736:. White believed it should have been the lead single and could have been a hit. Although generally well received, critics dismissed its synthetic drum sound as at odds with its back-to-basics sound. The track was written just after the 1984 tour, when Strummer was attending to his terminally ill mother, so it is assumed that most of the lyrics were composed by Rhodes. They are written from the point of view of a young punk who feels overshadowed by an older brother, but the story is told in such simple terms that it has been characterised as having "
869:, and is widely regarded as the album's stand-out track. It was released as the band's last single and Strummer himself called it the "last great Clash song". Co-written by Strummer and Rhodes, the song retains some of the reggae influences of their earlier albums. Like "We Are the Clash", its chorus is sung in a football chant, but here it is higher in the mix. The guitars are also prominent, but the percussion is again supplied by a drum machine. Lennox described it as a "tuneful, beautifully crafted overview of
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back, trying to fool yourself that this time will be better." He was particularly upset that people had thought the "Jose Unidos" pseudonym credited as a producer was him rather than Rhodes, and said "it wouldn't have been so bad if Bernie had just got the blame but that was unbearable." The album was cited by several contemporary reviewers as symptomatic of why punk rock had failed. Strummer said in 1988: "To someone who says I was
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788:"Are You Red..Y" had originally been titled "Are You Ready for War". "Cool Under Heat" is a reggae-ballad whose production choices have been criticised as cluttered and confused, several writers noting that its strong lyrics and tune are buried underneath a jumble of extraneous instruments and studio effects. The guitar sound is especially flat and restrained by overly
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White and Howard were reluctant to engage with the material. Finally, given that Rhodes had so heavily revised the original songs and used so many samples and studio effects, he and
Strummer disagreed on how the tracks should be played live. Strummer dissolved the band that October, giving each of the remaining members a thousand pounds each as
985:, insists on driving the oil tanker on which the settlers' survival depends: "Come on, cut the crap. I'm the best chance you've got." According to Jucha, the sentiment reflected the band's view of themselves in the mid-1980s: "the back-to-basics Clash, Round two—like the initial band of UK punk rockers—were going to eradicate the meaningless
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893:, writing that "the sound collage and the gentle, troubled synth lines undergird the song unerringly, and for once the group-shouted chorus, though still over-loud, conveys some wan meaning. This can't have been a good time for Strummer, and you can hear it in his voice, as he sings the fuck out of this."
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The absence of Jones and Headon led many to regard it as a Joe
Strummer solo album—an impression further solidified by Simonon's involvement being limited only to the pre-production stage. Its shortcomings were often attributed to Strummer's evident disillusionment with the group and the fact that he
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that he was not going to release any new material until he knew it could "last ten years". Most critics and fans were disappointed on its release—especially with its sound and production values, and the omission of stand-out live tracks "In the
Pouring Rain" and "Ammunition", usually titled "Jericho"
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The rallying cry lyrics for "We Are the Clash" are sometimes seen as a defiant response to Jones's lawsuit. The album version differs substantially from both earlier live recordings and a 1983 demo. It is more polished, the lyrics have been changed in parts, the tempo has been slowed down, the bridge
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the Clash performed during their busking tour the previous year, and thus evoked memories of a less tense period in their career. The massed vocals were provided by several dozen of their friends and families, and several of the inner team remembered those sessions as the only enjoyable period during
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Fayne described Rhodes's treatment of Howard as "damaging". Rhodes would begin recording sessions by asking the drummer to play what he wanted, but would inevitably respond to Howard's parts by saying "no, not that", or "no, not that either". In one incident, Rhodes appeared in the recording room and
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The penultimate track "North and South" was written and sung by
Sheppard. It features a simple guitar line and uncluttered production, and has often been highlighted as one of the album's strongest tracks. The album closer, "Life Is Wild", is the only track which had not been played live before. Its
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The production of the live favourite "Three Card Trick" has been praised as relatively uncluttered, although it does contain programmed hand-claps. Jucha said that the live version was good enough to have appeared on any Clash album, and that
Strummer had developed a real skill for writing mid-tempo
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was maligned in the UK music press as "one of the most disastrous ever released by a major artist". Strummer disowned the album and dissolved the Clash within weeks of its release. He performed only one song from the album live during his solo career, and the album has been excluded altogether from
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Epic
Records intended a tour shortly after the release, but there were practical issues that made this impossible. Foremost, Strummer was in Spain and refusing promote the record; he had even threatened to take legal action to prevent its release. After their treatment during the album's recording,
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Strummer was depressed by both the album's sound and critical appraisal. Asked in 1986 how the reviews affected him, he replied, "Sure I read but I didn't need them to tell me. It was like when you're younger and you're trying to make a date with a girl but she won't have any of it. You keep going
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on 4 November 1985, they were an accomplished live band, and had written and performed several songs that would appear on the final studio album; a few had been live favourites. On the strength of their recent gigs, the UK press were optimistically waiting for the album's release. Epic
Records
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would have helped to create a more organic "roomy" sound, so the songs wouldn't feel "so canned and phony". Against this, the live instrumentation is tight and cohesive. Each of the new recruits was a skilled musician, and they had just come off a tour during which Rhodes had instructed them not to
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The consensus among critics is that the album's production choices distract from otherwise strong songwriting by
Strummer and Rhodes. Strummer's vocals are placed low in the mix, sometimes buried underneath electronic drums, synthetic keyboards and studio effects. The sound has often been described
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article gave the bottom ranking, out of all the Clash's recorded songs, to seven tracks from the album. In order of weakness, those tracks are "We Are the Clash" (139), "Play to Win" (138), "Fingerpoppin" (137), "Dictator" (136), "Dirty Punk" (135), "Are You Red..Y" (134), and "Movers and
Shakers"
1400:... Now, how to take that idea to the next level!" They briefly considered the possibility; Rhodes made the suggestion to Simonon, a position the bassist resolutely refused until Strummer officially disbanded the group. Strummer then reunited with Jones for Big Audio Dynamite's second studio album
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both published sharply negative reviews, the latter of which was titled "No Way, Jose" in sarcastic reference to the "Jose Unidos" production credit. Reflecting the critical consensus at the time, Mike Laye—a writer, photographer and Clash insider—said the band should "just drop the 'Cut' from the
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Strummer had been the band's principal lyricist, while Jones had written their music. After Jones was fired, the band assumed that anyone could write a punk song. This proved to be a mistake and, unknown to members of the Clash, Rhodes had already conceived his own solution to Jones's departure—he
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was remastered and re-released in Europe in the mid-2000s, with the bonus track "Do It Now". The reissue was unannounced and not promoted. It came after the rest of the band's catalogue had been reissued between
December 1999 and January 2000 in the US. The album was not mentioned in the Clash
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review that alluded to the negative word-of-mouth and summarised most of the album as "stubborn and jolly and elegiac and together". Music journalist Richard Cromelin found the album's uptempo songs less effective than those on earlier Clash records, but concluded that Strummer's singing is
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in the burning slum"—was described by writer Sean Egan as "a piece of unconscious self-parody that is quite probably the worst line ever to appear on a Clash record". Fletcher called the lyric "excruciating" given that Strummer was then a successful rock star, but resigned himself with the
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addiction which left him unreliable. After the band undertook rehearsals in London during June 1983, interpersonal tensions reemerged. The two principal songwriters no longer trusted each other, due to Jones's frequent absence from rehearsals and use of synthesizers. Both Jones and bassist
556:... He wanted to take it forward, to control it, to mastermind the whole thing, and what they were doing was a bit too reminiscent of what it was". Disillusioned and lacking reinforcement or direction from Strummer, Howard seriously considered leaving the band at several points.
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Strummer and Rhodes disagreed on the direction of the recordings almost from the outset. Rhodes, credited on the sleeve under the pseudonym "Jose Unidos", had no previous experience with either songwriting or record production. While Strummer had been pleased with his
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The relationship between Strummer and Jones had broken down by this point. Not long into rehearsals, Strummer and Simonon had fired Jones. A week before the official announcement of the dismissal, Strummer, Simonon and Rhodes began to look for replacements and met
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607:, who was not credited on the sleeve. Howard's exclusion from the album has been lamented by many critics. Knowles described him as an "astonishingly powerful and prodigious" drummer, and said that replacing him with electronic percussion was "like replacing a
664:"Dictator", one of the earliest songs the new line-up played during their European tour, has been described as "the poorest possible choice for the opening track". Music critic Lennox Samuels wrote in 1985 that the song is "a messy mix of horns and a
450:(1982). Strummer began to refer to the line-up as "the Clash, Round Two", a phrase adopted by the press as "the Clash Mark II". They booked a short tour of the US West Coast, debuting new songs, which prompted Jones to boast to concert promoter
1338:... attempt to rekindle the Clash's punkish, militant energy." Music critic Liam Lacey was more favourable and concluded that, given the strength of "This Is England", "in its cheesily self-aggrandizing way, the new Clash may be on to something."
