise and fall of the legendary punk band”. Rolling Stone. San Francisco, CA: Straight Arrow. 914 (27). ISSN 0035791X. OCLC 96002520.
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Elgin Avenue Breakdown Andalucia AND101
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Elgin Avenue Breakdown Revisited Astralwerks
ASW32161 / EMI 474460 2 (2005) •
punk and beyond, a musical memoir from the mar gins . ISBN 9781494434977. Illustrations by Esper-
(1993) [7]
anza Romero. •
References
[1] Westway 2001. [2] Strong 2003, p. 109. •
[3] Don J Whistance. “Early gigs”. Retrieved 6 July 2015. [4] Coon 1977. [5] Accompanying booklet to CD 'Elgin Avenue Breakdown Revisited' [6] The Hypertonics cover of Keys To Your Heart. [7] Music Brainz entry
Dudanski, Richard (2013). Squat City Rocks: Proto-
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Five Star Rock'n'Roll Made In Heaven 362020
5.1.5
Further reading
Matula, Theodore (December 2003). “Joe Strummer, 1952–2002”. Popular Music and Society. Bowling Green, Ohio: Taylor & Francis. 26 (4): 523–525. doi:10.1080/0300776032000144968. ISSN 0300-7766. OCLC 89586252. Salewicz, Chris (2007-05-15). Redemption Song: The Ballad of Joe Strummer (1st American ed.). New York: Faber and Faber. ISBN 0-571-21178X. OCLC 76794852.
5.2
London SS
The London SS is a British punk rock group founded in
March 1975 by drummer Geir Wade, bassist John Brown,
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5.2. LONDON SS
guitarist Mick Jones, and guitarist Eunan Brady (formerly of the Hollywood Brats). In 2012 Brady put together a new lineup, featuring himself along with Jimi McDonald, Taj Sagoo, Michael Kane, and Andi Emm.[1]
James) was the only other semi-permanent member at this time. Other musicians who played with them included Matt Dangerfield and Casino Steel, then members of The Hollywood Brats, who would later go on to play in The Boys.
Many other notable musicians tried out for the band but did not make the cut. These included two future memThe origin of the name “London SS” is disputable. Geir bers of The Clash, Paul Simonon and Terry Chimes. Another future Clash member, Nicky “Topper” Headon,was Wade claims to have been the first to propose it: asked to join but declined. Rat Scabies, future drummer for The Damned, played with the band even though Andrew Matheson begs to differ, even he was in his own protopunk band, Rot, at the time. though every other band member insists that it Roland Hot also served as drummer, before joining Kid was immediately following Geir’s arrival that Rogers and the Henchmen, with Kid Rogers (guitarist) the band’s old name, 'The Delinquents’, was and Doug McArthur (Bass). Punk poet Patrik Fitzgerald dropped. Brady confirms it was Geir who came also claims to have auditioned for the band. up with the replacement name, but John insists it was the result of a general brainstorming session with a dictionary and thesaurus. Obvi5.2.2 Recordings ously, the London prefix was a nod in the direction of The New York Dolls and The HolThe London SS’s only recording was a demo featuring lywood Brats.[2] James, Jones, James, and Hot. Musically, they played straightforward rock 'n' roll and covered 1960s R&B. An The group’s name caused disquiet in some quarters, be- example of this is their song “1–2 Crush on You”, which cause “SS” was generally understood to refer to the was later recorded by The Clash. Schutzstaffel, an elite paramilitary force of Nazi Germany, some of whose members were convicted of war crimes. This came to haunt Mick Jones when The Clash 5.2.3 Later bands featuring members of The London SS became Britain’s premier left-wing political band. When questioned about the name, Tony James stated: Brian James left The London SS with Rat Scabies to form The Subterraneans and, later, The Damned. Tony James We hadn't thought at all about the Nazi imjoined the band Chelsea with Billy Idol and the two later plications. It just seemed like a very anarchic, started Generation X. According to Chelsea drummer stylish thing to do.[3] John Towe, 5.2.1
History
The London SS recruited Kelvin Cyril Blacklock to front their band. Blacklock’s arrival led to Geir Wadeand Mick Jones’s departures. The band then changed its name to Violent Luck. Even while still with Overtown, Kelvin had kept his options open by attending auditions for several other bands. One of the Melody Maker ads he answered had been placed by bassist Tony James. Tony was reading mathematics at Brunel University in Uxbridge, on the western outskirts of London and living in Twickenham, a few miles to the south.[2]
When Brian James played with London SS he wrote a song called 'Why Won't She Talk' [...] October kept the tune but put new words to the song and re-titled it 'Get Out and Walk'. When he discovered that the tune had been ripped off (early '77) he dropped it from Chelsea’s set.[5] Jones and Simonon teamed up with Joe Strummer and founded The Clash. Ultimately, The London SS members were more famous for what they did later than they were for anything that they accomplished during the band’s existence.
In an effort to soften the blow of Mick’s sacking, Blacklock suggested that he team up with the new band, minus 5.2.4 References James. In Pete Frame's Two Family Trees , the story of The London SS starts with this encounter. [1] “We're not Nazis, says London SS, punk band barredfrom Upper Street venue”. Islington Tribune. The second lineup of The London SS started with Blacklock and James.[4] The band spent most of their short his- [2] Gray, Marcus (1995). Last Gang In Town: The Story tory auditioning potential members. Besides Blacklock and Myth Of The Clash . Fourth Estate Ltd. ISBN 9781857021462. and James, guitarist Brian James (no relation to Tony
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[3] Salewicz, Chris (15 May 2007). Redemption Song: Dynamite , was released. The album’s cover shows the The Ballad of Joe Strummer (1st American ed.). New group as a four-piece (minus Donovan). York: Faber and Faber. ISBN 0-571-21178-X. OCLC 1986’s No. 10, Upping St. reunited Jones for one album 76794852.
with former Clash band-mate Joe Strummer, who was a
[4] Deming, Mark. “allmusic ((( Carbon/Silicon > Overview co-producer of thealbum andco-writer of a number of its )))". allmusic.com. Retrieved 6 November 2008. songs. The cover painting, based on a still taken from the Brian de Palma film Scarface was painted by Tim Jones. [5] John Towe’s letter to the editor (Spiral Scratch magazine BAD supported U2 on their 1987 world tour, then re1/1991, p.19) leased 1988’s Tighten Up, Vol. '88 and 1989’s Megatop Phoenix . Tighten Up, Vol. 88 contained “Just Play Mu-
5.3
Big Audio Dynamite
Warning: Page using Template:Infobox musical artist with unknown parameter “1 = Current_members ?" (this message is shown only in preview). Big Audio Dynamite (later known as Big Audio Dynamite II and Big Audio, and often abbreviated BAD) is a
British musical group formed in 1984 by the ex-guitarist and singer of The Clash, Mick Jones. The group is noted for its effective mixture of varied musical styles, incorporating elements of punk rock, dance music, hip hop, reggae, and funk. BAD’s one constant throughout frequent shifts in membership and musical direction is the vocals provided by Mick Jones. After releasing a number of well-received albums and touring extensively throughout the 1980s and 1990s, Big Audio Dynamite disbanded in 1997. In 2011, the band embarked on a reunion tour.
sic!", which was the second No. 1 single on Billboard’s Modern Rock Tracks. The band also recorded an unreleased track called “Keep off the Grass” which was a rock-style instrumental of the theme to the classic western film, The Magnificent Seven. A promo video can be seen on YouTube.[2] In 1990, the original line-up wrote and recorded the song “Free” for the soundtrack to the movie Flashback . This would be the final song written with the original lineup, as the band would dissolve shortly after. “Bottom Line” from the first LP was remixed and used as the title track for Flashback . However this track was not included on the soundtrack. It can be found on the 12” or by possible download. Later in 1990, Mick Jones debuted Big Audio Dynamite II and release the UK only album Kool-Aid . Dan Donovan remained in BAD II for one song, a reworking of the final BAD track “Free” renamed “Kickin' In”. Big Audio Dynamite II (1991–1993)
5.3.1
History
T.R.A.C. (1984)
After being ousted from The Clash in 1983 and following a brief stint with the band General Public, Mick Jones formed a new band called Top Risk Action Company (T.R.A.C.). He recruited bassist Leo “E-Zee Kill” Williams, saxophone player John “Boy” Lennard (from Theatre of Hate), and ex-Clash drummer Nicky “Topper” Headon. Headon was quickly sacked for his heroin addiction and Lennard either left or was fired and the band folded.[1] Although the band released no material (only demos were recorded which have yet to be officially released), T.R.A.C. can be seen as a forerunner to Big Audio Dynamite in much the same way London SS can be seen as an early incarnation of The Clash. Big Audio Dynamite (1984–1990)
Jones then formed Big Audio Dynamite with film director Don Letts (maker of The Punk Rock Movie, various Clash music videos, and later The Clash documentary Westway to the World ), bassist Leo Williams (from T.R.A.C.), drummer Greg Roberts, and keyboardist Dan Donovan. In 1985 the group’s debut, This Is Big Audio
For 1990’s The Globe, only Jones remained from BAD, and the band was now called “Big Audio Dynamite II”. This new line-up featured two guitarists. The Globe featured the band’s most commercially successful single, "Rush,” which hit No. 1 on both the US modern rock chart and the Australian National Aria Chart. “Innocent Child” and “The Globe” were also released as singles. BAD supported U2 on their ZooTV tour and released the live EP “On The Road Live '92”. Big Audio (1994)
The band later recruited keyboardist Andre Shapps (coproducer of The Globe and Mick Jones’s cousin) and Michael “DJ Zonka” Custance as DJ and vocalist. Both appeared on the band’s 1994 album Higher Power , which was released under the shortened name “Big Audio”. Final years and subsequent activities (1995–2010)
After signing with Gary Kurfirst's Radioactive Records in 1995, the band reverted to the original “Big Audio Dynamite” moniker and released their least successful album to date, F-Punk .
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5.3. BIG AUDIO DYNAMITE
Radioactive Records refused to release the next proposed 5.3.2 Personnel BAD album, Entering a New Ride . The line-up contained Mc vocals by Joe Attard (Punks Jump Up), Ranking Big Audio Dynamite (1984–1990, 2011–present) Roger (The Beat, General Public) and drummer Bob Wond (Under Two Flags) In 1998, the band launched a Mick Jones – vocals and guitar new web site, primarily as a means to distribute songs from the Entering a New Ride album. Don Letts – vocals, samples Since 2005, Jones has been working on a project with Tony James (ex-member of Generation X and Sigue Dan Donovan – keyboards Sigue Sputnik) called Carbon/Silicon. Leo Williams – bass In early 2007, a BAD II live DVD was released. •
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Greg Roberts – drums and backing vocals
Big Audio Dynamite II (1990–1993) 2011 reunion
•
Mick Jones – vocals and guitar
Nick Hawkins – guitar and backing vocals In April 2010, Don Letts revealed to Billboard.com that he and Mick Jones broached the idea of a Big Audio Dy Gary Stonadge – bass and backing vocals namite reunion in 2011. He explained, “I could lie to you and say 'Not in a million years,' but... if Mick wasn't tied Chris Kavanagh – drums and backing vocals up with Gorillaz it might happen this year. (Jones) has looked at me and said, 'Maybe next year,' but who knows. I've got to admit that in the past I'm not a great one for re- Big Audio (1994–1995) formations; I always think if you're lucky in life, you get a window of opportunity, use it to the best of your ability Mick Jones – vocals and guitar andthen fuck off andlet someone else havetheir turn. But here I am 25 years down the line considering the thing.” Nick Hawkins – guitar and backing vocals Besides a Big Audio Dynamite reunion, Letts said he was also hopeful for more Legacy Editions of the group’s al Gary Stonadge – bass and backing vocals bums after finding more unreleased material—including live recordings—in the vaults. “There’s definitely more Chris Kavanagh – drums and backing vocals stuff; whether Sony thinks it’s worthwhile, that’s another matter. But there seems to be a lot of respect for Big Au Andre Shapps – keyboards, samples dio Dynamite. Time has shown that a lot of the things we were dabbling in back then have come to manifest them Michael 'Zonka' Custance – DJ, percussion and selves today...so hopefully we'll get to do some more.” [3] backing vocals Thereformation of theoriginal line up of B.A.D was confirmed on 25 January 2011 with the announcement of a Big Audio Dynamite (1996–1998) UK tour.[4] The 9-date tour was a commercial and critical success. The first of their two sold out Shepherd’s Mick Jones – vocals and guitar Bush Empire shows received a 4 star review in The Times ('Not just a reformation - this is their time'), The Observer Nick Hawkins – guitar welcomed B.A.D’s return with a glowing review declaring, 'they remain a joy'.[5] News Of The World awarded Andre Shapps – keyboards, programming their Manchester Academy show a 5 star review and proclaimed, 'Easily the reformation of the year'.[6] Their Michael 'Zonka' Custance – DJ, keyboards, samples headline slot at Beautiful Days festival was favourably reviewed on the Louder Than War music website.[7] Darryl Fulstow – bass Big Audio Dynamite played sets at the 2011 Outside Lands Music and Arts Festival, Coachella Valley MuBob Wond – drums sic and Arts Festival,[8] Glastonbury Festival 2011,[9] and Lollapalooza.[10] They are also confirmed to appear the Joe Attard – MC [11] [12] Levellers festival Beautiful Days, Bestival V Festival,[13] and Fuji Rock Festival.[14] Ranking Roger – vocals •
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5.3.3
Discography
Main article: Big Audio Dynamite discography
[6] News of the World: The Best for News, Showbiz and Sport Exclusives | News Of The World [7] “Big Audio Dynamite live at Beautiful Days Festival: review”. Louder Than War. Retrieved June 1, 2013.
•
This Is Big Audio Dynamite (1985)
[8] “Coachella 2011 Poster”. Los Angeles Times .
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No. 10, Upping St. (1986)
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Tighten Up Vol. 88 (1988)
[9] “Welcome to Glastonbury Festivals”. Glastonbury Festivals. Archived from the original on 20 July 2011. Retrieved 17 August 2011.
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Megatop Phoenix (1989)
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Kool-Aid (1990)
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The Globe (1991)
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Higher Power (1994)
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F-Punk (1995)
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Entering a New Ride (1997)
5.3.4
Other information
[10] “Lollapalooza 2011”. Lineup.lollapalooza.com. 19 July 2011. Archived from the original on 13 July 2011. Retrieved 17 August 2011. [11] Virtual Festivals. “Beautiful Days Official Website”. Beautifuldays.org. Archived from the original on 25 July 2011. Retrieved 17 August 2011. [12] “Bestival 2011”. Bestival.net. Archived from the original on 23 July 2011. Retrieved 17 August 2011. [13] “Home at Vfestival”. Vfestival.com. Archived from the original on 22 July 2011. Retrieved 17 August 2011. [14] Metropolis , “Music: Big Audio Dynamite”, No. 903, 15
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Mick Jones was noted for playing a high-tech July 2011, p. 15. British-made guitar called the Bond Electraglide with BAD. It’s worn by Mick Jones on the cover of 5.3.6 External links No. 10 Upping St. . During the 1980s, “The Bottom Line” was used as the music for the opening credits to Sports Sunday, a weekly sports magazine TV show shown on the Nine Network, an Australian television station.
•
•
Unofficial site Interview with the original lineup of Big Audio Dynamite after the release of Megatop Phoenix (FTP)
www.theclash.org.uk visual website During the 1980s, “The Bottom Line” was also used as the music for the opening credits to the weekly American Football highlights show on UK Channel 4. 5.4 The Latino Rockabilly War •
Shawn Stussy was responsible for the album artwork “The Latino Rockabilly War” was a band most notable and design for The Globe. for backing The Clash frontman Joe Strummer on one album. With Strummer, The Latino Rockabilly War cre5.3.5 References ated Earthquake Weather, through Epic Records. The album was well received by critics, but did not sell well [1] “Big Audio Dynamite – “This Is Big Audio Dynamite” and Joe Strummer lost his deal with Epic (excepting a (1985)". Beatpatrol.wordpress.com. 10 May 2010. hypothetical circumstance in which he decided to reform Archived from the original on 26 July 2011. Retrieved or re-create the Clash with the same or new musicians, 17 August 2011. in which case he would have been forced to work with [2] “Big Audio Dynamite - Keep Off The Grass (rare video)". Epic). Led by Strummer, they also contributed five songs YouTube. 24 December 2006. Retrieved 17 August to the soundtrack for the movie Permanent Record , which 2011. featured a young Keanu Reeves: “Trash City”, “Baby the Trans”, “Nothin' 'bout Nothin”, “Nefertiti Rock”, and the [3] “Big Audio Dynamite Reignited”. Billboard.com. 8 April instrumental “Theme from Permanent Record”. 2010. Retrieved 17 August 2011. In a segment of the documentary film Joe Strummer: The [4] “Big Audio Dynamite reform with original line-up”. Future Is Unwritten, Anthony Kiedis mentions that durNME. 25 January 2011. Retrieved 17 August 2011. ing the period in which the bands’ material was recorded, [5] Kitty Empire (10 April 2011). “The Naked and Famous; drummer Jack Irons (formerly of Red Hot Chili Peppers Big Audio Dynamite – review”. London: Guardian. Re- and Pearl Jam) was in residency at a mental institution. trieved 17 August 2011. Therefore, Strummer had to arrange transportation and •
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5.6. THE MESCALEROS
leave for Irons in order for him to participate in the bands’ 5.5.2 Members output. Nigel Dixon – lead vocals, rhythm guitar The band toured with Strummer on the Rock Against The Rich Tour in 1988 with friends in tow, including film Gary Myrick – lead guitar, backing vocals director Alex Cox. Their sets included songs spanning Paul Simonon – bass guitar, backing vocals Strummer’s career to that point, including works from The 101ers and The Clash, additionally material co writ Travis Williams – drums ten with Mick Jones for Big Audio Dynamite's No. 10, Upping St. album as well as a cover of The Pogues' song “If I Should Fall From Grace With God.” 5.5.3 References •
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5.4.1
Members
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Zander Schloss – Lead and rhythm guitar
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Lonnie Marshall – bass guitar
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Havana 3am
Havana 3am was
the band of bassist Paul Simonon formed shortly after his previous band, The Clash, officially broke up in 1986. The band consisted of Simonon on bass, American musician Gary Myrick on guitar, Nigel Dixon from the British band Whirlwind on lead vocals, and Travis Williams, a drummer who they found by a newspaper announcement. In essence, it was a rockabilly band with a heavy Latino and reggae influence. The band recorded a self-titled album in Japan in 1991. The album, which has twelve original tracks, received solid reviews and had in “Reach the Rock” a minor radio hit.[1] Following Dixon’s death on 3 April 1993 and departure of Simonon who moved on to a career of art, Myrick put out one more album with different line-up but it was also unsuccessful and the band broke up shortly after. The band took their name from the title of a 1950s album by Perez Prado. 5.5.1
•
5.6
The Mescaleros
Joey Artuda – bass guitar (1988 on the Permanent The Mescaleros were the backing band for Joe Strummer, formed in 1999, which went on to make three alRecord-soundtrack) bums prior to Strummer’s death in 2002. Jim Donica – bass guitar (1988 on the Rock against Many of the band members were multi-instrumentalists. the rich-tour) The original line up consisted of Strummer on vocals and Roberto Pla – percussion (1988 on the Rock against guitar, Antony Genn on guitar, Scott Shields on bass, the rich-tour) Martin Slattery on keyboards and guitar, as well as flute and saxophone on select songs, Pablo Cook on various Willie MacNeil – drums percussion instruments and Steve Barnard on drums, using his stage moniker “Smiley”. Richard Flack was also Jack Irons – drums employed to use effects and instruments.
5.5
•
[1] Havana 3 A.M. in Allmusic.
Discography
Havana 3am (1991) Texas Glitter & Tombstone Tales (1996)
5.6.1
Background
The name “The Mescaleros” for my new group is something I just stole from a cowboy film I was watching one night. So, um, really, doesn't have any meaning to the direction. But we're moving in a kind of roots reggae, rock thing. I mean, more or less, as if time hadn't passed. But, we're trying to move it into the future as well. Definitely don't wanna stay in the past. Gotta get out of the past! It’s a quagmire of treacle. [1] – Joe Strummer, 1999, Hultsfred Festival, Sweden The Mescaleros rose out of Strummer’s work with Pablo Cook and Richard Norris. The three of them originally came together to write the soundtracks for two shortfilms, Tunnel of Love, and Question of Honour. The song “Yalla Yalla” was originally written by this trio, and mixed by Antony Genn. Once Genn was brought on board, a new song “Techno D-Day” was recorded, at which point Strummer, at the behest of Genn, began recording a new record. The original drummer, Ged Lynch, left the band before recording on Rock Art & The X-Ray Style was complete and Smiley (Robbie Williams' former drummer) was brought in to finish recording. Shields and Slattery were recruited through a number of contacts with the band. Slattery had also appeared on Robbie Williams’ Life Thru a Lens album, and Scott Shields was a friend of
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Slattery’s. Oddly enough, in the initial lineup, only Smiley was playing the instrument which he knew best. Genn, although not a bad guitar player, reportedly did not have the ability to play sufficient lead guitar, hence Slattery was brought in. He, however, was trained in horns and keyboards, but had a natural ability with nearly all instruments. Strummer once joked that Slattery could play a hole in the windshield of the tour bus. Shields had previously been a drummer, but was recruited to play bass, and later guitar. 5.6.2
History
June 2006. Theband also appear on many DVDs (see full list below) and have had several of their songs appear in major films such as Black Hawk Down and Mr. & Mrs. Smith. One song, “Johnny Appleseed,” was used as the theme song to the HBO series John From Cincinnati . Joe Strummer & the Mescaleros’ last ever concert was on 22 November 2002, in Liverpool. This show is often overlooked however, in favor of citing the 15 November show at Acton Town Hall. It was this show, which was a benefit for striking fire fighters, that Mick Jones joined Strummer on stage for the first time in nearly twenty years, during the Clash song “Bankrobber.” An encore followed with both "White Riot" and "London’s Burning". The Last Night London Burned , a 64-page book written by George Binette,[3] showing never before published pictures of Joe Strummer and Mick Jones, anda 26 minutes film by Gregg McDonald and Alan Miles, were released as a unique visual record of that last ever London concert by Joe Strummer & the Mescaleros.[4] Following the conclusion of this tour, the band headed straight for the studio, but Strummer died of a congenital heart defect on 22 December 2002[5] after returning home from walking his dogs. The band’s final album, Streetcore, was released posthumously on 20 October 2003. The band also made appearances on the Late Show with David Letterman, Late Night with Conan O'Brien, aswell as touring on the Hootenany Festival in the summer of 2001. Various Mescaleros have performed at numerous tribute concerts in both UK & Europe. Mescaleros Pablo Cook & Smiley together with Mike Peters (the Alarm), Derek Forbes (Simple Minds), Steve Harris (Gary Numan) are in Los Mondo Bongo (a celebration of the music of Joe Strummer) who together withRayGange (DJ) tour whenever possible performing those great Mescaleros tunes and have toured the UK and Canada. Antony Genn currently fronts The Hours, a band that he and fellow Mescalero Martin Slattery formed in 2004. In an October 2013 interview with BBC 6Music, Mick Jones confirmed that in the months prior to Strummer’s passing that the two were writing new music together. Jones said at the time he assumed the new songs would be on an upcoming Mescaleros album however as months passedhe raninto Strummer at an event andwas informed by him that the new music they were writing was intended for the next Clash album.[6]
TheMescaleros’ first gig was in Antony Genn’s hometown of Sheffield at The Leadmill on 5 June 1999. They toured extensively for the next six months, including playing the Glastonbury Festival, the U.S., and Europe. 2000 saw the band play Big Day Out in Australia & New Zealand, plus tour Japan. The band signed with the Californian punk label Hellcat Records, and issued three albums. Following the release of the first, Rock Art and the X-Ray Style, they toured England and North America; sets included several Clashfan favourites. Singer-songwriter Tymon Dogg, a longtime friend of Joe Strummer, joined the band in 2000 playing violin and Spanish guitar. He contributed some of the tunes on Global A Go-Go, including “Mondo Bongo”. Honorary Mescaleros include John Blackburn and Jimmy Hogarth, both of whom played bass in place of Scott Shields on the 2000 tour supporting The Who, which was also Tymon Dogg’s first tour with the band. Andy Boo, Joe’s guitar tec also appeared in the Mescaleros line up in place of Pablo Cook on percussion at a gig in Finland 1999.[2] Following the departure of Genn and Smiley, Scott Shields moved to guitar, Simon Stafford was brought on board to play bass, and Luke Bullen was recruited to play drums. Pablo Cook left in August 2001 to join Moby. Following the release of Global A Go-Go, Joe Strummer and the Mescaleros mounted a 21-date tour of North America, Britain, and Ireland. Once again, these concerts featured Clash material ("London Calling", “Rudie Can't Fail”), as well as classic covers of reggae hits ("The Harder They Come", "A Message to You, Rudy") and regularly closed the show with a nod to Joey Ramone by playing The Ramones' “Blitzkrieg Bop”. Musically, the Mescaleros continued the genre mixing 5.6.3 Members that Strummer was known for during his time with The Clash. Elements of reggae, jazz, funk, hip hop, country, Joe Strummer – lead vocals, rhythm guitar and of course punk rock can be found in the three Martin Slattery – lead guitar, keyboards, saxophone, Mescaleros releases.[2] flute The band is also the subject of a documentary by Dick Rude titled Let’s Rock Again! which was released on 27 Scott Shields – guitar, bass guitar •
•
•
119
5.6. THE MESCALEROS
•
•
•
Antony Genn – guitar (1999–2000) Simon Stafford – bass guitar, trombone (2001– 2002) Tymon Dogg – violin, Spanish guitar, keyboards (2000–2002)
•
John Blackburn – bass guitar (2000)
•
Jimmy Hogarth – bass guitar (2000)
•
Pablo Cook – percussion (1999–2001)
•
Luke Bullen – drums (2001–2002)
•
Steve “Smiley” Barnard – drums (1999–2000)
5.6.4
Discography
Warning: Page using Template:Infobox artist discography with unknown parameter “References” (this message is shown only in preview). Studio albums Singles DVDs on which Joe Strummer & The Mescaleros appear: •
Joe Strummer: The Future is Unwritten Directed by
Julien Temple (out on DVD: September 2007) •
Viva Joe Strummer Directed by M.Parkinson
•
Let’s Rock Again! Directed by Dick Rude
•
Later with Jools Holland: Legends
•
Hootenanny DVD
•
Give 'Em the Boot
•
Glastonbury the Movie
•
•
old busking pal & fiddler, Tymon Dogg, for the first time since “Sandinista”). The music was a glorious amalgamation of every aspect of Joe’s character: as wide as his vision & as big as his heart. I caught shows on each tour, to see Joe again after so long was just as exhilarating as it had been the first time round. The last time I saw him I’d decided that he was gonna live forever & turn into a gnarled punk/blues/world amalgamation of Bo Diddly, Woody Guthrie & Muddy Waters – a man for all seasons & all generations. A foot soldier of the old guard destined to continue teaching lesser minds the beauty & power of legitimate protest through an art-form: “Let fury have the hour, anger can be power, you know that we can use it”. [3] Binette, George Robert (2003). The Last Night London Burned . London. ISBN 0-9544620-0-9. [4] McDonald, Gregg; Alan Miles (2003). “The Last Night London Burned”. theclash.org.uk. Retrieved 4 December 2007. A Film by Gregg McDonald and Alan Miles. - An account of Joe Strummer and The Mescaleros (featuring Mick Jones) FBU benefit concert at Acton Town Hall [5] “Clash star Joe Strummer dies”. ENTERTAINMENT . CNN.com. 23 December 2002. Archived from the original on 17 November 2007. Retrieved 23 November 2007. Strummer, who was theband’s guitarist, vocalistand songwriter alongside Mick Jones, died on Sunday at his farmhouse in Somerset, southwestern England. [6] “The Clash - Mick Jones: 'Secret Joe Strummer Tunes Could Have Sparked The Clash’s Comeback'". Contact Music. Retrieved 2013-10-04. [7] “Chart Stats - Joe Strummer And The Mescaleros”. chartstats.com. Archived from the original on 19 January 2013. Retrieved 20 July 2010. [8] “Chart Log UK: DJ S - The System Of Life”. Dipl.Bibl.(FH) Tobias Zywietz, 1994–2009. Retrieved 17 February 2010. [9] “allmusic ((( Joe Strummer > Charts & Awards > Billboard Albums )))". Billboard. Retrieved 20 July 2010.
5.6.6 •
Black Hawk Down (soundtrack) Le scaphandre et le papillon (“The Diving Bell and
References
Davie, Anthony (2004). Vision of a Homeland: The History of Joe Strummer & the Mescaleros . Northampton: Effective. ISBN 0-9548568-0-5. OCLC 123775358.
the Butterfly”) (2007) 5.6.7 5.6.5
Notes
•
D'Ambrosio, Antonino(13 October2004). Let Fury Have the Hour: The Punk Rock Politics of Joe Strummer . New York: Nation Books. ISBN 1-56025-
[1] shttps://www.youtube.com/watch?v=uoudLDDWprw [2] Encoule, Jean (January 2003). “Joe Strummer - 19522002”. trakMARX.com. Retrieved 17 November 2007. The Mescaleros duly delivered “Rock Art & The XRay Style” (1999) & “Global A Go-Go” (2001). The Mescaleros may have changed from tour to tour, but the songs remained the same (Joe even found work for his
Further reading
625-7. OCLC 56988650. Edited with an Introduction by Antonino D'Ambrosio. •
Davie, Anthony (2010). Joe Strummer & the Mescaleros . F-54385 Rosieres-en-Haye, France: Camion Blanc. ISBN 978-2-35779-048-3.
120 •
•
•
•
CHAPTER 5. ASSOCIATED ACTS
Davie, Anthony (2004).
New and Previously Carbon/Silicon recorded four demo CDs: Sample This, Unpublished Photographs Joe Strummer & the Peace; Dope Factory Boogie; The Grand Delusion and The Mescaleros . Northampton: Effective. ISBN 0- Homecoming . The band’s first officially released album, A.T.O.M (A Twist of Modern) debuted on the band’s 9548568-1-3. OCLC 64898380. website on 28 July 2006. The next album Western Front
DeCurtis, Anthony (2003). “1952-2002 Joe Strummer - A tribute to the late Clash singer and songwriter, plus his final remarks on the rise and fall of the legendary punk band”. Rolling Stone. Vol. 914 no. 27. San Francisco, CA: Straight Arrow. ISSN 0035-791X. OCLC 96002520.
Matula, Theodore (December 2003). “Joe Strummer, 1952-2002”. Popular Music and Society. Bowling Green, Ohio: Taylor & Francis. 26 (4): 523–525. doi:10.1080/0300776032000144968. OCLC 89586252. Salewicz, Chris (15 May 2007). Redemption Song: The Ballad of Joe Strummer (1st American ed.). New York: Faber and Faber. ISBN 0-571-21178X. OCLC 76794852.
5.6.8
Home of The Mescaleros
•
•
External links
Festival of music and film to celebrate the work of Joe Strummer
•
The Joe Strummer Foundation for New Music
•
Richard Flack Music Production
5.7
Carbon/Silicon
Carbon/Silicon is a punk rock duo consisting of two ex-
perienced punk rock musicians: Mick Jones, formerly of The Clash and Big Audio Dynamite, and Tony James, formerly of Generation X and Sigue Sigue Sputnik. The band formed around 2002.[1] 5.7.1
Career
Similar in many respects to Jones’ earlier work in Big Audio Dynamite, Carbon/Silicon aims to break the traditional approach to rock and roll. The band was described by critic Alan McGee as "...the Stones jamming with a laptop,” as they initially made extensive use of samples in their recordings and live shows but have given up that practice in recent years. The formation of the band was catalyzed by the internet and file sharing. The first song written by Jones and James was entitled “MPFree,” in which they expressed their willingness to embrace the technology of the internet and file sharing, in the interest of spreading music, rather than profit. The band still makes live bootlegs and recordings freely available through their own website, and the fansite.[2]
followed soon after on 14 October 2006 and included rerecorded versions of their earlier songs. The group’s third album, The Crackup Suite was released in March 2007. The same month it was announced that Leo “Eazykill” Williams, former bandmate of Jones with BAD would play bass for the group, andthat Dominic Greensmith formerly of Reef would take up the drum slot. The band further released two EP’s plus another album The Last Post and toured, including the Isle of Wight Festival and dates in the USA.[3][4] In collaboration with Callicore Studio, Carbon Silicon releases in 2008, an animated video for a song from the album The Last Post, called “The News”. In January 2008, in what is seen as a return their roots, the band played 7 weekly concerts at a tiny venue Inn on the Green in Ladbroke Grove, London. At the first gig, Topper Headon got up and played with the band for two songs. Jones’ daughter, Lauren, sang with the band at Carbon Casino 3 and 4 in sets that were highlighted by Hitsville UK. At the final gig, Carbon Casino 7, the Alabama Three took to the stage with Jones and James to perform the theme from US TV series, The Sopranos . Throughout the run, support was provided by West London bands Taurus Trakker, TheRotten Hill Gang,and The Self, songwriter John Byrne, icons Pete Wylie, Glen Matlock, James Dean-Bradfield, John Cooper Clarke, and new young bands including West London’s The Dirty Curtains, North London band The Usual Suspects andthe Savage Nomads.[5] In 2009 the band released The Carbon Bubble - their fourth full-length digital album release - free of charge at their official web site. [1] 2010 has seen a further line-up change, with Jesse Wood replacing Leo Williams on bass, and the band has performed a number of festival dates at international venues, including the Neapolis festival (Naples) [6] and Arthur’s Day (Dublin).[7] Later in 2010, their four free digital release albums were removed from their site and released commercially on iTunes and Amazon. The Crackup Suite was retitled The Crackup Suite Parts 1 and 2 and had six additional tracks added to it (four of which were previously unreleased) and Carbon Bubble had two previously unreleased tracks added to it. Since then, Carbon Silicon has not been active besides a few scattered tours. In early 2013, they commercially released one additional song for download titled Big Surprise (with an accompanying video on YouTube) causing fans to briefly hope that more was to come, but it was only an outtake from their earlier recordings and it appears that nothing else is in the works at the moment.
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5.7. CARBON/SILICON
5.7.2
Band members
Current members •
Mick Jones - lead vocals, guitar (2002–present)
•
Tony James - guitar (2002–present)
With: •
Dominic Greensmith - drums, percussion (2007–
Commercial Digital releases •
A.T.O.M (2010)
•
Western Front (2010)
•
The Crackup Suite Parts 1 and 2 (2010)
•
The Carbon Bubble (2010)
•
Big Surprise (2013)
present) •
Jesse Wood - bass (2010–present)
Physical releases •
The News EP (2007) No. 59 UK Singles Chart
•
The Magic Suitcase EP (2007) No. 7 UK Indie Chart
•
The Last Post (2007)
•
Carbon Casino (Live album) (2007)
•
Why Do Men Fight? (Single) (2008)
Former members •
•
•
William Blake - bass (2004–2005) Danny The Red - drums (2004–2005) Leo “Eazykill” Williams - bass (2007–2010)
5.7.3
Discography
Demo recordings •
Sample This, Peace (2003)
•
Dope Factory Boogie (2003)
•
The Grand Delusion (2004)
•
The Homecoming (2004)
Free Digital releases •
Value What Is Necessary EP (2006)
•
The Global War On Culture EP (2006)
•
The News 12” Single (2006)
•
Experimental! EP (2006)
•
Oil Well EP (2006)
•
A.T.O.M (2006)
•
The Magic Suitcase EP (2006)
•
The Gangs Of England EP (2006)
•
Why Do Men Fight EP (2006)
•
Western Front (2006)
•
The Crackup Suite (2007)
•
•
5.7.4
References
[1] “Access to the requested domain has been suspended”. carbonsiliconinc.com. Retrieved 2011-09-14. [2] “carbonsilicon.info”. carbonsilicon.info. Retrieved 201109-14. [3] “Carbon Silicon at the Isle of Wight Festival”. Isle of Wight Festival. Archived from the original (ASPX) on 14 March 2008. Retrieved 2008-04-17. [4] “Clash legend plays Isle Of Wight”. News . NME.COM. 2007-06-09. Retrieved 2008-04-17. [5] Gittins, Ian (2008-01-14). “Carbon/Silicon”. Guardian. Retrieved 2008-01-16.
The
[6] Rodsandcones. “Neapolis Festival” (in Italian). Neapolis.it. Retrieved 2011-09-14. [7] “Arthurs Day 2010 Listings”. Guinness.com. Archived from the original on 23 September 2011. Retrieved 201109-14.
5.7.5
External links
•
Carbon/Silicon official website
•
Official Carbon/Silicon Myspace site
Maybe Thats The Meaning Of Life (2007)
•
Official Carbon/Silicon YouTube channel
The Carbon Bubble (2009)
•
Interview with Terry Gross on NPR’s Fresh Air
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CHAPTER 5. ASSOCIATED ACTS
5.8
The Good, the Bad & the fore returning to England once more.[18] The track listing was originally unveiled and commented Queen
For the song, see The Good, the Bad & the Queen (song). The Good, the Bad & the Queen is the album by an un-
named Britishalternative rock supergroup also commonly referred to as The Good, The Bad & The Queen, and made up of Damon Albarn, Paul Simonon, Simon Tong and Tony Allen and produced by Danger Mouse. The album was released in January 2007.[12][13] The album debuted at number two in the UK Albums Chart and was certified Gold in the UK within days of its release despite little media recognition and airplay.[14] In the United States, the album entered the Billboard 200 at No. 49. It is stated that the record is, in a sense, a concept album, as its songs are all themed around modern life in London.[15] It was described by Albarn as “a song cycle that’s also a mystery play about London” in an interview with Mojo.
5.8.1
Album history
Although The Good, The Bad & The Queen was first reported as a solo album by Albarn with Danger Mouse producing, NME revealed in late July 2006 that the solo project had been switched to a new group formed by Albarn.[16] The band, which formed in 2006, released their first single, "Herculean" on 30 October 2006. The single followed the band’s appearance at the BBC's Electric Proms season at the redeveloped Roundhouse in Camden on 26 October, during which they performed the entire album.[16] Three warm-up gigs in East Prawle at the Pig’s Nose Inn,[17] Ilfracombes Marlboro Club and The Exeter Cavern Club preceded their gig on the BBC’s Electric Proms , where the album was performed in order with two other songs inserted, “Intermission Jam” and “Mr. Whippy"; the latter was a B-side for “Herculean”. The band performed four tracks from the album atAbbey Road Studios on 13 December 2006, during a recording session for Live from Abbey Road . For the first few months, Allen would travel from Paris (where he has a permanent home) to London to work in Albarn’s Studio 13 for 3 days a week, writing, rehearsing and recording. At the same time as the initial recordings in the UK, Albarn had begun demoing for the second Gorillaz record and by early spring had invited in producer Danger Mouse to oversee the album. Albarn was keen to work in Africa with local musicians again after his work on the album Mali Music (released 2002) so Tony Allen suggested that the four of them (including Danger Mouse) decamp to his home country of Nigeria to continue the sessions. There they recorded at Afrodisia Studios, once used by Fela Kuti, with a huge variety of local musicians, committing huge amounts of songs and ideas to tape be-
upon by Damon Albarn and Paul Simonon in an interview in the November 2006 issue of Uncut .[19] The second major gig of the band’s career took place on 12 December 2006, at Wilton’s Music Hall in East London. It was watched by 300 specially selected fans, as the launch gig of MySpace’s The List. The band released their first Top 20 single, "Kingdom of Doom", a week prior to the release of the album.[20] In April, "Green Fields" was released as the third single from the album and debuted at No. 51 in its first week. [21] On 4 April 2007, The Good, the Bad & the Queen became the first EMI album to be made available for download in the new DRM-free, high quality MP3 format (320 kbit/s).[22] The Good, The Bad and the Queen was voted the Best Album of 2007 by the Observer Music Magazine. Paul Simonon told the magazine how the record came about: “It’s not a commercial record, so OMM’s award shows that you can make music that moves people without going down the obvious route. I hadn't been in a band for 17 or 18 years, and then Damon asked me to listen to some tracks he'd recorded in Nigeria. I'd met him once before, at Joe Strummer’s wedding reception. We shared ideas about people, musical styles and where we live. With the music, I wanted to complement Tony’s drums. I'm not into over-complication - I'm not capable of it, to be honest. The lyrics, the London atmosphere, all thatevolved as we played. There’s a lot of craftsmanship on the record, and Damon has a vision for arrangements, and everyone slotted in around them. 'But it’s all done now. We won't make another record, and we didn't properly name the band, because a name is for a marriage.”[23] In an interview with Pitchfork about Danger Mouse’s involvement in this album, Albarn states: “He was quite adamant that we don't do any kind of harmony and that I kept it a single voice. I thought, “Well that’s great.” That’s how I kind of start the songs in the first place: I get a very basic arrangement and texture them. His attention to that detail was important. And it helped me write the lyrics. It cleared the way for it just having to be a single voice. He’s an exceptional talent. With Brian [Danger Mouse] being a kind of third party so to speak, it helps to have someone there. You want a band to work itself, but at the same time you want it to be the best that it can be. I tried it the other way, with Tony leading the tracks when I went to Lagos, and it was great but I didn't fit into that. That is why I scrapped the whole record, because I thought I should be involved at least. [24] Damon Albarn wrote the original version of the song "Green Fields" following a night out with Blur bassist Alex James and Marianne Faithfull. That demo was recorded in a studio on Goldhawk Road, Hammersmith and Albarn gave the tape to Faithfull.[25] It was later recorded by the singer/actress with different lyrics in the
123
5.8. THE GOOD, THE BAD & THE QUEEN
verses and released on her 2005 album Before the Poison as “Last Song.”[26] The demo of the song resurfaced “late in the proceedings of recording [The Good, the Bad and the Queen]" when Albarn played itfor the restof the band. The band decided to record the track and Albarn decided to “finish it by explaining how I lost this song and now it’s come back to me. So it’s a song about a song.” [25]
•
•
•
•
5.8.2
Band name
"Back in the Day" - B-side on "Herculean" single. "Mr. Whippy" (featuring Eslam Jawaad) - B-side on “Herculean” single. "Hallsands Waltz (Sketches of Devon)" - Song on "Kingdom of Doom" single. "Start Point (Sketches of Devon)" - Song on “Kingdom of Doom” single.
“Intermission Jam” - Unreleased song played at the BBC Electric Proms . Albarn has stated in several interviews that the band itself is unnamed, and that The Good, The Bad & The Queen is "England, Summer (In Black & White) Dog House" simply the name of the album only. However, all single - Song on "Green Fields" single. releases by the band are clearly credited on the accompanying record or CD sleeves to “TheGood, The Bad & The "England, Summer (In Black& White)Polling Day" Queen”. It should also be noted the band’s first single re- Song on “Green Fields” single. lease (“Herculean”) was issued months before the album ever came out – at which time, publicity materials identified the band as The Good, The Bad & The Queen and no 5.8.5 Personnel one claimed that the band was unnamed. “The Good, the Bad & the Queen” is used exclusively as the name of the 5.8.6 Chart performance band by UK chart compilers, and almost universally by record stores, music downloading services, concert pro- Weekly charts moters, fan sites and other media. •
•
•
Certifications
5.8.3
Further plans
The band has not released any new material, though Simon Tong and Paul Simonon both made appearances on Damon Albarn’s next project, the third Gorillaz album Plastic Beach and Tony Allen collaborated with Damon Albarn and Flea of Red Hot Chilli Peppers on the album, Rocket Juice & the Moon in 2012. In November 2011, the band played a show at London’s Coronet Theatre marking the 40th anniversary of Greenpeace – the first time the band had played together in almost three years. In October 2014, Damon Albarn announced that a new album was fully written, and waiting to be recorded. [27] 5.8.4
Track listing
All tracks written by Damon Albarn. Sample credits •
“Northern Whale” contains a sample of "As Tears Go By", written by Mick Jagger, Keith Richards & Andrew Oldham and performed by The Rolling Stones from the album December’s Children (And Everybody’s) .
Unreleased tracks and B-sides •
“Intro” - Played on the Live from Soho EP
5.8.7
References
[1] “Reviews for The Good, The Bad & The Queen by The Good, The Bad & The Queen”. Metacritic. Retrieved 14 August 2013. [2] Erlewine, Stephen Thomas. “The Good, the Bad & the Queen – The Good, the Bad & the Queen”. AllMusic. Retrieved 14 August 2013. [3] Phipps, Keith (23 January 2007). “The Good, The Bad & The Queen: The Good, The Bad & The Queen”. The A.V. Club. Retrieved 17 January 2016. [4] Endelman, Michael (22 January 2007). “The Good, the Bad & the Queen”. Entertainment Weekly . Retrieved 17 January 2016. [5] Petridis, Alexis (19 January 2007). “The Good, the Bad and the Queen”. The Guardian. Retrieved 17 January 2016. [6] Cromelin, Richard (17 January 2007). “Yet again, Ross goes her own way”. Los Angeles Times . Retrieved 17 January 2016. [7] MacBain, Hamish (12 January 2007). “The Good, The Bad & The Queen: The Good, The Bad & The Queen”. NME . Retrieved 17 January 2016. [8] Klein, Joshua (15 January 2007). “The Good, the Bad & the Queen: The Good, the Bad & the Queen”. Pitchfork Media. Retrieved 17 January 2016. [9] “The Good, the Bad & the Queen: The Good, the Bad & the Queen”. Q (247): 94. February 2007.
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CHAPTER 5. ASSOCIATED ACTS
[10] Sheffield, Rob (10 January 2007). “The Good, The Bad 5.8.8 External links And The Queen: The Good, The Bad And The Queen”. Rolling Stone. Archived from the original on 1 February The Good, the Bad & the Queen’s channel on 2008. Retrieved 17 January 2016. YouTube •
[11] Young, Jon (January 2007). “Zen Gorillaz”. Spin. 23 (1): 92. Retrieved 17 January 2016. [12] “It’s all a bit of a blur for Damon”. Daily Record . Scotland. 2 February 2007. Retrieved 24 March 2008. [13] “The band with no name”. Time Out New York. 31 January 2007. Retrieved 24 March 2008. [14] “Album Goes Gold in UK”. The Good, the Bad and the Queen – official website.
•
The Good, the Bad & the Queen at AllMusic
•
The Good, the Bad & the Queen at Discogs (list of
releases) •
The Good, the Bad & the Queen at Metacritic
5.9
Rock Against Racism
[15] “Damon Albarn starts new band”. 30 July 2006. Re- Rock Against Racism (RAR) was a campaign set up in the United Kingdom in 1976 as a response to an intrieved 30 July 2006.
crease in racial conflict and the growth of white nation-
[16] “Damon Albarn forms new band”. NME . 28 July 2006. alist groups such as the National Front. The campaign Retrieved 28 July 2006. involved pop, rock, punk and reggae musicians staging
concerts with an anti-racist theme, in order to discourage
[17] “The Good, the Bad and the Queen: Gigography”. blur young people from embracing racism. The campaign was studio. Retrieved 21 January 2008.
founded, in part, as a response to statements and activities [18] “The Band”. Goodbadqueen.com. Retrieved 2014-05- by well-known rock musicians that were widely regarded as racist.[1] 20. [19] Uncut (Nov. 2006, pp. 86–88) [20] “Damon Albarn’s new band announce new single”. NME . 28 November 2006. Retrieved 28 November 2006. [21] “The Good, The Bad & The Queen announce new single”. NME . 20 February 2007. Retrieved 20 February 2007. [22] “EMI press release”. Archived from the original on 18 May 2007. Retrieved 4 April 2007. [23] “Kingdom Of Doom by The Good, the Bad & the Queen Songfacts”. Songfacts.com. Retrieved 2014-05-20. [24] “Interviews: The Good, the Bad and the Queen | Features”. Pitchfork. 2007-03-19. Retrieved 2014-05-20. [25] “Something For The Weekend: Track by Track”. The Sun. 2007-01-19. Retrieved 2007-03-02. [26] Troussé, Stephen. “Damon Albarn - The Good, The Bad and The Queen - The Good, The Bad and The Queen Review”. Uncut . Retrieved 2007-02-20. [27] Minsker, Evan. “Damon Albarn Prepping New Gorillaz and the Good, the Bad & the Queen Albums”. Pitchfork Media. Retrieved October 20, 2014.
5.9.1
History
Originally conceived as a one-off concert with a message against racism, Rock Against Racism was founded in 1976 by Red Saunders, Roger Huddle and others. According to Huddle, “it remained just an idea until August 1976” when Eric Clapton made a drunken declaration of support for former Conservative minister Enoch Powell (known for his anti-immigration Rivers of Blood speech) at a concertin Birmingham.[2] Clapton told the crowd that England had “become overcrowded” and that they should vote for Powell to stop Britain from becoming “a black colony". He also told the audience that Britain should “get the foreigners out, get the wogs out, get the coons out”, and then he repeatedly shouted the National Front slogan “Keep Britain White”.[3][4] Huddle, Saunders and two members of Kartoon Klowns responded by writing a letter to NME expressing their opposition to Clapton’scomments, which they claimedwere “all the more disgusting because he had his first hit with a cover of reggae star Bob Marley's "I Shot the Sheriff" ... Come on Eric... Own up. Half your music is black. Who shot the Sheriff, Eric? It sure as hell wasn't you!" At the end of the letter, they called for people to help form a movement called Rock Against Racism, and they report that they received hundreds of replies. [2]
[28] “British album certifications – The Good, the Bad & the Queen–TheGood,theBad&theQueen”. BritishPhonographic Industry. Enter The Good, the Bad & the Queen in the field Keywords. Select Title in the field Search by. Select album inthe field By Format. Select Gold inthefield In a 2007 interview, Clapton said he still supported PowBy Award. Click Search ell, and that he didn't view Powell as a racist. [5]
[29] “French album certifications – The Good, the Bad & Further support for RAR came afterDavid Bowie, speakthe Queen” (in French). Syndicat National de l'Édition ing as The Thin White Duke, his persona at the time, Phonographique. made statements that expressed support for fascism and
125
5.9. ROCK AGAINST RACISM
perceived admiration for Adolf Hitler in interviews with Playboy, NME and a Swedish publication. Bowie was quoted as saying: “Britain is ready for a fascist leader... I think Britain could benefit from a fascist leader. After all, fascism is really nationalism... I believe very strongly in fascism, people have always responded with greater efficiency under a regimental leadership.” He was also quoted as saying: “Adolf Hitler was one of the first rock stars” and “You've got to have an extreme right front come up and sweep everything off its feet and tidy everything up.”[6] Bowie caused further controversy by allegedly making a Nazi salute while riding in a convertible, although Bowie has always strongly denied this, insisting that a photographer simply caught him in the middle of waving.[7] Bowie’s claim seems to be borne out by existing footage of the event.[8] Bowie later retracted and apologised for his statements, blaming them on a combination of an obsession with occultism, the Thule Society and Friedrich Nietzsche, as well as his excessive drug use at the time. He said: “I have made my two or three glib, theatrical observations on English society and the only thing I can now counter with is to state that I am NOT a fascist.”[9]
Pulse.The Manchester event was also tied in with the 1978 Deeply Vale Festival a week later where they held a Rock Against Racism day. The 2014 Deeply Vale Box Set and book contains a section about the 1978 Rock Against Racism events in Manchester with several organisers and workers giving current interviews.[20] In 1979, a concert was held at Acklam Hall in Notting Hill, London, featuring Crisis, The Vapors and Beggar.[21] The group behind the original Rock Against Racism launched a new website on 27 April 2008.[22] 5.9.2
Love Music Hate Racism
RAR was reborn in 2002 as Love Music Hate Racism, with a concert at The Astoria in London, England featuring Mick Jones, Buzzcocks, and The Libertines. Other acts involved in the campaign include Ms. Dynamite and The Eighties Matchbox B-Line Disaster. With a goal of counteracting the activities of organizations such as the National Front and the British National Party, it has held high-profile concerts in Trafalgar Square and Victoria Park as well as some other stadiums and venues. 5.9.3
Further reading
•
Beating Time by David Widgery (1986)
•
Rock Against Racism by Syd Shelton (2016)
•
Walls Come Tumbling Down: The Music and Politics of Rock Against Racism, 2 Tone and Red Wedge by
Daniel Rachel (2016) •
Reminiscences of RAR: Rocking Against Racism 1976-1979. Edited by Roger Huddle and Red Saun-
ders (Redwords, 2016)
Rock Against Racism march in Trafalgar Square, 1978
RAR’s first activity was a concert featuring Carol Grimes 5.9.4 See also as lead artist, and it also launched the fanzine Temporary Hoarding.[10] In spring 1978, 100,000 people marched List of punk rock festivals six miles from Trafalgar Square to the East End of London (a National Front hotspot) for an open-air music List of historic rock festivals festival at Victoria Park in Hackney organized by RAR Rock Against Communism and the Anti-Nazi League, to counteract the growing [11][12][13][14] wave of racist attacks in the UK. The concert Rock Against Sexism [13][15][16] featured The Clash, Steel Pulse, X-Ray Spex, The Ruts, Sham 69, Generation X and the Tom Robin Race Against Rockism son Band.[17] The Southall-based reggae band Misty In Roots led the march from the back of a lorry during the Stop Murder Music carnival,[18] although did not appear on the main stage. A second march and concert at Brockwell Park in south Love Music Hate Racism London, featured Stiff Little Fingers, Aswad and Elvis Costello.[19] In the summer of the same year, an audience of 40,000 came to the Northern Carnival in Manchester, 5.9.5 Footnotes for a concert featuring Buzzcocks, Graham Parker and the Rumour, The Smirks, Exodus, China Street and Steel [1] Blood and Glory, The Observer, Sunday 4 March 2007 •
•
•
•
•
•
•
126
CHAPTER 5. ASSOCIATED ACTS
[2] Huddle, Roger. Lee Billingham (June 2004). “Anti- 5.9.6 External links Fascism: That Was Then, This is Now”. Socialist Review (286). 40 years since the birth of Rock Against Racism: rebel music that broke down fear, Unity, 17 [3] Virgin Media: 'When Pop Stars Talk Politics: Clapton’s (September/October 2016) - interview with Red Shocking Rant' •
[4] Bainbridge, Luke (2007-10-14). “The ten right-wing rockers”. The Guardian . London. Retrieved 2010-0522.
Saunders
•
•
Original RAR Crew 1976-1982 Hull Rock Against Racism
[5] “Eric Clapton”. The South Bank Show. ITV. 2007-12-02. [6] Standing by the Wall: The Quotable David Bowie [7] 'GOODBYE TO ZIGGY AND ALL THAT', article in Melody Maker, October 1977
5.10
Concerts for the People of Kampuchea
[8] Bowie at the Victoria Station, May 1976, silent footage For the music recordings, see Concerts for the People YouTube [9]
of Kampuchea (album). For the film, see Concert for Kampuchea.
[10] “London Photography Exhibtions”. jfFrank online . jfFrank. 2015-11-26. Retrieved 12 January 2017. Concerts for the People of Kampuchea was a series [11] Love Music hate Racism Carnival 2008, Victoria Park, of concerts featuring Queen, The Clash, The Pretenders, London The Who, Elvis Costello, Wings, and many more artists [12] TRB – Rock Against Racism [13] Hazan, Jack; David Mingay, Ray Gange, Joe Strummer, Mick Jones, Paul Simonon, Nicky Headon, Buzzy Enterprises, Epic Music Video (2006). Rude Boy (Documentary, Rockumentary). New York, NY, United States: Epic Music Video. ISBN 0-7389-0082-6. OCLC 70850190. 2nd edition digitally restored and remastered sound. [14] Virtual Festivals, news, reviews and listings for Glastonbury, Reading, Leeds, V Festival, T in the Park, Download, Isle of Wight, Bestival and other UK and International festivals
which took place at the Hammersmith Odeon in London during December 1979 to raise money for the victims of war-torn Cambodia. The event was organized by Paul McCartney and Kurt Waldheim,[1] and it involved older artists such as McCartney and The Who as well as younger, new wave acts like The Clash and the Pretenders. The last of the concerts was the last concert of Wings. An album and EP were released in 1981, and the best of the concerts were released as a film, Concert for Kampuchea . Rockestra was a McCartney-led supergroup of at least thirty English rockers. (The credited list appears at the bottom of the back cover of the LP).
[15] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash (2001). The Clash, Westway to the World (Documentary). 5.10.1 Concerts New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 47:42. ISBN 0-738926 December 0082-6. OCLC 49798077.
Queen [16] Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. pp. 63–68. ISBN 0-7528-5843-2. OCLC 27 December 52990890. •
[17] “The Anti Nazi League/Rock Against Racism Rallies”. UK Rock Festivals . Retrieved 8 March 2016. [18] “ANL RAR March to Victoria Park 30th April 1978”. [19] Manzoor, Sarfraz (2008-04-21). “Theyearrock found the power to unite”. The Guardian . London.
•
IanDuryand the Blockheads (with guest Mick Jones on Sweet Gene Vincent)
•
Matumbi
•
The Clash
[20] Manzoor, Sarfraz (20 April 2008). “The year rock found 28 December the power to unite”. Guardian.co.uk. [21] Rock Against Racism benefit with Crisis, Beggar and The Vapors, riot at Acklam Hall, Ladbroke Grove, London, Friday 29 June 1979 [22] Rock Against Racism
•
The Pretenders
•
The Specials
•
The Who
127
5.10. CONCERTS FOR THE PEOPLE OF KAMPUCHEA 29 December •
Elvis Costello & The Attractions
•
Rockpile (with guest Robert Plant on “Little Sister”)
•
Wings
•
Rockestra
Ian Dury & The Blockheads
1. Clevor Trevor 2. Inbetweenies 3. Don't Ask Me 4. Reasons To Be Cheerful
5.10.2
Selected set lists
Queen
1. Jailhouse Rock 2. We Will Rock You (fast version) 3. Let Me Entertain You 4. Somebody to Love 5. If You Can't Beat Them 6. Mustapha
5. Sink My Boats 6. Waiting For Your Taxi 7. This Is What We Find 8. Mischief 9. What A Waste 10. Hit Me With Your Rhythm Stick 11. Sweet Gene Vincent
7. Death on Two Legs 8. Killer Queen 9. I'm in Love with My Car 10. Get Down, Make Love
The Clash
1. Clash City Rockers
11. You're My Best Friend
2. Brand New Cadillac
12. Save Me
3. Safe European Home
13. Now I'm Here
4. Jimmy Jazz
14. Don't Stop Me Now 15. Spread Your Wings 16. Love of My Life
5. Clampdown 6. The Guns of Brixton
17. '39
7. Train in Vain
18. Keep Yourself Alive
8. Wrong ‘Em Boyo
19. Drums solo
9. Koka Kola
20. Guitar solo with parts of Silent Night 21. Brighton Rock reprise
10. (White Man) In Hammersmith Palais
22. Crazy Little Thing Called Love
11. Stay Free
23. Bohemian Rhapsody
12. Bankrobber
24. Tie Your Mother Down 25. Sheer Heart Attack 26. We Will Rock You
13. Janie Jones 14. Complete Control
27. We Are the Champions
15. Armagideon Time
28. God Save the Queen (tape)
16. London Calling
128 The Specials
CHAPTER 5. ASSOCIATED ACTS
19. I Can See for Miles
1. (Dawning Of a) New Era
20. I Don't Want To Be an Old Man
2. Do The Dog
21. Won't Get Fooled Again
3. Monkey Man
22. Summertime Blues
4. Concrete Jungle
23. Dancing In The Streets
5. Too Hot
24. Dance It Away
6. Doesn't Make It Alright
25. The Real Me
7. Too Much Too Young 8. Guns Of Navarone 9. Little Bitch
Wings
1. Got to Get You into My Life
10. A Message To You Rudy
2. Getting Closer
11. Nite Club
3. Every Night
12. Gangsters
4. Again And Again And Again
13. Longshot Kick The Bucket
5. I've Had Enough
14. Skinhead Moonstomp
6. No Words
15. Madness
7. Cook Of The House
The Who
1. Substitute 2. I Can't Explain 3. Baba O'Riley 4. The Punk and the Godfather
8. Old Siam, Sir 9. Maybe I'm Amazed 10. The Fool on the Hill 11. Hot As Sun 12. Spin It On
5. My Wife
13. Twenty Flight Rock
6. Sister Disco
14. Go Now
7. Behind Blue Eyes
15. Arrow Through Me
8. Music Must Change
16. Coming Up
9. Drowned
17. Goodnight Tonight
10. Who Are You
18. Yesterday
11. 5.15
19. Mull of Kintyre
12. Pinball Wizard
20. Band on the Run
13. See Me Feel Me 14. Long Live Rock
Rockestra
15. My Generation
1. Rockestra Theme
16. I'm a Man
2. Let It Be
17. Hoochie Coochie Man
3. Lucille
18. Sparks
4. Rockestra Theme (reprise)
5.11. BURNING LONDON: THE CLASH TRIBUTE
5.10.3 •
See also
Concerts for the People of Kampuchea , the album
and the EP about the concerts. •
Concert for Kampuchea, the film about the concerts.
5.10.4
References
[1] CBC.ca - Arts - Music - Charity Begins
5.11
Burning London: The Clash Tribute
Burning London: The Clash Tribute is a tribute album
to the English punk rock band The Clash. It was released in 1999.[3] A portion of the proceeds from the sales of Burning London will benefit the High Risk Youth Program of the Children’s Hospital Los Angeles.[4] 5.11.1
Track listing
5.11.2
References
[1] Pearson, Paul. Burning London: The Clash Tribute at AllMusic [2] “Rolling Stone review”. Rolling Stone. [3] Paul Pearson. “Burning London: The Clash Tribute”. Overview . Allmusic. Retrieved 25 March 2010. [4] Rob Sheffield (27 May 1999). “Burning London: The Clash Tribute”. Review. Rolling Stone. Retrieved 25 March 2010.
5.11.3 •
•
•
External links
Neva Chonin, Aidin Vaziri, Colin Berry, Gary Graff, David Wiegand, Dan Ouellette, Amanda Nowinski (2 May 1999). "`Burning London' Proves A Worthy Homage to the Clash”. Collection. SFGate. Keith Phipps (19 April 2002). “Burning London: The Clash Tribute”. Review. The A.V. Club. Scott Schinder (May 1999). “Review of Burning London: The Clash Tribute”. Pulse.
129
Chapter 6
Films 6.1
''Rude Boy''
a 1980 British film directed by Jack Hazan and David Mingay and filmed in 1978 and early 1979. The film, part fiction, part rockumentary, tells the story of Ray Gange, a Clash fan who leaves his job in a Soho sex shop to become a roadie for the band. [1][2][3] The film includes footage of The Clash at a Rock Against Racism concert at Victoria Park,[1] on their “On Parole” and “Sort It Out” tours,[4] and in the studio recording the album Give 'Em Enough Rope. The film was named after the rude boy subculture. The band became so disenchanted with the film, that by its release, they had Better Badges make badges stating 'I don't want Rude Boy Clash Film'.[5] In 1980, the film won the Honorable Mention, and was nominated for the Golden Bear at the 30th Berlin International Film Festival.[6] It was re-released on DVD the UK in 2003 by Fremantle Media with a host of special features including interviews with 'Rude Boy' Ray Gange, The Clash’s road manager Johnny Green and film makers Jack Hazan and David Mingay. There was a Blu-ray release of the film in 2015.
5. “Garageland” Performed by The Clash at Rehearsal Rehearsals; audio tracks re-recorded at Wessex Studios.
Rude Boy is
6.1.1
Cast
8. "White Riot" Performed live by The Clash at Open Air Carnival, Victoria Park, London on 30 April 1978 and featuring Jimmy Pursey from Sham 69 on vocals; audio tracks re-recorded at Wessex Studios. 9. "(White Man) In Hammersmith Palais" Performed live by The Clash at the Apollo, Glasgow on 4 July 1978; audio tracks re-recorded at Wessex Studios. 10. "I'm So Bored with the USA" Performed live by The Clash at the Apollo, Glasgow on 4 July 1978; audio tracks re-recorded at Wessex Studios.
12. "White Riot" Performed live by The Clash at the Apollo, Glasgow on 4 July 1978; audio tracks re-recorded at Wessex Studios.
Songs performed
1. "Revolution Rock" (Jackie Edwards, Danny Ray) Instrumental version of album track; title song 2. "Police and Thieves" (Junior Murvin/Lee “Scratch” Perry) Performed by The Clash at Barbarellas, Birmingham on 1 May 1978; audio tracks rerecorded at Wessex Studios. 3. "Police and Thieves" sung by Junior Marvin (Island Records) 4. "Career Opportunities" (from The Clash album)
7. "London’s Burning" Performed live by The Clash at Open Air Carnival, Victoria Park, London on 30 April 1978; audio tracks re-recorded at Wessex Studios.
11. "Janie Jones" Performed live by The Clash at the Apollo, Glasgow on 4 July 1978; audio tracks re-recorded at Wessex Studios.
The cast included (in alphabetical order): [2] 6.1.2
6. “Rudi” sung by Bob Marley (Coxsone Records)
13. "The Prisoner" Performed liveby The Clashat the Civic Music Hall, Aberdeen on 5 July 1978; audio tracks re-recorded at Wessex Studios. 14. "Johnny Too Bad" sung by The Slickers (Island Records) 15. "Tommy Gun" Performed live by The Clash at the Kinema Ballroom, Dunfermline on 6 July 1978; audio tracks rerecorded at Wessex Studios.
130
131
6.2. ''THE CLASH: WESTWAY TO THE WORLD''
16. "All the Young Punks" Performed by The Clash at Wessex Studios. 17. "Stay Free" Performed by The Clash at Wessex Studios. 18. "Complete Control" Performed by The Clash at the Music Machine, Camden, London on 27 July 1978; audio tracks rerecorded at Wessex Studios.
6.1.4 •
•
•
•
External links
Rude Boy at the Internet Movie Database
The Clash: Rude Boy (1980) - Overview - MSN Movies The Clash: Rude Boy - MTV Movies The Clash - Rude Boy - Rotten Tomatoes
The Clash: Rude Boy - VH1.com 19. "Safe European Home" Performed by The Clash at the Music Machine, Camden, London on 27 July 1978; audio tracks re6.2 ''The Clash: Westway to the recorded at Wessex Studios. •
World'' 20. "What’s My Name" Performed by The Clash at the Music Machine, Camden, London on 27 July 1978; audio tracks re- The Clash: Westway to the World [1] is a 2000 documentary film about the British punk rock band The recorded at Wessex Studios. Clash. In 2003 it won the Grammy Award for Best Long 21. “No Reason” (piano song) Form Music Video.[2] Performed solo by Joe Strummer at Rehearsal StuDirected by Don Letts, the film combines old footage dio. from the band’s personal collection filmed in 1982 when 22. "Let the Good Times Roll" (piano song) The Clash went to New York City with new interviews Performed solo by Joe Strummer at Rehearsal Stu- conducted for the film by Mal Peachey of members Mick dio. Jones, Paul Simonon, Topper Headon, and Joe Strummer and other people associated with the group (includ23. "I Fought the Law" (Sonny Curtis) Performed live by The Clash at The Lyceum, West ing founding drummer Terry Chimes). End, London on 28 December. Although The Clash: Westway to the World ostensibly provides an overview of the band’s history, the film im24. "Rudie Can't Fail" (from London Calling album) plies that The Clash broke up in 1983 when Mick Jones left the band, making no mention of the post-Jones version of the band that existed between 1983 and 1986, nor 6.1.3 References the album that iteration produced ( Cut the Crap). Danny [1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Garcia’s 2012 documentary film The Rise and Fall of The Topper Headon, Terry Chimes, Rick Elgood, The Clash Clash covers this period in some depth, placing an em(2001). The Clash, Westway to the World (Documentary). phasis on the band’s declining years and the repercussions New York, NY: Sony Music Entertainment; Dorismo; of Mick Jones’ ouster. Garcia’s film also features interUptown Films. Event occurs at 47:42. ISBN 0-7389views with latter-day Clash members Pete Howard, Nick 0082-6. OCLC 49798077. Sheppard, and Vince White. [2] Hazan, Jack; David Mingay, Ray Gange, Joe Strummer, Mick Jones, Paul Simonon, Nicky Headon, Buzzy Enterprises, Epic Music Video (2006-08-01). Rude Boy 6.2.1 Appearing (DVD). New York, NY: Epic Music Video. ISBN 07389-0587-9. OCLC 70850190. Digitally restored and Terry Chimes remastered sound. •
[3] Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. pp. 63–68. ISBN 0-7528-5843-2. OCLC 52990890. [4] “The Clash”. Induction. Rockhall.com. 2003-03-10. Retrieved 2007-11-19. The film Rude Boy, a 1980 film about the Clash and their punk-rock milieu, contained concert sequences that demonstrate why they were considered one of rock’s greatest live acts. [5] “Clash Pins”. Retrieved 2007-12-05. [6] “Berlinale 1980: Prize Winners”. berlinale.de. Retrieved 2010-08-22.
•
Terence Dackombe
•
Topper Headon
•
Mick Jones
•
Jordan
•
Paul Simonon
•
Siouxsie Sioux
•
Joe Strummer
•
Shane MacGowan
•
Dave Vanian
132
CHAPTER 6. FILMS
6.2.2
References
4. Main Title; Global a Go-Go
[1] Letts Don; Rick Elgood, Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, The Clash (2001). The Clash: Westway to the World (Documentary). New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. ISBN 0-7389-0082-6. OCLC 49798077.
5. Bhindi Bhagee
[2] “The Clash: Westway to the World (2000) (V) – Awards”. IMDb The Internet Movie Database. Retrieved 2007-1127.
8. Trashman or Doorman?
6.2.3 •
External links
The Clash: Westway to the World at the Internet
Movie Database
6.3
''Let’s Rock Again!''
Let’s Rock Again! is
a music documentary film following Joe Strummeras he tours across the United States and Japan with his band the Mescaleros promoting their second album Global a Go-Go. The memoir was shot by filmmaker and longtime Strummer friend Dick Rude in the 18 months leading up to Strummer’s death in 2002. 6.3.1
DVD
The DVD was released in June 2006; Bonus features include: •
Interviews with Joe Strummer
•
Behind-the-Scenes Footage
•
Joe’s Suitcase [Slide Show]
•
Q & A with Director Dick Rude
•
Five Songs Performed Live:
1. Bigger they come, Harder they fall 2. Quarter Pound an Ishens 3. Armagideon Time 4. Pressure Drop '72
6. Interaction with the Fans 7. Quarter Pound an Ishens
9. From Hero to Zero 10. London’s Burning 11. Word of Mouth 12. Mega Bottle Ride 13. Drumming Up Business 14. Get Down Moses 15. Backstage Shenanigans 16. Shaktar Donetsk 17. Songwriting and Lyrics 18. Cool 'n' Out 19. 9 October 2001, New York, NY 20. Minstrel Boy 21. Going Underground 22. 1969 23. Johnny Appleseed 24. End Credits 6.3.2 •
•
See also
Joe Strummer and the Mescaleros Joe Strummer
5. Rudie Can't Fail Scene selections include:
1. Tom Snyder and The Clash 2. 1977 (The Clash) 3. 1 October 2002, Tokyo, Japan
6.3.3
External links
•
Preview Trailer: from the Rude Archive
•
Let’s Rock Again at the Internet Movie Database
•
Let’s Rock Again at AllMovie
133
6.4. ''JOE STRUMMER: THE FUTURE IS UNWRITTEN''
6.4
''Joe Strummer: The Future Is Unwritten''
Joe Strummer: The Future Is Unwritten is a 2007 docu-
mentary film directed by Julien Temple about Joe Strummer, the lead singer of the British punk rock band The Clash, that went on to win the British Independent Film Awards as Best British Documentary 2007.[2][3] The film premiered 20 January 2007 at the 2007 Sundance Film Festival.[4] It was also shown at the Dublin Film Festival on 24 February 2007.[4] It was released in the United Kingdom on 18 May 2007 and in Australia on 31 August 2007.[4] The film opened in limited release in the United States on 2 November 2007.[4] 6.4.1
Brigitte Bardot – Herself (archive footage)
•
Michael Balzary (Flea) – Himself
•
Bono – Himself
•
Steve Buscemi – Himself
•
Terry Chimes – Himself
•
Martin Scorsese – Himself
•
Joe Strummer – Himself
Special Thanks: Terence Dackombe 6.4.2
Critical reception
The film was well received by critics. As of 18 October 2009 on the review aggregator Rotten Tomatoes, 89% of critics gave the film positive reviews, based on 61 reviews.[5] On Metacritic, the film had an average score of 79 out of 100, based on 19 reviews.[6] Marc Savlov of The Austin Chronicle named it the 8th best film of 2007.[7] Stephanie Zacharek of Salon named it the 9th best film of 2007.[7]
Cast
•
•
•
6.4.3
As of 31 January 2008 box office takings totalled $US 1,108,740.[8] 6.4.4 •
John Cooper Clarke – Himself John Cusack – Himself •
•
Peter Cushing – Winston Smith (archive footage)
•
Johnny Depp – Himself
•
Matt Dillon – Himself
•
Tymon Dogg – Himself (archive footage)
•
Bobby Gillespie – Himself
•
Alasdair Gillies – Himself
•
Iain Gillies – Himself
•
Topper Headon – Himself
•
Damien Hirst – Himself
•
Mick Jagger – Himself (archive footage)
•
Jim Jarmusch – Himself
•
Mick Jones – Himself
•
Steve Jones – Himself
•
Anthony Kiedis – Himself
•
Don Letts – Himself
•
Keith Levene – Himself
•
Bernie Rhodes – Himself
Box office performance
•
Awards
Nominated Grand Jury Prize in the World Cinema – Documentary category at the 2007 Sundance Film Festival[3] Winner of Best British Documentary at the 2007 British Independent Film Awards[3] Nominated Best Single Documentary at the 2008 Irish Film and Television Awards[3]
6.4.5
Soundtrack
The official soundtrack was produced by Ian Neil, Julien Temple, and Alan Moloney. It is a mix of spoken word clips from interviews with Strummer and others, tracks from his various bands (including several rare or unreleased tracks by The Clash), and eclectic selections from other musicians that Strummer played on his BBC World radio show London Calling from 1999-2002 (some of which include his spoken introduction). 6.4.6
References
[1] “Joe Strummer: The Future Is Unwritten (2007) – Company credits”. Internet Movie Database. Retrieved 3 November 2007. [2] Temple, J., Amanda Temple, Anna Campeau, and Alan Moloney (2008). Joe Strummer The future is unwritten (Documentary, Rockumentary). New York, NY, United States: Sony BMG Music Entertainment. OCLC 233652709.
134
CHAPTER 6. FILMS
[3] “Joe Strummer: The Future Is Unwritten (2007) – 6.5.1 Track listing Awards”. Internet Movie Database. Retrieved 18 December 2008. Opening commentary by David A Lee, crabby •
[4] “JoeStrummer: The FutureIs Unwritten (2007) – Release dates”. Internet Movie Database. Retrieved 3 November 2007.
•
"Now I'm Here" "Cumquat Serenade by Dave Lee" "'39"
[5] “Joe Strummer: The Future is Unwritten – Rotten Tomatoes”. Rotten Tomatoes. Retrieved 3 November 2007. [6] “Joe Strummer: The Future Is Unwritten (2007): Reviews”. Metacritic. Retrieved 3 November 2007. [7] “Metacritic: 2007 Film Critic Top Ten Lists”. Metacritic. Archived from the original on 2 January 2008. Retrieved 5 January 2008.
•
•
External links
•
•
Tomatoes Joe Strummer: The Future Is Unwritten at Metacritic
•
Joe Strummer: The Future Is Unwritten at Box Office
Mojo •
Joe Strummer: The Future Is Unwritten at AllMovie
•
Joe Strummer: The Future Is Unwritten at sun-
•
•
for the People of Kampuchea. The film was directed by Keith McMillan and was 4 nights of concerts in Hammersmith Odeon to raise money for Cambodia. The event was organized by Paul McCartney and Kurt Waldheim (who was then Secretary-General of the U.N.), and it involved well-established artists such as McCartney, The Who and Queen as well as younger punk and new wave acts like The Clash and the Pretenders. The film finishes with the presentation of Wings’ Rockestra (more of 25 musicians playing together). Filmed in 1979, Concert for Kampuchea did not receive American theatrical distribution until it was picked up by Miramax in 1988.[1] The concert was also recorded and released as a double LP. It has yet to be released in digital format.
Performed by Elvis Costello & The Attractions: “The Imposter”
''Concert for Kampuchea''
The Concert for Kampuchea (subtitled “Rock for Kam puchea”) is a musical film from the best of the Concerts
Performed by The Specials: “Monkey Man”
dance.org
6.5
Performed by Paul McCartney- Wings: "Got To Get You Into My Life" "Getting Closer" "Every Night" "Arrow Through Me" "Coming Up"
Joe Strummer: The Future Is Unwritten at Rotten
•
Performed by The Pretenders: "The Wait"
Joe Strummer: The Future Is Unwritten at the
Internet Movie Database
Performed by The Clash: “Armagideon Time”
•
•
Performed by Matumbi: “Guide Us Jah (In Your Own Way)"
[8] “Joe Strummer: The Future Is Unwritten (2007)". Box Office Mojo. Retrieved 31 May 2011.
6.4.7
Performed by Queen:
•
Performed by Rockpile “Crawling From The Wreckage” “Little Sister” (with Robert Plant)
•
Performed by Ian Dury & The Blockheads: “Sweet Gene Vincent” “Hit Me With Your Rhythm Stick”
•
Performed by The Who: "Sister Disco" "Behind Blue Eyes" "See Me, Feel Me"
135
6.6. ''D.O.A.: A RITE OF PASSAGE''
•
Performed by Billy Connolly: “Introduction to the Rockestra”
•
Performed by Paul McCartney and the Rockestra:
It features interview footage (including the famous interview of Sid Vicious and Nancy Spungen in bed), and behind the scenes shots from the tour as well as interviews with audience members who had strong and widely varied reactions to the group.[4]
The majority of the material surrounds the Pistols tour as well but it also included other performances by first wave "Lucille" Punk acts such as The Dead Boys and Generation X with "Let It Be" Billy Idol.[2][3][4] “Rockestra Theme” This indie film wasshotmostlyinbarsandclubson16mm film, and documented early years of punk from both in front of and behind the stage. [2] 6.5.2 See also The film’s poster is featured prominently in one scene of Concerts for the People of Kampuchea, the concerts the 1981 film Neighbors . D.O.A. also featured in The Filth and set lists. and the Fury, a 2000 rockumentary film about the Sex Concerts for the People of Kampuchea , the album Pistols directed by Julien Temple, and in the 2002 television series Hollywood Rocks the Movies: The 1970s .[4] and the EP about the concerts. •
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6.5.3
References
[1] “Concert For Kampuchea (1980)". The New York Times
6.5.4 •
The Concert for Kampuchea at the Internet Movie The Concert for Kampuchea at Allmovie.
6.6
''D.O.A.: A Rite of Passage''
D.O.A.: A Right of Passage is a 1980 rockumentary film
directed by Lech Kowalski (his premiere film as a director) about the origin of punk rock. The rockumentary takes interview and concert footage of some of punk rock’s earliest bands of the late seventies scene. Features live performances by the Sex Pistols, The Dead Boys, Generation X (with Billy Idol), The Rich Kids, the XRay Spex, and Sham 69, with additional music from The Clash, Iggy Pop, and Augustus Pablo.[1][2] 6.6.1
DVD release
The DVD was released in Japan in 2003. However it is released in Region 0.
External links
Database •
6.6.2
Plot
The film centers around the Sex Pistols 1978 tour of the United States which ended with the group breaking up. The tour was the only one the group played in the U.S. Film director Lech Kowalski followed them with handheld cameras through the clubs and bars of their seven-city Southern tour. Mixing this with footage of other contemporary bands, trends in the fashion capitals, and punks of all shapes and colors, Kowalski created a grainy, stained snapshot of a movement at its peak,[3] showing how certain authority figures saw the movement as a threat.[2]
6.6.3
Cast (in alphabetical order)
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Stiv Bators as himself (The Dead Boys)
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Terry Chimes as himself (The Clash)
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The Clash as themselves
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Paul Cook as himself (Sex Pistols)
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The Dead Boys as themselves
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Generation X as themselves
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Jonathan Guinness as himself
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Topper Headon as himself (The Clash)
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Billy Idol as
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Tony James as
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Mick Jones as himself (The Clash)
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Steve Jones as himself (Sex Pistols)
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John Lydon as
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Glen Matlock as himself (The Rich Kids)
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Gene October as
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Augustus Pablo as himself
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Bernard Brooke Partridge as
himself (Generation X) himself (Generation X)
himself (Johnny Rotten)
himself (Generation X)
Member •
Rich Kids as themselves
himself - Council
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CHAPTER 6. FILMS
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Heidi Robinson as herself - Tour Manager
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Sex Pistols as themselves
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Sham 69 as themselves
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Paul Simonon as himself (The Clash)
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Nancy Spungen as herself
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Joe Strummer as himself (The Clash)
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Terry Sylvester as himself
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Terry and the Idiots as themselves
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Sid Vicious as himself
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Mary Whitehouse as herself - Anti-Smut Crusader X-Ray Spex as themselves
12. "Pretty Vacant" Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by the Sex Pistols 13. “No Fun” – Sex Pistols 14. “New York” Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by the Sex Pistols 15. “Rip Off” Performed by Sham 69; recorded live at Roundhouse Studios 16. “Borstal Breakout” Performed by Sham 69; recorded live at Roundhouse Studios 17. “I Wanna Be a Dead Boy” performed by The Dead Boys 18. "Holidays in the Sun" – Sex Pistols
6.6.4
Songs performed
The musical performances/tracks contained in the documentary are as follows: 1. “Nightclubbing” Written by Iggy Pop and David Bowie; performed by Iggy Pop 2. "Anarchy in the U.K." Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by the Sex Pistols 3. “Oh Bondage Up Yours” Written by Poly Styrene; performed by X-Ray Spex
19. “Holidays in the Sun” Written by Paul Cook, Steve Jones, John Lydon and Sid Vicious; performed by The Sex Pistols 20. “E.M.I.” Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by the Sex Pistols 21. "Bodies" Written by Paul Cook, Steve Jones, John Lydonand Sid Vicious; performed bythe Sex Pistols 22. “A. P. Special” Written and performed by Augustus Pablo
4. "God Save the Queen" Written by Paul Cook, Steve 6.6.5 References Jones, Glen Matlock and John Lydon; performed by the Sex Pistols [1] “D.O.A.”. Internet Movie Database. Retrieved 2008-025. "Pretty Vacant" Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by The Rich Kids 6. “Liar” Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by the Sex Pistols 7. "Police and Thieves" Written by Lee “Scratch” Perry and Junior Murvin; performed by The Clash (CBS Records)
22. [2] Jane, Ian (2005-01-08). “D. O. A.”. Reviews . DVD Maniacs. Archived from the original on 2008-01-30. Retrieved 2008-02-22. [3] “D.O.A.: Review”. Movies . TVGuide.com. Retrieved 2008-02-22. [4] Unterberger, Richie. “D.O.A.: A Right of Passage”. Review. allmovie. Retrieved 2008-02-22.
8. “Kiss Me Deadly” Written and performed by 6.6.6 Generation X (Chrysalis Records) 9. “I Wanna Be Me” Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by the Sex Pistols 10. "Lust for Life" Written by Iggy Pop and David Bowie; performed by Iggy Pop 11. “All This And More” Performed by The Dead Boys (Sire Records); recorded live by Joe Sutherland
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External links
D.O.A.: A Right of Passage Review by Richie Un-
terberger at Allmovie •
D.O.A. Review at Channel 4 Film
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D.O.A. at the Internet Movie Database
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D.O.A. at TV Guide
•
Survival Instincts by Ed Halter at The Village Voice
137
6.8. ''WALKER'' ''WALKER''
6.7
Punk: Punk: Attitud ttitudee
Punk: Attitude is a film by Don by Don Letts. Letts.[1]
6.7.4 6.7.4
Ref Reference erencess
[1] Letts, Letts, Don; Henry Rollins, Rollins, Captain Sensible, Sensible, Jim Jar-
It explores the musch,, Mick Jones, musch Jones, Jello Biafra, Biafra, Darryl Jenifer (2005). Jenifer (2005). “punk” revo revolution lution,, genre and following ollowingfr from om its beginnin beginningg Punk: Attitude Attitude (Docum (Documentar entary, y, Rockumentary). Rockumentary). Freein the mid-1970s up to its effect on modern rock music mantlemedia 3DD Metropolis. and other genres. The cast is a veritable list of alternative Movement”. Attitude de DVD Examines 70s Punk Movement”. musicians and directors offering their opinions on what [2] "Punk: Attitu Anti Music. has been called a musical revolution. The film was officially released on the 25th of April 2005 at the Tribeca the Tribeca Film Festival in Festival in the U.S.A. Reviews have 6.7.5 6.7.5 Exte Extern rnal al links links generally been favorable with an average of 3.5 - 4 stars with many people commenting on the accuracy and ap Punk: Attitude at the Internet the Internet Movie Database proach of the film. Punk: Attitude review by Rolling by Rolling Stone •
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6.7. 6.7.1 1
Plot Plot
The film begins showing the roots of punk of punk music music with many views on various artists and genres who accentuated the beginning of the genre, like the MC5 and Attitude then proceeds the Velvet the Velvet Underground. Underground. Punk: Attitude chronologically to sort through the various artists and alumni who were central to the movement, drawing light on the general idea or “Attitude” of the punk movement, which which spoke spoke out for for a generatio generation. n. Bands Bands such as The Ramones,, The Stooges, Ramones Stooges, The Clash and Clash and The The Sex Pistols feature prominently throughout. The movie offers a canvas of praise and respect given from many interviewees as these bands are heralded commonly as the beginning of Punk progressively progressively through through the movie. Rare concert footage and personal accounts of gigs of gigs and and band meetings highlight the aggression and destructive entities with surprising accuracy. accuracy. The movie wraps up by emphasizing emphasizing the influence that punk has on modern music.
6.7. 6.7.2 2
by Contact Music Punk: Attitude review by Contact
6.8
''W ''Walke alker' r'''
This article article is about the 1987 film. film. For the 2007 film, see The see The Walker. Walker. For other uses, see Walker see Walker.. Walker is is a 1987 American-Mexican American-Mexican Acid Western film
directed by Alex by Alex Cox and Cox and starring Ed starring Ed Harris, Harris, Richard Masur,, Rene Auberjonois, Masur Auberjonois, Peter Boyle, Boyle, Sy Richardson,, Xander Berkeley, son Berkeley, Alfonso Arau, Arau, Marlee Matlin and Matlin and Miguel Sandoval. Sandoval. The film is based on the life story of William Walker Walker (1824–1860), the American American filibuster who invaded Mexico in the 1850s and made himself President of President of Nicaragua Nicaragua shortly shortly thereafter. thereafter. It was written by Rudy Wurlit Wurlitzer zer and scored scored by Joe Stru Strummer mmer,, who who also plays a small role as a member of Walker’s army. The film is intentionally full of anachronisms such anachronisms such as helicopters,, Zippo lighters, automatic rifles and a car helicopters passing a horse a horse carriage. carriage. It was filmed in Nicaragua during the Contra the Contra War. War.
Cast Cast
One of the film’s celebrated attributes comes in the form of its cast, showcasing the who’s who of Punk Rock/Alternative culture contemporaries like David like David Johansen,, Thurston Moore, hansen Moore, Henry Rollins, Rollins, Captain Sensible,, Jim Jarmusch, sible Jarmusch, Mick Jones, Jones, Jello Biafra, Biafra, Siouxsie Sioux,, and Darryl Sioux and Darryl Jenifer. Jenifer.
6.8.1 6.8.1
Plot Plot syno synops psis is
In 1853, soldier-of-fortune William Walker (Ed (Ed Harris) Harris) flees Mexico after a failed attempt to incite an armed insurrec insurrectio tion. n. He is placed placed on trial trial by US official officials, s, but wins acquittal on breaking the Neutrality the Neutrality Act. Act. Walker alker believes in Manifest in Manifest Destiny and Destiny and has plans to marry and start a newspaper until his fianceé Ellen Martin (Marlee (Marlee Matlin)) dies of cholera Matlin of cholera.. Financed by American multimillionaire Cornelius lionaire Cornelius Vanderbilt ( Vanderbilt (Peter Peter Boyle), Boyle), Walker and 6.7.3 6.7.3 DVD Rele Release asess 60 mercenaries embark on a mission to overthrow the Government of Nicaragua, Nicaragua, to secure Vanderbilt’s rights In 2005 the film was released on DVD through Capitol over an overland shipping route between the Atlantic the Atlantic and and Entertainment but Entertainment but has since gone out of print. Pacific.. Pacific On January 11, 2010 Shout! 2010 Shout! Factory re-released Factory re-released the film Walker and his corps score a bloody victory in Nicaragua complete with all the original bonus material as well as and when the capital falls, Walker allows the President another DVD worth of extras.[2] to stay in charge, but takes his mistress, Doña Yrena
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CHAPTER CHAPTER 6. FILMS FILMS
(Blanca Guerra). Guerra). With increasing disruption in the coun Biff Yeager as Yeager as Max / Carpetbagger Carpetbagger try, Walker orders the President shot and assumes the Del Zamora as Padre Vigil presidency for himself. From 1855 to 1857, his actions as president become increasingly manic and delusional, Richard Zobel as Zobel as Lemuel with Walker antagonizing his financial backer by revoking Vanderbilt’s license to the overland trade route. Joe Strummer as Strummer as Faucet Nicaragua and its neighbors unite to rid themselves of Fox Harris as District Attorney the unwelcome dictator unwelcome dictator,, and they drive the despot out. Eventually, without the support of Vanderbilt or USA’s government, Walker’s further forays into Central into Central Amer- 6.8.3 6.8.3 Prod Produc ucti tion on ica lead ica lead to his capture and execution. Alex Cox first visited Nicaragua in 1984, during the national tional electi election on campaig campaignn for for which which Dani Daniel el Orte Ortega ga became 6.8. 6.8.2 2 Cast Cast president, president, to see if conditions were as bad as the American media had reported.[1][2] He discovered that this was Ed Harris as Harris as William William Walker not the case. The filmmaker was persuaded to return by two wounded soldiers from the Sandinista the Sandinista army. army. He later Richard Masur as Masur as E. E. G. Squier learned of the historical Walker from an article in Mother Rene Auberjonois as Auberjonois as Major Siegfried Major Siegfried Henningson Jones that that was largely about US foreign policy in Central America and decided to bring his story to the screen. [2][3] Keith Szarabajka as Szarabajka as Timothy Crocker A history professor at the University the University of California lent California lent Cox a library card so he could do more research on Sy Richardson as Richardson as Captain Hornsby Walke Walker. r. “The more I read about him the more bizarre bizarre [3] Xander Berkeley as Berkeley as Byron Cole this seemed”, Cox remembers. He hired Rudy Wurlitzer to write the screenplay because, according to Cox, John Diehl as Diehl as Stebbins “He unders understan tands ds Americ American an guys guys andth and thee madimp mad impul ulse se that that drives certain Americans to be great men.” Cox was not Peter Boyle as Boyle as Cornelius Cornelius Vanderbilt interested in making what he called a long, respectful hisMasterpiecee Theatre toric torical al drama drama that that woul wouldd be show shownn on Masterpiec Marlee Matlin as Matlin as Ellen Martin because Walker Walker “leads a disastrous misadventure. misadventure. He’s a Alfonso Arau as Arau as Gaston Gaston de Raousset-Bo Raousset-Boulbon ulbon pretty bad guy. I didn't think it was possible to approach approach [3] it in this normal, historical, respectful style.” Pedro Armendáriz, Armendáriz, Jr. as Jr. as Muñoz The budget was set at six million dollars with most of the Gerrit Graham as Graham as Norvell Walker film being shot in Granada, in Granada, Nicaragua. Nicaragua. To get into character, Ed Harris led the entire cast in a 10-mile forced William O'Leary as O'Leary as James Walker march through the Nicaraguan countryside. countryside.[2] The actor was drawn to the challenge of playing someone “who has Blanca Guerra as Guerra as Doña Yrena incredible moral convictions but turns into such an evil Miguel Sandoval as Sandoval as Parker French person in the name of spreading democracy.”[4] He was also drawn to the script’s politics, claiming to be anti Rick Barker as Barker as Breckenridge Contra and anti-intervention anti-intervention in Nicaragua and saw making a film there as a way to possibly stop the bloodshed. [4] Karl Braun as Bruno von Natzmer Natzmer Cox got the cooperation of the Sandinista government Kathy Burke as Burke as Annie Mae and the Roman Catholic Church because he wanted his production to be a “force for peace and reconciliation.”[3] Richard Edson as Edson as Turley The dying economy of Granada received a significant Bennet Guillory as Guillory as Achilles Kewen boost by the production with 300 local carpenters hired to build sets, 6,000 people hired as extras and army sup David Hayman as Hayman as Father Rossiter plied security guards and a Soviet-built MI-18 transport helicopter used in the film.[2] Electricity poles in the Dick Rude as Rude as Washburn town town plaza plaza were were torn torn down down leav leaving ingho home mess with without out ligh light.t.[5] Zander Schloss as Schloss as Huey Some families were left temporarily without a telephone because the production needed their lines and the gov Milton Selzer as Selzer as Judge ernment could not afford to install new ones. The central square was covered with several inches of dirt to recre Edward Tudor-Pole as Tudor-Pole as Doubleday ate 1850s conditions.[5] The screenplay was edited by the Norbert Weisser as Weisser as Prange country’s Vice-President Sergio Ramirez and Minister of •
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139
6.8. ''WALKER'' ''WALKER''
Culture Ernesto Cardenal, who were also a novelist and a poet respectivel respectively. y. Both men, along with the Minister of Education, the country’s Interior Minister, and a military commander, would would occasionally occasionally visit the set. Two people were accidentally accidentally killed during principal principal photography, both in separate vehicular-relat vehicular-related ed incidents. incidents. For one of the deaths, the movie company paid for the funeral and compensated the family. The shooting conditions were difficult because of all of the fires the locals were were build building ing,, makin makingg theair the air thick thick andhar and hardd to brea breath the. e.[2] Even after filming was over, Cox stayed in Granada, editing the film. He said, “I think we have kind of a duty not to just be the rich gringos and come down here and spend eight weeks and then disappear.”[2] Historical accuracy
As noted by Roger Ebert in his review for the Chicago Sun-Times , "... anachronisms, guest stars, quixoti quixoticc pokerfaced heroes and utterly pointless scripts,” were the hallmark of films helmed by Cox.[6] There are a number of intentional anachronisms placed to draw comparison between between 1850s and 1980s Nicaragua Nicaragua.. Actors Actors reading reading Newsweek and Time, for exampl example. e. As the movie movie proprogresses, the inaccuracies inaccuracies become more and more extreme and it is evident that Cox was using the device to accentuate modern-day events with the Walker era. Historical accuracy is done away with in a dramatic retelling retelling of Walker’s Walker’s coup coup d'état. d'état. There There is no evidenc evidencee that Walker ever met Vanderbilt or received his support, as the movie movie sugges suggests. ts.[7] Rather, Rather, Walker alker was support supported ed by Vanderbilt’s competitors, Charles Morgan and Cornelius Garrison, owners of the Nicaragua Transit Company in his time.[8] James Buchanan is Buchanan is incorrectly mentioned as being the President of the United States after Walker’s trial, prior to his Nicaraguan expedition. expedition. Franklin Franklin Pierce was actuall actuallyy the president president at the time. Ellen Ellen Martin, Walker’s fiance, died in 1850. In the movie she is present at his 1854 trial for violating US neutrality laws after he invaded Baja California and Sonora Mexico, dying shortly thereafter.[9] Minor inconsistencies include use of bolt action rifles weapons from the World the World War I era I era and Navy Colts in Walker’s army, not in general use until midway through the American the American Civil War, War, almost a decade later, but it was obvious that Cox was little concerned with historical accuracy.[10]
tire score for a film and Walker afforded him such an opportunity. After filming his small part in the film, he would go back to his room and record bits of music onto a four-track cassette using an acoustic guitar and a little plastic synthesizer with guitarist Zander guitarist Zander Schloss. Schloss. The They drew inspiration from local music played in bars – a mix of reggae, calypso and Brazilian music.[11]
6.8.5 6.8.5
Rece Recepti ption on
Walker garnered garnered predominantly negative reviews; Rita
Kempl Kempley eywro wrote, te, “it’s “it’s gross gross as it is muddl muddled ed as it is absurd absurd”, ”, [10] in her review for The Washington Post . Fellow Washington Post reviewer Desson Howe criticized the “perplexing fusion of cartoon and docudrama ...” [12] In his review view for for Newsweek , Davi Davidd Anse Ansenn wrote, wrote, “His scenes scenes have have no shape, his characters are stick figures, the wit is undergraduate and his soggy set pieces of slow-motion carnage are third-rate Peckinpah third-rate Peckinpah imitations.”[13] Jay Scott gave Scott gave the film a positive review in The Globe and Mail : “Cox expos exposes es the the limit limitati ation onss of histo historic rical al drama drama in Walker with with [14] a calculated disregard of its conventions.” Vincent Canby also praised Cox’s film in The New York Times : "Walker is is witty, witty, rather rather than laugh-o laugh-out-lo ut-loud ud funny. funny. Without being solemn, it’s deadly serious...Walker is is something thing very rare in America Americann movies movies these days. It has some nerve.”[15] Director Alex Cox was never employed again by a major Hollywoo Hollywoodd studio, studio, and his subseq subsequent uent films films have have receiv received ed only limited distribution in the United States. In a 2008 interview with The A.V. Club, Cox said, “Distribution is controlled by the studios, and I've been on the blacklist of the studios studios for the last 20 years ... The last movie movie I was asked to direct was The Running Man... which was actually quite a good film, I thought. I would have liked to have done The Running Man. It was just that Walker happened at the same time.” [16]
Awards
Walker was was nominated for the Golden the Golden Bear at Bear at the 38th the 38th
Berlin International Film Festival. Festival.[17]
6.8 6.8.6
DVD
Criterion rele release asedd a Regi Region on 1 DVD on Febru February ary 19, 2008 2008 with features features that include: an audio commentary by Cox and screenwriter screenwriter Wurlitzer; Wurlitzer; Dispatches from Nicaragua, Main article: Walker article: Walker (album) an original documentary about the filming of Walker ; On Moviemaking Moviemaking and the Revolution, reminiscences 20 years Joe Strummer had worked previously with Cox on Sid later from an extra on the film; behind-the-scenes phoand Na Nancy ncy and Str Straig aight ht to He Hell ll , contribu contributing ting songs songs to their their tographs; and a booklet featuring writings by film critic [11] respective soundtracks. He wanted to compose an en- Graham Fuller, Wurlitzer and Linda Sandoval.[18] 6.8.4 6.8.4
Soun Soundtr dtrac ack k
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CHAPTER CHAPTER 6. FILMS FILMS
6.8.7 6.8.7
Ref Reference erencess
6.8.8 6.8.8
Exte Extern rnal al links links
•
Walker at the Internet the Internet Movie Database
[1] Goldstein, Patrick. “Hollyw “Hollywood ood Invades Nicaragua”. Nicaragua”. Los Angeles Times , April 19, 1987. Retrieved: February 26, 2012.
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Walker at the TCM the TCM Movie Database
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Walker at AllMovie at AllMovie
[2] Grove, Grove, Lloyd. Lloyd. “Hollywood “Hollywood Invades Invades Nicara Nicaragua”. gua”. The Washington Post , August 20, 1987.
