Calling BAD Experts E=MC2 Question

[Marky Dread]

My understanding was that Boittom Line was the only song from the first album that was written by Mick for the Clash. The original name was something Transalantic something or other and was something to do with the financial state between UK and accross the atlamtic. I think Joe was originally to be the lead sing on it as well.

I wish i could remember where i know this from

Trans Fee Cash Pay One was the title, whatever the fuck that meant.

It means you can use Paypal.

[F-Punk '79]

Not exactly the New Orleans sound The Clash were apparently going to go for?

I've often wondered if some of the tunes that appeared on Earthquake Weather weren't initially intended for the band's "New Orleans" LP notably: Gangsterville, King of the Bayou, Dizzie's Goatee, Highway One Zero Street & Ride Your Donkey, as well as Tennessee Rain from Walker - balancing the Memphis to N.O. theme

My conspiracy theory is that Stummer was down with Bernie's N.O. plan & Mick was not - instead working on song ideas such as Bottom Line & E=MC2. Things hit an impasse & Mick was asked to leave. Once Mick left, Joe resurrected some earlier song sketches which became the Lucky 7 demos just three or four months later. Just a theory.

I agree E=MC2 is one of the few BAD tracks that sound like it was written with the Clash in mind - the call & response delivery & minimalist chords suitable for Joe. Not to mention it one of the tunes (the other being the Bottom Line) in which the lyrics touch on Mick's having moved on from the Clash. Just because E=MC2 wasn't a TRAC demo doesn't mean that it wasn't a leftover from '83, particularly since the TRAC demos sound deliberately un-Clash and wouldn't have necessarily been resurrected at that time

[Heston]

Not exactly the New Orleans sound The Clash were apparently going to go for?

I've often wondered if some of the tunes that appeared on Earthquake Weather weren't initially intended for the band's "New Orleans" LP notably: Gangsterville, King of the Bayou, Dizzie's Goatee, Highway One Zero Street & Ride Your Donkey, as well as Tennessee Rain from Walker - balancing the Memphis to N.O. theme

My conspiracy theory is that Stummer was down with Bernie's N.O. plan & Mick was not - instead working on song ideas such as Bottom Line & E=MC2. Things hit an impasse & Mick was asked to leave. Once Mick left, Joe resurrected some earlier song sketches which became the Lucky 7 demos just three or four months later. Just a theory.

I agree E=MC2 is one of the few BAD tracks that sound like it was written with the Clash in mind - the call & response delivery & minimalist chords suitable for Joe. Not to mention it one of the tunes (the other being the Bottom Line) in which the lyrics touch on Mick's having moved on from the Clash. Just because E=MC2 wasn't a TRAC demo doesn't mean that it wasn't a leftover from '83, particularly since the TRAC demos sound deliberately un-Clash and wouldn't have necessarily been resurrected at that time

Don wrote the words for E=mc2, so it was definitely post-Joe, at least lyric-wise.

[101Walterton]

Not exactly the New Orleans sound The Clash were apparently going to go for?

I've often wondered if some of the tunes that appeared on Earthquake Weather weren't initially intended for the band's "New Orleans" LP notably: Gangsterville, King of the Bayou, Dizzie's Goatee, Highway One Zero Street & Ride Your Donkey, as well as Tennessee Rain from Walker - balancing the Memphis to N.O. theme

My conspiracy theory is that Stummer was down with Bernie's N.O. plan & Mick was not - instead working on song ideas such as Bottom Line & E=MC2. Things hit an impasse & Mick was asked to leave. Once Mick left, Joe resurrected some earlier song sketches which became the Lucky 7 demos just three or four months later. Just a theory.

I agree E=MC2 is one of the few BAD tracks that sound like it was written with the Clash in mind - the call & response delivery & minimalist chords suitable for Joe. Not to mention it one of the tunes (the other being the Bottom Line) in which the lyrics touch on Mick's having moved on from the Clash. Just because E=MC2 wasn't a TRAC demo doesn't mean that it wasn't a leftover from '83, particularly since the TRAC demos sound deliberately un-Clash and wouldn't have necessarily been resurrected at that time

Some interesting points. Knowing what we know of Mick and what happened post 83 I find it a stretch that Mick who was so much into the New York street scene would want to go and make a N.O. Sounding record?
Re your EW point it was a long time between 83 and EW, 6 years? I doubt they were Clash songs however Joe obviously had an interest in that style of music when you look at what he wrote after the Clash.

