The Clash (U.S. Version) [ORIGINAL RECORDING REISSUED] [ORIGINAL RECORDING REMASTERED]

The Clash

Product Details

• Audio CD (January 25, 2000)
• Original Release Date: July 1979
• Number of Discs: 1
• Format: Original recording reissued, Original recording remastered
• Label: Sony
• ASIN: B00004BZ05
• Also Available in: Audio CD  |  Audio Cassette  |  MP3 Download
• Average Customer Review: 4.7 out of 5 stars  See all reviews (73 customer reviews)
• Amazon.com Sales Rank: #20,523 in Music (See Bestsellers in Music)

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Editorial Reviews

Amazon.com essential recording

It speaks volumes about the mid-'70s music scene that the Clash's explosive debut was viewed as too provincial and raw for U.S. consumption upon its original English release in 1977. No matter--between Joe Strummer's marble-mouthed howls of righteous rage on songs like "Career Opportunities" ("The ones that never knock"), "I'm So Bored with the USA" ("Yankee dollars talk to the dictators of the world"), and "White Riot" ("I wanna riot / A riot of my own"), and the furious instrumental assault led by guitarist Mick Jones, the Clash became a hot import strictly on word of mouth--and helped establish the band as one of leaders of rock's punk revolt. --Billy Altman

Amazon.com

In so many ways the first Clash album was truer to punk's spirit than Never Mind the Bollocks--Here's the Sex Pistols. Why? Because, like The Ramones, it sounded like it was recorded in a grotty basement, and because the songs by Joe Strummer and Mick Jones were a lot closer than those by the Pistols to the feel of life on London's streets in that glorious jubilee year. What endures about The Clash is not so much its rabid agit pop as its compact riffs and the phlegmy howl of Strummer's voice. "White Riot" and "Career Opportunities" are timeless songs about youth, boredom, and anger in Albion; "Police and Thieves" is a stiff but oddly effective cover of the Junior Murvin classic. The singles added for U.S. release (especially "White Man in the Hammersmith Palais") are punk classics. Dole queues will never again sound so appealing. --Barney Hoskyns

Customer Reviews

Most Helpful Customer Reviews

22 of 22 people found the following review helpful:

5.0 out of 5 stars Simply one of the most stunning albums in history, September 18, 2004

By	Robert Moore (Chicago, IL USA) - See all my reviews (TOP 50 REVIEWER)    (REAL NAME)

First, there is absolutely no question that the UK version of this album is the more powerful version of the album, and since that version is now readily available from Amazon and elsewhere, it is unquestionably the version to get. What I would like to point out, however, is that even the American version is one of the most powerful albums you will ever encounter. This album was absolutely shocking when it came out. Punk bands were supposed to be crude, inept on their instruments, undisciplined, and lacking in any political vision except unfocused anarchism. The Clash was the punk antithesis to punk. They weren't calling for anarchy; they were calling for a revolution. They were politically outraged, but they were outraged in behalf of people who were actively suffering at the hands of society. And they were clever! "Career Opportunities" was about Mick Jones brief job opening mail for the prime minister in case any were letter bombs. And unlike other punk bands, they expressed a solidarity with the racially oppressed, with incredible songs like "White Man in Hammersmith Palais," or being one of the first white band ever to employ reggae in songs like "Police and Thieves." Musically, they were far out in front of all other punk bands, playing tight, disciplined, and incredibly exhilarating songs. They were the first punk band that could be favorably compared with any other band in rock history. And unlike other bands, lead guitarist Mick Jones could actually play solos!

