Зусім хутка выходзіць мая другая кніга, "Цягнік да Познаня". Гэта пяцьдзесят польскіх партрэтаў, гісторый, эсэ. Месца дзеяння ўвесь час мяняецца, але рэдка выходзіць за межы Польшчы. Прынамсі, геаграфічна.
Гэта вельмі эмігранцкая, вельмі асабістая кніга, дзе з дробных эпізодаў і маленькіх дэталяў я паспрабаваў стварыць свет рэальных людзей. Бо я сапраўды сустракаў кожнага з іх. Польскую піяністку, якая ў старым памяшканні грала музыку Баха. Хлопчыка, які апантана чытаў кнігу на бруднай падлозе варшаўскага аўтобуса. Маладую дзяўчыну, якая стаяла на каленях у касцёле св. Роха ў Беластоку.
"Цягнік да Познаня" перамог у літаратурным конкурсе "Шуфлядка" ў намінацыі "нон-фікшн". Перадзамову кнігі можна зрабіць на сайце выдавецтва Gutenberg: https://gutenbergpublisher.eu/shop/ciahnik/
У продажы яна з'явіцца напрыканцы месяца. 26 ліпеня кніга будзе прадстаўлена на літаратурным фестывалі ў Кракаве.
It would be true to say that if Sandinista! was a single album, it would be the best album of all time. It would also be true to say that if Sandinista! was a double album, it would still be my favourite album ever. What I have finally realised, 20 years into listening to Sandinista! in all its patchy messed-up glory, is that even as a triple album featuring no less than 36 songs - it is still the single greatest musical experience I have ever had.
People often say that about The White Album, but I've beaten that horse to death too many times now. The chorus of "The Continuing Story Of Bungalow Bill" is abysmal. "Why Don't We Do It In The Road?" is a waste of tape. "Don't Pass Me By" is just weak. There is simply too much filler. Besides, The Beatles were not even functioning as a full unit at that point (which, come to think of it, is why "Dig It" and "Maggie Mae" work and "Wild Honey Pie" does not).
When it comes to Sandinista!, even the filler works. Every dub remix sung backwards by a kids' choir (loosely speaking) feels engaging, feels like it belongs. This was The Clash operating at the height of their songwriting / arranging / playing powers, and it certainly helps that this may well be the most stylistically diverse album ever recorded.
Side one.
1. "The Magnificent Seven".
Disco-funk with strong shades of hip-hop to Joe Strummer's vocals. Propelled by Paul Simonon's massive bass line, "The Magnificent Seven" is, of course, an absolute classic. All through its five and a half minutes, the groove is unrelenting.
2. "Hitsville UK".
Mick Jones's classic pop song with gospel overtones. This was released as a single, but stalled at number 56. The whole thing is so engaging and feels so genuine that in an ideal world it would top any decent chart.
3. "Junco Partner".
A reggae cover! This is where we start to lose people as this might not have been something many Clash listeners signed up for when they purchased Sandinista! back in 1980. But never mind that. This is groovy and fun (full of all kinds of quirky sounds) and I have always loved that relentless violin in the background. Joe Strummer is clearly enjoying himself on the vocals.
4. "Ivan Meets G.I. Joe".
This is, essentially, a disco tune filled with some bizarre space invaders sounds in the background - as everything else on here, this is intense and totally addictive. Killer violins, too.
5. "The Leader".
Oddly, this was the first song from Sandinista! that I heard. A short (1:41) rockabilly tune that was probably recorded in one take. Catchy and smart.
6. "Something About England".
This one is among the greatest songs ever written. In the midst of a lovely wall of sound (pianos, strings, trumpets, backing vocals) this is Mick Jones exercising his great pop sensibilities. So good, in fact, that it would appear again on the album - albeit in a totally deranged version. But we will get to it later.
Side two.
1. "Rebel Waltz".
The Clash doing a cold, downbeat, dirge-like waltz that has always been among my absolute favourites on the album. My only complaint is that I wish it could go on for a couple of minutes longer. That subtle guitar line is gorgeous.
2. "Look Hear".
This is a fast-paced jazz number filled with hip pianos, vibraphones, harmonicas and God knows what else. Very cool.
3. "The Crooked Beat".
Another groovy reggae song, this time sung by Paul Simonon in that inimitable menace-inducing voice of his. Dig those crazy sound effects in the background.
4. "Somebody Got Murdered".
God I love the way this one starts - like we are in for an epic pop classic. And we are. Once again, Mick Jones on the vocals, which means that we are in pop rock heaven yet again. Oddly, many people think that the man's highest point was "Lost In The Supermarket" and that he lost it after The Clash. Not true. Even his Big Audio Dynamite days are filled with occasional brilliance ("Medicine Show", "Applecart", "Innocent Child").
5. "One More Time".
This could be my favourite reggae song on the whole album. I love those dark, classy 15 seconds that open the song, but even when the song settles into its main groove - I'm all for it.
6. One More Dub".
Hilariously and (somewhat) ridiculously, they chose to follow "One More Time" with its dub remix. I still have a lot of fun listening to it (the percussion, the groove), though. Think of it as an extended coda.
Side three.
1. "Lightning Strikes (Not Once But Twice)".
The second LP opens in a very similar way to the first one, and I mean that quite literally. "Lightning Strikes" is built on pretty much the same disco/funk rhythm as "The Magnificent Seven". But with the musicianship this astounding - why not?
2. "Up In Heaven (Not Only Here").