[NoMoreHugh]

My understanding was that Boittom Line was the only song from the first album that was written by Mick for the Clash. The original name was something Transalantic something or other and was something to do with the financial state between UK and accross the atlamtic. I think Joe was originally to be the lead sing on it as well.

I wish i could remember where i know this from

Trans Fee Cash Pay One was the title, whatever the fuck that meant.

Thats the title name, thanks Heston.

I remember now It was on a radio station in an interview i heard it at about the time when the first album was or going to be released. The interviewer was asking the same as this thread whether this is where Mick saw the clash moving to musically. Mick said it would be different with the clash but essentially yes. This prompted mick to talk about Bottom Line and how that was a song written for the clash and the title was Trans Fee Cash Pay One as you mentioned. The interviewer said confused "how would that work"? Mick then began to sing the chorus of Bottom Line replacing the words "When you reach the bottom line" with "when you Trans Fee Cash Pay One" and then affectionally mentioed but Joe would have been singing it. The interviewer just said "oh yeah" and continued with the interview.

Its possible that i have mixed two interviews up but it may have been the interview as well where Mick and Don played the Magnificent 7 mix with the warner Bros cartoon characters sampled in . Elmer fudd mixed in the song with "get the wabbitt" comments and various charater voices like Buggs bunny etc.. And how this was the inspiration behind the sampling in the BAD songs. Some details i have probably got a little out but then again that was over 30 tears ago now.

[laxman]

My understanding was that Boittom Line was the only song from the first album that was written by Mick for the Clash. The original name was something Transalantic something or other and was something to do with the financial state between UK and accross the atlamtic. I think Joe was originally to be the lead sing on it as well.

I wish i could remember where i know this from

Trans Fee Cash Pay One was the title, whatever the fuck that meant.

Thats the title name, thanks Heston.

I remember now It was on a radio station in an interview i heard it at about the time when the first album was or going to be released. The interviewer was asking the same as this thread whether this is where Mick saw the clash moving to musically. Mick said it would be different with the clash but essentially yes. This prompted mick to talk about Bottom Line and how that was a song written for the clash and the title was Trans Fee Cash Pay One as you mentioned. The interviewer said confused "how would that work"? Mick then began to sing the chorus of Bottom Line replacing the words "When you reach the bottom line" with "when you Trans Fee Cash Pay One" and then affectionally mentioed but Joe would have been singing it. The interviewer just said "oh yeah" and continued with the interview.

Its possible that i have mixed two interviews up but it may have been the interview as well where Mick and Don played the Magnificent 7 mix with the warner Bros cartoon characters sampled in . Elmer fudd mixed in the song with "get the wabbitt" comments and various charater voices like Buggs bunny etc.. And how this was the inspiration behind the sampling in the BAD songs. Some details i have probably got a little out but then again that was over 30 tears ago now.

Was it an interview with Janice Long on the Radio 1 evening show before the John Peel show when the Dirty Harry mix got played? I might be wrong with the DJ but I'm pretty sure about the rest of it.

[Heston]

My understanding was that Boittom Line was the only song from the first album that was written by Mick for the Clash. The original name was something Transalantic something or other and was something to do with the financial state between UK and accross the atlamtic. I think Joe was originally to be the lead sing on it as well.

I wish i could remember where i know this from

Trans Fee Cash Pay One was the title, whatever the fuck that meant.

Thats the title name, thanks Heston.

I remember now It was on a radio station in an interview i heard it at about the time when the first album was or going to be released. The interviewer was asking the same as this thread whether this is where Mick saw the clash moving to musically. Mick said it would be different with the clash but essentially yes. This prompted mick to talk about Bottom Line and how that was a song written for the clash and the title was Trans Fee Cash Pay One as you mentioned. The interviewer said confused "how would that work"? Mick then began to sing the chorus of Bottom Line replacing the words "When you reach the bottom line" with "when you Trans Fee Cash Pay One" and then affectionally mentioed but Joe would have been singing it. The interviewer just said "oh yeah" and continued with the interview.

