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1979 London Calling - The Clash. In 1977, the anger and social tensions in England erupted into the musical phenomenon known as “Punk.” In reality, there was little in the way of strictly musical innovation. Punk music was simple, distorted, and fast; but it wasn't an innovation. American hardcore had preceded (albeit slightly) English punk. But there was something new; punk music systematically went against all the “rules.” It went against the bourgeoisie of hard rock, against slowness and propriety. Basically, it was vulgar and carefree music, elementary music because those who played it were not musicians but rebels… Let’s be clear, punk was a breath of fresh air for music, which was becoming increasingly cold and bound to technique (see progressive music). However, such a phenomenon cannot have continuity because inevitably the initial fervor gets lost, and the formula becomes boring after a while, given the limited ability of the punk artists to invent (as mentioned, they were not musicians). The trajectory of the Sex Pistols is very telling; they were the first real punk band and were also the best punk band. They made only one album, immortal, and then broke up because they had already said everything. But there was a second punk album even more momentous than the Pistols' “Nevermind The Bollocks.” Thanks to this album, the punk mentality could endure (up to the present day) under the guise of New Wave. And how did such a nihilistic and absolutist mentality like punk survive? Well, let's say it dressed in a gala outfit and strictly applied what punk (or rather all rock n’ roll) preached: there are no rules, indeed rules must be broken on purpose to demonstrate one's independence.
The album in question is London Calling. The Clash had been among the best punk groups of ’77. Their obsession was politics and social struggle (hence the name clash). Their debut was explosive; more than songs, they were delivering speeches accompanied by guitars (as a beautiful track of theirs from '82 says). However, as their career progressed, they realized something was amiss; Joe Strummer's lyrics were too intellectual for that type of music, Mick Jones' melodies didn’t fit well with such fast and unrefined music. They realized they had capabilities beyond what punk demanded. They began their transition towards more rock forms with the good “Give 'Em Enough Rope,” but the breakthrough came with “London Calling.” In this album, the punk philosophy is present, it hovers over all the tracks, like a guiding spirit. The difference is that here the music gets better, quite significantly. At the time, it was a cutting-edge album; and it remains a very current album today. They seem like songs of today. There is great respect for rock tradition and a huge desire to experiment with new ethnic sounds. From this springs the 19 tracks (double LP sold as one) of the album, which to call heterogeneous is an understatement. Heterogeneous but not dispersive, musically refined but not self-serving. Experimental, but with an attitude not at all intellectual, rather spontaneous and inclined towards fun.
The title track is a masterpiece, the most beautiful, famous, and important song by the band. A rock classic, well-paced and rhythmically defined. The lyrics, ominously prophetic (talking about “nuclear error,” which occurred at Chernobyl a few years later), tell of “faraway towns,” that is, the decay of the suburbs. Many of the band's songs would be politically themed. “Brand New Cadillac” is also quite a classic piece. Simple rock, sharp and acidic as needed. With the third track, experimentation becomes visible; “Jimmy Jazz” is a rarefied and delicate jazz piece. Until that time, no one could have imagined such developments. Excellent brass and really strange guitar. With “Hateful,” there's a bit of a return to the past; and it's a pleasant return. A fast and incisive punk rage. Certainly, we're now far from the beginnings; the music never gets distorted, but the attitude is the same. And here we are at one of the freshest and most innovative tracks of the album. “Rudie Can’t Fail” is a kind of ska-rock centered on brass. No one before had ever brought ska (hitherto unknown) into the mainstream. The piece is then enriched by the band's manifest melodic taste. Another melodic piece is “Spanish Bombs,” which tells of the Spanish Civil War in '39. Delightful is Jones' performance, alternating singing with Strummer; the latter is the militant soul of the band, the rebel. Jones is the romantic one. The greatest merit of the song is its ability to be sweet but never saccharine, thanks to the dry and spare refrain. “The Right Profile” somewhat echoes the ska style of track five, but with an even