Early 1979 saw 99 tour the USA, an achievement in itself as they were still without a USA record deal at the time! The response was ecstatic and a deal with Polydor sealed.
After two albums 999 left United Artists, recorded a further 10 albums and to date have completed 13 USA tours, 87 London gigs, 26 UK tours and 19 European tours. An impressive tally from one of the most outstanding bands of their generation.
The second album "Separates" was released and immediately the single "Homicide" leapt straight into the UK top forty without any Radio airplay and was banned by the BBC and most radio stations.
Early 1979 saw the band embarking on their first U.S. tour, which was an achievement in itself, as they were still without a record deal in America at the time. Response to the band was ecstatic, all the venues being filled and import albums being sold out in a rush of enthusiasm. The band were immediately booked for a return trip.
In end of 1978 LaBritain injuried in a car accident and was replaced by Ed Case who was band's long time fan. In March 1979 they made first American tour - not so successful. After the tour LaBritain came back to drums, but Ed was sill some kind of fifth member of the band.
After UA 999 recorded to several record label but had only minor success with Albion in the beginning of 80's.
Action / Waiting (12" EP; Labritain 12-FREE-10) -78
End of 1979: Ed Case temporarily replaces an injured Pablo Labritain on drums. Spring 1980: Labritain returns after injury.
999 toured widely in the United States and the band was rewarded when their albums The Biggest Prize In Sport and Concrete charted on the Billboard 200. In the US, "Homicide" & "Hollywood" garnered frequent rotation on Rock of the 80s format radio stations like KROQ in Los Angeles. According to Dave Thompson, "For many Americans, they were the first to actually bother with the backwoods, playing places which other Brit bands hadn't heard of, and returning to them again and again. And while no one knows how many American bands were first inspired to take up arms by 999, those that did still wear their loyalties loudly."[1]
Artist: 999 Title: Found Out Too Late Type: Single Entered chart on 27/10/1979 at #69 Most recent chart entry on 03/11/1979 at #75 Chart Appearances: 2 Highest Position: 69
Found Out Too Late Ariola 09.1979 Boys In The Gang Albion 1980 Trouble Polydor 1980
Found Out Too Late / Lie, Lie, Lie [p] September 1979 Vinyl 7" Radar / ADA 46 United Kingdom Found Out Too Late / Lie, Lie, Lie Promo 1979 Vinyl 7" Radar / ADA 46 United Kingdom Found Out Too Late / Lie, Lie, Lie 1979 Vinyl 7" Ariola / 101 006-100 Germany Found Out Too Late / Lie, Lie, Lie Limited Edition, Promo 1979 Vinyl 7" Radar / ADA 46 United Kingdom Hollywood / Hollywood [p] Promo 1980 Vinyl 7" Polydor / PD 2076 United States Trouble / Made a Fool of You [p] 45 rpm January 18, 1980 Vinyl 7" Polydor / POSP 99 United Kingdom Trouble / Made a Fool of You 1980 Vinyl 7" Polydor / 2059 199 Australia Trouble / Made a Fool of You 1980 Vinyl 7" Polydor / 2059 199 Portugal Boys in the Gang / Brent Cross [p] March 1980 Vinyl 7" Albion / 101 734 Germany Boys in the Gang / Brent Cross 1980 Vinyl 7" Ariola / 101 734-100 Austria
Found Out Too Late (7", Single) Radar Records (5) ADA 46 UK 28 Sep 1979 Found Out Too Late (7", Single) Ariola, Ariola, Albion Records 101 006, 101 006-100 Germany 1979 Found Out Too Late (7", Single, Ltd) Radar Records (5) ADA 46 UK 28 Sep 1979 Boys In The Gang / Brent Cross (7") Albion Records 101 734 Austria 1980 Boys In The Gang / Brent Cross (7", Single) Albion Records, Albion Records 101 734, 101 734 - 100 Germany 1980 Trouble / Made A Fool Of You (7", Single) Polydor POSP 99 UK 1980 Trouble / Made A Fool Of You (7", Single) Albion Records 6198 317 UK 1980 Trouble / Made A Fool Of You (7", Single) Polydor 2059 199 Portugal 1980 Hollywood (7", Promo) Polydor PD 2076 US 1980
Comments from: http://www.nineninenine.net/albums/biggestprizeinsport.htm#comments
The following notes were taken from the liner notes inside the Anagram CD (reproduced here with absolutely no permission whatsoever)
Boys In the Gang
Good old Ed Case thumpin' the tubs for the first time 'cos poor Pablo broke his arm. Ed was only 17 and driving vans for a living. He did his first gig with us in Germany without a rehearsal 'coz he was in the Southall Crew (our boys and girls) anf knew all the songs by heart. His first gig was at the S.O.36 club in Berlin in front of 2,000 people. He played great and when I told the audience he was only 17 and joined yesterday with no rehearsal they clapped and cheared him for about 10 minutes solid. He never went back to driving vans again.
Inside Out
Life on the street in 1980 feeling a bit paranoid and screwed up etc. Did the community care? Who wasn't inside out?
Trouble
Saturday night, you're out, the band's playing, anything could happen and it usually did. 'Always looking over yer shoulder' to this shankin', skatellite, sound.
So Long
Guy waiting for his train.
Fun Thing
Guy having fun - Jon and I hopping in unison across the stage together!
Biggest Prize In Sport
Well you can't help it if you wake up in the morning with a hard on can you? Trust them to take the title literally and use it as the theme music for the International Windsurf Championships.
Hollywood
Our first trip to Hollywood, USA - a New Wave Judith Chalmers holiday whistle stop tour which blew a few illusions.
Stranger
An existential 999 - eh what! 999
Stop! Stop!
Stop!
