Rapidshare London Calling Album
By now, our expectations of might seem to have become inflated beyond any possibility of fulfillment. It’s not simply that they’re the greatest rock & roll band in the world — indeed, after years of watching too many superstars compromise, blow chances and sell out, being the greatest is just about synonymous with being the music’s last hope.
While the group itself resists such labels, they do tell you exactly how high the stakes are, and how urgent the need. The Clash got their start on the crest of what looked like a revolution, only to see the punk movement either smash up on its own violent momentum or be absorbed into the same corporate-rock machinery it had meant to destroy. Now, almost against their will, they’re the only ones left.Give ‘Em Enough Rope, the band’s last recording, railed against the notion that being rock & roll heroes meant martyrdom. Yet the album also presented itself so flamboyantly as a last stand that it created a near-insoluble problem: after you’ve already brought the apocalypse crashing down on your head, how can you possibly go on? On the Clash’s new LP, London Calling, there’s a composition called “Death or Glory” that seems to disavow the struggle completely.
Over a harsh and stormy guitar riff, lead singer Joe Strummer offers a grim litany of failure. Then his cohort, Mick Jones, steps forward to drive what appears to be the final nail into the coffin. “Death or glory,” he bitterly announces, “become just another story.”. But “Death or Glory” — in many ways, the pivotal song on London Calling — reverses itself midway.
After Jones’ last, anguished cry drops off into silence, the music seems to scatter from the echo of his words. Strummer reenters, quiet and undramatic, talking almost to himself at first and not much caring if anyone else is listening. “We’re gonna march a long way,” he whispers. “Gonna fight — a long time.” The guitars, distant as bugles on some faraway plain, begin to rally. The drums collect into a beat, and Strummer slowly picks up strength and authority as he sings:We’ve gotta travel — over mountainsWe’ve gotta travel — over seasWe’re gonna fight — you, brotherWe’re gonna fight — till you loseWe’re gonna raise —TROUBLE!The band races back to the firing line, and when the singers go surging into the final chorus of “Death or gloryjust another story,” you know what they’re really saying: like hell it is!Merry and tough, passionate and large-spirited, London Calling celebrates the romance of rock & roll rebellion in grand, epic terms. It doesn’t merely reaffirm the Clash’s own commitment to rock-as-revolution.
Instead, the record ranges across the whole of rock & roll’s past for its sound, and digs deeply into rock legend, history, politics and myth for its images and themes. Everything has been brought together into a single, vast, stirring story — one that, as the Clash tell it, seems not only theirs but ours.
For all its first-take scrappiness and guerrilla production, this two-LP set — which, at the group’s insistence, sells for not much more than the price of one — is music that means to endure. It’s so rich and far-reaching that it leaves you not just exhilarated but exalted and triumphantly alive. From the start, however, you know how tough a fight it’s going to be.
“London Calling” opens the album on an ominous note. When Strummer comes in on the downbeat, he sounds weary, used up, desperate: “The Ice Age is coming/The sun is zooming in/Meltdown expected/The wheat is growing thin.’The rest of the record never turns its back on that vision of dread. Rather, it pulls you through the horror and out the other side. The Clash’s brand of heroism may be supremely romantic, even naive, but their utter refusal to sentimentalize their own myth — and their determination to live up to an actual code of honor in the real world, without ever minimizing the odds — makes such romanticism seem not only brave but absolutely necessary. London Calling sounds like a series of insistent messages sent to the scattered armies of the night, proffering warnings and comfort, good cheer and exhortations to keep moving.
