The Clash

The Complete Guide

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Contents
Articles
Introduction 1

Background 2
Punk rock 2

Main article 34
The Clash 34

The members 47
Joe Strummer 47
Mick Jones 59
Paul Simonon 66
Topper Headon 72
Keith Levene 76
Terry Chimes 78
Rob Harper 80
Nick Sheppard 82
Vince White 84

Other personnel 86
Bernard Rhodes 86
Mikey Dread 88

Articles
Introduction 1

Background 2
Punk rock 2

Main article 33
The Clash 33

The members 46
Joe Strummer 46
Mick Jones 58
Paul Simonon 64
 Topper Headon 70
Keith Levene 74
Terry Chimes 76
Rob Harper 78
Nick Sheppard 80
Vince White 82

Other personnel 84
Bernard Rhodes 84
Mikey Dread 86
Don Letts 92
Bill Price 95
Guy Stevens 96
Sandy Pearlman 98
Tymon Dogg 100
Mick Gallagher 105
Gary Barnacle 107
Pennie Smith 109
Ellen Foley 110
Caroline Coon 114
Steve Bell 116
Futura 2000 118
Ray Lowry 120

Associated acts 122

The 101ers 122
London SS 125
Big Audio Dynamite 127
The Latino Rockabilly War 133
Havana 3am 134
The Mescaleros 135
Carbon/Silicon 139
The Good, the Bad & the Queen 142
Rock Against Racism 145
Concerts for the People of Kampuchea 147
Burning London: The Clash Tribute 151

Films 153
 Rude Boy 153
The Clash: Westway to the World 157
Let's Rock Again! 159
Joe Strummer: The Future Is Unwritten 161
Concert for Kampuchea 164
D.O.A. 167
Punk: Attitude 170
Walker 171
Straight to Hell 175
Candy Mountain 178
Mystery Train 180
I Hired a Contract Killer 188

Albums 189
Capital Radio 189
The Clash 191
The Cost of Living 199
Give 'Em Enough Rope 200
London Calling 204
Sandinista! 215
Combat Rock 223
Cut the Crap 228
Concerts for the People of Kampuchea 231
The Story of the Clash, Volume 1 235
Clash on Broadway 237
The Singles 241
Super Black Market Clash 242
From Here to Eternity: Live 247
Live at Bond's Casino 249
The Essential Clash 251
Singles Box 254
The Singles (2007) 259
Live at Shea Stadium 261

Songs 263
"1977" 263
"Bankrobber" 264
"Brand New Cadillac" 267
 "The Call Up" 268
"Career Opportunities" 270
"Clampdown" 271
"Clash City Rockers" 275
"Complete Control" 277
"English Civil War" 280
"Every Little Bit Hurts" 281
"Groovy Times" 284
"The Guns of Brixton" 285
"Hitsville UK" 290
"I Fought the Law" 291
"I'm So Bored with the USA" 296
"Jail Guitar Doors" 298
"Janie Jones" 300
"Junco Partner" 304
"Know Your Rights" 306
"London Calling" 308
"London's Burning" 315
"Lost in the Supermarket" 316
"Louie Louie" 318
"The Magnificent Seven" 327
"The Man in Me" 330
"Police and Thieves" 330
"Pressure Drop" 333
"Remote Control" 335
"Rock the Casbah" 337
"Should I Stay or Should I Go" 342
"Spanish Bombs" 347
"Straight to Hell" 349
"This Is England" 351
"This Is Radio Clash" 354
"Tommy Gun" 357
"Train in Vain" 359
"Washington Bullets" 364
"(White Man) In Hammersmith Palais" 365
"White Riot" 368

Discography and lists 371

 Discography 371
Films and Documentaries 380
Songs 381

References
Article Sources and Contributors 390
Image Sources, Licenses and Contributors 397

Article Licenses
License 399
Introduction 1

Introduction
Note. This book is based on the Wikipedia article, "The Clash". The supporting articles are those referenced as major
expansions of selected sections.
 2

Background

Punk rock
Punk rock
Stylistic origins Rock and roll, folk music, rockabilly, surf rock, garage rock, glam
rock, pub rock, protopunk

Cultural origins mid-1970s United States, United Kingdom, and Australia

Typical instruments Vocals • electric guitar • bass • drums • occasional use of other
instruments.

Mainstream popularity Topped charts in UK during late 1970s. International commercial

success for pop punk and ska punk, mid-1990s–2000s.

Derivative forms New Wave • post-punk • alternative rock • Grunge

Subgenres

anarcho-punk • art punk • Christian punk • crust punk • garage punk • gothic rock • glam punk • hardcore • screamo • Oi! • riot Grrrl •
skate punk

Fusion genres

2 Tone • Anti-folk • avant-punk • Celtic punk • Chicano punk • cowpunk • deathrock • folk punk • Gaelic punk • Gypsy punk • pop
punk • psychobilly • punk blues • punk jazz • ska punk

Regional scenes

Argentina • Australia • Belgium • Brazil • California • France • Germany • Spain • Uruguay • Yugoslavia

Local scenes

Brisbane • Toronto

Other topics

Protopunk • DIY ethic • First wave punk • Queercore • Punk fashion • Punk forerunners • Punk ideologies • Punk movies • Punk
fanzines • Punk subculture • Punk timeline • Second wave punk • Straight Edge • List of punk bands • Punk rock subgenres

Punk rock is a rock music genre that developed between 1974 and 1976 in the United States, the United Kingdom
and Australia. Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands
eschewed the perceived excesses of mainstream 1970s rock. They created fast, hard-edged music, typically with
short songs, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY (do
it yourself) ethic, with many bands self-producing their recordings and distributing them through informal channels.
By late 1976, bands such as the Ramones, in New York City, and the Sex Pistols and The Clash, in London, were
recognized as the vanguard of a new musical movement. The following year saw punk rock spreading around the
world. Punk quickly, though briefly, became a major cultural phenomenon in the United Kingdom. For the most
part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk
subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment
and a variety of anti-authoritarian ideologies.
By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant
mode of punk rock. Musicians identifying with or inspired by punk also pursued a broad range of other variations,
giving rise to post-punk and the alternative rock movement. By the turn of the century, pop punk had been adopted
Punk rock 3

by the mainstream, with bands such as Green Day and The Offspring bringing the genre widespread popularity.

Characteristics

Philosophy
The first wave of punk rock aimed to be aggressively modern,
distancing itself from the bombast and sentimentality of early 1970s
rock.[2] According to Ramones drummer Tommy Ramone, "In its
initial form, a lot of [1960s] stuff was innovative and exciting.
Unfortunately, what happens is that people who could not hold a
candle to the likes of Hendrix started noodling away. Soon you had
endless solos that went nowhere. By 1973, I knew that what was
needed was some pure, stripped down, no bullshit rock 'n' roll."[3] John
Holmstrom, founding editor of Punk magazine, recalls feeling "punk
rock had to come along because the rock scene had become so tame
that [acts] like Billy Joel and Simon and Garfunkel were being called
rock and roll, when to me and other fans, rock and roll meant this wild The Ramones' 1976 debut album. "The band's
and rebellious music."[4] In critic Robert Christgau's description, "It first four albums set the blueprint for punk,
was also a subculture that scornfully rejected the political idealism and especially American punk and hardcore, for the
[1]
Californian flower-power silliness of hippie myth."[5] Patti Smith, in next two decades"

contrast, suggests in the documentary 25 Years of Punk that the hippies

and the punk rockers were linked by a common anti-establishment mentality.

Throughout punk rock history, technical accessibility and a DIY spirit have been prized. In the early days of punk
rock, this ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and
technological demands of many mainstream rock bands.[6] Musical virtuosity was often looked on with suspicion.
According to Holmstrom, punk rock was "rock and roll by people who didn't have very much skills as musicians but
still felt the need to express themselves through music".[4] In December 1976, the English fanzine Sideburns
published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now
form a band."[7] The title of a 1980 single by New York punk band The Stimulators, "Loud Fast Rules!", inscribed a
catchphrase for punk's basic musical approach.[8]

Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and
the broader culture it was associated with, but their own most celebrated predecessors: "No Elvis, Beatles or the
Rolling Stones in 1977", declared The Clash song "1977".[9] The previous year, when the punk rock revolution
began in Great Britain, was to be both a musical and a cultural "Year Zero".[10] Even as nostalgia was discarded,
many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future";[2] in the later words
of one observer, amid the unemployment and social unrest in 1977, "punk's nihilistic swagger was the most thrilling
thing in England."[11] While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there
was always a tension between their nihilistic outlook and the "radical leftist utopianism"[12] of bands such as Crass,
who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's
outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."[13]
The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who
associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values
and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult"; as
the punk scene matured, he observes, eventually "[e]veryone got called a poseur".[14]
Punk rock 4

Musical and lyrical elements

Punk rock bands often emulate the bare musical structures and arrangements of 1960s garage rock.[15] Typical punk
rock instrumentation includes one or two electric guitars, an electric bass, and a drum kit, along with vocals. Punk
rock songs tend to be shorter than those of other popular genres—on the Ramones' debut album, for instance, half of
the fourteen tracks are under two minutes long. Most early punk rock songs retained a traditional rock 'n' roll
verse-chorus form and 4/4 time signature. However, punk rock bands in the movement's second wave and afterward
have often broken from this format. In critic Steven Blush's description, "The Sex Pistols were still rock'n'roll...like
the craziest version of Chuck Berry. Hardcore was a radical departure from that. It wasn't verse-chorus rock. It
dispelled any notion of what songwriting is supposed to be. It's its own form."[16]
Punk rock vocals sometimes sound nasal,[17] and lyrics are often shouted instead of sung in a conventional sense,
particularly in hardcore styles.[18] The vocal approach is characterized by a lack of variety; shifts in pitch, volume, or
intonational style are relatively infrequent—the Sex Pistols' Johnny Rotten constitutes a significant exception.[19]
Complicated guitar solos are considered self-indulgent and unnecessary, although basic guitar breaks are
common.[20] Guitar parts tend to include highly distorted power chords or barre chords, creating a characteristic
sound described by Christgau as a "buzzsaw drone".[21] Some punk rock bands take a surf rock approach with a
lighter, twangier guitar tone. Others, such as Robert Quine, lead guitarist of The Voidoids, have employed a wild,
"gonzo" attack, a style that stretches back through The Velvet Underground to the 1950s recordings of Ike
Turner.[22] Bass guitar lines are often uncomplicated; the quintessential approach is a relentless, repetitive "forced
rhythm",[23] although some punk rock bass players—such as Mike Watt of The Minutemen and
Firehose—emphasize more technical bass lines. Bassists often use a pick due to the rapid succession of notes, which
makes fingerpicking impractical. Drums typically sound heavy and dry, and often have a minimal set-up. Compared
to other forms of rock, syncopation is much less the rule.[24] Hardcore drumming tends to be especially fast.[18]
Production tends to be minimalistic, with tracks sometimes laid down on home tape recorders[25] or simple
four-track portastudios. The typical objective is to have the recording sound unmanipulated and "real", reflecting the
commitment and "authenticity" of a live performance.[26] Punk recordings thus often have a lo-fi quality, with the
sound left relatively unpolished in the mastering process; recordings may contain dialogue between band members,
false starts, and background noise.
Punk rock lyrics are typically frank and confrontational; compared to
the lyrics of other popular music genres, they frequently comment on
social and political issues.[27] Trend-setting songs such as The Clash's
"Career Opportunities" and Chelsea's "Right to Work" deal with
unemployment and the grim realities of urban life.[28] Especially in
early British punk, a central goal was to outrage and shock the
mainstream.[29] The Sex Pistols classics "Anarchy in the U.K." and
The Clash, performing in 1980 "God Save the Queen" openly disparage the British political system
and social mores. There is also a characteristic strain of
anti-sentimental depictions of relationships and sex, exemplified by "Love Comes in Spurts", written by Richard
Hell and recorded by him with The Voidoids. Anomie, variously expressed in the poetic terms of Hell's "Blank
Generation" and the bluntness of the Ramones' "Now I Wanna Sniff Some Glue", is a common theme. Identifying
punk with such topics aligns with the view expressed by V. Vale, founder of San Francisco fanzine Search and
Destroy: "Punk was a total cultural revolt. It was a hardcore confrontation with the black side of history and culture,
right-wing imagery, sexual taboos, a delving into it that had never been done before by any generation in such a
thorough way."[30] However, many punk rock lyrics deal in more traditional rock 'n' roll themes of courtship,
heartbreak, and hanging out; the approach ranges from the deadpan, aggressive simplicity of Ramones standards
such as "I Wanna Be Your Boyfriend"[31] to the more unambiguously sincere style of many later pop punk groups.
Punk rock 5

Visual and other elements

The classic punk rock look among male U.S. musicians harkens back to the T-shirt, motorcycle jacket, and jeans
ensemble favored by American greasers of the 1950s associated with the rockabilly scene and by British rockers of
the 1960s. The cover of the Ramones' 1976 debut album, featuring a shot of the band by Punk photographer Roberta
Bayley, set forth the basic elements of a style that was soon widely emulated by rock musicians both punk and
nonpunk.[32] Richard Hell's more androgynous, ragamuffin look—and reputed invention of the safety-pin
aesthetic—was a major influence on Sex Pistols impresario Malcolm McLaren and, in turn, British punk style.[33]
[34]
McLaren's partner, fashion designer, Vivienne Westwood, credits Johnny Rotten as the first British punk to rip
his shirt, and Sex Pistols bassist Sid Vicious as the first to use safety pins.[35] Early female punk musicians displayed
styles ranging from Siouxsie Sioux's bondage gear to Patti Smith's "straight-from-the-gutter androgyny".[36] The
former proved much more influential on female fan styles.[37] Over time, tattoos, piercings, and metal-studded and
-spiked accessories became increasingly common elements of punk fashion among both musicians and fans, a "style
of adornment calculated to disturb and outrage".[38] The typical male punk haircut was originally short and choppy;
the Mohawk later emerged as a characteristic style.[39] Those in hardcore scenes often adopt a skinhead look.
The characteristic stage performance style of male punk musicians
does not deviate significantly from the macho postures classically
associated with rock music.[40] Female punk musicians broke more
clearly from earlier styles. Scholar John Strohm suggests that they did
so by creating personas of a type conventionally seen as masculine:
"They adopted a tough, unladylike pose that borrowed more from the
macho swagger of sixties garage bands than from the calculated
bad-girl image of bands like The Runaways."[36] Scholar Dave Laing
describes how bassist Gaye Advert adopted fashion elements
associated with male musicians only to generate a stage persona
UK punks, circa 1986 readily consumed as "sexy".[41] Laing focuses on more innovative and
challenging performance styles, seen in the various erotically
destabilizing approaches of Siouxsie Sioux, The Slits' Ari Up, and X-Ray Spex's Poly Styrene.[42]

The lack of emphatic syncopation led punk dance to "deviant" forms. The characteristic style was originally the
pogo.[43] Sid Vicious, before he became the Sex Pistols' bassist, is credited with initiating the pogo in Britain as an
attendee at one of their concerts.[44] Moshing is typical at hardcore shows. The lack of conventional dance rhythms
was a central factor in limiting punk's mainstream commercial impact.[45]
Breaking down the distance between performer and audience is central to the punk ethic.[46] Fan participation at
concerts is thus important; during the movement's first heyday, it was often provoked in an adversarial
manner—apparently perverse, but appropriately "punk". First-wave British punk bands such as the Pistols and The
Damned insulted and otherwise goaded the audience into intense reactions. Laing has identified three primary forms
of audience physical response to goading: can throwing, stage invasion, and spitting or "gobbing".[47] In the hardcore
realm, stage invasion is often a prelude to stage diving. In addition to the numerous fans who have started or joined
punk bands, audience members also become important participants via the scene's many amateur periodicals—in
England, according to Laing, punk "was the first musical genre to spawn fanzines in any significant numbers".[48]
Punk rock 6

Pre-history

Garage rock and mod

In the early and mid-1960s, garage rock bands that came to be recognized as punk rock's progenitors began springing
up in many different locations around North America. The Kingsmen, a garage band from Portland, Oregon, had a
breakout hit with their 1963 cover of "Louie, Louie", cited as "punk rock's defining ur-text".[49] The minimalist
sound of many garage rock bands was influenced by the harder-edged wing of the British Invasion. The Kinks' hit
singles of 1964, "You Really Got Me" and "All Day and All of the Night", have been described as "predecessors of
the whole three-chord genre—the Ramones' 1978 'I Don't Want You,' for instance, was pure Kinks-by-proxy".[50] In
1965, The Who quickly progressed from their debut single, "I Can't Explain", a virtual Kinks clone, to "My
Generation". Though it had little impact on the American charts, The Who's mod anthem presaged a more cerebral
mix of musical ferocity and rebellious posture that characterized much early British punk rock: John Reed describes
The Clash's emergence as a "tight ball of energy with both an image and rhetoric reminiscent of a young Pete
Townshend—speed obsession, pop-art clothing, art school ambition".[51] The Who and fellow mods The Small
Faces were among the few rock elders acknowledged by the Sex Pistols.[52] By 1966, mod was already in decline.
U.S. garage rock began to lose steam within a couple of years, but the aggressive musical approach and outsider
attitude of "garage psych" bands like The Seeds were picked up and emphasized by groups that were later seen as the
crucial figures of protopunk.

Protopunk
In 1969, debut albums by two Michigan-based bands appeared that are commonly regarded as the central protopunk
records. In January, Detroit's MC5 released Kick Out the Jams. "Musically the group is intentionally crude and
aggressively raw", wrote critic Lester Bangs in Rolling Stone:
Most of the songs are barely distinguishable from each other in their primitive two-chord structures.
You've heard all this before from such notables as the Seeds, Blue Cheer, Question Mark and the
Mysterians, and the Kingsmen. The difference here ... is in the hype, the thick overlay of
teenage-revolution and total-energy-thing which conceals these scrapyard vistas of clichés and ugly
noise. ... "I Want You Right Now" sounds exactly (down to the lyrics) like a song called "I Want You"
by the Troggs, a British group who came on with a similar sex-and-raw-sound image a couple of years
ago (remember "Wild Thing"?)[53]
That August, The Stooges, from Ann Arbor, premiered with a
self-titled album. According to critic Greil Marcus, the band, led by
singer Iggy Pop, created "the sound of Chuck Berry's Airmobile—after
thieves stripped it for parts".[54] The album was produced by John
Cale, a former member of New York's experimental rock group The
Velvet Underground. Having earned a "reputation as the first
underground rock band", VU inspired, directly or indirectly, many of
those involved in the creation of punk rock.[55]

In the early 1970s, the New York Dolls updated the original wildness
of 1950s rock 'n' roll in a fashion that later became known as glam
punk.[56] The New York duo Suicide played spare, experimental music
with a confrontational stage act inspired by that of The Stooges. At the
Coventry club in the New York City borough of Queens, The Dictators
used rock as a vehicle for wise-ass attitude and humor.[57] In Boston, Iggy Pop, the "godfather of punk"
Punk rock 7

The Modern Lovers, led by Velvet Underground devotee Jonathan Richman, gained attention with a minimalistic
style. In 1974, an updated garage rock scene began to coalesce around the newly opened Rathskeller club in
Kenmore Square. Among the leading acts were the Real Kids, founded by former Modern Lover John Felice; Willie
Alexander and the Boom Boom Band, whose frontman had been a member of the Velvet Underground for a few
months in 1971; and Mickey Clean and the Mezz.[58] In 1974, as well, the Detroit band Death—made up of three
African American brothers—recorded "scorching blasts of feral ur-punk", but couldn't arrange a release deal.[59] In
Ohio, a small but very influential underground rock scene emerged, led by Devo in Akron and Kent and Cleveland's
The Electric Eels, Mirrors and Rocket from the Tombs. In 1975, Rocket from the Tombs split into Pere Ubu and
Frankenstein. The Electric Eels and Mirrors both broke up, and The Styrenes emerged from the fallout.[60]
Britain's Deviants, in the late 1960s, played in a range of psychedelic styles with a satiric, anarchic edge and a
penchant for situationist-style spectacle presaging the Sex Pistols by almost a decade.[61] In 1970, the act evolved
into the Pink Fairies, which carried on in a similar vein.[62] With his Ziggy Stardust persona, David Bowie made
artifice and exaggeration central—elements, again, that were picked up by the Pistols and certain other punk acts.[63]
The Doctors of Madness built on Bowie's presentation concepts, while moving musically in the direction that would
become identified with punk. Bands in London's pub rock scene stripped the music back to its basics, playing hard,
R&B-influenced rock 'n' roll. By 1974, the scene's top act, Dr. Feelgood, was paving the way for others such as The
Stranglers and Cock Sparrer that would play a role in the punk explosion. Among the pub rock bands that formed
that year was The 101'ers, whose lead singer would soon adopt the name Joe Strummer.[64]
Bands anticipating the forthcoming movement were appearing as far afield as Düsseldorf, West Germany, where
"punk before punk" band NEU! formed in 1971, building on the Krautrock tradition of groups such as Can.[65] In
Japan, the anti-establishment Zunō Keisatsu (Brain Police) mixed garage psych and folk. The combo regularly faced
censorship challenges, their live act at least once including onstage masturbation.[66] A new generation of Australian
garage rock bands, inspired mainly by The Stooges and MC5, was coming even closer to the sound that would soon
be called "punk": In Brisbane, The Saints also recalled the raw live sound of the British Pretty Things, who had made
a notorious tour of Australia and New Zealand in 1965.[67] Radio Birdman, cofounded by Detroit expatriate Deniz
Tek in 1974, was playing gigs to a small but fanatical following in Sydney.

Etymology
Prior to the mid-1970s, punk, a centuries-old word of obscure etymology, was commonly used to describe "a young
male hustler, a gangster, a hoodlum, or a ruffian".[68] As Legs McNeil explains, "On TV, if you watched cop shows,
Kojak, Baretta, when the cops finally catch the mass murderer, they'd say, 'you dirty Punk.' It was what your teachers
would call you. It meant that you were the lowest."[69] The first known use of the phrase punk rock appeared in the
Chicago Tribune on March 22, 1970, attributed to Ed Sanders, cofounder of New York's anarcho-prankster band The
Fugs. Sanders was quoted describing a solo album of his as "punk rock—redneck sentimentality".[70] In the
December 1970 issue of Creem, Lester Bangs, mocking more mainstream rock musicians, ironically referred to Iggy
Pop as "that Stooge punk".[71] Suicide's Alan Vega credits this usage with inspiring his duo to bill its gigs as a "punk
mass" for the next couple of years.[72]
Punk rock 8

Dave Marsh was the first music critic to employ the term punk rock: In
the May 1971 issue of Creem, he described ? and the Mysterians, one
of the most popular 1960s garage rock acts, as giving a "landmark
exposition of punk rock".[73] Later in 1971, in his fanzine Who Put the
Bomp, Greg Shaw wrote about "what I have chosen to call 'punk rock'
bands—white teenage hard rock of '64-66 (Standells, Kingsmen,
Shadows of Knight, etc.)".[74] Lenny Kaye used the term in the liner
notes of the anthology album Nuggets, released the following year,
similarly to refer to 1960s garage bands.[75] In June 1972, the fanzine
Flash included a "Punk Top Ten" of 1960s albums.[76] In February
1973, Terry Atkinson of the Los Angeles Times, reviewing the debut
album by a hard rock band, Aerosmith, declared that it "achieves all
that punk-rock bands strive for but most miss."[77] Three months later,
Billy Altman launched the short-lived punk magazine.[78]

In May 1974, Los Angeles Times critic Robert Hilburn reviewed the
Patti Smith performing in 1976
second New York Dolls album, Too Much Too Soon. "I told ya the
New York Dolls were the real thing", he wrote, describing the album
as "perhaps the best example of raw, thumb-your-nose-at-the-world, punk rock since the Rolling Stones' Exile on
Main Street.'"[79] Bassist Jeff Jensen of Boston's Real Kids reports of a show that year, "A reviewer for one of the
free entertainment magazines of the time caught the act and gave us a great review, calling us a 'punk band.' ... [W]e
all sort of looked at each other and said, 'What's punk?'"[80]

By 1975, punk was being used to describe acts as diverse as the Patti Smith Group—with lead guitarist Lenny
Kaye—the Bay City Rollers, and Bruce Springsteen.[81] As the scene at New York's CBGB club attracted notice, a
name was sought for the developing sound. Club owner Hilly Kristal called the movement "street rock"; John
Holmstrom credits Aquarian magazine with using punk "to describe what was going on at CBGBs".[82] Holmstrom,
McNeil, and Ged Dunn's magazine Punk, which debuted at the end of 1975, was crucial in codifying the term.[83] "It
was pretty obvious that the word was getting very popular", Holmstrom later remarked. "We figured we'd take the
name before anyone else claimed it. We wanted to get rid of the bullshit, strip it down to rock 'n' roll. We wanted the
fun and liveliness back."[81]

Early history

North America

New York City

The origins of New York's punk rock scene can be traced back to such sources as late 1960s trash culture and an
early 1970s underground rock movement centered on the Mercer Arts Center in Greenwich Village, where the New
York Dolls performed.[84] In early 1974, a new scene began to develop around the CBGB club, also in lower
Manhattan. At its core was Television, described by critic John Walker as "the ultimate garage band with
pretensions".[85] Their influences ranged from the Velvet Underground to the staccato guitar work of Dr. Feelgood's
Wilko Johnson.[86] The band's bassist/singer, Richard Hell, created a look with cropped, ragged hair, ripped T-shirts,
and black leather jackets credited as the basis for punk rock visual style.[87] In April 1974, Patti Smith, a member of
the Mercer Arts Center crowd and a friend of Hell's, came to CBGB for the first time to see the band perform.[88] A
veteran of independent theater and performance poetry, Smith was developing an intellectual, feminist take on rock
'n' roll. On June 5, she recorded the single "Hey Joe"/"Piss Factory", featuring Television guitarist Tom Verlaine;
released on her own Mer Records label, it heralded the scene's do it yourself (DIY) ethic and has often been cited as
Punk rock 9

the first punk rock record.[89] By August, Smith and Television were gigging together at another downtown New
York club, Max's Kansas City.[87]
Out in Forest Hills, Queens, several miles from lower Manhattan, the
members of a newly formed band adopted a common surname.
Drawing on sources ranging from the Stooges to The Beatles and The
Beach Boys to Herman's Hermits and 1960s girl groups, the Ramones
condensed rock 'n' roll to its primal level: "'1-2-3-4!' bass-player Dee
Dee Ramone shouted at the start of every song, as if the group could
barely master the rudiments of rhythm."[90] The band played its first
gig at CBGB on August 16, 1974. Another new act, Blondie, also
debuted at the club that month. By the end of the year, the Ramones
Facade of legendary music club CBGB, New
had performed seventy-four shows, each about seventeen minutes
York
long.[91] "When I first saw the Ramones", critic Mary Harron later
remembered, "I couldn't believe people were doing this. The dumb
brattiness."[92] The Dictators, with a similar "playing dumb" concept, were recording their debut album. The
Dictators Go Girl Crazy! came out in March 1975, mixing absurdist originals such as "Master Race Rock" and loud,
straight-faced covers of cheese pop like Sonny & Cher's "I Got You Babe".[93]

That spring, Smith and Television shared a two-month-long weekend residency at CBGB that significantly raised the
club's profile.[94] The Television sets included Richard Hell's "Blank Generation", which became the scene's
emblematic anthem.[95] Soon after, Hell left Television and founded a band featuring a more stripped-down sound,
The Heartbreakers, with former New York Dolls Johnny Thunders and Jerry Nolan. The pairing of Hell and
Thunders, in one critical assessment, "inject[ed] a poetic intelligence into mindless self-destruction".[33] A July
festival at CBGB featuring over thirty new groups brought the scene its first substantial media coverage.[96] In
August, Television—with Fred Smith, former Blondie bassist, replacing Hell—recorded a single, "Little Johnny
Jewel", for the tiny Ork label. In the words of John Walker, the record was "a turning point for the whole New York
scene" if not quite for the punk rock sound itself—Hell's departure had left the band "significantly reduced in fringe
aggression".[85]
Other bands were becoming regulars at CBGB, such as Mink DeVille and Talking Heads, which moved down from
Rhode Island. More closely associated with Max's Kansas City were Suicide and the band led by drag queen Wayne
County, another Mercer Arts Center alumna. The first album to come out of this downtown scene was released in
November 1975: Smith's debut, Horses, produced by John Cale for the major Arista label.[97] The inaugural issue of
Punk appeared in December.[98] The new magazine tied together earlier artists such as Velvet Underground lead
singer Lou Reed, the Stooges, and the New York Dolls with the editors' favorite band, The Dictators, and the array
of new acts centered around CBGB and Max's.[99] That winter, Pere Ubu came in from Cleveland and played at both
spots.[100]
Early in 1976, Hell left The Heartbreakers; he soon formed a new group that would become known as The Voidoids,
"one of the most harshly uncompromising bands" on the scene.[101] That April, the Ramones' debut album was
released by Sire Records; the first single was "Blitzkrieg Bop", opening with the rally cry "Hey! Ho! Let's go!"
According to a later description, "Like all cultural watersheds, Ramones was embraced by a discerning few and
slagged off as a bad joke by the uncomprehending majority."[102] At the instigation of Ramones lead singer Joey
Ramone, the members of Cleveland's Frankenstein moved east to join the New York scene. Reconstituted as the
Dead Boys, they played their first CBGB gig in late July.[103] In August, Ork put out an EP recorded by Hell with his
new band that included the first released version of "Blank Generation".[104]
The term punk initially referred to the scene in general, more than the sound itself—the early New York punk bands
represented a broad variety of influences. Among them, the Ramones, The Heartbreakers, Richard Hell and The
Voidoids, and the Dead Boys were establishing a distinct musical style; even where they diverged most clearly, in
Punk rock 10

lyrical approach—the Ramones' apparent guilelessness at one extreme. Hell's conscious craft at the other, there was
an abrasive attitude in common. Their shared attributes of minimalism and speed, however, had not yet come to
define punk rock.[105]

Other U.S. cities

In 1975, the Suicide Commandos formed in Minneapolis. They were one of the first U.S. bands outside of New York
to play in the Ramones-style harder-louder-faster mode that would define punk rock.[106] Detroit's Death
self-released one of their 1974 recordings, "Politicians in My Eyes", in 1976.[59] As the punk movement expanded
rapidly in the United Kingdom that year, a few bands with similar tastes and attitude appeared around the United
States. The first West Coast punk scenes emerged in San Francisco, with the bands Crime and The Nuns,[107] and
Seattle, where the Telepaths, Meyce, and The Tupperwares played a groundbreaking show on May 1.[108] Rock critic
Richard Meltzer cofounded VOM (short for "vomit") in Los Angeles. In Washington, D.C., raucous roots-rockers
The Razz helped along a nascent punk scene featuring Overkill, the Slickee Boys, and The Look. Around the turn of
the year, White Boy began giving notoriously crazed performances.[109] In Boston, the scene at the
Rathskeller—affectionately known as the Rat—was also turning toward punk, though the defining sound retained a
distinct garage rock orientation. Among the city's first new acts to be identified with punk rock was DMZ.[110] In
Bloomington, Indiana, The Gizmos played in a jokey, raunchy, Dictators-inspired style later referred to as "frat
punk".[111]
Like their garage rock predecessors, these local scenes were facilitated by enthusiastic impresarios who operated
nightclubs or organized concerts in venues such as schools, garages, or warehouses, advertised via inexpensively
printed flyers and fanzines. In some cases, punk's do it yourself ethic reflected an aversion to commercial success, as
well as a desire to maintain creative and financial autonomy.[112] As Joe Harvard, a participant in the Boston scene,
describes, it was often a simple necessity—the absence of a local recording industry and well-distributed music
magazines left little recourse but DIY.[113]

Australia
At the same time, a similar music-based subculture was beginning to take shape in various parts of Australia. A
scene was developing around Radio Birdman and its main performance venue, the Oxford Tavern (later the Oxford
Funhouse), located in Sydney's Darlinghurst suburb. In December 1975, the group won the RAM (Rock Australia
Magazine)/Levi's Punk Band Thriller competition.[114] By 1976, The Saints were hiring Brisbane local halls to use as
venues, or playing in "Club 76", their shared house in the inner suburb of Petrie Terrace. The band soon discovered
that musicians were exploring similar paths in other parts of the world. Ed Kuepper, coleader of The Saints, later
recalled:
One thing I remember having had a really depressing effect on me was the first Ramones album. When I
heard it [in 1976], I mean it was a great record ... but I hated it because I knew we’d been doing this sort
of stuff for years. There was even a chord progression on that album that we used ... and I thought,
"Fuck. We’re going to be labeled as influenced by the Ramones", when nothing could have been further
from the truth.[115]
On the other side of Australia, in Perth, germinal punk rock act the Cheap Nasties, featuring singer-guitarist Kim
Salmon, formed in August.[116] In September, The Saints became the first punk rock band outside the U.S. to release
a recording, the single "(I'm) Stranded". As with Patti Smith's debut, the band self-financed, packaged, and
distributed the single.[117] "(I'm) Stranded" had limited impact at home, but the British music press recognized it as a
groundbreaking record.[118] At the insistence of their superiors in the UK, EMI Australia signed The Saints.
Meanwhile, Radio Birdman came out with a self-financed EP, Burn My Eye, in October.[119] Trouser Press critic Ian
McCaleb later described the record as the "archetype for the musical explosion that was about to occur".[120]
Punk rock 11

United Kingdom
After a brief period unofficially managing the New York Dolls, Englishman Malcolm McLaren returned to London
in May 1975, inspired by the new scene he had witnessed at CBGB. The Kings Road clothing store he co-owned,
recently renamed Sex, was building a reputation with its outrageous "anti-fashion".[121] Among those who
frequented the shop were members of a band called The Strand, which McLaren had also been managing. In August,
the group was seeking a new lead singer. Another Sex habitué, Johnny Rotten, auditioned for and won the job.
Adopting a new name, the group played its first gig as the Sex Pistols on November 6, 1975, at St. Martin's School
of Art[122] and soon attracted a small but ardent following.[123] In February 1976, the band received its first
significant press coverage; guitarist Steve Jones declared that the Pistols were not so much into music as they were
"chaos".[124] The band often provoked its crowds into near-riots. Rotten announced to one audience, "Bet you don't
hate us as much as we hate you!"[125] McLaren envisioned the Pistols as central players in a new youth movement,
"hard and tough".[126] As described by critic Jon Savage, the band members "embodied an attitude into which
McLaren fed a new set of references: late-sixties radical politics, sexual fetish material, pop history,...youth
sociology".[127]
Bernard Rhodes, a sometime associate of McLaren's and friend of the Pistols', was similarly aiming to make stars of
the band London SS. Early in 1976, London SS broke up before ever performing publicly, spinning off two new
bands: The Damned and The Clash, which was joined by Joe Strummer, The 101'ers former lead singer.[128] On June
4, 1976, the Sex Pistols played Manchester's Lesser Free Trade Hall in what came to be regarded as one of the most
influential rock shows ever. Among the approximately forty audience members were the two locals who organized
the gig—they had formed the Buzzcocks after seeing the Sex Pistols in February. Others in the small crowd went on
to form Joy Division, The Fall, and—in the 1980s—The Smiths.[129]
In July, the Ramones crossed the Atlantic for two London shows that helped spark the nascent UK punk scene and
affected its musical style—"instantly nearly every band speeded up".[130] On July 4, they played with the Flamin'
Groovies and The Stranglers before a crowd of 2,000 at the Roundhouse.[131] That same night, The Clash debuted,
opening for the Sex Pistols in Sheffield. On July 5, members of both bands attended a Ramones club gig.[132] The
following night, The Damned played their first show, as a Pistols opening act in London. In critic Kurt Loder's
description, the Pistols purveyed a "calculated, arty nihilism, [while] the Clash were unabashed idealists, proponents
of a radical left-wing social critique of a sort that reached back at least to ... Woody Guthrie in the 1940s".[133] The
Damned built a reputation as "punk's party boys".[134] This London scene's first fanzine appeared a week later. Its
title, Sniffin' Glue, derived from a Ramones song. Its subtitle affirmed the connection with what was happening in
New York: "+ Other Rock 'n' Roll Habits for Punks!"[135]
Another Sex Pistols gig in Manchester on July 20, with a reorganized version of the Buzzcocks debuting in support,
gave further impetus to the scene there.[136] In August, the self-described "First European Punk Rock Festival" was
held in Mont de Marsan in the southwest of France. Eddie and the Hot Rods, a London pub rock group, headlined.
The Sex Pistols, originally scheduled to play, were dropped by the organizers who said the band had gone "too far"
in demanding top billing and certain amenities; The Clash backed out in solidarity. The only band from the new
punk movement to appear was The Damned.[137]
Over the next several months, many new punk rock bands formed, often directly inspired by the Pistols.[138] In
London, women were at the center of the scene—among the initial wave of bands were the female-fronted Siouxsie
and the Banshees and X-Ray Spex and the all-female The Slits. There were female bassists Gaye Advert in The
Adverts and Shanne Bradley in The Nipple Erectors. Other groups included Subway Sect, Eater, The Subversives,
the aptly named London, and Chelsea, which soon spun off Generation X. Farther afield, Sham 69 began practicing
in the southeastern town of Hersham. In Durham, there was Penetration, with lead singer Pauline Murray. On
September 20–21, the 100 Club Punk Festival in London featured the four primary British groups (London's big
three and the Buzzcocks), as well as Paris's female-fronted Stinky Toys, arguably the first punk rock band from a
non-Anglophone country. Siouxsie and the Banshees and Subway Sect debuted on the festival's first night; that same
Punk rock 12

evening, Eater debuted in Manchester.[139] On the festival's second night, audience member Sid Vicious was
arrested, charged with throwing a glass at The Damned that shattered and destroyed a girl's eye. Press coverage of
the incident fueled punk's reputation as a social menace.[140]
Some new bands, such as London's Alternative TV and Edinburgh's Rezillos, identified with the scene even as they
pursued more experimental music. Others of a comparatively traditional rock 'n' roll bent were also swept up by the
movement: The Vibrators, formed as a pub rock–style act in February 1976, soon adopted a punk look and
sound.[141] A few even longer-active bands including Surrey neo-mods The Jam and pub rockers The Stranglers and
Cock Sparrer also became associated with the punk rock scene. Alongside the musical roots shared with their
American counterparts and the calculated confrontationalism of the early Who, journalist Clinton Heylin describes
how the British punks also reflected the influence of the "glam bands who gave noise back to teenagers in the early
Seventies—T.Rex, Slade and Roxy Music".[142] One of the groups openly acknowledging that influence were The
Undertones, from Derry in Northern Ireland.[143] Another punk band formed to the south, Dublin's The Radiators
From Space.
In October, The Damned became the first UK punk rock band to
release a single, the romance-themed "New Rose".[145] The Vibrators
followed the next month with "We Vibrate" and, backing long-time
rocker Chris Spedding, "Pogo Dancing". The latter was hardly a punk
song by any stretch, but it was perhaps the first song about punk rock.
On 26 November, the Sex Pistols' "Anarchy in the U.K." came
out—with its debut single the band succeeded in its goal of becoming a
"national scandal".[146] Jamie Reid's "anarchy flag" poster and his other
design work for the Pistols helped establish a distinctive punk visual The Sex Pistols' "Anarchy in the U.K." poster—a
[144]
aesthetic.[147] On December 1, an incident took place that sealed punk ripped and safety-pinned Union Flag
rock's notorious reputation: On Thames Today, an early evening
London TV show, Sex Pistols guitarist Steve Jones was goaded into a verbal altercation by the host, Bill Grundy.
Jones called Grundy a "dirty fucker" on live television, triggering a media controversy.[148] Two days later, the
Pistols, The Clash, The Damned, and The Heartbreakers set out on the Anarchy Tour, a series of gigs throughout the
UK. Many of the shows were cancelled by venue owners in response to the media outrage following the Grundy
confrontation.[149]

