Analysis of information sources in references of the Wikipedia article "Mick Jones (The Clash guitarist)" in English language version.
But even before the Dolls, I used to follow bands around. I followed Mott the Hoople up and down the country. I'd go to Liverpool or Newcastle or somewhere—sleep on the Town Hall steps, and bunk the fares on the trains, hide in the toilet when the ticket inspector came around. I'd jump off just before the train got to the station and climb over the fence. It was great times, and I always knew I wanted to be in a band and play guitar. That was it for me.
The disappointing Tighten Up Vol. 88 reaches no such peaks and now sounds like a fairly brazen attempt to get hip commercial airplay. The fault is seldom with Jones' songwriting but more with the slick sheen laid over the leaner, less aggressive beats. The LP yielded "Just Play Music" and "Other 99," but a pall was thrown on the release as Jones fell deathly ill shortly after its appearance; having contracted pneumonia, he was hospitalized for months.
But even before the Dolls, I used to follow bands around. I followed Mott the Hoople up and down the country. I'd go to Liverpool or Newcastle or somewhere—sleep on the Town Hall steps, and bunk the fares on the trains, hide in the toilet when the ticket inspector came around. I'd jump off just before the train got to the station and climb over the fence. It was great times, and I always knew I wanted to be in a band and play guitar. That was it for me.
Jones joined Primal Scream to close the show with a cover of The Clash's "(White Man) In Hammersmith Palais," which was performed in honour of the storied venue's imminent closing. Primal Scream also played "Movin' On Up", "Country Girl", "Rocks" and "Swastika Eyes".
When Mick Jones finally began attracting attention for his guitar playing, he was in a glam rock outfit, the Delinquents, complete with long hair, feather boas, and poncey trappings; in time he would meet up with Tony James (later of Generation X and Sigue Sigue Sputnik) to form the London SS. With a revolving-door cast of players including future members of the Damned, Chelsea, and PiL, London SS took the first stack-heeled, shambling steps toward punk, naming among their influences the Stooges, MC5, and New York Dolls, and in the process acquiring future Clash manager Bernie Rhodes. By 1976, London SS had fallen apart, and Jones found himself in a new band with guitarist Keith Levene and art-school drop-out Paul Simonon. Simonon had spent much of his time hanging out with his West Indian pals and immersing himself in reggae, ska, and skinhead fashions, elements that would later be part and parcel of the Clash. Meanwhile, in another part of London, 24-year-old John Mellor was bashing away in pub-rock outfit the 101ers. The band caught the interest of Simonon and Jones, still in search of a front-man to round out their line-up.
When Mick Jones finally began attracting attention for his guitar playing, he was in a glam rock outfit, the Delinquents, complete with long hair, feather boas, and poncey trappings; in time he would meet up with Tony James (later of Generation X and Sigue Sigue Sputnik) to form the London SS. With a revolving-door cast of players including future members of the Damned, Chelsea, and PiL, London SS took the first stack-heeled, shambling steps toward punk, naming among their influences the Stooges, MC5, and New York Dolls, and in the process acquiring future Clash manager Bernie Rhodes. By 1976, London SS had fallen apart, and Jones found himself in a new band with guitarist Keith Levene and art-school drop-out Paul Simonon. Simonon had spent much of his time hanging out with his West Indian pals and immersing himself in reggae, ska, and skinhead fashions, elements that would later be part and parcel of the Clash. Meanwhile, in another part of London, 24-year-old John Mellor was bashing away in pub-rock outfit the 101ers. The band caught the interest of Simonon and Jones, still in search of a front-man to round out their line-up.
