The Clash defined an era with their defiant, politically-relevant run of outstanding 45s
Sometimes, when introducing myself, I say my life was never quite the same after seeing The Clash. Like most self-made narratives this is nonsense, but it’s convenient shorthand: I’m from the punk rock generation, I like a certain grittiness to my music, I’m political and have a rebellious streak. Most of all, I hope it signals I am definitely not to be mistaken for a hippy. Of course, The Clash weren’t above a certain amount of self-mythologising themselves: they weren’t embarrassed to trade under the tagline of “the only band that matters” – a conceit second only to the Rolling Stones’ boast of being the “world’s greatest rock ‘n’ roll band”.
Each member of the band had his own aura but they were also a solid unit, like a tightly-knit street gang
When I saw The Clash for the first time, in October 1981 at the hallowed Lyceum, I was eighteen, liberated by a student grant and free at last to see the musicians whose records had kept me afloat during my teenage years. I wanted to experience first-hand what I’d only been able to read about in the inky pages of the NME. On entering the theatre, it felt charged in a way I’ve never experienced at any other gig down the decades. I now put that down to being immersed in a vast ocean of testosterone – the audience was almost entirely male – primed and ready to explode. When the pin was pulled, I didn’t see much of the actual performance as I’m quite short; most of my energy was channelled into trying to keep vertical in the heaving crush of bodies. At one point I was carried along by a human tsunami to the front of the stage, close enough to be showered by Mick Jones’ sweat before being hurled back as human shingle once again.
Each member of the band had his own distinct aura on stage – Joe Strummer with his battered Telecaster, flamboyant Mick Jones, statuesque bassist Paul Simonon and drummer “Topper” Headon – but they were also a solid unit, like a tightly-knit street gang. From the get-go, they owned the stage completely and there was no mistaking that they were on a mission.
I first heard their debut album in 1977, but wasn’t sold until I heard “(White Man) In Hammersmith Palais” the following year
I first heard their debut album in 1977, when a would-be punk friend played me The Clash alongside The Ramones, the Sex Pistols’ Never Mind the Bollocks and The Stranglers’ Rattus Norvegicus. I admired the razor-edged ferocity with which Joe Strummer spat out The Clash’s agenda of taking back control, but I wasn’t completely sold until I heard (White Man) In Hammersmith Palais the following year. That song still sounds quite unlike anything else: a Mick Jones guitar fanfare heralds a booming, echoey skank over which Joe Strummer documents his disappointment at a night that failed to deliver the hoped-for militant roots, rock and reggae, then meditates on the political slide towards fascism. The song has a granular quality, like a report from a frontline correspondent, a million miles from your average pop song.