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The Story of the Clash, Vol. 1 is a double-disc compilation album by the English punk rock band. (12' version; original version from Sandinista!, 1980); 'Rock the Casbah' - 3:42 (the Clash) (US single mix; original version from Combat Rock,. Within these three records, and those songs make Sandinista! Nevertheless, its sloppy attack is disheartening after the tour de force of London Calling and the focused aggression of The Clash. In 2000 Columbia/Legacy reissued, remastered, and restored the artwork for Sandinista! - Stephen Thomas Erlewine, All Music Guide.

• Clash 1981
• Sandinista The Clash Rar 2017

The Clash is the debut studio album by English punk rock band the Clash. It was released on 8 April 1977 through CBS Records. Written and recorded over three weeks in February of 1977 for a paltry £4,000, it would go on to reach No. 12 on the UK charts, and has been included on many retrospective rankings as one of the greatest punk albums of all time.

THE ONLY BAND THAT METTERS 1977 - THE CLASH U.K. Janie Jones 02. Remote Control 03. I’m So Bored With The U.S.A. White Riot 05.

Songs on the album were composed by guitarists Joe Strummer and Mick Jones, with the notable exception of the reggae cover 'Police and Thieves'. Several songs from these sessions, including 'Janie Jones', 'White Riot', and 'London's Burning' became classics of the punk genre and were among the first punk songs to see significant presence on singles charts. The album featured Jones and Strummer sharing guitar and vocal duties, with Paul Simonon on bass and Terry Chimes on drums.

The album was not released in the US until 1979, making it their second US release. The US version also included a significantly different track listing, changing the track order and swapping out several songs for non-album tracks recorded in the interim.

• 1Background
• 2Release
• 41979 US version
• 5Personnel
• 6Charts

Background[edit]

Most of the album was conceived on the 18th floor of a council high rise on London's Harrow Road, in a flat that was rented by Mick Jones's grandmother, who frequently went to see their live concerts.^[1] The album was recorded over three weekend sessions at CBS Studio 3 in February 1977. By the third of these sessions, the album was recorded and mixed to completion, with the tapes being delivered to CBS at the start of March. It cost £4,000 to produce.

Album cover[edit]

The cover artwork was designed by Polish artist Rosław Szaybo. The album's front cover photo, shot by Kate Simon, was taken in the alleyway directly opposite the front door of the band's 'Rehearsal Rehearsals' building in Camden Market.^[2] Drummer Terry Chimes, though a full member of the Clash at the time, did not appear in the picture as he had already decided to leave the group. Another picture from the same Kate Simon photoshoot appears on the UK Special Edition DVD of Rude Boy, released in 2003. The picture of the charging police officers on the rear, shot by Rocco Macauly, was taken during the 1976 riot at the Notting Hill Carnival—the inspiration for the track 'White Riot'.

Songs[edit]

The subject of the opening track, 'Janie Jones', was a famous brothel keeper in London during the 1970s. 'Remote Control' was written by Mick Jones after the Anarchy Tour and contains pointed observations about the civic hall bureaucrats who had cancelled concerts, the police, big business and especially record companies. CBS decided to release the song as a single without consulting the band. 'I'm So Bored with the USA', developed from a Mick Jones song titled 'I'm So Bored with You',^[3] condemns the Americanization of the UK.^[4] 'White Riot' was the Clash's debut single. The song is short and intense, in a punk style of two chords played very fast (five chords are used in the whole song). Lyrically, it is about class economics and race.^[5]

'Career Opportunities', the opening track of the second side of the album, attacks the political and economic situation in England at the time, citing the lack of jobs available, and the dreariness and lack of appeal of those that were available.

'Protex Blue', sung by Mick Jones, is about a 1970s brand of condom. It was inspired by the contraceptive vending machine in the Windsor Castle's toilets.^[6] The song ends with the shouted phrase 'Johnny Johnny!', johnny being a British slang term for a condom.

The version of 'White Riot' featured on the album was not recorded for the album, the original demo (recorded at Beaconsfield Studios before the band signed to CBS) was used instead.

'Police & Thieves' was added to the album when the group realised that the track listing was too short. Another cover the band played at these sessions was The Wailer's 'Dancing Shoes'. 'Garageland' was written in response to Charles Shaar Murray's damning review of the Clash's early appearance at the Sex Pistols Screen on the Green concert – 'The Clash are the kind of garage band who should be returned to the garage immediately, preferably with the engine running'.^[7][8][9] It was the final track recorded for the album.

Release[edit]

It was released in the United Kingdom through CBS Records on 8 April 1977,^[10] engineered by CBS staff engineer Simon Humphrey and produced by Clash live soundman Mickey Foote, at the (since demolished) CBS Whitfield Street Studio No. 3.^[11]The Clash was unusually musically varied for a punk band, with reggae and early rock and roll influences plainly evident.

