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Posts Tagged ‘Buena Vista Social Club’

By Joel Francis

Welcome to another installment of spelunking in my record collection while the world … well, who knows what’s happening out there. Let’s just stick to the music.

A.K. Salim – Afro-Soul/Drum Orgy (1965) I knew nothing about this album that wasn’t on its packaging when I bought it. I don’t know much more now. But this much is certain: If you want lots of African percussion with blasts of free jazz swooping in and out, this is the place to be. It’s not for every day listening, but at the right time this always does the trick.

Nas – Illmatic: Live from the Kennedy Center (2018) Illmatic is such a great album that this edition marks the third time I’ve purchased it. After owning the original CD and album, I passed on the 20th anniversary edition and rolled my eyes when I heard an orchestral live version was coming out. Then I heard a track and knew I was going to have to buy this again. Hearing these performances with the National Symphony Orchestra takes the album to another level. It’s almost like watching The Godfather in a 1972 theater, then viewing it in IMAX. The jazz organ underpinning the original “Memory Lane” becomes a swirling concerto complemented by the DJ Green Lantern’s scratches. Earlier, Nas shouts out his dad’s original cornet solo on “Life’s a Bitch.” There’s amateur footage on Youtube of Kendrick Lamar doing a similar performance with the NSO. Cross your fingers this someday gets official release.

McCoy Tyner – McCoy Tyner plays Ellington (1965) This is essentially an album by the celebrated John Coltrane quartet without the legendary leader. Without their leader’s sheets of sound, everyone else gets more room to shine. Tyner was usually the person keeping Coltrane’s songs from falling apart – think about his insistent piano line in “My Favorite Things” while Coltrane scrapes the stratosphere. Finally out front and on his own, Tyner showcases and ability to pay tribute to a genre pioneer in Ellington while applying the some of the touches he showed with the futurist saxophonist. We lost a giant when McCoy Tyner died earlier this month.

The Raconteurs – Help Us Stranger (2019) The Raconteurs have always been my least-favorite Jack White project, however their by-the-numbers approach made for a refreshing listen after White’s previous release, the bizarre solo album Boarding House Reach. Help Us Stranger arrived more than a decade after the Racontuers’ previous release. While I didn’t really miss them, it is nice to hear White doing some straight-up rocking without all the cutesy tricks and gimmicks.

Marvin Gaye – Here, My Dear (1978) Here’s a question to pull out when the party gets dull (or maybe when you want it to end): Who had a better 1970s, Stevie Wonder or Marvin Gaye? At first glance, it looks like Wonder in a landslide. He won all the Album of the Year Grammys and graduated from opening for the Rolling Stones to recording with Ella Fitzgerald. A second look reveals that Gaye’s decade was every bit as incredible, even if he didn’t win as many trophies. Of course What’s Going On and Let’s Get It On are the twin pillars, but I Want You and Trouble Man are very, very good, even if they tend to get lost in the shadows. Then there’s Here My Dear, Gaye’s final album of the decade and a bitter kiss-off to his ex-wife (and label boss Barry Gordy’s sister) Anna Gordy.

Gaye knew going into the recording sessions that Anna Gordy would receive all royalties from the album’s release, as per the terms of the divorce. Undaunted, Gaye recorded the longest album of his career and used that time to dissect the relationship, peel open Gordy’s heart and spray lemon juice on the wounds. Here, My Dear isn’t only a bitter album, though. Gaye slides between soul, gospel, funk and jazz as he bares his soul and examines the wreckage. At the time, it seemed few wanted to go on Gaye’s deeply personal journey. The album didn’t sell well initially, but eventually even Gordy came around to appreciating Here, My Dear.

Roy Ayers Ubiquity – A Tear to a Smile (1975) The first time I saw Roy Ayers in concert I didn’t get it at all. I was expecting a jazz vibes player in the tradition of Lionel Hampton or Bobby Hutcherson. Instead, I got what I thought was a smooth jazz crooner going on about sunshine and searching. The second time, I got it. If Louis Jordan is the link between Louis Armstrong and Ray Charles, then Ayers is the cog that connects Milt Jackson with Tupac.

Tom Verlaine – Words from the Front (1982) I think I spotted this at a yard sale for a song a picked it up on a whim. While I like Television, this is the only album I own from the Verlaine catalog. I always enjoy this album while it’s playing, but it leaves my mind almost immediately after it’s done. Sorry, Tom.

Various Artists – The Afro-Peruvian Classics: The Soul of Black Peru (compilation) I got this album in a bundle when Luaka Bop celebrated its 25th anniversary. Dismiss this collection as a mere toss-in at your own peril. You can hear everything from the roots of Celia Cruz and the samba to songs like “Son de los Diablos” that wouldn’t be out of place on the Buena Vista Social Club soundtrack. Afro-Peruvian music originated with the slaves brought over from Africa and forced to settle in Peru. There’s no trace of this horrific history on the 15 hip-shaking cuts here, but it does explain why some of the music sounds like a flamenco band got kidnapped by an aggressive drum circle.

The Dead Girls – Out of Earshot (2010) The Dead Girls were Kansas City band who weren’t afraid to proclaim their power pop influences. This is their second release and as far as I know the only one that made it only vinyl. You can hear a lot of Big Star, the Replacements and Thin Lizzy on this release and while the album plays more like a tribute act than saying something on its own, it’s still a very fine listen.

Paul Simon – Stranger to Stranger (2016) Paul Simon started taking his time between albums after Graceland took off, which is to say more than 35 years ago. Appropriately, Stranger to Stranger sounds like it has been crafted by a patient perfectionist. Simon spent an entire 40-minute podcast breaking down how he built “Werewolf,” the opening track, around the rhythms – but not guitars – of Flamenco music. Other tracks employ the experimental instruments developed by Harry Partch or the laptop sampling of Clap! Clap! “Cool Papa Bell” marries the rhythms and mood of Graceland with the profanity of The Capeman. It’s cerebral stuff to be sure, but also infinitely hummable and pleasurable.

