Don't Buy The Sun - The Gig.

This. Is. Amazing.

I'm probably in that pic! Will try and post some more tomorrow. It was an absolutely amazing gig!

One of the best gigs I've been to. Was with Mick Jones from the clash afterwards in a boozer. One of my heroes. Was in the Kop with us for the game aswell.

Glad you both had a great time and all for such a worthwhile cause as well.

I'm probably in that pic! Will try and post some more tomorrow. It was an absolutely amazing gig!

Had a good night mate.

Glad you both had a great time and all for such a worthwhile cause as well.

Hope everyone remembers it was also for Jay McVey as well as the 96!

Mick Jones plays Clash songs for Hillsborough 96 Campaign

Mick Jones
Pete Wylie
The Farm
And loads of others
Liverpool Olympia

Sept 24th 2011

Every gig should have a reason.

In the past couple of decades music has become detached from the community. Detached from real life. Corporate branded venues flogging you booze whilst the band plays in the background. Everyone trying to squeeze some money out of you before the whole damn ship goes down.

Tonight was so far away from this that it’s emotional power knocks you flat.

Let’s just look at the facts. The history of the event.

Clash legend and the perfect elder statesman of rock n roll Mick Jones played a set of Clash songs for the first time since he was kicked out of the band in 1982.

It sounds amazing.

The gig is being promoted by the ‘Don’t Buy The Sun’ campaign. Still justifiably shocked and appalled by the way The Sun reported the Hillsborough tragedy, the campaign rolls on. The Sun has its lowest sales in the city and the fact that the Murdochs are no longer imperious started here. Tom Watson MP, the man who brought the Murdochs to their knees does an inspiring speech tonight, it’s a pure rock n roll moment. A one man political punk rock machine Watson took on the media barons who have tabloided our culture and made fools of us and treated people appallingly and he’s winning.

The night has a political air, trade union leader and the head of Unite Union Len Muclukley also talks and delivers an emotive speech, this is not the sort of well meaning political droning you sometimes get at gigs but three minute slices of passion and humanity, making a noise just when is needed, like I said pure rock n roll.

The gig is also about getting Justice for the Hillsborough 96. Its unbelievable that, after all this time, the truth has not been told and the cover up continues. People want justice for what happened that day and they want the owning up about the rot coming from the top. The very top. People were justifiably angry about the way that football fans were treated worse than animals and died in the most appalling and heart breaking of conditions and no-one took the rap. The government at the time were as guilty of this as anyone. Check their comments about football fans at the time. The fact that it was 96 Liverpool fans is irrelevant. It could have been anyone in those death trap grounds at the time. It could have been you.

Tied into this is all proceeds of the gig are to be donated to the Fazakerley 9 Charity in memory of James McVey, a young Liverpool fan who was murdered and who’s father is campaigning to buy some local fields to make into facilities for bored teenagers. The father ends the night with a powerful speech of raw emotion, a perfect epitaph to an important event.

Everyone is playing for free and I was totally honoured to be the compere. There’s nothing in it for the band, no money- just the total honour of being involved in a powerfully emotive campaign for justice.

The night kicks off with the Sums, Diggsy of Oasis song fame, a proper scouse legend, one of those charismatic characters that the city produces, a waif like man who’s still out the believing with his crystal clear voice and songs that are tinged with beat, a touch of Britpop and a psychedelic twist that is part of the water supply in the North west. Give the man a guitar and he becomes a poet with a 15 minute mini set of melodic quicksilver.

He is followed by the Tea Street Band who deal out a mesmerising, hypnotic set of keyboard driven songs that end with a long piece called ‘Fiesta’ that is the sort of song you could get lost in before giving up the stage to Amsterdam whose raucous punky folk is dripping with the same sort of charismatic bonhomie as the Pogues and whose heart on the sleeve shenanigans are perfect for this event. With tunes flowing like the Mersey this is perfect port music, a myriad of influences and styles washing through their sound.

Next up is John Power, the Cast and former Las man who plays a solo set of singalong hits that sound powerfully emotive when stripped of all artifice and bombast, Power has a great voice and a loveable charisma and is one of those great wavering Liverpool singers whose songs are natural anthems and get the audience singing along.

