Gibson Melody Maker
The Gibson Melody Maker is an electric guitar made by Gibson Guitar Corporation. It has had many body shape variations since its conception in 1959; the Gibson Melody Maker was first launched in 1959 and discontinued in 1971. It had a one-piece mahogany neck. All the electronics, from the small single-coil pickups to the cable jack, were assembled on the pickguard and installed in a rout in the front of the body; the strings ran from a straight-sided simplification of the traditional Gibson headstock at one end to a wraparound bridge/tailpiece unit at the other. From 1959 until 1961, the Melody Maker had a single cutaway slab body style similar to the early Les Paul Junior model but thinner. In 1961 the body style changed to a symmetrical double cutaway, resembling a Gretsch 6122 or a Danelectro Shorthorn; the body style was changed in 1966 to a style similar to the SG, with pointed "horns", a large white scratchplate, white pickup covers instead of black. Note: Melody Maker "D" refers to the double pickup model of any vintage but is mistakenly used for the double cutaway model.
Options on the Melody Maker included the "D" model and a short-scale 3/4 neck. In 1967 a twelve-string version and a three pickup version were introduced, the Melody Maker 12 and III respectively. A short length version of the Vibrola vibrato device was available as an option. From 1959 to 1964 the finish was a sunburst, from 1964 to 1965 it was cherry, from 1966 it was fire engine red or pelham blue, in 1967 red was replaced by sparkling burgundy and walnut became an option from 1968. Rare examples were made to order in other custom Gibson colors e.g. Inverness Green; the Melody Maker was discontinued and replaced by the SG 100, 200 and 250. The Melody Maker double-cutaway model was revived in 1977 and discontinued again in 1983; some minor changes were introduced into the design including single coil pickups embossed with the Gibson logo, all metal tuning pegs and a latter-day Gibson stop tail piece and Tune-O-Matic bridge. In 1986, Gibson issued a Melody Maker with a single-cutaway body, it had one humbucking pickup, Grover tuners, a Tune-O-Matic bridge, a stop tailpiece.
Two humbucking pickup models with two thumb switches were made but are hard to find. This rare model features Grover tuners, Kahler tremolo system and dual humbuckers; the body is standard single-cutaway Melody Maker. The finish is black with a perloid pick guard; the Gibson All American II was built in the mid-1990s as part of the company's "All American" line which included The Hawk and The Paul II. It was inspired by the original Melody Maker, but differed from it in having chrome tuners, no scratchplate, controls rear-mounted in the traditional Gibson solid-body style, a bridge/vibrola unit; the All American II featured two high output single coil pickups creating a tonality similar to a hotrodded telecaster than a typical Gibson instrument. The All American line was discontinued in 1998; the Melody Maker was returned to the Gibson line as a sub-model of the Les Paul model. It offered a mixture of traditional Melody Maker features and traditional Les Paul Junior features. Like both the original Melody Maker and the original Junior, the Les Paul Melody Maker featured dot inlays as fretboard markers and did not have a cap on its top.
Unlike either the original Melody Maker or the original Junior, both of which used wraparaound bridge/tailpiece units, the Les Paul Melody Maker used a Tune-O-Matic bridge and separate stop tailpiece. The Les Paul Melody Maker differed from other Les Paul submodels in the width of the neck and the length of the heel. In 2007, the Melody Maker became a separate model, it now has a smaller single-coil pickup than the P-90, a wraparound bridge/tailpiece unit, a mahogany neck, a pickguard similar to the original Melody Maker. The CEO of Gibson said in reference to the new Melody Maker that it could "almost be considered a reissue of a 1959 Gibson Melody Maker." The guitar is offered in satin finishes and is one of the most economical Gibson guitars in recent years. It was offered in single and dual pickup configurations; the dual pickup configuration was discontinued in 2008 and is now considered a collectors item on eBay In 2008 Gibson released the Joan Jett Signature Melody Maker. It differs from the standard model by having a single burstbucker 3 humbucker pickup, an ebony fretboard and a double-cutaway body in white with a black vinyl pickguard.
