BONEY M - Nightflight to Venus 1978

 

It's OK, you can say it. We won't judge you, this is a safe place. I'll go first - "I LIKE BONEY M".

There, that wasn't too difficult was it.

Boney M was a bit like ABBA, or eating an ice-cream cone as a teenager. It was a guilty pleasure you didn't want your friends to know about. You were meant to be too 'cool' for that, but when no-one was around you'd be singing ..
"Ra ra Rasputin
Lover of the Russian queen
There was a cat that really was gone"

In the best traditions of The Archies, The Monkees and The Partridge Family, Boney M was created for a purpose. Frank Farian, a German producer singer songwriter put out a single in 1974 called 'Baby Do You Wanna Bump' credited to Boney M. He manipulated his voice on the recording to get low-lows and high-highs. When it started to become a bit of a hit he realised he needed some people to go on the telly and look like a group. He brought together Maizie Williams, Bobby Farrell, Liz Mitchell and Marcia Barrett.

When they were doing live shows, all 4 of them were on stage singing, along with back-up singers to make it sound good. In reality the recordings were made by Farian, Liz Mitchell and Marcia Barrett. Farian didn't think the other two voices were suitable for the records.

Farian later went on to 'create' Milli Vanilli, and we all know what happened there.

Regardless of any background shenanigans with voices and studio manipulations and supplemented stage shows, Boney M were popular. Eurodisco had made it big, even in the Soviet Union - although when they toured Moscow in 1978 they weren't allowed to sing 'Rasputin'.

I unashamedly bought this album on the strength of 'Rivers of Babylon' and 'Brown Girl in the Ring' but was pleasantly surprised by their covers of 'King of the Road' and 'Heart of Gold'. Some of the other tracks were a bit disposable, but for it's time, not a bad effort.

One rather spooky coincidence was the death of frontman Bobby Farrell. He passed away on 30 December 2010 in St. Petersburg. Rasputin passed away 30 December 1916 in St. Petersburg. "Oh, those Russians"

Rivers of Babylon

Brown Girl in the Ring

ELECTRIC LIGHT ORCHESTRA - ELO's Greatest Hits 1979 Time 1981

 

ELO have quite a pedigree, comprising initially of three main members, Roy Wood, Jeff Lynne and Bev Bevan who were all part of The Move (remember 'Flowers in the Rain', 'Fire Brigade', 'Blackberry Way').

They got together while The Move were still performing and released their first album, the eponymous 'The Electric Light Orchestra' in 1971. It was released in the US in early 1972 as 'No Answer'. When the US label United Artists rang to find out the name of the album nobody picked up the phone and when someone wrote down 'No Answer' they took that to be the album title. 

Roy Wood left in 1972 and formed Wizzard, releasing one of my favourite singles of 1973 'See My Baby Jive'. The new core line-up for ELO now included keyboard player Richard Tandy and stayed that way until they disbanded (for the first time) in 1983. They were under contract to do one more album, so went back into the studio in 84-86 but then went their separate ways.

In the meantime, in 1981, they recorded my favourite album, 'Time'. It's a concept album about a time-traveler going from the 1980's to 2095. In the song 'Yours Truly, 2095' there's a glimpse of the 1980's view of the future when Jeff sings about someone he's met, but she was built by IBM ..
"She is the latest in technology,
Almost mythology, but she has a heart of stone,
She has an IQ of 1,001,
She has a jump suit on and she's also a telephone." 

I'm sure by 2095 everyone will be hybrid telephones.

'Time' contains one of their rockingest rollingest tracks ever .. 'Hold On Tight'. I defy anyone to sit still while it plays.

At last count ELO had released around 14 compilation albums, but this early one from 1979 has most of the stuff I like. About the only one of the old favourites that's missing is 'Don't Bring Me Down'. One bonus is that 'Ma-Ma-Ma Belle' is on here, notable if for no other reason than Marc Bolan plays guitar on it !!

After ELO Jeff Lynne made more of his ability as a songwriter and producer, specifically working with George Harrison, Tom Petty and Roy Orbison on their respective albums. With the addition of Bob Dylan they all got together in 1988 as the incredible Traveling Wilburys.

Plenty to choose from, lots of hits and good album tracks, all-in-all, ELO should be in every collection.

