In the on going tradition of rock writing and album reviews I would like to present yet another rendition of Another Look. So far I’ve pretty much stuck with material from the late sixties and early seventies. On this go round it’s the late 1970’s through early eighties I’m focusing on.

In 1994 a wonderful B-Sides compilation CD was put out that opened a whole new audience to the wonders & genius of The Clash. “Super Black Market Clash” is a kick ass, and relatively unknown, punk, ska, & reggae album that was put together to pay tribute to the original “Black Market Clash” record released in 1980. Although SBMC does not contain all of the Clash’s b-sides and rarities it does produce a nice 21-song salute to the unheard and unreleased tracks the legendary band created over the decades.

What is truly amazing about this album is its diversity. When you hear a traditional Clash song, the power and quality is immediately obvious, but when one of those tracks is altered or remixed if you will, the complexity and grandeur of the bands musical chops become almost overpowering. They’re complete Pro’s and as if I need to tell anyone that, I’m going to anyway because as much as people talk about Should I Stay or Should I Go and London Calling it’s the stretched out and screwed with Clash jams that I feel personify the true measure of the band.

Tracks one through five are your standard yet absolutely amazing punk rock jams. In particular numbers three & four, Jail Guitar Doors and The Prisoner, are outstanding. If you love the early days of the Clash then check them out. Songs six through ten start to delve into some pretty tricky areas musically. You begin to hear the introduction of a variety of new sounds and instruments that one would not typically associate with a punk band. Track sic is Pressure Drop a reggae classic from Toots & the Maytals that the Clash have given a very sweet once over. Gates of the West is song number nine and one of the best on the album; it has a driving quality to it, but also has this wonderful vocal sound that just kills me. Track ten, Capital Radio Two is pretty darn badass as well; Mick Jones lays down some unbelievably nasty guitar riffs that will blow your mind. I think Jones is a way underrated guitarist; his loose yet powerfully structured style appears to be effortless.

Tracks eleven through fifteen are the real nitty gritty of SBMC, it’s where the soul comes out, it’s where we can see just how much American rhythm & blues and Jamaican political awareness and groove affected the bands sound. Coming in at over eight minutes Justice Tonight/Kick It Over is number twelve on the album, it’s also a remix of sorts, taken from Armagideon Time off “Black Market Clash,” it’s pure ska and rock steady, and an amazing song. Robber Dub is the thirteenth song and like justice tonight, is heavily layered with reggae influences but also incorporates some funky 80’s synthesizers and looping techniques.

Songs fourteen & fifteen continue with the slowed down, reggae mixed style of the previous tracks. The Cool Out is a sweet little instrumental number that believe it or not sounds a bit like another late 70’s early 80’s megagroup The Cure. Again Mick Jones puts together some outstanding guitar work, when mixed with the songs other elements the outcome is very impressive.

Tracks sixteen through twenty-one seem to be taken from the Clash’s, “Sandinista”/”Combat Rock” era which no doubt would stand as the funkier and infinitely more musically complex time period in the history of the band. Song sixteen, The Magnificent Dance is an almost disco remake of “Sandinista’s” opening number The Magnificent Seven, just as dirty as seven, but without any lyrics, the dance floor is the primary location for a gem like this. Followed up by Radio Clash, a pulsating electronic dance jam, again the music makes you want to hit the dance floor or at least chair dance in your car while driving on the open freeway. The last song on SBMC is The Mustapha Dance, another nearly lyric-less remix of a previously released Clash number. We’ve all heard of Rock The Casbah from “Combat Rock,” Mustapha is a hyper-slick and highly danceable re-imagining of that timeless song. It’s a perfect end to an exceptional album that any music lover could easily appreciate.

I have to say it’s the Clash’s vibe that I hear in bands today much more so than most other groups from the same era. With the exception of Joy Division and The Smiths, I’m not sure any other band has had more direct influence on modern music. If I could play any instruments or were ever going to start a band it would be the Clash I’d turn to for inspiration and ideas. “Super Black Market Clash” stands up today just as well as when the music had been recorded, if you’ve never heard it, first stop crying and then buy the damn album; it might change your life.

Here are a few Clash videos for your pleasure:

All Images Copyrighted by The Clash / Courtesy of Wikipedia

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