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Children of Bodom

The band Children of Bodom: Alexander, Jaska, Janne, Henkka and Alexi

Children of Bodom is a Finnish band from the small town of Espoo which is one of the precursors of the melodic death metal style.

Biography

The band was founded in 1993 by guitarist Alexi "Wildchild" Laiho and drummer Jaska Raatikainen under the name of IneartheD. Having known each other since childhood and sharing the same interest for heavy/death metal bands such as Stone, Entombed and Obituary, they formed the original line-up of the band that would later become Children of Bodom together with bassist Samuli Miettinen. The band recorded its first demo - entitled Implosion of Heaven - on that same year.

Samuli was the main composer of the band's lyrics for the two years he took part of IneartheD, but in 1995 his family moved to the USA and there was no way for him to continue in the band. His last contribution to IneartheD were the lyirics of the songs from their second demo, Ubiguitous Absence of Remission. Alexi, who previously only composed the melodies of the songs, assumed the role of the band's lyricist.

In junior high, Alexi and Jaska got to know Henkka "Blacksmith" Seppälä, who was one year younger than them. Despite the slight age difference, they got along well and soon Hennka became the band's new bass player. From then on, Henkka also started doubling as the band's backing vocalist.

Jaska played a French horn in a local big band at the time, and one day - during rehearsal - he met Alexander Kuoppala, who was a trumpet player and also a good guitarist. When the band was about to record their second demo, Alexander was invited to join them and soon became an active member of the band.

For some time, Alexi and Jaska played and recorded the keyboard sections of IneartheD's songs separately and later mixed the keyboard track with the other instruments, but in 1996 they felt the need of adding a musician to specialize in keyboards. The person chosen for that role was Jani Pirisjoki.

With this new line-up, IneartheD recorded their third demo, named Shining. This new demo didn't impress record labels much more than the previous ones had, and no label took interest in the young Finnish band. It was a harsh time, in which - despite all of their efforts - their music got no exposure and they only managed to play at small events.

As a last resort, the band decided to record an independent album, funding all of the production costs themselves, a daring move considering that none of them had much money to begin with.

Alexi wanted to make use of the keyboards more effectively this time around, and Pirisjoki just wasn't fit for the task anymore. So he was fired from the band - albeit not in a hostile manner - and a friend of Jaska's, a talented pianist called Janne "Warman" Wirman, assumed the position of keyboard player.

Janne was the component that was missing for IneartheD to assume the style that would later characterize Children of Bodom. With him, the band successfully recorded their first album in the year of 1997 and got a professional deal from it. Their debut - Something Wild - was supposed to be released by a small Belgian label, but Sami Tenetz (from Thy Serpent) got hold of a copy of their album through the hands of Alexander shortly after IneartheD signed this contract, and sent it to Spinefarm Records' boss, who immediately got interested in signing them for a country-wide release. The later deal was much more interesting for the band, since the Belgian label was offering them close to no help, to the point where they would have to distribute and sell the album themselves.

For the band to be able to sign with Spinefarm Records, they were forced to change their name, since the contract with the Belgian label had already been signed under the name of IneartheD. The answer to that problem came as the bandmen looked for good names in their local phone book. When they stumbled upon Lake Bodom, they realised it was a name with impact; one which had an interesting story behind it. A long list of possible names involving the word Bodom was then made, and they settled with Children of Bodom.

The story of the Lake Bodom murders goes as follows: on the night of June the 4th of 1960, three teenagers were murdered while on a camping trip to the lake. There was a lone survivor, who has lived a relatively normal life afterwards. The murders have remained one of the most widely-discussed cases in Scandinavian history and remained unsolved for more than fourty years. In late 2004, Finnish police arrested the survivor, who is the main suspect of commiting the crime.

With the intention of promoting the upcoming release of Something Wild, the band opened one of the shows from the black metal band Dimmu Borgir. However, their success was such that the Nuclear Blast label approached them with a contract for an European release; the deal started in the following year.