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Walker at Rotten at Rotten Tomatoes
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Walker page page on Alex Cox website
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Film Comment interview interview with Joe Strummer
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Senses of Cinema essay on Walker
Notes
[3] Van Gelder, Gelder, Lawrence. Lawrence. “At the Movies”. Movies”. The New York Times , December 4, 1987. [4] Yakir, Yakir, Dan. “For Harris, The Appeal Appeal was Political”. Political”. The Globe and Mail , December 11, 1987. [5] Ford, Peter. “Desperad “Desperadoo with a Missio Mission”. n”. Financial Times , August 22, 1987.
6.9
''Stra ''Straig ight ht to Hell' Hell'''
[6] Ebert, Ebert, Roger. Roger. “Walker “Walker (1987)". (1987)". Chicago Sun-Times , De- Straight to Hell is a 1987 independent 1987 independent actionaction-comedy cember 4, 1987. Retrieved: February 26, 2012. film directed film directed by Alex by Alex Cox, Cox, and starring Sy starring Sy Richardson, Richardson, [7] Doubleday 1886, pp. 105–106. [8] Harrison Harrison 2004, 2004, p. 105. [9] Harrison Harrison 2004, 2004, p. 176. [10] Kempley, Rita. “Tripped Rita. “Tripped Up in Time”. Time”. The Washington Post , December 4, 1987. [11] Dafoe, Chris. Chris. “Hollywood Knocks on Strummer’s Door”. The Globe and Mail , December 11, 1987. [12] Howe, Desson. “Walker” Desson. “Walker”.. The Washington Post , December 4, 1987. [13] Ansen, Ansen, David. David. “A Yankee Yankee Devil’s Devil’s Manifest Manifest Destiny”. Destiny”. Newsweek , December 7, 1987. [14] Scott, Jay. “A Remarkabl Remarkablee Cabaret Cabaret Biograph Biography”. y”. The Globe and Mail , December 4, 1987. [15] Canby, Vincent. "'Walker'". "'Walker'". The New York Times , December 4, 1987. [16] Murray, Noel (Mar 3, 2008). “Alex 2008). “Alex Cox interview” interview”.. The A.V. Club. Retrieved Dec 24, 2015. [17] “Berlinale: 1988 Programme”. Programme”. berlinale.de. Retrieve Retrieved: d: February 26, 2012.
Joe Strummer (frontman Strummer (frontman of The of The Clash), Clash), Dick Dick Rude, Rude, and Courtney Love. Love. The film also features cameos by Dennis by Dennis Hopper,, Grace Jones, Hopper Jones, Elvis Costello, Costello, and Jim and Jim Jarmusch. Jarmusch. Band members of The of The Pogues, Pogues, Amazulu Amazulu,, and The and The Circle Jerks are Jerks are also featured in the film. The film borrows its title from The Clash’s 1982 song 1982 song of the same name. name. The film has been called a parody of of Spaghetti West[1] erns,, and concerns a gang of criminals who become erns stranded in the desert, where they stumble upon a surreal Western Western town full of coffee-addicted coffee-addicted killers. The film is based on Giulio on Giulio Questi's Questi's Spaghetti Western film, Django Kill... If You Live, Live, Shoot! (1967), which Cox was given permission permission to adapt.[2] Straight to Hell received received few positive reviews upon release, and was not a commercial success, although it later gained something of a cult a cult film status. film status.[3] A soundtrack was also released. On 14 December 2010, an extended Straight ht to Hell Hell Retur Returns ns , was released cut cut of the the film, film, titl titled ed Straig released on DVD, featuring additional footage and digitally enhanced picture quality.[4] This version of the film, under the collaboration of Alex Cox, was also screened at several cinemas as part of a midnight a midnight movie theatrical movie theatrical run. 6.9. 6.9.1 1
Plot Plot
[18] “Walk “Walker: er: Apo Apocal calyps ypsee Whe When?" n?" Criterion Criterion Coll Collection ection, November 19, 2007. Retrieved: February 26, 2012. The film opens with three hitmen, Willy, Norwood, and Bibliography •
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Doubleday, Charles William. Reminiscences of the Filibuster War in Nicaragua. New York: G.P. Putnam’s Sons, 1886. ISBN 1886. ISBN 978-1-245-45207-6. 978-1-245-45207-6. Harrison, Brady. William Walker and the Imperial Self in American Literature . Athens, Georgia: University versity of Georgia Press, 2004. ISBN 2004. ISBN 978-0-82032544-6.. 2544-6
Simms (played by Dick by Dick Rude, Rude, Sy Richardson, Richardson, and Joe and Joe Strummer,, respectively) who are staying in a posh Los Strummer Angeles hotel. After failing a job, they take off in a car with a whiny pregnant woman named Velma (Courtney (Courtney Love), Love ), who is in on their scheme. They then flee to Mexico to escape the wrath of their boss, Amos Dade (Jim ( Jim Jarmusch), Jarmusch ), and rob a bank along the way. While driving through the desert, their car breaks down due to Simms having filled the gasoline tank with diesel diesel by by mistake. They bury their suitcase of money in the desert and begin to walk.
141
6.9. ''STRAIG ''STRAIGHT HT TO HELL'' HELL''
Night falls, and they come upon a town in the middle of the desert, where they see a demolished car with a corpse inside. inside. They then then enter an empty bar, where the three three men get drunk and Velma angrily pesters them to leave. As they exit the bar, the wrecked car has vanished, but the men are too inebriated to notice it. The group camps out for the night, and the following morning, Velma witnesses several trucks of lively cowboys enter the town, carrying espresso carrying espresso machines machines with them. Much to the dismay of Velma, who insists they keep a low profile and leave, the three men enter the town, which is now full of townspeople, townspeople, and go back to the bar. There, There, they they areco are conf nfron ronted ted by a gang gang of cowb cowboy oyss addi addict cted ed to coffee to coffee ( (The Pogues ), ), and a shoot-out ensues, but they are ultimately welcomed by the townspeople. The bizarre townspeople townspeople include a couple who own a mercantile mercantile full of piñatas of piñatas,, a man running a hot dog stand, and countless cowboys and prostitutes and prostitutes,, among others. others. The head head honcho of the town, Tim McMahon (Biff (Biff Yeager), Yeager), invites the gang to a party that evening. evening. The following following day, Tim McMahon’s elderly father is pushed off of a building by his relative Sabrina McMahon (Kathy (Kathy Burke) Burke) and dies. The entire town has a funeral procession for him, and at the funeral, a friend of Amos’, named Whitey, shows up looking for the hitmen and Velma. The town seizes Whitey for being a “stranger”, and accuses him of the murder of the McMahon grandfather. During the burial of the grandfather, his hand comes up out of the dirt and grabs the priest’s ankle, and the priest shoots into the ground, ground, killing him. Meanwhile, Meanwhile, on the gallows,, Whitey begins to tell the town the truth about gallows Amos and the hitmen, but is hanged before he can tell his story. story. A man named named I.G. I.G. Farben ( Farben (Dennis Dennis Hopper), Hopper), who claims to be a house manufacturer, enters town with his wife Sonia (Grace (Grace Jones) Jones) and introduces himself to the gang and the rest of the townspeople, townspeople, advertising advertising his compa company ny.. Thenext Thenext morni morning, ng, Simms Simms sees sees Amos’ Amos’ car car enter enter the town, and tries to get a drunken Willy and Norwood to leave with Velma. A series of shootouts begin between the townspeople, Amos’ crew, and the hitmen, and I.G. Farben and Sonia provide provide high-grade weapons weapons for the killers. Tim McMahon joins Amos’ team after having wrongfully hanged Whitey, and everyone begins to turn against each other. As Simms and Willy run into the desert, a shootout ensues with the town priest. They reach the spot where they buried the money, and Simms shoots Willy as they are trying to lift the suitcase out of the ground. Simms then hears Velma laughing, and turns around only to be shot by Velma and one of the townsmen. After Velma shoots Simms several times, the townman with her is shot by Tim McMahon. McMahon. Tim and Velma Velma then take take off arm-inarm-inarm with the suitcase of money, while Simms and Willy die. Meanwhile, in town, chaos has ensued, and the town hardware hardware store is set on fire. Amos is shot in the head,
and virtually everyone in the town is killed, aside from Norwood and several prostitutes. prostitutes. Tim and Velma leave leave the town in a truck with the suitcase of money, but accidentally drive off of a cliff when their brakes go out, and die as the car explodes explodes in mid-air. Norwood leaves leaves town with the prostitutes, and the film ends with Farben Oil Company trucks entering the town to drill for oil. The end of the film announces an imminent sequel: Back to Hell , despite the fact that almost every main character is killed at the end of the film. Although the sequel was never never made, upon the film’s DVD film’s DVD release, release, Cox reassembled much of the cast and crew for a short documentary called Back to Hell , in which they reminisce about the making of the film. 6.9. 6.9.2 2
Cast Cast
•
Dick Rude as Rude as Willy
•
Sy Richardson as Richardson as Norwood
•
Courtney Love as Love as Velma
•
Joe Strummer as Strummer as Simms
•
Miguel Sandoval as Sandoval as George
•
Jennifer Balgobin as Balgobin as Fabienne
•
Sara Sugarman as Sugarman as Chuch
•
Biff Yeager as Yeager as Frank McMahon
•
Shane MacGowan as MacGowan as Bruno McMahon
•
Spider Stacy as Stacy as Angel Eyes McMahon
•
Terry Woods as Woods as Tom McMahon
•
Xander Berkeley as Berkeley as Preacher McMahon
•
Kathy Burke as Burke as Sabrina
•
Elvis Costello as Costello as Hives the Butler
•
Del Zamora as Zamora as Poncho
•
Edward Tudor-Pole as Tudor-Pole as Rusty Zimmerman
•
Dennis Hopper as Hopper as I.G. Farben
•
Jim Jarmusch as Jarmusch as Amos Dade
•
Grace Jones as Jones as Sonya
•
Graham Fletcher-Cook as Whitey
•
Anne-Marie Ruddock Ruddock as as Molly
•
Zander Schloss as Schloss as Karl
•
Fox Harris as Harris as Kim Blousson
•
Sue Kiel as Leticia
142 6.9.3 6.9.3
CHAPTER CHAPTER 6. FILMS FILMS
Produ Product ctio ion n
The film was not originally intended to be made at all, and the reason for a preponderance of musicians in the cast was the result of a concert tour of of Nicaragua that Nicaragua that [5] was planned in the first place. Political problems arose concerning the support of the left-wing government of Nicaragua, and the tour was cancelled. In its place Cox decided to have the bands, and several actors he could assemble, make a movie in Almería in Almería,, Spain Spain.. Cox Cox and and [2] co-star Dick Rude wrote a script in three days, and the entire film was shot shot in just four weeks. weeks. Cox wrote the part of Velma specifically for Courtney Love, who had starred in a supporting role in his previous film, Sid and Nancy (1986).[6] Love modeled the character after Carroll ter Carroll Baker's Baker's performance in the 1956 film Baby [7] Doll . Alex Cox turned down the chance to direct ¡Three Ami gos! in order to film Straight to Hell . 6.9.4 6.9.4
Releas Releasee and recept reception ion
Straight Straight to Hell' Hell' s premie premiere re was was held held at the the Pick Pickwi wick ck Drive Drive--
In in Burbank, in Burbank, California. California. Invitees Invitees were asked asked to come [8] dressed dressed in “post-apoc “post-apocaly alypti pticc fiesta fiesta garb.” garb.” Everyone Everyone who arrived was handed a water pistol.[8] The film’s premiere was was a fiasc fiasco, o, andse and seve veralpeopl ralpeoplee at the the drive drive-in -inle leftmidw ftmidway ay [6] into the movie. Courtney Love was reportedly visibly upset at the premiere.[6] The film was not well received by critics, drawing mostly negative reviews. In her review for the New York Times , Janet Maslin wrote, “The result is a mildly engrossing, instantly forgettable midnight forgettable midnight movie.” movie.”[9] Hal Hinson, in his review for the Washington Post , wrote, “The action is so gratuitous, and so indifferently presented, that it’s impossible to think that Cox ever truly intended it to be seen by anyone anyone outside of the cast and crew and their immediate families.”[10] In the US Straight to Hell was was rated "R "R" for violence and language. The latter reason caught the producers by surprise, as the writers deliberately refrained from including any any sort sort of prof profani anity ty in the the dial dialogu ogue. e. Even Even the the word word “hell” “hell” appears only in the title (at one point a character quite noticeably says “what the heck is is going on here?"), and the insults insults that fly before before a showdown showdown are no worse than “go boil yer head!" The film was released on VHS in the 1990s and was also released on DVD by Anchor by Anchor Bay Entertainment on Entertainment on 24 April 2001, but went out went out of print in print in the following years. 2010 director’s cut
look of the film, new effects, and new footage. Blood and additional violence during the shootout scenes was digitally implemented into the film which had not been there prior.[11] Cox state statedd that that he was was inspi inspired red to revi revisi sitt the the film film [2] Apocal calypse ypse No Now w Red Redux ux . The by Franc Francis is For Fordd Copp Coppola ola's 's Apo DVD was released on 14 December December 2010. It will also be the first version of the film available on Blu-ray on Blu-ray.. Leading up to the DVD release, Straight to Hell Returns was screened at several arthouse arthouse theaters theaters across the United States and Canada in October and November November [5] 2010. 6.9.5 6.9.5
Soun Soundtr dtrac ack k
Track listing
6.9.6 6.9.6
Ref Reference erencess
[1] Donaghy, Gerry Gerry (26 September September 2009). “From 2009). “From Liverpool to Cinecitta”. Cinecitta”. Powell’s Books . Retri Retriev eved ed 23 Septem Septem-ber 2011. One such filmmaker is Alex Cox, director of his own Repo Man and Sid and Nancy . In 1987 he made his Spaghetti Western pastiche Straight to Hell , and, more recently, has written an assessment of the genre in 10,000 lifelong appreappreWays to Die. To this task, Cox brings a lifelong ciation of all Westerns, as well as experience behind the camera, both of which give him a unique perspective to the genre. [2] Koh, Koh, Mich Michell ellee (4 March March 2011). 2011). “Why “Why Ale Alexx Cox Ret Return urned ed to “Straight to Hell"". Hell"". Indie Wire. Retrieved 23 September 2011. [3] “Straight to Hell”. Hell”. Rotten Tomatoes . Retrieved 16 August 2016. [4] “STRAIGHT TO HELL RETURNS”. RETURNS”. Alex Cox Official Website. Retrieved 22 September 2011. [5] Olsen, Olsen, Mark (15 Novembe Novemberr 2010). “Offbeat Alex Cox film gets second chance”. chance”. Los Angeles Times . [6] “Courtney Love”. The E! True Hollywood Story. October 2005. E!. [7] Love, Courtney Courtney (February (February 1987). “Courtney Love”. Love”. Interview. p. 25. [8] Deans, Deans, Laurie Laurie (3 July 1987). 1987). “What “What on Earth Do You You Wear to a 'Post-Apocalyptic 'Post-Apocalyptic Fiesta'?". Globe & Mail . [9] Maslin, Maslin, Janet (26 June 1987). 1987). “Straig “Straight ht to Hell”. New York Times . [10] [10] Hinson Hinson,, Hal Hal (1 July July 1987). 1987). ""Hell ""Hell”” on Reels” Reels”.. Washington Post .
In 2010, Microcinema Microcinema DVD announced a new director’s director’s cut, dubbed Straight to Hell Returns . The new version fea- [11] Hartel, Hartel, Nick (14 December 2010). 2010). “Straight to Hell returns”. DVD Talk . Retrieved 23 September 2011. turns”. tures tures a new new HD trans transffer, colo colorr corre correct ctio ionn that that chang changes es the the
143
6.10. ''CANDY MOUNTAIN''
6.9.7
External links
•
Eric Mitchell as Gunther
•
Straight to Hell at the Internet Movie Database
•
Mary Joy as Couple
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Straight to Hell at Box Office Mojo
•
Bob Joy as Couple
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Straight to Hell at Rotten Tomatoes
•
Arto Lindsay as Alston
•
Straight to Hell page on Alex Cox website
•
Mary Margaret O'Hara as Darlene
•
Film Comment interview with Joe Strummer
•
David Johansen as Keith Burns
•
Village Voice interview with Alex Cox
•
Tony 'Machine' Krasinski as Musician
•
Susan Kirschner as Suzie
•
Dee De Antonio as Lou Sultan
6.10
''Candy Mountain''
•
For the Flash animation film, see Charlie the Unicorn. For the mountain in Washington State, see Candy Mountain (Washington). Candy Mountain isa1988 drama film directed by Robert
Frank. It was shot in New York City and Cape Breton, Nova Scotia.[1] 6.10.1
Plot
Jose Soto as Musician’s Son
•
Bob Maroff as Gas-station Attendant
•
Rockets Redglare as Van Driver
•
Nancy Fish as Maid
•
Dan Archie Cummings as Gas-station Owner
•
Liz Porrazzo as Lola
•
Roy MacEachern as Customs Officer
Wayne Robson as Buddy Burke Julius (O'Connor) is a struggling musician who sets off to find Elmore Silk (Yulin) in order to strike a deal with him Eric House as Doctor and become famous. Along his search, he meets various people who have encountered Elmore, and can give him valuable insight into what kind of man Elmore is. Once 6.10.3 Reception he meets Elmore, he finally realizes that financial gain is nothing compared to the development of one’s artistic Reviews ability. The film generally received positive reviews from critics. Caryn James of The New York Times wrote, "...seems to 6.10.2 Cast be a small, quirky film, but it easily assumes the weight, ambition and success that many larger films aim for and Kevin J. O'Connor as Julius miss.”[2] As of November 2009, film review aggregator Rotten Tomatoes had issued a 100% rating based on re Harris Yulin as Elmore Silk views from 8 critics.[3] Tom Waits as Al Silk •
•
•
•
•
•
Bulle Ogier as Cornelia
Awards
•
Roberts Blossom as Archie
San Sebastián International Film Festival
•
Leon Redbone as Leon
•
1987: Won, “Silver Seashell Award”
•
Dr. John
•
Rita MacNeil as Winnie
•
Joe Strummer as Mario
•
Laurie Metcalf as Alice
•
Jayne Eastwood as Lucille
[2] Movie Review - Candy Mountain - Review/Film; Hitting the Highway - NYTimes.com
•
Kazuko as Koko Yamamoto
[3] Candy Mountain - Rotten Tomatoes
6.10.4
References
[1] http://movies.nytimes.com/movie/8011/ Candy-Mountain/details
144
CHAPTER 6. FILMS
6.10.5 •
External links
6.11.1
Plot
Candy Mountain at the Internet Movie Database
The film consists of three stories that take place on the same night in downtown Memphis. The three stories 6.11 ''Mystery Train'' are linked together by the Arcade Hotel, a run-down flophouse presided over by the night clerk (Screamin' Jay This article is about the 1989 Jim Jarmusch film. For the Hawkins) and bellboy (Cinqué Lee), where the principal 1931 Phil Whitman film, see The Mystery Train (film). characters in each story spend a part of the night. Every room in the hotel is adorned with a portrait of Elvis Presley. Mystery Train is a 1989 independent anthology film written and directed by Jim Jarmusch and set in Memphis, The first story, “Far From Yokohama”, features Mitsuko Tennessee. The film comprises a triptych of stories in- (Youki Kudoh) and Jun (Masatoshi Nagase), a teenage volving foreign protagonists unfolding over the course couple from Yokohama making a pilgrimage to Memphis of the same night. “Far From Yokohama” features a during a trip across America. Mitsuko is obsessed with Japanese couple (Youki Kudoh and Masatoshi Nagase) Elvis to the point where she believes that there is a mystion a blues pilgrimage, “A Ghost” focuses on an Italian cal connection between Elvis, Madonna and the Statue of widow (Nicoletta Braschi) stranded in the city overnight, Liberty. The film follows the couple as they travel from and “Lost in Space” follows the misadventures of a newly the train station, through downtown Memphis and an exsingle and unemployed Englishman (Joe Strummer) and hausting tour of Sun Records, to the Arcade hotel. his companions (Rick Aviles and Steve Buscemi). They The second story, “A Ghost”, is about an Italian widow, are linked by a run-down flophouse overseen by a night Luisa (Nicoletta Braschi), who is stranded in Memphis clerk (Screamin' Jay Hawkins) and his disheveled bell- while escorting her husband’s coffin back to Italy. Luisa, boy (Cinqué Lee), a scene featuring Elvis Presley's "Blue who has been conned twice and stuck with armfuls of Moon",[3] and a gunshot. magazines, is forced to share a room at the hotel with Dee The starting point for the script was the ensemble cast Dee (Elizabeth Bracco), a young woman who has just left of friends and previous collaborators Jarmusch had con- her boyfriend (Johnny from the final story) and who plans ceived characters for, while the tripartite formal structure to leave the city in the morning. Luisa is kept awake by of the film was inspired by his study of literary forms. Dee Dee’s constant talking, and when the young woman Cinematographer Robby Müller and musician John Lurie finally does go to sleep, she is visited by an apparition of were among the many contributors who had been in- Memphis’ most famous icon – Elvis Presley. volved in earlier Jarmusch projects and returned to work The final story, “Lost in Space”, introduces Johnny (Joe on the film. Mystery Train's US$2.8 million budget (fi- Strummer). Upset after losing his job and his girlfriend nanced by Japanese conglomerate JVC) was considerable (Dee Dee), Johnny – known, much to his chagrin, as compared to what the director had enjoyed before, and Elvis – drunkenly brandishes a gun in a bar before leavallowed him the freedom to rehearse many unscripted ing with his friend Will Robinson (Rick Aviles) and his background scenes. It was the first of Jarmusch’s feature ex-girlfriend’s brother Charlie (Steve Buscemi), who befilms to depart from his trademark black-and-white pho- lieves Johnny to be his brother-in-law. They stop at a tography, though the use of color was tightly controlled liquor store, which Johnny robs using the gunandseverely to conform with the director’s intuitive sense of the film’s wounds the owner in the process. Fearing the conseaesthetic. quences of the incident, Johnny, Will and Charlie retire Mystery Train was released theatrically by Orion Clas- to the hotel to hide out for the night; there, Johnny gets sics under a restricted rating in the United States, where drunker. Charlie realizes that Will shares the same name it grossed over $1.5 million. It enjoyed critical acclaim as the character Will Robinson from the television show on the film festival circuit, and like the director’s earlier Lost in Space, which Johnny has never heard of. Charfilms premiered at the New York Film Festival and was lie and Will proceed to tell him about the show, and Will shown in competition at Cannes, where Jarmusch was comments that that is how he feels then with Charlie and awarded the Best Artistic Achievement Award. The film Johnny: lost in space. The next morning, Charlie diswas also shown in the Edinburgh, London, Midnight Sun, covers that Johnny isn't really his brother-in-law, which Telluride, and Toronto film festivals, and was nominated angers him because of what they've beenthrough. Johnny in six categories at the Independent Spirit Awards. Criti- attempts to shoot himself, and while struggling to prevent cal reaction was overwhelmingly positive, with reviewers him, Charlie is shot in the leg. Leaving thehotel, the three praising the structure, humor, and characters of the film, rush to escapea police car that isn't even looking for them. though there was criticism that the director had not been Theclosingcredits show the train, theairport andthefinal sufficiently adventurous. views of the characters from the first two stories.
145
6.11. ''MYSTERY TRAIN''
6.11.2
Cast
•
Masatoshi Nagase as Jun
•
Youki Kudoh as Mitsuko
•
Screamin' Jay Hawkins as Night Clerk
•
Cinqué Lee as Bellboy
•
Rufus Thomas as Man in Station
•
Jodie Markell as Sun Studio Guide
•
Nicoletta Braschi as Luisa
•
Elizabeth Bracco as Dee Dee, Charlie’s Sister
•
Sy Richardson as Newsvendor
•
Tom Noonan as Man in Arcade Diner
•
Joe Strummer as Johnny aka Elvis
•
Rick Aviles as Will Robinson
•
Steve Buscemi as Charlie the Barber
•
Vondie Curtis-Hall as Ed
•
Tom Waits as Radio D.J.
6.11.3
Production
Script and casting
Jarmusch wrote the script for the film under the working title “One Night in Memphis”,[4] without ever having been to the southerncity.[5] Theideafor “Far From Yokohama”, the first segment, he took from a one-act play he had been writing before filming Down by Law (1986).[6] The play – unrelated to Elvis or Memphis – concerned a constantly argumentative young couple, one of whom gradually comes to realize that their fighting is a unifying force in the relationship.[6][7] The interconnected stories were inspired by Jarmusch’s dwelling on literary forms, and specifically the work of Chaucer,[8] Italian episodic films and Japanese ghost story cinema.[9][10] As with his other films, Jarmusch’s starting point for writing Mystery Train was the actors and characters he had foremost in mind. The great number of these collaborators contributed to it being “the most complicated film to write and execute” according to the director. [11] What I like about the Japanese kids in Memphis is, if you think about tourists visiting Italy, the way the Romantic poets went to Italy to visit the remnants of a past culture, and then if you imagine America in the future, when people from the East or wherever visit our culture after the decline of the American empire – which is certainly in progress – all they'll really have to visit will be the homes of rock'n'roll stars and movie stars. That’s all our culture ultimately represents. So going to Memphis is a kind of
pilgrimage to the birthplace of a certain part of our culture. —Jim Jarmusch, Interview, November 1989.[6] The role of Johnny was written by Jarmusch specifically for Joe Strummer, who had been the frontman of The Clash, the director’s favorite 1980s rock band.[11][12] Jarmusch had conceived the part a few years previously while the two were together in Spain,[13] and although the musician had been in a period of depression at the time following the collapse of the band, he was drawn by the Memphis setting of the film. [12] Unlike the jovial Steve Buscemi, Strummer did not stay on set to joke with the veteran actors between shots, but instead preferred to keep his own company, focusing intensively on orienting himself to the role.[12] Jarmusch hadmet bluessinger Screamin'Jay Hawkinsafter featuring his music prominently in his breakthrough feature film debut Stranger Than Paradise (1984). Although reticent about acting, Hawkins responded favorably to the director’s offer to appear. [11] The part of Luisa was also written by the director with the star – actress Nicoletta Braschi – in mind; the two had previously collaborated on Down by Law (1986).[14] Cinqué Lee is the younger brother of director Spike Lee, a longtime friend of Jarmusch from their days at New York University's film school, while Youki Kudoh was cast after the director saw her performance in Sōgo Ishii's The Crazy Family (1984) while promoting Down by Law in Japan.[11][13] Repeat Jarmusch collaborators who worked on the film included John Lurie who provided the original music, cinematographer Robby Müller,[15] and singer Tom Waits, who in a voice appearance reprised his role of radio DJ Lee Baby Sims from Down by Law. Other cameos include Jarmusch’s long-time girlfriend Sara Driver as an airport clerk, Rufus Thomas as the man in the train station who greets theJapanese couple,[13] Rockets Redglare as the clerk of the liquor store, Vondie Curtis-Hall as Ed, Sy Richardson as the news vendor, and Richard Boes and Tom Noonan as diner patrons.[1]
Filming
Mystery Train was filmed in Memphis in the summer of
1988.[16] After arriving in the city during a snowstorm to scout for shooting locations, Jarmusch drove around without direction before coming to the intersection of a disused train station, the Arcade Luncheonette diner, and the dilapidated Arcade Hotel that would become the film’s core setting.[5][13] He would later recount the experience in a March 1990 interview in Spin: “Man, ... this crossroad is filled with so many ghosts. You know Robert Johnson walked down that street, you know Muddy Waters was in that train station.”[13] The locale of the intersection was one of the film’s primary formal elements; the effect of Jarmusch returning to the setting with different characters under different circumstances was one
146 of variations on a theme.[17]
CHAPTER 6. FILMS
evil twin to a hostile reception.[26] 6.11.4
Release
[Mystery Train] is a meditation on nighttime and transience, on rhythm-and-blues and the city of Memphis, that comes camouflaged as a deck of three stories. Like its predecessors, it mixes high and low comedy, sadness and high jinks, and extracts a subtle, limpid beauty from the rawest of materials —Luc Sante, Interview, November 1989.[6]
Jarmusch chose a cool palette for the film, accentuated with an occasional jolt of red as shown here by the suit of the Night Clerk (Screamin' Jay Hawkins ) contrasted with the muted background of the hotel lobby.[3]
The film was shot in bright, primary colors rather than the black-and-white of the director’s previous features,[18][19][20] but it retained his usual languid pacing.[21] Jarmusch characterized the color choice as “intuitive”.[5] He deliberately chose a cool color palette, eschewing yellows and oranges and using only sporadic dashes of red (as in the Japanese couple’s ubiquitous suitcase).[7] This motif of flashes of red was later described by Suzanne Scott of Reverse Shot as “giving the impression of a failed attempt to grab a bit of Elvis’s glamor and try it on for size, only to inevitably discover that it looks cartoonish out of context”.[3] Stills from the film as well as on-location shots of the actors and the film crew by photographer Masayoshi Sukita were published to accompany the film as the photo collection Mystery Train: A Film by Jim Jarmusch.[16] Mystery Train was the first American independent film
to be financed by Japanese conglomerate JVC, and was produced on a budget – $2.8 million – that was considerable by Jarmusch’s modest standards. [2][7][22] The company was enthusiastic about underwriting the film despite the director insisting on retaining full creative control, and went on to fund his next three features. [23][24] The substantial budget and time available gave Jarmusch the opportunity to shoot in color and to rehearse with the actors many scenes not in the script, including several from the courtship of Mitsuko and Jun.[11][23] At a Memphis nightclub with the Japanese actors during production, the director had Masatoshi Nagase – who spoke little English but was an accomplished mimic – try chat-up lines on the female clientele as an acting exercise. [13] Jarmusch took advantage of the production to make the second installment of his Coffee and Cigarettes series, a collection of short vignettes featuring acquaintances of the director sitting about drinking coffee and smoking cigarettes.[25] The “Memphis Version”, titled Twins , starred bickering twins Cinqué and Joie Lee alongside Steve Buscemi as an obtuse waiter who expounds his theory of Elvis having an
The film had its domestic premiere at the 27th New York Film Festival in 1989, [27] thereby emulating the director’s previous features Stranger Than Paradise in 1984, and Down by Law in 1986.[28] The Miami Herald declared it the “quiet triumph” of the festival.[29] The film was picked up for theatrical distribution by Orion Classics in the United States, where it was released under an R-rating due to scenes featuring brief nudity and mild profanity.[30][31] Its total domestic gross was $1,541,218, making it the 153rd highest-grossing film of 1989, and the 70th highest R-rated film of the year.[30] Internationally, it was first shown in competition at the 1989 Cannes Film Festival on May 13 and 14, 1989,[28] and subsequently featured in the Edinburgh, London, Midnight Sun, Telluride and Toronto film festivals.[1][32] Mystery Train was released on DVD on March 28, 2000 with an aspect ratio of 1.85:1 and Dolby Digital 5.1/2 surround sound.[33] The DVD release was criticized by Anna Lazowski of allmovie who awarded it two stars out of five compared to four for the film itself, citing the paltry special features of 24 scene selections and a collectible behind-the-scenes booklet.[33] A Criterion Collection DVDand Blu-ray were released on June 15, 2010, utilizing a new restored high-definition digital transfer.[34] 6.11.5
Critical reception
Like Jarmusch’s previous films, Mystery Train enjoyed a warm reception from critics. This was particularly evident at Cannes, where the film was nominated for the Palme d'Or and Jarmusch was commended for the festival’s Best Artistic Achievement. [32][35][36] It was nominated in six categories at the 1989 Independent Spirit Awards: Best Picture, Best Screenplay (Jim Jarmusch), Best Director (Jim Jarmusch), Best Cinematography (Robby Müller), Best Actress (Youki Kudoh), and Best Supporting Actor (Steve Buscemi and Screamin' Jay Hawkins).[32] Entertainment Weekly reviewer Ira Robbins gave the film a B+ rating, complimenting it as “conceptually ambitious” and concludingthatits “offbeat characters, fine cinematography, and novel structure make for entertaining viewing”.[37] Robert Fulford of The National Post hailed it as “eccentric and deliriously funny”,[38] while Rolling
147
6.11. ''MYSTERY TRAIN'' Stone's Phil Whitman remarked that the director’s “brac-
[4] Hertzberg, Ludvig. “One Night in Memphis”. The Jim Jarmusch Resource Page. Retrieved September 30, 2009.
ing, original comedy may be mostly smoke and air, but it’s not insubstantial”.[18] In The New York Times , Vincent [5] Rea, Steven (December 24, 1989). “The filming luck of Canby called it “thoroughly fascinating, a delight” and the Jim Jarmusch”. The Philadelphia Inquirer . Retrieved Ocdirector’s best effort to date, drawing note to its retention tober 3, 2009. of the “same kind of dour, discordant charm” exhibited by Stranger Than Paradise .[19] He praised Jarmusch’s de- [6] Sante, Luc (November 1989). “Mystery Man”. Interview. Reprinted with permission in Hertzberg 2001, pp. 87 velopment as a screenwriter – citing the restrained dialogue, humor and subtlety of the narrative and the care- [7] McGuigan, Catherine (January 1990). “Shot by Shot: ful construction of the plot – and the performances he Mystery Train". Premiere. 3 (5): 80–83. Reprinted with elicited from the ensemble cast.[19][39] John Hartl, in The permission in Hertzberg, Ludvig (2001). Jim Jarmusch: Seattle Times , also drew a comparison with Stranger Than Interviews . Jackson: University Press of Mississippi. pp. Paradise, judging Mystery Train to be the more accessi99–104. ISBN 1-57806-379-5. OCLC 46319700. [31] ble work while retaining the dry wit of its predecessor. [8] Schaber, Bennet (1991). “Modernity and the Vernacular”. Hal Hinson of The Washington Post was unimpressed Surfaces . Les Presses de l'Université de Montréal. 1 : 16– with the film, calling it Jarmusch’s “least engaging, and 18. ISSN 1188-2492. Retrieved January 16, 2010. line the first in which his bohemian posturing actually befeed character in |publisher= at position 15 (help) comes an irritant”.[40] Of the film’s characters, critic Jonathan Rosenbaum of the Chicago Reader wrote that [9] “Jim Jarmusch – part two”. London: guardian.co.uk. November 15, 1999. Retrieved May 12, 2009. some were “beautifully imagined and realized, while others seem drawn from a more familiar stockpile, designed [10] Jarmusch, Jim (1989). “Notes on Mystery Train, by Jim for reuse rather than discovery”.[17] David Denby, conJarmusch”. Mystery Train (Media notes). Milan Records. cluding a mixed review of the film for New York Magazine, mused that “one feels Jarmusch has pushed hip- [11] Wilmington, Michael (February 27, 1990). “Director Puts Much Value on Tough-Sell Reputation Movies”. The sterism and cool about as far as they can go, and that isn't Los Angeles Times . Tribune Company. nearly far enough.”[41] This reproach was echoed by other reviewers who found that the film’s style did not stray far [12] Salewicz, Chris (2007). Redemption Song: The Ballad of Joe Strummer . London: Faber and Faber. p. 433. ISBN from that of the director’s earlier work – a critical back0-571-21178-X. OCLC 76794852. lash that would be amplified two years later following the [28][42] release of Night On Earth (1991). [13] Cohen, Scott (March 1990). "Strangers in Paradise". Spin. Spin Media.
Postmodern cultural critic bell hooks cited the interaction in the Memphis train station between Thomasandthe Japanese couple as one of the few examples of nuanced, [14] Van Gelder, Lawrence (December 1, 1989). “At the Movies”. The New York Times . The New York Times deconstructive and subversive treatment of blackness in Company. Retrieved October 3, 2009. American film.[43] The Chicago Sun-Times ' Roger Ebert proclaimed that "[t]he best thing about Mystery Train is [15] “Festival de Cannes: Mystery Train”. festivalcannes.com. Retrieved September 18, 2009. that it takes you to an America you feel you ought to be able to find for yourself, if you only knew where to [16] Jarmusch, Jim (1989). “Foreword”. In Masayoshi Sukita. look.”[44] In an April 2000 retrospective of Jarmusch’s Mystery Train: A Film by Jim Jarmusch. Shin Yamamoto. work for Sight & Sound , Shawn Levy concluded that ISBN 4-89389-016-6. Mystery Train was filmed in Memthe film was “as much a valentine to the allure of the phis, Tennessee during the (very hot) summer of 1988. American way of pop culture as it is a cheeky bit of This book is intended as a kind of souvenir of the film structural legerdemain without terribly much resonating (like a home movie, or a photo album) for anyone who [45] significance”. might be interested. It contains images from the film, as well as on-location photos of the cast and crew.
6.11.6
Footnotes
[17] Rosenbaum, Jonathan (February 9, 1990). “Strangers in Elvisland”. Chicago Reader .
[1] "Mystery Train – 1989 – Masatoshi Nagase, JimJarmusch [18] Whitman, Phil (December 8, 2000). “Mystery Train”. – Variety Profiles”. Variety.com. Reed Business InformaRolling Stone. Jann Wenner. Retrieved October 3, 2009. tion. Archived from the original on October 1, 2008. Re[19] Canby, Vincent (May 21, 1989). " Mystery Train (1989)". trieved November 14, 2009. The New York Times . The New York Times Company. [2] Arrington, Carl Wayne (March 22, 1990). “Film’s AvantRetrieved November 14, 2009. Guardian”. Rolling Stone. [20] Plasketes, George (1997). Images of Elvis Presley in [3] Scott, Suzanne. “The King and I”. Jim Jarmusch SymAmerican culture: 1977–1997: the mystery terrain. New posium. Reverse Shot Online. Retrieved November 14, York: Haworth Press. ISBN 1-56024-910-2. OCLC 2009. 243870174.
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[21] Kennedy, Mark (March 19, 2000). “Jim Jarmusch refuses [38] Fulford, Robert (April 4, 2000). “Robert Fulford’s colto go along”. The Columbian. Associated Press. umn about Jim Jarmusch”. The National Post . Retrieved November 9, 2009. [22] Canby, Vincent (May 27, 1989). “Critic’s Notebook; For the Cannes Winner, Untarnished Celebrity”. The New [39] Canby, Vincent (September 29, 1989). “Film Festival; A Blissful 'Mystery Train' From Jim Jarmusch”. The New York Times . The New York Times Company. Retrieved York Times . The New York Times Company. Retrieved November 14, 2009. October 3, 2009. [23] Goddard, Peter (Jan 11, 1990). “Jim Jarmusch: Stranger in a familiar landscape”. Toronto Star . Toronto Star [40] Hinson, Hal (February 2, 1990). "Mystery Train (R)". The Washington Post . The Washington Post Company. Newspapers. Retrieved September 27, 2009. [24] “Jim Jarmusch – part four”. guardian.co.uk . London: Guardian Media Group. November 15, 1999. Retrieved [41] Denby, David (November 20, 1989). “The Memphis Blues Again”. New York Magazine : 120–122. Retrieved January 2, 2010. November 17, 2009. Mystery Train is a blues movie with[25] Tobias, Scott (May 19, 2004). “Interview: Jim Jarout the suffering and pleasure that make the blues emomusch”. The A.V. Club. The Onion. Retrieved December tionally overwhelming. Seeing it, one feels Jarmusch has 28, 2009. pushed hipsterism and cool about as far as they can go, and that isn't nearly far enough. [26] Suárez, Juan Antonio (2007). “Are You Trying to Tell Me the Drumming in My Records Sucks? Coffee and [42] Crow, Jonathan. “Jim Jarmusch > Biography”. Cigarettes ". Jim Jarmusch. Urbana: University of Illinois allmovie.com. All Media Guide. Retrieved October 1, Press. p. 88. ISBN 0-252-07443-2. OCLC 71275566. 2009. [27] “The New York Film Festival: Archive”. Film Society of [43] bell hooks (1996). Reel to Real: Race, Sex, and Class at the Movies . New York: Routledge. p. 99. ISBN 0-415Lincoln Center. Archived from the original on February 91823-5. OCLC 35229108. There are so few images of 10, 2009. Retrieved November 14, 2009. blackness that attempt in any way to be subversive that [28] Tasker, Yvonne (2002). “Stranger than Fiction: The rise when I see one like this [Woody Allen’s The Purple Rose and fall of Jim Jarmusch”. Fifty Contemporary Filmmakof Cairo], I imagine all the myriad ways conventional repers . Routledge Key Guides. New York: Routledge. pp. resentations of black people could be disrupted by exper177–178. ISBN 0-415-18974-8. OCLC 47764371. imentation. I am equally moved by that moment in Jim Jarmusch’s Mystery Train when the young Japanese cou[29] “New York festival turns movie town into movie heaven”. ple arrive in the train station in Memphis only to encounter Miami Herald . October 8, 1989. The quiet triumph of what appears to be a homeless black man, a drifter, but this festival is Jarmusch’s Mystery Train... who turns to them andspeaks in Japanese. The interaction takes only a moment, but it deconstructs and expresses so [30] "Mystery Train (1989)". Box Office Mojo. Internet Movie much. It reminds us that appearances are deceiving. It Database. Retrieved November 14, 2009. made me think about black men as travelers, about black [31] Hartl, John (January 26, 1990). "Mystery Train – Jarmenwho fight in armies around the world. Thisfilmic moment challenges our perceptions of blackness by engaging musch’s Film Exposes Pop-Culture Excesses”. The Seatin a process of defamiliarization (the taking of a familtle Times . Seattle Times Company. Retrieved November 15, 2009. iar image and depicting it in such a way that we look at it and see it differently). Way before Tarantino was dab[32] "Mystery Train > Awards”. allmovie.com. All Media bling in “cool” images of blackness, Jarmusch had shown Guide. Retrieved December 28, 2009. in Down by Law and other work that it was possible for a white-guy filmmaker to do progressive work around race [33] Lazowski, Anna. "Mystery Train > Overview”. alland representation. movie.com. All Media Guide. Retrieved December 28, 2009. [44] Ebert, Roger (January 26, 1990). “Mystery Train”. Chicago Sun-Times . Retrieved November 14, 2009. [34] “Ask Jim Jarmusch”. Criterion.com. The Criterion Collection. December 22, 2009. Retrieved December 28, [45] Levy, Shawn (April 2000). “Postcards from Mars”. Sight 2009. & Sound . 10 (4): 22–24. Like Stranger , Mystery Train begins and ends with images of locomotion – quite literally [35] Jacobson, Harlan (May 19, 2005). “Another American in this case, as trainsare the chief means of transportation. movie is in full bloom in Cannes”. USA Today. Gannett And it’s as much a valentine to the allure of the American Company. Retrieved October 3, 2009. way of pop culture as it is a cheeky bit of structural legerdemain without terribly much resonating significance. [36] Canby, Vincent (November 12, 1989). “The Giddy Min(It, too, went over big at Cannes.) imalism Of Jim Jarmusch”. The New York Times . The New York Times Company. Retrieved October 17, 2009. [37] Robbins, Ira (November 16, 1990). “Mystery Train 6.11.7 External links (1990)". Entertainment Weekly . Retrieved October 3, 2009. Mystery Train at the Internet Movie Database •
6.12. ''I HIRED A CONTRACT KILLER''
•
Mystery Train at Rotten Tomatoes
•
Mystery Train at The Jim Jarmusch Resource Page
•
“Communication Breakdown”– an essay on the film from the Bright Lights Film Journal
6.12
''I Hired a Contract Killer''
I Hired a Contract Killer is a film directed, produced and
written by the Finnish auteur Aki Kaurismäki in 1990. It is a Finnish-British-German-Swedish co-production and stars the renowned French actor Jean-Pierre Léaud. The film also features cameo appearances by Joe Strummer as a guitar player[1] and by Kaurismäki as a sunglasses salesman. 6.12.1
Plot
Henri Boulanger (Léaud), a French man living in London, is laid-off from his job after fifteen years of service. He tries to commit suicide but because he continuously fails, decides to hire a hitman (Kenneth Colley) to finish the job. After making the contract he meets Margaret (Margi Clarke) and finds new meaning to life, however, he is unable to call off the hitman. 6.12.2
References
[1] “Joe Strummer keeps busy since Clash split”. The Joe Strummer Resource. Archived from the original on October 5, 2011. Retrieved June 29, 2010.
6.12.3 •
External links
I Hired a Contract Killer at the Internet Movie
Database
149
Chapter 7
Albums 7.1
''Capital Radio''
Capital Radio is
a song and an extended play by the English punk rock band The Clash. The original 2:072:09 song has been included as “Capital Radio” or “Capital Radio One” on the Capital Radio EP (1977), Black Market Clash (1980), The Story of the Clash, Volume 1 (1988), Clash on Broadway (1991), From Here to Eternity: Live (1999), The Essential Clash (2003), and Singles Box (2006). Lyrically, the song is an attack on the music policy of what was (at the time) London’s only legal commercial music radio station, which played mainstream chart hits and little if any punk. It mentions the station’s then-Head of Music, Aiden Day - “He picks all the hits they play/to keep you in your place all day”. They're even worse because they had the chance, coming right into the heart of London and sitting in that tower right on top of everything. But they've completely blown it. I'd like to throttle Aiden Day. He thinks he’s the self appointed Minister of Public Enlightenment. We've just written a new song called Capital Radio and a line in it goes “listen to the tunes of the Dr Goebbels Show”. They say “Capital Radio in tune with London”. Yeah, yeah, yeah! They're in tune with Hampstead. They're not in tune with us at all. I hate them. What they could have done compared to what they have done is abhorrent. They could have made it so good that everywhere you went you took your transistor radio — you know, how it used to be when I was at school. I'd have one in my pocket all the time or by my ear'ole flicking it between stations. If you didn’t like one record you'd flick to another station and then back again. It was amazing. They could have made the whole capital buzz. Instead Capital Radio has just turned their back on the whole youth of the city. — Joe Strummer[1]
jingles of the period; the band replaces the lyric “in tune with London” with “in tune with nothing”. The parody is heightened by the use of a variation on the ending riff from 'I'm only dreaming' by the Small Faces. Stiff Little Fingers use a modified version of the chorus as the outro to their song “You Can't Say Crap on the Radio”. 7.1.1
Capital Radio E.P.
The extended play Capital Radio was released on 9 April 1977,[2] and was given away to readers who sent off the coupon printed in the NME, plus the red sticker found on the band’s debut studio album The Clash (1977). It was produced by Mickey Foote and engineered by Simon Humphrey. The interview was with the NME’s Tony Parsons. Track listing
All tracks written by Joe Strummer and Mick Jones. Personnel “Capital Radio One” •
•
Joe Strummer - lead vocal, rhythm guitar Mick Jones - backing vocals, lead guitar, rhythm guitar
•
Paul Simonon - bass guitar
•
Terry Chimes - drums
“Listen”
The song ends with a parody of one of Capital’s actual 150
•
Mick Jones - lead guitars
•
Joe Strummer - lead guitar
•
Paul Simonon - bass guitar
•
Terry Chimes - drums
151
7.2. ''THE CLASH''
over three weekend sessions at CBS Studio 3 in February 1977. By the third of these sessions the album was In 1978-79, “Capital Radio One” was extremely rare in recorded and mixed to completion, with the tapes being the UK, so much so that the group had re-recorded it as delivered to CBS at the start of March. It cost £4000 to “Capital Radio Two” on the extended play The Cost of produce. Living, which was released on 7-inch vinyl on 11 May 1979 through CBS Records. “Capital Radio” was rerecorded because the group learnt that copies of the orig- Album cover inal Capital Radio EP were selling for high prices. “Capital Radio Two” is longer (3:19), mainly because of a pro- The cover artwork was designed by Polish artist Rosław tracted intro and outro. “Capital Radio Two” has been Szaybo. The album’s front cover photo, shot by Kate included on Super Black Market Clash (1994) and Singles Simon, was taken in the alleyway directly opposite the front door of the band’s 'Rehearsal Rehearsals’ building Box (2006). in Camden Market. Drummer Terry Chimes, though a full member of the Clash at the time, did not appear in Personnel the picture as he had already decided to leave the group. Another picture from the same Kate Simon photoshoot Joe Strummer - lead vocal, rhythm guitar appears on the UK Special Edition DVD of Rude Boy, released in 2003. The picture of the charging police offi Mick Jones - backing vocals, lead guitars, rhythm cers on therear, shot by Rocco Macauly, was taken during guitars the 1976 riot at the Notting HillCarnival—the inspiration for the track “White Riot”. Paul Simonon - bass guitar 7.1.2
Capital Radio Two
•
•
•
•
Topper Headon - drums Songs
7.1.3
References
[1] Coon 1977. [2] George Gimarc, Punk Diary, p. 61. Sources •
Coon, Caroline (1977). 1988: The New Wave Punk Rock Explosion. London: Hawthorn. ISBN 0-80156129-9. OCLC 79262599. Retrieved 2011-09-19.
7.1.4 •
External links
Lyrics of this song at MetroLyrics
7.2
''The Clash''
The Clash is the eponymous debut studio album by En-
glish punk rock band the Clash. It was released on 8 April 1977, through CBS Records. It is widely celebrated as one of the greatest punk albums of all time. 7.2.1
Background
The subject of the opening track, "Janie Jones", was a famous brothel keeper in London during the 1970s. "Remote Control" was written by Mick Jones after the Anarchy Tour and contains pointed observations about the civic hall bureaucrats who had cancelled concerts, the police, big business and especially record companies. CBS decided to release the song as a single without consulting the band. "I'm So Bored with the USA", developed from a Mick Jones song, entitled “I'm So Bored with You”,[2] condemns the Americanization of the UK.[3] "White Riot" was the Clash's debut single. The song is short and intense, punk style of two chords played very fast (5 chords in total song). Lyrically, it is about class economics and race.[4] "Career Opportunities", the opening track of the second side of the album, attacks the political and economic situation in England at the time, citing the lack of jobs available, and the dreariness and lack of appeal of those that were available. “Protex Blue”, sung by Mick Jones, is about a 1970s brand of condom. It was inspired by the contraceptive vending machine in the Windsor Castle’s toilets.[5] The song ends with the shouted phrase “Johnny Johnny!", (rubber) johnny being a British slang term for a condom. The version of “White Riot” featured on here was not recorded for the album. Instead, they used the original demo version, recorded at BeaconsfieldStudios before the band signed to CBS.
Most of the album was conceived on the 18th floor of a council high rise on London’s Harrow Road, in a flat that "Police & Thieves" was added to the album when the was rented by Mick Jones’s grandmother, who frequently group realised that the track listing was too short. Anwent to see their live concerts.[1] The album was recorded other cover the band played at these sessions was Bob
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CHAPTER 7. ALBUMS
Marley’s “Dancing Shoes”. "Garageland" was written in response to Charles Shaar Murray's damning review of the Clash’s early appearance at the Sex Pistols Screen on the Green concert – “The Clash are the kind of garage band who should be returned to the garage immediately, preferably withthe engine running”.[6][7][8] Itwasthefinal track recorded for the album. 7.2.2
Release
Released in the United Kingdom through CBS Records on 8 April 1977,[9] engineered by CBS staff engineer Simon Humphrey and produced by Clash live soundman Mickey Foote, at the (since demolished) CBS Whitfield Street Studio No. 3.[10] The Clash was unusually musically varied for a punk band, with reggae and early rock and roll influences plainly evident.
joyous racial confusion, as evangelic outreach and white knuckles and haywire impulses”.[27] In 2003, the US version was ranked number 77 on Rolling Stone magazine’s list of The 500 Greatest Albums of All Time about which was said “youthful ambition bursts through the Clash’s debut, a machine-gun blast of songs about unemployment, race, and the Clash themselves.”[28][29] In March 2003, Mojo magazineranked The Clash number 2 in its Top 50 Punk Albums, writing that the album was “the ultimate punk protest album. Searingly evocative of dreary late '70s Britain, but still timelessly inspiring”.[30] Noted Jamaican producer Lee Perry heard the album while in London in 1977, and played it to Bob Marley, who in turn mentioned the Clash on his own track "Punky Reggae Party". The album was included in Robert Dimery’s 1001 Albums You Must Hear Before You Die.
Reception
The album received critical acclaim and peaked at number 12 in the UK charts.[21] In his 1979 consumer guide for The Village Voice, critic Robert Christgau gave the album’s US import an “A” grade and stated, “Cut for cut, this may be the greatest rock and roll album (plus limitededition bonus single) ever manufactured in the U.S. It offers 10 of the 14 titles on the band’s British debut as well as 7 of the 13 available only on 45. [...] The U.K. version of The Clash is the greatest rock and roll album ever manufactured anywhere”.[22] In hisdecade-end list for the newspaper, he ranked the UK version as the best album of the 1970s.[23] In February 1993, the New Musical Express magazine ranked the album number 13 in its list of the Greatest Albums of All Time.[24] NME also ranked The Clash number 3 in its list of the Greatest Albums of the '70s, and wrote in the review that “the speed-freaked brain of punk set to the tinniest, most frantic guitars ever trapped on vinyl. Lives were changed beyond recognition by it”. In December 1999, Q magazine rated the album 5 stars out of 5, and wrote that the Clash “would never sound so punk as they did on 1977’s self-titled debut....Lyrically intricate...it still howled with anger”. [16] The same magazine placed The Clash at number forty-eight in its list of the 100 Greatest British Albums Ever in 2000, [25] and included The Clash in its “100 Best Punk Albums”, giving it 5 stars out of 5, in May 2002.[26] In 2000, Alternative Press rated the album 5 out of 5. Alternative press review saw The Clash as an eternal punk album, a blueprint for the pantomime of “punkier” rock acts, and that for all of its forced politics and angst, the Clash continues to sound crucial.[12]
7.2.3
Track listing
All tracks written by Joe Strummer and Mick Jones, except where noted. 7.2.4
1979 US version
In the United States, the Clash’s debut studio album was released one year after Give 'Em Enough Rope , so it was their second release in the US. CBS in America had decided that the album was 'not radio friendly', so it was initially only available in the States during 1977–1978 as an import, and as such became the best-selling import of the year, shifting over 100,000 copies.[31] In July 1979, Epic released a modified version of the album for the United States market. This version replaced four songs from the original version with five non-album singles and B-sides, some of which were recorded and released after the Clash’s second studio album, Give 'Em Enough Rope (1978). It also used the re-recorded single version of “White Riot”, rather than the original take featured on the UK version. Omitted from the US version were the following tracks: •
“Deny”
•
“Cheat”
•
“Protex Blue”
•
“48 Hours”
“White Riot” (original version) In May 2001, Spin magazine ranked the album number 3 in its list of the 50 Most Essential Punk Records, and wrote “Punk as alienated rage, as anticorporate blather, as Added were the following tracks: •
153
7.2. ''THE CLASH''
•
“Clash City Rockers” – Initially released as a single (A-side) in the UK in February 1978
•
“Complete Control” – Initially released as a single (Aside) in the UK in September 1977
•
•
“White Riot” (re-recorded version) – Initially released as a single (A-side) in the UK in March 1977 "(White Man) In Hammersmith Palais” – Initially released as a single (A-side) in the UK in June 1978
•
“I Fought the Law” – Initially released as a track on the Clash EP The Cost of Living in the UK in May 1979
•
“Jail Guitar Doors” – Initially released as the B-side to “Clash City Rockers” in the UK in February 1978
Initial copies of the US version also came with a bonus 7-inch single which featured “Groovy Times” and “Gates of the West”.[32] The liner notes incorrectly credit new drummer Nicky Headon for “White Riot”. It was another moderately successful album for the Clash in the United States, even though the sales were likely diluted by the longstanding popularity of the UK version on the import market. The Clash peaked at number 126 on the Billboard charts,[33] setting the stage for the commercial breakthrough of London Calling later that year. Since the Clash’s first UK album had already been released in Canada by CBS Records, when CBS Canada The stairway where the Clash posed for the cover photo in 2008 released the US version, they changed the cover art so as to notconfusethe record buying public. TheCBSCanada Terry Chimes (listed as Tory Crimes) − drums, proversion of the LP has a dark blue border instead of green. duction on US version Initial copies also contained the bonus “Groovy Times” 45”. Some original pressings of the US version featured Topper Headon − drums on tracks 1, 4, 6, 8, 14 on “What’s My Name?" as track 4 and “Complete Control” US version, production on US version as track 11. Though the back of these original pressings list the two songs as they are featured on recent versions of the album. •
•
Production Track listing
All tracks written by Strummer and Jones, except where noted. 7.2.5
Personnel
The Clash •
•
•
Joe Strummer − lead and backing vocals, rhythm guitar, lead guitar on “48 Hours,” production on US version Mick Jones − lead guitar, backing and lead vocals, production on US version
•
Mickey Foote − production, engineering on US version
•
Simon Humphrey − engineering
•
Kate Simon − cover art
•
Rocco Macauly − back cover photo
•
Lee “Scratch” Perry – production on US version
•
Sandy Pearlman – production on US version
•
Bill Price – production on US version
Paul Simonon − bass guitar, production on US ver- 7.2.6 sion
Charts
154
CHAPTER 7. ALBUMS
Chart positions
7.2.7
Certifications
}
[18] Brackett, Nathan; Hoard, Christian, eds. (2004). “The Clash”. The New Rolling Stone Album Guide . Simon & Schuster. pp. 167–68. ISBN 0-7432-0169-8. Retrieved 24 September 2011. [19] “Clash Reissues”. Select . London (114): 88. December 1999.
[20] Weisbard, Eric; Marks, Craig, eds. (1995). Spin Alternative Record Guide. New York: Vintage Books. ISBN 0-679-75574-8. [1] “The Uncut Crap – Over 56 Things You Never Knew About The Clash”. NME . London: IPC Magazines. 3. [21] April 1977 “Official Albums Chart Top 100”. Official 16 March 1991. ISSN 0028-6362. OCLC 4213418. Charts Company.
7.2.8
References
[2] Caws, Matthew (December 1995). “Mick Jones”. Guitar [22] Christgau, Robert (3 September 1979). “Consumer World . New York: Harris Publications. 12. ISSN 1045Guide”. TheVillage Voice. New York. Retrieved 17 April 6295. OCLC 7982091. 2012. [3] Interviewer: Unknown; Presenter: Kurt Loder. “MTV [23] Christgau, Robert (17 December 1979). “Decade PerRockumentary”. http://www.londonsburning.org/art_ sonal Best: '70s”. The Village Voice. New York. Remtv_rockumentary_1.html. London, England. MTV. trieved 21 June 2013. Missing or empty |series= (help) [24] NME (2 February 1993), p. 29 [4] Letts (2001). The Clash: Westway to the World . Event [25] Q (June 2000), p. 70. occurs at 25:45–27:40. [5] “The Windsor Castle”. Retrieved 2 July 2015.
[26] Q (May 2002). SE , p. 135.
[6] Murray, Charles Shaar (5 April 2003). “Joe is dead, but [27] Spin (May 2001), p. 108. the Clash are immortal”. Telegraph.co.uk. Retrieved 7 [28] Rolling Stone (937). 11 December 2003. p. 114. Missing May 2010. I described them as the kind of garage band or empty |title= (help) who should be speedilyreturnedto their garage, preferably with the engine running [29] Levy, Joe; Steven Van Zandt (2006) [2005]. “77 | The Clash – The Clash”. Rolling Stone’s 500 Greatest Albums [7] Letts (2001). The Clash: Westway to the World . Event of All Time (3rd ed.). London: Turnaround. ISBN 1occurs at 25:00–25:35. 932958-61-4. OCLC 70672814. Archived from the original on 14 December 2007. Retrieved 2 December 2007. [8] Needs, Kris (November 2004). “HOW I MET THE CLASH”. trakMARX.com. Retrieved 21 November [30] Mojo (March 2003), p. 76. 2007. [31] Letts (2001). The Clash: Westway to the World . Event [9] The Clash - The Clash (Vinyl, LP, Album) at Discogs occurs at 34:00–36:00. [10] The Clash. Mojo, Mojo Classic issue . p. 33.
[32] Letts (2001). The Clash: Westway to the World . Event occurs at 44:40–45:00.
[11] Erlewine, Stephen Thomas. “The Clash – The Clash”. [33] “The Clash - The Clash – Awards”. AllMusic. Billboard . AllMusic. Retrieved 18 August 2004.
[12] “The Clash: The Clash”. Alternative Press . Cleveland [34] "Swedishcharts.com – TheClash – TheClash”. HungMedien. (140): 74–75. March 2000. [13] Wolk, Douglas (21 August 2007). “The Clash: The Clash [35] “British album certifications – The Clash – The Clash”. British Phonographic Industry. 31 December 1979. Enter (U.S. Version)". Blender . New York. Archived from the The Clash in the field Keywords. Select Title in the field original on 2 July 2009. Retrieved 31 August 2016. Search by. Select album in the field By Format. Select [14] Larkin, Colin (2011). Encyclopedia of Popular Music (5th Gold in the field By Award. Click Search ed.). Omnibus Press. ISBN 0-857-12595-8. [36] “American album certifications – The Clash – The Clash”. Recording Industry Association of America. 12 Novem[15] “The Clash”. Acclaimed Music. Retrieved 10 September ber 1991. If necessary, click Advanced , then click Format , 2015. then select Album , then click SEARCH [16] “The Clash: The Clash”. Q . London (159): 152–33. De[37] “British album certifications – The Clash – The Clash cember 1999. (UK Version)". British Phonographic Industry. Enter The [17] Miles, Milo (20 June 2002). “The Clash: The Clash”. Clash (UK Version) in the field Keywords. Select Title in Rolling Stone. New York: 87. Archived from the original the field Search by. Select album in the field By Format. on 1 December 2002. Retrieved 5 September 2016. Select Gold in the field By Award. Click Search
155
7.4. ''GIVE 'EM ENOUGH ROPE''
listed as “Capital Radio Two”, is much longer, mainly because of a protracted outro. Gates of the West clearly describes the ecstasy of The Clash in their first encounter with the United States “Eastside Jimmy & Southside Sue both said they needed something new”. “From Camden Town Station to 44th & 8th” describes their journey from their London neigh7.2.9 Further reading borhood to the middle of Manhattan. Gilbert, Pat (2005) [2004]. Passion Is a Fash- It was recorded in Highbury, London, and features “extra ion: The Real Story of The Clash (4th ed.). Lonhigh vocal” credited to Dennis Ferranti and harmonica don: Aurum Press. ISBN 1-84513-113-4. OCLC credited to Bob Jones (in reality Mick Jones). 61177239. [38] “British album certifications – The Clash – The Clash (US Version)". British Phonographic Industry. Enter The Clash (US Version) in the field Keywords. Select Title in the field Search by. Select album in the field By Format. Select Silver in the field By Award. Click Search
•
•
•
•
•
•
Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). Lon- 7.3.1 Track listing don: Helter Skelter. ISBN 1-905139-10-1. OCLC All songs written by Strummer/Jones except where noted. 60668626. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd Side one ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 1. "I Fought the Law" (Sonny Curtis) - 2:40 52990890. 2. "Groovy Times" - 3:25 Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Side two Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
7.2.10 •
External links
The Clash at Discogs (list of releases)
1. “Gates of the West” - 3:26 2. "Capital Radio" - 4:05 3. “The Cost of Living Advert” (only on original vinyl and Japanese version of the singles box set)
7.3.2
Charts
7.3.3
References
[1] Allmusic review
7.3
''The Cost of Living''
an EP by the English punk rock band The Clash. It was released on 11 May 1979 in a gatefold sleeve. The EP was produced by the band and Bill Price, it marked a transition in musical styles for the band, bridgingtheintensity of their earlier, punky albums with the broader, more American influenced rock androll yet to come on London Calling, most evident on the folk rocking "Groovy Times" and “Gates of the West”. The Clash’s cover of Sonny Curtis' "I Fought the Law" became one of the definitive recordings of the song, and remained in the band’s live set list for much of the rest of their career. Joe Strummer also performed it with his later bands, including during his stint with The Pogues. The early single "Capital Radio" was re-recorded because the band learned that copies of the original Capital Radio EP were selling for high prices. “Capital Radio”, later
[2] “The Irish Charts”. IrishCharts.ie. Irish Singles Chart. Enter I FOUGHT THE LAW in the field Search by Song Title and click search.
The Cost of Living is
[3] “1979 Top 40 Official Singles Chart UK Archive: 23rd June 1979”. UK Singles Chart. Official Charts Company. 1979-06-23.
7.4
''Give 'Em Enough Rope''
Give 'Em Enough Rope is
the second studio album by the English punk rock band the Clash. It was released on 10 November 1978 through CBS Records. It was their first album released in the United States, preceding the US version of The Clash. The album was well received by critics and fans, peaking at number two in the United Kingdom Albums Chart,[1][2] and number 128 in the Billboard 200.[3][4]
156 7.4.1
CHAPTER 7. ALBUMS
Background
The album’s cover art was designed by Gene Greif, the front of which was based on a postcard titled “End of the Trail”, photographed by Adrian Atwater and featuring Wallace Irving Robertson. The cover of the first US pressings showed the band’s name written in block capital letters. Subsequent US pressings used a faux-oriental style font, which was then replaced with the more ornate faux-oriental style font used on the UK release. The original American issue of the album also retitled "All the Young Punks" as “That’s No Way to Spend Your Youth”. This was revised on later editions. "Tommy Gun" and "English Civil War" were released as the album’s singles, either side of Christmas 1978. They entered the UK charts at numbers 19 and 25, respectively. Though the opening track of side two, “Guns on the Roof”, is ostensibly about global terrorism, war and corruption, it was partly inspired by an incident that resulted in the Metropolitan Police's armed anti-terrorist squad raiding the Clash’s Camden Market base. Paul Simonon and Topper Headonwere arrested andcharged with criminal damage (and later fined £750) for shooting racing pigeons with an air-gun from the roof of their rehearsal building. The band continued to include contemporary subjects in their lyrics on the album; “Tommy Gun” deals with Middle Eastern terrorism, specifically the hi-jacking of aircraft, while “Julie’s Been Working for the Drug Squad” is a commentary on the infamous "Operation Julie" drug bustthatsawthelargest LSD production ringin the world, based in Wales, dismantled by an undercover police operation. The song also makes a reference to the Beatles' song "Lucy in the Sky with Diamonds" in the opening line, “It’s Lucy in the sky and all kinds of apple pie”. “Julie’s Been Working for the Drug Squad” was originally titled “Julie’s in the Drug Squad”, as listed on the original pressing of the album. The song’s title was changed when Give 'Em Enough Rope was released on CD. During recording of the album, Joe Strummer's trademark Telecaster guitar needed to be taken in for repairs, so he played a hired semi-hollowGibson ES-345 for most of the sessions.[5] Sandy Pearlman, who produced the original album, was not a big fan of Joe Strummer’s voice, to the point that he ensured the drums were mixed louder than the lead singer’s vocals on the entire album. [6] Other songs recorded during the sessions was the single "(White Man) In Hammersmith Palais", as well as Bsides"Pressure Drop", “1-2 Crush on You” and “ThePrisoner”. Four more songs were recorded: “One Emotion”, "Groovy Times", “Ooh Baby Ooh (It’s Not Over)" (AKA “Rusted Chrome”, later reworked and released as “Gates of the West”) and “RAF 1810” (This song was mentioned byJoe Strummer in an interviewto promoteGEER as one that never made the final cut of the album. I doubt this song was ever recorded or played live and thus is the great
lost Clash song). 7.4.2
Critical reception
In a contemporary review for Rolling Stone, Greil Marcus hailed Give 'Em Enough Rope as a poised, unpretentious record of “straight English punk with a grip on the future” and “accessible hard rock” showcasing the Clash’s unyielding, humorous “vision of public life": “The band’s vision of a world strangling on its own contradictions hasn't changed, but their idea of their place in that world has.”[2] Robert Christgau wrote in The Village Voice that the album’s pessimistic mood and a couple of bad songs or moments made it less listenable than the band’s debut record, but concluded that most of the songs were “effective melodically as anything on The Clash, and even the band’s ruminations on the star as culture hero become more resonant as you hear them over and over again. This isn't among the greatest rock albums ever, but it is among the finest of the year.” [12] He named it the fourth best album of 1978 in his list for the Pazz & Jop,[13] an annual poll of American critics in which Give 'Em Enough Rope also finished fourth.[14] Sounds magazine named it the year’s best record.[8] In 1993, Give 'Em Enough Rope was named the 87th greatest album of all time in NME magazine.[15] Q included the record in their “100 Best Punk Albums” list,[16] and wrote in retrospect, "...no more punk than Blondie...[it] shined of quality....their drumming problems were over with the arrival of jazz-trained [Topper] Headon.” [9] 7.4.3
Track listing
All tracks written by Joe Strummer and Mick Jones, except where noted. All lead vocals by Strummer, except “Stay Free” by Jones. 7.4.4
Personnel
The Clash •
Joe Strummer – lead and backing vocals, rhythm guitar
•
Mick Jones – lead guitar, backing and lead vocals
•
Paul Simonon – bass guitar, backing vocals
•
Topper Headon – drums
with: •
Allen Lanier - piano on “Julie’s Been Working for the Drug Squad” (uncredited)
157
7.4. ''GIVE 'EM ENOUGH ROPE''
•
•
Stan Bronstein (of Elephant’s Memory) - saxophone [10] Brackett, Nathan; Hoard, Christian, eds. (2004). “The Clash”. The New Rolling Stone Album Guide . London: on “Drug Stabbing Time” (uncredited) [17]
Fireside. pp. 167–168. ISBN 0-7432-0169-8. Retrieved 24 September 2011. Portions posted at “The Clash > Album Guide”. rollingstone.com. Retrieved 24 September 2011.
Bob Andrews - keyboards on “Stay Free” (uncredited) [17]
Production
[11] Rosegen, Jeff. “Give Em Enough Rope”. Tiny Mix Tapes . Retrieved 10 September 2015.
•
Sandy Pearlman – producer
•
Corky Stasiak – engineer
[12] Christgau, Robert (25 December 1978). “Christgau’s Consumer Guide”. The Village Voice. New York. Retrieved 10 September 2015.
•
Paul Subblebine – mastering engineer
[13] Pazz & Jop 1978: Dean’s List
•
Dennis Ferrante – sound engineer
[14] Pazz & Jop 1978
•
Gregg Caruso – sound engineer
[15] “Greatest Albums of All Time”. NME . London: 29. 2 October 1993.
•
•
Kevin Dallimore – sound engineer Chris Mingo – sound engineer
•
Gene Greif – cover designer
•
Hugh Brown – concept designer, cover photograph
7.4.5
Charts
7.4.6
Certifications
7.4.7
References
[1] “UK Chart Archive”. everyHit.co.uk. Retrieved 17 February 2008. [2] Marcus, Greil (25 January 1979). “The Clash Give 'Em Enough Rope > Album Review”. Rolling Stone (283). Archived from the original on 29 June 2007. Retrieved 20 January 2007.
[16] “100 Best Punk Albums”. Q . London: 135. May 2002. [17] (Fletcher: The Clash: The Music That Matters ) [18] “Discography The Clash”. SwedishCharts.com. Archived from the original on 9 June 2008. Retrieved 23 February 2008. [19] “British album certifications – The Clash – Give 'Em Enough Rope”. British Phonographic Industry. 31 December 1979. Enter Give 'Em Enough Rope in the field Keywords. Select Title in the field Search by. Select album in the field By Format. Select Gold in the field By Award. Click Search
7.4.8 •
•
[3] The Clash > Charts & Awards > Billboard Albums at AllMusic. Retrieved 26 October 2008. [4] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash (2001). The Clash, Westway to the World (Documentary). New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 41:00–45:00. ISBN 07389-0082-6. OCLC 49798077.
•
•
[5] Sounds Magazine 17 June 1978 [6] NME Magazine 16 March 1991 [7] Erlewine, Stephen Thomas. Give 'Em Enough Rope at AllMusic. Retrieved 13 September 2004. [8] “Give 'Em Enough Rope”. Acclaimed Music. Retrieved 10 September 2015. [9] Q . London: 152–3. December 1999.
•
•
Further reading
Fletcher, Tony (2012) [2012]. The Clash: The Music That Matters . London: Omnibus Press. ISBN 978-1780383033. Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890. Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325.
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Topping, Keith (2004) [2003]. The Complete Clash prepared for their third album.[13] :89,91 (2nd ed.). Richmond: Reynolds & Hearn. ISBN Once in Vanilla Studios, the group began performing 1-903111-70-6. OCLC 63129186. cover songs from a variety of genres, such as rockabilly, rock 'n' roll, rhythm and blues, and reggae.[2][13] :93–7 In contrast to previous rehearsal sessions, the band kept these rehearsals private, and disallowed hangers-on from 7.5 ''London Calling'' attending the Vanilla sessions.[13]:90 This seclusion alThis article is about the album. For other uses, see lowed the band to rebuild their confidence without worrying about the reaction from outsiders, who were familiar London Calling (disambiguation). with their older punk rock musical style.[13]:97 The band developed an “extremely disciplined”[13]:98 London Calling is the third studio album by English punk rock band the Clash. It was released as a double al- daily routine of afternoon musical rehearsals, broken fostered bum in the United Kingdom on 14 December 1979 by by a late-afternoon social football game, which[13]:98–100 CBS Records, and in the United States in January 1980 a friendly bond between the band members. by Epic Records.[1] London Calling is a post-punk al- The daily football match was followed by a couple of bum that incorporates a range of styles, including punk, drinks at a local pub, which was itself followed by a secrehearsal session at Vanilla Studio in the reggae, rockabilly, ska, New Orleans R&B, pop, lounge ond musical [13]:98–100 evening. jazz, and hard rock. The album’s subject matter included social displacement, The band gradually rebuilt their musical and songwritunemployment, racial conflict, drug use, and the respon- ing confidence during these rehearsal sessions during the sibilities of adulthood.[2] While working on “The Card summer of 1979, with the styles of the sessions’ early mateCheat”, the band recorded each part twice to create cover songs setting the template for the diverse [13]:98 The London Calling rial that would be written for . a “sound as big as possible”.[3] “Lover’s Rock” advocates safe sex and planning.[4] The final track, "Train band were also encouraged by a growing appreciation of in Vain", was originally excluded from the back cover’s drummer Topper Headon’s drumming skills, which they in a wide array track listing.[5] It was intended to be given away through realised could be used to perform music[13]:95 of genres and styles beyond punk rock. The Clash a promotion with NME , but was added to the album at the wrote and recorded demos, with Mick Jones composing last minute after the deal fell through. [6] and arranging much of the music and Joe Strummer genThe album received widespread acclaim and was ranked erally writing the lyrics.[2][13] :100–103 at number eight on Rolling Stone's list of The 500 GreatClash had started to est Albums of All Time in 2003.[7] London Calling was As early as their second album, the[14] a top ten album in the UK, and its lead single "London depart from the punk rock sound. While touring in Calling" was a top 20 single. [8] It has sold over five mil- the United States twice in 1979, they chose supporting lion copies worldwide,[7] and was certified platinum in the acts such as rhythm and blues artists Bo Diddley, Sam & Dave, Lee Dorsey, and Screamin' Jay Hawkins, as well as United States.[9] neotraditional country artist Joe Ely and punk rockabilly band the Cramps. This developed fascination with rock and roll inspired their approach for London Calling.[15] 7.5.1 Recording and production In August 1979, the band entered Wessex Studios to beAfter recording their second studio album Give 'Em gin recording London Calling. The Clash asked Guy Enough Rope (1978), the band separated from their man- Stevens to produce the album, much to the dismay of ager Bernard Rhodes.[10] This separation meant that the CBS Records.[16] Stevens had alcohol and drug problems group had to leave their rehearsal studio in Camden and his production methods were unconventional.[2] DurTown and find another location to compose their music. ing a recording session he swung a ladder and upturned Tour manager Johnny Green and drum roadie Baker had chairs – apparently to create a rock & roll atmosphere. [2] found the group a new place to rehearse called Vanilla The Clash got along well with Stevens, especially bassist Studios, which was located in the back of a garage in Paul Simonon, who found his work to be very helpful and productive to his playing and their recording as a band. Pimlico.[11][12][13] :88 during a five- to six-week period Prior to this move to the Vanilla Studios rehearsal space, The album was recorded[17] the Clash’s songwriters Mick Jones and Joe Strummer involving 18-hour[2]days, with many songs recorded in had experienced a period of writer’s block.[13]:91 They one or two takes. •
had not written a new song from scratch in over one year, with the material on their recently released Cost of Living EP, composed of a cover song and three songs that had all been written over 12 months earlier.[13] :91 The Clash arrived at Vanilla in May 1979 without a single new song
159
7.5. ''LONDON CALLING''
lyrics, which discuss an individual’s paranoid outlook on life, but was encouraged by Strummer to continue work[29] According to the music critic Mark Kidel, London Call- ing on it. On "Death or Glory", Strummer examines the complications ing was the first post-punk double album and exhibited a his life in retrospect and acknowledges [31] broader range of musical styles than the Clash’s previous and responsibilities of adulthood. records.[18] Stephen Thomas Erlewine said the album ap- “Lover’s Rock” advocates safe sex and planning.[32] The propriated the "punk aesthetic into rock & roll mythology final track, "Train in Vain", was originally excluded from and roots music", while incorporating a wider range of the back cover’s track listing.[33] It was intended to be styles such as punk, reggae, rockabilly, ska, New Orleans given away through a promotion with NME , but was R&B, pop, lounge jazz, and hard rock.[19] According to added to the album at the last minute after the deal fell Greg Kot, the band’s embrace of specific musical tradi- through.[34] tions deviated from punk’s iconoclastic sensibilities.[20] Regarding London Calling, Jack Sargeant remarked that “whether the Clash completely abandoned their punk 7.5.3 Artwork roots or pushed punk’s musical eclecticism and diversity The album’s front cover features a photograph of bassist into new terrain remains a controversial issue.”[14] The album’s songs were generally written about Lon- Paul Simonon smashing his Fender Precision Bass (on Cleveland Rock and Roll Hall of Fame asof don, withnarratives featuringboth fictional and life-based display at the [35] characters, such as an underworld criminal named Jimmy May 2009) against the stage at The Palladium in New 1979 during the Clash Take Jazz anda gun-toting Jimmy Cliffaspirer living in Brixton York City on 20 September [36][37] Simonon explained in a 2011 ("Guns of Brixton"). Some had more widely contextu- the Fifth US tour. alised narratives, including references to the “evil presi- interview with Fender that he smashed the bass out of dentes” working for the "clampdown", the lingering ef- frustration when he learned the bouncers at the concert fects of the Spanish Civil War ("Spanish Bombs"), and would not let the audience members stand up out of their how constant consumerism had led to unavoidable polit- seats. Pennie Smith, who photographed the band for the ical apathy ("Lost in the Supermarket").[21] Sal Ciolfi of album, originally did not want the photograph to be used. PopMatters felt that the songs encompass an arrangement She thought that it was too out of focus, but Strummer Ray Lowry thought it would make of urban narratives and characters, and touch on themes and graphic designer[37][38] a good album cover. In 2002, Smith’s photograph such as sex, depression and identity crisis.[22] Music critic Tom Carson viewed that, while the album draws on the was named the best rock and roll photograph of all time the ultimate entirety of rock and roll’s past for its sound, the concepts by Q magazine, commenting that “it captures [39] and lyrical themes are drawn from the history, politics rock'n'roll moment – total loss of control”. 7.5.2
Music and lyrics
and myths associated with the genre. [23] “London Calling”, the album’s title track, was partially influenced by the March 1979 accident at a nuclear reactor at Three Mile Island in Pennsylvania. Strummer’s lyrics also discuss the problems of rising unemployment, racial conflict and drug use in Britain.[24] The second track, "Brand New Cadillac", was written and originally recorded by Vince Taylor and was the first track recorded for London Calling. The band cite the song as “one of the first British rock'n'roll records” and had initially used it as a warm up song before recording.[25][26] "Rudie Can't Fail", the album’s fifth song, features a horn section and mixes elements of pop, soul, and reggae music together. Its lyrics chronicle the life of a fun-loving young man who is criticised for his inability to act like a responsible adult.[27] Strummer wrote “Lost in the Supermarket” after imagining Jones’ childhood growing up in a basement with his mother and grandmother.[28] "Clampdown" began as an instrumental track called “Working and Waiting”.[29] Its lyrics comment on people who forsake the idealism of youth and urge young people to fight the status quo.[30]
The cover artwork was designed by Lowry and was an homage to the design of Elvis Presley's self-titled debut album, with pink letters down the left side and green text across the bottom.[40][41] The cover was named the ninth best album cover of all time by Q magazine in 2001.[42] In 1995, Big Audio Dynamite (a band fronted by former Clash member Mick Jones) used the same scheme for their F-Punk album. The album cover for London Calling was among the ten chosen by the Royal Mail for a set of “Classic Album Cover” postage stamps issued in January 2010.[43][44] 7.5.4
Release
The album was released in the United Kingdom on vinyl in mid-December 1979, and in the United States on vinyl and 8-track tape two weeks later. A gatefold cover design of the LP was only released in Japan. Though London Calling was released as a double album it was only sold for about the price of a single album. The Clash’s record label, CBS, at first denied the band’s request for the album to be released as a double. In return CBS gave "The Guns of Brixton" was the first of Paul Simonon’s permission for the band to include a free 12-inch single compositions the band recorded, and the first to have that played at 33⅓ rpm. Ultimately, the planned 12-inch him sing lead. Simonon was originally doubtful about its record became a second nine-track LP.[12]
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CHAPTER 7. ALBUMS
Upon its release, London Calling sold approximately two million copies.[7] The album peaked at number nine in the United Kingdom[8] and was certified gold in December 1979.[45] The album performed strongly outside the United Kingdom. It reached number two in Sweden[46] andnumber four in Norway.[47] In the United States, London Calling peaked at number 27 on the Billboard Pop Albums chart[48] and was certified platinum in February 1996.[9] The album produced two of the band’s most successful singles. "London Calling" preceded the album with a 7 December 1979 release. It peaked at number 11 on the UK Singles Chart.[8] The song’s music video, directed by Letts, featured the band performing the song on a boat in the pouring rain with the River Thames behind them.[49] In the United States, "Train in Vain", backed with “London Calling”, was released as a single in February 1980. It peaked at number 23 on the Billboard Hot 100 singles chart and “London Calling"/"Train in Vain” peaked at number 30 on the Billboard Disco Top 100 chart.[50] A UK only cassette was released in 1986. A CD was released in the US in 1987, with a remastered version in the UK in 1999 followed by the US in 2000, along with the rest of the band’s catalogue. In 2004, a 25th anniversary Legacy Edition was published with a bonus CD and DVD in digipack. The bonus CD features The Vanilla Tapes , missing recordings made by the band in mid-1979.[51] The DVD includes The Last Testament – The Making of London Calling, a film by Don Letts, as well as previously unseen video footage and music videos. A limited edition picture disc LP was released in 2010. 7.5.5
Reception and legacy
London Calling received widespread critical acclaim
when it was first released in 1979.[61] In a contemporary review for The New York Times , John Rockwell said the album finally validated the acclaim received by the Clash up to that point because of how their serious political themes and vital playing were retained in music with innovative features and broad appeal: “This is an album that captures all the Clash’s primal energy, combines it with a brilliant production job by Guy Stevens and reveals depths of invention and creativity barely suggested by the band’s previous work.”[62] Charles Shaar Murray wrote in NME that it was the first record to be on-par with the band’s hype, while Melody Maker critic James Truman said the Clash had “discovered themselves” by embracing American music styles.[13]:412 Rolling Stone magazine’s Tom Carson claimed the music celebrated “the romance of rock & roll rebellion” and was vast, engaging, and enduring enough to leave listeners “not just exhilarated but exalted and triumphantly alive”. [23] In the opinion of Down Beat journalist Michael Goldberg, the Clash had produced “a classic rock album which, literally, defines the state of rock and roll and against which the very best of [the 1980s] will have to be judged.” [55] Charlie
Gillett was less impressed, believing some of the songs sounded like poor imitations of Bob Dylan backed by a horn section. In Sounds , Garry Bushell was more critical and gave the record two out of five stars, claiming the Clash had “retrogressed” to Rolling Stones-style “outlaw imagery” and “tired old rock clichés”.[13]:412 London Calling was voted the best album of 1980 in the Pazz & Jop, an annual poll of American critics published by The Village Voice.[63] Robert Christgau, the poll’s creator and supervisor, also named it the year’s best record in an accompanying piece and remarked that “it generated an urgency and vitality and ambition (that Elvis P. cover!) which overwhelmed the pessimism of its leftist world-view.”[64] In a retrospective review, he called it the best double album since the Rolling Stones' Exile on Main St. (1972) and said it expanded upon rather than compromised the Clash’s driving guitar sound in a “warm, angry, and thoughtful, confident, melodic, and hard-rocking” showcase of their musical abilities.[54] According to the English music writer Dave Thompson, London Calling established the Clash as more than “a simple punk band” on what was a “potent” record of neurotic post-punk, despite its amalgam of disparate and occasionally disjointed musical influences.[65] Don McLeese from the Chicago Sun-Times hailed it as their best album and “punk’s finest hour”, as it found the band broadening their artistry without compromising their original vigor and immediacy.[53] PopMatters critic Sal Ciolfi called it a “big, loud, beautiful collection of hurt, anger, restless thought, and above all hope” that still sounds “relevant and vibrant”.[22] In a review of its reissue, Uncut wrote thatthe songs and characters in thelyrics cross-referenced each other because of the album’s exceptional sequencing, addingthat “The Vanilla Tapes” bonus disc enhanced what was already a “masterpiece”. [66] Accolades
London Calling has been considered by many critics to
be one of the greatest rock albums of all time, [67] including AllMusic's Stephen Thomas Erlewine, who said that it sounded more purposeful than “most albums, let alone double albums”.[19] According to Acclaimed Music, it is the 6th most ranked record on critics’ lists of the all-time greatest albums. [68] In 1987, Robert Hilburn of the Los Angeles Times named it the fourth best album of the previous 10 years andsaid while the Clash’s debutwas a punk masterpiece, London Calling marked the genre’s “coming of age” as the band led the way into “fertile postpunk territory”.[69] In 1989, Rolling Stone ranked it as the best album of the 1980s, despite its 1979 release date. [70] In 1999, Q magazine named London Calling the fourth greatest British album of all time,[71] and wrote that it is “the best Clash album and therefore among the very best albums ever recorded”.[57] In 2002, Q included it on its list of the 100 Best Punk Albums,[72] and in 2003, Mojo ranked it twenty second on their list of the Top 50 Punk
161
7.5. ''LONDON CALLING''
Albums,[73] while British writer Colin Larkin named it Mickey Gallagher – organ [74] the second greatest punk album of all time. The Irish Horns – brass London Calling was ranked as the sixth greatest album of the 1970s by NME ,[75] and the second best by Pitchfork Production Media,[76] whose reviewer Amanda Petrusich said that it was the Clash’s “creative apex” as a “rock band” rather Guy Stevens – producer than as a punk band.[77] In 2003, London Calling was ranked number eight on Rolling Stone's list of The 500 Bill Price – engineer Greatest Albums of All Time.[7] Entertainment Weekly's Jerry Green – additional engineer Tom Sinclair declared it the “Best Album of All Time” in [78] his headline for a 2004 article on the album. In 2007, Ray Lowry – design London Calling was inducted into the Grammy Hall of Fame, a collection of recordings of lasting qualitative or Pennie Smith – photography historical significance.[79] The album was included in the BBC Radio 1 2009 Masterpieces Series, marking it as one of the most influential albums of all time, some thirty 7.5.9 Charts years after its original release.[80] •
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Notes
7.5.6
Planned film
[1] London Calling 25th anniversary edition
In December 2010, the BBC reported that a film about the recording of London Calling was in the early stages 7.5.10 Certifications of production. Mick Jones and Paul Simonon were executive producers for the film. The script was written by Jez 7.5.11 References Butterworth and shooting was planned to begin in 2011. Alison Owen and Paul Trijbits had been chosen as the [1] Hoffmann, Frank (2005). Encyclopedia of Recorded producers.[81][82] Sound . Routledge. p. 397. 7.5.7
Track listing
All tracks written by Joe Strummer and Mick Jones, except where noted. •
On the originalversion of the album, “Train in Vain” was not listed on the sleeve, nor the label on the record itself, but an extraneous sticker indicating the track was affixed to the outer cellophane wrapper. It was also scratched into the vinyl in the run-off area on the fourth side of the album. Later editions included the song in the track listing.
7.5.8
Personnel
The Clash •
•
•
•
Joe Strummer – lead and backing vocals, rhythm guitar, piano Mick Jones – lead guitar, piano, harmonica, backing and lead vocals Paul Simonon – bass guitar, backing vocals, lead vocals on “The Guns of Brixton” Topper Headon – drums, percussion
Additional performers
[2] Sinclair, Tom. “The Best Album of All Time” Archived 25 July 2014 at the Wayback Machine.. Entertainment Weekly . 24 September 2004. Retrieved 20 February 2008. [3] Sweeting, Adam. “Death or Glory”. Uncut . October 2004. p. 68. [4] Spicer, Al (1999). Rock: 100 Essential CDs : The Rough Guide. Rough Guides. p. 44. ISBN 1-85828-490-2. [5] Green 2003, p. 218. [6] Back, Johnny. “The Greatest Songs Ever! “Train in Vain (Stand by Me)"". Blender . April/May 2002. Retrieved 18 February 2008. Archived 21 February 2009 at the Wayback Machine. [7] Levy, Joe; Steven Van Zandt (2006) [2005]. “8| London Calling – The Clash”. Rolling Stone’s 500 Greatest Albums of All Time (3rd ed.). London: Turnaround. ISBN 1-932958-61-4. OCLC 70672814. Retrieved 18 June 2005. [8] “UK Chart Archive” Archived 17 April 2016 at the Wayback Machine.. everyHit.co.uk. Retrieved 17 February 2008. [9] “RIAA Searchable Database” Archived 26 June 2007 at the Wayback Machine.. Recording Industry Association of America. Retrieved 17 February 2008. [10] Gilbert 2005, pp. 212–213. [11] Green 2003, p. 156.
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[12] Sweeting, Adam. “Death or Glory”. Uncut . October [34] Back, Johnny. “The Greatest Songs Ever! “Train in Vain 2004. p. 58. (Stand by Me)"". Blender . April/May 2002. Retrieved 18 February 2008. Archived 21 February 2009 at the [13] Gray, Marcus (2010). Route 19 Revisited: The Clash and Wayback Machine. London Calling. Soft Skull Press. ISBN 1-59376-391-3. [35] “Exhibit and Information Guide.” p. 5. Retrieved 17 May [14] Barber, Chris; Sargeant, Jack (2006). No Focus . Head2009. Archived 17 January 2010 at the Wayback Mapress. p. 41. ISBN 1-900486-59-8. chine. [15] Erlewine, Stephen Thomas. “The Clash”. AllMusic. Re- [36] Green 2003, pp. 195–196. trieved 9 July 2013. [37] Sweeting, Adam. “Death or Glory”. Uncut . October [16] Gilbert 2005, p. 235. 2004. p. 70. [17] Michie, Chris (1 November 2000). “Classic Tracks: The [38] Godwin, Richard (15 June 2010). “London Calling Clash’s 'London Calling'". Mix . Retrieved 18 January again”. London Evening Standard . Retrieved 16 June 2013. 2010. Lowry: “Actually, I had no idea it was out of focus. Half-blind at the best of times and half-pissed at the time, [18] Kidel, Mark (1980). “Explorations of Heartache”. New that simply had to be the one.” Statesman. 99 . London. p. 225. [39] Judd, Terri. “One hundred timeless rock'n'roll moments, [19] Erlewine, Stephen Thomas. “London Calling – The and the photographers who ...”. The Independent . 24 JanClash”. AllMusic. Retrieved 7 April 2016. uary 2002. Retrieved 17 February 2008. [20] Kot, Greg (13 February 2000). “Rebel Recall”. Chicago [40] Green 2003, p. 194. Tribune. Retrieved 9 July 2013. [41] Tryangiel, Josh. “The All-TIME 100 Albums: London [21] Taylor, Steve (2006). The A to X of Alternative Music . Calling” Archived 2 February 2011 at the Wayback MaContinuum. p. 67. ISBN 0-8264-8217-1. chine.. Time. 13 November 2006. Retrieved 17 February 2008. [22] Ciofli, Sal (10 March 2004). “The Clash: London Calling > Album Review”. PopMatters . Retrieved 22 February [42] O'Connor, Mickey. “London’s Q magazine picked these; 2008. what are yours?" Archived 25 July 2014 at the Wayback Machine.. Entertainment Weekly . 14 March 2001. Re[23] Carson, Tom (3 April 1980). “The Clash London Calltrieved 17 February 2008. ing > Album Review”. Rolling Stone (314). Retrieved 22 February 2008. [43] “Classic Album Covers: Issue Date – 7 January 2010”. Royal Mail. Retrieved 8 January 2010. [24] “The RS 500 Greatest Songs of All Time: The Clash London Calling” Archived 9 April 2010 at the Wayback Ma[44] Michaels, Sean (8 January 2010). “Coldplay album gets chine.. Rolling Stone. 9 December 2004. Retrieved 18 stamp of approval fromRoyal Mail”. The Guardian. LonFebruary 2008. Archived 9 April 2010 at the Wayback don. Retrieved 8 January 2010. Machine. [45] “British gold certification for London Calling Archived [25] Sweeting, Adam. “Death or Glory”. Uncut . October 7 December 2008 at the Wayback Machine.. British 2004. p. 65. Phonographic Industry. 31 December 1979. Retrieved 17 February 2008. Archived 7 December 2008 at the [26] Gilbert 2005, p. 237. Wayback Machine. [27] Guarisco, Donald A. “Rudie Can't Fail Review”. [46] “Discography The Clash”. SwedishCharts.com. ReAllMusic. Retrieved 18 February 2008. trieved 17 February 2008. [28] London Calling: 25th Anniversary Legacy Edition. “The Last Testament – The Making of London Calling”. Infor- [47] “Discography The Clash” Archived 3 March 2016 at the Wayback Machine.. NorwegianCharts.com. Retrieved26 mation about the recording of London Calling . Retrieved October 2008. 18 February 2008. [29] Sweeting, Adam. “Death or Glory”. Uncut . October [48] “The Clash > Charts & Awards > Billboard Albums”. AllMusic. Retrieved 26 October 2008. 2004. p. 67. [30] Guarisco, Donald A. “Clampdown Review”. AllMusic. [49] Sweeting, Adam. “Death or Glory”. Uncut . October 2004. p. 69. Retrieved 18 February 2008. [31] Gilbert 2005, p. 259. [32] Spicer, Al (1999). Rock: 100 Essential CDs : The Rough Guide. Rough Guides. p. 44. ISBN 1-85828-490-2. [33] Green 2003, p. 218.
[50] “The Clash > Charts & Awards > Billboard Singles”. AllMusic. Retrieved 17 February 2008. [51] Gilbert, Pat. “The 'Vanilla Tapes’". London Calling: 25th Anniversary Legacy Edition (CD liner notes). September 2004.
7.5. ''LONDON ''LONDON CALLING'' CALLING''
163
[52] Wolk, Douglas (21 Douglas (21 August 2007). “The Clash: London [70] Azerrad, Michae Michaell; DeCurtis, Antho Anthony ny (16 (16 November Calling”.. Blender . New York. Archived from the Calling” from the original 1989). “The 1989). “The 100 Best Albums of the Eighties: The Clash, on 2 July 2009. Retrieved 31 August 2016. 'London Calling'". Calling'". Rolling Stone (565). p. 53. Retrieved 30 June 2008. [53] McLeese, McLeese, Don (16 March 1987). 1987). “Husker “Husker Du proves its Greatest British British Albums”. Q Albums”. Q magazine: 90. Decemwide range”. range”. Chicago Sun-Times . p. 36. Retrieved 9 July [71] “100 Greatest ber 1999. 2013. (subscription (subscription required) Albums”. Q magazine magazine Special Edition: [54] Christgau, Robert (1990). Robert (1990). “The “The Clash: London Calling”. Calling”. [72] “100 Best Punk Albums”. 136. February 2002. Christgau’s Record Guide: The '80s . Pantheon Books. Books. p. 92. ISBN 92. ISBN 0-679-73015-X. 0-679-73015-X. Retrieved 28 May 2015. [73] “Top 50 50 Punk Albums”. Albums”. Mojo: 76. March 2003. [55] Goldberg Goldberg,, Michael Michael (1980). (1980). “The Clash”. Clash”. Down Beat . [74] Larkin, Colin (1994). Guin Guinnes nesss Book Book of Top Top 100 10000 Albums Albums Chicago. 47 : 4, 32–35. 32–35. (1 ed.). Gullane Children’s Books. p. 234. ISBN 978-085112-786-6.. 85112-786-6 [56] Larkin, Larkin, Coli Colinn (2011). Enc Encycloped yclopedia ia of Popu Popular lar Musi Music c (5th ed.). Omnibus ed.). Omnibus Press. Press. ISBN 0-857-12595-8. 0-857-12595-8. [75] [75] “The “The Greate Greatest st Albums Albums of The '70s”. NME : 18. 11 September 1993. [57] “Review: London Calling”. Q . London: 152–3. Decem[76] “Top 100 Albums of the 1970s”. 1970s”. Pitchfork Media. 23 ber 1999. June 2004. Retrieved 17 February 2008. [58] Bracket Brackett,t, Nathan; Hoard, Christia Christian, n, eds. (2004). (2004). “The Petrusich, h, Amanda Amanda (21 September September 2004). “The Clash Clash”.. The New Rolling Stone Album Guide . London Clash” London:: [77] Petrusic London Calling: 25th Anniversar Anniversary y Legacy Edition > ReFireside. pp. 167–168. ISBN 167–168. ISBN 0-7432-0169-8. 0-7432-0169-8. Retrieved view”.. Pitchfork Media. Retrieved 3 April 2006. view” 21 September September 2011. Portions Portions posted posted at “The at “The Clash > Album Guide”. Guide”. Rolling Stone. Retriev Retrieved ed 21 September September [78] Sinclair, Tom (24 September 2004). “The 2004). “The Best Album of 2011. All Time”. Time”. Entertainment Weekly Weekly. [59] “Clash Reissues”. Select . London (114): 88. December [79] “Grammy Hall of Fame Award” Archived Archived 7 7 July 2015 at 1999. the Wayback the Wayback Machine.. Machine.. National Academy Academy of Recording Arts and Sciences. Retrieved 18 February 2008. [60] Weisbard, Weisbard, Eric; Eric; Marks, Craig, eds. (1995). “The Clash”. Spin Alte Alternati rnative ve Reco Record rd Guide. New New York: ork: Vintage [80] Lowe, Lowe, Zane (2 December December 2009). “Masterpieces” 2009). “Masterpieces”.. BBC Books.. ISBN 0-679-75574-8. Books 0-679-75574-8. 1. Retrieved 3 December 2009. spawn rock biopic”. biopic”. En[61] Strong, Strong, Martin Martin Char Charles les (2006). The Essential Essential Rock Rock [81] “Clash album London Calling to spawn tertainment & Arts . BBC News. 1 December 2010. ReDiscography. Canongate U.S. U.S. p. p. 206. 206. ISBN 1-84195trieved 14 February 2011. 860-3.. 860-3 “Mick ck Jon Jones es and Pa Paul ul Sim Simono ononn wo worki rking ng on Cla Clash sh 'Lo 'Londo ndonn [62] Rockwell, Rockwell, John John(4 (4 Januar Januaryy 1980). 1980). “Th “Thee Po Popp Li Life fe;; 'Lo 'Londo ndonn [82] “Mi Calling' film” film”. . . 1 December Decemb er 2010. Retrieve Retri eved d 14 NME NM E Calling' helps the Clash live up to billing” billing”.. The New York February 2011. Times . p. C12. C12. Retrie Retrieve vedd 4 June June 2014. 2014. (subs (subscri cripti ption on required) [83] “Discographie The Clash”. Clash”. AustrianCharts.at. Retrieved 17 February 2008. [63] “The 1980 Pazz & Jop Critics Poll” Poll”.. The Village Voice. 9 February 1981. Retrieved 21 March 2005.
[84] “Top Albums/CDs – Volume 33, No. 8, May 17, 1980”. 1980” . RPM . Retrieved 31 January 2012.
