Spirit of St. Louis

[Silent Majority]

That's an entirely reasonable explanation, tho given how many keystrokes we've devoted to so many other topics, it still seems odd to me that there isn't some Heston-like figure here—i'm gonna say Inder—who's decided to champion it as the lost classic or means of deciphering everything else. We love entertaining goofball theses, yet nobody travels down that road with SoSL. It's just odd to me.

I've actually never heard this. Maybe it will be me?

You've never heard Torchlight?

Maybe once in passing but I haven't heard the whole album.

Torchlight is pretty great.

It's on Spotify, unbelievably.

[muppet hi fi]

Since its release I've loved 'Spirit of St. Louis' (not just liked it) and still play it regularly. I actually do think of it as a Clash album ( though probably not some mythical "Great Lost Clash Album"), in the same way I think of the Futura 12" single as a Clash single, and almost think of the Mick co-produced (with Topper at Wessex on half the album) Ian Hunter/Mick Ronson album 'Short Back & Sides' as a Clash collaborative album. Those were heady days, mates. Once you acclimated yourself to the subtle mix and textures of 'Sandinista!', and accepted that all bets were off and weirdness was the new norm for the Clash, you could get your head around it all. And Mick, Bill Price, Jeremy Green et al at Wessex had a very distinctive sound going on then in '80-81. If it was too SRP for ya - just turn the fucker up louder!

[Wolter]

Since its release I've loved 'Spirit of St. Louis' (not just liked it) and still play it regularly. I actually do think of it as a Clash album ( though probably not some mythical "Great Lost Clash Album"), in the same way I think of the Futura 12" single as a Clash single, and almost think of the Mick co-produced (with Topper at Wessex on half the album) Ian Hunter/Mick Ronson album 'Short Back & Sides' as a Clash collaborative album. Those were heady days, mates. Once you acclimated yourself to the subtle mix and textures of 'Sandinista!', and accepted that all bets were off and weirdness was the new norm for the Clash, you could get your head around it all. And Mick, Bill Price, Jeremy Green et al at Wessex had a very distinctive sound going on then in '80-81. If it was too SRP for ya - just turn the fucker up louder!

No amount of volume will make me remember most of the songs on it.

[IkarisOne]

Since its release I've loved 'Spirit of St. Louis' (not just liked it) and still play it regularly. I actually do think of it as a Clash album ( though probably not some mythical "Great Lost Clash Album"), in the same way I think of the Futura 12" single as a Clash single, and almost think of the Mick co-produced (with Topper at Wessex on half the album) Ian Hunter/Mick Ronson album 'Short Back & Sides' as a Clash collaborative album. Those were heady days, mates. Once you acclimated yourself to the subtle mix and textures of 'Sandinista!', and accepted that all bets were off and weirdness was the new norm for the Clash, you could get your head around it all. And Mick, Bill Price, Jeremy Green et al at Wessex had a very distinctive sound going on then in '80-81. If it was too SRP for ya - just turn the fucker up louder!

It is fun getting that S! era contact high off it. But playing it loud is like heating up watery soup. It doesn't make it any heartier, just makes it hot, watery soup.

[dave202]

No-one has mentioned that there are six songs credited to 'Strummer/Jones' on the album, which is pretty significant as they weren't recorded by the band. Also three by Tymon Dogg, who has always been there or thereabouts in Joe's career. I still think it's a big part of The Clash output... maybe not the best.

[muppet hi fi]

Since its release I've loved 'Spirit of St. Louis' (not just liked it) and still play it regularly. I actually do think of it as a Clash album ( though probably not some mythical "Great Lost Clash Album"), in the same way I think of the Futura 12" single as a Clash single, and almost think of the Mick co-produced (with Topper at Wessex on half the album) Ian Hunter/Mick Ronson album 'Short Back & Sides' as a Clash collaborative album. Those were heady days, mates. Once you acclimated yourself to the subtle mix and textures of 'Sandinista!', and accepted that all bets were off and weirdness was the new norm for the Clash, you could get your head around it all. And Mick, Bill Price, Jeremy Green et al at Wessex had a very distinctive sound going on then in '80-81. If it was too SRP for ya - just turn the fucker up louder!