If we begin amid the desolation of the title track, we end, four sides later, with Mick Jones spitting out heroic defiance in “I’m Not Down” and finding a majestic metaphor at the pit of his depression that lifts him — and us — right off the ground. “Like skyscrapers rising up,” Jones screams. London Calling is spacious and extravagant. It’s as packed with characters and incidents as a great novel, and the band’s new stylistic expansions — brass, organ, occasional piano, blues grind, pop airiness and the reggae-dub influence that percolates subversively through nearly every number — add density and richness to the sound. The riotous rockabilly-meets-the-Ventures quality of “Brand New Cadillac” (“ Jesus Christ!” Strummer yells to his ex-girlfriend, having so much fun he almost forgets to be angry, “Whereja get that Cadillac?”) slips without pause into the strung-out shuffle of “Jimmy Jazz,” a Nelson Algren-like street scene that limps along as slowly as its hero, just one step ahead of the cops. If “Rudie Can’t Fail” (the “She’s Leaving Home” of our generation) celebrates an initiation into bohemian lowlife with affection and panache, “The Card Cheat” picks up on what might be the same character twenty years later, shot down in a last grab for “more time away from the darkest door.” An awesome orchestral backing track gives this lower-depths anecdote a somber weight far beyond its scope. At the end of “The Card Cheat,” the song suddenly explodes into a magnificent panoramic overview — “from the Hundred Year War to the Crimea” — that turns ephemeral pathos into permanent tragedy.Other tracks tackle history head-on, and claim it as the Clash’s own.
“Wrong ‘Em Boyo” updates the story of Stagger Lee in bumptious reggae terms, forging links between rock & roll legend and the group’s own politicized roots-rock rebel. “The Right Profile,” which is about Montgomery Clift, accomplishes a different kind of transformation. Over braying and sarcastic horns, Joe Strummer gags, mugs, mocks and snickers his way through a comic-horrible account of the actor’s collapse on booze and pills, only to close with a grudging admiration that becomes unexpectedly and astonishingly moving. It’s as if the singer is saying, no matter how ugly and pathetic Clift’s life was, he was still — in spite of everything — one of us. “Spanish Bombs” is probably London Calling‘s best and most ambitious song.
A soaring, chiming intro pulls you in, and before you can get your bearings, Strummer’s already halfway into his tale. Lost and lonely in his “disco casino,” he’s unable to tell whether the gunfire he hears is out on the streets or inside his head. Bits of Spanish doggerel, fragments of combat scenes, jangling flamenco guitars and the lilting vocals of a children’s tune mesh in a swirling kaleidoscope of courage and disillusionment, old wars and new corruption. The evocation of the Spanish Civil War is sumptuously romantic: “With trenches full of poets, the ragged army, fixin’ bayonets to fight the other line.” Strummer sings, as Jones throws in some lovely, softly stinging notes behind him. Here as elsewhere, the heroic past isn’t simply resurrected for nostalgia’s sake.
Instead, the Clash state that the lessons of the past must be earned before we can apply them to the present.London Calling certainly lives up to that challenge. With its grainy cover photo, its immediate, on-the-run sound, and songs that bristle with names and phrases from today’s headlines, it’s as topical as a broadside. But the album also claims to be no more than the latest battlefield in a war of rock & roll, culture and politics that’ll undoubtedly go on forever. “Revolution Rock,” the LP’s formal coda, celebrates the joys of this struggle as an eternal carnival. A spiraling organ weaves circles around Joe Strummer’s voice, while the horn section totters, sways and recovers like a drunken mariachi band. “This must be the way out,” Strummer calls over his shoulder, so full of glee at his own good luck that he can hardly believe it.” El Clash Combo,” he drawls like a proud father, coasting now, sure he’s made it home. “Weddings, parties, anything And bongo jazz a specialty.”But it’s Mick Jones who has the last word.
“Train in Vain” arrives like an orphan in the wake of “Revolution Rock.” It’s not even listed on the label, and it sounds faint, almost overheard. Longing, tenderness and regret mingle in Jones’ voice as he tries to get across to his girl that losing her meant losing everything, yet he’s going to manage somehow. Though his sorrow is complete, his pride is that he can sing about it. A wistful, simple number about love and loss and perseverance, “Tram in Vain” seems like an odd ending to the anthemic tumult of London Calling. But it’s absolutely appropriate, because if this record has told us anything, it’s that a love affair and a revolution — small battles as well as large ones — are not that different. They’re all part of the same long, bloody march.
. 'Released: 7 December 1979. 'Released: 1980 (Australia only). 'Released: 12 February 1980London Calling is the third studio album by English band. It was originally released as a in the United Kingdom on 14 December 1979 by, and in the United States in January 1980 by.The Clash recorded the album with producer at in London during August, September and November 1979, following a change in management and a period of for songwriters. Bridging a traditional sound and a new aesthetic, London Calling reflects the band's growing interest in styles beyond their punk roots, including,. Themes include social displacement, and the responsibilities of adulthood.The album was a top ten chart success in the UK, and its lead single ' was a top 20 single.