Hold on Tight

THUNDERCLAP NEWMAN - Hollywood Dreams 1970

 

When Thunderclap Newman released their single 'Something in the Air' it was one of the most popular songs of 1969. Sadly, although critically acclaimed, their one and only album, 'Hollywood Dreams' released the following year faded into oblivion.

John 'Speedy' Keen used to be a chauffeur for The Who. He wrote 'Armenia City in the Sky' for the Who album 'The Who Sell Out'. On the strength of that Pete Townshend wanted to get a band together to promote Speedy's songwriting. He got a friend of his from art college, Andy 'Thunderclap' Newman who was playing jazz piano in pubs and a 15 year old kid, Jimmy McCulloch, to play guitar. With Speedy on drums and vocals he brought them all together at his home studio and the first time they met they recorded Speedy's composition 'Something in the Air'. Taking Andy's nickname as a name for the group, 'Thunderclap Newman' came into being. One addition for this recording (and the album) was bass guitarist Bijou Drains - otherwise known as Pete Townshend himself. Townshend also produced their recordings.

Their album was made up of mainly Speedy Keen's songs, the exceptions being an instrumental 'Hollywood Dream' by Jimmy and Jack McCulloch and, surprisingly, Bob Dylan's 'Open the Door, Homer' which was at that time still a pretty obscure title, recorded along with the famous 'Basement Tapes' but in 1970 relatively unknown and unheard by most people.

They did release a few more singles, 'Accidents' from the album and a couple of nondescript throwaways, but essentially they were destined to be one-hit wonders.

They also reluctantly did some touring, despite not having a lot of material or any cohesive act. They did get better, with some changes and additions to the line-up and more songs and covers in the shows and even supported people like Deep Purple and Leon Russell, but by 1971 the band broke up.

Speedy went on to be a session musician but passed away in 2002 aged 56.

Jimmy McCulloch had his own band for a while, then from 1974-77 he played along with McCartney as part of Wings. After Wings he hooked up with the reformed Small Faces for a bit but in 1979 he was found dead in his flat from heart failure. He was 26.

Andy 'Thunderclap' Newman tried a brief solo career but then went back to life as an electrician. In 2010 he put together a new version of Thunderclap Newman, recorded an album 'Beyond Hollywood' and played some live shows as well as the 2012 Isle of Wight Festival. Andy passed away in 2016 aged 73.

Thunderclap Newman had a brief time in the sun and left just one album, but if you get a chance it's worth a listen. It tends to be a bit musically naïve in parts, gimmicky in others (the overuse of a kazoo!) but there are glimpses of what could have been. 

Something in the Air

CULTURE CLUB ‎– This Time - The First Four Years 1987

 

As glamorous as Boy George is when dressed to kill for his performances, or even generally in his day wear, my lasting image of him is from 2006 on the streets of New York City with a hi-viz jacket and a broom doing community service for the Department of Corrections. Far from being a low point or making him a subject of ridicule, it increased my admiration for him - he messed up, he got caught, he took his punishment. Good for you George.

One thing he didn't mess up, through all the other mess-ups, was his music. If you remember nothing else from the 80's I can pretty much guarantee everyone can see Culture Club in their mind's eye, singing and dancing on a paddleboat called 'The Chameleon' steaming down the Mississippi in the 1870's. Sadly you'd be wrong, they were actually on 'The New Southern Belle' on the Thames in Surrey. The Chameleon bit is right though, 'Karma Chameleon' to be exact.

The group only formed in 1981, and their debut album 'Kissing to be Clever' the following year spawned 5 singles, among them the worldwide #1 'Do You Really Want To Hurt Me'. 

When 'Colour By Numbers' came out in 1983 the group were already well established and when 'Karma .. 'became their second #1 they were unstoppable.

This compilation includes - as it says on the tin - a selection of the first four years, and out of the 12 tracks at least 8 are must-haves. As well as the two tracks mentioned above you get 'Church of the Poison Mind', 'Time (Clock of the Heart)', 'It's a Miracle', 'I'll Tumble 4 Ya' and more.

Boy George had a secret relationship with drummer Jon Moss, largely unknown to the general public, but when they broke up after a pretty abusive four years George spiraled down into drug abuse and that started a long period of upheaval for the band. They broke up, they reformed, George did a solo career, Jon Moss was there and then he wasn't. Very confusing and volatile. In 2018 there was a new album released, 'Life' billed as Boy George & Culture Club and coincidentally, as we speak, Boy George is back on telly promoting a new concert on 19 Dec 2020 at the SSE Arena, Wembley. 