It is fun getting that S! era contact high off it. But playing it loud is like heating up watery soup. It doesn't make it any heartier, just makes it hot, watery soup.

Good soup analogy. And that's well put about the "contact high" - yeah that is surely a big part of it for me, but I do think "Torchlight", "In the Killing Hour" and "MPH" are genuinely great (MPH has some of Mick's most Ronson-esque guitaring ever), and I love the languid, Euro-cool vibe of "Shuttered Palace" and "Theatre of Cruelty", which both have very interesting feminist themes, albeit coming from different angles (not to mention Tymon's "Game of a Man"). Which has always made me wonder: did they write those two songs specifically for Ellen or were they already completed, lyrically at least. Because if Mick and Joe could write to spec in such a short period of time, who knows what kind of material they could have come up with for other artists (if they'd actually got their shit together a bit...).

[IkarisOne]

Since its release I've loved 'Spirit of St. Louis' (not just liked it) and still play it regularly. I actually do think of it as a Clash album ( though probably not some mythical "Great Lost Clash Album"), in the same way I think of the Futura 12" single as a Clash single, and almost think of the Mick co-produced (with Topper at Wessex on half the album) Ian Hunter/Mick Ronson album 'Short Back & Sides' as a Clash collaborative album. Those were heady days, mates. Once you acclimated yourself to the subtle mix and textures of 'Sandinista!', and accepted that all bets were off and weirdness was the new norm for the Clash, you could get your head around it all. And Mick, Bill Price, Jeremy Green et al at Wessex had a very distinctive sound going on then in '80-81. If it was too SRP for ya - just turn the fucker up louder!

It is fun getting that S! era contact high off it. But playing it loud is like heating up watery soup. It doesn't make it any heartier, just makes it hot, watery soup.

Good soup analogy. And that's well put about the "contact high" - yeah that is surely a big part of it for me, but I do think "Torchlight", "In the Killing Hour" and "MPH" are genuinely great (MPH has some of Mick's most Ronson-esque guitaring ever), and I love the languid, Euro-cool vibe of "Shuttered Palace" and "Theatre of Cruelty", which both have very interesting feminist themes, albeit coming from different angles (not to mention Tymon's "Game of a Man"). Which has always made me wonder: did they write those two songs specifically for Ellen or were they already completed, lyrically at least. Because if Mick and Joe could write to spec in such a short period of time, who knows what kind of material they could have come up with for other artists (if they'd actually got their shit together a bit...).

It was a classic missed opportunity. The production and the mix kind of keep everything from flowering, never mind Ellen's rather limited comfort zone. I think they all got a bit too ADHD around that time, and were sketching out concepts that needed a lot more time in the oven. S!, SBaS and SoSL could have been so much more if Mick buckled down and got a little more discerning between an idea and a good idea. There's that great line from that Musician piece at the time, something like The Clash were "the Keith Jarretts of Punk."

[IkarisOne]

When mom has one too many daiquiris at Karaoke night.

[Marky Dread]

When mom has one too many daiquiris at Karaoke night.

Oh dear.

[Dr. Medulla]

When mom has one too many daiquiris at Karaoke night.

Oh dear.

I'd prefer hearing Markie Post do it.

[muppet hi fi]

It was a classic missed opportunity. The production and the mix kind of keep everything from flowering, never mind Ellen's rather limited comfort zone. I think they all got a bit too ADHD around that time, and were sketching out concepts that needed a lot more time in the oven. S!, SBaS and SoSL could have been so much more if Mick buckled down and got a little more discerning between an idea and a good idea. There's that great line from that Musician piece at the time, something like The Clash were "the Keith Jarretts of Punk."

Ha! That's great! Never read that article in Musician. (don't think I got into it until the mid-'80s, but it was a great mag, and the band gear profiles at the end of each feature article were always cool. Plus, Bill Flannagan wrote for them a lot).

