As we near the 30th anniversary of The Clash’s most famous record, let’s consider  if the record has a contemporary resonance beyond being the source of inspiration to Doherty’s skiffle merchants

December 14th, 1979: The Clash release London Calling just in time for it to be safety-pinned to every punk’s Christmas wish list. At the affordable price of £5, the double LP peaks at number nine in the charts and is certified gold the very same month. It’s lauded in the press, placed on a pedestal labelled “Zeitgeist” and hailed for its social narrative, political articulacy and (relatively speaking) experimental roots.

December 14th, 2009: London Calling marks its 30th Anniversary. Its legacy is once again remastered, repacked and resold to a new generation for corporate gain. For an album that defined an era of rebellion and social change, have any lessons been learnt from its virtuous, defining narrative? Or had the band diluted punk into something more palpable, and dare I say it, pop, as means to drag its stubborn and stumbling carcass of thought and philosophy into another decade of disillusion and disappointment? Did anyone listen to its message, or was it simply the final shout of the 70s only to be replaced with the more conservative rock and roll of the 80s and beyond? Has London Calling’s legacy and inspiration been defined in the slew of landfill indie of the past decade, and not the experiment dub percussiveness that it (partially) embodies?

Mark Perry of Sniffin’ Glue famously quoted that punk died the day The Clash signed to CBS January 25th, 1977. The band were perpetually questioned over the issue as they moved away from their DIY roots and anti-establishment stance so they could indulge in ‘getting the message across’ to a wider audience. To say that punk had died is questionable. First wave UK punk was nihilistic and would always implode, but if change was to be established within its myopic stare, it had to reach out as far and as fast as possible. The Clash may have sold out, but they did it with a cause in mind.
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After their eponymous debut, 1978’s Give ‘Em Enough Rope and the firing of manager Bernie Rhodes, a new rehearsal space was found at Vanilla Studios, in Pimlico, and The Clash began work on what was to become London Calling. The absence of Rhodes meant that there was no more of the hectoring, plotting and obfuscation that they had become used to, and as a result the group found a new sense of freedom. The atmosphere was energetic, productive and inclusive; stylistically there were no boundaries.

The Clash began to experiment with different strands of jazz, soul, funk, reggae, skiffle, rock and R&B, as they found a new sense of urgency in what they were writing. This feeling was intensified when Guy Stevens was brought in to produce the album. An unpredictable and volatile individual, he would often smash chairs and cause destruction and confusion around the band as they recorded, as if to amplify the passion.

Thirty years on, and London Calling is still seen as The Clash’s finest hour. The album’s opener, and title track, sees the band move away from their somewhat restrictive roots and march to a different militant beat – their own. The band had never felt so unified up until this point, and with the arrival of Thatcherism, their third album was a necessary voice that countered the new Conservative Government from the heart of the Top Ten.

Rhythmic and rasping, the Em/Fmaj9 riff that unleashes ‘London Calling’’s war cry sets an ominous tone to the record. Stabbing guitars, stuttering base and then the opening lines: “London Calling to the faraway towns/Now that war is declared – and battle come down.” The theme of the album is set, as Strummer continues to declare among a number of caterwauls, “The Ice Age is coming, the sun is zooming in.” Polemic, political and apocalyptical, it sees The Clash at their most formidable.

However, the problem with London Calling is in its inconsistencies and incoherence. For what is seen as a “brave” album in the context of its time, there is little that links each track to the other in form and fluidity. The shuffling rigmarole of Vince Taylor’s ‘Brand New Cadillac’, and the crapulous slur and turgid bass-walk of ‘Jimmy Jazz’, are only to be saved by the Bo Didley-like ‘Hateful’ at the start. It’s the aural equivalent of a trifle: somewhat confused as to what it is, ingredients and influences have been thrown into a bowl with a lack of care and clarity, but a whole lot of enthusiasm that tries to cater for every taste.