English Wipeout
Most Top Rank establishments throughout the country were completely trashed after the gigs and the managers found out that 999 and it's audience were absolutely nothing like the Rubettes and their audience.
Shake
Shakin' all over.
Boiler
Ode to transsexual shemales in Detroit
Made A Fool Of You
Penned by Jon 'The Nail' Watson, a good bloke to have in a tight spot. He once save dour bacon at the Lafayette Club, Wolverhamption, by fearlessly putting himself and his bass between between us and an audience intent on beating the shit out of us.
Found Out Too Late
Recorded overnight between bouts of mammoth world touring.
Lie Lie Lie
What can I say. Some people do and some people don't. Guy and I wrote this after a good session in a pub in Streatham.
Design [Front Cover] – Malcolm McGarrett
Review scores | |
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Source | Rating |
Allmusic | ![]() ![]() ![]() ![]() ![]() |
Review by Steve "Spaz" Schnee
After two terrific albums with United Artists, the boys in 999 signed a deal with Polydor and released what is now considered as their finest full length LP, "The Biggest Prize In Sport". While still a 'punk' band, 999 were born during the pub scene and had more meat on their musical bones than most punks, and instead of turning away from their punk sound, they simply refined it. Upon first listening to this album, many folks were amazed to find out that 999 were a great rock n roll band, punk or no punk. The edges are still there, but they are more well-rounded this time out thanks to producer Vic Maile. The anthemic "Boys In The Gang" starts off the set in style (but 999 always knew how to kickstart an album). "Inside Out", with Guy Days' twisted guitar riff, picks up the pace. Although "Trouble" slows things down with it's reggae groove, it's such a great change of pace (Nick Cash's wail sounds similar to the Specials' Terry Hall on this track). "Fun Thing" has a great little hook and a powerful guitar solo that will grab you by the balls. "Hollywood", about their first trip to California, received solid airplay in the U.S., and has remained a 999 classic ever since. "Stop! Stop!" is a bouncy little bubblegum punk nugget. Practically every track a classic, Anagram's 1995 reissue adds three bonus trax, making this a must have for anyone interested in the punk and new wave scene of the late '70s and early '80s.
The Biggest Prize in Sport teamed 999 (temporarily a five-piece, having added a second drummer to aid the injured Pablo Labritain) with producer Vic Maile, resulting in a disc that is trebly and lifeless, except for the poppy title track, which sounds like an East End Ramones.
Hoping to stir up some domestic interest, 999's American record company issued a six-song mini-album, The Biggest Tour in Sport, recorded live in 1980 in the States. The sound's good and hot; selections include "Homicide," "Emergency" and "Feelin' Alright with the Crew."
999 – The Biggest Tour In Sport
Genre: Rock
Style: New Wave, Punk
Year: 1980
Label: Polydor – PD-1-6307
Format: Vinyl, LP, Mini-Album
Country: US
Label: Albion Records – 203 235-241, Albion Records – 203 235
Format: Vinyl, LP, Mini-Album
Country: Germany
Label: Albion Records – ALB 999
Format: Vinyl, LP, Mini-Album
Country: Norway
Released: 1980
Tracklist
A Homicide 4:08
B1 Feelin' Alright With The Crew 3:39
B2 Inside Out 2:09
B3 Titanic Reaction 3:16
B4 Emergency 2:44
B5 Boys In The Gang 2:50
Companies etc
Distributed By – Ariola
Record Company – Ariola Eurodisc GmbH
Phonographic Copyright (p) – Albion Records Ltd.
Printed By – Mohndruck Graphische Betriebe GmbH
Credits
Design – Caramel Crunch
Mixed By, Producer – Vic Maile
Photography By – Pablo Labritian
Written-By – Guy Days, Nick Cash
Notes
Recorded live.
Versions
The Biggest Tour in Sport [p] 1980 LP, MiniAlbum, Vinyl 12" Polydor PD-1-6307 United States
The Biggest Tour in Sport Live 1980 LP, MiniAlbum, Vinyl 12" Ariola 203 235 (RYM)/Albion Records, Albion Records 203 235-241, 203 235 (DGS) Germany
The Biggest Tour in Sport Live 1980 LP, MiniAlbum, Vinyl 12" Albion ALB 999 Sweden (RYM)/Norway (DGS)
The Biggest Tour in Sport / The Biggest Prize in Sport [p] 2002 CD Captain Oi! / AHOY CD 207
999 - The Biggest Tour In Sport/The Biggest Prize In Sport
Label: Captain Oi! – AHOY CD 207
Format: CD, Compilation
Country: UK
Released: 2002
Genre: Rock
Style: New Wave, Punk
Tracklist
The Biggest Tour In Sport
1 Homicide 4:08
2 Feelin' Alright With The Crew 3:39
3 Inside Out 2:09
4 Titanic Reaction 3:16
5 Emergency 2:44
6 Boys In The Gang 2:50
Bonus Singles
7 Made A Fool Of You (Written-By – Watson) 3:15
8 Found Out Too Late 3:38
9 Lie Lie Lie 2:57
The Biggest Prize In Sport
10 Boys In The Gang 2:44
11 Inside Out 2:01
12 Trouble 2:31
13 So Long 2:43
14 Fun Thing 3:34
15 The Biggest Prize In Sport (Written-By – Watson) 2:59
16 Hollywood 3:00
17 Stranger 2:12
18 Stop!Stop! 2:03
19 English Wipeout 3:26
20 Shake 2:24
21 Boiler (Written-By – Watson, Labritain) 3:45
Companies etc
Glass Mastered At – Clear Sound And Vision
Phonographic Copyright (p) – Captain Oi!