Joe Strummer – 001 (compilation) The 2018 collection 001 is both an overview of Joe Strummer’s career opportunities outside of The Clash and a treasure of unreleased material from his archives. The ten-year jump from his pre-Clash band The 101ers to “Love Kills” from the Sid and Nancy soundtrack is jarring, but other than that the collection flows quite smoothly until its unfortunate, premature ending.

Kudos to the Strummer estate for making this set affordable, instead of a trophy piece that only the super-rich or ultra-dedicated can acquire.

U2 – October (1981) The Irish quartet’s sophomore album is easily the group’s most overlooked release. It doesn’t have the promise of their defiant debut, the hit singles on War or the Brian Eno cache of The Unforgettable Fire. All bets for October’s reappraisal were off once The Joshua Tree and Achtung Baby took off.

October’s status may seem harsh in this context, but it’s pretty fair. October is by no means a difficult listen, but it also doesn’t the chops to muscle its way into the conversation. That said, it is still nice to see “Gloria” and “October,” the album’s two best songs, creeping back into setlists for the first time since the ‘80s.

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(Above: The video for “Love Kills,” one of two songs Joe Strummer wrote for 1985 film “Sid and Nancy.” These songs represented his first post-Clash solo work. )

By Joel Francis

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 examines four songs from the last days of The Clash and Strummer’s reluctant transition to solo artist.

“This Is England” by The Clash, from “Cut the Crap”

The final single in the Clash’s illustrious career, “This Is England” has been unfairly overlooked. After firing manager Bernie Rhodes in 1978, Strummer convinced the rest of the group to bring Rhodes back in 1981. That decision hastened the end of the band. Rhodes played Mick Jones off of Strummer, and after the difficult “Combat Rock” sessions convinced Strummer the band would be better with him in charge and without Jones.

Strummer fired Jones, but regretted the decision for the rest of his life. Realizing he had been duped, Strummer and Paul Simonon, the only remaining members in the band at the end, abandoned the material recorded for the post-Jones album “Out of Control.” Rhodes finished the album alone, changed its title to “Cut the Crap” released the album without the band’s permission.

As sad and unfortunate as this tale may be, it shouldn’t detract from the greatness of “This is England.” The synths and drum machine may not line up with the Clash’s established sound, but the diatribe against the Motherland, soaring chorus and knife blade guitars are pure Strummer.

“Sightsee MC” by Big Audio Dynamite, from “No. 10 Upping Street”

When Mick Jones found artistic success with his post-Clash ensemble Big Audio Dynamite, Joe Strummer was both elated and devastated. He was happy for his old friend, but fell into a depression, because he knew the Clash were over. Strummer found a way to work with Jones again, though, when he appeared in the studio and offered to produce the group’s second album.

Despite being penned by its two best-know members, “Sightsee MC” sounds nothing like The Clash. Full of samples, synth beds and big drums, the production hasn’t aged well, but the song was very its time when it was released in 1986. Jones’ rap delivery recalls the Clash song “The Magnificent Seven,” and the Jamaican patios fits in with the band’s love for reggae.  Spidery guitar line and references to “send out a mayday to London” delineate Clash connection.

Strummer frequently performed “Sightsee MC” in concert during his 1988 “Rock Against the Rich” tour with his new band, the Latino Rockabilly War.

“Filibustero” by Joe Strummer, from the “Walker” soundtrack

After writing songs for “Sid and Nancy” and “Straight to Hell,” Strummer became British director Alex Cox’ go-to guy for soundtracks. “Walker,” Cox’ 1987 “acid Western” starring Ed Harris and Peter Boyle has been mostly forgotten, but its soundtrack stands proudly as Strummer’s first post-Clash, solo LP.

Strummer was surprisingly tentative in his leadership of the project, though. Every day he showed up at the Russian Hill recording studio in San Francisco with a boom box and cassettes of sketches and ideas he had heard and recorded the night before. Instructing his musicians to “work something up” he’d disappear for several hours, then return to hear what developed. Under those circumstances, it’s amazing the music not only turned out well, but pleased Strummer.

The lead-off track, “Filibustero” sounds like something out of the Buena Vista Social Club or Afro-Cuban All-Stars. The former punk rock warlord uses Latin American rhythms, arrangements and melodies to capture the film’s Nicaraguan setting. For some reason, “Filibustero” was released as a single, which included several remixes. It did not chart, but it did establish Strummer on the road to world music he would explore in depth a decade later with the Mescaleros.

“Trash City” by Joe Strummer and the Latino Rockabilly War, from the “Permanent Record” soundtrack

Strummer’s work on the “Permanent Record” album marked his fourth soundtrack in as many years, but these sessions were different. After flirting with world music on “Walker,” Strummer was ready to rock out again. He recruited several L.A.-based underground musicians, including former Circle Jerks bassist Zander Schloss and former Red Hot Chili Peppers/future Pearl Jam drummer Jack Irons, and dubbed them the Latino Rockabilly War.

Of the five songs the group contributed to the “Permanent Record” soundtrack, only “Trash City” was released as a single. The track fades in like a party already in progress, as Iron’s drums and Strummer’s guitar hammer the rhythm home. Dropping his normally serious, political façade, Strummer sings about visiting “a girl from Kalamazoo” and tosses in non-sequiturs about coffee shops in Seoul, bowling and vandalism for good measure. The yelps and scream on the outro show how much fun Strummer is having.

Keep reading:

Happy Clash-mas Eve (2008)

Review: Carbon/Silicon at the Record Bar (Mick Jones/Terry James project)

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