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The Clash
The Essential Clash
Epic Records
E2K 89056
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Disc One:
1. White Riot (1:58)
(J. Stummer / M. Jones)
Recorded 1977
From: The Clash (U.S. Version) Epic CD 63883
Produced by Mickey Foote
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Tory Crimes: Drums
(P) 1977
2. London’s Burning (2:09)
(J. Strummer / M. Jones)
Recorded 1977
From: The Clash (U.K. Version) Epic CD 63882
Produced by Mickey Foote
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Tory Crimes: Drums
(P) 1977
3. Complete Control (3:12)
(J. Strummer / M. Jones)
Recorded 1977
From: The Clash (U.S. Version) Epic CD 63883
Produced by Lee Perry
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1977
4. Clash City Rockers (Original Version) (3:57)
(J. Strummer / M. Jones)
Recorded 1978
From: The Clash (U.S. Version) Epic CD 63883
Produced by Mickey Foote
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1978
5. I’m So Bored With The U.S.A. (2:23)
(J. Strummer / M. Jones)
Recorded 1977
From: The Clash (U.K. Version) Epic CD 63882
Produced by Mickey Foote
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Tory Crimes: Drums
(P) 1977
6. Career Opportunities (1:51)
(J. Strummer / M. Jones)
Recorded 1977
From: The Clash (U.K. Version) Epic CD 63882
Produced by Mickey Foote
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Tory Crimes: Drums
(P) 1977
7. Hate & War (2:05)
(J. Strummer / M. Jones)
Recorded 1977
From: The Clash (U.K. Version) Epic CD 63882
Produced by Mickey Foote
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Tory Crimes: Drums
(P) 1977
8. Cheat (2:05)
(J. Strummer / M. Jones)
Recorded 1977
From: The Clash (U.K. Version) Epic CD 63882
Produced by Mickey Foote
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Tory Crimes: Drums
(P) 1977
9. Police & Thieves (6:00)
(J. Murvin / L. Perry)
Recorded 1977
From: The Clash (U.K. Version) Epic CD 63882
Produced by Mickey Foote
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Tory Crimes: Drums
(P) 1977
10. Janie Jones (2:04)
(J. Strummer / M. Jones)
Recorded 1977
From: The Clash (U.K. Version) Epic CD 63882
Produced by Mickey Foote
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Tory Crimes: Drums
(P) 1977
11. Garageland (3:09)
(J. Strummer / M. Jones)
Recorded 1977
From: The Clash (U.K. Version) Epic CD 63882
Produced by Mickey Foote
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Tory Crimes: Drums
(P) 1977
12. Capital Radio One (2:09)
(J. Strummer / M. Jones)
Recorded 1977
From: Black Market Clash, Epic LP 38540
Produced by Mickey Foote
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Tory Crimes: Drums
(P) 1977
13. (White Man) In Hammersmith Palais (4:00)
(J. Strummer / M. Jones)
Recorded 1978
From: The Clash (U.S. Version) Epic CD 63883
Produced by The Clash
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1978
14. English Civil War (2:34)
(Trad. - J. Strummer / M. Jones)
Recorded 1978
From: Give ‘Em Enough Rope, Epic CD 63884
Produced by Sandy Pearlman
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1978
15. Safe European Home (3:49)
(J. Strummer / M. Jones)
Recorded 1978
From: Give ‘Em Enough Rope, Epic CD 63884
Produced by Sandy Pearlman
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1978
17. Julie’s Been Working For The Drug Squad (3:00)
(J. Strummer / M. Jones)
Recorded 1978
From: Give ‘Em Enough Rope, Epic CD 63884
Produced by Sandy Pearlman
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1978
18. Stay Home (3:37)
(J. Strummer / M. Jones)
Recorded 1978
From: Give ‘Em Enough Rope, Epic CD 63884
Produced by Sandy Pearlman
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1978
19. Groovy Times (3:30)
(J. Strummer / M. Jones)
Recorded 1978
From: Give ‘Em Enough Rope, Epic CD 63884
Produced by The Clash and Bill Price
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1979
20. I Fought The Law (2:35)
(S. Curtis)
Recorded 1979
From: The Clash (U.S. Version) Epic CD 63883
Produced by The Clash and Bill Price
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1979
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Disc Two:
1. London Calling (3:18)
(J. Strummer / M. Jones)
Recorded 1979
From: London Calling, Epic CD 63885
Produced by Guy Stevens
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1979
2. The Guns Of Brixton (3:12)
(P. Simonon)
Recorded 1979
From: London Calling, Epic CD 63885
Produced by Guy Stevens
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1979
3. Clampdown (3:50)
(J. Strummer / M. Jones)
Recorded 1979
From: London Calling, Epic CD 63885
Produced by Guy Stevens
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1979
4. Rudie Can’t Tell (3:27)
(J. Strummer / M. Jones)
Recorded 1979
From: London Calling, Epic CD 63885
Produced by Guy Stevens
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1979
5. Lost In The Supermarket (3:47)
(J. Strummer / M. Jones)
Recorded 1979
From: London Calling, Epic CD 63885
Produced by Guy Stevens
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1979
6. Jimmy Jazz (3:55)
(J. Strummer / M. Jones)
Recorded 1979
From: London Calling, Epic CD 63885
