| | Clash CD Clash Discography of CDs
 (7 Customer Reviews)
 |
|
Our Price: $7.59  CDFor Sale Usually ships in 1-2 days
Our Price: $9.99
|  |
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 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. ThouRolling 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..."
Rolling Stone (6/20/02, p.87) - 5 stars out of 5 - "...both a party and protest...The tunes still detonate as the group still insists justice must prevail..."
Spin (5/01, p.108) - Ranked #3 in Spin's "50 Most Essential Punk Records" - "...Punk as alienated rage, as anticorporate blather, as joyous racial confusion, as evangelic outreach and white knuckles and haywire impulses..."
Q (6/00, p.70) - Ranked #48 in Q's "100 Greatest British Albums"
Q (5/02 SE, p.135) - 5 stars out of 5 - Included in Q's "100 Best Punk Albums".
Q (12/99, pp.152-3) - 5 stars out of 5 - "...[They] would never sound so punk as they did on 1977's self-titled debut....Lyrically intricate...it still howled with anger..."
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..."
NME (Magazine) - Ranked #3 in NME's list of The Greatest Albums Of The '70s - "...The speed-freaked brain of punk set to the tinniest, most frantic guitars ever trapped on vinyl. Lives were changed beyond recognition by it..."
NME (Magazine) (10/2/93, p.29) - Ranked #13 in NME's list of the 'Greatest Albums Of All Time.' Clash Music Review Average Rating: (4.9 out of 5 stars)   List All Reviews Incomplete but Top Stuff
The debate on whether to buy the US or UK version could be settled by re-releasing everything on one CD. The UK version has a great overall feel, but this version has the missing singles, including "Complete Control," one of the greatest rocknroll songs of all-time. The politics of the early Clash are less explicit and therefore better music than the pure leftist sloganeering they gravitated to. If you must choose one, buy this one. Better still, buy both and make your own CD.
Submitted by genethem (Fort Collins, CO, USA) 
Was This Review Helpful? Yes No
Za Clash!
Influencial, confrontational, musical, dancable, and most of all tastey! If you're thinking about getting it, I suggest you do. But you don't have to listen to me. (Or at least that's what you think, muhuhaha...muhuhaha)
Submitted by jerseygrl061986 (I'mSoBoredWithTheUSA)
Was This Review Helpful? Yes No Clashs best
The clash is diffently one of my favorite bands, theres just something about joes vocals and how the rest of the band fits with it, that hypotizes you. If you want a great cd, this one is perfect, and in my opionion its the clashes best cd. I have London Calling also, and sure there's great songs like train in vain, clampdown, and london calling. But, After hearing this cd first, London Calling can't compare. I'm a musicholic, and out of my whole cd collection, The Clashes self titled, (us & uk versions) are my favorite cds.
Submitted by p1nkrawkz (Tallmadge, Ohio)
Was This Review Helpful? Yes No viva sandino!!!
this first LP really digs me. heard it during college days until now. strummer,jones,simonon,headon really immortalised the music scene they really used to it. punk rock at its best. you can't say no to each tracks especially the reggae beat of police & thieves. the band that really matters. this one never waste my $10, and a big thanks to cduniverse. pepe unidos!!
Submitted by lo_kal_boi (Philippines)
Was This Review Helpful? Yes No Finest ever
The tracks on this - the US - version which are NOT to be found on the UK-version, are on the whole better than the ones they "replace" (both "I fought the law" and "Clash city rockers" are obvious gems); yet I would rate the British original above, it's got to do with the - call it what you like - flow of the album(s); a point which indicates that a record is actually more than its individual tracks, and also a point which cannot be appreciated unless you hear them both. No matter: five out of five for what is - in either version - arguably the finest work in the history of rock music.
Submitted by kveleren (Norway)
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 | Jimi Hendrix Are You Experienced? CD (1967)
Clash
 $9.49   
This 1997 reissue of ARE YOU EXPERIENCED? is a remastered version that restores the original LP's track order and album artwork. ARE YOU EXPERIENCED? was previously reissued in 1993 (MCA 10893) with new cover art and a new 17-track running order that included all the songs on either the U.S. or U.K. versions of the original LP. That version is now out of print, and has been replaced by this one, on the Experience Hendrix label, which features remastered versions of the same 17 songs, this time in the order they appeared on the original American LP, with the extra tracks added to the end (a separate version was simultaneously released in the U.K., featuring the same songs but in the original British track order). The Experience Hendrix label is controlled by Hendrix's family.
The 1997 reissue also adds a 24-page booklet with previously-unpublished photos, the original LP liner notes and song lyrics.