The amazing venue is now packed, it’s one of the great halls in the UK, a former circus which has showers for elephants in the basement it has that kind of unique atmosphere that old venues had before the corporate, concrete boxes took over. Could there be any better place to see some real electric history?

The inane is perfect for an event like this. And when the headline ensemble takes the stage, the venue’s grandeur matches what’s on the stage. A rolling rock n roll review of local legends who take the stage in full support of eachother starting with the Farm who bring the house down with their classic ‘All Together Now’ which has transcended critics and become a people’s song, the sort of tune sung at Labour Party conferences or people events like this, the whole room sings along and the band have never sounded better, veteran status really suits them giving them a chance to relax into their natural intelligence and street smart charm with frontman Peter Hooton a great spokes person with his innate knowledge of northern street culture giving him a gravitas.

Like a fine wine the Farm improve with age and have become part of the fabric of the city and their mini set is rapturously received before their set segued into Pete Wylie’s which is something else.

Wylie, where the F**k have you been?

Plaintive,powerful, emotional, political, human songs are just what we need right now. Where are ya?

Wylie owns the stage like a natural, his voice is as pure as it ever was and the emotion pouring out of him along with the sweat is palpable. Wylie is as charismatic as ever and his songs are as part of this cities folklore as Springsteen’s are for New York- blue collar anthems of spectral beauty and haunting raucous power and he doesn’t even play ‘Story Of The Blues’! The run though of ‘Heart As Big As Liverpool’ says everything you need to say about the evening and there is a notable surge of emotion as Wylie sings and does his imploring mini speeches between the songs demanding Justice.

How can you top that?

With Mick Jones.

The Clash are now, of course, legends. As every day goes past their songs mean more and more and as the world veers into these meltdown times we need them more than ever. Without Joe it’s almost impossible to take them back out on the road but somehow Mick has found a way of doing this. He has not reformed the Clash, he has reformed the Spirit Of The Clash!

You can see Strummer grinning as he looks down on this. Because surely this is what the whole thing was about. The band’s music being used to underline a powerful cause, a meeting of pop, politics, football and community…can you get any more Clash than that? This is what the band’s music was for and as Jones walks on the stage looking super sharp in a perfect cut shiny grey suit the room goes mad.

They rattle through a set of Clash classics ‘Stay Free’, ‘Should I Stay Or Should I Go’, a thrilling ‘White Man In Hammersmith Palais’ (wow!) BADs underated brilliant ‘Rush’, a powerful Armageddon Times- the backing band is the Farm who do the songs the sort of justice that only Clash fanatics can. Farm bass player Carl Hunter is in meltdown as he plays the bass on the songs that made his life growing up on the council estates of Bootle.

The power and the reach of the music has come full circle, Jones does his Chuck Berry shuffle across the stage and can’t stop grinning, a QPR fan and football fanatic, he knows why this gig is happening, far away from the out of touch rock star he is bang smack in the middle of a crucial campaign. He looks to the left and it’s Wylie giving it everything for one song before Jones himself takes the vocals on ‘Should I Stay Or Should I Go’ before Pete Hooton sings ‘White Man’, of course the room is going bonkers crazy, this is a historic moment, the Clash are back, Joe Strummer’s ghost is on the stage, his right leg twitching, you can feel it in the room, the Spirit Of The Clash are back and doing what they did best, making great rock n roll for the community, making a powerful point, being the focal point and that surely is what it was all about.

There is talk of somehow taking a version of this out on the road under the banner of Justice for the 96. They should do it. This is far away from a cash in, this is what the Clash were built for. This is what rock n roll is all about.


http://louderthanwar.com/featured/mick-jones-plays-clash-songs-for-hillsborough-96-campaign

Mick Jones from The Clash The Farm Pete Wylie Armagideon Time live Liverpool 24the Sept 2011

Mick Jones from The Clash Pete Wylie The Farm Situtation Nowhere live Liverpool 24th September 2011

That review hits the nail on the head. I got a video of 'Heart as big as Liverpool' and will upload it at some point.

