It’s A Podcast – Episode 16 ‘These Pair Of Monkeys Can Swing’

It’s A Podcast – Episode 16 ‘These Pair Of Monkeys Can Swing’

Welcome to Episode 16 of our little Podcast where DD And Hotshot bring you some top tunes from the archives. We have some brand new tunes from current records that have either just been released or are about to be released as well as tunes from the archives such as Joe Strummers demo outtake of ‘Coma girl’ that is taken from his boxset 002.

First up in this Episode is a Steve Lillywhite recording of Johnny Thunders recording ‘Leave Me Alone’ recorded with current Damned bass player Paul Gray alongside drummer Steve Nicol. It was eventually released on a 10″ EP on Remarquable Records alongside three other tracks. It was a remarkable time for Thunders who went on to release ‘So Alone’ with a veritable host of bonafide Superstars, spawning his best work (arguably) that included the epic ‘You Can’t Put Your Arms Around A Memory’.

Next up Hotshot picked a Hanny J track ‘Days Felt Like Years’ From her 2019 EP ‘Possession’. HAnny is known for her bass playing in Melbourne punks Clowns but this change of pace offers an insight into her talents as a songwriter and singer.

Ming City Rockers have just completed a new album and whilst we wait for them to start dropping details of when we can expect to hear songs of fit you’ll have to make do with ‘Desperate’ from their last album ‘Lime’ which was released early in 2023. We’ve already had the one-track drop so hopefully, it’s soon when we’ll get news.

Guitar pop indie kids Ash released a great new album late last year and have just released it as an extended option ‘Race The Night’ comes out with an extra raft of tracks. If it’s classic tracks you’re after then look no further than Misfits classic ‘Hybrid Moments’ lifted from the Box set version ‘Static Age’. Digitally remastered from the band’s classic debut – You can’t argue that Early Misfits didn’t deliver and anyone whos seen them play recently can testify that they still have it.

Scandinavian punks The Good The Bad And The Zugly are about to release something of a compilation album based on B sides of singles and a new cut that we play spanning the band’s 15 years of doing this. ‘Decade Of Regression’ hits the shops on the 5th of April. Catch them on tour now!

Next up The Drowns knock out their single ‘Ketamine And Cola’ from the album ‘Blacked Out’ get it off Pirates Press and I can promise you – you won’t be disappointed.

Jumping back to Scandinavia the pair offer up The Backstreet Girls and ‘Boogie Woman’ lifted from their latest album of loud infectious rock n roll ‘In Lust We Trust’. If it ain’t broke don’t fix it which is the mantra the band adhere to and continues to turn out top tunes and top albums.

Joe Strummer gets aired and a demo of ‘Coma Girl’ lifted from his second box set ‘002’ The Mescaleros years. It’s hard to believe that Strummer passed in 2002 and those studio albums still sound fresh and relevant all these years later. This is one of the early outtakes of the track and still, I champion it as his most outstanding solo post Clash record. The box set is well worth investigating full of artefacts and really well designed.

Who doesn’t love Slade? I guess if you’re still reading and you hit the link to play the podcast then you’re going to love this live recording which was recently released on splatter vinyl. ‘Them Kinda Monkeys Can’t Swing’ is a barnstorming opener and this version is particularly good. After a quick check, I can correct myself and say this recording was made from a few nights at the theatre in 1975 so right smack in the middle of the band’s pomp. Captured for a BBC performance Slade are remembered by a slew of fine albums that have just had the rerelease treatment and this is one not to miss alongside the Reading performance that the pair chat about. If you’ve never delved into the Slade archive then what better place to start than a live album stacked with absolute bangers. there aren’t many frontmen with a set of pipes like Holders and on this song he gives his vocals a damn good workout.

Maverick Ryan Adams recently dropped five albums on the same day (now that doesn’t happen every day) one of those albums particularly piqued my attention and ‘Skulls’ is lifted from the album ‘1985’. A daunting and huge back catalogue maybe if you start from this recent album drop you have pretty much the whole sound of the guy in one day – five albums mind and all crammed with tunes. Try him.

Gene Loves Jezebel recently released an album on Cleopatra Records ‘x – Love Death Sorrow’ and it contained a very mixed bag in as much as there were Four covers with the originals and one that caught our ears in the classic post-punk/ New Wave ‘Another Girl Another Planet’ but put their Gothic twist and owned The Only Ones classic taking it somewhere we weren’t expecting but thoroughly enjoyed.