528:, which Strummer wanted to use on the album because, according to Rhodes, "Joe wanted to compete with Mick's drum machine thing". Rhodes also employed engineers Ulrich A. Rudolf, Simon Sullivan and Kevin Whyte, who are credited on the sleeve.
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from the studio, after which he added further synthesizer parts. Although Jones's use of synthesizers and samplers was one of the main reasons behind his dismissal, those instruments brought him critical and public acclaim with his next band
42:
329:. The recording process and tension between Rhodes and Strummer left other band members disillusioned. White's and Sheppard's contributions are almost entirely absent in the final mix, and Howard was replaced by an electronic
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at the disco". Clash biographer Chris Knowles disliked Rhodes's production but admired Strummer's songwriting, and considers the album version as a lost opportunity given that the song had been a "killer" live favourite.
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most of the Clash's compilations and box sets. Although it is still generally regarded as the band's worst album, contemporary critics have praised Strummer's songwriting and vocal performance, especially on the tracks "
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observation "fortunately for not enough people were listening to be truly offended." Apart from the lyrics, the song's drum programming has often been criticised as clunky, although the vocal melody has been praised.
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sold poorly compared to earlier Clash releases, reaching just number 16 in the UK charts and number 88 in the US. On release, British and American critics alike generally viewed the album in an unfavourable light.
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the album's recording. The only other aspect that the musicians agreed on was the quality and commercial potential of "This Is England", a song into which Rhodes allowed the musicians significant creative input.
1385:... 'the spokesman for your generation and you fucked it up', I say yeah, but we tried." He admitted that he had undertaken the project in part to prove that Jones hadn't been the Clash's only songwriter.
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Under pressure from Epic to get the band out on tour to promote the album, Rhodes asked the three remaining members to consider hiring a new singer, rationalising that "The Clash has always been an idea
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462:", was debuted during live appearances in January 1984. In all, the Clash Mark II had written around 20 new songs before entering the studio to record what became the band's final studio album.
520:. Epic Records chose the German studio because the band's finances were dependent on ongoing legal cases, including moves by Jones to prevent them recording under the name "the Clash". Rhodes hired
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believes that Rhodes was by then trying to take over the Clash's brand name, and would "have a version out there now touring" many years after Strummer left, if he could have legally managed it.
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described "This Is England" as "surprisingly nervy" on a record that, in his view, is otherwise "formulaic, tired punk rock that doesn't have the aggression or purpose of early Clash records".
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as muddy and cluttered due to multi-layered guitar tracks and backing vocals. Many of the guitar overdubs have been considered unnecessary, given that Sheppard and White were both using
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chorus removed. The song has received mixed reviews. It was criticised for its confused politics and thin sound, the guitar solo and back-in-the-mix vocal chants in particular lacking
423:. White took the pseudonym Vince after Simonon complained that he would prefer to quit than play in a band with someone named Greg. Both were given a weekly wage of ÂŁ100 rather than
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924:, was described by Popoff as a "curious thumping party rocker that makes little sense" and begged the question why a songwriter of Strummer's ability would write "such banalities".
912:, and nonsensical fragmented conversations between Joe and Vince". Although the drums are considered too low in the mix, and the shouted choruses have been described as resembling
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844:"This Is England" has been described as the Clash's last great song, even though it is emblematic of the album's maligned production characteristics, especially in its use of
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The album cover was conceived by Rhodes, who contracted Mike Laye to shoot the pictures. The artwork was sub-contracted to Eddie King and Jules Balme, the art director for
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garbled choruses" and he found that "Strummer's attempt to enliven them with horn charts creates an ungainly mess of a sound." Similarly, Richard Defendorf of the
584:, Strummer described it as one of the "worst pieces of shit I have ever heard." In 1986, Strummer said that he had liked a few of the tunes but "really I hated it
1423:(2008), not receiving an overview as the first five studio albums had. The album has been omitted from many Clash compilations, box sets and reissues, including
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With its simple three-chord structure, "Dirty Punk" is the song that best represents Strummer and Rhodes's attempt to return the band to its punk rock origins.
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908:-quality songs that should have been excluded from the track listing. The latter is a sound collage which Popoff views as incoherent and basically "noise,
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The over-laid vocals in the choruses, which give the football chant feel, were harshly viewed by critics at the time, both because the effect seemed like
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that he was planning his own tour with Headon as "the Real Clash". Jones's lawyers had frozen the band's earnings from both the US Festival and sales of
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bands dominating the British pop world. They were 'the best chance got'." Nevertheless, the title is widely disliked; Jucha described it as "awful".
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640:. Author Gary Jucha summed up the album as having been produced by a manager whose musical ambitions were overstretched by a lack of experience.
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1274:(1982) along with their updated sound, would result in critical acclaim and high sales. In the promotional lead up, Strummer told journalist
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in England, where political philosophies joust for hegemony while the country sinks into ignominious decline and millions of youths turn to
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took issue with the song's title, calling it "an outright lie" in light of the album's exclusion of both Jones and Headon. Music critic
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began to "smash the drum kit up", at which point Howard stood up and left. Fayne said, "Bernie didn't want any connection with the past
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has been favourably reevaluated in some retrospective reviews, many praising Strummer's songwriting and vocal performance. The writer
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versions, he fought against his manager over the album's production. Rhodes believed he had discovered a new genre, seeking to mix
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Strummer intended the second Clash line-up to encapsulate a back-to-basics approach to punk. The new musicians largely avoided the
1393:. Howard told him, somewhat bitterly, that "this is where it got you" for following Bernie's lead—a statement to which he agreed.
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wrote that the "revised version of the Clash sounds like a pale and ghostly facsimile of this once-great band"; he disliked the
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458:(1982). In response, Strummer wrote the song "We Are the Clash", which, along with "Three Card Trick", "Sex Mad Roar" and "
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as "surprisingly flat and dead". The critic Mark Andersen described it as "one of the less successful of the new tunes".
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rabble-rousing, and they compared unfavorably with Jones's earlier backing vocals. The drums are largely untreated with
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rhythm and atmosphere". Yet its reputation as a failure, or at least as a lost opportunity, has endured. In 2002,
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Howard described the final drum sound as coming across as like somebody "hitting you over the head with a bag of
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952:. The image is rendered so that the portrait looks like a poster glued to a wall. A similar image appears on the
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lyrics that read as if a parody of a punk rock song". The relative simplicity of the lyrics were criticised by
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to Rhodes, and became so disillusioned that at one point he asked Jones to rejoin the band, but was refused.
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hoped the album would advance the Clash's success in the United States, and planned an expensive video for a
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production. Popoff found the album version inferior to the Clash's live versions that were reminiscent of
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was excluded because it was not seen as a real Clash album, as neither Jones nor Headon were involved.
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and as such their sounds were tonally similar, and there was not significant variation in either their
548:. He replaced live musicians with synthetic sounds and layered the tracks with audio from TV programs.
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2705:. "Clash: The Clash; Give 'Em Enough Rope; London Calling; Sandinista!; Combat Rock; Cut The Crap".
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The guitar-based "Dirty Punk" is built from a basic three-chord structure reminiscent of the band's
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at the Tower Theater in 1980. The bassist does not appear on any of the album's final recordings
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and Strummer fought each other for control over the band's songwriting and musical direction.
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compelling and "This Is England" and "North and South" make the record "more than passable".
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Strummer and Rhodes co-wrote most of the songs. During production, Rhodes took charge of the
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3578:"Nick 'Topper' Headon, former Clash drummer, with The Blockheads at The Booking Hall, Dover"
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Simonon has said that Rhodes had not been aware of, nor later approved of, Jones's firing.
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Morse, Steve. "Sasfy, Joe. "Rants Without Raves; Political Pap From the Revised Clash".
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Simonon does not appear on any of the final recordings; the basslines were performed by
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Samuels, Lennox. "The Clash's New Album Proves Musically Apt, Politically Irrelevant".
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The Clash Takes on the World: Transnational Perspectives on the Only Band that Matters
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Micheal Fayne on the basis of affordability, and his prior experience with programmed
409:. The band placed anonymous advertisements for replacement guitarists in the magazine
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placed it last in its 2017 ranking of all 139 songs by the Clash from worst to best.
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323:". Rhodes chose the album title, taken from a line in the 1981 post-apocalyptic film
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Rhodes titled the album, taking the words "cut the crap" from a scene in the 1981
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Let Fury Have the Hour: Joe Strummer, Punk, and the Movement that Shook the World
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Writer Mark Andersen described "Fingerpoppin'" and "Play to Win" as essentially
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1419:(2000) and was acknowledged only briefly in the official illustrated biography
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We Are the Clash: Reagan, Thatcher, and the Last Stand of a Band That Mattered
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in 2017, writer Bill Wyman described the song as the only successful track on
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3619:(illustrated ed.). St Ives, N.S.W.: Australian Chart Book. p. 65.
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Sisältää hitin – levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972
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responded to the chant of "We Are the Clash" with the words "No you're not
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1406:(1986), co-producing the album with him and writing five songs together.
