Ira Robbins - Creem Magazine
The Clash
One thing for certain about a Clash concertthere's no chance or it being slick or standard. In New York during their second American tour, the fearsome foursomesurvivors of enough self induced setbacks to stop an army-proved they have reached a level where it's not how good they are at any particular gig, it's how hard they work to make it good. Their guitar-heavy mass of headsplitting rock noise didn't detract any from the good-natured spirit permeating a hyper-energetic performance.
Primed for action by the amazing Undertones, the Clash ran breakneck through a mixture of old and new songs (four of which are unrecorded). Standouts were an awesome "I Fought the Law," a lengthy "Police and Thieves," and a befud-died "Jail Guitar Doors." Strummer's vocals were hoarse and strained but insistent throughout; Mick Jones's guitar playing, despite effects boxes that blurred its tone, came on like supercharged sawblades. Both exuded easy confidence, working without the self-conscious nervousness that marred the Clash's first New York date earlier this year. Paul Simonon is the same bassist he's always been, but now he sings lead on one of the new tunes/drummer Topper Headon gets stronger by the minute.
The set contained a pile of surprises. Blockhead Mickey Gallagher's appearance on keyboards added a lot more sound to the blend but ' fit in well. The assortment of guitars used by Jones (prompting a quip about Rick Nielsen) included an acoustic for "English Civil War" and an old hollow body electric for "Stay Free."
All in all, this sloppy mess of a wonderful show proved the Clash can be both fun and exciting. They have maintained their unique ethics while adopting enough conventional technique to make a concert fully satisfying, for critics and paying customers alike.
Ira Robbins
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