Strummer leaves behind his family (wife Lucy, their two daughters and another stepdaughter) and an estimable legacy as a founding member of one of the most important bands of the punk-rock era, if not the rock-and-roll era; for so many, the soundtrack of Christmas 2002 has turned into mournful days and nights now spent listening to The Clash, London Calling, Sandinista! and Combat Rock. It's hard at this moment not to recall the lyrics to "Up in Heaven (Not Only Here)" from 1981's Sandinista!, the Clash's slovenly masterpiece: "Every hour's marked by the chime of a clock/And whatcha gonna do when the darkness surrounds?/You can piss in the lifts which have broken down/You can watch from the debris the last bedroom light/We're invisible here just past midnight."
Though news of his death comes as a sickening shock--for some of us, Strummer, of all punk's fathers, seemed the most resilient and immortal--perhaps it's fitting he died of a heart attack: No one of that era had more heart or possessed so much soul. Where so many other bands made noise to agitate and annoy, the Clash played as much to inform as irritate; theirs was the sound of a revolution that began in the garage and swept across the globe, the combat rock made by rebels who fired endless salvos at government corruption and societal complacency. "The Clash sang fiercely about problems and weakly about solutions because the members were true punks, and of the devil's party without knowing it," Rob Sheffield touchingly wrote in the Spin Alternative Record Guide in 1995. Seven years on, it turns out to be a fitting eulogy.
What makes Strummer's death all the more upsetting is that Strummer, Mick Jones (who recently joined Strummer onstage after nearly 20 years to perform "Bankrobber," "London's Burning" and "White Riot"), Paul Simonon and Topper Headon were due to reunite in New York City in March 2003, when the band will be inducted into the Rock and Roll Hall of Fame. Now, Strummer will be absent from the podium; on December 22, a celebration was rendered a memorial service.
A year ago, I spoke with Strummer about his last album with his band the Mescaleros, Global A Go-Go, and the Clash's legacy. What follows are excerpts from the conversation.
Dallas Observer: This morning I read an interview you did in 1981 with Musician magazine and Robert Fripp. You talked about the feeling of creating music and how, at its best, you don't know where it comes from and about how rare those moments are.
Joe Strummer: The whole point is to shut off the front mind and get to that point. It's like, say a musician comes to overdub on a track. Ten to one, they always have a run-through and do all the good stuff when they're just running through it, and then as soon as you go, "Right, what am I gonna do on this track?"--as soon as the analytical side comes in--then everything deteriorates. It's really weird. It's trying to unlock the human mind, but it's very difficult, because if you think about what you're doing, you've already lost it.
DO: How do you keep the analytical mind out of the emotional mind?
JS: First of all, you have to smoke a lot of weed. [He laughs.] This seems to help, just to turn life out for a minute. Also, you have to be brave enough to let yourself go, so to speak. Say you're approaching a part in the song--say you're overdubbing or singing on top of something--I find as soon as fear sets in, you've lost it. You've got to trust something's going to come out of your mouth or your guitar worth having when you approach a difficult section or just don't know what to do. This is one of the big moments. When you don't know what to do, you gotta fling yourself at it with blind trust, I would say, that something's gonna happen. Even though you might not have anything prepared, you gotta get rid of the fear. You better go and have a cup of tea if you've got the fear up, because you're not gonna do it, I reckon.