BBC Review
A triple album of two halves, embracing reggae and disco at its best.
John Doran 2009-10-01
It might be grammatically incorrect in literal terms to call a triple album a thing of two halves, but that's what The Clash produced in 1980. Essentially, Sandinista! is divided between the Clash made of win and the Clash made of lose, and the latter, unfortunately, easily wins out.
In rock music terms, things had moved on from the birth of punk in 1976. The genre was all but dead in the water, and had been for two years (John Lydon's post Sex Pistols act Public Image Limited had already released three albums, including Metal Box). Highly politicised second-wave UK punks such as Crass and Discharge were lurking, ready to make bands such as The Clash look like bloated, cash-corrupted anachronisms in a much more effective way than Jones, Strummer and co had done for prog four years earlier.
Received wisdom would have you believe that this was the fault of the group's backline. By 1980 drummer Topper Headon was a heroin and cocaine addict and Paul Simonon had always had a lacklustre rep as a bassist. But the proof on Sandinista! suggests the opposite. Simonon's love for reggae was in full bloom, and freed from the restrictive nature of punk Headon had become one of the finest drummers of the era. This is why the best songs on the album are lead by the pair, and either reggae or disco orientated. When people say that Sandinista! would have been killer as a single album, what they never go on to say (but should) is that it would have been a killer single reggae album. With the help of advisors Mikey Dread and Don Letts, they had nailed down tight what they'd failed to capture on previous attempts such as Bankrobber and Junior Murvin's Police and Thieves; lumpen songs at best carried along by charisma and hook-like melodies. Here, Junco Partner and The Equaliser are much more assured rock-steady skanks.
The rest of this two-and-a-half-hour slog represents The Clash at their saloon bar romantic, ramshackle rock‘n’roll, lame pastiche and skiffle-punk worst. It is this unadventurous side which would go on to influence numerous urchin indie-rock groups, such as The Libertines, leaving one pertinent question: where are today's young indie bands influenced by the cutting edge of current black underground music, from dubstep to dancehall? In other words: where are today's young Paul Simonons?
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Mikey Dread produced Bankrobber. I think it's a cracking track. Especially for "chilling" to, if you get my meaning. I don't know what you're using it as a soundtrack for but if it's to work up some political angst or fapping I sugest you look elsewhere.
"where are today's young indie bands influenced by the cutting edge of current black underground music, from dubstep to dancehall?"
Why make the assumption that the influence of specifically "black" music (a rigid view which perpetuates racial music stereotypes: guitar=white, dubplate=black) is a necessary feature for the creation of a fresh new sound in indie?
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I'm disappointed by the shallow dismissal of the "Sandinista!" zeitgeist.
Look, by 1980 the punk "movement", 'tho it was never such an organized thing, was in disarray.
People had gone weird(Lydon, Slits), fashion-conscious (Weller), pop (Buzzcocks, Undertones) political (Crass, UK Subs), cartoon (Damned) or into well-deserved oblivion (sorry 'bout that Haircut 100 fans).
Alone amongst the big guns, the Classh stayed true to the original samizdat ethos. Like another famous band with an allegedly dodgy rhythm section - step forward Messrs Starr and McCartney - and their best days behind them, i.e."Pepper", Strummer and the boys went for the "we'll give everything we've got, warts and all!" approach.
They insisted on releasing a triple album for the cost of a single album, foregoing all potential profits - and annoying the hell out of CBS. They toured crazily to promote the album.
The whole shebang was of course named after another working class movement that could never succeed - but somehow managed to. Remember Daniel Ortega, Ollie North, the contras scandal?
Sure, like "Let it be", "Sandinista!" is a magnificent shambles, borne out of romantic hope dashed by the realities of the world. Sure, parts of it verge on the unlistenable these days. But please, let's marvel at its magnificence rather than censure its shambolicness.
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Two things. Firstly, I agree that Sandinista! is/was too long. There is insufficient quality control. Perhaps it could be re-released as a shorter, reggae-influenced record?
Secondly, on this point about white/black music influences. These are cultural not racial divisions as suggested above. The problem in the history of modern popular music has been that whilst black culture has been innovatory and influential but rarely have black artists been as successful commercially as white artists. the best example being that UB40 are bigger selling reggae artists than the master, Bob Marley himself.
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Points
1. Shorter reggae album ??? Sandinista stands on it's own without the need to MOBO it.
2. White/black - who cares as long as it is good music and incidentally, trace the roots - it was Scottish Missionaries who taught African tribes to sing hymns. This was then brought to America by the slaves and used as the basis for all black "influenced" music from there on i.e. blues, jazz etc,etc. If you want to be historically correct and accurate, music, as in the Western Scale, is a European invention. The drum beat was added later..........MOBO my arse ! Where would it be without plainsong and classical music ?