Credits
Design – Tim Smith
Liner Notes – Nick Cash
Mastered By – Tim Turan
Written-By – Days (tracks: 1 to 6, 8 to 21), Cash (tracks: 1 to 6, 8 to 21)
Notes
All tracks licensed from 999.
Greek film director Theo Angelopoulos is one of the most influential and widely respected filmmakers in the world. Angelopoulos's unique cinematic vision... the quintessentially Greek nature of the director's work... 3,000 years of Greek culture and history. Angelopoulos has used cinema to explore the history and individual identities of his culture. With such far-reaching influences as Greek myth, ancient tragedy and epic, Byzantine iconography and ceremony, Greek and Balkan history, modern Greek pop culture including bouzouki music, shadow puppet theater, and the Greek music hall tradition, Angelopoulos emerges as an original "thinker" with the camera, and a distinctive director who is bound to make a lasting contribution to the art form.
In a series of films including The Travelling Players, Voyage to Cythera, Landscape in the Mist, The Suspended Step of the Stork, and most recently in Ulysses' Gaze starring Harvey Keitel (winner of the 1995 Cannes Film Festival Grand Prix), Angelopoulos has developed a remarkable cinematic style, characterized by carefully composed scenes and an enormous number of extended long shots. In an age of ever decreasing attention spans, Angelopoulos offers a cinema of contemplation.
Since 1975, the Greek art film industry has been dominated by the director Theodoros Angelopoulos. He made such masterpieces as The Traveling Players, which shows how a repertory touring group might have responded to the rural province in pre war years and also how the historical theater company took care to negotiate its way into potentially hostile towns. Angelopoulos explored in Alexander the Great (1980) the relation between leadership and dreams of social improvement.[3]
2003 Sugar Colt KICP 2592) 2003 Sugar Colt GDM CD CLUB 7017)
Note: The lead section requires expansion.
"Chitarra Romana" is a stornello in Romanesco (Italian: stornello romanesco) written by Eldo di Lazzaro (1902–1968) in 1934....
Sotto un manto di stelle |
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This page is a list of the various personnel and line-ups that have been a part of The Clash.
See also - [[Notable or frequent contributors to The Clash]]
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Start | 1976 | 1977 | 1978 | 1979 | 1980 | 1981 | 1982 | 1983 | 1984 | 1985 | 1986 | ||||||||||||||||||||||||
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Mick Jones | Nick Sheppard | ||||||||||||||||||||||||||||||||||
K. Levene | Vince White | ||||||||||||||||||||||||||||||||||
Paul Simonon | |||||||||||||||||||||||||||||||||||
Terry Chimes | Topper Headon | Chimes | Pete Howard |
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Album release | Vocals and guitar | Guitar | Bass guitar | Drums and percussion |
1976 |
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1977-1982 |
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1982–1983 |
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{| class=wikitable sortable" |- !Year !Record !Type !Label !Track !Issue !Length |- ... 1982 Rock the Casbah US promo EP A2 Overpowered by Funk 1982 Rock the Casbah AR single B1 Overpowered by Funk 1982 Combat Rock Studio 7 Overpowered by Funk 4:55 1989 Hell W10 Film ? Overpowered by Funk (Instrumental) 1991 Clash On Broadway Disc 4: The Outtakes Bootleg 20 Overpowered by Funk 2006 Singles Box Compilation 17-05 Overpowered by Funk (Argentinean 7" Promo) 4:53 2013 Sound System Disc 8 Combat Rock Compilation 8-07 Overpowered by Funk 4:55 If Music Could Talk Vol. 2 11 Overpowered by Funk (New York Remix) The Rat Patrol From Ft. Bragg 1-14 Overpowered by Funk (Demo) 1:59 The Rat Patrol From Ft. Bragg 2-05 Overpowered by Funk (Instrumental) The Rat Patrol From Ft. Bragg 2-13 Overpowered by Funk (No Flushes) 2001 Golden Bullets Bootleg 2002 Clash on Broadway 4: The Outakes Compilation Snotty Snail 2002 Rocker Station Bootleg 4 Overpowered by Funk (New York Remix) (Speed Mix) 2002 Rocker Station Bootleg 8 Overpowered by Funk (Instrumental) 2003 The Essential Clash Video SMV Enterprises 2003 Rat Patrol from Fort Bragg Nicaragua Bootleg 2003 Another Combat Rock Studio Darkside Records DSS CD 009 2004 The Collection Compilation Epic E3K 92644 2013 Ties on the Line (Demos and Outtakes) Studio Arkain Filloux A3 Overpowered by Funk 2013 5 Album Studio Set Compilation Columbia 4:55 2013 Sound System Compilation Columbia 88725460002 Box Set Music on Vinyl 4:55 Combat Rock: Outtakes Bootleg Love Situation LA21 The Clash on Broadway Outakes Bootleg
((cite book))
: Invalid |ref=harv
(help)Combat Rock started out as a Clash album with the Ear mobile studio sessions (where ‘Should I Stay’, ‘Know Your Rights’, ‘Long Time Jerk’, and ‘First Night Back in London’ and others were recorded), but once the band returned to Electric Lady the pattern set on Sandinista re-emerged. The bass was handled by Mick, Topper or one of the studio engineers. Tymon Dogg and the Barnacle Brothers contributed heavily and again the fatal mistake was made - Joe not playing guitar.[7]
Compare the demo of ‘Overpowered by Funk’ to its slower, vastly inferior ‘official’ cousin. Of course, the results were skewed by the fact that Mick and Topper were seriously addicted and no real producer was present to provide adult supervision. It’s amazing to me that the Clash were able to record anything at all under these conditions, never mind the gobs of Stoner classics that both Sandinista and CR are lousy with. (I also have serious doubts as to whether the material generally referred as Rat Patrol is actually Mick’s proposed final mix. He might have been out of his mind on drugs then, but I still think that stuff is half-finished rough mixes- most of those vocal takes don’t sound final to me at all).[7]
Overpowered by Funk (Hell W10) - Topper and Mick must have done the album version after a quaalude party. Stick with this Ear demo. Great rhythm playing by Joe on it, too.[8]