Something Wild was officially released in November of 1997, and for promotional purposes the band recoeded a music video of the song Deadnight Warrior. The video directed by Mika Lindberg had a slim budget of €1000, but managed to convey the band's style well through the use of simple scenery, in which they play at night, in the cold.

Children of Bodom's first tour happened in February of 1998. They played together with Hypocrisy and a few other bands such as Covenant and Agathodaimon, but suffered from the absence of Janne, who was busy finishing his studies. He was replaced by Erna Siikavirta - a female pianist who is a friend of the band's and who curently plays with the teatrical band Lordi - for the duration of the tour.

Their second tour happened in September of the same year, but once more Janne was not able to play with them. Alexi's then-girlfriend Kimberly Goss (from Sinergy and ex-Dimmu Borgir and Therion) played with them this time around. The band showcased the song Towards Dead End for the first time during this tour.

In late 1999, Children of Bodom was finally able to tour with Janne on the keyboards. The success of the Downfall single and of the Hatebreeder album allowed them to make three shows in Japan with the veterans from In Flames and with Sinergy. In one of these shows, the album Tokyo Warhearts was recorded. With only two albums recorded previously, the band managed to play a technically flawless concert, seamlessly reproducing and at times improving on their songs.

For their next release, the band decided to make use of Peter Tägtgren's Abyss studio in Sweden, instead of the Finnish ASTIA studio from Anssi Kippo, in which they had recorded all of their previous releases, including the demos from IneartheD. The band wrote eight new songs for the album, and while on the studio, decided to add an extra track, which was hastly composed and whose lyrics were improvised by Alexi; that track would eventually receive the name of Kissing the Shadows. The band gave this album the name of Follow the Reaper and recording sessions took place between August and September of 2000; the album saw a worldwide release in early 2001.

With their rapidly increasing success, Children of Bodom recorded another album, and their first complete world tour began in 2003 and lasted until late 2004. This tour had many sold-out concerts and was a defining point in their career, but it was also accompanied by an unexpected annoucement: Alexander decided to quit the band for personal reasons, giving no warning and right in the middle of the tour. Alexi's bandmate from Sinergy, Roope Latvala (founding member of Stone, one of the bands which started the heavy metal movement in Finland) then replaced him as a session player, until a more permanent solution could be found. This formation was introduced in Moscow on the 16th of August.

Roope successfully finished the world tour and took part in the recording of the Trashed, Lost & Strungout single. Ever since then, he has been playing regularly with Children of Bodom and seems to have assumed a permanent position in the line-up that will record the band's upcoming album.

Children of Bodom's symbol is the Grim Reaper, and they often refer to themselves as the Hate Crew.

Current line-up

  • Alexi Laiho - Vocals, lead guitar
  • Roope Latvala - Rhythm guitar
  • Janne Viljami Wirman - Keyboards
  • Henkka Seppälä - 5-string bass
  • Jaska Raatikainen - Drums

Former members

  • Alexander Kuoppala - Rhythm guitar
  • Jani Pirisjoki - Keyboards
  • Samuli Miettinen - Bass

Discography

Albums

  • Something Wild (1997)
  • Hatebreeder (1999)
  • Tokyo Warhearts (Live CD, 1999)
  • Follow the Reaper (2001)
  • Hate Crew Deathroll (2003)

Singles

  • Implosion of Heaven (Demo, 1994)
  • Ubiquitous Absence of Remission (Demo, 1995)
  • Shining (Demo, 1996)
  • Children of Bodom (1997)
  • Downfall (1998)
  • Hate Me! (2000)
  • You're Better Off Dead! (2002)
  • Trashed, Lost & Strungout (2004)

Cover songs

  • Aces High, by Iron Maiden
  • Bed of Nails, by Alice Cooper
  • Don't Stop at the Top, by Scorpions
  • Hellion, by W.A.S.P.
  • Latomeri, by Klamydia
  • Mass Hypnosis, by Sepultura
  • No Commands, by Stone
  • Rebell Yell, by Billy Idol
  • She Is Beautiful, by Andrew W. K.
  • Shot In the Dark, by Ozzy Osbourne
  • Silent Scream, by Slayer
  • Somebody Put Something In My Drink, by Ramones
  • Waiting, by King Diamond
Despite popular belief, Children of Bodom have never covered the song The Final Countdown by Europe.