Produced by Guy Stevens
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1979
7. Train In Vain (3:10)
(J. Strummer / M. Jones)
Recorded 1979
From: London Calling, Epic CD 63885
Produced by Guy Stevens
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1979
8. Bankrobber (4:31)
(J. Strummer / M. Jones)
Recorded 1980
From: Black Market Clash, Epic CD 38540
Produced by The Clash
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1980
9. The Magnificent Seven (5:28)
(The Clash)
Recorded 1980
From: Sandinista!, Epic CD 63888
Produced by The Clash
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1980
10. Ivan Meets G.I. Joe (3:05)
(The Clash)
Recorded 1980
From: Sandinista!, Epic CD 63888
Produced by The Clash
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1979
11. Police On My Back (3:15)
(E. Grant)
Recorded 1980
From: Sandinista! Epic CD 63888
Produced by The Clash
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1980
12. Stop The World (2:33)
(J. Strummer / M. Jones / N.B. Headon / P. Simonon)
Recorded 1980
From: Super Black Market Clash, Epic CD 63895
Produced by The Clash
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1980
13. Somebody Got Murdered (3:34)
(The Clash)
Recorded 1980
From: Sandinista! Epic CD 63888
Produced by The Clash
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1980
14. The Street Parade (3:26)
(The Clash)
Recorded 1980
From: Sandinista! Epic CD 63888
Produced by The Clash
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1980
15. This Is Radio Clash (4:10)
(The Clash)
Recorded 1981
From: Super Black Market Clash, Epic CD 63895
Produced by The Clash
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1981
16. Ghetto Defendant (4:45)
(The Clash)
Recorded 1980
From: Combat Rock, Epic CD 63896
Produced by The Clash
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1982
17. Rock The Casbah (3:40)
(The Clash)
Recorded 1980
From: Combat Rock, Epic CD 63896
Produced by The Clash
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1982
18. Straight To Hell (5:30)
(The Clash)
Recorded 1980
From: Combat Rock, Epic CD 63896
Produced by The Clash
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1982
19. Should I Stay Or Should I Go (3:06)
(The Clash)
Recorded 1980
From: Combat Rock, Epic CD 63896
Produced by The Clash
Mick Jones: Guitar, Vocals
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Nicky “Topper” Headon: Drums
(P) 1982
20. This Is England (3:49)
(J. Strummer / B. Rhodes)
Recorded 1985
From: Cut The Crap, Epic CD 66419
Produced by Jose Unidos
Joe Strummer: Guitar, Vocals
Paul Simonon: Bass
Vince White: Guitar
Nick Sheppard: Guitar
Pete Howard: Drums
(P) 1985
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Compilation Produced by: Bruce Dickinson
Executive Producer: Tricia Ronane
Mastered by: Vic Anesini at Sony Music Studios, NY
Art Direction/Design: Josh Cheuse (NYC) & Jules Balme (London)
Photography: Pennie Smith - background photos, front cover & spine sheet
Additional Photo Credits: Kate Simon, Bob Gruen, Paul Slattery/Retna
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By The Mid-70s, the insurgent spirit of ‘60s rock was well and truly dead.
Groups that had once been the embodiment of youthful energy and rebellion had long since become the new rock aristocracy, playing stadium shows, writing rock operas, getting out of it in their country mansions with the A-list jet-set. The word they left was filled by something that had even less to do with the original spirit of rock ‘n’ roll; the complex, pseudo-intellectual, quasi-symphonic meanderings of prog-rock.
Rock needed a reality check, and it came in 1976 when the punk scene exploded in England. In its vanguard were The Clash and the Sex Pistols, two London bands – influenced by the MC5, the Stooges, the militant attitude of reggae (imported to west London via the capital’s West Indian immigrants) and the classic Britrock bands of a decade earlier – who channeled the anger and frustration on the streets of gloomy mid-‘70s Britain into a new kind of cauterizing, anti-establishment rock ‘n’ roll. Their music lit the blue touchpaper of a revolution that eventually reached every corner of the globe, and has strong echoes in the rock music of today. But while the Pistols never transcended their punk roots, spitting after just 18 months in the spotlight, The Clash carried the visceral thrill and revolutionary stance of the early punk days through nearly a decade of music-making that would see them broaden their sound to take in reggae, dub, soul, jazz, rap and funk. Ask any who knows – The Clash were just about the most important band to ever walk the planet.
Formed in May 1976, The Clash made their London debut three months later in front of an invited audience at their rehearsal space, a former railway warehouse in Camden Town. The group comprised “three frontmen,” Joe Stummer (vocs/gtr), Mick Jones (gtr/vocs), Paul Simonon (bass/vocs), plus Terry Chimes (drums). Mick and Paul were both art school drop-outs in west London and had recruited Joe from pub rock combo the 101’ers after being impressed by his huge onstage charisma and offstage presence.
