Poor Joyce Coffey of Epping, NH. She was recently arrested four times in 26 hours! Why? She played AC/DC's "Highway To Hell" quote-unquote "too loud!" Ed The Engineer, I, and even dumb-as-shit-in-a-box Scooter know that AC/DC can NEVER be too loud! Even if New Hampshire cops can't figure out that "Rock 'n' Roll Ain't Noise Pollution!" So, this week's episode of "RADIO NAPALM" is dedicated to Ms. Coffey. No, we don't play any AC/DC this week. But we sure do play loads of ALL-NEW punk and garage goodies from DOA, THE STRYPES, THE JIM JONES REVUE, THE OBN IIIs, BITERS, SUPERSUCKERS, CHEETAH CHROME, and more. The Garage is BRIMMING with loudness, this week!
Showing posts with label "RADIO NAPALM". Show all posts
Showing posts with label "RADIO NAPALM". Show all posts
Wednesday, February 26, 2014
Sunday, February 16, 2014
"RADIO NAPALM" Podcast # 27: Feb. 16, 2014
Enough specials, already! It's time for AN ACTUAL BRAND NEW EPISODE of the most swingin' sound around, "RADIO NAPALM!" It's ALL-NEW this week, INCLUDING THE MUSIC! Every song played on today's show was recorded the last two years, to guarantee maximum freshness. So, WHO SAYS THERE'S NO GOOD NEW MUSIC?! Not Tim Napalm, Ed The Engineer, nor Scooter! So, dig the new noise from THE ENEMY, THE WHITE WIRES, REV NORB AND THE ONIONS, THE HANGMEN, FLESH LIGHTS, THE ALARM, UK SUBS, and so many more! Plus all the comedy, echo, screaming, old commercials, and Ed The Engineer and Scooter you can eat! And more exclamation points!!! AND CAPITAL LETTERS!!! CAN YOUR HEART STAND IT?!!!
Wednesday, January 22, 2014
The "RADIO NAPALM" Special: A History Of The Hormones
'Tis true, brethren. As of January 25th, 2014, The Hormones live again! The new 2014 lineup of The Hormones take the stage at Beerland here in Austin, playing our first gig in three years! Joining Tim "Napalm" Stegall on lead guitar and lead vocals are new lead guitarist/backing vocalist Clint Shay, drummer Rob Laundy, and bassist Tom Trusnovic. Opening will be Clint's band The Stand Alones and ex-Hormone Ron Williams' The Inflatable Baptists. Doors are 9 PM, admission is $5! We will also have $11 t-shirts, $2 1-inch punk rock pins, and $3 stickers! (Out of towners can get all the above for $20, including postage! Contact me at timnapalm@yahoo.com.)
Meantime, "RADIO NAPALM" presents a special program: "A History Of The Hormones." Besides everything we released during our 1994-1998 recording lifetime - all three singles ("Sell Out Young," the ultra-rare "Cartographer Of Love," "Castaway") and every comp appearance - the show also presents SEVEN UNRELEASED VINTAGE RECORDINGS! All taken from lost sessions for The Hormones' debut LP and a live radio session for KUT in Austin cut in 1996, as well as live songs from a local TV broadcast. There's also vintage interview material with Tim and Ron from that KUT live session, and an excerpt of a recent interview with me, and my own off-the-cuff reminiscences.
Click the link below, open your speakers wide, and PLAY FUCKING LOUD! See you at Beerland!
Friday, January 17, 2014
"RADIO NAPALM's" Everly Brothers Special: Songs Don And Phil Taught Us
The world's a far less melodic and harmonious place without the high-pitched, diatonic thirds of Phil Everly blending with his older brother Don. Phil passed away Jan. 3rd, already tarring a fresh new year. "RADIO NAPALM," of course, must honor the man and his genius by honoring the collective genius of The Everly Brothers. Therefore, regularly scheduled programming from The Garage this week to play Don and Phil's best, both big-selling and not, alongside homages from The Ventures, The Ramonas, Billie Joe Armstrong & Norah Jones, and even Eddie Arnold! "RADIO NAPALM" presents as much The Everly Brothers' songs and stories as we can cram into an hour. Click the link and pass the chicken and listen (as one of their album titles put it):
"RADIO NAPALM" Everly Brothers Special: Songs Don And Phil Taught Us by "Radio Napalm" W/Tim Napalm on Mixcloud
Wednesday, January 8, 2014
"Boss Radio Napalm 2" Special Encore Presentation Is Up At Mixcloud!