Then there are the awkward moments: ‘Lover’s Rock’ sees Mick and Joe bumble, simper and croon uncomfortably about love, sex and the pill; the litany of failure that envelops ‘Death Or Glory’; and the arrogant self-prophesising and mythology that serialises the band as the ‘Four Horsemen’ of the apocalypse.

It’s only when they resurrect their punk roots in the form of ‘Clampdown’, ‘London Calling’, ‘Koka Kola’, ‘Hateful’ and the pop twist of ‘Spanish Bombs’ that they are at their uncompromising and inimitable best; or when they really stretch themselves with the terse and edgy dub percussiveness of ‘Guns of Brixton’ by Paul Simonon.

For the price of a Lady Godiva, the double album was sold as a single – the second slab (featuring nine tracks) was given away as a free 12″ within its gatefold – the band saw this as their first real victory over CBS. But in their wish to give more to their audience via a Robin Hood ideology means London Calling didn’t provide enough sustenance for many who had loved their first two albums. It is spirited and human but, due to its jumbled density, flawed.

The double album is now being held as artefact that today’s Young Turks often hail as a blueprint for societal change via musical endeavour without consideration for these flaws. Many see it as their best, but I can only see it as their most progressive.

Instead, the only lessons that appeared to have been taken from The Clash’s career up until this point was not to sign a contract like the one with CBS. For their initial victory over the formatting of London Calling, the band were faced with having to fund most of their tours and recording themselves, and they remained in debt to the record company well beyond their split in 1986.

Two decades on, and we’ve lately seen a new scene of bands all inspired by the punk movement of the late 70s, and especially The Clash. The link between The Libertines and The Clash was cemented when Mick Jones produced Up The Bracket, but Doherty and Barat’s tribute was a misinterpretation. Instead of partial musical radicalism, they took inspiration from the fashion, a pseudo-DIY ethic, an abrasiveness, a fanatical following, a sour demise.

In their wake, a burgeoning scene of replicants spilled out from the sleazy Rhythm Factory in the east of the capital, with Doherty himself acting as a deity and Pied Piper to a generation of scuttering twits. Record labels duly threw money and publicity at those bands scurrying beneath the pallid detail of Doherty’s trench coat and lifestyle, as the NME bolstered its support for this new breed with a four-page dedication to the DIY scene: ‘The Future Starts Now!’ (August 7th, 2004).

The ‘Future’, as expected, was as ephemeral as Doherty’s bathing routine. The likes of Thee Unstrung, The Others, Neil’s Children, Dogs and The Paddingtons all suffered commercial comedowns following their rush, with The Rakes and Babyshambles grimly hanging on for a few more years after their well-received debuts. What Ever People Say I Am, That’s What I Am Not by the Arctic Monkeys has possibly been the only album of this decade that has touched on the rhetoric and dub influence of London Calling as well as its mainstream rock/punk bluster. Yet even this is terribly conservative in comparison to The Clash’s back catalogue.

London Calling was the swan song of the 70s. It laid to rest a decade of dischord with a diluted form of punk’s ideology that was aimed right at a wider audience. The passion can still be felt through the 19 strong songs, but it appears that their original message has fallen upon deaf ears due to its length and musical progression. 2009 has been very similar in many way to that of 1979: high rates of unemployment, lack of opportunities for a disillusioned youth, and politicians who are more interested talking about change than doing anything about the situations that we face.

Are we due a renaissance of punk ethic and leftist political ideology in modern music? Maybe: musicians have as much, if not more, cultural leverage in today’s society than any political figurehead, and as we stumble purblind into what looks set to be another turbulent decade, I personally feel a need for a rhetoric that echoes the concerns of the disenfranchised many. In their time, The Clash mapped out a sense of revolutionary optimism. It’d be something that could inspire a future and dialogue with the new to grab onto instead of mere conservative straws to clutch at.

