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He lives in the Miracle Mile neighborhood of Los Angeles, CA.

In November 1988 Joe moved to Los Angeles with Gaby, Jazz, and Lola.

It was chaos – very probably just what Malcolm Mc Laren would have wanted.

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Working in Hollywood on his own record was a move to virgin territory for Joe. Joe and his family rented a small house off Fairfax in the Russian section of West Hollywood.

He had decided -- for the meantime, at least -- he was going to make his home in Los Angeles.

That, one suspects, would have tickled the situationist in him.

Only a few minutes later, the bona fide Mc Laren cortège rounded the high street’s gentle bend and came into eyeshot.

Contrary to what he had vowed in 1986, Joe Strummer's first solo album would not be called Throwdown or be produced by Mick Jones.

Its name was Earthquake Weather, with Joe himself at the production helm, though the title, which carried its own in-built sense of brooding, dangerous power, was still to come to him. There was a freshness in the step of his broken boot when he was in the city, touched like everyone by its seductive, warm whispers of fecund possibilities.

And there's always something a bit sad about standing in an English pub on Sunset Strip where everything has been carved deliberately trying to look like a boozer.") While recording, Joe confided to Mark "Stebs" Stebbeds, the engineer, that he was thinking of moving permanently to New Orleans.

"Gangsterville," the song that opens the record, contains the line "I'm going to New Orleans -- gonna buy me a prayer." "He was still giving himself a raw deal most of the time," said Gerry Harrington. I'd bought a copy of Q magazine which had a feature, 'The 100 Dumbest Things Ever Done by Musicians,' which included Joe doing a runner from the Clash and going to France.

It would be another two-and-a-half years, however, before he was appear with his first true post-Clash project, a forward-thinking, racially-integrated new band who were going to attempt to shake up the world with a cutting edge mix of electro-dub-reggae-rock-disco sounds. They were ahead of the curve on the whole dance-rock craze that crossed over the Atlantic with imported 12-inch hits by Jesus Jones, Pop Will Eat Itself and lots of other groups.

Initially, and for several months as 1983 ended and 1984 began, it was just Jones and a dreadlocked black bassist named Leo (“E-Zee Kill”) Williams, formerly of the Basement Five and a barman at the Roxy Club, and for a time Jones had tried to help out his former bandmate, drummer Nicky “Topper” Headon, but Headon was too deep into his heroin addiction and so it never came to pass. C., and as they were slow in forming, it would take awhile before things would start to click. Letts had an interesting background, starting as far back as 1975, when he operated the London-based Acme Attractions clothing store, which — much like Malcolm Mc Laren’s SEX shoppe — was a haven and hangout for punks, only Acme blasted dub and reggae music all day long instead of punk rock (Letts’ parents were actually from Jamaica).

Yet this was the climate in which Joe would release his first solo album.

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