London Calling is a landmark album release by The Clash in 1979. It marks a big change in the style of music being written by the band, and is influential for many bands in a wide style of genres from punk and pop to third-wave ska.
The title track for the album, ‘London Calling’ blasts through right away with a powerful and very recognizable bass riff. Even if you think you don’t know The Clash, you know ‘London Calling’. The lyrics of the song powerfully invoke images of some post-apocalyptic, war zone London: “London calling to the faraway towns / Now that war is declared and battle come down.”
Just a couple tracks later, the band takes a complete one hundred and eighty degree turn with the song ‘Jimmy Jazz.’ Where ‘London Calling’ was a bit of a harder punk song, the influence for ‘Jimmy Jazz’ lies quite clearly on the shoulders of reggae. A powerful walking bass-line, some up-strummed guitar chords and fantastic horns really keep it mellow.
‘Rudie Can’t Fail’ is another song heavily influenced by early Jamaican ska and reggae, with a bit of punk flavor. The heavy Jamaican influence is not only heard in the music of the song, similar to ‘Jimmy Jazz,’ but also in the spoken and written lyrics. The song itself is about a ‘rudie,’ or a delinquent Jamaican youth heavily involved in the early ska scene. Aside from all the Jamaican lyrics influence, it seems as if they may also be poking a bit of fun at organized society; In this you can see the early ska and reggae music being fused with punk ideals.
A lot of punk and pop sound shines through in ‘Lost In the Supermarket,’ musically and idealistically. In particular the lyrics of this song are quite powerful, touching on psychology and mental disorder, the mark of the educated punk deity who is Joe Strummer. Stuff like “I wasn’t born so much as I fell out” and “I heard the people who lived on the ceiling / Scream and fight most scarily / Hearing that noise was my first ever feeling / That’s how it’s been all around me” reveals a certain air of a distorted childhood, a hallmark of modern punk music. This song also pokes some fun at society like ‘Rudie Can’t Fail.’
‘The Guns of Brixton’ is an awesome anthem of civil unrest with lyrics that depict a rough time in London: ‘When the law break in / How you gonna go? / With your hands on your head / Or on the trigger of your gun?” The tune is the only Clash song written solely by bassist Paul Simonon, featuring him on lead vocal duties, that was released by the band. Simonon drew his influence for ‘The Guns of Brixton’ from growing up in Brixton, South London and the civil unrest of the people versus the brutal police activity that was taking place at the time of the song’s writing.
With all the other serious themes like drugs, revolution, sex and society going on in ‘London Calling,’ The Clash still had the time to throw in a classic song about heartbreak at the end called ‘Train in Vain (Stand by Me).’ ‘Train in Vain’ was originally not going to be included on the original 1979 release of ‘London Calling’ but was a last minute addition and therefore is not included on track listings for the original album.
The Clash are one of the most recognizable bands in the beginning of the English Punk movement and ‘London Calling’ is one of the most powerful albums released by the band, and even one of the most fantastic albums to come out of the glorious 1970’s. The influence of this band and album can be seen in so many different musical groups of many genres. In the punk scene it’s clear that guys like Rancid were heavily influenced by The Clash with such ballads of unrest as ‘Arrested in Shanghai.’ In the third-wave ska scene, a band that is heavily influenced by the Clash is the Mighty Mighty Bosstones. You can catch this band’s level of appreciation by the spirit with which they cover ‘Rudie Can’t Fail’ at their live concerts. It’s clear Sublime has also drawn from The Clash’s rich infusion of punk, ska, and early reggae music. These are only a few examples of the wide effect ‘London Calling’ and The Clash have had on music as a whole, never mind the effect they have had on society and culture from their heyday through the times we live in now.
Tuesday, September 29, 2009
Tuesday, September 8, 2009
Phish - 'Joy'
Phish is back from Gamehendge this year for the first time since 2004 with an energetic reunion tour. This huge tour sold out all over the country, and not only included several weekend runs at certain venues, but also a show at Fenway Park, two days of headlining the Bonnaroo Music and Arts Festival in Manchester, Tennessee and perhaps the most exciting of all, Festival 8, a three day Phish only Halloween Festival that is going to be held in Indio, California. To top all this off, the boys have also released a fantastic new album. ‘Joy’ dropped last week and is chock full of genre-bending tracks, crunchy jams and lyrics that show the maturity of a band at this stage of their existence. Though the album was just released, fans have been getting a taste of ‘Joy’ and it’s bonus disc of extra content, ‘Party Time,’ since the reunion tour kicked off at the Hampton Coliseum back in March.
‘Joy’ starts out with an ode to friendship, ‘Backwards Down the Number Line.’ This tune, written by Phish guitarist Trey Anastasio and lyricist Tom Marshall, really shows you the bond the band members have as musicians and friends. This is quite touching and powerful, considering how long the band has been around and what they have been through. Over twenty-five years later, its songs like ‘Backwards Down the Number Line’ that show how the band has matured, as artists, friends, and members of Phish. This is a choice track from the album.
‘Stealing Time from the Faulty Plan’ officially gets the party started with an awesome Trey riff to start the song off. ‘Stealing Time’ also has interesting lyrics such as ‘Got a blank space where my mind should be’; quite an anthem for all of the band’s college age fans starting school the same week the new album came out. ‘Stealing Time’ fades out into the album’s namesake, ‘Joy,’ quite possibly one of the most beautiful songs the band has ever performed. ‘Joy’ is a slow, uplifting ballad seemingly dedicated to a little girl named ‘Joy.’ Lyricist Marshal cuts no corners, and the band brings everything together here for a solid slow ballad.