[64] Christgau, Christgau, Robert (9 February 1981). “The 1981). “The Year of the Lollapalooza”.. The Village Voice. Retrieved 9 July 2013. [85] “Discography The Clash”. Lollapalooza” Clash”. Charts.org.NZ. Retrieved Retrieved 28 July 2012. [65] Thompson, Dave (2000). Dave (2000). Alternative Rock . Hal Leonard [86] “Discography The Clash”. Clash”. Irish-Ch Irish-Charts.c arts.com. om. Retrieve Retrievedd Corporation.. p. 271. ISBN Corporation 271. ISBN 0-87930-607-6. 0-87930-607-6. 28 July 2012. [66] “Review: London Calling [25th Anniversary Anniversary Legacy Legacy Edi[87] “Discography The Clash”. Clash”. SwissChar SwissCharts.co ts.com. m. Retrieve Retrievedd tion]". Uncut . London: 122. October 2004. 17 February 2008. [67] “Joe Strummer Of The Clash Dead At 50”. 50”. MTV News. News. [88] “The Clash – London Calling”. Calling”. SpanishCharts.com. Re23 December 2002. Retrieved 9 July 2013. trieved 17 February 2008. [68] “The Clash”. Clash”. Acclaimed Music. Music. Retrieved 10 September [89] London Calling at AllMusic at AllMusic 2015. [90] “Oficjalna lista sprzedaży”. sprzedaży”. OLiS. OLiS. 24 September 2012. [69] Hilburn, Robert (17 Robert (17 May 1987). “10 Years Later – A Retrieved 21 September 2012. Critic’s List of the Best Albums of the Decade”. Decade”. Los An geles Times . p. 56. Retrieved 10 July 2013. (subscription [91] “Canadian album certifications – The Clash – London required) Calling”.. Music Canada. Calling” Canada. 1 July 1980.
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[92] “Italian album certifications – The Clash – London Calling” (in ing” (in Italian). Federazione Industria Musicale Musicale Italiana. Italiana. Retrieved 9 March 2014. Select Album Album e Compilation in the field Sezione Sezione. Enter The The Clash in the field Filtra Filtra. The certification will load automatically
[93] “British album certifications – The Clash – London Calling”.. British Phonographic ing” Phonographic Industry. Industry. 31 December 1979. Enter London London Calling in the field Keywords Keywords. Select Title Title in the field Search Search by. Select album album in the field By By Format. Select Platinum Platinum in the field By By Award. Click Search Search
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[94] Jones, Alan (7 August 2015). “Official Charts Analysis: The Maccabees’s Marks To Prove It takes No.1 albums slot”.. Music Week . slot”
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[95] “American album certifications – The Clash – London Calling”.. Recording Industry Association of America. Calling” America. 14 February 1996. If necessary, click Advanced , then click Format , , then select Album , then click SEARCH c lick SEARCH
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Miles, Miles, Barry Barry (1981). The Clash. Lond London on and and New York: Omnibus Press. ISBN 0-7119-0288-7. 0-7119-0288-7. OCLC 7676911. 7676911. Needs, Kris (25 Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X.. OCLC 53155325. 85965-348-X 53155325. Quantick, David (2000). David (2000). The Clash. Kill Kill Your our Idols. London: Unanimous. ISBN Unanimous. ISBN 1-903318-03-3. 1-903318-03-3. OCLC 59417418. 59417418. Tobler, John & Barry Miles (1983). The Clash. London and New York: Omnibus. ISBN 0-71190288-7.. OCLC 21335564. 0288-7 21335564. Topping, Keith (2004) Keith (2004) [2003]. The Complete Clash (2nd ed.). ed.). Richmon Richmond: d: Reynol Reynolds ds & Hearn. ISBN 1-903111-70-6.. OCLC 63129186. 1-903111-70-6 63129186.
Works cited
7.5.13 7.5.13 •
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Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th (4th ed.). ed.). Londo London: n: Aurum Press. Press. pp. 212–213, 212–213, 235–23 235–237, 7, 259–26 259–260. 0. ISBN 1-84513-113-4. 1-84513-113-4. OCLC 61177239. 61177239.
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The Clash official website “London Calling” By The Clash Mix Magazine, 2000 – Very detailed article with recording setup details from the album’s engineer, Bill Price.
Green, Johnny; Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Own: Night Night and Day with The Clash (3rd ed.). London: Orion. pp. 156–158, 161–162, 165, 194–196, 218–219. ISBN 0-7528-5843-2. 0-7528-5843-2. OCLC 7.6 52990890.. 52990890
7.5.12 7.5.12 •
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Further Further reading reading
Exter Externa nall links links
''Sand ''Sandini inista sta!'' !''
This article is about the album by The Clash. For information about the political organisation, see see Sandinista National Liberation Front. Front.
Clash, The (2008). The Clash: Strummer, Jones, Simonon, Headon. London: London: Atlant Atlantic ic Books Books.. ISBN Sandinista! is the fourth fourth studi studioo album album by the the En1-84354-788-0.. OCLC 236120343. 1-84354-788-0 236120343. glish band band the Clash. Clash. It was was releas released ed on 12 DecemDecember 1980 as a triple album containing 36 tracks, with 6 Clash: Return Return Gray, Marcus (2005) [1995]. The Clash: songs on each side.[1][2] Anticipating the "world "world music" music" of the Last Gang in Town (5th (5th revised revised ed.). ed.). Lontrend of the 1980s, it features funk features funk,, reggae reggae,, jazz jazz,, gospel gospel,, don: Helter Skelter. ISBN Skelter. ISBN 1-905139-10-1. 1-905139-10-1. OCLC rockabilly,, folk rockabilly folk,, dub dub,, rhythm and blues, blues, calypso calypso,, disco disco,, 60668626.. 60668626 [1][2][3] and rap and rap.. For the first time, the band’s traditional songwr son gwrit iting ing credi cr edits ts of Strum Strumme merr and Jones Jones were were repla replace cedd Route 19 Revisit Revisited: ed: The The Clash Clash Gray, Marcus (2010). Route [2] and London Calling. Soft Skull Press. Press. ISBN ISBN 978-1- by a generic credit to the Clash, and the band cut the album royalties, in order to release the 3-LP at a low 59376-293-3.. 59376-293-3 price.[4][5] Letts, Don; Don; Joe Strummer, Strummer, Mick Jones, Jones, Paul Si- The title refers to the Sandinistas Sandinistas in in Nicaragua Nicaragua,, and its monon,, Topper Headon, monon Headon, Terry Chimes, Chimes, Rick El- catalogue number, 'FSLN1', refers to the abbreviation Clash, Westway to the of the party’s Spanish name, Frente Sandinista de Libgood, The good, The Clash (2001). Clash (2001). The Clash, Westway World (Documentary). (Documentary). New York, NY: Sony NY: Sony Music eración Nacional.[3][4][6] Entertainment;; Dorismo; Uptown Films. Event ocEntertainment the Pazz curs at 49:30–55:00. ISBN 49:30–55:00. ISBN 0-7389-0082-6. 0-7389-0082-6. OCLC Sandinista! was voted best album of the year in the Pazz The Village Voice & Jop Jop critics critics poll in , and was ranked 49798077.. 49798077 Rolling ling Ston Stonee listof"Th numb number er 404 404 on the the Rol listof"Thee 500 Gre Great ates estt [3] Magazine ine listed Lowry, Ray (2007). Ray (2007). The Clash. Warwi arwick ck:: AnAn- Alb Albums ums of All AllTim Timee"in2003. Slant Magaz listed the gry Pengui Penguin. n. ISBN 1-90628 1-906283-363-36-22. OCLC album at number 85 on its “Best Albums of the 1980s” 165412921.. 165412921 list in 2012.[7]
7.6. ''SANDINIS ''SANDINISTA!'' TA!''
7.6.1 7.6.1
Backgr Backgroun ound d and recordi recording ng
The album was recorded over most of 1980, in London, Manchester,, Jamaica Manchester Jamaica and and New York. It was produced by the band (which essentially meant Mick Jones and Joe and Joe Strummer), Strummer ), recorded and mixed by Bill by Bill Price, Price, and engineered by Jeremy “Jerry” Green (Wessex (Wessex Sound Studios), dios ), J. P. Nicholson (Electric (Electric Lady Studios), Studios), Lancelot “Maxie” “Maxie” McKenzi McKenziee (Chann Channel el One Stud Studios ios),and ),and Bill BillPric Pricee (Pluto + Power Station Studios). Dub Dub versions versions of some of the songs and toasting and toasting was was done by Mikey Dread, Dread, who had first worked with the band for their 1980 single "Bankrobber "Bankrobber". ". With With Sandinista! the band reached beyond punk beyond punk and reggae and reggae into dub, rhythm and blues, blues, [3] calypso,, gospel and other calypso other genres. genres. Thealbumclearlydisplays the influence of reggae and producer Lee producer Lee “Scratch” Perry (who Perry (who had worked with the band on their 1977 single "Complete "Complete Control" Control" and who had opened some of the band’s shows during its stand at Bond’s in New York in 1980), 1980), with with a dens dense, e, echoecho-fil fille ledd sound sound on even even the the strai straigh ghtt rock songs.[1][2] When recording began in New York bass guitarist Paul guitarist Paul Simonon was Simonon was busy making a film called Ladies and Gentlemen, The Fabulous Stains , and he was replaced briefly by Ian by Ian Dury and the Blockheads bassist Blockheads bassist Norman Norman WattRoy;; this later caused some bad feeling when Watt-Roy Roy and keyboard player Mickey player Mickey Gallagher, Gallagher, a fellow Blockhead, claimed they were responsible for co-composing the song "The "The Magnificent Seven", Seven", as the song was based on a tune of theirs. Dread, too, was upset that he was not credited as the album’s producer, although he was credited with “Version Mix”. Other guests on the album include singer Ellen singer Ellen Foley (Jones’ Foley (Jones’ partner at the time), guitarist Ivan tarist Ivan Julian formerly Julian formerly of the of the Voidoids, Voidoids, former Eddie former Eddie and the Hot Rods member Rods member Lew Lew Lewis, Lewis, and Strummer’s old friend and musical collaborator Tymon collaborator Tymon Dogg, Dogg, who plays violin, sings on and wrote the track “Lose This Skin"; he later joined Strummer’s band the band the Mescaleros. Mescaleros. Gallagh Gallagher’s er’s childre childrenn alsomade also madeapp appearan earances ces:: his two sons, sons, Luke and Ben, singing a version of “Career Opportunities” from the band’s first band’s first album, album, and his daughter daughter Maria singing a snippet of “The Guns of Brixton”, from London Calling, at the end of the track “Broadway”. “Broadway”.[1][2][8] This is also the only Clash album on which all four members have a lead vocal. Drummer Topper Headon made a unique lead vocal contribution on the disco song “Ivan Meets G.I. Joe”, and bassist Paul Simonon sings lead on “The Crooked Beat”.[2] 7.6.2 7.6.2
Rele Release asess
Four singles were released from the Sandinista! sessions in the UK: "Bankrobber "Bankrobber"" (which did not appear on the album), “The Call Up”, “Hitsville UK”, and “The Magnificent Seven”. Police On My Back was also released for promotion.
165 The triple-LP set was, like London Calling, a subject of trickery trickery towards towards the record company from from the band. Two contradictory contradictory accounts of the release of the album exist. Some say that the Clash pulled the same trick a second time by saying they wanted to include a 12” single with their double album, and then getting 3 full-length discs pressed before before executive executivess became wise. Another belief belief is that the Clash surrendered all of their album royalties for the the first first 200, 200,00 0000 copi copies es sold sold in orde orderr to mak make the the 3-LP 3-LP set a reality. Joe Strummer said in an interview by Judy McGuire for Punk for Punk Magazine: Magazine: “Well, now you're talking to a man who forwent the royalties on Sandinista!"[9] Regardless of which of these is true, either situation paints the band in a good light, putting their fans before and above any other involved entity. [2][4][5] A one-LP distillation of the album, called Sandinista Now!, was sent to press and radio. radio. The side side one track listing was “Police on My Back”, “Somebody Got Murdered”, dered”, “The Call Up”, “Washi “Washingto ngtonn Bullets” Bullets”,, “Ivan “Ivan Meets G.I. Joe” and “Hitsville U.K.”. The side two track listing was “Up in Heaven (Not Only Here)", “The Magnificent Seven”, “The Leader”, “Junco Partner”, “One More Time” and “The Sound of Sinners”.[2][5] The song "Washington "Washington Bullets" Bullets" was lyricist Joe lyricist Joe Strummer's's most extensive—and most specific—political statemer ment to date. In it, Strummer name checks checks conflicts conflicts or controversies from around the world; namely in Chile in Chile,, Nicaragua,, Cuba Nicaragua Cuba,, Afghanistan and Tibet Tibet.. (In refere reference nce to the first three, Strummer seems to side with what he sees as popular popular lefti leftist st moveme movements nts or governm governments ents,, while while in the latter two, he sharply criticises the policy of Moscow’s and Beijing’s communist governments for what he sees as their imperialist imperialist actions). actions). The original original Rolling Stone review of Sandinista! calls “Washington Bullets”, along with with “The “The Equal Equalise iser” r” and “The “The Call Call Up”, Up”, “the “the heart heart of the [5][10] album”. The original, 3-disc vinyl release of Sandinista! included Armagideon on a tri-fold tri-fold lyric lyric sheet sheet clever cleverly ly titled titled The Armagide Times, no. 3 (a play on “Armagideon Time”, the b-side London on Call Calling ing.) Armagide Armagideon on Times , nos. from from the single single Lond 1 and 2 were Clash fanzines. The lyric sheet featured cartoons credited to Steve to Steve Bell, Bell, as well as hand-written (but still legible) lyrics of all the original songs. The 2-CD release contains a facsimile of the lyric sheet considerably reduced in size.[1][2] Joe Strummer once told Rolling Stone magazine that the concept for a triple-LP (a rarity in the rock music world) came from friendly competition with American artist Bruce Springste Springsteen en.. When their earlier LP London Calling was released in 1980, critics said that Springsteen’s upcoming double-disc album The River would would outsell the Clash effort effort and wipe away any impact. Strummer’s response was: “Right Bruce. Suck on this!" The band then expanded Sandinista! into a triple album.[4][5]
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7.6.3 7.6.3
Rece Recepti ption on
John Piccarella, in a review for Rolling Stone headlined “The Clash Drop The Big One”, argued that in effect, the band said “to hell with Clash style, there’s a world out there.”[5][21] Some critics have argued that the album would have worked better as a less-ambitious, smaller project, while Piccarella (in his Rolling Stone review) and others think of the album as a breakthrough that deserves comparison to the to the Beatles' Beatles' White Album.[4] Robert Christgau wrote Christgau wrote in The Village Voice, “if this is their worst—which it is, I think—they must be, er, the world’s greatest greatest rock and roll band”.[20] The triple album won several “best of the year” critics polls in 1981. It was voted the best album of the year in The Village Voice's Pazz 's Pazz & Jop critics Jop critics poll. Dave Marsh noted that it was a record whose topic was as many years ahead of its time as its sound.[22] Alternative Press maga magazine included Sandinista! on its 2000 list of the “10 Essential Political-Revolution Albums”[23] In 2003, the album was ranked number 404 on Rolling Stone magazine’s list of the of the 500 greates greatestt albums of all time. time.[3] The College Media Journal ranked ranked Sandinista! number two on its list of the “Top 20 Most-Played Albums of 1981”.[24] The Sandinista Sandinista!! Project Project , a tribute to the album featuring the ing the Smithereens, Smithereens, Camper Van Beethoven, Beethoven, Jon Langford (Mekons Mekons)) and Sally and Sally Timms, Timms, Amy Rigby, Rigby, Katrina Leskanich (of Leskanich (of Katrina Katrina and the Waves), Waves), Wreckless Wreckless Eric, Eric, Willie Nile, Nile, Matthe Matthew w Ryan, Ryan, Stew, Stew, Mark Cutler, Cutler, Sex Clark Five, Sid Griffin & Coal Porters, Haale Porters, Haale,, the Blizzard of 78 featuring 78 featuring Mikey Mikey Dread, Dread, Ruby on the Vine, and many others, was released on 15 May 2007, on the 00:02:59 Records (a label named after a lyric from the Sandinista! song “Hitsville U.K.”). The album also features a collaboration by Soul Food and Mickey Gallagher on “Midnight Log”.[25][26][27] 7.6.4 7.6.4
Trac Track k listin listing g
The compact The compact disc release disc release has the first three sides on the first CD and the latter three sides on the second CD. All tracks written by the Clash, except where noted. 7.6.5 7.6.5
Perso Personn nnel el
•
Joe Strummer – Strummer – lead and backing vocals, guitar
•
Mick Jones – Jones – guitar, backing and lead vocals
•
•
Paul Simo Simonon non – bass guitar, guitar, backing backing vocals, vocals, lead lead vocals on “The Crooked Beat” Topper Topper Headon – drums, drums, lead lead voca vocals ls on “Ivan “Ivan Meets Meets G.I. Joe”
Additional musicians •
Tymon Dogg (credited Dogg (credited as 'Timon Dogg') - vocals & violin on “Lose This Skin”, violin on “Lightning Strikes (Not Once but Twice)", “Something About England”, “Mensforth Hill” and “The Equaliser”, keyboard keyboard on “Sound of the Sinners”
•
Mickey Gallagher (Blockheads) Gallagher (Blockheads) - keyboards
•
Norman Watt-Roy (Blockheads) Watt-Roy (Blockheads) - bass
•
J.P. Nicholson (also Nicholson (also one of the album’s engineers)
•
Ellen Foley Foley - co-lead vocal on “Hitsville U.K.”
•
Davey Payne (Blockheads) Payne (Blockheads) - saxophone
•
Rick Gascoigne - trombone
•
Band Sgt. Dave Yates
•
Den Hegarty (Darts) Hegarty (Darts) - vocals
•
Luke & Ben Gallagher - vocals on “Career Opportunities”
•
Maria Gallagher - coda vocals on “Broadway”
•
Gary Barnacle Barnacle - saxophone
•
Arthur Edward “Bill” Barnacle (Gary’s father) trumpet
•
Jody Linscott Linscott - percussion
•
Ivan Julian (Voidoids) Julian (Voidoids) - guitar
•
•
Noe Noel “Tem “Tempo po”” Bail Baileey (ak (aka Sow Sowell, ll, artist/session artist/session man) - guitar
regg reggae ae
Anthony Nelson Steelie (Wycliffe Johnson of Steely of Steely and Clevie) Clevie)
•
Lew Lewis (Eddie Lewis (Eddie and the Hot Rods) - harmonica
•
Gerald Baxter-Warman
•
Terry McQuade (had a small role role in Rude Boy)
•
Rudolph Adolphus Jordan
•
Battersea
•
Mikey Dread Dread - vocals on “The Crooked Beat” Beat”
Production •
The Clash – producers – producers
•
Bill Price – Price – chief chief engineer
•
Jerry Green – engineer engineer
•
J. P. Nicholson – engineer
•
Lancelot “Maxie” McKenzie – engineer
167
7.6. ''SANDINIS ''SANDINISTA!'' TA!''
•
Mikey Dread – version mix
•
Pennie Smith – Smith – photography photography
•
Steve Bell – Bell – cartoonist cartoonist
7.6.6 7.6.6
Chart Chart positi positions ons
[7] “Best Albums of the 1980s”. 1980s”. Slant Magazine . Retrieved 2012-08-13. [8] Erlewine, Erlewine, Stephen Thomas. Thomas. “Sandinista! Review”. Review”. AllMusic. Retrieved 2008-02-18. [9] [9] McGu McGuir ire, e, Judy Judy.. Joe Stru Strumm mmer er Inter Intervi view ew.. punkmagazine.com. Retrieved on 2008-02-22
Album
[10] Peet, Preston Preston (2001-07-09). (2001-07-09). “where’s “where’s the clash when we need them?". them?". Disinformation. Retrieved 2008-02-19.
Singles
[11] Erlewine, Stephen Thomas. Thomas. “Sand “Sandinis inista! ta! – The Clash” Clash”.. AllMusic.. Retrieved 10 September 2015. AllMusic
7.6.7 7.6.7
Certifi Certificat cation ionss
7.6.8 7.6.8
Ref Reference erencess
[12] “The Clash: Clash: Sandinista Sandinista!". !". Alternative Press . Clevel Cleveland and (140): 74–75. March 2000.
[13] Wolk, Douglas (21 Douglas (21 August 2007). “The Clash: Sandinista!".. Blender . New York. Archived from the ista!" from the original original on on [1] Letts Don; Don; Joe Strummer, Strummer, Mick Jones, Jones, Paul Simonon Simonon,, 2 July 2009. Retrieved 31 August 2016. Topper Headon, Headon, Terry Chimes, Chimes, Rick Elgood, the Elgood, the Clash (2001). The Clash, Westway Clash, Westway to the World (Documentary). (Documentary). [14] Larkin, Larkin, Coli Colinn (2011). Enc (5th Encyclope yclopedia dia of Popu Popular lar Music (5th New York, NY: NY: Sony Music Entertainment, Entertainment, Dorismo, ed.). Omnibus ed.). Omnibus Press. Press. ISBN 0-857-12595-8. 0-857-12595-8. Uptown Uptown Films. Event Event occurs at 55:00–63:00. 55:00–63:00. ISBN 07389-0082-6.. OCLC 49798077. 7389-0082-6 49798077. [15] “The Clash: Sandinista!". Sandinista!". Q . London (159): 152–53. December 1999. [2] Gilbert, Gilbert, Pat (2005) [2004]. [2004]. “8-13, Epilogue, Epilogue, DiscograDiscography, Bibliography”. Passion Is a Fashion: The Real Story [16] Piccarella, Piccarella, John (5 March March 1981). “Sandinista!" “Sandinista!".. Rolling of the Clash (4th ed.). London: Aurum London: Aurum Press. Press. pp. 321, Stone. New York. Retrieved 10 September 2015. 332, 362, 367, 373–388. ISBN 1-84513-113-4. 1-84513-113-4. OCLC [17] Bracke Brackett, tt, Nathan; Hoard, Christia Christian, n, eds. (2004). (2004). The 61177239.. 61177239 New Rolling Stone Album Guide . Simon & Schuster. Schuster. pp. 167–68. ISBN 167–68. ISBN 0-7432-0169-8. 0-7432-0169-8. [3] Levy, Levy, Joe; Steve Stevenn Van Zandt Zandt (2006) (2006) [2005]. [2005]. “404) “404) Sandinista http://www.rollingstone.com/news/story/ 6626684/404_sandinista". 6626684/404_sandinista ". Rolli Rolling ng Stone’s 500 Greatest [18] “Clash Reissues”. Select . London (114): 88. December 1999. (3rd ed.). ed.). London London:: Turnar Turnaroun ound. d. Albums of All Time (3rd ISBN 1-932958-61-4. 1-932958-61-4. OCLC 70672814. 70672814. External External link link [19] Weisb Weisbard, ard, Eric; Eric; Marks, Craig, Craig, eds. (1995). (1995). Spin Alterin |chapter= (help (help)) native Record Guide. New York: Vintage Books. Books. ISBN Related news articles:
0-679-75574-8.. 0-679-75574-8
“The “The RS 500 Greates Greatestt Albums Albums of All Time”. Time”. [20] Christgau, Robert (2 Robert (2 March 1981). “Christgau’s ConRolling Stone. San Francisco, Francisco, California: California: Straight Straight sumer Guide”. Guide”. The Village Voice. New York. Retrieved Arrow Arrow (Special (Special Collectors Collectors Issue). Issue). 11 December December 10 September 2015. 2003. ISSN 2003. ISSN 0035-791X. 0035-791X. OCLC 1787396. 1787396. Piccarella, lla, John (5 March March 1981). “Red-Hot “Red-Hot Rock and “The RS 500 Greatest Albums of All Time”. Time”. Spe- [21] Piccare Roll, A Joyful Noise and Politics That Live: The Clash cial Collectors Issue . Rolling Rolling Stone. Stone. 2003-11-18. 2003-11-18. Drop the Big One”. Rolling Stone: 57–58. Retrieved 2008-01-08. “404) Sandi Sandinista nista!" !".. Special Collector Collectorss Issue. Rolling [22] Dave, Marsh (1999) Marsh (1999) [1989]. The Heart of Rock and Soul: Stone. 2003-11-01. Retrieved 2008-02-19. The 1001 Greatest Singles Ever Made . New York, N.Y.: Da Capo Capo Pre Press. ss. p. 78. ISBN 0-306-80901-X. 0-306-80901-X. OCLC [4] Intervie Interviewer wer:: Unknown; Unknown; Presente Presenter: r: Kurt Loder. Loder. “MTV 40200194.. 40200194 Roc Rockume kument ntar ary” y”.. Lond London on,, Engl Englan andd http://www. londonsburning.org/art_mtv_rockumentary_2.html.. londonsburning.org/art_mtv_rockumentary_2.html [23] “10 Essential Political-Revol Political-Revolution ution Albums”. Alternative MTV.. line feed character in |location= at position 16 MTV Press : 144. November 2000. (help help); ); Missing or empty |series= (help (help)) [24] “Top 20 Most-Play Most-Played ed Albums of 1981”. College Media Related news articles: Journal : 8. 5 January 2004. “MTV Rockumentary Part Part 2”. 2”. londonsburning.org. londonsburning.org. [25] Clash, The; The; Joe Grushecky; Katrina Leskanich; Willie Retrieved 2008-02-20. Nile; Ship & Pilot.; Soul Food (Musical group); Sunset [5] Deeth, John. “Turning John. “Turning Rebellion Into Money: The Story Heroes (2004-09-21). The Sandinista! Project Project A Tribute of the Clash”. Clash”. jdeeth.home.mchsi.com. jdeeth.home.mchsi.com. Archived Archived from (Compact Disc). England: 00:02:59 Records. to the Clash (Compact the original on original on 24 January 2007. Retrieved 2008-02-18. OCLC 178980813. 178980813. •
•
•
•
[6] Jaffee, Larry. “The Politics Politics of Rock”. Popular Music and [26] “The Sandinista Project”. Project”. sandinista.guterman.com. ReSociety, Winter 1987, pp. 19–30. trieved 2008-02-20.
168
CHAPTER CHAPTER 7. ALBUMS ALBUMS
[27] “Cary Baker’s conqueroo conqueroo - The Sandinista! Pro Project ject Announcements”.. conqueroo.com. Retrieved 2008-02-20. nouncements”
•
[28] "Charts.org.nz "Charts.org.nz – The Clash – Sandinista!" Sandinista!".. Hung Medien.
Song Hist Historie ories: s: Junco Part Partner nerat at Everyda Everydayy CompanCompanion Online. JAMES “WEE WILLIE” WAYNE WAYNE biography at Rockabilly.nl.
[29] “Discography The Clash”. Clash”. Norwegia NorwegianChar nCharts.com ts.com.. Retrieved 17 February 2008. [30] “Discography The Clash”. Clash”. Swedi SwedishC shChar harts. ts.com com.. Retrieved 26 October 2008.
7.7
''Co ''Com mbat bat Rock Rock'' ''
[31] “The Clash > Charts & Awards > Billboard Albums” Albums”.. For the Doctor Who novel, see Combat see Combat Rock (novel). (novel). Allmusic.. Retrieved 26 October 2008. Allmusic For the song by Sleater-Kinney, see One see One Beat. Beat. [32] “Top Album Albums/C s/CDs Ds - Volume Volume 34, No. 15, March March 21, 1981”.. RPM . Retrieved 2012-02-17. 1981” Combat Rock is the fifth studio album by the English [33] “American album certifications – The Clash – Sandinista!".. Recor ista!" Recording ding Indus Industry try Assoc Associati iation on of Amer America ica.. 199904-20. If necessary, click Advanced , then click Format Format , , Album , then click SEARCH SEARCH then select Album [34] “British album certifications – The Clash – Sandinista!". Sandinista!". British Phonographic Industry. Industry. 2013-07-22. 2013-07-22. Enter San Sandinista! in the field Keywords. Sele Select ct Title Title in the field Search by. Sele Select ct album album in the field By Format. Sele Select ct Gold in the field By By Award. Click Search Search
7.6.9 7.6.9 •
•
•
•
•
•
Passion on Is a Fashash Gilbert, Gilbert, Pat (2005) [2004]. [2004]. Passi ion: The Real Real Story of The Clash Clash (4th (4th ed.). ed.). Lon7.7.1 Back Backgr grou ound nd don: Aurum Press. Press. ISBN 1-84513-113-4. 1-84513-113-4. OCLC 7.7.1 61177239.. 61177239 Follow Following ing the triple-a triple-album lbum Sandinista! (1980), Clash: Return Return singer/guitarist Joe St Gray, Marcus (2005) [1995]. The Clash: Strum rumme merr fe felt the the grou groupp was [5] of the Last Gang in Town (5th (5th revised revised ed.). ed.). Lon- “drifting” “drifting” creativel creatively. y. Bassist Paul Simo Simonon non agreed don: Helter Skelter. ISBN Skelter. ISBN 1-905139-10-1. 1-905139-10-1. OCLC with Strummer Strummer’s ’s dissatis dissatisffaction action towards towards the “boring” “boring” 60668626.. 60668626 professionalism of The Clash’s then-managers Blackhill Enterprises. [5][6] Strumme Strummerr and Simonon Simonon convinc convinced ed Green, Johnny; Johnny; Garry Barker (2003) [1997]. A Riot their bandmates to reinstate the band’s original manager of Our Own: Own: Night Night and Day with The Clash (3rd Bernie Rhodes in Rhodes in February 1981, in an attempt to restore ed.). London: Orion. ISBN Orion. ISBN 0-752 0-7528-584 8-5843-2 3-2.. OCLC the “chaos” and “anarchic energy” of The Clash’s early 52990890.. 52990890 days.[6] This decision was not welcomed by guitarist Jones, who was becoming progressively estranged Gruen, Bob; Bob; Chris Salewicz (2004) [2001]. The Mick Jones, Clash (3rd (3rd ed.). ed.). Londo London: n: Omnib Omnibus. us. ISBN 1- from his bandmates.[7] 903399-34-3.. OCLC 69241279. 903399-34-3 69241279. During this period, drummer Topper drummer Topper Headon escalated Headon escalated of heroin and and cocaine cocaine.. His occasional drug us Needs, Kris (2005-01-25). Kris (2005-01-25). Joe Strummer and the his intake of heroin Legend of the Clash. Lond London: on: Plex Plexus. us. ISBN 0- age had now become a habit that was[8]costing him £100 per day and undermining his health. This drug addic85965-348-X.. OCLC 53155325. 85965-348-X 53155325. tion would be the factor that would later inspire his band Topping, Keith (2004) Keith (2004) [2003]. The Complete Clash mates to fire him from The Clash, following the release (2nd ed.). ed.). Richmon Richmond: d: Reynol Reynolds ds & Hearn. ISBN of Combat Rock . 1-903111-70-6.. OCLC 63129186. 1-903111-70-6 63129186.
7.6.10 7.6.10 •
•
Furthe Furtherr reading reading
rock band The rock band The Clash. Clash.[2] It was released on 14 May 1982 through CBS Reco Records rds.. In the the Unit United ed Kingd Kingdom, om, thealbum charted at number 2, spending 23 weeks in the UK charts and peaked at number 7 in the United States, spending 61 weeks on the chart. Combat Rock is is the group’s best-selling album, being certified double tified double platinum in platinum in the United States. It contained two of The Clash’s most popular songs, the singles "Rock " Rock the Casbah" Casbah" and "Should "Should I Stay or Should I Go". Go". Combat Rock was was the last Clash album featuring the classic lineup; Topper lineup; Topper Headon left Headon left the band after completing the album and Mick and Mick Jones left Jones left in 1983.[3][4]
Externa Externall links links
7.7.2 7.7.2
Reco Recordi rding ng
The album had the working title Rat Patrol from Fort Bragg during during the recording and mixing stages. [9] After Scholtes, Peter S. (21 July 2006). “Complicated early recording sessions in London, the group relocated Dread: the Mikey Dread interview” interview”.. Complicated Complicated to New York for recording sessions at Electric at Electric Lady StuFun. City Pages . dios in dios in November and December 1981.[10] Electric Lady Sandinista! at the Clash official website.
169
7.7. ''COMBAT ROCK''
Studio was where the band had recorded its previous album Sandinista! in 1980.[11] While recording the album in New York, Mick Jones lived with his then-girlfriend Ellen Foley.[11] Joe Strummer, Paul Simonon and Topper Headon stayed at the Iroquois Hotel on West 44th Street, a building famed for being the home of actor James Dean for two years during the early 1950s.[11][12] After finishing the New York recording sessions in December 1981, the band returned to London for most of January 1982. Between January and March, The Clash embarked on a six-week tour of Japan, Australia, New Zealand, Hong Kong and Thailand.[9] During this tour, the album’s cover photograph was shot by Pennie Smith in Thailand in March 1982.[5]
7.7.3
Mixing and editing
Following the Far East tour, The Clash returned to London in March 1982 to listen to the music that they had recorded in New York three months earlier.[13] They had recorded 18 songs, enough material to possibly release as double-album. [13] Having previously released the doubleLP London Calling (1979) and the triple-LP Sandinista! (1980), the group considered whether it should again release a multi-LP collection. The band debated how many songs their new album should contain, and how long the songs’ mixes should be. Mick Jones argued in favour of a double-album with lengthier, dancier mixes.[13] The other band members argued in favour of a single album with shorter song mixes.[13] This internal wrangling created tension within the band, particularly with guitarist Mick Jones, who had mixed the first version.[13][14][15] Manager Bernie Rhodes suggested that producer Glyn Johns be hired to remix the album. This editing took place in Johns’ garden studio in Warnford, Hampshire (not at Wessex Studios, as is incorrectly stated by some sources).[13] Johns, accompanied by Strummer and Jones edited Combat Rock down from a 77-minute double album down to a 46-minute single LP.[13] This was achieved by trimming the length of individual songs, such as by removing instrumental intros and codas from songs like “Rock the Casbah” and “Overpowered by Funk”. Additionally, the trio decided to omit several songs entirely, dropping the final track count to 12.[16][17][18][19] During these remixing sessions, Strummer and Jones also re-recorded their vocals for the songs “Should I Stay or Should I Go” and “Know Your Rights” and remixed the songs with the intent of maximising their impact as singles.[13]
7.7.4
Music and lyrics
A recurringmotifof Combat Rock is theimpact andaftermath of the Vietnam War.[20] "Straight to Hell" describes the children fathered by American soldiers to Vietnamese mothers and then abandoned,[21] “Sean Flynn” describes the photojournalist son of actor Errol Flynn who disappeared in 1970 while covering the war.[20] Biographer Pat Gilbert describes many songs from Combat Rock as having a “trippy, foreboding feel”, saturated in a “colonial melancholia and sadness” reflecting the Vietnam War.[22] The band was hugely inspired by Francis Ford Coppola's 1979 film about the Vietnam War, Apocalypse Now, and had previously released the song “Charlie Don't Surf” on Sandinista!, which referenced the film.[20] Other Combat Rock songs, if not directly about the Vietnam War and U.S. foreign policy, depict American society in moral decline.[20] “Red Angel Dragnet” was inspired by the January 1982 shooting death of Frank Melvin, a New York member of the Guardian Angels.[22][23][24] The song quotes Martin Scorsese's 1976 movie Taxi Driver , with Clash associate Kosmo Vinyl recording several lines of dialogue imitating the voice of main character Travis Bickle. Bickle sports a mohawk in the later part Taxi Driver , this was a hairstyle adopted by Joe Strummer during the Combat Rock concert tour.[25] The song, “Ghetto Defendant”, features beat poet Allen Ginsberg, who performed the song on stage with the band during the New York shows on their tour in support of the album. Ginsberg had researched the punk music, and included phrases like “do the worm” and “slam dance” in his lyrics.[20] At the end of the song he can be heard reciting the Heart Sutra, a popular Buddhist mantra.[26] Music for “Rock the Casbah” was written by the band’s drummer Topper Headon, based on a piano part that he had been toying with.[27][28] Finding himself the studio without his three bandmates, Headon progressively taped the drum, piano and bass parts; recording the bulk of the song’s musical instrumentation himself.[27][29] The other Clash members were impressed with Headon’s recording, stating that they felt the musical track was essentially complete.[29] However, Strummer was not impressed by the page of suggested lyrics that Headon gave him.[27] Before hearing Headon’s music, Strummer had already come up with the phrases “rock the casbah” and “you'll have to let that raga drop” as lyrical ideas that he was considering for future songs.[11][30] After hearing Headon’s music, Strummer went into the studio’s toilets and wrote lyrics to match the song’s melody. [28][29] 7.7.5
Release
Following along the same note as Sandinista!, Combat Rock 's catalogue number “FMLN2” is the abbreviation
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CHAPTER 7. ALBUMS
for the El Salvador political party Frente Farabundo Martí 7.7.7 Track listing para la Liberación Nacional or FMLN.[26][31][32] Lead single "Know Your Rights" was released on 23 April All tracks written by The Clash, except where noted. 1982,[13] and reached number 43 on the U.K. singles chart.[33] Combat Rock was released on 14 May 1982 and 7.7.8 Rat Patrol from Fort Bragg track list reached number 2 on the U.K. album charts, kept off the top spot by Paul McCartney's Tug of War .[13] In the 1. “The Beautiful People Are Ugly Too” – 3:45 United States, Combat Rock reached number 7 on the al2. “Kill Time” – 4:58 bum charts, selling in excess of one million copies.[34] "Rock the Casbah", which was composed by drummer 3. "Should I Stay or Should I Go" – 3:05 Topper Headon, reached number 8 on the U.S. singles 4. "Rock the Casbah" – 3:47 chart.[34] The single was accompanied by a distinctive video directed by Don Letts that aired frequently on the 5. "Know Your Rights" (extended version) – 5:04 then-fledgling television channel MTV. 6. "Red Angel Dragnet" – 5:12 In January 2000, the album, along with the rest of The Clash’s catalogue, was remastered and re-released.[35] 7. "Ghetto Defendant" – 6:17 8. "Sean Flynn" – 7:30 9. “Car Jamming” – 3:53 7.7.6
Reception and influence
Combat Rock peaked at number 2 on the UK Albums Chart, number 7 on the Billboard Pop albums, and the
top ten on many charts in other countries.[46][47][48][49][50]
It was ranked at #4 among the top “Albums of the Year” for 1982 by NME , with both “Straight to Hell” and “Know Your Rights” ranked among the year’s top 50 tracks.[51] The United States Recording Industry Association of America (RIAA) certified Combat Rock as a Gold album on November 1982, Platinum in January 1983, and Multi-Platinum in June 1995.[52] In a contemporary review for The Village Voice, Robert Christgau lamented the same attempts at funk and dub The Clash had tried on Sandinista! (1980). Nonetheless, he dismissed the notion the band were selling out and believed they were “evolving” on Combat Rock , writing songs at a “higher level of verbal, musical, and political density”, albeit in less “terse and clear” fashion than on their early work.[45] Douglas Wolk said in a retrospective review for Blender that while the record was originally seen as The Clash’s “sellout move” because of its danceable sound and two hit singles, the other songs featured “audaciously bizarre arrangements and some of Strummer’s smartest lyrics.”[38] Q magazine was less enthusiastic, deeming it “their biggest seller, but the beginning of the end.”[40] In 2000, Alternative Press called it “the penultimate Clash album...employing lessons learned in the previous three years...their most commercially rewarded release...containing [their] most poignant song 'Straight to Hell'.”[37] CMJ New Music Report ranked Combat Rock at number five on its 2004 list of the Top 20 Most-Played Albums of 1982.[53] Slant Magazine listed the album at No. 80 on its list of “Best Albums of the 1980s”.[54] Kurt Cobain listed it in his top fifty albums of all time.[55][56]
10. “Inoculated City” – 4:32 11. “Death Is a Star” – 2:39 12. “Walk Evil Talk” – 7:37 13. “Atom Tan” – 2:45 14. "Overpowered by Funk" (demo) – 1:59 15. “Inoculated City” (unedited version) – 2:30 16. “First Night Back in London” – 2:56 17. “Cool Confusion” – 3:10 18. "Straight to Hell" (extended version) – 6:56 As of 2016, the full, unedited version of Rat Patrol from Fort Bragg has not been officially released, though bootleg versions have circulated through unofficial channels. The songs “First Night Back in London” and “Cool Confusion” that were discarded from the album appeared in 1982 as B-sides to the album’s singles. Some of the original-mix songs appeared on the Clash on Broadway and Sound System box sets. In 2012, violinist and friend of Joe Strummer Tymon Dogg released the song “Once You Know” that he recorded duringthe Combat Rock sessionswith allfour Clash membersas the backing band.[59] 7.7.9 •
•
•
Personnel
Joe Strummer – lead and backing vocals, guitar, harmonica, piano Mick Jones – guitar, backing and lead vocals, keyboards, sound effects Paul Simonon – bass guitar, backing vocals, lead vocals on “Red Angel Dragnet”
171
7.7. ''COMBAT ROCK''
•
Topper Headon – drums, piano and bass guitar on “Rock the Casbah”
Additional musicians •
•
•
•
•
•
Allen Ginsberg – guest vocals on “Ghetto Defendant” Futura 2000 – guest vocals on “Overpowered by Funk” Ellen Foley – backing vocals on “Car Jamming” Joe Ely – backing vocals on “Should I Stay or Should I Go” Tymon Dogg – piano on “Death Is a Star” Tommy Mandel (as Poly Mandell) – keyboards on “Overpowered by Funk”
•
Gary Barnacle – saxophone on “Sean Flynn”
•
Kosmo Vinyl - vocals on “Red Angel Dragnet”
Production •
•
•
•
The Clash – producers Glyn
Johns – chief engineer, mixing[46]
[5] Pinnock, Tom (September 2012). “The end of The Clash – by Joe Strummer” (184). Uncut Magazine. Retrieved 23 April 2016. [6] Gilbert, Pat (2004). Passion Is A Fashion: The Real Story Of The Clash. Aurum Press Ltd. pp. 285–6. ISBN 1845130170. [7] Gilbert, Pat (2004). Passion Is A Fashion: The Real Story Of The Clash. Aurum Press Ltd. pp. 301–2. ISBN 1845130170. [8] Gilbert, Pat (2004). Passion Is A Fashion: The Real Story Of The Clash . Aurum Press Ltd. p. 302. ISBN 1845130170. [9] Gilbert, Pat (2004). Passion Is A Fashion: The Real Story Of The Clash . Aurum Press Ltd. p. 309. ISBN 1845130170. [10] Gilbert, Pat (2004). Passion Is A Fashion: The Real Story Of The Clash . Aurum Press Ltd. p. 304. ISBN 1845130170. [11] Gilbert, Pat (2004). Passion Is A Fashion: The Real Story Of The Clash . Aurum Press Ltd. p. 305. ISBN 1845130170.
Joe Blaney; Jerry Green; Eddie Garcia – assistant [12] “Iroquois Hotel: History”. Retrieved 23 April 2016. engineers Pennie Smith – photography
7.7.10
Chart positions
7.7.11
Certifications
[13] Gilbert, Pat (2004). Passion Is A Fashion: The Real Story Of The Clash. Aurum Press Ltd. pp. 312–14. ISBN 1845130170. [14] Daniel Rachel (12 September 2013). Isle of Noises: Conversations with great British songwriters . Pan Macmillan. pp. 177–. ISBN 978-1-4472-2680-2.
[15] Daniel Rachel (7 October 2014). The Art of Noise: Conversations with Great Songwriters . St. Martin’s Press. pp. 145–. ISBN 978-1-4668-6521-1. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). Lon- [16] Chris Knowles (1 December 2003). Clash City Showdon: Helter Skelter. ISBN 1-905139-10-1. OCLC down. PageFree Publishing, Inc. p. 108. ISBN 978-160668626. 58961-138-2.
7.7.12 •
[4] Cromelin, Richard (31 January 1988). “Strummer on Man, God, Law and The Clash”. Los Angeles Times . Retrieved 3 November 2010.
7.7.13
Sources
References
[17] Alan Parker (2003). The Clash: “rat Patrol from Fort Bragg” . Abstract Sounds. ISBN 978-0-9535724-9-6.
[1] Cateforis, Theo (2013). “SoYouWanna.com”. The Rock [18] Nick Johnstone (7 April 2010). The Clash: 'Talking' . Omnibus Press. pp. 13–. ISBN 978-0-85712-258-2. History Reader . Routledge. p. 314. ISBN 0415892120. Retrieved 10 September 2015. [19] Sean Egan (6 November 2014). The Clash: The Only [2] Colin Larkin (27 May 2011). The Encyclopedia of PopBand That Mattered . Rowman & Littlefield Publishers. ular Music . Omnibus Press. pp. 2006–. ISBN 978-0pp. 198–. ISBN 978-0-8108-8876-0. 85712-595-8. [20] Gilbert, Pat (2004). Passion Is A Fashion: The Real [3] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Story Of The Clash . Aurum Press Ltd. p. 307. ISBN Topper Headon, Terry Chimes, Rick Elgood, The Clash 1845130170. (2001). The Clash, Westway to the World (Documentary). New York, NY: Sony Music Entertainment; Dorismo; [21] Gilbert, Pat (2004). Passion Is A Fashion: The Real Uptown Films. Event occurs at 71:00–75:00. ISBN 0Story Of The Clash . Aurum Press Ltd. p. 308. ISBN 7389-0082-6. OCLC 49798077. 1845130170.
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[22] Gilbert, Pat (2004). Passion Is A Fashion: The Real [40] “The Clash: Combat Rock”. Q . London (159): 152–53. Story Of The Clash. Aurum Press Ltd. p. 320. ISBN December 1999. 1845130170. [41] Fricke, David (24 June 1982). “Combat Rock”. Rolling Stone. New York. Retrieved 3 November 2010. [23] Gray (2005) p. 380 [24] Monday, 18 January 1982 (1982-01-18). “Time Maga- [42] Brackett, Nathan; Hoard, Christian, eds. (2004). The New Rolling Stone Album Guide . Simon & Schuster. pp. zine article 18 January 1982 ''Guardian Angels’ Growing 167–68. ISBN 0-7432-0169-8. Pains’'". Time.com. Retrieved 2010-04-03. [25] NORDBERG, TIM. “Rock History 101: The Clash’s [43] “Clash Reissues”. Select . London (114): 88. December 1999. “Red Angel Dragnet"". COS . COS. Retrieved 12 August 2015. [44] Weisbard, Eric; Marks, Craig, eds. (1995). Spin Alternative Record Guide. New York: Vintage Books. ISBN [26] Antonino D'Ambrosio (2012). Let Fury Have the Hour: 0-679-75574-8. Joe Strummer, Punk, and the Movement That Shook the Word . Nation Books. pp. 183–. ISBN 978-1-56858[45] Christgau, Robert (10 August 1982). “Consumer Guide”. 720-2. The Village Voice. New York. Retrieved 10 September 2015. [27] Gilbert, Pat (2004). Passion Is A Fashion: The Real Story Of The Clash. Aurum Press Ltd. p. 306. ISBN [46] Nielsen Business Media, Inc. (21 August 1982). 1845130170. Billboard . Nielsen Business Media, Inc. pp. 29–. ISSN 0006-2510. [28] Webb, Spike (23 January 2014). Topper Headon (The Clash) - Q&A - Fan Questions (Interview). 00:24 minutes
in.
[47] “UK Chart Archive”. everyHit.co.uk. Retrieved 26 October 2008.
[29] Webb, Spike (3 May 2012). Topper Headon (The Clash) [48] “The Clash > Charts & Awards > Billboard Albums”. talks about 'Mad, Bad and Dangerous’ (Interview). 00:54 Allmusic. Retrieved 26 October 2008. minutes in. [49] “Discography The Clash”. NorwegianCharts.com. Re[30] Temple, Julien (Director) (2007). Strummer:The Future is trieved 26 October 2008. Unwritten (Motion picture). 68 minutes in. [50] “Discography The Clash”. SwedishCharts.com. Re[31] Patricia Romanowski Bashe; Patricia Romanowski; Holly trieved 26 October 2008. George-Warren; Jon Pareles (1995). The New Rolling Stone Encyclopedia of Rock & Roll . Fireside. ISBN 978- [51] “Albums andTracks of the Year”. NME. 2016. Retrieved 6 November 2016. 0-684-81044-7. [32] Books LLC (May 2010). The Clash Albums: London [52] “Gold and Platinum: Searchable Database”. RIAA. Retrieved 2008-10-26. Calling, Sandinista!, The Clash, Combat Rock, Give 'em Enough Rope, Super Black Market Clash, Singles Box . [53] “Top 20 Most-Played Albums of 1982”. CMJ New Music General Books LLC. ISBN 978-1-155-28536-8. Report : 10. 5 January 2004. [33] Gilbert, Pat (2004). Passion Is A Fashion: The Real [54] “Best Albums of the 1980s | Music”. Slant Magazine. ReStory Of The Clash. Aurum Press Ltd. p. 321. ISBN trieved 2012-08-13. 1845130170. [55] “Top 50 by Nirvana [MIXTAPE]". Retrieved 8 May [34] Gilbert, Pat (2004). Passion Is A Fashion: The Real 2013. Story Of The Clash. Aurum Press Ltd. p. 330. ISBN 1845130170. [56] Cross, Gaar, Gendron, Martens, Yarm (2013). Nirvana: The Complete Illustrated History . p. 97. ISBN 978-0[35] Iowa Journal of Cultural Studies . University of Iowa. 7603-4521-4. 2002. [57] Chris Knowles (1 December 2003). Clash City Show[36] Erlewine, Stephen Thomas. “Combat Rock – The Clash”. down. PageFree Publishing, Inc. p. 111. ISBN 978-1AllMusic. Retrieved 3 November 2010. 58961-138-2. [37] “The Clash: Combat Rock”. Alternative Press . Cleveland [58] Chris Knowles (1 December 2003). Clash City Show(140): 74–75. March 2000. down. PageFree Publishing, Inc. ISBN 978-1-58961138-2. [38] Wolk, Douglas (21 August 2007). “The Clash: Combat Rock”. Blender . Archived from the original on 2 July [59] Dogg, Tymon (22 December 2012). “The Clash with Ty2009. Retrieved 10 September 2015. mon Dogg: Once You Know”. Retrieved 23 April 2016. [39] Larkin, Colin (2011). Encyclopedia of Popular Music (5th [60] “Top Albums/CDs - Volume 36, No. 23, July 17, 1982”. ed.). Omnibus Press. ISBN 0-857-12595-8. RPM . Retrieved 2012-02-17.
7.8. ''CUT THE CRAP''
173
[61] "Dutchcharts.nl – The Clash – Combat Rock” (in Dutch). track “We Are the Clash”, but tend to view the album as Hung Medien. inconsistent and incohesive. [62] "Charts.org.nz – The Clash – Combat Rock”. Hung Medien. 7.8.1 Background and recording [63] “British album certifications – The Clash – Combat Rock”. British Phonographic Industry. 1982-07-27. En- Following a break after the Clash’s performance at the ter Combat Rock in the field Keywords. Select Title in the 1983 US Festival, the band reconvened that June for field Search by. Select album in the field By Format. Select rehearsals in London.[1] About a week into rehearsals, Gold in the field By Award. Click Search tensions present within the group throughout the year
re-emerged, reportedly due to a musical difference of
[64] “American album certifications – The Clash – Combat Rock”. Recording Industry Association of America. opinion brought about by guitarist Mick Jones's use of 1982-11-08. If necessary, click Advanced , then click For- a synthesizer he had recently acquired. Another point of contention was Jones’s frequent tardiness and absences. mat , then select Album , then click SEARCH [65] “Canadian album certifications – The Clash – Combat Rock”. Music Canada. 1982-12-01.
7.7.14 •
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890.
•
•
•
•
Further reading
Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Needs, Kris (2005-01-25). Joe Strummer and the Legend of The Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
7.8
''Cut the Crap''
Cut the Crap is
the sixth and final studio album by the English punk rock band the Clash, released in November 1985 on Epic Records. It was recorded after members Topper Headon (drums) and guitarist Mick Jones had been fired from the band, and their manager Bernard Rhodes took over studio production. The album is considered their weakest, and was ridiculed on release by the UK weekly music press. Rhodes recruited the then unknown musicians Nick Sheppard, Pete Howard and Vince White to replaceJones and Headon. The Clash split up soon after. Clash vocalist Joe Strummer has said that “Cut the Crap” contains one of the band’s strongest singles, "This Is England". Critics generally praise “This Is England” as well as the album
By that point, Jones and his songwriting partner Joe Strummer had difficulty communicating with one another; drummer Pete Howard said, “It got to the point where Joe was posting lyrics through Mick’s door. He thought the music that Mick was putting to them was a pile of shit”. At the same time, Jones refused to sign a new contract presented by manager Bernie Rhodes without taking legal advice; one Clash associate commented thatRhodes was angered by Jones’s position, and “twisted Joe up about it”, asking Strummer if he really wanted to be in the band with the guitarist. The rehearsals eventually ceased.[2] In August 1983, the Clash arranged to reconvene to discuss plans for their follow-up to Combat Rock . Speaking of the tension between Strummer and himself, Jones said, “By then, our relationship was . . . bad . We weren't really communicating. The group was dissipating”.[3] Not long into the new set of rehearsals, in late August or early September, Strummer and bassist Paul Simonon fired Jones from the Clash.[4] A week prior to the official statement of Jones’s ejection, Strummer, Simonon, and Rhodes met Howard in a pub, where Strummer aggressively told the drummer, “I've just fucking sacked Mick Jones, he’s a fucking cunt. You have to make a decision: are you with us or him?"[5] Howard elected to stay with the group, and in October the band began posting anonymous advertisements in Melody Maker seeking a new guitarist. After auditions (during which the identity of the band remained a secret), theClash selected two guitarists, Nick Sheppard and Greg White, with the latter taking the name Vince White due to Simonon’s refusal to play in a band with someone named “Greg”.[6] The intention behind the new Clash line-up was to take the music back to basics. With Strummer playing little guitar in the new line-up and Sheppard taking over rhythm guitarist duties, the band practised early Clash songs and new three and four-chord songs, and eschewed reggae.[7] The band then booked a brief tour of the American West Coast, which prompted Mick Jones to inform concert promoter Bill Graham that he was planning to tour the country with former Clash drummer Topper Headon as “The Real Clash”. Jones’s lawyer had earnings frozen from the US Festival as well as the band’s previous album Combat Rock , which resulted in Strummer writing
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the song “We Are the Clash”. The tour set out in January 1984, lasting until the end of the month. The shows featured the debut of new songs “We Are the Clash”, “Three Card Trick”, “Sex Mad Roar” and "This Is England".[8] 7.8.2
Music
Biographer Chris Salewicz believed by firing Mick Jones the band removed the person who had written virtually all of the music. Clash associate Kosmo Vinyl said, “We didn't think ... 'Anyone can write a punk song!' That was our mistake.”[9] Unknown to the band at the time, Bernie Rhodes’ solution to the problem was to take control of the music writing himself.[10] “This Is England”, much like the rest of the album, had been drastically re-engineered by Rhodes, with synths and football-style chants added to Strummer’s incomplete recordings. Although Howard was an adept drummer, drum machines were used for virtually all the percussion tracks. For the remainder of his life, Strummer largely disowned the album, although he did admit that he “really likes” “This Is England” [and album track] “North and South” is a vibe.”[11] 7.8.3
Release
According to guitarist Vince White, the original title of Cut the Crap was Out of Control . Bernie Rhodes changed the title shortly before the album’s release without consulting the band. Rhodes also produced the record, using the alias of “Jose Unidos”. In mid-2000, Cut the Crap was remastered and rereleased in Europe with a bonus track “Do It Now”. The reissue was unannounced and not promoted. It came after the rest of the band’s catalogue had been reissued in December 1999-January 2000 in the US. Cut the Crap was not mentioned in the Clash documentary The Clash: Westway to the World (2000) and was acknowledged only briefly in the official 2008 book The Clash, pointedly not receiving an overview as the first five albums did. Furthermore, the career-spanning box sets Sound System and 5 Album Studio Set , both released in 2013, do not include Cut the Crap, and nor do 1991 releases Clash on Broadway and The Singles .
over the deaths of his parents.[16] In a negative review for Rolling Stone, David Fricke said “too much of Cut the Crap is Strummer’s angst running on automatic, superficially ferocious but ultimately stiff and unconvincing.”[17] Richard Cromelin from the Los Angeles Times felt the uptempo rockers sounded less effective than previous Clash records in light of the tamer political climate at the time and the absence of Jones, although he concluded that Strummer’s singing was still compelling and the ballads “This Is England” and “North and South” made the album “more than passable”.[18] In a more positive review for The Village Voice, Robert Christgau said in spite of the synthesized horns on “Dictator”, most of the songs eventually take effect, some persistent, exuberant, melancholic, and even keeled, particularly “We Are the Clash”.[15] "This Is England" was released to mostly negative reviews. “CBS had paid an advance for it so they had to put it out”, Strummer later explained. “I just went, 'Well fuck this’, and fucked off to the mountains of Spain to sit sobbing under a palm tree, while Bernie had to deliver a record.” However, critic Dave Marsh later championed “This Is England” as one of the top 1001 rock singles of all time.[19] Stephen Thomas Erlewine from AllMusic complimented the song as “surprisingly heavy” on a record that was otherwise “formulaic, tired punk rock that doesn't have the aggression or purpose of early Clash records”.[12] “Are You Red..Y"/"Three Card Trick” was released as the second single in Australia [20] but failed to chart. 7.8.5
All tracks written by Joe Strummer and Bernard Rhodes. 7.8.6
Personnel
The following people contributed to Cut the Crap (Joe Strummer and Paul Simonon were the only original Clash members to appear on the album):[21] •
Joe Strummer – lead vocals
•
Paul Simonon – bass
•
7.8.4
Track listing
Reception
Nick Sheppard – guitar, lead vocals on “North and South”
Vince White – additional guitar on “Do It Now” Critical and commercial reception to the record was generally poor. The absence of Jones and former drummer Pete Howard – drums Topper Headon (who had been kicked out earlier due to his ongoing heroin addiction) led many to regard Cut the Additional musicians Crap as a Joe Strummer solo album, despite the fact that Paul Simonon appeared on it as well. Reasons for the al Hermann Weindorf – keyboards, synthesizers bum’s shortcomings included Joe Strummer’s disillusionment with the group by this point, as well as his grieving Norman Watt-Roy – bass •
•
•
•
175
7.9. ''CONCERTS FOR THE PEOPLE OF KAMPUCHEA''
•
•
Michael Fayne – drum machines, vocals on “Play to [20] “Clash, The - Are You Red..y (Vinyl) at Discogs”. Discogs.com. Retrieved 2014-05-20. Win” Bernie Rhodes – drum machine programming
Production •
[21] Clash, The. (4 November 1985). Cut the Crap (Album liner notes). Epic Records. [22] “Discography The Clash”. SwedishCharts.com. Retrieved 26 October 2008.
Bernie Rhodes - producer (credited as “Jose [23] “UK Chart Archive”. everyHit.co.uk. Retrieved 26 OcUnidos”) tober 2008.
7.8.7
Chart positions
[24] “The Clash > Charts & Awards > Billboard Albums”. Allmusic. Retrieved 26 October 2008.
7.8.8
Notes
[25] “Top Albums/CDs - Volume 43, No. 18, January 25, 1986”. RPM . Retrieved 17 February 2012.
[1] Gilbert, p. 336-37 [2] Gibert, p. 338-39 [3] Gilbert, p. 339
[26] "Charts.org.nz – The Clash – Cut The Crap”. Hung Medien.
7.8.9
[4] Gilbert, p. 340-41 •
[5] Gilbert, p. 344 [6] Gilbert, p. 345 [7] Salewicz, p. 363
•
[8] Salewicz, p. 364-65 [9] Salewicz, p. 359
•
[10] Salewicz, p. 360 [11] “Interview”. Record Collector . Joe Strummer Resource. 2000. Archived from the original on 5 October 2011. Retrieved 5 December 2008.
•
[12] Erlewine, Stephen Thomas. “Cut the Crap - The Clash”. Allmusic. Retrieved 7 November 2010.
•
[13] Larkin, Colin (2011). “The Clash”. Encyclopedia of Popular Music (5th ed.). Omnibus Press. p. 2006. ISBN 0857125958.
•
[14] Rolling Stone Album Guide review
Gilbert, Pat. Passion Is a Fashion: The Real Story of The Clash. Da Capo Press, 2004. ISBN 0-30681434-X Needs, Chris. “Joe Strummer and the Legend of the Clash”. London: Plexus, 2005. ISBN 0-85965348-X Knowles, Chris. Clash City Showdown. London: PageFree Publishing, 2003. ISBN 1-5896-1138-1 Salewicz, Chris. Redemption Song: The Ballad of Joe Strummer . Faber and Faber, 2007. ISBN 9780-571-21178-4 Savage, Jon. England’s Dreaming: The Sex Pistols and Punk Rock London: Faber and Faber, 1991. ISBN 0-312-28822-0 Quantick, David. “The Clash” (Kill Your Idols series). London: Unanimous, 2000. ISBN 1-90331803-3
[15] Christgau, Robert (28 January 1986). “Consumer Guide”. The Village Voice. New York. Retrieved 10 September 7.8.10 2015. •
[16] Parker, Alan G. Rebel Truce - The History of the Clash (Documentary)Mentioned during part 6, 5min 20seconds . Sky Arts. [17] Fricke, David (1 March 2008). “Cut the Crap by The Clash”. Music Reviews . Rolling Stone. Retrieved 7 November 2010.
References
7.9
External links
“Recording Cut the Crap”.
''Concerts for the People of Kampuchea''
Concerts for the People of Kampuchea is
a double al-
[18] Cromelin, Richard (17 November 1985). “Album Review bum from Wings, The Who, Queen, Elvis Costello, The : Less Slash From The New Clash”. Los Angeles Times . Pretenders, The Clash, The Specials, and many more Retrieved 10 September 2015.
artists of the highlights from the Concerts for the Peo[19] Marsh, Dave (1989). The Heart of Rock & Soul: The 1001 ple of Kampuchea held at the Hammersmith Odeon in Greatest Singles Ever Made . Penguin. pp. 77–80. ISBN London, UK to raise money for the victims of war-torn 0-14-012108-0. in Cambodia. It has yet to be released on CD.
176 7.9.1
CHAPTER 7. ALBUMS
History
The album starts with four songs from The Who (culled from a 3-hour set list) and finishes with three songs from Wings and three from the all-star line-up called Rockestra. The best of the concerts was released as a film, Concert for Kampuchea . Rockestra was a Paul McCartney-led supergroup of at least thirty English rockers. The credited list appears at the bottom of the back cover of the LP. The name was first given to an assemblage of famous rock stars that were brought together by McCartney for the final Wings album, 1979’s Back to the Egg. The supergroup – which consisted of Wings, John Paul Jones and John Bonham of Led Zeppelin, David Gilmour from Pink Floyd, Ronnie Lane of the Faces, Kenney Jones and Pete Townshend of The Who, and Hank Marvin of The Shadows – recorded two McCartney compositions, the instrumental “Rockestra Theme” and “So Glad to See You Here”. Then, McCartney and Kurt Waldheim re-assembled Rockestra for a series of benefit concerts for the people of Cambodia (also known as Kampuchea), suffering from the reign of Pol Pot. This time, Rockestra consisted of, among others, Wings, John Paul Jones, Bonham, Robert Plant, Rockpile, James Honeyman-Scott and Townshend. Hank Marvin was not available and Gilmour for tax reasons had to decline, as he was with the rest of Pink Floyd in Los Angeles, California, where they were in the midst of rehearsing for an upcoming concert tour.
11. "Now I'm Here" (Brian May) – 6:49 •
12. "Armagideon Time" (Bennett) – 4:15 •
Album track listing
1. "Baba O'Riley" (Pete Townshend) – 5:12
•
•
Tracks 1–4 performed by The Who
16. "Every Night" (McCartney) – 4:17 17. "Coming Up" (McCartney) – 4:08 •
19. "Let It Be" (Lennon, McCartney) – 4:12 20. "Rockestra Theme" (McCartney) – 2:30 •
•
•
•
•
•
7. “Tattooed Love Boys” (Hynde) – 3:18 •
Tracks 5–7 performed by The Pretenders
•
8. “The Imposter” (Elvis Costello) – 2:10 •
Performed by Elvis Costello & The Attractions
9. "Crawling from the Wreckage" (Graham Parker) – 3:02 •
Performed by Rockpile
10. "Little Sister" (Doc Pomus, Mort Shuman) – 3:33 •
Performed by Rockpile with Robert Plant
Tracks 15–17 performed by Wings
18. "Lucille" (Albert Collins, RichardPenniman)–3:03
5. “The Wait” (Chrissie Hynde, Pete Farndon) – 3:28 6. “Precious” (Hynde) – 3:23
Performed by The Specials
15. "Got to Get You into My Life" (John Lennon, Paul McCartney) – 2:57
4. "See Me, Feel Me" (Townshend) – 5:49 •
Performed by Ian Dury & The Blockheads
14. "Monkey Man” (Toots Hibbert) – 2:26
2. "Sister Disco" (Townshend) – 5:16 3. "Behind Blue Eyes" (Townshend) – 3:46
Performed by The Clash
13. "Hit Me With Your Rhythm Stick" (Ian Dury, Chaz Jankel) – 4:30
7.9.3 7.9.2
Performed by Queen
•
Tracks 18–20 performed by Rockestra
Rockestra’s personnel
Piano: Paul McCartney Keyboards: Linda McCartney, Tony Ashton, Gary Brooker Guitars: Denny Laine, Laurence Juber, James Honeyman-Scott, Dave Edmunds, Billy Bremner, Pete Townshend, Robert Plant Bass: Paul McCartney, Bruce Thomas, Ronnie Lane, John Paul Jones Drums, Percussion: Steve Holley, Kenney Jones, Tony Carr, Morris Pert, Speedy Acquaye, John Bonham Horns: Howie Casey, Steve Howard, Thaddeus Richard, Tony Dorsey Vocals: Paul McCartney, Linda McCartney, John Paul Jones, Ronnie Lane, Bruce Thomas, Robert Plant
7.9.4
Charts
Album Album track
177
7.10. ''THE STORY OF THE CLASH, VOLUME 1''
7.9.5
References
[1] Concerts for the People of Kampuchea at AllMusic [2] Christgau, Robert. “Album: Concerts for the People of Kampuchea”. [3] McGee, Garry (2003). Band on the Run: A History of Paul McCartney and Wings . Lanham, MD: Rowman & Littlefield. p. 233. ISBN 9780878333042.
10. "I Fought the Law" - 2:35 (Sonny Curtis) (from The Cost of Living EP, 1979)
11. "Somebody Got Murdered" - 3:34 (the Clash) (from Sandinista!, 1980)
12. "Lost in the Supermarket" - 3:47 (from London Calling, 1979)
13. "Bankrobber" - 4:31 (A-side of non-album single, 1980)
7.10
''The Story of the Clash, Volume 1''
Disc 2
1. "(White Man) In Hammersmith Palais" - 3:58 (nonThe Story of the Clash, Vol. 1 is a double-disc compila-
tion album by the English punk rock band The Clash. It was released with 28 tracks on 29 February 1988 through Epic Records. The compilation presents a relatively thorough overview of their career (except Cut the Crap). An anticipated second volume was to have consisted of live recordings but remains unreleased. The original albums on vinyl were released with 4 different colored covers, Red, Blue, Yellow, and Green. 7.10.1
Track listing
album single, 1978)
2. "London’s Burning" - 2:09 (from The Clash , 1977) 3. "Janie Jones" - 2:04 (from The Clash , 1977) 4. "Tommy Gun" - 3:14 (from Give 'Em Enough Rope , 1978)
5. "Complete Control" - 3:12 (non-album single, 1977) 6. "Capital Radio One" (preceded by Circle Line interview part 2)[4] - 5:18 (from Capital Radio EP, 1977) 7. "White Riot" - 1:59 (single version, 18 March 1977)
The 2×LP release of the album has the first six tracks of Disc 1 on Side A and the latter seven on Side B, and the first eight tracks of Disc 2 on Side C and the latter seven on Side D. Allsongs written by Joe Strummer and Mick Jones except where noted.
8. "Career Opportunities" - 1:51 (from The Clash, 1977) 9. "Clash City Rockers" - 3:57 (non-album single, 1978) 10. "Safe European Home" - 3:49 (from Give 'Em Enough Rope, 1978)
11. “Stay Free” - 3:37 (from Give 'Em Enough Rope, 1978) Disc 1
1. "The Magnificent Seven" - 4:27 (the Clash) (12” version; original version from Sandinista! , 1980)
2. "Rock the Casbah" - 3:42 (the Clash) (US single mix; original version from Combat Rock , 1982)
3. "This Is Radio Clash" - 4:10 (the Clash) (A-side of non-album single, 1981)
12. "London Calling" - 3:19 (from London Calling, 1979) 13. "Spanish Bombs" - 3:18 (from London Calling , 1979) 14. "English Civil War" (trad. arr. Strummer/Jones) 2:34 (from Give 'Em Enough Rope, 1978) 15. "Police & Thieves" (Junior Murvin, Lee “Scratch” Perry) - 6:00 (from The Clash , 1977)
4. "Should I Stay or Should I Go" - 3:06 (the Clash) 7.10.2 Liner notes (from Combat Rock , 1982)
5. "Straight to Hell" - 5:30 (the Clash) (from Combat The extensive inner notes are told from the perspective of Joe Strummer’s alter-ego, one Albert Transom. Transom, Rock , 1982) described by himself as "...their valet from the early be6. “Armagideon Time” - 3:50 (Willi Williams, Jackie ginnings to thebitter end...”, tells manyanecdotes, including one about the beginning of the rioting at the Notting Mittoo) (B-side of “London Calling” single, 1979) Hill Carnival in 1976. Many of the stories are about 7. "Clampdown" - 3:50 (from London Calling, 1979) shows, such as one where, after their “3rd or 4th time out”, Transom and a fellow punk named Sebastian barri8. "Train in Vain" - 3:10 (from London Calling , 1979) caded themselves in a small room and were attacked by a 9. "The Guns of Brixton" - 3:12 (Simonon) (from Lon- group of “Teddy Boys”. The story went that Sebastian’s don Calling, 1979) tie was ripped, and the general consensus was that the tie
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CHAPTER 7. ALBUMS
was now “much more punk”. Many other musicians are mentioned in the liners, including experiences with Bo Diddley, Devo, and Roxy Music. The notes end with “If I had to sum it up, I'd say we played every gig on the face of the earth and that’s what its all about...I've just heard they'll give me some room on Vol. 2 so maybe I will be able to tell the bits I've had to skip or leave out.” [5] 7.10.3
Personnel
7.10.4
Charts
7.10.5
Certifications
7.10.6
References
[1] Erlewine, Stephen Thomas. The Story of the Clash, Volume 1 at AllMusic. Retrieved 2011-06-28. [2] Rolling Stone 14 July 1988 [3] Christgau, Robert. The Clash. Retrieved 2011-06-28. [4] Discogs - Capital Radio E.P. 09th of April 1977 UK [5] Strummer, Joe (1988). The Story of the Clash, Volume 1 (CD, 2×LP). The Clash. CBS. [6] "Officialcharts.de – The Clash – The Story Of The Clash”. GfK Entertainment Charts. [7] "Charts.org.nz – The Clash – The Story Of The Clash”. Hung Medien. [8] "Swedishcharts.com – The Clash – The Story Of The Clash”. Hung Medien. [9] “Official Albums Chart Top 100”. Official Charts Company.
7.11
''Clash on Broadway''
Clash on Broadway is a box set compilation album by the
punk rock band The Clash, released on Legacy Records in 1991, catalogue E3K 46991. It comprises 64 tracks on three compact discs, spanning the time period from their very first single; "White Riot", in 1977 through the Combat Rock album of 1982. It does not include material from the band’s coda led by Joe Strummer and Paul Simonon, resulting in the final album Cut the Crap. It was initially released in longbox form. 7.11.1
Content
The set contains five previously unreleased tracks, two early demo recordings, and three live recordings, one of which had been released on a film soundtrack. Thirteen of the eighteen singles released during the time frame covered appear, leaving out "Remote Control" released as a single against the band’s wishes, "English Civil War" and "I Fought the Law" which appear in a live versions, "Hitsville UK" and "Know Your Rights". Disc one contains mostly recordings taken from their early singles including the extended play single Capital Radio, and the debut album. The four songs deleted from the British version of The Clash album and replaced by singles tracks for the American version, “Deny”, “Protex Blue”, “Cheat”, and “48 Hours”, are included. Disc two concentrates on tracks from the albums Give 'Em Enough Rope and London Calling, and the extended play single Cost of Living. Disc three contains tracks from Sandinista! and Combat Rock , tracks from the latter including both edited and unedited versions.
[10] “The Clash – Chart history” Billboard 200 for The Clash.
7.11.2
Reception
[12] “American album certifications – CLASH, THE – STORY OF THE CLASH”. Recording Industry Association of America. 1999-04-20. If necessary, click Ad- 7.11.4 vanced , then click Format , then select Album , then click SEARCH
Personnel
[11] “British album certifications – CLASH – THE STORY OF THE CLASH - VOL 1”. British Phonographic Industry. 1988-03-21. Enter THE STORY OF THE CLASH 7.11.3 Track listing - VOL 1 in the field Keywords. Select Title in the field Search by. Select album in the field By Format. Select All tracks written by Mick Jones and Joe Strummer, exSilver in the field By Award. Click Search cept where noted otherwise.
7.10.7 •
External links
The Story of the Clash, Volume 1 (disc 1) at
•
Mick Jones — vocals, guitars, keyboards
•
Joe Strummer — vocals, guitars, keyboards
•
Paul Simonon — bass, vocals
•
Terry Chimes — drums on disc one, tracks 1–15
•
Topper Headon— drums, piano, bass, vocals on disc
MusicBrainz •
The Story of the Clash, Volume 1 (disc 2) at
MusicBrainz •
The Story of the Clash, Volume 1 at Allmusic
one, tracks 16–25, discs two and three
179
7.13. ''SUPER BLACK MARKET CLASH'' Additional personnel •
Richard Bauer and Don DeVito – compilation producers
6. "Tommy Gun" – 3:13 7. "English Civil War" (Trad. [arr. Strummer/Jones]) – 2:34
•
Kosmo Vinyl – project director, liner notes
8. "I Fought the Law" (Sonny Curtis) – 2:38
•
Ray Staff and Bob Whitney – remastering
9. "London Calling" – 3:17
•
Bill Price – remastering supervisor
10. "Train in Vain" – 3:06
•
Hugh Attwool, Bruce Dickinson – tape research
11. "Bankrobber" – 4:32
•
Josh Cheuse – art direction and cover design
12. "The Call Up" (Strummer/Jones/Paul monon/Topper Headon) – 5:21
•
Lester Bangs, Mickey Gallagher, Lenny Kaye, Keith Levene, Bernard Rhodes – liner notes
7.11.5
References
[1] Erlewine, Stephen Thomas. "Clash on Broadway – The Clash | Songs, Reviews, Credits, Awards | AllMusic”. AllMusic . Retrieved 2 July 2015.
13. "Hitsville U.K." mer/Jones/Simonon/Headon) – 4:19
(Strum-
14. "The Magnificent Seven" mer/Jones/Simonon/Headon) – 4:26
(Strum-
15. "This Is Radio Clash" mer/Jones/Simonon/Headon) – 4:08
(Strum-
[2] Melody Maker (29 February 2000). pp. 48–49.
16. "Know Your Rights" – 3:35
[3] Q Magazine (April 2000). p. 107.
17. "Rock the Casbah" mer/Jones/Simonon/Headon) – 3:35
7.12
''The Singles’'
Si-
(Strum-
18. "Should I Stay or Should I Go" (Strummer/Jones/Simonon/Headon) – 3:08
The Singles is a compilation album by The Clash.
It includes all their singles, in their single versions, except for 1977’s Capital Radio (which, whilst not eligible for chart 7.12.2 Charts entry is still considered a single) as well as 1985’s " This Is England" due to the Cut the Crap album being disowned 7.12.3 References by the band at that time. [1] Steve Huey. The Singles - Review at AllMusic This collection containsthe actual A-side recording of the "This Is Radio Clash" single. Some other compilations [2] “Chart Stats – The Clash – The Singles”. UK Albums Chart. Chart Stats. such as The Essential Clash and the remastered version of Super Black Market Clash contain the B-side “Radio [3] "Charts.org.nz – The Clash – The Singles”. Hung Medien. Clash” under the title "This Is Radio Clash" instead. A remastered version, (495353 2) with slightly altered [4] "Spanishcharts.com – The Clash – The Singles”. Hung Medien. artwork, was released in 1999 as part of Sony’s Clash reissue campaign. [5] "Portuguesecharts.com – The Clash – The Singles”. Hung Medien.
7.12.1
Track listing
All songs by Joe Strummer and Mick Jones unless otherwise noted
1. "White Riot" – 1:57 2. "Remote Control" – 2:58 3. "Complete Control" – 3:11 4. "Clash City Rockers" – 3:46 5. "(White Man) In Hammersmith Palais" – 3:58
7.13
''Super Black Market Clash''
Super Black Market Clash is a
1993 compilation album released by the English punk rock band The Clash. It contains B-sides and rare tracks not available on the group’s regular studio albums. The album is an expanded repackaging of the 1980 release Black Market Clash , which was a 10-inch EP, containing 9 songs. The man in the foreground of the front cover art is Don Letts, who worked with The Clash on several projects and later was a founding member of Big Audio Dynamite.
180 7.13.1
CHAPTER 7. ALBUMS
Black Market Clash
released only in the US and Canada in between London Calling and Sandinista!. It compiled recordings which were then unavailable in the US except as imports. The disc was one of the first four “Nu-Disk” 10-inch records from Epic. Other artists in the series included Gary Glitter, New Musik and Cheap Trick. “The Prisoner,” the cover of "Pressure Drop" by Toots and the Maytals, “City of the Dead,” and “Armagideon Time” had all been UK b-sides from the period 197779, respectively of "White Man in Hammersmith Palais,” "English Civil War,” "Complete Control,” and "London Calling.” “Pressure Drop” is presented here in a remix by Bill Price. At the time of release, this was the only record that featured the cover of the “Time Is Tight” instrumental by Booker T & the MGs. "Capital Radio" was extremely rare in theUK. Rather than re-issue the original the group recorded a new version for The Cost of Living as “Capital Radio Two.” “Cheat” is from their UK debut album but had been left off the US version. “Bankrobber” had been a UK A-side. “Robber Dub” was originally intended for the b-side of an unreleased “Bankrobber” 12” dance club single. The two tracks appear here in a combined edit that is unique to Black Market Clash. “Justice Tonight/Kick It Over”, the dub version of “Armagideon Time”, is the last track. This was previously available as the B-side to the 12-inch “London Calling” club single. The full length version of “Justice Tonight/Kick It Over” is 8:54 and the 7:00 edited version is also unique to Black Market Clash. Black Market Clash was reissued in the 1980s on 12inch vinyl and cassette, with the same track listing as the 10-inch. It was re-released on compact disc in 1991, but discontinued when Super Black Market Clash replaced it. It was available again for a short period of time in 2006 in a few countries. It was reissued on 10-inch vinyl again in 2011.
6. "Time Is Tight" (Booker T. Jones, Steve Cropper, Donald “Duck” Dunn, Al Jackson) – 4:05
Black Market Clash was
Side two
1. "Bankrobber/Robber Dub" (Strummer, Jones, Mikey Dread) – 6:16 2. “Armagideon Time” (Willie Williams, Jackie Mittoo) – 3:50 3. “Justice Tonight/Kick It Over” (Williams, Mittoo) – 7:00 Personnel •
Joe Strummer - lead vocals, rhythm guitar, piano
•
Mick Jones - lead guitar, vocals, piano
•
Paul Simonon - bass, vocals
•
•
Terry Chimes - drums on “Capital Radio” and “Cheat” Topper Headon - drums, percussion on “The Prisoner”, “Pressure Drop”, “The City of the Dead”, “Time Is Tight”, “Bankrobber"/"Robber Dub,” “Armagideon Time”, and “Justice Tonight"/"Kick It Over”
Additional musicians •
Gary Barnacle – saxophone on “Time Is Tight”
Charts
7.13.2
Super Black Market Clash
Super Black Market Clash is
a compilation album released by The Clash in 1993 that containsB-sides andrare tracks not available on their studio albums. It is a repackaging of the original 1980 Black Market Clash , which was a single 10” EP, containing only 9 songs. The man Track listing in the foreground of the front cover art is Don Letts, who worked with the Clash on several projects and later was a All songs written by Joe Strummer and Mick Jones, ex- founding member of Big Audio Dynamite. Super Black cept where noted. Market Clash album does not contain the tracks “Capital Radio One”, “Cheat”, “Bankrobber/Robber Dub” or Side one “Armagideon Time” found on the original Black Market Clash. At the time of re-release, “Capital Radio One”, 1. "Capital Radio One" – 2:09 “Bankrobber” and “Armagideon Time” had recently been compiled on the compilations The Story of the Clash, Vol2. “The Prisoner” – 3:00 ume 1, and Clash on Broadway, and removing them did not affect the availability of the recordings. The album 3. "Pressure Drop" (Toots Hibbert) – 3:30 alsoreplaces theversion of “Pressure Drop” thatappeared on the original Black Market Clash with the b-side mix, 4. “Cheat” – 2:06 and “Justice Tonight/Kick It Over” appears in a longer 5. “The City of the Dead” – 2:26 version than that which appeared on Black Market Clash.
181
7.14. ''FROM HERE TO ETERNITY: LIVE''
Super Black Market Clash does not fully compile the 1999 through Epic Records. The songs were recorded at
Clash’s b-sides or even attempt to collect all their rarities. It does however contain important songs, such as three from The Cost of Living EP and several b-sides that were previously unavailable on CD including “The Cool Out” (a remix of “The Call Up”) and “Long Time Jerk” (although in a shorter version than appeared as the b-side to “Rock the Casbah”). The Clash’s catalog, including this the album, was remastered and re-released in January 2000. [4] The artwork for the remaster corrects an error in the track listing on the original (“Pressure Drop” was listed as track 5 and “The Prisoner” as track 6 when they actually play in the opposite sequence). The original version of the revised artwork also introduced a new error by listing “Radio Clash” as “This Is Radio Clash” (the former song, which appears on the album, is the b-side to the latter song which does not), but this was corrected on later pressings. Track listing
different shows. Some of the recordings featured also appear in the film Rude Boy. “London’s Burning”, “What’s My Name” and "I Fought the Law" were instrumentally overdubbed to repair some technical deficiencies of the original live recording. 7.14.1
All tracks written by Joe Strummer and Mick Jones, except where noted. 7.14.2 •
•
•
Personnel • •
Joe Strummer - lead vocals, rhythm guitar, piano
•
Mick Jones - lead guitar, vocals, piano
•
Paul Simonon - bass, vocals
•
Terry Chimes - drums on “1977” and “Listen”
•
Topper Headon - drums, percussion on all other tracks
Track listing
•
Personnel
Mick Jones - guitar, vocals Paul Simonon - bass guitar, backing vocals, lead vocals and rhythm guitar on “The Guns of Brixton” Joe Strummer - lead vocals, rhythm guitar, bass guitar on “The Guns of Brixton” Topper Headon - drums Terry Chimes - drums on tracks “Clash City Rockers”, “Career Opportunities”, "(White Man) In Hammersmith Palais”, “London Calling”, “The Magnificent Seven”, “Know Your Rights”, “Should I Stayor Should I Go?", “Straight to Hell” and “Janie Jones”.
Additional performers
Additional musicians • •
Gary Barnacle – saxophone on “1-2 Crush on You” and “Time Is Tight”
7.13.3
References
•
[2] "Charts.org.nz – The Clash – Black Market Clash”. Hung Medien. [3] “The Clash - Black Market Clash - Awards”. AllMusic.
•
The Clash - producers
•
Crispin Murray - engineer
•
[4] Discogs - Super Black Market Clash reMaster 2000-0125th [5] The Clash. Liner Notes, Super Black Market Clash (Epic/Legacy, 1994).
''From Live''
Here
Mikey Dread - additional vocals on “Armagideon Time”
Production
[1] “The Clash”. Robert Christgau.
7.14
Micky Gallagher - organ on “Armagideon Time”
to
Eternity:
From Here to Eternity: Live is a live album by English
punk rock band The Clash. It was released on 4 October
Adrian Hall; Matt Lawrence; Gareth Ashton - assistant engineers
•
Bill Price - mixing
•
Tim Young - mastering
•
Model Solutions - cover art
•
Paul Simonon - art direction
•
Solar Creative - graphic design
•
Pennie Smith; Matthew Donaldson; Adrian Brown photography
182 7.14.3
CHAPTER 7. ALBUMS
Album notes
The liner notes also list a thanks to Rob Stringer, Hugh Attwooll, Paul Bursche, Matt Reynolds, Bruce Dickinson, Jock Elliot, Pennie Smith, Ollie Weait. “Special thanks to everybody all over the world that wrote in with their stories and recollections.” 7.14.4
Charts
7.14.5
References
[1] From Here to Eternity: Live at AllMusic [2] http://www.blender.com/guide/back-catalogue/54683/ from-here-to-eternity-live.html [3] Christgau, Robert. “The Clash”. Robert Christgau. [4] http://web.archive.org/web/20020603041906/ www.pitchforkmedia.com/record-reviews/c/clash/ from-here-to-eternity.shtml [5] "Lescharts.com – The Clash – From Here To Eternity Live”. Hung Medien. [6] "Swedishcharts.com – The Clash – From Here To Eternity - Live”. Hung Medien. [7] “Official Albums Chart Top 100”. Official Charts Company. [8] “The Clash – Chart history” Billboard 200 for The Clash.
Strict interpretation of the fire laws meant that audiences were relatively small and resulting in a sense of intimacy between the band and the audience. Audience members clambered onto the stage to join in singalongs. New York musicians, including Pearl Harbor, assisted and overseen by Andy Dunkley, provided disc jockey services as the audience entered and gathered. The concert captures The Clash on the cusp between being a cult band and their short-lived major market penetration. As always with The Clash, ticket and merchandise prices were set relatively low. The band had a new opening act every night, including TheFall (band), Grandmaster Flash and the Furious Five, Dead Kennedys, Bad Brains, Lee “Scratch” Perry and many more. Many of the hip-hop groups that opened were either picketed or booed off the stage. When The Clash came on afterwards, Joe would chide the audience for doing what they did. Melle Mel later said that when they tried to perform the section of “Beat Street” with the, “Say Ho!", the audience members would yell, “Fuck you!". 7.15.1
Setlist
1. "London Calling" 2. “Safe European Home” 3. “The Leader” 4. "Train in Vain"
7.15
''Live at Bond’s Casino''
5. "(White Man) In Hammersmith Palais" 6. "This Is Radio Clash"
The Clash played a series of 17 concerts at Bond Inter-
national Casino in New York City in May and June 1981 in support of their album Sandinista!. Due to their wide publicity, the concerts became an important moment in the history of the band. Some of the nights were professionally recorded either for CBS records or for FM broadcast. The 9 June performance appears on countless bootleg records and several songs have appeared on From Here to Eternity: Live or other official Clash releases. The site of the concerts was formerly Bonds department store which had been converted into a large second-floor hall. Promoters kept the name because there was a large Bonds sign on the outside of the building. As The Clash had not yet broken out into mass popularity, eight shows were originally scheduled: 28, 29, 30, 31 May and 1, 2, 3 and 5 June 1981. However, given the venue’s legal capacity limit of 1750, the series was blatantly oversold (3500) right from the first night, leading the New York City Fire Department to cancel theSaturday, 30 May performance. In response, the band condemned the brazen greed of the promoters while demonstrating unprecedented integrity to each and every ticketholder by doubling the original booking with a total of 17 dates extending through June.
7. “Corner Soul” 8. "Guns of Brixton" 9. "The Call Up" 10. "Bankrobber" 11. "Complete Control" 12. “Lightning Strikes (Not Once But Twice)" 13. “Ivan Meets GI Joe” 14. “Charlie Don't Surf” 15. "The Magnificent Seven" 16. “Broadway” 17. “Somebody Got Murdered” 18. "Police & Thieves" 19. "Clampdown" 20. “One More Time”
183
7.16. ''THE ESSENTIAL CLASH''
21. "Brand New Cadillac" 22. “The Street Parade”
Disc one •
23. "Janie Jones" 24. "Washington Bullets"
All songs written by Joe Strummer and Mick Jones, except where noted.
1. "White Riot" – 1:59 2. "London’s Burning" – 2:10
7.15.2
References
7.16
''The Essential Clash''
3. "Complete Control" – 3:13 4. "Clash City Rockers" (original version) – 3:56 5. "I'm So Bored with the U.S.A." – 2:25
The Essential Clash is
a career-spanning greatest hits album by The Clash first released in 2003. It is part of the on-going 'The Essential' Sony BMG compilation series. The album is dedicated to Joe Strummer, who died during its compilation.
6. "Career Opportunities" – 1:52 7. “Hate & War” – 2:05 8. “Cheat” – 2:06 9. "Police & Thieves" - 6:00 (Junior Murvin, Lee
7.16.1
“Scratch” Perry)
The “This Is Radio Clash” track
The B-side recording titled "Radio Clash" was accidentally released on the US version of this album with the incorrect A-side title of "This Is Radio Clash", much like it had been on Super Black Market Clash. Both tracks have the same length and the only notable difference is in the two mixes and the lyrics (they also feature an uncredited performance by Gary Barnacle on Electric Saxophone). The similarities of the titles and the recordings has led to quite a bit of confusion not only by fans but by record companies as well. The two songs canbe identified by the opening lyrics. “This Is Radio Clash” begins with "This is radio clash on pirate satellite, Orbiting your living room, cashing in the bill of rights " and “Radio Clash” begins with "This is radio clash resuming of transmission, beaming from the mountain tops using aural ammunition." Apart from these two compilations, every other compilation (including the European version of “The Essential Clash”) where “This Is Radio Clash” is listedon the sleeve includes the original song rather than its similarly titled B-side.
10. "Janie Jones" – 2:05 11. “Garageland” – 3:13 12. "Capital Radio One" – 2:09 13. "(White Man) In Hammersmith Palais" – 4:01 14. "English Civil War" - 2:36 (traditional, arranged by Jones and Strummer)
15. "Tommy Gun" – 3:17 16. “Safe European Home” – 3:51 17. “Julie’s Been Working for the Drug Squad” - 3:04 (uncredited Piano by Allen Lanier)[6]
18. “Stay Free” – 3:40 19. "Groovy Times" – 3:30 20. "I Fought the Law" - 2:39 (Sonny Curtis) UK version adds “1977” – 1:41 as track 2.
7.16.2
Reception Disc two
•
Spin (6/03, p. 104) - “These two discs are a pretty
hot crib sheet....The first 11 cuts are a shuffle mix of highlights from the U.S. and U.K. versions of 1977’s incendiary The Clash, andif theydon'tinspire you to punch holes in the plaster, you're too well-adjusted.” •
Uncut (5/03, p. 114) - 4 stars out of 5 - “They never
lost sight of Britain’s strange mix of supermarket torpor and multicultural high energy.” 7.16.3
Track listing
•
All tracks written by The Clash, except where noted.
1. "London Calling" - 3:20 (Jones, Strummer) 2. "The Guns of Brixton" - 3:10 (Paul Simonon) 3. "Clampdown" – 3:50 (Jones, Strummer) 4. "Rudie Can't Fail" – 3:29 (Jones, Strummer) 5. "Lost in the Supermarket" – 3:47 (Jones, Strummer) 6. “Jimmy Jazz” – 3:55 (Jones, Strummer)
184
CHAPTER 7. ALBUMS
7. "Train in Vain (Stand by Me)" – 3:11 (Jones, Strum- Special features mer) •
8. "Bankrobber" – 4:35 (Jones, Strummer)
Filmed in the summer of 1983 and filmed in black and white.
9. "The Magnificent Seven" – 5:33 •
10. “Ivan Meets G.I. Joe” – 3:07 11. "Police on My Back"-3:17 (Eddy Grant) (UK release replaces this recording with "Broadway" – 4:56, between “The Street Parade” and “This is Radio Clash”) 12. “Stop the World” – 2:33 13. “Somebody Got Murdered” – 3:34
16. “Ghetto Defendant” – 4:44 17. "Rock the Casbah" – 3:42 18. "Straight to Hell" – 5:30 19. "Should I Stay or Should I Go" – 3:08 20. "This Is England" - 3:50 (Bernard Rhodes, Strummer) 7.16.4
DVD
Track listing
Promo Footage (1976) - including “1977”, “White Riot” and “London’s Burning”
•
Discography
•
“I Fought the Law” (Live, from the film Rude Boy)
•
Interview clip (London Weekend Show 1976)
Credits •
14. “The Street Parade” – 3:29 15. "This Is Radio Clash" (on US release this recording is the B-side “Radio Clash”, not the A-side “This is Radio Clash”) – 4:10
Hell W10 - written and directed by Joe Strummer.
•
All videos directed by Don Letts except “Tommy Gun” directed by Keef & Co and “White Riot” directed by Lindsey Clinell. Hell W10 soundtrack features excerpts from; “Ver-
sion City”, “Rudie Can't Fail”, “First Night Back in London (Instrumental)", “Know Your Rights (Instrumental)", “Long Time Jerk (Instrumental)", “Cool Confusion (Instrumental)", “Ghetto Defendant (Instrumental)", “Junco Version (Instrumental)", “Atom Tam (Instrumental)", “Silicone on Sapphire”, “Wrong 'Em Boyo”, "Overpowered by Funk (Instrumental)", “The Call Up”, “Red Angel Dragnet (Instrumental)", “Jimmy Jazz”, “Mensforth Hill”, “Junkie Slip”, “Time Is Tight”, “Armagideon Time”, “Listen”, “The Equaliser”, “Police on My Back”, “One More Dub”, “Rock the Casbah (Instrumental)".[7] 7.16.5
1. Clash on Broadway Trailer including “London Call- 7.16.6 ing” and “Radio Clash” 2. “White Riot”
Charts References
[1] Allmusic review [2] The Music Box review
3. “Complete Control”
[3] NME review
4. “Tommy Gun”
[4] Pitchfork Media review
5. “Clampdown” 6. “Train in Vain” 7. “London Calling” 8. “Bankrobber” 9. “The Call Up” 10. “Rock the Casbah”
[5] Rolling Stone review [6] Discogs - Allen Lanier credit [7] The Essential Clash DVD Sleeve: Clash soundtrack produced from the clash archives for 2003 DVD release of Hell 10
[8] "Charts.org.nz – The Clash – The Essential”. Hung Medien. [9] "Swedishcharts.com – The Clash – The Essential”. Hung Medien.
11. “Should I Stay or Should I Go?" (live)
[10] “Official Albums Chart Top 100”. Official Charts Company.
12. “Career Opportunities” (live)
[11] “The Clash – Chart history” Billboard 200 for The Clash.
185
7.17. ''SINGLES BOX''
7.17
''Singles Box''
CD 5 - Clash City Rockers
1. "Clash City Rockers" - 3:47 a compilation album by The Clash. Included within is all the singles that they released in the 2. "Jail Guitar Doors" - 3:03 UK (meaning no single for "TraininVain(StandbyMe)", their first top 40 single in America), with the single mixes Originally released 17 February 1978 and edits with the B-sides released, and also containing B-sides from different parts of the world. The discs are packaged in a sleeve which reproduces the CD 6 - (White Man) In Hammersmith Palais design of the original single, and they come in a protec1. "(White Man) In Hammersmith Palais" - 4:02 tive sleeve. The CDs themselves are designed to look like vinyl records, with a textured top to look like a record 2. “The Prisoner” - 2:59 with grooves and the data side being black, and a reproduction of the record label in the center of the disc. Originally released 16 June 1978 Singles Box is
•
•
7.17.1
Track listing
CD 7 - Tommy Gun
19xCD
1. "Tommy Gun" - 3:19
CD 1 - White Riot
2. “1-2 Crush On You” - 2:59
1. "White Riot" - 1:59
•
Originally released 24 November 1978
2. “1977” - 1:40 CD 8 - English Civil War •
Originally released 18 March 1977
CD 2 - Capital Radio EP
1. “Listen” (Edit) - 0:27 2. Interview with The Clash on The Circle Line (Part 1) - 8:51 3. Interview with The Clash on The Circle Line (Part 2) - 3:10 4. "Capital Radio" - 2:07 •
Originally released 17 April 1977
CD 3 - Remote Control
1. "Remote Control" - 3:02
1. "English Civil War (Johnny Comes Marching Home)" - 2:38 2. "Pressure Drop" - 2:35 •
CD 9 - The Cost Of Living EP
1. "I Fought The Law" - 2:42 2. "Groovy Times" - 3:31 3. "Gates Of the West" - 3:37 4. "Capital Radio Two" - 3:19 5. “The Cost Of Living Advert” - 0:47 (available only on Japanese version of the Singles Box)
2. "London’s Burning" (Live) - 2:12 3. "London’s Burning" - 2:10 (from Dutch 7”) •
Originally released 13 May 1977
CD 4 - Complete Control
Originally released 23 February 1979
•
Originally released 19 May 1979
CD 10 - London Calling
1. "London Calling" - 3:21 2. "Armagideon Time" - 3:51
1. "Complete Control" - 2:53 2. “City of the Dead” - 2:22 •
Originally released 23 September 1977
3. “Justice Tonight” - 4:08 (from UK 12”) 4. “Kick It Over” - 4:47 (from UK 12”) 5. "Clampdown" - 3:51 (from US promo 12”)
186
CHAPTER 7. ALBUMS
6. “The Card Cheat” - 3:51 (from US promo 12”)
1. "This Is Radio Clash" - 4:12
7. "Lostin the Supermarket"-3:46 (from US promo12”)
2. "Radio Clash" - 4:12
•
Originally released 7 December 1979
CD 11 - Bankrobber
1. "Bankrobber" - 4:36
3. “Outside Broadcast” - 7:23 (from UK 12”) 4. “Radio Five” - 3:38 (from UK 12”) •
Originally released 20 November 1981
2. "Rockers Galore...UK Tour (feat. Mikey Dread)" CD 16 - Know Your Rights 4:42 3. "Rudie Can't Fail" - 3:29 (from Dutch 7”) 4. "Train In Vain" - 3:09 (from Spanish 7”) •
1. "Know Your Rights" - 3:51 2. “First Night Back in London” - 3:00
Originally released 8 August 1980 •
Originally released 23 April 1982
CD 12 - The Call Up CD 17 - Rock the Casbah
1. "The Call Up" - 2:54 2. “Stop The World” - 2:32 •
Originally released 28 November 1980
1. "Rock the Casbah" (Single Version) - 3:43 2. “Long Time Jerk” - 5:10 3. "Mustapha Dance" - 4:28 (from UK 12”)
CD 13 - Hitsville U.K.
