The Clash

The Complete Guide

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Contents
Articles
Introduction 1

Background 2
Punk rock 2

Main article 34
The Clash 34

The members 47
Joe Strummer 47
Mick Jones 59
Paul Simonon 66
Topper Headon 72
Keith Levene 76
Terry Chimes 78
Rob Harper 80
Nick Sheppard 82
Vince White 84

Other personnel 86
Bernard Rhodes 86
Mikey Dread 88

Articles
Introduction 1

Background 2
Punk rock 2

Main article 33
The Clash 33

The members 46
Joe Strummer 46
Mick Jones 58
Paul Simonon 64
 Topper Headon 70
Keith Levene 74
Terry Chimes 76
Rob Harper 78
Nick Sheppard 80
Vince White 82

Other personnel 84
Bernard Rhodes 84
Mikey Dread 86
Don Letts 92
Bill Price 95
Guy Stevens 96
Sandy Pearlman 98
Tymon Dogg 100
Mick Gallagher 105
Gary Barnacle 107
Pennie Smith 109
Ellen Foley 110
Caroline Coon 114
Steve Bell 116
Futura 2000 118
Ray Lowry 120

Associated acts 122

The 101ers 122
London SS 125
Big Audio Dynamite 127
The Latino Rockabilly War 133
Havana 3am 134
The Mescaleros 135
Carbon/Silicon 139
The Good, the Bad & the Queen 142
Rock Against Racism 145
Concerts for the People of Kampuchea 147
Burning London: The Clash Tribute 151

Films 153
 Rude Boy 153
The Clash: Westway to the World 157
Let's Rock Again! 159
Joe Strummer: The Future Is Unwritten 161
Concert for Kampuchea 164
D.O.A. 167
Punk: Attitude 170
Walker 171
Straight to Hell 175
Candy Mountain 178
Mystery Train 180
I Hired a Contract Killer 188

Albums 189
Capital Radio 189
The Clash 191
The Cost of Living 199
Give 'Em Enough Rope 200
London Calling 204
Sandinista! 215
Combat Rock 223
Cut the Crap 228
Concerts for the People of Kampuchea 231
The Story of the Clash, Volume 1 235
Clash on Broadway 237
The Singles 241
Super Black Market Clash 242
From Here to Eternity: Live 247
Live at Bond's Casino 249
The Essential Clash 251
Singles Box 254
The Singles (2007) 259
Live at Shea Stadium 261

Songs 263
"1977" 263
"Bankrobber" 264
"Brand New Cadillac" 267
 "The Call Up" 268
"Career Opportunities" 270
"Clampdown" 271
"Clash City Rockers" 275
"Complete Control" 277
"English Civil War" 280
"Every Little Bit Hurts" 281
"Groovy Times" 284
"The Guns of Brixton" 285
"Hitsville UK" 290
"I Fought the Law" 291
"I'm So Bored with the USA" 296
"Jail Guitar Doors" 298
"Janie Jones" 300
"Junco Partner" 304
"Know Your Rights" 306
"London Calling" 308
"London's Burning" 315
"Lost in the Supermarket" 316
"Louie Louie" 318
"The Magnificent Seven" 327
"The Man in Me" 330
"Police and Thieves" 330
"Pressure Drop" 333
"Remote Control" 335
"Rock the Casbah" 337
"Should I Stay or Should I Go" 342
"Spanish Bombs" 347
"Straight to Hell" 349
"This Is England" 351
"This Is Radio Clash" 354
"Tommy Gun" 357
"Train in Vain" 359
"Washington Bullets" 364
"(White Man) In Hammersmith Palais" 365
"White Riot" 368

Discography and lists 371

 Discography 371
Films and Documentaries 380
Songs 381

References
Article Sources and Contributors 390
Image Sources, Licenses and Contributors 397

Article Licenses
License 399
Introduction 1

Introduction
Note. This book is based on the Wikipedia article, "The Clash". The supporting articles are those referenced as major
expansions of selected sections.
 2

Background

Punk rock
Punk rock
Stylistic origins Rock and roll, folk music, rockabilly, surf rock, garage rock, glam
rock, pub rock, protopunk

Cultural origins mid-1970s United States, United Kingdom, and Australia

Typical instruments Vocals • electric guitar • bass • drums • occasional use of other
instruments.

Mainstream popularity Topped charts in UK during late 1970s. International commercial

success for pop punk and ska punk, mid-1990s–2000s.

Derivative forms New Wave • post-punk • alternative rock • Grunge

Subgenres

anarcho-punk • art punk • Christian punk • crust punk • garage punk • gothic rock • glam punk • hardcore • screamo • Oi! • riot Grrrl •
skate punk

Fusion genres

2 Tone • Anti-folk • avant-punk • Celtic punk • Chicano punk • cowpunk • deathrock • folk punk • Gaelic punk • Gypsy punk • pop
punk • psychobilly • punk blues • punk jazz • ska punk

Regional scenes

Argentina • Australia • Belgium • Brazil • California • France • Germany • Spain • Uruguay • Yugoslavia

Local scenes

Brisbane • Toronto

Other topics

Protopunk • DIY ethic • First wave punk • Queercore • Punk fashion • Punk forerunners • Punk ideologies • Punk movies • Punk
fanzines • Punk subculture • Punk timeline • Second wave punk • Straight Edge • List of punk bands • Punk rock subgenres

Punk rock is a rock music genre that developed between 1974 and 1976 in the United States, the United Kingdom
and Australia. Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands
eschewed the perceived excesses of mainstream 1970s rock. They created fast, hard-edged music, typically with
short songs, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY (do
it yourself) ethic, with many bands self-producing their recordings and distributing them through informal channels.
By late 1976, bands such as the Ramones, in New York City, and the Sex Pistols and The Clash, in London, were
recognized as the vanguard of a new musical movement. The following year saw punk rock spreading around the
world. Punk quickly, though briefly, became a major cultural phenomenon in the United Kingdom. For the most
part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk
subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment
and a variety of anti-authoritarian ideologies.
By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant
mode of punk rock. Musicians identifying with or inspired by punk also pursued a broad range of other variations,
giving rise to post-punk and the alternative rock movement. By the turn of the century, pop punk had been adopted
Punk rock 3

by the mainstream, with bands such as Green Day and The Offspring bringing the genre widespread popularity.

Characteristics

Philosophy
The first wave of punk rock aimed to be aggressively modern,
distancing itself from the bombast and sentimentality of early 1970s
rock.[2] According to Ramones drummer Tommy Ramone, "In its
initial form, a lot of [1960s] stuff was innovative and exciting.
Unfortunately, what happens is that people who could not hold a
candle to the likes of Hendrix started noodling away. Soon you had
endless solos that went nowhere. By 1973, I knew that what was
needed was some pure, stripped down, no bullshit rock 'n' roll."[3] John
Holmstrom, founding editor of Punk magazine, recalls feeling "punk
rock had to come along because the rock scene had become so tame
that [acts] like Billy Joel and Simon and Garfunkel were being called
rock and roll, when to me and other fans, rock and roll meant this wild The Ramones' 1976 debut album. "The band's
and rebellious music."[4] In critic Robert Christgau's description, "It first four albums set the blueprint for punk,
was also a subculture that scornfully rejected the political idealism and especially American punk and hardcore, for the
[1]
Californian flower-power silliness of hippie myth."[5] Patti Smith, in next two decades"

contrast, suggests in the documentary 25 Years of Punk that the hippies

and the punk rockers were linked by a common anti-establishment mentality.

Throughout punk rock history, technical accessibility and a DIY spirit have been prized. In the early days of punk
rock, this ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and
technological demands of many mainstream rock bands.[6] Musical virtuosity was often looked on with suspicion.
According to Holmstrom, punk rock was "rock and roll by people who didn't have very much skills as musicians but
still felt the need to express themselves through music".[4] In December 1976, the English fanzine Sideburns
published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now
form a band."[7] The title of a 1980 single by New York punk band The Stimulators, "Loud Fast Rules!", inscribed a
catchphrase for punk's basic musical approach.[8]

Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and
the broader culture it was associated with, but their own most celebrated predecessors: "No Elvis, Beatles or the
Rolling Stones in 1977", declared The Clash song "1977".[9] The previous year, when the punk rock revolution
began in Great Britain, was to be both a musical and a cultural "Year Zero".[10] Even as nostalgia was discarded,
many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future";[2] in the later words
of one observer, amid the unemployment and social unrest in 1977, "punk's nihilistic swagger was the most thrilling
thing in England."[11] While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there
was always a tension between their nihilistic outlook and the "radical leftist utopianism"[12] of bands such as Crass,
who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's
outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."[13]
The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who
associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values
and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult"; as
the punk scene matured, he observes, eventually "[e]veryone got called a poseur".[14]
Punk rock 4

Musical and lyrical elements

Punk rock bands often emulate the bare musical structures and arrangements of 1960s garage rock.[15] Typical punk
rock instrumentation includes one or two electric guitars, an electric bass, and a drum kit, along with vocals. Punk
rock songs tend to be shorter than those of other popular genres—on the Ramones' debut album, for instance, half of
the fourteen tracks are under two minutes long. Most early punk rock songs retained a traditional rock 'n' roll
verse-chorus form and 4/4 time signature. However, punk rock bands in the movement's second wave and afterward
have often broken from this format. In critic Steven Blush's description, "The Sex Pistols were still rock'n'roll...like
the craziest version of Chuck Berry. Hardcore was a radical departure from that. It wasn't verse-chorus rock. It
dispelled any notion of what songwriting is supposed to be. It's its own form."[16]
Punk rock vocals sometimes sound nasal,[17] and lyrics are often shouted instead of sung in a conventional sense,
particularly in hardcore styles.[18] The vocal approach is characterized by a lack of variety; shifts in pitch, volume, or
intonational style are relatively infrequent—the Sex Pistols' Johnny Rotten constitutes a significant exception.[19]
Complicated guitar solos are considered self-indulgent and unnecessary, although basic guitar breaks are
common.[20] Guitar parts tend to include highly distorted power chords or barre chords, creating a characteristic
sound described by Christgau as a "buzzsaw drone".[21] Some punk rock bands take a surf rock approach with a
lighter, twangier guitar tone. Others, such as Robert Quine, lead guitarist of The Voidoids, have employed a wild,
"gonzo" attack, a style that stretches back through The Velvet Underground to the 1950s recordings of Ike
Turner.[22] Bass guitar lines are often uncomplicated; the quintessential approach is a relentless, repetitive "forced
rhythm",[23] although some punk rock bass players—such as Mike Watt of The Minutemen and
Firehose—emphasize more technical bass lines. Bassists often use a pick due to the rapid succession of notes, which
makes fingerpicking impractical. Drums typically sound heavy and dry, and often have a minimal set-up. Compared
to other forms of rock, syncopation is much less the rule.[24] Hardcore drumming tends to be especially fast.[18]
Production tends to be minimalistic, with tracks sometimes laid down on home tape recorders[25] or simple
four-track portastudios. The typical objective is to have the recording sound unmanipulated and "real", reflecting the
commitment and "authenticity" of a live performance.[26] Punk recordings thus often have a lo-fi quality, with the
sound left relatively unpolished in the mastering process; recordings may contain dialogue between band members,
false starts, and background noise.
Punk rock lyrics are typically frank and confrontational; compared to
the lyrics of other popular music genres, they frequently comment on
social and political issues.[27] Trend-setting songs such as The Clash's
"Career Opportunities" and Chelsea's "Right to Work" deal with
unemployment and the grim realities of urban life.[28] Especially in
early British punk, a central goal was to outrage and shock the
mainstream.[29] The Sex Pistols classics "Anarchy in the U.K." and
The Clash, performing in 1980 "God Save the Queen" openly disparage the British political system
and social mores. There is also a characteristic strain of
anti-sentimental depictions of relationships and sex, exemplified by "Love Comes in Spurts", written by Richard
Hell and recorded by him with The Voidoids. Anomie, variously expressed in the poetic terms of Hell's "Blank
Generation" and the bluntness of the Ramones' "Now I Wanna Sniff Some Glue", is a common theme. Identifying
punk with such topics aligns with the view expressed by V. Vale, founder of San Francisco fanzine Search and
Destroy: "Punk was a total cultural revolt. It was a hardcore confrontation with the black side of history and culture,
right-wing imagery, sexual taboos, a delving into it that had never been done before by any generation in such a
thorough way."[30] However, many punk rock lyrics deal in more traditional rock 'n' roll themes of courtship,
heartbreak, and hanging out; the approach ranges from the deadpan, aggressive simplicity of Ramones standards
such as "I Wanna Be Your Boyfriend"[31] to the more unambiguously sincere style of many later pop punk groups.
Punk rock 5

Visual and other elements

The classic punk rock look among male U.S. musicians harkens back to the T-shirt, motorcycle jacket, and jeans
ensemble favored by American greasers of the 1950s associated with the rockabilly scene and by British rockers of
the 1960s. The cover of the Ramones' 1976 debut album, featuring a shot of the band by Punk photographer Roberta
Bayley, set forth the basic elements of a style that was soon widely emulated by rock musicians both punk and
nonpunk.[32] Richard Hell's more androgynous, ragamuffin look—and reputed invention of the safety-pin
aesthetic—was a major influence on Sex Pistols impresario Malcolm McLaren and, in turn, British punk style.[33]
[34]
McLaren's partner, fashion designer, Vivienne Westwood, credits Johnny Rotten as the first British punk to rip
his shirt, and Sex Pistols bassist Sid Vicious as the first to use safety pins.[35] Early female punk musicians displayed
styles ranging from Siouxsie Sioux's bondage gear to Patti Smith's "straight-from-the-gutter androgyny".[36] The
former proved much more influential on female fan styles.[37] Over time, tattoos, piercings, and metal-studded and
-spiked accessories became increasingly common elements of punk fashion among both musicians and fans, a "style
of adornment calculated to disturb and outrage".[38] The typical male punk haircut was originally short and choppy;
the Mohawk later emerged as a characteristic style.[39] Those in hardcore scenes often adopt a skinhead look.
The characteristic stage performance style of male punk musicians
does not deviate significantly from the macho postures classically
associated with rock music.[40] Female punk musicians broke more
clearly from earlier styles. Scholar John Strohm suggests that they did
so by creating personas of a type conventionally seen as masculine:
"They adopted a tough, unladylike pose that borrowed more from the
macho swagger of sixties garage bands than from the calculated
bad-girl image of bands like The Runaways."[36] Scholar Dave Laing
describes how bassist Gaye Advert adopted fashion elements
associated with male musicians only to generate a stage persona
UK punks, circa 1986 readily consumed as "sexy".[41] Laing focuses on more innovative and
challenging performance styles, seen in the various erotically
destabilizing approaches of Siouxsie Sioux, The Slits' Ari Up, and X-Ray Spex's Poly Styrene.[42]

The lack of emphatic syncopation led punk dance to "deviant" forms. The characteristic style was originally the
pogo.[43] Sid Vicious, before he became the Sex Pistols' bassist, is credited with initiating the pogo in Britain as an
attendee at one of their concerts.[44] Moshing is typical at hardcore shows. The lack of conventional dance rhythms
was a central factor in limiting punk's mainstream commercial impact.[45]
Breaking down the distance between performer and audience is central to the punk ethic.[46] Fan participation at
concerts is thus important; during the movement's first heyday, it was often provoked in an adversarial
manner—apparently perverse, but appropriately "punk". First-wave British punk bands such as the Pistols and The
Damned insulted and otherwise goaded the audience into intense reactions. Laing has identified three primary forms
of audience physical response to goading: can throwing, stage invasion, and spitting or "gobbing".[47] In the hardcore
realm, stage invasion is often a prelude to stage diving. In addition to the numerous fans who have started or joined
punk bands, audience members also become important participants via the scene's many amateur periodicals—in
England, according to Laing, punk "was the first musical genre to spawn fanzines in any significant numbers".[48]
Punk rock 6

Pre-history

Garage rock and mod

In the early and mid-1960s, garage rock bands that came to be recognized as punk rock's progenitors began springing
up in many different locations around North America. The Kingsmen, a garage band from Portland, Oregon, had a
breakout hit with their 1963 cover of "Louie, Louie", cited as "punk rock's defining ur-text".[49] The minimalist
sound of many garage rock bands was influenced by the harder-edged wing of the British Invasion. The Kinks' hit
singles of 1964, "You Really Got Me" and "All Day and All of the Night", have been described as "predecessors of
the whole three-chord genre—the Ramones' 1978 'I Don't Want You,' for instance, was pure Kinks-by-proxy".[50] In
1965, The Who quickly progressed from their debut single, "I Can't Explain", a virtual Kinks clone, to "My
Generation". Though it had little impact on the American charts, The Who's mod anthem presaged a more cerebral
mix of musical ferocity and rebellious posture that characterized much early British punk rock: John Reed describes
The Clash's emergence as a "tight ball of energy with both an image and rhetoric reminiscent of a young Pete
Townshend—speed obsession, pop-art clothing, art school ambition".[51] The Who and fellow mods The Small
Faces were among the few rock elders acknowledged by the Sex Pistols.[52] By 1966, mod was already in decline.
U.S. garage rock began to lose steam within a couple of years, but the aggressive musical approach and outsider
attitude of "garage psych" bands like The Seeds were picked up and emphasized by groups that were later seen as the
crucial figures of protopunk.

Protopunk
In 1969, debut albums by two Michigan-based bands appeared that are commonly regarded as the central protopunk
records. In January, Detroit's MC5 released Kick Out the Jams. "Musically the group is intentionally crude and
aggressively raw", wrote critic Lester Bangs in Rolling Stone:
Most of the songs are barely distinguishable from each other in their primitive two-chord structures.
You've heard all this before from such notables as the Seeds, Blue Cheer, Question Mark and the
Mysterians, and the Kingsmen. The difference here ... is in the hype, the thick overlay of
teenage-revolution and total-energy-thing which conceals these scrapyard vistas of clichés and ugly
noise. ... "I Want You Right Now" sounds exactly (down to the lyrics) like a song called "I Want You"
by the Troggs, a British group who came on with a similar sex-and-raw-sound image a couple of years
ago (remember "Wild Thing"?)[53]
That August, The Stooges, from Ann Arbor, premiered with a
self-titled album. According to critic Greil Marcus, the band, led by
singer Iggy Pop, created "the sound of Chuck Berry's Airmobile—after
thieves stripped it for parts".[54] The album was produced by John
Cale, a former member of New York's experimental rock group The
Velvet Underground. Having earned a "reputation as the first
underground rock band", VU inspired, directly or indirectly, many of
those involved in the creation of punk rock.[55]

In the early 1970s, the New York Dolls updated the original wildness
of 1950s rock 'n' roll in a fashion that later became known as glam
punk.[56] The New York duo Suicide played spare, experimental music
with a confrontational stage act inspired by that of The Stooges. At the
Coventry club in the New York City borough of Queens, The Dictators
used rock as a vehicle for wise-ass attitude and humor.[57] In Boston, Iggy Pop, the "godfather of punk"
Punk rock 7

The Modern Lovers, led by Velvet Underground devotee Jonathan Richman, gained attention with a minimalistic
style. In 1974, an updated garage rock scene began to coalesce around the newly opened Rathskeller club in
Kenmore Square. Among the leading acts were the Real Kids, founded by former Modern Lover John Felice; Willie
Alexander and the Boom Boom Band, whose frontman had been a member of the Velvet Underground for a few
months in 1971; and Mickey Clean and the Mezz.[58] In 1974, as well, the Detroit band Death—made up of three
African American brothers—recorded "scorching blasts of feral ur-punk", but couldn't arrange a release deal.[59] In
Ohio, a small but very influential underground rock scene emerged, led by Devo in Akron and Kent and Cleveland's
The Electric Eels, Mirrors and Rocket from the Tombs. In 1975, Rocket from the Tombs split into Pere Ubu and
Frankenstein. The Electric Eels and Mirrors both broke up, and The Styrenes emerged from the fallout.[60]
Britain's Deviants, in the late 1960s, played in a range of psychedelic styles with a satiric, anarchic edge and a
penchant for situationist-style spectacle presaging the Sex Pistols by almost a decade.[61] In 1970, the act evolved
into the Pink Fairies, which carried on in a similar vein.[62] With his Ziggy Stardust persona, David Bowie made
artifice and exaggeration central—elements, again, that were picked up by the Pistols and certain other punk acts.[63]
The Doctors of Madness built on Bowie's presentation concepts, while moving musically in the direction that would
become identified with punk. Bands in London's pub rock scene stripped the music back to its basics, playing hard,
R&B-influenced rock 'n' roll. By 1974, the scene's top act, Dr. Feelgood, was paving the way for others such as The
Stranglers and Cock Sparrer that would play a role in the punk explosion. Among the pub rock bands that formed
that year was The 101'ers, whose lead singer would soon adopt the name Joe Strummer.[64]
Bands anticipating the forthcoming movement were appearing as far afield as Düsseldorf, West Germany, where
"punk before punk" band NEU! formed in 1971, building on the Krautrock tradition of groups such as Can.[65] In
Japan, the anti-establishment Zunō Keisatsu (Brain Police) mixed garage psych and folk. The combo regularly faced
censorship challenges, their live act at least once including onstage masturbation.[66] A new generation of Australian
garage rock bands, inspired mainly by The Stooges and MC5, was coming even closer to the sound that would soon
be called "punk": In Brisbane, The Saints also recalled the raw live sound of the British Pretty Things, who had made
a notorious tour of Australia and New Zealand in 1965.[67] Radio Birdman, cofounded by Detroit expatriate Deniz
Tek in 1974, was playing gigs to a small but fanatical following in Sydney.

Etymology
Prior to the mid-1970s, punk, a centuries-old word of obscure etymology, was commonly used to describe "a young
male hustler, a gangster, a hoodlum, or a ruffian".[68] As Legs McNeil explains, "On TV, if you watched cop shows,
Kojak, Baretta, when the cops finally catch the mass murderer, they'd say, 'you dirty Punk.' It was what your teachers
would call you. It meant that you were the lowest."[69] The first known use of the phrase punk rock appeared in the
Chicago Tribune on March 22, 1970, attributed to Ed Sanders, cofounder of New York's anarcho-prankster band The
Fugs. Sanders was quoted describing a solo album of his as "punk rock—redneck sentimentality".[70] In the
December 1970 issue of Creem, Lester Bangs, mocking more mainstream rock musicians, ironically referred to Iggy
Pop as "that Stooge punk".[71] Suicide's Alan Vega credits this usage with inspiring his duo to bill its gigs as a "punk
mass" for the next couple of years.[72]
Punk rock 8

Dave Marsh was the first music critic to employ the term punk rock: In
the May 1971 issue of Creem, he described ? and the Mysterians, one
of the most popular 1960s garage rock acts, as giving a "landmark
exposition of punk rock".[73] Later in 1971, in his fanzine Who Put the
Bomp, Greg Shaw wrote about "what I have chosen to call 'punk rock'
bands—white teenage hard rock of '64-66 (Standells, Kingsmen,
Shadows of Knight, etc.)".[74] Lenny Kaye used the term in the liner
notes of the anthology album Nuggets, released the following year,
similarly to refer to 1960s garage bands.[75] In June 1972, the fanzine
Flash included a "Punk Top Ten" of 1960s albums.[76] In February
1973, Terry Atkinson of the Los Angeles Times, reviewing the debut
album by a hard rock band, Aerosmith, declared that it "achieves all
that punk-rock bands strive for but most miss."[77] Three months later,
Billy Altman launched the short-lived punk magazine.[78]

In May 1974, Los Angeles Times critic Robert Hilburn reviewed the
Patti Smith performing in 1976
second New York Dolls album, Too Much Too Soon. "I told ya the
New York Dolls were the real thing", he wrote, describing the album
as "perhaps the best example of raw, thumb-your-nose-at-the-world, punk rock since the Rolling Stones' Exile on
Main Street.'"[79] Bassist Jeff Jensen of Boston's Real Kids reports of a show that year, "A reviewer for one of the
free entertainment magazines of the time caught the act and gave us a great review, calling us a 'punk band.' ... [W]e
all sort of looked at each other and said, 'What's punk?'"[80]

By 1975, punk was being used to describe acts as diverse as the Patti Smith Group—with lead guitarist Lenny
Kaye—the Bay City Rollers, and Bruce Springsteen.[81] As the scene at New York's CBGB club attracted notice, a
name was sought for the developing sound. Club owner Hilly Kristal called the movement "street rock"; John
Holmstrom credits Aquarian magazine with using punk "to describe what was going on at CBGBs".[82] Holmstrom,
McNeil, and Ged Dunn's magazine Punk, which debuted at the end of 1975, was crucial in codifying the term.[83] "It
was pretty obvious that the word was getting very popular", Holmstrom later remarked. "We figured we'd take the
name before anyone else claimed it. We wanted to get rid of the bullshit, strip it down to rock 'n' roll. We wanted the
fun and liveliness back."[81]

Early history

North America

New York City

The origins of New York's punk rock scene can be traced back to such sources as late 1960s trash culture and an
early 1970s underground rock movement centered on the Mercer Arts Center in Greenwich Village, where the New
York Dolls performed.[84] In early 1974, a new scene began to develop around the CBGB club, also in lower
Manhattan. At its core was Television, described by critic John Walker as "the ultimate garage band with
pretensions".[85] Their influences ranged from the Velvet Underground to the staccato guitar work of Dr. Feelgood's
Wilko Johnson.[86] The band's bassist/singer, Richard Hell, created a look with cropped, ragged hair, ripped T-shirts,
and black leather jackets credited as the basis for punk rock visual style.[87] In April 1974, Patti Smith, a member of
the Mercer Arts Center crowd and a friend of Hell's, came to CBGB for the first time to see the band perform.[88] A
veteran of independent theater and performance poetry, Smith was developing an intellectual, feminist take on rock
'n' roll. On June 5, she recorded the single "Hey Joe"/"Piss Factory", featuring Television guitarist Tom Verlaine;
released on her own Mer Records label, it heralded the scene's do it yourself (DIY) ethic and has often been cited as
Punk rock 9

the first punk rock record.[89] By August, Smith and Television were gigging together at another downtown New
York club, Max's Kansas City.[87]
Out in Forest Hills, Queens, several miles from lower Manhattan, the
members of a newly formed band adopted a common surname.
Drawing on sources ranging from the Stooges to The Beatles and The
Beach Boys to Herman's Hermits and 1960s girl groups, the Ramones
condensed rock 'n' roll to its primal level: "'1-2-3-4!' bass-player Dee
Dee Ramone shouted at the start of every song, as if the group could
barely master the rudiments of rhythm."[90] The band played its first
gig at CBGB on August 16, 1974. Another new act, Blondie, also
debuted at the club that month. By the end of the year, the Ramones
Facade of legendary music club CBGB, New
had performed seventy-four shows, each about seventeen minutes
York
long.[91] "When I first saw the Ramones", critic Mary Harron later
remembered, "I couldn't believe people were doing this. The dumb
brattiness."[92] The Dictators, with a similar "playing dumb" concept, were recording their debut album. The
Dictators Go Girl Crazy! came out in March 1975, mixing absurdist originals such as "Master Race Rock" and loud,
straight-faced covers of cheese pop like Sonny & Cher's "I Got You Babe".[93]

That spring, Smith and Television shared a two-month-long weekend residency at CBGB that significantly raised the
club's profile.[94] The Television sets included Richard Hell's "Blank Generation", which became the scene's
emblematic anthem.[95] Soon after, Hell left Television and founded a band featuring a more stripped-down sound,
The Heartbreakers, with former New York Dolls Johnny Thunders and Jerry Nolan. The pairing of Hell and
Thunders, in one critical assessment, "inject[ed] a poetic intelligence into mindless self-destruction".[33] A July
festival at CBGB featuring over thirty new groups brought the scene its first substantial media coverage.[96] In
August, Television—with Fred Smith, former Blondie bassist, replacing Hell—recorded a single, "Little Johnny
Jewel", for the tiny Ork label. In the words of John Walker, the record was "a turning point for the whole New York
scene" if not quite for the punk rock sound itself—Hell's departure had left the band "significantly reduced in fringe
aggression".[85]
Other bands were becoming regulars at CBGB, such as Mink DeVille and Talking Heads, which moved down from
Rhode Island. More closely associated with Max's Kansas City were Suicide and the band led by drag queen Wayne
County, another Mercer Arts Center alumna. The first album to come out of this downtown scene was released in
November 1975: Smith's debut, Horses, produced by John Cale for the major Arista label.[97] The inaugural issue of
Punk appeared in December.[98] The new magazine tied together earlier artists such as Velvet Underground lead
singer Lou Reed, the Stooges, and the New York Dolls with the editors' favorite band, The Dictators, and the array
of new acts centered around CBGB and Max's.[99] That winter, Pere Ubu came in from Cleveland and played at both
spots.[100]
Early in 1976, Hell left The Heartbreakers; he soon formed a new group that would become known as The Voidoids,
"one of the most harshly uncompromising bands" on the scene.[101] That April, the Ramones' debut album was
released by Sire Records; the first single was "Blitzkrieg Bop", opening with the rally cry "Hey! Ho! Let's go!"
According to a later description, "Like all cultural watersheds, Ramones was embraced by a discerning few and
slagged off as a bad joke by the uncomprehending majority."[102] At the instigation of Ramones lead singer Joey
Ramone, the members of Cleveland's Frankenstein moved east to join the New York scene. Reconstituted as the
Dead Boys, they played their first CBGB gig in late July.[103] In August, Ork put out an EP recorded by Hell with his
new band that included the first released version of "Blank Generation".[104]
The term punk initially referred to the scene in general, more than the sound itself—the early New York punk bands
represented a broad variety of influences. Among them, the Ramones, The Heartbreakers, Richard Hell and The
Voidoids, and the Dead Boys were establishing a distinct musical style; even where they diverged most clearly, in
Punk rock 10

lyrical approach—the Ramones' apparent guilelessness at one extreme. Hell's conscious craft at the other, there was
an abrasive attitude in common. Their shared attributes of minimalism and speed, however, had not yet come to
define punk rock.[105]

Other U.S. cities

In 1975, the Suicide Commandos formed in Minneapolis. They were one of the first U.S. bands outside of New York
to play in the Ramones-style harder-louder-faster mode that would define punk rock.[106] Detroit's Death
self-released one of their 1974 recordings, "Politicians in My Eyes", in 1976.[59] As the punk movement expanded
rapidly in the United Kingdom that year, a few bands with similar tastes and attitude appeared around the United
States. The first West Coast punk scenes emerged in San Francisco, with the bands Crime and The Nuns,[107] and
Seattle, where the Telepaths, Meyce, and The Tupperwares played a groundbreaking show on May 1.[108] Rock critic
Richard Meltzer cofounded VOM (short for "vomit") in Los Angeles. In Washington, D.C., raucous roots-rockers
The Razz helped along a nascent punk scene featuring Overkill, the Slickee Boys, and The Look. Around the turn of
the year, White Boy began giving notoriously crazed performances.[109] In Boston, the scene at the
Rathskeller—affectionately known as the Rat—was also turning toward punk, though the defining sound retained a
distinct garage rock orientation. Among the city's first new acts to be identified with punk rock was DMZ.[110] In
Bloomington, Indiana, The Gizmos played in a jokey, raunchy, Dictators-inspired style later referred to as "frat
punk".[111]
Like their garage rock predecessors, these local scenes were facilitated by enthusiastic impresarios who operated
nightclubs or organized concerts in venues such as schools, garages, or warehouses, advertised via inexpensively
printed flyers and fanzines. In some cases, punk's do it yourself ethic reflected an aversion to commercial success, as
well as a desire to maintain creative and financial autonomy.[112] As Joe Harvard, a participant in the Boston scene,
describes, it was often a simple necessity—the absence of a local recording industry and well-distributed music
magazines left little recourse but DIY.[113]

Australia
At the same time, a similar music-based subculture was beginning to take shape in various parts of Australia. A
scene was developing around Radio Birdman and its main performance venue, the Oxford Tavern (later the Oxford
Funhouse), located in Sydney's Darlinghurst suburb. In December 1975, the group won the RAM (Rock Australia
Magazine)/Levi's Punk Band Thriller competition.[114] By 1976, The Saints were hiring Brisbane local halls to use as
venues, or playing in "Club 76", their shared house in the inner suburb of Petrie Terrace. The band soon discovered
that musicians were exploring similar paths in other parts of the world. Ed Kuepper, coleader of The Saints, later
recalled:
One thing I remember having had a really depressing effect on me was the first Ramones album. When I
heard it [in 1976], I mean it was a great record ... but I hated it because I knew we’d been doing this sort
of stuff for years. There was even a chord progression on that album that we used ... and I thought,
"Fuck. We’re going to be labeled as influenced by the Ramones", when nothing could have been further
from the truth.[115]
On the other side of Australia, in Perth, germinal punk rock act the Cheap Nasties, featuring singer-guitarist Kim
Salmon, formed in August.[116] In September, The Saints became the first punk rock band outside the U.S. to release
a recording, the single "(I'm) Stranded". As with Patti Smith's debut, the band self-financed, packaged, and
distributed the single.[117] "(I'm) Stranded" had limited impact at home, but the British music press recognized it as a
groundbreaking record.[118] At the insistence of their superiors in the UK, EMI Australia signed The Saints.
Meanwhile, Radio Birdman came out with a self-financed EP, Burn My Eye, in October.[119] Trouser Press critic Ian
McCaleb later described the record as the "archetype for the musical explosion that was about to occur".[120]
Punk rock 11

United Kingdom
After a brief period unofficially managing the New York Dolls, Englishman Malcolm McLaren returned to London
in May 1975, inspired by the new scene he had witnessed at CBGB. The Kings Road clothing store he co-owned,
recently renamed Sex, was building a reputation with its outrageous "anti-fashion".[121] Among those who
frequented the shop were members of a band called The Strand, which McLaren had also been managing. In August,
the group was seeking a new lead singer. Another Sex habitué, Johnny Rotten, auditioned for and won the job.
Adopting a new name, the group played its first gig as the Sex Pistols on November 6, 1975, at St. Martin's School
of Art[122] and soon attracted a small but ardent following.[123] In February 1976, the band received its first
significant press coverage; guitarist Steve Jones declared that the Pistols were not so much into music as they were
"chaos".[124] The band often provoked its crowds into near-riots. Rotten announced to one audience, "Bet you don't
hate us as much as we hate you!"[125] McLaren envisioned the Pistols as central players in a new youth movement,
"hard and tough".[126] As described by critic Jon Savage, the band members "embodied an attitude into which
McLaren fed a new set of references: late-sixties radical politics, sexual fetish material, pop history,...youth
sociology".[127]
Bernard Rhodes, a sometime associate of McLaren's and friend of the Pistols', was similarly aiming to make stars of
the band London SS. Early in 1976, London SS broke up before ever performing publicly, spinning off two new
bands: The Damned and The Clash, which was joined by Joe Strummer, The 101'ers former lead singer.[128] On June
4, 1976, the Sex Pistols played Manchester's Lesser Free Trade Hall in what came to be regarded as one of the most
influential rock shows ever. Among the approximately forty audience members were the two locals who organized
the gig—they had formed the Buzzcocks after seeing the Sex Pistols in February. Others in the small crowd went on
to form Joy Division, The Fall, and—in the 1980s—The Smiths.[129]
In July, the Ramones crossed the Atlantic for two London shows that helped spark the nascent UK punk scene and
affected its musical style—"instantly nearly every band speeded up".[130] On July 4, they played with the Flamin'
Groovies and The Stranglers before a crowd of 2,000 at the Roundhouse.[131] That same night, The Clash debuted,
opening for the Sex Pistols in Sheffield. On July 5, members of both bands attended a Ramones club gig.[132] The
following night, The Damned played their first show, as a Pistols opening act in London. In critic Kurt Loder's
description, the Pistols purveyed a "calculated, arty nihilism, [while] the Clash were unabashed idealists, proponents
of a radical left-wing social critique of a sort that reached back at least to ... Woody Guthrie in the 1940s".[133] The
Damned built a reputation as "punk's party boys".[134] This London scene's first fanzine appeared a week later. Its
title, Sniffin' Glue, derived from a Ramones song. Its subtitle affirmed the connection with what was happening in
New York: "+ Other Rock 'n' Roll Habits for Punks!"[135]
Another Sex Pistols gig in Manchester on July 20, with a reorganized version of the Buzzcocks debuting in support,
gave further impetus to the scene there.[136] In August, the self-described "First European Punk Rock Festival" was
held in Mont de Marsan in the southwest of France. Eddie and the Hot Rods, a London pub rock group, headlined.
The Sex Pistols, originally scheduled to play, were dropped by the organizers who said the band had gone "too far"
in demanding top billing and certain amenities; The Clash backed out in solidarity. The only band from the new
punk movement to appear was The Damned.[137]
Over the next several months, many new punk rock bands formed, often directly inspired by the Pistols.[138] In
London, women were at the center of the scene—among the initial wave of bands were the female-fronted Siouxsie
and the Banshees and X-Ray Spex and the all-female The Slits. There were female bassists Gaye Advert in The
Adverts and Shanne Bradley in The Nipple Erectors. Other groups included Subway Sect, Eater, The Subversives,
the aptly named London, and Chelsea, which soon spun off Generation X. Farther afield, Sham 69 began practicing
in the southeastern town of Hersham. In Durham, there was Penetration, with lead singer Pauline Murray. On
September 20–21, the 100 Club Punk Festival in London featured the four primary British groups (London's big
three and the Buzzcocks), as well as Paris's female-fronted Stinky Toys, arguably the first punk rock band from a
non-Anglophone country. Siouxsie and the Banshees and Subway Sect debuted on the festival's first night; that same
Punk rock 12

evening, Eater debuted in Manchester.[139] On the festival's second night, audience member Sid Vicious was
arrested, charged with throwing a glass at The Damned that shattered and destroyed a girl's eye. Press coverage of
the incident fueled punk's reputation as a social menace.[140]
Some new bands, such as London's Alternative TV and Edinburgh's Rezillos, identified with the scene even as they
pursued more experimental music. Others of a comparatively traditional rock 'n' roll bent were also swept up by the
movement: The Vibrators, formed as a pub rock–style act in February 1976, soon adopted a punk look and
sound.[141] A few even longer-active bands including Surrey neo-mods The Jam and pub rockers The Stranglers and
Cock Sparrer also became associated with the punk rock scene. Alongside the musical roots shared with their
American counterparts and the calculated confrontationalism of the early Who, journalist Clinton Heylin describes
how the British punks also reflected the influence of the "glam bands who gave noise back to teenagers in the early
Seventies—T.Rex, Slade and Roxy Music".[142] One of the groups openly acknowledging that influence were The
Undertones, from Derry in Northern Ireland.[143] Another punk band formed to the south, Dublin's The Radiators
From Space.
In October, The Damned became the first UK punk rock band to
release a single, the romance-themed "New Rose".[145] The Vibrators
followed the next month with "We Vibrate" and, backing long-time
rocker Chris Spedding, "Pogo Dancing". The latter was hardly a punk
song by any stretch, but it was perhaps the first song about punk rock.
On 26 November, the Sex Pistols' "Anarchy in the U.K." came
out—with its debut single the band succeeded in its goal of becoming a
"national scandal".[146] Jamie Reid's "anarchy flag" poster and his other
design work for the Pistols helped establish a distinctive punk visual The Sex Pistols' "Anarchy in the U.K." poster—a
[144]
aesthetic.[147] On December 1, an incident took place that sealed punk ripped and safety-pinned Union Flag
rock's notorious reputation: On Thames Today, an early evening
London TV show, Sex Pistols guitarist Steve Jones was goaded into a verbal altercation by the host, Bill Grundy.
Jones called Grundy a "dirty fucker" on live television, triggering a media controversy.[148] Two days later, the
Pistols, The Clash, The Damned, and The Heartbreakers set out on the Anarchy Tour, a series of gigs throughout the
UK. Many of the shows were cancelled by venue owners in response to the media outrage following the Grundy
confrontation.[149]

Second wave
By 1977, a second wave of the punk rock movement was breaking in the three countries where it had emerged, as
well as in many other places. Bands from the same scenes often sounded very different from each other, reflecting
the eclectic state of punk music during the era.[150] While punk rock remained largely an underground phenomenon
in North America, Australia, and the new spots where it was emerging, in the UK it briefly became a major
sensation.[151]

North America
The California punk scene was in full swing by early 1977. In Los Angeles, there were The Zeros, The Germs, The
Weirdos, X, The Dickies, The Bags, and the relocated Tupperwares, now dubbed The Screamers.[152] San
Francisco's second wave included The Avengers, Negative Trend, The Mutants, and The Sleepers.[153] The Dils,
from Carlsbad, moved between the two major cities.[154] The Wipers formed in Portland, Oregon. In Seattle, there
was The Lewd.[155] Often sharing gigs with the Seattle punks were bands from across the Canadian border. A major
scene developed in Vancouver, spearheaded by the Furies and Victoria's all-female Dee Dee and the Dishrags.[155]
The Skulls spun off into D.O.A. and The Subhumans. The K-Tels (later known as the Young Canadians) and Pointed
Sticks were among the area's other leading punk acts.[156]
Punk rock 13

In eastern Canada, the Toronto protopunk band Dishes had laid the groundwork for another sizable scene,[157] and a
September 1976 concert by the touring Ramones had catalyzed the movement. Early Ontario punk bands included
The Diodes, The Viletones, The Battered Wives, The Demics, Forgotten Rebels, Teenage Head, The Poles, and The
Ugly. Along with the Dishrags, Toronto's The Curse and B Girls were North America's first all-female punk
acts.[158] In July 1977, the Viletones, Diodes, and Teenage Head headed down to New York City to play a four-day
showcase at CBGB. Punk rock was already beginning to give way there to the anarchic sound of what became
known as No Wave, although several original punk bands continued to perform. Leave Home, the Ramones' second
album, had come out in January. September saw Richard Hell and The Voidoids' first full-length, Blank
Generation.[159] The Heartbreakers' debut, L.A.M.F., and the Dead Boys', Young, Loud and Snotty, appeared in
October; the Ramones' third, Rocket to Russia, in November. The Cramps, whose core members were from
Sacramento by way of Akron, had debuted at CBGB in November 1976, opening for the Dead Boys. They were
soon playing regularly at Max's Kansas City.[160] The Misfits formed in nearby New Jersey; by 1978, they had
developed a style known as horror punk.
The Ohio protopunk bands were joined by Cleveland's The Pagans,[161] Akron's Bizarros and Rubber City Rebels,
and Kent's Human Switchboard. Bloomington, Indiana, had MX-80 Sound and Detroit had The Sillies. The Suburbs
came together in the Twin Cities scene sparked by the Suicide Commandos. The Feederz formed in Arizona. Atlanta
had The Fans. In North Carolina, there was Chapel Hill's H-Bombs and Raleigh's Th' Cigaretz.[162] The Chicago
scene began not with a band but with a group of DJs transforming a gay bar, La Mere Vipere, into what became
known as America's first punk dance club. Tutu and the Pirates and Silver Abuse were among the city's first punk
bands.[163] In Boston, the scene at the Rat was joined by the Nervous Eaters, Thrills, and Human Sexual
Response.[162] In Washington, D.C., the Controls played their first gig in spring 1977, but the city's second wave
really broke the following year with acts such as Urban Verbs, Half Japanese, D'Chumps, Rudements and
Shirkers.[164] By early 1978, the D.C. jazz-fusion group Mind Power had transformed into Bad Brains, one of the
first bands to be identified with hardcore punk.[162] [165]

United Kingdom
The Pistols' live TV skirmish with Bill Grundy was the signal moment in British punk's transformation into a major
media phenomenon, even as some stores refused to stock the records and radio airplay was hard to come by.[166]
Press coverage of punk misbehavior grew intense: On January 4, 1977, the Evening News of London ran a front-page
story on how the Sex Pistols "vomited and spat their way to an Amsterdam flight".[167] In February 1977, the first
album by a British punk band appeared: Damned Damned Damned reached number thirty-six on the UK chart. The
EP Spiral Scratch, self-released by Manchester's Buzzcocks, was a benchmark for both the DIY ethic and
regionalism in the country's punk movement.[168] The Clash's self-titled debut album came out two months later and
rose to number twelve; the single "White Riot" entered the top forty. In May, the Sex Pistols achieved new heights of
controversy (and number two on the singles chart) with "God Save the Queen". The band had recently acquired a
new bassist, Sid Vicious, who was seen as exemplifying the punk persona.[169]
Scores of new punk groups formed around the United Kingdom. Though most survived only briefly, perhaps
recording a small-label single or two, others set off new trends. Crass, from Essex, merged a vehement,
straight-ahead punk rock style with a committed anarchist mission. Sham 69, London's Menace, and the Angelic
Upstarts from South Shields in the Northeast combined a similarly stripped-down sound with populist lyrics, a style
that became known as streetpunk. These expressly working-class bands contrasted with others in the second wave
that presaged the post-punk phenomenon. Such groups expressed punk rock's energy and aggression, while
expanding its musical range with a wider variety of tempos and often more complex instrumentation. London's Wire
took minimalism and brevity to an extreme. London's Tubeway Army, Belfast's Stiff Little Fingers, and
Dunfermline, Scotland's The Skids infused punk rock with elements of synth and noise music.[170] Liverpool's first
punk group, the theatrical Big in Japan, didn't last long, but it spun off several well-known post-punk acts.[171]
Punk rock 14

Alongside thirteen original songs that would define classic punk rock,
The Clash's debut had included a cover of the recent Jamaican reggae
hit "Police and Thieves".[173] Other first wave bands such as The Slits
and new entrants to the scene like The Ruts and The Police interacted
with the reggae and ska subcultures, incorporating their rhythms and
production styles. The punk rock phenomenon helped spark a
full-fledged ska revival movement known as 2 Tone, centered around
bands such as The Specials, The Beat, Madness, and The Selecter.[174]

June 1977 saw the release of another charting punk album: The
Vibrators' Pure Mania. In July, the Sex Pistols' third single, "Pretty
Vacant", reached number six and The Saints had a top-forty hit with
The stark cover design of Wire's debut LP, Pink
"This Perfect Day". Recently arrived from Australia, the band was now
Flag, symbolized the evolution of punk
considered insufficiently "cool" to qualify as punk by much of the style.
[172]
British media, though they had been playing a similar brand of music
for years.[175] In August, The Adverts entered the top twenty with "Gary Gilmore's Eyes". As punk became a
broad-based national phenomenon in the summer of 1977, punk musicians and fans were increasingly subject to
violent assaults by Teddy boys, football yobbos, and others. A Ted-aligned band recorded "The Punk Bashing
Boogie".[176]

In September, Generation X and The Clash reached the top forty with, respectively, "Your Generation" and
"Complete Control". In October, the Pistols hit number eight with "Holidays in the Sun", followed by the release of
their first and only "official" album, Never Mind the Bollocks, Here's the Sex Pistols. Inspiring yet another round of
controversy, it topped the British charts. In December, one of the first books about punk rock was published: The
Boy Looked at Johnny, by Julie Burchill and Tony Parsons.[177] Declaring the punk rock movement to be already
over, it was subtitled The Obituary of Rock and Roll. In January 1978, the Sex Pistols broke up while on American
tour.

Australia
In February 1977, EMI released The Saints' debut album, (I'm) Stranded, which the band recorded in two days.[178]
The Saints had relocated to Sydney; in April, they and Radio Birdman united for a major gig at Paddington Town
Hall.[179] Last Words had also formed in the city. The following month, The Saints relocated again, to Great Britain.
In June, Radio Birdman released the album Radios Appear on its own Trafalgar label.[119]
The Victims became a short-lived leader of the Perth scene, self-releasing the classic "Television Addict". They were
joined by The Scientists, Kim Salmon's successor band to the Cheap Nasties. Among the other bands constituting
Australia's second wave were Johnny Dole & The Scabs, the Hellcats, and Psychosurgeons (later known as the
Lipstick Killers) in Sydney;[180] The Leftovers, The Survivors, and Razar in Brisbane;[181] and La Femme, The
Negatives, and The Babeez (later known as The News) in Melbourne.[182] Melbourne's art rock–influenced Boys
Next Door featured singer Nick Cave, who would become one of the world's most celebrated post-punk artists.

Rest of the world

Meanwhile, punk rock scenes were emerging around the globe. In France, les punks, a Parisian subculture of Lou
Reed fans, had already been around for years.[183] Following the lead of Stinky Toys, Métal Urbain played its first
concert in December 1976. The new punk band's brief set included a cover of the Stooges' "No Fun", also a staple of
the Sex Pistols' live show.[184] Métal Urbain's debut single, "Panik", released in May 1977, was perhaps the first
non-English-language punk rock record;[185] with its "near motorik beat ... gruff guitar riffs, shouted lyrics, and the
occasionally swooping synth line", it is also one of the earliest examples anywhere of a style that would become
Punk rock 15

identified with post-punk.[186] The single "Killerman", by Gasoline, and Stinky Toys' "Boozy Creed" also came out
in 1977. Other French punk acts such as Oberkampf and Starshooter soon formed.[187]
In West Germany, bands primarily inspired by British punk came together in the Neue Deutsche Welle (NDW)
movement. Ätzttussis, the Nina Hagen Band, and S.Y.P.H. featured "raucous vocals and militant posturing",
according to writer Rob Burns.[188] Before turning in a mainstream direction in the 1980s, NDW attracted a
politically conscious and diverse audience, including both participants of the left-wing alternative scene and
neo-Nazi skinheads. These opposing factions were mutually attracted by a view of punk rock as "'against the system'
politically as well as musically".[188] Briard jump-started Finnish punk with its 1977 single "I Really Hate Ya"/"I
Want Ya Back";[189] other early Finnish punk acts included Eppu Normaali and singer Pelle Miljoona. In
Yugoslavia, punk rock acts emerged in Croatia (Paraf), Slovenia (Pankrti), and Serbia (Pekinška patka). In Japan, a
punk movement developed around bands playing in an art/noise style such as Friction, and "psych punk" acts like
Gaseneta and Kadotani Michio.[190] In New Zealand, Auckland's Scavengers and Suburban Reptiles were followed
by The Enemy of Dunedin.[162] Punk rock scenes also grew in other countries such as Belgium (The Kids,
Chainsaw),[191] the Netherlands (The Suzannes, The Ex),[192] Spain (La Banda Trapera Del Río, Kaka De Luxe),[193]
Sweden (Ebba Grön, KSMB),[194] and Switzerland (Nasal Boys, Kleenex).[195]

Punk transforms
By 1979, the hardcore punk movement was emerging in southern California. A rivalry developed between adherents
of the new sound and the older punk rock crowd. Hardcore, appealing to a younger, more suburban audience, was
perceived by some as anti-intellectual, overly violent, and musically limited. In Los Angeles, the opposing factions
were often described as "Hollywood punks" and "beach punks", referring to Hollywood's central position in the
original L.A. punk rock scene and to hardcore's popularity in the shoreline communities of South Bay and Orange
County.[196]
As hardcore became the dominant punk rock style, many bands of the older California punk rock movement split up,
although X went on to mainstream success and The Go-Go's, part of the Hollywood punk scene when they formed in
1978, adopted a pop sound and became major stars.[197] Across North America, many other first and second wave
punk bands also dissolved, while younger musicians inspired by the movement explored new variations on punk.
Some early punk bands transformed into hardcore acts. A few, most notably the Ramones, Richard Hell and The
Voidoids, and Johnny Thunders and The Heartbreakers, continued to pursue the style they had helped create.
Crossing the lines between "classic" punk, post-punk, and hardcore, San Francisco's Flipper was founded in 1979 by
former members of Negative Trend and The Sleepers.[198] They became "the reigning kings of American
underground rock, for a few years".[199]
Radio Birdman broke up in June 1978 while touring the UK,[119] where the early unity between bohemian,
middle-class punks (many with art school backgrounds) and working-class punks had disintegrated.[200] In contrast
to North America, more of the bands from the original British punk movement remained active, sustaining extended
careers even as their styles evolved and diverged. Meanwhile, the Oi! and anarcho-punk movements were emerging.
Musically in the same aggressive vein as American hardcore, they addressed different constituencies with
overlapping but distinct anti-establishment messages. As described by Dave Laing, "The model for self-proclaimed
punk after 1978 derived from the Ramones via the eight-to-the-bar rhythms most characteristic of The Vibrators and
Clash. ... It became essential to sound one particular way to be recognized as a 'punk band' now."[201] In February
1979, former Sex Pistols bassist Sid Vicious died of a heroin overdose in New York. If the Pistols' breakup the
previous year had marked the end of the original UK punk scene and its promise of cultural transformation, for many
the death of Vicious signified that it had been doomed from the start.[202]
By the turn of the decade, the punk rock movement had split deeply along cultural and musical lines, leaving a
variety of derivative scenes and forms. On one side were New Wave and post-punk artists; some adopted more
accessible musical styles and gained broad popularity, while some turned in more experimental, less commercial
Punk rock 16

directions. On the other side, hardcore punk, Oi!, and anarcho-punk bands became closely linked with underground
cultures and spun off an array of subgenres.[203] Somewhere in between, pop punk groups created blends like that of
the ideal record, as defined by Mekons cofounder Kevin Lycett: "a cross between Abba and the Sex Pistols".[204] A
range of other styles emerged, many of them fusions with long-established genres. Exemplifying the breadth of
classic punk's legacy was The Clash album London Calling, released in December 1979. Combining punk rock with
reggae, ska, R&B, and rockabilly, it went on to be acclaimed as one of the best rock records ever.[205] At the same
time, as observed by Flipper singer Bruce Loose, the relatively restrictive hardcore scenes diminished the variety of
music that could once be heard at many punk gigs.[150] If early punk, like most rock scenes, was ultimately
male-oriented, the hardcore and Oi! scenes were significantly more so, marked in part by the slam dancing and
moshing with which they became identified.[206]

New Wave
In 1976—first in London, then in the United States—"New Wave" was introduced as a complementary label for the
formative scenes and groups also known as "punk"; the two terms were essentially interchangeable.[207] NME
journalist Roy Carr is credited with proposing the term's use (adopted from the cinematic French New Wave of the
1960s) in this context.[208] Over time, "New Wave" acquired a distinct meaning: Bands such as Blondie and Talking
Heads from the CBGB scene; The Cars, who emerged from the Rat in Boston; The Go-Go's in Los Angeles; and The
Police in London that were broadening their instrumental palette, incorporating dance-oriented rhythms, and working
with more polished production were specifically designated "New Wave" and no longer called "punk". Dave Laing
suggests that some punk-identified British acts pursued the New Wave label in order to avoid radio censorship and
make themselves more palatable to concert bookers.[209]
Bringing elements of punk rock music and fashion into more pop-oriented, less "dangerous" styles, New Wave
artists became very popular on both sides of the Atlantic.[210] New Wave became a catch-all term,[211] encompassing
disparate styles such as 2 Tone ska, the mod revival inspired by The Jam, the sophisticated pop-rock of Elvis
Costello and XTC, the New Romantic phenomenon typified by Ultravox, synthpop groups like Human League and
Depeche Mode, and the sui generis subversions of Devo, who had gone "beyond punk before punk even properly
existed".[212] New Wave became a pop culture sensation with the debut of the cable television network MTV in
1981, which put many New Wave videos into regular rotation. However, the music was often derided at the time as
being silly and disposable.[213]

Post-punk
During 1976–77, in the midst of the original UK punk movement, bands emerged such as Manchester's Joy Division,
The Fall, and Magazine, Leeds' Gang of Four, and London's The Raincoats that became central post-punk figures.
Some bands classified as post-punk, such as Throbbing Gristle and Cabaret Voltaire, had been active well before the
punk scene coalesced;[214] others, such as The Slits and Siouxsie and the Banshees, transitioned from punk rock into
post-punk. A few months after the Sex Pistols' breakup, John Lydon (no longer "Rotten") cofounded Public Image
Ltd. Lora Logic, formerly of X-Ray Spex, founded Essential Logic. Killing Joke formed in 1979. These bands were
often musically experimental, like certain New Wave acts; defining them as "post-punk" was a sound that tended to
be less pop and more dark and abrasive—sometimes verging on the atonal, as with Subway Sect and Wire—and an
anti-establishment posture directly related to punk's. Post-punk reflected a range of art rock influences from Captain
Beefheart to David Bowie and Roxy Music to Krautrock and, once again, the Velvet Underground.[10]
Punk rock 17

Post-punk brought together a new fraternity of musicians, journalists,

managers, and entrepreneurs; the latter, notably Geoff Travis of Rough
Trade and Tony Wilson of Factory, helped to develop the production
and distribution infrastructure of the indie music scene that blossomed
in the mid-1980s.[216] Smoothing the edges of their style in the
direction of New Wave, several post-punk bands such as New Order
(descended from Joy Division), The Cure, and U2 crossed over to a
mainstream U.S. audience. Bauhaus was one of the formative gothic
rock bands. Others, like Gang of Four, The Raincoats and Throbbing
Gristle, who had little more than cult followings at the time, are seen in
retrospect as significant influences on modern popular culture.[217]
Public Image Ltd's Metal Box (1979) epitomized
post-punk innovations in both music and A number of U.S. artists were retrospectively defined as post-punk;
[215]
design. Television's debut album Marquee Moon, released in 1977, is
frequently cited as a seminal album in the field.[218] The No Wave
movement that developed in New York in the late 1970s, with artists like Lydia Lunch, is often treated as the
phenomenon's U.S. parallel.[219] The later work of Ohio protopunk pioneers Pere Ubu is also commonly described as
post-punk.[220] One of the most influential American post-punk bands was Boston's Mission of Burma, who brought
abrupt rhythmic shifts derived from hardcore into a highly experimental musical context.[221] In 1980, Australia's
Boys Next Door moved to London and changed their name to The Birthday Party, which evolved into Nick Cave
and the Bad Seeds. King Snake Roost and other Australian bands would further explore the possibilities of
post-punk. Later art punk and alternative rock musicians found diverse inspiration among these predecessors, New
Wave and post-punk alike.

Hardcore
A distinctive style of punk, characterized by superfast, aggressive beats, screaming vocals, and often politically
aware lyrics, began to emerge in 1978 among bands scattered around the United States. The first major scene of what
came to be known as hardcore punk developed in southern California in 1978–79;[222] the movement soon spread
around North America and internationally.[223] [224] [225] According to author Steven Blush, "Hardcore comes from
the bleak suburbs of America. Parents moved their kids out of the cities to these horrible suburbs to save them from
the 'reality' of the cities and what they ended up with was this new breed of monster".[16]
Among the earliest hardcore bands, regarded as having made the first recordings in the style, were southern
California's Middle Class and Black Flag.[224] [225] Bad Brains—all of whom were black, a rarity in punk of any
era—launched the D.C. scene.[223] Austin, Texas's Big Boys, San Francisco's Dead Kennedys, and Vancouver's
D.O.A. were among the other initial hardcore groups. They were soon joined by bands such as the Minutemen,
Descendents, Circle Jerks, The Adolescents, and TSOL in southern California; D.C.'s Teen Idles, Minor Threat, and
State of Alert; and Austin's MDC and The Dicks. By 1981, hardcore was the dominant punk rock style not only in
California, but much of the rest of North America as well.[226] A New York hardcore scene grew, including the
relocated Bad Brains, New Jersey's Misfits and Adrenalin O.D., and local acts such as the Nihilistics, The Mob,
Reagan Youth, and Agnostic Front. Beastie Boys, who would become famous as a hip-hop group, debuted that year
as a hardcore band. They were followed by The Cro-Mags, Murphy's Law, and Leeway.[227] By 1983, St. Paul's
Hüsker Dü and Chicago's Naked Raygun were taking the hardcore sound in experimental and ultimately more
melodic directions. Hardcore would constitute the American punk rock standard throughout the decade.[228]
The lyrical content of hardcore songs, typified by Dead Kennedys' "Holiday in Cambodia", is often critical of
commercial culture and middle-class values.[225] Straight edge bands like Minor Threat, Boston's SS Decontrol, and
Reno, Nevada's 7 Seconds rejected the self-destructive lifestyles of many of their peers, and built a movement based
on positivity and abstinence from cigarettes, alcohol, drugs, and casual sex.[229] In the early 1980s, bands from the
Punk rock 18

American southwest and California such as JFA, Agent Orange, and The Faction helped create a rhythmically
distinctive style of hardcore known as skate punk. Skate punk innovators also pointed in other directions: Big Boys
helped establish funkcore, while Venice, California's Suicidal Tendencies had a formative effect on the heavy
metal–influenced crossover thrash style. Toward the end of the decade, crossover thrash spawned the metalcore
fusion style and the superfast thrashcore subgenre developed in multiple locations.

Oi!
Following the lead of first-wave British punk bands Cock Sparrer and Sham 69, in the late 1970s second-wave units
like Cockney Rejects, Angelic Upstarts, The Exploited, and The 4-Skins sought to realign punk rock with a working
class, street-level following.[230] Their style was originally called real punk or streetpunk; Sounds journalist Garry
Bushell is credited with labelling the genre Oi! in 1980. The name is partly derived from the Cockney Rejects' habit
of shouting "Oi! Oi! Oi!" before each song, instead of the time-honored "1,2,3,4!"[231] Oi! bands' lyrics sought to
reflect the harsh realities of living in Margaret Thatcher's Britain in the late 1970s and early 1980s.[232] A subgroup
of Oi! bands dubbed "punk pathetique"—including Splodgenessabounds, Peter and the Test Tube Babies, and Toy
Dolls—had a more humorous and absurdist bent.
The Oi! movement was fueled by a sense that many participants in the
early punk rock scene were, in the words of The Business guitarist Steve
Kent, "trendy university people using long words, trying to be artistic ...
and losing touch".[233] The Oi! credo held that the music needed to remain
unpretentious and accessible.[170] According to Bushell, "Punk was meant
to be of the voice of the dole queue, and in reality most of them were not.
But Oi was the reality of the punk mythology. In the places where [these
bands] came from, it was harder and more aggressive and it produced just
as much quality music."[234]

Although most Oi! bands in the initial wave were apolitical or left wing,
many of them began to attract a white power skinhead following.[235]
Strength Thru Oi!, with its notorious image
of British Movement activist and felon
Nicky Crane
Racist skinheads sometimes disrupted Oi! concerts by shouting fascist
slogans and starting fights, but some Oi! bands were reluctant to endorse
criticism of their fans from what they perceived as the "middle-class establishment".[236] In the popular imagination,
the movement thus became linked to the far right.[237] Strength Thru Oi!, an album compiled by Bushell and released
in May 1981, stirred controversy, especially when it was revealed that the belligerent figure on the cover was a
neo-Nazi jailed for racist violence (Bushell claimed ignorance).[235] On July 3, a concert at Hamborough Tavern in
Southall featuring The Business, The 4-Skins, and The Last Resort was firebombed by local Asian youths who
believed that the event was a neo-Nazi gathering.[238] Following the Southall riot, press coverage increasingly
associated Oi! with the extreme right, and the movement soon began to lose momentum.[232]
Punk rock 19

Anarcho-punk
Anarcho-punk developed alongside the Oi! and American hardcore
movements. With a primitive, stripped-down musical style and ranting,
shouted vocals, British bands such as Crass—the scene's "moral
leaders"—Subhumans, Flux of Pink Indians, Conflict, Poison Girls,
and The Apostles attempted to transform the punk rock scene into a
full-blown anarchist movement. Revolution and terrorism were
primary lyrical topics.[240] As with straight edge, anarcho-punk is
based on a set of principles, including prohibitions on wearing leather
and the promotion of a vegetarian or vegan diet.[239]
[239]
Crass were the originators of anarcho-punk.
The movement spun off several subgenres of a similar political bent.
Their all-black militaristic dress became a staple
Discharge, founded back in 1977, established D-beat in the early of the genre.
1980s. Other groups in the movement, led by Amebix and Antisect,
developed the extreme style known as crust punk. Several of these bands rooted in anarcho-punk such as The
Varukers, Discharge, and Amebix, along with former Oi! groups such as The Exploited and bands from father afield
like Birmingham's Charged GBH, became the leading figures in the UK 82 hardcore movement. The anarcho-punk
scene also spawned bands such as Napalm Death, Carcass, and Extreme Noise Terror that in the mid-1980s defined
grindcore, incorporating extremely fast tempos and death metal–style guitarwork.[241] Led by Dead Kennedys, a
U.S. anarcho-punk scene developed around such bands as Austin's MDC and southern California's Another
Destructive System.[242]

Pop punk
With their love of the Beach Boys and late 1960s bubblegum pop, the Ramones paved the way to what became
known as pop punk.[243] In the late 1970s, UK bands such as Buzzcocks and The Undertones combined pop-style
tunes and lyrical themes with punk's speed and chaotic edge.[244] In the early 1980s, some of the leading bands in
southern California's hardcore punk rock scene emphasized a more melodic approach than was typical of their peers.
According to music journalist Ben Myers, Bad Religion "layered their pissed off, politicized sound with the
smoothest of harmonies"; Descendents "wrote almost surfy, Beach Boys–inspired songs about girls and food and
being young(ish)".[245] Epitaph Records, founded by Brett Gurewitz of Bad Religion, was the base for many future
pop punk bands, including NOFX, with their third wave ska–influenced skate punk rhythms. Bands that fused punk
with light-hearted pop melodies, such as The Queers and Screeching Weasel, began appearing around the country, in
turn influencing bands like Green Day and The Offspring, who brought pop punk wide popularity and major record
sales. Bands such as The Vandals and Guttermouth developed a style blending pop melodies with humorous and
offensive lyrics. The mainstream pop punk of latter-day bands such as Blink-182 is criticized by many punk rock
devotees; in critic Christine Di Bella's words, "It's punk taken to its most accessible point, a point where it barely
reflects its lineage at all, except in the three-chord song structures."[246]

Other fusions and directions

From 1977 forward, punk rock crossed lines with many other popular music genres. Los Angeles punk rock bands
laid the groundwork for a wide variety of styles: The Flesh Eaters with deathrock; The Plugz with Chicano punk; and
Gun Club with punk blues. The Meteors, from South London, and The Cramps, who moved from New York to Los
Angeles in 1980, were innovators in the psychobilly fusion style.[247] Milwaukee's Violent Femmes jumpstarted the
American folk punk scene, while The Pogues did the same on the other side of the Atlantic, influencing many Celtic
punk bands. The Mekons, from Leeds, combined their punk rock ethos with country music, greatly influencing the
later alt-country movement. In the United States, varieties of cowpunk played by bands such as Nashville's Jason &
the Scorchers, Arizona's Meat Puppets, and southern California's Social Distortion had a similar effect.
Punk rock 20

Other bands pointed punk rock toward future rock styles or its own foundations. New York's Suicide, who had
played with the New York Dolls at the Mercer Arts Center, L.A.'s The Screamers and Nervous Gender, and
Germany's DAF were pioneers of synthpunk. Chicago's Big Black was a major influence on noise rock, math rock,
and industrial rock. Garage punk bands from all over—such as Medway's Thee Mighty Caesars, Chicago's Dwarves,
and Adelaide's Exploding White Mice—pursued a version of punk rock that was close to its roots in 1960s garage
rock. Seattle's Mudhoney, one of the central bands in the development of grunge, has been described as "garage
punk".[248]

Legacy and later developments

Alternative rock
The underground punk rock movement inspired countless bands that either evolved from a punk rock sound or
brought its outsider spirit to very different kinds of music. The original punk explosion also had a long-term effect
on the music industry, spurring the growth of the independent sector.[249] During the early 1980s, British bands like
New Order and The Cure that straddled the lines of post-punk and New Wave developed both new musical styles
and a distinctive industrial niche. Though commercially successful over an extended period, they maintained an
underground-style, subcultural identity.[250] In the United States, bands such as Hüsker Dü and their Minneapolis
protégés The Replacements bridged the gap between punk rock genres like hardcore and the more expansive sound
of what was then called "college rock".[251]
A 1985 Rolling Stone feature on the Minneapolis scene and innovative California hardcore acts such as Black Flag
and Minutemen declared, "Primal punk is passé. The best of the American punk rockers have moved on. They have
learned how to play their instruments. They have discovered melody, guitar solos and lyrics that are more than
shouted political slogans. Some of them have even discovered the Grateful Dead."[252] By the end of the 1980s, these
bands, who had largely eclipsed their punk rock forebears in popularity, were classified broadly as alternative rock.
Alternative rock encompasses a diverse set of styles—including gothic rock and grunge, among others—unified by
their debt to punk rock and their origins outside of the musical mainstream.[253]
As American alternative bands like Sonic Youth, which had grown out
of the No Wave scene, and Boston's Pixies started to gain larger
audiences, major labels sought to capitalize on the underground market
that had been sustained by hardcore punk for years.[254] In 1991,
Nirvana emerged from Washington State's grunge scene, achieving
huge commercial success with its second album, Nevermind. The
band's members cited punk rock as a key influence on their style.[255]
"Punk is musical freedom", wrote singer Kurt Cobain. "It’s saying,
doing, and playing what you want."[256] The widespread popularity of
Sonic Youth's Kim Gordon in 1991, walking on
Nirvana and other punk-influenced bands such as Pearl Jam and Red
her bass guitar
Hot Chili Peppers fueled the alternative rock boom of the early and
mid-1990s.[253]

Emo
In its original, mid-1980s incarnation, emo was a less musically restrictive style of punk developed by participants in
the Washington, D.C. area hardcore scene. It was originally referred to as "emocore", an abbreviation of "emotive
hardcore". Notable early emo bands included Rites of Spring, Embrace, The Hated, and One Last Wish. The term
derived from the tendency of some of these bands' members to become strongly emotional during performances.
Punk rock 21

Fugazi, formed out of the dissolution of Embrace, inspired a second, much broader based wave of emo bands
beginning in the mid-1990s. Groups like San Diego's Antioch Arrow generated new, more intense subgenres like
screamo, while others developed a more melodic style closer to indie rock. Bands such as Seattle's Sunny Day Real
Estate and Mesa, Arizona's Jimmy Eat World broke out of the underground, attracting national attention. By the turn
of the century, emo had arguably surpassed hardcore, its parent genre, as the roots-level standard for U.S. punk,
though some music fans claim that typical latter-day emo bands like Fall Out Boy don't even qualify as punk at
all.[257]

Queercore and riot grrrl

In the 1990s, the queercore movement developed around a number of
punk bands with gay, lesbian, or bisexual members such as God Is My
Co-Pilot, Pansy Division, Team Dresch, and Sister George. Inspired by
openly gay punk musicians of an earlier generation such as Jayne
County, Phranc, Darby Crash and Randy Turner, and bands like
Nervous Gender, The Screamers, and Coil, queercore embraces a
variety of punk and other alternative music styles. Queercore lyrics
often treat the themes of prejudice, sexual identity, gender identity, and
individual rights. The movement has continued to expand in the
twenty-first century, supported by festivals such as Queeruption.

In 1991, a concert of female-led bands at the International Pop

Underground Convention in Olympia, Washington, heralded the
emerging riot grrrl phenomenon. Billed as "Love Rock Revolution Girl
Style Now", the concert's lineup included Bikini Kill, Bratmobile,
Heavens to Betsy, L7, and Mecca Normal.[258] Singer-guitarists Corin
Tucker of Heavens to Betsy and Carrie Brownstein of Excuse 17,
bands active in both the queercore and riot grrrl scenes, cofounded the Carrie Brownstein, performing with
Sleater-Kinney in 2005
celebrated indie/punk band Sleater-Kinney in 1994. Bikini Kill's lead
singer, Kathleen Hanna, the iconic figure of riot grrrl, moved on to
form the art punk group Le Tigre in 1998.[259]

Punk revival
Along with Nirvana, many of the leading alternative rock artists of the early 1990s acknowledged the influence of
earlier punk rock acts. With Nirvana's success, the major record companies once again saw punk bands as potentially
profitable.[260] In 1993, California's Green Day and Bad Religion were both signed to major labels. The next year,
Green Day released Dookie, which became a huge hit, selling eight million albums in just over two years.[261] Bad
Religion's Stranger Than Fiction was certified gold.[262] Other California punk bands on indie label Epitaph, run by
Bad Religion guitarist Brett Gurewitz, also began garnering mainstream success. In 1994, Epitaph put out Let's Go
by Rancid, Punk In Drublic by NOFX, and Smash by The Offspring, each eventually certified gold or better. Smash
went on to sell over 11 million copies, becoming the best-selling independent-label album of all time.[263] MTV and
radio stations such as Los Angeles' KROQ-FM played a major role in these bands' crossover success, though NOFX
refused to let MTV air its videos.[264] Green Day and Dookie's enormous sales paved the way for a host of bankable
North American pop punk bands in the following decade.[265] The Vans Warped Tour and the mall chain store Hot
Topic brought punk even further into the U.S. mainstream.
Following the lead of Boston's Mighty Mighty Bosstones and two California bands, Berkeley's Operation Ivy and
Long Beach's Sublime, ska punk and ska-core became widely popular in the mid-1990s. The original 2 Tone bands
Punk rock 22

had emerged amid punk rock's second wave, but their music was much closer to its Jamaican roots—"ska at 78
rpm".[266] Ska punk bands in the third wave of ska created a true musical fusion between the genres. ...And Out
Come the Wolves, the 1995 album by Rancid—which had evolved out of Operation Ivy—became the first record in
this ska revival to be certified gold;[267] Sublime's self-titled 1996 album was certified platinum early in 1997.[261]
By 1998, the punk revival had commercially stalled,[268] but not for long. Pop punk band Blink-182's 1999 release,
Enema of the State, reached the Billboard top ten and sold four million copies in less than a year.[261] New pop punk
bands such as Sum 41, Simple Plan, Yellowcard, and Good Charlotte achieved major sales in the first decade of the
2000s. In 2004, Green Day's American Idiot went to number one on both the U.S. and UK charts. Jimmy Eat World,
which had taken emo in a radio-ready pop punk direction,[269] had top-ten albums in 2004 and 2007; in a similar
style, Fall Out Boy hit number one with 2007's Infinity on High. The revival was broad-based: AFI, with roots in
hardcore and skate punk, had great success with 2003's Sing the Sorrow and topped the U.S. chart with
Decemberunderground in 2006. Alkaline Trio had three successive top-thirty albums, peaking at number 13 with
2008's Agony & Irony. Political bands opposed to the administration of George W. Bush such as Rise Against,
Anti-Flag, and Against Me! found success. Ska punk groups such as Reel Big Fish and Less Than Jake continued to
attract new fans. Celtic punk, with U.S. bands such as Flogging Molly and Dropkick Murphys merging the sound of
Oi! and The Pogues, reached wide audiences. The Australian punk rock tradition was carried on by groups such as
Frenzal Rhomb, The Living End, and Bodyjar.
With punk rock's renewed visibility came concerns among some in the
punk community that the music was being co-opted by the
mainstream.[264] They argued that by signing to major labels and
appearing on MTV, punk bands like Green Day were buying into a
system that punk was created to challenge.[270] Such controversies
have been part of the punk culture since 1977, when The Clash was
widely accused of "selling out" for signing with CBS Records.[271] The
effect of commercialization on the music itself was an even more
contentious issue. As observed by scholar Ross Haenfler, many punk
NOFX in concert in 2007
fans "'despise corporate punk rock', typified by bands such as Sum 41
and Blink 182".[272] By the 1990s, punk rock was so sufficiently
ingrained in Western culture that punk trappings were often used to market highly commercial bands as "rebels".
Marketers capitalized on the style and hipness of punk rock to such an extent that a 1993 ad campaign for an
automobile, the Subaru Impreza, claimed that the car was "like punk rock".[273]

See also
• List of punk bands
• Punk rock subgenres
• Timeline of punk rock

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• Pareles, Jon, and Patricia Romanowski (eds.) (1983). The Rolling Stone Encyclopedia of Rock & Roll (New York:
Rolling Stone Press/Summit Books). ISBN 0-671-44071-3
• Porter, Dick (2007). The Cramps: A Short History of Rock 'n' Roll Psychosis (London: Plexus). ISBN
0-85965-398-6
• Purcell, Natalie J. (2003). Death Metal Music: The Passion and Politics of a Subculture (Jefferson, N.C., and
London: McFarland). ISBN 0-7864-1585-1
• Raha, Maria (2005). Cinderella's Big Score: Women of the Punk and Indie Underground (Emeryville, Calif.:
Seal). ISBN 1-58005-116-2
• Reed, John (2005). Paul Weller: My Ever Changing Moods (London et al.: Omnibus Press). ISBN 1-84449-491-8
• Reynolds, Simon (1999). Generation Ecstasy: Into the World of Techno and Rave Culture (London: Routledge).
ISBN 0-415-92373-5
• Reynolds, Simon (2005). Rip It Up and Start Again: Post Punk 1978–1984 (London and New York: Faber and
Faber). ISBN 0-571-21569-6
• Robb, John (2006). Punk Rock: An Oral History (London: Elbury Press). ISBN 0-09-190511-7
• Rodel, Angela (2004). "Extreme Noise Terror: Punk Rock and the Aesthetics of Badness", in Bad Music: The
Music We Love to Hate, ed. Christopher Washburne and Maiken Derno (New York: Routledge), pp. 235–256.
ISBN 0-415-94365-5
• Sabin, Roger (1999). Punk Rock, So What? The Cultural Legacy of Punk (London: Routledge). ISBN
0-415-17030-3.
• Savage, Jon (1991). England's Dreaming: The Sex Pistols and Punk Rock (London: Faber and Faber). ISBN
0-312-28822-0
• Savage, Jon (1992). England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond (New York: St.
Martin's). ISBN 0-312-08774-8
• Shapiro, Fred R. (2006). Yale Book of Quotations (New Haven, Conn.: Yale University Press). ISBN
0-300-10798-6
Punk rock 25

• Schmidt, Axel, and Klaus Neumann-Braun (2004). Die Welt der Gothics: Spielräume düster konnotierter
Tranzendenz (Wiesbaden: VS Verlag). ISBN 3-531-14353-0
• Shuker, Roy (2002). Popular Music: The Key Concepts (London: Routledge). ISBN 0-415-28425-2
• Simpson, Paul (2003). The Rough Guide to Cult Pop: The Songs, the Artists, the Genres, the Dubious Fashions
(London: Rough Guides). ISBN 1-84353-229-8
• Spitz, Mark, and Brendan Mullen (2001). We Got the Neutron Bomb: The Untold Story of L.A. Punk (New York:
Three Rivers Press). ISBN 0-609-80774-9
• Stafford, Andrew (2006). Pig City: From the Saints to Savage Garden, 2d rev. ed. (Brisbane: University of
Queensland Press). ISBN 0-7022-3561-X
• Stark, James (2006). Punk '77: An Inside Look at the San Francisco Rock N' Roll Scene, 3d ed. (San Francisco:
RE/Search Publications). ISBN 1-889307-14-9
• Strohm, John (2004). "Women Guitarists: Gender Issues in Alternative Rock", in The Electric Guitar: A History
of an American Icon, ed. A. J. Millard (Baltimore: Johns Hopkins University Press), pp. 181–200. ISBN
0-8018-7862-4
• Strongman, Phil (2008). Pretty Vacant: A History of UK Punk (Chicago: Chicago Review Press). ISBN
1-55652-752-7
• St. Thomas, Kurt, with Troy Smith (2002). Nirvana: The Chosen Rejects (New York: St. Martin's). ISBN
0-312-20663-1
• Taylor, Steven (2003). False Prophet: Field Notes from the Punk Underground (Middletown, Conn.: Wesleyan
University Press). ISBN 0-8195-6668-3
• Taylor, Steve (2004). The A to X of Alternative Music (London and New York: Continuum). ISBN 0-8264-8217-1
• Unterberger, Richie (1998). Unknown Legends of Rock 'n' Roll: Psychedelic Unknowns, Mad Geniuses, Punk
Pioneers, Lo-Fi Mavericks & More (San Francisco: Backbeat). ISBN 0-87930-534-7
• Unterberger, Richie (1999). Music USA: The Rough Guide (London: Rough Guides). ISBN 1-85828-421-X
• Walker, John (1991). "Television", in The Trouser Press Record Guide, 4th ed., ed. Ira Robbins (New York:
Collier), p. 662. ISBN 0-02-036361-3
• Walsh, Gavin (2006). Punk on 45; Revolutions on Vinyl, 1976–79 (London: Plexus). ISBN 0-85965-370-6
• Wells, Steven (2004). Punk: Loud, Young & Snotty: The Story Behind the Songs (New York and London:
Thunder's Mouth). ISBN 1-56025-573-0
• Wilkerson, Mark Ian (2006). Amazing Journey: The Life of Pete Townshend (Louisville: Bad News Press). ISBN
1-4116-7700-5
• Wojcik, Daniel (1995). Punk and Neo-Tribal Body Art (Jackson: University Press of Mississippi). ISBN
0-87805-735-8

External links
• Fales Library of NYU Downtown Collection [274] archival collection with the personal papers of many
well-known punk figures
• A History of Punk [275] 1990 essay by rock critic A.S. Van Dorston
• Punk 77 [276] history of early UK punk
• " We Have to Deal With It: Punk England Report" [277], by Robert Christgau, Village Voice, January 9, 1978
Punk rock 26

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[30] Quoted in Savage (1991), p. 440. See also Laing (1985), pp. 27–32.
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[37] See, e.g., Laing (1985), "Picture Section", p. 18.
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[39] Wojcik (1995), pp. 16–19; Laing (1985), p. 109.
Punk rock 27

[40] Laing (1985), pp. 89, 97–98, 125.

