Friday Night Jukebox, Vol. CDLXXXIV--The Clash: Hitsville U.K.

What's all this fuss about being late?

This week's tune came from the much-anticipated follow-up album to The Clash's stunning masterpiece, London Calling.  It was a three-record set, sprawling and experimental and adventurous...and it took a while to grow on me.  But once it did, holy shit, what a record.  Always reminded me (not musically, just in its disparate songs) of The Beatles' unwieldy but brilliant White Album (and Lord have mercy would The Clash have ripped my heart out of my chest for that comparison).  And in its disparity, it yielded one of their more pop oriented songs, with a tongue-in-cheek nod to Motown....

I wrote about The Clash in Volume CCXXX, and as Joe Strummer hasn't risen from the dead (not from lack of trying, I'm sure), and Mick Jones, Paul Simonon, and Topper Headon have repeatedly said they have no desire to reunite or go on an oldies tour (like The Clash have anything that could remotely be called an oldie), I'll just leave it at the very good bio (if I do say so myself) of "The only band that matters" that I wrote for their first post.

"Hitsville U.K." was the second single released from the band's revolutionary named three LP set, Sandinista! (exclamation point theirs, not mine--the Sandinistas were a revolutionary left-wing Nicaraguan political group).  The single hit #56 in the U.K. but did not chart in America.  The album reached #19 in Great Britain and #24 here in the States.  It was also ranked at #323 on Rolling Stone's list of "The 500 Greatest Albums of All-Time."

Fun Fact:  Despite the fact that Joe Strummer sang the vast majority of their songs, somehow I've managed to pick two that were sung by Mick Jones (though this week he is ably supported by his then girlfriend Ellen Foley).

Every now and again, a song has a small but indelible moment.  In "Hitsville U.K.," it's about halfway through right before the instrumental break when Jones says (with his English accent) "So 'it it."  Can't ever listen to the song without waiting for that two second blip--it was one of the first things I noticed about the song when I first heard it some forty-three years ago.  The song, its title a nod to Motown's nickname "Hitsville U.S.A.," is a paean to the then burgeoning indie music scene in Great Britain, and how it had opened up the music business for everyday boys and girls.  It features nice vocal play between Foley and Jones, some funky ass bass work from Simonon, and is, much like my last post on The Clash, much more pop oriented than their usual fare.  Wonder why I'd like those two so much....

Lyric Sheet:  (Remember)/They say true talent will always emerge in time/When lightning hits Small Wonder/It's Fast Rough Factory time..."

Enjoy:

Republicans = Nazis

Peace,

emaycee

Friday Night Jukebox, Vol. CCCXCIX--Plastic Bertrand: Ca Plane Pour Moi

So this past Monday I'm making dinner (enchiladas, one of the specialties at Chez Emaycee), and as I was planning on writing this post that evening, I was thinking about what I wanted to say about this week's song when poof! the lights went out and it would be more than 48 hours before we saw the light (so to speak) again.  Which is why last week's Friday Night Jukebox is just a wee bit late....

A couple of years back I was browsing the internet when I came across a piece asking if anyone remembered a plethora of hits from the seventies, and I thought, "Moi?"  Like there's anything better than a trip down the musical memory lane.  Surprisingly, there were four or five that I did not recall (the seventies were the decade when my musical evolution began), with this week's tune being one of them.  All it took was one--count 'em, one--listen and I knew that I'd struck musical gold.

We have a first this week, as Plastic Bertrand (aka, Roger Francois Jouret) is the first Belgian artist to be featured here on FNJ.  Plastic Bertrand has had a hell of a career as a musician, composer, and television star. Unfortunately, in 2010 he admitted that he had sung zero of the songs on his first four albums (including this week's song), and that they were in fact sung by his producer, Lou Deprijck. Ah, well, if you look it up, he's still the credited artist so we're just going to say, "Fuck it!' and move on.  For his musical career, Plastic Bertrand has released ten studio albums, nine compilations (oh, the joys of having a hit record!), and 44 singles.  He remains an active artist, though the last time Wikipedia has him doing anything of note in the entertainment industry was in 2007.

Fun Fact:  Plastic Bertrand represented the country from which my family immigrated to America, Luxembourg, in the 1987 Eurovision Song Contest.  Alas, he got as much love as Luxembourgers are generally accustomed to, finishing 21st out of 22 contestants.

"Ca Plane Pour Moi" was released as a single the year I graduated from high school, 1977, on Plastic Bertrands, ahem, debut album, An 1.  It would reach the top ten in ten different countries, including #1 in France (so many cool kids in France!) and Switzerland (ditto!).  Here in America, the song hit #47 (with a bullet!).  The album reached #2 in France but didn't have much chart success anywhere else.