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used in some of the choruses. They were in part inspired by the communal
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praised the album in his influential 1991 book on the history of punk,
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release of "This Is England". A lithograph of the cover is held by the
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have said that they refused to sign the contract negotiated by manager
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songs. The track begins as a straightforward punk song with a simple
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513:
435:
401:, who had earlier been fired due to personal differences with Jones.
389:
265:
2027:(133). "This Is England" ranked highest from the album at number 71.
3874:
The Clash FAQ: All That's Left to Know About the Clash City Rockers
3666:(in Finnish) (1st ed.). Helsinki: Kustannusosakeyhtiö Otava.
1367:
492:
469:
360:
49:
4028:. "The Clash" (Kill Your Idols series). London: Unanimous, 2000.
3924:
The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made
3389:
Parker, Alan. "Rebel Truce: The History of the Clash", Part Six.
1334:
described the record as a "sometimes embarrassingly anachronistic
1318:
was grieving over the recent deaths of his parents. Joe Sasfy of
2152:
from the original on 11 October 2017. Retrieved 10 February 2019
4074:
504:
The album was recorded between January and February 1985, on a
284:. Jones and Headon were replaced by three unknowns: guitarists
3380:
from the original on 7 March 2016. Retrieved 10 September 2015
2880:
from the original on 19 April 2019. Retrieved 10 February 2019
2560:
1477:
1298:
944:(1982). It shows a punk, apparently King's brother, wearing a
921:
898:
3357:
from the original on 5 January 2019. Retrieved 4 January 2019
2821:
from the original on 5 January 2019. Retrieved 7 January 2017
2178:
from the original on 26 August 2018. Retrieved 7 January 2018
651:
which left them sounding dull. Knowles suggested that adding
4070:
2611:
from the original on 31 March 2019. Retrieved 7 January 2018
2214:
from the original on 13 April 2019. Retrieved 6 January 2019
2114:
from the original on 13 April 2019. Retrieved 4 January 2019
818:
689:
384:
considered anathema to what the band stood for, and drummer
380:
was seen as adopting rock star posturing that lead vocalist
3750:"British album certifications – The Clash – Cut the Crap"
948:, black leather jacket and sunglasses—all markers of 1980s
656:
vary song structures or guitar leads between performances.
3162:
Graff, Gary; Durchholz, Daniel, eds. (1999). "The Clash".
668:-like voice-over". The album cut omits the live version's
3551:
from the original on 18 June 2019. Retrieved 18 June 2019
3452:(Main ed.). London: Faber & Faber. p. 590.
2388:
from the original on 9 April 2010. Retrieved 15 June 2019
1492:
The liner notes credit all songs to Strummer and Rhodes.
2447:
from the original on 11 May 2019. Retrieved 11 May 2019
2315:
from the original on 11 May 2019. Retrieved 11 May 2019
438:-influenced style of their two previous studio albums,
680:
described the lyrics' depiction of a Central American
2435:
The Clash 'Cut the Crap' – Cutting edge or just crap?
296:. During the tense recording sessions, Clash manager
559:
Most of the Clash and the production team liked the
264:. It was recorded in early 1985 at Weryton Studios,
4934:
Albums recorded at the Tower Theater (Pennsylvania)
4728:
4680:
4550:
4378:
4353:
4256:
4231:
4178:
1778:Hermann Weindorf (as "Herman Young Wagner") –
1695:
1687:
1601:
1593:
1511:
1503:
205:
163:
146:
133:
117:
96:
84:
76:
61:
48:
34:
571:Rhodes suddenly ended the recordings and took the
3994:England's Dreaming: The Sex Pistols and Punk Rock
3829:Passion Is a Fashion: The Real Story of the Clash
2829:
2827:
1741: – guitar; lead vocals on "North and South"
920:chorus, stylistically akin to the punk subgenre
748:'s '80s output, bland cliché for bland cliché."
1974:Shipments figures based on certification alone.
1270:anticipated that both the three-year gap since
1265:By the time the new "Mark II" line-up released
3699:"Swedishcharts.com – The Clash – Cut the Crap"
3011:Garcia (2012), First Night Back in London, 332
2601:Was a Snapshot of a Legendary Band's Low Point
2140:139 the Clash Songs, Ranked from Worst to Best
4086:
2807:; Newman, Jason; Weingarten, Christopher R. "
1480:in England in the 1980s, in reference to the
796:, which the band had played on an early-1985
8:
3336:
3334:
2983:". Official website. Retrieved 12 April 2020
2803:Gehr, Richard; Greene, Andy; Harris, Keith;
1197:
1159:
1097:
1059:
1021:
580:. When asked at the time for his opinion on
3976:Redemption Song: The Ballad of Joe Strummer
3368:Album Review: Less Slash From The New Clash
916:, its demo version is considered superior.
4093:
4079:
4071:
3845:. London: Rowman & Littlefield, 2014.
3701:. Hung Medien. Retrieved August 20, 2024.
3689:. Hung Medien. Retrieved August 20, 2024.
3164:MusicHound Rock: The Essential Album Guide
3002:, 24 July 2013. Retrieved 1 September 2019
2644:International Musician and Recording World
2098:
2096:
2094:
1933:
1817:
996:
936:, who had earlier overseen the covers for
803:The opening line of "Movers and Shakers"—"
40:
31:
2528:
2526:
315:drum sounds and Rhodes' own inclusion of
3958:The Clash: All the Albums, All the Songs
3941:Joe Strummer and the Legend of the Clash
2862:
2860:
2577:
2575:
2573:
2196:
2194:
2192:
2190:
2188:
2186:
2184:
1684:
1590:
1500:
353:", "Dirty Punk" and "Three Card Trick".
3876:. Milwaukee, WI: Backbeat Books, 2016.
3514:"Big Audio Dynamite, No. 10, Upping St"
3061:"The Clash – Cut the Crap album review"
3019:
3017:
2957:
2955:
2936:
2934:
2897:
2895:
2841:
2839:
2787:
2785:
2766:
2764:
2762:
2760:
2698:
2696:
2694:
2684:
2682:
2680:
2678:
2676:
2674:
2672:
2662:
2660:
2658:
2469:
2467:
2465:
2455:
2453:
2297:
2295:
2240:
2238:
2076:
1993:
1970:
964:, who attribute an "unknown designer".
516:, Germany, with some parts recorded in
3843:The Clash: The Only Band That Mattered
3687:"Charts.nz – The Clash – Cut the Crap"
3498:
3496:
2564:, 26 July 1986 – via Rock's Backpages
2550:
2548:
2546:
2544:
2542:
2540:
2538:
2516:
2514:
2512:
2510:
2508:
2342:Andersen; Heibutzki (2018), chapter 10
2338:
2336:
2334:
2332:
2330:
2084:
2082:
2080:
1352:, highlighting the "innovative use of
855:
722:
260:, released on 4 November 1985 by
4712:Joe Strummer: The Future Is Unwritten
4015:(4th ed.). New York: Fireside, 2004.
3539:The Velvet Underground's Lost Chapter
3502:Garcia (2012), Singer Auditions, 2491
3299:Sinker, Mark (1995). "The Clash". In
2799:
2797:
2744:
2742:
2591:
2589:
2587:
2520:Anderson, Heibutzki (2018), chapter 9
2506:
2504:
2502:
2500:
2498:
2496:
2494:
2492:
2490:
2488:
2253:Andersen; Heibutzki (2018), chapter 6
2134:
2132:
2130:
2128:
2126:
2124:
2122:
2120:
1002:
153:
7:
1792:programming; vocals on "Play to Win"
276:had been dismissed by lead vocalist
3831:. Boston, MA: Da Capo Press, 2004.
3803:. Seattle, WA: Amazon Media, 2012.
3270:White, William (20 November 1985).
2868:Why the Clash are still Rock Titans
3771:Andersen, Mark; Heibutzki, Ralph.
3432:Lacey, Liam. "Inside the Sleeve".
2928:Andersen; Heibutzki (2018), p. 147
2809:22 Terrible Songs by Great Artists
2048:"This Is England" was included on
1303:title, because to me this crap."
676:synth lines. The music journalist
487:Upper Darby Township, Pennsylvania
29:1985 studio album by the Clash
25:
4929:Albums produced by Bernard Rhodes
4796:The Good, the Bad & the Queen
4415:(White Man) In Hammersmith Palais
4012:The New Rolling Stone Album Guide
3996:. London: Faber and Faber, 1991.
3979:. London: Faber and Faber, 2007.
3860:The Clash: The Music That Matters
3775:. New York: Akashic Books, 2018.
3417:Defendorf, Richard. "The Clash".
2581:Garcia (2012), Cut the Crap, 2420
2532:Garcia (2012), Drum Machine, 2276
1199:
1161:
1099:
1061:
1023:
744:, who described them as akin to "
431:would take control of the music.
307:, track sequencing and the final
4896:
4895:
4272:The Story of the Clash, Volume 1
3960:. London: Voyageur Press, 2018.