1. "Hitsville U.K." - 4:23
4. “Red Angel Dragnet” - 3:47 (from Canadian 7”) 5. "Overpowered by Funk" - 4:53 (from Argentinean promo 7”)
2. “Radio One” - 6:20 3. “Police On My Back” - 3:19 (from US 7”)
•
Originally released 11 June 1982
4. “Somebody Got Murdered” - 3:33 (from Spanish 7”) CD 18 - Should I Stay Or Should I Go / Straight to Hell •
Originally released 16 January 1981
CD 14 - The Magnificent Seven
1. "Should I Stay Or Should I Go" - 3:09
1. "The Magnificent Seven" (Edit) - 3:39
2. "Straight to Hell" (Edit) - 3:53
2. "The Magnificent Dance" (Edit) - 3:37
3. “Inoculated City” - 2:43 (from US 7”)
3. “Lightning Strikes (Not Once But Twice)" - 4:52
4. “Cool Confusion” - 3:14 (from US 7”)
(from US promo 12”)
4. “One More Time” - 3:31 (from US promo 12”) 5. “One More Dub” - 3:36 (from US promo 12”) 6. "The Cool Out" - 3:55 (from US 12”)
•
Originally released 17 September 1982
CD 19 - This Is England
7. "The Magnificent Seven" (12” Mix) - 4:29
1. "This Is England" - 3:37
8. "The Magnificent Dance" - 5:36
2. “Do It Now” - 3:07
•
Originally released 10 April 1981
CD 15 - This Is Radio Clash
3. “Sex Mad Roar” - 2:59 (from UK 12”) •
Originally released 30 September 1985
187
7.17. ''SINGLES BOX'' 19x seven inch
1. "Tommy Gun" - 3:19
7” 1 - White Riot
2. “1-2 Crush On You” - 2:59
1. "White Riot" - 1:59 2. “1977” - 1:40 •
Originally released 18 March 1977
7” 2 - Capital Radio EP
•
Originally released 24 November 1978
7” 8 - English Civil War
1. "English Civil War (Johnny Comes Marching Home)" - 2:38 2. "Pressure Drop" - 2:35
1. “Listen” (Edit) - 0:27 •
Originally released 23 February 1979
2. Interview with The Clash on The Circle Line (Part 1) - 8:51 7” 9 - The Cost Of Living EP 3. Interview with The Clash on The Circle Line (Part 2) - 3:10
1. "I Fought The Law" - 2:42
4. "Capital Radio" - 2:07
2. "Groovy Times" - 3:31
•
Originally released 17 April 1977
7” 3 - Remote Control
3. "Gates Of the West" - 3:37 4. "Capital Radio Two" - 3:19 5. “The Cost Of Living Advert” - 0:47 (available only on Japanese version of the Singles Box)
1. "Remote Control" - 3:02 2. "London’s Burning" (Live) - 2:12 •
Originally released 13 May 1977
7” 4 - Complete Control
•
Originally released 19 May 1979
7” 10 - London Calling
1. "London Calling" - 3:21 2. "Armagideon Time" - 3:51
1. "Complete Control" - 2:53 2. “The City Of The Dead” - 2:22 •
Originally released 23 September 1977
7” 5 - Clash City Rockers
1. "Clash City Rockers" - 3:47 2. "Jail Guitar Doors" - 3:03 •
Originally released 17 February 1978
7” 6 - (White Man) In Hammersmith Palais
1. "(White Man) In Hammersmith Palais" - 4:02 2. “The Prisoner” - 2:59 •
Originally released 16 June 1978
7” 7 - Tommy Gun
•
Originally released 7 December 1979
7” 11 - Bankrobber
1. "Bankrobber" - 4:36 2. "Rockers Galore...UK Tour (feat. Mikey Dread)" 4:42 •
Originally released 8 August 1980
7” 12 - The Call Up
1. "The Call Up" - 2:54 2. “Stop The World” - 2:32 •
Originally released 28 November 1980
7” 13 - Hitsville U.K.
1. "Hitsville U.K." - 4:23
188
CHAPTER 7. ALBUMS
2. “Radio One” - 6:20 •
Originally released 16 January 1981
7” 14 - The Magnificent Seven
1. "The Magnificent Seven" (Edit) - 3:39 2. "The Magnificent Dance" (Edit) - 3:37 •
Originally released 10 April 1981
7” 15 - This Is Radio Clash
1. "This Is Radio Clash" - 4:12 2. "Radio Clash" - 4:12 •
1. "Know Your Rights" - 3:51 2. “First Night Back in London” - 3:00 Originally released 23 April 1982
7” 17 - Rock the Casbah
1. "Rock the Casbah" (Single Version) - 3:43 2. “Long Time Jerk” - 5:10 •
Originally released 11 June 1982
7” 18 - Should I Stay Or Should I Go / Straight to Hell
1. "Should I Stay Or Should I Go" - 3:09 2. "Straight to Hell" (Edit) - 3:53 •
Credits
•
Joe Strummer - guitar, vocals on Discs 1-19
•
Mick Jones - guitar, vocals on Discs 1-18
•
Paul Simonon - bass, vocals on Discs 1-19
•
Topper Headon - drums, percussion on Dics 4-18
•
Terry Chimes - drums, percussion on Discs 1-3
•
Nick Sheppard - guitar, vocals on Disc 19
•
Vince White - guitar, vocals on Disc 19
•
Pete Howard - drums, percussion on Disc 19 Bill Price - Egg shaker
Originally released 20 November 1981
7” 16 - Know Your Rights
•
7.17.2
Dennis Ferrante - High Tenor Vocal Bob Jones - Harmonica Interviewer: Tony Parsons Mixing: Glyn Johns Remixing: Pepe Unidos Tape Operator: Jeremy Green Engineers: Jerry Green and Bill Price Photographies: Pennie Smith, Bob Gruen, Caroline and Lindy Lou Liner Notes: Shane MacGowan, Bernard Sumner, Ian Brown, John Squire, Tony Parsons, Anthony Roman, Jim Goodwin, Danny Boyle, Carl Barat, Richard Archer, Bernard Rhodes, Irvine Welsh, Nick Hornby, Stuart Peace, Sharleen Spiteri, Tim Burgess, Mike D, Bobby Gillespie, Steve Jones, Damon Albarn, The Edge, and Pete Townshend Design: Jules Cover Art: Left Hand Luke Cover Design: Rocking Russian Authors: Chris Shiflett and Damon Albarn Producers: Lee “Scratch” Perry, Bill Price, Sandy Pearlman, Guy Stevens and Jose Unidos Executive Producer: Tricia Ronane Coordinations: Will Nicol and Phil Savill
Originally released 17 September 1982 Director: John Halas
7” 19 - This Is England
1. "This Is England" - 3:37
7.17.3
2. “Do It Now” - 3:07
[1] link
3. “Sex Mad Roar” - 2:59
[2] link
•
Originally released 30 September 1985
[3] link
References
189
7.19. ''LIVE AT SHEA STADIUM''
7.18
''The Singles’' (2007)
A new version of The Clash’s previous singles compilation The Singles or Singles Box , this compilation presents a stripped down view of the singles of The Clash’s career, not including any of the B-sides incorporated into the release of the earlier collection and compiled onto a single disc. 7.18.1
Track listing
1. "London Calling" (from London Calling) 2. "Rock the Casbah" (from Combat Rock )
7.19
''Live at Shea Stadium''
For the Billy Joel concert recording, see Live at Shea Stadium: The Concert. Live at Shea Stadium is a live album by the English punk
rock band The Clash. It was recorded at Shea Stadium in New York City on 13 October 1982, the band’s second night opening for The Who; the concert was produced by Kosmo Vinyl. The original recordings were unearthed by Clash frontman Joe Strummer while packing for a move.[1] The album was released in the United Kingdom on 6 October 2008[2] and in the United States the following day.[3]
3. "Should I Stay or Should I Go" (from Combat Rock ) 4. "I Fought the Law" (from The Cost of Living and The 7.19.1 Reception Clash (U.S.)) Reception for Live at Shea Stadium was very positive. Re5. "(White Man) In Hammersmith Palais" (from The view aggregator Metacritic, which collates reviews from Clash (U.S.)) various publications, indicates a score of 81 (indicating “Universal acclaim”).[4] 6. "The Magnificent Seven" (from Sandinista!) 7. "Bankrobber" (from Black Market Clash) 8. "The Call Up" (from Sandinista!)
7.19.2
9. "Complete Control" (from The Clash (U.S.))
All tracks written by Joe Strummer and Mick Jones, except where noted.
10. "White Riot" (from The Clash (U.K.)) 11. "Remote Control" (from The Clash (U.K.)) 12. "Tommy Gun" (from Give 'Em Enough Rope) 13. "Clash City Rockers" (from The Clash (U.S.))
7.19.3 •
14. "English Civil War" (from Give 'Em Enough Rope ) •
15. "Hitsville U.K." (from Sandinista!) 16. "Know Your Rights" (from Combat Rock ) 17. "This Is England" (from Cut the Crap)
•
•
Track listing
Personnel
Joe Strummer - lead vocals, rhythm guitar, bass on “The Guns of Brixton” Mick Jones - guitar, vocals Paul Simonon- bass, backing vocals, lead vocals and rhythm guitar on “The Guns of Brixton” Terry Chimes - drums
18. "This Is Radio Clash" (from This is Radio Clash) 19. "Train in Vain" (from London Calling) 20. "Groovy Times" (from The Cost of Living ) (bonus track on some versions) 7.18.2
Charts
7.18.3
References
[1] The Singles at AllMusic [2] http://www.pitchforkmedia.com/article/record_review/ 43457-the-clash-the-singles [3] "Charts.org.nz – TheClash– The Singles”. Hung Medien. [4] “Official Albums Chart Top 100”. Official Charts Company.
Production •
Glyn Johns - original recording
•
David Bates; Mark Frith - restoration, mixing
•
•
Tim Young - master recording Bob Gruen; Joe Stevens - photography
7.19.4
Charts
7.19.5
References
[1] “The Clash London Calling - Vinyl Replica Edition | The Clash Site”. Theclashonline.com. 2009-12-14. Retrieved 2011-01-02.
190
CHAPTER 7. ALBUMS
[2] “The Clash - Live At Shea Stadium MusicOMH 6 October, 2008”. Musicomh.com. Retrieved 2011-01-02.
7.20
''Sound System''
[3] “Hot Stuff Newsday 5 October, 2008”. Newsday.com. Sound System is a box set collection by The Clash released in September 2013.[1][2] The box contains the 2009-06-26. Retrieved 2011-01-02. band’s studio albums (minus their final album; Cut the [4] “Live At Shea Stadium [Live] Reviews”. Metacritic. Re- Crap) newly re-mastered by Mick Jones, with a further trieved 18 October 2013. three discs featuring demos, non-album singles, rarities [5] Erlewine, Stephen Thomas. Live at Shea Stadium at and B-sides, a DVD with previously unseen footage by both Don Letts and Julien Temple, original promo videos AllMusic
and live footage, plus an owner’s manual booklet, reprints
[6] “The Clash: Live at Shea Stadium”. Alternative Press : of the band’s original 'Armagideon Times’ fanzine and 170. November 2008. [7] “The Clash: Live at Shea Stadium”. Billboard . 2008. [8] “The Clash: Live at Shea Stadium”. Blender : 81. November 2008. [9] ChartAttack review Archived 19 June 2009 at the Wayback Machine. [10] Dowden, Neil (6 October 2008). “The Clash: Live at Shea Stadium – Album Reviews”. musicOMH. [11] Berman, Stuart (17 October 2008). “The Clash: Live at Shea Stadium – Album Reviews”. Pitchfork Media. [12] Keefe, Michael (9 October 2008). “The Clash: Live at Shea Stadium”. PopMatters .
merchandise including dog tags, badges, stickers and a poster. The boom box packaging was designed by Paul Simonon. The set was released simultaneously with 5 Album Studio Set , which contains only the five studio albums, and a greatest hits package titled The Clash Hits Back . In a September 2013 interview, Mick Jones announced the box sets and hits package will be the final time he works on anything involving The Clash and their music. “I’m not even thinking about any more Clash releases. This is itfor me, and I say that with an exclamation mark.” Jones said.[3] 7.20.1
Remastering
[13] “Album Reviews: Live at Shea Stadium”. Q : 126. October 2008. Clash guitarist, Mick Jones, who oversaw the re[14] “Album Reviews: The Clash - Live At Shea Stadium”. mastering said “The concept of the whole thing is best box set ever. Re-mastering’s a really amazing thing. That Rocklouder. 8 October 2008.
was the musical point of it all, because there’s so much
[15] Hoard, Christian (16 October 2008). “Album Reviews: there that you wouldn't have heard before. It was like Live at Shea Stadium”. Rolling Stone. discovering stuff, because the advances in mastering are [16] Eddy, Chuck (12 October 2008). “The Clash, 'Live at so immense since the last time [the Clash catalogue] was remastered in the 90s.” Shea Stadium' Review”. Spin: 89. [17] Moody,Paul (October 2008). “Album Review: The Clash Allthe musichasbeen remasteredfrom the originaltapes, Jones said. “We had to bake the tapes beforehand – the - Live At Shea Stadium”. Uncut . London: 34.
oxide on them is where the music is, so if you don't put
[18] "Ultratop.be – The Clash – Live At Shea Stadium” (in them in the oven and bake them, that all falls off, because French). Hung Medien. they're so old.” [19] "Lescharts.com – The Clash – Live At Shea Stadium”. Bassist Simonon highlighted a guitar line on "Safe EuHung Medien. ropean Home", from the band’s second album Give 'Em [20] "Swedishcharts.com – The Clash – Live At Shea Sta- Enough Rope, saying he'd never even heard it before. “It’s probably some session musician, while I was asleep,” dium”. Hung Medien. [21] “Official Albums Chart Top 100”. Official Charts Company. [22] “The Clash – Chart history” Billboard 200 for The Clash.
Jones joked. 7.20.2
Reception
PopMatters journalist J.C. Maçek III wrote “The initial
interest may come in the fact that the packaging looks like a classic Boom Boxemblazoned with “THE CLASH” in a military stencil with the overall box decorated in a Live at Shea Stadium - The Sunday Times review Combat Rock reminiscent camouflage. This is definitely Live at Shea Stadium - Rolling Stone review a visual treat for Clash fans to add to their mantle.” [7] Another memento from Shea Stadium: recording of Rob Sheffield of Rolling Stone said “It takes a band 1982 Clash concert by The Canadian Press as myth-saturated as the Clash to live up to a career-
7.19.6 •
•
•
External links
191
7.20. ''SOUND SYSTEM''
summing box as ambitious as this one. But Joe Strum Janie Jones mer and his crew of London gutter-punk romantics fit the City of the Dead bill.”[8] The Telegraph’s Patrick Sawer wrote “The tracks, re Clash City Rockers mastered by the band’s guitarist Mick Jones and Tim White Man in Hammersmith Palais Young (who won a Grammy for his work on the Beatles 2006 ‘Love’ album), sound fresh as ever, crisper 1977 even. Jones, the official muso of the band, said that during the remastering process he discovered guitar lines he couldn’t remember and previously buried instrumental Clash on Broadway - 22:31 details certainly stand out – along with Strummer’s biting London Calling ad-libs.”[10] •
•
•
•
•
•
7.20.3
•
This Is Radio Clash
•
The Magnificent Seven
Track listing
All tracks written by Joe Strummer and Mick Jones, ex The Guns of Brixton cept where noted.. Safe European Home All tracks written by Joe Strummer and Mick Jones, except where noted. All lead vocals by Strummer, except Promo Videos - 37:37 “Stay Free” by Jones.. All tracks written by Joe Strummer and Mick Jones, ex Tommy Gun cept where noted. All tracks written by The Clash, except where noted. London Calling All tracks written by The Clash, except where noted. Bankrobber All tracks written by Joe Strummer and Mick Jones, ex Clampdown (Live) cept where noted. Train in Vain (Live) All tracks written by Joe Strummer and Mick Jones, except where noted. The Call Up •
•
•
•
•
•
•
•
7.20.4
Bonus DVD
Julien Temple Archive - 6:15 White Riot Promo Film (Promo and interview with Tony Parsons) - 7:11 •
1977
•
White Riot
•
London’s Burning
Sussex University '77 - 8:29 (previously unreleased) •
I'm So Bored with the USA
•
Hate & War
•
Career Opportunities
•
Remote Control
Don Letts Super 8 Medley - 11:45 •
White Riot
•
Rock the Casbah
•
Radio Clash
•
•
Should I Stay or Should I Go (Live at Shea Stadium) Career Opportunities (Live at Shea Stadium)
7.20.5
Personnel
7.20.6
Charts
7.20.7
References
[1] Hann, Michael (21 May 2013). “The Clash to release new box set of remastered albums and rarities: Sound System set to be accompanied by best-of album, sequenced to copy a 1982 Brixton show”. The Guardian . [2] “The Clash Announce Deluxe “Sound System” Box Set”. Yahoo! Finance. 21 May 2013. [3] Greene, Andy (30 August 2013). “The Clash’s Mick Jones: 'This Is It for Me': Expects the band’s huge new box set to be last reissue project”. Rolling Stone. [4] “Sound System”. Metacritic. Retrieved 15 October 2013.
192
CHAPTER 7. ALBUMS
[5] Erlewine, Stephen Thomas. Sound System at AllMusic. Allthe musichasbeen remasteredfrom the originaltapes, Retrieved 9 September 2013. Jones said. “We had to bake the tapes beforehand – the
oxide on them is where the music is, so if you don't put
[6] Martell, Nevin (10 September 2013). “The Clash: Sound them in the oven and bake them, that all falls off, because System [box set] - SONY LEGACY”. Filter .
they're so old.”
[7] Maçek III, J.C. (2013-09-20). “The Clash: Sound Sys- The Clash’s bassist Paul Simononhighlighted a guitar line tem”. PopMatters . on "Safe European Home", from the band’s secondalbum [8] Sheffield, Rob (10 September 2013). “The Clash: Sound Give 'Em Enough Rope, saying he'd never even heard it before. “It’s probably some session musician, while I was System (Album Review)". Rolling Stone.
asleep,” Jones joked.
[9] Aswad, Jem (10 September 2013). “New Clash, Sly & the Family Stone Box Sets Clean the Vaults, Test Fans’ Boundaries”. Spin.
7.21.2
Track listing
[10] Sawer, Patrick (21 July 2013). “The Clash Sound System, All tracks written by Joe Strummer and Mick Jones, exbox set review”. The Telegraph.
cept where noted.
[11] "Ultratop.be – The Clash – Sound System” (in Dutch). All tracks written by Joe Strummer and Mick Jones, exHung Medien.
cept where noted. All lead vocals by Strummer, except [12] "Ultratop.be – The Clash – Sound System” (in French). “Stay Free” by Jones. Hung Medien. All tracks written by Joe Strummer and Mick Jones, except where noted. [13] “CLASH | Artist | Official Charts”. UK Albums Chart All tracks written by The Clash, except where noted. All tracks written by The Clash, except where noted. 7.20.8 External links •
Greene, Andy (6 June 2013). “Clash Bassist Paul Simonon On New Box Set, Recording With Bob Dy- 7.21.3 References lan: 'I had no interest in being part of any reformation of the Clash'". Rolling Stone. [1] Michael Hann. “The Clash to release new box set of remastered albums and rarities | Music”. theguardian.com. Retrieved 2014-05-20.
7.21
''5 Album Studio Set''
5 Album Studio Set is a box set collection by The Clash
[2] “The Clash Announce Deluxe “Sound System” Box Set Yahoo Finance”. Finance.yahoo.com. 2013-05-21. Retrieved 2014-05-20.
released in September 2013.[1][2] The box contains newly re-mastered by Mick Jones of the band’s first five albums [3] “5 Album Studio Set by Sony Legacy, The Clash | Barnes on eight discs minus their final album, Cut the Crap. The & Noble”. Barnesandnoble.com. 2014-04-16. Retrieved albums came in vinyl replica packaging and the box was 2014-05-20. designed exclusively by the band. [3] The set was released simultaneously with an expanded [4] Andy Greene (2013-08-30). “Mick Jones on Clash Box Set | Music News”. Rolling Stone. Retrieved 2014-05eleven disc box set titled Sound System and a greatest hits 20. package titled The Clash Hits Back . They are expected to be the final releases to involve Mick Jones who said “I’m not even thinking about any more Clash releases. This is it for me, and I say that with an exclamation mark.” [4] 7.22 ''The Clash Hits Back'' 7.21.1
Remastering
Jones said “The concept of the whole thing is best box set ever. Re-mastering’s a really amazing thing. That was the musical point of it all, because there’s so much there that you wouldn't have heard before. It was like discovering stuff, because the advances in mastering are so immense since the last time [the Clash catalogue] was remastered in the 90s.”
The Clash Hits Back is a 2-CD, 3-LP best of collection
by The Clash released in September 2013.[1] The set was released simultaneously with an eleven disc box set titled Sound System along with 5 Album Studio Set , which contains the band’s first five studio albums. They are expected to be the final releases to involve Mick Jones who said “I’m not even thinking about any more Clash releases. This is it for me, andI say that with an exclamation mark.” Jones said.[2]
193
7.22. ''THE CLASH HITS BACK''
7.22.1
Background
14. "Police & Thieves" (Junior Murvin, Lee “Scratch” Perry) – 6:00
The best of album is sequenced to copy the set played by the band at the Brixton Fair Deal (now the Academy) on 15. "Somebody Got Murdered" (The Clash) – 3:34 10 July 1982,[3] rounded out with big numbers that failed 16. "Brand New Cadillac" (Vince Taylor) – 2:09 to make the set that night. The Fair Deal was a special venue for the Clash, Paul Si- 17. "Clampdown" – 3:50 monon told the Guardian, because of the memories the venue held as the cinema he and Mick Jones went to as Disc two children. “It’s actually where I saw my first ever pop show,” Simonon said. “We all turned up as 10-year-olds, 1. "Ghetto Defendant" (The Clash) – 4:44 and they said: 'Right, boys and girls, we've got a special surprise for you—we're not going to show you a film!' 2. “Armagideon Time” (Willi Williams, Jackie MitSo everyone was: 'Booooo.' 'No. we've got a special too) – 3:50 surprise—we haveSandie Shaw!' And Sandie Shaw came on, and she was going on about not having any shoes. So 3. “Stay Free” – 3:40 we had an hour set from her, and that was my first pop 4. "I Fought the Law" (Sonny Curtis) – 2:39 concert.” 5. "Straight to Hell" (The Clash) – 5:30 The actual set the band played that evening has the song “Bankrobber” as the 5th tune, not the 8th. This is verified 6. "Should I Stay or Should I Go" (The Clash) – 3:08 by audience recordings from the show. The band entered the stage to the sound of “La Resa Dei Conti (For A Few 7. “Garageland” – 3:13 Dollars More)" by Ennio Morricone. [4] 8. "White Riot" – 1:59 7.22.2
Track listing
All songs written by Joe Strummerand Mick Jones unless otherwise noted Disc one
9. "Complete Control" – 3:13 10. "Clash City Rockers" – 3:56 11. "Tommy Gun" – 3:17 12. "English Civil War" (traditional, arranged by Strummer-Jones) – 2:36
1. "London Calling" – 3:20
13. "The Call Up" (The Clash) – 5:25
2. "Safe European Home" – 3:51
14. "Hitsville U.K." (The Clash) – 4:20
3. "Know Your Rights" – 3:39
15. "This Is Radio Clash" (The Clash) – 4:11
4. "(White Man) In Hammersmith Palais" – 4:01
16. "London’s Burning" – 2:10 (Japan bonus track)
5. "Janie Jones" – 2:05
17. "City of the Dead" – 2:23 (Japan bonus track)
6. "The Guns of Brixton" (Paul Simonon) – 3:10 7. "Train in Vain" – 3:11 8. "Bankrobber" – 4:35 9. “Wrong 'Em Boyo” (written by Clive Alphonso; originally performed by the Rulers; including Stagger Lee) – 3:10 10. "The Magnificent Seven" (The Clash) – 5:33
7.22.3
Charts
7.22.4
References
[1] Michael Hann (21 May 2013). “The Clash to release new box set of remastered albums and rarities | Music | guardian.co.uk”. London: Guardian. Retrieved 2013-0526.
11. “Police on My Back” (Grant) – 3:17
[2] Andy Greene (2013-08-30). “Mick Jones on Clash Box Set | Music News”. Rolling Stone. Retrieved 2014-0520.
12. "Rock the Casbah" (Topper Headon/The Clash)– 3:42
[3] “The Clash Hits Back - out now – The Clash – News”. Theclash.com. 1982-07-10. Retrieved 2014-05-20.
13. "Career Opportunities" – 1:52
[4] George Gimarc - Punk Diary 1970-1982
194 [5] "Ultratop.be – The Clash – The Clash Hits Back” (in Dutch). Hung Medien. [6] "Ultratop.be – The Clash – The Clash Hits Back” (in French). Hung Medien. [7] "Lescharts.com – The Clash – The Clash Hits Back”. Hung Medien. [8] "Charts.org.nz – The Clash – The Clash Hits Back”. Hung Medien. [9] “Official Albums Chart Top 100”. Official Charts Company.
CHAPTER 7. ALBUMS
Chapter 8
Songs 8.1
“Bankrobber”
For the crime, see Bank robbery. "Bankrobber" is a song by The Clash. The song was not released on any of their studio albums, instead appearing on their compilation Super Black Market Clash. Upon its 1980 release as a single (initially available in the UK on import only) it peaked at number 12 on the UK Singles Chart,[2] and atnumber 14 on boththeIrish Singles Chart and the New Zealand Singles Chart.[3][4]
•
Mick Gallagher - ARP synthesizer
•
Mikey Dread - backing vocal
8.1.3
Robber Dub
"Robber Dub" is the dub version of “Bankrobber”. It was to be included in the 12” single for “Bankrobber”, but the label ended up refusing to release the 12” single.[1][n 2] The song can be found on their 1980 compilation album Black Market Clash, combined with “Bankrobber” as a 6:16 track, and on the 1994 compilation album Super Young Ian Brown and Pete Garner — later of The Stone Black Market Clash, as a 4:42 stand alone track. Roses — were in attendance at the studio recording session of this single. The full account of this incident is in John Robb's Stone Roses and the Resurrection of British 8.1.4 Rockers Galore... UK Tour Pop.[5] The Clash filmed a low-budget video for the song, de- "Rockers Galore... UK Tour" is a reworking of picting members of the band recording the song in the “Bankrobber” with Mikey Dread singing new lyrics about studio, interspersed with Clash roadies Baker and Johnny touring with the Clash. It is not “Robber Dub” which Green wearing bandanas over their faces, performing a lacks the Dread vocal and lyrics. [7][n 3] “Rockers Galore” bank heist in Lewisham. During the filming, Baker and is also featured on their 2006 compilation album Singles Green were stopped and questioned by the police, who Box . thought they were genuine. [6][n 1] 8.1.1
Track listing
Side one
1. “Bankrobber” Side two
1. “Rockers Galore... UK Tour” (Mikey Dread) 8.1.2
Personnel
•
Joe Strummer - lead vocal, piano, guitars
•
Mick Jones - sound effects
•
Paul Simonon - bass
•
Topper Headon - drums
8.1.5
Appearances
“Bankrobber” features in the episode “Freddie” of E4’s Skins , in the programme’s third season. Also, “Bankrobber” is featured in Guy Ritchie's 2008 film, Rocknrolla. It is sung alternately by the older 'Johnny Quid', portrayed by British actor Toby Kebbell, in his dingy flat, and by the younger 'John Cole' in the company of his cruel stepfather, the London mob boss Lenny Cole. In the first episode of North Square the barristers start singing the song in the robing room after a hearing. The opening words (“My daddy was a bankrobber but he never hurt nobody”) are recited as if part of the dialogue. In a subsequent episode of the same series one of the barristers faces a disciplinary hearing as a result of punching someone at the time of the robing room scene in the first episode. There is cctv footage of the incident but no sound recording. In order to explain the context of the 195
196
CHAPTER 8. SONGS
blow (a racist comment made by the victim) the barris- 8.1.9 References ter calls a lip reader, who has been profoundly deaf from birth, to explain to the tribunal what everyone was saying [1] Punknews.org 2002. at the time. In his evidence the witness is also asked to [2] "Archive Chart: 1980-09-06” UK Singles Chart. lipread oneof the characterssinging “Bankrobber”which he does, obviously unaware that these are the words of a [3] “The Irish Charts”. IRMA. Archived from the original on 3 June 2009. Enter “BANK ROBBER” in Searchby Song song. Title and click search.
8.1.6
Cover versions
[4] "Charts.org.nz – The Clash – Bankrobber”. Top 40 Singles. [5] Robb 2001.
The Norwegian hardcore band So Much Hate released a live version of the song on the It’s Your Choice, a 2x10” [6] NME 1991. live compilation released in 1991 through Your Choice [7] Sony BMG Store. Records. It was also covered by Hot Tuna, with Jorma Kaukonen on lead guitar, vocals, dobro and table steel [8] Roberts 2006, p. 33. guitar, Jack Casady on bass, and Michael Falzarano on [9] "Archive Chart: 1997-02-15” UK Singles Chart. rhythm guitar, vocals, mandolin and harmonica, on their live album, Live at Sweetwater , recorded in January 1992 at Sweetwater Station in Mill Valley, California and re- Sources leased through Relix Records that same year. Audioweb Gilbert, Pat (2005) [2004]. Passion Is a Fashrecorded a rock/reggae cover in 1996 that reached num[8][9] ion: The Real Story of The Clash (4th ed.). Lonber 19 in the UK Singles Chart. don: Aurum Press. ISBN 1-84513-113-4. OCLC The Pistoleers covered the song in 2002 for This Is Rock61177239. abilly Clash. Hawksley Workman recorded a version, Gray, Marcus (2005) [1995]. The Clash: Return which was available on a free CD in the UK magazine of the Last Gang in Town (5th revised ed.). LonUNCUT in 2003. The CD was titled White Riot Vol. 1: don: Helter Skelter. ISBN 1-905139-10-1. OCLC A Tribute to The Clash. Greg MacPherson covered it on 60668626. his 2004 album Maintenance. Chumbawamba's 2005 album, A Singsong and a Scrap featured an a cappella cover Green, Johnny; Garry Barker (2003) [1997]. A Riot version of the song. OPM recorded a cover for the In the of Our Own: Night and Day with The Clash (3rd OPMDEN EP released in 2006. The song was covered ed.). London: Orion. ISBN 0-7528-5843-2. OCLC by the Polish group Kult in 2008. John Brown’s Body 52990890. covered it for the 2009 album Shatter the Hotel: A Dub Inspired Tribute to Joe Strummer . Australian singer Dave Gruen, Bob; Chris Salewicz (2004) [2001]. The Favours covered the song on his 2012 EP One Hand on Clash (3rd ed.). London: Omnibus. ISBN 1the Wheel . 903399-34-3. OCLC 69241279. •
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8.1.7
Charts
8.1.8
Notes
[1] During the filming for the “Bankrobber” video, Clash roadies Baker andJohnny Green faked a bank jobin South London. They were stopped and questioned by the police, who thought they were the real thing.[6] [2] “Robber Dub” is a 'Dread at The Controls’ version of The Clash’s excellent reggae song “Bankrobber”. It was to be included on a 12” single titled “Bankrobber”, but the label ended up refusing to release the single. It is a great song, but doesn't quite match “Justice Tonight/Kick It Over”.[1] [3] “Rockers Galore...UK Tour” is a reworking of “Bankrobber” with Mikey Dread singing new lyrics about touring with the Clash. This is not the same track as “Robber Dub” on SUPER BLACK MARKET CLASH, which lacks the Dread vocal and lyrics.[7]
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•
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Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Robb, John (2001) [1997]. The Stone Roses and the Resurrection of British Pop (Rev. ed.). London: Ebury. ISBN 978-0-09-187887-0. OCLC 59545827. Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records. p. 33. ISBN 1-904994-10-5. OCLC 64098209. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186. “The Uncut Crap - Over 56 Things You Never Knew About The Clash”. NME . London: IPC Magazines. 3. 16 March 1991. ISSN 0028-6362. OCLC 4213418. Related news articles:
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8.3. “THE CALL UP”
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“The Clash - Super Black Market Clash”. Punknews.org. 24 May 2002.
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Peterson, Tami. “The Uncut Crap - Over 56 Things You Never Knew About The Clash NME 16 March 1991”. londonsburning.org. Archived from the original on 17 July 2012.
“The Singles (CD version)". Sony BMG. Archived from the original on 17 March 2008.
8.1.10 •
8.2
External links
Lyrics of this song at MetroLyrics
“Brand New Cadillac”
In 1971, Mott The Hoople, during a concert recording in Stockholm, inserted a verse of it in their version of Little Richard's “Keep a-Knockin' " (released on the live album A Tale of Two Cities in 2000). The Slickee Boys released a version on their 1976 debut EP, Hot and Cool (later compiled on their Here to Stay album). Kim Fowley included a version with altered lyrics (called “Big Bad Cadillac”) on his 1977 album Living in the Streets . The Clash covered it on their 1979 album London Calling. In 1980 Canadian punk band Teenage Head recorded a version on their second album Frantic City. It was also covered by the Brian Setzer Orchestra on their self-titled debutalbum in 1994; byThe Milkshakes in 1984; by Leedsbased indie band Athletes Foot in 1986, by Wayne Hancock on his 1997 album, That’s What Daddy Wants ; and by The Fall in 1978. The song has been included at many Van Morrison concerts, appearing as a medley with "Goin' Down Geneva", which is about Taylor. It was covered by the Swedish entertainer Eddie Meduza in 1976 as “E. Hitler inleder” and by the Australian alternative rock band Tlot Tlot in 1993 as “Television”.
"Brand New Cadillac" is a 1959 12-bar blues song by Vince Taylor, and was originally released as a Bside. Featured musicians on the released recording were: Joe Moretti (guitars), Lou Brian (piano), Brian Locking (bass) and Brian Bennett (drums). Covered with altered lyrics as “Brand New Impala” by Manic Hispanic on their 2003 album “Mijo Goes To Jr. College.” 8.2.1 Covers The song was also used in a 2014 Cadillac TV commerThe song was covered in the 1960s by the British beat cial. group Downliners Sect. In Nordic countries, the song was very successful. British band The Renegades credited the song to their band members. They dropped parts of the 8.2.2 References verses and also shortened the title to “Cadillac”. It became number one on Finnish radio’s people’s choice list [1] Pekka Gronow, Jake Nyman ym 2005, p. 112. and number two on the singles’ list in Finland in 1964.[1] [2] Dan-Eric Landen, Carl Magnus Palm 2004, p. 113. Based on The Renegades’ version, Swedish band Hep [3] Dan-Eric Landen, Carl Magnus Palm 2004, p. 108. Stars did their arrangement which in April 1965 took the number one slot in Sweden's singles’ list and radiolist.[2] [4] Dan-Eric Landen, Carl Magnus Palm 2004, p. 96. Another Swedish band, Shamrocks, recorded the song at the same time. Their version was a hitin France, reaching number one on the radio list as well as being successful in 8.2.3 Sources Germany and Japan.[3] In The Netherlands it was released Pekka Gronow, Jake Nyman ym (2005), Suomi soi as a single by De Maskers under the original title “Brand osa 4 s.112 (in Finnish), (sarja 1-4), Tammi, ISBN New Cadillac” (Artone OS 25.317), as they had already 951-31-2503-3 recorded an instrumental called “Cadillac” (Artone DR 25.238). Dan-Eric Landen, Carl Magnus Palm (2004), CadilVince Taylor’s record company eventually learned of lac Madness, den otroliga berättelsen om Hep these recordings and copyright claims ensued. The Stars (in Swedish), Premium Publishing, ISBN 91case was settled on agreement to add Taylor’s name to 89136-04-7 songwriting credits alongside The Renegades members— sharing the royalties equally. [4] Neither Hep Stars nor Shamrocks were aware of Taylor’s original version at 8.3 “The Call Up” the time of recordings. Therefore, it is possible to find their 1960’s recordings credited either to (Kim) Brown(Denys) Gibson- (Ian) Mallet-(Stuart Graham) Johnson For the 2016 science fiction film, see The Call Up (film). or Brown-Gibson-Mallet-Johnson-Taylor. (Denys Gibson should not be confused with Terry Gibson of Down- "The Call Up" is a song by English punk rock group The liners Sect.) Clash. It was released as the first single from the band’s •
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CHAPTER 8. SONGS
fourth album, Sandinista!. The single was released in November 1980, in advance of the release of Sandinista!, with the anti-nuclear “Stop the World” as its B-side. The song opens and closes with a US Marines' marching Military cadence and is mostly about The Draft though it also deals war in general. With the line “It’s 55 minutes past 11...” the song directly reference the Minutes to Midnight Doomsday Clock which was established and maintained by the Bulletin of the Atomic Scientists at the University of Chicago, which denotes by just how few minutes it is to midnight to what the impending threat of just how close the world is estimated to be to a global disaster, and it also includes a rejection of deadend jobs (“who gives you work and why should you do it?"). Though the US discontinued the draft in 1973, in 1980 Congress re-instated the requirement for men aged 18–25 to register with the Selective Service System. This may have inspired the song’s subject matter as it was a topical subject in America during 1980, the year when Sandinista! was written and recorded. The song was recorded at Electric Lady Studios in New York.
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Mick Jones - lead guitars, backing vocals, sound effects
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Norman Watt-Roy - bass guitar, backing vocals
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Topper Headon - drums, backing vocals
“Stop the World” •
Joe Strummer - vocal
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Mick Jones - guitars, sound effects
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Norman Watt-Roy - bass guitar
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Topper Headon - drums
8.3.3
The song was covered by Chris Whitley, using only voice andacoustic guitar, as trackfouron his2004 release“War Crime Blues”. It was also coveredby TheLothars as track four, disc two of a compilation tribute album The Sandinista! Project .
Don Letts filmed the single’s accompanying video in a warehouse owned by singer and collector of military paraphernalia Chris Farlowe. The video was in black and 8.3.4 white, and featured the band dressed in costumes consisting of various parts of military uniforms and gear. 8.3.5 8.3.1
Re-releases
Covers
Charts References
[1] "Australian-charts.com – The Clash – The Call Up”. ARIA Top 50 Singles.
The single was reissued in 1981 in the U.S. by Epic [2] "Charts.org.nz – The Clash – The Call Up”. Top 40 Singles. Records (catalog number 02036) in 7” vinyl format and with a different cover. On the B-side of the US release [3] "Swedishcharts.com – The Clash – The Call Up”. Singles Top 100. was “The Cool Out”, a dub of “The Call Up”. There is also a 12” version as well. [4] "Archive Chart: 1980-12-06” UK Singles Chart. In addition to its inclusion on Sandinista!, “The Call Up” has been included on both The Clash on Broadway and Sources The Singles . It is absent from The Essential Clash, although “Stop TheWorld”, its B-side that was not included Topping, Keith (2004) [2003]. The Complete Clash on Sandinista, is included. “Stop The World” is also in(2nd ed.). Richmond: Reynolds & Hearn. ISBN cluded on The Clash on Broadway and the B-side compi1-903111-70-6. OCLC 63129186. lation Super Black Market Clash. The single was reissued on CD as Disc 12 of Singles Box, complete with a re-creation of the original sleeve artwork, 8.3.6 External links but omits “The Cool Out”, making it the only disc in the Lyrics of this song at MetroLyrics setthat does not includeall non-UK released tracks. “The Cool Out” is however included on Disc 14 as part of the "Magnificent Seven" release. •
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8.4
8.3.2
Personnel
“The Call Up” •
Joe Strummer - lead guitar, lead vocals
“Career Opportunities”
"Career Opportunities" is a song by The Clash, recorded for their debut studio album, The Clash in 1977. Another version was featured on the group’s fourth studio album Sandinista! (1980) where Mickey Gallagher’s two sons, Luke and Ben, sing the song.
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8.5. “CLAMPDOWN”
The song attacks the political and economic situation in England at the time, citing the lack of jobs available, particularly to youth, and the dreariness and lack of appeal of those that were available. They specifically mention service in the military and police forces in addition to jobs that are often perceived as being 'menial' such as a bus driver or ticket inspector, as well as “making tea at the BBC". The line “I won't open letter bombs for you” is a reference to a former job of Clash guitarist Mick Jones, opening letters for a British government department to make sure they weren't rigged with mailbombs. The song was named by bassist Paul Simonon. The song was re-recorded as one of the last songs on the album Sandinista!, with vocal tracks by the very young Luke and Ben Gallagher (keyboardist Mickey Gallagher's sons) over a simple keyboard melody. 8.4.1
Personnel
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Joe Strummer - lead vocals, rhythm guitar
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Mick Jones - lead guitar, backing vocals
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Paul Simonon - bass, backing vocals
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Terry Chimes - drums, percussion
8.4.2 •
External links
Lyrics of this song at MetroLyrics
8.5
“Clampdown”
"Clampdown" is a single and a song by The Clash from their album London Calling. The song began as an instrumental track called “Working and Waiting”. [1] It is sometimes called “Working for the Clampdown” which is the main lyric of the song, and also the title provided on the album’s lyric sheet. Its lyrics comment on people who forsake the idealism of youthand urges young people to fight the status quo.[2] In 1980 “Clampdown” was released as a single backed with "The Guns of Brixton" in Australia. The single was not released in any other territories, with the exception of US promos. 8.5.1
Analysis of lyrics
are mostly worn by workers. This idea goes along with lyrics that refer to “young believers” who are brought and bought into the capital system by those “working for the clampdown” who will “teach with twisted speech.” Strummer wrote, The men in the factory are old and cunning You don't owe nothing, so boy get running! It’s the best years of your life they want to steal! You grow up and you calm down and you're working for the clampdown. You start wearing the blue and brown and you're working for the clampdown. So you got someone to boss around. It makes you feel big now...
These lyrics are seen to refer to how one gets caught by the capital economic system and its ethos of work, debt, power, position and conformist lifestyle.[5] Strummer, who was a proud and loud socialist, also uses the song’s closing refrain to highlight this mindset and potential trap and offers a warning not to give oneself over to “the clampdown”. This is emphasized in the coda by Jones’ repetition of the words “work” and“more work” on the beat over Strummers breathy repetition of the phrase “working for the clampdown”. This reaffirms the idea that Strummer saw “the clampdown” as a threat to allwho get caught up in the modern economic wage-hour system. Bass player and Clash co-founder Paul Simonon, in an interview with the LA Times , spoke about the opportunities available to him after he finished his education, Strummer, like Simonon, spent time on the dole, but Strummer did not come from a lower-class family. In the same interview with the LA Times Strummer said, Strummer’s father was a diplomat in the British Field Service, and Joe was sent away to boarding school where he detested “the thick rich people’s thick rich kids”. Strummer said, Later verses suggest an alternative in revolution, a theme common throughout Joe Strummer's songwriting. This point of view also points to the lyric “You start wearing the blue and brown” as supporting their cause. The barely audible lyrics at the beginning of the song were deciphered by Clash fan Ade Marks, and first published in Q magazine’s Clash special: The kingdom was ransacked, the jewels got taken back And a chopper descends
“Clampdown” was written by Joe Strummer and Mick Jones.
They hid it in the back, and they switched it on and off
The song’s lyrics, written by Joe Strummer, refers to the failures of capitalist society.[3][4] The wearing of the “blue and brown” refers to the color of the uniforms that
But the tape of spool just ends, they say now I'm back Hit at his face in a crack
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CHAPTER 8. SONGS But he said there’s a click on the lens What are we going to do now?
8.5.2
Analysis of music
The song is mostly in the key of A major. A key change to E major in the bridge. The coda features a bouncing dance, alternating between G and F# chords as the riff slowly fades, featuring Strummer’s ad libs and the repeated lyric based on “work”. 8.5.3
Cover versions
“Clampdown” was later covered by Rage Against the Machine at their first live show in 1991, as well as their more recent show in Antwerp, Belgium on 2 June 2008. It was also covered by Indigo Girls and can be heard on Rarities (2005) as well as the Clash tribute album Burning London: The Clash Tribute (1999). The song was also covered by The Strokes (at their Oxegen and T in the Park appearances in July 2004), Poster Children on their 2004 release, On the Offensive, and James Dean Bradfield (of the Manic Street Preachers) on his solo tour in October 2006. Another band that covered this song was Hot Water Music, on their B sides and rarities compilation album called Till the Wheels Fall Off . The song was also covered by The National on the album A Tribute to The Clash, and by Inward Eye, which they released through a video on their YouTube channel. Bruce Springsteen and the E Street Band covered the song a few times on their 2014 High Hopes Tour .
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Mick Jones – vocals, guitar
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Paul Simonon – bass guitar
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Topper Headon – drums, percussion
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Mickey Gallagher - organ
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Guy Stevens – producer
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Bill Price – chief engineer
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Jerry Green – second engineer
8.5.7
Notes
[1] Sweeting, Adam (October 2004). “Death or Glory”. Uncut : 67. [2] Guarisco, Donald A. “Clampdown Review”. Allmusic. Retrieved 2008-03-13. [3] D'Ambrosio, Antonino (June 2003). "'Let fury have the hour': the passionate politics of Joe Strummer (Page 4)". Monthly Review. CNET Networks. Retrieved 2008-0313. [4] D'Ambrosio, Antonino (June 2003). "'Let fury have the hour': the passionate politics of Joe Strummer (Page 5)". Monthly Review. CNET Networks. Retrieved 2008-0313. [5] Dimery, Robert (1999). Collins Gem Classic Albums . Glasgow: Harper Collins Publishers. ISBN 0-00-4724852. OCLC 43582584. Related news articles: •
8.5.4
Popular reference
The song was featured in the Futurama episode, "The Silence of the Clamps", where the song is played over a montage of Clamps and Fry spending time together. The song was also used in the US television show Malcolm in the Middle during an episode where Malcolm and some misfits organise an anti-prom called “Morp”. 8.5.5
Rock Band music gaming platform
“The Clash - London Calling”. Super Seventies. Retrieved 2008-03-13.
[6] Hilburn, Robert (22 January 1984). “Clash make it goo”. Los Angeles Times . Los Angeles, CA. London: TimesMirror. ISSN 0458-3035. OCLC 3638237. LONDON The Clash is a rock band that lives up to its name. Related news articles: •
“Clash make it goo”. blackmarketclash.com. Archived fromthe original on 25 January 2008. Retrieved 2008-03-13.
[7] London Calling: 25th Anniversary Legacy Edition (CD liner notes). Epic Records. September 2004.
It was made available to download on 1 February 2011 for use in the Rock Band 3 music gaming platform in both 8.5.8 References Basic rhythm, and PRO mode which utilizes real guitar / bass guitar, and MIDI compatible electronic drum kits / Gilbert, Pat (2005) [2004]. Passion Is a Fashion: keyboards in addition to vocals. The Real Story of The Clash (4th ed.). London: Aurum Press. pp. 233, 235, 238, 257, 260, 267. ISBN 1-84513-113-4. OCLC 61177239. 8.5.6 Personnel Gray, Marcus (2005) [1995]. The Clash: Return [7] The following people contributed to “Clampdown": of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC Joe Strummer – vocals, guitar 60668626. •
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201
8.6. “CLASH CITY ROCKERS”
Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890.
moving forward, and revisits themes common in Clash songs of the era, specifically dead-end employment and having a purpose in life. The middle part of the song is based on an old nursery rhyme, "Oranges and Lemons", and namechecks The Move, The Groove, David Bowie, Gruen, Bob; Chris Salewicz (2004) [2001]. The Gary Glitter and Prince Far-I;theironyoftheline"when I Clash (3rd ed.). London: Omnibus. ISBN 1- am fitter say the bells of Gary Glitter " following his scan903399-34-3. OCLC 69241279. dal was not lost on Mick Jones, who joked about it in Needs, Kris (2005-01-25). Joe Strummer and the December 2003 of Uncut magazine: Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. "The Gary Glitter lyric? Yeah, that was before the internet. [grins] " Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN The main riff is very reminiscent to The Who's debut sin1-903111-70-6. OCLC 63129186. gle, "I Can't Explain"'s main riff, and sounds like it has been expanded by The Clash. This riff was reworked by 8.5.9 External links the band again for “Guns on the Roof” on their second album Give 'Em Enough Rope. songmeanings about Clampdown •
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'Let fury have the hour': the passionate politics of 8.6.1 Joe Strummer LA Times article
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8.6
Lyrics of this song at MetroLyrics
“Clash City Rockers”
"Clash City Rockers" is a song and single by The Clash. First released in February 1978 with the b-side "Jail GuitarDoors,” a re-worked version of a song fromJoeStrummer's pub rock days. It was later included as the opening track of the belated US version of the band’s eponymous debut album. Thesong was first played live at Mont De Marsan (Landes - France), in August 1977 and recorded the same year in the band’s October and November sessions at CBS Studios. Following an argument at the end of the band’s Get Out of Control Tour, Paul Simonon and Mick Jones were not on speaking terms, leavingJoe Strummer as a middleman, relaying instructions and insults from one to the other. In December, producer Mickey Foote (Joe Strummer’s old sound-man from the 101'ers and producer of The Clash and "White Riot") increased the speed of the tape for the finished master of the song after manager Bernie Rhodes decided the song sounded “a bit flat.” This technique, known as “varispeeding,” rendered the song one semitone higher in pitch. Strummer and Jones were in Jamaica at the time. When they heard the finished result, Foote was sacked. With the exception of the 2000 re-issue of the US version of The Clash, the original version of the song (at the proper speed) has been used on every re-release since. The Clash’s first overt attempt at self-mythology, “Clash City Rockers” is, by and large, a song about positivity and
Personnel
“Clash City Rockers” •
Joe Strummer - lead vocal, pianos
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Mick Jones - guitars, backing vocals
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Paul Simonon - bass guitar
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Topper Headon - drums
“Jail Guitar Doors” •
Mick Jones - lead vocals, backing vocal, lead guitars
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Joe Strummer - rhythm guitar, backing vocal
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Paul Simonon - bass guitar
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Topper Headon - drums
8.6.2
Charts
8.6.3
References
Sources •
Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
8.6.4 •
External links
Lyrics of this song at MetroLyrics
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8.7
CHAPTER 8. SONGS
“Complete Control”
"Complete Control" is a song by The Clash, released as a 7” single and featured on the U.S. release of their debut album.[1] The song is often cited as one of punk’s greatest singles and is a fiery polemic on record companies, managers and the state of punk music itself, the motivation for the song being the band’s label (CBS Records) releasing "Remote Control" without asking them, which infuriated the group. The song also features perhaps the earliest usage of the phrase “guitar hero” in rock music, as sung by Joe Strummer to Mick Jones. The song also refers to managers of the time who sought to control their groups–Bernie Rhodes (of The Clash) and Malcolm McLaren (the Sex Pistols)–the song’s title is derived from this theme. Joe Strummer said in 1991: Bernie [Rhodes] had a meeting in The Ship in Soho after the Anarchy Tour. He said he wanted complete control...I came out of the club with Paul [Simonon] collapsing on the pavement in hysterics at those words. The track also refers to the band’s run-ins with the police, their practice of letting fans into gigs through the back door or window for free and a punk idealism seemingly crushed by the corporate reality they had become part of and the betrayal and anger they felt. The overriding message of the song can be recognised in this couplet from the song:
During the tracking session, some Clash and Perry biographies claim, Perry blew out a studio mixing board attempting to get a deep bass sound out of Paul Simonon's instrument, while a 1979 New Musical Express and Hit Parader article penned by Strummer and Jones stated that Perry had complimented Jones’ guitar playing, saying he “played with an iron fist”. Perry’s contribution to the track, however, was toned down - the band went back and fiddled with the song themselves to bring the guitars out and played down the echo Perry had dropped on it. The song was also Topper Headon's first recording with the band, following the departure of Terry Chimes. “Complete Control” reached number 28 in the singles chart, making it The Clash’s first Top 30 release. In 1999, CBS Records reissued the single with a live version of “Complete Control”. In 2004, Rolling Stone rated the songas No. 361 initslist ofthe 500 Greatest Songs of All Time.[2][3] The song is featured as a playable track in the video games Guitar Hero: Aerosmith and Rock Band .[4] 8.7.1
Personnel
“Complete Control” •
Joe Strummer - lead vocals, lead guitar
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Mick Jones - rhythm guitars, backing vocals
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Paul Simonon - bass guitar
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Topper Headon - drums
“City of the Dead”
They said, we'd be artistically free When we signed that bit of paper. This message was scorned by some critics as naïveté on the part of the band – the DJ John Peel was one of those, suggesting that the group must have realised CBS were not 'a foundation for the arts’ – while others were strong in their support of the single, for example Jon Savage: Instead of a piece of cynicism, Complete Control becomes a hymn to Punk autonomy at its moment of eclipse. The track was recorded at Sarm East Studios in Whitechapel, engineered by Mickey Foote and produced by Lee “Scratch” Perry. Perry had heard the band’s cover of his Junior Murvin hit "Police and Thieves" and was moved enough to have put a picture of the band (the only white artist accorded such an honor) on the walls of his Black Ark Studio in Jamaica. When the Clash learned that Perry was in London producing for BobMarley&the Wailers, he was invited to produce the single. “Scratch” readily agreed.
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Joe Strummer - lead vocal, backing vocal, organ, lead guitar
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Mick Jones - backing vocal, lead guitar
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Paul Simonon - bass guitar
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Topper Headon - drums
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Gary Barnacle - saxophones
8.7.2
Charts
8.7.3
Notes
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Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626.
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8.8. “ENGLISH CIVIL WAR”
Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890.
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Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
8.7.4
"Johnny I Hardly Knew Ye". It was popular among both sides of the conflict. Having learnt the song at school, Joe Strummer suggested that the band should update it. Those on the left wing saw the rise during the mid-1970s of far right groups such as the British National Front as alarming and dangerous omens for Britain’s future. The song is about this state of politics in the country and warns against all things uniformed andsinister. Shortly after the song hadits first live performance at a Rock Against Racism concert, Strummer said, echoing the song’s lyrics, in an interview to the music newspaper Record Mirror : War is just around the corner. Johnny hasn't got far to march. That’s why he is coming by bus or underground.
References
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash (2001). The Clash, Westway to the World (Documentary). New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 11:45–13:30. ISBN 07389-0082-6. OCLC 49798077.
8.8.2
Covers
The cover of the single is a still from John Halas' 1954 animated adaptation of George Orwell's dystopian novella Animal Farm.
It was later covered in 1993 by The Levellers on their EP, [2] “The RS 500 Greatest Songs of All Time”. RollingStone. Julie (1994). 2004-12-09. Archived from the original on 20 November 2007. Retrieved 2007-11-22. 361. Complete Control, The Clash 8.8.3
Personnel
[3] “Complete Control The Clash”. The RS 500 Greatest “English Civil War” Songs of All Time. RollingStone. 2004-12-09. Retrieved 2007-11-22. [4] Sliwinski, Alexander (2008-02-11). “The Clash, The Police and The Ramones”. Rock Band Weekly. Joystiq. Retrieved 2008-02-13. Complete Control - The Clash (160 MS points/ $2)
8.7.5 •
•
Joe Strummer - lead vocals, rhythm guitars
•
Mick Jones - backing vocals, lead guitars
•
Paul Simonon - bass guitar
•
Topper Headon - drums
External links
Lyrics of this song at MetroLyrics
“Pressure Drop” •
8.8
“English Civil War”
"English Civil War" is a song by English punk rock band The Clash, featured on their second album Give 'Em Enough Rope, and released as a single on 23 February 1979. It reached number 25 in the UK Singles Chart and number 28 in the Irish Singles Chart. 8.8.1
Background
The song is derived from an American Civil War song, "When Johnny Comes MarchingHome", written byIrishborn Massachusetts Unionist Patrick Sarsfield Gilmore, which is in turn derived from the Irish anti-war song
•
Joe Strummer - lead vocal, piano, rhythm guitar Mick Jones - backing vocals, rhythm guitar, lead guitars
•
Paul Simonon - backing vocal, bass guitar
•
Topper Headon - drums
8.8.4
Charts
8.8.5
External links
•
•
Patriotic Melodies: When Johnny comes Marching Home (US Library of Congress) Lyrics of this song at MetroLyrics
204
CHAPTER 8. SONGS
8.9
“Every Little Bit Hurts”
[2] Whitburn, Joel (2004). The Billboard Book of Top 40 Hits , 8th Edition (Billboard Publications), page 289.
"Every Little Bit Hurts" was originally a 1964 hit single for Motown soul singer Brenda Holloway, written by Ed [3] Every Little Bit Hurts at AllMusic Cobb.[1] [4] Kent, David (1993). Australian Chart Book 1970–1992 . St Ives, NSW: Australian Chart Book Ltd. ISBN 0-646Though she was against recording the song again (she 11917-6. recorded it a couple of years before signing with Motown), she reluctantly recorded the song and the label released it in the summer of the year. Becoming a big [5] Cinquemani, Sal (2005-10-13). “Alicia Keys: Unplugged”. Slant Magazine. Retrieved 2015-10-24. hit peaking at No. 13 on the Billboard Hot 100,[2][3] the song would become one of Holloway’s trademark singles and would spark remakes by acts like Small Faces and the Spencer Davis Group (with lead vocals by Steve Win- 8.9.4 External links wood).
8.10 8.9.1 •
Covers
Released in October 1976, it was covered by Graeme “Shirley” Strachan (lead singer of Skyhooks) as his debut solo release and peaked at No. 3 on the Australian Kent Music Report Singles Charts.[4]
8.9.2
Alicia Keys version
"Every Little Bit Hurts" is a cover version by American recording artist Alicia Keys from her live album, Unplugged (2005). It was released as the album’s second and last single in 2006. It failed to enter the US and international charts.
“Garageland”
"Garageland " is a song by English punk rock band The Clash featured as the final track for their 1977 debut album The Clash. The song was penned by Joe Strummer as a response to music journalist Charles Shaar Murray, who, after a gig in 1976, wrote a review saying that they were “the kind of garage band who should be returned to the garage immediately”. It also served as a declaration to their fans – and their new record company, with which they had signed a contract for £100,000 on 25 January 1977,[1] – that they would still remain the same as they were before the signing.[2] 8.10.1
Writing and recording
Critical reception
I never want that to happen. After our second gig a critic in New Musical Express wrote that we should be returned Sal Cinquemani from Slant Magazine felt that Keys to the garage and locked in with a motor running so that treated the song “like [a] vocal audition[...] and not the we died. “Garageland” is about that. I was trying to say blank canvas[...] of an interpretive artist”.[5] that this is where wecome from and weknow it, and we're not going to get out of our depth. Even though we've signed with C.B.S. we aren’t going to float off into the Music video atmosphere like the Pink Floyd or anything. Directed by Justin Francis, the video premiered on Jan- —Joe Strummer[2] uary 17, 2006 on BET's 106 & Park . Joe was really excited about this idea of a garage band, that led to the song “Garageland”. He really thought, ‘We Track listing belong in a garage.’He'd hit on somethinglikethat andget very, very excited and live off that for a few days. Then US promo CD single he'd be depressed about something else and he'd come in and say, ‘We're not really a garage band at all.’ 1. “Every Little Bit Hurts” (radio edit) – 3:58 —Terry Chimes[3] 2. “Every Little Bit Hurts” (call out hook) – 0:10 Joe would go into everything at a million miles an hour and then change his mind. 8.9.3 References —Bernard Rhodes[3] [1] The Complete Motown Singles Vol 4: 1964 [CD liner Upon The Clash's early appearance at the Sex Pistols notes]. New York: Hip-O Select/Motown/Universal Screen on the Green concert, Charles Shaar Murray, an Records. NME critic, produced a damning review of the band:
205
8.10. “GARAGELAND”
The Clash are the kind of garage band who should be returned to the garage immediately, preferably with the engine running,[4][5][6] which would undoubtedly be more of a loss to their friends and families than to either rock or roll.[7][3] Followed by: Their guitarist on the extreme left, allegedly known as Joe Strummer, has good moves but he and the band are a little shaky on ground that involves starting, stoppingand changing chords at approximately the same time.[3] The Clash reacted immediately by writing the song “Garageland”,[3] whose opening verses are: " Back in the garage with my bullshit detector / Carbon monoxide making sure it’s effective", followed by the chorus: "We're a garage band / We come from garageland ", and concluding with "Back in the garage".[2] Another theme in the song is about the band signing to CBS Records on 25 January 1977 for £100,000.[1] The music press and fans criticized The Clash for having “sold out” to the establishment.[8] Mark Perry, founder of the leading London punk periodical, Sniffin' Glue, let loose with what he would later call his “big quote": “Punk died the day The Clash signed to CBS.” [9] This was evidenced in the verses: "Meanwhile things are hotting up in the West End alright / Contracts in the offices and groups in the night / My bumming slumming friends have all got new boots / And someone just asked me if the group would wear suits ", and, after the chorus, with the following lines: " I don't want to hear about what the rich are doing / I don't want to go to where the rich are going / They think they're so clever, they think they're so right / But the truth is only known by gutter snipes ".[2] “Garageland”, as well as the majority of the band’s debut studio album, was conceived on the 18th floor of a council high rise on London’s Harrow Road, in a flat that was rented by Jones' grandmother, who frequently went to see the band rehearsing.[10] The song was recorded at CBS Whitfield Street Studio No. 3 on 27 February 1977. The tapes for the entire album were delivered to CBS at the start of March and the recording was released in the United Kingdom through CBS Records on 8 April 1977. The album was engineered by CBS staff engineer Simon Humphrey and produced by Clash live soundman Mickey Foote.[11]
•
Paul Simonon – backing vocal, bass guitar
•
Terry Chimes – drums
8.10.3
Appearances
The song made its live debut on 10–11 March 1977, on the first and second night of an early gig at The Coliseum in Harlesden, London, where the band was supported by Subway Sect, Buzzcocks,and The Slits.[12] From that moment to 1985, the song has become a stable part of the setlists of their future tours and concerts, and has graced stages all over the world. Among the most important venues, concert halls and arenas there were: •
De Montfort Hall in Leicester (1977),[13]
•
the Lyceum Theatre, London (1978),[13]
•
the Agora in Cleveland (1979),[13]
•
the New York Palladium (1979),[14]
•
the Capitol Theatre in Passaic, New Jersey (1980),[15]
•
the Orpheum Theatre in Boston (1980),[16]
•
the Hammersmith Palais in London (1980),[16]
•
the Théâtre Mogador in Paris (1981),[17]
•
the Brixton Academy in London (1982 & 1985),[18]
•
the Saint Paul Civic Center Arena in St Paul, Minnesota (1982),[19]
•
the Johanneshovs Isstadion in Stockholm (1984),[20]
•
the Éspace Ballard in Paris (1984),[21]
•
the Orange arena at the Roskilde Festival of 1985 in Denmark. [22]
“Garageland” was first featured as the last track of the band’s debut album as well as in its 1979 U.S. release. It also is featured in many unofficial and semi-official bootlegs such as the 1992 release of U.S.A. 1979.[23] It was featured in the 1980 film release Rude Boy, where it was performed live at Rehearsal Rehearsals, but the audio was re-recorded at Wessex Studios,[24] and on The Punk Rock Movie, directed and filmed by Don Letts mainly at The Roxy club in Super 8 in the autumn of 1977 during The Clash’s White Riot tour, and published in DVD format in 1992.[25] “Garageland” is also featured 8.10.2 Personnel on some live and compilation albums, most notably on Clash on Broadway and The Essential Clash, both re Joe Strummer – lead vocal, lead guitar leased in 2003,[26][27] Rarities released in 2003,[28] and Mick Jones – backing vocal, lead guitar, rhythm gui- Pearl Harbour '79 released in 1979 in Japan and in 2004 tar, harmonica worldwide.[29] •
•
206
CHAPTER 8. SONGS
8.10.4
Reception
Ironically, only two years after the 1976 review that inspired the band to write “Garageland”, in NME Murray called The Clash “the greatest rock band in the world”. [7]
8.10.7
References
[1] Gray 2005, p. 216. [2] Coon 1977. [3] Salewicz 2006, p. 162.
8.10.5
Tributes
[4] Murray 2003.
“Garageland” is also featured on tribute albums such as [5] Westway 2001. City Rockers: A Tribute To The Clash, released on 6 July 1999 by various artists throughout Chord Records where [6] Needs 2004. the song was performed by The Sick. White Riot: A Tribute To The Clash (Vol. Two) released in 2003 by various [7] Screen on the Green. artists and performed by Billy Bragg with Wiggy, The Neurotics, and Attila & The Stockbroker, Charlie Does [8] Gray 2005, p. 217. Surf: A Tribute To The Clash released in 2004 by various [9] Gray 2005, p. 218. artists where the song was performed by The Glasgow Tiki Shakers with Bill McGlynnon guitar, Joyce Seko on [10] NME 1991. bass, and Bruce Graham on drums, and Revolution Rock: Joe Strummer Memorial Night At Klubi, Tampere Finland [11] Mojo Classic, p. 32.
released on December 2006 by various artists throughout LampLite Ltd. and performed by The Control with exHanoi Rocks' Stefan Piesnack and Tumppi Varonen on vocals. The New Zealand indie rock band Garageland,[30] as well as a UK magazine published by Transition Edition,[31] (and a tribute band from Dublin Ireland) are named after this song.
[12] Harlesden Roxy 1977. [13] Knowles 2003, p. 89. [14] Knowles 2003, p. 90. [15] Knowles 2003, pp. 90–91. [16] Knowles 2003, p. 91.
8.10.6
Covers
[17] Knowles 2003, p. 94. [18] Knowles 2003, pp. 96–97, 100.
“Garageland” has been performed by a number of bands, including : [19] Knowles 2003, p. 97. •
Welsh band The Oppressed (Oi!)
[20] Knowles 2003, p. 98.
•
English band The Housemartins (indie pop)
[21] Knowles 2003, p. 99. [22] Knowles 2003, p. 101.
•
British band Chumbawamba (punk rock, world, folk). Chumbawamba guitarist Boff Whalley [23] U.S.A. 1979 1992. ('Boffo') also performs an ironic solo version of the song on the Crass Records released Bullshit Detector [24] Rude Boy 1980. 2 compilation album (released 1982)
[25] Punk Rock Movie 1977. •
•
New York band Urban Blight (ska, reggae, new jack [26] Clash on Broadway 1991. swing) Californian band Manic Hispanic (punk rock, [27] Essential Clash 2004. chicano rock) [28] Rarities 2003.
•
Finnish musician Pelle Miljoona (punk rock)
[29] Pearl Harbour 2004.
•
Italian band Gang (Italian) (acoustic version)
[30] As stated in Garageland.
•
Italian band Linea (Italian)
[31] Garageland Magazine.
207
8.10. “GARAGELAND” Sources Books •
•
•
•
Records •
The Clash (LP). The Clash. UK: CBS/Epic. 1977.
Coon, Caroline (1977). 1988: The New Wave Punk Rock Explosion. London: Hawthorn. ISBN 0-80156129-9. OCLC 79262599. Retrieved 2011-09-19. Knowles, Chris(December 2003). Clash City Showdown. U.S.: Pagefree Publishing. ISBN 1-58961138-1. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. Salewicz, Chris (2006). Redemption Song: The Ballad of Joe Strummer . New York: Macmillan. p. 162. ISBN 978-0-571-21178-4. OCLC 76794852. (Redemption Song: The Ballad of Joe Strummer (pages 162 and 182) on Google Books)
•
•
“The Clash”. Mojo. London, UK: Bauer (Mojo Classic). Murray, Charles Shaar (2003-04-05). “Joe is dead, but the Clash are immortal”. The Daily Telegraph. London, UK: Telegraph Media Group. Retrieved 2011-09-20. I described them as the kind of garage
•
•
Letts Don; Rick Elgood, Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, The Clash (2001). The Clash: Westway to the World (DVD). New York: Sony Music Entertainment; Dorismo; Uptown Films. ISBN 0-7389-0082-6. OCLC 49798077.
The Clash at AllMusic
•
•
Clash on Broadway at Discogs
•
Clash on Broadway at AllMusic
box set). The Clash. Australia, Europe, U.S.: Columbia/Epic/Legacy. 1991. The
•
Clash (2×CD+DVD
•
The Essential Clash at Discogs
•
The Essential Clash at AllMusic
1992.
•
•
U.S.A. 1979 at Discogs
•
U.S.A. 1979 at AllMusic
Rarities (LP). The Clash. Darkside. 2003. •
•
Rarities at AllMusic
Pearl Harbour '79 (CD). The Clash. Sony. 2004
[1979].
•
•
•
•
Pearl Harbour '79 at Discogs
•
Pearl Harbour '79 at AllMusic
“The Clash Harlesd(e)n Roxy 10 March 1977”. BlackMarketClash.com. Archived from the original on 20 October 2011. Retrieved 2011-09-20. “Garageland”. Transition Gallery. Retrieved 201109-21. Needs, Kris (November 2004). “How I met The Clash”. trakMARX.com. Retrieved 2011-09-20.
“Screen on the Green – Islington”. BlackMar Letts Don; The Clash, Sex Pistols, Wayne County & ketClash.com. Archived from the original on 11 the Electric Chairs, Generation X, Slaughter and the November 2011. Retrieved 2011-09-20. Dogs, The Slits, Siouxsie and the Banshees, Eater, Subway Sect, X-Ray Spex, Alternative TV, Johnny Thunders and The Heartbreakers (1991) [1977]. The Punk Rock Movie (DVD). Berlin, Germany: 8.10.8 External links Studio !K7. Garageland live on YouTube Hazan, Jack; David Mingay, Ray Gange, Joe Strum AllMusic rating mer, Mick Jones, Paul Simonon, Nicky Headon, Buzzy Enterprises, Epic Music Video (2006-08"Garageland " lyrics at: 01). Rude Boy (DVD). New York: Epic Music Video. ISBN 0-7389-0587-9. OCLC 70850190. leoslyrics.com •
•
•
Essential
U.S.A. 1979 (CD). The Clash. Italy: Post Script.
“The Uncut Crap – Over 56 Things You Never Knew About The Clash”. NME . London, UK. 3. 16 Web March 1991. ISSN 0028-6362. OCLC 4213418.
Films and documentaries
•
United States: Epic/Legacy. 1991.
band who should be speedily returned to their garage, preferably with the engine running •
The Clash at Discogs
Clash on Broadway (3×CD box set). The Clash.
Journals and magazines •
•
•
•
•
208
CHAPTER 8. SONGS
• • • • •
•
londonsburning.org (with chords) lyricsdepot.com lyricsfreak.com sing365.com songlyrics.com
Lyrics of this song at MetroLyrics
8.11
“Groovy Times”
"Groovy Times" is a song by The Clash, featured on their The Cost of Living EP, and released as a promotional single in 1979 in Australia by Epic Records (AE7 1178). It was originally recorded as “Groovy Times Are Here Again” during the recording sessions for Give 'Em Enough Rope, however this demo has never been officially released, butcan be found on many Clash bootlegs. It was never performed live. The song’s lyrics are filled with images of urban decay and civil unrest and focus on recurring Clash themes of alienation, monotony and oppression. According to their author, Joe Strummer, the lyrics were sparked by his disgust at the erection of fences in Britain’s football terraces, built to keep fans apart in response to football hooliganism. Ten years later the Hillsborough Disaster would prove these fences fatal and his concerns irrefutably correct. The 'King of Early Evening ITV' mentioned in the song is confirmed as Bill Grundy, whose career was ruined after his infamous interview with the Sex Pistols and was indeed presenting early evening television on British terrestrial channel ITV. 'I can remember his first appearance now look what’s happened to him, so they put him in a dog suit like from 1964' is about singer-songwriter Elvis Costello. The music, acoustic and guitar based, was predominantly written by Mick Jones and feature harmonica partsbyhim but credited to 'Bob Jones’, a pseudonym that was apparently a reference to singer/songwriter Bob Dylan. “Groovy Times” has subsequently been re-released on the Clash on Broadway and Singles Box box sets, its singledisc equivalent The Singles and the Super Black Market Clash and The Essential Clash compilations. 8.11.1
Personnel
“Groovy Times” •
•
•
•
“Gates of the West” •
MickJones - lead vocals, backingvocal, lead guitars, rhythm guitar
•
Joe Strummer - lead guitars
•
Paul Simonon - bass guitar
•
Topper Headon - drums
8.11.2
Charts
8.11.3
Sources
•
•
Topping, Kieth (2003). Reynolds & Hern LTD.
Gilbert, Pat (2005). Passion is a Fashion: The Real Story of The Clash. Aurum Press Ltd.
8.11.4 •
The Complete Clash.
External links
Lyrics of this song at MetroLyrics
8.12
“The Guns of Brixton”
"The Guns of Brixton" is a song by the English punk rock band The Clash. It was written and sung by bassist Paul Simonon, who grew up in Brixton, south London. The song has a strong reggae influence, reflecting the culture of the area, with a knowing nod to the classic reggae gangster film The Harder They Come. 8.12.1
Origins and recording
“The Guns of Brixton” was the first song recorded by the band to be composed by Paul Simonon and to feature him as lead vocalist.[1] By London Calling, Paul Simonon had learned to play guitar, and started contributing more to the songwriting.[2] “You don't get paid for designing posters or doing the clothes”, he said in an interview published by Bassist Magazine in October 1990, “you get paid for doing the songs.” [2]
The band, separated from their manager Bernard [3] Joe Strummer - lead vocals, acoustic guitar, electric Rhodes, had to leave their rehearsal studio in Camden Town and find another location. The band began work guitar on London Calling during the summer of 1979 at the so Mick Jones - backing vocals, harmonica, acoustic called Vanilla Studios in Pimlico.[4][5] The band quickly lead guitars wrote and recorded demos, and, in August 1979, entered Wessex Studios to begin recording the album. Pro Paul Simonon - bass guitar duced by Guy Stevens, who at the time had alcohol Topper Headon - drums and drug problems and whose production methods were
209
8.12. “THE GUNS OF BRIXTON”
unconventional,[6] it was recorded within a matter of weeks, with many songs, including “The Guns of Brixton”, recorded in one or two takes.[7] It was also revealed that while recording the lead vocals for the song, Simonon sang the song while staring directly at a CBS executive who dropped by the studio during the sessions, giving Simonon the desired amount of emotion in his voice.[8] 8.12.2 •
•
Personnel
Paul Simonon - lead vocals, bass guitar in the studio, rhythm guitar in live performances Mick Jones - lead guitars, backing vocals
8.12.5
Live performances
“The Guns of Brixton” was a mainstay in the band’s set and when played live Simonon used to switch instruments with Joe Strummer (Simonon on rhythm guitar and Strummer on bass) because he was unable to play the bassline whilst singing lead vocals at the same time. A somewhat heavier, faster version than the one found on London Calling appeared on the live compilation From Here to Eternity: Live, released in 1999. 8.12.6
Covers and samples
Joe Strummer - rhythm guitar in the studio, bass gui- Norman Cook (a.k.a. Fatboy Slim) sampled the bass line for Beats International's 1990 song "Dub Be Good tar in live performances to Me", which became a #1 hit in the UK. Simonon, in Topper Headon - drums terviewed by Scott Rowley on October 1999 for Bassist Magazine, said that he “was surprised that itbecame num Mickey Gallagher - organ ber one that was quite shocking. And the fact that it was my performance that they had lifted. The smart thing would've been to copy it and change it slightly, but they 8.12.3 Lyrics and meaning just lifted it straight off. So, really, I have done Top of “The Guns of Brixton” pre-dates the riots that took place the Pops, but I met up with Norman [Cook] and we came in the 1980s in Brixton but the lyrics depict the feelings to an arrangement which was much needed at the time. of discontent that were building due to heavy-handedness But I thought it was a really good idea and it was quite of the police that led to the riots, the recession and other reassuring for that to happen to my first song.” [2] problems at that time. The lyrics refer to a Brixton-born Die Toten Hosen, a German punk band from Düsseldorf, son of Jamaican immigrants who “feel[s] like Ivan...at the covered the song in their MTV Unplugged session in end of The Harder they Come”, referringto Ivanhoe Mar- Vienna. The song was released on the album, which went tin's death as depicted in the 1972 film The Harder They into the top ten in Germany, Austria and Switzerland, and Come. Paul Simonon was originally doubtful about the as a single which topped out on place 62 in the German song’s lyrics, which discuss an individual’s paranoid out- charts. look on life, but was encouraged to continue working on Jimmy Cliffcoveredthesongonhis2011SacredFireEP, it by Strummer.[1] and 2012 album Rebirth produced by Tim Armstrong.[9] Will Hermes has called the cover “the sound of history 8.12.4 Return to Brixton circling in wondrous ways”, because the song references Cliff’s character Ivan from the 1972 film The Harder They “The Guns of Brixton” was initially not released as a sin- Come.[10] gle. A section of “The Guns of Brixton”, sung by a very It’s also covered on Nouvelle Vague's self-titled album of young Maria Gallagher accompanied by her father, Mick, 2004. on the keyboard, appears as a reprise at the end of the song “Broadway” on the 1980 Clash’s album Sandinista!. “The Guns of Brixton”, taken from the remastered ver- 8.12.7 Other legacy sion of London Calling and remixed by Jeremy Healy, was released by CBS as a CD single, 7-inch vinyl and Reverend and the Makers frontman Jon McClure stated a 12-inch vinyl entitled “Return to Brixton” in July 1990 that their song “Nostalgia” from the album ThirtyTwo was (catalog number 656072-2), and it reached number fifty- “my attempt at a modern 'Guns of Brixton'".[11] seven on the UK Singles Chart. •
•
•
The CD single track listing
1. “Return to Brixton” — 3:47 2. “Return to Brixton” — 6:55 3. “Return to Brixton” (SW2 Dub) — 6:00 4. “The Guns of Brixton” — 3:09
8.12.8
Chart history
8.12.9
Sources
•
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC
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CHAPTER 8. SONGS
61177239. •
8.12.12
External links
Green, Johnny; Garry Barker (2003) [1997]. A Riot Lyrics of this song at MetroLyrics of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890. 8.13 “Hitsville UK” •
8.12.10
References
[1] Sweeting, Adam. (October 2004). “Death or Glory”. Uncut . p. 67. [2] Rowley, Scott. (October 1999), Interview with Paul Simonon. Bassist Magazine. [3] Gilbert 2005, pp. 212-213. [4] Green 2003, p. 156. [5] Sweeting, Adam. “Death or Glory”. (October 2004). Uncut . p. 58. [6] Gilbert 2005, p. 235. [7] Sinclair, Tom. (24 September 2004). “The Best Album of All Time”. Entertainment Weekly. Retrieved 23 August 2009.
"Hitsville U.K." is a song by The Clash and the second off their fourth album Sandinista!. A duet between lead guitarist Mick Jones and his then-girlfriend Ellen Foley, it’s the 13th single release by The Clash. The lyrics refer to the emerging indie scene in British music in the late 1970s and early 1980s, which is held in contrast to the “mutants, creeps and musclemen” of the major labels with their “expense accounts” and “lunch discounts”, making "AOR" and using “chart-hyping” to sell their records. References are made to a number of UK independent labels (Small Wonder, Rough Trade, Fast Product and Factory). The song’s title is a nod to Motown Records, which used the moniker "Hitsville U.S.A." in its advertising and to refer to the label’s first headquarters in Detroit. The original UK release had “Radio One” by Mikey
[8] The Clash - The Last Testament -Making of London Call- Dread as the B-side. A second issue released later in ing 2/3 on YouTube 1981 in the U.S. (catalog number 51013) replaced “Ra-
dio One” with "Police on My Back" as the B-side.[1]
[9] Rachel, T. Cole. (11 August 2011). “Progress Report: Jimmy Cliff”. Stereogum. Retrieved 16 December 2016. Like all other Clash singles, the song is also available in the 1991 compilation The Singles . [10] Hermes, Will (2012) "Jimmy Cliff Rebirth", Rolling Stone, 13 July 2012. Retrieved 16 December 2016. American indie band Joy Zipper covered “Hitsville U.K.” for the Uncut magazine cover disc White Riot Volume [11] http://www.huffingtonpost.co.uk/jon-mcclure/ Two: A Tribute to The Clash in 2003. jon-mcclure-thirtytwo-reverend-and-the-makers_ b_4824719.html [12] “Chart Stats - The Clash - Return To Brixton”. chart- 8.13.1 Personnel stats.com. Retrieved 2009-08-23. First appeared in chart Ellen Foley - lead vocals, percussion (at position): 21/07/1990 (57). Last Seen in Chart (at position): 28/07/1990 (65). Length of time in chart: 2 Mick Jones - lead vocal, pianos, keyboards weeks. Highest position in chart: 57 •
•
8.12.11 •
•
Further reading
•
Joe Strummer - guitar
•
Norman Watt-Roy - bass guitar
Topper Headon - drums, percussion Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 8.13.2 Charts 60668626. •
Gruen, Bob; Chris Salewicz (2004) [2001]. The 8.13.3 References Clash (3rd ed.). London: Omnibus. ISBN 1[1] “The Clash discography”. TheClash.com. Retrieved 903399-34-3. OCLC 69241279. 2008-11-03.
•
•
Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. 8.14 “I Fought the Law” Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN "I Fought the Law" is a song written by Sonny Curtis of 1-903111-70-6. OCLC 63129186. the Crickets and popularized by a remake by the Bobby
211
8.14. “I FOUGHT THE LAW”
Fuller Four, which went on to become a top-ten hit for the band in 1966 and was also recorded by the Clash in 1979. The Bobby Fuller Four version of this song was ranked No. 175 on the Rolling Stone list of The 500 Greatest Songs of All Time in 2004, and the same year was named one of the 500 “Songs that Shaped Rock” by the Rock and Roll Hall of Fame. 8.14.1
History
The song was written in 1958 by Sonny Curtis, and recorded in 1959 when he joined the Crickets, taking the place of the late Buddy Holly on guitar. Joe B. Mauldin and Jerry Allison continued their positions on the standup bass and drums, respectively, while Earl Sinks filled the role for vocals. The song was on their 1960 LP, In Style with the Crickets , and the following year appeared as the b-side of their single, “A Sweet Love”. The song never received any airplay. Milwaukee’s Paul Stefen and the Royal Lancers covered the song in 1962; it provided them with a local hit, but it never made the national charts. [1] In 1964, Sammy Masters recorded his cover of the song. That same year, the song was recorded by Bobby Fuller and his band on his own Exeter label in El Paso, which solidified the band’s popularity in the West Texas area with one of his biggest local hits. 8.14.2
Bobby Fuller Four version
the studio complex. Strummer and Jones listened to the Bobby Fuller version of “I Fought the Law” for the first time on one of the jukeboxes, and by the time they returned to England they could perform the song.[6] Their version first appeared on the EP The Cost of Living in May 1979 in the UK, and then later in 1979 was made part of the American edition of the Clash’s eponymous album. This cover version helped gain the Clash their first taste of airplay in the States and is one of the bestknown cover versions of the song. The live recording of the song, performed at the Lyceum Theatre, West End, London on December 28, 1978, features as the last piece of the 1980 film Rude Boy directed by Jack Hazan and David Mingay. The Clash were dressed all in black for that gig and the song, at that stage, was considered the film’s title song.[7][8][9][10] On July 26, 1979, “I Fought the Law” was the first single by the band to be released in the United States. In 1988, CBS Records re-issued the single (catalog number) in CD, 12” and 7” vinyl formats, with "City of the Dead"(2:24)and"1977" (1:40) as its 7” B-side. The song is featured as a downloadable track in the music video game series Rock Band .[11] In1989during Operation Just Cause, the USmilitary surrounded the Apostolic Nunciature in Panama while trying to capture Manuel Noriega, the strongman of Panama. US forces blasted loud rock music—including “I Fought the Law” by the Clash—to put pressure on Noriega to give himself up.[12] In 2012, the Clash’s version of the song was featured in the video game Sleeping Dogs , as part of a karaoke minigame. The song appears during the end credits of the 2014 film RoboCop and the 2016 film War on Everyone.
After enjoying regional success in Texas, Bobby Fuller and band decided to switch to a major label—DelFi Records under Mustang Records—and they became known as the Bobby Fuller Four. While producing minor hits, the band broke the national top ten when they rerecorded “I Fought the Law” in 1965 with Bobby Fuller (vocals, guitar), Randy Fuller (backing vocals, bass guitar), Jim Reese (backing vocals, guitar), and DeWayne Personnel Quirico (drums). Just six months after the song made its first appearance on Joe Strummer - lead vocals, rhythm guitars the Billboard Top 100 chart, Fuller was found dead from Mick Jones - backing vocals, lead guitars asphyxiation in his mother’s car in a parking lot near his Los Angeles, California apartment. The Los Angeles Po Paul Simonon - backing vocals, bass guitar lice Department declared the death an apparent suicide, but others believed him to have been murdered.[3] Fuller Topper Headon - drums was 23 years old. •
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Chart positions
Chart positions
8.14.3
8.14.4
The Clash version
In mid-1978, the Clash were working on their second album, Give 'Em Enough Rope . Singer Joe Strummer and guitarist Mick Jones flew out to San Francisco to record overdubs in September–October at the Automatt studio. The owner of The Automatt kept his collection of classic jukeboxes distributed around the various rooms of
Hank Williams, Jr. version
In 1978 country artist Hank Williams, Jr. recorded a version of the song that would appear on his 1979 album Family Tradition. Released as the album’s first single, it was a moderate hit and peaked at #15 on Billboard 's Hot Country Singles & Tracks chart, giving Williams his first Top 15 single in four years.
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CHAPTER 8. SONGS
Chart positions
[2] Stiernberg, Bonnie. “The 50 Best Garage Rock Songs of All Time”. Paste. Retrieved 15 May 2016.
8.14.5
[3] Unterberger, Richie. “AllMusic Biography: Bobby Fuller Four”. allmusic.com. Retrieved 2009-01-03.
Dead Kennedys version
The punk band Dead Kennedys put together their own version of “I Fought TheLaw” shortly after San Francisco politician Dan White murdered city Supervisor Harvey Milk and Mayor George Moscone in 1978. Most of the lyrics were re-written so the song was from White’s point of view; the chorus was changed to “I fought the law, and I won”, with the final line in the final chorus changed to “I am the law, so I win.” The song portrays White as someone who got away with first-degree premeditated murder and is unrepentant about it and specifically cites his use of the diminished responsibility defense. It also makes use of the reference "Twinkie defense", where lead singer Jello Biafra sings “Twinkies are the best friend I ever had”.[18] 8.14.6
Other versions
Sam Neely's version of the song went to No. 54 on the Billboard pop charts and no. 61 on the country charts in 1975. Hank Williams Jr. had a No. 15 country hit with the song in 1978 and another country version by the Nitty Gritty Dirt Band went to No. 66 in 1992.[19] Dave Courtney recorded a version for the Scottish poppunks Mute. Mute’s frontman Jay Burnett wrote new lyrics based on Courtney’s court case. Like the Dead Kennedys’ version, the chorus is changed to “I fought the law and I won”. In 1999, Mike Ness of Social Distortion covered the tune on his second solo album, Under the Influences , which peaked at No. 174 on the Billboard 200 (November 27, 1999). In addition, Widespread Panic, Richard Clapton, Ducks Deluxe, She Trinity, Beatsteaks, Viper, Bryan Adams, John Cougar Mellencamp, Johnny Cash, Bruce Springsteen, Roy Orbison, Tom Petty, Social Distortion, Stiff Little Fingers, Waylon Jennings, Gary Allan, Ramones, Green Day, Alvin and the Chipmunks, Ska-P, the Jolly Boys, Grateful Dead, Stray Cats, Mary’s Danish, Claude François, Mano Negra, the Big Dirty Band, Lolita No. 18, the Brian Jonestown Massacre, Attaque 77, Die Toten Hosen, Status Quo, Nanci Griffith, La Vida Bohème, Anti-Flag, Chumbawamba, Tsuyoshi Kawakami and His Moodmakers, the Airborne Toxic Event, The Bad Shepherds, Johnny Marr, Derek Ryan, Kris Kristofferson in duet with Rita Coolidge, and numerous other artists have covered this song live or in studio. 8.14.7
References
[1] Whitburn, Joel. Joel Whitburn’s Top Pop Singles: 19552010. Record Research, 2011.
[4] “I fought the law in Canadian Top Singles Chart”. Library and Archives Canada. Retrieved 15 July 2013. [5] “Bobby Fuller awards on Allmusic”. Allmusic . Rovi Corporation. Retrieved 15 July 2013. [6] Salewicz, Chris (2006). Redemption Song: The Ballad of Joe Strummer . Macmillan. pp. 222–223. ISBN 0-57121178-X. [7] Hazan, Jack; David Mingay, Ray Gange, Joe Strummer, Mick Jones, Paul Simonon, Nicky Headon, Buzzy Enterprises, Epic Music Video (2006). Rude Boy (Documentary, Rockumentary). New York, NY, United States: Epic Music Video. ISBN 0-7389-0082-6. OCLC 70850190. 2nd edition digitally restored and remastered sound. [8] Green, Johnny; Barker, Garry (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. pp. 149–150. ISBN 0-7528-5843-2. OCLC 52990890. [9] Salewicz, Chris (2007-05-15) [2006]. Redemption Song: The Ballad of Joe Strummer (1st American ed.). New York: Faber and Faber. p. 246. ISBN 0-571-21178-X. OCLC 76794852. [10] Whistance, Don J. “Rude Boy”. theclash.org.uk. Retrieved 2008-01-22. 10 I Fought the Law: The Lyceum, West End, London on the 28 December 1978 was where the last piece of filming took place which included Sonny Curtis’s song: 'I Fought the Law'. The Clash dressed all in black for the gig and played 'I Fought The Law ', which at that stage was being considered as the film’s title song. [11] Kuchera, Ben (2007-12-11). “New punk songs come to Rock Band”. Ars Technica. Retrieved 2008-01-03. 'I Fought the Law' - The Clash [12] Tran, Mark (2010-04-27). “Manuel Noriega - from US friend to foe”. The Guardian. London. [13] “The Irish Chartd”. IRMA. Enter “I FOUGHT THE LAW” in Search by Song Title and click search. [14] "Charts.org.nz – The Clash – I Fought The Law”. Top 40 Singles. [15] "Archive Chart: 1988-03-26” UK Singles Chart. [16] Stephen Thomas Erlewine (1949-05-26). “Hank Williams, Jr. | Awards”. AllMusic. Retrieved 2016-0719. [17] Raggett, Ned. “Give Me Convenience or Give Me Death review on Allmusic”. Allmusic . Rovi Corporation. Retrieved 15 July 2013. [18] “Welcome To The Official Website For Dead Kennedys”. Deadkennedys.com. Retrieved 2016-07-19. [19] “The Nitty Gritty Dirt Band - Chart history”. Billboard. Retrieved 2016-07-19.
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8.15. “I'M SO BORED WITH THE USA”
8.14.8 •
External links
Lyrics of this song at MetroLyrics
8.15
“I'm So Bored with the USA”
a song by British punk rock band The Clash, featured on their eponymous 1977 debut album, which was released in the United States in July 1979 as their second album after Give 'Em Enough Rope. It was the album’s third track in the original version and second in the US version.
8.15.3 •
•
“I'm So Bored with the U.S.A.” is
8.15.1
Song information
The song was originally titled “I'm So Bored With You”,[1][2] a love song written by Mick Jones. According to Keith Topping's book The Complete Clash, the song was about Jones’s then girlfriend, the same woman who was the topic of “Deny”.[3] According to the story often told by the song’s authors Joe Strummer and Jones, including on the documentary Westway to the World , the change came about by Strummer mishearing the song’s title when Jones played it to him during their first meeting at their Davies Road squat.[1] The band’s early recordings, including the popular live bootleg 5 Go Mad At The Roundhouse, include the song in its original form. However, by the time of the concert on 20 September 1976 at the Roundhouse, Camden, the song was performed using its new title. The intro to the song is a variant on the intro to Pretty Vacant by the Sex Pistols. Themes
•
Covers
Canadian indie rock band Arcade Fire often use the song’s chorus as an introduction to their own “Windowsill” at live performances. Canadian punk band, The Subhumans, sang thesong using the lyrics “I'm so bored with DOA” when opening for their fellow Vancouver punkers DOA, at the Commodore ballroom in 1982. Ex-Stone Roses guitarist John Squire performed the song live. A recording was released on Time Changes Everything 8 Track Live EP.
8.15.4
Notes
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash (2001). The Clash, Westway to the World (Documentary). New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 13:40–14:46. ISBN 07389-0082-6. OCLC 49798077. [2] Caws, Matthew (December 1995). “Mick Jones”. Guitar World . New York: Harris Publications. 12. ISSN 10456295. OCLC 7982091. Actually, “I'm So Bored With TheU.S.A.”was“I'mSoBoredWithYou”untilJoeadded the “S” and the “A.” Related news articles: •
“Guitar World December 1995”. ing.org. Retrieved 2007-12-06.
londonsburn-
[3] Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-706. OCLC 63129186. [4] Colson, Nicole (2003-01-03). “Obituary: Joe Strummer” (SHTML). SOCIALISTWORKER.org. p. 9. Retrieved 2007-12-06. Strummer’s lyrics blended well with guitarist Mick Jones’ arrangements, and he steered the band toward a more overtly political message--as when he convinced Jones to change the song “I’m So Bored With You” (about Jones’ girlfriend) to “I'm So Bored With the U.S.A.,” a scorching rant against US imperialism and arrogance.
Originally demoed with slightly different lyrics during The Clash’s second demo session with their soundman Mickey Foote as producer, “I'm So Bored with the U.S.A."'s lyrics do exactly what its title suggests, condemning several aspects of the American society,[4] such as drug problems in the US Army (particularly heroin), 8.15.5 References the support of the American government to dictatorships in the Third World (later denounced on the Sandinista! Gilbert, Pat (2005) [2004]. Passion Is a Fashtrack "Washington Bullets"), and popular police drama ion: The Real Story of The Clash (4th ed.). Lonseries Starsky and Hutch and Kojak . It also criticizes don: Aurum Press. ISBN 1-84513-113-4. OCLC Richard Nixon, mentioning the Watergate scandal's tapes. 61177239. •
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8.15.2
Personnel
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Joe Strummer - rhythm guitar, lead vocal
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Mick Jones - lead guitars, backing vocal
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Paul Simonon - bass guitar, backing vocal
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Terry Chimes - drums
•
Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890.
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CHAPTER 8. SONGS
Gruen, Bob; Chris Salewicz (2004) [2001]. The 8.16.2 Notes Clash (3rd ed.). London: Omnibus. ISBN 1[1] “FrankBlack.Net Discopedia - Jail Guitar Doors” (ASP). 903399-34-3. OCLC 69241279.
FrankBlack.Net. Retrieved 2007-12-30. McKagan appears behind the skins to round out a power trio of Clarke and ex-Pixie Frank Black on a cover of The Clash’s “Jail Guitar Doors.” The rest of G N'R also pops up on PAWNSHOP GUITARS:
Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
[2] abramson (2007-05-03). “sound of the suburbs: Jail Guitar Doors”. sound of the suburbs. Retrieved 2007-12-30. [3] Video on YouTube [4] “Wayne Kramer on Jail Guitar Doors: 'We have no shortage of prisons’". Retrieved 24 August 2015.
8.16
“Jail Guitar Doors”
[5] Bragg, Billy. “Jail Guitar Doors”. jailguitardoos.org.uk. Retrieved 2007-12-30.
"Jail Guitar Doors" is a song by The Clash, recorded [6] Topping, Alexandra (7 July 2007). “Rock stars urge prisduring October and November 1977 and released on 17 oners to escape through music”. The Guardian . ManchFebruary 1978 as the b-side of their fourth single "Clash ester: Guardian Newspapers. ISSN 0261-3077. OCLC 8082962. Retrieved 2007-12-30. Bragg and ex-Clash City Rockers". Thesong is featured on the U.S. releaseof member offer inmates guitars and a chance to change their their debut album, and on their 2006 compilations album lives the Singles Box . It began life as “Lonely Mother’s Son” by Joe Strummer’s [7] “BBC - Berkshire - Entertainment - Something to Bragg about” (SHTML). BBC Berkshire Website. 2007-06-08. former band the 101ers, sharing the same chorus which Retrieved 2007-12-30. begins “Clang clang go the jail guitar doors.” “Jail Guitar Doors” was covered by the former Guns N' Roses gui- [8] “BBC - Berkshire - Local bands - Jail Guitar Doors Camtarist Gilby Clarke, who recorded a version on his depaign” (SHTML). BBC Berkshire Website. 2007-05-16. Retrieved 2007-12-31. but solo album, Pawnshop Guitars , with the contribution of the members of Guns N' Roses, Pixies vocalist Frank [9] “Jail Guitar Doors, Reading – Last.fm”. Last.fm. 2007Black, guitarist Ryan Roxie and bassist Duff McKagan.[1] 06-16. Retrieved 2007-12-30. The song opens with the lines "Let me tell you 'bout Wayne and his deals of cocaine", which is a reference to the MC5 guitarist Wayne Kramer.[2] In the second verse line, “And 8.16.3 References I'll tell you 'bout Pete, didn't want no fame” refers to Peter Gilbert, Pat (2005) [2004]. Passion Is a FashGreen. The third verse line, “And then there’s Keith, ion: The Real Story of The Clash (4th ed.). Lonwaiting for trial” refers to Rolling Stones’ guitarist Keith don: Aurum Press. ISBN 1-84513-113-4. OCLC Richards. Kramer later performed “Jail Guitar Doors” in 61177239. concert.[3] Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 8.16.1 Jail Guitar Doors initiative 60668626. Jail Guitar Doors is an independent initiative set up by Green, Johnny; Garry Barker (2003) [1997]. A Riot Billy Bragg with the aim of providing musical equipment of Our Own: Night and Day with The Clash (3rd for the use of inmates serving time in prisons and funding ed.). London: Orion. ISBN 0-7528-5843-2. OCLC individual projects such as recording sessions in UK pris52990890. ons and for former inmates throughout the United King Gruen, Bob; Chris Salewicz (2004) [2001]. The dom. It takes its name from the b-side of the Clash’s 1978 Clash (3rd ed.). London: Omnibus. ISBN 1single “Clash City Rockers”. Jail Guitar Doors, USA is 903399-34-3. OCLC 69241279. an independent initiative set up by Wayne Kramer, Billy Bragg and Margaret Saadi Kramer in the United States Needs, Kris (2005-01-25). Joe Strummer and the in 2009.[4] Jail Guitar Doors aims to provide musical Legend of the Clash. London: Plexus. ISBN 0instruments to inmates across the United States, assists 85965-348-X. OCLC 53155325. in coordinating volunteer teaching programs, and organizes prison outreach programs. JGD advances new solu Topping, Keith (2004) [2003]. The Complete Clash tions to diminish prison violence and works toward policy (2nd ed.). Richmond: Reynolds & Hearn. ISBN [5][6][7][8][9] reform. 1-903111-70-6. OCLC 63129186. •
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8.17. “JANIE JONES”
8.16.4 •
External links
Lyrics of this song at MetroLyrics
8.17
“Janie Jones”
"Janie Jones" is a song by the English punk rock band The Clash. It is the opening track on their eponymous debut album (1977).[1] The subject of the song, Janie Jones, wasafamousmadaminLondon duringthe 1970s andhad been a pop singer during the 1960s. The live performance of the song at The Apollo in Glasgow on 4 July 1978, is featured in Rude Boy, a 1980 film directed by Jack Hazan and David Mingay, starring Ray Gange and The Clash. The track was re-recorded at Wessex Studios by engineer Bill Price and tape operator Jerry Green.[2][3][4] The song was also featured on The Clash: Westway to the World , a 2000 documentary film directed by Don Letts.[5] The song appears on the compilation albums The Story of the Clash, Volume 1 (1988) (disc two), Clash on Broadway (1991) (disc one; demo version), The Essential Clash (2003) (disc one). A live version recorded on 4 June 1981 at Bond’s Casino, New York City, is featured on the bootleg Live at Bond’s Casino (2000). In December 1982, Jones, backed by members of The Clash and the Blockheads and credited as Janie Jones & the Lash, recorded a 7-inch single, “House of the Ju-Ju Queen”, written and produced by Joe Strummer and released on Big Beat Records in 1983. Strummer and Mick Jones played guitar, with Paul Simonon on bass, Mick Gallagher on keyboards, Mel Collins on saxophone, and Charley Charles on drums. The B-side was a cover of James Brown's "Sex Machine". Martin Scorsese, a fan of The Clash, said that he considers “Janie Jones” to be the greatest British rock and roll song. He used the song in the film Bringing Out the Dead .[6] 8.17.1
Personnel
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Joe Strummer - lead vocal
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Mick Jones - backing vocals, guitar
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Paul Simonon - backing vocal, bass
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Terry Chimes - drums
8.17.2
Cover versions
“Janie Jones”, performed by The Farrell Bros., features on This Is Rockabilly Clash, a tribute album released by various artists, and recorded by Raucous Records in 2002. The song has been covered by the English bands
The Paddingtons, and Bush numerous times at live concerts. The song was covered in 2005 on the collaborative album Slackness by The Slackers and Chris Murray. It was covered again by the three-piece folk noir band Songdog who featured it on their album, The Time of Summer Lightning in 2005 and then by Babyshambles, featuring contributions from others, in 2006 and released to raise funds for Joe Strummer's charity foundation Strummerville. Neurotic Outsiders covered it. American punk rock band Against Me! performed a version of the song in August 2011 for The A.V. Club's A.V. Undercover series.[7] A version of the drum rhythm at the beginning of the original song was humorously used in Thea Gilmore's cover of Clash song 'I'm not down'. Babyshambles & Friends
"Janie Jones" (sometimes "Janie Jones (Strummerville) ") was released through B-Unique Records to raise money for late Joe Strummer's charity foundation Strummerville and features contributions from others bands like Dirty Pretty Things, Larrikin Love, We Are Scientists, The Kooks, and Guillemots. This release marks the first time that Carl Barât and Pete Doherty worked together since The Libertines split up, although they never met during the recording process.[8] The video revolves around (the real) Janie Jones being chauffeured around London with Mick Jones. Many of the contributors to the song feature in the video. Drew McConnell accompanies Janie Jones from the Windmill theatre right at the beginningas she’sgetting into her car, Alan Donohoe from The Rakes is driving the car, two members of Cazals are walking down the street near the start and their singer, Phil Bush, mimes 'lucky lady', the two guys standing in front of the telephone box are JoshHubbardfrom The Paddingtons and one member of Guillemots; Carl Barât, Anthony Rossomando, Gary Powell and a guitar can be seen in a car pulling up to a petrol station, while Jack Peñate is also seen at the petrol station and Lisa Moorish is seen singing along towards the end. The lead singer from The Mystery Jets is seen walking with one of The Holloways on the side of the street. Music video
Track listing •
CD
1. “Janie Jones” 2. “Janie Jones” (Pete Doherty vocal version) 3. “Janie Jones” (Video) •
7”
216
CHAPTER 8. SONGS
1. “Janie Jones” 2. “Janie Jones” (Statik remix) Personnel
Pete Doherty – lead vocals
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Drew McConnell – bass, guitar
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Adam Ficek – drums
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Mick Whitnall – guitar
Contributors[9] Additional contributors to the Statik remix
•
Lethal Bizzle JME
•
No Mind
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Talk Taxis
Chart performance
8.17.3 •
•
References
[1] Green, Johnny; Garry Barker (2003). A Riot of Our Own: Night and Day with The Clash , p. 151. [2] Green; Barker (2003). A Riot of Our Own , pp. 153–154.
