| | Clash CD Clash Discography of CDs
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Also available in a 3-pack with LONDON CALLING and COMBAT ROCK.
Digitally remastered by Ray Staff & Bob Whitney (Whitfield Street Studios, London, England).
This album introduced the world to The Clash, the only group that was on even footing with The Sex Pistols in U.K. punk rock's early days. The Clash avoided the Pistols' sensationalism, singing instead songs about politics, racism, and class warfare. The music's brutal assault, accompanied by Strummer's charismatic vocal style, earned the group attention in its native England, where THE CLASH entered the charts at number 12.
This album collects many tracks from the original British release of THE CLASH along with the single "I Fought The Law", and "Complete Control", a song they recorded with legendary Jamaican producer Lee "Scratch" Perry.
5 Trx Not On Uk Version Plus Single Mix Of 'White Riot'.
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.
The Clash: Joe Strummer, Mick Jones (vocals, guitar); Paul Simonon (bass); Tory Crimes (drums).
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.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..."
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..."
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..."
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..."
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..."
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..."
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 album
 $9.45   
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.
Recorded in late 1966 and early 1967 at Olympic Studios, London, England.
Jimi Hendrix's debut recording was an instant classic, and is as startling today as when it first hit the streets in 1967. ARE YOU EXPERIENCED? is probably the most rock-oriented of Hendrix's official studio releases, but its influences are incredibly diverse. "Third Stone From The Sun" recalls the supple octaves of jazz guitarist Wes Montgomery; the churning Afro-Cuban polyrhythms of "Manic Depression" evoke John Coltrane and Elvin Jones; "I Don't Live Today" employs ritualistic Native American drumbeats; and the title tune borrows the Eastern airs of sitarist Ravi Shankar.
The mix, beautifully refreshed on this 1997 reissue, is dark and churning, a dense wall of sound. Mitch Mitchell and Noel Redding blast away with a barely controlled fury, and there's a distorted metallic edge to Hendrix's guitar timbre that has made ARE YOU EXPERIENCED? a particular favorite among rock and heavy-metal guitarists. "Purple Haze" and "Foxey Lady" helped define the power-trio format, thanks to Hendrix's full-bo
| | Clash Give 'Em Enough Rope CD (1978) Remastered
Clash CD music
$6.75 
Digitally remastered by Ray Staff & Bob Whitney (Whitfield Street Studios).
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 the Clash's wider musical ambitions.
Personnel: Mick Jones , Joe Strummer (vocals, guitar).
Audio Mixer: Corky Stasiak.
Audio Remasterers: Ray Staff; Bob Whitney.
Arranger: The Clash.
The Clash: Joe Strummer, Mick Jones (vocals, guitar); Paul Simonon (vocals, bass); Topper Headon (drums).
Engineers include: Dennis Ferranti, Gregg Caruso, Chris Mingo.
| | Clash London Calling CD (1979) Remastered
Clash music CDs
$6.75
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).
If punk rejected pop history, LONDON CALLING reclaimed it, albeit with a knowing perspective. The scope of this double set is breathtaking, encompassing reggae, rockabilly, and the group's own furious mettle. Such a combination might seem over-ambitious, but the Clash accomplish it with swaggering panache. Guy Stevens, who produced the group's first demos, returns to the helm to provide a confident, cohesive sound equal to the set's brilliant array of material. Boldly assertive and superbly focused, London Calling contains many of the quartet's finest songs and is, by extension, virtually faultless.
If punk rejected pop history, LONDON CALLING reclaimed it, albeit with a knowing perspective. The scope of this double set is breaktaking, encompassing reggae, rockabilly and the group's own furious mettle. Where such a combination might have proved over-ambitious, the Clash accomplish it with swaggering panache. Guy Stevens, who produced the group's first demos, returns to the helm to provide a confident, cohesive sound equal to the set's brilliant array of material. Boldly assertive and superbly focused, London Calling contains many of the quartet's finest songs and is, by extension, virtually faultless.
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).