NWOBHM aficionados might baulk at our ignorance when we encounter the recent Cherry Red Records compilation ‘All Systems Go’ and the Crucifixion track ‘Jailbait’. The beauty of these retro boxsets is that you discover bands like this that you might have missed first time around. Don’t take my word for it hit the podcast and get on it.

I think it’s the first Replacements track we’ve dived into on the podcast certainly the first one lifted from the superb ‘Tim’ album box set that came out last year with a superb remix that elevates the album from what we were used to. Possibly hearing the one track in isolation doesn’t do it justice but ‘Kiss Me On The Bus’ is a belter and if you’re new to the Replacements then this is a quality album/box set to dive into it also includes some fantastic live recordings. one of Americas best gifts to music ever – you can take that to the bank.

Finally, on this episode, Laura Jane Grace closes off the show with the title track off her new solo album ‘Hole In My Head’ an album that offers the listener her usual variety of electric and acoustic songs as she rages against the machine. Its her fourth album and this is just a taste of what to expect from another fantastic album. Punk, Folk Rock, Acoustic, Rebel Rousing Grace is compulsive listening and this album maintains the super high standard of songwriting be it as a solo artist or fronting Against Me! or Laura Jane Grace & the Devouring Mothers.

I’m sure you’ll agree if you can understand our poetical Welsh voices we do have the gift of the best music available whatever variety it might be. Join in – let us know what you think. If you have a request or a topic you’d like us to play/discuss then get in touch.

Listen-Folow-Like-Share. Thanks from the pair of us.

Mapache – ‘Battery Powered’ (No Front Teeth)

Mapache – ‘Battery Powered’ (No Front Teeth)

The band’s three Eps pulled together, shifted the track listing round and added a pair of live tracks for what is effectively the band’s first full length album on No Front Teeth. 

You know the drill by now, if it’s on NFT it’s got every chance of being pretty bloody good, and not having come across the band’s eps I’m delighted to have the opportunity to play catch up from the opening ‘GTA’ its energetic tuneful punk rock with a raw delivery from the previous members of the superb Ten o Sevens and NFT legends The Gaggers. This North London three-piece knock-out bright energetic punk rock n roll. You can pogo and join in on the gang vocals of ‘GTA’ with its no-nonsense delivery. ‘1984’ has the same skank that some of Strummer’s work used to have on the verse before breaking out for the chorus its got a strong melody and the lyrics will draw you in. ‘The Answer’ offers some Buzzcocks abrasive guitar attack wrapped up in a solid beat. It’s a really enjoyable run-through with some poignant guitar soloing but I love the feel of ‘Boring People Get Bored’ It’s totally ’77 London punk but enough distance between then and now and kids need to get their heart rate up to songs like this especially when it’s done this well. I went days just listening to the Ten O Sevens album and missed what they could have done next but hearing these songs I’m delighted with the next phase and Mapache music. It’s not rocket science it is punk rock and Mapache does it really well. ‘Mind Changing’ lightens the mood and sails quite close to the ragged style of The Libertines which is another great place to be. ‘Fomo’ is a rapid romp with some traditional Chuck Berry licks thrown in for good measure as the band just get on with business. A throughly enjoyable punk rock DIY record.

Not to be confused with about half a dozen other very different styles who share the same name this mob but none of those bands have got that DNA of early Clash and a heap of other garage punk coursing through their tunes and the sneering vocals hit the spot every time. Hell if you get on their Facebook page or via the link below they’ll send you a CD copy for Free, how punk is that? What are you waiting for get on with it you wasters and freeloaders. Get some ‘Battery Powered’ punk rock in your life you’ll love it and thank me later.

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Hanoi Rocks – ‘Oriental Beat – 40th Anniversary Re(al)mix’ (Svart Records)

Hanoi Rocks – ‘Oriental Beat – 40th Anniversary Re(al)mix’ (Svart Records)

The year is 2023 and I’m sat at home waiting for my Hanoi Rocks album to be delivered but with many things you simply have to wait and good things are worth waiting for and any original or should that be classic Hanoi Rocks album is well worth the wait.

