The Clashwere an English rock band formed in London in 1976 who were key players in the original wave of British punk rock. Billed as "The Only Band That Matters", they also contributed to the post-punk and new wave movements that emerged in the wake of punk and employed elements of a variety of genres including reggae, dub, funk, ska, and rockabilly. For most of their recording career, the Clash consisted of lead vocalist and rhythm guitarist Joe Strummer, lead guitarist and vocalist Mick Jones, bassist Paul Simonon, and drummer Nicky "Topper" Headon.
Headon left the group in 1982 due to internal friction surrounding his increasing heroin addiction. Further internal friction led to Jones' departure the following year. The group continued with new members, but finally disbanded in early 1986. The Clash achieved critical and commercial success in the United Kingdom with the release of their self-titled debut album, The Clash (1977) and their second album, Give 'Em Enough Rope (1978). Their experimental third album, London Calling, released in the UK in December 1979, earned them popularity in the United States when it was released there the following month. A decade later, Rolling Stone named it the best album of the 1980s. Following continued musical experimentation on their fourth album, Sandinista! (1980), the band reached new heights of success with the release of Combat Rock (1982), which spawned the US top 10 hit "Rock the Casbah", helping the album to achieve a 2× Platinum certification there. A final album, Cut the Crap, was released in 1985 with a new lineup, and a few weeks later, the band broke up.[1]
Before the Clash's founding, the band's future members were active in different parts of the London music scene.
John Graham Mellor sang and played rhythm guitar in the pub rock act The 101ers, which he had formed in 1974 with Alvaro Pena-Rojas.[3] By the time the Clash came together two years later, he had already abandoned his original stage name, "Woody" Mellor, in favour of "Joe Strummer", a reference to his rudimentary strumming skills on the ukulele as a busker in the London Underground.
Mick Jones played guitar in protopunk band London SS,[3] which rehearsed for much of 1975 without ever playing a live show and recording only a single demo. London SS were managed by Bernard Rhodes, a sometime associate of impresario Malcolm McLaren and a friend of the members of the McLaren-managed band, the Sex Pistols. Jones and his bandmates became friendly with Sex Pistols Glen Matlock and Steve Jones, who would assist them as they tried out potential new members.[4] Among those who auditioned for London SS without making the cut were Paul Simonon, who tried out as a vocalist,[5] and drummer Terry Chimes. Nicky Headon drummed with the band for a week, then quit.[6][7]
After London SS broke up in early 1976, Rhodes continued as Jones' manager.[3] In February, Jones saw the Sex Pistols perform for the first time: "You knew straight away that was it, and this was what it was going to be like from now on. It was a new scene, new values—so different from what had happened before. A bit dangerous."[8] At the instigation of Rhodes, Jones contacted Simonon in March, suggesting he learn an instrument so he could join the new band Jones was organising.[5] Soon Jones, Simonon on bass, Keith Levene on guitar and "whoever we could find really to play the drums" were rehearsing.[9] Chimes was asked to audition for the new band and got the job, although he soon quit.[10]
The band was still searching for a lead singer. Chimes recalls one Billy Watts (who "seemed to be, like, nineteen or eighteen then, as we all were") handling the duties for a time.[11] Rhodes had his eye on Strummer, with whom he made exploratory contact. Jones and Levene had both seen him perform and were impressed as well.[12] Strummer, for his part, was primed to make the switch. In April, he had taken in the opening act for one of his band's gigs—the Sex Pistols. Strummer later explained:
I knew something was up, so I went out in the crowd which was fairly sparse. And I saw the future—with a snotty handkerchief—right in front of me. It was immediately clear. Pub rock was, "Hello, you bunch of drunks, I'm gonna play these boogies and I hope you like them." The Pistols came out that Tuesday evening and their attitude was, "Here's our tunes, and we couldn't give a flying fuck whether you like them or not. In fact, we're gonna play them even if you fucking hate them."[13]
"Five seconds into their first song I knew we were yesterday's papers."[14] On seeing the Sex Pistols, Strummer came to the conclusion that the 101'ers and pub rock were over and punk rock was the future.
On 30 May, Rhodes and Levene approached Strummer after a 101'ers gig and invited him to meet up at the band's rehearsal location on Davis Road. After Strummer turned up, Levene played "Keys to Your Heart", one of Strummer's own tunes.[15]
Rhodes gave Strummer 48 hours to decide whether he wanted to join the new band that would "rival the Pistols." Within 24 hours, he agreed.[16] Simonon later remarked, "Once we had Joe on board it all started to come together."[9] Strummer introduced the band to his old school friend Pablo LaBritain, who sat in on drums during Strummer's first few rehearsals with the group. LaBritain's stint with the band did not last long (he subsequently joined 999), and Terry Chimes—whom Jones later referred to as "one of the best drummers" in their circle—became the band's regular drummer.[17]
In Westway to the World, Jones also says, "I don't think Terry was officially hired or anything. He had just been playing with us."[18] Chimes did not take to Strummer at first: "He was like twenty-two or twenty-three or something that seemed 'old' to me then. And he had these retro clothes and this croaky voice".[11] Simonon came up with the band's name after they had briefly dubbed themselves the Weak Heartdrops and the Psychotic Negatives.[19][20] He later explained the name's origin: "It really came to my head when I started reading the newspapers and a word that kept recurring was the word 'clash', so I thought 'the Clash, what about that,' to the others. And they and Bernard, they went for it."[19]
Early gigs and the growing scene: 1976
After rehearsing with Strummer for less than a month, the Clash made their debut on 4 July 1976, supporting the Sex Pistols at the Black Swan in Sheffield.[3] The band apparently wanted to appear on stage before their rivals in the Damned, another London SS spinoff, made their own scheduled debut two days later. The Clash did not play in front of another audience for five weeks.[21][22] Levene was becoming disaffected with his position in the group. At the Black Swan, he approached the Sex Pistols' lead singer, John Lydon, then going by the name of Johnny Rotten, and suggested they form a band together if the Pistols broke up.[23]
