| | Clash CD Clash Discography of CDs
 (6 Customer Reviews)
 |
|
Our Price: $7.49  CDFor Sale Usually ships in 1-2 days
|  |
Also available in a 3-pack with LONDON CALLING and COMBAT ROCK.
The Clash: Joe Strummer, Mick Jones (vocals, guitar); Paul Simonon (bass); Tory Crimes, Nicky Headon (drums).
Producers: Mickey Foote, Lee Perry, The Clash, Bill Price.
Digitally remastered by Ray Staff & Bob Whitney (Whitfield Street Studios, London, England).
The Clash: Joe Strummer, Mick Jones (vocals, guitar); Paul Simonon (bass); Tory Crimes (drums).
Digitally remastered by Ray Staff & Bob Whitney (Whitfield Street Studios, London, England).
Personnel: Mick Jones , Joe Strummer (vocals, guitar); Paul Simonon (guitar, bass guitar); Tory Crimes (drums, snare drum).
Audio Remasterers: Ray Staff; Bob Whitney.
Photographers: Kate Simon; Rocco Macauley.
Unknown Contributor Role: Caroline Coon.
The Clash's self-titled U.K. debut sees the band in its most primal, punk form. Despite Mickey Foote's low-key, lo-fi production, Strummer, Jones, Simonon, and Chimes mesh and unite with a snarling ferocity and energy. Raw, bouncy edginess pours out of each song, with new hooks popping out at odd angles by the second. The band isn't satisfied lingering in any one genre. "Remote Control" mixes Kinks-style fractured pop with pace changes lifted straight from Chuck Berry. "Cheat" sounds like the Ramones' "Gimme Gimme Shock Treatment" given a rockabilly makeover. "Police & Thieves" is a massively catchy take on the Junior Murvin/Lee "Scratch" Perry song and an early signpost for the future dub/rock fusions to come on Sandinista! "White Riot" and "I'm So Bored With the U.S.A." reflect the somewhat youthful, early quasi-political leanings of the band. Though they would come across as slightly amateurish years later, it's hard to deny their punchy charm. The U.S. edition of The Clash, released in 1979, removed "Cheat," the funky singalong "Protex Blue," the dark and revealing paranoia of "Deny," and the short but utterly delightful "48 Hours." In their place were the more polished and thus somewhat jarring U.K. singles/B-sides "Complete Control," "(White Man) In Hammersmith Palais," "Clash City Rockers," "I Fought the Law," and "Jail-Guitar Doors." The U.S. edition might have the original beat in shine and catchiness, but it's a distillation of the band's original ferocity, and some might say an unwelcome tinkering with history. In a way, the U.S. edition served as an extremely early best-of. Purists will most likely swear on the sonic cohesion of this U.K. edition. Columbia remastered the album and restored its original artwork in 1999, making it a bare-bones but perfect throwback and the easiest way to turn back the clock and discover the Clash at their origins. ~ Tim DiGravina
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,Rolling Stone (12/11/03, p.114) - Ranked #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..."
Q (10/02, p.136) - Indispensable - "...Unsurpassed for its concentrated anger and rebel bravado..."
Alternative Press (3/00, pp.74-5) - 5 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..."
Mojo (Publisher) (3/03, p.76) - Ranked #2 in Mojo's "Top 50 Punk Albums" - "...The ultimate punk protest album....Searingly evocative of dreary late '70s Britain, but still timelessly inspiring..." Clash Music Review Average Rating: (4.5 out of 5 stars)   List All Reviews Must Have
One of the best punk / rock and roll albums of all time ?? Fantastic drumming (tory crimes aka terry chimes) strummers bark- like vocals, jonesy's kinks / stones-y guitar playing ( but better ) cool bass lines. Truck loads of energy, aggresion, anger, feeling, emotion. Great grungy recording !!! I first bought this album in 1982 on vinyl and it's one of the few records that i have actually worn out due to relentless playing !! If you are thinking of buying this album --just get it!! aswell as the first Jam album- in the city, pistols - bollocks, first Damned album etc
Submitted by David Watts (Melbourne, Australia)
Was This Review Helpful? Yes No
The Only Band That Matters, yeah!!
