The New Testament

[Heston]

I know there are clash fans who think there's a bit too much hype around LC but i'm not one of them, i'm still captivated by its genius all these years on. I actually still can't figure out how they came up with something so brilliant, it genuinely mystifies me everytime i listen to it and could never tire of it if i lived 1000 years.

Fully agreed.

[Marky Dread]

We are only comparing degrees of excellence here. I'd just knock a few technical marks off COL for one song being a cover and two others being reworkings of older songs, but i'm only nitpicking. I know there are clash fans who think there's a bit too much hype around LC but i'm not one of them, i'm still captivated by its genius all these years on. I actually still can't figure out how they came up with something so brilliant, it genuinely mystifies me everytime i listen to it and could never tire of it if i lived 1000 years.

I like your passion for LC and I agree it's great. But if you knock off technical marks for CoL for the cover and reworkings you will have to do the same for LC as it has two covers in Brand New Cadillac (Vince Taylor) and Wrong 'Em Boyo (The Rulers) and Revolution Rock is a reworking of "Get Up" by Jackie Edwards. Plus of course all the stolen riffs/ideas like the title track based on The Kinks "Dead End Street" etc.

Interesting listening to the sessions the track called "Up-Toon" the basis for "The Right Profile" Paul says "what are we gonna do now?" "play school" was it nicked from the theme tune?

[Low Down Low]

We are only comparing degrees of excellence here. I'd just knock a few technical marks off COL for one song being a cover and two others being reworkings of older songs, but i'm only nitpicking. I know there are clash fans who think there's a bit too much hype around LC but i'm not one of them, i'm still captivated by its genius all these years on. I actually still can't figure out how they came up with something so brilliant, it genuinely mystifies me everytime i listen to it and could never tire of it if i lived 1000 years.

I like your passion for LC and I agree it's great. But if you knock off technical marks for CoL for the cover and reworkings you will have to do the same for LC as it has two covers in Brand New Cadillac (Vince Taylor) and Wrong 'Em Boyo (The Rulers) and Revolution Rock is a reworking of "Get Up" by Jackie Edwards. Plus of course all the stolen riffs/ideas like the title track based on The Kinks "Dead End Street" etc.

Interesting listening to the sessions the track called "Up-Toon" the basis for "The Right Profile" Paul says "what are we gonna do now?" "play school" was it nicked from the theme tune?

You mean Playschool the kiddie's show? Not familiar with the theme tune, but nothing woudl surprise me. I remember being shocked to learn that Jimmy Jazz, one of my favourite songs on LC, or of any Clash album period, was almost a complete rip-off of an old, obscure song. But my view has changed over the years on the riff stealing, to me it's more borrowing than stealing, kind of even paying homage to the original. And I see LC as the Clash taking their place in the vanguard of musical heritage, not in a punk sense of breaking new ground, but just a great band proud to be a part of the great musical evolution from rock and roll to the Beatles and Elvis and beyond, and if a few of the tunes borrow heavily from various sources, that's fine by me. But that could just be me trying to rationalise and excuse some dodgy musical dealings, I'm not convinced on that point to be honest.

Speaking of Jimmy Jazz, really like that remix, Topper seems more prominent which is great, the piano and other bits at the end are fucking tremendous.

[Dr. Medulla]

General question/curiosity about your working method, Marky: Do you approach songs with an idea of what you think would be interesting sound or some other preconceived idea, or do you just fuck around emphasizing and de-emphasizing parts of the mix until you hear something that you like and then pursue? Put another way, are you deliberate in this or do prefer to wait for happy accidents?

[Low Down Low]

I've just been dipping in and out of a few of the instrumentals and my jaw is literally dropping at all the new detail, there will be intense listening in it for weeks, possibly months. The ending of I Fought The Law is great and I always wondered what the weird sound at the start of The RIght Profile was, now I can hear it is somebody scraping a finger or a plectrum along the tuning keys of a piano.

[Marky Dread]

General question/curiosity about your working method, Marky: Do you approach songs with an idea of what you think would be interesting sound or some other preconceived idea, or do you just fuck around emphasizing and de-emphasizing parts of the mix until you hear something that you like and then pursue? Put another way, are you deliberate in this or do prefer to wait for happy accidents?

Generally both really. I do have a preconceived idea of how I think I would like to hear stuff and how the mix should feel overall. Obviously when playing around with stems (multi-tracks) then there is going to be stuff you have not really heard before and I always try to bring those sounds a little further into the foreground. Sometimes things sounds a little odd so it's a balancing act between old and new. With the remixes like I did with the "Nuclear Meltdown" I take a look at the subject matter of the song to get inspiration for samples/voice overs/ loops etc and then just have fun with the mix until I'm satisfied it works (to my ears at least).

[Dr. Medulla]

General question/curiosity about your working method, Marky: Do you approach songs with an idea of what you think would be interesting sound or some other preconceived idea, or do you just fuck around emphasizing and de-emphasizing parts of the mix until you hear something that you like and then pursue? Put another way, are you deliberate in this or do prefer to wait for happy accidents?

Generally both really. I do have a preconceived idea of how I think I would like to hear stuff and how the mix should feel overall. Obviously when playing around with stems (multi-tracks) then there is going to be stuff you have not really heard before and I always try to bring those sounds a little further into the foreground. Sometimes things sounds a little odd so it's a balancing act between old and new. With the remixes like I did with the "Nuclear Meltdown" I take a look at the subject matter of the song to get inspiration for samples/voice overs/ loops etc and then just have fun with the mix until I'm satisfied it works (to my ears at least).

Okay, cool. The whole thing is so over my head that how you go about this stuff—less the technical end of things—is something that interests me.

