The Clash Band3/25/2021
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The Clash Band Series Of FourAt the crux of that battle is a volcanic series of four Clash concerts including a benefit for Sid Vicious coming swift on the heels of the groups second album, Give Em Enough Rope, which entered the British charts at Number Two. Together with the Sex Pistols, the Clash helped spearhead the punk movement in Britain, along the way earning a designation as the most intellectual and political New Wave band. Certainly no other band communicates kinetic, imperative anger as potently as the Clash. When Nicky Topper Headons single-shot snare report opens Safe European Home (a song about Strummer and lead guitarist Mick Jones ill-fated attempt to rub elbows with Rastafarians in the Jamaicans backyard), all hell breaks loose, both on the Lyceum stage and floor. Shards of Mott the Hoople and the Who cut through the tumult, while Strummers rhythm guitar and Paul Simonons bass gnash at the beat underneath. Screwing his face up into a broken-tooth yowl, he gleefully bludgeons words, then caresses them with a touching, RB-inflected passion. Strummer, wearing smoky sunglasses and a nut brown porkpie hat, resembles a roughhewn version of Michael Corleone. You a Yank Jones asks me in a surprisingly delicate, lilting voice. In the best Keith Richards tradition, the fans see Mick as a sensitive and vulnerable street waif, prone to dissipation as much as to idealism. Hes also among the gentler, more considerate people Ive ever spent time with. It seems all I do is spend my time answering everyones charges charges that shouldnt have to be answered. But probably the most damaging salvo has come from their former manager, Bernard Rhodes, who, after he was fired, accused the band of betraying its punk ideals and slapped them with a potentially crippling lawsuit. Were still the only ones true to the original aims of punk, he said. Both had been abandoned at early ages by their parents, and while Strummer (the son of a British diplomat) took to singing Woody Guthrie and Chuck Berry songs in Londons subways for spare change during his late teens, Jones retreated into reading and playing Mott the Hoople, Dylan, Kinks and Who records. In 1975, he left the art school he was attending and formed London SS, a band that, in its attempt to meld a raving blend of the New York Dolls, the Stooges and Mott, became a legendary forerunner of the English punk scene. I dont like your band, Jones said, but I like the way you sing. Strummer, anxious to join the punk brigade, cut his hair, quit the 10lers and joined Jones, Simonon (also a member of London SS), guitarist Keith Levine (now a member of Public Image Ltd) and drummer Terry Chimes to form the Clash in June of 1976. Eight months later, under the tutelage of Bernard Rhodes, the Clash signed with CBS Records for a reported 200,000. While the Sex Pistols proffered a nihilistic image, the Clash took a militant stance that, in an eloquent, gutteral way, vindicated punks negativism. Harrowed rhythms and coarse vocals propelled a foray of songs aimed at the bleak political realities and social ennui of English life, making social realism and unbridled disgust key elements in punk aesthetics. The punks, egged on by a hysterical English press, began turning on each other, and drummer Chimes, weary of ducking bottles, spit and the bands politics, quit.
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