London Calling by The Clash

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London Calling by The ClashThe Clash advanced light years with their third release London Calling. This 1979 double album explored many sub-genres and showed with no doubt that this band was the most advanced of the punk groups to come out of London in the mid seventies. Through extensive touring and exposure to groups of differing genres, The Clash developed a blend of thoughtful music to combine with their core punk principles, forming a new genre standard which would come to be know as “post punk”. Thematically, the album contains songs that point a critical eye towards the contemporary world, with much of the background and characters based in London. While these themes work well together to make the album cohesive, they don’t form the type of narrative arc which would elevate London Calling into a “concept” album.

 Presley 1956 debut albumThe album’s front cover borrowed it style heavily from Elvis Presley’s self-titled 1956 debut album. The Clash’s versions features a black-and-white photograph of Simonon smashing his bass against the stage at a gig in New York City in September 1979. Many retrospective publications have listed this album cover as one of the top ever and was selected by the British government as one of ten “Classic Album Covers” to be used on Royal Mail postage stamps in 2010.

By the time The Clash was conceived in 1976, veteran London-based guitarist and vocalist John Graham Mellor had permanently adopted his stage name of Joe Strummer. The group was formed when Stummer joined up with two members of the group London SS, guitarist Mick Jones and bassist Paul Simonon, in order to form a “band that would rival the Sex Pistols”. Just six months after their first live performance, The Clash signed to CBS Records and began working on their debut album, which would be released only in the UK originally. Through these earliest days, the band worked with several drummers (over 200 by Strummer’s count). Finally, Topper Headon came along and the band finally had a permanent drummer. At the request of CBS, the group recorded a more standard, “cleaner”, less spontaneous album with Give ‘Em Enough Rope in 1978. This second album was a tremendous success in the UK but not quite the American breakthrough CBS had hoped.

After recording their second studio album, the band separated from their manager and needed to find another location to compose their music. The band began to work on their third album during the summer of 1979 at a rehearsal space called Vanilla Studios, which was located in the back of a garage. The Clash found a successful formula with Jones composing and arranging the music and Strummer writing the lyrics. By the end of the summer, the band entered Wessex Studios to begin recording London Calling with producer Guy Stevens, who used unconventional methods and fostered a very relaxed atmosphere for the band members. CBS initially denied the double album release, but instead gave permission for the band to include a free 12-inch single (which essentially made it a double album anyway).


London Calling by The Clash
Released: December 14, 1979 (CBS)
Produced by: Guy Stevens & Mick Jones
Recorded: Wessex Sound Studios, London, August–November 1979
Side One Side Two
London Calling
Brand New Cadillac
Jimmy Jazz
Hateful
Rudie Can’t Fail
Spanish Bombs
The Right Profile
Lost In the Supermarket
Clampdown
The Guns of Brixton
Side Three Side Four
Wrong ‘Em Boyo
Death or Glory
Koka Kola
The Card Cheat
Lover’s Rock
Four Horsemen
I’m Not Down
Revolution Rock
Train in Vain
Group Musicians
Joe Strummer – Guitars, Piano, Vocals  |  Mick Jones – Guitars, Harmonica, Vocals
Paul Simonon – Bass, Vocals  |  Topper Headon – Drums, Percussion

The first of four sides begins “London Calling”, the title song which was originally the most popular track on the album. Musically, the song contains choppy guitars and bass throughout contrasted by the ever-steady drum beat by Headon. Composed by Strummer and Jones, the title was taken from the BBC World Service‘s station identification during World War II and the lyrics concern modern day issues. “Brand New Cadillac” is an updated version of a rock classic original composed in the 1950s by Vince Taylor. The first of three cover songs on London Calling, this recording features distant and spatial sound, giving it a bit of a surreal feel to the otherwise standard roots rocker.

The first of several genre diverse tracks, “Jimmy Jazz” starts with heavily flanged guitar riff that tops off the standard jazz vibe with acoustic guitar, shuffling drums, and an impressive bass pattern by Simonon. This is also the first of plenty of tracks with brass sections and leads by the session group collectively known as the The Irish Horns. “Hateful” is an odd but interesting little track with nice rock grooves, call and response vocals, and differing sub-arrangements throughout the track. Closing out the first side, “Rudie Can’t Fail” is pure rock/reggae, in many ways similar to the previous song, but the weakest overall on the side.