3862:. London, Omnibus Press, 2012.
3817:. London: Thin Man Press, 2012.
1759: – did not feature on album
1753: – did not feature on album
1372:Strummer in concert, supporting
1218:
1213:
1208:
1203:
1198:
1180:
1175:
1170:
1165:
1160:
1118:
1113:
1108:
1103:
1098:
1080:
1075:
1070:
1065:
1060:
1042:
1037:
1032:
1027:
1022:
856:Problems playing this file? See
834:
723:Problems playing this file? See
705:
508:mixing desk in Weryton Studios,
3909:. London: Omnibus Press, 2011.
3785:Cohen, Samuel; Peacock, James.
3711:"Official Albums Chart Top 100"
3617:Australian Chart Book 1970–1992
3059:Rowley, Scott (10 March 2021).
1416:The Clash: Westway to the World
780:... you're a pale imitation of
3815:The Rise and Fall of the Clash
2866:Spencer, Neil; Brown, James. "
1688:
1594:
1504:
1453:(2013). According to Simonon,
734:self-titled debut studio album
1:
3906:Encyclopedia of Popular Music
3754:British Phonographic Industry
3739:. Retrieved August 20, 2024.
3717:. Retrieved August 20, 2024.
3652:. Retrieved August 20, 2024.
3306:Spin Alternative Record Guide
3238:The Rolling Stone Album Guide
3166:. Visible Ink Press. p.
3097:Encyclopedia of Popular Music
3034:The Clash, Cut the Crap, 1985
2901:Cohen; Peacock (2017), p. 109
2163:Dusting 'Em Off: The Clash –
1242:Spin Alternative Record Guide
1192:The Rolling Stone Album Guide
1092:Encyclopedia of Popular Music
4513:Should I Stay or Should I Go
3789:. London: Bloomsbury, 2017.
3640:"Top RPM Albums: Issue 0617"
2424:Salewicz (2007), pp. 364–365
2280:Salewicz (2007), pp. 373–375
2056:the 2007 box set reissue of
1922:
1908:
1893:
1881:
1869:
1857:
1843:
752:changed to an intro and the
4818:The Joe Strummer Foundation
4240:From Here to Eternity: Live
3650:Library and Archives Canada
2994:Ian Dury’s Eyeball Pleasers
2597:This Is (Not) Radio Clash:
2271:Gilbert (2014), pp. 340–341
2244:Gilbert (2014), pp. 338–339
2232:Gilbert (2014), pp. 336–337
2202:The Final Days of the Clash
2102:Erlewine, Stephen Thomas. "
1865:The Official Finnish Charts
1809:(credited as "Jose Unidos")
229:Released: 30 September 1985
4965:
3890:. London: PageFree, 2003.
3727:"The Clash Chart History (
3512:Erlewine, Stephen Thomas.
3345:Christgau's Consumer Guide
3130:The Great Rock Discography
2556:Joe Strummer: Good Ol' Joe
1747: – additional guitars
1130:The Great Rock Discography
4891:
4776:The Latino Rockabilly War
4580:I'm So Bored with the USA
4108:
3926:. London: Penguin, 1989.
3193:"The Clash: Cut the Crap"
3113:– via Google Books.
2919:Jucha (2016), pp. 330–331
2718:Jucha (2016), pp. 325–326
1971:
1956:
1948:
1945:
1942:
1913:
1898:
1886:
1874:
1862:
1848:
1836:
1829:
1826:
1700:
1692:
1665:
1654:
1643:
1632:
1621:
1606:
1598:
1571:
1560:
1549:
1538:
1527:
1516:
1508:
1010:
1007:
365:Founding Clash guitarist
237:
216:
201:
171:
65:4 November 1985
39:
4301:Super Black Market Clash
3943:. London: Plexus, 2005.
3227:(2004). "The Clash". In
3040:. Retrieved 22 June 2019
2303:Were the Clash Bullshit?
865:"This Is England" opens
466:Recording and production
4629:Lost in the Supermarket
3715:Official Charts Company
3662:Pennanen, Timo (2006).
3303:; Marks, Craig (eds.).
2751:The Dallas Morning News
2651:(subscription required)
2640:Joe Strummer: Clashback
2566:(subscription required)
2397:Salewicz (2007), p. 363
2360:Salewicz (2007), p. 360
2351:Salewicz (2007), p. 359
2104:Cut the Crap: The Clash
1849:Canada Top Albums/CDs (
1464:in 2006 used the title
1358:Stephen Thomas Erlewine
248:is the sixth and final
3799:D'Ambrosio, Antonino.
2961:Knowles (2003), p. 123
2770:Knowles (2003), p. 122
2727:Knowles (2003), p. 120
2482:Knowles (2003), p. 249
2473:Knowles (2003), p. 252
2324:Gilbert (2014), p. 345
2289:Gilbert (2014), p. 344
2262:Gilbert (2014), p. 339
1819:Chart performance for
1426:The Story of the Clash
1377:
823:
694:
501:
490:
370:
4698:Concert for Kampuchea
4492:The Magnificent Seven
3602:Knowles (2003), p. 77
2970:Popoff (2018), p. 232
2949:Popoff (2018), p. 231
2940:Popoff (2018), p. 229
2910:Popoff (2018), p. 228
2889:Popoff (2018), p. 226
2845:Popoff (2018), p. 219
2791:Popoff (2018), p. 215
2779:Popoff (2018), p. 214
2415:Popoff (2018), p. 216
2088:Popoff (2018), p. 211
1788:Michael Fayne –
1371:
877:." The lyrics convey
848:and chanted choruses.
822:
693:
561:football-style chants
496:
477:performing live with
473:
364:
4705:Westway to the World
4559:Career Opportunities
4247:Live at Shea Stadium
4194:Give 'Em Enough Rope
3547:, 11 February 2010.
3481:Jucha (2016), p. 332
3448:Savage, Jon (2005).
3376:, 17 November 1985.
3366:Cromelin, Richard. "
3243:Simon & Schuster
3049:Jucha (2016), p. 328
3038:Museum of Modern Art
2736:Jucha (2016), p. 330
2688:Jucha (2016), p. 329
2666:Jucha (2016), p. 319
2629:Jucha (2016), p. 331
2620:Jucha (2016), p. 139
2605:Consequence of Sound
2459:Jucha (2016), p. 325
2406:Jucha (2016), p. 317
2171:Consequence of Sound
1875:New Zealand Albums (
1764:Additional musicians
1575:"Movers and Shakers"
998:Professional ratings
958:Museum of Modern Art
928:Sleeve art and title
4944:Epic Records albums
4813:Rock Against Racism
4807:Spirit of St. Louis
4671:Overpowered by Funk
4499:This Is Radio Clash
4337:The Clash Hits Back
4308:The Essential Clash
3888:Clash City Showdown
3490:Egan (2014), p. 116
3405:The Washington Post
3353:, 28 January 1986.
3023:Egan (2014), p. 190
2876:, 29 October 2006.
2854:Egan (2014), p. 193
2607:, 7 November 2015.
2561:New Musical Express
2384:, 16 January 1986.
2311:, 29 October 2010.
2223:Egan (2014), p. 103
2148:, 11 October 2017.
2051:The Essential Clash
1939:
1935:Certifications for
1837:Australian Albums (
1823:
1472:centering on young
1321:The Washington Post
999:
879:societal alienation
599:, former member of
582:the debut BAD album
425:recording contracts
4939:CBS Records albums
4766:Big Audio Dynamite
4664:Washington Bullets
4615:Brand New Cadillac
4601:Police and Thieves
4408:Clash City Rockers
4369:The Cost of Living
4344:5 Album Studio Set
4265:Black Market Clash
4067:(list of releases)
4055:(list of releases)
3450:England's Dreaming
3438:, 21 November 1985
3435:The Globe and Mail
3423:, 24 November 1985
3408:, 21 November 1985
3205:on 6 December 2000
2992:Eskelsen, Danny. "
2754:, 24 November 1985
2646:, June 1988 – via
1934:
1827:Chart (1985–1986)
1818:
1625:"Three Card Trick"
1542:"We Are the Clash"
1450:5 Album Studio Set
1403:No. 10, Upping St.
1391:severance payments
1378:
1350:England's Dreaming
1281:bootleg recordings
997:
993:Critical reception
824:
695:
630:chord progressions
578:Big Audio Dynamite
502:
491:
371:
80:January–March 1985
18:Fingerpoppin'
4909:
4908:
4608:Jail Guitar Doors
4566:Capital Radio One
4541:Return to Brixton
4429:English Civil War
4286:Clash on Broadway
4034:978-1-9033-1803-4
4021:978-0-7432-0169-8
4002:978-0-3122-8822-8
3985:978-0-5712-1178-4
3966:978-0-7603-5934-1
3949:978-0-8596-5348-0
3932:978-0-1401-2108-7
3915:978-0-8571-2595-8
3896:978-1-5896-1138-2
3882:978-1-4803-6450-9
3868:978-1-7803-8303-3
3851:978-0-8108-8875-3
3837:978-0-3068-1434-1
3795:978-1-5013-1733-0
3781:978-1-6177-5293-3
3673:978-951-1-21053-5
3584:. 3 December 2018
3567:, 4 November 1985
3472:D'Ambrosio (2012)
3373:Los Angeles Times
3350:The Village Voice
3341:Christgau, Robert
3127:(2004). "Clash".
