London Calling

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

London Calling
Studio album by
the Clash
Released14 December 1979 (1979-12-14)
RecordedAugust–November 1979
StudioWessex, London
Genre
Length65:07
Label
Producer
The Clash chronology
Give 'Em Enough Rope
(1978) 		London Calling
(1979) 		Sandinista!
(1980)
Singles from London Calling
  1. "London Calling"
    Released: 7 December 1979
  2. "Clampdown"
    Released: 1980 (Australia only)
  3. "Train in Vain"
    Released: 12 February 1980

London Calling is the third studio album by the English rock band the Clash. It was originally 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.

The Clash recorded the album with producer

racial conflict, drug use
, and the responsibilities of adulthood.

The album was a top ten chart success in the UK, and its lead single "

commemorated on a UK postage stamp issued by the Royal Mail.[2][3]

Background

On their second album Give 'Em Enough Rope (1978), the Clash had started to depart from the punk rock sound.[4] While touring the United States 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. The Clash's growing fascination with rock and roll inspired their direction for London Calling.[5]

After recording Give 'Em Enough Rope, the Clash separated from their manager Bernard Rhodes.[6] This meant they had to leave their rehearsal studio in Camden Town. Tour manager Johnny Green and drum roadie Baker found a new place to rehearse, Vanilla Studios, in the back of a garage in Pimlico.[7][8][9]

The Clash arrived at Vanilla in May 1979 with no new songs prepared for their third album.[10] Main songwriters Mick Jones and Joe Strummer had experienced a period of writer's block and had not written a new song in over a year; their recently released Cost of Living EP featured a cover song and three other songs that had all been written over a year earlier.[11]

Rehearsals

Rehearsal were held in Vanilla Studios over mid-1979. The Clash began playing covers from genres including rockabilly, rock and roll, rhythm and blues, and reggae.[12][13] In contrast to previous rehearsal sessions, the band kept these rehearsals private, and did not allow hangers-on to attend.[14] 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 style.[15]

The band developed an "extremely disciplined" daily routine of afternoon rehearsals, broken by a late-afternoon social football game, which fostered a friendly bond between the band members. The football was followed by drinks at a local pub, followed by a second rehearsal in the evening.[16]

The band gradually rebuilt their confidence, with the styles of the session's early cover songs setting the template for the diverse material that would be written for London Calling.[17] The band were also encouraged by a growing recognition of drummer Topper Headon's skills, which they realised could be used to perform music in a wide array of genres and styles beyond punk rock.[18]

Writing and recording

Joe Strummer (top) and Mick Jones (bottom), the band's lead vocalists, guitarists, and lyricists; pictured in 1980

The Clash wrote and recorded demos at Vanilla Studios, with Mick Jones composing and arranging much of the music and Joe Strummer writing most of the lyrics.[12][19] Strummer wrote "Lost in the Supermarket" after imagining Jones' childhood growing up in a basement with his mother and grandmother.[20] "The Guns of Brixton" was the first of bassist Paul Simonon's compositions the band would record for an album, 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.[21]

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.[22] Stevens had alcohol and drug problems and his production methods were unconventional.[12] During a recording session he swung a ladder and upturned chairs – apparently to create a rock & roll atmosphere.[12] The Clash, especially 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,[23] with many songs recorded in one or two takes.[12]

The first track recorded for London Calling was "Brand New Cadillac", which the Clash had originally used as a warm-up song before recording.[24][25] "Clampdown" began as an instrumental track called "Working and Waiting".[21] While working on "The Card Cheat", the band recorded each part twice to create a "sound as big as possible".[26]

Musical style

London Calling is regarded by music critic

New Orleans R&B, pop, lounge jazz, and hard rock.[28] "Brand New Cadillac", the album's second track, was written and originally recorded by Vince Taylor and was cited by the Clash as "one of the first British rock'n'roll records".[24][25] The fifth song, "Rudie Can't Fail" features a horn section and mixes elements of pop, soul, and reggae music together.[29]

The Clash's embrace of specific musical traditions for London Calling deviated from what Greg Kot viewed as punk's iconoclastic sensibilities.[30] Speaking on the album, 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."[4] According to rock historian Charles T. Brown, the album led to the band's association with new wave music,[31] while music academic James E. Perone considers the album "new wave rock".[32]

Themes

The album's songs are generally about London, with narratives featuring both fictional and life-based characters, such as an underworld criminal named Jimmy Jazz and a gun-toting

Guns of Brixton").[33] In the opinion of PopMatters journalist Sal Ciolfi, the songs encompass an arrangement of urban narratives and characters, and touch on themes such as sex, depression and identity crisis.[34] "Rudie Can't Fail" chronicles the life of a fun-loving young man who is criticised for his inability to act like a responsible adult.[29] "Clampdown" comments on people who forsake the open-minded idealism of youth and urges young people to fight the status quo.[35] "The Guns of Brixton" explores an individual's paranoid outlook on life,[21] while on "Death or Glory", Strummer examines his life in retrospect and acknowledges the complications and responsibilities of adulthood.[36] "Lover's Rock" advocates safe sex and planning.[37]

Some songs have more widely contextualised narratives, including references to the "evil presidentes" working for the "clampdown", the lingering effects of the

nuclear reactor at Three Mile Island in Pennsylvania. It also discusses the problems of rising unemployment, racial conflict and drug use in Great Britain.[38] According to music critic Tom Carson, "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".[39]

Artwork

The logotype for the album was modeled after that for Elvis Presley.

