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(Above: The second part of “The Night London Burned,” a 30-minute documentary about Joe Strummer’s final concert and onstage reunion with Mick Jones.)

By Joel Francis
The Daily Record

Note: Every year on Christmas Eve, we mark the passing of Clash singer and musical legend Joe Strummer. This year marks the tenth anniversary of Strummer’s passing on Dec. 22, 2002.

“War Cry”

The limp reception to Joe Strummer’s 1989 solo album “Earthquake Weather” didn’t sit well with its creator. But just because Strummer was a stranger to the studio for nearly a decade, doesn’t mean he wasn’t involved with music.

41R6GY31MNL._SL500_AA300_One of Strummer’s great discoveries during the 1990s was the Glastonbury Festival. The three-day summer festival combined two of Strummer’s passions: live music and camping. Every June his entourage would grow, eventually becoming a makeshift community dubbed “Strummerville.” Performances by the Prodigy, Bjork, Elastica and others at the festival fostered a love for techno music that would influence Strummer’s music for the rest of his life.

The song “War Cry” from the “Grosse Pointe Blank” soundtrack is the most overtly electronic-influenced track in Strummer’s catalog. The swirling melody is carried by a pulsing keyboard riff, but the track’s energy comes from Strummer’s vigorous guitar playing. The six-minute instrumental is the only piece from Strummer’s film score to see official release.

Strummer produced the original “Grosse Pointe Blank”  soundtrack and included two tracks from his old band. The first volume was so successful a second was released. “War Cry” was unfortunately buried near the end of the sequel.

“MacDougal Street Blues,” Strummer’s contribution to a Jack Kerouac spoken word compilation also released in 1997, found Strummer working in the same style. Kerouac sounds like he was recorded in a bathroom, but Strummer’s musical backing almost seems like a skeletal cousin to “War Cry.”

We didn’t know it at the time, but “War Cry” signaled the end of Joe Strummer’s wilderness years.

“Bhindi Bhagee”

The first time I heard this song was on a Saturday afternoon broadcast of World Café. I was in the car with my dad and halfway through the second verse I commented that the track sounded like someone from the Clash recording a Paul Simon song arranged by Peter Gabriel. DJ David Dye confirmed one third of my theory, but I still don’t think the other two guesses missed the mark by much.

globalThe musical re-awakening Strummer experienced at Glastonbury carried over to his appearance (as a guest, not an artist) at Peter Gabriel’s WOMAD music festival. Listening to the acts from around the world perform, hanging out with musicians like Donovan and spending time at Gabriel’s Real World recording studio finally provided the tipping point for him to get serious about making his own music again.

The music Strummer made with the Mescaleros was diverse, encompassing dance and electronic, country, punk and rock. On the band’s sophomore release, “Global A Go-Go,” Strummer branched out big time for their sophomore release. The platter more than lives up to its name, featuring lots of violin, exotic percussion, flute and other world music flourishes.

“Bhindi Bhagee” opens with acoustic guitar and flute and features Strummer delivering his intricate lyrics in a laid-back conversational style. Like Simon, Strummer lets the song unspool like a story. The chorus is basically a list of everything Strummer hopes to encompass with the arrangement. The best part comes at the bridge, where Strummer honestly explains where he’s at musically.

So anyway, I told him I was in a band
He said, “Oh yeah, oh yeah – what’s your music like?”
I said, “It’s um, um, well, it’s kinda like
You know, it’s got a bit of, um, you know.”

Yeah, all of that and a lot more.

“White Riot (live)”

Joe Strummer and Paul Simonon weren’t looking for trouble when they attended the Notting Hill Carnival in 1976, but they shouldn’t have been surprised a riot broke out. Founded as response to the Notting Hill race riots and the racial issues plaguing England in the late 1950s, the carnival had become increasingly violent in its second decade.

Joe aCTONAs Strummer watched the England’s racial minorities physically challenging the authorities, he wished his fellow Caucasians would have the courage to take a similar stand.  Although written long before the Occupy movement, Strummer finally found a body willing to pick up his gauntlet:

“All the power’s in the hands/of people rich enough to buy it
While we walk the street/Too chicken to even try it.”