A new wave track with driving and melodic bass over quicky strummed acoustic by Jones and chanting and unrelenting vocals by Strummer starts the second side. Written the Basque terrorist bombings in Spain, “Spanish Bombs” compares this modern day experience with the Spanish Civil War. “The Right Profile” is a choppy, upbeat funk built on bouncy bass riff by Simonon and great brass accents and later saxophone solo by The Irish Horns, making it the best song thus far on the album. “Lost In the Supermarket” features Jones on lead vocals and is built on a great rhythm, which is almost disco with an adult contemporary style vocals and musical melodies. Written about an actual market on the World’s End Estate in London, Strummer wrote this song for Jones when imagining his childhood growing up in a basement with his mother and grandmother, with the cool lyric; “I wasn’t born so much as I fell out…”

Clampdown by The Clash“Clampdown” has the initial feel of a punk epic at first but later morphs into a bit-driven canvas for vocal phrases by Strummer, who cites many situations and locations (including our own hometown of Harrisburg, PA). This track originally began as an instrumental track called “Working and Waiting” but the Strummer decided to add the rapid-fire lyrics about fighting the status quo. “The Guns of Brixton” was a rare Clash track written by bassist Paul Simonon, who grew up in the Brixton section of London. Simonon also contributes lead vocals to this pure reggae track with some topical sound effects on the guitars and great bass and drums throughout.

The original third side of London Calling may be the strongest overall musically, despite the fact that it begins with the unfocused “Wrong ‘Em Boyo”, which starts with a short rendition of the Country/Americana standard “Stagger Lee”. “Death or Glory” returns to standard hard rock with cynical lyrics, a great musical arrangement and performances by the entire band. Written in part as the stereotypical punk fascination of trashing the previous generation of rockers, the song ironically has sweet but strong vocal harmonies and very satisfying chord progressions. “Koka Kola” is the closest to a traditional punk track on the entire album (at least vocally), although musically it is a bit too polished to be a true punk song, as the bass leads the song much more than the guitars. Jones’s “The Card Cheat” is a piano-dominated track, almost in the Billy Joel domain musically (albeit there is a whole different story lyrically). The band executes another excellent and entertaining musical performance, with expert mixture of horns, and rock instruments in production.

The Clash in 1979The album’s final side commences with “Lover’s Rock”, a song which sounds most like a late seventies pop song, although it is a bit risqué lyrically with strong sexual overtones. There is a cool flanged guitar and harmonized vocals up top during the song proper while the long outro takes it all in a bit of a different direction. “Lover’s Rock” advocates safe sex and planning. “Four Horsemen” is more straightforward musically than the previous track as an upbeat rocker built more for lyrical themes by Strummer, while Jones’s, “I’m Not Down”, is primarily a funky track with some rock and disco elements.

The cover of Danny Ray and the Revolutionaries track, “Revolution Rock”, is a fun and entertaining group reggae jam, accented by Strummer’s varying vocal screeds and strained vocals. All in all very interesting, especially the top-notch rhythms by Simonon and Headon, a bouncy organ by session man Mickey Gallagher, and more strong brass presence by The Irish Horns. The double album wraps up with “Train in Vain”, which by today’s standards would be considered a “hidden track” because it was not listed on the original album sleeve. However, this was due more to late decision making on the song rather than a concerted effort to provide an “Easter Egg”. In any case, this track written and sung by Jones would go on to become the most popular track on the album due to its disco-like beat, funky riffs, and loose but melodic vocal lines.

London Calling was originally much more popular in the UK, where it reached the Top 10, than it was in the US. However, the album would eventually sell tenfold the copies in America, where it went platinum and remains a much heralded release in rock history. The Clash followed up with an even more ambitious triple-album release of Sandinista! in late 1980, followed by the fine Combat Rock in 1982, before the band unfortunately imploded in the mid eighties, making these sparse releases ever the more valuable.

~

1979 Images

Part of Classic Rock Review’s celebration of the 35th anniversary of 1979 albums.

 

Top 9 Rock Festivals of All Time

This week Classic Rock Review joins the celebration of the 45th Anniversary of the historic 1969 Woodstock Music Festival. In conjunction with Top 9 Lists, we present a list of the Top 9 Rock Festivals of all time, along with a bonus list of Top 9 Single Day, Single Location Concerts.