Second wave
By 1977, a second wave of the punk rock movement was breaking in the three countries where it had emerged, as
well as in many other places. Bands from the same scenes often sounded very different from each other, reflecting
the eclectic state of punk music during the era.[150] While punk rock remained largely an underground phenomenon
in North America, Australia, and the new spots where it was emerging, in the UK it briefly became a major
sensation.[151]

North America
The California punk scene was in full swing by early 1977. In Los Angeles, there were The Zeros, The Germs, The
Weirdos, X, The Dickies, The Bags, and the relocated Tupperwares, now dubbed The Screamers.[152] San
Francisco's second wave included The Avengers, Negative Trend, The Mutants, and The Sleepers.[153] The Dils,
from Carlsbad, moved between the two major cities.[154] The Wipers formed in Portland, Oregon. In Seattle, there
was The Lewd.[155] Often sharing gigs with the Seattle punks were bands from across the Canadian border. A major
scene developed in Vancouver, spearheaded by the Furies and Victoria's all-female Dee Dee and the Dishrags.[155]
The Skulls spun off into D.O.A. and The Subhumans. The K-Tels (later known as the Young Canadians) and Pointed
Sticks were among the area's other leading punk acts.[156]
Punk rock 13

In eastern Canada, the Toronto protopunk band Dishes had laid the groundwork for another sizable scene,[157] and a
September 1976 concert by the touring Ramones had catalyzed the movement. Early Ontario punk bands included
The Diodes, The Viletones, The Battered Wives, The Demics, Forgotten Rebels, Teenage Head, The Poles, and The
Ugly. Along with the Dishrags, Toronto's The Curse and B Girls were North America's first all-female punk
acts.[158] In July 1977, the Viletones, Diodes, and Teenage Head headed down to New York City to play a four-day
showcase at CBGB. Punk rock was already beginning to give way there to the anarchic sound of what became
known as No Wave, although several original punk bands continued to perform. Leave Home, the Ramones' second
album, had come out in January. September saw Richard Hell and The Voidoids' first full-length, Blank
Generation.[159] The Heartbreakers' debut, L.A.M.F., and the Dead Boys', Young, Loud and Snotty, appeared in
October; the Ramones' third, Rocket to Russia, in November. The Cramps, whose core members were from
Sacramento by way of Akron, had debuted at CBGB in November 1976, opening for the Dead Boys. They were
soon playing regularly at Max's Kansas City.[160] The Misfits formed in nearby New Jersey; by 1978, they had
developed a style known as horror punk.
The Ohio protopunk bands were joined by Cleveland's The Pagans,[161] Akron's Bizarros and Rubber City Rebels,
and Kent's Human Switchboard. Bloomington, Indiana, had MX-80 Sound and Detroit had The Sillies. The Suburbs
came together in the Twin Cities scene sparked by the Suicide Commandos. The Feederz formed in Arizona. Atlanta
had The Fans. In North Carolina, there was Chapel Hill's H-Bombs and Raleigh's Th' Cigaretz.[162] The Chicago
scene began not with a band but with a group of DJs transforming a gay bar, La Mere Vipere, into what became
known as America's first punk dance club. Tutu and the Pirates and Silver Abuse were among the city's first punk
bands.[163] In Boston, the scene at the Rat was joined by the Nervous Eaters, Thrills, and Human Sexual
Response.[162] In Washington, D.C., the Controls played their first gig in spring 1977, but the city's second wave
really broke the following year with acts such as Urban Verbs, Half Japanese, D'Chumps, Rudements and
Shirkers.[164] By early 1978, the D.C. jazz-fusion group Mind Power had transformed into Bad Brains, one of the
first bands to be identified with hardcore punk.[162] [165]

United Kingdom
The Pistols' live TV skirmish with Bill Grundy was the signal moment in British punk's transformation into a major
media phenomenon, even as some stores refused to stock the records and radio airplay was hard to come by.[166]
Press coverage of punk misbehavior grew intense: On January 4, 1977, the Evening News of London ran a front-page
story on how the Sex Pistols "vomited and spat their way to an Amsterdam flight".[167] In February 1977, the first
album by a British punk band appeared: Damned Damned Damned reached number thirty-six on the UK chart. The
EP Spiral Scratch, self-released by Manchester's Buzzcocks, was a benchmark for both the DIY ethic and
regionalism in the country's punk movement.[168] The Clash's self-titled debut album came out two months later and
rose to number twelve; the single "White Riot" entered the top forty. In May, the Sex Pistols achieved new heights of
controversy (and number two on the singles chart) with "God Save the Queen". The band had recently acquired a
new bassist, Sid Vicious, who was seen as exemplifying the punk persona.[169]
Scores of new punk groups formed around the United Kingdom. Though most survived only briefly, perhaps
recording a small-label single or two, others set off new trends. Crass, from Essex, merged a vehement,
straight-ahead punk rock style with a committed anarchist mission. Sham 69, London's Menace, and the Angelic
Upstarts from South Shields in the Northeast combined a similarly stripped-down sound with populist lyrics, a style
that became known as streetpunk. These expressly working-class bands contrasted with others in the second wave
that presaged the post-punk phenomenon. Such groups expressed punk rock's energy and aggression, while
expanding its musical range with a wider variety of tempos and often more complex instrumentation. London's Wire
took minimalism and brevity to an extreme. London's Tubeway Army, Belfast's Stiff Little Fingers, and
Dunfermline, Scotland's The Skids infused punk rock with elements of synth and noise music.[170] Liverpool's first
punk group, the theatrical Big in Japan, didn't last long, but it spun off several well-known post-punk acts.[171]
Punk rock 14

Alongside thirteen original songs that would define classic punk rock,
The Clash's debut had included a cover of the recent Jamaican reggae
hit "Police and Thieves".[173] Other first wave bands such as The Slits
and new entrants to the scene like The Ruts and The Police interacted
with the reggae and ska subcultures, incorporating their rhythms and
production styles. The punk rock phenomenon helped spark a
full-fledged ska revival movement known as 2 Tone, centered around
bands such as The Specials, The Beat, Madness, and The Selecter.[174]

June 1977 saw the release of another charting punk album: The
Vibrators' Pure Mania. In July, the Sex Pistols' third single, "Pretty
Vacant", reached number six and The Saints had a top-forty hit with
The stark cover design of Wire's debut LP, Pink
"This Perfect Day". Recently arrived from Australia, the band was now
Flag, symbolized the evolution of punk
considered insufficiently "cool" to qualify as punk by much of the style.
[172]
British media, though they had been playing a similar brand of music
for years.[175] In August, The Adverts entered the top twenty with "Gary Gilmore's Eyes". As punk became a
broad-based national phenomenon in the summer of 1977, punk musicians and fans were increasingly subject to
violent assaults by Teddy boys, football yobbos, and others. A Ted-aligned band recorded "The Punk Bashing
Boogie".[176]

In September, Generation X and The Clash reached the top forty with, respectively, "Your Generation" and
"Complete Control". In October, the Pistols hit number eight with "Holidays in the Sun", followed by the release of
their first and only "official" album, Never Mind the Bollocks, Here's the Sex Pistols. Inspiring yet another round of
controversy, it topped the British charts. In December, one of the first books about punk rock was published: The
Boy Looked at Johnny, by Julie Burchill and Tony Parsons.[177] Declaring the punk rock movement to be already
over, it was subtitled The Obituary of Rock and Roll. In January 1978, the Sex Pistols broke up while on American
tour.

Australia
In February 1977, EMI released The Saints' debut album, (I'm) Stranded, which the band recorded in two days.[178]
The Saints had relocated to Sydney; in April, they and Radio Birdman united for a major gig at Paddington Town
Hall.[179] Last Words had also formed in the city. The following month, The Saints relocated again, to Great Britain.
In June, Radio Birdman released the album Radios Appear on its own Trafalgar label.[119]
The Victims became a short-lived leader of the Perth scene, self-releasing the classic "Television Addict". They were
joined by The Scientists, Kim Salmon's successor band to the Cheap Nasties. Among the other bands constituting
Australia's second wave were Johnny Dole & The Scabs, the Hellcats, and Psychosurgeons (later known as the
Lipstick Killers) in Sydney;[180] The Leftovers, The Survivors, and Razar in Brisbane;[181] and La Femme, The
Negatives, and The Babeez (later known as The News) in Melbourne.[182] Melbourne's art rock–influenced Boys
Next Door featured singer Nick Cave, who would become one of the world's most celebrated post-punk artists.

Rest of the world

Meanwhile, punk rock scenes were emerging around the globe. In France, les punks, a Parisian subculture of Lou
Reed fans, had already been around for years.[183] Following the lead of Stinky Toys, Métal Urbain played its first
concert in December 1976. The new punk band's brief set included a cover of the Stooges' "No Fun", also a staple of
the Sex Pistols' live show.[184] Métal Urbain's debut single, "Panik", released in May 1977, was perhaps the first
non-English-language punk rock record;[185] with its "near motorik beat ... gruff guitar riffs, shouted lyrics, and the
occasionally swooping synth line", it is also one of the earliest examples anywhere of a style that would become
Punk rock 15

identified with post-punk.[186] The single "Killerman", by Gasoline, and Stinky Toys' "Boozy Creed" also came out
in 1977. Other French punk acts such as Oberkampf and Starshooter soon formed.[187]
In West Germany, bands primarily inspired by British punk came together in the Neue Deutsche Welle (NDW)
movement. Ätzttussis, the Nina Hagen Band, and S.Y.P.H. featured "raucous vocals and militant posturing",
according to writer Rob Burns.[188] Before turning in a mainstream direction in the 1980s, NDW attracted a
politically conscious and diverse audience, including both participants of the left-wing alternative scene and
neo-Nazi skinheads. These opposing factions were mutually attracted by a view of punk rock as "'against the system'
politically as well as musically".[188] Briard jump-started Finnish punk with its 1977 single "I Really Hate Ya"/"I
Want Ya Back";[189] other early Finnish punk acts included Eppu Normaali and singer Pelle Miljoona. In
Yugoslavia, punk rock acts emerged in Croatia (Paraf), Slovenia (Pankrti), and Serbia (Pekinška patka). In Japan, a
punk movement developed around bands playing in an art/noise style such as Friction, and "psych punk" acts like
Gaseneta and Kadotani Michio.[190] In New Zealand, Auckland's Scavengers and Suburban Reptiles were followed
by The Enemy of Dunedin.[162] Punk rock scenes also grew in other countries such as Belgium (The Kids,
Chainsaw),[191] the Netherlands (The Suzannes, The Ex),[192] Spain (La Banda Trapera Del Río, Kaka De Luxe),[193]
Sweden (Ebba Grön, KSMB),[194] and Switzerland (Nasal Boys, Kleenex).[195]

Punk transforms
By 1979, the hardcore punk movement was emerging in southern California. A rivalry developed between adherents
of the new sound and the older punk rock crowd. Hardcore, appealing to a younger, more suburban audience, was
perceived by some as anti-intellectual, overly violent, and musically limited. In Los Angeles, the opposing factions
were often described as "Hollywood punks" and "beach punks", referring to Hollywood's central position in the
original L.A. punk rock scene and to hardcore's popularity in the shoreline communities of South Bay and Orange
County.[196]
As hardcore became the dominant punk rock style, many bands of the older California punk rock movement split up,
although X went on to mainstream success and The Go-Go's, part of the Hollywood punk scene when they formed in
1978, adopted a pop sound and became major stars.[197] Across North America, many other first and second wave
punk bands also dissolved, while younger musicians inspired by the movement explored new variations on punk.
Some early punk bands transformed into hardcore acts. A few, most notably the Ramones, Richard Hell and The
Voidoids, and Johnny Thunders and The Heartbreakers, continued to pursue the style they had helped create.
Crossing the lines between "classic" punk, post-punk, and hardcore, San Francisco's Flipper was founded in 1979 by
former members of Negative Trend and The Sleepers.[198] They became "the reigning kings of American
underground rock, for a few years".[199]
Radio Birdman broke up in June 1978 while touring the UK,[119] where the early unity between bohemian,
middle-class punks (many with art school backgrounds) and working-class punks had disintegrated.[200] In contrast
to North America, more of the bands from the original British punk movement remained active, sustaining extended
careers even as their styles evolved and diverged. Meanwhile, the Oi! and anarcho-punk movements were emerging.
Musically in the same aggressive vein as American hardcore, they addressed different constituencies with
overlapping but distinct anti-establishment messages. As described by Dave Laing, "The model for self-proclaimed
punk after 1978 derived from the Ramones via the eight-to-the-bar rhythms most characteristic of The Vibrators and
Clash. ... It became essential to sound one particular way to be recognized as a 'punk band' now."[201] In February
1979, former Sex Pistols bassist Sid Vicious died of a heroin overdose in New York. If the Pistols' breakup the
previous year had marked the end of the original UK punk scene and its promise of cultural transformation, for many
the death of Vicious signified that it had been doomed from the start.[202]
By the turn of the decade, the punk rock movement had split deeply along cultural and musical lines, leaving a
variety of derivative scenes and forms. On one side were New Wave and post-punk artists; some adopted more
accessible musical styles and gained broad popularity, while some turned in more experimental, less commercial
Punk rock 16

directions. On the other side, hardcore punk, Oi!, and anarcho-punk bands became closely linked with underground
cultures and spun off an array of subgenres.[203] Somewhere in between, pop punk groups created blends like that of
the ideal record, as defined by Mekons cofounder Kevin Lycett: "a cross between Abba and the Sex Pistols".[204] A
range of other styles emerged, many of them fusions with long-established genres. Exemplifying the breadth of
classic punk's legacy was The Clash album London Calling, released in December 1979. Combining punk rock with
reggae, ska, R&B, and rockabilly, it went on to be acclaimed as one of the best rock records ever.[205] At the same
time, as observed by Flipper singer Bruce Loose, the relatively restrictive hardcore scenes diminished the variety of
music that could once be heard at many punk gigs.[150] If early punk, like most rock scenes, was ultimately
male-oriented, the hardcore and Oi! scenes were significantly more so, marked in part by the slam dancing and
moshing with which they became identified.[206]

New Wave
In 1976—first in London, then in the United States—"New Wave" was introduced as a complementary label for the
formative scenes and groups also known as "punk"; the two terms were essentially interchangeable.[207] NME
journalist Roy Carr is credited with proposing the term's use (adopted from the cinematic French New Wave of the
1960s) in this context.[208] Over time, "New Wave" acquired a distinct meaning: Bands such as Blondie and Talking
Heads from the CBGB scene; The Cars, who emerged from the Rat in Boston; The Go-Go's in Los Angeles; and The
Police in London that were broadening their instrumental palette, incorporating dance-oriented rhythms, and working
with more polished production were specifically designated "New Wave" and no longer called "punk". Dave Laing
suggests that some punk-identified British acts pursued the New Wave label in order to avoid radio censorship and
make themselves more palatable to concert bookers.[209]
Bringing elements of punk rock music and fashion into more pop-oriented, less "dangerous" styles, New Wave
artists became very popular on both sides of the Atlantic.[210] New Wave became a catch-all term,[211] encompassing
disparate styles such as 2 Tone ska, the mod revival inspired by The Jam, the sophisticated pop-rock of Elvis
Costello and XTC, the New Romantic phenomenon typified by Ultravox, synthpop groups like Human League and
Depeche Mode, and the sui generis subversions of Devo, who had gone "beyond punk before punk even properly
existed".[212] New Wave became a pop culture sensation with the debut of the cable television network MTV in
1981, which put many New Wave videos into regular rotation. However, the music was often derided at the time as
being silly and disposable.[213]

Post-punk
During 1976–77, in the midst of the original UK punk movement, bands emerged such as Manchester's Joy Division,
The Fall, and Magazine, Leeds' Gang of Four, and London's The Raincoats that became central post-punk figures.
Some bands classified as post-punk, such as Throbbing Gristle and Cabaret Voltaire, had been active well before the
punk scene coalesced;[214] others, such as The Slits and Siouxsie and the Banshees, transitioned from punk rock into
post-punk. A few months after the Sex Pistols' breakup, John Lydon (no longer "Rotten") cofounded Public Image
Ltd. Lora Logic, formerly of X-Ray Spex, founded Essential Logic. Killing Joke formed in 1979. These bands were
often musically experimental, like certain New Wave acts; defining them as "post-punk" was a sound that tended to
be less pop and more dark and abrasive—sometimes verging on the atonal, as with Subway Sect and Wire—and an
anti-establishment posture directly related to punk's. Post-punk reflected a range of art rock influences from Captain
Beefheart to David Bowie and Roxy Music to Krautrock and, once again, the Velvet Underground.[10]
Punk rock 17

Post-punk brought together a new fraternity of musicians, journalists,

managers, and entrepreneurs; the latter, notably Geoff Travis of Rough
Trade and Tony Wilson of Factory, helped to develop the production
and distribution infrastructure of the indie music scene that blossomed
in the mid-1980s.[216] Smoothing the edges of their style in the
direction of New Wave, several post-punk bands such as New Order
(descended from Joy Division), The Cure, and U2 crossed over to a
mainstream U.S. audience. Bauhaus was one of the formative gothic
rock bands. Others, like Gang of Four, The Raincoats and Throbbing
Gristle, who had little more than cult followings at the time, are seen in
retrospect as significant influences on modern popular culture.[217]
Public Image Ltd's Metal Box (1979) epitomized
post-punk innovations in both music and A number of U.S. artists were retrospectively defined as post-punk;
[215]
design. Television's debut album Marquee Moon, released in 1977, is
frequently cited as a seminal album in the field.[218] The No Wave
movement that developed in New York in the late 1970s, with artists like Lydia Lunch, is often treated as the
phenomenon's U.S. parallel.[219] The later work of Ohio protopunk pioneers Pere Ubu is also commonly described as
post-punk.[220] One of the most influential American post-punk bands was Boston's Mission of Burma, who brought
abrupt rhythmic shifts derived from hardcore into a highly experimental musical context.[221] In 1980, Australia's
Boys Next Door moved to London and changed their name to The Birthday Party, which evolved into Nick Cave
and the Bad Seeds. King Snake Roost and other Australian bands would further explore the possibilities of
post-punk. Later art punk and alternative rock musicians found diverse inspiration among these predecessors, New
Wave and post-punk alike.

Hardcore
A distinctive style of punk, characterized by superfast, aggressive beats, screaming vocals, and often politically
aware lyrics, began to emerge in 1978 among bands scattered around the United States. The first major scene of what
came to be known as hardcore punk developed in southern California in 1978–79;[222] the movement soon spread
around North America and internationally.[223] [224] [225] According to author Steven Blush, "Hardcore comes from
the bleak suburbs of America. Parents moved their kids out of the cities to these horrible suburbs to save them from
the 'reality' of the cities and what they ended up with was this new breed of monster".[16]
Among the earliest hardcore bands, regarded as having made the first recordings in the style, were southern
California's Middle Class and Black Flag.[224] [225] Bad Brains—all of whom were black, a rarity in punk of any
era—launched the D.C. scene.[223] Austin, Texas's Big Boys, San Francisco's Dead Kennedys, and Vancouver's
D.O.A. were among the other initial hardcore groups. They were soon joined by bands such as the Minutemen,
Descendents, Circle Jerks, The Adolescents, and TSOL in southern California; D.C.'s Teen Idles, Minor Threat, and
State of Alert; and Austin's MDC and The Dicks. By 1981, hardcore was the dominant punk rock style not only in
California, but much of the rest of North America as well.[226] A New York hardcore scene grew, including the
relocated Bad Brains, New Jersey's Misfits and Adrenalin O.D., and local acts such as the Nihilistics, The Mob,
Reagan Youth, and Agnostic Front. Beastie Boys, who would become famous as a hip-hop group, debuted that year
as a hardcore band. They were followed by The Cro-Mags, Murphy's Law, and Leeway.[227] By 1983, St. Paul's
Hüsker Dü and Chicago's Naked Raygun were taking the hardcore sound in experimental and ultimately more
melodic directions. Hardcore would constitute the American punk rock standard throughout the decade.[228]
The lyrical content of hardcore songs, typified by Dead Kennedys' "Holiday in Cambodia", is often critical of
commercial culture and middle-class values.[225] Straight edge bands like Minor Threat, Boston's SS Decontrol, and
Reno, Nevada's 7 Seconds rejected the self-destructive lifestyles of many of their peers, and built a movement based
on positivity and abstinence from cigarettes, alcohol, drugs, and casual sex.[229] In the early 1980s, bands from the
Punk rock 18

American southwest and California such as JFA, Agent Orange, and The Faction helped create a rhythmically
distinctive style of hardcore known as skate punk. Skate punk innovators also pointed in other directions: Big Boys
helped establish funkcore, while Venice, California's Suicidal Tendencies had a formative effect on the heavy
metal–influenced crossover thrash style. Toward the end of the decade, crossover thrash spawned the metalcore
fusion style and the superfast thrashcore subgenre developed in multiple locations.

Oi!
Following the lead of first-wave British punk bands Cock Sparrer and Sham 69, in the late 1970s second-wave units
like Cockney Rejects, Angelic Upstarts, The Exploited, and The 4-Skins sought to realign punk rock with a working
class, street-level following.[230] Their style was originally called real punk or streetpunk; Sounds journalist Garry
Bushell is credited with labelling the genre Oi! in 1980. The name is partly derived from the Cockney Rejects' habit
of shouting "Oi! Oi! Oi!" before each song, instead of the time-honored "1,2,3,4!"[231] Oi! bands' lyrics sought to
reflect the harsh realities of living in Margaret Thatcher's Britain in the late 1970s and early 1980s.[232] A subgroup
of Oi! bands dubbed "punk pathetique"—including Splodgenessabounds, Peter and the Test Tube Babies, and Toy
Dolls—had a more humorous and absurdist bent.
The Oi! movement was fueled by a sense that many participants in the
early punk rock scene were, in the words of The Business guitarist Steve
Kent, "trendy university people using long words, trying to be artistic ...
and losing touch".[233] The Oi! credo held that the music needed to remain
unpretentious and accessible.[170] According to Bushell, "Punk was meant
to be of the voice of the dole queue, and in reality most of them were not.
But Oi was the reality of the punk mythology. In the places where [these
bands] came from, it was harder and more aggressive and it produced just
as much quality music."[234]

Although most Oi! bands in the initial wave were apolitical or left wing,
many of them began to attract a white power skinhead following.[235]
Strength Thru Oi!, with its notorious image
of British Movement activist and felon
Nicky Crane
Racist skinheads sometimes disrupted Oi! concerts by shouting fascist
slogans and starting fights, but some Oi! bands were reluctant to endorse
criticism of their fans from what they perceived as the "middle-class establishment".[236] In the popular imagination,
the movement thus became linked to the far right.[237] Strength Thru Oi!, an album compiled by Bushell and released
in May 1981, stirred controversy, especially when it was revealed that the belligerent figure on the cover was a
neo-Nazi jailed for racist violence (Bushell claimed ignorance).[235] On July 3, a concert at Hamborough Tavern in
Southall featuring The Business, The 4-Skins, and The Last Resort was firebombed by local Asian youths who
believed that the event was a neo-Nazi gathering.[238] Following the Southall riot, press coverage increasingly
associated Oi! with the extreme right, and the movement soon began to lose momentum.[232]
Punk rock 19

Anarcho-punk
Anarcho-punk developed alongside the Oi! and American hardcore
movements. With a primitive, stripped-down musical style and ranting,
shouted vocals, British bands such as Crass—the scene's "moral
leaders"—Subhumans, Flux of Pink Indians, Conflict, Poison Girls,
and The Apostles attempted to transform the punk rock scene into a
full-blown anarchist movement. Revolution and terrorism were
primary lyrical topics.[240] As with straight edge, anarcho-punk is
based on a set of principles, including prohibitions on wearing leather
and the promotion of a vegetarian or vegan diet.[239]
[239]
Crass were the originators of anarcho-punk.
The movement spun off several subgenres of a similar political bent.
Their all-black militaristic dress became a staple
Discharge, founded back in 1977, established D-beat in the early of the genre.
1980s. Other groups in the movement, led by Amebix and Antisect,
developed the extreme style known as crust punk. Several of these bands rooted in anarcho-punk such as The
Varukers, Discharge, and Amebix, along with former Oi! groups such as The Exploited and bands from father afield
like Birmingham's Charged GBH, became the leading figures in the UK 82 hardcore movement. The anarcho-punk
scene also spawned bands such as Napalm Death, Carcass, and Extreme Noise Terror that in the mid-1980s defined
grindcore, incorporating extremely fast tempos and death metal–style guitarwork.[241] Led by Dead Kennedys, a
U.S. anarcho-punk scene developed around such bands as Austin's MDC and southern California's Another
Destructive System.[242]

Pop punk
With their love of the Beach Boys and late 1960s bubblegum pop, the Ramones paved the way to what became
known as pop punk.[243] In the late 1970s, UK bands such as Buzzcocks and The Undertones combined pop-style
tunes and lyrical themes with punk's speed and chaotic edge.[244] In the early 1980s, some of the leading bands in
southern California's hardcore punk rock scene emphasized a more melodic approach than was typical of their peers.
According to music journalist Ben Myers, Bad Religion "layered their pissed off, politicized sound with the
smoothest of harmonies"; Descendents "wrote almost surfy, Beach Boys–inspired songs about girls and food and
being young(ish)".[245] Epitaph Records, founded by Brett Gurewitz of Bad Religion, was the base for many future
pop punk bands, including NOFX, with their third wave ska–influenced skate punk rhythms. Bands that fused punk
with light-hearted pop melodies, such as The Queers and Screeching Weasel, began appearing around the country, in
turn influencing bands like Green Day and The Offspring, who brought pop punk wide popularity and major record
sales. Bands such as The Vandals and Guttermouth developed a style blending pop melodies with humorous and
offensive lyrics. The mainstream pop punk of latter-day bands such as Blink-182 is criticized by many punk rock
devotees; in critic Christine Di Bella's words, "It's punk taken to its most accessible point, a point where it barely
reflects its lineage at all, except in the three-chord song structures."[246]

Other fusions and directions

From 1977 forward, punk rock crossed lines with many other popular music genres. Los Angeles punk rock bands
laid the groundwork for a wide variety of styles: The Flesh Eaters with deathrock; The Plugz with Chicano punk; and
Gun Club with punk blues. The Meteors, from South London, and The Cramps, who moved from New York to Los
Angeles in 1980, were innovators in the psychobilly fusion style.[247] Milwaukee's Violent Femmes jumpstarted the
American folk punk scene, while The Pogues did the same on the other side of the Atlantic, influencing many Celtic
punk bands. The Mekons, from Leeds, combined their punk rock ethos with country music, greatly influencing the
later alt-country movement. In the United States, varieties of cowpunk played by bands such as Nashville's Jason &
the Scorchers, Arizona's Meat Puppets, and southern California's Social Distortion had a similar effect.
Punk rock 20

Other bands pointed punk rock toward future rock styles or its own foundations. New York's Suicide, who had
played with the New York Dolls at the Mercer Arts Center, L.A.'s The Screamers and Nervous Gender, and
Germany's DAF were pioneers of synthpunk. Chicago's Big Black was a major influence on noise rock, math rock,
and industrial rock. Garage punk bands from all over—such as Medway's Thee Mighty Caesars, Chicago's Dwarves,
and Adelaide's Exploding White Mice—pursued a version of punk rock that was close to its roots in 1960s garage
rock. Seattle's Mudhoney, one of the central bands in the development of grunge, has been described as "garage
punk".[248]

Legacy and later developments

Alternative rock
The underground punk rock movement inspired countless bands that either evolved from a punk rock sound or
brought its outsider spirit to very different kinds of music. The original punk explosion also had a long-term effect
on the music industry, spurring the growth of the independent sector.[249] During the early 1980s, British bands like
New Order and The Cure that straddled the lines of post-punk and New Wave developed both new musical styles
and a distinctive industrial niche. Though commercially successful over an extended period, they maintained an
underground-style, subcultural identity.[250] In the United States, bands such as Hüsker Dü and their Minneapolis
protégés The Replacements bridged the gap between punk rock genres like hardcore and the more expansive sound
of what was then called "college rock".[251]
A 1985 Rolling Stone feature on the Minneapolis scene and innovative California hardcore acts such as Black Flag
and Minutemen declared, "Primal punk is passé. The best of the American punk rockers have moved on. They have
learned how to play their instruments. They have discovered melody, guitar solos and lyrics that are more than
shouted political slogans. Some of them have even discovered the Grateful Dead."[252] By the end of the 1980s, these
bands, who had largely eclipsed their punk rock forebears in popularity, were classified broadly as alternative rock.
Alternative rock encompasses a diverse set of styles—including gothic rock and grunge, among others—unified by
their debt to punk rock and their origins outside of the musical mainstream.[253]
As American alternative bands like Sonic Youth, which had grown out
of the No Wave scene, and Boston's Pixies started to gain larger
audiences, major labels sought to capitalize on the underground market
that had been sustained by hardcore punk for years.[254] In 1991,
Nirvana emerged from Washington State's grunge scene, achieving
huge commercial success with its second album, Nevermind. The
band's members cited punk rock as a key influence on their style.[255]
"Punk is musical freedom", wrote singer Kurt Cobain. "It’s saying,
doing, and playing what you want."[256] The widespread popularity of
Sonic Youth's Kim Gordon in 1991, walking on
Nirvana and other punk-influenced bands such as Pearl Jam and Red
her bass guitar
Hot Chili Peppers fueled the alternative rock boom of the early and
mid-1990s.[253]

Emo
In its original, mid-1980s incarnation, emo was a less musically restrictive style of punk developed by participants in
the Washington, D.C. area hardcore scene. It was originally referred to as "emocore", an abbreviation of "emotive
hardcore". Notable early emo bands included Rites of Spring, Embrace, The Hated, and One Last Wish. The term
derived from the tendency of some of these bands' members to become strongly emotional during performances.
Punk rock 21

Fugazi, formed out of the dissolution of Embrace, inspired a second, much broader based wave of emo bands
beginning in the mid-1990s. Groups like San Diego's Antioch Arrow generated new, more intense subgenres like
screamo, while others developed a more melodic style closer to indie rock. Bands such as Seattle's Sunny Day Real
Estate and Mesa, Arizona's Jimmy Eat World broke out of the underground, attracting national attention. By the turn
of the century, emo had arguably surpassed hardcore, its parent genre, as the roots-level standard for U.S. punk,
though some music fans claim that typical latter-day emo bands like Fall Out Boy don't even qualify as punk at
all.[257]

Queercore and riot grrrl

In the 1990s, the queercore movement developed around a number of
punk bands with gay, lesbian, or bisexual members such as God Is My
Co-Pilot, Pansy Division, Team Dresch, and Sister George. Inspired by
openly gay punk musicians of an earlier generation such as Jayne
County, Phranc, Darby Crash and Randy Turner, and bands like
Nervous Gender, The Screamers, and Coil, queercore embraces a
variety of punk and other alternative music styles. Queercore lyrics
often treat the themes of prejudice, sexual identity, gender identity, and
individual rights. The movement has continued to expand in the
twenty-first century, supported by festivals such as Queeruption.

