Hello once again, nice to have you back. If it’s your first visit to the blog where have you been for the last 2 and a half years? Not a problem, you’ve got a lot of catching up to do over next few weeks. I must admit that I’ve got my blogging hat back on, I struggled to find time last month and got a little bit frustrated as I knew I was ‘falling behind’ with Clash news. I know it sounds a bit daft, we’re talking about keeping current on a band that essentially ceased to be more than 25 years ago but the reality is with the rise of blogging, social media and the simple fact that you can read articles from newspapers throughout the world online there is always something to write about. Thankfully and purely coincidentally it seems that the last two plus years have seen Mick Jones more consistently active with a huge array of commitments than at any time in many moons. In addition so many of you have furnished me with other stories or even first hand accounts, photos and experiences to keep things busy. If you ever feel like contributing to the blog and have something you think may appeal to readers please let me know as I always welcome guest posts. It can be a Clash related opinion, bit of research or simply a personal experience relating to the band. There’s no wrongs or rights, if you think Combat Rock was their best album you can explain why, if you wish Paul Simonon took on lead vocals more often just say so. I’ll never manage to cover everything and we won’t agree on all views (Charlie Don’t Surf is one of their five best songs, Mick Jones had the best hair circa 1980) which is fine. I’d love to host a guest post or seven, so please don’t hesitate to contact me.

Right then, a few things on tap today and then (finally) some more focused posts in the days ahead. I’ve found myself scurrying from one thing to the next this month and wonder about the important stuff I might be missing?

File this under early warning (very early) but I love the 2012 Strummercamp logo so much (featured left) that it merits coverage. The astute amongst you will have seen already that next year’s event is the 7th annual celebration of Joe up in Manchester. As ever you can expect an excellent lineup at the event which seems to grow in popularity with each passing year. Full details will be added to the official site in the months ahead in the meantime the facebook page for Strummercamp 2012 is a good place to keep in touch and contact the key people. We’ll look to have more comprehensive coverage here on the blog in 2012.

Few people namedrop The Clash more than me on this blog but I think Billy Bragg would run a close second which is fine with me. I’m a long standing fan of Barking’s finest and in my humble opinion the very fact that Bragg hit the scene right at the time when the original lineup of The Clash was splintering has always been symbolic to me. It’s meant that I’ve had a protest/political artist playing a huge part in my life for over 30 years and Bragg embodies many of the things that The Clash were trying to accomplish. Just like The Clash there have been some adventurous adaptations which don’t always work our according to some listeners but I’ll forever feel indebted that The Clash expanded beyond the sound they perfected on those first two records, so similarly did Bragg expand far beyond one man and his guitar to become a modern folk singer who was even tasked with adding music to the unfinished songs of Woody Guthrie. In interviews it has become clear that most well researched journalists really want to explore that connection between Bragg and The Clash so it’s not Bragg’s ‘fault’ really and such was the case in this great interview with Sabotage Times. Make sure you read all of it beyond the obvious question about The Clash as you’ll enjoy it I think plus The Clash get mentioned elsewhere.

Finally today can’t end for me without mentioning the anniversary of the death in 2004 who meant a great deal to me and to many of you too I’m sure. All of us who grew up being obsessed with music and certain bands can speak at length about how we feel concerning artists we have never had the chance to meet or get to know in many cases. I never met Joe Strummer or Topper Headon and until last October I hadn’t even experienced my 90 seconds or so chatting to Mick and Paul when they visited town (this time last year). We’ve all got a list of singers and guitarists who changed our lives for a summer or maybe forever.

However seven years ago today someone who was just as important to my youth and musical education passed away although he never played on my favourite records, although he did play so many of them on the BBC. John Peel was a marvel, everyone related to him and respected his (amazingly broad) taste. If you spent more than a handful of hours listening to Peel when you were younger and didn’t benefit then you can’t have been paying attention. The list of bands that he helped to break is as long as it is excellent, Billy Bragg for example got a demo tape played by dropping it with Peel at the BBC along with some Indian food after Peel had remarked on the air about his hunger for said grub. John Peel was the gatekeeper for so many great bands and his enthusiasm never waned right up until the end. Beyond The Clash one of my very favourite bands for over 25 years has been The Wedding Present and knowing that they remained one of John Peel’s top choices always made me feel that much more ‘in the know’. However that was the magic of John Peel, we all have such stories about him. I miss him still, I think he was one of the most important people I never knew, but then again I knew him so well. Every time I flick through my collection of records and CDs it’s obvious he will stay with me.

Good evening, a late night update from the desert from me(*typing by moonlight and a tall/cold glass of water). I know I owe you part two of the Mick Jones in Minneapolis piece and I will get to that tomorrow. Earlier this evening though I was looking through my records, you remember, vinyl. It struck me as how beautiful album (and even singles) sleeves were, I grabbed London Calling and realised just how much of an impact those 4 pages of lyrics and photos had impressed upon me as a teen.

I hadn’t revisited some of these records for quite a few years, each small black and white photo on the London Calling inner sleeve and the (Ray Lowry) fonted lyrics reminded me of how many hours I’d spent with these pieces of paper all those years ago. While the record was doing it’s thing at 33 1/3 rpm we would sit and look at the record’s artwork. We’d smoke cigarettes and drink cider as we wondered if there was ever going to be anything as important as our records and although I realise I’m supposed to grow out of that I’d still argue that the answer is still no. Nothing mattered as much as music then and I don’t know if anything has ever mattered as much to me since. Through music came a feeling of action, of involvement, of excitement, of possibility and usually a reaction. I looked at the 7″ sleeves of some of The Clash singles I have (so sadly dog-eared now) and the simple but expressive beauty of some of the early Two-Tone singles by The Specials. I found myself shocked at the majestic quality of everything I still own on Factory Records and 4AD, heavier cardboard, beautiful construction, art for the sake of it – and no wonder Tony Wilson couldn’t keep Factory afloat.

