{"id":15931,"date":"2008-10-06T13:00:00","date_gmt":"2008-10-06T11:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/the-clash-punk-that-learned-reggae-funk-and-scale\/"},"modified":"2026-09-26T23:58:39","modified_gmt":"2026-09-26T21:58:39","slug":"the-clash-punk-that-learned-reggae-funk-and-scale","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/the-clash-punk-that-learned-reggae-funk-and-scale\/","title":{"rendered":"The Clash &#8211; El punk que aprendi\u00f3 reggae, funk y gran escala"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">Del Westway a London Calling: velocidad punk, luego un mapa m\u00e1s amplio<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">The Clash se formaron en torno al Westway, la autopista elevada de hormig\u00f3n que atraviesa el oeste de Londres, y se tomaron esa geograf\u00eda en serio. Joe Strummer hab\u00eda liderado los 101ers, un grupo de pub-rock, antes de que el momento punk lo atrajera hacia un proyecto m\u00e1s intencionado. Mick Jones ven\u00eda de Hammersmith con una discoteca cargada de rock americano y un o\u00eddo para las guitarras gemelas al estilo de Thin Lizzy. Paul Simonon tom\u00f3 el bajo despu\u00e9s de unirse al grupo por su imagen y su actitud. Terry Chimes ocup\u00f3 el asiento de la bater\u00eda hasta que Topper Headon lleg\u00f3 en 1977 y complet\u00f3 la secci\u00f3n r\u00edtmica del per\u00edodo cl\u00e1sico.<\/p>\n<p style=\"text-align: justify;\">The Clash (1977) lleg\u00f3 un mes despu\u00e9s del Never Mind the Bollocks de los Sex Pistols y estableci\u00f3 de inmediato una agenda diferente. Mientras los Pistols trabajaban la confrontaci\u00f3n como teatro, The Clash trataban la confrontaci\u00f3n como programa de estudios. Diecis\u00e9is canciones a un ritmo quemante, con versiones de reggae &#8211; \u00abPolice and Thieves\u00bb de Junior Murvin colocada entre originales sobre el desempleo, el aburrimiento y el fascismo prestado. La producci\u00f3n era seca y directa, la mayor\u00eda de los temas bajo los tres minutos. CBS se neg\u00f3 a distribuir el disco en Am\u00e9rica, lo que lo convirti\u00f3 en un objeto de culto importado en el mercado estadounidense durante dos a\u00f1os.<\/p>\n<p style=\"text-align: justify;\">Give &#8216;Em Enough Rope (1978) trajo a Sandy Pearlman como productor, engordando el sonido de guitarra hacia un p\u00fablico de rock americano. El contenido pol\u00edtico permanec\u00eda &#8211; \u00abTommy Gun,\u00bb \u00abEnglish Civil War\u00bb &#8211; pero las texturas evolucionaban hacia algo m\u00e1s familiar para los aficionados al hard rock. Sin embargo, el grupo avanzaba m\u00e1s r\u00e1pido que el disco. Sus conciertos integraban ska, dub y rockabilly junto a los originales punk, y su p\u00fablico empezaba a reflejar esa diversidad.<\/p>\n<p style=\"text-align: justify;\">London Calling (1979) es el disco que oficializ\u00f3 esa amplitud. Dos LPs al precio de uno, producido por Guy Stevens, transitaba del reggae (\u00abThe Guns of Brixton,\u00bb escrito y cantado por Simonon) al rock and roll (una versi\u00f3n de Vince Taylor, \u00abBrand New Cadillac\u00bb), del ska (\u00abRudie Can&#8217;t Fail\u00bb) a la balada lenta (\u00abTrain in Vain\u00bb) sin parecer nunca un ejercicio de g\u00e9nero. Strummer y Jones escrib\u00edan r\u00e1pido y arreglaban en el estudio. El tema inicial abre con la voz de Strummer sin efectos sobre una figura de bajo y guitarra que todav\u00eda suena m\u00e1s a anuncio que a canci\u00f3n. El disco entr\u00f3 en el top diez brit\u00e1nico y encontr\u00f3 su p\u00fablico americano a trav\u00e9s de la radio universitaria y las giras.<\/p>\n<p style=\"text-align: justify;\">Sandinista! (1980) empuj\u00f3 el experimento a\u00fan m\u00e1s lejos, quiz\u00e1s demasiado: un triple \u00e1lbum que se extend\u00eda por el dub, el gospel, estructuras pr\u00f3ximas al hip-hop naciente, voces de ni\u00f1os y piezas ac\u00fasticas. Contiene algunos de los trabajos m\u00e1s interesantes del grupo y parte de los menos esenciales. \u00abThe Magnificent Seven\u00bb fue una de las primeras incursiones de un grupo punk brit\u00e1nico en las estructuras del rap primitivo, grabada antes de que la mayor\u00eda de los grupos de rock americanos hubieran reparado en el g\u00e9nero. Combat Rock (1982) recuper\u00f3 el formato comercial y entreg\u00f3 \u00abRock the Casbah\u00bb y \u00abShould I Stay or Should I Go,\u00bb los dos mayores hits. Luego Headon se fue por dependencias, Jones fue despedido, y Strummer intent\u00f3 mantener el nombre con sustitutos. En 1985 hab\u00eda terminado.