Selina posted about looking through old photos with her daughter and the poignant reminder of her younger self that one particular picture provoked.  I started to comment there but it turned into something very much about me.  So I thought I’d better put it here, where it’s all “me, me, me…”

My own unexpected visit from a younger self happened a few months ago after I finally got around to buying the reissue of the Clash’s London Calling. Hidden away amidst the DVD, the extra CD of demos, the booklet with essays and reminiscences from band members and associates was a full sized reproduction of the original lyric sheet.  I spent hours and hours with a borrowed copy of this album when I was seventeen, poring and puzzling over the words which back then seemed emanations from a foreign universe of revolution, dope, guns, sex, politics, South American history, squats, politics and street poetry in its purest, wildest sense.  I didn’t realise it at the time – all that teenage metal and prog head knew was that this album rocked pretty hard for a punk band and that Mick Jones could pull off a mean solo – but the music too was the 140 degree proof distillation of the most fundamental English strains of rock’n'roll – a stew going back through the Mott the Hoople, the Kinks, the Stones and back across the Atlantic to the roots of Stax, Jamaica and Bo Diddley. The Clash were gunslingers and for the seventy minutes the sides of the record lasted, I was a gun slinger too.

Thirty years later (thirty years! What happened?), I sat in my office with the unshrinkwrapped package before me and welled up.  What in God’s name would that seventeen year think of me now?  I felt like a sell-out, a failure, someone who’d wasted every chance that he’d been offered.  Straight job, bald head, “working for the clampdown…” I sat there for ten minutes then went next door to talk to my boss.

My boss is probably the closest thing I have to a friend at work. She plays keyboards in Fairport type folk bands at weekends,  swears more than I do, gets slightly hammered and overly emotional at big staff events and is a genuinely brilliant and inspiring manager.  I love her to bits. She’s also (after some years) got more of a handle on me than most people.

“I’ve just found this,” I said, holding up the lyric sheet.  “I haven’t seen it since I was seventeen and my seventeen year old self would hate me everything I’ve become.”

There was a pause for a moment but my boss hasn’t become the senior manager of a gang of bright but fragile people without learning a thing or two.

“No he wouldn’t. Of course he wouldn’t.”

“I’m not so sure about that.”

“I think he’d be seriously impressed.  Wouldn’t little elf and dudelet impress him? And aren’t you doing a job that actually means something?  And the musical thing – you really did take that some distance.”

“Didn’t get anywhere, though.”

“But you did try.”

Pause.

“And you’re probably still very much the same person.  I think you probably still care about the same things.”

Pause again.

“Thank you.”

“Don’t mention it.”

Then I went back to my desk, turned it up London Calling quite loudly and did some work.

Earlier today, I was looking at the lyric sheet and then had to drop it to go off to the kitchen to get dudelet a drink. While I’m sorting things out, I put on the title track.  Dudelet began to bounce from side to side vigorously.

“What do you think of this? Do you like it?”

“Yes! It’s got a very good beat for clapping to!”

He bounced a bit more then dashed off.  I followed with the blackcurrant squash.

My boss was right.  My seventeen year old self would definitely have been impressed with dudelet, if nothing else.

Ya se conoce lo que incluirá la edición del trigésimo aniversario del álbum de The Clash, “London Calling”. Un contenido diferente al de la reedición por su 25 aniversario

“London Calling: 30th Anniversary Legacy Edition” también incluirá un DVD con el documental de Don Letts “The Last Testament: The Making of London Calling”, así como vídeos musicales y un vídeo casero del grupo en el estudio de grabación.

