Album: Hits Back by The Clash (2013)
Genre: Punk Rock | Mood: Confrontational
Record Label: Sony Music UK
Format: Compilation

Description: In celebration of the exhaustive Sound System box set, The Clash saw fit to also release this concise career overview. The compilation is sequenced from Joe Strummer's 24-song setlist for the Brixton Fairdeal show in 1982, plus eight additional essential Clash tracks. The deluxe edition adds videos and live concert footage of 10 songs—including "Clampdown" and "Train in Vain (Stand by Me)" live at the Lewisham Odeon and "Should I Stay or Should I Go" and "Career Opportunities" from the band's Shea Stadium concert. As an overview, it includes the hits ("Train in Vain," "This Is Radio Clash," "Rock the Casbah" in its Bob Clearmountain mix, and "Should I Stay Or Should I Go"), plus core essentials ("Safe European Home," "Know Your Rights," "Janie Jones," "Stay Free"). Though each of The Clash's albums deserves to be heard in context, it's impossible to argue with a collection that summarizes the U.K. punk uprising of 1977 and the stylistic chances that the group took until Joe Strummer and Mick Jones went their separate ways.

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Confrontational, 2010s, Compilation, Sony Music UK

In celebration of the exhaustive Sound System box set, The Clash saw fit to also release this concise career overview. The compilation is sequenced from Joe Strummer's 24-song setlist for the Brixton Fairdeal show in 1982, plus eight additional essential Clash tracks. The deluxe edition adds videos and live concert footage of 10 songs—including "Clampdown" and "Train in Vain (Stand by Me)" live at the Lewisham Odeon and "Should I Stay or Should I Go" and "Career Opportunities" from the band's Shea Stadium concert. As an overview, it includes the hits ("Train in Vain," "This Is Radio Clash," "Rock the Casbah" in its Bob Clearmountain mix, and "Should I Stay Or Should I Go"), plus core essentials ("Safe European Home," "Know Your Rights," "Janie Jones," "Stay Free"). Though each of The Clash's albums deserves to be heard in context, it's impossible to argue with a collection that summarizes the U.K. punk uprising of 1977 and the stylistic chances that the group took until Joe Strummer and Mick Jones went their separate ways.

Album: Hits Back by The Clash (2013)
Genre: pop
Record Label: Epic
Format: CD

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Tags: pop, 2010s, CD, Epic


Album: London Calling by The Clash (1979)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: CBS
Format: Album

Description: London Calling is the third studio album by the English punk rock band The Clash and recorded during August–September and November 1979 at the Wessex Sound Studios in London. It was released in the UK on 14 December 1979 through CBS Records, and in the United States in January 1980 through Epic Records. The album is produced by Guy Stevens and Mick Jones.

Artist Background: The Clash were an English punk rock band that formed in 1976 as part of the original wave of British punk. Along with punk, their music incorporated elements of reggae, ska, dub, funk, rap, dance, and rockabilly. For most of their recording career, the Clash consisted of Joe Strummer (lead vocals, rhythm guitar), Mick Jones (lead guitar, vocals), Paul Simonon (bass guitar, vocals) and Nicky "Topper" Headon (drums, percussion). Headon left the group in 1982, and internal friction led to Jones'... Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 1970s, Album, CBS

Additional Context: Based on 4 votes. Available on Discogs marketplace


London Calling is the third studio album by the English punk rock band The Clash and recorded during August–September and November 1979 at the Wessex Sound Studios in London. It was released in the UK on 14 December 1979 through CBS Records, and in the United States in January 1980 through Epic Records. The album is produced by Guy Stevens and Mick Jones.

Album: From Here to Eternity: Live by The Clash (1999)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: CBS
Format: Live

Description: From Here To Eternity amends the glaring absence from the rock canon of a live album from one of the best concert acts in rock history. Drawing from concerts in 1978, 1980, 1981 and 1982, this live compilation translates the glory and excitement of the Clash concert experience. Whether they were playing for punks at London’s Lyceum (“I Fought the Law”) or opening for the Who at Shea Stadium at the peak of their fame (“Career Opportunities”), The Clash always played like it was the last night on earth. Although it bounces back and forth through the years, the seamless blends and superior mastering give this collection the feel of a single concert even as it conveys the range of their career. Though they were always consistent, fans can trace the Clash’s peak as a live act to the group’s 17-night run at Bond’s Casino, in New York City, in May and June of 1981. The three tracks from that time (“Complete Control,” “Train n Vain,” “Guns of Brixton”) exhibit a sweltering excitement and full-bodied attack. If the band’s ascension to immortal status can be marked by a single moment, those concerts are it.

