The Clash – From Here to Eternity: Live

What I Think of When I Think of This Artist (part 6)

The Clash were one of those bands that was greater than the sum of its parts. After being fired, Mick Jones formed General Public (with David Wakeling and Ranking Roger of the English Beat, as well as Horace Panter from the Specials, and the drummer from Dexy’s) and then Big Audio Dynamite, later partnering with Tony James (Generation X, Sigue Sigue Sputnik, Sisters of Mercy, and who had been in the London S.S. with Jones and Terry Chimes in their pre-Clash days) in Carbon/Silicon. He also produced the first two Libertines albums. Paul Simonon debuted Havana 3a.m., found success as a visual artist, volunteered as a Greenpeace activist, and then joined the Good, the Bad & the Queen. Strummer, as unlikely as it seems, collaborated with Jones on the second B.A.D. album, worked with the Pogues, did some acting, and then convened the Mescaleros. He died in 2002 of a congenital heart defect. Terry Chimes sat behind the kit for a diverse line-up including Black Sabbath, Hanoi Rocks, and Johnny Thunders and the Heartbreakers; he then became a chiropractor. Topper Headon released a solo album and endured drug addiction and health problems.

What I Think of This Album

Cobbled together from shows spanning a five year period and two continents (to say nothing of two drummers), From Here To Eternity: Live is exactly the compelling document it should be. And because the album pulls from so many different concerts, there is no actual sequence to follow, though it is expertly edited together. Consequently, the album runs from roughly the start to the end of the Clash’s recording career.

The first nine songs are taken from the Clash and a couple of singles, while the rest come from London Calling and Combat Rock, augmented with one B-side. It’s a blistering set of performances proving that the band was as indeed a live juggernaut. Notable moments include Joe Strummer’s ad lib paying tribute to Sam the Sham and the Pharaohs during the spoken word part of “Capital Radio” and an extended version of “Train In Vain.”

The Best Thing About This Album

The best thing is that this exists, and saves one from having to search out dubious bootlegs.

Release Date

October, 1999

The Cover Art

Meh. Points for trying, I guess.

Leave a Reply

Your email address will not be published. Required fields are marked *

Proudly powered by WordPress | Theme: Baskerville 2 by Anders Noren.

Up ↑