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Friday, 21 August 2026

Placeta Joe Strummer

While we were in Spain two weeks ago we drove to Granada and spent several hours at the Alhambra Palace, the 13th and 14th century fortress and palace that overlooks the city. Towards the late afternoon we sat in the shadow of the palace enjoying a very strong and very good Cafe con leche and I said to Lou, 'Placeta Joe Strummer is just down the hill...'

So we wandered down the hill in the heat and found the triangular piece of public land, bordered by roads on two sides and some steps and a derelict and grafittied building on the other.


Once there was a large painting of Joe but at some point it got painted over. 

Why has Joe Strummer got a public square named after him in Granada you might ask?

In the mid- 80s when The Clash split up Joe beat a retreat to lick his wounds and cry into his beer and he went to Granada. In the early days of The Clash Joe was going out with Slits drummer Palmolive and she and her brother Fernando Romero were from the city. Joe and Romero had previously shared a squat, and used to talk politics, Spain, the civil war and everything else and these struck a deep chord with Joe. With Joe in a mess after the break up of The Clash, Fernando took Joe to Granada. He put roots down in Granada and the villages around it, produced an album by local punk band 091, went searching for the (still un- found) grave of poet Federico Garcia Lorca (murdered by a Francoist death squad in 1936 and buried in a mass grave somewhere in the hills above the city) and drank in local bars. Joe included both Lorca and Granada in the 1979 Clash song Spanish Bombs. 

It became Joe's routine in the 80s and 90s to spend a long summer in Granada and then return to London for the Notting Hill Carnival. Esperanza Romero, sister of Fernando and Paloma, married Richard Dudanski (101ers drummer, one time Clash drummer and drummer for PiL, The Raincoats and Basement 5). They still live in Granada. Joe bought a house in Almeria and also lost a Dodge car somewhere in the city- he parked it in an underground car park but couldn't remember where. There's a film about it. 

After Joe's death Fernando and others petitioned the council to name a square after Joe, who they saw as an adopted son of the city. Dudanski, Joe's friends and the local socialists pestered the council repeatedly and eventually in 2013 Placeta Joe Strummer was named. There was a party to mark it with an open air acoustic gig with members of The Pogues, The 101ers, Mescaleros and 091 all playing and Joe's daughters Jazz and Lola attended. 

It's as good a spot as any for a photo opportunity for any Joe Strummer and Clash fans who happen to be in Granada on their summer holidays.

Today is Joe's birthday. He would have been 74. It's fairly easy to imagine a 74 year old Joe, still making music, still open to the endless possibilities of the world and its cultures, still enthusing about Cuban be- bop, African highlife, reggae and three chord rock 'n' roll, raging against the world's injustices and iniquities.

In 1979 The Clash played at one of the series of Concerts For Kampuchea, four concerts organised by Paul McCartney and, um, Kurt Waldheim*. There had been promises that The Beatles were going to reform for the concert- this obviously did not happen. The four concerts were held in late December '79 and The Clash headlined the second, with Ian Dury and The Blockheads and Matumbi also appearing. This clip of the group playing Armagideon Times is as good a live performance as you're going to see today by anyone, The Clash absolutely at the top of their game and Joe magnetic at the centre of the stage...

Ten years later Joe was solo and in the midst of what some people have called his Wilderness Years. Richard Norris, who worked with Joe in '98/ '99 and co- wrote several Mescaleros songs counters this description of the post- Clash, pre- Mescaleros years, arguing that Joe made a solo album, wrote and recorded a handful of film soundtracks, acted in several films and co- wrote and produced Big Audio Dynamite's second album- not really a wilderness period at all. 

In 1989 Joe released Earthquake Weather, a fourteen song album with the musicians who became Joe's Latino Rockabilly War. It's a messy album, probably a handful of songs too long, with muddy production and a confused mix and I often feel guitarist Zander Schloss needed reining in at times. The final song, Sleepwalk, is a beauty though, a great Joe Strummer solo song.  Rueful and ruminative with a Caribbean feel and Joe coming back to the line, 'What good would it be if you could change every heartache that ran through your life and mine?'

Sleepwalk

In 1999 Joe returned with The Mescaleros and made two fine albums- Art Rock And The X- Ray Style and Global A Go- Go- and then a posthumously completed one from 2003, Streetcore. More from these Mescaleros years coming up on Sunday. 

Happy birthday Joe. Feliz cumpleaños. 