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Children of Bodom's symbol is the Grim Reaper, and they often refer to themselves as the Hate Crew. 30 seconds, 616 KB. Roope successfully finished the world tour and took part in the recording of the Trashed, Lost & Strungout single. Ever since then, he has been playing regularly with Children of Bodom and seems to have assumed a permanent position in the line-up that will record the band's upcoming album. Sample of "London Calling", from London Calling. This formation was introduced in Moscow on the 16th of August. In 2003 he stated that he'll perform on tribute gigs for Joe. Alexi's bandmate from Sinergy, Roope Latvala (founding member of Stone, one of the bands which started the heavy metal movement in Finland) then replaced him as a session player, until a more permanent solution could be found. It was on one of those gigs when he learned that Joe is dead.

This tour had many sold-out concerts and was a defining point in their career, but it was also accompanied by an unexpected annoucement: Alexander decided to quit the band for personal reasons, giving no warning and right in the middle of the tour. It should be noted that his contribution to The Clash was by no means limited to his drumming for the band--Headon also composed the piano riff for "Rock The Casbah." Now he is clean and continues to perform on gigs. With their rapidly increasing success, Children of Bodom recorded another album, and their first complete world tour began in 2003 and lasted until late 2004. Until the filming of Don Letts' retrospective documentary about The Clash, Westway to The World, and a subsequent presentation to Strummer, Jones, Simonon, and Headon of a Lifetime Achievement British Music Award, Headon disappeared from the music business. The band gave this album the name of Follow the Reaper and recording sessions took place between August and September of 2000; the album saw a worldwide release in early 2001. He formed a jazz band that enjoyed a very brief life. The band wrote eight new songs for the album, and while on the studio, decided to add an extra track, which was hastly composed and whose lyrics were improvised by Alexi; that track would eventually receive the name of Kissing the Shadows. After being fired from the band shortly after the release of Combat Rock, Topper Headon wandered aimlessly with a heroin addiction.

For their next release, the band decided to make use of Peter Tägtgren's Abyss studio in Sweden, instead of the Finnish ASTIA studio from Anssi Kippo, in which they had recorded all of their previous releases, including the demos from IneartheD. Similarly, the group accepted lower royalties from Sandinista! in order to ensure that the album would be sold the same price as a single LP. With only two albums recorded previously, the band managed to play a technically flawless concert, seamlessly reproducing and at times improving on their songs. Even at their peak, tickets to shows and the prices of souvenirs were kept reasonable. In one of these shows, the album Tokyo Warhearts was recorded. It should be noted that the Clash were never driven entirely by money. In late 1999, Children of Bodom was finally able to tour with Janne on the keyboards. The success of the Downfall single and of the Hatebreeder album allowed them to make three shows in Japan with the veterans from In Flames and with Sinergy. However, Mick Jones commented in the press that at the time of Strummer's death, the band was seriously considering reuniting for a tour, and that the likelihood was good of it happening.

The band showcased the song Towards Dead End for the first time during this tour. Simonon's reluctance to play music again has largely been cited as the reason why The Clash were one of the few 1970s British punk bands that did not reform to cash in on the punk-nostalgia craze of the late 1990s. Alexi's then-girlfriend Kimberly Goss (from Sinergy and ex-Dimmu Borgir and Therion) played with them this time around. Then Simonon returned to his roots as a visual artist, mounting several art-gallery shows and contributing the cover for Mick Jones' third BAD album, which was, coincidentally, co-produced by Joe Strummer. Their second tour happened in September of the same year, but once more Janne was not able to play with them. Following the break up of The Clash, Paul Simonon joined a group called Havana 3AM, which recorded only one album in Japan and quickly folded. He was replaced by Erna Siikavirta - a female pianist who is a friend of the band's and who curently plays with the teatrical band Lordi - for the duration of the tour. The Mescaleros album he was working on at the time, Streetcore, was released posthumously to critical acclaim in 2003.

