FSLN 26 8/21/06 2:30 AM Page 

20o7 Update Let’s start by listening to two of the most lasting voices to come out of punk.

“Sandinista! would have been better as a double … or a single album … or an EP.” — Joe Strummer “Most benefit are crappy, tossed-together, artistic botch-jobs that guilt you into coughing up for causes no one could really disagree with anyway – a feel-good rush of righteous concern that quickly fades to complacency and amnesia.” — FSLN 26 8/21/06 2:30 AM Page 

There you have it, from two people who, in different ways, are heroes of this record: Strummer for lead- ing the whose original work December 12, 2005, made this modest tribute possible, was the 25th anniversary Langford for going overboard of the release of Sandini- (recording two tracks, suggest- sta! In early 2003, trying ing other performers, painting the to avoid doing what I cover) in supporting the package was supposed to be doing in your hands. These two geniuses for a living, I spent way are warning against this project. Yet too much time thinking here we are. about doing something to On December 12, 1980, celebrate the anniversary. released Sandinista!, one of the most A party didn’t seem like ambitious records in the history the right thing. Someone of rock’n’roll. It wasn’t their best suggested I write a book record, their best-selling record, or about it. Only a few thou- even their most enjoyable record, sand words in, it was clear but it is an exciting, sprawling mess that I shouldn’t inflict that that I return to constantly. I rarely go on anyone. What to do? more than a month or two without listening to a good chunk of it, even the Evil Side Six. FSLN 26 8/21/06 2:30 AM Page 

I’m not a fan of tribute records. Nearly every one I’ve heard is a hit-or-miss set, usually with way more misses than hits. But the more I thought about it, the more I convinced myself that a Sandinista! tribute collection could be a sprawling mess in the tradition of Sandinista! itself, especially if I populated it with people you wouldn’t expect on such a collection. The original was stuffed with surprises; any tribute had to be as well. In mid-2003, I asked some performers if they’d contribute, and nearly all of them agreed. Armed with their promises, I spoke to executives at large multinational record com- panies and small independent record compa- nies, and they all told me, with varying levels of politeness, to get lost. Since there was no deal to be had, and since I didn’t expect per- formers to work for free, I dropped the idea. Or so I thought. The performers, smarter than I, didn’t let go. They feature both Strummer kept telling me I should and Mick Jones is not, in do this, that the lack of fact, a true Clash album.) money shouldn’t be a Indeed, I joked that this dealbreaker. I kept asking could be the beginning more performers to join of a series of tributes us. Their initial reaction to the worst albums was usually, “That’s the by the best artists. The craziest idea I’ve ever series would include The heard.” Their second re- Undercover of the Night action, after a brief pause, Project, The Self-Portrait tended to be, “I want in.” Project, and, of course, Almost four years later, The Having Fun on Stage here we are. With Elvis: A Talking I started this project Album Only Project. both loving this record I was wrong. While and thinking it was The compiling this collec- Clash’s weakest. (Before tion and working with you invoke Cut the Crap, the performers on their may I remind you that a approaches to the , Clash album that doesn’t which range from nearly note-for-note to ones that render the original unrecog- nizable, I developed more and more respect and affection for Sandinista! It is not a great short record hiding in a pretty- good overlong one. Even the tossed-off songs and mixes on Side Six (it’s hard to how much I wish we could release this on vinyl) are necessary to shaping the glorious contradic- tions at the heart of this impossible-to-get-to-the-bottom-of record. Mick Jones has said, “I think of Sandinista! as a record for people on oil rigs or Arctic stations.” It was a record that was supposed to last. FSLN 26 8/21/06 2:30 AM Page 

