Podcasts about Topper Headon

The music industry isn't exactly the most moral or law-abiding place, either…if you know where to look, you'll find crime all over the place. We've tackled this topic before…episode 4 of this podcast dealt with the mysterious disappearance of $200,000 of Led Zeppelin's money from a hotel safety deposit box…there was the time when Joe Strummer and Topper Headon from the clash were jailed for stealing some pillowcases from a holiday inn…and another episode featured the epically violent theft of two of Lady Gaga's dogs…  We're going to build on those stories with more tales of people in the music industry who took things they had no business taking… I'm Alan Cross and this is episode 41 of “Uncharted: Crime and Mayhem in the Music Industry”…and this time, it's some wild stories of robbery and theft. Learn more about your ad choices. Visit megaphone.fm/adchoices

Richard Bellia  in conversation with David Eastaugh https://richardbellia.com/ Photographer Richard Bellia was there when it mattered carrying his trusted camera to capture moments in music's vast cannon of historical importance, some which now forms his own tapestry of work in Un œil sur la musique 1980-2016 i.e. An eye on music 1980-2016. The intro to the book says ‘'a thousand photos: breathe the same air as the musicians, feel the bass, the riffs and the silences, sixtieth of a second per sixtieth of a second.'' With this in mind its hard not to get stuck straight in with the mammoth heavyweight volume of photos infront of you. The first striking images come from prime Punk era via Denmark Street, John Lydon looking grimacingly at the camera in the studio and on stage with PiL, Joe Strummer looking cool as holding his guitar towards the camera, Topper Headon, Mick Jones and leather clad Paul Simonon all looking equally stunning in separate shots.  

This week, Johnny's dream weekend was ruined by a kebab shop shortage, Harry ‘Picnics' Fell talked us through 2 different picnics, and there's a look at experimental chemists of the past. Hear Johnny on Radio X every weekday at 4pm across the UK on digital radio, 104.9 FM in London, 97.7 FM in Manchester, on your mobile or via www.radiox.co.uk

Rich and Danny take complete advantage of the fact that today is Topper Headon, the legendary drummer from the even more legendary band The Clash, to do a show they have always wanted to do. Jeff Johnson, soon-to-be Owner Emeritus of KYMN Radio joins the boys to break down one of the best albums of […]

Baxie talks to singer Pearl Harbour from Pearl Harbour & The Explosions! In 1979, Pearl and her band released their self-titled debut album which spawned the New Wave hit, "Drivin'". Unfortunately, due to musical difference, the band broke up before recording a follow up record. In 1980, Pearl released her first Rockabilly solo album, "Don't Follow Me. I'm Lost Too". The backup band on that record included Mick Jones, Topper Headon, and her future husband Paul Simonon of The Clash! The album, which is finally being reissued by Liberation Hall records is terrific. But the story behind that record is even more incredible! Listen on Apple Podcasts, SoundCloud, Spotify, and on the Rock102 website! Brought to you by Metro Chrysler Dodge Jeep Ram of Chicopee

‘Butch - He got the Hooks!' Topper Headon – He got the Grooves  Inspiration and Collaboration Clash! Butch got that magic Snare Fill! But our Hats go Off to Topper Headon! 'Butch as President of The Roxy Music fan club!' King of the Fills? – Roxy's Paul Thompson Caution the New drummer - Don't Forget Those Hooks!! Phil Manzanera - a Guitarist on Fire But Bryan Ferry - the King of Cool.  ‘Meanwhile… Up in The Canyon' Our Evening Star, became Another Green World  We talked about Food and our Favourite films with Jacknife But now we Gotta come out to Play When we get to reveal Our Undertaker Chic! ‘Early Garbage Live.' ATTENTION: Drum Geek Area Ahead! The Garbage stage is Dead Quiet! How do we do what we do without any stage sound? Boom Ga-ka Boom-Ga! Just Don't Scare the Orchestra! ‘Smashing The Crash!' ATTENTION: Therapy Area Ahead! Playing Drums is Therapy? Does that sound really need to be there? Sharing those Crazy Studio Adventures! ‘It's Happy Accident Time – Do not RFM' Lol, where did that Note come from? Where does the Bollywood Crunch come from? It's a Dub-Reggae playlist backstage for Garbage  Our New Band Name? - The 3am Insomniacs! ___ Respect: Kurt Cobain (February 20, 1967 – April 5, 1994) ___ CONNECT WITH US: Curious Creatures: Website: https://curiouscreaturespodcast.com Facebook: @CuriousCreaturesOfficial Twitter: @curecreatures Instagram: @CuriousCreaturesOfficial Lol Tolhurst:  Website: https://loltolhurst.com Facebook: @officialloltolhurst  Twitter: @LolTolhurst  Instagram: @lol.tolhurst  Budgie:  Facebook: @budgieofficial  Twitter: @TuWhit2whoo Instagram: @budgie646 Lol Tolhurst x Budgie x Jacknife Lee: Facebook: @loltolhurstxbudgiexjacknifelee  Twitter: @LolBudgieJCKNF Instagram: @lolxbudgiexjacknifelee Curious Creatures is a partner of the Double Elvis podcast network. For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app. Learn more about your ad choices. Visit megaphone.fm/adchoices

