I threw out all my old records last week. Remember LPs, EPs, singles? They’d been gathering dust since my old turntable went caput about 20 years ago. I knew I’d never play them again and yet…
It was one of those impulsive decisions. I was trying to clear some space when I stumbled upon them in all their dust-clad, discarded glory. There was The Clash with Joe Strummer glaring back at me in youthful arrogance. My sneaker print still adorned the disc courtesy of a late night stagger through my old East Third Street apartment.
The Tain by Horslips looked considerably worse for wear – its cardboard corners curled and faded; yet, I marveled at the detail - album covers were indeed majestic compared to emaciated CD insets.
And then I came upon Television’s brilliant first offering. By far the best band to play CBGB’s: the glass-strewn East Village streets it up whenever they hit that Bowery stage. I was there the night Clive Davis of Arista arrived in his big-shot fur coat to sign them, and was booed by the black-leathered legion fearful he might turn their heroes into another insipid pop music machine. They needn’t have worried Television were so wired they couldn’t even spell “sell out.”
Music meant something different back then, or were we deluding ourselves? Placing a song in a commercial would have been traitorously un-cool; nowadays getting a few licks on a toilet paper ad would be a coup announced with a barrage of tweets.
Perhaps that’s why I dumped my beloved records into two industrial trash bags and lugged them out on the street - they were a guilty reminder of a purer time. Of course the reason a band would now kill for a toilet paper ad is that musicians retain practically no illusions. Back in the LP days there was an assumption that if you made great music you would eventually break through on radio and gain the acclaim of your peers along with a comfortable living.
Now even Bruce Springsteen has to hustle for a couple of plays on NPR and, like the rest of us, he receives miniscule percentages of pennies for plays on Spotify, Pandora and the other “cool,” but unconscionable, streaming services. Ads – for toilet paper or Tiffany - are one of the few ways a band can fund recording and touring.
What would Strummer make of it all? Though quite rigid ideologically he didn’t live in some purist ivory tower. The Clash functioned as a working band – paid their bills and took care of business.
He was never short of advice on how Black 47 should function; indeed he got us our first gigs in Wetlands and other rock clubs – said we had to broaden our audience and let the world know what we were about. He appeared to take it for granted that we’d never sell out; perhaps he was right but then again, to quote Neil Young - “no one ever made me a good enough offer.”
The next morning - as I was heading into SiriusXM to “spin” digitized songs on a computer - the two big industrial trash bags were missing from the sidewalk. It was 6:30am and I assumed the garbage men had been and gone. I felt a pang of loss but put it behind me – “life marches on” and all that baloney!
Then at the bottom of the street I found one of the bags; it had been ripped open. Most of the albums were gone but on a nearby loading dock a half-dozen or so were strewn about. Guess which one was on top? Yeah – The Clash with Strummer glaring up at me, forever young, forever sure of himself!
I cast a cold eye back at him and passed on. By the time I returned from the studio, even those records were gone.
I guess I was right to throw out what I would never use; The Clash, Television and Horslips had found new homes where they would once more be enjoyed.
In the end the format doesn’t really matter. The music lives on – forever young, forever trapped in a moment, while we continue to age and change.