Reception[edit]

The album received critical acclaim and peaked at number 12 in the UK charts.^[22] In his 1979 consumer guide for The Village Voice, critic Robert Christgau gave the album's US release an 'A' grade and stated, 'Cut for cut, this may be the greatest rock and roll album (plus limited-edition bonus single) ever manufactured in the U.S. It offers 10 of the 14 titles on the band's British debut as well as 7 of the 13 available only on 45. [...] The U.K. version of The Clash is the greatest rock and roll album ever manufactured anywhere'.^[23] In his decade-end list for the newspaper, he ranked the UK version as the best album of the 1970s.^[24]

In February 1993, the New Musical Express magazine ranked the album number 13 in its list of the Greatest Albums of All Time.^[25]NME also ranked The Clash number 3 in its list of the Greatest Albums of the '70s, and wrote in the review that 'the speed-freaked brain of punk set to the tinniest, most frantic guitars ever trapped on vinyl. Lives were changed beyond recognition by it'.

In December 1999, Q magazine rated the album 5 stars out of 5, and wrote that the Clash 'would never sound so punk as they did on 1977's self-titled debut....Lyrically intricate...it still howled with anger'.^[17] The same magazine placed The Clash at number forty-eight in its list of the 100 Greatest British Albums Ever in 2000,^[26] and included The Clash in its '100 Best Punk Albums', giving it 5 stars out of 5, in May 2002.^[27]

In 2000, Alternative Press rated the album 5 out of 5 and saw The Clash as an eternal punk album, a blueprint for the pantomime of 'punkier' rock acts, and that for all of its forced politics and angst, the Clash continues to sound crucial.^[13]

In May 2001, Spin magazine ranked the album number 3 in its list of the 50 Most Essential Punk Records, and wrote 'Punk as alienated rage, as anticorporate blather, as joyous racial confusion, as evangelic outreach and white knuckles and haywire impulses'.^[28]

In 2003, the US version was ranked number 77 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time about which was said 'youthful ambition bursts through the Clash's debut, a machine-gun blast of songs about unemployment, race, and the Clash themselves.'^[29][30]

In March 2003, Mojo magazine ranked The Clash number 2 in its Top 50 Punk Albums, writing that the album was 'the ultimate punk protest album. Searingly evocative of dreary late '70s Britain, but still timelessly inspiring'.^[31]

Noted Jamaican producer Lee Perry heard the album while in London in 1977, and played it to Bob Marley,^{[citation needed]} who in turn mentioned the Clash on his own track 'Punky Reggae Party'.

The album was included in Robert Dimery's 1001 Albums You Must Hear Before You Die.

Track listing[edit]

All tracks written by Joe Strummer and Mick Jones, except where noted.

1979 US version[edit]

In the United States, the Clash's debut studio album was released one year after Give 'Em Enough Rope, making it their second release in the US. CBS in America had decided that the album was 'not radio friendly', so it was initially only available in the States during 1977–1978 as an import, and as such became the best-selling import of the year, shifting over 100,000 copies.^[33]

In July 1979, Epic released a modified version of the album for the United States market. This version replaced four songs from the original version with five non-album singles and B-sides, some of which were recorded and released after the Clash's second studio album, Give 'Em Enough Rope (1978). It also used the re-recorded single version of 'White Riot', rather than the original take featured on the UK version.

Omitted from the US version were the following tracks:

• 'Deny'
• 'Cheat'
• 'Protex Blue'
• '48 Hours'
• 'White Riot' (original version)

Added were the following tracks:

• 'Clash City Rockers' – Initially released as a single (A-side) in the UK in February 1978
• 'Complete Control' – Initially released as a single (A-side) in the UK in September 1977
• 'White Riot' (re-recorded version) – Initially released as a single (A-side) in the UK in March 1977
• '(White Man) In Hammersmith Palais' – Initially released as a single (A-side) in the UK in June 1978
• 'I Fought the Law' – Initially released as a track on the Clash EP The Cost of Living in the UK in May 1979
• 'Jail Guitar Doors' – Initially released as the B-side to 'Clash City Rockers' in the UK in February 1978

Initial copies of the US version also came with a bonus 7-inch single which featured 'Groovy Times' and 'Gates of the West'.^[34] The liner notes incorrectly credit new drummer Nicky Headon for 'White Riot'.

