Feeds:
Posts
Comments

Posts Tagged ‘The Clash’

By Joel Francis

Let the hit parade continue.

Sonic Youth – Washing Machine (1995) On the surface, Washing Machine appears to be just another release by avant rockers Sonic Youth. Released nine albums into their three-decade career, the band doesn’t have much to prove by this point but they certainly aren’t coasting through this set. All three of the band’s songwriters are in peak form. The album opens and closes Kim Gordon, Thurston Moore and Lee Ranaldo taking lead vocals on their respective compositions. Moore’s closing cut, “The Diamond See” is a fascinating 20-minute track that shows the quartet stretching out, yet never repeating themselves. It’s the longest they let a mood percolate on a studio album. (An even longer 25- minute version was released on The Destroyed Room rarities collection.) Overall, Washing Machine points to the more mature direction Sonic Youth would take in the early ‘00s.

One Day As a Lion – self-titled (2008) Well, this is it. The 20 minutes on this EP comprise most substantial release by Zack de la Rocha since the end of Rage Against the Machine at the end of the millennium. It boggles the mind how someone so politically aggressive during the Clinton administration could be so quiet during the Dubya and current administrations. If anything, you’d think de la Rocha would be out stumping for Bernie Sanders.

Brief as it is, the music here meets all expectations. It’s loud, combative and better than either of Rage axeman Tom Morello’s acoustic Nightwatchman full-lengths.

Andrew Hill – Point of Departure (1964) I discovered Andrew Hill about six months before he died. Even though I didn’t have a lot of history with his art, I was still deeply saddened by his loss. Selfishly, I had hoped that I would be able to see him perform at some point. I was also disappointed that such a monumental talent hadn’t achieved the renown and accolades Hill deserved.

It can be easy for pianists to get lost in the background when playing in larger groups, especially with reed-player Eric Dolphy in the mix. Hill’ steady hand is ever-present across this album, guiding every song and creating the spaces for Dolphy and saxman Joe Henderson’s solos (and delivering plenty of his own as well). “Dedication,” the final piece, is as beautiful a piece of music as you will ever hear.

Elvis Costello and the Attractions – Get Happy!! (1980) Elvis Costello has released so many great albums across so many styles it is hard to pin down a favorite. That said, of the four classics in his initial “angry young man” phase, this might be my pick as the best. Costello skitters across all forms of soul music in these 20 songs, moving quickly from Motown to Northern and blue-eyed soul. Ballads and Southern soul are also given their due. What reads like a dull, academic genre exercise on paper is a hoot to hear because of the Attractions manic energy – particularly Steve Nieve’s hopping organ – and Costello’s lyrics, that slash like a switchblade in an alley fight. You don’t realize how quickly they cut until they’ve moved on to the next victim. Best to keep dancing and sort it all out later.

Robbie Robertson – Storyville (1991) Anyone disappointed that Robbie Robertson’s debut album bore few traces of his time with The Band will find more to like with this sophomore effort. Although the performances are far more restrained and the production more polished than anything with his old group, it’s not hard to imagine Rick Danko singing on “Night Parade” (although he does contribute backing vocals on the gorgeous ballad “Hold Back the Dawn”). Taken on its own terms, this is still a very satisfying album. Neil Young stops by to help with “Soap Box Preacher” and the Neville Brothers appear on “Shake This Town,” recorded with Rebirth Brass Band, and “What About Now.” The spirit of New Orleans, where Storyville was made, also appears on “Go Back to Your Woods.” In a way, Storyville makes a nice companion piece to the Neville Brothers’ Yellow Moon, released the year before with Daniel Lanois, the man behind the boards for Robertson’s debut.

Louis Armstrong and his Hot Five – The Golden Era Series, Vol. 1 (compilation) It blows my mind that these recordings are approaching their centennial. These are among Armstrong’s first sessions as a bandleader. His solos here went a long way establish jazz as an improvisational genre. Satchmo doesn’t sing on every cut, but when he does it is always memorable. The dozen cuts here are so celebrated and influential it is impossible to have a favorite, but I’ll share some of the titles to whet the appetites of the uninitiated: “Heebie Jeebies,” “Struttin’ with some Barbeque,” “Gut Bucket Blues,” “Hotter than That.” Just reading those titles, how can you not want to dive in?

