Customer Reviews

Streetcore

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Joe's passing was one of the hardest days of my life. I've never met someone as truly dedicated to his art as Joe. So, when it was announced that there would be one last cd released by Joe Strummer and the Mescaleros, I was unbelievable happy. Sitting on pins and needles, I finally heard the cd. I was truly amazed. After Joe's last brilliant cd, "Global A Go-Go", I wasn't sure what to expect. The world music isn't as prevalent on this new cd, "Streetcore". However, the cd still delves into a variety of music: rock, folk, blues, hip hop, reggae...it's all here in true Strummer style. Joe was lucky to have had Mick Jones as his songwriting partner during the days of the Clash. He was blessed twice, because Martin Slatery and Scott Shields were the perfect complements for Strummer's writing.

"Coma Girl" is as good a song as Strummer has ever released. Great melody and a good rockin' song. I would have loved to have seen him play this song live. "Get Down Moses" is another fun song with elements of reggae and hip hop. "Long Shadow" was a song written for Johnny Cash. A very poignant song. It was written about Cash's legecy, but fits Strummer's just as well. It was recorded with Beck's guitarist, Smokey Hormel. Joe's version of "Redemption Song" is amazing. His vocals are truly awesome. I would never say anyone could sing it better than Bob Marley, but Joe does a damn good job. "Midnight Jam" is a really cool song that's mostly an instrumental. Joe passed on before he was able to add lyrics to the song, but it was too great of a song not to add, so Slattery and Shields added it to the cd. "All In A Day" is a great rocking song. When I read the liner notes, I was half expecting to see it listed as a Jones/Strummer song. It definitely sounds like something that Big Audio Dymanite would have put out back in the days when they were good.

One note about the cd packaging. It's done in such a way that I was reminded of the packaging of the Clash's "Sandinista". Lots of little quotes and, as one other reviewer said, "half thoughts", that are very much something that Joe Strummer was known for. His wife, Lucinda, even has a little "Thank You" section in the liner notes which is really sad.

This last cd by Joe Strummer and the Mescaleros is, in my opinion, the best one of the three on Hellcat Records. It takes the best elements of the first two cd's and melds them together. If we're lucky, Hellcat will be able to release a live cd by Joe and the Meskies. If not, I think this is a great place to end an amazing career. Godspeed, Joe. And, thanks for the memories!

When I first heard the news of Joe's death -- a heart attack ultimately attributed to a congenital defect -- just two days before Christmas last year, I was in too much shock (and denial) to cry. In January, when I read Rolling Stone's loving but brief tribute, I teared up as the reality of his passing sank in. In February, I got choked up during the Grammy Awards as Elvis Costello, Bruce Springsteen, "Little Steven" Van Zandt and Foo Fighters frontman Dave Grohl sang "London Calling," which Joe originally wrote and performed in 1979 as a member of the British punk band the Clash. In March, I damn near lost it during VH1's broadcast of the Rock 'n' Roll Hall of Fame inductions when former Clash bassist Paul Simonon called Joe "my big brother." Meanwhile, the news that a posthumous Strummer CD was in the works made me extremely happy.

I was finally able to buy a copy of Streetcore -- the third and final album by Joe and his ever-evolving backup band, the Mescaleros -- a couple days ago. Even if I hadn't found myself in a moment of personal turmoil that day (which I won't go into here), my first listen to this album still would have been a very emotional experience. Just hearing Joe's voice, sounding so strong and vital, on the upbeat, insanely catchy opener "Coma Girl" brought tears to my eyes -- it hit me that Joe would never be making another record. But further spins of the entire album made me realize that, as with any artist's final album, you should just enjoy the music and not torture yourself wondering what more the artist could have given us.