I used to be a bit sceptical about bands doing a remaster or remix especially if its a classic album but as I’ve got older I’ve dug deep into some of my favourite records when they’ve had the overhaul treatment, especially some of those half speed jobs from Abbey Road and when I heard the difference Japans ‘Quiet Life’ had or some of the classic ‘Rolling Stones’ records sounding like a different album at times it can be a bit of a head fuck when they’re done well. What lowered my scepticism was hearing the Senseless Things overhaul of ‘The First Of Too Many’ and how much better the new version was compared to the muddy original I was converted and won over in one fell swoop and now I’d happily champion and shell out for a well-done remix/master which has brought us to this hallowed spot and the mighty, unparalleled, unrivalled Hanoi Rocks and this here Svart release of ‘Oriental Beat’.

Delays delays delays, I’ve put off reviewing this album and its re(al)mix but couldn’t wait any longer for my record to turn up so I’ve delved into the digital and sat back with my hands over my face as the virtual needle dropped and ‘Oriental Beat’ hit the ether and blew my fragile tiny mind. Wow, congratulations to Svart for doing something I didn’t think possible. ‘Oriental Beat’ sounds like an album that was released yesterday it’s got volume, punch, new clarity and moments I’d either forgotten about or were never listenable to the human ear. Sweet Baby Jesus! Hallalulija hark the herald angels sing. This is how Hanoi Rocks sound just listen to Sami Yaffa’s bass thumping its way through the title opening track it’s unbelievable. Truly a cut above and those BV’s are exceptional. I’ll admit it’s been a couple of years since I spun this album and when I heard it was being treated to an overhaul I wasn’t sure if Genius should be tampered with but on the evidence, Man I’m converted.

The strangest thing abou tthis version would be the track listing but dropping ‘Motorvatin’ deeper into the album is worth it because once you get your head around the sound the intro is a real highlight. The second Hanoi album saw them becomeing a real unique force sure they still leant on their heroes like the best song the Clash never wrote in ‘No Law No Order’ or the Mick n Keif locked in playing on the epic ‘Teenagels Outsiders’ where I think Monroe sounded amazing. Youthful exuberance and developing a unique style I think he’d really come into his own here and the saxophone use was and still is exceptional and I never understood why it wasn’t used more in punk rock when Hanoi used it it was brilliant as it was for bands like The Lords Of The New Church and Johnny Thunders but Hanoi were different, they used it best of all.

The groove and open-heart honesty of McCoys playing on ‘Sweet Home Suburbia’ is incredible the sustain is almost visual. I can’t express how much better this version is and once I get used to the track listing all will be well in the world and I will start to get on to whoever I have to to see if the master tapes for other albums are available for this sort of treatment. I don’t think I’m saying anything outrageous here but this album has only gone to cement how vital each member of the band was and how integral and truly amazing Yaffa was to the sound of the band. There are moments I haven’t fully appreciated before and some of the walking bass lines are majestic ‘Lightnin’ Bar Blues’ as is the harmonica of Monroe on ‘Devil Woman’. The band should be rightfully proud of this project its an emotional and exceptional piece of work that is an absolute must heart for any fan old or new it is worth every single penny and some. Special praise must also go to Petri Majuri for his input into this project and his exceptional work of drawing out the demons and replacing them with angels’ wings ‘Oriental Beat’ is already one of the best albums ever and is now even better – Buy this record!

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Author: Dom Daley

The Libertines – ‘Up The Bracket’ 20th Anniversary Edition Box Set (Rough Trade)

The Libertines – ‘Up The Bracket’ 20th Anniversary Edition Box Set (Rough Trade)

‘Up The Bracket’ was one of those debut albums that had all the magic of a Rock and Roll band with the danger, the mystique, the band of brothers, the excitement the infamy, the notoriety, but above all the songs to back up all the claims and chaos that went with the band. The intricate workings of the main songwriters Doherty and Barat wouldn’t have worked without the rhythm section of Gary and John holding the ship steady through some choppy seas and letting the two songwriters have the freedom to weave their magic. I say this without hesitation but the Libertines were and are genius bands like this don’t come along that often and sometimes they can fall through the cracks they may have proven to be flawed but their genius is everlasting through their music and the fact they are still together and sounding as good as ever and being older and hopefully wiser right decisions are now being made and charting their early formative years in this box set is a beautiful thing. For a start getting Mick Jones to produce the record was a masterstroke because if anyone knew exactly where the band was coming from it would be Jones.

