THE WAR ON DRUGS
FULL DISCOGRAPHY DEEP DIVE

INTRO:

Along with the undeniable conveniences of having the world of recorded music at your fingertips, streaming services do deliver a double-edged blade in that there can be SO MUCH amazing music that can, just as easily, slip by. 

Committing to The War On Drugs FULL DISCOGRAPHY DEEP DIVE definitely highlighted that pitfall. I had been aware of the band’s name and general sound (fitting into a niche I definitely gravitate towards). My only defense is that when things come so easily and are combined with such a massive overload of other options, it is too easy to ‘file away’ even music that you immediately feel a connection with. Truth is, at any given moment I could easily mention dozens of bands & acts that I FUCKING LOVE, but admit that I haven’t listened to in ages. It just happens.

I was eager to right this wrong - determined to decide if this was a big mis-step or if I had neglected the band because of well-placed intuition.

NOTE: For each album, in addition to including thoughts, I will be offering a Thumbs Up/Thumbs Down rating, as far as whether I would suggest the album to a friend. I also give a letter Grade to more specifically share where each album falls on my personal scale. For what it’s worth.

                 Wagonwheel Blues

Personnel: Adam Granduciel (vocals, guitars, keys, drums), Kurt Vile (guitars, keys, vocals, trumpet), David Hartley (bass), Kyle Lloyd (drums)

Produced by: Adam Granduciel & Kurt Vile

Released: June 19, 2008

The War On Drugs - and particularly this debut album - are so squarely in my wheelhouse (pun intended) that I was Strikingly amazed that I haven't held a closer handle on them over the years.

All that said, I really (re)enjoyed this collection.

The one thing I’ll start with, that was a new listening experience I had with these review listens, was that the Dylanesque tendencies in the swirl  jumped WAY out to my ears. Might just be a selected memory, but I recall much more Springsteen foundation in their sound (though the harmonica in opener “Arms Like Boulder” just screams BRUUUUCE). And who knows, that could become more pronounced on later albums. It probably didn’t hurt that I also just had a recent concentrated spin through Blonde On Blonde - but the many Dylan connections were much more pronounced than I expected. A song like “Show Me The Coast” just screams it out - in all the best ways.

My favs - “Arms Like Boulders”, “A Needle In Your Eye #16” (which had spot-on Nebraska-era Springsteen vibes filtered through Arcade Fire-ish repetition), & “Show Me The Coast” (I especially dug the extended take on allowing the pacing of that track to display all of its charms at its own sweet pace) - could have kept this collect afloat even if the remainder was only lackluster. Thankfully, that wasn’t the case.

Of tracks that I didn’t recall, I felt numbers like “There Is No Urgency” and “Reverse The Charges” displayed some fantastic haze, swirl & cloudy ambience that I simply don’t remember associating with the band. Those two tracks do push the album in very positive ways with the textural layering they offer up. The tracks also include tendencies that are much more aligned with My Morning Jacket than the comparatively straight-ahead Americana-rock approach of The Jayhawks or Ryan Adams.

**NOTE: A rare Monday Morning Quarterback album rewrite from me: I would have ended the album with “Show Me The Coast”. I get the idea behind the super low-fi “Barrel of Batteries”, but would have preferred a well-recorded full-band version of that song stuck somewhere earlier in the album. As it stands, it remains my only ‘low point’ in the company of such winning material.

CONCLUSION: Looks like this will be a nice re-flamed love affair FULL DISCOGRAPHY DEEP DIVE. I love just about everything employed in this album. And personal bias to this particular niche-styling aside, the songs are well-crafted in such traditionally solid ways and the performances deliver just what is needed to help them convincingly cross the finish line that I’ll award an easy Thumbs Up and a Grade of a solid B.

Slave Ambient

Personnel: Adam Granduciel (vocals, guitars, keys, drums), David Hartley (bass), Robbie Bennett (keys, guitar), Mike Zanghi (drums)

Produced by: Adam Granduciel & Jeff Ziegler

Released: August 16, 2011

This was a completely fresh listen for me as I somehow previously missed this album entirely.

The immediate note I made as I gave it a listen (and this was echoed each time I returned - which was quite a bit) was that the sonic progression in the band’s sound from their debut to this collection was not unlike the move Mumford & Sons made from the powerfully striking one-two combo of their first two albums to the decidedly manicured production sheen of their 2015 3rd album, Wilder Mind. Speaking of, it does seem like some healthy give & take could be at play here on that front. Certainly, TWOD (Granduciel & Vile) had to be fully aware of M&S (who definitely reached a wider, more commercially successful audience), but TWOD got the jump on the M&S debut and, likewise, this album preceded Wilder Mind and its shift in sound. Neither band ‘own’ the Americana sound, but I found the comparison of the timeline interesting.

There is still plenty of what attracted me to the band’s debut to be found, but with repeated listens, this album felt like a wholly positive (& not insignificant) step forward. The songs all met the well-crafted standard that was established on Wagonwheel Blues, but the attention to production approaches elevates the proceedings in pretty significant ways.

Not able to help myself with context framing - I count Wilco (one of my favorite ‘modern’ bands) as ground zero for this particular mix of Americana roots rock thoroughly rinsed with an experimental art-rock wash. Their undisputed classic, Yankee Hotel Foxtrot (2001), is a clear influence here - but I fully appreciate the way TWOD manipulate those tendencies to so fittingly serve their artistic statement throughout.