It features a kill switch in place of a pickup selector. Jett has played it on all her hits, it retails for $839. There is now a "Blackheart" version of this guitar introduced in 2010. All specs are the same. In 2011 Gibson released the Flying V Melody Maker, Explorer Melody Maker, SG Melody Maker and the Les Paul Melody Maker. All feature a humbucker and 1 volume knob, at a MSRP of $829us, they are limited edition and the colours available are Blue, Satin White and Ebony. A two-pickup model with P-90s, pots and toggle switch mounted on a large vintage-style pickguard was produced in 2011 in satin TV yellow, Cherry and Black nitrocellulose finish. In 2014, the Melody Maker name was reused for a new Les Paul variant; this single-cut variant uses the thinner body of the Les Paul Custom Lite, with a carved maple top, a satin nitrocellulose finish. It incorporates a maple neck with a 50's rounded profile, a full-size Les Paul headstock with a "Melody Maker" truss rod cover, two P-90S pickups; these pi
Mick Jones (The Clash guitarist)
Michael Geoffrey Jones is a British musician and songwriter best known as the lead guitarist, co-lead vocalist, co-founder and songwriter for The Clash until 1983. In 1984, he formed Big Audio Dynamite with Don Letts. Jones has played with the group Carbon/Silicon along with Tony James since 2002 and has toured the world as part of the Gorillaz live band. In late 2011, Jones collaborated with Pete Wylie and members of the Farm to form the Justice Tonight Band. Michael Geoffrey Jones was born on 26 June 1955 in Wandsworth, England, to a Welsh father, Tommy Jones, a Russian Jewish mother, Renee Zegansky, he spent much of his early life living with Stella Class, in South London. Jones' cousin is the Conservative MP for Welwyn Hatfield. Jones went to Strand School in South London and art school, because " thought that's how you get into bands and stuff", but before The Dolls, I used to follow bands around. I followed Mott the Hoople down the country. I'd go to Liverpool or Newcastle or somewhere—sleep on the Town Hall steps, bunk the fares on the trains, hide in the toilet when the ticket inspector came around.
I'd climb over the fence. It was great times, I always knew I wanted to be in a band and play guitar; that was it for me. He started gaining recognition as a guitarist in the early 1970s with his glam rock band, The Delinquents. A short time he met Tony James and formed the protopunk London SS. By 1976, that band had broken up and remaining members Jones, Paul Simonon and Keith Levene were seeking a new direction; when he was 21, he and Paul Simonon were introduced to Joe Strummer by Bernie Rhodes in a squat in Shepherd's Bush. The band rehearsed in a former railway warehouse in Camden Town and The Clash was formed. Jones played lead guitar, co-wrote songs from the band's inception until he was fired by Strummer and Simonon in 1983. One of the songs he wrote, "Train in Vain," was about Jones' relationship with Viv Albertine, guitarist of The Slits. Jones' lack of punctuality played a major role in his dismissal from the band. Jones agreed to give a rare interview about the disintegration of The Clash and the reasons behind his dismissal from'his own band' in Danny Garcia's 2012 documentary film and book The Rise and Fall of the Clash.
For his time with The Clash, along with the rest of the band, was inducted into the Rock and Roll Hall of Fame in 2003. While promoting the band's 2013 box set, Sound System, which Jones says will be the final time he works on Clash music, he discussed the band reuniting prior to Strummer's death. There were a few moments at the time I was up for it, Joe was up for it. Paul wasn't, and neither was Topper Headon, who didn't wind up coming in the end. It didn't look. I mean, you play at that ceremony when you get in. Joe had passed by that point, so we didn't. We were never in agreement, it was never at a point. Most for us, we became friends again after the group broke up, continued that way for the rest of the time; that was more important to us than the band. In an October 2013 interview with BBC 6Music, Jones confirmed that Strummer did have intentions of a Clash reunion and in fact new music was being written for a possible album. In the months prior to Strummer's death and Strummer began working on new music for what he thought would be the next Mescaleros album.
Jones said "We wrote a batch – we didn't use to write one, we used to write a batch at a time – like gumbo. The idea was he was going to go into the studio with the Mescaleros during the day and send them all home. I'd come in all night and we'd all work all night." Jones said. Jones was curious as to what would become of the songs he and Strummer were working on and Strummer informed him that they were going to be used for the next Clash album. After his expulsion from The Clash, Jones was a founding member of General Public. Though he is listed in the credits of the band's 1984 début album All the Rage as a member, Jones left General Public part way through the recording process and was replaced by Kevin White. White's picture appears on the back cover. Jones did play guitar on many of the album's tracks, including the North American top 40 single "Tenderness". Leaving General Public behind, in 1984 Jones formed Big Audio Dynamite with film director Don Letts, who had directed various Clash videos and the Clash documentary Westway to the World.