On Sandinista!, the greatest punk band ever gave us the most expansive collection ever from a punk band. It was a record in which the band, having con- quered North ’n’roll on Call- ing, set out to take on whatever other forms it could. Both (“Police on My Back”) and (“Look Here”) fit in a world that included ageless New Orleans R&B recast as (“”), up-to-the-moment hip-hop (“The Magnificent Seven”), and a goofy children’s-chorus rendition of a punk classic (“Career Opportunities”). The album’s original 36 tracks contain enough ideas for 100 songs. There is a druggy haze that hangs like smoke above Sandinista! – it might have more accurately been titled Sinsemilla! – yet what- ever fueled its creation, this is a record that hangs FSLN 26 8/21/06 2:30 AM Page 

together brilliantly. When the album first came out, the band’s American label, Epic, released a 12-track sampler called Sandinista Now that was intended to highlight the record’s most radio-ready cuts. Taken out of context, the 12 amazing performances on that sampler lost some of their power. With Sandinista!, it’s all or nothing. As Joe Strum- mer said shortly after his joke about reducing the 36 tracks of the original to an EP: “It’s a magnificent thing. I wouldn’t change it if I could.” And now, to show how foolish one can be, here’s The Sandinista Project, in which we change everything on it. “The Magnificent Seven,” It features the same “You Can’t Hurry Joe Grushecky Love” bass line as her great hit “Walking 1 and the Houserockers on Sunshine,” so I figured she’d know the part already. Reminding me how limited It’s fitting that this set starts with Joe’s my imagination is compared to hers, contribution, since he was the first Katrina came back with an arrangement performer to sign on and I’ve been a fan that owes more to Tom Petty’s “American of his since even before Sandinista! was Girl” than to any Supremes hit. recorded. Recorded in 2004 (note the recorded in London; produced by Katrina Leskanich and timely lyrical references), my favorite Darren Loveday part is the /harmonica duel. Joe’s no stranger to The Clash, having per- “Junco Partner,” formed and recorded their take on “Brand Jon Langford and Sally New Cadillac.” 3 Timms with Ship & Pilot Joe Grushecky, Marc Reisman, produced, mixed, vocal, guitar harmonica and recorded by The Clash dragged this New Orleans (solo), drum Joe Pelesky, Rick Witkowski classic, which they probably knew in the programming at Studio L in keyboard James Booker version, to Reggae Town; Bill Toms, guitar Weirton, West Jeff Garrison, Langford and Co. bring it back stateside, bass as only expatriate British punks can. Jon Langford, Dan Massey, Jean Cook, “Hitsville U.K.,” guitar, vocal drums violin, vocal Katrina Leskanich , Tony Maimone, recorded in the 2 vocal bass, vocal Deauville Hotel, I thought I was being clever when I Miami asked Katrina to contribute this . FSLN 26 8/21/06 2:30 AM Page 10

