The Clash: The Clash (U.S. Version - Original CD Edition) CD Track Listing

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The Clash The Clash (U.S. Version - Original CD Edition) (1979)
The Clash (U.S. Version - Original CD Edition)\n\nOriginally Released In UK April 8, 1977 \nOriginally Released in US July 1979\nCD Edition Released \nRemastered CD Edition Released January 25, 2000\n\nAMG EXPERT REVIEW: Never Mind the Bollocks may have appeared revolutionary, but the Clash's eponymous debut album was pure, unadultarated rage and fury, fueled by passion for both rock & roll and revolution. Though the cliche about punk rock was that the bands couldn't play, the key to the Clash is that they give that illusion, but 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 slurred wails perfectly compliment the edgy rock, while Mick Jones' clearer singing and his charged guitar breaks make his numbers righteously anthemic. Even at this early stage, the Clash was experimenting with reggae, most notably on the Junior Murvin cover "Police and 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," "48 Hours" were removed from the British edition and replaced for the US 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 was slightly different, the core of the album remained the same, and each of the songs retain their power individually. 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 several decades after its release. Rock & roll is rarely as edgy, invigorating and sonically revolutionary as The Clash. -- Stephen Thomas Erlewine\n\nU.K. Version Track Order\n\n01. Janie Jones \t\tTrack 09 On U.S. Version\n02. Remote Control \t\tTrack 03 On U.S. Version\n03. I'm So Bored with the USA \tTrack 02 On U.S. Version\n04. White Riot \t\t\tTrack 05 On U.S. Version\n05. Hate & War \t\t\tTrack 12 On U.S. Version\n06. What's My Name \t\tTrack 11 On U.S. Version\n07. Deny \t\t\tNot On U.S. Version\n08. London's Burning \t\tTrack 07 On U.S. Version\n09. Career Opportunities \tTrack 10 On U.S. Version\n10. Cheat \t\t\tNot On U.S. Version\n11. Protex Blue \t\tNot On U.S. Version\n12. Police & Thieves \t\tTrack 13 On U.S. Version\n13. 48 Hours \t\t\tNot On U.S. Version\n14. Garageland \t\t\tTrack 15 On U.S. Version\n\nSongs On U.S. Version Not Appearing On U.K. Version\n01. Clash City Rockers \t\t\tNot On U.K. Version\n04. Complete Control\t\t\tNot On U.K. Version\n06. White Man in Hammersmith Palais \tNot On U.K. Version\n08. I Fought the Law\t\t\tNot On U.K. Version\n14. Jail Guitar Doors\t\t\tNot On U.K. Version\n\n\nAMAZON.COM CUSTOMER REVIEW (UK Version)\nAt Last this Cohesive Masterpiece is Ours \nReviewer: A music fan from Washington, DC February 6, 2000\nAfter 23 years, the Clash's first album is finally available in America, with its original UK program, running order, and artwork. The US version is a fine album, with good, later songs replacing four of the originals, but it sounds a bit of a confused patchwork. The added songs, some of them recorded more than a year after the UK album, slow down the program and dillute its message and power.\nThe Clash recorded this album over two weekends in early 1977, and the passion and single-mindedness of the performances made it almost a concept album: it had range and variety but an almost obsessive focus on young, down-and-out life on London's streets. Its insight, humor, hangdog defiance and rock power made it one of the greatest albums of all time.\n\nBy meddling with its content and sequencing, the executives at CBS made a technically superior product (the US version) that lacks the soul and drive of the original. "Clash City Rockers" is just mediocre; "White Man at Hammersmith Palais" has a style and theme that seem out of place here; "I fought the Law" effaces the other songs' scabby realism with silly, cowboy braggadocio; "Jail Guitar Doors" is an irrelevant outtake from Strummer's 101'ers days. And how could these CBS execs have failed to see "Janie Jones" for the perfect album opener that it is?