Clash to mark 40 years of “fight rock”

In hindsight, Clash 1982’s penultimate album fighting rock It marked the end of an era for British punk bands, as it was the last record to feature classic lineups from Joe Stromer, Mick Jones, Paul Simonnon and Topper Headon. It was also the group’s most commercially successful album in the United States, thanks to the singles “Rock the Casbah” and “should I stay or I should go”.

However, within a few years, both Jones and Whedon left the band while Strummer and Simonon continued to record and release the sly Swansong Clash. cut waste.

With that in mind, fighting rock It was truly Clash’s last proper albums that captured the band at the height of their fame and peak popularity. To celebrate its fortieth anniversary, fighting rock It was recently re-released via Sony Legacy and paired with People’s Halla collection of alternative versions of songs, snippets, and music never heard before, all providing a more complete survey of Clash’s activities from that period around 1981 and 1982.

Cover of “Fighting Rock” for the conflict/”Hall of the People”.
Photo courtesy of Sony Legacy

at the time of fighting rockOn the recording, it seemed as if the world was in turmoil at the dawn of the ’80s. The Thatcher and Reagan administrations were marked by riots in Britain and economic stagnation in that country and the United States.

Lyrically, there was a feeling of exhaustion fighting rock While the band continued to expand their music chart that began with their double-disc masterpiece in 1979 London asks And through the triple album of 1981 Sandinista!

Throughout their musical work, Clash has never been shy about addressing political and social concerns, and fighting rock It was no different. The Vietnam War and its aftermath was one of the album’s themes, which can be heard in “Straight to Hell” and the tropical and experimental soundtrack “Sean Flynn,” about photojournalist and actor Errol Flynn’s son who disappeared in Cambodia in 1970 while covering the war.

The Clash 1981
Picture of British rock group punk Clash, left, Joe Stromer, Topper Headon, Paul Simenon, and Mick Jones, as they hold a press conference before their concert in the Bonds, New York, NY, June 27, 1981.
Photo by Alan Tannenbaum/Getty Images

The band tackled urban meltdown in the amalgamated rock and reggae “Red Angel Dragnet” (which alludes to the Guardian Angels in New York City and the film taxi driver) as well as societal inequality by “know your rights” punkabilly: “You have the right not to kill / Murder is a crime! / Unless it is done / By a policeman or an aristocrat.

There were also unique acoustic touches on the album as the band explored beyond punk, funk, dance, dub and rock New York: from performing spoken words by Beat Allen Ginsberg to the gruesome “Ghetto Defendant,” which referenced drug addiction and the city live and check names in such Political hotspots at the time such as Poland, El Salvador, and Afghanistan; To The Talking Heads-like “Overpowered by Funk,” which features guest vocals by graffiti artist Futura 2000. The album concluded with jazzy and lounge-y “Death Is a Star,” a commentary about violence in films.

Amid her musical adventures and comments on current events, fighting rock Clash saw Clash snatch the commercial brass ring thanks to the Middle East-centric song “Rock the Casbah,” the band’s first American hit that was accompanied by a satirical video that coincided with the debut of MTV.

“Should I Stay or Should I Go”, another memorable track from the record for its iconic opening guitar opening, later went to #1 in the UK upon re-released in 1991. Jones, who left the group in 1983, took He later samples “Should I Stay or Should I Go” to the song “The Globe” recorded by his later band Big Audio Dynamite II.

Between those successes and the group’s internal collapse by 1985, fighting rock It was truly Clash’s last fitting album as far as fans and critics go.

Accompanying the fortieth anniversary reissue People’s Hallnamed after the building in the then Republic of Frestonia in London – the short-lived republic formed in 1977 by a group of squatters who wanted to secede from the United Kingdom

It was in the people’s hall where Clash worked on the materials that ended up fighting rock. Among the highlights of this new archival collection are alternative versions of “Radio Clash” and “Know Your Rights”; hybrid rap – funk from “Futura 2000”; and “Midnight to Stevens”, in tribute to the late producer Jay Stevens, who worked on the iconic film London asks.

With its diverse mix of genres and moments of experience, People’s Hall It can be considered a continuation of Sandinista!

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