[41] Laing (1985), p. 92, 88.
[42] Laing (1985), p. 89, 92–93.
[43] Laing (1985), pp. 34, 61, 63, 89–91.
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[46] Laing (1985), p. 82.
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[49] Sabin (1999), p. 157.
[50] Harrington (2002), p. 165.
[51] Reed (2005), p. 49.
[52] Fletcher (2000), p. 497.
[53] MC5: Kick Out the Jams (http:/ / www. rollingstone. com/ artists/ mc5/ albums/ album/ 105316/ review/ 5941601/ kick_out_the_jams)
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[54] Marcus (1979), p. 294.
[55] Taylor (2003), p. 49.
[56] Harrington (2002), p. 538.
[57] Bessman (1993), pp. 9–10.
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[60] Klimek, Jamie, "Mirrors" (http:/ / www. jilmar. com/ mirrors/ story. html), Jilmar Music; Jäger, Rolf, "Styrenes—A Brief History" (http:/ /
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[61] Ohtaka, Toshikazu. "Interview with Mick Farren" (http:/ / web. archive. org/ web/ 20080508000420/ http:/ / www. thanatosoft. freeserve.
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[63] Laing (1985), pp. 24–26.
[64] Robb (2006), p. 51.
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[70] Shapiro (2006), p. 492.
[71] Bangs, Lester, "Of Pop and Pies and Fun" (http:/ / www. creemmagazine. com/ _site/ BeatGoesOn/ IggyPop/ OfPopAndPiesPt001. html),
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[72] Nobahkt (2004), p. 38.
[73] Shapiro (2006), p. 492. Note that Taylor (2003) misidentifies the year of publication as 1970 (p. 16) as does Scott Woods in the introduction
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[75] Houghton, Mick, "White Punks on Coke", Let It Rock. December 1975.
[76] Taylor (2003), p. 16.
[77] Atkinson, Terry, "Hits and Misses", Los Angeles Times, February 17, 1973, p. B6.
[78] Laing (1985), p. 13; "Punk Magazine Listening Party # 7" (http:/ / www. punkmagazine. com/ stuff/ morestuff/ listening_party7. html), Punk
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[79] Hilburn, Robert, "Touch of Stones in Dolls' Album", Los Angeles Times, May 7, 1974, p. C12.
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Punk rock 28

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[81] Savage (1991), p. 131.
[82] Savage (1991), pp. 130–131.
[83] Taylor (2003), pp. 16–17.
[84] Savage (1991), pp. 86–90, 59–60.
[85] Walker (1991), p. 662.
[86] Strongman (2008), pp. 53, 54, 56.
[87] Savage (1992), p. 89.
[88] Bockris and Bayley (1999), p. 102.
[89] "Patti Smith—Biography" (http:/ / web. archive. org/ web/ 20071103053048/ http:/ / www. arista. com/ psmith/ smithbio. html). Arista
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[92] Savage (1991), pp. 132–133.
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[96] Strongman (2008), p. 96; Savage (1992), p. 130.
[97] Walsh (2006), p. 27.
[98] Savage (1991), p. 132.
[99] Walsh (2006), pp. 15, 24; for Punk, Wayne County, and punk homosexuality, see McNeil and McCain (2006), pp. 272–275; Savage (1992),
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[109] Andersen and Jenkins (2001), pp. 2–13.
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[116] McFarlane (1999), p. 548.
[117] Beaumont, Lucy (2007-08-17). ""Great Australian Albums [TV review]" " (http:/ / www. theage. com. au/ news/ tv-reviews/
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[118] Stafford (2006), pp. 57–76.
[119] McFarlane (1999), p. 507.
Punk rock 29

[120] McCaleb (1991), p. 529.

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[122] Gimarc (2005), p. 22; Robb (2006), p. 114; Savage (1992), p. 129.
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[127] Savage (1992), p. 163.
[128] Savage (1992), pp. 124, 171, 172.
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[138] See, e.g., Marcus (1989), pp. 37, 67.
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[141] Savage (1992), pp. 221, 247.
[142] Heylin (1993), p. xii.
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[144] Savage (1992), p. 253.
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[147] Pardo (2004), p. 245.
[148] Lydon (1995), p. 127; Savage (1992), pp. 257–260; Barkham, Patrick, "Ex-Sex Pistol Wants No Future for Swearing" (http:/ / www.
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[149] Savage (1992), pp. 267–275; Lydon (1995), pp. 139–140.
[150] Reynolds (2005), p. 211.
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[153] Stark (2006), passim.
[154] Unterberger (1999), p. 398. For examples of early California punk recordings, see Dangerhouse Records—Part 1 (http:/ / www.
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[155] Keithley (2004), pp. 31–32.
[156] Keithley (2004), pp. 24, 35, 29–43, 45 et seq.
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Punk rock 30

[158] Worth, Liz. "A Canadian Punk Revival" (http:/ / www. exclaim. ca/ articles/ research. aspx?csid1=111). Exclaim, June 2007. Retrieved on
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[160] Porter (2007), pp. 48–49; Nobahkt (2004), pp. 77–78.
[161] Adams (2002), pp. 377–380.
[162] Aaron, Charles, "The Spirit of '77" (http:/ / www. spin. com/ features/ magazine/ 2007/ 09/ 0710_spiritof77/ ), Spin, September 20, 2007.
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[164] Andersen and Jenkins (2001), pp. 11–15, 23–26, 32, 35, 39, 41, 49, 59, 60, 68, 84, 91, 93 et seq.
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[166] Savage (1992), pp. 260, 263–267, 277–279; Laing (1985), pp. 35, 37, 38.
[167] Savage (1992), p. 286.
[168] Savage (1992), pp. 296–298; Reynolds (2005), pp. 26–27.
[169] Colegrave and Sullivan (2005), p. 225.
[170] Reynolds (2005), pp. xvii, xviii, xxiii
[171] Savage (1991), p. 298.
[172] Reynolds (2005), pp. 171–172; Buckley (2003), p. 1179; Strongman (2008), p. 232.
[173] Shuker (2002), p. 228; Wells (2004), p. 113; Myers (2006), p. 205; ""Reggae 1977: When The Two 7's Clash"" (http:/ / www. punk77. co.
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[175] Wells (2004), p. 114.
[176] Strongman (2008), pp. 182–184.
[177] The title echoes a lyric from the title track of Patti Smith's 1975 album Horses
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[188] Burns (1995), p. 313.
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[192] Savage (1992), p. 581; Nitwit, Tony. "Holland Scene Report" (http:/ / www. operationphoenixrecords. com/
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[193] Schrader, Stuart. "Drogas, Sexo, Y Un Dictador Muerto: 1978 on Vinyl in Spain" (http:/ / www. shit-fi. com/ Articles/ Spain1978/
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[194] "Ebba Grön" (http:/ / www. music. com/ person/ ebba_gron/ 1/ ) Music.com; "KSMB" (http:/ / www. music. com/ group/ ksmb/ 1/ )
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Punk rock 31

[195] Mumenthaler, Samuel "Swiss Pop & Rock Anthology from the Beginnings till 1985: WAVE (3)" (http:/ / swissmusic. swissinfo. org/ eng/
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[196] Blush (2001), p. 18; Reynolds (2006), p. 211; Spitz and Mullen (2001), pp. 217–232; Stark (2006), "Dissolution" (pp. 91–93); see also,
"Round-Table Discussion: Hollywood Vanguard vs. Beach Punks!" (http:/ / flipsidefanzine. com/ PortalHome. html) (Flipsidezine.com article
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[197] Spitz and Mullen (2001), pp. 274–279.
[198] See also Reynolds (2005), pp. 208–211.
[199] Dougan, John. Flipper—Biography (http:/ / allmusic. com/ cg/ amg. dll?p=amg& sql=11:aifuxqe5ldje~T1). Allmusic. Retrieved on
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[200] Reynolds (2005), pp. 1–2, 17; Laing (1985), p. 109; Savage (1991), p. 396.
[201] Laing (1985), p. 108.
[202] Savage (1992), p. 530.
[203] Reynolds (2005), p. xvii.
[204] Quoted in Wells (2004), p. 21.
[205] See, e.g., Spencer, Neil, and James Brown, "Why the Clash Are Still Rock Titans" (http:/ / music. guardian. co. uk/ rock/ story/
0,,1934098,00. html), The Observer (UK), October 29, 2006. Retrieved February 28, 2006.
[206] Namaste (2000), p. 87; Laing (1985), pp. 90–91.
[207] Gendron (2002), pp. 269–274.
[208] Strongman (2008), p. 134.
[209] Laing (1985), pp. 37.
[210] Wojcik (1995), p. 22.
[211] Schild, Matt, "Stuck in the Future" (http:/ / www. aversion. com/ bands/ interviews. cfm?f_id=292), Aversion.com, July 11, 2005.
Retrieved on January 21, 2007.
[212] Reynolds (2005), p. 79.
[213] "New Wave" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=19:T727), Allmusic. Retrieved on January 17, 2007.
[214] Reynolds (2005), p. xxi.
[215] Reynolds (2005), pp. 212–218; Miles, Scott, and Morgan (2005), p. 138.
[216] Reynolds (2005), pp. xxvii, xxix.
[217] Reynolds (2005), p. xxix.
[218] See, e.g., Television (http:/ / www. rhapsody. com/ television/ more. html) overview by Mike McGuirk, Rhapsody; Marquee Moon (http:/ /
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PopMatters. All retrieved January 15, 2007.
[219] See, e.g., Buckley (2003), p. 13.
[220] See. e.g., Reynolds (1999), p. 336; Savage (2002), p. 487.
[221] Harrington (2002), p. 388.
[222] Sabin (1999), p. 4.
[223] Andersen and Jenkins (2001).
[224] Blush (2001), p. 17; Coker, Matt, "Suddenly In Vogue: The Middle Class May Have Been the Most Influential Band You’ve Never Heard
Of" (http:/ / www. ocweekly. com/ features/ music-feedback/ suddenly-in-vogue/ 16269/ ), OC Weekly, December 5, 2002. Retrieved on
March 26, 2007.
[225] Van Dorston, A.S., "A History of Punk" (http:/ / www. fastnbulbous. com/ punk. htm), fastnbulbous.com, January 1990. Retrieved on
December 30, 2006.
[226] Blush (2001), pp. 12–21.
[227] Andersen and Jenkins (2001), p. 89; Blush (2001), p. 173; Diamond, Mike. ""Beastie Boys Biography"" (http:/ / www. sing365. com/
music/ lyric. nsf/ Beastie-Boys-Biography/ 0B982363068317484825682C0009A5AE). Sing365.com. . Retrieved 2008-01-04.
[228] Leblanc (1999), p. 59.
[229] Lamacq, Steve, "x True Til Death x" (http:/ / www. bbc. co. uk/ radio1/ documentaries/ 060829_straightedge. shtml), BBC Radio 1, 2003.
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[230] Sabin (1999), p. 216 n. 17; Dalton, Stephen, "Revolution Rock", Vox, June 1993.
[231] Robb (2006), p. 469.
[232] Robb (2006), p. 511.
[233] Quoted in Robb (2006), pp. 469–470.
[234] Robb (2006), p. 470.
[235] Bushell, Gary. " Oi!—The Truth (http:/ / www. garry-bushell. co. uk/ oi/ index. asp)". Uncensored Garry Bushell. Retrieved on May 11,
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[236] Fleischer, Tzvi. "Sounds of Hate" (http:/ / www. aijac. org. au/ review/ 2000/ 258/ sounds. html). Australia/Israel & Jewish Affairs Council
(AIJAC), August 2000. Retrieved on January 14, 2007.
[237] Robb (2006), pp. 469, 512.
[238] Gimarc (1997), p. 175; Laing (1985), p. 112.
[239] Wells (2004), p. 35.
[240] Scaruffi, Piero (2005). "Anarchists" (http:/ / www. scaruffi. com/ history/ cpt42. html). The History of Rock Music: 1976–1989. . Retrieved
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[241] Purcell (2003), pp. 56–57.
[242] News Items (http:/ / sosrecords. us/ label/ taxonomy/ term/ 1). SOS Records, March 12, 2007; Links (http:/ / www. animamundi. org/ links.
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[244] Cooper, Ryan. "The Buzzcocks, Founders of Pop Punk" (http:/ / punkmusic. about. com/ od/ artistprofiles/ p/ buzzcocksfinal. htm).
About.com. Retrieved on December 16, 2006.
[245] Myers (2006), p. 52.
[246] Di Bella, Christine. "Blink 182 + Green Day" (http:/ / www. popmatters. com/ music/ concerts/ b/ blink-182-020611. shtml).
PopMatters.com. June 11, 2002. Retrieved on February 4, 2007.
[247] Porter (2007), p. 86.
[248] Simpson (2003), p. 42.
[249] Laing (1985), pp. 118, 128.
[250] Goodlad and Bibby (2007), p. 16.
[251] Azerrad (2001), passim; for relationship of Hüsker Dü and The Replacements, see pp. 205–206.
[252] Goldberg, Michael, "Punk Lives" (http:/ / www. thirdav. com/ zinestuff/ rs452. html), Rolling Stone, July 18 – August 1, 1985.
[253] Erlewine, Stephen Thomas. " American Alternative Rock / Post-Punk (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=19:T578)".
Allmusic. Retrieved on December 12, 2006
[254] Friedlander and Miller (2006), pp. 256, 278.
[255] "Kurt Donald Cobain" (http:/ / www. thebiographychannel. co. uk/ biography_story/ 691:1872/ 1/ Kurt_Donald_Cobain. htm), Biography
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[256] Quoted in St. Thomas (2004), p. 94.
[257] See, e.g., "You Are So Not Scene (1): The Fall of Emo as We (Don't) Know It" (http:/ / www. pastepunk. com/ columns. php?v=157)
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[258] Raha (2005), p. 154.
[259] McGowen, Brice. "Eye of the Tiger" (http:/ / www. unc. edu/ glbtsa/ lambda/ articles/ 28/ 3/ letigre. htm). Lamda, February/March 2005.
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[260] Zuel, Bernard (April 2, 2004), "Searching for Nirvana" (http:/ / www. smh. com. au/ articles/ 2004/ 04/ 01/ 1080544618404. html), Sydney
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[261] See, e.g., Searchable Database—Gold and Platinum (http:/ / www. riaa. com/ goldandplatinumdata. php?table=SEARCH), RIAA.
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[262] Fucoco, Christina (November 1, 2000), "Punk Rock Politics Keep Trailing Bad Religion" (http:/ / www. livedaily. com/ news/ 2098. html),
liveDaily. Retrieved on September 1, 2008.
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September 1, 2008.
[264] Gold, Jonathan. "The Year Punk Broke.” SPIN. November 1994.
[265] D'Angelo, Joe, "How Green Day's Dookie Fertilized A Punk-Rock Revival" (http:/ / www. mtv. com/ news/ articles/ 1491001/ 20040915/
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[266] Hebdige (1987), p. 111.
[267] ...And Out Come the Wolves was certified gold in January 1996. Let's Go, Rancid's previous album, received its gold certification in July
2000.
[268] Gross (2004), p. 677.
[269] Pierce, Carrie, "Jimmy Eat World: Futures—Interscope Records" (http:/ / media. www. thebatt. com/ media/ storage/ paper657/ news/
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[270] Myers (2006), p. 120.
[271] Knowles (2003), p. 44.
[272] Haenfler (2006), p. 12.
[273] Klein (2000), p. 300.
 33

Main article

The Clash
The Clash

The Clash performing in Oslo in 1980. Left to right: Joe Strummer, Mick Jones, and Paul Simonon.

Background information

Origin London, England

Genres Punk rock

Years active 1976–1986

Labels CBS

Associated acts The 101'ers; London SS; Generation X; Big Audio Dynamite; Havana 3am; The Latino Rockabilly War; The
Pogues; The Mescaleros; Carbon/Silicon; The Good, the Bad and the Queen; Gorillaz

Website [1]
www.theclash.com

Former members

Mick Jones
Keith Levene
Paul Simonon
Terry Chimes
Joe Strummer
Rob Harper
Nicky "Topper" Headon
Pete Howard
Nick Sheppard
Vince White

The Clash were an English punk band that formed in 1976 as part of the original wave of British punk rock. Along
with punk, they experimented with 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, backing vocals, occasional lead vocals) and Nicky "Topper" Headon (drums, percussion). Headon
left the group in 1982, and internal friction led to Jones's departure the following year. The group continued with
new members, but finally disbanded in early 1986.
The Clash were a major success in the UK from the release of their debut album, The Clash, in 1977. Their third
album, London Calling, released in the UK in December 1979, brought them popularity in the United States when it
came out there the following month. Critically acclaimed, it was declared the best album of the 1980s a decade later
by Rolling Stone magazine.[1]
The Clash 34

The Clash's politicized lyrics, musical experimentation and rebellious attitude had a far-reaching influence on rock,
alternative rock in particular.[2] They became widely referred to as "The Only Band That Matters", originally a
promotional slogan introduced by the group's record label, CBS. In January 2003, the band—including original
drummer Terry Chimes—were inducted into the Rock and Roll Hall of Fame. In 2004, Rolling Stone ranked The
Clash number 30 on their list of the 100 Greatest Artists of All Time.[3]

History

Origins: 1974–1976
Before The Clash's founding, the band's future members were active in different parts of the London music scene.
John Graham Mellor sang and played rhythm guitar in the pub rock act The 101'ers, which formed in 1974. By the
time The Clash came together two years later, he had already abandoned his original stage name, "Woody" Mellor,
in favour of "Joe Strummer", a reference to his rudimentary strumming skills on the ukulele as a busker in the
London Underground. Mick Jones played guitar in legendary protopunk band London SS, which rehearsed for much
of 1975 without ever playing a live show and recording only a single demo. London SS was managed by Bernard
Rhodes, a sometime associate of impresario Malcolm McLaren and a friend of the band McLaren managed, the Sex
Pistols. Jones and his bandmates became friendly with Sex Pistols Glen Matlock and Steve Jones, who would assist
them as they tried out potential new members.[4] Among those who auditioned for London SS without making the
cut were Paul Simonon, who tried out as a vocalist,[5] and drummer Terry Chimes. Nicky Headon drummed with the
band for a week, then quit.[6]
After London SS broke up in early 1976, Rhodes continued as Jones's manager. In February, Jones saw the Sex
Pistols perform for the first time: "You knew straight away that was it, and this was what it was going to be like from
now on. It was a new scene, new values—so different from what had happened before. A bit dangerous."[7] At the
instigation of Rhodes, Jones contacted Simonon in March, suggesting he learn an instrument so he could join the
new band Jones was organising.[5] Soon Jones, Simonon on bass, Keith Levene on guitar and "whoever we could
find really to play the drums" were rehearsing.[8] In late May, Chimes was asked to audition and became the band's
full-time drummer.[9]
The act was still searching for a lead singer. Chimes recalls one Billy Watts (who "seemed to be, like, nineteen or
eighteen then, as we all were") handling the duties for a time.[10] Rhodes had his eye on Strummer, with whom he
made exploratory contact. Jones and Levene had both seen him perform and were impressed as well.[11] Strummer,
for his part, was primed to make the switch. In April, he had taken in the opening act for one of his band's gigs. That
act was the Sex Pistols. "I knew something was up," Strummer later explained,
so I went out in the crowd which was fairly sparse. And I saw the future—with a snotty
handkerchief—right in front of me. It was immediately clear. Pub rock was, "Hello, you bunch of
drunks, I'm gonna play these boogies and I hope you like them." The Pistols came out that Tuesday
evening and their attitude was "Here's our tunes, and we couldn't give a flying fuck whether you like
them or not. In fact, we're gonna play them even if you fucking hate them."[12]
On 30 May, Rhodes and Levene met surreptitiously with Strummer after a 101'ers gig. Rhodes gave him 48 hours to
make up his mind whether he wanted to join the new band that would "rival the Pistols". When Rhodes rang him up
a day early demanding an immediate answer, Strummer agreed.[13] Simonon later remarked, "Once we had Joe on
board it all started to come together."[8] Chimes did not take to him at first: "He was like twenty-two or twenty-three
or something that seemed 'old' to me then. And he had these retro clothes and this croaky voice".[10] Simonon came
up with the band's name after they had briefly dubbed themselves the Weak Heartdrops and the Psychotic
Negatives.[14] [15] He later explained the name's origin: "It really came to my head when I started reading the
newspapers and a word that kept recurring was the word 'clash', so I thought 'The Clash, what about that,' to the
others. And they and Bernard, they went for it."[14]
The Clash 35

First gigs and the growing scene: 1976

After rehearsing with Strummer for less than a month, The Clash made their debut on 4 July 1976, supporting the
Sex Pistols at the Black Swan in Sheffield. The band apparently wanted to make it on-stage before their rivals in The
Damned—another London SS spinoff—made their own scheduled debut two days later. The Clash would not play in
front of an audience again for another five weeks.[16] Levene was becoming disaffected with his position in the
group. At the Black Swan, he approached the Sex Pistols' lead singer, John Lydon (then going by Johnny Rotten),
and suggested they get a band together if the Pistols ever broke up.[17]
The night after their debut, the band members along with most of the Sex Pistols and much of the rest of London's
"inner circle" of punks showed up at Dingwalls club to attend a concert by New York's leading punk rock band, the
Ramones. Afterward "came the first example of the rivalry-induced squabbling that was to dog the punk scene and
undermine any attempts to promote a spirit of unity among the bands involved."[18] Simonon got into a scuffle with
J.J. Burnel, the bass player of The Stranglers. A slightly older band, The Stranglers were publicly identified with the
punk scene, but were not part of the "inner circle" centred on the Sex Pistols.[18]
With Rhodes insisting that the band not perform live again until they were much tighter, The Clash rehearsed
intensely over the following month. Strummer and Jones shared most of the writing duties—"Joe would give me the
words and I would make a song out of them", Jones later said.[19] Sometimes they would meet in the office over their
Camden rehearsal studio to collaborate directly.[18] According to a later description of Strummer's, "Bernie [Rhodes]
would say, 'An issue, an issue. Don't write about love, write about what's affecting you, what's important."[20]
Strummer took the lead vocals on the majority of songs; in some cases he and Jones shared the lead. Once the band
began recording, Jones would rarely have a solo lead on more than one song per album, but he would wind up
responsible for two of the group's biggest hits. On 13 August, The Clash—sporting a paint-spattered "Jackson
Pollock" look—played before a small, invitation-only audience in their Camden studio.[21] Among those in
attendance was Sounds critic Giovanni Dadamo. His review described the band as a "runaway train...so powerful,
they're the first new group to come along who can really scare the Sex Pistols shitless".[22]
On 29 August, The Clash and Manchester's Buzzcocks opened for the Sex Pistols at the Screen on the Green—The
Clash's first public performance since 4 July. The triple bill is seen as pivotal to the British punk scene's
crystallisation into a movement.[23] In early September, Levene was kicked out of The Clash. Strummer would claim
that Levene's dwindling interest in the band owed to his supposedly abundant use of speed, a charge Levene has
denied.[24] (Levene and Lydon would form Public Image Ltd. in 1978.) On 21 September, The Clash performed
publicly for the first time without Levene at another seminal concert: the 100 Club Punk Special, sharing the bill
with the Sex Pistols, Siouxsie and the Banshees and Subway Sect.[25] Chimes left in late November; he was briefly
replaced by Rob Harper as The Clash toured in support of the Sex Pistols during December's Anarchy Tour.[26]

Debut album and Give 'Em Enough Rope: 1977–1979

By the turn of the year, punk had become a major media phenomenon in the UK. On 25 January 1977, The Clash
signed to CBS Records for £100,000, a remarkable amount for a band that had played a total of about thirty gigs and
almost none as a headliner.[27] As Clash historian Marcus Gray describes, the "band members found themselves
having to justify [the deal] to both the music press and to fans who picked up on the critics' muttered asides about
The Clash having 'sold out' to the establishment."[28] Mark Perry, founder of the leading London punk periodical,
Sniffin' Glue, let loose with what he would later call his "big quote": "Punk died the day The Clash signed to
CBS."[29] As one band associate described it, the deal "was later used as a classic example of the kind of contract
that no group should ever sign—the group had to pay for their own tours, recordings, remixes, artwork,
expenses...."[30]
Mickey Foote, who worked as a technician at their concerts, was hired to produce The Clash's debut album, and
Terry Chimes was drafted back for the recording. The band's first single, "White Riot", was released in March 1977;
the album, The Clash, came out the following month. Filled with fiery punk tracks, it also presaged the many eclectic
The Clash 36

turns the band would take with its cover of the reggae song "Police and Thieves". "[A]midst the Sex Pistols' inertia in
the first half of 1977, the Clash found themselves as the flag-wavers of the punk rock consciousness", according to
music journalist and former punk musician John Robb.[31] Though both the single and album charted well in the
UK—"White Riot" reached number 34, The Clash number 12—CBS refused to release either in the United States,
saying that the sound was not “radio friendly”.[32] A US version of the album with a modified track listing was
released in 1979, after the UK original became the best-selling import album of all time in the United States.[33]
Chimes left the band again soon after the recording, so only Simonon, Jones and Strummer were featured on the
album's cover, and Chimes was credited as "Tory Crimes". In the documentary Westway to the World, Jones referred
to him as one of "the best drummers around". Chimes, who had no great wish to make a career from music, said,
"The point was that I wanted one kind of life—they wanted another, and why are we working together, if we want
completely different things?"[32]
The band went through several drummers, with Jones handling the duties for a time.[34] They finally recruited Nicky
Headon, who had played briefly with Jones's London SS two years before. Headon was nicknamed "Topper" by
Simonon, who felt he resembled the Topper comic book character Mickey the Monkey. An excellent musician,
Headon could also play piano, bass and guitar. He originally planned to stay briefly, gain a name for himself, and
then find a better band. Realising The Clash's potential, he changed his plans. Strummer later observed, "If we hadn't
found Topper, I don't think we'd have got anywhere".[32] In May, the band set out on the White Riot Tour, headlining
a punk package that included the Buzzcocks, Subway Sect, The Slits and The Prefects.[35] The day after a Newcastle
gig, Strummer and Headon were arrested for stealing pillowcases from their hotel room.[36] That same month, CBS
released "Remote Control" as the debut LP's second single, defying the wishes of the band, who saw it as one of the
album's weakest tracks.[37]
Headon's first recording with the band was the single "Complete Control", which addressed the band's anger at their
record label's behavior. It was co-produced by famed reggae artist Lee "Scratch" Perry, but Foote was summoned to
"ground things" a bit and the result was pure punk rock. Released in September 1977—NME noted how CBS
allowed the group to "bait their masters"—it rose to number 28 on the British chart and has gone on to be cited as
one of punk's greatest singles.[38] In February 1978, the band came out with the single "Clash City Rockers". June
saw the release of "(White Man) In Hammersmith Palais", which surprised fans with its ska rhythm and
arrangement.
Before The Clash began recording their second album, CBS requested that they adopt a cleaner sound than its
predecessor in order to reach American audiences. Sandy Pearlman, known for his work with Blue Öyster Cult, was
hired to produce the record. Although some complained about its relatively mainstream production style, Give 'Em
Enough Rope received largely positive reviews upon its November release.[39] It hit number 2 in the UK, but it was
not the American breakthrough CBS had hoped for, reaching only number 128 on the Billboard chart. The album's
first UK single, the hard rocking "Tommy Gun", rose to number 19, the highest chart position for a Clash single to
date. In support of the album, the band undertook its first, largely successful tour of North America in February
1979.[40]
The Clash 37

London Calling, Sandinista! and Combat Rock: 1979–1982

In August and September 1979, The Clash recorded London Calling.
Produced by Guy Stevens, who had previously worked with Mott the
Hoople and others, the double album was a mix of punk rock, reggae,
ska, rockabilly, traditional rock and roll and other elements possessed
of an energy that had hardly flagged since the band's early days and
more polished production.[43] [44] It is regarded as one of the greatest
rock albums ever recorded.[45] Its final track, a relatively
straightforward rock and roll number sung by Mick Jones called "Train
in Vain", was included at the last minute and thus did not appear in the
track listing on the cover. It turned out to be their first US Top 40 hit,
peaking at number 23 on the Billboard chart. In the UK, where "Train
in Vain" was not released as a single, London Calling's title track, The "iconic" cover of London Calling
[41] [42]
stately in beat but unmistakably punk in message and tone, rose to
number 11—the highest position any Clash single reached in the UK before the band's breakup. London Calling
reached number 9 on the British chart and number 27 on the US chart. The cover of the album became one of the
best known in the history of rock.[42] Based on the cover of Elvis Presley's self-titled 1956 debut album, its image of
Simonon smashing his bass guitar was later cited as the "best rock 'n roll photograph of all time" by Q magazine.[41]
During this period, The Clash began to be regularly billed as "The Only Band That Matters". Musician Gary Lucas,
then employed by CBS Records' creative services department, claims to have coined the tagline.[46] The epithet was
soon widely adopted by fans and music journalists.[47]

The Clash planned to record and release a single every month in 1980. CBS balked at this idea, and the band came
out with only one single—an original reggae tune, "Bankrobber", in August—before the December release of the
3-LP, 36-song Sandinista!. The album again reflected a broad range of musical styles, including extended dubs and
the first forays into rap by a major rock band. Produced by the band members with the participation of Jamaican
reggae artist Mikey Dread, Sandinista! was their most controversial album to date, both politically and musically.[48]
Critical opinion was divided, often within individual reviews. Trouser Press's Ira Robbins described half the album
as "great", half as "nonsense" and worse.[49] In the New Rolling Stone Record Guide, Dave Marsh argued,
"Sandinista! is nonsensically cluttered. Or rather seems nonsensically cluttered. One of the Clash's principal
concerns...is to avoid being stereotyped."[50] The album fared well in America, charting at number 24,[51] even
though it had no catchy single and, in the increasingly conservative environment of album-oriented rock (AOR)
radio in the US, received minimal airplay.[32]
During 1981, the band came out with a single, "This Is Radio Clash", that further demonstrated their ability to mix
diverse influences such as dub and hip hop. They set to work on their fifth album in the fall, originally planning it as
a 2-LP set with the title Rat Patrol from Fort Bragg. Mick Jones produced one cut, but the other members were
dissatisfied. Production duties were handed to Glyn Johns, and the album was reconceived as a single LP. Though
Combat Rock was filled with offbeat songs, experiments with sound collage, and a spoken word vocal by Beat poet
Allen Ginsberg, it contained two "radio friendly" tracks. The leadoff single in the US was "Should I Stay or Should I
Go", released in June 1982. Another Jones feature in a rock and roll style similar to "Train in Vain", it received
heavy airplay on AOR stations. The follow-up, "Rock the Casbah", put lyrics addressing the Iranian clampdown on
imports of Western music to a bouncy dance rhythm. (The singles were released in the opposite order in the UK,
where they were both preceded by "Know Your Rights".) The music for "Rock the Casbah" was composed by
Headon, who performed not only the percussion but also the piano and bass heard on the recorded version.[52] It was
the band's biggest US hit ever, charting at number 8, and the video was put into heavy rotation by MTV.[32] The
album itself was the band's most successful, hitting number 2 in the UK and number 7 in the US.
The Clash 38

Disintegration: 1982–1984
After Combat Rock, The Clash began to disintegrate. Topper Headon was asked to leave the band just prior to the
release of the album, due to his heroin addiction, which was damaging his health and drumming.[32] [53] The band's
original drummer, Terry Chimes, was brought back for the next few months. The loss of Headon, well-liked by the
others, exposed the growing frictions within the band. Jones and Strummer began to feud. The band opened for The
Who on a leg of their final tour in the US, playing (among other places) New York's Shea Stadium. Though The
Clash continued to tour, the personal tensions were increasing.[32]
In early 1983, Chimes left the band after the end of the Combat Rock Tour, due to the in-fighting and turmoil. He
was replaced by Pete Howard for the US Festival in San Bernardino, California, which The Clash co-headlined,
along with David Bowie and Van Halen. The band argued with the event's promoters over inflated ticket prices,
threatening to pull out unless a large donation was made to a local charity. The group ultimately performed on 28
May, the festival's New Music Day, which drew a crowd of 140,000. After the show, members of the band brawled
with security staff.[54] This was Jones's last appearance with the group. In September 1983, he was fired. Shortly
thereafter, he became a founding member of General Public, but left that band as they were recording their first
album. Jones then founded the long-lasting project Big Audio Dynamite.
Nick Sheppard, formerly of the Bristol-based Cortinas, and Vince White were selected as The Clash's new guitarists.
Howard continued as the drummer. The reconstituted band played its first shows in January 1984 with a batch of
new material and launched into the self-financed Out of Control Tour, travelling widely over the winter and into
early summer. At a striking miners' benefit show ("Scargill's Christmas Party") in December 1984, they announced
that a new record would be released early in the new year.

Cut the Crap, final breakup, and aftermath: 1985–1991

The recording sessions for Cut the Crap were chaotic, with manager Bernard Rhodes and Strummer working in
Munich. Most of the music was played by studio musicians, with Sheppard and later White flying in to provide
guitar parts. Struggling with Rhodes for control of the band, Strummer returned home. The band went on a busking
tour of public spaces in cities throughout the UK, playing acoustic versions of their hits and popular cover tunes.
After a gig in Athens, Strummer went to Spain to clear his mind. While he was abroad, the first single from Cut the
Crap, the mournful "This Is England", was released to mostly negative reviews. "CBS had paid an advance for it so
they had to put it out", Strummer later explained. "I just went, 'Well fuck this', and fucked off to the mountains of
Spain to sit sobbing under a palm tree, while Bernie had to deliver a record."[12] However, critic Dave Marsh later
championed "This Is England" as one of the top 1001 rock singles of all time.[55] The single has also received
retroactive praise from Q magazine and others.
"This Is England", much like the rest of the album that came out later that year, had been drastically re-engineered by
Rhodes, with synths and football-style chants added to Strummer's incomplete recordings. Although Howard was an
adept drummer, drum machines were used for virtually all of the percussion tracks. For the remainder of his life,
Strummer largely disowned the album,[53] although he did profess that "I really like 'This is England' [and album
track] 'North and South' is a vibe."[12] Other songs played on the tour remain unreleased to this day, including
"Jericho" and "Glue Zombie". The Clash effectively disbanded in early 1986.[44]
After the breakup, Strummer contacted Jones in an effort to reform The Clash. Jones, however, had already formed a
new band, Big Audio Dynamite (B.A.D.), that had released its debut late in 1985. The two did work together on their
respective 1986 projects. Jones helped out with the two songs Strummer wrote and performed for the Sid and Nancy
soundtrack. Strummer, in turn, cowrote a number of the tracks on the second B.A.D. album, No. 10, Upping St.,
which he also coproduced.[12] With Jones committed to B.A.D., Strummer moved on to various solo projects and
screen acting work. Simonon formed a band called Havana 3am. Headon recorded a solo album, before once again
spiraling into drug abuse. Chimes drummed with a succession of different acts.
The Clash 39

On 2 March 1991, a reissue of “Should I Stay or Should I Go” gave The Clash its first and only number 1 UK single.
That same year, Strummer reportedly cried when he learned that "Rock the Casbah" had been adopted as a slogan by
US bomber pilots in the Gulf War.[56]

Collaborations and reunions: 1999–present

In 1999, Strummer, Jones and Simonon cooperated in the compiling of the live album From Here to Eternity and
video documentary Westway to the World. On 7 November 2002, the Rock and Roll Hall of Fame announced that
The Clash would be inducted into the Hall the following spring.[57] On 15 November, Jones and Strummer shared
the stage, performing three Clash songs during a London benefit show by Joe Strummer and the Mescaleros.[51]
Strummer, Jones and Headon wanted to play a reunion show to coincide with their induction into the Hall. Simonon,
however, did not want to participate because he believed that playing at the high-priced event would not have been
in the spirit of The Clash. In the event, Strummer's sudden death from a congenital heart defect on 22 December
2002 ended any possibility of a full reunion. In March 2003, the Hall of Fame induction took place; the band
members inducted were Strummer, Jones, Simonon, Chimes and Headon.[51]
In early 2008, Carbon/Silicon, the new band founded by Mick Jones and his former London SS bandmate Tony
James, entered into a six-week residency at London's Inn on the Green. On opening night, 11 January, Headon joined
the band for The Clash's "Train in Vain". An encore followed with Headon playing drums on "Should I Stay or
Should I Go". This was the first time since 1982 that Headon and Jones had performed together on stage.[58]
Jones and Headon reunited in September 2009 to record the 1970s Clash B-side "Jail Guitar Doors" with Billy
Bragg. The song is the namesake of a charity founded by Bragg which gives musical instruments and lessons to
prison inmates. Jones, Headon, and Bragg were backed by former inmates during the recording. It was the first time
that Jones and Headon had been in the studio together since 1982. The recording was filmed for an upcoming
documentary about the charity, "Breaking Rocks."[59]
Simonon and Jones featured on the title track of the Gorillaz album Plastic Beach in 2010. This reunion marked the
first time the two performers had worked together professionally in over twenty years. They later joined the Gorillaz
on tour for their "G-Club" shows in the United Kingdom.[60]

Politics
The band's music was often charged by a leftist political ideology.[61] Joe Strummer, in particular, was a committed
leftist. The Clash are credited with pioneering the advocacy of radical politics in punk rock, and were famously
dubbed the "Thinking Man's Yobs" by NME.[62] Like many early punk bands, The Clash protested against monarchy
and aristocracy. However, unlike many of their peers, The Clash rejected nihilism.[33] Instead, they found solidarity
with a number of contemporary liberation movements and were involved with such groups as the Anti-Nazi League.
In April 1978, The Clash headlined the Rock Against Racism concert in London's Victoria Park for 80,000
people;[32] Strummer wore a T-shirt identifying two violent left-wing groups: the words "Brigade Rosse"—Italy's
Red Brigades—appeared alongside the insignia of the Red Army Faction—West Germany's Baader-Meinhof
Gang.[63] [64]
Their politics were made explicit in the lyrics of such early recordings as "White Riot", which encouraged
disaffected white youths to become politically active like their black counterparts; "Career Opportunities", which
addressed the alienation of low-paid, routinised jobs and discontent over the lack of alternatives; and "London's
Burning", about the bleakness and boredom of life in the inner city.[44] Artist Caroline Coon, who was associated
with the punk scene, argued that "[t]hose tough, militaristic songs were what we needed as we went into
Thatcherism".[65] The scope of the band's political interests widened on later recordings. The title of Sandinista!
celebrated the left-wing rebels who had recently overthrown Nicaraguan despot Anastasio Somoza Debayle, and the
album was filled with songs driven by other political issues extending far beyond British shores: "Washington
Bullets" addressed covert military operations around the globe, while the "The Call-Up" was a meditation on US
The Clash 40

draft policies.[66] Combat Rock's "Straight to Hell" is described by scholars Simon Reynolds and Joy Press as an
"around-the-world-at-war-in-five-verses guided tour of hell-zones where boy-soldiers had languished."[67]
The band's political sentiments were reflected in their resistance to the music industry's usual profit motivations;
even at their peak, tickets to shows and souvenirs were reasonably priced.[33] The group insisted that CBS sell their
double and triple album sets London Calling and Sandinista! for the price of a single album each (then £5),
succeeding with the former and compromising with the latter by agreeing to sell it for £5.99 and forfeit all their
performance royalties on its first 200,000 sales.[32] [68] These "VFM" (value for money) principles meant that they
were constantly in debt to CBS, and only started to break even around 1982.[1]

Legacy and influence

In 2004, Rolling Stone ranked The Clash number 30 on their list of the 100 Greatest Artists of All Time.[3]
According to The Times, The Clash's debut, alongside Never Mind the Bollocks, Here's the Sex Pistols, is "punk's
definitive statement" and London Calling "remains one of the most influential rock albums".[64] In Rolling Stone's
2003 list of the 500 greatest albums of all time, London Calling ranked number 8, the highest entry by a punk band.
The Clash was number 77 and Sandinista! was number 404.[69] In the magazine's 2004 list of the 500 greatest songs
of all time, "London Calling" ranked number 15, again the highest for any song by a punk band. Four other Clash
songs made the list: "Should I Stay Or Should I Go" (228), "Train In Vain" (292), "Complete Control" (361), and
"White Man In Hammersmith Palais" (430).[70] "London Calling" ranked number 48 in the magazine's 2008 list of
the 100 greatest guitar songs of all time.[71]
In John Robb's description, The Clash's debut established the "blueprint for the sound and the soul of what punk rock
would be about.... The Clash were utterly inspirational, utterly positive, and they offered a million possibilities."[72]
Jake Burns of Stiff Little Fingers, the first major punk band from Northern Ireland, explained the record's impact:
[T]he big watershed was The Clash album—that was go out, cut your hair, stop mucking about time,
y'know. Up to that point we'd still been singing about bowling down California highways. I mean, it
meant nothing to me. Although The Damned and the Pistols were great, they were only exciting
musically; lyrically, I couldn't really make out a lot if it.... [T]o realise that [The Clash] were actually
singing about their own lives in West London was like a bolt out of the blue.[73]
The Clash also inspired many musicians who were only loosely associated, if at all, with punk. The band's embrace
of ska, reggae and England's Jamaican subculture helped provide the impetus for the 2 Tone movement that emerged
amid the fallout of the punk explosion.[74] Other musicians who began performing while The Clash were active and
acknowledged their debt to the band include Billy Bragg and Aztec Camera.[75] U2's The Edge has compared The
Clash's inspirational effect to that of the Ramones—both gave young rock musicians at large the "sense that the door
of possibility had swung open."[76] He wrote, "The Clash, more than any other group, kick-started a thousand garage
bands across Ireland and the U.K.... [S]eeing them perform was a life-changing experience."[3] Bono has described
The Clash as "the greatest rock band. They wrote the rule book for U2."[77]
In later years, The Clash's influence can be heard in American political punk bands such as Rancid, Anti-Flag, Bad
Religion and NOFX, as well as in the political hard rock of early Manic Street Preachers.[78] California's Rancid, in
particular, are known as "incurable Clash zealots".[79] The title track of the band's album Indestructible proclaims,
"I'll keep listening to that great Joe Strummer!"[80] The Clash's involvement with Jamaican musical and production
styles has inspired similar cross-cultural efforts by bands such as Bad Brains, Massive Attack, Sublime and No
Doubt.[81] They are credited with laying the groundwork for LCD Soundsystem's "punk-funk".[82] Jakob Dylan of
The Wallflowers ranked London Calling above the work of his father, Bob Dylan, as the record that “changed his
life”.[64] Bands identified with the garage rock revival of the late 1990s and 2000s such as Sweden's The Hives,
Australia's The Vines and America's The White Stripes and The Strokes evidence The Clash's influence.[83] Among
the many latter-day British acts identified as having been inspired by The Clash are Babyshambles, The Futureheads,
The Charlatans and The Arctic Monkeys.[82] Before M.I.A. had an international hit in 2008 with "Paper Planes",
The Clash 41

which is built around a sample from "Straight to Hell", she referenced "London Calling" on 2003's "Galang".[82] A
cover of "The Guns of Brixton" by German punk band Die Toten Hosen was released as a single in 2006.
The band has also had a notable impact on music in the Spanish-speaking world. In 1997, a Clash tribute album
featuring performances by Buenos Aires punk bands was released.[84] Many rock en español bands such as Todos
Tus Muertos, Café Tacuba, Maldita Vecindad, Los Prisioneros, Tijuana No, and Attaque 77 are indebted to The
Clash.[85] [86] Argentina's Los Fabulosos Cadillacs covered London Calling's "Revolution Rock" and "The Guns of
Brixton" and invited Mick Jones to sing on their "Mal Bicho".[86] The Clash's influence is similarly reflected in
Paris-founded Mano Negra's politicised lyrics and fusion of musical styles.[87]
Rage Against the Machine covered 'White Riot' at their victory party on 6th June 2010 at Finsbury Park.

Members
1976 • Joe Strummer – lead vocals, rhythm guitar
• Mick Jones – lead guitar, vocals
• Keith Levene – lead guitar
• Paul Simonon – bass guitar, backing vocals
• Terry Chimes – drums, percussion

1976 • Joe Strummer – lead vocals, rhythm guitar

• Mick Jones – lead guitar, vocals
• Paul Simonon – bass guitar, backing vocals
• Terry Chimes – drums, percussion

1976 • Joe Strummer – lead vocals, rhythm guitar

• Mick Jones – lead guitar, vocals
• Paul Simonon – bass guitar, backing vocals
• Rob Harper – drums, percussion

1977 • Joe Strummer – lead vocals, rhythm guitar

• Mick Jones – lead guitar, vocals
• Paul Simonon – bass guitar, backing vocals
• Terry Chimes – drums, percussion

1977–1982 • Joe Strummer – lead vocals, rhythm guitar

• Mick Jones – lead guitar, vocals
• Paul Simonon – bass guitar, backing vocals
• Topper Headon – drums, percussion

1982–1983 • Joe Strummer – lead vocals, rhythm guitar

• Mick Jones – lead guitar, vocals
• Paul Simonon – bass guitar, backing vocals
• Terry Chimes – drums, percussion

1983 • Joe Strummer – lead vocals, rhythm guitar

• Mick Jones – lead guitar, vocals
• Paul Simonon – bass guitar, backing vocals
• Pete Howard – drums, percussion

1983–1986 • Joe Strummer – lead vocals, rhythm guitar

• Nick Sheppard – lead guitar, backing
vocals
• Vince White – lead guitar
• Paul Simonon – bass guitar, backing vocals
• Pete Howard – drums, percussion
The Clash 42

Discography
Studio albums
• The Clash (1977)
• Give 'Em Enough Rope (1978)
• London Calling (1979)
• Sandinista! (1980)
• Combat Rock (1982)
• Cut the Crap (1985)

See also
• Wikipedia Books: The Clash
• The Clash on film

Sources
• Buckley, Peter, ed. (2003). The Rough Guide to Rock (3d ed.). London: Rough Guides. ISBN 1843531054.
OCLC 223842562.
• Campo, Alberto (1998). Clash. Florence, Italy: Giunti Editore. ISBN 8809215095. OCLC 8809215095.
• D'Ambrosio, Antonino (2004). Let Fury Have the Hour: The Punk Rock Politics of Joe Strummer (1st ed.). New
York: Nation Books. ISBN 1560256257. OCLC 56988650.
• Eddy, Chuck (1997). The Accidental Evolution of Rock'n'Roll: A Misguided Tour through Popular Music. New
York: Da Capo Press. ISBN 0306807416. OCLC 35919230.
• Gilbert, Pat (2005 [2004]). Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005 [1995]). The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Reynolds, Simon, and Joy Press (1996). The Sex Revolts: Gender, Rebellion, and Rock 'n' Roll. Cambridge,
Mass.: Harvard University Press. ISBN 067480273X. OCLC 30971390.
• Robb, John (2006). Punk Rock: An Oral History (4th ed.). London: Ebury Press. ISBN 0091905117.
OCLC 0091924677.
• Savage, Jon (1992). England's Dreaming: Anarchy, Sex Pistols, Punk Rock and Beyond (US ed.). New York: St.
Martin's Press. ISBN 0312087748. OCLC 318418456.
• Strongman, Phil (2008). Pretty Vacant: A History of UK Punk. Chicago: Chicago Review Press.
ISBN 1556527527. OCLC 173299117.
• Topping, Keith (2004 [2003]). The Complete Clash (2d ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.
The Clash 43

Further reading
• Clash, The (2008). The Clash: Strummer, Jones, Simonon, Headon. London: Atlantic Books. ISBN 1843547880.
OCLC 236120343.
• Green, Johnny, and Garry Barker (2003 [1997]). A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob, and Chris Salewicz (2004 [2001]). The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Kaye, Lenny, Lester Bangs, and Kosmo Vinyl (2000 [1991]). Clash on Broadway (2nd ed.). New York: Sony
Music. OCLC 54426634.
• Lowry, Ray (2007). The Clash. Warwick: Angry Penguin. ISBN 1906283362. OCLC 165412921.
• Miles, Barry (1981). The Clash. London and New York: Omnibus Press. OCLC 7676911.
• Needs, Kris (2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Quantick, David (2000). The Clash. Kill Your Idols. London: Unanimous. ISBN 1903318033. OCLC 59417418.
• Smith, Pennie (1980). The Clash: Before and After. Boston: Little, Brown. ISBN 0316801690. OCLC 8034340.
• Tobler, John, and Barry Miles (1983). The Clash. London and New York: Omnibus. ISBN 0711902887.
OCLC 21335564.

External links
• Official website [1]
• The Clash [89] at MySpace
• The Clash [90] channel at YouTube
• Legacy Recordings Official Site [91]

References
[1] "Clash star Strummer dies" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 2600669. stm) (STM). Entertainment. BBC News World Edition.
27 December 2002. . Retrieved 20 November 2007.
[2] "Strummer's lasting culture Clash" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 2600955. stm) (STM). Entertainment. BBC News World
Edition. 23 December 2002. . Retrieved 20 November 2007.
[3] "The Clash by The Edge" (http:/ / www. rollingstone. com/ news/ story/ 5939230/ 30_the_clash). Rolling Stone Issue 946. Rolling Stone. 15
April 2004. .
[4] Robb (2006), pp. 130–132.
[5] Gray (2005), p. 72.
[6] Gray (2005), p. 56.
[7] Robb (2006), p. 151.
[8] Rowley, Scott (October 1999). "Paul Simonon's first ever bass interview". Bassist Magazine (London) (10).
[9] Gray (2005), p. 79.
[10] Strongman (2008), p. 103.
[11] Robb (2006), pp. 192, 193.
[12] "Interview - Record Collector (2000)" (http:/ / www. joestrummer. us/ rc00. html). joestrummer.us. . Retrieved 5 December 2008.
[13] Gray (2005), p. 127. In Jones's version of the story, Strummer was originally given 24 hours to make up his mind, and Rhodes called after
just eight (Robb [2006], p. 194).
[14] MTV Rockumentary. Interviewer: Unknown; Presenter: Kurt Loder. MTV, London, England. Transcript (http:/ / www. londonsburning. org/
art_mtv_rockumentary_1. html).
[15] Topping (2004), p. 12.
[16] Gray (2005), p. 143. Loder, Kurt (13 March 2003). "The Clash: Ducking Bottles, Asking Questions" (http:/ / www. mtv. com/ news/ articles/
1470448/ 20030310/ clash. jhtml). MTV News. . Retrieved 17 November 2007.
[17] Robb (2006), p. 196.
[18] Gray (2005), p. 144.
[19] Robb (2006), p. 326.
The Clash 44

[20] Savage (1992), p. 232. Jones's later take on the matter: "Bernie had a hand in everything. Not the lyrics—he didn't help with the lyrics. He
didn't tell us not to write love songs, as the myth goes—that's kind of simplified version of it. He told us to write what we knew about" (Robb
[2006], p. 197).
[21] Robb (2006), pp. 195–197.
[22] Strongman (2008), p. 133.
[23] Robb (2006), pp. 212–215.
[24] Robb (2006), pp. 215–216; Savage (1992), p. 220.
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[46] Diehl, Matt (2007). My So-Called Punk (Macmillan), p. 187.
[47] Norris, Chris (21 July 1997). "Cult Cash Clan". New York.
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The Clash 45

[55] Marsh, Dave (1989). The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made (Penguin), pp. 77–80. ISBN 0-14-012108-0.
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488). Denver Thread. 21 September 2009. . Retrieved 25 May 2010.
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(2006). Rude Boy. [Documentary, Rockumentary]. New York, NY, United States: Epic Music Video. ISBN 0738900826. OCLC 70850190.
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[86] Eddy (1997), p. 181.
[87] Buckley (2003), p. 367; Campo (1998), p. 5.
 46

The members

Joe Strummer
Joe Strummer

Background information

Birth name John Graham Mellor

Born 21 August 1952

Ankara, Turkey

Origin London, England

Died 22 December 2002 (aged 50)

Broomfield, Somerset, England

Genres Punk rock, rock and roll, reggae, ska, world music

Occupations Musician, songwriter, actor

Instruments Vocals, guitar, piano, bass guitar

Years active 1973–2002

Labels CBS, Sony, Hellcat

Associated acts The 101ers, The Clash, The Latino Rockabilly War, The Pogues, The Mescaleros

Website [1]
www.strummernews.com

Notable instruments

1966 Fender Telecaster

John Graham Mellor (21 August 1952 – 22 December 2002), better known by his stage name Joe Strummer, was
the co-founder, lyricist, rhythm guitarist and lead singer of the English punk rock band The Clash. He was also a
member of The 101ers, The Mescaleros and, temporarily, The Pogues.
Joe Strummer 47

Life and career

(1952-1976) The early years

Strummer was born John Graham Mellor in Ankara, Turkey on 21 August 1952. His mother Anna Mackenzie, a
crofter's daughter born and raised in Bonar Bridge in the Scottish Highlands, was a nurse. His father Ronald Mellor,
was a British foreign-service diplomat born in Lucknow, India. Ronald Mellor had an Armenian maternal
grandfather and a German Jewish paternal grandmother.[1]
The family spent much time moving from place to place, and Strummer spent parts of his early childhood in Cairo,
Mexico City, and Bonn. At the age of 9, Strummer and his older brother David, 10, began boarding at the City of
London Freemen's School in Surrey. Strummer rarely saw his parents during the next seven years. He developed a
love of rock music listening to records by Little Richard and The Beach Boys as well as American folk-singer
Woody Guthrie (Strummer would even go by the nickname "Woody" for a few years).
By 1970 his brother David had become estranged from his family and had joined the National Front. His suicide in
July profoundly affected Strummer, as did having to identify his body after it had lain undiscovered for three days.[1]
After finishing his time at City of London Freemen's School, Ashtead Park, Surrey, in 1970, Strummer moved on to
London's Central Saint Martins College of Art and Design, where he briefly flirted with the idea of becoming a
professional cartoonist, but ultimately completed a foundations course.[2] During this time, Mellor shared a flat in the
north London suburb of Palmers Green with friends Clive Timperley and Tymon Dogg.
In 1973 Strummer moved to Newport, Wales to attend the Newport College of Art, but soon dropped out.[3] While
there, he joined up with some friends to form a band called The Vultures.[2] This band included three former
members of Rip Off Park Rock & Roll Allstars, the original college band co-founded by Terry Earl Taylor. For the
next year he was the band's part-time singer and rhythm guitarist. During this time Strummer also worked as a
gravedigger. In 1974, the band fell apart and he moved back to London where he met up again with Tymon Dogg.
He busked on the streets for a while and then decided to form another band with his West London roommates. The
band was called The 101'ers,[2] named after the address of their squat (101 Walterton Road, in Maida Vale).[3] [4] The
band played many gigs in London pubs, playing covers of popular American R&B and blues songs. In 1975 he
stopped calling himself "Woody" Mellor and adopted the stage name of Joe Strummer, and insisted that his friends
call him by that name. The name "Strummer" apparently referred to his role as rhythm guitarist, in a rather
self-deprecating way. Though left-handed, he was taught to play right-handed by his friend Tymon Dogg. Strummer
was the lead singer of the 101'ers and began to write original songs for the group. One song he wrote was inspired by
his girlfriend at the time, Slits drummer Palmolive. The group liked the song "Keys to Your Heart", and picked it as
their first single.

(1976-1986) The Clash

On 3 April 1976, a then-unknown band called the Sex Pistols opened for The 101'ers at a venue called "The
Nashville Rooms" in London, and Strummer was impressed by them.[2] Sometime after this show, Strummer was
approached by Bernie Rhodes and Mick Jones. Jones was from the band London SS and wanted Strummer to join as
lead singer. Strummer agreed to join just as the group was breaking up, but he formed a new band with Jones, bassist
Paul Simonon, drummer Terry Chimes and guitarist Keith Levene.[4] The band was named The Clash by Simonon
and made their debut on 4 July 1976, opening for the Sex Pistols at The Black Swan (a.k.a. The Mucky Duck, now
known as the Boardwalk Sheffield, England).[4] On 25 January 1977, the band signed with CBS Records and was
now a three-piece after Levene was fired from the band and Chimes quit. Drummer Topper Headon later became the
band's full-time drummer.
At the band's induction into the Rock and Roll Hall of Fame, the Clash was said to be "considered one of the most
overtly political, explosive and exciting bands in rock and roll history".[5] Their songs tackled social decay,
unemployment, racism, police brutality, political and social repression, and militarism in detail. Strummer was
Joe Strummer 48

involved with the Anti-Nazi League and Rock Against Racism campaigns. He later also gave his support to the Rock
Against the Rich series of concerts organised by the anarchist organisation Class War. The Clash's London Calling
album was voted best album of the 1980s by Rolling Stone magazine (although it was released in late 1979 in the
UK; it was released in 1980 in the USA).[6]
During his time with The Clash, Strummer, along with his bandmates, became notorious for getting in trouble with
the law. On 10 June 1977, he and Topper were arrested for spray-painting "The Clash" on a wall in a hotel. On 20
May 1980, he was arrested for hitting a violent member of the audience with his guitar during a show in Hamburg,
Germany. This incident shocked Strummer, and had a lasting personal impact on him.[7]

“
I nearly murdered somebody, and it made me realise that you can't face violence with violence. It doesn't work.

”
[7]
—Joe Strummer

Before the album Combat Rock was released in 1982, Strummer willfully went into hiding and band management
represented that he had "disappeared". Bernie Rhodes, the band's manager, pressured Joe to do so because tickets
were selling slowly for the Scottish leg of an upcoming tour. It was planned for Strummer to meet and stay with one
of Rhodes' friends in secret. However, Strummer, uneasy with his decision, decided to genuinely disappear and
"dicked around" in France. During this time, Joe ran the Paris Marathon in April 1982. He claimed his training
regime consisted of 10 pints of beer the night before the race. For this period of time, Joe's whereabouts were not
only a mystery to the public, but the band's management as well. Joe later said this was a huge mistake and you
"have to have some regrets". This was in spite of the popular success of the single "Rock the Casbah". During this
time band members began to argue a lot, and with tensions high, the group began to fall apart.[4] In September 1983,
Strummer issued the infamous "Clash Communique", and fired Mick Jones.[4] Topper Headon had earlier been
kicked out of the band because of his heroin addiction, which now left the band with only two of its original
members. Rhodes persuaded Strummer to carry on and added new members.[4] "The Clash Mark Two" released the
album Cut The Crap in 1985. The album was panned by fans and critics alike and Strummer disbanded The Clash.

(1986-1999) The wilderness years

A year later, Strummer worked on several songs for the
1986 film Sid and Nancy, including "Love Kills" and "Dum
Dum Club". Strummer also later worked with Mick Jones
and his band Big Audio Dynamite, contributing to the
band's second album by co-writing most of the songs as
well as producing the album along with Jones. In 1987 he
played a small part in the film Walker, directed by Alex
Cox, as a character named "Faucet" and wrote and
performed on the film's soundtrack. He starred in another
Cox film that same year called Straight to Hell, as the
character Simms. Straight to Hell also featured Strummer, backing with the Pogues in Japan Photo: Masao
Nakagami
London-Irish folk/punk band The Pogues - both as actors &
major contributors to the soundtrack. Strummer joined The
Pogues for a tour in 1987/88, filling in for ailing guitarist Philip Chevron, who wrote (in May, 2008) on the band's
online forum: "When I was sick in late 1987, I taught Joe all the guitar parts in an afternoon and he was on tour in
the USA as deputy guitarist the next day. Joe wrote all the tabs in his meticulously neat hand on a long piece of
paper which he taped to the top of the guitar so he could glance down occasionally when he was onstage." This tour
would be the first of several collaborations with the band.
Joe Strummer 49

In 1989 Strummer played a substantial role in Jim Jarmusch's film Mystery Train, as a drunken, short-tempered
drifter named Johnny (whom most characters refer to as Elvis, much to Johnny's dismay). He also made a brief
appearance in Aki Kaurismäki's 1990 film I Hired a Contract Killer as a guitarist in a pub, performing two songs
("Burning Lights" and "Afro-Cuban Bebop"). These were released as a promotional 7" single limited to a few
hundred copies, credited to "Joe Strummer & the Astro Physicians". The "Astro Physicians" were in fact The Pogues
("Afro-Cuban Bebop" got a re-release on The Pogues' 2008 box set). During this time Strummer continued to act,
write and produce soundtracks for various films, most notably the soundtrack for Grosse Pointe Blank (1997).
In 1989, Strummer began producing solo records with a band called The Latino Rockabilly War. The album
Earthquake Weather was a critical and commercial flop, and resulted in the loss of his contract with Sony Records.
He also did the soundtrack to the movie Permanent Record with this band. Strummer was asked by The Pogues, who
were fracturing as a band, to help them produce their next album - released in 1990 as Hell's Ditch. In 1991 he
replaced Shane MacGowan as singer of The Pogues for a tour after MacGowan's departure from the band. One night
of this tour was professionally recorded, and three tracks ("I fought the Law", "London Calling", and "Turkish Song
of the Damned") have seen release as b-sides & again on The Pogues' 2008 box set. On 16 April 1994, Strummer
joined Czech-American band Dirty Pictures on stage in Prague at the Repre Club in Obecni Dum at "Rock for
Refugees", a benefit concert for people left displaced by the war in Bosnia. Backed up by the Pictures, Strummer
played a blistering set of Clash songs that he said he had not played in more than ten years. Although the set
appeared impromptu, Joe and the band had spent the days leading up to the event rehearsing and "hanging out" in
Prague. After these self-described "wilderness years", Strummer began working with other bands; he played piano
on the 1995 UK hit of The Levellers, "Just the One" and appeared on the Black Grape single "England's Irie" in
1996. In 1997 while in New York City, he had worked with noted producer and engineer Lee Perry on a significant
amount of remixed Clash and 101'ers reissue dub material.
Also during this time, Strummer was in dispute with The Clash's record label, Epic Records. The disagreement lasted
nearly eight years and ended with the label agreeing to let him record solo records with another label. If The Clash
were to reunite though, they would have to record for Sony.
During the nineties Strummer was a DJ on the BBC World Service with his half-hour programme London Calling.
Samples from the series provide the vocals for "Midnight Jam" on Joe and the Mescaleros' final album Streetcore.

(1999-2002) The Mescaleros and other work

In the mid-to-late 1990s, Strummer gathered top-flight musicians into a backing band he called The Mescaleros.
Strummer and the band signed with Mercury Records, and issued their first album in 1999, which was co-written
with Antony Genn, called Rock Art and the X-Ray Style. A tour of England, Europe, and North America soon
followed; sets included several Clash fan favourites.

“
This is my Indian summer...I learnt that fame is an illusion & everything about it is just a joke. I'm far more dangerous now, because I don't
care at all.
”
[3]
—Joe Strummer to Chris Salewicz – 2000 ,

In 2001 the band signed with Californian punk label Hellcat Records and released their second album, Global A
Go-Go. The album was supported with a 21-date tour of North America, Britain, and Ireland. Once again, these
concerts featured Clash material ("London's Burning", "Rudie Can't Fail", "White Man In Hammersmith Palais"), as
well as covers of reggae and ska hits ("The Harder They Come", "A Message To You, Rudy") and the band regularly
closed the show by playing The Ramones' "Blitzkrieg Bop". He also covered Redemption Song originally by Bob
Marley. In the same year, somewhat out of character, Strummer and the Mescaleros performed the song Minstrel
Boy for the movie Black Hawk Down, a haunting and emotive Celtic tune that is played during the evacuation of
PFC Blackburn during the Battle of Mogadishu and also during the end credits.
Joe Strummer 50

On 15 November 2002, Strummer and The Mescaleros played a benefit

show for striking fire fighters in London, at the Acton Town Hall.
Mick Jones was in the crowd, and joined the band on stage during the
Clash's "Bankrobber." An encore followed with Jones playing guitar
and singing on "White Riot" and "London's Burning". This
performance marked the first time since 1983 that Strummer and Jones
had performed together on stage.[5] Jones later remarked that it was
totally unplanned and that he felt compelled to join Strummer on stage.

Strummer's final regular gig was at Liverpool Academy on 22 Strummer performing in Brooklyn, April 2002
November 2002, yet his final performance, just two weeks before his
death, was in a small club venue 'The Palace' in Bridgwater, Somerset near to his home. Shortly before his death
Strummer and U2's Bono co-wrote a song, "46664", for Nelson Mandela as part of a campaign against AIDS in
Africa. Strummer had been scheduled to play at Mandela's SOS fundraising concert in February 2003 on Robben
Island. Mick Jones later recorded a version of the song in studio, performing both the vocals and guitar work, that
has yet to be formally released.

(2002-present) Death and legacy

Strummer died suddenly on 22 December 2002 in his home at Broomfield in Somerset, the victim of an undiagnosed
congenital heart defect.[5] [8] [9] His estate was valued at just under £1 million, and he left all the money to his wife
Lucinda.[10]
Strummer was instrumental in setting up Future Forests (recently rechristened The Carbon Neutral Company), an
organization dedicated to planting trees in various parts of the world in order to combat global warming.[11]
Strummer was the first artist to make the recording, pressing and distribution of his records carbon neutral through
the planting of trees.[11] [12] [13] In his remembrance, Strummer's friends and family have established the
Strummerville Foundation for the promotion of new music.[14]
At the Grammy Awards in February 2003, "London Calling" was performed by Elvis Costello, Bruce Springsteen,
Steven Van Zandt, Dave Grohl, Pete Thomas, and Tony Kanal in tribute to Strummer. In March 2003, The Clash
were inducted into the Rock and Roll Hall of Fame.[5] Another tribute to Strummer occurred in February 2003. At
the rock club "Debaser" in Stockholm, some of Sweden's most famous rock musicians paid their tribute to Joe by
performing songs written by the Clash (the exception was Nicke Borg and Dregen from Backyard Babies who
performed I Fought the Law). At the end of the concert, the legendary Swedish punk band Ebba Grön reunited for
the tribute, aided by Mick Jones on guitar.
At the time of his death, Strummer was working on another Mescaleros album, which was released posthumously in
October 2003 under the title Streetcore. The album features a tribute to American music icon Johnny Cash; "Long
Shadow", which was actually written for Cash to sing and recorded in Rick Rubin's garage, as well as a
remembrance of the 11 September 2001 attacks ("Ramshackle Day Parade"), and a cover of Bob Marley's classic
"Redemption Song", which Strummer had also recorded as a duet with Cash. The Cash/Strummer duet version
appears on the 2003 box set Unearthed.
Joe Strummer 51

November 2003 saw the release of a video for "Redemption Song",

Memorial to Strummer on 7th Street at Avenue
A, New York City.
directed by Josh Cheuse. The video features the painting of a memorial
mural, by graffiti artist REVOLT, on the wall of the Niagara Bar in the
East Village of NYC.[15]
On 22 December 2003, exactly a year after his death, a tribute
show/benefit was held at Irving Plaza in NYC. Bands that played were:
Ari Up; Clem Snide; The Detachment Kit; Dirty Mary; Hammel on
Trial; Jesse Malin; New Blood Revival; The Realistics; Eugene Hütz;
Radio 4; Secret Army; Ted Leo; Vic Thrill + The Saturn Missile.[16]
The show was videotaped by punkcast.com but is as yet unreleased.

A documentary by Dick Rude titled Let's Rock Again! was released in

2004. The film, completed after Strummer's death, chronicles life on tour in the United States with the Mescaleros to
support Global a Go-Go. The Belfast punk rock group Stiff Little Fingers also recorded a tribute song
"Strummerville" on their album, Guitar and Drum. Al Barr, lead singer of the Boston punk band Dropkick Murphys,
named his son Strummer in honor of Joe.[17] German band Beatsteaks pay tribute to Strummer on their album Smack
Smash with the song "Hello Joe". In 2004, German punk band Die Toten Hosen released an EP called "Friss oder
stirb" which included a tribute song for Strummer called "Goodbye Garageland" which is a lyrical co-production
with Matt Dangerfield from londons 77 punk band The Boys. Boston Punk Rock Band Street Dogs recorded a tribute
song called "The General's Boombox" on their latest album State Of Grace, and New Jersey's The Gaslight Anthem
recorded the song "I'da Called You Woody, Joe" on their album Sink or Swim.

On 12 February 2005 the Class 47 locomotive 47828 was named "Joe Strummer". The nameplates were unveiled by
his widow Lucinda Tait in a ceremony at Bristol Temple Meads railway station.[18] On 22 July 2005 Tait unveiled a
plaque on the house in Pentonville, Newport where Strummer lived from 1973 to 1974 and where his first foray into
recorded music, "Crummy Bum Blues" was recorded.[19] That Was Clash Radio, a short story by Charles de Lint,
was written in response to Strummer's death and features Strummer in a minor role.[20]
New Orleans-based rockers Cowboy Mouth released a song called "Joe Strummer" on their latest album Voodoo
Shoppe. The song tells the story of a man who had to break up with his girlfriend because “...she didn't know
who/Joe Strummer was.” The popular track is a tongue-in-cheek salute to Strummer and The Clash that received
significant radio play in 2006. In addition, the Joe Pernice-penned "High As a Kite", included on The Pernice
Brothers 2006 album Live a Little, was, in part a tribute to Joe Strummer. Lyrics included, “Heavy downbeat of one
and the show began/London calling, strike up the contraband” and the memorable opening to the chorus, “We wore
pictures of Strummer.” A play by Paul Hodson called Meeting Joe Strummer has premiered at the Edinburgh Festival
in winter 2006, and is still touring the UK from the following year. It is not a play directly about Joe, instead about
two men who share a passion for Joe's music.[21]
Joe Strummer: The Future Is Unwritten, a documentary film directed by Julien Temple about Joe Strummer,
premiered on 20 January 2007 at the 2007 Sundance Film Festival.[22] In conjunction with the Strummer estate,
Fender released the Joe Strummer Tribute Telecaster, combining elements of Joe's main guitars, namely the "road
worn" finish of his 1966 Telecaster, which he used until his death. The first 1,500 guitars come with a Shepard
Fairey designed "customization kit" with stickers and stencils, which resemble some of the designs Joe used on his
guitars.[23] Joe Strummer's impact is referenced by The Hold Steady in the song "Constructive Summer", a song
featured on their 2008 album Stay Positive. In this song the band sings “Raise a toast to Saint Joe Strummer. I think
he might have been our only decent teacher.” In November 2009, Tonara, a town in Sardinia, Italy, dedicated a street
to Joe Strummer.[24]
There are also many festivals each year dedicated to his memory. These festivals include Strummerville and there is
Strummercamp which bands like The Alarm, The Damned, T.V. Smith from the Adverts, Sham 69, Dreadzone, The
Joe Strummer 52

Beat, Hugh Cornwell from The Stranglers and a band the appears most years Goldblade which includes author John
Robb. All these bands were greatly influenced by The Clash and Joe Strummer.

Marriages and relationships

In 1975, after being offered £100, Strummer married Pamela Moolman, a South African citizen, so she could obtain
British citizenship. He bought his signature Fender Telecaster, later painted black, with the money. In 1978
Strummer started a relationship with Gaby Salter shortly after her 17th birthday.[1] The couple remained together for
14 years and had two daughters, Jazz and Lola, but did not marry as Strummer had been unable to locate and divorce
Moolman.[1]
In 1993 Strummer began an affair with Lucinda Tait, which finally ended his relationship with Gaby Salter.[1]
Strummer and Tait married in 1995 and remained so until his death in 2002.
Strummer is commonly believed to be Lily Allen's godfather. While not literally true, Strummer and his family were
close friends with the Allens and would regularly attend the Glastonbury Festival together. Allen has recalled how
Strummer had a paternalistic attitude towards her as an adolescent, accompanying her for two days when she went to
meet-up with some friends at the festival.[25]

Documentaries
Let's Rock Again! is a one-hour music documentary, directed by Dick Rude, that follows Joe Strummer as he tours
across America and Japan with The Mescaleros. It premiered at the Tribeca Film Festival in New York, May 2004.
Joe Strummer: The Future Is Unwritten is a documentary about Joe Strummer by Julien Temple. It comprises
archive footage of him spanning his life, and interviews with friends, family, and other celebrities. It debuted at the
2007 Sundance Film Festival.[26] [27] [28]
A documentary on Strummer's politics Let Fury Have The Hour, produced by Tim Robbins and based on the book of
the same name by Antonino D'Ambrosio, is due out in 2008. NYC band Radio 4 are supplying soundtrack music.[29]
Joe Strummer 53

Musical equipment
Strummer's main guitar throughout his career was a 1966 Fender
Telecaster that originally came in a three-color sunburst with a white
pickguard. Strummer acquired the guitar in middle of 1975 while
playing with 101ers. After joining the Clash, the guitar's body and
pickguard were refinished in grey auto primer and then painted
black. By 1979, the word NOISE was stenciled on the upper part of
the body, a rasta flag sticker was placed at the horn of the pickguard,
and an "Ignore Alien Orders" sticker was placed above the bridge.
By the release of Give ‘Em Enough Rope the guitar was fitted with a
bridge with individual saddles and the original Kluson tuners were
replaced with later model tuners and a large question mark was
spraypainted on its back. The guitar would remain in this
configuration throughout his career with the addition of different
stickers on its body. The guitar's black paint became worn down due
to Strummer's playing and on many places the original sunburst
finish and bare wood shines through, except for the square where
Strummer taped his setlists.[30] The Fender Custom Shop has created
a Joe Strummer tribute Telecaster with a reliced flat black finish.[23]
Strummer and guitar
Strummer was naturally left-handed, but learned to play guitar
right-handed. He had attributed this as a drawback and claimed it
caused him to be underdeveloped as a guitarist, although his style of playing was unique.

For amplification Strummer was known to use amplifiers such as a Roland Jazz Chorus, a Selmer Bassman while he
was in the 101'ers, a Vox AC30 and various Marshall amplifiers,[31] but his main amplifier was a Music Man HD
212 150.[32] Strummer commented on his choice of amplifier with "I don't have time to search for those old Fender
tube amps. The Music Man is the closest thing to that sound I've found." and that the "plastic motif on the front is
repulsive."[33]

Solo discography
For recordings made with the Clash, please see The Clash discography.
With The 101'ers

Year Album Additional information

1981 Elgin Avenue Breakdown Compilation album with material recorded from 1974 to 1976.

As a solo artist
Joe Strummer 54

Year Album Additional information

1986 Sid and Nancy Soundtrack Soundtrack for the film Sid and Nancy, featuring 2 songs by Strummer.

1987 Walker Soundtrack for the film Walker, scored by Strummer.

1987 Straight To Hell Original Soundtrack Soundtrack for the film Straight to Hell, featuring 2 songs by Strummer.

1993 When Pigs Fly Soundtrack Unreleased soundtrack for the film When Pigs Fly, scored by Strummer.

1998 Chef Aid: The South Park Album Features "It's A Rockin' World", performed by Strummer, Flea, Nick Hexum, Tom Morello,
DJ Bonebrake, and Benmont Tench.

1999 Michael Hutchence Backing vocals on the first track on Michael Hutchence's solo album, "Let Me Show You"

2002 Jools Holland's Big Band Rhythm & Blues Features "Return of the Blues Cowboy" performed by Strummer and the Jools Holland Big
(guest appearance) Band

2003 Unearthed (guest appearance) A duet of "Redemption Song" with Johnny Cash.

2004 Black Magic (guest appearance) Strummer performed the song "Over The Border" with Jimmy Cliff.

With The Latino Rockabilly War

Year Album Additional information

1988 Permanent Record Original Soundtrack Features songs by Strummer and The Latino Rockabilly War.

1989 Earthquake Weather Strummer's only full-length studio album with The Latino Rockabilly War.

With The Mescaleros

Year Album Additional information

1999 Rock Art and the X-Ray Style Strummer's first album with The Mescaleros.

2001 Global a Go-Go Peaked at #23 on Billboard's Top Independent Albums chart in the US.

2003 Streetcore Strummer's last album, released posthumously.

Selected filmography

Year Title Role Other notes

1980 Rude Boy Semi-Documentary Subject
1983 Hell W10 Writer and director Silent film
1983 The King of Comedy Street Scum non-speaking cameo
1987 Walker Faucet
1987 Straight to Hell Simms
1988 Candy Mountain Mario
1989 Mystery Train Johnny aka Elvis
1990 I Hired A Contract Killer Himself by Aki Kaurismaki
1997 Docteur Chance Vince Taylor
2000 The Clash: Westway to the World Documentary Subject
2003 End of the Century: The Story of the Documentary Subject
Ramones
2004 Let's Rock Again! Documentary Subject
Joe Strummer 55

2007 Joe Strummer: The Future Is Unwritten Documentary Subject

2008 The Clash Live: Revolution Rock Documentary Subject

In other media
• Joe Strummer and the Mescaleros appeared on the British musician Jools Holland Show Later on about 4 May
2002. Strummer, Warren Zevon, and Tracy Chapman, as well as an ensemble cast, sang "I Fought the Law" at the
finale. The show, and this episode, is occasionally shown in the US on Ovation TV.
• The Bedroom Secrets of the Master Chefs, a novel by Irvine Welsh published in 2006, has a fictional Joe
Strummer being implicated in a paternity scandal.
• "Johnny Appleseed", a song from Joe Strummer and The Mescaleros' 2001 album Global a Go-Go, is featured as
the theme song to the HBO series John from Cincinnati, aired in the summer of 2007.

Further reading
• Clash, The (1 October 2008). The Clash: Strummer, Jones, Simonon, Headon. London: Atlantic Books.
ISBN 1843547880. OCLC 236120343.
• D'Ambrosio, Antonino (13 October 2004). Let Fury Have the Hour: The Punk Rock Politics of Joe Strummer.
New York: Nation Books. ISBN 1560256257. OCLC 56988650. "Edited with an Introduction by Antonino
D'Ambrosio."
• Davie, Anthony (2004). Joe Strummer & the Mescaleros: New and Previously Unpublished Photographs.
Northampton: Effective. ISBN 0954856813. OCLC 64898380.
• Davie, Anthony (2004). Vision of a Homeland: The History of Joe Strummer & the Mescaleros. Northampton:
Effective. ISBN 0954856805. OCLC 123775358.
• DeCurtis, Anthony (2003). "1952-2002 Joe Strummer - A tribute to the late Clash singer and songwriter, plus his
final remarks on the rise and fall of the legendary punk band". Rolling stone (San Francisco, CA: Straight Arrow)
914 (27). ISSN 0035-791X. OCLC 96002520.
• Ferraz, Rob (08 2001). "Joe Strummer & The Clash - Revolution Rock" [35] (ASPX). exclaim.ca. Retrieved 29
November 2007.
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th rev. ed.). London: Helter Skelter.
ISBN 1905139101. OCLC 60668626.
• Matula, Theodore (12 2003). "Joe Strummer, 1952-2002". Popular Music and Society (Bowling Green, Ohio:
Taylor & Francis) 26 (4): 523–525. doi:10.1080/0300776032000144968. ISSN 0300-7766. OCLC 89586252.
• Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Salewicz, Chris (15 May 2007). Redemption Song: The Ballad of Joe Strummer (1st American ed.). New York:
Faber and Faber. ISBN 057121178X. OCLC 76794852.
• Yewdall, Julian Leonard; Nick Jones (1992). Joe Strummer with the 101'ers and the Clash, 1974-1976. London:
Image Direct. ISBN 0951921606. OCLC 28502630. "Photographs by Julian Leonard Yewdall; introductory text
by Nick Jones."
Joe Strummer 56

External links
• Official website [1]
• The video [36] of the Joe Strummer And The Mescaleros version of "Redemption Song" from Streetcore. A tribute
to Strummer by his friends. The artwork being created in the video can be seen here [37] in Google Maps Street
View.

