The Clash - London Calling

YOURZ

I never got the opportunity to see The Clash live.  But in the last couple of weeks, I was able to see two of the original members performing together live when we saw Gorillaz live.  Sure, both Mick Jones and Paul Simonon aren't the young men they were when they made London Calling, but it didn't matter to me.  Seeing them on stage with Damon Albarn was something I'll never forget. 

As I stated in the review we did of their greatest hits earlier this year, if we lost our collection tomorrow, London Calling would be the first album I'd replace.  It is absolutely indespensible, a stunning album that expands itself well beyond its limited 'punk' label. 

I can't name a single track as a favourite.  I find it impossible.  How can I pick Rudi Can't Fail over Hateful or Train In Vain (Stand By Me) over Clampdown?  See my dilemma.  The Mick sung tracks over the Joe sung tracks.  It aint gonna happen, not ever. 

VERDICT: TURN IT UP - what are we gonna do now?

MINE

I can't imagine ever being without this album.  It's been with me since the moment it came out, when I'd sit on the floor of my best friend's living room, playing her brother's copy and listening to every note, singing along with the songs from the the lyrics on the inner sleeves.  I've had it on vinyl and now we have this brilliant Deluxe Edition.  Which reminds me, we've got so many of these editions and we never take out the DVDs and watch them.  Aha!  A mission for the Christmas break!

In my youth, before I owned the album myself, I recorded my best friend's brother's copy on cassette.  On a 90 minute cassette, so the double album could fit on both sides.  Anybody remember those?  The C90s that left a tiny bit of room on the end, so you'd search around for another song or two to fit?

Re-listening to London Calling today, I've been stunned by how fresh and sharp it still sounds.  From the distinctive twangs of the opening number, it puts you on notice that this is music to be listened to.  My favourite? Lost in the Supermarket.  Yours?

VERDICT: TURN IT UP guaranteed personality

For more information: http://www.theclash.com/

The Stranglers - Hits And Heroes

MINE

I'm sure there are quite a few people around the world who went tearing out to buy some Stranglers when Golden Brown was such a hit, only to  discover that's not what they sound like at all.  But I was a fan from back in the day - loving Peaches, (Get A) Grip (On Yourself) and Hanging Around.   In fact, I remember having heated discussions at the time of Golden Brown, wondering why they'd had such a departure of form.

But I have to class the Stranglers as "boy music" in my lexicon, simply because they're a band whose records have been in the collection of most the men I've had relationships with - but they haven't ever made it into my own.  And apart from the big hits, I'm not that thrilled with the rest of the CD. 

VERDICT: TURN IT UP but only for the best bits

YOURZ

Recently, Mine and YourZ (truly) were discussing this album and I made a rather big, rash statement by saying The Stranglers, along with The Clash, were the only two British punk bands I liked.  Thinking about this later, I realised how wrong I was (yes, I can admit my mistakes, now move on, nothing to see!) (Mine says: first time for everything, eh?)

Of course, there are plenty of British punk bands I like.  But it is down to definition of what punk is as there are plenty of bands who are defined as punk but who wouldn't hit that target even if they tried.  Again, it's all about trying to box art with neat little labels, which is virtually impossible and, for me anyway, completely unncessary.  Perhaps I should have said that The Clash and The Stranglers are favourites rather than what I actually said.  This'll teach me for making rash statements. 

Anyway, Hits And Heroes is a Forgotten Gem, of sorts and covers the band's first half dozen albums.  It has been some time since I'd heard this and I enjoyed it so much, I hit repeat and let it play all over again.  There are so many great tracks on this, it's hard to know where to start.  True survivors (albeit with a couple of lineup changes) and still going after 35 or more years, The Meninblack, as they are fondly known (due to their penchant for always wearing black), are another of those bands who not only inspired fans and fellow musicians at the time, but who fearlessly incorporated a broad pallet of styles into their sound, all tied neatly together with their trademark swirling keyboard lines.

While most would be familiar with their huge hit, Golden Brown, it's earlier tracks like Peaches, (Get A) Grip (On Yourself), Hanging Around and Nice 'n' Sleazy that get me rocking.  However, as a compilation, there is not a dud track on Hits And Heroes.  And their cover of Bacharach's Walk On By has to be one of the most faithful yet original interpretations I've ever heard. 

But is it really punk?  As far as I'm concerned, it's as punk as you want it to be.