The Jimi Hendrix Experience: Jimi Hendrix (vocals, electric guitar); Noel Redding (bass, background vocals); Mitch Mitchell (drums, background vocals).
Recorded in late 1966 and early 1967 at Olympic Studios, London, England.
Originally released on Reprise.
Includes liner notes by Dave Marsh.
One of the most stunning debuts in rock history, and one of the definitive albums of the psychedelic era. On Are You Experienced?, Jimi Hendrix synthesized various elements of the cutting edge of 1967 rock into music that sounded both futuristic and rooted in the best traditions of rock, blues, pop, and soul. It was his mind-boggling guitar work, of course, that got most of the ink, building upon the experiments of British innovators like Jeff Beck and Pete Townshend to chart new sonic territories in feedback, distortion, and sheer volume. It wouldn't have meant much, however, without his excellent material, whether psychedelic frenzy ("Foxey Lady," "Manic Depression," "Purple Haze"), instrumental freak-out jams ("Third Stone From the Sun"), blues ("Red House," "Hey
| | 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 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
| | VH1 Presents The Corrs Live In Dublin CD (2002)
Clash
$6.39
The Corrs: Jim Corr (vocals, guitar, keyboards); Sharon Corr (vocals, violin); Andrea Corr (vocals, tin whistle); Caroline Corr (vocals, drums, bodhran, percussion).
Recorded at Ardmore Studios in Dublin, Ireland in January 2002.
You knew the Corrs had made it when they played the final JFK Awards ceremony of the Clinton administration. Playing it would have been achievement enough, but their status as a happening thing was cemented at the end of the ceremony, during the encores, when everybody was taking their final bows. Bill moseyed up over to Andrea, put his arm around her, and when she was looking away, sized her up -- at precisely the same moment Chuck Berry was checking her out. If that doesn't mean that you've broken America, entering its pop culture, I don't know what does, expect for maybe a VH1-endorsed piece of product like Live in Dublin. Lo and behold, that's exactly what the Corrs received in the spring of 2002, a year and a half after "In Blue" and its accompanying single "Breathless" broke down the doors in America for the U.S. Only two songs on this set list are shared with In Blue, but that doesn't mean that the group returns to their slightly more traditional Celtic roots on the remainder of the songs. Sure, there are hints of that, but there are also four pop covers, two of them ("Little Wing" and "Ruby Tuesday") featuring Ron Wood, with another song, the Lee Hazelwood/Nancy Sinatra duet "Summer Wine," featuring Bono. Some of this is not unfamiliar to the Corrs' repertoire, since they did cover "Little Wing" before, on Talk on Corners (plus an MTV Unplugged release), but the end result is the same -- it's a crossover collection, not an album that emphasizes their Celtic roots. This wouldn't be a problem if the seams weren't so transparent -- if each selection didn't seem like it was a way to expand the group's audience, if it didn't seem like the soundtrack to post-yuppie dinner parties. On that level, it succeeds pretty well, and it is pl
| | Rolling Stones Let It Bleed CD (1969)
Clash
$13.55 
Remastered reissue of 1969 album, suitable for standard & 'Super Audio' CD players.
The Rolling Stones: Mick Taylor (guitars); Keith Richards (acoustic guitar); Mick Jagger (harp); Bill Wyman (autoharp); Charlie Watts (drums); Brian Jones (percussion).
Additional personnel: Nanette Newman, Mary Clayton (vocals); Ry Cooder (mandolin); Byron Berline (fiddle); Bobby Keys (tenor saxophone); Al Kooper (French horn); Ian Stewart, Leon Russell (piano); Nicky Hopkins (organ); Jimmy Miller , Rocky Dijon (percussion); Doris Troy, Madeline Bell, London Bach Choir (background vocals).
Audio Remasterers: Jon Astley; Teri Landi; Steve Rosenthal; Paschal Byrne.