The album's front cover features a photograph of

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.[45] 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.[43][46] In 2002, Smith's photograph was named the best rock and roll photograph of all time by Q magazine, commenting that "it captures the ultimate rock'n'roll moment – total loss of control".[47]

The Fender Precision Bass featured on the cover

The cover artwork was designed by Lowry and was an homage to the design of

Mick Jones) used the same scheme for their F-Punk album. The album cover for London Calling was among the ten chosen by the Royal Mail for a set of "Classic Album Cover" postage stamps issued in January 2010.[51][52] The cover art was later parodied for the soundtrack to Tony Hawk's American Wasteland.[53]

Release and promotion

The album was released in the United Kingdom on

12-inch single that played at 33⅓ rpm. Ultimately, the planned 12-inch record became a second nine-track LP.[8] The final track, "Train in Vain", was originally excluded from the back cover's track listing.[55] 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.[56]

Upon its release, London Calling sold approximately two million copies.

Disco Top 100 chart.[65]

Critical reception

London Calling was met with widespread critical acclaim.

Rolling Stones-style "outlaw imagery" and "tired old rock clichés".[68]

At the end of 1980, London Calling was voted the best album of the year in the Pazz & Jop, an annual poll of American critics published by The Village Voice.[70] Robert Christgau, the poll's creator and supervisor, also named it 1980's best record in an accompanying essay and said, "it generated an urgency and vitality and ambition (that Elvis P. cover!) which overwhelmed the pessimism of its leftist world-view."[71]

Reappraisal and legacy

Retrospective professional ratings
Review scores
SourceRating
Encyclopedia of Popular Music
[75]
Los Angeles Times[76]
Q[77]
The Rolling Stone Album Guide[78]
Select5/5[79]
Spin Alternative Record Guide7/10[80]

London Calling has since been considered by many critics to be one of the greatest rock albums of all time,[81] including AllMusic's Stephen Thomas Erlewine, who said that it sounded more purposeful than "most albums, let alone double albums".[28] "This epic double album, from its iconic sleeve to its wildly eclectic mash-up of styles, is surely the quintessential rock album", wrote BBC Music journalist Mark Sutherland.[82] In Christgau's Record Guide: The '80s (1990), Christgau called it the best double album since the Rolling Stones' Exile on Main St. (1972) and said it expanded upon, rather than compromised, the Clash's driving guitar sound in a "warm, angry, and thoughtful, confident, melodic, and hard-rocking" showcase of their musical abilities.[74] According to the English music writer Dave Thompson, London Calling established the Clash as more than "a simple punk band" with a "potent" album of neurotic post-punk, despite its amalgam of disparate and occasionally disjointed musical influences.[83] Don McLeese from the Chicago Sun-Times regarded it as their best album and "punk's finest hour", as it found the band broadening their artistry without compromising their original vigor and immediacy.[73] PopMatters critic Sal Ciolfi called it a "big, loud, beautiful collection of hurt, anger, restless thought, and above all hope" that still sounds "relevant and vibrant".[34] In a review of its 25th anniversary reissue, Uncut wrote that the songs and characters in the lyrics cross-referenced each other because of the album's exceptional sequencing, adding that "The Vanilla Tapes" bonus disc enhanced what was already a "masterpiece".[84]

London Calling is honored for many excellent reasons, not least its audacity: a double album by the band that personified punk anti-'commercial' brevity and defiance going long and ranging far in both songwriting and instrumentation—the horn-fed 'The Card Cheat' features M. Jones on piano! It was where they announced that they wanted to play with the big boys and buried most of them forthwith.

—Robert Christgau, El País (2019)[85]

In 1987,

Grammy Hall of Fame, a collection of recordings of lasting qualitative or historical significance.[98] In 2009, the album was profiled in the BBC Radio 1 Masterpieces series, denoting it as one of the most influential albums of all time.[99]

25th anniversary edition

Professional ratings
Aggregate scores
SourceRating
Metacritic100/100[100]
Review scores
SourceRating
The Guardian[101]
Pitchfork10/10[102]
Rolling Stone[103]

In 2004, a 25th-anniversary "Legacy Edition" was released with a bonus CD and DVD in digipack packaging. The bonus CD features The Vanilla Tapes, missing recordings made by the band in mid-1979.[104] The DVD includes The Last Testament – The Making of London Calling, a film by Don Letts, as well as previously unseen video footage and music videos. A limited-edition picture disc LP was released in 2010.