They played together with Hypocrisy and a few other bands such as Covenant and Agathodaimon, but suffered from the absence of Janne, who was busy finishing his studies. In December of 2002, Joe Strummer died suddenly of a heart attack at the age of 50. Children of Bodom's first tour happened in February of 1998. Once again, these concerts featured Clash material ("London Calling", "Rudie Can't Fail"), as well as classic covers of reggae hits ("The Harder They Come", "A Message To You, Rudie") and regularly closed the show with a nod to the late Joey Ramone by playing The Ramones' "Blitzkrieg Bop". The video directed by Mika Lindberg had a slim budget of €1000, but managed to convey the band's style well through the use of simple scenery, in which they play at night, in the cold. Genn left The Mescaleros in the middle of recording sessions for the second album, Global A Go-Go, which included violinist and guitarist Tymon Dogg, who contributed the song "Lose This Skin" to the album Sandinista! Following the release of Global A Go-Go, Joe Strummer and the Mescaleros mounted a 21-date tour of North America, Britain, and Ireland. Something Wild was officially released in November of 1997, and for promotional purposes the band recoeded a music video of the song Deadnight Warrior. A tour of England and North America soon followed; sets included several Clash-fan favourites.

However, their success was such that the Nuclear Blast label approached them with a contract for an European release; the deal started in the following year. Strummer signed with the California punk label Hellcat Records, and issued a stunning album co-written with Anthony Genn, called Rock Art and the X-Ray Style. With the intention of promoting the upcoming release of Something Wild, the band opened one of the shows from the black metal band Dimmu Borgir. In 1991/92 Strummer joined The Pogues after their split-up with former frontman Shane MacGowan for a series of concerts across Europe. Finally, in the mid- to late-1990s, Strummer gathered top-flight musicians into a backing band he called The Mescaleros. In late 2004, Finnish police arrested the survivor, who is the main suspect of commiting the crime. Joe Strummer acted in a few movies, recorded movie soundtracks (notably "Love Kills" for the film Sid and Nancy) and experimented with different backing bands with limited success. The murders have remained one of the most widely-discussed cases in Scandinavian history and remained unsolved for more than fourty years. Meanwhile, Cut the Crap was released to a generally poor reception, though it charted higher than Big Audio Dynamite's release in the USA.

There was a lone survivor, who has lived a relatively normal life afterwards. The Clash played their final shows at European festivals in 1985, with Strummer eventually calling the band together and put The Clash down. The story of the Lake Bodom murders goes as follows: on the night of June the 4th of 1960, three teenagers were murdered while on a camping trip to the lake. Disillusioned with Rhodes's album, Strummer took the band busking across Northern England and Scotland, playing for free on street corners and in bars. A long list of possible names involving the word Bodom was then made, and they settled with Children of Bodom. Other songs aired on the tour remain unreleased: "Ammunition", "Glue Zombie", "In the Pouring Rain". When they stumbled upon Lake Bodom, they realised it was a name with impact; one which had an interesting story behind it. The album's recording sessions were a shambles with manager Bernie Rhodes scrubbing Howard's considerable talent in favour of a drum machine, drastically re-engineering the songs' live arrangements, and relying on synthesizers and mob choruses.

