The Clash

The Clash - Combat Rock





TRACKLIST

1 Know Your Rights
2 Car Jamming
3 Should I Stay Or Should I Go?
4 Rock The Casbah
5 Red Angel Dragnet
6 Straight To Hell
7 Overpowered By Funk
8 Atom Tan
9 Sean Flynn
10 Ghetto Defendant
11 Inoculated City
12 Death Is A Star

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The Clash - D.O.A. - Demos, Outtakes, Alternates




Perhaps the ultimate collection of Clash rarities. Taking you right through their career. From the first sessions for Polydor in late 1976, right up to the outtake for the Janie Jones single in 1982. Along with Clash On Broadway Outtakes and The Rat Patrol you almost have all The Clash demos, outtakes and alternates. The versions here are the excellent quality ones, probably taken straight from the master tapes that now reside in the vaults of Polydor. The Micky Foote demos are another set of first album songs, along with the interesting Janie Jones instrumental and the studio chatter in the background. The highlights of this double disc set for me are the alternate studio mixes of White Man, Clash City Rockers (which I believe is superior to the official version), The Prisoner, 1-2 Crush On You and Pressure Drop. The promo video shoot tracks are also excellent, and are the best alternate versions of White Riot and 1977 (1977 is simply amazing.) The band are on fire for those tracks.

You'll notice this compilation serves as a very handy substitute for London's Burning and For All The Young Punks. The 'Rope demos here are of much better quality. In fact, we almost have all the album. Then of course the interesting soundcheck rarities. Muddy Water's Baby Please Don't Go is a great one, very rocking, and there are also a couple of London Calling era songs that are also on Pier Pressure. The Sandinista! outtakes are nothing new, though it is thought that it's Norman Watt-Roy on bass for King Of The Road, as he replaced Paul (who was off shooting a film in Canada) for much of the Sandinista! sessions. The Revolution Rock instrumental is a good song to have, and pretty rare also. A song I heard here first of all was the Cool Confusion alternate mix, which is actually pretty good. The addition of drums in the mix makes a big difference.

So all in all, this richly deserves a 10. I've sort of glossed over the details a lot but the songs speak for themselves really. Adam Headland (Clash On Tour) has done a good job gathering together all the loose ends of Clash studio rarities. These all seem to be the best quality sources as well. I'll also mention the What's My Name live track. Not strictly a demo or anything, but just included for fun I think. It's the same song as the famous video where Joe turns to the camera: "Here we are on TV, what does it mean to you? What does it mean to me? ... F@#$ Off!" A nice addition to the compilation. Highly recommended, all Clash fans must have this.


Disc 1

Polydor Demos:
01 - Career Opportunities
02 - White Riot
03 - Janie Jones
04 - London's Burning
05 - 1977

Micky Foote Demos:
06 - Preamble
07 - I'm So Bored With The U.S.A.
08 - London's Burning
09 - White Riot [take 1]
10 - White Riot [take 2]
11 - Career Opportunities
12 - 1977
13 - Janie Jones [instrumental]

Film Soundtrack Demos:
14 - Heartbreak Hotel [take 1]
15 - Heartbreak Hotel [take 2]

Promo Video Shoot:
16 - 1977
17 - White Riot
18 - London's Burning
19 - 1977 [alternate mix]
20 - White Riot [alternate mix]

Elisabethan Suite Outtake:
21 - What's My Name

Rude Boy Rehearsal:
22 - Garageland

Rock Against Racism track:
23 - (White Man) In Hammersmith Palais

Alternate Mixes:
24 - Clash City Rockers
25 - The Prisoner

B-Side Outtakes:
26 - 1-2 Crush On You
27 - Pressure Drop
28 - The Prisoner

British TV Outtakes:
29 - Clash City Rockers
30 - Tommy Gun
31 - Israelites



Disc 2

'Rope Demos:
01 - All The Young Punks
02 - Safe European Home
03 - Drug-Stabbing Time
04 - Julie's Been Working For The Drug Squad
05 - Stay Free
06 - Groovy Times
07 - Last Gang In Town
08 - Ooh Baby Ooh (It's Not Over)
09 - One Emotion