\n\nBut the original masterpiece is now in the stores, so rejoice! And hear the Clash's first statement as it was meant to be heard. \n\n\nAMAZON.COM CUSTOMER REVIEW\nTake your pick from two versions, August 27, 2007 \nBy Laurence Upton (Wilts, UK)\nThe Clash were among the topmost important punk groups, having the power and the passion in spades, and a sincerely egalitarian ethos in the lyrics of Joe Strummer, who perhaps even more than John Lydon embodied the spirit of 1977. Their first album snarled into the shops in April 1977 in the UK and Canada, but was not available in America for over two years except on import, and was then released in a revised format, five tracks being replaced by various singles. \n\nOut went White Riot (the later single version was substituted, replete with police siren, smashing glass and alarm effects), Deny, Cheat, Protex Blue and 48 Hours. In their place were added the singles Clash City Rockers (1977), Complete Control (co-produced with mad reggae genius Lee Perry)(1977), (White Man) In Hammersmith Palais (1978), I Fought The Law (1979) and Jail Guitar Doors (the B-side of Clash City Rockers), making it almost ten minutes longer than the original album. The tracking order was also completely re-sequenced. \n\nI Fought The Law, an old Crickets number that the Clash had learned from the Bobby Fuller Four hit version found on a San Francisco jukebox, had just been released as the band's first US single, with (White Man) In Hammersmith Palais on the other side. If you own the 3CD Clash overview The Clash on Broadway then you already own the four missing songs. Joe Strummer actually approved of the revised album, telling a music journalist some years later, "It makes a good collection. If you've never heard the group before, it's a good bunch of tunes." \n\nThe original album [The Clash] was produced by their regular sound man Mickey Foote and engineered by Simon Humphrey at CBS Studio 3 in Whitfield Street, London over three weekends during February 1977. The regular Clash line-up of Joe Strummer (vocal, rhythm guitar), Mick Jones (lead guitar, vocal) and Paul Simonon (bass guitar) was augmented by Terry Chimes, yet to become a full-time member at the time of recording, on drums. He had left the band by the time of Clash City Rockers and Nicky 'Topper' Headon plays on all the added US tracks apart from White Riot. The single White Riot (and its B-side, 1977) had been recorded at Whitfield Street on 28 January 1977. \n\nThere are some classic Clash songs that were to remain in their repertoire throughout, and that stand up today. Indeed live versions of London's Burning, What's My Name and Career opportunities appear on the album From Here to Eternity: Live, recorded between 1978 and 1982. It also has live versions of added songs Complete Control, Clash City Rockers, (White Man) In Hammersmith Palais, Capital Radio and I Fought The Law. \n\nThe original album's one cover version, added at the end of the sessions as a make-weight, was their tribute to Lee Perry, the Junior Murvin single Police And Thieves, to which they bring their own inimitable style very successfully. It led to the Lee Perry-produced single and to Bob Marley subsequently name-checking them on Punky Reggae Party. Other Clash favourites included Remote Control (later extracted as the second UK single), Janie Jones, I'm So Bored With The USA, Garageland, and, of course, White Riot. \n\nThe version of White Riot heard on the UK version of The Clash is not the version released as their first UK single and is the sole track on the album not to have been recorded at Whitfield Street. Inspired by the Notting Hill Riots of 1976, it had been in their repertoire since September 1976, usually played considerably faster than either of the recorded versions, and had been demoed for Polydor in November before they signed with CBS. The LP version predates the single and was recorded in Beaconsfield at the National Film and Television School using some freebie time they'd wangled via Julian Temple in January 1977, with Mickey Foote making his debut in the producer's chair. The US album and all future compilations seem to have preferred the single version of White Riot, so it appears the Beaconsfield version is only to be found on the original The Clash album. \n\nEarly copies of the US album came with a free single containing Groovy Times and Gates Of The West. Along with I Fought The Law and a new recording of Capital Radio, these had comprised the UK release in May 1979 of The Cost Of Living EP. It would have been a nice touch if the three tracks not on the US album had been added as bonus tracks, but all three can be found on Super Black Market Clash, and the freebie single is on The Clash on Broadway. \n\nThe UK and US versions serve slightly different purposes, the US version being a useful collection of tunes whilst the UK version is the authentic original album, a snapshot statement of the band conceived at a crucial moment in their history. Take