The answer to that problem came as the bandmen looked for good names in their local phone book. At a Miner's benefit show in December, he announced the band had a new record and was releasing it early in the new year. For the band to be able to sign with Spinefarm Records, they were forced to change their name, since the contract with the Belgian label had already been signed under the name of IneartheD. Regardless, the band toured heavily over the winter and into early summer, with Strummer taking a hiatus until the fall to tend to personal matters. The later deal was much more interesting for the band, since the Belgian label was offering them close to no help, to the point where they would have to distribute and sell the album themselves. Musically, the band was more than capable of re-creating—at times, bettering—the fire and intensity of the original line-up, but chemistry and trust between the old guard and the new were sometimes strained due to circumstance and unfamiliarity. Their debut - Something Wild - was supposed to be released by a small Belgian label, but Sami Tenetz (from Thy Serpent) got hold of a copy of their album through the hands of Alexander shortly after IneartheD signed this contract, and sent it to Spinefarm Records' boss, who immediately got interested in signing them for a country-wide release. The band played its first shows in January 1984 with a batch of new material and launched into a self-financed tour, dubbed the Out of Control tour.

Janne was the component that was missing for IneartheD to assume the style that would later characterize Children of Bodom. With him, the band successfully recorded their first album in the year of 1997 and got a professional deal from it. After a series of auditions, the band announced Nick Sheppard (23), formerly of the Bristol-based Cortinas, and Vince White (23) would be the band's new guitarists. So he was fired from the band - albeit not in a hostile manner - and a friend of Jaska's, a talented pianist called Janne "Warman" Wirman, assumed the position of keyboard player. In September 1983, Strummer and Simonon ousted Jones from the band, citing his problematic behaviour and divergent musical aspirations (Jones went on to found Big Audio Dynamite (BAD) with Don Letts). Alexi wanted to make use of the keyboards more effectively this time around, and Pirisjoki just wasn't fit for the task anymore. In 1983, after an extensive search for a new drummer, Pete Howard was recruited and performed with the original line-up at several low-key US dates and before The Clash's largest audience at the US Festival in San Bernardino, California—Mick Jones's last appearance with The Clash. As a last resort, the band decided to record an independent album, funding all of the production costs themselves, a daring move considering that none of them had much money to begin with. Terry Chimes left the band after the 1982 Combat Rock tour, convinced the band could not continue with in-fighting and turmoil.

It was a harsh time, in which - despite all of their efforts - their music got no exposure and they only managed to play at small events. The key members, began to feud. This new demo didn't impress record labels much more than the previous ones had, and no label took interest in the young Finnish band. Topper Headon was fired on account of his on-going heroin addiction problem and the original drummer, Terry Chimes, was brought back into the fold for the next few tours. With this new line-up, IneartheD recorded their third demo, named Shining. After that, the Clash began to slowly disintegrate. The person chosen for that role was Jani Pirisjoki. The effects of this were not apparent externally at first with the success of Combat Rock.

For some time, Alexi and Jaska played and recorded the keyboard sections of IneartheD's songs separately and later mixed the keyboard track with the other instruments, but in 1996 they felt the need of adding a musician to specialize in keyboards. "Ghetto Defendant" featured Allen Ginsberg, and "Red Angel Dragnet" referenced the film Taxi Driver. When the band was about to record their second demo, Alexander was invited to join them and soon became an active member of the band. Featuring the singles "Rock the Casbah" and "Should I Stay or Should I Go?" it broke into the American Top Ten, and did the same in the UK. Jaska played a French horn in a local big band at the time, and one day - during rehearsal - he met Alexander Kuoppala, who was a trumpet player and also a good guitarist. In 1982, The Clash returned with the best-selling of all their albums, Combat Rock. From then on, Henkka also started doubling as the band's backing vocalist. Following the release of Sandinista!, The Clash went on their first world tour including venues in eastern Asia and Australia.

