The Clash

The Clash was a British punk rock group that existed from 1976 to 1985. 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. They are considered as one of the most influential and best-known punk acts in the world. 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. borrow much from The Clash. 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.

Line up and early days

Originally composed of Joe Strummer (b. John Graham Mellor in 1952) (vocals, rhythm guitar), Mick Jones (vocals, lead guitar), Paul Simonon (b. 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. 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. 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. 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). And so the Clash—name supplied by Simonon after seeing the word in all the newspapers—came to be.

Cover of The Clash

Following the release of their first album, Chimes was replaced with longtime drummer Topper Headon (b. Nick Headon). The musically gifted Headon was planning to stay only briefly. Instead he remained with The Clash until late 1982 – present for most of the band's career.

Their first gig was in 1976 supporting The Sex Pistols, and that autumn the band were signed to CBS Records. 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.

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"). 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.

Their next album, the Sandy Pearlman-produced Give 'Em Enough Rope, was the first to feature Topper Headon on all cuts. Pearlman was amazed by Headon's impressive timing and musical skills and thus christened him "The Human Drum Machine". '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.

Politics

Cover of Give 'Em Enough Rope

Like many early punk bands, The Clash protested against the monarchy and the aristocracy in the U.K. and around the world. Unlike many early punk bands, however, The Clash rejected the overall sentiment of nihilism and anarchy. Instead, they found solidarity with a number of liberation movements going on at the time. 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.

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. 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. Still, he felt bad after the show, prompting him to write the song "Tommy Gun," renouncing violence as a means of protest.

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!). They were involved directly with the controversial Anti-Nazi League and Rock Against Racism. 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. 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.

The title of London Calling evokes American radio newsman Edward R. 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 — "... 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... Quit holding out and draw another breath... 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?"

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.

US success

Cover of London Calling

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. 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. This included a roaring version of Bobby Fuller's I Fought The Law (originally from their Cost Of Living EP).

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). 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 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.

Cover of Sandinista!

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). 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.

Fans were confused and sales were down, although they were better in the US than previously. Following the release of Sandinista!, The Clash went on their first world tour including venues in eastern Asia and Australia.

In 1982, The Clash returned with the best-selling of all their albums, Combat Rock. 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. "Ghetto Defendant" featured Allen Ginsberg, and "Red Angel Dragnet" referenced the film Taxi Driver.

Tensions and disintegration

Cover of Combat Rock

The effects of this were not apparent externally at first with the success of Combat Rock. After that, the Clash began to slowly disintegrate. 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. The key members, began to feud. Terry Chimes left the band after the 1982 Combat Rock tour, convinced the band could not continue with in-fighting and turmoil. 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.

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). 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. 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.

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. 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. 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.

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. Other songs aired on the tour remain unreleased: "Ammunition", "Glue Zombie", "In the Pouring Rain".

Disillusioned with Rhodes's album, Strummer took the band busking across Northern England and Scotland, playing for free on street corners and in bars. The Clash played their final shows at European festivals in 1985, with Strummer eventually calling the band together and put The Clash down. Meanwhile, Cut the Crap was released to a generally poor reception, though it charted higher than Big Audio Dynamite's release in the USA.

Post-Clash careers

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. 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. 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. A tour of England and North America soon followed; sets included several Clash-fan favourites. 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. 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". In December of 2002, Joe Strummer died suddenly of a heart attack at the age of 50. The Mescaleros album he was working on at the time, Streetcore, was released posthumously to critical acclaim in 2003.

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. 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. 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. 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.

It should be noted that the Clash were never driven entirely by money. Even at their peak, tickets to shows and the prices of souvenirs were kept reasonable. 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.

After being fired from the band shortly after the release of Combat Rock, Topper Headon wandered aimlessly with a heroin addiction. He formed a jazz band that enjoyed a very brief life. 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. 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. It was on one of those gigs when he learned that Joe is dead. In 2003 he stated that he'll perform on tribute gigs for Joe.

