Since Musk’s takeover of Twitter has been confirmed, there has been a lot of chatter about free speech. Musk, we are told, describes himself as a ‘free speech maximalist’, and there are fears that he’ll have Twitter reinstate the accounts of Trump and other white supremacists.

But I’ve been thinking about Joe Strummer.

More specifically, I’ve been wondering why his ‘The Road to Rock ‘n’ Roll’ was popping into my head so often. It wasn’t a problem: getting an earworm of a song I like doesn’t bother me. But I wondered what was triggering it.

I can often work out why I get a song in my head. I knew, for example, why I often had The Clash’s ‘The Prisoner ' in my head through the summer. The words ‘The Prisoner ' are written on the whiteboard in our kitchen, along with the titles of the other serieses we’re watching.

And in fact I sing ‘The Prisoner’ every time I hang out the washing, owing to its line referring to ‘hanging out the washing and clipping coupons and generally being decent.’

It clicked today, though. You know how — if you’re an old-school album listener (or just old) like me — when you play an album, one track’s ending often triggers the expectation of the next? So that, when you hear a song in isolation, on a playlist or on the radio or something, and the wrong song plays next, it can be quite jarring?

The song before ‘The Road to Rock ‘n’ Roll’ on Rock Art and the X-Ray Style is ‘Techno D-Day’. Joe’s celebration of illegal raves ends with the line, ‘And this is about free speech!’

So it turns out my head was just playing the next song whenever the phrase came up.

God, I have missed this so much. Live music FTW.

I get emails from the Joe Strummer Foundation . The most recent one told me that their artist of the month for September was someone called Gemma Rogers. I hadn’t heard of her, but was interested when I read that she’d had an album launch at Paper Dress Vintage. That’s a place just down the road from me on the Narrow Way. It used to just be a second-hand clothes shop, but now it’s more, I guess.

Anyway, the thought that she might be a local piqued my interest, as well as the JSF recommendation, so I gave her a listen, and liked what I heard a lot.

She was booked to play at a place called Folklore, on Hackney Road, so I thought, why not? In support was Gabi Garbutt and the Illuminations , who I saw once a few years back, because Sean Read, whom I know from round these parts, was producing them and playing in the band. Back then. Not anymore. Not tonight, at least.

Going to a gig in a small venue? No big deal, right? Except… this is the first gig I’ve been to since I saw Glen Matlock. At the end of February 2020.

It felt like quite a step.

But after a bite to eat across the road, we made our way in through forbidding, castle-like doors. Inside is a smallish bar area, and a classic pub backroom. The stage made of two layers of forklift pallets topped with hardboard. It was smoky. Visually, it was like being back in the eighties. But of course, it was stage smoke-machine smoke. Exactly why it filled the air before anyone had taken to the stage escapes me.

Unless it was to show the lasers. It looked like this:

Anyway, Veronica Bianqui brought her Hollywood-fuelled LA tones to Hackney Road. Though it turned out she had been on the bus with us down from Clapton.

I probably enjoyed Gabi Garbutt’s performance most of the three. Because at times? At times they sounded a bit like late-period Clash.

They sounded. Like. The Clash. Combat Rock-era. I think it was mainly the bass player sounding a bit like Paul Simonon. Whatever, I can pay no higher compliment. No higher compliment can be paid.

But Gemma Rogers was also great, with the singalong of ‘Rabbit Hole’ being the highlight. Not often you get the band applauding the audience.

But yes: I had missed it so much more than I realised. Just getting together in room with a hundred or so people, while others make rocking sounds up the front? How could I have forgotten?

I’m a republican, but you’ve got to acknowledge that old Queenie had a good run. Apparently the direct descendent of Mary, Queen of Scots, which I didn’t know.

My favourite story about her is the one about the landrover and the Saudi crown prince.

The weirdest thing about the change of monarch for me? The King’s Speech is an Oscar-winning movie, not something to ignore on Christmas Day.