Uma brincadeira de estúdio que se transformou num dos maiores hinos do punk rock de todos os tempos. Nesta edição do Resumo do Som a gente vai entender melhor como foi que o Clash criou o hit Should I Stay or Should I Go. Você não deve ir! Deve ficar e ouvir esse episódio já! Capa do single de Should I Stay or Should I Go The Clash em 1982: Mick Jones, Topper Headon, Paul Simonon  e Joe Strummer Should I Stay or Should I Go está disponível em:       Should I Stay or Should I Go foi escrita por The Clash © 1982 CBS MANDE A SUA SUGESTÃO DE MÚSICA PARA O RESUMO DO SOM CLICANDO AQUI Músicas de fundo Ditch Diggin' - Jingle Punks Scratching Teeth - JHS Pedals Músicas extras Mitch Ryder & the Detroit Wheels - Little Latin Lupe Lu Agradecimentos aos produtores virtuais pelo apoio: Danilo de Almeida (Doublecast, Já Ouviu Esse Disco) Fabiano F. M. Cordeiro (Fab 97,4 FM) Marcelo Machado (Podcast de Garagem) Marcos Coluci Ricardo Bunnyman (AutoRadio Podcast) William Floyd (Fermata podcast) Gostaria de apoiar o 80 WATTS? É só escolher a plataforma de sua preferência.     This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Background vector created by freepik - www.freepik.com

En este episodio conversamos sobre “London Calling”, el tercer álbum de The Clash, lanzado el año 1979.

Episodes 463: Bow down because, one of punk's foremost guitar gods, Ivan Julian is here! Today on the show, listen in as Damian sits down to talk with the punk legend about the start of it all. From Tommy Keene and the DC cover band scene, to high school hash joints with HR, to waiting for punk in the UK with Topper Headon, to arrival of the Blank Generation, and so much more: this is not to be missed! Also, don't miss Ivan Julian's fantastic new solo-album "Swing Your Lanterns", available everywhere now. Also don't miss Ivan on tour! More info HERE

The Clash va ser una de les bandes clau del punk britànic, un gènere que renegava de la tècnica d’altres estils del rock per a portar una proposta agressiva i contestatària, amb grans influències del rock de garatge dels anys 60, amb molt de tall però mantenint part del component més melòdic i sobretot expressant un sentiment de ràbia, rebel·lia i crítica social i política, que és una cosa que va ser intrínsec del punk de Gran Bretanya. The Clash, que es va formar en 1976, estava compost per quatre membres: Joe Strummer en la veu principal i la guitarra rítmica, Mick Jones en la guitarra principal i els cors, Paul Simonon en el baix i els cors, i Topper Headon en la bateria i la percussió. Van ser inspirats per grups americans de l’època tant dins del paradigma del punk com els Ramones com del rock de garatge com The Stooges. Durant la seva curta però intensa carrera junts, van llançar sis àlbums d’estudi i molts d’ells continuen sent dels discos més icònics de la història de la música. La potent veu de Joe, els cors potents, i especialment el caràcter crític i combatiu de les seves líriques enfront de la injustícia de les classes altes davant el proletariat i d’una joventut de classe obrera amb poques oportunitats, tot això al costat de la gran actitud que tenien tots els membres de la formació va fer elevar a la banda als cànons més alts de la història de la música. L’impacte de la banda es va estendre molt més enllà de la cultura punk, ja que el seu so característic va combinar aspectes de reggae, ska, dub, funk i rap pel que es coneixeria com «L’única banda que importa».

Gregor Gall is well-known and respected for his written work, his views on geopolitics, and he happens to be a huge fan of The Clash. He separated his fandom from this look into the effects of Strummer's politics, and informs us of some of Joe's late-in-life changed points of view. The underlying theme is the music, which was Joe's (and the band's) way of speaking out. Inside his left-leaning views you can feel Gall's incredible admiration for Strummer. He informs deeply on the many facets of Joe and his life, which our previous episodes about "the only band that matters" could not. We highly recommend his book, the punk rock politics of Joe Strummer!  Also available at other outlets (just don't go to the "A place"!) Clash fans, please take notes and hit us with your feedback at imbalancedhistory@gmail.com!We have fantastic sponsors of our podcast, please visit their web sites, and support those who make the show go:Boldfoot Socks   https://boldfoot.comCrooked Eye Brewery   https://crookedeyebrewery.com/Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/