Sound Sample

Sample of "London Calling", from London Calling. 30 seconds, 616 KB

Discography

Studio Albums

  1. The Clash, 1977, CBS Records CD release: Epic Records #12 UK
  2. Give 'Em Enough Rope, 1978, CBS Records CD release: Epic Records #2 UK, #128 US
  3. London Calling, 1979, CBS Records CD release: Epic Records #9 UK, #27 US
    • Black Market Clash, 1980 (compilation of b-sides), CBS Records CD release: Epic Records
  4. Sandinista!, 1980, CBS Records CD release: Epic Records #19 UK, #24 US
  5. Combat Rock, 1982, CBS Records CD release: Epic Records #2 UK, #7 US
  6. Cut the Crap, 1985, CBS Records #16 UK, #88 US

Compilations

  1. The Story of the Clash, Volume 1, 1988 (compilation, greatest hits collection), CBS Records CD release: Epic Records #7 UK, #142 US
  2. Clash on Broadway, 1991 (3 disc box set containing several unreleased tracks and alternate versions), CBS Records CD release: Epic Records
  3. The Singles, 1991 (singles compilation), CBS Records CD release: Epic Records
    • Super Black Market Clash, 1994 (compilation of b-sides and rarietes), CBS Records CD release: Epic Records, #74 UK
  4. From Here to Eternity: Live, 1999 (live recordings from 1978 - 1982), Epic Records #13 UK, #193 US
  5. The Essential Clash, 2003 (compilation, "essential" recordings), Epic/Legacy #18 UK, #99 US
  6. London Calling: 25th Anniversary Legacy Edition, 2004 (expanded with rehearsal tapes and making of the album DVD), Epic/Legacy #26 UK

Hit singles

  • from "The Clash"
    • 1977 "White Riot" #38 UK
  • non-album singles (added to "The Clash" US version)
    • 1977 "Complete Control" #28 UK
    • 1978 "Clash City Rockers" #35 UK
    • 1978 "(White Man) In Hammersmith Palais" #32 UK
  • from "Give 'Em Enough Rope"
    • 1978 "Tommy Gun" #19 UK
    • 1979 "English Civil War (Johnny Comes Marching Home)" #25 UK
  • non-album EP
    • 1979 "The Cost Of Living EP" (I Fought the Law/Groovy Times/Gates of the West/Capital Radio One) #22 UK
  • from "London Calling"
    • 1979 "London Calling" #11 UK
    • 1980 "Train in Vain (Stand by Me)" #23 US
  • from "Black Market Clash"
    • 1980 "Bankrobber" #12 UK
  • from "Sandinista!"
    • 1980 "The Call Up" #40 UK
    • 1981 "The Magnificent Seven" #34 UK
  • from "Combat Rock"
    • 1982 "Rock the Casbah" #30 UK, #8 US (1983 release)
    • 1982 "Should I Stay or Should I Go/Straight to Hell" #17 UK
  • from "Cut the Crap"
    • 1985 "This Is England" #24 UK
  • from "The Story of the Clash", originally on the US version of "The Clash"
    • 1988 "I Fought the Law" #29 UK
  • from "The Singles"
    • 1991 "Should I Stay or Should I Go" (re-issue) #1 UK
    • 1991 "Rock the Casbah" (re-issue) #15 UK

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30 seconds, 616 KB. Como died on May 12, 2001 at his home in Jupiter, Florida, six days before his eight-ninth birthday. Sample of "London Calling", from London Calling. Como's Irish Christmas was produced for the American PBS public television system, and has been re-broadcast annually since 1994. In 2003 he stated that he'll perform on tribute gigs for Joe. The year 1993 would have marked his fiftieth anniversary with the RCA Victor label, now owned and controlled by Bertelsmann and operated under the BMG logo, as well as his forty-fifth year of television specials celebrating Christmas and its importance throughout the world to people of all faiths. It was on one of those gigs when he learned that Joe is dead. In January 1994, Como travelled to Dublin, Ireland, for what would be an auspicious moment in his long career of more than sixty years.

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. Over the decades, Como is reported to have sold millions of records, but he commonly suppressed these figures. 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. It was this characteristic which made him so different from his peers, and which endeared him to legions of fans throughout the world. He formed a jazz band that enjoyed a very brief life. Como had so many recordings achieve gold record status that he refused to have many of them certified. After being fired from the band shortly after the release of Combat Rock, Topper Headon wandered aimlessly with a heroin addiction. He recorded many albums of songs for the RCA Victor label between 1952 and 1987, and is credited with numerous gold records.