Alright, Irregulars! It's a New Year, so "RADIO NAPALM" begins with an old show! Part 2 of the "Boss Radio Napalm" encore, to be precise. This show was done in the old Woody Radio days, and recreates the sound and format of KHJ, Los Angeles' Boss Radio pioneer. The playlist? The Boss 30 for the week of my birth in 1965: Bob Dylan, Charlie Rich, The Fortunes, The Miracles, The Rolling Stones, The Beatles, Evie Sands, and more! There's a link below, complete with playlist. See? Listen here, and you won't have to sign up for Mixcloud! Open your speakers wide and say, "IT'S JUST GOTTA BE BOSS!"
Sunday, December 22, 2013
"RADIO NAPALM" Podcast # 21 up at Mixcloud Radio
Yeah, I haven't been posting updates to the blog lately, and especially haven't been posting the radio show here. Life has just been a little hectic, working on a ZZ Top story that will run after Xmas in The Austin Chronicle. But here I am today, freshly awakened by my neighbors, who seem to find loud hip hop and "motherfuckers" appropriate at 9 AM on a Sunday. (Well, they do that any day. But....)
Thankfully, we begin this week's "RADIO NAPALM" with METAL URBAIN and "Hysterie Connective" to blast those heathens into submission. And the punk rock comes thick and fast after: BILLY CHILDISH AND CTMF, THE OBLIVIANS, KING TUFF, REV. NORB AND THE ONIONS, THE CLASH, THE MUMMIES, and so much more. And plenty of echo and vintage ads to warm your cockles.
We got Red Hot Ball and Big Saucy Bangers galore this week in The Garage! So, press play and join us!
Sunday, November 3, 2013
"RADIO NAPALM" podcast # 16: The Garage Has Moved!
Man, I love the new Mixcloud widgets for all of us Cloudcasters! I mean, look at the thing below! It even shows the playlist, so I don't have to go retyping it here when I post the shows here to help promote 'em! Man, Mixcloud thinks of EVERYTHING!
But this week's show is up, and it's a humdinger. FAR better than the half-assed Lou Reed Memorial Special I produced and threw up on Mixcloud the day of his death. For one thing, I actually had time to produce this week's show, even though we were moving to new Napalm HQ and a new location for The Garage...and Ed and Scooter didn't lift ONE GODDAMNED FINGER! *ahem!* Lazy bastards....
Anyway. this show sounds pretty tits, to me. It helps when you have so much good music to play: THE YARDBIRDS, MOTORHEAD, THE LAZY COWGIRLS, MUDHONEY, CHEETAH CHROME, THE RONETTES. We even have a German punk band called RAZOR SMILEZ, covering THE HORMONES' "SELL OUT YOUNG!" How can I NOT love a cover of my band and my song? (I also played the original, of course....)
Anyway, before I digress anywhere further than my current new location, just press play below. Enjoy....
Tuesday, October 29, 2013
"RADIO NAPALM" Special Lou Reed Memorial Show...And A Few Words About Lou
In some ways, the point of this post is moot, the point being to promote a "RADIO NAPALM" podcast that's already well on its way to being the most listened to in the new series. It's already a success, despite the damned thing being hastily assembled in the event of Lou Reed's death Sunday, October 27th, 2013 from complications due to liver disease. That haste means I'm not entirely sure the show's worthy of the audience. Certainly, it marks an occasion where the show for once is not a raving celebration of the punk rock spirit and vintage rock 'n' roll radio it usually is. And how could it be? Lou Reed is fucking dead.
