"You Gotta Give the People Something Good to Read On a Sunday."
-The Leader
TRACK 1:
"The Magnificent Seven"
The Clash vs. Joe Grushecky and the Houserockers
-Take 1:
This is probably the most notable contribution to the Clash's canon from this album. Notable for, if nothing else, being the Clash's first stab at rap music before Old School, New School and Brownie McGee. Obviously, their time spent in New York was not spent in sequestration. Also worth taking note of here is Norman Watt Roy's contribution at the bass spot. Standing in for Paul Simonon, his work with Topper Headon provides an almost martial beat for Joe Strummer to jump off of with lyrics topical, political and inane. Sometimes, as "Vacuum cleaner sucks up budgie {gerbil}" proves, he comes close to all of them at once. Still, this was Strummer's ode/lament to the working man.
-Take 2:
Immediately, this track jumps right out at the listener, if for no other reason than the way the drums are tastefully compressed. They're clean, tight and unencumbered by the mammoth sound of the bassline. This gives the listener a second or two to settle into the groove before the pandemonium starts. Compared to the original, the original seems unnecessarily drenched in reverb and chorus. Of course, it should be pointed out that the original came well before the 90's when lo-fi actually became an important artistic decision.
Still, this arrangement manages to be tight and loose at the same time. Most of this is due to the mixer's choice to separate the guitars to left and right ears while mixing everything else straight down the middle. What really makes this work is the sense of swagger this imbues the song with. The martial feel of the original serves it well considering the topic, but this song is loose limbed and furious, leaving the listener with an impression of what the song could be live... especially with Simonon in tow.
WIN GOES TO:
The Clash. The tribute is great at presenting a sonic squallor worthy of the Clash but... unfortunately, no one can swagger with the charisma that Strummer did. Especially when it comes to his unique take on hip hop.
Track 2:
"HitsVille U.K."
The Clash vs. Katrina Leskanich
-Take 1:
Artistically speaking, there's a number of adjectives that can and have been used to describe this song, I'm sure: dubious, inspiring, maddening. I'm going to go with puzzling. When faced with the choice of Joe Strummer's bombastic charisma or Mick Jones's hard luck doggedness, the Clash choose to underpin a choral effect with Mick Jones at his fayest, thus removing the effectiveness of either one of their songwriting stars. Which, on a three lp magnum opus, should come as neither a shock or suprise. But for track two? Talk about setting your stall out early.
Eventually, what comes to bear in the memory of the listener is the old Motown indebted bassline (not to mention title) and accompanying guitar part which snaps over the syncopations of the snare. It shows a Mick Jones more enamored with that old Motown song than was ever hinted on London Calling's "Train in Vain."
-Take 2:
Katrina Leskanich (of Katrina and the Waves fame) uses this song to bridge a gap between soul and punk that no one had taken up since the Who (or Pearl Jam after them) covered Holland/Dozer/Holland's "Leaving Here." It almost owes more to a mid tempo Ramones than anything else. But as guitar pop/punk pieces go, it's influences are instantly recognizable and new at the same time. The listener can sit and enjoy the simple but rocking arrangement, even the Thin Lizzy double guitar lead solo.
WIN GOES TO:
Katrina Leskanich for showing the true immediacy and beauty of the songwriting. Sure, the Clash were experimenting with various forms of songwriting and production on this record, but more than anything, the original track shows a group losing sight of a songwriting team second only to the OG's that were Lennon/McCartney. So sue me.
Track 3:
"Junco Partner"
The Clash vs. Jon Langford & Sally Timms w/Ship & Pilot
-Take 1:
Personally, if this record didn't originally go off the rails with a second track that featured none of the hallmarks of a great Clash song... this song had me pushing the skip button. In a renewed light, I have grown to appreciate the livewire nature of Strummer's performance here and the musicality of the group playing a traditional arrangement. But let's be honest, yeah? We know that Joe Strummer loved Dylan and the Guthries and a bunch of other proto-hippie troubador ramblers. And we know that he had that snarl. And... we know that he lived in the moment of the song more than anyone had up til that point. But... BUT. This is Strummer and his eccentric tastes at their most indecipherable.
As a dyed in the wool Clash fan and Strummer acolyte, I've grown to appreciate this song so much more than I used to. Without the context of folk/traditional music or a love for either, this song becomes Joe Strummer mushmouth gibberish drenched in a reverb heavy dub arrangement. Completely worthless to anyone waiting for "Clash City Rockers" or even, say, "Spanish Bombs."
-Take 2:
Jon Langford takes this song back to its roots by using a simple arrangement of brushed drums and guitars. Using Sally Timms to back up on the vocals also gives it a nice sing along effect more consistant with the populist slant of folk music.
WIN GOES TO:
Jon Langford and co. As a Clash fan, this becomes more and more daunting by the song. But, if we're being honest here, Langford's spare arrangement brings to the fore the beauty of the song that gets lost in the Clash's dub heavy arrangement. Beyond providing an idea of what Strummer saw in the song, this interpretation provides an actual understanding of what the song is actually about. Because Strummer, much as I love the man, was never known for his stellar annunciation. Yeah, I said it. But Langford provides a great song and story that I've grown more and more fond of with every listen. Even stopping to listen to the Clash's version when I can.