An emotional night at Liverpool’s Olympia saw a quality local line up including The Farm, John Power, Pete Wylie, The Sums, Ian Prouse and others put on an electric night of music joined by Clash legend Mick Jones. It was a real treat to get a half-hour interview with one of the most revered Rock’n'Roll singer-songwriters ever (well, I think so anyway). He talked about a range of things, past & present and why he wanted to be involved with the duel causes of the night: “Don’t Buy The Sun”, and the remembrance of a young local lad – Jamie McVey. This is what Mick had to say…

On The “Don’t Buy The Sun” Gig:

“Just totally happy it went so well, you know what I mean? It was fantastic and we’re in the most enviable position because the best thing you do is the last thing you do and that’s the great thing – we could never have hoped for anything better than that tonight, all us guys who played tonight we know the best thing we did was tonight and that moment. All the things we’ve done before is great and everything but it was a combination of things tonight that made it real special; and it wasn’t a bullshit hype corporation sponsor thing – it was very real and straight from the artists themselves.

We’re also here to pay to remember Jamie, a popular local lad unfortunately killed in the streets where he hung out, so that’s why I did it.

I didn’t know it was going to turn out as well as it did but I hoped that it would. I tried to connect with the light of the Creator. Before coming here I was in my hotel taking a half-hour rest and when I came out the Cathedral bells were ringing and I just knew there was going to be some thing special tonight.”

On The City Of Liverpool:

“I’m very, very privileged and proud to be associated with the people and artists of Liverpool. We’ve played here many times from the punk days playing Eric’s and meeting a lot of these guys like Pete Wylie. I remember giving him a guitar because he was starting his band and I was encouraging them all, you know, but initially it all started with The Beatles and that was my first connection to the city.

I’ve been really lucky because I’ve been taken in by all these guys (Pete Wylie, The Farm, Ian Prowse & others) so they’ve welcomed me in even though I’m not a Scouser – which is a special thing to me because to see it through my eyes, being a Cockney, not many people like me get the chance to experience all that on such an emotional level. I’ve built up relationships over the years.

What’s important to me is to carry what we did in The Clash and try and stay true to that original idea. There’s no place better than Liverpool for people standing up for their rights, which is my truest connection with Liverpool because these people and the spirit they have is what I draw strength from, you know what I mean?”

On The Hillsborough Disaster:

“I know the truth of what happened all those years ago at Hillsborough and [the way] all those fans conducted themselves and the rescue operation. All of them, they acted impeccably you know, and they were slandered and it was me and Pete Wylie who did something first so soon after the event with a Hillsborough benefit gig at Liverpool Royal Court. So to be asked back tonight is a real honour within that context you know? It’s very special to me.”

On Joe Strummer:

“We were in Japan on tour where we played the Fuji Rock Festival, which is really amazing – though an earthquake hit when we were there – but Joe used to really love it. At the Festival they have a ‘Strummerville’ type thing going on which is great you know?

Anyway Joe once found an off season ski resort there because it was summer and not in use, and in there he found this disused old cable car that he’d sit in. Over time people had written lyrics of Joe [Strummer] and Paintings of him all over it and its amazing… and so we were in there in the pouring rain and its only a 6 man cable car and I was just sitting there in the presence of Joe… Joe is with me all the time you know… He’s here tonight with us right now and he was with me when I went on stage and when I was playing tonight. I can feel him in so many ways, its something that’s with me a lot of the time.”

On Career Opportunities:

“I was born for this… To tell you the truth it was all I ever wanted [to make music]. I remember going to the career’s officer when I was a kid leaving school and the career officer said “what do you want to do?” and I said, “I want to play in a band” (smiles) and they said, “Well all we can do is civil service or the armed forces, that’s all we have. So good luck to you but we cant help you in anyway” (laughs). But I always knew what I wanted to do.

I saw a clip of an interview with David Beckham as a kid and they asked him “what do you want to do?” and he said, “play for Manchester United” and he was still a school kid in Leytonstone. When I saw that I thought ‘Exactly!’ It’s the same type of thing you know and I related to it totally. If you believe enough and are righteous enough and don’t give in you can do that and everyone who does go forward and makes their dreams come true is a great example to the others.”

