The Clash – Combat Rock

The penultimate Clash album.

Recorded between 1980 and 1982, "Combat Rock" is arguably one of the band's most polished recordings yet succeeded despite the lingering discord between the band.

While co-founder/guitarist Mick Jones wished to explore a more pop oriented structure, later fulfilled with his Big Audio Dynamite projects, frontman/co-founder Joe Strummer became weary at the internal conflicts that seem to destroy the most successful of bands.

Adding to their woes were percussionist Topper Heddon’s increasing personal trials, furthering the rift between Strummer’s desire to expand upon the Punk aesthetic despite Jones’ misgivings.

The collective musicianship is stronger than ever, evidenced by a growing confidence in their performances in the Punk, New Wave, Ska, and Funk idioms. Their embrace of varying styles offered listeners an alternative World Music view.

Strummer in particular explored his love of Latin music, later fulfilled in his post-Clash 1987 score for Alex Cox’s historical feature “Walker” and collaborations with various bands.

The Clash’s musings on the travails of war, the decadence of Western culture, and violence in all its forms continued here.

Sadly, the imminent dissolution of one of Rock’s most relevant ensembles was a pratfall the greatest of ensembles failed to overcome.

With "Rock The Casbah" being the album's defining single, not to mention a summation of Strummer's political views, "Combat Rock" is that rare recording with no filler tracks, resulting in a cohesive anti-establishment musical mini opera of sorts.

The sledgehammer beats of the powerful opener, "Know Your Rights" is a defiant anthem protective of individual freedoms. "Should I Stay Or Should I Go?" is classic Clash, with Strummer's surly delivery mirroring his confusion in a moving lament, oddly contrarian to the Rockabilly-flavor of the backing music.

The loping percussion present in "Straight To Hell" is a requiem for the Vietnam era, a solemn commentary on one of America's bleakest, most destructive eras. Again, the infectious beat belies the austerity of the song’s message.

"Overpowered By Funk" is a powerhouse take on the 1970's Funkadelic movement, with sinewy, syncopated performances leaving artisans of that time in the proverbial dust. Bolstered by Poly Mandell’s keyboards, it is one of the Clash’s most commercially accessible compositions.

The surreal "Inoculated City," a staple of many an FM college radio station during the Summer of '82, offers disdain at consumerism and warfare. It was also the B-side to the North American 45" of "Should I Stay Or Should I Go?"

A subsequent lawsuit from Flushco resulted from the band's inclusion of a 22 second sampling of their "2,000 Flushes" commercial.

It was briefly excised but is preserved in its unexpurgated form here. (The 1986 "Rat Patrol" sessions featured a nearly five-minute take with extended bridges and subtle, curt overdubs).

Closing the CD is the teasing cynicism of "Death Is A Star," a jazz infused playfulness proffered in tandem with a forlorn anti-violence sentiment. It recalls the late 1960's efforts of Syd Barrett.

The foldout insert reproduces the LP's inner sleeve reproduction of the lyrics in the smallest of fonts against a green backing. This is in sharp contrast to the vinyl listing depicted in white type against an appropriately stark black backdrop.

Highly recommended.