The Clash
London Calling

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.