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. This is rarely mentioned, because Como commonly played down his own achievements. Even at their peak, tickets to shows and the prices of souvenirs were kept reasonable. Prior to this, Como battled against Jackie Gleason in what was billed the "Battle of the Giants", and won. It should be noted that the Clash were never driven entirely by money. His regular television show, at first a spin-off from the Chesterfield Supper Club, continued through the early 1950s, becoming The Perry Como Show, and then for five years The Perry Como Kraft Music Hall; he became the highest paid performer in the history of television to that date, earning mention in the Guinness Book of World Records. 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. Como's Christmas Concert in Ireland would be his final special and the last of his commercial recordings, although not for his original label RCA Victor.

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. They were recorded from many parts of the world, including England, Rome, Austria, France, and many locations throughout North America. 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. Following his weekly series, ending in 1963, Como's television specials changed to bi-monthly, then monthly, followed by seasonal specials celebrating Easter, Spring, Thanksgiving, and Christmas festivities, ending in 1987. 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 had numerous Christmas television specials, beginning on Christmas Eve, 1948, and continuing to 1994 when his final Christmas Special was recorded in Ireland. The Mescaleros album he was working on at the time, Streetcore, was released posthumously to critical acclaim in 2003. Como would record only once more in 1994, but privately, for his well-known Irish Christmas Concert.

In December of 2002, Joe Strummer died suddenly of a heart attack at the age of 50. His recording of "The Wind Beneath My Wings'" was almost autobiographical, and a fitting end to a long and successful recording career. 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". For this reason he walked-away from his final studio-produced recordings in the early 1980s, but returned to record a final album with his trusted friend and associate Nick Perito in 1987. 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. Como's recording sessions, previously filled with laughter and joy, had deteriorated into much more sombre occasions. A tour of England and North America soon followed; sets included several Clash-fan favourites. By the 1980s, the atmosphere of recording had changed dramatically from his early days at RCA Victor.

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. Likewise his television show has achieved a much higher rating than that of any other vocalist to date. 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. Como was the first artist to have ten records sell more than one million copies. 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. In 1945, Como recorded the pop ballad "'Til the End of Time" (based on Chopin’s "Polonaise"), which marked the beginning a highly successful career. Meanwhile, Cut the Crap was released to a generally poor reception, though it charted higher than Big Audio Dynamite's release in the USA. Just as he was about to abandon his singing career once and for all, two NBC producers stepped in, returning him to show business — specifically for the NBC "Supper Club", followed by very successful theatre and night club engagements.

The Clash played their final shows at European festivals in 1985, with Strummer eventually calling the band together and put The Clash down. By this time the erstwhile barber had definitely decided to return to Canonsburg, his family, and his barbering. Disillusioned with Rhodes's album, Strummer took the band busking across Northern England and Scotland, playing for free on street corners and in bars. In 1942 Weems dissolved his band and Como went on to CBS, where he sang for a couple of years without any conspicuous success. Other songs aired on the tour remain unreleased: "Ammunition", "Glue Zombie", "In the Pouring Rain". Their first recording was a novelty tune titled "You Can't Pull the Wool over My Eyes", recorded for the Decca Records label. 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. In 1933 he joined Freddy Carlone's band in Ohio, and three years later moved up to Ted Weems' Orchestra and his first recording dates.

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. After graduation from high school, he opened his own barber's shop. 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. Como was born in Canonsburg, Pennsylvania. Although he always liked to sing, his first great ambition was to be the best barber in Canonsburg. 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. His exclusive recording contract with RCA Victor in 1943 began an association that would last for almost fifty years. 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. Perry Como (born Pierino Ronald Como; May 18, 1912–May 12, 2001) was an Italian-American crooner during the last half of the 20th century.

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. Zing Zing —Zoom Zoom. 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). You Won't Be Satisfied (Until You Break My Heart). 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. You're Nearer (1968) (1987). Terry Chimes left the band after the 1982 Combat Rock tour, convinced the band could not continue with in-fighting and turmoil. You're Just in Love (I Wonder Why).

The key members, began to feud. You're Following Me. 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. You Made It That Way (Watermelon Summer). After that, the Clash began to slowly disintegrate. You Are So Beautiful. The effects of this were not apparent externally at first with the success of Combat Rock. You Are My World.

