With literally hundreds of songs in its repertoire, London Calling can best be described as a 'Human iPod!' No matter what style of music you seek or what your function’s age group, London Calling performs with the highest quality of musicianship, fun and swagger that is expected from an elite variety dance band.
. ' Released: 7 December 1979. ' Released: 1980 (AUS only). ' Released: 12 February 1980 London 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. The Clash recorded the album at in London during August, September and November 1979, following a change in management and a period of for and, the band's lead vocalists, guitarists, and lyricists. Considered by critics to be a album, London Calling reflects the band's growing interest in a range of styles beyond their punk roots, including,.
Themes explored in the songs 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, indicating one million sold there. A widespread critical success, it was ranked at number eight on 's list of in 2003.
Contents. Background As early as their second album (1978), the Clash had started to depart from the sound. While touring in the United States twice in 1979, they chose supporting acts such as rhythm and blues artists, and, as well as artist and band. This developed fascination with inspired their direction for London Calling. After recording Give 'Em Enough Rope, the Clash separated from their manager.
This separation meant that the group had to leave their rehearsal studio in and find another location to compose their music. (top) and (bottom), the band's lead vocalists, guitarists, and lyricists; pictured in 1980 The Clash wrote and recorded at Vanilla Studios, with composing and arranging much of the music and generally writing 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.
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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? 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'. Hoffmann, Frank (2005).
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Archived from on 17 June 2010. Retrieved 16 June 2010. Lowry: 'Actually, I had no idea it was out of focus. Half-blind at the best of times and half-pissed at the time, that simply had to be the one.' .
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(in Italian). Retrieved 9 March 2014. Select 'Tutti gli anni' in the 'Anno' drop-down menu. Select 'London Calling' in the 'Filtra' field. Select 'Album e Compilation' under 'Sezione'. Archived from the original on 15 January 2018. Retrieved 19 January 2018.
CS1 maint: Archived copy as title CS1 maint: BOT: original-url status unknown. (in French). Jones, Alan (7 August 2015). 31 December 1979. 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. Warwick: Angry Penguin.
London and New York: Omnibus Press. (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. 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).