blackleatherbookshelf | Entries tagged with clash

This is a Public Service Announcement...With Guitars!
5 Out of 5 Stars

Way back when, some muckity muck in the CBS Records Promo Department had the brilliant idea to slap a sticker across covers of the new Clash double LP that read "The Only Band That Matters." Even if the rest of the artists on the CBS roster might have been wondering a hearty WTF were they, chopped liver moment, but in 1979, The Clash actually felt like they could be that band. The band that all the hopes and dreams of rock and roll prophets whispered about in dark rooms when they quietly mused to themselves that a savior would be born unto them, bearing loud electric guitars, politically savvy lyrics and swagger that would never end. In 1979, it really felt like The Clash just might be that band. Hence, the 5 stars for The Singles.

But we all know how those kind of dreams end up. When Joe Strummer and Paul Simonon kicked Mick Jones out of the band and recorded "Cut The Crap," the world suddenly gave a collective yawn, and the general consensus to "Cut The Crap" was somebody, please pull the plug. But from 1979 to 1985, The Clash charged forth with revolutionary single after single often attached to stunning albums. If you don't have "London Calling," stop reading this review and order it now. They may not have been the best singers or the most proficient musicians, but that didn't stop them from playing fast, loud and even early on, playing with reggae and other influences than their punk roots might suggest.

So while you get the fury of "Clash City Rockers," you have the single "White Man in Hammersmith Palais," backing up the guitar roar with a reggae tune...both from their ferocious debut. Even more incredible is just how fast The Clash got better at what they were doing. The big riff of "London Calling" was matched by the almost soulful "Train In Vain" (their US breakthrough single). They were also going deeper into other musical forms, soon cutting rap-influenced songs like "The Magnificent Seven" and "This Is Radio Clash." Even as bloated as "Sandinista" was, the singles "Hitsville UK" and the politically charged "The Call Up" could blow you over.

It's interesting that their final, absolute American breakout was arriving as the band was beginning to fracture; "Combat Rock" delivered the remarkable "Rock The Casbah" and the big guitar attack of "Should I Stay or Should I Go." The album cover itself had the band on train tracks, quite literally at a crossroads. But even after splintering, they still could pull one more ace out of "Cut The Crap," the lovely and ironic "This Is England." Then it was over, except for side projects (Big Audio Dynamite being the most successful). But for the 20 singles collected on this The Singles, the final song sums it up. These were "Groovy Times" indeed.

Phony Beatlemania Has Bitten The Dust
5 Out Of 5 Stars

"London Calling" is one of those albums that changed all the rules for rock at the time. Filled to the brim as a double album, The Clash insisted that it be sold at a single album price. While the first two albums slipped between sloppy but angry punk and the second tried oh-so-hard to come off as a clean, big rock record, "London Calling" threw the rules and pretense out the window and let their freak flag fly. There was the blistering hard rock of the title track and "Clampdown," the reggae of "Rudy Can't Fail" and "Jimmy Jazz," the pop of "Train In Vain" and "Lover's Rock."

Above all, they decided that all their idealism was for real. The Clash directed their passion into both the music and the politics of the songs, making rabble-rousers like "Clampdown" and "The Guns Of Brixton" into fire-breathers. Their fascination with early American rock lead to a roaring cover of "Brand New Cadillac." The album was loaded with attempts to break boundaries at every opportunity, and succeeded at almost every shot. Even some of the dopier numbers ("Lost In The Supermarket" or "Death or Glory") don't detract from the album's power.

"London Calling" was a perfectly articulated - if raggedly punky - shout at the frustration that gave birth to the punk scene. Joe Strummer and Mick Jones wanted the whole rock packages; they wanted to be outlaws and revolutionary stars. "London Calling" was the best they ever managed at being that band.