A Short History of the Clash

Joe Strummer was three years older than Mick Jones when they met in 1976. He had already been playing on the London pub circuit in his band the 101ers. They had released a single called 'Key To Your Heart', which was a straight-ahead R&B style love song. Jones had little experience in a band but did have something that Strummer didn't: a punk philosophy. He formed a band called London SS which included Brian James who went on to form Chelsea and join the Damned and Tony James who would form Generation X. They actually spent a lot more time auditioning new members than actually playing gigs. For Jones it was all about the attitude and not the musicianship. Paul Simonon fitted this idea perfectly. He had no discernible musical talent and had the right punk attitude. They both loved the Stooges and the New York Dolls, but they also were into the Rolling Stones, so when Strummer came along they didn't mind that he was way more traditional than them.

The band they formed was called the Positive Negatives and included drummer Terry Chimes and guitarist Keith Levene. They played a few gigs and were spotted by manager Bernie Rhodes, a ducker and diver in the McLaren mould. It was Rhodes who suggested that the band should become more political with their songs as he sensed a market opportunity for slogan driven tunes. Jones and Strummer liked the idea and rewrote the song 'I'm So Bored With You' and called it 'I'm So Bored Of The USA'. It was followed by the great 'White Riot' and the punk anthems 'London's Burning' and 'Career Opportunities'. Then they recorded their first album named after the band, which they had changed to the Clash. So, there's definitely a focus at work, albeit in an amateur sort of way, but did it initially come from the band or the manager?

Strummer concentrated on singer on the album and his guitar can hardly be heard because of sound leakage issues in the studio. Drummer Terry Chimes had actually been kicked out of the band before the sessions started, but they couldn't find another drummer in time so he ended up playing anyway. The album features impassioned vocals from Strummer, relentless drums and sharp and concise guitar work. Near the end of the album is a surprising cover of 'Police And Thieves', originally by Junior Marvin. It is a pointer to the direction the Clash will take later. It was always really cod-reggae with the Clash, the guitars were a little too urgent even if the drums were always mellow. It's not that surprising that reggae gets a look-in this early in their career. The Roxy club, that bastion of early punk scoundrels, had DJs mixing reggae, dub and ska with punk between the live bands. None other than Lee 'Scratch' Perry was impressed by the Clash's take on reggae and he offered to work with them on their 1977 single 'Complete Control'. It turned out to be one of their finest moments, though it would be nice to hear the real Perry mix as Mick Jones turned up all the guitars after the great dub pioneer had left the studio.

This was followed by '(White Man) In Hammersmith Palais'. It tries to talk about voluntary color apartheid witnessed by Strummer at a Dillinger gig and refers to new punk bands who buy their punk clothes at high street stores 'ha, you think it's funny, turning rebellion into money'. It's a good line but sort of undermined by Strummer choosing soft-rock heroes Blue Oyster Cult to produce their second album. It has an unfortunate title too in 'Give 'Em Enough Rope'. It did include some decent songs though. 'English Civil War' and 'Tommy Gun' are pretty good despite some studio limitations on the sound.

At the end of the same year came 'London Calling'. It is the sound of a band at the height of their powers. It's equal parts punk, rock, reggae, rockabilly, jazz, R&B, and pop. The striking things about it are the song arrangements and sonic dynamics, which are well honed and knowingly created. Something which would have been laughed at a couple of years before. The Clash were now not so much a punk band, more a rock band, maybe that's what they were from the outset. Each song is sparse and neatly realized and most are about London and it's scenester population, or it's imaginary scenester population. Stories talk about a Jimmy Cliff wannabe living in Brixton, Rudie, Jimmy Jazz and others. There are lines about 'evil presidente', the Spanish Civil War, and consumerism leading to apathy.

They followed the double album 'London Calling' with the triple album 'Sandanista' in 1982. By now they have perfected their rock-pop sound and it includes the great 'Rock The Casbah', which was actually written by Topper Headon, and 'Should I Stay Or Should I Go'. Both were international hits. Maybe they should have stopped right there. They were at the top of their game and had produced a couple of sparkling, era-defining albums. But they didn't.

Strummer sacked Jones. Jones formed Big Audio Dynamite. Headon left on his own accord and made a solo album, spent time in prison and ended up as a taxi driver. The Clash recorded one more album, called 'Cut The Crap'. The stopped in 1985. Strummer went on to play with the likes of Bob Dylan, The Pogues and with his own band Mescaleros. He died, tragically, around Christmas 2002. The Clash had a dodgy political agenda which was slogan-based and had little depth, but they were a fine rock band at their peak and recorded some great singles. None better than 'White Riot'.