Category Archives: the clash

The Making of COLOR ME OBSESSED – part 14

Adrian and I ended the day in Boston back at Q Division Studios, first with an interview with the guys from AM Stereo, who have an amazing Replacements inspired number call “Bob Stinson” then with Bill Janovitz, the lead singer of Buffalo Tom.

The one thing that was becoming very apparent, was that in the grand tradition of the Velvet Underground, The Replacements inspired people to pick up guitars and play. The punk tradition that anyone could do it. But you didn’t even need the uniform. Look I love The Clash. I think they’re one of the five greatest bands of all time. (Live, the second greatest band of all time.) But let’s be real, they wore a uniform. The Mats on the other hand looked as if they’d just rolled out of bed. As if they’d perhaps slept in their clothes. They looked like the guys working the mini-mart or pop in any clichéd job description you want. And they were hardly the greatest musicians when they started. Hell, they were hardly ever in tune. But they inspired such hope and confidence.

They made it look easy. Real talent does that. Makes you believe it’s a cinch. Of course, then you try and write a song like “Unsatisfied” or “Color Me Impressed” or “If Only You Were Lonely,” and you suddenly realize their brilliance. Not only is it harder than it looks. A lot harder. It’s impossible. The proof is that no one would ever do it again quite like The Replacements.


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The making of COLOR ME OBSESSED – part 12

We interviewed Dave Minehan in his Wooly Mammoth Sound Studio. Not only had his band The Neighborhoods opened for The Replacements (and the Clash) way back in the day, Dave had played guitar on the first Paul Westerberg solo tour. So he was well-versed in Mats history. His stories were varied and funny. He not only loved the band (He “drank the Kool-Aid,” as he put it), he loved their every album. A rarity. In fact one of my favorite quotes in the film is his comment about Don’t Tell A Soul. (Of course, you’ll have to wait to see the film to know what it is.)

As I had long ago decided that Color Me Obsessed would cover The Replacements from when that first demo tape went from Paul’s to Peter Jesperson’s hands, through to their breakup at Grant Park on July 1st, 1991, my biggest predicament with Minehan came when he recalled an amazing tale about touring with Paul in London and running into Joe Strummer at an outdoor flea market. Luckily, we have a lot of knobs on that old answering machine on the CMO website. Click the volume control and you can hear the story.

If I wasn’t sure after interviewing Jack Rabid, that I indeed did have a movie here. Dave cemented it. We talked for over 90 minutes, and I left feeling that I had found my musical twin. The guy’s got great tastes in bands!

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Filed under alternative rock, Color Me Obsessed, directing, documentaries, filmmaking, friends with benefits, gorman bechard, jack rabid, joe strummer, low budget films, paul westerberg, replacements, rock n roll, rockumentary, the clash, the replacements

Lily Allen’s cover of STRAIGHT TO HELL by the Clash – a review

OK…first off, the 5 stars are for Lily Allen’s cover of STRAIGHT TO HELL.  And so you know where I am coming from.  I am not a huge fan of Ms. Allen.  Don’t really know her music.  Not my cup of tea.  I am however a huge Clash fan.  Saw them live 15 times from their first US gig to their last tour.  I’d rank them as one of the two greatest bands of all time.  (The other is the Replacements.)  Their music to me is sacred.  It should be respected, never covered.  And STRAIGHT TO HELL is one of my three favorite Clash songs.  Having said all that…


Ms. Allen cover of STRAIGHT TO HELL on the WAR CHILD PRESENTS HEROES compilation cd is the best song we will hear this year.  She and Mick Jones have taken his and Strummer’s brilliant melody, riff and lyric and somehow (I don’t know how) taken it to a level where few musicians ever get to even see, let alone attain.


From the opening da-da-da-da’s which sound so much like Strummer (I wish I knew for certain if they were, or if it was Jones), through to Ms. Allen’s phrasing, which is Billie Holiday-perfect, as are the production and the instrumentation, the song had been reinvented, re-envisioned.


And when Ms. Allen hits the bridge and sings “so mamma-san says” and the da-da-da-da’s start up again, I find the goosebumps coming and the tears welling. 


This really is the song she was born to sing.  It will make everything else that follows this year seem unimportant and unoriginal. 


As for the rest, well honestly I’d give the cd 2 stars out of 5 at best.  What we have are really bad covers of great songs (The Hold Steady, whom I like, doing injustice to ATLANTIC CITY), just misses (The TV On The Radio cover of HEROES is close, as is Beck doing Dylan), a number of what-were-these-people-thinking (really, you never cover the Ramones or Blondie, not because they’re the greatest songs ever written, but because you sound stupid even trying), a few that make you want to hear the originals and how they’re really done (The Kinks and the Costello songs) and the rest is just who-cares?


But all that said, listen to the Lilly Allen/Mick Jones track.  And genuflect in the presence of genius.

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