I was never a huge Meat Loaf fan, but I always liked Bat Out of Hell, and of course enjoyed him in The Rocky Horror Picture Show. So I’m saddened to hear of his death.

I’ll be playing Bat Out of Hell today.

Or maybe that should be ‘flame one up for Joe’, considering his preferences. It’s the anniversary of Joe Strummer’s death today. Nineteen years. I still miss him.

We subscribed to Disney+ last night, so that we could watch Peter Jackson’s The Beatles: Get Back. I had thought it was going to be a movie, but it turns out it’s a miniseries: three two-hour episodes. The second drops today, and the third tomorrow. {.has-dropcap}

It’s built from hours of footage that were recorded for the Let It Be documentary back in 1969. I remember watching that once and being disappointed by it. The main problem was that it was presented as a fly-on-the-wall thing, but the fly was aurally challenged.

In other words, you couldn’t make out much of the chatter between the guys. That, almost as much as hearing them rehearsing and working on the songs, was kind of the point.

If you were making a documentary like that today you’d probably have all the band members wearing microphone packs, as the participants in reality TV shows do, so that what they said would make it to storage. Back then, though, even if that had been practical,¹ it was far from obvious that the individual Beatles would all have complied. Plus we’d want to hear from Brian,² and Mal, and Glyn, and the other George, as well as John, Paul, George, and Ringo. {.has-dropcap}

That’s a lot of microphone packs. So of course, the original producers relied on ambient miking. It’s fine when the speaker is near one of the vocal mics, or when they’re right under a boom, but otherwise… well, as I say, Let It Be was a frustrating experience.

However, technology has come a long, long, way in the succeeding fifty years. Every word in this is clear as a bell,³ undoubtedly with the help of modern digital audio editing. It’s slightly ironic to note that one of the first things the band say is that the place they’re working in – a warehouse in Twickenham – is acoustically bad. An odd choice of a place in which to work on writing and performing songs.

Anyway, as of the cliffhanger ending of episode one, this series is fucking amazing! Totally brilliant! {.has-dropcap}

But only if you’re a fan. If you only take a passing interest in The Beatles, or (weirdly) none at all, you probably shouldn’t waste your time on this.

The Disneyfication of Christmas

Disney have made a genius move in launching this when they did. We will be far, far, from the only people who took out a subscription to watch this, with the intention of cancelling it after a month. {.has-dropcap}

A month. What’s a month after yesterday, the 25th of November? Oh yes.

All those subscriptions that are due to renew on Christmas Eve or Christmas Day? So many of them won’t be cancelled, either just to have things to watch over Christmas, or to keep the kids happy, or because people will forget with everything else going on.

I don’t mind, I’ll probably try to catch up on some of the newer Marvel and Star Wars stuff, of which there is just far, far, too much now, in my humble opinion.

But there’s not too much Beatles.

You’ve probably heard a song off an album – you’ve heard the album, maybe a few times, but it’s just kind of washed over you, not really made much of an impression – you hear a song, maybe on the radio, maybe some random or curated playlist, and you go. ‘Wow! What a great song!’ And then you realise it’s from that album, the one that washed over you.

That’s what singles were for. Still are for, since they’re still released, though it’s not quite the same.

I just had that experience with Radiohead. Kid A never made much of an impact on me, but when I turned BBC 6 Music on tonight, a killer track was playing. Steve Lamacq back-announced it. He was playing the whole album, and the track was ‘The National Anthem.’ I knew Kid A had a track of that name, but it had never really got to me. But there, now, tonight, it was just amazing.

A similar, if inverted, effect is when the album is so good that it kind of drowns out a brillant single. I can only think of one example of that at the moment. If you cast your mind back (assuming it goes that far) to when The Jam released ‘The Eton Rifles,’ it was an incredible song.

But Setting Sons is such a good album that I hardly notice ‘The Eton Rifles’ on it.