The band's début album This Is Big Audio Dynamite was released the following year, with the song "E=MC²" getting heavy rotation in dance clubs, both singles "Medicine Show" and "E=MC2" charting in the UK. For Big Audio Dynamite's second album, No. 10, Upping St. Jones reunited with Strummer. Together, the two wrote several songs on the album, including "Beyond the Pale", "V. Thirteen", "Sightsee M. C!". Their reunion did not last long, following that collaboration, the two did not work together again for some time. Big Audio Dynamite's third album, Tighten Up, Vol. 88, featured album cover art painted by the ex-Clash bassist, Paul Simonon. Shortly following its release, Jones developed chickenpox and pneumonia, spent several months in hospital. After his recovery, Jones released one more album with Big Audio Dynamite, Megatop Phoenix, before reshuffling the line-up, renaming the band Big Audio Dynamite II and releasing The Globe album; the BAD II lineup had an international #1 hit with their song "Rush", topping the Billboar
Seymour Duncan is an American company best known for manufacturing guitar and bass pickups. They manufacture effects pedals which are designed and assembled in America. Guitarist and luthier Seymour W. Duncan and Cathy Carter Duncan founded the company in 1976, in Santa Barbara, California. Seymour W. Duncan became interested in guitars at a young age, after lending his guitar to a friend who accidentally broke the pickup, Duncan decided to re-wind it, using a record player turntable to hold the pickup in place and rotate it while spooling wire around the pickup bobbin, he was inspired by how the tone of the guitar had changed for the better, started learning more about pickups from guitarist/inventor Les Paul, mentor and humbucker inventor Seth Lover. After having developed considerable skill working on guitars, Duncan gained employment at the Fender Soundhouse in London. After having moved to California he met and married Cathy Carter and decided to start a pickup rewinding service. With demand for his services growing and Carter expanded into offering their own Stratocaster and humbucking pickups, within two decades had a full assortment of pickups for electric and acoustic guitar as well as electric guitar accessories.
In 2012 Seymour Duncan was inducted into the Vintage Guitar Hall of Fame for contributions to the music industry, he continues to create pickups in the Seymour Duncan factory in Santa Barbara, California. The company produces a large range of pickups for guitars in several formats including Humbucker, Stratocaster and Acoustic; some of their most popular guitar pickups include the'59 Model, the JB Model, the Pearly Gates Model. As of 2013, the company has moved into the 8 string guitar pickup market, they produce a line of active pickups. In addition to their standard American-made product line, Seymour Duncan produces a line of Korean-made "Duncan Designed" pickups intended for OEM use on mid-level guitars and basses. Seymour Duncan produced a small line of guitar amplifiers during the 1990s. Although the effort was short-lived due to the company's lack of reputation as an amp builder, Seymour Duncan amplifiers are well respected and sought after today. Seymour Duncan Audio Interview on Guitar Jam Daily Seymour Duncan official website Seymour Duncan Pickup Reviews Seymour Duncan Interview - NAMM Oral History Library, July 19, 2002)
An electric guitar is a guitar that uses one or more pickups to convert the vibration of its strings into electrical signals. The vibration occurs when a guitar player strums, fingerpicks, slaps or taps the strings; the pickup uses electromagnetic induction to create this signal, which being weak is fed into a guitar amplifier before being sent to the speaker, which converts it into audible sound. The electric signal can be electronically altered to change the timbre of the sound; the signal is modified using effects such as reverb, distortion and "overdrive". Invented in 1931, the electric guitar was adopted by jazz guitar players, who wanted to play single-note guitar solos in large big band ensembles. Early proponents of the electric guitar on record include Les Paul, Lonnie Johnson, Sister Rosetta Tharpe, T-Bone Walker, Charlie Christian. During the 1950s and 1960s, the electric guitar became the most important instrument in popular music, it has evolved into an instrument, capable of a multitude of sounds and styles in genres ranging from pop and rock to country music and jazz.
It served as a major component in the development of electric blues and roll, rock music, heavy metal music and many other genres of music. Electric guitar design and construction varies in the shape of the body and the configuration of the neck and pickups. Guitars may have a fixed bridge or a spring-loaded hinged bridge, which lets players "bend" the pitch of notes or chords up or down, or perform vibrato effects; the sound of an electric guitar can be modified by new playing techniques such as string bending and hammering-on, using audio feedback, or slide guitar playing. There are several types of electric guitar, including: the solid-body guitar. In pop and rock music, the electric guitar is used in two roles: as a rhythm guitar, which plays the chord sequences or progressions, riffs, sets the beat. In a small group, such as a power trio, one guitarist switches between both roles. In large rock and metal bands, there is a rhythm guitarist and a lead guitarist. Many experiments at electrically amplifying the vibrations of a string instrument were made dating back to the early part of the 20th century.