* Kurt Waldheim was an Austrian politician who became secretary general of the United Nations between 1972 and 1981. In 1986 it was revealed he had knowledge of Nazi atrocities as a member of the Wehrmacht during World War II, and that this had been covered up. This caused an international controversy but didn't prevent him from becoming president of Austria between 1986 and 1992. During this period he was officially declared persona non grata by the American government (and most western ones) and banned from entering the USA. Today of course, they'd send a limousine anyway...

Thursday, 20 August 2026

Touch Me With Your Love

The recent Disco Pogo Tribute To Andrew Weatherall book has a section on many of Andrew's remix and production work, along with interviews with the artists involved from the earliest days (Hallelujah and Loaded) to Andrew's last released remix (GLOK's Cloud Cover). In between, much else is covered including a part on the production and mixing Andrew and Keith Tenniswood did for Beth Orton, that resulted in three songs that came out on Beth's album Trailer Park. Beth talks glowingly of the time spent in the Two Lone Swordsmen studio and the work the three of them created together. Beth had already recorded the basis of the three songs- Galaxy Of Emptiness, Tangent and Touch Me With Your Love- with some top musicians including the wonderful double bass of Red Snapper's Ali Friend. Andrew and Keith took the three songs and set about remixing them in the studio with Beth recording new vocals on the spot. They way Beth describes it, it all sounds very organic and natural, easy and creative. 

My go to from Trailer Park is usually Galaxy Of Emptiness, ten minutes of spaced out, cosmic existential splendour. But I went back to the other two and Touch Me With Your Love particularly sounded superb- it was almost like listening to it anew. 

Touch Me With Your Love

Ali's double bass, woody and vibrating, sits at the centre. Around it Andrew and Keith weave a rich and detailed sonic tapestry, whirrs and clicks, FX, acres of s-p-a-c-e and Beth's distinctive voice, everything sprinkled the Weatherall magic dust. Trailer Park, as much as any other record from 1996, invented folktronica- a clumsy label but a fitting one and one that she seems happy to accept. Beth says that at the time she wished that Andrew and Keith could have done the entire album but it wasn't to be and she's OK with that- those three Weatherall/ Tenniswood produced songs on Trailer Park are more than enough. 

Wednesday, 19 August 2026

Blue Ba- Ya

Jon Hassell was an American trumpet player and composer who made and contributed to a huge range of twentieth century music, playing with Holger Czukay and Irwin Schmidt, Terry Riley, Talking Heads (on Remain In Light), Brian Eno, Ry Cooder, David Sylvian, Bjork, Juan Atkins and many others. He died in 2021. The Ndeya label has been set up in partnership with Warp Records as a home to Hassell's music and they have released two posthumous albums- Listening To Pictures and Seeing Through Sound- as well as a re- issue of his 1977 debut Vernal Equinox. In October Ndaya are going to release  Music Is Invisible, a live recording from May 2015 when Jon played at St John's church in Hackney as a trio, with Rick Cox and John von Seggern. This excerpt of Blue Ba- Ya came out last week.


Blue Ba- Ya (Excerpt) is a gorgeous way to spend four and a half minutes, at an intersection of jazz, global, ambient and experimental, what Hassell called Fourth World music. There are synths, drones, a two chord piano part and Hassell playing trumpet. Three people on stage, two laptops and various synths, FX devices and a load of cables and wires and a trumpet making such human sounding music. AI could never do this. It doesn't know how. 

In 2023 a compilation of late 80s recordings was re- released, an album called Psychogeography that originally came out in 1990. This track was the album's opener, a descent into the city with drones, whirrs and found sounds. 

Tuesday, 18 August 2026

The Big Wheel Keeps On Turning

I go back to work today, two weeks earlier than I've been used to now I'm working in a 6th form college. Returning to work in mid- August feels a bit odd- the rhythm of my year usually sees me return in early September, but change is good, change is what I moved jobs for so I'm just going to have to get used to it. It'll soon be the bank holiday weekend and then September and then the weeks when the leaves start to turn from green to orange, gold, yellow and then brown. It's already darker earlier, noticeably so this week. 

The big wheel keeps on turning.

Hymn Of The Big Wheel

Blue Lines is a fantastic album, one of those which crossed borders, knocked doors down and united different tribes. The flow of the album, from Safe From Harm to Hymn Of The Big Wheel via those chilled rap songs, the glorious majesty of Unfinished Sympathy and lush, organic proto- trip hop is perfect. Every beat, every note, every word, weighed and exactly correct. When side two plays out with Hymn Of The Big Wheel it feels like you've done the full trip, gone all the way round. It creates a stew from Bristol, late 80s/ early 90s club culture, rap and reggae, dub, breakbeats, sampling, graffiti, rare groove, weed, 90 bpm tempos, found sounds, Horace Andy, Nellee Hooper, Neneh Cherry, sound system and DJ culture and American hip hop styles into one hypnotic and seductive package. 