Writing those words don't set well with me. Lou was a prickly bastard, for sure, one who communicated best through his songs, even as he oft times seemed to use his solo career to alienate anyone whose life was saved by the rock 'n' roll he created in The Velvet Underground, and used his own public persona to keep everyone away. I'm personally one who felt he made more lousy albums than good. Transformer is the most obvious example of solo Lou at his best. Berlin. Metal Machine Music is a perverse pleasure. But he mostly seemed to take a perverse delight in holding a middle finger up to the world. Lou also was the sort of artist who really needed a good editor. He had that in John Cale, and in David Bowie and Mick Ronson on Transformer. Left to his own devices, he could not tell his own shit from his diamonds. I mean, really: Did Lou Reed really think collaborating with Metallica was a good idea?
Yet, why is it I feel like Elvis just died?
I don't think it's so much to do with that now-clicheed Brian Eno quote always trotted out in any discussion of the Velvet Underground, about the influence they had being so insanely out of proportion with their pisspoor record sales. I think what really says a lot about Lou's - and the Velvets' - impact is that in the 48 hours since his death, he has inspired so many great writers to write even more brilliantly. These eulogies are instant classics, sure to take pride of place in future anthologies.
This is because, ultimately, Lou Reed was a great writer himself.
Yes, he inspired everyone who heard his records to become a junkie faggot from New York City in a black leather jacket, solid black clothing, and ever-present sunglasses. Yes, he played some of the sickest rock 'n' roll lead guitar ever. Yes, he was a great singer who could not sing, had a limited range, and sounded flat to the rest of the world while sounding like Edith Piaf to all us faux NYC junkie faggots who heard him. But the key to Lou Reed was he was ultimately Raymond Chandler with a rock 'n' roll heart.
Like Buddy Holly, Lou Reed preferred simplicity. He wrote symphonies out of three chords at most. Even as he blew crazed free jazz skronk guitar all over his records, he relied on the simplistic grooves of Moe Tucker's drums and John Cale's three-note bass. And he didn't write lyrics - he wrote stories. Highly literary, poetic stories full of urban gutter journalism, subject matter that was acceptable in novels and movies but is still frowned on in rock 'n' roll or pop music. He wrote of kicks and bad drugs and transvestites and squalor and kinky sex and general bad craziness, in simple, hard-boiled language that was direct and honest. It wasn't celebrating these things. It was simply telling it like it is.
He also had a vulnerability, a gentle side that he was not afraid to flash, at least in song. Ferchissakes, one of the best Velvet Underground songs, a B-side called "Jesus," was an honest-to-God hymn. I now wish I'd included it in this show. But there's a lot I left out. This show could have gone on for hours. There was that much great stuff in Lou's canon, despite that pisspoor overall batting average on good releases versus howling dogs.
Personally, I didn't get it at first. As a 14-year-old Sex Pistols/punk rock besotted youth, I came to Lou at first via Rock 'n' Roll Animal. I kept reading about Lou and the Velvet Underground in every magazine I picked up. Rock 'n' Roll Animal was availble in the five buck bin in the local Krogers record department, and I took a chance. I hated it on first listen, and still do. What's with this heavy metal record with the dirty lyrics? It took hearing Ronnie Bonds spin the Velvets' original of "Rock And Roll" on his old Funhouse show on KPFT in Houston to understand: Lou Reed songs make great rock 'n' roll, not great heavy metal. These are different musics, no matter what you may think. This is why that Metallica team-up still is a head-scratcher....
But looking over my own songs I've written? I've said for years I learned all I know about writing songs from Phil Spector. I still stand behind it, but I can see there's as much Lou Reed there as Phil. There are times I've forgotten some of those lessons, but that's par for the course with growing artistically. But having a good groove, a solid-but-simple riff, some vicious guitar, a lyric that tells a tough truth in simple-but-beautiful language? That's all Lou Reed, through-and-through.
And now Lou Reed's dead, after a lifetime making me hate him more than love him, but loving what I love to the point of obsession. And all I can offer is this half-assed RADIO SHOW?! This just proves I can never hope to repay my debt to the man....