VERDICT: TURN IT UP

For more information go to http://www.stranglers.net/

The Gaslight Anthem - The 59 Sound

MINE

There's no mistaking that Jersey sound.  But I have to admit to a derisive snort when I see Wikipedia describe them as a punk band.  (YourZ sez: yeah, what the...?)  This is a band that have their eyes firmly set on stadium rock.  There's very little gabba gabba hey involved here - and while YourZ has drawn my attention to their Clash-y sound, I'm more inclined to say they're a Springsteen/U2 band.

Not that there's anything wrong with that.  Perhaps their sound's a little harder-edged than Bruce, but they lack the element of danger I associate with the punk sound.  I can hear why they're popular but it's a safe, commercial sound.  The sound I associate with record companies counting their cash, which for me is completely against the punk aesthetic.

It's an OK album, just not what I'd choose to rock out with.  I'll take Bruce in original any day.

VERDICT: TURN IT DOWN

YOURZ

I brought both The 59 Sound and American Slang after continued listens to some freebie tracks a friend at work had downloading and passed on to me (I think I've said it but I'll say it again - I always pay for music I like).  That this band is from New Jersey and influenced by its most famous son is as obvious as the nose on your face, which makes it all the more odd as to why they are called a punk band.

That aside, there is much to like about The Gaslight Anthem.  Their classicism is as obvious as the previous mentioned appendage but it is also the updated Clash and Strummer-like feel I really enjoy also and maybe this is where the 'punk' logo comes from.  But how ever you take it, the Springsteen sound is the thing that sticks out the most.  In fact, the Man's presence on stage at a number of their shows in England saw The 59 Sound's sales increase by 200 percent.  Nothing like a good endorsement, is there?

But their references don't just stop with their sound.  Lyrically, Fallon calls on everyone from Bruce to Tom Petty, Bob's Seger and Dylan and classic literature as well.  In some instances, there are word for word lines (I'm not going to give hints - if you're interested, have a listen and see if you can spot them) from the artists I've mentioned but instead of this being detrimental, this is done with great reverence to the original artist.  While I am a big fan of originality, I can't fault Fallon and co for milking their influences like this because it works so damned well.

As Mine said, the Boss is still the Boss, of this there is no doubt.  But long after he is gone, I believe future generations will be looking at The Gaslight Anthem in a similar light.

VERDICT: TURN IT UP

For more information: http://gaslightanthem.com/

In our collection, we also have American Slang

Jamie T - Kings & Queens

YOURZ

I bought Kings & Queens on spec after reading a great review in Q Magazine which called Jamie T a cross between Joe Strummer and The Arctic Monkeys.  Generally speaking, such comparisons wouldn't sway my purchasing powers but in this instance, I was pleased I took a chance as the general accolades for this young South Londoner are actually deserved (although the comparisons are only probably drawn because he employs a similar wit to both).

Employing rock, punk, pop, and hip hop in equal measure , Jamie T draws you in with sharp hooks, whip-quick raps and huge singalong choruses that get stuck in your head for days.  The best descriptive I can come up with for Kings & Queens is eclectic but not so much to be disjointed.  Rather, it shows a playfulness and maturity, both in arrangements and production, that brings these disparate influences together very well.

From the acoustic treasures Emily's Heart and Jilly Armeen to the Clash-inspired British Intelligence to the more contemporary sounds of Hocus Pocus and Stick & Stones plus all the tracks in between, Jamie T consistently keeps both his and the listener's interests on high alert, in the best possible way.

VERDICT: TURN IT UP

MINE

I'm more fond of British rappers than I am of their US counterparts.  Big statement, I know, but I find the Brits can do a rant (which is esentially what a rap is) with a tad more humour (with a "U") and some cheeky observations, while the Yanks tend to be mostly, um, angry.  The Brits can do misery better than anyone (see: The Streets) but Jamie T is handing out mostly up-beat raps here.

And he can sing.  My main problem with the whole rap genre is that so often it's delivered by someone with little or no musical sensibility, just the ability to follow a beat.  But this guy can sing and play and write music, so 'spect to him.  It's well-produced, well-written, well played and interesting to listen to.  What more can I say?

VERDICT: TURN IT UP

For more information: http://www.jamie-t.com/

The Good, The Bad & The Queen - The Good, The Bad & The Queen

YOURZ

I've made my love of Damon Albarn apparent in previous posts so there's no need for me to rehash it here.  Suffice to say, though, this is yet another piece of musical genius by the former Blur lead vocalist.  The double bonus is The Good, The Bad & The Queen is produced by one of my favourites as well, Danger Mouse, whose deft touch proves as potent here as it does on anything else he handles. 

But the bonuses just keep happening.  Ostensibly a super group, TGTBTQ also has Paul Simonon (former bass player for The Clash), guitarist Simon Tong (formerly of The Verve and various other bands) and afrofunk pioneer, Tony Allen on drums.

