Most Helpful Customer Reviews
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65 of 77 people found the following review helpful:
4.0 out of 5 stars
Finally, The Live Clash We've Been Waiting For (Almost), November 23, 1999
Pop Kulcher Review: A mere 20 years in the making, we finally have an official live release from what was, for a brief shining moment, the Only Band That Mattered. And let's get right to it, you need to own this. Period. That said, though, there are a whole lot of downsides to this album, and I can't help but be disappointed. Among the faults:1) While the title is merely bad, the cover art is downright terrible. Granted, in the age of the compact disc, album cover art is of decreased relevance; and the Clash (with the exception of London Calling's inspired Elvis Presley take-off) were never known for their tasteful cover art. But this is the pits. 2) The concept, while somewhat clever, ultimately doesn't work. The album is a hodge-podge of live tunes from throughout the band's 6-year lifetime, arranged not in order of performance, but based on the age of the song (i.e. moving from the oldest songs to the newest songs). Although that might work for a greatest hits collection, the effect here can be a bit jarring. Though the songs are carefully segued together to give the appearance of a single performance, they can't hide the variations in sound quality. Unlike, say, the Grateful DeaD, who meticulously recorded every performance straight off the soundboard and carefully archived each show, recordings of Clash performances (as bootleg collectors know) are a bit sketchier. So while they have cleaned up the sound quite a bit, there are noticeable changes in sound quality from song to song. Coupled with varying instrument mixes and performance quality, it all gets a bit unsettling if you listen too closely. 3) The song selection is, at best, highly questionable. Sure, any collection of this nature is going to cause disagreements among fans, but the choice here seems particularly dubious. Of the 17 songs, 7 are from the band's debut (I could list 2 dozen songs I'd rather hear than "London's Burning" and "What's My Name"), and 3 are from their weak swan song Combat Rock. That means there are no songs from Give 'Em Enough Rope, an album with a few outstanding numbers which, given that album's much-criticized production, would have been particularly worthy of live treatments. And Sandinista, the band's 3-lp opus, gets a mere one track here. Instead, we're stuck with the interminable "Armagideon Time" -- I suppose they wanted to have a representative of their reggae/dub flirtation, but it's hardly essential. So, whining aside, is this still great? You bet. Tunes like "Career Opportunities" and "White Man in Hammersmith Palais" (from the debut) and "Capital Radio" and "City of the Dead" (underplayed singles from the Black Market Clash collection) are absolutely riveting; "The Magnificent Seven" is so hot you'll never want to hear the studio version again; and "Train in Vain," while derided by the band's punk loyalists as a radio-friendly sell-out, confirms its status as one of the premier pop songs of the rock era. So, yes, by all means buy this; maybe if enough interest is shown, they'll treat us to an official release of an actual show, warts and all, rather than a flawed collection of live snippets.
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10 of 10 people found the following review helpful:
5.0 out of 5 stars
WOW - An incredible live album!, December 13, 2001
I'm not usually a fan of live albums, but "From Here To Eternity" is a much-appreciated exception. Any one who doubts the Clash's greatness, needs only to hear this album. Yeah, I would like to have "Safe-European Home," "Bankrobber," and something else from "Sandinista!" on the album, and I could do without "Armigideon Time," but that's mere quibbling. The song selection is generally outstanding, the recording quality is as good as you could hope for in a live recording (strong and clear, while still sounding 100 % live), the energy is sky-high (Strummer on "Know Your Rights" or Jones on "Train In Vain," e.g.) and, to top things off, the Clash jazz their songs up just enough to make it fresh and compelling. I, in fact, PREFER a few of the songs on this CD to the originals (and I love the originals), including absolutely stellar versions of "White Man in Hammersmith Palais," "What's My Name," "Know Your Rights," "Straight to Hell," and "Guns of Brixton." I've always heard the Clash were amazing live, and this album proves it to me. Man, I wish I had been there!
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11 of 13 people found the following review helpful:
5.0 out of 5 stars
Not perfect, but awfully good!, April 6, 2008
The Clash were one of the greatest of the punk bands. Their music was raw, their lyrics often angry. This is a live album, with a twist that is somewhat problematic. This is not a single live performance, but bits and pieces of live performances from 1978 through 1982. There are 17 songs on this CD, most of which are well done indeed. Any such album will leave one wondering why some things were included and others not. But that is inherent in the process.
The CD begins with "Complete Control" and ends with "Straight to Hell." Let's take a look at a sampling of songs.
"Clash City Rockers" features raw guitar work and a strong rhythm section backing primal vocals. This is a compelling piece of work.
Another fine work, "I Fought the Law." The key recurring refrain:
"I fought the law
And the law won."
At another point:
"I needed money and I had none.
I fought the law and the law won."
This is a classic outlaw song. Some overdubs occurred with this song back in the studio to correct technical deficiencies in the recording of the concern version.
One of my favorite Clash tunes is "London Calling," with its familiar and dramatic opening chords. This is a political song, including railing against "phony Beatlemania." A typical line:
"London calling to faraway towns
Now that war is declared--and battle come down."
Something very different in "Train in Vain."
"Say you'll stand by your man. . .
Stand by me."
A more sentimental song (albeit hard rocking), very unlike "London Calling" or "Guns of Brixton."
Then, the chilling "Guns of Brixton." A hard-edged song, with raw vocals and instrumental work. Telling lines:
"When the law breaks in,
How you gonna go?
Shot down on the pavement
Or waiting in death row."
This song typifies the hard-edged punk of The Clash against established authority.
Finally, a more personal (but still rocking) song, "Should I Stay or Should I Go." Another intimate relationship song.
"Should I stay or should I go?
Tell me now
Should I stay or should I go."
Despite the many rough, political songs, here the work is about staying with your partner until the end of time (if the answer to "Should I stay" is yes) or be set free (if the answer is no). The music is typically Clash raw.
So, the rawness of these live performances is terrific (despite the weird premise of different performances from different times). The sound is more primal than on the albums (where the sound is pretty raw itself). This is a must listen for fans of this group.
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