Hours after their debut, the band members, along with most of the Sex Pistols and much of the rest of London's "inner circle" of punks, showed up at Dingwalls club to attend a concert by New York's leading punk rock band, the Ramones. Joe Strummer said: "It can't be stressed how great the first Ramones album was to the scene … It was the first word of Punk, a fantastic record".[24] Afterward "came the first example of the rivalry-induced squabbling that was to dog the punk scene and undermine any attempts to promote a spirit of unity among the bands involved."[25] Simonon got into a scuffle with J.J. Burnel, the bass player of the Stranglers. A slightly older band, the Stranglers were publicly identified with the punk scene, but were not part of the "inner circle", centred on the Sex Pistols.[25]
With Rhodes insisting that the band not perform live again until they were much tighter, the Clash rehearsed intensely over the following month. Strummer later described how seriously the band devoted itself to forging a distinct identity: "The day I joined The Clash was very much back to square one, year zero. Part of Punk was that you had to shed all of what you knew before. We were almost Stalinist in the way that you had to shed all your friends, or everything that you'd known, or every way that you'd played before."[24][26]
Strummer and Jones shared most of the writing duties. "Joe would give me the words and I would make a song out of them", Jones later said.[27] Sometimes they would meet in the office over their Camden rehearsal studio to collaborate directly.[25] According to a later description by Strummer, "Bernie [Rhodes] would say, 'An issue, an issue. Don't write about love, write about what's affecting you, what's important."[28]
Strummer took the lead vocals on the majority of songs but, in some cases, he and Jones shared the lead. Once the band began recording, Jones would rarely have a solo lead on more than one song per album, though he would be responsible for two of the group's biggest hits. On 13 August, the Clash, sporting a paint-spattered "Jackson Pollock" look, played before a small, invitation-only audience in their Camden studio.[29] Among those in attendance was Sounds critic Giovanni Dadamo. His review described the band as a "runaway train... so powerful, they're the first new group to come along who can really scare the Sex Pistols shitless".[30]
On 29 August, the Clash and Manchester's Buzzcocks opened for the Sex Pistols at The Screen on the Green, the Clash's first public performance since 4 July.[3] The triple bill is seen as pivotal to the crystallisation of the British punk scene into a movement,[31] though New Musical Express reviewer Charles Shaar Murray wrote: "The Clash are the sort of garage band that should be speedily returned to the garage, preferably with the motor still running".[32] Strummer later credited Murray's comments with inspiring the band's composition "Garageland".[33]
In early September, Levene was fired from the Clash. Strummer would claim that Levene's dwindling interest in the band owed to his supposedly extravagant use of speed, a charge Levene has denied.[34][35] Levene and Lydon would form Public Image Ltd. in 1978. On 21 September, the Clash performed publicly for the first time without Levene at another seminal concert: the 100 Club Punk Special, sharing the bill with the Sex Pistols, Siouxsie and the Banshees and Subway Sect.[36][37][38] Chimes left in late November; he was briefly replaced by Rob Harper as the Clash toured in support of the Sex Pistols during December's Anarchy Tour.[39]
The Clash promoted a left-wing message in their songs and interviews. They sang about social problems, such as career opportunities and unemployment, and the need for people to fight back against racism and oppression. AS Joe Strummer said in 1976: "We're anti-fascist, we're anti-violence, we're anti-racist and we're pro-creative."Miles (11 December 1976). "Eighteen Flight Rock And The Sound Of The Westway". New Musical Express. However, he declared that "I don't believe in all that anarchy bollocks!"[40][41] According to Clash guitarist, Mick Jones, "The important thing is to encourage people to do things for themselves, think for themselves and stand up for what their rights are."[40][41]
The confrontation between Black youth and the police at the Notting Hill Carnival in 1976 was important in the development of the political stance of The Clash, and directly inspired Joe Strummer to write "White Riot". Images of the Notting Hill Carnival riots appeared as The Clash's stage backdrop, the back cover of their first album, and was reprinted on badges and The Clash t-shirts.[42]
Punk outbreak and UK fame: 1977–1979
Signing that contract did bother me a lot. I've been turning it over in my mind, but now I've come to terms with it. I've realised that all it boils down to is perhaps two-year's security... Before, all I could think about was my stomach... Now I feel free to think—and free to write down what I'm thinking about... And look—I've been fucked about for so long I'm not going to suddenly turn into Rod Stewart just because I get £25.00 a week. I'm much too far gone for that, I tell you.[43]
—Joe Strummer, March 1977
By the turn of the year, punk had become a major media phenomenon in the UK. The New Musical Express declared "1977 is the year of The Clash."[44]
On 25 January 1977, the Clash signed to CBS Records for £100,000, a remarkable amount for a band that had played a total of about thirty gigs and almost none as a headliner.[45] As Clash historian Marcus Gray describes, the "band members found themselves having to justify [the deal] to both the music press and to fans who picked up on the critics' muttered asides about the Clash having 'sold out' to the establishment."[46]Mark Perry, founder of the leading London punk periodical, Sniffin' Glue, let loose with what he would later call his "big quote": "Punk died the day the Clash signed to CBS."[47] However, he changed his mind when he heard the "White Riot" single for the first time: "They're the most important group in the world at the moment. I believe in them completely. All I said about them is crap."[48] As one band associate described it, the deal "was later used as a classic example of the kind of contract that no group should ever sign—the group had to pay for their own tours, recordings, remixes, artwork, expenses..."[49]
Mickey Foote, who worked as a technician at their concerts, was hired to produce the Clash's debut album, and Terry Chimes was drafted back for the recording. The band's first single, "White Riot", was released in March 1977 and reached number 34. The album, The Clash, came out the following month and would reach number 12.[3] Filled with fiery punk tracks that raged against the ruling establishment, the bosses, the police, alienation and boredom.[50][51]
The Clash also presaged the many eclectic turns the band would take with its cover of the reggae song "Police and Thieves". The group, from its earliest days, had been influenced by the subject matter, slogans and lyrics of this other rebel music. They often played reggae in rehearsals but recording "Police and Thieves" was an important step that was only taken after a lot of discussion within the group.[52][53] Reggae would have a strong influence on The Clash throughout the group's history.
