When Joe passed six years ago my life changed almost as much as when my brother took a then impressionable 12 year old little brother to see The Clash back in 1979. I don’t think I’ve ever missed anyone as much in my life – the saddest part for me was after ten years frozen out of the music industry by a naive contract signed by The Clash, Strummer was writing and touring again and gradually receiving the accolades he was always due.
Nothing has been the same since; it was the loss of something you can’t quantify but also reminds you of the power and perhaps importance of popular culture/art. Joe Strummer was not a genius or a scientist but he was an idealist and for 23 years of my life I always felt I was lucky enough to be a fan (a gang member?) of the only band that matters – to me the ideal band. My passion for music was nurtured by The Clash, and my idealistic hopes for a somewhat better society was fueled by 4 angry punks.
Thanks as always Joe – you never left.
Tim
When you blame yourself, you learn from it. If you blame someone else, you don`t learn nothing, cause hey, it`s not your fault, it`s his fault, over there. (J Strummer)
Just a quick goodbye and thank you to Levi Stubbs. The incomparable voice belonging to the lead singer of the Four Tops passed away Oct 17 and was put to rest Monday.
My earliest memories seem to often relate to music – and apart from the ashes of the Beatles (who split when I was 3) and my mum playing the Carpenters – my fondest recollections musically as a toddler relate to Motown and most specifically the Four Tops. Though the authors of many motown hits were shared it was Levi’s voice that elevated the Four Tops to perfect pop. As timeless and vital as anything from that era – although I grew up over 4,000 miles from Detroit I’ve kept the spirit of Motown music with me ever since – and the barriers broken down by Berry Gordy’s stable of talent remain the turning point for American “pop” such as it was. As the last living Four Top said at the service Monday ‘Levi and these men left us, and are leaving us, an inheritance. It’s up to us to decide what we are going to do with it”
Saying thanks seems insufficient – but it’s what I need to say. As ever the Four Tops said it better :
Precious memories keep a lingering on
Everytime I hear our favorite song
Now you’re gone
Left this emptiness
I only reminisce
The happiness we spent
We used to dance on the music
Make romance through the music
A belated acknowledgment to 22 December, the five year anniversary of a tremendous loss. The poet, artist, statesman, deity; Joe Strummer, gone entirely too soon.
His ideals are still omnipresent, providing never-ending lessons and still-relevant allegories:
‘ In the end all bands influence each other and there are only 12 notes, so there’s is only so much that can be done. But I think that there is definitely still a place for the whole punk, thrash thing. Largely because of two main elements – it’s fun and it’s noisy and let’s face it even vicars must have times when they want to turn the music up.’
(thanks T)
If we can learn anything, it should be that many genres and artists can be connected, broadcasting the same message, albeit in different applications. Me personally, I’ve gone back to such pre-Clash staples as The Who, Bob Dylan and Neil Young. The message is all the same: isolation, fear, celebration, change, acceptance/refusal of change, social consciousness…the gamut.
Essentially, do not fall victim to voluntary pigeonholing. Embrace those artists and themes you feel you may have outgrown or disassociated from for sake of social acceptance. As long as the music isn’t shit, and has a cogent message, reacquaint yourself away!
Billy is back….well he never really went away. He wrote a novel after all and also has worked on fund-raising for the Jail Guitar Doors project and toured as always.
I’m thrilled to learn Billy Bragg is going to be releasing a new album in 2008. It’s been far too long and I can’t wait to hear it. A couple of tracks are available online so I will scribble a review this week.
Billy launches his new album, Mr Love & Justice (released on 3 March 2008), with a gig at the Roundhouse in Camden Town, London, on 4 March 2008 He is also heading dan sarf (down South if you are not Cockney) to Australia and N.Z. in Jan/Feb so hopefully he will be over here in the Spring/Summer. In fact I would guarantee it – it’s an election year and he should be ready to help kick over the statues following the 8 year farce we’ve all endured.
The live concert ’scene’ in Phoenix is a strange affair. We have a host of smaller intimate venues, and pubs masquerading as live clubs. At the other end of the spectrum there are a good number of large arenas for the rare dates when a U2 or a Britney comes to town. What Phoenix lacks is the clubs which can accommodate 700-1200 people and be centrally located in the valley.
There is only one contender ‘The Marquee Theater’ in Tempe on N Mill avenue at Washington. The Marquee is now 14 years old but has only served as a rock venue for about 5 years, it formerly operated as the ‘Red River Music Hall’ catering almost exclusively to Jazz and Country music.
