This is one of those rare records that never lets up from beginning to end and is truly packed with with some of the Clash's greatest songs. Their cover of "Brand New Cadillac" is just smokin rockabilly, "Rudie Can't Fail" is irresistable reggae rock, "Clampdown" is just pure Clash style punk with angry lyrics and a thumping rhythm, "The Guns of Brixton" features Paul Simonon's bass as the lead instrument (and his vocal) and the result is a very cool reggae number about racial violence, "Wrong Em Boyo" reworks the old song "Stagger Lee" into a catchy ska workout.

There is also the ultimate Clash song, "Death Or Glory", which is a culmination of everything the Clash are. It is a kind of merging of their early punk thrash with the more sophisticated arrangements they were growing into at this point. About a gangster trying to settle down it opens with Joe Strummer's raspy voice singing, "Now every cheap hood strikes a bargain with the world and ends up making payments on a sofa or a girl" Rock and Roll doesn't get any cooler than this.

London Calling is a band brimming with confidence--they can do anything--a band at its absolute peak. This is essential for anyone who loves rock and roll and has a sense of history, of where influential music was created.


Easily one of the masterworks of rock and roll   February 29, 2004
 115 out of 121 found this review helpful

This is one of the few rock albums ever released that is almost impossible to over praise. One can heap on the superlatives, pile on a few more, and still have room for even more laurels. It is probably by any standard one of the five greatest albums released in the rock era, unquestionably the greatest album released by a band with its roots in punk, the greatest explicitly political album ever released by someone who was not Bob Dylan, and one of those rare albums that doesn't seem to age at all. There isn't a weak cut on the album. In fact, the songs are not merely good but great.

Although The Clash started off as a punk band, they were never adequately defined by that phenomenon. Although rooted in the attitudes and political sympathies of the punk movement (and above all else, English Punk, as opposed to the earlier American Punk, was highly political; originator Malcolm McLaren was deeply influenced by Guy Debord and the Situationist International, and included many political ideas in promoting the Sex Pistols and his punk fashions), The Clash quickly outgrew the punk aesthetic. While most of the original punks were merely two-chords-and-a-cloud-of-dust bands, the Clash almost immediately began effortlessly and seamlessly assimilating a host of musical influenced. They were the first rock band, for instance, to use reggae rhythms and not make them sound like a gimmick (compare The Clash's extraordinary "The Guns of Brixton" with Led Zeppelin's "D'yer Maker," which while good sounds a bit like a novelty song, while The Clash sound like they ripped the song off some Jamaicans). The songs are remarkably sophisticated and polished, even when they sound casually. For instance, check out the almost haphazard way "Jimmy Jazz" starts, as if the band can't decide whether to allow the opening riff develop into a full fledged song. Even when it gets fully underway, there is an effortless looseness to the song that persists throughout the impeccably orchestrated song. It is a masterpiece of nonchalant virtuosity.

Most of the songs are so brilliantly original to seem almost impossible. It isn't just that the songs are original; nothing else even remotely like many of them had ever been done before. Where is the predecessor of "Hateful"? Who cooked up "Lost in the Supermarket," with its amazing conglomeration of political and social ideas? Before hearing "The Right Profile," could anyone have imagined it possible to write a classic about Montgomery Cliff's car wreck? Even songs that remind one vaguely of previous songs manage to sound underivative. For instance, there is more than a little Phil Spector's wall of sound in "The Card Cheat," but where do those horns come from?

A mark of the genius of this album can be seen in the fact that although it is one of the great leftist albums of all time, the most reactionary rock fan could still love every song. It is unquestionably great political rock, but more than that it is just flat out awesome rock. It is almost as if The Clash recreated on this album all the rebelliousness contained in the first rockers of the 1950s.

These days, when every other album seems to be getting special expanded versions, this one truly could benefit from such treatment. The liner notes on the current U.S. edition are nonexistent. Hopefully this will be corrected at some point in the relatively near future.


One of the Best Rock albums of all time!!   March 6, 2001
 22 out of 23 found this review helpful

Now I know you read the title of my review and you're thinking I'm some kid who's just raving about his favorite band. But please, don't stop reading! You see, I am a big music geek and aspiring music afficianado. Yes, I listen to almost every genre, including electronica, jazz, heavy metal, indi and classical music. And my music collection is ridiculous, (almost 1,000 CD's).

But in my collection, there are only a handful of albums that I absolutely love, and continue to listen to over and over again. Joy Division's Unknown Pleasure is one example. Coltrane's A Love Supreme is another. And yes, The Clash's London Calling is one of those albums. It is simply a joy to listen to.

Make no mistake, this is not just a punk album. It is not nearly as abrasive as their seminal debut album. Instead, you will find the Clash tackling many different styles and genres. From the opening rock anthem of the title track, the reggae of "Revolution Rock" and the rockabilly of "Brand New Cadillac." And even the slower numbers such as "Lost in the Supermarket" and "The Card Cheat" are classic. But perhaps what's more amazing is that they tackle those genres extremely WELL. All of the songs are catchy and memorable. This is one of the few albums where I can say that there are no bad tracks.