Along with the Sex Pistols “Anarchy in the U.K.,” “White Riot” kicked off England’s punk movement. As the band’s debut single, it clearly had special meaning to Strummer, who performed the song as the final encore during his last tour with the Mescaleros in 2001 and 2002. (An early version of the song has Strummer singing the first verse a capella before the full band kicks in. It’s an interesting thought, but the message is much stronger in the final arrangement.) The already-potent track became even more powerful when Strummer invited Mick Jones onstage to play it with the Mescaleros at what would be Strummer’s final concert.

The duo, sharing the stage for the first time in nearly 20 years, clearly had fun with the reggae bounce of “Bankrobber,” stretching it to over nine minutes. “White Riot” is the tour de force, though. After calling for the song “in the key of A,” Strummer almost seems to second guess himself. As the guitarist – I’d like to think its Jones, but don’t know for sure – plows into the opening chords, Strummer hastily calls a halt to the song, instructing the drummer to count it off properly. The aggression and anger in the original version – Strummer almost sounds determined to push you out in front of the cops if you won’t fight willingly – now shows hints of age and wisdom that suggest that while this is one way to bring about change, it isn’t necessarily the only path to revolution. It’s a subtle change, but doesn’t cost the performance any of its original urgency.

Less than five minutes after ending “White Riot,” Strummer and Jones concluded the concert with a blistering “London’s Burning.” Barely five weeks later, Strummer was gone.

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(Above: Kansas City’s own Maps for Travelers cover “The Other Shoe” in anticipation of Fucked Up’s appearance at the Middle of the Map festival.)

By Joel Francis
The Kansas City Star

The band may be Fucked Up, but they do many things very well. During the inaugural hour of Easter Sunday, 2012, the six-piece hardcore punk band from Toronto abolished the barrier between artist and audience with an enthusiastic set that turned fans into friends.

The hourlong set leaned heavily on last year’s “David Comes to Life,” an ambitious masterpiece that can stand proudly with other genre-redefining, double-LPs like “London Calling,” “Zen Arcade” and “Double Nickels on the Dime.”

The band had barely kicked into opening number “Queen of Hearts” before frontman Damian “Pink Eyes” Abraham was leaning into the crowd, offering his mic to anyone willing to bellow. Over the next hour he walked through the crowd, encouraging hugs, high fives and anything else to encourage fans and make them feel like part of the performance.

Damian “Pink Eyes” Abraham displays an intense delight at the Riot Room.

Although the themes in its music can be dark, the atmosphere is entirely positive. During “The Other Shoe,” Abraham got the entire room singing the chorus. A room full of people singing the words “dying on the inside” never felt so upbeat and optimistic.

His vocals are screamed, but the delivery is more out of enthusiasm than anger. While hardcore punk can quickly become numbing in the wrong hands, F’ed Up is surprisingly melodic. The backing vocals from bass player Sandy “Mustard Gas” Miranda and guitarist Ben Cook go a long way toward tempering Abraham’s abrasive technique. The band is also unafraid to show it’s classic rock influences. The three-guitar attack during “Under My Nose” recalled Thin Lizzy. Later, drummer Jonah Falco  quoted Keith Moon’s drum pattern from “Won’t Get Fooled Again” while Abraham twirled his microphone a la Roger Daltrey.

Anticipation was high for F’ed Up’s set. They were talked up by Mission of Burma on Friday night, and the one-in, one-out policy went into effect hours earlier, generating a line to the door that stretched to the corner. Once inside, from the lip of the stage to the back of the bar, everyone seemed mesmerized.

Of the seven bands on the Riot Room’s lineup for Saturday, all but two acts were part of the local music scene. The Chicago-quartet A Lull delivered a set of dreamy, atmospheric music that included the moving “Some Love.” Longtime hardcore/metal mainstays Coalesce were given the final slot before F’ed Up. Singer Sean Ingram successfully cleared a good portion of the crowd from the stage simply by testing his mic.

The band’s intense 40-minute set polarized the room between dedicated fans gathered by the stage, and the rest of the room, politely waiting for the headliner. At one point, guitarist Jes Steineger lept from the stage and played while hanging from the rafter above the crowd.