"Amidst the Sex Pistols' inertia in the first half of 1977, the Clash found themselves as the flag-wavers of the punk rock consciousness", according to music journalist and former punk musician John Robb.[54] Though The Clash album charted well in the UK, climbing quickly to number 12, CBS refused to give it a US release, believing that its raw, barely produced sound would make it unmarketable there.[55] A North American version of the album, with a modified track listing, was eventually released in the US two years later in 1979, after the UK original became the best-selling import album of the year in the United States.[56]
Chimes, whose career aspirations owed little to the punk ethos, had left the band again soon after the recording sessions. He later said, "The point was I wanted one kind of life and they wanted another and, like, why are we working together, if we want completely different things?"[57] As a result, only Simonon, Jones and Strummer were featured on the album's cover, and Terry Chimes was credited as "Tory Crimes". Strummer later described what followed: "We must have tried every drummer that then had a kit. I mean every drummer in London. I think we counted 205. And that's why we were lost until we found Topper Headon."[58] Headon, who had played briefly with Jones's London SS, was nicknamed "Topper" by Simonon, who felt he resembled the Topper comic book character Mickey the Monkey.[59] Headon could also play piano, bass and guitar. The day after he signed up, he declared, "I really wanted to join the Clash. I want to give them even more energy than they've got—if that's possible";[43] interviewed over two decades later, he said his original plan was to stay briefly, gain a name for himself, and then move on to a better gig.[60] In any event, Strummer later observed, "Finding someone who not only had the chops, but the strength and the stamina to do it was just the breakthrough for us".[61]
In May, the band set out on the White Riot Tour, headlining a punk package that included the Buzzcocks, Subway Sect, the Slits and the Prefects.[62] The day after a Newcastle gig, Strummer and Headon were arrested for stealing pillowcases from their hotel room.[63] The highlight of the tour was the Rainbow theatre in London on 9 May. This was the first time The Clash had played a major music venue and the punks took the Rainbow by storm ripping up seats as the gig turned into a mini-riot.[3]The Sun reported on the events with the front page headline "Punk Wreck".[64] The New Musical Express, while expressing serious concerns over the violence, declared that "The Clash are probably the best band in the country right now".[65] "That was the night punk broke … we were in the right place doing the right thing at the right time"(Joe Strummer).[66]
That same month, CBS released "Remote Control" as the debut LP's second single, defying the wishes of the band, who saw it as one of the album's weakest tracks.[67]
Headon's first recording with the band was the single "Complete Control", which addressed the band's anger at their record label's behaviour. It was co-produced by famed reggae artist Lee "Scratch" Perry,[3] though Foote was summoned to "ground things" a bit and the result was pure punk rock. Released in September 1977—NME noted how CBS allowed the group to "bait their masters"—it rose to number 28 on the British chart and has gone on to be cited as one of punk's greatest singles.[68][69]
In October 1977, The Clash set out on the "Out of Control" UK tour. The tour was due to open at the Ulster Hall, Belfast but the insurance was pulled and the gig was cancelled at the last moment. This led to punks blocking the road outside the venue and a confrontation between the punks and the police, which became known as the "Battle of Bedford Street". Compared to many other riots in 1970's Belfast it was small scale but it was unique in that it was a non-sectarian "riot" of Protestant and Catholic punks.[70][71][72]
In February 1978, the band came out with the single "Clash City Rockers".[3] In a rare BBC TV appearance the group played "Clash City Rockers", along with "Tommy Gun", in a live performance on youth TV programme Something Else in early 1978.[73][74]
On 30 April, The Clash played the Rock Against Racism Carnival in Victoria Park, London. Late 1970s England had seen an increase in racist attacks and a growth in support for the far-right National Front. Rock Against Racism was launched to use music to counter racism and the rise of the far-right. RAR tapped into the radical politics and popularity of punk and reggae. X-Ray Spex, Steel Pulse, Misty in Roots, headliners Tom Robinson Band, and The Clash played to 100,000 people who marched through London and attended the RAR Carnival.[75][76][77]
June saw the release of "(White Man) In Hammersmith Palais", which reached number 32.[3] The song quickly became a firm favourite with Clash fans and was voted single of the year in the 1978 NME Readers' Poll.[78][79]
Before the Clash began recording their second album, CBS requested that they adopt a cleaner sound than its predecessor in order to reach American audiences. Sandy Pearlman, known for his work with Blue Öyster Cult, was hired to produce the record. Simonon later recalled, "[R]ecording that album was just the most boring situation ever. It was just so nitpicking, such a contrast to the first album... it ruined any spontaneity."[80] Strummer agreed that "it wasn't our easiest session."[81] The band parted ways with Bernie Rhodes and hired the journalist Caroline Coon as their manager.[3]
The album Give 'Em Enough Rope appeared in early November 1978,[82][83] and received mixed reviews in the UK music press, where some complained about its relatively mainstream production style.[84][85][86] However, the album sold well and reached number 2 in the UK album charts.[87] Despite the backlash from sections of the music press, NME readers voted Give 'Em Enough Rope the second best album of 1978 and The Clash were voted the best group in the same end of year poll.[78] However, the album was not the American breakthrough CBS had hoped for, reaching only number 128 on the Billboard chart.
The album's first UK single, "Tommy Gun", rose to number 19, the highest chart position for a Clash single to date.[87][3] The Clash produced their first official music video, showing the group performing "Tommy Gun", to accompany the release of the single. In the video Joe Strummer wore a H Block t-shirt in support of the campaign for political status for Irish Republican prisoners.[88] The band embarked on a North American tour culminating in a performance at the Palladium in New York City.[3]
"English Civil War", which warned against the rise of the far-right in the UK, was released as the album's second single in February 1979 reaching number 25 in the UK Singles Chart.[87] The B-side was a cover of the Toots and the Maytals' "Pressure Drop", once again illustrating the group's reggae influences.