3125:Strong, Martin C.
2443:, 13 March 2012.
2210:, 18 April 2005.
2200:Knowles, Chris. "
1980:
1979:
1975:
1927:
1926:
1889:Sverigetopplistan
1839:Kent Music Report
1711:
1710:
1676:
1675:
1658:"North and South"
1582:
1581:
1564:"Cool Under Heat"
1432:Clash on Broadway
1263:
1262:
1254:The Village Voice
914:Adam and the Ants
839:
830:"This Is England"
754:call-and-response
710:
241:
240:
197:
196:
16:(Redirected from
4956:
4949:The Clash albums
4899:
4898:
4761:Public Image Ltd
4729:Related articles
4643:Rudie Can't Fail
4594:London's Burning
4527:Straight to Hell
4506:Know Your Rights
4436:I Fought the Law
4401:Complete Control
4095:
4088:
4081:
4072:
3886:Knowles, Chris.
3758:
3757:
3746:
3740:
3724:
3718:
3708:
3702:
3696:
3690:
3684:
3678:
3677:
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3609:
3603:
3600:
3594:
3593:
3591:
3589:
3574:
3568:
3558:
3552:
3537:Kott, Crispin. "
3535:
3529:
3528:
3526:
3524:
3509:
3503:
3500:
3491:
3488:
3482:
3479:
3473:
3470:
3464:
3463:
3445:
3439:
3430:
3424:
3420:Orlando Sentinel
3415:
3409:
3400:
3394:
3387:
3381:
3364:
3358:
3338:
3329:
3328:
3296:
3290:
3289:
3287:
3285:
3267:
3261:
3260:
3241:(4th ed.).
3233:Hoard, Christian
3229:Brackett, Nathan
3221:
3215:
3214:
3212:
3210:
3201:. Archived from
3188:
3182:
3181:
3159:
3153:
3152:
3133:(7th ed.).
3121:
3115:
3114:
3085:
3079:
3078:
3076:
3074:
3056:
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3041:
3030:
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3009:
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2984:
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2908:
2902:
2899:
2890:
2887:
2881:
2864:
2855:
2852:
2846:
2843:
2834:
2831:
2822:
2817:, 15 June 2016.
2801:
2792:
2789:
2780:
2777:
2771:
2768:
2755:
2746:
2737:
2734:
2728:
2725:
2719:
2716:
2710:
2700:
2689:
2686:
2667:
2664:
2653:
2652:
2648:Rock's Backpages
2636:
2630:
2627:
2621:
2618:
2612:
2593:
2582:
2579:
2568:
2567:
2554:Martin, Gavin. "
2552:
2533:
2530:
2521:
2518:
2483:
2480:
2474:
2471:
2460:
2457:
2448:
2431:
2425:
2422:
2416:
2413:
2407:
2404:
2398:
2395:
2389:
2367:
2361:
2358:
2352:
2349:
2343:
2340:
2325:
2322:
2316:
2301:Haynes, Gavin. "
2299:
2290:
2287:
2281:
2278:
2272:
2269:
2263:
2260:
2254:
2251:
2245:
2242:
2233:
2230:
2224:
2221:
2215:
2198:
2179:
2174:, 8 March 2009.
2159:
2153:
2136:
2115:
2100:
2089:
2086:
2064:
2046:
2040:
2034:
2028:
2020:
2014:
2007:
2001:
1998:
1973:
1957:United Kingdom (
1940:
1887:Swedish Albums (
1863:Finnish Albums (
1824:
1690:
1685:
1596:
1591:
1553:"Are You Red..Y"
1506:
1501:
1470:film and TV show
1399:
1384:
1376:in Japan in 1992
1337:
1331:Orlando Sentinel
1327:
1305:Robert Christgau
1279:in contemporary
1223:
1222:
1221:
1217:
1216:
1212:
1211:
1207:
1206:
1202:
1201:
1185:
1184:
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1111:
1107:
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1101:
1085:
1084:
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1079:
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1068:
1064:
1063:
1047:
1046:
1045:
1041:
1040:
1036:
1035:
1031:
1030:
1026:
1025:
1000:
969:post-apocalyptic
841:
840:
821:
779:
712:
711:
692:
626:Gibson Les Pauls
619:Music and lyrics
587:
555:
546:cut-up technique
388:had developed a
230:
227:
173:
172:
155:
129:
128:
124:
72:
70:
44:
32:
21:
4964:
4963:
4959:
4958:
4957:
4955:
4954:
4953:
4914:
4913:
4910:
4905:
4887:
4863:Norman Watt-Roy
4724:
4676:
4636:Revolution Rock
4546:
4534:This Is England
4520:Rock the Casbah
4374:
4349:
4252:
4227:
4174:
4104:
4099:
4043:
4038:
4026:Quantick, David
4009:. "The Clash".
3971:Salewicz, Chris
3813:Garcia, Danny.
3767:
3762:
3761:
3748:
3747:
3743:
3725:
3721:
3709:
3705:
3697:
3693:
3685:
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3674:
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3494:
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3485:
3480:
3476:
3471:
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3460:
3447:
3446:
3442:
3431:
3427:
3416:
3412:
3401:
3397:
3388:
3384:
3365:
3361:
3339:
3332:
3325:
3298:
3297:
3293:
3283:
3281:
3272:"Albums Review"
3269:
3268:
3264:
3257:
3223:
3222:
3218:
3208:
3206:
3190:
3189:
3185:
3178:
3161:
3160:
3156:
3149:
3135:Canongate Books
3123:
3122:
3118:
3111:
3087:
3086:
3082:
3072:
3070:
3058:
3057:
3053:
3048:
3044:
3031:
3027:
3022:
3015:
3010:
3006:
2999:Mojo (magazine)
2991:
2987:
2978:
2974:
2969:
2965:
2960:
2953:
2948:
2944:
2939:
2932:
2927:
2923:
2918:
2914:
2909:
2905:
2900:
2893:
2888:
2884:
2865:
2858:
2853:
2849:
2844:
2837:
2833:Fletcher (2012)
2832:
2825:
2805:Johnston, Maura
2802:
2795:
2790:
2783:
2778:
2774:
2769:
2758:
2747:
2740:
2735:
2731:
2726:
2722:
2717:
2713:
2701:
2692:
2687:
2670:
2665:
2656:
2650:
2638:Peachey, Mal. "
2637:
2633:
2628:
2624:
2619:
2615:
2594:
2585:
2580:
2571:
2565:
2553:
2536:
2531:
2524:
2519:
2486:
2481:
2477:
2472:
2463:
2458:
2451:
2440:Louder Than War
2433:Gibson, Phil. "
2432:
2428:
2423:
2419:
2414:
2410:
2405:
2401:
2396:
2392:
2368:
2364:
2359:
2355:
2350:
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2341:
2328:
2323:
2319:
2300:
2293:
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2284:
2279:
2275:
2270:
2266:
2261:
2257:
2252:
2248:
2243:
2236:
2231:
2227:
2222:
2218:
2199:
2182:
2161:Ziegler, Jay. "
2160:
2156:
2137:
2118:
2101:
2092:
2087:
2078:
2073:
2068:
2067:
2047:
2043:
2035:
2031:
2021:
2017:
2008:
2004:
1999:
1995:
1990:
1985:
1950:Certified units
1932:
1831:
1816:
1770:Norman Watt-Roy
1717:
1712:
1677:
1647:"Fingerpoppin'"
1612:This Is England
1583:
1490:
1466:This Is England
1397:
1382:
1366:
1335:
1325:
1219:
1214:
1209:
1204:
1181:
1176:
1171:
1166:
1119:
1114:
1109:
1104:
1081:
1076:
1071:
1066:
1043:
1038:
1033:
1028:
995:
983:Max Rockatansky
930:
863:
862:
854:
852:
851:
850:
849:
842:
835:
832:
825:
819:
814:
777:
730:
729:
721:
719:
718:
717:
716:
713:
706:
703:
696:
690:
662:
621:
597:Norman Watt-Roy
585:
553:
468:
460:This Is England
359:
351:This Is England
252:by the English
233:
228:
224:This Is England
221:
220:
190:
181:
126:
122:
121:
68:
66:
57:
30:
23:
22:
15:
12:
11:
5:
4962:
4960:
4952:
4951:
4946:
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4936:
4931:
4926:
4916:
4915:
4907:
4906:
4904:
4903:
4892:
4889:
4888:
4886:
4885:
4880:
4875:
4870:
4865:
4860:
4858:Mick Gallagher
4855:
4850:
4845:
4843:Sandy Pearlman
4840:
4835:
4830:
4825:
4823:Bernard Rhodes
4820:
4815:
4810:
4803:
4798:
4793:
4791:Carbon/Silicon
4788:
4786:The Mescaleros
4783:
4778:
4773:
4768:
4763:
4758:
4753:
4748:
4743:
4738:
4732:
4730:
4726:
4725:
4723:
4722:
4715:
4708:
4701:
4694:
4686:
4684:
4678:
4677:
4675:
4674:
4667:
4660:
4653:
4646:
4639:
4632:
4625:
4622:Death or Glory
4618:
4611:
4604:
4597:
4590:
4583:
4576:
4569:
4562:
4554:
4552:
4548:
4547:
4545:
4544:
4537:
4530:
4523:
4516:
4509:
4502:
4495:
4488:
4485:Hitsville U.K.
