CALL ME STAR-STRUCK, UNCLE SAM

new-york

I’ve always been fascinated by New York City.

As a young kid I thought it was the most famous place in the world thanks to it being the backdrop to so many films and TV shows. Hell, it even was the setting for one of my favourite cartoons – Top Cat – while there was no mistaking that my favourite comic book hero’s home of Gotham City was the just a different name for NYC.

It was, in my young eyes, everything that America stood for where everything was bigger and better than you could wish for while growing up amidst the monochrome or at best faded-beige UK of the mid 70s. If someone had asked me, as an 11 or 12 year old why I wanted to see New York they would have got the 11 or 12 year old’s classic answer…….just because!

If pushed I would say it was all to do with the fact it seemed to be the best place for sport with the best known names such as the Jets, the Yankees and the Harlem Globetrotters (little did I realise the last of these was showbiz and not sport!). In ‘soccer’ you had the phenomenon of the New York Cosmos and I was desperate to be given the chance of seeing Pele and Franz Beckenbauer take to the field amidst pomp, pageantry and cheerleaders.

Boxing was another sport I watched – particularly the exploits of Muhammad Ali – and it seemed that every other month there was a world championship fight taking place in NYC at Madison Square Gardens. I wanted to be part of such a loud and raucous crowd (albeit years later my first experience of a live boxing match put me off for life)

Oh and then there was the fact that I was fascinated by the idea of hot dogs, hamburgers and milk shakes, none of which you could get in Glasgow at the time (well you could, but you knew that they were all fifth-rate and not a patch on the real things).

Then I got slightly older and began to fall in love with pop music. NYC began to loom even larger as all the best bands in the world constantly talked about how it was the greatest city to play in and how the energy and vitality of the place brought so much to the performances. It also appeared to be where some of the best new music was coming from. And it seemed as if all the women were as gorgeous as Debbie Harry.

But the sheer cost involved meant that visiting NYC in my truly formative years was always going to be an unfulfilled dream. It was difficult enough finding the money to go and visit London far less get on a plane and cross the Atlantic. I didn’t even know how to go about obtaining a passport……

The idea of visiting in later years did come up – myself and Mrs Villain talked about going there for my 30th in 1993 but in the end we went for a beach holiday in the Caribbean. Her 40th in 1998 was another possibility but again the lure of the sand and the sun proved too much.

By now I was in a job that had me seeing a fair bit of the world as I was a senior aide to the equivalent of the Mayor of Glasgow and accompanied him on a number of occasions, especially when he was to deliver a keynote speech at a conference or event.

I had always hoped the opportunity to do so in NYC would occur and so when he received and accepted an invitation to be part of a conference on Waterfront Regeneration, taking place at the Brooklyn Marriott, the dream of so many years was set to some true.

I began to plan everything in terms of how I would spend my free time at the conference and before long I had arranged to stay on for a few extra days at my own expense. Greenwich Village, Central Park, Times Square, Madison Square Gardens, Yankee Stadium, the Chelsea Hotel, Empire State Building, Brooklyn Bridge, the Guggenheim and the Statue of Liberty were all on the list as was a ride in a yellow cab. I’d find small and bohemian record and book stores and have the time of my life. I was counting down the days to the conference which was taking place from September 20-22 2001.

It’ll soon be 15 years to the day that the Twin Towers came down and changed everything we thought about the world in the proverbial blink of an eye. It’ll soon be 15 years to the day that I made my first ever visit to NYC as incredibly enough, the conference wasn’t postponed.

It’s true that more than half of the delegates cancelled, including I would reckon 90% of those scheduled to come from Europe as travel plans were predictably chaotic and uncertain.

As it turned out, I was a passenger on the first Glasgow-Newark flight after 9/11. What I experienced during my stay will stay with me for ever. There’s an entire book can be written about my experiences over the following seven days – understandably it wasn’t what I ever imagined NYC to be in my long-held dreams. But if anything, I fell in love deeper and harder than I thought possible.

I’ve returned a couple of times since and seen more of the ‘real’ New York and thoroughly enjoyed myself. But everywhere I look there seems to be a haunting and chilling memory of my first time…..

I was hopeful of returning to NYC this year, on my 53rd birthday no less, to fulfil the ambition of attending a gig at Madison Square Gardens as The Twilight Sad were supporting The Cure that day. But some months out I knew that events close to home would mean I had to be in Scotland for something important the day after my birthday and so the plan was shelved.