In fact, the various winning artistic choices abound. There is layered ‘noodling’ throughout - not unlike the nuances that Eno brought to the early Roxy Music albums or that Jay Bennet & Jim O’Rourke delivered in the production handling of Wilco’s YHF. I was also especially taken by the three transition instrumentals (“The Animator”, “City Reprise #13”, & “Original Slave”) as they not only bring some fantastic textural variances to the table, but also speak to a greater collective artistry. 

Though I didn't get as much of it as I expected on the first album, there are plenty of touch-points to Springsteen’s Nebraska - specifically the opener “Best Night”. So many of the songs deliver such an attractive lazy river unfolding approach - doing an especially good job of allowing thoughtful repetition to create an almost hypnotic ‘train in the distance’ trance effect - a favorite technique of mine when used so convincingly. Also picked up on what feel like nods to Arcade Fire, My Morning Jacket, & Americana/country artist Rodney Crowell. And I also was reminded, quite a bit actually, of Dire Straits.

They once again end with a simple acoustic guitar ballad, but as this track is recorded well and features added instrumentation, it makes a fine closer.

Vocally, Granduciel seems to fall into more of a Tom Petty drawl then the more obvious Dylan phrasing found on the first album, - but as his vocals didn’t bother me at all to start with, this really changes nothing. Don’t know if it was just the ripple reminders of Petty’s voice, but several of the tracks (“Your Love Is Calling My Name” specifically) deeply brought to mind something the Heartbreakers could have released. I also picked up on reminders of Jay Farrar’s vocal work (Farrar founded Uncle Tupelo with Jeff Tweedy - essentially single-handedly launching the whole modern alt-country niche - before Tweedy went on to start Wilco).

And before I even listened to the first note of this album I made the note: ‘I really dig the album title and cover artwork.’

CONCLUSION: Though the band started off very strong with their debut, this album is a superior collection. In addition to being a crazy unexpected (& unknown) pleasure to listen to, it plants itself firmly as an album that I will keep clearly on my radar moving forward. Its many charms earn it an absolute Thumbs Up and a Grade of the highest B+ I can deliver.

Lost In The Dream

Personnel: Adam Granduciel (vocals, guitars, keys, drums), David Hartley (bass), Robbie Bennett (keys, guitar), Charlie Hall (drums)

Produced by: Adam Granduciel

Recorded at: Uniform Recording, Philadelphia / Echo Mountain Studios, Asheville

Released: March 18, 2014

Things just keep getting better. Even more rewarding is the fact that this was a true discovery, as I did not know this album as well as I thought I did. And this was the TWOD album I felt I knew the best - HAHA!!

Though I was perfectly content with TWOD’s deft handling of Americana-infused art rock up to now, the almost seismic shift to 80s-pop production sheen found all through this collection is like easing into a warm bath. So complete and seamless is the transition that you could almost call it a different band. 

I’ll take a moment more on the 80s production connection because, to me, it plays such a crucial role in this album's success. I picked up on production & sound choices that reminded me of a host of acts - from “You Got Lucky” era Petty & the Heartbreakers & 80’s Fleetwood Mac to Tears For Fears & solo Don Henley. And also some nice washes of Springsteen’s quieter moments from Born In The USA - including some tasty sax lines (which I would have loved to have heard employed a bit more, truthfully).

I will say, it almost seems the 80s-nod is pushed to extremes (though not in a negative way) as the keyboard hook employed in “Burning” owes more than just a little to the keyboard hook in Rod Stewart’s 1981 hit “Young Turks”. Maybe it is wink-wink intentional, maybe just one of those things. But as “Young Turks” is - by far - my favorite Stewart track, this won’t even flag a slight warning from me. Bring it on, I say!!

Considering that Granduciel takes sole credit for producing this album seems to speak to his clear love of these soundscapes. I (rarely) felt that the connections drawn were of a ‘heavy lifting’ nature, but more of a fond reminder. Whatever you call it, this album lays out as a perfect hybrid of old & new and it suits this particular incarnation of Granduciel’s musical tastes & vision in very on-target ways. This last ‘general’ thought came to me after quite a few listens, but I found myself thinking about this album as a sort of modern (w/ plenty of well-placed 80s touchpoints) relative to Van Morrison’s untouchably perfect Astral Weeks. I mean this in the way that the sonics and overall pacing affected me. 

A few more things I love about this collection (a list of specific moments, in no particular order): 

• The committed way that opener “Under The Pressure” - a near perfect song in its own right - actually ‘finishes’ at 5:37, but then for another captivating 3:15 dissolves and morphs through an alluring Eno ambient daydream. To me, a real artistic statement that earns total respect.

• Lots of subtle (but completely perfect) little musical adds - the simple piano line used in the close of “Suffering” (though very tasteful piano adds can be found throughout the album), the haunting echo of harmonica in “Disappearing”, & the beautiful steel guitars in “Eyes To The Wind”.

• Perhaps the one thing that stood out the most in extremely positive ways to me was Granduciel’s fantastic guitar work - especially great on “An Ocean Between The Waves”, throughout “Disappearing” & on the mesmerizing “The Haunting Idle”. I’ll have to go back and give the first two albums a better listen, but as I listened to this collection, this fact seemed to JUMP OUT at me. Certainly it hadn’t made itself known so prominently before. He just lays down such entirely sweet Knopfler-ish fills (continuing the Dire Straits connection) - super augmenting the songs in stunning ways. His playing and lead work, combined with the waves of lush 80s-informed production, is what makes this collection the stellar offering that it is.