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It seems that one mans "we'll give everything we've got, warts and all!" is everybody else's "we're losing our grip and our quality control"
Not sure that clash ever had the samizdat zeitgeist really. didnt they jump in straight in with a CBS album. Dont remember any clash home pressings. (like..oooh...spiral scratch) and not sure about the working class thing (schtick?) either (please dont make me google strummers biog).
Point is - yes lots of great stuff but not especially on this album.
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john doran, i can only assume u r some 20 something year old muso who has a pre conceived view on this album. the thing is that in 1979 there was a distinct divide between black n white music and the clash were previously seen as right wing boot boys by certain members of the black community . . not entirely without justification as punk certainly had a fascist side to it. but this album nailed all those accusations as irrelevent look at 'one more time', 'crooked beat', 'silicon on saphire', 'junco pardner', 'the equaliser' etc etc and u'll find real authentic reg.
i know cause i worked in a record shop at the time and was several times accosted by irritated rastas who couldn't believe that a white punk group could make music like this.
but that's just the beginning. . . 'the magnificent 7' is soo catchy as it 'hitsville uk', 'ivan meets gi joe' is a duff, one of a few, but 'something about england' makes me want to weep with its incisive vision and touch . . same for 'rebel waltz'. 'look here' is just good fun jazz, 'someone got murdered', a look back to their punk roots. 'lightening strikes not once' another funk dud but 'corner soul' 'the sound of sinners' n 'lets go crazy' are just top doped out music.
'police on my back', back to the punk stuff, 'midnight log' verging on reggae and very atmospheric as is 'the equalisier' and 'the call up'. 'washington bullets' is still relevent now, 29 years later, 'on broadway' strikes me as real saloon bar blues. 'loose this skin' a paen to be being born not fitting in . . . oh i could go on but suffice to say u r so wrong with your verdict on this album
three fecking discs! six fecking sides! no more than one of which would be considered duff by me but it is so varied, so truthful, so atmospheric, so . . . well . . . .just so great
i remember the nme saying this would be better as a single album . . but that review was probably written by julie burchil who specialises these days in . . . not much . . . after her daliance with bullshit shopping n fecking novels . . .
think for yourself
i may of course be wrong and your views are your own but i consider this album to be the peak of the clash's all too brief catalogue and so worth the money (£4 as i remember)
i'd like to know where the next triple album is coming form and who's gonna make it cause there's no one can touch this right now
5 out of 5
don't beleive the bull your fed by the media
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London's Burning nah, nah, nah, nah, nah!
Years on and the lads sought to consolidate their music in terms of a wider world palette. Joe's leftwing lyrics wouldn't've looked outta place in any 'Socialist Worker' of the time, but the use of Dread and Letts to inform their take on the emerging dub and beyond sound, represents one of those significant roll-off points in western music. A lot like Presley repackaging the sexuality of black performers in a white wrapper back in the day. Sandinista, in its entirety, drew a veil on what should (now) be forgotten and opened a blind for those who wished to see.
Art value, 'good or interesting'? The album is that sort of divide.
..."So (h)it it!...
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London's Burning nah, nah, nah, nah, nah!
Years on and the lads sought to consolidate their music in terms of a wider world palette. Joe's leftwing lyrics wouldn't've looked outta place in any 'Socialist Worker' of the time, but the use of Dread and Letts to inform their take on the emerging dub and beyond sound, represents one of those significant roll-off points in western music. A lot like Presley repackaging the sexuality of black performers in a white wrapper back in the day. Sandinista, in its entirety, drew a veil on what should (now) be forgotten and opened a blind for those who wished to see.
Art value, 'good or interesting'? The album is that sort of divide.
..."So (h)it it!"...
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A strange and short review. Why now? Has it been remastered or something?
I don't buy into the 'one great single album can be gleaned from the chaff' theory. The rambling offbeat numbers add to its charm.
And as for stating the non-reggae songs are 'unadventurous', there are some adventurous moments (Mensforth Hill, samples)on disc 2 which apparently you aren't reviewing(!?) which although not as experimental as say Eno, are still unexpected for The Clash.
There are weak moments and yes, it will never be seen as a classic like London Calling was, but I'd rather listen to this than the first two albums.
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just always liked the album, good music good vibes right message nuff said
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Police n Thieves a "lumpen" song"!!
legend has it when Lee Scratch Perry heard the Clash's version of this song he put a picture of the band on his studio wall. I suspect after he heard the UB40 style trash that was Junco Partner he took the picture down.
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I've come to think they were pretty pompous, The Clash - a mean, a bloody triple album? And Strummer was about as working class as George Osborne. Some great tunes, but compared to the 'cartoon' punk of The Damned's early releases, or the power pop of the Buzzcocks, they haven't aged well.
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"single reggae album"...? Dont make me laugh. Are these reviews quality controlled?
A pretty short review which seems to ignore most the album. And..... Why bother mentioning non-entities like "Crass" and "Discharge"?
Leaves me pondering whether the reviewer ever listened to record in full.
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