Joe Strummer (August 21, 1952 - December 22, 2002) was a singer, guitarist and songwriter for the legendary punk rock band theClash. He died of a heart attack at his home in Somerset, England, on Sunday morning, December 22, 2002, at the age of 50 years.
Name: Joe Strummer
Chinese name: Joe Strummer. Strummer
Foreign name: JoeStrummer
Nationality: British
Sign: Leo
Birthplace: Ankara, Turkey
Birthdate: 1952-0.8-21
Death: 2002-12-22
Occupation: Singer, guitarist and songwriter. Guitarist and songwriter
Represented in: JuncoParther, RamshackleDayParade, MondoBongo
Major accomplishments: Formed theClash, one of the most influential punk rock bands in history
People
People history
Joe Strummer was born into a political family. JoeStrummer was born into a political family, and many of his songs were based on politics, with a strong leftist ideology.
The late 1970s and 1980s could be called the reigning British music scene, setting off a wave of punk, and the band disbanded in 1989 after successfully breaking into the U.S. market in 1982.
When punk music was in full swing, when the Sex Pistols swept the punk rock scene, a new force of punk music is rapidly rising, which is TheClash collision band. TheClash played a huge role in the development of punk music into the thriving scene it is today.
In 1976, at a time when the punk movement was growing steadily, several British lads formed TheClash in London: guitarist/vocalist MichJones, bassist PaulSimonor, guitarist KeithLenine, drummer TerryChimes, and guitarist/vocalist JoeStrummer. JoeStrummer's personalized punk sound earned them rave reviews when they appeared on the Sex Pistols' bill that same year, and in September they played the 101 Club punk festival in London, a performance that made them famous in the scene at the time. But it was here that Levine and Chimes left the band, and it was after their departure that Topper Headon joined The Clash, and it was at this point that the band was at its combined best.
In January 1977, TheClash signed to CBS, and in April the album White Riot was released, which was another punk-rock masterpiece after the Sex Pistols' Chaos in the United Kingdom, and the album's soul-stirring vocals and the band's stormy playing had a huge impact on the punk scene, showing extraordinary strength, and the album ranked at No. 38 in the UK charts.
In 1978, at the height of the punk boom, The Clash were still going strong. An album titled "Give 'Em Enough Rope" topped the UK charts. After 1978, TheClash made their way across the pond to the United States, playing sold-out concerts, which was the beginning of TheClash's greatest period of popularity. In late 1979, the album "London Calling" was released, a mix of rock and pop with a twist of intense punk, which reached #27 on the charts. 1980 saw the release of the triple album "Sandinista", which struck an upwardly mobile punk spirit and reached #24 on the charts. Since then, TheClash have been active in the development of the punk movement.In 1982, the album "Fighting Rock" charted at #7 and went platinum, at which point Headeon left the band and Chimesy rejoined.In '83, the singles "Rockin' Kesheba" and "Should I Stay or Should I Go" charted at #8 and 50, and a $500,000 appearance at the Americana Festival in June put The Clash at the top of the heap.
After all that success, impatience hit TheClash, and their music plummeted as internal conflicts within the band grew worse, and TheClash disbanded in 1985 with the departure of Stoumer and Simonor.
II.In Memoriam
The highway to Buddy Holly's resting place lies in a somber corner of Lubbock, Texas, USA: a place of abandoned railroad tracks, cargo warehouses, and an antiquated military gunpowder magazine.Holly's austere grave sits in the city cemetery here, a plain marble monument densely lined with pollen drifted in from the cotton fields not far away. layer.
The cemetery has remained unchanged since then, except for a more than enthusiastic group of worshippers who came here in 1979. That time it was four slim young men dressed in black jeans, black leather boots and leather jackets. They set up a tomb-like tent next to the grave. What began as a dignified gathering, as if they feared Holly's spirit would not welcome them, turned into a rave. In their own inimitable way, they honored the Lubbock prince of rock and roll, and the four young men were known as The Clash.
When the clamor died down, each of the four men took a piece of plucked string from their pockets and placed it on Holly's tombstone. They then returned to the home of Joe Ely, the Texas country singer who had invited them that night.TheClash had been invited to visit Texas that time just to see Ely's instruments and take a walk on Holly's grave. At Ely's home, they continued to party while one of their talented drummers, Topper Headon, became delirious from an overdose.
"Troublemakers" - TheClash were a seminal band of the pre-punk era and the most commercially successful punk band of the period. Originally a political rebel band, they gradually absorbed elements of reggae and pop-rock, as well as MTV. Though the band drifted away from punk, their self-titled debut album has become a punk rock canon, and 1979's London Calling established TheClash as a classic punk rock group with verve and intelligence, and has been hailed by many rock critics as one of the best rock albums of all time. The legendary TheClash, along with the SexPistols, kicked off the punk rock scene in 1976. Their infectious stage show and passion for their fans has become a classic. While other bands were still indulging in fantasies about cars and women, they had their sights set on society's hot buttons: unemployment, urban hustle and bustle, racism, terrorism, gangland fires, imperialism, drug addiction and police corruption.