[Marky Dread]

We are only comparing degrees of excellence here. I'd just knock a few technical marks off COL for one song being a cover and two others being reworkings of older songs, but i'm only nitpicking. I know there are clash fans who think there's a bit too much hype around LC but i'm not one of them, i'm still captivated by its genius all these years on. I actually still can't figure out how they came up with something so brilliant, it genuinely mystifies me everytime i listen to it and could never tire of it if i lived 1000 years.

I like your passion for LC and I agree it's great. But if you knock off technical marks for CoL for the cover and reworkings you will have to do the same for LC as it has two covers in Brand New Cadillac (Vince Taylor) and Wrong 'Em Boyo (The Rulers) and Revolution Rock is a reworking of "Get Up" by Jackie Edwards. Plus of course all the stolen riffs/ideas like the title track based on The Kinks "Dead End Street" etc.

Interesting listening to the sessions the track called "Up-Toon" the basis for "The Right Profile" Paul says "what are we gonna do now?" "play school" was it nicked from the theme tune?

You mean Playschool the kiddie's show? Not familiar with the theme tune, but nothing woudl surprise me. I remember being shocked to learn that Jimmy Jazz, one of my favourite songs on LC, or of any Clash album period, was almost a complete rip-off of an old, obscure song. But my view has changed over the years on the riff stealing, to me it's more borrowing than stealing, kind of even paying homage to the original. And I see LC as the Clash taking their place in the vanguard of musical heritage, not in a punk sense of breaking new ground, but just a great band proud to be a part of the great musical evolution from rock and roll to the Beatles and Elvis and beyond, and if a few of the tunes borrow heavily from various sources, that's fine by me. But that could just be me trying to rationalise and excuse some dodgy musical dealings, I'm not convinced on that point to be honest.

Speaking of Jimmy Jazz, really like that remix, Topper seems more prominent which is great, the piano and other bits at the end are fucking tremendous.

Thanks for the positive feedback mate much appreciated. Regards stealing/borrowing yes you are correct mate it's not what you take but from who/where and what you do with it that really counts. Be inspired from wherever you here a good tune and then be inspired by the best.

[Marky Dread]

General question/curiosity about your working method, Marky: Do you approach songs with an idea of what you think would be interesting sound or some other preconceived idea, or do you just fuck around emphasizing and de-emphasizing parts of the mix until you hear something that you like and then pursue? Put another way, are you deliberate in this or do prefer to wait for happy accidents?

Generally both really. I do have a preconceived idea of how I think I would like to hear stuff and how the mix should feel overall. Obviously when playing around with stems (multi-tracks) then there is going to be stuff you have not really heard before and I always try to bring those sounds a little further into the foreground. Sometimes things sounds a little odd so it's a balancing act between old and new. With the remixes like I did with the "Nuclear Meltdown" I take a look at the subject matter of the song to get inspiration for samples/voice overs/ loops etc and then just have fun with the mix until I'm satisfied it works (to my ears at least).

Okay, cool. The whole thing is so over my head that how you go about this stuff—less the technical end of things—is something that interests me.

The technical aspect is something that took me a long time to master. On that level I have only a single process of fucking things up until I understand what I'm doing then repeating it until it becomes second nature. I can do this stuff in my sleep now and I really enjoy getting deep inside the music.

When I first started remixing stuff it was because I wanted to contribute something back to the music I loved so much and hopefully in some cases make things sound better.

[Dr. Medulla]

General question/curiosity about your working method, Marky: Do you approach songs with an idea of what you think would be interesting sound or some other preconceived idea, or do you just fuck around emphasizing and de-emphasizing parts of the mix until you hear something that you like and then pursue? Put another way, are you deliberate in this or do prefer to wait for happy accidents?

Generally both really. I do have a preconceived idea of how I think I would like to hear stuff and how the mix should feel overall. Obviously when playing around with stems (multi-tracks) then there is going to be stuff you have not really heard before and I always try to bring those sounds a little further into the foreground. Sometimes things sounds a little odd so it's a balancing act between old and new. With the remixes like I did with the "Nuclear Meltdown" I take a look at the subject matter of the song to get inspiration for samples/voice overs/ loops etc and then just have fun with the mix until I'm satisfied it works (to my ears at least).

Okay, cool. The whole thing is so over my head that how you go about this stuff—less the technical end of things—is something that interests me.

The technical aspect is something that took me a long time to master. On that level I have only a single process of fucking things up until I understand what I'm doing then repeating it until it becomes second nature. I can do this stuff in my sleep now and I really enjoy getting deep inside the music.

When I first started remixing stuff it was because I wanted to contribute something back to the music I loved so much and hopefully in some cases make things sound better.

Like a self-taught musician. I approve.

[River]

Marky, this is amazing! What you've done with these multi-tracks sounds so good. I love these little Mick parts brought out, and especially the organ parts. Clampdown especially. Clampdown has been my favorite organ part since I heard it. The work Gluggo does on that is so good. I really love his playing during the middle Mick section. Thank you so much for all of this Marky. Its top work.

[Marky Dread]

Marky, this is amazing! What you've done with these multi-tracks sounds so good. I love these little Mick parts brought out, and especially the organ parts. Clampdown especially. Clampdown has been my favorite organ part since I heard it. The work Gluggo does on that is so good. I really love his playing during the middle Mick section. Thank you so much for all of this Marky. Its top work.

Thanks mate appreciated.

[white man]

Nice one Marky (again) . Listening now

[Charlie Dont Surf]

Listening Now, Great Stuff Again Marky,

Thanks For Sharing Your Work

[Marky Dread]

Nice one Marky (again) . Listening now

Cheers mate a pleasure as always.