In support of the album, the band toured the UK supported by the Slits and the Innocents. The series of concerts—there were more than thirty, from Edinburgh to Portsmouth—was promoted as the Sort It Out Tour. The band subsequently undertook its first, largely successful tour of North America in February 1979.[89]
In August and September 1979, the Clash recorded London Calling, produced by Guy Stevens, a former A&R executive who had worked with Mott the Hoople and Traffic.[3] The double album was a mix of punk rock, reggae, ska, rockabilly and traditional rock and roll.[92] It is regarded as one of the greatest rock albums ever recorded.[93][94] In the US, the single "Train in Vain" became their first US Top 40 hit, peaking at number 23 on the Billboard chart. In the UK, the title track was released and rose to number 11—the highest position any Clash single reached in the UK before the band's break-up.[3]
Released in December, the album achieved number 9 on the British chart; in the United States, where it was issued in January 1980, it reached number 27.[3] The cover photograph by Pennie Smith of the album, became one of the most recognisable,[91] and was later cited as the "best rock 'n roll photograph of all time" by Q magazine.[95][96] During this period, the Clash began to be regularly billed as "The Only Band That Matters". Musician Gary Lucas, then employed by CBS Records' creative services department, claims to have coined the tagline.[97] The epithet was soon widely adopted by fans and music journalists.[98]
Paul Simonon of the Clash performs at the Palladium, 20 September 1979. (Photo: S. Sherman)
Around the turn of the year, the band members attended a special private screening of a new film, Rude Boy; part fiction, part rockumentary, it tells the story of a Clash fan who leaves his job in a Soho sex shop to become a roadie for the group. The movie—named after the rude boy subculture—includes footage of the band on tour, at a London Rock Against Racism concert, and in the studio recording Give 'Em Enough Rope.[3] The band was so disenchanted with it that they had Better Badges make buttons that declared "I don't want RUDE BOY Clash Film".[99] On 27 February 1980, it premiered at the 30th Berlin International Film Festival,[100] where it won an honourable mention.[101]
The Clash had planned to record and release a single every month in 1980. CBS dismissed this idea, and the band came out with only one single—an original reggae tune, "Bankrobber", in August. It featured Mikey Dread and reached no 12 in the UK charts.[3] In October the US record company released the B-side compilation EP Black Market Clash that would later be re-released in expanded form as a full-length.[3]
In December 1980 the band released of the 3-LP, 36-song Sandinista! The album again reflected a broad range of musical styles. Produced by the band members with further participation of Mikey Dread, Sandinista! was proved to be controversial both politically and musically.[102] Critical opinion was divided, with the Trouser Press's Ira Robbins describing half the album as "great", half as "nonsense" and worse,[103] while the New Rolling Stone Record Guide, Dave Marsh argued, "Sandinista! is nonsensically cluttered. Or rather seems nonsensically cluttered. One of the Clash's principal concerns... is to avoid being stereotyped."[104] The album fared reasonably well in America, charting at number 24.[105] In the UK the album reached 19 while the single "The Call Up" charted at 40.[3] In January 1980 Rhodes was reinstated as manager and the single "Hitsville UK" reached 54, while "The Magnificent Seven" charted at 34 as the band spent most of the year touring.[3]
In December 1981, the band put out with a single, "This Is Radio Clash", that that charted at 47.[3] They began work on their fifth album in September, with production duties by Glyn Johns and released Combat Rock in May 1982. In the UK, the first single "Know Your Rights" reached 43.[3] The leadoff single in the US was "Should I Stay or Should I Go", released in June 1982 where it received heavy airplay on AOR stations. The follow-up, "Rock the Casbah", was composed by Headon, who performed not only the percussion but also the piano and bass heard on the recorded version.[106] It became the band's biggest US hit, charting at number 8, while the album reached number 2 in the UK and number 7 in the US.[3]
Disintegration and break up: 1982–1986
After the release of Combat Rock, the band began to disintegrate. Headon was asked to leave the band in May 1982 as his addiction problems cause reliability issues.[107][108] Chimes was brought back to drum for the next few months. The band opened for the Who on a leg of their final tour in the US, including a show at New York's Shea Stadium.[3]
Chimes left the band after the Combat Rock Tour and was replaced by Pete Howard in May 1983.[3] They co-headlined the US Festival in San Bernardino, California on 28 May, in front of a crowd of 140,000.[3] After the show, members of the band brawled with security staff.[109] It would be Jones' last appearance with the group as in September 1983, he was fired by Strummer and Simonon.[3]Nick Sheppard, formerly of the Bristol-based band the Cortinas, and Vince White were recruited as the Clash's new guitarists.[3] The reconstituted band played its first shows in January 1984 with a batch of new material and launched into the self-financed Out of Control Tour, travelling widely over the winter and into early summer. The band also headline a striking miners' benefit show.[3]
In November 1985, they released Cut the Crap with the single "This Is England" reaching 24 in the UK charts.[3] Strummer later noted that "CBS had paid an advance for it so they had to put it out"[110] Dave Marsh would later list "This Is England" as one of the top 1001 rock singles of all time.[111] The album would eventually reach 16 in the UK charts and 88 in the US.[3] Strummer largely disowned the album,[108] although he did mention that "I really like 'This Is England' and [album track] 'North and South' is a vibe."[110]
In January 1986, it was announced that the Clash had disbanded.[3] Strummer later described the group's end: "When the Clash collapsed, we were tired. There had been a lot of intense activity in five years. Secondly, I felt we'd run out of idea gasoline. And thirdly, I wanted to shut up and let someone else have a go at it."[112]
Collaborations, reunions and Strummer's death: 1986–present
After being sacked, Jones formed a new band, Big Audio Dynamite (B.A.D.), that released its debut late in 1985. Jones and Strummer did work together on their respective 1986 projects. Jones helped out with the two songs Strummer wrote and performed for the Sid and Nancy soundtrack. Strummer, in turn, co-wrote a number of the tracks on the second B.A.D. album, No. 10, Upping St., which he also co-produced.[110] With Jones committed to B.A.D., Strummer moved on to various solo projects and screen acting work. Simonon formed a band called Havana 3am. Headon recorded a solo album, Waking Up, but was imprisoned in 1987 for drug-related offences.[3]