On Being Influential:

“We always got criticism in The Clash but we always thought ‘you should be happy. We’ve gone a long way and it represents what you can do’, you know what I mean? We took it all the way to Broadway and that meant something. When we got the flack we thought we don’t care because we represent something that will go a long way, because it’s righteous and tonight here at this gig was righteous in every way. All the issues were discussed in a entertaining way rather than a downer and being a drag and that’s what I mean, that’s the way to get round it. If you’re intelligent you have to keep your own cool. It’s possible to achieve things.

It was great having Carl’s son the bass player [from The Farm] come on stage to play. And that’s the future, you know what I mean? He’s like me when I was a kid – only wanting to play music and be in a band. Even before I could play I would ask, “how do you do that?” to anyone I saw doing music. So say music is a line, and you go back and do your research, and find out what and who influenced the people you like, but at the same time you’re taking it into the future; so its going both ways you know, and it’s like ‘wow, this is incredible!’ You do your bit and some one takes it up and does theirs, and its reciprocal and repeats its self in strange permutations and that’s the wonderful thing.

It’s the life basically, and the life you choose and its the best life you know because you’re going out with your mates and you’re going all over the world. All we wanted originally was to play a few numbers and have a good time playing the music we liked – it wasn’t contrived – but people look at it in retrospect and they put extra analysis on it you know what I mean? So we go “OK” and go along with it because it sounds a better story but a lot of it wasn’t there originally.”

Joe is with me all the time you know… I can feel him in so many ways, its something that’s with me a lot of the time.

On Starting Out As A Musician:

“I got chucked out of one of the first bands I was in (Little Queenie), which was a decision that involved Guy Stevens (who went on to produce “London Calling”). When we worked with him later on with The Clash he knew who I was, but I respected him that much – in fact I adored him – and I got over that you know, him chucking me out of the group. I still knew he was great.

You see I was a pretty limited guitar player when I got fired, and that made me go back to my bedroom and practise along to all my records for a year. When I came out again I was accomplished; at first I was terrible and it was almost righteous that I should get chucked out but the only thing was – and I didn’t really realise it at the time – but I was actually the main song writer in the group, so it screwed up that whole situation because they chucked me out you know?

Song writing came to me at the same time I was learning so it all come together at that point. I was 16 when I started on guitar but before then I was always asking, “how do you do this?” “How do you do that?” on any instrument because I didn’t start on guitar, I started on drums. Then I went on to bass, and then I thought I could handle a couple more strings so then I took up the guitar. It was like Black jack you know; I’ll stick with this I don’t want to go crazy. Lead singer didn’t interest me – I thought it was cooler to be on the guitar.

At the very start I was a roadie looking after the drums and bass, then guitar, which was for my school band. I started roadying then they said, “go on.” So I started rhythm guitar then on to being the songwriter, then they chucked me out… (laughs).

I was like “Little Mick” you know? So I was a kid but I was the coolest one because some how I had it. I was going to the Speakeasy and they’d be like “how did he get into the Speak Easy?” I always had the best looking stuff. When I met Paul Simonon we were two of the biggest punks in London before The Clash and all that. We were hanging out and he said, “show me the bass.” So I showed him and then Joe [Strummer] who was singing in The 101′ers saw us.”

On Knowing Sid Vicious:

“The Sex Pistols were supporting the 101′ers at the Nashville rooms, and that’s when Joe met Sid and all The Sex Pistols. Sid walked into the venue in a shiny gold Elvis Lame jacket on he said, “Where did you get that jacket?” and they were like, stuck-up you know, not saying much; but Sid was great.

Sid could be quite intimating guy but when you got to know him he was a beautiful intelligent guy - and no one ever really says that much. We were really good friends me and Sid. Well all of them really, but Sid was more in our group than theirs [The Sex Pistols] he was John’s [Johnny Rotten] mate but he hung out with us more. We were in a squat together and were really close. We were the only ones who stuck up for him when it all happened in New York.

As I say he was an intelligent guy but so much of it is like being a boiled sweet and getting sucked down to the inner, he was a much more complex guy than how he was perceived to be.”