Britain in the 70s was rapidly changing, and the youth were desperately in search of a new wave of music to relate to their every day problems. Incomes the Punk Movement. Bands like the Sex Pistols and the Buzzcocks brought on a new way of looking at the world, along with a new way to dress and express yourself. The Clash formed with members Mick Jones, Paul Simonon, Joe Strummer, and Topper Headon. Their down to earth lyrics, incredibly musicianship, and interesting ways of blending punk with other genres made them stand out above the rest. London Calling became one of the punk anthems. Join me today as I dive deep into the story of The Clash, how they got famous, and what lead to their breakup. Follow me for more music content, and how you can support OTM :) OTM Blog: https://onthemixpodcast.wordpress.com/blog/ Instagram: https://www.instagram.com/onthemixpodcast/ Donation/Tip: https://www.paypal.com/paypalme/onthemixpodcast --- Support this podcast: https://anchor.fm/on-the-mix/support

Olá, galera, este é o episódio de estreia de “Um papo sobre som”. Vamos começar com uma conversa sobre este clássico do The Clash, Sandinista!, disco em que a banda é ao mesmo tempo menos punk e mais punk do que sempre foi. "Menos" no sentido de caminhar para um som que explora muitos estilos, une o universo do pós-punk ao reggae, dub, hip hop, funk, motown, calypso e outros. E "mais" no sentido de ser seu disco mais político, em letras e estética. Então bora bater um papo sobre os garotos Joe Strummer (vocal e guitarra) Mick Jones (guitarra e vocal), Paulo Simonon (baixo e vocal) e Topper Headon (batera).Enjoy, meu povo!Músicas Magnificent Seven One More TimeOne More DubLook HereWashington BulletsThe Call UpProdução: Baioque ConteúdoRoteiro e apresentação: Pedro SchwarczDireção: Newman CostaEdição: Felipe CaldoRedação: Luiz Fujita e Paulo BorgiaArte: Juliana BarbosaSegue a gente lá no insta: @umpaposobresom Produção: Baioque ConteúdoRoteiro e apresentação: Pedro SchwarczDireção: Newman CostaEdição: Felipe CaldoRedação: Luiz Fujita e Paulo BorgiaArte: CRIO.LAH

Established in 1976 at the fore London's punk rock insurgence, The Clash featuring lead singer and guitarist Joe Strummer, lead guitarist and singer Mick Jones, bassist Paul Simonon and drummer Topper Headon would outlast their peers while creating some of the most influential albums in rock 'n' roll history. In “The Clash: All The Albums All The Songs”, author Martin Popoff dissects each of the Clash's ninety-one studio tracks, examining the circumstances that led to their creation, the recording processes, the historical contexts and more. In addition, introductory essays set the scene for the band's six studio releases (including the double LP ‘London Calling' and the triple ‘Sandinista!') and feature sidebars detailing studios, release dates, personnel, and more. Illustrated with rare performance and offstage photography, along with images of 7-inch singles sleeves and gig posters, the resulting volume is a fitting tribute to the foursome whose staunch political stance and groundbreaking amalgam of punk, rockabilly, reggae, and hip-hop earned the title “The Only Band That Matters.”At approximately 7,900 (with over 7,000 appearing in his books), Popoff has unofficially written more record reviews than anybody in the history of music writing across all genres. He's penned approximately 108 books on hard rock, heavy metal, classic rock, and record collecting. He was Editor-In-Chief of the now retired Brave Words & Bloody Knuckles, Canada's foremost metal publication for 14 years, and has also contributed to Revolver, Guitar World, Goldmine, Record Collector, bravewords.com, lollipop.com, and hardradio.com, with many record label band bios and liner notes to his credit as well. Martin has also been a regular contractor to Banger Films, having worked for two years as researcher on the award-winning documentary “Rush: Beyond the Lighted Stage”, on the writing and research team for the 11-episode “Metal Evolution” and on the ten-episode “Rock Icons”, both for VH1 Classic. Martin is also the writer of the original metal genre chart used in “Metal: A Headbanger's Journey” and throughout the “Metal Evolution” episodes. We talk to Martin from his home in Toronto.Purchase a copy of “The Clash: All The Albums All The Songs” through PM Press: https://pmpress.org/index.php?l=product_detail&p=1259Listen to a playlist of the music discussed in this episode: https://open.spotify.com/playlist/2MTLT3N9AnwGD12Fbxip06?si=da9bb1c6bf994c3fVisit Martin Popoff's official website: www.martinpopoff.comVisit Martin Popoff's Facebook page: www.facebook.com/MartinPopoffAuthorListen to Martin Popoff's Podcast “History In Five Songs with Martin Popoff: http://pantheonpodcasts.com/history-in-five-songsVisit The Contrarians (featuring Martin Popoff) YouTube channel: www.youtube.com/channel/UC6urvYtxro-VTlF8lSsu8iQVisit the Sea of Tranquility (featuring Martin Popoff) YouTube channel: www.youtube.com/c/seaoftranquilityprogThe Booked On Rock Website: www.bookedonrock.comFollow The Booked On Rock with Eric Senich:FACEBOOK: www.facebook.com/bookedonrockpodcastTWITTER: https://twitter.com/bookedonrockINSTAGRAM: www.instagram.com/bookedonrockpodcast/?hl=enSupport Your Local Bookstore! Find your nearest independent bookstore here: www.indiebound.org/indie-store-finderContact The Booked On Rock Podcast:thebookedonrockpodcast@gmail.comThe Booked On Rock Music: “Whoosh” & “Nasty” by Crowander (www.crowander.com)