Woodstock from behind the stage

1. Woodstock

August 15-18, 1969
Bethel, New York

This remains the mother of all music festivals, held at a 600-acre dairy farm owned by Max Yasgur. A series of coincidental events unfolded which effected the location and operation of this festival, which grew to become a “free” event for over 400,000 attendees. Regarded as a pivotal moment in popular music history, 32 acts performed during the rainy weekend, starting with Richie Havens, and concluding with a memorable performance by Jimi Hendrix as the crowd dispersed mid-morning on Monday, August 18th. Woodstock was immortalized in a later documentary movie as well as a song by Joni Mitchell, who was one of many major acts that did not attend by later regretted it.

Woodstock Performers: Richie Havens, Sweetwater, Bert Sommer, Tim Hardin, Ravi Shankar, Melanie, Arlo Guthrie, Joan Baez, Quill, Country Joe McDonald, Santana, John Sebastian, Keef Hartley Band, The Incredible String Band, Canned Heat, Mountain, Grateful Dead, Creedence Clearwater Revival, Janis Joplin with The Kozmic Blues Band, Sly and the Family Stone, The Who, Jefferson Airplane, Joe Cocker and The Grease Band, Ten Years After, The Band, Johnny Winter, Blood, Sweat & Tears, Crosby, Stills, & Nash, Paul Butterfield Blues Band, Sha Na Na, Jimi Hendrix and Gypsy Sun Rainbows

Buy Woodstock soundtrack
Buy Woodstock: Three Days of Peace & Music DVD

2. Monterey Pop Festival

June 16-18, 1967
Monterey, California

Jimi Hendrix at MontereyCredited as the event which sparked the “The Summer of Love”, The three-day Monterey International Pop Music Festival had a rather modest attendance but was soon recognized for its importance to the performers and significance to the sixties pop scene. The lineup consisted of a blend of rock and pop acts with memorable performances by The Who and Jimi Hendrix Experience.

Monterey Pop Performers: Jefferson Airplane, The Who, The Jimi Hendrix Experience, Janis Joplin, Otis Redding, Booker T. & the MG’s, Ravi Shankar, The Mamas and the Papas

Buy Monterey Pop Festival Live album

3. Live Aid

July 13, 1985
London and Philadelphia

Live Aid, PhiladelphiaStill the largest benefit concert 30 years on, Live Aid was a also the first live multi-venue event, with over 70,000 at London’s Wembley Stadium and close to 100,000 at JFK Stadium in Philadelphia. Organized by musician Bob Geldof of the Boomtown Rats as relief for the Ethiopian famine, the concert evolved from Band Aid, a multi-artist group who recorded “Do They Know It’s Christmas?” in 1984. Live Aid was also one of the largest worldwide television broadcasts, with an estimated audience of 1.9 billion in about 150 nations. Memorable performances and moments included those by Queen, U2, Dire Straits, a reunited Black Sabbath, and a loose reunion by members Led Zeppelin, the first since their breakup in 1980.

Live Aid Performers: Status Quo, The Style Council, The Boomtown Rats, Adam Ant, Spandau Ballet, Elvis Costello, Nik Kershaw, Sade, Sting, Phil Collins, Branford Marsalis, Howard Jones, Bryan Ferry, David Gilmour, Paul Young, U2, Dire Straits, Queen, David Bowie, Thomas Dolby, The Who, Elton John, Paul McCartney, Band Aid, Joan Baez, The Hooters, Four Tops, Billy Ocean, Black Sabbath, Run–D.M.C., Rick Springfield, REO Speedwagon, Crosby, Stills and Nash, Judas Priest, Bryan Adams, The Beach Boys, George Thorogood and the Destroyers, Simple Minds, The Pretenders, Santana, Ashford & Simpson, Madonna, Tom Petty and the Heartbreakers, Kenny Loggins, The Cars, Neil Young, The Power Station, Thompson Twins, Eric Clapton, Led Zeppelin (announced as “Jimmy Page, Robert Plant, John Paul Jones, Tony Thompson, Paul Martinez, Phil Collins”), Duran Duran, Patti LaBelle, Hall & Oates, Mick Jagger, Eddie Kendricks, David Ruffin, Tina Turner, Bob Dylan, Keith Richards, Ronnie Wood, USA for Africa

Buy Live Aid DVD

4. Isle of Wight Festival

August 26-30, 1970
Isle of Wight, UK

Isle Of Wight Festival, 1970In sheer numbers, the 1970 Isle of Wight Festival may be the largest ever, with estimates of over 600,000, which is an increase of about 50% over Woodstock. Promoted by local brothers Ronnie, Ray and Bill Foulk, the 5-day event caused such logistical problems (all attendees had to be ferried to the small island) that Parliament passed the “Isle of Wight Act” in 1971, preventing gatherings of more than 5,000 people on the island without a special license. Memorable performances included late career appearances by Jimi Hendrix and The Doors, and The Who, who released their entire set on the 1996 album Live at the Isle of Wight Festival 1970.