TheClash were the first British band in history to include Rap in their songs and the first white band to be inducted into the Jamaican Music Hall of Fame. When they performed in New York's Times Square in 1981, they sparked citywide chaos. Their third album, LondonCalling, was named the best American album of the 1980s; and their fourth album was a triple LP, but the band's insistence on selling it for the price of a single LP caused TheClash to go into bankruptcy. There is a saying that "you don't know rock 'n' roll until you've seen TheClash." Indeed, TheClash gave it their all on stage, and as soon as they stepped off, they collapsed on the dressing room floor, unable to utter even a single word.
Mick Jones was born in 1955 and comes from a British working-class family. His parents divorced at an early age, and Jones grew up obsessed with rock 'n' roll, perhaps to escape the shadows of his life, he explained. He was fascinated by bands such as MottTheHoople, The Stones, and The Faces, but his true idol was an American avant-garde rock band, The NewYork Dolls, whose no-holds-barred attitude towards music Mick found y infectious. By 1974, he was playing guitar in a band called The Delinquents. Tony James, who went on to become a member of GenerationX, recalled The Delinquents as "a band with shoulder-length hair and strange clothes. They were hanging out at all the venues in London. Mick and I quickly befriended each other and we discovered a ****ing similarity in that we both worshipped TheNewYorkDolls, and I suspected that he was my only confidant in the UK." Then joining TheClash was Bernie Rhodes, who met Mick in a bar and Mick recalls, "I enjoy meeting people who look interesting. Bernie was wearing a hat, so I went up to him and said, "Are you a pianist?" and he said, "No, but you're wearing a hat. He said, no, but you're wearing a T-shirt I have one of those. That's how we met." TonyJames was then co-founding LondonSS with Mick, and when they asked Bernie if he was interested in joining, Bernie readily agreed and wanted to be the band's manager. He had an interesting business mindset, as he said himself, "You need me because you've got nothing, you've got no creativity of your own, and if you're trying to be second to TheNewYorkDolls, it's a waste of my time, we've got to go our own way."
By the spring of 1978, The London SS had disbanded, and Mick, Paul Simonon and guitarist Keith Levene had formed a new band, with Paul, a gifted painter who, like Mick, had graduated from London's art school. After graduation, however, his desire to be a serious artist faded, Paul recalls: "I was confused and just thought that I shouldn't sit in a studio for the rest of my life, I wanted a more exciting life." Paul, who also grew up with divorced parents and a lack of love, says, "When I was a kid, I didn't have anyone to tell me where to go, whether it was to play on the railroad tracks, or to commit petty theft." Later, he was in some of London's worst schools and skinheads, but he was also introduced to pioneering music, and when Paul first started playing, Mick spent an hour teaching him to play E-flat on the guitar, but that didn't work out. So Mick decided to let him try the bass. Paul's technique wasn't practiced until the band was signed by CBS, and Mick recalls, "Paul's later bass technique was screaming, but it did suck at first."
The soon-to-be-born TheClash were now short of a vocalist, and Bernie thought Joe of The 101ers was the man for the job. After a preview of his show, Joe was officially on board, and Joe's roots-rock guitar skills were just what the band was looking for. His wise, optimistic political vision would become the band's hallmark, and TheClash had a song called "I'mSoBoredWithYou", which Joe suggested changing the title to "I'mSoBoredWithTheTruth". Joe suggested changing the title to "I' mSoBoredWithTheUSA", and the mood of the song was very different. The song reflects the invasion of Britain by American culture. On the one hand Joe's talent is well recognized, on the other he is gradually going to extremes in his creative search for change.
Back in 1976, journalist Caroline Coon conducted her first interview with TheClash, and it impressed her. The band pointed out that the hippie movement had failed. They were anti-drug and anti-pop, and the band's demeanor reflected the clash of ideas between the two generations, Coon recalls: "I took a picture of them pressed up against the wall with their arms in the air, and on the back of Joe's shirt it said, 'Hate and War,' which was the spirit of punk, which was don't want peace, don't want love. TheClash were politically assertive, angry and aspired to anarchy, not unlike traditional rock. While bands that became famous at the time were escapist, TheClash were brave enough to face life head on." Mick stated, "I think singers like RodStewart turned their backs on the ideals of rock and roll. They detached themselves from their fans, and to the fans who appreciated them, the defection of a singer means deception."
