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The Clash: The B-Sides
- Dr. Medulla
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Re: The Clash: The B-Sides
"Ain't no party like an S Club party!'" - Richard Nixon, Checkers Speech, abandoned early draft
Re: The Clash: The B-Sides
You can't tell me that guitar sound isn't awesome! It's like the aural equivalent of exhaling pot smoke.
"Suck our Earth dick, Martians!" —Doc
- Dr. Medulla
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Re: The Clash: The B-Sides
Maybe it's one of those things for musicians.Kory wrote: ↑20 Nov 2017, 9:55pmYou can't tell me that guitar sound isn't awesome! It's like the aural equivalent of exhaling pot smoke.
"Ain't no party like an S Club party!'" - Richard Nixon, Checkers Speech, abandoned early draft
Re: The Clash: The B-Sides
I can see thinking the groove is wooden and the "melody unimaginative," but the economy of Mick's playing—not coming in with his lead until 1:00 with that jarring chord—is badass.Dr. Medulla wrote: ↑20 Nov 2017, 10:13pmMaybe it's one of those things for musicians.Kory wrote: ↑20 Nov 2017, 9:55pmYou can't tell me that guitar sound isn't awesome! It's like the aural equivalent of exhaling pot smoke.
"Suck our Earth dick, Martians!" —Doc
- Marky Dread
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Re: The Clash: The B-Sides
Do The Cool Out and Justice Tonight/Kick It Over count in your B-side list Flex. As they are both brilliant.
Outside Broadcast is OK but Radio 5 is a load of crap.
I really like the rockier alt. version of Cool Confusion.
Outside Broadcast is OK but Radio 5 is a load of crap.
I really like the rockier alt. version of Cool Confusion.
Forces have been looting
My humanity
Curfews have been curbing
The end of liberty
We're the flowers in the dustbin...
No fuchsias for you.
"Without the common people you're nothing"
Nos Sumus Una Familia
- Marky Dread
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Re: The Clash: The B-Sides
One thing that's never been correct is that London's Burning Live/Mono. That version is the Beaconsfield take. If that is live then so is White Riot on the ST album.Flex wrote: ↑20 Nov 2017, 3:54pmGood discussion on the quality of B-sides by the band. They had a rep for releasing gold on both sides of the single, but that reputation probably stopped being earned partway through the band's tenure. Here's how I'd group the B-sides (and excluding songs that appeared on the Capital Radio and Cost of Living EPs or anything post-85) that didn't end up on their proper albums:
Great songs
1977
City of the Dead
Jail Guitar Doors
The Prisoner
Pressure Drop
Armagideon Time
Radio Clash
Good songs
London's Burning (Live)
1-2 Crush on You
Radio One
Uh, whatever songs
Rockers Galore... UK Tour
The Magnificent Dance
Long Time Jerk
Do It Now
These songs are bad and should feel bad
Stop the World
First Night Back in London
Cool Confusion
Sex Mad War
Also if The Clash didn't want Remote Control released as a single then surely that goes for it's B-side. Especially as it's yet another track that was already on the album.
Forces have been looting
My humanity
Curfews have been curbing
The end of liberty
We're the flowers in the dustbin...
No fuchsias for you.
"Without the common people you're nothing"
Nos Sumus Una Familia
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muppet hi fi
- Unknown Immortal
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Re: The Clash: The B-Sides
Concur. Always liked First Night. I think the groove is intentionally stiff and tense and I love Toppers odd drum pattern. And then Mick's guitar breaks the whole thing wide open with those major chords, licks and figures.Kory wrote: ↑20 Nov 2017, 11:31pmI can see thinking the groove is wooden and the "melody unimaginative," but the economy of Mick's playing—not coming in with his lead until 1:00 with that jarring chord—is badass.Dr. Medulla wrote: ↑20 Nov 2017, 10:13pmMaybe it's one of those things for musicians.Kory wrote: ↑20 Nov 2017, 9:55pmYou can't tell me that guitar sound isn't awesome! It's like the aural equivalent of exhaling pot smoke.
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- Marky Dread and his fabulous Screaming Blue Messiahs
Re: The Clash: The B-Sides
This is a great thread. The trajectory of the Clash B-sides definitely seemed to tail off by the end - although I also liked First Night despite that plinky plonky synth stuff. It has an 'interesting' atmosphere and storyline and might have worked well done live e.g. merging into one of their reggae tunes.
The B-sides helped make the early singles such fantastic statements of intent, and were definitely some of the best songs they wrote - 1977, City of the Dead, Jail Guitar Doors, The Prisoner. They just HAD to be on their respective 7" and not album tracks (sorry to anyone who grew up with and loved the US 1st LP, or compilations)
Even what may have seemed like throwaway stuff like Pressure Drop and 1-2 Crush On You - which were after all backing two album tracks lifted as singles - were great. Some fine examples of Mick's trademark guitar sound here.
Armageddon Time and the dub versions on the 12" remain some of my favourite ever Clash tracks.