Isle of Wight 1970 Performers: Judas Jump, Kathy Smith, Rosalie Sorrels, David Bromberg, Redbone, Kris Kristofferson, Mighty Baby, Gary Farr, Supertramp, Howl, Black Widow, The Groundhogs, Terry Reid, Gilberto Gil and Caetano Veloso, Fairfield Parlour, Arrival, Lighthouse, Taste, Rory Gallagher, Chicago, Procol Harum, Voices of East Harlem, Cactus, John Sebastian, Shawn Phillips, Joni Mitchell, Tiny Tim, Miles Davis, Ten Years After, Emerson, Lake & Palmer, The Doors, The Who, Sly & the Family Stone, Melanie, Good News, Ralph McTell, Heaven, Free, Donovan, Pentangle, The Moody Blues, Jethro Tull, Jimi Hendrix, Joan Baez, Leonard Cohen, Richie Havens

Buy Message to Love, The Isle of Wight Festival DVD

5. Ozark Music Festival

July 19-21, 1974
Sedalia, Missouri

Ozark Music Festival stage“No Hassles Guaranteed” was the motto of the Ozark Music Festival, held at the Missouri State Fairgrounds in 1974. While this festival offered an impressive lineup of artists as well as a crowd upwards of 350,000 people, the Missouri Senate later described the festival as a disaster, due to the behaviors and destructive tendencies of the crowd.

Ozark Music Festival Performers: Bachman–Turner Overdrive, Aerosmith, Premiata Forneria Marconi, Blue Öyster Cult, The Eagles, America, Marshall Tucker Band, The Nitty Gritty Dirt Band, Boz Scaggs, Ted Nugent, David Bromberg, Leo Kottke, Cactus, The Earl Scruggs Revue, Lynyrd Skynyrd, Electric Flag, Bob Seger & the Silver Bullet Band, Joe Walsh and Barnstorm, The Souther Hillman Furay Band, The Ozark Mountain Daredevils, Charlie Daniels Band, REO Speedwagon, Spirit

6. US Festival

May 28-30, 1983
Devore, California

Steve Wozniak’s US Festivals were staged on two occasions in September 1982 and May 1983. The second of these was packed with a lineup of top-notch eighties acts who performed in an enormous state-of-the-art temporary amphitheatre at Glen Helen Regional Park.

1983 US Festival Performers: Divinyls, INXS, Wall of Voodoo, Oingo Boingo, The English Beat, A Flock of Seagulls, Stray Cats, Men at Work, The Clash, Quiet Riot, Mötley Crüe, Ozzy Osbourne, Judas Priest, Triumph, Scorpions, Van Halen, Los Lobos, Little Steven & the Disciples of Soul, Berlin, Quarterflash, U2, Missing Persons, The Pretenders, Joe Walsh, Stevie Nicks, David Bowie

7. The Crossroads Guitar Festival

June 4-6, 2004
Dallas, Texas

Crossroads Festival 2004 adStarting in 2004, the Crossroads Guitar Festivals have been held every three years to benefit the Crossroads Centre for drug treatment in Antigua, founded by Eric Clapton. These concerts showcase a variety of guitarists, with the first lineup at the Cotton Bowl stadium in 2004 featuring some legends along with up-and-comers hand-picked by Clapton himself.

2004 Crossroads Guitar Festival Performers: Eric Clapton, Johnny A, Vishwa Mohan Bhatt, Ron Block, Booker T. & the M.G.’s, Doyle Bramhall II, JJ Cale, Larry Carlton, Robert Cray, Sheryl Crow, Bo Diddley, Jerry Douglas, David Honeyboy Edwards, Vince Gill, Buddy Guy, David Hidalgo, Zakir Hussain, Eric Johnson, B.B. King, Sonny Landreth, Jonny Lang, Robert Lockwood, Jr., John Mayer, John McLaughlin, Robert Randolph, Duke Robillard, Carlos Santana, Hubert Sumlin, James Taylor, Dan Tyminski, Steve Vai, Jimmie Vaughan, Joe Walsh, ZZ Top, David Johansen

Buy Eric Clapton: Crossroads Guitar Festival 2004 DVD

8. Live 8

July 2, 2005
Locations world wide

Pink Floyd at Live 8Held 20 years after he organized Live Aid, Bob Geldof’s Live 8 was even more ambitious, being held in nine different locations around the world on the same day. Timed to coincide with the G8 conference in Scotland that year, the goal was to raise money to fight poverty in Africa. The most memorable moment from the concerts was at Hyde Park in London where the classic lineup of Pink Floyd reunited for the first time in over two decades.