Yet, you guys are loving this, anyway. Despite there being no comedy, no screaming, no echo, no Ed The Engineer or Scooter, and me sounding as morose, stammering, and amaturish as I've ever sounded, you guys are loving this show. Because it's all about Lou Reed: Some early songs, a lot of Velvet Underground, some solo work, and a few musical tributes from those who got it. I have to thank you for that.
R.I.P., Lou. Rest In Peace.
Playlist:
THE VELVET UNDERGROUND - What Goes On
THE BEACHNUTS - Cycle Annie
THE PRIMITIVES - The Ostrich
THE JADES - So Blue (first record, 1957)
THE ALL-NIGHT WORKERS - Why Don't You Smile Now
DIDJITS - Lou Reed (Full Nelson Reilly, 1991)
THE VELVET UNDERGROUND - Sunday Morning (mono 45)
THE VELVET UNDERGROUND - Run Run Run (acetate, different mix)
THE VELVET UNDERGROUND - I'm Waiting For My Man (mono LP mix)
THE VELVET UNDERGROUND - Femme Fatale (mono 45)
ADAM AND THE ANTS - Lou (Peel Session, 1978)
THE VELVET UNDERGROUND - White Light, White Heat
THE VELVET UNDERGROUND - Sister Ray
THE VELVET UNDERGROUND - Guess I'm Falling In Love (Workout At The Gymnasium bootleg)
THE VELVET UNDERGROUND - Beginning To See The Light
THE VELVET UNDERGROUND - Pale Blue Eyes
THE VELVET UNDERGROUND - Temptation Inside Your Heart
THE VELVET UNDERGROUND - I Can't Stand It
DAVID BOWIE - White Light, White Heat
THE VELVET UNDERGROUND - Sweet Jane
THE VELVET UNDERGROUND - Rock And Roll
THE VELVET UNDERGROUND - Oh! Sweet Nuthin'
LOU REED - Vicious
LOU REED - Walk On The Wild
THE DREAM SYNDICATE - Tell Me When It's Over
JONATHAN RICHMAN - Velvet Underground
Writing those words don't set well with me. Lou was a prickly bastard, for sure, one who communicated best through his songs, even as he oft times seemed to use his solo career to alienate anyone whose life was saved by the rock 'n' roll he created in The Velvet Underground, and used his own public persona to keep everyone away. I'm personally one who felt he made more lousy albums than good. Transformer is the most obvious example of solo Lou at his best. Berlin. Metal Machine Music is a perverse pleasure. But he mostly seemed to take a perverse delight in holding a middle finger up to the world. Lou also was the sort of artist who really needed a good editor. He had that in John Cale, and in David Bowie and Mick Ronson on Transformer. Left to his own devices, he could not tell his own shit from his diamonds. I mean, really: Did Lou Reed really think collaborating with Metallica was a good idea?
Yet, why is it I feel like Elvis just died?
I don't think it's so much to do with that now-clicheed Brian Eno quote always trotted out in any discussion of the Velvet Underground, about the influence they had being so insanely out of proportion with their pisspoor record sales. I think what really says a lot about Lou's - and the Velvets' - impact is that in the 48 hours since his death, he has inspired so many great writers to write even more brilliantly. These eulogies are instant classics, sure to take pride of place in future anthologies.
This is because, ultimately, Lou Reed was a great writer himself.
Yes, he inspired everyone who heard his records to become a junkie faggot from New York City in a black leather jacket, solid black clothing, and ever-present sunglasses. Yes, he played some of the sickest rock 'n' roll lead guitar ever. Yes, he was a great singer who could not sing, had a limited range, and sounded flat to the rest of the world while sounding like Edith Piaf to all us faux NYC junkie faggots who heard him. But the key to Lou Reed was he was ultimately Raymond Chandler with a rock 'n' roll heart.
Like Buddy Holly, Lou Reed preferred simplicity. He wrote symphonies out of three chords at most. Even as he blew crazed free jazz skronk guitar all over his records, he relied on the simplistic grooves of Moe Tucker's drums and John Cale's three-note bass. And he didn't write lyrics - he wrote stories. Highly literary, poetic stories full of urban gutter journalism, subject matter that was acceptable in novels and movies but is still frowned on in rock 'n' roll or pop music. He wrote of kicks and bad drugs and transvestites and squalor and kinky sex and general bad craziness, in simple, hard-boiled language that was direct and honest. It wasn't celebrating these things. It was simply telling it like it is.