El contenido de “London Calling: 30th Anniversary Legacy Edition”:

CD:
“London Calling”
“Brand New Cadillac”
“Jimmy Jazz”
“Hateful”
“Rudie Can’t Fail”
“Spanish Bombs”
“The Right Profile”
“Lost In The Supermarket”
“Clampdown”
“The Guns Of Brixton”
“Wrong ‘Em Boyo”
“Death Or Glory”
“Koka Kola”
“The Card Cheat”
“Lover’s Rock”
“Four Horsemen”
“I’m Not Down”
“Revolution Rock”
“Train In Vain”

DVD:
“The Last Testament: The Making of London Calling”
Vídeo de “London Calling”
Vídeo de “Train In Vain”
Vídeo de “Clampdown”
Vídeo casero de The Clash grabando en Wessex Studios

O The Clash divulgou detalhes sobre o relançamento do álbum London Calling.

A edição comemorativa de 30 anos do disco terá uma lista de faixas diferente da edição de 25 anos, e chega às lojas no dia 14 de dezembro.

Também integram a edição um documentário de Don Letts chamado “The Last Testament: The Making of London Calling”, além de clipes das músicas e material de vídeo caseiro do grupo.

A lista de músicas presentes em “London Calling: 30th Anniversary Legacy Edition” é a seguinte:

“London Calling”
“Brand New Cadillac”
“Jimmy Jazz”
“Hateful”
“Rudie Can”t Fail”
“Spanish Bombs”
“The Right Profile”
“Lost In The Supermarket”
“Clampdown”
“The Guns Of Brixton”
“Wrong “Em Boyo”
“Death Or Glory”
“Koka Kola”
“The Card Cheat”
“Lover”s Rock”
“Four Horsemen”
“I”m Not Down”
“Revolution Rock”
“Train In Vain”

“The Last Testament: The Making of London Calling” DVD, incluindo:
“London Calling” music video
“Train In Vain” music video
“Clampdown” music video
Home video footage of The Clash recording in Wessex Studios

Fonte: Cifra Club News

The Clash have announced they will release a special 30th anniversary edition of their classic 1979 album ‘London Calling’. The reissue of the album will be released on 14th December (exactly 30 years to the day after the original release ‘London Calling’.) The 30th anniversary edition will feature the documentary ‘The Last Testament: The Making of London Calling’, along with music videos and footage of the band recording in Wessex Studios. The DVD includes the documentary of the band, ‘London Calling’ music video, ‘Train in Vain’ music video, ‘Clampdown’ music video and home-video footage.

The package will not include the ‘Vanilla Tapes’, a track of 21 demoes, which came with the 25th anniversary edition of the album. Instead the new edition will have a 20-page booklet as well as new vinyl ‘replica’ sleeves which match the original vinyl version of the album.

The only problem with this edition is it’s basically the same as the 25th anniversary edition, but there is even less material, so the question is who will buy it?

Hiiii!! Well, I haven’t updated in a good minute, & I’m sorry for that. Because of this everything has piled up on me and I have so much to write about that I don’t know where to start, haha… SO I’m going to write FIRST about the FIRST week of November. Then I’ll do a separate update for everything that has happened since that week. Ok, yah? Got it? Ok… lets go!

THE FIRST WEEK OF NOVEMBER WAS THE BEST WEEK OF MY ENTIRE EXPERIENCE BEING ABROAD.

I really mean that. It seems that the first week in November is the beginning of the Christmas season out here in London. So there was that. The lights were up, the feeling was just starting to be in the air- happiness, jolly people, the weather got colder, and you could tell Christmas was on its way. Now, usually this happens in the first week of DECEMBER in America, but remember… they don’t have Thanksgiving out here, so there’s nothing holding them back.

On November 1 & 2 I took time out to read (On the Road) watch movies online (Paranormal Activity, Couples Retreat, etc) do laundry, do my hair, etc etc etc… basically I just completely relaxed. Keep in mind that I was still recovering from an action packed few days before this, what with Thanksgiving and market trips and all that.