your pick. \n\n\nAMAZON.COM CUSTOMER REVIEW\nSimply one of the most stunning albums in history, September 18, 2004 \nBy Robert Moore (Chicago, IL USA)\n\nFirst, there is absolutely no question that the UK version of this album is the more powerful version of the album, and since that version is now readily available from Amazon and elsewhere, it is unquestionably the version to get. What I would like to point out, however, is that even the American version is one of the most powerful albums you will ever encounter. This album was absolutely shocking when it came out. Punk bands were supposed to be crude, inept on their instruments, undisciplined, and lacking in any political vision except unfocused anarchism. The Clash was the punk antithesis to punk. They weren't calling for anarchy; they were calling for a revolution. They were politically outraged, but they were outraged in behalf of people who were actively suffering at the hands of society. And they were clever! "Career Opportunities" was about Mick Jones brief job opening mail for the prime minister in case any were letter bombs. And unlike other punk bands, they expressed a solidarity with the racially oppressed, with incredible songs like "White Man in Hammersmith Palais," or being one of the first white band ever to employ reggae in songs like "Police and Thieves." Musically, they were far out in front of all other punk bands, playing tight, disciplined, and incredibly exhilarating songs. They were the first punk band that could be favorably compared with any other band in rock history. And unlike other bands, lead guitarist Mick Jones could actually play solos! \n\nNot all of the decisions concerning the American version were awful. Some were, in fact, brilliant, such as adding the hyperkinetic "I Fought the Law" or the extraordinary "Complete Control," possibly my favorite Clash song (one which Greil Marcus called possible the greatest hard rock song of all time--a hyperbolic claim, but one I wouldn't argue against with much passion). The song is a masterpiece of punk rebellion. The superficial subject matter--the lack of "complete control" that the record label had promised them--becomes the jumping off point for an anthem about the passion for social and economic control of the individual. It starts off as a song about the Clash, but morphs into a song about Everyman ("This is Joe Public speaking/I'm controlled in the body, controlled in the mind"). The song encapsulates not only the Clash at their best, but the entire punk movement. The number also contains some of my all time favorite rock lyrics (spoken by Joe Strummer over some lovely guitar playing by Mick Jones): "I don't trust you/Why should you trust me?\\Huh?" The song after that builds and builds in passion with Jones playing passionately over the repeating chorus. Rock music doesn't' get better than this. \n\nExcept for their last album and one or two of the compilations, there is no such animal as a bad Clash album. Any music fan should own just about everything the band did. They were not merely consistently good; they were consistently great, and their total body of work constitutes one of the great achievements in rock history. More than any other band of the punk movement, they expressed the idealistic hope for a better, more just world and the outrage of economic and societal control by forces too great to comprehend. They where, in fact, great spokesmen for the highest aspirations of the human passion for utopia. \n\n\nAMAZON.COM CUSTOMER REVIEW\nGreat Album, Questionable Remastering, February 21, 2002 \nBy Randy J. Laumann (New Orleans, LA United States)\n\nThis is one of the greatest rock and roll albums ever made. But nevermind.\nI bought the original CD version of this album when it was first issued in the late eighties. Most of it sounded great, but some of the singles that were added to make the U.S. version sounded a little dim, especially the muddy, muffled "Clash City Rockers" and the grainy-sounding "Complete Control" (which may be their finest song). \n\nSo, when this remastered version was released, I quickly purchased it, with the anticipation that those songs would sound brighter and crisper and carry more force. I was severely disappointed to hear that they sounded just the same as the original CD issue. \n\nBut I gave Columbia the benefit of the doubt, granting that maybe this is as good as these recordings can sound. Not so. A few months later I happened upon the original CD of The Story of The Clash Vol. One, which was released in 1988, many years before the remastering/repackaging craze.