The Clash - The Clash (U.S. Version)
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Music CD Cover
Artist: The ClashEdition: Music CD
Format: Original recording reissued, Original recording remastered
CD Release Date: 2000-01-25
Music Label: Sony
Soundtracks:
- Clash City Rockers
- I'm So Bored With The U.S.A.
- Remote Control
- Complete Control
- White Riot
- White Man In Hammersmith Palais
- London's Burning
- I Fought The Law
- Janie Jones
- Career Opportunities
- What's My Name
- Hate And War
- Police And Thieves
- Jail Guitar Doors
- Garageland
Free Music Notes for The Clash (U.S. Version)
Free Music Review: Attitude and intelligence come together
Hit: 5 Stars
People who are after a one album purchase will prefer the US version. It includes a number of other hits that were circulating around that time and leaves off some of the weaker numbers off the UK album. I'm sure purists or completists will not agree with me on this point. To me, this album is punk (along with London Calling). This album belongs in an era which will never, can never come again. It is a product of its time but has aged extremely well.
The songs which are on this version but not on the UK version are all strong, and were either singles, B-sides, or rerecorded later - Clash City Rockers, Complete Control, White Man in Hammersmith Palais, Jail Guitar Doors, and the cover of "I fought the Law". Completists will get the UK version and the singles collections, but for someone who wants a really strong songlist - this is the one to get.
Joe Strummer's voice pulses with feeling. The lead guitar breaks are all short and choppy like an optimistic birdsong of hope in a new nihilistic world. The drums pedal along like soft hoofbeats of a galloping horse. As the song "Garageland" says - a response to critics who said they were a garage band that should be returned to the garage, preferrably with the car still running(!) well we all know who was right in the end!
The Clash (U.S. Version) Poster
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 AltmanIn 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
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