The last time you heard CtC.

[101Walterton]

This is 2017, just listen to it on YouTube...

Wanted the whole album to listen to in the gym. Need something to make me angry

[Kory]

Crooked Beat transcribed:

duh-duh-duh-duh-duuuh duh-duh-de-duuh
ffffwap
duh-duh-duh-duh-duuuh duh-duh-de-duuh
fffffwap ffffwap
chikkkachikkkachikkkachikkkachikkka

staht the cah let's make a midnight won
acwoss the rivuh to saaf lon-don

Put that way, maybe it's pretty cool.

Extremely glad to see Inder is making my own case in this thread.

Paul has said a number of times that the basslines he came up with would invariably turned into reggae songs by the rest of the band, and that if he had more musical knowhow, he'd have directed them in a more rocking fashion. Now, this song was obviously meant to be a reggae song, so what songs is he talking about? Did he write the music to RAD? Are there other songs that Paul was instrumental in composing that we don't know about?

According to the Complete Clash song book (which breaks down the writing credits), he is on quite a bit of stuff from 1980 onward.

That was more due to the group adopting an egalitarian attitude toward credits, though, wasn't it? I vaguely recall something about that from LGIT.

[Heston]

Put that way, maybe it's pretty cool.

Extremely glad to see Inder is making my own case in this thread.

Paul has said a number of times that the basslines he came up with would invariably turned into reggae songs by the rest of the band, and that if he had more musical knowhow, he'd have directed them in a more rocking fashion. Now, this song was obviously meant to be a reggae song, so what songs is he talking about? Did he write the music to RAD? Are there other songs that Paul was instrumental in composing that we don't know about?

According to the Complete Clash song book (which breaks down the writing credits), he is on quite a bit of stuff from 1980 onward.

That was more due to the group adopting an egalitarian attitude toward credits, though, wasn't it? I vaguely recall something about that from LGIT.

No, the credits are split.into all kinds of combinations.

[Kory]

Extremely glad to see Inder is making my own case in this thread.

Paul has said a number of times that the basslines he came up with would invariably turned into reggae songs by the rest of the band, and that if he had more musical knowhow, he'd have directed them in a more rocking fashion. Now, this song was obviously meant to be a reggae song, so what songs is he talking about? Did he write the music to RAD? Are there other songs that Paul was instrumental in composing that we don't know about?

According to the Complete Clash song book (which breaks down the writing credits), he is on quite a bit of stuff from 1980 onward.

That was more due to the group adopting an egalitarian attitude toward credits, though, wasn't it? I vaguely recall something about that from LGIT.

No, the credits are split.into all kinds of combinations.

Gotta look into this. Is it PDFed online anywhere?

[deny]

Is this Heston's review?

CTC.jpg (49.01 KiB) Viewed 2945 times

[Heston]

Is this Heston's review?

CTC.jpg

That has to be Bernie.

[Heston]

Paul has said a number of times that the basslines he came up with would invariably turned into reggae songs by the rest of the band, and that if he had more musical knowhow, he'd have directed them in a more rocking fashion. Now, this song was obviously meant to be a reggae song, so what songs is he talking about? Did he write the music to RAD? Are there other songs that Paul was instrumental in composing that we don't know about?

According to the Complete Clash song book (which breaks down the writing credits), he is on quite a bit of stuff from 1980 onward.

That was more due to the group adopting an egalitarian attitude toward credits, though, wasn't it? I vaguely recall something about that from LGIT.

No, the credits are split.into all kinds of combinations.

Gotta look into this. Is it PDFed online anywhere?

Not sure. I've mislaid my copy but from memory...Mick has no credit on a few songs, Rebel Waltz included. Paul has a writing credit for Mag 7 but not Mag Dance. I can only surmise he helped out on the lyrics?

The credits have to be legit, there is too many combinations. I think the collective "The Clash" credit was used for purposes of the sleeve but the publishing would have been divvied out according the credits.

[Inder]

According to the Complete Clash song book (which breaks down the writing credits), he is on quite a bit of stuff from 1980 onward.

That was more due to the group adopting an egalitarian attitude toward credits, though, wasn't it? I vaguely recall something about that from LGIT.

No, the credits are split.into all kinds of combinations.

Gotta look into this. Is it PDFed online anywhere?