All the tracks on the album were co-written by Albarn and Simonon and sound something like a cross between latter Blur tracks and the pop of Albarn's other band, Gorillaz.  But there is no mistaking Simonon's influence and his blending of dubby lines with more straight-forward bass riffs.  It is perfectly suited to Tony Allen's simple but sharp drumming. 

The most enjoyable thing about this album is that it sounds like a band who've been playing together for some time, not cobbled together for this session.  It could have easily been a Damon Albarn solo record but the man is a serial collaborator with the results speaking for themselves.  Personally, I'd like to see this lineup continue but of course, this depends on whether Albarn can stop long enough for the others to catch up to him.

VERDICT: TURN IT UP

MINE

It's really good, but even after several plays there isn't one song or moment that remains with me.  I mean, it's Damon, so I could listen to him sing the street directory.  And of course all the songs are beautifully put together and produced.  It's an album I could cheerfully listen to at home, in the car, or anytime, but there was no "Wow" moment in it for me.  Not that it's background music, it definitely rewards the careful listener, with hints of the Kinks among other trace elements in this semi-supergroup musical melange. 

Maybe it's because I'm so used to musical excellence from Damon that I find this altogether beautiful but with no particular piece that calls to me.  Not that that's a bad thing, you understand.

VERDICT: TURN IT UP

For more information: http://www.thegoodthebadandthequeen.com/

The Specials - Singles

YOURZ

The Specials are another of those bands who not just provided me with great listening and great memories but informed me as well.  Musically, they were seriously talented, masters of their particular instruments and lords of their sound (even if they did burn out rather quickly).  Lyrically, their reflections of life in Thatcherism-dominated London allowed me to understand, partially, what it was like to live in that environment, at least enough to know I was glad to be living on the other side of the world.

They were part of a number of bands who turned me from a late-70s rock fan into something more.  They sounded brilliant and looked seriously cool.  I still love (and wear) pork pie hats, although the winkle pickers are languishing in the back of the shoe cupboard now.  As regular readers know, I still like my rock, but thanks to bands such as The Specials, The Clash, The Blockheads and others, my tastes broadened and my listening palette expanded, something I still consider valuable. 

The Specials are still part of my regular listening roster.  In fact, I've covered Message To Rudi in more bands than any other song (yes, I know ...Rudi isn't their song but it's probably the most popular version of it).  This is also a genre Mine and Yourz (truly) share a common passion for, a line where we both stand and skank our hearts out together.  It's a beautiful thing, let me tell you.

The only thing I have to add is I'm still eating humble pie over the 'should we be reviewing greatest hits albums' debate we had at the start of the year.  I'm so glad I lost that one. (Mine says: me too, honey...)

VERDICT: TURN IT UP and get your skankin' shoes on

MINE

I spent a large part of 1980 and 81 as a Two Tone girl.  Stovepipe black pants, white shirt, skinny black tie, V-neck jumper, sports jacket and winkle picker shoes.  This was because my favourite Canberra band was Naughty Rhythms - a ska outfit who played a mix of originals and covers including, of course, a few Specials numbers.  I skanked along to Ghost Town and  Too Much Too Young many times.  I especially loved the movement because it melded black and white musicians and wasn't afraid of including political material in its lyrics.

The Specials were -heh- especially good at this, and this collection includes some numbers from their incarnation as the Special AKA which still resonate with me, inculding Racist Friend and  Free Nelson Mandela.  It brings tears to my eyes when I realise that since I first heard that song, Mr Mandela has indeed been freed, led his country and has now retired.

So this CD's a welcome addition to our collection, and is guaranteed to have me acting like a teenager all over again.  Ah, that was a great time.  The Allniters, the Porkers, The 88s - time for me to break out my Ska Skank Down Under CD and boogie.  "Naughty rhythms in in your feet/ Naughty rhythms in your head/ You've done it on the floor/ Now go do it in your bed!"

VERDICT:TURN IT UP

For more information: http://www.thespecials.com/

Nouvelle Vague - Nouvelle Vague

MINE

Did you come back to see what I was talking about yesterday?  So, here we are with another album of covers - this time turning the originals into more French-chillout-ambient-lounge music.  What I instantly thought of as "music for cocktail parties", and which Amazon classifies as bossa nova/easy listening.  It makes me want to grab a martini and stand in a corner, slitting my eyes against cigarette smoke and feigning interest in this gorgeous-but-boring guy's conversation with my feet killing me in super-high heels... actually that doesn't sound very appealing, does it?