This is a rocking record. I got the US cut before I knew there was a difference-- tho the quality of each tune is no less on that, the record doesn't work as well as a whole. This one, the UK original, is a masterpiece of punk rock. The tunes are raw, intelligent and very Clash. Very young Clash I should add, and Topper was my favourite drummer for them. But this is amazing. You should get it, wherever you find it cheapest. That's what they'd have wanted!
Submitted by Mme Hell (Australia)
Was This Review Helpful? Yes No The greatest album of all time!
This is my alltime favorite album! (Well it is tied with the Ramones first album) Every song on here is a classic. Just make sure you buy this one instead of the US version first.
Submitted by Matt Henry (Boonsboro MD)
Was This Review Helpful? Yes No  Pure Punk
This is one of those gems in rock history. Every track has attitude, opinion and a great feel. No fillers here! From career opurtunities to songs about condoms everything here is great.
Submitted by scientologist55 (Melbourne, Vic, Australia)
Was This Review Helpful? Yes No
WHITE RIOT I WANNA RIOT
The drumming by Torie crimes(terry chimes) set the standard for all punk drummers to come b4 or since--brutal simplicity! brilliant album
Submitted by mrbaron168 (east end)
Was This Review Helpful? Yes No List All Reviews | Have you heard this album? |  |
Purchase Clash CD To buy, Click on price to add to cart | Rod Stewart Album (1st LP) CD (1969)
Clash
 $4.49   
The golden throated rocker's debut solo album on Mercury Records includes the hit single "Handbags & Gladrags" as well as his cover of The Rolling Stones' "Street Fighting Man". The musicians included old pal Ron Wood, Ian MacLagan, Mike D'Abo on guitar and The Nice's Keith Emerson on organ.
Personnel: Rod Stewart (vocals, guitar); Martin Quittenton (acoustic guitar); Ron Wood (electric & slide guitar, bass); Martin Pugh (guitar); Ian McLagan (piano, organ); Mike D'Abo (piano); Keith Emerson (organ); Micky Waller (drums).
All tracks have been digitally remastered.
Personnel: Rod Stewart (vocals, guitar); Martin Pugh, Ron Wood (guitar); Martin Quittenton (acoustic guitar); Mac (piano, organ); Michael d'Abo (piano); K.E., Keith Emerson (organ); Michael Waller, Mickey Waller (drums).
Recording information: Landsdown; Olympic Studios, London, England.
Arrangers: Michael d'Abo; Rod Stewart.
On his debut album (titled An Old Raincoat Won't Ever Let You Down in Britain, and The Rod Stewart Album in America, presumably because its original title was "too English" or cryptic for U.S. audiences), Rod Stewart essays a startlingly original blend of folk, blues, and rock & roll. The opening cover of the Stones' "Street Fighting Man" encapsulates his approach. Turning the driving acoustic guitars of the original inside out, the song works a laid-back, acoustic groove, bringing a whole new meaning to the song before escalating into a full-on rock & roll attack -- without any distorted guitars, just bashing acoustics and thundering drums. Through this approach, Stewart establishes that rock can sound as rich and timeless as folk, and that folk can be as vigorous as rock. And he does this not only as an interpreter, breathing new life into Ewan MacColl's "Dirty Old Town" and defining Mike d'Abo's "Handbags & Gladrags," but also as a songwriter, writing songs as remarkable as "Blind Prayer," "An Old Raincoat Won't Ever Let You Down," and "Cindy's Lament." The music a
| | Clash CD (1979) Remastered
Clash
$7.59 
Also available in a 3-pack with LONDON CALLING and COMBAT ROCK.
The Clash: Joe Strummer, Mick Jones (vocals, guitar); Paul Simonon (bass); Tory Crimes, Nicky Headon (drums).
Producers: Mickey Foote, Lee Perry, The Clash, Bill Price.
Digitally remastered by Ray Staff & Bob Whitney (Whitfield Street Studios, London, England).
The Clash: Joe Strummer, Mick Jones (vocals, guitar); Paul Simonon (bass); Tory Crimes (drums).
