The Clash - London Calling: 25th Anniversary Legacy Edition (RS500 - #8)

Been a while since I did a Rolling Stone 500 album . . . so here you are.

I have fond memories of this album. As I mentioned in an earlier post, I spent most of the summer of 1984 traveling up and down the East Coast on a Yard Patrol (YP) craft as part of my Youngster (sophomore) year training at the Naval Academy. We were part of a flotilla of three or four of these boats, doing training on maneuvers, navigation, etc. I thought that it would be a drag, but it turned out to be a lot of fun. We made port in cities from Maine to Virginia, and had a lot of laughs and adventures.

The training time at sea was intense, but interesting and somewhat fun as well. There were a couple of officers and enlisted on board, but most of the operation and management of the YP was done by the midshipmen, with two senior classmen in charge and more than a dozen of us lower-classmen doing the day-to-day duties. These included deck operations (handling the lines and the anchor), acting as radio operator or signalman, and the most coveted and enjoyable duty, manning the helm (actually steering the ship). But there was one job on board that everyone hated and tried to avoid - engine room duty.

The engine room space on the YP was a cramped, dank platform lined with valves and gauges, deep in the shallow bowels of that boat and accessible by a narrow, slippery ladder. These tubs were powered by cranky, rickety old diesel engines, which the engine room platform sat right in the middle of, so it was hot, loud and reeking with fuel fumes. Keep in mind that it was during the summer as well, which added to the heat down below. For your duty shift in this purgatory, you were responsible for monitoring power output and fuel consumption, and notify the officers at the first sign of any irregularity or malfunction. Basically, you sat on a stool for hours in the heat and noise, logging gauge readings into a grimy ledger, while a small and totally inadequate fan spun in a corner, futilely attempting to alleviate the temperature and stench. It was hateful but necessary work, and the first couple of times I took my turn down there, I was miserable.

But about a week into the cruise, I hit upon a solution - I asked if I could bring some music down into the engine room with me, and the powers-that-be approved (just before we left Annapolis, I had purchased a small cassette boombox at the Midshipmen's Store, and had brought it along with my rapidly growing tape collection). It did little to lower the temperature or dissipate the stench of diesel down there, but at least I could pass the time by listening to my favorite tunes. And the album I listened to down there the most was The Clash's London Calling - I don't know why; it just seemed right for the space.

I played songs like "Hateful", "Clampdown", "Brand New Cadillac" (covered by my own band many years later, to my delight), and my all-time favorite Clash song, "The Guns Of Brixton", over and over, perched on my stool in the bowels of that boat and singing along, safe in the knowledge that no one up above could hear me with all the engine noise down below. London Calling became a favorite during that summer, and remains a favorite to this day. As I've said before, Combat Rock is my personal favorite Clash album, but London Calling is probably the Clash's most perfect album, where they began to expand and add new sounds beyond their original punk style, without completely abandoning that ethic. There is no filler on London Calling - practically every song on the album is a classic.

[And, in addition, it has what is probably the coolest album cover in rock history, a shot of Paul Simonon smashing his bass in New York City in 1979. The original smashed instrument is on display at the Rock Hall of Fame in Cleveland - it was the single best thing I saw during my visit there in 2003!]

I have owned this album in practically every iteration - vinyl, cassette and CD. Back in 2004, when I heard that an expanded Legacy Edition of London Calling was going to be released, I immediately gave away my copy of the original CD and ran out to purchase the update. And I was not disappointed. The Legacy Edition contains a disc of remastered versions of the original songs, but the second and third discs are where the gold lies in this collection. Disc 2 features The Vanilla Tapes, the band's legendary rehearsal recordings from the London Calling sessions at Vanilla Studios in London, long thought to be lost after a roadie supposedly left them sitting on a Underground train seat. Mick Jones miraculously found copies of these tapes twenty-five years later, sitting in a cardboard box in his closet. And they are well worth the listen - intriguing demos of almost all of the songs that made the final album.

The third disc in this set is a DVD, containing promo videos for the songs "Clampdown", "Train in Vain" and "London Calling", candid footage of the band recording the album at Wessex Studios, and a great documentary, "The Last Testament - The Making of London Calling".

I'm not going to bother blathering on and on here about how great this album is - better writers than I have already showered London Calling with deserved praise. It is considered by most critics to be the best album of the 1980s (its American release was in January 1980, a month after its British debut), and without question it rates its inclusion as one of Rolling Stone's top ten albums of all time. So I'll stop talking, and just let you all listen and enjoy.

So, for your consideration: London Calling: 25th Anniversary Legacy Edition, the expanded and remastered version of the 1979 original album, released in 2004 on CBS Records. Enjoy, and as always, let me know what you think:

Music (Discs 1 & 2): Please use the email link below to contact me, and I will reply with the download links ASAP:

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Video (Disc 3): Please use the email link below to contact me, and I will reply with the download links ASAP:

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Big Audio Dynamite II - Ally Pally Paradiso

Wow . . . I didn't know this one was so rare. I've had this disc for forever; I picked it up in early 1992 at either Phantasmagoria Records or Vinyl Ink Records, two legendary Washington, DC-area music stores that sadly are no longer with us. From what I've read, this album was a promo, attached to a limited edition version of Big Audio Dynamite II's 1991 album The Globe, or available through mail order from NME magazine. The place I bought it from had it out separately for sale from the main album. I recall acquiring it in the run-up to the band's scheduled 1992 concert in DC as part of their international Globe tour.