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8.17.4
Notes
[3] Jack Hazan, David Mingay, Ray Gange, Joe Strummer, Mick Jones, Paul Simonon, Topper Headon (2006). Rude Boy (Documentary). New York, New York: Epic Music Video. ISBN 0-7389-0082-6. OCLC 70850190. [4] Whistance, Don J. “Rude Boy”. theclash.org.uk. Retrieved 2008-02-18. 'Except for the Lyceum gigs, The Clash aren't live on the film at all,' stated Johnny Green. 'Totally artificial. The backing tracks were done at Wessex Studios.' [5] Letts, Don. (2001). The Clash: Westway to the World . Event occurs at 3:10–3:45. [6] Scorsese, Martin; Ian Christie; David Thompson (1996) [1989]. Scorsese on Scorsese (4th ed.). London: Faber. ISBN 0-571-17827-8. OCLC 35599754. [7] “Against Me! covers The Clash”. Retrieved 24 March 2013. [8] “Carl Barat and Pete Doherty team-up”. NME.com. 30 August 2006. Retrieved 2007-10-17. [9] “Barat and Doherty reunite”. Yahoo. 19 September 2006. Retrieved 2007-10-17.
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). Lon- [10] “Babyshambles – Janie Jones (strummerville) – Music don: Aurum Press. ISBN 1-84513-113-4. OCLC Charts”. acharts.us. Retrieved 2007-10-16. 61177239. Gray, Marcus (2005) [1995]. The Clash: Return 8.17.5 External links of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC Lyrics of this song at MetroLyrics 60668626. •
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Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd 8.18 “Junco Partner” ed.). London: Orion. pp. 151; 153–154. ISBN 0-7528-5843-2. OCLC 52990890. “Junco Partner” is an American blues song first [1] Gruen, Bob; Chris Salewicz (2004) [2001]. The recorded by James Waynes in 1951. It has been Clash (3rd ed.). London: Omnibus. ISBN 1- recorded and revised by many other artists over several decades, including Louis Jordan, Michael Bloomfield, 903399-34-3. OCLC 69241279. Dr. John, Professor Longhair, James Booker, and The Letts Don; Joe Strummer, Mick Jones, Paul Si- Clash.[2] It has been covered in various genres of music monon, Topper Headon, Terry Chimes, Rick El- including blues, folk, rock, reggae, and dub. good, The Clash (2001). The Clash: Westway to the World (Documentary). New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event 8.18.1 Early recordings occurs at 3:10–3:45. ISBN 0-7389-0082-6. OCLC 49798077. Singer James Waynes made the first recording of “Junco Partner” in 1951, for Bob Shad's record label “Sittin' Needs, Kris (2005-01-25). Joe Strummer and the in with...”.[1] The song is credited to Shad and “Robert Legend of the Clash. London: Plexus. ISBN 0Ellen” (a pseudonym Shad used on some recordings), [3] 85965-348-X. OCLC 53155325. though it was directly inspired by the Willie Hall song Topping, Keith (2004) [2003]. The Complete Clash "Junker’s Blues".[4] According to musician Mac Reben(2nd ed.). Richmond: Reynolds & Hearn. ISBN nack ("Dr. John"), James Waynes’ recording made the 1-903111-70-6. OCLC 63129186. song popular, although it was already widely known
217
8.19. “KNOW YOUR RIGHTS”
among musicians in New Orleans and elsewhere as “the anthem of the dopers, the whores, the pimps, the cons. It was a song they sang in Angola, the state prison farm, and the rhythm was even known as the 'jailbird beat'.” [5] In 1952, several artists covered the song, including Richard Hayes with the Eddie Sauter Orchestra,[6] and Louis Jordan & His Tympany Five for Decca.[7]
[6] Strother, Rex. “Richard Hayes”. Saxony Records. [7] Jurek, Thom. “A Review of Louis Jordan: Complete Decca Recordings, 1950-1952”. Allmusic.com. Retrieved 11 December 2013. [8] Erlewine, Stephen Thomas. “A Review of Chuck Berry’s You Never Can Tell: The Complete Chess Recordings 1960-1966”. Allmusic.com.
Fully credited to himself, Chuck Berry's 1961 “The Man and the Donkey” is based on the “Junco Partner” melody [9] “Roland Stone”. Article based on an Obituary . [8] with a story based on a traditional West African tale heard on other songs such as Willie Dixon’s Signifying [10] Mason, Stewart. “A Review of The Holy Modal Rounders 2”. Allmusic.com. Retrieved 11 December 2013. Monkey (1947) or Oscar Brown, Jr.'s Signifying Monkey (1960).
[11] Erlewine, Stephen Thomas. “A Review of Dr. John’s Gumbo”. Allmusic.com. Retrieved 11 December 2013.
8.18.2
Later versions
Roland Stone, a white R&B singer from New Orleans, recorded two versions with rewritten lyrics, the first in 1959 as “Preacher’s Daughter”,[9] and the second in 1961 as “Down the Road”. The Holy Modal Rounders recorded the song as “Junko Partner” in 1965.[10] The 1970s produced several widely known covers. In 1972, Dr. John covered the song for his Dr. John’s Gumbo album.[11] In 1976, Professor Longhair covered it for his Rock 'n' Roll Gumbo album,[12] and James Booker did the same for his homonymous album, “Junco Partner”. [13] It was Richard Hayes’ version that caught the ear of Joe Strummer, who recorded it with the Londonbased band The 101'ers.[14] He later recorded it again, this time in Kingston, Jamaica, with The Clash for their triple hit album Sandinista!, released in 1980, which included two versions: a reggae version, “Junco Partner”, and a dub version, “Version Pardner”.[15] Bob Dylan’s 1986 album, Knocked Out Loaded , took its title from a “Junco Partner” lyric.[16] Carlos del Junco covered the song for his Big Boy album, released in 1999.[17] The Hindu Love Gods, with Warren Zevon as lead singer and three members of R.E.M., also released their recording of this song under the title “Junko Pardner.”[18] 8.18.3
References
[12] Iyengar, Vik. “A Review of Rock 'n' Roll Gumbo”. Allmusic.com. Retrieved 11 December 2013. [13] Gottlieb, Bob. “A Review of James Booker’s Junco Partner”. Allmusic.com. Retrieved 11 December 2013. [14] Erlewine, Stephen Thomas. “A Review of Elgin Avenue Breakdown”. Allmusic.com. Retrieved 11 December 2013. [15] Gray, Marcus (November 1, 2004). The Clash: Return of the LastGangin Town - 2nd Edition . Hal Leonard November 1, 2004. pp. 113, 342, 350. ISBN 978-0634082405. [16] Heylin, Clinton (April 29, 2003). Bob Dylan: Behind the Shades Revisited . Harper Entertainment. p. 594. ISBN 978-0060525699. [17] “Carlos Del Junco’s Big Boy Track Listing”. Allmusic.com. Retrieved 11 December 2013. [18] Fetherston, Daniel. “A Review of The Hindu Love Gods”. Allmusic.com. Retrieved 11 December 2013.
8.18.4 •
See also
Junker’s Blues
8.19
“Know Your Rights”
[1] Profile of James “Wee Willie” Wayne at Black Cat Rock- "Know Your Rights" is a song by The Clash. It was abilly. Retrieved 4 April 2013 released as the first single from the album Combat Rock ,
three weeks prior to the release of the album.
[2] “A List of Junco Partner Covers”. Secondhandsongs.com. Retrieved 30 December 2013. The song begins with the words " This is a public service announcement...with guitars!" The structure of the song [3] List of recordings of “JuncoPartner”at TheGrateful Dead revolves around the rights held by the poor and disenfranFamily Discography. Retrieved 21 November 2013
chised, in which the speaker of the song, presumably a [4] Williamson, Nigel (April 30, 2007). The Rough Guide to villainous civil servant (whose identity is assumed in the Blues 1 (Rough Guide Reference) . Rough Guides; 1 edi- song by vocalist Joe Strummer), names the three actual tion. p. 27. ISBN 978-1843535195. rights. At the end, the notion that more rights should be granted is rebuffed by the speaker. [5] Liner notes to Dr. John’s Gumbo, reprinted at barewires blog. Retrieved 4 April 2013 The three are:
218
CHAPTER 8. SONGS
1. “The right not to be killed. Murder is a crime, unless 8.20 “London Calling” it is done by a policeman, or an aristocrat". 2. “The right to food money, providing of course, you "London Calling" is a song by the British punk rock don't mind a little investigation, humiliation, and, if band The Clash. It was released as a single from the band’s 1979 double album London Calling. This you cross your fingers, rehabilitation”. apocalyptic, politically charged rant features the band’s 3. “The right to free speech (as long as you're not dumb famous combination of reggae basslines and punk elecenough to actually try it)". tric guitar and vocals.[1][2][3] 8.19.1
Personnel
“Know Your Rights” •
Joe Strummer – vocals, lead guitar, piano
•
Mick Jones – lead guitar, sound effects
•
Paul Simonon – bass guitar
•
Topper Headon – drums
“First Night Back in London” •
Joe Strummer – vocals, guitar
•
Mick Jones – guitar, sound effects
•
Paul Simonon – bass guitar
•
Topper Headon – drums
8.19.2
Cover versions
Primal Scream covered the song as a b-side to their "Kowalski" single in 1997. “Know Your Rights” has been performed live many times by Pearl Jam, most notably during their Riot Act Tour in 2003, and it also has been recorded on their live albums 7/11/03 – Mansfield, Massachusetts , 7/9/03 – New York, New York , 3/3/03 – Tokyo, Japan, and 9/30/12 - Missoula, Montana.[1] The Frisk also recorded a version of the song on their EP Rank Restraint . 8.19.3
Charts
8.19.4
References
[1] “Know Your Rights”. Pearljam.com. Retrieved 1 January 2013. [2] "Clash: Artist Chart History” Official Charts Company. Retrieved 13 June 2013.
8.19.5 •
External links
Lyrics of this song at MetroLyrics
8.20.1
Writing and recording
The song was written by Joe Strummer and Mick Jones. The title alludes to the BBC World Service's station identification: “This is London calling ...”, which was used during World War II, often in broadcasts to occupied countries. [1][4][5] The lyrics reflect the concern felt by Strummer about world events with the reference to “a nuclear error” to the incident at Three Mile Island, which occurred earlier in 1979. Joe Strummer has said: “We felt that we were struggling about to slip down a slope or something, grasping with our fingernails. And there was no one there to help us.”[3][4] The line "London is drowning / And I live by the river " comes from concerns that if the River Thames flooded, most of central London would drown, something that led to the construction of the Thames Barrier.[3][4] Strummer’s concern for police brutality is evident through the lines "We ain't got no swing / Except for the ring of that truncheon thing " as the Metropolitan Police at the time had a truncheon as standard issued equipment. Social criticism also features through references to the effects of casual drug taking: "We ain't got no high / Except for that one with the yellowy eyes ". The lyrics also reflect desperation of the band’s situation in 1979 struggling with high debt, without management and arguing with their record label over whether the London Calling album should be a single- or double-album. The lines referring to "Now don't look to us | Phoney Beatlemania has bitten the dust " reflects the concerns of the band over its situation after the punk rock boom in England had ended in 1977. “London Calling” was recorded at Wessex Studios located in a former church hall in Highbury in North London. This studio had already proved to be a popular location with The Sex Pistols, The Pretenders and the Tom Robinson band. The single was produced by Guy Stevens and engineered by Bill Price.[1][4] 8.20.2
Personnel
“London Calling” •
Joe Strummer - lead vocals, rhythm guitar
8.20. “LONDON CALLING”
•
Mick Jones - backing vocals, lead guitars
•
Paul Simonon - backing vocals, bass guitar
•
Topper Headon - drums
“Armagideon Time” •
Joe Strummer - lead vocals, piano
•
Mick Jones - guitars, harmonica, sound effects
•
Paul Simonon - bass guitar
•
Topper Headon - drums
•
Mickey Gallagher - organ
8.20.3
Artwork
Continuing the theme of the retro Elvis Presley-inspired London Calling LP cover, the single sleeve (front and back) is based on old Columbia 78 rpm sleeves. The cover artwork was designed by Ray Lowry and is identical to the Columbia sleeve with the exception of changing the blank 78 covers that the young teenage cover models are listening to classic Rock and Punk LP sleeves. From left to right they are, The Beatles' debut Please Please Me, Never Mind the Bollocks, Here’s the Sex Pistols , The Rolling Stones debut, The Clash debut, Bob Dylan's Highway 61 Revisited and finally the Elvis Presley debut LP.
219 charting single until "Should I Stay or Should I Go" hit No. 1 ten years later. The song did not make the US charts, as "Train in Vain" was released as a single and broke the band in the US, reaching No. 23 on the pop charts. BBC Radio One DJ Annie Nightingale made a bet with Strummer that London Calling would make the UK Top 10 without them appearing on Top of the Pops, the stake being a Cadillac. When the record peaked at number 11, Nightingale was saved by a listener who donated a Cadillac. The Cadillac was subsequently auctioned to raise funds for the recession hit steel town of Corby.[7] “London Calling” was the first Clash song to chart elsewhere in the world, reaching the top 40 in Australia. The success of the single and album was greatly helped by the music video shot by Don Letts showing the band playing the song on a boat (Festival Pier), next to Albert Bridge on the south side of the Thames, Battersea Park in a cold and rainy night at the beginning of December 1979.[8][9] The single fell off the charts after 10 weeks, but later reentered the chart twice, spending a total of fifteen nonconsecutive weeks on the UK Singles Chart.
Over the years, “London Calling” has become regarded by many critics as the band’s finest. In 2004, Rolling Stone rated the song as No. 15 in its list of the 500 Greatest Songs of All Time,[10][11] the highest position of the band and of any punk rock song. In 1989, the magazine also ratedthealbumofthesamenameasthebestalbumofthe 1980s—although it was released in late 1979 in Britain, it came out in January 1980 in the USA. “London Calling” was also ranked No. 42 on VH1’s “100 Greatest Songs of the '80s”. It was erroneously listed 8.20.4 Reissues as being released in 1982, when it was fact released in [12] Hall of Fame’s The single has several issues, all with different covers. 1979. It is one of The Rock and Roll [13] Four are from 1979 (catalogue number: 8087; S CBS 500 Songs that Shaped Rock and Roll. 8087; 128087; S CBS 8087). In 1988, a special limited edition boxed set was released, containing three tracks, “London Calling” on side one, "Brand New Cadillac" and 8.20.6 Notable appearances and covers “Rudie Can't Fail” on side two, a poster and two badges (catalogue number: CLASH B2). Two were released by The Clash turned down a request from British Telecom CBS Records in 1991 (catalogue number: 656946; 31- to use the song for an advertising campaign in the early 656946-22) both with “Brand New Cadillac” on the B- 1990s.[14] In 2002, the band incurred criticism when they side, the second one has an additional track on side two sold the rights to Jaguar for a car advertisement. In an “Return to Brixton (Jeremy Healy 7” Remix)" (see the interview posted on his website, Strummer explained the table below). reasons for the deal. “Yeah. I agreed to that. We get In 2012, on the occasion of the International Record Store hundreds of requests for that and turn 'em all down. But Day, a limited edition 7” was released, with a new mix of I just thought Jaguar ... yeah. If you're in a group and the song by MIck Jones, and an instrumental version on you make it together, then everybodydeserves something. Especially twenty-odd years after the fact.” [15] the B-side. [6] The song was used for a 2012 British Airways advert, pic8.20.5 Chart success and critical reception turing a jet aeroplane taxiing through the streets of London passing numerous landmarks and parking outside the [16] “London Calling” was released as the only single in the Olympic Stadium. UK from the album and reached No. 11 in the charts in Joe Strummer later became a DJ for the BBC World December 1979,[2] becoming at once the band’s highest Service, on a program called “Joe Strummer’s London
220
CHAPTER 8. SONGS
[8] Green 2003, pp. 15–17. Calling”.[17] The song was performed live twice by Bob Dylan dur- [9] Salewicz 2007, p. 276. ing his November 2005 residency at London’s Brixton Academy - a venue also linked with many classic Clash [10] “The RS 500 Greatest Songs of All Time”. RollingStone. 9 December 2004. Retrieved 22 November 2007. 15. and Joe Strummer concerts.[18][19] London Calling, The Clash.
8.20.7
Charts
8.20.8
See also
•
List of anti-war songs
8.20.9 •
•
[11] “London Calling The Clash”. The RS 500 Greatest Songs of All Time. RollingStone. 9 December 2004. Retrieved 22 November 2007.. [12] “VH1'S '100 GREATEST SONGS OF THE'80S'". VH1. 24 October 2006. Archived from the original (JHTML) on 6 February 2007. Retrieved 31 December 2007. 42 The Clash / 'London Calling' 1982.
Sources
[13] “500 Songs that Shaped Rock and Roll”. The Rock and Roll Hall of Fame and Museum. Archived from the orig Gilbert, Pat (2005) [2004]. Passion Is a Fashinal (XHTML) on 27 February 2009. Retrieved 24 May 2009. The Clash - London Calling ion: The Real Story of The Clash (4th ed.). Lon-
don: Aurum Press. ISBN 1-84513-113-4. OCLC [14] “The Uncut Crap - Over 56 Things You Never Knew 61177239. About The Clash”. NME . London: IPC Magazines. 3 . 16 March 1991. ISSN 0028-6362. OCLC 4213418. British Green, Johnny & Barker, Garry (2003) [1997]. A Telecom wanted to use “London Calling” for their last adRiot of Our Own: Night and Day with The Clash (3rd vertising campaign. They were told to bog off ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890. [15] Walker, Rob (15 September 2002). “Brand new Jag”. Boston Globe. Archived from the original on 4 October
•
Salewicz, Chris (15 May 2007). Redemption Song: 2002. Retrieved 31 December 2007. The Ballad of Joe Strummer (1st American ed.). New York: Faber and Faber. ISBN 0-571-21178- [16] David Gianatasio (25 June 2012). “British Airways Doesn't Want Brits Flying”. ADWEEK. Retrieved 26 X. OCLC 76794852. June 2012.
8.20.10
Notes
[17] “The Sound of Strummer”. Arts and Entertainment . BBC World Service.
[1] Gilbert 2005, pp. 233, 235, 238, 257, 260, 267.
[18] Pagel, Bill. “Bob Dylan - Bob Links - London, England Set List - 11/21/05”. Retrieved 13 February 2008. 16. [2] “BBC - Radio 2 - Sold On Song - Brits25 - London CallLondon Calling (incomplete - 1 verse). ing” (SHTML). Radio 2, Sold On Song . bbc.co.uk. Retrieved 31 December 2007. [19] Pagel, Bill. “Bob Dylan - Bob Links - London, England a) “Taken from the Clash’s stunning 1979 double album Set List - 11/24/05”. Retrieved 13 February 2008. 15. London Calling, the single showcased the band’s tradeLondon Calling (incomplete). mark fusion of reggae bass lines with punk guitar and vo[20] “Clash”. OfficialCharts Company. Retrieved 5 July 2013. cals.” b) “Reaching number eleven in December 1979, the song [21] “The Irish Charts”. IRMA. Archived from the original on was the only track to be released as a single from their 3 June 2009. Enter “London Calling” in Search by Song acclaimed London Calling album.” Title and click search. [3] Guarisco, Donald A. “London Calling - The Clash - Song [22] "Charts.org.nz – The Clash – London Calling”. Top 40 Review”. Allmusic . Rovi Corporation. Retrieved 15 JanSingles. uary 2008. [23] Kent, David (1993). Australian Chart Book 1970–1992 [4] “London Calling by The Clash Songfacts” (PHP). song(Illustrated ed.). St. Ives, N.S.W.: Australian Chart Book. facts.com. Retrieved 31 December 2007. p. 65. ISBN 0-646-11917-6. [5] "'London Calling', Repurposed as a Tourism Jingle : The [24] "Swedishcharts.com – The Clash – London Calling”. Record”. NPR. 30 July 2011. Retrieved 12 November Singles Top 100. 2012. [6] “Albums by The Clash - Rate Your Music”. rateyourmu8.20.11 sic.com. Retrieved 15 January 2008. [7] Gray, Marcus. Route 19 Revisited: The Clash and the Making of London Calling . pp. 410–411. ISBN 9780099524205.
External links
•
Lyrics of this song at MetroLyrics
•
“Anatomy of a Song” by The Wall Street Journal
221
8.22. “LOST IN THE SUPERMARKET”
8.21
“London’s Burning”
8.22
“Lost in the Supermarket”
For the “London’s Burning” round, see Scotland’s "Lost in the Supermarket" is a 1979 song by the Burning. Clash.[1] Written by Joe Strummer and Mick Jones and produced by Guy Stevens, it is credited to the Strum"London’s Burning" is a song by The Clash from their mer/Jones songwriting partnership. It was released on eponymous debut album. It is the eighth track in the U.K. their third studio album London Calling. It is the eighth version of this album, and the seventh track in the U.S. song on the track listing. Although it features Mick Jones on lead vocals, the song was written by Joe Strummer. version, from 1979. [2] The supermarket in question was the International, loItissungby Joe Strummer (and Mick Jones, with Paul Si- cated at 471-473 Kings Road, beneath the World’s End monon in the chorus), who starts the song shouting “Lon- Estate. 31 Whistler Walk was where Strummer lived at don’s Burning!" two times. The song continues talking the time with his girlfriend Gaby Salter, her two younger about London’s automobile traffic, where backups keep brothers and her mother.[3] people stuck in their cars until nightfall, feeling bored and far from home. This message is clearly seen in the next 8.22.1 Personnel verse: “I'm up and down the Westway, in an' out the lights What a great traffic system – it’s so bright I can't think of a better way to spend the night Than speeding around underneath the yellow lights” The song repeats the racial theme often treated by the band, notably in the first verse with the line: “Black or white turn it on, face the new religion”. Thesong’s name came from popular nursery rhyme about the Great Fire of London (1666). It was first recorded at CBS Studios London for the sessions for the debut album. Mick Jones’ improvised guitar solo at the end of the song is not very typical for punk rock, which often has a minimalist attitude. An alternative version taken from the "White Riot" promo film in April 1977 was released on the B-side of the controversial "Remote Control (The Clash song) " single in May 1977. 8.21.1
Personnel
•
Joe Strummer – lead vocal, lead guitar
•
Mick Jones – backing vocal, lead guitars
•
Paul Simonon – backing vocal, bass guitar
•
Terry Chimes – drums
8.21.2
Cover versions
The song was covered on Puncolle – Voice Actresses’ Legendary Punk Songs Collection. 8.21.3 •
External links
Lyrics of this song at MetroLyrics
•
Mick Jones - lead guitar, lead vocals
•
Joe Strummer - rhythm guitar, backing vocals
•
Paul Simonon - bass guitar
•
Topper Headon - drums
8.22.2
Music and lyrics
The song’s lyrics describe someone struggling to deal with an increasingly commercialised world and rampant consumerism. The song opens with Strummer’s autobiographical memories of his parents’ home in suburban Warlingham, with a hedge “over which I never could see.” With lines such as “I came in here for that special offer guaranteed personality”, the protagonist bemoans the depersonalisation of the world around him. The songspeaks of numbers about suburban alienation and the feelings of disillusionment that come through youth in modern society.[4][5] In the Making of 'London Calling': The Last Testament DVD, released with the 25th anniversary edition of London Calling in 2004, Strummer said he wrote the lyrics imagining Jones’ life growing up in a basement with his mother and grandmother.[2][6] 8.22.3
Notes
[1] Green, Johnny; Garry Barker (2003). A Riot of Our Own: Night and Day with The Clash , p. 172. [2] Blashill, Pat (2004-10-14). “London Calling 25th Anniversary Edition Review”. Rolling Stone. San Francisco, CA: Straight Arrow Publishers (10). ISSN 0035-791X. OCLC 1787396. [3] Gray, Marcus; (2010). Route 19 Revisited: The Clash and London Calling, p. 260. [4] “Lyrics Part 6 of 10”. Clash Lyrics Page . londonsburning.org. Retrieved 2008-01-11.
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CHAPTER 8. SONGS
[5] Dimery, Robert (1999). Collins Gem Classic Albums . features the lyrics “Louie Louie”, of Hot Chocolate and Glasgow: Harper Collins Publishers. ISBN 0-00-472485- Stories fame, see Brother Louie (Hot Chocolate song). 2. OCLC 43582584. On “Koka Kola” and “Lost In The Supermarket” advertising is rubbished. Related news articles: •
“The Clash - London Calling”. Super Seventies. Retrieved 2008-01-06.
[6] Clash, The (2004-09-21). London Calling (Compact Disc, DVD Video). New York: Epic. OCLC 56620494. Compact discs accompanied by bonus DVD. Song lyrics inserted in container. 2 sound discs: digital; 4 3 ⁄ 4 in. + 1 videodisc (DVD, ca. 50 min.: sd., col.; 4 3 ⁄ 4 in.) +booklet ([36] p.: ill.; 12 cm.) + 1 lyrics sheet (2 p., folded). Contents: CD, disc 1, original LP: London Calling – Track listing. CD, disc 2, The Vanilla Tapes (previously unheard rehearsal sessions including five new songs) track listing. DVD: Last testament: The making of London Calling (30 min.) – Extras: Promos of "London Calling", "Train in Vain", "Clampdown" – Home video footage of the Clash recording “London Calling” at Wessex Studios.
8.22.4 •
•
•
•
•
•
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. p. 172. ISBN 0-7528-58432. OCLC 52990890.
Gruen, Bob; Chris Salewicz (2004) [2001]. The 8.23.1 Original version by Richard Berry Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Richard Berry was inspired to write the song in 1955 af Needs, Kris (2005-01-25). Joe Strummer and the ter listening to and performing the song “El Loco Cha Legend of the Clash. London: Plexus. ISBN 0- Cha” with Ricky Rillera and the Rhythm Rockers. The tune was written originally as “Amarren Al Loco” (“Tie 85965-348-X. OCLC 53155325. up the crazy guy”) by Cuban bandleader Rosendo Ruiz Topping, Keith (2004) [2003]. The Complete Clash Jr. – also known as Rosendo Ruiz Quevedo – but be(2nd ed.). Richmond: Reynolds & Hearn. ISBN came best known in the “El Loco Cha Cha” arrangement by René Touzet which included a rhythmic ten-note “11-903111-70-6. OCLC 63129186. 2-3 1–2 1-2-3 1–2” riff.[4]
8.22.5 •
References
"Louie Louie" is an American rhythm and blues song written by Richard Berry in 1955 and best known for the 1963 hit version by The Kingsmen. It has become a standard in pop and rock, with hundreds of versions recorded by different artists. The song was originally written and performed in the style of a Jamaican ballad. It tells, in simple verse–chorus form, the first-person story of a Jamaican sailor returning to the island to see his lady love. The Kingsmen’s edition was the subject of an FBI investigation about the supposed but nonexistent obscenity of the lyrics, an investigation that ended without prosecution. [2] Ironically, the song notably includes the drummer yelling “Fuck!" after dropping his drumstick at the 0:54 mark. “Louie Louie” has been recognized by organizations and publications worldwide for its influence on the history of rock and roll. A partial list (see “Recognition and rankings” table below) includes the Rock and Roll Hall of Fame, the Grammy Hall of Fame, National Public Radio, VH1, Rolling Stone, the National Endowment for the Arts, and the Recording Industry Association of America. In addition to new versions appearing regularly on YouTube and elsewhere, other major examples of the song’s legacy include the unsuccessful attempt in 1985 to make it the state song of Washington, the celebration of International Louie Louie Day everyyear on April 11, the annual Louie Louie Parade in Philadelphia from 1985 to 1989, the LouieFest in Tacoma from 2003 to 2012, and the ongoing annual Louie Louie Parade and Festival in Peoria.[3]
External links
Lyrics of this song at MetroLyrics “Louie Louie” 10-note riff
8.23
“Louie Louie”
Touzet performed the tune regularly in Los Angeles clubs in the 1950s. In Berry’s mind, the words “Louie Louie” This article is about the song. For the American singer, superimposed themselves over the bass riff. Lyrically, see Louie Louie (musician). For another song that the first person perspective of the song was influenced by
223
8.23. “LOUIE “LOUIE LOUIE” LOUIE”
"One for for My Baby Baby (And One More More for the Road) Road)", ", which is sung from the perspective of a customer talking to a bartender (Berry’s bartender’s name is Louie).[5] Berry cited Chuck cited Chuck Berry's Berry's "Havana "Havana Moon" Moon" and his exposure to Latin American music for music for the song’s speech pattern and references to Jamaica to Jamaica..[6] Richard Berry released his version in April 1957 (Flip (Flip [1] Records 321 Records 321 ), originally as a B-side, with his backing his backing band the band the Pharaohs, and scored a regional hit on the west coast, coast, particul particularl arlyy in San Francisco. Francisco. When When the group group toured the Pacific Northwest, local R&B bands began to play the song, increasin increasingg its popularity popularity.. The track track [7] was then re-released as an A-side. However, the single never charted on Billboard ' ' s national rhythm national rhythm and blues or pop charts. Berry’s label reported that the single had sold 40,000 copies. After a series of unsuccessful followups, Berry sold his portion of publishing and songwriting rights for for $750 to the head of Flip Records in 1959.[8] Whil Whilee the the titl titlee of the the song song is ofte oftenn rend render ered ed with with a comm commaa (“Louie, Louie”), in 1988 Berry told Esquire magazine that the correct title of the song was “Louie Louie”, with no comma.[9] Although similar to the original, the version on Rhino on Rhino's 's [10] 1983 The Best of Louie, Louie compilation is actually a note-for-note note-for-note re-recording created because licensing could not be obtained for Berry’s 1957 version. [11] The origin original al vers versio ionn was was not rele release asedd on CD until until the the Ace Records Love That Louie compilation in 2002. 8.23.2 8.23.2
Cove Coverr versio versions ns
By some accounts “Louie Louie” is the world’s most recorded rock song with over 1,600 versions and counting (with more appearing regularly on YouTube and elsewhere).[12] 1960s
Robin Roberts Roberts developed developed an interest interest in rock 'n' roll and rhythm and rhythm and blues records blues records as a high school student in Tacoma, in Tacoma, Washington. Washington. Among the songs he began performing as an occasional occasional guest singer with a local band, the Bluenotes, in 1958 were “Louie Louie”, which he had heard on Berry’s obscure original single, and Bobby and Bobby Day's Day's "Rockin' Robin", Robin", which gave him his stage name. In 1959, Roberts left the Bluenotes and began singing with another local band, the Wailers (often known as the Fabulous Wailers, who had had a hit record with the instrumental the instrumental “Tal “Talll Cool One”). Known Known for his dynamic onstage performances, Roberts added “Louie Louie” to the band’s set and, in 1960 recorded the track with the Wailers as his backing band. [13] The arrangement, devised by Roberts with the band, included Roberts’ ad-lib “Let’s give give it to 'em, RIGHT NOW!!"[14] Released on the band’s own label, Etiquette, in early 1961, it became a hit locally and was then reissued and Rockin' Robin Roberts
promoted promoted by Liberty Records in Los Angel Angeles, es, butit but it failed ailed to chart. Roberts was killed in an automobile automobile accident accident in 1967.[13] On April April 6, 1963, 1963,[16][17] arockandroll group group from from Portlan Portland, d, Oregon Oregon,, call called ed the King Kingsme smenn, chose chose “Louie “Louie Louie” Louie” as their their second second recordin recording, g, their their first having having been “Peter “Peter Gunn Rock”. The Kingsmen Kingsmen recorded recorded the song at Northwestern, Inc., Motion Pictures and Recording in Portland. The session cost $50, and the band split the cost.[18] (On September 5, 2013, the city of Portland dedicated a plaque at the site, 411 SW 13th Avenue, to commemorate the event.[19] An earlier version placed by the Oregon the Oregon Historical Society had Society had been stolen shortly after its dedication in 1993.) The session was was produced by Ken Chase. Chase. Chase was a local radio personality on the AM rock station 91 KISN 91 KISN and also owned the teen nightclub that hosted the Kingsmen as their house band. The engineer engineer for for the session session was the studio owner, Robert Lindahl. The Kingsmen’s lead singer Jack singer Jack Ely based Ely based his version on the recording by Rockin' Robin Roberts with the Fabulous Wailers, Wailers, unintentionally tentionally introducing a change in the rhythm as he did. “I showed the others how to play it with a 1–2–3, 1–2, 1– 2–3 beat instead of the 1–2–3–4, 1–2, 1–2–3–4 beat that is on the (Wailers) (Wailers) record”, recalled Ely. Ely. The night before their recording session, the band played a 90-minute version version of the song during a gig at a local teen club. The Kingsme Kingsmen n
The Kingsmen’s studio version was recorded in one take. They also recorded the “B” side of the release, an original instrumental instrumental by the group called “Haunted Castle”. A significant error on the Kingsmen version occurs just after the lead lead guitar break. break. As the group was going going by the Wailers version, which has a brief restatement of the riff two times over before the lead vocalist comes back in, it would be expected that Ely would do the same. Ely, however, overshot his mark, coming in too soon, before the restatement restatement of the riff. He realized his mistake mistake and stopped the verse short, but the band did not realize that he had done so. As a quick fix, fix, drummer Lynn Easton Easton covered the pause with a drum a drum fill, fill, but before the verse ended, the rest of the band went into the chorus at the point where they expected it to be. This error is now so embedded in the consciousness of some groups that they deliberately duplicate it when performing the song. The Kingsmen transformed Berry’s easy-going ballad into into a rauco raucous us romp, romp, compl complet etee with with a twang twangyy guitar guitar,, occaoccasional background chatter, and nearly unintelligible lyrics by Ely. Ely.[20] A guitar guitar break breakis is trigg trigger ered ed by the the shout shout,, “Okay “Okay,, let’s give it to 'em right now!", which first appeared in the Wailers version,[21] as did the entire guitar break (although, in the Wailers version, a few notes differ, and the entire band played played the break). break). Critic Dave Critic Dave Marsh sugMarsh suggests it is this moment that gives the recording greatness: "[Ely] went for it so avidly you'd have thought he'd spotted the the jugu jugular lar of a lifel lifelong ong enem enemy, y, so so crude crudely ly that, that, at at that that
224 instant instant,, Ely sounds sounds like Donald Donald Duck on helium. helium. And it’s that faintly ridiculous air that makes the Kingsmen’s record the classic that it is, especially since it’s followed by a guitar solo that’s just as wacky.”[22] First released in May 1963, the single was initially issued by the small Jerden small Jerden label, label, before being picked up by the larger Wand larger Wand Records and Records and released by them in October 1963. It entered entered the the top ten on the the Billboard Hot Hot 100 chart for December 7, and peaked at number two the following week, a spot which it held for six non-consecutive weeks; it would remain in the top 10 through December and January January before before dropping dropping off in early early February. February.[23] In total, the Kingsmen’s version spent 16 weeks on the Hot 100. (Singles by the by the Singing Nun, Nun, then Bobby then Bobby Vinton,, monopolized the top slot for eight ton eight weeks.) weeks.) “Louie Louie” did reach number one on the Cashbox pop pop chart for two weeks, as well as number one on the Cashbox R&B chart.[24] It was the last #1 on Cashbox before Beatlemania hit Beatlemania hit the United States with "I "I Want to Hold [25] Your Hand". Hand". The version quickly became a standard at teen parties in the U.S. during the 1960s, even reappearing on the charts in 1966. Anoth Another er factor actor in thesuc the succe cess ss of the the recor recordd may may have have been been the rumor that the lyrics were intentionally slurred by the Kingsmen—to cover up the alleged fact that the lyrics were laced with profanity, graphically depicting sex between the sailor and his lady. Crumpled pieces of paper professing professing to be “the real lyrics” to “Louie Louie” circulated among teens. The song was banned on many radio stati stations onsand and in many many plac places es in the the Unit United ed Stat States, es, incl includi uding ng Indiana,, where it was personally Indiana personally prohibited by Governor [27] Matthew Wels Welshh. These actions were taken despite the small matter that practically no one could distinguish the actual lyrics. Denials of chicanery by Kingsmen and Ely did not stop the controversy. controversy. The FBI started a 31-month investigation investigation into the matter and concluded they were “unable to interpret any of the wording in the record.”[2] Ironically, however, drummer Lynn Easton later admitted that he yelled “Fuck” after fumbling a drumstick at 0:54 on the record.[18][28][29][30] Sales of the Kingsmen record were so low (reportedly 600) 600) that that the group group cons consid ider ered ed disband disbanding ing.. Thing Thingss changed when Boston’s biggest DJ, Arnie DJ, Arnie Ginsburg, Ginsburg, was given given the record by a pitchman. pitchman. Amused by its slapdash sound, he played it on his program as “The Worst Record of the Week”. Week”. Despite Despite the slam, listener response response was swift and positive. By the end of October, it was listed in Billboard as a regional breakout and a “bubbling under” entry for the national chart. Meanwhile, Meanwhile, the Raiders version, with far stronger promotion, was becoming a hit in California and was also listed as “bubbling under” one week after the Kingsme Kingsmenn debuted debuted on the chart. chart. For a few few weeks, weeks, the two two sing single less appe appeare aredd desti destined ned to battl battlee each each other other,, butdebut demand for the Kingsmen Kingsmen single acquired momentum and,
CHAPTE CHAPTER R 8. SONGS SONGS
by the end of 1963, Columbia 1963, Columbia Records had Records had stopped promoting the Raiders version, as ordered by Mitch by Mitch Miller. Miller. By the time the Kingsmen version had achieved national popularity, popularity, the band had split. Two rival editions—one editions—one featuring lead singer Jack Ely, the other with Lynn Easton who held the rights to the band’s name—were competing for live audiences across the country. A settlement was reached later in 1964 giving Easton the right to the Kingsmen name but requiring all future pressings of the original version version of “Louie Louie” to display display “Lead vocal by Jack Ely” on the label. On November 9, 1998, after a protracted lawsuit that lasted five years and cost $1.3 million, the Kingsmen were awarded ownership ownership of all their recordings recordings released released on Wand on Wand Records from Records from Gusto Gusto Records, Records, including “Louie Louie”. They had not been paid royalties royalties on the songs [31] since the 1960s. When Jack Ely died on April 28, 2015 his son reported that "... my father would say, 'We were initially just going to record the song as an instrumental, and at the last minute I decided I'd sing it.'" When it came time to do that, however, Ely discovered the sound engineer had raised the studio’s only microphone several feet above his head. Then he placed Ely in the middle of his fellow musicians, all in an effort to create a better “live feel” for the recording. The result, Ely would say over the years, was that he had to stand on his toes, lean his head back and shout as loudly as he could just to be heard over the drums and guitars.[32] Paul Re Paul Reve vere re & th thee Rai Raide ders rs also recorded a version of “Louie Louie”, probably on April April 13, 1963, 1963, in the same same Portl Portland and studio studio as the [33][34] Kingsmen. The recording was paid for and produced by KISN by KISN radio radio personality Roger Hart, who soon became became personal personal manager manager for the band. Release Releasedd on Hart’s Sandē label, their version version was more successful successful locally. Columbia Records issued Records issued the single nationally in June 1963 and it went to #1 in the West and Hawaii. The quick quick succes successs of “Louie “Louie Louie” Louie” suddenl suddenlyy halted, halted, howev however, er, and a few years later Paul Revere & the Raiders learned why: Columbia A&R man Mitch man Mitch Miller, Miller, who did not like rock n' roll, had pulled the plug on their version. Paul Paul Reve Revere re & the Raide Raiders rs
Robert Lindahl, president and chief engineer of NWI and sound engineer on both the Kingsmen and Raiders recordings, [35] noted that the Raiders version was not known for “garbled lyrics” or an amateurish recording technique. technique. But despite these attributes, attributes, the single never seized the public’s attention the way the less-polished Kingsmen version did. See also: Paul also: Paul Revere & the Raiders discography
After After the Kingsme Kingsmenn and Raiders Raiders versions, several other bands recorded the song:
Other Other 1960s versi versions ons
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American soul singer Otis singer Otis Redding for Redding for his 1964 debut album Pain in My Heart
Floyd Cramer, Cramer, David McCallum, McCallum, Mothers of Invention,, Neig vention Neighb'rhood hb'rhood Childr'n Childr'n,, Mong Mongoo Santa Santamari mariaa, Swingin' Medallion Medallionss. 1968 - Neil - Neil Chotem, Chotem, Honey Ltd.,, Tams Ltd. Tams.. 1969 - Wilbert - Wilbert Harrison, Harrison, Julie London, London, Willie Mitchell. Mitchell.
The Beach Boys for Boys for their 1964 album Shut Down Volume 2. Ray Davies has Davies has stated that he wrote the wrote the Kinks' Kinks' first hit, "You "You Really Got Me" Me" (1964) while trying to work work out the chords chords of “Louie “Louie Louie”. Louie”. The band recorded “Louie “Louie Louie” on October October 18, 1964 and it was was rele release asedd in Nove Novemb mber er on the the "Kinksize KinksizeSession Session"" EP, but still the chords were not quite right. A 1964 “break-in” single by Ed Solomon, “Beatle Flying Saucer”, samples the song. The America Americann folk folk group group the Sand Sandpipe pipers rs did did a cove coverr of the song in 1966 in Spanish with a slower slower tempo that peaked peaked at #30 on the Billboard Hot Hot 100. 100. The Missing Links covered the song on their 1965 LP “At The 5 O'Clock Lounge”. Jan & Dean released Dean released the song on their album Command Performance in 1965.
1970s
“Louie Louie” was Motörhead was Motörhead's 's first single for Bronze for Bronze Records in Records in 1978, following their initial release on Chiswick on Chiswick Records in Records in 1977. It was a relative relatively ly faithful cover of the song, with “Fast” with “Fast” Eddie Clarke's Clarke's guitar emulating the Hohner Pianet electric piano riff. riff. It was released as a 7” vinyl single and reached number 68 on the UK Singles Chart. The reverse reverse cover carries carries the dog Latin motto Latin motto "Nil "Nil Illegi Illegitimum timum Carborundum", Carborundum", which is humorously said to mean “Don't let the bastards grind you down”. The song is released with “Tear Ya Down” and appears on the CD re-issues of Overkill and and The Best of Motörhead compilation. compilation. On 25 October 1978 a prerecording of the band playing this song was broadcast on the BBC the BBC show show Top of the Pops .[36] Motörhead
The Spanish pop group Los group Los Corbs did Corbs did another cover Track listing of the song in 1966 also in Spanish. 1. “Louie Louie” (Richard (Richard Berry) Berry) Prototype English punk/garage band the Troggs recorded a version version of “Louie Louie” in 1966. Their 2. “Tear Ya Down” (Eddie (Eddie Clarke, Clarke, Ian Kilmister, Kilmister, Phil 1966 1966 hit hit sing single le "Wil Wildd Thing Thing"" also also uses uses a very very simi simila larr Taylor)) Taylor chord progression. It underwent psychedelic underwent psychedelic treatment treatment courtesy of the of the Personnel West Coast Pop Art Experimental Band in Band in 1966 on Volume lume One and Fria their their debut debut album album Vo Friarr Tuc Tuckk onhis “Fast” Eddie Clarke – guitars, vocals 1967 album Friar Tuck and His Psychedelic Guitar . Phil “Philthy Animal” Taylor – Taylor – drums The Sonics also Sonics also recorded a very rough, fuzz-tone Lemmy – Lemmy – bass, lead vocals vocals drenched version in 1966. •
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Photographs – Motorcycle Irene The The Sw Swamp amp Rat Ratss protopunk/g protopunk/garag aragee rock band, heav heavililyy influen influence cedd byth by thee Sonic Sonics, s, also also recor recordeda deda verversion featured on their album Disco Still Sucks! Other 1970s versions versions The Syndicate The Syndicate of Sound recorded Sound recorded a version in 1966 The song was covered by the Flamin' the Flamin' Groovies on Groovies on that was released in 1991 by Cream Puff War mag mag Teenage Head their 1971 album . azine. •
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An impromptu version version by the Beatles the Beatles was was recorded Gett Ba Back ck/L /Let et It Be sessions in1969. Itwas during during the Ge Jamming With Heather Heather bootleg rele release asedd on the 1996 1996 Jamming bootleg CD. Othe Otherr notab notable le 1960s release releases: s: 1964 1964 - Angels, Angels, Bobby Fuller Four, Four, Pyramids, Pyramids, Standells Standells,, Surfaris, Surfaris, Trashmen.. 1965 - Pink Finks, Trashmen Finks, Ventures Ventures,, Travis Wammack.. 1966 - Barry Alle Wammack Allenn, Beau Brummels,, Ray Brown & the Whispers, mels Whispers , Ace Cannon, Cannon, Challengers,, Jack Challengers Jack Ee Eely ly (El (Ely) y) & th thee Cou Courtm rtmen en,, Pete Fountain, Fountain, Fugitives, Fugitives, Gurus, Gurus, Sandy Nelson, Nelson, Sir Arthur (Ian Whitcomb). Whitcomb). 1967 1967 - Eddie Cano, Cano,
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In 1972, Berry released the song again as a single on the Happy the Happy Tiger label. Tiger label. This was the label’s final release before it folded. [37] Also in 1972 Led 1972 Led Zeppelin performed Zeppelin performed a version of the song in Los Angeles which can be heard on the Burn Like Like a Candl Candlee. This bootleg Burn This perf performanc ormancee is the source of most of the 2003 live album How the West Was Won, but “Louie Louie” was omitted from the official release. MC5 also performed “Louie Louie” in Helsinki in MC5 also 1972.
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In 1973, Flash 1973, Flash Cadillac & the Continental Kids perKids per- needs love when you've got a gun? / Who needs love to formed the song in the film American Graffiti , in a have any fun?"[40] The single also included an early verversion produced by Kim by Kim Fowley. Fowley. sion of “Damaged I”, which would be re-recorded with Rollins for the band’s debut album, Damaged , later that Toots & the Maytals recorded Maytals recorded a version for their al- year.[40] Demo versions of both tracks, recorded with bum Funky Kingston. It has been suggested suggested that use Cadena, were included on the 1982 compilation album of the Kingsmen’s beat may have helped lead to the Everything Went Black .[44] invention of reggae of reggae music, music,[38] but the Maytals track used used a Jamai Jamaica cann beat beat unrel unrelat ated ed to theKin the Kings gsme menn verver- The front cover art shows the main verse of the lyrics to photograph by Edward by Edward Colver feaColver feasion and their album was released at least four years “Louie Louie” over a photograph turing Black Flag’s third singer Dez Cadena. after reggae became a distinct form, and at least six years after the “rock steady” beat on the Maytals Bryan Carroll of AllMusic of AllMusic gave gave the single four out of track was first developed. five stars, saying that “Of the more than 1,500 commitments of Richard Berry’s 'Louie Louie' to wax ... The 1973 1973 song song "Brot Brother her Lou Louie ie"bytheUKband "bytheUKband Hot Black Flag’s volatile take on the song is incomparable. Chocolate was Chocolate was strongly inspired by “Louie Louie” No strangers to controversy themselves, the band pumand includes a minor-key reprise of the chorus. The mel the song with their trademark pre-Henry Rollins-era song, about an interracial romance, romance, became a No. 1 guitar sludge, while singer Dez Cadena spits out his niU.S. U.S. hit hit that that same same year year in a cove coverr vers versio ionn by the the New New hilistic rewording of the most misunderstood lyrics in York band Stories band Stories.. rock history.”[40] Both tracks from the single were in In 1974, the 1974, the Stooges (a.k.a. Stooges (a.k.a. Iggy and the Stooges) cluded on the 1983 compilation album The First Four Louie” was also included on 1987’s performed the song at their final concert, with some Years , and “Louie [45][46] A live version of “Louie Louie”, obscene lyric changes, which was released on their Wasted...Again. recorded by the band’s 1985 lineup, was released on the live album Metallic K.O. in 1976. live album Who’s Got the 10½? , with Rollins improvising A version of “Louie Louie” performed by the by the Clash his own lyrics.[47] Louie is a Punkro Punkrock cker er vinyl was was rele release asedd on the the Louie vinyl boot[39] leg in 1977. Re-recorded versions by Jack by Jack Ely were Ely were created in 1976 and 1980 and appeared on multiple “original artist” compilations of 60s hits as by “Jack Ely” or “The Kingsmen featuring Jack Ely”. Capitalizing on the success of National Lampoon’s Animal House, John Belushi released Belushi released a version in 1978 that that reached reached #89 #89 on the Billboard Hot Hot 100 pop 100 pop chart. Other notable 1970s releases and bootlegs included versions by Blondie by Blondie (1979), (1979), Nick Nick Cave (1977), Cave (1977), the the Fall (1977), Fall (1977), Goddo Goddo (1975), (1975), Heavy Heavy Cruiser (1972), Cruiser (1972), the Kids (1970), Kids (1970), John Lennon (1971), Lennon (1971), John The Postman (1977), Sounds Orchestral (1970), Lou Reed (1978), Line Renaud (1973), Patti Smith (1976), and Deniz and Deniz Tek (1974). Tek (1974).
1980s
The Hermosa The Hermosa Beach, California hardcore punk band Black punk band Black Flag released Flag released a cover a cover version of version of “Louie Louie” as a single in 1981 through Posh through Posh Boy Records. Records.[40] It was the band’s first release with Dez with Dez Cadena as Cadena as singer, replacing Ron replacing Ron Reyes who Reyes who had left the group the previous year.[41][42] Cadena would go on to sing on the Six Pack EP before switching to rhythm guitar and being replaced on vocals by Henry by Henry Rollins. Rollins.[41][43] Cadena improvised his own lyrics to “Louie Louie”, such as “You know the pain that’s in my heart / It just shows I'm not very smart / Who
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The Grateful The Grateful Dead covered Dead covered the song son g live a few times in the 1980s with Brent with Brent Mydland on Mydland on vocals.[48] Joan Jett and the Blackhearts Blackhearts recorded recorded a version on their 1981 I Love Rock 'n Roll album. album. The Fat Boys recorded Boys recorded a version of “Louie Louie” in 1988 on their album Coming Back Hard Again; their their versi version on featur featured ed new new lyric lyricss written written by the group about the history of the song and its original controversy.[49] The single reached #89 on the Billboard Hot Hot 100. 100. The Kingsmen led the audience in a performance of “Louie Louie” at the end of Bud of Bud Clark's Clark's Inaugural Ball beginning his term as Mayor of Portland, Oregon in 1985.[50] Stanley Clarke and Clarke and George George Duke recorded Duke recorded a version in 1981 for their album The Clarke/Duke Project . Australian Crawl recorded Crawl recorded a live version of the song on their 1983 album Phalanx and and also released the song as a single. Multiple marching band versions were released in the 80s including the Rice the Rice University Marching Owl Band,the Band ,the Uni Univer versit sityy of South Southern ern Cali Califforni orniaa Spir Spirit it of Troy Marching Band, Band, and the University the University of Washington Husky Marching Band. Band.
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Rockin' Berries (1997), Berries (1997), Richard Richard Simmons (1993), Simmons (1993), Dave Stewart (1991), Stewart (1991), Turtles (1991), Turtles (1991), and Johnny and Johnny Winter (1990). Winter (1990).
Other notable 1980s releases and bootlegs included versions by Arnold-Hedgecock by Arnold-Hedgecock Experience (1987), Experience (1987), Bad Rel Religi igion on (1984), Jim Capa Capaldi ldi (1981), the 2000s Cult (1986), the Cramps (1980), Otis Day and the Knights (1986), the Doors (1982), Michael In August 2003, 754 guitarists played a ten-minute Doucet (1988), Kevin Dunn (1985), Bob Dylan rendition of “Louie Louie” at Cheney at Cheney Stadium, Stadium, in and Tom and Tom Petty (Live Aid, 1985), Half Japanese Tacoma, Was Washington hington.. This eve event nt was part part of the (1981), Purple (1981), Purple Helmets (1988), Helmets (1988), the Last (1983), Last (1983), annual LouieFest annual LouieFest in in Tacoma. Lyres (1987), Lyres (1987), NRBQ (1984), NRBQ (1984), Tom Tom Petty and the Nashville InJuly2004, Tod Toddd Snid Snider er release releasedd his East Nashville Heartbreakers (1982), Heartbreakers (1982), R.E.M. R.E.M. (1988), (1988), Paul Paul Shaffer Skyline album which contained “The Ballad of the (1989), Sisters (1989), Sisters of Mercy (1985), Mercy (1985), Johnny Johnny Thunders Kings Kingsme men”, n”, a song song telli telling ng the the story story of the the FBI inve invess(1983), Maureen (1983), Maureen Tucker (1982), Tucker (1982), Ike Ike & Tina Turner tigation and connecting it to song lyrics by Marilyn (1988), and Barry and Barry White (1980). White (1980). Manson and Eminem. •
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Played by Bruce by Bruce Springsteen & The E Street Band within the song "Glor "Gloryy Day Dayss" during the 2009 Working on a Dream Tour. Tour. The Smas Smashing hing Pump Pumpkins kinsal also so rele release asedd a cove coverr of the the song in their Live Smashing Pumpkins album album series.
Steve Plunkett of Plunkett of Autograph Autograph sang sang a hard a hard rock verrock version of “Louie Louie” in 1991. In the music video directed by Dominic Orlando, Louie is portrayed as 8.23.3 8.23.3 Answe Answerr song songss and and sequel sequelss Louis XIV. XIV. "Louie Go Home", Home", 1964 1964,, Paul Paul Re Reve vere re & The Iggy Pop again Pop again recorded a version of the song, with Raiders ( (Columbia Raiders Columbia 4-43008); 4-43008); also released in 1964 politic political al and satiric satirical al verses versesinst instead ead of obscenit obscenities ies,, in by Davie Jones & The King Bees (David (David Bowie) Bowie) as his 1993 American Caesar album. album. This version version was “Louie Louie Go Home” (Vocalion (Vocalion V9221). V9221). used during the opening credits of Michael of Michael Moore's Moore's Capitalism: A Love Story and as an ending song in “Love “Love That Louie”, Louie”, 1964, 1964, Jack E. Lee & The Jim Jarmusch's Jarmusch's Coffee and Cigarettes in in which Pop Squires (RCA (RCA 54-8452) 54-8452) took part as himself. “Louie Come Home”, 1965, The Epics Epics (Zen 202) Both Burto Burtonn Cummi Cummings ngsand and Eric Burd Burdon on performed live versions at various concerts. “Louie Come Back”, 1965, The Legends ( Shout! Northwest Killers Volume 2, Norton Norton NW NW 907) Young MC's MC's take on the song was included in the •
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1990 film Coupe de Ville. The movi moviee includ includes es a lengthy scene where the three brother characters argue over the lyrics while the Kingsmen’s version plays. plays. The movie movie then returns returns to the topic in the final narration and Young and Young MC's MC's version then plays as the credits roll. •
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A version of “Louie Louie” performed by Robert by Robert Plant is Plant is on the soundtrack of the 1993 film Wayne’s World 2 (1993). In 1999, the 1999, the Three Amigos released Amigos released a bigbeat version of the song. Other notable 1990s releases and bootlegs included Tuckk Andr Tuc Andress ess (1990), Angry Samoa Samoans ns (1990), Billy Childish (1993), Childish (1993), the the Fall (1999), Fall (1999), Ace Ace Frehley (1995), Guru (1995), Guru Josh (1990), Josh (1990), Thee Thee Headcoats (1996), Headcoats (1996), Sherman Hemsley Hemsley (1992), Dave Matthews Band (1998), Mojo (1998), Mojo Nixon (1995), Nixon (1995), Pow Pow woW (1992), woW (1992), the the Queers (1994), Queers (1994), Rock Rock Bottom Remainders (1999), Remainders (1999),
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“Louise Louise”, 1966, H.B. & The Checkmates (Lavender R1936) “Louie Go Home”, 1966, The Campus Kingsmen (Impalla V 1481); different song from the Raiders version “Louie Louie’s Comin' Back”, 1967, The Pantels (Rich RR-120) “Loui “Louiee Louie Louie Got Marrie Married”, d”, 1994, 1994, TheTe The Tenta ntacl cles es (K Records IPU XCIV) Records IPU “Louie Louie Louie (Where Did She Roam)", 1996, Thee 1996, Thee Headcoats ( (SFTRI Headcoats SFTRI 335) 335) “Ballad of the Kingsmen”, Kingsmen”, 2004, Todd 2004, Todd Snider ( Snider (East Nashville Skyline, Oh Boy Records OBR-031) Records OBR-031) “I Love Louie Louie”, 2014, The Rubinoos (45, Beserkley Records) Records)
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In 1983 Rhino 1983 Rhino Records released Records released The Best of Louie, [10] Louie in conjunction with with KFJC's KFJC's “Maximum Loui Louiee Loui Louie” e” event. event. The album album feat feature uredd a rerecorded Richard recorded Richard Berry version, Berry version,[51] influential versions by Rockin' by Rockin' Robin Roberts Roberts,, the Sonics the Sonics and and the Kingsmen,, Black Flag's Kingsmen Flag's version, and several other versio versions, ns, some bizarre. bizarre. These These included included a perforperformance by the Rice the Rice University Marching Owl Band, Band, and the a the a cappella “Hallalouie cappella “Hallalouie Chorus”, in which the song’s title was sung to the melody of Handel’s "Hallelujah Chorus". Chorus". The Best of Louie Louie, Volume 2[52] followed in
any obsceni obscenity ty in the song. The FBI did not intervie interview w songwriter Richard Berry, nor did they consult the lyrics on file with the U.S. the U.S. Copyright Office. Office.[2][58] A history of the song and its notoriety was published in 1992 by Dave by Dave Marsh, Marsh, but permission could not be obtained to publish the lyrics. [59] Richard Berry told Esquire magazine in 1988 that the Kingsmen had sung the song exactly as written. [9] The lyrics controversy resurfaced briefly in 2005 when the superintendent of the school system in Benton in Benton Harbor, Michigan, Michigan, refused to let the marching band at one of the school schoolss play the the song in a parade parade.. She late laterr [60][61] relented.
1992 with versions by Paul by Paul Revere and the Raiders, Raiders , Mongo Santamaria, Santamaria, Pete Fountain, Fountain, the Kinks the Kinks,, Ike 8.23.6 8.23.6 Cultura Culturall impact impact and Tina Turner, Turner, the Shockwaves, Shockwaves, and others. It is unknown exactly how many versions of “Louie In 1994 Jerden 1994 Jerden Records released Records released The Louie Louie Louie” have been recorded, but it is believed to be over Collection,[53] a Northwe Northwest-o st-orie riented nted compilat compilation ion 1,500 (according to LouieLouie.net).[62] The Kingsmen Kingsmen featuring versions by the Kingsmen Kingsmen,, Paul Revere version has remained the most popular version of the and the Raiders, Raiders, Don & the Goodtimes, Little Bill song, retaining its association with wild partying. It en& the Adventurers, the Feelies, Ian Feelies, Ian Whitcomb, Whitcomb, the joyed a comeback in 1978–1979 and was associated with University of Washington Husky Marching Band, Band, college fraternity parties fraternity parties when it was sung, complete with and others. others. The UW Husky Husky Marching Marching Band Band has the supposedly obscene lyrics, by Bluto (John ( John Belushi) Belushi) been playing “Louie Louie” for over 40 years. [54] and hisf his fello ellow w Delt Deltaa House House broth brother erss in the the movi moviee National Lampoon’s Animal House despite the anachronism of the In 1997 The First Louie Louie Spanish Compilation[55] was released by Louie Records featuring 11 film taking place in 1962, a year before the Kingsmen versio versions ns by the Flaming Sideb Sideburns urns,, the Navahodads Navahodads,, recording (although this is mitigated by the fact that the Deltas were fans of at least one black R&B musician, and and others. 1962 was five years after Richard Richard Berry released his orig In 2002 Ace 2002 Ace Records released Records released Love That Louie: The inal version of the song, plus the song had been popuLouie Louie Files ,[56] a comprehensive overview of lar with local bands in the Northwest following Rockin' following Rockin' Roberts' 1961 single). single). Aside Aside from from the the Animal the origins, impact and legacy of “the cultural phe- Robin Roberts' nomenon known as 'Louie Louie'.” Featuring de- House appea appearan rance ce,, the the song song appear appeared ed in many many other other films, films, typically in raucous and humorous contexts. contexts. An instrutailed sleeve notes by Alec Palao, the CD contains typically the Rice University Marching 24 tracks divided into eight sections titled “The mental version played by the Rice Naked ked OwlBan Bandd (MOB (MOB)) is hear heardd in the the final final scen scenee of The Na Original Louie”, “Inspirational Louie”, “Northwest Owl [63] Louie”, “Louie As A Way Of Life”, “Transatlantic Gun (1988). (In the film, the University of SouthLouie”, “Louie: The Rewrite”, “Louie: The Sequel” ern California Marching Band is Band is seen trampling Ricardo trampling Ricardo Montalban's's already-flattened character,[64] although it is and “Louie “Louie Goes Home”. The first CD reissue reissue of Montalban Richard Berry's Berry's original version is included along the MOB that is heard playing.) with multiple historically important versions. Some bands have taken liberties with the lyrics, including attempts to record record the supposed “obscene “obscene lyrics”. lyrics”. It is believed the first artists to do so were the were the Stooges, Stooges, whose 8.23.5 8.23.5 Lyrics Lyrics inve investi stigat gatio ion n version can be heard on their live album Metallic K.O. Pop later recorded a more civilized cover civilized cover version of version of In February 1964, an outraged parent wrote to Robert to Robert Iggy Pop later Kennedy,, then the Attorney Kennedy the Attorney General of the United States, States , the song, with new lyrics composed by Pop, for his 1993 alleging that the lyrics of “Louie Louie” were obscene were obscene.. album American Caesar . He continues to play it live at The Federal Federal Bureau of Inve Investiga stigation tion investigated investigated the shows. complaint. In June 1965, the FBI laboratory obtained a The Who were Who were directed in their early recording career by copy copy of theKin the Kings gsme menn record recording ingand and,, afte afterr four month monthss of the riff/rhythm riff/rhythm of “Louie Louie”, Louie”, owing to the song’s ininvestig investigation, ation, concluded that it could not be interpreted, interpreted, fluence on the Kinks, who, like the Who, were produced that it was “unintelligible at any speed,”[57] and there- by She Shell Tal Talmy my — the the Kink Kinkss on the the Pye labe labell and and the the Who Who fore the Bureau could not find that the recording was on Brunswick on Brunswick.. Talmy wanted wanted the successf successful ul sounds of [2] obscene. In September 1965, an FBI agent interviewed the Kinks’ 1964 hits “You Really Got Me”, "All " All Day and one member of the Kingsmen, who denied that there was All of the Night", Night", and "Till "Till the End of the Day" Day " to be •
•
•
229
8.23. “LOUIE LOUIE”
copied by the Who. As a result, Pete Townshend penned "I Can't Explain", released in March 1965. During a presong interview with host Brian Matthew on Saturday Club in May, Pete explained that “I Can't Explain” was released to “introduce the Who to the charts” and that they were now trying to create the sort of sound they achieved on stage at present — hence the new single they were about to sing live on Saturday Club, the feedback-driven, Mod-inspired "Anyway, Anyhow, Anywhere". (In 1979 “Louie Louie” would be featured on the soundtrack album to Quadrophenia.) “Louie Louie” repeatedly figured in the musical lexicon of Frank Zappa and the Mothers of Invention in the 1960s. An early live version of his original composition “Plastic People” (from his You Can't Do That Onstage Anymore series of live albums) was set to the melody of “Louie Louie” (the official version was released on the album Absolutely Free in 1967). Zappa has said that he fired guitarist Alice Stuart from the Mothers of Invention because she couldn't play “Louie Louie”, although this comment was obviously intended as a joke. At a Zappa concert at the Royal Albert Hall in London, Mothers of Invention keyboardist Don Preston climbed up to the legendary venue’s pipe organ, usually used for classical works, and played the signature riff (this can be heard on the 1969 Zappa album Uncle Meat ). Quick interpolations of “Louie Louie” also frequently turn up in other Zappa works. Ian Curtis of Joy Division can be heard saying “You should hear our version of 'Louie Louie', woah” at the end of the band’s live cover of The Velvet Underground's Sister Ray on their Still album. The song has been used in a few Simpsons episodes: "Homer Goes To College" over the end credits, "Kill the Alligator and Run" when Homer is in the boat, and "We're on the Road to D'ohwhere" when Lisa’s orchestra are rehearsing and their instruments begin to rust.
La bande du drugstore (2002),[69] 24 Hour Party People (2002), Old School (2003), Friday Night Lights (2004), Guy X (2005), This Is England (2006), Bobby (2006), Capitalism: A Love Story (2009), Lemmy (2010),[70] Knight and Day (2010), and Best Possible Taste: The Kenny Everett Story (2012).[71][72]
The song was used in television commercials for Spaced Invaders (1990), but did not appear in the movie. Washington State Song
In 1985, Ross Shafer, host and a writer-performer of the late-night comedy series Almost Live! on the Seattle TV station KING, spearheaded an effort to have “Louie Louie” replace "Washington, My Home" by Helen Davis as Washington's official state song.[73] Picking up on this initially prankish effort, Whatcom County Councilman Craig Cole introduced Resolution No. 85-12 in the state legislature, citing the need for a “contemporary theme song that can be used to engender a sense of pride and community, and in the enhancement of tourism and economic development”. His resolution also called for the creation of a new “Louie Louie County”. While the House did not pass it, the Senate’s Resolution 1985-37 declared April 12, 1985, “Louie Louie Day”. A crowd of 4,000, estimated by press reports, convened at the state capitol that day for speeches, singalongs, and performances by the Wailers, the Kingsmen, and Paul Revere & the Raiders. Two days later, a Seattle event commemorated the occasion with the premiere performance of a new, Washington-centric version of the song written by composer Berry.[74][75] While the effort failed in the end, the song is still played, following "Take Me Out to the Ball Game" during the seventh-inning stretch at all Seattle Mariners home games. International Louie Louie Day
Use in movies
In addition to the previously mentioned American Graf fiti (1973), National Lampoon’s Animal House (1978), Quadrophenia (1979), The Naked Gun: From the Files of Police Squad! (1988), Coupe de Ville (1988), Wayne’s World 2 (1993), and Coffee and Cigarettes (2003), other movies and documentaries featuring versions of “Louie Louie” include Tijuana Blue (1972),[65] Heart Like A Wheel (1983), Nightmares (1983), Blood Simple (1984), The Cult: Live in Milan (1986),[66] Survival Game (1987),[67] The Return of Sherlock Holmes (1987), Love at Stake (1988), Fright Night Part 2 (1989), Jennifer Eight (1992), Passed Away (1992), Dave (1992), A Simple Twist of Fate (1994), Mr. Holland’s Opus (1995), Man of the House (1995), Down Periscope (1996), My Best Friend’s Wedding (1997), Wild Things (1998), ABC The Alphabetic Tribe (1998),[68] Say It Isn't So (2001),
April 11 (Richard Berry’s birthday) is celebrated as International Louie Louie Day[76][77][78][79] and is listed by Chase’s Calendar of Events, the National Special Events Registry,[80] andother sources. This date was chosen as the most significant date for the observance of International Louie Louie Day from a list of "Louie Louie"related dates occurring in April, including: April 6, 1963 – The Kingsmen recorded the version that made “Louie Louie” famous/infamous.[16][81] April 13, 1963 – Paul Revere and the Raiders recorded their competing version in the same studio. [82] April 1, 1985 – First annual WMMR Louie Louie Parade in Philadelphia (cancelled in 1989 due to excessive rowdiness).[83][84][85] April 12, 1985 – “Louie Louie Day” proclaimed by the state of Washington.[83]
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CHAPTER 8. SONGS
Song . New York, New York: Hyperion. ISBN 1April 14, 1985 – “Louie Louie Day” proclaimed by the [86] mayor of Seattle. 5628-2865-7. April 2, 1986 – “Louie Louie Day” proclaimed by the Peterson, Dick (2005). Louie Louie Me Gotta Go state of Oregon.[87] Now. Sherwood, Oregon: Thalian Press. ISBN 14208-5610-3. April 10, 1998 – The Kingsmen won an historic legal case against Gusto Records/GML, regaining ownership Blecha, Peter (2009). Sonic Boom! The History and royalty rights to all their recordings. [88] of Northwest Rock: From Louie Louie to Smells Support for International Louie Louie Day and other Like Teen Spirit . Milwaukee, Wisconsin: Backbeat “Louie Louie"-related observances is provided by the Books. ISBN 0-8793-0946-6. Louie Louie Advocacy and Music Appreciation Society (LLAMAS)[89][90] and “Louie Louie” fans worldwide. Commemorations of International Louie Louie 8.23.8 Notes Day have included newspaper articles,[77][78] magazine stories,[76][79] and radio programs with discussions of the [1] 45 Discography for Flip Records , Global Dog Productions, accessed 2009-11-11 song’s history and playlists of multiple “Louie Louie” versions.[91][92][93][94] In 2011, KFJC celebrated Interna- [2] “The Lascivious 'Louie Louie'". The Smoking Gun. Retional Louie Louie Day with a reprise of its 1983 “Maxtrieved 2009-02-18. imum Louie Louie” event, featuring multiple “Louie Louie” versions, new music by Richard Berry and ap- [3] Marsh, Dave (1993). Louie Louie: The History and Mythology of the World’s Most Famous Rock 'n' Roll Song . pearances by musicians, DJs, and celebrities with “Louie New York, New York: Hyperion. ISBN 1-5628-2865-7. Louie” connections.[95] •
•
[4] Marsh, p. 31 LouieFest
[5] Marsh, pp. 31–33 [6] Liner notes, Rhino Records re-release The Best of Louie
The City of Tacoma held a summer music and arts festiLouie (1989; Rhino R1 70605) val from 2003 to 2012 in July named LouieFest.[96] The event began in 2003 as the “1000 Guitars Festival” and [7] “Louie History”, The Louie Louie pages, accessed 200911-11 featured a group performance of “Louie Louie” open to anyone with a guitar. The event was renamed LouieFest [8] Marsh, p. 45 in 2004. Members of the Wailers, Kingsmen, Raiders, Sonics and other groups with “Louie Louie” associations [9] Greene, Bob (September 1988). “The Man Who Wrote 'Louie Louie'". Esquire (110): 63–67. regularly made appearances. The grand finale each year was the “Celebration of 1000 Guitars” mass performance [10] “The Best of Louie Louie, Vol. 1 - Various Artists”. of “Louie Louie” on the main stage. AllMusic . Retrieved 2013-09-21. [11] Marsh, p.41 Louie Louie sculpture
[12] Blecha, Peter (April 1, 2007). “Garage Rock Anthem “Louie Louie” Turns 50”. The Seattle Times . Retrieved A sculpture titled “Louie Louie, 2013” by Las VegasMay 5, 2013.
based artist Tim Bavington is displayed on the lobby wall of the newly renovated Edith Green - Wendell Wyatt [13] Peter Blecha, Biography of “Rockin' Robin” Roberts, HisFederal Building in Portland, Oregon. The work is contoryLink.org structed of 80 colored glass and acrylic panels representing the waveforms of the song using Bavington’s concept [14] The Louie Louie Discography: Rockin' Robin Roberts of sculpting sound waves. [97][98] [15] Stiernberg, Bonnie. “The 50 Best Garage Rock Songs of All Time”. Paste. Retrieved 15 May 2016. Recognition and rankings
[16] Peterson, p. 45 [17] Blecha, p. 137
Summary of “Louie Louie” rankings and recognition in major publications and surveys. [18] Blecha 2009, p. 138 8.23.7 •
References
[19] Cheesman, Shannon (September 5, 2013). “Everybody sing! 'Louie Louie, oh no, me gotta go'". Retrieved February 25, 2014.
Marsh, Dave (1993). Louie Louie: The History and [20] Marsh, p. 97. Ely had to stand on tiptoe to sing into a Mythology of the World’s Most Famous Rock 'n' Roll
boom mike, and his braces further impeded his singing.
231
8.23. “LOUIE LOUIE” [21] Marsh, p. 67
[43] Azerrad, pp. 28–29.
[22] Marsh, Dave, 1989, The Heart of Rock and Roll , New [44] Ogg, Alex. “Review: Everything Went Black ". AllMusic. Retrieved 2011-07-12. American Library, p. 14. Marsh ranks the song as number eleven out of the 1001 greatest singles ever made. [45] Dougan, John. “Review: The First Four Years ". AllMusic. Retrieved 2011-07-12. [23] Whitburn, Joel (2001). Joel Whitburn Presents Billboard Top 10 Singles Charts . Menomonee, Wisconsin: Record [46] Dougan, John. “Review: Wasted...Again". AllMusic. ReResearch, Inc. pp. 69–72. ISBN 0-89820-146-2. trieved 2011-07-12. [24] Whitburn, Joel(2004). Top R&B/Hip-Hop Singles: 1942– [47] Raggett, Ned. “Review: Who’s Got the 10½? ". AllMusic. 2004. Record Research. p. 328. Retrieved 2011-07-12. [25] Hoffmann, Frank (1983). The Cash Box Singles Charts, 1950-1981. Metuchen, NJ & London: The Scarecrow [48] “Known Grateful Dead Performances of Louie Louie”. Retrieved 2013-09-25. Press, Inc. p. 835. [26] B-side changed to “Little Green Thing” on later releases. [49] The Fat Boys, Coming Back Hard Again , Tin Pan Alley/Polydor, 1988 Changed back to “Haunted Castle” for 1966 re-release. [27] “Louie Louie – the Saga of a Pacific Northwest Hit Song”. [50] “Old Rockers Still Boppin' to Kingsmen”. The RegisterGuard . Portland, Oregon. May 4, 1985. p. 4A. Retrieved HistoryLink . Retrieved March 5, 2016. March 29, 2014. [28] Marsh, p. 97 [51] Marsh, p. 41-42 [29] Milstein, Phil (June 28, 2006). “Seconds”. Stylus Maga[52] “The Best of Louie Louie, Vol. 2 - Various Artists”. zine. Retrieved March 11, 2013. AllMusic . Retrieved 2013-09-21. [30] Attig, Rick (August 4, 1987). “Ex-Kingsman brings act to [53] “Louie Louie Collection - Various Artists”. AllMusic . ReC.O.”. The Bend Bulletin . Retrieved March 11, 2013. trieved 2013-09-21. [31] Lawsuit info at Louielouie.org Archived March 12, 2013, [54] University of Washington Husky Marching Band at the Wayback Machine. [55] “The First Louie Louie Spanish Compilation”. The Louie [32] Dubois, Steven; Rogers, John (April 28, 2015). "'Louie Louie Pages - Theo de Grood . Retrieved 2013-09-21. Louie' Singer Jack Ely Dies in Oregon at 71”. Huffington Post . Associated Press. Retrieved March 5, 2016. [56] “Love That Louie: The Louie Louie Files - Various Artists”. AllMusic . Retrieved 2013-09-21. [33] Blecha p. 139 [57] RocKwiz, broadcast July 31, 2010 [34] Following the death of Kingsmen singer Jack Ely, Mark Lindsay tweeted on April 28, 2015, “To settle it once and [58] “Louie Louie”. 2007. Retrieved June 28, 2011. for all: Jack Ely/The Kingsmen recorded Louie Louie 3 [59] Marsh, Dave (1992). Louie Louie: The History and days BEFORE the Raiders.” [35] Predoehl, Eric. “A Short History of Louie Louie”. LouieLouie.net . Retrieved 2013-09-21. [36] Burridge, Alan Illustrated Collector’s Guide to Motörhead Published: 1995, Collector’s Guide Publishing ISBN 09695736-2-6. [37] “45 Discography for Happy Tiger Records”. Global Dog Productions. 2008. Retrieved 2009-04-06.
Mythology of the World’s Most Famous Rock'n'Roll song; Including the Full Details of Its Torture and Persecution at the Handsof theKingsmen, J. Edgar Hoover’sF.B.I., anda Cast of Millions; and Introducing, for the First Time Anywhere, the Actual Dirty Lyrics . Hyperion Books. ISBN
1-56282-865-7. [60] “Band Banned From Performing 'Louie Louie'". Fox News . Associated Press. May 5, 2005. Retrieved 200909-16.
[38] Marsh, p. 124.
[61] Seib, Laura (May 6, 2005). "'Louie, Louie' gets goahead”. South Bend Tribune . Retrieved 2009-09-16. [39] The Clash – Bootlegs & Rarities > Louie Is A Punkrocker [40] Carroll, Bryan. “Review: 'Louie Louie'". AllMusic. Re- [62] LouieLouie.net trieved 2011-07-12. [63] “The Naked Gun: From the Files of Police Squad! (1988) - Soundtracks”. IMDb. Retrieved 2013-09-21. [41] The First Four Years (CD insert). Black Flag. Lawndale, California: SST Records. 1983. SST CD 021.
[64] The Naked Gun: From the Files of Police Squad! at the Internet Movie Database
[42] Azerrad, Michael (2001). Our Band Could Be Your Life: Scenes from the American Indie Underground 1981–1991. [65] Tijuana Blue at the Internet Movie Database New York City: Little, Brown and Company. pp. 24–25. ISBN 0-316-78753-1. [66] The Cult: Live in Milan at the Internet Movie Database
232 [67] Survival Game at the Internet Movie Database
CHAPTER 8. SONGS [92] “WATD-FM 2011 International Louie Louie Day program”. 959watd.com. Retrieved May 5, 2013.
[68] ABC - The Alphabetic Tribe at the Internet Movie [93] “Louie-Palooza: 11 Killer Covers for International “Louie Database Louie” Day”. VH1.com. Retrieved April 30, 2015. [69] La bande du drugstore at the Internet Movie Database [94] “Revisiting the Italian LOUIE Marathon”. louielouie.net. [70] Lemmy at the Internet Movie Database Retrieved April 30, 2015. [71] Best Possible Taste: The Kenny Everett Story atthe Internet [95] “KFJC-FM 2011 International Louie Louie Day proMovie Database gram”. Kfjc.org. Retrieved May 13, 2013. [72] The Louie Louie Pages site by Theo de Grood Retrieved [96] LouieFest web page Retrieved April 16, 2013 May 12, 2013 [97] “The Kingsmen’s famously innocent “Louie Louie” now [73] Seattle Weekly (October 27, 1999) Music: “The State I'm back in front of the feds at downtown Federal Building”. In”, by Kurt B. Reighley The Portland Oregonian . July 25, 2013. Retrieved July 30, 2013. [74] The Bellingham Herald (February 20, 2006): “What Would You Pick as State Vegetable?", by Dean Kahn [98] “Editorial: Me gotta go now: 'Louie' sculpture is fitting tribute”. The Albany Democrat-Herald . July 27, 2013. [75] Liner notes, The Best Of Louie Louie Volume 2 (Rhino R1 Retrieved July 30, 2013. 70515), by Doc Pelzell [99] “Songs That Shaped Rock and Roll: “Louie Louie"". [76] Sound+Vision Magazine (April 11, 2011) “International Rock and Roll Hall of Fame. December 14, 2011. ReLouie Louie Day”, by Michael Berk trieved 2013-09-21. [77] Lincoln Journal Star (March 27, 2013) “April is the [100] “GRAMMY Hall Of Fame”. National Academy of coolest month for holidays”, by Erin Andersen Recording Arts and Sciences. Retrieved 2013-09-21. [78] Newsday (April 11, 2008) “It’s International 'Louie Louie' [101] “The Original NPR 300". NPR. Retrieved 2013-09-21. Day”, by Verne Gay [102] “The Wire - 100 Most Important Records Ever Made”. [79] Urban Times Magazine (April 12, 2013) “Happy Belated Retrieved 2013-09-21. International Louie Louie Day”, by Brian Fiore-Silfvast [103] “Ultimate Jukebox : The 100 Singles You Must Own”. [80] “National Special Events Registry”. Celebratetoday.com. Retrieved 2013-09-21. Retrieved 2013-11-21. [104] “The50 Best Garage Rock Songs of All Time”. Retrieved [81] Blecha (2009), p. 137 2016-05-26. [82] Blecha (2009), p. 139
[105] “40 Songs That Changed The World”. Retrieved 201309-21.
[83] Blecha, Peter (April 1, 2007). ""Louie Louie” Through The Ages”. The Seattle Times . Retrieved May 5, 2013. [106] “The All-Time Top 100 Singles”. acclaimedmusic.net. Retrieved September 16, 2014. [84] “City Cancels 'Louie Parade;' Cites Rowdies”. The Philadelphia Inquirer . May 20, 1989. Retrieved May 5, [107] “VH1: '100 Greatest Rock Songs’: 1-50”. Retrieved 2013. 2013-09-21. [85] Marsh p. 186 [86] City of Seattle proclamation text Retrieved May 4, 2013 [87] “State Song Idea Off-Key”. The Eugene Register-Guard . May 10, 2009. Retrieved May 5, 2013. [88] “Louie Louie May Mean Lots, Lots for Kingsmen”. The Seattle Times . April 11, 1998. Retrieved May 5, 2013.
[108] “1001 Greatest Singles EverMade- Part 1. Nos 1 to 500”. Retrieved 2013-09-21. [109] “Rolling Stone - The 100 Best Singles Of The Last 25 Years”. Retrieved 2013-09-12. [110] “VH1 - '100 Greatest Dance Songs’". Retrieved 2015-0429.
[111] “Mojo - The 100 Greatest Singles Of All Time”. Re[89] “Louie Louie Advocacy and Music Appreciation Socitrieved 2013-09-21. ety (LLAMAS)". Louielouieweb.tripod.com. Retrieved 2013-11-21. [112] “500 Greatest Songs of All Time: The Kingsmen, 'Louie Louie'". Rolling Stone. Retrieved 2013-09-21. [90] “LLAMAS – LOUIE LOUIE Advocacy and Music Appreciation Society « The Louie Report”. Louielouie.net. [113] “NEA and RIAA: The top 365 songs of the 20th century”. Retrieved 2013-11-21. Retrieved 2013-09-21. [91] “International Louie Louie Day party, London, 2013”. [114] “Big Bangs: 100 Records That Changed the World”. ReFacebook.com. Retrieved May 5, 2013. trieved 2013-09-21.
233
8.24. “THE MAGNIFICENT SEVEN” [115] “NME Magazine: 500 Greatest Songs”. Retrieved 201412-26.
8.24
“The Magnificent Seven”
This article is about the rap rock song by The Clash. For
[116] “WCBSFM: Top 1001 Songs Of The Century”. Retrieved the theme to the 1960 western film, see The Magnificent 2013-09-21.
Seven § Score.
8.23.9 •
Further reading
Blecha, Peter (2009). Sonic Boom! The History of Northwest Rock: From Louie Louie to Smells Like Teen Spirit . Milwaukee, Wisconsin: Backbeat
Books. ISBN 0-8793-0946-6. •
•
Artforum (Dec. 1993): untitled Adam Block review of Louie Louie by Dave Marsh The New York Times (September 2, 1993): “Books
of The Times: The Real Dirt About a Rock Hit of Ill Repute”, by Margo Jefferson (review of the book Louie Louie by Dave Marsh) •
The Miami Herald (February 18, 2013): “The Birth
of Wail” by Dave Barry •
The Best of Louie, Louie CD sleeve notes (Rhino R2
70605, 1988) •
The Best of Louie Louie, Volume 2 CD sleeve notes
by Doc Pelzell (Rhino R2 70515, 1992) •
The Louie Louie Collection CD sleeve notes (Jerden
JRCD 7011, 1994) •
Love That Louie - The Louie Louie Files CD sleeve
notes by Alec Palao (Ace CDCHD 844, 2002) 8.23.10 •
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•
•
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When we came to the U.S., Mick stumbled upon a music shop in Brooklyn that carried the music of Grand Master Flash and the Furious Five, the Sugar Hill Gang...these groups were radically changing music and they changed everything for us.[2]
External links
Though it failed to chart in America, the song was an un Mikkelson, Barbara & David P. “Are the lyrics to derground hit and received heavy play on underground 'Louie Louie' obscene?" at Snopes.com: Urban Leg- and college radio. Also popular were various dance remixes, both official B-side, ("The Magnificent Dance"), ends Reference Pages . and original DJ remixes such as WBLS's remix known as Excerpts from the FBI file about the song, from The “Dirty Harry”, after the film of same name, which can be found on various Clash’s bootlegs, including Clash on Smoking Gun Broadway Disc 4: The Outtakes . Full FBI file on the song The single was reissued in 1981 with “Stop the World” as its B-side and with different sleeve art. "Louie Louie through the ages" from the Seattle Times
•
"The Magnificent Seven" is a song and single by the English punk rock band the Clash. It was the third single from their fourth album Sandinista!. It reached number 34 on the UK Singles Chart.[1] The song was inspired by raps by old school hip hop acts from New York City, like the Sugarhill Gang and Grandmaster Flash & the Furious Five.[2] Rap was still a new and emerging music genre at the time and the band, especially Mick Jones, was very impressed with it, so much so that Jones took to carrying a boombox around and got the nickname “Whack Attack”. The song was recorded in April 1980 at Electric Lady Studios in New York City, built around a funky bass loop played by Norman Watt-Roy, the Blockheads. Joe Strummer wrote the words on the spot, a technique that was also used to create Sandinista!' s other rap track, “Lightning Strikes (Not Once But Twice)". “The Magnificent Seven” represents the first attempt by a rock band to write and perform original rap music, and one of the earliest examples of hip hop records with political and social content. It is the first major white rap record, predating the recording of Blondie's "Rapture" by six months. Strummer said of the group’s encounter with hip-hop:
8.24.1
The Magnificent Dance
The Louie Louie Advocacy and Music Appreciation “The Magnificent Dance”, released on 12 April 1981 by Society (LLAMAS) CBS in 12-inch single format,[1] is the dance remix of “The Magnificent Seven”. The maxi single was released International Louie Louie Day in the UK featuring an edited version of “The Magnif BBC Magazine article “Smashed Hits: Louie Louie”, icent Seven” on side-A, and in the U.S., where it was April 30, 2015 backed with the extended version of “The Cool Out”. [1]
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CHAPTER 8. SONGS
It is credited to “Pepe Unidos”, a pseudonym for Strum- [8] “THE CLASH - THE MAGNIFICENT SEVEN (NUMMER)". dutchcharts.com. Retrieved 16 November 2010. mer, Paul Simonon and manager Bernie Rhodes. “Pepe Unidos” also produced “The Cool Out”, a remix of "The Call Up". This dance version “definitely capitalized on [9] Whitburn, Joel (2004). Hot Dance/Disco: 1974–2003. Record Research. p. 59. the funky groove of the original, adding in some very cool drumming.”[3] In 2015, Pitchfork Media included the song on their Sources “Early 80’s Disco” playlist, saying “if they were bored with the USA in 1977, four years on, theywere also bored Books with both punk and rock. Instead, they became infatuated with NYC street culture, from early hip-hop to post Gilbert, Pat (2005) [2004]. Passion Is a Fashdisco. This dubbed-out disco remix of the lead track off ion: The Real Story of The Clash (4th ed.). Lonof Sandinista! was a club hit and the record Larry Levan don: Aurum Press. ISBN 1-84513-113-4. OCLC would use to fine tune the sound system at the Paradise [4] 61177239. Garage.” •
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8.24.2
Cover versions
The song was played by the Max Weinberg 7 on Late Night with Conan O'Brien on its first show since the Writer’s Strike. An instrumental version of the song was used with sampled vocals from BasementJaxx’s “Romeo” by 2 Many DJs to create the track “The Magnificent Romeo”.[5] 8.24.3 •
•
Personnel
Joe Strummer - lead and backing vocals, electric piano
Topper Headon - drums, backing vocals
•
Norman Watt-Roy - bass guitar
8.24.4
Charts
8.24.5
References
Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890.
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Mick Jones - lead guitars, backing vocals, sound effects
•
Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626.
•
Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
Journals and magazines •
[1] The Clash discography. [2] D’Ambrosio 2003. [3] “The Clash - Super Black Market Clash”. Punknews.org. Retrieved 16 November 2010.
D’Ambrosio, Antonino (June 2003). "'Let Fury Have the Hour': The Passionate Politics of Joe Strummer”. Monthly Review. New York, N.Y: Monthly Review Foundation. 55 (2). ISSN 00270520. OCLC 1758661. Retrieved 16 November 2010.
[4] Andy Beta (2015-08-07). “Early '80s Disco”. Pitchfork. Web Retrieved 2016-10-19. [5] “2 Many DJs: The Magnificent Romeo - Basement Jaxx vs The Clash”. Retrieved 27 November 2010. [6] “Chart Stats - The Clash - The Magnificent Seven”. chartstats.com. Retrieved 16 November 2010. [7] "Ultratop.be – The Clash – The Magnificent Seven” (in Dutch). Ultratop 50.
•
“The Clash discography”. TheClash.com. Retrieved 16 November 2010.
8.24.6 •
External links
Lyrics of this song at MetroLyrics
235
8.26. “POLICE AND THIEVES”
8.25
“The Man in Me”
"The Man in Me" is a song from Bob Dylan's 1970 album New Morning. The song is featured in the soundtrack to the 1998 Coen Brothers film The Big Lebowski . It plays during the stylized opening title sequence and during the hallucination sequence after the Dude is punched and his rug stolen. More recently it hasbeen performed livebythe film’s star, Jeff Bridges, at Lebowski Fest, an audience-participation oriented event commemorating the film. 8.25.1
Other recorded versions
In 1971, the song was covered by Lonnie Mack on his album, The Hills of Indiana . In 1975, it was covered by London reggae band Matumbi, with another reggae version recorded by Joe Cocker the following year. The song was also covered by The Clash during sessions for the album that was to become London Calling. It is available on The Vanilla Tapes . More recently, it was covered by alternative rock group Say Anything; a demo version of the cover features Chris Conley (of Saves the Day) on vocals. It has also been covered by Al Kooper, David Bazan (who regularly plays it live), Jenoah, Vandaveer, Buffalo Tom, and My Morning Jacket. 8.25.2
References
8.25.3
External links
•
•
The Man in Me lyrics Live at the Lebowski Fest on YouTube
8.26
The song became an anthem in the UK in 1976 as the Notting Hill Carnival erupted into a riot.[1][3] Joe Strummer and Paul Simonon of the Clash were involved in the rioting, which inspired them to cover the song on their debut album, in a style that they called ''punk reggae', not 'white reggae''.[4] Murvin’s version became a Top 30 UK hit in 1980, peaking at no. 23.[5] It appeared in Ted Bafaloukos' 1978 film Rockers , and also in Guy Ritchie's 1998 film Lock, Stock and Two Smoking Barrels . The song has since been rerecorded by Murvin several times; A digital version appeared on a 1987 single produced by Prince Jammy, an acoustic version was included on the 2007 album Inna de Yard , and a new version was released in 2008 on a Ralston Brown-produced single.
“Police and Thieves”
This article is about the song. For the album, see Police and Thieves (album). "Police and Thieves" (aka "Police and Thief") is a reggae song first recorded by the falsetto singer Junior Murvin in 1976. It was covered by the punk band The Clash and included on their self-titled debut album released in 1977. 8.26.1
Boris Gardiner (bass), Ernest Ranglin (guitar), Sly Dunbar (drums), Keith Sterling (keyboards), and Joe Cooper (organ), with backing vocals provided by Barry Llewellyn and Earl Morgan of The Heptones.[1] The next day dub versions were mixed and versions with different lyrics recorded. The song, about gang war and police brutality, was out on the street in a couple of days, backed by The Upsetters' dub version “Grumbling Dub”, and became a big hit in Jamaica. Released in Jamaica on Federal Records’ Wild Flower subsidiary label (as “Police and Thief”) it was issued in the UK by Island Records in July, and proved to be a bigger sales and club hit in England than in Murvin’s and Perry’s native Jamaica.[1][2] It was also successful in the US, where it was issued on the Mango label.[1] Island also issued a 12-inch version with Jah Lion's deejay version “Soldier and Police War”, and Glen DaCosta's saxophone version “Magic Touch” added. It was named 'Reggae Single of theYear' by Black Echoes , and placed sixth in the NME 's end of year singles chart.[1] The song was included as the title track on Murvin’s 1977 album.[1]
Junior Murvin version
8.26.2
The Clash version
The English punk rock band Clash’s punk/reggae version appeared on their eponymous debut album. The Clash’s version, which is six minutes in length, is an example of a rock band incorporating reggae into their repertoire.[6] Murvin’s first commentary was “They have destroyed Jah work!".[7] Thesong hadbeen a rehearsal room favourite of the band. It had not originally been planned for inclusion on The Clash, but an impromptu version the band started playing during a break in a recording session spurred the decision to finalize their own arrangement, record it, and include the finished article on their album.
The song was originally written by Junior Murvin.[1] Murvin approached Lee “Scratch” Perry inMay1976and auditioned the song at Perry’s Black Ark studio; Perry de- In the beginning of the song, Joe Strummer reinterprets cided to record the song the same afternoon, and decided the line “They're going through a tight wind” as a tribute to alter the lyric slightly. Players on the track included to The Ramones, already an established American punk
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CHAPTER 8. SONGS
band and an influence on The Clash. The lyric line appears in the Ramones’ "Blitzkrieg Bop". Perry considered that the Clash had “ruined” the song with their version, but later agreed to work with the band nonetheless.[1] 8.26.3
Other versions
•
•
•
Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
The song also appears on the soundtrack for the Wes Anderson film, The Royal Tenenbaums , and in the Reno 911!: Miami movie where it is performed by Dave Grohl, who is listed in the credits under the pseudonym 8.26.6 External links “Sprechen Sie Deutsch”. Lyrics of this song at MetroLyrics Several other versions have been recorded, including several on tribute albums to the Clash. •
8.26.4
References
8.27
“Pressure Drop”
[1] Katz, David (2006) People Funny Boy: The Genius of Lee "Pressure Drop"isasongrecordedin1969byTheMay“Scratch” Perry, Omnibus Press, ISBN 978-1846094439, tals for producer Leslie Kong. The song appears on their p. 246-9, 272, 493 1970 album Monkey Man (released in Jamaica by Bev[2] Steve Barrow (1994), "Interview with Max Romeo in June erley’s Records) and From the Roots (released in the UK 1994 as a part ofthe Reggae Archive Object ". Lee Scratch Perry Arkology.
Kingston: Island Jamaica for Island
Records Ltd. [3] O'Brien Chang, Kevin & Chen, Wayne (1998) Reggae Routes , Temple University Press, ISBN 978-1-56639629-5, p. 166 [4] Dimery, Robert (2010). 1001 songs you must hear before you die. United Kingdom: Cassell Illustrated. p. 370. ISBN 978-1-84403-736-0. [5] “UK Official Chart Hits for Junior Murvin” Retrieved 7 March 2013 [6] Don Letts (2000) The Clash: Westway to the World. Music documentary. New York: Sony Music Entertainment; Dorismo; Uptown Films. [7] Wildon, C. (1996) More About the Punk & Reggae. Wellington: Samoa Publishing.
8.26.5 •
•
•
Further reading
by Trojan Records). “Pressure Drop” helped launch the band’s career outside Jamaica when the song was featured in the soundtrack to the 1972 film The Harder They Come, which introduced reggae to much of the world.[1] In 2004, Rolling Stone rated the song No. 453 in its list of the 500 Greatest Songs of All Time.[2] This song has been covered often, most notably by The Specials, Keith Richards, Izzy Stradlin and the Ju Ju Hounds, and The Clash. “Pressure Drop” refers to the barometric pressure. This song predates modern weather forecasting, and at that time in the context of this song, island populations relied on the simple but reliable instrument (barometer) to predict adverse weather. The liquid barometer displays pressure as a measure of the fluid in a glass tube, and when the air pressure drops the fluid level “drops” accordingly. A rapid drop in air pressure indicates the severity of the approaching storm (hurricane), and is sometimes referred to as “the bottom dropping out”. Attention to pressure changes could spell the difference between life and death for an island dweller. “Pressure drop” is used as a clever poetic device in this song, and is the artists way of saying
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). Lon- *a storm is coming for you*. don: Aurum Press. ISBN 1-84513-113-4. OCLC The song was featured in the 2004 video game Grand 61177239. Theft Auto: San Andreas on the radio station K-Jah [3] Gray, Marcus (2005) [1995]. The Clash: Return West. of the Last Gang in Town (5th revised ed.). Lon- In an interview in 2016, songwriter Frederick “Toots” Hidon: Helter Skelter. ISBN 1-905139-10-1. OCLC bbert said that “Pressure Drop” was a song about karmic 60668626. justice. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd It’s a song about revenge, but in the form ed.). London: Orion. ISBN 0-7528-5843-2. OCLC of karma: if you do bad things to innocent 52990890. people, then bad things will happen to you.
237
8.29. “ROCK THE CASBAH”
The title was a phrase I used to say. If someone done me wrong, rather than fight them like a warrior, I’d say: “The pressure’s going to drop on you.”. — Frederick ‘Toots’ Hibbert, The Guardian[4]
8.27.1
The B-side is a mono live version of "London’s Burning". Theband re-recorded the song in early summer 1979 during rehearsals at Vanilla Studios in Vauxhall for London Calling. In liner notes for “The Vanilla Tapes”, released in 2004, which includes the song, Mick Jones is quoted as saying: - I think Joe [Strummer] disliked it on a sym-
References
bolic level, because of what happened with the release. But we always liked the tune. [1] -
[1] “Rolling Stone : Pressure Drop”. Web.archive.org. Retrieved 2016-10-02.
