A few sundry/spontaneous remarks about London Calling, The Clash’s remarkable album, turning 40 as well as a few miscellaneous annotations about The Clash’s canon:
London Calling had the element of surprise as the world (or the record company) had no idea that this eclectic mix of americana, ska, rockabilly, mushy songs, political songs, fun songs, songs recorded in 1 take, a rock drummer playing like Ginger Baker without the prog and the almost alien guitar playing of Mick Jones. No one knew what to expect and it exploded as a secret, delivered mere hours before the EOY deadline.
The double LP was packed in one sleeve (to save label and fans money) and Train in Vain was Mick’s last minute addition (that’s why the mix sounds so different too) with Topper, no Joe or Paul on that track.
June 2012, i boarded a VIA with 11 bands, a doc film crew, CBC radio 3, a bushel of photographers, a handful of fans and me as onboard community Svengali – complete a Bob Marley/Hunter Thompson inspired medical kit.
Across the lands we bounded, each band performing acoustically in the glass act-deco caboose in car, they played a showcase in the “activity” car, then a rousing full rocking set at the Gladstone in Toronto for CBC Radio 3 NXNE showcase.
Along the way, we made 4 whistlestop performances which all featured lateness, weirdness and rampaging small towns before escaping back to the diplomatic immunity of the train.
You probably know i made a 6or7 part podcast series – tracking the trek and Green Couch are crafting a Tracks on Tracks documentary… which i think should be 10 hours long.
I gathered all my paper-y bits and pieces and made another of my commemorative story boards AKA “static montage” with CDs, stickers, snaps, stubs, postcards and even a pic from my keynote address at NXNE Interactive about social media in crisis and revolutions.
With John Biehler’s help, here is the static montage, hopefully in a size you can zoom in and catch each detail.
Tag it up, wallpaper it, share it. Enjoy and let’s go again!
At the iconic Smilin Buddha Cabaret and Restaurant in Vancouver’s downtown Eastside, legendary punk rock photographer bev. davies (sic) shows the photos in her recent “(Return to the) Scene of the Crime” exhibit featuring photos taken at his landmark venue between 1979 and 1983.
Dave uncleweed Olson — with attorney Lindsay Lazlo Bailey — asks about her process, the stories behind photos, anecdotes about the subjects and flashbacks about the shows.
Plus, they discuss:
* various parenting tips and stories with heavy metal warlords (Bruce Dickinson, Lemmy Killmister, Dee Snider)
* ideas for a book of bev’s photos (form, cost, etc)
* the history of her remarkable calendars with Nardwuar
* some friends who’ve died (RIP Dave Gregg, Brain Goble)
* hollandaise sauce and skateboards ramps
Note: As a fan and supporter of bev’s work, i’ve also interviewed her (along with new-school photographer and activist Kris Krug) at Northern Voice in a talk called “Building a Scene — Rock n Rock Photos” and another interview to appear soon.
Each Friday, The Salt Lake Tribune presents images from its archives in a special series called A Look Back. This week’s installment features photos of The Rolling Stones, Black Flag, REM and a number of other iconic bands as shot by The Salt Lake Tribune’s Rick Egan, who has been with the paper since 1984. “Concerts are hard. The lights are always changing. The people are always moving. It’s not like shooting anything else,” Egan said. “I’ve only been knocked out once.” It happened when he was punched by a fan at a Jimmy Cliff show. Egan started photographing bands in high school in the late 1970s. “That was back in the day when you could just walk in to a show with a camera and nobody cared.”
Each Friday, The Salt Lake Tribune presents historic images in a special series called A Look Back. This week’s installment features photos from notable Salt Lake City concerts ranging from the 1970s to the 1990s.