But after that, maybe it's a psychological thing with me but if the single was an album track, the B-side always seemed a bit of a filler. Dust off an outtake, or do a bit of a remix, and shove it on there, sort of thing.
The B-sides helped make the early singles such fantastic statements of intent, and were definitely some of the best songs they wrote - 1977, City of the Dead, Jail Guitar Doors, The Prisoner. They just HAD to be on their respective 7" and not album tracks (sorry to anyone who grew up with and loved the US 1st LP, or compilations)
Even what may have seemed like throwaway stuff like Pressure Drop and 1-2 Crush On You - which were after all backing two album tracks lifted as singles - were great. Some fine examples of Mick's trademark guitar sound here.
Armageddon Time and the dub versions on the 12" remain some of my favourite ever Clash tracks.
But after that, maybe it's a psychological thing with me but if the single was an album track, the B-side always seemed a bit of a filler. Dust off an outtake, or do a bit of a remix, and shove it on there, sort of thing.
Ignore Alien Hors d'oeuvres
Re: The Clash: The B-Sides
I agree.Low Down Low wrote: ↑20 Nov 2017, 6:08pmThe way Joe's voice breaks on the second "run" is pleasing, could be classed as a sublime moment.
Re: The Clash: The B-Sides
No. I like it too.
Glad Flex put The Prisoner up there. It's in my top 10.
Got a Rake? Sure!
IMCT: Inane Middle-Class Twats - Dr. M
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IMCT: Inane Middle-Class Twats - Dr. M
" *sigh* it's right when they throw the penis pump out the window." -Hoy
Re: The Clash: The B-Sides
I remember reading that the b-side was just the audio of this:Marky Dread wrote: ↑21 Nov 2017, 12:40am
One thing that's never been correct is that London's Burning Live/Mono. That version is the Beaconsfield take. If that is live then so is White Riot on the ST album.
But it appears to be slightly different.
It's definitely not the Beaconsfield version:
Neither are the b-side version:
But the promo video at the top is a lot closer than the Beaconsfield version, so I suspect it is a different take from that session. We do know they did multiple takes as there was that one alternate White Riot clip that showed up in that documentary recently. Of course I'm questioning Marky's take on Clash history which usually doesn't bode well for me...
Look, you have to establish context for these things. And I maintain that unless you appreciate the Fall of Constantinople, the Great Fire of London, and Mickey Mantle's fatalist alcoholism, live Freddy makes no sense. If you want to half-ass it, fine, go call Simon Schama to do the appendix.
- Marky Dread
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Re: The Clash: The B-Sides
OK so this has made me go back to all the versions I have and I can confirm that the B-side is not any of the Beaconsfield takes as I previously thought but is in fact the same version as the ST album version only allegedly in mono instead of stereo. My problem with this track is not which version it is or where it came from but the way it was marketed by CBS. Live in mono for the first time it states on the rear sleeve. So suggesting that the whole album was recorded live then overdubs were added. What this B-side is, is the same studio take in mono.matedog wrote: ↑21 Nov 2017, 11:05amI remember reading that the b-side was just the audio of this:Marky Dread wrote: ↑21 Nov 2017, 12:40am
One thing that's never been correct is that London's Burning Live/Mono. That version is the Beaconsfield take. If that is live then so is White Riot on the ST album.
But it appears to be slightly different.
It's definitely not the Beaconsfield version:
Neither are the b-side version:
But the promo video at the top is a lot closer than the Beaconsfield version, so I suspect it is a different take from that session. We do know they did multiple takes as there was that one alternate White Riot clip that showed up in that documentary recently. Of course I'm questioning Marky's take on Clash history which usually doesn't bode well for me...
Forces have been looting
My humanity
Curfews have been curbing
The end of liberty
We're the flowers in the dustbin...
No fuchsias for you.
"Without the common people you're nothing"
Nos Sumus Una Familia
Re: The Clash: The B-Sides
It's not the ST version either though. The drumming is very different and I suspect the "live" version is Topper, not Terry, as he's not opening his hi hats the way Terry does. The opening fill before the band goes into the riff is different too.Marky Dread wrote: ↑21 Nov 2017, 2:36pmOK so this has made me go back to all the versions I have and I can confirm that the B-side is not any of the Beaconsfield takes as I previously thought but is in fact the same version as the ST album version only allegedly in mono instead of stereo. My problem with this track is not which version it is or where it came from but the way it was marketed by CBS. Live in mono for the first time it states on the rear sleeve. So suggesting that the whole album was recorded live then overdubs were added. What this B-side is, is the same studio take in mono.matedog wrote: ↑21 Nov 2017, 11:05amI remember reading that the b-side was just the audio of this:Marky Dread wrote: ↑21 Nov 2017, 12:40am
One thing that's never been correct is that London's Burning Live/Mono. That version is the Beaconsfield take. If that is live then so is White Riot on the ST album.
But it appears to be slightly different.
