#91...

#91 - The Clash - The Clash (US Version)

At first listen, The Clash seem like The Sex Pistols' older, more eloquent brother, who's listened to what the little tike was moaning about, agreed, and decided to help him on his way. But this album is more than that. Most definitely not "radio-friendly", as CBS Records put it, this album feels like a statement from Strummer et al. And, considering it was recorded over only three weekends, costing only £4000 to produce, the four lads should be bloody chuffed with the results.

Strummer's angry scratch of a voice rants over every track, already sticking out like the sore thumb it was always going to be. However, despite this, the lyrics are accomplished and meaningful. "Garageland" sees Strummer shout "We're a garage band/We come from Garageland", following up this sentiment with pointed lyrics in response to a poor review they got when performing in support of the Sex Pistols. The lyrical depth doesn't stop there either. "I'm So Bored With The U.S.A.", "Career Opportunities" and "Remote Control" contain clever lyrics about various socio-political problems within the UK at the time; well, the latter two do, the first is track about how American the UK is becoming. But through this, they immediately step out of the shadow of "the Pistols" - they're not just overtly ranting about a "fascist regime", or indeed comparing themselves to Satan. They're doing it with some tact. Even "(White Man) In Hammersmith Palais" from it's very title could be seen as a statement on race within London.

The Clash never at any point feels like overplayed single bass notes over two-chord patterns for 'variety'. However, "White Riot" - the first single off the album - was never going to help them get away from the public thinking this, as two chords and two words seem to get them through that (exact) two minutes. In fact, it makes you think that the days of two minute punk-songs are gone...even though seven of the fifteen tracks clock in at under 150 seconds. With that, there's more to The Clash than easy to listen, catchy tunes (something I wrongly thought was their staple) like "Should I Stay Or Should I Go?" and "London Calling"; songs you most associate with this motley rock crew. 

There are layers here as well. Not only is there your standard drum, bass, guitar ensemble, but beneath it all, there's a piano here, handclaps there, another guitar here, the sound of a police siren there. Simplicity, but with an over-energetic pulse and a couple of pogoing legs.

The album has a backbone; a talent beneath the surface. There's an undeniable breadth of skill across all four boards. Instead of "Clash City Rockers" ending with a blast of guitar and crashing cymbals, the song filters out over a good minute of musical melody. It's like...I don't know, Razorlight's debut album. Songs ending with the band just, well, arsing about. Because they can. But unlike Razorlight, it's defined, original and doesn't contain fucking Johnny Borrell.

You can immediately see where bands like The Libertines, Arctic Monkeys, and much of the rest of that 2004-2006 attempted revival got their inspiration from, with scratchy guitars, rough-but-they-know-what-they're-doing solos, overdrive overused, and naive attempts at changing the country with music. But we all know that Strummer and his contemporaries did it first, and did it better. After all, not many people have an area at Glastonbury Festival named after them, do they?

Key Tracks: "I Fought The Law"; "Police & Thieves"; "White Riot"; "Janie Jones"

The Only Band That Matters: These are five words that were originally used as a slogan by the band's record label, CBS, to promote The Clash. And, due to their rebellious attitude, charmingly political lyrics and ability to experiment with the music they made, it was probably not far from the truth. Although, The Only Band That Mattered probably suits them better now.