The songs here appeared roughly the same time as George Gershwin’s compositions and significantly predate Aaron Copeland’s most celebrated pieces. This is the sound of America growing up and forcing its way on the world’s artistic stage well before it became impossible to ignore as a superpower.

Ben Folds – Supersunnyspeedgraphic, the LP (compilation) The first three sides of this two-record collection encompass highlights from the digital-only mini-albums Folds released in the early 2000s. It’s fun to hear Folds give the Cure and the Darkness his own demented spin. His potty-mouthed cover of Dr. Dre and Snoop Doggy Dogg’s “Bitches Ain’t Shit” is funny the first few times, but gradually wears out its welcome. In his memoir A Dream About Lightning Bugs, Folds recounts a stint opening for John Mayer where he would perform this song several times in a row relishing the jeers. I can relate to how that audience must have felt. Original songs including “Adelaide,” “Songs of Love” and “Still” more than make up for Folds’ West Coast rap mishap. The fourth side of this set is a real treat, too. We get a half-dozen cuts from the Over the Hedge soundtrack, including a great cover of The Clash’s “Lost in the Supermarket” and an alternate version of “Rockin’ the Suburbs” with an epic William Shatner rant based on real events.

The Supremes – At their Best (compilation) Conventional wisdom holds that the Supremes were over once Diana Ross left. True, Ross had much greater success as a solo artist than the Supremes did without her, but they were still a potent force. The group had six Top 40 hits in the post-Ross era and several more hits on the R&B charts. Many of those tracks are included on this 10-track collection, which spans 1970 to 1976. “Stoned Love” and “Up the Ladder to the Roof” are as good as anything the Supremes released in their prime years. “I’m Going to Let My Heart Do the Walking” and “You’re My Driving Wheel” update the group’s sound with elements of funk and disco. The Supremes were always a better singles act than album artists and this anthology is a fitting encapsulation and the final chapter.

Read Full Post »

By Joel Francis

The coronavirus quarantine has given me plenty of time to explore and write about my record collection.

The Records – self-titled (1979) When you name yourself something as basic as “The Records” you are telegraphing your lack of ambition (ditto for the current rock act The Record Company). I mean, one song released as a stand-alone single at the time was called “Rock and Roll Love Letter.” But being obvious doesn’t make The Records any less fun to play. The combination of chiming guitars straight out of the Byrds’ playbook and sweet harmony vocals on “Starry Eyes” practically laid the foundation for Matthew Sweet’s career. “Girls That Don’t Exist” thumps like a Cars track and “Girl” echoes of Cheap Trick. Again, none of these are bad things. Worse acts have gotten by on a lot less and the sum of these reductive parts is nothing short of a lost power-pop gem.

I have to take a moment to call out “Teenarama.” All the infectious melody in the world – and this cut has a lot of it – can’t mask predatory lyrics like “I wanted a change of style/to be with a juvenile” and “I thought that a younger girl/could show me the world.” Gross. I realize that grown men singing about young girls goes back further than Chuck Berry singing about someone at least half his age on “Sweet Little Sixteen” but that doesn’t make it any less despicable. Stop, now.

Ike and Tina Turner – Workin’ Together (1971) Legitimate question: When did everyone find out that Ike Turner was an abuser? Was it the film What’s Love Got to Do With It, Tina Turner’s autobiography or did everyone kind of know before then? I ask because I couldn’t help but dwell on the Turners’ tumultuous relationship during the Ike Turner-penned song “You Can Have It.” In the song, Tina Turner talks about working up the courage to walk away from a man who was no good. Project much, Ike?

Although this is a catalog-entry album, it plays like a greatest hits collection. The iconic versions of “Proud Mary,” “Get Back” and “Ooh Poo Pah Doo” (with a classical piano intro) are all here, as is the DJ classic “Funkier than a Mosquita’s Tweeter.” Throw in the fine title track and a cover of “Let It Be” and this has just about everything you’d want from soul’s dysfunctional couple.