Mostly recorded without Brian Jones -- who died several months before its release (although he does play on two tracks) and was replaced by Mick Taylor (who also plays on just two songs) -- this extends the rock and blues feel of Beggars Banquet into slightly harder-rocking, more demonically sexual territory. The Stones were never as consistent on album as their main rivals, the Beatles, and Let It Bleed suffers from some rather perfunctory tracks, like "Monkey Man" and a countrified remake of the classic "Honky Tonk Woman" (here titled "Country Honk"). Yet some of the songs are among their very best, especially "Gimme Shelter," with its shimmering guitar lines and apocalyptic lyrics; the harmonica-driven "Midnight Rambler"; the druggy party ambience of the title track; and the stunning "You Can't Always Get What You Want," which was the Stones' "Hey Jude" of sorts, with its epic structure, horns, philosophical lyrics, and swelling choral vocals. "You Got the Silver" (Keith Richards' first lead vocal) and Robert Johnson's "Love in Vain," by contrast, were as close to the roots of acoustic down-home blues as the Stones ever got. ~ Richie Unterberger
The last Stones studio album of the '60s finds the band, for perhaps the first time, accurately reflecting the spirit of its age. The erstwhile bad boy outsiders of
| | Venetian Snares Songs About My Cats CD (2001)
Clash
$14.69
Venetian Snares, aka Aaron Funk, has proven himself a mad genius of drill'n'bass with Songs About My Cats. It's quite clear why Mike Paradinas, one of the genre's pioneers and most masterful practitioners, has praised Funk left and right and released most of Funk's recordings on his Planet æ label. Songs About My Cats is unrelenting in its use of distorted samples and massively twitchy digital electronic sounds that pummel a listener. But despite the wicked throttle of fuzzy, crunchy sounds and lightning-paced clicks and blips, every minute is thoroughly engrossing and somehow almost relaxing. It's a sonic assault the likes of which Aphex Twin, Alec Empire, Kid 606, and Paradinas himself have been threatening to craft for years, but Funk takes it to a new level. There are melodies galore underneath the punishing noise-attack, and it's abundantly clear that Funk has slaved over each second of the album, twisting each individual note into some strange beast. But Funk doesn't resort to the usual loops and mathematical exercises of his peers, as there's an improvisational jazz feel to a majority of the songs, though the music would qualify as jazz only on a heretofore undiscovered solar system. Machine-gun staccato freak-outs lurk around every corner, and tender melodies start up and then warp into disturbing noir bubblings that sound like soundtracks for nightmares. Songs About My Cats is a masterpiece, and though it's bound to turn off many a listener, it's a sadistic yet emotional experimental electronic experience that just might be the crowning achievement of its genre. ~ Tim DiGravina
Live Recording
| | Bomb Squadron Another Generation Found CD (2005)
Clash
$14.65
Live Recording
| | A3 Outlaw CD (2005) (Import) United Kingdom
Clash
$30.09
Alabama 3, one of Britain's most exhilerating live bands, returns with 'Outlaw', which is perhaps their best work yet. A more stripped down, melodic album than its predecessors, a superb mixture of tongue-in-cheek nobility and honest, heartfelt song writing. Tracks like 'How Can I Project You', 'and the first single 'Hello I'm Johnny Cash' highlight an album that is down to earth yet eccentric, uplifting yet reflective and a sure fire instant classic. One Little. 2005.
| | Mohair Small Talk CD (2006)
Clash
$14.69
Mohair: Tom Billington (vocals, guitars); Alex Riohards (vocals, keyboards); Tim Slade (vocals, bass instrument); Pete Baker (trumpet, drums).
Personnel: Tom Billington (vocals, guitar); Tim Slade (vocals).
Photographers: Hugh MacDonald; Dylan Thomas.
This British quartet certainly know a thing or two about keeping the listener's interest, using a time-honored pop/rock feeling for a party-starting "Talk of the Town" that sounds like a slightly timid Arctic Monkeys with a catchy, fun chorus. Throw some barbershop quartet ad-libbing and the Futureheads are briefly brought to mind. Just as bouncy is "Stranded," a tune that has a mix of Brit-pop characteristics and a Beatles flare. Again, the song shines thanks to a fine, singalong chorus that highlights the already very impressive effort. Mohair rarely veer from this catchy, at times irresistible style with the jaunty, stellar "End of the Line" which has a steady, punchy backbeat, great harmonies and a fine amount of piano (and some horns) to drive the song home perfectly. The band rarely become bombastic, instead relying on tight, radio-friendly hooks as they do during "Little Voice," a song that sounds like it came straight from Blur's songbook. Even during the obligatory slow-building ballad "Thin Air" does the band make the most of the rather ordinary number, bringing to mind a cross between Snow Patrol and Jet. The first run-of-the-mill song has to be "Keep It Together" that sees Mohair trying on a hat that is best worn by the likes of Franz Ferdinand. The group try their hand at a slice of Americana-meets-California pop with "L.A. Song" with a mixed result at best. The album concludes with a murky but meaningful "Life." This is an album that should have a lot of people talking. ~ Jason MacNeil
|
|
|
6760 
buttons below to play song samples
Adobe Flash
Email a Friend