In 1977, TheClash signed to CBS Records for ￡100,000. Now, decades later, they have released records that have become punk classics, with a fast pace, urban delivery, frustration and anger that are invariably emulated. And their classic songs are memorable to listeners: "JanieJones," "I'mSoBoredWithTheUSA," "Garageland "JanieJones", "I'mSoBoredWithTheUSA", "Garageland", "Career Opportunities", and "London's Burning", all of which have gotten fans' blood pumping. The songs have been a hit with fans.
After a sold-out debut album, Topper Headon joined TheClash on drums, and his arrival changed the band's musical style, allowing him to move freely between madcap, soul and reggae. "With him, we not only had a drum beat, but we had a vibrant life." So says Paul, whose first song after Topper joined the band was titled "CompleteControl," after Bernie's catchphrase: "I want complete control." For The Clash's second album, Rhodes brought in Sandy Pearlman, who did not work well with the band. As a producer, Sand wanted to cater to American public tastes, which TheClash did not. One reporter noted, "TheClash mocked everyone and offended the wrong people, like SandyPearlman, and they even made fun of the president of CBS to his face. They really don't know what's good for them sometimes." Johnny Green, the band's former manager, commented, "The band had a completely different musical philosophy than Pearlman's. Pearlman's ideas were worthless to Paul, and it was a very tumultuous time for TheClash." But the album was eventually completed, and it's a much deeper affair than the self-titled debut.
The track "Guns On The Roof" reflects on a time when Paul, Topper and a few others were waiting for Mike to come to the rehearsal space that spring, when someone got the idea to bring a gun and shoot pigeons from the roof. They didn't realize that they were shooting at privately owned, expensive racing pigeons. The police popped up and said they had been called to a group of hooligans on the roof aiming guns at the train. This was a time of rampant Irish **** and military terrorism, so this was a non-trivial move, and Paul and Topper were then imprisoned, which Bernie seemed to think was good for them. There was widespread resentment and relations between the members and Bernie deteriorated, with Mike and Bernie often at loggerheads. The band was faced with the prospect of disbanding or changing managers when Bernie gave an interview to the press in which he said, "The Clash are good at expressing what teenagers think, but they don't. I've worked so hard to make it work, and I don't know what to do. I've worked my ass off and I didn't expect this, Joe's too weak, Mick's an egomaniac, Paul's too childish and Topper's a redneck. Now they're trying to stomp me, and it's the record company that's behind it, they've been bribed."
After their first U.S. tour, the band began looking for material for their next album. After Bernie's departure, the group worked in unison again, with Mick's country twang, Paul's reggae and Topper's disco blending perfectly. For their next album, the band brought in Gny
Stevens, the producer who made the Who what they are, and he was extremely committed and demanding. But late in the recording process, he often missed time due to his addiction to alcohol, and the collaboration didn't end well. But Guy did take the London Calling album to new heights. The band's second U.S. tour followed, sweeping the country in 42 days.
PaulJoe and Mick's relationship has deteriorated dramatically since the 'Combat Rock' album. With the band changing from a four-piece to a five-piece, with guitarists coming and going, and with Bernie being brought back as manager, The Clash has become more and more volatile," Paul said on tour. On tour, Paul said, "I don't talk to Mick, we're no fun to work with. I talked to Joe about it, we're adults, we don't have to put up with Mick's dictatorship and temperamental behavior anymore. At rehearsal, Joe said bluntly, 'We want you off the team.' Mick couldn't believe it. And I was with Joe. At the time, Mick must have been very upset." In fact, Mick's departure was a double-edged sword. Once he left, The Clash was no longer a full band, and Joe and Paul kept The Clash going for another two years. New guitarists Vince White and Nick Sheppard were recruited, and after their seventh album, the Bernie-produced CutTheCrap, TheClash disbanded in 1985, as Joe and Bernie's musical differences became irrevocable.
TheClash are missed today. It was widely rumored that they would get back together, but Paul, Joe and Mick have all denied the possibility. After all, they've all moved on: Paul is now a full-time painter; Mick still sings and produces; Joe has started a new group, The Mescaleros; and the only consolation is that TheClash have released a live album, FromHereToEternity, to mark the occasion.
Some critics say there are two kinds of bands: the romantics and the classics, and TheClash belonged to the romantics, who dressed differently, talked differently, and were chaotic and unplanned in everything they did. Although TheClash didn't stick around, their mastery of punk music was a monumental achievement, and they were undoubtedly a great punk band.