Digitally remastered by Ray Staff & Bob Whitney (Whitfield Street Studios, London, England).
Personnel: Mick Jones , Joe Strummer (vocals, guitar); Paul Simonon (bass guitar); Terry Chimes, Topper Headon (drums, snare drum); Tory Crimes (drums).
Audio Remasterers: Ray Staff; Bob Whitney.
Recording information: CBS Studios, London, England.
Photographers: Kate Simon; Caroline Coon; Rocco Macauley.
The Clash's self-titled U.K. debut sees the band in its most primal, punk form. Despite Mickey Foote's low-key, lo-fi production, Strummer, Jones, Simonon, and Chimes mesh and unite with a snarling ferocity and energy. Raw, bouncy edginess pours out of each song, with new hooks popping out at odd angles by the second. The band isn't satisfied lingering in any one genre. "Remote Control" mixes Kinks-style fractured pop with pace changes lifted straight from Chuck Berry. "Cheat" sounds like the Ramones' "Gimme Gimme Shock Treatment" given a rockabilly makeover. "Police & Thieves" is a massively catchy take on the Junior Murvin/Lee "Scratch" Perry song and an early signpost for the future dub/rock fusions to come on Sandinista! "White Riot" and "I'm So Bored With the U.S.A." reflect the somewhat youthful, early quasi-political leanings of the band. Though they would come across as slightly amateurish years later, it's hard to deny their punchy charm. The U.S. edition of The Clash, released in 1979, removed "Cheat," the funky singalong "Protex Blue," the dark and revealing paranoia of "Deny," and the short but utterly delightful "48 H
| | Clash Give 'Em Enough Rope CD (1978) Remastered
Clash
$6.79
The Clash: Joe Strummer, Mick Jones (vocals, guitar); Paul Simonon (vocals, bass); Topper Headon (drums).
Engineers include: Dennis Ferranti, Gregg Caruso, Chris Mingo.
Digitally remastered by Ray Staff & Bob Whitney (Whitfield Street Studios).
Personnel: Mick Jones , Joe Strummer (vocals, guitar).
Audio Mixer: Corky Stasiak.
Audio Remasterers: Ray Staff; Bob Whitney.
Arranger: The Clash.
For their second album, the Clash worked with the American hard rock producer Sandy Pearlman, best-known for his work with Blue Öyster Cult and the Dictators. The teaming was quite controversial within the punk community, and the sound of Give 'Em Enough Rope is considerably cleaner, yet the more direct sound hardly tamed the Clash. While the record doesn't burn with the same intense, amateurish energy of The Clash, it does have a big, forceful sound that is nearly as powerful. What keeps Give 'Em Enough Rope from being a classic is its slightly inconsistent material. Many of the songs are outright classics, particularly the first half of the record ("Safe European Home," "English Civil War," "Tommy Gun," "Julie's Been Working for the Drug Squad") and "Stay Free," but the group loses some momentum toward the end of the record. Even with such flaws, Give 'Em Enough Rope ranks as one of the strongest albums of the punk era. ~ Stephen Thomas Erlewine
Sensing the emollient rattle of punk was an artistic dead end, the Clash took an abrupt volte-face and invited American Sandy Pearlman to produce their second album. Respected for his work with Blue Oyster Cult and the Dictators, Pearlman introduced a sheen that disturbed purists but introduced the Clash to a wider audience. The clear sound brought a new emphasis to the quartet's internal interplay and allowed the material to stand up in its own right. GIVE EM ENOUGH ROPE contains several of the band's most popular songs, which range from the defiant "Tommy Gun" to the sensitive "Stay Free," a contrast confirming t
| | Clash London Calling CD (1979) Remastered
Clash
$6.75
Also available in a 3-pack with THE CLASH and COMBAT ROCK.
The Clash: Joe Strummer, Mick Jones (vocals, guitar); Paul Simonon (vocals, bass); Topper Headon (drums, percussion).
Additional personnel includes: Baker Glare (whistling); The Irish Horns (brass); Micky Gallagher (organ).
Digitally remastered by Ray Staff & Bob Whitney (Whitfield Street Studios, London, England).
