London Calling The Clash

London Calling was released at a time when the English punk rock scene was in decline, with musicians turning their attention towards post-punk and new wave music. With this album, The Clash too breaks free from the genre’s limitations and solipsism, while retaining the drive and conviction of a punk rock band. In London Calling, The Clash master reggae and rockabilly as effortlessly as they craft polyvalent pop and R&B songs. Producer Guy Stevens is to thank for the band’s newfound crisp sound, far removed from the hard rock edge of Give ‘Em Enough Rope. Joe Strummer and Mick Jones form a solid songwriting team, penning politically charged lyrics about social unrest, racial profiling and drug abuse. With a cover that alludes to Elvis Presley’s influential debut album, yet features Paul Simonon on the verge of smashing his bass guitar, London Calling is a transcendental record that celebrates the romance of rock and roll rebellion.

The first half of London Calling is flawless and full of dazzling songs. The opening title track is an anthemic rock classic where Strummer’s gritty vocals command an apocalyptic call to arms, backed by ragged guitar licks and Simonon's thundering bassline. Next, The Clash performs a spirited rockabilly cover of Vince Taylor’s "Brand New Cadillac”, while “Jimmy Jazz” tells the noire story of an outcast who manages to stay one step ahead of the cops. The catchy “Hateful" denounces drug consumption, and "Rudie Can’t Fail” is a soulful ska salvo that praises the 60's rude boy movement in Jamaica. In "Spanish Bombs” the band contrasts tragic events of the Spanish Civil War with the country's tourist attractions. "The Right Profile” is a song about doomed actor Montgomery Clift's car crash and substance abuse. Like “Lost in the Supermarket”, “Clampdown” is an energetic and tuneful critique of capitalism. “The Guns of Brixton” has a stark reggae influence and is written and sung by Simonon, who was brought up in the area.

The second half of London Calling is slightly less memorable but benefits from the effect of synergy. “Death of Glory” is a blunt litany of an unworkable ideal, and "Card Cheat” is a dramatic song dominated by pouncing piano chords and a brass section reminiscent of 60s pop groups. "Lover’s Rock” and “I’m Not Down” are further highlights, with Jones using a violin bow to play guitar in the latter. The album closes with “Train in Vain”, a hidden gem etched in after the sleeve had been printed, which is an addictive and irresistible pop song. The track is sung by Jones and contains a funky guitar riff and a harmonica replicating the sound of a train whistle. As a homage to their roots, the title stems from Robert Johnson’s “Love in Vain” and the chorus reminds of Ben E. King’s "Stand by Me". Though the band's tireless ambition would soon contribute to their downfall, London Calling is a timeless masterpiece of unparalleled originality.

There is no other album in the world like London Calling. This album could not be better if it tried. It's a mind-blowing experience from beginning to end, starting with the paranoia of the title track, and touching every genre from blues to jazz to ska to reggae before ending on the memorable "Train in Vain". What's more incredible about the varied styles, though, is The Clash's ability to pull everything off successfully. "Rude Can't Fail" is just as epic as any reggae classic, "The Right Profile" is a rockabilly masterpiece with a killer horn section, and "Lost in the Supermarket" manages to redefine pop with a punk flavor. This is quite simply one of the greatest albums ever released in the history of music. Although the Clash played pure punk on their early albums, this is the album where they transcended punk and became something new. This is the album where The Clash went from being pioneers to being legends.

I called 'Never Mind the Bollocks' the greatest punk album of all time only because I wouldn't really consider 'London Calling' punk - it's far too bold and musically-diverse to be pigeonholed into such a restrictive category. It's best described as 'apocalypse music', a full-on attack against the establishment. By this description, it may seem strange that it closes with what seems to be a song about unrequited love, until you realize that 'Train in Vain' isn't directed at some flighty tramp who tears your heart out and leaves you alone, but rather to a world that turns it's back on anyone who refuses to conform to the accepted standards of thinking. 'Did you stand by me?; No, not at all!'

The summit of rock'n'roll. It has only been reached once...twice...Exile on Main St. When I die, I sincerely hope my friends honor me by gathering together and listening to London Calling & Exile on Main St. in their glorious collective entirety. No talking. No bathroom breaks. Just beer, cigarettes and serious vibes. Death & Glory...indeed.

No exaggeration, this is quite simply one of the great albums of all time! From the hair-raising opener to the famous hidden track, it’s a master class in musical styles and great song writing. On this record The Clash are by turns inspiring, political, social, and fun. They even manage to make the two cover songs their own. Strummer and Jones made a lot of great music, but this was absolutely the height of their powers. My heart starts pumping with excitement just looking at the track list. Do yourself a favor and get this into heavy rotation. By the way, did I mention I really like this record? Essential.

One of all-time best double albums, London Calling is the moment when The Clash transcend the punk movement and become a rock band of the ages. Broadening their scope, the band further explores its love of reggae along with conscious riffing upon the themes found in rockabilly, pop vocals, disco, folk, ska, and R&B, Astonishingly, these disparate influences organically gel into a cohesive musical statement that gets better with each listen.

The title track is an obvious classic, but each track has its own charms. "Brand New Cadillac" is a scruffy cover of an overlooked Vince Taylor cut; the original tune is occasionally noted as the first instance of a British musician taking a crack at rock n' roll. "Train In Vain" is a relentlessly catchy break-up anthem. "Death Or Glory" and "Clampdown" are jaded admissions that the group's well-known political diatribes may be somewhat futile. "Spanish Bombs" and "The Guns Of Brixton" are defiant protests against such assertions.

I could go on about each song on this album, but its myriad pleasures speak for themselves. Anyone with even a casual interest in 20th century rock music should give these recordings a chance; very few will be disappointed.

This is a great album, its wealth of variety foreshadows much of rock music of the 1980s. It is a very lively, playful album, too, played by tremendous musicians who already had a musical experience that included more than their punk years.

But in my point of view, it also is a somewhat overrated album. There are many outright weak songs on "London calling", making up more than one third of the 19 tracks on it...

I like in particular the brass arrangements on "Rudie can't fail" and "Revolution rock", they add perfectly to the songs' vitality and dynamic spirit. The title track and "Clampdown" are classic rock songs that stand the test of time. "Train in vain" and "Lost in the supermarket" are danceable tracks which anticipate the hit songs of the following two Clash albums. And "The Guns of Brixton" continues to be a masterpiece.

What is remarkable, too, about "London calling" is that it then was a provocative statement by a renowned punk band towards the punk world. Punk rejected most music before Punk. Punks rejected hippie music, 70s rock, MOR, "BOF" music. But "London calling" showed many people that there was a rich rock and pop music history indeed, worthy to be discovered ...

London Calling is one of the most overrated albums of all-time. It's decent, it's ok, but I wouldn't even say that it's necessarily even good. There may have been an imagine an attitude associated with The Clash at the time this came out, but musically there's not much here.

album difficult to describe for its importance, it made history for its perfect mix of punk, rock'n'roll, reggae / ska, rhythm & blues, post-punk, political and social themes, in short, it is a real summa of the sound of the '70s and a look forward to the' 80s. everyone will have their favorite songs, but I also mention for importance in my story as a listener london calling, lost in the supermarket, jimmy jazz, rudie can't fail, revolution rock, train in vain, four horsemen, brand new cadillac, clampdown, each brixton cannons, Spanish bombs ... and I'm sure forgetting others!

Absolutely fantastic album, by far one of the ten best albums, and I say this as a fan of the Who, Bowie, Beatles and several other artists that differ greatly from Punk. Never dare compare the Clash to bands like Guns N Roses, because there is no comparison, despite how Guns N' Roses achieved more success.