4481:
4474:
4467:
4460:
4453:
4450:London Calling
4446:
4439:
4432:
4425:
4418:
4411:
4404:
4397:
4394:Remote Control
4390:
4382:
4380:
4376:
4375:
4373:
4372:
4365:
4357:
4355:
4354:Extended plays
4351:
4350:
4348:
4347:
4340:
4333:
4326:
4318:
4311:
4304:
4297:
4289:
4282:
4279:1977 Revisited
4275:
4268:
4260:
4258:
4254:
4253:
4251:
4250:
4243:
4235:
4233:
4229:
4228:
4226:
4225:
4218:
4211:
4204:
4201:London Calling
4197:
4190:
4182:
4180:
4176:
4175:
4173:
4172:
4167:
4162:
4157:
4152:
4146:
4145:
4138:
4131:
4124:
4117:
4109:
4106:
4105:
4100:
4098:
4097:
4090:
4083:
4075:
4069:
4068:
4056:
4042:
4041:External links
4039:
4037:
4036:
4023:
4007:Sheffield, Rob
4004:
3987:
3968:
3954:Popoff, Martin
3951:
3934:
3917:
3898:
3884:
3870:
3856:Fletcher, Tony
3853:
3839:
3827:Gilbert, Pat.
3825:
3811:
3797:
3783:
3768:
3766:
3763:
3760:
3759:
3741:
3719:
3703:
3691:
3679:
3672:
3654:
3632:
3625:
3604:
3595:
3569:
3553:
3530:
3504:
3492:
3483:
3474:
3465:
3458:
3440:
3425:
3410:
3395:
3382:
3359:
3330:
3323:
3301:Weisbard, Eric
3291:
3280:. No. 182
3262:
3255:
3225:Sheffield, Rob
3216:
3183:
3176:
3154:
3147:
3116:
3109:
3080:
3051:
3042:
3025:
3013:
3004:
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2326:
2317:
2291:
2282:
2273:
2264:
2255:
2246:
2234:
2225:
2216:
2180:
2154:
2138:Wyman, Bill. "
2116:
2090:
2075:
2074:
2072:
2069:
2066:
2065:
2041:
2029:
2015:
2002:
1992:
1991:
1989:
1986:
1984:
1981:
1978:
1977:
1969:
1968:
1965:
1962:
1954:
1953:
1947:
1944:
1931:
1930:Certifications
1928:
1925:
1924:
1921:
1911:
1910:
1907:
1896:
1895:
1892:
1884:
1883:
1880:
1872:
1871:
1868:
1860:
1859:
1856:
1846:
1845:
1842:
1834:
1833:
1828:
1815:
1812:
1811:
1810:
1803:Bernard Rhodes
1794:
1793:
1786:
1776:
1761:
1760:
1754:
1748:
1742:
1736:
1716:
1713:
1709:
1708:
1705:
1702:
1698:
1697:
1694:
1691:
1683:
1674:
1673:
1670:
1669:"Life Is Wild"
1667:
1663:
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1659:
1656:
1652:
1651:
1648:
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1225:
1224:
1195:
1187:
1186:
1157:
1149:
1148:
1145:
1137:
1136:
1133:
1125:
1124:
1095:
1087:
1086:
1057:
1049:
1048:
1019:
1013:
1012:
1009:
1005:
1004:
994:
991:
981:'s character,
929:
926:
885:. Writing for
853:
843:
833:
828:
827:
826:
817:
816:
815:
813:
810:
720:
714:
704:
699:
698:
697:
688:
687:
686:
661:
658:
620:
617:
605:the Blockheads
467:
464:
358:
355:
239:
238:
235:
234:
232:
231:
217:
214:
213:
203:
202:
199:
198:
195:
194:
192:
183:
169:
168:
161:
160:
157:Bernard Rhodes
150:
144:
143:
137:
131:
130:
119:
115:
114:
113:
112:
107:
100:
94:
93:
86:
82:
81:
78:
74:
73:
63:
59:
58:
53:
46:
45:
37:
36:
28:
24:
14:
13:
10:
9:
6:
4:
3:
2:
4961:
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4940:
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4932:
4930:
4927:
4925:
4922:
4921:
4919:
4912:
4902:
4894:
4893:
4890:
4884:
4881:
4879:
4876:
4874:
4871:
4869:
4866:
4864:
4861:
4859:
4856:
4854:
4851:
4849:
4846:
4844:
4841:
4839:
4838:Caroline Coon
4836:
4834:
4831:
4829:
4826:
4824:
4821:
4819:
4816:
4814:
4811:
4809:
4808:
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4802:
4799:
4797:
4794:
4792:
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4787:
4784:
4782:
4779:
4777:
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4772:
4769:
4767:
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4759:
4757:
4754:
4752:
4749:
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4742:
4739:
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4727:
4721:
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4716:
4714:
4713:
4709:
4707:
4706:
4702:
4700:
4699:
4695:
4693:
4692:
4688:
4687:
4685:
4683:
4679:
4672:
4668:
4665:
4661:
4658:
4657:Junco Partner
4654:
4651:
4650:Spanish Bombs
4647:
4644:
4640:
4637:
4633:
4630:
4626:
4623:
4619:
4616:
4612:
4609:
4605:
4602:
4598:
4595:
4591:
4588:
4584:
4581:
4577:
4574:
4570:
4567:
4563:
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4549:
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4517:
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4510:
4507:
4503:
4500:
4496:
4493:
4489:
4486:
4482:
4479:
4475:
4472:
4468:
4465:
4464:Train in Vain
4461:
4458:
4454:
4451:
4447:
4444:
4440:
4437:
4433:
4430:
4426:
4423:
4419:
4416:
4412:
4409:
4405:
4402:
4398:
4395:
4391:
4388:
4384:
4383:
4381:
4377:
4371:
4370:
4366:
4364:
4363:
4362:Capital Radio
4359:
4358:
4356:
4352:
4346:
4345:
4341:
4339:
4338:
4334:
4332:
4331:
4327:
4324:
4323:
4319:
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4310:
4309:
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4290:
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4287:
4283:
4281:
4280:
4276:
4274:
4273:
4269:
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4262:
4261:
4259:
4255:
4249:
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4241:
4237:
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4234:
4230:
4224:
4223:
4219:
4217:
4216:
4212:
4210:
4209:
4205:
4203:
4202:
4198:
4196:
4195:
4191:
4189:
4188:
4184:
4183:
4181:
4179:Studio albums
4177:
4171:
4168:
4166:
4165:Nick Sheppard
4163:
4161:
4158:
4156:
4153:
4151:
4148:
4147:
4144:
4143:
4139:
4137:
4136:
4135:Topper Headon
4132:
4130:
4129:
4125:
4123:
4122:
4118:
4116:
4115:
4111:
4110:
4107:
4103:
4096:
4091:
4089:
4084:
4082:
4077:
4076:
4073:
4066:
4062:
4061:
4057:
4054:
4050:
4049:
4045:
4044:
4040:
4035:
4031:
4027:
4024:
4022:
4018:
4014:
4013:
4008:
4005:
4003:
3999:
3995:
3991:
3988:
3986:
3982:
3978:
3977:
3972:
3969:
3967:
3963:
3959:
3955:
3952:
3950:
3946:
3942:
3938:
3935:
3933:
3929:
3925:
3921:
3918:
3916:
3912:
3908:
3907:
3902:
3901:Larkin, Colin
3899:
3897:
3893:
3889:
3885:
3883:
3879:
3875:
3872:Jucha, Gary.
3871:
3869:
3865:
3861:
3857:
3854:
3852:
3848:
3844:
3840:
3838:
3834:
3830:
3826:
3824:
3823:9780956247322
3820:
3816:
3812:
3810:
3806:
3802:
3798:
3796:
3792:
3788:
3784:
3782:
3778:
3774:
3770:
3769:
3764:
3755:
3751:
3745:
3742:
3738:
3737:
3732:
3730:
3723:
3720:
3716:
3712:
3707:
3704:
3700:
3695:
3692:
3688:
3683:
3680:
3675:
3669:
3665:
3658:
3655:
3651:
3647:
3646:
3641:
3636:
3633:
3628:
3626:0-646-11917-6
3622:
3618:
3614:
3608:
3605:
3599:
3596:
3583:
3579:
3573:
3570:
3566:
3563:liner notes.