Hymn Of The Big Wheel is a Neneh Cherry co- write and she sings the female harmony (uncredited on the sleeve). Daddy G has said that Neneh gave the members of Massive Attack a kick up the arse and a place to record (her baby's bedroom), booting them out of their natural laziness. Good job she did eh?

Monday, 17 August 2026

Monday's Long Songs

This compilation came out back in May but I missed it and have been catching up recently- Occupied Minds Vol. 1, an eighteen track multi- artist album from Belfast released in solidarity with the people of Palestine and raising funds for Medical Aid for Palestinians (MAP). Many of the artists are new to me and the range of music is huge, from ambient to folk to techno and covering a range of emotional responses. This one, We Are! We Want!, is by The Light Brigade, who you might know as an alias David Holmes uses.

We Are! We Want! rides in subtly but gathers pace with rattling drums and metallic percussion and the wobble of synth bass. There are pauses and stabs of synth, the ever present rumble of the bass and some early 90s tension. 

Over the top of this is the voice of James Baldwin, speaking about humanity and love, about the actions of individuals and what people choose to do and who they choose to be.  

'What you’ve got to remember is what you’re looking at is also you. Everyone you’re looking at is also you. You could be that person. You could be that monster, you could be that cop. And you have to decide, in yourself, not to be'

Baldwin was talking about life in the USA in 1970 and the daily racism he and other black Americans faced. He was honest but optimistic- grace and humanity would save the world from despair he believed. 

Occupied Minds is at Bandcamp

In some ways We Are! We Want! reminds of some of David's earliest work, tracks like Johnny Favourite and Four Boy One Girl Action and their sole release, the 1993 single The Hawaiian Death Stomp. Eleven minutes of early 90s progressive house/ techno spliced and an equally long, slowed down thumping, stompy dub. Moody, tribal and Sabres- esque.

The Hawaiian Death Stomp

The Hawaiian Death Dub

The four boys were Holmes, Jagz Kooner, Gary Burns and Kris Needs. The girl was Patti Smith, sampled, fucking with the future. 

Also on Occupied Minds is Timmy Stewart, Belfast producer, DJ and promoter who along with Aaron Black records as Black Bones. Timmy's track on Occupied Minds is The Right To Life, a rattly, spacey slice of 2026 dub techno. 

In April Black Bones released a self titled album pulling together tracks they'd released on 7'', 10'' and 12''. It's here and highly recommended. In May they put out an EP/ 12'' single called Black Bones 008, four pieces of dark dance floor Balearica/ electronic edit mayhem that sound great in the mid- August sun. Listen/ buy here.  


Sunday, 16 August 2026

Fifty Minutes Of Andrew Weatherall

This 350 page hardback book came out recently, the work of the team at Disco Pogo (the people who used to be Jockey Slut, the 90s/ 00s Manchester based magazine that chronicled dance music and beyond). The book is a comprehensive look at the life and music of Andrew Weatherall. Back in 2020 Disco Pogo published a previous version of the book but this one is expanded with tons of new material (over 200 pages of new material) and interviews with insight and behind the scenes detail from those who knew and worked with Andrew- there is a lengthy section on his remixes with contributions from Hugo Nicolson, Jagz Kooner, Keith Tenniswood and Tim Fairplay, there is Justin Robertson writing about Andrew and his visual art, plus contributions from David Holmes, Daniel Avery and Bobby Gillespie among others, a chapter on the gear and instruments in the various studios Andrew occupied, and in depth accounts of the making of the Sabres Of Paradise albums, the Two Lone Swordsmen days, The Aspodells' Ruled By Passion Destroyed By Lust, the story of Convenanza, lots of photographs and posters, an oral history of the acid house years, a full discography and much more. It's beautifully designed and printed and looks incredible. 

There is also a chapter on The Flightpath Estate, the edited transcript of an interview the five of us did a few months ago about our albums and the Weatherdrive and a Flightpath Estate guide to five Weatherall online mixes. I thought we might get half a page- turns out we got eight, with the sleeves of our pair of Sounds From The Flightpath Estate albums and a photo of us at The Golden Lion with Waka. 

Mind blown. 



