Joe Lally

Joseph Francis "Joe" Lally (born December 3, 1963 in Silver Spring, Maryland) is a bassist, vocalist and record label owner, best known for his work with Fugazi.

Biography

Fugazi

Joe Lally formed Fugazi with Ian MacKaye in 1987, and has remained the group's bassist through their "indefinite hiatus" in 2003.

Tolotta records

Lally founded Tolotta Records (distributed through Dischord Records), which was active from 1994 until 2001, putting out notable releases by such artists as Dead Meadow, Spirit Caravan, Stinking Lizaveta & Orthrelm.

Side projects

In early 2002, Lally joined ex-Frodus members Shelby Cinca and Jason Hamacher on a project originally called The Black Sea, which would change its name to Decahedron and release an EP and an album before Lally left the band. He has also worked with John Frusciante and Josh Klinghoffer as the group Ataxia, releasing two albums: Automatic Writing (2004) and AW II (2007).

Solo work

In 2006, Lally was playing solo shows on bass with slight laptop accompaniment in various college towns, leading up to his first solo album, There to Here, which was released in the fall of 2006. It features Jerry Busher, Ian MacKaye, Amy Farina, Guy Picciotto, Scott Weinrich and many other musicians from the DC music scene.

Should I Stay or Should I Go

"Should I Stay or Should I Go" is a song by the English punk rock band the Clash, from their album Combat Rock. It was written in 1981 and featured Mick Jones on lead vocals. It became the band's only number-one single on the UK Singles Chart, a decade after it was originally released. In November 2004, it was ranked at 228 on Rolling Stone "The 500 Greatest Songs of All Time" list. In 2009 it was ranked 42nd on VH1's program 100 Greatest Hard Rock Songs.

Many rumours have arisen about the song's content, such as Jones' impending dismissal from the Clash or the rocky personal relationship between Jones and singer Ellen Foley, but Jones himself says:

The Spanish backing vocals were sung by Joe Strummer and Joe Ely:

Releases

The single was reissued several times. It was first reissued in 1982, with a different cover as a double A-side with "Straight to Hell" and with "Cool Confusion" as its B-side. It was reissued again in 1983, with "First Night Back in London" on the side two, and then for a third time in 1991, with "Rush" by Mick Jones' group Big Audio Dynamite II as a double A-side, with a remix of "Rush" as its B-side (see the table below).

Get Used to It

Get Used to It may refer to:

See also

English markers of habitual aspect

The habitual aspect is a form of expression connoting repetition or continuous existence of a state of affairs. In English when present time is referred to, there is no special grammatical marker for the habitual; the simple present is used, as in I go there (every day). However, for past reference English uses the simple past form or either of two alternative markers: used to as in we used to go there (every Thursday), and would as in back then we would go there (every Thursday).

Would

The form [would + infinitive] is employed to talk about a habit or frequent action in a former time. One usually applies [would + infinitive] for the past habitual when one is telling a story about the past.

The past habitual employment of would requires an accompanying indication of the time of occurrence (more specifically than simply before the present): e.g., Last year we would go there frequently, but not simply We would go there frequently.

Dischord Records

Dischord Records is a Washington, D.C.-based independent record label specializing in the independent punk music of the D.C.-area music scene. The label is co-owned by Ian MacKaye and Jeff Nelson, who founded Dischord in 1980 to release Minor Disturbance by The Teen Idles. Along with other independent American labels such as Twin/Tone, Touch and Go Records, and SST Records, Dischord helped to spearhead the nationwide network of underground bands that formed the pre-Nirvana indie-rock scene. These labels presided over the shift from the hardcore punk that then dominated the American underground scene to the more diverse styles of alternative rock that were emerging.

The label is most notable for employing the do-it-yourself ethic, producing all of its albums by itself and selling them at discount prices without finance from major distributors. Dischord continues to release records by bands from Washington D.C., and to document and support the Washington D.C. music scene.