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(Above: Mission of Burma play a rare show in Kansas City as part of the Middle of the Map Festival on April 6, 2012.)

By Joel Francis
The Kansas City Star

Mission of Burma’s invitation to this year’s Middle of the Map festival mirrors last year’s inaugural invite to Daniel Johnston. Both artists exist miles away from the mainstream, have dedicated cult followings and usually skip Kansas City on their infrequent tour itineraries.

The post-punk quartet held the last slot at the Record Bar on Friday night. Anticipation was so high the venue was one-in, one-out more than an hour before Burma was scheduled to go on. Halfway through the band’s 75-minute set, however, about half the room had cleared out.The two biggest contributing factors to this exodus were likely the late start time – the band didn’t go on until after midnight – and the emphasis on new material slated for release on the group’s fifth studio album this summer. Fans that stayed, however, were rewarded with not only a preview of what looks to be a strong continuation of a critically acclaimed catalog, but many of the early songs everyone came to hear.

Early number “Donna Sumeria” captured the essence of Burma. As drummer Peter Prescott lays down a deceptive disco beat, guitarist Roger Miller’s fingers fumble over the frets, creating a snakey melody. The lyrics invoke the Sumerian goddess of love and turn the dance goddess Donna Summer into an abstract plea for peace in the Middle East. Miller’s brief turn on the flugelhorn at the top seems like an abstract experiment, until soundman/manipulator Bob Weston reinterprets the horn back into the mix later in the song.

All of this may seem more fussy than anything the Ramones or Sex Pistols had in mind, but the core of Burma is still very much noisy, rebellious punk music. During their original incarnation from 1979 to 1983, the band managed a handful of singles, an EP and one full-length record. Since reuniting in 2002, they have nearly quadrupled that output. Although Friday’s set tipped heavy toward the new, all facets of the band were on strong display.

After previewing “Dust Devil,” the band’s newest single, they paired the 2006 track “Let Yourself Go” with their anthem “That’s When I Reach for My Revolver,” which had the crowd chanting along. Encores of “This is Not a Photograph” and “Academy Fight Song” kept the energy high.

The lead-up to Mission of Burma started six hours earlier at the Record Bar with Deadringers. Thee Water Moccasins and Life and Times did a great job setting the table for Burma, proving that the local music scene can stand neck-in-neck with that in any other town. Thee Water Moccasins recalled a more avant Yo La Tengo at times. The unabashedly poppy “No Control” provided the best moment from their 45-minute set. The Life and Times were propelled by the frantic drumming by Chris Metcalf. Both bands seemed to be as excited to be in the house with Mission of Burma as everyone in the audience.

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(Above: Harry and the Potters rock a Wisconsin bookstore.)

By Joel Francis
The Kansas City Star

It is doubtful that Irma Pince, mistress of the library at Hogwarts, would approve of Harry and the Potters.

The band is loud, noisy and proud of its subversive punk influences. For nearly a decade, it has also been the delight of librarians across the country.

The band makes a return appearance to the downtown branch of the Kansas City Public Library at 2 p.m. Sunday in a free performance and Monday at the Replay Lounge in Lawrence.

“Most libraries don’t see any bands;they see author readings and story time,” said guitarist Paul DeGeorge, who founded the group with his brother Joe in Boston in 2002 and now lives in Lawrence. “Sometimes we get librarians who think we’re too loud, but now that our reputation precedes us, I think they like that what we do is unique.”

Tying in to the most popular fiction series of the new millennium doesn’t hurt either. With songs such as “Gryffindor Rocks,” “Dumbledore’s Army” and “Saving Ginny Weasley from Dean Thomas,” the duo has plugged right into the zeitgeist.

The band is among the more successful of a long list of wizard rockers, including such Potter-inspired groups as Draco and the Malfoys, the Moaning Myrtles and the Whomping Willows. They even gather for festivals, such as the annual Hallows and Horcruxes Ball in Manhattan, Kan.

“It all started as sort of a whimsical idea after reading the Harry Potter book for the first time. We wanted to find a way to convince librarians to let us play loud punk rock music in their libraries,” DeGeorge said. “We didn’t realize how extensive and pervasive the Harry Potter fan world is. Once our website [Web site] was up, word spread really quickly, and that’s when we started touring nationally.”