“Ivan Meets G.I. Joe,” ten a handful of the funniest songs I’ve Jason Ringenberg ever heard – and a handful of the most and Kristi Rose heartbreaking. Often forgotten when lis- 4 teners marvel over Rigby’s songs is what In some ways, this is the most locked-in- a mind-blowing performer she is. She’s a its-time song on Sandinista! It’s a straight brilliant interpreter, and she knocks this track with moving U.S.-Soviet topical out of the park. competition to an atomic dance floor. You Chris Butler, recorded by mixed by might think straight disco would be a bit drums Kevin Coral at off-genre for Jason, too, and he agreed. Hazel Rigby, Endless Summer bass, vocal Institute of His “Ivan Meets G.I. Joe,” performed as a Sound, Kent, tough Ernest-and-Loretta-style duet with Amy Rigby, Ohio Pulp Country siren Kristi Rose, is as hard guitar, vocal as hard country gets. Kristi Rose, Fats Kaplin, produced, “Something vocal fiddle, steel guitar engineered, and About England,” Jason Steve Ebe, drums mixed by George Bradfute at The 6The Ringenberg, George Bradfute, vocal Tone Chaparral II , bass, April 1986. I had just moved to Boston fiddle for what turned out to be an illusory job with the Phoenix. A few days into “The Leader,” my new town, I attended a double bill Amy Rigby at the Orpheum of the Alarm and the 5 Long Ryders, the bands were in town for Amy Rigby is one of the great rock’n’roll a free night, so the next night I invited of our generation. She’s writ- Mike Peters of the Alarm and of to a Red Sox game. Afterward we went to my crappy little “Rebel Waltz,” apartment to listen to records. Sid and 7Ruby on the Vine I tried to get Mike to pay attention to Robert Johnson and LPs One of the great pleasures of construct- but he was more interested in watching ing this set is that it has given me a MTV. Before they left, the pair recorded good excuse to reconnect with longtime a demented message on my answering favorite performers. Those of you who machine that people calling me recom- remember Human Switchboard know mended I erase quickly. Sid has long that Myrna Marcarian is an outstand- since moved to England, and one of his ing singer; those who listen to her latest projects is the Coal Porters, who prove record with her band Ruby on the Vine here that “Something About England,” know she keeps getting better. a Sandinista! ballad about British Matt Kloss, John Ehlis, produced and deterioration, wanted to be an uptempo standup bass mandolin engineered by bluegrass stomp all this time. Who knew? Geoff Feinberg, Myrna Tony Maimone electric guitar Marcarian, recorded at Sid Griffin, produced and The Coal Porters guitar, vocal Studio G, mandolin, vocal engineered by appear courtesy Brooklyn Neil Robert Herd, Pat McGarvey at of Prima Records guitar, vocal Harlesden Sound Ltd.; www. Recorders, sidgriffin.com Pat McGarvey, London, England , vocal “Look Here,” mixed by Esther Paul Sandy, 8 Jim Duffy Mae Griffin, The double bass Power House, pianist Mose Allison may have Gemma White, London, England fiddle, vocal seemed an unusual source for a Clash cover; this sparkling version takes the FSLN 26 8/21/06 2:30 AM Page 12

song back to its swinging roots. Would “Somebody someone please give these guys the late- Got Murdered,” night talk show they deserve? 10 Matthew Ryan Jim Duffy, Paul Page, bass recorded and , Lance Doss, mixed by Greg This version, which appears on Ryan’s drums guitar Duffin at Cowboy 2001 album Concussion, is the only entry Technical Services, here recorded prior to this set getting off Brooklyn the ground. Thanks to label head Abe Bradshaw for alerting me to this. Matthew Ryan, Craig Krampf, mixed by Richard “The Crooked Beat,” guitars, vocal drums McLaurin, Craig 9 Wreckless Eric Clay Steakley, produced and Krampf, and bass engineered Matthew Ryan You either love Wreckless Eric or you by Richard McLaurin haven’t heard of him. Stiff stalwart, brave autobiographer, he’s both as punk a performer and as nice a person as you 11/ “One More Time”/ could imagine. “One More Dub,” As for personnel: “Nobody else played on it, just me.” 12 Haale In October 2004, at a conference in Maine, I was introduced to the music of Haale. She turned an opera hall full of wise-ass dot-com hipsters silent and attentive – at 10 am! – with her trans- continental spin through traditional Sufi music, psychedelia, and more folk “Lightning Strikes traditions that I can list. Clash historians (Not Once But Twice),” may be pleased to note that one of her 1 of accompanists here is , who 4 Chicago played on the original Sandinista! Haale, vocal, Ivan Julian, engineered and The Sandinista Project is a Clash tribute new and bass, guitar mixed by Ivan record, so it makes sense to enlist a Clash additional lyrics produced by Julian tribute band in the cause. London Calling Dougie Bowne, Dougie Bowne of Chicago gives the lie to all the clichés drums about tribute bands. It’s no photocopy. It’s a sharp, spirited cover by a sharp, spirited “One More Time band. This ain’t Beatlemania, folks, and (One More Time),” we’re very lucky to have them here. 13 Ted Harris Owen Cooper, Tom Shover, Early Recording, guitars, mojo vocal, drums, Evanston, Illinois No one can argue that the Clash’s music Nick keyboard londoncallingband.com isn’t soulful; this version by the Chicago Stavropoulos, produced by singer and performer reveals that it can vocal, bass, Dave Budrys percussion and Nick be treated as classic , too. Stavropoulos at performed by Ted Harris (thanks to Phillip Hall, the Chicago El) “Up in Heaven (Not Only Here),” 15 It’s simple. If you love rock’n’roll, you love the Smithereens. It turns out that FSLN 26 8/21/06 2:30 AM Page 14

