Not just your ordinary passion-fuelled punk combo, London boys The CLASH concocted a cocktail of political rock’n’roll, reggae, dub and dance during several years at the top of their game. Second only to the SEX PISTOLS in hierarchy and status, although many could/would moot this point, heroes of hook-line punk-pop The CLASH subsequently cracked the elusive Stateside market which only a handful of Brit-punks could achieve or dream. In contrast to raucous Rotten and Co., The CLASH manipulated the energy of punk as a means of political protest and musical experimentation.
From early to mid 1976, guitarist/singer Mick Jones was recruiting musicians for his Brixton-based London SS outfit and, in quick succession, schoolboy chum Paul Simonon was preferred over GENERATION X-bound Tony James, drummer Tory Crimes (aka Terry Chimes) took over from Nicky “Topper” Headon, while former 101’ers frontman/guitarist Joe Strummer and Keith Levene (two other SEX PISTOLS disciples) heralded in a new band title and a new beginning in The CLASH; almost immediately Levene left, later to join ex-Pistol, John Lydon in PiL.
The SEX PISTOLS connection was such that Malcolm McLaren’s former business partner Bernie Rhodes was found as the group’s manager, as both teams set about causing mayhem on the riotous “Anarchy” three-gig tour of late ’76; they’d supported their punk rivals earlier in the summer. While E.M.I. had proved to be a major-label stepping stone for the ‘Pistols (however brief and nasty), C.B.S. were the secure and sound choice of Bernie and his Brixton boys.
Together with engineer and producer Mickey Foote at the helm, The CLASH emerged from a three-week studio stint in February 1977; however the aforementioned Topper Headon was reinstated as the band’s new touring drummer, Chimes having completed his part. The two-minute Top 40 breakthrough `White Riot’ announced the arrival of the punk quartet; even the simplistic non-album `1977’ flipside (“no Elvis, Beatles or The Rolling Stones”) was lyrically poignant and prophetic. If this was “selling-out” – who the f**k cared?
THE CLASH (1977) {*10} was a blinding statement of intent, a finely balanced masterwork of infectious hook-lines and raging conviction. `Janie Jones’ opened up this can of wondrous worms, while second non-hit(!) single `Remote Control’, `I’m So Bored With The U.S.A.’, `Deny’ and `Career Opportunities’ railed against inertia. In among further pounding power-punk anthems like `What’s My Name’, `London’s Burning’, `Cheat’ and `Garageland’, a clever cover of Junior Murvin’s `Police & Thieves’, their first sporadic foray into dub reggae. Unissued in America for a year or so, the album bubbled under the UK Top 10, lauded by many critics as the definitive punk set, while a further three classic non-album singles, `Complete Control’, `Clash City Rockers’ and `(White Man) In Hammersmith Palais’ struck the Top 40; the latter addressing the issue of racism, a subject never far from the band’s agenda.
C.B.S. – and no doubt the band themselves – were keen to crack the USA; the subsequent enlisting of BLUE OYSTER CULT/DICTATORS producer/guru Sandy Pearlman for follow-up LP, GIVE ‘EM ENOUGH ROPE (1978) {*8} was just the ticket. The album’s more rock-based, less frenetic approach met with some criticism, and despite Epic Record’s best efforts, the set just failed to crack the Billboard Top 100. It had however, reached No.2 in Old Blighty and spawned the band’s first Top 20 hit in `Tommy Gun’; Jones and Strummer’s traditional hard-rockin’ procurement of `English Civil War’ (flipped with a re-take of The MAYTALS’ `Pressure Drop’) tracked it the following March. Although tame in comparison to their rebellious debut, even purest punk fans couldn’t shun the exuberance of `Safe European Home’, `Last Gang In Town’ and `Drug-Stabbing Time’.