"Ca Plane Pour Moi" (roughly translates as "Things are going good for me") is either French punk or a parody of the punk movement in general, depending on who's describing it.  The one thing everyone seems to agree on (including Joe Strummer of the Clash, who called it "...a bloody good record that will get any comatose person top-tapping...") is that it's a hell of a song.  It exudes euphoria from its beginning to its end, though nowhere more pronounced than in the chorus which in addition to the melodically intoxicating repetition of the title phrase, features an echoic "moi, moi, moi, moi" and an "ooh-woo-ooh-ooh" to end all ooh-woo-ooh-ooh's.  And the fact that you understand exactly two lines in the song (it's all in French except for a line of English that's basically repeated twice) makes absolutely no difference!  It's one of those songs that every time I hear it, I know that all the time I've spent throughout my life searching for songs far and wide was worth every. single. minute.  A bloody good record, indeed.

Lyric Sheet:  "You are the king of the divan!/Qu'elle mi dit en passant ooh-woo-ooh-ooh/I am the king of the divan/Ca plane pour moi..."

Enjoy:

Republican = Traitor

Peace,

emaycee

Friday Night Jukebox, Vol. CCXXX--The Clash: Train in Vain

In 1980, WLS-AM out of Chicago began playing a single from an English punk band and upon hearing it I ran to the nearest music store, picked up a copy of their latest LP with a big sticker proclaiming that said single was on it, and took it home for a listen.  When I got home I noticed that the track wasn't listed on the back cover, but since the big sticker said it was on the LP, I began methodically listening to each side.  Side one...nope.  Side two...still nope.  Side three...nope, starting to get a wee bit nervous.  Side four...down to the last song...and there it was.  Little did I know at the time, but the hit single--this week's tune--had been added at the last minute and the cover art had already been completed, so it was added to the last side of the vinyl without a listing.

The Clash (truly one of the greatest band names in the history of rock and roll) formed in London, England in 1976 and like a number of bands featured here on FNJ had a career that is hard to recap in a paragraph.  Joe Strummer, Mick Jones, and Paul Simonon began their journey and were joined shortly thereafter by drummer Topper Headon which became the band's classic line-up.  Buoyed by the punk movement, The Clash exploded in their native U.K. in 1977 with the release of their debut album.  While starting out as a punk band, they eventually branched out embracing not only punk, but rock, ska, jazz, rap, reggae, country and western, and a host of other musical styles.  While their career was relatively short, the band appears on numerous best bands of all time lists, and has several albums that are ranked likewise.  Exceedingly political, the band made a name for itself as a socially conscious band (at one time they were proclaimed as "the only band that matters").  The Clash released six albums (all six of which were top 20 on the charts in the U.K. including two which reached #2, three made the top thirty thirty in the U.S. with one cracking the top ten), numerous singles (with a top ten in the States, though none so high in the U.K.), and continue the line of bands who have more compilations than studio albums (near as I can tell, including box sets, it's fourteen).  They were also known for being an explosive live band.  Topper Headon was fired from the band in 1982 for excessive drug use (heroin), and Mick Jones was fired in 1985 for wanting to enjoy a little too much of the good life and by 1986, The Clash were no more.  The band members discussed reuniting several times, but Strummer's death in 2002 from congenital heart failure ended any hopes for a reunion.  The remaining band members have played together on occasion, mostly for charitable causes through the years. Their legacy, however, will live on.

"Train in Vain" was released in 1980 on The Clash's seminal LP London Calling (one of the best albums ever made, from beginning to end, and on a side note, also one of the best album covers).  Surprisingly, the song was not released as a single in their native U.K., but went on to reach #23 (with a bullet!) on the Billboard Hot 100.

Fun Fact:  Though Jones denies it, it's believed the song's title (words which are never sung in the song) refers to how he used to take a train to see his girlfriend who would stand him up repeatedly.  He therefore, took the train..in vain.

One of the comments I read while doing my half-assed research for this week's song said that "Train in Vain" sounded the least like The Clash of any song they ever recorded.  I'm not so sure about that--much like the Ramones, for a punk band The Clash had excellent pop sensibilities, and those sensibilities really came to the fore in "Train in Vain."  Jones sang lead vocals (somewhat of a rarity as he usually only took lead on one song per album) and sings them in such a way as to reflect the protagonists anger and hurt at being betrayed by his lover, without being either vicious or maudlin.  Headon's drumming shines throughout, though I forgot how great his lead in to the song was.  Jones and Strummer have some great guitar work (the plucking sound from the intro is killer), and the entire band pulls it altogether with their backing vocals.  Bonus:  we have an emaycee fave--harmonica!  It's a nice little solo that somehow manages to capture the spirit of the whole song while it breezes along.  I tell you what--I was twenty years old when this song came out and I'll be sixty in a few days, but I'm here to tell you the song sounds even better forty years down the road and I absolutely marveled over the past few days as I listened to it again and again at what a true pop masterpiece it was and still is. A truly great song from a truly great band.

Lyric Sheet:  "Now I got a job/But it don't pay/I need new clothes/ I need somewhere to stay/But without all these things I can do/But without your love I won't make it through..."

Enjoy:

Fuck Donald Trump,
emaycee