By Logical Lizard, feature article on Tuscon Citizen
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To say I miss Joe Strummer and The Clash is as pointless and redundant as remarking: “Wow, it is really hot in Tucson in the summer.” Although I did not really know Joe personally, I was lucky enough to meet him more than once, and saw the mighty Clash live and firing on all cylinders numerous times back in the punk days. One of the remarkable things about Joe was that after even the briefest of conversations you had the feeling that you actually did know him, and that he was genuinely interested in what you had to say. He was a real person.
Despite the fact that Joe has been gone for nearly seven years it is, surprisingly enough, still a great time to be a Clash fan. In recent years we’ve been blessed with From Here to Eternity, a live compilation which is actually my single favorite Clash album; Combat Rock being my least favorite with, let’s face it, really only a handful of decent songs (yes, I know I am in the minority there, but what’s new about that?).
We can can watch and re-watch Don Letts’ masterful film Westway To The World, which I consider to be the finest rock documentary every made. I am in no way a fan of director Julian Temple’s work—I find it gimmicky and affected—but he does cover interesting subjects and his Strummer documentary, The Future Is Unwritten, is important viewing for any fan of punk rock history.
Chris Salewicz’s Redemption Song: The Ballad of Joe Strummer is, for my money, the best rock bio ever written (well, maybe first equal with Dave Marsh’s Who chronicle, Before I Get Old). Sony finally saw fit to officially release 1982’s Live at Shea Stadium on CD and punk rockers can revel in all things Clash related on Tim Merrick’s Clash Blog, ingeniously subtitled “The Only Blog That Matters.”
Dick Rude’s 68-minute film Let’s Rock Again is tauntingly short, but remains an entertaining and good-hearted record of Joe Strummer and the Mescaleros on the road shortly before Joe’s death. And that is the really tragic part. After years of self-imposed exile in a post-Clash wilderness, Joe had finally reinvented himself, teamed up with long-time friend, mentor, and musical collaborator Tymon Dogg and was touring with an eclectic and highly talented band. The new songs may not have had quite the musical kick that his great songwriting partner, Mick Jones, brought to the old Clash numbers, but there was an expansive, world music vibe to the Mescaleros. And Joe looked happy in concert, like he was finally doing what he wanted.
The three Mescaleros records: Rock Art and the X-Ray Style, Global A Go-Go and the posthumous Streetcore are a glorious jumble of musical styles. Those records do not fit into any known category of music and quite right too. By 2001, Joe was a mature composer, singer and performer at the height of his powers, drawing upon his love of richly diverse musical forms including jazz, reggae, blues, ska, rockabilly, folk, and punk rock. What could he have accomplished given another ten years behind that battered Telecaster?
The Clash were an English rock band that formed in 1976 as part of the original wave of British punk rock. Along with punk rock, they experimented with reggae, ska, dub, funk, rap and rockabilly. For most of their recording career, The Clash consisted of Joe Strummer (lead vocals, rhythm guitar), Mick Jones (lead guitar, vocals), Paul Simonon (bass, backing vocals, occasional lead vocals) and Nicky “Topper” Headon (drums, percussion). Headon left the group in 1982, and internal friction led to Jones’s departure the following year. The group continued with new members, but finally disbanded in early 1986.
The Clash were a major success in the UK from the release of their debut album, The Clash, in 1977. Their third album, London Calling, released in the UK in December 1979, brought them popularity in the United States when it came out there the following month. It received wide critical acclaim; a decade later Rolling Stone magazine declared it the best album of the 1980s.[1]
The Clash’s politicised lyrics, musical experimentation, and rebellious attitude had a far-reaching influence on rock, alternative rock in particular.[2] They became widely referred to as “The Only Band That Matters”, originally a promotional slogan introduced by the group’s record label, CBS. In January 2003 the band—including original drummer Terry Chimes—were inducted into the Rock and Roll Hall of Fame. In 2004, Rolling Stone ranked The Clash number 30 on their list of the 100 Greatest Artists of All Time.[3]