[2] “The RS 500 Greatest Songs of All Time”. Rolling Stone. 8.28.1 2004-12-09. Retrieved 2007-11-22. [3] “Various - Grand Theft Auto: San Andreas Official Soundtrack Box Set (Box Set)". Discogs.com. 2004-1207. Retrieved 2016-10-12. [4] Simpson, Dave (2016-09-06). “Toots and the Maytals: how we made Pressure Drop”. The Guardian. Retrieved 2016-09-06.
8.27.2 •
External links
Lyrics of this song at MetroLyrics
8.28
“Remote Control”
"Remote Control" is a song by The Clash, featured on their debut album, and is written against oppression and conformity. The song was written by Mick Jones after the disastrous Anarchy Tour and contains pointed observations about the civic hall bureaucrats who had cancelled concerts, the police, big business and especially record companies. The song mentions a 'meeting in Mayfair' which probably refers to one held by EMI’s shareholders on 7 December 1976, which effectively withdrew all support for the Anarchy Tour. Also alluded to in the song are the 'old-boy' peerage networks and hapless politicians. The band virtually disowned the song, following their record label CBS's decision to release the song as a single without consulting the band. The band had already told Melody Maker magazine that their next single would be "Janie Jones", and were irate that CBS had undermined them and made a decision to release “Remote Control” instead without the band’s permission. To the band, the song became a symbol of everything they were fighting against. The incident was referred to in the first lines of a later song, "Complete Control", which is on the 1979 US release of the album: - They said, 'Release “Remote Control”, but we didn't want it on the label... -
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Personnel
Joe Strummer - lead vocals, rhythm guitar Mick Jones - leadvocals, lead guitar and rhythm guitar
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Paul Simonon - bass guitar, backing vocal
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Terry Chimes - drums
8.28.2
References
[1] Pat Gilbert, “The 'Vanilla Tapes’", 25th Anniversary Legacy Edition: London Calling: The Clash , Sony Music Entertainment (UK) Ltd., 2004
8.28.3 •
External links
Lyrics of this song at MetroLyrics
8.29
“Rock the Casbah”
For other uses, see Rock the Casbah (disambiguation). "Rock the Casbah" is a song by the English punk rock band The Clash, released in 1982. The song was released as the third single from their fifth album, Combat Rock . It reached number eight on the Billboard Hot 100 chart in the US (their second and last top 40 and only top 10 single in the United States) and, along with the track “Mustapha Dance”, it also reached number eight on the dance chart.[5] It is the band’s highest charting single worldwide. 8.29.1
Recording
“Rock the Casbah” was musically written by the band’s drummer Topper Headon, based on a piano part that he had been toying with. [6][7] Finding himself in the studio without his three bandmates, Headon progressively taped the drum, piano and bass parts; recording the bulk of the song’s musical instrumentation himself.[6][8]
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This origin makes “Rock the Casbah” different from the majority of Clash songs, which tended to originate with music written by the Strummer-Jones songwriting partnership. [8] Upon entering the studio to hear Headon’s recording, the other Clash members were impressed with his creation, stating that they felt the musical track was essentially complete.[8] From this point, relatively minor overdubs were added, such as guitars and percussion. However, Joe Strummer was not impressed by the page of suggested lyrics that Headon gave him. [6] According to Clash guitar technician Digby Cleaver, they were “a soppy set of lyrics about how much he missed his girlfriend”.[6] “Strummer just took one look at these words and said, 'How incredibly interesting!', screwed the piece of paper into a ball and chucked it backwards over his head.” [6] Strummer had been developing a set of lyrical ideas that he was looking to match with an appropriate tune. Before hearing Headon’s music, Strummer had already come up with the phrases “rock the casbah” and “you'll have to let that raga drop” as lyrical ideas that he was considering for future songs.[9][10] After hearing Headon’s music, Strummer went into the studio’s toilets andwrote lyrics to match the song’s melody.[7][8] The version of the song on Combat Rock , as well as many other Clash compilations, features an electronic sound effect beginning at the 1:52 minute point of the song. This noise is a monophonic version of the song "Dixie". The sound effect source was generated by the alarm from a digital wristwatch that Mick Jones owned, and was intentionally added to the recording by Jones. [8] 8.29.2
Lyrics
Joe Strummer had been toying with the phrase “rock the casbah” prior to hearing Topper Headon’s musical track that would form the basis of the song. This phrase had originated during a jam session with Strummer’s violinist friend Tymon Dogg. Dogg began playing Eastern scales with his violin and Joe started shouting “rock the casbah!" Not hearing Strummer properly, Dogg thought that Strummer had been shouting at him to “stop, you cadger!"[9] Further inspiration for “Rock the Casbah"'s lyrics originated from Joe Strummer observing the band’s manager Bernie Rhodes moaning aboutThe Clash’s increasing tendency to perform lengthy songs. Rhodes asked the band facetiously “does everything have to be as long as this rāga?" (referring to the Indian musical style known for its length and complexity). Strummer later returned to his room at the Iroquois Hotel and wrote the opening lines to the song: “The King told the boogie-men 'you have to let that rāga drop.'"[11][10][9] The song gives a fabulist account of a ban on Western rock music by an Arab king.[6] The lyrics describe the
King’s efforts to stop his population from listening to this music, such as ordering his military’s jet fighters to bomb any people in violation of the ban. The pilots ignore the orders, and instead play rock music on their cockpit radios. The population then proceed to “rock the casbah" by dancing to the music. This scenario was inspired by the ban on Western music in Iran after the 1979 Islamic Revolution. The song’s lyrics feature various Arabic, Hebrew, Turkish, and Sanskrit loan-words, such as sharif, bedouin, sheikh, kosher, rāga, muezzin, minaret, and casbah.[12] 8.29.3
Music video
The music video for “Rock the Casbah” was filmed in Austin, Texas by director Don Letts on 8 and 9 June 1982.[13] The music video intermixes footage of The Clash miming a performance of the song, with a storyline depicting two characters travelling together throughout Texas. The video depicts an Arab hitchhiker and a Hasidic Jewish limo driver befriending each other on the road and skanking together through the streets to a Clash concert at Austin’s City Coliseum. At one point they are seen eating hamburgers in front of a Burger King restaurant. Throughout the video, an armadillo is repeatedly shown walking near the band members, walking along the road, and following the two characters into the city. [14] The Clash is shown miming a performance of the song in front of a pumpjack in a Texas oil field. During the vast majority of the video clip, guitarist Mick Jones's face is obscured by a veiled camouflage hat. The reason for this is that Jones was in a bad mood during the film shoot.[13] Jones’ face remains hidden until the final 30 seconds of the clip, when his bandmate Joe Strummer pulls the hat off. 8.29.4
Single
The single version has more pronounced bass. Also when Joe Strummer screams “The crowd caught a whiff / Of that crazy casbah jive” at the end of the third verse the word “jive” is sustained for several seconds with digital delay. Additionally, the sound effects of the jet fighters in the last verse are lower in the mix, particularly just after “drop your bombs between the minarets.” Thesingle version of the song is what is played in the music video. “Mustapha Dance”, which features in many releases of the single, is an instrumental remix of the song. Single issues
The single has several issues, all with different cover, format and B-side (see the table below).[15]
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8.29. “ROCK THE CASBAH”
8.29.5
Legacy
I'd Like a Virgin. U2 have also played a snippet of the
song on their 2005–2006 Vertigo Tour. After hearing the crowd singing the song as it was played over the loudspeaker before the start of the concert, Bono, the lead singer of U2, started singing “Rock the Casbah” in the middle of one of their songs during a concert in Melbourne. It has also made appearances on their 360° Tour. It has been played in "Sunday Bloody Sunday", which shows clips from Iranian protests. Green Day covered the song near the end of their AOL Sessions, and also performed it during a 2004 concert at The Warfield San Francisco. Howlin' Pelle Almqvist of The Hives covered the song with some members of another Swedish band, Randy for a Joe Strummer Tribute concert at The Debaser in Stockholm. A cover version was also recorded by Ranking Roger and Pato Banton in 1999 for the Clash tribute album Burning London: The Clash Tribute.
The song was chosen by Armed Forces Radio to be the first song broadcast on the service covering the area during Operation Desert Storm. In one of the campfire scenes late in the 2007 documentary Joe Strummer: The Future Is Unwritten , a Granada friend states that Strummer wept when he heard that the phrase “Rock the Casbah” was written on an American bomb that was to be detonated on Iraq during the 1991 Gulf War.[16] Following the terrorist attacks on 11 September 2001, the song was placed on the list of post-9/11 inappropriate titles distributed by Clear Channel.[17] In 2006, the conservative National Review released their list of the top 50 “Conservative Rock Songs”, with “Rock the Casbah” at No. 20, noting the Clear Channel list as well as frequent requests to the British Forces Broadcasting Service during the Iraq War.[18] Cultural reviewer and political analyst Charlie Pierce commented that “the notion of the Clash as spokesfolk for adventurism in the Middle East might havebeen enough to bring Joe Strummer back from the dead.”[19] 8.29.7 8.29.6
Cover versions
8.29.8
Chart performance Personnel
Joe Strummer – lead vocals, guitar Other versions of “Rock the Casbah” have been recorded Mick Jones – guitar, backing vocals, sound effects by the Austin, Texas, band One Bad Pig, on the 1992 album Blow the House Down; the Australian band Paul Simonon – backing vocals Something for Kate; Solar Twins on the movie soundtrack for the 1999 film Brokedown Palace; the Ameri Topper Headon – drums, piano, bass guitar[45] can band Trust Company; the Japanese duo Tica recording a version in 2000 sampled by the English drum and bass/trip hop group from Bristol, Smith & Mighty;[20] 8.29.9 References and the Asturian studio project Soncai System, who did an Asturian language version of the song on the album [1] Erlewine, Stephen Thomas. “The Clash – Combat Rock”. AllMusic. All Media Network. Retrieved 24 June 2013. Clashturies (2007). the infectious, dance-inflected new wave pop of “Rock the Casbah” The Algerian rock singer Rachid Taha covered the song (in Arabic) on his 2004 album Tékitoi . On 27 November 2005 at the Astoria, London, during the Stop the War [2] Keefe, Michael (15 June 2010). “Combat Rock (CD) – The Clash”. Amoeba Music. Retrieved 24 June 2013. Coalition Benefit Concert, "...for the night’s grandstandragga-tinged new wave anthem “Rock the Casbah” ing conclusion, the Clash legend Mick Jones strides on in a skinny black suit and plays probably the most exciting [3] “12 Of The Most Underrated Punk Songs of All-Time”. GIANT . 4 August 2010. Retrieved 9 July 2014. guitar he has delivered in years. He and the band are brilliant on Taha’s definitive take on “Rock the Casbah”, for [4] Topper Headon is said to have written the main piano riff, which the audience goes berserk.”[21] They again played but he as well as the rest of the band are credited Taha’s version of the song, “Rock el Casbah”, on February 2006, at the France 4 TV show Taratatà.[22][23] In [5] Whitburn, Joel (2004). Hot Dance/Disco: 1974–2003. Record Research. p. 59. 2007 at the Barbican, ".... The band were later joined by special guest Mick Jones from The Clash who performed on “Rock El Casbah” and then stayed on stage for the re- [6] Gilbert 2004, p. 306. mainder of the show.”[24][25] [7] Webb, Spike (23 January 2014). Topper Headon (The Clash) – Q&A – Fan Questions (Interview). 00:24 minWill Smith's song “Will 2K” of the Willennium album utes in. samples “Rock the Casbah” both instrumentally and in some of the lyrics.[26] “It’s Gonna Be Alright” by house [8] Webb, Spike (3 May 2012). Topper Headon (The Clash) act Pussy 2000 also samples the song. [27] Richard Cheese talks about 'Mad, Bad and Dangerous’ (Interview). 00:54 minutes in. recorded a lounge cover of the song on his 2004 album •
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[9] Gilbert 2004, p. 305.
[30] "Nederlandse Top 40 – The Clash - Rock The Casbah search results” (in Dutch) Dutch Top 40. Retrieved 9 July [10] Temple, Julien (Director) (2007). Strummer:The Future is 2014. Unwritten (Motion picture). 68 minutes in. [31] "Dutchcharts.nl – The Clash – Rock The Casbah” (in [11] The Clash (19 November 1991). Clash on Broadway Dutch). Single Top 100. Retrieved 9 July 2014. (CD). New York, NY: Epic. OCLC 25248082. [32] "Charts.org.nz – The Clash – Rock The Casbah”. Top 40 [12] Rock the Casbah at the Wayback Machine (archived 18 Singles. Retrieved 9 July 2014. July 2012). Londonsburning.org. [33] "Swedishcharts.com – The Clash – Rock The Casbah”. [13] Gilbert 2004, p. 323. Singles Top 100. Retrieved 9 July 2014. [14] “The Clash - Rock the Casbah” on YouTube
[34] "Archive Chart: 1982-08-07” UK Singles Chart. Retrieved 9 July 2014.
[15] “Rock the Casbah / Mustapha Dance”. Rate Your Music. Retrieved 9 July 2014. [35] “The Clash – Awards”. AllMusic. All Media Network. Retrieved 15 July 2013. [16] Ty, Burr (9 November 2007). “Joe Strummer: The Future is Unwritten Movie Review”. The Boston Globe. Re- [36] CASH BOX Top 100 Singles – Week ending JANUARY trieved 24 September 2010. 29, 1983 at the Wayback Machine (archived 11 September 2012). Cash Box magazine. [17] Murphy, Heather (17 September 2001). “It’s the End of the World as Clear Channel Knows It”. Slate. [37] "Ultratop.be – The Clash – Rock The Casbah” (in Dutch). Ultratop 50. Retrieved 9 July 2014. [18] Miller, John J. (26 May 2006). “Rockin' the Right”. National Review Online . Retrieved 9 July 2014. [38] “Radio 2 Top 30 : 29 juni 1991” (in Dutch). Top 30. Retrieved 9 July 2014. [19] Pierce, Charles P. (2009). “5”. Idiot America: How Stu pidity Became a Virtue in the Land of the Free. Doubleday. [39] "The Irish Charts – Search Results – Rock the Casbah”. Irish Singles Chart. Retrieved 31 May 2013. [20] “Rock the Casbah (Smith & Mighty Steppers mix) [40] “ROCK THE CASBAH – The Clash” (in Polish). LP3. (5:28)". Last.fm. Retrieved 9 July 2014. Retrieved 9 July 2014. [21] Cumming, Tim (29 November 2005). Stop The War Benefit Concert: Brian Eno/Imogen Heap/Nitin Sawh- [41] "Archive Chart: 1991-04-20” UK Singles Chart. Retrieved 9 July 2014. ney/Rachid Taha, Astoria, London at the Wayback Machine (archived 23 January 2008). The Independent . [42] “Forum – ARIA Charts: Special Occasion Charts – Top Stopwar.org.uk. 100 End of Year AMR Charts – 1980s”. Australiancharts.com. Hung Medien. Retrieved 1 July 2014. [22] “Rachid Taha & Mick Jones – “Rock El Casbah” Live (2006)". YouTube. 2 December 2006. Retrieved 9 July [43] “Top 100 Hits for 1983”. The Longbored Surfer. Re2014. trieved 9 July 2014. [23] “Rock El Casbah – Rachid Taha & Mick Jones – [44] The CASH BOX Year-End Charts: 1983 at the Wayback Taratata”. YouTube. Machine (archived 25 December 2012). Cash Box magazine. [24] Rachid Taha at the Wayback Machine (archived 14 January 2008) (SHTML). BBC Online. 14 January 2008. [45] "'I forgive you': The Clash’s drummer Topper Headon makes peace with the man who sacked him”. The Inde[25] “Rock The Casbah,Rachid Taha,Barbican,2007,mick pendent . 28 June 2009. Retrieved 1 January 2016. jones,guest,”. YouTube. 7 April 2007. Retrieved 9 July 2014. [26] “Will Smith feat. K-Ci’s Will 2K sample of The Clash’s Bibliography Rock the Casbah”. WhoSampled. Retrieved 15 July 2013. Gilbert, Pat (2004). Passion Is A Fashion: The Real Story Of The Clash. Aurum Press Ltd. ISBN [27] “Pussy 2000’sIt’s Gonna Be Alright sample of TheClash’s 1845130170. Rock the Casbah”. WhoSampled. Retrieved 15 July 2013. •
[28] “Forum – ARIA Charts: Special Occasion Charts 8.29.10 External links – CHART POSITIONS PRE 1989”. Australian “A Brief History of 'Rock the Casbah'" City Pages charts.com. Hung Medien. Retrieved 9 July 2014. •
[29] "Top RPM Singles: Issue 6194.” RPM . Library and Archives Canada. Retrieved 31 May 2013.
(15 December 1999)
•
Lyrics of this song at MetroLyrics
241
8.30. “SHOULD I STAY OR SHOULD I GO”
8.30
“Should I Stay or Should I Go”
“Should I Stay or Should I Go” •
Mick Jones – lead vocals, lead guitar
Joe Strummer – backing vocals, rhythm guitar "Should I Stay or Should I Go " is a song by the English punk rock band the Clash, from their album Combat Paul Simonon – backing vocals, bass guitar Rock . It was written in 1981 and featured Mick Jones on lead vocals. It became the band’s only number-one single Topper Headon – drums on the UK Singles Chart, a decade after it was originally released.[1] In November 2004, it was ranked at 228 on Joe Ely – backing vocals [2] "Rolling Stone’s 500 Greatest Songs of All Time" list. In 2009 it was ranked 42nd on VH1's program 100 Great“Inoculated City” est Hard Rock Songs .[3] Many rumours have arisen about the song’s content, such Mick Jones – vocals, lead guitars, sound effects as Jones’ impending dismissalfromthe Clash or the rocky personal relationship between Jones and singer Ellen Fo Joe Strummer – lead guitars [4] ley, but Jones himself says: Paul Simonon – bass guitar It wasn't about anybody specific and it Topper Headon – drums wasn't pre-empting my leaving The Clash. It was just a good rockin' song, our attempt at writing a classic ... When we were just play8.30.3 Charts ing, that was the kind of thing we used to like to play. – Mick Jones, 1991[5] 8.30.4 In popular culture •
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•
•
The Spanish backing vocals were sung by Joe Strummer and Joe Ely: On the spur of the moment I said 'I'm going to do the backing vocals in Spanish' ... We needed a translator so Eddie Garcia, the tape operator, called his mother in Brooklyn Heights and read her the lyrics over the phone and she translated them. But Eddie and his mum are Ecuadorian, so it’s Ecuadorian Spanish that me and Joe Ely are singing on the backing vocals. – Joe Strummer, 1991[6] 8.30.1
Releases
The single was reissued several times. It was first reissued in 1982, with a different cover as a double A-side with "Straight to Hell" andwith “Cool Confusion”as its B-side. It was reissued again in 1983, with “First Night Back in London” on side two, and then for a third time in 1991, with "Rush" by Mick Jones’ group Big Audio Dynamite II as a double A-side, with a remix of “Rush” as its B-side (see the table below).[7] Live recording of the song was released as a part of the album, Live at Shea Stadium, which featured a concert on 13 October 1982 in New York. The song’s music video[8] from that performance was included in DVD The Clash Live: Revolution Rock . Both disks were released on 6 October 2008.[9] 8.30.2
Personnel
•
•
The song’s opening guitar riff was used in One Direction's 2012 hit single, "Live While We're Young", which caused controversy.[29] “ShouldIStayorShouldIGo”isfeaturedinmultiple episodes of the 2016 Netflix sci-fi drama, Stranger Things , which is set in 1983. [30][31]
8.30.5 •
See also
Ronald Reagan in music
8.30.6
References
[1] Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. pp. 524–5. ISBN 1-904994-10-5. [2] The RS 500 Greatest Songs of All Time (1-500) at the Wayback Machine (archived 25 October 2006). Rolling Stone. 29 December 2004. [3] “100 Greatest Hard Rock Songs”. Spreadit.org. 1 January 2009. Retrieved 27 February 2009. [4] “The Uncut Crap - Over 56 Things You Never Knew About The Clash”. NME . London. 3. 16 March 1991. ISSN 0028-6362. OCLC 4213418. 'Should I Stay Or Should I Go' was written by Mick about American singer Ellen Foley, who sang the backing vocals on Meatloaf’s Bat Out Of Hell LP. [5] Clash on Broadway Box Set liner notes (Media notes). Sony Music Entertainment Inc.
242 [6] Moser, Margaret (22 May 2000). “Music: Lubbock Calling (Austin Chronicle. 05-22-00)". The Austin Chronicle . Weekly Wire. Retrieved 22 November 2007. I ran into them accidentally in New York when they were cutting 'Should I Stay or Should I Go' and Strummer said, 'Hey, help me with my Spanish.' So me and Strummer and the Puerto Rican engineer sat down and translated the lyrics into the weirdest Spanish ever. Then we sang it all. When you listen to 'Should I Stay or Should I Go,' there’s a place in the song where Mick says, 'Split.' Me and Strummer had been yelling out the Spanish background lyrics and we had snuck up behind him as he was recording. We were behind a curtain, jumped out at him in the middle of singing, and scared the shit out of him. He looks over and gives us the dirtiest look and says, 'Split!' They kept that in the final version.
CHAPTER 8. SONGS [22] "Dutchcharts.nl – The Clash – Should I Stay Or Should I Go” (in Dutch). Single Top 100. Retrieved 16 June 2014. [23] "Charts.org.nz – The Clash – Should I Stay Or Should I Go”. Top 40 Singles. Retrieved 16 June 2014. [24] "Norwegiancharts.com – The Clash – Should I Stay Or Should I Go”. VG-lista. Retrieved 16 June 2014. [25] “SHOULD I STAY OR SHOULD I GO – The Clash” (in Polish). LP3. Retrieved 16 June 2014. [26] "Swedishcharts.com – The Clash – Should I Stay Or Should I Go”. Singles Top 100. Retrieved 16 June 2014.
[27] "Swisscharts.com – The Clash – Should I Stay Or Should I Go”. Swiss Singles Chart. Retrieved 16 June 2014. [7] “Albums by The Clash”. Rate Your Music. Retrieved 31 December 2007. [28] "Archive Chart: 1991-03-09” UK Singles Chart. Retrieved 15 July 2013. [8] The Clash’s official music video for 'Should I Stay Or Should I Go' on YouTube [29] Bychawski, Adam (29 September 2012). “One Direc[9] “New Live Clash Album And DVD”. Ultimatetion respond to claims they ripped off The Clash on 'Live Guitar.com. 8 June 2008. Retrieved 16 September 2015. While We're Young'". NME . Retrieved 1 August 2016. [10] “Forum – ARIA Charts: Special Occasion Charts [30] Gidick, Sarah (3 August 2016). “5 Things to Know – CHART POSITIONS PRE 1989”. AustralianAbout Winona Ryder’s Stylish Comeback Show, 'Stranger charts.com. Hung Medien. Retrieved 16 June 2014. Things’". The Hollywood Reporter . Retrieved 22 August 2016. [11] "Top RPM Singles: Issue 6196.” RPM . Library and Archives Canada. Retrieved 15 July 2013. [31] Reed, Ryan (1 August 2016). “Hear 'Stranger Things’Inspired Mixtape Featuring Smiths, Clash”. Rolling Stone. [12] "The Irish Charts – Search Results – Should I Stay or Retrieved 22 August 2016. ShouldIGo”. Irish Singles Chart. Retrieved 15 July 2013. [13] "Archive Chart: 1982-10-23” UK Singles Chart. Retrieved 15 July 2013. [14] “The Clash – Awards”. AllMusic. All Media Network. Retrieved 15 July 2013.
8.31
“Spanish Bombs”
“Spanish Bombs” is a song by English punk rock band
[15] CASHBOXTop100Singles–WeekendingMARCH26, the Clash, with principal vocals by Joe Strummer and ad1983 at the Wayback Machine (archived 13 September ditional vocals by Mick Jones. It was written by Strum2012). Cash Box magazine. merandrecordedfortheband’s1979album London Call[16] "Austriancharts.at – The Clash – Should I Stay Or Should ing. IGo” (in German). Ö3 Austria Top 40. Retrieved 16 June The song also appears on the Clash compilation albums 2014. The Story of the Clash, Volume 1 (1988) and Clash on [17] "Ultratop.be – The Clash – Should I Stay Or Should I Go” Broadway (1991). Allmusic's Donald A. Guarisco said that the song’s “combination of thoughtful lyrics and an (in Dutch). Ultratop 50. Retrieved 16 June 2014. energetic performance” made it a “highlight of London [18] “Radio2 Top 30 : 27 april 1991” (in Dutch). Top 30. Calling".[1] Retrieved 16 June 2014. [19] "Lescharts.com – The Clash – Should I Stay Or Should I Go” (in French). Les classement single. Retrieved 16 8.31.1 June 2014.
Background
Strummer wrote the song during the recording sessions
[20] "Offiziellecharts.de – The Clash – ShouldI Stay Or Should for London Calling. He developed the idea for the song I Go”. GfK Entertainment Charts. Retrieved 16 June while travelling homefrom Wessex studios in London and 2014.
listening to a radio news report of ETA terror bombings [21] "Nederlandse Top 40 – The Clash - Should I Stay Or of tour hotels on the Costa Brava. It reminded him of the Should I Go search results” (in Dutch) Dutch Top 40. Re- ongoing Provisional Irish Republican Army campaign in trieved 16 June 2014. the United Kingdom.[2]
243
8.31. “SPANISH BOMBS”
8.31.2
Music and lyrics
[3] Continente multicultural . Companhia Editora de Pernambuco. 9 (103-8): 83. 2009.
According to Continente Multicultural magazine, “Spanish Bombs” is a pop rock song.[3] AllMusic's Donald A. [4] Guarisco, Donald A. “Spanish Bombs – The Clash”. Allmusic. Retrieved 9 July 2013. Guarisco described it as a “rousing rocker” with a combination of power chords, quickly-strummed acoustic riffs, [5] Mazmanian, Adam (29 December 2009). “Listening Staand “simple but catchy verses and chorus”.[4] tion: Clash of cultures”. Washington Times . Retrieved 9 July 2013. “Spanish Bombs” compares the modern day tourist experience of Spain with the circumstances of the Spanish [6] Dimery, Robert (1999). Collins Gem Classic Albums . Civil War,[2] and contrasts the “trenches full of poets” Glasgow: Harper Collins Publishers. ISBN 0-00-472485to the planeloads of British tourists visiting the country’s 2. OCLC 43582584. ..."Spanish Bombs” praises the beaches in the post-Franco era.[5] Praising the heroism of heroism of republicans in the Spanish Civil War. the civil war republicans,[6] the song alludes to the death of anti-fascist poet Federico García Lorca.[7] Adrien Be- [7] D'Ambrosio, Antonio, ed. (2012). Let Fury Have the Hour: Joe Strummer, Punk, and the Movement That Shook grand of PopMatters remarked that Strummer’s referthe Word (2nd ed.). Nation Books. p. 277. ISBN ences to bomb attacks by Basque separatists in the late 1568587201. 1970s “echoes” Lorca and the Spanish Civil War, citing the line “Spanish bombs rock the province / I'm hearing [8] Begrand, Adrien (8 October 2004). “The Clash: London music from another time”.[8] Calling: 25th Anniversary Legacy Edition”. PopMatters. Retrieved 9 July 2013. The song utilizes what Adam Mazmanian of The Wash[5] ington Times calls "pidgin Spanish”. According to the [9] London Calling (Loose leaf lyric sheet). The Clash. Lonliner notes accompanying the original 1979 UK vinyl redon: CBS Inc./Riva Music Ltd/Nineden Ltd. 1979. CBS lease of London Calling the song included the lyric “Yo CLASH 3. t'quierro y finito, yo te querda, oh ma côrazon” (sic ).[9] According to The A.V. Club, the lyric is in fact, “Yo [10] Heller, Jason; et al. (23 November 2009). "Ça plane pour te quiera infinito, yo te quiera, oh mi corazón” which wha?: 19 foreign phrases we wouldn't know without pop songs”. The A.V. Club. Chicago. Retrieved 9 July 2013. they translate as “I want you forever, I want you, oh my [10] heart”. However, according to a comment by Strummer himself, in the liner notes for the 25th Anniver- [11] sary Edition of London Calling, the lyric is “Clash Spannish [sic]", and "... means 'I love you and goodbye! I want you but _ oh my aching heart!' induced by those 8.31.5 Further reading grapes of wrath.[sic]"[11] The song also makes reference Gilbert, Pat (2005) [2004]. Passion Is a Fashto Andalusia, the Spanish region where Strummer’s exion: The Real Story of the Clash (4th ed.). Longirlfriend Palmolive was born.[2] don: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. 8.31.3 Performers Gray, Marcus (2005) [1995]. The Clash: Return •
•
•
of the Last Gang in Town (5th revised ed.). Lon-
Joe Strummer- lead vocals, acoustic guitar, lead guitar
•
Mick Jones - backing vocals, lead guitars
•
Paul Simonon - bass guitar
•
Topper Headon - drums
•
Mickey Gallagher - organ
8.31.4
don: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. •
•
References •
[1] Guarisco, Donald A. “Spanish Bombs Review”. AllMusic. Retrieved 18 February 2008. [2] Gray, Marcus (2004). The Clash: Return of the Last Gang in Town (2nd ed.). Hal Leonard Corporation. p. 315. ISBN 1617749176. Retrieved 9 July 2013.
•
Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with the Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890. Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
244
CHAPTER 8. SONGS
8.31.6 •
External links
Lyrics of this song at MetroLyrics
8.32
“Straight to Hell”
"Straight to Hell" is a song by The Clash, from their album Combat Rock . It was released as a double A-side single with "Should I Stay or Should I Go" on 17 September 1982 in 12” and 7” vinyl format (the 7” vinyl is also available in picture disc) format. 8.32.1
Writing and recording
“Straight to Hell” was written and recorded towards the very end of The Clash’s New York recording sessions for the Combat Rock album. Mick Jones’ guitar technician Digby Cleaver describes the sessions as “a mad, creative rush” that occurred on 30 December 1981, the day before The Clash was due to fly out of New York on New Year’s Eve 1981.[1] Joe Strummer reflected on this creative process in a 1991 piece about “Straight to Hell": I'd written the lyric staying up all night at the Iroquois Hotel. I went down to Electric Lady and I just put the vocal down on tape, we finished about twenty to midnight. We took the E train from the Village up to Times Square. I'll never forget coming out of the subway exit, just before midnight, into a hundred billion people, and I knew we had just done something really great. — Joe Strummer, Clash on Broadway box set booklet[1]
The reference to "Amerasian Blues” describes the abandonment of children fathered by American soldiers stationed in Vietnam during the Vietnam War: an Amerasian child is portrayed as presenting an absent American father, “papa-san,” with a photograph of his parents, pleading with his father to take him home to America. The child’s plea is rejected. "-San” is a Japanese rather than Vietnamese honorific, but it was used by US troops in Vietnam who referred to Vietnamese men and women, especially older men and women, as “mama-san” or “papa-san”. When Strummer sings of a “Volatile Molotov" thrown at Puerto Rican immigrants in Alphabet City as a message to encourage them to leave, he is referring to the arson that claimed buildings occupied by immigrant communities – notably Puerto Rican – before the area was subject to gentrification.
8.32.3
Musical style
The song has a distinctive drum beat. “You couldn't play rock 'n' roll to it. Basically it’s a Bossa Nova.” said Topper Headon. Joe Strummer has said “Just before the take, Topper said to me “I want you to play this” and he handed me an R Whites lemonade bottle in a towel. He said “I want you to beat the bass drum with it.” [3]
8.32.4
Alternative version
The Combat Rock version of the song had a duration of 5:30 minutes. This version was edited down from the original track, which lasted almost 7 minutes. The originaltrack featured extra lyrics anda more prominent violin part. The decision to edit the song down from 7:00 down to 5:30 was part of the early 1982 mixing sessions whereby The Clash and Glyn Johns edited Combat Rock down from a 77-minute double album down to a 46-minute sin8.32.2 Lyrical themes gle album.[4] “Straight to Hell” has been described by writer Pat The full, unedited version of “Straight to Hell” can be Gilbert as being saturated by a “colonial melancholia and found on the Clash on Broadway and Sound System box sadness”.[2] sets. Like many songs by the Clash, the lyrics of “Straight to Hell” decry injustice. The first verse refers to the shutting down of steel mills in Northern England and un- 8.32.5 Personnel employment spanning generations, it also considers the alienation of non English speaking immigrants in British Joe Strummer - vocal society. The second verse concerns the abandonment of children in Vietnam who were fathered by American Mick Jones - guitars, keyboards, sound effects soldiers during the Vietnam War. The third verse contrasts the American Dream as seen through the eyes of Paul Simonon - bass guitar an Amerasian child with a dystopian vision of American reality. The final verse broadly considers the life of immigrants throughout the world. Topper Headon - drums •
•
•
•
245
8.33. “THIS IS ENGLAND”
8.32.6
Uses in media
[8] Spectacle: Elvis Costello with She & Him, Jenny Lewis, and Jakob Dylan (Episode 11). PopMatters.
This song was featured in the 2000 comedy film, Kevin & Perry Go Large and in "Complicity" from that same year. 8.32.10 8.32.7
Covers and samples •
“Straight to Hell” has been covered or sampled by many artists. Heather Nova and Moby covered the song in 1999 for the Clash tribute album Burning London. In 2007, British singer M.I.A. sampled “Straight to Hell” in her song "Paper Planes" (which like “Straight to Hell” deals with the topic of immigration)--and as a result the songwriters of “Straight To Hell” were credited with writing T.I.'s 2008 song "Swagga Like Us". Philadelphia punk rock band The Menzingers later covered the song on their album A Lesson in the Abuse of Information Technology . Several folk artists have covered the song, including Josh Rouse, Emm Gryner, and Will Kimbrough.[5] French DJ Martin Solveig also used samples from Straight to Hell to create his 2011 mega-hit "Hello" ft. Dragonette. The song has been refashioned by Mick Jones, featuring Lily Allen, for the War Child: Heroes album, released in the UK on 16 February 2009, and in the U.S. on 24 February 2009 by Astralwerks. Jakob Dylan and Elvis Costello performed a cover of the song on season 1, episode 12 of Costello’s show Spectacle: Elvis Costello with..., entitled “She & Him, Jenny Lewis and Jakob Dylan” and aired on Channel 4 in the UK,[6] CTV in Canada and the Sundance Channel in the United States [7] in 2008–2009.[8]
•
8.32.9
“This Is England”
"This Is England" is a song by English punk rock band The Clash, released in September 1985 as the only international single[1] from their sixth, final, and critically maligned studio album Cut the Crap. It was the final release while the group were still together, in their final incarnation of Joe Strummer, Paul Simonon, Nick Sheppard, Pete Howard and Vince White. 8.33.1
Personnel
•
Joe Strummer - lead vocals
•
Paul Simonon - backing vocals
•
Nick Sheppard - guitar, backing vocals
•
Vince White - guitars
See also
Bụi đời
Lyrics of this song at MetroLyrics
8.33
•
8.32.8
External links
•
Pete Howard - drums on “Do It Now” and “Sex Mad Roar” Bernie Rhodes - synthesisers, backing vocals, drums, sound effects
References 8.33.2
Lyrics and meaning
[1] Gilbert, Pat (2004). Passion Is A Fashion: The Real Story Of The Clash. Aurum Press Ltd. p. 308. ISBN Written in late 1983, the song is about the state of 1845130170. [2]
England at the time.
[2] Gilbert, Pat (2004). Passion Is A Fashion: The Real The song comprises a list of the problems in England Story Of The Clash. Aurum Press Ltd. p. 320. ISBN during the early years of the Thatcher administration, 1845130170. [3] Songfacts - Straight To Hell by The Clash [4] Gilbert, Pat (2004). Passion Is A Fashion: The Real Story Of The Clash. Aurum Press Ltd. pp. 312–14. ISBN 1845130170. [5] Cover Lay Down - Covers of The Clash classic “Straight to Hell” [6] Spectacle: Elvis Costello with... - Series 1 - Episode 12 She & Him, Jenny Lewis and Jakob Dylan. Channel 4. [7] SPECTACLE - She & Him, Jenny Lewis, Jakob Dylan (Episode 11, Season 1). Film. Sundance Channel.
addressing inner-city violence, urban alienation, life on council estates, high unemployment rate, England’s dying motorcycle industry, racism, nationalism, and police corruption—as well as two very common subject matters for mid-1980s left-wing songwriters: the Falklands War; and the consumerist, subservient mind-set of many English people at the time.[3] The song begins with the squeaky voice of a market hawker shouting, “four for a pound your face flannels; three for a pound your tea towels!" It is unclear whether it is the voice of a child or of an adult that has been sped-up to raise its pitch.
246
CHAPTER 8. SONGS
8.33.3
Reception and release
Unlike the album, which continues to receive criticism and in some cases ridicule, “This Is England” is often praised. Strummer described it as his “last great Clash song”. The song was number 30 in a poll conducted by Uncut magazine in their December 2003 issue of the top 30 Clash songs (chosen by an all-star panel). However, the single’s contemporary reviews were much more negative and in keeping with the general reaction to Cut the Crap, such as Gavin Martin’s review in NME , who claimed that “Strummer’s rant bears all the signs of aged rocker well into advance senility”. The single was released on 7-inch vinyl, backed with “Do It Now”, and in a 12” vinyl format with a different cover and an additional track on side two, titled “Sex Mad Roar”. Initially, attempts were made by the Clash and others to ignore the final incarnation of the band. As such, “This Is England” is not included on The Singles , the band’s discography ends with "Should I Stay or Should I Go" / "Straight to Hell" in Clash on Broadway and Don Letts' 2000 documentary about the band, Westway to the World , totally ignores the whole period, giving the impression that the Clash broke up when Mick Jones left the group. This changed, however, with the release of The Essential Clash in 2003, which included “This Is England” as its final track, making it the first compilation to acknowledge a song from the period. In 2006, the single was fully re-released on CD as disc 19 in Singles Box , accompanied by a faithful re-creation of the single’s original artwork and the extra track “Sex MadRoar” fromthe original12” pressing. The single also appears on the 2007 collection The Singles .
8.33.4
Charts
8.33.5
References
[1] “Are You Red..y” was released as a single in Australia.
8.34
“This Is Radio Clash”
"This Is Radio Clash" is a song by the English punk rock band the Clash. The 1981 single was issued in 7inch format and also in 12-inch format and cassette tape with additional tracks. The first public performance of the song was on Tom Snyder's Tomorrow show on the 5th of June 1981.[1] The song is not featured on any of the Clash’s original studio albums, butis includedin their compilations: The Sin gles (1991), The Story of the Clash, Volume 1, Sound System, Singles Box , The Singles (2007) and Clash on Broadway. American critic Eric Schafer said this of the song - “it is a magnificent, daring, challenging record that was years ahead of its time; one of the great rock records of the 1980s, it has never been given its just credit. Twentyeight years after its debut, were it released today it would still burn up the radio.”[2] The song is included on the experimental compilation album called Disco Not Disco 2 (2002) as well as the radio soundtrack in Battlefield Hardline. 8.34.1
7-inch release
The 7-inch single also containsa B-side titled simply “Radio Clash,” a remix of the title track with exactly the same running time andadditionallyrics. The Clash stated at the time that they intended the songs to be heard as a single entity. “This Is Radio Clash” begins with the lyric: "This is Radio Clash on pirate satellite Orbiting your living room, cashing in the bill of rights." And “Radio Clash” begins with: "This is Radio Clash resuming all transmissions Beaming from the mountain tops, using aural ammunition.”
[2] “songmeanings.net comments”. songmeanings.net. ReThe similarities of the A and B-side recordings has led to trieved 2012-01-26.
much confusion not only by fans but also by the record company. On the remastered version of the Super Black [3] http://www.songfacts.com/detail.php?id=30553 Market Clash CD, the B-side “Radio Clash” is included, but incorrectly listed as “This Is Radio Clash”. The same [4] “everyHit.com database”. everyHit.com. 2009-12-04. error was repeated on the US version of the 2003 collecRetrieved 2010-02-24. tion The Essential Clash. 8.33.6 •
External links
Lyrics of this song at MetroLyrics
8.34.2
12-inch release
On side one of the 12-inch single, “This Is Radio Clash” is immediately followed by “Radio Clash” in accordance
247
8.34. “THIS IS RADIO CLASH”
with the band’s intention that they be heard together. Side 8.34.5 Charts two contains two additional remixes of the title track(s): “Outside Broadcast” and “Radio Five”. In 2006 a CD 8.34.6 Notes compilation called Singles Box was released which collected all four versions in the same order with original [1] Discogs - The Tomorrow Show 7-inch vinyl bootleg cover art. This was the first time all four tracks were re[2] Punk Rock Warlord: the Life and Work of Joe Strummer . leased together since the original 1981 release. Books.google.com. 2014-04-28. p. 154. Retrieved 2016-
10-25.
8.34.3
Track listing
[3] "Australian-charts.com – The Clash – This Is Radio Clash”. ARIA Top 50 Singles.
7-inch
Released in UK with picture sleeve.
[4] "Charts.org.nz – The Clash – This Is Radio Clash”. Top 40 Singles.
Side one
[5] "Swedishcharts.com – The Clash – This Is Radio Clash”. Singles Top 100.
1. “This Is Radio Clash” — 4:10 Side two
[6] The Clash > Charts & Awards > Billboard Singles at AllMusic. Retrieved 20 December 2007.
8.34.7
1. “Radio Clash” — 4:10
•
12-inch
Released in UK with picture sleeve. Released in Canada with a cover sticker (12EXP 02622).
•
Side one
1. “This Is Radio Clash” — 4:10
•
2. “Radio Clash” — 4:10 •
Side two
1. “Outside Broadcast” — 7:23 2. “Radio Five” — 3:38 8.34.4
Personnel
•
Joe Strummer - lead/backing vocal, rhythm guitar
•
Mick Jones - backing/lead vocal, lead guitar
•
Paul Simonon - bass guitar
•
Topper Headon - drums
with: •
Gary Barnacle - saxophones
•
•
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890. Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
8.34.8 •
References
External links
This Is Radio Clash at MySpace (streamed copy
where licensed) •
Radio Clash at MySpace (streamed copy where li-
censed) •
Lyrics of this song at MetroLyrics
248
CHAPTER 8. SONGS
8.35
“Tommy Gun”
8.35.2
Charts
Warning: Page using Template:Infobox single with 8.35.3 Notes unknown parameter “Reviews” (this message is shown Gilbert, Pat (2005) [2004]. Passion Is a Fashonly in preview). ion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC "Tommy Gun" is a song by the British punk rock band 61177239. The Clash, released as the first single from their second album Give 'Em Enough Rope (1978). Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). LonJoe Strummer said that he got the idea for the song when don: Helter Skelter. ISBN 1-905139-10-1. OCLC he was thinking about terrorists, and how they proba60668626. bly enjoy reading about their killings as much as movie [1] stars like seeing their films reviewed. While Topper Green, Johnny; Garry Barker (2003) [1997]. A Riot Headon mimics the sound of gangster movie shootings of Our Own: Night and Day with The Clash (3rd with quick snare hits and the guitars are full of distortion ed.). London: Orion. ISBN 0-7528-5843-2. OCLC and feedback, Strummer’s sarcastic lyrics (I'm cutting out 52990890. your picture from page one/I'm gonna get a jacket just like •
•
•
yours/And give my false support to your cause/Whatever you want, you're gonna get it!) condemn rather than condone violence: at the end of the song he sings, If death comes so cheap/Then the same goes for life!
In the liner notes of the Singles Box , Carl Barat (former frontman of Dirty Pretty Things and The Libertines), says that “Tommy Gun” was important for music at the time because it let people know what was going on in the world—it talked about real issues. He says, "It’s ["Tommy
•
•
•
Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
Gun"] a product of the volatile climate of the late seventies - all those references to terrorist organizations like BaaderMeinhof and The Red Brigades . It’s like a punk rock adaptation of The Beatles ' " Revolution"."[2] 8.35.4
8.35.1
Personnel
“Tommy Gun” •
Joe Strummer - lead vocals, rhythm guitar
•
Mick Jones - lead guitar, backing vocals
References
[1] Sullivan, Denise. “Tommy Gun Song Review”(DLL). allmusic. Retrieved 2008-03-20. [2] Singles Box, p. 14
8.36
“Train in Vain”
"Train in Vain" is a song by the British punk rock band The Clash. It was released as the third and final single from their third studio album, London Calling (1979). Topper Headon - drums The song was not originally listed on the album’s track listing, [1][2] appearing as a hidden track at the end of the album. This was because the track was added to “1-2 Crush on You” the record at the last minute, when the sleeve was already in production. Some editions include the song in Mick Jones -, lead guitar, lead and, backing vocals the track listing. It was the first Clash song to reach the United States Top 30 charts[1][2] and in 2004, the song Joe Strummer - rhythm guitar, backing and lead was ranked number 298 on Rolling Stone magazine’s list (outro) vocals, piano of The 500 Greatest Songs of All Time.[3][4] In the US, the song’s title is expanded to “Train in Vain Paul Simonon - bass guitar, backing vocals (Stand by Me)", as the words “stand by me” dominate the chorus. It was titled “Train in Vain” in part to avoid Topper Headon - drums confusion with Ben E. King's signature song "Stand by Gary Barnacle - saxophones Me". •
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Paul Simonon - bass guitar
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8.36. “TRAIN IN VAIN”
8.36.1
Origins
The song was written in one night and recorded the next day, near the very end of the recording for London Calling. It was initially intended to be given away as a promotion with the British rock magazine New Musical Ex press .[5] Sound engineer Bill Price later recalled: 'Train in Vain' was the last song we finished after the artwork went to the printer. A couple of Clash Web sites describeit as a hidden track, but it wasn’t intended to be hidden. The sleeve was already printed before we tacked the song on the end of the master tape.[1]
8.36.3
Formats and track listings
“Train in Vain” was released in mainland Europe as a 33 rpm single in June 1980 (catalogue number CBS 8370) and included the tracks "Bankrobber" and "Rockers Galore... UK Tour". In the UK, “Train in Vain” was not released as a single at the time; only "Bankrobber" and "Rockers Galore... UK Tour" were released on a 7” single in August 1980 (catalogue number CBS 8323). The song was released in the US as a 10” white label promo in 1979 (catalogue number AS 749). The US commercial release of 12 February 1980 (catalogue number 50851) consisted of a 7” that included the track "London Calling". The 1991 UK re-release (catalogue number 657430 7) included the track "The Right Profile". The formats and track listings of “Train in Vain (Stand By Me)" are tabulated below:[10] “Train in Vain” also features on the Clash albums The Story of the Clash, Volume 1 (1988), Clash on Broadway (1991), The Singles (1991), From Here to Eternity: Live (1999) (live version recorded on 13 June 1981 at Bond’s Casino, New York), The Essential Clash (2003), Singles Box (2006) (disc eleven — Spanish 7” issue), The Singles (2007), Sound System (2013) and The Clash Hits Back (2013).
“Train in Vain” was added after the deal for The Clash to write a song for an NME flexi disc fell through, and as Mick Jones commented, “The real story on 'Train in Vain' is that originally we needed a song to give to the NME for a flexi disk that NME was going to do. And then it was decided that it didn't work out or decided the flexi disk didn't work out so we had this spare track we had done as a giveaway. So we put it on London Calling but there wasn't time because the sleeves were already done.”[6] The result of its late addition was that it was the only song without lyrics printed on the insert, and was not listed as a track, although its presence is announced 8.36.4 Personnel as the title and position on the original vinyl record was Mick Jones - lead vocals, guitars, harmonica scratched into the vinyl in the needle run-off area on the fourth side of the album. Joe Strummer - piano •
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8.36.2
Meaning and inspiration
When the London Calling album was released, many fans assumed it was called “Stand by Me”, [4] but the meaning of the song’s title is obscure as the title phrase cannot be found in the lyrics. Mick Jones, who wrote most of the song, offered this explanation: “The track was like a train rhythm, and there was, once again, that feeling of being lost.”[1] “Train in Vain” is a love song,[7] with an almost countryand-western lyric that echoes Tammy Wynette's "Stand by Your Man".[1] The song has been interpreted by some as a response to Typical Girls” by the Slits, which mentions girls standing by their men. Mick Jones split up with Slits guitarist Viv Albertine shortly before he wrote the song.[8] The song has often interpreted to be about Jones’ volatile relationship with the Slits guitarist Viv Albertine who commented “I'm really proud to have inspired that but often he won't admit to it. He used to get the train to my place in Shepherds Bush and I would not let him in. He was bleating on the doorstep. That was cruel”.[9] The couple separated around the time of the London Calling recording sessions.
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Paul Simonon - bass guitar
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Topper Headon - drums, percussion
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Mickey Gallagher - organ
8.36.5
In popular culture
This song (along with “London Calling”, "The Guns of Brixton", and "Clampdown") was performed on The Clash’s debut television appearance in the United States, on ABC's Fridays . It also appeared in The Wire episode "Transitions" and in the season finale of the third season of Fresh Meat as well as in the film You, Me, and Dupree. It was also used on the eighth season of Dancing with the Stars , performed by Ty Murray and Chelsie Hightower to a Cha Cha. “Train in Vain” appeared on the skate video Almost: Round Three during Rodney Mullen's part. It is also featured on the soundtrack of the video game NCAA Football 2006 , as well as being available as a downloadable track in the Rock Band game. It appeared in the game Forza Horizon 2 on the radio station Horizon XS.
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CHAPTER 8. SONGS
Covers
“Train in Vain” has become an influential andwell-known Clash song, covered by artists as diverse as the British indie dance band EMF, the Brazilian rock band Ira! on their acoustic special for MTV Brasil in 2004, where the song was titled “Pra ficar comigo”, the blues-oriented hard rock jam band The Black Crowes, the Welsh rock band Manic Street Preachers, or the Swedish indie rock band Shout Out Louds.[1][11] Annie Lennox recorded a soulful, dance-beat cover of the song on her 1995 album Medusa. The American country music singer and songwriter Dwight Yoakam did a country version on his 1997 album Under the Covers . Theband Third Eye Blind recorded a version for the1999 tribute album Burning London: The Clash Tribute.[2] The Afghan Whigs, who covered "Lost in the Supermarket" on the same album, added portions of “Train In Vain” and the BenE.King song"StandByMe" to their contribution. "Stupid Girl", a song released by the US rock group Garbage in 1996, is musically built around the drum rhythm from “Train in Vain”.[1] Both Joe Strummer and Mick Jones received a co-writing credit and royalties from the song under its original release. In 2007, when the song was remastered for the band’s greatest hits album, the credit for the song was expanded to include Paul Simonon and Topper Headon.[12] 8.36.7
Charts
8.36.8
References
[1] Black, Johnny (May 2002). “The Greatest Songs Ever! “Train in Vain (Stand by Me)" Article on Blender :: The Ultimate Guide to Music and More” (ASPX). Blender. Retrieved 2 December 2007. a, b) Thrown together at the last minute in the dying hours of sessions for the Clash’s classic 1980 album, London Calling, 'Train in Vain (Stand by Me)' was not even listed on the record’s cover. It was the Clash song that almost wasn't, but it turned out to be the one that brought the band into the Top 30 for the first time. c) 'Train in Vain', written in one night and recorded the next day, was initially going to be given away as a promotion with the British rock magazine NewMusical Express. Only after that failed to happen did the band consider the song for inclusion on the album. d) As Wessex Studios’ manager and house engineer Bill Price points out, 'Train in Vain' was 'the last song we finished after the artwork went to the printer. A couple of Clash Web sites describe it as a hidden track, but it wasn't intended to be hidden. The sleeve was already printed before we tacked the song on the end of the master tape.' e) The meaning of the song’s title is equally obscure. Sometimes it seems as if every little boy who once dreamed of growing up to be a train engineer became a songwriter instead. With the Clash, however, things are
never quite what they seem — and no train is mentioned in the song. Mick Jones, who wrote most of it, offers a prosaic explanation: 'The track was like a train rhythm, and there was, once again, that feeling of being lost.' f) Another curious aspect of “Train in Vain”, given the Clash’s political stance and reputation for social consciousness, is that it’s a love song, with an almost countryand-western lyric that echoes Tammy Wynette’s classic weepie “Stand by Your Man”. g) If the Clash were hard-line British punks who despised America as much as their song 'I'm So Bored with the USA' suggested, why did'Train in Vain' have such a madein-the-USA feel? Strummer has admitted that despite the band’s anti-American posturing, much of its inspiration came from this side of theAtlantic Ocean. 'I was drenched in blues and English R&B as a teenager,' the singer says. 'Then I went to black American R&B with my [pre-Clash] group the 101ers. Mick had heard a lot of that stuff too, and he had this extra dimension of the glam/trash New York Dolls/Stooges scene.' h, i) 'Train in Vain'... has become a Clash standard, covered by artists as diverse as EMF, Dwight Yoakam, Annie Lennox and Third Eye Blind. Its influence crops up elsewhere, too: Listening to 'Train in Vain' and Garbage’s 'Stupid Girl' in succession makes clear where Garbage drummer and producer Butch Vig located 'Stupid Girls distinctive drum loops.
[2] Janovitz, Bill. “Train in Vain”. Song Review. Allmusic. Retrieved 4 December 2007. a, b) Despite being hidden — it was originally not listed on the sleeve, for the band felt it was too commercial (imagine any late-'90s 'alternative' bands taking a similar stance) — 'Train in Vain' cracked the Top 40 in the US. This was remarkable in 1980 for a so-called punk rock band. The song was literally the hidden gem of the master-stroke London Calling. d, e, f) Masters of pale pop Third Eye Blind recorded a weak sugar-coated, suburban hip-hop version in an illadvised 'tribute' on Burning London: The Clash Tribute (1999), which is almost a disaster from start to finish. On the other hand, on her 1995 album Medusa, Annie Lennox manages to pull off what Third Eye Blind seemed to be attempting: a soulful, dance-beat cover of the song. The differences are that Lennox can actually sing and the production and arrangement are thought-out and wellcrafted. In addition, Dwight Yoakamturns in a fine, countrified rendition on Under the Covers (1997). [3] “The RS 500 Greatest Songs of All Time”. RollingStone. 9 December 2004. Retrieved 22 November 2007. 292. Train in Vain, The Clash [4] “Train in Vain The Clash”. The RS 500 Greatest Songs of All Time. Rolling Stone. 9 December 2004. Retrieved 22 November 2007. 'Train in Vain' was the hidden track at the end of the Clash’s London Calling , unlisted on the sleeve or on the label. It didn't even have a proper title; fans initially assumed it was called 'Stand by Me', after the chorus. But it became a surprise US hit, with hardcharging drums and weary vocals from guitarist Jones, who wrote the bitter love song in his grandmother’s flat. [5] “The Uncut Crap — Over 56 Things You Never Knew About The Clash”. NME . London: IPC Magazines. 3 . 16 March 1991. ISSN 0028-6362. OCLC 4213418. “Train
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8.37. “WASHINGTON BULLETS”
In Vain” isn't listed on the sleeve credits for “London Call- [10] “Albums by The Clash — Rate Your Music”. rateyouring” because it was originally going to be a flexi give-away music.com. Retrieved 3 December 2007. with NME. Unfortunately, the idea proved too expensive [11] Pirnia, Garin (25 October 2007). “Radio Free Chicago : and the track went on the LP instead. Shout Out Louds w/ Johnossi @ Logan Square 10/19/07”. Related news articles: Radio Free Chicago. Retrieved 4 December 2007. Half way through the song, the group burst into “Train in Vain” Peterson, Tami. “The Uncut Crap — Over 56 by the Clash then back to their song. The Shout Outs sucThings You Never KnewAbout The Clash — NME cessfully conquer America and our hearts. 16 March 1991”. londonsburning.org. Archived from the original on 17 July 2012. Retrieved 11 [12] "Garbage and Absolute Garbage album booklets — comDecember 2007. pared credits for 1995’s “Stupid Girl” and 2007’s “Stupid Girl (Remastering)"" [6] “Archived copy”. Archived from the original on 12 October 2008. Retrieved 2007-12-06. [13] "Top RPM Singles: Issue 0189b.” RPM . Library and Related news articles: Archives Canada. •
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“MTV Rockumentary Part 2”. londonsburning.org. [14] "Charts.org.nz – The Clash – Train In Vain”. Top 40 SinArchived from the original on 12 October 2008. gles. Retrieved 6 December 2007. The real story on “Train In Vain” is that originally we needed a song [15] “The Clash – Chart history” Billboard Hot 100 for The Clash. to give to the NME for a flexi disk that NME was going to do. And then it was decided that it didn't [16] “The Clash – Chart history” Billboard Hot Dance Club work out or decided the flexi disk didn't work out so Songs for The Clash. we had this spare track we had done as a giveaway. So we put it on London Calling but their wasn't time because the sleeves were already done.
8.36.9
[7] Caws, Matthew (December 1995). “Mick Jones”. Guitar World . New York: Harris. 12 . ISSN 1045-6295. OCLC 7982091. Guitar World: You wrote the love songs. Mick Jones: (laughs) We never did any! GW: What do you call “Train In Vain? Mick: Oh yeah, apart from that one. (laughs) Related news articles: •
“Guitar World December 1995”. londonsburning.org. Retrieved 6 December 2007.
[8] Gray, Marcus (26 October 2007). “Marcus Gray on the ongoing pop influence of 'Stand By Me' - Guardian Unlimited Arts”. Arts . Guardian Unlimited. Retrieved 3 December 2007. In 1979, the Slits released their highly idiosyncratic avant-punk dub single Typical Girls. The titular girls worry about clothes, spots, fat and smells, and conform to one of two stereotypes: either they're femme fatales or they're downtrodden drudges who “stand by their men”, a reference to the Tammy Wynette song. Typical Girls stalled at No 60 in the UK, but one man paying attention was Mick Jones of the Clash. His volatile relationship with Slits guitarist Viv Albertine had recently come to an end, leaving him distraught. His band’s third album, London Calling, was nearly complete, but he was inspired to write a last-minute addition. It opens with the line, “You say you stand by your man ...” - a misreading of Typical Girls, wilful or otherwise — and its oft-repeated chorus is, “You didn't stand by me, no, not at all.” Lyrically, then, it follows a chain of reference back to both Wynette and King, and offers a negative echo of both: the “walls come tumbling down”, and the jilted protagonist can't be happy or keep “the wolves at bay” without the woman’s love and support. [9] “Post punk band interviews/photos: clash - slits - ruts - gang of four - Viv Albertine (Slits)". Eccentricsleevenotes.com. Retrieved 2016-10-17.
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External links
Lyrics of this song at MetroLyrics
8.37
“Washington Bullets”
"Washington Bullets" is a song from The Clash's 1980 album Sandinista!. A politically charged song, it is a simplified version of imperialist history from the 1959Cuban Revolution to the Nicaraguan Sandinistas of the 1980s, with mention of the Bay of Pigs Invasion,the Dalai Lama, and Víctor Jara, referencing his death at the hands of the Chilean military dictatorship in the stadium that now bears his name. Although a criticism of the foreign policy of the United States, the song’s final stanza also delivers a criticism of Communist states by making reference to the treatment of pacifist Buddhist monks in the People’s Republic of China during the Cultural Revolution and the Soviet Union's Invasion of Afghanistan. The song’s title is often thought to have been a pun on the name of the American capital city's National Basketball Association franchise, the Washington Bullets (which later went on to change its name to the Washington Wizards), but frontman Joe Strummer denied any knowledge of the basketball team previous to the song’s release. [1] The song is one of The Clash’s more experimental, in the reggae style, with a marimba and lyrics that are almost spoken rather than sung. Though the marimba is the most prominent instrument, electric guitar riffs are still audible. The marimba part is an altered version of the melody from "Turkey in the Straw". On the tribute album The Clash Tribute: The Never Ending Story, the song was covered by Attila the Stockbroker,
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with new lyrics to the later verses, omitting the reference to Afghanistan and The Clash’s subtle attack on communism. The new verses are critical of U.S. involvement in the end of the Soviet Union, and Boris Yeltsin's embrace of western-style capitalism, making particular disparaging references to the new world order following the end of the Cold War.
state of the United Kingdom at the time. The song first gives an anti-violence message, then addresses the state of 'wealth distribution' in the UK, promotes unity between black and white youths of the country before moving on to address the stateof the British punk rock scene in 1978 which was becoming more mainstream. Included is a jibe at an unnamed group who wear Burton suits, taken by many to be The Jam (though in an NME article of the time, Strummer claimed the actual target 8.37.1 External links was the power pop fad hyped by journalists as the next big thing in 1978) and the lyric concludes that the new Lyrics of this song at MetroLyrics groups are in it solely to be famous and for the money. The final lines fret over the social decline of Britain, [1] Liner notes to The Clash on Broadway: noting sardonically that things were getting to the point where even Adolf Hitler could expect to be sent a limousine in the unlikely event of flying into London. [1] 8.38 "(White Man) In HammerThe single was issued in June 1978 with four different smith Palais” colour sleeves – blue, green, yellow and pink. This song was one of Joe Strummer's favourites. He con"(White Man) In Hammersmith Palais" is a song by tinued to play it live with his new band The Mescaleros the English punk rock band The Clash. It was originally and it was played at his funeral. released as a 7-inch single, with theb-side “The Prisoner”, on 17 June 1978 through CBS Records. Rhyme scheme Produced by The Clash and engineered by Simon Humphries, the song was recorded for (but not included The rhyme scheme is not consistent throughout. In order on) the group’s second studio album, Give 'Em Enough by verse, it is as follows (along with line-end words): Rope and was later featured on the American version of the band’s debut studio album The Clash between the sin1. ABCB (man / Jamaica / Smart / operator) gle version of "White Riot" and "London’s Burning". 2. ABAB (reggae / systems / say / listen) •
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8.38.1
Inspiration and composition
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3A (“inter-verse”). AA (back / attack) The song showed considerable musical and lyrical ma4. ABAB (anywhere / guns / there / tons) turity for the band at the time and is stylistically more in line with their version of Junior Murvin's "Police and 5. ABCB (youth / solution / Robin Hood / distribuThieves" as the powerful guitar intro of "(White Man) In tion) Hammersmith Palais” descends into a slower ska rhythm, and was disorienting to a lot of the fans who had grown (Instrumental bridge between verses 5 and 6) used to their earlier work.[1] “We were a big fat riff 6. AABB (UK / anyway / fighting / lighting) group,” Joe Strummer noted in The Clash’s film Westway to the World . “We weren't supposed to do something like 7. AABB (concerned / learned / funny / money) that.” [2] 8. AABB (votes / overcoats / today / anyway) "(White Man) In Hammersmith Palais” starts by recounting an all-night reggae “showcase” night at the 9. ABCB (wolf / sun / Palais / fun) Hammersmith Palais in Shepherd’s Bush Road, London, that was attended by Joe Strummer, Don Letts and roadie Rodent and was headlined by Dillinger, Leroy Smart and 8.38.2 Personnel Delroy Wilson.[3] Strummer was disappointed and disillusioned that these performances had been more “pop” "(White Man) In Hammersmith Palais” and “lightweight” similar to Ken Boothe's brand of reg Joe Strummer – lead vocal, piano gae with Four Tops-like dance routines,[1] and that the acts had been “performances” rather than the “roots rock Mick Jones – backing vocals, lead guitar, harmonica rebel[lion]" that he had been hoping for.[4] Paul Simonon – bass guitar The songthen moves away from thedisappointing concert to address various other themes, nearly all relating to the Topper Headon – drums •
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8.38. "(WHITE MAN) IN HAMMERSMITH PALAIS” “The Prisoner” •
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[7] “The RS 500 Greatest Songs of All Time”. RollingStone. 2004-12-09. Archived from the original on 21 November 2007. Retrieved 2007-11-22. 430. White Man in Hammersmith Palais, The Clash [8] “White Man in Hammersmith Palais The Clash”. The RS 500 Greatest Songs of All Time . RollingStone. 2004-1209. Archived from the original on 26 December 2007. Retrieved 2007-11-22.
8.38.6 8.38.3
Critical reception
"(White Man) In Hammersmith Palais” helped The Clash assert themselves as a more versatile band musically and politically than many of their peers and it broke the exciting but limiting punk mould that had been established by the Sex Pistols; from now on The Clash would be “the thinking man’s yobs”. Robert Christgau recommended the single in his Consumer Guide, published by Village Voice, on 4 September 1978, anddescribed the song as a must .[5] Denise Sullivan of AllMusic wrote that "(White Man) In Hammersmith Palais” may have actually been the first song to merge punk and reggae.”[3] The song was ranked at No. 8 among the top “Tracks of the Year” for 1978 by NME .[6] In 2004, Rolling Stone rated the song as No. 430 in its list of the 500 Greatest Songs of All Time.[7][8] The pop band Fighting Gravity covered the song on a live double album called Hello Cleveland . 8.38.4
Charts
8.38.5
Notes
[1] Begrand, Adrien. “100 FROM 1977 - 2003” (PHP). PopMatters. Retrieved 2008-04-03.
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[2] Letts, Don. (2001). The Clash: Westway to the World . Event occurs at 37:00. •
[3] Sullivan, Denise. "(White Man) In Hammersmith Palais” (DLL). Song Review. AllMusic. Retrieved 2008-04-03.
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890. Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash (2001). The Clash, Westway to the World (Documentary). New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 37:00. ISBN 0-7389-0082-6. OCLC 49798077. Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
[4] Connor, Alan (2007-03-30). “White man’s blues” (STM). Smashed Hits . BBC NEWS, Magazine. Retrieved 20088.38.7 04-03. [5] Christgau, Robert (1978-09-04). “Consumer Guide Sept. 4, 1978”. Consumer Guide. Village Voice. Archived from the original (PHP) on 11 April 2008. Retrieved 2008-0403. [6] “Albums andTracks of the Year”. NME. 2016. Retrieved November 25, 2016.
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External links
Connor, Alan. (30 March 2007) White man’s blues. SMASHED HITS Pop lyrics re-appraised by the Magazine. bbc.co.uk. Retrieved on 24 February 2008. “BBC article on the song and venue”. Lyrics of this song at MetroLyrics
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“White Riot”
The song is featured in the soundtrack for the game Tony Hawk’s Underground .
This article is about the Clash song. For racial riots, see List of ethnic riots. 8.39.3 Personnel Warning: Page using Template:Infobox single with unknown parameter “Noreviews” (this message is shown “White Riot” only in preview). Joe Strummer - lead vocal, rhythm guitar "White Riot" is a song by English punk rock band The Mick Jones - lead guitar, backing vocal Clash, released as the band’s first single in 1977 and also featured on their debut album. There are two versions: Paul Simonon - bass guitar, backing vocal the single version (also appearing on the US version of Terry Chimes - drums the album released in 1979), and a different version on the UK album. According to their respective label copy the single version is 1:58 in running time while the UK “1977” album version is 1:55. Joe Strummer - lead vocal, backing vocal, lead guitar 8.39.1 Inspiration and composition Mick Jones - backing vocal, lead guitars The song is short and intense, in the typical punk style of Paul Simonon - bass guitar, backing vocal three chords played very fast. Mick Jones counts off “12-3-4” at the start of the album version while the single Terry Chimes - drums version begins with the sound of a police siren instead. Lyrically, the song is about class economics and race and thus proved controversial: some people thought it was ad- 8.39.4 Cover versions vocating a kind of race war.[1] Rather, lyricist Joe Strummer was trying to appeal to white youths to find a worthy The song was quickly covered by Clash contemporaries cause to riot, as he felt black people in the UK already Sham 69. The punk rock/Oi! band Cock Sparrer also did had. It contains a positive message in the lines “Are you a live cover version of the song, which even appeared on taking over / Or are you taking orders? / Are you going their “The Best of Cock Sparrer” and “England Belongs to Me” albums. The Mekons' first single, “Never Been in backwards / Or are you going forwards?" a Riot” was a response to “White Riot.” The song was written after Joe Strummer and bassist Paul Simonon were involved in the riots at the Notting Hill The song has been covered by, among others, hiphop/punk rock band The Transplants, rock/folk/carnival Carnival of 1976.[1] band Camper Van Beethoven, punk rock band AntiFlag, Cracker, alternative rock band Audioslave, and the Angelic Upstarts. The American Celtic punk band 8.39.2 Reception Dropkick Murphys have covered the song live, one The only person who played ‘White Riot’ on the radio recording of which is on their The Singles Collection: Volwas John Peel — and he’s gone on holiday. You play our ume One album. It was also performed by Rage Against record against any of the other stuff and it just knocks The Machine at their free concert in Finsbury Park and spots off them left, right and centre. They must be cunts Download Festival in June, 2010. for not playing it. Thesong hasalso been coveredin a folk-rock style byThe Bad Shepherds on their album “By Hook or by Crook”. —Joe Strummer[2] “White Riot” is considered a classic in The Clash canon, Punk Rock band Rise Against covered the song during although as the band matured, Mick Jones would at times their shows at the Reading and Leeds Festivals in 2011 refuse to play it, considering it crude and musically inept. after vocalist Tim McIlrath made a speech about the Over two decades later, Joe Strummer would perform it London Riots of 2011. with his band the Mescaleros. The B-side of the single was “1977”, a non-album track. This song was along similar lines to “White Riot”, suggesting that the music of 8.39.5 Charts Elvis Presley, The Beatles, and The Rolling Stones was 8.39.6 Notes no longer relevant. In March 2005, Q magazine placed “White Riot” at num- [1] Letts Don. (2001). The Clash: Westway to the World . Event occurs at 25:45–27:40. ber 34 in its list of the 100 Greatest Guitar Tracks. •
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8.39. “WHITE RIOT” [2] Coon 1977.
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Coon, Caroline (1977). 1988: The New Wave Punk Rock Explosion. London: Hawthorn. ISBN 0-80156129-9. OCLC 79262599. Retrieved 2011-09-19. Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890. Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash (2001). The Clash: Westway to the World (Documentary). New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 25:45–27:40. ISBN 0-7389-0082-6. OCLC 49798077. Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
8.39.8 •
References
External links
Lyrics of this song at MetroLyrics
255
Chapter 9
Discography and lists 9.1
Discography
9.1.2
1979–1982
In February 1979, CBS released the single, "English Civil This article presents the discography of the British punk War", and in May the EP, The Cost of Living. In August rock band The Clash. and September 1979, the Clash recorded their third studio album, London Calling. Produced by Guy Stevens, the double album was a mix of different styles, with greater maturity and production polish.[7] London Calling, released on December 1979 by CBS and regarded as one of the greatest rock albums ever recorded,[8] reached number 9 on the British chart[3] and number 27 on the 9.1.1 1977–1978 US chart.[4] In the UK, London Calling' s title track, released few days before the album’s release, rose to numThe Clash's first official recording was the single for ber 11—the highest position any Clash single reached in "White Riot", released by CBS Records in March 1977. the UK before the band’s breakup.[9] The album’s final In April, CBS released their self-titled debut album, The track, "Train in Vain", included at the last minuteandthus Clash, in the United Kingdom, but refused to release it did not appear in the track listing on the cover, was rein the United States, saying that the sound was not “radio leased in the Netherlands, Germany, Spain, Brazil, New friendly”.[1] A US version of the album with a modified Zealand and Australia in June 1980. The single was not track listing—four songs from the original version were released in the UK, and in the US was backed with “Lonreplaced with five non-album singles and B-sides—was don Calling”. It turned out to be the band’s biggest US hit released by Epic Records in 1979, after the UK original to date, reaching number 23 on the Billboard chart. became the best-selling import album of all time in the In August, the band came out with another single, United States.[2] Terry Chimes left the band for the sec- "Bankrobber", which reached number 12 in the UK. ond time soon after the recording, so only Joe Strummer, In October, Epic released the compilation album Black Mick Jones and Paul Simonon were featured on the al- Market Clash, only in the US. The compilation reached bum’s cover, and Chimes was credited as "Tory Crimes”. number 74 in the US. In the following November, CBS The album ranked number 12 in the UK Albums Chart [3] released the single "The Call Up", which reached numand number 126 on the Billboard Pop albums chart.[4] ber 40 in the UK. In December, CBS released the 3-LP, In the same month, the band also released an EP sin- 36-song Sandinista!. The album again reflected a broad gle, Capital Radio, which was given away to NME 's read- range of musical styles, including extended dubs and the ers. In May, CBS released the single "Remote Control" first forays into rap by a major rock band. Produced by without asking them first, and, in September, "Complete the band members with the participation of Mikey Dread, Control", produced by Lee “Scratch” Perry, was Topper Sandinista! was their most controversial album to date, Headon's first recording with the band. It rose to number both politically and musically. [1][10] The album fared well 28 on the British Singles Chart.[5] in America, charting at number 24.[4][11] In February 1978, the band came out with the single During 1981, the band came out with a single, "Hitsville "Clash City Rockers". June saw the release of "(White UK". Released on January 1981, the single reached numMan) In Hammersmith Palais". The Clash second album, ber 56 in the UK and number 53 on the US Mainstream Give 'Em Enough Rope, was released by CBS and pro- Rock chart. In April, CBS released the single for the duced by Sandy Pearlman in November, receiving largely song "The Magnificent Seven" which peaked at number positive reviews.[6] Ithitnumber2intheUK,[3] and num- 34 on the UK Singles Chart in 1981, and at number 21 ber 128 on the Billboard chart.[4] The album’s first UK on the US Billboard Club Play Singles in 1982. In the single, "Tommy Gun", rose to number 19. same month, CBS released the 12-inch single “The Mag256
257
9.1. DISCOGRAPHY
nificent Dance”. In November, CBS released the single, "This Is Radio Clash", which further demonstrated their ability to mix diverse influences such as dub and hip hop. It reached number 47 on the UK Singles Chart. They set to work on their fifth studio album in the fall of 1981. Combat Rock was originally planned to be a 2LP set with the title Rat Patrol from Fort Bragg, but were unable to mix it to either the group’s or to CBS’s satisfaction. Glyn Johns, brought in by manager Bernie Rhodes to edit and mix the album, reconceived it as a single LP and had Joe Strummer re-record several vocals. In April 1982, the band released the first single from the album, "Know Your Rights", which reached number 43 in the UK. The album contains two “US-radio friendly” singles, "Should I Stay or Should I Go" and "Rock the Casbah". “Should I Stay or Should I Go” reached number 17 in the UK and number 45 on the US Billboard Hot 100 chart, while “Rock the Casbah” peaked at number 17 in the UK and number 8 on the US Billboard Hot 100.[1][12] The album itself was the band’s most successful, hitting number 2 in the UK[3] and number 7 in the US.[4]
25th Anniversary Edition . It contains The Vanilla Tapes ,
missing recordings made by the band in mid-1979 during the London Calling sessions,[16] as a bonus disc, and a DVD featuring the making of the album, the music videos for “London Calling”, “Train in Vain” and “Clampdown”, and video footage of The Clash recording sessions in Wessex Studios. In 2006, Sony BMG released the box set Singles Box which includes all the singles that they released in the UK. In 2007, Sony BMG released The Singles that presents a stripped down view of the singles of the band. In 2008, Sony Music Entertainment released The Clash Live: Revolution Rock , produced and directed by Don Letts, it features live material and interviews from 1978 to 1983,[17][18] and, in October, the live album Live at Shea Stadium , which features the recording of the band’s second night at Shea Stadium in 1982. The 12-CD box set Sound System, featuring the band’s entire studio catalogue re-mastered (minus Cut the Crap) plus three extra CDs, one DVD and various other materials, among with 5 Album Studio Set , featuring the band’s first five studio albums re-mastered, and the 2-CD, 33-song best of collection The Clash Hits Back were released in September 2013.[19] All the music within the three albums has been remastered, mainly by Mick Jones, 9.1.3 1983–present from the original tapes. The album gained an enthusias[20] of After Combat Rock , Topper Headon was asked to leave tic reception, and the 12-CD box set and the best [21] [1][13] compilation both entered in the UK Albums Chart. the band, and in September, Mick Jones was fired. The first single from Cut the Crap, "This Is England", was released by CBS in September 1985. It reached number 24 in the UK. Cut the Crap, the last studio album 9.1.4 Studio albums of the band, actually composed by Strummer, Simonon, Pete Howard, Nick Sheppard, and Vince White, was pro- 9.1.5 Live albums duced by manager Bernard Rhodes and released by CBS in November.[14] It reached number 16 in the UK[3] and 9.1.6 Compilations number 88 in the US.[4] The Clash effectively disbanded Box sets in early 1986. In 1988, Epic released the double-disc, 28-track compilation The Story of the Clash, Volume 1 presenting a rela- 9.1.7 Extended plays tively thorough overview of their career. In March 1991, a reissue of “Should I Stay or Should I Go” gave the band 9.1.8 Singles its first and only number 1 UK single. In the same year, CBS and Epic released the triple-disc, 64-song box set 9.1.9 Video albums Clash on Broadway that covers their entire career, and the compilation album The Singles , that includes all their 9.1.10 Film/documentaries singles, except for 1985’s “This Is England”. In 1993, Epic released Super Black Market Clash, a compilation 9.1.11 Music videos that contains B-sides and rare tracks not available on their other albums. In 1999, Epic released the compilation al9.1.12 See also bum of live material, From Here to Eternity: Live . The Clash: Westway to the World , a documentary film List of The Clash songs about the band, was released by Sony Music Entertain The Clash on film ment in 2000, and, in 2003, it won the Grammy Award [4][15] for the best long form music video. In 2003, Epic Live at Acton Town Hall and Sony BMG released The Essential Clash, a careerspanning greatest hits album and DVD, dedicated to Joe Strummer, who died during the production of the al- 9.1.13 References bum. In 2004, Sony Legacy released London Calling: •
•
•
258 Notes
CHAPTER 9. DISCOGRAPHY AND LISTS [37] Portuguesecharts.com.
[1] Letts 2001.
[38] Irish Charts.
[2] Henke 1980, pp. 38–41.
[39] Australian-charts.com.
[3] UK Top 40 Chart Archive.
[40] The Essential Clash (Video 2003).
[4] AllMusic.
[41] https://www.theguardian.com/music/2013/sep/10/ the-clash-audio-ammunition-youtube
[5] BBC News 2002. [6] Marcus 1979. [7] Metzger 2004. [8] Erlewine. [9] ChartArchive. [10] Jaffee 1987, pp. 19–30. [11] The Clash: inducted in 2003. [12] Gray 2005, p. 380. [13] Cromelin 1988.
[42] London Calling Music Video. [43] Clampdown Music Video. [44] Train in Vain Music Video. [45] Radio Clash Music Video. [46] Rock The Casbah Music Video. [47] Should I Stay Or Should I Go Music Video. Sources Books
[14] Martens 1997. [15] The Clash: Westway to the World - Awards.
•
[16] Gilbert 2004. [17] Letts 2008. [18] Morrow 2008.
•
[19] Hann 2013. [20] Sound System Reviews. [21] CLASH – Official Charts.
•
[22] Austriancharts.at. [23] Canadian Charts. [24] Dutchcharts.nl.
•
[25] Norwegiancharts.com. [26] Charts.org.nz.
•
[27] Spanishcharts.com. [28] Swedishcharts.com.
•
[29] Swisscharts.com. [30] BPI certifications.
•
[31] RIAA certifications.
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626. Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890. Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Jaffee, Larry (1987). The Politics of Rock . Popular Music and Society. pp. 19–30. Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
[32] Music Canada certifications. [33] Ultratop.be Wallonia. [34] Lescharts.com. [35] Ultratop.be Flanders. [36] Charts.de.
Awards •
“Certified Awards”. British Phonographic Industry. Enter Clash in the field Search. Select Artist in the field Search by. Select Album or Single in the field By Format. Click Search.
259
9.1. DISCOGRAPHY
•
•
“Gold & Platinum Searchable Database”. Recording Industry Association of America.
•
then click search.
“Gold and Platinum Search”. Music Canada. •
•
“ChartArchive - The Clash”. ChartArchive.org. Archived from the original at ChartStats.com on 6 December 2012.
•
•
“CLASH”. Official Charts Company. Click on Sin “The Clash” (in Dutch). Ultratop.be. Hung Medien.
•
Click on Charts, then Songs or Alben. •
•
•
“The Clash” (in French). Ultratop.be. Hung Medien. Click on Classements, then Songs or Alben.
•
“The Clash”. Swisscharts.com. Hung Medien. “The Clash – albums” (in Spanish). ishcharts.com. Hung Medien.
•
•
•
•
•
•
•
•
•
“TheClash–Awards”. AllMusic. Biilboard Albums and Singles, and Grammy Awards. “The Clash on Canadian Charts”. RPM - Library and Archives Canada. For London Calling “Top Albums/CDs - Volume 33, No. 8, May 17, 1980”. RPM . Retrieved 2012-0219. For Sandinista! “Top Albums/CDs - Volume 34, No. 15, March 21, 1981”. RPM . Retrieved 201202-19. For Combat Rock “Top Albums/CDs - Volume 36, No. 23, July 17, 1982”. RPM . Retrieved 2012-0219. For Cut the Crap “Top Albums/CDs - Volume 43, No. 18, January 25, 1986”. RPM . Retrieved 201202-19. “Discografie The Clash” (in Dutch). Dutchcharts.nl. Hung Medien. “Discographie The Clash” (in German). Austriancharts.at. Hung Medien. “Discographie The Clash” (in Lescharts.com. Hung Medien.
•
•
•
•
•
•
•
French).
“Discography The Clash”. Australian-charts.com. Hung Medien.
•
“Discography The Clash”. Charts.org.nz. Hung Medien.
•
“Discography The Clash”. Norwegiancharts.com. Hung Medien. “Discography The Clash” (in Portuguese). Portuguesecharts.com. Hung Medien. “Discography The Clash”. Hung Medien.
“UK Top 40 Chart Archive, British Singles & Album Charts”. everyHit.com. Enter Clash in the field
“The Clash: Westway to the World - Awards”. Internet Movie Database (IMDb). “The Clash: inducted in 2003”. The Inductees . The Rock and Roll Hall of Fame and Museum. 10 March 2003.
Span- Journals and magazines •
•
“Suche charts.de”. Charts.de.
Name of artist. Select All in the field Format. Click Search.
gles (default) or Albums. •
“The Irish Charts”. Irish Recorded Music Association (IRMA).Enter Clash in the field Search by Artist,
Swedishcharts.com.
Cromelin, Richard (31 January 1988). “Strummer on Man, God, Law and the Clash”. Los Angeles Times . Retrieved 2007-11-19. Erlewine, Stephen Thomas. “London Calling Review”. AllMusic. Hann, Michael (21 May 2013). “The Clash to release new box set of remastered albums and rarities”. The Guardian. Henke, James (3 April 1980). “There'll Be Dancing In The Streets: The Clash”. Rolling Stone: 38–41. Marcus, Greil (25 January 1979). “Give 'Em Enough Rope – Album Review”. Rolling Stone. Martens, Todd (1997). “Ex-Clash singer breaks ground”. Daily Trojan. Metzger, John (November 2004). “The Clash London Calling 25th Anniversary Legacy Edition”. The Music Box . 11 (11). Morrow, Martin (1 February 2008). “Revolution rock: Documentary pays tribute to Clash frontman Joe Strummer”. Canadian Broadcasting Corporation. Archived from the original on 16 April 2010. “Clash star Strummer dies” (STM). Entertainment . BBC News World Edition. 27 December 2002. “Sound System [Box Set] Reviews”. Metacritic.
Videos •
Letts, Don; The Clash, Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood (2001). The Clash: Westway to the World (Documentary). New York, NY:Sony Music Entertainment; Dorismo; Uptown Films. ISBN 0-73890082-6. OCLC 49798077.
260 •
CHAPTER 9. DISCOGRAPHY AND LISTS
Letts, Don; The Clash, Joe Strummer, Mick Jones, 9.2.2 Notes Paul Simonon, Topper Headon (15 April 2008). The Clash Live: Revolution Rock (Documentary/TV [1] Hazan, Jack; David Mingay, Ray Gange, Joe Strummer, Mick Jones, Paul Simonon, Nicky Headon, Buzzy Enmovie). New York, NY: Legacy Recordings. terprises, Epic Music Video (2006). Rude Boy (DocOCLC 227211002. Gilbert, Pat (September 2004). “The 'Vanilla Tapes’". London Calling: 25th Anniversary Legacy Edition (Media notes). The Clash. CBS, Epic, Sony Legacy.
[2] “Rude Boy (1980) - Awards”. IMDb The Internet Movie Database. Retrieved 2008-12-18.
“Clampdown | The Clash | Music Video” (JHTML). MTV . MTV Networks.
[3] “The King of Comedy”. IMDb The Internet Movie Database. Retrieved 2012-08-21.
“The Essential Clash (Video 2003)". Internet Movie Database (IMDb).
[4] “The Essential Clash (2003) (V)". IMDb The Internet Movie Database. Retrieved 2008-12-18.
“London Calling | The Clash | Music Video” (JHTML). MTV . MTV Networks.
[5] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash (2001). The Clash, Westway to the World (DVD Video/Documentary). NewYork, NY:SonyMusic Entertainment; Dorismo; Uptown Films. ISBN 0-7389-00826. OCLC 49798077.
•
•
•
•
•
•
umentary, Rockumentary). New York, NY, United States: Epic Music Video. ISBN 0-7389-0082-6. OCLC 70850190.
“Radio Clash | The Clash | Music Video” (JHTML). MTV . MTV Networks. “Rock The Casbah | The Clash | Music Video” (JHTML). MTV . MTV Networks. “Should I Stay Or Should I Go? (Live) | The Clash | Music Video” (JHTML). MTV . MTV Networks.
•
“Train in Vain | The Clash | Music Video”(JHTML). MTV . MTV Networks.
•
9.1.14
External links
•
Official website
•
The Clash discography at Allmusic
•
The Clash discography at Discogs
•
The Clash discography at Rate Your Music
9.2
Films and Documentaries
[6] “The Clash: Westway to the World (2000) (V) - Awards”. IMDb The Internet Movie Database. Retrieved 2008-1218. [7] Clash, The; Johnny Green, Catherine Coon, Don Letts. The Clash: Up Close and Personal (DVD Video/Documentary). United States: Storm Bird. ISBN 1-905431-92-9. OCLC 123570261. People close to punk rock legends the Clash talk frankly and honestly about their times with the band. Among the contributors are filmmaker Don Letts, publicist Catherine Coon, and road manager Johnny Green. [8] “Clash: Up Close and Personal (2006) (V)". IMDb The Internet Movie Database. Retrieved 2008-12-18. [9] Temple, J., Amanda Temple, Anna Campeau, and Alan Moloney (2008). Joe Strummer The future is unwritten (Documentary, Rockumentary). New York, NY, United States: Sony BMG Music Entertainment. OCLC 233652709.
[10] “Joe Strummer: The Future Is Unwritten (2007) Awards”. Internet Movie Database. Retrieved 2008-12The Clash were an English rock band that formed in 18. 1976 as part of the original wave of British punk rock.
Along with punk rock, they experimented with reggae, [11] Clash, The; Joe Strummer, Mick Jones, Paul Simonon, ska, dub, funk, rap and rockabilly. For most of their Topper Headon, Don Letts (2008-04-15). The Clash: recording career, The Clash consisted of Joe Strummer Live - Revolution Rock (Documentary). New York, NY: Legacy Recordings. OCLC 227211002. (lead vocals, rhythm guitar), Mick Jones (lead guitar, vocals), and Paul Simonon (bass, backing vocals, occasional lead vocals), with Terry Chimes or Nicky “Topper” [12] “Revolution rock: Documentary pays tribute to Clash frontman Joe Strummer”. CBC. 2008-02-01. Retrieved Headon on drums and percussion. The band features in 2008-04-13. several documentaries and other films. 9.2.1 •
•
See also
The Clash discography List of The Clash songs
[13] Clash, The; Joe Strummer(archive footage), Mick Jones, Terry Chimes, (2012-07-07). The Rise and Fall of The Clash (Documentary). Icon Television Music. OCLC 227211002. [14] “The Rise andFall of TheClash premieres at CBGB Festival”. Rolling Stone. 2012-07-06. Retrieved 2012-07-13.
261
9.3. MEMBERS
9.3
Members
Mick Jones – lead guitar, vocals Active:
May 1976–
September 1983
The Clash were
a punk rock band formed in 1976 ini- Instruments: vocals, guitar, keyboards tially consisting of Joe Strummer (lead vocals, guitar), Mick Jones (vocals, lead guitar), Paul Simonon (bass gui- Release contributions: all Clash releases except Cut the tar), Keith Levene (guitar) and Terry Chimes (drums and Crap (1985) percussion). Levene was dismissed in September 1976 and went on to form Public Image Ltd. Terry Chimes Mick Jones was a member of the original band formed in 1976. Mick Jones was dismissed from theband in performed intermitently as drummer for the first year of September 1983 after his working relationship with the band’s existence, playing on the debut album. Topper Strummer stopped functioning. Headon was recruited in May 1977 as the band’s permanent drummer, forming the classic Clash line-up which would remain together until 1982. Topper Headon – drums, percussion Active: May 1977–May 1982 Headon was dismissed in May 1982 due to drug addiction problems and Chimes returned in Headon’s place. Instruments: drums and percussion Headon had often acted as a mediating force between the two strong personalities in the band, Strummer and Release contributions: all Clash releases except The Jones, and in his absence the band began to disintegrate. Clash (1977) and Cut the Crap (1985) In May 1983 Chimes left once more and was replaced by Pete Howard. In September 1983, Mick Jones was dis- Topper Headon joined the band after what he described himself as a “journeyman” drummer. He realised missed due to continued conflict and infighting. Vince the potential of the band and remained with them White and Nick Sheppard were recruited by band manfor four albums and a b-side compilation. He was ager Bernard Rhodes as guitarists to replace the departing dismissed from the band when his heroin addiction Jones. The recording of their final album Cut the Crap became too prevalent. was chaotic and there was little chemistry between the new group members and the remaining core of the band. Strummer left before it was completed, leaving the final Other members mixes to Rhodes. After a short tour in support of the album in January 1985, the band went on hiatus, which Terry Chimes – drums, percussion Active: May became permanent when the band officially dissolved in 1976–November 1976; February 1977–May 1977; 1986. May 1982–May 1983 Instruments: drums and percussion 9.3.1
Band members
Release contributions: The Clash (1977), some on bside collection Black Market Clash (1980)
Classic line-up (May 1977–May 1982) Joe Strummer – lead vocals, guitar
Active:
May
1976–1986 Instruments: lead vocals, guitar, harmonica, keyboards Release contributions: all Clash releases
Terry Chimes was an on-off member of the initial lineup of the band. He left and then was recruited to record the debut album. He was omitted from the photo of it, because at that time he left. He was recruited again in 1982 when Topper Headon left because of drug addiction. He left the band the following year when he couldn't deal with infighting.
Joe Strummer was a member of the original band formed in 1976, and remained with the band until Keith Levene – lead guitar Active: September 1976 they broke up in 1986. Paul Simonon – bass guitar, backing vocals Active:
May 1976–1986 Instruments: vocals, bass Release contributions: all Clash releases Paul Simonon was a member of the original band formed in 1976, and remained with the band until they broke up in 1986.
May
1976–
Instruments: guitar Release contributions: None Keith Levene was a member of the original band. In early September 1976, he was dismissed from the Clash. Strummer would claim that Levene’s dwindling interest in the band owed to his supposedly abundant use of speed, a charge Levene has denied.[1] (Levene and John Lydon would form Public Image Ltd. in 1978.)
262
CHAPTER 9. DISCOGRAPHY AND LISTS
Rob Harper – drums, percussion Active:
December Contents
1976–January 1977 Instruments: drums and percussion
•
0–9
•
A
•
B
•
C
•
D
•
E
•
F
•
G
•
H
•
I
•
J
•
K
•
L
•
M
•
N
•
O
•
P
•
R
•
S
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T
•
U
•
V
•
W
Release contributions: None Rob Harper drummed for a while during the December tour. Pete Howard – drums, percussion
Active:
May
1983–1986 Instruments: drums and percussion Release contributions: Cut the Crap (1985) Pete Howard was drumming for the band duringthe final twilight years. Nick Sheppard – lead guitar, backing vocals Active:
September 1983–1986 Instruments: guitar Release contributions: Cut the Crap (1985) Nick Sheppard joined the band after Mick Jones was dismissed. Vince White – lead guitar Active:
September 1983–
1986 Instruments: guitar Release contributions: Cut the Crap (1985) Vince White joined the band after Mick Jones was dismissed. 9.3.2
Timeline
9.3.3
References
[1] Robb (2006), pp. 215–216; Savage (1992), p. 220.
9.3.4
See also
9.4
Songs
•
See also
•
Notes
This is a comprehensive list of The Clash songs that References have been officially released. The list includes songs that have been performed by the band. Other side projects are External links not included in this list. The list consists of mostly studio recordings; remixes and live recordings are not listed, unless the song has only been released in one of the two for- 9.4.1 See also mats. Singles are listed as having been released on their respective albums, unless the single has no associated al The Clash discography bum. Only one release is listed per song, unless the song is featured on multiple releases. [1][2] The Clash on film •
•
•
•
263
9.4. SONGS
9.4.2
Notes
[31] Clash, The. (12 April 1981). "The Magnificent Seven". CBS, Epic.
[1] The Clash at Discogs
[32] Clash, The. (18 June 1982). "Rock the Casbah". CBS, [2] Clash, The. (30 October 2006). Singles Box . Sony BMG. Epic. [3] U.K. Singles '77–'80 [4] Clash, The. (24 November 1978). "Tommy Gun". CBS. [5] Clash, The. (18 March 1977). "White Riot". CBS.
[33] Clash, The. (4 December 1981). "This Is Radio Clash". CBS. [34] Clash, The. (16 February 1979). "English Civil War". CBS.
[6] Clash, The. (8 April 1977). The Clash. CBS.
[35] Clash, The. (4 December 1981). "(White Man) In Hammersmith Palais". CBS. [7] Clash, The. (10 November 1978). Give 'Em Enough Rope. CBS, Epic. [36] Clash, The. (16 January 1981). "Hitsville UK". CBS. [8] Clash, The. (4 November 1985). Cut the Crap . Epic. [37] Clash, The. (September 1985). "This Is England". [9] Clash, The. (7 December1979). "London Calling". Epic. [38] Clash, The. (28 November 1980). "The Call Up". CBS. [10] Clash, The. (14 May 1982). Combat Rock . Epic. [11] Clash, The. (8 August 1980). "Bankrobber". CBS. [12] Clash, The – Rat Patrol From Fort Bragg at Discogs
9.4.3 •
[13] Clash, The. (14 December 1979). London Calling. CBS, Epic, Legacy. [14] Clash, The. (12 December 1980). Sandinista! . CBS, Epic.
•
[15] Clash, The. (1 April 1977). Capital Radio (EP). Neat. [16] Clash, The. (11 May 1979). The Cost of Living (EP). Neat.
References
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN 1-84513-113-4. OCLC 61177239. Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN 1-905139-10-1. OCLC 60668626.
[17] Clash, The. (October 1980). Black Market Clash. Epic.
Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd
[18] Clash, The. (July 1979). The Clash (1979 U.S. version). Epic Records.
ed.). London: Orion. ISBN 0-7528-5843-2. OCLC 52990890.
•
[19] Clash, The. (24 June 1982). "Should I Stay or Should I Go". CBS.
•
[20] Clash, The – Should I Stay Or Should I Go at Discogs [21] U.S. Singles [22] Clash, The. (24 June 1982). "Should I Stay or Should I Go". CBS, Epic.
•
•
[23] Clash, The. (10 April 1981). "The Magnificent Seven". CBS.
Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399-34-3. OCLC 69241279. Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965-348-X. OCLC 53155325. Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1-903111-70-6. OCLC 63129186.
[24] Clash, The – The Magnificent Seven at Discogs [25] Clash, The. (19 November 1991). Clash on Broadway . 9.4.4 CBS, Epic. •
The Clash discography on The Clash Official Site.
•
The Clash discography at Connolly & Company.
•
The Clash at Discogs.
•
Albums by The Clash at Rate Your Music.
[26] U.K. Singles '81–'91 [27] Clash, The. (23 April 1982). "Know Your Rights". CBS. [28] Clash, The. (20 September 2004). London Calling 25th Anniversary Legacy Edition. Columbia. [29] Clash, The. (December 1979). "London Calling". Epic. [30] Clash, The. (11 June 1982). "Rock the Casbah". CBS, Epic.