In 1991, a concert of female-led bands at the International Pop

Underground Convention in Olympia, Washington, heralded the
emerging riot grrrl phenomenon. Billed as "Love Rock Revolution Girl
Style Now", the concert's lineup included Bikini Kill, Bratmobile,
Heavens to Betsy, L7, and Mecca Normal.[258] Singer-guitarists Corin
Tucker of Heavens to Betsy and Carrie Brownstein of Excuse 17,
bands active in both the queercore and riot grrrl scenes, cofounded the Carrie Brownstein, performing with
Sleater-Kinney in 2005
celebrated indie/punk band Sleater-Kinney in 1994. Bikini Kill's lead
singer, Kathleen Hanna, the iconic figure of riot grrrl, moved on to
form the art punk group Le Tigre in 1998.[259]

Punk revival
Along with Nirvana, many of the leading alternative rock artists of the early 1990s acknowledged the influence of
earlier punk rock acts. With Nirvana's success, the major record companies once again saw punk bands as potentially
profitable.[260] In 1993, California's Green Day and Bad Religion were both signed to major labels. The next year,
Green Day released Dookie, which became a huge hit, selling eight million albums in just over two years.[261] Bad
Religion's Stranger Than Fiction was certified gold.[262] Other California punk bands on indie label Epitaph, run by
Bad Religion guitarist Brett Gurewitz, also began garnering mainstream success. In 1994, Epitaph put out Let's Go
by Rancid, Punk In Drublic by NOFX, and Smash by The Offspring, each eventually certified gold or better. Smash
went on to sell over 11 million copies, becoming the best-selling independent-label album of all time.[263] MTV and
radio stations such as Los Angeles' KROQ-FM played a major role in these bands' crossover success, though NOFX
refused to let MTV air its videos.[264] Green Day and Dookie's enormous sales paved the way for a host of bankable
North American pop punk bands in the following decade.[265] The Vans Warped Tour and the mall chain store Hot
Topic brought punk even further into the U.S. mainstream.
Following the lead of Boston's Mighty Mighty Bosstones and two California bands, Berkeley's Operation Ivy and
Long Beach's Sublime, ska punk and ska-core became widely popular in the mid-1990s. The original 2 Tone bands
Punk rock 22

had emerged amid punk rock's second wave, but their music was much closer to its Jamaican roots—"ska at 78
rpm".[266] Ska punk bands in the third wave of ska created a true musical fusion between the genres. ...And Out
Come the Wolves, the 1995 album by Rancid—which had evolved out of Operation Ivy—became the first record in
this ska revival to be certified gold;[267] Sublime's self-titled 1996 album was certified platinum early in 1997.[261]
By 1998, the punk revival had commercially stalled,[268] but not for long. Pop punk band Blink-182's 1999 release,
Enema of the State, reached the Billboard top ten and sold four million copies in less than a year.[261] New pop punk
bands such as Sum 41, Simple Plan, Yellowcard, and Good Charlotte achieved major sales in the first decade of the
2000s. In 2004, Green Day's American Idiot went to number one on both the U.S. and UK charts. Jimmy Eat World,
which had taken emo in a radio-ready pop punk direction,[269] had top-ten albums in 2004 and 2007; in a similar
style, Fall Out Boy hit number one with 2007's Infinity on High. The revival was broad-based: AFI, with roots in
hardcore and skate punk, had great success with 2003's Sing the Sorrow and topped the U.S. chart with
Decemberunderground in 2006. Alkaline Trio had three successive top-thirty albums, peaking at number 13 with
2008's Agony & Irony. Political bands opposed to the administration of George W. Bush such as Rise Against,
Anti-Flag, and Against Me! found success. Ska punk groups such as Reel Big Fish and Less Than Jake continued to
attract new fans. Celtic punk, with U.S. bands such as Flogging Molly and Dropkick Murphys merging the sound of
Oi! and The Pogues, reached wide audiences. The Australian punk rock tradition was carried on by groups such as
Frenzal Rhomb, The Living End, and Bodyjar.
With punk rock's renewed visibility came concerns among some in the
punk community that the music was being co-opted by the
mainstream.[264] They argued that by signing to major labels and
appearing on MTV, punk bands like Green Day were buying into a
system that punk was created to challenge.[270] Such controversies
have been part of the punk culture since 1977, when The Clash was
widely accused of "selling out" for signing with CBS Records.[271] The
effect of commercialization on the music itself was an even more
contentious issue. As observed by scholar Ross Haenfler, many punk
NOFX in concert in 2007
fans "'despise corporate punk rock', typified by bands such as Sum 41
and Blink 182".[272] By the 1990s, punk rock was so sufficiently
ingrained in Western culture that punk trappings were often used to market highly commercial bands as "rebels".
Marketers capitalized on the style and hipness of punk rock to such an extent that a 1993 ad campaign for an
automobile, the Subaru Impreza, claimed that the car was "like punk rock".[273]

See also
• List of punk bands
• Punk rock subgenres
• Timeline of punk rock

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• Pareles, Jon, and Patricia Romanowski (eds.) (1983). The Rolling Stone Encyclopedia of Rock & Roll (New York:
Rolling Stone Press/Summit Books). ISBN 0-671-44071-3
• Porter, Dick (2007). The Cramps: A Short History of Rock 'n' Roll Psychosis (London: Plexus). ISBN
0-85965-398-6
• Purcell, Natalie J. (2003). Death Metal Music: The Passion and Politics of a Subculture (Jefferson, N.C., and
London: McFarland). ISBN 0-7864-1585-1
• Raha, Maria (2005). Cinderella's Big Score: Women of the Punk and Indie Underground (Emeryville, Calif.:
Seal). ISBN 1-58005-116-2
• Reed, John (2005). Paul Weller: My Ever Changing Moods (London et al.: Omnibus Press). ISBN 1-84449-491-8
• Reynolds, Simon (1999). Generation Ecstasy: Into the World of Techno and Rave Culture (London: Routledge).
ISBN 0-415-92373-5
• Reynolds, Simon (2005). Rip It Up and Start Again: Post Punk 1978–1984 (London and New York: Faber and
Faber). ISBN 0-571-21569-6
• Robb, John (2006). Punk Rock: An Oral History (London: Elbury Press). ISBN 0-09-190511-7
• Rodel, Angela (2004). "Extreme Noise Terror: Punk Rock and the Aesthetics of Badness", in Bad Music: The
Music We Love to Hate, ed. Christopher Washburne and Maiken Derno (New York: Routledge), pp. 235–256.
ISBN 0-415-94365-5
• Sabin, Roger (1999). Punk Rock, So What? The Cultural Legacy of Punk (London: Routledge). ISBN
0-415-17030-3.
• Savage, Jon (1991). England's Dreaming: The Sex Pistols and Punk Rock (London: Faber and Faber). ISBN
0-312-28822-0
• Savage, Jon (1992). England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond (New York: St.
Martin's). ISBN 0-312-08774-8
• Shapiro, Fred R. (2006). Yale Book of Quotations (New Haven, Conn.: Yale University Press). ISBN
0-300-10798-6
Punk rock 25

• Schmidt, Axel, and Klaus Neumann-Braun (2004). Die Welt der Gothics: Spielräume düster konnotierter
Tranzendenz (Wiesbaden: VS Verlag). ISBN 3-531-14353-0
• Shuker, Roy (2002). Popular Music: The Key Concepts (London: Routledge). ISBN 0-415-28425-2
• Simpson, Paul (2003). The Rough Guide to Cult Pop: The Songs, the Artists, the Genres, the Dubious Fashions
(London: Rough Guides). ISBN 1-84353-229-8
• Spitz, Mark, and Brendan Mullen (2001). We Got the Neutron Bomb: The Untold Story of L.A. Punk (New York:
Three Rivers Press). ISBN 0-609-80774-9
• Stafford, Andrew (2006). Pig City: From the Saints to Savage Garden, 2d rev. ed. (Brisbane: University of
Queensland Press). ISBN 0-7022-3561-X
• Stark, James (2006). Punk '77: An Inside Look at the San Francisco Rock N' Roll Scene, 3d ed. (San Francisco:
RE/Search Publications). ISBN 1-889307-14-9
• Strohm, John (2004). "Women Guitarists: Gender Issues in Alternative Rock", in The Electric Guitar: A History
of an American Icon, ed. A. J. Millard (Baltimore: Johns Hopkins University Press), pp. 181–200. ISBN
0-8018-7862-4
• Strongman, Phil (2008). Pretty Vacant: A History of UK Punk (Chicago: Chicago Review Press). ISBN
1-55652-752-7
• St. Thomas, Kurt, with Troy Smith (2002). Nirvana: The Chosen Rejects (New York: St. Martin's). ISBN
0-312-20663-1
• Taylor, Steven (2003). False Prophet: Field Notes from the Punk Underground (Middletown, Conn.: Wesleyan
University Press). ISBN 0-8195-6668-3
• Taylor, Steve (2004). The A to X of Alternative Music (London and New York: Continuum). ISBN 0-8264-8217-1
• Unterberger, Richie (1998). Unknown Legends of Rock 'n' Roll: Psychedelic Unknowns, Mad Geniuses, Punk
Pioneers, Lo-Fi Mavericks & More (San Francisco: Backbeat). ISBN 0-87930-534-7
• Unterberger, Richie (1999). Music USA: The Rough Guide (London: Rough Guides). ISBN 1-85828-421-X
• Walker, John (1991). "Television", in The Trouser Press Record Guide, 4th ed., ed. Ira Robbins (New York:
Collier), p. 662. ISBN 0-02-036361-3
• Walsh, Gavin (2006). Punk on 45; Revolutions on Vinyl, 1976–79 (London: Plexus). ISBN 0-85965-370-6
• Wells, Steven (2004). Punk: Loud, Young & Snotty: The Story Behind the Songs (New York and London:
Thunder's Mouth). ISBN 1-56025-573-0
• Wilkerson, Mark Ian (2006). Amazing Journey: The Life of Pete Townshend (Louisville: Bad News Press). ISBN
1-4116-7700-5
• Wojcik, Daniel (1995). Punk and Neo-Tribal Body Art (Jackson: University Press of Mississippi). ISBN
0-87805-735-8

External links
• Fales Library of NYU Downtown Collection [274] archival collection with the personal papers of many
well-known punk figures
• A History of Punk [275] 1990 essay by rock critic A.S. Van Dorston
• Punk 77 [276] history of early UK punk
• " We Have to Deal With It: Punk England Report" [277], by Robert Christgau, Village Voice, January 9, 1978
Punk rock 26

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[30] Quoted in Savage (1991), p. 440. See also Laing (1985), pp. 27–32.
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[37] See, e.g., Laing (1985), "Picture Section", p. 18.
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[39] Wojcik (1995), pp. 16–19; Laing (1985), p. 109.
Punk rock 27

[40] Laing (1985), pp. 89, 97–98, 125.

[41] Laing (1985), p. 92, 88.
[42] Laing (1985), p. 89, 92–93.
[43] Laing (1985), pp. 34, 61, 63, 89–91.
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[46] Laing (1985), p. 82.
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[49] Sabin (1999), p. 157.
[50] Harrington (2002), p. 165.
[51] Reed (2005), p. 49.
[52] Fletcher (2000), p. 497.
[53] MC5: Kick Out the Jams (http:/ / www. rollingstone. com/ artists/ mc5/ albums/ album/ 105316/ review/ 5941601/ kick_out_the_jams)
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[54] Marcus (1979), p. 294.
[55] Taylor (2003), p. 49.
[56] Harrington (2002), p. 538.
[57] Bessman (1993), pp. 9–10.
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[60] Klimek, Jamie, "Mirrors" (http:/ / www. jilmar. com/ mirrors/ story. html), Jilmar Music; Jäger, Rolf, "Styrenes—A Brief History" (http:/ /
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[61] Ohtaka, Toshikazu. "Interview with Mick Farren" (http:/ / web. archive. org/ web/ 20080508000420/ http:/ / www. thanatosoft. freeserve.
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[63] Laing (1985), pp. 24–26.
[64] Robb (2006), p. 51.
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[70] Shapiro (2006), p. 492.
[71] Bangs, Lester, "Of Pop and Pies and Fun" (http:/ / www. creemmagazine. com/ _site/ BeatGoesOn/ IggyPop/ OfPopAndPiesPt001. html),
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[72] Nobahkt (2004), p. 38.
[73] Shapiro (2006), p. 492. Note that Taylor (2003) misidentifies the year of publication as 1970 (p. 16) as does Scott Woods in the introduction
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[75] Houghton, Mick, "White Punks on Coke", Let It Rock. December 1975.
[76] Taylor (2003), p. 16.
[77] Atkinson, Terry, "Hits and Misses", Los Angeles Times, February 17, 1973, p. B6.
[78] Laing (1985), p. 13; "Punk Magazine Listening Party # 7" (http:/ / www. punkmagazine. com/ stuff/ morestuff/ listening_party7. html), Punk
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[79] Hilburn, Robert, "Touch of Stones in Dolls' Album", Los Angeles Times, May 7, 1974, p. C12.
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Punk rock 28

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[81] Savage (1991), p. 131.
[82] Savage (1991), pp. 130–131.
[83] Taylor (2003), pp. 16–17.
[84] Savage (1991), pp. 86–90, 59–60.
[85] Walker (1991), p. 662.
[86] Strongman (2008), pp. 53, 54, 56.
[87] Savage (1992), p. 89.
[88] Bockris and Bayley (1999), p. 102.
[89] "Patti Smith—Biography" (http:/ / web. archive. org/ web/ 20071103053048/ http:/ / www. arista. com/ psmith/ smithbio. html). Arista
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[92] Savage (1991), pp. 132–133.
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[96] Strongman (2008), p. 96; Savage (1992), p. 130.
[97] Walsh (2006), p. 27.
[98] Savage (1991), p. 132.
[99] Walsh (2006), pp. 15, 24; for Punk, Wayne County, and punk homosexuality, see McNeil and McCain (2006), pp. 272–275; Savage (1992),
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[109] Andersen and Jenkins (2001), pp. 2–13.
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[116] McFarlane (1999), p. 548.
[117] Beaumont, Lucy (2007-08-17). ""Great Australian Albums [TV review]" " (http:/ / www. theage. com. au/ news/ tv-reviews/
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[118] Stafford (2006), pp. 57–76.
[119] McFarlane (1999), p. 507.
Punk rock 29

[120] McCaleb (1991), p. 529.

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[122] Gimarc (2005), p. 22; Robb (2006), p. 114; Savage (1992), p. 129.
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[127] Savage (1992), p. 163.
[128] Savage (1992), pp. 124, 171, 172.
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[138] See, e.g., Marcus (1989), pp. 37, 67.
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[141] Savage (1992), pp. 221, 247.
[142] Heylin (1993), p. xii.
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[144] Savage (1992), p. 253.
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[147] Pardo (2004), p. 245.
[148] Lydon (1995), p. 127; Savage (1992), pp. 257–260; Barkham, Patrick, "Ex-Sex Pistol Wants No Future for Swearing" (http:/ / www.
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[149] Savage (1992), pp. 267–275; Lydon (1995), pp. 139–140.
[150] Reynolds (2005), p. 211.
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[153] Stark (2006), passim.
[154] Unterberger (1999), p. 398. For examples of early California punk recordings, see Dangerhouse Records—Part 1 (http:/ / www.
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[155] Keithley (2004), pp. 31–32.
[156] Keithley (2004), pp. 24, 35, 29–43, 45 et seq.
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Punk rock 30

[158] Worth, Liz. "A Canadian Punk Revival" (http:/ / www. exclaim. ca/ articles/ research. aspx?csid1=111). Exclaim, June 2007. Retrieved on
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[160] Porter (2007), pp. 48–49; Nobahkt (2004), pp. 77–78.
[161] Adams (2002), pp. 377–380.
[162] Aaron, Charles, "The Spirit of '77" (http:/ / www. spin. com/ features/ magazine/ 2007/ 09/ 0710_spiritof77/ ), Spin, September 20, 2007.
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[164] Andersen and Jenkins (2001), pp. 11–15, 23–26, 32, 35, 39, 41, 49, 59, 60, 68, 84, 91, 93 et seq.
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[166] Savage (1992), pp. 260, 263–267, 277–279; Laing (1985), pp. 35, 37, 38.
[167] Savage (1992), p. 286.
[168] Savage (1992), pp. 296–298; Reynolds (2005), pp. 26–27.
[169] Colegrave and Sullivan (2005), p. 225.
[170] Reynolds (2005), pp. xvii, xviii, xxiii
[171] Savage (1991), p. 298.
[172] Reynolds (2005), pp. 171–172; Buckley (2003), p. 1179; Strongman (2008), p. 232.
[173] Shuker (2002), p. 228; Wells (2004), p. 113; Myers (2006), p. 205; ""Reggae 1977: When The Two 7's Clash"" (http:/ / www. punk77. co.
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[175] Wells (2004), p. 114.
[176] Strongman (2008), pp. 182–184.
[177] The title echoes a lyric from the title track of Patti Smith's 1975 album Horses
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[188] Burns (1995), p. 313.
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[192] Savage (1992), p. 581; Nitwit, Tony. "Holland Scene Report" (http:/ / www. operationphoenixrecords. com/
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[193] Schrader, Stuart. "Drogas, Sexo, Y Un Dictador Muerto: 1978 on Vinyl in Spain" (http:/ / www. shit-fi. com/ Articles/ Spain1978/
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[194] "Ebba Grön" (http:/ / www. music. com/ person/ ebba_gron/ 1/ ) Music.com; "KSMB" (http:/ / www. music. com/ group/ ksmb/ 1/ )
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Punk rock 31

[195] Mumenthaler, Samuel "Swiss Pop & Rock Anthology from the Beginnings till 1985: WAVE (3)" (http:/ / swissmusic. swissinfo. org/ eng/
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[196] Blush (2001), p. 18; Reynolds (2006), p. 211; Spitz and Mullen (2001), pp. 217–232; Stark (2006), "Dissolution" (pp. 91–93); see also,
"Round-Table Discussion: Hollywood Vanguard vs. Beach Punks!" (http:/ / flipsidefanzine. com/ PortalHome. html) (Flipsidezine.com article
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[197] Spitz and Mullen (2001), pp. 274–279.
[198] See also Reynolds (2005), pp. 208–211.
[199] Dougan, John. Flipper—Biography (http:/ / allmusic. com/ cg/ amg. dll?p=amg& sql=11:aifuxqe5ldje~T1). Allmusic. Retrieved on
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[200] Reynolds (2005), pp. 1–2, 17; Laing (1985), p. 109; Savage (1991), p. 396.
[201] Laing (1985), p. 108.
[202] Savage (1992), p. 530.
[203] Reynolds (2005), p. xvii.
[204] Quoted in Wells (2004), p. 21.
[205] See, e.g., Spencer, Neil, and James Brown, "Why the Clash Are Still Rock Titans" (http:/ / music. guardian. co. uk/ rock/ story/
0,,1934098,00. html), The Observer (UK), October 29, 2006. Retrieved February 28, 2006.
[206] Namaste (2000), p. 87; Laing (1985), pp. 90–91.
[207] Gendron (2002), pp. 269–274.
[208] Strongman (2008), p. 134.
[209] Laing (1985), pp. 37.
[210] Wojcik (1995), p. 22.
[211] Schild, Matt, "Stuck in the Future" (http:/ / www. aversion. com/ bands/ interviews. cfm?f_id=292), Aversion.com, July 11, 2005.
Retrieved on January 21, 2007.
[212] Reynolds (2005), p. 79.
[213] "New Wave" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=19:T727), Allmusic. Retrieved on January 17, 2007.
[214] Reynolds (2005), p. xxi.
[215] Reynolds (2005), pp. 212–218; Miles, Scott, and Morgan (2005), p. 138.
[216] Reynolds (2005), pp. xxvii, xxix.
[217] Reynolds (2005), p. xxix.
[218] See, e.g., Television (http:/ / www. rhapsody. com/ television/ more. html) overview by Mike McGuirk, Rhapsody; Marquee Moon (http:/ /
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PopMatters. All retrieved January 15, 2007.
[219] See, e.g., Buckley (2003), p. 13.
[220] See. e.g., Reynolds (1999), p. 336; Savage (2002), p. 487.
[221] Harrington (2002), p. 388.
[222] Sabin (1999), p. 4.
[223] Andersen and Jenkins (2001).
[224] Blush (2001), p. 17; Coker, Matt, "Suddenly In Vogue: The Middle Class May Have Been the Most Influential Band You’ve Never Heard
Of" (http:/ / www. ocweekly. com/ features/ music-feedback/ suddenly-in-vogue/ 16269/ ), OC Weekly, December 5, 2002. Retrieved on
March 26, 2007.
[225] Van Dorston, A.S., "A History of Punk" (http:/ / www. fastnbulbous. com/ punk. htm), fastnbulbous.com, January 1990. Retrieved on
December 30, 2006.
[226] Blush (2001), pp. 12–21.
[227] Andersen and Jenkins (2001), p. 89; Blush (2001), p. 173; Diamond, Mike. ""Beastie Boys Biography"" (http:/ / www. sing365. com/
music/ lyric. nsf/ Beastie-Boys-Biography/ 0B982363068317484825682C0009A5AE). Sing365.com. . Retrieved 2008-01-04.
[228] Leblanc (1999), p. 59.
[229] Lamacq, Steve, "x True Til Death x" (http:/ / www. bbc. co. uk/ radio1/ documentaries/ 060829_straightedge. shtml), BBC Radio 1, 2003.
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[230] Sabin (1999), p. 216 n. 17; Dalton, Stephen, "Revolution Rock", Vox, June 1993.
[231] Robb (2006), p. 469.
[232] Robb (2006), p. 511.
[233] Quoted in Robb (2006), pp. 469–470.
[234] Robb (2006), p. 470.
[235] Bushell, Gary. " Oi!—The Truth (http:/ / www. garry-bushell. co. uk/ oi/ index. asp)". Uncensored Garry Bushell. Retrieved on May 11,
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[236] Fleischer, Tzvi. "Sounds of Hate" (http:/ / www. aijac. org. au/ review/ 2000/ 258/ sounds. html). Australia/Israel & Jewish Affairs Council
(AIJAC), August 2000. Retrieved on January 14, 2007.
[237] Robb (2006), pp. 469, 512.
[238] Gimarc (1997), p. 175; Laing (1985), p. 112.
[239] Wells (2004), p. 35.
[240] Scaruffi, Piero (2005). "Anarchists" (http:/ / www. scaruffi. com/ history/ cpt42. html). The History of Rock Music: 1976–1989. . Retrieved
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[241] Purcell (2003), pp. 56–57.
[242] News Items (http:/ / sosrecords. us/ label/ taxonomy/ term/ 1). SOS Records, March 12, 2007; Links (http:/ / www. animamundi. org/ links.
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[244] Cooper, Ryan. "The Buzzcocks, Founders of Pop Punk" (http:/ / punkmusic. about. com/ od/ artistprofiles/ p/ buzzcocksfinal. htm).
About.com. Retrieved on December 16, 2006.
[245] Myers (2006), p. 52.
[246] Di Bella, Christine. "Blink 182 + Green Day" (http:/ / www. popmatters. com/ music/ concerts/ b/ blink-182-020611. shtml).
PopMatters.com. June 11, 2002. Retrieved on February 4, 2007.
[247] Porter (2007), p. 86.
[248] Simpson (2003), p. 42.
[249] Laing (1985), pp. 118, 128.
[250] Goodlad and Bibby (2007), p. 16.
[251] Azerrad (2001), passim; for relationship of Hüsker Dü and The Replacements, see pp. 205–206.
[252] Goldberg, Michael, "Punk Lives" (http:/ / www. thirdav. com/ zinestuff/ rs452. html), Rolling Stone, July 18 – August 1, 1985.
[253] Erlewine, Stephen Thomas. " American Alternative Rock / Post-Punk (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=19:T578)".
Allmusic. Retrieved on December 12, 2006
[254] Friedlander and Miller (2006), pp. 256, 278.
[255] "Kurt Donald Cobain" (http:/ / www. thebiographychannel. co. uk/ biography_story/ 691:1872/ 1/ Kurt_Donald_Cobain. htm), Biography
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[256] Quoted in St. Thomas (2004), p. 94.
[257] See, e.g., "You Are So Not Scene (1): The Fall of Emo as We (Don't) Know It" (http:/ / www. pastepunk. com/ columns. php?v=157)
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[258] Raha (2005), p. 154.
[259] McGowen, Brice. "Eye of the Tiger" (http:/ / www. unc. edu/ glbtsa/ lambda/ articles/ 28/ 3/ letigre. htm). Lamda, February/March 2005.
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[260] Zuel, Bernard (April 2, 2004), "Searching for Nirvana" (http:/ / www. smh. com. au/ articles/ 2004/ 04/ 01/ 1080544618404. html), Sydney
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[261] See, e.g., Searchable Database—Gold and Platinum (http:/ / www. riaa. com/ goldandplatinumdata. php?table=SEARCH), RIAA.
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[262] Fucoco, Christina (November 1, 2000), "Punk Rock Politics Keep Trailing Bad Religion" (http:/ / www. livedaily. com/ news/ 2098. html),
liveDaily. Retrieved on September 1, 2008.
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September 1, 2008.
[264] Gold, Jonathan. "The Year Punk Broke.” SPIN. November 1994.
[265] D'Angelo, Joe, "How Green Day's Dookie Fertilized A Punk-Rock Revival" (http:/ / www. mtv. com/ news/ articles/ 1491001/ 20040915/
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[266] Hebdige (1987), p. 111.
[267] ...And Out Come the Wolves was certified gold in January 1996. Let's Go, Rancid's previous album, received its gold certification in July
2000.
[268] Gross (2004), p. 677.
[269] Pierce, Carrie, "Jimmy Eat World: Futures—Interscope Records" (http:/ / media. www. thebatt. com/ media/ storage/ paper657/ news/
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[270] Myers (2006), p. 120.
[271] Knowles (2003), p. 44.
[272] Haenfler (2006), p. 12.
[273] Klein (2000), p. 300.
 33

Main article

The Clash
The Clash

The Clash performing in Oslo in 1980. Left to right: Joe Strummer, Mick Jones, and Paul Simonon.

Background information

Origin London, England

Genres Punk rock

Years active 1976–1986

Labels CBS

Associated acts The 101'ers; London SS; Generation X; Big Audio Dynamite; Havana 3am; The Latino Rockabilly War; The
Pogues; The Mescaleros; Carbon/Silicon; The Good, the Bad and the Queen; Gorillaz

Website [1]
www.theclash.com

Former members

Mick Jones
Keith Levene
Paul Simonon
Terry Chimes
Joe Strummer
Rob Harper
Nicky "Topper" Headon
Pete Howard
Nick Sheppard
Vince White

The Clash were an English punk band that formed in 1976 as part of the original wave of British punk rock. Along
with punk, they experimented with reggae, ska, dub, funk, rap, dance and rockabilly. For most of their recording
career, The Clash consisted of Joe Strummer (lead vocals, rhythm guitar), Mick Jones (lead guitar, vocals), Paul
Simonon (bass, backing vocals, occasional lead vocals) and Nicky "Topper" Headon (drums, percussion). Headon
left the group in 1982, and internal friction led to Jones's departure the following year. The group continued with
new members, but finally disbanded in early 1986.
The Clash were a major success in the UK from the release of their debut album, The Clash, in 1977. Their third
album, London Calling, released in the UK in December 1979, brought them popularity in the United States when it
came out there the following month. Critically acclaimed, it was declared the best album of the 1980s a decade later
by Rolling Stone magazine.[1]
The Clash 34

The Clash's politicized lyrics, musical experimentation and rebellious attitude had a far-reaching influence on rock,
alternative rock in particular.[2] They became widely referred to as "The Only Band That Matters", originally a
promotional slogan introduced by the group's record label, CBS. In January 2003, the band—including original
drummer Terry Chimes—were inducted into the Rock and Roll Hall of Fame. In 2004, Rolling Stone ranked The
Clash number 30 on their list of the 100 Greatest Artists of All Time.[3]

History

Origins: 1974–1976
Before The Clash's founding, the band's future members were active in different parts of the London music scene.
John Graham Mellor sang and played rhythm guitar in the pub rock act The 101'ers, which formed in 1974. By the
time The Clash came together two years later, he had already abandoned his original stage name, "Woody" Mellor,
in favour of "Joe Strummer", a reference to his rudimentary strumming skills on the ukulele as a busker in the
London Underground. Mick Jones played guitar in legendary protopunk band London SS, which rehearsed for much
of 1975 without ever playing a live show and recording only a single demo. London SS was managed by Bernard
Rhodes, a sometime associate of impresario Malcolm McLaren and a friend of the band McLaren managed, the Sex
Pistols. Jones and his bandmates became friendly with Sex Pistols Glen Matlock and Steve Jones, who would assist
them as they tried out potential new members.[4] Among those who auditioned for London SS without making the
cut were Paul Simonon, who tried out as a vocalist,[5] and drummer Terry Chimes. Nicky Headon drummed with the
band for a week, then quit.[6]
After London SS broke up in early 1976, Rhodes continued as Jones's manager. In February, Jones saw the Sex
Pistols perform for the first time: "You knew straight away that was it, and this was what it was going to be like from
now on. It was a new scene, new values—so different from what had happened before. A bit dangerous."[7] At the
instigation of Rhodes, Jones contacted Simonon in March, suggesting he learn an instrument so he could join the
new band Jones was organising.[5] Soon Jones, Simonon on bass, Keith Levene on guitar and "whoever we could
find really to play the drums" were rehearsing.[8] In late May, Chimes was asked to audition and became the band's
full-time drummer.[9]
The act was still searching for a lead singer. Chimes recalls one Billy Watts (who "seemed to be, like, nineteen or
eighteen then, as we all were") handling the duties for a time.[10] Rhodes had his eye on Strummer, with whom he
made exploratory contact. Jones and Levene had both seen him perform and were impressed as well.[11] Strummer,
for his part, was primed to make the switch. In April, he had taken in the opening act for one of his band's gigs. That
act was the Sex Pistols. "I knew something was up," Strummer later explained,
so I went out in the crowd which was fairly sparse. And I saw the future—with a snotty
handkerchief—right in front of me. It was immediately clear. Pub rock was, "Hello, you bunch of
drunks, I'm gonna play these boogies and I hope you like them." The Pistols came out that Tuesday
evening and their attitude was "Here's our tunes, and we couldn't give a flying fuck whether you like
them or not. In fact, we're gonna play them even if you fucking hate them."[12]
On 30 May, Rhodes and Levene met surreptitiously with Strummer after a 101'ers gig. Rhodes gave him 48 hours to
make up his mind whether he wanted to join the new band that would "rival the Pistols". When Rhodes rang him up
a day early demanding an immediate answer, Strummer agreed.[13] Simonon later remarked, "Once we had Joe on
board it all started to come together."[8] Chimes did not take to him at first: "He was like twenty-two or twenty-three
or something that seemed 'old' to me then. And he had these retro clothes and this croaky voice".[10] Simonon came
up with the band's name after they had briefly dubbed themselves the Weak Heartdrops and the Psychotic
Negatives.[14] [15] He later explained the name's origin: "It really came to my head when I started reading the
newspapers and a word that kept recurring was the word 'clash', so I thought 'The Clash, what about that,' to the
others. And they and Bernard, they went for it."[14]
The Clash 35

First gigs and the growing scene: 1976

After rehearsing with Strummer for less than a month, The Clash made their debut on 4 July 1976, supporting the
Sex Pistols at the Black Swan in Sheffield. The band apparently wanted to make it on-stage before their rivals in The
Damned—another London SS spinoff—made their own scheduled debut two days later. The Clash would not play in
front of an audience again for another five weeks.[16] Levene was becoming disaffected with his position in the
group. At the Black Swan, he approached the Sex Pistols' lead singer, John Lydon (then going by Johnny Rotten),
and suggested they get a band together if the Pistols ever broke up.[17]
The night after their debut, the band members along with most of the Sex Pistols and much of the rest of London's
"inner circle" of punks showed up at Dingwalls club to attend a concert by New York's leading punk rock band, the
Ramones. Afterward "came the first example of the rivalry-induced squabbling that was to dog the punk scene and
undermine any attempts to promote a spirit of unity among the bands involved."[18] Simonon got into a scuffle with
J.J. Burnel, the bass player of The Stranglers. A slightly older band, The Stranglers were publicly identified with the
punk scene, but were not part of the "inner circle" centred on the Sex Pistols.[18]
With Rhodes insisting that the band not perform live again until they were much tighter, The Clash rehearsed
intensely over the following month. Strummer and Jones shared most of the writing duties—"Joe would give me the
words and I would make a song out of them", Jones later said.[19] Sometimes they would meet in the office over their
Camden rehearsal studio to collaborate directly.[18] According to a later description of Strummer's, "Bernie [Rhodes]
would say, 'An issue, an issue. Don't write about love, write about what's affecting you, what's important."[20]
Strummer took the lead vocals on the majority of songs; in some cases he and Jones shared the lead. Once the band
began recording, Jones would rarely have a solo lead on more than one song per album, but he would wind up
responsible for two of the group's biggest hits. On 13 August, The Clash—sporting a paint-spattered "Jackson
Pollock" look—played before a small, invitation-only audience in their Camden studio.[21] Among those in
attendance was Sounds critic Giovanni Dadamo. His review described the band as a "runaway train...so powerful,
they're the first new group to come along who can really scare the Sex Pistols shitless".[22]
On 29 August, The Clash and Manchester's Buzzcocks opened for the Sex Pistols at the Screen on the Green—The
Clash's first public performance since 4 July. The triple bill is seen as pivotal to the British punk scene's
crystallisation into a movement.[23] In early September, Levene was kicked out of The Clash. Strummer would claim
that Levene's dwindling interest in the band owed to his supposedly abundant use of speed, a charge Levene has
denied.[24] (Levene and Lydon would form Public Image Ltd. in 1978.) On 21 September, The Clash performed
publicly for the first time without Levene at another seminal concert: the 100 Club Punk Special, sharing the bill
with the Sex Pistols, Siouxsie and the Banshees and Subway Sect.[25] Chimes left in late November; he was briefly
replaced by Rob Harper as The Clash toured in support of the Sex Pistols during December's Anarchy Tour.[26]

Debut album and Give 'Em Enough Rope: 1977–1979

By the turn of the year, punk had become a major media phenomenon in the UK. On 25 January 1977, The Clash
signed to CBS Records for £100,000, a remarkable amount for a band that had played a total of about thirty gigs and
almost none as a headliner.[27] As Clash historian Marcus Gray describes, the "band members found themselves
having to justify [the deal] to both the music press and to fans who picked up on the critics' muttered asides about
The Clash having 'sold out' to the establishment."[28] Mark Perry, founder of the leading London punk periodical,
Sniffin' Glue, let loose with what he would later call his "big quote": "Punk died the day The Clash signed to
CBS."[29] As one band associate described it, the deal "was later used as a classic example of the kind of contract
that no group should ever sign—the group had to pay for their own tours, recordings, remixes, artwork,
expenses...."[30]
Mickey Foote, who worked as a technician at their concerts, was hired to produce The Clash's debut album, and
Terry Chimes was drafted back for the recording. The band's first single, "White Riot", was released in March 1977;
the album, The Clash, came out the following month. Filled with fiery punk tracks, it also presaged the many eclectic
The Clash 36

turns the band would take with its cover of the reggae song "Police and Thieves". "[A]midst the Sex Pistols' inertia in
the first half of 1977, the Clash found themselves as the flag-wavers of the punk rock consciousness", according to
music journalist and former punk musician John Robb.[31] Though both the single and album charted well in the
UK—"White Riot" reached number 34, The Clash number 12—CBS refused to release either in the United States,
saying that the sound was not “radio friendly”.[32] A US version of the album with a modified track listing was
released in 1979, after the UK original became the best-selling import album of all time in the United States.[33]
Chimes left the band again soon after the recording, so only Simonon, Jones and Strummer were featured on the
album's cover, and Chimes was credited as "Tory Crimes". In the documentary Westway to the World, Jones referred
to him as one of "the best drummers around". Chimes, who had no great wish to make a career from music, said,
"The point was that I wanted one kind of life—they wanted another, and why are we working together, if we want
completely different things?"[32]
The band went through several drummers, with Jones handling the duties for a time.[34] They finally recruited Nicky
Headon, who had played briefly with Jones's London SS two years before. Headon was nicknamed "Topper" by
Simonon, who felt he resembled the Topper comic book character Mickey the Monkey. An excellent musician,
Headon could also play piano, bass and guitar. He originally planned to stay briefly, gain a name for himself, and
then find a better band. Realising The Clash's potential, he changed his plans. Strummer later observed, "If we hadn't
found Topper, I don't think we'd have got anywhere".[32] In May, the band set out on the White Riot Tour, headlining
a punk package that included the Buzzcocks, Subway Sect, The Slits and The Prefects.[35] The day after a Newcastle
gig, Strummer and Headon were arrested for stealing pillowcases from their hotel room.[36] That same month, CBS
released "Remote Control" as the debut LP's second single, defying the wishes of the band, who saw it as one of the
album's weakest tracks.[37]
Headon's first recording with the band was the single "Complete Control", which addressed the band's anger at their
record label's behavior. It was co-produced by famed reggae artist Lee "Scratch" Perry, but Foote was summoned to
"ground things" a bit and the result was pure punk rock. Released in September 1977—NME noted how CBS
allowed the group to "bait their masters"—it rose to number 28 on the British chart and has gone on to be cited as
one of punk's greatest singles.[38] In February 1978, the band came out with the single "Clash City Rockers". June
saw the release of "(White Man) In Hammersmith Palais", which surprised fans with its ska rhythm and
arrangement.
Before The Clash began recording their second album, CBS requested that they adopt a cleaner sound than its
predecessor in order to reach American audiences. Sandy Pearlman, known for his work with Blue Öyster Cult, was
hired to produce the record. Although some complained about its relatively mainstream production style, Give 'Em
Enough Rope received largely positive reviews upon its November release.[39] It hit number 2 in the UK, but it was
not the American breakthrough CBS had hoped for, reaching only number 128 on the Billboard chart. The album's
first UK single, the hard rocking "Tommy Gun", rose to number 19, the highest chart position for a Clash single to
date. In support of the album, the band undertook its first, largely successful tour of North America in February
1979.[40]
The Clash 37

London Calling, Sandinista! and Combat Rock: 1979–1982

In August and September 1979, The Clash recorded London Calling.
Produced by Guy Stevens, who had previously worked with Mott the
Hoople and others, the double album was a mix of punk rock, reggae,
ska, rockabilly, traditional rock and roll and other elements possessed
of an energy that had hardly flagged since the band's early days and
more polished production.[43] [44] It is regarded as one of the greatest
rock albums ever recorded.[45] Its final track, a relatively
straightforward rock and roll number sung by Mick Jones called "Train
in Vain", was included at the last minute and thus did not appear in the
track listing on the cover. It turned out to be their first US Top 40 hit,
peaking at number 23 on the Billboard chart. In the UK, where "Train
in Vain" was not released as a single, London Calling's title track, The "iconic" cover of London Calling
[41] [42]
stately in beat but unmistakably punk in message and tone, rose to
number 11—the highest position any Clash single reached in the UK before the band's breakup. London Calling
reached number 9 on the British chart and number 27 on the US chart. The cover of the album became one of the
best known in the history of rock.[42] Based on the cover of Elvis Presley's self-titled 1956 debut album, its image of
Simonon smashing his bass guitar was later cited as the "best rock 'n roll photograph of all time" by Q magazine.[41]
During this period, The Clash began to be regularly billed as "The Only Band That Matters". Musician Gary Lucas,
then employed by CBS Records' creative services department, claims to have coined the tagline.[46] The epithet was
soon widely adopted by fans and music journalists.[47]

The Clash planned to record and release a single every month in 1980. CBS balked at this idea, and the band came
out with only one single—an original reggae tune, "Bankrobber", in August—before the December release of the
3-LP, 36-song Sandinista!. The album again reflected a broad range of musical styles, including extended dubs and
the first forays into rap by a major rock band. Produced by the band members with the participation of Jamaican
reggae artist Mikey Dread, Sandinista! was their most controversial album to date, both politically and musically.[48]
Critical opinion was divided, often within individual reviews. Trouser Press's Ira Robbins described half the album
as "great", half as "nonsense" and worse.[49] In the New Rolling Stone Record Guide, Dave Marsh argued,
"Sandinista! is nonsensically cluttered. Or rather seems nonsensically cluttered. One of the Clash's principal
concerns...is to avoid being stereotyped."[50] The album fared well in America, charting at number 24,[51] even
though it had no catchy single and, in the increasingly conservative environment of album-oriented rock (AOR)
radio in the US, received minimal airplay.[32]
During 1981, the band came out with a single, "This Is Radio Clash", that further demonstrated their ability to mix
diverse influences such as dub and hip hop. They set to work on their fifth album in the fall, originally planning it as
a 2-LP set with the title Rat Patrol from Fort Bragg. Mick Jones produced one cut, but the other members were
dissatisfied. Production duties were handed to Glyn Johns, and the album was reconceived as a single LP. Though
Combat Rock was filled with offbeat songs, experiments with sound collage, and a spoken word vocal by Beat poet
Allen Ginsberg, it contained two "radio friendly" tracks. The leadoff single in the US was "Should I Stay or Should I
Go", released in June 1982. Another Jones feature in a rock and roll style similar to "Train in Vain", it received
heavy airplay on AOR stations. The follow-up, "Rock the Casbah", put lyrics addressing the Iranian clampdown on
imports of Western music to a bouncy dance rhythm. (The singles were released in the opposite order in the UK,
where they were both preceded by "Know Your Rights".) The music for "Rock the Casbah" was composed by
Headon, who performed not only the percussion but also the piano and bass heard on the recorded version.[52] It was
the band's biggest US hit ever, charting at number 8, and the video was put into heavy rotation by MTV.[32] The
album itself was the band's most successful, hitting number 2 in the UK and number 7 in the US.
The Clash 38

Disintegration: 1982–1984
After Combat Rock, The Clash began to disintegrate. Topper Headon was asked to leave the band just prior to the
release of the album, due to his heroin addiction, which was damaging his health and drumming.[32] [53] The band's
original drummer, Terry Chimes, was brought back for the next few months. The loss of Headon, well-liked by the
others, exposed the growing frictions within the band. Jones and Strummer began to feud. The band opened for The
Who on a leg of their final tour in the US, playing (among other places) New York's Shea Stadium. Though The
Clash continued to tour, the personal tensions were increasing.[32]
In early 1983, Chimes left the band after the end of the Combat Rock Tour, due to the in-fighting and turmoil. He
was replaced by Pete Howard for the US Festival in San Bernardino, California, which The Clash co-headlined,
along with David Bowie and Van Halen. The band argued with the event's promoters over inflated ticket prices,
threatening to pull out unless a large donation was made to a local charity. The group ultimately performed on 28
May, the festival's New Music Day, which drew a crowd of 140,000. After the show, members of the band brawled
with security staff.[54] This was Jones's last appearance with the group. In September 1983, he was fired. Shortly
thereafter, he became a founding member of General Public, but left that band as they were recording their first
album. Jones then founded the long-lasting project Big Audio Dynamite.
Nick Sheppard, formerly of the Bristol-based Cortinas, and Vince White were selected as The Clash's new guitarists.
Howard continued as the drummer. The reconstituted band played its first shows in January 1984 with a batch of
new material and launched into the self-financed Out of Control Tour, travelling widely over the winter and into
early summer. At a striking miners' benefit show ("Scargill's Christmas Party") in December 1984, they announced
that a new record would be released early in the new year.

