The Clash's third album, London Calling, is one of my all-time favourite albums. Some of the songs on this debut album show a strong link with the art-rock style of London Calling. Unfortunately, they also show that the band had yet to perfect the style, because Remote Control, Hate & War and Jail Guitar Doors are often a dog's breakfast, full of disjointed sections and incoherent ideas.
That's enough of my whingeing about what the album isn't, it's time to celebrate what it is! And that is an uncouth yet enjoyable punk-rock album. Case in point is Garageland, which is rough as guts, but an interesting listen, thanks to the introspective lyrics. London's Burning has a similar style and a nicely catchy chorus, but is let down by verses lacking in flow.
Moving into slightly more sophisticated territory, the band are brilliant at blending a contrast of venom (usually the lyrics) and smoothness (guitar lines and backing vocals) into a song of rich tapestry. Clash City Rockers is a fine example, although it is a bit disjointed and drags out slightly. White Riot and Janie Jones hit the nail on the head. The former has a wonderfully bouncy feel thanks to the bass guitar, while the highlights of Janie Jones are the vivid narrative and the refreshingly sparse singalong chorus.
The recording quality is ahem... something you end up tolerating. At the start of Clash City Rockers, I was wincing at the tinny drum sound, hollow vocals, thin guitars, non-existant bass guitar and muffled high-pitch sounds for the cymbals (although thankfully, the bass guitar problem doesn't affect other songs). But then I found myself downgrading the other issues from "flaws" to "character traits" over time, and also appreciated the lack of clipping *cough 2000s Loudness Wars... Also, somehow the unsophisticated sound brings a sense of honesty. So would a remastered version be more enjoyable? Hmm, that's a difficult question...
I Fought The Law is simply the perfect pop-rock song. While I was listening to it, a friend made the observation, "it's so simple, anyone could have written that song". Which is true, but doesn't make it any less brilliant. It is catchy from head to toe and every guitar hook is magic. In the opposite style to usual, they have use smooth lyrics over a jagged beat, and this reversal also works a treat to bring yin and yang to the song.
The more common creation of contrast is with bitey vocals tempered by smooth yet jangly guitars. I'm So Bored With The USA is a great example, with the bouncy drums and catchy chorus being particular highlights. And (White Man) In Hammersmith Palais sees them heading into art-rock territory again, this time with far greater success. Thanks to the scratchy ska guitar, poetic and poignant lyrics and seamless arrangement, it is the London Calling aspect of The Clash at its finest. I can't put my finger on the mood of the songs, but I really dig it! And the ebbs and flows throughout are wonderful.
An intriguing album, both in what it presents and the future potential it hinted at.
No comments:
Post a Comment