References
[1] Salewicz, Chris (15 May 2007). Redemption Song: The Ballad of Joe Strummer (1st American ed.). New York: Faber and Faber.
ISBN 057121178X. OCLC 76794852.
[2] "Strummer's lasting culture Clash" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 2600955. stm) (STM). Entertainment. BBC News World
Edition. 23 December 2002. . Retrieved 20 November 2007. "a) Born John Graham Mellor in 1952, Strummer was the son of a diplomat and
was given a middle-class upbringing at boarding school in Surrey before going to study art in London - before deciding that it was a "lousy set
up".
b, c, d) He had immersed himself in music since childhood, and his own musical career began when he started busking with a ukulele at Green
Park tube station. He played in two bands, the Vultures and the 101ers, but when The Sex Pistols supported the 101ers in west London in
1976, Strummer saw the possibilities open up for him and was inspired to form The Clash."
[3] Encoule, Jean (1 2003). "Joe Strummer - 1952-2002" (http:/ / trakmarx. com/ 2003_01/ 09. htm). trakMARX.com. . Retrieved 17 November
2007. "a) Joe Strummer was born in Ankara, Turkey, in 1952 & christened John Graham Mellor. His family spent time in Ankara, Cairo,
Mexico City & Bonn, before Mellor returned to the UK to attend the City Of London Freemen's School in Surrey. Mellor left school &
enrolled at Central College of Art but left "after about a week", heading straight for the underground & squat culture. Mellor spent time living
in Wales, playing in knock-about bands and using the nickname "Woody" inspired by Woody Guthrie's name.
b) The Vultures in time led to The 101'ers, a group of West London-based squatters named after their squat address. The 101'ers were
eventually supported by a nascent Sex Pistols. Mellor adopted the stage name of "Joe Strummer". Impressed by the power of the Sex Pistols,
the newly self-coined Strummer determined that the 101'ers were "yesterday's papers" by comparison. It was time to strike out anew. And this
led to the start of The Clash.
c) "This is my Indian summer...I learnt that fame is an illusion & everything about it is just a joke. I'm far more dangerous now, because I
don't care at all." – Joe Strummer to Chris Salewicz – 2000."
[4] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 3:50–4:50; 8:40–11:40.
ISBN 0738900826. OCLC 49798077.
[5] "The Clash" (http:/ / www. rockhall. com/ inductee/ the-clash). Induction. The Rock and Roll Hall of Fame and Museum. 10 March 2003. .
Retrieved 19 November 2007. "a) Quite simply, the Clash were among the most explosive and exciting bands in rock and roll history.
b, c) If not exactly a reunion, it was a rapprochement. On 15 November 2002, Jones and Strummer shared the stage for the first time in nearly
20 years, performing three Clash songs during the encore of a London benefit show by Joe Strummer and the Mescaleros. This raised hopes
for a Clash reunion, which were dashed when Strummer died of a heart attack on 22 December 2002."
[6] "Clash star Strummer dies" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 2600669. stm) (STM). Entertainment. BBC News World Edition.
27 December 2002. . Retrieved 20 November 2007. "Rolling Stone voted London Calling, their classic 1980 album (released in 1979 in the
UK) as the best album of the Eighties."
[7] "The Clash Clash in Hamburg LP 20 May 1980" (http:/ / homepage. mac. com/ blackmarketclash/ Bands/ Clash/ recordings/ 1980/ Clash in
Hamburg LP/ Clash in Hamburg. html). blackmarketclash.com. . Retrieved 21 January 2008. "a) This is the infamous riot show where there
was mayhem in the audience and on the stage, riot police battling with fans outside, and Joe was arrested for seriously assaulting a 'fan' with
his guitar. His actions shocked Joe, and had a lasting personal impact on him.
b) He would raise the incident in a number of interviews there after. Joe said, "I nearly murdered somebody, and it made me realise that you
can't face violence with violence. It doesn't work". There is information on the night from three sources; German newspaper reports from the
time, an eyewitness account described in Last Gang In Town, and interviews with Joe."
[8] "Clash star Strummer dies" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ music/ 2600669. stm). BBC News. 27 December 2002. . Retrieved
2009-02-11. "Joe Strummer, the leader of legendary Seventies punk band The Clash, has died of a suspected heart attack aged 50. A
spokesman for Strummer, real name John Graham Mellor, said the singer died at home in Broomfield, Somerset, on Sunday."
[9] "Clash star Joe Strummer dies" (http:/ / archives. cnn. com/ 2002/ SHOWBIZ/ Music/ 12/ 23/ britain. strummer/ ). Entertainment. CNN.com.
23 December 2002. . Retrieved 23 November 2007. "Strummer, who was the band's guitarist, vocalist and songwriter alongside Mick Jones,
died on Sunday at his farmhouse in Somerset, southwestern England."
[10] "Clash frontman Joe Strummer leaves £1m will" (http:/ / www. dailymail. co. uk/ pages/ live/ articles/ showbiz/ showbiznews.
html?in_article_id=426977& in_page_id=1773& ito=1490). TV & showbiz. Daily Mail. 7 January 2007. . Retrieved 23 November 2007. "Joe
Strummer, the former frontman of punk band The Clash, left an estate worth nearly £1 million, it was revealed yesterday."
[11] "Joe Strummer's Charity Work, Events and Causes" (http:/ / www. looktothestars. org/ celebrity/ 1534-joe-strummer). Look To The Stars. .
Retrieved 29 March 2010.
Joe Strummer 57

[12] "Forest tribute to Clash star" (http:/ / news. bbc. co. uk/ 2/ hi/ uk_news/ scotland/ 2673971. stm). UK: Scotland. BBC News world edition.
19 January 2003. . Retrieved 29 March 2010.
[13] "YOUR PLANET - Part 2: 'I Want to Put Back What I'Ve Taken Out'" (http:/ / www. redorbit. com/ news/ science/ 245201/
your_planet__part_2_i_want_to_put_back/ index. html). Science News. redOrbit.com. 20 September 2005. . Retrieved 29 March 2010. "Joe
Strummer: The world's first carbon neutral artists, Joe Strummer was involved in setting up the company and his large forest on the Isle of
Skye has become a memorial to him."
[14] "Strummerville: A Charity in Honour of Joe Strummer of The Clash: Whats It All About?" (http:/ / www. strummerville. com/
strummerville-a-charity-in-honour-of-joe-strummer-of-the-clash-whats-it-all-about/ ). Strummerville: The Joe Strummer Foundation for New
Music. . Retrieved 29 March 2010.
[15] D'Angelo, Joe (17 November 2003). "Joe Strummer Leaves Final Mark On New York With New Video" (http:/ / www. mtv. com/ news/
articles/ 1480457/ 20031117/ strummer_joe. jhtml) (JHTML). MTV News. mtv.com. . Retrieved 29 November 2007. "Clip features cameos by
Rancid, actor Matt Dillon, filmmaker Jim Jarmusch."
[16] "Fillmore NY @ Irving Plaza - Artists" (http:/ / www. irvingplaza. com/ artists. htm). irvingplaza.com. . Retrieved 29 November 2007. "Joe
Strummer Tribute - Ari Up (of The Slits); Clem Snide; The Detachment Kit; Dirty Mary; Hammel on Trial; Jesse Malin; New Blood
Revival; The Realistics; Radio 4; Secret Army; Ted Leo (solo); and special guests"
[17] Helmer, April (23 April 2004). "Dropkick Murphys always sing loud, proud" (http:/ / www. dropkickmurphys. com/ press/ press/
expresstimes. html). The Express-Times. dropkickmurphys.com. . Retrieved 13 March 2008.
[18] "Engine named after Clash singer" (http:/ / news. bbc. co. uk/ 2/ hi/ uk_news/ england/ bristol/ somerset/ 4256619. stm) (STM).
Bristol/Somerset. BBC NEWS. 12 February 2005. . Retrieved 6 July 2007. "The Class 47 Diesel, which is owned by Cotswold Rail, is being
named after the singer, who lived in Bridgwater, Somerset. He died aged 50 in 2002."...
..."The locomotive, and plaque showing Strummer's name, were unveiled at Bristol Temple Meads station by his wife, Lucinda."
[19] "Plaque for Clash legend Strummer" (http:/ / news. bbc. co. uk/ 1/ hi/ wales/ 4707943. stm) (STM). Wales. BBC NEWS. 22 July 2005. .
Retrieved 29 November 2007. "The friend who arranged for a tribute plaque to Joe Strummer on the house where the punk legend wrote his
first song admits he would have hated it."
[20] de Lint, Charles (2005). The Hour Before Dawn. Burton, MI: Subterranean Press. pp. 10–11. ISBN 1596060271.
[21] "MEETING JOE STRUMMER" (http:/ / www. middlegroundtheatre. co. uk/ index-page190. html). Middle Ground Theatre Company. .
Retrieved 29 March 2010.
[22] "Joe Strummer: The Future Is Unwritten (2007) - Release dates" (http:/ / www. imdb. com/ title/ tt0800099/ releaseinfo). Internet Movie
Database. . Retrieved 13 March 2008.
[23] "Joe Strummer" (http:/ / www. fender. com/ joestrummer/ ). fender.com. . Retrieved 29 March 2010.
Related articles:
• "Strummer Telecaster® Guitar Based on Legendary Clash Leader's Famous DIY Instrument" (http:/ / www. fender. com/ news/ index.
php?display_article=199). News. Fender. . Retrieved 29 March 2010.
[24] Buquicchio, Cesare (19 November 2009). "Sardegna punk, una via per Joe Strummer" (http:/ / www. unita. it/ news/ culture/ 91451/
sardegna_punk_una_via_per_joe_strummer) (in Italian). Culture (L'Unità). . Retrieved 29 March 2010.
[25] "Lily Allen: uncertain smile" (http:/ / www. telegraph. co. uk/ culture/ music/ 4223221/ Llly-Allen-uncertain-smile. html). Culture > Music.
The Telegraph. 16 January 2009. . Retrieved 29 Marchr 2010.
[26] Orshoski, Wes (7 November 2006). "Exclusive: Strummer Documentary To Premiere At Sundance" (http:/ / www. billboard. com/ bbcom/
news/ article_display. jsp?vnu_content_id=1003353439) (JSP). News. Bilboard.com. . Retrieved 29 November 2007. ""The Future is
Unwritten", Julien Temple's new film on the life and career of late Clash frontman Joe Strummer, will have its U.S. premiere in mid-January
at the Sundance Film Festival in Park City, Utah."
[27] "BBC - Somerset - In Pictures - Joe Strummer" (http:/ / www. bbc. co. uk/ somerset/ content/ image_galleries/ joe_strummer_gallery. shtml)
(SHTML). Where I Live - Somerset - Celebrities and Events. bbc.co.uk. . Retrieved 29 November 2007. "Julien Temple's biopic of The Clash
front man, entitled Joe Strummer: The Future Is Unwritten, receives its premiere at The Palace in Bridgwater on Saturday, 5 May 2007. This
photo is of a campfire in Somerset."
[28] Kelly, Kevin (26 January 2007). "Sundance Review: Joe Strummer: The Future is Unwritten" (http:/ / www. cinematical. com/ 2007/ 01/ 26/
sundance-review-joe-strummer-the-future-is-unwritten/ ). cinematical.com. . Retrieved 29 November 2007. "If you can imagine what it would
be like to try to document the life of one of your closest friends after their death, and to assemble everything into feature film length, you can
probably see how difficult the process might be."
[29] Cohen, Jonathan (25 April 2007). "Radio 4 Tunes In For D'Ambrosio Documentary" (http:/ / www. billboard. com/ bbcom/ news/
article_display. jsp?vnu_content_id=1003576052). Billboard. . Retrieved 17 December 2007.
[30] http:/ / www. strummerguitar. com/ evolutionofalegend. html
[31] http:/ / www. websitetoolbox. com/ tool/ post/ strummernews/ vpost?id=2044598
[32] http:/ / www. rockstarsguitars. com/ product. php?c=1& cat=111& scat=216
[33] Musician Magazine 1980
Mick Jones 58

Mick Jones
Mick Jones

Mick Jones during his time with Big Audio Dynamite (New York, 1987)

Background information

Birth name Michael Geoffrey Jones

Born 26 June 1955

Origin Brixton, England

Genres Punk rock, rock

Occupations Musician, songwriter

Instruments Guitar, vocals, bass, piano, drums, harmonica

Years active 1975 — present

Labels CBS, I.R.S., Radioactive

Associated acts The Clash, General Public, Big Audio Dynamite, Carbon/Silicon, Gorillaz

Notable instruments

Gibson Les Paul Jr. Double Cutaway

Gibson Les Paul Custom
1972 Fender Telecaster Thinline

Michael Geoffrey "Mick" Jones (born 26 June 1955) is the former lead guitarist, secondary vocalist and
co-founder for the British punk rock band The Clash until his dismissal in 1983. He went on to form the band Big
Audio Dynamite with Don Letts before line-up changes led to the formation of Big Audio Dynamite II and later Big
Audio. He currently plays with Carbon Silicon.

Early life
Jones was born in Brixton, South London, England to a Welsh father and a Russian Jewish mother.[1] He spent much
of his early life living with his maternal grandmother, Stella, in South London. Jones' cousin is Grant Shapps, the
Conservative MP for Welwyn Hatfield.[2] Jones went to Strand School - and then on to art school, because "[he]
thought that's how you get into bands and stuff".[3]

“
But even before the Dolls, I used to follow bands around. I followed Mott the Hoople up and down the country. I’d go to Liverpool or
Newcastle or somewhere—sleep on the Town Hall steps, and bunk the fares on the trains, hide in the toilet when the ticket inspector came

”
around. I’d jump off just before the train got to the station and climb over the fence. It was great times, and I always knew I wanted to be in a
band and play guitar. That was it for me.

[4]
—Mick Jones to Gibson Backstage Pass Holiday Double Issue 2006 ,
Mick Jones 59

He started gaining recognition as a guitarist in the early '70s with his glam rock band, The Delinquents. A short time
later, he met Tony James and formed the proto-punk London SS. By 1976, the band had broken up and remaining
members Jones, Paul Simonon and Keith Levene were seeking a new direction.[5]

The Clash
When he was 21, he (and Paul Simonon) were introduced to Joe
Strummer by Bernie Rhodes (the self proclaimed inventor of punk
rock)[6] in a dirty squat in Shepherd's Bush. The band practiced in a
disused railway warehouse in Camden and The Clash was formed.
Jones played lead guitar, sang, and co-wrote songs from the band's
inception until he was fired by Strummer and Simonon in 1983. Jones'
lack of punctuality played a major role in his dismissal from the band.
Mick Jones (centre) on stage with The Clash
For his time with The Clash, Jones, along with the rest of the band, was
inducted into the Rock and Roll Hall of Fame in 2003.[7]

General Public
After his expulsion from The Clash, Jones was briefly a founding member of General Public. Though he's listed in
the credits of the band's 1984 debut album All the Rage as an official member, Jones actually left General Public part
way through the recording process and was replaced by Kevin White. (White's picture appears on the back cover;
Jones' picture does not.) Jones did play guitar on many of the album's tracks, including the North American top 40
hit "Tenderness".

Big Audio Dynamite

Leaving General Public behind, in 1984 Jones formed Big Audio Dynamite with film director Don Letts, who had
directed various Clash videos and later the Clash documentary Westway to the World. The band's debut album This
Is Big Audio Dynamite was released the following year, with the song "E=MC²" getting heavy rotation in dance
clubs, and both singles "Medicine Show" and "E=MC2" charting in the UK Singles Chart.
For Big Audio Dynamite's second album, No. 10 Upping St., Jones reunited with Strummer. Together, the two wrote
several songs on the album, including "Beyond the Pale", "V. Thirteen", and "Sightsee M.C."; Strummer also
co-produced the album. Their reunion did not last long, and following that collaboration, the two did not work
together again for some time.
Big Audio Dynamite's third album, Tighten Up, Vol. 88, featured cover art painted by the ex-Clash bassist, Paul
Simonon. Shortly following its release, Jones developed chicken pox, along with pneumonia and spent several
months in hospital.[8] [9] After his recovery, Jones released one more album with Big Audio Dynamite, Megatop
Phoenix, before reshuffling the line-up, renaming the band Big Audio Dynamite II and releasing The Globe album.
In 1990, Jones was featured on Aztec Camera's song "Good Morning Britain", with Roddy Frame.
The band's line-up was reshuffled again in 1994, and they released the album Higher Power under the name Big
Audio. In 1995, a greatest hits album, Planet B.A.D. was released as well as a studio album called F-Punk under the
original Big Audio Dynamite name. A further album, Entering a New Ride was recorded in 1997, but was only
released on the internet due to disagreement with Radioactive Records, their then record label. One more "best of"
collection, called Super Hits, was released in 1999.
Mick Jones 60

Recent projects

Carbon/Silicon
In 2002, Jones teamed up with his former London SS colleague,
Generation X and Sigue Sigue Sputnik member, Tony James to form a
new band named Carbon/Silicon. The band has toured the United
Kingdom and the United States and has performed a number of
anti-fascist benefit concerts; they have also recorded three albums:
A.T.O.M, Western Front and The Crackup Suite which were available
online for free. Their first physical CD release was The News EP. The
band encourage their fans to share their music on P2P networks, and
allow the audio and video taping of their shows. Their first song,
"MPFree" is an anthem for P2P file sharing.

Similar in many respects to Jones' earlier work in Big Audio Dynamite,

Carbon/Silicon aims to break the traditional approach to rock and roll.
The band was described by Alan McGee as "...the Stones jamming
with a laptop," and they make use of samples in their recordings and
live shows. The formation of the band was catalyzed by the internet
and p2p file sharing. The first song written by Jones and James was
entitled "MPFree," in which they expressed their willingness to Mick Jones playing with Carbon/Silicon at the
embrace the technology of the internet and file sharing, in the interest Carbon Casino VI event on 22 February 2008

of spreading music, rather than profit.

On seven consecutive Friday nights in January and February 2008 Carbon/Silicon played a series of gigs at the Inn
On The Green, right under the Westway in Thorpe Close, between Ladbroke Grove and Portobello Road. As well as
Carbon/Silicon there were many special guests, including appearances by Sex Pistols' Paul Cook and Glen Matlock,
former Clash drummer Topper Headon and multi-instrumentalist and former Mescalero, Tymon Dogg.

Producer
Jones has also been an occasional producer. In 1981 he produced Ellen Foley's second album The Spirit of St. Louis.
Jones was in a relationship with Foley, and co-wrote songs for the album with Strummer. Players on the album
included members of The Blockheads and all four members of The Clash[10] (The Clash's hit song "Should I Stay or
Should I Go", written and sung by Jones, was about his turbulent relationship with Foley).
In 1981 Jones also produced Theatre of Hate's first album Westworld released in 1982, written by Kirk Brandon.
Jones also played guitar on the title track, "Do You Believe In The Westworld". Jones would also record and
produce Aria of the Devil in 1982 by Theatre of Hate at Wessex Studios, which did not get released until 1998, when
the master tapes were found by Kirk Brandon.
He produced the London-based band The Libertines' debut album Up The Bracket (2002). The album was critically
well received, both in the UK and US. Jones stayed on to produce the band's second and final album The Libertines.
He also produced Down In Albion, the debut album of former Libertines lead singer and guitarist Pete Doherty's new
group Babyshambles.
Jones is also credited with contributing guitar and vocals to "Mal Bicho", the lead track of Los Fabulosos Cadillacs'
album Rey Azucar.
He recently provided the score for Nick Mead's film, Dice Life - the Random Mind of Luke Rhinehart, a
contemporary dance film created by Nick Mead and Wayne McGregor, featuring Luke Rhinehart, author of The Dice
Man.
Mick Jones 61

At the NME Shockwave 2007 awards, Jones took to the stage and performed "(White Man) In Hammersmith Palais"
with Primal Scream.[11]

Friendship with Richard Archer

Richard Archer of Hard-Fi first met Mick Jones when he was still with Contempo. Hard-Fi were looking for a
producer when one of the members of the record company suggested Jones, to which the band agreed to. At a
rehearsal in Putney, Richard compared his dress sense to that of "the Godfather".[12] [13]
Archer worked for a year on the band's first record, but things didn't work out as planned due to problems with the
record company.[12] [13]
Talking about Archer, Jones said:
"I guess I can have a lot of fun at this stage in my career and I like working with young people such as
Rich because they're full of new ideas. I wouldn't say I'm a mentor to him, though. I just like to try to
have some fun and play a few tunes.[12] [13]
At Hard-Fi's NME Awards show at the Koko club on 6 February 2008 Jones appeared with Hard-Fi to perform the
Clash's "Should I Stay or Should I Go" and Hard-Fi's "Stars of CCTV".
On 1 March 2008, rumours started appearing that the two would be forming a new band after Archer joined Jones
and his new band, Carbon/Silicon, during a show in London. They revealed that they were thinking about combining
the two bands to form a project called "Hard Carbon".[14]

Gorillaz
Jones reunited with Simonon on the 2010 Gorillaz album, Plastic Beach, on the title track "Plastic Beach". Jones is
also performing in the Gorillaz live band supporting Plastic Beach, playing Rhythm Guitar, along with Simonon.
The band headlined the 2010 Coachella Festival.

Musical equipment
Jones' first guitar was a Gibson Les Paul Junior with a P-90 pickup, which he
bought since Johnny Thunders used one. The Junior was his main guitar up
until late 1977 early 1978, and after that as a backup and studio-guitar.
Around the same time he also owned another Les Paul Junior, all black
(formerly red) with a black pickguard, which got smashed at a gig in 1977.
He then switched to the regular Gibson Les Paul and later to Gibson Les Paul
Customs.

"My favorites are still the Juniors," he told Gibson.com in 2006. "I had a great
Les Paul Standard, a sunburst one. And then I had a black Custom, and a
white Custom. And then the big white hollowbody for London Calling. But I
still play the Juniors today."
He also occasionally played an Olympic White Fender Stratocaster - for live
versions of 'Straight to Hell' - and several Bond Guitars that were donated to
him by good friend Andrew Bond who made the guitars. For effects Jones
Mick Jones playing his Fender Thinline
mainly uses MXR pedals including a 100 Phaser, a Flanger, an Analog Delay Telecaster at Carbon Casino VI
and a Noisegate as well as a Roland chorus or Space Echo effect.[15] During
the early times with The Clash, Jones used a Marshall Plexi amplifier and occasionally a Fender Twin with a 2x12
cabinet. He later changed to Mesa Boogie amplifier with two Marshall 4x12 cabinets that he used throughout the rest
of his career with The Clash.[16] [17]
Mick Jones 62

Jones was noted for playing a high-tech British-made guitar called the Bond Electraglide with Big Audio Dynamite.
It's worn by him on the cover of No. 10 Upping St..
Live, Jones still occasionally plays a Gibson Les Paul Junior guitar, but with his current band Carbon/Silicon favours
a much lighter, black 1972 Fender Thinline Telecaster guitar with its original Fender Wide Range humbucker
pickups. They are both played through a Fender Blues DeVille valve amplifier. Additional overdrive is provided by
an Ibanez Tube Screamer TS-9 overdrive pedal.

Further reading
• Clash, The (1 October 2008). The Clash: Strummer, Jones, Simonon, Headon. London: Atlantic Books.
ISBN 1843547880. OCLC 236120343.
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.

External links
• Carbon/Silicon Official Website [18]
• Carbon/Silicon Official MySpace [19]
• The Clash website [20]
• Revolution Rock [21]

References
[1] "Mick Jones (I) - Biography" (http:/ / www. imdb. com/ name/ nm0428851/ bio). Internet Movie Database. . Retrieved 17 December 2007.
"Sid Vicious gained the enmity of The Clash's Mick Jones due to his habit of wearing a Nazi Swastika t-shirt. Jones, who is Jewish, and the
rest of The Clash vowed they would never appear on stage with the Sex Pistols."
[2] Newsnight, BBC2, 14 April 2010
[3] Letts Don; Rick Elgood, Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, The Clash. (2001). The Clash: Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 3:50–4:50.
ISBN 0738900826. OCLC 49798077.
[4] "Stay Free: Mick Jones Looks Back at The Clash" (http:/ / www. gibson. com/ en-us/ Lifestyle/ Features/ From the Archives_ Stay Free_/ ).
Gibson Backstage Pass Holiday Double Issue 2006. Gibson.com. 12 2006. Archived from the original (http:/ / www. gibson. com/ backstage/
200612/ theclash. htm) on 10 September 2007. . Retrieved 17 December 2007. "But even before the Dolls, I used to follow bands around. I
followed Mott the Hoople up and down the country. I’d go to Liverpool or Newcastle or somewhere—sleep on the Town Hall steps, and bunk
the fares on the trains, hide in the toilet when the ticket inspector came around. I’d jump off just before the train got to the station and climb
over the fence. It was great times, and I always knew I wanted to be in a band and play guitar. That was it for me."
[5] Renshaw, Jerry (22 May 2000). "From Here to Eternity – The Story of the Clash". The Austin Chronicle (Austin, Texas: Austin Chronicle).
OCLC 32732454. "When Mick Jones finally began attracting attention for his guitar playing, he was in a glam rock outfit, the Delinquents,
complete with long hair, feather boas, and poncey trappings; in time he would meet up with Tony James (later of Generation X and Sigue
Sigue Sputnik) to form the London SS. With a revolving-door cast of players including future members of the Damned, Chelsea, and PiL,
London SS took the first stack-heeled, shambling steps toward punk, naming among their influences the Stooges, MC5, and New York Dolls,
and in the process acquiring future Clash manager Bernie Rhodes. By 1976, London SS had fallen apart, and Jones found himself in a new
Mick Jones 63

band with guitarist Keith Levene and art-school dropout Paul Simonon. Simonon had spent much of his time hanging out with his West Indian
pals and immersing himself in reggae, ska, and skinhead fashions, elements that would later be part and parcel of the Clash. Meanwhile, in
another part of London, 24-year-old John Mellor was bashing away in pub-rock outfit the 101ers. The band caught the interest of Simonon and
Jones, still in search of a frontman to round out their lineup.".
Related news articles:
• "Music: From Here to Eternity (Austin Chronicle . 05-22-00)" (http:/ / weeklywire. com/ ww/ 05-22-00/ austin_music_feature. html).
weekly WIRE.com. . Retrieved 17 December 2007.
[6] In a television interview, Joe Strummer of The Clash said, after drawing the camera to Bernard sleeping against a wall, "He invented punk...it
was obviously too much for him", referring ironically to a statement of Rhodes himself. The scene and the statement are featured in the
documentary Joe Strummer: The Future Is Unwritten.
[7] "The Clash" (http:/ / www. rockhall. com/ inductee/ the-clash). Induction. The Rock and Roll Hall of Fame and Museum. 10 March 2003. .
Retrieved 19 November 2007.
[8] Robbins, Ira Robbins; Jem Aswad, Michael Azerrad. "TrouserPress.com :: Big Audio Dynamite" (http:/ / www. trouserpress. com/ entry.
php?a=big_audio_dynamite) (PHP). TrouserPress.com. . Retrieved 17 December 2007. "The disappointing Tighten Up Vol. 88 reaches no
such peaks and now sounds like a fairly brazen attempt to get hip commercial airplay. The fault is seldom with Jones' songwriting but more
with the slick sheen laid over the leaner, less aggressive beats. The LP yielded "Just Play Music" and "Other 99," but a pall was thrown on the
release as Jones fell deathly ill shortly after its appearance; having contracted pneumonia, he was hospitalized for months."
[9] "Punk Legends Form Rock Band Carbon/Silicon" (http:/ / www. npr. org/ templates/ story/ story. php?storyId=18484452). National Public
Radio: Music. . Retrieved 29 January 2008.
[10] Allmusic.com (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:dzfoxqy5ldfe)
[11] ChartAttack.com Staff (2 March 2007). "Doherty And Moss' Naughtiness Overshadows Arctic Monkeys At NME Awards" (http:/ / www.
chartattack. com/ news/ 43096/ doherty-and-moss-naughtiness-overshadows-arctic-monkeys-at-nme-awards) (CFM). News. Chart
Communications. . Retrieved 2009-04-27. "Jones joined Primal Scream to close the show with a cover of The Clash's "(White Man) In
Hammersmith Palais," which was performed in honour of the storied venue's imminent closing. Primal Scream also played "Movin' On Up",
"Country Girl", "Rocks" and "Swastika Eyes"."
[12] "Mick Jones & Richard Archer." The Independent on Sunday (London, England) (9 March 2008)
[13] A Scan of "Mick Jones & Richard Archer" from The Independent on Sunday (London, England) (9 March 2008) (http:/ / farm3. static.
flickr. com/ 2402/ 2383432638_5e7ccb7434. jpg?v=0)
[14] Hard-Fi's Richard Archer Set For Clash Link-Up (http:/ / www. dailyrecord. co. uk/ entertainment/ music/ music-news/ 2008/ 03/ 01/
hard-fi-s-richard-archer-set-for-clash-link-up-86908-20336064/ )
[15] London's Burning! (http:/ / londonsburning. org/ art_down_beat_12_82. html)
[16] Yahoo! GeoCities (http:/ / www. oocities. com/ thewhiteriot/ MickInterview. html)
[17] Website Toolbox (http:/ / www. websitetoolbox. com/ tool/ post/ strummernews/ vpost?id=2044598)
Paul Simonon 64

Paul Simonon
Not to be confused with Paul Simon

Paul Simonon

Paul Simonon at the Eurockéennes 2007 with The Good, the Bad and the Queen

Background information

Birth name Paul Gustave Simonon

Born 15 December 1955

Brixton, London, England

Genres Punk rock

Reggae
Alternative rock

Occupations Bass guitarist, visual artist, vocalist, songwriter

Instruments bass guitar, guitar, vocals

Years active 1976 - 1993, 2006 - present

Labels CBS Records

Capitol Records
Parlophone

Associated acts The Clash

Havana 3am
The Good, the Bad and the Queen
Gorillaz

Notable instruments

Rickenbacker bass
Fender Precision Bass

Paul Gustave Simonon (born 15 December 1955) is an English musician and artist best known as the bass guitarist
for punk rock band The Clash. His most recent work is his involvement in the album The Good, the Bad & the
Queen with Damon Albarn, Simon Tong and Tony Allen, released in January 2007.

Biography
Simonon was born in Brixton, London, England. His father, Gustave, was a clerk in the civil service and his mother,
Elaine, was a librarian. He grew up in the South London area of Brixton, spending around a year in Siena, Italy with
his mother and stepfather. Before joining The Clash, he had planned to become an artist and attended the Byam
Shaw School of Art, then based in Campden St, Kensington (now part of Central Saint Martins College of Art and
Design) relocated in Archway, London.[1]
Paul Simonon 65

He was asked to join The Clash in 1976 by lead guitarist Mick Jones, who planned to teach Simonon guitar.
However, the instrument proved too difficult for Simonon, so Jones decided to teach him bass instead.[1] In fact,
Simonon would learn his bass parts by rote from Jones in the early days of The Clash and still did not know how to
play the bass when the group first recorded. He is credited with coming up with the name of the band and was
mainly responsible for the visual aspects such as clothing & stage backdrops.[2] He was also immortalized on the
front cover of the band's double album London Calling; Pennie Smith's image of him smashing his bass has become
one of the iconic pictures of the punk era.[1] [3] [4] [5] [6]
Paul Simonon wrote three of the Clash's songs: "The Guns of Brixton" on London Calling, "The Crooked Beat" on
Sandinista!, and the B-side "Long Time Jerk". He sang "Red Angel Dragnet" from Combat Rock but this song was
written by Joe Strummer.
Simonon played bass on almost all of the Clash's songs. Recordings that he did not play on include: "The
Magnificent Seven" and "Lightning Strikes (Not Once but Twice)" on Sandinista! (played by Norman Watt-Roy),
"Rock the Casbah" on Combat Rock (played by Topper Headon), and 10 of the 12 tracks on Cut the Crap (played by
Norman Watt-Roy). Many of the tracks on Combat Rock are thought to have bass tracks laid down by Mick Jones or
engineer Eddie Garcia and early recordings on Sandinista! featured bass played by Jones or Strummer, some but
possibly not all of which Simonon later re-recorded once he rejoined the sessions after filming Ladies and
Gentlemen, The Fabulous Stains.[3] [7]
Simonon's contrapuntal reggae-influenced lines set him apart from the bulk of other punk rock bassists of the era in
terms of complexity and the role of the bass guitar within the band.[8] He usually played with a pick as opposed to
plucking the strings with his fingers.
After the Clash dissolved in 1986, Simonon started a band called
Havana 3am. They recorded one album in Japan before breaking
up. He also participated in a Bob Dylan session along with the Sex
Pistols' Steve Jones that became part of the Dylan album Down in
the Groove. Presently, Simonon works as an artist - his first
passion before joining the Clash. He has had several gallery
shows, and designed the cover for Big Audio Dynamite's album,
Tighten Up, Vol. 88, as well as the cover for "Herculean" from the
album The Good, the Bad and the Queen, a project with Damon
Simonon promoting the band, Havana 3am, in Tokyo, Albarn on which Simonon plays bass. In 2008, after a seven year
Japan gap, Simonon began exhibiting paintings again with an exhibition
at Thomas Williams Fine Art, London.[9] One of his paintings was
bought by British singer Lily Allen for £23,500, according to the Telegraph newspaper.[10] Paul reunited with
Damon Albarn and Mick Jones on the new Gorillaz album Plastic Beach, and is also the bassist of the Gorillaz live
band supporting Plastic Beach, along with Mick Jones on guitar. The band headlined the 2010 Coachella Festival,
and took up residence at the Camden roundhouse for two nights in late april 2010.
Paul Simonon 66

Equipment
Paul is known for using white Fender Precision basses and Ampeg amplification.
He has also used Sunn amps. He is also known for decorating his own basses
with paint and stickers, and his basses often had a text on the upper horn of the
body.
Paul Simonon Bass Story 1976 - 2008
He started off playing through a small unknown head-amplifier and a pink 4x10
cab, but in 1978 he began using Ampeg cabinets and Ampeg amps and has since
used Ampegs. His first bass was a 1. "cheap knock-off", as he called it himself,
that he used through 1976 and early 1977, which he splattered in paint. In 1977,
during the recording of The Clash, he received a black 2. Rickenbacker from
Patti Smith, which he also decorated in paint, but he didn't quite like the sound of
it, as it sounded too thin, and he also thought it wassa too light-weighted (he's
Paul Simonon stated that he prefers heavy basses, as they seem more resonant and robust). Then
he got hold of a white 3. Fender Precision Bass in 1978, and after that he has
only played white Fenders live.

This one was probably just a cheap bass, that he gave up (there's a possibility that he broke this bass during a concert
in Paris, it's been stated that this concert ended in Paul throwing off his bass in frustration because of the sound, and
that might have broken the bass). Later he received a better Fender from CBS which he used many for years. CBS
used to give him a new bass every now and then. It was another 4. P-Bass, and this one is known for having "Paul"
scratched into the body. The pickups were black on all of his Fenders but he changed the ones on this bass into
white.

He used it mainly through 1978 and used it as a backup in 1979. He played a 5. Wal JG Custom Bass during the
recording session for Give 'Em Enough Rope in 1978, because the producer Sandy Pearlman suggested it, but Paul
disliked it, because it had too many switches.
In 1979 he got a new 6. Fender, which was the one he smashed on the cover of London Calling. He strongly
regretted that move, because it was his best sounding bass (it now resides in the Rock 'N' Roll Hall Of Fame). And
after it was smashed, it was back to the old 4. Fender, which he used until he got a new 7. bass in 1980 (there is a
small possibility that this is the same bass as Bass 9, before it eventually got modified). Note: All of his Fenders up
to then had maple necks.
But in 1981, he got a 8. Fender Fretless Precision with a rosewood fingerboard. He played it through 1981, but he
got back to fretted Fenders in 1982. He then got hold of a 9. Fender Precision with a black headstock, rosewood
fingerboard, and white pickups. He then also changed the neck on his 4 PAUL-bass to a neck with black headstock
and rosewood fretboard.
Bass 8 and 9 was mostly used as backup basses, and they still are his backup basses, and Bass 4 still are his main
bass, heavily worn and beaten up. (it can be seen on the picture of him on the top of the page.) He had a 10. sunburst
Precision in the last years of The Clash, but that one was only used as a backup and by Joe Strummer during the song
"The Guns of Brixton".
He had a sunburst 11. Epiphone Rivoli, which can be seen in the videos for "The Call Up" and "London Calling", but
he was also seen with it in the earliest days of The Clash. It had probably belonged to Joe Strummer or Mick Jones
or someone in their former bands, The 101ers (Strummer) or London SS (Mick Jones). He used an 12. Ovation
acoustic bass during the recording of The Good, the Bad and the Queen.
List Of Bass Numbers
Paul Simonon 67

• 1. Cheap Brand Bass: Black w. paint-mess, (also had "POSITIVE" on its upper horn for a short while), Rosewood
fretboard (used during the early days and during the recording of "The Clash")
• 2. Rickenbacker Bass: Black w. paint-mess and "POSITIVE" on upper horn, Rosewood fretboard (used during the
recording of "The Clash" and for touring in support of "The Clash" album)
• 3. Fender Precision Bass: White w. paint-mess and "POSITIVE" on upper horn, Black pickguard, Maple neck
(rarely seen, but used on the first concerts in 1978 and BBC TV Something Else Live 1978)
• 4. Fender Precision Bass: White w. "PAUL" carved on body (which was once covered up by stickers, which are
now removed), Black pickguard (formerly with paint-mess), Rosewood fretboard (formerly maple neck) (used all
the way from touring in support of the "Give'Em Enough Rope" album, both as main bass and backup bass, both
live and recording, still used as main bass)
• 5. Wal JG Custom Bass (Serial No. JG1126): Cherry Red, Black pickguard, Rosewood fretboard (used for
recording the "Give'Em Enough Rope" album). Now owned by Leigh Gorman of Bow Wow Wow.
• 6. Fender Precision Bass: White w. "PRESSURE" on upper horn, Black pickguard w. paint-mess, Maple neck
(used for both recording and touring in support of the "London Calling" album. Smashed on the cover for
"London Calling")
• 7. Fender Precision Bass: White, Black pickguard, Maple neck (used as both backup and main bass during tours
between "London Calling" and "Sandinista")
• 8. Fender Fretless Precision Bass: White, Black pickguard, Rosewood fretboard (used as main bass for both
recording and touring in support of the "Sandinista" album, "Combat Rock" album and "Cut The Crap" album,
still used as backup)
• 9. Fender Precision Bass: White, Black pickguard, Rosewood fretboard (used as both main and backup bass for
touring in support of the "Sandinista" album, "Combat Rock" album, and "Cut The Crap" album, still used as
backup)
• 10. Fender Precision Bass: Sunburst, Tortoise pickguard, Rosewood fretboard (used as backup during the "Cut
The Crap" album and tour)
• 11. Epiphone Rivoli bass: Sunburst w. Black duct tape, Rosewood fretboard (used during the early days and the
recording of "London Calling" and "Sandinista")
• 12. Ovation Acoustic Bass: White, Ebony fretboard (used for recording "The Good, The Bad and The Queen"
album)
• Ampeg Bass Amps: Ampeg Classic Series SVT-CL Head and Classic Cabinet.

Discography
see also The Clash discography
The Clash
• The Clash, 1977, CBS Records
• Give 'Em Enough Rope, 1978, CBS Records
• London Calling, 1979, CBS Records
• Sandinista!, 1980, CBS Records
• Combat Rock, 1982, CBS Records
• Cut the Crap, 1985, CBS Records
Havana 3am
• Havana 3am, 1991, Capitol Records
The Good, the Bad and the Queen
• The Good, the Bad and the Queen, 2007, EMI
Gorillaz
Paul Simonon 68

• Plastic Beach, 2010, EMI

Simonon reunites with Clash guitarist Mick Jones on the album's title track.

Further reading
• Clash, The (1 October 2008). The Clash: Strummer, Jones, Simonon, Headon. London: Atlantic Books.
ISBN 1843547880. OCLC 236120343.
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

External links
• The Clash website [20]
• Interview with Bass Player magazine [11]
• From Punk to Paint (BBC Interview) [12]
• Paul Simonon's gallery [13] at BBC [14]
• Gallery [15] at Msc.org [16]
• Gallery [17] at Art-Tube.com [18]
• Interview with 3:AM Magazine [19]
• Interview with Bassist Magazine [20]
• Paul Simonon [21]

References
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 3:50–4:50; 19:30–55:00.
ISBN 0738900826. OCLC 49798077.
[2] MTV Rockumentary. Interviewer: Unknown; Presenter: Kurt Loder. MTV, London, England. Transcript (http:/ / www. londonsburning. org/
art_mtv_rockumentary_1. html).
Related news articles:
• . londonsburning.org. . Retrieved 6 December 2007. "Mick Jones: One of the names that we had before we had the Clash was the Weak
Heartdrops from the Big Youth song. Another I think was the Psychotic Negatives, but now neither of those worked.
Paul Simonon: It really came to my head when I start reading the newspapers and a word that kept recurring was the word "clash", so I
thought "the Clash, what about that," to the others. And they and Bernard they went for it."
[3] Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum Press. ISBN 1845131134.
OCLC 61177239.
[4] Topping 2004, p.12.
[5] Green 2003, pp.195–196.
[6] Sweeting, Adam. "Death or Glory". Uncut. October 2004. p.70.
[7] Deeth, John. "Turning Rebellion Into Money: The Story of the Clash" (http:/ / jdeeth. home. mchsi. com/ clash. htm).
jdeeth.home.mchsi.com. . Retrieved 18 February 2008.
Paul Simonon 69

[8] Prato, Greg. Paul Simonon Biography (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:qmk9kettjq7n~T1). allmusic.com.
Retrieved on 24 February 2008.
[9] "Paul Simonon" (http:/ / www. thomaswilliamsfineart. com/ exhibitions/ future/ simonon/ paintings/ simonon_1. html). Thomas Williams
Fine Art Ltd. . Retrieved 24 February 2008.
[10] Lily Allen seeking solace in retail therapy Telegraph 17 April 2008 (http:/ / www. telegraph. co. uk/ news/ main. jhtml?xml=/ news/ 2008/
04/ 17/ dp1703. xml)
Topper Headon 70

Topper Headon
Nicky "Topper" Headon

Background information

Birth name Nicholas Bowen Headon

Also known as Topper

Born 30 May 1955

Bromley, Kent, England

Origin London, England

Genres Jazz, soul, r&b, rock, punk rock, reggae, rock and roll, various genres

Occupations Drummer, percussionist, songwriter

Instruments Drums and percussion; bass guitar and piano occasionally

Years active 1976 – present

Labels CBS Records (1977–1982), Mercury

Associated acts The Clash, Bobby Tench, Jimmy Helms, Mick Gallagher

Nicholas Bowen "Topper" Headon (born 30 May 1955, Bromley, Kent, England), known as 'Topper' due to his
resemblance to Mickey the Monkey from the Topper comic, is a British rock and roll drummer, best known for his
membership in the punk rock band The Clash. He is commonly recognized as the most inspirational and technically
inventive punk rock drummer of the late 1970s and early 1980s. Writng for Allmusic Greg Pato stated that record
producer Sandy Pearlman dubbed Headon as "The Human Drum Machine", due to his impeccable timing and
drumming skills."[1]

Early life
Topper Headon started playing drums at an early age. He was a jazz fan, citing Billy Cobham as a strong influence.
In 1973, Headon joined cult 70s progressive rock outfit Mirkwood, playing with them for a year and a half and they
supported major acts such as Supertramp. He later played with a group that opened for American R&B legends The
Temptations,[1] and admits to falsely claiming that he played with The Temptations.[2]

The Clash
Originally Headon joined The Clash with the intention of establishing a reputation as a drummer, before moving
onto other projects, [1] but he soon realized their full potential and remained with them for four years. Headon
appeared on the albums Give 'Em Enough Rope (1978), The Clash (1979 US version ), London Calling (1979),
Sandinista! (1980) and Combat Rock (1982), as well as several landmark singles the Clash recorded during their
Topper Headon 71

early period. Also of note are his lead vocal on "Ivan Meets G.I Joe" from Sandinista and his work on the hit single
"Rock the Casbah" from Combat Rock, on which Headon composed most of the music and played drums, piano and
bass guitar. He also appeared on Super Black Market Clash (1993), which included B-sides from the band's single
releases.
Clash singer/guitarist Joe Strummer is quoted as saying that Headon's drumming skills were a vital part of the
band.[2] Tensions rose between Headon and his fellow band members due to his addiction.[1] and he left the band on
10 May 1982, at the beginning of the Combat Rock tour. The band covered up the real reason for Headon's departure,
the apparent growing use of heroin, claiming Headon's exit was due to exhaustion.
In a later interview for the rockumentary Westway to the World, he apologised about his addiction and speculated
that had he not been asked to leave The Clash the band might have lasted longer and might possibly still be
together.[2] He also lamented the fact that the best known Clash line-up had been considering a reunion at the time of
Strummer's death, after the positive reunion during the Westway to the World rockumentary.[2]

After The Clash

After leaving the Clash, he was considered as drummer in Mick Jones' post-Clash band Big Audio Dynamite [1]
Headon subsequently focused on recording a solo album Waking Up (1986). He also released a cover version of the
Gene Krupa instrumental "Drumming Man" as a single, which featured Headon's "DuKane Road" on the B-side. His
own composition "Hope for Donna" was included on the Mercury Records sampler Beat Runs Wild, in the same year
.[3] . During the 1980s headon produced albums for New York band Bush Tetras and contributed drums to Chelsea's
Underwraps (1989), before becoming involved with a court case over his peronal drug habits.
He still makes occasional public appearances and it was after one of his shows that he was informed of the death of
Clash frontman Joe Strummer. An emotional Headon stated:

“ It's taken Joe's death to make me realise just how big The Clash were. "We were a political band and Joe was the one who wrote the lyrics.
Joe was one of the truest guys you could ever meet. If he said 'I am behind you', then you knew he meant it 100 per cent".
[4]
”
Headon was extensively interviewed for the Joe Strummer: The Future Is Unwritten documentary film about the late
Clash frontman. He related his experiences during this period, how he became addicted to heroin and how there were
problems before his dismissal. For example, Joe once slept with his girlfriend, which caused a lot of pain to Nick,
and Mick Jones didn't want any bus-travelling without pot. Topper also said that seeing the video of "Rock the
Casbah" with "someone else (Terry Chimes) in my place playing my song" caused him to fall in even greater
depression and heavier drug addiction. It appears that his addiction was only part of the growing tension in the band
that led to Mick Jones' dismissal a year later and the eventual break-up of the band in 1986.
On 11 January 2008, Carbon/Silicon, a new band with the lineup of Mick Jones, Tony James, Leo Williams and
Dominic Greensmith, played a show at the Carbon Casino Club in Portabello London. Headon joined the band on
stage during The Clash's "Train in Vain (Stand by Me)". An encore followed with Headon playing drums on "Should
I Stay or Should I Go". This performance marked the first time since 1982 that Headon and Jones had performed
together on stage.[5] [6] [7]
In a February 2008 newspaper article Headon revealed that in 2003 he started to experience serious back pain, a
frequent complaint of aging rock drummers. Diagnosed with hyperkyphosis, a forward curvature of the back, he
underwent intense posture adjustment treatment and continues to exercise daily. He notes that, on his recent
appearance with Jones, he exhibited his new upright stance.
The BBC featured Headon in a February 2009 feature on drumming as therapy. He shares some of his story in a brief
video interview.[8]
He currently lives in the Dover area of Kent, in the southeast of England.[9]
Topper Headon 72

Drumming style
As a drummer, Headon often employed a distinctive style which emphasized a simple bass-snare up-down beat,
accentuated with closed hi-hat flourishes. Such a method can be found in the songs "Clampdown", "Train in Vain",
and "Lost in the Supermarket". His drumming on "Train in Vain" has been characterized as one of the most
important and distinctive beats in rock music.[10] Writes Scott Kenemore, "[h]s contribution to the music was
tremendous, and his drumming remains an undiscovered treasure for too many."[10]

Discography
For recordings made with the Clash, please see The Clash discography.
Topper Headon has released one studio album, one EP, and three singles as a solo artist and featured on several other
artists albums.[11]

Studio albums

Year Title Record Label Notes

1986 Waking Up Mercury 826 [12]

with guitarist Bobby Tench
779-1

1986 Beat Runs Wild Mercury Mercury Records sampler. Topper Headon features on track B5. "Hope for Donna"

EPs

Year Title Label Notes

1985 Leave It To Luck / East Versus West / Got To Get Out of This Heat S.O.S / Mercury with guitarist Bobby
Casablanca Tench

Singles

Year Title Album Record Label Notes

1985 "Drumming Man / Hope For Donna" Mercury 12"

1985 "Drumming Man / Ducaine Road (12" Mix) Mercury 12"

1986 "Leave It To Luck / Casablanca" Waking

Up

1986 "Leave It To Luck" Waking Mercury

Up

1986 "I'll Give You Everything / You're So Cheeky" Waking Mercury 7"
Up

1986 "I'll Give You Everything (Full version) / When You're Down Waking Mercury 12"
Got To Get Out of This Heat (Extd Mix)(CAN)" Up

1986 "I'll Give You Everything (7" mix) / I'll Give You Everything (Dub Waking Mercury 12"
Ruj) Up
[13]
I'll Give You Everything (Douce Ruj) / You're So Cheeky"
Topper Headon 73

References
• Clash, The (1 October 2008). The Clash: Strummer, Jones, Simonon, Headon. London: Atlantic Books.
ISBN 1843547880. OCLC 236120343.
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (25 January 2005). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

References
[1] Prato, Greg. "Topper Headon > Biography" (http:/ / allmusic. com/ cg/ amg. dll?p=amg& sql=11:hnfuxqr5ld0e~T1). allmusic.com. .
Retrieved 12 December 2007. "a) Sandy Pearlman dubbed Headon "The Human Drum Machine," due to his impeccable timing and skills.
b) Headon grew up a soul and jazz fan (an early influence was ace fusion drummer Billy Cobham), and he was once a member of a local
group that opened a show for the Temptations.
c) Headon's original plan was to stay with the Clash for only a year — which he figured would give enough time to get his name known so he
could move on to another more "suitable" group. Headon quickly realized that the group was not just a one-dimensional punk band, as they
branched out and touched upon a wide variety of styles — all the while never losing sight of their original punk ideals.
d) a heroin addiction had drawn a wedge between Headon and the rest of his bandmates.
e) After a planned reunion with Jones (who was expelled from the Clash himself a year after Headon's dismissal) in the group Big Audio
Dynamite failed to work out, Headon focused on recording a solo album."
[2] Letts Don; Rick Elgood, Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, The Clash. (2001). The Clash: Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 37:00–39:00.
ISBN 0738900826. OCLC 49798077.
[3] Cooke, Brandon; Pete Shelley, Tom Verlaine, Topper Headon, Hipsway, Curiosity Killed the Cat, Wet Wet Wet, Love and Money, Swing
Out Sister, Zerra One. (1986). Beat Runs Wild. [LP recording]. London: Mercury. OCLC 51782857.
[4] "Celebrity Tributes to Joe Strummer" (http:/ / www. strummernews. com/ celebrities. html). strummernews.com. . Retrieved 12 December
2007. "It's taken Joe's death to make me realise just how big The Clash were. We were a political band and Joe was the one who wrote the
lyrics. Joe was one of the truest guys you could ever meet. If he said 'I am behind you', then you knew he meant it 100 percent."
[5] Harper, Simon (12 January 2008). "The Carbon Casino – The Clash reunited! Pair jam after 25 years" (http:/ / www. clashmusic. com/
live-review/ carbon-casino). Clash Music. . Retrieved 15 January 2008. "For the first night of their six-week residency in West London's Inn
On The Green, Carbon/Silicon had promised surprises, but few had realised that meant the reunion of Mick Jones and the powerhouse
drummer of The Clash, Topper Headon."
[6] "Clash members Topper Headon and Mick Jones reunite on stage" (http:/ / www. punknews. org/ article/ 27279). Punknews.org. 13 January
2008. . Retrieved 15 January 2008. "For the first time in 25 years, former Clash members Mick Jones and Topper Headon have shared the
stage together. The reunion took place at Carbon/Silicon's "Carbon Casino" residency, and comes five years after Mick joined Joe Strummer
on stage at the Brixton Academy."
[7] "The Clash's Mick Jones and Topper Headon reunite after 25 years" (http:/ / www. nme. com/ news/ clash/ 33615). News. NME.com. 14
January 2008. . Retrieved 15 January 2008. "Clash drummer joins Carbon/Silicon at London show"
[8] "Can our natural rhythm heal us?" (http:/ / news. bbc. co. uk/ 1/ hi/ health/ 7872043. stm). BBC. 10 February 2000. . Retrieved 7 June 2010.
[9] Headon, Nicky (9 February 2008). "Backache calling ... Nick Headon reveals the treatment that helped his back pain" (http:/ / www.
dailymail. co. uk/ pages/ live/ articles/ health/ healthmain. html?in_article_id=513174& in_page_id=1774& ito=1490). Health (Daily Mail). .
Retrieved 10 February 2008.
[10] Kenemore, Scott (21 March 2007). "All Talk and No Stick" (http:/ / www. popmatters. com/ pm/ features/ article/ 9466/
all-talk-and-no-stick/ ). PopMatters. . Retrieved 12 December 2007. "a) Rock fans everywhere recognize his opening beat to the Mick Jones
song “Train in Vain.” A typical example of Topper’s excellent work, the beat is both catchy and deceptively complicated.
b) Despite his personal failings, his contribution to the music was tremendous, and his drumming remains an undiscovered treasure for too
many."
Topper Headon 74

[11] "Albums by Topper Headon - Rate Your Music" (http:/ / rateyourmusic. com/ artist/ topper_headon). rateyourmusic.com. . Retrieved 12
December 2007.
[12] "Bob Tench at Allmusic" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:azfrxq9gldte~T4). allmusic.com. . Retrieved
2008-12-14.
[13] Headon, Topper. (1986). I'll Give You Everything. [LP recording]. England: Mercury. OCLC 29290615.

Keith Levene
Keith Levene
Birth name Julian Keith Levene

Born 18 July 1957

London, England

Genres Avant-Garde rock, Punk rock, Post punk

Occupations Musician

Instruments Guitar, Bass guitar, Drums, Synthesizer, Piano, Cello, Stroh violin, Saxophone

Years active 1974–present

Labels CBS Records

Associated acts The Clash, The Flowers of Romance, Public Image Ltd

Website [1]
www.murderglobal.com

Notable instruments

Veleno
Travis Bean Wedge
Parker Fly

Keith Levene (born Julian Keith Levene, 18 July 1957 in London) is an English guitarist and songwriter, best
known as a member of Public Image Limited.

Biography
Keith Levene was an early member of The Clash and The Flowers of Romance (most notable for also featuring a
pre-Sex Pistols Sid Vicious). Although he never recorded with The Clash, he co-wrote "What's My Name", featured
on their first album. Levene has often claimed that he co-wrote several songs on The Clash's first album.
After the Sex Pistols disintegrated, Levene co-founded Public Image Ltd (PiL) with John Lydon. His guitar work
was much imitated by several punk rockers and others, including The Edge of U2. On later PiL recordings, Levene
would often forgo his guitar for synthesizer. He left PiL acrimoniously in 1983 around the time the band released
This Is What You Want... This Is What You Get. He released the original versions of the songs on his own label under
the title Commercial Zone.
He has released several solo records, most recently the Killer in the Crowd EP in 2004.
Keith Levene 75

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

External links
• Murder Global [2] - Keith Levene's website
• Interview with 3:AM Magazine [3]
• Fodderstompf [4] - fan-based Public Image Ltd. website
• Keith Levene biography [5]
• Keith Levene discography [6]
• DynamiteVision [7] - Label website
Terry Chimes 76

Terry Chimes
Terry Chimes
Born 5 July 1956
Stepney, London, England

Origin Stepney, London, England

Genres Punk rock, Heavy metal, Glam punk, Rock and roll

Occupations Musician, Drummer, Chiropractor

Instruments Drums, percussion

Years active 1976 – present

Associated The Clash, Johnny Thunders and the Heartbreakers, Cowboys International, Generation X, Hanoi Rocks, The
acts Cherry Bombz, Black Sabbath

Terry Chimes (born 5 July 1956, Stepney, London[1] ) was the original drummer of punk rock group The Clash. He
originally played with them from July 1976 to November 1976, January 1977 to April 1977, and again from May
1982 to February 1983. He was the drummer for Hanoi Rocks in 1985, before the band broke-up that same year. He
briefly toured with Black Sabbath from November 1987 to December 1987, and again in May 1988.
Since 1994, he has practised as a chiropractor in Essex at his clinic; Chimes Chiropractic. He also runs chiropractic
seminars, with the accompanying website 'chiropractic heaven'.

The Clash
Terry Chimes was a member of the proto-punk band London SS, which also featured Mick Jones and Paul Simonon
who, with Chimes, would team up with Joe Strummer and Keith Levene to form The Clash.
Both Chimes and Levene subsequently left, but Chimes was brought back to record the band's self-titled debut
album, The Clash. On the album sleeve he was credited as Tory Crimes. After recording the album Chimes left the
band once again and was replaced by Topper Headon.
In 1982, Headon was forced out of the band and Chimes was asked to rejoin for a U.S. tour supporting The Who and
the following UK tour. He also was in the music video for the single, "Rock the Casbah".

Other bands
After leaving The Clash, Chimes drummed in bands including Johnny Thunders and the Heartbreakers briefly in
1977 and 1984, Cowboys International in 1979, Generation X from 1980 to 1981, Hanoi Rocks in 1985, The Cherry
Bombz in 1986 (with ex Hanoi Rocks members Andy McCoy and Nasty Suicide and ex Sham 69/Wanderers/The
Lords of the New Church Dave Tregunna) and Black Sabbath on their Eternal Idol Tour in 1987-88.

Later years
In 2003, he was inducted into in the Rock and Roll Hall of Fame as a member of The Clash. He served as the band's
spokesman on stage at the induction ceremony, giving an acceptance speech where he praised Topper Headon's
work. According to Clash tour manager Johnny Green, Chimes' award "mysteriously broke" on the band's flight back
to the United Kingdom. However, he was not included as an inducted member when Black Sabbath was enshrined in
2006.
A May 2008 profile in the Daily Mail newspaper detailed how Chimes, a teetotal vegetarian, having been cured of
serious arm pain on his first show in 1985 with Black Sabbath by the band's personal chiropractor, eventually turned
Terry Chimes 77

to that occupation himself.[2]

He was nominated as a Scouting In London Ambassador for the Scout Association Region for Greater London at an
Adult Appreciation ceremony in 2008.[3]

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.
• Should I stay or should I go now? [4] (BBC News Magazine, Fri 20 Oct 2006)
• Black Sabbath Online: Terry Chimes [5]

External links
• terrychimes.com [6]
• chiropracticheaven.com [7]

References
[1] Du Noyer, Paul (1997-09-18). The Clash. Modern Icons. London: Virgin. pp. 93. ISBN 1852277157. OCLC 58830766.
[2] "From the Clash to a chiropractor ... Top complementary therapist tells why he changed his tune" (http:/ / www. dailymail. co. uk/ pages/ live/
articles/ health/ healthmain. html?in_article_id=565431). Daily Mail. 2008-05-10. . Retrieved 2008-05-11.
[3] Scouting In London Ambassador (http:/ / www. scoutinginlondon. org. uk/ Pages/ ambasadors. html)
Rob Harper 78

Rob Harper
Rob Harper
Background information

Origin London, England

Genres rock, punk rock, reggae, rock and roll

Occupations Musician

Instruments Guitar, bass guitar, drums

Years active 1976 – present

Associated acts The Cafe Racers, The Rockettes, The Clash, The
Dazzlers

Rob Harper is a British musician noted for being an early drummer for The Clash from December 1976-January
1977.

Biography
Rob Harper started out playing guitar in a college band and when the singer invited a guitarist called Mark Knopfler
to join, Rob switched to the bass so Mark could join on guitar. It was Mark Knopfler's suggestion to name the band
The Cafe Racers. After College Harper went to Sussex University and at that time he was invited by Mark to play
bass in the band that was to become Dire Straits. Rob declined his offer as he was concentrating on his studies at
University.
During his year at Sussex University (he dropped out in Summer 1976), he played in a band called The Rockettes [1]
(as a lead guitarist) with William Broad (later to become Billy Idol) and Steve Upstone.[2]
In December 1976, Harper joined The Clash on the infamous December 1976 "Anarchy Tour" supporting the Sex
Pistols. The tour is famous for local authorities cancelling many scheduled concerts due to "indecency".
After the tour, Harper quit and the band replaced him with their original drummer, Terry Chimes, who was the
drummer on the Clash's first album. Harper's drumming does not appear on any studio recordings, but can be heard
on a December 9, 1976 bootleg recording of the Clash playing at the Electric Circus in Manchester.
Harper was for a time the guitarist in a South London R&B band called The Marauders, a band set up by UK Subs
singer Charlie Harper. The band also included the original UK Subs bassist Steve Slack who was also a member of
the Dazzlers.
Harper later formed a short-lived UK Power pop band called The Dazzlers as a guitarist (he was equally proficient
on guitar and bass in addition to drums). They released several singles (including Lovely Crash in 1979) and an LP
produced by Tommy Ramone, although the band split up shortly before the LP was released.
Rob Harper 79

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

References
[1] The Rockettes Web Page (http:/ / myckryck. co. uk/ rockettes. htm)
[2] The Official Billy Idol Website (http:/ / www. billyidol. com), billyidol.com. Retrieved on 2008-03-17.
Nick Sheppard 80

Nick Sheppard
Nick Shepperd
Born 1960
Bristol, England

Genres Rhythm and

blues
Rock
Punk rock

Occupations Guitarist

Years active 1976–present

Labels CBS Records

Associated acts The Cortinas

The Viceroys
The Spics
The Clash
Head

Nick Shepperd is a Bristol-born guitarist who is probably best known

for being in the well-known punk band The Clash for a short time.

Biography
Nick Shepperd was educated at Bristol Grammar School, one of
Bristol's leading public schools, and was in the same year as fellow
musician Mark Stewart of The Pop Group. He started at 16 with The
Sheppard (right) with The Clash.
Cortinas, named after a well-known British car, the Ford Cortina. The
band moved from R&B towards covering songs by punk forerunners
like the New York Dolls and The Stooges. "In retrospect, I suppose we were very hip," Sheppard says. "We were
listening to the right records, as we were right there at the right time." The Cortinas' singles, "Fascist Dictator" and
"Defiant Pose" both appeared on Step Forward, the label run by Police manager Miles Copeland. The band split up
in September 1978, after which Sheppard played in a number of bands, including The Viceroys and The Spics, a
Bristol-based Big-band[1] .

Sheppard moved to California, then back to Britain. When The Clash sacked Mick Jones in 1983, Sheppard and
Vince White replaced him, and he toured America and Europe with them in 1984, playing on their final album Cut
the Crap. The album attracted criticism through manager Bernie Rhodes' intrusive production and use of a drum
machine. When "This Is England" reached a number 24 in the UK charts, Sheppard is quoted as saying: "I remember
sitting in a different city watching it, thinking, 'There isn't a band'". The Clash finally split up shortly afterwards.
From 1986 to 1989 he collaborated with Gareth Sager (formerly of The Pop Group and Rip Rig & Panic) in Head,
but their three albums made little impact. Sheppard next worked with Koozie Johns in Shot, which signed with I.R.S.
Records in 1991, with Copeland as manager; however the band's recordings were never released.
Sheppard moved to Perth, Australia in 1993, and has formed/played in two local bands, Heavy Smoker and the New
Egyptian Kings. In July 2002, it was suggested that he would be guest guitarist on a Japanese tour with Johns' new
band, Sinnerstar. The tour was cancelled.
Nick Speppard now plays in Perth band The DomNicks. Comprising Dom Mariani (The Stems) , Howard Shawcross
(The Elks) and Marz Frisina (The Chevelles). This combo play a mix of Dom and Nick originals with a spread of
Nick Sheppard 81

'60s and '70s garage soul material. A new album was to be released in November 2009.

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

External links
• Artist Direct Biography [2]
• Nick playing with The Spics from YouTube [3]

References
[1] The Colourtapes, The Spics and The Review (http:/ / www. sugarshackrecords. co. uk/ scene/ bands7. htm)
Vince White 82

Vince White
Vince White
Background information

Birth name Gregory Stuart Lee White

Born 1960
London, England

Genres Rock, punk

Occupations Musician

Instruments Guitar

Years active 1983 - present

Associated acts The Clash

Website [1]
www.vincewhite.com

Gregory Stuart Lee White (Marylebone, London, 1960), better known as Vince White, was one of the guitarists
recruited by The Clash to replace Mick Jones after he was fired from the band in 1983.[1]

Biography
White graduated in astronomy and physics from University College London in 1981, and in fine art from Middlesex
University in North London.[1]
White, along with Nick Sheppard, was one of the guitarists recruited by The Clash to replace Mick Jones when he
left the band in 1983. He toured with the band, but only made a minimal appearance on the album Cut the Crap. The
band finally split up in 1986.[1]
In 2007, White wrote his account of the final tumultuous years of The Clash, titled Out of Control: The Last Days of
The Clash published by Moving Target books. He is currently an artist living in Notting Hill, West London.[1]

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.
Vince White 83

External links
• Vince White Homepage [1]
• Clash Photo Rockers [3]

References
[1] "VINCE WHITE BIOG" (http:/ / www. vincewhite. com/ biog. html). vincewhite.com. . Retrieved 2008-02-28.
 84

Other personnel

Bernard Rhodes
Bernie Rhodes
Background information

Birth name Bernard Rhodes

Born UK

Occupations Record producer, manager, songwriter

Years active 1975 – present

Associated acts The Clash

Subway Sect
The Specials
JoBoxers

Bernard Rhodes is the former manager of English punk rock band The Clash.[1] [2] [3] [4] He previously worked with
Sex Pistols manager Malcolm McLaren and once, notoriously, claimed to have "invented punk".[5]

Management
Rhodes was responsible for spotting John Lydon (aka Johnny Rotten) in the Kings Road and getting him to audition
as singer for the Sex Pistols in McLaren's shop SEX.
Rhodes was instrumental in the The Clash's formation in 1976, was fired in 1978 but then rehired in 1981 and
managed them until their break-up in 1986.[1] [2] [3] [4]
Rhodes also managed Subway Sect and ska band The Specials in 1979, shortly after these bands formed.

Cut the Crap

According to guitarist Vince White the working title of the 1985 Clash's last studio album was Out of Control, The
title was changed to Cut the Crap by Rhodes shortly before its release without consulting the band. Rhodes also
produced the record, using the alias of Jose Unidos (presumably to suggest Joe Strummer was the producer). He is
credited, together with Joe Strummer, for co-writing all the tracks of that album.[1] [2] [3]

Reputation
The intro to the Specials song "Gangsters," Bernie Rhodes knows don't argue, was a reference to him getting their
guitars and equipment back after they were confiscated by a hotel in Paris (even though the band had done nothing
wrong). Also, the line "Now the king told his boogiemen/You have to let that raga drop" of the Clash's famous
"Rock The Casbah" refers to Rhodes being angry that the track "Sean Flynn" from the Clash's album "Combat Rock"
exceeded eight minutes in length - he reportedly said "Must everything be an Indian raga?". Rhodes is also
mentioned in the Clash's song "All The Young Punks" on the album Give 'Em Enough Rope: "Of course we got a
manager/Though he ain't the mafia/A contract is a contract/When they get 'em out on yer."
Bernard Rhodes 85

Clash Culture incident

On May 2, 2007 Rhodes caused outrage at a London event, "Clash Culture" at Central St Martins College of Art and
Design when he said "If you want to sort out crime in London, sort out the niggers in Peckham"[6]
In the July 2007 issue of Mojo magazine, Rhodes claimed he was taken out of context.

Current activities
According to Rhodes' website he has written a trilogy of books which will be published starting in 2008.

See also
• The Clash
• Cut the Crap
• Joe Strummer: The Future Is Unwritten

Further reading
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Gray, Marcus (1995). Last Gang In Town: The Story and Myth of The Clash. London: Fourth Estate.
ISBN 1857021460. OCLC 34258882.

External links
• Bernard Rhodes's website [7]

References
[1] Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum Press. ISBN 1845131134.
OCLC 61177239.
[2] Topping, Keith (2004) [2003]. The Complete Clash (2nd ed. ed.). Richmond: Reynolds & Hearn. ISBN 1903111706. OCLC 63129186.
[3] Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th rev. ed. ed.). London: Helter Skelter. ISBN 1905139101.
OCLC 60668626.
[4] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. ISBN 0738900826. OCLC 49798077.
[5] In a television interview, Joe Strummer of The Clash said, after drawing the camera to Bernard sleeping against a wall, "He invented punk...it
was obviously too much for him", referring ironically to a statement of Rhodes himself. The scene and the statement are featured in the
documentary Joe Strummer: The Future Is Unwritten.
[6] "UNLIMITED / CMU Daily 04.05.07" (http:/ / www. cmumusicnetwork. co. uk/ daily/ 070504. html). CMU Daily - on the inside. CMU
Music Network. 2007-05-04. . Retrieved 2007-12-04. "Many in the audience, which included ex-Sex Pistol Glen Matlock and former Clash
roadie Sebastian Conran, were seemingly outraged when Rhodes opened his mouth to utter the immortal words: "If you want to sort out crime
in London, sort out the niggers in Peckham"."
Mikey Dread 86

Mikey Dread

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Mikey DreadMikey Dread performing at the 2006 Winnipeg Ska and Reggae Festival.Mikey Dread performing at
the 2006 Winnipeg Ska and Reggae Festival. Background information Birth name Michael George Campbell Born 4
June 1954Port Antonio, Jamaica Died 15 March 2008 (aged 53)Stamford, ConnecticutStamford, Connecticut, United
States Occupations Singer, record producerproducer, and Presenterbroadcaster Years active 1978–2008 Associated
acts The Clash Website mikeydread.comMichael George Campbell (born 4 June 1954 in Port Antonio, Jamaica -
died 15 March 2008 in Connecticut, United States),Lusk, Jon (2008-03-19). "Mikey Dread: Renaissance man of
reggae". Obituaries. The Independent. . Retrieved 2008-03-19. better known as Mikey Dread, was a Jamaican singer,
record producerproducer, and Presenterbroadcaster. He was one of the most influential performers and innovators in
reggae music. His abilities, technical expertise, and unique vocal delivery combined to create a unique sound that
tells the listener emphatically that it is the “Dread at the Controls”. "You’ve Paved The Way To Zion My Idren,
Mikey Dread". FoundationSound.CO.UK. 2008-03-16. . Retrieved 2008-03-20.Biography From an early age,
Campbell showed a natural aptitude for engineering and electronics. In 1976, after he finished college, Campbell
started out as an engineer with the Jamaica Broadcasting Corporation (JBC). "Mikey Dread - forever at the Control"
(ASP). Lifestyle. The Jamaica Observer. 2008-03-17. . Retrieved 2008-03-20. Campbell wasn't impressed that the
JBC's playlists mainly consisted of bland, foreign pop music at a time when some of the most potent reggae was
being recorded in Jamaica. He convinced his JBC bosses to give him his own radio program called Dread At The
Controls, where he played nothing but reggae. Before long, Campbell (now using the DJ name Mikey Dread) had the
most popular program on the JBC. Well-known for its fun and adventurous sonic style, Dread At The Controls
became a hit all over Jamaica. Inevitably, JBC's conservative management and Campbell clashed, and he quit in
protest. By that time, Campbell had earned a solid reputation as a singer and producer and began recording his own
material. Distinctive albums such as Dread at the Controls, Evolutionary Rockers, and World War III all became
favorites amongst reggae fans. His collaboration with producers King Tubby and Carlton Patterson stand out as some
of the best work each party has done. Campbell's music attracted the attention of British punk rockers The Clash,
who invited him over to England to produce some of their music.Don LettsLetts, Don; David Nobakht (2008).
Culture Clash: Dread Meets Punk Rockers (3rd edition ed.). London: SAF. ISBN 0946719993.
OCLC 181422771.Don LettsLetts, Don; Joe Strummer, Mick Jones (The Clash)Mick Jones, Paul Simonon, Topper
Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway to the World. [Documentary]. New
York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 31:45–32:43. ISBN 0738900826.
OCLC 49798077. "The Dread meets the Punk rockers uptown Clash open the Roxy (Jan 1977)" Although initially
suspicious of the strangers, Campbell soon became the best of friends with the band, producing their famous
"Bankrobber" single "The Singles (CD version)". SONY BMG Music Entertainment Store. . Retrieved 2008-03-19.
"The Clash - Super Black Market Clash". Punknews.org. . Retrieved 2008-03-19. and performing on several songs
on their 1980 album Sandinista!.Gilbert, Pat (2005) [2004]. "8-13, Epilogue, Discography, Bibliography". Passion Is
a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum Press. pp. 321, 332, 362, 367, 373–388.
ISBN 1845131134. OCLC 61177239. Campbell also toured with The Clash across UKBritain, Europe, and the US,
gaining many new fans along the way.He studied at the National Broadcasting School in London where he perfected
his media production/radio broadcasting skills, graduating with special commendations in 1980.During the early
Mikey Dread 87

1980s he provided vocals with the reggae collective Singers And Players on Adrian Sherwood's On-U Sound record
label. Dread produced ten dub tracks for UB40 and toured Europe and Scandinavia as their support artist.Some of his
works in the United Kingdom include narrating reggae documentaries, hosting series such as Rockers Roadshow and
the ever popular six-part Channel 4 reggae documentary series Deep Roots Music. He later recorded "The Source
(Of Your Divorce)" for Warner Brothers Records USA, which obtained regularly rotated video airplay.In 1991,
Dread recorded Profile and African Anthem Revisited. He also toured in Europe and the USA with Freddie
McGregor, Lloyd Parks, We The People Band, and the Roots Radics Band.In 1992, he collaborated with former
Guns N' Roses guitarist Izzy Stradlin on a duet entitled "Can't Hear 'Em". He was nominated for a NAIRD award, an
award from the Billboard Magazine, for his work on his 1990 compilation album Mikey Dread's Best Sellers.In
1993, Mikey Dread was involved in several projects, including his tour supporting the album Obsession and working
in TV with the Caribbean Satellite Network (CSN) where he was Program Director and On Air personality as well as
Producer of various shows.In 1994 he presented The Culture Award of Honor in the Martin’s International Reggae
Music Awards in Chicago. In 1995, he worked as a Radio DJ for WAVS 1170 AM and WAXY-AM 790 in Miami,
Florida. In 1996 he participated in the Essential Music Festival as a performer in Brighton, UK.Mikey furthered his
knowledge of TV/Video Production at the Art Institute of Ft. Lauderdale, where he graduated in 1996 with Honors
and at Lynn University in Boca Raton / Florida where he earned a Bachelor of Arts Degree in International
Communications, with Magna Cum Laude honors.He did live appearances with The Clash, UB40, Bob Dylan,
Carlos Santana, Macka B, Channel One, and many other bands and artists. He also produced artists such as Sugar
Minott, Junior Murvin, Earl Sixteen, Wally Bucker, Sunshine, Jah Grundy and Rod Taylor. He also worked closely
with producer Trevor Elliot to launch musical career of singer Edi Fitzroy. Mikey Dread was the featured artist on
"Lips Like Sugar" with Seal (musician)Seal for the soundtrack of the 2004 film, 50 First Dates.Mikey Dread, 2006
After many years working as a producer and singer, Campbell withdrew from the business and moved to Miami
where he furthered his college education with courses in electronics and business. Disgusted with several unfair
contracts with record companies, Campbell shrewdly waited until all of the existing contracts expired and then
regained control over his entire catalogue. Since then, he has been re-releasing much of it on his own Dread At The
Controls record label. Dread, together with The Blizzard of 78, featured on The Sandinista! Project, a tribute to the
1980 Clash album Sandinista!, with the song "Silicone on Sapphire". The tribute album, recorded in 2004, was
released on 15 May 2007 by the 00:02:59 Records (a label named after a lyric from the Sandinista! song "Hitsville
UK").The ClashClash, The; Joe Grushecky; Katrina Leskanich; Willie Nile; Ship & Pilot.; Soul Food (Musical
group); Sunset Heroes. (2004-09-21). The Sandinista! Project A Tribute to the Clash. [Compact Disc]. England:
00:02:59 Records. OCLC 178980813. "The Sandinista Project". sandinista.guterman.com. . Retrieved 2008-03-19.
"Cary Baker's conqueroo - The Sandinista! Project Announcements". conqueroo.com. . Retrieved 2008-03-19.In
October 2007, it was announced that Michael “Mikey Dread” Campbell was being treated for a brain
tumour.Walters, Basil (2007-10-28). "Not at the control: Mikey Dread has brain tumour" (ASP). Lifestyle. The
Jamaica Observer. . Retrieved 2008-03-19. He died on 15 March 2008, surrounded by his family, at the home of his
sister in Stamford, ConnecticutStamford, Connecticut.DiscographyStudio albums Year Album 1979 African Anthem
      Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/african_anthem/http://www.allmusic.com/cg/amg.dll?p=amg&sql=
Released: 1979 Recorded: 1978 Label: Dread at the Controls (DATC LP 002) Format: LP albumLP Producer: Mikey
Dread Track listing "Saturday Night Style" (Campbell) – 4:55 "Industrial Spy" (Dread) – 4:25 "Headline News"
(Campbell) – 3:06 "Mikey Dread in Action" (Campbell) – 5:10 "Resignation Dub" (Campbell) – 5:01 "Technical
Selection" (Campbell) – 3:50 "Comic Strip" (Campbell) – 3:02 "Pre-Dawn Dub" (Campbell) – 3:21 "Operator's
Choice" (Campbell) – 4:45 2004 and 2005 reissues bonus tracks "Ancestral Dub" – 2:51 "Raggamuffin Dubstyle" –
3:48 "JBC Days" / "Proper Education Dub" – 5:24 "Freelancer Dub" – 4:34 "Jumping Master Dub" – 1:44
"Peacemaker Dub" – 4:07 Reissues 1996 Big Cat (CD AudioCD) 2004 Auralux (LUXXCD 005) (CD, alternate
cover, bonus tracks, deluxe edition) 2005 Dread at the Controls (DATC CD 1033) (CD, alternate cover, bonus
tracks, deluxe edition) Dread at the Controls       Additional
Mikey Dread 88

informationhttp://rateyourmusic.com/release/album/mikey_dread/dread_at_the_controls/http://www.allmusic.com/cg/amg.dll?p=amg
Released: 1979 Recorded: 1979 Labels: Trojan RecordsTrojan (TRLS 178), Dread at the Controls Format: LP
albumLP Producer: Mikey Dread Track listing "Everybody Needs a Proper Education" – 7:20 "Dread Combination"
(Campbell) – 4:12 "Love the Dread" (Campbell) – 2:55 "The Voice of Jah" – 3:42 "Step by Step" – 4:52 "Walk
Rastafari Way" (Campbell) – 3:45 "King in the Ring" – 3:58 "Barber Saloon" (Campbell) – 7:20 2005 reissues bonus
tracks "African Map" – 4:17 "School Girl" – 4:06 "East Portland Dub" – 4:06 "Bull Bay Dubwize" – 3:28 "DATC
Tribute to King Tubby" – 3:17 "Voice of Dub" – 3:30 "Internal Energy Dubmix" – 2:54 "Rastadub" – 2:58 "School
Girl Dub" – 4:11 Reissues 1979 (as Evolutionary Rockers) Dread at the Controls (LP)1989 (as Evolutionary
Rockers) Dread at the Controls (CD, bonus tracks)2001 Trojan (37311781) (LP albumLP) 2005 Dread at the
Controls (DATC CD 2014; mikeydread11) (CD AudioCD, bonus tracks) 2007 (as Evolutionary Rockers) Dread at
the Controls (CD, bonus tracks)Notes: Dread at the Controls has been released by DATC as Evolutionary Rockers in
1979, 1989, and 2007 with different cover arts and track lisitings. 1980 World War III       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/world_war_iii/http://www.allmusic.com/cg/amg.dll?p=amg&sql=1
Released: 1980 Recorded: 1980 Label: Dread at the Controls (TNT1) Format: LP albumLP Producer: Mikey Dread
Track listing "The Jumping Master" (Campbell) – 5:09 "Break Down the Walls" (Campbell) – 5:28 "Jah Jah Love
(In the Morning)" (Campbell) – 6:47 "Israel" (12 Tribe) / "Stylee" (Extended Play) (Campbell) – 3:40 "Money
Dread" (Campbell) – 3:34 "Mental Slavery" (Campbell) – 6:06 "Skin Head Skank" (Campbell) – 3:22 "Losers
Weepers, Finders Keepers" (Campbell) – 6:45 "World War III" (Extended Play) (Campbell) – 6:13 2002 reissue
bonus tracks "Warrior Stylee" (Campbell) – 5:17 "DATC Masterpeice" (Campbell) – 3:36 "Break Down the Dub"
(Campbell) – 3:14 "Seekers Dub" (Campbell) – 3:13 "Jamaican Dub" (Campbell) – 2:53 "Flat Fee Dub" (Campbell)
– 3:02 Reissues 1981 Hearthbeat (HB-02) (LP) 2002 Dread at the Controls (DATC LP TNT 1) (CD AudioCD, bonus
tracks) 1981 Beyond World War III       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/beyond_world_war_iii/http://www.allmusic.com/cg/amg.dll?p=amg
Released: 1981 Recorded: 1980–1981 Label: Big Cat RecordsBig Cat Format: LP albumLP Producer: Mikey Dread
Track listing "Break Down the Walls" (Campbell) – 5:47 "Jah Jah Love (In the Morning)" (Campbell) – 7:14 "The
Jumping Master" (Campbell) – 5:39 "Israel" (12 Tribe) / "Stylee" (Extended Play) (Campbell) – 8:44 "Warrior
Stylee" (Extended Stero Style) (Campbell) – 7:51 "Money Dread" (Campbell) – 3:33 "Rockers Delight" (Extended
Play) (Campbell) – 8:05 "Mental Slavery" (Campbell) – 6:35 "World War III" (Campbell) – 3:43 Reissues 1996 Big
Cat (23131521)(LP) 1996 Big Cat (23131522)(CD AudioCD) 1997 Big Cat (80109)(CD) 1999 Big Cat (109)(CD)
unknown date Heartbeat (CD-HB-02)(CD) 1982 Dub Catalogue Volume 1       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/dub_catalogue_volume_1/ Released: 1982
Recorded: 1982 Label: Dread at the Controls (DATC LP 005) Format: LP albumLP Producer: Mikey Dread Track
listing "Demo Dub" – 5:35 "Raving Style" – 3:12 "Dub Addict" – 3:21 "Stereo Dub" – 3:04 "Brain Wave" – 2:32
"Two Track Dub" – 6:13 "Front Room Dub" – 3:17 "Control Tower Dub" – 3:26 "Reflexion Dub" – 3:36
"Dreadlocks Dub" – 3:23 2006 reissue bonus track "Queen Dub" (Campbell) – 4:13 Reissue 2006 Dread at the
Controls (CD AudioCD, bonus tracks) Notes: The 2006 reissue has "Front Room Dub" on track number 6 and "Two
Track Dub" on track number 7. Dub Merchant       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/dub_merchant/http://www.allmusic.com/cg/amg.dll?p=amg&sql=1
Released: 1982 Recorded: 1982 Label: Dread at the Controls (DATC LP 009) Format: LP albumLP Producer: Mikey
Dread Track listing "Freestyle Dubatak" – 5:38 "Theme from Solidarity" – 4:09 "Dub Trakarak" – 4:03 "Klappaz
Konekshan" – 4:03 "3 O'Clock Dubatak" – 5:25 "Gully Bank Dub" – 3:24 "River Nile Style" – 3:05 "Radix
Revenge" – 3:03 "Tricky Track" – 4:20 "Dub Venture" – 3:47 "Jamba Dub" – 1:48 "Dubservation" – 3:20 Reissue
2006 Dread at the Controls (CD AudioCD) Jungle Signal       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/jungle_signal/http://www.allmusic.com/cg/amg.dll?p=amg&sql=10
Released: 1982 Recorded: 1982 Label: Dread at the Controls Format: LP albumLP Producer: Mikey Dread Track
listing "Signal One" – 6:12 "Jungle Signal" – 5:48 "Signal Three Dub" – 6:12 "Rainbow Jungle" – 2:40 "Star
Chaser" – 4:40 "Jungle Gym" – 5:01 "Jungle Juice" – 3:05 "Dub Jungle" – 3:59 "Theme Signal" – 5:34 "Jungle
Mikey Dread 89