greater sense of fun. It sounds like a march, the brass often strange and redundant. We've come to track seven through beautiful, fresh, and innovative tracks. But at eight we find an absolute masterpiece, a piece that almost reaches the beauty of the title track. “Lost In a Supermarket” is clearly a pop song. A song light-years ahead, it seems like one of those pieces that spread in the '90s, but all in ‘79. Jones’ splendid melody never tires, I could listen to it a thousand times and still want to hear it. Enriched by a sad, sweet, and highly contemporary text. It’s a fresco of post-war society, with economic recovery, new worlds yet to come. “Clampdown” is an energetic and fresh track. After four light pieces, finally some powerful guitar play. Well, now we're ready for the central piece of the album, a perfect summary of all the new directions taken by the group. Sung by bassist Paul Simonon (the one on the cover), “The Guns Of Brixton” is reggae-rock, truly wonderful. One of the most original pieces of The Clash’s entire career. Paul’s dense and deep voice, the pulsating drums, and the lift-off guitars make this track a cornerstone of rock. A clear precursor to the crossover phenomenon. Here we notice one of the characteristics of the band that allowed them to renew and expand their possibilities. Drummer Topper Headon was certainly not the typical punk drummer; besides being technically superior, he was the only group member from a higher social class. These factors were decisive for the development of The Clash's style. Besides allowing them to play various musical genres thanks to his excellent technique, the fact that there was a member “detached” from the psycho-social conditions of the others allowed for a development less influenced by social revenge, but rather by constructive criticism. A political text made even more credible by the fact that Simonon is precisely from Brixton, confirming the group's sincerity. “Wrong ‘em Boyo” is one of my favorite tracks. It is a joyful, fun, and noisy song. The brass are beautiful and make the melody even more engaging and original. You have to hear it to be able to describe it; I can tell you it's not like you imagine it. Because it’s really unimaginable! “Death Or Glory” stands out for its catchy refrain and the cutting guitars, increasingly rare in the band's music. Note that the guitar never has a central role in the songs but acts as support. This once again demonstrates the solidity of the compositions. Remarkable is the final melodic buildup. “Koka Kola” leaves out the topics addressed right from the title. It’s another pop-rock track with a pressing rhythm. “The Card Cheat” is that unexpected song (like many in the album). The orchestrated, sweet, dense music starts slowly and intensifies in a memorable crescendo. The vocal melody, so beautiful it moves, in the central part, tense and emotional, reaches really unparalleled communicative peaks. Perfect in every note, every word. In my opinion, the best track of the group; for what it conveys. “Lovers Rock” is the only guitar-centric piece and even presents a solo in the middle. Note the always sweet and intimate singing. “Four Horsemen” gives some rhythm, but it’s clear that the album has a strong melodic imprint. The more striking verse and crescendoing chorus. Truly strong and incisive! The Clash are now capable of doing whatever they want and in “London Calling” they are at the peak of their creativity and camaraderie. And here we are at the third to last track, with dear punk-rock resurfacing, still shaped to their own needs. “I’m Not Down” as if to say; yes, I have calmed down, but it doesn’t mean I'm not still fighting. Only the method changes. Moreover, the pieces similar to the early ones enjoy greater freshness and vivacity compared to them because they are impregnated with melody and stylistic taste. “Revolution Rock” is the last track. Summing up. Here reggae, melody, invective, brass, emphasized rhythm, and excellent aesthetic taste coexist. Despite being complex music for the numerous influences, it remains pleasant even to those who focus on a superficial and inattentive listening. “Train In Vain” is the hidden track of the album. In fact, The Clash didn’t want to publish it because they considered it too pop. Fortunately, they did and gifted us this gem, one of the most crystalline and bittersweet melodies of the band.
Well, after about an hour the album is over. What to say, it’s a really rich and varied album. It certainly has a notable place in the history of music. In its heterogeneity, it doesn’t turn out dispersive but rather unitary and compact. It is an album that has influenced and continues to influence rock music. Rock n’ Roll passes through London Calling. And comes out transformed.