The Clash got their start as a punk band, though they would move through elements of reggae, ska, funk, and new wave over time.  The debut album eponymously titled The Clash would stay solidly in the punk movement which began trending the year before.  Lead vocalist Pete Strummer and lead guitarist Mick Jones would write most of their original songs.  Other personnel on this album included bassist Paul Simonon and drummers Topper Headon and Terry Chimes (listed as Tory Crimes).The debut album was recorded in three weeks in February 1977 for a cost of 4,000 pounds.  It was released in the UK in April 1977, but would be released in the US in 1979 as their second album.  The US release would see a different track listing, and some songs would be swapped out.  Billed as "The Only Band That Matters", The Clash had signed a record deal with CBS Records in January 1977, and the organization pushed for a cleaner sound on their subsequent albums.  This debut album represents the most consistent punk rock album The Clash would produce.  However, The Clash would also have a staying power which was unusual in bands coming out of the punk movement. Janie JonesThe first song on the album is short, as are most Punk songs and most songs on this album.  The name of the song comes from a minor English pop singer in the 1960's who scandalized the nation in 1973 when she was convicted of running a prostitution ring.White RiotThe idea of this song was to encourage whites to join in with black rioters to fight the establishment.  The Clash was upset when the extreme right wing took this song as an anthem.I'm So Bored With the U.S.A.This is a response to the influx of American TV and culture.  At the time a lot of American shows, particularly detective dramas, were on British TV.  The song was used regularly as a set opener on American tours to (in Strummer's words) "find out if they had a sense of humor." London's BurningThe song is mainly about the punk scene's main choice of drug at the time:  speed.  It can also refer to the city lit up by headlights and streetlights of traffic, and people driving around or watching television with no real purpose in their lives.  The guitar solo near the end of the song is unusual in punk rock, where a more minimalist attitude was typical. ENTERTAINMENT TRACK:Chevy Van by Sammy Johns (from the motion picture "The Van")The Van was a low-budget teen comedy released in April 1977 that would kick off the genre which would include "Porky's," "Up the Creek." and "Caddyshack." STAFF PICKS:Hotel California by the EaglesBruce leads off the staff picks with the iconic title track to the Eagles' biggest studio album.  It won the Grammy Award for record of the year in 1978.  The band says the song is their interpretation of the high life in Los Angeles - the idea of moving from innocence to experience.  Felder, Henley, and Frey get writing credits, though Joe Walsh came up with the dual-guitar part at the end. Cherry Baby by StarzRob's staff pick is a deeper cut by and American heavy metal band from New Jersey.  Starz never developed a lot of commercial success, but they had a cult following and were influential for a number of bands including Poison, Bon Jovi, and Twisted Sister.  Several of the band members were from the band Looking Glass.Do Ya by the Electric Light OrchestraBrian brings us a hit that Jeff Lynne originally wrote in 1971 for a band called The Move.  Todd Rundgren also recorded this song before ELO's version came out on their album "A New World Record."  This version has a nice balance of rock guitars and symphonic elements typical of ELO.(Get a) Grip (On Yourself) by The StranglersWayne closes out the staff picks with another band that came up in the Punk scene but bridged to a more new wave sound.  The band is unusual for punk bands because of the presence of keyboards.  The song is based on the band's life in Chiddingfold, Surry England.  It is about understanding who you really are and being true to your identity. INSTRUMENTAL TRACK:Spring Rain by Bebu SilvettiWe finish off with a disco-infused instrumental piece that was on the charts in this month.

