Passion Is a Fashion: The Real Story of the Clash

by Pat Gilbert

Book Overview

The only internationally successful, million-selling group to emerge from the late seventies London punk scene, the Clash set out to change the world with a potent mix of politics, iconic imagery, and blazing rock 'n' roll. It was an agenda mirrored in the Clash's music, which swiftly evolved from ferocious punk rock to incorporate reggae, ska, funk, jazz, soul, and hip-hop. Passion Is a Fashion draws on over 70 interviews with the key participants...

• Format: Paperback
• Language: English
• ISBN: 030681434X
• ISBN13: 9780306814341
• Release Date: May 2005
• Publisher: Da Capo Press
• Length: 424 Pages
• Weight: 1.29 lbs.
• Dimensions: 1.1" x 6.3" x 8.9"

Customer Reviews

Passion for The Clash

A great,detailed and thorough history of The greatest Punk band ever. This is a MUST READ for anyone interested in the origin of contemporary rock music. The author delves into the personal history of the band members from childhood on. Pat Gilbert obviously has a passion for The Clash as every band today should and probably does. This book is an amazing overview, easy to read and impossible to put down. I bought this for myself but my 14yr. old son "permanently borrowed" it from me, reading it like crazy(he's not fond of reading) and I couldn't be happier. Thank you Pat Gilbert for writing this awesome book!!!!!

Very impressive book - welcome to 1970s South London

This review applies to the 2004 hardcover edition. I knew a reasonable amount about The Clash before reading this book but the author here opened my eyes to a number of things and helped to confirm some of my ideas and reject others. This is an academic book in the sense that any university sociology or history department type would or should respect the high standard of scholarship here - painstaking research involving interviews with a large number of band friends, business associates and childhood and youth buddies - and objective and intelligent analysis throughout. Although the research is detailed and Gilbert takes the subject matter seriously, the writing is still lively and captivating. The book first traces the childhoods, youth days and former bands of all members individually which is fascinating and well researched. A lot of this information would be new to even the diehard fans. It's fascinating to read about and see a picture of Mick Jones' gran's 18th floor council flat in South London overlooking the Westway - where Mick "practised daily in my room" according to the song Stay Free. We also get to learn about Mick's close friend, also written about in Stay Free, who in real life did serve time for a bank robbery offence. The art-school beginnings and the "squatting days" in early 1970s London (living in vacated houses under the Westway without paying rent) and the members' pre-Clash bands are well documented. Overall, Gilbert does an excellent job in helping the reader recreate in his/her mind the world of 1970s South London where the Clash story was played out. That is one of the book's great strengths in my opinion. The book demolishes some punk myths, but keeps others alive. Firstly, the book demolishes the cherished idea that The Pistols and The Clash were working-class lads who met up, decided to form a band, and sing about social and political topics. There is some element of truth in that idealised view. However, the bands' respective managers, Malcolm McLaren of The Pistols and Bernie Rhodes of The Clash, clearly manufactured the bands to a certain extent based on their personal visions of what they wanted to achieve. Joe clearly understood this and was willing to co-operate with Rhodes to achieve common goals - but Mick was less supportive, being more of a traditional old-time rocker. Gilbert clearly describes the social changes affecting Britain in the late 70s - the rise to power of the Thatcher right-wing government and the first wave of West Indian immigrants into London (and especially Brixton). We see how all band members had a genuine and sincere desire for racial harmony - they were fascinated by Jamaican reggae music and later New York hip hop. The bands' involvement in anti-racism gigs and sharing the stage with acts such as Bo Diddley and Micky Dread were extremely influential in contributing to the unity of the streets. Another Clash myth that the book does not debunk but strengthens is t

