Revolution Rock: A Story of The Clash

 By Taylor Jones

After bursting onto the punk rock scene in the mid 1970s, British boyos The Clash awed world audiences in 1979 with their third album, London Calling, delivering youthful punk messages packaged in their own brand of ska and reggae seasoned rock n’ roll. No other band has ever adapted so well to spread their punk music, an art form so misunderstood by the snobby old man who looks down upon the “hooligans” running amuck up and down the street. However, this music speaks to those kids. It speaks to the tattered down teenager who watches greed and corruption run the world until punk music sympathizes with him and shouts “fuck em’ if they aren’t gonna take you for who you are,” stopping the Earth in its tracks for but a moment before launching it back into orbit.

            So what was so different about The Clash? The answer lies in the fact that their music didn’t merely speak to Jimmy Jazz getting harassed by the police, it spoke to the world and to future generations. Singer and rhythm guitarist Joe Strummer once said “London Calling” was written for anybody who has kids, because we must keep this world turning and functional for hundreds of generations to come. The title track kicks off the record and describes the foretelling of a disastrous London, stricken by the plight of war and nuclear power, not to mention the teeming zombies. And while their songwriting seeped with punk attitude, their experimentation with reggae and ska styles tossed an island spice over their 1950s American rock n’ roll influence. Thus, The Clash produced a sound of their own that was accessible to countless more listeners than the brute, in-your-face punk of say the Sex Pistols. Granted, if you’re listening to the Sex Pistols, you desire their crude rawness that drives “civilized” people away, which is the reason you know punk music will always retain its controversial edge.

           The Clash, consisting of singer/guitarist Joe Strummer, lead guitarist Mick Jones, bassist Paul Simonon, and drummer Nicky “Topper” Headon, were not only successful due to their versatility in music, but also for their lively stage presence. Often dressed in a collage of Spanish and English military attire, The Clash conveyed a wild energy (like that of Strummer’s signature jungle callings) that demanded the crowds’ attention. They’d strut on stage, pick up their instruments, and boom! They chase you like an off-roading eighteen-wheeler from hell and the only way to save your life is just to dance! Strummer and Jones would perform their iconic one-footed passing of one another from opposing ends of the stage while Simonon and Headon always locked in with each other just behind the ever-pushing pulse of a live performance.

          Notably, Simonon takes over vocals on his composition “The Guns of Brixton,” condemning police brutality and impending race riots of Brixton, south London, where he grew up. This song is an example of Simonon’s reggae influence, specifically mentioning Jimmy Cliff’s “The Harder They Come,” but casts a heavy shadow of discontent through struggle-filled lyrics. Simonon’s voice is considerably lower than Strummer’s, and by singing with a monotonic laze, he provides the darker atmosphere that “The Guns of Brixton” demands.

          As we recently reminisced over the ninth anniversary of Joe Strummer’s death, we embraced the fact that his message will continue to live on through his music. The last named track on London Calling, “Revolution Rock,” (not to be confused with the hidden track “Train In Vain” which was added to the record at the last minute) promotes The Clash’s self-held and evident belief that their music was breaking stylistic barriers and opening up the doors to future punk rock bands (i.e. everyone from Social Distortion to Green Day). While The Clash exploited the trifles of war, the corruption of greed and advertising, psycho hysteria, drugs, government wrongdoing, and police brutality, their contribution to the punk revolution is forever solidified in vinyl grooves through the lyrics “everybody smash up your seats and rock to this brand new beat!”

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