From their earliest days as a band, The Clash stood apart from their peers with their musicianship as well as their lyrics, the passionate, left-wing political idealism in the lyrics by frontman Joe Strummer and guitarist Mick Jones contrasting with the lyrical nihilism of the Sex Pistols and the musical minimalism of the Ramones. Their 1979 album 'London Calling' is considered by critics as one of the greatest albums in the history of rock music. Rolling Stone declared it the best album of the 80s.
The Clash's attitude and style, as much as their music, has influenced countless bands, both within and outside the sphere of punk rock. Often lauded as "the only band that matters," The Clash were canonized as rock saints even before they broke up. They were inducted into the Rock and Roll Hall of Fame in the class of 2003. Their first five albums, ('The Clash', 'Give 'Em Enough Rope', 'London Calling', 'Sandinista!', and 'Combat Rock') to this day, continue to earn a great deal of interest from rock fans and artists alike.
Mick Jones went on to form Big Audio Dynamite after being fired from The Clash, and he more recently has produced albums by artists such as The Libertines and Babyshambles. In 2004, he formed Carbon/silicon with musician Tony James (of Generation X and Sigue Sigue Sputnik fame). Exploring various genres such as alternative rock and electronic music, he continues to collaborate with other modern groups such as Gorillaz.
Joe Strummer went on to form and front Joe Strummer and the Latino Rockabilly War and then Joe Strummer and The Mescaleros. He also had a notable solo career that involved work in films and other endeavors, often earning critical acclaim. He died on December 22, 2002, the victim of an un-diagnosed congenital heart defect. Mourned by countless punk fans, his life has been subject to several tributes and was memorialized in the 2007 documentary 'Joe Strummer: The Future Is Unwritten'.
Bass player Paul Simonon went on to form Havana 3 A.M., a group that released a self-titled album in 1991, yet he decided to quit music in the early 90s in favour of becoming an artist. In 2006, he returned to music as bass player in a musical project together with singer-songwriter Damon Albarn. The project is often referred to as The Good, The Bad & The Queen, the name of the groups first recorded album that came out in 2007. In terms of his paintings, his well-received work notably was in an exhibition at Thomas Williams Fine Art in London.
Drummer Topper Headon released a solo album, 1986's 'Waking Up', before leaving the music business to become a taxi driver and escape the heroin addiction that cost him his legacy in The Clash. Over the years, he's had sporadic involvement in various music-related endeavors, such as being a key part of the aforementioned 'The Future Is Unwritten' film. He's currently residing in the seaside town of Dover, England.
Members:
1976 Original line-up
Joe Strummer – lead vocals, rhythm guitar
Mick Jones – lead guitar, backing vocals
Keith Levene – lead guitar
Paul Simonon – bass guitar, backing vocals
Terry Chimes – drums, percussion
1977
Joe Strummer – lead vocals, rhythm guitar
Mick Jones – lead guitar, backing vocals
Paul Simonon – bass guitar, backing vocals
Terry Chimes – drums, percussion
1977-1982 Classic line-up
Joe Strummer – lead vocals, rhythm guitar
Mick Jones – lead guitar, backing vocals
Paul Simonon – bass guitar, backing vocals
Topper Headon – drums, percussion
1982-1983
Joe Strummer – lead vocals, rhythm guitar
Mick Jones – lead guitar, backing vocals
Paul Simonon – bass guitar, backing vocals
Terry Chimes – drums, percussion
1983
Joe Strummer – lead vocals, rhythm guitar
Mick Jones – lead guitar, backing vocals
Paul Simonon – bass guitar, backing vocals
Pete Howard – drums, percussion
1983-1986 Final line-up
Joe Strummer – lead vocals, rhythm guitar
Nick Sheppard – lead guitar, backing vocals
Vince White – lead guitar
Paul Simonon – bass guitar, backing vocals
Pete Howard – drums, percussion
BRAND NEW CADILLAK
The Clash Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Drive!
My baby drove up in a brand new Cadillac
Yes she did!
My baby drove up in a brand new Cadillac
She said, "Hey, come here, Daddy!"
"I ain't never comin' back!"
Baby, baby, won't you hear my plea?
C'mon, sugar, just come on back to me
She said, "Balls to you, Big Daddy."
Baby, baby, won't you hear my plea?
Oh c'mon, just hear my plea
She said, "Balls to you, Daddy."
She ain't coming back to me
Baby, baby drove up in a Cadillac
I said, "Jesus Christ, where'd you get that Cadillac?"
She said, "Balls to you, big Daddy."
She ain't never coming back!
She ain't never coming back!
She ain't never coming back!
She ain't never coming back!
She ain't never coming back!
The Clash's "Brand New Cadillac" tells the story of a man who has been left behind by his lover, who drives away in a brand new Cadillac never to return. The song is structured around three short verses and a chorus that is repeated throughout the song. The refrain "Drive! Drive!" that begins and ends the song is evocative of the sense of loss and frustration that the singer is experiencing.
The first verse describes how the female protagonist drives up in a brand new Cadillac and tells the singer that she's never coming back. The second verse is an appeal to her to return, with the singer pleading with her to come back to him. However, she responds with "Balls to you, Big Daddy," refusing to come back. The final verse repeats the message from the first verse, but this time the singer asks where she got the Cadillac. In a final act of defiance, she simply says "Balls to you, big Daddy," and drives away for good.
The song is a testament to the potency of rock and roll music, with a simple yet powerful tune that is both catchy and stirring. Its lyrics are imbued with a sense of despair and loss, but the driving beat of the music injects a sense of defiance and rebellion into the song.
Line by Line Meaning
Drive!
