
The Ruts were not "Clash copyists" as Chris Salewicz claims in Redemption Song, nor did they have "...Every thing The Clash had been striving for in their ersatz reggae excursions" as Clinton Heylin claims in Babylon's Burning. The Ruts need not be a facile point of comparison for Clash-freaks and Clash-bashers to buttress their argument, for they were the instigators of a funky-reggae-punk-metal riot of their own. It's not to say that The Clash's regatta de blanc didn't inspire The Ruts (as well as Stiff Little Fingers, The Specials and {yes} The Police) but, as with any band, you judge their success not based on what they began with but on what they finished with.
Malcolm Owen and Paul Fox were living on a Welsh hippie commune when punk rock came calling. Moving to London, leaving behind a funk band named Hit and Run, the band found unusual patrons like Phil Lynot of Thin Lizzy (who gave them a song) and Brit-reggae band Misty (who financed their first single) and BBC DJ John Peel (who played that single every night for weeks). Less then two years later it wold all be over when Malcolm Owen made the the classic junkie slip of celebrating his detox with 'one last fix' and died on July 14th 1980.
Thankfully, the band's sole album, The Crack, and it's odds n' sods follow-up Grin and Bear It, (each with a few bonus tracks) remain in print. Unfortunately without the kind of deluxe re-issue which would include all their studio material, these incendiary songs the band recorded for John Peel (why, oh why does this version of the proto-hardcore "Society" never make it onto one of their primary re-issues?) remain hard-to-get. So relish this out-of-print collection, which sounds more singular now than ever, and be sure you've done your part to support the surviving Ruts.

Peel Sessions CD link is in the comments.
Speaking of comments, is there really a significant Ruts-Clash rivalry?
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And for some live Ruts, run over to the ever-awesome King Rocker Rocks On.