Anyway. Singles. Yes.

Great story about interviewing Jonathan Richman, by writing a letter to him and receiving one back.

‘Jonathan doesn’t use the internet, email etc. and has never owned a computer or cell phone.’

– Oscar Zambuto, An interview with American music legend Jonathan Richman – all in handwriting

Though he does have an assistant who can say that.

A screenplay by Mark E Smith, cowritten with Graham Duff? Sounds like it could have been great:

… Smith was an unexplored writer of strange fiction. Duff sums up the narrative of the film: “Essentially, the Fall are trying to record an EP at a studio on Pendle Hill, while the surrounding countryside is at the mercy of a satanic biker gang and a squad of Jacobites who have slipped through a wormhole in time.”

– John Doran, Satanic bikers, time portals and the Fall: the story of Mark E Smith’s secret screenplay

Never made, sadly, but it’s coming out as a book: The Otherwise: The Screenplay for a Horror Film That Never Was.

‘New single by Belly': not what you expect to see on your phone in 2021. Thanks, MusicHarbor.

However, as I wrote in ‘Colliding Names,’ back in October, this is a different performer with the same name. The Wikipedia article tells us that ‘our’ Belly are active again, though.

It’s exactly a year since I last went out to an event.¹

I referred to ‘being out on a cold, virus-infested night’ to see Glen Matlock in Leytonstone, and it seems really weird now that I did it.

What were we thinking? Gathering together in a small hall, where people were singing and shouting. And not a mask to be seen! Masks? who had masks? How would we have drunk our beer while wearing a mask? You probably wouldn’t have been let in if you had turned up wearing a mask.

Although I had good social distancing at the start, when I was almost the only one there.

Memory, eh?

Following on from number 27, then, we have David Keenan’s latest novel. Again we’re in a kind of magic-realist setting, without any obvious magic. In St Petersburg a young woman lives with her father, who is a failed or fading musician. The daughter – who is the viewpoint character – starts a relationship with her father’s friend, and gets pregnant. She keeps all of this from her father.

Her father, meanwhile, puts on a show at which he performs some seemingly-otherworldly music. He starts to believe that it was actually created by some sort of mystical entity called Xstabeth.

For reasons that escape me at the moment they go to St Andrews,¹ where they get involved with a professional golfer. The ‘tenuous, ambiguous, confusing event’ that I referred to in the earlier note happens from this side too, but you’d only notice it if you’d read The Towers The Fields The Transmitters.

The novel is presented as if it were an academic work about a novel calle Xstabeth, by someone called ‘David Keenan,’ who killed himself by jumping from a tower in St Andrews. So there are cod-academic sections or extracts between the chapters.

It’s all very meta, and I enjoyed it, but I’m not sure I totally understood it. The strangest thing about it, in some ways, is the use of punctuation. Almost the only punctuation used is the full stop. But that doesn’t just mean he’s avoided using commas and semicolons, and constructed appropriately short sentences. It reads as if he wrote it with conventional punctuation around dialogue and so on, and then replaced every other mark with the full stop.

For example, consider this:

This is singular. He said. This is music that cannot be repeated. This is music that can never be toured. This is music that can never be applauded. I pointed out to him that there was applause on the record. Muted Applause. Awkward applause. Uncomprehending applause. But still. Applause. What is the sound of one audience member clapping. I asked him. He laughed. Yes. He said. Yes. Yes. There is no mechanic in the world for this music. He said.

A more conventional way to punctuate that and lay it out, might be:

‘This is singular,’ he said. ‘This is music that cannot be repeated; this is music that can never be toured; this is music that can never be applauded.’

I pointed out to him that there was applause on the record. Muted applause; awkward applause; uncomprehending applause; but still: applause.

‘What is the sound of one audience member clapping?’ I asked him.

He laughed. ‘Yes,’ he said, ‘yes, yes. There is no mechanic in the world for this music,’ he said.