Despite the slight age difference, they got along well and soon Hennka became the band's new bass player. Fans were confused and sales were down, although they were better in the US than previously. In junior high, Alexi and Jaska got to know Henkka "Blacksmith" Seppälä, who was one year younger than them. The results were mixed, as the band continued their experimentation into reggae and dub ("Let's Go Crazy") and expanded into other musical styles and production techniques that included jazz ("Look Here"), hip hop ("The Magnificent Seven"), chamber music ("Rebel Waltz"), vocals by keyboard player Micky Gallagher's young son, and "Mensforth Hill," a tape loop collage similar to The Beatles Revolution No 9.. Alexi, who previously only composed the melodies of the songs, assumed the role of the band's lyricist. The Clash followed London Calling with a triple album (released for the price of a double album) in late 1980, entitled Sandinista! (with the catalog number FSLN1, from the Spanish initials of the Sandinista political movement, Frente Sandinista de Liberación Nacional). His last contribution to IneartheD were the lyirics of the songs from their second demo, Ubiguitous Absence of Remission. The album is considered a landmark, and tracks such as "Train in Vain", "Clampdown" and "London Calling" show up with regularity on rock stations to this day.

Samuli was the main composer of the band's lyrics for the two years he took part of IneartheD, but in 1995 his family moved to the USA and there was no way for him to continue in the band. Besides straightforward punk, it featured a much wider array of styles than the earlier albums, including American-style rockabilly and reggae works that resonated with the ska movement in Britain. The band recorded its first demo - entitled Implosion of Heaven - on that same year. The band's critical and commercial breakthrough in the US came with London Calling, a double album released in January 1980 for the price of a single album (at the band's insistence). Having known each other since childhood and sharing the same interest for heavy/death metal bands such as Stone, Entombed and Obituary, they formed the original line-up of the band that would later become Children of Bodom together with bassist Samuli Miettinen. This included a roaring version of Bobby Fuller's I Fought The Law (originally from their Cost Of Living EP). The band was founded in 1993 by guitarist Alexi "Wildchild" Laiho and drummer Jaska Raatikainen under the name of IneartheD. Their first album did not see an official release in the US until July 1979, then in a drastically revised form from the version that was released elsewhere.

Children of Bodom is a Finnish band from the small town of Espoo which is one of the precursors of the melodic death metal style. Give 'em Enough Rope was the first Clash album to be released by a US label (though the UK release of the first album was a bestselling import in the US), and to support it the Clash went on their first tour of the US in early 1979. Waiting, by King Diamond. The Clash are generally credited with founding the roots of punk rock in liberal protest, and were known as the "Thinking Man's Yobs" by many for their politically astute take on the world. Somebody Put Something In My Drink, by Ramones. I don't wanna shout / But while we were talking I saw you nodding out..." — finally asking, "After all this, won't you give me a smile?". Silent Scream, by Slayer. Quit holding out and draw another breath..

Shot In the Dark, by Ozzy Osbourne. now don't look to us / Phoney Beatlemania has bitten the dust..." — draws a bleak picture of the times — "The ice age is coming, the sun's zooming in / Engines stop running, the wheat is growing thin" — but calls on their listeners to come out of their drugged stupor and take up the fight without constantly looking to London, or to The Clash themselves, for cues — "Forget it, brother, we can go it alone.. K. Murrow's catchphrase during World War II, and the title song announces that "...war is declared and battle come down..." It warns against expecting them to be saviours — ".. She Is Beautiful, by Andrew W. The title of London Calling evokes American radio newsman Edward R. Rebell Yell, by Billy Idol. They were especially wary of their own emerging stardom: they always welcomed fans backstage after shows and showed genuine interest and compassion in their relationships with them.

No Commands, by Stone. By the time of the December 1979 album London Calling, the Clash (like the Dead Kennedys in the U.S.) were trying to square the circle of maintaining punk energy while developing increasingly musicianly chops. Mass Hypnosis, by Sepultura. They were involved directly with the controversial Anti-Nazi League and Rock Against Racism. Latomeri, by Klamydia. The Clash offered some support to the IRA and the PLO, and later, the Sandinista and other Marxist movements in Latin America (hence the title of their 1981 album, Sandinista!). Hellion, by W.A.S.P. Still, he felt bad after the show, prompting him to write the song "Tommy Gun," renouncing violence as a means of protest.