Mudcrutch – 2 (2016) It is fitting that Tom Petty’s final recording is a reunion with his old band from Gainesville, Fla., and not the Heartbreakers. It is also fitting that guitarist Mike Campbell and keyboard player Benmont Tench are the backbone of both bands. Petty’s name was always out front, but Campbell and Tench (along with deceased bass player Howie Epstein) were the heart of the Heartbreakers. Everyone in Mudcrutch get the chance to sing an original song and Petty retools “Trailer,” a lost ‘80s Heartbreakers classic. This is the sound of musical friends enjoying each other’s company with no pretense other than to have a good time. “Beautiful Blue” belongs in every Petty playlist. There are worse things to have on one’s headstone than “I Forgive It All,” another Petty standout.

Tamaryn – Tender New Signs (2012) I had never heard of the New Zealand-born singer Tamaryn when I walked into the old RecordBar location to see the Raveonettes at the Middle of the Map festival. Performing immediately prior to the headliners, Tamaryn’s lush set of dream pop almost stole the night. Tender New Signs is very much in line what I heard that night. Tamaryn’s latest releases have moved in a more pop direction. They’re not bad, but the layered shoegaze approach here and on her second album, The Waves, are what I keep coming back to.

Prince and the Revolution – Parade (1986) I purchased this album on my way home from work the day Prince died. Surprisingly, the record store still had a handful of Prince titles in stock. I had all the others, so Parade was the winner. I can’t remember what I did first after arriving home, take off my jacket or put this on the turntable.

I never saw Under the Cherry Moon, the Prince film this album is supposed to accompany. I can tell you that I adore the hit single “Kiss” and that it may be my least favorite song on the album. There’s a reason why “Mountains” was a concert mainstay, but for even more fun check out the 10-minute version on the 12-inch single. More contemplative songs like “Under the Cherry Moon,” “Do You Lie” and the instrumental “Venus de Milo” weigh heavily in what would be come D’Angelo’s signature sound a decade later. There’s a reason why D’Angelo’s chose to pay tribute to Prince with this album’s closer “Sometimes it Snows in April.” That songs never fails to make the room dusty.

Mission of Burma – Signals, Calls and Marches (1981) Mission of Burma have always been on the artier side of the punk spectrum, but that doesn’t mean they aren’t brutally loud and abrasive. This debut EP cleans up their sound considerably but it will still pin you up against the back wall if you aren’t watching out. The reissue I own adds the group’s debut single “Academy Fight Song,” it’s b-side and a pair of unreleased songs on a second LP. I only wish the record label had either put all the material on one album (there is certainly enough room) or pressed the bonus content on smaller platter. There is a lot of unused wax on this essential yet brief release.

The Conquerors – Wyld Time (2016) This Kansas City band generated a lot of good press when Wyld Time, their debut album came out. I was so enamored with their British Invasion throwback sound that after hearing them at an in-store performance, I immediately scurried over to the racks and bought the album. Sadly, it appears the wyld times are over for the Conquerors. Their social media hasn’t been updated since 2017. This disappointing development shouldn’t stop any revivalists from enjoying the Conquerors only offering.

Joe Strummer – US North (1986)

Joe Strummer – Forbidden City (1993) This pair of 12-inch singles deliver some gems from the Joe Strummer archives. I have no idea why it took more than 30 years for Strummer’s collaboration with his former Clash bandmate Mick Jones to see daylight. “U.S. North” dovetails nicely with the pair’s work on the Big Audio Dynamite album No. 10, Upping St. and would have been a highlight on anything either artist released around that time. “Forbidden City” ended up on a Strummer’s first album with the Mescaleros in 1999. This demo version has a saxophone that gives it the same sound and feel as the Pigs With Wings soundtrack Strummer did in the early ‘90s. The demo is nice enough, but I don’t know it’s good enough to warrant a stand-alone release. I’d have preferred it if they included it on a proper collection, with more unreleased material. I guess I wasn’t disappointed enough not to buy it, though. There’s one born every minute, eh?