They do cut back to a single instrumental (the trippy guitar ambient of “The Haunting Idle”), but as the opening track almost hits 9-minutes, two crest 7-minutes (with another just behind) - the band is clearly committed to giving themselves plenty of room to stretch out - allowing unrushed exploration to fully engage. Shit, I could have listened to the gentle flow of “Suffering” easily twice as long as its six minutes. This hallmark move - allowing for the space that is needed - works so much magic to my ears and delivers such a rewarding listening experience.

CONCLUSION: If TWOD can top this album (or even continue as persuasively on this same musical tract), I may have to radically rethink my dedication to staying intimately familiar with post-2000 bands/artists (especially those that fall within the musical territories that I appreciate the most). If this was a 2023 release, I have absolutely no doubt that it would make the upper echelons on my year-end Top Ten list. In fact, I guarantee it. Thumbs Up times ten and I proudly offer a confident Grade of a strong A. Can’t wait to see what happens next with the band.

A Deeper Understanding

Personnel: Adam Granduciel (vocals, guitars, keys, drums), David Hartley (bass), Robbie Bennett (keys, guitar), Charlie Hall (drums), Jon Natchex (saxophone)

Produced by: Adam Granduciel

Released: August 25, 2017

A fucking Grammy??!! Who the fuck knew??!! I’m telling you, my not having this band more firmly and intently on my radar is chalking up to be one of my most fragrant modern-music missteps.

Though I have certainly been known to harp on a band’s recycling of musical choices that didn’t really work previously, I also try not set impossibly high bars for collections following an album that I particularly enjoyed. Given the very intense satisfaction that TWOD’s last two albums brought me, I was more than a little curious about how I would perceive A Deeper Understanding. Ends up I fretted for nothing.

I dig the album title tipping the hat to Kate Bush (whose “Deeper Understanding” appeared on her classic ‘89 release, The Sensual World), but I loved even more that the drum pattern (kicking in at the 1:12 spot) used in “Up All Night” totally reminded me of “Running Up The Hill”. Granduciel’s ascension to being a bonafide & masterful 80s-inspired pop purveyor is complete.

Rarely has a grouping of songs that so immediately & convincingly drew nostalgic connections,  done so in such an original and completely unique way. These are songs I love - both for what they remind me of and for how they convince me of their own independence.

That is, Granduciel uses the influences to color his palette, not finish the painting.  

Sonically & stylistically, this is a sister collection to Lost In The Dream. They overlap and compliment without blurring or repeating. Whereas LITD won me over with its fluid dream-state, I pick up on what feels like greater attention to studio fine-tuning. A Deeper Understanding is a fucking great sounding and an excellently produced record. I think where I am landing in defining the subtle differences between the two is that LITD feels a bit more intimate and suited for headphones, whereas ADU feels more open & lighter - pairing great cranked up in the Jeep with the windows down.

After growing tired on ping-ponging back in forth as to which album I ultimately preferred, I am quite content to call it an even tie - with the obvious understanding that the slightest breeze could tip one over the other on any given day/moment, only to be overtaken or tied-up again in a snap.

CONCLUSION: To say that TWOD is on a winning streak would be a gross understatement. Back to back albums that so convincingly showcase a defined sound in such a focused manner are rare and deserve to be celebrated. Which I am happy to do. ADU scores another Thumbs Up and a confident Grade of solid A. 

I Don’t Live Here Anymore

Personnel: Adam Granduciel (vocals, guitars, keys, drums), David Hartley (bass), Robbie Bennett (keys, guitar), Charlie Hall (drums), Jon Natchex (saxophone), Anthony LaMarca (guitar, keys, drums)

Produced by: Adam Granduciel & Shawn Everett

Recorded at: Electric Lady, NY / Sunset Sound, Hollywood

Released: October 29, 2021

This most recent The War On Drugs release continues the admirable trend of manipulating and repurposing familiar musical phrasings in such a way that convincingly manages to win over and stand on its own feet.

Right away I picked up on a more traditional pop-rock approach employed. This is not a criticism, as it lands in the same general territory as a solo Lindsey Buckingham (even some of Granduciel’s guitar work moved from the Knopfler style on ADU to a more immediate Buckingham pitch) or post-1990 Crowded House album. That is, incredibly well-crafted songs, meticulously recorded & produced. 

Attention to tightening has resulted in shorter songs - even the three songs that stretch to over 6-minutes feel significantly more direct then the artistically-comfortable tracks found on previous albums. The hour worth of music lands perfectly, not out-staying its welcome, but actually providing a result - though different than earlier albums - just as impressive.

I will say that plenty of very specific 80s moments continue to play a role - the guitar line at the beginning of “I Don’t Live Here Any More” is pure “Boys of Summer” by Don Henley, drum programming reminiscent of Phil Collins kicks-off “I Don’t Wanna Wait”, “Victim” had absolute Peter Gabriel DNA-strands, & several tracks (in general ways) reminded me of the sort of 80s track that made Byran Adams such a huge star. All of these remain positives in my mind, as they are echoes which are employed in earnest ways - never once taking away from the 

And though it does feel as if artistic experimentation is replaced by a more direct approach, the foundational charms that so elevated each of the other TWOD albums is still so firmly in place that a wholly positive result remains. This isn’t reinventing-the-wheel music, but it is very satisfying and makes for a solid listening experience.

