Casbah Calling

I’m at breaking point with global financial meltdown, rampant religious war mongers, natural disasters, hacking, sacking, cuts and c**ts. I need some blissful escape.

So I’m writing another blog post.

Whilst digging around in my metaphorical crates I came across a re-edit I did in 2004 of The Clash’s “Rock The Casbah”. It served me well for a good few years and due to the edit’s arrangement, I played it everywhere, from bunkers to ballrooms and barn dances.

The song itself has quite a history. The third single from their classic “Combat Rock” LP, it was the Clashes biggest UK and Stateside hit ever, topping, amongst others, the fledgling UK Dance chart. Some say it was written in reaction to Iran’s Sharif banning rock music, others that it was inspired by the bands manager bemoaning the length of their new tracks (…the king told the boogie men, you have to let the rāga drop...). As with most truths, it’ll be both and neither.

The edit itself is another simple ‘razor and tape’ affair. I used the 7” single version with it’s stronger emphasis on the bass guitar and the dubbed out 12” instrumental (Mustapha’s Dance) to create this nifty little fellow, all helped by the fact The Clash’s drummer Topper Headon was well known for his metronomic drumming.

Sharif don’t like it….

Enjoy!



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Better late than never.

My first post is about popping the blog cherry. There, done! I feel sixteen again.

I've become such a fan of other peoples blogs it finally had to happen. I'll be posting my opinions, observations, conversations, things that excite me, sounds you just have to hear and other audio musings. I'll also be posting rare nuggets, re-edits and other gems to download (320 kps) from the past 90 years of recorded music. The first of these (below) is my re-edit of Gloria Jones' Tainted Love. Covered by everyone from Soft Cell to Marilyn Manson, the original is a northern soul nugget that needs to be heard. No additional drums or synths, just a good old fashioned 'razor and tape' edit to extend the goodness. 

I've also been working on foley and sound design since late 2009 and they are the most incredibly interesting fields with they're own hero's, villains, fans and fantasists. So, along with all my other baggage, I'll be ranting about that too.

So cherry popped, now I'm going to think of thoughts worth saying.

And sounds worth playing....


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