Live 8 Performers: U2, Paul McCartney, Annie Lennox, Mariah Carey, R.E.M. The Killers, The Who, UB40, Pink Floyd, Elton John, Bob Geldof, Velvet Revolver, Madonna, Coldplay, Robbie Williams, Will Smith, Alicia Keys, The Black Eyed Peas, Kanye West, Linkin Park, Jay-Z, Rob Thomas, Sarah McLachlan, Stevie Wonder, Maroon 5, Deep Purple, Neil Young, Buck Cherry, Bryan Adams, Mötley Crüe, Brian Wilson, Green Day, a-Ha, Roxy Music, Dido, Peter Gabriel, Snow Patrol, The Corrs, Zola, Lucky Dube, Jungo, Pet Shop Boys, Muse, The Cure

Buy Live 8 DVD

9. Woodstock ’94

August 12-14, 1994
Saugerties, New York

Organized to commemorate the 25th anniversary of the original Woodstock festival, Woodstock ’94 was promoted as “3 More Days of Peace and Music”. in fact, this concert took place near the originally intended location of that first show and other similarities such as common performers, similar crowd size, rain, and mud.

Woodstock ’94 Performers: Blues Traveler, Candlebox, Collective Soul, Jackyl, King’s X, Live, Orleans, Sheryl Crow, Violent Femmes, Joe Cocker, Blind Melon, Cypress Hill, Rollins Band, Melissa Etheridge, Crosby, Stills, & Nash, John Sebastian, Nine Inch Nails, Metallica, Aerosmith, Country Joe McDonald, Sisters of Glory, Arrested Development, Allman Brothers Band, Traffic, Santana, Green Day, Paul Rodgers Rock and Blues Revue, Spin Doctors, Porno For Pyros, Bob Dylan, Red Hot Chili Peppers, Peter Gabriel

Read more on Woodstock ’94 from our recent Comebacks and Reunions special feature


Bonus Top 9 List: Best Single Day, Single Location Shows

The Who at Concert for New York City

1. The Concert for New York City October 20, 2001. New York, NY
2. The Band’s Last Waltz November 25, 1976. San Francisco, CA
3. Atlantic Records 40th Anniversary Celebration May 14, 1988. New York, NY
4. Concert for Bangladesh August 1, 1971. New York, NY
5. Knebworh Festival June 30, 1990. Knebworth, UK
6. Texxas Jam July 1, 1978. Dallas, TX
7. Farm Aid September 22, 1985. Champaign, IL
8. Canada Jam August 26, 1990. Bowmanville, Ontario
9. Altamont Free Concert December 6, 1969. Tracy, CA

~

Ric Albano

Combat Rock by The Clash

Combat Rock by The ClashThe last significant album by The Clash came in 1982 with Combat Rock. The album follows the experimental triple album Sandinista!, which itself followed the double album London Calling. The original plan for this album was a double LP called “Rat Patrol from Fort Bragg”, but the idea was scrapped after internal wrangling when some band members were dissatisfied with the album’s mix by guitarist Mick Jones. Legendary engineer Glyn Johns was brought in to re-mix the album which was then reduced to its single LP form. Although much less experimental than Sandinista!, the band continues to explore many sub-genres on Combat Rock particularly those funk and Caribbean rhythms.

Led by singer/guitarist Joe Strummer, the band dove into social and political issues with both feet, including the catalogue number of the album, FMLN2, in honor of the El Salvador political party Frente Farabundo Martí para la Liberación Nacional, a communist organization formed in part by Cuba’s Fidel Castro in the late 1970s. I always find it fascinating when rebellious figures such as Strummer embrace parties and systems which would either neuter them or completely destroy them if they found themselves fully entrenched in that system. That being said, this idelogical approach to the material on the album makes it all the more interesting and unique, which is probably the most important attribute of a rock album.