The edition was met with widespread critical acclaim. At Metacritic, which assigns a normalised rating out of 100 to reviews from professional critics, it has an average score of 100 out of 100, based on 12 reviews. PopMatters hailed it as "easily one of the best classic re-releases yet", while Paste said "Epic/Legacy has outdone itself." However, Blender recommended consumers opt for the original edition instead, claiming "the demo versions ... sound like an incompetent Clash cover band rehearsing in a sock".[100]

Track listing

All lead vocals by Joe Strummer, except where noted.

All tracks are written by Strummer and Mick Jones, except where noted

Side one
No.TitleWriter(s)Lead vocalsLength
1."London Calling"  3:19
2."Brand New Cadillac"Vince Taylor; originally performed by Vince Taylor and his Playboys 2:09
3."Jimmy Jazz"  3:52
4."Hateful"  2:45
5."Rudie Can't Fail" Strummer, Jones3:26
Side two
No.TitleWriter(s)Lead vocalsLength
1."Spanish Bombs" Strummer, Jones3:19
2."The Right Profile"  3:56
3."Lost in the Supermarket" Jones3:47
4."Clampdown" Strummer, Jones3:49
5."The Guns of Brixton"Paul SimononSimonon3:07
Side three
No.TitleWriter(s)Lead vocalsLength
1."Wrong 'Em Boyo"Clive Alphonso; originally performed by the Rulers; including "
Stagger Lee"
 3:10
2."Death or Glory"  3:55
3."Koka Kola"  1:46
4."The Card Cheat" Jones3:51
Side four
No.TitleWriter(s)Lead vocalsLength
1."Lover's Rock"  4:01
2."Four Horsemen"  2:56
3."I'm Not Down" Jones3:00
4."Revolution Rock"Jackie Edwards, Danny Ray; originally performed by Danny Ray and the Revolutionaries 5:37
5."Train in Vain" Jones3:09
  • On the original version of the album, "Train in Vain" was not listed on the sleeve, nor the label on the record itself, but a sticker indicating the track was affixed to the outer cellophane wrapper. It was also scratched into the vinyl in the run-off area on the fourth side of the album. Later editions included the song in the track listing.
25th anniversary edition bonus disc – "The Vanilla Tapes"
No.TitleWriter(s)Length
1."Hateful"Strummer, Jones3:23
2."Rudie Can't Fail"Strummer, Jones3:08
3."Paul's Tune"Simonon2:32
4."I'm Not Down"Strummer, Jones3:24
5."4 Horsemen"Strummer, Jones2:45
6."Koka Kola, Advertising & Cocaine"Strummer, Jones1:57
7."Death or Glory"Strummer, Jones3:47
8."Lover's Rock"Strummer, Jones3:45
9."Lonesome Me"The Clash2:09
10."The Police Walked in 4 Jazz"Strummer, Jones2:19
11."Lost in the Supermarket"Strummer, Jones3:52
12."Up-Toon" (instrumental)Strummer, Jones1:57
13."Walking the Slidewalk"The Clash2:34
14."Where You Gonna Go (Soweto)"Sonny Okosun4:05
15."The Man in Me"Bob Dylan3:57
16."Remote Control"Strummer, Jones2:39
17."Working and Waiting"Strummer, Jones4:11
18."Heart & Mind"The Clash4:27
19."Brand New Cadillac"Taylor2:08
20."London Calling"Strummer, Jones4:26
21."Revolution Rock"Edwards, Ray3:51
Bonus DVD
No.TitleLength
1."The Last Testament: The Making of London Calling" 
2."London Calling" (Music video) 
3."Train in Vain" (Music video) 
4."Clampdown" (Music video) 
5."Home video footage of The Clash recording in Wessex Studios" 

Personnel

The Clash

Additional musicians

The Irish Horns

Production

Charts

Certifications

Sales certifications for London Calling
Region Certification Certified units/sales
Canada (Music Canada)[115] Gold 50,000^
France (
SNEP)[116]
 Gold 100,000*
Italy (FIMI)[117] Platinum 50,000‡
United Kingdom (BPI)[119] Platinum 457,788[118]
United States (RIAA)[120] Platinum 1,000,000^

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

See also

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  114. ^ "Discography The Clash" Archived 31 May 2008 at the Wayback Machine. SwissCharts.com. Retrieved 17 February 2008.
  115. ^ "Canadian album certifications – The Clash – London Calling". Music Canada. 1 July 1980.
  116. ^ "French album certifications – The Clash – London Calling" (in French). InfoDisc. Select THE CLASH and click OK. 
  117. ^ "Italian album certifications – The Clash – London Calling" (in Italian). Federazione Industria Musicale Italiana. Retrieved 24 April 2019.
  118. ^ Jones, Alan (7 August 2015). "Official Charts Analysis: The Maccabees's Marks To Prove It takes No.1 albums slot". Music Week.[dead link]
  119. ^ "British album certifications – The Clash – London Calling". British Phonographic Industry. 31 December 1979.
  120. ^ "American album certifications – The Clash – London Calling". Recording Industry Association of America. 14 February 1996.

Bibliography

Further reading

External links

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