Don't Stop at the Top, by Scorpions. He later said in an interview that he wore the shirt not to support the left-wing terrorists factions in Germany and Italy, rather to bring attention to their existence. Bed of Nails, by Alice Cooper. In one instance in 1978, at a Rock Against Racism show, organized by the Anti-Nazi League, Joe Strummer wore a controversial t-shirt bearing the words "Brigate-Rosse" with the Red Army Faction (Baader-Meinhof) insignia in the middle. Aces High, by Iron Maiden. Their politics were expressed explicity in their lyrics, in early recordings such as "White Riot," which encouraged disaffected white youths to become politically active like their black counterparts, "Career Opportunities," which expressed discontent over the lack of jobs in the U.K., and "London's Burning", which expressed punk rage, but was at the same time downright analytical. Trashed, Lost & Strungout (2004). Instead, they found solidarity with a number of liberation movements going on at the time.

You're Better Off Dead! (2002). Unlike many early punk bands, however, The Clash rejected the overall sentiment of nihilism and anarchy. Hate Me! (2000). and around the world. Downfall (1998). Like many early punk bands, The Clash protested against the monarchy and the aristocracy in the U.K. Children of Bodom (1997). 'Rope' was released in 1978 and debuted at number two on the British charts, but failed to crack the top 100 in the world's largest music market, the United States.

Shining (Demo, 1996). Pearlman was amazed by Headon's impressive timing and musical skills and thus christened him "The Human Drum Machine". Ubiquitous Absence of Remission (Demo, 1995). Their next album, the Sandy Pearlman-produced Give 'Em Enough Rope, was the first to feature Topper Headon on all cuts. Implosion of Heaven (Demo, 1994). Throughout 1977, Joe Strummer and Mick Jones were in and out of jail for a range of minor crimes, ranging from vandalism to stealing a pillowcase, while Simonon and Headon were arrested for shooting racing pigeons with an air gun. Hate Crew Deathroll (2003). Initially The Clash were notable for their strident leftist political outlook and distinctive clothes that they painted with revolutionary slogans ("Sten Guns in Knightsbridge" "Under Heavy Manners").

Follow the Reaper (2001). They released their first single ("White Riot") and first album (The Clash) in 1977 to considerable success in the UK, though CBS initially declined to release either in the United States, only releasing a modified version of the first album in the US after the UK original had been a bestselling import for two years. Tokyo Warhearts (Live CD, 1999). Their first gig was in 1976 supporting The Sex Pistols, and that autumn the band were signed to CBS Records. Hatebreeder (1999). Instead he remained with The Clash until late 1982 – present for most of the band's career. Something Wild (1997). The musically gifted Headon was planning to stay only briefly.

Samuli Miettinen - Bass. Nick Headon). Jani Pirisjoki - Keyboards. Following the release of their first album, Chimes was replaced with longtime drummer Topper Headon (b. Alexander Kuoppala - Rhythm guitar. And so the Clash—name supplied by Simonon after seeing the word in all the newspapers—came to be. Jaska Raatikainen - Drums. At the behest of manager Bernie Rhodes, Jones, Levene and Simonon recruited Strummer from the 101ers ("You're all right," they told him, "but your band's crap." Rhodes then allegedly gave Strummer 48 hours to sign on, but called him wanting an answer in 24).

Henkka Seppälä - 5-string bass. Strummer had previously been in the pub rock act The 101ers (his first stage name at this point was Woody Mellor, branding himself "Joe Strummer" during this period), and Jones and Simonon (briefly) in legendary proto-punk band London SS. Janne Viljami Wirman - Keyboards. Keith Levene (later of Public Image Limited) was an early guitarist and songwriter with The Clash, but he never recorded with the band and left in ambiguous circumstances after 5 gigs. Roope Latvala - Rhythm guitar. 1955) (bass and vocals), Keith Levene (lead guitar) Terry Chimes (credited on the first LP as "Tory Crimes") (drums), the Clash formed in London in 1976 during the first wave of British punk. Alexi Laiho - Vocals, lead guitar. John Graham Mellor in 1952) (vocals, rhythm guitar), Mick Jones (vocals, lead guitar), Paul Simonon (b.