Just the info I wanted to learn

I'm a big Clash fan. I don't read books that often. Usually magazine articles. In fact, I purchased the 2 Clash special issues from both Uncut and from Mojo. Both were wonderful with many pictures and lots of info about the making of the records. This book has only a few pictures, basically, it's only weakness. The ones it has are nice. Each band member is given a biography treatment, like four small such books in this one, as it should be, because a band is a group of folks who choose to come together and stay together, as long as they do, to make the music. And these four guys really did it. Just listen to the music they created, both on record and live recordings. We get more than biography of the band members. The book is written like threads of a rope being pulled together. So there is also info about the various people in the band's life, not hangers on but roadies and the band's version of managers. I was pleased, as a punk for 27 years, to see how the band made it a point to invite fans backstage with them and speak to them, part of the breaking down of the barrier between bands and fans that punk accomplished in a big way. At the same time the Clash were on the CBS label. However, there were numerous punk type bands on big labels in England where that was quite rare in the U.S. And the Clash made it a point to not get sucked into the big business music machine and get turned into fluff haired sugary pop meisters to appeal to the masses. They made their music and CBS shipped it off to those who would appreciate it. Of course, there was plenty of back and forth between the band and the company while the Clash were part of the punk movement, redefining a band's relationship with big business. Thank goodness they didn't go the small do it yourself way, we'd likely never have gotten our hands on their records and they'd just be total rarities now. It's odd to read about Bernie Rhoades, the guy who conceptualized putting the band together in the first place. In 1976 someone needed to invent it. This was a new path music was traveling in general and the Clash specifically. Sadly, we learn that this guy, while he helped bring the band to life as a unit, operated by making people feel insecure and unsure of their own fellow team members. We get to learn about the impact of drugs on the band. The more I listen to the Clash over the years the more I'm impressed with Topper as their drummer. He is able to modify his playing to whatever is appropriate for each song truely supplying the foundation for most of the songs. It's clear that Mr. Gilbert has a strong affection for this band yet presents their story in a fact based manner that is very readable. I also appreciate the listing of the various records they released with song listings at the back of the book. I have a much fuller understanding of the band now than I did before I read this book. I also found it very satisfying to read about the making of each of the

A WARM AND AFFECTIONATE BACKSTAGE ACCOUNT

Fans of the Clash are blessed these days with so much media on the band, it's as if they never broke up. Between the internet, DVDs and several worthy books on the band, there's more Clash material out there now than ever before. Pat Gilbert's book is a welcome addition to the canon. As has been noted, Pat was allowed access to the band and their inner circle and many intriguing details missing from the other books are filled in. This book is an excellent companion to Marcus Gray's Return of the Last Gang in Town, for the two books look at the Clash from different angles and their differing outlooks compliment each other quite nicely. With insider quotes coming so fast in furious in its pages, Passion acts almost as an oral history. Many of the gaps in Gray's book are patched by the band themselves, such as the lost year of 1983 (when the band was idle and wasn't dealing with the press). A great read for fans of the Clash and for anyone interested in the last Classic Rock and Roll band.

(Almost) The Only Clash Book That Matters

If only one Clash book is going to grace your shelves, it should be Pat Gilbert's "Passion is a Fashion." Gilbert, diligent music journalist he is, has gotten interviews with our beloved Joe, Mick, Paul and Topper (a feat Marcus Gray, author of the decade-old, the oft-maligned "Last Gang in Town" never managed). Particularly insightful are comments and insights the band members give after Joe's untimely death, and the knowledge of such imparts a poignancy to Gilbert's liquor-fueled interviews with Strummer. But Gilbert has also tracked down the erstwhile Bernard Rhodes, the "complete control" genius/maniac who managed the Clash in their early days and then again as they broke up. His quotes are marvelously irreverent and mythic, and are a part of the Clash history often overlooked. As for the tale itself, Gilbert tells it with economy and precision (I think it's two-thirds the book that Gray's was), with lots of info even this diehard Clash aficionado was unaware of. Gilbert covers all the highs of the band--the knockout debut album that defined a generation and a whole new vocabulary of music and pop-culture style; the artistic triumph of "London Calling"; the outrageous intensity of their live shows; the conquering of America with "Rock the Casbah" and a Top 10 album... and then the fallout. Gilbert covers the last days of the Clash, including interviews with the usually forgotten members of Clash mark II, who seem unwilling to discuss it. It's an ignoble end to an often noble and great band, written out of Clash mythology--I don't blame them. But enough time has passed that we can see the problems involved, which Mick and Paul talk about more openly than in previous interviews. The book comes with a complete Clash discography as well as a bibliography, but one thing it lacks is a wealth of photos. There are a couple never-before-seen photos, but as Gilbert discusses, say, the changing look of the band (from Pop Art lettrism to black-and-white gangsters to military fatigues) some accompanying pics would've been nice. So, be sure to pick up Bob Gruen's peerless book of Clash photography, "The Clash," which spans just about the entirety of their career. Clash PR man and confidant Kosmo Vinyl best sums up the inherent contradictions of the Clash this way: "We had so much fun robbing the bank, we forgot to take the money!"