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 1990s, Live, CBS

From Here To Eternity amends the glaring absence from the rock canon of a live album from one of the best concert acts in rock history. Drawing from concerts in 1978, 1980, 1981 and 1982, this live compilation translates the glory and excitement of the Clash concert experience. Whether they were playing for punks at London’s Lyceum (“I Fought the Law”) or opening for the Who at Shea Stadium at the peak of their fame (“Career Opportunities”), The Clash always played like it was the last night on earth. Although it bounces back and forth through the years, the seamless blends and superior mastering give this collection the feel of a single concert even as it conveys the range of their career. Though they were always consistent, fans can trace the Clash’s peak as a live act to the group’s 17-night run at Bond’s Casino, in New York City, in May and June of 1981. The three tracks from that time (“Complete Control,” “Train n Vain,” “Guns of Brixton”) exhibit a sweltering excitement and full-bodied attack. If the band’s ascension to immortal status can be marked by a single moment, those concerts are it.

Album: Cut the Crap by The Clash (1985)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: CBS
Format: Album

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 1980s, Album, CBS

Additional Context: Rating score: 4. Based on 1 votes. Available on Discogs marketplace


Album: Give 'Em Enough Rope by The Clash (1978)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: Columbia
Format: Album

Description: Produced by Blue Oyster Cult guru Sandy Pearlman, the Clash’s sophomore album was a conscious attempt to give the band a more commercial sound. Although Give ‘Em Enough Rope doesn’t pack quite the punch or purpose of the band’s debut, “Safe European Home,” “Tommy Gun,” and “Drug-Stabbing Time” show a growing synergy in the songwriting partnership between Joe Strummer and Mick Jones. The rollicking R&B of “Julie’s Been Working For the Drug Squad” presages the stylistic breakthrough of London Calling, while “English Civil War” offers the band’s punk audience one last furious anthem. In addition to the chemistry they display here, Strummer and Jones also show how well they can do on their own. Jones’s “Stay Free” is a disarmingly sweet song about lost friendship, but as usual, Strummer’s songs act as the group’s conscience. “Cheapskates” and “All the Young Punks” address the illusory nature of success, and both songs function as bitter goodbyes to the band’s punk roots.

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 1970s, Album, Columbia

Additional Context: Based on 3 votes. Available on Discogs marketplace

Produced by Blue Oyster Cult guru Sandy Pearlman, the Clash’s sophomore album was a conscious attempt to give the band a more commercial sound. Although Give ‘Em Enough Rope doesn’t pack quite the punch or purpose of the band’s debut, “Safe European Home,” “Tommy Gun,” and “Drug-Stabbing Time” show a growing synergy in the songwriting partnership between Joe Strummer and Mick Jones. The rollicking R&B of “Julie’s Been Working For the Drug Squad” presages the stylistic breakthrough of London Calling, while “English Civil War” offers the band’s punk audience one last furious anthem. In addition to the chemistry they display here, Strummer and Jones also show how well they can do on their own. Jones’s “Stay Free” is a disarmingly sweet song about lost friendship, but as usual, Strummer’s songs act as the group’s conscience. “Cheapskates” and “All the Young Punks” address the illusory nature of success, and both songs function as bitter goodbyes to the band’s punk roots.

Album: The Story of The Clash, Volume 1 by The Clash (1988)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: CBS
Format: Compilation

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 1980s, Compilation, CBS


Album: The Clash by The Clash (1977)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: Sony BMG Music Entertainment
Format: Album

Description: A perfect storm of power and fury, the 1977 debut from The Clash was the 35-minute Molotov that launched political punk as we know it. A raw, unfiltered dispatch from the first generation of UK punk rock, The Clash called for revolution in three-minute bursts, shouting barbed screeds about class disparity, unemployment and racism over chain-saw guitars—a weaponised attitude that would inspire generation upon generation of outspoken musicians like U2, Public Enemy, Rage Against the Machine and Rise Against.