CONCLUSION: This more directly approached collection is filled with quality - on every front - and earns an easy Thumbs Up with a Grade of a solid B.

 THE CLASH
FULL DISCOGRAPHY DEEP DIVE

INTRO:

“The Only Band That Matters!”

As a musical fan, I often play a game with myself asking, if time travel were possible, what live shows in music history would I want to be in the audience for. 

Mozart in Vienna at any one of his performances as a pianist in the early 1780’s, Miles Davis Quintet (featuring John Coltrane) in NY 1959, The Beatles on the Apple building rooftop during the filming of Let It Be would all be big contenders.

But no modern live gig calls to me more than London, August 1976 - when The Clash (in one of their very earliest live gigs, and along with The Buzzcocks) opened for the Sex Pistols. It doesn’t take much imagination to picture the energy in that room. The bands were friends and rivals mutually - their line-ups, managers, & influences criss-crossing and mingling like the pollination of a flower by multiple bees. 

I will admit that I didn't come to fully appreciate The Clash right away. I probably first heard them, along with most other suburban kids, on MTV when witnessing their "Rock The Casbah" video - which I loved! In high school (mid to late 80's). I was more won over by alternative college indie rock and post-punk artists - Hüsker Dü was a prime example of  a post-punk band that I truly loved. That is, bands with roots firm in solid punk rock but incorporating plenty of familiar songwriting & melodies.

To me Nevermind The Bollocks was ground zero. But, with years of further listening and appreciation of most early punk rock bands, I think I can confidently say that the holy trinity of punk rock are the debuts of The Ramones, The Sex Pistols, and The Clash. The Clash release date actually fell right between these two - after The Ramones, but before Bollocks (by almost 4 months - which surprised me as I had always assumed the Sex Pistols released their debut first). And so - to provide some additional framework for my Clash FULL DISCOGRAPHY DEEP DIVE, I re-listened to those landmark releases several times as well.

Truth is - out of the three albums, I think I would honestly place The Clash's release in third place. Bollocks just has such an infectious amazing power. Anger and frustration just pour through that music and I know one sure sign that I am getting too old for my own good is when "Anarchy In The UK" doesn't pump me up. Even The Ramones album, though musically more two-dimensional, seems to pack more of a wallop than The Clash album.

But here's the thing - the growth that The Clash would go on to experience is off the charts - especially considering their raw and very gut-level talent and abilities. The Sex Pistols, of course, imploded after their debut and so we'll never know what might have been with further releases from them - and The Ramones truly built a career out of their stubborn "1-2-3-4" approach. They went on to release some solid albums and GREAT songs, but musical growth, not so much.

All that in mind, I welcomed the chance to take a Clash FULL DISCOGRAPHY DEEP DIVE.

The Clash

Personnel: Joe Strummer (vocals, guitars), Mick Jones (guitar, vocals), Paul Simonon (bass), Terry Chimes (drums)
NOTE: **Chimes does not appear on the cover as the decision had been made for him to leave the band before the album was released. New (and permanent) drummer Topper Headon would be featured on new tracks included on the U.S. release of this album in ‘79 - The Clash’s second in the States.
Produced by: Mickey Foote
Recorded at: CBS Studios, London
Released: April 8, 1977 (July 26, 1979 in the U.S. - modified version)

Song by song, there is so much to like on this record. 

My favorite - a real stand-out track - is "Police & Thieves" - which The Police took their name from. Of course, it is probably my favorite because it has much more in common with later post-punk music than the first wave of UK punk that the band was born out of. 

Funny, I never noticed what a complete similarity there is between the beginnings of "I'm So Bored With The USA"  and the Pistols' "Pretty Vacant". Which came first? Not really sure, but it is obvious these two bands were drinking from the same well. "London Is Burning", "Janie Jones" and "White Riot" are all great tunes, but the remainder of the collection doesn’t necessarily match that quality.

Even in the face of what I can admit is a fairly stunning debut (a barn-burner of 14 tracks in 35 minutes!), I just don’t know that I completely agree with it being quite as highly regarded and being included on countless ‘Best Of’ lists. What I certainly do give it credit for is the seed from which a truly influential and important band will grow from.

CONCLUSION: Definitely gets a big Thumbs Up from me. You will have trouble matching pure energy from late-70s British punk, while also experiencing ground-level of one of the world’s most important bands. The Clash receives a Grade of a B-. Essential listening for any love of punk music? Absolutely!

Give ‘Em Enough Rope

Personnel: Joe Strummer (vocals, guitars), Mick Jones (guitar, vocals), Paul Simonon (bass), Topper Headon (drums)
Produced by: Sandy Pearlman
Recorded at: Basing Street Studios, London
Released: November 10, 1978

I did several back-&-forth listens comparing this to the first album, and while I probably should (historically) pick the first as a more land-mark album - given concentrated listens, right now, it is really hard for me to call the first stronger than Give 'Em.

