Word: albums
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Dates: during 1980-1989
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...whole, the show leaves you slightly befuddled. It's like flipping through someone else's photograph album. You have a vague sense that it all fits together somehow, but you're not really sure who's who, who knows who, or when the photos were taken. You can enjoy looking at the pictures, but you don't really know what you're seeing...
...couple of years ago it would have been ludicrous to describe the music of the Clash in such terms; a tight, angry punk band, they merely translated blunt, explicit feelings of political frustration into bracing, furious music. The first Clash album (released as the band's second record in the U.S.) spit out all subtlety, and the second deliberately sidestepped...
Abandoning blunt messages allows the Clash to adopt musical subtleties. On their first album, they railed against society...
...GREAT ART is art that renders labels meaningless then London Calling should finally do in the "new wave." Its lyrical and musical fertility recalls another celebrated double album, Exile on Main Street, far sooner than any Sex Pistols product. Like the Stones' masterpiece, London Calling has its longueurs; but its two discs conjure the end of the '70s as unmistakably as Exile did their beginning. The title track does so best. Over the ominous bleating of Mick Jones's slightly off-key guitar and a despondent, resigned chorus that drops off into silence, Joe Strummer launches into a chronicle...
...radiates assurance--musical assurance that this so-called punk band can play any kind of music it chooses, and assurance of a larger sort, that the further the world sinks into confusion the closer it will come to revival. The very energy of most of the songs on the album belies the sense of entropy conveyed by a song like "London Calling." The Clash have taken popular music and used it to give frenzied life to Bakunin's maxim, "The lust to destroy is a creative lust." They have elevated their music to the point where such grand claims...