There are, of course, other ways you could present it. As an experimental way of presenting text, it’s interesting enough. I found it intruded, in that I constantly noticed it; but not so much as to be annoying. Though there were places where it was slightly confusing. I paid particular attention to it because we recently discussed ways to present dialogue on my course.

Honestly, it’s great: I love the fact that I can stream all the albums in the world for one flat monthly fee.

I just wish that so many of them didn’t end their titles with ‘(Expanded Edition)’.

Or at least that the ‘Original Edition’ was there too.

The soundtrack for today starts with Earthquake Weather. How can Joe Strummer have been dead for eighteen years already?

I know, that’s just the way time works. The music lives on.

A few years ago I wrote about how I was notified about the wrong band called (The) Nails. In that case the names were different, though only by the subtle presence or absence of the definite article. Things have got even more confusing recently.

I have an app on my phone called Music Harbor (sic). The idea is, you give it access to your music library, and it notifies you of forthcoming releases by artists you already have tracks by. It sometimes throws up some oddities, like people I’ve never heard of just because they’re ‘featured’ on something I have. But mostly it’s pretty good. It’s how I know that Bruce Springsteen has a new album coming out in a few days, for example.

A few years back I heard a track called ‘Bass Down Low,’ by someone called Dev. I liked it, both musically and lyrically. I mean, it’s not profound, but ‘I like my beats fast and my bass down low’ is a sentiment I can get behind.

So there was a new track by Dev out today. However, the guy rapping on ‘El Erb’, is not, I feel sure, Dev, the female singer & rapper of ‘Bass Down Low.’

It’s also a scunner of a name to search for, what with it being an abbreviation for developer, the TV show, and Google completely owning the .dev top-level domain.

Multiple people with the same name: it’s a problem. It’s why actors have Equity names, I guess.

Still, there should be no problem with the early nineties Scottish indiepoppers Bis, right? Who’d have thought they’d be back with a new single, this long after ‘The Secret Vampire EP’?

No-one, it turns out. This Bis is someone else (and his single ‘Streets’ is also nothing to do with The Streets).¹ It’s also hard to search for, not least because it’s an abbreviation for several different organisations. I even used to work for a company called BIS.

I don’t think the English language is running out of names, but if you’re planning on using a short one as your professional persona or brand, you probably want to check out whether or not someone has already used it in your field. Though it’s not always that easy, as I’ve noted.

There’s even a music magazine called Clash, which has nothing to do with The Clash.

Still, ‘Sugar sugar kandy pop/Push it down and pull it up,’ as I’m sure we can all agree.

It’s funny when you hear the DJ on BBC 6Music saying, ‘I borrowed some records from the John Peel Archive’; and then you realise it’s Tom Ravenscroft. ‘I got some records from my dad’s collection’ doesn’t sound quite so… distinguished.

Listening to the Bikini Kill Peel Session, and it does have Peel’s intros. So good to hear his voice again.

Warren Ellis draws our attention to this incredible listing of links to Peel Sessions. They’re on YouTube, so there’s always the chance that any of them will go away, but in the meantime, what a resource.

Got to ask, why doesn’t the BBC make this available officially?

I have only one complaint about that page: it needs use stop-words in its sorting, or otherwise deal with bands called ‘The’ Something. I scrolled down to the ‘F’ section and thought, ‘Well there’s a bit of a large gap here, surely?’ Until I scrolled down to ‘T’, where we find The Fall.

Also, it would be even better if we had Peelie’s introductions, but I guess those aren’t in the released versions.

I’m listening to Dolly Mixture as I write. Who remembers them? Well, hardly even me, to be honest. But they introduce themselves in their very first track.

Sad to read in The Guardian that Astrid Kirchherr¹ has died. She was 81. That’s not a bad age, and it’s not like I had followed her career. I just knew her as a photographer who had worked with The Beatles, and been Stuart Sutcliffe’s partner till he died.