09/24/81 Theatre Mogador - Paris, France[9]
The Clash were exhausted physically and creatively by the time they entered the studio for Combat Rock in late ‘81. The Bond’s fiasco had occurred in the spring, Sandinista had seriously damaged their relationship with CBS, Topper Headon was at this point a hopeless junkie, and Bernie Rhodes was playing his warped mind games on the band. Mick and Joe usually settled their creative differences with fights and were exchanging songwriting ideas through intermediaries. In addition, putting out a three record set that explored almost every possible musical direction had left them unsure how to proceed. In spite of this, they had written a new batch of superior material that was premiered in Europe and the UK on their fall tour. The new songs heard in the fall of 81 were; ‘Know Your Rights’, Should I Stay...?’, ‘Radio Clash’, ‘Overpowered by Funk’, ‘Inoculated City’, and ‘Ghetto Defendant’. These are generally the songs considered the strongest of this period with the exception of ‘Rock the Casbah’ and ‘Straight to Hell’, which were written in the studio. Little is known about ‘Beautiful People’, but my guess is that is was not written in the studio, simply because it’s too complex. So with the exception of ‘Casbah’, which again was more or less pre-written by Headon and ‘Straight to Hell’, the strongest songs were premiered on tour in ‘81.[10]
…the mix for CR was taken away from Mick and eventually handled by Joe and Glyn Johns. If we use Rat Patrol as a guide, Joe went in and recorded a lot of extra guitar. This is most obvious on ‘Know Your Rights’, ‘Car Jamming’ and ‘Should I Stay’, but I’d imagine that Joe put a lot of guitar on ‘Overpowered by Funk’ as well. It’s been said that Joe didn’t do a lot of playing on the last two albums, and I think that this is a major factor in the lessening of the energy level on those records. Joe wasn’t a guitarist per se, but a weird kind of percussionist and it’s obvious how his playing set the tempo on the songs live.[11]
COLLAPSING ONTO THE FINISH LINE
Pablo Guzman expressed bewilderment over the Clash’s split in his old music column in the New York Daily News. He felt that “the Clash were just beginning to hit their stride” when they split. Many people felt the same shock. Wasn’t Combat Rock the unqualified hit album that put the Clash into the big leagues once and for all?[12]
No, Combat Rock was a disaster from the very start.[12]
The story begins in the early Autumn of 1981. Fed up with the band’s drift and stung by the underwhelming performance of Sandinista, Joe wanted to get back to the sound of the Clash, not the sound of an army of studio players. He also wanted to record the album with an 8-track studio. A compromise was reached and the Clash began recording at the Peoples’ Hall in London, using a mobile studio on loan from the Rolling Stones. Most of the more conventional tunes from what was then known as the Rat Patrol sessions were recorded here: ‘Should I Stay’, ‘Inoculated City’, ‘Know Your Rights’, ‘Ghetto Defendant’, and the original ‘Overpowered by Funk’. The initial idea was compromise. Joe told the NME that the Clash were “not trying to ignore anything we’ve heard before but we want to make it our own and all at once in every track.” However, the band had to abandon the sessions for a string of concert dates and when they returned, Mick Jones had a very different idea of how he wanted to make the new record. “He said if we didn’t produce Combat Rock in New York, he wouldn’t be at the sessions, “ Kosmo Vinyl recounted in 1984, “So we cart everything to New York and make the record there. One day there’s an argument and that gets brought up and Mick goes ‘Oh, I didn’t mean it.’ ”[12]
No, he certainly did ‘mean it’. Mick chose New York in general and Electric Lady in particular for what he thought was a very good reason. To explain why, we need to put all of this into perspective.[12]
The problem with many of the songs from the Combat Rock era is definition. What the hell are they supposed to be? ‘Car Jamming’, ‘Inoculated City’, ‘Atom Tan’, ‘Midnight to Stevens’ (which hadn’t even made the first cut), ‘Cool Confusion’, ‘Long Time Jerk’, ‘First Night Back in London’ are not fast, not loud, not Reggae, not Rock, not Funk, not hard, not soft. They fall in between every possible gap without strong melodies or performances or even choruses to save them. Mick had told a horrified Joe that “verse and chorus as form are over,” but the preponderance of the CR tracks had proven the inherent weakness of this concept. Mick was trying to appropriate the sounds of Hip Hop and Downtown Funk, but he had no idea how that music was even made. The only convincing Funk song on the album was ‘Casbah’, which was Topper’s baby. All the disco production tricks on the re-recorded ‘Overpowered by Funk’ did nothing but bury a formerly standard Rock number with a funky bassline under a layer of cheesy crud. They had a good Funk song in ‘Radio Clash,’ but they left it off. And that song was lifted straight from ‘Another One Bites the Dust’ to begin with. Sadly, Mick didn't realize that his great strength was based in melody and chord progression. He never had an ear for riffs or syncopations. Watt Roy had come up with the basslines that formed the foundation of the rap tracks on Sandinista. And he also didn’t grow up with Funk, like all those New Yorkers did. It was all new to him, but he was too proud to admit it.[13]
"This Is Radio Clash" is a song by the English punk rock band The Clash, released on November 20, 1981 as a non-album single. Influenced by old school hip hop acts from New York City,[14] it is regarded as the first British rap/hip hop song. While it wasn't released on any of their studio albums, it was included in the track listing of their compilations: The Singles, The Story of the Clash, Volume 1, The Essential Clash Singles Box, The Singles (2007), and "Clash on Broadway".