'Rope Outtakes:
10 - All The Young Punks
11 - Stay Free

London Calling era soundcheck:
12 - Baby Please Don't Go
13 - Roadrunner

London Calling rehearsal:
14 - Mona
15 - You Can't Judge A Book

London Calling Outtake:
16 - Revolution Rock [instrumental]

Sandinista! Outtakes:
17 - King Of The Road
18 - Blonde Rock And Roll
19 - Louie Louie

Combat Rock Outtakes:
20 - Know Your Rights
21 - Overpowered By Funk (instrumental)

Combat Rock Alternate Mix:
22 - Cool Confusion

Janie Jones Demo:
23 - House Of The Ju Ju Queen

Joe Strummer Unreleased Song:
24 - In The Pouring Rain

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The Clash - Live in Amsterdam '81



01. London Calling
02. The Leader
03. Somebody Got Murdered
04. White Man In Hammersmith Palais
05. The Guns Of Brixton
06. Lightning Strikes
07. Ivan Meets G.I. Joe
08. This Is Radio Clash
09. Charlie Don't Surf
10. The Magnificent Seven
11. Bankrobber
12. Train In Vain
13. Career Opportunities
14. Clampdown
15. One More Time
16. I Fought the Law

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Chalk Farm Roundhouse, London, September 5, 1976 CBR 320

1. Deny
2. 1-2 Crush On You
3. I Know What You Do
4. I Don't Want Your Money
5. I Can't Understand The Flies
6. Protex Blue
7. Janie Jones
8. Mark Me Absent
9. Going To The Disco
10. 48 Hours
11. I'm So Bored With You
12. Work
13. London's Burning
14. What's My Name

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The Clash live in London 1976


CBR 192

01. Deny
02. I Know What To Think About You
03. I Never Did It
04. How Can I Understand The Flies
05. Janie Jones
06. Protex Blue
07. Mark Me Absent
08. Deadly Serious
09. What's My Name
10. Sitting At My Party
11. 48 Hours
12. I'M So Bored With You
13. London's Burning
14. 1977

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Hammersmith Odeon, London, England - 27 December, 1979 VBR

01 Clash City Rockers
02. Brand New Cadillac
03. Safe European Home
04. Jimmy Jazz
05. Clampdown
06. The Guns of Brixton
07. Train In Vain
08. Wrong 'Em Boyo
09. Koka Kola
10. White Man In Hammersmith Palais
11. Stay Free
12. Bankrobber
13. Janie Jones
14. Compete Control
15. Armagideon Time
16. London Calling
17. outro

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Kingston Advice - Live in Jamaica 1982


Jamaican World Music Festival, Bob Marley Centre Montego Bay, Kingston Jamaica - 27/11/1982 VBR

01. London Calling
02. Police On My Back
03. The Guns Of Brixton
04. The Magnificent Seven
05. Armagideon Time
06. The Magnificent Seven (Reprise)
07. Junco Partner
08. Spanish Bombs
09. One More Time
10. Train In Vain
11. Bankrobber
12. Radio Clash
13. Clampdown
14. Should I Stay Or Should I Go
15. Rock The Casbah
16. Straight To Hell

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Tokyo Riot



Sun Plaza Hall, Tokyo, Japan - 1982-02-10
320 KBPS

01. London Calling
02. Safe European Home
03. White Man In Hammersmith Palais
04. Brand New Cadillac
05. Charlie Don't Surf
06. Clampdown
07. Radio Clash
08. Armageddon Time
09. Jimmy Jazz
10. Tommy Gun
11. Fujiyama Mama (with Pearl Harbour on vocals)
12. Police On My Back
13. White Riot
14. Guns Of Brixton
15. Train In Vain
16. Should I Stay Or Should I Go
17. Koka Kola