III. Afterword
Some say SEXPISTOL were the pioneers of British punk rock, but the only one who really made it big was THECLASH! In '76, THECLASH warmed up the crowd at a SEXPISTOL concert, which led to a record deal in '77 and the release of their first self-titled album, which led to the first wave of punk music. Leading the first wave of punk music, THECLASH brought a new sound and attitude to the pop music scene. Unlike SexPistol's brutal and chaotic anarchy, Strummer led The Clash to fuse angry and furious emotions into their music and words, and in the demise of punk music in '78, THECLASH undoubtedly delivered outstanding results! The Clash's music was a success, and the band was headed for the United States. Although punk rock had already emerged in New York City during this period, THECLASH's album London Calling managed to take over American fans, elevating the long-silent punk rock scene to a popular trend on both sides of the Atlantic.
Their album changed the intense punk lyrics and hard rock of the past, incorporating popular tunes, such as the political anthems in London Calling and The Guns Of Brixton (written by PAULSIMON), which expressed class and economic struggles, and has been recognized by many music critics as one of the greatest rock albums of all time. Not only is the album a complete concept, but it's also the perfect anthem for punk music, almost the bible of punk music. In a poll conducted by NME, the UK's leading music magazine, The Clash were voted the greatest Punk band of all time, with The Clash trumping the SexPistols and becoming the greatest Punk band of all time in the minds of their fans.
In the afternoon of December 22, 2002, vocalist/guitarist Joe Strummer died of cardiac arrest. The 50-year-old punk icon fell inside his house and his wife Lucinda found him and tried first aid, but was unsuccessful in saving his life. Many musicians mourned Strummer's passing with a heavy heart, with U2 frontman Bono leaving a message on his official website: "TheClash are the greatest rock band of all time, they wrote the best code for U2... We were supposed to meet up in January to finish our song for Mandela with Dave Stewart, it's a shock!". Other artists who shared the shock included Audioslave guitarist Tom Morello and musical child Moby.
Album description
1977TheClash
1978Give'emEnoughRope
1979TheClash
1979LondonCalling
1980Sandinista! 1982CombatRock
1985CuttheCrap
1999MemorialAlbumFromHereToEternityLive
2000MemorialAlbumTheSingles
2003SelectedFullReview - -TheEssentialCLASH
Album Tracks
Disc:1
1.WhiteRiotSingleVersion
2.London'sBurning
3. CompleteControl
4.ClashCityRockers
5.I'mSoBoredWithTheU.S.A.
6.CareerOpportunities
7.Hate&War
8. Cheat
9.Police&Thieves
10.JanieJones
11.Garageland
12.CapitalRadioOne
13.(WhiteMan) InHammersmithPalais
14.EnglishCivilWar
15.TommyGun
16.SafeEuropeanHome
17.Julie' sBeenWorkingForTheDrugSquad
18.StayFree
19.GroovyTimes
20.IFoughtTheLaw
Disc:2
1.LondonCalling
2.TheGunsOfBrixton
3.Clampdown
4.RudieCan'tFail
5.LostInTheSupermarket
6.JimmyJazz
7.TrainInVain
8.Bankrobber
9.TheMagnificentSeven
10.IvanMeetsG.I.Joe
11.PoliceOnMyBack
12.StopTheWorld
13. SomebodyGotMurdered
14.TheStreetParade
15.ThisIsRadioClash
16.GhettoDefendant
17.RockTheCasbah
18. StraightToHell
19.ShouldIStayOrShouldIGo
20.ThisIsEngland
ALBUM REVIEWS
Some people have said that if you're going to get two Clash records, you shouldn't have picked up the above 40-track album. Just "The Clash" and "London Calling" would have been enough. But no matter how unparalleled these two albums are, one thing that's been overlooked is the fact that many, many of the band's greatest works are not on these two albums, including songs like "SafeEuropeanHome", "StayFree", "Bankrobber", and "The Clash". "Bankrobber", "Rock the Casbah", "Straight to Hell". "ThisisRadioClash" and "ShouldIStayorShouldIGo". That's why it's time for this 2003 selection, which bridges the gap between the two compilations above. "The Essential Clash" summarizes "The Clash" and "London Calling", and is a great tribute to the "The Essential Clash" summarizes "The Clash" and "London Calling" and is a comprehensive look back at the Clash as an all-time great punk band. The compilation is not perfect, however, and many of the terrific recordings are flawed, most notably "GatesoftheWest", "JailGuitarDoors", "TheCallUp", and "The Clash", as well as "The Clash" and "London Calling". "The CallUp," "Armagedion Time," "The Prisoner," and "ProtexBlue." ProtexBlue", while the song selection on "Sandinista!" is so cluttered that it feels as inexplicable as the "Sandinista!" album itself! album itself, it feels as inexplicable as "Sandinista! However, we should recognize that "The Essential Clash" offers one of the best, most comprehensive and logical retrospectives the band has ever produced, and it deserves more than just an introductory listen.