In 1988, the collection The Story of the Clash Vol. 1 was released, while the re-issued single "I Fought The Law" reached 29 in the UK.[3] On 2 March 1991, a reissue of "Should I Stay or Should I Go" gave the Clash its first and only number 1 UK single.[3] That same year, "Rock the Casbah" featured on the Armed Forces Radio broadcast in the Gulf War.[113][3]
In 1999, Strummer, Jones and Simonon cooperated in compiling of the live album From Here to Eternity and video documentary Westway to the World. On 7 November 2002, the Rock and Roll Hall of Fame announced that the Clash would be inducted the following March.[114] On 15 November, Jones and Strummer shared the stage, performing three Clash songs during a London benefit show by Joe Strummer and the Mescaleros.[105] Strummer, Jones and Headon wanted to play a reunion show to coincide with their induction into the Hall of Fame. Simonon did not want to participate because he believed that playing at the high-priced event would not have been in the spirit of the Clash. Strummer's sudden death from a congenital heart defect on 22 December 2002 ended any possibility of a full reunion. In March 2003, the Hall of Fame induction took place; the band members inducted were Strummer, Jones, Simonon, Chimes and Headon.[105]
In early 2008, Carbon/Silicon, a new band founded by Mick Jones and his former London SS bandmate Tony James, entered into a six-week residency at London's Inn on the Green. On opening night, 11 January, Headon joined the band for the Clash's "Train in Vain". An encore followed with Headon playing drums on "Should I Stay or Should I Go". This was the first time since 1982 that Headon and Jones had performed together on stage.[115]
Graffiti in Rijeka, Croatia commemorating Joe Strummer
Jones and Headon reunited in September 2009 to record the 1970s Clash B-side "Jail Guitar Doors" with Billy Bragg. The song is the namesake of a charity founded by Bragg which gives musical instruments and lessons to prison inmates. Jones, Headon, and Bragg were backed by former inmates during the session, which was filmed for a documentary about the charity, Breaking Rocks.[116] Simonon and Jones were featured on the title track of the Gorillaz album Plastic Beach in 2010. This reunion marked the first time the two performers had worked together in over twenty years. They later joined Gorillaz on their Escape to Plastic Beach Tour for the remainder of 2010.[117]
In July 2012, Strummer's daughters, Jazz and Lola, gave a rare interview to discuss the upcoming tenth anniversary of their father's passing, his legacy and the possibility of a Clash reunion had their father lived. Jazz said "There was talk about the Clash reforming before he died. But there had been talk for years and years about them reforming. They had been offered stupid amounts of money to do it, but they were very good at keeping the moral high ground and saying no. But I think if Dad hadn't died, it would have happened. It felt like it was in the air."[118][relevant?]
On 9 September 2013 in the UK (and a day later in the US), the Clash released Sound System, a twelve-disc box set featuring their studio albums completely re-mastered on eight discs with an additional three discs featuring demos, non-album singles, rarities and B-sides, a DVD with previously unseen footage by both Don Letts and Julien Temple, original promo videos and live footage, an owner's manual booklet, reprints of the band's original 'Armagideon Times' fanzine as well as a brand new edition curated and designed by Paul Simonon and merchandise including dog tags, badges, stickers and an exclusive Clash poster. Both Mick Jones and Paul Simonon oversaw the project including the re-masters. The box set came in a package shaped as an 80s ghetto blaster. The box set was accompanied by 5 Album Studio Set, which contains only the first five studio albums (excluding Cut the Crap), and The Clash Hits Back, a 33-track, two-CD best of collection sequenced to copy the set played by the band at the Brixton Fair Deal (now the Academy) on 19 July 1982.[119][120]
In a 3 September 2013 interview with Rolling Stone, Mick Jones discussed the band reuniting saying it likely would have never happened. Jones said "There were a few moments at the time I was up for it (Hall of Fame reunion in 2003), Joe was up for it. Paul wasn't. And neither, probably, was Topper, who didn't wind up even coming in the end. It didn't look like a performance was going to happen anyway. I mean, you usually play at that ceremony when you get in. Joe had passed by that point, so we didn't. We were never in agreement. It was never at a point where all of us wanted to do it at the same time. Most importantly for us, we became friends again after the group broke up, and continued that way for the rest of the time. That was more important to us than the band". Jones also stated that the Sound System box set was the last time he will ever be involved in the band's releases. "I'm not even thinking about any more Clash releases. This is it for me, and I say that with an exclamation mark." Jones said.[121]
On 6 September 2013, the three surviving members of the classic lineup (Mick Jones, Paul Simonon and Topper Headon) reunited again for an exclusive BBC Radio 6 Music show to promote their legacy and the release of Sound System.[122]
In an October 2013 interview with BBC 6Music, Jones confirmed that Strummer did have intentions of a Clash reunion and in fact new music was being written for a possible album. In the months prior to Strummer's death, Jones and Strummer began working on new music for what he thought would be the next Mescaleros album. Jones said "We wrote a batch – we didn't used to write one, we used to write a batch at a time – like gumbo. The idea was he was going to go into the studio with the Mescaleros during the day and then send them all home. I'd come in all night and we'd all work all night." Jones said months had passed following their work together when he ran into Strummer at an event. Jones was curious as to what would become of the songs he and Strummer were working on and Strummer informed him that they were going to be used for the next Clash album.[123] On 6 April 2022, The Clash announced the re-release of Combat Rock, including demos with Ranking Roger’s vocals titled 'Combat Rock / The People's Hall'. Two supporting singles were released, "Rock the Casbah (Ranking Roger)" and "Red Angel Dragnet (Ranking Roger)" with both having Ranking Roger’s vocals. The re-release was released on 20 May 2022 to mixed reviews.[124]