The CLASH duly set out to tour the States, while British fans lapped up `The Cost Of Living’ EP and its incendiary cover of Sonny Curtis’s `I Fought The Law’. Marking an inactive chart period from mid-to-late ‘79, The CLASH finally delivered their marathon masterwork, LONDON CALLING (1979) {*9}. Overseen by seasoned producer Guy Stevens, the double-set showed the quartet at an assured creative peak, from the anthemic echo of their near-Top 10 hit title track (flipped with non-album Willie Williams’ `Armagideon Time’) to Simonon’s brooding `The Guns Of Brixton’. Embracing rebellious roots, rockabilly and reggae, the raspy Strummer boy was never more cathartic and cool as on `Clampdown’, `Hateful’, `Spanish Bombs’, the funky US hit `Train In Vain’ and `Revolution Rock’; two covers stemmed from Vince Taylor (`Brand New Cadillac’) and Clive Alphonso (`Wrong `Em Boyo’ via “Stagger Lee”). Only just breeching the UK Top 10, the set finally cracked the States (Top 30), its universal acclaim spurred them on to ever more ambitious endeavours. Early in 1980, the band featured live in indie docu-film, Rude Boy, a movie about a fictionalised CLASH roadie.
After the plangent dub of `Bankrobber’ and `The Call Up’ 45, The CLASH unleashed the sprawling, triple-vinyl set, SANDINISTA! {*6} in December 1980. The record’s wildly experimental material met with critical pasting, the bulk of the tracks failing to withstand repeated listening. If one removes the chaff from the irreverent OTT over-dubs et al, one could’ve come up with one great set. Alongside the odd classy cover version, led by `Junco Partner’ (unknown), The EQUALS’ `Police On My Back’, MOSE ALLISON’s `Look Here’ and TYMON DOGG’s `Lose This Skin’ (and can one forgive them for the kiddie version of `Career Opportunities’), one could certainly vouch for opening salvo singles `The Magnificent Seven’ and `Hitsville UK’, plus `Somebody Got Murdered’, `The Crooked Beat’, `Corner Soul’ and `Charlie Don’t Surf’. “Sandinista!” was definitely the band’s “White Album”-meets-“Rock’n’Roll Swindle” trial-and-error. Its relatively poor sales (still at single vinyl price!) forced a back to basics rethink for future recordings; Terry Chimes was reinstated as sticksman after their flop attempt (Top 50) at blue-eyed rap through `This Is Radio Clash’.
COMBAT ROCK (1982) {*7} was a healthy seller, but it sounded laboured. Ironically, it became The CLASH’s biggest selling album in America, where `Rock The Casbah’ cracked the Top 10 (Top 30 in Britain). Hits `Know Your Rights’, plus double-header `Should I Stay Or Should I Go’ and `Straight To Hell’ all became swaggering staples for their mass following, but there was little else to whet one’s appetite, bar the dub-tastic `Ghetto Defendant’.
Without Strummer’s main songwriting foil, Mick Jones, who was kicked out the following year, The CLASH stumbled on for one further album, CUT THE CRAP (1985) {*4}; Bernie Rhodes was installed as Strummer’s automatic co-pilot.
Remaining originals Strummer and Simonon brought in new recruits Pete Howard (drums), ex-CORTINAS rhythm guitarist Nick Sheppard and Vince White (lead guitar), but this out-of-sync/sing-a-long-a-sham combo were not actually “cutting the crap” but “taking it”. If one wasn’t exactly a fan of the jingo-istic red and white of the “promised land”, then the likes of lone hit `This Is England’ wasn’t for thou. While Jones was already enjoying mid-80s success with his BIG AUDIO DYNAMITE alumni, JOE STRUMMER embarked on a low-key solo career before working with his pal Shane MacGowan in The POGUES.
The CLASH fever gripped the nation again in ‘91 when `Should I Stay…’ hit the top of the UK charts after being used in a Levi jeans advert (what else!?); a raft of subsequent singles kept their punk family happy. A best of double-set flew off the shelves and rumours were rife of a CLASH reunion – all unceremoniously quashed by all parties concerned. Simonon partook in roots outfit Havana 3 a.m.; he’s more recently teamed up with Damon Albarn (of BLUR) in mid-00s alt-indie supergroup, The GOOD, THE BAD & THE QUEEN. Sadly, JOE STRUMMER was to die of a heart attack in his Somerset house on 22nd December 2002.