I almost set myself up to head over this past weekend with today being Labor Day at the end of a long holiday weekend in the USA with my beloved Toronto Blue Jays playing at Yankee Stadium. But I chose instead to head to Toronto later this month and enjoy an extended break of a week rather than a few days.

Maybe NYC will be on the agenda for next year. Or maybe I’ll wait a while longer and go over when I have as much time on my hands as possible and do things properly and not in a rushed way, hopefully with Mrs V in tow.

There’s a reason for these particular paragraphs appearing today which will reveal itself in 24 hours’ time. For now, here’s some music from UK and Irish bands just as equally fascinated with the city, including the song from which I stole the title of todays’ posting:-

mp3 : Prefab Sprout – Hey Manhattan!
mp3 : The Clash – Broadway
mp3 : The Frank & Walters – Fashion Crisis Hits New York

Enjoy.

A LAZY STROLL DOWN MEMORY LANE : 45 45s AT 45 (2)

ORIGINALLY POSTED ON TUESDAY 17 JUNE 2008

(and re-posted on 7 November 2013)

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(As mentioned when this was featured in The Clash singles back in February, I held back then to this anticipated appearance to give my own take on the 45……)

I’ve repeatedly said that I was never a punk, but just someone who loved an awful lot of the punk-sounding records. However, the early singles and debut LP by The Clash weren’t things that I was initially fond of – they were just too raw and raucous for my tastes, which at that time were still evolving.

As with most teenagers, I got some money from my mum and dad and aunties and uncles for my 15th birthday, and so I traipsed up the road to the record shop. I can’t actually remember everything that was bought…there’s every chance I bought a bundle of disco stuff as Saturday Night Fever was all the rage and all the girls wanted someone who danced like John Travolta.

I do distinctly remember buying my first ever single by The Clash with some of the money – it was on prominent display in the shop having just been released a couple of days previously. The reason I remember all this is down to a sort of hero-worship of a guy called Mick. Not only did he work in a record shop, he also had his own mobile disco with lights and everything….and Mick said that day that if I wanted to buy something special for my birthday then it should be this new single called (White Man) In Hammersmith Palais.

When I told him that I didn’t really like The Clash, he asked me if I had ever really listened to them. I had to admit that I hadn’t other than what I had sometimes heard on the radio. He then offered to play the single for me there and then. Of course in order to retain any degree of coolness, I was always going to say it was fantastic…..

So I took the record home, but I was nowhere near convinced. This certainly was nothing like love at first sight. But like all new records, it continued to get spins on the turntable all the time, and within a week or so, after a number of listens, I realised, in a sort of Road To Damascus conversion moment, the song was something really different and special. And with that I felt I could classify myself as a Clash fan – one of the best decisions I ever made as the band and their music became a sort of secret password for getting on so well with people in the years to come.

The first example of this was a year later when I took on my first ever summer job, over a period of six weeks or so, at the age of 16. It was in a city-centre store that sold car accessories. I was easily the youngest member of staff – the rest of them were dead old being at least 19, while the store manager was ancient at the age of 25. I wasn’t able to do the sort of things they did, such as go out to the pub after work on a Friday night. But one other worker was interested in the fact I bought Melody Maker every week – although his own preference was for the NME.

That’s when I learned his taste was for punk/new wave, his favourite being The Clash. The fact that I liked the band was a big factor in me being accepted in the workplace.

A few years later, the time had come to move out of the family home and into a student flat. It was a case of trying to find folk you would be compatible with, and the deal with the two lads who I was eventually to move in beside was sealed when we all said that White Man…was our favourite Clash single. So much so in my case, that by this time (1983) I had learned to play it note-for-note on a Casio keyboard which I demonstrated one evening in a drunken stupor while another of the flat mates played bass and the other sang. The girls we had back that night were far from impressed.

I always thought I was in a minority with my love for this single over all others by The Clash. I was certain that White Riot, London Calling or even the cover of I Fought The Law would win out in any popularity contest. But no, there was some sort of poll a few years back which revealed that the most popular and enduring song was the one released in June 1978:-

mp3 : The Clash – (White Man) In Hammersmith Palais
mp3 : The Clash – The Prisoner

It was unusually slow and melodic for a punk/new wave band. You could even make out a whole lot of the words without the need for a lyric sheet. It was also a song that lended itself to the use of your badminton racquet masquerading as your guitar….and it’s a song that has aged magnificently, sounding every bit as fresh, exciting and vibrant today as it did 30 years ago.