Just one year earlier, future Clash leader Joe Strummer was a struggling, zoot-suit-clad pub-rocker who found his true calling after seeing a Sex Pistols gig in London. Snatched by manager Bernie Rhodes to join guitarist Mick Jones and bassist Paul Simonon—and later, drummer Terry Chimes—he and the group would rehearse and scheme seven days a week, choosing their name from a word that recurred in Evening Standard headlines. Pushed by Rhodes to lean into politically pointed lyrics, The Clash became ambitious, idealistic fire starters fighting against the forces that create oppression. The band’s first single, “White Riot”, was written after witnessing a conflict between Black youth and police at the Notting Hill Carnival. Why, Strummer posits, can’t poor white kids have a riot of their own? “All the power’s in the hands/Of the people rich enough to buy it,” he sings. “While we walk the street/Too chicken to even try it.”

With their trademark rasp-and-roar, The Clash take a stand against the powers that be (“Remote Control”), American imperialism (“I’m So Bored With the U.S.A.”), the dismal state of their hometown (“London’s Burning”), conformity (“Career Opportunities”) and the music industry (“Garageland”). A cover of Junior Murvin’s incendiary reggae song “Police & Thieves” confronts police brutality in the lyrics and points forward to the band’s many experiments with stylistic cross-pollination. The Clash would have more critical and commercial success after fully embracing their role as genre-blurring roots-rockers and New Wavers, but the gnashing, undiluted rage of their debut may be their most important line in the sand.

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 1970s, Album, Sony BMG Music Entertainment

Additional Context: Based on 5 votes. Available on Discogs marketplace

A perfect storm of power and fury, the 1977 debut from The Clash was the 35-minute Molotov that launched political punk as we know it. A raw, unfiltered dispatch from the first generation of UK punk rock, The Clash called for revolution in three-minute bursts, shouting barbed screeds about class disparity, unemployment and racism over chain-saw guitars—a weaponised attitude that would inspire generation upon generation of outspoken musicians like U2, Public Enemy, Rage Against the Machine and Rise Against.

Just one year earlier, future Clash leader Joe Strummer was a struggling, zoot-suit-clad pub-rocker who found his true calling after seeing a Sex Pistols gig in London. Snatched by manager Bernie Rhodes to join guitarist Mick Jones and bassist Paul Simonon—and later, drummer Terry Chimes—he and the group would rehearse and scheme seven days a week, choosing their name from a word that recurred in Evening Standard headlines. Pushed by Rhodes to lean into politically pointed lyrics, The Clash became ambitious, idealistic fire starters fighting against the forces that create oppression. The band’s first single, “White Riot”, was written after witnessing a conflict between Black youth and police at the Notting Hill Carnival. Why, Strummer posits, can’t poor white kids have a riot of their own? “All the power’s in the hands/Of the people rich enough to buy it,” he sings. “While we walk the street/Too chicken to even try it.”

With their trademark rasp-and-roar, The Clash take a stand against the powers that be (“Remote Control”), American imperialism (“I’m So Bored With the U.S.A.”), the dismal state of their hometown (“London’s Burning”), conformity (“Career Opportunities”) and the music industry (“Garageland”). A cover of Junior Murvin’s incendiary reggae song “Police & Thieves” confronts police brutality in the lyrics and points forward to the band’s many experiments with stylistic cross-pollination. The Clash would have more critical and commercial success after fully embracing their role as genre-blurring roots-rockers and New Wavers, but the gnashing, undiluted rage of their debut may be their most important line in the sand.

Album: Sandinista! by The Clash (1980)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: Columbia
Format: Album

Description: In 1980, The Clash named this 36-song album after Nicaraguan insurgents, experimented with disparate genres and sonic abstractions, and refused to edit themselves. Yet their punk spirit is alive throughout—from the organ-drenched gospel of “The Sound of Sinners” to the Dadaist noise collage “Silicone on Sapphire” to ambient dub blast “The Crooked Beat”. “Police on My Back” is straight-up punk-in-the-streets, and “Hitsville U.K.” is Euro-pop pretty. There’s even a jazz cover (Mose Allison’s “Look Here”). The album reveals a great band brave enough to fail, although they come out heroes.