From early to mid 1976, guitarist/singer Mick Jones was recruiting musicians for his Brixton-based London SS outfit and, in quick succession, schoolboy chum Paul Simonon was preferred over GENERATION X-bound Tony James, drummer Tory Crimes (aka Terry Chimes) took over from Nicky “Topper” Headon, while former 101’ers frontman/guitarist Joe Strummer and Keith Levene (two other SEX PISTOLS disciples) heralded in a new band title and a new beginning in The CLASH; almost immediately Levene left, later to join ex-Pistol, John Lydon in PiL.
The SEX PISTOLS connection was such that Malcolm McLaren’s former business partner Bernie Rhodes was found as the group’s manager, as both teams set about causing mayhem on the riotous “Anarchy” three-gig tour of late ’76; they’d supported their punk rivals earlier in the summer. While E.M.I. had proved to be a major-label stepping stone for the ‘Pistols (however brief and nasty), C.B.S. were the secure and sound choice of Bernie and his Brixton boys.
Together with engineer and producer Mickey Foote at the helm, The CLASH emerged from a three-week studio stint in February 1977; however the aforementioned Topper Headon was reinstated as the band’s new touring drummer, Chimes having completed his part. The two-minute Top 40 breakthrough `White Riot’ announced the arrival of the punk quartet; even the simplistic non-album `1977’ flipside (“no Elvis, Beatles or The Rolling Stones”) was lyrically poignant and prophetic. If this was “selling-out” – who the f**k cared?
THE CLASH (1977) {*10} was a blinding statement of intent, a finely balanced masterwork of infectious hook-lines and raging conviction. `Janie Jones’ opened up this can of wondrous worms, while second non-hit(!) single `Remote Control’, `I’m So Bored With The U.S.A.’, `Deny’ and `Career Opportunities’ railed against inertia. In among further pounding power-punk anthems like `What’s My Name’, `London’s Burning’, `Cheat’ and `Garageland’, a clever cover of Junior Murvin’s `Police & Thieves’, their first sporadic foray into dub reggae. Unissued in America for a year or so, the album bubbled under the UK Top 10, lauded by many critics as the definitive punk set, while a further three classic non-album singles, `Complete Control’, `Clash City Rockers’ and `(White Man) In Hammersmith Palais’ struck the Top 40; the latter addressing the issue of racism, a subject never far from the band’s agenda.
C.B.S. – and no doubt the band themselves – were keen to crack the USA; the subsequent enlisting of BLUE OYSTER CULT/DICTATORS producer/guru Sandy Pearlman for follow-up LP, GIVE ‘EM ENOUGH ROPE (1978) {*8} was just the ticket. The album’s more rock-based, less frenetic approach met with some criticism, and despite Epic Record’s best efforts, the set just failed to crack the Billboard Top 100. It had however, reached No.2 in Old Blighty and spawned the band’s first Top 20 hit in `Tommy Gun’; Jones and Strummer’s traditional hard-rockin’ procurement of `English Civil War’ (flipped with a re-take of The MAYTALS’ `Pressure Drop’) tracked it the following March. Although tame in comparison to their rebellious debut, even purest punk fans couldn’t shun the exuberance of `Safe European Home’, `Last Gang In Town’ and `Drug-Stabbing Time’.