Its possible that i have mixed two interviews up but it may have been the interview as well where Mick and Don played the Magnificent 7 mix with the warner Bros cartoon characters sampled in . Elmer fudd mixed in the song with "get the wabbitt" comments and various charater voices like Buggs bunny etc.. And how this was the inspiration behind the sampling in the BAD songs. Some details i have probably got a little out but then again that was over 30 tears ago now.

Was it an interview with Janice Long on the Radio 1 evening show before the John Peel show when the Dirty Harry mix got played? I might be wrong with the DJ but I'm pretty sure about the rest of it.

Yeah, Mick and Don played some of their favourite tunes as well, "Pop Life" by Prince got an airing. Pretty sure it was Janice Long too.

[Marky Dread]

My understanding was that Boittom Line was the only song from the first album that was written by Mick for the Clash. The original name was something Transalantic something or other and was something to do with the financial state between UK and accross the atlamtic. I think Joe was originally to be the lead sing on it as well.

I wish i could remember where i know this from

Trans Fee Cash Pay One was the title, whatever the fuck that meant.

Thats the title name, thanks Heston.

I remember now It was on a radio station in an interview i heard it at about the time when the first album was or going to be released. The interviewer was asking the same as this thread whether this is where Mick saw the clash moving to musically. Mick said it would be different with the clash but essentially yes. This prompted mick to talk about Bottom Line and how that was a song written for the clash and the title was Trans Fee Cash Pay One as you mentioned. The interviewer said confused "how would that work"? Mick then began to sing the chorus of Bottom Line replacing the words "When you reach the bottom line" with "when you Trans Fee Cash Pay One" and then affectionally mentioed but Joe would have been singing it. The interviewer just said "oh yeah" and continued with the interview.

Its possible that i have mixed two interviews up but it may have been the interview as well where Mick and Don played the Magnificent 7 mix with the warner Bros cartoon characters sampled in . Elmer fudd mixed in the song with "get the wabbitt" comments and various charater voices like Buggs bunny etc.. And how this was the inspiration behind the sampling in the BAD songs. Some details i have probably got a little out but then again that was over 30 tears ago now.

Was it an interview with Janice Long on the Radio 1 evening show before the John Peel show when the Dirty Harry mix got played? I might be wrong with the DJ but I'm pretty sure about the rest of it.

Yeah, Mick and Don played some of their favourite tunes as well, "Pop Life" by Prince got an airing. Pretty sure it was Janice Long too.

Annie Nightingale?

[TeddyB Not Logged In]

Trans Fee Cash Pay One sounded like the BAD version of The Bottom Line, as opposed to the TRAC one. I wish I had a copy of the demo. Our friend who did have it, on a tape given him by Joe, has currently misplaced it.

[laxman]

Trans Fee Cash Pay One sounded like the BAD version of The Bottom Line, as opposed to the TRAC one. I wish I had a copy of the demo. Our friend who did have it, on a tape given him by Joe, has currently misplaced it.

Tell him to look down the back of his sofa, that tends to be where Clash items turn up!

[Marky Dread]

Trans Fee Cash Pay One sounded like the BAD version of The Bottom Line, as opposed to the TRAC one. I wish I had a copy of the demo. Our friend who did have it, on a tape given him by Joe, has currently misplaced it.

The Bottom Line is a great tune. Shame that demo is missing.

[F-Punk '79]

Re your EW point it was a long time between 83 and EW, 6 years? I doubt they were Clash songs however Joe obviously had an interest in that style of music when you look at what he wrote after the Clash.[/quote]

Just a Theory. That said, Strummer certainly shelved song sketches as evidenced by X-Ray Style, which included a couple of songs which were nearly a decade old by the time that album came out (his first proper LP since EW). I suspect Strummer held on to these tunes so that he had some material ready to roll had he been able to reconcile with Mick once he tracked him down near the completion of the first BAD LP. After Mick declined, Joe used them for his first proper LP.

More theories. I find it odd, with respect to '83, that for a band which was ridiculously prolific (don't miss the TRAC reference here), there's so little to show for the ten months following the end of the Who tour. Montego Bay show - Janie Jones session - Hell W10 (which looks like it was shot over the course of an afternoon), a few days auditioning drummers & playing a handful of shows preceding the US Festival in May. Mash it all together and that's about a months worth of work. I wish Paul would paint us a picture with respect to what was being developed over those 10-months from November '82 through August of '83. Instead of filling in the gaps, he keeps talking about Guy Stevens swinging a chair around during one of the London Calling sessions, which he must have found traumatizing. Nobody seems willing to pin down what Joe & Mick had worked up during that time. November of '83 should have been the approximate drop date for album #6. Maybe it was going to be the Live @ Shea LP; But if not, the material for the next album should have been fairly well developed by the end of August. Once it was clear that an LP was not forthcoming, the axe fell on Mick. None-the-less, the tour in support of the Phantom LP (good album title) still went forth in January even without a record to promote - under the silly guise that it was an opportunity to introduce their fans to the new band, and not because they needed the money.