Give Culture Club another listen, there are some great songs in there.

Karma Chameleon

Do You Really Want To Hurt Me

SQUEEZE - Singles 45's and Under 1982

 "I fancy this, I fancy that, I wanna be so flash
I give a little muscle and I spend a little cash
But all I get is bitter and a nasty little rash"

Yep, we've all been there.

Squeeze were classed as one of the great singles acts, so reviewing a compilation album makes sense. This is where the fun is. The group was founded by Glenn Tilbrook, Chris Difford, Paul Gunn and our old friend, bandleader, composer, presenter and OBE Jools Holland. Tilbrook and Difford were the writers of virtually all Squeeze's songs and with few exceptions Tilbrook takes lead vocals.  

One of Squeeze's songs has a famous mondegreen. Instead of singing 'Pulling mussels from a shell' I wonder how many people sang some variation of 'Pulling mussels for Michelle'. Oh, was it just me?

That song was all about having holiday sex. Maybe not obvious until you realise that 'pulling mussels' is a euphemism for getting into ladyparts !! It becomes more obvious when the chorus describes having a knee-trembler round the back of the accommodation.
"But behind the chalet
My holiday's complete
And I feel like William Tell
Maid Marian on her tiptoed feet
Pulling mussels from a shell"  

The whole song reminds me of a set of saucy seaside postcards, each verse could create a whole scene. Jools comes into his own on this track, giving a piano solo around the 2:15 mark.

There was a 1968 movie called 'Up the Junction' and although their song isn't about the movie, it got it's title from there. The phrase is another English term, this one meaning basically that you're screwed. The song is the tale of a guy who gets his girlfriend pregnant, turns to drink and she and the kid leave him. Chris Difford said of the song "The first time we played it I remember thinking, God, this is great. It was everything I loved in music - Bob Dylan in a sweet wrapper."

Probably my favourite song is 'Black Coffee in Bed' which started life when Difford picked up his notebook and it had a coffee stain on it. Backing vocals on this song were done by Elvis Costello and Paul Young. Elvis also did backing on another great track 'Tempted' and he was also co-producer on the original album 'Tempted' came from, 'East Side Story'.

At the top of this post is a few lines from probably Squeeze's best known and certainly one of their most popular songs 'Cool For Cats'. The whole thing is done in a Cockney accent by Chris Difford and has been likened to a bloke down the pub telling stories to his mates. The song title is from the first UK TV show with music for teenagers. It was 15 minutes long and ran from 1956-61 and obviously had a major impact on kids at the time. 

Squeeze can almost be passed over today as just another band that came and went and had a few good songs on the way, but they really had an influence back in the day. Just check out this info from Chris Difford's book .. "Many bands and artists who would later achieve phenomenal success would begin their careers opening for Squeeze, including Dire Straits, The Jam, R.E.M., The Specials, U2 and XTC."

Black Coffee in Bed

Cool For Cats

STEELEYE SPAN - Commoners Crown 1975 - Original Masters 1977

 "And away you santy, my dear honey,
O you New York girls, can't you dance the polka?"

British folk rock at it's best. These are the two albums I still have, but back in the day I had more. The one previous to 'Commoners Crown' was 'Now We Are Six' which was famous for some right and a couple of wrong reasons. The right reasons were the excellent interpretations of traditional folk music, particularly 'Thomas the Rhymer' which was released as a single. Not so well received were the title track, which was basically a set of riddles with a piano accompaniment, 'Twinkle Twinkle Little Star', which is just what it says on the tin and then the last track, the Phil Spector classic 'To Know Him Is To Love Him'.

People were upset that the album included a rock 'n' roll track when they expected Steeleye Span to be doing 'folk rock' and not modern rock. The thing was, in their stage act at the time their encore usually consisted of doing things like 'Da Doo Ron Ron' and 'Long Tall Sally'.

One bit of trivia - on the said track 'To Know Him is to Love Him', none other than David Bowie plays the sax !! The album was also partly produced by Jethro Tull's frontman Ian Anderson.

