CLASH’S JONES PRODUCES NEW FOLEY LP ‘FOR A COUPLE OF BLOW JOBS’ Throws In A Few Songs For Reacharound
(London, England) – The liner notes for Ellen Foley’s new album, Spirit of St. Louis, tell an interesting story: “Produced by my boyfriend for a couple of blow jobs”.
The unusual production deal was hashed out over drinks at the Roxy nightclub in London’s Covent Garden, during which time the ex-Meat Loaf singer bemoaned the lack of a sympathetic producer. “‘I’d do it for a couple of BJs’,” the Broadway singer/actress reports Mick Jones as saying. “Well straightaway, I’m like, ‘When can I suck you off?'” The couple agreed that the Roxy men’s room was as good a place as any and commenced fellatio in short order.
It was during this first round of head giving that the Clash guitarist proposed to sweeten the deal, offering to “throw in a few songs for a reacharound”. It was no sooner said then done. The final dick smoke occurred later that night in Jones’ Manhattan hotel room.
Jones pronounced himself satisfied with the deal, though Foley giggled to friends, “the joke’s on Mick, really, I would’ve given him head for free.”
Though uncommon, this isn’t the first time sexual favours have been used as payment or part-payment for album production. According to Beatles manager Brian Epstein, he allowed George Martin and three other Abbey Road engineers to masturbate on him as compensation when recording for Please Please Me over-ran. The account, originally published in Epstein’s autobiography, A Cellarful of Noise, is disputed by both Martin and EMI studio logs which show that Epstein actually gave up royalty points in exchange for the bukkake session.
Editor’s Note: It’s a connoisseur’s choice, but, when asked, I always cite Sandinista! as my favourite Clash album. Yes, I know London Calling, or even the US edition of the debut, are probably the better records and yet there’s something wonderful about Sandinista!‘s waywardness that sets it apart; something that says “we’re going for it here and we’re doing whatever comes into our minds”. Liberating stuff. Lately, however, I’ve begun to feel that the US 10″ of Black Market Clash might just edge the treble Lp for the top spot. It’s got the same raggediness and diversity of sound while achieving the concision of the earlier records.
Anyhoo, I’ve seen Ellen Foley’s Spirit of St. Louis referred to as “sides seven and eight” of Sandinista! and finally got the chance last week of putting this notion to the test. Certainly it was produced by Mick Jones (aka “my boyfriend” – it actually says that on the sleeve – see the second picture – ugh!) around the same time as the Clash’s fourth long player, at the same studio with the same engineer, using the same musicians and it features several songs written by Strummer/Jones.
Fussy and commercial with nods to Foley’s kooky ‘all-round entertainer’ past, Spirit couldn’t be more different from Sandinista!; perhaps only in the sense that the Clash seemed to attempt anything and everything that took their fancy does the record make any sense on that continuum.