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The
Clash at first tucked in snugly behind punk's loudest noise,
the Sex Pistols (whom they supported on "the Anarchy
tour"), and later became a much more consistent and
intriguing force. Guitarist Mick Jones (b. 26 June 1955,
London, England) had formed London SS in 1975, whose members
at one time included bassist Paul Simonon (b. 15 December
1956, London, England) and drummer Nicky "Topper"
Headon (b. 30 May 1955, Bromley, Kent, England). Joe Strummer
(b. John Graham Mellor, 21 August 1952, Ankara, Turkey)
had spent the mid-70s fronting a pub-rock group called the
101ers, playing early rock 'n' roll-style numbers such as
"Keys To Your Heart". The early line-up of the
Clash was completed by guitarist Keith Levene but he left
early in 1976 with another original member, drummer Terry
Chimes, whose services were called upon intermittently during
the following years. They signed to CBS Records and during
three weekends they recorded The Clash in London with sound
engineer Mickey Foote taking on the producer's role. In
1977 Rolling Stone magazine called it the "definitive
punk album" and elsewhere it was recognized that they
had brilliantly distilled the anger, depression and energy
of mid-70s England. More importantly, they had infused the
message and sloganeering with strong tunes and pop hooks,
as on "I'm So Bored With The USA" and "Career
Opportunities". The album reached number 12 in the
UK charts and garnered almost universal praise.
CBS were keen to infiltrate the American market and Blue
™yster Cult's founder/lyricist Sandy Pearlman was brought
in to produce Give 'Em Enough Rope. The label's manipulative
approach failed and it suffered very poor sales in the USA,
but in the UK it reached number 2, despite claims that its
more rounded edges amounted to a sell-out of the band's
earlier, much-flaunted punk ethics. They increasingly embraced
reggae elements, seemingly a natural progression from their
anti-racist stance, and had a minor UK hit with "(White
Man) In Hammersmith Palais" in July 1978, following
it up with the frothy punk-pop of "Tommy Gun"
- their first UK Top 20 hit. Their debut album was finally
released in the USA as a double set including tracks from
their singles and it sold healthily before London Calling,
produced by the volatile Guy Stevens, marked a return to
top form, and "Train In Vain" gave the band a
US Top 30 hit single.
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