Back in 1987 Joe Strummer was somewhat adrift. The Clash had broken up, his former songwriting partner Mick Jones had moved on and was enjoying his time with his new band Big Audio Dynamite who had captured the new thing- sampling, dance music, a rock/ rap/ reggae/ pop fusion that The Clash had pioneered at the start of the 80s before Joe and Paul attempted to reverse back to three chord punk rock. Joe was given the opportunity to find some direction when he met Alex Cox, a filmmaker whose guerrilla approach to making movies matched Strummer's approach to life. Cox signed Strummer up for his Spaghetti Western film Straight To Hell, a film with a soundtrack that featured The Pogues, Zander Schloss (who would become guitarist in Joe's Latino Rockabilly War and who worked with Joe on his next soundtrack), San Francisco band Pray For Rain and a couple of Strummer originals. These songs broke Joe's writer's block. He acted in the film too, immersing himself into the character (a bank robber called Simms).
Cox asked Joe to stay on board for his next film, a clumsy satire about US imperialism in South America and American exceptionalism with Ed Harris in the title role as Walker. The film is bizarre, a bit of a mess. Even Strummer wasn't sure about the finished version. But the soundtrack is a minor Strummer gem, a fourteen track album with eleven Latin instrumentals, from salsa to Afro- Cuban bebop, all recorded acoustically on Strummer's insistence- 'I thought let's be 1850, nothing plugged in', he said. On three of the songs, Joe sings, a trio of lost Strummer solo songs (recently re- found via the 2018 solo compilation 001), songs that bridge his work in The Clash and his late 90s re- emergence and renaissance with his Mescaleros.
Tennessee Rain is a ballad, Joe with acoustic guitar and banjo, a sad- eyed song with an upbeat tempo, Joe singing, 'well I wish I was drunk in Havana, I wish I was at the Mardi Gras'. Tropic Of No Return is a lilting choral song, backed by tropical birdsong and some lightly picked and strummed acoustic guitars, gradually gathering a little steam. The third song is The Unknown Immortal, a song sung from the point of view of a soldier in Walker's gringo army, a man away from home and his love for seven years, a man who 'was once an immortal'. It's difficult though not to hear it as at least partly autobiographical, Joe's post- Clash malaise compounded by the death of his mother a few weeks before Walker started filming, him ruefully accepting that his previous life as frontman for the greatest band in the world, the punk rock war lord, now trying to carve out a new role as singer/ songwriter/ soundtrack musician with some of the musical styles that informed Sandinista! and Combat Rock.