Encouragement to start moving or proceeding. The singer wants to get going and maybe even leave something behind.
My baby drove up in a brand new Cadillac
The singer's partner has just arrived in a new and fancy car. It implies that the partner may have left to pursue something better.
Yes she did!
Emphatic confirmation that the partner made the purchase and owns the car.
She said, "Hey, come here, Daddy!"
The partner is calling the singer over to look at the new car, possibly to show off or brag about the purchase.
"I ain't never comin' back!"
The partner is leaving the singer for good, and their new car is a symbol of the partner's success and newfound freedom.
Baby, baby, won't you hear my plea?
The singer is pleading with their partner to come back to them and give their relationship another chance.
C'mon, sugar, just come on back to me
The singer is sweet-talking their partner and asking for a second chance.
She said, "Balls to you, Big Daddy."
The partner is rejecting the singer's plea and insulting them at the same time. 'Balls to' expresses disrespect towards the singer, and 'Big Daddy' implies that the singer is trying too hard to control the partner.
Oh c'mon, just hear my plea
The singer is asking their partner to listen to their request and give them a chance to voice their opinion.
She ain't coming back to me
The partner has made up their mind and will not return to the singer's life.
I said, "Jesus Christ, where'd you get that Cadillac?"
The singer is surprised by the partner's new car and wants to know where they got the money to buy it.
She ain't never coming back!
The partner has left for good, and this repetition emphasizes the finality of the decision.
Lyrics © Warner/Chappell Music, Inc., Universal Music Publishing Group
Written by: HENRY NICOLA MANCINI, VINCE TAYLOR
Lyrics Licensed & Provided by LyricFind
@gillesgrindel7985
@@cpj93070 I hesitated between 70's and 80's before making a choice.
I thought that Led Zepelin, Deep Purple and lot of other band were more representative of 70's guitar sound than the Clash and that's why I finally chose 80's.
Punk Rock came in the late 70's and were starting a different approach of the guitar more based on sound than on technic.
No more 5mn guitar solo but heavy dirty sound aded with lyrics talking more about their audience daily life.
And it led to the 80's guitar song still based on sound even if they were given a "second role to leave more room to the keyboards. (no need to tell you it wasn't my favourite period as I'm a drummer and I wouldn't have been one only with 80's kind of music).
And I think The Clash career has more year in the 80's than the 70's, hasn't it ? Anyway, I always known them as a 80's rock band more than 70's, an other reason of my choice.
That's the reason behind my 80's choice.
@roromeowow
Drive!
Drive!
My baby drove up in a brand new Cadillac
Yes, she did
My baby drove up in a brand new Cadillac
She said, "Hey, come here, Daddy"
"I ain't never comin' back"
Baby, baby, won't you hear my plea?
C'mon, sugar, just come on back to me
She said, "Balls to you, Big Daddy"
Baby, baby, won't you hear my plea?
Oh come on, just hear my plea
She said, "Balls to you, Daddy"
She ain't coming back to me
Baby, baby drove up in a Cadillac
I said, "Jesus Christ, where'd you get that Cadillac?"
She said, "Balls to you, big Daddy"
She ain't never coming back!
She ain't never coming back!
She ain't never coming back!
She ain't never coming back!
She ain't never coming back!
@stephencoomer5692
Driiiiiiiive!!!
Driiiiiiiive!!!
[Chorus]
My baby drove up in a brand new Cadillac
Yes, she did
My baby drove up in a brand new Cadillac
She said, "Hey, come here, Daddy!"
"I ain't never comin' back!"
[Verse 1]
Baby, baby, won't you hear my plea?
C'mon, sugar, just come on back to me
She said, "Balls to you, Big Daddy"
[Verse 2]
Baby, baby, won't you hear my plea?
Oh, c'mon, just hear my plea
She said, "Balls to you, Daddy"
She ain't comin' back to me
[Chorus]
Baby, baby drove up in a Cadillac
I said, "Jesus Christ! Where'd ya' get that Cadillac?"
She said, "Balls to you, Daddy"
She ain't never coming back! (x4)
@joelshaw7878
This is the best cut on London Calling. It's the definition of hard driving Rock & Roll. I saw the The Clash in Munich Germany May 14, 1980 when I worked security. We confiscated a box full of chains, a dozen switchblades and two revolvers. Rough crowd. Fantastic Concert. They played most everything off London Calling and the majority of Sandinista! I saw them again in SF during the Combat Rock tour as well, but it just did not have the same electrical jolt as Munich which will be stored in my memory banks forever.
@HighlyContrasted
you lucky lucky man
@tooties545
...and that was the Sunday matinee crowd. 🤣
@eugeneax6007
Yikes, rough crowd indeed. Still must have been an epic show though.
@codjh9
Wish I'd seen 'em live too. I should've... that cover photo on London Calling was taken at the Armadillo World HQ in Austin, and I lived nearby, dammit...
@johnrectangle6034
Saw the Clash two times. First at a concert in Paris organised by a left wing newspaper named Rouge.A hundred of real anarchists which called themselves autonomists tried to enter without paying for a ticket so the security service of the left wing fighted them during the Clash concert in front of the stage. Joe was laughing watching that. It was at this concert that it was said Joe got hepatitis after someone spat on him. Think it's 1978.Second time in 1979 also in Paris The Clash was big at this time. It was after Sandinista. I preferred the first concert coz I preferred the first two albums.
@rileymcgill9893
Their bass bass player is so damn good. He just walks all over the place in every song. Fucking sick
@patthewoodboy
agree ... the cover sums him up :-)
@skumbaeg45
Yeah Paul Simonon has his own fuckin Bass style
@xanthippe9757
Oh hell! You`re so right! WOW!!!