Rationalising Sandinista!

[muppet hi fi]

Never understood the great attraction of Charlie Don't Surf. Sure, I like it just fine - great lyrics, great vibe. Even better I saw it live, Aug. '82, St. Paul, MN (sorry, Terry was drumming. So it actually must have sucked, right?). I've played it and sung it, it's a fun song to have your way with, it always had great possibilities, just that the version on Sandinista! sounds like an outtake from Spirit of St. Louis (which I quite like). Just don't think it's near one of the best on Sandinista!, let alone the band's catelogue in general. Seems kinda like - oh, I dunno - Inocculated City or something. A bit light and clever and...light and clever.

Other hand - Up In Heaven is an extraordinarily beautiful and tough song. I wouldn't change the relatively light mix (aka Spirit of St. Louis mix) one iota, but I do wish they'd done it live (they never did, did they?), and can only wonder what that might have sounded like. Great bass runs by Paul (surely that's Paul) at the end after the initial noise fade. Beautiful sound/production.

[LTC]

everybody says don't leave this out, don't leave that out, just make a playlist and put it on random play, enjoy all 36 tracks. simple.

[CorwoodRep]

I love Charlie Don't Surf. It's 3 a.m. nightmare fuel music. Extremely evocative. The imagery, the muddy mix - whatever it is - it hits me immediately when it's sufficiently late at night. Not even as a Clash song. On its own, it's creepy, ethereal and alien.

[muppet hi fi]

I love Charlie Don't Surf. It's 3 a.m. nightmare fuel music. Extremely evocative. The imagery, the muddy mix - whatever it is - it hits me immediately when it's sufficiently late at night. Not even as a Clash song. On its own, it's creepy, ethereal and alien.

Ok. You're right. Very apt description/sentiments. Fuck it - it's a great song/production.
Now Junkie Slip, which most seem to despise, is truly brilliant. Tom Waits jamming with Keith Richards' Expensive Winos or some such. Dig Topper's drums, specially his kick tone. Nasty vibe; very fitting for the piece. What say ye?

[Wolter]

I love Charlie Don't Surf. It's 3 a.m. nightmare fuel music. Extremely evocative. The imagery, the muddy mix - whatever it is - it hits me immediately when it's sufficiently late at night. Not even as a Clash song. On its own, it's creepy, ethereal and alien.

Ok. You're right. Very apt description/sentiments. Fuck it - it's a great song/production.
Now Junkie Slip, which most seem to despise, is truly brilliant. Tom Waits jamming with Keith Richards' Expensive Winos or some such. Dig Topper's drums, specially his kick tone. Nasty vibe; very fitting for the piece. What say ye?

I like Junkie Slip.

[Inder]

Junkie Slip's great.

[Dr. Medulla]

For all the emphasis on getting it down to one album, a very decent double is doable, with only minor filler/guilty pleasures. Hell, side six pretty much does half the job when looking to chop one lp.

[IkarisOne]

Never understood the great attraction of Charlie Don't Surf. Sure, I like it just fine - great lyrics, great vibe. Even better I saw it live, Aug. '82, St. Paul, MN (sorry, Terry was drumming. So it actually must have sucked, right?). I've played it and sung it, it's a fun song to have your way with, it always had great possibilities, just that the version on Sandinista! sounds like an outtake from Spirit of St. Louis (which I quite like). Just don't think it's near one of the best on Sandinista!, let alone the band's catelogue in general. Seems kinda like - oh, I dunno - Inocculated City or something. A bit light and clever and...light and clever.

Other hand - Up In Heaven is an extraordinarily beautiful and tough song. I wouldn't change the relatively light mix (aka Spirit of St. Louis mix) one iota, but I do wish they'd done it live (they never did, did they?), and can only wonder what that might have sounded like. Great bass runs by Paul (surely that's Paul) at the end after the initial noise fade. Beautiful sound/production.

Actually, I love Charlie lots- always have since day one when it took a lot of growing for the other tracks. And you're a lucky duck because that was a asskicking show. And live, Charlie worked better with Terry's Timex choc-a-bloc than Topper's "god-I need-a-sniff-is-this-fucking-song-almost-over?" wavering pseudobeat. Because like most Clash songs the beat is just the beat and the action is up on the frontline. As in the Clash were the Clash, not Rush.

[bazarboy75]

everybody says don't leave this out, don't leave that out, just make a playlist and put it on random play, enjoy all 36 tracks. simple.

Seconded

[101Walterton]

Charlie is a brilliant song and one of my favourite Clash tracks although I think it grew on me after listening to live boots as opposed to the album version. It's like STH part 2.

[Marky Dread]

Never understood the great attraction of Charlie Don't Surf. Sure, I like it just fine - great lyrics, great vibe. Even better I saw it live, Aug. '82, St. Paul, MN (sorry, Terry was drumming. So it actually must have sucked, right?). I've played it and sung it, it's a fun song to have your way with, it always had great possibilities, just that the version on Sandinista! sounds like an outtake from Spirit of St. Louis (which I quite like). Just don't think it's near one of the best on Sandinista!, let alone the band's catelogue in general. Seems kinda like - oh, I dunno - Inocculated City or something. A bit light and clever and...light and clever.

Other hand - Up In Heaven is an extraordinarily beautiful and tough song. I wouldn't change the relatively light mix (aka Spirit of St. Louis mix) one iota, but I do wish they'd done it live (they never did, did they?), and can only wonder what that might have sounded like. Great bass runs by Paul (surely that's Paul) at the end after the initial noise fade. Beautiful sound/production.

Actually, I love Charlie lots- always have since day one when it took a lot of growing for the other tracks. And you're a lucky duck because that was a asskicking show. And live, Charlie worked better with Terry's Timex choc-a-bloc than Topper's "god-I need-a-sniff-is-this-fucking-song-almost-over?" wavering pseudobeat. Because like most Clash songs the beat is just the beat and the action is up on the frontline. As in the Clash were the Clash, not Rush.

I don't remember what show it's from now but that one where Strummer says "Blue funk" is a brilliant version.

[JennyB]

I heard Shitsville on Sirius/XM's First Wave today.

[BR16ADE_R055E]

I heard Shitsville on Sirius/XM's First Wave today.

"Hitsville U.K." isn't so bad, even w/ Ellen's vocals. I prefer her vocals to Tymon's in "Lose This Skin."

[BR16ADE_R055E]

I love Charlie Don't Surf. It's 3 a.m. nightmare fuel music. Extremely evocative. The imagery, the muddy mix - whatever it is - it hits me immediately when it's sufficiently late at night. Not even as a Clash song. On its own, it's creepy, ethereal and alien.

Ok. You're right. Very apt description/sentiments. Fuck it - it's a great song/production.
Now Junkie Slip, which most seem to despise, is truly brilliant. Tom Waits jamming with Keith Richards' Expensive Winos or some such. Dig Topper's drums, specially his kick tone. Nasty vibe; very fitting for the piece. What say ye?

CDS is a wonderful tune. I can do w/o "Junkie Slip."

[Silent Majority]

Love Hitsville, prefer Lose This Skin.