The album has sold over five million copies worldwide, and was certified in the United States for sales of one million. It has often named one of the greatest albums of all time, including a ranking of number eight on 's list of in 2003. Contents.Background On their second album (1978), the Clash had started to depart from the sound. While touring the United States in 1979, they chose supporting acts such as rhythm and blues artists, and, as well as artist and band. The Clash's growing fascination with inspired their direction for London Calling.After recording Give 'Em Enough Rope, the Clash separated from their manager. This meant they had to leave their rehearsal studio in.
Tour manager Johnny Green and drum roadie Baker found a new place to rehearse, Vanilla Studios, in the back of a garage in.: 88The Clash arrived at Vanilla in May 1979 with no new songs prepared for their third album.: 89,91Main songwriters and had experienced a period of and had not written a new song in over a year; their recently released EP featured a cover song and three other songs that had all been written over a year earlier.: 91 Rehearsals Rehearsal were held in Vanilla Studios over mid-1979. (top) and (bottom), the band's lead vocalists, guitarists, and lyricists; pictured in 1980The Clash wrote and recorded at Vanilla Studios, with composing and arranging much of the music and writing most of the lyrics.: 100–103 Strummer wrote ' after imagining Jones' childhood growing up in a basement with his mother and grandmother. ' was the first of bassist '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.In August 1979, the band entered to begin recording London Calling. The Clash asked 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 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.The first track recorded for London Calling was ', which the Clash had originally used as a warm-up song before recording. ' began as an instrumental track called 'Working and Waiting'. While working on 'The Card Cheat', the band recorded each part twice to create a 'sound as big as possible'.
Musical style London Calling is regarded by music critic as the first double album, as it exhibits a broader range of musical styles than the Clash's previous records. Said the album appropriated the ' into rock & roll mythology and ', while incorporating a wider range of styles such as punk, reggae, rockabilly, ska,. ', the album's second track, was written and originally recorded by and was cited by the Clash as 'one of the first British rock'n'roll records'. The fifth song, ' features a horn section and mixes elements of pop, soul, and reggae music together.The Clash's embrace of specific musical traditions for London Calling deviated from what viewed as punk's iconoclastic sensibilities. Speaking on the album, 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 song was the first composed solely by and discusses an individual's paranoid outlook on life.Problems playing these files?
See.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 aspirer living in ('). In the opinion of journalist Sal Ciolfi, the songs encompass an arrangement of urban narratives and characters, and touch on themes such as sex, depression and identity crisis.
'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. 'Clampdown' comments on people who forsake the idealism of youth and urge young people to fight the. 'The Guns of Brixton' explores an individual's paranoid outlook on life, while on ', Strummer examines his life in retrospect and acknowledges the complications and responsibilities of adulthood. 'Lover's Rock' advocates and planning.Some songs have more widely contextualised narratives, including references to the 'evil presidentes' working for the ', the lingering effects of the ('), and how constant had led to unavoidable political apathy (').
'London Calling', the album's and opener, was partially influenced by the March 1979 accident at a at in. It also discusses the problems of rising unemployment, racial conflict and drug use in. 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'. 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.—, (2019)According to, London Calling is the sixth most highly ranked record on critics' lists of the all-time greatest albums. In 1987, of the named it the fourth-best album of the previous 10 years and said, while the Clash's debut was a punk masterpiece, London Calling marked the genre's 'coming of age' as the band led the way into 'fertile post-punk territory'. In 1989, Rolling Stone ranked the 1980 American release as the best album of the 1980s. In the 1994, named it the second-greatest punk album; it was also voted number 37 in Larkin's (2000). In 1999, magazine named London Calling the fourth-greatest British album of all time, and wrote that it is 'the best Clash album and therefore among the very best albums ever recorded'.
The magazine later ranked it 20th on its list of the 100 Greatest Albums Ever. It has also been ranked as the sixth-greatest album of the 1970s by, and the second-best in a similar list by, whose reviewer said that it was the Clash's 'creative apex' as a 'rock band' rather than as a punk band. In 2003, Rolling Stone ranked it eighth on their list of, maintaining the rating in a 2012 revised list. 's Tom Sinclair declared it the 'Best Album of All Time' in his headline for a 2004 article on the album. In 2007, it was inducted into the, a collection of recordings of lasting qualitative or historical significance. In 2009, the album was included in the Masterpieces Series, denoting one of the most influential albums of all time.
