TAG: The Clash

Oct22

R.I.P. Ari Up – More Than Just A Punk Legend

The tragic death of Ari Up early this week has a lot of people digging out the work of her seminal dub-punk group The Slits with a renewed appreciation. But perhaps the bigger tragedy isn’t just the loss of a legend, but the fact that well into the ’00s, the dreaded visionary was still creating quality music. Her 2005 album Dread More Dan Dead was a favorite around the URB office that year, with it’s perfect combination of her vintage reggae-dub aesthetic and more modern electronic techniques. So while the rest of the web celebrates Ariane Daniele Forster aclaimed early work, we figured we’d offer up something more recent, yet equaly memorable.

Ari Up – “Me Done” (2005)


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Jan28

Willi Williams – “Armagideon Time” (Video)

If you don’t recognize this track, you didn’t listen to the Clash enough during your formative years. That being said, the original “Armagideon Time,” performed here by its writer Willi Williams, stands out of the entire JA oeuvre as a massive message song.

What makes it all the better is that backing Williams is none other than Dave Hillyard from the Slackers…Boss!

[via]

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Jan25

DJ Boo – Recycled Beats (Review)

DJ Boo

Recycled Beats

Released by Self-Released


The DJ mix is always a question of identity: Who is the DJ? And what are they trying to prove? Not that they're all so self-conscious, but the mix always asserts something. On The Block is Hot, Pt 2 Blockhead asserted his indvidualism over moody samples from Everlast and Rakim. On Bumps Controller 7 illustrated a knowing reverence for the Golden Age, smooshing De La against Nas and making both sound newly relevant. I've heard James Murphy treat a DJ mix as a sketchbook, Greg Gillis treat it as a urinal, Primo as another excuse to scratch a bunch. I've heard DJ Shadow do pretty much everything a two-armed human can do on a DJ mix. He was clearly proving something.

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Mar29

Paul Simonon: Papa Don’t Preach

After a 15-year hiatus, The Clash bassist is back with The Good, the Bad and the Queen to get Coachella all riled up 

By Aaron Richter

It sure must be great to be back. Although he claimed he wouldn’t be jumping around much onstage with Damon Albarn’s The  Good, the Bad and the Queen, original Clash City Rocker Paul Simonon—who, for the past 15 years, ditched music entirely to focus on his career as a visual artist-has been seen in footage of his new group’s early performances having an absolute ball.  He wields his massive bass like it never left his arms  and throws his whole body into every note. “What I  meant was that I’m not going to be donning leather trousers and doing scissor kicks,” Simonon says with  a laugh, as he speaks to URB during his London tea-time. “There’s an element of dignity necessary. If  you’re 18, 19, you can run and jump around. But at  another stage in life, you …

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