3562:
3557:
3554:
3550:
3546:
3545:
3540:
3534:
3531:
3519:
3515:
3508:
3505:
3499:
3497:
3493:
3487:
3484:
3478:
3475:
3469:
3466:
3461:
3455:
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3429:
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3414:
3411:
3407:
3406:
3399:
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3386:
3383:
3379:
3375:
3374:
3369:
3363:
3360:
3356:
3352:
3351:
3346:
3342:
3337:
3335:
3331:
3326:
3324:0-679-75574-8
3320:
3316:
3312:
3311:Vintage Books
3308:
3307:
3302:
3295:
3292:
3279:
3278:
3273:
3266:
3263:
3258:
3256:0-7432-0169-8
3252:
3248:
3244:
3240:
3239:
3234:
3230:
3226:
3220:
3217:
3204:
3200:
3199:
3194:
3187:
3184:
3179:
3177:1-57859-061-2
3173:
3169:
3165:
3158:
3155:
3150:
3148:1-84195-615-5
3144:
3140:
3136:
3132:
3131:
3126:
3120:
3117:
3112:
3110:9780857125958
3106:
3102:
3101:Omnibus Press
3098:
3094:
3090:
3089:Larkin, Colin
3084:
3081:
3068:
3067:
3062:
3055:
3052:
3046:
3043:
3039:
3035:
3029:
3026:
3020:
3018:
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2814:Rolling Stone
2810:
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2602:
2600:
2595:Bray, Ryan. "
2592:
2590:
2588:
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2578:
2576:
2574:
2570:
2563:
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2557:
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2400:
2394:
2391:
2387:
2383:
2382:
2381:Rolling Stone
2377:
2376:
2371:
2370:Fricke, David
2366:
2363:
2357:
2354:
2348:
2345:
2339:
2337:
2335:
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2327:
2321:
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2304:
2298:
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2283:
2277:
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2259:
2256:
2250:
2247:
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2239:
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2220:
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2213:
2209:
2208:
2203:
2197:
2195:
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2177:
2173:
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2167:
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2158:
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2147:
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2135:
2133:
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2125:
2123:
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2117:
2113:
2109:
2105:
2099:
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2095:
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2083:
2081:
2077:
2070:
2063:
2060:
2059:
2053:
2052:
2045:
2042:
2038:
2033:
2030:
2025:
2019:
2016:
2012:
2011:ball bearings
2006:
2003:
1997:
1994:
1987:
1982:
1976:
1966:
1963:
1960:
1955:
1951:
1946:Certification
1941:
1938:
1929:
1920:
1918:
1912:
1905:
1901:
1897:
1890:
1885:
1878:
1873:
1866:
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1854:
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1847:
1840:
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1771:
1768:
1767:
1766:
1765:
1758:
1755:
1752:
1749:
1746:
1743:
1740:
1739:Nick Sheppard
1737:
1735:
1731:
1727:
1724:
1723:
1722:
1721:
1714:
1706:
1703:
1699:
1686:
1682:
1681:
1671:
1668:
1664:
1660:
1657:
1653:
1649:
1646:
1642:
1638:
1636:"Play to Win"
1635:
1631:
1627:
1624:
1620:
1616:
1613:
1609:
1605:
1592:
1588:
1587:
1577:
1574:
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1566:
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1559:
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1544:
1541:
1537:
1533:
1530:
1526:
1522:
1519:
1515:
1502:
1498:
1497:
1493:
1488:Track listing
1487:
1485:
1483:
1479:
1475:
1471:
1467:
1463:
1462:Shane Meadows
1458:
1456:
1452:
1451:
1446:
1445:
1440:
1439:
1434:
1433:
1428:
1427:
1422:
1418:
1417:
1411:
1407:
1405:
1404:
1394:
1392:
1386:
1375:
1370:
1363:
1361:
1359:
1355:
1351:
1347:
1343:
1339:
1333:
1332:
1323:
1322:
1315:
1312:
1311:
1310:Village Voice
1306:
1301:
1300:
1295:
1294:
1288:
1284:
1282:
1277:
1273:
1268:
1258:
1256:
1255:
1251:
1250:
1246:
1244:
1243:
1239:
1238:
1234:
1232:
1231:
1227:
1226:
1196:
1194:
1193:
1189:
1188:
1158:
1156:
1155:
1151:
1150:
1146:
1144:
1143:
1139:
1138:
1134:
1132:
1131:
1127:
1126:
1096:
1094:
1093:
1089:
1088:
1058:
1056:
1055:
1051:
1050:
1020:
1018:
1015:
1014:
1006:
1003:Review scores
1001:
992:
990:
988:
984:
980:
976:
975:
970:
965:
963:
959:
955:
951:
947:
943:
939:
935:
934:Stiff Records
927:
925:
923:
917:
915:
911:
907:
902:
900:
894:
892:
888:
884:
883:Falklands War
880:
876:
872:
868:
861:
859:
847:
831:
811:
809:
806:
805:The boy stood
801:
799:
795:
791:
786:
783:
775:
774:Tony Fletcher
771:
770:
769:Rolling Stone
765:
764:
760:frequencies.
759:
755:
749:
747:
743:
739:
735:
728:
726:
702:
685:
683:
682:authoritarian
679:
678:Martin Popoff
675:
671:
667:
659:
657:
654:
650:
649:sound effects
646:
641:
639:
635:
631:
627:
618:
616:
614:
610:
606:
602:
598:
593:
591:
583:
579:
574:
569:
566:
562:
557:
549:
547:
543:
539:
535:
529:
527:
526:drum machines
523:
519:
515:
511:
507:
499:
495:
488:
484:
483:Tower Theater
480:
476:
472:
465:
463:
461:
457:
453:
449:
448:
443:
442:
437:
432:
428:
426:
422:
418:
417:Nick Sheppard
414:
413:
408:
402:
400:
399:Bernie Rhodes
396:
391:
387:
386:Topper Headon
383:
379:
375:
368:
363:
356:
354:
352:
347:
342:
340:
336:
332:
328:
327:
322:
318:
314:
310:
306:
301:
299:
298:Bernie Rhodes
295:
291:
290:Nick Sheppard
287:
283:
279:
275:
274:Topper Headon
271:
267:
263:
259:
255:
251:
247:
246:
236:
225:
219:
218:
215:
212:
211:Cut the Crap
208:
204:
200:
193:
189:
188:
184:
180:
179:
175:
174:
170:
166:
162:
158:
152:Jose Unidos (
151:
149:
145:
141:
138:
136:
132:
120:
116:
111:
108:
106:
103:
102:
101:
99:
95:
91:
87:
83:
79:
75:
64:
60:
56:
51:
47:
43:
38:
33:
27:
19:
4911:
4805:
4746:Band members
4717:
4710:
4703:
4696:
4689:
4443:Groovy Times
4367:
4360:
4342:
4335:
4330:Sound System
4328:
4320:
4313:
4306:
4299:
4291:
4284:
4277:
4270:
4263:
4257:Compilations
4245:
4238:
4222:Cut the Crap
4221:
4220:
4213:
4206:
4199:
4192:
4185:
4150:Keith Levene
4142:Terry Chimes
4140:
4133:
4128:Paul Simonon
4126:
4119:
4114:Joe Strummer
4112:
4060:Cut the Crap
4059:
4048:Cut the Crap
4046:
4010:
3993:
3974:
3957:
3940:
3937:Needs, Chris
3923:
3904:
3887:
3873:
3859:
3842:
3841:Egan, Sean.