Anyways, on November 3rd I went to Art Class- which was held at the Hayward Art Gallery, and it was AMAZING. They have a huge exhibit of Ed Ruscha’s work- and I have a new FAVORITE contemporary artist. I was ABSOLUTELY in love with his works… I love their construction, I love his story, I love his message… and I’ve never been that overwhelmed by a feeling for art before. They just make you think and if you let them, they infiltrate your mind. Seeing them huge and all together was really a great experience. There were many paintings that I loved, but my favorite is called “It’s a Small World.” So yeah, google the paintings, read his stories, and fall in love.

Then that night I went to the Official London Christmas lighting ceremony. We had a choice between seeing Jim Carrey do it or Colin Firth. So, OR COURSE, we chose Colin Firth. Swoon. We got there pretty early and got to see all the performers put on a great show. Among the performers, was some lady from Oliver! (powerful voice), the Noisettes (amazing stage presence and great fun), and Daniel Merriweather (my new favorite non-american r&b singer). Also, the Lord Mayor of Westminster was there and gave a little talk. The London community Gospel Choir was also there, and they sang some great songs. Michael Jackson, 70s hits. THEN, my boo Colin came out looking lovely, and being sooo charming, and we all counted down and he switched on all the Christmas lights on Regents St. This officially started the Christmas season in London. Then the huge televisions broadcast the audiences on Oxford St and in St. Paul’s Cathedral… and we broke the World Record for the most people singing Christmas Carols all together at the same time! And we were led by Andrea Bocelli! It was AMAZING. After all this, we were really cold and happy so we got soup from Wagamama as I proceeded to explain to everyone why the Jackson 5 Christmas Album is the best Christmas music there is.

mr darcy himself!

The next day (the 4th) was an eventful day, because one of my best friends from high school- miss Lisa Preti- came to visit me! She got here on the train before I had class so I left my keys with her, went to class, and returned. We caught up on old times, ate a pasta casserole I made, and were loud & out of control, which is usual for us. It was fun talkin about the good ol’ days and learning about our study abroad experiences. She’s in Copenhagen for the semester.

THEN, we got a pint at a pub & then made our way to the JAY-Z CONCERT. The concert was at the Alexandra Palace, and it was the best concert I’ve ever been to in my life. We got there pretty early, and the line was moving swiftly into the inside because it was rather cold. The line brought us into a giant hall that wasn’t the concert hall, there were just thousands and thousands of people funneling into this room. We found where the door was and made our way over to- this TINY door, that ALL these fans were to go through… ALL general admission seating, so we knew there was about to be a blood bath. We waited there for a while, then they opened up one HALF of the door, and my life flashed before my eyes. The crowds pushed in, and I felt pressure on every single inch of my body. I couldn’t breathe, it was hot, everyone was screaming… it was the longest 2 minutes of my life. But I pushed my way through the door and made it REALLY close to the front- but I lost Lisa and her other friend that also had tickets. So when she tried to come up to where I was this guy tried to yell at me about it… which was entertaining. So she was pretty close to me & we waited and waited for Jay-Z to come out. I started out at like 4th row but by the middle of the show I was in the 2nd row & closer. Finally, he came out, and proceeded to AMAZE everyone there. He did every single song you could think of. He was live and energetic the whole time. He had great crowd-control. The 8 piece band was amazing & the music was SO loud. Memphis Bleek joined him on stage, Chris Martin was there watching him as well as several British rappers I didn’t know. Some famous British singer sang “Empire State of Mind” with him. THEN, Mr. Hudson came out and they filmed the music video for Young Forever right then and there. They had passed out lighters to us all and turned all the lights off. Cameras were everywhere. It was very exciting and everyone was singing along. It’ll be interesting to see which footage they use of this performance. So yeah, the concert was truly amazing. Lisa and I had a great time, and were absolutely on Cloud 9 afterwards.