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 1980s, Album, Columbia

Additional Context: Based on 3 votes. Available on Discogs marketplace


In 1980, The Clash named this 36-song album after Nicaraguan insurgents, experimented with disparate genres and sonic abstractions, and refused to edit themselves. Yet their punk spirit is alive throughout—from the organ-drenched gospel of “The Sound of Sinners” to the Dadaist noise collage “Silicone on Sapphire” to ambient dub blast “The Crooked Beat”. “Police on My Back” is straight-up punk-in-the-streets, and “Hitsville U.K.” is Euro-pop pretty. There’s even a jazz cover (Mose Allison’s “Look Here”). The album reveals a great band brave enough to fail, although they come out heroes.

Album: Combat Rock by The Clash (1982)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: Columbia
Format: Album

Description: In 1982 there wasn’t another band in the world that could unite West Texas troubadour Joe Ely, New York graffiti artist Futura 2000, and Beat poet Allen Ginsberg. That those are the three prominent guest musicians on Combat Rock says a lot about the Clash — about their eclectic interests and their stature not just in the music world, but within world culture at large. The Clash’s final album to feature the classic lineup, Combat Rock is at once their most basic rock album, and the most bizarre. The Clash had to go through a lot to be able to write a riff as simple and memorable as “Should I Stay or Should I Go.” “Rock the Casbah,” on the other hand, is one of the most effortlessly complex dance songs to ever top the charts. The rest of the album is thornier. “Overpowered by Funk,” “Car Jamming,” and “Sean Flynn” are even more out there than the songs on Sandinista!. “Inoculated City” is one of Mick Jones’ most underrated pop songs, but it is Joe Strummer’s “Straight To Hell” that ends Combat Rock, and the Clash’s career, with elegiac grace.

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 1980s, Album, Columbia

Additional Context: Based on 3 votes. Available on Discogs marketplace

In 1982 there wasn’t another band in the world that could unite West Texas troubadour Joe Ely, New York graffiti artist Futura 2000, and Beat poet Allen Ginsberg. That those are the three prominent guest musicians on Combat Rock says a lot about the Clash — about their eclectic interests and their stature not just in the music world, but within world culture at large. The Clash’s final album to feature the classic lineup, Combat Rock is at once their most basic rock album, and the most bizarre. The Clash had to go through a lot to be able to write a riff as simple and memorable as “Should I Stay or Should I Go.” “Rock the Casbah,” on the other hand, is one of the most effortlessly complex dance songs to ever top the charts. The rest of the album is thornier. “Overpowered by Funk,” “Car Jamming,” and “Sean Flynn” are even more out there than the songs on Sandinista!. “Inoculated City” is one of Mick Jones’ most underrated pop songs, but it is Joe Strummer’s “Straight To Hell” that ends Combat Rock, and the Clash’s career, with elegiac grace.

Album: Sound System by The Clash (2013)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: Sony Music UK
Format: Compilation

Description: If one is looking for the ultimate one-stop shop for one of rock 'n' roll's greatest bands then look no further than The Clash's Sound System. This set includes almost every studio track the original band made commercially available, including the group's five albums—the UK version of The Clash, Give 'Em Enough Rope, London Calling, Sandinista!, Combat Rock—and then 52 additional audio tracks and 15 video selections that include everything from early demos to interviews to incendiary live performances. The Cost of Living EP, Super Black Market Clash, the classic "White Man In Hammersmith Palais," "Clash City Rockers," "Bankrobber" and "This Is Radio Clash" (a- and b-side) singles all combine to tell a tale that sounds as vibrant today as it did in the late 1970s and early 1980s. 'The Only Band That Matters' may have been an overstatement, but not by much.

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 2010s, Compilation, Sony Music UK

Additional Context: Based on 3 votes

If one is looking for the ultimate one-stop shop for one of rock 'n' roll's greatest bands then look no further than The Clash's Sound System. This set includes almost every studio track the original band made commercially available, including the group's five albums—the UK version of The Clash, Give 'Em Enough Rope, London Calling, Sandinista!, Combat Rock—and then 52 additional audio tracks and 15 video selections that include everything from early demos to interviews to incendiary live performances. The Cost of Living EP, Super Black Market Clash, the classic "White Man In Hammersmith Palais," "Clash City Rockers," "Bankrobber" and "This Is Radio Clash" (a- and b-side) singles all combine to tell a tale that sounds as vibrant today as it did in the late 1970s and early 1980s. 'The Only Band That Matters' may have been an overstatement, but not by much.