the great New Jersey quartet has a soft “Let’s Go Crazy,” spot in its collective heart for the original 17Storybox Sandinista! I urge you to pay attention to Dennis Diken’s drum breaks, which bring I liked Storybox even Keith Moon back to life. before I heard them. In Pat DiNizio, , Mike Mesaros, October 2005, I saw vocal, guitar guitar bass them opening up for Dennis Diken, Amy Rigby and they had drums stapled signs all over downtown Northampton making it look “Corner Soul,” as though Amy was opening up for them. 16 Ethan Lipton Their set that evening was loose-limbed, adventurous, and most of all fun, all of I first heard Lipton, the Bard of Brooklyn, that captured in their very south-of-the- at the same conference at which Haale border entry here. Carnival! performed. His clear, sly contribution takes its sweet, bluesy time, and lets Scott Brodeur, Kevin Richards, produced by vocal, guitar percussion Scott Brodeur loose a neat “London Calling” joke at Mark Rick Murnane, and Mark the end. Manganaro, Manganaro Ethan Lipton, Eben Levy, guitar recorded at drums Gabriel Brodeur, engineered by Frank Padellaro vocal Ian M. Riggs, Studio G, Ron Saloio, bass spoken word Brooklyn; Tony at Brown Vito Dieterle, sax standup bass Robert Kuhn, Kid chorus: Bag Studios, Maimone, trumpet Alicia Saloio, engineer Greenfield, Hannah Stogner, Timothy Saloio, Massachusetts background Jennifer Saloio, vocal Josh Saloio, and Gabriel Brodeur “If Music Could Talk,” albums in their free time. Covering an entire 18 album in one’s free time? Hmm… Bill Lloyd, drums, Ernest Chapman, recorded by I have been following Steve Wynn forever, bass, guitars, electric piano, Ernest Chapman in a wide variety of contexts: fronting The tambourine, background at Fun Company handclaps, vocal, handclaps Studios and , briefly sharing Danny vocals Paradise Room, and Dusty with Dan Stuart, and of course Jessica Friedman, background Nashville on his own and now leading the Miracle 3. vocal, shaker During a brief break between tours, Steve found a new groove for this song. And “Police on My Back,” since Steve himself has been the subject of a double-disc charity tribute record, he 1 knows what we’re trying to do here. The Clash took ’ “Police on My produced, recorded, and performed by Steve Wynn at Up Back” and rocked it out. Willie Nile and There Studios, NYC his band deliver a paint-scraping version. Although recorded for this collection, you “The Sound of can also hear this on Willie’s Streets of the Sinners,” New York, which is on 00:02:59. (Thanks 19 Bill Lloyd to Willie for introducing me to this label.) Willie Nile, vocal, engineered by recorded and The Nashville renaissance man is equally guitar Rich Pagano and mixed by Rich comfortable being an indie-rock genius, co- Andy York, Rich Lamb Pagano at guitar, vocal produced by New Calcutta fronting a hit country duo, writing songs for Recordings, NYC Cheap Trick, and leading the Long Players, Brad Albetta, Willie Nile, bass Andy York, Brad www.willienile.com a set of overtalented guys who cover entire Albetta, Rich Rich Pagano, Pagano drums, vocal FSLN 26 8/21/06 2:30 AM Page 16

