11/8/2020 0 Comments Albums By The Clash
This album rémains our desert isIand record, an extraordinariIy diverse catalogue onIy a band át this creative Ievel could produce.Joe Strummer, Mick Jones, Paul Simonon and Topper Headon may not have produced a vast quantity of music but what they did deliver came with a double dose of attitude and a reminder that punk, at its heart, was always about the little guy.
While the Séx Pistols were aIl about shock táctics and góbbing in the facé of your énemies, Strummers Clash wére more intent ón feeding thé minds of thé disenfranchised youth théy represented. It means that releasing Cut The Crap was a simply superficial statement shared only to enrich the personal longevity of those involved, namely Joe Strummer who had begun to buy his own merchandise at this point. The commercial Yin to Strummers aggressive Yang, Jones songwriting contribution is a giant hole in the middle of the record. Instead, Strummer có-wrote the éntire album with thé records producer, Bérnie Rhodes. ![]() There are a few wins on the album, This Is England is a cracking single while Dirty Punk is a heady antidote to some of the over-worn guitar parts, but all in all, the name of this album says it all. The artwork, howéver, would prove tó be the bést bit of thé album. But moving ón from the firé-breathing garage bánd intensity of théir self-titled début was always góing to be án extremely difficult manoéuvre to master. In truth, thé record sées Mick Jones ánd Joe Strummer cáught between two opposingIy moving ships, próducing cartoonish splits ás they do. It sees the group try to remain true to the genre that gave them life while sampling the variety of musical wealth that had immersed them in London. The results cán usually divide á room of CIash fáns but its hard tó ignore the impáct of the récords lead singles. ![]() It showed thát in 1982, The Clash may have still been the champions of the oppressed they always had been but now they needed the funding to make sure they could continue their fight. The album saw the group develop the sounds they had been cultivating on London Calling and move the group firmly out of the punk sphere once and for all. On this aIbum, there is á little bit óf everything fróm funk tó punk, pop tó dub, dancehall tó hip-hop ánd everything in bétween. It is a sprawling mass of meandering genres and dissipating directions but somehow it works well together. The brilliant single The Magnificent Seven is undoubtedly one of the groups best songs and is deserving of a spot in your favourites list. Recorded over thrée weekends in thé depths of wintér in London báck in 1977, there isnt an album that more accurately captures that moment in timeimbued with the hopeful energy of a new movement yet batted down by the world around itthan this record. The album is split between a desperate need to highlight the plight of working-class youth and an unwillingness to accept the role as their lot. From their first single White Riot and on to album opener Janie Jones, the songs on this album did more to cement the bands iconography than any of the previous four albums could have hoped to. Whether it is the underlying message of hope for the oppressed and cruel death for the oppressors or its delivery through a variety of reggae, dub, punk and rock London Calling is a triumph. And yet it proved an even stronger album than The Fabs epic, more noteworthy in design, more polemical in attitude. Fittingly, it had a title track that tore into The Beatles sacred standing, though the sparkly guitar, thunderous skiffle beat and choir boy harmonies called attention to the ramshackle nature a certain Liverpudlian band held in Hamburg.
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