Broken Records is often a painful experience, but it's made all the more painful when we're discussing a band as essential and admired as The Clash. Unfortunately, their sixth and final studio album, released on 4 November 1985 by CBS Records, is a record that is truly worthy of the prefix ‘broken'. Lead guitarist and co-principal songwriter Mick Jones and drummer Topper Headon had been dismissed by lead vocalist Joe Strummer and bassist Paul Simonon. Jones and Headon were replaced by three unknowns: guitarists Vince White and Nick Sheppard and drummer Pete Howard, a line-up that Strummer, somewhat sneeringly, referred to as ‘The Clash 2'. During the tense recording sessions, Clash manager Bernie Rhodes and Strummer fought with each other for control over the band's songwriting and musical direction. The band wrote 20 songs for the Cut the Crap sessions, 12 of which ended up on the finished album (God only knows how awful the other 8 are). The songwriting is far from The Clash's best but the real villain of the piece is manager Bernie Rhodes, who's cluttered and hideously unfocused production ruins and squanders whatever negligible integrity the songs might've had.   

We welcome Buddy Ascott (former drummer with The Chords, currently with The Fallen Leaves) into the virtual Retrosonic Podcast studio to discuss that often overlooked and undervalued component of a band - the Rhythm Section... Buddy nominates five of his favourite drummers, Keith Moon, Mitch Mitchell, Chris Sharrock, Pete Thomas and Topper Headon and he talks us through some highlights of their playing. Find out who features in our top ten chart of iconic Bassists and to top it all off there's even a quiz to name twenty superb Bass intros. For full track-listing and answers to the quiz please check out the corresponding feature at www.retromanblog.com

London Calling ist, wenn man so will, die lebensverlängernde Maßnahme für die schon abgeschriebene Punkbewegung. Um die Entstehung des Doppelalbums ranken sich viele Mythen. Das Verrückte daran: Die meisten davon stimmen.

For the nearly 10 years of their inception, The Clash were responsible for both defining and then expanding the sound of punk rock in the late 70s and early 80s. The songwriting duo of Joe Strummer and Mick Jones were responsible for introducing elements of reggae, hip-hop, new wave, and disco to the genre, as well a recording some of the most beloved punk albums and singles of all time, including albums like London Calling and Sandanista, which are frequently listed as among the greatest rock records ever released.In spite of their success, the band collapsed hard during the mid-80s. During this time their drummer Topper Headon as well as Jones were fired from the band, while Joe Strummer's mental wellness gradually deteriorated, allowing their hubristic manager to take control of the sound of what would be their final album. Far from the back to basics record it was intended to be, 1985's Cut The Crap was a messy deluge of drum machines, tuneless synths, questionable samples, and amateur-level production quality.Welcome to season four of Jukebox Zeroes! In our inaugural episode, Lilz & Patrick dig into Cut The Crap with assistance from return-guest Austin Scholl of post-punk project ThornBrain & Let's Play series TheStrawHatNO!. Join them as they try to find some semblance of good in what was an incredibly depressing bookend to The Clash's legacy.Local Music Feature: ThornBrain - "Electricity"#ZeroScience#JukeboxZeroes#MusicPodcast#OddPodSquad#PodernFamily#TheClash#ILongForThePrairie

Behind the Song - WDRV-FM Chicago

Episode 2 continues our NCAA Tournament styled brackets to determine the greatest rock music artist of all time. Episode 1 discussed the '60s matchups, so here we continue with the '70s.  Matchups for this episode: (1) Led Zeppelin vs. (16) The Allman Brothers Band (2) Pink Floyd vs. (15) The Ramones (3) Elton John vs. (14) Van Morrison (4) Neil Young vs. (13) The Eagles (5) David Bowie vs. (12) Yes (6) Queen vs. (11) Van Halen (7) Bruce Springsteen vs. (10) The Clash (8) Fleetwood Mac vs. (9) Black Sabbath Notes for this episode: Apologies for all the dog barking/whining in the latter part of this episode. Scott promises he takes very good care of his dogs!  The Ramones: Scott meant to talk about "Chuck Berry, surf rock, and girl groups" to define their sound but he merged some of the words together Van Morrison: 1968-1979 - Astral Weeks through Into The Music (the latter part broke up a bit) When speaking about the E Street Band we certainly should've mentioned "Little Steven" Van Zandt as well (and probably Nils Lofgren and Patti Scialfa too) Christine McVie married the bass player not the drummer (doh!) Actually, though 1995's Outside was a good album, David Bowie's comeback really began in earnest in the '00s with albums like Heathen and Reality, and then later The Next Day and especially Blackstar. We also failed to mention a pretty darn good guitarist who played on Bowie's Let's Dance album: Stevie Ray Vaughan! Scott laments the fact that he forgot to mention that The Clash's Topper Headon emailed him to complain that he wasn't on the 100 greatest drummers list that he had on his old (now defunct) website.