He also had a vulnerability, a gentle side that he was not afraid to flash, at least in song. Ferchissakes, one of the best Velvet Underground songs, a B-side called "Jesus," was an honest-to-God hymn. I now wish I'd included it in this show. But there's a lot I left out. This show could have gone on for hours. There was that much great stuff in Lou's canon, despite that pisspoor overall batting average on good releases versus howling dogs.
Personally, I didn't get it at first. As a 14-year-old Sex Pistols/punk rock besotted youth, I came to Lou at first via Rock 'n' Roll Animal. I kept reading about Lou and the Velvet Underground in every magazine I picked up. Rock 'n' Roll Animal was availble in the five buck bin in the local Krogers record department, and I took a chance. I hated it on first listen, and still do. What's with this heavy metal record with the dirty lyrics? It took hearing Ronnie Bonds spin the Velvets' original of "Rock And Roll" on his old Funhouse show on KPFT in Houston to understand: Lou Reed songs make great rock 'n' roll, not great heavy metal. These are different musics, no matter what you may think. This is why that Metallica team-up still is a head-scratcher....
But looking over my own songs I've written? I've said for years I learned all I know about writing songs from Phil Spector. I still stand behind it, but I can see there's as much Lou Reed there as Phil. There are times I've forgotten some of those lessons, but that's par for the course with growing artistically. But having a good groove, a solid-but-simple riff, some vicious guitar, a lyric that tells a tough truth in simple-but-beautiful language? That's all Lou Reed, through-and-through.
And now Lou Reed's dead, after a lifetime making me hate him more than love him, but loving what I love to the point of obsession. And all I can offer is this half-assed RADIO SHOW?! This just proves I can never hope to repay my debt to the man....
Yet, you guys are loving this, anyway. Despite there being no comedy, no screaming, no echo, no Ed The Engineer or Scooter, and me sounding as morose, stammering, and amaturish as I've ever sounded, you guys are loving this show. Because it's all about Lou Reed: Some early songs, a lot of Velvet Underground, some solo work, and a few musical tributes from those who got it. I have to thank you for that.
R.I.P., Lou. Rest In Peace.
Playlist:
THE VELVET UNDERGROUND - What Goes On
THE BEACHNUTS - Cycle Annie
THE PRIMITIVES - The Ostrich
THE JADES - So Blue (first record, 1957)
THE ALL-NIGHT WORKERS - Why Don't You Smile Now
DIDJITS - Lou Reed (Full Nelson Reilly, 1991)
THE VELVET UNDERGROUND - Sunday Morning (mono 45)
THE VELVET UNDERGROUND - Run Run Run (acetate, different mix)
THE VELVET UNDERGROUND - I'm Waiting For My Man (mono LP mix)
THE VELVET UNDERGROUND - Femme Fatale (mono 45)
ADAM AND THE ANTS - Lou (Peel Session, 1978)
THE VELVET UNDERGROUND - White Light, White Heat
THE VELVET UNDERGROUND - Sister Ray
THE VELVET UNDERGROUND - Guess I'm Falling In Love (Workout At The Gymnasium bootleg)
THE VELVET UNDERGROUND - Beginning To See The Light
THE VELVET UNDERGROUND - Pale Blue Eyes
THE VELVET UNDERGROUND - Temptation Inside Your Heart
THE VELVET UNDERGROUND - I Can't Stand It
DAVID BOWIE - White Light, White Heat
THE VELVET UNDERGROUND - Sweet Jane
THE VELVET UNDERGROUND - Rock And Roll
THE VELVET UNDERGROUND - Oh! Sweet Nuthin'
LOU REED - Vicious
LOU REED - Walk On The Wild
THE DREAM SYNDICATE - Tell Me When It's Over
JONATHAN RICHMAN - Velvet Underground
Tuesday, October 1, 2013
"RADIO NAPALM" podcast # 13: PAT FEAR ROCKS!!
