The Clash were formed in 1976 in London, England. Comprised of Joe Strummer on lead vocals and rhythm guitar, Mick Jones on lead guitar and backing vocals, Paul Simonon on bass, and Nicky Headon on drums; the band were initially influenced by the Sex Pistols (as all English punk bands were) but quickly became one of the pioneers of Britain's punk scene. At their creative peak, they became critically acclaimed and highly commercially successful, so much so that they were billed as "the only band that matter." The band disbanded in 1986.
The Clash self-titled debut The Clash was released in 1977. It reached number two on the UK charts and was critically acclaimed. Despite this, the album was only released in the UK until 1979--making it their second US release after Give 'Em Enough Rope--when an altered track-list became available in the US. Similar to the Sex Pistols, the Clash wrote about England's current social/political state but were more outspoken in these areas. In retrospective reviews, the Clash's debut is still highly acclaimed and is considered one of the greatest punk albums of all time. Robert Christgau named the UK track-list (which I am reviewing now) the greatest album of the 70s.
Johnny Rotten reacted to the social/political state of the UK by making an nihilistic album rife with hysteria and confusion. Strummer isn't so pessimistic. Although he admits his own powerlessness against US consumerism and notes that the divisive forces partitioning the working class make his hopes for a political reckoning all the more daunting, he embodies everything "Street Fighting Man" was about and more--that is, he's going to try to make a change. And unlike Rotten, his resentment with society's current state is clearly directed and articulated: he hates the police and their racist practices, schooling and the limited job market, and London's traffic system and politeness (the Clash also have their fair share of jokes). The Ramones light-hearted lyrics were fun to laugh along with and the Pistols' whole anarchy thing was real cute but the Clash's combination of spritely, amateur rock'n'roll with a youthful sense of entitlement for a better life already make them the quintessential punk band. It's like when Dylan finally distilled the folkies' political and social frustrations onto tape, only this time Freewheelin' is a fiery punk record. A+
Reviewed since my last post:
George Harrison: Brainwashed (2002)
Uncle Dave Macon: The Country Music Hall of Fame Series (1992)
Lou Reed: The Blue Mask (1982)
Dusty Springfield: The Look of Love (1967)
Dusty Springfield: Dusty in Memphis (1969)