It’s hard to recall that all those years ago, the release of White Man… caused a bit of an uproar among the hardcore fans of the band. It was a radical departure from the short, sharp, loud and angry songs that had symbolised everything punk/new wave was supposed to be. It was, looking back, the earliest indication (notwithstanding Police & Thieves) that The Clash were no one-trick pony but in fact a quite extraordinary band capable of producing top-quality songs influenced by all sorts of genres.

I no longer have this single in the collection – another victim of the Edinburgh debacle of 1986, but by then it wasn’t a bit of vinyl that could have safely gone on the record player.

It was a record that had been played to within an inch of its life – it was worn out, full of scratches and jumps courtesy of it being shoved on more than once in a drunken stupor in which I bumped against the turntable. And because I imagine that’s how everyone who ever owned the single behaved with it, I’ve never pursued a copy via e-bay as the vinyl will be in a far from pristine condition. Instead, I’ve relied on an antiseptically clean copy that I have within the 3-CD box-set of Clash on Broadway.

And so next time round will finally reveal the choice at #1….

THE CLASH ON SUNDAYS (19)

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Disc 19 is This Is England. The last in the series and a bit of an anti-climax. Sorry.  But I can’t re-write history.

Topper Headon had been fired post the recording of Combat Rock and then Mick Jones was sensationally kicked out of his band (and not for the first time in his life) in 1983.  What’s also mostly forgotten is that Terry Chimes, brought in for Topper to tour Combat Rock, had also left under a cloud some eight months before Mick got the boot.

This isn’t the place to go over the rights and wrongs of all the turmoil, and besides, depending on whose versions you most believe you’ll come to a different conclusion on who was most to blame.

This Is England was written in late 1983 but wouldn’t be released for the best part of two years.  It’s a state-of-the nation diatribe with the lyric detailing much of what was wrong with the country under a right-wing government although many of the topics, such as inner-city violence, urban alienation, life on council estates, high unemployment and racism weren’t new to The Clash.

The critics savaged the songs and subsequent album Cut The Crap.  To them, and indeed to many, you had no right to call it a release by The Clash with just Joe and Paul on board, backed by some rock musicians and aided by a drum machine. Despite this, it did make #24 in the UK charts which wasn’t all that shabby a performance – indeed it is a higher position than was ever managed by Rock The Casbah.…..

It was originally released only in the UK on 7″ and 12″ vinyl and in years to come was initially disowned by all concerned not appearing on any compilation LPs., not showing up again until 2003 and then again being included as the 19th and final reproduced 45 in the The Singles box set which has provided the foundations for this series.

7″ release:-

mp3 : The Clash – This Is England
mp3 : The Clash – Do It Now

12″ bonus track:-

mp3 : The Clash – Sex Mad Roar

THIS IS ENGLAND  : Released 30 September 1985 : #24 in the UK singles chart

When I arrived back in this country Friday, June 29th 2006, having been away for several years, all I saw were St George crosses displayed everywhere.

After the awful England game on the 30th and ever since, these white and red displays look like yesterday’s tired fashion and are now a figure of fun; likewise the silly songs that were offered to go with the stupid team.

‘This Is England’ reflects this immense national fuck-up.

Bernard Rhodes, former manager of The Clash

And that, dear readers, brings this particular Sunday series to an end. Huge thanks for all the comments that have been left behind over the past four and a bit months, and in particular to echorich and JTFL for their wonderfully unique and indeed first-hand account of life in the USA with The Clash.

As hinted at a few weeks ago, the Sunday slot will now be taken up with a look back at the 45s and EPs of Belle and Sebastian.

Cheers.

JC

THE CLASH ON SUNDAYS (18)

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Disc 18 is Straight To Hell/Should I Stay Or Should I Go.

Released just three months after Rock The Casbah, a lot had changed for The Clash in the summer of 1982, not least the fact that they had ‘cracked’ America.  Combat Rock was proving to be an enduring album, going on to spend almost six months successively in the UK charts which was well beyond the time expected of any album by the band. They were now determined to get their music across to as wide an audience as possible, hence the decision to accept the task of opening for The Who at a series of outdoor stadium gigs in October 1982, although it is worth recalling that the band continued to headline at much smaller venues in the States at the same time.