Personnel: Mick Jones (vocals, guitar, piano); Joe Strummer (vocals, guitar); Paul Simonon (vocals); Irish Horns (brass); M. Jones (piano); Mick Gallagher (organ); Topper Headon (drums, snare drum, percussion).
Audio Remasterers: Ray Staff; Bob Whitney.
Recording information: Wessex Studios, London, England (1979).
Photographer: Pennie Smith.
Give 'Em Enough Rope, for all of its many attributes, was essentially a holding pattern for the Clash, but the double-album London Calling is a remarkable leap forward, incorporating the punk aesthetic into rock & roll mythology and roots music. Before, the Clash had experimented with reggae, but that was no preparation for the dizzying array of styles on London Calling. There's punk and reggae, but there's also rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock; and while the record isn't tied together by a specific theme, its eclecticism and anthemic punk function as a rallying call. While many of the songs -- particularly "London Calling," "Spanish Bombs," and "The Guns of Brixton" -- are explicitly political, by acknowledging no boundaries the music itself is political and revolutionary. But it is also invigorating, rocking harder and with more purpose than most albums, let alone double albums. Over the course of the record, Joe Strummer and Mick Jones (and Paul Simonon, who wrote "The Guns of Brixton") explore their familiar themes of working-class rebellion and antiestablishment rants, but they also tie them in to old rock & roll traditions and myths, whether it's rockabilly greasers or "Stagger Lee," as well as ma
| | Clash Sandinista! CDs (1980) Remastered
Clash
$15.95
3 LPs on 2 CDs.
The Clash: Joe Strummer, Mick Jones (vocals, guitar); Paul Simonon (vocals, bass); Topper Headon (drums).
Additional personnel: Mickey Gallagher, Timon Dogg, Norman Watt-Roy, J.P. Nicholson, Ellen Foley, David Payne, Ray Gasconne, Band Sargeant Dave Yates, Den Hegarty, Gary & Bill Barnacle, Luke & Ben & Maria Gallagher, Jody Winscott, Ivan Julian, Noel Tempo Bailey, Anthony Nelson Steelie, Lew Lewis, Gerald Baxter-Warman, Terry McQuade, Rudolph Adolphus Jordan, Battersea.
Digitally remastered by Ray Staff & Bob Whitney (Whitfield Street Studios).
Personnel: Mick Jones , Joe Strummer (vocals, guitar); Topper Headon (vocals, snare drum); Ellen Foley, Mike Dreas, Paul Simonon, Tymon Dogg (vocals); J.D. Nicholson, Mick Gallagher (keyboards).
Audio Mixers: Mikey Dread; Bill Price .
Animation: Steve Bell.
Photographer: Pennie Smith.
Unknown Contributor Roles: Davey Payne; Den Hegarty; Ray Gascogne; Norman Watt-Roy.
The Clash sounded like they could do anything on London Calling. For its triple-album follow-up, Sandinista!, they tried to do everything, adding dub, rap, gospel, and even children's choruses to the punk, reggae, R&B, and roots rock they already were playing. Instead of presenting a band with a far-reaching vision, like London Calling did, Sandinista! plays as a messy, confused jumble, which means that its numerous virtues are easy to ignore. Amid all the dub experiments, backward tracks, unfinished songs, and instrumentals, there are a number of classic Clash songs that rank among the band's best, including "Police on My Back," "The Call Up," "Somebody Got Murdered," "Charlie Don't Surf," "Hitsville U.K.," and "Lightning Strikes (Not Once but Twice)," yet it's difficult for anyone but the most dedicated listeners to find them. A few of the failed ideas were worth exploring, but even more -- like the children's choir version of "Career Opportunities" or the Terry Doggs song "Lose This Skin" -- weren't even worth pursu
| | Clash Combat Rock CD (1982) Remastered
Clash
$6.75
Also available in a 3-pack with THE CLASH and LONDON CALLING.
The Clash: Joe Strummer, Mick Jones (vocals, guitar); Paul Simonon (vocals, bass); Topper Headon (drums).