So here is the perplexing issue: you have a venue with such a large number of attributes how could it all go wrong?
Exclusivity – with a capacity of 1,050 it is the only game in town for audiences of 700-1500
Location – Only 1/2 mile from downtown Tempe and 8 miles East of downtown Phoenix, the venue sits on the corner of where Phoenix/Tempe/Scottsdale meet on the map
Access – Excellent freeway access, very close to the 202/101/51/10 – just yards away from light rail when it opens next year
Space – Ample parking throughout the surrounding area
So faced with all these positives – how could the owners get it all so wrong? Let me count the ways….
1. Identity: I agree that Phoenix is a hard town to gauge, I’ve been to shows expecting a sell out to find less than 20% of tickets sold and also events which are not on the radar that are packed. For a large city concert attendance is spotty and seemingly can be effected by weather, the Phoenix Suns, the latest episode of “The Biggest Loser” – you name it. But, that’s no excuse – The Marquee doesn’t (even after 5 years) have an identity of any sort. I never hear anyone excited when an act announces they are playing there, coupled with the chameleon status of the venues promoters. Heavy Metal, Indie, Alternative, Funk, Emo, you name it, Nothing wrong with diversity – but I see it as chaotic booking strategies. The venue seems content to try and appeal to everyone and offend them all simultaneously.
2. Staff: I’ve seen concerts at venues and cities around the world – never before have I seen a venue as overstaffed as this one. On nights where the audience barely reaches 200 it’s easy to hand count 40-50 employees just milling around trying to look busy. To add to the illusion they also select staff who seem to have zero interest in music or customer service. The security lines make the airport seem efficient and the ‘bar’ makes you wonder if they are just trying to keep the streets safe for others. Slow disinterested service is the order of the day
3. Apathy – In five years not one discernible positive change has been made to the venue. Access, lighting, sound, cleanliness, marketing, staffing all remain as they were. I would estimate I’ve been to about 30-35 concerts at the venue over that span and the feeling that the venue just ‘doesn’t care’ could not be more pronounced. I’m not looking for Wi-Fi access in the lobby or the best bottles of Belgian Ale in the bar – just a feeling that the club will occasionally get out a paintbrush, or better enable the audiences access to the ticket booth, security checks etc.
4. Greed – I am fully conversant with the fact that tickets to shows have risen by 40-100% since the decade began. This being due to higher travel costs, downloaded music and general inflation. I’ve no issue with that – I will always support live music. The venue – which should be feel like ‘our’ venue further alienate their customers by seemingly squeezing every last dollar out of the wallets of it’s clientele. Parking – there must be 1200 spaces within 300 yards of the venue that are not in use. When the Marquee opened it cost nothing to park – now it costs $5 – the only other thing in the lots are empty beer bottles and Jack Rabbits. Ticket fees – again, when the venue opened fees would make up a 7-15% surcharge – now its 20-30%. Here comes the masterstroke: I saw Art Brut at the Marquee last Friday night – at the T-Shirt stand the band had written a sign that said the following “Art Brut regret we are not selling any T-Shirts or other concert merchandise due to the 28% (!!!) addition being collected by the venue on every item, Art Brut do not want to abuse our audience in this fashion.” 28% ? for what ?? Writing the songs? Organizing the tour? Conceiving the artwork? No…for allowing a dirty table in the lobby to be used to sell these items. I was offended but won’t punish the band as the same items are available online for more normal rates.
As for the future of the Marquee….I want it to succeed….I like the size of it, I like the location of it and I sincerely feel Phoenix needs it. Based on the evidence of ever dwindling audiences, terrible promotion/booking and advertising coupled with the desire to rip off the paying customers I see tough days ahead. I hope I’m wrong, I hope the public can show more than the same apathy that the venue displays, I hope live music in Phoenix can have a medium sized venue it can be proud of. I don’t need the Hammersmith Palais, just a place to see a band.
Sometimes when a band splits up it seems that the members disappear into the debris of society never to be heard from again. When The Beautiful South came to a conclusion earlier this year after 18+ years of fantastic output I hoped it didn’t signal the end of Paul Heaton’s recording career.
I’ve been a huge fan of Paul since the earliest singles by The Housemartins back in 1983. Never a band to overstay their welcome the Housemartins disbanded after just 2 albums, a clutch of memorable singles and some brilliant live shows. When they ended in 1988 Paul, Dave Hemingway and former roadie Sean Welch formed The Beautiful South.