jay-z in all his performance glory

Then the next day I had class and took Lisa on a whirlwind tour of London. I showed her absolutely everything, and we had GREAT conversation all day long. Our world views are really similar and the more we talked, the more inspired we got. We connected on a whole different level and planned some great things for our lives and our futures. Asked questions, answered them, & just made magic, lol. This was a GREATTTTT experience- as fun, deep, important conversations are something I have REALLY missed since being in London. Not only was this a good convo- it was a GREAT one. Don’t get me wrong, I love the silly stuff, but just not all the time. I can’t do it. So this day with Lisa was really good… we went to Abbey Road, Southbank, South London, Oxford St, etc etc etc. THEN, we got really cheap tickets to WICKED.. yes, it was so good I saw it again. She LOVED it, and even though we got there late (we rannnnnnnnnn) it was a really good experience. After the show, we were tired and Lisa had to get up early to leave so we went to sleep fairly early.

After saying goodbye to Lisa, we took a trip to Oxford University (the 6th). This was a very cool experience. Walking around, hearing about all the history and traditions, seeing ancient buildings and libraries… all of it. We ate at a famous pub where so many important or famous people have eaten at. We went to the wings where Harry Potter was filmed and took pictures. Our tour guide took us all over the school- we saw the dorms, the bar, the library, the courts, the famous grass, and everything.

Then, the 7th through the 10th, I went to ITALY!!! Life dream come true. There are no words for how much I enjoyed this trip. I travelled alone, which is becoming one of my favorite activities. Got to the airport, flew out, landed in Pisa, and took a train to Firenze, then I walked from the train station to my friend Lauren’s apartment. Lauren and I went to high school together and it was great catching up with her all weekend and again talkin’ about the good ol’ days. All this talk of high school made me quite homesick for Ridgefield. We talked a lot about our lives and how things have changed so much since high school, and how real friend stick with you through whatever. This weekend out there, I saw so much. I climbed up the heights of the Piazzale Michelangelo, explored the Duomo, strolled the Ponte Vecchio at night, browsed all the shopping districts and markets, I ate gelato which is sooooooooooooooooo good. I sat in on one of Lauren’s classes and we took a field trip and went to go talk with the President of the Italian Communist Party’s historical center. He told us the history of the party there and it was pretty interesting to hear about communism outside of America where that is a bad word. We also went out on the town and had a great night out. We went to Apertivos, which is my favorite Italian tradition, then we went to an Irish pub, which I’m convinced are just fun everywhere, then we went to an Italian nightclub. A breakdancing competition began, we sat in VIP for a long while, and then danced the night away. At the club, I saw ANOTHER girl I went to high school with. Which was really funny & so surreal… the world really is small! I’m convinced! I also had real Italian pasta, real pizza, and amazing cheese. I took over 400 pictures because everything I saw was so beautiful. I couldn’t believe it. The weekend was like heaven, and I’m SO glad I was able to do that.

So yeah… GREAT week huh? I was really glad the week went the way it did, because Italy was my last sha-bang of being abroad. It was my last trip out of London, and the last week of massive adventures ( I decided this in October). I’m still doing fun things, but everything is more toned down now because I had school work to do, things to think about for next semester, and less money, haha. It’s like I’ve stopped “studying abroad” and now I’m actually living here. It is a very noticeable switch, but not unwelcome.

This entire week showcased everything I love about London, and being abroad. Great art, good times, new experiences, traveling the world, dreams coming true, etc etc.

Ok so now I’ve got you through the end of my trip to Italy. Next time I update I’ll get you through the last couple weeks, and today (which is THANKSGIVING!). See facebook for pictures!

Happy Thanksgiving, I’m thankful for a great family, wonderful friends, new experiences, and a new page in my book of life.

Y a mi aún se me ponen los pelos de punta cuando escucho alguna de sus canciones. La única banda que importa, como decían en la época. Larga vida.

Ah, el vídeo de la canción “London Calling” no está disponible en “su país por cuestiones de copyright”. Qué mierda de paradoja.

