Simple because of the changing times. When The Clash signed to CBS and the Sex Pistols to E.M.I. for that matter there were not that many independent labels. Stiff were probably the main one and they had signed The Damned. A lot more smaller labels started in the wake of punk although the majority are just an offshoot of a bigger corporation. But the song celebrates the way a band any size could get something released even if it only appeals to a minority audience. Of course you hardly change the musical world this way but it still proves what is achievable.matedog wrote: ↑19 Oct 2017, 3:04pmIt just comes across hypocritical. Why praise bands that stick with indie labels if you yourself chose not to?Marky Dread wrote: ↑19 Oct 2017, 2:24pmThat is the whole point of the song. The fact that a band who have made it big time on a big label can acknowledge and appreciate smaller bands whose only way in is through the smaler outlets.
Clash Songs Ranked
- Marky Dread
- Messiah of the Milk Bar
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Re: Clash Songs Ranked
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: Clash Songs Ranked
What about that famous "punk died the day The Clash signed to CBS" quote at the time? I'm drawing a blank from the Clash bios, but there was one indie label that was pushing REALLY hard to sign the band at the time, and The Clash chose CBS over them. I believe they had a very real option to stay indie and chose not to.Marky Dread wrote: ↑19 Oct 2017, 3:12pmSimple because of the changing times. When The Clash signed to CBS and the Sex Pistols to E.M.I. for that matter there were not that many independent labels. Stiff were probably the main one and they had signed The Damned. A lot more smaller labels started in the wake of punk although the majority are just an offshoot of a bigger corporation. But the song celebrates the way a band any size could get something released even if it only appeals to a minority audience. Of course you hardly change the musical world this way but it still proves what is achievable.matedog wrote: ↑19 Oct 2017, 3:04pmIt just comes across hypocritical. Why praise bands that stick with indie labels if you yourself chose not to?Marky Dread wrote: ↑19 Oct 2017, 2:24pmThat is the whole point of the song. The fact that a band who have made it big time on a big label can acknowledge and appreciate smaller bands whose only way in is through the smaler outlets.
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
- Messiah of the Milk Bar
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- Joined: 17 Jun 2008, 11:26am
Re: Clash Songs Ranked
Mark Perry said "punk died the day The Clash signed to CBS". Which was utter bullshit.matedog wrote: ↑19 Oct 2017, 3:23pmWhat about that famous "punk died the day The Clash signed to CBS" quote? I'm drawing a blank from the Clash bios, but there was one indie label that was pushing REALLY hard to sign the band at the time, and The Clash chose CBS over them. I believe they had a very real option to stay indie and chose not to.Marky Dread wrote: ↑19 Oct 2017, 3:12pmSimple because of the changing times. When The Clash signed to CBS and the Sex Pistols to E.M.I. for that matter there were not that many independent labels. Stiff were probably the main one and they had signed The Damned. A lot more smaller labels started in the wake of punk although the majority are just an offshoot of a bigger corporation. But the song celebrates the way a band any size could get something released even if it only appeals to a minority audience. Of course you hardly change the musical world this way but it still proves what is achievable.matedog wrote: ↑19 Oct 2017, 3:04pmIt just comes across hypocritical. Why praise bands that stick with indie labels if you yourself chose not to?Marky Dread wrote: ↑19 Oct 2017, 2:24pmThat is the whole point of the song. The fact that a band who have made it big time on a big label can acknowledge and appreciate smaller bands whose only way in is through the smaler outlets.
The other label wanting to sign The Clash was Polydor and they were almost as big as CBS and certainly no indie.
