The Clash, accept no substitute or so you’d think right? I’ve been bouncing around some ideas of a series of posts about songs the Clash covered and then the giant ants nest that is artists who have performed Clash songs. Both are really time consuming, pretty interesting but need more planning on my part. On a related path there are bands who cover The Clash -- all the time -- tribute bands.

Let me start by saying I’ve never seen a tribute band in my life, although some acts who’ve changed lineups so much (Echo and The Bunnymen spring to mind -- though I love them I yearn for the original four, which of course isn’t possible) feels somewhat like a tribute act. As for The Clash, I can see why there is a long list of bands (bands? I guess) who take this path. The logic for it is sound -- hugely influential band, ended far earlier than they should and never reformed to take away your potential audience. Thus I did some legwork and researched a bit about this whole concept. Music is an odd industry, where else can you take a form of art/entertainment and make a living trying to be that person or collective? Hello everyone, I’m half english-half irish and like to act a bit like Daniel Day Lewis -- please let me take part in ‘Next to Last of the Mohicans’.

Still an open mind was needed so I detached myself from preconceived notions and started with Rebel Truce. Some background information, these lads have been together since 1997, which means they’ve played Clash songs for almost twice as long as The Clash. That in itself is pretty odd, but speaks volumes about the market/need for a tenuous connection with West London’s finest. I also must add that ‘tribute’ is appropriate, they seem by all accounts to be dedicated to keeping the spirit of the band in safe hands -- so with that said do Jerry, Lee, Rick and Wayne have something special going on?

I’d have to say yes -- in a sense (the sense of providing a decent rendition of The Clash).

The plaudits on the myspace page seem to be a good barometer, with old Clash fans and those who never were of the right vintage sharing their plaudits and excitement of having seen the next best thing. So I launched into their playlist.

Well….it was a bit like getting to a friends house and hearing about their planned meal. “You’re gonna love it, a combination of  4 things you’ve never heard of but it’ll taste like a really nice cottage pie”. 2 hours and a bottle or red wine later, it wasn’t the best meal ever but was plenty good -- not sure you’d ever want it again, but much better than expected.

I’d say the same for Rebel Truce. I listened to all the songs on the myspace page - and there’s nothing to dislike. The live songs are delivered in tight fashion with good musicianship. The delivery of the songs was a bit loyal to the recordings as many Clash songs live were often a little faster and a lot more furious. Again though the guitar/bass playing was right on schedule, the drumming was a little subdued -- but Topper was Topper. As for the vocals it was a combination of familiar -- “Is that Mick with a cold?” and somewhat forced “Joe’s accent sounds a bit warped” but again the power and vocal inflections were good. Perhaps a bit too mimicky -- but it’s a hard line to follow. I’m sure the audience want it as near as possible. The backing vocals were really good. The best track was their demo/studio version of Spanish Bombs, which despite a different feel to the mix the sound was bang on, if you were in the next room it could have been a Clash demo.

The stage moves….these boys own a DVD player and enjoy/study live Clash footage. That’s enough to be getting on with.

So overall, let me say if I was still in the UK and had nothing planned on a Thursday night I’d drop down to a venue and see them. I’m lucky as I did see The Clash but if you never did I’d recommend it more. I had to pull away my previous concepts of a tribute band -- these guys obviously have a passion for The Clash and clearly work hard at it. Thankfully -- helpfully -- they don’t seem to try too hard to look like The Clash, that would make me recoil a bit. I mean they do wear ‘punkish’ gear but it’s not as if they are spending hours matching Paul Simonons best line of belts and jackets.  In summary, they do have a lot of gigs scheduled so go and see em. They’ve more than 50 tracks on their CV and dedication that looks to be well beyond a phase. If you have seen them, let me know -- if you’ve seen another Clash tribute band email me.

Not to be contradictory but they also remind me how uniquely incomparable The Clash were. You can’t really touch them live. You could draft the geyser from Glasvegas to stand there and look the part.

Your somewhat converted Clash Blogger….or am I him?

I already knew John Hughes was pretty special (see previous post) – but this previously unreleased interview cements it.