It was another moderately successful album for the Clash in the United States, even though the sales were likely diluted by the longstanding popularity of the UK version on the import market. The Clash peaked at number 126 on the Billboard charts,^[35] setting the stage for the commercial breakthrough of London Calling later that year. Since the Clash's first UK album had already been released in Canada by CBS Records, when CBS Canada released the US version, they changed the cover art so as to not confuse the record-buying public. The CBS Canada version of the LP has a dark blue border instead of green. Initial copies also contained the bonus 'Groovy Times' 7'. Some original pressings of the US version featured 'What's My Name?' as track 4 and 'Complete Control' as track 11. Though the back of these original pressings list the two songs as they are featured on recent versions of the album.

Track listing[edit]

All tracks written by Strummer and Jones, except where noted.

Personnel[edit]

The Clash[edit]

• Joe Strummer − lead and backing vocals, rhythm guitar, lead guitar on '48 Hours,' production on US version
• Mick Jones − lead guitar, backing and lead vocals, production on US version
• Paul Simonon − bass guitar, production on US version
• Terry Chimes (listed as Tory Crimes) − drums, production on US version
• Topper Headon − drums on side one tracks 1, 4, 6, and 8 and side two track 6 on US version, production on US version

Production[edit]

• Mickey Foote − production, engineering on US version
• Simon Humphrey − engineering
• Kate Simon − cover art
• Rocco Macauly − back cover photo
• Lee 'Scratch' Perry – production on US version
• Sandy Pearlman – production on US version
• Bill Price – production on US version

Charts[edit]

Chart positions[edit]

Certifications[edit]

References[edit]

1. ^'The Uncut Crap – Over 56 Things You Never Knew About The Clash'. NME. London: IPC Magazines. 3. 16 March 1991. ISSN0028-6362. OCLC4213418.
2. ^'Revisiting London's iconic album cover images'. BBC News. Retrieved 2 June 2018.
3. ^Caws, Matthew (December 1995). 'Mick Jones'. Guitar World. New York: Harris Publications. 12. ISSN1045-6295. OCLC7982091.
4. ^Interviewer: Unknown; Presenter: Kurt Loder. 'MTV Rockumentary'. London, England. MTVhttp://www.londonsburning.org/art_mtv_rockumentary_1.html.Missing or empty series= (help)
5. ^Letts (2001). The Clash: Westway to the World. Event occurs at 25:45–27:40.
6. ^'The Windsor Castle'. Retrieved 2 July 2015.
7. ^Murray, Charles Shaar (5 April 2003). 'Joe is dead, but the Clash are immortal'. Telegraph.co.uk. Retrieved 7 May 2010. I described them as the kind of garage band who should be speedily returned to their garage, preferably with the engine running
8. ^Letts (2001). The Clash: Westway to the World. Event occurs at 25:00–25:35.
9. ^Needs, Kris (November 2004). 'HOW I MET THE CLASH'. trakMARX.com. Retrieved 21 November 2007.
10. ^The Clash - The Clash (Vinyl, LP, Album) at Discogs
11. ^The Clash. Mojo, Mojo Classic issue. p. 33.
12. ^Erlewine, Stephen Thomas. 'The Clash – The Clash'. AllMusic. Retrieved 18 August 2004.
13. ^ ^ab'The Clash: The Clash'. Alternative Press. Cleveland (140): 74–75. March 2000.
14. ^Considine, J. D. (27 January 2000). 'Nobody's scoffing now at the importance of the Clash'. The Baltimore Sun. Retrieved 8 July 2017.
15. ^Wolk, Douglas (21 August 2007). 'The Clash: The Clash (U.S. Version)'. Blender. New York. Archived from the original on 2 July 2009. Retrieved 31 August 2016.
16. ^Larkin, Colin (2011). The Encyclopedia of Popular Music (5th concise ed.). Omnibus Press. ISBN0-85712-595-8.
17. ^ ^ab'The Clash: The Clash'. Q. London (159): 152–33. December 1999.
18. ^Miles, Milo (20 June 2002). 'The Clash: The Clash'. Rolling Stone. New York: 87. Archived from the original on 1 December 2002. Retrieved 5 September 2016.
19. ^Sheffield, Rob (2004). 'The Clash'. In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp. 167–68. ISBN0-7432-0169-8. Retrieved 24 September 2011.
20. ^'Clash Reissues'. Select. London (114): 88. December 1999.
21. ^Weisbard, Eric; Marks, Craig, eds. (1995). Spin Alternative Record Guide. New York: Vintage Books. ISBN0-679-75574-8.
22. ^ ^abApril 1977/7502/ 'Official Albums Chart Top 100'. Official Charts Company.
23. ^Christgau, Robert (3 September 1979). 'Consumer Guide'. The Village Voice. New York. Retrieved 17 April 2012.
24. ^Christgau, Robert (17 December 1979). 'Decade Personal Best: '70s'. The Village Voice. New York. Retrieved 21 June 2013.
25. ^NME (2 February 1993), p. 29
26. ^Q (June 2000), p. 70.
27. ^Q (May 2002). SE, p. 135.
28. ^Spin (May 2001), p. 108.
29. ^Rolling Stone (937). 11 December 2003. p. 114.Missing or empty title= (help)
30. ^Levy, Joe; Steven Van Zandt (2006) [2005]. '77 The Clash – The Clash'. Rolling Stone's 500 Greatest Albums of All Time (3rd ed.). London: Turnaround. ISBN1-932958-61-4. OCLC70672814. Archived from the original on 14 December 2007. Retrieved 2 December 2007.
31. ^Mojo (March 2003), p. 76.
32. ^Christgau, Robert (1981). 'Consumer Guide '70s: C'. Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN089919026X. Retrieved 24 February 2019 – via robertchristgau.com.
33. ^Letts (2001). The Clash: Westway to the World. Event occurs at 34:00–36:00.
34. ^Letts (2001). The Clash: Westway to the World. Event occurs at 44:40–45:00.
35. ^ ^ab'The Clash - The Clash – Awards'. AllMusic. Billboard.
36. ^'Swedishcharts.com – The Clash – The Clash'. Hung Medien.
37. ^'British album certifications – The Clash – The Clash'. British Phonographic Industry. 31 December 1979.Select albums in the Format field.Select Gold in the Certification field.Type The Clash in the 'Search BPI Awards' field and then press Enter.
38. ^'American album certifications – The Clash – The Clash'. Recording Industry Association of America. 12 November 1991.If necessary, click Advanced, then click Format, then select Album, then click SEARCH.