There’s a mammoth amount of music to get through on this comprehensive labor of love with live recordings, demos, and a remaster of the original album. The box set also includes a treasure trove of extras. a lavish sixty-page book with some amazing photographs and new interviews with the band and those who were circling the orbit of planet Libertine.

Of the 65 previously unreleased recordings many are original demos, radio sessions and live recordings all helping to chart the making of ‘Up The Bracket’, plus the jewel in the crown, a live recording from the 100 club in 2002. Imagine still owning a packet of Up The Bracket rizlas or some other priceless Libertines fanboy curio sadly I don’t. I still maintain that The Libertines sailed the closest to what The Clash was about musically, from the ragged intro of ‘Vertigo’ you find yourself handclapping along as the rowdy good times unfold and you’re taken back in time. After whizzing through the studio album the rapid raw energy of the 100 Club performance is epic and sweat-drenched and every sinew of energy is perfectly captured as a rapid ramshackle ‘Horror Show’ lights the gunpowder. The fantastic non album tracks with their howling feedback and shouting contest are brilliantly captured like ‘The Delaney’ and the shit-kicking single ‘What A Waster’. A fantastically captured time capsule where a band in full flight is captured.

Of the demos and studio jams, songs like ‘Wolfman’ will peak the deep dive interest of fans. I love the late-night jams that are songs like ‘7 Deadly Sins’ and acoustic jam ‘Mocking Bird’ with all the in-between banter left in which is somewhere fans aren’t normally able to attend. Grab a bottle of red sit back relax and turn off the light and imagine you’re in the room with the boys in the band.

There is a fair bit of repetition going on as one would expect when it’s focussed on a single album but there is so much more than what appeared on the record this is a beast of a box set. To hear and chart the progress of a song like ‘Boys In The Band’ is a treat from the germ of a song played with a drum machine Bontempi style, “oh so rudimentary” through the radio session to band-worked demo to what finally was rolled out on the finished shop product.

For the retro kids there is also a DVD for every song on the album as well as so much more cobbled together using never before seen footage and so much more like TOTP and Jools Holland all in one convenient place. Ask Santa or your nan for one of these because as far as box sets go this is right up there with the best.

Pick up a Box Set Here

Pick up doube LP & CD Here

Author: Dom Daley

The Urban Voodoo Machine – ‘$nake Oi£ Engin€’ (Gypsy Hotel Records)

The Urban Voodoo Machine – ‘$nake Oi£ Engin€’ (Gypsy Hotel Records)

Sounding like the best night out on the wrong side of town, Dalston’s finest and dandiest vagabonds The Urban Voodoo Machine return with their long awaited and much delayed fifth long player ‘$nake Oi£ Engin€’.

Led by the vivacious Mr. Paul-Ronney Angel, the black n’ red wearing collective have been wowing audiences for well over 15 years with their self-proclaimed “bourbon-soaked gypsy blues bob ‘n’ stroll”. Some say they are the best live band in the country, others say they are just a bunch of drunken ne’er-do-wells. Both could be right, but one thing’s for sure, you cannot ignore them.

Recorded back in early 2020 at Space Eko Studios by The Future Shape Of Sound main man Alex McGowan (who also produced alongside PR and drummer J-Roni-Mo), ‘$nake Oi£ Engin€’ captures the relentless live energy of a band who have been described as The Pogues meets Gogol Bordello playing the last damn party at the end of the universe.

Paul-Ronney Angel writes songs about living in London as an outsider. Relatable issues such as the struggles of addiction, depression, mental health problems and being fuckin’ skint! With a love of The Clash, Tom Waits and AC/DC, these swampy blues jams, New Orleans jazz inspired ditties and mournful murder ballads have been lovingly crafted by the ringleader and his crew over a bevvy or three, and a few smokes along the way.

Four of the eleven songs have been previously released as singles and soundtrack the Covid/Brexit years better than the frontman could ever have imagined. The prophetic ‘Living In Fear’ was written as a dig at the Windrush scandal and the Grenfell disaster, and took on new meaning post-Covid when we actually were living in fear. The Caribbean feel created with the addition of steel drums and brass is upbeat and fresh, and a memorable hook is always going to win me over.

