Pennie Smith’s photo essay on the Clash is a rich visual portrait of the stylish “only band that matters” throughout their career. Smith, a photographer for the stalwart London music publication New Musical Express, was engaged by manager Bernie Rhodes to document the band, and is probably best known for the iconic cover of the band’s definitive musical statement, London Calling.
The photographs throughout the book tell the story of a band at their peak; they seem to be completely in the moment, both aware of, and having fun with it. Smith’s work is exclusively black and white and the medium perfectly captures and complements the band’s “noir” neo-30s gangster style.
While London Calling is easily the best-known photograph, fans of the band will recognize many of these snapshots and portraits; the band would return again and again to Smith’s work, and for good reason — the Clash were very effective at myth-making and self-mythologizing and Smith’s work helped them define that image.
Before and After is arranged in sections (“Posing,” “In Search of the Perfect Costume,” “Hanging Around” and even “Breakfasts”!) and almost all of the photographs incorporate captions from a band member or two and sometimes Smith herself. It is here where one really gains some insight into the band’s personalities. They are, at times, smart, sarcastic, and often quite funny, and it is their observations that really contribute to the visual narrative. Drummer Topper Headon’s “modeling” of hats, including Joe Ely’s cowboy hat, is one such running gag, with some pretty funny sidebar commentary from Strummer.
This is much more than just a book of band photos and it provides an incredibly personal perspective into relationships and life on the road within a band. That the band being documented is one with the visual style and musical and cultural importance of the Clash is something to relish.
Highly recommended.
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