They are not the only guests to make an impact. Coming back to one of the featured albums 'Commoners Crown' there's a great performance on the last track 'New York Girls' by the legendary Peter Sellers. The band needed someone to play a ukulele and although none of them knew him, they decided to ask Peter Sellers to do it. Not only does he play, but he also does vocals. But wait, there's more. Not only does he do vocals, he does them in the voices of two of his famous 'Goons' characters, Henry Crun and Minnie Bannister. Pure magic. The rest of the album is full of great traditional songs - 'Long Lankin', Dogs and Ferrets', 'Galtee Farmer' .. each one a masterpiece of old and new to produce a revival of long lost songs brought to the modern ear. 

Like many groups, Steeleye Span went through a lot of line-up changes but this period was probably their 'golden age' with Maddy Prior, Tim Hart, Bob Johnson, Rick Kemp, Peter Knight and Nigel Pegrum. Martin Carthy came and went but it's easier to catch his work on some of their compilations.

The album after 'Commoners Crown' was 'All Around My Hat' which produced their best know and most popular single, the title track. It's a thumping, belting, sing-along joyous song about a very sad topic, but no-one seems to care.

'Original Masters' is a two-record collection of tracks with some great examples of their work - 'Sir James the Rose', 'Long Lankin' and 'Black Jack Davey' among them.

If you're new to Steeleye Span, dip your toe in with the links below. If you knew them back in the day, sing along.

New York Girls (Peter Sellers at 1:20)

All Around My Hat - shorter version

NINE INCH NAILS - Downward Spiral 1994

 This entry was prompted by Nine Inch Nails being inducted into the Rock and Roll Hall of Fame 2 days ago on Nov. 7 2020. 

We came in late to the NIN fan club. It wasn't until 2012 that they made an impact on us. That's when one teenage member of our family, who shall remain nameless, branched out from many years of school choirs and joined the 'School of Rock'. One of the first shows our 'mystery singer' did was NIN music that included vocals on 'All The Love in the World', 'Capital G', 'Terrible Lie' and 2 of the songs from this featured album 'Piggy' and 'Hurt'.

Above all else, those are basically the tracks we've come to know. Proponents of industrial rock, NIN are somewhat of an acquired taste.

This is a concept album about a man's 'downward spiral' to his ultimate suicide. The whole album becomes slightly more macabre when you find out that Trent Reznor bought the house at 10050 Cielo Drive in L.A. and recorded the album there. That was the house where Sharon Tate and others were murdered by the Charles Manson family. He moved out after the recording was done and the house was demolished.

Some of the sounds used on the tracks are sampled from a variety of sources, each one more bizarre than the last. Screams in 'The Becoming' are from a giant robot falling on a crowd in the movie "Robot Jox". 'Reptile' has the sound of a woman falling down a hill taken from 'The Texas Chainsaw Massacre' and not to be outdone, the beginning of 'Big Man With a Gun' has a distorted recording of a porn actress having an orgasm. Fun for all the family!!

In 1997 David Bowie did a collaboration with NIN on his song 'I'm Afraid of Americans'. He'd been touring with the group and although he'd done the song by himself originally, the NIN version became the more popular mainly because of the video. 

So .. two video links I'm adding are not NIN themselves. The first is our family 'mystery singer' with an excellent version of 'Hurt' and the second is the Bowie/Reznor video mentioned above. The third is NIN doing 'Capital G' ..
"I pushed the button and elected him to office and
He pushed the button and he dropped the bomb"

Nine Inch Nails - see what you think.

Hurt

David Bowie 'I'm Afraid of Americans' with Trent Reznor

Capital G

THE CRAZY WORLD OF ARTHUR BROWN - 1968

 

"Remember, remember!
The fifth of November,
The Gunpowder treason and plot"

It's Bonfire Night and believe it or not, there's an album called 'Fireworks' by a group called 'Bonfire' released in 1987, but they are German, a bit obscure and I've got nothing by them.

Instead, let's go the obvious way and bring back everybody's pyrotechnical favourite, Arthur Brown. Perhaps best known for occasionally setting his head on fire, Arthur Brown was a bit of a legend in the 60's and this album is exactly what you would expect it to be. Psychedelic, weird, acid, everything that the 60's demanded from the fringes.

The album was produced by Kit Lambert, the Who's manager, with input from Pete Townsend, so it certainly had some weight behind it. Obviously 'Fire' was the track that helped to sell it, but surprisingly there are some other good to great tracks there, depending on your taste.

