As a mix of personalities, the
Clash was a perfect engine. Joe Strummer was the
blast of powerplant at centerstage,
carburetion at full choke, trying to contain the
throttle and never quite suceeding.
Mick Jones was the transmission, downshifting through the corners, choosing musical gears from a tri-racial
melange of style that took generes and Clash-ified them. He was considered the
most musicianly, in public, at
gigs and in the studio. Paul Simonon---well he'd have to be the driveshaft, because it was aesthetic sense,
his knowledge of painting, his use of sculplture (especially the slabs of Carreran marble that characterized
his bass playing) and pliocene
sensuality---that visualized the band's look and touch. And Topper Headon, who replaced Terry Chimes,
was the wheels, laced
and true, capable of fine spinning
as the band took on the road of rock's established order.
Lenny Kaye, fall 1991
(from the 'Clash on Broadway' booklet)