Cut the Crap, final breakup, and aftermath: 1985–1991

The recording sessions for Cut the Crap were chaotic, with manager Bernard Rhodes and Strummer working in
Munich. Most of the music was played by studio musicians, with Sheppard and later White flying in to provide
guitar parts. Struggling with Rhodes for control of the band, Strummer returned home. The band went on a busking
tour of public spaces in cities throughout the UK, playing acoustic versions of their hits and popular cover tunes.
After a gig in Athens, Strummer went to Spain to clear his mind. While he was abroad, the first single from Cut the
Crap, the mournful "This Is England", was released to mostly negative reviews. "CBS had paid an advance for it so
they had to put it out", Strummer later explained. "I just went, 'Well fuck this', and fucked off to the mountains of
Spain to sit sobbing under a palm tree, while Bernie had to deliver a record."[12] However, critic Dave Marsh later
championed "This Is England" as one of the top 1001 rock singles of all time.[55] The single has also received
retroactive praise from Q magazine and others.
"This Is England", much like the rest of the album that came out later that year, had been drastically re-engineered by
Rhodes, with synths and football-style chants added to Strummer's incomplete recordings. Although Howard was an
adept drummer, drum machines were used for virtually all of the percussion tracks. For the remainder of his life,
Strummer largely disowned the album,[53] although he did profess that "I really like 'This is England' [and album
track] 'North and South' is a vibe."[12] Other songs played on the tour remain unreleased to this day, including
"Jericho" and "Glue Zombie". The Clash effectively disbanded in early 1986.[44]
After the breakup, Strummer contacted Jones in an effort to reform The Clash. Jones, however, had already formed a
new band, Big Audio Dynamite (B.A.D.), that had released its debut late in 1985. The two did work together on their
respective 1986 projects. Jones helped out with the two songs Strummer wrote and performed for the Sid and Nancy
soundtrack. Strummer, in turn, cowrote a number of the tracks on the second B.A.D. album, No. 10, Upping St.,
which he also coproduced.[12] With Jones committed to B.A.D., Strummer moved on to various solo projects and
screen acting work. Simonon formed a band called Havana 3am. Headon recorded a solo album, before once again
spiraling into drug abuse. Chimes drummed with a succession of different acts.
The Clash 39

On 2 March 1991, a reissue of “Should I Stay or Should I Go” gave The Clash its first and only number 1 UK single.
That same year, Strummer reportedly cried when he learned that "Rock the Casbah" had been adopted as a slogan by
US bomber pilots in the Gulf War.[56]

Collaborations and reunions: 1999–present

In 1999, Strummer, Jones and Simonon cooperated in the compiling of the live album From Here to Eternity and
video documentary Westway to the World. On 7 November 2002, the Rock and Roll Hall of Fame announced that
The Clash would be inducted into the Hall the following spring.[57] On 15 November, Jones and Strummer shared
the stage, performing three Clash songs during a London benefit show by Joe Strummer and the Mescaleros.[51]
Strummer, Jones and Headon wanted to play a reunion show to coincide with their induction into the Hall. Simonon,
however, did not want to participate because he believed that playing at the high-priced event would not have been
in the spirit of The Clash. In the event, Strummer's sudden death from a congenital heart defect on 22 December
2002 ended any possibility of a full reunion. In March 2003, the Hall of Fame induction took place; the band
members inducted were Strummer, Jones, Simonon, Chimes and Headon.[51]
In early 2008, Carbon/Silicon, the new band founded by Mick Jones and his former London SS bandmate Tony
James, entered into a six-week residency at London's Inn on the Green. On opening night, 11 January, Headon joined
the band for The Clash's "Train in Vain". An encore followed with Headon playing drums on "Should I Stay or
Should I Go". This was the first time since 1982 that Headon and Jones had performed together on stage.[58]
Jones and Headon reunited in September 2009 to record the 1970s Clash B-side "Jail Guitar Doors" with Billy
Bragg. The song is the namesake of a charity founded by Bragg which gives musical instruments and lessons to
prison inmates. Jones, Headon, and Bragg were backed by former inmates during the recording. It was the first time
that Jones and Headon had been in the studio together since 1982. The recording was filmed for an upcoming
documentary about the charity, "Breaking Rocks."[59]
Simonon and Jones featured on the title track of the Gorillaz album Plastic Beach in 2010. This reunion marked the
first time the two performers had worked together professionally in over twenty years. They later joined the Gorillaz
on tour for their "G-Club" shows in the United Kingdom.[60]

Politics
The band's music was often charged by a leftist political ideology.[61] Joe Strummer, in particular, was a committed
leftist. The Clash are credited with pioneering the advocacy of radical politics in punk rock, and were famously
dubbed the "Thinking Man's Yobs" by NME.[62] Like many early punk bands, The Clash protested against monarchy
and aristocracy. However, unlike many of their peers, The Clash rejected nihilism.[33] Instead, they found solidarity
with a number of contemporary liberation movements and were involved with such groups as the Anti-Nazi League.
In April 1978, The Clash headlined the Rock Against Racism concert in London's Victoria Park for 80,000
people;[32] Strummer wore a T-shirt identifying two violent left-wing groups: the words "Brigade Rosse"—Italy's
Red Brigades—appeared alongside the insignia of the Red Army Faction—West Germany's Baader-Meinhof
Gang.[63] [64]
Their politics were made explicit in the lyrics of such early recordings as "White Riot", which encouraged
disaffected white youths to become politically active like their black counterparts; "Career Opportunities", which
addressed the alienation of low-paid, routinised jobs and discontent over the lack of alternatives; and "London's
Burning", about the bleakness and boredom of life in the inner city.[44] Artist Caroline Coon, who was associated
with the punk scene, argued that "[t]hose tough, militaristic songs were what we needed as we went into
Thatcherism".[65] The scope of the band's political interests widened on later recordings. The title of Sandinista!
celebrated the left-wing rebels who had recently overthrown Nicaraguan despot Anastasio Somoza Debayle, and the
album was filled with songs driven by other political issues extending far beyond British shores: "Washington
Bullets" addressed covert military operations around the globe, while the "The Call-Up" was a meditation on US
The Clash 40

draft policies.[66] Combat Rock's "Straight to Hell" is described by scholars Simon Reynolds and Joy Press as an
"around-the-world-at-war-in-five-verses guided tour of hell-zones where boy-soldiers had languished."[67]
The band's political sentiments were reflected in their resistance to the music industry's usual profit motivations;
even at their peak, tickets to shows and souvenirs were reasonably priced.[33] The group insisted that CBS sell their
double and triple album sets London Calling and Sandinista! for the price of a single album each (then £5),
succeeding with the former and compromising with the latter by agreeing to sell it for £5.99 and forfeit all their
performance royalties on its first 200,000 sales.[32] [68] These "VFM" (value for money) principles meant that they
were constantly in debt to CBS, and only started to break even around 1982.[1]

Legacy and influence

In 2004, Rolling Stone ranked The Clash number 30 on their list of the 100 Greatest Artists of All Time.[3]
According to The Times, The Clash's debut, alongside Never Mind the Bollocks, Here's the Sex Pistols, is "punk's
definitive statement" and London Calling "remains one of the most influential rock albums".[64] In Rolling Stone's
2003 list of the 500 greatest albums of all time, London Calling ranked number 8, the highest entry by a punk band.
The Clash was number 77 and Sandinista! was number 404.[69] In the magazine's 2004 list of the 500 greatest songs
of all time, "London Calling" ranked number 15, again the highest for any song by a punk band. Four other Clash
songs made the list: "Should I Stay Or Should I Go" (228), "Train In Vain" (292), "Complete Control" (361), and
"White Man In Hammersmith Palais" (430).[70] "London Calling" ranked number 48 in the magazine's 2008 list of
the 100 greatest guitar songs of all time.[71]
In John Robb's description, The Clash's debut established the "blueprint for the sound and the soul of what punk rock
would be about.... The Clash were utterly inspirational, utterly positive, and they offered a million possibilities."[72]
Jake Burns of Stiff Little Fingers, the first major punk band from Northern Ireland, explained the record's impact:
[T]he big watershed was The Clash album—that was go out, cut your hair, stop mucking about time,
y'know. Up to that point we'd still been singing about bowling down California highways. I mean, it
meant nothing to me. Although The Damned and the Pistols were great, they were only exciting
musically; lyrically, I couldn't really make out a lot if it.... [T]o realise that [The Clash] were actually
singing about their own lives in West London was like a bolt out of the blue.[73]
The Clash also inspired many musicians who were only loosely associated, if at all, with punk. The band's embrace
of ska, reggae and England's Jamaican subculture helped provide the impetus for the 2 Tone movement that emerged
amid the fallout of the punk explosion.[74] Other musicians who began performing while The Clash were active and
acknowledged their debt to the band include Billy Bragg and Aztec Camera.[75] U2's The Edge has compared The
Clash's inspirational effect to that of the Ramones—both gave young rock musicians at large the "sense that the door
of possibility had swung open."[76] He wrote, "The Clash, more than any other group, kick-started a thousand garage
bands across Ireland and the U.K.... [S]eeing them perform was a life-changing experience."[3] Bono has described
The Clash as "the greatest rock band. They wrote the rule book for U2."[77]
In later years, The Clash's influence can be heard in American political punk bands such as Rancid, Anti-Flag, Bad
Religion and NOFX, as well as in the political hard rock of early Manic Street Preachers.[78] California's Rancid, in
particular, are known as "incurable Clash zealots".[79] The title track of the band's album Indestructible proclaims,
"I'll keep listening to that great Joe Strummer!"[80] The Clash's involvement with Jamaican musical and production
styles has inspired similar cross-cultural efforts by bands such as Bad Brains, Massive Attack, Sublime and No
Doubt.[81] They are credited with laying the groundwork for LCD Soundsystem's "punk-funk".[82] Jakob Dylan of
The Wallflowers ranked London Calling above the work of his father, Bob Dylan, as the record that “changed his
life”.[64] Bands identified with the garage rock revival of the late 1990s and 2000s such as Sweden's The Hives,
Australia's The Vines and America's The White Stripes and The Strokes evidence The Clash's influence.[83] Among
the many latter-day British acts identified as having been inspired by The Clash are Babyshambles, The Futureheads,
The Charlatans and The Arctic Monkeys.[82] Before M.I.A. had an international hit in 2008 with "Paper Planes",
The Clash 41

which is built around a sample from "Straight to Hell", she referenced "London Calling" on 2003's "Galang".[82] A
cover of "The Guns of Brixton" by German punk band Die Toten Hosen was released as a single in 2006.
The band has also had a notable impact on music in the Spanish-speaking world. In 1997, a Clash tribute album
featuring performances by Buenos Aires punk bands was released.[84] Many rock en español bands such as Todos
Tus Muertos, Café Tacuba, Maldita Vecindad, Los Prisioneros, Tijuana No, and Attaque 77 are indebted to The
Clash.[85] [86] Argentina's Los Fabulosos Cadillacs covered London Calling's "Revolution Rock" and "The Guns of
Brixton" and invited Mick Jones to sing on their "Mal Bicho".[86] The Clash's influence is similarly reflected in
Paris-founded Mano Negra's politicised lyrics and fusion of musical styles.[87]
Rage Against the Machine covered 'White Riot' at their victory party on 6th June 2010 at Finsbury Park.

Members
1976 • Joe Strummer – lead vocals, rhythm guitar
• Mick Jones – lead guitar, vocals
• Keith Levene – lead guitar
• Paul Simonon – bass guitar, backing vocals
• Terry Chimes – drums, percussion

1976 • Joe Strummer – lead vocals, rhythm guitar

• Mick Jones – lead guitar, vocals
• Paul Simonon – bass guitar, backing vocals
• Terry Chimes – drums, percussion

1976 • Joe Strummer – lead vocals, rhythm guitar

• Mick Jones – lead guitar, vocals
• Paul Simonon – bass guitar, backing vocals
• Rob Harper – drums, percussion

1977 • Joe Strummer – lead vocals, rhythm guitar

• Mick Jones – lead guitar, vocals
• Paul Simonon – bass guitar, backing vocals
• Terry Chimes – drums, percussion

1977–1982 • Joe Strummer – lead vocals, rhythm guitar

• Mick Jones – lead guitar, vocals
• Paul Simonon – bass guitar, backing vocals
• Topper Headon – drums, percussion

1982–1983 • Joe Strummer – lead vocals, rhythm guitar

• Mick Jones – lead guitar, vocals
• Paul Simonon – bass guitar, backing vocals
• Terry Chimes – drums, percussion

1983 • Joe Strummer – lead vocals, rhythm guitar

• Mick Jones – lead guitar, vocals
• Paul Simonon – bass guitar, backing vocals
• Pete Howard – drums, percussion

1983–1986 • Joe Strummer – lead vocals, rhythm guitar

• Nick Sheppard – lead guitar, backing
vocals
• Vince White – lead guitar
• Paul Simonon – bass guitar, backing vocals
• Pete Howard – drums, percussion
The Clash 42

Discography
Studio albums
• The Clash (1977)
• Give 'Em Enough Rope (1978)
• London Calling (1979)
• Sandinista! (1980)
• Combat Rock (1982)
• Cut the Crap (1985)

See also
• Wikipedia Books: The Clash
• The Clash on film

Sources
• Buckley, Peter, ed. (2003). The Rough Guide to Rock (3d ed.). London: Rough Guides. ISBN 1843531054.
OCLC 223842562.
• Campo, Alberto (1998). Clash. Florence, Italy: Giunti Editore. ISBN 8809215095. OCLC 8809215095.
• D'Ambrosio, Antonino (2004). Let Fury Have the Hour: The Punk Rock Politics of Joe Strummer (1st ed.). New
York: Nation Books. ISBN 1560256257. OCLC 56988650.
• Eddy, Chuck (1997). The Accidental Evolution of Rock'n'Roll: A Misguided Tour through Popular Music. New
York: Da Capo Press. ISBN 0306807416. OCLC 35919230.
• Gilbert, Pat (2005 [2004]). Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005 [1995]). The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Reynolds, Simon, and Joy Press (1996). The Sex Revolts: Gender, Rebellion, and Rock 'n' Roll. Cambridge,
Mass.: Harvard University Press. ISBN 067480273X. OCLC 30971390.
• Robb, John (2006). Punk Rock: An Oral History (4th ed.). London: Ebury Press. ISBN 0091905117.
OCLC 0091924677.
• Savage, Jon (1992). England's Dreaming: Anarchy, Sex Pistols, Punk Rock and Beyond (US ed.). New York: St.
Martin's Press. ISBN 0312087748. OCLC 318418456.
• Strongman, Phil (2008). Pretty Vacant: A History of UK Punk. Chicago: Chicago Review Press.
ISBN 1556527527. OCLC 173299117.
• Topping, Keith (2004 [2003]). The Complete Clash (2d ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.
The Clash 43

Further reading
• Clash, The (2008). The Clash: Strummer, Jones, Simonon, Headon. London: Atlantic Books. ISBN 1843547880.
OCLC 236120343.
• Green, Johnny, and Garry Barker (2003 [1997]). A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob, and Chris Salewicz (2004 [2001]). The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Kaye, Lenny, Lester Bangs, and Kosmo Vinyl (2000 [1991]). Clash on Broadway (2nd ed.). New York: Sony
Music. OCLC 54426634.
• Lowry, Ray (2007). The Clash. Warwick: Angry Penguin. ISBN 1906283362. OCLC 165412921.
• Miles, Barry (1981). The Clash. London and New York: Omnibus Press. OCLC 7676911.
• Needs, Kris (2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Quantick, David (2000). The Clash. Kill Your Idols. London: Unanimous. ISBN 1903318033. OCLC 59417418.
• Smith, Pennie (1980). The Clash: Before and After. Boston: Little, Brown. ISBN 0316801690. OCLC 8034340.
• Tobler, John, and Barry Miles (1983). The Clash. London and New York: Omnibus. ISBN 0711902887.
OCLC 21335564.

External links
• Official website [1]
• The Clash [89] at MySpace
• The Clash [90] channel at YouTube
• Legacy Recordings Official Site [91]

References
[1] "Clash star Strummer dies" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 2600669. stm) (STM). Entertainment. BBC News World Edition.
27 December 2002. . Retrieved 20 November 2007.
[2] "Strummer's lasting culture Clash" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 2600955. stm) (STM). Entertainment. BBC News World
Edition. 23 December 2002. . Retrieved 20 November 2007.
[3] "The Clash by The Edge" (http:/ / www. rollingstone. com/ news/ story/ 5939230/ 30_the_clash). Rolling Stone Issue 946. Rolling Stone. 15
April 2004. .
[4] Robb (2006), pp. 130–132.
[5] Gray (2005), p. 72.
[6] Gray (2005), p. 56.
[7] Robb (2006), p. 151.
[8] Rowley, Scott (October 1999). "Paul Simonon's first ever bass interview". Bassist Magazine (London) (10).
[9] Gray (2005), p. 79.
[10] Strongman (2008), p. 103.
[11] Robb (2006), pp. 192, 193.
[12] "Interview - Record Collector (2000)" (http:/ / www. joestrummer. us/ rc00. html). joestrummer.us. . Retrieved 5 December 2008.
[13] Gray (2005), p. 127. In Jones's version of the story, Strummer was originally given 24 hours to make up his mind, and Rhodes called after
just eight (Robb [2006], p. 194).
[14] MTV Rockumentary. Interviewer: Unknown; Presenter: Kurt Loder. MTV, London, England. Transcript (http:/ / www. londonsburning. org/
art_mtv_rockumentary_1. html).
[15] Topping (2004), p. 12.
[16] Gray (2005), p. 143. Loder, Kurt (13 March 2003). "The Clash: Ducking Bottles, Asking Questions" (http:/ / www. mtv. com/ news/ articles/
1470448/ 20030310/ clash. jhtml). MTV News. . Retrieved 17 November 2007.
[17] Robb (2006), p. 196.
[18] Gray (2005), p. 144.
[19] Robb (2006), p. 326.
The Clash 44

[20] Savage (1992), p. 232. Jones's later take on the matter: "Bernie had a hand in everything. Not the lyrics—he didn't help with the lyrics. He
didn't tell us not to write love songs, as the myth goes—that's kind of simplified version of it. He told us to write what we knew about" (Robb
[2006], p. 197).
[21] Robb (2006), pp. 195–197.
[22] Strongman (2008), p. 133.
[23] Robb (2006), pp. 212–215.
[24] Robb (2006), pp. 215–216; Savage (1992), p. 220.
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[45] Erlewine, Stephen Thomas. "London Calling Review" (http:/ / allmusic. com/ cg/ amg. dll?p=amg& sql=10:qmfnzfdhehak). allmusic.com. .
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[46] Diehl, Matt (2007). My So-Called Punk (Macmillan), p. 187.
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[54] Gray (2005), p. 398.
The Clash 45

[55] Marsh, Dave (1989). The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made (Penguin), pp. 77–80. ISBN 0-14-012108-0.
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488). Denver Thread. 21 September 2009. . Retrieved 25 May 2010.
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(2006). Rude Boy. [Documentary, Rockumentary]. New York, NY, United States: Epic Music Video. ISBN 0738900826. OCLC 70850190.
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the_rs_500_greatest_albums_of_all_time/ print). Rolling Stone. 18 November 2003. .
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[86] Eddy (1997), p. 181.
[87] Buckley (2003), p. 367; Campo (1998), p. 5.
 46

The members

Joe Strummer
Joe Strummer

Background information

Birth name John Graham Mellor

Born 21 August 1952

Ankara, Turkey

Origin London, England

Died 22 December 2002 (aged 50)

Broomfield, Somerset, England

Genres Punk rock, rock and roll, reggae, ska, world music

Occupations Musician, songwriter, actor

Instruments Vocals, guitar, piano, bass guitar

Years active 1973–2002

Labels CBS, Sony, Hellcat

Associated acts The 101ers, The Clash, The Latino Rockabilly War, The Pogues, The Mescaleros

Website [1]
www.strummernews.com

Notable instruments

1966 Fender Telecaster

John Graham Mellor (21 August 1952 – 22 December 2002), better known by his stage name Joe Strummer, was
the co-founder, lyricist, rhythm guitarist and lead singer of the English punk rock band The Clash. He was also a
member of The 101ers, The Mescaleros and, temporarily, The Pogues.
Joe Strummer 47

Life and career

(1952-1976) The early years

Strummer was born John Graham Mellor in Ankara, Turkey on 21 August 1952. His mother Anna Mackenzie, a
crofter's daughter born and raised in Bonar Bridge in the Scottish Highlands, was a nurse. His father Ronald Mellor,
was a British foreign-service diplomat born in Lucknow, India. Ronald Mellor had an Armenian maternal
grandfather and a German Jewish paternal grandmother.[1]
The family spent much time moving from place to place, and Strummer spent parts of his early childhood in Cairo,
Mexico City, and Bonn. At the age of 9, Strummer and his older brother David, 10, began boarding at the City of
London Freemen's School in Surrey. Strummer rarely saw his parents during the next seven years. He developed a
love of rock music listening to records by Little Richard and The Beach Boys as well as American folk-singer
Woody Guthrie (Strummer would even go by the nickname "Woody" for a few years).
By 1970 his brother David had become estranged from his family and had joined the National Front. His suicide in
July profoundly affected Strummer, as did having to identify his body after it had lain undiscovered for three days.[1]
After finishing his time at City of London Freemen's School, Ashtead Park, Surrey, in 1970, Strummer moved on to
London's Central Saint Martins College of Art and Design, where he briefly flirted with the idea of becoming a
professional cartoonist, but ultimately completed a foundations course.[2] During this time, Mellor shared a flat in the
north London suburb of Palmers Green with friends Clive Timperley and Tymon Dogg.
In 1973 Strummer moved to Newport, Wales to attend the Newport College of Art, but soon dropped out.[3] While
there, he joined up with some friends to form a band called The Vultures.[2] This band included three former
members of Rip Off Park Rock & Roll Allstars, the original college band co-founded by Terry Earl Taylor. For the
next year he was the band's part-time singer and rhythm guitarist. During this time Strummer also worked as a
gravedigger. In 1974, the band fell apart and he moved back to London where he met up again with Tymon Dogg.
He busked on the streets for a while and then decided to form another band with his West London roommates. The
band was called The 101'ers,[2] named after the address of their squat (101 Walterton Road, in Maida Vale).[3] [4] The
band played many gigs in London pubs, playing covers of popular American R&B and blues songs. In 1975 he
stopped calling himself "Woody" Mellor and adopted the stage name of Joe Strummer, and insisted that his friends
call him by that name. The name "Strummer" apparently referred to his role as rhythm guitarist, in a rather
self-deprecating way. Though left-handed, he was taught to play right-handed by his friend Tymon Dogg. Strummer
was the lead singer of the 101'ers and began to write original songs for the group. One song he wrote was inspired by
his girlfriend at the time, Slits drummer Palmolive. The group liked the song "Keys to Your Heart", and picked it as
their first single.

(1976-1986) The Clash

On 3 April 1976, a then-unknown band called the Sex Pistols opened for The 101'ers at a venue called "The
Nashville Rooms" in London, and Strummer was impressed by them.[2] Sometime after this show, Strummer was
approached by Bernie Rhodes and Mick Jones. Jones was from the band London SS and wanted Strummer to join as
lead singer. Strummer agreed to join just as the group was breaking up, but he formed a new band with Jones, bassist
Paul Simonon, drummer Terry Chimes and guitarist Keith Levene.[4] The band was named The Clash by Simonon
and made their debut on 4 July 1976, opening for the Sex Pistols at The Black Swan (a.k.a. The Mucky Duck, now
known as the Boardwalk Sheffield, England).[4] On 25 January 1977, the band signed with CBS Records and was
now a three-piece after Levene was fired from the band and Chimes quit. Drummer Topper Headon later became the
band's full-time drummer.
At the band's induction into the Rock and Roll Hall of Fame, the Clash was said to be "considered one of the most
overtly political, explosive and exciting bands in rock and roll history".[5] Their songs tackled social decay,
unemployment, racism, police brutality, political and social repression, and militarism in detail. Strummer was
Joe Strummer 48

involved with the Anti-Nazi League and Rock Against Racism campaigns. He later also gave his support to the Rock
Against the Rich series of concerts organised by the anarchist organisation Class War. The Clash's London Calling
album was voted best album of the 1980s by Rolling Stone magazine (although it was released in late 1979 in the
UK; it was released in 1980 in the USA).[6]
During his time with The Clash, Strummer, along with his bandmates, became notorious for getting in trouble with
the law. On 10 June 1977, he and Topper were arrested for spray-painting "The Clash" on a wall in a hotel. On 20
May 1980, he was arrested for hitting a violent member of the audience with his guitar during a show in Hamburg,
Germany. This incident shocked Strummer, and had a lasting personal impact on him.[7]

“
I nearly murdered somebody, and it made me realise that you can't face violence with violence. It doesn't work.

”
[7]
—Joe Strummer

Before the album Combat Rock was released in 1982, Strummer willfully went into hiding and band management
represented that he had "disappeared". Bernie Rhodes, the band's manager, pressured Joe to do so because tickets
were selling slowly for the Scottish leg of an upcoming tour. It was planned for Strummer to meet and stay with one
of Rhodes' friends in secret. However, Strummer, uneasy with his decision, decided to genuinely disappear and
"dicked around" in France. During this time, Joe ran the Paris Marathon in April 1982. He claimed his training
regime consisted of 10 pints of beer the night before the race. For this period of time, Joe's whereabouts were not
only a mystery to the public, but the band's management as well. Joe later said this was a huge mistake and you
"have to have some regrets". This was in spite of the popular success of the single "Rock the Casbah". During this
time band members began to argue a lot, and with tensions high, the group began to fall apart.[4] In September 1983,
Strummer issued the infamous "Clash Communique", and fired Mick Jones.[4] Topper Headon had earlier been
kicked out of the band because of his heroin addiction, which now left the band with only two of its original
members. Rhodes persuaded Strummer to carry on and added new members.[4] "The Clash Mark Two" released the
album Cut The Crap in 1985. The album was panned by fans and critics alike and Strummer disbanded The Clash.

(1986-1999) The wilderness years

A year later, Strummer worked on several songs for the
1986 film Sid and Nancy, including "Love Kills" and "Dum
Dum Club". Strummer also later worked with Mick Jones
and his band Big Audio Dynamite, contributing to the
band's second album by co-writing most of the songs as
well as producing the album along with Jones. In 1987 he
played a small part in the film Walker, directed by Alex
Cox, as a character named "Faucet" and wrote and
performed on the film's soundtrack. He starred in another
Cox film that same year called Straight to Hell, as the
character Simms. Straight to Hell also featured Strummer, backing with the Pogues in Japan Photo: Masao
Nakagami
London-Irish folk/punk band The Pogues - both as actors &
major contributors to the soundtrack. Strummer joined The
Pogues for a tour in 1987/88, filling in for ailing guitarist Philip Chevron, who wrote (in May, 2008) on the band's
online forum: "When I was sick in late 1987, I taught Joe all the guitar parts in an afternoon and he was on tour in
the USA as deputy guitarist the next day. Joe wrote all the tabs in his meticulously neat hand on a long piece of
paper which he taped to the top of the guitar so he could glance down occasionally when he was onstage." This tour
would be the first of several collaborations with the band.
Joe Strummer 49

In 1989 Strummer played a substantial role in Jim Jarmusch's film Mystery Train, as a drunken, short-tempered
drifter named Johnny (whom most characters refer to as Elvis, much to Johnny's dismay). He also made a brief
appearance in Aki Kaurismäki's 1990 film I Hired a Contract Killer as a guitarist in a pub, performing two songs
("Burning Lights" and "Afro-Cuban Bebop"). These were released as a promotional 7" single limited to a few
hundred copies, credited to "Joe Strummer & the Astro Physicians". The "Astro Physicians" were in fact The Pogues
("Afro-Cuban Bebop" got a re-release on The Pogues' 2008 box set). During this time Strummer continued to act,
write and produce soundtracks for various films, most notably the soundtrack for Grosse Pointe Blank (1997).
In 1989, Strummer began producing solo records with a band called The Latino Rockabilly War. The album
Earthquake Weather was a critical and commercial flop, and resulted in the loss of his contract with Sony Records.
He also did the soundtrack to the movie Permanent Record with this band. Strummer was asked by The Pogues, who
were fracturing as a band, to help them produce their next album - released in 1990 as Hell's Ditch. In 1991 he
replaced Shane MacGowan as singer of The Pogues for a tour after MacGowan's departure from the band. One night
of this tour was professionally recorded, and three tracks ("I fought the Law", "London Calling", and "Turkish Song
of the Damned") have seen release as b-sides & again on The Pogues' 2008 box set. On 16 April 1994, Strummer
joined Czech-American band Dirty Pictures on stage in Prague at the Repre Club in Obecni Dum at "Rock for
Refugees", a benefit concert for people left displaced by the war in Bosnia. Backed up by the Pictures, Strummer
played a blistering set of Clash songs that he said he had not played in more than ten years. Although the set
appeared impromptu, Joe and the band had spent the days leading up to the event rehearsing and "hanging out" in
Prague. After these self-described "wilderness years", Strummer began working with other bands; he played piano
on the 1995 UK hit of The Levellers, "Just the One" and appeared on the Black Grape single "England's Irie" in
1996. In 1997 while in New York City, he had worked with noted producer and engineer Lee Perry on a significant
amount of remixed Clash and 101'ers reissue dub material.
Also during this time, Strummer was in dispute with The Clash's record label, Epic Records. The disagreement lasted
nearly eight years and ended with the label agreeing to let him record solo records with another label. If The Clash
were to reunite though, they would have to record for Sony.
During the nineties Strummer was a DJ on the BBC World Service with his half-hour programme London Calling.
Samples from the series provide the vocals for "Midnight Jam" on Joe and the Mescaleros' final album Streetcore.

(1999-2002) The Mescaleros and other work

In the mid-to-late 1990s, Strummer gathered top-flight musicians into a backing band he called The Mescaleros.
Strummer and the band signed with Mercury Records, and issued their first album in 1999, which was co-written
with Antony Genn, called Rock Art and the X-Ray Style. A tour of England, Europe, and North America soon
followed; sets included several Clash fan favourites.

“
This is my Indian summer...I learnt that fame is an illusion & everything about it is just a joke. I'm far more dangerous now, because I don't
care at all.
”
[3]
—Joe Strummer to Chris Salewicz – 2000 ,

In 2001 the band signed with Californian punk label Hellcat Records and released their second album, Global A
Go-Go. The album was supported with a 21-date tour of North America, Britain, and Ireland. Once again, these
concerts featured Clash material ("London's Burning", "Rudie Can't Fail", "White Man In Hammersmith Palais"), as
well as covers of reggae and ska hits ("The Harder They Come", "A Message To You, Rudy") and the band regularly
closed the show by playing The Ramones' "Blitzkrieg Bop". He also covered Redemption Song originally by Bob
Marley. In the same year, somewhat out of character, Strummer and the Mescaleros performed the song Minstrel
Boy for the movie Black Hawk Down, a haunting and emotive Celtic tune that is played during the evacuation of
PFC Blackburn during the Battle of Mogadishu and also during the end credits.
Joe Strummer 50

On 15 November 2002, Strummer and The Mescaleros played a benefit

show for striking fire fighters in London, at the Acton Town Hall.
Mick Jones was in the crowd, and joined the band on stage during the
Clash's "Bankrobber." An encore followed with Jones playing guitar
and singing on "White Riot" and "London's Burning". This
performance marked the first time since 1983 that Strummer and Jones
had performed together on stage.[5] Jones later remarked that it was
totally unplanned and that he felt compelled to join Strummer on stage.

Strummer's final regular gig was at Liverpool Academy on 22 Strummer performing in Brooklyn, April 2002
November 2002, yet his final performance, just two weeks before his
death, was in a small club venue 'The Palace' in Bridgwater, Somerset near to his home. Shortly before his death
Strummer and U2's Bono co-wrote a song, "46664", for Nelson Mandela as part of a campaign against AIDS in
Africa. Strummer had been scheduled to play at Mandela's SOS fundraising concert in February 2003 on Robben
Island. Mick Jones later recorded a version of the song in studio, performing both the vocals and guitar work, that
has yet to be formally released.

(2002-present) Death and legacy

Strummer died suddenly on 22 December 2002 in his home at Broomfield in Somerset, the victim of an undiagnosed
congenital heart defect.[5] [8] [9] His estate was valued at just under £1 million, and he left all the money to his wife
Lucinda.[10]
Strummer was instrumental in setting up Future Forests (recently rechristened The Carbon Neutral Company), an
organization dedicated to planting trees in various parts of the world in order to combat global warming.[11]
Strummer was the first artist to make the recording, pressing and distribution of his records carbon neutral through
the planting of trees.[11] [12] [13] In his remembrance, Strummer's friends and family have established the
Strummerville Foundation for the promotion of new music.[14]
At the Grammy Awards in February 2003, "London Calling" was performed by Elvis Costello, Bruce Springsteen,
Steven Van Zandt, Dave Grohl, Pete Thomas, and Tony Kanal in tribute to Strummer. In March 2003, The Clash
were inducted into the Rock and Roll Hall of Fame.[5] Another tribute to Strummer occurred in February 2003. At
the rock club "Debaser" in Stockholm, some of Sweden's most famous rock musicians paid their tribute to Joe by
performing songs written by the Clash (the exception was Nicke Borg and Dregen from Backyard Babies who
performed I Fought the Law). At the end of the concert, the legendary Swedish punk band Ebba Grön reunited for
the tribute, aided by Mick Jones on guitar.
At the time of his death, Strummer was working on another Mescaleros album, which was released posthumously in
October 2003 under the title Streetcore. The album features a tribute to American music icon Johnny Cash; "Long
Shadow", which was actually written for Cash to sing and recorded in Rick Rubin's garage, as well as a
remembrance of the 11 September 2001 attacks ("Ramshackle Day Parade"), and a cover of Bob Marley's classic
"Redemption Song", which Strummer had also recorded as a duet with Cash. The Cash/Strummer duet version
appears on the 2003 box set Unearthed.
Joe Strummer 51

November 2003 saw the release of a video for "Redemption Song",

directed by Josh Cheuse. The video features the painting of a memorial
mural, by graffiti artist REVOLT, on the wall of the Niagara Bar in the
East Village of NYC.[15]
On 22 December 2003, exactly a year after his death, a tribute
show/benefit was held at Irving Plaza in NYC. Bands that played were:
Ari Up; Clem Snide; The Detachment Kit; Dirty Mary; Hammel on
Trial; Jesse Malin; New Blood Revival; The Realistics; Eugene Hütz;
Radio 4; Secret Army; Ted Leo; Vic Thrill + The Saturn Missile.[16]
Memorial to Strummer on 7th Street at Avenue
A, New York City. The show was videotaped by punkcast.com but is as yet unreleased.

A documentary by Dick Rude titled Let's Rock Again! was released in

2004. The film, completed after Strummer's death, chronicles life on tour in the United States with the Mescaleros to
support Global a Go-Go. The Belfast punk rock group Stiff Little Fingers also recorded a tribute song
"Strummerville" on their album, Guitar and Drum. Al Barr, lead singer of the Boston punk band Dropkick Murphys,
named his son Strummer in honor of Joe.[17] German band Beatsteaks pay tribute to Strummer on their album Smack
Smash with the song "Hello Joe". In 2004, German punk band Die Toten Hosen released an EP called "Friss oder
stirb" which included a tribute song for Strummer called "Goodbye Garageland" which is a lyrical co-production
with Matt Dangerfield from londons 77 punk band The Boys. Boston Punk Rock Band Street Dogs recorded a tribute
song called "The General's Boombox" on their latest album State Of Grace, and New Jersey's The Gaslight Anthem
recorded the song "I'da Called You Woody, Joe" on their album Sink or Swim.

On 12 February 2005 the Class 47 locomotive 47828 was named "Joe Strummer". The nameplates were unveiled by
his widow Lucinda Tait in a ceremony at Bristol Temple Meads railway station.[18] On 22 July 2005 Tait unveiled a
plaque on the house in Pentonville, Newport where Strummer lived from 1973 to 1974 and where his first foray into
recorded music, "Crummy Bum Blues" was recorded.[19] That Was Clash Radio, a short story by Charles de Lint,
was written in response to Strummer's death and features Strummer in a minor role.[20]
New Orleans-based rockers Cowboy Mouth released a song called "Joe Strummer" on their latest album Voodoo
Shoppe. The song tells the story of a man who had to break up with his girlfriend because “...she didn't know
who/Joe Strummer was.” The popular track is a tongue-in-cheek salute to Strummer and The Clash that received
significant radio play in 2006. In addition, the Joe Pernice-penned "High As a Kite", included on The Pernice
Brothers 2006 album Live a Little, was, in part a tribute to Joe Strummer. Lyrics included, “Heavy downbeat of one
and the show began/London calling, strike up the contraband” and the memorable opening to the chorus, “We wore
pictures of Strummer.” A play by Paul Hodson called Meeting Joe Strummer has premiered at the Edinburgh Festival
in winter 2006, and is still touring the UK from the following year. It is not a play directly about Joe, instead about
two men who share a passion for Joe's music.[21]
Joe Strummer: The Future Is Unwritten, a documentary film directed by Julien Temple about Joe Strummer,
premiered on 20 January 2007 at the 2007 Sundance Film Festival.[22] In conjunction with the Strummer estate,
Fender released the Joe Strummer Tribute Telecaster, combining elements of Joe's main guitars, namely the "road
worn" finish of his 1966 Telecaster, which he used until his death. The first 1,500 guitars come with a Shepard
Fairey designed "customization kit" with stickers and stencils, which resemble some of the designs Joe used on his
guitars.[23] Joe Strummer's impact is referenced by The Hold Steady in the song "Constructive Summer", a song
featured on their 2008 album Stay Positive. In this song the band sings “Raise a toast to Saint Joe Strummer. I think
he might have been our only decent teacher.” In November 2009, Tonara, a town in Sardinia, Italy, dedicated a street
to Joe Strummer.[24]
There are also many festivals each year dedicated to his memory. These festivals include Strummerville and there is
Strummercamp which bands like The Alarm, The Damned, T.V. Smith from the Adverts, Sham 69, Dreadzone, The
Joe Strummer 52

Beat, Hugh Cornwell from The Stranglers and a band the appears most years Goldblade which includes author John
Robb. All these bands were greatly influenced by The Clash and Joe Strummer.