Delight" – 3:20 Reissue 2006 Dread at the Controls (CD AudioCD) Pave the Way       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/pave_the_way/http://www.allmusic.com/cg/amg.dll?p=amg&sql=1
Released: 1982 Recorded: 1982 Label: Heartbeat Format: LP albumLP Producer: Mikey Dread Track listing (CD)
"Pave the Way" – 4:17 "Reggae" / "Hit Shot" – 5:12 "Roots and Culture" – 6:06 "Sunday School" – 3:37 "Knock
Knock" – 4:44 "(Open the Gate) Come In" – 5:11 "Freedom... Is Coming" – 4:37 "(Dance) Face to Face" – 4:22
"Forever and Ever" – 5:12 "Everchanging World" – 4:20 "Quest for Oneness" – 2:56 "Time Waster" – 3:02
"Relax/Enjoy Yourself" – 2:45 "Have You Got a Minute to Spare?" – 3:19 "Dizzy (Herb Smoker)" – 4:09 "Paradise"
– 4:19 "Too Many Rulers" – 3:32 Reissues 1985 Heartbeat (CD AudioCD) 1990 Heartbeat Select Compact
CassetteCassette1999 Heartbeat (CDHB) (CD) 2005 Dread at the Controls (mikeydread8) (CD) S.W.A.L.K.
      Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/s_w_a_l_k_/http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:w
Released: 1982 Recorded: 1982 Label: Heartbeat (HB009 [U.S.] / HB09 [UK, alternate cover]) Format: LP albumLP
Producer: Mikey Dread Track listing "Rocky Road" – 3:15 "S.W.A.L.K." – 8:27 "Positive Reality" – 3:11
"Heavy-Weight Sound" – 5:08 "Problems" – 3:27 "Zodiac Signs" – 6:12 "Armagiddeon Style" – 3:41 "In Memory
(Jacob, Marcus & Marley)" – 3:20 2004 reissue bonus track "Sweet Sixteen" – 4:32 "Come Along" – 4:42 "Strictly
Rockers" – 5:20 "Heavy Weight Dub" – 5:58 "Star Sign Dub" – 8:33 Reissues 1990 Heartbeat Select (09) Compact
CassetteCassette2004 Dread at the Controls (DATC CD 2004) (CD AudioCD, bonus tracks) 1989 Happy Family
      Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/happy_family/http://www.allmusic.com/cg/amg.dll?p=amg&sql=10
Released: 1989 Recorded: 1989 Label: RAS Format: CD AudioCD Producer: Mikey Dread Track listing "Happy
Family" – 4:16 "Your Love" – 4:06 "Good-Bye" – 4:05 "African Soldiers" – 4:17 "Nelson Mandela" – 4:01 "Perfect
Woman" – 3:42 "Come Back" – 3:50 "Ready to Settle Down" – 4:11 "The Seagull" – 3:42 "I See Jah" – 4:06 1991
Profile       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/profile/http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:aifqxq
Released: 1991 Recorded: 1991 Label: RAS (RAS CD 3081) Format: CD AudioCD, Compact CassetteCassette
Producer: Mikey Dread Track listing "Break Down the Walls" (Dread) "Fatten Frogs for Snakes" (Campbell)
"Pleasure Knowing U (Plus Dub for U)" (Campbell) "Profile" (Campbell) "Sugarcain" (Campbell) "I Need Your
Loving" (Campbell) "Cater for Your Loving" (Campbell) "Still My #1" (Campbell) "Strangers in Love" (Campbell)
"Cruizing" (Campbell) "Sentiments of Love" (Campbell) "Awake With Jab" (Campbell) Reissue 2005 Dread at the
Controls (mikeydread6) (CD) African Anthem Revisited       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/african_anthem_revisited/http://www.allmusic.com/cg/amg.dll?p=a
Released: 1991 Recorded: 1991 Label: RAS (RAS CD 3082) Format: CD AudioCD Producer: Mikey Dread Track
listing "Pleased to Dub You" (Campbell) – 3:44 "Break Down the Dub" (Dread) – 3:29 "Fatten Dub for Snakes
Campbell) – 2:52 "Stangers in Dub" (Campbell) – 4:41 "Dub File" (Campbell) – 5:05 "The Source of Dub"
(Campbell) – 3:08 "Sweet Dub" (Campbell) – 5:19 "Awake With Dub" (Campbell) – 3:44 "Still My #1 Dub"
(Campbell) – 3:56 "So Much Dub" (Campbell) – 5:07 "Need Your Dub" (Campbell) – 4:45 "Cruizin Dub"
(Campbell) – 4:02 Reissue 2005 Dread at the Controls (mikeydread14) (CD) 1992 Obsession       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/obsession/http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:dp
Released: 1992 Recorded: 1992 Label: Rykodisc (20243) Format: CD AudioCD Producer: Mikey Dread Track
listing "Modern Africa" (Campbell) "Obsession" (Campbell, Sterrett) "Love Connection" (Campbell, Sterrett) "One
Night Lover" (Campbell) "Muscle Up" (Campbell) "Museum of Love" (Campbell) "Love Encore" (Campbell,
Sterrett) "This Inspiration" (Campbell) "So Many Hills to Climb" (Campbell) "Global Harmony" (Campbell)
"Fighting for Truth and Rights" (Campbell) "iddung 'Pon Money" (Campbell) "Livin' in the Jungle" (Campbell)
"Give the Children Education" (Campbell) "Tomorrow Will Be Better" (Campbell) "African Princess" (Campbell)
"Line of King David" (Campbell) "Full Moon in the Desert" (Campbell) 1995 Come to Mikey Dread's Dub Party
      Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/come_to_mikey_dreads_dub_party/http://www.allmusic.com/cg/am
Mikey Dread 90

Released: 1995 Recorded: 1995 Label: ROIR (8208) Format: CD AudioCD Producer: Mikey Dread Track listing
"Dub Party" (Campbell) – 3:58 "Buh Yah Kah" (Campbell) – 5:00 "Sound Check" (Campbell) – 3:31 "Tourist Dub"
(Campbell) – 4:09 "Haile Selassie Centenary Dub (July 2, 1892-July 23, 1992)" (Campbell) – 4:14 "Special Request
Dub" (Campbell) – 4:06 "Joyride" (Campbell) – 4:12 "Everyday Dub" (Campbell) – 3:56 "Cover Dub" – 3:53
"Mother's Day Dub" (Campbell) – 3:48 "Ragamuffin Style" (Campbell) – 3:13 "Womanizer Dubtract" (Campbell) –
2:58 "(Roir) Commercial Dub" – 4:14 "Impulsive Emotions Dub" – 4:03 "Cherry Pie" – 4:29 "Black Supremacy for
South Africa" (Campbell) – 4:38 Reissue 2005 Dread at the Controls (mikeydread10) (CD) 2000 World Tour
      Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/world_tour/http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:a
Released: 2000 Recorded: 2000 Label: Dread at the Controls Format: CD AudioCD Producer: Mikey Dread Track
listing "Life Is Strange" – 5:09 "Loving You" – 3:54 "Weekend" – 4:14 "Princess" – 4:31 "My Religion" – 3:55
"World Tour" – 4:01 "Homeless People" – 4:02 "As We Enter" – 3:46 "Original General" – 7:35 "I Love My
Mother" – 4:49 "Behold Jah" – 3:35 "Water Molecule" – 3:34 "Election Night" – 4:56 "I'll Be Yours" – 4:18 "Sorry"
– 4:44 "Chosen Few" – 5:01 2002 Rasta in Control       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/rasta_in_control/http://www.allmusic.com/cg/amg.dll?p=amg&sql=
Released: 2002 Recorded: 2002 Label: Dread at the Controls (3000) Format: CD AudioCD Producer: Mikey Dread
Track listing "Rasta in Control" (Campbell) – 4:59 "Inna Foreign" (Campbell, Hines, Myton, Reedy) – 3:16 "Equal
Rights" (Campbell) – 4:02 "Like You" (Campbell) – 4:45 "Give It a Chance" (Campbell) – 3:57 "Reggae Session"
(Campbell) – 3:56 "Keep Smiling" (Campbell) – 4:51 "Prophecy" (Campbell) – 4:35 "Debut Performance"
(Campbell) – 4:12 "How We Used to Live" (Campbell, Easy, Vernal) – 4:10 "Great God of Glory" (Campbell) –
3:16 "Rasta Irie Oki" (Campbell) – 3:17 "His Imperial Majesty" (Campbell) – 4:10 "Sacrifice" (Campbell) – 2:48
"Prediction" (Campbell) – 2:58 "Hawaii Surfer" (Campbell) – 4:09 "Year of Decision" (Campbell) – 3:26 "Groove
City" (Campbell) – 3:26 2007 Life Is a stage       Additional
informationhttp://www.allmusic.com/cg/amg.dll?p=amg&sql=10:hcfpxzujld6e Released: 2007 Recorded: 2007
Label: Dread at the Controls Format: CD AudioCD Producer: Mikey Dread Track listing "Praise Jah Jah" – 4:09
"Life Is a Stage" – 5:16 "Pound a Weed" – 3:21 "Destiny" – 4:34 "Backstage Pass" – 4:34 "Barcoding" – 4:22
"Teenage Pregnancy" – 4:49 "I'm Not the Kind" – 4:26 "Oh No" – 4:58 "Soundbwoy Special" – 5:16 "Dread Next
Door" – 4:56 "Passing Through" – 5:11 "First Generation" – 4:45 "Point of View" – 5:17 "Stem Cells" – 6:15
Compilations Year Album 1989 African Anthem / Happy Family       Additional
informationhttp://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fifwxqwgldae Released: 1989 Recorded:
1979-1989 Label: RAS Records (RASCD-3035) Format: CD Producer: Mikey Dread Note: African Anthem (1979)
and Happy Family (1989) on one CD. S.W.A.L.K. / Rockers Vibrations       Additional
informationhttp://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3ifwxqwgldaehttp://www.discogs.com/Mikey-Dread-SWALK-Roc
Released: 1989 Recorded: 1982-1989 Label: Heartbeat Records (HB 11568) Format: CD Producer: Mikey Dread
Note: S.W.A.L.K. (1982) is combined with a compilation of Dread productions on Heartbeat Records. 1991 Best
Sellers       Additional
informationhttp://rateyourmusic.com/release/album/mikey_dread/african_anthem/http://www.discogs.com/Mikey-Dread-Best-Sellers
Released: 20 May 1991 Recorded: 1979-1989 Label: Rykodisc (RCD 20178 and RACS 0178-2) Format: CD and
cassette Producer: Mikey Dread Track listing All tracks written by Mikey Dread "Quest for Oneness" – 3:03 "Break
Down the Walls" – 4:43 "Goodbye" – 3:59 "Industrial Spy" – 4:24 "Wake-Up Call" – 3:38 "Warrior Stylee" – 4:30
"S.W.A.L.K." – 5:17 "Barber Saloon-Haircut" – 4:05 "Choose Me" – 4:40 "Jah Jah Love (In the Morning)" – 7:39
"Sunday School" – 3:41 "Positive Reality" – 3:22 "Enjoy Yourself" – 3:25 "Roots and Culture" – 6:10 "Knock
Knock" – 4:42 "My Religion" (live with Roots Radics) – 3:45 2003 reissue bonus tracks "Dizzy" "The Source" (live
with Roots Radics) Reissue 2003 Dread at the Controls (DATC CD 2003) (CD, alternate cover, bonus tracks, deluxe
edition)http://rateyourmusic.com/release/comp/mikey_dread/best_sellers_f1/ 1998 The Prime of Mikey Dread:
Massive Dub Cuts from 1978–1992       Additional
informationhttp://www.allmusic.com/cg/amg.dll?p=amg&sql=10:wifwxqlkldhehttp://www.discogs.com/Mikey-Dread-The-Prime-of-
Mikey Dread 91

Released: 1998 Recorded: 1978-1992 Label: Dread at the Controls, Music Club Format: CD Producer: Mikey Dread
Track listing "Resignation Dub" (Michael Campbell) "Industrial Spy" (Mikey Dread) "Barber Saloon" (Campbell)
"S.W.A.L.K." (Dread) "Modern Africa" (Campbell) "Saturday Night Style" (Campbell) "Sunday School" (Dread)
"Dizzy (Herb Smoker)" "Pre-Dawn Dub" (Campbell) "Wake-Up Call" (instrumental) (Dread) "Roots and Culture"
(Dread) "Buh Yuk Kah" "Technical Selection" (Campbell) 2006 Best Sellers II       Additional
informationhttp://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fjftxz85ldhehttp://rateyourmusic.com/release/comp/mikey_dread/be
Released: 4 January 2006 Label: Dread at the Controls (DATC CD 2015) Format: CD Producer: Mikey Dread Track
listing "Natural Rasta" – 4:15 "Childhood Days" – 3:59 "African Map" – 4:24 "Jungle Signal" – 6:06 "Change Is
Coming" – 4:10 "Pound of Weed" – 4:05 "Rub a Dub" – 3:50 "Equal Rights" – 4:02 "Rockers Delight" – 5:40 "Get
Up and Dance" – 2:30 "Autobiography" – 6:41 "Rockers Roadshow" – 2:54 "Surfer" – 4:09 "Backstage Dub" – 4:19
"Vegetable Matter" – 4:42 "Dub Is the Roots" – 5:49 Dread at the Controls / Evolutionary Rockers       Additional
informationhttp://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gjftxz85ldhe Released: 4 January 2006 Recorde:
1979 Label: Dread at the Controls Format: CD Producer: Mikey Dread Note: Dread at the Controls (1979) and
Evolutionary Rockers (1979) on one CD. Track listing "Dread Combination – 4:12 "Walk Ras Tafari Way – 3:45
"Proper Education – 7:20 "King in the Ring – 3:58 "Step by Step – 4:52 "Love the Dread – 2:55 "The Voice of Jah –
3:42 "Barber Saloon – 7:20 "African Map – 4:17 "School Girl – 4:06 "East Portland Dub – 4:06 "Bull Bay Dubwize
– 3:28 "Datc Tribute to King Tubby – 3:17 "Voice of Dub – 3:30 "Internal Energy Dubmix – 2:54 "Rastadub – 2:58
"School Girl Dub – 4:11 Singles 1982 "Roots & Culture" / "Jungle Dread" (DATCD 008) 1982 "Break Down the
Walls" (DREAD 1)Appears on The Trojan Story Vol. 2 (1982; compilation album by various artists; TALL
200)Singers and Players - Staggering Heights (1983; On-U Sound), "School Days"Singers and Players - Leaps and
Bounds (1984; Cherry Red), "Autobiography (Dread Operator)"Funky Reggae Crew - Strictly Hip-Hop Reggae
Fusion (1989; compilation album by various artists; 926 011-1)The Roots of Reggae Vol. 1 (1991; compilation
album by various artists; MCCD 014)Larks From the Ark (1995; compilation album by Lee "Scratch" Perry;
NTMCD 511)History of Trojan Records 1972-1995 Volume 2 (1996; compilation album by various artists)Arkology
(1997; compilation album by Lee "Scratch" Perry; CRNCD 6)Rockers Galore (1999; compilation album by The
Clash; ESK 47144)Classic Reggae: The Producers (2000; compilation album by various artists; MCCD 444)Dub
Reggae Essentials (2000; compilation album by various artists)Blunted in the Bomb Shelter Mix (2002; compilation
album by Madlib; ANTCD102)Auralux Reggae Showcase (2004; compilation album by various artists;
LUXXCD007)50 First Dates (2004; compilation album by various artists)Radio Clash (2004; compilation album by
various artists)Best 1991-2004 (2004; compilation album by Seal (musician)Seal)Echodelic Sounds of Future Pigeon
(2006; album by Future Pigeon)Singles Box (2006; compilation album by The Clash; Sony BMG)Down in a
Tenement Yard: Sufferation and Love in the Ghetto 1973-1980 (2007; compilation album by various artists;
TJDDD352)Family Front (2008; Album by Habakuk; 5935240)Royale Rockers: Reggae Sessions (2008; album by
Casino Royale)Iration - Generation Time (Ft. Mikey Dread)External links Official Artist website Official Label
website Official Podcast with Insomnia Radio website Mikey Dread Online MemorialArticles Complicated Dread:
the Mikey Dread interview Complicated Fun, 21 June 2006 Mikey Dread Interview: Mikey Dread at the controls
trakMARX.com - Punk Rock... & Roll, trakMARX 21 — October 2005 — The No Time To Be 21 Issue
Don Letts 92

Don Letts
Don Letts

Don Letts during his time with Big Audio Dynamite - San Francisco, 1987

Background information

Birth name Don Letts

Born 10 January 1956

London, England

Genres Reggae
Punk

Occupations Disc jockey

Film producer

Years active 1975–present

Associated acts 1978 -Steel Leg v the Electric

Dread
1984 - Big Audio Dynamite

Website [1]
Don's BBC6 show

Don Letts (born 10 January 1956) is a British film director and musician. He is credited as the man who through his
DJing at clubs like The Roxy brought together punk and reggae music.[1]

Biography
Letts was born in London, England and educated at Tenison's School in Kennington. In 1975, Letts ran the trendy
London clothing store Acme Attractions selling, "electric-blue zoot suits and jukeboxes, and pumping dub reggae all
day long."[2] Letts was deeply inspired by the music coming from his parents' homeland Jamaica, in particular Bob
Marley. After seeing one of Marley's gigs at the Odeon in Hammersmith (June, 1976) he was able to sneak into the
hotel and spent the night talking to and befriending Marley.[3] By the mid 1970s Acme had quite a scene attracting
all the like of The Clash, The Sex Pistols, Chrissie Hynde, Patti Smith, Deborah Harry and Bob Marley.

“
Marley ... come by because he knew he could get a good draw from the thriving black-market action that also went on in Acme.

”
[2]
— Don Letts

Seeing the crowd at Acme, the then promoter Andy Czezowski started up the Roxy, a London nightclub during the
original outbreak of punk in England, so that people could go from the store and have some place to party. As few
bands of that era had yet to be recorded, there were limited punk rock records to be played. Instead, Letts included
Don Letts 93

many dub and reggae records in his sets, and is credited with introducing those sounds to the London punk scene,
which was to influence The Clash and other bands. As a tribute, he is pictured on the cover of the album Super Black
Market Clash. He was able to use the fame and money from DJing and the Acme story to make his first film, The
Punk Rock Movie (1978).
Letts quit the retail business to manage the band, The Slits. He was able to get the Slits to open for The Clash during
the White Riot tour. While on the White Riot tour he decided that management was not for him, but continued to
shoot material for The Punk Rock Movie.[4]
Letts went to Jamaica for the first time when, after the Sex Pistols broke up, Johnny Rotten decided to escape the
media frenzy by going with Richard Branson to Jamaica. It was on this trip that Branson was inspired to start up
Virgin's Frontline reggae record label.[2]

“
I guess he thought that since I was black and Jamaican - well, sort of - he'd be in good hands. Little did he know that the closest I'd been to
Jamaica was watching The Harder They Come at the Classic Cinema in Brixton.
”
[2]
— Don Letts

Music
In 1978, Letts recorded an EP, Steel Leg v the Electric Dread, with Keith Levene, Jah Wobble, and Steel Leg. After
Mick Jones was fired from The Clash, he and Letts founded Big Audio Dynamite in 1984. As of 1 April 2009, Letts
is presenting a weekly show [1] on BBC Radio 6 Music.

Books
In 2006, he published his autobiography: Letts, Don; David Nobakht (2008). Culture Clash: Dread Meets Punk
Rockers (3rd edition ed.). London: SAF Publishing. ISBN 0946719993. OCLC 181422771.

Films
Since his first movie, The Punk Rock Movie, Letts has expanded to doing documentaries and music videos for
multiple bands. In 1997, he travelled to Jamaica to direct, Dancehall Queen.[4] While filming a history of punk in
2001, Letts was in New York when the Sept 11, 2001 terrorist attacks occurred.[1] His film Westway to the World
won a Grammy Award in 2003.

Filmography (as director)

• Carnival! (2009)
• Going Home/Made In Sheffield Tony Christie (2008)
• Soul Britannia* (2007)
• Rock It To Rio: Franz Ferdinand (2006)
• Tales of Dr. Funkenstein: George Clinton (2006)
• The Making of All Mod Cons: The Jam (2006)
• Brother From Another Planet: Sun Ra (2005)
• The Revolution Will Not Be Televised (Gil Scott-Heron) 2005
• The Right Spectacle: The Very Best of Elvis Costello - The Videos (2005) (V)
• Punk: Attitude (2005) (TV)
• Making of 'London Calling': The Last Testament (2004) (V)
• One Love (2003)
• The Essential Clash (2003) (V)
• The Pretenders: Greatest Hits (2000) (V) (video "Back on the Chain Gang")
Don Letts 94

• The Clash: Westway to the World (2000) (V)

• Dancehall Queen (1997)
• Dancing in the Streets:Planet Rock (1997) (TV)
• The Pretenders: The Singles (1988) (V) (video "Back on the Chain Gang")
• "Pass the Dutchie"* video for Musical Youth (1982)
• The Punk Rock Movie (1978)

External links
• Don Letts [6] at the Internet Movie Database
• Don's Radio 6 Homepage [1]

References
[1] Matteo Sedazzari (2007). "Don Letts" (http:/ / www. peom. co. uk/ donletts. html). peom. . Retrieved 16 December 2007.
[2] Don Letts (24 October 2001). "'Dem crazy baldheads are my mates'" (http:/ / www. guardian. co. uk/ Archive/ Article/ 0,4273,4283671,00.
html). The Guardian. . Retrieved 16 December 2007.
[3] Don Letts (24 May 2007). "Don Letts: In his own words - Special to BobMarley.com" (http:/ / web. bobmarley. com/ news/ article.
jsp?ymd=20070524& contentid=11539). pub. . Retrieved 16 December 2007.
[4] Charlotte Robinson (12 July 2002). "DON LETTS" (http:/ / www. popmatters. com/ music/ interviews/ letts-don-020712. shtml). popmatters.
. Retrieved 16 December 2007.
Bill Price 95

Bill Price
Bill Price
Background information

Birth name Bill Price

Occupations Record producer, engineer

Years active 1965 – present

Associated acts Tom Jones

The Clash
The Sex Pistols
The Sinceros
Carbon/Silicon

Bill Price is a producer and engineer famed for his work with The Clash, The Sex Pistols and Guns N' Roses.
He has remained out of the public eye but has contributed to documentaries about The Clash such as 'Westway To
The World'.[1] Bill Price started his engineering career in the mid-60's when he was an engineer at Decca Studios in
West Hampstead (NW London), recording artists such as Tom Jones[2] .
He was also the chief engineer/manager at Wessex Studios, the London studio where The Clash and The Sex Pistols
recorded a large volume of their work.
More recently he has worked again with Mick Jones in his band Carbon/Silicon.

References
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. ISBN 0738900826. OCLC 49798077.
[2] Shout out to Bill Price « (http:/ / edackerson. com/ blog/ ?p=39)
Guy Stevens 96

Guy Stevens
Guy Stevens
Background information

Birth name Guy Stevens

Born April 13, 1943

East Dulwich, London, UK

Died August 29, 1981 (aged 38)

England

Occupations Producer, manager

Years active 1967 – 1981

Associated acts Procol Harum

Mott the Hoople
Free
Spooky Tooth
The Clash

Guy Stevens (13 April 1943 – 29 August 1981) worked in a number of different roles in the British music industry
including producer and manager. He gave the rock bands Procol Harum[1] and Mott the Hoople their distinctive
names.
Stevens was born in East Dulwich, London and is probably best known as the producer of The Clash's acclaimed
1979 album, London Calling. The band themselves have always held up Stevens' input as a major factor in the
album's popularity and quality. However it was not the first time Stevens had worked with the Clash. In 1976
Stevens was present, although not clearly as a producer on a demo session the band undertook before they were
signed.
Mick Jones recalled that:

“
At the session, Guy was there for a while and then he got upset about something. I think the other guys, the sound engineer Vic Smith and

”
Chris Perry from Polydor, just wanted to record a demonstration session and take it to A&R and get the band signed. They didn't know how to
deal with Guy, because everything with Guy was like a major number

The Clash involved Stevens because they recognized the influential role he had played in the British beat and blues
booms of the 1960s. The Who, The Small Faces, The Rolling Stones and many others used Stevens' knowledge of
the American R&B and soul scene, as a source for their own repertoire, having heard of him through his deejaying at
the influential New Scene Club in Ham Yard, London W.1, where he exercised his obsessive love of rock and roll,
R&B, ska, jazz and soul for an audience that counted The Beatles and Eric Clapton amongst them.
Stevens was involved in the early history of Island Records and also ran the UK division of the Sue record label for
Chris Blackwell, and used it to put out obscure American singles not only from the U.S. Sue group of labels, but
from any number of tiny independent record companies, and some of the bigger ones. It became widely influential.
Stevens was also president of the Chuck Berry Appreciation Society, and had a say in the UK releases that Pye
International put out by Chuck Berry, Bo Diddley and others on the Chess and Checker labels. It was Guy Stevens
who brought Berry to the UK for his first tour.
Stevens also produced several albums for glam rock outfit, Mott the Hoople (he also naming the band after a book he
read while in prison for a drug offence[2] ) as well as albums for Free Mighty Baby and Spooky Tooth.
In 1981, The Clash wrote a song for, or about Stevens, who had died the same year: "Midnight to Stevens". A lush
sweeping song that sounds almost unlike anything the Clash recorded despite the range of styles on Sandinista! and
Guy Stevens 97

Combat Rock. It was released originally as the "B" side of a 12" Clash single in the summer of 1982. It was later
released in 1991, where it appeared on disc three of Clash on Broadway.
Stevens died on 29 August 1981, at the age of 38 years old, having overdosed on the prescription drugs he was
taking to reduce his alcohol dependency.[3]

External links
• Procol Harum.com biography of Guy Stevens [4]

References
[1] Procol Harum.com biography of Guy Stevens (http:/ / www. procolharum. com/ guystevens2. htm)
[2] http:/ / www. procolharum. com/ guystevens3. htm
[3] "London Calling" (http:/ / www. theclash. org. uk/ London. htm). theclash.org.uk. . Retrieved 2008-01-11.
Sandy Pearlman 98

Sandy Pearlman
Sandy Pearlman
Background information

Birth name Samuel C. Pearlman

Born August 8, 1943

USA

Occupations Music producer, manager, record

executive

Years active 1978 – present

Associated acts Blue Öyster Cult

The Clash
The Dictators
Pavlov's Dog
Black Sabbath
Dream Syndicate

Sandy Pearlman (born Samuel C. Pearlman, August 8, 1943) is an American music producer, artist manager,
professor, poet, songwriter, and former record company executive. He is best known for founding, writing for and
producing nearly every album by Blue Öyster Cult, as well as important albums by The Clash, The Dictators,
Pavlov's Dog, Space Team Electra and Dream Syndicate, and for being the founding Vice President of e-music.com.
He is currently the Schulich Distinguished Professor Chair at the Schulich School of Music at McGill University in
Montreal.

Biography
Pearlman received his B.A. from the State University of New York at Stony Brook in 1966, where he had been
Student President. He was awarded a Woodrow Wilson Fellowship in the History of Ideas, and completed graduate
work at Brandeis University. He was also a New School Fellow in Sociology and Anthropology. As a University
student, Pearlman wrote a series of poems called Imaginos, whose characters and lyrics would feature in his later
career.
In 1967 he was one of the original rock music critics for Crawdaddy! magazine, along with Paul Williams, Jon
Landau and Richard Meltzer.
Also in 1967, Pearlman hand-picked musicians for a rock band to perform the songs that he was writing, based on a
series of poems called "Imaginos." He dubbed the band "Soft White Underbelly" (from a speech by Winston
Churchill in World War II) and later changed their name to "Blue Öyster Cult". He managed the band from 1967 -
1995, and produced 12 of their albums. Significantly, Pearlman produced BÖC's "(Don't Fear) The Reaper" in 1976
(which reached #12 on the Top 40 charts [1] and has remained an FM radio staple since. A character based on
Pearlman was portrayed by Christopher Walken in the Saturday Night Live parody skit of the making of the song.[2]
However the name mistakenly used for the character was that of Bruce Dickinson, another record producer who later
compiled BÖC remastered reissues but never produced any in-studio tracks and had nothing to do with the original
recording.[3] [4]
He is considered an important figure in the development of both alternative and commercial American rock music,
and for his intervention in British punk. He was drafted by record company CBS to produce Give 'Em Enough Rope,
The Clash's second album, which gave the band their largest audience to date, and also produced many of the tracks
that were compiled in "Black Market Clash".
Sandy Pearlman 99

Pearlman also worked as a full-time artist manager, managing the careers of Blue Öyster Cult, Black Sabbath (1979 -
1983), Romeo Void, The Dictators, Aldo Nova and others. In the 1980s, he pioneered the mega-tour stadium format
of several bands traveling together, sharing promotional costs and production and travel costs, a format persisting
today with Lollapalooza, Lillith and related tour packages. [5]
In 1989 he took over as president of the alternative record company 415 Records and established a production and
distribution deal for the label with MCA Records. In the late 1990s, he served as the founding vice-president of
e-music.com. He also served as vice-president of media development for MoodLogic.com, the first on-line music
recommendation engine, from 2000-2003.
Pearlman is presently the Schulich Distinguished Chair of music at McGill University in Montreal, specializing in
the programs in music theory, sound recording and music technology. He has been a visiting lecturer at Harvard,
Stanford, University of California Berkeley, UC Santa Cruz, and has been an invited speaker at the Mill Valley Film
Festival, Future of Music Coalition, Canadian Music Week and SxSW Festivals. As a Professor and as a public
speaker, Pearlman lectures on the architecture of the music industry, strategies for remonetizing music downloads,
and the history and future of music.

Awards
Pearlman is the recipient of more than 17 gold and platinum records.

External links
• The Village Voice [6], BÖC reviews by Robert Christgau
• Blue Öyster Cult FAQ [7]

References
[1] "(Don't Fear) The Reaper" (http:/ / www. rollingstone. com/ news/ story/ 6596242/ dont_fear_the_reaper). Rolling Stone. Wenner Publishing.
2004-12-09. . Retrieved 2007-06-06.
[2] Producer - Sandy Pearlman (http:/ / www. breathingprotection. com/ sandy_pearlman. htm)
[3] Blue Öyster Cult (http:/ / www. pauseandplay. com/ boc. htm)
[4] Farhi, Paul (January 29, 2005). "Blue Oyster Cult, Playing Along With 'More Cowbell'" (http:/ / www. washingtonpost. com/ wp-dyn/
articles/ A46074-2005Jan28. html). The Washington Post. . Retrieved May 23, 2010.
[5] Billboard Encyclopedia of Record Producers, entry on Sandy Pearlman, ©1999
Tymon Dogg 100

Tymon Dogg
Tymon Dogg
Background information

Birth name [1]

Stephen Murray

Also known as Timon, Step Murray

Born 1950 Formby, Lancashire, England (Age

[2]
58?)

Origin [2]
London, England

Genres Folk, Punk, Rock, World

Instruments Violin, Guitar, Piano, Harmonium

Years active 1967–present

Associated acts The Mescaleros

Website [3]
TymonDogg.net

Tymon Dogg (born Stephen John Murray in Formby, Lancashire, England) is a highly idiosyncratic English
singer-songwriter and multi-instrumentalist, playing piano, violin, guitar, oud and a harp of his own invention. As
well as developing his own solo sound, he worked with The Clash and later collaborated with Joe Strummer in The
Mescaleros. As a teenager in the late 1960s, under the pseudonym of 'Timon', he was spotted by influential people
such as The Beatles and The Moody Blues.

Early years — Tymon

Stephen Murray's musical career began at the age of 14, playing Bob Dylan and Donovan covers on harmonica and
guitar at the Peppermint Lounge in Liverpool, and occasionally at the famous Cavern Club. While still at school, he
came up with the pseudonym of ‘Timon’ as a stage name in order to separate the fact he was both a performing
musician and schoolboy.
Spencer Leigh (now a DJ on BBC Radio Merseyside) met Timon in 1965 and encouraged the young musician's
song-writing. He became his local promoter, helping him get gigs and sending off demo tapes to record companies.
One day in 1968, while working as a screen printer in Southport, Timon received a phone call from Leigh, asking
Timon if he could get the day off work to travel to London with him to visit Pye Records. Cyril Stapleton, band
leader and part of Pye's management, was interested in signing Timon to the label. Pye gave Timon an advance that
was the equivalent of a year's wages in the hope of securing a hit single from him, though the big commercial
pressure to produce a hit was ultimately too overwhelming for the young musician.
Timon soon left his home of Liverpool and moved to London where he began recording songs with arranger and
producer Jerry Martin. Martin was a Canadian pop singer who was trying to make it as a producer in England.
Timon released his first single "The Bitter Thoughts of Little Jane" in January 1968. The track also features future
Led Zeppelin members John Paul Jones on bass and Jimmy Page on lead guitar. Martin was sacked just before the
record was released and the record was given meagre promotion by Pye.
It was around this time that Peter Asher (ex-Peter and Gordon) took interest in Timon's music. Asher was acting as a
talent scout for Apple Records, and after signing American singer-songwriter James Taylor to the label, he was on
the lookout for other new and interesting talent. Paul McCartney heard Timon's "The Bitter Thoughts of Little Jane"
and wanted a go at producing a new version of the song, to which Timon declined, assuring McCartney that it would
Tymon Dogg 101

be better if he stuck to recording his own material instead. After disagreements on both sides with regard to the
direction the music was taking, the sessions were shelved. Timon then busked in Europe for a while.
On his return to England, BBC-DJ Dave Symonds introduced him to the Moody Blues who had heard his songs and
wanted to sign him to their own new record label, Threshold Records. The first signings to this label in October 1969
were both Timon and the British rock band Trapeze. Two months later in December 1969, both Timon and Trapeze
supported The Moody Blues on their December 1969 tour. Timon and Moody Blues released one single "And Now
She Says She's Young".

1971–1999 — Tymon Dogg

In 1971, Timon became friends with John Graham Mellor, who would a few years later become known to the world
as Joe Strummer. They shared a flat that year with a few other people at 18 Ash Grove aka 'Vomit Heights' in
Palmers Green, London. In September 1971 the 'Vomit Heights' crowd and assorted others moved into a flat at 34
Ridley Road, Harlesden, London.
In early spring of 1972, Timon and Mellor took to busking in the London Underground during the evenings.
Together, the 22-year old Tymon and 20-year old Mellor also busked in London's Green Park tube station and
around Europe. Throughout this period also, Tymon was an important influence on Mellor. He taught him to play
chords on an old ukulele by using his right-hand to strum the chords instead of with his natural left-hand ability, this
resulting in the unique strumming style later evidenced in The Clash's music.
After being evicted from the 34 Ridley Road flat in April 1972, Tymon then moved into a flat in Miles Buildings in
London. The Ridley Road collective also moved in for a while, though most soon left for a farm outside Blandford
Forum in Dorset in the summer of 1972. Around this time Tymon became a vegan - a decision he describes as
political.
In 1973 Tymon played violin live on stage for the first time. It was also around this time that Timon changed his
name to Tymon Dogg. In 1974, he was living at a ‘short-life’ house at 23 Chippenham Road, Maida Hill, London
with various others. John Mellor also took up residence at this address after returning to London from Newport,
Wales.
In 1975 and 1976, Tymon began playing support gigs with Mellor's (now Joe Strummer) new pub-rock band the
101ers; Tymon was a regular at the Charlie Pig Dog Club, which was a weekly residence at a local dive that the
101ers organized. He would occasionally join the band for a jam on his violin. Strummer eventually left the 101ers
in 1976 and went on to join punk band The Clash.
In 1976, Tymon released his first full-length solo album Tymon Dogg, also known as Outlaw Number One. Only 500
copies were pressed. He provides all the instrumentation including piano, violin, guitar, viola, cello, mandolin,
harmonica, glockenspiel, harmonium, shaum, and cymbal. Later in 1977, he formed a folk-punk trio called The
Fools with drummer Richard Dudanski (ex-101ers) and bassist Ron Harvey.
The Clash released their fourth LP Sandinista! in 1980. Tymon wrote, sang, and played violin on the track "Lose
This Skin", as well as adding violin overdubs to "Lightning Strikes" while in Electric Lady Studios. At the time of
recording Sandinista!, Mick Jones was helping Ellen Foley record her second album Spirit of St. Louis. Three songs
written by Tymon would feature on the LP.
During the tail-end of the Sandinista! sessions back at Wessex, England, Tymon and Joe Strummer had acquired a
new squat in a large Georgian house in Gilbert Place, Bloomsbury, London. They lived there for a while with
Tymon's future musical partner Helen Cherry.
The years 1981 and 1982 saw Tymon play violin on Ian Hunter's Short Back 'n' Sides album, and released his second
full-length solo LP Battle of Wills in 1982. He also played piano on The Clash's Combat Rock 1982 album. A third
LP was in the works in 1983 with production by Joe Strummer and Glyn Johns, but it was never released. In 1984,
Tymon appeared on the The Poison Girls’ The Price of Grain and the Price of Blood EP playing violin. He then went
Tymon Dogg 102

on to form a duo with Hele Cherry called Frugivores and released one album New Ages Songs and a single in 1987.
Another new solo LP Relentless was released in 1989.
In 1995, Tymon helped produce Irish singer-songwriter Sean Millar's (aka Doctor Millar) debut album, The Bitter
Lie. From 1996 to 1999, Tymon set up home in Granada, Spain and subsequently ended up working with both
Enrique Morente and Compay Segundo, and in 1998 recorded the song, "Casida Del Herido Por El Agua", with
Spanish-rockers Lagartija Nick for a Federico García Lorca tribute compilation, FGL: De Granada A La Luna,
produced by Richard Dudanski.

2000–Present
It was 11 years later in 2000 when Tymon again hooked up with old friend Joe Strummer. Strummer had formed
new band The Mescaleros, which Tymon became a full-time member of in November of that year. Over the course
of roughly two years he ended up playing over 70 live shows with the group. He co-wrote most of the songs on the
group's second full-length album Global A Go-Go, and played violin, mandolin, Spanish guitar, acoustic & electric
guitar on assorted tracks.
Joe Strummer died on December 22, 2002 and a tribute show was held in Granada, Spain on August 20, 2003.
Tymon appeared on stage with Mick Jones, Richard Dudanski, Jem Finer, Tom Lardner, and Julian Hernandez, as
The Amigos.
In March 2006, Tymon performed gigs around England with new band The Quikening. A single "Guantanamo" was
released on 12" vinyl in September, with the CD released on June 1, 2007. Along with debuting the new group, he
has also patented a harp-like stringed instrument he calls the "The New World Harp" or "Pyramid Harp". The band
continute to play live and Tymon is also developing a new solo set using several of the many instruments he can play
to accompany his songs.
In February 1 of 2008 Tymon Dogg played with former The Clash member Mick Jones in his band, Carbon Silicon,
as seen in various media[3] [4]
In May 2008, Emmy Award-winning Film Director/Producer Merrill Aldighieri completed work on her Tymon
Dogg documentary, 9 Lives of Tymon Dogg.
A new Tymon Dogg solo album is currently in the works, with a possible release date of early 2009.
After forty-odd years in and out of the music industry, Tymon has ended up working with a vast array of musical
talent both in the studio and on stage. The list includes: Joe Strummer, The Clash, The Slits, Paul McCartney, Jimmy
Page, John Paul Jones, James Taylor, Justin Hayward, The Mescaleros, Richard Strange, Ian Hunter, Ellen Foley,
The Poison Girls, Glyn Johns, Peter Asher, Liam Genockey, Pandit Ramesh Misra, Salah Dawson Miller, Richard
Dudanski, Roy Harper, The Cramps, Trapeze, Neville Staples, The Fall, Stone the Crows, Rory McLeod, Charles
Hayward, Lol Coxhill, DM Bob & Jem Finer, Orphy Robinson, Hugh Hopper, Robb Johnson, and Claire Hamill.

Discography

Solo recordings
Tymon Dogg 103

Year Album

1976 Tymon Dogg

1982 Battle of Wills

1987 Frugivores - New Age

Songs

1989 Relentless

2007 (EP) Guantanamo

TBA 2009 Album

Guest appearances

Year Album Artist Credit

1980 Sandinista! The Clash Vocals, violin on "Lose This Skin", "Lightning Strikes (Not Once But Twice)", "Junco
Partner", "The Equaliser", and "Something About England"

1981 Short Back 'n' Ian Hunter Violin on "Old Records Never Die"
Sides

1981 Spirit of St. Louis Ellen Foley Violin, wrote three tunes: "Beautiful Waste of Time," "Game of a Man" and
"Indestructible"

1982 Combat Rock The Clash Piano on "Death Is A Star" and "Overpowered By Funk"

1985 The Price of Poison Girls Violin on "The Price of Grain and the Price of Blood" and "Stonehenge 1985"
Grain

1995 The Bitter Lie Doctor Millar Producer

1998 De Granada a la Various artists Violin and guest vocals on "Casida Del Herido Por El Agua" with Lagartija Nick
Luna

2000 Once Bitten Ian Hunter Violin on "Old Records Never Die"
Twice Shy

2001 Global a Go-Go Joe Strummer and The Violin, mandolin, Spanish guitar, acoustic & electric guitar on tracks such as "Mondo
Mescaleros Bongo", "Shaktar Donetsk", and "Minstrel Boy"

2002 Give 'Em the Various artists Violin, Spanish guitar on Joe Strummer & The Mescaleros' "Global A Go-Go"
Boot III

2003 Streetcore Joe Strummer and The Violin on "Silver and Gold"
Mescaleros

2004 Give 'Em the Various artists Violin on Joe Strummer & The Mescaleros "Junco Pardner"
Boot IV

2007/2008 Screamin El Doghouse Violin on "Screamin' Bloody Murder"

2008 Howl El Doghouse Violin on "Screamin' Bloody Murder"

2009 This Is Only Me Jonathan Martin Production, Violin on Single "This Is Only Me"
Tymon Dogg 104

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Leigh, Spencer. (1975). The Last Trumpet [6] tymondogg.net. Retrieved on 2008-02-24.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.
• TYMON DOGG - SOUL MUSIC [3] tymondogg.net. Retrieved on 2008-02-24.
• vegan see article in labouche magazine http://www.labouchemag.com/issue-three.php?art=83

External links
• Tymon Dogg - The Godfather of Anti-Folk fan site [3]
• Tymon Dogg & The Quikening's Myspace page [7]
• Bio at Strummernews [8]
• RateYourMusic page [9]
• Tymon Dogg [10] at Allmusic

References
[1] Tymon Dogg - Joe Strummer and The Mescaleros (http:/ / www. strummersite. com/ tymon page. htm)
[2] Harris, Craig. AMG Biography (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:4kjp7i2jg77r~T1)
[3] Junco Partner in 01/02/2008, video 1. (http:/ / www. youtube. com/ watch?v=w4Txh96m6iU)
[4] Junco Partner in 01/02/2008, video 2. (http:/ / www. youtube. com/ watch?v=qypqDcW1kto)
Mick Gallagher 105

Mick Gallagher
Mick Gallagher

Gallagher on tour with "Animals and Friends"

France 2008.

Background information

Birth name Michael William Gallagher

Born 29 October 1945

Newcastle upon Tyne, England

Origin London, England

Genres Rock, Punk rock, Reggae, Rock and Roll

Occupations Keyboardist, session musician, songwriter

Instruments Keyboards and piano occasionally

Years active 1965 – present

Associated acts Ian Dury, Blockheads, The Animals, Skip Bifferty, Peter Frampton, Cochise, Topper Headon, The Clash, Arc, The
Animals and Friends, Loving Awareness, The Chosen Few

Notable instruments

Hammond organ

Michael William Gallagher (born 29 October 1945 in Newcastle upon Tyne, England) also known as Mick
Gallagher and Mickey Gallagher is a British Hammond organ player and best known as a member of Ian Dury and
the Blockheads[1] and for his contributions to albums by The Clash. He has also written music for films such as
Extremes (1971) and After Midnight (1990), also the Broadway play Serious Money (1988).

Biography
Mick Gallagher started his musical career with The Unknowns. He played with The Animals during 1965, replacing
founding member Alan Price. He moved on to formed The Chosen Few, where he played alongside Alan Hull who
later formed Lindisfarne. Other associations include Skip Bifferty, Peter Frampton's Camel and Cochise.[2]
His Hammond sound was a major contribution to Ian Dury and The Blockheads. He played on two of the most
influential Clash albums London Calling (1979) and Sandinista! (1980)[3] and made live appearances with the band
also playing on their last album Cut the Crap (1985), for which he never received a credit.
Gallagher was reunited with the Clash drummer Topper Headon when they recorded Topper's Waking Up ((1986)
appearing with Bobby Tench and Jimmy Helms. He has also performed and recorded with Paul McCartney, Robbie
Williams, Dave Stewart and Annie Lennox[4] . More recently he returned to perform with The Blockheads and John
Steel's The Animals and Friends.
Mick Gallagher 106

References
[1] "Mick Gallagher biography" (http:/ / www. theblockheads. com/ biog. php). theblockheads.com. . Retrieved 2008-03-26.
[2] "Mick Gallagher" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:wbfyxqu5ldae). allmusic.com. . Retrieved 2010-03-26.
[3] "Clash albums" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:gifqxqw5ldte~T2). allmusic.com. . Retrieved 2010-03-26.
[4] "Mick Gallagher" (http:/ / www. rockartistmanagement. com/ instinct. html). rockartistmanagement.comZ. . Retrieved 2010-03-26.
Gary Barnacle 107

Gary Barnacle
Gary Barnacle
Born 1955 (age 54–55)
Dover, Kent, England

Origin London, England

Genres Jazz, Pop, rock, electropop

Occupations Saxophonist, multi-instrumentalist, arranger, producer, composer

Instruments Saxophone, brass instrument, flute, keyboards

Years active 1975 – present

Associated Level 42, Phil Collins, Tina Turner, Madness, Jamiroquai, The Ruts, Paul Hardcastle, Marc Almond, Kim Wilde, The
acts Clash, Topper Headon, Leisure Process, John Thirkell, Visage, Rick Astley, Public Image Ltd., Pet Shop Boys, Elvis
Costello, David Bowie, Björk, ABC

Gary Barnacle (born 1955, Dover, England) is a saxophonist and brass instrument arranger primarily noted for
session work, during the 1980s, with a large number of popular music acts, including pop singer, Kim Wilde (whom
he dated in the mid 80s). He was also in an electropop duo called Leisure Process, with ex-Positive Noise singer,
Ross Middleton.
Barnacle performed the saxophone part in The Clash's song, "1-2 Crush On You," which can be heard on their
album, Super Black Market Clash, and also played on their later albums Sandinista! and "Combat Rock". He was
introduced to The Clash through their drummer (and school friend of Barnacle's) Topper Headon, and reportedly
became involved in The Clash's infamous 1978 "pigeon shooting" incident.
One of Barnacle's longest associations has been with Level 42, with whom he has played on several albums,
including the band's 1981 debut. The horn section he formed with British trumpet and fluegelhorn player, John
Thirkell, for Level 42 is known as the Henpecked Horns. Barnacle and Thirkell have also backed Swing Out Sister.
Barnacle also recorded "A Way You'll Never Be" with Mark King and Phil Gould.
Other acts for whom Barnacle has contributed session work have included Big Fun, Paul Hardcastle, Visage, The
Beautiful South, Rick Astley, Public Image Ltd., Barry Adamson, Madness, Pet Shop Boys, Kim Wilde, Jamiroquai,
Elvis Costello, David Bowie, Tim Finn, Björk, Tina Turner, Carlene Carter, The Ruts, Phil Collins, T'Pau, ABC,
Guru and Billie Ray Martin (on her 1995 debut Deadline For My Memories, his name is mis-spelled as "Gary
Barnickle"). He worked frequently with Stock Aitken Waterman as a session musician in their PWL studios.
Barnacle is frequently credited as an arranger of woodwinds and brass on his session work.
Barnacle also plays flute (as evidenced on Hardcastle's first Jazzmasters album) and keyboards.
He returned to the music industry in 2002, releasing his first solo album, Paradise. He is currently producing
indie/dance band propeller.
[1] [2]
Gary Barnacle 108

See also
• Touring and studio musicians of Phil Collins
• Members of Public Image Ltd.

External links
• Gary Barnacle at a Level 42 website [3]
• Mini biography at a session musician's fan site [4]

References
[1] (http:/ / shopping. yahoo. com/
p:Paradise:1921651532;_ylt=AtowCmcBHngOCALfvtrUoP9UvQcF;_ylu=X3oDMTBzZTVhM3RqBF9zAzk1OTUxMTEzBGx0AzQEc2VjA2FydHByb2Q-)
[2] (http:/ / www. amazon. co. uk/ Paradise-Gary-Barnacle/ dp/ B0000561P4)
Pennie Smith 109

Pennie Smith
Pennie Smith
Born about 1949
London, England

Nationality English

Education Twickenham Art school

Occupation Photographer

Pennie Smith (born in London) is an English photographer, renowned for having photographed several famous rock
musicians. She specialises in black and white photography.
Smith attended Twickenham Art school in the late 1960s, studying graphics and fine art. With others, she
collaborated with graphic designer, Barney Bubbles and music journalist, Nick Kent in producing Friends magazine
from 1969 to 1972. In 1970 she designed the sleeve for the Pink Fairies debut release Never Never Land. Her first
major photographic commission was to cover a 1970s Led Zeppelin tour. Smith went on to work at the NME as staff
photographer until the early 1980s.
In her career, Smith has photographed some of rock music's icons and legends, including: Led Zeppelin, The Rolling
Stones, The Who, Iggy Pop, The Clash, The Jam, The Slits, Siouxsie Sioux, Debbie Harry, U2, Morrissey, The
Stone Roses, Primal Scream, Manic Street Preachers, Radiohead, Blur, Oasis and The Strokes.
In addition to her portrait work, some of rock's defining moments have been captured by her whilst covering tours
with musicians. Perhaps her most famous photograph is that of The Clash's Paul Simonon smashing his bass guitar
on the stage in New York during a 1979 tour.[1] [2] The photograph went on to be used on the cover of the Clash
album, London Calling, designed by Ray Lowry, and received Q magazine’s "Greatest Rock ‘n’ Roll Photograph of
All-Time" award in 2002.[3]
Smith's work has appeared on the covers and pages of the NME, on album sleeves, promotional material and has
featured in books. In 1980 her best selling book, The Clash, Before and After, was published.[4]
Smith currently lives and works in a disused railway station in West London, which she bought and converted into a
studio whilst she was a student, and freelances in black and white reportage photography.
In late 2009 multiple images by Smith were included in the Who Shot Rock & Roll exhibit of rock photography at
the Brooklyn Museum.
In Jan 2010 Smith's London Calling image was issued on a postage stamp by the Royal Mail. [5]

External links
• Pennie Smith at the National Portrait Gallery [6]
• An interview with Pennie Smith [7] (Waybacked)

References
[1] Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.). London: Orion.
pp. 195–196. ISBN 0752858432. OCLC 52990890.
[2] Sweeting, Adam. "Death or Glory". Uncut. October 2004. p.70.
[3] Judd, Terri. "One hundred timeless rock'n'roll moments, and the photographers who..." (http:/ / findarticles. com/ p/ articles/ mi_qn4158/
is_20020124/ ai_n9669465). The Independent. 2002-01-24. Retrieved 2008-02-17.
[4] Smith, Pennie (1980). The Clash: Before and After. Boston: Little, Brown. ISBN 0316801690. OCLC 8034340.
[5] "Classic Album Covers - British Design on stamps 7 January 2010" (http:/ / www. norphil. co. uk/ 2010/ 01-album_covers_stamps. htm).
Norvic Philatelics. . Retrieved 2010-01-08.
Ellen Foley 110

Ellen Foley
Ellen Foley
Born June 5, 1951

Origin St. Louis, Missouri, U.S.

Genres Rock

Occupations Singer, actress

Instruments Vocals

Years active 1977 – present

Associated acts The Clash

Meat Loaf

Ellen Foley (born June 5, 1951) is an American singer and actress, who has appeared on Broadway and television,
where she co-starred in the sitcom Night Court. In music, she has released three solo albums but is best known for
her collaborations with the singer Meat Loaf.[1] [2] [3] [4] [5]

Early life and career

Foley was born in St. Louis, Missouri, the daughter of John and Virginia B. Foley.[6] Foley attended Webster
University.[6] Foley gained high public recognition singing the duet with Meat Loaf on the hit single "Paradise by the
Dashboard Light" from the 1977 album Bat out of Hell.[7] Although Karla DeVito is featured on the music video,
DeVito is lip synching to Foley's vocals.[8]
Her debut album Night Out with the hit single "What's a Matter Baby", was released in 1979.[9] The album was
produced by Ian Hunter and Mick Ronson. Foley recorded a memorable duet with Ian Hunter in 1980, "We Gotta
Get Outta Here". Her creative relationship with Hunter also led her to singing backing vocals on the Iron City
Houserockers' 1980 album Have a Good Time but Get out Alive!, produced by Hunter, Ronson, and The E Street
Band's Steven Van Zandt.[10]
She can also be heard on The Clash album Sandinista!, released in 1980, in the songs "Hitsville UK" and "Corner
Soul", and on the unreleased track "Blonde Rock 'n' Roll". All four members of The Clash appeared on her second
album The Spirit of St. Louis in 1981, and Mick Jones and Joe Strummer co-wrote a number of songs for the
album.[11] Jones also produced the album, which also featured members of The Blockheads.[11] The Clash's hit song
"Should I Stay or Should I Go", written and sung by Jones, was about the turbulent relationship he shared with Foley
at the time.[7] [12]
She released her third and, until now, last solo album Another Breath in 1983.[13] In 1984, she sang backing vocals
on Joe Jackson's album Body & Soul[2] and had a large role in the music video for Utopia's "Crybaby". She fronted
the band Pandora's Box, formed by Jim Steinman in 1989. Their album Original Sin was the first to feature the song
"It's All Coming Back to Me Now" (vocals by Elaine Caswell); both Meat Loaf and Celine Dion had separate chart
successes with that song, years later.[14] [15] [16]
Ellen Foley 111

Broadway, film and television

Foley lives in the Upper West Side of Manhattan and continues an active career in music and has appeared on
Broadway in such shows as Me and My Girl and the revival of Hair and off-Broadway in Beehive.[2] [3] She
originated the role of The Witch in Stephen Sondheim's Into the Woods at the Old Globe Theater in San Diego,[3] but
was replaced by Bernadette Peters before the play reached New York. She eventually reprised the role by appearing
on Broadway herself.
Her best known television acting role is the role of Billie Young on Night Court for one season (1984-85),[3] after
which she was succeeded by Markie Post as Christine Sullivan. She had parts in Miloš Forman's 1979 film
adaptation of the stage musical Hair, as well as the films Cocktail, Fatal Attraction and Married to the Mob.[3]
She was also in the short-lived 1977 show 3 Girls 3, co-starring with Debbie Allen and Mimi Kennedy.[3]

Personal life
Foley married the writer Doug Bernstein in 1980.[6] Foley's husband is the co-author of the Off-Broadway revue
"Showing Off" and is a magna cum laude graduate of Amherst College.[6] The couple live in Manhattan with their
two sons, Timothy and Henry. As of the mid-2000s, she teaches vocal lessons at The Paul Green School of Rock
Music in Manhattan, New York City, New York.[5]

Filmography

Stage appearances

Year Title Role Theatre

1977 Hair Sheila Biltmore Theatre, New York City

1983 Eve Is Innocent Kim Dolphin Actors and Directors Theatre, New York City

1987 Into the Woods The Witch Old Globe Theatre, San Diego, CA

1987 Beautiful Bodies Lisbeth Whole Theatre Company, Montclair, NJ

1988 Me and My Girl Sally Marquis Theatre, New York City

Film

Year Film Role Notes

1979 Hair Black Girls Singer Directed by Miloš Forman

Distributed by United Artists

1982 Tootsie Jacqui Directed by Sydney Pollack

Distributed by Columbia Pictures

1983 The King of Comedy Street scum Directed by Martin Scorsese

Distributed by 20th Century Fox

1987 Fatal Attraction Hildy Directed by Miloš Forman

Distributed by Paramount Pictures

1988 Cocktail Eleanor Directed by Roger Donaldson

Distributed by Touchstone Pictures

Married to the Mob Theresa Directed by Jonathan Demme

Distributed by Orion Pictures

Television

Year Title Role Network

Ellen Foley 112

1977 3 Girls 3 Regular NBC

1984-1985 Night Court Billie Young

Discography

Studio albums
• Night Out (1979) Epic[9]
• Spirit of St. Louis (1981) Epic[9]
• Another Breath (1983) Epic[9]
NOTE: all of these were originally issued by Epic[9] within the USA on Vinyl LP and are long out of print. They
have all been re-issued on CD by Wounded Bird Records[13]

Compilations
• The Very Best Of (1992)

Singles
• "We Belong to the Night" / "Young Lust" (1979)
• "What's a Matter Baby" / "Hideaway" (1979)
• "Sad Song" / "Stupid Girl" (1980)
• "Stupid Girl" / "Young Lust" (1980)
• "The Shuttered Palace" / "Beautiful Waste of Time" (1981)
• "Torchlight" / "Game of a Man" (1981)
• "Torchlight" / "Le palais" (1981)
• "Boys in the Attic" / "Beat of a Broken Heart" (1983)
• "Nightline (Single Version)" / "Beat of a Broken Heart (1983)
• "Nightline (Dance Mix - Long Version)" / "Nightline (Dance Mix - Short Version)" "Nightline (Dub)" [12"
Maxi-Single]

External links
• Ellen Foley [17] at the Internet Movie Database
• Ellen Foley [18] at the Internet Broadway Database
• Information page and discography [19]

References
[1] Ruhlmann, William. "allmusic ((( Ellen Foley > Overview )))" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:k9fpxqy5ldse).
allmusic.com. . Retrieved February 27, 2010.
[2] "Ellen Foley - Biography" (http:/ / www. imdb. com/ name/ nm0284129/ bio). IMDb.com. . Retrieved February 27, 2010.
[3] "Ellen Foley Biography (1951-)" (http:/ / www. filmreference. com/ film/ 64/ Ellen-Foley. html). filmreference.com. . Retrieved February 27,
2010.
[4] "Albums by Ellen Foley - Rate Your Music" (http:/ / rateyourmusic. com/ artist/ ellen_foley). rateyourmusic.com. . Retrieved February 27,
2010.
[5] "School of Rock – School Staff" (http:/ / www. schoolofrock. com/ newyork/ staff_school. php). SCHOOLofROCK.com. . Retrieved
February 27, 2010.
[6] New York Times. "Douglas Bernstein Weds Ellen Foley, Fellow Actor" April 30, 1980. (http:/ / www. nytimes. com/ 1990/ 04/ 30/ style/
douglas-bernstein-weds-ellen-foley-fellow-actor. html?pagewanted=1)
[7] "The Uncut Crap - Over 56 Things You Never Knew About The Clash". NME (London: IPC Magazines) 3. March 16, 1991.
ISSN 0028-6362. OCLC 4213418. ""Should I Stay Or Should I Go" was written by Mick about American singer Ellen Foley, who sang the
Ellen Foley 113

backing vocals on Meatloaf's Bat Out Of Hell LP".

Related news articles:
• Peterson, Tami. "The Uncut Crap - Over 56 Things You Never Knew About The Clash - NME March 16, 1991" (http:/ / londonsburning.
org/ art_nme_03_16_91. html). londonsburning.org. . Retrieved December 11, 2007.
[8] Murray, Richard. "It's all coming back to me now" (http:/ / www. heyrick. co. uk/ ricksworld/ iacbtmn. html). Rick's World. heyrick.co.uk. .
Retrieved February 27, 2010.
[9] Stone, Doug. "allmusic ((( Night Out > Overview )))" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:3zfoxqy5ldfe).
allmusic.com. . Retrieved February 27, 2010.
[10] "The Official Ian Hunter Website - Biography" (http:/ / www. ianhunter. com/ bio. shtml). ianhunter.com. . Retrieved February 27, 2010.
[11] "allmusic ((( Spirit of St. Louis > Overview )))" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:dzfoxqy5ldfe). allmusic.com. .
Retrieved May 28, 2009.
[12] "The Clash: Biography : Rolling Stone" (http:/ / www. rollingstone. com/ artists/ theclash/ biography). RollingStone.com. . Retrieved
February 27, 2010.
[13] "allmusic ((( Another Breath > Overview )))" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:fzfoxqy5ldfe). allmusic.com. .
Retrieved February 27, 2010.
[14] UK Singles Chart (http:/ / www. theofficialcharts. com/ top40_singles. php)
[15] UK Singles Chart (http:/ / www. everyhit. co. uk/ )
[16] Billboard Hot 100 (http:/ / www. billboard. com/ #/ song/ celine-dion/ it-s-all-coming-back-to-me-now/ 868735)
Caroline Coon 114

Caroline Coon
Caroline Coon

Born London

Nationality English

Caroline Coon (born 1945) is an English artist, journalist and political activist. Her artwork, which often explores
sexual themes from a feminist standpoint (she is bisexual),[1] has been exhibited at many major London galleries,
including the Saatchi Gallery and the Tate.[1]
Trained as a figurative painter, Coon became involved in the 1960s underground movement in London while still
attending art school. In 1967 she founded Release, an agency set up to provide legal advice and arrange legal
representation for young people charged with the possession of drugs. She remains politically active, campaigning
primarily for feminist causes, including the legalisation of prostitution.
In the 1970s, Coon became involved in the London punk scene, writing about the bands for Melody Maker and
providing artwork for groups such as The Clash (whom she briefly managed) and The Police. In the "Punky
Business" (punk rock) episode of the BBC comedy series The Goodies, Jane Asher plays a parody of Coon
("Caroline Kook"), the dream lover of Tim Brooke-Taylor's aspiring punk rock star.
Coon inspired the Robert Wyatt song "O Caroline", The Stranglers' "London Lady", and (according to Coon herself)
Bob Dylan's "She Belongs To Me" (though this claim is highly questionable; most Dylan experts would argue that
the song is actually about either Joan Baez or Dylan's future wife Sara).
In June 2000, Coon won damages of £73,000 from publisher Random House after author Jonathon Green, in his
1998 book All Dressed Up: the Sixties and the Counter-Culture, suggested that in Release's early days she traded
sexual favours for donations. The book was withdrawn.[1]
Caroline Coon 115

Publications
• The Release Report on Drug Offenders and the Law, Sphere Books, 1969, ISBN 0722124457
• 1988: The New Wave Punk Rock Explosion, Hawthorn Books, 1977, ISBN 0801561299

External links
• www.carolinecoon.com [2]
• Caroline Coon [3] at the Internet Movie Database

References
[1] Ellen, Barbara (2000-07-28). "Still fighting the bad guys" (http:/ / observer. guardian. co. uk/ review/ story/ 0,,348486,00. html). The
Observer. . Retrieved 2008-01-29.
Steve Bell 116

Steve Bell
Steve Bell

At Dundee University in 2007

Born 26 February 1951
Walthamstow, London, UK

Occupation Political cartoonist, artist

Steve Bell (born 26 February 1951) is an English political cartoonist, whose work appears in The Guardian and
other publications. He is known for his left-wing views and distinctive caricatures.

Early life
Born in Walthamstow, London and raised in Slough, Bell moved to North Yorkshire with his family in 1968, where
he trained as an artist at the Teesside College of Art. He graduated in film-making and art at the University of Leeds
in 1974 and trained as an art teacher at St Luke's College, Exeter [1], (nowadays University of Exeter - St. Luke's
Campus) in 1975. He taught art for one year in Birmingham before becoming a freelance cartoonist in 1977. His
comic strip Maggie's Farm appeared in the London listings magazines Time Out from 1979 and later in City Limits,
and Lord God Almighty appeared in The Leveller in the 1970s. In 1980, he contributed a cartoon interpretation of the
lyrics to Ivan Meets G.I. Joe to the inner lyric bag of the Clash's triple album Sandinista!.

Cartoonist
Steve Bell is probably best known for the daily strip called If..., which has appeared in The Guardian newspaper
since 1981, and since the mid-1990s he has also been that newspaper's principal editorial cartoonist. One of Bell's
most famous caricatures is of John Major as a dire superhero wearing his Y-fronts on the outside of his clothes, in a
parody of Superman. Bell also claims to be the first cartoonist to have spotted Margaret Thatcher's mad left eye, as
well as the fact that Tony Blair shares this unusual feature.
Steve Bell has won many awards for his work, including both the political and strip cartoon categories at the Cartoon
Arts Trust awards at least eight times since 1997. Many collections of his cartoons have been published, and he has
also illustrated original books in collaboration with several authors. He has made short animated films with Bob
Godfrey, including a short series of animated cartoons for Channel 4 television in 1999 to mark the 20th anniversary
of Margaret Thatcher's rise to power, entitled Margaret Thatcher - Where Am I Now?. He has appeared in a radio
programme about the life of 18th century caricaturist James Gillray. Earlier in his career he wrote and drew the
Gremlins comic strip for the British comic Jackpot.
In 2003, he was listed in The Observer as one of the 50 funniest acts in British comedy. When he received the UK
Press Gazette award in 2004 for Best Cartoonist, in his speech he thanked "George Bush - for looking like a
monkey, walking like a monkey and talking like a monkey".
Steve Bell 117

Bell is fond of parodying famous paintings. Examples include his parody of Goya's The Sleep of Reason Produces
Monsters (in an editorial cartoon [2] about the UK Independence Party); William Hogarth's The Gate of Calais about
the ban on UK meat exports following outbreaks of foot-and-mouth disease and bovine BSE; and - before the 2005
General Election when it briefly seemed as if the Liberal Democrats might seriously threaten Labour - J. M. W.
Turner's The Fighting Temeraire, in which a chirpy Charles Kennedy as tug-boat towed a grotesque and dilapidated
Tony Blair to be broken up [3].

See also
• Dropping the Pilot

External links
• Bellworks [4] - Bell's archive of his cartoons
• Guardian cartoons by Steve Bell [5]
• The Art of Comedy, an interview with Steve Bell, from suchsmallportions.com [6]
• Interview alongside Martin Rowson [7]
• Interviewing Robert Crumb, 2005 [8]
• Biography article [9] at British Cartoon Archive, University of Kent
• Interviewed at ICA by George Melly, 1987 [10]
Futura 2000 118

Futura 2000
FUTURA 2000

Futura painting the cover of "Never, Never, Land" (2003)

Birth name Leonard Hilton McGurr

Born November 17, 1955

New York

Nationality American

Field Graffiti

Futura 2000 (born 1955) is an internationally acclaimed graffiti artist. He started to paint illegally on New York's
subway in the early seventies, working with other artists such as ALI. In the early eighties he showed with Patti
Astor at the Fun Gallery, along with Keith Haring, Jean-Michel Basquiat, Richard Hambleton and Kenny Scharf.
Futura 2000 began painting "legally" as the live on-stage backdrop painter for The Clash's 1981 European tour. More
recently, he is a successful graphic designer and gallery artist. One of the most distinctive features of Futura's work is
his abstract approach to graffiti art. While the primary focus, during the 1980s, of the majority of graffiti artists was
lettering, Futura pioneered abstract street art, which has since become more popular. Conversely, his aerosol strokes
are regarded as different from those of his peers, as they are as thin as the fine lines achieved only through the use of
an airbrush.
While he's primarily known as a graffiti artist, much of his work is as an illustrator and graphic designer of record
sleeves, first becoming involved with The Clash; producing a sleeve for their "Radio Clash" 7" single and
handwriting the sleeve notes and lyrics sheet for their album Combat Rock. He also toured extensively with The
Clash during the Combat Rock tours, 'performing' with them on stage by spray painting backdrops whilst the band
performed.
Years later James Lavelle resurrected his career by getting him, alongside Ben Drury, to produce the artwork for
several releases on Mo' Wax records; this also led to Futura producing the imagery which has largely defined James
Lavelle's UNKLE project.
During the 90's he was involved with clothing companies such as GFS, Subware and PROJECT DRAGON. More
recently much of Futura's artwork has evolved into the production of highly collectible toys, SNEAKERS; and a
diverse range of CREATIVE media. Working with Recon, Nike, North Face, Medicom Toy, Undercover, Supreme,
Levi's, A Silent Flute and A Bathing Ape.
Futura also designs his own clothing label FUTURA LABORATORIES with a store located in Fukuoka, Japan.
His art has been exhibited at V1 Gallery, a contemporary art gallery in Copenhagen, Denmark.
Futura 2000 119

Appearances in other media

• On The Clash's Combat Rock, Futura 2000 delivers a spoken word part on the song "Overpowered by Funk". The
Clash also appeared on his song "The Escapades of Futura 2000."[1]
• In Emile de Antonio's 1982 film In the King of Prussia Futura 2000 creates the film's opening title as a graffiti
mural.
• On the album MiLight Futura's voice can be heard giving a shoutout to artist DJ Krush.
• In DJ Mehdi's 2002 music video "Breakaway", Futura covers an entire room with his signature tags in black
marker and spray paint.
• In the 2005 film "Just For Kicks", about sneaker culture in hip hop, as himself.
• John Mayer's 2006 music video "Waiting on the World to Change", alongside graffiti artists DAZE and the Tats
Cru.
• The 2006 video game Marc Ecko's Getting Up: Contents Under Pressure as himself.

External links
• the OFFICIAL 2010 daily calendar from the intrepid author @ futura2000.com [2]
• the OFFICIAL 2009 daily calendar @ futura2000.com [3]
• the OFFICIAL 2008 daily calendar @ futura2000.com [4]
• the OFFICIAL 2007 daily calendar @ futura2000.com [5]
• the COMPREHENSIVE collective from the photographic ARCHIVES @ flickr.com [6]
• the BLACK backgrounded PHOTOSTREAM @ flickriver.com [7]
• the ORIGINAL domain from NINETEEN NINETY SEVEN @ FUTURADOSMIL [8]

References
[1] http:/ / www. discogs. com/ release/ 52574
Ray Lowry 120

Ray Lowry
Ray Lowry

Born August 28, 1944

Cadishead, Salford, England

Died October 14, 2008

Waterfoot, Lancashire, England

Nationality English

Field Cartoonist, Illustrator and

Satirist

Ray Lowry (August 28, 1944 – October 14, 2008) was an English cartoonist, illustrator and satirist, possessing a
highly distinctive style and wit. He contributed to The Guardian, Private Eye, Punch and the NME amongst many
other publications. Lowry lived in Rossendale, Lancashire.

Life and work

Lowry was born in Cadishead, Salford, and attended Urmston Grammar School. His father was a bricklayer.
He worked in Manchester and London, and although he had no formal art education he first became known as a
cartoonist during the 1970s. It was less well-known that Lowry was also a painter of urban landscapes following in
the footsteps of his unrelated namesake L. S. Lowry.
Lowry drew cartoons for a wide range of publications, and with the emergence of the 60s underground press he was
published in Oz and International Times, which led to a long and better-paid relationship with the New Musical
Times, including a weekly cartoon strip 'Only Rock'n'Roll'. Lowry's love of raw 50s rock and roll was the perfect
complement to the new punk mentality that emerged in the late 1970s. He saw the Sex Pistols infamous Anarchy
tour at the Electric Circus in Manchester and there he met The Clash. A friendship struck up with the band which led
to an invitation to accompany them on their 1979 tour of the USA. From this he created the artwork for their London
Calling album sleeve, using a photograph by Pennie Smith.
In the 1980s Ray wrote a column in The Face and was a regular contributor to The Guardian. Lowry continued to
create memorable art and remained obsessed by rock and roll. Near the end of his life produced a long series of
colour images inspired by the 1960s British tour by American rockers Eddie Cochran and Gene Vincent.
Ray eventually moved to Rossendale in Lancashire, and although he no longer worked for periodicals he never
stopped painting and drawing, and near the end of his life he was taken up by the See Gallery, Crawshawbooth in
Rossendale. An exhibition at the See in 2008 proved very successful and Ray began to plan new schemes including
paintings inspired by another namesake Malcolm Lowry's Under the Volcano. Ray died suddenly at the age of 64,
after years of ill-health, and was found at his home in Waterfoot, Lancashire, on the morning of Tuesday, October
14, 2008.[1]
Ray Lowry 121

The Ray Lowry Foundation

In 2009 The Ray Lowry Foundation was set up by Ray’s son, Sam, and Julian Williams and Jackie Taylor of the See
Gallery in Rossendale, Lancashire. The aim of the Foundation is to create an organisation that ensures Ray’s work
will continue to be remembered and appreciated, and to create a fund in Ray’s name that will provide financial
assistance with mentorship to individuals and art projects. This will include providing a scholarship to a student
studying a course in art to a higher degree level and to make financial awards linked to individual art-based projects.
The Foundation has helped with placing Ray's work included as part of the Malcolm Lowry exhibition at the
BlueCoat Gallery, Liverpool, and a major public exhibition of his work at the Salford Gallery and Museum for
December 2009. A major exhibition is being planned in Leeds for 2010.
A retrospective of his works is being held at The Idea Generation Gallery, London from 18th June - 4th July 2010 in
aid of The Ray Lowry Foundation. As part of the exhibition 30 creatives, including Tracey Emin, Nick Hornby,
Billy Childish, Harry Hill, Paul Simonon and Humphrey Ocean, have produced reinterpretations of The Clash’s
iconic London Calling album cover in aid of the Foundation[2] [3]

Selected bibliography
Collections of his work
• Only Rock 'n' Roll 1980 ISBN 0-86104-320-0
• This Space to Let 1986 ISBN 0-349-12208-3
• Ink 1998 ISBN 1-899344-21-7
As an illustrator
• The Penguin Book of Rock and Roll Writing 1992 ISBN 0-14-016836-2
• Rock Talk 1994 ISBN 1-899344-00-4
• Funny Talk 1995 ISBN 1-899344-01-2
• A Riot of our Own: Night and Day with The "Clash" 1997 ISBN 0-575-40080-3

External links
• Personal web site [4] raylowry.com
• The Guardian obituary [5]

References
[1] "Ray Lowry 1944-2008" (http:/ / www. mojo4music. com/ blog/ 2008/ 10/ post_31. html). News. Mojo. 2008-10-14. . Retrieved 2008-10-15.
[2] Ray Lowry: London Calling, Idea Generation Gallery (http:/ / www. ideageneration. co. uk/ generationgallery. php)
[3] Godwin, Richard (15 June 2010). "London Calling again" (http:/ / www. thisislondon. co. uk/ music/ article-23845073-london-calling-again.
do). Evening Standard. . Retrieved 16 June 2010.
 122

Associated acts

The 101ers
The 101ers
Origin London, UK

Genres Pub rock, Protopunk

Years active 1974 - 1978

Labels Chiswick
Andalucia
Astralwerks
EMI

Associated acts The Clash

The Passions
The Raincoats
Public Image Ltd.
Basement 5
The Latino Rockabilly
War
The Pogues
The Mescaleros

Former members

John "Woody" Mellor

Clive Timperley
Dan Kelleher
Richard Dudanski
Simon Cassell
Alvaro Peña-Rojas
Antonio Narvaez
Julian Yewdall
Tymon Dogg
Marwood Chesterton aka " Mole"
Patrick Nother
Martin Stone

The 101ers were a pub rock band from the 1970s, notable as being the band that Joe Strummer left to join The
Clash.[1] Formed in London in May 1974, the 101ers made their performing debut on 6 September at the Telegraph
pub in Brixton under the name El Huaso and the 101 All Stars. The name would later be shortened to the 101 All
Stars and finally just the 101ers. The group played at free festivals such as Stonehenge, and established itself on the
London pub rock circuit prior to the advent of punk.
The 101ers 123

History
The group was named for the squat where they lived together: 101 Walterton Road, Maida Vale, although it was for
a time rumoured that they were named for "Room 101", the infamous torture room in George Orwell's novel 1984.
The 101ers were supported by the Sex Pistols at the Nashville Room on 3 April 1976, and this is when Strummer
claimed he saw the light and got involved in the punk scene.[1]
Joe Strummer commented on this event in the Don Letts documentary Westway to the World on the end of the
101ers by saying "5 seconds into their (the Pistols') first song, I knew we were like yesterday's paper, we were
over."[1]
By the time their debut single was released, Joe Strummer was in The Clash and the band were no more. Clive
Timperley later joined The Passions, Dan Kelleher went to The Derelicts. Richard Dudanski went on to work with
The Raincoats, Basement 5 and Public Image Ltd. Tymon Dogg worked with Strummer briefly in The Clash,
playing fiddle and singing his original song, "Lose This Skin," on Sandinista!), and later in The Mescaleros.
The 101ers recorded output was initially limited to one single. However, by 1981, interest in The Clash was at its
height and a second single and a compilation album Elgin Avenue Breakdown was released. Several of the tracks on
the latter album were live recordings, and there is no evidence that the band ever conceived of these recordings as a
full length album.
Until his death in 2002, Joe Strummer had been planning to re-release Elgin Avenue Breakdown, complete with
previously unreleased tracks that would encompass everything the band ever recorded. The project was completed
with the help of Strummer's widow Lucinda Tait and former drummer Richard Dudanski, and released in May, 2005
as Elgin Avenue Breakdown Revisited via Astralwerks in the US and EMI in Europe.

Covers
• The Hypertonics [2] have covered Keys To Your Heart.

Band line-up
• John "Woody" Mellor aka Joe Strummer - Guitar, vocals
• Clive Timperley - Guitar, vocals
• Dan Kelleher - Bass, guitar, vocals
• Richard Dudanski - Drums
• Simon Cassell aka "Big John" - Saxophone
• Alvaro Peña-Rojas - Saxophone
• Marwood Chesterton aka "Mole" - Bass guitar (until Oct. 1975)
• Antonio Narvaez - Drums
• Julian Yewdall - Vocals, harmonica
• Patrick Nother - Bass (1st gig)
• Martin Stone - Lead guitar (final gig)
• Tymon Dogg - Fiddle, vocals
The 101ers 124

Discography
Singles
• "Keys to Your Heart" (Joe Strummer) b/w "5 Star Rock & Roll Petrol" (Strummer, Dan Kelleher) (Chiswick/Big
Beat 1976)
• "Sweet Revenge" b/w "Rabies" (Chiswick 1981)
Albums
• Elgin Avenue Breakdown Andalucia AND101 (1981)
• Elgin Avenue Breakdown Revisited Astralwerks ASW32161 / EMI 474460 2 (2005)

Further reading
• D'Ambrosio, Antonino (2004-10-13). Let Fury Have the Hour: The Punk Rock Politics of Joe Strummer. New
York: Nation Books. ISBN 1560256257. OCLC 56988650. "Edited with an Introduction by Antonino
D'Ambrosio."
• DeCurtis, Anthony (2003). "1952-2002 Joe Strummer - A tribute to the late Clash singer and songwriter, plus his
final remarks on the rise and fall of the legendary punk band". Rolling Stone (San Francisco, CA: Straight Arrow)
914 (27). ISSN 0035-791X. OCLC 96002520.
• Matula, Theodore (12 2003). "Joe Strummer, 1952-2002". Popular Music and Society (Bowling Green, Ohio:
Taylor & Francis) 26 (4): pp. 523–525. doi:10.1080/0300776032000144968. ISSN 0300-7766. OCLC 89586252.
• Salewicz, Chris (2007-05-15). Redemption Song: The Ballad of Joe Strummer (1st American ed.). New York:
Faber and Faber. ISBN 057121178X. OCLC 76794852.

References
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 8:40–11:40.
ISBN 0738900826. OCLC 49798077.
London SS 125

London SS
London SS
Genres Punk rock, protopunk

Years active 1975–76

Associated The Clash, The Subterraneans, The Damned, Chelsea, Generation X, Big Audio Dynamite, Sigue Sigue Sputnik,
acts Carbon/Silicon

Former members

Mick Jones
Tony James
Brian James
Roland Hot

London SS were an early British punk rock group founded in March 1975 by guitarist Mick Jones and bassist Tony
James.[1] The band spent most of their short history auditioning potential members. Besides Jones and James,
however, guitarist Brian James (not related to Tony) was the only other semi-permanent member. Other musicians
who played with them included Matt Dangerfield and Casino Steel, then of The Hollywood Brats, who would later
go on to play in The Boys.
Many other notable musicians tried out for the band but did not make the cut including future members of The Clash,
Paul Simonon and Terry Chimes. Another future Clash member, Nicky "Topper" Headon, was asked to join but
declined. Rat Scabies, future drummer for The Damned played with the band even though he was in his own
proto-punk band, Rot, at the time. Roland Hot also served as drummer. Punk poet Patrik Fitzgerald also claims to
have auditioned for the band.
The London SS's only recording was a demo featuring James, Jones, James and Hot. Musically they played
straightforward rock 'n' roll and covered 1960s R&B although some former members felt the band's music was pretty
poor. An example of this is their leftover song "1-2 Crush On You", which was later recorded by the Clash.
After Roland Hot was kicked out in January 1976, he joined fellow musicians Kid Rogers and Doug McArthur to
form "Kid Rogers and the Henchmen". The band lasted less than two years but managed to sign with Chiswick
Records and record a double A side single ("Getaway" b/w "Sensational"). "Sensational", penned by Hot and
McArthur, was the more commercial number and was written after a chance meeting with Banshees vocalist
Siouxsie Sioux. "Getaway", penned by Kid Rogers (a guitar instrumental), was featured on the album 100 Great
Guitar Instrumentals. McArthur went on to join "Killerhertz", a Motorhead-like three piece outfit, with guitar wizard
Hugo Mallet and drummer (later to join Chelsea) Marc Rathbone. Killerhertz had a strong following in London and
were a regular feature at clubs like Dingwalls, the Marquee and the Music Machine. Notable recordings were "5
second wonders", "Heartbreak", "Nightmare", "All Along the Road".
Brian James left The London SS with Scabies to form The Subterraneans and later The Damned. The other James
joined the band Chelsea with Billy Idol and the two later started Generation X. Chelsea drummer John Towe: "When
Brian James played with London SS he wrote a song called "Why Won't She Talk" [...] October kept the tune but put
new words to the song and re-titled it "Get Out And Walk". When he discovered that the tune had been ripped off
(early '77) he dropped it from Chelsea's set." [2]
Jones, Simonon, and Chimes teamed up with Joe Strummer and founded The Clash. Chimes was later replaced by
Headon and then Headon was replaced by Chimes again. Ultimately, the London SS were more famous for what
their members did later on in life than they were for anything that happened during their existence.
The group's name caused disquiet in some quarters, because "SS" is generally understood to refer to the elite military
force involved in Nazi war crimes. This came to haunt Mick Jones, when The Clash became Britain's premier
London SS 126

left-wing political band. When questioned about the name Tony James stated:
We hadn't thought at all about the Nazi implications. It just seemed like a very anarchic, stylish thing to
do. [3]

References
[1] Deming, Mark. "allmusic ((( Carbon/Silicon > Overview )))" (http:/ / www. allmusic. com/ cg/ amg. dll?P=amg& opt1=1& sql=Carbon
Silicon). allmusic.com. . Retrieved 2008-11-06.
[2] John Towe's letter to the editor ("Spiral Scratch" magazine 1/1991, p.19)
[3] Salewicz, Chris (15 May 2007). Redemption Song: The Ballad of Joe Strummer (1st American ed ed.). New York: Faber and Faber.
ISBN 057121178X. OCLC 76794852.
Big Audio Dynamite 127

Big Audio Dynamite

Big Audio Dynamite

Big Audio Dynamite, 1995

Background information

Origin London, England

Genres Post-punk, alternative dance

Years active 1983–1998

[1]
(Planned reunion: 2011 )

Labels Columbia
Radioactive/MCA Records

Associated acts London SS, The Clash,

Carbon/Silicon

Former members

Mick Jones
Don Letts
Dan Donovan
Leo Williams
Greg Roberts
Nick Hawkins
Gary Stonadge
Chris Kavanagh
Andre Shapps
Michael 'Zonka' Custance
Darryl Fulstow
Bob Wond
Ranking Roger

Big Audio Dynamite (later known as Big Audio Dynamite II and Big Audio, and often abbreviated BAD) were a
British musical group formed in 1984 by the ex-guitarist and singer of The Clash, Mick Jones. The group were noted
for their effective mixture of varied musical styles, incorporating elements of punk rock, dance music, hip hop,
reggae, and funk. BAD's one constant throughout frequent shifts in membership and musical direction was the vocals
provided by Mick Jones.
Big Audio Dynamite 128

History

Big Audio Dynamite (1984–1990)

The group's initial incarnation, founded by Jones and film director Letts (maker of The Punk Rock Movie, various
Clash music videos, and later The Clash documentary Westway to the World), debuted with the 1985 release This Is
Big Audio Dynamite. The album's cover shows the group as a four-piece (minus Donovan); the full group is pictured
on the back cover.
1986's No. 10, Upping St. reunited Jones for one album with former Clash band-mate Joe Strummer, who was a
co-producer of the album and co-writer of a number of its songs. BAD supported U2 on their 1987 world tour, then
released 1988's Tighten Up, Vol. '88 and 1989's Megatop Phoenix. Tighten Up, Vol. 88 contained "Just Play
Music!", which was the second #1 single on Billboard's Modern Rock Tracks. The band also recorded an unreleased
track called "Keep Off the Grass" which was a rock-style instrumental of the theme to the classic western film, The
Magnificent Seven. A promo video can be seen on YouTube.[2]
In 1990, the original line-up wrote and recorded the song "Free" for the soundtrack to the movie Flashback. This
would be the final song written with the original lineup, as the band would dissolve shortly after. Interesting note...
"Bottom Line" from the first lp was remixed and used as the title track for "Flashback." However this track was not
included on the soundtrack. It can be found on the 12" or by possible download. Later in 1990, Mick Jones would
debut Big Audio Dynamite II and release the UK only album Kool-Aid. Dan Donovan would remain in BAD II for
one song, a re-working of the final BAD track "Free" renamed "Kickin' In".