For me the outstanding hit of this album is their version of The Dead Kennedys' Too Drunk To Fuck.  It's a killer.  And I love how The Cure's A Forest sounds in bossa nova style.  But it's not something I'm enthused about.  Funny, we were just reflecting that the booze cabinet's getting kind of full - maybe we need to throw a cocktail party and use this as the soundtrack.  How about it, YourZ?

VERDICT: TURN IT DOWN

YOURZ

Yesterday, I panned Mike Flowers Pops for their godawful covers album but today, to use a music analogy, my tune has definitely changed.

Nouvelle Vague bring a Gauloise-hazed, staggeringly chilled vibe to their selection of 80s punk and new wave hits, some of which happen to be some of my all-time favourite songs.  Mine has mentioned both The Dead Kennedys and The Cure but failed to mention their absolutely stunning cover of The Clash's Guns Of Brixton or the suprisingly cool version of the Joy Divison classic, Love Will Tear Us Apart.  XTC's Making Plans For Nigel, P.I.L's This Is Not A Love Song and Friday Night, Saturday Morning, originally by The Specials, are also well served by this French duo.

I think the reason I enjoy this so much is because despite the chance of this album being completely fromage-y (it's not), there's an obvious reverence Nouvelle Vague have for their source material and the sense of musical respect they have for the bands who did these much-loved songs.

And Mine, yes, I think it is time we emptied the liquor cabinet, but I insist on two things: no Cha Cha music and as little cheesiness as possible.  Can you dig it, chicky-babe?

VERDICT: TURN IT UP

For more information: http://www.nouvellesvagues.com/

In our collection we also have Bande A Part

Big Audio Dynamite - Super Hits

YOURZ

I suppose I'm gonna have to eat a little bit of humble pie here and say if we'd gone along with my idea of not reviewing greatest hits collections, then this would've been one we'd skipped.  Thankfully, Mine had her smart hat on and insisted I was wrong.  Again.  (At least I can say I'm nothing if not predictable). (Mine says: oh, you're so much more than predictable, sweetie.)

As previously mentioned, I love The Clash.  By dint of this love, I am also a big fan of anything former members of The Clash put out as well, although having said this, I've not heard much of Joe Strummer & The Mescaleros only because I haven't gotten around to it yet (but I fully intend to - so much music, so little time).

I saw B.A.D. many years ago and am happy to say they were every bit as good live as you would expect.  What made it particularly memorable is Mick happily played tracks from The Clash catalogue, which included a killer version of Lost In The Supermarket and Should I Stay Or Should I Go. It was fabulous.

The same, unfortunately, can't be said for this collection.  There are some great tracks on it, but again, I have a problem with the idea of a 'greatest hits' album if some of the songs clearly weren't.  A few of the tracks, particularly Contact and Play The Music, are obviously only there to pad out the disc.  However, you can't call it A Few Great Hits, A Couple Of Alright Ones & And A Few Dodgy Songs I Thought Might Take This Time Round can you? 

VERDICT: TURN IT UP except for the two aforementioned songs

MINE

I think I have a bit more of a critical sense about the Clash and former members thereof than YourZ does.  I mean, I love The Globe, don't get me wrong.  but I'd never have bought this myself - they strike me as being a wee bit too one-or-two-hit wonders.

Yup, as YourZ says this is the bad example of "best of" CDs.  Clearly showing B.A.D. didn't really do much beyond their couple of hits, and the rest is just sound-alike filler.  And really, hon, what's the point of keeping it?  (YourZ sez: well, I still think it is worth holding on to).  I vote...

VERDICT: THROW IT OUT

For more information: http://www.last.fm/music/Big+Audio+Dynamite

Sublime - Sublime (Deluxe Edition)

MINE

Another example of the wide, wide distances that exist in this musical marriage.

Sublime are great at what they did, when they did it, but I find nothing in common with a bunch of SoCal surfer/skater/smoker dudes.  I've listened to this CD all the way through, twice, and occasionally I nod or tap in time.  I can't deny the voice of the late Bradley Nowell is beautiful.  The production's great and there aren't many songs that have me reaching for the skip button.

But it's just not my language they're talking.  I'm a child of the so-called second wave of ska (Specials, Madness, etc) and find this reggae/punk/ska hybrid at the same time vaguely familiar and yet unsettling.  Like all those songs I keep hearing in the gym that remake the good and bad songs of my youth, it's not quite what I was expecting - it doesn't quite deliver what I want.  I'm a Two-Tone girl at heart, really.