Disco Pogo's Tribute To Andrew Weatherall is available here and also at many other places that sell books. At some point soon I hope to be able to share some news about a third volume of Sounds From The Flightpath Estate. We always thought we should aim for a trilogy and things are happening behind the scenes. 

In the meantime, to accompany all of this here's a fifty minute mix of music Andrew made under his own name. He didn't release any music under his own name (other than remixes of other people's work) until 2006 when his manager suggested that putting out an EP of new music he'd recorded under his own name might help sell more copies. That EP, out twenty years ago, was The Bullet Catcher's Apprentice. He followed that with a solo album in 2009 (A Pox On The Pioneers) and then in the 2010s several albums and EPs using his own name. There's also a second solo album, I Laugh Myself To Sleep, that is unreleased (for various reasons) and which is something of a lost gem in the Weatherall back catalogue. Maybe one day...

Fifty Minutes Of Andrew Weatherall

  • Vorfreude 2
  • Privately Electrified
  • The Moton 5.2
  • The Confidence Man
  • The Confidence Man (The Emperor Machine Dub)
  • Unknown Plunderer
  • Feathers

Vorfreude 2 is from Andrew's album Qualia, out on Sweden's Hoga Nord label in 2017, eight instrumentals that combine steam powered drum machines, throbbing live bass, synths and keys, a very Weatherallian fusion of post- punk, dub and cosmische.

Privately Electrified is from A Pox On The Pioneers, the 2009 solo album that fused proper verse- and - chorus songs and singing, guitars (Chris Rotter in fine form), the doomed, lost causes of Victorian and Edwardian adventurers, and dub influenced indie/ post- punk. On Privately Electrified the synths, drums, guitars and vocals are all perfectly weighed and produced with Andrew's multi- tracked vocals and some glorious backing vox building and swelling to the ending where he sings and signs off with, 'Three bottles and a hundred tears show/ Just how drunk I am'. 

The Moton 5.2 was one of four tracks on an EP for Pamela Records in February 2020. Chugging, slippery dark dub disco with hissing drums, synth squiggles and some dramtic keyboard chords. The Moton 5.2 is a version of the EPs lead track, The Moton, which I think was a pun on Pamela and Moton/ Tamla Motown. The track March Violets, also on the EP, was named after Philip Kerr's Weimar and Nazi era noir detective novels. 

The Confidence Man was on 2016's Convenanza album, a nine track double vinyl work that drew on much of the music he'd made over the previous decades, from Screamadelica onwards, to create a definitive statement of some kind about where he was and what he was doing. There is dub and piano, electronics and guitars, songs that nod to what he was reading and also some big picture stuff (We Count The Stars, Kicking A River). The Confidence Man is a blast, there's some Clash in it, the Sandinista!/ Combat Rock era of the band, some post- punk too. 'From deep within, the chants begin', Andrew intones. 

Convenanza was paired with a remix album, Consolamentum, with songs from the first remixed by a cast of friends and musical partners- Scott Fraser, Red Axes, Unloved, Justin Robertson, Solar Bears, Heretic, Timothy J. Fairplay, Sons Of Slough, Duncan Gray, Vox Low and Black Devil Disco Club all show up on the vinyl. The Emperor Machine remixed The Confidence Man in dub style on the digital release. 

Unknown Plunderer was one of two tracks on a 12" whose release sadly coincided with Andrew's death in February 2020, another Weatherall and Nina Walsh excursion into leftfield dub. On the flipside was End Times Sound. Andy Bell of Ride and GLOK contributes guitar. Andy arranged to buy a guitar from Andrew and when he arrived at the studio played it for a while. Before he left, Andrew and Nina asked him to play along to some tracks they'd been working on- Andy's guitars also appeared on Unknown Plunderer/ End Times Sound and the 2018 Blue Bullet EP which includes the track Making Friends With The Invader (the Invader in the title is the guitar Andy bought from Andrew, a 1960s guitar with a built in speaker). All four tracks on those two EPs plus the two released on the Kiyadub EP in 2017 are cut from similar cloth and together make a very good half hour Andrew Weatherall mixtape/ album.

Feathers was the lead track on the 2006 EP The Bullet Catcher's Apprentice, a chunky, percussive instrumental with scratchy, clanging guitars and lead bass. The Bullet Catcher's Apprentice was the first thing Andrew did after Two Lone Swordsmen came to an end and represent Andrew dipping his toe back into the world. I think there was a bit of a sense of 'what next?' at the time, Andrew a little unsure of himself and where he fitted into the musical world of the mid- 00s (uncharacteristically maybe) and was a very welcome release. It also has the lost gem Edie Eleven, an 00s dance floor thumper with some great Balearic acoustic guitar, and the very funny and self-explanatory You Can't Do Disco Without A Strat. The Disco Pogo book and the music above show just what a singular and much missed talent he was. 