‘Empty Plastic Cup’ is an ode to the rich getting richer and the poor getting fucked! It has ‘Goodbye To Another Year’ vibes, with typical bombastic, UVM backing vocals, a killer sloppy guitar riff and enough brass to kick your ass! It builds and builds to a climactic finish; you just know it’s gonna be a live favourite.

The big band vibes of ‘Johnny Foreigner’ fit the bill and the lyrics hit home even with the raw, tongue-in-cheek vocal delivery. A larger-than-life tune delivered by a larger-than-life band. The reflective ‘January Blues’ is the morning after the night before comedown. Again, with hindsight it could be a prophetic reaction to Covid as the singer drawls “last year you can fuck right off, and this year, I’ve had enough of you” over mournful violin and acoustic guitar.

Of the new songs on offer, opener ‘Little Jimmy & The Wrong Crowd’ is an early favourite. The unmistakable PR vocal drawl is omnipresent, the blasts of brass and primal beats glorious as ever. But the surprise vocal rap is sung by James Brown II and the overall Cuban feel of the track give a new dimension to The Urban Voodoo Machine killer sound.

‘Pill Popping Cross Dressing Copper’ is 2 minutes of musical insanity, another high-energy party song to add to the arsenal. ‘Hell’s Caravan’ is a sombre, death march with regimental drums and killer voodoo backing vocals, ‘Dropping Like Flies’ an ode to lost friends, while the ringleader takes us to church with the gospel-tinged sermon ‘Carry Your Weight’.

There’s enough diversity and familiarity to please fans old and new and something to whet the appetite for those who are yet to capture the band live.

Live, The Urban Voodoo Machine channel gypsy punkabilly rave-ups, mariachi marches, outlaw country and bluesy jams, with a heady dose of burlesque and circus sideshow craziness when available. These are the sights and sounds of The Urban Voodoo Machine, and ‘$nake Oi£ Engin€’ is the perfect soundtrack to the crazy world of the band who just refuse to die.

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Author: Ben Hughes

Rainy Days & Mondays

Rainy Days & Mondays

First up today we bring you the new video from Crows. After Johnny’s recent review the band have released a video for ‘Closer Still’.

It’s an exercise in pummeling noise-rock. One of several unapologetically political songs on the album, where single James Cox says, “‘Closer Still’ was written about the fit-for-work scandals that kept happening where the Department for Work & Pensions were deeming people fit for work when they obviously weren’t able to, taking away what little support they received from the state in an attempt to save on expenditure. It really highlighted our government’s contempt for the vulnerable. People whose daily lives were incredibly difficult.” 

CROWS LINKS

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‘Mornington Avenue’ finds Marc Valentine team up with Matt Dangerfield, of THE BOYS and Rock n Roll legend. It’s the second single to be lifted from Valentine’s magnificent debut solo album ‘Future Obscure’. Valentine visits old haunts in Camden Town (ones that are still there that haven’t been gentrified quite yet) and reminisces about his roots at places like his old flat where he put his band together way back in ’89.

Some great use of vintage The Boys footage adds gravitas to the video which captures the sentiment of the song perfectly. Also some great appearances from Marc’s band on the album Steve Fielding, Denley Slade and Richard Davies (of Richard Davies & The Dissidents). ‘Future Obscure’ is available to pre-order here. Facebook

Joyce Manor have announced their 6th studio album, ’40 oz. To Fresno’, set for release on June 10th on Epitaph Records. New single ‘Gotta Let It Go’ clocks in at a massive one minute fifty-three seconds,  but it packs a lot in.

Joyce Manor will also be touring with The Menzingers in the UK in October of this year. Enjoy!

With ‘Combat Rock’ getting the special edition treatment with unreleased tracks The Clash also get the 4K treatment on their classic ‘Should I Stay Or Should I Go’

UNRELEASED JOE STRUMMER RECORDING “JUNCO PARTNER”

UNRELEASED JOE STRUMMER RECORDING “JUNCO PARTNER”
UNRELEASED JOE STRUMMER RECORDING “JUNCO PARTNER” AVAILABLE NOW

 

 

Taken from Joe’s upcoming album, ASSEMBLY, this previously unheard recording is also available to stream worldwide here: https://joe-strummer.lnk.to/AssemblyID

Discovered deep in the legendary artist’s vaults on a hand-labeled cassette tape, “Junco Partner” was a constant throughout Joe’s career. He first discovered the song on a scratchy R&B compilation in the 1970s and it became a staple on the set list of Joe’s first band, the 101ers, before recording it with The Clash for the seminal Sandinista! album in 1980 and it being a mainstay of live shows until the very end of Joe’s career with the Mescaleros. This previously unreleased home recording of “Junco Partner” offers an intimate insight into Joe’s unique vocal delivery and distinctive driving rhythmic guitar playing, with the accompanying animated mixed media video being created by Spencer Ramsey.

