People have been put in straitjackets for lesser statements.
I was actually inspired to listen to CTC on my drive the other night after reading some of Ralph's book—I expect it will happen a fair amount. I think I'm one of the only people here that likes it unironically. Of course, it started that way, but I came to love it like a child under the stairs.
Wow. I can't imagine it will, for me, ever transcend ironic enjoyment at best.
People have been put in straitjackets for lesser statements.
I was actually inspired to listen to CTC on my drive the other night after reading some of Ralph's book—I expect it will happen a fair amount. I think I'm one of the only people here that likes it unironically. Of course, it started that way, but I came to love it like a child under the stairs.
Wow. I can't imagine it will, for me, ever transcend ironic enjoyment at best.
People have been put in straitjackets for lesser statements.
I was actually inspired to listen to CTC on my drive the other night after reading some of Ralph's book—I expect it will happen a fair amount. I think I'm one of the only people here that likes it unironically. Of course, it started that way, but I came to love it like a child under the stairs.
Wow. I can't imagine it will, for me, ever transcend ironic enjoyment at best.
That bridge in Movers and Shakers is pretty great.
Man, it's superb. There's emotion and power, and boy, Joe is singing the shit out of it. Then you have those Mariachi horns dripping with melody in the background. It is just a great song in general.
I just get tired of that "This Is England is the only good thing on CtC" cliche. There's great moments dotted all over the album but they're rendered flat by the production. If CtC was genuinely bad from top to bottom we would not discuss it. It's the fact that there's a great album in there somewhere but it's thwarted at every turn.
That bridge in Movers and Shakers is pretty great.
Man, it's superb. There's emotion and power, and boy, Joe is singing the shit out of it. Then you have those Mariachi horns dripping with melody in the background. It is just a great song in general.
I just get tired of that "This Is England is the only good thing on CtC" cliche. There's great moments dotted all over the album but they're rendered flat by the production. If CtC was genuinely bad from top to bottom we would not discuss it. It's the fact that there's a great album in there somewhere but it's thwarted at every turn.
I agree with this entire post.
Too, I always thought that bridge in "Movers and Shakers" sounded/felt like the bridge in Ian Hunter & Mick Ronson's "Lisa Likes Rock n' Roll" from the barbarically unheralded 1981 album 'Short Back & Sides' (co-produced by our Mick, with Topper in tow).
It's at the 2:30 mark. What you think, mate?
If CtC was genuinely bad from top to bottom we would not discuss it. It's the fact that there's a great album in there somewhere but it's thwarted at every turn.
That it was hilariously and incompetently produced does inspire discussion and derision, but I'm not sure that the "if only" argument is why we keep returning to CtC. For me, at least, it's about the fascination of a great band self-destructing in the most bizarre manner. It's the "what is" not "what could be" that intrigues and amuses me.
If CtC was genuinely bad from top to bottom we would not discuss it. It's the fact that there's a great album in there somewhere but it's thwarted at every turn.
That it was hilariously and incompetently produced does inspire discussion and derision, but I'm not sure that the "if only" argument is why we keep returning to CtC. For me, at least, it's about the fascination of a great band self-destructing in the most bizarre manner. It's the "what is" not "what could be" that intrigues and amuses me.
That bridge in Movers and Shakers is pretty great.
Man, it's superb. There's emotion and power, and boy, Joe is singing the shit out of it. Then you have those Mariachi horns dripping with melody in the background. It is just a great song in general.
I just get tired of that "This Is England is the only good thing on CtC" cliche. There's great moments dotted all over the album but they're rendered flat by the production. If CtC was genuinely bad from top to bottom we would not discuss it. It's the fact that there's a great album in there somewhere but it's thwarted at every turn.
I agree with this entire post.
Too, I always thought that bridge in "Movers and Shakers" sounded/felt like the bridge in Ian Hunter & Mick Ronson's "Lisa Likes Rock n' Roll" from the barbarically unheralded 1981 album 'Short Back & Sides' (co-produced by our Mick, with Topper in tow).
It's at the 2:30 mark. What you think, mate?
I can see the resemblance with that note stretch on the vocals.
Re: The Clash 2 Observations Thread
Posted: 07 Aug 2018, 7:18pm
by Heston
I've just listened again and that last mariachi horn line in the middle eight followed by Joe's "hey!" made me want go back in time and sign up for Bernie's Summer 86 Youth Internment Camp.
I was actually inspired to listen to CTC on my drive the other night after reading some of Ralph's book—I expect it will happen a fair amount. I think I'm one of the only people here that likes it unironically. Of course, it started that way, but I came to love it like a child under the stairs.
I too like it quite a bit. It just doesn't sound like the Clash at all, other than Joe's voice, some chord progressions and what lyrics I can understand. It's a fun cartoon. (though "This Is England" remains a potent non-cartoony piece, weird production and all).
And by the way - how, exactly, does one enjoy music "ironically"?
If CtC was genuinely bad from top to bottom we would not discuss it. It's the fact that there's a great album in there somewhere but it's thwarted at every turn.
That it was hilariously and incompetently produced does inspire discussion and derision, but I'm not sure that the "if only" argument is why we keep returning to CtC. For me, at least, it's about the fascination of a great band self-destructing in the most bizarre manner. It's the "what is" not "what could be" that intrigues and amuses me.
If CtC was genuinely bad from top to bottom we would not discuss it. It's the fact that there's a great album in there somewhere but it's thwarted at every turn.
That it was hilariously and incompetently produced does inspire discussion and derision, but I'm not sure that the "if only" argument is why we keep returning to CtC. For me, at least, it's about the fascination of a great band self-destructing in the most bizarre manner. It's the "what is" not "what could be" that intrigues and amuses me.
If CtC was genuinely bad from top to bottom we would not discuss it. It's the fact that there's a great album in there somewhere but it's thwarted at every turn.
That it was hilariously and incompetently produced does inspire discussion and derision, but I'm not sure that the "if only" argument is why we keep returning to CtC. For me, at least, it's about the fascination of a great band self-destructing in the most bizarre manner. It's the "what is" not "what could be" that intrigues and amuses me.
I think it's both for me.
Fencesitter.
Was that a KISS outtake from Dressed To Kill?
Right—Gene failing to make "facesitter" into something "sexy."