“All Mod Cons, released to wide acclaim in 1978, firmly cemented the group’s rise to extraordinary heights. Indeed, for many it was the first essential Jam album and listening to it now its impact has not diminished over time.”
-BBC
When I think about English records I think of The Kinks’ The Village Green Preservation Society, The Smiths’ The Queen is Dead, The Who’s Quadrophenia and The Jam’s All Mod Cons. To me all those albums are quintessential English.
All of them are fantastic albums.
All Mod Cons:
Released
3 November 1978
Recorded
4 July 1978 to
17 August 1978RAK (Upper London) and Eden Studios
Genre
Punk rock, Mod Revival, Power pop
Length
37:28
Label
Polydor
Producer
Vic Coppersmith-Heaven
Chris Parry
It’s their third full-length LP. It took it’s title from a British idiom one might find in housing advertisements, is short for “all modern conveniences” and is a pun on the band’s association with the mod revival as well. Of Course it is also Paul Weller’s view on the music business as a ‘con’.
“My Back Pages” written by Bob Dylan and included on his 1964 album Another Side of Bob Dylan. It is stylistically similar to his earlier folk protest songs and features Dylan’s voice with an acoustic guitar accompaniment. However, its lyrics—in particular the refrain”Ah, but I was so much older then/I’m younger than that now”—have been interpreted as a rejection of Dylan’s earlier personal and political idealism, illustrating his growing disillusionment with the 1960’s folk protest movement with which he was associated, and his desire to move in a new direction. Although Dylan wrote the song in 1964, he did not perform it live until 1978.
“…But this sped-up Ramones cover of one of Dylan’s finest is delivered without a hint of irony. Every bit as simultaneously nostalgic and forward-looking as the original, it does what most punk covers of non-punk songs fail to do—it pays genuine heartfelt tribute to the original.”
– Paste Magazine
The Ramones recorded My Back Pages for the album Acid Eaters:
“Tearing through a bunch of psychedelic and garage rock classics from the 1960s, the Ramones regain much of the fun and abandon of earlier records, making Acid Eaters easily their best record in a decade; the guest appearances of Pete Townshend (“Substitute”) and ex-porn star Traci Lords (“Somebody to Love”) help make the record a blast.”
– Allmusic
Punk and Bob Dylan is a match made in heaven, angry music to angry words!
My parents wanted to light my artistic candle. But over time, the definition of ‘the arts’ began to stretch. And as I got older, they suddenly realized, Oh, my God, we’re the parents of Iggy Pop.
~Iggy Pop
—
There’s a reason why many consider Iggy Pop the godfather of punk: every single punk band of the past and present has either knowingly or unknowingly borrowed a thing or two from Pop and his late-’60s/early-’70s band, the Stooges.
~Greg Prato (allmusic.com)
Sometimes the most positive thing you can be in a boring society is absolutely negative.
~John Lydon
Listen, you know this: If there’s not a rebellious youth culture, there’s no culture at all. It’s absolutely essential. It is the future. This is what we’re supposed to do as a species, is advance ideas.
~John Lydon
The ice age is coming, the sun is zooming in
Engines stop running and the wheat is growing thin A nuclear error, but I have no fear
London is drowning-and I live by the river
I walked home from the local grocery store Ringdal exactly 35 years ago today with a plastic bag containing this double album by The Clash. It was priced as a single LP but had two vinyl records tucked inside. It was a frosty day, and when I was half way home I had to take off the plastic wrapping. To this day I can remember the smell, that wonderful smell of new vinyl on a frosty day.
The inner sleeves had “hand written” lyrics and it has to be the lyrics I’ve read most often. As a 13 year old boy from norway this was much more important in learning the english language than any class at school. Both historically and personally The Clash, London Calling was massively crucial.
Released
14 December 1979
Recorded
August–September and November 1979, Wessex Sound Studios, London
Length
65:07
Label
CBS, Epic, Legacy
Producer
Guy Stevens and Mick Jones
London Calling is the third studio album by the English rock band The Clash. It was released in the United Kingdom on 14 December 1979 through CBS Records, and in the United States in January 1980 through Epic Records. The album represented a change in The Clash’s musical style, featuring elements of ska, funk, pop, soul, jazz, rockabilly, and reggae more prominently than in their previous two albums.
London Calling is widely regarded as one of the greatest albums of all time. In 1987, it was ranked number 14 on Rolling Stone magazine’s “100 Best Albums of the Last Twenty Years”. Rolling Stone also ranked London Calling at number one on its 1989 list of the 100 best albums of the 80’s (it was released in December 1979 in the UK, but in January 1980 in the US, thus qualifying as an 80’s album for the US published magazine). In 1993, NME ranked the album at number six on its list of The Greatest Albums of the ’70s. Vibe magazine included the double album on its list of the 100 Essential Albums of the 20th Century. Q magazine ranked London Calling at number four on its 1999 list of the 100 Greatest British Albums, and, in 2002, included the album in its list of the 100 Best Punk Albums. (wikipedia – read more)
London Calling (Official video):
From allmusic.com:
…London Calling is a remarkable leap forward, incorporating the punk aesthetic into rock & roll mythology and roots music. Before, the Clash had experimented with reggae, but that was no preparation for the dizzying array of styles on London Calling. There’s punk and reggae, but there’s also rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock; and while the record isn’t tied together by a specific theme, its eclecticism and anthemic punk function as a rallying call. While many of the songs — particularly “London Calling,” “Spanish Bombs,” and “The Guns of Brixton” — are explicitly political, by acknowledging no boundaries the music itself is political and revolutionary. But it is also invigorating, rocking harder and with more purpose than most albums… (read more)