"This Is Radio Clash", like their previous single "The Magnificent Seven", is a dub reggae, rap, punk-funk song that was influenced by old school hip hop acts from New York City, like the Sugarhill Gang and Grandmaster Flash & The Furious Five.[14]
In fact, "The Magnificent Seven" is rightly noted as "the first British rap song" by esteemed British rock critic Chris Salewicz; likewise, American critic Eric Schafer cites "This is Radio Clash"/"Radio Clash" as the first ever British hip hop.
Esteemed American critic Eric Schafer notes, “It is a magnificent, daring, challenging record that was years ahead of its time; one of the great rock records of the 1980s, it has never been given its just credit. Twenty-eight years after its debut, were it released today it would still burn up the radio.”
The music video for "This Is Radio Calsh" was directed by Don Letts, who photographed the band during their stay at ....
The first public performance of "This Is Radio Clash" was in Florence at the Stadio Comunale on 23 May 1981 during the band's Impossible Mission Tour. “We have a new song” said Joe Strummer to the audience, and the band started playing "This Is Radio Clash". Left Italy, the band arrived at the JFK airport in New York on the night of the 25th May 1981. During their three weeks, seventeen concerts at Bond's International Casino, from May 28 to June 13, the song was played several times. The first television appearence was on The Tomorrow Show, an American late-night television talk show hosted by Tom Snyder, on June 1981. The song was also played in the following September, when the band, supported by Wah! and The Beat, went on tour in France for seven concerts at the Théâtre Mogador in Paris. In October, the band started the Radio Clash UK Tour supported by Theatre of Hate. "This Is Radio Clash" was played very often, until the the Striking Miners’ benefit gig at the Academy, Brixton, London on December 6 and 7 1985.[15] |
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The B-side of the "This Is Radio Clash" single is unique in the history of rock music in that the music is the same as the A-side (with only slight remix changes) and the theme of the lyrics is the same, yet the actual lyrics are in fact different. Never before or since has this been done; it demonstrates the lyrical versatility of Joe Strummer. The Clash stated at the time that they intended the songs to be a single entity, but when "This is Radio Clash" ran to more than eight minutes in length, they decided to split the master in half and make two songs rather than edit the song.
The similarities of the titles and the recordings has led to quite a bit of confusion not only by fans but by record companies as well. The two songs are intended to be heard back to back, but this has never been accomplished on CD. In compilations, the A-side was included on "Clash on Broadway" but not the B-side. On the remastered version of the Super Black Market Clash CD, which assembles Clash B-sides, remixes and rarities, the B-side "Radio Clash" is included, but not the A-Side. When the 2003 collection The Essential Clash was released the B-side was listed but in fact it is the A-side song that is on the CD. Simply, the proper way to listen to the songs is to have them back to back on your digital source.
"Radio Five is the version...
The single was released and reissued several times, in several formats with different covers.[16][17]
Year | B-side | Format | Label | Country | Note |
---|---|---|---|---|---|
1982 | CBS logo etched into vinyl | 45 rpm 7" vinyl | Epic ENR-03571 | USA | One Sided Single - Epic's Get the Hit - Special Low Price. |
1982 | "Cool Confusion" | 45 rpm 12" vinyl | Epic 07 5P-223 | JP | — |
Singles
Title, Format Label Cat# Country Year
Clash, The / Beppe Starnazza E I Vortici - This Is Radio Clash / Il Dritto Di Chicago
Tracklisting:
Released in Canada with a cover sticker (12EXP 02622).
Side one
Side two
Untitled |
---|
EPs
Leftfield disco classics from the New York underground Mastered at Soundmastering. Vinyl cut at Alchemy. This compilation (P) (C) 2002 Strut.
Various - Mixed Masters - The Compilation - Volume 4
Various - Riow Arai's Graffiti Edit Style
Various - I Love Tecno Pop Volumen 2
The Vanilla Tapes were demo tracks recorded in 1979 by the English punk band The Clash -- in essence, an early version of their album London Calling (although the track Remote Control was a song from the band's first album). Roadie Johnny Green was to deliver the tapes to the band's new producer, Guy Stevens; Green fell asleep on the train ride to the studio. Waking up at the station where he was to disembark, he panicked, and in his rush left the tapes behind. After that, the tapes were considered lost until March 2004, when Clash guitarist Mick Jones was moving boxes and came upon a copy of the tape.
The newly discovered Vanilla Tapes were released as a bonus disc when London Calling was remastered and re-issued as the Legacy Edition in September 2004. According to the booklet, there were 37 tracks on the tapes; only 21 were included on the CD.
"Wrong 'Em Boyo" is a song written by Clive Alphonso for his Jamaican rocksteady group The Rulers.
The Clash did a ska version that features on their 1979 album London Calling, in which Stagger Lee is explicitly the hero and Billy DeLion the villain.
Buck-O-Nine, an American ska punk band formed in San Diego, California, in 1991, did a cover of The Clash version of this song on their 1995 album Barfly.
Year | Title | ||||
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1991 | The Clash Tribute: The Never Ending Story (Part 1)
Artist: Various Artists
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1999 | Burning London: The Clash Tribute
Artist: Various Artists
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2002 | City Rockers: A Tribute To The Clash
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This Is Rockabilly Clash
Artist: Various Artists
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2003 | White Riot - A Tribute To The Clash
Artist: Various Artists
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2004 | Charlie Does Surf (A Tribute To The Clash)
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2007 | The Sandinista! Project (A Tribute To The Clash)[18][19][20]
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2009 | Shatter The Hotel: A Dub Inspired Tribute To Joe Strummer[21][22]
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RIAA SEARCH RESULTS FOR THE CLASH
Moved to: WPClash/List of related articles: The Clash RIAA
http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=47042856
Abraham Coles was born 1813 in Scotch Plains, Union County, NJ, the 4th of 5 known surviving children (2 boys/3 girls) born to the prominent Dennis Coles and his wife, Katrina (Catherine) Van Duersen of Newburgh, NY, a descendant of Everardus Bogardus, the distinguished Dutch domine, and the famous Anneke Jans, his wife.
