Kris Needs, ZigZag, April 1977

THE CLASH: KONKRETE KLOCKWORK

At the moment there isn't a group in the New Wave that comes within spitting distance of The Clash, live or on record. Within a year they have become the most exciting live band in the country, and shortly they will release an album which is the most stunning debut for years... I believe it'll be as important as the first Rolling Stones album in shaping a new direction for rock'n'roll.

The New Wave groups who have so far made albums — The Hot Rods and The Damned — have been OK for party music, but The Clash are something far more important and vital. Not only is their music original and lethally energised, but it encompasses a whole new attitude of positive creativity which, if it rubs off on their audience, can only be a good thing. They are trying to wake people up to reality as well as plumbing the fine essence of ultimate rock'n'roll.

First time I saw The Clash was at their first out-of-London gig at Leighton Buzzard’s Tiddenfoot Leisure Centre, about an hour's drive out of London. The hall was like a large hotel lounge, which encouraged the crowd to drape itself over the seating.

The Clash taking the stage was like an injection of electricity into the smoky air. They charged headlong into "White Riot" with shattering energy, strutting and leaping like clockwork robots out of control. They never let up for half an hour. Despite sound problems they were astounding, almost overpowering in their attack and conviction.

The Clash are: Mick Jones (lead guitar, vocals); Joe Strummer (vocals, guitar); Paul Simenon (bass, vocals). They haven't got a permanent drummer, although Terry Chimes has done most gigs with them and plays on the album.

They are managed by one Bernard Rhodes and rehearse/hang out in this huge ex-warehouse he found in Camden Town between Dingwalls and The Roundhouse. They converted it to a rehearsal room downstairs, with pink drapes and old barber's chairs for added home comforts; and upstairs is where the group create their outfits, revamping jumble sale purchases with acrylic paint spatterings and slogans... cheap and striking.

Mick: "We encourage the kids to paint their clothes. That way they get involved, feel part of it. Now they come along and show us ideas we like."

Back to the music. They write all their own songs, no Clash number is longer than three minutes, and not many exceed two. Each is fast, razor-sharp and rocking, with insanely catchy choruses. The songs are viciously topical and directly inspired by the group's London environment.

"White Riot" was written after Joe and Mick got caught in the Notting Hill riots last year. "Janie Jones" concerns the bloke with a boring job who gets off by being in love with Janie Jones (the imprisoned vice queen). "London’s Burning" ("with boredom") is "a celebration of the Westway under a yellow light," says Joe Strummer. "1977" is a cold look at the future/present: "No Elvis, Beatles or The Rolling Stones in 1977," and "Ain't so lucky to be rich; sten guns in Knightsbridge." There's loads... all vital, power-packed SONGS.

The Clash are very much a London band. They couldn't live anywhere else or their music would suffer.

Joe: "We love the place — blocks of flats, concrete."

Mick: "I hate the country. The minute I see cows I feel sick."

The Clash formed a year ago this month. Originally Mick, who like Paul comes from Brixton, was a member of The London SS, arguably the first New Wave group. The line-up also included Brian James (now with The Damned) and Tony James (bassist with Generation X). They were rehearsing in 1975, and Paul came down to a rehearsal one day and met Mick, who got him singing. "I'd never sung or played bass before in my life."

The S.S. "didn't work out" and split before they'd done a gig. Mick got together with Paul and formed The Heartdrops, which later became The Clash. Paul learned bass by sticking white dots on the fret board of the machine he'd acquired.

There was another guitarist too... Keith Levine, who left mysteriously last autumn and is getting his own band together.

They needed a singer, and one day when Mick and Paul were walking down a street in Shepherd's Bush they bumped into Joe, who was still with The 101ers. Mick told him that he was great but his band stunk, and asked him to join The Clash. Joe was bored with singing pub rock standards, and despite the fact that The 101ers were rising fast, he broke them up and joined The Clash (on April 1st, to be precise).

By the time The 101ers single "Keys To Your Heart" came out, Joe was firmly involved with The Clash. Goodbye rhythm & blues, hello 1976.

When they were ready, The Clash unveiled themselves to a rehearsal room full of press and friends. The date was Friday the 13th. Reaction was immediate and they got rave reviews.

There followed a select series of London dates at places like the 100 Club (they did the punk rock festival last summer), the Sex Pistols all-nighter at the Screen On The Green, and two at the Institute Of Contemporary Arts (the last one being the time when Patti Smith leapt on stage during "I'm So Bored With The U.S.A.").

The Clash have always taken gigs seriously, never being content to just trundle round the circuits night after night. They've only done The Roxy once (January) and they often organise their own gigs... that way everything's right and it becomes a complete event. They might lose money, but it's made for some great gigs. There've been the ICA gigs, one at the Royal College of Art, where hippy art students threw glasses at the stage, and the last one, which was on March 11th at Harlesden Colosseum.

[...continues with full event report, band philosophy, and recording insight. Please request Part 2 if you would like the remainder included.]

© Kris Needs, 1977