Not all of the decisions concerning the American version were awful. Some were, in fact, brilliant, such as adding the hyperkinetic "I Fought the Law" or the extraordinary "Complete Control," possibly my favorite Clash song (one which Greil Marcus called possible the greatest hard rock song of all time--a hyperbolic claim, but one I wouldn't argue against with much passion). The song is a masterpiece of punk rebellion. The superficial subject matter--the lack of "complete control" that the record label had promised them--becomes the jumping off point for an anthem about the passion for social and economic control of the individual. It starts off as a song about the Clash, but morphs into a song about Everyman ("This is Joe Public speaking/I'm controlled in the body, controlled in the mind"). The song encapsulates not only the Clash at their best, but the entire punk movement. The number also contains some of my all time favorite rock lyrics (spoken by Joe Strummer over some lovely guitar playing by Mick Jones): "I don't trust you/Why should you trust me?\Huh?" The song after that builds and builds in passion with Jones playing passionately over the repeating chorus. Rock music doesn't' get better than this.

Except for their last album and one or two of the compilations, there is no such animal as a bad Clash album. Any music fan should own just about everything the band did. They were not merely consistently good; they were consistently great, and their total body of work constitutes one of the great achievements in rock history. More than any other band of the punk movement, they expressed the idealistic hope for a better, more just world and the outrage of economic and societal control by forces too great to comprehend. They where, in fact, great spokesmen for the highest aspirations of the human passion for utopia.

16 of 19 people found the following review helpful:

3.0 out of 5 stars PLEASE, PLEASE, GET YOUR HANDS ON THE ORIGINAL., October 15, 1999

By A Customer

This review is from: The Clash (Audio CD)

The original Clash album was released in April 1977. It had the louder and heavier version of 'White Riot', not the lamer single version included here. It also had the rough edged melody of 'Deny', the Mick Jones tale of sex on the London Underground 'Protex Blue', a great manifesto of punk attitude 'Cheat' and Joe Strummer's rant about a bored weekend '48 Hours'. This American version includes the single 'Complete Control' released months after the original album. 'Clash City Rockers', 'Jail Guitar Doors' and 'White Man In Hammersmith Palais' were all released as or on singles in 1978 and 'I Fought The Law' wasn't released until 1979, two years after the original album!! Don't get me wrong, all of these post April '77 songs are great in their rightful place, but this packaging makes this US version essentialey a compilation album. For the true Clash sound of 76-77 get the UK original.

7 of 7 people found the following review helpful:

5.0 out of 5 stars An argument for the U.S. version..., December 13, 2004

By	Michael Crowley (Albany, CA USA) - See all my reviews (REAL NAME)

First off, I have no respectable punk credentials (is that an oxymoron?). I did buy the U.K. version on vinyl back in the late 70s, when it was the only version, but that was kind of a fluke, although I did love that record.

Anyway, personally, I like the U.S. version.

For the U.S. release, Sony replaced Deny, Cheat, Protex Blue and 48 Hours, all worthy songs, with Clash City Rockers, Complete Control, (White Man) in Hammersmith Palais, I Fought the Law and Jail Guitar Doors (yeah, they threw in an extra song).

I agree that the U.K, version hangs together better. The U.S. version soundS a little more like a collection of singles, and in fact that's what all the substituted songs were. And the U.K. version is a little more hardcore.

But to their credit Sony picked some great, in fact indispensible, songs for the U.S. version. I Fought the Law is one of the Clash's signature tracks. Complete Control, besides being a great song, was produced by reggae god Lee Perry, the Upsetter himself. And (White Man) in Hammersmith Palais is a classic, perhaps the classic, punk-reggae tune. The other two substituted songs, while great, aren't quite as historically significant.

Yeah, sure, you could buy the more authentic U.K. version and then buy the Clash collection The Singles and get all the songs that were added to the U. S. version--and more. But that collection includes a couple of the songs on this cd, so you have to ask yourself: Do you want two versions of White Riot or Remote Control? Are you interested in everything the Clash did throughout their career, including obscure B sides? How much of a scholar are you?

Or you could find the songs Sony added on the Internet, which might be the way to go if you're a completist.

But you're a cheap lazy sod and just want one version of the Clash's first CD, I would hesitantly recommend the U.S. version.