Read NextRoyal Blood Debut New Song 'Limbo' in Wild Virtual Performance on 'Roblox'


There was a time when The Clash embodied all that was noble about punk. They understood the difference between apocalypse & mere antistyle và, as songwriters, singer-guitarists Joe Strummer và Miông chồng Jones had the gift of grab. The reggae-rap-pop Esperanto lớn of the band’s epic productions, London Calling & Sandinista!, was a blueprint for the Eighties black-Trắng crossover khổng lồ come; those records also anticipated the hard-core excursions of the Hüsker Dü generation.

Bạn đang xem: Cut the crap meaning, definition, examples, origin, synonyms

Sadly, Cut the Crap sounds like the last nine years never happened. London’s still burning; so are Liverpool, Central America and the Middle East. But this album — the group’s first since Mick Jones’ unceremonious firing in 1983 on dubious political grounds — is the sound of the Clash just blowing smoke, thrashing in desperation under Strummer & bassist Paul Simonon’s uncertain leadership. In Jones’ absence, they have sầu beat a retreat bachồng lớn buzzsaw basics, abetted by controversial manager Bernard Rhodes, who boldly assumes coauthorship of the LP’s twelve sầu songs with Strummer. The three new members featured here (who departed after the LP’s release, along with Rhodes) are little more than bit players, however, filling out the sound with dutiful bluster but rarely kicking it to lớn life.

Xem thêm:

“We Are the Clash” is a typically empty gesture, an ordinary punk hurrah further cheapened by its hokey massed Oi! choir — a transparent gimmick used far too often throughout the album. “Dictator,” on the other h&, is Sandinista! gone haywire, opening with martial guitar-and-drum-rolls before collapsing into a frightful mess of “found sounds,” shotgun blasts of off-key synths và electronic percussion pushing hard against the band’s torpebởi vì drive sầu. When they concentrate on straight thump & roll, this otherwise listless Clash gets up a decent head of steam. “Dirty Punk” hearkens baông chồng to lớn the brash Clash of “Capital Radio” & Sandinista!‘s “Police on My Back.” But too much of Cut the Crap is Strummer’s angst running on automatic, superficially ferocious but ultimately stiff và unconvincing.

If Cut the Crap is a cheat, then Miông chồng Jones’ new bvà Big Audio Dynamite is an unexpected gamble. “That old time groove sầu is really nowhere,” Jones shrugs in “The Bottom Line,” brusquely dismissing Strummer’s retropunk didacticism. Instead, he continues, “I’m gonna take you lớn part two,” which on This Is Big Audio Dynamite is an intoxicating subversion of Eighties dance-floor cool with Sandinista!‘s dub-funk turmoil. A chilling mô tả tìm kiếm of suburban kids duped by rock-star fantasies & angeldust dreams, “Sudden Impact” skips along in its black humor lớn a Eurodisteo hop clouded by Jones’ deadpan vocal and Don Letts’ eerie tape effects. On “A Party,” a glib sketch of the apartheid explosion, bassist Leo “E-Zee Kill” Williams heats up the song’s reggae voodoo with an evil pulse distantly related to lớn Public Image Ltd.’s “Death Disco.”

Jones & Letts don’t exactly write songs; “Sony” and “Bad” are dark skeletal grooves over which Jones catalogs in his brattish reedy voice “the things that make me crazy … the things that make me bad.” The result is a kind of ambient hard-core that works best, as in “E=MC2,” when the band adds a little ditty to the dread. This Is Big Audio Dynamite hardly transcends the Clash’s finest hours, but for Jones it is a new beginning. With Cut the Crap, one might well wonder if Joe Strummer’s at the end of the road.