<\/p>\n<p>[\/vc_column_text][vc_single_image image=\u00bb15912&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_175887900012954{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Las influencias son legibles pero no simples. El R&#038;B y el rock and roll americanos &#8211; Berry, Presley, Cochran &#8211; ven\u00edan del juego. El reggae y el dub jamaicanos ven\u00edan de una escucha genuina: el grupo estaba comprometido con la pol\u00edtica rastafari y la cultura del sound system jamaicano, sin usar el estilo como decoraci\u00f3n. La escritura de guitarra de Mick Jones le deb\u00eda algo a Mott the Hoople y al glam rock de su adolescencia. La lectura pol\u00edtica ven\u00eda de la historia de Strummer y de la filosof\u00eda de gesti\u00f3n de Rhodes.<\/p>\n<p style=\"text-align: justify;\">S\u00f3nicamente, The Clash eran un cuarteto que ocupaba m\u00e1s espacio del que su n\u00famero permit\u00eda suponer. Las pistas de guitarra de Jones estaban frecuentemente dobladas o superpuestas. El bajo de Simonon estaba mezclado prominentemente en los \u00faltimos discos, una decisi\u00f3n que da a London Calling su peso f\u00edsico. La bater\u00eda de Headon era ins\u00f3litamente consciente del funk para un grupo punk: su groove en \u00abLost in the Supermarket\u00bb y \u00abTrain in Vain\u00bb no es lo que uno espera de un grupo formado en squats y conciertos ben\u00e9ficos. La tensi\u00f3n entre el contenido pol\u00edtico y la accesibilidad musical era la contradicci\u00f3n productiva del grupo.<\/p>\n<p style=\"text-align: justify;\">Las puertas de entrada dependen de lo que se busca. London Calling abarca la mayor amplitud y tiene la calidad m\u00e1s constante de canci\u00f3n en canci\u00f3n. The Clash (1977) para la velocidad y la franqueza originales. Combat Rock para los hits y la escritura pop m\u00e1s ajustada. Para algo m\u00e1s extra\u00f1o, Sandinista! recompensa la escucha selectiva: navega por \u00e9l y encontrar\u00e1s \u00abMagnificent Seven,\u00bb \u00abThe Call Up\u00bb y \u00abSomebody Got Murdered\u00bb en medio de experimentos m\u00e1s largos. Frente a los Sex Pistols, los Jam o los Buzzcocks: los Pistols eran provocaci\u00f3n controlada; los Jam eran ingleses y met\u00f3dicos; The Clash absorb\u00edan perpetuamente un nuevo g\u00e9nero y a veces lo lograban de un modo que ninguno de esos grupos alcanz\u00f3.<\/p>\n<p style=\"text-align: justify;\">La raz\u00f3n para volver no es la nostalgia de 1979. The Clash hicieron audible el contenido pol\u00edtico a p\u00fablicos que no lo buscaban, haciendo mover la m\u00fasica, manteniendo los grooves lo bastante profundos para la pista de baile, y escribiendo estribillos lo bastante s\u00f3lidos para sobrevivir a la ideolog\u00eda. London Calling sigue siendo la prueba m\u00e1s clara: no requiere ninguna inversi\u00f3n previa en punk o reggae para funcionar, y las canciones todav\u00eda dicen algo concreto sobre el mundo en el que fueron escritas.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>The Clash se formaron en Londres en 1976 alrededor de Joe Strummer, Mick Jones, Paul Simonon y un puesto de bater\\u00eda inestable que encontr\\u00f3 su lugar definitivo con Topper Headon.<\/p>\n","protected":false},"author":1,"featured_media":15904,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[299,301],"tags":[313,495],"class_list":["post-15931","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-criticas","category-grupos","tag-alternative-indie-punk-es","tag-the-clash-es"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Clash - El punk que aprendi\u00f3 reggae, funk y gran escala - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/the-clash-punk-that-learned-reggae-funk-and-scale\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Clash - El punk que aprendi\u00f3 reggae, funk y gran escala - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"The Clash se formaron en Londres en 1976 alrededor de Joe Strummer, Mick Jones, Paul Simonon y un puesto de bateru00eda inestable que encontru00f3 su lugar definitivo con Topper Headon.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/the-clash-punk-that-learned-reggae-funk-and-scale\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2008-10-06T11:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-09-26T21:58:39+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2026\/09\/TheClash.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"700\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:site\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/grupos\\\/the-clash-punk-that-learned-reggae-funk-and-scale\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/grupos\\\/the-clash-punk-that-learned-reggae-funk-and-scale\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/#\\\/schema\\\/person\\\/1f742458457cfc69e236f2bfdaad9599\"},\"headline\":\"The Clash &#8211; 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