The days of standing up to record company wishes to milk albums dry were also over as seen by the fact that the release of a double A single meant that exactly one-third of  Combat Rock had been put out on the 45rpm format.  But in saying this, there’s no argument that it is one of the band’s finest 45s.

My own preference is for Straight To Hell.  As I wrote when I included it in the ICA this time last year, my view is that it an extraordinary piece of music. The very idea that one of the world’s foremost punk bands would, within just five years of their explosive and noisy debut, end up recording and releasing a song that leaned heavily on a bossa nova drumbeat devised by Topper Headon and a haunting violin sound would have been laughable.

It has a stunning and thought-provoking lyric delivered by a resigned-sounding Joe Strummer who seems devastated by the fact that musicians cannot make the world’s problems disappear.

Radio stations and the general public however, preferred the charms of Should I Stay Or Should I Go. It has a great riff, a sing-a-long and infectiously catchy chorus and the most ridiculously yet charming backing vocals in some strange version of Spanish.  What’s not to like???

It famously became a huge hit all over again some nine years later after it was used in an advert to promote Levi Jeans.  It went to #1 in the UK as well as Top 5 in just about every singles chart in Europe.

 

mp3 : The Clash – Straight To Hell (edited version)
mp3 : The Clash – Should I Stay Or Should I Go

SHOULD I STAY OR SHOULD I GO  : Released 17 September 1982 : #17 in the UK singles chart; #1 on its re-release in 1991

My favourite Clash song is ‘Train In Vain’. My favourite of their singles is in that vein – ‘Should I Stay Or Should I Go’.  I thought I’d heard it somewhere before (I’m not trying to be ironic). I had to buy all my Clash records until ‘Combat Rock’ which was produced by longtime Who producer Glyn Johns.  I got a free one of those . It makes me feel like I’m 34 again and Spring is in the cocaine.

We had a junior manager called Chris Chappel who was a huge Clash fan.  I invited them onto the US tour after Chris convinced our senior manager they would be good.  By the end of the tour, they had broken the USA.  We were playing huge stadiums on that tour and they really handled the shows well, and convinced the crowd they were real.

I adore The Clash, as I adored the Sex Pistols.  Different, incompatible, not really comparable, they both felt to me like bands who (like The Jam a little later) had travelled a route laid by The Who more than any other band.  The New York Dolls and the Ramones influenced British punk rock, of course, but it was our simultaneous exaltation of rock, and indifference to it, that both bands emulated, though they each had different reasons for using that particularly tortured formula.  So, I have a personal pride in The Clash as I do in the Sex Pistols and The Jam.

I feel bad that I have outlived Joe Strummer, but delighted that Topper is alive, against the odds: he is an absolute sweetheart. I really admire Mick Jones and Paul Simonon too, for remaining true to their individual artistic theses. These guys made a troubled and druggy period of my life in the late 1970s and early 1980s so much happier.  The Who just played at the Brighton Centre and all I could think of while we played was that I had once played with The Clash on the same stage in 1981.

Pete Townsend, The Who

THE CLASH ON SUNDAYS (17)

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Disc 12 is Rock The Casbah.

Combat Rock had not turned out to be a return to the punk origins as many had thought might be the case based on its lead off single.  It was also clear that the record company were now, for whatever reason, calling more of the shots as Rock The Casbah was issued just seven weeks after Know Your Rights when there had previously been considerable gaps between the singles.

The move was as much a response to the reception given to the album, particularly in America.  There is no doubt that Rock the Casbah was always going to be a single, as evidenced by the promo video being made.  I’m not sure how many of you have noticed however, that the drummer in the video is none other than Terry Chimes and not Topper Headon….the irony of course being that we would later learn Rock The Casbah was mostly written by the now departed drummer who had left the band on the eve of the tour to promote the album, with exhaustion being cited.

This is a single like no other in the history of The Clash, at least during their time together as a band.  It didn’t do all that brilliantly in the UK, stalling at #30 and perhaps providing evidence that long time fans were finding it hard to come to terms with the new sound.  But elsewhere, where The Clash hadn’t really enjoyed huge success before, the single brought fame and fortune – Top 5 in both Australia and New Zealand, Top 20 across much of Europe and most crucially, Top 10 in the USA in both mainstream and dance charts.