Additional personnel: Gary Barnacle (saxophone); Tymon Dogg (piano); Poly Mandrell (keyboards); Allen Ginsberg, Joe Ely, Ellen Foley, Futura 2000 (background vocals).
Digitally remastered by Ray Staff & Bob Whitney (Whitfield Street Studios, London, England).
On the surface of things, Combat Rock appears to be a retreat from the sprawling stylistic explorations of London Calling and Sandinista! The pounding arena rock of "Should I Stay or Should I Go" makes the Clash sound like an arena rock band, and much of the album boasts a muscular, heavy sound courtesy of producer Glyn Johns. But things aren't quite that simple. Combat Rock contains heavy flirtations with rap, funk, and reggae, and it even has a cameo by poet Allen Ginsberg -- if this album is, as it has often been claimed, the Clash's sellout effort, it's a very strange way to sell out. Even with the infectious, dance-inflected new wave pop of "Rock the Casbah" leading the way, there aren't many overt attempts at crossover success, mainly because the group is tearing in two separate directions. Mick Jones wants the Clash to inherit the Who's righteous arena rock stance, and Joe Strummer wants to forge ahead into black music. The result is an album that is nearly as inconsistent as Sandinista!, even though its finest moments -- "Should I Stay or Should I Go," "Rock the Casbah," "Straight to Hell" -- illustrate why the Clash were able to reach a larger audience than ever before with the record. [In 2000 Columbia/Legacy reissued and remastered Combat Rock.] ~ Stephen Thomas Erlewine
It's not easy being the World's Greatest Rock & Roll Band (a tag the Clash inherited from the Rolling Stones, who had traded their emotional commitment for tax exile). What you do after changing the world with your first few releases? The previous SANDIN
| | Sonics Fire & Ice: Lost Tapes CD (1996)
Clash
$10.85
The Sonics include: Gerry Roslie, Randy Hiatt (vocals, keyboards); Doug Heath, Larry Parypa (guitar); Rob Lind (saxophone, vocals); Ron Foos, Andy Parypa (bass); Bob Bennet (drums); Jim Brady.
Engineers: Kearney Barton, Larry Levine, Mike Leary, Rick Keefer.
Includes liner notes by Neal Skok.
Liner Note Author: Neal Skok.
Editor: Bob Wikstrom.
Photographer: Jini Dellaccio.
| | Wire List: 1985-1990 CD (1993)
Clash
$10.29
Former Guitar player of several Youth punk bands in the Early 80'S . Have slowed the tempo down some. added interest in Keyboards and Drum units over the years.Trying to create something with a dreamy feel to it and leave the Ego out of it.Favorite Band is WIRE , Bill Nelson and My son Nile Rodgers . go to Myspace and his band name is Cocteau ...Thanks :) and yes he is named after the famous guitar player Nile Rogers ..
THE A LIST is a collection of tracks from Wire's Enigma releases THE IDEAL COPY (1987), A BELL IS A CUP UNTIL IT'S STRUCK (1988), IT'S BEGINNING TO AND BACK AGAIN (1989), and MANSCAPE (1990).
Wire: Colin Newman, B.C. Gilbert (vocals, guitars); Graham Lewis (vocals, bass); Robert Gotobed (drums).
Producers: Daniel Miller, Gareth Jones, Rico Conning, Paul Kendall, Dave Allen.
Engineers include: Gareth Jones, David Heilmann, Paul Kendall.
Audio Mixers: Daniel Miller; Gareth Jones ; Rico Conning.
Audio Remixers: Colin Newman; Daniel Miller; Giles Martin.
Recording information: Blackwig; Britannia Row; Hansa; Kitsch; Preussenton; RAK; STrongroom; Terminal24; Worldwide 1; Worldwide2.
Editors: Colin Newman; Paul Kendall; Roland Brown.
