The Clash
London Calling, Legacy Edition
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NATN Recommended
The Clash
London Calling, Legacy Edition
Legacy Recordings/Epic Records, 2005
RiYL: The Beatles, Highway 61 Revisited, The Ramones |
The statement album for the Clash, the album they had to make in order to survive -- even if it meant alienating their hardcore fan base that wanted the band to remain true to their punk roots.
The album that had such an impact on rock music in general that Rolling Stone named it the Number One album of the 1980s, edging out such best-sellers and better-known albums like Michael Jackson’s Thriller, Bruce Springsteen’s Born In The USA, and U2’s The Joshua Tree. Such an impact, in fact, that the very same Album of the 1980s won similar accolades for the 1970s -- as London Calling was officially released in 1979.
But hey, that’s appropriate. Because as a double album, London Calling was the end of one era and marked the beginning of another. It’s not often that two decades can lay claim to the same album, but London Calling is far from an ordinary record.
The album is both revered and despised by long-time Clash fans, as it introduced the band to the mainstream for the first time, but did so on their terms. Long-time punk kids resented that "Train In Vain," the band’s first top-20 single, was, well, a top-20 single. But at the same time, the song was not listed on the album sleeve, frustrating the Johnny-come-latelys who just wanted to buy the record for that tune.
So yes, London Calling is a bit of a paradox, and 25 years later, the album remains a lightening rod for rock history. As much as the Ramones’ first album signaled the beginning of punk rock, London Calling signaled the end, and the Clash was the most appropriate band to deliver the eulogy.
In fact, London Calling is simply that, a eulogy. A eulogy to punk, a eulogy on society, hell, it even contains a eulogy to actor Montgomery Clift in "The Right Profile." The end of punk and the '70s, as everyone knows, meant the beginning of the Reagan-Thatcher years, two hard-nosed conservatives whose thoughts and beliefs did not exactly mesh with the liberal-tinted world view of the Clash.
From the searing opening riffs of title tune "London Calling" to the in-your-face reggae rhythms of "The Guns Of Brixton" to the do-or-die charge of "Clampdown," the album took its aim against punk rockers, authority, Hollywood, the cops, drug dealers and just about anyone else who stood in the Clash's way.
And now, Sony Legacy has delivered a eulogy on London Calling itself, releasing an anniversary edition chock full o’ goodies and nuggets that any self-appreciating Clash fan would salivate after.
Sony’s Legacy Edition of London Calling is most notable for its inclusion of the so-called Vanilla Tapes, a series of demos that were recorded during rehearsal sessions before the band went into the studio. For hardcore Clash fans, this material is must-have, and it is legendary. The Vanilla Tapes have been rumored for years -- everyone knew the band had demos of London Calling, but no one knew where they were. Former roadies confessed to losing them on London’s Underground, so they were presumed lost.
But, whether by miracle, coincidence or just great marketing, former guitarist and chief tunesmith Mick Jones unearthed the tapes as he was moving into a new house, and immediately polished them up for public release -- 25 years after they were recorded.
So what is one to make of the Vanilla Tapes? Well, keep in mind they are demos. That they’ve been publicly released is admirable, as most songs are rough versions of the ones included on the final album. You can hear instrumental takes of "Hateful" and "Working and Waiting," early versions of "The Right Profile" and "Death Or Glory," and the initial lyrics for "London Calling" and "I’m Not Down."
Most of the songs are works in progress. For example, "Four Horsemen" is a tough listen, as is "Koka Kola." Joe Strummer’s guttural vocals sound almost primal in some takes, but are almost peaceful and more satisfactory on this version of "Lover’s Rock." Bassist Paul Simonon is still noodling around to find his groove on "Paul’s Song," a short-take of the tune that would later become "The Guns Of Brixton," and drummer Topper Headon is sharpening his chops throughout.
Also, unreleased and presumed missing tunes that never made the final cut like "Heart & Mind," "Where You Gonna Go" and two surprises, like the Dylan cover "The Man In Me" and an updated version of "Remote Control" are included.
Simply put, for the casual Clash fan, the Vanilla Tapes are forgettable; for the hardcore, they are essential -- they are the legend to the map that is London Calling.
The Legacy Edition also contains a nifty DVD that provide more insight into the making of London Calling, including old film of the actual studio recording of the album -- complete with crazed producer Guy Stevens (of Mott The Hoople fame) plodding about the studio inanely, provoking the band to its best work. Stevens, clearly battling internal demons, can be seen swinging ladders, throwing chairs, chucking beer bottles and egging the band to bring out its best.
Also included is a snappy "making of" video entitled The Last Testament, which, as most Clash fans know, was London Calling’s working title. Directed by Don Letts, The Last Testament borrows heavily from his 1999 documentary "Westway to the World," as except for an interview with former Clash manager Kosmo Vinyl, the video largely uses from the same footage Letts used in his earlier movie.
But if London Calling is about one thing, it is pure music -- the Legacy Edition does not forget that. If nothing else, the update is a celebration of the creative juices that were poured into one of the most powerful musical statements on record.
RODEO ROB | An expert on all things "alt," Rob spends his days covering the energy industry and his nights covering the DC-area bars. Raise yer glass especially high to this man, for he has contributed to this site constantly since its creation four years ago.