3828:
3814:
3800:
3786:
3772:
3744:
3735:
3728:
3722:
3706:
3694:
3682:
3663:
3657:
3643:
3635:
3616:
3607:
3598:
3588:13 September
3586:. Retrieved
3572:
3565:Epic Records
3561:Cut the Crap
3560:
3556:
3542:
3533:
3521:. Retrieved
3517:
3507:
3486:
3477:
3468:
3449:
3443:
3433:
3428:
3418:
3413:
3403:
3398:
3393:, 2010. 5:20
3385:
3371:
3362:
3348:
3305:
3294:
3282:. Retrieved
3275:
3265:
3237:
3219:
3207:. Retrieved
3203:the original
3196:
3186:
3163:
3157:
3128:
3119:
3096:
3083:
3071:. Retrieved
3066:Classic Rock
3064:
3054:
3045:
3028:
3007:
2997:
2988:
2975:
2966:
2945:
2924:
2915:
2906:
2885:
2873:The Guardian
2871:
2850:
2812:
2775:
2749:
2732:
2723:
2714:
2643:
2634:
2625:
2616:
2604:
2599:Cut the Crap
2598:
2559:
2478:
2438:
2429:
2420:
2411:
2402:
2393:
2379:
2375:Cut the Crap
2374:
2365:
2356:
2347:
2320:
2306:
2285:
2276:
2267:
2258:
2249:
2228:
2219:
2207:Louder Sound
2205:
2169:
2165:Cut the Crap
2164:
2157:
2143:
2061:
2057:
2049:
2044:
2032:
2023:
2018:
2005:
1996:
1972:
1937:Cut the Crap
1936:
1916:
1850:
1821:Cut the Crap
1820:
1796:
1795:
1790:Yamaha RX-11
1784:synthesisers
1763:
1762:
1757:Paul Simonon
1726:Joe Strummer
1719:
1718:
1679:
1678:
1585:
1584:
1531:"Dirty Punk"
1495:
1494:
1491:
1482:Cut the Crap
1481:
1465:
1459:
1455:Cut the Crap
1454:
1448:
1444:Sound System
1442:
1436:
1430:
1424:
1420:
1414:
1413:documentary
1410:Cut the Crap
1409:
1408:
1401:
1395:
1387:
1379:
1349:
1342:Cut the Crap
1341:
1340:
1329:
1319:
1316:
1308:
1297:
1293:Melody Maker
1291:
1287:Cut the Crap
1286:
1285:
1276:Richard Cook
1271:
1267:Cut the Crap
1266:
1264:
1252:
1240:
1228:
1190:
1152:
1140:
1128:
1090:
1054:Classic Rock
1052:
987:New Romantic
972:
966:
950:punk fashion
941:
937:
931:
918:
903:
895:
891:Cut the Crap
890:
886:
871:social decay
864:
846:synthesizers
802:
787:
767:
761:
750:
741:
731:
701:"Dirty Punk"
663:
642:
622:
594:
590:Cut the Crap
589:
573:master tapes
570:
558:
550:
530:
510:Unterföhring
503:
498:Paul Simonon
475:Joe Strummer
455:
445:
439:
433:
429:
412:Melody Maker
410:
403:
395:Paul Simonon
382:Joe Strummer
372:
346:Cut the Crap
345:
344:On release,
343:
335:Epic Records
331:drum machine
324:
305:arrangements
302:
292:and drummer
282:Paul Simonon
280:and bassist
278:Joe Strummer
272:and drummer
250:studio album
245:Cut the Crap
244:
243:
242:
210:
187:Cut the Crap
186:
185:
176:
90:Unterföhring
50:Studio album
35:Cut the Crap
26:
4924:1985 albums
4883:Futura 2000
4878:Ellen Foley
4873:Mikey Dread
4853:Kosmo Vinyl
4848:Guy Stevens
4833:Alex Michon
4736:Discography
4719:London Town
4587:Janie Jones
4551:Other songs
4478:The Call Up
4322:The Singles
4315:Singles Box
4293:The Singles
4232:Live albums
4215:Combat Rock
4208:Sandinista!
4170:Vince White
4160:Pete Howard
4065:MusicBrainz
3990:Savage, Jon
3920:Marsh, Dave
3613:Kent, David
3582:Kent Online
3313:. pp.
3245:. pp.
3191:Show, Mat.
3093:"The Clash"
2709:, June 1989
2058:The Singles
2054:(2003) and
1774:bass guitar
1751:Pete Howard
1745:Vince White
1730:lead vocals
1704:"Do It Now"
1680:Bonus track
1447:(2013) and
1438:The Singles
1272:Combat Rock
942:Combat Rock
940:(1980) and
938:Sandinista!
746:Mick Jagger
738:Neanderthal
638:mixing desk
565:sing-alongs
456:Combat Rock
452:Bill Graham
447:Combat Rock
444:(1980) and
441:Sandinista!
407:Pete Howard
339:lead single
294:Pete Howard
286:Vince White
262:CBS Records
178:Combat Rock
4918:Categories
4868:Tymon Dogg
4781:The Pogues
4771:Havana 3am
4751:The 101ers
4573:Garageland
4471:Bankrobber
4387:White Riot
4155:Rob Harper
4121:Mick Jones
3809:B06XKC3PXQ
3544:PopMatters
3459:0571227201
3277:Smash Hits
3137:. p.
2981:Eddie King
2037:Vic Godard
1983:References
1797:Production
1520:"Dictator"
1374:the Pogues
1346:Jon Savage
1230:Smash Hits
1142:MusicHound
979:Mel Gibson
901:bassline.
858:media help
794:the Pogues
790:compressed
725:media help
666:Pink Floyd
512:, outside
421:Greg White
378:Mick Jones
367:Mick Jones
357:Background
321:80s style!
270:Mick Jones
167:chronology
92:, Germany)
69:1985-11-04
4828:Don Letts
4756:London SS
4457:Clampdown
4422:Tommy Gun
4187:The Clash
4102:The Clash
3736:Billboard
3729:Billboard
3284:14 August
2703:Snow, Mat
2071:Footnotes
1917:Billboard
1900:UK Albums
1832:position
1780:keyboards
1720:The Clash
1715:Personnel
1478:Oi! punks
1474:skinheads
1460:Director
1421:The Clash
1364:Aftermath
974:Mad Max 2
479:the Clash
374:The Clash
326:Mad Max 2
313:synthetic
258:the Clash
165:The Clash
105:Punk rock
88:Weryton (
55:the Clash
4901:Category
4801:Gorillaz
4691:Rude Boy
3615:(1993).
3549:Archived
3518:AllMusic
3391:Sky Arts
3378:Archived
3355:Archived
3235:(eds.).
3091:(2011).
2878:Archived
2819:Archived
2609:Archived
2445:Archived
2386:Archived
2313:Archived
2212:Archived
2176:Archived
2150:Archived
2112:Archived
2108:AllMusic
1807:producer
1805: –
1772: –
1728: –
1586:Side two
1496:Side one
1468:for his
1441:(1991),
1435:(1991),
1429:(1988),
1017:AllMusic
962:New York
875:the dole
867:side two
812:Side two
660:Side one
645:low-brow
613:Matchbox
609:Maserati
601:Ian Dury
522:engineer
506:24-track
317:sampling
148:Producer
110:new wave
77:Recorded
62:Released
52: by
4379:Singles
4053:Discogs
3765:Sources
3209:3 April
3168:241–242
3139:298-299
3073:3 April
2145:Vulture
2024:Vulture
1967:60,000
1964:Silver
1952:/sales
1943:Region
1734:guitars
977:, when
887:Vulture
798:busking
782:Sham 69
763:Vulture
758:low-end
742:Vulture
611:with a
542:hip hop
538:electro
489:in 1980
481:at the
369:in 1987
207:Singles
191:(1985)
182:(1982)
67: (
4325:(2007)
4296:(1991)
4032:
4019:
4000:
3983:
3964:
3947:
3930:
3913:
3894:
3880:
3866:
3849:
3835:
3821:
3807:
3793:
3779:
3670:
3623:
3456:
3321:
3253:
3247:167–68
3174:
3145:
3107:
3069:. Bath
1814:Charts
1696:Length
1602:Length
1512:Length
1484:song.
1398:
1383:
1336:
1011:Rating
1008:Source
954:7-inch
946:mohawk
910:bongos
906:B-side
800:tour.
778:
674:atonal
670:bridge
653:reverb
586:
554:
518:London
514:Munich
436:reggae
390:heroin
266:Munich
154:a.k.a.
118:Length
85:Studio
4741:Songs
4682:Films
3731:200)"
3523:3 May
3315:84–85
1988:Notes
1693:Title
1599:Title
1509:Title
1147:1.5/5
971:film
634:riffs
256:band
209:from
135:Label
98:Genre
4030:ISBN
4017:ISBN
3998:ISBN
3981:ISBN
3962:ISBN
3945:ISBN
3928:ISBN
3911:ISBN
3892:ISBN
3878:ISBN
3864:ISBN
3847:ISBN
3833:ISBN
3819:ISBN
3805:ASIN
3791:ISBN
3777:ISBN
3668:ISBN
3621:ISBN
3590:2019
3525:2020
3454:ISBN
3319:ISBN
3286:2024
3251:ISBN
3211:2024
3172:ISBN
3143:ISBN
3105:ISBN
3075:2024
2308:Vice
2022:The
1877:RMNZ
1830:Peak
1707:3:04
1672:2:39
1661:3:32
1650:3:25
1639:3:06
1628:3:09
1617:3:49
1578:3:01
1567:3:21
1556:3:01
1545:3:02
1534:3:11
1523:3:00
1476:and
1296:and
1247:4/10
1235:6/10
1135:4/10
603:and
544:and
534:demo
419:and
288:and
254:punk
142:(UK)
4063:at
4051:at
3645:RPM
3541:".
3347:".
3343:. "
3036:".
2996:".
2870:".
2811:".
2642:".
2603:".
2558:".
2437:".
2372:. "
2305:".
2204:".
2168:".
2142:".
2106:".
1959:BPI
1923:88
1919:200
1914:US
1909:16
1904:OCC
1894:30
1882:35
1870:20
1858:64
1852:RPM
1844:69
1689:No.
1595:No.
1505:No.
1354:rap
1299:NME
960:in
922:Oi!
899:ska
632:or
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