Meanwhile, In Frestonia

The Clash's re- issue programme continues with a forthcoming special edition of Combat Rock released for the album's fortieth anniversary. Combat Rock, the last album by Strummer, Jones, Simonon and Headon, is the definition of uneven. Mick was holding out for another double, a sixteen song whopper/ double album. Everyone else wanted something more concise that might push them to another level in the USA. They tried mixing it while on tour in Australia and the Far East and eventually Glyn Johns was brought in to mix it, shorten some of the songs and cut the number of songs. This did nothing to repair the fracturing relationship of Mick and Joe. Mick was already smarting from the return of Bernie Rhodes. Topper was sacked by the time they took Combat Rock on tour. The end.

Combat Rock is still full of golden moments though wildly uneven as I said above- two enormous singles (one written by the soon to be ex- drummer), some funk and rap, some agit- prop, some spoken word stuff, a few killer album songs, Allen Ginsberg, Sean Flynn and the weird, stunning modern jazz/ soundtrack finale of Death Is A Star. It's all along way from Janie Jones and White Riot. The re- issue is coupled with a bonus disc (two CDs, three vinyl although only five sides of the vinyl contain music) called The People's Hall, an attempt to entice the collector with extra/ new material. The bonus material is pulled together from a variety of sources, much released elsewhere in previous re- issue campaigns. It's named after the venue the group rehearsed in Frestonia, a heavily squatted part of West London that tried to secede from the UK in the late 70s and form a breakaway republic. It's a strange collection of songs, some that aren't even from that period (Outside Bonds and Radio Clash date from prior to the Combat Rock sessions when The Clash took over New York, played Bonds and recorded Sandinista!), some from B-sides from Combat Rock singles (First Night Back In London, Long Time Jerk- both intended for Mick's double that never happened that he wanted to call Rat Patrol From Fort Bragg), previously unreleased alternative versions of Sean Flynn and Know Your Rights, an unreleased instrumental called He Who Dares or Is Tired, The Fulham Connection (which seems to be The Beautiful People Are Ugly Too outtake renamed), Midnight To Stevens (a tribute to Guy Stevens which was first released on the Clash On Broadway box set) and Radio One with Mickey Dread (B-side, previously released). There is a booklet and a poster. The CD is fourteen quid. The vinyl is just shy of fifty. 

*shrugs*

Two pieces of Clash related music for you today. The first is an edit of The Magnificent Seven (The Magnificent Dub actually) by Leo Zero, dating back to either 2012 or 1981 depending on how you look at it. Leo has cut the song up in fine style, looping Norman Watt Roy's bass riff, adding some sound from a gig along with sections of Joe's vocal and new drum loops. Nine minutes of fun. 

The Magnificent Dub (Leo Zero Edit)

Much more recently, Jezebell (rapidly becoming a weekly fixture at these pages) released a new EP called Dancing (Not Fighting), built around a sample of Mick Jones berating the bouncers at a gig, it's a riot of drums and bass and horns, acid punk funk, with remixes from Matt Gunn and Markus Cooper. All proceeds to assist the victims of Putin's war in Ukraine. get it at Bandcamp.