The Story Behind The Iconic London Calling Cover
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44 years ago, Pennie Smith captured an iconic moment at NYC’s Palladium, as Paul Simonon of the Clash smashed his Fender Precision Bass onstage.
This image eventually graced the cover of London Calling and became one of the most popular images in Rock n Roll history.
Simonon said that he destroyed his bass in frustration when the concert’s bouncers prevented audience members from standing up. The Palladium’s fixed seating created a more subdued and dull atmosphere, which contrasted with the environment London punks were used to.
Simonon, unable to provoke much of a response from the crowd, grabbed his guitar by the fretboard and smashed it — unaware of the fact that he had just unintentionally created One of the greatest album covers in music history.
In a 2011 interview, Simonon said, “Looking back now, I wish I had lifted my face up a bit more.”
Pennie Smith initially resisted the use of the photograph, feeling it was too blurry.
“It’s very pleasant to be praised, but of all the Clash photos I took, there are others that perhaps I prefer. There are other, more snapshot-type things that still take me back to that gut feeling I had then; perhaps an odd backstage one,” she said in a 2003 interview.
Although Smith declined, Joe Strummer, the frontman of The Clash, and graphic designer Ray Lowry believed it would serve as an excellent album cover.
In 2002, Q magazine recognized Smith’s photograph as the greatest rock and roll image of all time, describing it as epitomizing the ultimate rock ‘n’ roll moment—a complete loss of control.
Lowry’s artwork was a nod at Elvis Presley’s eponymous debut album.
Since May 2009, Simonon’s bass has been exhibited at the Cleveland Rock and Roll Hall of Fame.
This image eventually graced the cover of London Calling and became one of the most popular images in Rock n Roll history.
Simonon said that he destroyed his bass in frustration when the concert’s bouncers prevented audience members from standing up. The Palladium’s fixed seating created a more subdued and dull atmosphere, which contrasted with the environment London punks were used to.
Simonon, unable to provoke much of a response from the crowd, grabbed his guitar by the fretboard and smashed it — unaware of the fact that he had just unintentionally created One of the greatest album covers in music history.
In a 2011 interview, Simonon said, “Looking back now, I wish I had lifted my face up a bit more.”
Pennie Smith initially resisted the use of the photograph, feeling it was too blurry.
“It’s very pleasant to be praised, but of all the Clash photos I took, there are others that perhaps I prefer. There are other, more snapshot-type things that still take me back to that gut feeling I had then; perhaps an odd backstage one,” she said in a 2003 interview.
Although Smith declined, Joe Strummer, the frontman of The Clash, and graphic designer Ray Lowry believed it would serve as an excellent album cover.
In 2002, Q magazine recognized Smith’s photograph as the greatest rock and roll image of all time, describing it as epitomizing the ultimate rock ‘n’ roll moment—a complete loss of control.
Lowry’s artwork was a nod at Elvis Presley’s eponymous debut album.
Since May 2009, Simonon’s bass has been exhibited at the Cleveland Rock and Roll Hall of Fame.
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