But from my early reading of Beatles books – like The Beatles: An Illustrated Record – onward, I was aware of her as part of their story, their mythology.

More than that, though, as the article above, as well as her obituary, will tell you: she was the one who gave them their early look. She made them the “lovable moptops.” They’d have been successful without the haircuts, of course, but there’s no denying the importance of that early image.

I think I’m saddened more because of what her death represents. I was born the year The Beatles took America. They had long split up by the time I developed any musical awareness.² But they were the first band I really got interested in, when my sister gave me a tape. They were my favourites until punk came along, and I love them still.

But that whole generation is ageing – well, who isn’t, of course – and will soon be gone. And mine not too far behind it. So what it all comes down to is that Astrid’s death reminds me of my own mortality, and there’s no excuse for that!

Brilliant photos, though.

Sad to hear of the death of Dave Greenfield from Covid-19. The Stranglers were not really like other punk bands. But they were the band that got me into punk. I heard ‘No More Heroes’ on the radio one weekend, after hearing my school friends talk about punk, and I never really looked back.

I never saw them live, and I didn’t follow their career after the first three or four albums; but there’s a lot of good stuff in those early ones.

Greenfield is, I think, the first musician of that generation to die from the pandemic.

My favourite band have become a museum piece.

Or at least, some of their instruments, clothing, lyrics, and memorabilia are in an exhibition which the Museum of London¹ has been running since the fortieth anniversary of London Calling in December. I popped along today.

It’s small, but pretty good. The centrepiece is Paul Simenon’s smashed bass from the famous cover photo. It lies under glass on a red velvet cushion, like a fallen warrior lying in state (see above).

It’s actually kind of gruesome. “That’s no way to treat an expensive musical instrument,” as someone once said.

I didn’t learn anything I didn’t already know, I don’t think. Except maybe that Joe had a backup white Telecaster, that I don’t think I’ve ever seen him use, either live, in video, or in photos. His iconic black one is in the Rock ‘n’ Roll Hall of Fame, I believe. Or another museum.

Oh, and see the poster in that shot? “Two for a fiver”? When I bought London Calling it was only £3.99. Both times, as I’ve written about before.

Anyway, worth checking out, especially since it’s free. My main complaint: there are a lot of songs that could have been playing, even if they kept it to the relevant album. Instead they had a loop of just three (“London Calling,” “Train in Vain,” and “Clampdown,” the latter two live versions).

Glen Matlock doesn’t seem to have much time for the past, except the past as he sees it. Cover versions of the New York Dolls, or one or other size of The Faces, are fine. But the songs that he co-wrote? The songs that are responsible for what fame he has — for 200 people being out on a cold, virus-infested night, to see him?

Those songs — that single song, in fact ¹ — is relegated to the encore.

There’s nothing wrong with keeping your best-known songs for the encore, of course. But when the ticket site said “Curfew: 10:30,” and it’s 10:27 and there hasn’t been a single Pistols song, you can start to get a bit twitchy.

On the plus side, he did introduce “Pretty Vacant” by saying, “This is ‘SOS’,” referring to his borrowing of the intro riff from the Abba song.

It was a good night, though. His originals and the covers were all fine. It’s just that, if you heard a no-name pub band playing those songs — well, you wouldn’t bother going out specially for it.

The night was billed as “Glen Matlock + Earl Slick.” I’m embarrassed to admit I had to look up who Slick was. Turns out he only replaced Mick Ronson in Bowie’s band, and worked with John & Yoko! And now he’s playing lead guitar in Glen Matlock’s band. Oh well.

Christmas is the time of year when the devil doesn’t have all the best tunes. The other side gets some of them too.

I love Christmas songs. Not all of them. of course, but many. And that includes some of the Christmas carols. A full choir singing ‘Hark the Herald Angels Sing,’ or ‘Oh Come All Ye Faithful’? I’m there.