Big Audio Dynamite II (1991–1993)

For 1990's The Globe, only Jones remained from BAD, and the band was now called Big Audio Dynamite II. This
new line-up, featuring two guitarists, was more "Clash-like" and, possibly as a result, often played more alternative
rock-influenced music. The Globe featured the band's most commercially successful single, "Rush" which hit #1 on
the US modern rock charts. "Innocent Child" and "The Globe" were also released as singles. BAD supported U2 on
their ZooTV tour and released the live ep "On The Road Live '92".

Big Audio (1994)

The band later recruited keyboardist Andre Shapps (co-producer of The Globe) and Michael "DJ Zonka" Custance as
DJ and vocalist. Both appeared on the band's 1994 album Higher Power, which was released under the shortened
name "Big Audio". The album wasn't as well-received as The Globe or previous BAD albums.

Final years and subsequent activities (1995–2010)

After signing with Gary Kurfirst's Radioactive Records in 1995, the band reverted to the original "Big Audio
Dynamite" moniker and released their least successful album to date, F-Punk.
Radioactive Records refused to release the next proposed BAD album, Entering a New Ride. The line-up contained
vocalist Ranking Roger (The Beat, General Public) and drummer Bob Wond (Under Two Flags) In 1998, the band
launched a new web site, primarily as a means to distribute songs from the Entering a New Ride album.
As of 2005, Jones is working on a project with Tony James (ex-member of Generation X and Sigue Sigue Sputnik)
called Carbon/Silicon.
In early 2007, a BAD II live DVD was released.
Big Audio Dynamite 129

Reunion in 2011
In April 2010, Don Letts revealed to Billboard.com that he and Mick Jones broached the idea of a Big Audio
Dynamite reunion, which will likely happen in 2011. He explained, "I could lie to you and say 'Not in a million
years,' but...if Mick wasn't tied up with Gorillaz it might happen this year. (Jones) has looked at me and said, 'Maybe
next year,' but who knows. I've got to admit that in the past I'm not a great one for reformations; I always think if
you're lucky in life, you get a window of opportunity, use it to the best of your ability and then fuck off and let
someone else have their turn. But here I am 25 years down the line considering the thing." Besides a Big Audio
Dynamite reunion, Letts says he's also hopeful for more Legacy Editions of the group's albums after finding more
unreleased material -- including live recordings -- in the vaults. "There's definitely more stuff; whether Sony thinks
it's worthwhile, that's another matter. But there seems to be a lot of respect for Big Audio Dynamite. Time has shown
that a lot of the things we were dabbling in back then have come to manifest themselves today...so hopefully we'll
get to do some more."[1]

Personnel
Big Audio Dynamite (1984 - 1990)
• Mick Jones - vocals and guitar
• Don Letts - sound effects and vocals
• Dan Donovan - keyboards
• Leo Williams - bass
• Greg Roberts - drums and background vocals
Big Audio Dynamite II (1990 - 1993)
• Mick Jones - vocals and guitar
• Nick Hawkins - guitar and background vocals
• Gary Stonadge - bass and background vocals
• Chris Kavanagh - drums and background vocals
Big Audio (1994)
• Mick Jones - vocals and guitar
• Nick Hawkins - guitar and background vocals
• Gary Stonadge - bass and background vocals
• Chris Kavanagh - drums and background vocals
• Andre Shapps - keyboards
• Michael 'Zonka' Custance - DJ, percussion and background vocals
Post-1995
• Mick Jones - vocals and guitar
• Andre Shapps - keyboards
• Darryl Fulstow - bass (1996 - 1998)
• Bob Wond - drums (1996 - 1998)
• Ranking Roger - vocals (1996 - 1998)
Big Audio Dynamite 130

Discography

Albums

Year Title Chart Positions

[3] U.S. AUS

UK
[4]

1985 This is Big Audio Dynamite 27 103 –

• Release Date: October 1985
• Label: CBS Records
• Notes: Group credited as 'Big Audio Dynamite'

1986 No. 10, Upping St. 11 135 –

• Release Date: October 1986
• Label: CBS Records
• Notes: Group credited as 'Big Audio Dynamite'

1988 Tighten Up Vol. 88 33 102 –

• Release Date: June 1988
• Label: CBS Records
• Notes: Group credited as 'Big Audio Dynamite'

1989 Megatop Phoenix 26 85 –

• Release Date: 5 September 1989
• Label: CBS Records
• Notes: Group credited as 'Big Audio Dynamite'

1990 Kool-Aid 55 – –
• Release Date: 1 November 1990
• Label: Columbia Records
• Notes: Group credited as 'Big Audio Dynamite II', Limited Release

1991 The Globe 61 76 10

• Release Date: 16 June 1991
• Label: Columbia Records
• Notes: Group credited as 'Big Audio Dynamite II', RIAA Gold Certified

1994 Higher Power – – –

• Release Date: 8 November 1994
• Label: Columbia Records
• Notes: Group credited as 'Big Audio'

1995 F-Punk – – –
• Release Date: 20 June 1995
• Label: Radioactive Records
• Notes: Group credited as 'Big Audio Dynamite'

1997 Entering a New Ride – – –

• Release Date: 1997
• Label: Released on the Internet independently
• Notes: Group credited as 'Big Audio Dynamite'
Big Audio Dynamite 131

Singles

Year Song Album Chart positions

[3] [5] [6] U.S.

UK Singles AUS Singles
[7]
Hot Club Modern Rock
100 Play

1986 "The Bottom Line" This Is Big Audio 97 34 – 33 –

Dynamite
"E=MC²" 11 47 – 37 –

"Medicine Show" 29 – – 42 –

"C'Mon Every Beatbox" No 10, Upping Street 51 – – 19 –

1987 "V. Thirteen" 49 – – 15 –

"Sightsee M.C.!" 94 – – – –

1988 "Just Play Music!" Tighten Up, Vol. 88 51 – – 45 1

"Other 99" 81 – – – 13

1989 "James Brown" Megatop Phoenix – – – 19 2

"Contact" 86 – – 18 6

1990 "Free" Flashback soundtrack – – – 47 22

1991 "Rush" The Globe – 1 32 36 1

"The Globe" – 8 72 28 3

1992 "Innocent Child" – 67 – – –

1994 "Looking for a Song" Higher Power 68 – – – 24

1995 "I Turned Out a Punk" F-Punk – – – – –

Compilation albums

Year Album UK U.S. Additional information

1990 Flashback soundtrack 98 86 One track, 'Free', by "Big Audio Dynamite"

1991 Ally Pally Paradiso - - Live promo album as "Big Audio Dynamite II"

1992 On the Road Live '92 - - Live EP released during their 1992 US tour

1993 The Lost Treasure of Big Audio Dynamite I & II - - Double album compilation of rare 12" cuts and b-sides

1994 Looking for a Song - - 2CD promo, Greatest Hits (Radio Edits) & 'Looking For a Song' EP

1995 Planet B.A.D. - - "Best of" compilation by all B.A.D. variants

1999 Super Hits - - "Best of" compilation by all B.A.D. variants

2000 Big Audio Dynamite I & II - - US only compilation of selected album tracks

2009 The Best of Big Audio Dynamite - - "Best of" compilation by all B.A.D. variants
Big Audio Dynamite 132

Other information
• Mick Jones was noted for playing a high-tech British-made guitar called the Bond Electraglide with BAD. It's
worn by Mick Jones on the cover of No. 10 Upping St.
• During the 1980s, "The Bottom Line" was used as the music for the opening credits to "Sports Sunday", a weekly
sports magazine TV show shown on the Nine Network, an Australian television station.
• Shawn Stussy was responsible for the album artwork and design for The Globe

See also
• Dreadzone
• Sigue Sigue Sputnik (featuring Chris Kavanagh from BAD II and Jones' partner in Carbon/Silicon Tony James)

External links
• Unofficial site [8]
• Interview with the original lineup of Big Audio Dynamite after the release of Megatop Phoenix [9]

References
[1] Graff, Gary (2010-04-08). "Big Audio Dynamite Reignited" (http:/ / www. billboard. com/ news#/ news/
big-audio-dynamite-reignited-1004081637. story). Billboard.com. . Retrieved 2010-04-09.
[2] http:/ / www. youtube. com/ watch?v=srNAFh86YNk
[3] "Chart Stats - Big Audio Dynamite" (http:/ / www. chartstats. com/ artistinfo. php?id=4482). chartstats.com. . Retrieved 2008-11-17.
[4] "Chart Stats - Big Audio Dynamite II" (http:/ / www. chartstats. com/ artistinfo. php?id=11795). chartstats.com. . Retrieved 2009-01-28.
[5] "Chart Stats - Big Audio" (http:/ / www. chartstats. com/ artistinfo. php?id=7243). chartstats.com. . Retrieved 2008-11-17.
[6] "australian-charts.com - Discography Big Audio Dynamite II" (http:/ / australian-charts. com/ showinterpret. asp?interpret=Big+ Audio+
Dynamite+ II). australian-charts.com. . Retrieved 2008-11-17.
[7] Kent, David (1993). Australian Chart Book 1970-1992. St Ives, NSW, Australia: Australian Chart Book. pp. 34. ISBN 0-646-11917-6.
The Latino Rockabilly War 133

The Latino Rockabilly War

The Latino Rockabilly
War
Genres Rock, Rock and roll

Associated acts Joe Strummer

Former members

Zander Schloss
Lonnie Marshall
Willie MacNeil
Jack Irons

The Latino Rockabilly War was a backing band most notably for one-time The Clash frontman Joe Strummer.
With Strummer, The Latino Rockabilly War created one record, Earthquake Weather, through Epic Records. The
album, though not badly reviewed, did not sell well and the band, Joe Strummer included, lost their deal with Epic
(excepting an instance in which Joe Strummer decided to reform or re-create The Clash with the same or new
musicians, in which case he would have been forced to work with Epic). Joe Strummer & The Latino Rockabilly
War contributed five songs to the soundtrack for the movie Permanent Record, which featured a young Keanu
Reeves: "Trash City", "Baby the Trans", "Nothin' 'bout Nothin", "Nefertiti Rock", and the haunting instrumental
"Theme from Permanent Record".
In a segment of the documentary film Joe Strummer: The Future Is Unwritten, Anthony Kiedis mentions that during
the period in which the bands' material was recorded, drummer Jack Irons (formerly of The Red Hot Chili Peppers
and Pearl Jam) was in residency at a Mental Institution. Therefore, Strummer had to arrange transportation and leave
for Irons in order for him to participate in the bands' output.
The band toured with Strummer on the Rock Against The Rich Tour in 1988. Their sets included songs spanning
Strummer's career to that point, including works from The 101ers and The Clash, as well as a cover of The Pogues'
famous "If I Should Fall From Grace With God."

Members
• Zander Schloss – rhythm guitar
• Lonnie Marshall – bass guitar
• Willie MacNeil – drums
• Jack Irons – drums
Havana 3am 134

Havana 3am
Havana 3am
Genres Rock and roll, rockabilly, art rock

Years active 1986

Labels Capitol Records

Associated acts The Clash

Former members

Nigel Dixon
Gary Myrick
Paul Simonon
Travis Williams

Havana 3am was the short-lived post-Clash band of bassist Paul Simonon formed shortly after the official Clash
break up in 1986.
The band consisted of Simonon on bass, American musician Gary Myrick on guitar, Nigel Dixon from the British
band Whirlwind on lead vocals, and Travis Williams, a drummer who they found by a newspaper announcement. In
essence, it was a rockabilly band with a heavy Latino and reggae influence. The band recorded a self-titled album in
Japan in 1991.
The album, which has twelve original tracks, received solid reviews and had in "Reach the Rock" a minor radio
hit.[1] Following Dixon's death on 3 April 1993 and departure of Simonon who moved on to a career of art, Myrick
put out one more album with different line-up but it was also unsuccessful and the band broke up shortly after.
The band took their name from the title of a 1950s album by Perez Prado.

Discography
• Havana 3am (1991)
• Texas Glitter & Tombstone Tales (1996)

Members
• Nigel Dixon - lead vocals, rhythm guitar
• Gary Myrick - backing vocals, lead guitar
• Paul Simonon - backup vocals, bass guitar
• Travis Williams - drums

References
[1] Havana 3 A.M. (http:/ / www. allmusicguide. com/ cg/ amg. dll?p=amg& sql=11:hiftxqe5ld0e) in Allmusic.
The Mescaleros 135

The Mescaleros
The Mescaleros

Joe Strummer and The Mescaleros

Background information

Genres Rock, Rock and roll, Punk, Reggae

Years active 1999–2002

Labels HellCat

Associated acts The Clash, Joe Strummer

Website www.myspace.com/themescaleros
[1]

Former members

Joe Strummer
Martin Slattery
Scott Shields
Antony Genn
Simon Stafford
Tymon Dogg
John Blackburn
Jimmy Hogarth
Pablo Cook
Luke Bullen
Steve "Smiley" Barnard

The Mescaleros were the backing band for Joe Strummer, formed in 1999, which went on to make three albums
prior to Strummer's death in 2002. Many of the band members were gifted multi-instrumentalists. The original line
up consisted of Strummer on vocals and guitar, Antony Genn on guitar, Scott Shields on bass, Martin Slattery on
keyboards and guitar (as well as flute and saxophone on select songs), Pablo Cook on various percussion
instruments, and Smiley (aka Steve Barnard) on drums. Richard Flack also appeared on various effects and
instruments.

History
The band rose out of Strummer's work with Pablo Cook and Richard Norris. The three of them originally came
together to write the soundtracks for two short films, Tunnel of Love, and Question of Honour. The song "Yalla
Yalla" was originally written by this trio, and mixed by Antony Genn. Once Genn was brought on board, a new song
"Techno D-Day" was recorded, at which point Strummer, at the behest of Genn, began recording a new record. The
original drummer, Ged Lynch, left the band before recording on Rock Art & The X-Ray Style was complete and
Smiley (Robbie Williams' former drummer) was brought in to finish recording. Shields and Slattery were recruited
through a number of contacts with the band. Slattery had also appeared on Robbie Williams' Life Thru a Lens album,
and Scott Shields was a friend of Slattery's. Oddly enough, in the initial lineup, only Smiley was playing the
The Mescaleros 136

instrument which he knew best. Genn, although not a bad guitar player, reportedly did not have the ability to play
sufficient lead guitar, hence Slattery was brought in. He, however, was trained in horns and keyboards, but had a
natural ability with nearly all instruments. Strummer once joked that Slattery could play a hole in the windshield of
the tour bus. Shields had previously been a drummer, but was recruited to play bass, and later guitar.
The Mescaleros first gig was in Antony Genn's hometown of Sheffield at The Leadmill on 5 June 1999. They toured
extensively for the next six months, including playing the Glastonbury Festival, the U.S., and Europe. 2000 saw the
band play Big Day Out in Australia & New Zealand, plus tour Japan.
The band signed with the Californian punk label Hellcat Records, and issued three albums. Following the release of
the first, Rock Art and the X-Ray Style, they toured England and North America; sets included several Clash-fan
favourites.
Singer-songwriter Tymon Dogg, a longtime friend of Joe Strummer, joined the band in 2000 playing violin and
Spanish guitar. He contributed some of the tunes on "Global A-Go-Go" including "Mondo Bongo".
Honorary Mescaleros include John Blackburn and Jimmy Hogarth, both of whom played bass in place of Scott
Shields on the 2000 tour supporting The Who, which was also Tymon Dogg's first tour with the band. Andy Boo,
Joe's guitar tec also appeared in the Mescaleros line up in place of Pablo Cook on percussion at a gig in Finland
1999.[1]
Following the departure of Genn and Smiley, Scott Shields moved to guitar, Simon Stafford was brought on board to
play bass, and Luke Bullen was brought on board to play drums. Pablo Cook left in Aug 2001 to join Moby.
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 Joey Ramone by playing The Ramones' "Blitzkrieg Bop".
Musically, the Mescaleros continued the genre mixing that Strummer was known for during his time with The Clash.
Elements of reggae, jazz, funk, hip hop, country, and of course punk rock can be found in the three Mescaleros
releases.[1]
The band is also the subject of a documentary by Dick Rude titled Let's Rock Again! which was released on 27 June
2006. The band also appear on many DVDs (see full list below) and have had several of their songs appear in major
films such as Black Hawk Down and Mr. & Mrs. Smith. One song, "Johnny Appleseed," was used as the theme song
to the HBO series John From Cincinnati.
Joe Strummer & the Mescaleros' last ever concert was on 22 November 2002, in Liverpool. This show is often
overlooked however, in favor of citing the 15 November show at Acton Town Hall. It was this show, which was a
benefit for striking fire fighters, that Mick Jones joined Strummer on stage for the first time in nearly twenty years,
during the Clash song "Bankrobber." An encore followed with both "White Riot" and "London's Burning". The Last
Night London Burned, a 64 page book written by George Binette,[2] showing never before published pictures of Joe
Strummer and Mick Jones, and a 26 minutes film by Gregg McDonald and Alan Miles, were released as a unique
visual record of that last ever London concert by Joe Strummer & The Mescaleros.[3] Following the conclusion of
this tour, the band headed straight for the studio, but Strummer died of a congenital heart defect on 22 December
2002[4] after returning home from walking his dogs.
The band's final album, Streetcore, was released posthumously on 20 October 2003.
The band also made appearances on The Late Show with David Letterman, Late Night with Conan O'Brien, as well
as touring on the Hootenany Festival in the summer of 2001.
Various Mescaleros have performed at numerous tribute concerts in both UK & Europe. Mescaleros Pablo Cook &
Smiley together with Mike Peters (The Alarm), Derek Forbes (Simple Minds), Steve Harris (Gary Numan) are in
Los Mondo Bongo (a celebration of the music of Joe Strummer) who together with Ray Gange (DJ) tour whenever
possible performing those great Mescaleros tunes.
The Mescaleros 137

Coda
Antony Genn currently fronts The Hours, a band that he and fellow Mescalero Martin Slattery formed in 2004.

Members
• Joe Strummer – lead vocals, rhythm guitar
• Martin Slattery – lead guitar, keyboards, saxophone, flute
• Scott Shields – guitar, bass guitar
• Antony Genn – guitar (1999-2000)
• Simon Stafford – bass guitar, trombone (2001-2002)
• Tymon Dogg – violin, Spanish guitar, keyboards (2000-2002)
• John Blackburn – bass guitar (2000)
• Jimmy Hogarth – bass guitar (2000)
• Pablo Cook – percussion (1999-2001)
• Luke Bullen – drums (2001-2002)
• Steve "Smiley" Barnard – drums (1999-2000)

Discography
• Rock Art and the X-Ray Style (1999)
• Global A Go-Go (2001)
• Streetcore (2003)
DVDs on which Joe Strummer & The Mescaleros appear:
• "The Future is Unwritten" Directed by Julien Temple (out on DVD: Sept 2007)
• "Viva Joe Strummer" Directed by M.Parkinson
• "Let's Rock Again!" Directed by Dick Rude
• "Later with Jools Holland: Legends"
• "Hootenanny DVD"
• "Give 'Em The Boot"
• "Glastonbury The Movie"
• "Le Scaphandre et le Papillon [The Diving Bell and the Butterfly]"(2007)

References
• Davie, Anthony (2004). Vision of a Homeland: The History of Joe Strummer & the Mescaleros. Northampton:
Effective. ISBN 0954856805. OCLC 123775358.

Further reading
• D'Ambrosio, Antonino (2004-10-13). Let Fury Have the Hour: The Punk Rock Politics of Joe Strummer. New
York: Nation Books. ISBN 1560256257. OCLC 56988650. "Edited with an Introduction by Antonino
D'Ambrosio."
• Davie, Anthony (2004). Joe Strummer & the Mescaleros: New and Previously Unpublished Photographs.
Northampton: Effective. ISBN 0954856813. OCLC 64898380.
• DeCurtis, Anthony (2003). "1952-2002 Joe Strummer - A tribute to the late Clash singer and songwriter, plus his
final remarks on the rise and fall of the legendary punk band". Rolling Stone (San Francisco, CA: Straight Arrow)
914 (27). ISSN 0035-791X. OCLC 96002520.
The Mescaleros 138

• Matula, Theodore (December 2003). "Joe Strummer, 1952-2002". Popular Music and Society (Bowling Green,
Ohio: Taylor & Francis) 26 (4): pp. 523–525. doi:10.1080/0300776032000144968. OCLC 89586252.
• Salewicz, Chris (2007-05-15). Redemption Song: The Ballad of Joe Strummer (1st American ed.). New York:
Faber and Faber. ISBN 057121178X. OCLC 76794852.

External links
• Home of The Mescaleros [1]
• Festival of music and film to celebrate the work of Joe Strummer [6]
• The Joe Strummer Foundation for New Music [7]

References
[1] Encoule, Jean (1 2003). "Joe Strummer - 1952-2002" (http:/ / trakmarx. com/ 2003_01/ 09. htm). trakMARX.com. . Retrieved 2007-11-17.
"The Mescaleros duly delivered “Rock Art & The X-Ray Style” (1999) & “Global A Go-Go” (2001). The Mescaleros may have changed from
tour to tour, but the songs remained the same (Joe even found work for his old busking pal & fiddler, Tymon Dogg, for the first time since
“Sandinista”). The music was a glorious amalgamation of every aspect of Joe’s character: as wide as his vision & as big as his heart. I caught
shows on each tour, to see Joe again after so long was just as exhilarating as it had been the first time round. The last time I saw him I’d
decided that he was gonna live forever & turn into a gnarled punk/blues/world amalgamation of Bo Diddly, Woody Guthrie & Muddy Waters
– a man for all seasons & all generations. A foot soldier of the old guard destined to continue teaching lesser minds the beauty & power of
legitimate protest through an art-form: “Let fury have the hour, anger can be power, you know that we can use it”."
[2] Binette, George Robert (2003). The Last Night London Burned. London. ISBN 0954462009.
[3] McDonald, Gregg; Alan Miles (2003). "The Last Night London Burned" (http:/ / www. theclash. org. uk/ last_night_london_burned. htm).
theclash.org.uk. . Retrieved 2007-12-04. "A Film by Gregg McDonald and Alan Miles. - An account of Joe Strummer and The Mescaleros
(featuring Mick Jones) FBU benefit concert at Acton Town Hall"
[4] "Clash star Joe Strummer dies" (http:/ / archives. cnn. com/ 2002/ SHOWBIZ/ Music/ 12/ 23/ britain. strummer/ ). ENTERTAINMENT.
CNN.com. 2002-12-23. . Retrieved 2007-11-23. "Strummer, who was the band's guitarist, vocalist and songwriter alongside Mick Jones, died
on Sunday at his farmhouse in Somerset, southwestern England."
Carbon/Silicon 139

Carbon/Silicon
Carbon/Silicon

Background information

Origin London, England

Genres Punk rock

Garage rock

Years active 2002–present

Labels Carbon/Silicon Records

Associated acts London SS, The Clash, Generation X, The Sisters of Mercy, Big Audio Dynamite, Sigue Sigue Sputnik

Website [1]
carbonsiliconinc.com

Members

Mick Jones
Tony James
Leo "Eazykill" Williams
Dominic Greensmith

Former members

William Blake
Danny The Red

Carbon/Silicon is a Punk rock duo consisting of two experienced punk rock musicians: Mick Jones formerly of The
Clash and former Generation X and Sigue Sigue Sputnik member Tony James. The band formed around 2002.[1]

Career
Similar in many respects to Jones' earlier work in Big Audio Dynamite, Carbon/Silicon aims to break the traditional
approach to rock and roll. The band was described by critic Alan McGee as "...the Stones jamming with a laptop," as
they made extensive use of samples in their recordings and live shows. However, they have given up doing it in
recent years. The formation of the band was catalyzed by the internet and peer to peer file sharing. The first song
written by Jones and James was entitled "MPFree," in which they expressed their willingness to embrace the
technology of the internet and file sharing, in the interest of spreading music, rather than profit. The band still makes
live bootlegs and recordings freely available through their own website, and the fansite.[2]
Carbon/Silicon 140

Carbon/Silicon recorded four demo CDs: Sample This, Peace; Dope Factory Boogie; The Grand Delusion and The
Homecoming. The band's first officially released album, A.T.O.M (A Twist of Modern) debuted on the band's
website on 28 July 2006. The next album Western Front followed soon after on October 14, 2006 and included
re-recorded versions of their earlier songs. The group's third album, The Crackup Suite was released in March 2007
and is now available for download on their website. The same month it was announced that Leo "Eazykill" Williams,
former bandmate of Jones with BAD would play bass for the group, and that Dominic Greensmith formerly of Reef
would take up the drum slot. The band further released two EP's plus another album The Last Post and toured,
including the Isle of Wight Festival and dates in the USA.[3] [4]
In January 2008, in what is seen as a return their roots, the band played 7 weekly concerts at a tiny venue Inn on the
Green in Ladbroke Grove, London. At the first gig, Topper Headon got up and played with the band for two songs.
Jones' daughter, Lauren, sang with the band at Carbon Casino 3 and 4 in sets that were highlighted by Hitsville UK.
At the final gig, Carbon Casino 7, the Alabama Three took to the stage with Jones and James to perform the theme
from US TV series, The Sopranos. Throughout the run, support was provided by West London bands Taurus
Trakker, The Rotten Hill Gang,and The Self, songwriter John Byrne, icons Pete Wylie, Glen Matlock, James
Dean-Bradfield, John Cooper-Clarke, and new young bands including West London's The Dirty Curtains, North
London band The Usual Suspects and the Savage Nomads.[5]

Band members

Current members
• Mick Jones - lead vocals, guitar (2002–present)
• Tony James - guitar (2002–present)
With:
• Leo "Eazykill" Williams - bass (2007–present)
• Dominic Greensmith - drums, percussion (2007–present)

Former members
• William Blake - bass (2004–2005)
• Danny The Red - drums (2004–2005)

Discography

Demo recordings
• Sample This, Peace (2003)
• Dope Factory Boogie (2003)
• The Grand Delusion (2004)
• The Homecoming (2004)
Carbon/Silicon 141

Digital releases
• Value What Is Necessary EP (2006)
• The Global War On Culture EP (2006)
• The News 12" Single (2006)
• Experimental! EP (2006)
• Oil Well EP (2006)
• A.T.O.M (2006)
• The Magic Suitcase EP (2006)
• The Gangs Of England EP (2006)
• Why Do Men Fight EP (2006)
• Western Front (2006)
• The Crackup Suite (2007)
• The Carbon Bubble (2009)

Physical releases
• The News EP (2007) #59 UK Singles Chart
• The Magic Suitcase EP (2007) #7 UK Indie Chart
• The Last Post (2007)
• Carbon Casino (Live album) (2007)
• Why Do Men Fight? (Single) (2008)

References
[1] carbonsiliconinc.com (http:/ / www. carbonsiliconinc. com/ )
[2] carbonsilicon.info (http:/ / carbonsilicon. info)
[3] "Carbon Silicon at the Isle of Wight Festival" (http:/ / www. isleofwightfestival. com/ band. aspx?name=CarbonSilicon) (ASPX). Isle of
Wight Festival. . Retrieved 2008-04-17.
[4] "Clash legend plays Isle Of Wight" (http:/ / www. nme. com/ news/ the-clash/ 28844). News. NME.COM. 2007-06-09. . Retrieved
2008-04-17.
[5] Gittins, Ian (2008-01-14). "Carbon/Silicon" (http:/ / music. guardian. co. uk/ live/ story/ 0,,2240475,00. html). The Guardian. . Retrieved
2008-01-16.

¹http://www.carbonsiliconinc.com/discography.aspx

External links
• Carbon/Silicon Official Website (http://www.carbonsiliconinc.com/)
• Official Carbon/Silicon Myspace Site (http://myspace.com/carbonsiliconinc)
• Official Carbon/Silicon YouTube Channel (http://www.youtube.com/carbonsiliconvideos)
• Interview with Terry Gross on NPR's Fresh Air (http://www.npr.org/templates/story/story.
php?storyId=18484452)
The Good, the Bad & the Queen 142

The Good, the Bad & the Queen

The Good, the Bad & the Queen

Studio album by Damon Albarn, Tony Allen, Paul Simonon and Simon Tong

Released 22 January 2007

Recorded 2005–2006

Genre Alternative rock

Length 42:49

Label Parlophone, Honest Jon's

Producer Danger Mouse

Professional reviews
[1]
• Allmusic link
[2]
• Blender link
[3]
• Entertainment Weekly (B+) link
[4]
• The Guardian link
[5]
• NME (8/10) link
[6]
• Pitchfork Media (6.8/10) link
[7]
• Rolling Stone link
[8]
• The Times link
[9]
• Wired (7/10) link

Damon Albarn chronology

Demon The Good The Bad and the Queen D-Sides

Days with by
by Tony Allen, Paul Simonon and Simon Gorillaz
Gorillaz Tong (2007)
(2005) (2007)

The Good, the Bad & the Queen is the album by an unnamed British alternative rock supergroup, made up of
Damon Albarn, Paul Simonon, Simon Tong and Tony Allen, released in January 2007.[1] [2] The album debuted at
number two in the UK Albums Chart and was certified Gold in the UK within days of its release despite little media
recognition and airplay.[3] In the United States, the album entered the Billboard 200 at #49.
Although The Good, The Bad & The Queen was first reported as a solo album by Albarn with Danger Mouse
producing, NME revealed in late July 2006 that the solo project had been switched to a new group formed by
Albarn.[4] Subsequently The Good, the Bad & the Queen was mistaken as being the name of the band. It is stated that
the record is, in a sense, a concept album, as its songs are all themed around modern life in London.[5] It was
described by Albarn as "a song cycle that's also a mystery play about London" in an interview with Mojo.
The Good, the Bad & the Queen 143

Album history
The band, which formed in 2006, released their first single, "Herculean" on 30 October 2006. The single followed
the band's appearance at the BBC's Electric Proms season at the redeveloped Roundhouse in Camden on 26 October,
during which they performed the entire album.[4] Three warm-up gigs in East Prawle at the Pig's Nose Inn,[6]
Ilfracombes Marlboro Club and The Exeter Cavern Club preceded their gig on the BBC's Electric Proms, where the
album was performed in order with two other songs inserted, "Intermission Jam" and "Mr. Whippy"; the latter was a
B-side for "Herculean". The band performed four tracks from the album at Abbey Road Studios on December 13,
2006, during a recording session for Live from Abbey Road.
The track listing was originally unveiled and commented upon by Damon Albarn and Paul Simonon in an interview
in the November 2006 issue of Uncut.[7] . The second major gig of the band's career took place on 12 December
2006, at Wilton's Music Hall in East London. It was watched by 300 specially selected fans, as the launch gig of
MySpace's The List. The band released their first Top 20 single, "Kingdom of Doom", a week prior to the release of
the album.[8] In April, "Green Fields" was released as the third single from the album and debuted at #51 in its first
week.[9]
On 4 April 2007, The Good, the Bad & the Queen became the first EMI album to be made available for download in
the new DRM-free, high quality MP3 format (320 kbit/s).[10]

Further plans
Damon Albarn talked to NME in early March 2007 and discussed the band's future plans, which included a recording
session in early September intended to produce a release not long after that: "We're going to do another whole
recording session in early September. It will be totally different, more funky. We'll try to get it out in early
autumn."[11] As of 2010, The Good, the Bad & the Queen has not released any new material, though Simon Tong
and Paul Simonon both made appearances on Damon Albarn's next project, the third Gorillaz album Plastic Beach.

Track listing
All songs written by Damon Albarn and Paul Simonon.
1. "History Song" - 3:05
2. "'80's Life" - 3:28
3. "Northern Whale" - 3:54
4. "Kingdom of Doom" - 2:42
5. "Herculean" - 3:59
6. "Behind the Sun" - 2:38
7. "The Bunting Song" - 3:47
8. "Nature Springs" - 3:10
9. "A Soldier's Tale" - 2:30
10. "Three Changes" - 4:15
11. "Green Fields" - 2:26
12. "The Good, the Bad & the Queen" - 7:00
The Good, the Bad & the Queen 144

Bonus DVD
1. "Nature Springs" (live at the Tabernacle)[12]
2. "The Bunting Song" (live at the Tabernacle)
3. "The Good, The Bad And The Queen" (live at the Tabernacle)
4. "A Soldier's Tale" (rehearsal footage)
5. "The Good, The Bad and The Queen" (interview)

Singles and EPs

• "Herculean" (30 October 2006; UK #22)
• "Kingdom of Doom" (15 January 2007; UK #20)
• "Green Fields" (2 April 2007; UK #51)
• "Live from SoHo" (3 April 2007; iTunes Exclusive EP)

Personnel
• Damon Albarn - Lead vocals, keyboards
• Paul Simonon - Bass, backing vocals
• Simon Tong - Guitar
• Tony Allen - Drums
• Danger Mouse - Percussion (4), Synthesizers (5,12)
• James Dring - Programming
• Choir (5) - Harry Christophers, Julia Doyle, Grace Davidson, Kirsty Hopkin, Charlotte Mobbs, Andrew Olleson,
Ian Aitkenhead, David Clegg, Christopher Royall, Adrian Lowe, Ben Rayfield, Mark Dobell, Simon Berridge,
James Holliday, Julian Empett, Sam Evans
• Violins - Antonia Pagulatos (5,6,8,9,10,12), Gillon Cameron (6,10), Sally Jackson (5,8,9,12), Alice Pratley
(5,8,9,12)
• Violas - Emma Owens (6,10), Stella Page (5,6,8,9,10,12), Amanda Drummond (5,8,9,12)
• Cello - Izzi Dunn (5,6,8,9,10,12)
• Double basses - Al Mobbs (5,6,8,9,10,12), Emma Smith (6,10)

External links
• The Good, The Bad & The Queen [22] - official website.
• The Good, The Bad & The Queen [23] at MySpace.
• The Good, The Bad & The Queen [24] at YouTube.

References
[1] "It's all a bit of a blur for Damon" (http:/ / www. dailyrecord. co. uk/ entertainment/ therazz/ daily/ tm_method=full& objectid=18569699&
siteid=66633-name_page. html). DailyRecord.co.uk. 2007-02-02. . Retrieved 2008-03-24.
[2] "The band with no name" (http:/ / www. timeout. com/ newyork/ Details. do?page=1& xyurl=xyl:/ / TONYWebArticles1/ 591/ music/
the_band_with_no_name. xml). Time Out New York. 2007-01-31. . Retrieved 2008-03-24.
[3] "Album Goes Gold in UK" (http:/ / www. thegoodthebadandthequeen. com/ index. php?ID=142). The Good, the Bad and the Queen —
official website. .
[4] "Damon Albarn forms new band" (http:/ / www. nme. com/ news/ blur/ 23752). NME. 28 July 2006. . Retrieved 2006-07-28.
[5] "Damon Albarn starts new band" (http:/ / www. moture. net/ modules. php?name=News& file=article& sid=49). 30 July 2006. . Retrieved
2006-07-30.
[6] "The Good, the Bad and the Queen: Gigography" (http:/ / www. blur. hk/ tgtbatq/ gigography/ details. asp?tdYear=2006& tdMonth=10&
tdDay=20& tdType=Tour). blur studio. . Retrieved 2008-01-21.
[7] Uncut (Nov. 2006, pp. 86–88)
The Good, the Bad & the Queen 145

[8] "Damon Albarn's new band announce new single" (http:/ / www. nme. com/ news/ the-good-the-bad-and-the-queen/ 25245). NME.
2006-11-28. . Retrieved 2006-11-28.
[9] "The Good, The Bad & The Queen announce new single" (http:/ / www. nme. com/ news/ the-good-the-bad-and-the-queen/ 26565). NME.
2007-02-20. . Retrieved 2007-02-20.
[10] "EMI press release" (http:/ / www. emigroup. com/ Press/ 2007/ press19. htm). . Retrieved 2007-04-04.
[11] Elan, Priya (2007-03-03). "Damon Albarn: "I'll Work With Graham"". NME: 8.
[12] "Amazon.co.uk: The Good the Bad and the Queen CD+DVD" (http:/ / www. amazon. co. uk/ o/ ASIN/ B000KCI9OC/ ref=s9_asin_title_1/
203-3214764-2800711). . Retrieved 2006-12-23.

Rock Against Racism

Rock Against Racism (RAR) was a campaign set up in the United Kingdom in 1976 as a response to an increase in
racial conflict and the growth of white nationalist groups such as the National Front. The campaign involved pop,
rock and reggae musicians staging concerts with an anti-racist theme, in order to discourage young people from
embracing racist views. The campaign was founded, in part, as a response to statements and activities by well-known
rock musicians that were widely regarded as racist.[1]

History
Originally conceived as a one-off concert with a message against racism, Rock Against Racism was founded in 1976
by Red Saunders, Roger Huddle and others. According to Huddle, "it remained just an idea until August 1976" when
Eric Clapton made a drunken declaration of support for former Conservative minister Enoch Powell (known for his
anti-immigration Rivers of Blood speech) at a concert in Birmingham.[2] Clapton told the crowd that England had
"become overcrowded" and that they should vote for Powell to stop Britain from becoming "a black colony."
Clapton told the audience that Britain should "get the foreigners out, get the wogs out, get the coons out" and then
repeatedly shouted the National Front slogan "Keep Britain White."[3] [4]
Huddle, Saunders and two members of Kartoon Klowns responded by writing a letter to NME expressing their
opposition to Clapton's comments, which they claimed were "all the more disgusting because he had his first hit with
a cover of reggae star Bob Marley's "I Shot the Sheriff"". The letter continued: "Come on Eric... Own up. Half your
music is black. Who shot the Sheriff, Eric? It sure as hell wasn't you!". At the end of the letter, they called for people
to help form a movement called Rock Against Racism, and they report that they received hundreds of replies.[2]
Further support for RAR came after David Bowie, speaking as The Thin White Duke, his persona at the time, made
statements that expressed support for fascism and perceived admiration for Adolf Hitler in interviews with Playboy,
NME and a Swedish publication. Bowie was quoted as saying: "Britain is ready for a fascist leader... I think Britain
could benefit from a fascist leader. After all, fascism is really nationalism... I believe very strongly in fascism, people
have always responded with greater efficiency under a regimental leadership." He was also quoted as saying: "Adolf
Hitler was one of the first rock stars" and "You've got to have an extreme right front come up and sweep everything
off its feet and tidy everything up."[5] Bowie caused further controversy by allegedly making a Hitler salute while
riding in a convertible, although Bowie has always strongly denied this, insisting that a photographer simply caught
him in the middle of waving.[6] This claim seems to be born out by existing footage of the event[7] .
Clapton has never withdrawn or apologised for his remarks, and has in recent years stated that he still stands by his
statements and has reiterated his support for Enoch Powell.[8] However, Bowie later retracted and apologised for his
statements, blaming them on a combination of an obsession with occultism, the Thule society and Nietzsche, and
excessive drug use. He said: "I have made my two or three glib, theatrical observations on English society and the
only thing I can now counter with is to state that I am NOT a fascist."[9]
RAR's first activity was a concert featuring Carol Grimes as lead artist, and it also launched the fanzine Temporary
Hoarding. In spring and autumn 1978, RAR organised two major music festivals with
Rock Against Racism 146

In spring 1978, 100,000 people marched six miles from Trafalgar Square to the East End of London (a National
Front hotspot) for an open-air music festival organized by RAR and the the Anti-Nazi League, to counteract the
growing wave of racist attacks in the UK.[10] [11] [12] [13] The concert featured The Clash (as seen in the film Rude
Boy),[12] [14] [15] Buzzcocks, Steel Pulse, X-Ray Spex, The Ruts, Sham 69, Generation X and the Tom Robinson
Band. In autumn of the same year, an audience of 25,000 came to the Northern Carnival in Manchester, for a concert
featuring Buzzcocks, Graham Parker and the Rumour, and Misty in Roots.[16] In 1979, a concert was held at Acklam
Hall in London featuring Crisis, The Vapors, and Beggar.[17]
The group behind the original Rock Against Racism launched a new website on April 27, 2008.[18]

Love Music Hate Racism

RAR was reborn in 2002 as Love Music Hate Racism, with a concert at The Astoria in London, England featuring
Mick Jones, Buzzcocks, and The Libertines. Other acts involved in the campaign include Ms. Dynamite and The
Eighties Matchbox B-Line Disaster. With a goal of counteracting the activities of organizations such as the National
Front and the British National Party, it has held high-profile concerts in Trafalgar Square and Victoria Park as well
as some other stadiums and venues.

See also
• Rock Against Bush • Rock Against Communism
• Rock Against Sexism • Love Music Hate Racism

External links
• Rock Against Racism information [19]
• Original RAR Crew 1976-1982 [20]
• Hull Rock Against Racism [21]

References
[1] Blood and Glory, The Observer, Sunday March 4, 2007 (http:/ / politics. guardian. co. uk/ otherparties/ story/ 0,,2024325,00. html)
[2] Socialist Review (http:/ / www. socialistreview. org. uk/ article. php?articlenumber=8931)
[3] Virgin Media: 'When Pop Stars Talk Politics: Clapton's Shocking Rant' (http:/ / microsites. virgin. net/ music/ pictures/ profiles/
when-popstars-get-political. php?ssid=6)
[4] Bainbridge, Luke (2007-10-14). "The ten right-wing rockers" (http:/ / music. guardian. co. uk/ pop/ story/ 0,,2187952,00. html). The
Guardian (London). . Retrieved 2010-05-22.
[5] Standing by the Wall: The Quotable David Bowie (http:/ / www. fortunecity. com/ victorian/ benjamin/ 594/ bowie/ quotes. html)
[6] 'GOODBYE TO ZIGGY AND ALL THAT', article in Melody Maker, October 1977 (http:/ / mywebsite. bigpond. com/ roger. griffin/
goldenyears/ 771029MM. html)
[7] http:/ / www. youtube. com/ watch?v=8RoHDbxn71o
[8] "Eric Clapton". The South Bank Show. ITV. 2007-12-02.
[9] Standing by the Wall: The Quotable David Bowie (http:/ / www. fortunecity. com/ victorian/ benjamin/ 594/ bowie/ quotes. html)
[10] http:/ / www. lmhrcarnival. com/ RAR_carnival_background
[11] http:/ / www. tomrobinson. com/ trb/ rar. htm
[12] Hazan, Jack; David Mingay, Ray Gange, Joe Strummer, Mick Jones, Paul Simonon, Nicky Headon, Buzzy Enterprises, Epic Music Video.
(2006). Rude Boy. [Documentary, Rockumentary]. New York, NY, United States: Epic Music Video. ISBN 0738900826. OCLC 70850190.
"2nd edition digitally restored and remastered sound."
[13] Virtual Festivals, news, reviews and listings for Glastonbury, Reading, Leeds, V Festival, T in the Park, Download, Isle of Wight, Bestival
and other UK and International festivals (http:/ / www. virtual-festivals. com/ artists/ article. cfm?articleid=949)
[14] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 47:42.
ISBN 0738900826. OCLC 49798077.
Rock Against Racism 147

[15] Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.). London: Orion. pp. 63–68.
ISBN 0752858432. OCLC 52990890.
[16] Manzoor, Sarfraz (20 apr 2008) The year rock found the power to unite . Guardian.co.uk. (http:/ / music. guardian. co. uk/ rock/ story/
0,,2274954,00. html)
[17] Rock Against Racism benefit with Crisis, Beggar and The Vapors, riot at Acklam Hall, Ladbroke Grove, London, Friday June 29th, 1979
(http:/ / www. urban75. org/ music/ beggar. html)
[18] Rock Against Racism (http:/ / www. rockagainstracism. net)

Concerts for the People of Kampuchea

Concerts for the People of Kampuchea was a series of concerts featuring Queen, The Clash, The Pretenders, The
Who, Elvis Costello, Wings, and many more artists which took place at the Hammersmith Odeon in London during
December 1979 to raise money for the victims of war-torn Cambodia. The event was organized by Paul McCartney
and Kurt Waldheim [1] , and it involved older artists such as McCartney and The Who as well as younger, new wave
acts like The Clash and the Pretenders. The last of the concerts was the last concert of Wings. An album and EP were
released in 1981, and the best of the concerts were released as a film, Concert for Kampuchea.
Rockestra was a McCartney-led supergroup of at least thirty English rockers. (The credited list appears at the bottom
of the back cover of the LP).

Concerts

26 December
• Queen

27 December
• Ian Dury and the Blockheads
• Matumbi
• The Clash

28 December
• The Pretenders
• The Specials
• The Who

29 December
• Elvis Costello & The Attractions
• Rockpile (with guest Robert Plant on "Little Sister")
• Wings
• Rockestra

Selected set lists

Queen
1. Jailhouse Rock
2. We Will Rock You (fast version)
3. Let Me Entertain You
Concerts for the People of Kampuchea 148

4. Somebody to Love
5. If You Can't Beat Them
6. Mustapha
7. Death on Two Legs
8. Killer Queen
9. I'm in Love with My Car
10. Get Down, Make Love
11. You're My Best Friend
12. Save Me
13. Now I'm Here
14. Don't Stop Me Now
15. Spread Your Wings
16. Love of My Life
17. '39
18. Keep Yourself Alive
19. Drums solo
20. Guitar solo with parts of Silent Night
21. Brighton Rock reprise
22. Crazy Little Thing Called Love
23. Bohemian Rhapsody
24. Tie Your Mother Down
25. Sheer Heart Attack
26. We Will Rock You
27. We Are the Champions
28. God Save the Queen (tape)

The Clash
1. Clash City Rockers
2. Brand New Cadillac
3. Safe European Home
4. Jimmy Jazz
5. Clampdown
6. The Guns of Brixton
7. Train in Vain
8. Wrong ‘Em Boyo
9. Koka Kola
10. (White Man) In Hammersmith Palais
11. Stay Free
12. Bankrobber
13. Janie Jones
14. Complete Control
15. Armagideon Time
16. London Calling
Concerts for the People of Kampuchea 149

The Who
1. Substitute
2. I Can't Explain
3. Baba O'Riley
4. The Punk and the Godfather
5. My Wife
6. Sister Disco
7. Behind Blue Eyes
8. Music Must Change
9. Drowned
10. Who Are You
11. 5.15
12. Pinball Wizard
13. See Me Feel Me
14. Long Live Rock
15. My Generation
16. I'm a Man
17. Sparks
18. I Can See for Miles
19. Young Man Blues
20. Won't Get Fooled Again
21. Summertime Blues
22. Dancing In The Streets
23. Dance It Away
24. The Real Me

Wings
1. Got To Get You Into My Life
2. Getting Closer
3. Every Night
4. Again And Again And Again
5. I've Had Enough
6. No Words
7. Cook Of The House
8. Old Siam Sir
9. Maybe I'm Amazed
10. The Fool on the Hill
11. Hot As Sun
12. Spin It On
13. Twenty Flight Rock
14. Go Now
15. Arrow Through Me
16. Coming Up
17. Goodnight Tonight
18. Yesterday
19. Mull of Kintyre
20. Band On The Run
Concerts for the People of Kampuchea 150

Rockestra
1. Rockestra Theme
2. Let It Be
3. Lucille
4. Rockestra Theme (reprise)

See also
• Concerts for the People of Kampuchea, the album and the EP about the concerts.
• Concert for Kampuchea, the film about the concerts.

References
[1] CBC.ca - Arts - Music - Charity Begins (http:/ / www. cbc. ca/ arts/ music/ charity. html)
Burning London: The Clash Tribute 151

Burning London: The Clash Tribute

Burning London: The Clash Tribute

Studio album by Various Artists

Released March 16, 1999

Genre Rock

Label Epic

Producer Wayne Connolly, John Doe, Greg Dulli, Stephan Jenkins, David Kahne, Moby, Scotch Ralston, Ralph Sall

Professional reviews
[1]
• Allmusic link
[2]
• Rolling Stone link

Burning London: The Clash Tribute is a tribute album to the punk rock band The Clash, released in 1999 (see 1999
in music).[1] A portion of the proceeds from the sales of Burning London will benefit the High Risk Youth Program
of the Children's Hospital Los Angeles.[2]

Track listing
No. Title Writer(s) Performer(s) Length

1. "Hateful" Joe Strummer, Mick Jones No Doubt 2:58

2. "This Is Radio Clash" The Clash The Urge 3:20

3. "Should I Stay or Should I Go" The Clash Ice Cube, Mack 10 4:05

4. "Cheat" Strummer, Jones Rancid 2:03

5. "Train in Vain" Strummer, Jones Third Eye Blind 3:16

6. "Clampdown" Strummer, Jones Indigo Girls 3:16

7. "Rudie Can't Fail" Strummer, Jones The Mighty Mighty 3:38

Bosstones

8. "(White Man) In Hammersmith Palais" Strummer, Jones 311 3:52

9. "Lost in the Supermarket" Strummer, Jones The Afghan Whigs 4:39

10. "White Riot" Strummer, Jones Cracker 2:49

11. "London's Burning" Strummer, Jones Silverchair 3:15

12. "Straight to Hell" The Clash Moby, Heather Nova 7:06

Burning London: The Clash Tribute 152

External links
• Neva Chonin, Aidin Vaziri, Colin Berry, Gary Graff, David Wiegand, Dan Ouellette, Amanda Nowinski (2 May
1999). "`Burning London' Proves A Worthy Homage to the Clash" [5]. Collection. SFGate.
• Keith Phipps (19 April 2002). "Burning London: The Clash Tribute" [6]. Review. The A.V. Club.
• Scott Schinder (May 1999). "Review of Burning London: The Clash Tribute" [7]. Pulse.

References
[1] Paul Pearson. "Burning London: The Clash Tribute" (http:/ / allmusic. com/ cg/ amg. dll?p=amg& sql=10:hjfqxqujldse). Overview. allmusic. .
Retrieved 25 March 2010.
[2] Rob Sheffield (27 May 1999). "Burning London: The Clash Tribute" (http:/ / www. rollingstone. com/ reviews/ album/ 184003/
burning_london_the_clash_tribute). Review. Rolling Stone. . Retrieved 25 March 2010.
 153

Films

Rude Boy
Rude Boy

Directed by Jack Hazan, David Mingay

Written by David Mingay, Ray Gange, Jack Hazan

Starring Ray Gange, The Clash

Release date(s) 13 March 1980

Running time 133 mins

127 mins (US ver.)

Language English

Rude Boy is a 1980 film directed by Jack Hazan and David Mingay and filmed in 1978 and early 1979.
The film, part fiction, part rockumentary, tells the story of Ray Gange, a Clash fan who leaves his job in a Soho sex
shop to become a roadie for the band.[1] [2] [3] The film includes footage of The Clash at a Rock Against Racism
concert at Victoria Park,[1] on their "On Parole" and "Sort It Out" tours,[4] and in the studio recording the album Give
'Em Enough Rope. The film was named after the rude boy subculture. The band members were so disenchanted with
the film, that by its release, they had Better Badges make badges stating 'I don't want Rude Boy Clash Film'.[5]
In 1980, the film won the Honorable Mention, and was nominated for the Golden Berlin Bear at the Berlin
International Film Festival. It was re-released on DVD the UK in 2003 by Fremantle Media with a host of special
features including interviews with 'Rude Boy' Ray Gange, The Clash's road manager Johnny Green and film makers
Jack Hazan and David Mingay.
''Rude Boy'' 154

Cast
The cast included (in alphabetical order):[2]
• Dave Armstrong as Police officer
• Barry Baker as Drum roadie
• Elsie Barnes as Fan
• Terry Barry as Police officer
• Reg Bazell as Police officer
• Lutz Becker as Sex shop customer
• Stephen Behan as Fan
• Graham Brown as Fan
• Lizard Brown as Byron, a suspect.
• Colin Bucksey as CID officer
• The Clash as Themselves
• Caroline Coon as Caroline, a Band representative.
• Cathy Crawford as Fan
• John Daly as Bouncer
• Hicky Etienne as Suspect
• Plaxy Exton as Fan
• Tig Exton as Fan
• Ian Galland as Police officer
• Ray Gange as Ray (Rude Boy)
• Ben Gaze as Police officer
• Boss Goodman as Bouncer
• John Goodridge as Police officer
• Inch Gordon as Inch, a suspect.
• Willy Graham as Fan
• Johnny Green as Johnny, the Road manager.
• Sarah Hall as Ray's girlfriend
• Vic Hardwick as Bouncer
• Topper Headon as Drummer
• Jerry Healey as Fan
• Dave Johnson as Police officer
• Mick Jones as Lead guitarist
• Kenny Joseph as Solicitor's clerk
• Tony Martin as Police officer
• David McDonald as Fan
• Patrick McDonnell as Police officer
• Terry McQuade as Terry, the Ray's mate
• Roy Menuir as Bouncer
• Berry Myers as DJ
• Tommy O'Reilley as Fan
• Lee Parker as Eel, a suspect.
• Julia Phelps as Fan
• Clare Pollock as Fan
• Jimmy Pursey as himself, guest musician on "White Riot".
• Howard Rainey as Bouncer
• Colin Richards as Sex shop customer
''Rude Boy'' 155

• Paul Simonon as Bassist

• Charlotte Smith as Fan
• Tony Smith as Fan
• Alan Stanleye as Fan
• Joe Strummer as Rhythm guitarist
• Ken Tillock as Fan
• Dave Wakefield as Police officer
• John Woods as Police officer
• John Yates as Police officer
• Elizabeth Young as Ray's girlfriend

Songs performed
1. "Revolution Rock" (Jackie Edwards, Danny Ray)
Instrumental version of album track; title song
2. "Police and Thieves" (Junior Murvin/Lee "Scratch" Perry)
Performed by The Clash at Barbarellas, Birmingham on 1 May 1978; audio tracks re-recorded at Wessex Studios.
3. "Police and Thieves" sung by Junior Marvin (Island Records)
4. "Career Opportunities (from The Clash album)
5. "Garageland"
Performed by The Clash at Rehearsal Rehearsals; audio tracks re-recorded at Wessex Studios.
6. "Rudi" sung by Bob Marley (Coxsone Records)
7. "London's Burning"
Performed live by The Clash at Open Air Carnival, Victoria Park, London on 30 April 1978; audio tracks
re-recorded at Wessex Studios.
8. "White Riot"
Performed live by The Clash at Open Air Carnival, Victoria Park, London on 30 April 1978 and featuring Jimmy
Pursey from Sham 69 on vocals; audio tracks re-recorded at Wessex Studios.
9. "(White Man) In Hammersmith Palais"
Performed live by The Clash at the Apollo, Glasgow on 4 July 1978; audio tracks re-recorded at Wessex Studios.
10. "I'm So Bored with the USA"
Performed live by The Clash at the Apollo, Glasgow on 4 July 1978; audio tracks re-recorded at Wessex Studios.
11. "Janie Jones"
Performed live by The Clash at the Apollo, Glasgow on 4 July 1978; audio tracks re-recorded at Wessex Studios.
12. "White Riot"
Performed live by The Clash at the Apollo, Glasgow on 4 July 1978; audio tracks re-recorded at Wessex Studios.
13. "The Prisoner"
Performed live by The Clash at the Civic Music Hall, Aberdeen on 5 July 1978; audio tracks re-recorded at
Wessex Studios.
14. "Johnny Too Bad" sung by The Slickers (Island Records)
15. "Tommy Gun"
Performed live by The Clash at Cinema, Dunfermline on 7 July 1978; audio tracks re-recorded at Wessex Studios.
16. "All the Young Punks"
Performed by The Clash at Wessex Studios.
17. "Stay Free"
Performed by The Clash at Wessex Studios.
18. "Complete Control"
Performed by The Clash at the Music Machine, Camden, London on 27 July 1978; audio tracks re-recorded at
''Rude Boy'' 156

Wessex Studios.
19. "Safe European Home"
Performed by The Clash at the Music Machine, Camden, London on 27 July 1978; audio tracks re-recorded at
Wessex Studios.
20. "What's My Name"
Performed by The Clash at the Music Machine, Camden, London on 27 July 1978; audio tracks re-recorded at
Wessex Studios.
21. "No Reason" (piano song)
Performed solo by Joe Strummer at Rehearsal Studio.
22. "Let the Good Times Roll" (piano song)
Performed solo by Joe Strummer at Rehearsal Studio.
23. "I Fought the Law" (Sonny Curtis)
Performed live by The Clash at The Lyceum, West End, London on 28 December.
24. "Rudie Can't Fail" (from London Calling album)

External links
• Rude Boy [6] at the Internet Movie Database
• The Clash: Rude Boy (1980) - Overview [7] - MSN Movies
• The Clash: Rude Boy [8] - MTV Movies
• The Clash - Rude Boy [9] - Rotten Tomatoes
• The Clash: Rude Boy [10] - VH1.com

References
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 47:42.
ISBN 0738900826. OCLC 49798077.
[2] Hazan, Jack; David Mingay, Ray Gange, Joe Strummer, Mick Jones, Paul Simonon, Nicky Headon, Buzzy Enterprises, Epic Music Video.
(2006-08-01). Rude Boy. [DVD]. New York, NY: Epic Music Video. ISBN 0738905879. OCLC 70850190. "Digitally restored and remastered
sound."
[3] Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.). London: Orion. pp. 63–68.
ISBN 0752858432. OCLC 52990890.
[4] "The Clash" (http:/ / www. rockhall. com/ inductee/ the-clash). Induction. Rockhall.com. 2003-03-10. . Retrieved 2007-11-19. "The film
Rude Boy, a 1980 film about the Clash and their punk-rock milieu, contained concert sequences that demonstrate why they were considered
one of rock’s greatest live acts."
[5] "Clash Pins" (http:/ / www. pinstand. com/ pins/ clash. html#0067). . Retrieved 2007-12-05.
''The Clash: Westway to the World'' 157

The Clash: Westway to the World

The Clash: Westway to the World

Directed by Don Letts

Produced by Rick Elgood, Tricia Ronane

Starring Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Siouxsie Sioux, Shane MacGowan

Music by The Clash

Editing by Denes Ujvari

Distributed by 3DD Entertainment

Release date(s) 2000

Running time 60 min. / 79 min. (director's cut)

Country UK

Language English

The Clash: Westway to the World[1] is a 2000 documentary film about the British punk rock band The Clash. In
2003 it won the Grammy Awards for the best long form music video.[2]
Directed by Don Letts, the film combines old footage from the band's personal collection filmed in 1982 when The
Clash went to New York with new interviews conducted for the film by Mal Peachey of members Mick Jones, Paul
Simonon, Topper Headon, and Joe Strummer and other people associated with the group.

Cast (in alphabetical order)

• Terry Chimes ... Himself
• Terence Dackombe ... Himself
• Topper Headon ... Topper Headon (Drummer)
• Mick Jones ... Himself
• Jordan ... Herself (archive footage)
• Paul Simonon ... Himself
• Siouxsie Sioux ... Herself (archive footage)
• Joe Strummer ... Himself
• Shane MacGowan ... Himself (uncredited)
''The Clash: Westway to the World'' 158

External links
• The Clash: Westway to the World [3] at the Internet Movie Database

References
[1] Letts Don; Rick Elgood, Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, The Clash. (2001). The Clash: Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. ISBN 0738900826. OCLC 49798077.
[2] "The Clash: Westway to the World (2000) (V) - Awards" (http:/ / www. imdb. com/ rg/ title-tease/ awards/ title/ tt0321711/ awards). IMDb
The Internet Movie Database. . Retrieved 2007-11-27.
''Let's Rock Again!'' 159

Let's Rock Again!

Let's Rock Again

Directed by Dick Rude

Produced by Dick Rude

Productions
Joe Strummer
Lucinda Strummer

Starring Joe Strummer

Martin Slattery
Scott Shields
Tymon Dogg
Simon Stafford
Luke Bullen

Editing by Dick Rude

Arnaud Gerardy

Distributed by Image Entertainment

Release date(s) 2004

Running time 68 min

Language English

Let's Rock Again! is a music documentary film following Joe Strummer as he tours across America and Japan with
his band the Mescaleros promoting their second album Global a Go-Go. The memoir was shot by filmmaker and
longtime Strummer friend Dick Rude in the 18 months leading up to Strummer's death in 2002.

DVD
The DVD was released in June 2006; Bonus features include:
• Interviews with Joe Strummer
• Behind-the-Scenes Footage
• Joe's Suitcase [Slide Show]
• Q & A with Director Dick Rude
• Five Songs Performed Live:
1. Bigger they come, Harder they fall
2. Quarter Pound a Ishens
3. Armagideon Time
4. Pressure Drop '72
5. Rudie Can't Fail
''Let's Rock Again!'' 160

Scene selections include:

1. Tom Snyder and The Clash
2. 1977 (The Clash)
3. 1 October 2002, Tokyo, Japan
4. Main Title; Global a Go-Go
5. Bhindi Bhagee
6. Interaction with the Fans
7. Quarter Pound a Ishens
8. Trashman or Doorman?
9. From Hero to Zero
10. London's Burning
11. Word of Mouth
12. Mega Bottle Ride
13. Drumming Up Business
14. Get Down Moses
15. Backstage Shenanigans
16. Shaktar Donetsk
17. Songwriting and Lyrics
18. Cool 'n' Out
19. 9 October 2001, New York, NY
20. Minstrel Boy
21. Going Underground
22. 1969
23. Johnny Appleseed
24. End Credits

Trivia
• The film premiered at the Tribeca Film Festival in New York, May 2004.
• The film was shot using a Canon GL1.

See also
• Joe Strummer and the Mescaleros
• Joe Strummer

External links
• Preview Trailer [1]: from the Rude Archive [2]
• Let's Rock Again [3] at the Internet Movie Database
• Let's Rock Again [4] at Allmovie
''Joe Strummer: The Future Is Unwritten'' 161

Joe Strummer: The Future Is Unwritten

Joe Strummer: The Future Is Unwritten
Directed by Julien Temple

Produced by Anna Campeau

Alan Moloney
Amanda Temple
Orlagh Collins
Stephan Mallmann
Susan Mullen

Music by Ian Neil

Steve Isles
Amanda Street

Cinematography Ben Cole

Editing by Niven Howie

Mark Reynolds
Tobias Zaldua

Distributed by Vertigo Films

[1]
IFC Films

Release date(s) 20 January 2007 (Sundance Film

Festival)

Running time 123 min. (Sundance Film Festival)

Country Ireland, United Kingdom

Language English

Joe Strummer: The Future Is Unwritten is a 2007 documentary film directed by Julien Temple about Joe
Strummer, the lead singer of the English punk rock band The Clash, that went on to win the British Independent
Film Awards as Best British Documentary 2007.[2] [3] The film premiered 20 January 2007 at the 2007 Sundance
Film Festival.[4] It was also shown at the Dublin Film Festival on 24 February 2007.[4]
It was released in the United Kingdom on 18 May 2007 and in Australia on 31 August 2007.[4] The film opened in
limited release in the United States on 2 November 2007.[4]

Cast
• Brigitte Bardot – Herself (archive footage)
• Michael Bazalry (Flea) - Himself
• Bono – Himself
• Steve Buscemi – Himself
• Terry Chimes – Himself
• John Cooper Clarke – Himself
• John Cusack – Himself
• Peter Cushing – Winston Smith (archive footage)
• Johnny Depp – Himself
• Matt Dillon – Himself
• Dick Evans – Himself
• Justine Frischmann - Herself (archive footage)
• Bobby Gillespie - Himself
''Joe Strummer: The Future Is Unwritten'' 162

• Alasdair Gillies – Himself

• Iain Gillies – Himself
• Topper Headon – Himself
• Damien Hirst - Himself
• Mick Jagger – Himself (archive footage)
• Jim Jarmusch – Himself
• Mick Jones – Himself
• Steve Jones – Himself
• Anthony Kiedis – Himself
• Don Letts – Himself
• Bernie Rhodes – Himself
• Martin Scorsese - Himself
• Joe Strummer – Himself
Special Thanks: Terence Dackombe

Critical reception
The film was well received by critics. As of 3 November 2007 on the review aggregator Rotten Tomatoes, 84% of
critics gave the film positive reviews, based on 25 reviews.[5] On Metacritic, the film had an average score of 77 out
of 100, based on 11 reviews.[6]
Marc Savlov of The Austin Chronicle named it the 8th best film of 2007.[7] Stephanie Zacharek of Salon named it the
9th best film of 2007.[7]

Box office performance

As of 3 January 2008, the film has grossed $239,149 in the United States and Canada.[8] As of 16 December 2007,
the film has grossed $718,872 in other territories.[9]

Awards
• Nominated Grand Jury Prize in the World Cinema - Documentary category at the Sundance Film Festival 2007[3]
• Winner of Best British Documentary at the British Independent Film Awards 2007[3]
• Nominated Best Single Documentary at the Irish Film and Television Awards (IFTA) 2008[3]

Press reviews and further reading

• Schaefer, Stephen, "A Clash course in rocker’s life" [10], Boston Herald, Friday, 9 November 2007

External links
• Official site [11]
• Joe Strummer: The Future Is Unwritten [12] at the Internet Movie Database
• Joe Strummer: The Future Is Unwritten [13] at Rotten Tomatoes
• Joe Strummer: The Future Is Unwritten [14] at Metacritic
• Joe Strummer: The Future Is Unwritten [15] at Box Office Mojo
• Joe Strummer: The Future Is Unwritten [16] at Allmovie
• Joe Strummer: The Future Is Unwritten [17] at sundance.org
''Joe Strummer: The Future Is Unwritten'' 163

References
[1] "Joe Strummer: The Future Is Unwritten (2007) - Company credits" (http:/ / www. imdb. com/ title/ tt0800099/ companycredits). Internet
Movie Database. . Retrieved 2007-11-03.
[2] Temple, J., Amanda Temple, Anna Campeau, and Alan Moloney. (2008). Joe Strummer The future is unwritten. [Documentary,
Rockumentary]. New York, NY, United States: Sony BMG Music Entertainment. OCLC 233652709.
[3] "Joe Strummer: The Future Is Unwritten (2007) - Awards" (http:/ / www. imdb. com/ title/ tt0800099/ awards). Internet Movie Database. .
Retrieved 2008-12-18.
[4] "Joe Strummer: The Future Is Unwritten (2007) - Release dates" (http:/ / www. imdb. com/ title/ tt0800099/ releaseinfo). Internet Movie
Database. . Retrieved 2007-11-03.
[5] "Joe Strummer: The Future is Unwritten - Rotten Tomatoes" (http:/ / www. rottentomatoes. com/ m/ joe_strummer_the_future_is_unwritten/
). Rotten Tomatoes. . Retrieved 2007-11-03.
[6] "Joe Strummer: The Future Is Unwritten (2007): Reviews" (http:/ / www. metacritic. com/ film/ titles/ joestrummer). Metacritic. . Retrieved
2007-11-03.
[7] "Metacritic: 2007 Film Critic Top Ten Lists" (http:/ / www. metacritic. com/ film/ awards/ 2007/ toptens. shtml). Metacritic. . Retrieved
2008-01-05.
[8] "Joe Strummer: The Future Is Unwritten (2007)" (http:/ / www. boxofficemojo. com/ movies/ ?page=main& id=joestrummer. htm). Box
Office Mojo. . Retrieved 2008-01-06.
[9] "Joe Strummer: The Future Is Unwritten (2007) - International Box Office Results" (http:/ / www. boxofficemojo. com/ movies/ ?page=intl&
id=joestrummer. htm). Box Office Mojo. . Retrieved 2008-01-06.
''Concert for Kampuchea'' 164

Concert for Kampuchea

The Concert for Kampuchea

DVD cover of The Concert for Kampuchea

Directed by Keith McMillan

Produced by Bob Mercer

Starring Wings
The Clash
Elvis Costello
The Pretenders
Ian Dury
Rockpile feat. Robert
Plant
Queen
The Specials
The Who

Cinematography Anthony Richmond

Distributed by Almi Cinema 5

Release date(s) August, 1980

Running time 90 min.

Language English

The Concert for Kampuchea (subtitled "Rock for Kampuchea") is a musical film from the best of the Concerts for
the People of Kampuchea. The film was directed by Keith McMillan and was 4 nights of concerts in Hammersmith
Odeon to raise money for the victims of Pol Pot's reign of terror in Cambodia. The event was organized by Paul
McCartney and Kurt Waldheim (who was then Secretary-General of the U.N.), and it involved well-established
artists such as McCartney, The Who and Queen as well as younger punk and new wave acts like The Clash and the
Pretenders. The film finishes with the presentation of Wings' Rockestra (more of 25 musicians playing together).
Filmed in 1979, Concert for Kampuchea did not receive American theatrical distribution until it was picked up by
Miramax in 1988.
''Concert for Kampuchea'' 165

Track listing
• Opening commentary by David A Lee, crabby
• Performed by Queen:
Now I'm Here
Cumquat Serenade by Dave Lee
'39
• Performed by Matumbi:
Guide Us Jah (In Your Own Way)
• Performed by The Clash:
Armagideon Time
• Performed by The Pretenders:
The Wait
• Performed by Wings:
Got To Get You Into My Life
Getting Closer
Every Night
Arrow Through Me
Coming Up
• Performed by The Specials:
Monkey Man
• Performed by Elvis Costello & The Attractions:
The Imposter
• Performed by Rockpile with Robert Plant
Crawling From The Wreckage
Little Sister
• Performed by Ian Dury & The Blockheads:
Sweet Gene Vincent
Hit Me With Your Rhythm Stick
• Performed by The Who:
Sister Disco
Behind Blue Eyes
See Me, Feel Me
• Performed by Billy Connolly:
Introduction to the Rockestra
• Performed by the Rockestra:
Lucille
Let It Be
Rockestra Theme
''Concert for Kampuchea'' 166

See also
• Concerts for the People of Kampuchea, the concerts and set lists.
• Concerts for the People of Kampuchea, the album and the EP about the concerts.

External links
• The Concert for Kampuchea [1] at the Internet Movie Database
• The Concert for Kampuchea [2] at Allmovie.
''D.O.A.'' 167

D.O.A.
D.O.A.
Directed by Lech Kowalski

Produced by Carl Haber, Lech Kowalski, Steven G. Menkin

Written by Lech Kowalski, Chris Salewicz

Starring Sex Pistols, Generation X, The Rich Kids, Joe Strummer, Nancy Spungen

Music by Sex Pistols

Editing by Val Kuklowsky

Release date(s) 1980

Running time 95 min.

Country USA

Language English

D.O.A. is a 1980 documentary film directed by Lech Kowalski (his premiere film as a director) about the origin of
punk rock. Given the subtitle A Rite of Passage, this movie takes interview and concert footage of some of punk
rock's earliest bands of the late seventies scene. Features live performances by the Sex Pistols, The Dead Boys,
Generation X (with Billy Idol), The Rich Kids, the X-Ray Spex, and Sham 69, with additional music from The
Clash, Iggy Pop, and Augustus Pablo.[1] [2]

Plot
When the Sex Pistols toured America in 1978, film director Lech Kowalski followed them with handheld cameras
through the clubs and bars of their seven-city Southern tour. Mixing this with footage of other contemporary bands,
trends in the fashion capitals, and punks of all shapes and colors, Kowalski created a grainy, stained snapshot of a
movement at its peak,[3] showing how certain authority figures saw the movement as a threat.[2]
It features interview footage (including the famous interview of Sid and Nancy in bed), and behind the scenes shots
from the first North American Sex Pistols tour (1978), and some Terry and the Idiots footage as well. The Sex
Pistols show in Texas does a good job of demonstrating how people tend to lash out against things that they don't
understand or are afraid of.[2] The seven-city Southern tour was, after all, the only time they toured the States with
the Sid Vicious lineup, and they'd implode immediately after its finish.[4]
The majority of the material is Sex Pistols stuff, fitting as this was based around their tour more or less, but there are
a lot of other great 'old school' performances on here too, including a live song by The Dead Boys and some footage
of Billy Idol and Generation X.[2] [3] [4]
This old indy documentary was not made under the best conditions because it was shot mostly in bars and clubs on
16mm film, but does a good job of capturing the early years of punk from both in front of and behind the stage.[2]
The 1973 American television series Kojak, starring Telly Savalas, is mentioned during an interview, and the poster
for this film is featured prominently in one scene of the 1981 film Neighbors. D.O.A. also featured in The Filth and
the Fury, a 2000 rockumentary film about the Sex Pistols directed by Julien Temple, and in the 2002 television series
Hollywood Rocks the Movies: The 1970s.[4]
''D.O.A.'' 168

Cast (in alphabetical order)

• Stiv Bators as himself (The Dead Boys)
• Terry Chimes as himself (The Clash)
• The Clash as themselves
• Paul Cook as himself (Sex Pistols)
• The Dead Boys as themselves
• Generation X as themselves
• Jonathan Guinness as himself
• Topper Headon as himself (The Clash)
• Billy Idol as himself (Generation X)
• Tony James as himself (Generation X)
• Mick Jones as himself (The Clash)
• Steve Jones as himself (Sex Pistols)
• John Lydon as himself (Johnny Rotten)
• Glen Matlock as himself (The Rich Kids)
• Gene October as himself (Generation X)
• Augustus Pablo as himself
• Bernard Brooke Partridge as himself - Council Member
• Rich Kids as themselves
• Heidi Robinson as herself - Tour Manager
• Sex Pistols as themselves
• Sham 69 as themselves
• Paul Simonon as himself (The Clash)
• Nancy Spungen as herself
• Joe Strummer as himself (The Clash)
• Terry Sylvester as himself
• Terry and the Idiots as themselves
• Sid Vicious as himself
• Mary Whitehouse as herself - Anti-Smut Crusader
• X-Ray Spex as themselves

Songs performed
The musical performances/tracks contained in the documentary are as follows:
1. "Nightclubbing" Written by Iggy Pop and David Bowie; performed by Iggy Pop
2. "Anarchy in the U.K." Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by the Sex
Pistols
3. "Oh Bondage Up Yours" Written by Poly Styrene; performed by X-Ray Spex
4. "God Save the Queen" Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by the Sex
Pistols
5. "Pretty Vacant" Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by The Rich Kids
6. "Liar" Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by the Sex Pistols
7. "Police and Thieves" Written by Lee "Scratch" Perry and Junior Murvin; performed by The Clash (CBS Records)
8. "Kiss Me Deadly" Written and performed by Generation X (Chrysalis Records)
9. "I Wanna Be Me" Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by the Sex
Pistols
10. "Lust for Life" Written by Iggy Pop and David Bowie; performed by Iggy Pop
11. "I Wanna Be a Dead Boy" Performed by The Dead Boys (Sire Records); recorded live by Joe Sutherland
12. "Pretty Vacant" Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by the Sex
Pistols
13. "No Fun" – Sex Pistols
14. "New York" Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by the Sex Pistols
15. "Rip Off" Performed by Sham 69; recorded live at Roundhouse Studios
16. "Borstal Breakout" Performed by Sham 69; recorded live at Roundhouse Studios
17. "Holidays in the Sun" – Sex Pistols
18. "Holidays in the Sun" Written by Paul Cook, Steve Jones, John Lydon and Sid Vicious; performed by The Sex
Pistols
19. "E.M.I." Written by Paul Cook, Steve Jones, Glen Matlock and John Lydon; performed by the Sex Pistols
20. "Bodies" Written by Paul Cook, Steve Jones, John Lydon and Sid Vicious; performed by the Sex Pistols
21. "A. P. Special" Written and performed by Augustus Pablo
''D.O.A.'' 169

DVD release
The DVD format was released on March 5, 2003 in its original full-frame aspect ratio, and contains the film's
original Dolby Digital Mono audio.[2]
In addition to the film's theatrical trailer and a still gallery containing promo art, photos, and the permission note Sid
Vicious gave to Kowalski for allowing him to use his image in the film, there are the Johnny Thunders' Sad Vacation
segment, a video capturing Thunder's doing an acoustic song in remembrance of Sid Vicious, and a brief interview
with Thunders in which he talks about Sid Vicious.[2]

External links
• D.O.A.: A Right of Passage Review by Richie Unterberger [5] at Allmovie [6]
• D.O.A. Review [7] at Channel 4 Film [8]
• D.O.A. [9] at the Internet Movie Database
• D.O.A. [10] at TV Guide [11]
• Survival Instincts by Ed Halter [12] at The Village Voice [13]

References
[1] "D.O.A." (http:/ / www. imdb. com/ title/ tt0082226/ maindetails). Internet Movie Database. . Retrieved 2008-02-22.
[2] Jane, Ian (2005-01-08). "D. O. A." (http:/ / www. dvdmaniacs. net/ Reviews/ A-D/ doa. html). Reviews. DVD Maniacs. . Retrieved
2008-02-22.
[3] "D.O.A.: Review" (http:/ / www. tvguide. com/ movies/ doa/ review/ 132669). Movies. TVGuide.com. . Retrieved 2008-02-22.
[4] Unterberger, Richie. "D.O.A.: A Right of Passage" (http:/ / www. allmovie. com/ cg/ avg. dll?p=avg& sql=1:11918~T1). Review. allmovie. .
Retrieved 2008-02-22.
Punk: Attitude 170

Punk: Attitude
Punk: Attitude
Directed by Don Letts

Starring Henry Rollins, Captain Sensible, Jim Jarmusch, Mick Jones, Jello Biafra, Darryl Jenifer

Release date(s) 2005

Language English

Punk: Attitude[1] is a documentary by contemporary director Don Letts. The film explores the "punk" revolution,
genre and following from its beginning in the mid 1970's up to its effect on modern rock music and other genres. The
cast is a veritable list of alternative musicians and directors offering their opinions on what may have been the largest
music revolution ever.
The film was officially released on the 25th of April 2005 at the Tribeca Film Festival in the U.S.A. Reviews have
generally been favorable with an average of 3.5 - 4 stars with many people commenting on the accuracy and
approach of the film.

Plot
The film begins showing the roots of punk music with many views on various artists and genres who accentuated the
beginning of the genre, like the MC5 and the Velvet Underground. Punk: Attitude then proceeds chronologically to
sort through the various artists and alumni who were central to the movement, drawing light on the general idea or
"Attitude" of the punk movement, which spoke out for a generation. Bands such as The Ramones, The Stooges, The
Clash and The Sex Pistols feature prominently throughout. The movie offers a canvas of praise and respect given
from many interviewees as these bands are heralded commonly as the beginning of Punk progressively through the
movie. Rare concert footage and personal accounts of gigs and band meetings highlight the aggression and
destructive entities with surprising accuracy. The movie wraps up by emphasizing the influence that punk has on
modern music.

Cast
One of the film's celebrated attributes comes in the form of its cast, showcasing the who's who of Punk
Rock/Alternative culture contemporaries like David Johansen, Thurston Moore, Henry Rollins, Captain Sensible,
Jim Jarmusch, Mick Jones, Jello Biafra, and Darryl Jenifer.

External links
• Punk: Attitude [2] at the Internet Movie Database
• http://www.rollingstone.com/reviews/dvd/8878414/review/8897876/punk_attitude
• http://www.contactmusic.com/new/film.nsf/reviews/punkattitude
• http://www.punkattitude.co.uk/about.php
Punk: Attitude 171

References
[1] Letts, Don; Henry Rollins, Captain Sensible, Jim Jarmusch, Mick Jones, Jello Biafra, Darryl Jenifer. (2005). Punk: Attitude. [Documentary,
Rockumentary]. Freemantlemedia 3DD Metropolis.