Marriages and relationships

In 1975, after being offered £100, Strummer married Pamela Moolman, a South African citizen, so she could obtain
British citizenship. He bought his signature Fender Telecaster, later painted black, with the money. In 1978
Strummer started a relationship with Gaby Salter shortly after her 17th birthday.[1] The couple remained together for
14 years and had two daughters, Jazz and Lola, but did not marry as Strummer had been unable to locate and divorce
Moolman.[1]
In 1993 Strummer began an affair with Lucinda Tait, which finally ended his relationship with Gaby Salter.[1]
Strummer and Tait married in 1995 and remained so until his death in 2002.
Strummer is commonly believed to be Lily Allen's godfather. While not literally true, Strummer and his family were
close friends with the Allens and would regularly attend the Glastonbury Festival together. Allen has recalled how
Strummer had a paternalistic attitude towards her as an adolescent, accompanying her for two days when she went to
meet-up with some friends at the festival.[25]

Documentaries
Let's Rock Again! is a one-hour music documentary, directed by Dick Rude, that follows Joe Strummer as he tours
across America and Japan with The Mescaleros. It premiered at the Tribeca Film Festival in New York, May 2004.
Joe Strummer: The Future Is Unwritten is a documentary about Joe Strummer by Julien Temple. It comprises
archive footage of him spanning his life, and interviews with friends, family, and other celebrities. It debuted at the
2007 Sundance Film Festival.[26] [27] [28]
A documentary on Strummer's politics Let Fury Have The Hour, produced by Tim Robbins and based on the book of
the same name by Antonino D'Ambrosio, is due out in 2008. NYC band Radio 4 are supplying soundtrack music.[29]
Joe Strummer 53

Musical equipment
Strummer's main guitar throughout his career was a 1966 Fender
Telecaster that originally came in a three-color sunburst with a white
pickguard. Strummer acquired the guitar in middle of 1975 while
playing with 101ers. After joining the Clash, the guitar's body and
pickguard were refinished in grey auto primer and then painted
black. By 1979, the word NOISE was stenciled on the upper part of
the body, a rasta flag sticker was placed at the horn of the pickguard,
and an "Ignore Alien Orders" sticker was placed above the bridge.
By the release of Give ‘Em Enough Rope the guitar was fitted with a
bridge with individual saddles and the original Kluson tuners were
replaced with later model tuners and a large question mark was
spraypainted on its back. The guitar would remain in this
configuration throughout his career with the addition of different
stickers on its body. The guitar's black paint became worn down due
to Strummer's playing and on many places the original sunburst
finish and bare wood shines through, except for the square where
Strummer taped his setlists.[30] The Fender Custom Shop has created
a Joe Strummer tribute Telecaster with a reliced flat black finish.[23]
Strummer and guitar
Strummer was naturally left-handed, but learned to play guitar
right-handed. He had attributed this as a drawback and claimed it
caused him to be underdeveloped as a guitarist, although his style of playing was unique.

For amplification Strummer was known to use amplifiers such as a Roland Jazz Chorus, a Selmer Bassman while he
was in the 101'ers, a Vox AC30 and various Marshall amplifiers,[31] but his main amplifier was a Music Man HD
212 150.[32] Strummer commented on his choice of amplifier with "I don't have time to search for those old Fender
tube amps. The Music Man is the closest thing to that sound I've found." and that the "plastic motif on the front is
repulsive."[33]

Solo discography
For recordings made with the Clash, please see The Clash discography.
With The 101'ers

Year Album Additional information

1981 Elgin Avenue Breakdown Compilation album with material recorded from 1974 to 1976.

As a solo artist
Joe Strummer 54

Year Album Additional information

1986 Sid and Nancy Soundtrack Soundtrack for the film Sid and Nancy, featuring 2 songs by Strummer.

1987 Walker Soundtrack for the film Walker, scored by Strummer.

1987 Straight To Hell Original Soundtrack Soundtrack for the film Straight to Hell, featuring 2 songs by Strummer.

1993 When Pigs Fly Soundtrack Unreleased soundtrack for the film When Pigs Fly, scored by Strummer.

1998 Chef Aid: The South Park Album Features "It's A Rockin' World", performed by Strummer, Flea, Nick Hexum, Tom Morello,
DJ Bonebrake, and Benmont Tench.

1999 Michael Hutchence Backing vocals on the first track on Michael Hutchence's solo album, "Let Me Show You"

2002 Jools Holland's Big Band Rhythm & Blues Features "Return of the Blues Cowboy" performed by Strummer and the Jools Holland Big
(guest appearance) Band

2003 Unearthed (guest appearance) A duet of "Redemption Song" with Johnny Cash.

2004 Black Magic (guest appearance) Strummer performed the song "Over The Border" with Jimmy Cliff.

With The Latino Rockabilly War

Year Album Additional information

1988 Permanent Record Original Soundtrack Features songs by Strummer and The Latino Rockabilly War.

1989 Earthquake Weather Strummer's only full-length studio album with The Latino Rockabilly War.

With The Mescaleros

Year Album Additional information

1999 Rock Art and the X-Ray Style Strummer's first album with The Mescaleros.

2001 Global a Go-Go Peaked at #23 on Billboard's Top Independent Albums chart in the US.

2003 Streetcore Strummer's last album, released posthumously.

Selected filmography

Year Title Role Other notes

1980 Rude Boy Semi-Documentary Subject
1983 Hell W10 Writer and director Silent film
1983 The King of Comedy Street Scum non-speaking cameo
1987 Walker Faucet
1987 Straight to Hell Simms
1988 Candy Mountain Mario
1989 Mystery Train Johnny aka Elvis
1990 I Hired A Contract Killer Himself by Aki Kaurismaki
1997 Docteur Chance Vince Taylor
2000 The Clash: Westway to the World Documentary Subject
2003 End of the Century: The Story of the Documentary Subject
Ramones
2004 Let's Rock Again! Documentary Subject
Joe Strummer 55

2007 Joe Strummer: The Future Is Unwritten Documentary Subject

2008 The Clash Live: Revolution Rock Documentary Subject

In other media
• Joe Strummer and the Mescaleros appeared on the British musician Jools Holland Show Later on about 4 May
2002. Strummer, Warren Zevon, and Tracy Chapman, as well as an ensemble cast, sang "I Fought the Law" at the
finale. The show, and this episode, is occasionally shown in the US on Ovation TV.
• The Bedroom Secrets of the Master Chefs, a novel by Irvine Welsh published in 2006, has a fictional Joe
Strummer being implicated in a paternity scandal.
• "Johnny Appleseed", a song from Joe Strummer and The Mescaleros' 2001 album Global a Go-Go, is featured as
the theme song to the HBO series John from Cincinnati, aired in the summer of 2007.

Further reading
• Clash, The (1 October 2008). The Clash: Strummer, Jones, Simonon, Headon. London: Atlantic Books.
ISBN 1843547880. OCLC 236120343.
• D'Ambrosio, Antonino (13 October 2004). Let Fury Have the Hour: The Punk Rock Politics of Joe Strummer.
New York: Nation Books. ISBN 1560256257. OCLC 56988650. "Edited with an Introduction by Antonino
D'Ambrosio."
• Davie, Anthony (2004). Joe Strummer & the Mescaleros: New and Previously Unpublished Photographs.
Northampton: Effective. ISBN 0954856813. OCLC 64898380.
• Davie, Anthony (2004). Vision of a Homeland: The History of Joe Strummer & the Mescaleros. Northampton:
Effective. ISBN 0954856805. OCLC 123775358.
• DeCurtis, Anthony (2003). "1952-2002 Joe Strummer - A tribute to the late Clash singer and songwriter, plus his
final remarks on the rise and fall of the legendary punk band". Rolling stone (San Francisco, CA: Straight Arrow)
914 (27). ISSN 0035-791X. OCLC 96002520.
• Ferraz, Rob (08 2001). "Joe Strummer & The Clash - Revolution Rock" [35] (ASPX). exclaim.ca. Retrieved 29
November 2007.
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th rev. ed.). London: Helter Skelter.
ISBN 1905139101. OCLC 60668626.
• Matula, Theodore (12 2003). "Joe Strummer, 1952-2002". Popular Music and Society (Bowling Green, Ohio:
Taylor & Francis) 26 (4): 523–525. doi:10.1080/0300776032000144968. ISSN 0300-7766. OCLC 89586252.
• Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Salewicz, Chris (15 May 2007). Redemption Song: The Ballad of Joe Strummer (1st American ed.). New York:
Faber and Faber. ISBN 057121178X. OCLC 76794852.
• Yewdall, Julian Leonard; Nick Jones (1992). Joe Strummer with the 101'ers and the Clash, 1974-1976. London:
Image Direct. ISBN 0951921606. OCLC 28502630. "Photographs by Julian Leonard Yewdall; introductory text
by Nick Jones."
Joe Strummer 56

External links
• Official website [1]
• The video [36] of the Joe Strummer And The Mescaleros version of "Redemption Song" from Streetcore. A tribute
to Strummer by his friends. The artwork being created in the video can be seen here [37] in Google Maps Street
View.

References
[1] Salewicz, Chris (15 May 2007). Redemption Song: The Ballad of Joe Strummer (1st American ed.). New York: Faber and Faber.
ISBN 057121178X. OCLC 76794852.
[2] "Strummer's lasting culture Clash" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 2600955. stm) (STM). Entertainment. BBC News World
Edition. 23 December 2002. . Retrieved 20 November 2007. "a) Born John Graham Mellor in 1952, Strummer was the son of a diplomat and
was given a middle-class upbringing at boarding school in Surrey before going to study art in London - before deciding that it was a "lousy set
up".
b, c, d) He had immersed himself in music since childhood, and his own musical career began when he started busking with a ukulele at Green
Park tube station. He played in two bands, the Vultures and the 101ers, but when The Sex Pistols supported the 101ers in west London in
1976, Strummer saw the possibilities open up for him and was inspired to form The Clash."
[3] Encoule, Jean (1 2003). "Joe Strummer - 1952-2002" (http:/ / trakmarx. com/ 2003_01/ 09. htm). trakMARX.com. . Retrieved 17 November
2007. "a) Joe Strummer was born in Ankara, Turkey, in 1952 & christened John Graham Mellor. His family spent time in Ankara, Cairo,
Mexico City & Bonn, before Mellor returned to the UK to attend the City Of London Freemen's School in Surrey. Mellor left school &
enrolled at Central College of Art but left "after about a week", heading straight for the underground & squat culture. Mellor spent time living
in Wales, playing in knock-about bands and using the nickname "Woody" inspired by Woody Guthrie's name.
b) The Vultures in time led to The 101'ers, a group of West London-based squatters named after their squat address. The 101'ers were
eventually supported by a nascent Sex Pistols. Mellor adopted the stage name of "Joe Strummer". Impressed by the power of the Sex Pistols,
the newly self-coined Strummer determined that the 101'ers were "yesterday's papers" by comparison. It was time to strike out anew. And this
led to the start of The Clash.
c) "This is my Indian summer...I learnt that fame is an illusion & everything about it is just a joke. I'm far more dangerous now, because I
don't care at all." – Joe Strummer to Chris Salewicz – 2000."
[4] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 3:50–4:50; 8:40–11:40.
ISBN 0738900826. OCLC 49798077.
[5] "The Clash" (http:/ / www. rockhall. com/ inductee/ the-clash). Induction. The Rock and Roll Hall of Fame and Museum. 10 March 2003. .
Retrieved 19 November 2007. "a) Quite simply, the Clash were among the most explosive and exciting bands in rock and roll history.
b, c) If not exactly a reunion, it was a rapprochement. On 15 November 2002, Jones and Strummer shared the stage for the first time in nearly
20 years, performing three Clash songs during the encore of a London benefit show by Joe Strummer and the Mescaleros. This raised hopes
for a Clash reunion, which were dashed when Strummer died of a heart attack on 22 December 2002."
[6] "Clash star Strummer dies" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 2600669. stm) (STM). Entertainment. BBC News World Edition.
27 December 2002. . Retrieved 20 November 2007. "Rolling Stone voted London Calling, their classic 1980 album (released in 1979 in the
UK) as the best album of the Eighties."
[7] "The Clash Clash in Hamburg LP 20 May 1980" (http:/ / homepage. mac. com/ blackmarketclash/ Bands/ Clash/ recordings/ 1980/ Clash in
Hamburg LP/ Clash in Hamburg. html). blackmarketclash.com. . Retrieved 21 January 2008. "a) This is the infamous riot show where there
was mayhem in the audience and on the stage, riot police battling with fans outside, and Joe was arrested for seriously assaulting a 'fan' with
his guitar. His actions shocked Joe, and had a lasting personal impact on him.
b) He would raise the incident in a number of interviews there after. Joe said, "I nearly murdered somebody, and it made me realise that you
can't face violence with violence. It doesn't work". There is information on the night from three sources; German newspaper reports from the
time, an eyewitness account described in Last Gang In Town, and interviews with Joe."
[8] "Clash star Strummer dies" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ music/ 2600669. stm). BBC News. 27 December 2002. . Retrieved
2009-02-11. "Joe Strummer, the leader of legendary Seventies punk band The Clash, has died of a suspected heart attack aged 50. A
spokesman for Strummer, real name John Graham Mellor, said the singer died at home in Broomfield, Somerset, on Sunday."
[9] "Clash star Joe Strummer dies" (http:/ / archives. cnn. com/ 2002/ SHOWBIZ/ Music/ 12/ 23/ britain. strummer/ ). Entertainment. CNN.com.
23 December 2002. . Retrieved 23 November 2007. "Strummer, who was the band's guitarist, vocalist and songwriter alongside Mick Jones,
died on Sunday at his farmhouse in Somerset, southwestern England."
[10] "Clash frontman Joe Strummer leaves £1m will" (http:/ / www. dailymail. co. uk/ pages/ live/ articles/ showbiz/ showbiznews.
html?in_article_id=426977& in_page_id=1773& ito=1490). TV & showbiz. Daily Mail. 7 January 2007. . Retrieved 23 November 2007. "Joe
Strummer, the former frontman of punk band The Clash, left an estate worth nearly £1 million, it was revealed yesterday."
[11] "Joe Strummer's Charity Work, Events and Causes" (http:/ / www. looktothestars. org/ celebrity/ 1534-joe-strummer). Look To The Stars. .
Retrieved 29 March 2010.
Joe Strummer 57

[12] "Forest tribute to Clash star" (http:/ / news. bbc. co. uk/ 2/ hi/ uk_news/ scotland/ 2673971. stm). UK: Scotland. BBC News world edition.
19 January 2003. . Retrieved 29 March 2010.
[13] "YOUR PLANET - Part 2: 'I Want to Put Back What I'Ve Taken Out'" (http:/ / www. redorbit. com/ news/ science/ 245201/
your_planet__part_2_i_want_to_put_back/ index. html). Science News. redOrbit.com. 20 September 2005. . Retrieved 29 March 2010. "Joe
Strummer: The world's first carbon neutral artists, Joe Strummer was involved in setting up the company and his large forest on the Isle of
Skye has become a memorial to him."
[14] "Strummerville: A Charity in Honour of Joe Strummer of The Clash: Whats It All About?" (http:/ / www. strummerville. com/
strummerville-a-charity-in-honour-of-joe-strummer-of-the-clash-whats-it-all-about/ ). Strummerville: The Joe Strummer Foundation for New
Music. . Retrieved 29 March 2010.
[15] D'Angelo, Joe (17 November 2003). "Joe Strummer Leaves Final Mark On New York With New Video" (http:/ / www. mtv. com/ news/
articles/ 1480457/ 20031117/ strummer_joe. jhtml) (JHTML). MTV News. mtv.com. . Retrieved 29 November 2007. "Clip features cameos by
Rancid, actor Matt Dillon, filmmaker Jim Jarmusch."
[16] "Fillmore NY @ Irving Plaza - Artists" (http:/ / www. irvingplaza. com/ artists. htm). irvingplaza.com. . Retrieved 29 November 2007. "Joe
Strummer Tribute - Ari Up (of The Slits); Clem Snide; The Detachment Kit; Dirty Mary; Hammel on Trial; Jesse Malin; New Blood
Revival; The Realistics; Radio 4; Secret Army; Ted Leo (solo); and special guests"
[17] Helmer, April (23 April 2004). "Dropkick Murphys always sing loud, proud" (http:/ / www. dropkickmurphys. com/ press/ press/
expresstimes. html). The Express-Times. dropkickmurphys.com. . Retrieved 13 March 2008.
[18] "Engine named after Clash singer" (http:/ / news. bbc. co. uk/ 2/ hi/ uk_news/ england/ bristol/ somerset/ 4256619. stm) (STM).
Bristol/Somerset. BBC NEWS. 12 February 2005. . Retrieved 6 July 2007. "The Class 47 Diesel, which is owned by Cotswold Rail, is being
named after the singer, who lived in Bridgwater, Somerset. He died aged 50 in 2002."...
..."The locomotive, and plaque showing Strummer's name, were unveiled at Bristol Temple Meads station by his wife, Lucinda."
[19] "Plaque for Clash legend Strummer" (http:/ / news. bbc. co. uk/ 1/ hi/ wales/ 4707943. stm) (STM). Wales. BBC NEWS. 22 July 2005. .
Retrieved 29 November 2007. "The friend who arranged for a tribute plaque to Joe Strummer on the house where the punk legend wrote his
first song admits he would have hated it."
[20] de Lint, Charles (2005). The Hour Before Dawn. Burton, MI: Subterranean Press. pp. 10–11. ISBN 1596060271.
[21] "MEETING JOE STRUMMER" (http:/ / www. middlegroundtheatre. co. uk/ index-page190. html). Middle Ground Theatre Company. .
Retrieved 29 March 2010.
[22] "Joe Strummer: The Future Is Unwritten (2007) - Release dates" (http:/ / www. imdb. com/ title/ tt0800099/ releaseinfo). Internet Movie
Database. . Retrieved 13 March 2008.
[23] "Joe Strummer" (http:/ / www. fender. com/ joestrummer/ ). fender.com. . Retrieved 29 March 2010.
Related articles:
• "Strummer Telecaster® Guitar Based on Legendary Clash Leader's Famous DIY Instrument" (http:/ / www. fender. com/ news/ index.
php?display_article=199). News. Fender. . Retrieved 29 March 2010.
[24] Buquicchio, Cesare (19 November 2009). "Sardegna punk, una via per Joe Strummer" (http:/ / www. unita. it/ news/ culture/ 91451/
sardegna_punk_una_via_per_joe_strummer) (in Italian). Culture (L'Unità). . Retrieved 29 March 2010.
[25] "Lily Allen: uncertain smile" (http:/ / www. telegraph. co. uk/ culture/ music/ 4223221/ Llly-Allen-uncertain-smile. html). Culture > Music.
The Telegraph. 16 January 2009. . Retrieved 29 Marchr 2010.
[26] Orshoski, Wes (7 November 2006). "Exclusive: Strummer Documentary To Premiere At Sundance" (http:/ / www. billboard. com/ bbcom/
news/ article_display. jsp?vnu_content_id=1003353439) (JSP). News. Bilboard.com. . Retrieved 29 November 2007. ""The Future is
Unwritten", Julien Temple's new film on the life and career of late Clash frontman Joe Strummer, will have its U.S. premiere in mid-January
at the Sundance Film Festival in Park City, Utah."
[27] "BBC - Somerset - In Pictures - Joe Strummer" (http:/ / www. bbc. co. uk/ somerset/ content/ image_galleries/ joe_strummer_gallery. shtml)
(SHTML). Where I Live - Somerset - Celebrities and Events. bbc.co.uk. . Retrieved 29 November 2007. "Julien Temple's biopic of The Clash
front man, entitled Joe Strummer: The Future Is Unwritten, receives its premiere at The Palace in Bridgwater on Saturday, 5 May 2007. This
photo is of a campfire in Somerset."
[28] Kelly, Kevin (26 January 2007). "Sundance Review: Joe Strummer: The Future is Unwritten" (http:/ / www. cinematical. com/ 2007/ 01/ 26/
sundance-review-joe-strummer-the-future-is-unwritten/ ). cinematical.com. . Retrieved 29 November 2007. "If you can imagine what it would
be like to try to document the life of one of your closest friends after their death, and to assemble everything into feature film length, you can
probably see how difficult the process might be."
[29] Cohen, Jonathan (25 April 2007). "Radio 4 Tunes In For D'Ambrosio Documentary" (http:/ / www. billboard. com/ bbcom/ news/
article_display. jsp?vnu_content_id=1003576052). Billboard. . Retrieved 17 December 2007.
[30] http:/ / www. strummerguitar. com/ evolutionofalegend. html
[31] http:/ / www. websitetoolbox. com/ tool/ post/ strummernews/ vpost?id=2044598
[32] http:/ / www. rockstarsguitars. com/ product. php?c=1& cat=111& scat=216
[33] Musician Magazine 1980
Mick Jones 58

Mick Jones
Mick Jones

Mick Jones during his time with Big Audio Dynamite (New York, 1987)

Background information

Birth name Michael Geoffrey Jones

Born 26 June 1955

Origin Brixton, England

Genres Punk rock, rock

Occupations Musician, songwriter

Instruments Guitar, vocals, bass, piano, drums, harmonica

Years active 1975 — present

Labels CBS, I.R.S., Radioactive

Associated acts The Clash, General Public, Big Audio Dynamite, Carbon/Silicon, Gorillaz

Notable instruments

Gibson Les Paul Jr. Double Cutaway

Gibson Les Paul Custom
1972 Fender Telecaster Thinline

Michael Geoffrey "Mick" Jones (born 26 June 1955) is the former lead guitarist, secondary vocalist and
co-founder for the British punk rock band The Clash until his dismissal in 1983. He went on to form the band Big
Audio Dynamite with Don Letts before line-up changes led to the formation of Big Audio Dynamite II and later Big
Audio. He currently plays with Carbon Silicon.

Early life
Jones was born in Brixton, South London, England to a Welsh father and a Russian Jewish mother.[1] He spent much
of his early life living with his maternal grandmother, Stella, in South London. Jones' cousin is Grant Shapps, the
Conservative MP for Welwyn Hatfield.[2] Jones went to Strand School - and then on to art school, because "[he]
thought that's how you get into bands and stuff".[3]

“
But even before the Dolls, I used to follow bands around. I followed Mott the Hoople up and down the country. I’d go to Liverpool or
Newcastle or somewhere—sleep on the Town Hall steps, and bunk the fares on the trains, hide in the toilet when the ticket inspector came

”
around. I’d jump off just before the train got to the station and climb over the fence. It was great times, and I always knew I wanted to be in a
band and play guitar. That was it for me.

[4]
—Mick Jones to Gibson Backstage Pass Holiday Double Issue 2006 ,
Mick Jones 59

He started gaining recognition as a guitarist in the early '70s with his glam rock band, The Delinquents. A short time
later, he met Tony James and formed the proto-punk London SS. By 1976, the band had broken up and remaining
members Jones, Paul Simonon and Keith Levene were seeking a new direction.[5]

The Clash
When he was 21, he (and Paul Simonon) were introduced to Joe
Strummer by Bernie Rhodes (the self proclaimed inventor of punk
rock)[6] in a dirty squat in Shepherd's Bush. The band practiced in a
disused railway warehouse in Camden and The Clash was formed.
Jones played lead guitar, sang, and co-wrote songs from the band's
inception until he was fired by Strummer and Simonon in 1983. Jones'
lack of punctuality played a major role in his dismissal from the band.
Mick Jones (centre) on stage with The Clash
For his time with The Clash, Jones, along with the rest of the band, was
inducted into the Rock and Roll Hall of Fame in 2003.[7]

General Public
After his expulsion from The Clash, Jones was briefly a founding member of General Public. Though he's listed in
the credits of the band's 1984 debut album All the Rage as an official member, Jones actually left General Public part
way through the recording process and was replaced by Kevin White. (White's picture appears on the back cover;
Jones' picture does not.) Jones did play guitar on many of the album's tracks, including the North American top 40
hit "Tenderness".

Big Audio Dynamite

Leaving General Public behind, in 1984 Jones formed Big Audio Dynamite with film director Don Letts, who had
directed various Clash videos and later the Clash documentary Westway to the World. The band's debut album This
Is Big Audio Dynamite was released the following year, with the song "E=MC²" getting heavy rotation in dance
clubs, and both singles "Medicine Show" and "E=MC2" charting in the UK Singles Chart.
For Big Audio Dynamite's second album, No. 10 Upping St., Jones reunited with Strummer. Together, the two wrote
several songs on the album, including "Beyond the Pale", "V. Thirteen", and "Sightsee M.C."; Strummer also
co-produced the album. Their reunion did not last long, and following that collaboration, the two did not work
together again for some time.
Big Audio Dynamite's third album, Tighten Up, Vol. 88, featured cover art painted by the ex-Clash bassist, Paul
Simonon. Shortly following its release, Jones developed chicken pox, along with pneumonia and spent several
months in hospital.[8] [9] After his recovery, Jones released one more album with Big Audio Dynamite, Megatop
Phoenix, before reshuffling the line-up, renaming the band Big Audio Dynamite II and releasing The Globe album.
In 1990, Jones was featured on Aztec Camera's song "Good Morning Britain", with Roddy Frame.
The band's line-up was reshuffled again in 1994, and they released the album Higher Power under the name Big
Audio. In 1995, a greatest hits album, Planet B.A.D. was released as well as a studio album called F-Punk under the
original Big Audio Dynamite name. A further album, Entering a New Ride was recorded in 1997, but was only
released on the internet due to disagreement with Radioactive Records, their then record label. One more "best of"
collection, called Super Hits, was released in 1999.
Mick Jones 60

Recent projects

Carbon/Silicon
In 2002, Jones teamed up with his former London SS colleague,
Generation X and Sigue Sigue Sputnik member, Tony James to form a
new band named Carbon/Silicon. The band has toured the United
Kingdom and the United States and has performed a number of
anti-fascist benefit concerts; they have also recorded three albums:
A.T.O.M, Western Front and The Crackup Suite which were available
online for free. Their first physical CD release was The News EP. The
band encourage their fans to share their music on P2P networks, and
allow the audio and video taping of their shows. Their first song,
"MPFree" is an anthem for P2P file sharing.

Similar in many respects to Jones' earlier work in Big Audio Dynamite,

Carbon/Silicon aims to break the traditional approach to rock and roll.
The band was described by Alan McGee as "...the Stones jamming
with a laptop," and they make use of samples in their recordings and
live shows. The formation of the band was catalyzed by the internet
and p2p file sharing. The first song written by Jones and James was
entitled "MPFree," in which they expressed their willingness to Mick Jones playing with Carbon/Silicon at the
embrace the technology of the internet and file sharing, in the interest Carbon Casino VI event on 22 February 2008

of spreading music, rather than profit.

On seven consecutive Friday nights in January and February 2008 Carbon/Silicon played a series of gigs at the Inn
On The Green, right under the Westway in Thorpe Close, between Ladbroke Grove and Portobello Road. As well as
Carbon/Silicon there were many special guests, including appearances by Sex Pistols' Paul Cook and Glen Matlock,
former Clash drummer Topper Headon and multi-instrumentalist and former Mescalero, Tymon Dogg.

Producer
Jones has also been an occasional producer. In 1981 he produced Ellen Foley's second album The Spirit of St. Louis.
Jones was in a relationship with Foley, and co-wrote songs for the album with Strummer. Players on the album
included members of The Blockheads and all four members of The Clash[10] (The Clash's hit song "Should I Stay or
Should I Go", written and sung by Jones, was about his turbulent relationship with Foley).
In 1981 Jones also produced Theatre of Hate's first album Westworld released in 1982, written by Kirk Brandon.
Jones also played guitar on the title track, "Do You Believe In The Westworld". Jones would also record and
produce Aria of the Devil in 1982 by Theatre of Hate at Wessex Studios, which did not get released until 1998, when
the master tapes were found by Kirk Brandon.
He produced the London-based band The Libertines' debut album Up The Bracket (2002). The album was critically
well received, both in the UK and US. Jones stayed on to produce the band's second and final album The Libertines.
He also produced Down In Albion, the debut album of former Libertines lead singer and guitarist Pete Doherty's new
group Babyshambles.
Jones is also credited with contributing guitar and vocals to "Mal Bicho", the lead track of Los Fabulosos Cadillacs'
album Rey Azucar.
He recently provided the score for Nick Mead's film, Dice Life - the Random Mind of Luke Rhinehart, a
contemporary dance film created by Nick Mead and Wayne McGregor, featuring Luke Rhinehart, author of The Dice
Man.
Mick Jones 61

At the NME Shockwave 2007 awards, Jones took to the stage and performed "(White Man) In Hammersmith Palais"
with Primal Scream.[11]

Friendship with Richard Archer

Richard Archer of Hard-Fi first met Mick Jones when he was still with Contempo. Hard-Fi were looking for a
producer when one of the members of the record company suggested Jones, to which the band agreed to. At a
rehearsal in Putney, Richard compared his dress sense to that of "the Godfather".[12] [13]
Archer worked for a year on the band's first record, but things didn't work out as planned due to problems with the
record company.[12] [13]
Talking about Archer, Jones said:
"I guess I can have a lot of fun at this stage in my career and I like working with young people such as
Rich because they're full of new ideas. I wouldn't say I'm a mentor to him, though. I just like to try to
have some fun and play a few tunes.[12] [13]
At Hard-Fi's NME Awards show at the Koko club on 6 February 2008 Jones appeared with Hard-Fi to perform the
Clash's "Should I Stay or Should I Go" and Hard-Fi's "Stars of CCTV".
On 1 March 2008, rumours started appearing that the two would be forming a new band after Archer joined Jones
and his new band, Carbon/Silicon, during a show in London. They revealed that they were thinking about combining
the two bands to form a project called "Hard Carbon".[14]

Gorillaz
Jones reunited with Simonon on the 2010 Gorillaz album, Plastic Beach, on the title track "Plastic Beach". Jones is
also performing in the Gorillaz live band supporting Plastic Beach, playing Rhythm Guitar, along with Simonon.
The band headlined the 2010 Coachella Festival.

Musical equipment
Jones' first guitar was a Gibson Les Paul Junior with a P-90 pickup, which he
bought since Johnny Thunders used one. The Junior was his main guitar up
until late 1977 early 1978, and after that as a backup and studio-guitar.
Around the same time he also owned another Les Paul Junior, all black
(formerly red) with a black pickguard, which got smashed at a gig in 1977.
He then switched to the regular Gibson Les Paul and later to Gibson Les Paul
Customs.

"My favorites are still the Juniors," he told Gibson.com in 2006. "I had a great
Les Paul Standard, a sunburst one. And then I had a black Custom, and a
white Custom. And then the big white hollowbody for London Calling. But I
still play the Juniors today."
He also occasionally played an Olympic White Fender Stratocaster - for live
versions of 'Straight to Hell' - and several Bond Guitars that were donated to
him by good friend Andrew Bond who made the guitars. For effects Jones
Mick Jones playing his Fender Thinline
mainly uses MXR pedals including a 100 Phaser, a Flanger, an Analog Delay Telecaster at Carbon Casino VI
and a Noisegate as well as a Roland chorus or Space Echo effect.[15] During
the early times with The Clash, Jones used a Marshall Plexi amplifier and occasionally a Fender Twin with a 2x12
cabinet. He later changed to Mesa Boogie amplifier with two Marshall 4x12 cabinets that he used throughout the rest
of his career with The Clash.[16] [17]
Mick Jones 62

Jones was noted for playing a high-tech British-made guitar called the Bond Electraglide with Big Audio Dynamite.
It's worn by him on the cover of No. 10 Upping St..
Live, Jones still occasionally plays a Gibson Les Paul Junior guitar, but with his current band Carbon/Silicon favours
a much lighter, black 1972 Fender Thinline Telecaster guitar with its original Fender Wide Range humbucker
pickups. They are both played through a Fender Blues DeVille valve amplifier. Additional overdrive is provided by
an Ibanez Tube Screamer TS-9 overdrive pedal.

Further reading
• Clash, The (1 October 2008). The Clash: Strummer, Jones, Simonon, Headon. London: Atlantic Books.
ISBN 1843547880. OCLC 236120343.
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.

External links
• Carbon/Silicon Official Website [18]
• Carbon/Silicon Official MySpace [19]
• The Clash website [20]
• Revolution Rock [21]

References
[1] "Mick Jones (I) - Biography" (http:/ / www. imdb. com/ name/ nm0428851/ bio). Internet Movie Database. . Retrieved 17 December 2007.
"Sid Vicious gained the enmity of The Clash's Mick Jones due to his habit of wearing a Nazi Swastika t-shirt. Jones, who is Jewish, and the
rest of The Clash vowed they would never appear on stage with the Sex Pistols."
[2] Newsnight, BBC2, 14 April 2010
[3] Letts Don; Rick Elgood, Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, The Clash. (2001). The Clash: Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 3:50–4:50.
ISBN 0738900826. OCLC 49798077.
[4] "Stay Free: Mick Jones Looks Back at The Clash" (http:/ / www. gibson. com/ en-us/ Lifestyle/ Features/ From the Archives_ Stay Free_/ ).
Gibson Backstage Pass Holiday Double Issue 2006. Gibson.com. 12 2006. Archived from the original (http:/ / www. gibson. com/ backstage/
200612/ theclash. htm) on 10 September 2007. . Retrieved 17 December 2007. "But even before the Dolls, I used to follow bands around. I
followed Mott the Hoople up and down the country. I’d go to Liverpool or Newcastle or somewhere—sleep on the Town Hall steps, and bunk
the fares on the trains, hide in the toilet when the ticket inspector came around. I’d jump off just before the train got to the station and climb
over the fence. It was great times, and I always knew I wanted to be in a band and play guitar. That was it for me."
[5] Renshaw, Jerry (22 May 2000). "From Here to Eternity – The Story of the Clash". The Austin Chronicle (Austin, Texas: Austin Chronicle).
OCLC 32732454. "When Mick Jones finally began attracting attention for his guitar playing, he was in a glam rock outfit, the Delinquents,
complete with long hair, feather boas, and poncey trappings; in time he would meet up with Tony James (later of Generation X and Sigue
Sigue Sputnik) to form the London SS. With a revolving-door cast of players including future members of the Damned, Chelsea, and PiL,
London SS took the first stack-heeled, shambling steps toward punk, naming among their influences the Stooges, MC5, and New York Dolls,
and in the process acquiring future Clash manager Bernie Rhodes. By 1976, London SS had fallen apart, and Jones found himself in a new
Mick Jones 63

band with guitarist Keith Levene and art-school dropout Paul Simonon. Simonon had spent much of his time hanging out with his West Indian
pals and immersing himself in reggae, ska, and skinhead fashions, elements that would later be part and parcel of the Clash. Meanwhile, in
another part of London, 24-year-old John Mellor was bashing away in pub-rock outfit the 101ers. The band caught the interest of Simonon and
Jones, still in search of a frontman to round out their lineup.".
Related news articles:
• "Music: From Here to Eternity (Austin Chronicle . 05-22-00)" (http:/ / weeklywire. com/ ww/ 05-22-00/ austin_music_feature. html).
weekly WIRE.com. . Retrieved 17 December 2007.
[6] In a television interview, Joe Strummer of The Clash said, after drawing the camera to Bernard sleeping against a wall, "He invented punk...it
was obviously too much for him", referring ironically to a statement of Rhodes himself. The scene and the statement are featured in the
documentary Joe Strummer: The Future Is Unwritten.
[7] "The Clash" (http:/ / www. rockhall. com/ inductee/ the-clash). Induction. The Rock and Roll Hall of Fame and Museum. 10 March 2003. .
Retrieved 19 November 2007.
[8] Robbins, Ira Robbins; Jem Aswad, Michael Azerrad. "TrouserPress.com :: Big Audio Dynamite" (http:/ / www. trouserpress. com/ entry.
php?a=big_audio_dynamite) (PHP). TrouserPress.com. . Retrieved 17 December 2007. "The disappointing Tighten Up Vol. 88 reaches no
such peaks and now sounds like a fairly brazen attempt to get hip commercial airplay. The fault is seldom with Jones' songwriting but more
with the slick sheen laid over the leaner, less aggressive beats. The LP yielded "Just Play Music" and "Other 99," but a pall was thrown on the
release as Jones fell deathly ill shortly after its appearance; having contracted pneumonia, he was hospitalized for months."
[9] "Punk Legends Form Rock Band Carbon/Silicon" (http:/ / www. npr. org/ templates/ story/ story. php?storyId=18484452). National Public
Radio: Music. . Retrieved 29 January 2008.
[10] Allmusic.com (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:dzfoxqy5ldfe)
[11] ChartAttack.com Staff (2 March 2007). "Doherty And Moss' Naughtiness Overshadows Arctic Monkeys At NME Awards" (http:/ / www.
chartattack. com/ news/ 43096/ doherty-and-moss-naughtiness-overshadows-arctic-monkeys-at-nme-awards) (CFM). News. Chart
Communications. . Retrieved 2009-04-27. "Jones joined Primal Scream to close the show with a cover of The Clash's "(White Man) In
Hammersmith Palais," which was performed in honour of the storied venue's imminent closing. Primal Scream also played "Movin' On Up",
"Country Girl", "Rocks" and "Swastika Eyes"."
[12] "Mick Jones & Richard Archer." The Independent on Sunday (London, England) (9 March 2008)
[13] A Scan of "Mick Jones & Richard Archer" from The Independent on Sunday (London, England) (9 March 2008) (http:/ / farm3. static.
flickr. com/ 2402/ 2383432638_5e7ccb7434. jpg?v=0)
[14] Hard-Fi's Richard Archer Set For Clash Link-Up (http:/ / www. dailyrecord. co. uk/ entertainment/ music/ music-news/ 2008/ 03/ 01/
hard-fi-s-richard-archer-set-for-clash-link-up-86908-20336064/ )
[15] London's Burning! (http:/ / londonsburning. org/ art_down_beat_12_82. html)
[16] Yahoo! GeoCities (http:/ / www. oocities. com/ thewhiteriot/ MickInterview. html)
[17] Website Toolbox (http:/ / www. websitetoolbox. com/ tool/ post/ strummernews/ vpost?id=2044598)
Paul Simonon 64

Paul Simonon
Not to be confused with Paul Simon

Paul Simonon

Paul Simonon at the Eurockéennes 2007 with The Good, the Bad and the Queen

Background information

Birth name Paul Gustave Simonon

Born 15 December 1955

Brixton, London, England

Genres Punk rock

Reggae
Alternative rock

Occupations Bass guitarist, visual artist, vocalist, songwriter

Instruments bass guitar, guitar, vocals

Years active 1976 - 1993, 2006 - present

Labels CBS Records

Capitol Records
Parlophone

Associated acts The Clash

Havana 3am
The Good, the Bad and the Queen
Gorillaz

Notable instruments

Rickenbacker bass
Fender Precision Bass

Paul Gustave Simonon (born 15 December 1955) is an English musician and artist best known as the bass guitarist
for punk rock band The Clash. His most recent work is his involvement in the album The Good, the Bad & the
Queen with Damon Albarn, Simon Tong and Tony Allen, released in January 2007.