The best Christmas songs, though, do belong to the — let’s say — secular side of things. I have a hierarchy of my personal favourites. Things move around a bit, and very occasionally new ones arrive; and you won’t be surprised to learn that ‘Fairytale of New York’ remains unassailable in the top spot.

One of my other favourites is Greg Lake’s 1975 hit, ‘I Believe in Father Christmas.’ Now, if you haven’t listened to the words too closely — written, I’m surprised to discover, by Peter Sinfield, of whom I had barely heard before researching this — you might think it’s a simple celebration of Christmas, set to a jaunty tune, much like Slade’s ‘Merry Xmas Everybody,’ from a couple of years earlier (and every year since). It’s not, though. It’s much darker and more interesting than that:

They sold me a dream of Christmas
They sold me a Silent Night
They told me a fairy story
Till I believed in the Israelite

And that closing couplet:

Hallelujah, Noel, be it Heaven or hell
The Christmas we get we deserve

Lake and Sinfield have argued that it’s not anti-religious or atheistic. Well, you can have your interpretation, guys. I know what I think.

I mainly wrote this because I’ve wanted to use the line I’ve stolen as a title for years. And I’ll leave you with the wishes the song provides:

I wish you a hopeful Christmas
I wish you a brave New Year

I think we’re all going to need some hope and some bravery in 2020.

Forgetting for a minute the slightly-disappointing conclusion of a 42-year-old story that we spoke about the other day, this month gives us the 40th anniversary of an even more significant creation, for me at least.

The Clash released London Calling in December 1979. Rolling Stone went on to call it the best album of the 80s, but it got a later release in America. And in any case, many wouldn’t have heard it until 1980. ¹

Including me. I remember being at school, at the start of a term, so it must have been January, and Watty saying, “I envy you: you haven’t heard London Calling yet.” That idea of how important the first listen is. I’ve said similar things myself over the years, about various things.

But honestly, I couldn’t tell you anything about my first hearing. I had probably heard the title track — it was a single, after all — and I went and bought the album, most likely at John Menzies in Dumbarton (though maybe at Hall Audio, the nearby hi-fi shop, or Woolies, or Boots, who used to sell records in those days). I do know it cost £3.99, because the band took a reduction in their royalties so it — a double album — could be sold at the same price as a single album. Excellent value, for one of the greatest records ever made.

Though I paid for it a couple more times over the years. Someone walked off with my copy during a party at my student flat in Edinburgh. I replaced it with a second-hand copy, probably from Record Shak (sic) on Clerk Street. Though possibly that was much later and in London. I had a tape of it to tide me over. I do know that the replacement cost the same: £3.99.

The CD must have cost me a bit more, but I didn’t get that until the 25th-anniversary version, with The Vanilla Tapes, the rehearsal-room recordings of early versions of several of the songs.

I could probably tell you a few things about the 7852 ² times I’ve heard it subsequently, though. But it would be better for you to listen to it yourself.

And lastly, just a reminder that tomorrow is the 17th anniversary of Joe Strummer’s death.

I got Whammed¹ in the bakery this afternoon. Walked in, took my earphones out, and, Wham! there it was. George Michael geving his heart to someone. Ever noticed that? He doesn’t say “gave,” he says “gev.” My daughter pointed this out a couple of years back, and now I can’t unhear it.

Oh well, there was never a chance of not hearing it, and to be honest, I don’t hate it like I used to. Remember back when we thought that bands like Wham! or Duran Duran were somehow “the enemy”? Those were stupid ideas. Music is music, and people have different tastes. Let’s let everyone enjoy what they like without judging them.

The most amusing part was that I heard a little girl in the queue behind me saying to her mum, “I just got Whammed.”

Also it’s odd that I haven’t heard ‘Fairytale of New York’ yet this year, except as a weird brass band version that was on the telly advertising some programme.