VERDICT: TURN IT DOWN (play it while I'm out, hon)

YOURZ

Oh come on...  I honestly though Mine would get why I love this band so much and fall in love with it too.  I mean, it's not a big ask.  Like her, I'm a fan of the second wave of ska as well so I don't understand why she doesn't like it as this has so many damned good ska flavours on it.  I guess there's just no pleasing some people.  And she calls herself a punk.  Hah!  (Okay, I think I've baited her enough.  I do have to sleep next to her and don't fancy waking up with my testicles nailed to the ceiling).  (Mine says: never called myself a punk never ever.  She's a mod She's a mod...) (YourZ sez: I stand corrected; she IS a mod)

Me and Sublime go way back to a time when I was a guitar-playing punk (of a sort) in a band of punks who shall collectively remain nameless (as they are now very respectable sell-outs, the bloody splitters!)  I was introduced to this band via a CD called 40 Ounces To Freedom.  A rambling, somewhat disjointed disc of 20 plus songs, this became the soundtrack for a number of wasted years.  These guys sounded like a cross between NOFX and The Specials, with a little bit of Marley and The Clash thrown in for good measure.  I adored them and wished hard for them to tour the other side of the world so I could see them live.

But the whole thing came crashing down when I heard about the death of Bradley Nowell, from a heroin overdose mere months before the release of this major-label debut.  In a lot of ways, this had a much more profound effect on me than the death of Kurt Cobain some years earlier mainly because I had (and still have) a bigger connection to their music than I ever did to grunge.  And it's telling that this band's style is still a reference point for a lot of newer, lesser bands (yes, Sugar Ray, in your case, much lesser).

I have such an attachment to this album, it's hard for me to pick out favourite tracks as they all pretty much inspire and delight me with every listen.  From the SoCal punk of Paddle Out, the authentic ska of Wrong Way, the cruisy, dubby sound of Caress Me Down, the sheer summery delight of What I Got and the fresh (at the time) hip hop stylings of Doin Time, there's literally something for just about everyone.

RIP Brad, you're still missed.

VERDICT: TURN IT UP

For more information: http://www.myspace.com/sublime

In our collection we also have 40 Ounces To Freedom, Robbin' The Hood, Second Hand Smoke and What I Got EP

The Clash - The Singles

YOURZ

I would love to say, for credibility, I was a fan of The Clash right from the start but the reality is when they first came out, I was more interested in Kiss and Cheap Trick and other bands who were part of the 'establishment' they, and the punk scene in general, often railed against.

But I liked them well enough to buy the Double A side vinyl single for Should I Stay Or Should I Go/Straight To Hell.  (Yes, I still have it and again, no, don't bother asking).  I also remember fondly watching the videos for London Calling and Rock The Casbah.  My reasons for not getting into them more then are many and varied, none of which would have any great interest to you now, dear reader.

It wasn't until some years later when I was working as a volunteer DJ for a community radio station that my appreciation grew into outright love.  If asked now, I would say London Calling is my favourite album of all time.  If our extensive collection were lost tomorrow, the first replacement I would get would be this one as I can't imagine not having it.  The impact of this single (double) album has had on popular music is undeniable.  It's a pinnacle moment in modern music history.  (Just in case you haven't gathered by now, I really do like this album a lot). 

This collection, The Clash - The Singles, is another great starter record for anyone who don't know or are just getting into the band.  Given The Clash were never really a singles band anyway, I personally find the collection lacking but this is a personal observation and no reflection on the quality of the material. No, not at all, no way... 

VERDICT: TURN IT UP and pogo like your knees are still young


MINE:

A lot of my last year of school (*cough* 1980 *cough*) was spent sitting on the floor of my best friend's house, listening to her brother's copy of London Calling and reading all the words on the inside sleeves of those big black plastic things... LPs!  I remember now.  It was a bit of a surprise buy for him, as he'd been a Deep Purple, AC/DC-head up until then.

I also remember playing Rudy Can't Fail over and over and over again when I was trapped in a small country town due to following my first husband through hell AND high water.  It seemed a good soundtrack to the scenes from the Falklands invasion I was watching on TV at the time.

I think we got this CD because we didn't have any Clash on CD, and it's not bad for filling in some of the gaps.  But as we have London Calling and Sandinista there now, the main point of this one is to have Rock the Casbah and Radio Clash in one convenient location.  Both of which have wiggled me around many dance floors in the past, and no doubt will continue to do so into the future.

To my great disappointment, I've never seen the Clash play live, but a few years ago I was lucky enough to see Joe Strummer and the Mescaleros perform.  A moment (but only a moment) of silence, please.

VERDICT: TURN IT UP (smashing guitars entirely optional)

For more information: http://www.theclash.com/

In our collection we also have London Calling, Sandinista, Combat Rock, The Story Of The Clash Vol 1 and Live at Shea Stadium