Among other highlights:
- Scooter gets a bigger vocabulary!
- We play more of your requests!
- Classics from THE LOOTERS (aka that Sex Pistols/Clash band from Ladies And Gentlemen, The Fabulous Stains), THE CRAMPS, BLACK FLAG, and WIRE!
- New noise from OFF!, THE STRYPES, BULLET PROOF HEARTS, and more!
Now, here's the playlist:
THE LOOTERS - Conned Again (1980, unreleased Pistols/Clash hybrid, LADIES AND GENTLEMEN, THE FABULOUS STAINS)
ZAKARY THAKS - Face To Face (1967 Corpus Christi garage punk)
THE CRAMPS - Domino (1979)
PINK FAIRIES - City Kids (UK, 1973)
WIRE - I Am The Fly (requested by Rob Cooley, Georgetown, TX, and Jennifer Kerr, Chewelah, Washington)
BLACK FLAG - I've Had It (requested by Sam Rogers, NYC)
THE SCIENTISTS - Last Night (Goose [the Great Dismal Swamis, ex- Phantom Creeps], Friedricksburg, VA)
RUBBER CITY REBELS - "Rubber City Rebels" from the split with the Bizarros (Brian Schickling , Long Beach )
OFF! - What's Next? (Grand Theft Auto V, 2013)
THE STRYPES - Blue Collar Jane (recent single)
10 CENT FUCK FLICKS - Womanaire (Queens sleaze punk on Drug Front Records)
BULLET PROOF HEARTS - American Custom (Omaha punk rock 2013)
PLOWBOY SPOTLIGHT: BOBBY BARE JR. - Make The World Go Away (You Don't Know Me: Rediscovering Eddy Arnold)
WHITE FLAG - Shattered Badge (1984, Mystic Records COPULATION LP)
WHITE FLAG - Suicide King (Wild Kingdom, 1987)
WHITE FLAG - Instant Breakfast (Wild Kingdom, 1987)
WHITE FLAG - I'm Down (Jail Jello split w/Necros, 1986)
Sunday, September 22, 2013
"RADIO NAPALM" Podcast # 12: In Celebration of Vernette Bader
Study that face. Remember it. Imprint it in your deepest recesses. This is the face of what police in North Charleston, South Carolina, consider a dangerous criminal. But to us Irregulars, she is a heroine.
She is Vernett Bader, and she is the woman taken into custody for the attempted stabbing of her roommate...because the asshole wouldn't stop playing THE EAGLES!
Here at "RADIO NAPALM," we think this is wrong! The roommate should be arrested for cruelly inflicting his shitty taste on the world! Vernett Bader deserves a medal, a book contract, and a tour of daytime talk shows.
Instead, we give her a radio show.
"RADIO NAPALM" was due to feature your requests this week, for the first time. And we still play them. But Vernett's story so moved Ed, Scooter, and I, we knew what we had to do: We had to dedicate this week's show to Vernett.
So yes, the show is pretty much as it always is. But it's all done in Vernett's honor.
Oh, here's the link - click and play:
And here's the playlist:
MAGAZINE - Shot By Both Sides
DAN SARTAIN - Now Now Now (with Jane Wiedlin) (Too Tough To Live, 2012)
THE EQUALS - Police On My Back (1968, Requested by Lonesome Dave Fisher, Austin, TX)
BORN LOOSE - Step Up To The Plate (Be A Runaway) (Larry May, ex-Candy Snatchers, NYC 2012)
THE CLASH - Guns Of Brixton (Sound System remaster 2013, Requested by Jason Martin, Austin, TX)
999 - Emergency (original 45 rip, 1978)
THE COPPER GAMINS - All Hid (Mexico, 2013, Los Ninos De Cobre, Saustex Media)
THE HUMPERS - Steel-Toed Sneakers (Punk-O-Rama, Vol. 3, requested by Alan Villareal, Round Rock)
THE LOVESORES - Flamethrower Chic (2013, Portland, Scott "Deluxe" Drake)
JD MCPHERSON - North Side Gal (Signs & Signifiers, 2012)
JIM JONES REVUE - Collision Boogie (new single out Oct. 14, requested by Walter Daniels, Austin, TX)
PUSSY GALORE - Pig Sweat (Right Now!, 1987)
JON SPENCER BLUES EXPLOSION - Boot Cut (Meat & Bone, 2012)
PLOWBOY SPOTLIGHT: BEBE BUELL - I'll Hold You In My Heart (2013, You Don't Know Me: Rediscovering Eddy Arnold)
EDDIE COCHRAN - Nervous Breakdown (1958)
TOP TUNE OF THE DAY: THE DEVIL DOGS - Radio Beat (requested by Kari Krome)
Friday, September 13, 2013
9/12/13 "RADIO NAPALM: THIS IS RADIO CLASH" Special
Irregulars,
I know I've been lax in posting the radio show here in the blog, of
late. Actually, I've just been lax about the blog,
but that's another story.