1985-1990: The A List is a fine 16-track compilation of the highlights from Wire's surprising and successful comeback. This material isn't quite as essential as their early output -- Wire doesn't sound as revolutionary on these sides, although the music is still high-quality. It bears some similarities to the sort of '80s college-radio synth/guitar pop being produced by the likes of New Order and the Cure, although it isn't as danceable, and it retains Wire's signature love of dissonance and pure sonic oddity. The more controlled, polished sound of this material may tone down the heady excitement of their early albums, or seem a bit mechanical at times, but it's intriguing to hear the high-tech production values that were missing from their initial attempts at creating layers of detail in their arrangements, and there are some fine pop songs here as well. The A List could have been sequenced better -- its track listing was determined through a poll of fans, various critics, and band associates, and the selections were simply arranged according to which ones received the largest number of votes, meaning that the compilation loses a little steam since many of the best songs appear toward the beginning. Still, that's a minor flaw, especially since The A List is such a handy overview of the band's uneven comeback albums. It's the best way to hear catchy slices of post-punk avant-pop like "Ahead," "Kidney Bingos," "Eardrum Buzz," and "In Vivo," and for all but the most devoted, The A List is probably all that's necessary from this period. ~ Steve Huey
After group members pursued solo projects during the early 1980s, Wire returned to the fold with a more ear-friendly, synthesized sound, while still maintaining their signature strangeness. Even with some of its rougher musical edges smoothed down, Wire's music retains its air of menace. This collection surveys the band's albums in the mid- to late '80s, when they flirted with dance beats and flaunted a precision only hinted at in their earlier, more dissonant days.
The emergence of a more dance-friendly Wire is clearly shown in "Ambitious" and the mighty "Ahead," which marries a pronounced New Order feel with absurdist lyrics that nevertheless sound like pronouncements from on high in the context of this propulsive, monolithic track. "Eardrum Buzz" and "Kidney Bingos" are supremely lovely (if slightly odd) pop songs, while "Madman's Honey" and "Silk Skin Paws" with their lush, eerie vocals, have a dark majesty. But even as the band gravitated toward a more commercial sound, songs like "Feed Me" show that the dark side was still intact, as does "A Serious of Snakes," which features the line: "I'd rather make furniture than go to Midnight Mass."
| | El Tiempo 14 Exitos Vol. 2 CD (1993)
Clash
$7.69
Live Recording
| | Zafra Negra 20 Exitos CDs (2002)
Clash
$13.05
Track Listing of songs: DISC 1: Por Retenerte; Llorare; Ajena; Como Duele el Amor; Lo que No Conviene; Camaron que Se Duerme; La Negra Rosa; Rico Mambo; Coqueta y Sabrosa; Al que le Pique; DISC 2: Sufriendo Por Ella; Nave de Amor; Tres Palabras; Ese Caso lo Tenemos; No Llores Por Ella; El Truco de las Mujeres; Tu Fotografia; Ladrona de Amor; Que No Pare la Fiesta; Esto No Ta Frio;
| | Marine Life In Reverse CD (2004) Import
Clash
$18.85
Includes all the legendary raw punk funk combo's material, recorded between 1980 - 1982.
LIFE IN REVERSE is a compilation of songs that alternative rock band Marine recorded between 1980 and 1982.
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Liner Note Author: James Nice.
| | Beangrowers Dance Dance Baby CD (2005) (Import) Import; Australia
Clash
$36.29
Australian pop band Beangrowers show the world how it's done on their album DANCE DANCE BABY/
Beangrowers are a rare and delicate breed of band, managing to be intelligent without being ponderous, fun without being silly, outrageously poppy without being cheesy and rockin' without being cliched or predictable. Dance Dance Baby lands somewhere between Radiohead's The Bends & Pretenders 1 in terms of the strength of the material and hearkens to elements of The Cardigans Gran Turismo in terms of sheer joy and exuberance it exudes. 12 tracks. Karmic Hit. 2005.
| | Drifting Cowboy: A Country Music Tribute To Hank Williams CD (2005)
Clash
$6.09
Track Listing of songs: Honky Tonk Blues; Lovesick Blues; There'll Be No Teardrops Tonight; Lonesome Whistle; Move It on Over; I Saw the Light; You Win Again; Honky Tonkin'; Hey Good Lookin'; Your Cheatin' Heart; I'm So Lonesome I Could Cry; Jambalaya (On the Bayou);
|
|
|
13122 
buttons below to play song samples
Adobe Flash
Email a Friend