Quem era adolescente nos anos 90 sem duvida se apaixonou por esse filme. Acho que ele que me fez ter aquele desejo louco de morar em Londres. Tenho aqui em dvd, roubei de um amigo uns qse 3 anos atras (e to fazendo a egipcia nele ate hj).
E sabe como é, decada que vem, the 90’s are back, enton, vamo todo mundo fica toda trabalhada no trainspotting!!
beijas.

Truth be told, I had to pluck up a lot more courage to return home than I did to leave in the first place.

Apart from the obvious benefits of being in Latin America, (the weather, great grub and cheap, cold beer) I had become almost addicted to the sensory overload of travelling. From the taste of a bizarre fruit I had never heard of, to the sound of a pop song in Spanish, I collected these new experiences with a greedy enthusiasm. I had developed a serious case of FOMO (fear of missing out).

As well as all this, moving around from place to place had become my new routine, my normality. It never felt like I was on holiday, just that I was living my life albeit a new, mobile and fantastically exciting one. But of course, all good things must come to an end. It was time to come home and get stuck back into London.

Don’t get me wrong, I love London and have done since I was a little girl. I arrived at the age of 18, having never lived anywhere other than my family home in East Yorkshire and despite not knowing a single person in the capital, I absolutely knew that it was the place for me. It thought it was the land of opportunity and in very many respects, it has indeed delivered.

But when you’re feeling a bit sorry for yourself, the combination of bendy buses, estate agents, exorbitant prices (of, well, everything) and the all-round relentlessness of London, can do very little to improve your state of mind.

But after ten months of travel, and adventures across fifteen countries, it was time to face the music. To cushion the blow, I’d had two blissful weeks of acclimatization at my parent’s house, but yesterday, the day had arrived to head back down south.

As we approached the North Circular on the M1, familiar butterflies started to flutter. To my huge relief, it’s a feeling that has never gone away for me. On all those Sunday nights, after a weekend at home, I used to feel excited as the train rattled its way through Doncaster, Grantham and Stevenage,. Even that dread of Monday morning was always overcome, by the joy of arriving back into the Capital.

Last night was no exception and as we drove through North London, I became disproportionately enthusiastic about the beauty of Holloway Road and it’s Christmas lights. The road closures, the bus lanes, the white vans; none of it could dampen my spirit. I even looked on in fondness at the man staggering along the pavement, can in hand, talking to himself.

How far I’d come since this time last year, when I was busily packing my flat into boxes, saying goodbye to friends and thanking my lucky stars that I was leaving it all behind.

It feels like a new chapter, a fresh start and as I sit and watch the weather perform that peculiarly British feat of driving rain one minute and blue skies and watery sun the next, I wouldn’t want to be anywhere else. I’m home.

El London Calling sin duda es uno de esos discos que la escena musical tanto como la crítica musical suele considerarlo como uno de los mejores álbumes de la historia del rock ^]de hecho la revista Rolling Stone lo calificó como el mejor de los años 80 y como el octavo mejor de la historia.

Lo importante de este disco fue la manera de su contenido estilístico musical del álbum era muy variado incluyendo el punk lúgubre (“London Calling”), el blues (“Brand New Cadillac”), el ska (“Wrong ‘em Boyo”), la música disco (“Lost in the Supermarket”), el reggae (“The Guns of Brixton”) y el rockabilly (“Rudie Can’t Fail”).

En cuanto a las letras, el contenido político y la crítica social se encuentran presentes como en todos los materiales de la banda. Particularmente, las canciones que más claramente explicitan la temática política son “London Calling”, “The Guns of Brixton”. Aunque se creía que “Spanish Bombs” rendía homenaje a los revolucionarios y luchadores de la libertad que combatieron en la Guerra Civil Española y los efectos que tuvo ésta en Andalucía criterios posteriores y opiniones de la banda sugieren que está pensada en homenaje a los pechos de las Andaluzas. Otros temas abordados en el álbum son la soledad consecuente al uso de las drogas (“Hateful”), el materialismo (“Lost in the Supermarket”), el fascismo (“Clampdown”) y la vida de Montgomey Clift (“The Right Profile”).