Released on Friday, March 26th, ASSEMBLY showcases carefully curated remastered tracks from Joe Strummer’s solo catalog, including “Coma Girl,” “Johnny Appleseed,” and “Yalla Yalla” (with The Mescaleros) to his iconic rendition of Bob Marley’s “Redemption Song” and soundtrack contributions like “Love Kills” (from the 1986 film, Sid and Nancy). Remastered by three-time GRAMMY® Award-winning engineer Paul Hicks (The Beatles / John Lennon / The Rolling Stones / David Bowie), the 16-track compilation features three previously unreleased versions of classic The Clash tracks, including “Junco Partner” and the previously unreleased electrifying live performances of “Rudie Can’t Fail” and “I Fought The Law” recorded by Joe Strummer and The Mescaleros at London’s Brixton Academy on November 24, 2001.

Preorder ASSEMBLY on Limited Edition 2xLP Red vinyl, gatefold 2xLP 180g black vinyl and CD HERE https://joe-strummer.lnk.to/D2CEM

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Don Letts ‘Magnificent Seven’ Clash Video aired Tonight

Don Letts ‘Magnificent Seven’ Clash Video aired Tonight

Tune in tonight Friday 11th December 17:00 GMT to see the brand new Magnificent Seven video by film-maker Don Letts, featuring the band performing the song live on The Tomorrow Show with Tom Snyder (a late-night New York chat show) cut with previously unseen film of the group in and around New York and during their legendary 17-night residency at Bond’s International Casino, near Times Square.

There’ll be a Q + A with Don Letts at the same time! Click Here for Youtube Link

New York Junk – ‘Dreaming’ (Tarbeach Music)

New York Junk – ‘Dreaming’ (Tarbeach Music)

Nailing that quintessential NooYawk rock and roll sound but doing it in the Czech Republic is some feat but New York Junk nailed it.  It’s fair to say these cats are vets of the scene and been in the thick of the Bowery scene since its inception back in the ’70s and survived to tell the tail.  Getting Tarbeach Records to release the record of seven tunes recorded in the Czech Republic at the tail end of 2019 and mixed pre-pandemic these seven tunes are coming out on red vinyl.

It’s a simple formula.  Guitar, Bass and Drums and play from the heart, make it Rock and Roll – sing about what you see and believe in yourself then everything else is gravy.  You either have “it” or you don’t.  We know whos fakin’ it and who isn’t and on this evidence, you can take the people out of Noo Yawk but you can’t take the Noo Yawk outta the people.

New York Junk have released three previous records starting with ‘Passion of the 10th St Blues’ (2008), ‘Doing Time in New York City’ (2014), and ‘7 Train’ (2018). Their sound is somewhere between Thunders and The Stones with a bit of Lou Reed creeping in on some of the melodies but there are some real gems in here. I love side two from the more aggressive ‘Scared’ with a cool thump on the floor toms and strained vocals it’s fragile yet looking for trouble great opening tune to side two. The albums best track ‘Passion’ with its rather splendid Thunders dripping guitar solo the songs got a tonne of passion and it shines through.  They’re not reinventing the wheel here they’re just writing great tunes and relying on what’s pouring out of their hearts and spilling into the grooves of the record. Let’s stay with side two and the title track which is a repetitive riff that’s moving slowly and gently, for the most part, meandering through the cracks of the recording towards the solo sure it’s like a VU moment in time but that’s always going to be cool.

Anyway, Let’s continue as we flip flop back to side one and the opening blast of the ‘Gutter Angels’.  Like a poem to the Lower East Side leaning on the Voidoids or something Lou Reed might have penned. ‘She Don’t Care’ could have been borrowed from Walter Lure whilst ‘Walk My Dog’ is some Thunders homage and fairly standard. Closing off side one is ‘Don’t Cry For Me’ which sounds like we’ve just been dropped off in the early ’70s after finding out this time capsule is captained by Sylvain Sylvain and the cabin crew consists of Johansen and Killer Kane. Pure nostalgia done with care and a big smile – whats not to like?

