What's the best rock album of the 1980s

A.� According to American rock bible Rolling Stone magazine, you'd be looking at London�Calling by The Clash, although if you want to be precise, it was actually released in December 1979.

�< xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

Q.� What makes it such a classic �������

A.� The musical styles explored by The Clash on this double album were considered revolutionary at the time, certainly for a band that was known as one of the front-runners of the punk explosion. The Clash took the original three chord thrash and built an entirely new and eclectic range of musical sounds and styles, a concept that was unheard of at that time. True to their punk and working class origins, The Clash insisted that although the album was a double, it was to sell for the price of a single album to ensure that their fans, a large number of which were unemployed, could still afford to listen to their music.

�

Q.� What were some of the styles the band explored

A.� Although rooted in the pure energy and staccato attack of punk music, The Clash were listening to reggae, blues, a little disco, some country, and elements of all those styles surfaced within the musical landscape of the album.� The bedrock of the record was the political stance adopted from Day One by the band, and never compromised�- songs like London Calling with its bitter diatribe against the right-wing government of the time, Spanish Bombs, and The Guns Of Brixton, all of which gave a far more articulate voice to the disaffected youth of the UK than almost anyone had tried previously. The song Lost In The Supermarket built on the band's previous and equally scathing attack on consumerism, with I'm So Bored With The USA. With Rudie Can't Fail, the band nod in the direction of Bo Diddley, not a name most of their fans would be familiar with, but that is what makes the album that bit more exciting than the standard two minute blitzkrieg of the rest of the punk scene.�The Clash were bona fide musicians, and not ashamed to use their talents to filter their influences into their best album.

�

Q.� Isn't it all a long time ago now

A.� It is, but history has increased both the impact and the value of the London Calling album. Rock fans looking back to trace their own favourites' influences usually come up against this album, which is still a benchmark in the history of political song writing. The title track has even enjoyed a new lease of life, and probably picked up a few new fans, with its inclusion in the soundtrack for the film Billy Elliott.

�

Q.� Is there any line that sums up The Clash, and this album

A.� It's "London calling, now don't look to us, phoney Beatlemania has bitten the dust." Even as they were� being hailed as punk and rock and roll messiahs, The Clash were busy distancing themselves from any notion of hero worship, the very horror that punk was born to destroy.

Q.� What about that cover shot

A.� It lives on as one of the great album covers of all time. Photographer Pennie Smith was on hand to see Paul Simonon taking his frustration out on both his bass and the stage of New York's Palladium Theatre in September 1979. The frozen moment of anger which symbolises the feelings of a generation has a more prosaic memory for Simonon himself. He wishes he'd used his spare bass to vent his temper; it was an inferior instrument to the one he destroyed, although he still has the pieces. Simonon's other big regret is being blissfully unaware that his single action would be frozen in time for ever�- if he'd known, he says he'd have lifted his head up to show his face to the camera.

�

If you have a musical question, and you'd like an answer, click here

By Andy Hughes