Tracklist Lyrics Samples and Videos
01 London Calling (03:17)
London calling to the far away towns
Now war is declared and battle come down
London calling to the underworld
Come out of the cupboard, you boys and girls
London calling, now don't look at us
Phoney Beatlemania has bitten the dust
London calling, see we ain't got no swing
'Cept for the ring of that truncheon thing
The ice age is coming, the sun zooming in
Meltdown expected, the wheat is growing thin
Engines stop running, but I have no fear
'Cause London is drowning and I - live by the river
London calling to the imitation zone
Forget it, brother, you can go it alone
London calling to the zombies of death
Quit holding out – and draw another breath
London calling – and I don't wanna shout
But while we were talking – I saw you nodding out
London calling, see we ain't got no highs
Except for that one with the yellowy eyes
The ice age is coming, the sun is zooming in
Engines stop running, the wheat is growing thin
A nuclear error, but I have no fear
'Cause London is drowning and I - I live by the river
(x2)
Now get this!
London calling, yes, I was there, too
An' you know what they said? Well, some of it was true!
London calling at the top of the dial
After all this, won't you give me a smile?
London calling
I never felt so much alike
02 Brand New Cadillac (02:05)
Driiiiiiiive!!!
Driiiiiiiive!!!
My baby drove up in a brand new Cadillac
Yes she did!
My baby drove up in a brand new Cadillac
She said, “Hey, come here, Daddy!”
“I ain't never comin' back!”
Baby, baby, won't you hear my plea?
C'mon, sugar, just come on back to me
She said, “Balls to you, Big Daddy.”
She ain't never coming back!
Baby, baby, won't you hear my plea?
Oh c'mon, just hear my plea
She said, “Balls to you, Daddy.”
She ain't coming back to me
Baby, baby drove up in a Cadillac
I said, “Jesus Christ! Where'd you get that cadillac?”
She said, “Balls to you, Daddy.”
She ain't never coming back!
03 Jimmy Jazz (03:51)
The police walked in for Jimmy Jazz
I said, he ain't here, but he sure went past
Oh, you're looking for Jimmy Jazz
Yeah, they said
Sattamassagana for Jimmy Dread
Cut off his ears and chop off his head
Police came looking for Jimmy Jazz
Jazz Jazz Jazz Jazz
So if you're gonna take a message 'cross this town
Maybe put it down somewhere over the other side
See it gets to Jimmy Jazz
Jazz, see
Ooohh
Whooo
So tell me now
Police come in they said: Now, Where's Jimmy Jazz?
I said, hmm he was here but uh, he said he went out
Who is it they're looking for?
Jimmy Jazz, Jazz, Jazz, Jazz eh
Sattamassagana for Jimmy Dread
Cut off his ears and they'll chop off his head
Oh you're looking for
Jimmy Jazz, Jazz, Jazz
What a relief!
I feel like a soldier, but I look like a thief!
It's Jimmy Jazz
Police came in looking for Jimmy Jazz
He came in and he went out
Who is looking for that Jimmy Jazz
Infact
Don't you bother me, not anymore
I can't take this tale, oh, no more
It's all around, Jimmy Jazz
Jazz, Jazz
J-a-zee zee J-a-zed zed J-a-zee-zee
J-a-zed zed Jimmy Jazz
And then it sucks
He said, suck that!
So go look all around
You can try your luck, brother, see what you found
But I guarantee you that it ain't your day
Your time, it ain't your day
Chop! Chop!
***
04 Hateful (02:42)
Well, I got a friend who's a man
Who's a man?
The man who keeps me from the lovely
He gives me what I need
What you need? What you got?
I need it all so badly
Oh, anything I want he gives it to me
Anything I want he gives it, but not for free
It's hateful
And it's paid for and I'm so grateful to be nowhere
This year I've lost some friends
Some friends? What friends?
I dunno, I ain't even noticed
You see, I gotta go out again
Again? My friend
I gotta see that mainman
I killed all my nerves
My nerves? What swerves?
And I can't drive so steady
I've lost my memory
My mind? Behind!
I can't see so clearly
''[Chorus]''
05 Rudie Can't Fail (03:25)
Sing Michael sing - on the route of the 19 bus!