Biography
Simonon was born in Brixton, London, England. His father, Gustave, was a clerk in the civil service and his mother,
Elaine, was a librarian. He grew up in the South London area of Brixton, spending around a year in Siena, Italy with
his mother and stepfather. Before joining The Clash, he had planned to become an artist and attended the Byam
Shaw School of Art, then based in Campden St, Kensington (now part of Central Saint Martins College of Art and
Design) relocated in Archway, London.[1]
Paul Simonon 65

He was asked to join The Clash in 1976 by lead guitarist Mick Jones, who planned to teach Simonon guitar.
However, the instrument proved too difficult for Simonon, so Jones decided to teach him bass instead.[1] In fact,
Simonon would learn his bass parts by rote from Jones in the early days of The Clash and still did not know how to
play the bass when the group first recorded. He is credited with coming up with the name of the band and was
mainly responsible for the visual aspects such as clothing & stage backdrops.[2] He was also immortalized on the
front cover of the band's double album London Calling; Pennie Smith's image of him smashing his bass has become
one of the iconic pictures of the punk era.[1] [3] [4] [5] [6]
Paul Simonon wrote three of the Clash's songs: "The Guns of Brixton" on London Calling, "The Crooked Beat" on
Sandinista!, and the B-side "Long Time Jerk". He sang "Red Angel Dragnet" from Combat Rock but this song was
written by Joe Strummer.
Simonon played bass on almost all of the Clash's songs. Recordings that he did not play on include: "The
Magnificent Seven" and "Lightning Strikes (Not Once but Twice)" on Sandinista! (played by Norman Watt-Roy),
"Rock the Casbah" on Combat Rock (played by Topper Headon), and 10 of the 12 tracks on Cut the Crap (played by
Norman Watt-Roy). Many of the tracks on Combat Rock are thought to have bass tracks laid down by Mick Jones or
engineer Eddie Garcia and early recordings on Sandinista! featured bass played by Jones or Strummer, some but
possibly not all of which Simonon later re-recorded once he rejoined the sessions after filming Ladies and
Gentlemen, The Fabulous Stains.[3] [7]
Simonon's contrapuntal reggae-influenced lines set him apart from the bulk of other punk rock bassists of the era in
terms of complexity and the role of the bass guitar within the band.[8] He usually played with a pick as opposed to
plucking the strings with his fingers.
After the Clash dissolved in 1986, Simonon started a band called
Havana 3am. They recorded one album in Japan before breaking
up. He also participated in a Bob Dylan session along with the Sex
Pistols' Steve Jones that became part of the Dylan album Down in
the Groove. Presently, Simonon works as an artist - his first
passion before joining the Clash. He has had several gallery
shows, and designed the cover for Big Audio Dynamite's album,
Tighten Up, Vol. 88, as well as the cover for "Herculean" from the
album The Good, the Bad and the Queen, a project with Damon
Simonon promoting the band, Havana 3am, in Tokyo, Albarn on which Simonon plays bass. In 2008, after a seven year
Japan gap, Simonon began exhibiting paintings again with an exhibition
at Thomas Williams Fine Art, London.[9] One of his paintings was
bought by British singer Lily Allen for £23,500, according to the Telegraph newspaper.[10] Paul reunited with
Damon Albarn and Mick Jones on the new Gorillaz album Plastic Beach, and is also the bassist of the Gorillaz live
band supporting Plastic Beach, along with Mick Jones on guitar. The band headlined the 2010 Coachella Festival,
and took up residence at the Camden roundhouse for two nights in late april 2010.
Paul Simonon 66

Equipment
Paul is known for using white Fender Precision basses and Ampeg amplification.
He has also used Sunn amps. He is also known for decorating his own basses
with paint and stickers, and his basses often had a text on the upper horn of the
body.
Paul Simonon Bass Story 1976 - 2008
He started off playing through a small unknown head-amplifier and a pink 4x10
cab, but in 1978 he began using Ampeg cabinets and Ampeg amps and has since
used Ampegs. His first bass was a 1. "cheap knock-off", as he called it himself,
that he used through 1976 and early 1977, which he splattered in paint. In 1977,
during the recording of The Clash, he received a black 2. Rickenbacker from
Patti Smith, which he also decorated in paint, but he didn't quite like the sound of
it, as it sounded too thin, and he also thought it wassa too light-weighted (he's
Paul Simonon stated that he prefers heavy basses, as they seem more resonant and robust). Then
he got hold of a white 3. Fender Precision Bass in 1978, and after that he has
only played white Fenders live.

This one was probably just a cheap bass, that he gave up (there's a possibility that he broke this bass during a concert
in Paris, it's been stated that this concert ended in Paul throwing off his bass in frustration because of the sound, and
that might have broken the bass). Later he received a better Fender from CBS which he used many for years. CBS
used to give him a new bass every now and then. It was another 4. P-Bass, and this one is known for having "Paul"
scratched into the body. The pickups were black on all of his Fenders but he changed the ones on this bass into
white.

He used it mainly through 1978 and used it as a backup in 1979. He played a 5. Wal JG Custom Bass during the
recording session for Give 'Em Enough Rope in 1978, because the producer Sandy Pearlman suggested it, but Paul
disliked it, because it had too many switches.
In 1979 he got a new 6. Fender, which was the one he smashed on the cover of London Calling. He strongly
regretted that move, because it was his best sounding bass (it now resides in the Rock 'N' Roll Hall Of Fame). And
after it was smashed, it was back to the old 4. Fender, which he used until he got a new 7. bass in 1980 (there is a
small possibility that this is the same bass as Bass 9, before it eventually got modified). Note: All of his Fenders up
to then had maple necks.
But in 1981, he got a 8. Fender Fretless Precision with a rosewood fingerboard. He played it through 1981, but he
got back to fretted Fenders in 1982. He then got hold of a 9. Fender Precision with a black headstock, rosewood
fingerboard, and white pickups. He then also changed the neck on his 4 PAUL-bass to a neck with black headstock
and rosewood fretboard.
Bass 8 and 9 was mostly used as backup basses, and they still are his backup basses, and Bass 4 still are his main
bass, heavily worn and beaten up. (it can be seen on the picture of him on the top of the page.) He had a 10. sunburst
Precision in the last years of The Clash, but that one was only used as a backup and by Joe Strummer during the song
"The Guns of Brixton".
He had a sunburst 11. Epiphone Rivoli, which can be seen in the videos for "The Call Up" and "London Calling", but
he was also seen with it in the earliest days of The Clash. It had probably belonged to Joe Strummer or Mick Jones
or someone in their former bands, The 101ers (Strummer) or London SS (Mick Jones). He used an 12. Ovation
acoustic bass during the recording of The Good, the Bad and the Queen.
List Of Bass Numbers
Paul Simonon 67

• 1. Cheap Brand Bass: Black w. paint-mess, (also had "POSITIVE" on its upper horn for a short while), Rosewood
fretboard (used during the early days and during the recording of "The Clash")
• 2. Rickenbacker Bass: Black w. paint-mess and "POSITIVE" on upper horn, Rosewood fretboard (used during the
recording of "The Clash" and for touring in support of "The Clash" album)
• 3. Fender Precision Bass: White w. paint-mess and "POSITIVE" on upper horn, Black pickguard, Maple neck
(rarely seen, but used on the first concerts in 1978 and BBC TV Something Else Live 1978)
• 4. Fender Precision Bass: White w. "PAUL" carved on body (which was once covered up by stickers, which are
now removed), Black pickguard (formerly with paint-mess), Rosewood fretboard (formerly maple neck) (used all
the way from touring in support of the "Give'Em Enough Rope" album, both as main bass and backup bass, both
live and recording, still used as main bass)
• 5. Wal JG Custom Bass (Serial No. JG1126): Cherry Red, Black pickguard, Rosewood fretboard (used for
recording the "Give'Em Enough Rope" album). Now owned by Leigh Gorman of Bow Wow Wow.
• 6. Fender Precision Bass: White w. "PRESSURE" on upper horn, Black pickguard w. paint-mess, Maple neck
(used for both recording and touring in support of the "London Calling" album. Smashed on the cover for
"London Calling")
• 7. Fender Precision Bass: White, Black pickguard, Maple neck (used as both backup and main bass during tours
between "London Calling" and "Sandinista")
• 8. Fender Fretless Precision Bass: White, Black pickguard, Rosewood fretboard (used as main bass for both
recording and touring in support of the "Sandinista" album, "Combat Rock" album and "Cut The Crap" album,
still used as backup)
• 9. Fender Precision Bass: White, Black pickguard, Rosewood fretboard (used as both main and backup bass for
touring in support of the "Sandinista" album, "Combat Rock" album, and "Cut The Crap" album, still used as
backup)
• 10. Fender Precision Bass: Sunburst, Tortoise pickguard, Rosewood fretboard (used as backup during the "Cut
The Crap" album and tour)
• 11. Epiphone Rivoli bass: Sunburst w. Black duct tape, Rosewood fretboard (used during the early days and the
recording of "London Calling" and "Sandinista")
• 12. Ovation Acoustic Bass: White, Ebony fretboard (used for recording "The Good, The Bad and The Queen"
album)
• Ampeg Bass Amps: Ampeg Classic Series SVT-CL Head and Classic Cabinet.

Discography
see also The Clash discography
The Clash
• The Clash, 1977, CBS Records
• Give 'Em Enough Rope, 1978, CBS Records
• London Calling, 1979, CBS Records
• Sandinista!, 1980, CBS Records
• Combat Rock, 1982, CBS Records
• Cut the Crap, 1985, CBS Records
Havana 3am
• Havana 3am, 1991, Capitol Records
The Good, the Bad and the Queen
• The Good, the Bad and the Queen, 2007, EMI
Gorillaz
Paul Simonon 68

• Plastic Beach, 2010, EMI

Simonon reunites with Clash guitarist Mick Jones on the album's title track.

Further reading
• Clash, The (1 October 2008). The Clash: Strummer, Jones, Simonon, Headon. London: Atlantic Books.
ISBN 1843547880. OCLC 236120343.
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

External links
• The Clash website [20]
• Interview with Bass Player magazine [11]
• From Punk to Paint (BBC Interview) [12]
• Paul Simonon's gallery [13] at BBC [14]
• Gallery [15] at Msc.org [16]
• Gallery [17] at Art-Tube.com [18]
• Interview with 3:AM Magazine [19]
• Interview with Bassist Magazine [20]
• Paul Simonon [21]

References
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 3:50–4:50; 19:30–55:00.
ISBN 0738900826. OCLC 49798077.
[2] MTV Rockumentary. Interviewer: Unknown; Presenter: Kurt Loder. MTV, London, England. Transcript (http:/ / www. londonsburning. org/
art_mtv_rockumentary_1. html).
Related news articles:
• . londonsburning.org. . Retrieved 6 December 2007. "Mick Jones: One of the names that we had before we had the Clash was the Weak
Heartdrops from the Big Youth song. Another I think was the Psychotic Negatives, but now neither of those worked.
Paul Simonon: It really came to my head when I start reading the newspapers and a word that kept recurring was the word "clash", so I
thought "the Clash, what about that," to the others. And they and Bernard they went for it."
[3] Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum Press. ISBN 1845131134.
OCLC 61177239.
[4] Topping 2004, p.12.
[5] Green 2003, pp.195–196.
[6] Sweeting, Adam. "Death or Glory". Uncut. October 2004. p.70.
[7] Deeth, John. "Turning Rebellion Into Money: The Story of the Clash" (http:/ / jdeeth. home. mchsi. com/ clash. htm).
jdeeth.home.mchsi.com. . Retrieved 18 February 2008.
Paul Simonon 69

[8] Prato, Greg. Paul Simonon Biography (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:qmk9kettjq7n~T1). allmusic.com.
Retrieved on 24 February 2008.
[9] "Paul Simonon" (http:/ / www. thomaswilliamsfineart. com/ exhibitions/ future/ simonon/ paintings/ simonon_1. html). Thomas Williams
Fine Art Ltd. . Retrieved 24 February 2008.
[10] Lily Allen seeking solace in retail therapy Telegraph 17 April 2008 (http:/ / www. telegraph. co. uk/ news/ main. jhtml?xml=/ news/ 2008/
04/ 17/ dp1703. xml)
Topper Headon 70

Topper Headon
Nicky "Topper" Headon

Background information

Birth name Nicholas Bowen Headon

Also known as Topper

Born 30 May 1955

Bromley, Kent, England

Origin London, England

Genres Jazz, soul, r&b, rock, punk rock, reggae, rock and roll, various genres

Occupations Drummer, percussionist, songwriter

Instruments Drums and percussion; bass guitar and piano occasionally

Years active 1976 – present

Labels CBS Records (1977–1982), Mercury

Associated acts The Clash, Bobby Tench, Jimmy Helms, Mick Gallagher

Nicholas Bowen "Topper" Headon (born 30 May 1955, Bromley, Kent, England), known as 'Topper' due to his
resemblance to Mickey the Monkey from the Topper comic, is a British rock and roll drummer, best known for his
membership in the punk rock band The Clash. He is commonly recognized as the most inspirational and technically
inventive punk rock drummer of the late 1970s and early 1980s. Writng for Allmusic Greg Pato stated that record
producer Sandy Pearlman dubbed Headon as "The Human Drum Machine", due to his impeccable timing and
drumming skills."[1]

Early life
Topper Headon started playing drums at an early age. He was a jazz fan, citing Billy Cobham as a strong influence.
In 1973, Headon joined cult 70s progressive rock outfit Mirkwood, playing with them for a year and a half and they
supported major acts such as Supertramp. He later played with a group that opened for American R&B legends The
Temptations,[1] and admits to falsely claiming that he played with The Temptations.[2]

The Clash
Originally Headon joined The Clash with the intention of establishing a reputation as a drummer, before moving
onto other projects, [1] but he soon realized their full potential and remained with them for four years. Headon
appeared on the albums Give 'Em Enough Rope (1978), The Clash (1979 US version ), London Calling (1979),
Sandinista! (1980) and Combat Rock (1982), as well as several landmark singles the Clash recorded during their
Topper Headon 71

early period. Also of note are his lead vocal on "Ivan Meets G.I Joe" from Sandinista and his work on the hit single
"Rock the Casbah" from Combat Rock, on which Headon composed most of the music and played drums, piano and
bass guitar. He also appeared on Super Black Market Clash (1993), which included B-sides from the band's single
releases.
Clash singer/guitarist Joe Strummer is quoted as saying that Headon's drumming skills were a vital part of the
band.[2] Tensions rose between Headon and his fellow band members due to his addiction.[1] and he left the band on
10 May 1982, at the beginning of the Combat Rock tour. The band covered up the real reason for Headon's departure,
the apparent growing use of heroin, claiming Headon's exit was due to exhaustion.
In a later interview for the rockumentary Westway to the World, he apologised about his addiction and speculated
that had he not been asked to leave The Clash the band might have lasted longer and might possibly still be
together.[2] He also lamented the fact that the best known Clash line-up had been considering a reunion at the time of
Strummer's death, after the positive reunion during the Westway to the World rockumentary.[2]

After The Clash

After leaving the Clash, he was considered as drummer in Mick Jones' post-Clash band Big Audio Dynamite [1]
Headon subsequently focused on recording a solo album Waking Up (1986). He also released a cover version of the
Gene Krupa instrumental "Drumming Man" as a single, which featured Headon's "DuKane Road" on the B-side. His
own composition "Hope for Donna" was included on the Mercury Records sampler Beat Runs Wild, in the same year
.[3] . During the 1980s headon produced albums for New York band Bush Tetras and contributed drums to Chelsea's
Underwraps (1989), before becoming involved with a court case over his peronal drug habits.
He still makes occasional public appearances and it was after one of his shows that he was informed of the death of
Clash frontman Joe Strummer. An emotional Headon stated:

“ It's taken Joe's death to make me realise just how big The Clash were. "We were a political band and Joe was the one who wrote the lyrics.
Joe was one of the truest guys you could ever meet. If he said 'I am behind you', then you knew he meant it 100 per cent".
[4]
”
Headon was extensively interviewed for the Joe Strummer: The Future Is Unwritten documentary film about the late
Clash frontman. He related his experiences during this period, how he became addicted to heroin and how there were
problems before his dismissal. For example, Joe once slept with his girlfriend, which caused a lot of pain to Nick,
and Mick Jones didn't want any bus-travelling without pot. Topper also said that seeing the video of "Rock the
Casbah" with "someone else (Terry Chimes) in my place playing my song" caused him to fall in even greater
depression and heavier drug addiction. It appears that his addiction was only part of the growing tension in the band
that led to Mick Jones' dismissal a year later and the eventual break-up of the band in 1986.
On 11 January 2008, Carbon/Silicon, a new band with the lineup of Mick Jones, Tony James, Leo Williams and
Dominic Greensmith, played a show at the Carbon Casino Club in Portabello London. Headon joined the band on
stage during The Clash's "Train in Vain (Stand by Me)". An encore followed with Headon playing drums on "Should
I Stay or Should I Go". This performance marked the first time since 1982 that Headon and Jones had performed
together on stage.[5] [6] [7]
In a February 2008 newspaper article Headon revealed that in 2003 he started to experience serious back pain, a
frequent complaint of aging rock drummers. Diagnosed with hyperkyphosis, a forward curvature of the back, he
underwent intense posture adjustment treatment and continues to exercise daily. He notes that, on his recent
appearance with Jones, he exhibited his new upright stance.
The BBC featured Headon in a February 2009 feature on drumming as therapy. He shares some of his story in a brief
video interview.[8]
He currently lives in the Dover area of Kent, in the southeast of England.[9]
Topper Headon 72

Drumming style
As a drummer, Headon often employed a distinctive style which emphasized a simple bass-snare up-down beat,
accentuated with closed hi-hat flourishes. Such a method can be found in the songs "Clampdown", "Train in Vain",
and "Lost in the Supermarket". His drumming on "Train in Vain" has been characterized as one of the most
important and distinctive beats in rock music.[10] Writes Scott Kenemore, "[h]s contribution to the music was
tremendous, and his drumming remains an undiscovered treasure for too many."[10]

Discography
For recordings made with the Clash, please see The Clash discography.
Topper Headon has released one studio album, one EP, and three singles as a solo artist and featured on several other
artists albums.[11]

Studio albums

Year Title Record Label Notes

1986 Waking Up Mercury 826 [12]

with guitarist Bobby Tench
779-1

1986 Beat Runs Wild Mercury Mercury Records sampler. Topper Headon features on track B5. "Hope for Donna"

EPs

Year Title Label Notes

1985 Leave It To Luck / East Versus West / Got To Get Out of This Heat S.O.S / Mercury with guitarist Bobby
Casablanca Tench

Singles

Year Title Album Record Label Notes

1985 "Drumming Man / Hope For Donna" Mercury 12"

1985 "Drumming Man / Ducaine Road (12" Mix) Mercury 12"

1986 "Leave It To Luck / Casablanca" Waking

Up

1986 "Leave It To Luck" Waking Mercury

Up

1986 "I'll Give You Everything / You're So Cheeky" Waking Mercury 7"
Up

1986 "I'll Give You Everything (Full version) / When You're Down Waking Mercury 12"
Got To Get Out of This Heat (Extd Mix)(CAN)" Up

1986 "I'll Give You Everything (7" mix) / I'll Give You Everything (Dub Waking Mercury 12"
Ruj) Up
[13]
I'll Give You Everything (Douce Ruj) / You're So Cheeky"
Topper Headon 73

References
• Clash, The (1 October 2008). The Clash: Strummer, Jones, Simonon, Headon. London: Atlantic Books.
ISBN 1843547880. OCLC 236120343.
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

References
[1] Prato, Greg. "Topper Headon > Biography" (http:/ / allmusic. com/ cg/ amg. dll?p=amg& sql=11:hnfuxqr5ld0e~T1). allmusic.com. .
Retrieved 12 December 2007. "a) Sandy Pearlman dubbed Headon "The Human Drum Machine," due to his impeccable timing and skills.
b) Headon grew up a soul and jazz fan (an early influence was ace fusion drummer Billy Cobham), and he was once a member of a local
group that opened a show for the Temptations.
c) Headon's original plan was to stay with the Clash for only a year — which he figured would give enough time to get his name known so he
could move on to another more "suitable" group. Headon quickly realized that the group was not just a one-dimensional punk band, as they
branched out and touched upon a wide variety of styles — all the while never losing sight of their original punk ideals.
d) a heroin addiction had drawn a wedge between Headon and the rest of his bandmates.
e) After a planned reunion with Jones (who was expelled from the Clash himself a year after Headon's dismissal) in the group Big Audio
Dynamite failed to work out, Headon focused on recording a solo album."
[2] Letts Don; Rick Elgood, Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, The Clash. (2001). The Clash: Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 37:00–39:00.
ISBN 0738900826. OCLC 49798077.
[3] Cooke, Brandon; Pete Shelley, Tom Verlaine, Topper Headon, Hipsway, Curiosity Killed the Cat, Wet Wet Wet, Love and Money, Swing
Out Sister, Zerra One. (1986). Beat Runs Wild. [LP recording]. London: Mercury. OCLC 51782857.
[4] "Celebrity Tributes to Joe Strummer" (http:/ / www. strummernews. com/ celebrities. html). strummernews.com. . Retrieved 12 December
2007. "It's taken Joe's death to make me realise just how big The Clash were. We were a political band and Joe was the one who wrote the
lyrics. Joe was one of the truest guys you could ever meet. If he said 'I am behind you', then you knew he meant it 100 percent."
[5] Harper, Simon (12 January 2008). "The Carbon Casino – The Clash reunited! Pair jam after 25 years" (http:/ / www. clashmusic. com/
live-review/ carbon-casino). Clash Music. . Retrieved 15 January 2008. "For the first night of their six-week residency in West London's Inn
On The Green, Carbon/Silicon had promised surprises, but few had realised that meant the reunion of Mick Jones and the powerhouse
drummer of The Clash, Topper Headon."
[6] "Clash members Topper Headon and Mick Jones reunite on stage" (http:/ / www. punknews. org/ article/ 27279). Punknews.org. 13 January
2008. . Retrieved 15 January 2008. "For the first time in 25 years, former Clash members Mick Jones and Topper Headon have shared the
stage together. The reunion took place at Carbon/Silicon's "Carbon Casino" residency, and comes five years after Mick joined Joe Strummer
on stage at the Brixton Academy."
[7] "The Clash's Mick Jones and Topper Headon reunite after 25 years" (http:/ / www. nme. com/ news/ clash/ 33615). News. NME.com. 14
January 2008. . Retrieved 15 January 2008. "Clash drummer joins Carbon/Silicon at London show"
[8] "Can our natural rhythm heal us?" (http:/ / news. bbc. co. uk/ 1/ hi/ health/ 7872043. stm). BBC. 10 February 2000. . Retrieved 7 June 2010.
[9] Headon, Nicky (9 February 2008). "Backache calling ... Nick Headon reveals the treatment that helped his back pain" (http:/ / www.
dailymail. co. uk/ pages/ live/ articles/ health/ healthmain. html?in_article_id=513174& in_page_id=1774& ito=1490). Health (Daily Mail). .
Retrieved 10 February 2008.
[10] Kenemore, Scott (21 March 2007). "All Talk and No Stick" (http:/ / www. popmatters. com/ pm/ features/ article/ 9466/
all-talk-and-no-stick/ ). PopMatters. . Retrieved 12 December 2007. "a) Rock fans everywhere recognize his opening beat to the Mick Jones
song “Train in Vain.” A typical example of Topper’s excellent work, the beat is both catchy and deceptively complicated.
b) Despite his personal failings, his contribution to the music was tremendous, and his drumming remains an undiscovered treasure for too
many."
Topper Headon 74

[11] "Albums by Topper Headon - Rate Your Music" (http:/ / rateyourmusic. com/ artist/ topper_headon). rateyourmusic.com. . Retrieved 12
December 2007.
[12] "Bob Tench at Allmusic" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:azfrxq9gldte~T4). allmusic.com. . Retrieved
2008-12-14.
[13] Headon, Topper. (1986). I'll Give You Everything. [LP recording]. England: Mercury. OCLC 29290615.

Keith Levene
Keith Levene
Birth name Julian Keith Levene

Born 18 July 1957

London, England

Genres Avant-Garde rock, Punk rock, Post punk

Occupations Musician

Instruments Guitar, Bass guitar, Drums, Synthesizer, Piano, Cello, Stroh violin, Saxophone

Years active 1974–present

Labels CBS Records

Associated acts The Clash, The Flowers of Romance, Public Image Ltd

Website [1]
www.murderglobal.com

Notable instruments

Veleno
Travis Bean Wedge
Parker Fly

Keith Levene (born Julian Keith Levene, 18 July 1957 in London) is an English guitarist and songwriter, best
known as a member of Public Image Limited.

Biography
Keith Levene was an early member of The Clash and The Flowers of Romance (most notable for also featuring a
pre-Sex Pistols Sid Vicious). Although he never recorded with The Clash, he co-wrote "What's My Name", featured
on their first album. Levene has often claimed that he co-wrote several songs on The Clash's first album.
After the Sex Pistols disintegrated, Levene co-founded Public Image Ltd (PiL) with John Lydon. His guitar work
was much imitated by several punk rockers and others, including The Edge of U2. On later PiL recordings, Levene
would often forgo his guitar for synthesizer. He left PiL acrimoniously in 1983 around the time the band released
This Is What You Want... This Is What You Get. He released the original versions of the songs on his own label under
the title Commercial Zone.
He has released several solo records, most recently the Killer in the Crowd EP in 2004.
Keith Levene 75

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

External links
• Murder Global [2] - Keith Levene's website
• Interview with 3:AM Magazine [3]
• Fodderstompf [4] - fan-based Public Image Ltd. website
• Keith Levene biography [5]
• Keith Levene discography [6]
• DynamiteVision [7] - Label website
Terry Chimes 76

Terry Chimes
Terry Chimes
Born 5 July 1956
Stepney, London, England

Origin Stepney, London, England

Genres Punk rock, Heavy metal, Glam punk, Rock and roll

Occupations Musician, Drummer, Chiropractor

Instruments Drums, percussion

Years active 1976 – present

Associated The Clash, Johnny Thunders and the Heartbreakers, Cowboys International, Generation X, Hanoi Rocks, The
acts Cherry Bombz, Black Sabbath

Terry Chimes (born 5 July 1956, Stepney, London[1] ) was the original drummer of punk rock group The Clash. He
originally played with them from July 1976 to November 1976, January 1977 to April 1977, and again from May
1982 to February 1983. He was the drummer for Hanoi Rocks in 1985, before the band broke-up that same year. He
briefly toured with Black Sabbath from November 1987 to December 1987, and again in May 1988.
Since 1994, he has practised as a chiropractor in Essex at his clinic; Chimes Chiropractic. He also runs chiropractic
seminars, with the accompanying website 'chiropractic heaven'.

The Clash
Terry Chimes was a member of the proto-punk band London SS, which also featured Mick Jones and Paul Simonon
who, with Chimes, would team up with Joe Strummer and Keith Levene to form The Clash.
Both Chimes and Levene subsequently left, but Chimes was brought back to record the band's self-titled debut
album, The Clash. On the album sleeve he was credited as Tory Crimes. After recording the album Chimes left the
band once again and was replaced by Topper Headon.
In 1982, Headon was forced out of the band and Chimes was asked to rejoin for a U.S. tour supporting The Who and
the following UK tour. He also was in the music video for the single, "Rock the Casbah".

Other bands
After leaving The Clash, Chimes drummed in bands including Johnny Thunders and the Heartbreakers briefly in
1977 and 1984, Cowboys International in 1979, Generation X from 1980 to 1981, Hanoi Rocks in 1985, The Cherry
Bombz in 1986 (with ex Hanoi Rocks members Andy McCoy and Nasty Suicide and ex Sham 69/Wanderers/The
Lords of the New Church Dave Tregunna) and Black Sabbath on their Eternal Idol Tour in 1987-88.

Later years
In 2003, he was inducted into in the Rock and Roll Hall of Fame as a member of The Clash. He served as the band's
spokesman on stage at the induction ceremony, giving an acceptance speech where he praised Topper Headon's
work. According to Clash tour manager Johnny Green, Chimes' award "mysteriously broke" on the band's flight back
to the United Kingdom. However, he was not included as an inducted member when Black Sabbath was enshrined in
2006.
A May 2008 profile in the Daily Mail newspaper detailed how Chimes, a teetotal vegetarian, having been cured of
serious arm pain on his first show in 1985 with Black Sabbath by the band's personal chiropractor, eventually turned
Terry Chimes 77

to that occupation himself.[2]

He was nominated as a Scouting In London Ambassador for the Scout Association Region for Greater London at an
Adult Appreciation ceremony in 2008.[3]

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.
• Should I stay or should I go now? [4] (BBC News Magazine, Fri 20 Oct 2006)
• Black Sabbath Online: Terry Chimes [5]

External links
• terrychimes.com [6]
• chiropracticheaven.com [7]

References
[1] Du Noyer, Paul (1997-09-18). The Clash. Modern Icons. London: Virgin. pp. 93. ISBN 1852277157. OCLC 58830766.
[2] "From the Clash to a chiropractor ... Top complementary therapist tells why he changed his tune" (http:/ / www. dailymail. co. uk/ pages/ live/
articles/ health/ healthmain. html?in_article_id=565431). Daily Mail. 2008-05-10. . Retrieved 2008-05-11.
[3] Scouting In London Ambassador (http:/ / www. scoutinginlondon. org. uk/ Pages/ ambasadors. html)
Rob Harper 78

Rob Harper
Rob Harper
Background information

Origin London, England

Genres rock, punk rock, reggae, rock and roll

Occupations Musician

Instruments Guitar, bass guitar, drums

Years active 1976 – present

Associated acts The Cafe Racers, The Rockettes, The Clash, The
Dazzlers

Rob Harper is a British musician noted for being an early drummer for The Clash from December 1976-January
1977.

Biography
Rob Harper started out playing guitar in a college band and when the singer invited a guitarist called Mark Knopfler
to join, Rob switched to the bass so Mark could join on guitar. It was Mark Knopfler's suggestion to name the band
The Cafe Racers. After College Harper went to Sussex University and at that time he was invited by Mark to play
bass in the band that was to become Dire Straits. Rob declined his offer as he was concentrating on his studies at
University.
During his year at Sussex University (he dropped out in Summer 1976), he played in a band called The Rockettes [1]
(as a lead guitarist) with William Broad (later to become Billy Idol) and Steve Upstone.[2]
In December 1976, Harper joined The Clash on the infamous December 1976 "Anarchy Tour" supporting the Sex
Pistols. The tour is famous for local authorities cancelling many scheduled concerts due to "indecency".
After the tour, Harper quit and the band replaced him with their original drummer, Terry Chimes, who was the
drummer on the Clash's first album. Harper's drumming does not appear on any studio recordings, but can be heard
on a December 9, 1976 bootleg recording of the Clash playing at the Electric Circus in Manchester.
Harper was for a time the guitarist in a South London R&B band called The Marauders, a band set up by UK Subs
singer Charlie Harper. The band also included the original UK Subs bassist Steve Slack who was also a member of
the Dazzlers.
Harper later formed a short-lived UK Power pop band called The Dazzlers as a guitarist (he was equally proficient
on guitar and bass in addition to drums). They released several singles (including Lovely Crash in 1979) and an LP
produced by Tommy Ramone, although the band split up shortly before the LP was released.
Rob Harper 79

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

References
[1] The Rockettes Web Page (http:/ / myckryck. co. uk/ rockettes. htm)
[2] The Official Billy Idol Website (http:/ / www. billyidol. com), billyidol.com. Retrieved on 2008-03-17.
Nick Sheppard 80

Nick Sheppard
Nick Shepperd
Born 1960
Bristol, England

Genres Rhythm and

blues
Rock
Punk rock

Occupations Guitarist

Years active 1976–present

Labels CBS Records

Associated acts The Cortinas

The Viceroys
The Spics
The Clash
Head

Nick Shepperd is a Bristol-born guitarist who is probably best known

for being in the well-known punk band The Clash for a short time.

Biography
Nick Shepperd was educated at Bristol Grammar School, one of
Bristol's leading public schools, and was in the same year as fellow
musician Mark Stewart of The Pop Group. He started at 16 with The
Sheppard (right) with The Clash.
Cortinas, named after a well-known British car, the Ford Cortina. The
band moved from R&B towards covering songs by punk forerunners
like the New York Dolls and The Stooges. "In retrospect, I suppose we were very hip," Sheppard says. "We were
listening to the right records, as we were right there at the right time." The Cortinas' singles, "Fascist Dictator" and
"Defiant Pose" both appeared on Step Forward, the label run by Police manager Miles Copeland. The band split up
in September 1978, after which Sheppard played in a number of bands, including The Viceroys and The Spics, a
Bristol-based Big-band[1] .

Sheppard moved to California, then back to Britain. When The Clash sacked Mick Jones in 1983, Sheppard and
Vince White replaced him, and he toured America and Europe with them in 1984, playing on their final album Cut
the Crap. The album attracted criticism through manager Bernie Rhodes' intrusive production and use of a drum
machine. When "This Is England" reached a number 24 in the UK charts, Sheppard is quoted as saying: "I remember
sitting in a different city watching it, thinking, 'There isn't a band'". The Clash finally split up shortly afterwards.
From 1986 to 1989 he collaborated with Gareth Sager (formerly of The Pop Group and Rip Rig & Panic) in Head,
but their three albums made little impact. Sheppard next worked with Koozie Johns in Shot, which signed with I.R.S.
Records in 1991, with Copeland as manager; however the band's recordings were never released.
Sheppard moved to Perth, Australia in 1993, and has formed/played in two local bands, Heavy Smoker and the New
Egyptian Kings. In July 2002, it was suggested that he would be guest guitarist on a Japanese tour with Johns' new
band, Sinnerstar. The tour was cancelled.
Nick Speppard now plays in Perth band The DomNicks. Comprising Dom Mariani (The Stems) , Howard Shawcross
(The Elks) and Marz Frisina (The Chevelles). This combo play a mix of Dom and Nick originals with a spread of
Nick Sheppard 81

'60s and '70s garage soul material. A new album was to be released in November 2009.

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

External links
• Artist Direct Biography [2]
• Nick playing with The Spics from YouTube [3]

References
[1] The Colourtapes, The Spics and The Review (http:/ / www. sugarshackrecords. co. uk/ scene/ bands7. htm)
Vince White 82

Vince White
Vince White
Background information

Birth name Gregory Stuart Lee White

Born 1960
London, England

Genres Rock, punk

Occupations Musician

Instruments Guitar

Years active 1983 - present

Associated acts The Clash

Website [1]
www.vincewhite.com

Gregory Stuart Lee White (Marylebone, London, 1960), better known as Vince White, was one of the guitarists
recruited by The Clash to replace Mick Jones after he was fired from the band in 1983.[1]

Biography
White graduated in astronomy and physics from University College London in 1981, and in fine art from Middlesex
University in North London.[1]
White, along with Nick Sheppard, was one of the guitarists recruited by The Clash to replace Mick Jones when he
left the band in 1983. He toured with the band, but only made a minimal appearance on the album Cut the Crap. The
band finally split up in 1986.[1]
In 2007, White wrote his account of the final tumultuous years of The Clash, titled Out of Control: The Last Days of
The Clash published by Moving Target books. He is currently an artist living in Notting Hill, West London.[1]

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.
Vince White 83

External links
• Vince White Homepage [1]
• Clash Photo Rockers [3]

References
[1] "VINCE WHITE BIOG" (http:/ / www. vincewhite. com/ biog. html). vincewhite.com. . Retrieved 2008-02-28.
 84

Other personnel

Bernard Rhodes
Bernie Rhodes
Background information

Birth name Bernard Rhodes

Born UK

Occupations Record producer, manager, songwriter

Years active 1975 – present

Associated acts The Clash

Subway Sect
The Specials
JoBoxers

Bernard Rhodes is the former manager of English punk rock band The Clash.[1] [2] [3] [4] He previously worked with
Sex Pistols manager Malcolm McLaren and once, notoriously, claimed to have "invented punk".[5]

Management
Rhodes was responsible for spotting John Lydon (aka Johnny Rotten) in the Kings Road and getting him to audition
as singer for the Sex Pistols in McLaren's shop SEX.
Rhodes was instrumental in the The Clash's formation in 1976, was fired in 1978 but then rehired in 1981 and
managed them until their break-up in 1986.[1] [2] [3] [4]
Rhodes also managed Subway Sect and ska band The Specials in 1979, shortly after these bands formed.