Still, even though Combat Rock is filled with offbeat songs and experiments with sound collage, it was labeled by some as the Clash’s “sellout” album, particularly because of two radio friendly tracks on the first side. The album did reach the Top Ten on both sides of the Atlantic, spending over a year on the U.S. charts. Still, this was far from a conventional, commercial rock album with unique themes, asymetrical arrangements, and inner stress about differing musical approches which would eventually fracture the group permanently.
 


Combat Rock by The Clash
Released: May 14, 1982 (Epic)
Produced by: The Clash
Recorded: Ear Studios & Wessex Studios, London, Sep 1981 – April 1982
Side One Side Two
Know Your Rights
Car Jamming
Should I Stay Or Should I Go
Rock the Casbah
Red Angel Dragnet
Straight To Hell
Overpowered By Funk
Atom Tan
Sean Flynn
Ghetto Defendant
Inoculated City
Death Is a Star
Band Musicians
Joe Strummer – Guitars, Vocals | Mick Jones – Guitars, Vocals
Paul Simonon – Bass, Vocals | Topper Headon – Drums, Piano

 
The album begins with a “public service announcement” in the form of the satirical “Know Your Rights”. an upbeat ska bounce, new-wave percussive effects, and wet tremolo guitars give a light atmosphere which contrasts the cynical lyric, which recites three “rights” with absurd exceptions for each:

1.The right not to be killed. Murder is a crime, unless it is done by a policeman…
2.The right to food money, providing of course, you don’t mind a little investigation…
3.The right to free speech, as long as you’re not dumb enough to actually try it…

“Car Jamming” follows with a choppy guitar riff that makes for a mock-dance beat. The song has interesting melody with background vocals by guest Ellen Foley and a distant, sustained lead guitar later on in the song. “Red Angel Dragnet” features spoken vocals by bassist Paul Simonon and a funky bass beat with slight reggae guitars. The song is laced with dark humor and contains quotes from the movie Taxi Driver.

Should I Stay or Should I Go single“Should I Stay or Should I Go” is a basic, riff-driven, rock song with a simple 4/4 drum beat and a catchy blues progression during the verse. This infectious song would become the band’s biggest hit and reach #1 in the U.K. Mick Jones performs lead vocals and the title was reportedly referring to his  impending departure from The Clash (although Jones has since denied this) and features some Spanish language backing vocals by Strummer, giving it a very unique edge. “Straight to Hell” is driven by rotating drum beat, leaving room for improvisation vocally and the slightly whining guitars. The song is very melodic, which adds to the surrealism of the dark lyric.

Cheap sound effects aside, “Rock the Casbah” is the best song on the album. The song is driven by the rhythms of drummer Topper Headon who contributes bass and the opening piano riff as well. Lyrically, the song borrows words and terms from various Middle Eastern languages and gives a fabulous account of a popular rebellion against a ban on rock music by the Sharif (or “king”). The video for the song was shot in Austin, Texas and includes a couple of U.S. Air Force jets, which were unwitting participants. A dance remix of the song called “Mustapha Dance” was released with many versions of the single.
 

 
The second side contains less accessible, more niche tracks. On “Overpowered by Funk” it is hard to tell whether the band is embracing this cheesy new 80s sound or ridiculing it. The song features a “rap” by graffiti artist Futura 2000, who had accompanied the band on their 1981 European tour as a live, on-stage backdrop painter. “Atom Tan” sounds much like a Frank Zappa composition at first, but becomes quite repetitive and weak when it finally does break. “Sean Flynn” is distant but interesting, featuring diverse instrumentation including saxophone by Gary Barnacle and flute and xylophone by unidentified players.

The closest to pure reggae on the album, “Ghetto Defendant” contains some excellent percussion effects and spoken poetry by beat poet Alan Ginsburg, who performed on stage with the band during their New York shows. “Inoculated City” has pretty good melodies and harmonies throughout. It is a nice new-wave-ish tune with weird overtones, including a lifted sample from a commercial for a toilet bowl cleaner called “2000 Flushes”. “Death Is a Star” is a good closer for the album with distant, almost Syd Barret-era Pink Floyd aura. The song is topped by the piano of guest Tymon Dogg.

After Combat Rock, the Clash began to disintegrate. Drummer Headon was asked to leave the band just prior to the release of the album, and Jones would depart a year after its release. The band would never again reach the heights of the heyday in the late 1970s and early 1980s.

~
R.A.
 


1982 Images