Gestur þáttarins að þessu sinni er söng og leikkonan Bryndís Ásmundsdóttir. Hún mætir með uppáhalds ROKKplötuna kl. 21.00 Við fáum lag frá vini þáttarins kl. 19.45 og plata þáttarins sem við heyrum amk. þrjú lög af er önnur stóra plata ensku pönksveitarinnar The Clash, Give 'Em Enough Rope, sem kom út 10. nóvember 1978. En dagurinn í dag er alþjóðlegi Clash dagurinn sem margir halda upp á með ýmsum hætti víðsvegar um heiminn - ekki síst útvarpsstöðvar. Rás 2 hélt í fyrsta sinn upp á alþjóðlega Clash-daginn fyrir tveimur árum sléttum með því að spila tónlist hljómsveitarinnar og minna á hvað þessi merkilega hljómsveit stóð fyrir og hvaða áhrif hún hefur haft á tónlist og samfélagið í heild. Útvarpsstöðvar, borgarráð víðsvegar, plötubúðir og tónleikastaðir í öllum heimsálfunum sjö taka þátt í alþjóðlega Clash-deginum í dag með ýmsum hætti. Lagið „Know Your Rights“, fyrsta smáskífulag plötunnar Combat Rock, er einkennandi fyrir Clash og skilaboðin sem hljómsveitin sendi heiminum. Þar heyrist vel hversu vel hljómsveitinni tókst að blanda saman samfélagsumræðu, atkívisma og frábærri músík. Með alþjóðlega Clash deginum vill fólk minna á að ekkert er sjálfsagt, mannréttindi eru ekki sjálfgefin, fólk hefur alltaf þurft að berjast fyrir þeim og það er gott að minna sig á það og gera sitt til að viðhalda og efla gildi frjáls samfélags og ánægjulegrar tilveru. Fleiri en 50 útvarpsstöðvar um heim allan hafa fagnað lýðræðinu og haldið upp á alþjóðlega Clash-daginn með því að spila tónlist the Clash. Útvarpsstöðvar eins og Ice Radio 104.5 FM á Suðurskautslandinu, RDU98.5FM í Christchurch í Canterbury á Nýja-Sjálandi, OCR FM í Colac í Australíu og vinir Rásar 2 á KEXP í Seattle sem buðu Rás 2 að slást í hópinn, en það var einmitt John Richards umsjónarmaður morgunþáttar KEXP sem reið á vaðið með þenna alþjóðlega Clash-dag árið 2013. Síðan þá hafa fleiri og fleiri bæst í hópinn. En plata þáttarins er ss. önnur breiðskífa The Clash, Give 'Em Enough Rope, sem er fyrsta platan þeirra sem kom út í Bandaríkjunum. Henni var vel tekið af gagnrýnendum þegar hún kom út, hún náði öðru sæti vinsældalistans í Bretlandi og 128. Sæti í Bandaríkjunum. Á Give 'Em Enough Rope er trommarinn frábæri Topper Headon með Clash, en hann gekk til liðs við bandið skömmu eftir að fyrsta platan kom út árið áður. Eins og á fyrstu plötuni eru flest lögin eftir þá Mick Jones og Joe Strummer, en undantekningin er lagið English Civil War sem er endurvinnsla á gömlu bandarísku þjóðlagi (When Johnny Comes Marching Home) og lagið Guns on the Roof er skrifað á

Gestur þáttarins að þessu sinni er söng og leikkonan Bryndís Ásmundsdóttir. Hún mætir með uppáhalds ROKKplötuna kl. 21.00 Við fáum lag frá vini þáttarins kl. 19.45 og plata þáttarins sem við heyrum amk. þrjú lög af er önnur stóra plata ensku pönksveitarinnar The Clash, Give 'Em Enough Rope, sem kom út 10. nóvember 1978. En dagurinn í dag er alþjóðlegi Clash dagurinn sem margir halda upp á með ýmsum hætti víðsvegar um heiminn - ekki síst útvarpsstöðvar. Rás 2 hélt í fyrsta sinn upp á alþjóðlega Clash-daginn fyrir tveimur árum sléttum með því að spila tónlist hljómsveitarinnar og minna á hvað þessi merkilega hljómsveit stóð fyrir og hvaða áhrif hún hefur haft á tónlist og samfélagið í heild. Útvarpsstöðvar, borgarráð víðsvegar, plötubúðir og tónleikastaðir í öllum heimsálfunum sjö taka þátt í alþjóðlega Clash-deginum í dag með ýmsum hætti. Lagið „Know Your Rights“, fyrsta smáskífulag plötunnar Combat Rock, er einkennandi fyrir Clash og skilaboðin sem hljómsveitin sendi heiminum. Þar heyrist vel hversu vel hljómsveitinni tókst að blanda saman samfélagsumræðu, atkívisma og frábærri músík. Með alþjóðlega Clash deginum vill fólk minna á að ekkert er sjálfsagt, mannréttindi eru ekki sjálfgefin, fólk hefur alltaf þurft að berjast fyrir þeim og það er gott að minna sig á það og gera sitt til að viðhalda og efla gildi frjáls samfélags og ánægjulegrar tilveru. Fleiri en 50 útvarpsstöðvar um heim allan hafa fagnað lýðræðinu og haldið upp á alþjóðlega Clash-daginn með því að spila tónlist the Clash. Útvarpsstöðvar eins og Ice Radio 104.5 FM á Suðurskautslandinu, RDU98.5FM í Christchurch í Canterbury á Nýja-Sjálandi, OCR FM í Colac í Australíu og vinir Rásar 2 á KEXP í Seattle sem buðu Rás 2 að slást í hópinn, en það var einmitt John Richards umsjónarmaður morgunþáttar KEXP sem reið á vaðið með þenna alþjóðlega Clash-dag árið 2013. Síðan þá hafa fleiri og fleiri bæst í hópinn. En plata þáttarins er ss. önnur breiðskífa The Clash, Give 'Em Enough Rope, sem er fyrsta platan þeirra sem kom út í Bandaríkjunum. Henni var vel tekið af gagnrýnendum þegar hún kom út, hún náði öðru sæti vinsældalistans í Bretlandi og 128. Sæti í Bandaríkjunum. Á Give 'Em Enough Rope er trommarinn frábæri Topper Headon með Clash, en hann gekk til liðs við bandið skömmu eftir að fyrsta platan kom út árið áður. Eins og á fyrstu plötuni eru flest lögin eftir þá Mick Jones og Joe Strummer, en undantekningin er lagið English Civil War sem er endurvinnsla á gömlu bandarísku þjóðlagi (When Johnny Comes Marching Home) og lagið Guns on the Roof er skrifað á