The CLASH duly set out to tour the States, while British fans lapped up `The Cost Of Living’ EP and its incendiary cover of Sonny Curtis’s `I Fought The Law’. Marking an inactive chart period from mid-to-late ‘79, The CLASH finally delivered their marathon masterwork, LONDON CALLING (1979) {*9}. Overseen by seasoned producer Guy Stevens, the double-set showed the quartet at an assured creative peak, from the anthemic echo of their near-Top 10 hit title track (flipped with non-album Willie Williams’ `Armagideon Time’) to Simonon’s brooding `The Guns Of Brixton’. Embracing rebellious roots, rockabilly and reggae, the raspy Strummer boy was never more cathartic and cool as on `Clampdown’, `Hateful’, `Spanish Bombs’, the funky US hit `Train In Vain’ and `Revolution Rock’; two covers stemmed from Vince Taylor (`Brand New Cadillac’) and Clive Alphonso (`Wrong `Em Boyo’ via “Stagger Lee”). Only just breeching the UK Top 10, the set finally cracked the States (Top 30), its universal acclaim spurred them on to ever more ambitious endeavours. Early in 1980, the band featured live in indie docu-film, Rude Boy, a movie about a fictionalised CLASH roadie.
After the plangent dub of `Bankrobber’ and `The Call Up’ 45, The CLASH unleashed the sprawling, triple-vinyl set, SANDINISTA! {*6} in December 1980. The record’s wildly experimental material met with critical pasting, the bulk of the tracks failing to withstand repeated listening. If one removes the chaff from the irreverent OTT over-dubs et al, one could’ve come up with one great set. Alongside the odd classy cover version, led by `Junco Partner’ (unknown), The EQUALS’ `Police On My Back’, MOSE ALLISON’s `Look Here’ and TYMON DOGG’s `Lose This Skin’ (and can one forgive them for the kiddie version of `Career Opportunities’), one could certainly vouch for opening salvo singles `The Magnificent Seven’ and `Hitsville UK’, plus `Somebody Got Murdered’, `The Crooked Beat’, `Corner Soul’ and `Charlie Don’t Surf’. “Sandinista!” was definitely the band’s “White Album”-meets-“Rock’n’Roll Swindle” trial-and-error. Its relatively poor sales (still at single vinyl price!) forced a back to basics rethink for future recordings; Terry Chimes was reinstated as sticksman after their flop attempt (Top 50) at blue-eyed rap through `This Is Radio Clash’.
COMBAT ROCK (1982) {*7} was a healthy seller, but it sounded laboured. Ironically, it became The CLASH’s biggest selling album in America, where `Rock The Casbah’ cracked the Top 10 (Top 30 in Britain). Hits `Know Your Rights’, plus double-header `Should I Stay Or Should I Go’ and `Straight To Hell’ all became swaggering staples for their mass following, but there was little else to whet one’s appetite, bar the dub-tastic `Ghetto Defendant’.
Without Strummer’s main songwriting foil, Mick Jones, who was kicked out the following year, The CLASH stumbled on for one further album, CUT THE CRAP (1985) {*4}; Bernie Rhodes was installed as Strummer’s automatic co-pilot.
Remaining originals Strummer and Simonon brought in new recruits Pete Howard (drums), ex-CORTINAS rhythm guitarist Nick Sheppard and Vince White (lead guitar), but this out-of-sync/sing-a-long-a-sham combo were not actually “cutting the crap” but “taking it”. If one wasn’t exactly a fan of the jingo-istic red and white of the “promised land”, then the likes of lone hit `This Is England’ wasn’t for thou. While Jones was already enjoying mid-80s success with his BIG AUDIO DYNAMITE alumni, JOE STRUMMER embarked on a low-key solo career before working with his pal Shane MacGowan in The POGUES.
The CLASH fever gripped the nation again in ‘91 when `Should I Stay…’ hit the top of the UK charts after being used in a Levi jeans advert (what else!?); a raft of subsequent singles kept their punk family happy. A best of double-set flew off the shelves and rumours were rife of a CLASH reunion – all unceremoniously quashed by all parties concerned. Simonon partook in roots outfit Havana 3 a.m.; he’s more recently teamed up with Damon Albarn (of BLUR) in mid-00s alt-indie supergroup, The GOOD, THE BAD & THE QUEEN. Sadly, JOE STRUMMER was to die of a heart attack in his Somerset house on 22nd December 2002.