The family of Coles is of English origin, originally written as "Cole". In America the history of the family begins with that of the settlement of Massachusetts Bay Colony, while on the maternal side its history is traced from the early settlement of New Amsterdam. James Cole, the Puritan, and founder of the family in America, arrived at Plymouth, Massachusetts, between 1620 and 1630. He became a proprietor of land at Plymouth, a part of which was called "Cole's Hill," a bluff of land about twenty feet high, at the foot of which is the famous Plymouth Rock. The name James is found with great frequency in the Cole generations, and the original settler so named his eldest son. Various members of the family left Massachusetts and made a settlement at Oyster Bay, Long Island, about 1665. In 1688 the family became established at Scotch Plains, New Jersey (then called East Jersey), and remained there for many generations.
Abraham Coles was son of Dennis, and grandson of James Coles and Elizabeth Frazee; gr-grandson of Sen. William Coles & Betsey Dennis; and gr-gr grandson of James Coles, Jr., son of the patriarch, James Coles Sr.
Abraham's father, Dennis Coles, was a man of great culture, skilled in mathematics, a lover of polite literature, a polished speaker, member of the state legislature, a charming reader and accomplished writer. He married in 1802 in Newburgh, NY where he established a newspaper "Recorder of the Times" for 3 years. A financial success, it ran under other names until 1876. At the solicitation of his parents, he sold the business in 1806 and came back to Scotch Plains.
Until the age of 12, Abraham Coles was educated by his parents, and in 1828, at age 15, he became a clerk in a New York dry goods store. By 1830, a learned student, he was teaching Latin and Greek at Plainfleld, NJ for a few months, and in 1831 began to study law, which profession he subsequently relinquished as his vocation in life for the study of medicine.
He attended the University of the City of New York, and the College of Physicians and Surgeons, New York. In 1835, he received his M.D. degree from Jefferson Medical College, Philadelphia, and the following year began his practice in Newark, NJ.
In 1842, the 29-year old physician married 25-year old Caroline Elizabeth Ackerman, eldest daughter of Jonathan Combs and Maria (Smith) Ackerman of New Brunswick, NJ. The marriage resulted in the birth of two children: Jonathan Ackerman Coles (1843-1926) and Emilie Smith Coles (1845-1919). Sadly, the marriage was short lived as his lovely bride died just a few months after the birth of their daughter, passing in 1845 at age 28. The 32-year old widower never remarried.
He several times visited Europe for study and travel, giving special attention to languages, both ancient and modern. He was one of the founders of the Newark library and of the New Jersey Historical Society, and a member of the Newark Board of Education and other organizations. He owned a valuable collection of books, paintings and statuary gathered during his lifetime.
A colossal bronze bust of Abraham Coles by J. Q. A. Ward, with its pedestal of stones quarried for the purpose in Galilee, Bethlehem, Jerusalem, and on the Mount of Olives, Palestine, was unveiled in Washington Park, Newark, N.J., July 5, 1897. (Shown here.) The pedestal is founded on a rock weighing about seven tons, which was transported with much difficulty from a grove near the landing place of the pilgrim fathers at Plymouth, Mass.
He received from Rutgers college the degree of A.M.; from Lewisburg University that of Ph.D. in 1860; and from the College of New Jersey, Princeton, that of LL.D. in 1871. In 1847 appeared in the Newark Daily Advertiser his first translation of the "Dies Irae." This was extensively copied and made him famous throughout the literary world. In 1859 he published a volume comprising thirteen original translations of Dies Irae (6th edition, 1892), to which he subsequently added five other translations. He also published a translation of Stabat Mater Dolorosa (1865, 3d edition, 1892); a translation of Stabat Mater Speciosa (1867, 2d edition, 1892); Old Gems in Yew Settings (1866, 3d edition, 1892); Man, the Microcosm (1866, 5th edition, 1892); Thc Evangel (1874, 2d edition, 1884); The Light of the World (1884); and A -Veio Rendering of the Hebrew Psalms Into English Verse (1887). He was also a published poet and the author of many patriotic and devotional hymns.
Though now almost forgotten, except for his name appearing on several monuments in Newark, NJ, Dr. Abraham Coles was in his time, regarded as one of the most accomplished practitioners of Newark, enjoying the highest respect of his brethern in the profession, and of his fellow citizens generally. As some evidence of this, he was for twelve years a member of the Board of Education of the City of Newark, and in 1866 was President of the Medical Society of New Jersey.
Dr. Coles traveled the world, often with his children. His son, J. Ackerman Coles, later joined the medical profession in practice with him, and became the editor of new editions of his father's works.
Dr. Coles died while traveling to the West Coast with his children, taking his last breath at the Hotel Del Monte, near Monterey, California, on May 3, 1891. His body was returned to New Jersey and laid to rest next to his beloved Caroline.
Both his children lived long lives, though neither married, and so the line of Abraham Coles died with the passing of his son on December 26, 1926.