Walker
Walker

Theatrical poster
Directed by Alex Cox

Produced by Lorenzo O'Brien

Angel Flores
Marini

Written by Rudy Wurlitzer

Starring Ed Harris
Peter Boyle

Music by Joe Strummer

Cinematography David Bridges

Editing by Alex Cox

Carlos Puente

Distributed by Universal Pictures

Release date(s) December 4, 1987

Running time 95 minutes

Country United States

Mexico
Spain

Language English

Budget $6,000,000

Gross revenue $257,043 (USA)

Walker is a 1987 Acid Western film directed by Alex Cox. The film based on the life story of William Walker
(played by Ed Harris), the American filibuster who invaded Mexico in the 1850s and made himself President of
Nicaragua shortly thereafter. It was written by Rudy Wurlitzer and scored by Joe Strummer, who also plays a small
role as a member of Walker's army. The film, released in 1987 and which by the end is intentionally full of
anachronisms such as helicopters, Zippo lighters, automatic rifles, and a car passing a horse carriage, was made in
Nicaragua during the American-sponsored Contra War.
''Walker'' 172

Production
Alex Cox first visited Nicaragua in 1984, during the national election campaign for which Daniel Ortega became
president, to see if conditions were as bad as the American media had reported.[1] He discovered that this was not the
case. The filmmaker was persuaded to return by two wounded soldiers from the Sandinista army. He later learned of
the historical Walker from an article in Mother Jones that was largely about US foreign policy in Central America
and decided to bring his story to the screen.[1] [2] A history professor at the University of California lent Cox a library
card so he could do more research on Walker. "The more I read about him the more bizarre this seemed", Cox
remembers.[2] He hired Rudy Wurlitzer to write the screenplay because, according to Cox, "He understands
American guys and the mad impulse that drives certain Americans to be great men." Cox was not interested in
making what he called a long, respectful historical drama that would be shown on Masterpiece Theatre because
Walker "leads a disastrous misadventure. He's a pretty bad guy. I didn't think it was possible to approach it in this
normal, historical, respectful style."[2]
The budget was set at six million dollars with most of the film being shot in Granada, Nicaragua. To get into
character, Ed Harris led the entire cast in a 10-mile forced march through the Nicaraguan countryside.[1] The actor
was drawn to the challenge of playing someone "who has incredible moral convictions but turns into such an evil
person in the name of spreading democracy."[3] He was also drawn to the script's politics, claiming to be anti-Contra
and anti-intervention in Nicaragua and saw making a film there as a way to possibly stop the bloodshed.[3]
Cox got the cooperation of the Sandinista government and the Roman Catholic Church because he wanted his
production to be a "force for peace and reconciliation."[2] The dying economy of Granada received a significant
boost by the production with 300 local carpenters hired to build sets, 6,000 people hired as extras and army supplied
security guards and a Soviet-built MI-18 transport helicopter used in the film.[1] Electricity poles in the town plaza
were torn down leaving homes without light.[4] Some families were left temporarily without a telephone because the
production needed their lines and the government could not afford to install new ones. The central square was
covered with several inches of dirt to recreate 1850s conditions.[4] The screenplay was edited by the country's
Vice-President Sergio Ramirez and Minister of Culture Ernesto Cardenal, who were also a novelist and a poet
respectively. Both men, along with the Minister of Education, the country's Interior Minister, and a military
commander, would occasionally visit the set. Two people were accidentally killed during principal photography,
both in separate vehicular-related incidents. For one of the deaths, the movie company paid for the funeral and
compensated the family. The shooting conditions were difficult because of all of the fires the locals were building,
making the air thick and hard to breathe.[1]
Even after filming was over, Cox stayed in Granada, editing the film. He said, "I think we have kind of a duty not to
just be the rich gringos and come down here and spend eight weeks and then disappear."[1]

Cast
• Ed Harris as William Walker
• Peter Boyle as Cornelius Vanderbilt
• Sy Richardson as Capt. Hornsby
• Marlee Matlin as Ellen Martin
• Xander Berkeley as Byron Cole
• Rene Auberjonois as Maj. Siegfried Hennington
• William O'Leary as James Walker
• Gerrit Graham as Norvell Walker
• Richard Masur as Ephraim Squier
• Miguel Sandoval as Parker French
• Alfonso Arau as Raousset
• John Diehl as Stebbins
''Walker'' 173

• Richard Edson as Turley

• David Hayman as Father Rossiter
• Dick Rude as Washburn
• Edward Tudor-Pole as Doubleday
• Joe Strummer as Faucet
• Kathy Burke as Annie Mae

Historical inaccuracies
There is no evidence that Walker ever met Vanderbilt or received his support, as the movie suggests. Rather, Walker
was supported by Vanderbilt's competitors, Charles Morgan and Cornelius Garrison, owners of the Nicaragua
Transit Company in his time.
James Buchanan is incorrectly mentioned as being the President of the United States after Walker's trial, prior to his
Nicaraguan expedition. Franklin Pierce was actually the president at the time.
Ellen Martin, Walker's fiance, died in 1850. In the movie she is present at his 1854 trial for violating US neutrality
laws after he invaded Baja and Sonora Mexico, and died shortly thereafter.
Weapons used in the movie are World War One era bolt action rifles not produced until 45 years after Walker's
death. Furthermore, the prevalence of Navy Colts in Walker's army is an anachronism, as they would not have been
in widespread circulation until midway through the American Civil War, almost a decade later.
There are any number of intentional inaccuracies placed to draw comparison between 1850s and 1980s Nicaragua.
Newsweek and Time Magazine had not been founded when it appears in the film, etc. As the movie progresses, the
inaccuracies become more and more gross.

Soundtrack
Joe Strummer had worked previously with Cox on Sid and Nancy and Straight to Hell, contributing songs to their
respective soundtracks.[5] He wanted to compose an entire score for a film and Walker afforded him such an
opportunity. After filming his small part in the film, he would go back to his room and record bits of music onto a
four-track cassette using an acoustic guitar and a little plastic synthesizer with guitarist Zander Schloss. They drew
inspiration from local music played in bars - a mix of reggae, calypso and Brazilian music.[5]

Reception
Rita Kempley wrote, "it's gross as it is muddled as it is absurd", in her review for the Washington Post.[6] In his
review for Newsweek, David Ansen wrote, "His scenes have no shape, his characters are stick figures, the wit is
undergraduate and his soggy set pieces of slow-motion carnage are third-rate Peckinpah imitations."[7] Jay Scott
gave the film a positive review in the Globe and Mail: "Cox exposes the limitations of historical drama in Walker
with a calculated disregard of its conventions."[8] Vincent Canby also praised Cox's film in the New York Times:
"Walker is witty, rather than laugh-out-loud funny. Without being solemn, it's deadly serious...Walker is something
very rare in American movies these days. It has some nerve."[9]
Director Alex Cox was never employed again by a major Hollywood studio, and his subsequent films have received
only limited distribution in the United States. In a 2008 interview with The A.V. Club, Cox said, "Distribution is
controlled by the studios, and I've been on the blacklist of the studios for the last 20 years... The last movie I was
asked to direct was The Running Man… which was actually quite a good film, I thought. I would have liked to have
done The Running Man. It was just that Walker happened at the same time."[10]
''Walker'' 174

DVD
Criterion released a Region 1 DVD on February 19, 2008 with features that include: an audio commentary by Cox
and screenwriter Wurlitzer, Dispatches from Nicaragua, an original documentary about the filming of Walker, On
Moviemaking and the Revolution, reminiscences twenty years later from an extra on the film, behind-the-scenes
photographs, and a booklet featuring writings by film critic Graham Fuller, Wurlitzer, and Linda Sandoval.[11]

External links
• Walker [12] at the Internet Movie Database
• Walker [13] at Allmovie
• Walker page on Alex Cox website [14]
• Film Comment interview with Joe Strummer [15]
• Senses of Cinema essay on Walker [16]

References
[1] Grove, Lloyd (August 20, 1987). "Hollywood Invades Nicaragua". Washington Post.
[2] Van Gelder, Lawrence (December 4, 1987). "At the Movies". New York Times.
[3] Yakir, Dan (December 11, 1987). "For Harris, The Appeal was Political". Globe and Mail.
[4] Ford, Peter (August 22, 1987). "Desperado with a Mission". Financial Times.
[5] Dafoe, Chris (December 11, 1987). "Hollywood Knocks on Strummer's Door". Globe and Mail.
[6] Kempley, Rita (December 4, 1987). "Tripped Up in Time". Washington Post.
[7] Ansen, David (December 7, 1987). "A Yankee Devil's Manifest Destiny". Newsweek.
[8] Scott, Jay (December 4, 1987). "A Remarkable Cabaret Biography". Globe and Mail.
[9] Canby, Vincent (December 4, 1987). "Walker". New York Times.
[10] "Alex Cox" (http:/ / www. avclub. com/ content/ interview/ alex_cox), interviewed by Noel Murray, March 14, 2008. The A.V. Club.
[11] "Walker" (http:/ / www. criterion. com/ asp/ release. asp?id=423). Criterion Collection. November 19, 2007. . Retrieved 2007-11-19.
''Straight to Hell'' 175

Straight to Hell
Straight to Hell

Theatrical release poster

Directed by Alex Cox

Produced by Eric Fellner

Written by Alex Cox

Dick Rude

Starring Dick Rude

Sy Richardson
Courtney Love
Joe Strummer

Music by Pray for Rain

Cinematography Donald McAlpine

Editing by David Martin

Distributed by Island Pictures

J&M Entertainment
Starlight

Release date(s) 26 June 1987

Running time 86 min.

Country United Kingdom

Language English

Budget $1,000,000
(estimated)

Straight to Hell is a 1987 action-comedy film directed by Alex Cox, featuring Sy Richardson, The Clash frontman
Joe Strummer (after whose song the film is named), Courtney Love, Dick Rude, Dennis Hopper, Grace Jones, Elvis
Costello, Xander Berkeley, Kathy Burke, Jim Jarmusch, Edward Tudor-Pole, Miguel Sandoval, Jennifer Balgobin,
and members of The Pogues, Amazulu and The Circle Jerks. Its tagline is: "A story of blood, money, guns, coffee,
and sexual tension."
Often viewed as a parody of Spaghetti Westerns[1] , it is really more of an homage. While the film received almost
no positive reviews, it has (like several other of Cox's films) achieved a minor cult status, largely due to its cast of
musicians, many of whom have cult followings of their own. A soundtrack has been released.
''Straight to Hell'' 176

Plot
The plot of Straight to Hell concerns three inept hitmen (played by Richardson, Rude, and Strummer) who, after
blowing a job, rob a bank and flee to Mexico to escape the wrath of their boss (played by Jim Jarmusch). They come
to a ghost town run by a gang of coffee-addicted killers, eventually leading to the inevitable bloodbath at the end.
The movie has been accused of being one giant "in-joke", that few get, but those who do get it appreciate the movie
for its subtle wit and absurdity.
The end of the film announces an imminent sequel: Back to Hell. It is highly unlikely that Cox ever seriously
contemplated such a film, for a such movie made as a lark he certainly never could have expected it to be a
substantial commercial success. Likewise almost every main character is killed at the end of the film. (It is perhaps
noteworthy that the only survivors are women and minorities, with the exception of Dennis Hopper's character of IG
Farben, who instigates the final battle and reaps the spoils.) Nevertheless, for the film's DVD release Cox
reassembled much of the cast and crew for a short documentary called Back to Hell, in which they reminisce about
the making of the film.

Production
The film was not originally intended to be made at all, and the reason for a preponderance of musicians in the cast
was the result of a concert tour of Nicaragua that was planned in the first place. Political problems arose concerning
the support of the left-wing government of Nicaragua, and the tour was cancelled. In its place Cox decided to have
the bands, and several actors he could assemble, make a movie in Almería, Spain. Cox and co-star Dick Rude wrote
a script in a hurry, and the entire film was shot in just four weeks.
Alex Cox turned down the chance to direct ¡Three Amigos! in order to film Straight to Hell.

Reception
Straight to Hell's premier was held at the Pickwick Drive-In in Burbank, California. Invitees were asked to come
dressed in "post-apocalyptic fiesta garb."[2] Everyone who arrived was handed a water pistol.[2]
The film was not well-received by critics, drawing mostly negative reviews. In her review for the New York Times,
Janet Maslin wrote, "The result is a mildly engrossing, instantly forgettable midnight movie."[3] Hal Hinson, in his
review for the Washington Post, wrote, "The action is so gratuitous, and so indifferently presented, that it's
impossible to think that Cox ever truly intended it to be seen by anyone outside of the cast and crew and their
immediate families."[4]
Straight to Hell was rated "R" for violence and language. The latter reason caught the producers by surprise, as the
writers deliberately refrained from including any sort of profanity in the dialogue. Even the word "hell" appears only
in the title (at one point a character quite noticeably says "what the heck is going on here?"), and the insults that fly
before a showdown are no worse than "go boil yer head!"
''Straight to Hell'' 177

External links
• Straight to Hell [5] at the Internet Movie Database
• Straight to Hell page on Alex Cox website [6]
• Film Comment interview with Joe Strummer [15]

References
[1] "One such filmmaker is Alex Cox, director of Repo Man and Sid and Nancy. In 1987 he made his own Spaghetti Western pastiche Straight to
Hell, and, more recently, has written an assessment of the genre in 10,000 Ways to Die. To this task, Cox brings a lifelong appreciation of all
Westerns, as well as experience behind the camera, both of which give him a unique perspective to the genre." http:/ / www. powells. com/
review/ 2009_09_26
[2] Deans, Laurie (3 July 1987). "What on Earth Do You Wear to a 'Post-Apocalyptic Fiesta'?". Globe & Mail.
[3] Maslin, Janet (26 June 1987). "Straight to Hell". New York Times.
[4] Hinson, Hal (1 July 1987). "Hell on Reels". Washington Post.
''Candy Mountain'' 178

Candy Mountain
Candy Mountain

Theatrical release poster

Directed by Robert Frank
Rudy Wurlitzer

Produced by Philippe Diaz

Written by Rudy Wurlitzer

Starring Kevin J. O'Connor

Harris Yulin
Tom Waits
Bulle Ogier
Roberts Blossom

Music by Dr. John

David Johansen
Rita MacNeil
Leon Redbone

Cinematography Pio Corradi

Editing by Jennifer Augé

Distributed by International Film Exchange

(IFEX)
Republic Pictures

Release date(s) February 20, 1988

Running time 103 min

Country  Switzerland
 Canada
 France

Language English

Candy Mountain is a 1988 drama film directed by Robert Frank.

''Candy Mountain'' 179

Plot
Julius (O'Connor) is a struggling musician who sets off to find Elmore Silk (Yulin) in order to strike a deal with him
and become famous. Along his search, he meets various people who have encountered Elmore, and can give him
valuable insight into what kind of man Elmore is. Once he meets Elmore, he finally realizes that financial gain is
nothing compared to the development of one's artistic ability.

Cast
• Kevin J. O'Connor as Julius
• Harris Yulin as Elmore Silk
• Tom Waits as Al Silk
• Bulle Ogier as Cornelia
• Roberts Blossom as Archie
• Leon Redbone as Leon

Reception

Reviews
The film generally received mixed reviews from critics. Caryn James of The New York Times wrote, "...seems to be a
small, quirky film, but it easily assumes the weight, ambition and success that many larger films aim for and miss."
[1]
As of November 2009, film review aggregator Rotten Tomatoes had issued a 100% rating based on reviews from
8 critics.[2]

Awards
San Sebastián International Film Festival
• 1987: Won, "Silver Seashell Award"

External links
• Candy Mountain [3] at the Internet Movie Database

References
[1] http:/ / movies. nytimes. com/ movie/ review?_r=2& res=940DE7DD143DF933A25755C0A96E948260
[2] http:/ / www. rottentomatoes. com/ m/ candy_mountain/
''Mystery Train'' 180

Mystery Train
Mystery Train

French theatrical poster for Mystery Train

Directed by Jim Jarmusch

Produced by Rudd Simmons

Jim Stark

Written by Jim Jarmusch

Starring Youki Kudoh

Masatoshi Nagase
Screamin' Jay Hawkins
Cinqué Lee
Nicoletta Braschi
Elizabeth Bracco
Rick Aviles
Joe Strummer
Steve Buscemi

Music by John Lurie

Cinematography Robby Müller

Editing by Melody London

Studio Mystery Train Inc

Victor Company of Japan
[1]
MTI Home Video

Distributed by Orion Classics (USA)

Release date(s) May 13, 1989 (Cannes Film Festival)

[1]
November 17, 1989 (United States)

Running time 113 minutes

Country Japan
United States

Language English
Japanese

Budget [2]
$2,800,000

Gross revenue [1]

$1,541,218 (domestic)

Mystery Train is a 1989 independent anthology film written and directed by Jim Jarmusch and set in Memphis,
Tennessee. The film comprises a triptych of stories involving foreign protagonists unfolding over the course of the
''Mystery Train'' 181

same night. "Far From Yokohama" features a Japanese couple (played by Youki Kudoh and Masatoshi Nagase) on a
blues pilgrimage, "A Ghost" focuses on an Italian widow (Nicoletta Braschi) stranded in the city overnight, and
"Lost In Space" follows the misadventure of a newly single and unemployed Englishman (Joe Strummer) and his
companions (Rick Aviles and Steve Buscemi). They are linked by a run-down flophouse overseen by a night clerk
(played by Screamin' Jay Hawkins) and his dishevelled bellboy (Cinqué Lee), a scene featuring Elvis Presley's "Blue
Moon",[3] and a gunshot.
The starting point for the script was the ensemble cast of friends and previous collaborators Jarmusch had conceived
characters for, while the tripartite formal structure of the film was inspired by his study of literary forms.
Cinematographer Robby Müller and musician John Lurie were among the many contributors who had been involved
in earlier Jarmusch projects and returned to work on the film. Mystery Train's US$2.8 million budget (financed by
Japanese conglomerate JVC) was considerable compared to what the director had enjoyed before, and allowed him
the freedom to rehearse many unscripted background scenes. It was the first of Jarmusch's feature films to depart
from his trademark black-and-white photography, though the use of color was tightly controlled to conform with the
director's intuitive sense of the film's aesthetic.
Mystery Train was released theatrically by Orion Classics under a restricted rating in the United States, where it
grossed over $1.5 million. It enjoyed critical acclaim on the film festival circuit, and like the director's earlier films
premiered at the New York Film Festival and was shown in competition at Cannes, where Jarmusch was awarded the
Best Artistic Achievement Award. The film was also shown in the Edinburgh, London, Midnight Sun, Telluride, and
Toronto film festivals, and was nominated in six categories at the Independent Spirit Awards. Critical reaction was
overwhelmingly positive, with reviewers praising the structure, humor, and characters of the film, though there were
discontented rumblings that the director had not been sufficiently adventurous.

Plot
The film consists of three stories that take place on the same night in downtown Memphis. The three stories are
linked together by the Arcade Hotel, a run-down flophouse presided over by the night clerk (Screamin' Jay Hawkins)
and bellboy (Cinqué Lee), where the principal characters in each story spend a part of the night. Every room in the
hotel is adorned with a portrait of Elvis.
The first story, "Far From Yokohama", features Mitsuko (Youki Kudoh) and Jun (Masatoshi Nagase), a teenage
couple from Yokohama making a pilgrimage to Memphis during a trip across America. Mitsuko is obsessed with
Elvis to the point where she believes that there is a mystical connection between Elvis, Madonna and the Statue of
Liberty. The film follows the couple as they travel from the train station, through downtown Memphis and an
exhausting tour of Sun Records, to the Arcade hotel.
The second story, "A Ghost", is about an Italian widow, Luisa (Nicoletta Braschi), who is stranded in Memphis
while escorting her husband's coffin back to Italy. Luisa, who has been conned twice and stuck with armfuls of
magazines, is forced to share a room at the hotel with Dee Dee (Elizabeth Bracco), a young woman who has just left
her husband and who plans to leave the city in the morning. Luisa is kept awake by Dee Dee's constant talking, and
when the young woman finally does go to sleep, visited by an apparition of Memphis' most famous icon – Elvis
Presley.
In the final story, "Lost In Space", Dee Dee's husband Johnny (Joe Strummer) is introduced. Having gotten drunk
after losing his job, Johnny – known, much to his chagrin, as Elvis – drives around the city along with his friend
Will Robinson (Rick Aviles) and brother-in-law Charlie (Steve Buscemi). They stop at a liquor store, which Johnny
attempts to rob using the gun and severely wounds the owner in the process. Fearing the consequences of the
incident, Johnny, Will and Charlie retire to the hotel to hide out for the night; there, Johnny gets further drunk.
Charlie realizes that Will shares the same name as the character Will Robinson from the television show Lost in
Space, which Johnny has never heard of. Charlie and Will proceed to tell him about the show, and Will comments
that that is how he feels then with Charlie and Johnny; lost in space. The next morning Charlie discovers that Johnny
''Mystery Train'' 182

isn't really his brother-in-law, which angers him because of what they've been through. Johnny attempts to shoot
himself, and while struggling to prevent him, Charlie is shot in the leg. Leaving the hotel, the three escape a police
car that isn't even looking for them. The closing credits show the train, the airport and the final views of the
characters from the first two stories.

Production

Script and casting

Jarmusch wrote the script for the film under the working title "One Night in Memphis",[4] without ever having been
to the southern city.[5] The idea for "Far From Yokohama", the first segment, he took from a one-act play he had
been writing before filming Down by Law (1986).[6] The play – unrelated to Elvis or Memphis – concerned a
constantly argumentative young couple, one of whom gradually comes to realize that their fighting is a unifying
force in the relationship.[6] [7] The interconnected stories were inspired by Jarmusch's dwelling on literary forms, and
specifically the work of Chaucer,[8] Italian episodic films and Japanese ghost story cinema.[9] [10] As with his other
films, Jarmusch's starting point for writing Mystery Train was the actors and characters he had foremost in mind. The
great number of these collaborators contributed to it being "the most complicated film to write and execute"
according to the director.[11]
What I like about the Japanese kids in Memphis is, if you think about tourists visiting Italy, the way the Romantic poets went to Italy
to visit the remnants of a past culture, and then if you imagine America in the future, when people from the East or wherever visit
our culture after the decline of the American empire – which is certainly in progress – all they'll really have to visit will be the
homes of rock'n'roll stars and movie stars. That's all our culture ultimately represents. So going to Memphis is a kind of pilgrimage
to the birthplace of a certain part of our culture.
[6]
—Jim Jarmusch, Interview, November 1989.

The role of Johnny was written by Jarmusch specifically for Joe Strummer, who had been the frontman of The Clash,
the director's favorite 1980s rock band.[11] [12] Jarmusch had conceived the part a few years previously while the two
were together in Spain,[13] and although the musician had been in a period of depression at the time following the
collapse of the band, he was drawn by the Memphis setting of the film.[12] Unlike the jovial Steve Buscemi,
Strummer did not stay on set to joke with the veteran actors between shots, but instead preferred to keep his own
company, focusing intensively on orienting himself to the role.[12]
Jarmusch had met blues singer Screamin' Jay Hawkins after featuring his music prominently in his breakthrough
feature film debut Stranger Than Paradise (1984). Although reticent about acting, Hawkins responded favorably to
the director's offer to appear.[11] The part of Luisa was also written by the director with the star – actress Nicoletta
Braschi – in mind; the two had previously collaborated on Down by Law (1986).[14] Cinqué Lee is the younger
brother of director Spike Lee, a longtime friend of Jarmusch from their days at New York University's film school,
while Youki Kudoh was cast after the director saw her performance in Sōgo Ishii's The Crazy Family (1984) while
promoting Down by Law in Japan.[11] [13] Repeat Jarmusch collaborators who worked on the film included John
Lurie who provided the original music, cinematographer Robby Müller,[15] and singer Tom Waits, who in a voice
appearance reprised his role of radio DJ Lee Baby Sims from Down by Law. Other cameos include Jarmusch's
long-time girlfriend Sara Driver as an airport clerk, Rufus Thomas as the man in the train station who greets the
Japanese couple,[13] Rockets Redglare as the clerk of the liquor store, Vondie Curtis-Hall as Ed, Sy Richardson as
the news vendor, and Richard Boes and Tom Noonan as diner patrons.[1]
''Mystery Train'' 183

Filming
Mystery Train was filmed in Memphis in the Summer of 1988.[16] After arriving in the city during a snowstorm to
scout for shooting locations, Jarmusch drove around without direction before coming to the intersection of a disused
train station, the Arcade Luncheonette diner, and the dilapidated Arcade Hotel that would become the film's core
setting.[5] [13] He would later recount the experience in a March 1990 interview in Spin: "Man, ... this crossroad is
filled with so many ghosts. You know Robert Johnson walked down that street, you know Muddy Waters was in that
train station."[13] The locale of the intersection was one of the film's primary formal elements; the effect of Jarmusch
returning to the setting with different characters under different circumstances was one of variations on a theme.[17]
The film was shot in bright, primary colors rather than the
black-and-white of the director's previous features,[18] [19] [20] but it
retained his usual languid pacing.[21] Jarmusch characterized the color
choice as "intuitive".[5] He deliberately chose a cool color palette,
eschewing yellows and oranges and using only sporadic dashes of red
(as in the Japanese couple's ubiquitous suitcase).[7] This motif of
flashes of red was later described by Suzanne Scott of Reverse Shot as
"giving the impression of a failed attempt to grab a bit of Elvis’s
Jarmusch chose a cool palette for the film, glamor and try it on for size, only to inevitably discover that it looks
accentuated with an occasional jolt of red as
cartoonish out of context".[3] Stills from the film as well as on-location
shown here by the suit of the Night Clerk
(Screamin' Jay Hawkins) contrasted with the shots of the actors and the film crew by photographer Masayoshi
[3]
muted background of the hotel lobby. Sukita were published to accompany the film as the photo collection
Mystery Train: A Film by Jim Jarmusch.[16]

Mystery Train was the first American independent film to be financed by Japanese conglomerate JVC, and was
produced on a budget – $2.8 million – that was considerable by Jarmusch's modest standards.[2] [7] [22] The company
was enthusiastic about underwriting the film despite the director insisting on retaining full creative control, and went
on to fund his next three features.[23] [24] The substantial budget and time available gave Jarmusch the opportunity to
shoot in color and to rehearse with the actors many scenes not in the script, including several from the courtship of
Mitsuko and Jun.[11] [23] At a Memphis nightclub with the Japanese actors during production, the director had
Masatoshi Nagase – who spoke little English but was an accomplished mimic – try chat-up lines on the female
clientele as an acting exercise.[13] Jarmusch took advantage of the production to make the second installment of his
Coffee and Cigarettes series, a collection of short vignettes featuring acquaintances of the director sitting about
drinking coffee and smoking cigarettes.[25] The "Memphis Version", titled Twins, starred bickering twins Cinqué and
Joie Lee alongside Steve Buscemi as an obtuse waiter who expounds his theory of Elvis having an evil twin to a
hostile reception.[26]

Release
[Mystery Train] is a meditation on nighttime and transience, on rhythm-and-blues and the city of Memphis, that comes camouflaged
as a deck of three stories. Like its predecessors, it mixes high and low comedy, sadness and high jinks, and extracts a subtle, limpid
beauty from the rawest of materials
[6]
—Luc Sante, Interview, November 1989.

The film had its domestic premiere at the 27th New York Film Festival in 1989,[27] thereby emulating the director's
previous features Stranger Than Paradise in 1984, and Down by Law in 1986.[28] The Miami Herald declared it the
"quiet triumph" of the festival.[29] The film was picked up for theatrical distribution by Orion Classics in the United
States, where it was released under an R-rating due to scenes featuring brief nudity and mild profanity.[30] [31] Its
total domestic gross was $1,541,218, making it the 153th highest-grossing film of 1989, and the 70th highest R-rated
film of the year.[30] Internationally, it was first shown in competition at the 1989 Cannes Film Festival on May 13
''Mystery Train'' 184

and 14, 1989,[28] and subsequently featured in the Edinburgh, London, Midnight Sun, Telluride and Toronto film
festivals.[1] [32]
Mystery Train was released on DVD on March 28, 2000 with an aspect ratio of 1.85:1 and Dolby Digital 5.1/2
surround sound.[33] The DVD release was criticized by Anna Lazowski of allmovie who awarded it two stars out of
five compared to four for the film itself, citing the paltry special features of 24 scene selections and a collectible
behind-the-scenes booklet.[33] It was announced in December 2009 that the film had been selected for inclusion in
The Criterion Collection, with a special edition DVD released in September 2010.[34]

Critical reception
Like Jarmusch's previous films, Mystery Train enjoyed a warm reception from critics. This was particularly evident
at Cannes, where the film was nominated for the Palme d'Or and Jarmusch was commended for the festival's Best
Artistic Achievement.[32] [35] [36] It was nominated in six categories at the 1989 Independent Spirit Awards: Best
Picture, Best Screenplay (Jim Jarmusch), Best Director (Jim Jarmusch), Best Cinematography (Robby Müller), Best
Actress (Youki Kudoh), and Best Supporting Actor (Steve Buscemi and Screamin' Jay Hawkins).[32]
Entertainment Weekly reviewer Ira Robbins gave the film a B+ rating, complimenting it as "conceptually ambitious"
and concluding that its "offbeat characters, fine cinematography, and novel structure make for entertaining
viewing".[37] Robert Fulford of The National Post hailed it as "eccentric and deliriously funny",[38] while Rolling
Stone's Phil Whitman remarked that the director's "bracing, original comedy may be mostly smoke and air, but it's
not insubstantial".[18] In The New York Times, Vincent Canby called it "thoroughly fascinating, a delight" and the
director's best effort to date, drawing note to its retention of the "same kind of dour, discordant charm" exhibited by
Stranger Than Paradise.[19] He praised Jarmusch's development as a screenwriter – citing the restrained dialogue,
humor and subtlety of the narrative and the careful construction of the plot – and the performances he elicited from
the ensemble cast.[19] [39] John Hartl, in The Seattle Times, also drew a comparison with Stranger Than Paradise,
judging Mystery Train to be the more accessible work while retaining the dry wit of its predecessor.[31]
Hal Hinson of The Washington Post was unimpressed with the film, calling it Jarmusch's "least engaging, and the
first in which his bohemian posturing actually becomes an irritant".[40] Of the film's characters, critic Jonathan
Rosenbaum of the Chicago Reader wrote that some were "beautifully imagined and realized, while others seem
drawn from a more familiar stockpile, designed for reuse rather than discovery".[17] David Denby, concluding a
mixed review of the film for New York Magazine, mused that "one feels Jarmusch has pushed hipsterism and cool
about as far as they can go, and that isn't nearly far enough."[41] This reproach was echoed by other reviewers who
found that the film's style did not stray far from that of the director's earlier work – a critical backlash that would be
amplified two years later following the release of Night On Earth (1991).[28] [42]
Postmodern cultural critic bell hooks cited the interaction in the Memphis train station between Thomas and the
Japanese couple as one of the few examples of nuanced, deconstructive and subversive treatment of blackness in
American film.[43] The Chicago Sun-Times' Roger Ebert proclaimed that "[t]he best thing about Mystery Train is that
it takes you to an America you feel you ought to be able to find for yourself, if you only knew where to look."[44] In
an April 2000 retrospective of Jarmusch's work for Sight & Sound, Shawn Levy concluded that the film was "as
much a valentine to the allure of the American way of pop culture as it is a cheeky bit of structural legerdemain
without terribly much resonating significance".[45]
''Mystery Train'' 185

Footnotes
[1] "Mystery Train – 1989 – Masatoshi Nagase, Jim Jarmusch – Variety Profiles" (http:/ / www. variety. com/ profiles/ Film/ main/ 113200/
Mystery+ Train. html?dataSet=1). Variety.com. Reed Business Information. . Retrieved November 14, 2009.
[2] Arrington, Carl Wayne (March 22, 1990). "Film's Avant-Guardian". Rolling Stone.
[3] Scott, Suzanne. "The King and I" (http:/ / www. reverseshot. com/ legacy/ dogdays05/ mysterytrain. html). Jim Jarmusch Symposium.
Reverse Shot Online. . Retrieved November 14, 2009.
[4] Hertzberg, Ludvig. ""One Night in Memphis"" (http:/ / www. jim-jarmusch. net/ films/ unmaderumored_films/ one_night_in_memphis.
html). The Jim Jarmusch Resource Page. . Retrieved September 30, 2009.
[5] Rea, Steven (December 24, 1989). "The filming luck of Jim Jarmusch" (http:/ / jimjarmusch. tripod. com/ pi89. html). The Philadelphia
Inquirer. . Retrieved October 3, 2009.
[6] Sante, Luc (November 1989). "Mystery Man". Interview. Reprinted with permission in Hertzberg 2001, pp. 87
[7] McGuigan, Catherine (January 1990), "Shot by Shot: Mystery Train", Premiere 3 (5). Reprinted with permission in Hertzberg, Ludvig (2001).
Jim Jarmusch: Interviews. Jackson: University Press of Mississippi. ISBN 1578063795. OCLC 46319700.
[8] Schaber, Bennet (1991). "Modernity and the Vernacular" (http:/ / www. pum. umontreal. ca/ revues/ surfaces/ vol1/ schaber. html). Surfaces
(Les Presses de l'Université de Montréal) 1. ISSN 1188-2492. . Retrieved January 16, 2010.
[9] "Jim Jarmusch – part two" (http:/ / www. guardian. co. uk/ film/ 1999/ nov/ 15/ guardianinterviewsatbfisouthbank1). guardian.co.uk.
November 15, 1999. . Retrieved May 12, 2009.
[10] Jarmusch, Jim (1989). "Notes on Mystery Train, by Jim Jarmusch". Album notes for Mystery Train. Milan Records.
[11] Wilmington, Michael (February 27, 1990). "Director Puts Much Value on Tough-Sell Reputation Movies". The Los Angeles Times (Tribune
Company).
[12] Salewicz, Chris (2007). Redemption Song: The Ballad of Joe Strummer. London: Faber and Faber. p. 433. ISBN 057121178X.
OCLC 76794852.
[13] Cohen, Scott (March 1990). "Strangers in Paradise". Spin (Spin Media).
[14] Van Gelder, Lawrence (December 1, 1989). "At the Movies" (http:/ / www. nytimes. com/ 1989/ 12/ 01/ movies/ at-the-movies.
html?pagewanted=all). The New York Times (The New York Times Company). . Retrieved October 3, 2009.
[15] "Festival de Cannes: Mystery Train" (http:/ / www. festival-cannes. com/ en/ archives/ ficheFilm/ id/ 226/ year/ 1989. html).
festival-cannes.com. . Retrieved September 18, 2009.
[16] Jarmusch, Jim (1989), "Foreword", in Masayoshi Sukita, Mystery Train: A Film by Jim Jarmusch, Shin Yamamoto, ISBN 4893890166,
"Mystery Train was filmed in Memphis, Tennessee during the (very hot) summer of 1988. This book is intended as a kind of souvenir of the
film (like a home movie, or a photo album) for anyone who might be interested. It contains images from the film, as well as on-location photos
of the cast and crew."
[17] Rosenbaum, Jonathan (February 9, 1990). "Strangers in Elvisland". Chicago Reader.
[18] Whitman, Phil (December 8, 2000). "Mystery Train" (http:/ / www. rollingstone. com/ reviews/ movie/ 5949005/ review/ 5949006/
mystery_train). Rolling Stone. Jann Wenner. . Retrieved October 3, 2009.
[19] Canby, Vincent (May 21, 1989). "Mystery Train (1989)" (http:/ / movies. nytimes. com/ movie/
review?res=9807E6DF153AF932A15756C0A96F948260). The New York Times (The New York Times Company). . Retrieved November 14,
2009.
[20] Plasketes, George (1997). Images of Elvis Presley in American culture: 1977–1997: the mystery terrain. New York: Haworth Press.
ISBN 1560249102. OCLC 243870174.
[21] Kennedy, Mark (March 19, 2000). "Jim Jarmusch refuses to go along" (http:/ / news. google. com/ newspapers?id=z7wKAAAAIBAJ&
sjid=oE0DAAAAIBAJ& pg=7054,1505589). The Columbian. Associated Press. .
[22] Canby, Vincent (May 27, 1989). "Critic's Notebook; For the Cannes Winner, Untarnished Celebrity" (http:/ / www. nytimes. com/ 1989/ 05/
27/ movies/ critic-s-notebook-for-the-cannes-winner-untarnished-celebrity. html). The New York Times (The New York Times Company). .
Retrieved November 14, 2009.
[23] Goddard, Peter (Jan 11, 1990). "Jim Jarmusch: Stranger in a familiar landscape". Toronto Star (Toronto Star Newspapers).
[24] "Jim Jarmusch – part four" (http:/ / www. guardian. co. uk/ film/ 1999/ nov/ 15/ guardianinterviewsatbfisouthbank2). guardian.co.uk.
Guardian Media Group. November 15, 1999. . Retrieved January 2, 2010.
[25] Tobias, Scott (May 19, 2004). "Interview: Jim Jarmusch" (http:/ / www. avclub. com/ articles/ jim-jarmusch,13869/ ). The A.V. Club. The
Onion. . Retrieved December 28, 2009.
[26] Suárez, Juan Antonio (2007). "Are You Trying to Tell Me the Drumming in My Records Sucks? Coffee and Cigarettes". Jim Jarmusch.
Urbana: University of Illinois Press. p. 88. ISBN 0252074432. OCLC 71275566.
[27] "The New York Film Festival: Archive" (http:/ / filmlinc. com/ archive/ nyff/ nyfffestlist. htm). Film Society of Lincoln Center. . Retrieved
November 14, 2009.
[28] Tasker, Yvonne (2002). "Stranger than Fiction: The rise and fall of Jim Jarmusch". Fifty Contemporary Filmmakers. Routledge Key Guides.
New York: Routledge. pp. 177–178. ISBN 0415189748. OCLC 47764371.
[29] "New York festival turns movie town into movie heaven". Miami Herald. October 8, 1989. "The quiet triumph of this festival is Jarmusch's
Mystery Train..."
''Mystery Train'' 186

[30] "Mystery Train (1989)" (http:/ / boxofficemojo. com/ movies/ ?id=mysterytrain. htm). Box Office Mojo. Internet Movie Database. .
Retrieved November 14, 2009.
[31] Hartl, John (January 26, 1990). "Mystery Train – Jarmusch's Film Exposes Pop-Culture Excesses" (http:/ / community. seattletimes.
nwsource. com/ archive/ ?date=19900126& slug=1052793). The Seattle Times (Seattle Times Company). . Retrieved November 15, 2009.
[32] "Mystery Train > Awards" (http:/ / www. allmovie. com/ work/ mystery-train-34211/ awards). allmovie.com. All Media Guide. . Retrieved
December 28, 2009.
[33] Lazowski, Anna. "Mystery Train > Overview" (http:/ / www. allmovie. com/ dvd/ mystery-train-7091). allmovie.com. All Media Guide. .
Retrieved December 28, 2009.
[34] "Ask Jim Jarmusch" (http:/ / www. criterion. com/ current/ posts/ 1339). Criterion.com. The Criterion Collection. December 22, 2009. .
Retrieved December 28, 2009.
[35] Jacobson, Harlan (May 19, 2005). "Another American movie is in full bloom in Cannes" (http:/ / www. usatoday. com/ life/ movies/ news/
2005-05-19-broken-flowers_x. htm). USA Today (Gannett Company). . Retrieved October 3, 2009.
[36] Canby, Vincent (November 12, 1989). "The Giddy Minimalism Of Jim Jarmusch" (http:/ / www. nytimes. com/ 1989/ 11/ 12/ movies/
film-view-the-giddy-minimalism-of-jim-jarmusch. html?pagewanted=all). The New York Times (The New York Times Company). . Retrieved
October 17, 2009.
[37] Robbins, Ira. "Mystery Train (1990)" (http:/ / www. ew. com/ ew/ article/ 0,,318620,00. html). Entertainment Weekly. . Retrieved October 3,
2009.
[38] Fulford, Robert (April 4, 2000). "Robert Fulford's column about Jim Jarmusch" (http:/ / www. robertfulford. com/ Jarmusch. html). The
National Post. . Retrieved November 9, 2009.
[39] Canby, Vincent (September 29, 1989). "Film Festival; A Blissful 'Mystery Train' From Jim Jarmusch" (http:/ / www. nytimes. com/ 1989/
09/ 29/ movies/ film-festival-a-blissful-mystery-train-from-jim-jarmusch. html). The New York Times (The New York Times Company). .
Retrieved October 3, 2009.
[40] Hinson, Hal (February 02, 1990). "Mystery Train (R)" (http:/ / www. washingtonpost. com/ wp-srv/ style/ longterm/ movies/ videos/
mysterytrainrhinson_a0a8cc. htm). The Washington Post (The Washington Post Company). . Retrieved September 27, 2009.
[41] Denby, David (November 20, 1989). "The Memphis Blues Again" (http:/ / books. google. com/ books?id=P-gCAAAAMBAJ& pg=PA120).
New York Magazine: 120–122. . Retrieved November 17, 2009. "Mystery Train is a blues movie without the suffering and pleasure that make
the blues emotionally overwhelming. Seeing it, one feels Jarmusch has pushed hipsterism and cool about as far as they can go, and that isn't
nearly far enough.".
[42] Crow, Jonathan. "Jim Jarmusch > Biography" (http:/ / www. allmovie. com/ artist/ jim-jarmusch-95892/ bio). allmovie.com. All Media
Guide. . Retrieved October 1, 2009.
[43] bell hooks (1996). Reel to Real: Race, Sex, and Class at the Movies. New York: Routledge. p. 99. ISBN 0415918235. OCLC 35229108.
"There are so few images of blackness that attempt in any way to be subversive that when I see one like this [Woody Allen's The Purple Rose
of Cairo], I imagine all the myriad ways conventional representations of black people could be disrupted by experimentation. I am equally
moved by that moment in Jim Jarmusch's Mystery Train when the young Japanese couple arrive in the train station in Memphis only to
encounter what appears to be a homeless black man, a drifter, but who turns to them and speaks in Japanese. The interaction takes only a
moment, but it deconstructs and expresses so much. It reminds us that appearances are deceiving. It made me think about black men as
travelers, about black men who fight in armies around the world. This filmic moment challenges our perceptions of blackness by engaging in a
process of defamiliarization (the taking of a familiar image and depicting it in such a way that we look at it and see it differently). Way before
Tarantino was dabbling in "cool" images of blackness, Jarmusch had shown in Down by Law and other work that it was possible for a
white-guy filmmaker to do progressive work around race and representation."
[44] Ebert, Roger (January 26, 1990). "Mystery Train" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19900126/ REVIEWS/
1260301/ 1023). Chicago Sun-Times. . Retrieved November 14, 2009.
[45] Levy, Shawn (April 2000). "Postcards from Mars". Sight & Sound 10 (4). "Like Stranger, Mystery Train begins and ends with images of
locomotion – quite literally in this case, as trains are the chief means of transportation. And it's as much a valentine to the allure of the
American way of pop culture as it is a cheeky bit of structural legerdemain without terribly much resonating significance. (It, too, went over
big at Cannes.)".
''Mystery Train'' 187

External links
• Mystery Train (http://www.imdb.com/title/tt0097940/) at the Internet Movie Database
• Mystery Train (http://www.rottentomatoes.com/m/1028711/) at Rotten Tomatoes
• Mystery Train (http://www.jim-jarmusch.net/films/1989_-_mystery_train/) at The Jim Jarmusch Resource
Page
• "Communication Breakdown" (http://www.brightlightsfilm.com/59/59mysterytrain.html) – an essay on the
film from the Bright Lights Film Journal
''I Hired a Contract Killer'' 188

I Hired a Contract Killer

I Hired a Contract Killer
Directed by Aki Kaurismäki

Produced by Aki Kaurismäki

Written by Aki Kaurismäki

Starring Jean-Pierre Léaud,

Margi Clarke,
Kenneth Colley

Cinematography Timo Salminen

Release date(s) September 13, 1990

Running time 79 min.

Country Finland

Language English, Finnish

I Hired a Contract Killer is a film directed, produced and written by the Finnish auteur Aki Kaurismäki in 1990. It is
a Finnish-British-German-Swedish co-production and stars the renowned French actor Jean-Pierre Léaud. The film
also features cameo appearances by Joe Strummer (The Clash) as a guitar player,[1] and by Kaurismäki as a sunglass
salesman.[2]

Plot
Henri Boulanger (Léaud), a French man in London, is laid-off from his job after fifteen years of service. He tries to
commit suicide but as he continuously fails, he decides to hire a hitman (Kenneth Colley) to do the job. Afterwards
he meets Margaret (Margi Clarke) and finds new meaning to his life, but the hitman is after him and wants to finish
his assignment.

External links
• I Hired a Contract Killer [3] at the Internet Movie Database

References
[1] "Joe Strummer keeps busy since Clash split" (http:/ / www. joestrummer. us/ strumbac. html). The Joe Strummer Resource. . Retrieved
2007-01-06.
[2] "Trivia for I Hired a Contract Killer" (http:/ / www. imdb. com/ title/ tt0099818/ trivia). IMDb. . Retrieved 2007-01-06.
 189

Albums

Capital Radio
"Capital Radio"
Song by The Clash from the album Capital Radio E.P.

Released 9 April 1977 (U.K.)

Recorded 1977

Genre Punk rock

Length 2:09

Label Neat

Writer Strummer/Jones

Producer Micky Foote

Capital Radio is a song and an EP by The Clash.

The original 2:07-2:09 song has been included as "Capital Radio" or "Capital Radio One" on Capital Radio E.P.
(1977), Black Market Clash (1980), Clash on Broadway (1991), The Story of the Clash, Volume 1 (1988), From
Here to Eternity: Live (1999), The Essential Clash (2003), and Singles Box (2006).
Lyrically, the song is an attack on the music policy of what was (at the time) London's only legal commercial music
radio station, which played mainstream chart hits and little if any punk. It mentions the station's then Head of Music,
Aidan Day - "He picks all the hits they play/to keep you in your place all day".
The song ends with a parody of one of Capital's actual jingles of the period; the band replaces the lyric "in tune with
London" with "in tune with nothing".

Capital Radio E.P.

Capital Radio E.P.

EP by The Clash

Released 9 April 1977

(U.K.)

Recorded 1977

Genre Punk rock

Length 14:36

Label Neat

Producer Micky Foote

The Clash EPs chronology

– Capital The Cost of

Radio Living
(1977) (1979)
''Capital Radio'' 190

The EP single 7" vinyl Capital Radio, released on 9 April 1977,[1] was given away to readers who sent off the
coupon printed in the NME, plus the red sticker found on their first album The Clash (1977). It was produced by
Mickey Foote and engineered by Simon Humphrey. The interview was with the NME's Tony Parsons.

Track listing
All songs written by Strummer/Jones.
Side one
1. "Listen" – 0:27
2. "Interview With The Clash On The Circle Line (Part 1)" – 8:50
Side two
1. "Interview With The Clash On The Circle Line (Part 2)" – 3:10
2. "Capital Radio One" – 2:09

Capital Radio Two

"Capital Radio Two"

Song by The Clash from the album The Cost of Living

Released May 11, 1979

Recorded 1979

Genre Punk rock

Length 4:05

Label Neat

Writer Strummer/Jones

Producer Micky Foote

The Cost of Living (EP) track listing

Side one
1. "I Fought the Law"
2. "Groovy Times"
Side two
1. "Gates of the West"
2. "Capital Radio"

In 1978-79 "Capital Radio One" was extremely rare in the UK, so much so that the group had rerecorded it as
"Capital Radio Two" on The Cost of Living E.P. released on 11 May 1979 in 7" vinyl format. "Capital Radio" was
rerecorded because the group learnt that copies of the original Capital Radio EP were selling for high prices.
"Capital Radio Two" is much longer (3:20), mainly because of a protracted intro and outro.
"Capital Radio Two" has been included on The Story of the Clash, Volume 1 (1988), Super Black Market Clash
(1994), and Singles Box (2006).
''Capital Radio'' 191

References
[1] George Gimarc, Punk Diary, p. 61.

The Clash
The Clash

Studio album by The Clash

Released 8 April 1977

Recorded 10 February 1977–27 February 1977 National Film and Television School, Beaconsfield, CBS Studios London

Genre Punk rock

Length 35:18

Label CBS

Producer Mickey Foote

Professional reviews
[1]
• Allmusic link

The Clash chronology

The Give 'Em Enough

Clash Rope
(1977) (1978)

Singles from The Clash

1. "White Riot"
Released: 18 March 1977
2. "Remote Control"
Released: 13 May 1977

The Clash is the first album-length recording released by the English punk rock band The Clash. It was released in
two different versions, both of which are still in print: the original version in 1977 and the revised U.S. version in
1979 (with several post-1977 single sides added to the album).[1]
''The Clash'' 192

Recording and production

Issued in the UK by CBS Records in 1977, engineered by CBS staff engineer Simon Humphrey and produced by
Clash live soundman Mickey Foote, at the (since demolished) CBS Whitfield Street Studio No. 3.[2] This first album
by the Clash was unusually musically varied for a punk band, with reggae and early rock and roll influences plainly
evident.
Most of the album was conceived on the 18th floor of a council high rise on London's Harrow Road, in a flat that
was rented by Jones' grandmother, who frequently went to see their live concerts.[3] The album was recorded over
three weekend sessions at CBS Studio 3 in February 1977. By the third of these sessions the album was recorded and
mixed to completion, with the tapes being delivered to CBS at the start of March. It cost just £4000 to produce.

Songs
The subject of the opening track, "Janie Jones", was a famous madam in London in the 1970s. "Remote Control" was
written by Mick Jones after the Anarchy Tour and contains pointed observations about the civic hall bureaucrats who
had cancelled concerts, the police, big business and especially record companies. CBS decided to release the song as
a single without consulting the band. "I'm So Bored with the U.S.A.", developed from a Mick Jones song, entitled
"I'm So Bored With You",[4] condemns the Americanization of the UK.[5] "White Riot" was the first single put out
by The Clash. The song is short and intense, punk style of two chords played very fast. Lyrically, the song is about
class economics and race.[6]
"Career Opportunities", the opening track of the B-side, attacks the political and economic situation in England at the
time, citing the lack of jobs available, and the dreariness and lack of appeal of those that were available. "Protex
Blue", sung by Mick Jones, is about a 1970s brand of condom. The song ends with the shouted phrase "Johnny
Johnny!", "johnny" being a British slang term for a condom. The version of "White Riot" featured here was not
recorded for the album. Instead they used the original demo version, recorded at Beaconsfield Studios before the
band signed to CBS.
"Police & Thieves" was added to the album when the band realised just how short the tracklist was. Another cover
the band toyed with at these sessions was Bob Marley's "Dancing Shoes". "Garageland" was written in response to
Charles Shaar Murray's damning review of the band's early appearance at the Sex Pistols Screen on the Green
concert - "The Clash are the kind of garage band who should be returned to the garage immediately, preferably with
the engine running".[7] [8] [9] It was the final track recorded for the album.

Artwork
The album's front cover photo, shot by Kate Simon, was taken in the alleyway directly opposite the front door of the
band's 'Rehearsal Rehearsals' building in Camden Market. Drummer Terry Chimes, though a full member of The
Clash at the time, did not appear in the shot as he had already decided to leave the band. Another picture from the
same Kate Simon photoshoot appears on the UK Special Edition DVD of Rude Boy, released in 2003. The picture of
the charging police officers on the rear, shot by Rocco Macauly, was taken during the 1976 riot at the Notting Hill
Carnival—the inspiration for the track "White Riot".

Reception and influence

''The Clash'' 193

Professional
ratings
Review scores
Source Rating

Allmusic [10]

The album received positive reviews from critics and peaked at number 12 in the UK charts. In December 1979,
critic Robert Christgau named it his favorite album of the 1970s.[11]
In February 1993, the New Musical Express magazine ranked the album number 13 in its list of the Greatest Albums
Of All Time.[12] NME also ranked The Clash number 3 in its list of the Greatest Albums of the '70s, and wrote in the
review that "the speed-freaked brain of punk set to the tinniest, most frantic guitars ever trapped on vinyl. Lives were
changed beyond recognition by it".
In December 1999, Q magazine rated the album 5 stars out of 5, and wrote about The Clash that they "would never
sound so punk as they did on 1977's self-titled debut....Lyrically intricate...it still howled with anger".[13] The same
magazine placed The Clash at number forty-eight in its list of the 100 Greatest British Albums Ever in 2000,[14] and
included The Clash in its "100 Best Punk Albums", giving it 5 stars out of 5, in May 2002.[15]
In 2000, Alternative press rated the album 5 out of 5. Alternative press review saw The Clash as an eternal punk
album, a blueprint for the pantomime of 'punkier' rock acts, and that for all of its forced politics and angst, The Clash
continues to sound crucial.[16]
In May 2001, Spin magazine ranked the album number 3 in its "50 Most Essential Punk Records", and wrote "Punk
as alienated rage, as anticorporate blather, as joyous racial confusion, as evangelic outreach and white knuckles and
haywire impulses".[17]
In 2003, the album was ranked number 77 on Rolling Stone magazine's list of the 500 greatest albums of all time.
The album was described as a "youthful ambition bursts through the Clash's debut, a machine-gun blast of songs
about unemployment, race, and the Clash themselves."[18] [19]
In March 2003, Mojo magazine ranked The Clash number 2 in its "Top 50 Punk Albums", writing about the album
that it was "the ultimate punk protest album. Searingly evocative of dreary late '70s Britain, but still timelessly
inspiring".[20]
Lee Perry (credited with singer Junior Murvin with the composition of "Police and Thieves") heard the album while
in London in 1977 and played it to Bob Marley, who in turn mentioned The Clash on his own track "Punky Reggae
Party".

Track listing
All songs written and composed by Joe Strummer and Mick Jones, except where noted.
''The Clash'' 194

Side one

No. Title Lead vocals Length

1. "Janie Jones" Joe Strummer 2:08

2. "Remote Control" Mick Jones/Joe Strummer 3:03

3. "I'm So Bored with the USA" Joe Strummer 2:24

4. "White Riot" Joe Strummer 1:56

5. "Hate & War" Mick Jones 2:06

6. "What's My Name" (Jones, Keith Levene, Strummer) Joe Strummer 1:41

7. "Deny" Joe Strummer 3:06

8. "London's Burning" Joe Strummer 2:12

Side two

No. Title Lead vocals Length

1. "Career Opportunities" Joe 1:54

Strummer

2. "Cheat" Joe 2:06

Strummer

3. "Protex Blue" Mick Jones 1:47

4. "Police & Thieves" (Junior Murvin, Lee Perry) Joe 6:03

Strummer

5. "48 Hours" Joe 1:36

Strummer

6. "Garageland" Joe 3:12

Strummer

Personnel
• Mick Jones − lead guitar, vocals
• Joe Strummer − vocals, rhythm guitar
• Paul Simonon − bass
• Terry Chimes − drums (credited as "Tory Crimes")

1979 U.S. version

''The Clash'' 195

The Clash (1979 U.S. version)

Studio album by The Clash

Released July 1979

Recorded 1976–1979

Genre Punk rock

Length 43:20

Label Epic

Producer Mickey Foote, Lee Perry, The Clash, Bill

Price
Professional reviews
[22]
• Allmusic link
[23]
• Blender link
[24]
• Robert Christgau (A) link

The Clash U.S. chronology

Give 'Em Enough The London

Rope Clash(1979) Calling
(1978) (1979)

Singles from The Clash

1. "Complete Control"
Released: 23 September 1977
2. "Clash City Rockers"
Released: 17 February 1978
3. "(White Man) In Hammersmith Palais"
Released: 17 June 1978
4. "I Fought the Law"
Released: 26 July 1979

In the U.S. the Clash's debut album was released one year after Give Em Enough Rope, so it was their second U.S.
LP. CBS in America had decided that the album was 'not radio friendly', so it was initially only available in the
States during 1977/1978 as an import, and as such became the biggest selling import of the year, shifting over
100,000 copies.[21]
In July 1979, Epic released a modified version of the album for the United States market. This version replaced four
songs from the original version with five non-album singles and B-sides, some of which were recorded and released
after The Clash's second album, Give 'Em Enough Rope. It also used the re-recorded single version of "White Riot",
rather than the original take featured on the UK album.
Dropped from the US release were the following tracks:
• Deny
''The Clash'' 196

• Cheat
• Protex Blue
• 48 Hours
• White Riot (original version)
Added were the following tracks:
• Clash City Rockers - Initially released as a single (A-side) in the UK in February, 1978
• Complete Control - Initially released as a single (A-side) in the UK in September, 1977
• White Riot (re-recorded version) - Initially released as a single (A-side) in the UK in March, 1977
• White Man In Hammersmith Palais - Initially released as a single (A-side) in the UK in June, 1978
• I Fought The Law - Initially released as a track on the Clash EP The Cost Of Living in the UK in May, 1979
• Jail Guitar Doors - - Initially released as the B-side of "Clash City Rockers" in the UK in February, 1978
Initial copies of this American album also came with a bonus 7" single which featured "Groovy Times" and "Gates
of the West".[22]
This was another moderately successful American album for The Clash, even though the sales were likely diluted by
the longstanding popularity of the UK version on the import market. The Clash peaked at #126 on the Billboard
charts, setting the stage for the commercial breakthrough of London Calling later that year.
Since the Clash's first U.K. album had already been released in Canada by CBS Records, when CBS Canada released
the U.S. version they changed the cover art so as to not confuse the record buying public. The CBS Canada version
of the LP has a dark blue border instead of the green. Initial copies also contained the bonus "Groovy Times" 45.

Track listing (1979)

All songs written and composed by Joe Strummer and Mick Jones, except where noted.

Side one (1979)

No. Title Length

1. "Clash City Rockers" 3:55

2. "I'm So Bored with the USA" 2:24

3. "Remote Control" 3:00

4. "Complete Control" 3:14

5. "White Riot" 2:01

6. "(White Man) In Hammersmith Palais" 3:58

7. "London's Burning" 2:10

8. "I Fought the Law" (Sonny Curtis) 2:40

''The Clash'' 197

Side two (1979)

No. Title Length

1. "Janie Jones" 2:00

2. "Career Opportunities" 1:58

3. "What's My Name?" (Jones, Levene, Strummer) 1:40

4. "Hate and War" 2:05

5. "Police & Thieves" (Junior Murvin, Lee Perry) 5:58

6. "Jail Guitar Doors" 3:05

7. "Garageland" 3:12

Personnel (1979)
• Mick Jones − guitars, vocals
• Joe Strummer − vocals, guitars
• Paul Simonon − bass
• Terry Chimes − drums except as noted below (credited as "Tory Crimes")
• Topper Headon − drums on "Clash City Rockers", "Complete Control", "(White Man) In Hammersmith Palais",
"I Fought the Law", and "Jail Guitar Doors"

Charts
Year Chart Position

1977 Swedish Albums Chart[23] 42

1977 UK Albums Chart[24] 12

1979 Billboard Pop albums[25] 126

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.
''The Clash'' 198

External links
• Revolution Rock: Includes a detailed history of the first album [21]
• Official website [20]

References
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash: Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 25:00–25:35;
25:45–27:40; 34:00–36:00; 44:40–45:00. ISBN 0738900826. OCLC 49798077.
[2] The Clash. Mojo, Mojo Classic issue. p. 33.
[3] "The Uncut Crap - Over 56 Things You Never Knew About The Clash". NME (London: IPC Magazines) 3. 16 March 1991. ISSN 0028-6362.
OCLC 4213418.
[4] Caws, Matthew (12 1995). "Mick Jones". Guitar World (New York: Harris Publications) 12. ISSN 1045-6295. OCLC 7982091.
[5] MTV Rockumentary. Interviewer: Unknown; Presenter: Kurt Loder. MTV, London, England. Transcript (http:/ / www. londonsburning. org/
art_mtv_rockumentary_1. html).
[6] Letts (2001). The Clash: Westway to the World. Event occurs at 25:45–27:40.
[7] Murray, Charles Shaar (2003-04-05). "Joe is dead, but the Clash are immortal" (http:/ / www. telegraph. co. uk/ culture/ music/
rockandjazzmusic/ 3592288/ Joe-is-dead-but-the-Clash-are-immortal. html). Telegraph.co.uk. . Retrieved 2010-05-07. "I described them as
the kind of garage band who should be speedily returned to their garage, preferably with the engine running"
[8] Letts (2001). The Clash: Westway to the World. Event occurs at 25:00–25:35.
[9] Needs, Kris (11 2004). "HOW I MET THE CLASH" (http:/ / www. trakmarx. com/ 2004_05/ 05_needs. htm). trakMARX.com. . Retrieved
2007-11-21.
[10] Allmusic Review (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:ljjc7i22g71r)
[11] "Decade Personal Best: '70s" (http:/ / www. robertchristgau. com/ xg/ list/ decade70. php) (PHP). robertchristgau.com. 1979-12-17. .
Retrieved 2008-nicole Jpo.
[12] NME (2 February 1993), p. 29
[13] Q (December 1999), pp. 152-153.
[14] Q (June 2000), p. 70.
[15] Q (May 2002). SE, p. 135.
[16] Alternative Press (March 2000), pp. 74-75.
[17] Spin (May 2001), p. 108.
[18] Rolling Stone (11 November 2003), p. 114.
[19] "77) The Clash: Rolling Stone" (http:/ / www. rollingstone. com/ news/ story/ 6598078/ 77_the_clash). The RS 500 Greatest Albums of All
Time. Rolling Stone. 2003-11-01. . Retrieved 2007-12-02.
[20] Mojo (March 2003), p. 76.
[21] Letts (2001). The Clash: Westway to the World. Event occurs at 34:00–36:00.
[22] Letts (2001). The Clash: Westway to the World. Event occurs at 44:40–45:00.
[23] "Discography The Clash" (http:/ / swedishcharts. com/ showinterpret. asp?interpret=The+ Clash). SwedishCharts.com. Retrieved 26 October
2008.
[24] "UK Chart Archive" (http:/ / www. everyhit. co. uk/ ). everyHit.co.uk. Retrieved 26 October 2008.
[25] "The Clash > Charts & Awards > Billboard Albums" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:gifqxqw5ldte~T5).
Allmusic. Retrieved 26 October 2008.
''The Cost of Living'' 199

The Cost of Living

The Cost of Living E.P.

EP by The Clash

Released 11 May 1979

Recorded Highbury New Park N.5, London, England, 1979

Genre Punk rock

Length 13:01

Label CBS Records

Producer Bill Price

Professional reviews
[1]
• Allmusic Review

The Clash EPs chronology

Capital The Cost of Black Market

Radio Living Clash
(1977) (1979) (1980)

Singles from The Cost of Living EP

1. "Groovy Times"
Released: 26 July 1979

The Cost of Living E.P. is a 7" EP by The Clash released in 1979 in a gatefold sleeve. Produced by the band and Bill
Price, it marked a transition in musical styles for the band, bridging the intensity of their earlier, punky albums with
the broader, more American influenced rock and roll yet to come on London Calling, most evident on the
folk-rocking "Groovy Times" and "Gates of the West".
The Clash's cover of Sonny Curtis' "I Fought the Law" became one of the definitive recordings of the song, and
remained in the band's live set list for much of the rest of their career. Joe Strummer also performed it with his later
bands, including during his stint with the Pogues. The early single "Capital Radio" was re-recorded because the
group learnt that copies of the original Capital Radio EP were selling for high prices. "Capital Radio", later listed as
"Capital Radio Two", is much longer, mainly because of a protracted outro.
It was recorded in Highbury, London, and features "extra high vocal" credited to Dennis Ferranti and harmonica
credited to Bob Jones (in reality Mick Jones).
''The Cost of Living'' 200

Track listing
All songs written by Strummer/Jones except where noted.
Side one
1. "I Fought the Law" (Sonny Curtis) — (2:40)
2. "Groovy Times"[1] — (3:25)
Side two

• "Gates of the West"[2] — (3:25)

2. "Capital Radio" — (4:05)
3. "The Cost of Living Advert" (only on original vinyl and Japanese version of the singles box set)

Charts
Chart Position Year

UK Singles Chart 22 1979

Irish Singles Chart 24 Jun 1979

References
[1] Songinfo on Clash.wikia.com (http:/ / clash. wikia. com/ wiki/ Groovy_Times)
[2] Songinfo on Clash.wikia.com (http:/ / clash. wikia. com/ wiki/ Gates_of_the_West)

Give 'Em Enough Rope

Give 'Em Enough Rope

Studio album by The Clash

Released 10 November 1978

Recorded May–June 1978

Basing Street Studios,
London;
August–September 1978
The Automatt, San Francisco

Genre Punk rock

Length 36:57

Label CBS, Epic

Producer Sandy Pearlman

''Give 'Em Enough Rope'' 201

The Clash chronology

The Give 'Em Enough London

Clash Rope Calling
(1977) (1978) (1979)

Singles from Give 'Em Enough Rope

1. "Tommy Gun"
Released: 24 November 1978
2. "English Civil War"
Released: 23 February 1979

Give 'Em Enough Rope is the second music album by The Clash, released in 1978. In the US it was their official
debut, preceding the U.S. version of The Clash. The album was well received by critics and fans, peaking at number
2 in the UK chart,[1] and number 128 in the U.S.[2]

Album information
The album's title was inspired by the expression "give them enough rope and they'll hang themselves". It was voted
album of the year for 1978 by Rolling Stone and Time magazines, as well as the popular UK music weekly, Sounds.
The latter gave it a glowing review upon release, with writer Dave McCullough calling it "swash-buckled
heavy-metal" and claiming it to be "The best LP since the last Clash LP, both, I personally feel, transcending
anything ever recorded".
The cover was designed by Gene Greif, using a postcard, "End of the Trail", photographed by Adrian Atwater,
featuring Wallace Irving Robertson.
The cover of the first US pressings showed the band's name written in block capital letters. Subsequent US pressings
used a faux-oriental style font, which was then replaced with the more ornate faux-oriental style font used on the UK
release.
The original American issue of the album also retitled "All the Young Punks" as "That's No Way to Spend Your
Youth". This was revised on later editions.
"Tommy Gun" and "English Civil War" were released as the album's singles, either side of Christmas 1978. They
entered the UK charts at #19 and #25 respectively.
Though the opening track of the album's B-side, "Guns On The Roof" is ostensibly a rant about global terrorism, war
and corruption, it was partly inspired by an incident that resulted in the Metropolitan Police's armed anti-terrorist
squad raiding The Clash's Camden Market base. Paul Simonon and Topper Headon were arrested and charged with
criminal damage (and later fined £750) for shooting racing pigeons with an air-gun from the roof of their rehearsal
building. The main riff of the song is similar to "I Can't Explain" by The Who.
The band's style of including contemporary subjects in their lyrics was continued on the album; "Tommy Gun" dealt
with the middle east terrorist situation and the hi-jacking of aircraft while "Julie's Been Working For The Drug
Squad" was a commentary on the infamous "Operation Julie" drug bust that saw the largest LSD production ring in
the world, based in Wales dismantled by an undercover police operation. Julie's Been Working For The Drug Squad
also makes a reference to the popular Beatles song Lucy in the sky with diamonds.
During recording of the album Joe Strummer's trademark Telecaster guitar needed to be taken in for repairs, so for
the bulk of the sessions he played a hired semi-acoustic Gibson ES-345.[3]
Sandy Pearlman, who produced the original album was not a big fan of Joe Strummer's voice, so much so that he
ensured the drums were mixed louder than the lead singer's vocals on the entire album.[4]
''Give 'Em Enough Rope'' 202

Reception

Professional ratings
Review scores
Source Rating

Blender [5]

Tiny Mix Tapes [6]

Allmusic [7]

Q (12/99, pp.152-3)

Punk-Riot

Sputnikmusic [8]

Robert [9]
(A)
Christgau

Rolling Stone [10]

Punknews.org [11]

• Q magazine (12/99, pp. 152-3) - 5 stars out of 5 - "...no more punk than Blondie...[it] shined of quality....their
drumming problems were over with the arrival of jazz-trained [Topper] Headon."
• Q magazine (5/02 SE, p. 135) - Included in Q's "100 Best Punk Albums."
• NME (10/2/93, p. 29) - Ranked #87 in NME's list of the 'Greatest Albums Of All Time.'

Track listing
All lyrics written by Joe Strummer and Mick Jones, except where noted, all music composed by The Clash. All lead
vocals were by Strummer, except "Stay Free" by Jones.

Side one

No. Title Length

1. "Safe European Home" 3:50

2. "English Civil War" (Traditional; arranged Mick Jones/Joe Strummer) 2:35

3. "Tommy Gun" 3:17

4. "Julie's Been Working for the Drug Squad" 3:03

5. "Last Gang in Town" 5:14

''Give 'Em Enough Rope'' 203

Side two

No. Title Length

1. "Guns on the Roof" (Topper Headon/Mick Jones/Paul Simonon/Joe Strummer/Pete Townshend) 3:15

2. "Drug-Stabbing Time" 3:43

3. "Stay Free" 3:40

4. "Cheapskates" 3:25

5. "All the Young Punks (New Boots and Contracts)" 4:55

Personnel
The following people contributed to Give 'Em Enough Rope:[12]

• Joe Strummer- vocals, rhythm guitar • Paul Subblevine - mastering engineer

• Mick Jones - lead guitar, vocals • Dennis Ferranti - sound engineer
• Paul Simonon - bass guitar • Gregg Caruso - sound engineer
• Topper Headon – drums • Kevin Dalimore - sound engineer
• Sandy Pearlman - producer • Chris Mingo - sound engineer
• Corky Stasiak - chief engineer • Gene Greif - cover designer
• Hugh Brown - concept designer

Charts
Year Chart Position

1978 Swedish Albums Chart[13] 36

1978 UK Albums Chart[14] 2

1979 Billboard Pop albums[15] 126

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.
''Give 'Em Enough Rope'' 204

References
[1] Marcus, Greil (1979-01-25). "The Clash: Give 'Em Enough Rope" (http:/ / www. rollingstone. com/ artists/ theclash/ albums/ album/ 248769/
review/ 5940574/ give_em_enough_rope). Album Reviews. Rolling Stone. . Retrieved 2008-03-29.
[2] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 41:00–45:00.
ISBN 0738900826. OCLC 49798077.
[3] Sounds Magazine 17 June 1978
[4] NME Magazine 16 March 1991
[5] Blender Review (http:/ / www. blender. com/ guide/ back-catalogue/ 54675/ give-146em-enough-rope. html)
[6] Tiny Mix Tapes Review (http:/ / www. tinymixtapes. com/ The-Clash)
[7] Allmusic Review (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:m7xvad4kv8wn)
[8] Sputnikmusic Review (http:/ / www. sputnikmusic. com/ album. php?albumid=2955)
[9] Robert Christgau Review (http:/ / www. robertchristgau. com/ get_artist. php?name=The+ Clash)
[10] Rolling Stone Review (http:/ / www. rollingstone. com/ artists/ theclash/ albums/ album/ 248769/ review/ 5940574/ give_em_enough_rope)
[11] Punknews.org Review (http:/ / www. punknews. org/ review/ 6541)
[12] Clash, The. (November 1978). Give 'Em Enough Rope (Album liner notes). CBS Records.
[13] "Discography The Clash" (http:/ / swedishcharts. com/ showinterpret. asp?interpret=The+ Clash). SwedishCharts.com. Retrieved 23
February 2008.
[14] "UK Chart Archive" (http:/ / www. everyhit. co. uk/ ). everyHit.co.uk. Retrieved 17 February 2008.
[15] "The Clash > Charts & Awards > Billboard Albums" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:gifqxqw5ldte~T5).
Allmusic. Retrieved 26 October 2008.

London Calling
London Calling

Studio album by The Clash

Released 14 December 1979

Recorded Wessex Studios, London, August–September, November

1979
Genre Punk rock

Length 65:13

Label CBS, Epic, Legacy

Producer Guy Stevens, Mick Jones

The Clash chronology

Give 'Em Enough London Sandinista!

Rope Calling (1980)
(1978) (1979)

The Clash compilations and lives chronology

''London Calling'' 205

The Essential London Calling: 25th Anniversary Legacy Singles

Clash Edition Box
(2003) (2004) (2006)

Singles from London Calling

1. "London Calling"
Released: 7 December 1979
2. "Clampdown"
Released: 14 December 1979
3. "Train in Vain"
Released: 12 February 1980

London Calling is the third album by English punk rock band The Clash, released in December 1979 on CBS
Records in the UK, and in January 1980 on Epic Records in the US. The album represented a change in The Clash's
musical style, which featured elements of ska, pop, soul, jazz, rockabilly and reggae more prominently than before.[1]
The album's subject matter included unemployment, racial conflict, drug use, and the responsibilities of adulthood.[2]
The album received unanimously positive reviews and was ranked at number eight on Rolling Stone' list of the 500
Greatest Albums of All Time in 2003.[3] London Calling was a top ten album in the UK, and its lead single "London
Calling" was a top 20 single.[4] It has sold over two million copies worldwide,[3] and was certified platinum in the
United States.[5]

Recording and production

After recording their 1978 album Give 'Em Enough Rope in the United States, the band separated from their manager
Bernard Rhodes.[6] This separation meant that the band had to leave their rehearsal studio in Camden Town and find
another location to compose their music. Drawing inspiration from rockabilly, ska, reggae and jazz,[2] the band
began work on the album during the summer of 1979. Tour manager Johnny Green had found the band a new place
to rehearse called Vanilla Studios in Pimlico, which was located in the back of a garage.[7] [8] The band quickly
wrote and recorded demos, with Jones composing and arranging much of the music and Strummer supplying the
lyrics.[2]
In August 1979, the band entered Wessex Studios to begin recording London Calling. The Clash asked Guy Stevens
to produce the album, much to the dismay of CBS Records.[9] Stevens had alcohol and drug problems and his
production methods were unconventional.[2] While recording he would often swing ladders and throw chairs around
the band to create an emotional atmosphere.[2] The Clash got along well with Stevens, especially bassist Paul
Simonon, who found his work to be very helpful and productive to his playing and their recording as a band. While
recording, the band would play football to pass the time. This was a way for them to bond together as well as take
their mind off of the music, and the games got very serious. Doing this helped bring the band together, and sort of
unified them, making the recording process easier and more productive.[10] The entire album was recorded within a
matter of weeks, with many songs recorded in one or two takes.[2]
''London Calling'' 206

Artwork
The album's cover features a photograph of Simonon smashing his
Fender Precision Bass (on display at the Cleveland Rock and Roll Hall
of Fame as of May 2009[11] ) against the stage at The Palladium in
New York City on 21 September 1979 during the "Clash Take the
Fifth" US tour.[12] [13] Pennie Smith, who photographed the band for
the album, originally did not want the photograph to be used. She
thought that it was too out of focus, but Strummer and graphic designer
Ray Lowry thought it would make a good album cover.[13] [14] In 2002,
Smith's photograph was named the best rock and roll photograph of all
time by Q magazine, commenting that "it captures the ultimate
rock'n'roll moment - total loss of control".[15]
The pink and green typography of Elvis Presley's The cover artwork was designed by Lowry and was a homage to the
debut album inspired the design of London
design of Elvis Presley's debut album.[16] [17] The cover was named the
Calling.
ninth best album cover of all time by Q magazine in 2001.[18]
The album cover for London Calling was among the ten chosen by the Royal Mail for a set of "Classic Album
Cover" postage stamps issued in January 2010.[19] [20]

Release
Though London Calling was released as a double album it was only sold for about the price of a single album. The
Clash's record label, CBS, at first denied the band's request for the album to be released as a double. In return CBS
gave permission for the band to include a free 12-inch single that played at 33⅓ rpm. Ultimately, the planned
12-inch record became a second nine-track LP.[8]
Upon release, London Calling sold approximately two million copies.[3] The album peaked at number nine in the
United Kingdom[4] and was certified gold in December 1979.[21] The album performed strongly outside the United
Kingdom. It reached number two in Sweden[22] and number four in Norway.[23] In the United States, London Calling
peaked at number 27 on the Billboard Pop Albums chart[24] and was certified platinum in February 1996.[5]
In 2000, along with the rest of the band's catalogue, London Calling was remastered and reissued in compact disc
format in the United States by Epic Records. Four years later the album was released as a Legacy Edition, which had
a bonus CD and DVD. The bonus CD features the The Vanilla Tapes, missing recordings made by the band in
mid-1979.[25] The DVD includes The Last Testament - The Making of London Calling, a film by Don Letts, as well
as previously unseen video footage and music videos.
London Calling produced two of the band's most successful singles. "London Calling" preceded the album with a 7
December 1979 release. It reached number 11 on the UK Singles Chart.[4] The song's music video, directed by Letts,
featured the band performing the song on a boat in the pouring rain with the River Thames behind them.[26] In the
U.S., "Train in Vain" backed with "London Calling" was released as a single in February 1980. It reached number 23
on the Billboard Hot 100 singles chart and "London Calling"/"Train in Vain" reached number 30 on the Billboard
Disco Top 100 chart.[27]
''London Calling'' 207

Songs
"London Calling", the album's opening track, was partially influenced by the March 1979 accident at a nuclear
reactor at Three Mile Island in Pennsylvania. Strummer's lyrics also discuss the problems of rising unemployment,
racial conflict and drug use in Britain.[28] The second track, "Brand New Cadillac", was originally recorded by Vince
Taylor and was the first track recorded for London Calling. The band cite the song as "one of the first British
rock'n'roll records" and had initially used it as a warm up song before recording.[29] [30] "Rudie Can't Fail", the
album's fifth song, features a horn section and mixes elements of pop, soul, ska and reggae music together. Its lyrics
chronicle the life of a fun-loving young man who is criticised for his inability to act like a responsible adult.[1]
"Spanish Bombs" is a song that tells the story of the Spanish Civil War.[31] It received positive reviews from critics,
with one reviewer stating that its "combination of thoughtful lyrics and an energetic performance" made it a
"highlight of London Calling".[32] The album's eighth track, "Lost in the Supermarket", was written by Strummer
who imagined Jones' childhood growing up in a basement with his mother and grandmother.[33] "Clampdown" began
as a instrumental track called "Working and Waiting".[31] Its lyrics comment on people who forsake the idealism of
youth and urge young people to fight the status quo.[34] The tenth track, "The Guns of Brixton", was the first Paul
Simonon composition the band recorded, and the first to feature him on lead vocals. Simonon was originally
doubtful about the song's lyrics, which discuss an individual's paranoid outlook on life, but was encouraged to
continue working on it by Strummer.[31]
The album's twelfth track, "Death or Glory", features Strummer looking back at his life, acknowledging the
complications and responsibilities of adulthood.[35] While working on "The Card Cheat", the band recorded
everything twice to create a "sound as big as possible".[36] "Revolution Rock", a reggae song, received mixed
reviews from critics, and Strummer and Jones were criticized by NME for their inability to compose credible love
songs.[37] The final track, "Train in Vain", was originally not included in the track list printed on the album's back
cover.[38] The song was initially going to be given away for free through a promotion with NME, but when the deal
fell through it was added to the album at the last minute.[39]

Reception, influence and accolades

Professional ratings
Review scores
Source Rating

Allmusic [40]

PopMatters [41]
(Very favorable)

Pitchfork [42]
(10.0/10)

Mojo (Oct 2004, p. 123)

Blender [43]

Rolling Stone (1980) [44]

(very favourable)

Rolling Stone (2004) [45]

Robert Christgau [46]

(A+)

Paste [47]

Punknews.org [48]
''London Calling'' 208

The album received positive reviews from critics, and has since become widely accepted as one of the greatest rock
albums of all time. It was named best album of the year in the 1980 Rolling Stone critics' poll and also topped the
1980 Village Voice Pazz & Jop critics' poll. In 1987, London Calling was ranked number 14 on Rolling Stone
magazine's "100 Best Albums of the Last Twenty Years". Rolling Stone also ranked London Calling at number one
on its 1989 list of the "100 Greatest Albums of the 80's" despite its 1979 release.[49] In 1993, NME ranked the album
at number six on its list of The Greatest Albums of the '70s.[50] Vibe magazine included the double album on its list
of the 100 Essential Albums of the 20th Century.[51] Q magazine ranked London Calling at number four on its 1999
list of the 100 Greatest British Albums,[52] and, in 2002, included the album in its list of the 100 Best Punk
Albums.[53]
Robert Christgau described London Calling as "warm, angry, and thoughtful, confident, melodic, and hard-rocking"
and called it "the best double-LP since Exile on Main Street".[54] Stephen Erlewine of Allmusic wrote that London
Calling was "invigorating, rocking harder and with more purpose than most albums, let alone double albums" and
called it "one of the greatest rock & roll albums ever recorded".[55]
Alternative Press included London Calling on its 2001 list of the 10 Essential '80s Albums.[56] Tom Carson of
Rolling Stone said it "celebrates the romance of rock & roll rebellion in grand, epic terms"[57] and ranked London
Calling number eight on its 2003 list of the 500 greatest albums of all time.[3] In the same year, Mojo magazine
ranked the album at number twenty-two on its Top 50 Punk Albums.[58] London Calling was named album of the
year by Stereo Review for 1980.
In 2004, Pitchfork Media reviewer Amanda Petrusich named "London Calling" the album's best song and wrote that
"The Clash do not let go; each track builds on the last, pummeling and laughing and slapping us into dumb
submission".[59] The website ranked the album at number two on its list of the Top 100 Albums of the 70s,[60] Sal
Ciolfi of PopMatters called the album a "big, loud, beautiful collection of hurt, anger, restless thought, and above all
hope" and wrote that "if released tomorrow would still seem relevant and vibrant",[61] and the College Music Journal
ranked it at number three on its Top 20 Most-Played Albums of 1980.[62]
In 2007, London Calling was inducted into the Grammy Hall of Fame, a collection of recordings of lasting
qualitative or historical significance.[63]
As an illustration of the album's lasting impact, on 2 December 2009 it was featured on the BBC Radio 1
Masterpieces Series, marking it as one of the most influential albums of all time, some thirty years after its original
release.[64]

Track listing

Standard edition

Side one

No. Title Writer(s) Lead vocals Length

1. "London Calling" Joe Strummer, Mick Jones Strummer 3:19

2. "Brand New Cadillac" Vince Taylor Strummer 2:09

3. "Jimmy Jazz" Strummer, Jones Strummer 3:51

4. "Hateful" Strummer, Jones Strummer 3:22

5. "Rudie Can't Fail" Strummer, Jones Strummer, Jones 3:26

''London Calling'' 209

Side two

No. Title Writer(s) Lead vocals Length

1. "Spanish Bombs" Strummer, Jones Jones 3:18

2. "The Right Profile" Strummer, Jones Strummer 4:00

3. "Lost in the Supermarket" Strummer, Jones Jones 3:47

4. "Clampdown" Strummer, Jones Strummer, Jones 3:50

5. "The Guns of Brixton" Paul Simonon Simonon 3:07

Side three

No. Title Writer(s) Lead Length

vocals

1. "Wrong 'Em Boyo" (including Stagger Lee) Clive Alphonso Strummer 3:10

2. "Death or Glory" Strummer, Jones Strummer 3:55

3. "Koka Kola" Strummer, Jones Strummer 1:45

4. "The Card Cheat" Jones, Strummer, Simonon, Topper Headon Jones 3:51

Side four

No. Title Writer(s) Lead Length

vocals

1. "Lover's Rock" Strummer, Jones Strummer 4:01

2. "Four Horsemen" Strummer, Jones Strummer 3:00

3. "I'm Not Down" Strummer, Jones Jones 3:00

4. "Revolution Rock" Jackie Edwards, Danny Strummer 5:37

Ray

5. "Train in Vain" Strummer, Jones Jones 3:11

On the original record, "Train in Vain" was not listed on the sleeve, nor the label on the record itself, but an
extraneous sticker indicating the track was affixed to the outer cellophane wrapper.