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Chaos In New York



Bonds International Casino, New York, NY - 1981-06-04
192 KBPS

01. London Calling
02. Safe European Home
03. The Leader
04. Train in Vain
05. White Man in Hammersmith Palais
06. This is Radio Clash
07. Corner Soul
08. The Guns of Brixton
09. The Call Up
10. Bankrobber
11. Complete Control
12. Lightning Strikes (Not Once But Twice)
13. Ivan Meets GI. Joe
14. Charlie Don't Surf
15. The Magnificent Seven
16. Broadway
17. Somebody Got Murdered
18. Police & Thieves
19. Working for the Clampdown
20. One More Time
21. Brand New Cadillac
22. The Street Parade
23. Janie Jones
24. Washington Bullets

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Civic Theater



Akron, Ohio - 1982-08-17
320 KBPS

01. London Calling
02. The Leader
03. This Is Radio Clash
04. Clash City Rockers
05. Know Your Rights
06. Guns Of Brixton
07. Train In Vain
08. Call Up
09. Rock The Casbah
10. Police And Thieves
11. Police On My Back (incomplete)
12. The Magnificent Seven
13. Wrong ‘Em Boyo
14. Career Opportunities
15. Somebody Got Murdered
16. Brand New Cadillac
17. I Fought The Law
18. Armagideon Time
19. Should I Stay Or Should I Go
20. Clampdown
21. Straight To Hell
22. Janie Jones > Garageland (incomplete)

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THE CLASH ( U.S. version ) from 1980 originally released 1977

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GIVE 'EM ENOUGH ROPE(1978)

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London Calling, Sandinista! and Combat Rock: 1979–1982

In August and September 1979, The Clash recorded London Calling. Produced by Guy Stevens, who had previously worked with Mott the Hoople and others, the double album was a mix of punk rock, reggae, ska, rockabilly, traditional rock and roll and other elements possessed of an energy that had hardly flagged since the band's early days, but with greater maturity and production polish. It is regarded as one of the greatest rock albums ever recorded. London Calling reached number 9 on the British chart and number 27 on the US chart. Its final track, a relatively straightforward rock and roll number sung by Mick Jones called "Train in Vain", was included at the last minute and thus did not appear in the track listing on the cover. It turned out to be their first US Top 40 hit, peaking at number 23 on the Billboard chart. In the UK, where "Train in Vain" was not released as a single, London Calling's title track, stately in beat but unmistakably punk in message and tone, rose to number 11—the highest position any Clash single reached in the UK before the band's breakup. During this period, The Clash began to be regularly billed as "The Only Band That Matters". Musician Gary Lucas, then employed by CBS Records' creative services department, claims to have coined the tagline. The epithet was soon widely adopted by fans and music journalists.

The Clash planned to record and release a single every month in 1980. CBS balked at this idea, and the band came out with only one single—an original reggae tune, "Bankrobber", in August—before the December release of the 3-LP, 36-song Sandinista!. The album again reflected a broad range of musical styles, including extended dubs and the first forays into rap by a major rock band. Produced by the band members with the participation of Jamaican reggae artist Mikey Dread, Sandinista! was their most controversial album to date, both politically and musically. Critical opinion was divided, often within individual reviews. Trouser Press's Ira Robbins described half the album as "great", half as "nonsense" and worse. In the New Rolling Stone Record Guide, Dave Marsh argued, "Sandinista! is nonsensically cluttered. Or rather seems nonsensically cluttered. One of the Clash's principal concerns...is to avoid being stereotyped. The album fared well in America, charting at number 24, even though it had no catchy single and, in the increasingly conservative environment of album-oriented rock (AOR) radio in the US, received minimal airplay.