All in all a really enjoyable seven tracks from New York Junk and for anyone who hankers for a slice of that time when giants walked the earth and strutted their stuff. Check it out if you’re smart enough and start ‘Dreamin’.

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Gone But Not Forgotten – Joe Strummer

Gone But Not Forgotten – Joe Strummer

Born John Graham Mellor  on 21 August 1952 in Ankara Turkey to a Scottish mother and Diplomat Father. John had a mixed bag as a kid being shipped off to Boarding School paid for by the state due to his fathers job he spent the next seven years at Boarding school alleging he rarely saw his parents due to his fathers job.

Mellor changed his name in the mid ’70s from Woody (after Woody Guthrie) changing it to Strummer as a way of self deprecation as to his style in the band 101ers .  Upon his insistence the name stuck and how different would the history books have looked no Joe Strummer instead Woody Mellor!

Early ’76 saw an unknown band called The Sex Pistols support the 101ers at the Nashville Rooms, shortly after he was approached by Bernie Rhodes and Mick Jones to join their band that also included Keith Levine, Terry Chimes and Paul Simonon.  It was Paul who named the band just before their July Debut in Sheffield supporting The Pistols and as they say the rest is history.

When the Clash broke up after a whirlwind decade of chaos and destruction and some very high highs and ultimately low lows. After a luke warm solo career and getting dropped by Sony, Strummer spent some time producing the likes of The Pogues and playing a bunch of shows with them as a repecement for Shane McGowan before he put together the Mescaleros.

It wasn’t until the late ’90s that they put out their first album  ‘Rock Art and the X-Ray Style’.  After touring heavily Strummer headed straight back into the studio to record its follow up ‘Global A Go-Go’ for Hellcat Records. After heading back out on tour on  the 15th of November 2002, Strummer and the Mescaleros played a benefit show for striking fire fighters in London, at the Acton Town Hall. Mick Jones was in the audience, and joined the band on stage during the Clash’s ‘Bankrobber’. An encore followed with Jones playing guitar and singing on ‘White Riot’ and ‘London’s Burning’. This performance marked the first time since 1983 that Strummer and Jones had performed together on the same stage stage.  the news that fans had been waiting for seemed like it might become a reality with The Clash reforming and heading out on tour. Strummer’s final gigs were  Liverpool Academy on 22 November 2002, yet his final performance, just two weeks before his death, was in a small club venue ‘The Palace’ in Bridgwater, Somerset, near his home.

Heartbreakingly, Strummer died suddenly on 22 December 2002 in his home at Broomfield in Somerset, the victim of an undiagnosed congenital heart defect.  Strummer was cremated, and his ashes were given to his family. Strummer was instrumental in setting up Future Forests (since rechristened the Carbon Neutral Company), dedicated to planting trees in various parts of the world to combat global warming. Strummer was the first artist to make the recording, pressing and distribution of his records carbon neutral through the planting of trees. In his remembrance, Strummer’s friends and family have established the Strummerville Foundation for the promotion of new music, which holds an annual festival with the same name.

At the time of his death, Strummer was working on another Mescaleros album, which was released posthumously in October 2003 under the title ‘Streetcore’. It was discovered following Strummer’s death that he was an archivist of his own work, having barns full of writings and tapes. Over 20,000 items were stored in the Joe Strummer archive and on 28 September 2018, a 32-song compilation album titled ‘Joe Strummer 001’ was released. The album, which was overseen by Strummer’s widow, Lucinda, and producer Robert Gordon McHarg III, features 32 songs, 12 of which have never been released. The set spans Strummer’s career from the 101ers to the Mescaleros and features some unheard demos from the Clash following the departure of Mick Jones, along with an unreleased song recorded by Jones and Strummer in 1986. The set also features two of Strummer’s final recordings and is one of the best box sets available not just for Strummer or Clash completists its well worth getting hold of..  Joe Strummer will never be forgotten and will always be held up as one of the true musical geniuses and pioneers.  He was responsible for writing and recording some of the best song to come out of the punk scene in the ’70s and always came across as one of the good guys and he’s sadly missed today its hard to believe hes been gone seventeen years.  RIP Strummer you legend.