"Safe European Home" alone might catapult the whole album. What a brilliant blast of Clash goodness. I was very familiar with the track before these recent listens (as I owned The Clash box set, Clash On Broadway, before digging into individual albums), but to hear it in context of kicking off their sophomore effort, it really is especially impressive. The lyrical rounds in the chorus, the fierce reggae 2-4 guitar slashes (without making it, even remotely, a reggae song) and even the sort-of fake fadeout. Absolutely tremendous.

"Julie's Been Working On The Drug Squad" is obviously another standout. A total punk take on mid-70s Springsteen - so fn' great. More echoes of Springsteen with the sax solo on "Drug Stabbing Time". Bruce would, of course, pay his salute to The Clash when opening his historic Hyde Park show in 2009 with The Clash's "London Calling". "Stay Free" and “Tommy Gun” round out my four top songs. Such fun to listen to - no doubt so solid because of the stellar songwriting and arranging.

One big thing I've been thinking about during these listens is, despite how much I contend that Bollocks is stronger than The Clash debut - no matter how I approach it, that I just can't imagine the Sex Pistols making a musical leap this dramatic from their first to second albums (especially with poor Sid Vicious on bass). It is hard to really define who/why this musical spurt happened as it did - when it did - but damn if the results are right there in black & white for all to hear.

To be fair - the more concrete rock affiliation that Producer Sandy Pearlman had with an outfit like Blue Oyster Cult certainly didn’t hurt. The best news is that Pearlman only seemed to corral instead of trying too dramatically to mold the group. There is deeper musicality at work than on the debut and craft feels like it received plenty of attention.

CONCLUSION: Simply put - the band showed up stronger. Not just musically and vocally, but also in bringing superior songs to the table, while keeping themselves open to arranging and producing them in a way that makes the album so intriguing to listen to - without losing any of their punk energy or bravado. These approaches raise the value of this collection tenfold and return another easy Thumbs Up and a Grade of a strong B+.

London Calling

Personnel: Joe Strummer (vocals, guitars), Mick Jones (guitar, vocals), Paul Simonon (bass), Topper Headon (drums)
Produced by: Guy Stevens
Recorded at: Wessex Studios, London
Released: December 14, 1979

How do I love this album? Let me count the ways...

Simply put, this is a musical feast. Most of the music displayed throughout is way beyond punk rock - sophisticated, varied, exciting, and adventurous. At the same time - there is a constant longing energy that is so prevalent. 

In fact, the more I reflect upon it, I actually feel that the musical company the band is keeping with this effort is definitely of a more exalted kind. In giving complete, concentrated listenings (though, again, being aware of many of these songs on their own), I consider this a sort of punk-rock bastard stepchild of The Stones' Exile On Main Street and the novelty playfulness found in the late-period Beatles b-side extravagance, "You Know My Name (Look Up The Number)” raised by a roots-reggae Jimmy Cliff The Harder They Come-era nanny. 

And, in a nutshell - that is the true secret to why I love this album so much - the band is obviously having a ball and their joy is completely infectious.

I could listen to this album 10 times in a row (and I have) - and I'd have different favorite songs each time - it  wanders in all the best ways.

Because I have read how The Clash personally heralded Producer Guy Stevens as a real key to unlocking many of the approaches found within, it feels worthy of the time to mention him. He played a leading role in developing the popularity of R&B/Blues British 60’s music and despite the many personal issues he struggled with, there is a clear connection to what the band was after to make a positive impact - so hats off!

Even though pretty much every song has stand-alone power - just great craftsmanship throughout - there is such an amazing flow and overall consistency. It's really a wonderful thing to witness. I think what draws me in the most are the little touches and unique adds in each song that show a playfulness and dedication to elevating the artistic statement. The little bells in "Rudie Can't Fail", the very Beatles-like switch-ups & flourishes in "Wrong 'Em Boyo", keyboards used throughout, but especially on "The Card Cheat", and the great horn adds on "Jimmy Jazz" & "Revolution Rock".

And then there are those songs that just speak to you. Though technically not the strongest songs found here, I really developed unique and quite immediate connections to songs like "Lost In The Supermarket" and "The Guns Of Brixton" - the latter a total precursor for The Specials' classic "Ghost Town". I mean shit, you have an album with classics like "London Calling", "Clampdown" & "Train In Vain" you'd be forgiven a bit of filler (especially on an ambitious double-album) - but fuck if I can find any. This is all foundation quality stuff.

And although it is so completely obvious - how can I not make extra special mention of "London Calling"? - what an insanely great rock track! Heart, guts, and kick-ass attitude all in one perfect 3 minute & 20 second package. I mean honestly, has there been a better rock scream than Strummer's rooster call in this song since Gene Vincent's screech in "Be-Bop-A-Lula"?

Oh, and by the way, it features one of my all-time favorite rock photos and album covers to boot.

CONCLUSION: I will even go out on a limb - this is coming from a guy that loved The Clash entering this FULL DISCOGRAPHY DEEP DIVE and knew most of these songs in their individual standing - and say that concentrated listens has moved this collection into a permanent place in my All-Time Top Ten rock albums. This is not just the Kool-Aid talking. This album is a milestone and a real masterpiece on so many levels - a truly perfect rock record. If I could get thumb-extension surgery to give an even bigger and more pronounced Thumbs Up, I most certainly would. It also receives a Grade of an impressively unshakeable A+.

Sandinista!