During 1981, the band came out with a single, "This Is Radio Clash", that further demonstrated their ability to mix diverse influences such as dub and hip hop. They set to work on their fifth album in the fall, originally planning it as a 2-LP set with the title Rat Patrol from Fort Bragg. Mick Jones produced one cut, but the other members were dissatisfied. Production duties were handed to Glyn Johns, and the album was reconceived as a single LP. Though Combat Rock was filled with offbeat songs, experiments with sound collage, and a spoken word vocal by Beat poet Allen Ginsberg, it contained two "radio friendly" tracks. The leadoff single in the US was "Should I Stay or Should I Go", released in June 1982. Another Jones feature in a rock and roll style similar to "Train in Vain", it received heavy airplay on AOR stations. The follow-up, "Rock the Casbah", put lyrics addressing the Iranian clampdown on imports of Western music to a bouncy dance rhythm. (The singles were released in the opposite order in the UK, where they were both preceded by "Know Your Rights".) The music for "Rock the Casbah" was composed by Headon, who performed not only the percussion but also the piano and bass heard on the recorded version. It was the band's biggest US hit ever, charting at number 8, and the video was put into heavy rotation by MTV.[30] The album itself was the band's most successful, hitting number 2 in the UK and number 7 in the US.

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Sandinista

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Combat Rock

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Cut the Crap, final breakup, and aftermath: 1985–1991

The recording sessions for Cut the Crap were chaotic, with manager Bernard Rhodes and Strummer working in Munich. Most of the music was played by studio musicians, with Sheppard and later White flying in to provide guitar parts. Struggling with Rhodes for control of the band, Strummer returned home. The band went on a busking tour of public spaces in cities throughout the UK, playing acoustic versions of their hits and popular cover tunes.

After a gig in Athens, Strummer went to Spain to clear his mind. While he was abroad, the first single from Cut the Crap, the mournful "This Is England", was released to mostly negative reviews. "CBS had paid an advance for it so they had to put it out", Strummer later explained. "I just went, 'Well fuck this', and fucked off to the mountains of Spain to sit sobbing under a palm tree, while Bernie had to deliver a record."[11] However, critic Dave Marsh later championed "This Is England" as one of the top 1001 rock singles of all time.[49] The single has also received retroactive praise from Q magazine and others.

"This Is England", much like the rest of the album that came out later that year, had been drastically re-engineered by Rhodes, with synths and football-style chants added to Strummer's incomplete recordings. Although Howard was an adept drummer, drum machines were used for virtually all of the percussion tracks. For the remainder of his life, Strummer largely disowned the album, although he did profess that "I really like 'This is England' [and album track] 'North and South' is a vibe." Other songs played on the tour remain unreleased to this day, including "Jericho" and "Glue Zombie". The Clash effectively disbanded in early 1986.

After the breakup, Strummer contacted Jones in an effort to reform The Clash. Jones, however, had already formed a new band, Big Audio Dynamite (B.A.D.), that had released its debut late in 1985. The two did work together on their respective 1986 projects. Jones helped out with the two songs Strummer wrote and performed for the Sid and Nancy soundtrack. Strummer, in turn, cowrote a number of the tracks on the second B.A.D. album, No. 10, Upping St., which he also coproduced.[11] With Jones committed to B.A.D., Strummer moved on to various solo projects and screen acting work. Simonon formed a band called Havana 3am. Headon recorded a solo album, before once again spiraling into drug abuse. Chimes drummed with a succession of different acts.

On 2 March 1991, a reissue of “Should I Stay or Should I Go” gave The Clash its first and only number 1 UK single. That same year, Strummer reportedly cried when he learned that "Rock the Casbah" had been adopted as a slogan by US bomber pilots in the Gulf War.