25th Anniversary Legacy Edition

The 25th Anniversary Edition of the album was released in 2004 and contains The Vanilla Tapes (an early version of
the album based on a lost master tape, and previously only available as a bootleg) as a bonus disc, and a DVD
featuring the making of the album, the music videos and video footage of The Clash recording in Wessex Studios.
''London Calling'' 210

Bonus disc track listing

No. Title Writer(s) Length

1. "Hateful" Strummer, Jones 3:23

2. "Rudie Can't Fail" Strummer, Jones 3:08

3. "Paul's Tune" Simonon 2:32

4. "I'm Not Down" Strummer, Jones 3:24

5. "4 Horsemen" Strummer, Jones 2:45

6. "Koka Kola, Advertising & Cocaine" Strummer, Jones 1:57

7. "Death or Glory" Strummer, Jones 3:47

8. "Lover's Rock" Strummer, Jones 3:45

9. "Lonesome Me" The Clash 2:09

10. "The Police Walked in 4 Jazz" Strummer, Jones 2:19

11. "Lost in the Supermarket" Strummer, Jones 3:52

12. "Up-Toon" (instrumental) Strummer, Jones 1:57

13. "Walking the Sidewalk" The Clash 2:34

14. "Where You Gonna Go (Soweto)" The Clash 4:05

15. "The Man in Me" Bob Dylan 3:57

16. "Remote Control" Strummer, Jones 2:39

17. "Working and Waiting" Strummer, Jones 4:11

18. "Heart & Mind" The Clash 4:27

19. "Brand New Cadillac" Taylor 2:08

20. "London Calling" Strummer, Jones 4:26

21. "Revolution Rock" Edwards, Ray 3:51

DVD track listing

No. Title Length

1. "The Last Testament - The Making of London Calling"

2. "London Calling" (music video)

3. "Train in Vain" (music video)

4. "Clampdown" (music video)

5. "Home video footage of The Clash recording in Wessex Studios"

''London Calling'' 211

Personnel
• Joe Strummer – lead vocals and backing vocals, rhythm guitar, piano
• Mick Jones – lead guitar, piano, harmonica, lead vocals and backing vocals
• Paul Simonon – bass guitar, backing vocals (lead vocals on "The Guns of Brixton")
• Topper Headon – drums, percussion
• Mickey Gallagher – organ
• The Irish Horns – brass
• Guy Stevens – producer
• Bill Price – chief engineer
• Jerry Green – second engineer
• Pennie Smith – photographer
• Ray Lowry – design

Charts
Chart (1979) Peak
position

[22] 2
Swedish Albums Chart

[4] 9
UK Albums Chart

Chart (1980) Peak

position

[65] 17
Austrian Albums Chart

[23] 4
Norwegian Albums Chart

27
U.S. Billboard Pop
[24]
Albums

Chart (2004) Peak

position

[23] 17
Norwegian Albums Chart

[22] 45
Swedish Albums Chart

[66] 72
Swiss Albums Chart

[4] 26
UK Albums Chart
''London Calling'' 212

Sources
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
pp. 212–213, 235–237, 259–260. ISBN 1845131134. OCLC 61177239.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. pp. 156–158, 161–162, 165, 194–196, 218–219. ISBN 0752858432. OCLC 52990890.

Further reading
• Clash, The (2008). The Clash: Strummer, Jones, Simonon, Headon. London: Atlantic Books. ISBN 1843547880.
OCLC 236120343.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Letts, Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash.
(2001). The Clash, Westway to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo;
Uptown Films. Event occurs at 49:30–55:00. ISBN 0738900826. OCLC 49798077.
• Lowry, Ray (2007). The Clash. Warwick: Angry Penguin. ISBN 1906283362. OCLC 165412921.
• Miles, Barry (1981). The Clash. London and New York: Omnibus Press. OCLC 7676911.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Quantick, David (2000). The Clash. Kill Your Idols. London: Unanimous. ISBN 1903318033. OCLC 59417418.
• Tobler, John, and Barry Miles (1983). The Clash. London and New York: Omnibus. ISBN 0711902887.
OCLC 21335564.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.

External links
• The Clash official website [20]
• "London Calling" By The Clash [67] Mix Magazine, 2000 - Very detailed article with recording setup details from
the album's engineer, Bill Price.

References
[1] Guarisco, Donald A. "Rudie Can't Fail Review" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=33:fjfoxcuhld0e). Allmusic.
Retrieved 18 February 2008.
[2] Sinclair, Tom. "The Best Album of All Time" (http:/ / www. ew. com/ ew/ article/ 0,,698325,00. html). Entertainment Weekly. 24 September
2004. Retrieved 20 February 2008.
[3] "The RS 500 Greatest Albums of All Time: London Calling" (http:/ / www. rollingstone. com/ news/ story/ 6595657/ 8_london_calling).
Rolling Stone. 1 November 2003. Retrieved 17 February 2008.
[4] "UK Chart Archive" (http:/ / www. everyhit. co. uk/ ). everyHit.co.uk. Retrieved 17 February 2008.
[5] "RIAA Searchable Database" (http:/ / www. riaa. com/ goldandplatinumdata. php?table=SEARCH). Recording Industry Association of
America. Retrieved 17 February 2008.
[6] Gilbert 2005, pp. 212-213.
[7] Green 2003, p. 156.
[8] Sweeting, Adam. "Death or Glory". Uncut. October 2004. p. 58.
[9] Gilbert 2005, p. 235.
[10] Making of 'London Calling': The Last Testament. Dir. Don Letts. Perf. Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, and
Kosmo Vinyl. Sony Music, 2004. DVD.
[11] "Exhibit and Information Guide." (http:/ / www. rockhall. com/ images/ Large_Guide. pdf) p. 5. Retrieved 17 May 2009.
[12] Green 2003, pp. 195–196.
[13] Sweeting, Adam. "Death or Glory". Uncut. October 2004. p. 70.
''London Calling'' 213

[14] Godwin, Richard (15 June 2010). "London Calling again" (http:/ / www. thisislondon. co. uk/ music/ article-23845073-london-calling-again.
do). Evening Standard. . Retrieved 16 June 2010. "Lowry: “Actually, I had no idea it was out of focus. Half-blind at the best of times and
half-pissed at the time, that simply had to be the one.”"
[15] Judd, Terri. "One hundred timeless rock'n'roll moments, and the photographers who..." (http:/ / findarticles. com/ p/ articles/ mi_qn4158/
is_20020124/ ai_n9669465). The Independent. 24 January 2002. Retrieved 17 February 2008.
[16] Green 2003, p. 194.
[17] Tryangiel, Josh. "The All-TIME 100 Albums: London Calling" (http:/ / www. time. com/ time/ 2006/ 100albums/
0,27693,London_Calling,00. html). Time. 13 November 2006. Retrieved 17 February 2008.
[18] O'Connor, Mickey. "London's Q magazine picked these; what are yours?" (http:/ / www. ew. com/ ew/ article/ 0,,102565,00. html).
Entertainment Weekly. 14 March 2001. Retrieved 17 February 2008.
[19] "Classic Album Covers: Issue Date – 7 January 2010" (http:/ / www. royalmail. com/ portal/ stamps/ content1?catId=32300674&
mediaId=112400790). Royal Mail. . Retrieved 2010-01-08.
[20] Michaels, Sean (8 January 2010). "Coldplay album gets stamp of approval from Royal Mail" (http:/ / www. guardian. co. uk/ music/ 2010/
jan/ 08/ coldplay-album-stamp-approval). London: The Guardian. . Retrieved 2010-01-08.
[21] "British gold certification for London Calling (http:/ / www. bpi. co. uk/ platinum/ platinumright. asp?rq=search_plat& r_id=21849). British
Phonographic Industry. 31 December 1979. Retrieved 17 February 2008.
[22] "Discography The Clash" (http:/ / swedishcharts. com/ showinterpret. asp?interpret=The+ Clash). SwedishCharts.com. Retrieved 17
February 2008.
[23] "Discography The Clash" (http:/ / norwegiancharts. com/ showinterpret. asp?interpret=The+ Clash). NorwegianCharts.com. Retrieved 26
October 2008.
[24] "The Clash > Charts & Awards > Billboard Albums" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:gifqxqw5ldte~T5).
Allmusic. Retrieved 26 October 2008.
[25] Gilbert, Pat. "The 'Vanilla Tapes'". London Calling: 25th Anniversary Legacy Edition (CD liner notes). September 2004.
[26] Sweeting, Adam. "Death or Glory". Uncut. October 2004. p. 69.
[27] "The Clash > Charts & Awards > Billboard Singles" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:gifqxqw5ldte~T51).
Allmusic. Retrieved 17 February 2008.
[28] "The RS 500 Greatest Songs of All Time: The Clash London Calling" (http:/ / www. rollingstone. com/ news/ story/ 6595860/
london_calling). Rolling Stone. 9 December 2004. Retrieved 18 February 2008.
[29] Sweeting, Adam. "Death or Glory". Uncut. October 2004. p. 65.
[30] Gilbert 2005, p. 237.
[31] Sweeting, Adam. "Death or Glory". Uncut. October 2004. p. 67.
[32] Guarisco, Donald A. "Spanish Bombs Review" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=33:gjfoxcuhld0e). Allmusic.
Retrieved 18 February 2008.
[33] London Calling: 25th Anniversary Legacy Edition. "The Last Testament - The Making of London Calling". Information about the recording
of London Calling. Accessed 18 February 2008.
[34] Guarisco, Donald A. "Clampdown Review" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=33:kjfoxcuhld0e). Allmusic. Retrieved
18 February 2008.
[35] Gilbert 2005, p. 259.
[36] Sweeting, Adam. "Death or Glory". Uncut. October 2004. p. 68.
[37] Gilbert 2005, p. 260.
[38] Green 2003, p. 218.
[39] Back, Johnny. "The Greatest Songs Ever! "Train in Vain (Stand by Me)"" (http:/ / www. blender. com/ guide/ articles. aspx?id=299).
Blender. April/May 2002. Retrieved 18 February 2008.
[40] Allmusic Review (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:jifoxqe5ld6e)
[41] PopMatters Review (http:/ / www. popmatters. com/ pm/ review/ 14505/ clash-londonmft)
[42] Pitchfork Media Review (http:/ / www. pitchforkmedia. com/ article/ record_review/ 16203-london-calling-25th-anniversary-legacy-edition)
[43] Blender Review (http:/ / www. blender. com/ guide/ back-catalogue/ 54673/ london-calling. html)
[44] |http:/ / www. rollingstone. com/ artists/ theclash/ albums/ album/ 96655/ review/ 5942254/ london_calling Rolling Stone review (1980)]
[45] Rolling Stone review (2004) (http:/ / www. rollingstone. com/ reviews/ album/ 96655/ london_calling)
[46] Robert Christgau Review (http:/ / www. robertchristgau. com/ get_artist. php?name=The+ Clash)
[47] Paste Magazine Review (http:/ / www. pastemagazine. com/ articles/ 2004/ 12/ the-clash-london-calling. html)
[48] Punknews.org Review (http:/ / www. punknews. org/ review/ 350)
[49] "100 Greatest Albums of the Eighties". Rolling Stone. November 1989.
[50] "The Greatest Albums Of The '70s". NME: 18. September 11, 1993.
[51] "100 Essential Albums of the 20th Century". Vibe: 160. December 1999.
[52] "100 Greatest British Albums". Q magazine: 90. December 1999.
[53] "100 Best Punk Albums". Q magazine Special Edition: 136. February 2002.
[54] Christgau, Robert. "The Clash Consumer Guide Reviews" (http:/ / www. robertchristgau. com/ get_artist. php?name=The+ Clash).
RobertChristgau.com. Retrieved 26 October 2008.
''London Calling'' 214

[55] Erlewine, Stephen Thomas. "London Calling > Review" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:jifoxqe5ld6e).
Allmusic. Retrieved 26 October 2008.
[56] "10 Essential '80s Albums". Alternative Press: 112. August 2001.
[57] Carson, Tom. "London Calling: The Clash: Review" (http:/ / www. rollingstone. com/ reviews/ album/ 96655/ london_calling). Rolling
Stone. 22 January 1997. Retrieved 17 February 2008.
[58] "Top 50 Punk Albums". Mojo: 76. March 2003.
[59] Petrusich, Amanda. "The Clash London Calling: 25th Anniversary Legacy Edition" (http:/ / www. pitchforkmedia. com/ article/
record_review/ 16203-london-calling-25th-anniversary-legacy-edition). Pitchfork Media. Retrieved 17 February 2008.
[60] "Pitchforkmedia's Top 100 Albums of the 70's" (http:/ / rateyourmusic. com/ list/ unj/ pitchforkmedias_top_100_albums_of_the_70s/ ).
RateYourMusic.com. Retrieved 17 February 2008.
[61] Ciolfi, Sal. "The Clash: London Calling - PopMatters Music Review" (http:/ / www. popmatters. com/ music/ reviews/ c/ clash-londonmft.
shtml). PopMatters. 10 March 2004. Retrieved 18 February 2008.
[62] "Top 20 Most-Played Albums of 1980". College Music Journal: 6. January 5, 2004.
[63] "Grammy Hall of Fame Award" (http:/ / www. grammy. com/ Recording_Academy/ Awards/ Hall_Of_Fame/ ). Grammy.com. Retrieved 18
February 2008.
[64] Lowe, Zane (2 December 2009). "Masterpieces" (http:/ / www. bbc. co. uk/ radio1/ zanelowe/ masterpieces/ 2009/ ). BBC 1. . Retrieved 3
December 2009.
[65] "Discographie The Clash" (http:/ / austriancharts. at/ showinterpret. asp?interpret=The+ Clash). AustrianCharts.at. Retrieved 17 February
2008.
[66] "Discography The Clash" (http:/ / www. swisscharts. com/ showinterpret. asp?interpret=The+ Clash). SwissCharts.com. Retrieved 17
February 2008.
''Sandinista!'' 215

Sandinista!
Sandinista!

Studio album by The Clash

Released 12 December 1980

Recorded Pluto Studios, Manchester, February 1980, The Power Station, New York City, March 1980, Electric Lady Studios,
New York City, March–April 1980, Channel One Studios, Kingston, Jamaica, May 1980, Wessex Studios, London,
August 1980

Genre Rock, new wave, punk rock

Length 144:29

Label Epic, originally CBS

Producer The Clash, Mikey Dread

Professional reviews
[1]
• Allmusic link
[2]
• Blender link
[3]
• Punknews.org link
[4]
• Robert Christgau (A-) link
[5]
• Rolling Stone link

The Clash chronology

London Sandinista! Combat

Calling (1980) Rock
(1979) (1982)

Singles from Sandinista!

1. "The Call Up"

Released: 28 November 1980
2. "Hitsville UK"
Released: 16 January 1981
3. "The Magnificent Seven"
Released: 10 April 1981

Sandinista! is the fourth studio album by the punk rock band The Clash. It was released in 1980 as a triple album
containing 36 tracks, with 6 songs on each side.[1] [2] Anticipating the "world music" trend of the 1980s, it features
reggae, jazz, mock gospel, rockabilly, folk, dub, rhythm and blues, calypso, and rap.[1] [2] [3]
For the first time, the band's traditional songwriting credits of Strummer/Jones were replaced by a generic credit to
"The Clash",[2] and the band cut the album royalties, in order to release the 3-LP at a low price.[4] [5] The title comes
from the Nicaraguan left-wing guerrilla organization, the Sandinistas, and its catalogue number, 'FSLN1', refers to
''Sandinista!'' 216

the acronym for Frente Sandinista de Liberación Nacional.[4] [3] [6]

Sandinista! was voted the best album of the year in The Village Voice's Pazz & Jop critics poll, and it was ranked
number 404 on Rolling Stone magazine's 2003 list of the 500 greatest albums of all time.[3]

History
The album was recorded over most of 1980, in London, Manchester, Jamaica and New York. It was produced by the
band (which essentially meant Mick Jones and Joe Strummer), recorded and mixed by Bill Price, and engineered by
Jeremy "Jerry" Green (Wessex Sound Studios), J. P. Nicholson (Electric Lady Studios), Lancelot "Maxie" McKenzie
(Channel One Studios), and Bill Price (Pluto + Power Station Studios). Dub versions for some of the songs and
toasting was done by Mikey Dread, who had first hooked up with the band for their 1980 single "Bankrobber". With
Sandinista! the band reached beyond punk and reggae into dub, rhythm and blues, calypso, gospel and other
genres.[3] The album clearly displays the influence of reggae and in particular producer Lee "Scratch" Perry (who
had worked with the band on their 1977 single "Complete Control" and who had opened some of the band's shows
during its stand at Bond's in New York in 1980), with a dense, echo-filled sound on even the straight rock songs.[1]
[2]

When recording began in New York bass guitarist Paul Simonon was busy making a film, and he was replaced
briefly by Ian Dury and the Blockheads bassist Norman Watt-Roy; this later caused some bad feeling when
Watt-Roy and keyboard player Mickey Gallagher, a fellow Blockhead, claimed they were responsible for
co-composing the song "The Magnificent Seven", as the song was based on a tune of theirs. Dread, too, was upset
that he was not credited as the album's producer, although he was credited with "Version Mix." Other guests on the
album include actor Tim Curry (providing the voice of a priest on "The Sound of Sinners"), singer Ellen Foley
(Jones' partner at the time), former Voidoids guitarist Ivan Julian, former Eddie and the Hot Rods member Lew
Lewis, and Strummer's old friend and musical collaborator Tymon Dogg, who plays violin, sings on and wrote the
track "Lose This Skin"; he later joined Strummer's band The Mescaleros. Mickey Gallagher's children also made
appearances: his two sons, Luke and Ben, singing a version of "Career Opportunities" from the band's first album,
and his daughter Maria singing a snippet of "The Guns of Brixton", from London Calling, at the end of the track
"Broadway".[1] [2] [7]
This is also the only Clash album on which all four members have a lead vocal. Drummer Topper Headon made a
unique lead vocal contribution on the disco song "Ivan Meets G.I. Joe", and bassist Paul Simonon sings lead on "The
Crooked Beat".[2]
Four singles were released from the Sandinista! sessions in the UK: "Bankrobber" (which did not appear on the
album), "The Call Up", "Hitsville UK", and "The Magnificent Seven". The last deserves mention as possibly the
first-ever British rap single and as one of the first rap singles by a white band.
The triple-LP set was, like London Calling, a subject of trickery towards the record company from the band. Two
contradictory accounts of the release of the album exist. Some say that the Clash pulled the same trick a second time
by saying they wanted to include a 12" single with their double album, and then getting 3 full-length discs pressed
before executives became wise. Another belief is that The Clash surrendered all of their album royalties for the first
200,000 copies sold in order to make the 3-LP set a reality. Joe Strummer said in an interview by Judy McGuire for
Punk Magazine: "Well, now you're talking to a man who forewent the royalties on Sandinista!"[8] Regardless of
which of these is true, either situation paints the band in a good light, putting their fans before and above any other
involved entity.[2] [5] [4]
A one-LP distillation of the album, called Sandinista Now!, was sent to press and radio. The side one track listing
was "Police on My Back", "Somebody Got Murdered", "The Call Up", "Washington Bullets", "Ivan Meets G.I. Joe"
and "Hitsville U.K.". The side two track listing was "Up in Heaven (Not Only Here)", "The Magnificent Seven",
"The Leader", "Junco Partner", "One More Time" and "The Sound of Sinners".[2] [5]
''Sandinista!'' 217

The song "Washington Bullets" was Clash lyric-writer Joe Strummer's most extensive—and most specific—political
statement to date. In it, Strummer name checks conflicts or controversies from around the world; namely in Chile,
Nicaragua, Cuba, Afghanistan and Tibet. (In reference to the first three, Strummer seems to side with what he sees as
popular leftist movements or governments, while in the latter two, he sharply criticizes the policy of Moscow's and
Beijing's communist governments for what he sees as their imperialist actions). The original Rolling Stone review of
Sandinista! calls "Washington Bullets", along with "The Equaliser" and "The Call Up", "the heart of the album".[5]
[9]

The original, 3-disc vinyl release of "Sandinista" included a tri-fold lyric sheet cleverly titled The Armagideon Times,
no. 3 (a play on "Armagideon Time", the b-side from the single London Calling.) Armagideon Times, nos. 1 and 2
were Clash fanzines. The lyric sheet featured cartoons credited to Steve Bell, as well as hand-written (but still
legible) lyrics of all songs. The 2-CD release contains a facsimile of the lyric sheet considerably reduced in size.[1] [2]
Joe Strummer once told Rolling Stone magazine that the concept for a triple-LP (a rarity in the rock music world)
came from friendly competition with American artist Bruce Springsteen. When their earlier LP London Calling was
released in 1980, critics said that Springsteen's upcoming double-disc album The River would outsell the Clash effort
and wipe away any impact. Strummer's response was: "Right Bruce. Suck on this". The band then expanded
Sandinista into a triple album.[5] [4]

Reception
Sandinista! is a stylistic and topical potpourri that anticipates the "world music" trend of the late '80s and early '90s.
Reggae, jazz, mock gospel, rockabilly, folk, dub, Rhythm and blues, calypso, Clash-style rock and other musical
genres appear on Sandinista! The album included two rap songs at a time when rap was new even among its core
black audience.
The rock music world hailed Sandinista! as a masterpiece. John Piccarella, in a review headlined "The Clash Drop
The Big One" and giving the album the highest possible rating of five stars, argues that in effect, the band said "to
hell with Clash style, there's a world out there."[5] [10] Some critics have argued that the album would have worked
better as a less-ambitious, smaller project. Others think of the album as a breakthrough that deserves comparison to
the Beatles' White Album.[4] Robert Christgau said "if this is their worst--which it is, I think--they must be, er, the
world's greatest rock and roll band" and graded the album A-. Kurt Cobain has expressed his dislike of the album,
saying: " I blame Sandinista! for not letting me get into punk until years after I should have done - it was so bad."[11]
The triple album won several "best of the year" critics polls in 1981. It was voted the best album of the year in The
Village Voice's Pazz & Jop critics poll. Dave Marsh noted that it was a record whose topic was as many years ahead
of its time as its sound.[12] Alternative Press magazine included Sandinista! on its 2000 list of the "10 Essential
Political-Revolution Albums"[13] In 2003, the album was ranked number 404 on Rolling Stone magazine's list of the
500 greatest albums of all time.[3] The College Music Journal ranked Sandinista! number two on its 2004 list of the
"Top 20 Most-Played Albums of 1981".[14]
The Sandinista! Project, a tribute to the album featuring The Smithereens, Camper Van Beethoven, Jon Langford
(Mekons) and Sally Timms, Amy Rigby, Katrina Leskanich (Waves), Wreckless Eric, Willie Nile, Matthew Ryan,
Stew, Sex Clark Five, Sid Griffin & Coal Porters, Haale, The Blizzard of 78 featuring Mikey Dread, Ruby on the
Vine, and many others, was released on 15 May 2007, on the 00:02:59 Records (a label named after a lyric from the
Sandinista! song "Hitsville U.K."). The album also features a collaboration by Soul Food and Mickey Gallagher on
"Midnight Log".[15] [16] [17]
''Sandinista!'' 218

Track listing
The compact disc release has the first three sides on the first CD and the latter three sides on the second CD
All songs written and composed by The Clash, except where noted.

Side one

No. Title Lead vocals Length

1. "The Magnificent Seven" Joe Strummer 5:28

2. "Hitsville UK" Mick Jones/Ellen Foley 4:20

3. "Junco Partner" ("writer, at present, unknown" on insert Joe Strummer 4:53

notes)

4. "Ivan Meets G.I. Joe" Topper Headon 3:05

5. "The Leader" Joe Strummer 1:41

6. "Something About England" Mick Jones/Joe Strummer 3:42

Side two

No. Title Lead vocals Length

1. "Rebel Waltz" Joe Strummer 3:25

2. "Look Here" (Mose Allison) Joe Strummer 2:44

3. "The Crooked Beat" Paul Simonon 5:29

4. "Somebody Got Murdered" Mick Jones 3:34

5. "One More Time" (The Clash/Mikey Dread) Joe Strummer 3:32

6. "One More Dub" (Dub version of "One More Time") (The Clash/Mikey Joe Strummer 3:34
Dread)

Side three

No. Title Lead vocals Length

1. "Lightning Strikes (Not Once But Twice)" Joe 4:51

Strummer

2. "Up in Heaven (Not Only Here)" Mick Jones 4:31

3. "Corner Soul" Joe 2:43

Strummer

4. "Let's Go Crazy" Joe 4:25

Strummer

5. "If Music Could Talk" (The Clash/Mikey Dread) Joe 4:36

Strummer

6. "The Sound of Sinners" Joe 4:00

Strummer
''Sandinista!'' 219

Side four

No. Title Lead vocals Length

1. "Police on My Back" (Eddy Grant) Mick Jones 3:15

2. "Midnight Log" Joe 2:11

Strummer

3. "The Equaliser" Joe 5:47

Strummer

4. "The Call Up" Joe 5:25

Strummer

5. "Washington Bullets" Joe 3:51

Strummer

6. "Broadway" (Features an Epilogue of "Guns of Brixton" sung by Maria Gallagher) Joe 5:45
Strummer

Side five

No. Title Lead vocals Length

1. "Lose This Skin" (Tymon Dogg) Tymon Dogg 5:07

2. "Charlie Don't Surf" Joe 4:55

Strummer

3. "Mensforth Hill" ("Something About England" backwards with overdubs) Joe 3:42
Strummer

4. "Junkie Slip" Joe 2:48

Strummer

5. "Kingston Advice" Joe 2:36

Strummer

6. "The Street Parade" Joe 3:26

Strummer

Side six

No. Title Lead vocals Length

1. "Version City" Joe Strummer 4:23

2. "Living in Fame" (Dub Version of "If Music Could Talk") (The Clash/Mikey Dread) Mikey Dread 4:36

3. "Silicone on Sapphire" (Dub version of "Washington Bullets") Joe Strummer 4:32

4. "Version Pardner" (Dub version of "Junco Partner") Joe Strummer 5:22

5. "Career Opportunities" Luke Gallagher/Ben 2:30

Gallagher

6. "Shepherd's Delight" (The Clash/Mikey Dread) Joe Strummer 3:25

''Sandinista!'' 220

Personnel
• Joe Strummer – lead vocals, guitars
• Mick Jones – guitars, vocals
• Paul Simonon – bass, vocals
• Topper Headon – drums, vocals

Guest musicians

• Mickey Gallagher – keyboards • Gary Barnacle – sax

• Tymon Dogg – violin, vocals on "Lose This Skin" • Bill Barnacle – trumpet
• Norman Watt-Roy – bass on "The Magnificent Seven" and "Lightning Strikes (Not Once But • Jody Winscott
Twice)" • Ivan Julian – guitar
• J. P. Nicholson – bass on "Washington Bullets" • Noel Tempo Bailey
• Ellen Foley – vocals on "Hitsville U.K." • Anthony Nelson Steelie
• David Payne – sax • Lew Lewis – vocals, harmonica
• Ray Gasconne • Gerald Baxter-Warman
• Band Sgt. Dave Yates • Terry McQuade
• Den Hegarty – vocals • Rudolf Adolphus Jordan
• Luke Gallagher – vocals on "Career Opportunities" • Battersea
• Ben Gallagher – vocals on "Career Opportunities" • Mikey Dread – vocals on "Living in Fame"
• Maria Gallagher – vocals on "Broadway" • Tim Curry - vocals on "The Sound of
Sinners"

Production

• The Clash – producers • Lancelot "Maxie" McKenzie – engineer

• Bill Price – chief engineer • Mikey Dread – version mix
• Jerry Green – engineer • Pennie Smith – photographer
• J. P. Nicholson – engineer • Steve Bell – cartoonist

Charts

Album

Year Chart Position

1980 Norwegian Albums 8

[18]
Chart.

[19] 9
Swedish Albums Chart

1981 Billboard Pop albums[20] 24

Singles
''Sandinista!'' 221

Year Single Chart Position

1980 "The Call Up" UK Charts 40

1981 "Hitsville U.K." 56

U.S. Mainstream Rock Tracks 53

"The Magnificent UK Charts 34

Seven"
1982 Billboard Club Play Singles 21

Certifications
Certifier Date Certification Sales

[21] 20 April Gold 500,000

RIAA (U.S.)
1999

References
• Gilbert, Pat (2005) [2004]. "8-13, Epilogue, Discography, Bibliography". Passion Is a Fashion: The Real Story of
The Clash (4th ed.). London: Aurum Press. pp. 321, 332, 362, 367, 373–388. ISBN 1845131134.
OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.

External links
• The Clash official website [20]
• "Complicated Dread: the Mikey Dread interview [60] Complicated Fun, 21 June 2006
• Everyday Companion "Junco Partner" partial cover history website [27]
• Rockabilly biography [28]

References
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 55:00–63:00.
ISBN 0738900826. OCLC 49798077.
[2] Gilbert, Pat (2005) [2004]. "8-13, Epilogue, Discography, Bibliography". Passion Is a Fashion: The Real Story of The Clash (4th ed.).
London: Aurum Press. pp. 321, 332, 362, 367, 373–388. ISBN 1845131134. OCLC 61177239.
[3] Levy, Joe; Steven Van Zandt (2006) [2005]. "404) Sandinista ". Rolling Stone The 500 Greatest Album of All Time (3rd ed.). London:
Turnaround. ISBN 1932958614. OCLC 70672814.
Related news articles:
• "The RS 500 Greatest Albums of All Time". Rolling Stone (San Francisco, California: Straight Arrow) (Special Collectors Issue). 11
December 2003. ISSN 0035-791X. OCLC 1787396.
''Sandinista!'' 222

• "The RS 500 Greatest Albums of All Time" (http:/ / www. rollingstone. com/ news/ story/ 5938174/
the_rs_500_greatest_albums_of_all_time/ ). Special Collectors Issue. Rolling Stone. 2003-11-18. . Retrieved 2008-01-08.
• "404) Sandinista!" (http:/ / www. rollingstone. com/ news/ story/ 6626684/ 404_sandinista). Special Collectors Issue. Rolling Stone.
2003-11-01. . Retrieved 2008-02-19.
[4] MTV Rockumentary. Interviewer: Unknown; Presenter: Kurt Loder. MTV, London, England http:/ / www. londonsburning. org/
art_mtv_rockumentary_2. html.
Related news articles:
• "MTV Rockumentary Part 2" (http:/ / www. londonsburning. org/ art_mtv_rockumentary_2. html). londonsburning.org. . Retrieved
2008-02-20.
[5] Deeth, John. "Turning Rebellion Into Money: The Story of the Clash" (http:/ / jdeeth. home. mchsi. com/ clash. htm).
jdeeth.home.mchsi.com. . Retrieved 2008-02-18.
[6] Jaffee, Larry. "The Politics of Rock" Popular Music and Society, Winter 1987, pp. 19–30.
[7] Erlewine, Stephen Thomas. "Sandinista! Review" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:kifoxqe5ld6e). AllMusic. .
Retrieved 2008-02-18.
[8] McGuire, Judy. Joe Strummer Interview (http:/ / www. punkmagazine. com/ stuff/ morestuff/ joe_strummer. html). punkmagazine.com.
Retrieved on 2008-02-22
[9] Peet, Preston (2001-07-09). "where's the clash when we need them?" (http:/ / www. disinfo. com/ archive/ pages/ dossier/ id1377/ pg1/ index.
html). Disinformation. . Retrieved 2008-02-19.
[10] Piccarella, John (5 March 1981). "Red-Hot Rock and Roll, A Joyful Noise and Politics That Live: The Clash Drop the Big One". Rolling
Stone: 57–58.
[11] http:/ / www. angelfire. com/ rock3/ nirvana81/ kurttop. htm
[12] Dave, Marsh (1999) [1989]. The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made. New York, N.Y.: Da Capo Press. pp. 78.
ISBN 030680901X. OCLC 40200194.
[13] "10 Essential Political-Revolution Albums". Alternative Press: 144. November 2000.
[14] "Top 20 Most-Played Albums of 1981". College Music Journal: 8. January 5, 2004.
[15] Clash, The; Joe Grushecky; Katrina Leskanich; Willie Nile; Ship & Pilot.; Soul Food (Musical group); Sunset Heroes. (2004-09-21). The
Sandinista! Project A Tribute to the Clash. [Compact Disc]. England: 00:02:59 Records. OCLC 178980813.
[16] "The Sandinista Project" (http:/ / sandinista. guterman. com). sandinista.guterman.com. . Retrieved 2008-02-20.
[17] "Cary Baker's conqueroo - The Sandinista! Project Announcements" (http:/ / www. conqueroo. com/ sandinistapr. html). conqueroo.com. .
Retrieved 2008-02-20.
[18] "Discography The Clash" (http:/ / norwegiancharts. com/ showinterpret. asp?interpret=The+ Clash). NorwegianCharts.com. Retrieved 17
February 2008.
[19] "Discography The Clash" (http:/ / swedishcharts. com/ showinterpret. asp?interpret=The+ Clash). SwedishCharts.com. Retrieved 26 October
2008.
[20] "The Clash > Charts & Awards > Billboard Albums" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:gifqxqw5ldte~T5).
Allmusic. Retrieved 26 October 2008.
[21] "Gold and Platinum: Searchable Database" (http:/ / www. riaa. com/ goldandplatinumdata. php?resultpage=1&
table=SEARCH_RESULTS& action=& title=Sandinista!& artist=The Clash& format=ALBUM& category=GROUP& after=on&
startMonth=1& startYear=1958& sort=Artist& perPage=50). RIAA. . Retrieved 2008-10-26.
''Combat Rock'' 223

Combat Rock
Combat Rock

Studio album by The Clash

Released 14 May 1982

Recorded Ear Studios, London, September 1981, Electric Lady Studios, New York City, November 1981 – January 1982, Wessex
Studios, London, April 1982

Genre Punk rock, pop punk, dance punk

Length 46:21

Label Epic

Producer The Clash

Professional reviews
[1]
• Allmusic link
[2]
• Blender link
[3]
• Punknews.org link
[4] [24]
• Robert Christgau (B+) rating link
[5]
• Rolling Stone link

The Clash chronology

Sandinista! Combat Cut the

(1980) Rock Crap
(1982) (1985)

Singles from Combat Rock

1. "Know Your Rights"

Released: 23 April 1982
2. "Should I Stay or Should I Go"
Released: 10 June 1982
3. "Rock the Casbah"
Released: 11 June 1982
4. "Straight to Hell"
Released: 17 September 1982

Combat Rock is the fifth studio album by The Clash, released in 1982. It was the last album to feature the classic
line-up before Mick Jones was sacked and Topper Headon was kicked out for his heroin addiction.[1]
Although the album includes different styles of music, it is considerably more straight-forward and less experimental
than their previous album Sandinista!. In the United Kingdom the album charted at #2, spending 23 weeks in the UK
charts. The album reached #7 in the United States, spending 61 weeks on the chart, and was certified platinum. (And
''Combat Rock'' 224

eventually years later 2X Platinum.)

Recording and production

Combat Rock was originally planned as a double album with the working title Rat Patrol from Fort Bragg, but the
idea was scrapped after internal wrangling within the group. Mick Jones had mixed the first version, but the other
members were dissatisfied and mixing/producing duties were handed to Glyn Johns, at which point the album
became a single LP. The original mixes have since been obtained and subsequently bootlegged.

Artwork
Pennie Smith shot the cover photo for Combat Rock on a deserted railway line outside Bangkok while the band was
on their "Far East" tour in 1982.
Following along the same note as Sandinista!, Combat Rock's catalogue number 'FMLN2' is the acronym for the El
Salvador political party 'Frente Farabundo Martí para la Liberación Nacional' or FMLN.

Release
In January 2000 the album, along with the rest of The Clash's catalog, was remastered and re-released.
According to author Marcus Gray, the song "Red Angel Dragnet" was inspired by the January 1982 shooting death
of Frank Melvin, a New York member of the Guardian Angels.[2] [3] The song contains extensive quotes from the
1976 movie Taxi Driver's main character Travis Bickle, delivered by Kosmo Vinyl. Bickle sports a mohawk in the
later part of the film and that hairstyle was adopted by Joe Strummer during the album promotion.
The song, "Ghetto Defendant", features beat poet Allen Ginsberg, who performed the song on stage with the band
during the New York shows on their tour in support of the album.
Original U.S. pressings of the album had the full length track "Inoculated City" lasting 2:43. This version contained
an unauthorized audio sample from a U.S. television commercial for a toilet bowl cleaner called "2000 Flushes".
After the maker of the product complained of copyright infringement the audio sample was removed reducing the
track length to 2:11. Approximately 100,000 copies of the first version were pressed with custom designed record
labels. The majority of copies sold had the edited track and were re-issued on the standard dark blue Epic Records
label. The full length "Inoculated City" also appeared on the B-side of the US "Should I Stay or Should I Go?"
single. Early US CD copies of the album had the edited track. When the album was released as a remastered CD in
2000 the full length track was restored, though no mention of this was included on the CD packaging.

Reception
The album received positive reviews from critics, and reached the number two on the UK Albums Chart, the number
seven on the Billboard Pop albums, and the top ten on many charts in other countries.[4] [5] [6] [7] The United States
Recording Industry Association of America (RIAA) certified Combat Rock as a Gold album on November 1982,
Platinum in January 1983, and Multi-Platinum in June 1995.[8]
In 1999, Q magazine rated Combat Rock three stars out of five, and described the album as "...their biggest seller, but
the beginning of the end."[9] In 2000, Alternative Press rated the album three stars out of five, and wrote that "The
penultimate Clash album...employing lessons learned in the previous three years....their most commercially rewarded
release....containing [their] most poignant song 'Straight To Hell'."[10] The College Music Journal ranked Combat
Rock at number five on its 2004 list of the Top 20 Most-Played Albums of 1982.[11]
''Combat Rock'' 225

Track listing
All songs written and composed by The Clash, except where noted.

Side one

No. Title Lead vocals Length

1. "Know Your Rights" Joe Strummer 3:39

(Strummer/Jones)

2. "Car Jamming" Joe Strummer 3:58

3. "Should I Stay or Should I Go" Mick Jones 3:06

4. "Rock the Casbah" Mick Jones/Joe Strummer/Topper Headon 3:44

5. "Red Angel Dragnet" Paul Simonon/Joe Strummer 3:48

6. "Straight to Hell" Joe Strummer 5:30

Side two

No. Title Lead vocals Length

1. "Overpowered by Funk" Joe Strummer 4:55

2. "Atom Tan" Mick Jones/Joe Strummer 2:32

3. "Sean Flynn" Joe Strummer 4:30

4. "Ghetto Defendant" Joe Strummer/Allen Ginsberg 4:45

5. "Inoculated City" (some copies of the album have an edited version lasting 2:11) Mick Jones/Joe Strummer 2:43

6. "Death Is a Star" Joe Strummer 3:08

Rat Patrol From Fort Bragg track listing

1. "The Beautiful People Are Ugly Too" - 3:45
2. "Kill Time" - 4:58
3. "Should I Stay or Should I Go" - 3:05
4. "Rock the Casbah" - 3:47
5. "Know Your Rights" (extended version) - 5:04
6. "Red Angel Dragnet" - 6:12
7. "Ghetto Defendant" - 6:17
8. "Sean Flynn" - 7:30
9. "Car Jamming" - 3:53
10. "Inoculated City" - 4:32
11. "Death Is a Star" - 2:39
12. "Walk Evil Talk" (instrumental) - 7:37
13. "Atom Tan" - 2:45
14. "Overpowered by Funk" (demo) - 1:59
15. "Inoculated City" (unedited version) - 2:30
16. "First Night Back in London" - 2:56
17. "Cool Confusion" - 3:10
18. "Straight to Hell" (extended version) - 6:56
''Combat Rock'' 226

Personnel
The following people contributed to Combat Rock:[12]
• Joe Strummer – guitars, lead vocals
• Mick Jones – guitars, vocals,
• Paul Simonon – bass, vocals
• Topper Headon – drums, piano and bass on "Rock the Casbah"
Guest musicians
• Allen Ginsberg – guest vocals on "Ghetto Defendant"
• Futura 2000 – guest vocals on "Overpowered by Funk"
• Ellen Foley – backing vocals on "Car Jamming"
• Joe Ely – backing vocals on "Should I Stay or Should I Go?"
• Tymon Dogg – piano on "Death Is a Star"
• Poly Mandell – keyboards on "Overpowered by Funk"
• Gary Barnacle – saxophone on "Sean Flynn"
Production
• The Clash – producers
• Glyn Johns – chief engineer
• Joe Blaney – engineer
• Jerry Green – engineer
• Eddie Garcia – engineer
• Pennie Smith – photographer

Charts
Year Chart Position

1982 Norwegian Albums 7

[6]
Chart.

1982 Swedish Albums Chart[7] 9

1982 UK Albums Chart[4] 2

1983 Billboard Pop albums[5] 7

Certifications
''Combat Rock'' 227

Certifier Date Certification Sales

[8] 8 November Gold 500,000

RIAA (U.S.)
1982

[8] 10 January 1983 Platinum 1,000,000

RIAA (U.S.)

[8] 6 June 1995 2x Platinum 2,000,000

RIAA (U.S.)

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.

References
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 71:00–75:00.
ISBN 0738900826. OCLC 49798077.
[2] Gray (2004) p. 380
[3] Monday, Jan. 18, 1982 (1982-01-18). "Time Magazine article 18 January 1982 ''Guardian Angels' Growing Pains''" (http:/ / www. time. com/
time/ magazine/ article/ 0,9171,949448,00. html). Time.com. . Retrieved 2010-04-03.
[4] "UK Chart Archive" (http:/ / www. everyhit. co. uk/ ). everyHit.co.uk. Retrieved 26 October 2008.
[5] "The Clash > Charts & Awards > Billboard Albums" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:gifqxqw5ldte~T5).
Allmusic. Retrieved 26 October 2008.
[6] "Discography The Clash" (http:/ / norwegiancharts. com/ showinterpret. asp?interpret=The+ Clash). NorwegianCharts.com. Retrieved 26
October 2008.
[7] "Discography The Clash" (http:/ / swedishcharts. com/ showinterpret. asp?interpret=The+ Clash). SwedishCharts.com. Retrieved 26 October
2008.
[8] "Gold and Platinum: Searchable Database" (http:/ / www. riaa. com/ goldandplatinumdata. php?resultpage=1& table=SEARCH_RESULTS&
action=& title=Combat Rock& artist=The Clash& format=ALBUM& category=GROUP& after=on& startMonth=1& startYear=1982&
sort=Artist& perPage=50). RIAA. . Retrieved 2008-10-26.
[9] "100 Greatest British Albums". Q magazine: 152–153. December 1999.
[10] "10 Essential '80s Albums". Alternative Press: 112. August 2001.
[11] "Top 20 Most-Played Albums of 1982". College Music Journal: 10. 5 January 2004.
[12] Clash, The. (14 May 1982). Combat Rock (Album liner notes). Epic Records.
''Cut the Crap'' 228

Cut the Crap

For the Jackyl album, see Cut the Crap (Jackyl album).

Cut the Crap

Studio album by The Clash

Released 4 November 1985

Recorded Weryton Studios,

Unterföhring
(January–March 1985)

Genre Punk rock

Length 38:21

Label Epic

Producer Jose Unidos

Professional reviews
[1]
• Allmusic link
[2]
• Blender link
[4]
• Robert Christgau (B+) link
[3]
• Rolling Stone link

The Clash chronology

Combat Cut the

Rock Crap
(1982) (1985)

Singles from Cut the Crap

1. "This Is England"
Released: September 1985

Cut the Crap was The Clash's final album, originally released in 1985 as the follow-up to Combat Rock (1982). This
was the first and only Clash record after Topper Headon's dismissal from the group in 1982 and Mick Jones'
departure from the group in 1983.
''Cut the Crap'' 229

Album information
According to guitarist Vince White the working title of the record was Out of Control, the title was changed to Cut
the Crap by Bernie Rhodes shortly before its release without consulting the band. Bernie Rhodes also produced the
record, using the alias of Jose Unidos (presumably to suggest Joe Strummer was the producer).
"This Is England" was the only song from Cut the Crap included on the The Essential Clash and Singles Box
compilations, though no track from the album was included on either the three disc Clash box set Clash on
Broadway, or the 1988 compilation The Story of the Clash, Volume 1.
In mid-2000 this album was remastered and re-released in Europe only with a bonus track "Do It Now". The reissue
was unannounced and had no promotion whatsoever. It came after the rest of the band's catalogue had been reissued
in December 1999 (January 2000 in the U.S.).
"This Is England" was featured on the Singles Box box set (released in 2006) along with the single's B-sides "Do It
Now" and "Sex Mad Roar".

Reception
Critical and commercial reception to the record was poor aside from the single "This Is England". Jones's absence
coupled with drummer Topper Headon having been kicked out (unable to cope with his on-going heroin addiction)
led many to regard Cut the Crap as a Joe Strummer solo album, despite the fact that Paul Simonon appears on the
album. One of the main reasons for the album's shortcomings was Joe Strummer becoming disillusioned with the
group and also grieving the deaths of his parents. In addition Bernie Rhodes, the band's long time manager, managed
to assert control over the new band members recruited for the album, forcing songs to be changed and even the
album's title to be changed at the last minute. Due to the lack of control, coupled with his poor state of mind at the
time of the album, Strummer would later disown the album.
Accordingly, the album has been disowned by purists of Clash history, including the former band; it was not even
mentioned in the Clash documentary Westway to the World.

Track listing
All tracks were credited to Joe Strummer and Bernard Rhodes.
1. "Dictator" – 3:00
2. "Dirty Punk" – 3:11
3. "We Are The Clash" – 3:02
4. "Are You Red..Y" – 3:01
5. "Cool Under Heat" – 3:21
6. "Movers and Shakers" – 3:01
7. "This Is England" – 3:49
8. "Three Card Trick" – 3:09
9. "Play to Win" – 3:06
10. "Fingerpoppin'" – 3:25
11. "North and South" – 3:32
12. "Life Is Wild" – 2:39
2000 European remastered re-issue
• "Do It Now" – 3:08
''Cut the Crap'' 230

Personnel
The following people contributed to Cut the Crap (Joe Strummer and Paul Simonon were the only original Clash
members that actually appeared on the album):[1]
• Joe Strummer – vocals
• Nick Sheppard – guitar, vocals on "North and South" and "Play to Win"
• Young Wagner – keyboards and synthesizers
• Norman Watt-Roy – bass
• Bernie Rhodes – drum machine programming
• Vince White – additional guitar on "Do It Now"
• Paul Simonon – additional bass on "Do It Now"
• Pete Howard – additional drums on "Do It Now"
• Fayney – drum machines

Charts
Year Chart Position

1985 The Billboard 200[2] 88

1985 Swedish Albums Chart[3] 30

1985 UK Albums Chart[4] 16

External links
• Recording Cut the Crap [8]

References
[1] Clash, The. (4 November 1985). Cut the Crap (Album liner notes). Epic Records.
[2] "The Clash > Charts & Awards > Billboard Albums" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:gifqxqw5ldte~T5).
Allmusic. Retrieved 26 October 2008.
[3] "Discography The Clash" (http:/ / swedishcharts. com/ showinterpret. asp?interpret=The+ Clash). SwedishCharts.com. Retrieved 26 OCtober
2008.
[4] "UK Chart Archive" (http:/ / www. everyhit. co. uk/ ). everyHit.co.uk. Retrieved 26 October 2008.
''Concerts for the People of Kampuchea'' 231

Concerts for the People of Kampuchea

Concerts for the People of Kampuchea

Live album by Various Artists

Released March 30, 1981 (US)

3 April 1981 (UK)

Recorded 26-29 December 1979 (Hammersmith Odeon)

Genre Rock

Length 77:54

Label Atlantic

Producer Chris Thomas

Professional reviews
[1]
• Allmusic link
[2]
• Robert Christgau B+ link

Paul McCartney chronology

McCartney Concerts for the People of Tug of

II Kampuchea War
(1980) (1981) (1982)

Concert for Kampuchea

EP by The Rockestra

Released 24 September 1980

Recorded Hammersmith
Odeon
December 31, 1979
''Concerts for the People of Kampuchea'' 232

Genre Rock

Length 12:08

Label Atlantic Records

Producer Paul McCartney

Concerts for the People of Kampuchea is a double album from Wings, The Who, Queen, Elvis Costello, The
Pretenders, The Clash, The Specials, and many more artists of the highlights from the Concerts for the People of
Kampuchea held at the Hammersmith Odeon in London, England to raise money for the victims of war-torn in
Cambodia.

History
The album starts with four songs from The Who (culled from a 3-hour set list) and finishes with three songs from
Wings and three from the all-star lineup called Rockestra. The best of the concerts was also released as a film. A
promotional Rockestra EP was released in 1980, with four songs. The EP has a track not released on the album,
"Rockestra Theme" (a 58-second intro track); the other songs are the same.
Rockestra was a Paul McCartney-led supergroup of at least thirty English rockers. The credited list appears at the
bottom of the back cover of the LP. The name was first given to an assemblage of famous rock stars that were
brought together by McCartney for the final Wings album, 1979's Back to the Egg. The supergroup—which
consisted of Wings, John Paul Jones and John Bonham of Led Zeppelin, David Gilmour from Pink Floyd, Ronnie
Lane of The Faces, Kenney Jones and Pete Townshend of The Who, and Hank Marvin of The Shadows—recorded
two McCartney compositions, the instrumental "Rockestra Theme" and "So Glad to See You Here."
Then, McCartney and Kurt Waldheim re-assembled Rockestra for a series of benefit concerts for the people of
Cambodia (also known as Kampuchea), suffering from the reign of Pol Pot. This time, Rockestra consisted of,
among others, Wings, John Paul Jones, John Bonham, Robert Plant, Rockpile, James Honeyman-Scott and Pete
Townshend. Hank Marvin was not available and David Gilmour for tax reasons had to decline, as he was with the
rest of Pink Floyd in Los Angeles, California, where they had just finished recording The Wall and were in the midst
of rehearsing for an upcoming concert tour to begin in February 1980.

Album track listing

1. "Baba O'Riley" (Townshend) - 5:12
• Performed by The Who
2. "Sister Disco" (Townshend) - 5:16
• Performed by The Who
3. "Behind Blue Eyes" (Townshend) - 3:46
• Performed by The Who
4. "See Me, Feel Me" (Townshend) - 5:49
• Performed by The Who
5. "The Wait" (Hynde / Farndon) - 3:28
• Performed by The Pretenders
6. "Precious" (Hynde) - 3:23
• Performed by The Pretenders
7. "Tattooed Love Boys" (Hynde) - 3:18
• Performed by The Pretenders
8. "The Imposter" (Costello) - 2:10
''Concerts for the People of Kampuchea'' 233

• Performed by Elvis Costello & The Attractions

9. "Crawling from the Wreckage" (Parker) - 3:02
• Performed by Rockpile
10. "Little Sister" (Pomus / Sherman) - 3:33
• Performed by Rockpile with Robert Plant
11. "Now I'm Here" (May) - 6:49
• Performed by Queen
12. "Armagideon Time" (Bennett) - 4:15
• Performed by The Clash
13. "Hit Me With Your Rhythm Stick" (Dury / Jankel) - 4:30
• Performed by Ian Dury & The Blockheads
14. "Monkey Man" (Hibbert) - 2:26
• Performed by The Specials
15. "Got to Get You into My Life" (Lennon / McCartney) - 2:57
• Performed by Wings
16. "Every Night" (McCartney) - 4:17
• Performed by Wings
17. "Coming Up" (McCartney) - 4:08
• Performed by Wings
18. "Lucille" (Collins / Penniman) - 3:03
• Performed by the Rockestra
19. "Let It Be" (Lennon / McCartney) - 4:12
• Performed by the Rockestra
20. "Rockestra Theme" (McCartney) - 2:30 (*)
• Performed by the Rockestra
(*) Live version of the track which originally appeared on Wings' album Back to the Egg recorded in October 1978
at the Abbey Road's studio #2.

EP track listing

Side one
1. "Rockestra Theme" (McCartney) – 0:58
2. "Let It Be" (Lennon / McCartney) – 4:12

Side two
1. "Lucille" (Collins / Penniman) – 3:03
2. "Rockestra Theme (Reprise)" (McCartney) – 2:30

Rockestra's personnel
• Piano: Paul McCartney
• Keyboards: Linda McCartney, Tony Ashton, Gary Brooker
• Guitars: Denny Laine, Laurence Juber, James Honeyman-Scott, Dave Edmunds, Billy Bremner, Pete Townshend,
Robert Plant
''Concerts for the People of Kampuchea'' 234

• Bass: Paul McCartney, Bruce Thomas, Ronnie Lane, John Paul Jones
• Drums, Percussion: Steve Holley, Kenney Jones, Tony Carr, Morris Pert, Speedy Acquaye, John Bonham
• Horns: Howie Casey, Steve Howard, Thaddeus Richard, Tony Dorsey
• Vocals: Paul McCartney, Linda McCartney, John Paul Jones, Ronnie Lane, Bruce Thomas, Robert Plant

Charts
Album

Year Chart Position

1981 US Billboard 36
200

Album track

Year Title Chart Position

1981 Little Sister US Billboard Top 8

Tracks

See also
• Concerts for the People of Kampuchea, the concerts and set lists.
• Concert for Kampuchea, the film about the concerts.
''The Story of the Clash, Volume 1'' 235

The Story of the Clash, Volume 1

The Story of the Clash, Volume 1

Compilation album by The Clash

Released February 29, 1988

Genre Punk rock

Length 100:10

Label Epic

Producer The Clash, Mickey Foote, Mikey Dread, Sandy Pearlman, Bill Price, Guy Stevens, Lee Perry

Professional reviews
[1]
• Allmusic link
[4] [24]
• Robert Christgau (C+) rating link
[2]
• Rolling Stone link

The Clash compilations and lives chronology

Black Market The Story of the Clash, Volume Clash on

Clash 1 Broadway
(1980) (1988) (1991)

The Clash's 1988 double-disc, 28-track compilation The Story of the Clash, Vol. 1 presents a relatively thorough
overview of their career (except Cut the Crap). An anticipated second volume was to have consisted of live
recordings but remains unreleased. The original Albums on vinyl were released with 4 different colored covers, Red,
Blue, Yellow, and Green.

Track listing
All songs written by Joe Strummer and Mick Jones except where noted.

Disc 1
1. "The Magnificent Seven" (12" version) (The Clash) (original version from Sandinista!, 1980) - 4:27
2. "Rock the Casbah" (US single mix) (The Clash) (original version from Combat Rock, 1982) - 3:42
3. "This Is Radio Clash" (The Clash) (A-side of non-album single, 1981) - 4:10
4. "Should I Stay or Should I Go" (The Clash) (from Combat Rock, 1982) - 3:06
5. "Straight to Hell" (The Clash) (from Combat Rock, 1982) - 5:30
6. "Armagideon Time" (Willi Williams, Jackie Mittoo) (B-side of "London Calling" single, 1979)- 3:50
7. "Clampdown" (from London Calling, 1979) - 3:50
''The Story of the Clash, Volume 1'' 236

8. "Train in Vain" (from London Calling, 1979) - 3:10

9. "The Guns of Brixton" (Simonon) (from London Calling, 1979) - 3:12
10. "I Fought the Law" (Sonny Curtis) (from The Cost Of Living EP, 1979) - 2:35
11. "Somebody Got Murdered" (The Clash) (from Sandinista!, 1980) - 3:34
12. "Lost in the Supermarket" (from London Calling, 1979) - 3:47
13. "Bankrobber" (A-side of non-album single, 1980) - 4:31

Disc 2
1. "(White Man) In Hammersmith Palais" (non-album single, 1978) - 3:58
2. "London's Burning" (from The Clash, 1977) - 2:09
3. "Janie Jones" (from The Clash, 1977) - 2:04
4. "Tommy Gun" (from Give 'Em Enough Rope, 1978) - 3:14
5. "Complete Control" (non-album single, 1977) - 3:12
6. "Capital Radio One" (preceded by Circle Line Interview Part 2) (from Capital Radio EP, 1977) - 5:18
7. "White Riot" (single version) (album version from The Clash, 1977) - 1:59
8. "Career Opportunities" (from The Clash, 1977) - 1:51
9. "Clash City Rockers" (non-album single, 1978) - 3:57
10. "Safe European Home" (from Give 'Em Enough Rope, 1978) - 3:49
11. "Stay Free" (from Give 'Em Enough Rope, 1978) - 3:37
12. "London Calling" (from London Calling, 1979) - 3:18
13. "Spanish Bombs" (from London Calling, 1979) - 3:18
14. "English Civil War" (trad. arr. Strummer/Jones) (from Give 'Em Enough Rope, 1978) - 2:34
15. "Police & Thieves" (Junior Murvin, Lee "Scratch" Perry) (from The Clash, 1977) - 6:00

Liner notes
The extensive inner notes are told from the perspective of Joe Strummer's alter-ego, one Albert Transom. Transom,
described by himself as "...their valet from the early beginnings to the bitter end...", tells many anecdotes, including
one about the beginning of the rioting at the Notting Hill Carnival in 1976. Many of the stories are about shows, such
as one where, after their "3rd or 4th time out", Transom and a fellow punk named Sebastian barricaded themselves in
a small room and were attacked by a group of "Teddy Boys". The story went that Sebastian's tie was ripped, and the
general consensus was that the tie was now "much more punk". Many other musicians are mentioned in the liners,
including experiences with Bo Diddley, Devo, and Roxy Music. The notes end with "If I had to sum it up, I'd say we
played every gig on the face of the earth and that's what its all about...I've just heard they'll give me some room on
Vol. 2 so maybe I will be able to tell the bits I've had to skip or leave out."

External links
• The Story of the Clash, Volume 1 (disc 1) [3] at MusicBrainz
• The Story of the Clash, Volume 1 (disc 2) [4] at MusicBrainz
• The Story of the Clash, Volume 1 [5] at Allmusic
''Clash on Broadway'' 237

Clash on Broadway
Clash on Broadway

Box set by The Clash

Released November 19, 1991

Recorded 1977–1982

Genre Punk rock

Reggae

Length 215:22

Label CBS/Epic

Producer The Clash, Mickey Foote, Mikey Dread, Sandy Pearlman, Bill Price, Guy Stevens, Lee Perry

Professional reviews
[1]
• Allmusic link
• Q (4/00, p.107)
• Melody Maker (2/29/00, p.48-9)
• Entertainment Weekly A-

The Clash compilations and lives chronology

The Story of the Clash, Volume Clash on The

1 Broadway Singles
(1988) (1991) (1991)

Clash on Broadway is a triple-disc, 64-song box set covering The Clash's entire career (except Cut the Crap). The
compilation contains several unreleased tracks and alternate versions.
''Clash on Broadway'' 238

Track listing
All songs written by Mick Jones and Joe Strummer except where noted otherwise.

Disc one
1. "Janie Jones" (demo version) – 2:11
2. "Career Opportunities" (demo version) – 1:58
3. "White Riot" (from "White Riot" single A-side, 1977) – 1:59
4. "1977" – 1:41
5. "I'm So Bored with the USA" – 2:25
6. "Hate and War" – 2:06
7. "What's My Name" (Jones, Keith Levene, Strummer) – 1:40
8. "Deny" – 3:05
9. "London's Burning" – 2:10
10. "Protex Blue" – 1:46
11. "Police and Thieves" (Junior Murvin, Lee "Scratch" Perry) – 6:00
12. "48 Hours" – 1:36
13. "Cheat" – 2:07
14. "Garageland" – 3:14
15. "Capital Radio One" – 2:09
16. "Complete Control" – 3:14
17. "Clash City Rockers" – 3:49
18. "City of the Dead" – 2:24
19. "Jail Guitar Doors" – 3:05
20. "The Prisoner" – 3:00
21. "(White Man) In Hammersmith Palais" – 4:01
22. "Pressure Drop" (Toots Hibbert) – 3:26
23. "1-2 Crush on You" – 3:01
24. "English Civil War" (Live) (Strummer, Jones, Traditional) – 2:41
25. "I Fought the Law" (Live) (Sonny Curtis) – 2:26

Disc two
1. "Safe European Home" – 3:51
2. "Tommy Gun" – 3:17
3. "Julie's Been Working for the Drug Squad" – 3:04
4. "Stay Free" – 3:40
5. "One Emotion" – 4:40
6. "Groovy Times" – 3:30
7. "Gates of the West" – 3:27
8. "Armagideon Time" (Willie Williams, Jackie Mittoo) – 3:50
9. "London Calling" – 3:20
10. "Brand New Cadillac" (Vince Taylor) – 2:10
11. "Rudie Can't Fail" – 3:30
12. "The Guns of Brixton" (Paul Simonon) – 3:11
13. "Spanish Bombs" – 3:20
14. "Lost in the Supermarket" – 3:48
15. "The Right Profile" – 3:55
''Clash on Broadway'' 239

16. "The Card Cheat" – 3:51

17. "Death or Glory" – 3:57
18. "Clampdown" – 3:50
19. "Train in Vain" – 3:11
20. "Bankrobber" – 4:33

Disc three
1. "Police on My Back" (Eddy Grant) – 3:18
2. "The Magnificent Seven" – 5:33
3. "The Leader" – 1:42
4. "The Call Up" – 5:28
5. "Somebody Got Murdered" – 3:35
6. "Washington Bullets" – 3:52
7. "Broadway" – 4:57
8. "Lightning Strikes (Not Once But Twice)" (Live) – 3:38
9. "Every Little Bit Hurts" (Ed Cobb) – 4:38
10. "Stop the World" – 2:33
11. "Midnight to Stevens" – 4:39
12. "This Is Radio Clash" – 4:11
13. "Cool Confusion" – 3:15
14. "Red Angel Dragnet" (Edited Version) – 3:25
15. "Ghetto Defendant" (Edited Version) – 4:15
16. "Rock the Casbah" (US Single Version) – 3:42
17. "Should I Stay or Should I Go" (US Single Version) – 3:09
18. "Straight to Hell" (Unedited Version) – 6:56
19. "The Street Parade" (hidden track) – 3:27

Personnel
• Vic Anesini – Mixing, Remastering
• Hugh Attwool – Research, Tape Research
• Lester Bangs – Liner Notes
• Richard Bauer – Producer, Compilation Producer
• Gina Campanaro – Package Coordinator
• Josh Cheuse – Art Direction, Photography, Cover Design
• Terry Chimes – Drums, Author
• The Clash – Producer
• Bob Clearmountain – Engineer
• Don DeVito – Producer, Compilation Producer
• Bruce Dickinson – Research
• Mikey Dread – Producer
• Micky Foote – Producer, Author
• Ken Fredette – Package Redesign
• Mick Gallagher – Author
• Johnny Green – Author
• Bob Gruen – Photography
• Topper Headon – Drums, Author
''Clash on Broadway'' 240

• Glyn Johns – Mixing

• Mick Jones – Guitar, Arranger, Remixing
• Lenny Kaye – Liner Notes
• Keith Levene – Author
• Janet Macoska – Photography
• Joseph M. Palmaccio – Assembly
• Sandy Pearlman – Producer
• Lee "Scratch" Perry – Producer
• Bill Price – Producer, Remastering
• Retna – Photography
• Bernard Rhodes – Author
• Ebet Roberts – Photography
• Charlie Sarrica – Artwork, Graphic Direction
• Kate Simon – Photography
• Paul Simonon – Bass, Vocals, Author, Photography
• Paul Slattery – Photography
• Pennie Smith – Photography, Cover Photo
• Penny Smith – Photography
• Ray Staff – Remastering
• Guy Stevens – Producer
• Joe Stevens – Photography
• Joe Strummer – Guitar, Arranger, Vocals, Author
• Virginia Turbett – Photography
• Kosmo Vinyl – Liner Notes, Author, Compilation, Editing, Project Director
• Norman Watt-Roy – Author
• Mark Weinberg – Art Direction
• Bob Whitney – Remastering
''The Singles'' 241

The Singles
The Singles

Compilation album by The Clash

Released November 13, 1991

Recorded 1977-1982

Genre Punk rock

Length 64:46

Label Epic
468946 2 / 495353 2

Professional reviews
[1]
• Allmusic link

The Clash compilations and lives chronology

Clash on The Super Black Market

Broadway Singles Clash
(1991) (1991) (1994)

The Singles is a compilation album by The Clash. It includes all their singles, in their single version, except for
1977's Capital Radio (which, whilst not eligible for chart entry is still considered a single) as well as 1985's "This Is
England" due to the Cut the Crap album being disowned by the band at that time.
This collection contains the actual A-side recording of the "This Is Radio Clash" single. Some other compilations
such as The Essential Clash and the remastered version of Super Black Market Clash contain the B-side "Radio
Clash" under the title "This Is Radio Clash instead."
A remastered version, (495353 2) with slightly altered artwork, was released in 1999 as part of Sony's Clash reissue
campaign.
''The Singles'' 242

Track listing
1. "White Riot" – 1:57
2. "Remote Control" – 2:58
3. "Complete Control" – 3:11
4. "Clash City Rockers" – 3:46
5. "(White Man) In Hammersmith Palais" – 3:58
6. "Tommy Gun" – 3:13
7. "English Civil War" – 2:34
8. "I Fought the Law" – 2:38
9. "London Calling" – 3:17
10. "Train in Vain" – 3:06
11. "Bankrobber" – 4:32
12. "The Call Up" – 5:21
13. "Hitsville UK" – 4:19
14. "The Magnificent Seven" – 4:26
15. "This Is Radio Clash" – 4:08
16. "Know Your Rights" – 3:35
17. "Rock the Casbah" – 3:35
18. "Should I Stay or Should I Go" – 3:08

Super Black Market Clash

Super Black Market Clash

Compilation album by The Clash

Released October 26, 1993

Recorded February 1977 - May 1982

Genre Punk rock

Length 77:13

Label Epic

Producer Kosmo Vinyl, Pepe Unidos, The Clash

Professional reviews
[1]
• Allmusic link
[2]
• Blender link
[3]
• Punknews.org link

The Clash compilations and lives chronology

''Super Black Market Clash'' 243

The Super Black Market From Here to Eternity:

Singles Clash Live
(1991) (1994) (1999)

Super Black Market Clash is a compilation album released by The Clash in 1993 that contains B-sides and rare
tracks not available on their other albums. It is a repackaging of the original 1980 Black Market Clash, which was a
single 10" EP, containing only 9 songs. The man in the foreground of the front cover art is Don Letts, who worked
with the Clash on several projects and later was a founding member of Big Audio Dynamite.

Super Black Market Clash

Super Black Market Clash album does not contain the tracks "Capital Radio One", "Cheat", "Bankrobber/Robber
Dub" or "Armagideon Time" found on the original Black Market Clash. At the time of re-release "Capital Radio
One", "Bankrobber" and "Armagideon Time" had recently been compiled on the compilations The Story of the
Clash, Volume 1, Clash on Broadway, and The Singles, and removing them did not affect the availability of the
recordings. The album also replaces the version of "Pressure Drop" that appeared on the original Black Market Clash
with the b-side mix, and "Justice Tonight/Kick It Over" appears in a longer version than that which appeared on
Black Market Clash.
Super Black Market Clash does not fully compile the Clash's b-sides or even attempt to collect all their rarities. It
does however contain important songs, such as three from The Cost of Living EP and several b-sides that were
previously unavailable on CD including "The Cool Out" (a remix of "The Call Up) and "Long Time Jerk" (although
in a shorter version than appeared as the b-side to "Rock the Casbah").
In January 2000 this album, along with the rest of The Clash's catalog was remastered and re-released. The artwork
for the remaster corrects an error in the tracklisting on the original ("Pressure Drop" was listed as track 5 and "The
Prisoner" as track 6 when they actually play in the opposite sequence). The original version of the revised artwork
also introduced a new error by listing "Radio Clash" as "This Is Radio Clash" (the former song, which appears on the
album, is the b-side to the latter song which does not), but this was corrected on later pressings.

Track listing
Super Black Market Clash

No. Title Writer(s) [1] Length

Source

1. "1977" Joe Strummer, Mick Jones B-side of "White Riot" single, 1977 1:41

2. "Listen" Strummer, Jones excerpt released on "Capital Radio One", 1977; 2:44
full version exclusive to this collection

3. "Jail Guitar Doors" Strummer, Jones B-side of "Clash City Rockers" single, 1977 3:05

4. "The City of the Dead" Strummer, Jones B-side of "Complete Control" single, 1978 2:24

5. "The Prisoner" Strummer, Jones B-side of "(White Man) In Hammersmith Palais" 3:01
single, 1978

6. "Pressure Drop" Toots Hibbert B-side of "English Civil War" single, 1978 3:26

7. "1-2 Crush on You" Strummer, Jones B-side of "Tommy Gun" single, 1978 2:58

8. "Groovy Times" Strummer, Jones The Cost of Living E.P., 1979 3:31

9. "Gates of the West" Strummer, Jones The Cost of Living E.P., 1979 3:27

10. "Capital Radio Two" Strummer, Jones The Cost of Living E.P., 1979 3:21
''Super Black Market Clash'' 244

11. "Time Is Tight" Booker T. Jones, Steve Cropper, Black Market Clash, 1980 4:06
Donald "Duck" Dunn, Al Jackson

12. "Justice Tonight/Kick It Over" (dub Willi Williams, Jackie Mittoo B-side of "London Calling" 12" single, 1979 8:54
version of "Armagideon Time")

13. "Robber Dub" (dub version of Strummer, Jones, Mikey Dread Black Market Clash, 1980 4:42
"Bankrobber")

14. "The Cool Out" (dub version of "The The Clash (Jones, Strummer, Paul B-side of "The Magnificent Seven" single, 1980 3:54
Call Up") Simonon, Topper Headon)

15. "Stop the World" The Clash B-side of "The Call Up" single, 1980 2:32

16. "The Magnificent Dance" The Clash B-side of "The Magnificent Seven" single, 1981 5:38

17. "Radio Clash" (incorrectly listed as The Clash B-side of "This Is Radio Clash" single, 1981 4:10
"This Is Radio Clash")

18. "First Night Back in London" The Clash B-side of "Know Your Rights" single, 1982 3:00

19. "Long Time Jerk" The Clash B-side of "Rock the Casbah" single, 1982 2:57

20. "Cool Confusion" The Clash B-side of "Should I Stay or Should I Go" single, 3:15
1982

21. "Mustapha Dance" The Clash B-side of "Rock the Casbah" single, 1982 4:26

Personnel
• Joe Strummer - vocals, rhythm guitar, piano
• Mick Jones - guitar, vocals, piano
• Paul Simonon - bass, vocals
• Terry Chimes - drums on "1977" and "Listen"
• Topper Headon - drums, percussion on all other tracks

Black Market Clash

Black Market Clash

EP by The Clash

Released October 1980

Recorded 1977 - 1980

Genre Reggae, punk rock

Length 34:37

Label Epic
''Super Black Market Clash'' 245

Producer Pepe Unidos, Sandy Pearlman, The

Clash

Professional reviews
[4]
• Allmusic link
[4] [24]
• Robert Christgau (A−) rating link

The Clash compilations and lives chronology

Black Market The Story of the Clash, Volume

Clash 1
(1980) (1988)

The Clash EPs chronology

The Cost of Black Market

Living Clash
(1979) (1980)

Black Market Clash was released only in the US and Canada between the releases of London Calling and
Sandinista! It compiled recordings which were then unavailable in the US except as imports. It was one of series of
10 inch records that Epic released in the U.S. by various artists, including Gary Glitter and New Musik, under the
name Epic "Nu-Disk".
Side One features "The Prisoner," a cover of Toots & the Maytals' "Pressure Drop," and "City of the Dead," which
were b-sides from the period 1977-79, although "Pressure Drop," is presented in a remix by Bill Price. "Cheat" from
their debut album had been left off the US version. At the time of release Black Market Clash was the only record
that featured a cover of Booker T & the MGs' instrumental "Time Is Tight". "Capital Radio One" was extremely rare
in the UK, so much so that the group had recorded a new version, which was originally released on The Cost of
Living (EP). The inclusion of the original "Capital Radio" on Black Market Clash made the mini album extremely
collectible for even UK fans.
Side Two begins with the A-side version of "Bankrobber." This segues into "Robber Dub," which was originally
intended for the B-side of an unreleased "Bankrobber" 12" single and appeared here for the first time. Both of these
tracks are edited and combined to create a version which is unique to this collection. "Armagideon Time" is the
second track on Side Two. It is followed by the dub version of the same song which is titled, "Justice Tonight/Kick It
Over." This track was previously available only as the B-side to the 12-inch import "London Calling" single. The full
length track is 8:54. The 7:00 edited version of "Justice Tonight/Kick It Over" is also unique to this compilation.
"Black Market Clash" was reissued on 12" vinyl and cassette, with the same track listing as the 10", at some point in
the 1980s.
Black Market Clash was re-released on CD in 1991, but was discontinued when Super Black Market Clash replaced
it. However, in late 2006, the album appears to be once again available as stores such as HMV in Canada are
currently stocking the item.
''Super Black Market Clash'' 246

Black Market Clash track listing

All songs written by Joe Strummer and Mick Jones except where noted otherwise.
Side one
1. "Capital Radio One" – 2:09
2. "The Prisoner" – 3:00
3. "Pressure Drop" (Toots Hibbert) – 3:30
4. "Cheat" – 2:06
5. "The City of the Dead" – 2:26
6. "Time Is Tight" (Booker T. Jones, Steve Cropper, Donald "Duck" Dunn, Al Jackson) – 4:05
Side two
1. "Bankrobber/Robber Dub" (Strummer, Jones, Mikey Dread) – 6:16
2. "Armagideon Time" (Willie Williams, Jackie Mittoo) – 3:50
3. "Justice Tonight/Kick It Over" (Williams, Mittoo) – 7:00

Personnel
• Joe Strummer - vocals, rhythm guitar, piano
• Mick Jones - guitar, vocals, piano
• Paul Simonon - bass, vocals
• Terry Chimes - drums on "Capital Radio One" and "Cheat"
• Topper Headon - drums, percussion on all other tracks

References
[1] The Clash. Liner Notes, Super Black Market Clash (Epic/Legacy, 1994).
''From Here to Eternity: Live'' 247

From Here to Eternity: Live

From Here to Eternity: Live

Live album by The Clash

Released October 4, 1999

Recorded April 30 1978 - October 13 1982

Genre Punk rock

Length 63:47

Label Epic

Producer The Clash

Professional reviews
[1]
• Allmusic link
[2]
• Blender link
[4] [24]
• Robert Christgau rating link
[3]
• Pitchfork Media (7.4/10) link

The Clash compilations and lives chronology

Super Black Market From Here to Eternity: The Essential

Clash Live Clash
(1994) (1999) (2003)

From Here to Eternity: Live is a compilation album of live material released by The Clash in 1999. Some of the
recordings featured also appear in the movie Rude Boy. "London's Burning", "What's My Name" and "I Fought the
Law" were instrumentally overdubbed to repair some technical deficiencies of the original live recording.

Track listing
All songs written and composed by Joe Strummer and Mick Jones, except where noted.
''From Here to Eternity: Live'' 248

No. Title Recorded Length

1. "Complete Control" June 13, 1981 at Bonds International Casino in New York City 3:45

2. "London's Burning" April 30, 1978 at Victoria Park, East London 2:03

3. "What's My Name" July 27, 1978 at Music Machine in London 1:43

4. "Clash City Rockers" September 7, 1982 at The Orpheum in Boston 3:30

5. "Career Opportunities" October 13, 1982 at Shea Stadium in New York City 2:06

6. "(White Man) In Hammersmith Palais" September 7, 1982 at The Orpheum in Boston 4:28

7. "Capital Radio" February 18, 1980 at the Lewisham Odeon in London 2:58

8. "City of the Dead" December 28, 1978 at the Lyceum Theatre, London 2:47

9. "I Fought the Law" (Sonny Curtis) December 28, 1978 at the Lyceum Theatre, London 2:36

10. "London Calling" September 7, 1982 at The Orpheum in Boston 3:29

11. "Armagideon Time" (Clement Dodd, Willie Williams) February 18, 1980 at the Lewisham Odeon in London 5:05

12. "Train in Vain" June 13, 1981 at Bonds International Casino in New York City 4:43

13. "The Guns of Brixton" (Paul Simonon) June 13, 1981 at Bonds International Casino in New York City 3:36

14. "The Magnificent Seven" (The Clash) September 7, 1982 at The Orpheum in Boston 6:09

15. "Know Your Rights" (The Clash) September 7, 1982 at The Orpheum in Boston 4:05

16. "Should I Stay or Should I Go" (The Clash) September 8, 1982 at The Orpheum in Boston 3:14

17. "Straight to Hell" (The Clash) September 8, 1982 at The Orpheum in Boston 7:24

Personnel
• Mick Jones - guitar, vocals
• Paul Simonon - bass, vocals
• Joe Strummer - rhythm guitar, vocals
• Topper Headon - drums
• Terry Chimes - Drums on tracks 4-6, 10, 14 - 17
• Micky Gallagher - Organ on "Armagideon Time"
• Mikey Dread - Additional vocals on "Armagideon Time"
''Live at Bond's Casino'' 249

Live at Bond's Casino

Live at Bond's Casino
Live album / bootleg by The Clash

Released 2000

Recorded May-June 1981

Genre Punk rock

Professional reviews
[1]
• Allmusic.com link

The Clash chronology

From Here to Eternity: Live at Bond's The Essential

Live Casino Clash
(1999) (2000) (2003)

The Clash played a series of 17 concerts at Bond's International Casino in New York City in May and June 1981 in
support of their album Sandinista!. Due to their wide publicity, the concerts became an important moment in the
history of the band. Some of the nights were professionally recorded either for CBS records or for FM broadcast.
The 9 June performance appears on countless bootleg records and several songs have appeared on From Here to
Eternity: Live or other official Clash releases.
The site of the concerts was formerly Bonds department store which had been converted into a large second-floor
hall. Promoters kept the name because there was a large Bonds sign on the outside of the building. As The Clash had
not yet broken out into mass popularity, eight shows were originally scheduled: May 28, 29, 30, 31 and June 1, 2, 3,
and 5, 1981. However, given the venue's legal capacity limit of 3500, the series was blatantly oversold right from the
first night, leading fire marshals for the New York Fire Department to cancel the Saturday, May 30 performance. In
response, the band condemned the brazen greed of the promoters while demonstrating unprecedented integrity to
each and every ticketholder by doubling the original booking with a total of 17 dates extending through June.
Strict interpretation of the fire laws meant that audiences were relatively small and resulting in a sense of intimacy
between the band and the audience. Audience members clambered onto the stage to join in singalongs. New York
musicians, including Pearl Harbor, assisted and overseen by Andy Dunkley, provided disc jockey services as the
audience entered and gathered.
The concert captures The Clash on the cusp between being a cult band and their short-lived major market
penetration. As always with The Clash, ticket prices were set relatively low.
''Live at Bond's Casino'' 250

June 9th setlist

1. "London Calling"
2. "Safe European Home"
3. "The Leader"
4. "Train in Vain"
5. "(White Man) In Hammersmith Palais"
6. "This Is Radio Clash"
7. "Corner Soul"
8. "Guns of Brixton"
9. "The Call Up"
10. "Bankrobber"
11. "Complete Control"
12. "Lightning Strikes (Not Once But Twice)"
13. "Ivan Meets GI Joe"
14. "Charlie Don't Surf"
15. "The Magnificent Seven"
16. "Broadway"
17. "Somebody Got Murdered"
18. "Police & Thieves"
19. "Clampdown"
20. "One More Time"
21. "Brand New Cadillac"
22. "The Street Parade"
23. "Janie Jones"
24. "Washington Bullets"
''The Essential Clash'' 251

The Essential Clash

The Essential Clash

Greatest hits by The Clash

Released 11 March 2003 (U.S.)

22 April 2003 (UK)

Recorded 1977-1985

Genre Punk rock

Length Disc one: 60:01

Disc two: 76:03

Label Epic E2K 89056

Producer The Clash, Micky Foote, Sandy Pearlman, Bill Price, Guy Stevens, Jose Unidos

Professional reviews
[1]
• Allmusic link
[2]
• The Music Box (5/5) link
[3]
• NME (10/10) link
[4]
• Pitchfork Media (10/10) link
[5]
• Rolling Stone link

The Clash compilations and lives chronology

From Here to Eternity: The Essential London Calling: 25th Anniversary Legacy
Live Clash Edition
(1999) (2003) (2004)

The Essential Clash is a career-spanning greatest hits album by The Clash first released in 2003. It is part of the
on-going 'The Essential' Sony BMG compilation series. The album is dedicated to Joe Strummer, who died during
compilation of this album.
The B-side recording titled "Radio Clash" was accidentally released on this album with the incorrect A-side title of
"This Is Radio Clash", much like it had been on Super Black Market Clash. Both tracks have the same length and the
only notable difference is in the two mixes and the lyrics. The similarities of the titles and the recordings has led to
quite a bit of confusion not only by fans but by record companies as well. The two songs can be identified by the
opening lyrics. "This Is Radio Clash" begins with "This is radio clash on pirate satellite, Orbiting your living room,
cashing in the bill of rights" and "Radio Clash" begins with "This is radio clash resuming of transmission, beaming
from the mountain tops using aural ammunition." Apart from these two compilations, every other compilation where
"This Is Radio Clash" is listed on the sleeve includes the original song rather than its similarly titled B-side.
''The Essential Clash'' 252

Reception
• Spin (6/03, p. 104) - "These two discs are a pretty hot crib sheet....The first 11 cuts are a shuffle mix of highlights
from the U.S. and U.K. versions of 1977's incendiary The Clash, and if they don't inspire you to punch holes in
the plaster, you're too well-adjusted."
• Uncut (5/03, p. 114) - 4 stars out of 5 - "They never lost sight of Britain's strange mix of supermarket torpor and
multicultural high energy."

Track listing

Disc one
• All songs written by Joe Strummer and Mick Jones, except where noted.
1. "White Riot" – 1:59
2. "London's Burning" – 2:10
3. "Complete Control" – 3:13
4. "Clash City Rockers" (original version) – 3:56
5. "I'm So Bored with the U.S.A." – 2:25
6. "Career Opportunities" – 1:52
7. "Hate & War" – 2:05
8. "Cheat" – 2:06
9. "Police & Thieves" (Murvin-Perry) – 6:00
10. "Janie Jones" – 2:05
11. "Garageland" – 3:13
12. "Capital Radio One" – 2:09
13. "(White Man) In Hammersmith Palais" – 4:01
14. "English Civil War" (traditional, arranged by Jones-Strummer) – 2:36
15. "Tommy Gun" – 3:17
16. "Safe European Home" – 3:51
17. "Julie's Been Working for the Drug Squad" – 3:04
18. "Stay Free" – 3:40
19. "Groovy Times" – 3:30
20. "I Fought the Law" (Curtis) – 2:39
UK version adds "1977" – 1:41 as track 2.