BUT...before
I digress too far up my own backside and start reminiscing about
shoveling snow in Denver or some crud, let's put this thing back on
rails.
Yesterday
was my 48th birthday. Among the presents I received (including two
new pairs of hi-tops, which I've been needing, and a new pair of
black skinny chinos) was the new Clash box set out on Sony/Legacy as
of Tuesday the 10th, Sound Syustem.
Mick Jones himself lovingly remastered the back catalog, making it
sound more 3D than it has since the original vinyl records were
issued, then assembled it onto high quality facsimile CDs, alongside
a triple-disc of non-LP 45s, B-sides, early demos and live material
and a DVD of archival footage. Paul Simonon then equally lovingly
assembled a beautiful package to house the disc that's itself
a work of art: He filled a fliptop box based around his old Clash-era
boombox with facsimile tour badges, stickers, dogtags, three issues
of the old Armagideon Times
fanzine (including a specially assembled new edition), even a blank
book for you to fill titled The Future Is
Unwritten (to get quite Joe Strummer about
it).
That
new Clash box was handed to me by my editor at The
Austin Chronicle not only as an early
birthday present, but with the express instruction to write a 300
word review and an expanded blog. You will see those next week. But
this is such musical gold, why not assemble a radio birthday
celebration of one of my favorite bands around Sound
System's treasures?
That
I did, working around the clock after posting another new "RADIO
NAPALM" this past Monday. And I
didn't stop with Sound System:
I assembled a Clash audio collage for 90+ minutes, filling the gaps
out of my own vast archives with vintage interviews with Joe, Mick
and Paul, plus some exciting unreleased live material. This is an
assault of prime
Clashness for your ears.
Enjoy
my birthday gift to you:
"RADIO NAPALM": This Is Radio
Clash, streaming for your punk rock
pleasure at Mixcloud. The link is below, just above the playlist.
Click it, open your speakers wide and everybody
smash up your seats and rock to this brand-new beat! This here music
mash up the nation! This here music cause a sensation! Tell your ma,
tell your pa: Everything gonna be alright....
Capital
Radio One (live, "So It Goes" UK Granada TV, Manchester,
11/15/77)
Janie
Jones (Sound System remaster)
Pressure
Drop (Sound System remaster)
Garageland
(live, "So It Goes" UK Granada TV, Manchester, 11/15/77)
White
Riot (45 version, Sound System remaster)
Complete
Control (Sound System remaster)
White
Man In Hammersmith Palais (Sound System remaster)
Safe
European Home (Sound System remaster)
Tommy
Gun (live UK TV Appearance, 1978)
I
Fought The Law (Sound System remaster)
Groovy
Times (Sound System remaster)
London
Calling (Sound System remaster)
Clampdown
(Sound System remaster)
The
Guns Of Brixton (Sound System remaster)
Train
In Vain (Sound System remaster)
Bankrobber
(Sound System remaster)
Police
On My Back (Sound System remaster)
One
More Time (Sound System remaster)
Know
Your Rights (Sound System remaster)
Straight
To Hell (from "Saturday Night Live")
1977
(live in Cardiff, Wales, 1977)
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