“Midnight Log,” Jeff Sanchez, produced by piano recorded Soul Food with Mick drums Jeff Sanchez by Paul Church Stacey McCann, arranged by at Faraday Stu- 2 Gallagher bass Soul Food and dio, Woolwich, London One of the great things about a project Sanjay Subramanian, basic track final remix by like this is that it gets you in touch guitar recorded, engi- Mike Moebius and Jeff Sanchez with likeminded crazies. Soul Food had Geoff Waumans, neered, mixed, broken up, and drummer Jeff San- harp, vocal and remixed by Mike Moebius chez became aware of this set while Mick Gallagher, at Moonlight researching his own Sandinista! project, piano Mile Studios, a book called Sandinista Revisited. Jeff Hoboken writes: “I asked the band to reunite for one last song. In keeping with the spirit “The Equaliser,” of the original I decided to ask Mick Gal- 3 Sunset Heroes lagher of – who’d played on the original – to add a piano track. He Even those of us who love Sandinista! agreed to participate, via a transatlantic wish there were more rock’n’roll in its overdub.” second half. The good news is that this is what the loping original might have sounded like if The Clash had recorded it for Give ’em Enough Rope. Eric Hellweg, Neal Cadogan, recorded at guitar, vocal drums Bluetone, Ed Murray, bass produced by Dave Cummings “Washington Bullets,” “,” Phil Rockrohr 4 The Lothars 5 and the Lifters Theremins? Theremins, you say? You Rockrohr describes it the best: “The Lift- want to know what The Clash would ers’ take on The Clash classic plays up have sounded like if they used theremins the calypso vibe with the feel of a cruise instead of guitars? Your wish is granted. I ship band playing hip-hop.” should also mention that Gwennie (Gwen- Owen Cooper, Tony Wisniewski, recorded at dolyn, listed below) is a dachshund. lead guitar bass, guitar, Electric Wizland, keyboards Chicago Jon Bernhardt, Kris Thompson, all sounds, Jeff Givens, theremin, theremins samples and drums, backing engineered, vocals produced, and sampled Gwendolyn loops were theremin, looped created by the Phil Rockrohr, mixed by Tony Fredrica Wisniewski theremin, Thunderfoot Lothars vocal vocoded Herboldsheimer theremin, Stiglitz, backing synthesizer, vocal vocal “Broadway,” recorded and Stew Ramona mixed at the 6 Herboldsheimer, Charnwood log drum, Conservatory I first heardSte w when he was in The hammered of Music, Negro Problem. He has since gone on to dulcimer Somerville, by many diverse successes, ranging from Dean Stiglitz, Jon Bernhardt, being named among the 25 New Faces synthesizer, Dean Stiglitz, electroflute and the Lothars of Independent Cinema by FilmMaker to singing on an episode of SpongeBob SquarePants. Taking a break from world FSLN 26 8/21/06 2:30 AM Page 18