‘Sugar Shack’ is a light funk tune written by bassist Mike Gordon. The music is very solid, and at first listen it’s quite obvious it’s a Mike song by the groovy bass riffs. The lyrics of the song though, as are many of Gordon’s tunes within the Phish catalog, have a very country feel to them. The combination is pleasing and the song is good.
‘Ocelot’ is a high-energy song, and a great example of the band’s versatility. The song has a very ska/reggae feel to start, but the boys break out the funk later on, encouraging listeners to bust a move. After ‘Ocelot,’ ‘Kill Devil Falls’ busts into the mix as one of the faster paced songs from ‘Joy.’ The song is about the Kill Devil Falls, and it sounds like an awesome hang out.
‘Light is the first sign of psychedelic rock on the album. It’s starts out in a very ambient way with Page on the keys. Soon though drummer Fishman and Gordo come in strong with support. The trippy intro is short lived, but the rest of the track is more than satisfying.
‘Time Turns Elastic’ is from Trey’s excursion with a full orchestra, and is released in this form on the album of the same name. The song is now performed by the entire band on ‘Joy,’ and is fantastic. ‘Time Turns Elastic’ is a very special song. It reminds me of past Phish epics such as ‘Fluffhead,’ ‘Harry Hood’ and ‘Divided Sky.’ Though it seems a little too inflated with lyrics to become a jam vehicle such as these, listening to the song reveals the multidimensional structure fully supportive of jam possibilities. Of all the songs on ‘Joy,’ ‘Time Turns Elastic’ is quite possibly the most exciting.
‘Twenty Years Later’ is the bottom slice of bread to the ‘Joy’ sandwich. It deals heavily with some of the same themes as ‘Backwards Down the Number Line’ and radiates with the same maturity and love contained in the band. “Twenty years later” indeed, but kickin’ just as hard as ever.
‘Joy’ aims to please and it hit its mark. Though Phish’s main squeeze is the live show, Joy is a very high quality work and is very accessible for anyone who wants to get into Phish. What lies ahead for Phish from here? Will the Famous Flying Mockingbird fly again? Let’s hope so.
11 out of 10
‘Joy’ starts out with an ode to friendship, ‘Backwards Down the Number Line.’ This tune, written by Phish guitarist Trey Anastasio and lyricist Tom Marshall, really shows you the bond the band members have as musicians and friends. This is quite touching and powerful, considering how long the band has been around and what they have been through. Over twenty-five years later, its songs like ‘Backwards Down the Number Line’ that show how the band has matured, as artists, friends, and members of Phish. This is a choice track from the album.
‘Stealing Time from the Faulty Plan’ officially gets the party started with an awesome Trey riff to start the song off. ‘Stealing Time’ also has interesting lyrics such as ‘Got a blank space where my mind should be’; quite an anthem for all of the band’s college age fans starting school the same week the new album came out. ‘Stealing Time’ fades out into the album’s namesake, ‘Joy,’ quite possibly one of the most beautiful songs the band has ever performed. ‘Joy’ is a slow, uplifting ballad seemingly dedicated to a little girl named ‘Joy.’ Lyricist Marshal cuts no corners, and the band brings everything together here for a solid slow ballad.
‘Sugar Shack’ is a light funk tune written by bassist Mike Gordon. The music is very solid, and at first listen it’s quite obvious it’s a Mike song by the groovy bass riffs. The lyrics of the song though, as are many of Gordon’s tunes within the Phish catalog, have a very country feel to them. The combination is pleasing and the song is good.
‘Ocelot’ is a high-energy song, and a great example of the band’s versatility. The song has a very ska/reggae feel to start, but the boys break out the funk later on, encouraging listeners to bust a move. After ‘Ocelot,’ ‘Kill Devil Falls’ busts into the mix as one of the faster paced songs from ‘Joy.’ The song is about the Kill Devil Falls, and it sounds like an awesome hang out.
‘Light is the first sign of psychedelic rock on the album. It’s starts out in a very ambient way with Page on the keys. Soon though drummer Fishman and Gordo come in strong with support. The trippy intro is short lived, but the rest of the track is more than satisfying.
‘Time Turns Elastic’ is from Trey’s excursion with a full orchestra, and is released in this form on the album of the same name. The song is now performed by the entire band on ‘Joy,’ and is fantastic. ‘Time Turns Elastic’ is a very special song. It reminds me of past Phish epics such as ‘Fluffhead,’ ‘Harry Hood’ and ‘Divided Sky.’ Though it seems a little too inflated with lyrics to become a jam vehicle such as these, listening to the song reveals the multidimensional structure fully supportive of jam possibilities. Of all the songs on ‘Joy,’ ‘Time Turns Elastic’ is quite possibly the most exciting.
‘Twenty Years Later’ is the bottom slice of bread to the ‘Joy’ sandwich. It deals heavily with some of the same themes as ‘Backwards Down the Number Line’ and radiates with the same maturity and love contained in the band. “Twenty years later” indeed, but kickin’ just as hard as ever.
‘Joy’ aims to please and it hit its mark. Though Phish’s main squeeze is the live show, Joy is a very high quality work and is very accessible for anyone who wants to get into Phish. What lies ahead for Phish from here? Will the Famous Flying Mockingbird fly again? Let’s hope so.
11 out of 10
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