\n\nI was both amazed and frustrated to discover that "Clash City Rockers," "Complete Control" and "White Man In Hammersmith Palais" all sounded significantly better on this old 1988 CD than on the new so-called remasters. This is proof that better masters exist, so why weren't they used on this 2000 remaster?\n\nHow is this possible? Twelve years of technological advancements still do not guarantee the best possible master getting used. What is the point? Buyer beware! \n\n\nAMAZON.COM CUSTOMER REVIEW\nPLEASE, PLEASE, GET YOUR HANDS ON THE ORIGINAL., October 15, 1999 \nBy A Customer\n\nThe original Clash album was released in April 1977. It had the louder and heavier version of 'White Riot', not the lamer single version included here. It also had the rough edged melody of 'Deny', the Mick Jones tale of sex on the London Underground 'Protex Blue', a great manifesto of punk attitude 'Cheat' and Joe Strummer's rant about a bored weekend '48 Hours'. This American version includes the single 'Complete Control' released months after the original album. 'Clash City Rockers', 'Jail Guitar Doors' and 'White Man In Hammersmith Palais' were all released as or on singles in 1978 and 'I Fought The Law' wasn't released until 1979, two years after the original album!! Don't get me wrong, all of these post April '77 songs are great in their rightful place, but this packaging makes this US version essentialey a compilation album. For the true Clash sound of 76-77 get the UK original. \n\n\nHalf.com Album Notes\nThe Clash: Joe Strummer, Mick Jones (vocals, guitar); Paul Simonon (bass); Tory Crimes, Nicky Headon (drums).\n\nProducers: Mickey Foote, Lee Perry, The Clash, Bill Price.\n\nDigitally remastered by Ray Staff & Bob Whitney (Whitfield Street Studios, London, England).\n\nThis album introduced the world to The Clash, the only group that was on even footing with The Sex Pistols in U.K. punk rock's early days. The Clash avoided the Pistols' sensationalism, singing instead songs about politics, racism and class warfare. The music's brutal assault, accompanied by Strummer's charismatic vocal style, earned the group attention in its native England, where THE CLASH entered the charts at number 12.\n\nThis album collects many tracks from the original British release of THE CLASH along with the single "I Fought The Law", and "Complete Control", a song they recorded with legendary Jamaican producer Lee "Scratch" Perry.\n\nIndustry Reviews\nRanked #3 in NME's list of The Greatest Albums Of The '70s - ...The speed-freaked brain of punk set to the tinniest, most frantic guitars ever trapped on vinyl. Lives were changed beyond recognition by it...\n\n\nRanked #13 in NME's list of the 'Greatest Albums Of All Time.'\nNME (10/02/1993)\n\nRanked #48 in Q's 100 Greatest British Albums\nQ (06/01/2000)\n\n5 stars out of 5 - ...[They] would never sound so punk as they did on 1977's self-titled debut....Lyrically intricate...it still howled with anger...\nQ (12/01/1999)\n\n5 out of 5 - ...the eternal punk album....the blueprint for the pantomime of 'punkier' rock acts....for all of its forced politics and angst, THE CLASH continues to sound crucial...\nAlternative Press (03/01/2000)\n\n5 stars out of 5 - ...both a party and protest...The tunes still detonate as the group still insists justice must prevail...\nRolling Stone (06/20/2002)\n\nRanked #2 in Mojo's Top 50 Punk Albums - ...The ultimate punk protest album....Searingly evocative of dreary late '70s Britain, but still timelessly inspiring...\nMojo (03/01/2003)\n\nRanked #3 in Spin's 50 Most Essential Punk Records - ...Punk as alienated rage, as anticorporate blather, as joyous racial confusion, as evangelic outreach and white knuckles and haywire impulses...\nSpin (05/01/2001)\n\n5 stars out of 5 - Included in Q's 100 Best Punk Albums.\n\n\nRanked #3 in NME's list of The Greatest Albums Of The '70s - ...The speed-freaked brain of punk set to the tinniest, most frantic guitars ever trapped on vinyl. Lives were changed beyond recognition by it...\n\n\nRanked #77 in Rolling Stone's 500 Greatest Albums Of All Time - ...Youthful ambition bursts through the Clash's debut, a machine-gun blast of songs about unemployment, race, and the Clash themselves...\nRolling Stone (12/11/2003)
This rock cd contains 15 tracks and runs 43min 35sec.
Freedb: be0a350f
Buy: from Amazon.com

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