I don't think it was the TRAC material that Mick was working on during the time frame I've written about above. Maybe I'm wrong, but I'm under the impression that Mick developed that material with the help from John Boy Lennard & possibly Topper as well after he left the Clash. If that is the case, then what was Mick the Prolific working on all that time? I've wondered if it wasn't the BAD version of the Bottom Line as well as sketches of some the other numbers from BAD's debut including E=MC2

[Marky Dread]

Re your EW point it was a long time between 83 and EW, 6 years? I doubt they were Clash songs however Joe obviously had an interest in that style of music when you look at what he wrote after the Clash.

Just a Theory. That said, Strummer certainly shelved song sketches as evidenced by X-Ray Style, which included a couple of songs which were nearly a decade old by the time that album came out (his first proper LP since EW). I suspect Strummer held on to these tunes so that he had some material ready to roll had he been able to reconcile with Mick once he tracked him down near the completion of the first BAD LP. After Mick declined, Joe used them for his first proper LP.

More theories. I find it odd, with respect to '83, that for a band which was ridiculously prolific (don't miss the TRAC reference here), there's so little to show for the ten months following the end of the Who tour. Montego Bay show - Janie Jones session - Hell W10 (which looks like it was shot over the course of an afternoon), a few days auditioning drummers & playing a handful of shows preceding the US Festival in May. Mash it all together and that's about a months worth of work. I wish Paul would paint us a picture with respect to what was being developed over those 10-months from November '82 through August of '83. Instead of filling in the gaps, he keeps talking about Guy Stevens swinging a chair around during one of the London Calling sessions, which he must have found traumatizing. Nobody seems willing to pin down what Joe & Mick had worked up during that time. November of '83 should have been the approximate drop date for album #6. Maybe it was going to be the Live @ Shea LP; But if not, the material for the next album should have been fairly well developed by the end of August. Once it was clear that an LP was not forthcoming, the axe fell on Mick. None-the-less, the tour in support of the Phantom LP (good album title) still went forth in January even without a record to promote - under the silly guise that it was an opportunity to introduce their fans to the new band, and not because they needed the money.

I don't think it was the TRAC material that Mick was working on during the time frame I've written about above. Maybe I'm wrong, but I'm under the impression that Mick developed that material with the help from John Boy Lennard & possibly Topper as well after he left the Clash. If that is the case, then what was Mick the Prolific working on all that time? I've wondered if it wasn't the BAD version of the Bottom Line as well as sketches of some the other numbers from BAD's debut including E=MC2[/quote]

Don't forget this :

Dave Wakeling talking about Mick at the formation of General Public.

Well, we did a bit of a barter deal. He had left the Clash and was starting Big Audio Dynamite, and he said to me that he had a load of lyrics, but he liked the way I played with the vocal melodies, and if he gave me a cassette of instrumentals, would I do some la-la-la and humming and ideas for melodies? And he would fit his lyrics around those, if they fit. So I did that for him, and in the process of doing that, I said where we were with General Public, and he was my favorite guitarist of all time, and would he be willing to play on some of the tunes? So we gave him the songs as they were demos and let him get a feel for them. And we asked about rehearsals and that, but he was a very intuitive player, and he said, “No, I’ve got an idea of the songs now. Wait ‘til you’ve got a finished song that’s begging for a lead guitar part, and I’ll just come down. I’m not precious about it. I’ll just play loads of things and you tell me what fits and throw away the rest.”

[TeddyB Not Logged In]

Mick was musing the other day maybe he should have said yes to Joe in '85; since Joe was checking his ego in asking him, maybe he should have done the same and gone along.

[Heston]

Mick was musing the other day maybe he should have said yes to Joe in '85; since Joe was checking his ego in asking him, maybe he should have done the same and gone along.

I'm glad we got BAD and that never happened.