Hear them sayin'
How you get a rude and a reckless
don't you be so crude and a feckless
you bin drinking brew for breakfast
Rudie can't fail
So we reply
I know that my life makes you nervous
But I tell you that I can't live in service
Like the doctor who was born for a purpose
Rudie can't fail
I went to the market to realize my soul
'cause what I need I just don't have
First they curse, then they press me till I hurt
We say Rudie can't fail
We hear them sayin'
Now first you must cure your temper
Then you find a job in the paper
You need someone for a saviour
Oh Rudie can't fail
We reply
Now we get a rude and a reckless
We been seen lookin' cool an' a speckless
We been drinkin' brew for breakfast
So Rudie can't fail
I went to the market to realize my soul
'cause what I need I just don't have
First they curse, then they press me till I hurt
We say Rudie can't fail
OKAY!
So where you wanna go today?
Hey boss man!
You're looking pretty smart
In your chicken skin suit
You think you're pretty hot
In your pork pie hat
But ... Rudie can't fail
Lookout, lookout
Skyjuice! ... 10 Cents a bottle
06 Spanish Bombs (03:17)
Spanish songs in Andalucia
The shooting sites in the days of '39
Oh please leave the ventana open
Federico Lorca is dead and gone
Bullet holes in the cemetery walls
The black cars of Guardia Civil
Spanish bombs on the Costa Rica
I'm flying in on a DC-10 tonight
Spanish bombs, yo te quiero a finito
Yo te quiero, oh mi corazón
Spanish bombs, yo te quiero a finito
Yo te quiero, oh mi corazón
Spanish weeks in my disco-casino
The freedom fighters died up on the hill
They sang The Red Flag
They wore the black one
After they died it was mockingbird hill
Back home the buses went up in flashes
The Irish tomb drenched in blood
Spanish bombs shatter the hotels
My señoritas rose was nipped in the bud
Spanish bombs, yo te quiero a finito
Yo te quiero, oh mi corazón
Spanish bombs, yo te quiero a finito
Yo te quiero, oh mi corazón
The hillsides ring with "Free the people"
Or can I hear the echoes from the days of '39
Trenches full of poets, a ragged army
Fixing bayonets to fight the other line
Spanish bombs rock the province
I'm hearing music from another time
Spanish bombs, Costa Brava
I'm flying in on a DC-10 tonight
Spanish bombs, yo te quiero a finito
Yo te quiero, oh mi corazón
Spanish bombs, yo te quiero a finito
Yo te quiero, oh mi corazón
Oh mi corazón
Oh mi corazón
Spanish songs in Andalucía, Mandolina
Oh mi corazón
Spanish songs in Granada
Oh mi corazón
Oh mi corazón
Oh mi corazón
08 Lost in the Supermarket (03:43)
I'm all lost in the supermarket
I can no longer shop happily
I came in here for that special offer
A guaranteed personality
I wasn't born so much as I fell out
Nobody seemed to notice me
We had a hedge back home in the suburbs
Over which I never could see
I heard the people who lived on the ceiling
Scream and fight most scarily
Hearing that noise was my first ever feeling
That's how it's been all around me
I'm all lost in the supermarket
I can no longer shop happily
I came in here for that special offer
A guaranteed personality
I'm all tuned in, I see all the programmes
I save coupons from packets of tea
I've got my giant hit discoteque album
I empty a bottle and I feel a bit free
The kids in the halls and the pipes in the walls
Make me noises for company
Long distance callers make long distance calls
And the silence makes me lonely
I'm all lost in the supermarket
I can no longer shop happily
I came in here for that special offer
A guaranteed personality
And it's not hear
It disappear
I'm all lost in the supermarket
I can no longer shop happily
I came in here for that special offer
A guaranteed personality
I'm all lost in the supermarket
I can no longer shop happily
I came in here for that special offer
A guaranteed personality
I'm all lost
(I'm all lost in the supermarket)
I'm all lost
(I can no longer shop happily)
I'm all lost
(I came in here for that special offer)
(A guaranteed personality)
I'm all lost
(I'm all lost in the supermarket)
I'm all lost
(I can no longer shop happily)
I'm all lost
(I came in here for that special offer)
(A guaranteed personality)
I'm all lost in the supermarket
I can no longer shop happily
I came in here for that special offer
A guaranteed personality
I'm all lost
I'm all lost
I'm all lost
I'm all lost in the supermarket
I can no longer shop happily
I came in here for that special offer
A guaranteed personality
09 Clampdown (03:45)
1-2-3-4!