It's definitely not the Beaconsfield version:
Neither are the b-side version:
But the promo video at the top is a lot closer than the Beaconsfield version, so I suspect it is a different take from that session. We do know they did multiple takes as there was that one alternate White Riot clip that showed up in that documentary recently. Of course I'm questioning Marky's take on Clash history which usually doesn't bode well for me...
Look, you have to establish context for these things. And I maintain that unless you appreciate the Fall of Constantinople, the Great Fire of London, and Mickey Mantle's fatalist alcoholism, live Freddy makes no sense. If you want to half-ass it, fine, go call Simon Schama to do the appendix.
- Marky Dread
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Re: The Clash: The B-Sides
I will bow down to you technical know how regards to which drummer it may be. But it is definitely the album take I've had the tracks under spectral analysis and other than the couple of seconds guitar sound at the start of the B-side they are the same. This single was released when the band were on tour and they had no say in its release. Which would make it all the more surprising if it's Topoer on the kit.matedog wrote: ↑21 Nov 2017, 3:39pmIt's not the ST version either though. The drumming is very different and I suspect the "live" version is Topper, not Terry, as he's not opening his hi hats the way Terry does. The opening fill before the band goes into the riff is different too.Marky Dread wrote: ↑21 Nov 2017, 2:36pmOK so this has made me go back to all the versions I have and I can confirm that the B-side is not any of the Beaconsfield takes as I previously thought but is in fact the same version as the ST album version only allegedly in mono instead of stereo. My problem with this track is not which version it is or where it came from but the way it was marketed by CBS. Live in mono for the first time it states on the rear sleeve. So suggesting that the whole album was recorded live then overdubs were added. What this B-side is, is the same studio take in mono.matedog wrote: ↑21 Nov 2017, 11:05amI remember reading that the b-side was just the audio of this:Marky Dread wrote: ↑21 Nov 2017, 12:40am
One thing that's never been correct is that London's Burning Live/Mono. That version is the Beaconsfield take. If that is live then so is White Riot on the ST album.
But it appears to be slightly different.
It's definitely not the Beaconsfield version:
Neither are the b-side version:
But the promo video at the top is a lot closer than the Beaconsfield version, so I suspect it is a different take from that session. We do know they did multiple takes as there was that one alternate White Riot clip that showed up in that documentary recently. Of course I'm questioning Marky's take on Clash history which usually doesn't bode well for me...
The record label also states 'from the album The Clash'.
Forces have been looting
My humanity
Curfews have been curbing
The end of liberty
We're the flowers in the dustbin...
No fuchsias for you.
"Without the common people you're nothing"
Nos Sumus Una Familia
Re: The Clash: The B-Sides
Vocals are a different take too as a more obvious distinction:Marky Dread wrote: ↑21 Nov 2017, 3:57pmI will bow down to you technical know how regards to which drummer it may be. But it is definitely the album take I've had the tracks under spectral analysis and other than the couple of seconds guitar sound at the start of the B-side they are the same. This single was released when the band were on tour and they had no say in its release. Which would make it all the more surprising if it's Topoer on the kit.matedog wrote: ↑21 Nov 2017, 3:39pmIt's not the ST version either though. The drumming is very different and I suspect the "live" version is Topper, not Terry, as he's not opening his hi hats the way Terry does. The opening fill before the band goes into the riff is different too.Marky Dread wrote: ↑21 Nov 2017, 2:36pmOK so this has made me go back to all the versions I have and I can confirm that the B-side is not any of the Beaconsfield takes as I previously thought but is in fact the same version as the ST album version only allegedly in mono instead of stereo. My problem with this track is not which version it is or where it came from but the way it was marketed by CBS. Live in mono for the first time it states on the rear sleeve. So suggesting that the whole album was recorded live then overdubs were added. What this B-side is, is the same studio take in mono.matedog wrote: ↑21 Nov 2017, 11:05amI remember reading that the b-side was just the audio of this:Marky Dread wrote: ↑21 Nov 2017, 12:40am
One thing that's never been correct is that London's Burning Live/Mono. That version is the Beaconsfield take. If that is live then so is White Riot on the ST album.
www.youtube.com/watch?v=weGEv_BhjNw
But it appears to be slightly different.
It's definitely not the Beaconsfield version:
www.youtube.com/watch?v=qaKfJTsgIQ8
Neither are the b-side version:
www.youtube.com/watch?v=xIho2POCBWc
But the promo video at the top is a lot closer than the Beaconsfield version, so I suspect it is a different take from that session. We do know they did multiple takes as there was that one alternate White Riot clip that showed up in that documentary recently. Of course I'm questioning Marky's take on Clash history which usually doesn't bode well for me...
The record label also states 'from the album The Clash'.
"Now I'm in the subway and I'm looking for the flat" - S/T
"Now I'm in the subway looking for the flat" - Remote Control b-side
Look, you have to establish context for these things. And I maintain that unless you appreciate the Fall of Constantinople, the Great Fire of London, and Mickey Mantle's fatalist alcoholism, live Freddy makes no sense. If you want to half-ass it, fine, go call Simon Schama to do the appendix.