Common to many of the album cuts is the brilliant organ work of Vincent Crane and some great examples are on 'Come and Buy', 'Time/Confusion' and 'Spontaneous Apple Creation'. Arthur himself shouldn't be discounted as a novelty act either. He has what has been described as an 'operatic' voice and he spans four octaves, so the guy is no slouch - although he maybe doesn't use his voice to it's full advantage with some of this music he does have a talent to be reckoned with.

Most of the songs on the album are original compositions by either Arthur himself or in partnership with the other group members, particularly the aforementioned Vincent Crane. Along with the originals there are 2 covers. Screamin' Jay Hawkins did the definitive version of his own song 'I Put A Spell On You' but Arthur does a credible effort, adding a bit of his own flavour. The same can't really be said about the other cover song, 'I've Got Money' originally by James Brown. Both versions have their own brand of insanity, but there's not much more that Arthur could add to James' performance.

I keep using this phrase, and each time I do it's meant sincerely. This is a record of it's time. If you didn't live through it, you may find it harder to listen to than if you have personal memories of 'being there'.

I Am the God of Hellfire
Happy Bonfire Night. 

Fire

VINYL VAULT - Alternate Take 2

 'When We Collected 45's'

When I was a kid in our little terrace house in England, all we had was a wind-up gramophone playing 78's, first in my Gt-gran's attic next door, later moved into our front room.

Then, one day in 1960, Dad came home with a record player! I distinctly remember him putting it down in the kitchen, taking out the lightbulb and plugging it into the socket, then sending my sister over the road to the neighbours house to borrow a 45rpm record, because we had the machine but not the vital bit to put on it.  

My sister came back from the neighbours house clutching a record - it was placed lovingly on the turntable, the needle was dropped and the strains of 'Theme From A Summer Place' by Percy Faith and his Orchestra filled the room.

As a family we started getting records but for Christmas 1963 my sisters boyfriend bought me my very first single - not for the family - for me. Gene Pitney's '24 Hours From Tulsa'. I played it until you could see through the vinyl. It was where it all started for me.

The value and importance of these 7" gems cannot be overstated. Artists lived and died by their sale - radio stations fought and cheated and ran scams and payola schemes to promote them. Phone-in competitions gave them as prizes and teenagers around the world crowded into booths in record shops to listen.

They came in many forms and between me and Tracy we still have examples. There's a Beatles picture disk, a Dylan limited run, a-ha, 10,000 Maniacs and Simple Minds cover art, Desiderata's lyrics on a 7' EP, Dream Academy's ex-jukebox stock with a spider to fill the middle, Max Romeo's 'Wet Dream re-issued classic. 

There were obscure b-sides, double a-sides, album track releases, non-album stand-alones. They were cheap(ish) and cheerful and could be bought out of one week's pocket money or allowance. You could stack 10 on an auto-changer and sit back for the next 20 or 30 minutes listening to your own version of a mix-tape long before we knew what a mix-tape was. They started as 2 or maybe 3 minute songs until 'House of the Rising Sun' by the Animals broke out at one second under four and a half minutes and opened the floodgates. I was excited to buy Nilsson's 'I Guess the Lord Must Be In New York City' .. it was the first STEREO single I owned !!

For a while you could buy portable 45rpm players that looked like overweight 90s CD players. There were even some that fit in your car. It was affordable music for the masses and something you took with you whenever you visited a friend. 

In 1966 I fell off a motorcycle I was riding illegally, wearing only a pair of shorts. I ripped open my elbow, took off the end of my toe and scrapped up my hip, but the thing that upset me most was that I lost the copy of 'Rocking Goose' by Johnny and the Hurricanes that fell out of my knapsack.

Rocking Goose

VINYL VAULT - Alternate Take 1

 This is not strictly a Vinyl Vault review as I only have a digital download of the new album - it is therefore an 'Alternate Take'.

In 1970 Cat Stevens released the excellent 'Tea For the Tillerman'. I included it in my review of Cat's 'Teaser and the Firecat' LP (20 June 2020).

Fifty years later we get a chance to hear new arrangements and new interpretations of these seminal works in 'Tea for the Tillerman²'. We also see the Tillerman in a space suit and the kids listening to music and on their phones in the new cover artwork.