Track 4:
"Ivan Meets G.I.Joe"
the Clash vs. Jason Ringenberg and Kristi Rose
-Take 1:
There's no reason why this track shouldn't work. Unfortunately, there's also no reason why it does. With Topper Headon providing lead vocals, it seems most likely that he also contributed the bulk of the songwriting on this track. Unlike the hit that became "Rock the Casbah," one has no reason to believe that Joe Strummer contributed lyrics and it's a truism that he didn't contribute lead vocals. Headon's vocals, while not cringeworthy, are symptomatic of the rest of song: workmanlike but ultimately flat and uninspiring. It may be the topicality of the subject matter or the fact that he pales in comparison to three other vocalists in the group. Ultimately, at the end of the day, I want this song to work and believe that it could with a massive overhaul of a remix. But the artifact, as it is, remains to be laregely uncompelling and bloodless. It lacks that spark. Of course, even Headon has admitted in interviews since then that he was doing mostly snare and hat work on the drum kit as a result of his growing substance abuse problem.
-Take 2:
I remember hearing this anecdote in class once, and though it may be apocryphal, I think it speaks to the problem of this track here. Kruschev once took Kennedy to task for the political bent of American cinema. When pressed for clarification, Kruschev responded with the idea that American movies always featured refrigerators that, when opened, were full of food. Nothing, he explained to JFK, could be more political.
Keeping that in mind, one would think that there is no more political form of songwriting than country music. Not the reheated leftovers of the Eagles that the current Nashville has become, mind you, but the real deal of songwriting and storytelling. That being said, this is the first song on the compilation that seems to fall flat. But really, doesn't the original as well? Sadly, I blame Topper here as I've tried really hard to be enamored with the original and have failed. Honestly, this track had no chance. Not without providing a super bass heavy remix and a few tabs of e.
WIN GOES TO:
No one. Not even the listener. Okay, win goes to Jason Ringenberg and Kristi Rose for taking on an unenviable task and taking it to completion. Topper's original track should've been a barnburner of a club hit with it's highly syncopated hi-hat and snare pattern. Even with it's oddly bent political slant, it still would've fit in with any number of 80's anthems. But no. It just runs flat. And that doesn't leave a lot for the tribute performer to work with, does it?
Track 5:
"The Leader"
The Clash vs. Amy Rigby
-Take 1:
From the opening tease of Mick Jones' guitar to the full swagger of the band once the song kicks in, few songs deliver on the promise of the Clash like this song does. The rhythm section provides a true rollickin' backbeat as Mick Jones lays layer upon layer of guitar awesomeosity over it. But the true star here is Joe Strummer. Delivering with his usual charisma, he provides us with a satirical/conspiratorial take on the shadow bureaucracy of government workings and its opportunistic relationship to the press. And not once does he skip on the sense of humor, an aspect often lost to music historians. My favorite line? "He wore a leather mask for his dinner guests/totally nude and with deep respect." Not even Eddie Vedder gets to be that funny. One of my favorite Clash songs ever as it features the whole of the band doing what they all do best: rock while rocking the boat.
-Take 2:
Forsaking the guitar forplay of the original, Amy Rigby's take on the song here reinforces what becomes one of the most obvious draws of the Clash: (yeah... this word again) SWAGGER. The song starts out with the drums before letting the guitars rip in. Honestly, it becomes a much more traditionally punk number in this manner, but never once does it lose the lyrical or melodic punch of what the song was supposed to be. By changing up the structure for the last verse, Rigby manages to do something not often seen on this compilation: be faithful and original at the same time. This is, in all sincerity, a incredibly great cover of an incredibly great song.
WIN GOES TO:
The Clash. Sad as it may be, one must punch their own weight and, in light of this song, the Clash are in a class all their own. Still, Amy Rigby's take on this song is one of the best on the album. And what's more, her energetic verve has made me a fan. That's a win-win-win.
Track 6:
"Something About England"
The Clash vs. The Coal Porters
-Take 1:
Originally, I thought this song was Mick Jones' at his thinnest of vocal stretches. Now, I think this is Joe Strummer at his storytelling finest as he and Mick switch off on narrative voices. Also, for the last few years, I've pondered how I could make Sandinista! into a vehicle worthy of a true rock and roll spectactle (i.e. musical). This song makes the strongest case for that, both musically and lyrically. Like "The Leader" before it, this song features the Clash at their best as Mick gets to drop in with one of his most grandiose arrangements (almost readymade for Broadway) and Joe gets to tell one hell of a story about war and its effects on society. What makes the song perfect, though, is how through the whole narrative, Strummer never loses sight of what makes his work both compelling and vital: his unblinkered sense of humanity. Especially when told through the eyes of a vagrant charting the failed path of warfare and its ravaging effects on society.
-Take 2:
This is a great take on a great song that features a lot more in common with the original than at first suggested. However, for a song title "Something About England," it does little to evoke visions of 'Ol Blighty." Musicianship and presentation do very little to fail this presentation of the song, but they also do very little to challenge the original vision of the song.
WIN GOES TO:
Joe Strummer. For evoking the misery of living through war and its ensuing gloom. Sure, the grandiose arrangement and presentation of the music helped immensely, but its Strummer's incredibly compelling sense of righteously indignant humanity that imbue this song with its impact and gravitas. Like Amy Rigby before this track, covering this song is thankless and destined to pale in comparison.
FINAL TALLY:
The Clash versus Everyone Else- 3 to 3. It's a dead heat on side one.
Cumulative Tally:
A lot like the final tally.
And now? On to side 2!
-e.m.p.