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: Clash Songs Ranked
When I get home, I'll dig it up, but there was another person pursuing them that was an indie label. He lost a lot of the early punk bands (Pistols too?) but eventually was able to sign successful bands.Marky Dread wrote: ↑19 Oct 2017, 3:25pmMark Perry said "punk died the day The Clash signed to CBS". Which was utter bullshit.matedog wrote: ↑19 Oct 2017, 3:23pmWhat about that famous "punk died the day The Clash signed to CBS" quote? I'm drawing a blank from the Clash bios, but there was one indie label that was pushing REALLY hard to sign the band at the time, and The Clash chose CBS over them. I believe they had a very real option to stay indie and chose not to.Marky Dread wrote: ↑19 Oct 2017, 3:12pmSimple because of the changing times. When The Clash signed to CBS and the Sex Pistols to E.M.I. for that matter there were not that many independent labels. Stiff were probably the main one and they had signed The Damned. A lot more smaller labels started in the wake of punk although the majority are just an offshoot of a bigger corporation. But the song celebrates the way a band any size could get something released even if it only appeals to a minority audience. Of course you hardly change the musical world this way but it still proves what is achievable.matedog wrote: ↑19 Oct 2017, 3:04pmIt just comes across hypocritical. Why praise bands that stick with indie labels if you yourself chose not to?Marky Dread wrote: ↑19 Oct 2017, 2:24pm
That is the whole point of the song. The fact that a band who have made it big time on a big label can acknowledge and appreciate smaller bands whose only way in is through the smaler outlets.
The other label wanting to sign The Clash was Polydor and they were almost as big as CBS and certainly no indie.
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.
Re: Clash Songs Ranked
Also, I agree that the quote is ridiculous, just brought it up because if that was the sentiment at the time, then clearly not signing to a major label was an option, generally speaking.
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.
- Heston
- God of Thunder...and Rock 'n Roll
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- Location: North of Watford Junction
Re: Clash Songs Ranked
I think Hitsville was a regret thing with the Clash and an acknowledgement they may have been wrong. It really is a great lyric, like ABBA with a conscience.
There's a tiny, tiny hopeful part of me that says you guys are running a Kaufmanesque long con on the board
- Marky Dread
- Messiah of the Milk Bar
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- Joined: 17 Jun 2008, 11:26am
Re: Clash Songs Ranked
It was Polydor Records and they eventually settled for The Jam.matedog wrote: ↑19 Oct 2017, 3:31pmWhen I get home, I'll dig it up, but there was another person pursuing them that was an indie label. He lost a lot of the early punk bands (Pistols too?) but eventually was able to sign successful bands.Marky Dread wrote: ↑19 Oct 2017, 3:25pmMark Perry said "punk died the day The Clash signed to CBS". Which was utter bullshit.matedog wrote: ↑19 Oct 2017, 3:23pmWhat about that famous "punk died the day The Clash signed to CBS" quote? I'm drawing a blank from the Clash bios, but there was one indie label that was pushing REALLY hard to sign the band at the time, and The Clash chose CBS over them. I believe they had a very real option to stay indie and chose not to.Marky Dread wrote: ↑19 Oct 2017, 3:12pmSimple because of the changing times. When The Clash signed to CBS and the Sex Pistols to E.M.I. for that matter there were not that many independent labels. Stiff were probably the main one and they had signed The Damned. A lot more smaller labels started in the wake of punk although the majority are just an offshoot of a bigger corporation. But the song celebrates the way a band any size could get something released even if it only appeals to a minority audience. Of course you hardly change the musical world this way but it still proves what is achievable.
The other label wanting to sign The Clash was Polydor and they were almost as big as CBS and certainly no indie.
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: Clash Songs Ranked
I should have known not to doubt MD.Marky Dread wrote: ↑19 Oct 2017, 3:41pmIt was Polydor Records and they eventually settled for The Jam.matedog wrote: ↑19 Oct 2017, 3:31pmWhen I get home, I'll dig it up, but there was another person pursuing them that was an indie label. He lost a lot of the early punk bands (Pistols too?) but eventually was able to sign successful bands.Marky Dread wrote: ↑19 Oct 2017, 3:25pmMark Perry said "punk died the day The Clash signed to CBS". Which was utter bullshit.matedog wrote: ↑19 Oct 2017, 3:23pmWhat about that famous "punk died the day The Clash signed to CBS" quote? I'm drawing a blank from the Clash bios, but there was one indie label that was pushing REALLY hard to sign the band at the time, and The Clash chose CBS over them. I believe they had a very real option to stay indie and chose not to.Marky Dread wrote: ↑19 Oct 2017, 3:12pm
Simple because of the changing times. When The Clash signed to CBS and the Sex Pistols to E.M.I. for that matter there were not that many independent labels. Stiff were probably the main one and they had signed The Damned. A lot more smaller labels started in the wake of punk although the majority are just an offshoot of a bigger corporation. But the song celebrates the way a band any size could get something released even if it only appeals to a minority audience. Of course you hardly change the musical world this way but it still proves what is achievable.