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.
| | Clash Combat Rock CD (1982) Remastered
Clash songs
$6.75 
Also available in a 3-pack with THE CLASH and LONDON CALLING.
Digitally remastered by Ray Staff & Bob Whitney (Whitfield Street Studios, London, England).
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 SANDINISTA was the Clash's WHITE ALBUM, exploring just about every musical style they could think of over the course of three LP's. COMBAT ROCK, then, could be their LET IT BE, an attempt to focus on visceral, accessible material, kidney-punching instead of bobbing and weaving.
There's an increased focus on funk here, as on the unlikely hit "Rock the Casbah" and "Overpowered by Funk." Naturally, there's also a pronounced political element to the lyrics (the anti-authoritarian rant of "Know Your Rights," the post-Vietnam morality play of the moving "Straight to Hell.") Despite the renewed sense of focus, though, there's still a high degree of artistic ambition revealed in both the polysyllabic lyrics and the textured, overdub-heavy arrangements.
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).
| | VH1 Presents The Corrs: Live In Dublin CD (2002)
Clash album
$6.19
This audio document of The Corrs' Dublin homecoming concert has pretty much everything fans of Irish pop could wish for, including an appearance from Bono in his earthly incarnation, fresh from an audience with President George W. Bush. It's to the band's credit that the charismatic singer fails to steal the show, despite creditable efforts via an anthemized version of Ryan Adams' beautifully downtempo "When the Stars Go Blue," and a great, leering rendition of Lee Hazlewood and Nancy Sinatra's "Summer Wine."
Somewhat more mysteriously, Rolling Stone Ron Wood also turns up on what sounds dangerously close to a lounge version of Jimi Hendrix's "Little Wing," but this minor faux pas is redeemed by the Irish folk medley "Joy of Life/Trout in the Bath" which arguably features more full-on Irishness than the Dublin production of RIVERDANCE. There's also a lovely rendition of Neil Young's "Only Love Can Break Your Heart" that's topped only by Ron Wood's reappearance on a finale of the Stones' "Ruby Tuesday." VH1 PRESENTS THE CORRS LIVE IN DUBLIN is a fine mix of the band's greatest hits with a few well-chosen covers, which will doubtless reach out to new fans and longtime Corrs aficionados alike.
Recorded at Ardmore Studios in Dublin, Ireland in January 2002.
The Corrs: Jim Corr (vocals, guitar, keyboards); Sharon Corr (vocals, violin); Andrea Corr (vocals, tin whistle); Caroline Corr (vocals, drums, bodhran, percussion).
| | Rolling Stones Let It Bleed CD (1969)
Clash CD music
$11.45
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 rock now found themselves firmly in the center of the social and political post-'68 whirlwind, and faced up to the challenge magnificently. The band's confident climb to its artistic peak was begun by BEGGAR'S BANQUET, but LET IT BLEED is a quantum leap even from that musical milestone.
The album's opener, "Gimme Shelter," with its insinuating guitar introduction, leads us decisively out of Flower Power and into a world where rape and murder are "just a shot away," and the Devil of BANQUET is very much alive and taking names. There's a nod to seminal influence Robert Johnson, whose "Love in Vain" is a mandolin-accompanied highlight. The climax arrives in the form of "You Can't Always Get What You Want," bearing references to the fallout of the Swinging London era. LET IT BLEED finds the Stones brimming with musical confidence and artistic inspiration.
Remastered reissue of 1969 album, suitable for standard & 'Super Audio' CD players.
Audio Remasterers: Jon Astley; Teri Landi; Steve Rosenthal; Paschal Byrne.
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).
| | Venetian Snares Songs About My Cats CD (2001)
Clash music CDs
$12.95
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
| | A3 Outlaw CD (2005) (Import) United Kingdom
Clash songs
$26.49
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 album
$14.69
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
Photographers: Hugh MacDonald; Dylan Thomas.
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).
| | Hand Deadroom Journal CD (2010) (Import)
Clash CD music
$11.79
Track Listing of songs: Manuscript; Clanned Mass; Guitar Strings And Safety Pins; Translation; Birth; Resonia; I Find Myself;
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