The Ballad Of Joe Strummer : Rope And A Double-Bill To Die For

Originally titled "Rent-A-Riot", the second album by The Clash was released on 10th November 1978 and was called "Give 'Em Enough Rope". After their astonishing debut album, their difficult follow-up gave them the chance to cement their reputation as one of our top bands of the moment. As far as I'm concerned, the album delivered in spades, but many people I spoke to felt the sound to be sanitised, pointing the finger squarely at producer Sandy Pearlman. The album peaked at number 2 in the UK album charts, ensuring a successful outcome for the band, though Joe Strummer suffered as a result of Pearlman's involvement. Pearlman was no fan of Strummer's vocals and made sure Topper's drums were mixed louder on the whole album.
"Give 'Em Enough Rope" spawned two chart singles in "English Civil War" and "Tommy Gun" - the latter dealing with terrorism, reflecting the bands political focus, and kicked off with one of the most dynamic opening tracks you could wish for with "Safe European Home". This would go on to be a live favourite with fans and was joined by the intensely moving "Stay Free"; the swagger of "Last Gang In Town" and the immense "All The Young Punks" with lyrics that would stay with you for ever.
The album was voted 'Album Of The Year' by Rolling Stone and Time magazines and by influential UK music paper Sounds, and deservedly so, showing the band could evolve while staying true to their roots.

The recording sessions for the album also realised some terrific tracks that would grace both vinyl and concert halls in the future. "White Man In Hammersmith Palais" (in my view, their finest hour), "Pressure Drop" and "The Prisoner" were just a few of the songs recorded during the Rope sessions and showed their output to be fiercely creative.
I spent a fortnight with the album rarely off my turntable, growing to love the songs and eagerly awaiting the 24th day of that very same month when The Clash would return to the Kings Hall Derby with The Slits and The Innocents as support bands. I'm ashamed to say I missed The Innocents, due to time spent in the bar trying to spy anyone from Ashbourne who could give me a lift home, but made bloody sure I got out in time to see The Slits who were simply magnificent. I can see Budgie now, pounding the skins with Tessa providing solid backing while Ari prowled the stage and Viv layed down her wonderful skeletal guitar. The hall was naturally packed for their set, and expectations went even higher as the lights dimmed and The Clash took the stage. Late again, but I had a lift home so I could enjoy the night without the prospect of kipping out under the stars as I did a year earlier.
Beginning with the already classic "Safe European Home", The Clash tore the place up, with "Police And Thieves" and "Pressure Drop" rubbing shoulders with the more frantic "White Riot" and "Janie Jones" and "Career Opportunities" inducing mass pogoing from the front to the back of the hall. As always, I departed from the frenzy down the front and moved to the balcony to watch the band for a couple of numbers and Strummer's stage presence seemed to energize the crowd, making us think that whatever the New Year had in store, we could handle it.
It seemed the band were at the height of their powers, and I was simply drooling at the thought of what was next on the agenda. As it turned out, London was calling.

The Ballad Of Joe Strummer (Part One). The 101'ers

Originally named John Graham Mellor and born in Ankara, Turkey on 21st Sugust 1952, Joe Strummer was the son of a British diplomat and spent his formative years travelling because of his father's job. Bonn, Cairo and Mexico City all made for temporary homes, before Joe settled in London in 1959.
During his schooldays in the UK, Joe quickly grew to love music, with the likes of Captain Beefheart and Chuck Berry amongst his early favourites, but it was a stint at the London School Of Art that really cemented his interest in music and also cinema.Joe had already changed his name once (from John to Woody), but another name change was on the horizon. In 1974, Joe's burgeoning passion for music saw him form the legendary band 'The 101'ers',and Joe Strummer was born.
The band made their live debut on 7th September at The Telegraph pub in Brixton as 'El Huaso And The 101 All Stars', with the name subsequently shortened to 'The 101'ers' after the number of the Maida Vale squat they lived at. The band played at various festivals and slowly began to make a name for themselves on the London Pub Rock circuit. Although relatively short-lived, Pub Rock was responsible for bringing live music back to smaller clubs, and the movement was graced by some wonderful bands such as Dr Feelgood, Kilburn And The High Roads, Roogalator and Ducks Deluxe.
The history of The 101'ers may have been short, but it got Joe up onstage and spawned some great vinyl, which included the excellent 'Keys To Your Heart' single. This was the first song Joe wrote and was about his girlfriend at the time, Palmolive.



The 101'ers were supported by an exciting new band called the Sex Pistols on 3rd April 1976, and this inspired Joe to get togther with younger, more yobbish musicians, feeling his his fellow band members were simply too old. So, The Clash were born, but this new venture did not mark the final chapter in The 101'ers as far as vinyl output was concerned. By 1981, The Clash were a vitally important band and interest grew in Joe's first group, leading to the release of a second single - 'Sweet Revenge' - which, like 'Keys' was released on the mighty Chiswick label. An album followed, titled 'Elgin Avenue Breakdown', which contained several live recordings. Right from the word go with 'Letsagetabitarockin' kicking things off, this album is a glorious slice of rabble-rousing rock with 12 tracks of high octane (sometimes subtle low-key) music and a wonderful 8 minute version of 'Gloria' ending the album in style. The album was re-released in May 2005, with the help of Joe's widow Lucinda, containing an additional eight tracks and was titled 'Elgin Avenue Breakdown Revisited'. Joe had always intended to give this album a very special re-release, but sadly passed away before he could do so. Looking back, The 101'ers were a very special, blink of the eye band, and I envy anyone who got to see them play live in some London pub where the fires of Pub Rock burned brightly.
Now the scene was set for The Clash to enter the fray, with a truly blistering debut album and a growing reputation as one of our very finest live bands.