Patents from the 1910s show telephone transmitters were adapted and placed inside violins and banjos to amplify the sound. Hobbyists in the 1920s used carbon button microphones attached to the bridge. With numerous people experimenting with electrical instruments in the 1920s and early 1930s, there are many claimants to have been the first to invent an electric guitar. Electric guitars were designed by acoustic guitar makers and instrument manufacturers; the demand for amplified guitars began during the big band era. The first electric guitars used in jazz were hollow archtop acoustic guitar bodies with electromagnetic transducers. Early electric guitar manufacturers include Rickenbacker in 1932; the first electrically amplified stringed instrument to be marketed commercially was designed in 1931 by George Beauchamp, the general manager of the National Guitar Corporation, with Paul Barth, vice president. The maple body prototype for the one-piece cast aluminium "frying pan" was built by Harry Watson, factory superintendent of the National Guitar Corporation.
Commercial production began in late summer of 1932 by the Ro-Pat-In Corporation, in Los Angeles, a partnership of Beauchamp, Adolph Rickenbacker, Paul Barth. In 1934, the company was renamed the Rickenbacker Electro Stringed Instrument Company. In that year Beauchamp applied for a United States patent for an Electrical Stringed Musical Instrument and the patent was issued in 1937. By early-mid 1935, Electro String Instrument Corporation had achieved mainstream success with the A-22 "Frying Pan" steel guitar, set out to capture a new audience through its release of the Electro-Spanish Model B and the Electro-Spanish Ken Roberts, the first full 25" scale electric guitar produced; the Electro-Spanish Ken Roberts was revolutionary for its time, providing players a full 25" scale, with easy access to 17 frets free of the body. Unlike other lap-steel electrified instruments produced during the time, the Electro-Spanish Ken Roberts was designed to play standing vertical, upright with a strap; the Electro-Spanish Ken Roberts was the first instrument to feature a hand-operated vibrato as a standard appointment, a device called the "Vibrola," invented by Doc Kauffman.
It is estimated that fewer than 50 Electro-Spanish Ken Roberts were constructed between 1933 and 1937. The solid-body electric guitar is made without functionally resonating air spaces; the first solid-body Spanish standard guitar was offered by Vivi-Tone no than 1934. This model featured a guitar-shaped body of a single sheet
A bobbin is a spindle or cylinder, with or without flanges, on which wire, thread or film is wound. Bobbins are found in sewing machines and within electronic equipment. In non-electrical applications the bobbin is used for tidy storage without tangles. In electrical applications a coil of wire carrying a current has important magnetic properties as solenoids; as used in spinning, knitting, sewing, or lacemaking, the bobbin provides temporary or permanent storage for yarn and may be made of plastic, bone, or wood. Bobbin lacemaking is a handcraft which requires the winding of yarn onto a temporary storage spindle made of wood turned on a lathe. Exotic woods are popular with contemporary lacemakers. Many lace designs require dozens of bobbins at any one time. Both traditional and contemporary bobbins may be decorated with designs, inscriptions, or pewter or wire inlays; the bobbins are'spangled' to provide additional weight to keep the thread in tension. A hole is drilled near the base to enable glass beads and other ornaments to be attached by a loop of wire.
These spangles provide a means of self-expression in the decoration of a tool of the craft. Antique and unique bobbins, sometimes spangled, have become sought after by collectors. Electrical transformers and relay coils use bobbins as permanent container for the wire to form and retain shape, to ease assembly of the windings into or onto the magnetic core; the bobbin may be made of thermosetting materials. This plastic has to have a TÜV, UL or other regulatory agency flammability rating for safety reasons; the term "bobbins" appears in northern English slang, meaning "rubbish", i.e. something worthless or incorrect. Taken from the cockney "bobbins of cotton", meaning "rotten"; this may be related to the contemporary British slang usage, where "bobbins" can be used to denote something negative in theatrical circles. Stott Park Bobbin Mill Axle The Craft of Bobbin Making
The Gibson SG is a solid-body electric guitar model, introduced in 1961 by Gibson, remains in production today with many variations on the initial design available. The SG Standard is Gibson's best-selling model of all time. In 1960, Gibson Les Paul sales were lower than in previous years; the following year, the Les Paul was given a thinner, flat-topped mahogany body, a double cutaway which made the upper frets more accessible, a contoured body. The neck joint was moved by three frets to further ease access to the upper frets; the simpler body construction reduced production costs, the new Les Paul, with its slender neck profile and small heel was advertised as having the "fastest neck in the world". However, the redesign was done without knowledge of Les Paul himself. Although the new guitar was popular, he disliked it. Problems with the strength of the body and neck made Paul dissatisfied with the new guitar. At the same time, Paul was going through a public divorce with Mary Ford and his popularity was dwindling as music tastes had changed in the early 1960s.