External links
Chapter 10
Text and image sources, contributors, and licenses 10.1 •
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CHAPTER 10. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES Consumer, Jequone, Motorizer, Larbelaitz, PatrickO'DonnellTGA, Wildmanwild101, Akadaks, Reconsider the static, Yorkermiles, Theexploited99, SkyMachine, Monsternj, FoxBot, OttoBR, Hispaniarules, Hguilber, Rockgenre, Vr3690, Southsidjon, Applegigs, Mark Margera, BC Rocky, Thorian 37, BorisAndDoris, AisoWare, Finsbury.c2, PleaseStand, Markc152, Reach Out to the Truth, Hunter304, Krapskrap, Guerillero, RjwilmsiBot, Seneraku, MShabazz, Cian1989, Articrole, Punksenderradio, Punkhistorian, Elitropia, Notlimah216, In ictu oculi, WildBot, DASHBot, EmausBot, Awnasser1, AmericanLeMans, STATicVapor, Lewismaster, Supuppyior, Dewritech, Mashaunix, Thejipper, GoingBatty, Morgan martin, TylerMinority, PH wed, Byron the punk, DrJosephMcKenzie, Finn Bjørklid, Salvationpete, Punkrawkcalf, Slightsmile, Leonbecker, Winner 42, Pechke, Dcirovic, Harom65, Smiles The Clown, Lamb99, Yeepsi, Mightyboosh4895, AvicBot, John Cline, Aflbballafl, LPfreak101, Dum dee dum dee dum, Subtropical-man, Josejozi, Jaysonclinkscal, Soccergoalz100, A930913, H3llBot, CaptainScreebo, Hawkseraph, Marcsperrow, OMGeno, Ashermccormick, Josh jag, Renamed user d4f86fd465dfg1, Δ, Dagko, Jj98, Michaelmichaelmichael939393, Joshmills295, Deutschgirl, Antnego, DrKC MD, Polisher of Cobwebs, Milenska009, Headwood1996, SayAnythingXP, Puffin, Wipsenade, Wisdomtenacityfocus, Chickenguy13, RockMagnetist, Headwoooood, Peter Karlsen, XCree, Noreplyhaha, Catalyst1, Laxskinn, Alexhaniha, HappyWaldo, Mikhail Ryazanov, Helpsome, ClueBot NG, CactusBot, Gareth Griffith-Jones, Chinesepeopleeatdogs, Know Your Product, SgtPetsounds, CD4444, Welohr, This lousy T-shirt, Kevmcallister, Justlettersandnumbers, Blaguymonkey, Smiles McGee, Jonathan9southard, Frietjes, Jeet123, OuttaHand1122, Widr, DavidJNock, Bob House 884, Mrs Kippling, Westofthe5, Jamcad01, Krunchyman, Zernain villain, MerlIwBot, MayzR, Sonic9696, Helpful Pixie Bot, In actu, Musadvice, Vovasikkk, Danocrunch, Sczliser, Plantdrew, Kuhbal, BG19bot, Neptune’s Trident, Cammac1108, Adambloom, Iselilja, CityOfSilver, Denisimo5335, Suthemd11, TUTTOdARIFARE, Jord.sheehy, MusikAnimal, Honeylime, Punkinfo, Bestbass42, JFDowning1308, WooNJ, PunkKittyGD, Benzband, Joydeep, Venicestylee, Crtew, Rockcenter, Tamzy15, Wikiz876, Glacialfox, GlamMetalANIKILATOR, Emailarchiving.enthusiast, Loriendrew, Struwwelpeter, Switchspencer, Justincheng12345-bot, Ivanisko, Netherzone, YonatanR, Le Lapin Vert, Golfballz, Pratyya Ghosh, Sherlock182, SlippingPenguin, The Illusive Man, Rat Lungworm, ChrisGualtieri, Ericknvp, Myxomatosis57, YFdyh-bot, Khazar2, Boshan, Carrionist, Follwaut, Ducknish, Rinkle gorge, Earflaps, DustyCoffin, Duane420, Editfromwithout, Mycelium101, Dexbot, The Peaceful Punk, Pdxpop40, Gentlecollapse6, GlitterDream, Plaxist, Maniacoomek, TheIrishWarden, Chris squad, Jason Ulrik Mortensen, Numbermaniac, Lugia2453, BelDelRR, Doworks000, Leahcimii, Frosty, Nick3418, Zazoogah, ChakaKong, Iyahnke93, Ghostwriter007, Punkfishpat, Bertpress, Garagepunk66, MATSH SMASH, Clashfan2, FrigidNinja, Shelbystripes, Lange.lea, Madreterra, InsaneSlushy, Ralph Schulz, Chartbot, Cherubinirules, Flat Out, TreCoolGuy, DavidLeighEllis, MilesG0D 0F THUNDER, Haminoon, Kharkiv07, Ilovetopaint, Ugog Nizdast, Σπάρτακος, My name is not dave, Finnusertop, Ginsuloft, Synthwave.94, MrLinkinPark333, Kind Tennis Fan, Basketweaver99, Namelyme, Flamippo, Whoistomstockman, Buttbreasticle, Ghostlybuster, Gza673, 1980sEnglehart, Santiago Claudio, ColRad85, Qwerty7766, Narry hemmo7, CaIum5sos, Lostgirlinthelostandfound, PUNKROCKNEVERSTOPS, Staplediet, Monkbot, Fench, Aidinhorwitz, Odvara, Filedelinkerbot, Saiyuki4ever, PaperOmatic, Hanxah, Zakiahbonnerwith, PunkGirlDontGiveAShit, Slimx7, Halal Capone, Justiepoo, Harmelodix, Calistuuhh, Awsome usernam, TheRealJavaleMcgee, Punkpunkpunk07, DangerousJXD, SJGS, Brocollienthusiast969, Julietdeltalima, Sexysexykins, Christinieweenie, 5secondsofcindy, PaigeCole94, Contributing to Society, Kerpypants, Bruhh123456789, Einna1515, Tomwjf, Madisonroneill, Eteethan, Stumpylovesya, Austinmiller, Dude00007, Sundayclose, Animal in me, Izac Cobain Johns., GeneralizationsAreBad, Biruxx, Meluvswiki, KasparBot, Punkspecialist, LFdoR, Adasnuppalove, Fifadream15, Paultisch, Niceshoesletsf, Steven M Einhorn, AbieKisner1, Astrozombie1975, CptBodz, Feminist, MargotThe, Brendan6969, OiPunkOiPunk11, Phantrash101m8, Charlotte135, Protopunkmaniac, LikeDude23, Hdbaker32, Seeker98, Eyeballgram, Torontotontos, Berntwolf, Jdog2230, Olives88, GreenC bot, Max The Rejected, Alexdeadcool, Avimm82, Man from Planet X, Bender the Bot, Ylle Dylle, Bowling is life, Gregsbrews, Fromouterspace21, Xoct232, Jonnyyyyyboyyyyyyyyyy and Anonymous: 2518
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The Clash Source: https://en.wikipedia.org/wiki/The_Clash?oldid=761318400 Contributors: Vicki Rosenzweig, Sjc, Gareth Owen, Tsja,
Ortolan88, AdamRetchless, Zadcat, Quercusrobur, Hgadling, Tubby, JohnOwens, TMC, Crenner, Fruge~enwiki, Chinju, Zeno Gantner, GTBacchus, Tregoweth, Tony rigby, TUF-KAT, Kingturtle, Michael, Raven in Orbit, No-Fx, Heidimo, Saint-Paddy, Wik, Zoicon5, Nv8200pa, Earl Manchester, Bearcat, Robbot, Pigsonthewing, RedWolf, Rvollmert, ZimZalaBim, Jmcnally, Modulatum, Postdlf, Stewartadcock, Clarkk, Andrew Levine, UtherSRG, HaeB, Dmn, BTfromLA, Somercet, TOO, Rossrs, HangingCurve, Everyking, Chinasaur, Revth, DO'Neil, Tyir, McCann51, Gyrofrog, Dinojerm, Chowbok, Geni, R. fiend, Abu badali, Jossi, Bumm13, Masmith, Loopy, Marcus2, Jh51681, Karl Dickman, MakeRocketGoNow, Reflex Reaction, Andylkl, The Undertones, Heegoop, Cbing01, Discospinster, Rich Farmbrough, 80-MAN, Martpol, Bender235, Jaberwocky6669, JoeSmack, Sempron~enwiki, Gilgamesh he, Pablo X, Mike Garcia, Grue, Cmdrjameson, Arcadian, Nk, Pschemp, Shirimasen, Googuse, Fadookie, Arthena, M7, Bathrobe, Echuck215, Jackliddle, Snowolf, Benson85, Mad Hatter, Evil Monkey, Devilgate, Omphaloscope, Harej, Grenavitar, John5008, Kusma, Gene Nygaard, Alai, Dismas, Mahanga, Woohookitty, Madchester, Mazca, Jeff3000, Bartash, Benjitz, Neanderthalprimadonna, Slythefox, THollan, Mandarax, Graham87, Descendall, Cuchullain, BD2412, MC MasterChef, Kbdank71, Ted Wilkes, Jdcooper, Black arrow, Dueyfinster, Rjwilmsi, Koavf, Mhonan, Rydia, Sdornan, AJ5439, Feydey, Tawker, SeanMack, AyrtonSenna, MarnetteD, Wwwhatsup, Dar-Ape, FlaBot, CR85747, Krzysiu, Flowerparty, Pathoschild, RexNL, Ayla, TheMikePerson, RobyWayne, Str1977, Igordebraga, Gwernol, Blue Order, Barrettmagic, YurikBot, Patman2648, Samuel Wiki, Huw Powell, RussBot, Kleptomania, Musicpvm, Impossible-princess-13, C777, Rsrikanth05, Sixteen Left, Royalbroil, NawlinWiki, Wiki alf, MortAlbarn, Trovatore, ExRat, Bengpeterson, ChicosBailBonds, Howcheng, Awiseman, Ad Nauseam, Raven4x4x, Tony1, DGJM, Stellis, Mrbluesky, Jkelly, BGC, Warfreak, Zakko, Tutorp, Ehouk1, Jogers, Spin Boy 11, MStraw, Knoepfle, NeilN, Kingboyk, CIreland, WesleyDodds, Narkstraws, SmackBot, MrDemeanour, Rex the first, Hydrogen Iodide, K-UNIT, Deiaemeth, Hatto, Bradtcordeiro, Mr Pyles, Kintetsubuffalo, Jwestbrook, Yamaguchi, Debatebob, Portillo, Stan weller, Underneathit-All, The monkeyhate, Chris the speller, Pietaster, Christopher Dale, MK8, BabuBhatt, Greatgavini, Papa November, Wikipediatrix, Baa, Mona, Yanksox, John Reaves, Alex 101, Lenin and McCarthy, Can't sleep, clown will eat me, Multiman dan, OrphanBot, K39, TheKMan, Lozleader, Jmlk17, SwitChar, Jwy, Valenciano, Maxfitzer, Jlee562, Andymarczak, DantheCowMan, Petadeo, Jhonan, Derek R Bullamore, Liddelr, Wizardman, Hank chapot, Xeplica, Evlekis, Joeyramoney, Kukini, FlyHigh, The23rdfnordian, Ohconfucius, SashatoBot, Slicoliver, Rockvee, Nishkid64, Rodney Boyd, John, Rabbitfighter, Worthlessboy1420, CPMcE, Catapult, NJZombie, Megamanic, IronGargoyle, Ckatz, Jigsaw Jimmy, Stephan KŒNIG, Mr Stephen, Mikieminnow, Spiff666, Ace Class Shadow, NJA, Scorpion0422, SnOwBL1nD, Ash Loomis, Dl2000, OnBeyondZebrax, Mingus ah um, Iridescent, MrTaco, JoeBot, Theoldanarchist, Courcelles, New User, Anger22, Pathosbot, Tawkerbot2, RattleandHum, Bearingbreaker92, Doceddi, Fache, Sveter, Simon Samwell, Markjoseph125, CmdrObot, TimothyHorrigan, Gazzer1991, THINMAN, DeLarge, GabrielGuerra~enwiki, ERic, Ferdiaob, Moskowdisco, MrFish, Cydebot, Fl, Phil in the 818, Gogo Dodo, Spylab, Flowerkiller1692, Ss112, Quibik, RottweilerCS, In Defense of the Artist, After Midnight, Omicronpersei8, Jed keenan, Nol888, BangBangYou'reDead, InSpace~enwiki, Jeffrey prior, PEJL, Nerwen, Eco84, Headbomb, Dayn, Dave h, Java13690, Mr. Brain, Cool Blue, E. Ripley, CharlotteWebb, Druiloor, Nhl4hamilton, Jason1978, Mick Jones, AntiVandalBot, RobotG, Seaphoto, 0x845FED, Tpth, Lamontacranston, Jayron32, AlexOvShaolin, Q8-falcon, Danger, Hoponpop69, Leolapinos, Myanw, BruceCMcD, Wwwhhh, JAnDbot, CaptainMurphy, Andonic, GGreeneVa, Euce, Jeffrey Prior, Kattchup, Restecp, Rothorpe, Y2kcrazyjoker4, Grievous Angel, MIke.Bigg, 75pickup, VoABot II, Hasek is the best, Arno Matthias, Fullmetaljacuzzi, WagByName, SineWave, Mvl thecool, KentWalter, Daddylight, Indigae, Gmax442, 28421u2232nfenfcenc, Trisar, Allstarecho, Benjaminhick, Spellmaster, TTKK, Willbarker01, Edward321, Garik 11, ViciHavelock, Atomicloonybin, Steveupstone, MartinBot, Saintjimmy777, Mister B.,
10.1. TEXT
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Borisb, Mschel, Mycroft7, Poop747, Bobdobbsq24, Zorakoid, 72Dino, VAcharon, Extransit, Gregasplund, Strobilus, Itachi1452, Lifeless Loser, Kidneyman15, Hamletwillich, WmLGann, Bappzannigan, Vivalaestero, DadaNeem, Touch Of Light, Pawnkingthree, Nick Chiasson, Kidlittle, Remember the dot, Mimr, Natl1, Wikimandia, Pdcook, Modmax, Ahubling, Grey Knight 1ce, Deor, VolkovBot, Ck164, ABF, DuckieRotten, Swessell, Jeff G., Willow177, Mr.crabby, AlnoktaBOT, Ericamandy, Mrsyetidooscreecher, TXiKiBoT, Gueneverey, Chikanamakalaka, Pwnage8, Bookkeeperoftheoccult, Jcq387, RadioClash86, IllaZilla, Leraconteur, Seb az86556, Optigan13, Talisker 10, Bob f it, Domer48, Applehead77, Complex (de), IL7Soulhunter, Sea231, PAVA11, Rock Soldier, Ceranthor, Edkollin, Pjoef, JoeyPublic, Funeral, Unknown Unknowns, Iprudence, SPQRobin, Peter Fleet, Darkieboy236, SieBot, Coffee, Jauerback, Dylan suite, Caltas, Karaboom, Yintan, Nite-Sirk, Ikoman, Neutralhomer, Qst, Arbor to SJ, Jjbrown2007, 665456a, Aspects, Scipo, TheOnlyOne12, Picante98, Onebadtown, Iain99, Rastabilly, DocKino, Danelo, Thundermaster, Nancy, Curlycrouton, Cyfal, Bustago, Rayudsguy, Martarius, Theschisminthewism, Shane Battrick, Cloonmore, ClueBot, Binksternet, Guitarhead13, K-pachs, MopTop, Plastikspork, Witchwooder, Zedb, Wysprgr2005, Updater7, UserDoe, Delta40, Piriczki, TheOldJacobite, Macintosh101, EverybodyHurts, Mikdabest, CounterVandalismBot, Niceguyedc, Marked1234, LukeTheSpook, Pensiang, Davidschubert, DragonBot, Groox, SteveRamone, Nymf, Alexbot, Medecki, Gtstricky, Sun Creator, Smilehand, Wiki libs, Seanwarner86, Sebado, Titan50, Sixstringfl, Bjdehut, Rebel Redcoat, 7, Jag0000021, Mordecai77, Tezero, Cookiehead, Egmontaz, Indopug, Mexican223, Darkicebot, Ponta2, Dinosaurus69, Bridies, XLinkBot, Martydgogo, SlayerXT, Laser brain, PL290, Tim010987, MystBot, Sigma-w, Kbdankbot, Mark Michaelson, Gelniska, Addbot, Cxz111, Kathimcgraw, Cj93070, Red&black revolt, Chimeric Glider, DOI bot, Dan56, Tcncv, Matt 2601 atl, Mystical-bunny, Laurinavicius, Metade, The Shadow-Fighter, Patricia Meadows, MCityRocker, 61x62x61, AndersBot, Athena854, Favonian, SamatBot, LinkFA-Bot, Aktsu, Nanzilla, Tassedethe, Lightbot, Zorrobot, AussieLegend2, Dreadarthur, Luckas-bot, Yobot, Tdl185, Braab69, THEN WHO WAS PHONE?, Eduen, Radiopathy, AnomieBOT, Francodamned, Dribblingscribe, Warpigpen, 1exec1, Piano non troppo, Spikey032, Materialscientist, ImperatorExercitus, Citation bot, Owlindaylight, Basilisk4u, Zombieflesh23, ArthurBot, Mikey w3, LilHelpa, SAULGNRFAN, PULSE, Xqbot, Zfezfe, Perry Groves, Capricorn42, Wether B, Mlpearc, Cyphoidbomb, Blum41, DeadLinkBOT, J04n, GrouchoBot, Naur, Pinelandsboi, The rooster, Moxy, BlackMath77, Enertiatic esp, Afirex, Bamber Clarte, GripTheHusk, FrescoBot, NSH002, Calibrador, Sky Attacker, ThiagoRuiz, Irethecat, Strummer1977, Yerauy, Careful With That Axe, Eugene, DrilBot, 120120120lkj, Highest Heights, A8UDI, Preservedmoose, Vmih, Browncowman, Bgpaulus, Kitagz, Baseheadlulu, Lachlan Foley, Robvanvee, Trappist the monk, Ninetales40k, Beat 768, Sublimefan97, Onevictor, MrX, BorisAndDoris, Guerillero, Barrylargo, RjwilmsiBot, Jade30443, Cian1989, Messiahtotheanimals, Hiddenstranger, DASHBot, EmausBot, John of Reading, Nima1024, Hollycochran, Tassosl, BLM Platinum, Mashaunix, Toejam1, Byron the punk, Dcirovic, K6ka, Chiton magnificus, John of Lancaster, ZéroBot, Spenc1994, Bigt009, Mab987, H3llBot, SporkBot, Burbridge92, Seattle, Go2jo, Pb4378, Wonderpoose, Chickenguy13, Rocio44, WoodyJoe, Spicemix, Zuky79, Kieransmom, ClueBot NG, Zeliggump, CactusBot, Jack Greenmaven, Bulldog73, Blaguymonkey, EstherLaver, Aquaminii, Mcrowley1980, Helpful Pixie Bot, Jamesbrooks121, BG19bot, Pfingouin, BizarreLoveTriangle, Benzband, Carlstak, Pbosh, PatTag2659, Emscie3920, , BattyBot, Dacevedo2, Megaidiot6, Chie one, Myxomatosis57, Esszet, JYBot, Dexbot, Dasbloeckendeschaf, Spirit of Eagle, Yossarian82, Gentlecollapse6, Mogism, UseTheCommandLine, Mlpearc Phone, Arevalo Robert B, Brownie79, Kitty'd out, Garagepunk66, Clashfan2, ClashFan57, Ii ShOrtBOi ii, JamesMoose, A7592, MV360, ThemTak, Kharkiv07, Ouroborosian, JustBerry, Synthwave.94, MagicatthemovieS, AntiCompositeNumber, Fortuna Imperatrix Mundi, Charge2charge, DjangaJ, Monkbot, KathyFla, Filedelinkerbot, Owais Khursheed, Cocowainfeld, Harmelodix, TheReeDog, Dblackwood1, Flawton, Joe’s plectrum, Hydr0Aardvark, Kathydi1977, Mgregoire96, Kscheri, KasparBot, MusikBot, Ben B Research, Sro23, IWA1864, OiPunkOiPunk11, Firstlastword, Barisaka, Debbieharrytbh, Roblafo, Christopher Paul Trew, InternationalHR, Entranced98, Fuortu, JJMC89 bot, Cronggamer, John Robberts, Marvellous Spider-Man, Consistency is Key, Dpkr, Buzzloop, Smelly Rank Odor 23, Bender the Bot, ColinDLP, Rossmoody88 and Anonymous: 996 •
https://en.wikipedia.org/wiki/Joe_Strummer?oldid=759350053 Contributors: Kpjas, Mav, Robert Merkel, Tarquin, RobLa, Sjc, Shsilver, GrahamN, Hephaestos, Quercusrobur, AntonioMartin, JohnOwens, Zeno Gantner, TUF-KAT, Emperor, Kingturtle, Jaybee~enwiki, Lukobe, Rob Hooft, No-Fx, Saint-Paddy, Zoicon5, Steinsky, Ldrhcp, Topbanana, Owen, Earl Manchester, Owain, RedWolf, Jmcnally, Rholton, Prushizky, Timrollpickering, Andrew Levine, Wikibot, TOO, Angmering, Bradeos Graphon, Everyking, Bkonrad, Varlaam, Niteowlneils, DO'Neil, Chowbok, Scraggy4, Alexf, R. fiend, Bumm13, D6, Heegoop, Rich Farmbrough, Kevin Dorner, MattTM, JoeSmack, Aranel, CeeGee, Mike Garcia, Bobo192, AmosWolfe, Diceman, Willerror, Alansohn, Gargaj, Voyelles, R3s3nt, Mipsie, Yamla, Kurt Shaped Box, Goldom, SlimVirgin, Malo, Idont Havaname, Ronark, Bbsrock, Mad Hatter, Devilgate, Grenavitar, Ianblair23, Vanish3, SteinbDJ, Djsasso, Dismas, Megan1967, Angr, Richard Arthur Norton (1958- ), The JPS, Bjones, GoHawks4, Enragedferret, Hailey C. Shannon, Conch Shell, RichardWeiss, Ashmoo, Graham87, Descendall, Cuchullain, Kane5187, Rjwilmsi, Ctdunstan, Mick gold, Sdornan, DavidNS1128, The wub, Wwwhatsup, JdforresterBot, Backin72, Ggomez~enwiki, Flowerparty, Gurch, Airunp, Gdrbot, Cjmarsicano, Blue Order, Wavelength, RobotE, Andrew Mackenzie, Impossible-princess-13, Wiki alf, Deskana, Fabulous Creature, Trovatore, ExRat, Fantailfan, Melly42, Untrots, Davidpatrick, Mixmasterasia, Jkelly, Closedmouth, Mike Selinker, Red Jay, Me677, Back ache, JLaTondre, Audioweevil, DVD R W, Saikiri, WesleyDodds, BuffaloBob, Crystallina, SmackBot, Mikecraig, Hatto, VanDiemen, Freekee, Ultramandk, Chairman S., Anastrophe, Doc Strange, Icantsurf, KittenKlub, Commander Keane bot, Portillo, Msignor, Underneath-it-All, Schmiteye, Bluebot, Dahn, Pietaster, Christopher Dale, Persian Poet Gal, Catchpole, HerbertAlphanon, Fishhead2100, Telavir, Colonies Chris, Butterboy, DHeyward, Cobain, Sumahoy, Zone46, Onorem, Nixeagle, Uviolet, Konczewski, Jane strummer, Steelbeard1, Dave laird, Gabi S., Chadwholovedme, Jlee562, Derek R Bullamore, Adamv88, Ohconfucius, Btl, TA-ME, Ser Amantio di Nicolao, BrownHairedGirl, Rodney Boyd, John, Ourai, Karlos the Jackal, Gobonobo, Syrcatbot, BillFlis, Rglovejoy, Vookap, Ace Class Shadow, E-Kartoffel, Zeebats, Dl2000, Hu12, The--dud, OnBeyondZebrax, HisSpaceResearch, Iridescent, Theoldanarchist, Twas Now, Robixsmash, Flintmichigan, HDCase, Badaffinity, Wafulz, Drinibot, MFlet1, Womzilla, Argon233, ShelfSkewed, Neelix, Timtrent, Joseph Dunn, Zadi, AndrewHowse, Cydebot, Phil in the 818, Hebrides, Jayen466, Sophist808, Flowerkiller1692, Studerby, Trident13, RottweilerCS, Gnfnrf, Oakesave, Thijs!bot, Jd4v15, SkonesMickLoud, Mr. Brain, Mr.Blonde, CharlotteWebb, LostNTheNoise, Jason1978, Janisb, Mick Jones, AntiVandalBot, RobotG, Seaphoto, Effectivepublishing, Dr who1975, TheNarrator, Trichnosis, David Shankbone, Pixelface, Qwerty Binary, Woodstein52, JAnDbot, Xhienne, Garycalifornia, Ericoides, East718, Restecp, Rothorpe, Y2kcrazyjoker4, Ruthfulbarbarity, Magioladitis, 75pickup, Xn4, Xb2u7Zjzc32, Transistorboy, Mr random, Bill j, Benjaminhick, TTKK, Baristarim, MiTfan3, GimliDotNet, Whichwould, R'n'B, CommonsDelinker, Nev1, Jingjongblingblong, Thaurisil, TomFlix52, Elchafa, Naniwako, Plasticup, DadaNeem, Nanajoth, Tweisbach, Smoovedogg, Groundctrl, RicCooper, Dom Kaos, The Grant, Youridemybus, Knuckster, DoorsAjar, Oshwah, Mercurywoodrose, Bookkeeperoftheoccult, SteveStrummer, Jcq387, Triplejumper, INXS-Girl, IllaZilla, Belmontian, ARUNKUMAR P.R, Madurum, Metzby, VanishedUserABC, Kat123, Johnston1965, Pjoef, Milowent, Unknown Unknowns, EHonkoop, Ponyo, Darkieboy236, SieBot, Trackinfo, Calliopejen1, BotMultichill, CarJamming, CutOffTies, TheOnlyOne12, Kenhone, Hobartimus, Rastabilly, Seedbot, Dravecky, Gorrrillla5, DeXXus, Tkreuz, ImageRemovalBot, Martarius, Redbuttress, Leahtwosaints, Binksternet, Timeineurope, The Thing That Should Not Be, All Hallow’s Wraith, Rodhullandemu, Rich southmd, Procrastinator324, TheOldJacobite, Macintosh101, Leodmacleod, Niceguyedc, UKoch, Nobaddude, Eeekster, Routinexxriot, Wiki libs, WichitaQ, Darkicebot, Tami77, Bronlyn, UhOhFeeling, Addbot, Grayfell, Roguetowel, DOI bot, FokkerTISM, Dwn5003, Dagshai, Jeanne boleyn, Noozgroop, TrafficHaze, Terrybanjo, ChenzwBot, Tassedethe, Тиверополник, Gail, Rodericksilly, Luckas-bot, Yobot, Fountain Posters, Roger Workman, Htufekci,
Joe Strummer Source:
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CHAPTER 10. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES Entangle, AnomieBOT, Francodamned, Jim1138, Galoubet, Majtom’sdeserters, Amd.webeditor, Citation bot, OllieFury, Thetruthreport, Basilisk4u, Zombieflesh23, Cliftonian, Dabraat, Johnny Rockfort, Pontificalibus, Fenderericplays, Musicfreakrat, Tunebroker, SassoBot, Auréola, Slush-omg, Rozinantebv, Ikan Kekek, FrescoBot, Peteinterpol, D'ohBot, Serbianboy, Yerauy, Citation bot 1, DrilBot, Biographies 1, Jonesey95, Invisiboy42293, Gremlinpants, Mortimer-mortimer, RjwilmsiBot, Tom kurtz, John of Reading, Tassosl, GoingBatty, Byron the punk, NeilK, Jim Michael, John of Lancaster, Rooksjeff, Spenc1994, XXROFLTRONXx, H3llBot, Erianna, Orange Suede Sofa, Specter92591, Franzfergidon,Spicemix, Zuky79, Helpsome, ClueBot NG, DrDrake100, Justlettersandnumbers, Blaguymonkey, DLKedits, Frietjes, Auchansa, Widr, How2what4, Helpful Pixie Bot, Displaced1980, BG19bot, Neptune’s Trident, Northamerica1000, PhnomPencil, Benstrummer, MusikAnimal, Benzband, Kev1993, Thepogo1, UTTERLEDGE, Brandonbirch, BattyBot, Cyberbot II, Khazar2, Kwhag72, Reverend Mick man34, Mogism, Conradteixeira, Wikid Ben, VIAFbot, Brownie79, Crazy Horse 1876, Garagepunk66, MarchOrDie, Vanamonde93, Iasip2007, ClashFan57, Jfmcmahon10, Ojjake, AnthonyJLock, Chartbot, Robert Milton Wallace, Nixin06, MrRamones89, Ginsuloft, Donalrush, Scott231, JaconaFrere, Burgermeister77, Monkbot, EdgarCabreraFariña, Vieque, Swineposit, Tstrauss23, Jf0880, Rainbow334, Pardonmoi, Dominicdes, KasparBot, Zeynepcams, GreenC bot, Jamezeyey, Bender the Bot and Anonymous: 502 Mick Jones (The Clash) Source: https://en.wikipedia.org/wiki/Mick_Jones_(The_Clash_guitarist)?oldid=761978340 Contributors: Ixfd64, DavidWBrooks, Emperorbma, Robbot, Dale Arnett, Rossrs, Kilroy1231, David Johnson, Inanechild, Marcus2, D6, Ulflarsen, Rich Farmbrough, Hn, Mike Garcia, Shenme, Edgriebel, Rodw, Atomizer13, Mad Hatter, Jobe6, Danspalding, Duke33, Grace Note, GregorB, Graham87, Dwaipayanc, Wwwhatsup, Remurmur, Jmc29, Florilegist, Krzysiu, WouterBot, Metropolitan90, Design, Bgwhite, YurikBot, PiAndWhippedCream, RussBot, DE, Akamad, C777, Theelf29, Rsrikanth05, SamJG, EntChickie, Ospalh, Tanet, Mike Selinker, MartinUK, Mais oui!, InvisibleSun, Garion96, Crystallina, SmackBot, MikeyMoose, Clumsyk, Doc Strange, KittenKlub, Commander Keane bot, The monkeyhate, Chris the speller, Dahn, Parmesan, Pietaster, Christopher Dale, Cobain, Jennica, Sfrauley, Tommyjb, Steelbeard1, Chadwholovedme, Derek R Bullamore, Hank chapot, Marcus Brute, Evlekis, Ceoil, Ohconfucius, BrownHairedGirl, John, Ndrly, Spiff666, AEMoreira042281, Dl2000, Woodshed, JForget, GabrielGuerra~enwiki, Cydebot, Pascal.Tesson, Soetermans, DavidRavenMoon, RottweilerCS, Nerwen, Mr. Brain, Jason1978, Janisb, AntiVandalBot, Lamontacranston, Jayron32, Darklilac, Husond, Epeefleche, Michig, Rothorpe, Magioladitis, Connormah, 75pickup, Sideshow Bob Roberts, Brandt Luke Zorn, Arno Matthias, Cxed, Limelight05, Tobogganoggin, Rage Against, Nosb, Msgrjosh, Pennywisepeter, Mbrstooge, R'n'B, Drbisquit, STBotD, Signalhead, Tithonfury, Dom Kaos, Hildeswendgaard, Kww, Ian2203, ^demonBot2, Pmsphoto, Madurum, Feudonym, Andwhatsnext, BOTijo, Pjoef, AlleborgoBot, 1251thestrokes, Unknown Unknowns, Stomme, Kevtiller, Euryalus, Dawn Bard, SE7, Jrun, FunkMonk, Rogermx, TheOnlyOne12, Kwib, Thomaslear, Rabend, PabloClark, Aargal, Martarius, Sfan00 IMG, All Hallow’s Wraith, SuperHamster, Mezigue, Niceguyedc, TypoBoy, Paper Back Writer 23, SteveRamone, CohesionBot, Bde1982, Zivb2007, Alejandrocaro35, Wiki libs, Jax 0677, XLinkBot, Tim010987, Addbot, JBsupreme, DOI bot, Wingspeed, Tassedethe, Тиверополник, Lightbot, Vasiľ, Zorrobot, LuK3, Yobot, JJARichardson, Roger Workman, Radiopathy, AnomieBOT, Francodamned, Materialscientist, Citation bot, Half past, Zombieflesh23, Wether B, Johnny Rockfort, Musicfreakrat, GorgeCustersSabre, Invest in knowledge, CarlyMC17, Yerauy, Rorylyng, DrilBot, Jonesey95, Skyerise, JackShestak, Jorgicio, Lars Washington, Motorizer, Florescent, Invisiboy42293, MrX, Updatehelper, Beyond My Ken, Hiddenstranger, AtTheNecropolis, EmausBot, Primefac, GoingBatty, XXROFLTRONXx, Cobaltcigs, Unreal7, Thenkta, DONJWHISTANCE, Yawnman, Spicemix, ClueBot NG, CactusBot, Joefromrandb, Blaguymonkey, Chisme, MozzazzoM, BG19bot, Lowercase Sigma, Eternities, AvocatoBot, BattyBot, Moneysuch8, Cyberbot II, ChrisGualtieri, Patti.peppermynt, Brownie79, ClashFan57, Ehjays, Synthwave.94, Jianhui67, Kind Tennis Fan, Therealbarryshitpeas, DLManiac, Monkbot, Malmsimp, Pardonmoi, KasparBot, Zamaster4536, GreenC bot, Bender the Bot, Artificial.boredom, Oohnooudidnt and Anonymous: 209 Paul Simonon Source: https://en.wikipedia.org/wiki/Paul_Simonon?oldid=760928839 Contributors: Edward, Tpbradbury, TOO, Rossrs, Angmering, DO'Neil, McCann51, Omassey, Rich Farmbrough, Rama, Warpozio, Nicke Lilltroll~enwiki, Alansohn, TheParanoidOne, Yamla, Mad Hatter, Angr, Berti, Neanderthalprimadonna, DavidFarmbrough, Mandarax, Looneyboyo, Rjwilmsi, Florilegist, Crgn, Hall Monitor, Cjmarsicano, Blue Order, YurikBot, Kleptomania, Hede2000, Pequenanotavel~enwiki, C777, Gaius Cornelius, Jetski, Mikeblas, Tony1, Zwobot, Mike Selinker, GraemeL, Vfitzpatrick, SmackBot, Chairman S., Doc Strange, ProveIt, Evanreyes, Stan weller, The monkeyhate, Pietaster, Christopher Dale, George Ho, OrphanBot, Steelbeard1, Derek R Bullamore, BrotherFlounder, Pwned14, Ohconfucius, Ser Amantio di Nicolao, Harryboyles, Tafkaz, John, Hu12, Iridescent, J Di, Panastasia, Trialsanderrors, ChrisCork, Ttrnd22, MarsRover, Yarbles75, Cydebot, Rob Ward, Fair Deal, Ss112, RottweilerCS, Thijs!bot, SkonesMickLoud, Rrose Selavy, Headbomb, John254, SGGH, Java13690, Mr.Blonde, Dawkeye, Jayron32, Jawsper, Epeefleche, CyberAnth, Xeno, Rothorpe, ZPM, 75pickup, Rage Against, WikkanWitch, ClovisPt, Spellmaster, Mschel, Ash, MarcoPolo7212, Tgeairn, Ian.thomson, Carnivorous caveman, Iggwilk, STBotD, RB972, Floodfish, Morefun, Ottershrew, Signalhead, Hugo999, ErleGrey, Madmang, Fredrick day, Optigan13, Crazypink, Edkollin, Pjoef, Unknown Unknowns, Eggishorn, Melanoma, Caltas, B3nnic33, Littleone77, Leahtwosaints, ClueBot, Binksternet, All Hallow’s Wraith, Kafka Liz, Unbuttered Parsnip, Sheled Umlal, Dasmuffmiester, Wiki libs, Ponta2, XLinkBot, WikHead, Addbot, Thomas22, Redwhiteandblue2, Chicken202, Hogrefe cz, Yobot, Entangle, AnomieBOT, Francodamned, DemocraticLuntz, Zombieflesh23, LilHelpa, Unimath, Xqbot, Wether B, Musicfreakrat, Whisky2, Middle 8, Yerauy, DrilBot, VSS1956, Jujutacular, Trappist the monk, Rudeboysliketoska, Leonvince, MrX, Updatehelper, John of Reading, BLM Platinum, Jefph, CoolJazz5, Go2jo, Chickenguy13, ChuispastonBot, ClueBot NG, CactusBot, MelbourneStar, Justlettersandnumbers, Widr, Helpful Pixie Bot, SalineMichiganRules, NewExLionTamer, Moneysuch8, Khazar2, Reverend Mick man34, Cerabot~enwiki, VIAFbot, Metraff, JCRAIB, Gillianmcvey, Captain Conundrum, NorthBySouthBaranof, Schynro99, PaulSimononIII, Trenerrysam, Serena Rees, Monkbot, DAZ14LPA, Pardonmoi, KasparBot, AusLondonder, GreenC bot, Ye Classic and Anonymous: 143 Topper Headon Source: https://en.wikipedia.org/wiki/Topper_Headon?oldid=752391221 Contributors: Deb, DavidLevinson, Ewen, AlexR, Nv8200pa, Frazzydee, David Gerard, Ferdinand Pienaar, Gyrofrog, Chowbok, R. fiend, D6, Rich Farmbrough, FilthMasterFlex, Shenme, Willerror, Amcl, Hooperbloob, Mad Hatter, Wileycount, Conch Shell, BD2412, Kbdank71, Rjwilmsi, Koavf, Darkhauk, Wwwhatsup, FlaBot, Gurch, RobyWayne, YurikBot, RussBot, MortAlbarn, Howcheng, Zwobot, Stellis, Mike Selinker, SmackBot, Verne Equinox, Doc Strange, Stan weller, Pietaster, CSWarren, Nonky, ChrisTheDude, Steelbeard1, Derek R Bullamore, SmilingFace, Joeyramoney, Ceoil, Ohconfucius, Ser Amantio di Nicolao, John, General Ization, Spiff666, E-Kartoffel, Fache, MarsRover, Cydebot, Tawkerbot4, RottweilerCS, Thijs!bot, Headbomb, Mr.Blonde, Euce, Rothorpe, Connormah, Xb2u7Zjzc32, Spellmaster, Xradioclash77, R'n'B, Sunidesus, Steel1943, Nedrutland, Jimmiebone, Pjoef, Unknown Unknowns, Trackinfo, JoeyJoeJoe70, Fratrep, ImageRemovalBot, Piriczki, Robby.is.on, Wiki libs, Arjayay, Shregger, Milo Panero, Morgangrinder, Dylanfromthenorth, WikHead, Addbot, Cj93070, Cpj93070, Tassedethe, Lightbot, Luckas Blade, Rodericksilly, Luckas-bot, Yobot, Dsirecords, AnomieBOT, DynamoDegsy, Tunebroker, Ranaenc, Mainmiguel, Swedhombre, MP4BT, Baseheadlulu, Martin IIIa, Tinman44, Byron the punk, NewMoonBay, Iamhelp, ClueBot NG, CactusBot, Helpful Pixie Bot, BG19bot, VIAFbot, JUifLZmI2J, T8h2k4n97p2rf, Lomarton, ChristianJosephAllbee, Monkbot, Enrychewdoor, Amamamamama, Pardonmoi, Saltandpepper68, KasparBot, GreenC bot, WhiteCliffs, Bender the Bot, Rickdimaio and Anonymous: 88 Keith Levene Source: https://en.wikipedia.org/wiki/Keith_Levene?oldid=755022244 Contributors: Bearcat, David Gerard, Gyrofrog,
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Jessesamuel, Sam Hocevar, Bobo192, Giraffedata, Kurt Shaped Box, Ianblair23, Grammarbot, Wwwhatsup, WouterBot, Design, YurikBot, Jubella, Tony1, Mike Selinker, Samuel Blanning, SmackBot, Notbrendon, KittenKlub, Sedonaarizona, James Britt, Valenciano, Derek R Bullamore, Wizardman, Ceoil, Ser Amantio di Nicolao, John, Fodderstompf, Optimale, Twas Now, Mellery, Fache, MarsRover, AndrewHowse, Cydebot, Nfc123, Lugnuts, Headbomb, RobotG, MrMarmite, Geniac, Norman3412, Morefun, VolkovBot, Bsroiaadn, Malljaja, Walor, Slysplace, Enigmaman, Pjoef, Unknown Unknowns, Munci, Seth Whales, Librarydan, Ponta2, Jax 0677, Addbot, Lightbot, Yobot, Radiopathy, AnomieBOT, Francodamned, Bobntc2, Somervillain, Tuesdaily, GorgeCustersSabre, Scratchy7929, Yerauy, Asnav, GoingBatty, Taco chopper, Kindzmarauli, LongLivePunkRock, Helpful Pixie Bot, Shellydacunha, Benzband, Moneysuch8, Bardrick, Vonran, Gentlecollapse6, Vanquisher.UA, AnthonyJ Lock, Srhigham, Leonardzray, Fannyflash, ColRad85, Monkbot, KathyFla, Susangrigg1, Malmsimp, Pardonmoi, KasparBot, GregK123 and Anonymous: 49 Terry Chimes Source: https://en.wikipedia.org/wiki/Terry_Chimes?oldid=756655182 Contributors: Docu, Habj, Dysprosia, Bearcat, Bbx, David Gerard, DO'Neil, Rparle, D6, TheParanoidOne, PaulHanson, Kurt Shaped Box, Samaritan, Dopefish, Jonnabuz, Rjwilmsi, Chadbryant, Wwwhatsup, FlaBot, Cjmarsicano, BTLizard, Friedfish, Theelf29, Tony1, Rwxrwxrwx, Mike Selinker,
[email protected], Bogart99~enwiki, Doc Strange, Schmiteye, Christopher Dale, Bduke, Mistico, Derek R Bullamore, Ohconfucius, John, Fache, Markjoseph125, CmdrObot, TimothyHorrigan, Cydebot, Teutoberg, Headbomb, Hoponpop69, TAnthony, Vytal, Jasonater, Pawnkingthree, Kyle the bot, SteveStrummer, Slysplace, McM.bot, Snowbot, Pjoef, Unknown Unknowns, Scarian, Behind The Wall Of Sleep, ImageRemovalBot, Wiki libs, Ponta2, Jax 0677, SlayerXT, WikHead, Good Olfactory, Addbot, Lightbot, PlankBot, Luckas-bot, Yobot, Francodamned, Materialscientist, Citation bot, GrouchoBot, Omnipaedista, Eclipse666, WillyTheHurricane, Aqua85, Yerauy, Drsjpdc, Chickenguy12, John of Reading, ThatRockMetalGuy, Jrw1234, Joefromrandb, Helpful Pixie Bot, BG19bot, SilverBullitt, Cyberbot II, Myxomatosis57, ChrisIacobellis, Pardonmoi, KasparBot, GreenC bot and Anonymous: 58 Rob Harper Source: https://en.wikipedia.org/wiki/Rob_Harper?oldid=740239730 Contributors: Tabletop, GregorB, FlaBot, RexNL, Bgwhite, Derek R Bullamore, Ohconfucius, Noah Salzman, Childzy, Spiff666, Alaibot, Thijs!bot, Headbomb, JustAGal, Severo, Waacstats, Twsx, Steveupstone, Juliancolton, GrahamHardy, WOSlinker, Enigmaman, Pjoef, Unknown Unknowns, Unbuttered Parsnip, Ledzeppelinzoso, Dubmill, Addbot, Yobot, Ulric1313, Yerauy, DefaultsortBot, Helpful Pixie Bot, BG19bot, Benzband, BattyBot, Monkbot, KasparBot and Anonymous: 16 Nick Sheppard Source: https://en.wikipedia.org/wiki/Nick_Sheppard?oldid=752249282 Contributors: Grant65, Dirac1933, BD2412, Rjwilmsi, Wwwhatsup, Samuel Wiki, Mike Selinker, SmackBot, Hmains, Pietaster, CMacMillan, ChrisTheDude, Ohconfucius, John, Fache, CmdrObot, Cydebot, Synergy, Mentifisto, Dan arndt, Tiff girl85, Pjoef, AlleborgoBot, Unknown Unknowns, Thingg, Versus22, DumZiBoT, Alexius08, Addbot, Tassedethe, Tide rolls, Lightbot, Yobot, Jezhotwells, Ajnf95, Baseheadlulu, Bristoliensis, Racerx11, Wikipelli, David Yiken, ClueBot NG, Helpful Pixie Bot, Geraldo Perez, DragonBallNerd, BattyBot, ChrisGualtieri, Monkbot, KasparBot, GregK123, Bender the Bot and Anonymous: 15 Vince White Source: https://en.wikipedia.org/wiki/Vince_White?oldid=710694957 Contributors: MRSC, GregorB, Derek R Bullamore, John, Spiff666, Fache, Waacstats, Emeraude, Clerks, Katharineamy, Pjoef, Unknown Unknowns, Wiki libs, Addbot, Lightbot, Yobot, Yerauy, Helpful Pixie Bot, Benzband, BattyBot, VIAFbot, Monkbot, KasparBot, Kubilayaktunc and Anonymous: 11 Bernard Rhodes Source: https://en.wikipedia.org/wiki/Bernard_Rhodes?oldid=754158448 Contributors: Gareth Owen, Edward, William M. Connolley, Topbanana, David Gerard, Rich Farmbrough, Willerror, Ashley Pomeroy, RJFJR, Kelly Martin, GregorB, BD2412, Rjwilmsi, Wwwhatsup, Fish and karate, DVdm, RussBot, C777, Nicke L, Gadget850, Steelbeard1, John, Spiff666, Twistedwheelnut, Fache, CmdrObot, Rrose Selavy, Headbomb, Jayron32, Belsen, The Ubik, Waardaar, AntiSpamBot, Jason2612, Pawnkingthree, Blood Oath Bot, Rcb1, Pjoef, Aka twitch, OKBot, Sam Armstrong, Caspiax, Martarius, Sfan00 IMG, SummerWithMorons, All Hallow’s Wraith, Drmies, Arjayay, TheRedPenOfDoom, 1ForTheMoney, Gmcgrory, Addbot, Ginosbot, Lightbot, Yobot, Ritathedog, AnomieBOT, Quebec99, Cuthbert58, Xqbot, MakeBelieveMonster, Ringerfan23, Jonesey95, FormerIP, Cnwilliams, John of Reading, GoingBatty, John Cline, Elektrik Shoos, Captain Screebo, Gwen-chan, ClueBot NG, Helpful Pixie Bot, BG19bot, Benzband, DPL bot, BattyBot, ChrisGualtieri, Ollie2012, Delotrooladoo, VIAFbot, Bottybooks, Bahooka, Tamlyndo, Vee Silk, Tigercompanion25, Freshcolour, KasparBot, Bender the Bot and Anonymous: 41 Mikey Dread Source: https://en.wikipedia.org/wiki/Mikey_Dread?oldid=756508858 Contributors: D, Bearcat, CdaMVvWgS, Rich Farmbrough, Forbsey, Bender235, TheParanoidOne, Mário e Dário, Stemonitis, RichardWeiss, BD2412, Teklund, Wwwhatsup, Korg, RussBot, Shell Kinney, Astral, Szwedzki, BuffaloBob, SmackBot, KAtremer, Schmiteye, Chris the speller, Pietaster, Onceler, Derek R Bullamore, Ohconfucius, Ser Amantio di Nicolao, John, Mark Lungo, Waggers, Politepunk, CmdrObot, ShelfSkewed, Cydebot, Klaus Bertow, Pete Scholtes, Michig, Mapcat, DaveWalley, Monikacampbell, Egghead06, Walor, Steven J. Anderson, Pjoef, JD554, Steven Crossin, ClueBot, Star Garnet, Alexbot, Urtica far i, Nolispanmo, BOTarate, Johnuniq, DumZiBoT, Ponta2, Jax 0677, Btrem, Good Olfactory, Addbot, Tassedethe, Lightbot, Uksignpix, Yobot, Ryansigala, TestEditBot, Citation bot, LilHelpa, Xqbot, Algoriddim, Mrnickcooper, EJBH, FidelAstro, Jon Melnick, MrX, Dewritech, H3llBot, SporkBot, CactusBot, Chester Markel, Helpful Pixie Bot, Ebdòmero, Webclient101, VIAFbot, Monkbot, KasparBot, Bender the Bot and Anonymous: 41 Don Letts Source: https://en.wikipedia.org/wiki/Don_Letts?oldid=761905671 Contributors: Quercusrobur, Theresa knott, Darkwind, Imesj, Babbage, Timrollpickering, Gyrofrog, Mip, Cnwb, D-Notice, Arthur Holland, Pablo X, Hooverbag, Mareino, Dyaimz, Mgillespie, Wikiklrsc, Rjwilmsi, Wwwhatsup, RexNL, EamonnPKeane, YurikBot, ZacharyS, C777, Grafen, Mike Selinker, Fractalchez, SmackBot, Doc Strange, Mairibot, Pietaster, Colonies Chris, Valenciano, Derek R Bullamore, Wizardman, Smerus, Ohconfucius, Ser Amantio di Nicolao, John, Ckatz, Loadmaster, Dl2000, Ferball415, Courcelles, JForget, Fache, WATP, Cydebot, Conquistador2k6, Chris Henniker, Esemono, AnemoneProjectors, Geraldine123, Ghmyrtle, Libertyletts, M-le-mot-dit, Migospia, Bovineboy2008, Kyle the bot, Bashereyre, Andwhatsnext, Gumby909, Pjoef, AlleborgoBot, Closenplay, TimProof, Karaboom, Nancy, Martarius, Grace letts, All Hallow’s Wraith, Rodhullandemu, Stevieraylittlewing, Ponta2, Kbdankbot, Addbot, Alexjgunn, Wallace1980111, Pince Nez, Lightbot, Yobot, Themfromspace, AnomieBOT, MikeWattHCP, ZANI Ezine, StevieNic, Tim1357, Trappist the monk, Hiddenstranger, EmausBot, Primefac, Larry43, Mhiji, Helpsome, Proscribe, Helpful Pixie Bot, Mysterytrey, VIAFbot, Monkbot, Malmsimp, Dchalkleyfan101, KasparBot, JJMC89 bot, Bender the Bot, Ragner5000 and Anonymous: 65 Bill Price (record producer) Source: https://en.wikipedia.org/wiki/Bill_Price_(record_producer)?oldid=761028945 Contributors: Marcus2, Rich Farmbrough, HelenWatt, Malcolma, Dissolve, Pietaster, Jkaharper, Mr.Blonde, Severo, Mindgames11, WOSlinker, Morganfw, Truthanado, Pjoef, Dick Shane, Martarius, DumZiBoT, Ponta2, Addbot, Justthefactspal, Lightbot, Yobot, Mattg82, Gil gosseyn, GoingBatty, Rusted AutoParts, Helpful Pixie Bot, Hairowen, ChrisGualtieri, Frosty, Adam Soroka, Thebillyboys, Steelyard Blues, KasparBot, GregK123 and Anonymous: 13 Guy Stevens Source: https://en.wikipedia.org/wiki/Guy_Stevens?oldid=762196814 Contributors: Rich Farmbrough, Laurascudder, Kjkolb, Commander Keane, Rjwilmsi, FlaBot, Wavelength, Bad Wolf~enwiki, SmackBot, Rojomoke, Kintetsubuffalo, Richfife, Pietaster, S
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CHAPTER 10. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES ellinson, Derek R Bullamore, Bretonbanquet, Alcuin, Ser Amantio di Nicolao, John, SilkTork, Regan123, Lozarithm, E-Kartoffel, Dl2000, The Drainpipe, P tasso, Thijs!bot, StormCloud, PJtP, Ricardosdag, Ghmyrtle, RRawpower, TXiKiBoT, Walor, Pjoef, Martarius, Bloodholds, Plastikspork, Vonbontee, Mild Bill Hiccup, Gypsy davey, XLinkBot, Spoonkymonkey, Addbot, Lightbot, Yobot, AnomieBOT, Tuesdaily, GoingBatty, SporkBot, Futurepast11, BG19bot, Zerosprite, Esszet, KasparBot, Bender the Bot and Anonymous: 12 Sandy Pearlman Source: https://en.wikipedia.org/wiki/Sandy_Pearlman?oldid=744606563 Contributors: HollyAm, David Gerard, Leflyman, JimWae, CanisRufus, Snorgy, Duff, Woohookitty, Robert K S, Rjwilmsi, Vegaswikian, Ground Zero, Bgwhite, The Rambling Man, YurikBot, RussBot, Tenebrae, C777, Cryptic, BrainyBroad, Rayc, Open2universe, SmackBot, Elonka, Brossow, Anonymous coward, Bluebot, Wikibarista, Derek R Bullamore, Wizardman, Threadbare, Twalls, Waggers, Hu12, Eiamjw, Aesire, Tauʻolunga, Mellery, Cydebot, ClydeC, DanielLevitin, Headbomb, Ghmyrtle, Postcard Cathy, Connormah, 75pickup, Tvoz, Johnpacklambert, Kyle the bot, Starbucks95905, Mercurywoodrose, Pjoef, AlleborgoBot, DUMKOOLMAN61290, Zelchenko, Crashtest22, Cyfal, AYNIL, DumZiBoT, Addbot, Tassedethe, Tide rolls, Lightbot, Yobot, AnomieBOT, RIAA Archivist, Omnipaedista, Invisiboy42293, MrX, RjwilmsiBot, Lewismaster, Limeydave, Docteur Massacre, Guy147652, Bob305, Sleeping is fun, CitationCleanerBot, Cyberbot II, OctoberKnights, KasparBot, BD2412bot, Adog104, TheOutrageousBoyRBLX, Arbor Fici, Bender the Bot and Anonymous: 49 Tymon Dogg Source: https://en.wikipedia.org/wiki/Tymon_Dogg?oldid=760181966 Contributors: Lonita, Arpingstone, Paul A, Jmcnally, David Gerard, Ferdinand Pienaar, R. fiend, Bender235, Grenavitar, Bjones, BD2412, Rjwilmsi, Rydia, FlaBot, RussBot, C777, EntChickie,
[email protected], Kingboyk, SmackBot, Jessan0, Pietaster, Colonies Chris, Derek R Bullamore, EdGl, Smerus, Ohconfucius, Harryboyles, Rodney Boyd, Apedevon, GiantSnowman, CmdrObot, AndrewHowse, Richhoncho, Eco84, Headbomb, Philippe, Livefastdieold, MegX, Davidih, Walor, Mkdns20, Pjoef, Aspects, Johnb78, Cloonmore, Annalasim, 1ForTheMoney, DumZiBoT, Ponta2, Dubmill, Addbot, IbLeo, 61x62x61, Tassedethe, Lightbot, Yobot, AnomieBOT, Aethionema, Cloudintrousers, Grim23, 7devonapes, Queenranavalona, John of Reading, Tymonfan, CactusBot, Delusion23, Helpful Pixie Bot, Chinwaggy, BG19bot, BattyBot, Cyberbot II, FoCuSandLeArN, VIAFbot, Jodosma, Sellpink, DjangaJ, Monkbot, KasparBot, GreenC bot, Bender the Bot and Anonymous: 31 Mick Gallagher Source: https://en.wikipedia.org/wiki/Mick_Gallagher?oldid=739966747 Contributors: Rich Farmbrough, Rjwilmsi, Mike Selinker, Crystallina, Pkeets, John, E-Kartoffel, Mattbr, Amalas, Ian1019, Thijs!bot, RobotG, AnemoneProjectors, Spellmaster, Martinevans123, Kritikos99, Walor, Pjoef, AlleborgoBot, Gorrrillla5, Martarius, Icarusgeek, Ponta2, Jax 0677, Addbot, Lightbot, Zorrobot, Yobot, AnomieBOT, GrouchoBot, Tunebroker, Cnwilliams, Martin IIIa, Hiddenstranger, GoingBatty, H3llBot, CactusBot, BG19bot, Benzband, Cyberbot II, VIAFbot, Joe Vitale 5, Kethrus, KasparBot, GreenC bot, Kitty Boo and Anonymous: 17 Gary Barnacle Source: https://en.wikipedia.org/wiki/Gary_Barnacle?oldid=757808792 Contributors: Darkwind, Wouterhagens, Rich Farmbrough, Xezbeth, Bender235, Karst, The JPS, Woohookitty, Tabletop, DavidFarmbrough, Cuchullain, BD2412, Josh Parris, Rjwilmsi, MZMcBride, Dfmock, Bgwhite, Red Slash, Tednor, SmackBot, Chris the speller, Neo-Jay, Colonies Chris, Derek R Bullamore, Bogsat, Pkeets, TenPoundHammer, Ser Amantio di Nicolao, Geach, BrownHairedGirl, Dizrythmia, Mr Stephen, Spook`, Mellery, ShelfSkewed, Cydebot, Richhoncho, Headbomb, JustAGal, Michig, Thomas Linard, MegX, Magioladitis, VoABot II, JaGa, Tikiwont, Northmetpit, Victuallers, Cometstyles, Technopat, Natg 19, Brasssax, BOTijo, Pjoef, Ponyo, Drmies, Niceguyedc, Jax 0677, Michelleatkins 71, Stuntbaby, Cabayi, IbLeo, Tassedethe, Lightbot, Zorrobot, Ben Ben, Yobot, AnomieBOT, FrescoBot, Jonesey95, Utd grant, Mjs1991, Trappist the monk, Raykyogrou0, EmausBot, John of Reading, GoingBatty, Peaceray, Antiidiotfoundation, Erpert, Liquidmetalrob, SporkBot, Helpful Pixie Bot, Ilovemymosie, Thejazzmaster, Synchronicity42, Benzband, DPL bot, Khazar2, Dobie80, Internet Providings, Jb423, Synthwave.94, OccultZone, ColRad85, Noisehaus, Monkbot, Joe Vitale 5, KasparBot, Triffid38, Dustyacres, GregK123, Hogweed2 and Anonymous: 25 Pennie Smith Source: https://en.wikipedia.org/wiki/Pennie_Smith?oldid=753733434 Contributors: Bender235, Darwinek, Stephen, Akira625, Alaney2k, Wwwhatsup, FlaBot, Cactus.man, RicDod, Tony1, Nikkimaria, SmackBot, SG73, Chris the speller, Konczewski, Ser Amantio di Nicolao, Manifestation, Dl2000, Iridescent, Malice1982, Feelfreetoblameme, Dev920, Bobf, Krylonblue83, Thijs!bot, Headbomb, Xeno, MegX, Restecp, Waacstats, MetsBot, RP88, Johnpacklambert, Ipigott, Bohemianroots, TheMindsEye, Kyle the bot, WOSlinker, Pjoef, ImageRemovalBot, Martarius, WikHead, Addbot, Lightbot, Citation bot, Rockroks, Thecreator09, Maker9999999999, GoingBatty, Helpful Pixie Bot, BattyBot, Itbeso, Mogism, VIAFbot, Odysseus voyage14, Umberslade71, KasparBot, GreenC bot, Afterthesiren and Anonymous: 10 Ellen Foley Source: https://en.wikipedia.org/wiki/Ellen_Foley?oldid=758096371 Contributors: The Epopt, Ortolan88, Baylink, David Gerard, Klemen Kocjancic, D6, EliasAlucard, Collier626, BrokenSegue, Lexw, Ricky81682, Mysdaao, Mad Hatter, Grenavitar, Karst, The JPS, Woohookitty, Bjones, Bunchofgrapes, Dananderson, Bill37212, The wub, MarnetteD, Mitchberg, JohnMc, Design, YurikBot, RussBot, Marcus Cyron, ExRat, Irishguy, Gmosaki, Asarelah,
[email protected], Crystallina, SmackBot, LightningMan, Brian Patrie, Verne Equinox, Nethency, Srasku, Chris the speller, Marcelinofan, Sumahoy, OrphanBot, Jonerik10, Badbilltucker, John wesley, Wizardman, Beesknees, Ser Amantio di Nicolao, Easytoremember, John, Sevesteen, Eastfrisian, Christian Historybuff, Iridescent, Paulimo, Jamespfarrell, Mattbr, Drinibot, Cydebot, Thijs!bot, TheSniperZERO, Jed, PJtP, Nick Number, RobotG, Bruceberry, Michig, MegX, ILaw, Mike80, Theroadislong, Antmusic, Flami72, Johnpacklambert, Wtimrock, Jevansen, Huskies1983, TucsonUte, Pjoef, EHonkoop, Yintan, Crash Underride, Lafong, AMCKen, Cyfal, Explicit, ImageRemovalBot, Zigwithbag, All Hallow’s Wraith, Niceguyedc, AceAndres, XLinkBot, Addbot, Mcthumber, Tassedethe, Lightbot, Krano, Yobot, Jiffytuvix, AnomieBOT, Heslopian, Citation bot 1, Tinton5, MrX, Joecool1968, WikitanvirBot, Gfoley4, Starcheerspeaksnewslostwars, FrankPoncherello, ZéroBot, CactusBot, Vincelord, Peezy1001, Cajtri87, BattyBot, VIAFbot, Chartbot, Cadavra8, Hitcher vs. Candyman, MMuster, KasparBot, Mario Payne, Make it lowercased, InternetArchiveBot, JJMC89 bot and Anonymous: 80 Caroline Coon Source: https://en.wikipedia.org/wiki/Caroline_Coon?oldid=709010417 Contributors: SatyrTN, Bearcat, Auric, RobinCarmody, D6, Philip Cross, Stephen, Wwwhatsup, Rmky87, Figaro, Tyrenius, SmackBot, Elonka, Derek R Bullamore, Wizardman, Ser Amantio di Nicolao, Xeno, Magioladitis, Soane, Rettetast, MrBronson, JayJasper, Pjoef, Rosiestep, Solar-Wind, Stepshep, Felix Folio Secundus, Addbot, Lightbot, Krenakarore, Luckas-bot, Yobot, Citation bot, J JMesserly, Sionk, MandelBot, Larryred, Geoff Whistle, Diannaa, Lopifalko, Unreal7, Bigchip, Helpful Pixie Bot, Benzband, ChrisGualtieri, VIAFbot, MaybeMaybeMaybe, Agarpp, Jamesmcmahon0, CaesarsPalaceDude, KasparBot and Anonymous: 4 Steve Bell (cartoonist) Source: https://en.wikipedia.org/wiki/Steve_Bell_(cartoonist)?oldid=754539535 Contributors: Rbrwr, Edward, Stan Shebs, Vodex, Ike9898, Riddley, Pigsonthewing, Seglea, Tim Ivorson, Taliswolf, Michael Snow, Hig Hertenfleurst, Danceswithzerglings, Lupin, Tagishsimon, Richard K. Carson, Bodnotbod, Kuralyov, Icairns, Squash, D6, Rich Farmbrough, YUL89YYZ, Dave souza, Irishpunktom, Dmanning, Philip Cross, Rd232, Rwendland, Nicknack009, Angr, Phileas, Eubot, Vclaw, RussBot, DanMS, PhilipC, Thermaland~enwiki, Mais oui!, Chrisleeclark, Swpmre, Oldhamlet, A bit iffy, SmackBot, McGeddon, Modest Genius, Can't sleep, clown will eat me, Funky Monkey, RolandR, John, Catapult, Gunray, Dl2000, FairuseBot, Geo8rge, Cydebot, TonyTheTiger, Citizensmith, RobotG, Rothorpe, Magioladitis, Sam Blacketer, Pjoef, Martarius, Privatemusings, Yomangan, Johnthemonkey, Addbot, Chzz, Tassedethe, Lightbot, OlEnglish, Suchsmallportions, JJARichardson, Xqbot, Sionk, Timclark53, FrescoBot, Full-date unlinking bot, Comnenus, EmausBot,
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ClueBot NG, SeanNemetz, VIAFbot, BabElWad, Dr S Bell, Itc editor2, Konveyor Belt, Puffingbird, KasparBot, Bender the Bot, MarxistAtheist991 and Anonymous: 44 https://en.wikipedia.org/wiki/Futura_2000?oldid=758600616 Contributors: Deb, SimonP, Dysprosia, Timc, Tim Ivorson, Moink, Shotwell, Edgarde, Longhair, Urthogie, Woohookitty, FeanorStar7, Mathmo, BD2412, Rjwilmsi, Tawker, Gaius Cornelius, GeeJo, Rwalker, WesleyDodds, That Guy, From That Show!, SmackBot, Down10, ZS, Bluebot, AlexDitto, Jness, Lerner~enwiki, Derek R Bullamore, Wizardman, Piepie, CmdrObot, NickW557, Sdorrance, NicoV, Headbomb, Fayenatic london, Smartse, Uusitunnus, MER-C, TAnthony, Snaxorb, Dedonite, ReedSturtevant, CommonsDelinker, J.delanoy, 72Dino, Speciate, Sparklism, 28bytes, NPrice, Randysshh, Suriel1981, Wavehunter, Pjoef, Calliopejen1, Jimthing, Grand master pat, ClueBot, Jethro555, Trivialist, Stepshep, Excirial, Thomson7, XLinkBot, Dthomsen8, Hertak, Addbot, Binary TSO, OlEnglish, 123Triad, Yobot, Playclever, Brodieben, AaronF2, FVTVRA, FrescoBot, Full-date unlinking bot, JettRink, GoingBatty, Art-rite, Midas02, Cyan Relish, ClueBot NG, Lashuto, ChrisGualtieri, Elisajs, Théophraste Longuet, Icensnow42, Tjate, Mdgallery, RonFromMontreal, Hudson11377, KasparBot, Srednuas Lenoroc, InternetArchiveBot, Chatelier Nicole and Anonymous: 52
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The 101ers Source: https://en.wikipedia.org/wiki/The_101ers?oldid=730841376 Contributors: Jmcnally, Inanechild, R. fiend, Loopy, Rich
https://en.wikipedia.org/wiki/Ray_Lowry?oldid=754405635 Contributors: Ijon, Timrollpickering, RobinCarmody, AreJay, Philip Cross, Woohookitty, Koavf, Lockley, Wwwhatsup, Gadget850, Caerwine, A bit iffy, SmackBot, Aelfthrytha, Hmains, Mistress Selina Kyle, Derek R Bullamore, Wizardman, Ohconfucius, Ser Amantio di Nicolao, Cydebot, Bobf, Yorkshiresky, Malleus Fatuorum, Headbomb, Kbthompson, DShamen, Ghmyrtle, Rothorpe, Pjoef, BotMultichill, Martarius, LizGere, ContiAWB, Yobot, EchetusXe, TThornborough, BritishCartoonArchive, Khazar2, VIAFbot, Vycl1994, KasparBot, Bender the Bot, Wikishovel and Anonymous: 14 Farmbrough, Woohookitty, Jdcooper, JubalHarshaw, Wwwhatsup, Matterson52, Paul foord, Choess, SVTCobra, YurikBot, BTLizard, SmackBot, Underneath-it-All, Pietaster, The Bug Eyed Master, Gracenotes, Konczewski, Derek R Bullamore, BNutzer, RGCorris, Spiff666, Dl2000, Fache, Cydebot, Thijs!bot, Blah3, Nick Number, Michig, Geniac, Think outside the box, Johnpacklambert, Deor, TXiKiBoT, Jogersbot, Olea, McM.bot, Pjoef, Unknown Unknowns, Nite-Sirk, Martarius, Cloonmore, Arjayay, Ponta2, XLinkBot, MystBot, Addbot, DOI bot, Download, Lightbot, AussieLegend2, Yobot, Citation bot, DynamoDegsy, Xqbot, Blum41, Citation bot 1, Trappist the monk, Stephen MUFC, In ictu oculi, EmausBot, Cobaltcigs, JohnnyLurg, Helpful Pixie Bot, Benzband, Kahtar, 115ash, KasparBot, Mistymountain546, Reggie Strummer, MiskoJovic and Anonymous: 34
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London SS Source: https://en.wikipedia.org/wiki/London_SS?oldid=738308107 Contributors: Quercusrobur, Karada, Tony rigby, Jerzy,
Bearcat, Pimpalicious, Rossrs, Grant65, Bobblewik, Gyrofrog, R. fiend, John Foley, The Undertones, Auto movil, 96T, Cmdrjameson, Alai, Jdcooper, Rjwilmsi, Koavf, FlaBot, Algebraist, YurikBot, Funkspiel, Gaius Cornelius, CapPixel, SmackBot, Underneath-it-All, Schmiteye, BNutzer, Ohconfucius, E-Kartoffel, Twas Now, Vragebugten, Fache, Cydebot, Achangeisasgoodasa, Roberta F., Piccolo Modificatore Laborioso, .anacondabot, VolkovBot, Technopat, Pjoef, Funeral, Unknown Unknowns, Cactus26, Flyer22 Reborn, Martarius, CAVincent, Editorofthewiki, Ponta2, Dthomsen8, Tim010987, MystBot, Addbot, Lightbot, Yobot, AnomieBOT, ErikTheBikeMan, J04n, Prozacforall, Jonesey95, Rushbugled13, Hiddenstranger, GoingBatty, ClueBot NG, CactusBot, Helpful Pixie Bot, Fillthemill, Benzband, BattyBot, JoshuSasori, Esszet, Editfromwithout, Rocknrolldude, Slondino, Nialyeye, Prof. Taeuk, D.L. Struggle, Elizabeth.oconnor, EvaBrich, RoboCyclone, Saraeliiz, Jane Barkley, Gogotietjens, Mirge, I.am.dan.edge, Angeladiti, Yaad Murshed, Doss002, Warrior of Zen, Bumbcrack, Wordsphoneix, Ccaucophony44, Heliosious, Priti.shetty, Hm1355, Idkbreanna, KateyMcLeod, Rockreport77, KasparBot and Anonymous: 30 •
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https://en.wikipedia.org/wiki/Big_Audio_Dynamite?oldid=757399537 Contributors: Paul Drye, Bryan Derksen, Deb, GTBacchus, GRAHAMUK, Radiojon, Bearcat, Ecls, David Gerard, Rossrs, Zigger, Guanaco, McCann51, Gyrofrog, Wmahan, Simplicius, Loopy, Bonalaw, Rich Farmbrough, Xezbeth, JoeSmack, Timsheridan, Ronark, Benson85, Ianblair23, DavidFarmbrough, Taestell, Jdcooper, Feydey, Tomtheman5, Ian Dunster, Tbone, Ground Zero, Master Thief Garrett, YurikBot, Ericorbit, C777, Amazinms90, Tonywalton, Jogers, Xinger, SmackBot, Cla68, Doc Strange, Underneath-it-All, Stuart mcmillen, Blackfyr, Bluebot, Pietaster, Alex 101, Steelbeard1, Chadwholovedme, DantheCowMan, Monotonehell, Derek R Bullamore, Ohconfucius, BrownHairedGirl, John, NJZombie, Ckatz, Bawtyshouse, Spiff666, BranStark, HDCase, Fache, Stacecom, Orderinchaos, Nqr9, (chubbstar), AndrewHowse, Cydebot, ST47, Lugnuts, Ss112, Soetermans, Jonithrobb, Barticus88, Nerwen, Salavat, Delage, Dougz1, Johnpacklambert, Trusilver, 72Dino, Thathybridguy, Aia94, Iggwilk, Southfork, Cometstyles, Vhowells, Black Kite, Oshwah, Lola Voss, Pjoef, Funeral, MuzikJunky, Holiday56, Android Mouse Bot 3, Rogermx, Fratrep, ClueBot, BigAudioClash, EoGuy, MikeVitale, Paper Back Writer 23, Alexbot, Vmars4eva, Putnam269, Temeku, Jax 0677, Dylanfromthenorth, Bisbis, WikHead, Universal Cereal Bus, Mooneeboys, SlubGlub, Kbdankbot, Blethering Scot, Draemelius swift, Leszek Jańczuk, Tassedethe, Lightbot, Team4Technologies, Legobot, Luckas-bot, Yobot, Tdl185, Davidkt, AnomieBOT, LilHelpa, Xqbot, Coolboyno1, FotoPhest, Ursogey, Preservedmoose, Vmih, Lachlan Foley, MrX, Jomidi, RjwilmsiBot, Hiddenstranger, DASHBot, Werieth, Martincolloby, NemUK, DONJWHISTANCE, TheDeviantPro, Helpsome, Noth12gierc, EatMorePez, TangoTizerWolfstone, Lewi6400youtubeChannel, Cbolan84, MaybeMaybeMaybe, Rotlink, Window135, Chartbot, Synthwave.94, Malmsimp, KasparBot, GreenC bot, Bender the Bot and Anonymous: 88
Big Audio Dynamite Source:
The Latino Rockabilly War Source: https://en.wikipedia.org/wiki/The_Latino_Rockabilly_War?oldid=726411103 Contributors: Wikiacc, Devilgate, Bruce1ee, Hathawayc, RandomUser2010, C777, Trovatore, Underneath-it-All, Pietaster, Tawkerbot2, WOSlinker, Pjoef, Nouse4aname, Dravecky, Addbot, Yobot, AnomieBOT, Rcran, FrescoBot, DefaultsortBot, Errant Tiger, MrX, Faizan, Adam Soroka and Anonymous: 10
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Havana 3am Source: https://en.wikipedia.org/wiki/Havana_3am?oldid=727159149 Contributors: David.Monniaux,
Bearcat, MakeRocketGoNow, MIT Trekkie, Koavf, Sherool, BOT-Superzerocool, Pietaster, John, Dl2000, Fache, Cydebot, Hoponpop69, Spellmaster, Johnpacklambert, Clashpistols, McM.bot, Pjoef, Sdcoates1978, Leahtwosaints, Addbot, Yobot, J Milburn Bot, Xqbot, A no-knee mouse, ZéroBot, Burbridge92, CactusBot and Anonymous: 7
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The Mescaleros Source: https://en.wikipedia.org/wiki/The_Mescaleros?oldid=749819221 Contributors: RedWolf, TOO, Inanechild, R.
