The Clash - The Clash
When you think of punk, the first thing you think of is probably The Sex Pistols and God Save The Queen and while they are the commercial face of punk, The Clash were the ideologists. Mick Jones and Paul Simonon had been members of proto punk band London SS and persuaded Joe Strummer (Originally John Graham Mellor) to join what became The Clash. The also recruited drummer Terry Chimes and guitarist Keith Levene, the former would briefly leave and the later be sacked for not showing up to practise. Terry Chimes would also be cruelly renamed Tory Crimes on the album credits.
The four piece would sign a deal with Columbia records and then enter the studio with producer Mickey Foote to produce the template for British punk. Recording took place over several long weekends, although sessions were hampered by neither Jones or Strummer wanting to be first at the studio and the band seemly being fuelled by amphetamines. Out of this chaos though Mickey Foote managed to capture the essence of The Clash and produce a magnificent punk record.
Janie Jones is a riotous opening about a famous 1970’s London madame and sets the tone for the next thirty minutes, you can almost feel the raw energy oozing out from the hi-fi. Remote Control, written by Mick Jones is about the Anarchy Tour where many concerts had been cancelled, even draws some influences from the Kinks which might come as a surprise to some. I’m So Bored With The USA now seems ironic rather than inflammatory in hindsight taking into consideration the bands preoccupation with breaking the US market. It still manages to pack a musical punch though and even borrows it’s intro from Pretty Vacant! White Riot encapsulates the spirit of punk with its breakneck tempo and political lyrics inspired by the 1976 Notting Hill Carnival.
As the album continues hints of reggae and ska emerge hinting at what would yet to come, but also show the musical diversity at the heart of The Clash. Police & Thieves a cover of the Junior Murvin song that was added to pad out the album. Tracks like London’s Burning showcase the anger contained within the band while Career Opportunities take a sideswipe at the economical situation in Britain at the time again showing their political bias that set them apart form contemporaries such as The Sex Pistols. The Clash even manage to show that they have a sense of humour on Protex Blue a reference to an old brand of condoms while Garageland hits back at early critics of the band.
This is The Clash at their rawest, purest state before they expanded their horizons, it contains all the elements that made punk so exciting. Barely audible vocals, scratchy breakneck guitars and a pounding rhythm. While they may have scaled greater heights later on this is still an essential album that defines the British punk scene of the late 1970’s, and that is high praise indeed.
The Clash - The Clash
1977 Columbia
Producer: Mickey Foote
Players:
Joe Strummer - Vocals, Guitar
Mick Jones - Guitar, Vocals
Paul Simonon - Bass
Terry Chimes - Drums
Tracklisting:
Janie Jones
Remote Control
I’m So Bored Of The USA
White Riot
Hate & War
What’s My Name
Deny
London’s Burning
Career Opportunities
Cheat
Protex Blue
Police & Thieves
48 Hours
Garageland