Luckily, even with only 10 tracks, there's plenty to enjoy here. "Coma Girl" ROCKS! It was a great choice for the opening track *and* the lead-off single, and it may be the catchiest thing he's written since his days with the Clash. Joe and company slow it down on "Get Down Moses," the closest this disc comes to pure reggae, but Joe sounds as passionate as ever. "Long Shadow" is a stripped-down folk number originally written for country legend Johnny Cash, but Joe may as well be singing about his own considerable legend: "Crawl up the mountain, to reach where the eagles fly / Sure, you can glimpse from the mountain top where the soul of the muse might rise / And if you put it all together, you won't have to look around / You know you cast a long shadow on the ground." "Arms Aloft" and "All in a Day" are just fun, catchy arena-size rockers. "Midnight Jam," a mostly instrumental track with some spoken voice-overs by Joe ("This is London calling!"), and the spacey, meditative "Ramshackle Day Parade" sound like they could have come from the Clash's experimental epic Sandinista! (1980). The ballad "Burnin' Streets" is a mournful rewrite of the fast-and-furious Clash classic "London's Burning" (1977). Joe's cover of Bob Marely's folk ballad "Redemption Song" is moving and surprisingly beautiful, a tribute to a great man by another great man. Streetcore comes to a close with a sweet, gentle country-style cover of Bobby Charles' "Silver and Gold (Before I Grow Too Old);" it's hard not to be heartbroken when the disc ends with Joe rasping, "Okay, that's a take."

Joe had no way of knowing that Streetcore would be his last record, and in that sense, it's closer in spirit to Kirsty MacColl's Tropical Brainstorm (2001) than to George Harrison's Brainwashed (2002) or Warren Zevon's The Wind (2003). All four albums are excellent, but while Zevon and Harrison got a chance to say goodbye to people, reflect on their lives, and ponder the afterlife (with a few moments of levity, such as Harrison's "Rocking Chair in Hawaii" and Zevon's "The Rest of the Night"), MacColl and Strummer were both cut down suddenly, and their final discs offer only a quick snapshot of where they were in their lives and what sorts of things they were thinking about. In Strummer's case, he was still (as always) passionate yet very thoughtful, and he apparently died a happy, well-adjusted family man.

Kudos to Martin Slattery and Scott Shields, two of Joe's Mescaleros, who produced and arranged this album after his passing, and to Joe's widow, Lucinda Mellor, who helped coordinate the project. (Her brief "thank you" notes are especially touching.) They worked through a great deal of personal grief to put together this final gift for his fans, and I think it embodies everything for which he would have wanted us to remember him. My heart goes out to his wife and daughters, his friends, and his bandmates. Thank you, Joe, for the music!

When I think of post-humously issued albums I inevitably think of Nirvana's Unplugged in New York. That album reminds me of a funeral procession, and I can't help but think back on how great Kurt Cobain was as a person and as a musician. What surprises me about Joe Strummer's last album is that it's the complete opposite of Nirvana's. This album is a celebration of life, and while I can't help but feel sad about Joe Strummer's passing this sadness is my own and not his. Listening to it is like witnessing the prodigal son returning home. For his last few albums Joe Strummer had delved into world beat, eschewing his rock roots, and while I feel those albums were successful, I also believe that his return is even more triumphant. Streetcore is a return to rock in many ways, but Joe doesn't ignore the vast amount of influences such as reggae, dub, blues, and folk. If anything these influences are just integrated better. Every song is strong on this album, and even the acoustic numbers pulse with life. Perhaps a little older, a little wiser, and a little more laid back, but Joe never gave up living beyond the status quo. This album didn't make me want to go back and relive London Calling for the one-thousandth time, instead it made me want to hit play again. Now when I think of post-humously issued albums, Joe Strummer's finale has a place right next to Kurt Cobain's.

And what a finale! Joe Strummers final album proves itself to be a real gem. The best one of all 3 Mescalaro albums.
Not since The Clash disbanded has Joe made music like this.
"Streetcore is a real winner!"

"Coma Girl" a great rockabilly tune from "A real rockin gang"
"Get Down Moses" A true Roots, Rock, Reggae tune; A cry out to The old testiment prophet.
"Arms Aloft" and "All In a Day" are rockin tunes you might expect from a modern day Clash.
Acoustic songs:"Redemption Song" and "Silver And Gold" are real tear jerkers.
Joe couldn't have selected better cover songs than these (for his own genius).