Onstage, both brothers are dressed as Potter. Older brother Paul portrays the seventh-year wizard, while Joe represents Potter in his fourth year at Hogwarts. Although the family-friendly music attracts a young audience, Paul DeGeorge aims for a wide demographic.

“They Might Be Giants is a band I really related to in junior high, but as I grew up I realized there were a lot of smart things in those songs that I didn’t get when I was 12,” DeGeorge said. “We want to do the same thing. We want to keep the parents engaged as well, give them stuff to smile at that their kids won’t get and give the kids things to laugh at the parents will just think is cute.”

J.K. Rowling hasn’t weighed in on Harry and the Potters, but she is a big fan of the Harry Potter Alliance, a nonprofit group DeGeorge founded.

“The Harry Potter Alliance was inspired by the fact that Harry and his friends were just teenagers, but because they were dedicated to fighting evil they changed the world,” DeGeorge said. “We re-contextualize complex global issues through Harry Potter’s world. It’s a way to help young people understand the world and get involved using language they understand.”

Although the band is strong, DeGeorge confessed it isn’t as all-encompassing since he moved from his native Boston to Lawrence, Kan. a year ago. DeGeorge moved away from his brother to be with his girlfriend, who is earning her doctorate in art history at the University of Kansas.

“We used to do 120 shows a year, then record,” DeGeorge said. “Now we’re doing a two-month tour and will take some time off. In some ways, though, the distance makes us more focused, because we know we have to maximize our time together.”

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(Above: Elvis Costello and the Imposters take the stage on a hot summer night at Crossroads KC.)

Joel Francis
The Kansas City Star 

Elvis Costello solved the age-old problem of what to do when an artist has too many great songs for one show – he brought them all onstage with him.

Costello’s “Spectacular Spinning Songbook” tour touched down at a crowded Crossroads on Thursday night. Behind the acclaimed songwriter’s left shoulder loomed a huge multi-colored wheel adorned with three dozen of his favorite songs. One at a time, members of the audience were invited up to spin the wheel and pick the next number.

“(What’s So Funny ‘Bout) Peace, Love and Understanding,” usually an encore, came up early. So did “Earthworms,” a song Costello wrote for singer Wendy James in the early ‘90s but never recorded himself. When the wheel landed on Bob Dylan’s “This Wheel’s On Fire,” Costello let the crowd choose between that number and his own “Human Hands.” The headliner won out.

First employed in the late ‘80s, the spinning songbook is a novel way for the performer to experience his work in a new context. On that level it was a success. The quartet was tight and energetic, clearly feeding of the energy of the fans dancing along to their selections onstage. But the wheel also killed momentum and started to feel kind of gimmicky after a while.

That said there was indisputably some great music in between spins. A spooky “I Want You” and an extended reading of “Watching the Detectives” that played up the song’s dub roots were among the high points.

Many of the best moments came early. Costello and his Imposters took the stage in with many favorites in a potent 15-minute romp before introducing the wheel. The extended jam on “Uncomplicated” found Costello and bass player Davey Faragher trading lines from Jr. Walker’s “Shotgun.” The Motown connection returned during “Alison,” when Costello incorporated several of the verses from Smokey Robinson’s “Tracks of My Tears.”

Keyboard wizard Steve Nieve was the driving force on many songs, adding calliope runs to “Radio Radio,” a Theremin solo on “Peace, Love and Understanding” and sneaking some Stevie Wonder clavinet on “Shabby Doll.”

The night nearly ended with a brilliant three-song encore in which Costello and his band somehow took the jumpy “Pump It Up” straight into the reflective “Alison” before somehow ending up on a surprisingly strong version of Prince’s “Purple Rain.” Costello had other plans, however, returning with two thirds of the Lovell Sisters to play some bluegrass.

Setlist: I Hope You’re Happy Now; Heart of the City; Mystery Dance; Uncomplicated > Radio Radio; Talking in the Dark; Clubland; (What’s So Funny ‘Bout) Peace, Love and Understanding; Earthbound; Human Hands; Watching the Detectives; (I Don’t Want To Go To) Chelsea; Almost Blue; Shabby Doll; I Want You. Encore 1: Brilliant Mistake; Pump It Up; Alison > Purple Rain. Encore 2: Sulfur to Sugarcane; The Crooked Line; The Scarlet Tide.