Not sure. I've mislaid my copy but from memory...Mick has no credit on a few songs, Rebel Waltz included. Paul has a writing credit for Mag 7 but not Mag Dance. I can only surmise he helped out on the lyrics?

The credits have to be legit, there is too many combinations. I think the collective "The Clash" credit was used for purposes of the sleeve but the publishing would have been divvied out according the credits.

There's some info on ASCAP.

EDIT: That's weird, it used to show many more songs. You might have to search again.

[Silent Majority]

No way did Joe work out the opening guitar run of Rebel Waltz; his guitar playing was about passion, not expertise. That's pure Mick and is a huge chunk of the song. The chords are within Joe's composing wheelhouse and the tune, while majestic, isn't as hook-y as Mick would do. So, of course, the lyrics are pure Strummer and the evidence points to the melody coming from the black stratocaster, but a good 30ish% of the the runtime is Mick atmospherically noodling out the clean echoes of ascending and descending notes. So I reckon Jones should have got some of the credit.

[Heston]

No way did Joe work out the opening guitar run of Rebel Waltz; his guitar playing was about passion, not expertise. That's pure Mick and is a huge chunk of the song. The chords are within Joe's composing wheelhouse and the tune, while majestic, isn't as hook-y as Mick would do. So, of course, the lyrics are pure Strummer and the evidence points to the melody coming from the black stratocaster, but a good 30ish% of the the runtime is Mick atmospherically noodling out the clean echoes of ascending and descending notes. So I reckon Jones should have got some of the credit.

Publishing rules are usually top line melody (vocal melody) and lyrics.

[Silent Majority]

No way did Joe work out the opening guitar run of Rebel Waltz; his guitar playing was about passion, not expertise. That's pure Mick and is a huge chunk of the song. The chords are within Joe's composing wheelhouse and the tune, while majestic, isn't as hook-y as Mick would do. So, of course, the lyrics are pure Strummer and the evidence points to the melody coming from the black stratocaster, but a good 30ish% of the the runtime is Mick atmospherically noodling out the clean echoes of ascending and descending notes. So I reckon Jones should have got some of the credit.

Publishing rules are usually top line melody (vocal melody) and lyrics.

Yes, it's a little unfair. Ray Davies is a master for Waterloo Sunset, but the song would be less great without the sha-la-las, as contributed by one of the non-Dave bandmembers.

[Kory]

No way did Joe work out the opening guitar run of Rebel Waltz; his guitar playing was about passion, not expertise. That's pure Mick and is a huge chunk of the song. The chords are within Joe's composing wheelhouse and the tune, while majestic, isn't as hook-y as Mick would do. So, of course, the lyrics are pure Strummer and the evidence points to the melody coming from the black stratocaster, but a good 30ish% of the the runtime is Mick atmospherically noodling out the clean echoes of ascending and descending notes. So I reckon Jones should have got some of the credit.

Publishing rules are usually top line melody (vocal melody) and lyrics.

So if that's the case, then it wouldn't shed much light on my curiosity about the basslines. Why can't the world care more about DCT?

[Heston]

No way did Joe work out the opening guitar run of Rebel Waltz; his guitar playing was about passion, not expertise. That's pure Mick and is a huge chunk of the song. The chords are within Joe's composing wheelhouse and the tune, while majestic, isn't as hook-y as Mick would do. So, of course, the lyrics are pure Strummer and the evidence points to the melody coming from the black stratocaster, but a good 30ish% of the the runtime is Mick atmospherically noodling out the clean echoes of ascending and descending notes. So I reckon Jones should have got some of the credit.

Publishing rules are usually top line melody (vocal melody) and lyrics.

Yes, it's a little unfair. Ray Davies is a master for Waterloo Sunset, but the song would be less great without the sha-la-las, as contributed by one of the non-Dave bandmembers.

This is why Andy Summers gets no songwriting royalties for "I'll Be Missing You", even though his guitar line (which he wrote) is sampled throughout the song. And Sting makes millions from it.

[Dr. Medulla]

it wouldn't shed much light on my curiosity about the basslines. Why can't the world care more about DCT?

There's your answer, fishbulb.

[Silent Majority]

Oh, fuck yes, Kevin MacDonald is the funniest person in the world.