“Second of two in a row from the Clash‘s absurdly abundant 1979-80 phase which culminated in the six sided monster known as Sandinista – If Music Could Talk being (for me anyway) probably that album’s key track. Not for any grand power or standalone attainment, but simply for its inclusion — that a band as righteously raw and committed as The Only Band That Mattered™ could deliver such an oddly sweet and beatific ode to not rebellion-revolution-insurrection, but music itself. Which gets us back to that suburban house fire, 1981 sometime, the mixtape I had playing on the walkman care of my good friend Simon Lamb. If Armagideon Time was more fuel for the fire that was our whole broken and corrupt Cold War western culture, then If Music Could Talk, which came after, was some kind of next chapter, an odd little path leading wherever it is that only music can go, not even poetry can keep up with it, though there is a pile of poetry in If Music Could Talk, the words spilling like rain down both channels of the stereo mix, not making sense so much as easing beyond it, because we already knew it way back then even if we couldn’t quite find the words: the revolution, or evolution, or whatever it was going to take to somehow NOT annihilate ourselves in some kind of forever war – it could not be rational.” (Philip Random)
Tag Archives: Joe Strummer
133. straight to hell
“Combat Rock is far from the Clash’s best album. Yet Straight To Hell may well be their best single song, working an oddly open groove to make room for a gush of Joe Strummer passion and consciousness that manages to cover all manner of unstable ground from British Colonialism to American interventionism to junkiedom to everything else. ‘Could be anywhere – any frontier – any hemisphere’ being a key line, speaking to the universality the (r)evolution that the Clash were always propounding, though not always so eloquently as here. Want to get to the heart of 99-percent of what’s wrong with the planet? Start with everybody who’s been just shoved aside by history and its dubious intentions. We need to be needed. All of us. Every frontier. Every hemisphere. Else it’s straight to hell. All of us. The only band that mattered maybe the last time they mattered.” (Philip Random)
“Speaking of Performance (the movie), it features prominently in Big Audio Dynamite‘s sample rich E=mc2, along with other bits and pieces from various films directed by Nicholas Roeg. And what a cool track it was (and still is), promising so much from Mick Jones in the wake of the Clash‘s rather ridiculous crash and burn, except they never really got any better, which can only mean they got worse. Not that Big Audio Dynamite were ever really bad (even if they were definitely B.A.D.) – just lacking Joe Strummer‘s overall sandpaper edge, I guess. Rather like Paul McCartney operating without John Lennon post-Beatles. At least B.A.D. never did a Christmas song.” (Philip Random)
807. White man in Hammersmith Palais
Speaking of bass culture, (and contrary to popular belief) it needs to be said that White Man in Hammersmith Palais was neither The Clash‘s first reggae song (that was Police + Thieves), nor its best (probably something from Sandinista). But it was the first one they actually wrote, Joe Strummer to be specific, slipping out of his punk mindset long enough to wax poetic on politics and music, Robin Hood and Hitler, black and white, everything really.
The 12 MixTapes of Christmas
The Twelve Mixtapes of Christmas have got nothing to do with Christmas (beyond being a gift to you) and they’re not actually mix tapes, or CDs for that matter – just mixes, each 49-minutes long, one posted to Randophonic’s Mixcloud for each day of Twelvetide (aka the Twelve Days of Christmas).
The mixes are in fact remnants of an unfinished project from a few years back that had something to do with compiling a playlist for an alternative to Alternative Rock (or whatever) radio station. To be honest, we’re not one hundred percent clear about any of it because somebody spilled (what we hope is) red wine on the official transcript, thus rendering key parts illegible.
Bottom line: it’s five hundred eighty-eight minutes of music covering all manner of ground, from David Bowie to Bow Wow Wow to Tuxedomoon to Claudine Longet, Ray Charles, Stevie Wonder, Captain Beefheart, Aphrodite’s Child, Tom Jones, Marilyn Manson, Ike + Tina Turner, anything and everything, as long as it’s good.