With the encouragement of manager Bernie Rhodes – former business partner of Sex Pistols svengali Malcolm McLaren – they started writing songs that would blue-print the high-velocity punch and social conscience of punk: “White Riot” (inspired by Joe and Paul’s participation in the riot at that year’s Notting Hill Carnival, London’s annual Afro-Caribbean festival), “Janie Jones,” “Garageland,” and “Career Opportunities.” Aficionados of the West Indian sounds that reverberated around underground clubs and street markets of mid-‘70s London, The Clash became the first punk group to combine punk and reggae, covering Junior Murvin’s “Police & Theives,” a big underground hit in 1976, on their legendary self-titled first album, released the following May. By then, Chimes had been replaced by Topper Headon, who beat “every other drummer in London” for the hotseat.
In 1978, the group emerged from an intense period of writing and rehearsing to play in front of 80,000 people at a Rock Against Racism concert in east London’s Victoria Park. They were about to begin work on their second album, Give ‘Em Enough Rope, recorded over three months with US producer Sandy Pearlman in London, San Francisco and New York. The record saw a tougher rock sound and the band’s lyrical scope broadening; international terrorism, murderous political regimes and visions of an imminent English Civil War all found themselves grist to Strummer’s intense, profoundly probing lyrical mill.
The Clash had enjoyed their experience of the States – the music, the characters, the fans, second-hand clothes stores. On their return to London they began cultivating a class rock ‘n’ roll look (with a punk twist0, growing their hair into quiffs and wearing buckled work boots that they’d copped Johnny Thunders wearing in London. Work began on Clashing up Sonny Curtis’s “I Fought The Law” – a song they’d become re-acquainted with via the studio jukebox in San Francisco. In February 1979, they set out on their first US tour, a six-date jaunt on which they took one of their heroes, Bo Diddley, along with them. The response to their impassioned, energetic shows was phenomenal and they vowed to return to do the job properly.
Back in England, the group began rehearsing with a renewed sense of purpose, bringing to the fore the music that they’d loved from their youth: not just reggae and rock, but ska, R&B, rock ‘n’ roll, soul, jazz. The results, captured on tape in the summer of 1979 by the crazed but lovable producer Guy Stevens, were released at the end of the year (and in early 1980 in the US) as the double album London Calling, a masterpiece which Rolling Stone magazine would famously vote the greatest record of the ‘80s. In the meantime, the band returned to the States for a six-week tour with support from more of their heroes, old (Sam & Dave, Screamin’ Jay Hawkins) and new (country singer Joe Ely, The Cramps).
On a roll, the band were writing and recording furiously, laying down material in New York, Jamaica and London, absorbing new influences all the way. A torrent of material flowed out, with rap, funk, dub and numerous other styles being added to their stylistic armoury. In the end, there were enough tracks to fill six sides of vinyl, which the band convinced their record company to release at a budget price – and so Sandanista!, named after the left-wing freedom fighters of Nicaragua, hit the racks in late 1980.
Back in 1978, the band had parted company with Bernie Rhodes, but the mercurial manager was brought back in 1981. Rather than have them embark on another long tour of the States, he instructed The Clash to “bring the mountain to Mohammed,” and arranged a dozen or so dates at Bonds in New York’s Times Square. When the Fire Department tried to close them down, riots ensued. A compromise was reached. The shows went ahead. The Clash played and all of New York came – directors, writers, film stars, artists, models, mobsters. But it was the ordinary fans who the band were there to communicate with.
The music scene in New York at that time was vibrant – hip hop and electro were starting to happen – and a strong flavour of funk and dance came through on Combat Rock, issued in May 1982. However, by the time the record – which spawned the world-wide smash “Rock The Casbah” and “Should I Stay Or Should I Go” and reached the Top 10 in the US – was released, Topper Headon had been sacked from the band due to drug problems. Terry Chimes returned briefly to the fold and performed with the band on a tour of large venues, including Shea Stadium, supporting The Who.
After seven years at the sharp end, the deep bonds that held The Clash together were unraveling and, in 1983, Mick Jones was also out of the group. The band eventually folded two years later. In 1991, they scored a belated Number 1 in the UK when “Should I Stay Or Should I Go” was reissued as a single after being used on a Levi’s TV advert.
Record sales and chart positions, however, will never communicate the true importance of The Clash. They were far more than that – a band who always preferred taking the hard route to the soft option or the money. It’s a common thing to hear from Clash fans that “the group changed my life.” And how many bands can claim that? There’ll never be another group quite like them again. God bless ‘em.
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Whilst we were compiling this album we suffered the tragic and untimely loss of our friend and collaborator Joe Strummer. We would like to dedicate this album to his memory.
Joe Strummer
1952-2002
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