fiend, Artinio Hall, YUL89YYZ, Polylerus, Voyelles, Idont Havaname, Grenavitar, Jdcooper, Rjwilmsi, Rydia, Biederman, YurikBot, C777, BoNeZ, EntChickie, Esprit15d, Luk, SmackBot, Ohnoitsjamie, Ghosts&empties, Chris the speller, Pietaster, Chadwholovedme, Jlee562, Derek R Bullamore, John, Catapult, Effective, Thesexualityofbereavement, Fache, Cydebot, Pablosmiley, PEJL, Nick Number, CaptainCrawdad, Jason1978, Effectivepublishing, Restecp, Rothorpe, Pablosmiley13, Wcivils, VolkovBot, Kylethe bot, Mercurywoodrose, Dinybot, Steven J. Anderson, IllaZilla, McM.bot, Pjoef, Nouse4aname, EHonkoop, Notneils, SlayerXT, Addbot, DOI bot, I feel like a tourist, Tassedethe, Luckas-bot, Yobot, AnomieBOT, Citation bot, Cloudintrousers, GrouchoBot, Tunebroker, VEO15, Trappist the monk, Nobby Clark13, Mab987, H3llBot, CactusBot, DrDrake100, Stjulienlepauvre, I12bent, Helpful Pixie Bot, Soulstaticsound, Aleceast, Cyberbot II, Dobie80, Michiganhorror, Mogism, Rotlink, MarchOrDie, Tynmar66, Monkbot, KasparBot and Anonymous: 41
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CHAPTER 10. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES https://en.wikipedia.org/wiki/Carbon/Silicon?oldid=761016794 Contributors: Edward, Sugarfish, Bearcat, Grant65, JoeSmack, Ceyockey, Angusmclellan, Wwwhatsup, Jamdav86, FlaBot, Mikeblas, SmackBot, Betacommand, Pietaster, Jimindc, Frap, Derek R Bullamore, John, Dl2000, Fache, CmdrObot, SteveHorwood, Cydebot, Thijs!bot, Fisherjs, Mr.Blonde, Johnpacklambert, Rrawpower, Neon white, Mrsyetidooscreecher, Hammard, Maxim, Pmsphoto, Dross-iow, Pjoef, Munci, Reorgart~enwiki, ImageRemovalBot, Alexbot, The Baroness of Morden, Schizier, WikHead, Addbot, Cschmitt, Tassedethe, Yobot, Davidkt, Lewisisok1, B3t, DefaultsortBot, JackShestak, MrX, H3llBot, BattyBot, Synthwave.94, KasparBot, InternetArchiveBot, Laurelle H, Bender the Bot and Anonymous: 31 The Good, the Bad & the Queen Source: https://en.wikipedia.org/wiki/The_Good%2C_the_Bad_%26_the_Queen?oldid=758770666 Contributors: Beardo, Dan aka jack, Cbing01, Brianhe, Moochocoogle, LindsayH, Domster, CyberSkull, Fritz Saalfeld, Jamsta, BD2412, Rjwilmsi, Koavf, Phileas, FlaBot, SVTCobra, Kernitou, Samuel Wiki, RussBot, Green Tentacle, Ytgy111, C777, Wiki alf, TheLH, Newmag, BGC, CapitalLetterBeginning, Spin Boy 11, CWenger, FlashAmI, Kicking222, SmackBot, Aphid360, Evanreyes, Rst20xx, Pietaster, Nemodomi, AWeenieMan, Tsca.bot, OrphanBot, Charlieb63, Manic Paul, Xibe, Derek R Bullamore, Victor Lopes, Ceoil, Ohconfucius, Gsmuk, John, Iansmcl, Dsims209, Dl2000, Xljesus, Emayall, Iridescent, Deanh, Audiosmurf, CmdrObot, Goromike, Dgw, Whereizben, Cydebot, Matt.Hoy, Flowerkiller1692, Ss112, Rogwan, Soetermans, Cryo enix, Thijs!bot, Fisherjs, JCGB, Modern life is rubbish, Lozace, A Minor Thr3at, Icanstillcu, 17Drew, Jhsounds, Andrzejbanas, Skomorokh, Steveprutz, Chappy84, S3000, DavyJonesLocker, JackS 7, Satchett, Birthskin, Being blunt, Delundell, Echolot, Labelephant, ErleGrey, Steptb, AaronRosenthal, Malljaja, Jogersbot, Tom7p, Fredrick day, Jack Garfield, Wirelessbollinger, Feudonym, Pjoef, AlleborgoBot, SieBot, MuzikJunky, Holiday56, Recliner Man, Lightmouse, Headdymann, Dyontz, D4tis, ImageRemovalBot, SuzeOlbrich, ClueBot, Tarsie, PixelBot, MrRodolfoAlbarn, BambooBanga, MutinyIn-Heaven, Indopug, WikHead, MystBot, Marchije, Addbot, Sharkdude95, Ginosbot, DinoBot2, Yobot, J Milburn Bot, Frostie Jack, Rubinbot, Xqbot, The Evil IP address, Ellm6, Skyerise, TRBP, MrX, Ripchip Bot, HrZ, WikitanvirBot, GoingBatty, Mialcxe3, ZéroBot, 4bicho, H3llBot, SporkBot, Mhiji, Joefromrandb, NikoPowers, BenjaniBoy139, Popcornduff, SebbenSebben123, Mayast, RichardMills65, Bigredrabbit2, Dexbot, Eleventhblock, Iseesky, TheCyberToon3000, JordanPowers95, Jaredisamped, Njjhbjbjb, Zamaster4536, GreenC bot, Bender the Bot and Anonymous: 130 Rock Against Racism Source: https://en.wikipedia.org/wiki/Rock_Against_Racism?oldid=759715754 Contributors: Александър, Kwekubo, GRAHAMUK, Topbanana, Bearcat, Boffy b, Zigger, CJCurrie, Curtsurly, Anirvan, Neutrality, Rich Farmbrough, Shermozle, Ntennis, FirstPrinciples, LeonardoGregianin, Theaterfreak64, JK the unwise, Woohookitty, Schroeder74, TrojanSkin, Splintax, Hailey C. Shannon, GregorB, Rjwilmsi, Tim!, Wahoofive, Koavf, Thekohser, Florian Huber, Imnotminkus, Beano311, NawlinWiki, The Merciful, Bloodofox, Nae'blis, LeonardoRob0t, Aoa8212, Samuel Blanning, SmackBot, Bluebot, Pietaster, Stevenmitchell, RolandR, John, Ka34, Dl2000, Iridescent, Toddsschneider, MigGroningen, Bobfrombrockley, Spylab, DumbBOT, Chrishr, Chris Henniker, Thijs!bot, ChKa, Thebanjohype, Z10x, Mitsos, Dzubint, SmokeyTheCat, Rdavi404, L0b0t, .anacondabot, Magioladitis, Norman3412, Avicennasis, Alleborgo, Phantomsnake, InnocuousPseudonym, DadaNeem, DH85868993, Ross Fraser, A4bot, IllaZilla, Kenshin, Madinertia, Pjoef, WereSpielChequers, KathrynLybarger, Petzl, Bomberis88, Caspiax, Niceguyedc, Arad7613, Solar-Wind, Acabashi, DumZiBoT, Mr Larrington, Staatsfeind 89, Bengmeng, Tim010987, Addbot, Leszek Jańczuk, Raroriginalcrew, Yobot, KamikazeBot, Ulric1313, Citation bot, LilHelpa, LucienBOT, Fixer88, Keri, RjwilmsiBot, WikitanvirBot, GoingBatty, Sd31263, Ewa5050, ClueBot NG, Matthiaspaul, Justlettersandnumbers, Helpful Pixie Bot, Lowercase sigmabot, Benzband, Brandonbirch, DYonkers, Mick modern, Earflaps, Claíomh Solais, Vehicular Man 2, Ilovetopaint, Demokra, Monkbot, Morgenstern91, Irishman on the wikicircuit, Awesomewiki64, Frank kensington, Labrowp, Bender the Bot and Anonymous: 80 Concerts for the People of Kampuchea Source: https://en.wikipedia.org/wiki/Concerts_for_the_People_of_Kampuchea?oldid= 737590533 Contributors: KF, Mrzaius, Koavf, Vegaswikian, Wisekwai, Jogers, Kingboyk, Candyfloss, Evanreyes, TenPoundHammer, E-Kartoffel, ElectricEye, Cydebot, Rafuki 33, AyaK, KConWiki, STBot, Sbamkmfdmdfmk, Whbjr, Hugo999, Hqb, Jochim Schiller, Pjoef, Glassbreaker5791, Niceguyedc, DumZiBoT, Addbot, Esasus, Tassedethe, Lightbot, Luckas-bot, Yobot, Gongshow, Frostie Jack, GoingBatty, Shyguy1991, Yeepsi, SporkBot, Cryifyouwant and Anonymous: 10 Burning London: The Clash Tribute Source: https://en.wikipedia.org/wiki/Burning_London%3A_The_Clash_Tribute?oldid= 748902409 Contributors: Rich Farmbrough, Koavf, Pietaster, Darwin’s Bulldog, Drjayphd, Zidane tribal, KConWiki, Pjoef, Addbot, Imperatore, Westtester, Fir42, Download, Esasus, DinoBot2, J Milburn Bot, DASHBot, Chickenguy13, CactusBot, Benzband, BU Rob13, InternetArchiveBot and Anonymous: 4 Rude Boy (film) Source: https://en.wikipedia.org/wiki/Rude_Boy_(film)?oldid=744542723 Contributors: Rich Farmbrough, Georgiaguy, Graham87, Biederman, Wwwhatsup, Elpaw, RussBot, Pi Delport, BoNeZ, Esprit15d, SmackBot, Pietaster, John, Michael Bednarek, Dl2000, CmdrObot, Cydebot, Megaforcemedia, Lugnuts, Spylab, Chris Henniker, Robsinden, Headbomb, Kbthompson, Michig, Hoverfish, Donmike10, RachelMcIntyre, Billinghurst, Pjoef, Aspects, ClueBot, Daigaku2051, Jamesscottbrown, Addbot, Fir42, Robert.Harker, Tassedethe, AnomieBOT, JackieBot, Citation bot, LittleWink, Full-date unlinking bot, Lachlan Foley, TuHan-Bot, SporkBot, Helpful Pixie Bot, BattyBot, Monkbot, Narky Blert, Luckstap and Anonymous: 19 The Clash: Westway to the World Source: https://en.wikipedia.org/wiki/The_Clash%3A_Westway_to_the_World?oldid=741589693 Contributors: Danny, Sannse, JnB987, Loopy, Rich Farmbrough, TheParanoidOne, Evil Monkey, BD2412, RandomUser2010, BoNeZ, Logan1138, SmackBot, The Drainpipe, Ayanoa, Dycedarg, Cydebot, Chris Henniker, Thijs!bot, Hoverfish, Shawn in Montreal, Pjoef, AlleborgoBot, Picante98, PixelBot, Another Believer, Tired time, Addbot, Lightbot, Fortdj33, Cobaltcigs, MozzazzoM and Anonymous: 7 Let’s Rock Again! Source: https://en.wikipedia.org/wiki/Let’{}s_Rock_Again!?oldid=735646128 Contributors: Rjwilmsi, Pietaster, Evilive, MarsRover, Cydebot, Restecp, Hoverfish, Shawn in Montreal, Tvjackass8907, Aspects, Polbot, ImageRemovalBot, AnomieBOT, Limeyproducer, FreeKnowledgeCreator, Fortdj33, Lachlan Foley, Auchansa, OccultZone and Anonymous: 4 Joe Strummer: The Future Is Unwritten Source: https://en.wikipedia.org/wiki/Joe_Strummer%3A_The_Future_Is_Unwritten?oldid= 744106752 Contributors: DaveSeidel, Rich Farmbrough, Bender235, Wikiklrsc, Torqueing, Rjwilmsi, C777, CapitalLetterBeginning, Master of Puppets, MJBurrage, Ohconfucius, John, Gobonobo, Dycedarg, Soul Crusher, Cydebot, Lugnuts, Flowerkiller1692, Thijs!bot, Headbomb, Sreejithk2000, Pixelface, Vl'hurg, Shawn in Montreal, Aia94, SteveStrummer, Pjoef, KS, Aspects, Polbot, RWardy, Ponta2, WikHead, Addbot, Fyrael, Radosław10, Yobot, TheMovieBuff, FreeKnowledgeCreator, Full-date unlinking bot, Lachlan Foley, Guziel313, ZéroBot, H3llBot, SporkBot, Sofffie7, Stormteacup, KLBot2, Easieronline, Mr Subtlety, Yesgoanimate and Anonymous: 17 Concert for Kampuchea Source: https://en.wikipedia.org/wiki/Concert_for_Kampuchea?oldid=741974586 Contributors: Koavf, MarnetteD, Wasted Time R, Quentin X, Mike Selinker, Jogers, Kingboyk, SmackBot, Candyfloss, Lainagier, Kisholi, Siege72, Pkeets, Mr. Manu, E-Kartoffel, Dl2000, CmdrObot, ShelfSkewed, Cydebot, YorkshireNed, Headbomb, Sreejithk2000, Michig, Miketm, Pjoef, Wool Mintons, Demize, Rlendog, Aspects, Randy Kryn, Niceguyedc, Trivialist, Tassedethe, Lightbot, J Milburn Bot, Fortdj33, Viniciusmc, GoingBatty, Yeepsi, Adelson Velsky Landis, Montalban, Kahtar, TheKaphox and Anonymous: 22 Carbon/Silicon Source:
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https://en.wikipedia.org/wiki/D.O.A.%3A_A_Rite_of_Passage?oldid=761681994Contributors: Ashley Pomeroy, BD2412, Rjwilmsi, Tommyt, SMcCandlish, Colonies Chris, J Milburn, Cydebot, Sreejithk2000, Kinston eagle, Shawn in Montreal, KylieTastic, Inwind, Edkollin, Pjoef, Aspects, Seth Whales, Full-date unlinking bot, Tim1357, GoingBatty, H3llBot, SporkBot, Penguinesque, Whichdoctorprime, InternetArchiveBot, GreenC bot and Anonymous: 7 Punk: Attitude Source: https://en.wikipedia.org/wiki/Punk%3A_Attitude?oldid=757891041 Contributors: Rich Farmbrough, C777, SmackBot, EdGl, Salamurai, Cydebot, Alaibot, Sreejithk2000, Skomorokh, MegX, Rich257, Shawn in Montreal, 49590439584, Murderbike, Pjoef, MMJackman, DutchTreat, Plastikspork, Fortdj33, Tim1357, Retropolis1, Widr, Benzband, Khazar2, InternetArchiveBot and Anonymous: 6 Walker (film) Source: https://en.wikipedia.org/wiki/Walker_(film)?oldid=761789277 Contributors: Mintguy, BRG, Etoile, Opus33, Niteowlneils, R. fiend, Kevyn, D6, Herzen, TMC1982, Polylerus, Uucp, DonQuixote, AN(Ger), Kusma, Jack Cox, Leithp, PhilipC, ChuckEye, Pegship, Joshronsen, Mje112, Pietaster, Colonies Chris, John, Wheresmike, Grandpafootsoldier, Hu12, Soul Crusher, ShelfSkewed, AndrewHowse, Cydebot, J.D., Lugnuts, Ss112, Thijs!bot, Caenwyr, Davidhorman, Nick Number, Captain Crawdad, Sreejithk2000, Andrzejbanas, DagosNavy, Tstrobaugh, Bzuk, Cvkline, Mrbusta, David Porta, AlleborgoBot, GirasoleDE, Goustien, Polbot, Fetchfan, Nusumareta, Nigelkurt, TheOldJacobite, Zombie433, Poupartca, Addbot, Luckas-bot, Yobot, TheMovieBuff, LlywelynII, Shadowjams, Doooglas, Tbhotch, Keller83, Beware the Unknown, Ὁ οἶστρος, LoveActresses, Carlosmal, Helpful Pixie Bot, Gabriel Yuji, ChrisGualtieri, Simplton, Taylor Trescott, Poveglia and Anonymous: 35 Straight to Hell (film) Source: https://en.wikipedia.org/wiki/Straight_to_Hell_(film)?oldid=750975967 Contributors: SimonP, Theresa knott, Andrewman327, Stormie, Jeffq, Earl Manchester, Everyking, R. fiend, Sam Hocevar, NetBot, BrokenSegue, Viriditas, Draconiszeta, Mad Hatter, Ceyockey, GregorB, Cuchullain, Lairor, Leithp, Weebot, ExRat, PhilipC, ChuckEye, Pegship, DocendoDiscimus, SmackBot, EvilCouch, Underneath-it-All, John, Mark Lungo, Grandpafootsoldier, Dl2000, ShelfSkewed, Cydebot, J.D., Maestrodagod, Thijs!bot, Headbomb, JustAGal, CharlotteWebb, Dawkeye, Supernumerary, KConWiki, Gwern, Notreallydavid, Frogacuda, Killing sparrows, Demoman87, Aspects, ImageRemovalBot, TheOldJacobite, Rickremember, Addbot, FilmMusikUndAnderes, Yobot, TheMovieBuff, BlueSalo, JackieBot, Drown Soda, Peteinterpol, I dream of horses, LittleWink, Mortimer-mortimer, EmausBot, GoingBatty, Jack Sebastian, Captain Assassin!, Zucchinidreams, MarcusBritish, Dancedom, PatTheMoron, Bel Adone and Anonymous: 12 Candy Mountain Source: https://en.wikipedia.org/wiki/Candy_Mountain?oldid=742603003 Contributors: Lowellian, David Gerard, Gyrofrog, Rich Farmbrough, Tenebrae, LaszloWalrus, CWenger, Salparadise44, Alphathon, Robofish, Grandpafootsoldier, Lugnuts, Alaibot, Pajz, Qwyrxian, Dr. Blofeld, Sreejithk2000, ...-- ...SOS, DJ Cane, J.delanoy, Skier Dude, Pjoef, IndulgentReader, Aspects, ClueBot, Thingg, Tiernanmul2k8, Addbot, Symac, Ronhjones, Tassedethe, Luckas-bot, Roux-HG, Moronmason, Hellothereyoupeoples, Full-date unlinking bot, Polisher of Cobwebs, Flowan, Gabriel Yuji, Zppix and Anonymous: 14 Mystery Train (film) Source: https://en.wikipedia.org/wiki/Mystery_Train_(film)?oldid=760971520 Contributors: David Gerard, Paul Richter, R. fiend, Curtsurly, Rich Farmbrough, Ianblair23, Gene Nygaard, Talkie tim, Volunteer Marek, Gaius Cornelius, Gram123, Gadget850, Brtom1, Michaelcoyote, Sugar Bear, SmackBot, Pietaster, Darth Panda, Zhinz, Fuhghettaboutit, SilkTork, Count Ringworm, Frainc, CmdrObot, ShelfSkewed, Trimp, Cydebot, J.D., Treybien, Lugnuts, Alaibot, Casliber, Thijs!bot, QuasyBoy, Skomorokh, TVfanatic2K, Ling.Nut, Ed416, KConWiki, Microbekiller, Amikake3, INXS-Girl, Pjoef, AlleborgoBot, Aspects, Svick, MasahiroHayamoto, RegentsPark, Binksternet, David Feldmann, TheOldJacobite, Daichi358, Addbot, M.nelson, Dawes15, Tassedethe, Ivan Zero, Luckas-bot, Visserligen, Xqbot, Anna Frodesiak, FreeKnowledgeCreator, Rafablu88, Diwas, FriscoKnight, Trappist the monk, Weavehole, RjwilmsiBot, Eekerz, H3llBot, Helpful Pixie Bot, Gabriel Yuji, BattyBot, Cyberbot II, Homechallenge55, Kalamed, Monkbot, KasparBot, John Hakater, IAmTylerSanders, LudaChrisKlein, GreenC bot, Bender the Bot and Anonymous: 28 I Hired a Contract Killer Source: https://en.wikipedia.org/wiki/I_Hired_a_Contract_Killer?oldid=738417157 Contributors: Varlaam, Ghirlandajo, Garion96, Ppntori, Ceoil, Big Bird, Prolog, Dr. Blofeld, Sreejithk2000, Skier Dude, STBotD, Vynbos, SteveStrummer, Aspects, ImageRemovalBot, Lord Cornwallis, KihoDeal, Addbot, Smetanahue, Lightbot, Freikorp, Fortdj33, Cyberbot II, KasparBot, GreenC bot and Anonymous: 6 Capital Radio One Source: https://en.wikipedia.org/wiki/Capital_Radio_One?oldid=727741185 Contributors: AnonMoos, RobinCarmody, R. fiend, BD2412, Koavf, SmackBot, DCGeist, Manic Paul, John, Dl2000, Twas Now, PJtP, Magioladitis, VolkovBot, TXiKiBoT, Pjoef, Martarius, Jasper the Friendly Punk, Ponta2, Addbot, Tassedethe, Radiopathy, Xqbot, LucienBOT, DrilBot, Cnwilliams, Detroitspeed, Starcheerspeaksnewslostwars, Blaguymonkey, Helpful Pixie Bot, LyricsBot, Martin John Reynolds and Anonymous: 10 The Clash (album) Source: https://en.wikipedia.org/wiki/The_Clash_(album)?oldid=761025564 Contributors: Sannse, TUF-KAT, Kingturtle, John K, Heidimo, Earl Manchester, Bearcat, Robbot, LGagnon, BTfromLA, TOO, Dbenbenn, ScudLee, Rossrs, HangingCurve, Everyking, Gamaliel, DO'Neil, Tyir, Stinerman, Scraggy4, R. fiend, Girolamo Savonarola, Loopy, Cbing01, Rich Farmbrough, Guanabot, Martpol, JoeSmack, DaveGorman, DCEdwards1966, Water Bottle, Mad Hatter, Grenavitar, ^demon, Koavf, Rydia, FlaBot, Who, Flowerparty, YurikBot, RussBot, BTLizard, Bad Wolf~enwiki, Ozzykhan, Qirex, Fantailfan, Jkelly, Jogers, Meegs, Kingboyk, StarryEyes, WesleyDodds, SmackBot, DCGeist, Chairman S., Eskimbot, Evanreyes, Portillo, The monkeyhate, Pietaster, George Ho, Tsca.bot, Jennica, Steelbeard1, Derek R Bullamore, Salamurai, John, Spliff200, JYi, Twas Now, Anger22, Fache, TimothyHorrigan, Soul Crusher, Harej bot, Pie.er, Badseed, Myfriendbrenn, Treybien, ST47, Roberta F., Ian1019, RottweilerCS, PEJL, Thebanjohype, PJtP, Klaus Bertow, Mick Jones, RobotG, James Epstein, Jhsounds, White Devil, Davebarrington, TAnthony, Rothorpe, Magioladitis, Spellmaster, MiTfan3, Atomicloonybin, Thismightbezach, Chuck Taylor’s, Sparklism, Dom Kaos, TomEatsCake, Lola Voss, Pjoef, JoeyPublic, Unknown Unknowns, Ruck, Holiday56, TheOnlyOne12, Badwolftv, Theschisminthewism, Bobmince, Cloonmore, Green clash, Wiki libs, MelonBot, Indopug, DumZiBoT, Ponta2, SilvonenBot, Addbot, Dan56, Dommico, SamatBot, Tassedethe, DinoBot2, Legobot, Yobot, Happy quack, Radiopathy, Ulric1313, Citation bot, Zombieflesh23, ArthurBot, PULSE, Xqbot, Gilo1969, Aussie Ausborn, FrescoBot, Queenieacoustic, Thrashcanman16, Full-date unlinking bot, Lachlan Foley, FoxBot, Trappist the monk, Sublimefan97, MrX, Guerillero, Chickenguy12, RjwilmsiBot, DASHBot, Mashaunix, Starcheerspeaksnewslostwars, John of Lancaster, Yeepsi, Werieth, Wolfinruins, OceanSized, HazardBot, Chickenguy13, CactusBot, Blaguymonkey, Reg porter, TyphoonSwell, Helpful Pixie Bot, Manuelyus, BG19bot, Bingbonghello, Chief SIRQ, J.wong.wiki, TangoTizerWolfstone, Benzband, BattyBot, ChrisGualtieri, Esszet, Dylanvt, Jjoeshaw, Kanrig, Craven, Jb423, ChristianJosephAllbee, Monkbot, Narky Blert, GreenC bot, Sinners Have More Fun and Anonymous: 100 The Cost of Living (EP) Source: https://en.wikipedia.org/wiki/The_Cost_of_Living_(EP)?oldid=715397656 Contributors: Woohookitty, GregorB, BD2412, Koavf, Nikkimaria, Elonka, Chris the speller, Chadwholovedme, Salamurai, John, Dl2000, Twas Now, Fache, Jackhitts08, Mr.Blonde, Geejo, Thismightbezach, TXiKiBoT, IllaZilla, Pjoef, AlleborgoBot, Cloonmore, SomeGuy11112, Alexbot, A3oertENG, Addbot, DinoBot2, Torr3, DASHBot, Chickenguy13, CactusBot, Peter Robert Henson and Anonymous: 9 Give 'Em Enough Rope Source: https://en.wikipedia.org/wiki/Give_'Em_Enough_Rope?oldid=761025802 Contributors: Bearcat, LGagnon, TOO, ScudLee, Rossrs, Gamaliel, Stinerman, Loopy, Freakofnurture, Mindspillage, Cbing01, Rich Farmbrough, Notinasnaid, D.O.A.: A Riteof Passage Source:
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TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES Ivan Bajlo, Mike Garcia, Cmdrjameson, DaveGorman, Willerror, Yamla, Mad Hatter, Grenavitar, Mel Etitis, Commander Keane, BD2412, Rjwilmsi, Remurmur, FlaBot, Who, Flowerparty, YurikBot, C777, Fantailfan, T-rex, Jkelly, BGC, StarryEyes, WesleyDodds, SmackBot, Chairman S., Aphid360, Portillo, Underneath-it-All, The monkeyhate, Pietaster, Butterboy, Tsca.bot, OrphanBot, Jennica, Chadwholovedme, EdGl, Evlekis, Ceoil, John, Megamanic, Twas Now, Fache, Soul Crusher, Harej bot, Cydebot, Treybien, Flowerkiller1692, Ian1019, RottweilerCS, Thijs!bot, PEJL, Mojo Hand, Klaus Bertow, TFunk, 17Drew, Rothorpe, .anacondabot, Poiuytre, The Timid Crusader, Daddylight, Powerpiper, Ahubling, Thismightbezach, Sparklism, VolkovBot, Kyle the bot, Jgrossnas, Malcolm XIV, Josephabradshaw, RevRock, TucsonUte, Pjoef, JoeyPublic, AlleborgoBot, Nouse4aname, Rlendog, Hattes, EndlessWires, Hardcore Harro, TheOnlyOne12, Badwolftv, Cloonmore, Binksternet, SomeGuy11112, Elpollofarsante, Gary pratt, CAVincent, Clash100, Ponta2, Addbot, Tinidus, Dan56, Dommico, ChenzwBot, DinoBot2, Luckas-bot, Yobot, Happy quack, KamikazeBot, Radiopathy, AnomieBOT, Zombieflesh23, Nrbagdc, Gilo1969, Preservedmoose, Full-date unlinking bot, FoxBot, Trappist the monk, MrX, Chickenguy12, RjwilmsiBot, Woovee, DASHBot, EmausBot, GoingBatty, John of Lancaster, Yeepsi, Thejonathanthemoss, Hazard-Bot, Chickenguy13, CactusBot, Blaguymonkey, Helpful Pixie Bot, J.wong.wiki, Benzband, ChrisGualtieri, Jb423, WPGA2345, Monkbot, Harmelodix, Ben B Research, GregK123, InternetArchiveBot, Bender the Bot and Anonymous: 83 London Calling Source: https://en.wikipedia.org/wiki/London_Calling?oldid=761025940 Contributors: Mav, AntonioMartin, Tubby,Liftarn, Zeno Gantner, Sannse, Paul A, DavidWBrooks, TUF-KAT, Darkwind, Lancevortex, Heidimo, Saint-Paddy, Tpbradbury, Bearcat, Goethean, LGagnon, JimBarker, Andrew Levine, Phthoggos, Michael Snow, Profoss, TOO, Djinn112, Rossrs, Angmering, Everyking, Gamaliel, Varlaam, Bobblewik, Gyrofrog, Stinerman, Vanished user 1234567890, TylerD, Tothebarricades.tk, Carolaman, Loopy, Ulmanor, Mindspillage, Cbing01, Rich Farmbrough, NrDg, Pmsyyz, Martpol, JoeSmack, FilthMasterFlex, Zenohockey, SHARD, Cmdrjameson, DaveGorman, Kappa, LuoShengli, Willerror, DCEdwards1966, Jason One, Zellin, Shirimasen, Greba, Guy Harris, Yamla, Toon81, Sun King, Dhartung, Evil Monkey, Alai, Woohookitty, CommanderKeane, Slythefox, BD2412, Qwertyus, Kane5187, Wahoofive, Koavf, Feydey, Stilgar135, Wwwhatsup, Mikm, Jamdav86, Tbone, FlaBot, Wikiliki, Weebot, Albrozdude, Wasted Time R, Jamesmorrison, Jimp, RussBot, Jtkiefer, C777, Jbfballrb97, D-Katana, Harro, Cholmes75, Fantailfan, Tony1, T, Jkelly, BGC, Don Williams, Jogers, Little Savage, Ajuk, Kingboyk, Hypertornado, ThomasIrvin, WesleyDodds, BuffaloBob, SmackBot, DCGeist, Chairman S., RandomProcess, Portillo, Stan weller, Underneath-it-All, Stuart mcmillen, The monkeyhate, Pietaster, The Bug Eyed Master, Papa November, Colonies Chris, AKMask, BurningZeppelin, John Reaves, Sk'py Skwrrrl, Chlewbot, Jennica, Raynethackery, Doh286, Chadwholovedme, Jwy, Nakon, Derek R Bullamore, Liddelr, Salamurai, Evlekis, Joeyramoney, Alcuin, Ohconfucius, Sanya, John, SilkTork, Spliff200, Berenlazarus, Phbasketball6, Mr Stephen, Ooglyboo, Simon Coward, Manifestation, Tawkerbot, HisSpaceResearch, Lathrop1885, JoeBot, Twas Now, Courcelles, Anger22, RattleandHum, J Milburn, AndrewHowse, Cydebot, Fair Deal, ST47, Spylab, DumbBOT, Ssilvers, BetacommandBot, Deusfaux, PEJL, N5iln, TheUnpluggedGuy, Klaus Bertow, Leadbellly, Mick Jones, EpsilonNaughty, Shirt58, James Epstein, Gczffl, White Devil, Andrzejbanas, Californian Treehugger, Michig, NSR77, Rothorpe, Y2kcrazyjoker4, Captain Potato, SiobhanHansa, Geniac, Freshacconci, Magioladitis, ZPM, Poiuytre, 75pickup, Farfendugle, Giggy, Adrian J. Hunter, Lady Mondegreen, Gmy, Pavskies, Cdcdoc, R'n'B, FMAFan1990, Thegreenj, Strobilus, Editor37, DorganBot, Cschaupp12, Gemini1980, Moisejp, Thismightbezach, VolkovBot, Johnfos, Malcolm XIV, Josephabradshaw, Pepve, Rock Soldier, Artrush, Citymovement, Pjoef, JoeyPublic, Funeral, Unknown Unknowns, Nouse4aname, FlyingLeopard2014, Traxinet, Peter Fleet, Jterich, Holiday56, Hardcore Harro, ElysianImpetus, Paperlion7, TheOnlyOne12, Badwolftv, Kh7482, Martinlc, Rastabilly, Sittingonfence, Martarius, Theschisminthewism, Cloonmore, ClueBot, Drumbug1, Binksternet, Ashemon, SomeGuy11112, Piriczki, TheOldJacobite, Zalery, Yongkuk~enwiki, Smilehand, Wiki libs, Wprlh, A3oertENG, Deoli1, MelonBot, Tuzapicabit, Indopug, Rockk3r, Jmanigold, XLinkBot, WikHead, ErkinBatu, Tim010987, Kbdankbot, Gcstackmoney, Addbot, Jafeluv, Dan56, Seanchapman, Dommico, Noozgroop, LinkFA-Bot, Tassedethe, Willondon, Travelling Tragition, Legobot, Luckas-bot, Yobot, Melvalevis, Taffy Casey, SuperFlash101, Radiopathy, Bbb23, AnomieBOT, Remmick2099, 1exec1, MySummerJob, Citation bot, Basilisk4u, Zombieflesh23, LilHelpa, PULSE, Xqbot, Zfezfe, Gilo1969, AntonyChittenden, Kieronoldham, J JMesserly, J04n, Eric Blatant, GrouchoBot, Bensec, Middle 8, FrescoBot, Citation bot 1, DrilBot, Tom.Reding, Thrashcanman16, Tomcat7, Full-date unlinking bot, Lachlan Foley, Trappist the monk, Colchester121891, Sublimefan97, Moptopstyle1, MrX, Idiotchalk, Mauri96, Diannaa, Tbhotch, Rocker10000, Guerillero, Chickenguy12, RjwilmsiBot, Bossanoven, HeinzzzderMannn, Nryan89, DASHBot, MatthewGoodfan101, EmausBot, Timtempleton, Rmarques, Lewismaster, Dewritech, Mashaunix, Starcheerspeaksnewslostwars, GoingBatty, Dcirovic, John of Lancaster, Yeepsi, Hazard-SJ, Unreal7, SporkBot, Stee888, Mihelpl, Δ, Hazard-Bot, Chickenguy13, Metallicaya!, Spicemix, JohnnyLurg, CactusBot, Blaguymonkey, Ugakeefer, Angelordemon, AnthonyPremier, Helpful Pixie Bot, PhnomPencil, J.wong.wiki, TangoTizerWolfstone, Славанчик, Difeon, Juanitoeldeldemo, Shaun, Pratyya Ghosh, Cyberbot II, ChrisGualtieri, YFdyhbot, Khazar2, Dexbot, RMCD bot, Eagleash, Craven, Clashfan2, Carnifex11, Theexploitedsnotdead, Jb423, ChristianJosephAllbee, Synthwave.94, JAJN, NCFan12312, Fruitloop11, Carlos Rojas77, Monkbot, Statik N, Joe Vitale 5, Beatlesfan48, DrummerSteve69, Harmelodix, MONSTER87741, InternetArchiveBot, Angy Bart, GreenC bot, Sinners Have More Fun, Bender the Bot, Ebatu and Anonymous: 370 Sandinista! Source: https://en.wikipedia.org/wiki/Sandinista!?oldid=760028710 Contributors: Delirium, Tregoweth, Rossami, John K, Zoicon5, Bearcat, Dale Arnett, RedWolf, Jmcnally, TOO, Dbenbenn, ScudLee, Everyking, Gamaliel, DO'Neil, Sidar, R. fiend, Sam Hocevar, Cbing01, Rich Farmbrough, Bender235, JoeSmack, 96T, NetBot, Cmdrjameson, AKGhetto, DaveGorman, Willerror, Kvaks, Yamla, Sun King, Mad Hatter, Devilgate, Grenavitar, Bjones, Before My Ken, WadeSimMiser, Hughcharlesparker, Descendall, Rjwilmsi, Koavf, Ian Dunster, FlaBot, Matharvest, Flowerparty, Washington Bullets, AllyD, Wasted Time R, Wikizen, YurikBot, Huw Powell, RussBot, C777, Bad Wolf~enwiki, Fantailfan, Stellis, Jkelly, BGC, Spin Boy 11, WesleyDodds, BuffaloBob, SmackBot, Chairman S., Nethency, Commander Keane bot, Portillo, Underneath-it-All, Stuart mcmillen, The monkeyhate, Pietaster, R. Kevin Doyle, Onceler, Konczewski, Chadwholovedme, IRua, Rodney Boyd, John, Worthlessboy1420, Ryulong, Dl2000, Twas Now, Hndsmepete, RattleandHum, Fache, CmdrObot, Armenianthunder, Soul Crusher, Harej bot, Pie.er, AndrewHowse, Cydebot, ST47, Ian1019, Zalgo, Thijs!bot, PEJL, Winterssanchez, Steven Argue, PJtP, Mr.Blonde, Klaus Bertow, Leadbellly, Rchange, 17Drew, Fayenatic london, Hoponpop69, Pete Scholtes, Andrzejbanas, Rothorpe, Magioladitis, Eldumpo, CCS81, Atomicloonybin, 2rusty22, Patar knight, SlipperyJim, Sherlock32, LordAnubisBOT, Scottflewis, Monikacampbell, Thismightbezach, Chuck Taylor’s, 49590439584, One Night In Hackney, Nawae, Oshwah, Jgrossnas, Slysplace, Domer48, Josephabradshaw, Pjoef, JoeyPublic, Nouse4aname, GirasoleDE, Scarian, Caltas, Middeh, GlassCobra, Nite-Sirk, Holiday56, TheOnlyOne12, Seth Whales, Badwolftv, Wholetruthy, Glassbreaker5791, SlackerMom, Martarius, Sfan00 IMG, Cloonmore, Binksternet, Tigerboy1966, Drmies, Piriczki, TheOldJacobite, Annalasim, Boing! said Zebedee, Niceguyedc, Auntof6, Svenvb74, Wiki libs, Indopug, SlayerXT, WikHead, SilvonenBot, Jbhf1, Noahwalkthisway, Gcstackmoney, Addbot, Proofreader77, DOI bot, Dan56, Dommico, LatitudeBot, Proxima Centauri, Lucius Lucullus, 61x62x61, Tassedethe, DinoBot2, Neilwatts, Lightbot, Bricklayer, Radiopathy, AnomieBOT, Citation bot, Dejan sb, TVgoggles, Zombieflesh23, ArthurBot, Jubileeclipman, Aussie Ausborn, GrouchoBot, Joe h parsons, Queenieacoustic, Citation bot 1, Wikyatesborn, Lachlan Foley, FoxBot, Trappist the monk, Sublimefan97, MrX, Weavehole, Caxon81, Chickenguy12, MatthewGoodfan101, GoingBatty, Undersmoke, John of Lancaster, Yeepsi, Wolfinruins, SporkBot, NewMoonBay, SteveHarleyFan, Hazard-Bot, Chickenguy13, Ribberboy, Metallicaya!, LongLivePunkRock, Zuky79, ClueBot NG, CactusBot, Dreamywednesday, Blaguymonkey, Helpful Pixie Bot, BG19bot, Circuital, Difeon, Assez vif, Cyberbot II, Matedog, Charles Essie, Jb423, ChristianJosephAllbee, Degree7, Fruitloop11, DjangaJ, Monkbot, Tcls4ever, GregK123, GreenC bot, Sinners Have More Fun and
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https://en.wikipedia.org/wiki/Combat_Rock?oldid=759212182 Contributors: Hyacinth, TOO, Rossrs, Gamaliel, Tyir, Bobblewik, Stinerman, R. fiend, DragonflySixtyseven, Tothebarricades.tk, Loopy, D6, Cbing01, Rich Farmbrough, Bender235, JoeSmack, CanisRufus, Mike Garcia, Cmdrjameson, Arcadian, DaveGorman, Yamla, Mad Hatter, Woohookitty, Rjwilmsi, Koavf, MZMcBride, FlaBot, RobyWayne, Cactus.man, Wasted Time R, YurikBot, RussBot, Fantailfan, Jkelly, WesleyDodds, SmackBot, Chairman S., Portillo, Stan weller, Stuart mcmillen, Hraefen, Pietaster, Thumperward, Lenin and McCarthy, Atomic Bird, Jack Haddad, Konczewski, Chadwholovedme, Tomasooie, Derek R Bullamore, Joeyramoney, John, Nutti, Sp4ever, Dl2000, Twas Now, Thesexualityofbereavement, Ompty, RattleandHum, Thetrick, Fache, Soul Crusher, Harej bot, Cydebot, Lugnuts, Soetermans, Ian1019, Thijs!bot, PEJL, QuasyBoy, JustAGal, Mr.Blonde, Klaus Bertow, Mick Jones, Tommy Mandel, KingDoug, Rothorpe, Y2kcrazyjoker4, ZPM, 2rusty22, STBotD, Thismightbezach, Sparklism, 28bytes, WOSlinker, Rei-bot, SteveStrummer, Josephabradshaw, Pjoef, Holiday56, Wachholder, TheOnlyOne12, Badwolftv, Owlmonkey, Martarius, Sfan00 IMG, Cloonmore, Piriczki, Niceguyedc, Tomgoes, Wiki libs, Tangverse, Ponta2, Tim010987, Gcstackmoney, Addbot, Sharkdude95, Dan56, Dommico, Tassedethe, DinoBot2, Luckas-bot, Yobot, Melvalevis, Radiopathy, AnomieBOT, Rubinbot, ItsAlwaysLupus, Dejan sb, Corbon, Drilnoth, Jubileeclipman, Aussie Ausborn, GrouchoBot, Royston.0, PM800, D'ohBot, LedBeatles52596, Citation bot 1, Nahnite, Lachlan Foley, Cnwilliams, FoxBot, Trappist the monk, Sublimefan97, MrX, Gabe19, PleaseStand, Rwcass75, Chickenguy12, MatthewGoodfan101, Lewismaster, GoingBatty, John of Lancaster, Yeepsi, Postwar, Wolfinruins, Unreal7, Revilal90, Hazard-Bot, Chickenguy13, Ethan Fuhrman, Metallicaya!, LongLivePunkRock, ClueBot NG, CactusBot, Blaguymonkey, Oravavaara, Helpful Pixie Bot, BG19bot, Jeffnesaisquoi, Cyberbot II, ChrisGualtieri, Esszet, FoCuSandLeArN, K7L, Theexploitedsnotdead, Jb423, ChristianJosephAllbee, Synthwave.94, DjangaJ, Monkbot, Music&MovieLuvah, TomTjPreston, Hydr0Aardvark, Meve Stills, Jackson135baum, Cronggamer, SlaniCraft, Sinners Have More Fun, Bender the Bot, Mr Burgess and Anonymous: 133 Cut the Crap Source: https://en.wikipedia.org/wiki/Cut_the_Crap?oldid=758739332 Contributors: DavidWBrooks, David Gerard, ScudLee, Rossrs, Angmering, Gamaliel, Stinerman, RobinCarmody, R. fiend, Phil Larin, Grm wnr, Rich Farmbrough, JoeSmack, Mike Garcia, 96T, NetBot, DaveGorman, Ashley Pomeroy, Yamla, Mad Hatter, Alai, Woohookitty, Koavf, FlaBot, Flowerparty, Planetneutral, Wasted Time R, RussBot, Heaven’s Wrath, Fantailfan, Tony1, Jkelly, Jogers, Fram, WesleyDodds, SmackBot, Chairman S., Frymaster, Portillo, Underneath-it-All, Pietaster, Lenin and McCarthy, Zone46, Konczewski, Chadwholovedme, Jlee562, Derek R Bullamore, Evlekis, Joeyramoney, Ceoil, John, Sp4ever, The Drainpipe, MrTaco, C4NN4815 M4N, Twas Now, Malice1982, Longlivefolkmusic, RattleandHum, Fache, Wafulz, ShelfSkewed, Cydebot, Soetermans, Ian1019, Thijs!bot, PEJL, Headbomb, QuasyBoy, JustAGal, Eddtipton, Jason1978, 17Drew, Hoponpop69, Rothorpe, Indigae, Iggwilk, Tiggerjay, Thismightbezach, Walor, Rei-bot, IllaZilla, Pjoef, Nouse4aname, Le Piedbot~enwiki, OKBot, Jasonsewall, Jjlasne, Martarius, ClueBot, SomeGuy11112, Niceguyedc, P. S. Burton, Eyevocal, PixelBot, Indopug, Addbot, Dan56, Dommico, DinoBot2, Luckas-bot, Yobot, Radiopathy, AnomieBOT, Dejan sb, Jubileeclipman, GorgeCustersSabre, Owenmadison, D'ohBot, Lachlan Foley, MrX, Miracle Pen, Tbhotch, Chickenguy12, MatthewGoodfan101, EmausBot, John of Reading, GoingBatty, John of Lancaster, Yeepsi, ZéroBot, Mab987, Staszek Lem, CactusBot, Blaguymonkey, Helpful Pixie Bot, Mkmcglas, TangoTizerWolfstone, Benzband, DenseFog, Lewi6400youtubeChannel, ChrisGualtieri, Theexploitedsnotdead, BenStein69, Jb423, Jays787321, Macofe, Lynchyboy13, Knife-in-the-drawer, InternetArchiveBot, Bender the Bot and Anonymous: 95 Concerts for the People of Kampuchea (album) Source: https://en.wikipedia.org/wiki/Concerts_for_the_People_of_Kampuchea_ (album)?oldid=747238228 Contributors: KF, Asn, Rich Farmbrough, Cmdrjameson, Lightdarkness, Danthemankhan, Mattbrundage, Woohookitty, Schroeder74, John Cardinal, Mendaliv, Koavf, Rynosoft, Wasted Time R, Tiganeman, Kingboyk, SmackBot, Candyfloss, The Rogue Penguin, Oanabay04, Alcuin, TenPoundHammer, Ohconfucius, Rory096, Mr. Manu, E-Kartoffel, Hawkestone, Twas Now, Underture, Harej bot, Mtmtmt, Cydebot, Khatru2, Rocket000, Srsrsr, Alphachimpbot, Panchoytoro, MegX, Memphisto, AyaK, Miketm, Ashadeofgrey, STBot, Skier Dude, Mdumas43073, XXSaifXx, Number87, Pjoef, ImageRemovalBot, Piriczki, Swanrizla, Groovemaneuvers, Ceescamel, Addbot, Tassedethe, DinoBot2, Lightbot, Yobot, Frostie Jack, Momoricks, Full-date unlinking bot, Rskeens, MrX, Wikkitywack, Twistandshout28, GoingBatty, Yeepsi, ZéroBot, CactusBot, JG66, Joe Vitale 5, Beatleswhobeachboys and Anonymous: 31 The Story of the Clash, Volume 1 Source: https://en.wikipedia.org/wiki/The_Story_of_the_Clash%2C_Volume_1?oldid=759161522 Contributors: Zoicon5, Gamaliel, 2005, Cmdrjameson, CyberSkull, Tutmosis, Rjwilmsi, Koavf, Feydey, Dr. Worm, Fantailfan, BGC, Ehouk1, CapitalLetterBeginning, Crystallina, WACGuy, Chadwholovedme, Harryboyles, Dl2000, Twas Now, Fache, MarsRover, Cydebot, Alaibot, Thijs!bot, JustAGal, Luna Santin, GrahamHardy, Jadewade, TXiKiBoT, IllaZilla, Pjoef, Musicman378, Swanrizla, Addbot, Dan56, Tassedethe, DinoBot2, Danno uk, Dejan sb, Tuesdaily, Lachlan Foley, Sahimrobot, Metallicaya!, CactusBot, Proscribe, PhnomPencil, Monkbot and Anonymous: 16 Clash on Broadway Source: https://en.wikipedia.org/wiki/Clash_on_Broadway?oldid=751078113 Contributors: Zoicon5, Rich Farmbrough, Cmdrjameson, Mel Etitis, Knuckles, Koavf, Feydey, Fantailfan, SmackBot, Joltman, Pietaster, Salamurai, TenPoundHammer, Dl2000, Tawkerbot, Twas Now, Pimlottc, Fache, Galo1969X, Harej bot, MarsRover, Cydebot, PJtP, Zidane tribal, WikkanWitch, TXiKiBoT, Pjoef, Feralfeline, Swanrizla, Addbot, Fir42, Tassedethe, DinoBot2, Dejan sb, Clashcityrocker92, FrescoBot, Lachlan Foley, VEO15, John of Lancaster, May Cause Dizziness, Sahimrobot, CactusBot, PhnomPencil and Anonymous: 12 The Singles (1991 The Clash album) Source: https://en.wikipedia.org/wiki/The_Singles_(1991_The_Clash_album)?oldid=736576390 Contributors: Altenmann, Ary29, TheObtuseAngleOfDoom, Rich Farmbrough, Grenavitar, THollan, Deansfa, Koavf, Feydey, FlaBot, Mpeggins, Fantailfan, Jkelly, Jogers, Pietaster, Nixeagle, Chadwholovedme, Ultradrummer528, Sp4ever, Dl2000, Xihix, Fache, Harej bot, Jackhitts08, Alaibot, Bostart, Headbomb, Inamino, .anacondabot, Wiher, Piisamson, Synthebot, Pjoef, Martarius, Addbot, DinoBot2, Luckas-bot, Davidkt, Dejan sb, WilliamF1two, Lachlan Foley, Jimid111, ClueBot NG, CactusBot, Benzband, Esszet and Anonymous: 15 Super Black Market Clash Source: https://en.wikipedia.org/wiki/Super_Black_Market_Clash?oldid=736576147 Contributors: Bearcat, Rossrs, Gamaliel, R. fiend, Mindspillage, Cbing01, Rich Farmbrough, Longhair, Cmdrjameson, DaveGorman, Googuse, Mad Hatter, Evil Monkey, Wahoofive, Koavf, FlaBot, Naturally, RussBot, Gaius Cornelius, Fantailfan, Jkelly, SmackBot, Chadwholovedme, Funky Monkey, Salamurai, Alcuin, Dl2000, Kelly Katula, J Milburn, Fache, CmdrObot, TimothyHorrigan, Bigwiver, Harej bot, IntrigueBlue, MarsRover, Cydebot, Phil in the 818, Thijs!bot, PJtP, Hammer55, Hoponpop69, Russ London, InnocuousPseudonym, Thismightbezach, Sparklism, Sedna1000, SteveStrummer, IllaZilla, Lola Voss, Qwick monsta, Pjoef, Jimbo online, FunkMonk, FlamingSilmaril, Cloonmore, Niceguyedc, Beasley564, Ponta2, Sftpbr, WikHead, Addbot, Dan56, Dommico, Tassedethe, DinoBot2, Unscented, RIAAArchivist, Aussie Ausborn, Ledpoison1, FrescoBot, Preservedmoose, Lachlan Foley, Sublimefan97, Tbhotch, Bento00, Jimid111, Undersmoke, John of Lancaster, SporkBot, NewMoonBay, CactusBot, Blaguymonkey, PurelyHim, Esszet, Jodosma, Sinners Have More Fun and Anonymous: 50 From Here to Eternity: Live Source: https://en.wikipedia.org/wiki/From_Here_to_Eternity%3A_Live?oldid=731580032 Contributors: Kpjas, LGagnon, Rossrs, R. fiend, Tubedogg, Mindspillage, Cbing01, Rich Farmbrough, Cmdrjameson, DaveGorman, Evil Monkey, Grenavitar, Tutmosis, Koavf, BTLizard, Wiki alf, Zwobot, Retoocs99, Jkelly, BGC, SmackBot, DazB, Pietaster, Chadwholovedme, DantheCowMan, Alcuin, John, Dl2000, Twas Now, Fache, Harej bot, Pedro Fonini, Thijs!bot, Jmg38, PEJL, Eddtipton, IllaZilla, Pjoef, Orat Combat Rock Source:
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TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES Perman, Tangverse, Ponta2, Addbot, Dan56, Tassedethe, DinoBot2, Lightbot, Zorrobot, Dejan sb, FrescoBot, Plasticspork, Lachlan Foley, Petro, Chickenguy13, CactusBot, Blaguymonkey, Vicious-particle and Anonymous: 20 The Clash at Bond’s Casino Source: https://en.wikipedia.org/wiki/The_Clash_at_Bond’{}s_Casino?oldid=707968842 Contributors: Ortolan88,Ahoerstemeier, Cyp,RedWolf, ScudLee, Rich Farmbrough, Spearhead, Mike Garcia, NetBot, Greba, Grenavitar, Rjwilmsi,Koavf, Darkhauk, Flowerparty, T-rex, Jkelly, OrphanBot, DantheCowMan, Derek R Bullamore, Alcuin, Dl2000, Fisherjs, Rrawpower, RRawpower, Pjoef, Rastabilly, ImageRemovalBot, Cdl obelix, Gcstackmoney, Fir42, Yobot, AnomieBOT, FrescoBot, Cassiuscarr, Evangp, CactusBot, KLBot2, Epicgenius and Anonymous: 10 The Essential Clash Source: https://en.wikipedia.org/wiki/The_Essential_Clash?oldid=736576613 Contributors: Zoicon5, Jayjg, Cbing01, Rich Farmbrough, Cmdrjameson, DaveGorman, Grenavitar, MagicBez, Tutmosis, Koavf, Camerafiend, Jkelly, BGC, Ehouk1, WACGuy, Portillo, BurningZeppelin, Sloverlord, Chadwholovedme, Alcuin, John, Ourai, Rm w a vu, Sp4ever, Dl2000, Tawkerbot, Twas Now, Fache, CBM, Harej bot, Sasse90, Cydebot, Thijs!bot, All systems go, Jason1978, Xhienne, TXiKiBoT, IllaZilla, Pjoef, Musicman378, Martarius, Swanrizla, A3oertENG, Wolfer68, Addbot, Tassedethe, DinoBot2, Luckas-bot, Lachlan Foley, DASHBot, John of Lancaster, CactusBot, BG19bot, Ilovemymosie, Esszet and Anonymous: 30 Singles Box Source: https://en.wikipedia.org/wiki/Singles_Box?oldid=745469632 Contributors: Andrewman327, Ary29, Melaen, THollan, Koavf, Krzysiu, C777, Cholmes75, Jogers, Kingboyk, Chairman S., Szarka, SwitChar, Chadwholovedme, Dl2000, Twas Now, Fache, MarsRover, Cydebot, Alaibot, JustAGal, Mr.Blonde, JedEgan, Jason1978, Magioladitis, PYM77176, TXiKiBoT, Pjoef, AlleborgoBot, Jonas.E.B., Musicman378, Swanrizla, Addbot, Kman543210, DinoBot2, Luckas-bot, FrescoBot, Cjones132002, John of Lancaster, Jpabc, NewMoonBay, CactusBot and Anonymous: 17 The Singles (2007 The Clash album) Source: https://en.wikipedia.org/wiki/The_Singles_(2007_The_Clash_album)?oldid=721346293 Contributors: Ary29, Xezbeth, Koavf, BGC, Jogers, Conman33, Chadwholovedme, Salamurai, Dl2000, Alto Pablo, Hndsmepete, Cydebot, Flowerkiller1692, Wiher, PYM77176, Pjoef, ImageRemovalBot, Landithy, LukeTheSpook, Swanrizla, Fractious Jell, Ponta2, Addbot, DinoBot2, Dejan sb, J04n, Lachlan Foley, John of Lancaster, LongLivePunkRock, CactusBot, MerlIwBot, TangoTizerWolfstone, Synthwave.94, FamblyCat94 and Anonymous: 12 Live at Shea Stadium Source: https://en.wikipedia.org/wiki/Live_at_Shea_Stadium?oldid=749006373 Contributors: Saint-Paddy, Koavf, MZMcBride, Fantailfan, BGC, SmackBot, Kmitch87, Ohnoitsjamie, Derek R Bullamore, John, Dl2000, Jason1978, Indie.Bones, Reedy Bot, PYM77176, Edkollin, Pjoef, Logan, KS, MIDI, Trivialist, Alexbot, Bde1982, Alogrin, Dekisugi, Ponta2, Good Olfactory, Addbot, Dan56, Tassedethe, Zorrobot, Radiopathy, AnomieBOT, Harpstar, Dejan sb, Seanhighkin, LucienBOT, MastiBot, Ekaloudis, Trappist the monk, Beat 768, DASHBot, EmausBot, Alpha Quadrant, Chickenguy13, CactusBot, Blaguymonkey, Cyberbot II, Monkbot, GreenC bot and Anonymous: 21 Sound System (album) Source: https://en.wikipedia.org/wiki/Sound_System_(album)?oldid=760541361 Contributors: David Gerard, Koavf, Dl2000, Cydebot, JustAGal, Jason1978, BruceCMcD, Pjoef, Niceguyedc, Yobot, AnomieBOT, Ledpoison1, PokerFace3, Lachlan Foley, Sarmiento 007, Neptune’s Trident, Bender the Bot and Anonymous: 12 5 Album Studio Set Source: https://en.wikipedia.org/wiki/5_Album_Studio_Set?oldid=760227555 Contributors: Wikizen, Derek R Bullamore, Cydebot, Jason1978, Pjoef, Yobot, Starcheerspeaksnewslostwars, Bender the Bot and Anonymous: 1 The Clash Hits Back Source: https://en.wikipedia.org/wiki/The_Clash_Hits_Back?oldid=755142540 Contributors: RJFJR, Koavf, Derek R Bullamore, Dl2000, Cydebot, PKT, Jason1978, Pjoef, Niceguyedc, Yobot, AnomieBOT, PokerFace3, Lachlan Foley, RjwilmsiBot, GoingBatty, UltraRainbows, BG19bot, Esszet, Reelgeorge, Bender the Bot and Anonymous: 4 Bankrobber Source: https://en.wikipedia.org/wiki/Bankrobber?oldid=754888872 Contributors: R. fiend, Rich Farmbrough, Tony Sidaway, Grenavitar, Woohookitty, BD2412, Rjwilmsi, Ewlyahoocom, CJLL Wright, Huw Powell, C777, Fantailfan, Pele Merengue, Kingboyk, SmackBot, KAtremer, Chadwholovedme, Derek R Bullamore, Salamurai, John, Dl2000, Deanh, Ayushrai, CBM, Ttenchantr, Jackhitts08, Alaibot, Richhoncho, All systems go, SummerPhD, Michig, LeSaint, Eliz81, TXiKiBoT, Sedna1000, PaladinWhite, Pjoef, KingMorpheus, Michaelfool, Nite-Sirk, Allmightyduck, Seth Whales, SlackerMom, Martarius, Cloonmore, ClueBot, Binksternet, XLinkBot, TeddyE, Addbot, Fir42, Download, RiverdaleWiki, AnomieBOT, Juzhong, Citation bot, Connor5612, FrescoBot, Party diktator, TobeBot, Trappist the monk, MrX, DASHBot, Starcheerspeaksnewslostwars, John of Lancaster, NewMoonBay, Helpful Pixie Bot, UltraRainbows, LyricsBot, Lusstforlife, Synthwave.94, InternetArchiveBot and Anonymous: 54 Brand New Cadillac Source: https://en.wikipedia.org/wiki/Brand_New_Cadillac?oldid=732005857 Contributors: Ortolan88, Beardo, Red dwarf, Woohookitty, Rjwilmsi, Jeremy Butler, SmackBot, Hraefen, Durova, The monkeyhate, DéRahier, Derek R Bullamore, Salamurai, John, E-Kartoffel, Dl2000, Stacecom, Cydebot, Richhoncho, JamesAM, WalrusOct9, Xhalyt, Pjoef, Knowledgeablemihran, XLinkBot, Tim010987, FokkerTISM, Kitchen roll, Tassedethe, Lightbot, Hunterzmd, Tinton5, BigDwiki, MrX, Dewritech, JDDJS, ClueBot NG, BG19bot, Noseball, Benzband, Peter Jaschner, MarchOrDie, Shikari 123, JimOrJames and Anonymous: 20 The Call Up Source: https://en.wikipedia.org/wiki/The_Call_Up?oldid=751160339 Contributors: R. fiend, Discospinster, Jason One, Woohookitty, Bjones, Koavf, Fred Bradstadt, CJLL Wright, RussBot, Harro, Ccoll, SmackBot, Thebeast666, Whpq, Chadwholovedme, John, Dl2000, To hell with poverty!, Doctormatt, Cydebot, Richhoncho, Bleu7, Ycdkwm, Viewfromthebridge, TXiKiBoT, Josephabradshaw, NinjaRobotPirate, Pjoef, Enam Esru, Martarius, Cloonmore, Binksternet, Addbot, Freakmighty, Fir42, Lightbot, Techauthor, DrilBot, Lachlan Foley, John of Lancaster, NewMoonBay, ClueBot NG, Helpful Pixie Bot, BattyBot, Mogism, LyricsBot, RockNRollWiki, Bsbornagain83 and Anonymous: 22 Career Opportunities (song) Source: https://en.wikipedia.org/wiki/Career_Opportunities_(song)?oldid=732005879 Contributors: Quercusrobur, Kingturtle, John K, Zoicon5, LGagnon, TOO, R. fiend, Rich Farmbrough, JoeSmack, Huntster, Shanes, Mike Garcia, 23skidoo, Grenavitar, Rydia, Swive, C777, SmackBot, McGeddon, Pietaster, Chadwholovedme, Derek R Bullamore, Nhbelongstome, Alcuin, FlyHigh, John, Mon Vier, Dl2000, FairuseBot, W guice, Soetermans, Richhoncho, Magioladitis, FMAFan1990, P4k, STBotD, Midori Days, Pjoef, JoeyPublic, Yintan, Martarius, Trivialist, Alexbot, Addbot, Tassedethe, Jelaplan, Erik9bot, Starcheerspeaksnewslostwars, ZéroBot, Blaguymonkey, LyricsBot and Anonymous: 21 Clampdown Source: https://en.wikipedia.org/wiki/Clampdown?oldid=757801814 Contributors: David Edgar, OverlordQ, Rich Farmbrough, JoeSmack, 96T, Tony Sidaway, Mandarax, Feydey, Bensin, CJLL Wright, Anim, Huw Powell, RussBot, C777, Gadget850, Jogers, SmackBot, DCGeist, Pietaster, AKMask, Chadwholovedme, Jwy, Chris3145, Hestemand, John, Dl2000, Vash Aurion, J Milburn, CmdrObot, Drjayphd, Beatpoet, Fabiom, OldMajor, Richhoncho, Frank, Jason1978, Shirt58, Egpetersen, Woodstein52, Scbomber, Ling.Nut, Roguestate, Wiki Raja, Rrawpower, Kwellyn, Thegreenj, Chomsky1, Pjoef, The Silent Walker, Brenont, Rlendog, WereSpielChequers, Seth Whales, NicolasJz, Martarius, Cloonmore, Wiki libs, DumZiBoT, Addbot, Tassedethe, Lightbot, Yobot, AnomieBOT, Citation bot,
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Seeleschneider, Bensec, LucienBOT, Citation bot 1, DrilBot, Jonesey95, Full-date unlinking bot, Lachlan Foley, De132Wiki, Tbhotch, Starcheerspeaksnewslostwars, H3llBot, SporkBot, NewMoonBay, ClueBot NG, CactusBot, Helpful Pixie Bot, Cinemantique, Mumarker, LyricsBot, ArmbrustBot, Monkbot, Beatleswhobeachboys, InternetArchiveBot and Anonymous: 49 Clash CityRockers Source: https://en.wikipedia.org/wiki/Clash_City_Rockers?oldid=710187936 Contributors: Everyking, Woohookitty, DavidFarmbrough, CJLL Wright, C777, NawlinWiki, Ad Nauseam, Jogers, SmackBot, Thebeast666, Salamurai, John, Dl2000, ThePope, Adam12901, Jackhitts08, Alaibot, Richhoncho, RickinBaltimore, Chuck Taylor’s, Manufactured to Comply, Pjoef, Iggybatero, TheOnlyOne12, HamadaFanFFSM, Hooters4breakfst, Martarius, Cloonmore, Binksternet, Ponta2, Addbot, LaaknorBot, AussieLegend2, Radiopathy, Xqbot, Reint, DrilBot, Lachlan Foley, Starcheerspeaksnewslostwars, Marcreif, NewMoonBay, Blaguymonkey, Helpful Pixie Bot, BattyBot, LyricsBot, Mrjackmarley and Anonymous: 15 Complete Control Source: https://en.wikipedia.org/wiki/Complete_Control?oldid=738118165 Contributors: Phil Boswell, R. fiend, Loopy, Rich Farmbrough, JoeSmack, Woohookitty, GregorB, CJLL Wright, Cjmarsicano, Huw Powell, C777, Jbattersby, Jogers, SmackBot, DCGeist, Pietaster, John, Markpeters, Dl2000, Fache, Richhoncho, Rrose Selavy, JustAGal, PJtP, Janadore, Bubba hotep, Purslane, Walor, Pjoef, JoeyPublic, AlleborgoBot, SieBot, Le Pied-bot~enwiki, Martarius, MonstaMan, Ponta2, Addbot, LaaknorBot, Lightbot, AnomieBOT, DrilBot, Lachlan Foley, TobeBot, MrX, Bossanoven, Starcheerspeaksnewslostwars, SporkBot, NewMoonBay, Blaguymonkey, Helpful Pixie Bot, BattyBot, Cyberbot II, Esszet, LyricsBot, Synthwave.94, Monkbot, Mrjackmarley, GreenC bot and Anonymous: 17 English Civil War (song) Source: https://en.wikipedia.org/wiki/English_Civil_War_(song)?oldid=755271298 Contributors: Loopy, Pharos, Perceval, John Quiggin, Grenavitar, SteinbDJ, Woohookitty, CJLL Wright, C777, BoNeZ, SmackBot, Kimon, Veesicle, Durova, The monkeyhate, Bluebot, Pietaster, Chadwholovedme, Derek R Bullamore, Salamurai, John, Dl2000, MarsRover, Cydebot, Jackhitts08, Richhoncho, Magioladitis, MartinBot, Dom Kaos, TXiKiBoT, SteveStrummer, Pjoef, JoeyPublic, SieBot, Rlendog, Martarius, Dronthego, Ponta2, WikHead, Addbot, Lightbot, Yobot, Radiopathy, Rodrigogomesonetwo, DrilBot, Lachlan Foley, Torr3, Starcheerspeaksnewslostwars, John of Lancaster, NewMoonBay, Blaguymonkey, Benzband, Esszet, LyricsBot, Mrjackmarley and Anonymous: 20 Every Little Bit Hurts Source: https://en.wikipedia.org/wiki/Every_Little_Bit_Hurts?oldid=748834268 Contributors: Deb, Everyking, Rich Farmbrough, Woohookitty, BD2412, Koavf, BrothaTimothy, Design, RussBot, Pietermay, Durova, Steelbeard1, Sigma 7, E-Kartoffel, CmdrObot, Cydebot, Ss112, GassyGuy, Richhoncho, Elcocinero, Ghmyrtle, MetsBot, Grushenka, Jevansen, GrahamHardy, Egghead06, TMadison, TXiKiBoT, Euclynthajunior, OlivierMiR, Pjoef, Kev Kiernan, Shaidar cuebiyar, Jimmjet89, Groovemaneuvers, MystBot, Addbot, Dan56, Lightbot, Yobot, AnomieBOT, Giovannii84, Erik9bot, Cherrylimerickey, LucienBOT, Britboy1976, MrX, Halls4521, Norahjones-cover, RjwilmsiBot, FranklinG, SporkBot, Samsonite Man, Benzband, Tobyjamesaus, Vieque, TheGracefulSlick, Frankzappatwin and Anonymous: 29 Garageland (song) Source: https://en.wikipedia.org/wiki/Garageland_(song)?oldid=758843920 Contributors: Rich Farmbrough, Bender235, Orlady, MZMcBride, Colonies Chris, E-Kartoffel, Dl2000, Cydebot, Casliber, Hammersoft, Pjoef, NuclearWarfare, Addbot, MisterBeery, FrescoBot, Trappist the monk, MrX, Starcheerspeaksnewslostwars, GoingBatty, John of Lancaster, SporkBot, Helpful Pixie Bot, GTAjaxoxo, Benzband, BattyBot, NewExLionTamer, LyricsBot, Marchjuly, Monkbot, InternetArchiveBot, Bender the Bot and Anonymous: 7 Groovy Times Source: https://en.wikipedia.org/wiki/Groovy_Times?oldid=751160030 Contributors: Woohookitty, John Cardinal, BD2412, CJLL Wright, SmackBot, Durova, Salamurai, John, Dl2000, AndrewHowse, Richhoncho, Pjoef, Martarius, Dwitefry, Addbot, Fir42, DrilBot, Lachlan Foley, Torr3, Starcheerspeaksnewslostwars, Ianvonrave, Benzband, LyricsBot, Mrjackmarley and Anonymous: 12 The Guns of Brixton Source: https://en.wikipedia.org/wiki/The_Guns_of_Brixton?oldid=758302377 Contributors: Gareth Owen, Paul Barlow, Michael Devore, R. fiend, Cbing01, Night Gyr, Bender235, JoeSmack, Improv, Lightdarkness, Grenavitar, Lunar Jesters, Daniel Case, BD2412, Rjwilmsi, Tim!, Koavf, Feydey, Ian Dunster, YurikBot, RussBot, IAMTHEEGGMAN, Jbfballrb97, Korny O'Near, Jkelly, SmackBot, DCGeist, Evanreyes, Buck Mulligan, Chris the speller, Pietaster, Chadwholovedme, Matt006, EdGl, Salamurai, Evlekis, John, E-Kartoffel, Dl2000, FrFintonStack, Scum117, Vitriden, Fache, W guice, MFlet1, Agent Aquamarine, Ss112, Soetermans, Brettreasure, Richhoncho, JamesAM, Headbomb, Prss, Zidane tribal, Michig, ZPM, YoBobbeh, Editor37, Egghead06, TXiKiBoT, IllaZilla, Ertner, McM.bot, Anrod, Alvie3, Pjoef, Lightbreather, Rlendog, Malcolmxl5, Jbmurray, Furbycek, Typritc, Nite-Sirk, Seth Whales, Fratrep, SlackerMom, Martarius, Binksternet, Kafka Liz, Drmies, Grasshopper88, Aeminorhan, BambooBanga, Mar bells87, MystBot, Addbot, Kman543210, Mbinebri, Komischn, Lightbot, Yobot, Davidkt, Rks13, Radiopathy, AnomieBOT, Darrek88, LilHelpa, Tuesdaily, Aussie Ausborn, DrilBot, Vmih, Full-date unlinking bot, Sublimefan97, Bossanoven, Hiddenstranger, John of Reading, Dasil003, John of Lancaster, SporkBot, NewMoonBay, Chickenguy13, Elementofcrime, Helpful Pixie Bot, Popcornduff, J.wong.wiki, Georgesoilis, Opa2299, Medimulf, LyricsBot, Andrealoko, Synthwave.94, Iantheimp, Monkbot, Wandering Logic and Anonymous: 94 Hitsville UK Source: https://en.wikipedia.org/wiki/Hitsville_UK?oldid=757490001 Contributors: Zundark, Robbot, Closeapple, Grenavitar, Woohookitty, Rjwilmsi, Koavf, CJLLWright, RussBot, C777, Malcolma, Kingboyk, Hmains, Nonky, Chadwholovedme, John, Dl2000, Skapur, Lenoxus, CmdrObot, Cydebot, Jackhitts08, Alaibot, Richhoncho, GurchBot, InnocuousPseudonym, Chuck Taylor’s, Pjoef, Martarius, Cloonmore, Binksternet, TheOldJacobite, Addbot, 61x62x61, Tide rolls, Lightbot, Gustafc, LucienBOT, Lachlan Foley, Patapples, OwnagePower, John of Lancaster, NewMoonBay, JTBlockhead, Metalman28048, Londomollari42, Dude00007 and Anonymous: 22 I Fought theLaw Source: https://en.wikipedia.org/wiki/I_Fought_the_Law?oldid=761396096 Contributors: Quercusrobur, Bewildebeast, TUF-KAT, Furrykef, Finlay McWalter, Nurg, Cholling, ShaneKing, Angmering, Everyking, R. fiend, Hgfernan, DragonflySixtyseven, Darksun, Georgesch4, Rich Farmbrough, MeltBanana, Moochocoogle, Calair, JoeSmack, Aranel, Dralwik, Longhair, Brick Wall, Kappa, Alansohn, Ronark, Omphaloscope, Alai, Zntrip, Woohookitty, GVOLTT, CS42, GregorB, Graham87, Koavf, The wub, Rkanodia, CJLL Wright, Cjmarsicano, EamonnPKeane, Peregrine Fisher, Butsuri, RussBot, Buried Alien, Razer64, Chunky Rice, DeadEyeArrow, Nikkimaria, Steveweiser, Jogers, JLaTondre, Cassandraleo, Cromag, UltimatePyro, SmackBot, TheBilly, Elonka, Cubs Fan, Leki, Allixpeeke, Yamaguchi, Pietaster, Gasala, MinuteHand, Dharmabum420, Fuhghettaboutit, Chadwholovedme, Derek R Bullamore, Clean Copy, Beane, JoeyJ, TenPoundHammer, Lambiam, Ser Amantio di Nicolao, John, Majorclanger, Jollyroger, Guyburns, Interlingua, Sir Rhosis, Craigboy, Thomas81, Macca7174, Betaeleven, W guice, Dalmatian, Conquistador2k6, Wannesvdh, ST47, Ss112, Trystero11, Richhoncho, BetacommandBot, 2Pac, Crippler4, Fluxbot, Silentjames, PJtP, Irish rover, Jason1978, Mick Jones, James Epstein, Memset, Hoponpop69, Ghmyrtle, Bigjimr, Kurasuke, YK Times, Y2kcrazyjoker4, Luke29, JamesBWatson, Avicennasis, Mike Payne, John E. FitzGerald, Danleary25, Nazroon, Deirdre Kavanagh, Fnuffe, Ajsib, Tppatterson123, Mdmoisell, Bcostley, Ahubling, Izzy007, Sir Baka Jones, Drjonesgp, Walor, Gen. Quon, IllaZilla, Artfish, Feudonym, Pjoef, XR DAD, Nouse4aname, Obriensg1, Eric444, Nite-Sirk, Holiday56, Vmichener, JD554, CaliforniaDave, Sterry2607, DepressedPer, EOgas, Werldwayd, Dravecky, Sugarcubez, Sb26554, David829, Maul day, Jim Muir, ImageRemovalBot, Martarius, ClueBot, Binksternet, Mild Bill Hiccup, Bobert1358, 13thfloor, Muhandes, NuclearWarfare, Munchsack, Ossifaring, Taas0, Evandro Davis, Wolfer68, Milosppf, Mar bells87, Kbdankbot, Gcstackmoney, Addbot, Fir42, Manny401,
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CHAPTER 10. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES Mbinebri, Zorrobot, Adozenlies97, Yobot, AnomieBOT, Sisyph, Citation bot, Giovannii84, Versadar, Zonly, Skikirkwood, HRoestBot, Konahk4, Apocralyptic, Rodrigo4511, Full-date unlinking bot, Stuckwithmefan112, MrX, Dusty777, Antrikshy, Disco dude rock, Torr3, Chickenguy12, RjwilmsiBot, StuckWithMeFan113, WikitanvirBot, GoingBatty, Peaceray, Jefph, ElPasoBF4fan, SporkBot, NewMoonBay, Revilal90, Chickenguy13, BigBoss72, LongLivePunkRock, ClueBot NG, CactusBot, Fushmonger, Blaguymonkey, BC108, Helpful Pixie Bot, KLBot2, BG19bot, Dagamble, BattyBot, Qbli2mHd, Bestboy7850, Jonnhy ramone, Esszet, Rhaycock, Dexbot, Mogism, LyricsBot, Chartbot, BenStein69, Fruitshine2, Maaggie1, Synthwave.94, Monkbot, Vorgon666, Shane Cyrus, DangerousJXD, TheGracefulSlick, Mrjackmarley, ErieSwiftByrd, Bender the Bot and Anonymous: 242
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I'm So Bored with the USA Source: https://en.wikipedia.org/wiki/I'm_So_Bored_with_the_USA?oldid=745468561 Contributors: Kareeser, Rich Farmbrough, Czolgolz, Firsfron, Woohookitty, RussBot, C777, Jkelly, Jogers, SmackBot, Pietaster, Thebeast666, Chadwholovedme, EdGl, Salamurai, John, Dl2000, FairuseBot, AndrewHowse, Richhoncho, Bobblehead, Theunknownauditor, Pawnkingthree, Bonadea, VolkovBot, Billinghurst, Pjoef, JoeyPublic, Martarius, The Thing That Should Not Be, Bde1982, Arjayay, Ponta2, WikHead, Addbot, Citation bot, DSisyphBot, GrouchoBot, Rodrigogomesonetwo, Citation bot 1, LittleWink, Trappist the monk, Starcheerspeaksnewslostwars, MPFC1969, Slammy2323, Akid59, Helpful Pixie Bot, BattyBot, Craven, Faizan, Mlovespizza, Martin John Reynolds, Monkbot, EdgarCabreraFariña, Vieque and Anonymous: 23
https://en.wikipedia.org/wiki/Jail_Guitar_Doors?oldid=755314015 Contributors: Bender235, EurekaLott, Rjwilmsi, Bgwhite, Nikkimaria, Kingboyk, SmackBot, Salamurai, Dl2000, Twas Now, FairuseBot, Headbomb, Widefox, Magioladitis, Pjoef, Unknown Unknowns, Martarius, MariaMitchell, Tassedethe, Lightbot, Yobot, Citation bot, FrescoBot, DrilBot, Thrashcanman16, Starcheerspeaksnewslostwars, Helpful Pixie Bot, PhnomPencil, Timsandle, Vosipapj, Dexbot, LyricsBot, WKLex, Monkbot, Narky Blert, Bender the Bot and Anonymous: 6
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Junco Partner Source: https://en.wikipedia.org/wiki/Junco_Partner?oldid=700790849 Contributors: Ortolan88, Chowbok, Woohookitty,
https://en.wikipedia.org/wiki/Janie_Jones_(song)?oldid=732005987 Contributors: Rich Farmbrough, Woohookitty, BD2412, C777, Teiladnam, SmackBot, John, E-Kartoffel, Dl2000, Woodshed, FairuseBot, Keever1102, Neelix, Soetermans, Richhoncho, Headbomb, BauerPower, Magioladitis, M4RLO WIKI, Pjoef, Unknown Unknowns, Cloonmore, TheOldJacobite, Robby.is.on, ShottersNation60, Addbot, Fredd the Redd, Tassedethe, Lightbot, Yobot, Bunnyhop11, Clashcityrocker92, FrescoBot, Starcheerspeaksnewslostwars, Cobaltcigs, Blaguymonkey, Benzband, BattyBot, NickKrammes, LyricsBot, Martin John Reynolds, Monkbot, Vieque, Slovo69 and Anonymous: 12 Tabletop, BD2412, RussBot, Konczewski, Teneriff, Spiff666, Deke42, Richhoncho, JustAGal, Ghmyrtle, Rothorpe, R'n'B, CCBC, Pjoef, Robman94, XLinkBot, Wolfer68, Dthomsen8, WikHead, Addbot, SpanishStroll, AnomieBOT, J04n, DrilBot, Full-date unlinking bot, Ale And Quail, Qazamj, Darthalex99, John julie white, GoingBatty, Chadgroove, Brunofj~enwiki, Soulparadox, Robert4565, Synthwave.94, Hinenuitepo, Pizzaproblem, JTSev, Rodenbca, Qoby, Hsmulligan, Jupiter3000, MS Update, ColRad85 and Anonymous: 12
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https://en.wikipedia.org/wiki/Know_Your_Rights?oldid=736738495 Contributors: Zundark, Kingturtle, R. fiend, Grenavitar, Red dwarf, Woohookitty, CJLL Wright, C777, Eddie.willers, BoNeZ, Jogers, SmackBot, Roscelese, Thebeast666, Chadwholovedme, John, Mon Vier, Dl2000, Lugnuts, Ttenchantr, SummerPhD, RRawpower, Jjlevin, TXiKiBoT, Bearian, Pjoef, Inoticethings, Martarius, Cloonmore, Addbot, Fir42, Legobot II, Aussie Ausborn, J04n, DrilBot, Sublimefan97, Starcheerspeaksnewslostwars, ZéroBot, SporkBot, NewMoonBay, Rocketrod1960, Helpful Pixie Bot, Clashfan2, LyricsBot, Synthwave.94, Monkbot, Mrjackmarley and Anonymous: 36
Know Your Rights Source:
LondonCalling (song) Source: https://en.wikipedia.org/wiki/London_Calling_(song)?oldid=753597738 Contributors: Kingturtle, RickK, AnonMoos, David.Monniaux, LGagnon, TOO, Everyking, Capitalistroadster, Andycjp, R. fiend, Zeimusu, Loopy, The stuart, Grstain, Moochocoogle, Leger, JoeSmack, Aranel, Mike Garcia, TMC1982, Cmdrjameson, AllyUnion, Kappa, Guy Harris, Samaritan, Tony Sidaway, Ghirlandajo, Woohookitty, Msvcrtd, Audiovideo, Rjwilmsi, Koavf, Rillian, Ian Dunster, Wwwhatsup, Jmc29, Weebot, CJLL Wright, Peter G Werner, RussBot, C777, Ritchy, Waterguy, Ms2ger, Mike Selinker, Esprit15d, StarryEyes, WesleyDodds, SmackBot, Hmains, Betacommand, Underneath-it-All, Pietaster, Dr bab, Papa November, George Ho, Jennica, Steelbeard1, Brianhenke, Chadwholovedme, Jlee562, Kevlar67, Hank chapot, Bdushaw, Deepred6502, Kuru, John, SilkTork, Gobonobo, BillFlis, Fuzzy510, Werdan7, Mr Stephen, Dl2000, ThuranX, Applemask, Pimlottc, Anger22, Edmont, Nqr9, Cydebot, Fair Deal, ST47, Myscrnnm, Soetermans, Jackhitts08, RottweilerCS, Yorkshiresky, Richhoncho, Sagaciousuk, Headbomb, Jason1978, ZanAV, Escarbot, RetiredUser124642196, Kbthompson, James Epstein, 17Drew, White Devil, Michig, BeastmasterGeneral, MegX, Y2kcrazyjoker4, Fhomasson, Fiachra10003, Moisejp, VolkovBot, Kissingerisamadgenius, Drappel, Drutt, Agronox, TucsonUte, Pjoef, JoeyPublic, AlleborgoBot, Unknown Unknowns, B.nz, StAnselm, Rlendog, Crash Underride, Nite-Sirk, TheOnlyOne12, CherryFlavoredAntacid, Randy Kryn, VanishedUser sdu9aya9fs787sads, Martarius, Kai-Hendrik, Binksternet, Timeineurope, The Thing That Should Not Be, Charlangas, Piriczki, TheOldJacobite, Sw258, Wiki libs, Puceron, Editor510, Indopug, DumZiBoT, The chest, Addbot, Friginator, Tassedethe, Dayewalker, Sky83, Zorrobot, Valerio79, Radiopathy, AnomieBOT, Citation bot, Krobertj, LilHelpa, Xqbot, Wether B, The Evil IP address, Martinilake, GorgeCustersSabre, Bensec, Anatheron, FrescoBot, LucienBOT, Magicandmedicine, TheSubtleDoctor, Thrashcanman16, WordsOnLitmusPaper, MrX, Wikiadud, RjwilmsiBot, Bossanoven, EmausBot, Starcheerspeaksnewslostwars, Dcirovic, Ppool65421, H3llBot, SporkBot, NewMoonBay, Δ, CatFiggy, The3penguins, CactusBot, BC108, Widr, Helpful Pixie Bot, Benzband, Cyberbot II, Metalman28048, JYBot, Dexbot, Mumarker, Awesomebriks, LyricsBot, BenStein69, ArmbrustBot, Synthwave.94, Iantheimp, Kind Tennis Fan, Beatleswhobeachboys, AnnaBorgida, Mrjackmarley, ToaneeM, Metalman248, InternetArchiveBot, GreenC bot and Anonymous: 171
https://en.wikipedia.org/wiki/London’{}s_Burning_(song)?oldid=754552712 Contributors: Zundark, Hyacinth, The monkeyhate, Ph7five, Jennica, Salamurai, Dl2000, Richhoncho, Magioladitis, R'n'B, Mrbaker1917, Pjoef, Addbot, Fir42, Ptbotgourou, Sja0812, Starcheerspeaksnewslostwars, Benzband, LyricsBot, Vieque, Btekay and Anonymous: 13
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London’s Burning (song) Source:
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Lost in the Supermarket Source:
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Louie Louie Source: https://en.wikipedia.org/wiki/Louie_Louie?oldid=761362466 Contributors: Ortolan88, David spector, Heron, Freck-
https://en.wikipedia.org/wiki/Lost_in_the_Supermarket?oldid=758911441 Contributors: Kingturtle, Jgm, Bearcat, Chowbok, Andycjp, Rich Farmbrough, Grenavitar, Duke33, Hailey C. Shannon, MarnetteD, FlaBot, Hraefen, Pietaster, Cypher z, Chadwholovedme, Alcuin, John, NYCJosh, Dl2000, Drjayphd, Alaibot, Richhoncho, Editor37, VolkovBot, Brunowidorski, Urbanrenewal, Pjoef, Seanschmidt24, Darkieboy236, Rlendog, TheOnlyOne12, Binksternet, Kaiba, Morganman79, Addbot, Dan56, Dayewalker, Lightbot, Luckas-bot, Radiopathy, Materialscientist, Citation bot, Seeleschneider, Citation bot 1, Full-date unlinking bot, Racerx11, Starcheerspeaksnewslostwars, Helpful Pixie Bot, BG19bot, LyricsBot, ArmbrustBot, Monkbot, Ny12612, Lostkid2016 and Anonymous: 27 lefoot, Damaged again, TUF-KAT, Trontonian, Lfh, Zoicon5, DJ Clayworth, Hyacinth, Phil Boswell, Bgruber, DHN, Andrew Levine, Hadal, Wereon, Benc, Scooter~enwiki, Michael Snow, Bjimba, Niteowlneils, Rnewson, Gzornenplatz, Edcolins, RobinCarmody, Bumm13,
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Yossarian, Mike Rosoft, Haruo, Kdammers, Moochocoogle, Martpol, ESkog, Mark R Johnson, Cigarette, Brick Wall, Themindset, Alansohn, Walter Görlitz, Ashley Pomeroy, Smithbcs, Kaibabsquirrel, LFaraone, Dave.Dunford, Woohookitty, DanielCase, Hbdragon88, Steinbach, Waldir, Btyner, Rain1222, BD2412, Kbdank71, Coneslayer, Angusmclellan, Koavf, Chadbryant, Vegaswikian, Geoduck, The wub, Tbone, Gavinatkinson, ACT1, DVdm, Design, 121a0012, Cjmarsicano, YurikBot, RussBot, Pigman, J.H, Wiki alf, Neutron, Brian Crawford, Ezeu, Tony1, FlyingPenguins, Max Schwarz, Ncsaint, Paul Magnussen, Mike Selinker, Esprit15d, Staxringold, AlexCharyna, SmackBot, Nick Dillinger, MyrddinEmrys, Hux, Sahafan, Allixpeeke, Jagged 85, Verne Equinox, Chris the speller, Anwiyayoukhanna, Master of Puppets, Colonies Chris, Scwlong, Billwikstrom, Derek R Bullamore, Marcus Brute, TenPoundHammer, Valfontis, Soap, John, Clare., KarlM, GizmoKSX, Redmegtheavenger, Matty-chan, E-Kartoffel, BigT2006, Surferbeto, Christian Roess, Blueminute, MissingNOOO, Clarityfiend, Davemackey, Travisl, Alexbrewer, Mapsax, Paulmlieberman, Deke42, Markjoseph125, Betaeleven, CmdrObot, Wafulz, DaveDixon, GaylordHopscotch, Cofax48, Im.a.lumberjack, Mike hintze, ShelfSkewed, Neelix, Cydebot, Gogo Dodo, Bellerophon5685, Charolastra charolo, DBaba, Chris Henniker, Rocket000, Richhoncho, Thijs!bot, D4g0thur, Renaissongsman, Markus randall, Headbomb, REVOL, Fluxbot, Kittyslasher, Bobblehead, PJtP, Miller17CU94, Nick Number, Frschoonover, Chubbles, Krtdive, Willscrlt, Grizzly ripper, Coyets, Q8-falcon, Glennwells, DavidOPerson, Billdescoteaux, Ghmyrtle, Tony Myers, Skomorokh, Rothorpe, Bsmith8259, Y2kcrazyjoker4, Karlhahn, VoABot II, Charlyz, Nyttend, Virginia Dutch, Shocking Blue, The fantastic dark, Spellmaster, Foolthemusical, Stusutcliffe, Akurn, Lilac Soul, FMAFan1990, J.delanoy, HoichitheEarless, Arrivisto, Jerry, Foetusized, Naniwako, Luiluiely, The Myst, DMCer, Craig Adams, Inwind, Upsiditus, Argcar519, Epicurus2112, Katydidit, HeretiKc, Sroc, Technopat, IllaZilla, Martin451, Beachbabydarragh, Modal Jig, ShootFrank, Meters, Pjoef, ChadRLarson, Hertz1888, M.thoriyan, Hzh, Oxymoron83, Weiserma, Dravecky, 1zackman, Cuyaken, Tom Reedy, Sfan00 IMG, ClueBot, MIDI, Keraunoscopia, Oburger, Niceguyedc, Blanchardb, LizardJr8, Danjoman, Trivialist, MindstormsKid, Tlatseg, H2oldies, Bde1982, Rock15, Jamekae, CAVincent, Alogrin, TheRedPenOfDoom, Audaciter, Mlaffs, Ram sos, DumZiBoT, Editorofthewiki, XLinkBot, Wolfer68, Mar bells87, Fiskbil, SlubGlub, Addbot, Mysolution10311970, Ibji, Binary TSO, TPainRoxx, Noozgroop, LaaknorBot, Chicken0895, Jailerdaemon, Tassedethe, ElectraShore, Lightbot, Legobot, Yobot, Legobot II, Saemikneu, Rikanderson, Gongshow, Body-Head, Radiopathy, VernKlukas, AnomieBOT, Rjanag, Chuckiesdad, Citation bot, Giovannii84, Rvd4life, Sketchmoose, DrRevXyzzy, Bigk17, Mechla, Mario777Zelda, Gregory T. Glading, Mattg82, Shadowjams, Unicycledude42, Carlossfsu, BozzieBear, FrescoBot, Hyju, Fortdj33, Misiekuk, Rexter101, Clmen, Stolengood, TheSubtleDoctor, JIK1975, LittleWink, Tinton5, Tomcat7, Full-date unlinking bot, Comet Tuttle, Maned Vixen, RjwilmsiBot, TjBot, Bossanoven, EmausBot, STrek77, Mk5384, Mashaunix, Starcheerspeaksnewslostwars, GoingBatty, Klbrain, Thomengel, Yeepsi, H3llBot, Staszek Lem, Addicted2PencilSharpeners, 1felco, Ego White Tray, Wisdomtenacityfocus, Spicemix, ClueBot NG, Itbburr, WoodsFan, BarrelProof, Blaguymonkey, Dirtydeedsdoer, Helpful Pixie Bot, BG19bot, Bobwells1960, TangoTizerWolfstone, Slidhome, GliTcHInThAGaME, Cyberbot II, Amb1997, Relbats, Hmainsbot1, Mogism, BDE1982, Ayaueto101, Progrockdude, GravRidr, Ilovetopaint, Synthwave.94, Santiago Claudio, Monkbot, Atozafit1, Music&MovieLuvah, Tullyvallin, ModusHoperandi, TheGracefulSlick, LFdoR, Nuro Dragonfly, Wisnu Aji, GreenC bot, Bender the Bot and Anonymous: 320 The Magnificent Seven (song) Source: https://en.wikipedia.org/wiki/The_Magnificent_Seven_(song)?oldid=761349694 Contributors: Woohookitty, Bjones, GregorB, Alaney2k, Ian Dunster, CJLL Wright, RussBot, C777, BoNeZ, Ad Nauseam, AjaxSmack, Jogers, George Ho, Thebeast666, Chadwholovedme, Derek R Bullamore, Bosola, John, Dl2000, Fache, GabrielGuerra~enwiki, Cydebot, Ss112, Richhoncho, Thijs!bot, Lunakeet, Thismightbezach, TXiKiBoT, Pjoef, Munci, Luke-Samual Ezekiel Cullen, Nite-Sirk, Vmanjr, Martarius, Cloonmore, Binksternet, Keraunoscopia, TheOldJacobite, Tangverse, Floreyn, Tim010987, Gcstackmoney, Addbot, Binary TSO, 61x62x61, Tassedethe, Lightbot, AnomieBOT, Jim1138, LilHelpa, Carlossfsu, FrescoBot, LucienBOT, DrilBot, Wanhamies, MastiBot, Lachlan Foley, MShabazz, Hiddenstranger, DialdNotes, Mashaunix, Starcheerspeaksnewslostwars, John of Lancaster, NewMoonBay, Helpful Pixie Bot, BG19bot, TangoTizerWolfstone, Myxomatosis57, Esszet, Dobie80, Bertpress, LyricsBot, Hinnk, Monkbot, RockNRollWiki, Mrjackmarley, RoadWarrior445, Super25Smasher, Eurocus47, It’sXaosandMoeLester and Anonymous: 57 The Man in Me Source: https://en.wikipedia.org/wiki/The_Man_in_Me?oldid=730905512 Contributors: TUF-KAT, Lee M, Bender235, Rajah,Rjwilmsi, Koavf, Goatfetus, Kyle Barbour, SmackBot, Stanweller, Bluebot, BabuBhatt, Ww2censor, John, Shamrox, Signinstranger, CmdrObot, Mrbunny, Sethdoejersey, Cydebot, Alaibot, Rocket000, Richhoncho, Hieku8, Opertinicy, Michig, Transylvanian20, Thibbs, Tjwells, TXiKiBoT, Pjoef, Rlendog, Tomwhite56, Hohead, Wolfer68, Joamiq, Kbdankbot, Addbot, Koossepa, Dr Chad Jaeger, Sayantan m, GoingBatty, Emilyic, Helpful Pixie Bot, BG19bot, Cadejacksoncampbell, Philmay93 and Anonymous: 21 Police and Thieves Source: https://en.wikipedia.org/wiki/Police_and_Thieves?oldid=743894004 Contributors: Edward, Jahsonic, Tyir, Grant65, Longhair, Mad Hatter, Bluemoose, Koavf, Teklund, Nihiltres, Cjmarsicano, Huw Powell, RussBot, Fantailfan, Gadget850, Chase me ladies, I'm the Cavalry, SMcCandlish, JuniorMuruin, SmackBot, DCGeist, Chris the speller, Pietaster, Chadwholovedme, Derek R Bullamore, John, E-Kartoffel, Dl2000, Fache, Richhoncho, Headbomb, PJtP, Fayenatic london, Michig, Twsx, Tremspeed, InnocuousPseudonym, Nico4, Slysplace, Labalius, Pjoef, JoeyPublic, Km9000, Caspiax, ClueBot, Binksternet, Hbloom, Indopug, Cliveg, Mifter, Addbot, LaaknorBot, LilHelpa, Sluffs, Bossanoven, John of Lancaster, Alpha Quadrant (alt), Helpful Pixie Bot, Mogism, LyricsBot, Jodosma, One Of Seven Billion, Beatlesfan248, Monkbot, MrLW97, Lijepije, Mrjackmarley and Anonymous: 31 Pressure Drop (song) Source: https://en.wikipedia.org/wiki/Pressure_Drop_(song)?oldid=759598804 Contributors: Bearcat, Before My Ken, Jeff3000, Knuckles, A Train, Skraz, Pele Merengue, Durova, Pietaster, Derek R Bullamore, Dl2000, MarsRover, Cydebot, Richhoncho, Plutopunkplanet, Sssoul, Egghead06, GcSwRhIc, Labalius, Pjoef, Upsetterfc, Miami33139, Prayer for the wild at heart, Oiskin69, Addbot, Luckas-bot, Giovannii84, Playinggod, VEO15, MrX, GoingBatty, E52892, Sarmiento 007, Blaguymonkey, BG19bot, Benzband, ChrisGualtieri, Hmainsbot1, MilfordBoy1991, LyricsBot, ChrisIacobellis and Anonymous: 46 Remote Control (The Clash song) Source: https://en.wikipedia.org/wiki/Remote_Control_(The_Clash_song)?oldid=761204231 Contributors: Edward, Zoicon5, LGagnon, HangingCurve, Tyir, Neilc, Ary29, Loopy, JoeSmack, Weebot, AGGoH, CJLL Wright, C777, Fantailfan, Jbattersby, SmackBot, Ragusan, DCGeist, Verne Equinox, Durova, Pietaster, John, Spiff666, Dl2000, Richhoncho, Hit bull, win steak, Mr.Blonde, Bubba hotep, Lunakeet, Hippi ippi, Pjoef, JoeyPublic, SieBot, Lambert strether, Martarius, EBY3221, Ponta2, Addbot, Fir42, LaaknorBot, Yobot, Erik9bot, DrilBot, Lachlan Foley, MShabazz, Starcheerspeaksnewslostwars, Werieth, NewMoonBay, KLBot2, Benzband, Clashfan2, LyricsBot, Missos77, Synthwave.94 and Anonymous: 20 Rock the Casbah Source: https://en.wikipedia.org/wiki/Rock_the_Casbah?oldid=754875494 Contributors: Zundark, Mike3k, Kingturtle, Julesd, EACH, AnonMoos, Kizor, Rfc1394, LGagnon, Bluejay Young, Andycjp, RobinCarmody, R. fiend, Schwael, Rdsmith4, Loopy, Biot, RevRagnarok, Discospinster, Rich Farmbrough, Pmsyyz, Mani1, Closeapple, Mashford, Calair, JoeSmack, MaTrIx, Mike Garcia, Iranian86Footballer, Peter Greenwell, Irishpunktom, Alansohn, Guy Harris, SemperBlotto, Mad Hatter, Jheald, Grenavitar, Woohookitty, Msvcrtd, Graham87, JIP, Dpv, Koavf, Biederman, AJ5439, Savethemooses, Raguleader, Ian Dunster, Weebot, Pathawi, Str1977, Escobar600ie, Urzeitlich, CJLL Wright, I need a name, Rob T Firefly, RussBot, Akamad, Xtanstic, Irishguy, CKarnstein, Nikkimaria, Jogers, Katieh5584, Dyfsunctional, Nokhodi, Elephant Juice, Benandorsqueaks, WesleyDodds, SmackBot, TestPilot, WACGuy, Alex earlier account, Quadratic, Stuart mcmillen, Durova, Chris the speller, Bluebot, Mcnarie, Pietaster, Fuzzform, Roscelese, Cypher z, Wyckyd Sceptre, Cobain, Konczewski, Calbaer, Nogoodreason, Sloverlord, Chadwholovedme, Downwards, J-b, DantheCowMan, Shadow1, Derek R
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CHAPTER 10. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES Bullamore, DylanW, Deepred6502, ArglebargleIV, John, Midlem, Kingfisherswift, Gungho, Cielomobile, Ace Class Shadow, Dl2000, Newyorkbrad, GiantSnowman, Angeldeb82, George100, Timrem, Fache, CmdrObot, Ibadibam, To hell with poverty!, Wikipedian boy, Cydebot, VaGuy1973, Bellerophon5685, Lugnuts, Mind flux, Soetermans, Jackhitts08, The 80s chick, Richhoncho, Thijs!bot, Figureground, Crippler4, Headbomb, Dfrg.msc, Jason1978, Dawnseeker2000, Noclevername, AntiVandalBot, Spartaz, DragonRouge, Albany NY, NSR77, Scott Williams, Bearly541, Y2kcrazyjoker4, Steveprutz, AuburnPilot, Maxwellversion2, CTF83!, Twsx, Phunting, Poetdancer, Rtfgrad, Robertotr, WikiAggie, Tucek, Paris1127, Garonyldas, Zedmelon, Mrceleb2007, Wesholing, Pawnkingthree, Shadow Android, KylieTastic, Kidlittle, Hkwon, VolkovBot, Derekbd, Bovineboy2008, TXiKiBoT, Jogersbot, IllaZilla, Masouth, Njbob, Aliasxerog, Eostrom, Starguitar, CuriousDog, TucsonUte, Pjoef, Sanaattiq, Unknown Unknowns, NoamTG, Dragonpatrol10, Sposato, Noveltyghost, Fenician, Lightmouse, AMCKen, Dravecky, Mrshippy, Fordzii, Martarius, ClueBot, Binksternet, CaptainJae, Inverseparadise10, Keraunoscopia, Billyfutile, Rubyalmqvist, JEB Stuart III, Putnam269, Arjayay, Titan50, Yonskii, Ponta2, Wolfer68, WikHead, Tkech, Mar bells87, Jeferman, Kbdankbot, Anticipation of a New Lover’s Arrival, The, Addbot, Alaskan assassin, T menchaca, M.nelson, Mileek, Fir42, Sillyfolkboy, Schwarzschachtel, Bellbrass, Radiopathy, DavidHarkness, AnomieBOT, Skatepunk22, Rockypedia, TheFamousPeter, Tuhaki, Tuesdaily, Aussie Ausborn, Beyoncetan, Rodrigogomesonetwo, Carlossfsu, LucienBOT, Midrashah, Ben Culture, Bablenesescueles, Kassjab, DrilBot, Crazyness1, Cam486, Sublimefan97, MrX, Ms. 45, Hobbes Goodyear, Javaweb, GoingBatty, John of Lancaster, Ὁ οἶστρος, Monocase, Semmler, H3llBot, SporkBot, Wayne Slam, NewMoonBay, L Kensington, Chickenguy13, AndyTheGrump, BabbaQ, DASHBotAV, LongLivePunkRock, ClueBot NG, Joefromrandb, Frietjes, Djodjo666, Helpful Pixie Bot, Botulizard, Mysticaltyger, Harizotoh9, Trailspark, Oceanaddict82, Metalman28048, TommyGetz, Joshtaco, Thomapet, LyricsBot, Theexploitedsnotdead, Flat Out, Pietro13, Synthwave.94, Timpace, CatcherStorm, Monkbot, Macofe, DAZ14LPA, Schwarsturzeneggher, Mrjackmarley, Pepo Julio Cesar, Sro23, Joshua tree tulsa, GreenC bot, Bender the Bot, Austin t men and Anonymous: 279 Should I Stay or Should I Go Source: https://en.wikipedia.org/wiki/Should_I_Stay_or_Should_I_Go?oldid=757680916 Contributors: Ortolan88, Zoicon5, Oddible, R. fiend, Loopy, Rich Farmbrough, JoeSmack, Smalljim, Cmdrjameson, Alansohn, Andrewpmk, Woohookitty, Krzysiu, Axver, CJLL Wright, Bgwhite, Aluvus, YurikBot, Sceptre, RussBot, C777, Jkelly, Jogers, Bly1993, WesleyDodds, KnightRider~enwiki, SmackBot, Chairman S., DanMonkey, Chris the speller, Pietaster, Alan smithee, Thief12, Brianhenke, Chadwholovedme, Derek R Bullamore, EdGl, Curly Turkey, Bretonbanquet, SEWalk, John, Dl2000, Iridescent, Ecco1983, Thesexualityofbereavement, RattleandHum, Morganfitzp, HTUK, Cydebot, Conquistador2k6, JFreeman, Jackhitts08, NorthernThunder, Yorkshiresky, Jmg38, Headbomb, Ozzieboy, Leevclarke, Rothorpe, Y2kcrazyjoker4, Magioladitis, ZPM, Sideshow Bob Roberts, FMAFan1990, Scmbg, Bl4ck54bb4th, Squawk7984, Wikimandia, Huskies1983, Calecp01, Nedrutland, TucsonUte, Pjoef, AlleborgoBot, Funeral, Dodo von den Bergen, Vanished User 8a9b4725f8376, Nite-Sirk, Holiday56, Neutralhomer, CutOffTies, Hzh, TheOnlyOne12, AMCKen, Martarius, ClueBot, Binksternet, PipepBot, Piriczki, TheOldJacobite, A Powerful Weakness, Bde1982, Alogrin, Ostalocutanje, Europe22, Tuzapicabit, Ponta2, Kbdankbot, Addbot, Dan56, GargoyleBot, Dayewalker, Yobot, Radiopathy, Leefeni de Karik, AnomieBOT, Citation bot, Aussie Ausborn, J04n, Rodrigogomesonetwo, Old Marcus, FrescoBot, Rorylyng, Citation bot 1, RedBot, Full-date unlinking bot, Dutchmonkey9000, Sublimefan97, Tbhotch, Ms. 45, Hobbes Goodyear, WikitanvirBot, Eduardofoxx13, Mashaunix, Starcheerspeaksnewslostwars, John of Lancaster, DJghr1, Unreal7, SporkBot, NewMoonBay, WeirdLarry, Exciter106, Spicemix, ClueBot NG, Easy4me, Helpful Pixie Bot, BG19bot, TangoTizerWolfstone, Cyberbot II, Metalman28048, MadGuy7023, Hmainsbot1, Harry Canyon, Clashfan2, Synthwave.94, Tobyjamesaus, Skraus20, Monkbot, GoAnimaterules12333, Joseph2302, Skipfortyfour, Mrjackmarley, Ron Jones sr, Mario Payne, Sriyed75, DynastiLNoble, GreenC bot, AG 408, Doruk Ege Keskinaysever and Anonymous: 148 Spanish Bombs Source: https://en.wikipedia.org/wiki/Spanish_Bombs?oldid=758911669 Contributors: SimonP, MacGyverMagic, Tothebarricades.tk, Grm wnr, 96T, Willerror, Hesperian, Ogress, Guy Harris, Grenavitar, Red dwarf, BadLeprechaun, Mário, Woohookitty, Professor Ninja, BillC, Noogz, Slythefox, BD2412, Koavf, Quale, Edbrims,Lairor, Bensin, DeusHomoni, Weebot, Volunteer Marek, PhilipR, RussBot, C777, William Przylucki, Cleared as filed, DeadEyeArrow, Bronks, Roger Davies, Ulterior19802005, Eaglizard, Hmains, Pietaster, Stevenmitchell, Metalmallow, Chadwholovedme, Valenciano, Horses In The Sky, Hank chapot, Alcuin, John, Tlesher, 16@r, Dl2000, Fache, CmdrObot, Jglove, Richhoncho, Qwarto, Jayron32, Admoreily, Magioladitis, Nick Cooper, Theamazingzeno, R'n'B, JMG469, Squids and Chips, Natg 19, Alcmaeonid, Pjoef, AlleborgoBot, Unknown Unknowns, The Silent Walker, Darkieboy236, Rlendog, Dancemotron, Badwolftv, Randy Kryn, Cloonmore, Binksternet, EdibleKarma, TheOldJacobite, Kaiba, Puceron, Ponta2, Tim010987, Addbot, Dan56, Favonian, Komischn, Radiopathy, J04n, DrilBot, Full-date unlinking bot, MrX, Salvio giuliano, Simonm92, DeCausa, ClueBot NG, Helpful Pixie Bot, CapitánCroqueta, ChrisGualtieri, Mumarker, Hugaz, LyricsBot, ArmbrustBot, Ed1t0r2999, Monkbot, Vieque, Beatlesfan48, Mrjackmarley, Bender the Bot and Anonymous: 111 Straight to Hell(song) Source: https://en.wikipedia.org/wiki/Straight_to_Hell_(song)?oldid=751161250 Contributors: Zundark, Zoicon5, Biggins, Hiphats, Andycjp, R. fiend, JoeSmack, ACW, Mad Hatter, Woohookitty, Bjones, Knuckles, THollan, BD2412, Rjwilmsi, Feydey, CJLL Wright, RussBot, C777, Jogers, WesleyDodds, SmackBot, Jagged 85, Doc Strange, Stuart mcmillen, The monkeyhate, Pietaster, Chadwholovedme, J-b, Joeyramoney, John, Gobonobo, Dl2000, 2fs, Twas Now, Cydebot, Treybien, Measly pawn, Marek69, Andrzejbanas, Geneisner, Kyle the bot, Lola Voss, Eve Teschlemacher, Pjoef, TheOnlyOne12, Martarius, Piriczki, TypoBoy, Ktr101, Airplaneman, Kbdankbot, Addbot, CurtisSwain, Yobot, II MusLiM HyBRiD II, Notacupcakebaker, AnomieBOT, Xqbot, Fol de rol troll, Aussie Ausborn, GrouchoBot, Sergecross73, Edgecliff89, FrescoBot, Dustcastle, Dr. Nolan Allen, DrilBot, Lachlan Foley, TobeBot, Sublimefan97, Campcounselor, NewMoonBay, Blaguymonkey, Neptune’s Trident, Myxomatosis57, LyricsBot, Theexploitedsnotdead, Synthwave.94, GoldenGuy23, B.daithi, Sinners Have More Fun and Anonymous: 64 This Is England (song) Source: https://en.wikipedia.org/wiki/This_Is_England_(song)?oldid=751161403 Contributors: Zundark, David Gerard, Grenavitar, Firsfron, Woohookitty, Rjwilmsi, Koavf, CJLL Wright, RussBot, C777, Red Mike, RazorICE, Nikkimaria, Jogers, WesleyDodds, SmackBot, Doc Strange, Pietaster, Thebeast666, Chadwholovedme, Ceoil, John, Moszczynski, Midnightblueowl, Dl2000, CmdrObot, Ss112, Soetermans, Legotech, Aelogan, Shirt58, Michig, Responsible?, Morrad, LordAnubisBOT, Pawnkingthree, TXiKiBoT, TucsonUte, Pjoef, TheOnlyOne12, Simonmaal, Martarius, Binksternet, Temeku, Addbot, Fir42, Lightbot, Utvik old, Radiopathy, Aussie Ausborn, Rodrigogomesonetwo, Richard BB, Owenmadison, DrilBot, Lachlan Foley, Sublimefan97, VernoWhitney, DialdNotes, Eduardofoxx13, John of Lancaster, NewMoonBay, Blaguymonkey, Djodjo666, DeanBaetz, LyricsBot, Synthwave.94 and Anonymous: 33 This Is Radio Clash Source: https://en.wikipedia.org/wiki/This_Is_Radio_Clash?oldid=756099017 Contributors: Zundark, Postdlf, Woohookitty, Koavf, CJLL Wright, RussBot, Grantb, Mr Pyles, Pietaster, Lenin and McCarthy, Chadwholovedme, Derek R Bullamore, Salamurai, Evlekis, John, Dl2000, Gaohoyt, To hell with poverty!, Richhoncho, Hoponpop69, Thegreenj, DH85868993, Thismightbezach, TXiKiBoT, Rondo66, Pjoef, Seth Whales, Rastabilly, Martarius, Binksternet, Addbot, Fir42, Harryrocknroll, Lightbot, ItsAlwaysLupus, LilHelpa, Middle 8, FrescoBot, DrilBot, Lachlan Foley, Azure99, Chickenguy12, Starcheerspeaksnewslostwars, GoingBatty, John of Lancaster, NewMoonBay, Chickenguy13, ClueBot NG, Blaguymonkey, Helpful Pixie Bot, Ilovemymosie, J.wong.wiki, BattyBot, Randalman, LyricsBot, Synthwave.94, Monkbot, Mrjackmarley, It’sXaosandMoeLester, NavyBlueSunglasses, Rickdimaio and Anonymous: 43 Tommy Gun (song) Source: https://en.wikipedia.org/wiki/Tommy_Gun_(song)?oldid=761120171 Contributors: Zundark, R. fiend, JoeSmack, Grenavitar, Woohookitty, Rjwilmsi, CJLL Wright, C777, WesleyDodds, Durova, John, Dl2000, Fache, Cydebot, Jackhitts08, Alai-
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bot, Richhoncho, Headbomb, Bobblehead, JustAGal, Poiuytre, LordAnubisBOT, TXiKiBoT, Pjoef, Rlendog, Martarius, Dcalvitti, Dronthego, DumZiBoT, Fractious Jell, Ponta2, Addbot, Mymelo, Yobot, Radiopathy, Starcheerspeaksnewslostwars, NewMoonBay, CactusBot, Blaguymonkey, Helpful Pixie Bot, Wbm1058, BattyBot, Monkbot, Mrjackmarley and Anonymous: 13 https://en.wikipedia.org/wiki/Train_in_Vain?oldid=761068902 Contributors: Lukobe, Zoicon5, Morwen, Topbanana, Angmering, Skagedal, Hiphats, Closeapple, JoeSmack, Franl, Evil Monkey, The JPS, Woohookitty, Robert K S, Bbatsell, GregorB, StevenHW, Koavf, Nick R, Lairor, GünniX, CJLL Wright, RussBot, Breakinguptheguy, Wknight94, Jogers, Katieh5584, WesleyDodds, SmackBot, DCGeist, Doc Strange, Portillo, Chris t he speller, Pietaster, George Ho, Pushit, Chadwholovedme, Derek R Bullamore, Mwtoews, Liddelr, John, E-Kartoffel, Bryantjs6, J Milburn, Fache, CmdrObot, Erik Kennedy, Drjayphd, DrJohnnyDiablo, Richhoncho, Headbomb, James Epstein, Q8-falcon, GaMeReVoLuTiOnX, Y2kcrazyjoker4, MJD86, Appraiser, 74ct, Mike6271, CommonsDelinker, Bongomatic, Davidscharoun, I like wiki, Harfarhs, Kyle the bot, FMasic, Pjoef, JoeyPublic, Rlendog, Eric444, Flyer22 Reborn, Sittingonfence, Sb26554, Explicit, Martarius, Cloonmore, Binksternet, Piriczki, Alexbot, ChrisG nyc, Wiki libs, BigUns, Briepark, Sigma-w, Addbot, Lightbot, Radiopathy, AnomieBOT, Citation bot, LilHelpa, Rodrigogomesonetwo, Bensec, FrescoBot, LucienBOT, Trappist the monk, Colchester121891, Starcheerspeaksnewslostwars, GoingBatty, RA0808, MPFC1969, John of Lancaster, KickingEdgarAllenPoe, That is not irony, BeSublime, SporkBot, NewMoonBay, Revilal90, Chickenguy13, ClueBot NG, CactusBot, Blaguymonkey, The1337gamer, BattyBot, Jonnhy ramone, Metalman28048, Esszet, Dexbot, Deanlwwhite, Clashfan2, LyricsBot, Theexploitedsnotdead, ArmbrustBot, Iantheimp, Monkbot, TheQ Editor, Beatleswhobeachboys, The Fat Rat of Chepstow, InternetArchiveBot and Anonymous: 102
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Washington Bullets (song) Source: https://en.wikipedia.org/wiki/Washington_Bullets_(song)?oldid=754888689 Contributors: Smith03,
LGagnon, Bkell, TOO, Everyking, DO'Neil, R. fiend, JoeSmack, Huntster, Mike Garcia, Elipongo, Grenavitar, Msvcrtd, Josh Parris, Ash211, Ground Zero, Pinkville, RussBot, C777, SmackBot, Pietaster, Steelbeard1, Kuru, John, AEMoreira042281, Dl2000, FairuseBot, TimothyHorrigan, Cydebot, Magioladitis, Horse Badorties, Jogersbot, Vera from upstairs, Pjoef, JoeyPublic, Abigwood2k8, Hotcop2, Martarius, Bde1982, ÅttioFem, Rejectwater, 61x62x61, Lightbot, Yobot, AnomieBOT, Jim1138, Bagumba, J JMesserly, Erik9bot, FrescoBot, RenamedUser01302013, John of Lancaster, MAINEiac4434, Hayshaye, LyricsBot, Synthwave.94 and Anonymous: 22 •
(White Man) In Hammersmith Palais Source:
https://en.wikipedia.org/wiki/(White_Man)_In_Hammersmith_Palais?oldid=754888728
Contributors: SimonP, Jahsonic, Kierant, Mushroom, Chinasaur, R. fiend, Rich Farmbrough, Kappa, Grenavitar, Woohookitty, Comman-
der Keane, GregorB, Plrk, Weebot, CJLL Wright, PhilipR, Huw Powell, C777, Wimt, Welsh, Charlie button, Gadget850, Jogers, Amberrock, WesleyDodds, That Guy, From That Show!, SmackBot, DCGeist, Durova, Pietaster, Thebeast666, Salamurai, Ligulembot, Nareek, John, Rfishel, Manchot~enwiki, Dl2000, J Milburn, Fache, Nervousbreakdance, Alanconnor, Jackhitts08, Richhoncho, Bot-maru, Husond, PhilKnight, Ling.Nut, Twsx, MiTfan3, Russ London, BagpipingScotsman, C2S7, Bcostley, GcSwRhIc, SteveStrummer, Pjoef, JoeyPublic, AlleborgoBot, Lightmouse, Glassbreaker5791, Explicit, ImageRemovalBot, Martarius, Cloonmore, TheOldJacobite, Niceguyedc, Alexbot, CAVincent, MystBot, Addbot, LaaknorBot, Windward1, Radiopathy, GrouchoBot, Locobot, LucienBOT, Lachlan Foley, Trappist the monk, MrX, Tim211010, RjwilmsiBot, Bossanoven, Hiddenstranger, DASHBot, Starcheerspeaksnewslostwars, GoingBatty, John of Lancaster, NewMoonBay, RaySymbolic, CactusBot, Blaguymonkey, Helpful Pixie Bot, BattyBot, Randalman, LyricsBot, Synthwave.94, Mrjackmarley, GreenC bot and Anonymous: 61 •
WhiteRiot Source: https://en.wikipedia.org/wiki/White_Riot?oldid=760691377 Contributors: Sam Francis, Zoicon5, Everyking, R. fiend,
Joyous!, Rich Farmbrough, Martpol, JoeSmack, BDD, Woohookitty, Commander Keane, GregorB, Slythefox, Biederman, Weebot, CJLL Wright, ThunderPeel2001, C777, Closedmouth, Jer ome, SmackBot, DCGeist, Reubensutton, Pietaster, Derek R Bullamore, Salamurai, John, Will 3rd, Wright123, Dl2000, Burndownthedisco, Vitriden, Fache, GassyGuy, Richhoncho, Headbomb, QuasyBoy, PJtP, Irish rover, Hoponpop69, Karyyk, EkeW, TTKK, LordAnubisBOT, VolkovBot, Pjoef, AlleborgoBot, Glassbreaker5791, Martarius, Addbot, Lightbot, Ptbotgourou, CumbrianRam, Christian dewees, Swanseajack4life, LucienBOT, Starcheerspeaksnewslostwars, GoingBatty, NewMoonBay, Lesgates, Helpful Pixie Bot, Benzband, BattyBot, LyricsBot, Monkbot, Mrjackmarley and Anonymous: 61 •
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The Clash discography Source:
The Clash on film Source: https://en.wikipedia.org/wiki/The_Clash_on_film?oldid=575604510 Contributors: Rich Farmbrough, Dl2000, Vlad b, Pjoef, DocKino, Moxy, Erik9bot, GoingBatty, Helpful Pixie Bot and Anonymous: 1
https://en.wikipedia.org/wiki/List_of_the_Clash_band_members?oldid=755531760 Contributors: Mad Hatter, Koavf, SilkTork, Dl2000, Jayron32, Rothorpe, CCS81, DocKino, Yobot, Mashaunix, Burbridge92, Sarmiento 007, Blaguymonkey, Zeke, the Mad Horrorist, Amb1997, Laazrockit, Talking Saul, ICommandeth, DCollins95 and Anonymous: 23
List of membersof TheClash Source:
List of The Clash songs Source: https://en.wikipedia.org/wiki/List_of_songs_recorded_by_The_Clash?oldid=741617425 Contributors: Tim!, Bgwhite, Tony1, Dl2000, AndrewHowse, Richhoncho, Hoponpop69, Michig, Magioladitis, Inwind, Pjoef, Mild Bill Hiccup, Moxy, FrescoBot, Preservedmoose, Cnwilliams, Blaguymonkey, Helpful Pixie Bot, PhnomPencil, Benzband, Dexbot and Anonymous: 3
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https://upload.wikimedia.org/wikipedia/commons/5/55/1TONY10.JPG License: CC BY 3.0 Contributors: Own work Original artist: Wwwhatsup (original video and still)
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File:AnarchyInTheUKPoster.jpg Source:
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File:Edit-clear.svg Source:
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File:Finnishfilm.svg Source: https://upload.wikimedia.org/wikipedia/commons/6/63/Finnishfilm.svg License: LGPL Contributors: Own
modification of work from Wikipedia Commons Original artist: Str4nd https://upload.wikimedia.org/wikipedia/commons/5/50/Flag-map_of_Jamaica.svg License: CC BY-SA 3.0 Contributors: Own work Original artist: Darwinek
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https://upload.wikimedia.org/wikipedia/commons/1/15/Joe-Strummer.jpg License: CC BY-SA 2.0
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CHAPTER 10. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES https://upload.wikimedia.org/wikipedia/commons/6/6a/MICK_ JONES_and_CARBON_SILICONE.jpg License: CC BY 2.0 Contributors: http://www.flickr.com/photos/robotclaw/2336275379/ Original artist: http://www.flickr.com/photos/robotclaw/ File:Metal_Urbain-Panik.ogg Source: https://upload.wikimedia.org/wikipedia/en/f/fd/Metal_Urbain-Panik.ogg License: Fair use Contributors: ? Original artist: ? File:Mick_Jones_at_Carbon_Casino_VI.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/5b/Mick_Jones_at_ Carbon_Casino_VI.jpg License: Public domain Contributors: Own work Original artist: Pmsphoto File:Mikey_Dread.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/12/Mikey_Dread.jpg License: CC BY-SA 2.5 Contributors: Own work Original artist: Piotr Czerniawski File:Mikey_Dread_2003.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/3b/Mikey_Dread_2003.jpg License: CC BYSA 3.0 Contributors: Own work Wwwhatsup Original artist: Joly MacFie (Punkcast) File:Mikeydreadwsrf.jpg Source: https://upload.wikimedia.org/wikipedia/commons/f/f8/Mikeydreadwsrf.jpg License: Public domain Contributors: Self-taken, 2006 Winnipeg Ska and Reggae Festival Original artist: Fidel Astro File:Misfits_2012-11-08_01.JPG Source: https://upload.wikimedia.org/wikipedia/commons/5/50/Misfits_2012-11-08_01.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: IllaZilla File:Mr._Smiley_Face.svg Source: https://upload.wikimedia.org/wikipedia/commons/5/51/Mr._Smiley_Face.svg License: CC BY-SA 3.0 Contributors: This file was derived from Mistersmileyface.png:
Original artist: Mistersmileyface.png: Otakuma File:Music_film_clapperboard.svg Source: https://upload.wikimedia.org/wikipedia/commons/b/bf/Music_film_clapperboard.svg License: LGPL Contributors: Musical note nicu bucule 01.svg Original artist: Musical note nicu bucule 01.svg File:Musical_notes.svg Source: https://upload.wikimedia.org/wikipedia/commons/a/ac/Musical_notes.svg License: Public domain Contributors: ? Original artist: ? File:MusicalnotesUK.svg Source: https://upload.wikimedia.org/wikipedia/commons/3/38/MusicalnotesUK.svg License: Public domain Contributors: Own work Original artist: Wereon File:Normal_180914_1994-XX-XX_-_Green_Day_Live_.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/4f/ Normal_180914_1994-XX-XX_-_Green_Day_Live.jpg License: GFDL Contributors: Own work Original artist: Luisdaniel reyna File:Nuvola_apps_kscd.svg Source: https://upload.wikimedia.org/wikipedia/commons/c/c9/Nuvola_apps_kscd.svg License: LGPL File:MICK_JONES_and_CARBON_SILICONE.jpg Source:
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Original Nuvola icon: http://www.icon-king.com Original artist: Original Nuvola icon: David Vignoni File:Oh_Bondage_Up_Yours.ogg Source: https://upload.wikimedia.org/wikipedia/en/1/1b/Oh_Bondage_Up_Yours.ogg License: Fair use Contributors: ? Original artist: ? File:Oz-33-cover.jpg Source: https://upload.wikimedia.org/wikipedia/commons/9/91/Oz-33-cover.jpg License: Public domain Contributors: ? Original artist: ? File:Patti_Smith_Copenhagen_1976.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/c1/Patti_Smith_Copenhagen_ 1976.jpg License: Public domain Contributors: Own work Original artist: Ib Rasmussen File:Paul-_Simonon.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/be/Paul-_Simonon.jpg License: CC BY-SA 2.0 Contributors: http://www.flickr.com/photos/goro_memo/3979538527/ Original artist: Masao Nakagami File:Paul_Simonon_mg_6701b_edit.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/3d/Paul_Simonon_mg_6701b_ edit.jpg License: CC BY-SA 2.0 fr Contributors: This is a retouched picture, which means that it has been digitally altered from its original version. Modifications: noise reduction and slight resampling by Lycaon. Original artist: Rama File:Pay_to_Cum.ogg Source: https://upload.wikimedia.org/wikipedia/en/6/6a/Pay_to_Cum.ogg License: Fair use Contributors: Peter G Werner Original artist: ? File:People_icon.svg Source: https://upload.wikimedia.org/wikipedia/commons/3/37/People_icon.svg License: CC0 Contributors: OpenClipart Original artist: OpenClipart File:Portal-puzzle.svg Source: https://upload.wikimedia.org/wikipedia/en/f/fd/Portal-puzzle.svg License: Public domain Contributors: ? Original artist: ? File:Punks.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/8a/Punks.jpg License: CC-BY-SA-3.0 Contributors: Transferred from en.wikipedia to Commons. Original artist: Quercusrobur File:Question_book-new.svg Source: https://upload.wikimedia.org/wikipedia/en/9/99/Question_book-new.svg License: Cc-by-sa-3.0 Contributors:
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File:Ramones_-_Ramones_cover.jpg Source:
https://upload.wikimedia.org/wikipedia/en/b/bb/Ramones_-_Ramones_cover.jpg Li-
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The cover art can be obtained from Sire Records. Original artist: ? https://upload.wikimedia.org/wikipedia/commons/e/e1/Rock_Against_Racism_1978. jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Sarah Wyld
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File:Saints-(I'm)_Stranded.ogg Source:
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File:Screamin'_Jay_Hawkins_as_Night_Clerk_in_Mystery_Train_by_Masayoshi_Sukita.jpg Source: https://upload.wikimedia.
org/wikipedia/en/4/47/Screamin%27_Jay_Hawkins_as_Night_Clerk_in_Mystery_Train_by_Masayoshi_Sukita.jpg License: Fair use Contributors: ? Original artist: ? •
File:Sex_Pistols_in_Paradiso_-_Johnny_Rotten_&_Steve_Jones.jpg Source: https://upload.wikimedia.org/wikipedia/commons/f/
f8/Sex_Pistols_in_Paradiso_-_Johnny_Rotten_%26_Steve_Jones.jpg License: CC BY-SA 3.0 nl Contributors: Nationaal Archief Original artist: Koen Suyk; Nationaal Archief, Den Haag, Rijksfotoarchief: Fotocollectie Algemeen Nederlands Fotopersbureau (ANEFO), 1945-1989 - negatiefstroken zwart/wit, nummer toegang 2.24.01.05, bestanddeelnummer 928-9663 •
File:Split-arrows.svg Source: https://upload.wikimedia.org/wikipedia/commons/a/a7/Split-arrows.svg License: Public domain Contribu-
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https://upload.wikimedia.org/wikipedia/commons/4/49/Star_empty.svg License: CC BY-SA 2.5 Contributors: Made with Inkscape from Stars615.svg:
File:Star_empty.svg Source:
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https://upload.wikimedia.org/wikipedia/commons/8/81/Star_half.svg License: CC BY-SA 2.5 Contributors: Made with Inkscape from Image:Stars615.svg. Original artist: User:Conti https://upload.wikimedia.org/wikipedia/en/6/6f/StrengthThruOi.jpg License: Fair use Contributors: http://cd.ciao.co.uk/Strength_Thru_Oi_Various_Artists__8610154 Original artist: Copyright owned by Decca Records. https://upload.wikimedia.org/wikipedia/en/9/96/StrummerCashRedemptionSong. ogg License: Fair use Contributors: Derived from a digital capture (sound file/scan) of the soundfile (creator of this digital version is irrelevant as the copyright in all equivalent images is still held by the same party). Copyright held by the publisher or the artist. Claimed as fair use regardless. Original artist: ? tors: Image:Mplayer.svg, Image:Flag of Switzerland.svg Original artist: David Vignoni
https://upload.wikimedia.org/wikipedia/commons/8/89/Symbol_book_class2.svg License: CC BY-SA 2.5 Contributors: Mad by Lokal_Profil by combining: Original artist: Lokal_Profil
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File:TheClashLondonCallingalbumcover.jpg
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File:The_Clash_-_London_Calling.ogg Source:
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File:The_Exploited_Punks_not_dead.ogg Source:
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File:The_Fall_Totally_Wired.ogg Source:
https://upload.wikimedia.org/wikipedia/en/8/85/The_Fall_Totally_Wired.ogg License: Fair
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File:Tom-tom_12x8.jpg Source:
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Original artist: Derivative work by Thumperward
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Original artist: Mistersmileyface.png: Otakuma File:Music_film_clapperboard.svg Source: https://upload.wikimedia.org/wikipedia/commons/b/bf/Music_film_clapperboard.svg License: LGPL Contributors: Musical note nicu bucule 01.svg Original artist: Musical note nicu bucule 01.svg File:Musical_notes.svg Source: https://upload.wikimedia.org/wikipedia/commons/a/ac/Musical_notes.svg License: Public domain Contributors: ? Original artist: ? File:MusicalnotesUK.svg Source: https://upload.wikimedia.org/wikipedia/commons/3/38/MusicalnotesUK.svg License: Public domain Contributors: Own work Original artist: Wereon File:Normal_180914_1994-XX-XX_-_Green_Day_Live_.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/4f/ Normal_180914_1994-XX-XX_-_Green_Day_Live.jpg License: GFDL Contributors: Own work Original artist: Luisdaniel reyna File:Nuvola_apps_kscd.svg Source: https://upload.wikimedia.org/wikipedia/commons/c/c9/Nuvola_apps_kscd.svg License: LGPL File:MICK_JONES_and_CARBON_SILICONE.jpg Source: 
Original artist: Derivative work by Thumperward