Welcome to 2013 and the truly Post-Thatcher Age, and welcome to Julian Cope’s long delayed new album REVOLUTIONARY SUICIDE: eleven sumptuous and highly charged songs that teem with outrageous orchestrations and compellingly-crafted words of protest, activism and historical richness. Weep along with the dreadful beauty of the Archdrude’s most epic ever song ‘The Armenian Genocide’, sway with the bucolic agricultural rhythms and devotional lyrics of ‘Hymn to the Odin’, pump your fists in the air to the Detroit soul of the title-track, or just give yourself entirely to the divine-but-gaping 70-minute-long musical maw, nay, the Hot Mess that is REVOLUTIONARY SUICIDE. New poems? You got it! New concepts? You got it! We got the Mayans’ predictions out the way and we’re all still here. So maybe everything that went before 2013 was just a dry-run for what’s to come. Perhaps you’ll even believe that once you’ve heard the enormous scope and vision of REVOLUTIONARY SUICIDE.
Annnnnnnd… Julian is now on Twitter.
Julian Cope directly referenced this little-remembered, hard-to-fathom episode in late Clash history, from the period after Mick Jones had disastrously been removed from the band, with his three-day “Joe Strummer Memorial Busking Tour” in October, 2008. (Check that tour’s impressive itinerary here — then search youtube to see video highlights — there are many). I’d love to know more about The Clash’s tour (are there any videos? etc). For now, though, there’s this…
From Passion Is a Fashion: The Real Story of The Clash by Pat Gilbert (2004), p 352-3:
In May 1985, [Clash manager] Bernie Rhodes, [manager] Kosmo [Vinyl] and Joe [Strummer] devised the Clash’s last hurrah—a busking tour of Britain. The idea was that the group would assemble at [guitarist] Vince’s flat, leave their wallets on the table and hitch to Nottingham with a few acoustic guitars. They’d then see where the wind would take them. Over the next two-and-a-half weeks, Britain’s provincial towns and cities were thus treated to the extraordinary sight of The Clash popping up under railway bridges and in subways to entertain them with Monkees, Chuck Berry, Eddie Cochran and Cramps songs.
The group kipped on fans’ floors and in cheap B&Bs. They survived on the money thrown into their hats. It was a genuinely exiting and unpredictable experience. Joe described it as ‘the best tour we ever did.’
Paul [Simonon] agrees. ‘It was like starting out fresh again,’ he says. ‘It was great. “We’ll meet you in Glasgow in a week’s time,” and the idea was to leave everything behind other than the guitars. You couldn’t take any money with you. We survived by our wits. It was as exciting as the Anarchy tour, you never knew where you were going next. I remember we were in Leeds, it was 2 a.m., and it was outside this black club, and people were coming out and really digging us. There were two white guys and they were shocked it was us. They said, “Where you staying?” And we said, “We’re not staying anywhere,” so they invited us to stay at their mum’s. The money we made from busking meant we could go further, we didn’t have a plan of where to go next. There was no rules. You didn’t have to be on the so-and-so plane at twelve o’clock.’
…saluted by the Arch-Drude (Julian Cope) at the Dorian Cope-helmed, bookmark-worthy On This Deity blog
“Today we commemorate the death of the prophet and gnostic George Ivanovich Gurdjieff, who died sixty-one years ago in Neuilly, near Paris, surrounded by a large group of sobbing followers. Somewhat like William Blake’s notion of having been a ‘sent man’, Gurdjieff was throughout his life obsessed with what he called his ‘Being Duty’, his unyielding belief that his role was to serve others by lending them his expertise in navigating the great problems of life…”
SPADES & HOES & PLOWS is the third solo album by Welsh producer, pianist and songwriter David Wrench, and was commissioned for Julian Cope’s Black Sheep by Cope and Fat Paul. The album presents four traditional folk themes from the British Isles, all performed in an eerily upfront and cadaverous manner, reminiscent of such late black metal as Furze, or perhaps a radical hybrid of Andrew King and an acoustic Khanate. But this is hardly a radical new course for Wrench, whose obsessions with cultural marginalia began as long ago as the late 80s with Nid Madagascar, his Welsh language acid house band. In 1997, Wrench released the turbulent BLOW WINDS BLOW, a dark set of songs influenced by Peter Hammill and John Cale. As the co-leader of the short-lived glam-sleaze duo Bubblegun, Wrench grabbed the ear of Julian Cope, whose particularly enjoyed the earnest electro-ballad ‘Beautiful Cunt’. David Wrench’s next solo album was THE ATOMIC WORLD OF TOMORROW, a horny melange of politically charged hi-energy synth pop. As an Engineer/Producer and Mixer, he has recently worked with Caribou, mixing most of the new album Swim, and previous album ANDORRA, engineering the Mercury prize nominated TWO SUNS by Bat For Lashes, WHEN THE HAAR ROLLS IN by James Yorkston, and producing the critically acclaimed albums GOODBYE FALKENBURG by Race Horses, GOTHIC ROAD by Jackie Leven, MIRACLE INN and BORE DA by Euros Childs, and THE QUICKENING by Kathryn Williams. He recently was awarded the BBC Radio Cymru C2 award of Producer of the Year for the 3rd time. He joined Julian Cope’s group Black Sheep in 2008, performing vocals on their 2009 album KISS MY SWEET APOCALYPSE 2.