Cut the Crap

According to guitarist Vince White the working title of the 1985 Clash's last studio album was Out of Control, The
title was changed to Cut the Crap by Rhodes shortly before its release without consulting the band. Rhodes also
produced the record, using the alias of Jose Unidos (presumably to suggest Joe Strummer was the producer). He is
credited, together with Joe Strummer, for co-writing all the tracks of that album.[1] [2] [3]

Reputation
The intro to the Specials song "Gangsters," Bernie Rhodes knows don't argue, was a reference to him getting their
guitars and equipment back after they were confiscated by a hotel in Paris (even though the band had done nothing
wrong). Also, the line "Now the king told his boogiemen/You have to let that raga drop" of the Clash's famous
"Rock The Casbah" refers to Rhodes being angry that the track "Sean Flynn" from the Clash's album "Combat Rock"
exceeded eight minutes in length - he reportedly said "Must everything be an Indian raga?". Rhodes is also
mentioned in the Clash's song "All The Young Punks" on the album Give 'Em Enough Rope: "Of course we got a
manager/Though he ain't the mafia/A contract is a contract/When they get 'em out on yer."
Bernard Rhodes 85

Clash Culture incident

On May 2, 2007 Rhodes caused outrage at a London event, "Clash Culture" at Central St Martins College of Art and
Design when he said "If you want to sort out crime in London, sort out the niggers in Peckham"[6]
In the July 2007 issue of Mojo magazine, Rhodes claimed he was taken out of context.

Current activities
According to Rhodes' website he has written a trilogy of books which will be published starting in 2008.

See also
• The Clash
• Cut the Crap
• Joe Strummer: The Future Is Unwritten

Further reading
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Gray, Marcus (1995). Last Gang In Town: The Story and Myth of The Clash. London: Fourth Estate.
ISBN 1857021460. OCLC 34258882.

External links
• Bernard Rhodes's website [7]

References
[1] Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum Press. ISBN 1845131134.
OCLC 61177239.
[2] Topping, Keith (2004) [2003]. The Complete Clash (2nd ed. ed.). Richmond: Reynolds & Hearn. ISBN 1903111706. OCLC 63129186.
[3] Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th rev. ed. ed.). London: Helter Skelter. ISBN 1905139101.
OCLC 60668626.
[4] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. ISBN 0738900826. OCLC 49798077.
[5] In a television interview, Joe Strummer of The Clash said, after drawing the camera to Bernard sleeping against a wall, "He invented punk...it
was obviously too much for him", referring ironically to a statement of Rhodes himself. The scene and the statement are featured in the
documentary Joe Strummer: The Future Is Unwritten.
[6] "UNLIMITED / CMU Daily 04.05.07" (http:/ / www. cmumusicnetwork. co. uk/ daily/ 070504. html). CMU Daily - on the inside. CMU
Music Network. 2007-05-04. . Retrieved 2007-12-04. "Many in the audience, which included ex-Sex Pistol Glen Matlock and former Clash
roadie Sebastian Conran, were seemingly outraged when Rhodes opened his mouth to utter the immortal words: "If you want to sort out crime
in London, sort out the niggers in Peckham"."
Mikey Dread 86

Mikey Dread

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Mikey DreadMikey Dread performing at the 2006 Winnipeg Ska and Reggae Festival.Mikey Dread performing at
the 2006 Winnipeg Ska and Reggae Festival. Background information Birth name Michael George Campbell Born 4
June 1954Port Antonio, Jamaica Died 15 March 2008 (aged 53)Stamford, ConnecticutStamford, Connecticut, United
States Occupations Singer, record producerproducer, and Presenterbroadcaster Years active 1978–2008 Associated
acts The Clash Website mikeydread.comMichael George Campbell (born 4 June 1954 in Port Antonio, Jamaica -
died 15 March 2008 in Connecticut, United States),Lusk, Jon (2008-03-19). "Mikey Dread: Renaissance man of
reggae". Obituaries. The Independent. . Retrieved 2008-03-19. better known as Mikey Dread, was a Jamaican singer,
record producerproducer, and Presenterbroadcaster. He was one of the most influential performers and innovators in
reggae music. His abilities, technical expertise, and unique vocal delivery combined to create a unique sound that
tells the listener emphatically that it is the “Dread at the Controls”. "You’ve Paved The Way To Zion My Idren,
Mikey Dread". FoundationSound.CO.UK. 2008-03-16. . Retrieved 2008-03-20.Biography From an early age,
Campbell showed a natural aptitude for engineering and electronics. In 1976, after he finished college, Campbell
started out as an engineer with the Jamaica Broadcasting Corporation (JBC). "Mikey Dread - forever at the Control"
(ASP). Lifestyle. The Jamaica Observer. 2008-03-17. . Retrieved 2008-03-20. Campbell wasn't impressed that the
JBC's playlists mainly consisted of bland, foreign pop music at a time when some of the most potent reggae was
being recorded in Jamaica. He convinced his JBC bosses to give him his own radio program called Dread At The
Controls, where he played nothing but reggae. Before long, Campbell (now using the DJ name Mikey Dread) had the
most popular program on the JBC. Well-known for its fun and adventurous sonic style, Dread At The Controls
became a hit all over Jamaica. Inevitably, JBC's conservative management and Campbell clashed, and he quit in
protest. By that time, Campbell had earned a solid reputation as a singer and producer and began recording his own
material. Distinctive albums such as Dread at the Controls, Evolutionary Rockers, and World War III all became
favorites amongst reggae fans. His collaboration with producers King Tubby and Carlton Patterson stand out as some
of the best work each party has done. Campbell's music attracted the attention of British punk rockers The Clash,
who invited him over to England to produce some of their music.Don LettsLetts, Don; David Nobakht (2008).
Culture Clash: Dread Meets Punk Rockers (3rd edition ed.). London: SAF. ISBN 0946719993.
OCLC 181422771.Don LettsLetts, Don; Joe Strummer, Mick Jones (The Clash)Mick Jones, Paul Simonon, Topper
Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway to the World. [Documentary]. New
York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 31:45–32:43. ISBN 0738900826.
OCLC 49798077. "The Dread meets the Punk rockers uptown Clash open the Roxy (Jan 1977)" Although initially
suspicious of the strangers, Campbell soon became the best of friends with the band, producing their famous
"Bankrobber" single "The Singles (CD version)". SONY BMG Music Entertainment Store. . Retrieved 2008-03-19.
"The Clash - Super Black Market Clash". Punknews.org. . Retrieved 2008-03-19. and performing on several songs
on their 1980 album Sandinista!.Gilbert, Pat (2005) [2004]. "8-13, Epilogue, Discography, Bibliography". Passion Is
a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum Press. pp. 321, 332, 362, 367, 373–388.
ISBN 1845131134. OCLC 61177239. Campbell also toured with The Clash across UKBritain, Europe, and the US,
gaining many new fans along the way.He studied at the National Broadcasting School in London where he perfected
his media production/radio broadcasting skills, graduating with special commendations in 1980.During the early
Mikey Dread 87

1980s he provided vocals with the reggae collective Singers And Players on Adrian Sherwood's On-U Sound record
label. Dread produced ten dub tracks for UB40 and toured Europe and Scandinavia as their support artist.Some of his
works in the United Kingdom include narrating reggae documentaries, hosting series such as Rockers Roadshow and
the ever popular six-part Channel 4 reggae documentary series Deep Roots Music. He later recorded "The Source
(Of Your Divorce)" for Warner Brothers Records USA, which obtained regularly rotated video airplay.In 1991,
Dread recorded Profile and African Anthem Revisited. He also toured in Europe and the USA with Freddie
McGregor, Lloyd Parks, We The People Band, and the Roots Radics Band.In 1992, he collaborated with former
Guns N' Roses guitarist Izzy Stradlin on a duet entitled "Can't Hear 'Em". He was nominated for a NAIRD award, an
award from the Billboard Magazine, for his work on his 1990 compilation album Mikey Dread's Best Sellers.In
1993, Mikey Dread was involved in several projects, including his tour supporting the album Obsession and working
in TV with the Caribbean Satellite Network (CSN) where he was Program Director and On Air personality as well as
Producer of various shows.In 1994 he presented The Culture Award of Honor in the Martin’s International Reggae
Music Awards in Chicago. In 1995, he worked as a Radio DJ for WAVS 1170 AM and WAXY-AM 790 in Miami,
Florida. In 1996 he participated in the Essential Music Festival as a performer in Brighton, UK.Mikey furthered his
knowledge of TV/Video Production at the Art Institute of Ft. Lauderdale, where he graduated in 1996 with Honors
and at Lynn University in Boca Raton / Florida where he earned a Bachelor of Arts Degree in International
Communications, with Magna Cum Laude honors.He did live appearances with The Clash, UB40, Bob Dylan,
Carlos Santana, Macka B, Channel One, and many other bands and artists. He also produced artists such as Sugar
Minott, Junior Murvin, Earl Sixteen, Wally Bucker, Sunshine, Jah Grundy and Rod Taylor. He also worked closely
with producer Trevor Elliot to launch musical career of singer Edi Fitzroy. Mikey Dread was the featured artist on
"Lips Like Sugar" with Seal (musician)Seal for the soundtrack of the 2004 film, 50 First Dates.Mikey Dread, 2006
After many years working as a producer and singer, Campbell withdrew from the business and moved to Miami
where he furthered his college education with courses in electronics and business. Disgusted with several unfair
contracts with record companies, Campbell shrewdly waited until all of the existing contracts expired and then
regained control over his entire catalogue. Since then, he has been re-releasing much of it on his own Dread At The
Controls record label. Dread, together with The Blizzard of 78, featured on The Sandinista! Project, a tribute to the
1980 Clash album Sandinista!, with the song "Silicone on Sapphire". The tribute album, recorded in 2004, was
released on 15 May 2007 by the 00:02:59 Records (a label named after a lyric from the Sandinista! song "Hitsville
UK").The ClashClash, The; Joe Grushecky; Katrina Leskanich; Willie Nile; Ship & Pilot.; Soul Food (Musical
group); Sunset Heroes. (2004-09-21). The Sandinista! Project A Tribute to the Clash. [Compact Disc]. England:
00:02:59 Records. OCLC 178980813. "The Sandinista Project". sandinista.guterman.com. . Retrieved 2008-03-19.
"Cary Baker's conqueroo - The Sandinista! Project Announcements". conqueroo.com. . Retrieved 2008-03-19.In
October 2007, it was announced that Michael “Mikey Dread” Campbell was being treated for a brain
tumour.Walters, Basil (2007-10-28). "Not at the control: Mikey Dread has brain tumour" (ASP). Lifestyle. The
Jamaica Observer. . Retrieved 2008-03-19. He died on 15 March 2008, surrounded by his family, at the home of his
sister in Stamford, ConnecticutStamford, Connecticut.DiscographyStudio albums Year Album 1979 African Anthem
      Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/african_anthem/http://www.allmusic.com/cg/amg.dll?p=amg&sql=
Released: 1979 Recorded: 1978 Label: Dread at the Controls (DATC LP 002) Format: LP albumLP Producer: Mikey
Dread Track listing "Saturday Night Style" (Campbell) – 4:55 "Industrial Spy" (Dread) – 4:25 "Headline News"
(Campbell) – 3:06 "Mikey Dread in Action" (Campbell) – 5:10 "Resignation Dub" (Campbell) – 5:01 "Technical
Selection" (Campbell) – 3:50 "Comic Strip" (Campbell) – 3:02 "Pre-Dawn Dub" (Campbell) – 3:21 "Operator's
Choice" (Campbell) – 4:45 2004 and 2005 reissues bonus tracks "Ancestral Dub" – 2:51 "Raggamuffin Dubstyle" –
3:48 "JBC Days" / "Proper Education Dub" – 5:24 "Freelancer Dub" – 4:34 "Jumping Master Dub" – 1:44
"Peacemaker Dub" – 4:07 Reissues 1996 Big Cat (CD AudioCD) 2004 Auralux (LUXXCD 005) (CD, alternate
cover, bonus tracks, deluxe edition) 2005 Dread at the Controls (DATC CD 1033) (CD, alternate cover, bonus
tracks, deluxe edition) Dread at the Controls       Additional
Mikey Dread 88

informationhttp://rateyourmusic.com/release/album/mikey_dread/dread_at_the_controls/http://www.allmusic.com/cg/amg.dll?p=amg
Released: 1979 Recorded: 1979 Labels: Trojan RecordsTrojan (TRLS 178), Dread at the Controls Format: LP
albumLP Producer: Mikey Dread Track listing "Everybody Needs a Proper Education" – 7:20 "Dread Combination"
(Campbell) – 4:12 "Love the Dread" (Campbell) – 2:55 "The Voice of Jah" – 3:42 "Step by Step" – 4:52 "Walk
Rastafari Way" (Campbell) – 3:45 "King in the Ring" – 3:58 "Barber Saloon" (Campbell) – 7:20 2005 reissues bonus
tracks "African Map" – 4:17 "School Girl" – 4:06 "East Portland Dub" – 4:06 "Bull Bay Dubwize" – 3:28 "DATC
Tribute to King Tubby" – 3:17 "Voice of Dub" – 3:30 "Internal Energy Dubmix" – 2:54 "Rastadub" – 2:58 "School
Girl Dub" – 4:11 Reissues 1979 (as Evolutionary Rockers) Dread at the Controls (LP)1989 (as Evolutionary
Rockers) Dread at the Controls (CD, bonus tracks)2001 Trojan (37311781) (LP albumLP) 2005 Dread at the
Controls (DATC CD 2014; mikeydread11) (CD AudioCD, bonus tracks) 2007 (as Evolutionary Rockers) Dread at
the Controls (CD, bonus tracks)Notes: Dread at the Controls has been released by DATC as Evolutionary Rockers in
1979, 1989, and 2007 with different cover arts and track lisitings. 1980 World War III       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/world_war_iii/http://www.allmusic.com/cg/amg.dll?p=amg&sql=1
Released: 1980 Recorded: 1980 Label: Dread at the Controls (TNT1) Format: LP albumLP Producer: Mikey Dread
Track listing "The Jumping Master" (Campbell) – 5:09 "Break Down the Walls" (Campbell) – 5:28 "Jah Jah Love
(In the Morning)" (Campbell) – 6:47 "Israel" (12 Tribe) / "Stylee" (Extended Play) (Campbell) – 3:40 "Money
Dread" (Campbell) – 3:34 "Mental Slavery" (Campbell) – 6:06 "Skin Head Skank" (Campbell) – 3:22 "Losers
Weepers, Finders Keepers" (Campbell) – 6:45 "World War III" (Extended Play) (Campbell) – 6:13 2002 reissue
bonus tracks "Warrior Stylee" (Campbell) – 5:17 "DATC Masterpeice" (Campbell) – 3:36 "Break Down the Dub"
(Campbell) – 3:14 "Seekers Dub" (Campbell) – 3:13 "Jamaican Dub" (Campbell) – 2:53 "Flat Fee Dub" (Campbell)
– 3:02 Reissues 1981 Hearthbeat (HB-02) (LP) 2002 Dread at the Controls (DATC LP TNT 1) (CD AudioCD, bonus
tracks) 1981 Beyond World War III       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/beyond_world_war_iii/http://www.allmusic.com/cg/amg.dll?p=amg
Released: 1981 Recorded: 1980–1981 Label: Big Cat RecordsBig Cat Format: LP albumLP Producer: Mikey Dread
Track listing "Break Down the Walls" (Campbell) – 5:47 "Jah Jah Love (In the Morning)" (Campbell) – 7:14 "The
Jumping Master" (Campbell) – 5:39 "Israel" (12 Tribe) / "Stylee" (Extended Play) (Campbell) – 8:44 "Warrior
Stylee" (Extended Stero Style) (Campbell) – 7:51 "Money Dread" (Campbell) – 3:33 "Rockers Delight" (Extended
Play) (Campbell) – 8:05 "Mental Slavery" (Campbell) – 6:35 "World War III" (Campbell) – 3:43 Reissues 1996 Big
Cat (23131521)(LP) 1996 Big Cat (23131522)(CD AudioCD) 1997 Big Cat (80109)(CD) 1999 Big Cat (109)(CD)
unknown date Heartbeat (CD-HB-02)(CD) 1982 Dub Catalogue Volume 1       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/dub_catalogue_volume_1/ Released: 1982
Recorded: 1982 Label: Dread at the Controls (DATC LP 005) Format: LP albumLP Producer: Mikey Dread Track
listing "Demo Dub" – 5:35 "Raving Style" – 3:12 "Dub Addict" – 3:21 "Stereo Dub" – 3:04 "Brain Wave" – 2:32
"Two Track Dub" – 6:13 "Front Room Dub" – 3:17 "Control Tower Dub" – 3:26 "Reflexion Dub" – 3:36
"Dreadlocks Dub" – 3:23 2006 reissue bonus track "Queen Dub" (Campbell) – 4:13 Reissue 2006 Dread at the
Controls (CD AudioCD, bonus tracks) Notes: The 2006 reissue has "Front Room Dub" on track number 6 and "Two
Track Dub" on track number 7. Dub Merchant       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/dub_merchant/http://www.allmusic.com/cg/amg.dll?p=amg&sql=1
Released: 1982 Recorded: 1982 Label: Dread at the Controls (DATC LP 009) Format: LP albumLP Producer: Mikey
Dread Track listing "Freestyle Dubatak" – 5:38 "Theme from Solidarity" – 4:09 "Dub Trakarak" – 4:03 "Klappaz
Konekshan" – 4:03 "3 O'Clock Dubatak" – 5:25 "Gully Bank Dub" – 3:24 "River Nile Style" – 3:05 "Radix
Revenge" – 3:03 "Tricky Track" – 4:20 "Dub Venture" – 3:47 "Jamba Dub" – 1:48 "Dubservation" – 3:20 Reissue
2006 Dread at the Controls (CD AudioCD) Jungle Signal       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/jungle_signal/http://www.allmusic.com/cg/amg.dll?p=amg&sql=10
Released: 1982 Recorded: 1982 Label: Dread at the Controls Format: LP albumLP Producer: Mikey Dread Track
listing "Signal One" – 6:12 "Jungle Signal" – 5:48 "Signal Three Dub" – 6:12 "Rainbow Jungle" – 2:40 "Star
Chaser" – 4:40 "Jungle Gym" – 5:01 "Jungle Juice" – 3:05 "Dub Jungle" – 3:59 "Theme Signal" – 5:34 "Jungle
Mikey Dread 89

Delight" – 3:20 Reissue 2006 Dread at the Controls (CD AudioCD) Pave the Way       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/pave_the_way/http://www.allmusic.com/cg/amg.dll?p=amg&sql=1
Released: 1982 Recorded: 1982 Label: Heartbeat Format: LP albumLP Producer: Mikey Dread Track listing (CD)
"Pave the Way" – 4:17 "Reggae" / "Hit Shot" – 5:12 "Roots and Culture" – 6:06 "Sunday School" – 3:37 "Knock
Knock" – 4:44 "(Open the Gate) Come In" – 5:11 "Freedom... Is Coming" – 4:37 "(Dance) Face to Face" – 4:22
"Forever and Ever" – 5:12 "Everchanging World" – 4:20 "Quest for Oneness" – 2:56 "Time Waster" – 3:02
"Relax/Enjoy Yourself" – 2:45 "Have You Got a Minute to Spare?" – 3:19 "Dizzy (Herb Smoker)" – 4:09 "Paradise"
– 4:19 "Too Many Rulers" – 3:32 Reissues 1985 Heartbeat (CD AudioCD) 1990 Heartbeat Select Compact
CassetteCassette1999 Heartbeat (CDHB) (CD) 2005 Dread at the Controls (mikeydread8) (CD) S.W.A.L.K.
      Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/s_w_a_l_k_/http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:w
Released: 1982 Recorded: 1982 Label: Heartbeat (HB009 [U.S.] / HB09 [UK, alternate cover]) Format: LP albumLP
Producer: Mikey Dread Track listing "Rocky Road" – 3:15 "S.W.A.L.K." – 8:27 "Positive Reality" – 3:11
"Heavy-Weight Sound" – 5:08 "Problems" – 3:27 "Zodiac Signs" – 6:12 "Armagiddeon Style" – 3:41 "In Memory
(Jacob, Marcus & Marley)" – 3:20 2004 reissue bonus track "Sweet Sixteen" – 4:32 "Come Along" – 4:42 "Strictly
Rockers" – 5:20 "Heavy Weight Dub" – 5:58 "Star Sign Dub" – 8:33 Reissues 1990 Heartbeat Select (09) Compact
CassetteCassette2004 Dread at the Controls (DATC CD 2004) (CD AudioCD, bonus tracks) 1989 Happy Family
      Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/happy_family/http://www.allmusic.com/cg/amg.dll?p=amg&sql=10
Released: 1989 Recorded: 1989 Label: RAS Format: CD AudioCD Producer: Mikey Dread Track listing "Happy
Family" – 4:16 "Your Love" – 4:06 "Good-Bye" – 4:05 "African Soldiers" – 4:17 "Nelson Mandela" – 4:01 "Perfect
Woman" – 3:42 "Come Back" – 3:50 "Ready to Settle Down" – 4:11 "The Seagull" – 3:42 "I See Jah" – 4:06 1991
Profile       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/profile/http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:aifqxq
Released: 1991 Recorded: 1991 Label: RAS (RAS CD 3081) Format: CD AudioCD, Compact CassetteCassette
Producer: Mikey Dread Track listing "Break Down the Walls" (Dread) "Fatten Frogs for Snakes" (Campbell)
"Pleasure Knowing U (Plus Dub for U)" (Campbell) "Profile" (Campbell) "Sugarcain" (Campbell) "I Need Your
Loving" (Campbell) "Cater for Your Loving" (Campbell) "Still My #1" (Campbell) "Strangers in Love" (Campbell)
"Cruizing" (Campbell) "Sentiments of Love" (Campbell) "Awake With Jab" (Campbell) Reissue 2005 Dread at the
Controls (mikeydread6) (CD) African Anthem Revisited       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/african_anthem_revisited/http://www.allmusic.com/cg/amg.dll?p=a
Released: 1991 Recorded: 1991 Label: RAS (RAS CD 3082) Format: CD AudioCD Producer: Mikey Dread Track
listing "Pleased to Dub You" (Campbell) – 3:44 "Break Down the Dub" (Dread) – 3:29 "Fatten Dub for Snakes
Campbell) – 2:52 "Stangers in Dub" (Campbell) – 4:41 "Dub File" (Campbell) – 5:05 "The Source of Dub"
(Campbell) – 3:08 "Sweet Dub" (Campbell) – 5:19 "Awake With Dub" (Campbell) – 3:44 "Still My #1 Dub"
(Campbell) – 3:56 "So Much Dub" (Campbell) – 5:07 "Need Your Dub" (Campbell) – 4:45 "Cruizin Dub"
(Campbell) – 4:02 Reissue 2005 Dread at the Controls (mikeydread14) (CD) 1992 Obsession       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/obsession/http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:dp
Released: 1992 Recorded: 1992 Label: Rykodisc (20243) Format: CD AudioCD Producer: Mikey Dread Track
listing "Modern Africa" (Campbell) "Obsession" (Campbell, Sterrett) "Love Connection" (Campbell, Sterrett) "One
Night Lover" (Campbell) "Muscle Up" (Campbell) "Museum of Love" (Campbell) "Love Encore" (Campbell,
Sterrett) "This Inspiration" (Campbell) "So Many Hills to Climb" (Campbell) "Global Harmony" (Campbell)
"Fighting for Truth and Rights" (Campbell) "iddung 'Pon Money" (Campbell) "Livin' in the Jungle" (Campbell)
"Give the Children Education" (Campbell) "Tomorrow Will Be Better" (Campbell) "African Princess" (Campbell)
"Line of King David" (Campbell) "Full Moon in the Desert" (Campbell) 1995 Come to Mikey Dread's Dub Party
      Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/come_to_mikey_dreads_dub_party/http://www.allmusic.com/cg/am
Mikey Dread 90

Released: 1995 Recorded: 1995 Label: ROIR (8208) Format: CD AudioCD Producer: Mikey Dread Track listing
"Dub Party" (Campbell) – 3:58 "Buh Yah Kah" (Campbell) – 5:00 "Sound Check" (Campbell) – 3:31 "Tourist Dub"
(Campbell) – 4:09 "Haile Selassie Centenary Dub (July 2, 1892-July 23, 1992)" (Campbell) – 4:14 "Special Request
Dub" (Campbell) – 4:06 "Joyride" (Campbell) – 4:12 "Everyday Dub" (Campbell) – 3:56 "Cover Dub" – 3:53
"Mother's Day Dub" (Campbell) – 3:48 "Ragamuffin Style" (Campbell) – 3:13 "Womanizer Dubtract" (Campbell) –
2:58 "(Roir) Commercial Dub" – 4:14 "Impulsive Emotions Dub" – 4:03 "Cherry Pie" – 4:29 "Black Supremacy for
South Africa" (Campbell) – 4:38 Reissue 2005 Dread at the Controls (mikeydread10) (CD) 2000 World Tour
      Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/world_tour/http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:a
Released: 2000 Recorded: 2000 Label: Dread at the Controls Format: CD AudioCD Producer: Mikey Dread Track
listing "Life Is Strange" – 5:09 "Loving You" – 3:54 "Weekend" – 4:14 "Princess" – 4:31 "My Religion" – 3:55
"World Tour" – 4:01 "Homeless People" – 4:02 "As We Enter" – 3:46 "Original General" – 7:35 "I Love My
Mother" – 4:49 "Behold Jah" – 3:35 "Water Molecule" – 3:34 "Election Night" – 4:56 "I'll Be Yours" – 4:18 "Sorry"
– 4:44 "Chosen Few" – 5:01 2002 Rasta in Control       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/rasta_in_control/http://www.allmusic.com/cg/amg.dll?p=amg&sql=
Released: 2002 Recorded: 2002 Label: Dread at the Controls (3000) Format: CD AudioCD Producer: Mikey Dread
Track listing "Rasta in Control" (Campbell) – 4:59 "Inna Foreign" (Campbell, Hines, Myton, Reedy) – 3:16 "Equal
Rights" (Campbell) – 4:02 "Like You" (Campbell) – 4:45 "Give It a Chance" (Campbell) – 3:57 "Reggae Session"
(Campbell) – 3:56 "Keep Smiling" (Campbell) – 4:51 "Prophecy" (Campbell) – 4:35 "Debut Performance"
(Campbell) – 4:12 "How We Used to Live" (Campbell, Easy, Vernal) – 4:10 "Great God of Glory" (Campbell) –
3:16 "Rasta Irie Oki" (Campbell) – 3:17 "His Imperial Majesty" (Campbell) – 4:10 "Sacrifice" (Campbell) – 2:48
"Prediction" (Campbell) – 2:58 "Hawaii Surfer" (Campbell) – 4:09 "Year of Decision" (Campbell) – 3:26 "Groove
City" (Campbell) – 3:26 2007 Life Is a stage       Additional
informationhttp://www.allmusic.com/cg/amg.dll?p=amg&sql=10:hcfpxzujld6e Released: 2007 Recorded: 2007
Label: Dread at the Controls Format: CD AudioCD Producer: Mikey Dread Track listing "Praise Jah Jah" – 4:09
"Life Is a Stage" – 5:16 "Pound a Weed" – 3:21 "Destiny" – 4:34 "Backstage Pass" – 4:34 "Barcoding" – 4:22
"Teenage Pregnancy" – 4:49 "I'm Not the Kind" – 4:26 "Oh No" – 4:58 "Soundbwoy Special" – 5:16 "Dread Next
Door" – 4:56 "Passing Through" – 5:11 "First Generation" – 4:45 "Point of View" – 5:17 "Stem Cells" – 6:15
Compilations Year Album 1989 African Anthem / Happy Family       Additional
informationhttp://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fifwxqwgldae Released: 1989 Recorded:
1979-1989 Label: RAS Records (RASCD-3035) Format: CD Producer: Mikey Dread Note: African Anthem (1979)
and Happy Family (1989) on one CD. S.W.A.L.K. / Rockers Vibrations       Additional
informationhttp://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3ifwxqwgldaehttp://www.discogs.com/Mikey-Dread-SWALK-Roc
Released: 1989 Recorded: 1982-1989 Label: Heartbeat Records (HB 11568) Format: CD Producer: Mikey Dread
Note: S.W.A.L.K. (1982) is combined with a compilation of Dread productions on Heartbeat Records. 1991 Best
Sellers       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/african_anthem/http://www.discogs.com/Mikey-Dread-Best-Sellers
Released: 20 May 1991 Recorded: 1979-1989 Label: Rykodisc (RCD 20178 and RACS 0178-2) Format: CD and
cassette Producer: Mikey Dread Track listing All tracks written by Mikey Dread "Quest for Oneness" – 3:03 "Break
Down the Walls" – 4:43 "Goodbye" – 3:59 "Industrial Spy" – 4:24 "Wake-Up Call" – 3:38 "Warrior Stylee" – 4:30
"S.W.A.L.K." – 5:17 "Barber Saloon-Haircut" – 4:05 "Choose Me" – 4:40 "Jah Jah Love (In the Morning)" – 7:39
"Sunday School" – 3:41 "Positive Reality" – 3:22 "Enjoy Yourself" – 3:25 "Roots and Culture" – 6:10 "Knock
Knock" – 4:42 "My Religion" (live with Roots Radics) – 3:45 2003 reissue bonus tracks "Dizzy" "The Source" (live
with Roots Radics) Reissue 2003 Dread at the Controls (DATC CD 2003) (CD, alternate cover, bonus tracks, deluxe
edition)http://rateyourmusic.com/release/comp/mikey_dread/best_sellers_f1/ 1998 The Prime of Mikey Dread:
Massive Dub Cuts from 1978–1992       Additional
informationhttp://www.allmusic.com/cg/amg.dll?p=amg&sql=10:wifwxqlkldhehttp://www.discogs.com/Mikey-Dread-The-Prime-of-
Mikey Dread 91

Released: 1998 Recorded: 1978-1992 Label: Dread at the Controls, Music Club Format: CD Producer: Mikey Dread
Track listing "Resignation Dub" (Michael Campbell) "Industrial Spy" (Mikey Dread) "Barber Saloon" (Campbell)
"S.W.A.L.K." (Dread) "Modern Africa" (Campbell) "Saturday Night Style" (Campbell) "Sunday School" (Dread)
"Dizzy (Herb Smoker)" "Pre-Dawn Dub" (Campbell) "Wake-Up Call" (instrumental) (Dread) "Roots and Culture"
(Dread) "Buh Yuk Kah" "Technical Selection" (Campbell) 2006 Best Sellers II       Additional
informationhttp://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fjftxz85ldhehttp://rateyourmusic.com/release/comp/mikey_dread/be
Released: 4 January 2006 Label: Dread at the Controls (DATC CD 2015) Format: CD Producer: Mikey Dread Track
listing "Natural Rasta" – 4:15 "Childhood Days" – 3:59 "African Map" – 4:24 "Jungle Signal" – 6:06 "Change Is
Coming" – 4:10 "Pound of Weed" – 4:05 "Rub a Dub" – 3:50 "Equal Rights" – 4:02 "Rockers Delight" – 5:40 "Get
Up and Dance" – 2:30 "Autobiography" – 6:41 "Rockers Roadshow" – 2:54 "Surfer" – 4:09 "Backstage Dub" – 4:19
"Vegetable Matter" – 4:42 "Dub Is the Roots" – 5:49 Dread at the Controls / Evolutionary Rockers       Additional
informationhttp://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gjftxz85ldhe Released: 4 January 2006 Recorde:
1979 Label: Dread at the Controls Format: CD Producer: Mikey Dread Note: Dread at the Controls (1979) and
Evolutionary Rockers (1979) on one CD. Track listing "Dread Combination – 4:12 "Walk Ras Tafari Way – 3:45
"Proper Education – 7:20 "King in the Ring – 3:58 "Step by Step – 4:52 "Love the Dread – 2:55 "The Voice of Jah –
3:42 "Barber Saloon – 7:20 "African Map – 4:17 "School Girl – 4:06 "East Portland Dub – 4:06 "Bull Bay Dubwize
– 3:28 "Datc Tribute to King Tubby – 3:17 "Voice of Dub – 3:30 "Internal Energy Dubmix – 2:54 "Rastadub – 2:58
"School Girl Dub – 4:11 Singles 1982 "Roots & Culture" / "Jungle Dread" (DATCD 008) 1982 "Break Down the
Walls" (DREAD 1)Appears on The Trojan Story Vol. 2 (1982; compilation album by various artists; TALL
200)Singers and Players - Staggering Heights (1983; On-U Sound), "School Days"Singers and Players - Leaps and
Bounds (1984; Cherry Red), "Autobiography (Dread Operator)"Funky Reggae Crew - Strictly Hip-Hop Reggae
Fusion (1989; compilation album by various artists; 926 011-1)The Roots of Reggae Vol. 1 (1991; compilation
album by various artists; MCCD 014)Larks From the Ark (1995; compilation album by Lee "Scratch" Perry;
NTMCD 511)History of Trojan Records 1972-1995 Volume 2 (1996; compilation album by various artists)Arkology
(1997; compilation album by Lee "Scratch" Perry; CRNCD 6)Rockers Galore (1999; compilation album by The
Clash; ESK 47144)Classic Reggae: The Producers (2000; compilation album by various artists; MCCD 444)Dub
Reggae Essentials (2000; compilation album by various artists)Blunted in the Bomb Shelter Mix (2002; compilation
album by Madlib; ANTCD102)Auralux Reggae Showcase (2004; compilation album by various artists;
LUXXCD007)50 First Dates (2004; compilation album by various artists)Radio Clash (2004; compilation album by
various artists)Best 1991-2004 (2004; compilation album by Seal (musician)Seal)Echodelic Sounds of Future Pigeon
(2006; album by Future Pigeon)Singles Box (2006; compilation album by The Clash; Sony BMG)Down in a
Tenement Yard: Sufferation and Love in the Ghetto 1973-1980 (2007; compilation album by various artists;
TJDDD352)Family Front (2008; Album by Habakuk; 5935240)Royale Rockers: Reggae Sessions (2008; album by
Casino Royale)Iration - Generation Time (Ft. Mikey Dread)External links Official Artist website Official Label
website Official Podcast with Insomnia Radio website Mikey Dread Online MemorialArticles Complicated Dread:
the Mikey Dread interview Complicated Fun, 21 June 2006 Mikey Dread Interview: Mikey Dread at the controls
trakMARX.com - Punk Rock... & Roll, trakMARX 21 — October 2005 — The No Time To Be 21 Issue
Don Letts 92

Don Letts
Don Letts

Don Letts during his time with Big Audio Dynamite - San Francisco, 1987

Background information

Birth name Don Letts

Born 10 January 1956

London, England

Genres Reggae
Punk

Occupations Disc jockey

Film producer

Years active 1975–present

Associated acts 1978 -Steel Leg v the Electric

Dread
1984 - Big Audio Dynamite

Website [1]
Don's BBC6 show

Don Letts (born 10 January 1956) is a British film director and musician. He is credited as the man who through his
DJing at clubs like The Roxy brought together punk and reggae music.[1]

Biography
Letts was born in London, England and educated at Tenison's School in Kennington. In 1975, Letts ran the trendy
London clothing store Acme Attractions selling, "electric-blue zoot suits and jukeboxes, and pumping dub reggae all
day long."[2] Letts was deeply inspired by the music coming from his parents' homeland Jamaica, in particular Bob
Marley. After seeing one of Marley's gigs at the Odeon in Hammersmith (June, 1976) he was able to sneak into the
hotel and spent the night talking to and befriending Marley.[3] By the mid 1970s Acme had quite a scene attracting
all the like of The Clash, The Sex Pistols, Chrissie Hynde, Patti Smith, Deborah Harry and Bob Marley.

“
Marley ... come by because he knew he could get a good draw from the thriving black-market action that also went on in Acme.

”
[2]
— Don Letts

Seeing the crowd at Acme, the then promoter Andy Czezowski started up the Roxy, a London nightclub during the
original outbreak of punk in England, so that people could go from the store and have some place to party. As few
bands of that era had yet to be recorded, there were limited punk rock records to be played. Instead, Letts included
Don Letts 93

many dub and reggae records in his sets, and is credited with introducing those sounds to the London punk scene,
which was to influence The Clash and other bands. As a tribute, he is pictured on the cover of the album Super Black
Market Clash. He was able to use the fame and money from DJing and the Acme story to make his first film, The
Punk Rock Movie (1978).
Letts quit the retail business to manage the band, The Slits. He was able to get the Slits to open for The Clash during
the White Riot tour. While on the White Riot tour he decided that management was not for him, but continued to
shoot material for The Punk Rock Movie.[4]
Letts went to Jamaica for the first time when, after the Sex Pistols broke up, Johnny Rotten decided to escape the
media frenzy by going with Richard Branson to Jamaica. It was on this trip that Branson was inspired to start up
Virgin's Frontline reggae record label.[2]

“
I guess he thought that since I was black and Jamaican - well, sort of - he'd be in good hands. Little did he know that the closest I'd been to
Jamaica was watching The Harder They Come at the Classic Cinema in Brixton.
”
[2]
— Don Letts

Music
In 1978, Letts recorded an EP, Steel Leg v the Electric Dread, with Keith Levene, Jah Wobble, and Steel Leg. After
Mick Jones was fired from The Clash, he and Letts founded Big Audio Dynamite in 1984. As of 1 April 2009, Letts
is presenting a weekly show [1] on BBC Radio 6 Music.

Books
In 2006, he published his autobiography: Letts, Don; David Nobakht (2008). Culture Clash: Dread Meets Punk
Rockers (3rd edition ed.). London: SAF Publishing. ISBN 0946719993. OCLC 181422771.

Films
Since his first movie, The Punk Rock Movie, Letts has expanded to doing documentaries and music videos for
multiple bands. In 1997, he travelled to Jamaica to direct, Dancehall Queen.[4] While filming a history of punk in
2001, Letts was in New York when the Sept 11, 2001 terrorist attacks occurred.[1] His film Westway to the World
won a Grammy Award in 2003.