The other label wanting to sign The Clash was Polydor and they were almost as big as CBS and certainly no indie.
https://books.google.com/books?id=29hwk ... or&f=false
Chris Parry w/Polydor is who I was thinking of.
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.
Re: Clash Songs Ranked
There is a good discussion about it on those pages. Reasons for them to go indie or not. They point out the Buzzcocks' Spiral Scratch EP was done independently, so it's not like it wasn't an option and they were criticized about it at the time pretty extensively. I could possibly buy the "regret" claim for Hitsville.matedog wrote: ↑19 Oct 2017, 3:45pmI should have known not to doubt MD.Marky Dread wrote: ↑19 Oct 2017, 3:41pmIt was Polydor Records and they eventually settled for The Jam.matedog wrote: ↑19 Oct 2017, 3:31pmWhen I get home, I'll dig it up, but there was another person pursuing them that was an indie label. He lost a lot of the early punk bands (Pistols too?) but eventually was able to sign successful bands.Marky Dread wrote: ↑19 Oct 2017, 3:25pmMark Perry said "punk died the day The Clash signed to CBS". Which was utter bullshit.matedog wrote: ↑19 Oct 2017, 3:23pm
What about that famous "punk died the day The Clash signed to CBS" quote? I'm drawing a blank from the Clash bios, but there was one indie label that was pushing REALLY hard to sign the band at the time, and The Clash chose CBS over them. I believe they had a very real option to stay indie and chose not to.
The other label wanting to sign The Clash was Polydor and they were almost as big as CBS and certainly no indie.
https://books.google.com/books?id=29hwk ... or&f=false
Chris Parry w/Polydor is who I was thinking of.
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.
- Dr. Medulla
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- Location: Straight Banana, Idaho
Re: Clash Songs Ranked
All that comes down to how one defines punk. If it's something to do with the means of production and artistic purity, then indie and DIY is mandatory. If it's something more aesthetic or even just being big tent—more voices and approaches for audiences to pick from—then maybe the big labels aren't that much of a compromise.
"I used to bullseye womp rats in my T-16 back in Whittier, they're not much bigger than two meters.'" - Richard Nixon, Checkers Speech, abandoned early draft
- Marky Dread
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- Joined: 17 Jun 2008, 11:26am
Re: Clash Songs Ranked
The Buzzcocks released one EP on an Independent their own New Hormones. Then they signed to United Artists. The EP sold out but not without help from the Manchester local Virgin records and of course punk in general. If the Sex Pistols hadn't been making headlines and punk becoming notorious I doubt the Buzzcocks EP as great as it is would've sold that well.matedog wrote: ↑19 Oct 2017, 3:52pmThere is a good discussion about it on those pages. Reasons for them to go indie or not. They point out the Buzzcocks' Spiral Scratch EP was done independently, so it's not like it wasn't an option and they were criticized about it at the time pretty extensively. I could possibly buy the "regret" claim for Hitsville.matedog wrote: ↑19 Oct 2017, 3:45pmI should have known not to doubt MD.Marky Dread wrote: ↑19 Oct 2017, 3:41pmIt was Polydor Records and they eventually settled for The Jam.matedog wrote: ↑19 Oct 2017, 3:31pmWhen I get home, I'll dig it up, but there was another person pursuing them that was an indie label. He lost a lot of the early punk bands (Pistols too?) but eventually was able to sign successful bands.Marky Dread wrote: ↑19 Oct 2017, 3:25pm
Mark Perry said "punk died the day The Clash signed to CBS". Which was utter bullshit.
