Don Snowden, L.A. Weekly, 23 February 1979

THE ARRIVAL in LA of The Clash, the hot English rock band, had been eagerly anticipated by local hard-core rockers ever since the release of the band s debut album almost two years ago.

Coming here at the end of a particularly slack period of concert action only served to fan the flames higher. The level of expectancy in the lobby before the set was the highest I ve ever witnessed at a rock show. And The Clash more than lived up to expectations.

The Pistols may have sparked the whole new English scene and grabbed the most notoriety, but The Clash is  and always has been  the premier punk rock band. You can hear traces of the early Who and Kinks and a heavy dose of Mott the Hoople s influence in the band s music. Add Joe Strummer s 1984-is-just-around-the-corner-so-you-better-make-your-stand-now lyrics, and you have a potent combination of words and sound.

From the opening riff of 'I m so Bored With The U.S.A.' to the closing chords of 'White Riot', The Clash set was an onslaught of pure energy by a band that resembles a rock n  roll attack squad. Lead guitarist Mick Jones leaped and sprinted from one end of the stage to the other while bassist Paul Simonon coolly loped around front stage. And I ve never seen a performer so completely wrapped up in his music physically as Strummer  slashing away at his battered Telecaster, mouth agape, left leg pumping like a piston and eyes often wide open with the look of a man who s seen his worst nightmares come to life ten feet in front of his face.

High Spots

TRYING TO pinpoint the highlights of the set is an impossible task, but 'Capital Radio', a vitriolic attack on the state of English radio that was written well before Elvis Costello s 'Radio, Radio', stood out. The other high spots point to another of the Clash s strengths; the rhythm section of the Simonon and drummer Topper Headon is funky enough to make The Clash one of the few new bands capable of effectively tackling reggae ('Police and Thieves', 'White Man In Hammersmith Palais') and New Orleans rhythm-and-blues ('Julie s in the Drug Squad') stylings.

At times The Clash seemed to be struggling against being overwhelmed by the tremendous force it unleashed. But even on the brink of chaos, it thrived. Even stopping dead in the middle of their best song, 'Complete Control', to aid a fan who was getting squashed at the front of the stage, didn t faze them. Jones simply began the song from where they d left off, and by the end they had reached the level of intensity which characterized the entire set.

At a post-gig press conference, Simonon said The Clash wants to be the best rock n  roll band there is. I hope they hold onto that attitude. But Simonon should know that The Clash already is the best rock n  roll band in the world. Just no contest, Jack.

Don Snowden, 1979