Paul asked friend and former President of Gibson, Ted McCarty, for his $1 royalty per guitar to be withheld. Gibson mutually agreed to end the contract; this is from a 1992 interview with Ted McCarty, who wrote the contract and was a life long friend of Les Paul. Gibson honored Les Paul's request to remove his name from the guitar, the new model was renamed "SG", which stood for "Solid Guitar". Les Paul's name was removed in 1963, but the SG continued to feature Les Paul nameplates and truss rod covers until the end of 1963. In the early-to-mid 1960s Gibson's parent corporation, Chicago Musical Instruments revived the "Kalamazoo" brand name for a short time. Models of the Kalamazoo KG-1 and KG-2 featured a body style similar to the Gibson SG creating a budget-line model until the brand was dropped in the late 1960s. Gibson releases lower-cost, internationally sourced versions of the SG through their subsidiary, Epiphone; because of its ease of play, holding comfort and vintage heritage, the body style of the SG is copied by other manufacturers, although much less than the Les Paul and the Fender Stratocaster.
The SG has a solid mahogany body, with a black pickguard. The 24.75" scale mahogany neck joins the body at the 22nd fret. The SG's set neck is shallower; the SG features the traditional Gibson combination of two or three humbucker pickups or P90 pickups and a Tune-o-matic bridge assembly, wraparound bridge, or vibrato tailpiece, depending on the model. The SG Standard features pearloid trapezoid fretboard inlays, as well as fretboard binding and inlaid pearl "Gibson" logo and crown; the Standard has a volume and a tone control for each individual pickup, a three-way switch that allows the player to select either the bridge pickup, the neck pickup, or both together. The SG does not include switching to coil split the humbuckers in stock form; some models use body woods other than mahogany. High-end models, including the Diablo sport decorative maple caps, carved tops, gold hardware. At the launch of the SG in 1961, Gibson offered four variants of the SG. However, Gibson's current core variants as of 2010 are the SG Special.
Over the years, Gibson has offered many variations of the SG, continues to manufacture special editions, including models such as the Special and Faded Special, Artist Signature SGs, Gothic, as well as the premium-priced VOS reissues of the sixties SG Standard and Custom. Models produced between 1961 and 1965 have the original small pickguard; this design continued until 1971, when variations of the SG were sold with a raised Les Paul style pickguard and a front-mounted control plate. The low-end SG-100 and the P-90 equipped SG-200 appeared during this time, as well as the luxurious SG Pro and SG Deluxe guitars. Vibrato tailpieces were introduced as options. In 1972 the design went back to the original style pickguard and rear-mounted controls but with the neck now set further into the body, joining at the 20th fret. By the end of the seventies, the SG models returned to the original sixties styling, modern standard and special models have returned to the 1967–1969 styling and construction, with a few exceptions.
In 1979, a low-cost SG made of walnut wood was introduced called "The SG." It had a clear finish and an ebony fingerboard and was accompanied by low-cost "Les Paul" and "ES 335" type guitars. "The Paul" was made from walnut, but "The ES" was made out of solid mahogany. All three guitars were discontinued after about a year, replaced by the "firebrand" series, again made of mahogany. In 1979 a limited edition model, the SG Exclusive was produced. Visually similar to the SG Standard of the time, the special features included an ebony fretboard, two Dirty Fingers humbucker pickups, a master volume, two tone control
The Clash were an English rock band formed in London in 1976 as a key player in the original wave of British punk rock. They have contributed to the post-punk and new wave movements that emerged in the wake of punk and employed elements of a variety of genres including reggae, funk and rockabilly. For most of their recording career, the Clash consisted of lead vocalist and rhythm guitarist Joe Strummer, lead guitarist and lead vocalist Mick Jones, bassist Paul Simonon, drummer Nicky "Topper" Headon. Headon left the group in 1982, internal friction led to Jones' departure the following year; the group continued with new members, but disbanded in early 1986. The Clash achieved commercial success in the United Kingdom with the release of their self-titled debut album, The Clash, in 1977, their third album, London Calling, released in the UK in December 1979, earned them popularity in the United States when it was released there the following month. It was declared the best album of the 1980s a decade by Rolling Stone.