"Ghetto Defendant" featured Allen Ginsberg, and "Red Angel Dragnet" referenced the film Taxi Driver. You'll Always Be My Lifetime Sweetheart. 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. You Alone (Solo Tu) (1953) (1961). In 1982, The Clash returned with the best-selling of all their albums, Combat Rock. Yesterday. Following the release of Sandinista!, The Clash went on their first world tour including venues in eastern Asia and Australia. Yellow Beach Umbrella.

Fans were confused and sales were down, although they were better in the US than previously. Wrong Rainbow. 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.. A World of Love (That I Found in Your Arms). 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). Winter Wonderland (1946) (1959). 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. With All My Heart and Soul.

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 Wind Beneath My Wings. 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). Wild Horses. This included a roaring version of Bobby Fuller's I Fought The Law (originally from their Cost Of Living EP). Whither Thou Goest. 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. White Christmas (1947) (1959).

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. Where Does a Little Tear Come From?. 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. When You Were Sweet Sixteen. 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?". When You're In Love. Quit holding out and draw another breath.. When You Come to the End of the Day (1952) (1958).

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.. When She Smiles. 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 — ".. When I Lost You. The title of London Calling evokes American radio newsman Edward R. When. 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. What's One More Time?.

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. What's New?. They were involved directly with the controversial Anti-Nazi League and Rock Against Racism. What Love Is Made Of. 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!). What Kind of Fool Am I?. Still, he felt bad after the show, prompting him to write the song "Tommy Gun," renouncing violence as a means of protest. Watermelon Weather (duet with Eddie Fisher).

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. Wanted. 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. Un giorno dopo l'altro (One Day is Like Another). 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. Two Loves Have I. Instead, they found solidarity with a number of liberation movements going on at the time. Two Lost Souls.

Unlike many early punk bands, however, The Clash rejected the overall sentiment of nihilism and anarchy. Turn Around. and around the world. Turnaround. Like many early punk bands, The Clash protested against the monarchy and the aristocracy in the U.K. Tulips and Heather. '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. Try to Remember.

Pearlman was amazed by Headon's impressive timing and musical skills and thus christened him "The Human Drum Machine". Traveling Down a Lonely Road (Love theme from La Strada). Their next album, the Sandy Pearlman-produced Give 'Em Enough Rope, was the first to feature Topper Headon on all cuts. Toyland. 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. Toselli's Serenade (Dreams and Memories). 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"). Tomboy.

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. To Know You (Is to Love You) (with Ray Charles) (1959). Their first gig was in 1976 supporting The Sex Pistols, and that autumn the band were signed to CBS Records. To Know You (Is to Love You) (with the Fontane Sisters) (1952). Instead he remained with The Clash until late 1982 – present for most of the band's career. To Know You (Is to Love You) (with Betty Hutton) (1952). The musically gifted Headon was planning to stay only briefly. Together Forever.

Nick Headon). Tina Marie. Following the release of their first album, Chimes was replaced with longtime drummer Topper Headon (b. Till the End of Time. And so the Clash—name supplied by Simonon after seeing the word in all the newspapers—came to be. This is All I Ask. 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). This is a Great Country.

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. The Things I Didn't Do. 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. They Say It's Wonderful. 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. There's No Boat Like a Rowboat. John Graham Mellor in 1952) (vocals, rhythm guitar), Mick Jones (vocals, lead guitar), Paul Simonon (b. There's a Big Blue Cloud (Next to Heaven).

Originally composed of Joe Strummer (b. There Never Was a Night So Beautiful. 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. There'll Soon Be a Rainbow. borrow much from The Clash. There'll Never Be Another Night Like This. 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. There Is No Christmas Like a Home Christmas (1950) (1968).

They are considered as one of the most influential and best-known punk acts in the world. That's Where I Came In. 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. That's the Beginning of the End. The Clash was a British punk rock group that existed from 1976 to 1985. That's All this Old World Needs. 1991 "Rock the Casbah" (re-issue) #15 UK. That Ain't All.

1991 "Should I Stay or Should I Go" (re-issue) #1 UK. Temptation (1945) (1974). from "The Singles"

    . Take Me Home. 1988 "I Fought the Law" #29 UK. Take a Look at Me. from "The Story of the Clash", originally on the US version of "The Clash"
      . The Sweetest Sounds.