Personnel: Joe Strummer (vocals, guitars), Mick Jones (guitar, vocals), Paul Simonon (bass), Topper Headon (drums)
Produced by: The Clash
Recorded at: Power Station & Electric Lady, NY / Wessex Studio, London / Channel One, Jamacia
Released: December 12, 1980

OK - Grab a drink and sit back - I'm afraid there is no  way around it. This album delivers SO MUCH to unpack.

Was I as instantly and completely won over with Sandinista! as I was with London Calling? No, but - aside from that being an EXTREMELY tall order considering the love I now feel for that London Calling - that truly doesn't diminish the goodness within Sandinista! - and there is much to like.

The comparisons I read about The Beatles' White Album are pretty spot on - in scope of musical expanse and variety. The big difference, and this seems to be a pronounced one, is that The Beatles were, at the time of recording the White Album, a fragmented and divided entity. 

The total opposite seems to be the case with The Clash. This is a band who had yet to reach their commercial zenith and yet they were able to agree on cutting their royalties to keep the price of the collection down and they also made the move to credit all Songwriting and Production to the whole band as a unit.

I always have looked at the White Album as a treasure trove of odds & ends - four individuals doing whatever the fuck they want with the benefit of having those musical ideas - no matter how random - supported (at least to certain degrees) and augmented by each other and pieced together by the brilliant producer George Martin.

The Clash, by all accounts, were all-in on this project - and so, the outcome has to be viewed, in my mind, quite differently. And I hear it. Though yes, they are obviously working out some new musical territory and seem content to push in whichever direction they choose, they are doing it with a humor and joy that is, once again, completely palpable. 

Bottomline (before I start breaking things down song-wise) - could this have been a better release if they had just condensed the absolute best bits into one single album? An absolutely ridiculous question in my mind. In this case - the question just simply doesn't apply. Eclectic extravagance is sometimes just that. And there can often be great beauty in that seemingly chaotic approach.

I could mention dozens and dozens of examples - Marvin Gaye's Hear, My Dear album, The Beatles White Album track "Revolution #9", Issac Hayes' landmark 20-minute plus tracks "I Stand Accused" & "By The Time I Get To Phoenix", Miles Davis' cosmic electric exploration on Bitches Brew - on and on.

As I listened through the album over and over - often picking up midway through if I had been interrupted previously - I did find great beauty in the collection as a whole. The flow felt very thoughtful and completely comfortable to me. That is, even though some of the musical styles incorporated were quite different, they seemed to all have a common language and feel at home living in the little commune that is this collection. More importantly - though varied and even sometimes half-baked - all the pieces (odd as they might be) made up a stronger whole. I see The Clash as musical artists - not just a band throwing shit against the wall to see what sticks. This is something (even already being a fan of the band) that I'm not sure I completely understood or would have stated prior to this listening exercise. 

I mean honestly, if you're going to add to your list of credits being literally one of only a handful of bands that has released a 3-LP collection, would you really expect all the music to be safe and easy to consume? 

I found it especially interesting how reggae and world influences had so clearly taken front row to their sound. There had been, of course, some flourishes previously - but nothing to suggest the surrender that is taking place here. In a VERY subjective way, I consider only 5 or 6 of the 36 tracks to fit a mold (even as vague as that might be) of what could be broadly considered The Clash's previous "sound" - with, probably, "Police On My Back" being the most pronounced example. That means there is quite a bit to enjoy that really does sound VERY new.

Certainly the sessions in Jamaica and the inclusion of landmark reggae/dub artists Lee "Scratch" Perry and Mikey Dread (both who had now become fairly included in the band's inner circle - with Perry opening for the band and both engineering individual tracks/singles) informed the unique hybrid on sound territory they charted together.

Though I have a fairly deep contingency of reggae artists in my library (and definitely tend to lean towards the older roots-style reggae), I did spend a little time better familiarizing myself with the music of these two artists. The truth is - they are very solid musicians, but their sounds are squarely within the confines of traditional reggae - nothing really like what is at play on Sandinista!.

I've seen this before. After falling in love with the sounds found on Peter Gabriel's Passion album (tracks inspired by the soundtrack work he did with Scorsese on Last Temptation Of Christ), I went off and started to explore the north African and middle eastern music roots he pulled much of the structure and instrumentation from. While I found some interesting things - nothing rang so immediate to my ears as Gabriel's album did. In other words, Peter Gabriel had incorporated these pieces but he had used them to create a unique hybrid - his own completely original sound.

I really think that is what The Clash have done here. Much of this sounds familiar - and no doubt about it, elements of it existed before - but it is probably because we have all heard examples that came after this album (U240 seem to be total Sandinista!-era disciples). 

Keep in mind, by this point, The Police had already released their first three albums and though definitely more poppy and crafted with greater sheen, there is some crossover of influences and approaches (not the least of which, as we know, is what influence the original Clash album had on Sting). "Shadows In The Rain", "Walking On The Moon", & "The Bed's Too Big Without You" are all examples of peer songs floating around the universe at the same time. But it definitely makes a track like "The Equalizer" really seem like a completely original creation. 

My guess is that if you have general aversions to reggae, it could certainly taint your personal ability to stomach this album. I'm a reggae fan and so much of this really strikes positive chords with me - and I am especially taken by what The Clash (with a little help from their Jamaican friends) have done with the combination of their two universes. In addition to "The Equalizer" - "The Crooked Beat", "One More Time/One More Dub", & "Silicone On Sapphire" are all tremendous finds - songs that were completely off my radar until this concentrated listening. In fact, in their own unique way (to me) they are at the heart of this album and stand as some of my favorite tracks.

