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The music he was putting out was mostly rock-based stuff. “It made a lightbulb go off in his head that he could incorporate all this incredible knowledge he had of world music, like North African music. “He liked the off-the-grid beliefs, and that you don’t have to toe the line,” she says.
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But that year, Tait says, “We didn’t have the kids all the time - we were co-parenting.” That left Strummer more time to wander the Glastonbury grounds, where he became enamored with the itinerant, tent-and-campfire lifestyle of musicians like Happy Mondays. An avid parent, Strummer had previously taken his daughters (two from a previous relationship and a stepdaughter with Tait) to Glastonbury - even to Disneyland, where he joined them on the teacup rides and It’s a Small World. Starting at the 1995 Glastonbury festival and continuing at other gatherings, Strummer began to reconnect fully with his muse. “George Michael at the time was taking Sony to court and trying to get off the label, and Joe said, ‘I’m gonna go stand outside Sony headquarters with a banner supporting George!’” “When I first met him and asked why he wasn’t making music, he said, ‘It’s because I’m tied to a horrible contract with Sony,’” says Tait. After the band dissolved in the mid-Eighties, Strummer made 1989’s poorly received Earthquake Weather and then, in the eyes of most of the general public, vanished, only popping up to act (the 1989 Jim Jarmusch film Mystery Train), DJ, or produce or sit in with the Pogues and other bands. And then there’s an entire collection of covers of Fifties rock classics like Gene Vincent’s “Be-Bop-a-Lula,” Buddy Holly’s “Rave On,” and Bill Monroe’s Elvis-associated “Blue Moon of Kentucky.” Whether Strummer was planning an actual album of these remakes or just goofing around in the studio is unclear.įorty-five years after the Clash’s debut album, Strummer remains best known for his work with that revolutionary band shortly before his death, he and the group were scheduled to be induced into the Rock and Roll Hall of Fame. They include journals that Strummer kept during the making of the Clash albums, which feature notes on song tweaks as well as multiple early drafts of classics like “London Calling.” One of Strummer’s last shows with the Mescaleros, at London’s Brixton Academy a month before he died, was filmed in its entirety by director, DJ, and former Big Audio Dynamite member Don Letts. “He used to draw on them as well.”Īnd there are plenty of other gems in the vault, to potentially be released later. Alternate versions of solo faves like “Coma Girl” and “Tony Adams” and his ventures into dancier, more electronic rock are also included.Ī 1999 home demo of “The Road to Rock ‘N’ Roll,” a folk march written for Johnny Cash, finds Strummer warning, “If you don’t believe in good and evil/You better tell the devil why.” An accompanying booklet features some of Strummer’s handwritten instructions for album packaging (“When you turn over CD, you see names big”) and to himself (“We will finish this record”), along with correspondence to colleagues sent by way of his favorite old-school form of communication.
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Among the tracks on the latter is a remake of Johnny Rivers’ “Secret Agent Man,” which Strummer cut and submitted for either the Vin Diesel action movie XXX or, as Tait believes, an Austin Powers sequel.
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The latest yield from that excavation arrives via a new box set in September: Joe Strummer 002: The Mescaleros Years (Dark Horse) collects the two albums he cut with the Mescaleros - 1999’s Rock Art and the X-Ray Style and 2001’s Global A Go-Go - and the posthumously compiled Streetcore, plus a disc of B-sides and rarities of Strummer’s post-Clash work.
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“I ended up taking four full suitcases back with me to get everything digitized.” “I walked into a room and there were 100 or more masters - cassettes, DATs, four-tracks - sitting there,” says Zonshine, who is based in L.A. But with the help of David Zonshine, who works with the George Harrison estate and now manages Strummer’s, a far deeper dive into those boxes and plastic bags began. The first culling was heard in 2018’s Joe Strummer 001, a collection of tracks and rarities from his life outside the Clash. Spurred on by the artist Damien Hirst, a friend who initially suggested packing up and curating Strummer’s archives, and then another artist, Robert Gordon McHarg III, the process of weeding through and cataloguing it all began soon after.