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

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

        from "Combat Rock"

          . The Summer Wind. 1981 "The Magnificent Seven" #34 UK. Summer Me, Winter Me. 1980 "The Call Up" #40 UK. The Story of the First Christmas (1959). from "Sandinista!"
            . Stop! and Think It Over.

            1980 "Bankrobber" #12 UK. A Still Small Voice. from "Black Market Clash"

              . Stay with Me. 1980 "Train in Vain (Stand by Me)" #23 US. Stand Beside Me. 1979 "London Calling" #11 UK. Souvenir d'Italie.

              from "London Calling"

                . Someone is Waiting. 1979 "The Cost Of Living EP" (I Fought the Law/Groovy Times/Gates of the West/Capital Radio One) #22 UK. Some Children See Him. non-album EP
                  . Somebody Somewhere. 1979 "English Civil War (Johnny Comes Marching Home)" #25 UK. Somebody up There Likes Me.

                  1978 "Tommy Gun" #19 UK. Somebody Makes it So. from "Give 'Em Enough Rope"

                    . Somebody Cares. 1978 "(White Man) In Hammersmith Palais" #32 UK. The Songs I Love. 1978 "Clash City Rockers" #35 UK. Sonata.

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

                      . So It Goes. 1977 "White Riot" #38 UK. So Far. from "The Clash"
                        . Slightly out of Tune (Desafinado).

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

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

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

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

                            . The Rose Tattoo.

                            Give 'Em Enough Rope, 1978, CBS Records CD release: Epic Records #2 UK, #128 US. Rollin' Stone. The Clash, 1977, CBS Records CD release: Epic Records #12 UK. Roamin' through the Countryside. Regrets. Rambling Rose (1947).

                            Quiet Nights of Quiet Stars (Corcovado). Prisoner of Love (1945) (1970). Prayer for Peace. Please Mr Sun.

                            Pigtails and Freckles. Pianissimo. Perhaps, Perhaps, Perhaps. People.

                            Patricia. Pardon My English (Samba Torto). Pa-paya Mama. Papa Loves Mambo.

                            Oowee, Oowee. On the Outgoing Tide. Only One. One More Time (with the Ames Brothers).

                            One Little Candle. Once upon a Time. Once I Loved (Amor e Paz). O Marienariello (1966) (1970).

                            O Holy Night (1959) (1968). Oh Marie (1966) (1980). N'yot N'yow (The Pussycat Song). No Well On Earth.

                            No Other Love. Noodlin' Rag. Nobody But You. My Own Peculiar Way.

                            My One and Only Heart. My Love and Devotion. My Little Baby. My Favorite Things.

                            My Cup Runneth Over. My Coloring Book. Not While I'm Around. More Than You Know.

                            More than Likely. More and More. More. Moon Talk.

                            Moon River. Moonlight Love. Moonglow and Theme from Picnic. Mi Casa, Su Casa (My House Is Your House).

                            Meet Me at the Altar. Meditation (Meditacao). Maybe (duet with Eddie Fisher). May the Good Lord Bless and Keep You.

                            Marie. Maria. Marchin' Along to the Blues. Mandolins in the Moonlight.

                            Manha de Carnaval (from Black Orpheus). Make Someone Happy. Magic Moments. Love Makes the World Go Round.

                            Love Is Spreadin' over the World. Love Is a Christmas Rose. Love in a Home. Love Don't Care (Where It Grows!).

                            Love. The Lord's Prayer (1949) (1959). Look to Your Heart. Look out the Window (and See How I'm Standing in the Rain).

                            Long Ago (and Far Away). Lollipops and Roses. Little Man You've Had a Busy Day (1946) (1958). Little Boat (O Barquinho).

                            The Little Drummer Boy. Lili Marlene. Lies. Let's Take an Old-Fashioned Walk.

                            The Last Straw (with Betty Hutton). Laroo Laroo Lilli Bolero. Ko-Ko-Mo (I Love You So). Kewpie Doll (with Ray Charles).

                            Keep It Gay. Just Out of Reach. (Just One Way to Say) I Love You. Just Born (to Be Your Baby).

                            Juke Box Baby. Jingle Bells. Jason. I Wonder Who's Kissing Her Now (1947).

                            I Want to Thank Your Folks. I Wanna Go Home (with You). I Wanna Be Around. Ivy Rose.

                            It Was Such a Good Day. It's Impossible. It's Beginning to Look Like Christmas. It Gets Lonely in the White House.