Read Full Post »

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.

Read Full Post »

(Above: The Clash perform “Three Card Trick” at what would be their next-to-last concert in June, 1985.)

By Joel Francis
The Daily Record

Thirty years ago today, The Clash took the stage at Starlight Theater for their first and only concert in Kansas City. They were a far cry from The Only Band That Matters, as the groundbreaking punk band was known when it London by storm in the late ‘70s. Key members Mick Jones, guitar, and Topper Headon, drums, had been replaced by three hired guns. The mission, however, remained the same.

clashKCstarlightStub“You’re gonna do ten days’ work in ten minutes when you deal with us,” lead singer Joe Strummer told NME in 1984. “We’ll smash down the number one groups and show that rebel rock can be number one.”

Alan Murphy, 28, didn’t have to wait long for his favorite song. “London Calling” kicked off the night, followed by the powerful “Safe European Home.” The Starlight setlist could not be located, but staples of that tour included “Career Opportunities,” “Clampdown,” “Brand New Cadillac” and “Janie Jones.”

A pair of covers made big impressions on a pair of fans seeing the band in concert for the first time. Michael Webber, 20 at the time, was happy to finally experience the band’s iconic reggae cover “Police and Thieves.” “I Fought the Law” was a high point of the show for Derek Koch, then 23.

The “Out of Control” tour marked the Clash’s first extensive U.S. tour in two years. Although there was no new album to support, the band played many new songs that would end up on its final album, “Cut the Crap.” These included “This is England,” the last great Clash song, “Three Card Trick” and b-side “Sex Mad Roar.” Two new songs never saw studio release. “(In the) Pouring Rain” was released in live form on “The Future Is Unwritten” soundtrack and “Jericho” is only available on bootlegs.

Clash_PaulJoe-Roskilde-850005_∏Per-Ake-Warn-1024x976Koch recalls watching bass player Paul Simonon “throwing all the great poses I had only seen in pictures on TV or video, and Joe prowl(ing) the stage like an angry lion.”

Coverage of the Clash’s Sunday night concert at Starlight was surprisingly light. The Kansas City Times ignored the event entirely, and the Star only mentioned it in a run-down of summer concerts. A monster truck rally at Arrowhead Stadium dominated entertainment coverage that weekend, receiving both a preview story in Saturday’s paper and event coverage on Monday. Copies of The Pitch were unavailable for research at press time.

For Webber, Murphy and Steve Wilson, 31, the absence of Mick Jones, put an asterisk on the concert. Although everyone interviewed wishes they had trekked to other cities to see the band in its prime, that Sunday night at Starlight still carries great memories.

“(We arrived) just as the band began to play,” Wilson said. “I think what struck me was this sense, however diminished by Mick’s absence, that ‘Wow, I’m finally seeing the f-king Clash.’“

Keep reading:

 

KC Recalls: Elvis Presley at Kemper Arena

KC Recalls: Johnny Cash at Leavenworth prison

Review: Carbon/Silicon at the Record Bar

Ever Fallen For The Buzzcocks?

Read Full Post »

(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.

Keep reading:

Happy Clash-mas Eve (reggae edition)

Happy Clash-mas Eve (1980s edition)

Happy Clash-mas Eve (classic edition)

Read Full Post »

 (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.”

Keep reading:

Happy Clash-mas Eve (2009)

Happy Clash-mas Eve (2008)

Review: Toots and the Maytals, the Wailers

Original Wailers keep promise to Bob Marley

 

Read Full Post »

(Above: The Arctic Monkeys put their spin on Nick Cave’s “Red Right Hand.”)

By Joel Francis
The Kansas City Star

Five years ago, the Arctic Monkeys arrived on the music scene riding a wave of hype. The influential British music publication the NME ranked the Arctic Monkey’s debut album, “Whatever People Say I Am, That’s What I’m Not,” ahead of the Beatles, Radiohead and the Clash on its list of top 100 British albums.