“Every time I put that music on, it reminds me emotionally where I was in the script,” he explained. “I usually listen to surf music, not much instrumental music, and when I was younger I listened to jazz. I used to write to the Clash — [albums like] Give Em’ Enough Rope — and early on, a lot of reggae.” He professed to being a “music snob” who refused to listen to top 40 when he was younger, and to getting copies of England’s Melody Maker magazine so he could look at the import charts and send away for records that none of his peers knew about.

“In the ’70s I was dying,” he said. “I couldn’t stand hippie music … all those people running around in their overalls, disco was horrendous, so I was listening to classical music, Jimmy Rogers and Hank Williams,” he said, describing how he discovered legendary Chicago indie record store Wax Trax, where he first picked up albums by Elvis Costello. On a trip to England, he discovered punk bands like the Stranglers, the Buzzcocks and the Clash. For him, it was like finding the Beatles.

Full credit to MTV.com for getting this published the day after his sad loss. I was on the fence during yesterday’s article to suggest (and assume) that if John Hughes had been making films 4 or 5 years earlier The Clash would have been staples for the soundtracks – that assumption now looks safer. It didn’t surprise me  in the least that a trip to England planted so many seeds for him.

Sorry for the short post – don’t forget deadline for voting for top 10 Clash songs is tomorrow midnight PST.

Tim

Strange day….after spending a nice break in Los Angeles it took coming back to Phoenix to feel an earthquake (or two) earlier this morning. Not a big shake but enough to notice and rattle the cat. Is this Earthquake weather?

Speaking of enough to notice; I’m tired of people sampling/borrowing/lifting music from The Clash unless I’m sure Strummerville or Jones-Headon-Simonon are getting the deserved royalties. Whatever happened to a straight cover version? The Clash themselves were always keen on covers a did a bang up job on a number of them. I Fought The Law being the one that some even assume The Clash wrote -- on that topic it (I Fought…) made this list of the 50 best cover versions ever coming in 9th which is decent, til you see a cover of a Tears for Fears song at number 3. Covering Tears for Fears?? Isn’t that a bit like trying to cook like McDonalds…what’s the point?

Back to my concern….M.I.A. ‘taking’ the melody from Straight To Hell for the song Paper Planes was one thing, however it was a known thing and not presumed or implied. Mathangi “Maya” Arulpragasam (for that is her real name) didn’t hide the fact the song was essentially built around the Clash track saying:

I always took pride in being a little underground — it really is a very unlikely record to cross over -- MIA

Just a little underground

I’m not sure how ‘underground’ it is to take one of the best known Clash songs from their biggest selling album? I would imagine that was why she used the word ‘little’ but I should watch my step as my name is neither as long nor do I have a cool three letter moniker. Maybe she means underground like the Piccadilly line is once you get to Barons Court? She might have done better to pick something from side 5 or 6 on Sandinista! All that said if it makes (and I’m sure it does) a certain percentage of kids who heard that track want to investigate The Clash then that’s a good thing right? Anyway if you somehow missed it -- it’s below and is good, basically as it’s Straight to Hell with a hip hop beat.

My lingering question is do The Clash get paid when it’s out in the open? Music industry lawyers or Mathangi -- feel free to write. Now onto my other less obvious example which was sent to me by a Clash fan in Tokyo. This one is far more subtle as only the intro 12 seconds or so plus briefly at the end demonstrate The Clash theft.

The song in question (to these ears) is The Call Up from Sandinista! A more distinct opening to a song is hard to imagine and the timing and and nuances are essentially exact especially Topper’s little drum roll. Or is just me? The ‘song’ in the middle is dire, pointless and not likely to cause a stir but that’s not the issue. Again did I imagine it? Incidentally here is a brilliant live version.

Try this on for size and let me know:

Sampling is what it is, and in principal if you confess your source I’m alright with it but still not an admirer of the concept. I’m feeling very 42 as I wrote that last sentence!

What's this then?

Two last things -- The 2nd Clash related photo from my L.A. trip is above, can you name it? Also just added this section to the site for a laugh and essentially for stuff too naff to make the actual front page posts.

Tim