Album of the Day-May 10
The Clash — London Calling
The Clash — London Calling
10.May.2020
The Clash
London Calling
1980
“The only band that matters.”
Well, that’s how their manager marketed them…and when they released this album, it was true.
The Clash formed in 1976 and were there ringing in the bell of punk rock and then sounding the death knell three years later. By the time London Calling came out, they were the first to proclaim on the title track that “phony Beatlemania has bitten the dust.”
The cover shot by Pennie Smith of bassist Paul Simonon smashing his bass on stage is one of the most iconic images in rock and roll. Accompanied by the font and coloring of Elvis Presley’s debut album for RCA records in 1956 make it a double whammy of rock and roll import .
It’s never been said that The Clash were short of testicular fortitude.
London Calling is long considered as the album that bridges the gap between punk and rock and roll, if only because of the band’s punk origin story. Listening to it today, stylistically, sure there is a lot here but at its core? It’s a rock record.
The Clash — the hubris and arrogance of this self-titled debut is what you’d expect.
Give ’Em Enough Rope — produced by Sandy Pearlman (Blue Oyster Cult, etc.) the band had their creativity and voice subjugated in an attempt to find commercial success.
While the first two records leaned heavy on punk, this third record took a different approach. London Calling itself is a mish mash of genre’s that goes from the spirit of punk, but cleans it up, “Koca Kola” to British Pub Rock “Brand New Cadillac” to Reggae/Rude Boy “The Guns of Brixton” and “Wrong ’em Boyo” to pop “Lost in the Supermarket” to rock “Death of Glory” and “London Calling.”
London Calling delivered what every “punk” band couldn’t — an album that was well written, had great songs, was produced well but perhaps most importantly, was listenable.
But don’t be misled, thematically, the songs on London Calling may sound more accessible but they’re just as potent as any other The Clash had written. The message here is still very punk:
“Clampdown” urges people to fight the status quo.
“Lover’s Rock” advocates safe sex and planning.
“Lost in the Supermarket” — the constant consumerism has led to political apathy.
“London Calling” — partially influenced by the Three Mile Island nuclear disaster.
“Rudie Can’t Fail” — isn’t a fun-loving song, it’s the social criticism of a young man for his inability to act like a responsible adult.
When London Calling was released, it was immediately recognized for what the genius that it was. It’s stature over forty years has only grown as it continues to be re-evaluated by every new generation that discovers it.
It makes the Pennie Smith photograph and the font and coloring on The Clash’s London Calling all the more fortuitous, because forty years from now, it’s this album they’ll still be listening to and discussing.