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We Say...
As genial and familiar as the ripping guitars, rushing tempos and barked Britishisms of Joe Strummer’s vocals now sound, The Clash arrived in 1977 as a blistering jolt of punk ire. Although not every lyric offers the timely social critiques of “Career Opportunities,” “I’m So Bored With the U.S.A.” and “White Riot,” the songs jab furiously at all comers, even a dishonest junkie (“Deny”), the record business (“Garageland”), weekends (“48 Hours”) and prophylactics (the Mick Jones-sung “Protex Blue”). A funky cover of the Junior Murvin reggae number “Police and Thieves” signals a willingness to defy doctrine, an ethos furthered on the album’s belated American edition, which dropped four lesser tracks for three monumental singles, taking stunning measure of the band’s accelerating stylistic growth.
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They Say...
Never Mind the Bollocks may have appeared revolutionary, but the Clash's eponymous debut album was pure, unadulterated rage and fury, fueled by passion for both rock & roll and revolution. Though the cliché about punk rock was that the bands couldn't play, the key to the Clash is that although they gave that illusion, they really could play -- hard. The charging, relentless rhythms, primitive three-chord rockers, and the poor sound quality give the album a nervy, vital energy. Joe Strummer's slurred wails perfectly compliment the edgy rock, while Mick Jones' clearer singing and charged guitar breaks make his numbers righteously anthemic. Even at this early stage, the Clash were experimenting with reggae, most notably on the Junior Murvin cover "Police & Thieves" and the extraordinary "(White Man) In Hammersmith Palais," which was one of five tracks added to the American edition of The Clash. "Deny," "Protex Blue," "Cheat," and "48 Hours" were removed from the British edition and replaced for the U.S. release with the British-only singles "Complete Control," "(White Man) In Hammersmith Palais," "Clash City Rockers," "I Fought the Law," and "Jail Guitar Doors," all of which were stronger than the items they replaced. Though the sequencing and selection were slightly different, the core of the album remained the same, and each song retained its power individually. In 2000, Columbia/Legacy reissued and remastered the album to include the U.K. songs. Few punk songs expressed anger quite as bracingly as "White Riot," "I'm So Bored With the U.S.A.," "Career Opportunities," and "London's Burning," and their power is all the more incredible today. Rock & roll is rarely as edgy, invigorating, and sonically revolutionary as The Clash.
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| 01. |  |
Clash City Rockers |
3:57 |
|
| 02. | |
I'm So Bored With The U.S.A. |
2:23 |
|
| 03. | |
Remote Control |
3:00 |
|
| 04. | |
Complete Control |
3:12 |
|
| 05. | |
White Riot |
1:59 |
|
| 06. | |
(White Man) In Hammersmith Palais |
3:58 |
|
| 07. | |
London's Burning |
2:09 |
|
| 08. | |
I Fought The Law |
2:35 |
|
| 09. | |
Janie Jones |
2:04 |
|
| 10. | |
Career Opportunities |
1:51 |
|
| 11. | |
What's My Name |
1:41 |
|
| 12. | |
Hate & War |
2:05 |
|
| 13. | |
Police & Thieves |
6:00 |
|
| 14. | |
Jail Guitar Doors |
3:05 |
|
| 15. | |
Garageland |
3:09 |
|
15 Total Tracks, 43:08 Total Length
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Credits
- The Clash - Group // The Clash - Producer // The Clash - Main Performer // Joe Strummer - Guitar // Joe Strummer - Guitar // Joe Strummer - Vocals // Joe Strummer - Vocals // Terry Chimes - Drums // Terry Chimes - Drums (Snare) // Micky Foote - Producer // Topper Headon - Drums // Topper Headon - Drums (Snare) // Mick Jones - Guitar // Mick Jones - Vocals // Lee "Scratch" Perry - Producer // Lee "Scratch" Perry - Producer // Lee "Scratch" Perry - Producer // Lee "Scratch" Perry - Producer // Lee "Scratch" Perry - Producer // Lee "Scratch" Perry - Producer // Bill Price - Producer // Bill Price - Remastering Supervisor // Paul Simonon - Bass // Paul Simonon - Guitar (Bass) // Tory Crimes - Drums // Kate Simon - Photography // Kate Simon - Cover Photo // Ray Staff - Remastering // Bob Whitney - Remastering // Rocco Macauley - Photography // Caroline Coon - Photography
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