The other label wanting to sign The Clash was Polydor and they were almost as big as CBS and certainly no indie.
https://books.google.com/books?id=29hwk ... or&f=false
Chris Parry w/Polydor is who I was thinking of.
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: Clash Songs Ranked
And Perry (Mark) makes that point in ROLGIT as well, that the Gundy incident put punk in the national pysche. By early 77, punk didn't necessarily need the major label push. I don't necessarily think that The Clash sold out, but the subject of Hitsville seems antithetical to their actions in early 77. Like Hes said, I could see it as them saying they wish they could be on an indie label or regret not being on one. At least in early 81 when, as you noted, indie labels were more prominent.Marky Dread wrote: ↑19 Oct 2017, 4:15pmThe Buzzcocks released one EP on an Independent their own New Hormones. Then they signed to United Artists. The EP sold out but not without help from the Manchester local Virgin records and of course punk in general. If the Sex Pistols hadn't been making headlines and punk becoming notorious I doubt the Buzzcocks EP as great as it is would've sold that well.matedog wrote: ↑19 Oct 2017, 3:52pmThere is a good discussion about it on those pages. Reasons for them to go indie or not. They point out the Buzzcocks' Spiral Scratch EP was done independently, so it's not like it wasn't an option and they were criticized about it at the time pretty extensively. I could possibly buy the "regret" claim for Hitsville.matedog wrote: ↑19 Oct 2017, 3:45pmI should have known not to doubt MD.Marky Dread wrote: ↑19 Oct 2017, 3:41pmIt was Polydor Records and they eventually settled for The Jam.
https://books.google.com/books?id=29hwk ... or&f=false
Chris Parry w/Polydor is who I was thinking of.
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.
- Heston
- God of Thunder...and Rock 'n Roll
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- Joined: 15 Jun 2008, 4:07pm
- Location: North of Watford Junction
Re: Clash Songs Ranked
It was pretty much insanity releasing Hitsville as a single, I think their stock was at an all time low in the UK at that point.
The Call Up was an unusual choice of single as well. Strange that they only released one single from LC but 3 from Sandinista. The sane choice would have been to follow the LC single with Rudi and Train In Vain. Bankrobber would have been the lead off single from S!, followed by Mag 7 and Police On My Back. Six top 30 hits right there.
The Call Up was an unusual choice of single as well. Strange that they only released one single from LC but 3 from Sandinista. The sane choice would have been to follow the LC single with Rudi and Train In Vain. Bankrobber would have been the lead off single from S!, followed by Mag 7 and Police On My Back. Six top 30 hits right there.
There's a tiny, tiny hopeful part of me that says you guys are running a Kaufmanesque long con on the board
- Dr. Medulla
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Re: Clash Songs Ranked
But valuable in terms of asserting socially conscious rock. Even tho they were pursuing a wider audience, they weren't abandoning unconventional subject matter for the radio.
"I used to bullseye womp rats in my T-16 back in Whittier, they're not much bigger than two meters.'" - Richard Nixon, Checkers Speech, abandoned early draft
- Marky Dread
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Re: Clash Songs Ranked
Yeah Bankrobber is technically a S! track as it came from those sessions. Train in Vain did get a single release in 1980 as an import with Bankrobber on the flip. Rudie Can't Fail got a single release in New Zealand and Police On My Back got a single release in Australia. All very odd it's like they were scarred of success here.Heston wrote: ↑19 Oct 2017, 5:18pmIt was pretty much insanity releasing Hitsville as a single, I think their stock was at an all time low in the UK at that point.
The Call Up was an unusual choice of single as well. Strange that they only released one single from LC but 3 from Sandinista. The sane choice would have been to follow the LC single with Rudi and Train In Vain. Bankrobber would have been the lead off single from S!, followed by Mag 7 and Police On My Back. Six top 30 hits right there.
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