Monday night the English quintet came to Liberty Hall in Lawrence in support of its third album, “Humbug.” The transitional album didn’t command the propaganda and isn’t as flashy as their first two efforts, but that didn’t stop a nearly full house from rabidly devouring everything the band played.

Over the course of their 80-minute set, the Monkeys delivered more than half of “Humbug,” including a couple B-sides, and half of their second release, 2007’s “Favourite Worst Nightmare.” The contrasting material revealed two very different sides of the band. “Humbug”’s songs, for the most part, are more downbeat, while the cuts from “Nightmare” border on metal.

Opening number “Dance Little Liar” foreshadowed the juxtaposition with a drum cadence lifted from Metallica’s “One.” As the number died down, a bank of strobe lights behind the band kicked on and the group thrashed their way through “Brainstorm” with a performance that wouldn’t have been out of place at Ozzfest.

The band’s approach seemed to be to combine the angular approach of the Talking Heads and Gang of Four with the speed and intensity of Slayer. Slanted guitar lines, surf riffs and plenty of tremolo framed most of the songs. Even at their heaviest, the Monkey’s songs were infused with enough pop hooks to keep the crowd moving, although it was hard to tell if they were dancing or moshing.

Although the newer material was well received, the biggest cheers came for the three numbers from the band’s debut. The opening chords of “Still Take You Home” prompted a big response, and the crowd went nuts during the one-two of “The View from the Afternoon” and “I Bet You Look Good on the Dance Floor.”

Surprisingly those numbers arrived in the middle of the set. After lifting the crowd so high, there was nowhere to go but down, so Alex Turner strapped on an acoustic guitar for the country-tinged “Cornerstone.” Later, a deconstructed reading of Nick Cave’s “Red Right Hand” rendered the already spooky song in a completely new light.

The Monkey’s performed on a minimalist stage, in front of a plain curtain and a bank of lights raised about 10 feet off the ground by a series of poles. When the lights were on, which was frequent, it created an artificial ceiling and made the mid-sized theater feel like a cramped, sweaty basement.

Bass player Nick O’Malley is the band’s secret weapon. Tucked in the back corner at stage right, he supplied the needed melody underpinning the abstract guitar lines. As Jamie Cook and Andy Nicholsonstrafed the songs from unprecedented angles on their guitars, Malley’s melodic bass lines and Matt Helders’ manic drumming held the performances together.

The set ended with the poppy “Fluorescent Adolescent,” which sounded like a mangled Mod single. The aggressive “Nettles” had the crowd clapping along and featured more false endings than a Beethoven symphony. When the number final ended, the instruments were abandoned buzzing, leaving feedback long after the band had departed.

On the way back to the car, I overheard two fans lamenting that more songs from the first album weren’t performed.

“I guess what we have to remember,” one fan said, trying to console himself, “is that what would be new to us, these guys have been carrying for five years.”

Sleepy Sun: While the Arctic Monkeys focus on delivering tightly crafted, manic singles, opening act Sleepy Sun was content to play spacey, long-form album tracks. The six-piece San Francisco band’s 45-minute set was filled with psychedelic, progressive rock that incorporated more than a hint of Black Sabbath and first-album-era Led Zeppelin. The co-ed lead singers brought a touch of folk to the arrangements, particularly when tambourine, harmonica or acoustic guitars were introduced. Fans of Death Star and the Seven Dwarfs, Black Moth Super Rainbow and the Flaming Lips might want to keep an eye open for their next trip through town.

Setlist: Dance Little Liar > Brainstorm; This House is a Circus; Still Take You Home; Potion Approaching; Joining the Dots; My Propeller; Crying Lightning; The View from the Afternoon; I Bet You Look Good on the Dance Floor; Cornerstone; Fire and the Thud; Do Me A Favour; Pretty Visitors; Red Right Hand (Nick Cave cover) > If You Were There, Beware; 505. Encore: Fluorescent Adolescent; Nettles.

Keep reading:

Review: Flaming Lips New Year’s Freakout
Review: The Decemberists
Review: Megadeth
Review: Get Up Kids
Review: Modest Mouse

Read Full Post »

Older Posts »