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 (Above: Joe Strummer and the Mescaleros delight in performing Jimmy Cliff’s “The Harder They Come.”)

By Joel Francis
The Daily Record

Every Christmas Eve, a significant block of time is set aside to honor the late Joe Strummer, who died on Dec. 22, 2002. This year, The Daily Record celebrates Strummer’s lifelong love of reggae music.

The Clash – “Pressure Drop”

Joe Strummer – “The Harder They Come”

Joe Strummer and Jimmy Cliff – “Over the Border”

In the early days of the London punk scene, DJ/filmmaker/musician Don Letts played reggae albums at the famed Roxy Club. At first the reggae was a necessity – the punk scene was still too young for any of the bands to record their own material. But even after the punk catalog exploded, the reggae remained.

“The punks were digging on the old anti-establishment chant down Babylon (attitude), heavy bass lines and they didn’t mind the weed,” Letts told Mojo magazine in 2008.

Not that this was many of the punks’ first exposure to the Jamaican genres.

“People like (Joe) Strummer, (John) Lydon and (Paul) Simonon didn’t need Don Letts to turn them on,” Letts said in the same interview.

Jimmy Cliff in "The Harder They Come."

Strummer, Simonon and the remaining members of the Clash likely stumbled upon Toots and the Maytalls’ “Pressure Drop” shortly after its 1972 release on the soundtrack to “The Harder They Come.” Both the film and the soundtrack had a profound influence on Strummer. In 1977 the band covered “Pressure Drop,” which was released in 1979 as the b-side to “English Civil War.” The title of their second album, “Give ‘Em Enough Rope” borrows the style of “The Harder They Come” by introducing a well-known phrase and letting the second half remain implied (i.e. “… and they’ll hang themselves”).

“Safe European Home,” one of the tracks on “Rope,” not only name checks “The Harder They Come,” but borrows the phrase “Rudie can’t fail” from another reggae song, foreshadowing the band’s biggest foray into the ska/Two-Tone sound. Finally, Strummer borrowed the film plot of “The Harder They Come” and adapted it to his British punk interpretation titled “Rude Boy.”

Two decades after the release of “Rude Boy,” Strummer recorded his own version of “The Harder They Come.” Teaming with the Long Beach Dub All-Stars and U.K. reggae singer Tippa Irie, his cover was released on the 2000 benefit album “Free the West Memphis Three.” Strummer’s interpretation doesn’t alter much from Jimmy Cliff’s original, but he’s clearly having a great time. Strummer thought enough of the song that another recording of the song was posthumously released the b-side to “Coma Girl.” Recorded live with the Strummer’s final band, the Mescaleros, this version is taken at a faster tempo and joyously ragged and raw.

At one of his final recording sessions, Strummer finally got to collaborate with Cliff. Upon learning where Cliff was recording his latest album, Strummer showed up with some unfinished lyrics in hand that he felt Cliff should sing. “Over the Border,” the song that grew out of this partnership appeared on Cliff’s 2004 album “Black Magic.”

Cliff described the session with Gibson.com shortly before his induction to the Rock and Roll Hall of Fame this year.

“The two of them (producer Dave Stewart and Strummer) began playing guitar, and I came up with the melody, and then Joe chipped in with some help on the melody as well,” Cliff said. “We recorded the song right away. That was a really special moment for me. You can imagine the shock I felt after hearing that Joe was not with us anymore.”

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(Above: The Stiff Little Fingers in all their glory. This live footage of “Alternative Ulster” from 1979 features scrolling lyrics so fans can sing along. Good luck.)

By Joel Francis
The Daily Record

The original incarnation of Stiff Little Fingers wasn’t around very long, but during their five-year tenure they were the best band to call Ireland home.

The Belfast, punk group formed in the late-‘70s as a cover act with a moniker nicked from one of their favorite songs – “Highway Star.” It wasn’t long, however, until the punk bug that had been sweeping England infiltrated Ireland. After replacing their bass player and swapping guitar solos for gnarled sneers, the quartet rechristened themselves after their new favorite song, the Vibrators’ “Stiff Little Fingers.”