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Burial: Willow Grove Cemetery, New Brunswick, Middlesex County, New Jersey, USA
Created by: pbfries Record added: Jan 24, 2010 Find A Grave Memorial# 47042856
Abraham Coles
http://www.medindia.net/art-literature/abraham-coles-65.htm
Hugh Cornwell's full discography, including his work with The Stranglers, can be found here [23]
Solo studio albums
Other albums
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1979 | Nosferatu
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1988 | Wolf
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1992 | CCW
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1993 | Wired
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1997 | Guilty
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1999 | Black Hair Black Eyes Black Suit
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1999 | FIRST BUS TO BABYLON
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2000 | Hi-Fi
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???? | Title | note. |
infobox 2000
infobox 2005
All songs written by Martin Atkins and Chris Connelly except were noted.
infobox ep 2000
Feriae Augusti were originally the festive days lasting the entire month of August, in honor of the Emperor Augustus. During this period, the Romans honored their pagan deities and women made votive offerings in temples to ask for protection during childbirth. Participation in all festivities was open also to slaves.
Nowadays, Ferragosto comprises the holidays of mid August during which most Italians go on vacation.
Ferragosto is the most popular Italian festivity as well as one the most important Catholic recurring holidays. The Catholic Church celebrates the day the Virgin Mary was Assunta in Cielo, in other words transported directly to Heaven to be with her son and to look after those of us still here on Earth. The origin of Ferragosto is Pagan and it goes back before Christianity. Peasants in ancient times would rest during the month of August and celebrate the Goddess of all Harvestings in a ritual that would lead to pilgrimages to Her sanctuaries traditionally located in woods or on top of a mountain and offering her foods and prayers. Only in 18 BC the Roman Emperor Augustus (this name meaning "blessed by destiny, good luck") declared that all of the month of August would be dedicated to the Feriae Augusti, a series of festivals and celebrations; the most important was held on the 13th, and was dedicated to Diana, the Goddess who oversees the woods, the phases of the Moon, and Maternity. The celebrations used to take place in Diana's temple on the Aventino and it was one of the few occasions in which all the Romans from masters to slaves could walk and mix freely.
In addition to Diana, the Feriae Augusti were an occasion to celebrate Vortumnus, God of the Seasons and therefore of the ripening of crops, Conso, the God of the Harvest, and Opeconsiva, who personified the abundant harvest. In short, the Feriae were a celebration of abundance and fertility.
Only in the 18th century, Ferragosto became known as the day of the Ascension, and it became official only in 1950 with Pope Pius XII.
Among the traditional celebrations are:
Porto Santo Stefano (Grosseto): On August 15, there is a competition called "Palio Marinaro"; among fishermen divided in four teams representing the four main districts of the town of Porto Santo Stefano. This tradition originates from a legend that narrates about a fisherman's boat that was salvaged from the attacks of the Saracens by hiding in a small grotta (cave) which then became known as the "Grotta del Turco" (The Turk's Cave).
Castelbuono (Palermo): the history of the town is linked to the noble family of Ventimiglia. In 1316 they built a castle that was named after them (see picture below) and is still standing on a rock north of the main town. On August 15, the whole town gathers for the "Arruccata dei Ventimiglia"; locals dressed in ancient costumes create living paintings to evoke episodes of their history.
Like most religious holidays, Ferragosto provides families with an excellent excuse to gather and enjoy a fine meal, renewing the ties that bind the generations. Among the Italian most popular meals is the "Insalatona di Ferragosto" (Midsummer Salad):
(Ingredients: 4 chicken breasts - 1/2 Liter of milk - 1 large ripe tomato - 1 small ginger root - 1 1/2 tbsp butter - 300 grams of green salads - chives - vinegar - 1 tbsp soya sauce - salt)
Marinade the chicken breasts in the milk for 12 hours. Wash and strain the salad, dice the tomatoes, and slice the ginger finely. Remove the chicken from the milk, spread the breasts with butter and cook on a grill pan till tender. Place the salad and tomatoes in a salad bowl, and dress with 2 tbsp of vinegar and toss. Cut the chicken into fine strips and add to the salad, sprinkle with a tbsp of soya sauce, the ginger slivers and the chopped chives.
Ferragosto goes back further and has Pagan origins, which in this case are multiple. On the one hand, in 18 BC the Roman Emperor Augustus declared that all of the month of August would be dedicated to the Feriae Augusti, a series of festivals and celebrations; the most important was held on the 13th, and was dedicated to Diana, the Goddess whose task it was to oversee the woods, the phases of the Moon, and Maternity. The services, which were celebrated in Diana's temple on the Aventine, was one of the few occasions in which Romans from all walks of life, masters and slaves alike, mingled freely, and the women, who made offerings to the Goddess throughout the year in the hope that their labor would be safe and happy, offered prayers to Lucina, the guise Diana assumed when she was acting as protectoress of Labor.
In addition to Diana, the Feriae Augusti were an occasion to celebrate Vortumnus, God of the Seasons and therefore of the ripening of crops, Conso, the God of the Harvest, and Opeconsiva, who personified the abundant harvest. In short, the Feriae were a celebration of fertility and maternity; like many other Roman holidays they derived from the East, and in particular from the Syrian celebration of Atagartis, a Mother Goddess who oversaw both fertility and work in the fields. With the advent of Christianity people turned to the Virgin for help in these matters, and began celebrating Her in August in the church in Jerusalem that was said to be Her resting place; the custom spread through the rest of the Empire under Mauritius, in the late 500s.
It's important to note that this was just a celebration of Mary; the modern dogma that she was transported to Heaven on Ferragosto took hold in the 18th century, and was only formally proclaimed by Pope Pius XII in 1950.
The Italian Holiday Ferragosto - Sacred or Profane?
For the August holidays in Italy, culminating on the 15th with Ferragosto, are rooted in tradition as old as the Roman Empire itself.
Ferragosto is an Italian contraction of the Latin feriae augusti: literally, “Augustus’s holiday.” Proclaimed by Augustus (Julius Caesar’s nephew and heir, and the first Roman Emperor), the feriae augusti were originally a full month of continuous celebration later reduced to a single day in early, and subsequently mid, August. The feriae marked a period in Roman society in which the division of classes slackened, witnessing the rare social mingling of citizens and slaves.
