yeah, the Clash rule.
It's a given.
But every time I hear them, I think about how essential Paul was to that band. Without him, they would not have been capable of pulling of even a third of what they did, no matter how good the songwriting.

Of course, there's the obvious "Magnificent Seven". But, I heard "Rock the Casbah" on the radio last night, and for some reason the bassline jumped out at me. I really listened to that bassline for the first time -- I mean really listened to it. And it may be the best thing I've ever heard played on a bass guitar, ever.

Listen to what he plays, especially during the chorus, after the phrase:
"The shareef dont like it". The stuff he's doing in the upper registers almost disappears in the mix, but, oh my lord!!!

Completely refreshed that song for me. Despite having heard it a billion times before, it now has a new life for me.

Stating the obvious, I know, but if it gets you to listen closely that part, it's worth it.

Duh

He started really basic, but as the band evolved so did his playing. All the reggae stuff they played with wouldn't have flown without some good bass lines. I like his contributions to The Good, The Bad and the Queen as well.

I think the rhythm sections in bands often get horribly overlooked in general. Especially live, I think a group that has a tight rhythm section comes across about 1000% times better than one without a strong guiding hand.

Agreed on all accounts. I'd add that while its plagued by 80's production, I quite like Havana 3AM too.

Yup!

Did Paul even play the bass on Casbah? I thought Topper did everything except a bit of guitar. Maybe this was explained in Westway to the World?

But, yes, the dude had excellent lines.

um, guns of brixton