However, to dismiss this as the band's "reggae album" would be a huge mistake. There is much at work and, somehow, to me, it all really seems to come together. 

Though I am tempted, I won't go track-by-track - BUT I COULD!!! I'll just touch on some of the highlights.

Please understand - this is no slight to tracks I don't mention. Even some of the ones that didn't grab me as convincingly as others ("Look Here", "Corner Soul", "Broadway" & "Mensforth Hill", for example) still have merit and seem to connect the whole of the collection.

"The Magnificent Seven" (which is really such a fantastic cut!) seems to lift liberally from the disco-swish The Stones toyed with in '78 on "Miss You" and "Shattered" (and then, of course, it kind of makes you think The Stones replayed the favor - both musically and lyrically - in highjacking The Clash's vibe right back on their '83 track "Undercover of the Night").

"Police On My Back" is undeniably the best "rock" song found and one of the only tracks not written by the band but, instead, by Eddy Grant who would later have fame with his single "Electric Avenue". The track just kicks in doors from beginning-to-end and seems to come almost perfectly in the center of the collection - as if to just remind us that the band still has all of its power intact despite some of the newer/more constrained offerings. 

Other great/fun tracks include:

"Hitsville USA" - This track, co-sung by Mick Jones' girlfriend, sounds like something Elvis Costello could have done in one of his incarnations. 

"Somebody Got Murdered" & "Up In Heaven" both strike me as great pre-cursors for what's to come with guitar-driven new wave.

I also dug the 50's/rockabilly vibe found in "The Leader" and "Midnight Log".

And, in a weird way, I found the closer "Shepherd's Delight" (essentially just an instrumental reggae/dub version of "Police & Thieves" from their first album) very hypnotic and appreciated the mysterious Beatles-like/prog-rock effect mystery flourish that closes the final 1:04 of the album.

One other interesting thing I noticed about this collection that I will mention is that, despite what you feel about every single track, the album definitely isn't bloated with long tracks. 5:47 is the longest song. However, when listening casually, it did feel like many of the tracks - especially the slower reggae/dub-like tracks - felt MUCH longer than they actually were. And I don't mean this as a criticism - in fact, the opposite - I think it is a credit to the infectious grooves the band developed on these numbers. This might have been a singular thing for me, but it stood out on several different listens.

I am intentionally not going to place this collection in order of the other Clash albums - except to say that I didn't feel it was as strong or complete overall as London Calling. What I will say is that I absolutely respect its sprawling nature and I imagine, now that I have truly discovered it, I will return to it often - each time discovering new nuances that speak to me. This, on whatever gauge you want to place it, is enough for me to proclaim that I found it an extremely interesting and satisfying listen. 

And I imagine it will make the commercial success that came with their next album, Combat Rock, all that much-more pronounced. Much like Bowie following up his wandering Berlin trio of Heroes, Low & Lodger with his two biggest sellers, Scary Monsters & Let's Dance.

CONCLUSION: This album gets a definite Thumbs Up from me and a Grade of a convincingly solid B.

Combat Rock

Personnel: Joe Strummer (vocals, guitars), Mick Jones (guitar, vocals), Paul Simonon (bass), Topper Headon (drums)
Produced by: The Clash & Glyn Johns
Recorded at: Electric Lady, NY / Warnford, England
Released: May 14, 1982

A few general observations first.

Though Sandinista! was released in '80 and London Calling earned several "best of 80s" nods despite being released in '79, Combat Rock feels, to me, like The Clash's first proper 1980's album. Aside from the reports we know regarding their decisions on shooting for a more concise, tight collection - it is clear that they were after something different. And, considering the eclectic wanderings found on their past two albums, that is really boiled down to a more focused, ultimately commercial release. 

We know that this was their biggest-selling album and went on to spawn their two biggest singles and lead to their biggest performances - headlining the US Festival in '83 (along with David Bowie & Van Halen) and opening for The Who in their iconic Shea Stadium show in late '82. The band tightened up and this approach worked.

The fact the band toyed with the idea of another double-album and, in the end, cut 6 songs and shortened others displays real discipline in editing - something that could be, on some levels, debated on Sandinista! I did wonder, several times while listening, what the flow and vibe of the album might have been had they kept Mick Jones' version and had gone with a longer release. I hate that most of those tracks never saw the light of day. Nonetheless, it doesn't diminish what I think is still a fine release.

And I'll go ahead and refute any claims that I am simply saluting anything The Clash pulls up the flagpole simply because they are "The Clash". All you’ll have to do is read my thoughts on their final album, Cut The Crap, to know that having The Clash name on the cover certainly doesn't convince me to give just any album of theirs a pass.

On to my more specific thoughts. Simply put, to soak up the two singles and then "run away" would be a huge mistake. 

Yes, "Should I Stay Or Should I Go" and "Rock The Casbah" (especially when placed so brilliantly back-to-back) are the clear high points found in this collection, they are certainly not the only peaks worth exploring.

"Know Your Rights" is a fantastic opener. It is its own unique creation - just like Joe Strummer announces "a public service announcement...with guitars!!"- I guess this is what it sounds like when a classic punk band "jams". I loved cranking it!

