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London Calling

This article is about the album. For other uses, see London Calling (disambiguation).

London Calling
TheClashLondonCallingalbumcover.jpg
Studio album by The Clash
Released 14 December 1979 (1979-12-14)
Recorded August–September and November 1979
Studio Wessex Sound Studios in London
Genre Punk rock
Length 65:07
Label CBS, Epic
Producer Guy Stevens, Mick Jones
The Clash chronology
Give 'Em Enough Rope
(1978)Give 'Em Enough Rope1978 		London Calling
(1979) 		Sandinista!
(1980)Sandinista!1980
Singles from London Calling

London Calling is the third studio album by English punk rock band The Clash. It was released as a double album in the United Kingdom on 14 December 1979 by CBS Records, and in the United States in January 1980 by Epic Records. London Calling is an album that incorporates a range of styles, including punk, reggae, rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock.

The album's subject matter included social displacement, unemployment, racial conflict, drug use, and the responsibilities of adulthood. While working on "The Card Cheat", the band recorded each part twice to create a "sound as big as possible". The final track, "Train in Vain", was originally excluded from the back cover's track listing. It was intended to be given away through a promotion with NME, but was added to the album at the last minute after the deal fell through.

The album received widespread acclaim and was ranked at number eight on Rolling Stone's list of The 500 Greatest Albums of All Time in 2003. London Calling was a top ten album in the UK, and its lead single "London Calling" was a top 20 single. It has sold over five million copies worldwide, and was certified platinum in the United States.

Contents

Recording and production

After recording their second studio album Give 'Em Enough Rope (1978), the band separated from their manager Bernard Rhodes. This separation meant that the group had to leave their rehearsal studio in Camden Town and find another location to compose their music. Tour manager Johnny Green and drum roadie Baker had found the group a new place to rehearse called Vanilla Studios, which was located in the back of a garage in Pimlico.:88

Prior to this move to the Vanilla Studios rehearsal space, the Clash's songwriters Mick Jones and Joe Strummer had experienced a period of writer's block.:91 They had not written a new song from scratch in over a year, with the material on their recently released Cost of Living EP, composed of a cover song and three songs that had all been written over twelve months earlier.:91 The Clash arrived at Vanilla in May 1979 without a single new song prepared for their third album.:89,91

Once in Vanilla Studios, the group began performing cover songs from a variety of genres, such as rockabilly, rock and roll, rhythm and blues, and reggae.:93–7 In contrast to previous rehearsal sessions, the band kept these rehearsals private, and did not allow hangers-on to attend.:90 This seclusion allowed the band to rebuild their confidence without worrying about the reaction from outsiders, who were familiar with the band's punk rock musical style.:97

The band developed an "extremely disciplined":98 daily routine of afternoon musical rehearsals, broken by a late-afternoon social football game, which fostered a friendly bond between the band members.:98–100 The daily football match was followed by a couple of drinks at a local pub, which was itself followed by a second musical rehearsal session in the evening.:98–100

The band gradually rebuilt their musical and songwriting confidence during these rehearsals during the summer of 1979, with the styles of the session's early cover songs setting the template for the diverse material that would be written for London Calling.:98 The band were also encouraged by a growing appreciation of drummer Topper Headon's drumming skills, which they realised could be used to perform music in a wide array of genres and styles beyond punk rock.:95 The Clash wrote and recorded demos, with Mick Jones composing and arranging much of the music and Joe Strummer generally writing the lyrics.:100–103

As early as their second album, the Clash had started to depart from the punk rock sound. While touring in the United States twice in 1979, they chose supporting acts such as rhythm and blues artists Bo Diddley, Sam & Dave, Lee Dorsey, and Screamin' Jay Hawkins, as well as neotraditional country artist Joe Ely and punk rockabilly band the Cramps. This developed fascination with rock and roll inspired their approach for London Calling.