Album: London Calling by The Clash (2012)
Genre: punk
Record Label: Epic
Format: 7" Vinyl

Artist Background: The Clash were an English punk rock band that formed in 1976 as part of the original wave of British punk. Along with punk, their music incorporated elements of reggae, ska, dub, funk, rap, dance, and rockabilly. For most of their recording career, the Clash consisted of Joe Strummer (lead vocals, rhythm guitar), Mick Jones (lead guitar, vocals), Paul Simonon (bass guitar, vocals) and Nicky "Topper" Headon (drums, percussion). Headon left the group in 1982, and internal friction led to Jones'... Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Musical Influences: Terry Chimes, Mick Jones, Paul Simonon, Joe Strummer

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: punk, 2010s, 7" Vinyl, Epic


Album: Super Black Market Clash by The Clash (1993)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: Epic/Legacy
Format: Compilation

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 1990s, Compilation, Epic/Legacy


Album: Black Market Clash by The Clash (1980)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: CBS
Format: Compilation

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 1980s, Compilation, CBS


Album: Live at Shea Stadium by The Clash (2008)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: CBS
Format: Live

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 2000s, Live, CBS


Album: If Music Could Talk, Vol. 2 by The Clash (2006)
Genre: Punk Rock | Mood: Confrontational
Record Label: CBS
Format: Compilation

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Confrontational, 2000s, Compilation, CBS


Album: The Singles by The Clash (1991)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: Columbia
Format: Compilation

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 1990s, Compilation, Columbia

Additional Context: Rating score: 4. Based on 1 votes


Album: The Essential Clash by The Clash (1977)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: Epic
Format: Compilation

Description: A perfect storm of power and fury, the 1977 debut from The Clash was the 35-minute Molotov that launched political punk as we know it. A raw, unfiltered dispatch from the first generation of UK punk rock, The Clash called for revolution in three-minute bursts, shouting barbed screeds about class disparity, unemployment and racism over chain-saw guitars—a weaponised attitude that would inspire generation upon generation of outspoken musicians like U2, Public Enemy, Rage Against the Machine and Rise Against.

Just one year earlier, future Clash leader Joe Strummer was a struggling, zoot-suit-clad pub-rocker who found his true calling after seeing a Sex Pistols gig in London. Snatched by manager Bernie Rhodes to join guitarist Mick Jones and bassist Paul Simonon—and later, drummer Terry Chimes—he and the group would rehearse and scheme seven days a week, choosing their name from a word that recurred in Evening Standard headlines. Pushed by Rhodes to lean into politically pointed lyrics, The Clash became ambitious, idealistic fire starters fighting against the forces that create oppression. The band’s first single, “White Riot”, was written after witnessing a conflict between Black youth and police at the Notting Hill Carnival. Why, Strummer posits, can’t poor white kids have a riot of their own? “All the power’s in the hands/Of the people rich enough to buy it,” he sings. “While we walk the street/Too chicken to even try it.”

With their trademark rasp-and-roar, The Clash take a stand against the powers that be (“Remote Control”), American imperialism (“I’m So Bored With the U.S.A.”), the dismal state of their hometown (“London’s Burning”), conformity (“Career Opportunities”) and the music industry (“Garageland”). A cover of Junior Murvin’s incendiary reggae song “Police & Thieves” confronts police brutality in the lyrics and points forward to the band’s many experiments with stylistic cross-pollination. The Clash would have more critical and commercial success after fully embracing their role as genre-blurring roots-rockers and New Wavers, but the gnashing, undiluted rage of their debut may be their most important line in the sand.

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 1970s, Compilation, Epic

Album: Clash on Broadway by The Clash (1991)
Genre: Punk Rock | Style: Punk | Mood: Confrontational
Record Label: CBS
Format: Compilation

Related Artists: Sex Pistols, The Jam, Ramones, Stiff Little Fingers

Music Scene: Part of the London, England music scene. Emerged in the 1970s era. Associated with Punk Rock movement. Known for Punk style.

Tags: Punk Rock, Punk, Confrontational, 1990s, Compilation, CBS


The Clash

Biography

Quick Facts

Discography