I slid the three slabs of Sandinista! out of their sleeve and laughed at the fact that The Clash insisted on making sure the record was affordable so their fans didn’t need to save up to purchase the thing, perhaps a triple album would be their folly but the fans shouldn’t need £15 or $20 to get their latest offering, it was of course marketed (if memory serves) at £5.99 in the UK and $9.99 in the US much to the ire of CBS records, about half of what the label wanted it to cost. The Clash meanwhile had to make peace with CBS by skipping royalties until 200,000 copies had sold, that moment didn’t arrive for more than two decades. I briefly panicked when I couldn’t find my copy of ‘The Armagideon Times’ booklet until I recalled that it was stored away with all my box set stuff.

I quickly looked at Combat Rock and remembered the bittersweet relationship I had with what always felt like an early goodbye from a band I wanted to have beside me for many more years, after The Clash my collection was dominated for a while by acts on Rough Trade, Mute, Factory and Beggars Banquet – my loyalty went to movements and labels (stables?) rather than a single band for a while but The Clash were still my gateway to all of that.

When CDs eventually replaced vinyl I resisted for a while but since felt sorry for those who never had the proper association with having amassed a record collection. Yet now twenty years later with a CD collection in excess of 2,500 titles, I’m told that nobody buys CDs anymore which isn’t true based on my local music shops. Even that is now obsolete and I thought it was hard enough to connect with an artist when the inlay card measured just 5″ x 5″ – is there anything more soulless than a downloaded collection of music then compressed onto your i-pod? Besides which you’re taking a huge hit in sound quality you’re also taking the media down to the lowest common denominator. I put my records back on the shelf with the mixed feeling of sadness but also gratitude for having them in the first place. I might even start a new blog called 144 square inches when I find me some time.

Good afternoon, another warm one in the desert. I’m just watching Arsenal playing in Portugal with Russian commentary. Talk about global-a-go-go. I found myself listening to Streetcore last night, three times in a row. First time I’ve done that in years with that album.

When the album came out in 2003 I must confess I was still far too downhearted about the loss of Joe Strummer to properly enjoy the album, it was more a case of a record to mourn with and to feel sad or even despondent about. The entire year was darkened by the events late in 2002. I’m sure others instead rejoiced with it but for many years the album while I knew it was good only served to make me feel hollow. Until more recent times the best I could say for Streetcore was that the Mescaleros along with Lucinda Strummer did an amazing job at pulling together partially completed songs and make them release worthy. The sessions were at their very earliest stages and yet the album sounded hauntingly complete. Since Joe passed away I’ve always been more likely to listen to the first two albums with the Mescaleros. I think mostly for sentimental reasons, you know how you associate albums with a certain time? Those three years before Joe died were the most exciting time to be a Strummer follower since the days of Combat Rock in my opinion. He’d found a band (especially by the time of Global) who complimented him and expanded on his goals for the music, the layers of sound and the flow of ideas. Skilled, adaptable and flexible Joe even told Bob Gruen that he felt the Meskys were the most talented group of musicians he’d ever worked with. That is quite an accolade but I think there are a number of reasons to properly consider that statement. As he approached fifty he had (ironically) more fully taken on a characteristic of Mick Jones – pull on your influences and experiment to your hearts content. He found musicians who would take that path as freely as he dare. It resulted in some remarkable music. What hurts is that I have every suspicion that the best was yet to come from Joe’s “second busy phase” of activity, the band had found their feet on Global-A-Go-Go and you felt that they would go on to produce even more remarkable albums very soon.

It was a great time – Joe was touring almost constantly and having a brilliant time with it. Giving loads of interviews and seemingly finding himself comfortable (perhaps to his own surprise) in the shoes of punk’s senior statesman. What made that even better was he was humble enough to acknowledge just how much other music continued to not just influence but truly impress him. He also understood that as the writer of some of the greatest songs ever whilst with The Clash that there was nothing wrong with working or reworking some of those songs into his then live set. Can you even imagine what sitting in on a session in the studio must have been like those last few years when Joe knew he had found a pack of guys to play with that could build upon the sounds he wanted?

You’ll also probably remember there were rumours floating around in 2004/5 that there was quite a lot of music left on the tapes in the studio. Uncompleted songs and experiments that never became a finished article. At that time rumours were that Lucinda was going to work with Sony and Damien Hirst to get some of these songs released. Then the rumours died down until last year. At that time Lucinda revealed that ultimately a book with sketches, notes and song ideas from Joe would eventually be released. Something for the collectors then and again with the involvement of Hirst.

Streetcore remains an album forever associated with the final chapter of Joe’s life, seen as that it’s strong, full of fire and invention. Seen as an album without a date stamp it might have been the best Mescaleros album of all if fate didn’t intervene that December afternoon. An unfinished masterpiece or another bold step forward. Either way we weren’t ready for the floodgates to be closed so unexpectedly and suddenly. When I feel brighter thoughts about Joe I feel thankful that he met Richard Norris and started working with him again in the first place, a reawakening of Joe’s need to write and a rebuilding of his confidence that led to those last wonderful years. It’s plausible to consider that without the part Richard Norris played that Joe might have stayed on the sidelines. I’m thankful that we have those great records to still listen to. Tim

Coma Girl – Joe Strummer and the Mescaleros