SOUNDS 4 November 1978 - GIG REVIEW

The Clash
Harlesden Roxy

LET'S FORGET about all that'greatest rock and roll band in the world' stuff for a start. This was a garbled and gloomy affair in a venue anonymous enough only for reggae, predictable to the core in spirit, execution and company. Clash city clones two years on are only as mildly threatening as teds, old greasers or any closet squad of fashion money/revolutionaries. And if Joe Strummer might cut an impressive figure on street corners, the 10 per cent pure audience version with 'Sod Off' T shirt is only a passing figure of fun.

The Clash have no pretensions to being anything other than a punk group, even saying as much in a short speech after the encores, on this occasion delivering a strictly roots performance of the most basic nature. The backdrop, of assorted national flags, is their dullest yet, the lightshow as spectacular as the average suburban bathroom. After the very entertaining reggae sounds in the interval, the main set was rattled oft in regular Ramones type fashion, scarce even a breather for Strummer to roll around on his back Music Machine style in favour of the most concentrated twisted-visage barking.

As might be expected, none of the newer songs elicited the same pogoing fervour as the 'Janie Jones'/'Garageland' axis, the encore selection of 'London's Burning', 'White Riot' and 'I'm So Bored With The USA' producing (he most satisfying vertical response. Previously, 'Capital Radio' and 'White Man In Hammersmith Palais' revealed themselves as highspols In the primal aggression scale. the usual low expressed in the tiresome 'Police And Thieves'.

In musical values, visual and intent the Clash haven't forgotten any of what they had in the beginning, so satisfying the demands of commitment and Credibility. But that's all, and now the initial excitement and danger has been comfortably absorbed there's not much else to follow up. If you shout in people's ears long enough they'll ignore you.

ERIC FULLER