domination, Stew has delivered a surpris- ing, propulsive, truly six-o’clock-in-the- “Charlie Don’t Surf,” morning vision of “Broadway.” 8The Crunchies Stew, vocal, Heidi Rosedale, recorded by banjo, synth vocal, bass Marc Doten at Unlike the smooth, leisurely groove of the Marc Doten, Trend Coma Clash original, this souped-up version Studios synth, sounds reminds me of nothing so much as The Angels’ “My Boyfriend’s Back.” David Bowling, everyone, engineered, “Lose This Skin,” drums hand claps recorded and Lou Carlozo, produced by mixed by Lou at Jim Allen Carma Studios, 7 bass, guitars Mark Caro and Chicago New York singer and Jim Mary Dixon Lou Carlozo assistant Allen found me after having visited the and Mark Caro, vocals engineer: project blog. His taut, yearning version David Bowling stays true to the Clash spirit while bear- ing no resemblance to anything the Clash ever did – unless The Clash cut “Mensforth Hill,” some Merle Haggard sessions without 9 Bee Maidens telling anyone. Jim Allen, recorded and Here’s an explanatory note from King Bee voice, banjo, produced by Kevin Turbitt: “Since ‘Mensforth Hill’ is guitar, piano, Paul Parreira essentially ‘Something About England’ synthesizer at his house, Brooklyn played backwards with overdubs, I Paul Parreira, thought it would be fun to sing the lyrics loops, elecronics myspace.com/lazylions to ‘Something About England’ backwards — in reverse order, that is, not backwards identifies as “sort of Velvet Underground sounding à la Twin Peaks (that’s a chal- meets .” lenge for someone else). So I recorded Mark Cutler, Kate Conway, recorded and a stripped-down version of ‘Something vocal, guitar fiddle engineered by About England,’ reversed it, added more Dickie Reed, Kristen Lund, Mark Cutler in sounds, and then tried to fit the reversed accordion backing vocal the dining room of his apartment lyrics into something like a song. Words in reverse don’t flow as easily as words going forward, so they barely fit. I ended “Kingston Advice,” up pulling a mini ‘If Music Could Talk’ in the middle.” 11 Kiyoshi Turbitt, Kevin Turbitt, beemaidens.com These guys have dipped into the tribute screams remainder waters before, having recorded a track- by-track re-do of ’s Tusk, so they get the spirit of this thing. “Junkie Slip,” , Jonathan Segal, recorded at a Mark Cutler vocal, guitar volin, computer, sound check 10 recording in some North , lead guitar engineer American city Mark Cutler, who you may know from and mixed in a his wonderful band the late Raindogs, , hotel room recorded two very different versions of bass “Junkie Slip” for us. The version on this , set is what Mark calls a “Doc Watson/ drums zydeco treatment.” Check sandinista. guterman.com for information on how to hear the other version, which Mark FSLN 26 8/21/06 2:30 AM Page 20

“The Street Parade,” “Version City,” 12 Dollar Store 13Tim Krekel You may know Dean Schlabowske for Even those of us who cherish San- his rock’n’roll with dinista! acknowledge that “Version and Dollar Store. (You haven’t lived until City” isn’t one of the brightest bulbs on you’ve heard the latter slice through the it. Thanks to Tim Krekel, that’s not the Soft Boys’ “I Wanna Destroy You.”) It’s case here. You might know Krekel as a in his Dollar Store incarnation that Dean bandleader (remember the Sluggers!), as gives us a homemade, overheard “The a songwriter (he composed two of Jason Street Parade.” It feels like we’re inside and the Scorchers’ key songs), as a his heart, eavesdropping. documentary subject, as a ... well, you get Dean Tex Schmidt, recorded at the idea. The guy is a true rock’n’roll poly- Schlabowske, lead guitar Crinkles Studio, math, and he turned “Version City” inside vocal, guitar Joe Camarillo, Chicago out, with plenty of guitar and horns. It Alan Doughty, drums, vocals sounds like the Stax rhythm section bass, vocal recorded in some Louisiana swamp. Tim Krekel, Mike Williams, Howie Gano, guitar, vocal bass engineer John Mann, Mike Alger, guitar, vocal drums Mike Murphy, tenor sax Donn Adams, trombone fanatics because they were able to find “Living in Fame,” the ideal collaborator: dub giant Mikey 14Lou Carlozo Dread. Dread, of course, was an essential contributor to the original Sandinista!, Chicago producer and writer Lou Carlozo producing some tracks, helping write took on one of the most difficult tracks some more, toasting over even more, on Sandinista! with pulse-quicken- influencing almost everything. ing results. Imagine the song done as , Brian Syrjala, new lyrics straight rock’n’roll by a band that sounds vocals, sound keyboards and additional somewhere between R.E.M. and the dBs. effects Elisabeth Pip production by Mikey Dread at Chuck Harling, special thanks to mixed by Mike Pip, vocals, Cugini, la-la-la’s backing vocals Dread At The drums Ted Harris Hagler and Lou Phil Wright, Controls Studio at Kingsize Chris Cugini, spoken intro Stuart Shea, produced, www.theblizzardof78.net guitar solo engineered, and Sound Labs, bass, rhythm produced by recorded by Chicago guitar, Chris Cugini, Lou Carlozo, keyboards bass, guitars, Lou at Carma Nate Leavitt, and vocal Studios, Chicago Nate Leavitt, Larry Wallach guitar, recorded, keyboards engineered, Paul Myers, and mixed by “Silicone on Sapphire,” drums, Chris and Nate The Blizzard of 78 tambourine at Appleman 15 Featuring Mikey Dread Studio, Stoneham, Massachusetts The Blizzard of 78 know covers well – they’ve performed The Replacements’ Tim front-to-back, and their perfor- mance will be welcomed by Sandinista! FSLN 26 8/21/06 2:30 AM Page 22

