There’s nothing more boring than being respected. It’s just not what rock and roll is all bout. I mean, I didn’t respect Eddie Cochran, I just thought he was far out. And I don’t want people to respect me.
Il n’y aura donc que kek-w pour annoncer la mort de Mikey Dread
dans les trucs que je lis
et comme je venais d’écouter Mo’ roots 
un de mes essentiels
disques, je suis passé aisément à cet très bon 10″
{dû tout de même monter sur un tabouret, y’all}
enfin, disons que la journée fut bonne
pas du sortir mon ak
sinon j’ai écouté encore un très bon disque que j’aurais cru moyen
d’un vieux guitariste de session
The only overdubs are the two guitar solos (of course, by Steve Jones). The reason the first note is so long on the ‘Problem’ solo is that (I was watching his face when he played it) Steve Jones was so surprised at the sound and sustain he got out of my amp that he almost forgot to play! (‘Problem’ on Never Mind The Bollocks/Spunk is edited.)
enfin, ce disque
je veux dire
enfin, toutes ces
citations
The reason that I finally did it for me with Ian was this: we had a thing that we used to rehearse when I first joined the band, and one bar of this particular piece had this strange time signature of 1916. So we came to refer to the piece as 1916, and it became a number on the album – 1916. But such is the state of Ian Carr’s mind that he managed to convince himself that this song had been inspired 1916 Easter Revolution in Ireland, and he found a poem by Yeats on this subject, and on the following album he recited this poem over 1916. I said ‘don’t you think that’s a bit pretentious Ian. do you have to have a literary justification for everything you do? …’ I’m not going to play a song and pretend that this song is 1916 the year, because I know it’s about 1916 the time signature. That’s pretentious. So I said ‘I’m walking. I can’t believe you guys would do this.
sont de chris spedding
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