In August 1979, the band entered Wessex Studios to begin recording London Calling. The Clash asked Guy Stevens to produce the album, much to the dismay of CBS Records. Stevens had alcohol and drug problems and his production methods were unconventional. During a recording session he swung a ladder and upturned chairs – apparently to create a rock & roll atmosphere. The Clash, especially bassist Paul Simonon, got along well with Stevens, and found Stevens' work to be very helpful and productive to both Simonon's playing and their recording as a band. The album was recorded during a five- to six-week period involving 18-hour days, with many songs recorded in one or two takes.

Music and lyrics

According to the music critic Mark Kidel, London Calling was the first post-punk double album and exhibited a broader range of musical styles than the Clash's previous records. Stephen Thomas Erlewine said the album appropriated the "punk aesthetic into rock & roll mythology and roots music", while incorporating a wider range of styles such as punk, reggae, rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock. According to Greg Kot, the band's embrace of specific musical traditions deviated from punk's iconoclastic sensibilities. Regarding London Calling, Jack Sargeant remarked that "whether the Clash completely abandoned their punk roots or pushed punk's musical eclecticism and diversity into new terrain remains a controversial issue."

The album's songs were generally written about London, with narratives featuring both fictional and life-based characters, such as an underworld criminal named Jimmy Jazz and a gun-toting Jimmy Cliff aspirer living in Brixton ("Guns of Brixton"). Some had more widely contextualised narratives, including references to the "evil presidentes" working for the "clampdown", the lingering effects of the Spanish Civil War ("Spanish Bombs"), and how constant consumerism had led to unavoidable political apathy ("Lost in the Supermarket"). Sal Ciolfi of PopMatters felt that the songs encompass an arrangement of urban narratives and characters, and touch on themes such as sex, depression and identity crisis. Music critic Tom Carson viewed that, "while the album draws on the entirety of rock and roll's past for its sound, the concepts and lyrical themes are drawn from the history, politics and myths associated with the genre".

"London Calling", the album's title track, was partially influenced by the March 1979 accident at a nuclear reactor at Three Mile Island in Pennsylvania. Strummer's lyrics also discuss the problems of rising unemployment, racial conflict and drug use in Great Britain. The second track, "Brand New Cadillac", was written and originally recorded by Vince Taylor and was the first track recorded for London Calling. The band cite the song as "one of the first British rock'n'roll records" and had initially used it as a warm up song before recording. "Rudie Can't Fail", the album's fifth song, features a horn section and mixes elements of pop, soul, and reggae music together. Its lyrics chronicle the life of a fun-loving young man who is criticised for his inability to act like a responsible adult. Strummer wrote "Lost in the Supermarket" after imagining Jones' childhood growing up in a basement with his mother and grandmother. "Clampdown" began as an instrumental track called "Working and Waiting". Its lyrics comment on people who forsake the idealism of youth and urge young people to fight the status quo.

"The Guns of Brixton" was the first of Paul Simonon's compositions the band recorded, and the first to have him sing lead. Simonon was originally doubtful about its lyrics, which discuss an individual's paranoid outlook on life, but was encouraged by Strummer to continue working on it. On "Death or Glory", Strummer examines his life in retrospect and acknowledges the complications and responsibilities of adulthood.

"Lover's Rock" advocates safe sex and planning. The final track, "Train in Vain", was originally excluded from the back cover's track listing. It was intended to be given away through a promotion with NME, but was added to the album at the last minute after the deal fell through.

Artwork

The album's front cover features a photograph of bassist Paul Simonon smashing his Fender Precision Bass (on display at the Cleveland Rock and Roll Hall of Fame as of May 2009) against the stage at The Palladium in New York City on 20 September 1979 during the Clash Take the Fifth US tour. Simonon explained in a 2011 interview with Fender that he smashed the bass out of frustration when he learned that the bouncers at the concert would not allow the audience members to stand up out of their seats; "I wasn't taking it out on the bass guitar, cos there ain't anything wrong with it.", Simonon said. Pennie Smith, who photographed the band for the album, originally did not want the photograph to be used. She thought that it was too out of focus, but Strummer and graphic designer Ray Lowry thought it would make a good album cover.London Calling

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