THe Clash's London Calling is not hype. There is a reason why it is on so many TOP 100 lists and people's Desert Island Disc Lists. It is absolutely ESSENTIAL for any music fan. Believe me, you'll be glad you purchased it. From one music fan to another.


The prophet Joe...   December 3, 1999
 19 out of 19 found this review helpful

"When phoney Beatlemania has bitten the dust..." cries Joe Strummer from the opening track "London Calling". I don't know about the U.S., but here in the UK we ARE drowning from the tenth-rate phoney Beatle-worshipping Oasis. How we deserve it! The Clash were knocked by us from the moment they arrived. It's only in retropsect that we realise that there will probably never be a band like this again. And never an album of this quality. Every track is brilliant. Why? Because the guys who made it were fundamentely cool, calm and collected. They could rock. They had funk and flavor because they absorbed reggae, jazz and dub. The lyrics are intelligent but not dull. The guitar work on this album showed how talented Mick Jones is as a songwriter, but he didn't have to add layer-upon-layer of gloss to prove his worth. Most of all, the Clash knew how to present an album, present an idea, present themselves. Take most every band and they lack in some crucial department. Take the Clash apart and they still stand up. This is an outstounding album. Trust me. All we have now on offer is watered-down weak-willed wannabes. London Calling - don't have no fear.


The Blonde On Blonde of its generation: Indispensable   March 12, 2000
 18 out of 19 found this review helpful

It's not the best album of all time. It's not the best album of the decade (either the 70's or 80's, depending on which country you're in - the LP was released in December '79 in the UK and January '80 in the US), perhaps. Heck, some punkers would even claim that it's not even the best album The Clash ever released, instead choosing the speedy burst of bile that was their debut.

Nevertheless, whenever somebody asks me to recommend an album that will change their musical world and broaden their horizons, I don't even have to think twice before I pretty much beg them to get this one. Let me make this absolutely clear: if you don't have London Calling already, run, do NOT walk to the nearest CD store, be it online or real-world, and buy this. If you don't have enough money, then sell a kidney. It's really that good. Even my 57-year old father loves it - now THAT'S cross-generational appeal. Don't be scared by the fact that The Clash are supposed to be a mean 'n' nasty "punk" combo; that was really only true for their first (and part of their second) album.

Because cripes! Who would have thought that the same four guys who did the sometimes faceless Give `Em Enough Rope could come up with THIS? With London Calling The Clash mysteriously mutated into the most versatile band of their generation - this is no longer stereotypically "punk" music. It's an amazingly well-produced (by infamous loon Guy Stevens, who also worked with Mott The Hoople) set of pop & punk & soul & reggae & rock & lounge & ska & whatever numbers that's easily one of the finest double albums ever made. All this from an ostensibly simple "punk" band, no less.

And in truth, the key difference between this album and the ones that preceded it is spiritual: no longer are they So Bored With The U.S.A. Here The Clash acknowledge a fascination with American rock `n' roll and culture, from Elvis on up to poor Montgomery Clift, and it transforms them. What remains unchanged, however, is their lyrical vision: London Calling is populated with junkies, gamblers, murderers, rude boys, punks, and outlaw figures ranging from card cheats to Clift, all set on the horizon of impending nuclear war. And yet this cast is sympathetic and integrated into the basic humanity of The Clash's vision: for every knock they make on cocaine snorting suits ("Koka Kola") there's an expression of solidarity with the underclass and their struggle for and against respectability ("Rudie Can't Fail," "Death And Glory"). Their lyrics have never been more mature or subtle, either. Is "Clampdown" a polemic against the rise of neo-Fascism in England? Or a parable of the inevitable soul-crushing plight of the factory worker? Or are they both "working for the clampdown" in the end? Similarly, "Death Or Glory," while musically one of the simplest three-chord rockers on the album (and one of the best they ever did, mind you), sends two contradictory messages: is "death or glory/just another story?" Then why do Strummer and Jones insist at the end that they're "going to run a long time, going to fight forever, fight till you lose?"

Ah, forget it. Love the album for its music, which is as uplifting as any I've ever encountered. I mean, "London Calling" isn't the happiest song ever written, and Simonon's "The Guns Of Brixton," is similarly take-no-prisoners, but otherwise this album is a musical celebration, whether it's lyrically dejected but musically happy "Train In Vain" or the sadly upbeat "Lost In The Supermarket." Or the impressionistic masterpiece "Spanish Bombs," written about the romanticization of the Spanish Civil War of all things. (How's THAT for creative songwriting inspiration?) And nothing so encapsulates rock's potential to lift us up out of our doldrums as the survivor's shout of triumph which is "I'm Not Down."

There are a couple of throwaways on this album (the minor-key "Jimmy Jazz," the Stagger Lee update of "Wrong 'Em Boyo," the preachiness of "Lover's Rock") but such is the quality of even these minor pieces that they mesh seamlessly with the whole, creating nothing less than one of truly indispensable albums of the last 40 years. As I said, it's not the best album of all time, but it certainly ranks with the heavyweights. I have no qualms about placing London Calling among the company of the best of The Beatles, Stones, Dylan, and the Who. And neither should you.