Para festejar su 30 aniversario a partir del 14 de diciembre que es la misma fecha que salio la primer versión del álbum, se puede encontrar la 30th Anniversary Edition, con el documental The last testament.

que estou super hiper mega ansiosa e contente!

FINALLY LONDON!

Agora vou tentar dormir que às 4 e meia já tenho que estar de olhinho aberto

A velha Londres nunca mais seria a mesma após um show, por volta de 1970, em que quatro caras Americanos cantavam músicas rápidas e com poucos acordes. Eram os Ramones que traziam a novidade em forma de som. Influenciados por bandas como MC5 e Stooges, A família Ramone influenciaria jovens, e nem tão jovens assim, a participar daquele novo movimento Musical. O Punk Rock.

O “The Clash” surgiu desta mistura explosiva, jovens saturados com as condutas morais de uma época deixada de lado pela música. O Rock and Roll não rolava mais as pedras da mudança como queriam os futuros Punks do mundo. Não se falava da diferença social, do preconceito, dos excessos do capitalismo. Não se falava de política de uma forma clara para todos. A Rainha queria ser salva por Deus, mas os Punks vinham e gritavam que Deus era apenas mais uma invenção humana. O Protesto já estava armado e as armas seriam guitarras estridentes, letras ácidas, coturnos e moicanos. Em 1979, a banda de Joe Strummer, Mick Jones, Paul Simonon e Topper Headon, mostraria de forma definitiva que o Punk Rock tinha nascido para nunca mais morrer com o disco London Calling. Um LP repleto de críticas sociais e políticas que seriam o hino do caráter revolucionário de um movimento cultural. A partir de então, o Punk Rock ganharia mais e mais adeptos, mais e mais sede de revolução, mas uma revolução da consciência, de atitude e de postura frente aos conservadorismos de toda uma sociedade. O “faça você mesmo” era o lema dos usuários de calças jeans rasgadas e alfinetes. A subversão da ordem, a desobediência civil e os símbolos visuais mesclavam-se com o som e formavam uma nova identidade. Mais tarde o Punk Rock daria lugar ao Hardcore Norte Americano, numa ressonância muito mais pesada, mas como o mesmo tom politizado e urbano.

London Calling, a primeira música do álbum clássico, é um chamado a todos que se sentem excluídos. “Agora a guerra está declarada e a batalha começou”, diz. Talvez seja isso que temos buscado durante todos esses anos, um chamado, um alerta ou um aviso para que nos conscientizemos sobre o mundo a nossa volta, cheio de desigualdades e abusos. Viva o Punk! Viva o Rock! Viva as revoluções! E longa vida ao THE CLASH!

Mick, Joe, Topper e Paul

]]> http://perdidosenlamusica.wordpress.com/2009/11/19/el-mundo-entero-arde-y-agoniza/ Thu, 19 Nov 2009 19:57:55 +0000 musiclost http://perdidosenlamusica.wordpress.com/2009/11/19/el-mundo-entero-arde-y-agoniza/ http://fazendoaegipcia.wordpress.com/2009/11/14/sai-andando/ Sat, 14 Nov 2009 05:07:39 +0000 theblondegyptian http://fazendoaegipcia.wordpress.com/2009/11/14/sai-andando/

Genty bota+ sapato mocassim (ou moccasin?)+ franjas+ tachas

Maldita hora que larguei meus coturnos em Londres.

To assistindo um clipe da byonssi aqui. Impressioante como ela conseguiu ficar branca, loira de cabelo liso e com uma cinturinha fininha (que que houve com o quadril dela?). Acho que essa foi a causa mortis do Michael Jackson. Ela conseguiu tudo que ele tentou por 40 anos.