Hey, hey!
Ooh!
Jimmy’s outside but you can’t take him back for the drama of design
They hit him in the back and see the long arm dropped over the school cuisines
They say now back and hands facing the sidewalk as they slowly click on
What are we gonna do now?
Taking off his turban, they said, is this man a Jew?
’Cos working for the clampdown
They put up a poster saying we earn more than you!
When we're working for the clampdown
We will teach our twisted speech
To the young believers
We will train our blue-eyed men
To be young believers
The judge said five to ten but I say double that again
I'm not working for the clampdown
No man born with a living soul
Can be working for the clampdown
Kick over the wall 'cause government's to fall
How can you refuse it?
Let fury have the hour, anger can be power
D'you know that you can use it?
The voices in your head are calling
Stop wasting your time, there's nothing coming
Only a fool would think someone could save you
The men at the factory are old and cunning
You don't owe nothing, so boy get runnin'
It's the best years of your life they want to steal
You grow up and you calm down and
You're working for the clampdown
You start wearing the blue and brown and
You're working for the clampdown
So you got someone to boss around
It makes you feel big now
You drift until you brutalize
You made your first kill now
In these days of evil presidentes
Working for the clampdown
But lately one or two has fully paid their due
For working for the clampdown
Ha! Gitalong! Gitalong!
Working for the clampdown
Ha! Gitalong! Gitalong!
Working for the clampdown
Yeah I’m working hard in Harrisburg
Working hard in Petersburg
Working for the clampdown
Working for the clampdown
Ha! Gitalong! Gitalong
Begging to be melted down
Gitalong, gitalong
Work
Work
Work
And I give away no secrets – ha!
Work
More work
More work
Work
Work
Work
Work
Who's barmy now?
10 The Guns of Brixton (03:08)
(Paul Simonon)
When they kick at your front door
How you gonna come?
With your hands on your head
Or on the trigger of your gun
When the law break in
How you gonna go?
Shot down on the pavement
Or waiting on death row
You can crush us
You can bruise us
But you'll have to answer to
Oh, the guns of Brixton
The money feels good
And your life you like it well
But surely your time will come
As in heaven, as in hell
You see, he feels like Ivan
Born under the Brixton sun
His game is called survivin'
At the end of the harder they come
You know it means no mercy
They caught him with a gun
No need for the Black Maria
Goodbye to the Brixton sun
You can crush us
You can bruise us
But you'll have to answer to
Oh, the guns of Brixton
When they kick at your front door
How you gonna come?
With your hands on your head
Or on the trigger of your gun
You can crush us
You can bruise us
Yes, even shoot us
But oh-the guns of Brixton
Shot down on the pavement
Waiting in death row
His game is called survivin'
As in heaven as in hell
You can crush us
You can bruise us
But you'll have to answer to
Oh, the guns of Brixton
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Other reviews
By bibiane
In "London Calling," the crucial spirit of punk (anger, chaos, and revolution) is embodied, but also a lot of experimentation.
Every single song on this album is a little gem in its own right, worthy of being on the album and different from the others in style and rhythm.
By nickbelane
"Few albums in the history of rock can be defined as 'masterpieces' without fear of being considered exaggerations: 'London Calling' fully belongs in this category."
‘‘London Calling' is a formidable work from the first to the last note, characterized by a variety of styles and musical genres that form a perfect alchemy.’’
By John
"If you ever get the chance to listen to 'London Calling,' remember that you are about to listen to a work that will hardly have a successor."
"Those who found this album will be very fortunate, not bad for an album that when released made fans call the Clash 'traitors' for abandoning classic Punk."
By SOLOperADULTI
"London Calling is no longer a punk album, the Clash want to prove they can play EVERY TYPE of music."
"Yeah, it’s really punk, this record!"
By TraumaCronico
Since my wife left me, I don’t sleep. At first, I didn’t sleep because of my constant grins in the night, deep night. Now, I don’t sleep because I see... Red.
Sorry but I can’t listen to this record just because of the cover!!!!!!!!!!!!!!