[Marky Dread]

It was a classic missed opportunity. The production and the mix kind of keep everything from flowering, never mind Ellen's rather limited comfort zone. I think they all got a bit too ADHD around that time, and were sketching out concepts that needed a lot more time in the oven. S!, SBaS and SoSL could have been so much more if Mick buckled down and got a little more discerning between an idea and a good idea. There's that great line from that Musician piece at the time, something like The Clash were "the Keith Jarretts of Punk."

Ha! That's great! Never read that article in Musician. (don't think I got into it until the mid-'80s, but it was a great mag, and the band gear profiles at the end of each feature article were always cool. Plus, Bill Flannagan wrote for them a lot).

Spirit of St. Louis was recorded just after Sandinista! So I'm amazed there was anything left in the tank after that mammoth sprawl.

[deny]

I like this review by the Punk Panther:-

An utterly different album. Ellen was carrying on with Mick Jones of The Clash at the time and on this bizarre album, she enlisted Jones' help. He and Joe Strummer contributed several "Sandinista!" style compositions and members of The Clash and Ian Dury's Blockheads played the music which was anything but rock. It is virtually impossible to categorise, just as "Sandinista!" was. All that said, I found it strangely appealing at the time and still do.

"The Shuttered Palace" is marvellously evocative and "Torchlight" sees Ellen duetting with Jones, somewhat clumsily. "Beautiful Waste Of Time" is a jazzy pleasure and "The Death Of The Psychoanalyst Of Salvador Dali" is frankly bonkers. "M.P.H." is as close to punky rock as it gets. "My Legionnaire" is another atmospheric Edith Piaf cover. "Theatre Of Cruelty" continues the floaty, jazzy feel and "How Glad I Am" is a slice of sixties soul. "Phases Of Travel", the intoxicating "Game Of A Man", the soulful "Indestructible" and the anthemic "In The Killing Hour" end this interesting little curio.

[Heston]

I like this review by the Punk Panther:-

An utterly different album. Ellen was carrying on with Mick Jones of The Clash at the time and on this bizarre album, she enlisted Jones' help. He and Joe Strummer contributed several "Sandinista!" style compositions and members of The Clash and Ian Dury's Blockheads played the music which was anything but rock. It is virtually impossible to categorise, just as "Sandinista!" was. All that said, I found it strangely appealing at the time and still do.

"The Shuttered Palace" is marvellously evocative and "Torchlight" sees Ellen duetting with Jones, somewhat clumsily. "Beautiful Waste Of Time" is a jazzy pleasure and "The Death Of The Psychoanalyst Of Salvador Dali" is frankly bonkers. "M.P.H." is as close to punky rock as it gets. "My Legionnaire" is another atmospheric Edith Piaf cover. "Theatre Of Cruelty" continues the floaty, jazzy feel and "How Glad I Am" is a slice of sixties soul. "Phases Of Travel", the intoxicating "Game Of A Man", the soulful "Indestructible" and the anthemic "In The Killing Hour" end this interesting little curio.

"Clumsily?"

It's a pretty damn fine performance and production.

[Marky Dread]

I like this review by the Punk Panther:-

An utterly different album. Ellen was carrying on with Mick Jones of The Clash at the time and on this bizarre album, she enlisted Jones' help. He and Joe Strummer contributed several "Sandinista!" style compositions and members of The Clash and Ian Dury's Blockheads played the music which was anything but rock. It is virtually impossible to categorise, just as "Sandinista!" was. All that said, I found it strangely appealing at the time and still do.

"The Shuttered Palace" is marvellously evocative and "Torchlight" sees Ellen duetting with Jones, somewhat clumsily. "Beautiful Waste Of Time" is a jazzy pleasure and "The Death Of The Psychoanalyst Of Salvador Dali" is frankly bonkers. "M.P.H." is as close to punky rock as it gets. "My Legionnaire" is another atmospheric Edith Piaf cover. "Theatre Of Cruelty" continues the floaty, jazzy feel and "How Glad I Am" is a slice of sixties soul. "Phases Of Travel", the intoxicating "Game Of A Man", the soulful "Indestructible" and the anthemic "In The Killing Hour" end this interesting little curio.

"Clumsily?"

It's a pretty damn fine performance and production.

I agree. This album could've benefited with more time and planning.