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(For the most part, Strummer wrote the lyrics to Jones’s music, but on many songs those lines blurred.) They had a tall good-looking guy, Paul Simonon, on hand, who, somewhat miraculously, turned into a strong bass player, and, on and off, a powerful and appropriate drummer, Topper Headon. That would have unthinkable at the band’s early days, when they made their name being the Sex Pistols’ less nihilistic cousins, barking out punk aperçus like “I’m So Bored With the U.S.A.,” the avatars of a scene whose very name was synonymous with uncommerciality.Īs time went on, we could suss the group out: a slightly poetic and deceptively able guitarist, Mick Jones, tied to a diminutive but full-throated buffalo of a front man, Joe Strummer, whose lyrics were a maelstrom of political doggerel, but always (well, generally) with a deeply human heart.
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After the demise of the Sex Pistols, they remained the reigning aesthetic embodiment of an authentic, radical art movement rife with provocations and contradictions. They recorded the equivalent of nine records in six years, including two or three of the greatest rock-and-roll records ever, and possibly the greatest album of all time ( London Calling) along the way. And they did what they did, made the world come to them, and felt guilty about it.