After playing a show at the Glenmachan Hotel, the CBGB’s of the Irish punk scene, Stiff Little Fingers, or SLF, singer Jake Burns introduced the band to a couple of his pen pals, journalists Gordon Ogilvie and Colin McClelland.

"The Irish Clash."

Teaming with Ogilvie to write about their native land’s current violent political climate, the Fingers recorded their first single. “Suspect Device” was packaged to look like a bomb, but a copy managed to find its way to legendary BBC DJ and underground music champion John Peel, who played the song endlessly.

The band’s second single became their biggest hit. Released in 1978, “Alternative Ulster” was an insistent, yet catchy plea for plea for a united Ireland. (“Ulster” is British shorthand for Northern Ireland.)

After the success of “Ulster,” the Fingers recorded their first album, “Inflammable Material.” When a deal with Island Records fell through, the band was forced to release the record on their own. The album sold more than 100,000 copies and became the first independent release to chart in the United Kingdom when it landed at No. 14 on the album chart. That success paved the way for a contract with Chrysalis Records the following year.

Despite this victory, drummer Brian Faloon decided to leave the band. He was replaced by Jim Reilly, who beat the skins on the band’s third single, “Gotta Gettaway.”

In the spring of 1978, Stiff Little Fingers performed alongside the Clash, Buzzcocks, Sham 69 and several other punk acts in the Rock Against Racism concert. This appearance earned SLF the nickname “the Irish Clash.” Intended as a compliment, the handle hurt more than it helped, since the band failed to live up to comparisons. The Clash had the budget and backing of a major label, while SLF were left to their own devices.

The designation isn’t without merit, though. Both groups had a penchant for populist lyrics, disenchantment and reggae. The Fingers didn’t share the Clash’s penchant for experimentalism, but when it came to straight-ahead punk songs, Burns and guitarist Henry Cluney could definitely give Joe Strummer and Mick Jones a run for their money.

Despite their triumphs, the group had trouble capitalizing on their great singles and memorable albums. They released their second and third albums in 1980 and 1981, but the line-up had become a revolving door. When Reilly left the band after the tour for their third album, Brian Taylor became the band’s third drummer in as many years.

This collection is the best place to for neophytes to jump into the SLF catalog.

The other band started fighting about which direction to take the band. The arguments frequently ended in fistfights. In 1982, weeks after releasing their fourth studio album, Burns pulled the plug on Stiff Little Fingers.

Five years later, the band reunited to make some money. After a handful of short tours, Burns decided to take the group into the studio and record some new songs. Despite and impressive lineup that included former Jam bassist Bruce Foxton, the Fingers were basically Burns’ show. From 1991 to 2006, he and Foxton were the only two consistent members of the group.

The reformed Fingers have released four albums, but have been quiet since the original SLF bass player, Ali McMordie, replaced Foxton four years ago. Burns has been promising new material for several years. Until that comes, there are more than enough treasures from the band’s glory days to keep fans happy.

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Review: Carbon/Silicon at the Record Bar

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Above: Carbon/Silicon deliver “The News.”

By Joel Francis

Like a lot of bands who play The Record Bar, Carbon/Silicon is trying to promote their first album and make a name. But as the latecomers who were turned away at the door learned, few of those bands have a greater legacy than Mick Jones and Terry James.
The former Clash and Gen-X axemen dashed onstage through a side door, ripped through ten songs from their debut album in about an hour, then hurriedly left, leaving the sold-out throng to revel in what they’d witnessed.

Jones may be a more than a few years removed from his commercial heyday, but he still has plenty of magic left to deliver. He is a bit leaner and more articulate these days, but can still craft a great melody and rip a sizzling solo.

While few in the crowd seemed familiar with the new material, it’s unlikely that anyone left without the catchy chorus of “The News” – “Good morning it’s the news/and all of it is good” – stuck in their head. The chords in “WTF” slashed in a similar progression to “Clash City Rockers” and tore with just as much fury.

