When it arrived in late 1986, Big Audio Dynamite's second album, No. 10, Upping St., boasted co-production and co-writing from Joe Strummer
' former bandmate in the Clash
. It was a much better fusion of contemporary production techniques with Jones
' songwriting, and the two biggest singles -- "C'mon Every Beatbox" and "V. Thirteen" -- performed well both on the British pop charts and American dance charts. After a two-year break, the band returned with a less free-form work, Tighten Up, Vol. 88, but righted the ship with 1989's Megatop Phoenix, their biggest performer in America (thanks to the singles "Contact" and "James Brown").
After Megatop Phoenix, the band split apart at the end of 1989. Jones
quickly added Gary Stonadge (bass/vocals), Chris Kavanagh (drums/vocals), and Nick Hawkins (guitar/vocals) to form Big Audio Dynamite II, while Letts, Williams, and Roberts formed Screaming Target
and Donovan joined the Sisters of Mercy
. Releasing The Globe, the first full-length album with the new lineup, in 1991, B.A.D. II experienced their greatest success yet with the American Top 40 hit "Rush." In 1994, Jones
truncated the band's name to Big Audio
and released Higher Power.
After Higher Power, Big Audio
parted ways with Epic, signing with Radioactive in early 1995 and releasing F-Punk. The single "I Turned Out a Punk" became a college radio hit, even when it was initially released anonymously (granted, Jones
' voice was immediately recognizable). That conglomeration also split shortly afterward, Jones
later appearing in the production chair of notable records including the Libertines
' Up the Bracket. ~ Stephen Thomas Erlewine and John Bush, Rovi