“I’d like you to write ‘punk rock warlord,” he replies, “with ‘warlord’ being one word.” And from there, he launches into an a cappella rendition of “White Riot.” It’s a worthy nod to the meaning of punk, stripped of everything but rage. It’s only fitting that “White Riot” is followed by Rashid Taha’s Arabic update of “Rock the Casbah.” Not one of the Clash’s best songs, it nonetheless illustrates how keenly aware the band was of global politics. It was a work of satire, made all the more poignant when sung in Arabic and presented as a mixtape.
The Future Is Unwritten isn’t about rehashing the Clash, though. It’s more of a musical memoir that details Strummer’s influences and loves, and the impact they had on the evolution of the Clash and his later projects. Some of those influences are obvious. MC5’s 1968 recording of “Kick out the Jams” is a seminal proto punk piece that laid the groundwork for the entire punk movement. But the Clash, particularly Strummer. were never content to merely ride the punk wave. Early on, they strayed from the constraints of punk, and redefined it as a genre. As their frontman, Strummer led the band into areas that, at the time, prompted some hardcore punks to accuse the band of selling out.
Nothing, in fact, could have been further from the truth. By embracing unlikely idioms and incorporating them into the Clash sound, Strummer exemplified the punk dictum of “the first rule is there are no rules.” Strummer’s work with his pre-Clash band the 101ers had already shown his predisposition to roots rock, as illustrated here with their 1976 recording of “Keys to Your Heart.” Strummer acknowledges a debt to Elvis Presley as he introduces the Kings “Crawfish,” and exhibits a profound understanding of American message music as he spins Tim Hardin’s “Black Sheep Boy.”
What makes The Future Is Unwritten a beautiful album is the way in which it segues from one genre to another, intertwining the Clash, Strummer’s later music ventures and the influences that permeated his music and shaped his path. Woody Guthrie, Nina Simone, U-Roy and Bob Dylan all resided in Strummer’s thoughts. The 25 tracks on this album, punctuated by comments from Strummer, offer a glimpse into the way the man’s mind worked.
Joe Strummer was a complex man, and he could often be infuriating. I think he rather enjoyed being perceived as an enigma. But upon listening to this album, it’s apparent that Strummer was a sum much greater than the parts he shared with us. This album shines a much needed sliver of light on his unforgettable legacy.
Article comments
1 - Glen Boyd
Great review Ray. I especially enjoyed your recounting of your frustrating interview experience with Strummer. I've had a few of those myself -- an interview I did with David Johanssen (which was never published) in particular stands out in my memory. So I was definitely feeling your pain as I read of your experience.
-Glen
2 - Ray Ellis
Thanks, Glen. For years, I wore that encounter as a badge of honor-- you know, a "nobody intimidates me" kinda thing. And I still think it made me a tougher journalist. Still, when I heard of Strummer's death, I couldn't help but a tiny piece of me died, too. And, man, nobody rocked like the Clash!
3 - Connie Phillips
Congrats! This article has been forwarded to the Advance.net websites and Boston.com.
4 - Mark Leier
What I remember most about the Clash is the response their first album had on listeners at various parties I'd take the disc to. It was a bootleg copy - stamped not for sale - and was the UK version minus the additional cuts later added for the US pressing.
In a land of Journey and Ted Nugent, the moment Janie Jones or Career Opportunities was heard, the line was immediately drawn between those who got it, and those who did not. I must have played their first album for months . . nearly once a day, back in early 78 after first purchasing it.
A a music journalist presently looking for work ( my publisher dissolved her commitment to print for a stab at politics: can you believe that? ) I find the Clash to be among the top five percent of rock bands that actually matter.
Mark Leier