On 11 November 2022, founding member Keith Levene died a month before the 20th anniversary of Strummer's death in Norfolk, England.[125]
Politics
The Clash's music often expressed left-wing ideological sentiments.[126] Strummer, in particular, was a committed socialist. The Clash are credited with pioneering the advocacy of radical politics in punk rock, and were dubbed the "Thinking Man's Yobs" by NME.[127] Like many early punk bands, the Clash protested against monarchy and aristocracy; however, unlike many of their peers, they rejected nihilism.[56] Instead, they found solidarity with a number of contemporary liberation movements and were involved with such groups as the Anti-Nazi League. On 30 April 1978, the Clash played the Rock Against Racism concert in London's Victoria Park for a crowd of 50–100,000 people;[128] Strummer wore a T-shirt identifying two left-wing militant groups: the words "Brigade [sic] Rosse"—Italy's Red Brigades—appeared alongside the insignia of West Germany's Red Army Faction.[129][130]
The moment that best exemplifies the Clash... took place in August 1977, at a music festival in Liege, Belgium. The band was playing before 20,000 people and had been under fire from a crowd that was throwing bottles at the stage. But that wasn't what bothered lead singer Joe Strummer. What enraged him was a 10-foot-high barbed-wire fence strung between concrete posts and forming a barrier between the group and the audience... [He] jumped from the stage and attacked the fence, trying to pull it down... The Clash were the only performers at the show who tried to do anything about the obstacle. They were more willing to run the risk of the crowd than to tolerate barbed wire that was meant to fend off that crowd. This is more or less what the Clash were about: fighting the good fight that few others would fight.[7]
Their politics were made explicit in the lyrics of such early recordings as "White Riot", which encouraged disaffected white youths to riot like their black counterparts; "Career Opportunities", which addressed the alienation of low-paid, routinised jobs and discontent over the lack of alternatives; and "London's Burning", about the bleakness and boredom of life in the inner city.[131] Artist Caroline Coon, who was associated with the punk scene, argued that "[t]hose tough, militaristic songs were what we needed as we went into Thatcherism".[132]
The title of Sandinista! celebrated the left-wing rebels who had recently overthrown Nicaraguan despot Anastasio Somoza Debayle, and the album was filled with songs driven by other political issues extending far beyond British shores: "Washington Bullets" addressed covert military operations around the globe, while "The Call-Up" was a meditation on US draft policies.[133][134]Combat Rock's "Straight to Hell" is described by scholars Simon Reynolds and Joy Press as an "around-the-world-at-war-in-five-verses guided tour of hell-zones where boy-soldiers had languished."[134]
The band's political sentiments were reflected in their resistance to the music industry's usual profit motivations; even at their peak, tickets to shows and souvenirs were reasonably priced.[56] The group insisted that CBS sell their double and triple album sets London Calling and Sandinista! for the price of a single album each (then £5), succeeding with the former and compromising with the latter by agreeing to sell it for £5.99 and forfeit all their performance royalties on its first 200,000 sales.[135] These "VFM" (value for money) principles meant that they were constantly in debt to CBS, and only started to break even around 1982.[1]
Musical style, legacy and influence
The Clash are mainly described as a punk rock band.[136][137][138] According to Stephen Thomas Erlewine of AllMusic, "the Sex Pistols may have been the first British punk rock band, but the Clash were the definitive British punk rockers".[137] Later in their career, the Clash used elements of a variety of genres of music, including reggae, rockabilly, dub, and R&B.[137] With their album London Calling, the band expanded their breadth of musical styles in the first double album of the "post-punk" period.[139] The Clash's music has sometimes been described as experimental rock[140][141] and new wave.[142][143] They played reggae since their beginnings, covering reggae songs and writing their own; and incorporated lovers' rock into the London Calling album.[144]
In 2004, Rolling Stone ranked the Clash number 28 on its list of the 100 Greatest Artists of All Time,[145] and in 2010, the band was ranked 22nd on VH1's 100 Greatest Artists of All Time.[146] According to The Times, the Clash's debut, alongside Never Mind the Bollocks, Here's the Sex Pistols, is "punk's definitive statement" and London Calling "remains one of the most influential rock albums".[130] In Rolling Stone's 2003 list of the 500 greatest albums of all time, London Calling ranked number 8, the highest entry by a punk band. The Clash was number 77 and Sandinista! was number 404.[147] In the magazine's 2004 list of the 500 Greatest Songs of All Time, "London Calling" ranked number 15, again the highest for any song by a punk band. Four other Clash songs made the list: "Should I Stay Or Should I Go" (228), "Train in Vain" (292), "Complete Control" (361), and "(White Man) in Hammersmith Palais" (430).[69] "London Calling" ranked number 48 in the magazine's 2008 list of the 100 Greatest Guitar Songs of All Time.[148] In 2010, London Calling was one of ten classic album covers from British artists commemorated on a UK postage stamp issued by the Royal Mail.[149][150]
[T]he big watershed was the Clash album—that was go out, cut your hair, stop mucking about time, y'know. Up to that point we'd still been singing about bowling down California highways. I mean, it meant nothing to me. Although the Damned and the Pistols were great, they were only exciting musically; lyrically, I couldn't really make out a lot if it... [T]o realise that [the Clash] were actually singing about their own lives in West London was like a bolt out of the blue.[151]
The Clash also inspired many musicians who were only loosely associated, if at all, with punk. The band's embrace of ska, reggae and England's Jamaican subculture helped provide the impetus for the 2 Tone movement that emerged amid the fallout of the punk explosion.[152] Other musicians who began performing while the Clash were active and acknowledged their debt to the band include Billy Bragg and Aztec Camera.[153]U2's the Edge has compared the Clash's inspirational effect to that of the Ramones—both gave young rock musicians at large the "sense that the door of possibility had swung open."[154] He wrote, "The Clash, more than any other group, kick-started a thousand garage bands across Ireland and the UK... [S]eeing them perform was a life-changing experience."[2]Bono has described the Clash as "the greatest rock band. They wrote the rule book for U2."[155]