In 1982, they reached new heights of success with the release of Combat Rock, which spawned the US top 10 hit "Rock the Casbah", helping the album to achieve a 2× Platinum certification there. Their final album, Cut the Crap, was released in 1985; the Clash's politicized lyrics, musical experimentation, rebellious attitude had a far-reaching influence on rock, alternative rock in particular. They became referred to as "The Only Band That Matters" a promotional slogan introduced by the group's record label, CBS. In January 2003, shortly after the death of Joe Strummer, the band—including original drummer Terry Chimes—were inducted into the Rock and Roll Hall of Fame. In 2004, Rolling Stone ranked the Clash number 28 on its list of the 100 greatest artists of all time. Before the Clash's founding, the band's future members were active in different parts of the London music scene. John Graham Mellor sang and played rhythm guitar in the pub rock act The 101ers, which formed in 1974. By the time the Clash came together two years he had abandoned his original stage name, "Woody" Mellor, in favour of "Joe Strummer", a reference to his rudimentary strumming skills on the ukulele as a busker in the London Underground.
Mick Jones played guitar in protopunk band London SS, which rehearsed for much of 1975 without playing a live show and recording only a single demo. London SS were managed by Bernard Rhodes, a sometime associate of impresario Malcolm McLaren and a friend of the members of the McLaren-managed band, the Sex Pistols. Jones and his bandmates became friendly with Sex Pistols Glen Matlock and Steve Jones, who would assist them as they tried out potential new members. Among those who auditioned for London SS without making the cut were Paul Simonon, who tried out as a vocalist, drummer Terry Chimes. Nicky Headon drummed with the band for a week quit. After London SS broke up in early 1976, Rhodes continued as Jones's manager. In February, Jones saw the Sex Pistols perform for the first time: "You knew straight away, it, this was what it was going to be like from now on, it was a new scene, new values -- so different from. A bit dangerous." At the instigation of Rhodes, Jones contacted Simonon in March, suggesting he learn an instrument so he could join the new band Jones was organising.
Soon Jones, Simonon on bass, Keith Levene on guitar and "whoever we could find to play the drums" were rehearsing. Chimes got the job, although he soon quit; the band was still searching for a lead singer. Chimes recalls one Billy Watts handling the duties for a time. Rhodes had his eye with whom he made exploratory contact. Jones and Levene were impressed as well. Strummer, for his part, was primed to make the switch. In April, he had taken in the opening act for one of his band's gigs—the Sex Pistols. Strummer explained:I knew something was up, so I went out in the crowd, sparse, and I saw the future—with a snotty handkerchief—right in front of me. It was clear. Pub rock was, "Hello, you bunch of drunks, I'm gonna play these boogies and I hope you like them." The Pistols came out that Tuesday evening and their attitude was, "Here's our tunes, we couldn't give a flying fuck whether you like them or not. In fact, we're gonna play them if you fucking hate them."On 30 May and Levene met surreptitiously with Strummer after a 101'ers gig.
Strummer was invited to meet up at the band's rehearsal location on Davis Road. After Strummer turned up, Levene grabbed his guitar, stood several inches away from Strummer, looked him in the eye and began playing "Keys to Your Heart", one of Strummer's own tunes. Rhodes gave him 48 hours to decide whether he wanted to join the new band that would "rival the Pistols." Within 24 hours, Strummer agreed. Simonon remarked, "Once we had Joe on board it all started to come together." Strummer introduced the band to his old school friend Pablo LaBritain, who sat in on drums during Strummer's first few rehearsals with the group. LaBritain's stint with the band did not last long, Terry Chimes—whom Jones referred to as "one of the best drummers" in their circle—became the band's regular drummer. In Westway to the World, Jones says, "I don't think Terry was hired or anything, he had just been playing with us." Chimes did not take to Strummer at first: "He was like twenty-two or twenty-three or something that seemed'old' to me then.
And he had these retro clothes and this croaky voice". Simonon came up with the band's name after they had dubbed themselves the Weak Heartd