By Philip Elwood
Examiner music critic
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| Bassist Paul Simonon with some of the TV screens that supplied additional video imagery |
About four years ago the Clash, a British punk rock quartet invaded our shores via recordings and a concert tour. Already famous in the punk-underground for their dedicated political and social rebelliousness and the urgency of their powerfully rhythmic music, they enjoyed a most successful 1980-1982 period.
Local appearances in their early U.S. days at the Berkeley Community Theater and at the Kezar Pavilion were sensational examples of what many thought to he the most exciting and provocative turn rock music had taken since its heavy electrification in the mid-1960s.
By last year the Clash had suffered from internal differences over both musical and philosophical direction, and leader-vocalist-guitarist Joe Strummer let it he known that a new Clash ensemble, this time a quintet, would pick up where the original group had left off.
On Saturday at the overcrowded Civic Auditorium (I seldom get fearful and claustrophobic in jammed arenas, but I was on this occasion) we had a chance to hear the "new-old" clash. There were three guitarists, bassist Paul Simonon (with Strummer the only original Clasher) and drummer Pete Howard plus 10 dangling, smallish video screens and a massive sound system. Nick Sheppard and Vince White were the new guitarists.
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| Joe Strummer has a stronger lead role in the Clash |
It was a good concert although hardly of the gutty, bombastic style of old. Strummer assumed even more of leadership role than was his earlier wont and had trouble at times keeping up the frantic pace always associated with the clash. In his rhythmic guitar-playing lead, In his shouted, strident vocals and in his non-stop commentary, Strummer often becomes incoherent.
They began with "London Calling" and ended about 75 minutes later with "Jamie Jones," the third encore. In between, "Police and Thieves," "Rockin' the Casbah," [sic] "Police on My Back," "Brand New Cadillac," "Guns of Brixton", (Simonon vocal) and others came across quite well. The video screens (all the same images) projected a variety of still and motion pictures of, usually, some significance to the players and listeners - war movies, police activities, defiant placards, etc.
Strummer's concern for the British black population and for their reggae and hi-life music is particularly evident in the Clash's music and in his socio-political commentary.
The sound system, though excellent for those jammed on the main floor, was muddy for the thousands upstairs.
Record producer, anthologist, comic and interlocutor Malcolm McLarenren conducted a lively dance set on stage (with many splendid local acts) before the Clash's appearance.
The evening began with a short performance by the Los Lobos band.
Article contribution by Steve Mereu
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