And... we are back in Mick Jones' territory. Terrific power chords and the sort of propulsive yet lovely vocal melody the man has always been so good at. Beautiful ringing guitar hook guiding the song forward, until the very end.
3. "Corner Soul".
Imagine reggae mixed with gospel and sounding out-of-this-world gorgeous. Soulful, gentle, deeply affecting with a brilliant vocal hook ("Is the music calling for a river of blood?") from Strummer and the female backing vocalists. Topper Headon's drumming is exceptional, too. This is a big personal favourite.
4. "Let's Go Crazy".
Christ this side three is incredible. "Let's Go Crazy" is, what, calypso music? Well, whatever it is, I find the groove totally infectious.
5. "If Music Could Talk".
Lots of people tend to have a problem with this sax-driven light jazz instrumental (well, technically, it has Joe Strummer saying something or other in the background - but the voice is here merely for the vibes), but I am okay with a little tasteful respite. All the more so because at this point I would trust them with dubstep or nu metal (not).
6. "The Sound Of Sinners".
Well, this one is straight-up gospel: sincere, full-blown, unforgettable. If I was Catholic, I would totally sing this one after my next sermon. Yet another highlight.
Side four.
1. "Police On My Back".
Is this the best song on the album? I can no longer tell, honestly, but play this right now and tell me what you think. This is a punk song by a band who has long outgrown the genre. The siren-like guitars, the power chords, Mick Jones's vocals, the anthemic melody. Surprisingly, this was a cover, but they totally reinvented what was originally a fairly inconspicuous mid-tempo little rock song.
2. "Midnight Log".
Two-minute boogie? Why not. This is playful and catchy, with a memorable harmonica hook.
3. "The Equaliser".
This is the first true reggae song in a while - except that it isn't. It is sparse, psychedelic and rather demented. Downbeat, too. Those bizarre violin insertions are mesmerising - as is the rest of the song.
4. "The Call Up".
Oddly, this was the biggest single from the album - oddly because I've always believed that there were a lot more options here with a much higher commercial potential. Still, it is wonderfully creepy (lyrically in particular) and the groove just never lets up. Maddening and melancholic.
5. "Washington Bullets".
Caribbean music. Just yesterday I was walking through a small Polish town reenacting that rhythm inside my head, time and time again. One of the most infectious songs on the album, and its lyrics actually feature the word "Sandinista" (the name of the Socialist party in Nicaragua that was fighting against the US occupation). A classic, of course.
6. "Broadway".
Well, try to decipher what this is. A dark, nocturnal groove with a rather downbeat and rambling performance from Strummer. Classy piano, laidback vibes. Listen to this while walking home on a Saturday night. Also, the song ends, quite inexplicably, with a little girl (Maria Gallagher, daughter of one of the musicians on the album) singing "Guns Of Brixton". Lovely!
Side five.
1. "Lose This Skin".
The third LP starts with an intense, incessant, ridiculously brilliant violin groove and features vocals from Tymon Dogg (silly me, I always thought this was a woman singing). The passionate chorus always gets under my skin (no pun intended). An absolute delight, and one of the album's greatest highlights.
2. "Charlie Don't Surf".
I have only recently rewatched Apocalypse Now for another time, and it was of course in Coppola's classic film where these words first appeared (spoken by Bill Kilgore in one of the cinema's most iconic scenes). Here, The Clash take these words and record a surf rock classic.
3. "Mensforth Hill".
It is worth noting that this is song number 27 on the album, so if you've made it thus far, you might as well go all the way. "Mensforth Hill" is the return of "Something About England", only recorded backwards and with crazy overdubs. I enjoy it freely, against my better judgement.
4. "Junkie Slip".
Hardly a classic by any stretch of the imagination, this jerky little tune is still enjoyable. Remember, Sandinista! is a journey, and "Junkie Slip" is an essential part of it.
5. "Kingston Advice".
Another overlooked highlight - particularly good are those guitar-led parts with Mick Jones on vocals. Really catchy, and I love that "liiiife" hook.
6. "The Street Parade".
Again, I don't know what this is - but I love the downbeat nature of the verse. Plus, the brassy chorus is a subtle delight. Inessential, but I'm happy it is here.
Side six.
1. "Version City".
The 'difficult' last side opens with this soulful, gospel-tinged groove that is as memorable as anything else on the album. But buckle up! This is the last relatively normal song on Sandinista!
2. "Living In Fame".
The truly rough patch starts here, but, again, just stick with it and get lost in the grooves. "Living In Fame" is a dub version of "If Music Could Talk". Which means: bigger bass, more reggae-fied, even groovier.
3. "Silicone on Sapphire".
Dub version of "Washington Bullets"! Even if The Clash did it to fulfil their contractual obligations, I still love it. Not least because "Washington Bullets" was so good.
4. "Version Pardner".
Dub version of "Junco Partner"! Five-plus minutes might be stretching it a little, but all that percussion and all those bizarre sound effects are so addictive, I find myself enjoying it every time I get this far (which is always).
5. "Career Opportunities".
This is a version of the punk classic sung by two little children: Luke Gallagher and Ben Gallagher. I once read a long article in Uncut about the making of this album, and as far as I remember, the kids got toy guns for doing this. Well worth it, I guess. Love this to bits.
6. "Shepherds Delight".
We end, quite fittingly, with a percussion-driven reggae instrumental.
P.S. Do yourself a favour. Next time you go on a long trip, take this album with you. Live with it a little. Let it breathe. Get lost in it. It will soundtrack your experience, and it will deliver new wonders every time you will listen to it in the future. It is THAT good.