Originally composed of Joe Strummer (b. The influence of The Clash also can be found through the 1990s British music of the Britpop movement, whose revolutionary looks and big and catchy hooks are influenced by their music. borrow much from The Clash. Besides contemporary American punk outfits like Green Day, Blink 182 and The Offspring, which cite The Clash as a major influence, alternative rock seminal bands like U2, the Cure and R.E.M.

They are considered as one of the most influential and best-known punk acts in the world. One of the most critically lauded bands of their period, The Clash was noted for being musically far-reaching (they incorporated reggae, roots rock, and eventually many other music styles into their repertoire), for displaying a political and lyrical sophistication that distinguished them from most of their colleagues in the punk movement, and for uncommonly intense stage performances. The Clash was a British punk rock group that existed from 1976 to 1985. 1991 "Rock the Casbah" (re-issue) #15 UK.

1991 "Should I Stay or Should I Go" (re-issue) #1 UK. from "The Singles"

    . 1988 "I Fought the Law" #29 UK. from "The Story of the Clash", originally on the US version of "The Clash"
      .

      1985 "This Is England" #24 UK. from "Cut the Crap"

        . 1982 "Should I Stay or Should I Go/Straight to Hell" #17 UK. 1982 "Rock the Casbah" #30 UK, #8 US (1983 release).

        from "Combat Rock"

          . 1981 "The Magnificent Seven" #34 UK. 1980 "The Call Up" #40 UK. from "Sandinista!"
            .

            1980 "Bankrobber" #12 UK. from "Black Market Clash"

              . 1980 "Train in Vain (Stand by Me)" #23 US. 1979 "London Calling" #11 UK.

              from "London Calling"

                . 1979 "The Cost Of Living EP" (I Fought the Law/Groovy Times/Gates of the West/Capital Radio One) #22 UK. non-album EP
                  . 1979 "English Civil War (Johnny Comes Marching Home)" #25 UK.

                  1978 "Tommy Gun" #19 UK. from "Give 'Em Enough Rope"

                    . 1978 "(White Man) In Hammersmith Palais" #32 UK. 1978 "Clash City Rockers" #35 UK.

                    1977 "Complete Control" #28 UK. non-album singles (added to "The Clash" US version)

                      . 1977 "White Riot" #38 UK. from "The Clash"
                        .

                        London Calling: 25th Anniversary Legacy Edition, 2004 (expanded with rehearsal tapes and making of the album DVD), Epic/Legacy #26 UK. The Essential Clash, 2003 (compilation, "essential" recordings), Epic/Legacy #18 UK, #99 US. From Here to Eternity: Live, 1999 (live recordings from 1978 - 1982), Epic Records #13 UK, #193 US. Super Black Market Clash, 1994 (compilation of b-sides and rarietes), CBS Records CD release: Epic Records, #74 UK.

                        The Singles, 1991 (singles compilation), CBS Records CD release: Epic Records

                          . Clash on Broadway, 1991 (3 disc box set containing several unreleased tracks and alternate versions), CBS Records CD release: Epic Records. The Story of the Clash, Volume 1, 1988 (compilation, greatest hits collection), CBS Records CD release: Epic Records #7 UK, #142 US. Cut the Crap, 1985, CBS Records #16 UK, #88 US.

                          Combat Rock, 1982, CBS Records CD release: Epic Records #2 UK, #7 US. Sandinista!, 1980, CBS Records CD release: Epic Records #19 UK, #24 US. Black Market Clash, 1980 (compilation of b-sides), CBS Records CD release: Epic Records. London Calling, 1979, CBS Records CD release: Epic Records #9 UK, #27 US

                            .

                            Give 'Em Enough Rope, 1978, CBS Records CD release: Epic Records #2 UK, #128 US. The Clash, 1977, CBS Records CD release: Epic Records #12 UK.

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