The group was slated to play the Citadel Center, which back in the day was a great place for Washington-area concerts. It was located on Kalorama Road in the heart of the Adams Morgan neighborhood of the city, and from what I understood was a former roller skating rink. As such, the place was a cavernous barn; a huge room with a stage at one end and no seats - just standing-room only. But it was simply an outstanding venue for seeing bands . . . although you took your life in your hands if you stood too close to the stage - not due to flailing mosh pit idiots or aggressive bouncers, but because of the constant crush of people behind you surging forward. I saw The Pixies there (with Pere Ubu opening) in November 1991 with my sister, and being huge Pixies fans, we wanted to be right up front for the show. Well, I spent the entirety of The Pixies' set with her in front of me, while I held my arms locked rigidly on either side of her against the stage barrier, trying to keep both of us from being squashed. It was a great show, mind you, but my arms were so sore afterwards that I couldn't lift them to drive; my sister had to take the wheel to get us home.

Despite the drawbacks of this concert hall, I saw a lot of bands there. When I heard that BAD II was going to be at the Citadel Center over the summer, I was completely jazzed. I'd been a fan of Big Audio Dynamite from the get-go; I regard the original band lineup (featuring The Clash's Mick Jones on guitar and vocals, the vocals and found sound additions of Don Letts, Dan Donovan on keyboards, Leo Williams on bass, and drummer Greg Roberts) as the best, 'classic' lineup. When Mick Jones & Co.'s first album (This Is Big Audio Dynamite) was released in 1985, I acquired it practically the moment it came out. In subsequent years, I purchased and enjoyed the follow-up albums by the original band as they appeared - No. 10 Upping St. in '86, Tighten Up Vol. '88 (in . . . well, guess what year), Megatop Phoenix in '89 - but I could tell by the end of the decade that there was a definite lack of spark and originality remaining within Big Audio Dynamite. If there was, it certainly wasn't making it onto the albums. So there was disappointment in some quarters, but I don't think anyone (including me) was really surprised when the original BAD lineup dissolved in 1990.

When I heard that Mick Jones was putting together a brand new lineup and planning to record/tour under the name "Big Audio Dynamite", I must admit that I was more than a bit concerned. To me, it sounded as though Jones was making the same mistake that Joe Strummer made back in the mid-eighties, when in the wake of Jones' acrimonious departure from The Clash, Strummer gathered up a group of nobodies and recorded the embarrassing, widely-panned and vilified Cut The Crap under the 'Clash' moniker. I figured Jones would have learned his lesson after witnessing that debacle - but apparently not.

When The Globe was released in the summer of 1991, I forced myself not to pay attention to it - I just didn't want to be disappointed. But songs from the album began appearing in heavy rotation on some of my favorite radio stations, including DC's WHFS, and to my happy surprise I discovered that the replacement band (now dubbed "Big Audio Dynamite II") had risen to the challenge, and had actually put out a pretty good record. The new guys brought an infusion of energy and new ideas, which was basically what the group needed. I greatly enjoyed songs like "Rush" and "Green Grass", and looked forward to their upcoming show.

But alas, to my intense dissatisfaction, the show was cancelled at the last minute, for reasons that were unclear to me at the time. From what I heard later, the homeowners who lived near the Citadel Center were up in arms about having a concert venue all but on top of their houses, and were ticked off about dealing with the noise, rowdy crowds and incidental property damage that occurred during show nights. So eventually, the city shut the place down. In recent years, the location has been converted into a Harris-Teeter supermarket. Too bad - for a while there, the Citadel Center was THE place to see a show in DC.

The songs on this live album were recorded at two European shows Big Audio Dynamite II played in 1990, at the Alexandria Palace in London and at the Paradiso in Amsterdam, Holland (hence the name, Ally Pally Paradiso). On this album, some of the live song names were changed from the names of the original songs on the BAD albums; when necessary, I've noted the 'real' names below:

1. "Ritual Idea" [aka "E=MC2", off of This Is Big Audio Dynamite]
2. "Babe" [aka "Baby, Don't Apologize", off of Megatop Phoenix]
3. "Free"
4. "Messiahs of the Milk Bar" [aka "Hollywood Boulevard", from No. 10 Upping Street]
5. "City Lights"
6. "Situation No Win" [aka "Rush", from The Globe]
7. "All St.'s Rd" [aka "The Battle Of All Saints Road", from Tighten Up Vol. '88]
8. "I'm On the Right Track" [aka "Contact", from Megatop Phoenix]
9. "1999" [Prince cover]

I think that this album catches much of the energy, excitement and sound of a live BAD concert in the early '90s. Listening to it now, you can also hear a huge dollop of the then-current rave/Madchester sound contained in what BAD II was doing back then. But in my mind, it doesn't really date the album all that much. As a standalone disc, I think that it holds up pretty well, and as part of the overall Big Audio Dynamite I/II oeuvre, it's not essential . . . but neither is it a frivolous or unnecessary album to own.

Anyway, you decide. For your listening pleasure, here's the only live album ever put out by any iteration of Big Audio Dynamite, Ally Pally Paradiso, released in 1991 on Columbia Records (then a subsidiary of CBS). Enjoy, and let me know what you think:

Please use the email link below to contact me, and I will reply with the download links ASAP:

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