Gestur þáttarins að þessu sinni er söng og leikkonan Bryndís Ásmundsdóttir. Hún mætir með uppáhalds ROKKplötuna kl. 21.00 Við fáum lag frá vini þáttarins kl. 19.45 og plata þáttarins sem við heyrum amk. þrjú lög af er önnur stóra plata ensku pönksveitarinnar The Clash, Give 'Em Enough Rope, sem kom út 10. nóvember 1978. En dagurinn í dag er alþjóðlegi Clash dagurinn sem margir halda upp á með ýmsum hætti víðsvegar um heiminn - ekki síst útvarpsstöðvar. Rás 2 hélt í fyrsta sinn upp á alþjóðlega Clash-daginn fyrir tveimur árum sléttum með því að spila tónlist hljómsveitarinnar og minna á hvað þessi merkilega hljómsveit stóð fyrir og hvaða áhrif hún hefur haft á tónlist og samfélagið í heild. Útvarpsstöðvar, borgarráð víðsvegar, plötubúðir og tónleikastaðir í öllum heimsálfunum sjö taka þátt í alþjóðlega Clash-deginum í dag með ýmsum hætti. Lagið „Know Your Rights“, fyrsta smáskífulag plötunnar Combat Rock, er einkennandi fyrir Clash og skilaboðin sem hljómsveitin sendi heiminum. Þar heyrist vel hversu vel hljómsveitinni tókst að blanda saman samfélagsumræðu, atkívisma og frábærri músík. Með alþjóðlega Clash deginum vill fólk minna á að ekkert er sjálfsagt, mannréttindi eru ekki sjálfgefin, fólk hefur alltaf þurft að berjast fyrir þeim og það er gott að minna sig á það og gera sitt til að viðhalda og efla gildi frjáls samfélags og ánægjulegrar tilveru. Fleiri en 50 útvarpsstöðvar um heim allan hafa fagnað lýðræðinu og haldið upp á alþjóðlega Clash-daginn með því að spila tónlist the Clash. Útvarpsstöðvar eins og Ice Radio 104.5 FM á Suðurskautslandinu, RDU98.5FM í Christchurch í Canterbury á Nýja-Sjálandi, OCR FM í Colac í Australíu og vinir Rásar 2 á KEXP í Seattle sem buðu Rás 2 að slást í hópinn, en það var einmitt John Richards umsjónarmaður morgunþáttar KEXP sem reið á vaðið með þenna alþjóðlega Clash-dag árið 2013. Síðan þá hafa fleiri og fleiri bæst í hópinn. En plata þáttarins er ss. önnur breiðskífa The Clash, Give 'Em Enough Rope, sem er fyrsta platan þeirra sem kom út í Bandaríkjunum. Henni var vel tekið af gagnrýnendum þegar hún kom út, hún náði öðru sæti vinsældalistans í Bretlandi og 128. Sæti í Bandaríkjunum. Á Give 'Em Enough Rope er trommarinn frábæri Topper Headon með Clash, en hann gekk til liðs við bandið skömmu eftir að fyrsta platan kom út árið áður. Eins og á fyrstu plötuni eru flest lögin eftir þá Mick Jones og Joe Strummer, en undantekningin er lagið English Civil War sem er endurvinnsla á gömlu bandarísku þjóðlagi (When Johnny Comes Marching Home) og lagið Guns on the Roof er skrifað á