Track listing All tracks are written by and, except where noted. Side oneNo.TitleWriter(s)Lead vocalsLength1.' '; originally performed by Vince Taylor and his PlayboysStrummer2:093.' Jimmy Jazz'Strummer3:524.' 'Strummer, Jones3:26Side twoNo.TitleWriter(s)Lead vocalsLength1.' 'Strummer, Jones3:192.'
The Right Profile'Strummer3:563.' 'Strummer, Jones3:495.'
'Simonon3:07Side threeNo.TitleWriter(s)Lead vocalsLength1.' Wrong 'Em Boyo'Clive Alphonso; originally performed by the Rulers; including 'Strummer3:102.' Koka Kola'Strummer1:464.' The Card Cheat'Strummer, Jones, Simonon,Jones3:51Side fourNo.TitleWriter(s)Lead vocalsLength1.' Lover's Rock'Strummer4:012.' Four Horsemen'Strummer2:563.'
I'm Not Down'Jones3:004.' ',; originally performed by Danny Ray and the RevolutionariesStrummer5:375.' '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 an extraneous 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)Length1.'
Hateful'Strummer, Jones3:232.' 'Strummer, Jones3:083.' Paul's Tune'Simonon2:324.' I'm Not Down'Strummer, Jones3:245.' 4 Horsemen'Strummer, Jones2:456.' Koka Kola, Advertising & Cocaine'Strummer, Jones1:577.'
'Strummer, Jones3:478.' Lover's Rock'Strummer, Jones3:459.'
Lonesome Me'2:0910.' The Police Walked in 4 Jazz'Strummer, Jones2:1911.' 'Strummer, Jones3:5212.'
Up-Toon' (instrumental)Strummer, Jones1:5713.' Walking the Slidewalk'The Clash2:3414.' Where You Gonna Go (Soweto)'4:0515.' 'Strummer, Jones2:3917.' Working and Waiting'Strummer, Jones4:1118.' Heart & Mind'The Clash4:2719.' Brand New Cadillac'Taylor2:0820.'
'Strummer, Jones4:2621.' Revolution Rock'Edwards, Ray3:51Bonus DVDNo.TitleLength1.' The Last Testament: The Making of London Calling'2.' London Calling' (Music video)3.' Latest psp.
Train in Vain' (Music video)4.' Clampdown' (Music video)5.' Home video footage of The Clash recording in Wessex Studios'Personnel The Clash. – and,. –, piano, backing and lead vocals. – bass guitar, backing vocals, lead vocals on 'The Guns of Brixton'.
–,Additional musicians. –. The Irish Horns –. bass guitarProduction. –. –. Jerry Green – additional engineer.
– design. – photographyCharts YearChartPeak position003232004Norwegian Albums Chart17Swedish Albums Chart4572UK Albums ChartNotes. Hoffmann, Frank (2005). Encyclopedia of Recorded Sound.
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London Calling Album Art
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London Calling Lyrics
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Select albums in the Format field. Select Platinum in the Certification field. Type London Calling in the 'Search BPI Awards' field and then press Enter. 14 February 1996. If necessary, click Advanced, then click Format, then select Album, then click SEARCH.Bibliography. Clash, The (2008). The Clash: Strummer, Jones, Simonon, Headon.
London: Atlantic Books. Gray, Marcus (2005) 1995. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. Gray, Marcus (2010).
Route 19 Revisited: The Clash and London Calling. Soft Skull Press.;, Rick Elgood, (2001). The Clash, (Documentary). New York, NY:; Dorismo; Uptown Films. Event occurs at 49:30–55:00.
(2007). Warwick: Angry Penguin. (1981). London and New York: Omnibus Press. (25 January 2005). London: Plexus.
(2000). Kill Your Idols. London: Unanimous. Tobler, John & Barry Miles (1983). London and New York: Omnibus. (2004) 2003.
The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. Mix Magazine, 2000 – Very detailed article with recording setup details from the album's engineer, Bill Price.External links. at (list of releases).