The Clash – Luegra

Joe Ely RIP

It’s getting sad that I keep having to talk about the death of a talented musical artist every week, but here we are again.

Joe Ely flew under the radar when it came to the mainstream country and rock worlds, but he was revered in the Americana, roots-rock, and even punk music crowds. His live shows were powerful, yet it was his songwriting and vocal performances, so soulful and gritty, that hit the listener hard in a good way.

Ely passed away on December 15th at the age of 78. Although his final residence was in New Mexico, he was a Texan blood and bones. His first legendary work came in 1971 when he joined two other Texas troubadours, Jimmie Dale Gilmore and Butch Hancock, to form The Flatlanders. They recorded an album the next year, but broke up soon after its release. That album, All American Music, was only released as a limited 8-track tape for contractual obligations, but became a cult classic among roots music audiophiles. There was such a high demand for the music that Rounder Records re-issued it in 1990 as More a Legend Than a Band. The trio reunited occasionally throughout the years, but began recording again, beginning in 1998 for The Horse Whisperer in 1998 (director Robert Redford had asked Ely to write music for the soundtrack).

Ely began touring and recording full-time around 1977. During a tour of London, he became friends with the punk band The Clash. Besides performing together, The Clash mentioned Ely in their song “If Music Could Talk,” while Ely donated background vocals to the band’s hit “Should I Stay Or Should I Go.”

Along with the long solo career and work with The Flatlanders, Ely was also a member of Los Super Seven, along with Raul Malo who passed away two weeks ago. That band won a Grammy in 1999 for its self-titled album in the Best Mexican/Mexican-American category.

In 2007, Ely received a Lifetime Achievement Award from the Americana Music Association. In 2016, he was crowned Texas State Musician for that year, and was entered into the Austin City Limits Hall of Fame in 2022.

In 2002, The Flatlanders appeared at the Americana Music Association’s conference and awards show. This is where I got to meet Ely, and he was one of those guys who appreciated people appreciating him and his work. We talked for a while, and I hung out with the trio for a while after their private performance. It was a prayer answered to be able to meet the man who recorded one of my favorite roots-rock songs, “Musta Notta Gotta Lotta.” Talk about showing your love and respect for the pioneers like Jerry Lee Lewis!

Joe, thank you for all the wild and fun music that you have given us, and I hope that God is giving you a honky-tonk to perform at up there.

Chew on it and comment.

Underrated Punk Rock Bassist: Norman Watt-Roy

I was vaguely familiar with Norman Watt-Roy during the 1980s, more of just seeing his name on a lot of albums that I had back then. As I have done more reading and researching on my favorite music from back then, I have come to realize that he was an unsung hero from the punk/new-wave era.

Watt-Roy started put playing in a number of rock bands during the late 1960s and early 1970s with his brother Garth. Later that decade he met up with Ian Dury and played on the Blockheads first album, New Boots and Panties!! on the Stiff label in 1977. Watt-Roy would later join up in Wilko Johnson’s band in 1985.

However, it is his guest appearances on other albums that let me know how great he was. He plays on Nick Lowe’s album Jesus of Cool (known in the US as Pure Pop for the Now People), giving memorable bass lines on “Nutted by Reality.” However, my favorite of his bass work appears on The Clash’s album Sandinista! Watt-Roy laid down some of the greatest grooves on the most memorable songs, “The Magnificent Seven” and “Hitsville UK,” along with “The Call Up.” Charlie Don’t Surf,” and “Something About England.” Those first two songs have always been held in high regard with me, and when I was playing bass during that time, those were two songs that I had to learn. It was painstakingly difficult, as I was using a pick, while Watt-Roy plucked with his fingers. It was only recently that Clash drummer Topper Headon stated that Watt-Roy played the bass groove on the band’s biggest hit, “Rock the Casbah” from Combat Rock.

Watt-Roy also worked with The Selecter, and laid down bass work on Frankie Goes to Hollywood’s “Relax” in 1983, although the final mix didn’t have his playing. He did session work with Roger Daltrey and Wreckless Eric, and during the early 2000s, he performed with a later incarnation of Madness. Recently, he has been appearing with reincarnations of The Blockheads.

I urge any bass player in pop and modern rock/punk bands to search out Watt-Roy’s bass work. The man had a way of making average songs get a dance able groove without going too pop. I hope that he also gets more recognition for his amazing work.

Chew on it and comment.