James Butler, Rick Storey, Trick McKaha, “Version Pardner,” electric guitar, acoustic guitar, drums Sally Timms and vocal vocal 16Jon Langford with Laura E. Lee, Ship & Pilot bass, lead vocal

Jon sang “Junco Partner” on side one; here Sally leans over, waves across two “Shepherds Delight,” discs at Jon, and headlines a dub. 18The Hyphens Same cast as “Junco Partner” This is a thankless task: covering the one song on Sandinista! that most of the “Career Opportunities,” people who bought the original never got 17Sex Clark Five around to hearing. That challenge gives a smart band a clean slate to work with and The same people who gave listeners they fill it admirably. It’s a great wash of “The Wreck of the Ella Fitzgerald” have noise to go out on. contributed their interpretation of the David Kichen, John Skinner, Recorded “children’s” version of “Career Opportu- guitar guitar, and mixed by nities.” It feels very DIY. It also feels as if Doug Mayo- percussion, Chris Cugini Wells, bass, piano, at Appleman kids are playing percussion or being used saxophone Studio as percussion, but I have been assured percussion David Troen- thehyphensrock.com that no actual children were harmed dur- Krasnow, drums, ing the making of this recording. Greatest percussion DJ of all time played this on special guest: one of his last shows. Andrew Zev Troen-Krasnow, percussion This is a charity One-third will go to Amnesty International, an project. Who gets essential organization that works to free prison- ers of conscience, gain fair trials for political the money? Not us. prisoners, end political and prison violence, and If we make any, it abolish the death penalty throughout the world. The Clash supported Amnesty International will go to several during their existence, as did the members of worthy causes: the band after the group’s demise; One-third will go to The Joe Strummer Me- morial Forest, which may sound like a joke but is part of Future Forests, which is fighting global warming (no joke); and One-third will go to the performers on the record. In rock’n’roll, charity begins at home, as Strummer’s family and friends have noted with the birth of The Joe Strummer Foundation for New Music (aka Strummerville). For some performers anything we offer may be quite welcome; for others any check will be laughably modest. Either way, in the event that we have money to distribute, the performers have to get paid. The two charitable organizations get their cut first, but I’ll leave the don’t-pay-the-artists business model to the remaining major labels.

—Jimmy Guterman FSLN 26 8/21/06 2:30 AM Page 24

Produced by All songs by The Clash except: Jimmy Guterman “Junco Partner” and “Version Pardner” by Robert Ellen; “Look Here” by Mose Allison; “If Music Could Mastered by Talk,” “Living in Fame,” and “Shepherds Delight” by Fred Kevorkian at Mikey Dread and The Clash; “Police on My Back” Kevorkian Mastering, NYC by Eddy Grant; “Lose This Skin” by Tymon Dogg

Designed by Original Sandinista! cover photograph by Eric Mongeon Original Sandinista! package design by Clash/Stiles

Cover painting by For Andrew McLenon and Jack Emerson Jon Langford Jimmy would like to thank Dan Baird, Cary Baker, Abe Bradshaw, Anthony Citrano, Harris Collingwood, Guy Ewald, Ben Greenman, John Guterman, Andrea Kremer, Owen O’Donnell, Don Rose, Don Steinberg, Gary Stewart, Christian Wright, and Dave Yeskel. And Liz and Steve, Deanna and Ed, and Grace, Lydia, Eli, and Jane.

© and π 2007 00:02:59 LLC

http://sandinista.guterman.com http://www.2minutes59.com/