While the Sex Pistols' debut gig at Manchester's Lesser Free Trade Hall has been acknowledged as the starting point of that city's punk scene, The Clash's first gig at Eric's, supported by The Specials, served as a similar watershed for Liverpool. The gig was witnessed by Jayne Casey, Julian Cope, Pete Wylie, Pete Burns, Bill Drummond, Holly Johnson, Will Sergeant, Budgie, and Ian McCulloch.[156]Jon Langford of the Mekons explained the difference in influence between the two bands on younger musicians of the time, saying, "You can't overestimate how important The Clash were back in 1977. We loved the Pistols' self-aware nihilism, but we didn't want to be the Pistols, and if The Clash were cartoon-heroic and occasionally a bit silly we still loved them and recognised the risks they were taking."[157]
In later years, the Clash's influence can be heard in American political punk bands such as Rancid, Anti-Flag, Bad Religion, NOFX, Green Day, and Rise Against as well as in the political hard rock of early Manic Street Preachers.[158] California's Rancid, in particular, are known as "incurable Clash zealots".[159] The title track of the band's album Indestructible proclaims, "I'll keep listening to that great Joe Strummer!"[160] Outside of rock music, Chuck D has credited the Clash as an inspiration for Public Enemy, in particular for the way their use of socially and politically conscious lyrics gained attention from the music press: "They talked about important subjects, so therefore journalists printed what they said, which was very pointed... We took that from the Clash, because we were very similar in that regard. Public Enemy just did it 10 years later". In 2019 Chuck D narrated Stay Free: The Story of The Clash, an eight-part podcast series produced by Spotify and BBC Studios.[161]
The band's 1982 hit, "Should I Stay or Should I Go", is featured in multiple episodes of the 2016 Netflix sci-fi drama series, Stranger Things, which is set in 1983.[175][176][177]London Town, a film which tells the story of a Clash-obsessed teenager who crosses paths with Joe Strummer by happenstance in 1979 and finds his life changing as a result, was released in 2016.[178]
In March 2022, surviving members of The Clash gave permission to Ukrainian punk band Beton to rewrite the lyrics to London Calling. The song was produced in the wake of Russia's invasion of Ukraine, and mixed in Los Angeles by music producer Danny Saber. All proceeds from the song were designated to help fund war efforts.[179]
John Richards, KEXP radio personality, created International Clash Day on 7 February 2013.
Related Research Articles
John Graham Mellor, known professionally as Joe Strummer, was a British singer-songwriter and musician. He was the co-founder, lyricist, rhythm guitarist and lead vocalist of punk rock band the Clash, formed in 1976. The Clash's second studio album Give 'Em Enough Rope (1978) reached No. 2 on the UK charts. Soon after, they achieved success in the US, starting with London Calling (1979) and peaking with Combat Rock (1982), which reached No. 7 on the US charts and was certified 2× platinum there. The Clash's explosive political lyrics, musical experimentation, and rebellious attitude had a far-reaching influence on rock music in general, especially alternative rock. Their music incorporated reggae, ska, dub, funk, rap, and rockabilly.
London Calling is the third studio album by English rock band the Clash. It was originally released as a double album in the United Kingdom on 14 December 1979 by CBS Records, and in the United States in January 1980 by Epic Records.
Terence Chimes is an English musician, best known as the original drummer of punk rock group The Clash. He played with them from July 1976 to November 1976, January 1977 to April 1977, and again from May 1982 to February 1983 both preceding and succeeding his replacement Topper Headon. He also drummed for Generation X from 1980-1981, Hanoi Rocks in 1985, and Black Sabbath from 1987 to 1988. In 2003, he was inducted into the Rock and Roll Hall of Fame as a member of The Clash.
Give 'Em Enough Rope is the second studio album by the English punk rock band the Clash, released on 10 November 1978 through CBS Records. It was their first album released in the United States, preceding the US version of the self-titled studio album. The album was well received by critics and fans, peaking at number two in the United Kingdom Albums Chart, and number 128 in the Billboard 200. The album is tied with Combat Rock (1982) for being the highest-charting album for the Clash in their native United Kingdom.
Sandinista! is the fourth studio album by the English punk rock band the Clash. It was released on 12 December 1980 as a triple album containing 36 tracks, with 6 songs on each side. It crosses various genres including funk, reggae, jazz, gospel, rockabilly, folk, dub, rhythm and blues, calypso, disco, and rap. For the first time, the band's songs were credited to The Clash as a group, rather than to Joe Strummer and Mick Jones. The band agreed to a decrease in album royalties in order to release the 3-LP at a low price.
Paul Gustave Simonon is an English musician and artist best known as the bassist for the Clash. More recent work includes his involvement in the supergroup the Good, the Bad & the Queen and playing on the Gorillaz album Plastic Beach in 2010, which saw Simonon reunite with The Clash guitarist Mick Jones and Blur frontman Damon Albarn – and which also led to Simonon becoming the live band's touring bassist for Gorillaz's Escape to Plastic Beach Tour. Simonon is also an established visual artist.
Combat Rock is the fifth studio album by the English rock band the Clash. It was released on 14 May 1982 through CBS Records. In the United Kingdom, the album charted at number 2, spending 23 weeks in the UK charts and peaked at number 7 in the United States, spending 61 weeks on the chart. The album was propelled by drummer Topper Headon's "Rock the Casbah" which became a staple on the newly launched MTV. Combat Rock continued the influence of funk and reggae like previous Clash albums, but also featured a more radio-friendly sound which alienated Clash fans. While the recording process went smoothly, the producing process of the album was tiring and full of infighting between Mick Jones and Joe Strummer. Headon's heroin addiction grew worse and he slowly became distant from the band while Strummer and bassist Paul Simonon reinstated Bernie Rhodes as manager, a move unwelcomed by Jones. The band had disagreed on the creative process of the album and called in Glyn Johns to produce the more radio-friendly sound of Combat Rock. Lyrically, Combat Rock focuses on the Vietnam War, postcolonialism, the decline of American society, and authoritarianism.