All mundane enterprises ceased during these festivities. Romans feasted and honored diverse gods and goddesses, typically those associated with the harvest and the changing of seasons. For Roman women, the feriae augusti meant a time to worship the goddesses relevant to their own interests, deities such as Diana, the protectoress of youth and a goddess of childbirth (as Lucina, a guise of both Diana and Juno). Thus, in addition to its status as public holiday, in time Ferragosto also became associated with principally “female” matters—fertility, maternity, and children.
Such correlations help to explain how a pagan harvest festival, one already strongly linked to sacred female figures, evolved into a feast day for the Catholic Church’s most revered female figure, the Virgin Mary. For, as Catholic readers will surely remember, August 15 is also the Feast of the Assumption, known in Italy as La Festa dell’Assunta or L’Assunzione di Maria Vergine. One of the Church’s basic Marian dogmas, the Assumption refers to the moment Mary was taken up, or “assumed,” directly into heaven upon her death. Proclaimed official dogma by Pope Pius XII in 1950, it was assigned to August 15 on the liturgical calendar—and not by coincidence. Though unofficial, honoring Mary in August had been an established practice since the Middle Ages.
That the Catholic Church co-opted Ferragosto as it had done with other pagan festivals seems little disputed. History is full of shifts of this kind. Throughout the whole of Europe, firmly-rooted pagan traditions never really died out, but were absorbed rather into an ever-expanding Christian world. Many Christian saints, including Mary, came to bear symbolic resemblance to prior religious figures; and even the most desultory look at the roots of Christmas and Easter quickly reveals a strong connection to ancient pagan antecedents.
From her Greek and Roman predecessors, Mary inherited strong associations with fertility, purity, and maternal strength: Mary’s triumph over death, for instance, recalls the symbology of Ceres, who, as the goddess of corn, died each year come harvest time, but every Spring was re-sowed, reborn; The flowers said to have bloomed spontaneously at Mary’s tomb (usually roses or lilies) as angels conveyed her to heaven, parallel the grain, corn husks and other harvest flora that for ages had been associated of her forerunners; and, even today, Catholics pray to Mary for guidance and care in childbirth just as pagan women sought the aid of Juno, Roman goddess of marriage and childbirth.
What does all this mean to Italians today, if anything? In a culture where the line separating secular from religious is often blurred, the 15th of August represents an outright blind spot. While acknowledging regional differences (in the South, devotion to Mary is known to be much more rigorous), Ferragosto seems to me overwhelmingly laical in practice. The Italians I know all consider Ferragosto a day to “get away,” usually at the beach, perhaps a hike in the mountains or a leisurely lunch with family. It certainly is not a day spent closed inside a church. Yet, the dogma of the Assumption is fundamental to Roman Catholic belief, and one to be observed accordingly. So why aren’t the church pews as crowded as the seashores on this day? True to her dichotomous character, Italy offers no simple answers to questions of faith or tradition.
What links here
as of March 26, 2009
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Technical Difficulties is the third studio album by synthesizer-laden post-punk band, Hate Dept.. The only single, "Release It", earned radio airplay in 50 North American markets, and peaked at number 40 of the Billboard's Hot Dance Music/Maxi-Singles Sales chart.[32] The album was mixed by Steven Seibold, Bill Kennedy, Jon St. James, and Mon Agranat and recorded at Front Page Studios in Glendale, California, Westlake Recording Studios in West Hollywood, California, The Enterprise Studio II in Burbank, California, and at The Laundry Room in San Clemente, California, and then mastered by Eddy Schreyer at Oasis Mastering in Studio City, California. An almost complete promotional album with an additional intro as the opening track, a rough version of "Wait", and two different versions for "Release It", "Gone", and "Hit Back", was released in late 1998.
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Allmusic | ![]() ![]() ![]() ![]() ![]() |
Alternative Press | ![]() ![]() ![]() ![]() ![]() |
Artistdirect | ![]() ![]() ![]() ![]() ![]() |
BBC Music | (very favourable)[36] |
Canoe.ca | ![]() ![]() ![]() ![]() ![]() |
Drowned in Sound | ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
Dusted Magazine | ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
Exclaim! | (favourable)[40] |
Kerrang! | ![]() ![]() ![]() ![]() ![]() |
Metal Storm | ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
Mojo | ![]() ![]() ![]() ![]() ![]() |
Now | ![]() ![]() ![]() ![]() ![]() |
Steve Huey of Allmusic wrote that .... |first= They may sound like an industrial band -- clanking drum machines, synthesizers, and loud, crusty guitars -- but Hate Dept. are alt-rockers at heart, emphasizing traditional song structure and punk lyrical attitude over sonic experimentation and abrasiveness. Technical Difficulties is arguably their most accessible release to date, featuring the strong single "Release It."[33]
All tracks are written by Steven Seibold
No. | Title | Length |
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1. | "Superdrama" | 4:16 |
2. | "Coming Down" | 4:30 |
3. | "Wait" | 4:31 |
4. | "Anger Impulse" | 3:56 |
5. | "Little Let Down" | 3:23 |
6. | "Release It" | 3:29 |
7. | "Gone" | 3:58 |
8. | "Hit Back" | 4:23 |
9. | "Leaving" | 5:01 |
10. | "Fireflies" | 4:09 |
11. | "Seedling" | 4:12 |
12. | "Fiend" | 3:37 |
Total length: | 43:25 |
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Chart (1999) | Peak position |
Note |
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Hot Dance Music/Maxi-Singles Sales[32] | 40 | "Release It" |