Saturday, 15 August 2026

Oblique Saturdays

A series for Saturdays in 2026 inspired by Brian Eno and Peter Schmidt's set of cards, Oblique Strategies (Over One Hundred Worthwhile Dilemmas). Eno and Schmidt created them to be used to unblock creative impasses and approach problems from unexpected angles. Each week I'll turn over an Oblique Strategy card and post a song or songs inspired by the suggestion. 

Last week's Oblique Strategy suggestion was Be less critical more often

This took me to San Pedro's Minutemen and their 1984 album Double Nickels On The Dime. The Oblique Saturdays collective weighed in various critical/ non- critical suggestions- Bob Dylan's Don't Think Twice, It's Alright (Trail Of Bread), Lyle Lovett and A House (Ernie Goggins), Herbie Hancock and Miles Davis and the incredible self- taught shambling proto- punk/ indie of The Shaggs (Rongniss), Dodgy (John Medd), George Bean and The Runner Beans (Rol- deftly avoiding Alexander O'Neal), Boo Radleys (Al G), Whitney Houston (anonymous), and Mojo Nixon (Chris ZenArcade).

This weeks Oblique Strategy card reads simply this- Water

For musicians in the studio I can picture numerous responses to this as they change their playing, use samples and found sounds. My response was much more literal songs with Water in the title. Ironically, given the multiple heatwaves we've had this summer, the falling water levels in reservoirs, drought warnings and scorched grass, there is no shortage of water at Bagging Area. This a selection of water songs, mainly lesser heard and less well known ones...

First up, Sordid Sound System, Los Angeles via Glasgow's Optimo and a 2022 EP Neon Noir- very persuasive electronic music, chunky and percussive with watery synths. The text accompanying the EP quotes Raymond Chandler-

'I drove on almost to Malibu and then parked and went and sat on a big rock that was inside somebody's wire fence. It was about half-tide and coming in. The air smelled of kelp and glowed like neon noir. I watched the water for a while and then I pulled a string of Bohemian glass imitation pearls out of my pocket and cut the knot at one end and slipped the pearls off one by one.

When I had them all loose in my left hand I held them like that for a while and thought. There wasn't really anything to think about. I was sure.

"To the Gods below," I said aloud.
I flipped her pearls out into the water one by one. I was as hollow and empty as the spaces between stars."
 

Falling Out Of Water

From 2020, Dreems and Shark Water, an Australian exploration into the deep blue seas on the other side of the world....

Shark Water (Abyss Mix)

Two from Factory. Kalima emerged from Swamp Children, becoming Kalima in 1983 and making several records, latin and jazz based excursions. Black Water is moody, slinky and cool and then the vocal comes in and lifts it up a level (from their 1986 album Night Time Shadows)...

Black Water

The members of A Certain Ratio were deeply involved with Kalima. In 1981 ACR put out Water Line, a 12" that is the early ACR sound honed to perfection- taut but rubbery bass, skittery drums, otherworldly production, the sense of something being not quite right...

Water Line

Andrew Weatherall and Michael Smith's Unreal City has been here fairly recently, a 2013 ambient/ soundtrack/ spoken word project, that found Andrew and Nina Walsh providing soundscapes for Michael to read passages from his book over.

On Water Music Michael finds his way into London from the Kent coast into the city and down some steps to the side of the Thames. Michael sees 'light on the water, lights from the Millenium dome... lights from the sugar factory at Silvertown...'...

Water Music

Lastly, back to the recently departed William Orbit and his 1993 evergreen Water From A Vine Leaf. Water From A Vine Leaf was remixed by Underworld not once but three times, in total well over twenty minutes of 1993 trance house techno. 

Part 1 is the go to- chopped up synth squiggles, synthetic horns, chunky drums, widescreen cinematic progressive house that deals in hypnosis and delivers euphoria. 

Water From A Vine Leaf (Underworld Mix Part 1)

Part 2 is a twelve minute trip into the Orbit/ Orton/ Underworld dreamworld, a spaced out, relatively stripped back bubbling psychedelic adventure- Beth's vocals are FXed and looped, the pace is slow, there are tropical birds, a very loose guitar line and layers of synths. Chilled restraint is the order of the day on Part 2. 

Water From A Vine Leaf (Underworld Mix Part 2)

Feel free to drop your own responses to Water into the comment box.