I've been playing this album for a few days now and I'm pleased to report that it was worth the wait. Let's be clear - NOTHING can improve on the original. If you play this to compare then you'll be disappointed. However, if you play this with a fresh approach, with the maturity that the past 50 years has given both Cat as the performer and you as the listener, then you're in for a treat.

Some tracks are totally different. 'Wild World' and 'Longer Boats' both receive dramatic work-overs, but every song is fundamentally new and they deserve to be acknowledged as such. Different instrumentation, fuller backing vocals, there's even rap! The part that doesn't change is Cat's sincerity in everything he does.

Having grown old alongside him, to me the most poignant track is 'Father and Son'. When he first recorded it, Cat was a 22 year old singing the part of an older man trying to impart his wisdom. Now, 50 years later, he sings the same song with the voice of age taking the part of the younger man wanting to break free. I've seen some comments where people wanted to hear the father sung by today's Cat and the son using the original recording. I don't agree. Both recordings are an interpretation of a generation gap from one voice with two perspectives and both of them are achingly beautiful.

I'm 22 in the body of a 70 year old - I own that song.

If you are a fan of Yusuf/Cat I'd recommend getting this new album to complete the journey.

Wild World

Father and Son

THE CLASH - London Calling 1979

 

"Now, sing, Michael, sing"

The opening line to my favourite Clash song 'Rudie Can't Fail' has Joe Strummer encouraging Mick Jones to sing - and off they go on a joyous duet, coming in and out of the lines randomly. I think one of the reasons I like this song so much is because it goes back to the 60's roots of ska and reggae. Rudie isn't someone's name, it's a reference to the 'rude boys' Jamaican street culture that I've talked about in previous posts. (The Specials 12 June 2020 - Desmond Decker 17 July 2020).

This LP is a long way from The Clash's first album just 2 short years before. That self-titled recording was punk, no apologies. This time around with a slightly transitional album in between they embraced more styles and a cosmopolitan range of topics. 

There are many retro nods on this album, starting with the most obvious one, the iconic cover. Based deliberately on Elvis Presleys eponymous 1956 album, Ray Lowry uses the same colour and font styling on the 'London Calling' sleeve. Even the single of the title track had old school artwork, again by Lowry. On the single cover he used an illustration of a couple of kids listening to 78's, but changed the record covers to classic sleeves. L-R there's Please, Please Me, Never Mind the Bollocks, Rolling Stones debut, Clash debut, Dylan's Highway 61 Revisited and the Elvis debut that the main LP artwork was based on.  (see photo).

On the album itself, after the title track it goes straight into a cover of the 1959 song 'Brand New Cadillac' originally by Vince Taylor and the Playboys. The opening guitar gives a taste of what's to come. 'Wrong 'em Boyo' starts off with a version of Stagger Lee that lasts 30 seconds before it heads into the ska influenced 1967 Clive Alphonso cover done by The Rulers. Danny Ray's 'Revolution Rock' gets a make-over with some 'Get Up' sampling and Joe Strummers altered lyrics. There's a nice use of horns in there too.

The rest of the tracks are all Strummer/Jones compositions with the occassional input from Paul Simonen and Topper Headon. The variety is almost overwhelming, bouncing from genre to genre and changing pace and definately keeping you on your toes as a listener.

'Jimmy Jazz' is a laidback jazz? swing? punk? song that just takes you along with the story. Good fun. That goes straight into 'Hateful' which is anti-drug and gets personal when Joe sings about the recent loss of his friend Sid Vicious - "this year I've lost some friends". Getting into consumerism and social depersonalisation, 'Lost In The Supermarket' IMHO sums it all up in two lines ..
"I wasn't born so much as I fell out
Nobody seemed to notice me".

I'm not going to go through the album track by track - it was a double album with 19 songs. I will mention the last song though, 'Train in Vain'. Depending which copy you have, this track may be classed as "hidden". It was added after the cover was printed and so doesn't appear on some track listings. Early editions had a sticker on the wrapper and some had the track name scratched into the runout.

On a personal note, Tracy's favourite Joe Strummer composition is 'Mondo Bongo' by The Mescaleros from the movie soundtrack of Mr & Mrs Smith. Joe passed away too soon in 2002 aged just 50 years old.

Jimmy Jazz

Mondo Bongo - Joe Strummer & The Mescaleros