I really dug "Straight To Hell". In fact, that often came in as the second best song to me - beating out "Should I Stay..." - depending on my mood. Not sure if I’m hearing things, but tell me the opening bit wasn't pretty much completely lifted (other than changing the key) by OK Go on their single "The Writings On The Wall"?

I also love that The Clash continued their saluting classic American 70s cinema - first was Coppola's Apocalypse Now on Sandinistas!'s "Charlie Don't Surf" and then Scorsese's Taxi Driver on "Red Angel Dragnet". Any song that directly quotes Travis Bickle is OK in my book.

And though The Clash did their own lifting in liberally borrowing from the Talking Heads on "Overpowered By Funk", I still found it a fun romp.

Yes, it is true - not everything works. I have to admit that the spoken word on "Ghetto Defendant" feels odd and out-of-place - but I'd wager I would have felt just fine had the track (minus Ginsberg) appeared as part of Sandinista!. And the lead-in to that track was also pretty weak as the back-to back of "Atom Tan" and "Sean Flynn" was definitely the album's low point.

But let's finish by talking about the obvious high point.

"Rock The Casbah" is not only the collection's Mount Everest - in my mind - it remains as one of the early 80's most unique and individual new wave singles. The "This Is Radio Clash" carry-over of the live drum set and early hip-hop influenced, processed electronic percussion is just fantastic. 

And as I often do when I feel it can't be avoided, I have to comment on the video. Though fairly basic, it remains one of my favorites from the era. Compared to the stylistically slick images seen in Duran Duran videos, these guys felt like the first real punk rockers that I recall seeing at the somewhat tender age of 13 or so (before I went back and explored The Pistols and Ramones) with Strummers pseudo-mohawk and Mick Jones keeping hidden until Strummer pulls off his hat at the end of the video. It should also be noted that though written by strung-out drummer Headon, the video features replacement/original drummer Terry Chimes. Truthfully, the strength of the two singles alone would have prompted me to give the album a Thumbs Up.

NOTE: I'll finish with a comment on "This Is Radio Clash" - a single-only track released just months before Combat Rock. It is, in my opinion, The Clash's finest song. It is a tough track to categorize. The beat, the minimal instrumentation, and unique arrangement all add to that but, in the end, it really is undeniable and absolutely riveting. And I feel like I could listen to the first 20 seconds (starting with Strummer's howl and ending with him purring "interrupting all programs") over and over .I can't say enough about what a great track it is and I would give it two Thumbs Up in a row.

CONCLUSION: First things first - this album get a definite Thumbs Up from me. It certainly falls far short of their two previous albums - though the weight of the singles alone (which are SO classic they simply can't be denied) keep them on par with the first two releases. For its many (if not completely connected) charms, Combat Rock earns a Grade of a convincing B-.

Cut The Crap 

Personnel: Joe Strummer (vocals, guitar), Nick Sheppard (guitar), Vance White (guitar), Norman Watt-Roy (bass)
Produced by: Bernard Rhodes
Recorded at: Weryton Studios, Germany
Released: November 4, 1985

Cut The Crap??? How about - Nothing But Crap!!!

Wow - I had, in a very peripheral way, listened to a little bit of this album, but I have spent the morning with it on repeat (3 or 4 times through) and I JUST CAN'T TAKE NO MORE!!!!

Having read some about the lead-up and fraught recording process/production - it seems like this was a train wreck waiting to happen from the word go. Mick Jones and Topper Headon were out and Paul Simonon ultimately didn’t record a single track for the album. Aided by unknown hired guns and in constant battle with Producer Bernard Rhodes, Strummer seems to have known the train had left the tracks. He apparently asked Jones to rejoin at one point late in the recording, but was refused.

To me, this isn't even a Strummer solo album - it's something much worse. The bastardization that the producer Rhodes took liberty with in all he added (the drum machines and synth adds are horrible) completely sink any glimmer you might see in the best-of-the-worst that Strummer brought to the table.

"Are You Read...Y" seems to be the worst offender. You ever wanted to mix The Clash with Night Ranger's worst single "The Secret Of My Success"? Here it is. This is NOT how I want to remember The Clash and it is so sad that Strummer didn't have the desire to protect the band's legacy a bit more. Dude literally could have tried anything he wanted. He must had just wanted to be fucking done with it.

Truth is - this will stand as an absolute perfect example of how terribly wrong things can go when you take core elements away from a band. Jones and his musical contributions played a way too important role for the band to survive without him. Considering how badly things ended between Jones & Strummer, Jones must have taken some secret pleasure in hearing how poorly the band maintained without him.

I actually tried to play a little game of finding one song that I could say something nice about, but this was a tall order. I started with "This Is England" - based on the fact that it was the chosen single and the only track Strummer said he could stomach, but I couldn't even come to terms with that song.

I guess, if pressed, "Movers And Shakers" might be my choice for best of the worst - but really only when I pretended it was fueled by live drums instead of the out-of-place drum machine. There is a somewhat nice vibe in "North & South" but that is drowned dismally in the horrible arrangement - those Casio keyboards are the worst!!!

So disappointing to end on this - but I will not let it diminish what I've found to be a whole new love-affair I now have with a band that I always knew I loved.

CONCLUSION: Sadly, this final release receives my only Clash Thumbs Down and a Grade of a disappointing D-. Just an utter defeat.