If you are a Clash fan then this album is a shoe-in for you.
If you are not, give this album a chance to broaden you musicial tastes.
Well-produced, great liner notes and photographs:
A MUST HAVE!

God Bless The Meskies, and Lucinda Mellor.
Rest In Peace Joe.

After hearing "Global A-Go-Go," I was impressed, but I wasn't looking for a world mix this time. Imagine how pleased I was when the opening track, "Coma Girl" started out with Joe back at it.

As the guitars guide us to bounce our heads and tap our feet, Joe's lyrics paint a picture and take us away. "I was crawling through a festival way out west." he calls, and we can see it. As he then sees the coma girl and as the rain sets in.

Many of the songs on this recording paint an image on us in the same way, in "Get Down Moses" as he shouts "Get down Moses, down here in the street / the blood is washing down all the gravel to our feet." With gritty sounds and images of the old punk scene ("Arms Aloft") or a quiet acoustic ballad that takes you far, far away, to a place where Jonney Cash and Strummer both cast a long shadow ("Long Shadow"): it's an album that gets to you.

Of course a stand out track remains Strummer's cover of Bob Marley's "Redemption Song." As a heartfelt protest song, it takes wings in Sturmmer's deep, emotional voice. This recording Strummer may have sung with a political motive in mind, but now it will always be remembered as Joe Strummer's Redemption, and it could make you cry to think about it.

And while you're at it, listen to "All in a Day" (it's funnier if you work retail and actually have to wear a vest to work). Or "Burning Streets", with lyrics that reach back to The Clash ("London is burning / Don't tell the queen"), or even on "Midnight Jam," which Strummer didn't quite finish, you can hear him quote himself in the spoken word background, you can hear echos of "London Calling," "Radio Clash," and "White Riot." There's "Ramshakle Day Parade" which Strummer wrote about 9/11. And then, the swan song: "Silver & Gold," (origionally by Bobby Charles): if you don't cry one time you may not be human.

Every track is worth it. And the band makes a political statement with the album: a call for the return of truth and justice, a call that the masses should take up and cry out in the streets, if we weren't paralyzed with grief. This album is truly great, and only Joe Strummer could have done these songs just right. Listen, remember, grieve, and feel good about punk, and the music again.

Thanks for everything Joe. We miss you. Rest in Piece.

It's hard to believe that it's been almost a year since Joe Strummer passed away. Streetcore is Joe Strummer's last gift to the world and what a gift it truly is. Joe was one of the last true rock and roll rebels still making music like he was in his 20's, not a middle aged man. His live shows were legendary and I will never forget seeing grown men with tears in their eyes as Joe took the stage in 1999 for his first U.S. show in 10 years. While the last two albums with the Meskies take alot of time to grow on you (there are still some songs I wanna like but just can't get into them) Streetcore automatically grabs you from the opening of Joe's first real rocking song since It's A Rockin' World on the Cheif Aid soundtrack to the bittersweet tearjerking end of Silver And Gold.

The album is a beautiful, bittersweet reminder of Joe Strummer and the amazing talent this man possesed. No other human being has mixed so many different genres of music and can pull it off like Joe has. Streetcore in my opinion is Joe's best post Clash album since Earthquake Weather (hopefully someday soon EW is re-released). Streetcore explores many different sounds but doesn't get too far out there like Global A Go Go did. Almost half of the album is filled with either acoustic ballad-ish songs (an amazing cover of Bob Marley's Redemption Song, Long Shadow, which was written for Johnny Cash and the already mentioned breathtaking closer, Silver And Gold) or slower enchanting songs (9-11 inspired Ramshackle Day Parade, Burnin' Streets, which is kind of a updated London's Burning and Midnight Jam, which was one of Joe's favorite tunes but sadly was without vocals so snippets from Joe's London Calling BBC radio show was added). Get Down Moses is the only reagge influenced track on the album. Arms Aloft is a nice little rocker and All In A Day sounds alot like something Mick Jones would've done with B.A.D..

