The Clash, “London Calling”

Chris McJaggerly:

London Calling is a pulverizing album. Intense musically. Instense lyrically. It never lets up. Joe Strummer, Mick Jones and the boys knew exactly what they wanted to say and how they wanted to say it.

Rhythm is the key. the Clash were a punk band, of course, but they incorporated dance and reggae beats into their crashing guitars with awesome effect. It’s rhythm that elevates the Clash – especially on London Calling – above the other famous punk bands of the era, like the Sex Pistols. But even putting that aside, the musicianship and willingness to add color outside the guitar-bass-drums core on London Calling is impressive for a punk group. From their origins in 1976 to the recording of London Calling in 1979, it’s just plain remarkable how much better these four guys got at playing their instruments and taking advantage of the resources of the recording studio. They also got better at songwriting (which is saying something because the songs on their debut are great). “Lost in the Supermarket” is a gem with some real pathos, and “Train in Vain” is a bona fide pop song. You wouldn’t say that about songs on other punk albums.

But that doesn’t mean the Clash lost their punk with London Calling. You don’t have to go deep into the lyrics to get the drift. Strummer is just what a punk vocalist should be – shredded vocal cords and a four note range, communicating pure resentment toward authority. And Mick Jones takes some nice turns at the microphone, although he isn’t as commanding as Strummer. If you do focus on lyrics, you find plenty of punk. Most songs are about pissed off drug-addicts, small-time crooks, and working class youth with no future. In the title track – for example — the Clash rip “phony Beatlemania,” warn against “the ones with the yellowy eyes,” and predict a post-nuclear ice age. In “Hateful,” a junky sings about the dead-end bargain he makes with every score, crying out “I’m so grateful to be nowhere.” This lyric from “Clampdown” sums it up the Clash’s attitude nicely: “Stop wasting your time, there’s nothing coming, only a fool would think someone could save you.” That’s about as punk as it gets.

Beatlemania might have been phony, but the attitude on London Calling ain’t. These guys believed it. They were pissed. But not stupid pissed. Pissed with a conscience. Pissed with intelligence. Pissed with a beat you could dance to, and pissed with guitar solos you aren’t embarrassed to play along with on air guitar. In short, London Calling is everything rock should be. I give it 33 1/3.

Jose Pacas:

Let me begin by stating that I give Chris’s review a 33 1/3 on the “How Serious of a Review Can I Write” scale. I had to look up most of the words you used. Not very punk at all, Chris.

London Calling is a great album. But if the endeavor is to come up with a “New Top 100,” giving this album a 33 1/3 is like marrying the first girl you ever kissed. My point is that if we all lived by Chris’s tenets, we’d all be the Lannisters.

I don’t care about the historical context of the album. I’m too young for that. I hear an album. I let it soak in a couple of times and once I start to recognize the bass lines, I pass judgment. And even after the 50th time listening to it, my most positive assessment of the album is: “Almost perfect.” Here’s why.

First, the title track sucks. My first exposure to the song was the episode of Friends where the gang goes to London (watch the first few seconds). My most recent exposure was on the latest Assassin’s Creed trailer. For you old guys, Assassin’s Creed is a video game. The song has become part of the popular conscience as a soundtrack, background music, a cute coincidence (Hey, they’re in London! And the song says London, too!). The most immediate effect this has on my gut reaction to the song is one of dislike. For years I would give the entire album a try but I’d never be able to get past the title track.

More importantly, I lack the historical awareness to care about how important or completely “punk” that song is. It’s intense, for sure. But it just doesn’t fit on the album. Start out with “Jimmy Jazz” and I’d give it a 33 1/3. “Jimmy Jazz” has that playful ska-feel that the rest of the album maintains. The song “London Calling” is that punch in the gut Chris is talking about. But the rest of the album is that beautiful woman who helps you off the ground and nurtures you back to health with some on-point grinding on the dance floor. I’d skip the punch any day and go straight to the dancing.

Notice I didn’t say anything about “Brand New Cadillac.” If “London Calling” is the punch and “Jimmy Jazz” is the tender woman, “Brand New Cadillac” is that creeper dude who tries to molest you while you’re knocked out. Rule number 1 for any cover song: if you’re going to put it on an album, it has to be better than the original (which it’s not). This the band achieved with “I Fought the Law,” but failed to do so with “BNC”.

Get me to Track 3 and I’m a happy man. Get me to “Lost in the Supermarket,” I’m starting to air drum at my desk. Get me to “Revolution Rock,” you got me dancing on my office chair. Get me to “Train in Vain,” and I’m going up to my boss, quitting, and telling my wife she’s going to have to care for me because I’m a one-man air-band the rest of my life. That’s how punk I am.

Kill your darlings, gents and ma’ams. Save the unapologetic 33 1/3s for all post-Rubber Soul Beatles albums.

31 flat.

Chris McJaggerly:

Not bad for a young guy with no neck. I don’t mind you taking a swipe at my flowery language, even if it is disingenuous coming from a Williams grad who had a perfect SAT score. Still there are a few huge problems with your review.

First, I have no idea what the first girl you ever kissed remark means. Do you think London Calling is the first record I ever heard? Well, it isn’t.

Second, if you don’t think our blog fans should care about the historical context of London Calling, imagine how little they will care about the Friends-episode-video-game context where you place the title track.

And last, “Brand New Cadillac” rocks. Balls to you, Daddy.

Jose Pacas:

Bollocks. I’m saying it’s a great album but, in the context of a new top 100, this one isn’t as great as what I would consider a perfect album (Abbey Road) or even greater albums than LC like Exile, etc.

Re: the first girl, I was under the impression this was the first album you’ve reviewed.

Re: the historical context, think of the irony.

DOWN WITH BNC!

Tom Heerman: 

I can’t see this record being rated under an A+. I loved London Calling when it came out. In 1980, I was well aware of Exile on Main Street, and The Specials, and English Beat, and Marley. I had seen the Ramones in concert, and I was on my way to a solid foundation of music appreciation. Then this masterpiece was released. To me, London Calling was the ideal mixture of what was great in music at a time when rock music was really making a resurgence. Coming out of the 70s trying to get far away from disco, and James Taylor, and KC and the Sunshine Band, and ELO. Here was a sound that grabbed reggae, and rock, and punk and used them all whenever it seemed appropriate. The songwriting is so unexpectedly brilliant, and the variety is mind bending. It’s a record that continues to radiate 25 years later.

Rating: 33 1/3.