James trotted out a left-field cover of “Reason to Believe” for his turn at the mic. A punk cover of a Rod Stewart hit shouldn’t have worked, and nearly didn’t, but the band’s enthusiasm for the tune kept the wheels from falling off.

After cracking several jokes about the empty Conestoga wagon in the southeast corner of the parking lot, Jones prefaced “Really the Blues” with an apology: “When we found out we were playing Kansas City, we knew we had to play the blues. This is our attempt.”

Jones and James have been leading Carbon/Silicon – named for the combination of organic (guitars) and synthetic (computers) used in their songwriting process – for six years now, nearly as long as Jones and Joe Strummer were partners in the Clash. Saturday night’s only nod to their former bands, though, was a tease of “Police On My Back” during the band introductions in the final number.

That was more than enough for the dedicated, though, who christened every guitar solo with a hearty yell and kept the Record Bar illuminated with constant camera flashes and cell phone captures.

The duo were backed by Big Audio Dynamite alum Leo Williams on bass and drummer Domonic Greensmith.

Setlist: The Magic Suitcase/I Loved You/War on Culture/Reason to Believe/Soylent Green/Acton Zulus/The News/Really the Blues/WTF/Why Do Men Fight?

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Buzzcocks 2006First-gen Brit punk band is an inspiration to groups that follow.

Kansas City Star

By Joel Francis

It’s hard to keep a band together for 30 years.
It’s even harder to stay relevant for that long. But to achieve both and outlast contemporaries like the Sex Pistols, The Clash and the Damned – the original families of the British punk movement – is a rock ‘n’ roll hat trick.
“It’s strange to think that we’re the last gang in town. Funny how that works,” Steve Diggle, the Buzzcocks’ guitarist and singer. “Our inspiration is still to write good songs, and it’s still possible for us to do that. People – the younger people now, which surprises me a bit – still want to see us and that’s what keeps us going.”
The band’s durability has not gone unnoticed.
“We just got Mojo magazine’s Inspiration Award,” Diggle said. “I’m not big into awards but I think this one sums it up, rather than saying ‘lifetime achievement’ or something.”
Diggle may not be big into awards because, as he later revealed, this was the first one the band has received.
“We’ve never won an award in our life, but this is a good one to have,” Diggle said. “It was hard to accept without freaking out a bit because Elton John was there saying ‘I love the Buzzcocks.’”
John, who was being inducted into Mojo’s Hall of Fame, also said he’s had a ball performing the Buzzcock’s classic “Ever Fallen in Love.”
The Buzzcocks formed in Manchester in 1975. Singer/guitarist Pete Shelley, the other longest-tenured member of the band, met Diggle at a Sex Pistols show and asked him to be the band’s bass player.
“In Britain at that time music was stale all around us. It was all progressive rock bands, but there was no music for our generation,” Diggle said. “We made the most uncommercial music possible, with rough guitars and weird mixes.”
After a series of artistically successfully/commercially dismal singles and albums the band broke up. Foreshadowing the current reunion trend by nearly a generation, the classic Buzzcocks lineup regrouped in 1989.
“It was supposed to be a two-week tour of America, because there was no farewell tour before,” Diggle said, explaining why the band regrouped. “From my point of view, me and Pete were getting on and things were cooking between us.”
Shelley and Diggle permanently returned the Buzzcocks to the music scene in 1990, when bass player and producer Tony Barber and drummer Phil Barker were hired. The quartet has played twice as long as the original incarnation.
“You know on the first day if it’s a good decision” to reunite, Diggle said. “You have to have your head on straight, be realistic and analyze it. Is it as good?
If a band can’t perform as good, if not better, than it did before, there’s no point in getting back together, Diggle said.
Music had changed a lot in the Buzzcocks’ absence. Punk had given way to a new wave on the carts and hardcore in the underground.
“In some ways everyone is a punk rocker now. (Punk) is a long way from what we started,” Diggle said. “These new bands have taken the works of Shakespeare and put on a play. What they’ve done is make it entertainment.”
Far from being bitter, Diggle is happy to headline the Warped Festival and share the bill with so many younger bands.
“I’m not knocking them completely,” Diggle continued, “but they’re a few yards, or maybe 200 miles, away from what we do.”

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