It’s a song driven along in the main by the disco beat and piano playing, but there’s some decent contributions from Mick on guitar while Joe’s lyrics are among the catchiest he ever penned.  It’s a terrific and enduring pop song that, if written and recorded in that style by any other band of the era, would equally have proven to be a hit.  It’s the one song by The Clash that just about everyone aged 45-60 nowadays can easily recall.

It was released in the UK on 7″ and 12″ vinyl. The former contained a decent sounding and poppy b-side albeit it does on for maybe a minute too long)  which we would later learn was written by Paul Simonon about issues he was having in a long-term relationship but unlike Guns Of Brixton the vocal was taken on by Joe.  The latter had an instrumental remix of the a-side on offer:-

mp3 : The Clash – Rock The Casbah
mp3 : The Clash – Long Time Jerk
mp3 : The Clash – Mustapha Dance

ROCK THE CASBAH  : Released 11 June 1982 : #30 in the UK singles chart (#15 on 1991 re-release)

I was aware of The Clash when punk happened because that was what started us going, although I don’t think Joy Division were punk like that.  I think we were something else that came after that didn’t have a name.

‘Rock The Casbah’ is my favourite track. I heard it in New York when we first started going there in the early 80s after the demise of Joy Division. We were struggling a bit because Ian’s death meant we couldn’t go in that direction anymore, we’d peaked in that sound.

Clubs in NY were ‘new wave’ and the music was infinitely better than in England. For a start they were often in big warehouses.  There was the Peppermint Lounge, Danceteria, Hurrah’s, AM-PM…tons of them. They weren’t playing commercial dance music, but club tracks by English groups…and the two absolute classics were ‘Tainted Love’ by Soft Cell and ‘Rock The Casbah.’

It broke form. I believe it was written by the drummer. It really cut it in a club and showed me you can make club music that’s not cheesy – like nightclub music was in England at the time.  Here was a proper group, making proper music, but they were using traditional rock’n’roll instruments to make music that dominated a New York club scene.  That was a massive inspiration for me.

The song has great rhythmic content and a great hookline. It’s The Clash at their best.  OK, it’s not slashing guitars and a 190bpm tempo – but it’s a fucking great, really, really good song.

Bernard Sumner, Joy Division & New Order

THE CLASH ON SUNDAYS (16)

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Disc 16 is Know Your Rights.

April 1982.  And just when you thought that The Clash were incapable of any new surprises, they hit hard with the release of what turned out to be the first of three singles that would be lifted from Combat Rock.

Maybe they were just fed up of not being able to articulate their message properly with a music press that were no longer fans (for the most part) or maybe it was just a bit of piss-taking from Joe aimed at those who had dismissed This Is Radio Clash as sloganeering even before hearing a single note.  But it takes a big set of balls to scream out that what follows on record is ‘a public service announcement………………..WITH GUITARS!!!!!’

Yup, it’s time to throw away the funk, disco and reggae and get back to some good old-fashioned noise to what is suspiciously akin to a rockabilly beat.  But it was exactly what we were needing.

I’m a big fan of this song, and think it is one of the most underrated of the singles.  It was a throwback to the angry, disenfranchised band of old. It only came out on 7″ vinyl – no extended remixes for this track – and it even had a b-side that name-checked London just like so many songs of old.  The infatuation with America was seemingly over and it made me believe that the forthcoming album was going to be 45 minutes of pent-up aggression unleashed on a listening public.

Got that wrong didn’t I?

mp3 : The Clash – Know Your Rights
mp3 : The Clash – First Night Back In London

Years later, the early versions of the songs that made it onto Combat Rock became available in bootleg form.  It is interesting to hear how the lyric is delivered with a far more cynical rather than angry tone.  It’s also a couple of minutes longer than the version that was eventually publicly issued…

mp3 : The Clash – Know Your Rights (early version)

KNOW YOUR RIGHTS  : Released 23 April 1982 : #43 in the UK singles chart

For me it’s all about the first ten seconds of ‘Know Your Rights’.  The way Mick Jones bashes his guitar  and then Strummer shouts “This is a public service announcement/With guitars!” That’s the whole reason why The Clash existed right there. It’s a massive influence on what we’re going with Radio 4.