On The Band ‘Taurus Trakker’:

“[Taurus Trakker] is Martin Muscatt, my cousin, and Alison Phillips’ band. The name is from Martin reading the Bob Dylan Chronicles in which it’s written that Dylan once owned a gun called a ‘Taurus Tracker’, but they added an extra “K” so it doesn’t get mixed up with the gun itself.

We all come from a pretty large extended family of Jewish immigrants that escaped Russia and settled in London at the turn of the century, so there’s quite a lot of us. Martin is younger than me, and the first thing I recall with him back in the Clash days was a football game he organised with the kids from the estate versus The Clash. He was working on an adventure playground in Camden as a youth worker and put the game together, which was great fun. Joe [Strummer] was in goal with his Elvis T-shirt and worker boots on. Martin still has pictures from that day.

I play guitar and bass on the album and its called “Building Ten”. I’ve played live with them a few times and if I can make it I’ll get on stage with them again. I’ve supported the band all the way down the line because Martin is about some thing [as me] and his music his about something, which is important these days. Both Alison and Martin are great and I love playing with TT.

On His Immigrant Roots:

“When I got chucked out The Clash they couldn’t get it right anymore, and Bernard [Rhodes, Clash manager] would say “No, no do it like Mick!” When I’d left they were shouting at the new guys and Bernard would turn to Joe and say ” See, Immigrant Blood!” because Bernard had a similar back ground to me, and he believed it was all in the blood [laughs].

But it’s amazing how people were simulated coming to London to escape from their home countries and settling in the capital. First to the East End then spreading across the city. My family were originally from West London, then I was born in South London and grew up there ‘til I was a young teenager. Then I moved back to West London and the family was there already.

At first I was living with my Gran, her sister and her sister in law so I was living with three old ladies in Edgeware Road. It was like completely mad and it was a completely matriarchal society. I’ve been completely surrounded by women all my life of different ages, like I have three daughters, one 27 and one 7 and one 8 and I’ve got a step-daughter of 22.

I was brought up by my maternal grandmother, so I was a latch key kid with a key round a chain to get in and out of the council flat. But to come so far is an amazing thing, it’s a story for everybody and I love to use it to inspire other people. It doesn’t matter where you’re from – its what you are. For me to be here playing after all these years is such an incredible thing.

People can recognise the truth when they hear it and they can relate to it as well but that’s like an amazing thing, because I don’t know where it comes from. I believe it comes from out there, you can see it but you can’t ascertain it. It’s a feel.”

On The Summer Riots:

“Well as far as The Clash and songs like “White Riot”, the thing behind it all that was Joe. In that case Joe was the prophet of that, like they talk about “Cheat The Prophet” and G K Chesterton, it’s a game people play. They recognise what’s happening and imagine it in the future. Well that’s it – Joe was the prophet, I just put the music to it.

I was always away during the recent riots, but it looked terrifying to me. It looked like “The Flat Screen Sneaker-ed Disturbances” it didn’t look like plenty of cause, just some thing to riot about.

We were away and we got terrified because we only got the hysterical Fox news. We were in the US and the news we were getting looked very bad, but I’ve since talked to people about it and they did say it was terrifying, you know, terrifying people…. That’s not right because they’re not going to be with you, you know what I mean? And forget about the guys who did the Pound Shop, your gonna riot and do a pound shop? What’s that about?”

http://www.sabotagetimes.com/music/mick-jones-interviewed-joe-is-with-me-all-the-time/

The latest one was held in Lyon, onstage was Cantona!!



Asked if he was only on stage at Justice gig as he is a friend of Mick Jones, Eric Cantona said, "No. I fully support campaign for justice."

Nice one Cantona. You're still a manc c**t though but my respect for you has gone up . He was an awesome player in his prime to be honest.

Some cu*ts do nice things once in a life time, like Joey Barton's work for the petition.

"The campaign for truth transcends football rivalries"  said Ian Brown as Cantona joined him on stage in Lyon to give his backing to the Hillsborough Justice  Campagn's Justice Tonight band. The band were a warm up for the Stone Roses.