Stick of dynamite
diville | beverly hills,CA | 11/09/2003
(5 out of 5 stars)
"#10,upping street" is unmistakably one of B.A.D.'s best.hardcore beats had to have started somewhere, why not the 80s! big audio totally made their mark on music, and our stereos!
so basicslly, this means the origional art of sampling was created by artists like them.
music today totally sucks. that's not hard to see. "#10 upping street" had a solid beat that totally dented hip the beats of today. i'm 17, but i know what music is."
Big Audio Dynamite's Best Album!
Joseph P. Ulibas | Sacramento, CA, USA | 06/15/2005
(5 out of 5 stars)
"No. 10 Upping Street perfectly captures Big Audio Dynamite at it's creative peak. Using soundbytes from "Scarface" and
"Bring me the Head of Alfredo Garcia" very wisely, drum machines, keyboards, bass and guitars very effectively, Mick Jones and Joe Strummer create an awesome mix of music and politics. It must have been a strange sight to see Joe Strummer walk into the studio and work on the recording of the album with Mick Jones. In some ways this is a Clash album (what it might have sounded like if they continued with the musical progession of Combat Rock). Don Letts contributions are also cool (mixing and editing of the f/x and
vocal tapes). The bass riffs add to the album as well.
The tracks C'mon Every Beatbox, V Thirteen and Limbo The Law are amongst my favorites. Some might disagree with me about which Big Audio Dynamite album is the best one.
For my money it has to be No. 10 Upping Street. Mick Jones and Joe Strummer made one hell of a musical duo.
Ivan Yager | Illinois | 02/08/2007
(5 out of 5 stars)
"So many people have not caught up with "No. 10 Upping Street". It's sad to think that some people never will.
Mick Jones tosses off killer hooks and melodies endlessly and effortlessly. (Most) other songwriters should be as jealous as hell. You hear the germs of 4 or 8 good songs in one song full of these little false starts the band is famous for doing. This was one of the best encapsulations of a great time in music. Not as catchy, maybe not even quite as good as "This Is BAD", though on the other hand, maybe better, "No. 10" is beat and sample heavy. It`s urban and rural, skeptical, ironic, but positive. It's multi-racial--"funky, multi-national"--smart, social.
There are lines on this record--it's true of so many Clash and Clash-Related songs--lines that have seemed so wise or so right, that these days, when I'm baffled or disappointed, they are what come to mind. ("And a drifter will tell you no place is best..." from "V Thirteen", is one example.) With Joe (RIP) so much in on things on this one especially, this, the first, and "Megatop Phoenix", meld with all The Clash songs into a general category I have mentally set aside and labeled, My Clash and Clash-Related Appreciation Department.
I got it on tape when it came out. When I upgraded to CD, I was disappointed to find that the CD version of "Hollywood Boulevard" is different from the cassette version. (In the version I first became acquainted with, the line "Now they've all got a story" ends with "oh, oh" up, down. In the version I don't like as much, there's an extra "oh": Up, down, up." That doesn't work as well. (Now that I've listened to this again, I've noticed other songs in lame-er versions too.)) The CD version is OK. The tape version is amazing.
If anybody knows of some CD like a best of collection, or some version of No. 10 that I could look for with the better cassette version of "Hollywood Boulevard" (and the others), I'd appreciate your telling me where to find it (in the comments section, perhaps?).
I could have seen this show at the Riviera in Chicago and didn't. I will never forgive myself."