Filmography (as director)

• Carnival! (2009)
• Going Home/Made In Sheffield Tony Christie (2008)
• Soul Britannia* (2007)
• Rock It To Rio: Franz Ferdinand (2006)
• Tales of Dr. Funkenstein: George Clinton (2006)
• The Making of All Mod Cons: The Jam (2006)
• Brother From Another Planet: Sun Ra (2005)
• The Revolution Will Not Be Televised (Gil Scott-Heron) 2005
• The Right Spectacle: The Very Best of Elvis Costello - The Videos (2005) (V)
• Punk: Attitude (2005) (TV)
• Making of 'London Calling': The Last Testament (2004) (V)
• One Love (2003)
• The Essential Clash (2003) (V)
• The Pretenders: Greatest Hits (2000) (V) (video "Back on the Chain Gang")
Don Letts 94

• The Clash: Westway to the World (2000) (V)

• Dancehall Queen (1997)
• Dancing in the Streets:Planet Rock (1997) (TV)
• The Pretenders: The Singles (1988) (V) (video "Back on the Chain Gang")
• "Pass the Dutchie"* video for Musical Youth (1982)
• The Punk Rock Movie (1978)

External links
• Don Letts [6] at the Internet Movie Database
• Don's Radio 6 Homepage [1]

References
[1] Matteo Sedazzari (2007). "Don Letts" (http:/ / www. peom. co. uk/ donletts. html). peom. . Retrieved 16 December 2007.
[2] Don Letts (24 October 2001). "'Dem crazy baldheads are my mates'" (http:/ / www. guardian. co. uk/ Archive/ Article/ 0,4273,4283671,00.
html). The Guardian. . Retrieved 16 December 2007.
[3] Don Letts (24 May 2007). "Don Letts: In his own words - Special to BobMarley.com" (http:/ / web. bobmarley. com/ news/ article.
jsp?ymd=20070524& contentid=11539). pub. . Retrieved 16 December 2007.
[4] Charlotte Robinson (12 July 2002). "DON LETTS" (http:/ / www. popmatters. com/ music/ interviews/ letts-don-020712. shtml). popmatters.
. Retrieved 16 December 2007.
Bill Price 95

Bill Price
Bill Price
Background information

Birth name Bill Price

Occupations Record producer, engineer

Years active 1965 – present

Associated acts Tom Jones

The Clash
The Sex Pistols
The Sinceros
Carbon/Silicon

Bill Price is a producer and engineer famed for his work with The Clash, The Sex Pistols and Guns N' Roses.
He has remained out of the public eye but has contributed to documentaries about The Clash such as 'Westway To
The World'.[1] Bill Price started his engineering career in the mid-60's when he was an engineer at Decca Studios in
West Hampstead (NW London), recording artists such as Tom Jones[2] .
He was also the chief engineer/manager at Wessex Studios, the London studio where The Clash and The Sex Pistols
recorded a large volume of their work.
More recently he has worked again with Mick Jones in his band Carbon/Silicon.

References
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. ISBN 0738900826. OCLC 49798077.
[2] Shout out to Bill Price « (http:/ / edackerson. com/ blog/ ?p=39)
Guy Stevens 96

Guy Stevens
Guy Stevens
Background information

Birth name Guy Stevens

Born April 13, 1943

East Dulwich, London, UK

Died August 29, 1981 (aged 38)

England

Occupations Producer, manager

Years active 1967 – 1981

Associated acts Procol Harum

Mott the Hoople
Free
Spooky Tooth
The Clash

Guy Stevens (13 April 1943 – 29 August 1981) worked in a number of different roles in the British music industry
including producer and manager. He gave the rock bands Procol Harum[1] and Mott the Hoople their distinctive
names.
Stevens was born in East Dulwich, London and is probably best known as the producer of The Clash's acclaimed
1979 album, London Calling. The band themselves have always held up Stevens' input as a major factor in the
album's popularity and quality. However it was not the first time Stevens had worked with the Clash. In 1976
Stevens was present, although not clearly as a producer on a demo session the band undertook before they were
signed.
Mick Jones recalled that:

“
At the session, Guy was there for a while and then he got upset about something. I think the other guys, the sound engineer Vic Smith and

”
Chris Perry from Polydor, just wanted to record a demonstration session and take it to A&R and get the band signed. They didn't know how to
deal with Guy, because everything with Guy was like a major number

The Clash involved Stevens because they recognized the influential role he had played in the British beat and blues
booms of the 1960s. The Who, The Small Faces, The Rolling Stones and many others used Stevens' knowledge of
the American R&B and soul scene, as a source for their own repertoire, having heard of him through his deejaying at
the influential New Scene Club in Ham Yard, London W.1, where he exercised his obsessive love of rock and roll,
R&B, ska, jazz and soul for an audience that counted The Beatles and Eric Clapton amongst them.
Stevens was involved in the early history of Island Records and also ran the UK division of the Sue record label for
Chris Blackwell, and used it to put out obscure American singles not only from the U.S. Sue group of labels, but
from any number of tiny independent record companies, and some of the bigger ones. It became widely influential.
Stevens was also president of the Chuck Berry Appreciation Society, and had a say in the UK releases that Pye
International put out by Chuck Berry, Bo Diddley and others on the Chess and Checker labels. It was Guy Stevens
who brought Berry to the UK for his first tour.
Stevens also produced several albums for glam rock outfit, Mott the Hoople (he also naming the band after a book he
read while in prison for a drug offence[2] ) as well as albums for Free Mighty Baby and Spooky Tooth.
In 1981, The Clash wrote a song for, or about Stevens, who had died the same year: "Midnight to Stevens". A lush
sweeping song that sounds almost unlike anything the Clash recorded despite the range of styles on Sandinista! and
Guy Stevens 97

Combat Rock. It was released originally as the "B" side of a 12" Clash single in the summer of 1982. It was later
released in 1991, where it appeared on disc three of Clash on Broadway.
Stevens died on 29 August 1981, at the age of 38 years old, having overdosed on the prescription drugs he was
taking to reduce his alcohol dependency.[3]

External links
• Procol Harum.com biography of Guy Stevens [4]

References
[1] Procol Harum.com biography of Guy Stevens (http:/ / www. procolharum. com/ guystevens2. htm)
[2] http:/ / www. procolharum. com/ guystevens3. htm
[3] "London Calling" (http:/ / www. theclash. org. uk/ London. htm). theclash.org.uk. . Retrieved 2008-01-11.
Sandy Pearlman 98

Sandy Pearlman
Sandy Pearlman
Background information

Birth name Samuel C. Pearlman

Born August 8, 1943

USA

Occupations Music producer, manager, record

executive

Years active 1978 – present

Associated acts Blue Öyster Cult

The Clash
The Dictators
Pavlov's Dog
Black Sabbath
Dream Syndicate

Sandy Pearlman (born Samuel C. Pearlman, August 8, 1943) is an American music producer, artist manager,
professor, poet, songwriter, and former record company executive. He is best known for founding, writing for and
producing nearly every album by Blue Öyster Cult, as well as important albums by The Clash, The Dictators,
Pavlov's Dog, Space Team Electra and Dream Syndicate, and for being the founding Vice President of e-music.com.
He is currently the Schulich Distinguished Professor Chair at the Schulich School of Music at McGill University in
Montreal.

Biography
Pearlman received his B.A. from the State University of New York at Stony Brook in 1966, where he had been
Student President. He was awarded a Woodrow Wilson Fellowship in the History of Ideas, and completed graduate
work at Brandeis University. He was also a New School Fellow in Sociology and Anthropology. As a University
student, Pearlman wrote a series of poems called Imaginos, whose characters and lyrics would feature in his later
career.
In 1967 he was one of the original rock music critics for Crawdaddy! magazine, along with Paul Williams, Jon
Landau and Richard Meltzer.
Also in 1967, Pearlman hand-picked musicians for a rock band to perform the songs that he was writing, based on a
series of poems called "Imaginos." He dubbed the band "Soft White Underbelly" (from a speech by Winston
Churchill in World War II) and later changed their name to "Blue Öyster Cult". He managed the band from 1967 -
1995, and produced 12 of their albums. Significantly, Pearlman produced BÖC's "(Don't Fear) The Reaper" in 1976
(which reached #12 on the Top 40 charts [1] and has remained an FM radio staple since. A character based on
Pearlman was portrayed by Christopher Walken in the Saturday Night Live parody skit of the making of the song.[2]
However the name mistakenly used for the character was that of Bruce Dickinson, another record producer who later
compiled BÖC remastered reissues but never produced any in-studio tracks and had nothing to do with the original
recording.[3] [4]
He is considered an important figure in the development of both alternative and commercial American rock music,
and for his intervention in British punk. He was drafted by record company CBS to produce Give 'Em Enough Rope,
The Clash's second album, which gave the band their largest audience to date, and also produced many of the tracks
that were compiled in "Black Market Clash".
Sandy Pearlman 99

Pearlman also worked as a full-time artist manager, managing the careers of Blue Öyster Cult, Black Sabbath (1979 -
1983), Romeo Void, The Dictators, Aldo Nova and others. In the 1980s, he pioneered the mega-tour stadium format
of several bands traveling together, sharing promotional costs and production and travel costs, a format persisting
today with Lollapalooza, Lillith and related tour packages. [5]
In 1989 he took over as president of the alternative record company 415 Records and established a production and
distribution deal for the label with MCA Records. In the late 1990s, he served as the founding vice-president of
e-music.com. He also served as vice-president of media development for MoodLogic.com, the first on-line music
recommendation engine, from 2000-2003.
Pearlman is presently the Schulich Distinguished Chair of music at McGill University in Montreal, specializing in
the programs in music theory, sound recording and music technology. He has been a visiting lecturer at Harvard,
Stanford, University of California Berkeley, UC Santa Cruz, and has been an invited speaker at the Mill Valley Film
Festival, Future of Music Coalition, Canadian Music Week and SxSW Festivals. As a Professor and as a public
speaker, Pearlman lectures on the architecture of the music industry, strategies for remonetizing music downloads,
and the history and future of music.

Awards
Pearlman is the recipient of more than 17 gold and platinum records.

External links
• The Village Voice [6], BÖC reviews by Robert Christgau
• Blue Öyster Cult FAQ [7]

References
[1] "(Don't Fear) The Reaper" (http:/ / www. rollingstone. com/ news/ story/ 6596242/ dont_fear_the_reaper). Rolling Stone. Wenner Publishing.
2004-12-09. . Retrieved 2007-06-06.
[2] Producer - Sandy Pearlman (http:/ / www. breathingprotection. com/ sandy_pearlman. htm)
[3] Blue Öyster Cult (http:/ / www. pauseandplay. com/ boc. htm)
[4] Farhi, Paul (January 29, 2005). "Blue Oyster Cult, Playing Along With 'More Cowbell'" (http:/ / www. washingtonpost. com/ wp-dyn/
articles/ A46074-2005Jan28. html). The Washington Post. . Retrieved May 23, 2010.
[5] Billboard Encyclopedia of Record Producers, entry on Sandy Pearlman, ©1999
Tymon Dogg 100

Tymon Dogg
Tymon Dogg
Background information

Birth name [1]

Stephen Murray

Also known as Timon, Step Murray

Born 1950 Formby, Lancashire, England (Age

[2]
58?)

Origin [2]
London, England

Genres Folk, Punk, Rock, World

Instruments Violin, Guitar, Piano, Harmonium

Years active 1967–present

Associated acts The Mescaleros

Website [3]
TymonDogg.net

Tymon Dogg (born Stephen John Murray in Formby, Lancashire, England) is a highly idiosyncratic English
singer-songwriter and multi-instrumentalist, playing piano, violin, guitar, oud and a harp of his own invention. As
well as developing his own solo sound, he worked with The Clash and later collaborated with Joe Strummer in The
Mescaleros. As a teenager in the late 1960s, under the pseudonym of 'Timon', he was spotted by influential people
such as The Beatles and The Moody Blues.

Early years — Tymon

Stephen Murray's musical career began at the age of 14, playing Bob Dylan and Donovan covers on harmonica and
guitar at the Peppermint Lounge in Liverpool, and occasionally at the famous Cavern Club. While still at school, he
came up with the pseudonym of ‘Timon’ as a stage name in order to separate the fact he was both a performing
musician and schoolboy.
Spencer Leigh (now a DJ on BBC Radio Merseyside) met Timon in 1965 and encouraged the young musician's
song-writing. He became his local promoter, helping him get gigs and sending off demo tapes to record companies.
One day in 1968, while working as a screen printer in Southport, Timon received a phone call from Leigh, asking
Timon if he could get the day off work to travel to London with him to visit Pye Records. Cyril Stapleton, band
leader and part of Pye's management, was interested in signing Timon to the label. Pye gave Timon an advance that
was the equivalent of a year's wages in the hope of securing a hit single from him, though the big commercial
pressure to produce a hit was ultimately too overwhelming for the young musician.
Timon soon left his home of Liverpool and moved to London where he began recording songs with arranger and
producer Jerry Martin. Martin was a Canadian pop singer who was trying to make it as a producer in England.
Timon released his first single "The Bitter Thoughts of Little Jane" in January 1968. The track also features future
Led Zeppelin members John Paul Jones on bass and Jimmy Page on lead guitar. Martin was sacked just before the
record was released and the record was given meagre promotion by Pye.
It was around this time that Peter Asher (ex-Peter and Gordon) took interest in Timon's music. Asher was acting as a
talent scout for Apple Records, and after signing American singer-songwriter James Taylor to the label, he was on
the lookout for other new and interesting talent. Paul McCartney heard Timon's "The Bitter Thoughts of Little Jane"
and wanted a go at producing a new version of the song, to which Timon declined, assuring McCartney that it would
Tymon Dogg 101

be better if he stuck to recording his own material instead. After disagreements on both sides with regard to the
direction the music was taking, the sessions were shelved. Timon then busked in Europe for a while.
On his return to England, BBC-DJ Dave Symonds introduced him to the Moody Blues who had heard his songs and
wanted to sign him to their own new record label, Threshold Records. The first signings to this label in October 1969
were both Timon and the British rock band Trapeze. Two months later in December 1969, both Timon and Trapeze
supported The Moody Blues on their December 1969 tour. Timon and Moody Blues released one single "And Now
She Says She's Young".

1971–1999 — Tymon Dogg

In 1971, Timon became friends with John Graham Mellor, who would a few years later become known to the world
as Joe Strummer. They shared a flat that year with a few other people at 18 Ash Grove aka 'Vomit Heights' in
Palmers Green, London. In September 1971 the 'Vomit Heights' crowd and assorted others moved into a flat at 34
Ridley Road, Harlesden, London.
In early spring of 1972, Timon and Mellor took to busking in the London Underground during the evenings.
Together, the 22-year old Tymon and 20-year old Mellor also busked in London's Green Park tube station and
around Europe. Throughout this period also, Tymon was an important influence on Mellor. He taught him to play
chords on an old ukulele by using his right-hand to strum the chords instead of with his natural left-hand ability, this
resulting in the unique strumming style later evidenced in The Clash's music.
After being evicted from the 34 Ridley Road flat in April 1972, Tymon then moved into a flat in Miles Buildings in
London. The Ridley Road collective also moved in for a while, though most soon left for a farm outside Blandford
Forum in Dorset in the summer of 1972. Around this time Tymon became a vegan - a decision he describes as
political.
In 1973 Tymon played violin live on stage for the first time. It was also around this time that Timon changed his
name to Tymon Dogg. In 1974, he was living at a ‘short-life’ house at 23 Chippenham Road, Maida Hill, London
with various others. John Mellor also took up residence at this address after returning to London from Newport,
Wales.
In 1975 and 1976, Tymon began playing support gigs with Mellor's (now Joe Strummer) new pub-rock band the
101ers; Tymon was a regular at the Charlie Pig Dog Club, which was a weekly residence at a local dive that the
101ers organized. He would occasionally join the band for a jam on his violin. Strummer eventually left the 101ers
in 1976 and went on to join punk band The Clash.
In 1976, Tymon released his first full-length solo album Tymon Dogg, also known as Outlaw Number One. Only 500
copies were pressed. He provides all the instrumentation including piano, violin, guitar, viola, cello, mandolin,
harmonica, glockenspiel, harmonium, shaum, and cymbal. Later in 1977, he formed a folk-punk trio called The
Fools with drummer Richard Dudanski (ex-101ers) and bassist Ron Harvey.
The Clash released their fourth LP Sandinista! in 1980. Tymon wrote, sang, and played violin on the track "Lose
This Skin", as well as adding violin overdubs to "Lightning Strikes" while in Electric Lady Studios. At the time of
recording Sandinista!, Mick Jones was helping Ellen Foley record her second album Spirit of St. Louis. Three songs
written by Tymon would feature on the LP.
During the tail-end of the Sandinista! sessions back at Wessex, England, Tymon and Joe Strummer had acquired a
new squat in a large Georgian house in Gilbert Place, Bloomsbury, London. They lived there for a while with
Tymon's future musical partner Helen Cherry.
The years 1981 and 1982 saw Tymon play violin on Ian Hunter's Short Back 'n' Sides album, and released his second
full-length solo LP Battle of Wills in 1982. He also played piano on The Clash's Combat Rock 1982 album. A third
LP was in the works in 1983 with production by Joe Strummer and Glyn Johns, but it was never released. In 1984,
Tymon appeared on the The Poison Girls’ The Price of Grain and the Price of Blood EP playing violin. He then went
Tymon Dogg 102

on to form a duo with Hele Cherry called Frugivores and released one album New Ages Songs and a single in 1987.
Another new solo LP Relentless was released in 1989.
In 1995, Tymon helped produce Irish singer-songwriter Sean Millar's (aka Doctor Millar) debut album, The Bitter
Lie. From 1996 to 1999, Tymon set up home in Granada, Spain and subsequently ended up working with both
Enrique Morente and Compay Segundo, and in 1998 recorded the song, "Casida Del Herido Por El Agua", with
Spanish-rockers Lagartija Nick for a Federico García Lorca tribute compilation, FGL: De Granada A La Luna,
produced by Richard Dudanski.

2000–Present
It was 11 years later in 2000 when Tymon again hooked up with old friend Joe Strummer. Strummer had formed
new band The Mescaleros, which Tymon became a full-time member of in November of that year. Over the course
of roughly two years he ended up playing over 70 live shows with the group. He co-wrote most of the songs on the
group's second full-length album Global A Go-Go, and played violin, mandolin, Spanish guitar, acoustic & electric
guitar on assorted tracks.
Joe Strummer died on December 22, 2002 and a tribute show was held in Granada, Spain on August 20, 2003.
Tymon appeared on stage with Mick Jones, Richard Dudanski, Jem Finer, Tom Lardner, and Julian Hernandez, as
The Amigos.
In March 2006, Tymon performed gigs around England with new band The Quikening. A single "Guantanamo" was
released on 12" vinyl in September, with the CD released on June 1, 2007. Along with debuting the new group, he
has also patented a harp-like stringed instrument he calls the "The New World Harp" or "Pyramid Harp". The band
continute to play live and Tymon is also developing a new solo set using several of the many instruments he can play
to accompany his songs.
In February 1 of 2008 Tymon Dogg played with former The Clash member Mick Jones in his band, Carbon Silicon,
as seen in various media[3] [4]
In May 2008, Emmy Award-winning Film Director/Producer Merrill Aldighieri completed work on her Tymon
Dogg documentary, 9 Lives of Tymon Dogg.
A new Tymon Dogg solo album is currently in the works, with a possible release date of early 2009.
After forty-odd years in and out of the music industry, Tymon has ended up working with a vast array of musical
talent both in the studio and on stage. The list includes: Joe Strummer, The Clash, The Slits, Paul McCartney, Jimmy
Page, John Paul Jones, James Taylor, Justin Hayward, The Mescaleros, Richard Strange, Ian Hunter, Ellen Foley,
The Poison Girls, Glyn Johns, Peter Asher, Liam Genockey, Pandit Ramesh Misra, Salah Dawson Miller, Richard
Dudanski, Roy Harper, The Cramps, Trapeze, Neville Staples, The Fall, Stone the Crows, Rory McLeod, Charles
Hayward, Lol Coxhill, DM Bob & Jem Finer, Orphy Robinson, Hugh Hopper, Robb Johnson, and Claire Hamill.

Discography

Solo recordings
Tymon Dogg 103

Year Album

1976 Tymon Dogg

1982 Battle of Wills

1987 Frugivores - New Age

Songs

1989 Relentless

2007 (EP) Guantanamo

TBA 2009 Album

Guest appearances

Year Album Artist Credit

1980 Sandinista! The Clash Vocals, violin on "Lose This Skin", "Lightning Strikes (Not Once But Twice)", "Junco
Partner", "The Equaliser", and "Something About England"

1981 Short Back 'n' Ian Hunter Violin on "Old Records Never Die"
Sides

1981 Spirit of St. Louis Ellen Foley Violin, wrote three tunes: "Beautiful Waste of Time," "Game of a Man" and
"Indestructible"

1982 Combat Rock The Clash Piano on "Death Is A Star" and "Overpowered By Funk"

1985 The Price of Poison Girls Violin on "The Price of Grain and the Price of Blood" and "Stonehenge 1985"
Grain

1995 The Bitter Lie Doctor Millar Producer

1998 De Granada a la Various artists Violin and guest vocals on "Casida Del Herido Por El Agua" with Lagartija Nick
Luna

2000 Once Bitten Ian Hunter Violin on "Old Records Never Die"
Twice Shy

2001 Global a Go-Go Joe Strummer and The Violin, mandolin, Spanish guitar, acoustic & electric guitar on tracks such as "Mondo
Mescaleros Bongo", "Shaktar Donetsk", and "Minstrel Boy"

2002 Give 'Em the Various artists Violin, Spanish guitar on Joe Strummer & The Mescaleros' "Global A Go-Go"
Boot III

2003 Streetcore Joe Strummer and The Violin on "Silver and Gold"
Mescaleros

2004 Give 'Em the Various artists Violin on Joe Strummer & The Mescaleros "Junco Pardner"
Boot IV

2007/2008 Screamin El Doghouse Violin on "Screamin' Bloody Murder"

2008 Howl El Doghouse Violin on "Screamin' Bloody Murder"

2009 This Is Only Me Jonathan Martin Production, Violin on Single "This Is Only Me"
Tymon Dogg 104

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Leigh, Spencer. (1975). The Last Trumpet [6] tymondogg.net. Retrieved on 2008-02-24.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.
• TYMON DOGG - SOUL MUSIC [3] tymondogg.net. Retrieved on 2008-02-24.
• vegan see article in labouche magazine http://www.labouchemag.com/issue-three.php?art=83

External links
• Tymon Dogg - The Godfather of Anti-Folk fan site [3]
• Tymon Dogg & The Quikening's Myspace page [7]
• Bio at Strummernews [8]
• RateYourMusic page [9]
• Tymon Dogg [10] at Allmusic

References
[1] Tymon Dogg - Joe Strummer and The Mescaleros (http:/ / www. strummersite. com/ tymon page. htm)
[2] Harris, Craig. AMG Biography (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:4kjp7i2jg77r~T1)
[3] Junco Partner in 01/02/2008, video 1. (http:/ / www. youtube. com/ watch?v=w4Txh96m6iU)
[4] Junco Partner in 01/02/2008, video 2. (http:/ / www. youtube. com/ watch?v=qypqDcW1kto)
Mick Gallagher 105

Mick Gallagher
Mick Gallagher

Gallagher on tour with "Animals and Friends"

France 2008.

Background information

Birth name Michael William Gallagher

Born 29 October 1945

Newcastle upon Tyne, England

Origin London, England

Genres Rock, Punk rock, Reggae, Rock and Roll

Occupations Keyboardist, session musician, songwriter

Instruments Keyboards and piano occasionally

Years active 1965 – present

Associated acts Ian Dury, Blockheads, The Animals, Skip Bifferty, Peter Frampton, Cochise, Topper Headon, The Clash, Arc, The
Animals and Friends, Loving Awareness, The Chosen Few

Notable instruments

Hammond organ

Michael William Gallagher (born 29 October 1945 in Newcastle upon Tyne, England) also known as Mick
Gallagher and Mickey Gallagher is a British Hammond organ player and best known as a member of Ian Dury and
the Blockheads[1] and for his contributions to albums by The Clash. He has also written music for films such as
Extremes (1971) and After Midnight (1990), also the Broadway play Serious Money (1988).

Biography
Mick Gallagher started his musical career with The Unknowns. He played with The Animals during 1965, replacing
founding member Alan Price. He moved on to formed The Chosen Few, where he played alongside Alan Hull who
later formed Lindisfarne. Other associations include Skip Bifferty, Peter Frampton's Camel and Cochise.[2]
His Hammond sound was a major contribution to Ian Dury and The Blockheads. He played on two of the most
influential Clash albums London Calling (1979) and Sandinista! (1980)[3] and made live appearances with the band
also playing on their last album Cut the Crap (1985), for which he never received a credit.
Gallagher was reunited with the Clash drummer Topper Headon when they recorded Topper's Waking Up ((1986)
appearing with Bobby Tench and Jimmy Helms. He has also performed and recorded with Paul McCartney, Robbie
Williams, Dave Stewart and Annie Lennox[4] . More recently he returned to perform with The Blockheads and John
Steel's The Animals and Friends.
Mick Gallagher 106

References
[1] "Mick Gallagher biography" (http:/ / www. theblockheads. com/ biog. php). theblockheads.com. . Retrieved 2008-03-26.
[2] "Mick Gallagher" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:wbfyxqu5ldae). allmusic.com. . Retrieved 2010-03-26.
[3] "Clash albums" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:gifqxqw5ldte~T2). allmusic.com. . Retrieved 2010-03-26.
[4] "Mick Gallagher" (http:/ / www. rockartistmanagement. com/ instinct. html). rockartistmanagement.comZ. . Retrieved 2010-03-26.
Gary Barnacle 107

Gary Barnacle
Gary Barnacle
Born 1955 (age 54–55)
Dover, Kent, England

Origin London, England

Genres Jazz, Pop, rock, electropop

Occupations Saxophonist, multi-instrumentalist, arranger, producer, composer

Instruments Saxophone, brass instrument, flute, keyboards

Years active 1975 – present

Associated Level 42, Phil Collins, Tina Turner, Madness, Jamiroquai, The Ruts, Paul Hardcastle, Marc Almond, Kim Wilde, The
acts Clash, Topper Headon, Leisure Process, John Thirkell, Visage, Rick Astley, Public Image Ltd., Pet Shop Boys, Elvis
Costello, David Bowie, Björk, ABC

Gary Barnacle (born 1955, Dover, England) is a saxophonist and brass instrument arranger primarily noted for
session work, during the 1980s, with a large number of popular music acts, including pop singer, Kim Wilde (whom
he dated in the mid 80s). He was also in an electropop duo called Leisure Process, with ex-Positive Noise singer,
Ross Middleton.
Barnacle performed the saxophone part in The Clash's song, "1-2 Crush On You," which can be heard on their
album, Super Black Market Clash, and also played on their later albums Sandinista! and "Combat Rock". He was
introduced to The Clash through their drummer (and school friend of Barnacle's) Topper Headon, and reportedly
became involved in The Clash's infamous 1978 "pigeon shooting" incident.
One of Barnacle's longest associations has been with Level 42, with whom he has played on several albums,
including the band's 1981 debut. The horn section he formed with British trumpet and fluegelhorn player, John
Thirkell, for Level 42 is known as the Henpecked Horns. Barnacle and Thirkell have also backed Swing Out Sister.
Barnacle also recorded "A Way You'll Never Be" with Mark King and Phil Gould.
Other acts for whom Barnacle has contributed session work have included Big Fun, Paul Hardcastle, Visage, The
Beautiful South, Rick Astley, Public Image Ltd., Barry Adamson, Madness, Pet Shop Boys, Kim Wilde, Jamiroquai,
Elvis Costello, David Bowie, Tim Finn, Björk, Tina Turner, Carlene Carter, The Ruts, Phil Collins, T'Pau, ABC,
Guru and Billie Ray Martin (on her 1995 debut Deadline For My Memories, his name is mis-spelled as "Gary
Barnickle"). He worked frequently with Stock Aitken Waterman as a session musician in their PWL studios.
Barnacle is frequently credited as an arranger of woodwinds and brass on his session work.
Barnacle also plays flute (as evidenced on Hardcastle's first Jazzmasters album) and keyboards.
He returned to the music industry in 2002, releasing his first solo album, Paradise. He is currently producing
indie/dance band propeller.
[1] [2]
Gary Barnacle 108

See also
• Touring and studio musicians of Phil Collins
• Members of Public Image Ltd.

External links
• Gary Barnacle at a Level 42 website [3]
• Mini biography at a session musician's fan site [4]

References
[1] (http:/ / shopping. yahoo. com/
p:Paradise:1921651532;_ylt=AtowCmcBHngOCALfvtrUoP9UvQcF;_ylu=X3oDMTBzZTVhM3RqBF9zAzk1OTUxMTEzBGx0AzQEc2VjA2FydHByb2Q-)
[2] (http:/ / www. amazon. co. uk/ Paradise-Gary-Barnacle/ dp/ B0000561P4)
Pennie Smith 109

Pennie Smith
Pennie Smith
Born about 1949
London, England

Nationality English

Education Twickenham Art school

Occupation Photographer

Pennie Smith (born in London) is an English photographer, renowned for having photographed several famous rock
musicians. She specialises in black and white photography.
Smith attended Twickenham Art school in the late 1960s, studying graphics and fine art. With others, she
collaborated with graphic designer, Barney Bubbles and music journalist, Nick Kent in producing Friends magazine
from 1969 to 1972. In 1970 she designed the sleeve for the Pink Fairies debut release Never Never Land. Her first
major photographic commission was to cover a 1970s Led Zeppelin tour. Smith went on to work at the NME as staff
photographer until the early 1980s.
In her career, Smith has photographed some of rock music's icons and legends, including: Led Zeppelin, The Rolling
Stones, The Who, Iggy Pop, The Clash, The Jam, The Slits, Siouxsie Sioux, Debbie Harry, U2, Morrissey, The
Stone Roses, Primal Scream, Manic Street Preachers, Radiohead, Blur, Oasis and The Strokes.
In addition to her portrait work, some of rock's defining moments have been captured by her whilst covering tours
with musicians. Perhaps her most famous photograph is that of The Clash's Paul Simonon smashing his bass guitar
on the stage in New York during a 1979 tour.[1] [2] The photograph went on to be used on the cover of the Clash
album, London Calling, designed by Ray Lowry, and received Q magazine’s "Greatest Rock ‘n’ Roll Photograph of
All-Time" award in 2002.[3]
Smith's work has appeared on the covers and pages of the NME, on album sleeves, promotional material and has
featured in books. In 1980 her best selling book, The Clash, Before and After, was published.[4]
Smith currently lives and works in a disused railway station in West London, which she bought and converted into a
studio whilst she was a student, and freelances in black and white reportage photography.
In late 2009 multiple images by Smith were included in the Who Shot Rock & Roll exhibit of rock photography at
the Brooklyn Museum.
In Jan 2010 Smith's London Calling image was issued on a postage stamp by the Royal Mail. [5]

External links
• Pennie Smith at the National Portrait Gallery [6]
• An interview with Pennie Smith [7] (Waybacked)

References
[1] Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.). London: Orion.
pp. 195–196. ISBN 0752858432. OCLC 52990890.
[2] Sweeting, Adam. "Death or Glory". Uncut. October 2004. p.70.
[3] Judd, Terri. "One hundred timeless rock'n'roll moments, and the photographers who..." (http:/ / findarticles. com/ p/ articles/ mi_qn4158/
is_20020124/ ai_n9669465). The Independent. 2002-01-24. Retrieved 2008-02-17.
[4] Smith, Pennie (1980). The Clash: Before and After. Boston: Little, Brown. ISBN 0316801690. OCLC 8034340.
[5] "Classic Album Covers - British Design on stamps 7 January 2010" (http:/ / www. norphil. co. uk/ 2010/ 01-album_covers_stamps. htm).
Norvic Philatelics. . Retrieved 2010-01-08.
Ellen Foley 110

Ellen Foley
Ellen Foley
Born June 5, 1951

Origin St. Louis, Missouri, U.S.

Genres Rock

Occupations Singer, actress

Instruments Vocals

Years active 1977 – present

Associated acts The Clash

Meat Loaf

Ellen Foley (born June 5, 1951) is an American singer and actress, who has appeared on Broadway and television,
where she co-starred in the sitcom Night Court. In music, she has released three solo albums but is best known for
her collaborations with the singer Meat Loaf.[1] [2] [3] [4] [5]

Early life and career

Foley was born in St. Louis, Missouri, the daughter of John and Virginia B. Foley.[6] Foley attended Webster
University.[6] Foley gained high public recognition singing the duet with Meat Loaf on the hit single "Paradise by the
Dashboard Light" from the 1977 album Bat out of Hell.[7] Although Karla DeVito is featured on the music video,
DeVito is lip synching to Foley's vocals.[8]
Her debut album Night Out with the hit single "What's a Matter Baby", was released in 1979.[9] The album was
produced by Ian Hunter and Mick Ronson. Foley recorded a memorable duet with Ian Hunter in 1980, "We Gotta
Get Outta Here". Her creative relationship with Hunter also led her to singing backing vocals on the Iron City
Houserockers' 1980 album Have a Good Time but Get out Alive!, produced by Hunter, Ronson, and The E Street
Band's Steven Van Zandt.[10]
She can also be heard on The Clash album Sandinista!, released in 1980, in the songs "Hitsville UK" and "Corner
Soul", and on the unreleased track "Blonde Rock 'n' Roll". All four members of The Clash appeared on her second
album The Spirit of St. Louis in 1981, and Mick Jones and Joe Strummer co-wrote a number of songs for the
album.[11] Jones also produced the album, which also featured members of The Blockheads.[11] The Clash's hit song
"Should I Stay or Should I Go", written and sung by Jones, was about the turbulent relationship he shared with Foley
at the time.[7] [12]
She released her third and, until now, last solo album Another Breath in 1983.[13] In 1984, she sang backing vocals
on Joe Jackson's album Body & Soul[2] and had a large role in the music video for Utopia's "Crybaby". She fronted
the band Pandora's Box, formed by Jim Steinman in 1989. Their album Original Sin was the first to feature the song
"It's All Coming Back to Me Now" (vocals by Elaine Caswell); both Meat Loaf and Celine Dion had separate chart
successes with that song, years later.[14] [15] [16]
Ellen Foley 111

Broadway, film and television

Foley lives in the Upper West Side of Manhattan and continues an active career in music and has appeared on
Broadway in such shows as Me and My Girl and the revival of Hair and off-Broadway in Beehive.[2] [3] She
originated the role of The Witch in Stephen Sondheim's Into the Woods at the Old Globe Theater in San Diego,[3] but
was replaced by Bernadette Peters before the play reached New York. She eventually reprised the role by appearing
on Broadway herself.
Her best known television acting role is the role of Billie Young on Night Court for one season (1984-85),[3] after
which she was succeeded by Markie Post as Christine Sullivan. She had parts in Miloš Forman's 1979 film
adaptation of the stage musical Hair, as well as the films Cocktail, Fatal Attraction and Married to the Mob.[3]
She was also in the short-lived 1977 show 3 Girls 3, co-starring with Debbie Allen and Mimi Kennedy.[3]

Personal life
Foley married the writer Doug Bernstein in 1980.[6] Foley's husband is the co-author of the Off-Broadway revue
"Showing Off" and is a magna cum laude graduate of Amherst College.[6] The couple live in Manhattan with their
two sons, Timothy and Henry. As of the mid-2000s, she teaches vocal lessons at The Paul Green School of Rock
Music in Manhattan, New York City, New York.[5]

Filmography

Stage appearances

Year Title Role Theatre

1977 Hair Sheila Biltmore Theatre, New York City

1983 Eve Is Innocent Kim Dolphin Actors and Directors Theatre, New York City

1987 Into the Woods The Witch Old Globe Theatre, San Diego, CA

1987 Beautiful Bodies Lisbeth Whole Theatre Company, Montclair, NJ

1988 Me and My Girl Sally Marquis Theatre, New York City

Film

Year Film Role Notes

1979 Hair Black Girls Singer Directed by Miloš Forman

Distributed by United Artists

1982 Tootsie Jacqui Directed by Sydney Pollack

Distributed by Columbia Pictures

1983 The King of Comedy Street scum Directed by Martin Scorsese

Distributed by 20th Century Fox

1987 Fatal Attraction Hildy Directed by Miloš Forman

Distributed by Paramount Pictures

1988 Cocktail Eleanor Directed by Roger Donaldson

Distributed by Touchstone Pictures

Married to the Mob Theresa Directed by Jonathan Demme

Distributed by Orion Pictures

Television

Year Title Role Network

Ellen Foley 112

1977 3 Girls 3 Regular NBC

1984-1985 Night Court Billie Young

Discography

Studio albums
• Night Out (1979) Epic[9]
• Spirit of St. Louis (1981) Epic[9]
• Another Breath (1983) Epic[9]
NOTE: all of these were originally issued by Epic[9] within the USA on Vinyl LP and are long out of print. They
have all been re-issued on CD by Wounded Bird Records[13]

Compilations
• The Very Best Of (1992)

Singles
• "We Belong to the Night" / "Young Lust" (1979)
• "What's a Matter Baby" / "Hideaway" (1979)
• "Sad Song" / "Stupid Girl" (1980)
• "Stupid Girl" / "Young Lust" (1980)
• "The Shuttered Palace" / "Beautiful Waste of Time" (1981)
• "Torchlight" / "Game of a Man" (1981)
• "Torchlight" / "Le palais" (1981)
• "Boys in the Attic" / "Beat of a Broken Heart" (1983)
• "Nightline (Single Version)" / "Beat of a Broken Heart (1983)
• "Nightline (Dance Mix - Long Version)" / "Nightline (Dance Mix - Short Version)" "Nightline (Dub)" [12"
Maxi-Single]

External links
• Ellen Foley [17] at the Internet Movie Database
• Ellen Foley [18] at the Internet Broadway Database
• Information page and discography [19]

References
[1] Ruhlmann, William. "allmusic ((( Ellen Foley > Overview )))" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:k9fpxqy5ldse).
allmusic.com. . Retrieved February 27, 2010.
[2] "Ellen Foley - Biography" (http:/ / www. imdb. com/ name/ nm0284129/ bio). IMDb.com. . Retrieved February 27, 2010.
[3] "Ellen Foley Biog