Further reading[edit]

• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press. ISBN1-84513-113-4. OCLC61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter Skelter. ISBN1-905139-10-1. OCLC60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.). London: Orion. ISBN0-7528-5843-2. OCLC52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN1-903399-34-3. OCLC69241279.
• Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN0-85965-348-X. OCLC53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN1-903111-70-6. OCLC63129186.

External links[edit]

• The Clash at Discogs (list of releases)

The Clash – Hits Back (2013)
EAC Rip 2xCD FLAC Tracks + Cue + Log Full Scans Included
Total Size: 855 MB 3% RAR Recovery
Label: Sony Music EU Cat#: 88725442362 Genre: Punk

A tie-in to the exhaustive 2013 box set Sound System, the 2013 compilation The Clash Hits Back is a novel approach to a career retrospective: it mirrors the 24-song set list for the band’s July 19, 1982 concert at Brixton Fairdeal, then adds eight bonus hits at the end. The Clash Hits Back slightly tweaks the running order of the original set — “Bankrobber” arrived five songs into the concert but appears eighth here — but that doesn’t matter much, as this swap doesn’t alter the impact of the original set. The Clash were plugging Combat Rock so songs from that LP — the singles “Rock the Casbah,” “Should I Stay or Should I Go?” and “Straight to Hell,” plus “Ghetto Defendant” and “Know Your Rights,” adding up to just under half the album — sit alongside a heavy chunk of London Calling and early hits, plus a few stabs at Sandinista!. What’s added at the end is a mix of their high-octane early material (“White Riot,” “Complete Control,” “Clash City Rockers,” Tommy Gun,” “English Civil War”) and their more adventurous studio recordings (“The Call Up,” “Hitsville UK,” “This Is Radio Clash”), adding up to a strong overview of all the band could do. ― Allmusic

Additional Info:
• Released Date: September 9, 2013
• More info

CD 1
01. London Calling – 03:20
02. Safe European Home – 03:50
03. Know Your Rights – 03:40
04. (White Man) in Hammersmith Palais – 04:01
05. Janie Jones – 02:06
06. The Guns of Brixton – 03:10
07. Train in Vain – 03:10
08. Bankrobber – 04:34
09. Wrong ‘Em Boyo – 03:11
10. The Magnificent Seven – 05:33
11. Police on my Back – 03:16
12. Rock the Casbah – 03:43
13. Career Opportunities – 01:53
14. Police and Thieves – 06:00
15. Somebody Got Murdered – 03:34
16. Brand New Cadillac – 02:08
17. Clampdown – 03:50

CD 2
01. Ghetto Defendant – 04:43
02. Armagideon Time – 03:52
03. Stay Free – 03:39
04. I Fought the Law – 02:43
05. Straight to Hell – 05:29
06. Should I Stay or Should I Go – 03:08
07. Garageland – 03:15
08. White Riot – 02:13
09. Complete Control – 03:13
10. Clash City Rockers – 03:56
11. Tommy Gun – 03:14
12. English Civil War – 02:35
13. The Call Up – 05:26
14. Hitsville U.K. – 04:21
15. This is Radio Clash – 04:12

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Clash 1981

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Sandinista The Clash Rar 2017