                            I Think of You. I Think I Love You. The Island of Forgotten Lovers. Is She the Only Girl in the World?.

                            I Really Don't Want to Know. In Our Hide-Away (with Sandy Stewart). In These Crazy Times. In the Garden.

                            (I Left My Heart) In San Francisco. I'm Gonna Love That Gal (Like She's Never Been Loved Before). I'm Confessin' (That I Love You). I May Never Pass this Way Again.

                            I'm Always Chasing Rainbows. (I Love You) Don't You Forget It. I Love You. I Looked Back.

                            I'll Remember April. I'll Always Love You. I Know What God Is. I Know.

                            If You Were the Only Girl. If I'm Lucky. If I Loved You. If.

                            If (They Made Me a King). I Dream of You (More Than You Dream I Do). I Don't See Me in Your Eyes Any Mmore. I Don't Know What He Told You.

                            I Cross My Fingers. I Confess. How to Handle a Woman (1967) (1968). How Insensitive.

                            How Beautiful the World Can Be. Hot Diggity (Dog Ziggity Boom). Hopelessly (with the Ames Brothers). Hoop-Dee-Doo.

                            Honey, Honey (Bless Your Heart) (1957) (1959). (There's No Place Like) Home for the Holidays (1954) (1959). Hit and Run Affair. He Who Loves.

                            He's Got the Whole World in His Hands. Here Comes My Baby (Back Again!). Here Comes That Song Again. Here Comes Heaven.

                            Hello, Young Lovers (1951) (1960). He Couldn't Love You More (1973). Hearts Will Be Hearts. The Hawaiian Wedding Song (Ke Kali Nei Au).

                            Have Yourself a Merry Little Christmas. Have I Stayed away Too Long?. Haunted Heart. A Hatchet, a Hammer, a Bucket of Nails.

                            Happy Man. Happy Together. Happiness Comes, Happiness Goes (1965) (1967). Gringo's Guitar.

                            Goodbye, Sue. Goodbye for Now. Glendora. Glad to Be Home.

                            Give Myself a Party. Give Me Your Hand. The Girl with the Golden Braids. A Garden in the Rain.

                            Funny How Time Slips Away. Forever and Ever. Forget Domani. Fooled.

                            Fly Me to the Moon. The First Christmas (c.1950). A Fellow Needs a Girl. The Father of Girls (1967) (1968) (1970).

                            Far away Places. Fancy Dancer. Empty Pockets Filled with Love. E Lei (To You).

                            A Dreamer's Holiday. Dream on Little Dreamer. A Dream is a Wish Your Heart Makes. Dream Along with Me (I'm on My Way to a Star).

                            Do You Hear What I Hear?. Don't Leave Me. Don't Let the Stars Get in Your Eyes. Dindi.

                            Dig You Later (A Hubba-Hubba-Hubba ). (Did You Ever Get) That Feeling in the Moonlight. Delaware. Deep in Your Heart.

                            Days of Wine and Roses. Dancin'. Dance Only with Me. Coo Coo Roo Coo Coo Paloma.

                            Cominciamo ad amarci. The Colors of My Life. The Christmas Symphony. Christmas Dream.

                            Christmas Eve. Christmas Bells (In the Steeple). Christ is Born. Chincherinchee.

                            Chi-Baba, Chi-Baba (My Bambino Go to Sleep). Chee Chee-Oo Chee (Sang the Little Bird) (duet with Jaye P. Morgan). Caterina. Catch a Falling Star.

                            Carnival (1963). Carol Medley (1968). Can't Help Falling in Love. Bye Bye Little Girl.

                            A Bushel and a Peck (with Betty Hutton). Bummin' Around. Brian's Song (The Hands of Time). Blue Room.

                            Bibbidi-Bobbidi-Boo (The Magic Song). Beyond Tomorrow (Love Theme from Serpico). The Bells of St Mary's. Because.

                            Beady Eyed Buzzard. Bali Ha'i. Baia. 'A' — You're Adorable.

                            Ave Maria (1949) (1959) (1968). As My Love for You. Arrivederci Roma (Goodbye to Rome). Another Go 'Round.

                            Anema e core. And Roses and Roses. And I Love You So. All Through the Night.

                            All Through the Day. All at Once You Love Her. Accentuate the Positive (1958) (1980).

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