Nicholas Bowen "Topper" Headon is an English drummer and multi-instrumentalist, best known as the drummer of punk rock band the Clash. Known for his contributions to the drumming world, Headon was inducted in the Rock and Roll Hall of Fame with the rest of The Clash in 2003.
"London Calling" is a song by the British punk rock band the Clash. It was released as a single from the band's 1979 double album of the same name. This apocalyptic, politically charged rant features the band's post-punk sound, electric guitar and vocals.
Michael Geoffrey Jones is a British musician, singer, songwriter, and record producer best known as the co-founder of the Clash, and as that group's guitarist until 1983. In 1984, he formed Big Audio Dynamite with Don Letts. Jones has played with the band Carbon/Silicon along with Tony James since 2002 and was part of the Gorillaz live band for a world tour in 2010–2011. In late 2011, Jones collaborated with Pete Wylie and members of the Farm to form the Justice Tonight Band.
The Singles is a compilation album by the English punk rock band the Clash. It includes all of the band's singles, in their original single versions, except for 1977's Capital Radio and 1985's "This Is England", due to its parent album, Cut the Crap (1985), being disowned by the band at that time.
"(White Man) In Hammersmith Palais" is a song by the English punk rock band the Clash. It was originally released as a 7-inch single, with the b-side "The Prisoner", on 16 June 1978 through CBS Records.
The discography of the British punk rock band the Clash consists of six studio albums, two extended plays, two live albums and 31 singles.
"Complete Control" is a song by The Clash, released as a 7" single and featured on the U.S. release of their debut album.
Clash on Broadway is a box set compilation album by the English punk rock band the Clash, released on Legacy Records in 1991. It comprises 64 tracks on three compact discs, spanning the time period from their 1977 debut single, "White Riot", through the Combat Rock album of 1982. It does not include material from the band's final sessions led by Joe Strummer and Paul Simonon, resulting in the final album Cut the Crap (1985). It was initially released in longbox form.
Bernard Rhodes is a designer, band manager, studio owner, record producer and songwriter who was integral to the development of the punk rock scene in the United Kingdom from the middle 1970s. He is most associated with two of the UK's best known and influential punk bands, the Sex Pistols and The Clash. According to John Lydon, Rhodes was responsible for discovering him in the Kings Road and arranging the audition which led to his joining the Sex Pistols. Rhodes introduced Joe Strummer to Mick Jones and Paul Simonon, who with Keith Levene then formed The Clash.
"Tommy Gun" is a song by the British punk rock band The Clash, released as the first single from their second album Give 'Em Enough Rope (1978).
Capital Radio is a song and an extended play by the English punk rock band the Clash. The original song has been included as "Capital Radio" or "Capital Radio One" on the Capital Radio EP (1977), Black Market Clash (1980), The Story of the Clash, Volume 1 (1988), Clash on Broadway (1991), From Here to Eternity: Live (1999), The Essential Clash (2003), and Singles Box (2006).
"Garageland" is a song by English punk rock band The Clash featured as the final track for their 1977 debut album The Clash.
References
1 2 "Clash star Strummer dies"(STM). Entertainment. BBC News World Edition. 27 December 2002. Retrieved 20 November 2007.
↑ According to band (2005), "Bernie phoned him a day ahead of schedule, and demanded an answer there and then" (p. 127). In Westway to the World, Jones confirms the 48-hour deadline, while Strummer says it was he who made the call after just 24 (11:34–11:40). Jones elsewhere gave a different account, according to which Strummer was originally given 24 hours to decide, and Rhodes called after just eight (Robb 2006, p. 194).
↑ According to Gray (2005), Rhodes asked Chimes to rejoin (pp.133–34).
1 2 Presenter: Kurt Loder. "MTV Rockumentary". Londonsburning.org. London, England: MTV. Archived from the original on 3 March 2001. Retrieved 6 December 2007.
↑ Savage 1992, p. 232. Jones's later take on the matter was: "Bernie had a hand in everything. Not the lyrics—he didn't help with the lyrics. He didn't tell us not to write love songs, as the myth goes—that's kind of simplified version of it. He told us to write what we knew about" (Robb 2006, p. 197).
↑ Jaffee, Larry (1987). The Politics of Rock (Popular Music and Society), pp. 19–30.
↑ "Clash". Trouser Press. Retrieved 4 September 2008.
↑ Marsh, Dave. "The Clash". In Dave Marsh and John Swenson, eds. (1983), The New Rolling Stone Record Guide (Random House/Rolling Stone Press), pp. 99–100.
1 2 3 "The Clash". Induction. The Rock and Roll Hall of Fame and Museum. 10 March 2003. Archived from the original on 30 April 2010. Retrieved 19 November 2007.
Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4thed.). London: Aurum Press. ISBN1-84513-113-4. OCLC61177239.
Gimarc, George (2005). Punk Diary: The Ultimate Trainspotter's Guide to Underground Rock, 1970–1982. San Francisco: Backbeat. ISBN0-87930-848-6. OCLC60513159.
Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th reviseded.). London: Helter Skelter. ISBN1-905139-10-1. OCLC60668626.
Johnstone, Nick (2006). The Clash "Talking": The Clash in Their Own Words. London: Omnibus Press. ISBN1-84609-400-3. OCLC466967080.
Andersen, Mark; Heibutzki, Ralph (2018). We Are The Clash: Reagan, Thatcher, And The Last Stand Of A Band That Mattered. Brooklyn: Akashi. ISBN9781617752933.
Egan, Sean (2014). The Clash: The Only Band That Mattered. Maryland: Rowman & Littlefield. ISBN978-0-8108-8875-3.
Garcia, Danny (2013). The Rise And Fall Of The Clash. London: Thin Man Press. ISBN978-0-9562473-2-2.
Green, Johnny & Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rded.). London: Orion. ISBN0-7528-5843-2. OCLC52990890.
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