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Charles Shaar Murray (born Charles Maximillian Murray; 27 June 1951) is an English music journalist and broadcaster. He has worked on the New Musical Express and many other magazines and newspapers, and has been interviewed for a number of television documentaries and reports on music.
Looking back on Shagrat in 1972, Took opined that the band had suffered from being ahead of its time. Interviewed by Charles Shaar Murray in 1972 for the NME, Took commented that record companies "didn't want to buy Steel Abortion or Peppermint Flickstick. A bit naughty, the words, but then I'd taken in all this American culture and American ...
"Garageland" is a song by English punk rock band The Clash featured as the final track for their 1977 debut album The Clash. The song was written by Joe Strummer as a response to music journalist Charles Shaar Murray, who, after a gig in 1976, wrote a review saying that they were "the kind of garage band who should be returned to the garage immediately".
"Garageland" was written in response to Charles Shaar Murray's damning review of the Clash's early appearance at the Sex Pistols Screen on the Green concert – "The Clash are the kind of garage band who should be returned to the garage immediately, preferably with the engine running". [7] [8] [9] It was the final track recorded for the album.
From contemporary reviews, Charles Shaar Murray of NME praised the album, stating it "neatly avoids the weakness of previous Spex gigs and records (i.e. cacophony, ramshackle playing boosted by road-drill volume) while concentrating on the band's strengths (great lyrics, nifty chewns, energy and a winningly knowing innocence)."
[12] Charles Shaar Murray wrote the band sound "curiously tinny and underpowered" underneath "the up-front, full-bodied quality of the screaming." He elaborated that "until you get your ears properly adjusted, it's a recording of an audience bananaing out with accompaniment by The Kinks ...
The band dissolved before the completion of a second studio album. ... BBA Interview with Charles Shaar Murray, New Musical Express, September 29, 1973, ...
Charles Shaar Murray described the music as being "of the precision-tooled remote-control funk variety". [13] Tony Stewart considered the record to be, "considering his company of musos and recording locations, a predictable achievement in style: rhythmic R&B funk." [14] According to Richard Williams, the tracks are "suffused with southern soul."
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