TBS were superb for such a long time, as I look back now to the debut album - it was wonderful to see the evolution of the band over a nearly two decade span that featured 11 albums plus 3 greatest hits collections. In fact ‘Carry On Up The Charts’ was one of the best selling albums of the 90’s in the U.K.
Sadly The Beautiful South never experienced great success in the U.S. – of all major British acts of the last 30 years, TBS plus the Jam and Madness have never made it big in the States – and I think the common reason being that they were simply too English.
As for Paul, he actually released a solo album as ‘Biscuit Boy’ in 2001 – backed by members of Joe Strummer’s Mescaleros.
Well, it’s taken less than 9 months for Paul to be back on the road and recording. He is currently on a U.K. tour and might be heading to the States next year. If you take time to visit his site there are audio and video links to some of the new material. The new recordings sound wonderfully stripped down and as always lyrically without equal.
It’s great to see Paul back in the picture – not a shock at all…and destined not to vanish for long. If you’ve not got his back catalogue – I’d suggest ‘Painting it Red’ by the Beautiful South, and the recently released ‘BBC Sessions’ for The Housemartins. For getting to know Paul – I highly recommend ‘Paul’s Gang’ on you tube. A brilliant BBC documentary about the making of ‘Painting it Red’ filmed in 1999 and 2000.
“Too many Florence Nightingales, not enough Robin Hoods” Flag Day – 1986
When I was more idealistic I thought a band covering another artist’s song was somewhat trite.
“Where are your own ideas”, “Surely the original was the way it was meant to be” While my
disdain has now switched to Hollywood where it would seem a good third of ‘new releases’
are just remakes of old standards, my appreciation of a well tailored song cover version has changed by 180 degrees.
So I wanted to list a few of my favourites and in turn find out what some of yours might be.
My rules for a good cover version are really simple
1. No original ‘guests’ from the original act
2. Don’t ape the original vocalist – be yourself
3. Seek to change the song and incorporate your own style.
Here are a list of some of my favourites over the years.
I’d like to put together a triple disc compilation of these as I am sure I could find 70-100 examples.
Dubstar covering Billy Bragg’s “St. Swithin’s Day” – Beautiful….just beautiful
The Clash covering Junior Murvin’s “Police and Thieves” – West London reggae bliss
Suede covering Robert Wyatt’s “Shipbuilding” – See my reference to singing in your own style
Billy Bragg singing Sam Cooke’s “A Change (is gonna come)” – East London meets the soul
of America
Ambulance LTD covering Pink Floyd’s “Fearless” – Seek this out!
James covering Velvet Undergrounds “Sunday Morning” – Manhattan moved to Manchester
I’ll have to continue this list later…let me know about yours!
I’ve always thought it would make a wonderful book to have a list of ‘musicians family trees’. Now that I’ve given it more thought, I think it would make for a brilliant website. So…I wondered what sort of interest there may be?
To have a searchable and linkable website that lists all band members and producers for as many bands/artists as possible. The possibilities are endless, but for example Johnny Marr. Everyone knows Johnny Marr started the Smiths with S P Morrissey, in turn many people know he is now officially a member of Modest Mouse. How about in-between? He’s such a unique guitarist that he has formed groups (Electronic) and worked as a guest guitarist with a myriad of acts, including The Pretenders, The The, Talking Heads, Billy Bragg and even formed his own band in 2003 (Johnny Marr and the Healers).
Sinead O’Connor is another great example, apart from her solo releases (Smiths tie-in here…do you know it?) her wonderful voice has guested on countless other discs over the years. Jah Wobble, James, The Chieftains, Peter Gabriel are amongst the acts she has performed with.
I think it would be a wonderful website for music collectors and also open up doors to enjoying others acts by finding out about collaborations and artist history. I also feel that producers would be useful. I found it odd that Ian Broudie seemed to produce every other album I adored from 1979-1989 prior to the Lightning Seeds. He worked at the controls for The Bunnymen, The Fall, Frazier Chorus, Wild Swans (I think), Alison Moyet, Terry Hall, Primitives and the list goes on. No wonder his own band came so much later!
Just a thought – a project like this might be fun – and it would be popular – but I’d love to know what interest there might be be – and I’m sure assistance would be beneficial. As for me, a borderline obsessive music collector who has turned his hobby into an online store – see my website at www.undergrounddiscs.com