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Black Market Clash 1980

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From Here To Eternity

Touted for many years as the greatest live band in the world, the only surprise about this live album is that it's taken so long to appear. Recorded between '78 and '82, it captures the London punk torchbearers in all their fury--Strummer spitting out vocals like every breath is his last, the guitars of Jones and Simenon taut and abrasive. Even after all this time, songs like their debut album's scathing "Complete Control" and the dub-fired "Armagideon Time" blister out of the speakers, sending streams of scouring guitars and tight, chunky reggae rhythms into the atmosphere. Two complaints: no "White Riot," and no songs from Give 'Em Enough Rope, the underrated second album. Instead we have material from the sprawling Sandinista and disappointing Combat Rock. These are minor flaws though. Buy Live: From Here to Eternity for the first 12 tracks alone. From the angry, articulate dub of "London Calling" to the full-on force of "I Fought the Law," this is punk at its pinnacle


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Super Black Market Clash 1994

An expanded version of the Black Market Clash EP, Super Black Market Clash adds assorted singles and remixes to the original recording but actually omits several that were on the original EP ("Capital Radio One," "Cheat," "Bank Robber," and "Armagideon Time"). A couple of tracks aren't that interesting, but the majority of the disc is splendid, featuring some of the band's best but unfortunately overlooked tracks, including "The Prisoner," "Gates of the West," and "Capital Radio."

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Credits:
The Clash (Producer), The Clash (Main Performer), Joe Strummer (Guitar), Joe Strummer (Vocals), Jerry Green (Engineer), Bob Clearmountain (Engineer), Micky Foote (Producer), Jeremy Green (Engineer), Topper Headon (Percussion), Topper Headon (Drums), Mick Jones (Guitar), Mick Jones (Vocals), Mick Jones (Producer), Mick Jones (Mixing), Bill Price (Producer), Bill Price (Engineer), Paul Simonon (Bass), Paul Simonon (Vocals), Pepe Undios (Remixing)



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Live at Shea Stadium

In Clash lore, the band's stint as the opening act for the Who's farewell tour in 1982 is where the band had stardom in its hand and dropped it on the floor. That's how Joe Strummer phrased it in retrospect, but in 1982 the pairing was seen as a rock cultural clash, with the Who's audience bristling at the punks, and the punks not quite being comfortable operating on a larger scale -- a suspicion somewhat proven by the band's implosion within months of the Shea Stadium gig. Given all the stories about how poorly received this tour with the Who was -- that the Clash were routinely greeted by boos as they hopped from stadium to stadium across the U.S. -- it comes as a mild surprise that this unearthed recording of the band's opening set at Shea Stadium isn't bad at all. There were some signs prior to this 2008 archival release that this particular gig was pretty good -- some of the cuts surfaced on the posthumous live 1999 comp From Here to Eternity and the video to "Should I Stay or Should I Go" came from this gig -- but all the decades of disastrous myths help turn Live at Shea Stadium into a pleasant surprise. That doesn't mean that this is a definitive portrait of the Clash live, or even that it captures the band at their best, but it's fascinating to hear how they pitched their set to the Who's audience, only slowing down for the reggae of "Armagideon Time" and "The Guns of Brixton," but otherwise sticking with high-octane, breathlessly paced rock & roll -- the kind of set designed to placate a stadium full of classic rock fans, or at least keep them buying beer instead of throwing it. As a historical document, it's a worthy one. It not only illustrates that the Clash did turn in some strong performances on this often disaster-plagued tour, but it gives us the first officially released Clash concert instead of the re-creation of From Here to Eternity. And if it's not all terrific -- strangely, the Combat Rock songs can sometimes sound stiff, particularly "Rock the Casbah" -- when the group clicks, as they do on a closing stretch that includes "Career Opportunities," "Clampdown," "Should I Stay or Should I Go," and a furious "I Fought the Law," they sound like the greatest band on earth and a sure bet to have blown the Who off the stage.