In this episode, I chat to Danny Kilmartin about the iconic and ground breaking punk rock band The Clash. We discuss the culture of 1970s Britain and its influence on the band. We also discuss the band's genre hopping and love affair with reggae. We talk about the dynamic between Mick Jones and Joe Strummer ⁠— and Joe's passion for activism and socialist politics. Scripted, Edited and Hosted By Jennifer Quigley My guest was music writer Danny Kilmartin.Danny's writing:Golden PlecHeadstuffEject MagSocial MediaFacebook: www.facebook.com/ilovethisbandpodInstagram: @ilovethisbandpodMusic:Clean Soul Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/Dub Eastern Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/

Nicholas Bowen Headon, más conocido como Topper Headon por su parecido con un personaje de caricaturas (Kent, Inglaterra, 30 de mayo de 1955), fue el baterista de la popular banda punk The Clash entre 1977 y 1982.

Nicholas Bowen Headon, más conocido como Topper Headon por su parecido con un personaje de caricaturas (Kent, Inglaterra, 30 de mayo de 1955), fue el baterista de la popular banda punk The Clash entre 1977 y 1982.

The Clash was a paradox of revolutionary conviction, musical ambition, and commercial drive. We Are The Clash is a gripping tale of the band's struggle to reinvent itself as George Orwell's 1984 loomed. This bold campaign crashed headlong into a wall of internal contradictions, and rising right-wing power.While the world teetered on the edge of the nuclear abyss, British miners waged a life-or-death strike, and tens of thousands died from US guns in Central America, Clash cofounders Joe Strummer, Paul Simonon, and Bernard Rhodes waged a desperate last stand after ejecting guitarist Mick Jones and drummer Topper Headon. The band shattered just as its controversial final album, Cut the Crap, was emerging.Andersen and Heibutzki weave together extensive archival research and in-depth original interviews with virtually all of the key players involved to tell a moving story of idealism undone by human frailty amid a climatic turning point for our world.https://www.politics-prose.com/book/9781617752933Learn more about your ad choices. Visit megaphone.fm/adchoices

Nicholas Bowen Headon, más conocido como Topper Headon por su parecido con un personaje de caricaturas (Kent, Inglaterra, 30 de mayo de 1955), fue el baterista de la popular banda punk The Clash entre 1977 y 1982.

Nicholas Bowen Headon, más conocido como Topper Headon por su parecido con un personaje de caricaturas (Kent, Inglaterra, 30 de mayo de 1955), fue el baterista de la popular banda punk The Clash entre 1977 y 1982.

Musician Nick Palmer joins Bill to talk about iconic, landmark "punk" album London Calling (CBS/Epic, 1979) by the Clash. Nick describes working his way back from Green Day to picking up Combat Rock and not understanding how anyone could call it punk. Then Bill and Nick talk about Nick's fandom forming fully, the important dichotomy of Joe Strummer and Mick Jones, Paul Simonon's surprisingly good bass despite his own self-deprecating description of it, Topper Headon's killer drums, some left wing politics, the Spanish Civil war, Guy Stevens throwing chairs, and much more as we make our way through the album (mostly) track by track!

Friend of the show Frank Biernat returns to the show to play songs from one of his Top 3 favorite bands... The Clash! Mike and April join in to teach Pat a thing or two about this great punk rock band.

In an uncertain world there is always music which can be listened to in good company. Welcome to Friday 15 the show where we speak to friends and interesting people to the backdrop of great tunes and allocate 15 minutes to both. Today we speak to Reginald Hubbard a Democratic party apparatchik about the his role in Bernie Sanders presidential campaign and the way forward for progressives under president Trump. Reggie Hubbard Twitter: @oreggieglobal Facebook: Reginald Hubbard Email: reginald.hubbard@gmail.com All in All won a Grammy Award for Best R&B Instrumental in 1978 "Brazilian Rhyme (Beijo)" was the shortest track from that album coming in at 1:20, this is a popular 2010 reworking by Rob Webster "Someday We'll All Be Free" is a 1973 song by Donny Hathaway from the album Extension of a Man. The song was released as the flipside it is considered an R&B standard, having been covered by many artists over the years. "Rock the Casbah" was musically written by the Clashes drummer Topper Headon, based... See acast.com/privacy for privacy and opt-out information.

It was on this day in 1978 that Paul Simonon and Topper Headon, two members of the UK punk group, The Clash, were arrested for shooting pigeons with an air rifle from the roof of the group's rehearsal studio. On today's "A Day in the Life", we explore the incident and the music that may, or may not, have been inspired by the incident.