As a kid growing up in America, ‘Combat Rock’ was everywhere. MTV had just started and the video for ‘Rock the Casbah’ was on all the time. All the kids at school loved it but ‘Know Your Rights’ was the one for me. It’s the ultimate synthesis of all their influences, from reggae to punk through R&B to soul.  Musically, it sounds really urgent, as if they were keen to tighten things up.

Maybe they were conscious that they’d lost a few people en route with ‘Sandinista’ and wanted ro strip the sound back to bare bones.  The lyrics are spot on: “Murder is a crime/Unless it is done by a politician or an aristocrat”.  Someone could release ‘Know Your Rights’ next week and it would still sound relevant.  It’s timeless.

Anthony Roman, Radio 4

THE CLASH ON SUNDAYS (15)

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Disc 15 is This Is Radio Clash.

By late 1981, The Clash were not getting much positive press in the UK.  This was in part down to the continued backlash against what many critics and journalists considered to be a folly (or even worse a vanity project) of the triple-album but also because the band were no longer as accessible as they had been just five years previous when the debut album and singles had been unleashed.

Word came through that the band were reverting to old practices and releasing a one-off 45 that hadn’t been on any previous albums nor would it feature on any future recordings.  Word then came through that the title of the new 45 was to be This Is Radio Clash, and before anyone had heard a single second of music, it had been dismissed by a number of writers on the title alone on the basis that they’d had enough of the Joe’s sloganeering.

As such, the new single was on a hiding to nothing.  The reviews were mixed to say the least, and there was a further backlash when it was revealed that the 7″ single was the same tune with slightly altered lyrics and the 12″ only had remixes.  As someone wrote at the time, it was as if the band had used up all their creative talent in making Sandanista! and now had the equivalent of writer’s block.

All of which is very unfair on the single.  Yes, it was another surprise in terms of its sound being akin to a dance number that was more funk than punk, but it was far from awful.  Indeed, it is easy to look back now and see that they were laying down a marker for what was to be their next album – the one that really would propel them to fame and fortune in the USA which had been such a goal in recent times.  As one of those new wavers who liked his disco music, I was at the time and have continued ever since to be a fan of this single and can look back with pride that I helped it reach the giddy heights of #47!! Although I have to admit that the 12″ mixes are a bit on the dull side.

mp3 : The Clash – This Is Radio Clash
mp3 : The Clash – Radio Clash
mp3 : The Clash – Outside Broadcast
mp3 : The Clash – Radio 5

Worth noting that at the time of its release, there were only Radios 1,2,3 and 4 broadcasting nationally on the BBC in the UK. Radio 5, which became the news and sports channel, was launched in 1990.

THIS IS RADIO CLASH  : Released 20 November 1981 : #47 in the UK singles chart

The thing with ‘Radio Clash’ is it’s got that great ‘dan-daan-daan-dandaaaah’ introduction, almost as if saying ‘Here comes the villain’, the the riff comes in.  It’s pretty much like listening to the future if you consider what they were doing with sampling and remixing but without all the modern technology.

I wasn’t around for punk but you didn’t have to be to realise it was way ahead of its time. Also, it’ still got the attitude in there, even now, many years on. Joe’s lyrics hit home.  If you compare it to ‘White Riot’, they are so far apart stylistically, and that to me is what makes The Clash great. The mixing of styles, the lack of fear of experimentation, the way they’d get on and make records they wanted to, regardless of what anyone thought.  Not being afraid to try musically different styles has influenced Hard Fi,

I’m from a satellite town where the cultural arena was pretty sparse so The Clash were one of the ways to actually find out about stuff, whether it was dub, ska or Jack Kerouac.  They talked about what was going on in the world, we took that from them, they dealt with global issues but we’ve kept it to a local level. My older brother, Steve, got me into them.  Then I read Nirvana talking about them in interviews, and then Mick produced my first band.

Fast forward to a couple of months ago when he joined us on stage at Brixton Academy and it sums up how so much has changed in the last few years.  You couldn’t ask for any more. When I hear their songs it makes my heart beat faster, and I just want to pick up my guitar and get on stage.

Richard Archer, Hard Fi

(I’m thinking today’s author won’t be too well-known outside of the UK – here’s wiki )