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The Essential Clash

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Clash on Broadway

Clash on Broadway is a fine triple-disc, 63-song box set covering the Clash's entire career. Although there are very few rarities, it does include all of the band's important songs, including cuts that were only available on EPs, singles, and B-sides. As a result, it's a useful box set even for dedicated fans, presenting the band's evolution in a logical fashion. Nevertheless, compilations don't always suit the Clash well because The Clash and London Calling were powerful individual works in their own right, and hearing them cut up in this fashion alters their impact. Even so, for anyone looking for one set illustrating why the Clash were a great, important, and influential band, Clash on Broadway explains exactly why.

Credits
Mikey Dread (Producer), The Clash (Producer), The Clash (Main Performer), Bruce Dickinson (Research), Joe Strummer (Guitar), Joe Strummer (Arranger), Joe Strummer (Vocals), Joe Strummer (Author), Keith Levene (Author), Hugh Attwool (Research), Hugh Attwool (Tape Research), Terry Chimes (Drums), Terry Chimes (Author), Bob Clearmountain (Engineer), Don DeVito (Producer), Don DeVito (Compilation Producer), Micky Foote (Producer), Micky Foote (Author), Mick Gallagher (Author), Glyn Johns (Mixing), Johnny Green (Author), Topper Headon (Drums), Topper Headon (Author), Mick Jones (Guitar), Mick Jones (Arranger), Mick Jones (Remixing), Lenny Kaye (Liner Notes), Joseph M. Palmaccio (Assembly), Sandy Pearlman (Producer), Lee "Scratch" Perry (Producer), Bill Price (Producer), Bill Price (Remastering), Paul Simonon (Bass), Paul Simonon (Vocals), Paul Simonon (Author), Paul Simonon (Photography), Guy Stevens (Producer), Norman Watt-Roy (Author), Lester Bangs (Liner Notes), Gina Campanaro (Package Coordinator), Vic Anesini (Mixing), Vic Anesini (Remastering), Ebet Roberts (Photography), Josh Cheuse (Art Direction), Josh Cheuse (Photography), Josh Cheuse (Cover Design), Paul Slattery (Photography), Kate Simon (Photography), Bob Gruen (Photography), Ray Staff (Remastering), Mark Weinberg (Art Direction), Richard Bauer (Producer), Richard Bauer (Compilation Producer), Charlie Sarrica (Artwork), Charlie Sarrica (Graphic Direction), Pennie Smith (Photography), Pennie Smith (Cover Photo), Bob Whitney (Remastering), Ken Fredette (Package Redesign), Janet Macoska (Photography), Virginia Turbett (Photography), Kosmo Vinyl (Liner Notes), Kosmo Vinyl (Author), Kosmo Vinyl (Compilation), Kosmo Vinyl (Editing), Kosmo Vinyl (Project Director), Joe Stevens (Photography), Penny Smith (Photography), Retna (Photography), Bernard Rhodes (Author)

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John Graham Mellor (21 August 1952 – 22 December 2002)

The Clash - The Singles Box Set (2006) (FLAC)


EAC Rip | 19CD | FLAC - Log - Cue | Release: 2006 | 1.6 GB
Genre: Punk Rock


Tracklist

(Disc 01) ? White Riot
(Disc 02) ? Capital Radio
(Disc 03) ? Remote Control
(Disc 04) ? Complete Control
(Disc 05) ? Clash City Rockers
(Disc 06) ? (White Man) In Hammersmith Palais
(Disc 07) ? Tommy Gun
(Disc 08) ? English Civil War
(Disc 09) ? The Cost of Living (EP)
(Disc 10) ? London Calling
(Disc 11) ? Bankrobber
(Disc 12) ? The Call Up
(Disc 13) ? Hitsville UK
(Disc 14) ? The Magnificent Seven
(Disc 15) ? This Is Radio Clash
(Disc 16) ? Know Your Rights
(Disc 17) ? Rock the Casbah
(Disc 18) ? Should I Stay Or Should I Go
(Disc 19) ? This Is England





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