While this is the final full length album from Joe the fourthcoming Johnny Cash box set will feature a duet with Joe and the late Man In Black on a cover of Marley's Redemption Song and i'm sure that it will make the song even more special and bittersweet than it already is. It's still hard to believe that this is it. This will be the last Joe Strummer studio album. Streetcore shows the band taking a different direction and ready to make a name for themselves in the music world. Sadly we won't get to see how great Joe and the Meskies truly could've been together though with Streetcore Joe gives us one more reason to say that he is the only man that matters and proves why he is a true musical icon. R.I.P. Joe!

I loved the Clash, and Joe Strummer once again suprises us with a beautiful CD. 'Silver and Gold' is one of my favorites. He sang this song without knowing that it would be the last one that he recorded. I love 'Coma Girl' also. It rocks, it teaches us a story, but mainly: It rocks! I know that I'm a young person (most 12-year-olds don't even know who Joe Strummer is!), but I love the deep feeling you get when listening to 'Ramshackle Day Parade'. That one is definetly up there with my favorites.

It hurts me, though, to listen to these songs. I never had a chance to see the Clash live; I wasn't really alive when they were around. But Joe Strummer decided to continue on. He gave us all a chance to relive the Clash. Or, as in my case, live it for the first time. And then he died. I'll never see him live, listen to any of the members of the Clash live. I may be just a kid, but I know the meaning of respect. And I respect Joe Strummer. I cry as I write this, for I mean every word I type. 'Streetcore', by Joe Strummer, is a must for us all.

I did not pay too much attention to this record when it came out for a couple of reasons:

1. I never was able to get very excited about the world-beat focus of the two previous Mescaleros records.

2. I had read that this posthumous release was not quite finished when Joe died so a couple of his key collaborators went into the studio and augmented the existing recordings to finish it off. It has been my experience that "From the grave" releases are usually little better than half-finished demo tapes.

Last week, an acquaintance told me this was an excellent record and urged me to get it ASAP. I am glad I did. In my opinion, this is by far the best thing anybody from the Clash has done since Combat Rock and is easily Joe Strummer's best solo record. Coma Girl and Get Down Moses stand up against anything on Sandinista or London Calling but the whole album is terrific.

Now I wish they would release a live album from Joe and the Mescaleros with all those cool Clash covers they mixed into their set.

This is without question the best CD, beginning to end, I have heard in the past two years, at least. The rockers ROCK, the ballads are poignant, the white-boy reggae stuff is way cool, the production is great, and it has SOUL. "Burnin' Streets" is underrated by other reviewers, I think--listening to it is like riding on a slow-moving but powerful locomotive. There is not a bad cut on this CD, it is essential, buy it.

For many, the Clash were a way of life - they changed lives around the world. Listening to this cd is heartbreaking in places (hey, I've been a die-hard Joe / Clash fan since I was 12, which is getting on for 20 years now). Joe ain't dead, and here's the proof. Immortality pretty much guaranteed herein.

Best tracks: Coma Girl, Get Down Moses, Arms Aloft, Ramshackle Day Parade. I'm not a big fan of 'Redemption Song', but it works here somehow. There are shades of Combat Rock, London Calling, Earthquake Weather, and pretty much anything you care to name here. It rocks, and it is very difficult to take off your stereo, once it is there.

It is a pretty bitter pill to swallow, knowing that there is no more chance to hear these tracks live, especially since that is where Joe came across best. But many of these tracks have such an immediate, raw quality, they sound live anyhow.

On that note, if you can get ahold of the Japanese release, there are 4 extra (live) tracks - The Harder they come, A message to you Rudy, Yalla Yalla, and Blitzkrieg Bop. All top-notch, of course, but Yalla Yalla is really amazing.

RIP, Joe - Santamasagana. . .