Disc two
• All tracks written by The Clash, except where noted.
1. "London Calling" (Jones-Strummer) – 3:20
2. "The Guns of Brixton" (Paul Simonon) – 3:10
3. "Clampdown" (Jones-Strummer) – 3:50
4. "Rudie Can't Fail" (Jones-Strummer) – 3:29
5. "Lost in the Supermarket" (Jones-Strummer) – 3:47
6. "Jimmy Jazz" (Jones-Strummer) – 3:55
7. "Train in Vain (Stand by Me)" (Jones-Strummer) – 3:11
8. "Bankrobber" (Jones-Strummer) – 4:35
9. "The Magnificent Seven" – 5:33
10. "Ivan Meets G.I. Joe" – 3:07
''The Essential Clash'' 253

11. "Police on My Back" (Grant) – 3:17 (UK version replaces this track with "Broadway" – 4:56, placing it
between "The Street Parade" and "This Is Radio Clash")
12. "Stop the World" – 2:33
13. "Somebody Got Murdered" – 3:34
14. "The Street Parade" – 3:29
15. "This Is Radio Clash" (The recording included here is actually the B-side "Radio Clash", not the A-side) – 4:11
16. "Ghetto Defendant" – 4:44
17. "Rock the Casbah" – 3:42
18. "Straight to Hell" – 5:30
19. "Should I Stay or Should I Go" – 3:08
20. "This Is England" (Rhodes-Strummer) – 3:50

DVD

Track listing
1. Clash on Broadway Trailer including "London Calling" and "Radio Clash"
2. "White Riot"
3. "Complete Control"
4. "Tommy Gun"
5. "Clampdown"
6. "Train in Vain"
7. "London Calling"
8. "Bankrobber"
9. "The Call Up"
10. "Rock the Casbah"
11. "Should I Stay or Should I Go?" (live)
12. "Career Opportunities" (live)

Special features
• Hell W10 - written and directed by Joe Strummer. Filmed in the summer of 1983 and filmed in black and white.
• Promo Footage (1976) - including "1977", "White Riot" and "London's Burning"
• Discography
• "I Fought the Law" (Live, from the film Rude Boy)
• Interview clip (London Weekend Show 1976)

Credits
• All videos directed by Don Letts except "Tommy Gun" directed by Keef & Co and "White Riot" directed by
Lindsey Clinell.
• Hell W10 soundtrack features excerpts from; "Version City", "Rudie Can't Fail", "First Night Back in London
(Instrumental)", "Know Your Rights (Instrumental)", "Long Time Jerk (Instrumental)", "Cool Confusion
(Instrumental)", "Ghetto Defendant (Instrumental)", "Junco Version (Instrumental)", "Atom Tam (Instrumental)",
"Silicone on Sapphire", "Wrong 'Em Boyo", "Overpowered by Funk (Instrumental)", "The Call Up", "Red Angel
Dragnet (Instrumental)", "Jimmy Jazz", "Mensforth Hill", "Junkie Slip", "Time Is Tight", "Armagideon Time",
"Listen", "The Equaliser", "Police on My Back", "One More Dub", "Rock the Casbah (Instrumental)".[1]
''The Essential Clash'' 254

References
[1] The Essential Clash DVD Sleeve: Clash soundtrack produced from the clash archives for 2003 DVD release of Hell 10

Singles Box
Singles Box

Box set by The Clash

Released October 30, 2006

Recorded 1977 - 1985

Genre Punk rock

Length 240:09

Label Sony BMG

Producer Lee "Scratch" Perry, Bill Price, Sandy Pearlman, Guy Stevens and Jose Unidos

Professional reviews
[1]
• Allmusic link
[2]
• Pitchfork Media (8.0/10) link
[3]
• Uncut link

The Clash compilations and lives chronology

London Calling: 25th Anniversary Legacy Singles The

Edition Box Singles
(2004) (2006) (2007)

Singles Box is a compilation album by The Clash. Included within is all the singles that they released in the UK
(meaning no single for "Train in Vain (Stand by Me)", their first top 40 single in America), with the single mixes and
edits with the B-sides released, and also containing B-sides from different parts of the world.
The discs are packaged in a sleeve which reproduces the design of the original single, and they come in a protective
sleeve. The CDs themselves are designed to look like vinyl records, with a textured top to look like a record with
grooves and the data side being black, and a reproduction of the record label in the center of the disc.
''Singles Box'' 255

Track listing

CD 1 (White Riot)
1. "White Riot" - 1:59
2. "1977" - 1:40

CD 2 (Capital Radio EP)

1. "Listen" (edit) - 0:27
2. Interview with The Clash on The Circle Line (Part 1) - 8:51
3. Interview with The Clash on The Circle Line (Part 2) - 3:10
4. "Capital Radio" - 2:07

CD 3 (Remote Control)
1. "Remote Control" - 3:02
2. "London's Burning" (live) - 2:12
3. "London's Burning" (from Dutch 7") - 2:10

CD 4 (Complete Control)
1. "Complete Control" - 2:53
2. "City of the Dead" - 2:22

CD 5 (Clash City Rockers)

1. "Clash City Rockers" - 3:47
2. "Jail Guitar Doors" - 3:03

CD 6 (White Man) In Hammersmith Palais

1. "(White Man) In Hammersmith Palais" - 4:02
2. "The Prisoner" - 2:59

CD 7 (Tommy Gun)
1. "Tommy Gun" - 3:19
2. "1-2 Crush on You" - 2:59

CD 8 (English Civil War)

1. "English Civil War (Johnny Comes Marching Home)" - 2:38
2. "Pressure Drop" - 2:35

CD 9 (The Cost Of Living EP)

1. "I Fought the Law" - 2:42
2. "Groovy Times" - 3:31
3. "Gates of the West" - 3:37
4. "Capital Radio Two" - 3:19
5. "Cost of Living Advert" - 0:47 [available only on Japanese version of the Singles Box]
''Singles Box'' 256

CD 10 (London Calling)
1. "London Calling" - 3:21
2. "Armagideon Time" - 3:51
3. "Justice Tonight" (from UK 12") - 4:08
4. "Kick It Over" (from UK 12") - 4:47
5. "Clampdown" (from US promo 12") - 3:51
6. "The Card Cheat" (from US promo 12") - 3:51
7. "Lost in the Supermarket" (from US promo 12") - 3:46

CD 11 (Bankrobber)
1. "Bankrobber" - 4:36
2. "Rockers Galore...UK Tour" - 4:42
3. "Rudie Can't Fail" (from Dutch 7") - 3:29
4. "Train in Vain" (from Spanish 7") - 3:09

CD 12 (The Call Up)

1. "The Call Up" - 2:54
2. "Stop The World" - 2:32

CD 13 (Hitsville U.K.)
1. "Hitsville U.K." - 4:23
2. "Radio One" - 6:20
3. "Police on My Back" (from US 7") - 3:19
4. "Somebody Got Murdered" (from Spanish 7") - 3:33

CD 14 (The Magnificent Seven)

1. "The Magnificent Seven" (edit) - 3:39
2. "The Magnificent Dance" (edit) - 3:37
3. "Lightning Strikes (Not Once But Twice)" (from US promo 12") - 4:52
4. "One More Time" (from US promo 12") - 3:31
5. "One More Dub" (from US promo 12") - 3:36
6. "The Cool Out" (from US 12") - 3:55
7. "The Magnificent Seven" (12" mix) - 4:29
8. "The Magnificent Dance" - 5:36
''Singles Box'' 257

CD 15 (This Is Radio Clash)

1. "This Is Radio Clash" - 4:12
2. "Radio Clash" - 4:12
3. "Outside Broadcast" (from UK 12") - 7:23
4. "Radio 5" (from UK 12") - 3:38

CD 16 (Know Your Rights)

1. "Know Your Rights" - 3:51
2. "First Night Back in London" - 2:59

CD 17 (Rock The Casbah)

1. "Rock the Casbah" - 3:43
2. "Long Time Jerk" - 5:10
3. "Mustapha Dance" (from UK 12") - 4:28
4. "Red Angel Dragnet" (from Canadian 7") - 3:47
5. "Overpowered By Funk" (from Argentine promo 7") - 4:53

CD 18 (Should I Stay Or Should I Go/Straight To Hell)

1. "Should I Stay or Should I Go" - 3:09
2. "Straight To Hell" (edit) - 3:53
3. "Inoculated City" (from US 7") - 2:43
4. "Cool Confusion" (from US 7") - 3:14

CD 19 (This Is England)
1. "This Is England" - 3:37
2. "Do It Now" - 3:07
3. "Sex Mad Roar" (from UK 12") - 2:59

Credits
• Joe Strummer - guitar, vocals on Discs 1-19
• Mick Jones - guitar, vocals on Discs 1-18
• Paul Simonon - bass, vocals on Discs 1-19
• Topper Headon - drums, percussion on Dics 4-18
• Terry Chimes - drums, percussion on Discs 1-3
• Nick Sheppard - guitar, vocals on Disc 19
• Vince White - guitar, vocals on Disc 19
• Pete Howard - drums, percussion on Disc 19
Bill Price - Egg shaker
Dennis Ferrante - High Tenor Vocal
Bob Jones - Harmonica
Interviewer: Tony Parsons
Mixing: Glyn Johns
Remixing: Pepe Unidos
Tape Operator: Jeremy Green
Engineers: Jerry Green and Bill Price
''Singles Box'' 258

Photographies: Pennie Smith, Bob Gruen, Caroline and Lindy Lou

Liner Notes: Shane MacGowan, Bernard Sumner, Ian Brown, John Squire, Tony Parsons, Anthony
Roman, Jim Goodwin, Danny Boyle, Carl Barat, Richard Archer, Bernard Rhodes, Irvine Welsh, Nick
Hornby, Stuart Peace, Sharleen Spiteri, Tim Burgess, Mike D, Bobby Gillespie, Steve Jones, Damon
Albarn, The Edge, and Pete Townshend
Design: Jules
Cover Art: Left Hand Luke
Cover Design: Rocking Russian
Authors: Chris Shiflett and Damon Albarn
Producers: Lee "Scratch" Perry, Bill Price, Sandy Pearlman, Guy Stevens and Jose Unidos
Executive Producer: Tricia Ronane
Coordinations: Will Nicol and Phil Savill
Director: John Halas
''The Singles'' (2007) 259

The Singles (2007)

The Singles

Compilation album by The Clash

Released June 4, 2007

Recorded 1977 - 1985

Genre Punk rock, pop punk, dance-punk, punk funk, post-punk, reggae, hard rock

Length 67:38

Label Sony BMG

Producer Lee "Scratch" Perry, Bill Price, Sandy Pearlman, Guy Stevens and Jose Unidos

Professional reviews
[1]
• Allmusic link
[2]
• Pitchfork Media (9.0/10) link

The Clash compilations and lives chronology

Singles The Live At Shea

Box Singles Stadium
(2006) (2007) (2008)

A new version of The Clash's previous singles compilation The Singles or Singles Box, this compilation presents a
stripped down view of the singles of The Clash's career, not including any of the B-sides incorporated into the
release of the earlier collection and compiled onto a single disc.

Track listing
1. "London Calling" (from London Calling)
2. "Rock the Casbah" (from Combat Rock)
3. "Should I Stay or Should I Go" (from Combat Rock)
4. "I Fought the Law" (from The Clash (U.S.))
5. "(White Man) In Hammersmith Palais" (from The Clash (U.S.))
6. "The Magnificent Seven" (from Sandinista!)
7. "Bankrobber" (from Black Market Clash)
8. "The Call Up" (from Sandinista!)
9. "Complete Control" (from The Clash (U.S.))
10. "White Riot" (from The Clash (U.K.))
11. "Remote Control" (from The Clash (U.K.))
''The Singles'' (2007) 260

12. "Tommy Gun" (from Give 'Em Enough Rope)

13. "Clash City Rockers" (from The Clash (U.S.))
14. "English Civil War" (from Give 'Em Enough Rope)
15. "Hitsville UK" (from Sandinista!)
16. "Know Your Rights" (from Combat Rock)
17. "This Is England" (from Cut the Crap)
18. "This Is Radio Clash" (from This is Radio Clash)
19. "Train in Vain" (from London Calling)
20. "Groovy Times" (from The Cost of Living)
''Live at Shea Stadium'' 261

Live at Shea Stadium

Live at Shea Stadium

Live album by The Clash

Released 6 October 2008

Recorded 13 October 1982

Genre Punk rock, Post punk

Length 49:05

Label Epic

Producer The Clash

Professional reviews
[1]
• Allmusic link
[2]
• Blender link
[3]
• ChartAttack link
[4]
• Pitchfork Media (7.7/10) link
[5]
• Rolling Stone Link
[6]
• Rocklouder link

The Clash compilations and lives chronology

The Live At Shea -

Singles Stadium
(2007) (2008)

Live at Shea Stadium is a live album by punk rock band The Clash. The album is a recording of the band's second
night opening for The Who at New York City's Shea Stadium in 1982, at a concert produced by Kosmo Vinyl. The
original recordings were unearthed by Clash frontman Joe Strummer while packing for a move.[1] The album was
released in the United Kingdom on 6 October 2008[2] and in the United States the following day.[3]
''Live at Shea Stadium'' 262

Track listing
Side one
1. "Kosmo Vinyl Introduction" – 1:10
2. "London Calling" (Strummer/Jones) – 3:29
3. "Police on My Back" (E Grant) – 3:28
4. "The Guns of Brixton" (P Simonon) – 4:07
5. "Tommy Gun" (Strummer/Jones) – 3:19
6. "The Magnificent Seven" (The Clash) – 2:33
7. "Armagideon Time" (Willi Williams/J Mittoo) – 2:55
8. "The Magnificent Seven (Return)" (The Clash) – 2:23
Side two

• "Rock the Casbah"(The Clash) – 3:21

2. "Train in Vain" (Strummer/Jones) – 3:45
3. "Career Opportunities" (Strummer/Jones) – 2:05
4. "Spanish Bombs" (Strummer/Jones) – 3:18
5. "Clampdown" (Strummer/Jones) – 4:26
6. "English Civil War" (traditional, arranged by Strummer/Jones) – 2:39
7. "Should I Stay or Should I Go" (The Clash) – 2:44
8. "I Fought the Law" (Sonny Curtis) – 3:22

Personnel
• Mick Jones - Guitar, Vocals
• Paul Simonon - Bass, Vocals, Rhythm guitar on "Guns Of Brixton"
• Joe Strummer - Rhythm Guitar, Vocals, bass on "Guns Of Brixton"
• Terry Chimes - Drums
• Glyn Johns - original recording
• David Bates - restoration and mixing
• Mark Frith - restoration and mixing
• Tim Young - master recording
• Bob Gruen - booklet-photos
• Joe Stevens - booklet-photos
• Tricia Ronane - management

External links
• Live at Shea Stadium - The Sunday Times review [10]
• Live at Shea Stadium - Rolling Stone review [5]
• Another memento from Shea Stadium: recording of 1982 Clash concert by The Canadian Press [11]

References
[1] http:/ / www. theclashonline. com/ music
[2] The Clash - Live At Shea Stadium MusicOMH 6 October, 2008 (http:/ / www. musicomh. com/ albums/ clash_1008. htm)
[3] Hot Stuff Newsday 5 October, 2008 (http:/ / www. newsday. com/ entertainment/ music/ ny-ffhot5866191oct05,0,5259150. story)
 263

Songs

"1977"
"1977"
Single B-side to "White Riot" by The Clash

Released March 18, 1977

Format 7" vinyl

Recorded 1977

Genre Punk rock

Length 1:39

Label CBS CBS 5058

Producer Mickey Foote

"1977" is the B-side of punk band The Clash's first single, "White Riot", released in 1977. The song was most likely
influenced by the reggae group Culture's album Two Sevens Clash, and Rastafarian predictions of impending chaos
on July 7, 1977.[1] The song used imagery of Apocalypse, unemployment, and riots. The chorus contains the line "No
Elvis, Beatles, or The Rolling Stones in 1977", crowing the perceived irrelevance of the old rock acts. The song ends
with a count of years starting with 1977 and ending abruptly with 1984 with an inferred Orwellian dystopian
future.[2]

References
[1] "Birth of a Phenomenon: 'Two Sevens Clash'" (http:/ / www. npr. org/ templates/ story/ story. php?storyId=11926707). National Public
Radio. July 12, 2007. . Retrieved 2008-08-06.
[2] Gray, Marcus (1996). The Last Gang in Town: The Story and Myth of the Clash (pp. 187-188). New York: Henry Holt and Company.
"Bankrobber" 264

"Bankrobber"
"Bankrobber"

Single by The Clash

from the album Black Market Clash

B-side "Rockers Galore... UK Tour"

Released 8 August 1980

Format 7" single

Recorded 1980

Genre Reggae

Length 4:33

Label CBS 8323

Writer(s) Joe Strummer and Mick Jones

Producer Mikey Dread

The Clash singles chronology

"Train in "Bankrobber" "The Call

Vain" (1980) Up"
(1980) (1980)

"Bankrobber" is a song, and a single by The Clash. The song was not released on any of their studio albums, instead
appearing on their compilation Black Market Clash. Upon its 1980 release as a single (initially available in the UK
on import only) it peaked at #12 on the UK Singles Chart.
The song haphazardly chronicles the life of the narrator's father, the bankrobber of the song's title (who "never hurt
nobody"), concentrating on the theme of the drudgery of many working class jobs.
Young Ian Brown and Pete Garner - later of The Stone Roses - were in attendance at the studio recording session of
this single.[1]
The Clash filmed a low-budget video for the song, depicting members of the band recording the song in the studio,
interspersed with Clash roadies Baker and Johnny Green wearing bandanas over their faces, performing a bank heist
in Lewisham. During the filming, Baker and Green were stopped and questioned by the police, who thought they
were the real thing.[2]
"Bankrobber" 265

Track listing

Side one
1. "Bankrobber"

Side two
1. "Rockers Galore... UK Tour" (Mikey Dread)

Robber Dub
"Robber Dub" is the dub version of "Bankrobber". It was to be included in the 12" single for "Bankrobber", but the
label ended up refusing to release the 12" single.[3] The song can be found on their 1980 compilation album Black
Market Clash, combined with "Bankrobber" as a 6:16 track, and on the 1994 compilation album Super Black Market
Clash, as a 4:42 stand alone track.

Rockers Galore... UK Tour

"Rockers Galore... UK Tour" is a reworking of "Bankrobber" with Mikey Dread singing new lyrics about touring
with the Clash. It is not "Robber Dub" which lacks the Dread vocal and lyrics.[1] "Rockers Galore" is also featured
on their 2006 compilation album Singles Box.

RocknRolla
"Bankrobber" is featured in Guy Ritchie's 2008 film, Rocknrolla, it is sung alternatively by the older 'Johnny Quid' in
his dingy flat, and by the younger 'John Cole' in the company of his cruel stepfather, the London mob boss Lenny
Cole.

Skins
"Bankrobber" features in the episode "Freddie" of E4's Skins, in the program's third season.

Cover versions
• The Norwegian hardcore band So Much Hate appears with a live version of the song on the It's Your Choice live
comp. 2x10" (Your Choice Records).
• Audioweb recorded a rock/reggae cover in 1996 which reached number 19 in the UK charts.
• Chumbawamba recorded a folk-style cover version of the song for their 2005 album, A Singsong and a Scrap.
• Hawksley Workman recorded a version, which was available on a free CD in the UK magazine UNCUT in 2003.
The CD was entitled "White Riot Vol. 1 - A Tribute To The Clash".
• OPM recorded a cover for the In The OPMDen EP.
• Covered by Hot Tuna on their live album, Live at Sweetwater
• Greg MacPherson covered it on his album "Maintenance".
• Covered by Polish group, Kult in 2008.
"Bankrobber" 266

Charts
Chart Peak Date
position

UK Singles Chart [4] Aug 1980

12

Irish Singles Chart 14 Sep 1980

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.

References
[1] "The Singles (CD version)" (http:/ / www. sonybmgstore. com/ The-Singles-CD-version/ A/ B000HCPU0Q. htm). SONY BMG Music
Entertainment Store. . Retrieved 2007-11-22. "b) "Rockers Galore...UK Tour" is a reworking of "Bankrobber" with Mikey Dread singing new
lyrics about touring with the Clash. This is not the same track as "Robber Dub" on SUPER BLACK MARKET CLASH, which lacks the
Dread vocal and lyrics."
[2] "The Uncut Crap - Over 56 Things You Never Knew About The Clash". NME (London: IPC Magazines) 3. 16 March 1991. ISSN 0028-6362.
OCLC 4213418. "During the filming for the "Bankrobber" video, Clash roadies Baker and Johnny Green faked a bank job in South London.
They were stopped and questioned by the police, who thought they were the real thing.".
Related news articles:
• Peterson, Tami. "The Uncut Crap - Over 56 Things You Never Knew About The Clash - NME 16 March 1991" (http:/ / londonsburning.
org/ art_nme_03_16_91. html). londonsburning.org. . Retrieved 2007-12-11.
[3] "The Clash - Super Black Market Clash" (http:/ / www. punknews. org/ review/ 973). Punknews.org. . Retrieved 2007-11-22. ""Robber Dub"
is a 'Dread at The Controls' version of The Clash's excellent reggae song "Bankrobber". It was to be included on a 12" single titled
"Bankrobber", but the label ended up refusing to release the single. It is a great song, but doesn't quite match "Justice Tonight/Kick It Over"."
[4] "Chart Stats - The Clash" (http:/ / www. chartstats. com/ artistinfo. php?id=2777). chartstats.com. . Retrieved 2009-11-04.
"Brand New Cadillac" 267

"Brand New Cadillac"

"Brand New Cadillac"
Single by Vince Taylor and his Playboys

A-side "Pledgin' My Love"

Released April 1959

Format 7" single

Genre Rock & roll

Label Parlophone R4505

Writer(s) Vince Taylor

Vince Taylor and his Playboys singles chronology

"Right Behind You "Pledgin' My "I'll be your

Baby" Love" Hero"
(1959) (1959) (1960)

"Brand New Cadillac" is a 1958 12-bar blues song by Vince Taylor and was originally released as a b-side.
Featured musicians on the released recording are: Joe Moretti (guitars), Lou Brian (piano), Brian Locking (bass) and
Brian Bennett (drums).
The song was covered in the 60s by British beat group Downliners Sect, and later by The Clash on their 1979 album
London Calling. In 1971, Mott The Hoople, during a concert recording in Stockholm, inserted a verse of it in their
version of Little Richard's "Keep a-Knockin' " (released on the live album A Tale of Two Cities in 2000). In 1980
Canadian punk band Teenage Head recorded a version on their second album Frantic City. It was also covered by
the Brian Setzer Orchestra on their self-titled debut album in 1994, and by Wayne Hancock on his 1997 album,
That's What Daddy Wants. The song has been included at many Van Morrison concerts, appearing as a medley with
"Goin' Down Geneva", which is about Vince Taylor. The Fall covered it in 1978. The brazilian psychobilly band Os
catalepticos covered it in a tv presentation (http://www.youtube.com/watch?v=PxIfa5uUK9Y).
"The Call Up" 268

"The Call Up"

"The Call Up"

Single by The Clash

from the album Sandinista!

B-side "Stop the World"

Released 28 November 1980

Format 7" vinyl

Recorded at Electric Lady Studios, New York, United States in 1980

Genre Post-punk
Punk-funk

Length 5:28

Label CBS S CBS 9339

Writer(s) The Clash

The Clash singles chronology

"Bankrobber" "The Call "Hitsville

(1980) Up" UK"
(1980) (1981)

"The Call Up" is a song and a single by English punk rock group The Clash. It was the first single released from
their 4th album Sandinista!. The single was released in November 1980, in advance of the release of Sandinista!,
with the anti-nuclear "Stop the World" as its B-side.
The song opens and closes with a US Marines' marching chant and is mostly about The Draft though it also deals
war in general. The song also includes a rejection of dead-end jobs ("who gives you work and why should you do
it?"). Though the US discontinued the draft in 1973, in 1980 Congress re-instated the requirement for men aged
18–25 to register with the Selective Service System. This may have inspired the song's subject matter as it was a
topical subject in America during 1980, the year when Sandinista! was written and recorded.
The song was recorded at Electric Lady Studios in New York.
Don Letts filmed the single's accompanying video in a warehouse owned by singer and collector of military
paraphernalia Chris Farlowe. The video was in black and white, and featured the band dressed in costumes
consisting of various parts of military uniforms and gear.
"The Call Up" 269

Re-releases
The single was reissued in 1981 in the U.S. by Epic Records (catalog number 02036) in 7" vinyl format and with a
different cover. On the B-side of the US release was "The Cool Out", a dub of "The Call Up".
There is also a 12" version as well.
In addition to its inclusion on Sandinista!, "The Call Up" has been included on both The Clash on Broadway and The
Singles. It is absent from The Essential Clash, although "Stop The World", its B-side, is included. "Stop The World"
is also included on The Clash on Broadway and the B-side compilation, Super Black Market Clash.
The single was reissued on CD as Disc 12 of Singles Box, complete with a re-creation of the original sleeve artwork,
but omits "The Cool Out", making it the only disc in the set that does not include all non-UK released tracks. "The
Cool Out" is however included on Disc 14 as part of the "Magnificent Seven" release.

Charts
Chart Peak Date
position

UK Singles 40
Chart

References
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.
"Career Opportunities" 270

"Career Opportunities"
See Career Opportunities (film) for the movie of this same title.

"Career Opportunities"
Song by The Clash from the album The Clash

Released April 8, 1977

Recorded March, 1977

Genre Punk rock

Length 1:53

Label CBS

Writer Joe Strummer, Mick Jones

Producer Mikey Foote

"Career Opportunities" is a song by The Clash, recorded for their first album, The Clash. The song attacks the
political and economic situation in England at the time, citing the lack of jobs available, particularly to youth, and
the dreariness and lack of appeal of those that were available. They specifically mention service in the military and
police forces in addition to jobs that are often perceived as being 'menial' such as a bus driver or ticket inspector, as
well as "making tea at the BBC".
The line "I won't open letter bombs for you" is a reference to a former job of Clash guitarist Mick Jones, opening
letters for a British government department to make sure they weren't rigged with mailbombs. The song was named
by bassist Paul Simonon.
The song was re-recorded as one of the last songs on the experimental album Sandinista!, with vocal tracks by the
very young Luke and Ben Gallagher (keyboardist Mickey Gallagher's sons) over a simple keyboard melody.

Personnel
• Joe Strummer: Vocals.
• Mick Jones: Guitar.
• Paul Simonon: Bass.
• Tory Chimes: Drums.
"Clampdown" 271

"Clampdown"
"Clampdown"

Single by The Clash

from the album London Calling

B-side "The Guns of Brixton"

Released 14 December 1979

Format 7" single

Recorded August-September 1979, November 1979 at Wessex

Studios

Genre Punk rock

Length 3:50

Label CBS ES 486

Writer(s) Joe Strummer and Mick Jones

Producer Guy Stevens

The Clash singles chronology

"London "Clampdown" "Train in

Calling" (1979) Vain"
(1979) (1980)

"Clampdown" is a single and a song by The Clash from their album London Calling. The song began as a
instrumental track called "Working and Waiting".[1] It is sometimes called "Working for the Clampdown" which is
the main lyric of the song, and also the title provided on the album's lyric sheet. Its lyrics comment on people who
forsake the idealism of youth and urges young people to fight the status quo.[2]

Writing and recording

"Clampdown" was written by Joe Strummer and Mick Jones.
The song's lyrics, written by Joe Strummer, have a variety of interpretations. One commonly held belief is that it
refers to the Nazi regime. According to this view, the reference to "wearing blue and brown" would refer to the
monochromatic military-style uniforms often worn by federal police forces in dictatorial regimes, specifically the
all-brown uniform worn by members of Hitler's SA (see Sturmabteilung).
The first verse is also commonly cited in support of the Nazi interpretation of the song, containing as it does
references to Jews (see the Final Solution), blue-eyed men (see Aryan race) and young believers (see Hitler Youth):
Taking off his turban, they said, is this man a Jew?
"Clampdown" 272

Cause they're working for the clampdown

They put up a poster saying we earn more than you!
When we're working for the clampdown
We will teach our twisted speech
To the young believers
We will train our blue-eyed men
To be young believers
Others believe that the lyrics are more broad in scope, reflecting the failures of capitalist society.[3] [4] This
interpretation of the lyrics sees the wearing of the "blue and brown" as referring to the color of the uniforms that are
mostly worn by blue-collar workers. This idea goes along with lyrics that refer to "young believers" who are brought
and bought into the capital system by those "working for the clampdown" who will "teach with twisted speech."
Strummer wrote,
The men in the factory are old and cunning
You don't owe nothing, so boy get running!
It's the best years of your life they want to steal!
You grow up and you calm down and you're working for the clampdown.
You start wearing the blue and brown and you're working for the clampdown.
So you got someone to boss around. It makes you feel big now...
These lyrics are seen to refer to how one gets caught by the capital economic system and its ethos of work, debt,
power, position and conformist lifestyle.[5] Strummer, who was a proud and loud socialist, also uses the song's
closing refrain to highlight this mindset and potential trap and offers a warning not to give oneself over to "the
clampdown". He does this by repeating as the song fades out the word "work" five times and "more work" twice.
This reaffirms the idea that Strummer saw "the clampdown" as a threat to all who get caught up in the modern
economic wage-hour system. Bass player and Clash co-founder Paul Simonon, in an interview with the LA Times,
spoke about the opportunities available to him after he finished his education,

“
What was worse was that when it got time for us to start leaving school, they took us out on trips to give us an idea of what jobs were
available. But they didn’t try to introduce us to anything exciting or meaningful. They took us to the power station and the Navy yards. It was
like saying, ‘This is all you guys could ever do.” “Some of the kids fell for it. When we got taken down to the Navy yards, we went on a ship
and got cooked up dinner and it was all chips and beans. It was really great. So some of the kids joined up - because the food was better than
they ate at home. ”
[6]
—Paul Simonon ,

Strummer like Simonon, spent time on the dole, but Strummer didn’t come from a lower-class family. In the same
interview with the LA Times Strummer said,

“
You see, I’m not like Paul or the others, I had a chance to be a ‘good, normal person’ with a nice car and a house in the suburbs - the golden
apple or whatever you call it. But I saw through it. I saw it was an empty life.
”
[6]
—Joe Strummer ,

Strummer's father was a diplomat in the British Field Service, and Joe was sent away to boarding school where he
detested "the thick rich people’s thick rich kids". Strummer said,
"Clampdown" 273

“
I only saw my father once a year (after being sent to boarding school,) he was a real disciplinarian, who was always giving me speeches about
how he had pulled himself up by the sweat of his brow: a real guts and determination man. What he was really saying to me was, ‘If you play

”
by the rules, you can end up like me’. And I saw right away I didn’t want to end up like him. Once I got out on my own, I realized I was right.
I saw how the rules worked and I didn’t like them.

[6]
—Joe Strummer ,

Probably the most accurate interpretation of the song is one which assumes the verses each refer to different
things—the first verse to fascism, the second to work under capitalism, and so on. In this view, "the clampdown" is
Strummer's general term for repression and lack of freedom.
Later verses suggest an alternative in revolution, a theme common throughout Joe Strummer's songwriting. This
point of view also points to the lyric "You start wearing the blue and brown" as supporting their cause. Both the Nazi
SS and SA wore blue and brown, as did many British politicians of the 1970s. The barely audible lyrics at the
beginning of the song were deciphered by Clash fan Ade Marks, and first published in Q magazine's Clash special:
The kingdom is ransacked, the jewels all taken back
And the chopper descends
They're hidden in the back, with a message on a half-baked tape
With the spool going round, saying I'm back here in this place
And I could cry
And there's smoke you could click on
What are we going to do now?

Cover versions
"Clampdown" was later covered by Rage Against the Machine at their first live show in 1991, as well as their more
recent show in Antwerp, Belgium on 2 June 2008. It was also was covered by Indigo Girls and can be heard on
Rarities (2005) as well as the Clash tribute album Burning London: The Clash Tribute (1999). The song was also
covered by The Strokes (at their Oxegen and T in the Park appearances in July 2004), Poster Children on their 2004
release, On the Offensive, and James Dean Bradfield (of the Manic Street Preachers) on his solo tour in October
2006. Another band that covered this song was Hot Water Music, on their B sides and rarities compilation album
called "Till the Wheels Fall Off". The song was also covered by The National (band) on the album "A Tribute to The
Clash".

Popular reference
The song was also used in the US television show "Malcolm in the Middle" during an episode where Malcolm and
some misfits organise an anti-prom called "Morp".

Personnel
The following people contributed to "Clampdown":[7]

• Joe Strummer – vocals, guitar • Mickey Gallagher - organ

• Mick Jones – Vocals,guitar • Guy Stevens – producer
• Paul Simonon – bass guitar • Bill Price – chief engineer
• Topper Headon – drums, percussion • Jerry Green – second engineer
"Clampdown" 274

Charts
Chart Peak Date
position

UK Singles 16
Chart

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
pp. 233, 235, 238, 257, 260, 267. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.

External links
• songmeanings about Clampdown [8]
• 'Let fury have the hour': the passionate politics of Joe Strummer [9]
• LA Times article [10]

References
[1] Sweeting, Adam (October 2004). "Death or Glory". Uncut: 67.
[2] Guarisco, Donald A.. "Clampdown Review" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=33:kjfoxcuhld0e). Allmusic. . Retrieved
2008-03-13.
[3] D'Ambrosio, Antonino (June 2003). "'Let fury have the hour': the passionate politics of Joe Strummer (Page 4)" (http:/ / findarticles. com/ p/
articles/ mi_m1132/ is_2_55/ ai_103383507/ pg_4). Monthly Review. CNET Networks. . Retrieved 2008-03-13.
[4] D'Ambrosio, Antonino (June 2003). "'Let fury have the hour': the passionate politics of Joe Strummer (Page 5)" (http:/ / findarticles. com/ p/
articles/ mi_m1132/ is_2_55/ ai_103383507/ pg_5). Monthly Review. CNET Networks. . Retrieved 2008-03-13.
[5] Dimery, Robert (1999). Collins Gem Classic Albums. Glasgow: Harper Collins Publishers. ISBN 0004724852. OCLC 43582584.
Related news articles:
• "The Clash - London Calling" (http:/ / www. superseventies. com/ spclash. html). Super Seventies. . Retrieved 2008-03-13.
[6] Hilburn, Robert (22 January 1984). "Clash make it goo". Los Angeles Times (Los Angeles, CA. London: Times-Mirror). ISSN 0458-3035.
OCLC 3638237. "LONDON - The Clash is a rock band that lives up to its name.".
Related news articles:
• "Clash make it goo" (http:/ / homepage. mac. com/ blackmarketclash/ Bands/ Clash/ recordings/ 1984/ 84-00-00 Tour Info/ LA Times
Robert Hist. html). blackmarketclash.com. . Retrieved 2008-03-13.
[7] London Calling: 25th Anniversary Legacy Edition (CD liner notes). Epic Records. September 2004.
"Clash City Rockers" 275

"Clash City Rockers"

"Clash City Rockers"

Single by The Clash

from the album The Clash (US ver.)

B-side "Jail Guitar Doors"

Released 17 February 1978

Format 7" single

Recorded October-November 1977

Genre Punk rock

Length 3:55

Label CBS CBS 5834

Writer(s) Joe Strummer and Mick Jones

Producer Mickey Foote

The Clash singles chronology

"Complete "Clash City "(White Man) In Hammersmith

Control" Rockers" Palais"
(1977) (1978) (1978)

"Clash City Rockers" is a song and single by The Clash. First released in February 1978 with the b-side "Jail Guitar
Doors" a re-worked version of a song from Joe Strummer's pub rock days. It was later included as the opening track
of the belated US version of the band's eponymous debut album.
The song was first played live in at Mont De Marsan (Landes - France), in August 1977 and recorded the same year
in the band's October and November sessions in CBS studios. Following an argument at the end of the band's Get
Out of Control Tour Paul Simonon and Mick Jones were not on speaking terms, leaving Joe Strummer as a
middle-man, relaying instructions and insults from one to the other. The song was edited in December by producer
Mickey Foote (Joe Strummer's old sound-man from the 101'ers and producer of The Clash and "White Riot") after
manager Bernie Rhodes decided it sounded 'a bit flat' rendering the song one semitone higher in pitch. Strummer and
Jones were in Jamaica at the time. With the exception of the 2000 re-issue of the US version of The Clash, the
original mix of the song has been used on every re-release since.
The Clash's first overt attempt as self-mythology, "Clash City Rockers" is, by and large, a song about positivity and
moving forward, and revisits themes common in Clash songs of the era, specifically dead-end employment and
having a purpose in life. The middle part of the song is based on an old nursery rhyme, "Oranges and Lemons", and
namechecks David Bowie, Gary Glitter and Prince Far-I; the irony of the line "when I am fitter say the bells of Gary
"Clash City Rockers" 276

Glitter" following his scandal was not lost on Mick Jones, who joked about it in December 2003 of Uncut magazine:
"The Gary Glitter lyric? yeah that was before the internet [grins]"
The main riff is very reminiscent to The Who's debut single, I Can't Explain's main riff, and sounds like it has been
expanded by The Clash. This riff was reworked by the band again for Guns On The Roof on their second album Give
Em Enough Rope.

Charts
Chart Peak Date
position

UK Singles 35
Chart

References
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.
"Complete Control" 277

"Complete Control"
"Complete Control"

Single by The Clash

from the album The Clash (US ver.)

B-side "City of the Dead"

Released 23 September 1977 (U.K.)

Format 7" single

Recorded In 1977 at Sarm East Studios, Whitechapel, London, England

Genre Punk rock

Length 3:10

Label CBS S CBS 5664

Writer(s) Joe Strummer/Mick Jones

Producer Lee "Scratch" Perry

The Clash singles chronology

"Remote "Complete "Clash City

Control" Control" Rockers"
(1977) (1977) (1978)

The Clash reissued singles chronology

"Train in Vain" "Complete Control" –

(rerelease) (live)
(1991) (1999)

"Complete Control" is a song by The Clash, released as a 7" single and featured on the U.S. release of their debut
album.[1]
The song is often cited as one of punk's greatest singles, and is a fiery polemic on record companies, managers and
the state of punk music itself, the motivation for the song being the band's label (CBS Records) releasing "Remote
Control" without bothering to ask them, something that infuriated the group. The song also refers to managers of the
time who sought to control their groups–Bernie Rhodes (of The Clash) and Malcolm McLaren (the Sex
Pistols)–indeed, the song's very title is derived from this theme:
"Complete Control" 278

“
Bernie [Rhodes] had a meeting in The Ship in Soho after the Anarchy Tour. He said he wanted complete control...I came out of the club with
Paul [Simonon] collapsing on the pavement in hysterics at those words.
”
The track also refers to the band's run-ins with the police, their practice of letting fans into gigs through the back
door or window for free and a punk idealism seemingly crushed by the corporate reality they had become part of and
the betrayal and anger they felt. The overriding message of the song can be recognised in this couplet from the song:

“
They said, we'd be artistically free / When we signed that bit of paper.

”
This message was scorned by some critics as naïveté on the part of the band - legendary DJ the late John Peel was
one of those, suggesting that the group must have realised CBS were not 'a foundation for the arts', while others were
strong in their support of the single, for example:

“
Instead of a piece of cynicism, Complete Control becomes a hymn to Punk autonomy at its moment of eclipse.

”
The track was recorded at Sarm East Studios in Whitechapel, engineered by Mickey Foote and produced by Lee
"Scratch" Perry. Perry had heard the band's cover of his Junior Murvin hit "Police and Thieves" and was moved
enough to have put a picture of the band (the only white artist accorded such an honor) on the walls of his Black Ark
Studio in Jamaica. When the Clash learned that Perry was in London producing for Bob Marley & the Wailers, he
was invited to produce the single. "Scratch" readily agreed.
During the tracking session, some Clash and Perry biographies claim that Perry had blown out a studio mixing board
attempting to get a deep bass sound out of Paul Simonon's instrument, while a 1979 New Musical Express and Hit
Parader article self-penned by Strummer and Jones stated that Perry had complimented Jones' guitar playing by
describing it as someone who "played with an iron fist". Perry's contribution to the track, however, was toned down -
the band went back and fiddled with the song themselves to bring the guitars out and played down the echo Perry
had dropped on it. The song was also Topper Headon's first recording with the band, following the departure of
Terry Chimes.
"Complete Control" reached number 28 in the singles chart, making it The Clash's first Top 30 release. In 1999, CBS
Records reissued the single with a live version of "Complete Control". In 2004, Rolling Stone rated the song as #361
in its list of the 500 Greatest Songs of All Time.[2] [3] The song is featured as a playable track in the video games
Guitar Hero: Aerosmith and Rock Band.[4]

Charts
Chart Peak Date
position

UK Singles 28
Chart
"Complete Control" 279

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

References
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 11:45–13:30.
ISBN 0738900826. OCLC 49798077.
[2] "The RS 500 Greatest Songs of All Time" (http:/ / www. rollingstone. com/ news/ coverstory/ 500songs/ page/ 4). RollingStone. 2004-12-09.
. Retrieved 2007-11-22. "361. Complete Control, The Clash"
[3] "Complete Control The Clash" (http:/ / www. rollingstone. com/ news/ story/ 6596206/ complete_control). The RS 500 Greatest Songs of All
Time. RollingStone. 2004-12-09. . Retrieved 2007-11-22.
[4] Sliwinski, Alexander (2008-02-11). "The Clash, The Police and The Ramones" (http:/ / www. joystiq. com/ 2008/ 02/ 11/
rock-band-weekly-the-clash-the-police-and-the-ramones/ ). Rock Band Weekly. Joystiq. . Retrieved 2008-02-13. "Complete Control - The
Clash (160 MS points/ $2)"
"English Civil War" 280

"English Civil War"

"English Civil War"

Single by The Clash

from the album Give 'Em Enough Rope

B-side "Pressure Drop"

Released 23 February 1979 (U.K.)

Format 7" single

Recorded 1978

Genre Punk rock, traditional

Length 2:35

Label CBS 7082

Writer(s) traditional, arranged by Joe Strummer and Mick Jones

Producer Sandy Pearlman

The Clash singles chronology

"Tommy "English Civil "I Fought the

Gun" War" Law"
(1978) (1979) (1979)

"English Civil War" is a song by British punk rock band The Clash, featured on their second album Give 'Em
Enough Rope, and released as a single on 23 February 1979. It reached number 25 in the UK Singles Chart and
number 28 in the Irish Singles Chart.
The song is derived from an American Civil War song, "When Johnny Comes Marching Home", written by
Irish-born Massachusetts Unionist Patrick Sarsfield Gilmore, which is in turn derived from the Irish anti-war song
"Johnny I Hardly Knew Ye". It was popular among both sides of the conflict.
Having learnt the song at school, Joe Strummer suggested that the band should update it. Those on the left wing saw
the rise during the mid-1970s of far right groups such as the British National Front as alarming and dangerous omens
for Britain's future. The song is about this state of politics in the country and warns against all things uniformed and
sinister. Shortly after the song had its first live performance at a Rock Against Racism concert, Strummer said in an
interview to the music newspaper Record Mirror:
"War is just around the corner. Johnny hasn't got far to march. That's why he is coming by bus or
underground" (as in the song's lyrics).
"English Civil War" 281

The cover of the single is a still from John Halas' 1954 animated adaptation of George Orwell's dystopian novella
Animal Farm.
It was later covered in 1993 by The Levellers on their The Julie EP.

Charts

Chart Peak Date

position

UK Singles Chart 25

Irish Singles Chart 29 Mar

1979

External links
• Patriotic Melodies: When Johnny
comes Marching Home (US Library
[1]
of Congress)

"Every Little Bit Hurts"

"Every Little Bit Hurts"
Single by Brenda Holloway

from the album Every Little Bit Hurts

Format 7" single

Vinyl single

Recorded 1964; Los Angeles

Genre Soul

Length 3:17

Label Tamla

Writer(s) Ed Cobb

Producer Hal Davis, Marc Gordon

Brenda Holloway singles chronology

"Every Little Bit "I'll Always Love

Hurts" You"
(1964) (1964)

Alicia Keys singles chronology

"Ghetto "Every Little Bit "No

Story" Hurts" One"
(2006) (2006) (2007)
"Every Little Bit Hurts" 282

"Every Little Bit Hurts"

Single by Alicia Keys

from the album Unplugged

Released January 2006

Format Digital download, promo CD single

Recorded July 4, 2005;

Brooklyn Academy of Music
(Brooklyn, New York City, New York)

Genre Soul, R&B

Length 4:01 (album version)

3:58 (radio edit)

Label J

Writer(s) Ed Cobb

Producer Alex Coletti

Alicia Keys singles chronology

"Ghetto "Every Little Bit "No

Story" Hurts" One"
(2004) (2006) (2007)

"Every Little Bit Hurts" was originally a 1964 hit single for Motown soul singer Brenda Holloway, written by Ed
Cobb.
Though she was against recording the song again (she recorded it a couple of years before signing with Motown),
she reluctantly recorded the song and the label released it in the summer of the year. Becoming a big hit peaking at
#13 on the Billboard Hot 100, the song would become one of Holloway's trademark singles and would spark
remakes by acts like The Small Faces and the Spencer Davis Group (with lead vocals by Steve Winwood).
Another un-released remake was done by Teena Marie.
English rock group Small Faces released a cover of the song in their posthumous album The Autumn Stone in 1969.
Released in October 1976, it was covered by Graeme "Shirley" Strachan (lead singer of Skyhooks) as his debut solo
release and peaked at #3 on the Australian Kent Music Report Singles Charts.[1]
Vivian Green would later cover this song for the television show, American Dreams, in which she played Brenda
Holloway.
The Clash have also made their own version, released in the 1991 3-disc compilation Clash On Broadway. In 1994, a
previously unreleased version by Funkadelic from 1972 featuring a soulful duet between George Clinton and Dianne
Brooks came out as part of George Clinton's Family Series. Another notable version was recorded by The Jam. The
track is included in the Polydor box set Direction, Reaction, Creation released March 9, 1999. The track was
previously unreleased.
There's a similarly titled track by Aretha Franklin from her A Rose Is Still A Rose but that song was co-written by
Jermaine Dupri and is not a cover of the Holloway song as erroneously stated.
"Every Little Bit Hurts" 283

Alicia Keys version

"Every Little Bit Hurts" is a cover version by American R&B-soul singer Alicia Keys from her live album,
Unplugged (2005). Written by Ed Cobb. It was released as the album's second and last single in 2006 and The single
did not succeed as was the previous single from the album also the only single not enter the U.S. and international
charts. The video premiered on January 17, 2006 on BET's 106 & Park.

Track listing
U.S. promo CD single
1. "Every Little Bit Hurts" (Radio Edit) – 3:58
2. "Every Little Bit Hurts" (Call Out Hook) – 0:10

References
[1] Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book Ltd. ISBN 0646119176.
"Groovy Times" 284

"Groovy Times"
"Groovy Times"
Single by The Clash

from the album The Cost of Living

B-side "Gates of the West"

Released 26 July 1979

Format 7" single

Recorded 1979

Genre Punk rock

Length 3:28

Label Epic AE7 1178

Writer(s) Joe Strummer/Mick Jones

The Clash singles chronology

"I Fought the "Groovy "London

Law" Times" Calling"
(1979) (1979) (1979)

The Cost of Living track

listing

Side one
1. "I Fought the Law"
2. "Groovy Times"
Side two
1. "Gates of the West"
2. "Capital Radio"

"Groovy Times" is a song by The Clash, featured on their The Cost of Living (EP), and released as a promotional
single on 1979 in Australia by Epic Records (AE7 1178). It was originally recorded as 'Groovy Times Are Here
Again' during the recording sessions for Give 'Em Enough Rope, this demo has never been officially released but can
be found on many Clash bootlegs. It was never performed live.
The song's lyrics are filled with images of urban decay and civil unrest and focus on recurring Clash themes of
alienation, monotony and oppression. According to their author, Joe Strummer, the lyrics were sparked by his
disgust at the erection of fences in Britain's football terraces, built to keep fans apart in response to football
hooliganism. Ten years later the Hillsborough Disaster would prove these fences fatal and his concerns irrefutably
correct. The 'King of Early Evening ITV' mentioned in the song is confirmed as Bill Grundy, whose career was
ruined after his infamous interview with the Sex Pistols and was indeed presenting early evening television on
British terrestrial channel ITV.
The music, acoustic and guitar based, was predominantly written by Mick Jones and feature Harmonica parts by him
but credited to 'Bob Jones', a pseudonym that was, apparently a reference to singer/songwriter Bob Dylan.
Groovy Times has subsequently been re-released on the Clash on Broadway and Singles Box box sets, Singles Box’s
single disc equivalent The Singles and the Super Black Market Clash and The Essential Clash compilations.
"Groovy Times" 285

Charts
Chart Peak
position

UK Singles 107
Chart

Sources
• The Complete Clash Topping, Kieth. Reynolds & Hern LTD, 2003.

"The Guns of Brixton"

"The Guns of Brixton"
Single by The Clash

from the album London Calling

Released December 14, 1979

Recorded August-September 1979, November 1979 at Wessex

Studios

Genre Reggae, Rock

Length 3:07

Label CBS

Writer(s) Paul Simonon

Producer Guy Stevens

The Clash singles chronology

"I Fought the Law" "Return to "Should I Stay or Should I Go"

rerelease Brixton" rerelease
(1988) (1990) (1991)

Music sample

The Guns of Brixton

"The Guns of Brixton" is a song by The Clash on their third album, London Calling, released in 1979. It was
written and sung by bassist Paul Simonon, who grew up in Brixton, south London.
The song has a strong reggae influence, reflecting the culture of the area, with a knowing nod to the classic reggae
gangster film, The Harder They Come. It was one of only 2 tracks written solely by Simonon to be released on a
Clash album, the other being The Crooked Beat on Sandinista!. Simonon also provides vocals on Red Angel Dragnet
of the Combat Rock album.
"The Guns of Brixton" 286

Origins and recording

"The Guns of Brixton" was the first song recorded by the band to be composed by Paul Simonon and to feature him
as lead vocalist.[1] By London Calling, Paul Simonon had learned to play guitar, and started contributing more to the
songwriting.[2]
"You don't get paid for designing posters or doing the clothes", he said in an interview published by Bassist
Magazine on October 1990, "you get paid for doing the songs."[2]
The band, separated from their manager Bernard Rhodes,[3] had to leave their rehearsal studio in Camden Town and
find another location to compose their music. The band began work on London Calling during the summer of 1979
at the so called Vanilla Studios in Pimlico.[4] [5] The band quickly wrote and recorded demos, and, in August 1979,
entered Wessex Studios to begin recording the album. Produced by Guy Stevens, who at the time had alcohol and
drug problems and his production methods were unconventional,[6] it was recorded within a matter of weeks, with
many songs, including "The Guns of Brixton", recorded in one or two takes.[7]

Lyrics and meaning

"The Guns of Brixton" pre-dates the race riots that took place in the 1980s in Brixton but the lyrics depict the
feelings of discontent that were building due to heavy-handedness of the police that led to the riots, the recession and
other problems at that time. Paul Simonon was originally doubtful about the song's lyrics, which discuss an
individual's paranoid outlook on life, but was encouraged to continue working on it by Strummer.[1]

Music and composition

"The Guns of Brixton" bass line became famous when Norman Cook (a.k.a. Fatboy Slim) sampled it for Beats
International's hit "Dub Be Good to Me". Paul Simonon, interviewed by Scott Rowley on October 1999 for Bassist
Magazine said that he "was surprised that it became number one that was quite shocking. And the fact that it was my
performance that they had lifted. The smart thing would've been to copy it and change it slightly, but they just lifted
it straight off. So, really, I have done Top of the Pops, but I met up with Norman [Cook] and we came to an
arrangement which was much needed at the time. But I thought it was a really good idea and it was quite reassuring
for that to happen to my first song."[2]

Live performances
"The Guns of Brixton" was a mainstay in the band's set and when played live Simonon used to switch instruments
with Joe Strummer (Simonon on rhythm guitar and Strummer on bass) because he felt uncomfortable playing the
bassline and singing lead vocals at the same time.

Cover versions
The song has been covered by numerous bands over the years, including Arcade Fire, Unwritten Law, Dropkick
Murphys, Rancid, Jeff Klein, The Bandits, Nouvelle Vague, Calexico, [8] , Optimus Rhyme, My Red Hot Nightmare,
German punk band Die Toten Hosen with and without Gentleman (see below), Argentine band Los Fabulosos
Cadillacs, The Libertines, and the Italian singer Enrico Ruggeri.
In 1981 a German punk band named Soilent Grün used the melody of "The Guns of Brixton" for their song "Spitz
wie Lumpi". The bass line was sampled for Beats International's 1990 hit "Dub Be Good to Me".
Sydney born band The Beautiful Girls released a cover version in 2003 entitled "Guns of Brixton / Dub Be Good to
Me". Cypress Hill's 2004 hit "What's Your Number?" also sampled the bass line, as well as the guitar work.
In 2006, MC Chris used "The Guns of Brixton" as a beat on the song "Blastic", from the album Dungeon Master of
Ceremonies. San Francisco Bay Area rappers, Zion I and The Grouch sampled "The Guns of Brixton" in "Trigger"
"The Guns of Brixton" 287

off their 2006 album Heroes in the City of Dope.

In January 2007, NME reported that The Good, the Bad and the Queen, which features Simonon on bass, ended the
first set of their UK tour (Trinity Hall, Bristol) in promotion of their debut album with this song (and Simonon on
vocals).[9]
Arcade Fire's acoustic version of the song was likely played for the first time during their 5 day mini-tour of London
in early February 2007; it was also used to close their 4 night stint at Brixton Academy in March 2007. They also
performed it on the BBC's Culture Show. French band, Misty Socks, also covered the song during their
performances in 2007.
Polish street punk band The Analogs, Pidzama Porno on "Koncertówka 2. Drugi szczyt" and Kazik & Buldog played
this song live since 2007 and with wind instruments on 2008 mini tour. Another polish punk band - Alians - created
own version of this song with new lyrics. The title is "Bomby domowej roboty" ("Homemade bombs"). Santogold
covered the song in 2008 for her Top Ranking mixtape with Diplo. The lyrics were changed from Brixton to
Brooklyn. Maurits Westerik, singer of the rockband GEM, also covered the song in 2008 during his session for the
Dutch music project OnderInvloed.com. The session was recorded in the old Catholic Willibrord Church in the
centre of Utrecht. Westerik played a slower version of the song.
Julie Ruin's Kathleen Hanna sampled the song for her cover of "I Want to Know What Love Is".
At a concert in Reno on June 19, 2010, The Offspring played a cover of "The Guns of Brixton". [10]

Die Toten Hosen cover

"The Guns of Brixton (unplugged)"

Single by Die Toten Hosen

from the album Nur zu Besuch: Unplugged im Wiener Burgtheater

Released March 17, 2006

Genre Punk rock, acoustic rock, reggae rock

Length 2:44

Label JKP

Writer(s) Paul Simonon

Die Toten Hosen singles chronology

"Hier kommt Alex "The Guns of Brixton "Strom"

(unplugged)" (unplugged)" (2008)
(2005) (2006)

"The Guns of Brixton" was recorded by Die Toten Hosen for the single of "Freunde". Later it was covered on the
2005 unplugged concert and released as the second single from the album Nur zu Besuch: Unplugged im Wiener
"The Guns of Brixton" 288

Burgtheater.

Music video
The video contains live footage.

Track listing
1. "The Guns of Brixton" (Simonon) − 2:44
2. "Steh auf, wenn du am Boden bist" (Stand up when you're on the floor) (von Holst, Frege) − 3:31
3. "The Guns of Brixton" − 2:47 [live 2004 with Gentleman]

Charts

Year Country Position

2006 Germany 62

Return to Brixton

"Return to Brixton"

Single by The Clash

Released July, 1990

Genre Reggae, Rock

Length 3:07

Label CBS

Writer(s) Paul Simonon

Producer Guy Stevens

The Clash singles chronology

"I Fought the Law" "Return to "Should I Stay or Should I Go"

rerelease Brixton" rerelease
(1988) (1990) (1991)

"The Guns of Brixton" was originally released on the album London Calling on December 14, 1979, recorded from
August to November 1979 at Wessex Studios, London, but at the time was not released as a single. A section of "The
Guns of Brixton", sung by a very young Maria Gallagher accompanied by her father, Mick, on the keyboard, appears
as a reprise at the end of the song "Broadway" on the 1980 Clash's album Sandinista!. "The Guns of Brixton", taken
from the remastered version of London Calling and remixed by Jeremy Healy, was released by CBS as CD single,
and 7-inch and 12 inch vinyl entitled "Return to Brixton" in July 1990 (catalog number 656072-2), and it reached
number fifty-seven in the UK Singles Charts. The CD single track listing is:
1. "Return to Brixton" — 3:47
"The Guns of Brixton" 289

2. "Return to Brixton" — 6:55

3. "Return to Brixton" (SW2 Dub) — 6:00
4. "The Guns of Brixton" — 3:09
A somewhat heavier, faster version than the one found on London Calling appeared on the live compilation From
Here to Eternity: Live, released in 1999.

Chart history
Chart (1990) Peak
Position

[10] 57
U.K. Singles Chart

Sources
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.

Further reading
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

References
[1] Sweeting, Adam. (October 2004). "Death or Glory". Uncut. p. 67.
[2] Rowley, Scott. (October 1999), Interview with Paul Simonon. Bassist Magazine.
[3] Gilbert 2005, pp. 212-213.
[4] Green 2003, p. 156.
[5] Sweeting, Adam. "Death or Glory". (October 2004). Uncut. p. 58.
[6] Gilbert 2005, p. 235.
[7] Sinclair, Tom. (24 September 2004). "The Best Album of All Time" (http:/ / www. ew. com/ ew/ article/ 0,,698325,00. html). Entertainment
Weekly. Retrieved 23 August 2009.
[8] http:/ / www. youtube. com/ watch?v=tGTM2s9hfBU
[9] "The Good The Bad And The Queen cover The Clash" (http:/ / www. nme. com/ news/ the-good-the-bad-and-the-queen/ 26090). 2007-01-28.
. Retrieved 2007-01-28.
[10] "Chart Stats - The Clash - Return To Brixton" (http:/ / www. chartstats. com/ songinfo. php?id=17857). chartstats.com. . Retrieved
2009-08-23. "First appeared in chart (at position): 21/07/1990 (57). Last Seen in Chart (at position): 28/07/1990 (65). Length of time in chart:
2 weeks. Highest position in chart: 57"
"Hitsville UK" 290

"Hitsville UK"
"Hitsville UK"

Single by The Clash

from the album Sandinista!

B-side "Radio One"

Released 16 January 1981

Format 7" single

Recorded 1980

Genre Post-punk
Pop

Length 4:21

Label CBS

Writer(s) The Clash

Producer The Clash

The Clash singles chronology

"The Call "Hitsville "The Magnificent

Up" UK" Seven"
(1980) (1981) (1981)

"Hitsville UK" is the 13th single released by The Clash, and the second off their fourth album Sandinista!. It is a
duet between lead guitarist Mick Jones and his one-time girlfriend Ellen Foley.
Its lyrics refer to the emerging indie scene in British music in the late '70s and early '80s, which is held in contrast to
the "mutants, creeps and musclemen" of the major labels with their "expense accounts" and "lunch discounts",
making "AOR" and using "chart-hyping" to sell their records. References are made to a number of UK independent
labels (Small Wonder, Rough Trade, Fast Product and Factory).
The song's title is a nod to Motown Records, which used the moniker "Hitsville U.S.A." in its advertising and to
refer to the label's first headquarters in Detroit.
The original UK release had "Radio One" as the B-side. A second issue released later in 1981 in the U.S. (catalog
number 51013) replaced "Radio One" with "Police on My Back" as the B-side.[1]
Like all other Clash singles, the song is also available in the 1991 compilation The Singles.
American indie band Joy Zipper covered "Hitsville UK" for White Riot Vol. Two A Tribute To The Clash (CD)
Uncut Magazine 2003
"Hitsville UK" 291

Charts
Chart Peak Date
position

UK Singles Chart 56

U.S. Mainstream Rock 53 1981

References
[1] "The Clash discography" (http:/ / www. theclash. com/ #/ discography/ ). TheClash.com. . Retrieved 2008-11-03.

"I Fought the Law"

"I Fought the Law"

Single cover of the Bobby Fuller version of "I Fought the

Law"
Single by Bobby Fuller Four

A-side I Fought The Law

B-side "Little Annie Lou"

Released December 1965

Format 7"

Genre Rock

Length 2:14

Writer(s) Sonny Curtis

"I Fought the Law" is a much-covered song originally recorded by Sonny Curtis and The Crickets (post Buddy
Holly) in 1959. The song was famously covered by Bobby Fuller Four, who recorded a more successful version of
the song in 1965 after releasing an earlier, slightly different version on Fuller's own Exeter Record label in 1964 and
by The Clash, who performed and recorded a punk rock version in 1979. The song was also featured in a Canon
commercial.
Just as the song became a top ten hit, Bobby Fuller was found dead in his mother's parked automobile in a dirt
parking lot near his Los Angeles, California apartment. The police considered the death an apparent suicide; "just
about everyone who knew him disagreed",[1] however, believing instead that Fuller was murdered.
Dead Kennedys, in particular, wrote and recorded a different version as a comment on Dan White's 1978 murder of
San Francisco mayor George Moscone and City Supervisor Harvey Milk, and White's subsequent use of the
"I Fought the Law" 292

"Twinkie defense" to influence the court to convict him of the lesser charge of manslaughter. The song, sung from
White's perspective, replaced the line "I fought the law and the law won" with "I fought the law and I won."
In 1989 during Operation Just Cause, when the U.S. Army had Panamanian dictator Manuel Noriega confined to the
Papal Nunciature, the Vatican's Embassy. Journalists at the scene mistook the playing of loud music including "I
Fought the Law" loudly and repeatedly over loudspeakers as an attempt to flush out Noriega using PSYOPS tactics.
In reality, the music was played to prevent the journalists hearing the negotiations taking place between the USA and
Noriega. The Bobby Fuller Four version of this song is ranked #175 on Rolling Stone's list of the 500 Greatest Songs
of All Time.

The Clash cover version

"I Fought the Law"

Single by The Clash

from the album The Cost of Living (EP)

B-side "(White Man) In Hammersmith Palais"

Released July 26, 1979 (U.S.)

Format 7" vinyl

Genre Punk rock

Length 2:38

Label CBS 50738

Writer(s) Sonny Curtis

The Clash singles chronology

"English Civil "I Fought the "Groovy

War" Law" Times"
(1979) (1979) (1979)

The Clash reissued singles chronology

"London Calling" "I Fought the Law" "Return to

rerelease rerelease Brixton"
(1988) (1988) (1990)

While one version of the Clash's decision to cover the song is that it was the existence of a 45 of the Bobby Fuller
version in an American studio jukebox, it is true that Ducks Deluxe issued a cover single. 'I Fought The Law/Cherry
Pie' (RCA 2531, 1975) in the UK [2] and Joe Strummer with the band 101'ers had been on the same pub rock circuit
"I Fought the Law" 293

as Ducks Deluxe. The Clash were completing work on their second album, Give 'Em Enough Rope, at the time;
Fuller's version had not been a hit single in the UK, that inspired The Clash to record a cover version of the song in
1978.
Their version first appeared on the EP The Cost of Living in May 1979 in the UK, and then later in 1979 was made
part of the American edition of the Clash's eponymous album. This cover version helped gain The Clash their first
taste of airplay in the States and is one of the best-known cover versions of the song. The live recording of the song,
performed at the Lyceum Theatre, West End, London on December 28, 1978, features as the last piece of the 1980
film Rude Boy directed by Jack Hazan and David Mingay. The Clash were dressed all in black for that gig and the
song, at that stage, was considered the film's title song.[3] [4] [5] [6]
In 1988, CBS Records re-issued the single (catalog number) in CD, 12" and 7" vinyl formats, with "City of the
Dead" (2:24) and "1977" (1:40) as its 7" B-side. The song is featured as a downloadable track in the music video
game series Rock Band.[7]

Single issues

Year B-side Format Label Country Note

1979 1. "I Fought the Law" (2:38) 45 rpm 7" vinyl Epic 9-50738 USA Promo
1988 1. "The City of the Dead" (2:24) 45 rpm 7" vinyl CBS CLASH 1 UK —
2. "1977" (1:40)
1988 1. "The City of the Dead" (2:23) 45 rpm 12" vinyl CBS CLASH T1 UK —
2. "Police On My Back" (3:17)
3. "48 Hours" (1:36)
1988 1. "City Of The Dead" (2:23) CD CBS CLASH C1 UK —
2. "Police On My Back" (3:17)
3. "48 Hours" (1:36)

Charts

Chart (1988, Re-release) Peak

Position

[8] 29
U.K. Singles Chart

Other versions

"I Fought the Law"

Single by Green Day

Released February 1, 2004

"I Fought the Law" 294

Format digital download

Genre Punk rock

Length 2:49

Label Reprise

Writer(s) Sonny Curtis

Green Day singles chronology

"Macy's Day "I Fought the "American

Parade" Law" Idiot"
(2001) (2004) (2004)

The song has also been performed, either in concert or on record, by the Dead Kennedys who did a version with
lyrics re-written about the Moscone-Milk assassinations. Dave Courtney The London Gangster who sang alongside
Scottish pop-punks Mute fronted by Jay Burnett who wrote an updated version complete with lyrics based on Dave's
legendary court case. Both this and the Dead Kennedys' version are titled "I Fought the Law and I Won". Also, She
Trinity, Beatsteaks, Viper, Bryan Adams, John Cougar Mellencamp, Johnny Cash, Bruce Springsteen, Roy Orbison,
Tom Petty, Social Distortion, Stiff Little Fingers, Mike Ness, Hank Williams Jr, Waylon Jennings, Green Day,
Ska-P, Dead Kennedys, The Clash, Grateful Dead, Stray Cats, Mary's Danish, Claude François, Mano Negra, the Big
Dirty Band, Nonstop Body/Lolita No. 18, The Brian Jonestown Massacre, Attaque 77, Die Toten Hosen, Status Quo,
Nanci Griffith, Anti-Flag, Chumbawamba, Tsuyoshi Kawakami and His Moodmakers, Nick Stockton, and numerous
other artists have covered this song live or in studio. For the 2003 film Intermission, Colin Farrell recorded a version
of the song, singing it in the guise of his character in the film.
The Green Day cover version of the song was used in a television ad for Apple Computer's iTunes Store when it was
first opened.
The Mary's Danish recording is featured in the film "Buffy The Vampire Slayer" (1992), and the accompanying
soundtrack release "Buffy the Vampire Slayer Soundtrack".
An amended version of the song reached number 25 in the UK singles chart in January 2008. "I Fought the Lloyds"
by Oystar was a comedy version in support of the campaign by Lloyds TSB customers mounting legal challenges to
get their charges refunded. In this version the key line was changed to "I fought the Lloyds and Lloyds lost".
Serbian punk rock band Goblini recorded a cover version of the song featuring lyrics in Serbian language entitled
"Ne mogu više" on their 1995 live album Live KST and dedicated it to former president Slobodan Milošević.
Ska-punk band Reel Big Fish sampled the main chorus in their cover version of John Cougar Mellencamp's
"Authority Song" on their album of covers, Fame, Fortune and Fornication.[9]
Folk-punk band, the Bad Shepherds, fronted by Ade Edmondson recently covered 'I Fought the Law' in their
distinctive folk style and it is often performed in their live shows.
Unknown Hinson also covers "I Fought the Law and I Won" with modified lyrics in his live concerts.
Turkish rock band Kurban covered this song in 2004 in their album "Sert" with Turkish lyrics and named it
"Hayvan" (Animal).
"I Fought the Law" 295

References
[1] Richie Unterberger. "AllMusic Biography: Bobby Fuller Four" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg&
sql=11:difwxqe5ldke~T1). allmusic.com. . Retrieved 3 January 2009.
[2] http:/ / www. manband-archive. com/ evolution/ history-roots-ducks-deluxe. php
[3] Hazan, Jack; David Mingay, Ray Gange, Joe Strummer, Mick Jones, Paul Simonon, Nicky Headon, Buzzy Enterprises, Epic Music Video.
(2006). Rude Boy. [Documentary, Rockumentary]. New York, NY, United States: Epic Music Video. ISBN 0738900826. OCLC 70850190.
"2nd edition digitally restored and remastered sound."
[4] Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.). London: Orion.
pp. 149–150. ISBN 0752858432. OCLC 52990890.
[5] Salewicz, Chris (2007-05-15) [2006]. Redemption Song: The Ballad of Joe Strummer (1st American ed ed.). New York: Faber and Faber.
p. 246. ISBN 057121178X. OCLC 76794852.
[6] Whistance, Don J. "Rude Boy" (http:/ / www. theclash. org. uk/ RudeBoy. htm). theclash.org.uk. . Retrieved 2008-01-22. "10 I Fought the
Law: The Lyceum, West End, London on the 28th December 1978 was where the last piece of filming took place which included Sonny
Curtis's song: "I Fought the Law"
The Clash dressed all in black for the gig and played 'I Fought The Law ', which at that stage was being considered as the film's title song."
[7] Kuchera, Ben (2007-12-11). "New punk songs come to Rock Band" (http:/ / arstechnica. com/ journals/ thumbs. ars/ 2007/ 12/ 11/
new-punk-songs-come-to-rock-band). Ars Technica. . Retrieved 2008-01-03. ""I Fought the Law" - The Clash"
[8] "Chart Stats - The Clash" (http:/ / www. chartstats. com/ artistinfo. php?id=2777). chartstats.com. . Retrieved 2008-11-18.
[9] http:/ / www. myspace. com/ reelbigfish
"I'm So Bored with the USA" 296

"I'm So Bored with the USA"

"I'm So Bored with the
U.S.A."
Song by The Clash from the album The Clash

Released 8 April 1977 (UK)

July 1979 (US)

Recorded March, 1977

Genre Punk rock

Length 2:25

Label CBS

Writer Joe Strummer, Mick Jones

Producer Mikey Foote

"I'm So Bored with the U.S.A." is a song by British punk rock band The Clash, featured on their eponymous 1977
debut album, which was released in the United States in July 1979 as their second album after Give Em Enough
Rope. It was the album's third track in the original version and second in the US version.

Song information
The song was originally titled "I'm So Bored With You",[1] [2] a love song written by Mick Jones. According to Keith
Topping's book The Complete Clash, the song was about Jones's then girlfriend, the same woman who was the topic
of "Deny".[3]
According to the story often told by the song's authors Joe Strummer and Jones, including on the documentary
Westway to the World, the change came about by Strummer mishearing the song's title when Jones played it to him
during their first meeting at Davies Road Squad.[1] The band's early recordings, including the popular live bootleg 5
Go Mad At The Roundhouse, include the song in its original form. However, by the time of the concert on 20
September 1976 at the Roundhouse, Camden, the song was performed using its new title.

Themes
Originally demoed with slightly different lyrics during The Clash's second demo session with their soundman
Mickey Foote as producer, "I'm So Bored with the U.S.A."'s lyrics does exactly what its title suggests, condemns
several aspects of the American society,[4] such as drugs problems in the US Army (particularly heroin), the support
of the American government to dictatorships in the Third World (later denounced on the Sandinista! track
"Washington Bullets"), and popular police drama series Starsky and Hutch and Kojak. It also criticizes Richard
Nixon, mentioning the Watergate scandal's tapes.
"I'm So Bored with the U.S.A." was a mainstay in the band's set until 1978, when its appearances became less
frequent, except in the US, where it was often used as the band's opening song.
"I'm So Bored with the USA" 297

Covers
• Prominent Canadian indie rock band Arcade Fire often use the song's chorus as an introduction to their own
"Windowsill" at live performances.

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.

References
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. Event occurs at 13:40–14:46.
ISBN 0738900826. OCLC 49798077.
[2] Caws, Matthew (12 1995). "Mick Jones". Guitar World (New York: Harris Publications) 12. ISSN 1045-6295. OCLC 7982091. "Actually,
"I'm So Bored With The U.S.A." was "I'm So Bored With You" until Joe added the "S" and the "A."".
Related news articles:
• "Guitar World December 1995" (http:/ / londonsburning. org/ art_guitar_world_12_95. html). londonsburning.org. . Retrieved 2007-12-06.
[3] Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706. OCLC 63129186.
[4] Colson, Nicole (2003-01-03). "Obituary: Joe Strummer" (http:/ / www. socialistworker. org/ 2003-1/ 434/ 434_09_StrummerObit. shtml)
(SHTML). SOCIALISTWORKER.org. pp. 9. . Retrieved 2007-12-06. "Strummer’s lyrics blended well with guitarist Mick Jones’
arrangements, and he steered the band toward a more overtly political message--as when he convinced Jones to change the song "I’m So Bored
With You" (about Jones’ girlfriend) to "I'm So Bored With the U.S.A.," a scorching rant against US imperialism and arrogance."
"Jail Guitar Doors" 298

"Jail Guitar Doors"

"Jail Guitar Doors"
Song by The Clash from the album The Clash (US ver.)

Released July 1979

Recorded October and November 1977

Genre Punk rock

Length 3:05

Label CBS

Writer Joe Strummer, Mick Jones

Producer Mickey Foote, Lee Perry, The Clash, Bill Price

The Clash (US ver.) track listing

Side one
1. "Clash City Rockers"
2. "I'm So Bored with the USA"
3. "Remote Control"
4. "Complete Control"
5. "White Riot"
6. "(White Man) In Hammersmith Palais"
7. "London's Burning"
8. "I Fought the Law"
Side two
1. "Janie Jones"
2. "Career Opportunities"
3. "What's My Name?"
4. "Hate and War"
5. "Police and Thieves"
6. "Jail Guitar Doors"
7. "Garageland"

"Jail Guitar Doors" is a song by The Clash, recorded during October and November 1977 and released on February
17, 1978 as the b-side of their fourth single "Clash City Rockers".[1] The song is featured on the U.S. release of their
debut album, and on their 2006 compilations album the Singles Box.
"Jail Guitar Doors" was covered by the former Guns N' Roses guitarist Gilby Clarke, who recorded a version on his
debut solo album, Pawnshop Guitars, with the contribution of the members of Guns N' Roses, Pixies vocalist Frank
Black, guitarist Ryan Roxie and bassist Duff McKagan.[2]
The song opens with the lines "Let me tell you 'bout Wayne and his deals of cocaine", which is a reference to the
MC5 guitarist Wayne Kramer.[3]
"Jail Guitar Doors" 299

Jail Guitar Doors initiative

Jail Guitar Doors is an independent initiative set up by Billy Bragg with the aim of providing musical equipment for
the use of inmates serving time in prisons throughout the United Kingdom. It takes its name from the b-side of the
Clash’s 1978 single “Clash City Rockers”. In an appeal to fellow musicians, Billy writes:[1] [4] [5] [6] [7]

“
Aware that this year sees the fifth anniversary of the passing of Joe Strummer, I was hoping to be involved in more than just another tribute
gig. Hearing the Clash as a 19 year old had changed my life, so I guess I was looking for a project that underscored the transformative power
of music. Inspiration arrived in the shape of a letter from Malcolm Dudley, a drug and alcohol counsellor working at HMP Guy's Marsh near
Shaftesbury in Dorset.
Malcolm was trying to set up a weekly guitar workshop for the rehabilitation of inmates. Ex-prisoners who have actively participated such
sessions have a re-conviction rate of between 10%-15%, compared to the national average of 61%. While Malcolm had permission to hold
weekly workshops, what he lacked was equipment so wrote to me asking if I could help him by providing half a dozen acoustic guitars and
some percussion instruments. ”
[1] [6]
—Billy Bragg – 2007 ,

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.

References
[1] Bragg, Billy. "Jail Guitar Doors" (http:/ / jailguitardoors. org. uk/ ). jailguitardoos.org.uk. . Retrieved 2007-12-30. "a, b) Jail Guitar Doors is
an independent initiative set up by Billy Bragg with the aim of providing musical equipment for the use of inmates serving time in Her
Majesty’s prisons. It takes its name from the b-side of the Clash’s 1978 single “Clash City Rockers”. In an appeal to fellow musicians, Billy
writes:
c) “Aware that this year sees the fifth anniversary of the passing of Joe Strummer, I was hoping to be involved in more than just another tribute
gig. Hearing the Clash as a 19 year old had changed my life, so I guess I was looking for a project that underscored the transformative power
of music. Inspiration arrived in the shape of a letter from Malcolm Dudley, a drug and alcohol counsellor working at HMP Guy's Marsh near
Shaftesbury in Dorset. Malcolm was trying to set up a weekly guitar workshop for the rehabilitation of inmates. Ex-prisoners who have
actively participated such sessions have a re-conviction rate of between 10%-15%, compared to the national average of 61%. While Malcolm
had permission to hold weekly workshops, what he lacked was equipment so wrote to me asking if I could help him by providing half a dozen
acoustic guitars and some percussion instruments."
[2] "FrankBlack.Net Discopedia - Jail Guitar Doors" (http:/ / www. frankblack. net/ songs/ Default. asp?mode=index& songID=167) (ASP).
FrankBlack.Net. . Retrieved 2007-12-30. "McKagan appears behind the skins to round out a power trio of Clarke and ex-Pixie Frank Black on
a cover of The Clash's "Jail Guitar Doors." The rest of G N'R also pops up on PAWNSHOP GUITARS:"
[3] abramson (2007-05-03). "sound of the suburbs: Jail Guitar Doors" (http:/ / soundofthesuburb. blogspot. com/ 2007/ 05/ jail-guitar-doors.
html). sound of the suburbs. . Retrieved 2007-12-30.
[4] Topping, Alexandra (July 7, 2007). "Rock stars urge prisoners to escape through music" (http:/ / www. guardian. co. uk/ uk_news/ story/
0,,2120853,00. html). The Guardian (Manchester: Guardian Newspapers). ISSN 02613077. OCLC 8082962. . Retrieved 2007-12-30. "Bragg
and ex-Clash member offer inmates guitars and a chance to change their lives".
[5] "BBC - Berkshire - Entertainment - Something to Bragg about" (http:/ / www. bbc. co. uk/ berkshire/ content/ articles/ 2007/ 06/ 08/
billy_bragg_interview_feature. shtml) (SHTML). BBC Berkshire Website. 2007-06-08. . Retrieved 2007-12-30.
"Jail Guitar Doors" 300

[6] "BBC - Berkshire - Local bands - Jail Guitar Doors Campaign" (http:/ / www. bbc. co. uk/ berkshire/ content/ articles/ 2007/ 05/ 14/
jail_guitar_doors_campaign_feature. shtml) (SHTML). BBC Berkshire Website. 2007-05-16. . Retrieved 2007-12-31.
[7] "Jail Guitar Doors, Reading – Last.fm" (http:/ / www. last. fm/ event/ 242059). Last.fm. 2007-06-16. . Retrieved 2007-12-30. "The Jail Guitar
Doors Festival Reading 2007 is a high profile music festival being held at Reading's Fez Club on Saturday June 16th 2007 in conjunction with
Billy Bragg's Jail Guitar Doors Campaign, named after the Clash song of the same name. This event is expected to raise several thousands of
pounds to buy musical instruments for inmates at Reading Young Offenders Institute."

"Janie Jones"
"Janie Jones"
Song by The Clash from the album The Clash

Released April 8, 1977

Recorded March, 1977

Genre Punk rock

Length 2:09

Label CBS

Writer Joe Strummer, Mick Jones

Producer Mikey Foote

"Janie Jones" is a song by the Clash on their eponymous debut album.[1] [2] The subject of the song, Janie Jones,
was a famous madam in London during the 1970s and had been a pop singer during the 1960s.
The live performance of the song at The Apollo in Glasgow on July 4, 1978, features on Rude Boy, a 1980 film
directed by Jack Hazan and David Mingay, starring Ray Grange and The Clash. The track was re-recorded at Wessex
Studios by engineer Bill Price and tape operator Jerry Green.[3] [4] [5] The song also features on The Clash: Westway
to the World, a 2000 documentary film about the British punk rock band The Clash, directed by Don Letts.[2]
"Janie Jones" features on their compilation albums: The Story of the Clash, Volume 1 (1988) (disc two); Clash on
Broadway (1991) (disc one; demo version); The Essential Clash (2003) (disc one). A live live version recorded on
June 4, 1981 at Bond's Casino, New York City, features on the live bootleg Live at Bond's Casino (2000).[6]
In December 1982, Jones herself, backed by members of the Clash and the Blockheads and credited as Janie Jones &
the Lash, recorded a 7" single, "House of the Ju-Ju Queen", which was written and produced by Joe Strummer and
released on Big Beat in 1983. Strummer as well as Mick Jones also played guitar on the record, together with Paul
Simonon on bass, Micky Gallagher on keyboards, Mel Collins on saxophone, and Charley Charles on drums. The
B-side of the single was a cover of James Brown's "Sex Machine".
Legendary film maker Martin Scorsese, well known as an ardent fan of The Clash, claimed in the book "Scorsese on
Scorsese", that he considers "Janie Jones" to be the greatest British rock and roll song. He also used the song in the
film Bringing Out The Dead.[7]

Cover versions
"Janie Jones", performed by The Farrell Bros., features on This Is Rockabilly Clash, a tribute album released by
various artists, and recorded by Raucous Records in 2002. The song has been covered by the English bands The
Paddingtons, and Bush numerous times at live concerts. The song was covered in 2005 on the collaborative album
Slackness by The Slackers and Chris Murray. It was covered again by the three-piece folk noir band Songdog who
featured it on their album, The Time of Summer Lightning in 2005 and then by Babyshambles, featuring
contributions from others, in 2006 and released to raise funds for Joe Strummer's charity foundation Strummerville.
"Janie Jones" 301

Neurotic Outsiders covered it.

"Janie Jones"

Single by Babyshambles & Friends

Released October 2006

Format CD, 7"

Genre Indie, Rock

Length 2:03

Label B-Unique

Producer Statik, Drew

McConnell

Babyshambles & Friends singles chronology

"Albion" "Janie "Delivery"

(2005) Jones" (2007)
(2006)

Babyshambles cover
"Janie Jones" (sometimes "Janie Jones (Strummerville)") was released through B-Unique Records to raise money
for late Joe Strummer's charity foundation Strummerville and features contributions from others bands like Dirty
Pretty Things, Larrikin Love, We Are Scientists, The Kooks, and Guillemots. This release marks the first time that
Carl Barât and Pete Doherty worked together since The Libertines split up, although they never met during the
recording process.[8]

Music video
The video revolves around (the real) Janie Jones being chauffeured around London with Mick Jones. Many of the
contributors to the song feature in the video. Drew McConnell accompanies Janie Jones from the Windmill theatre
right at the beginning as she's getting into her car, Alan Donohoe from The Rakes is driving the car, two mabers of
Cazals are walking down the street near the start and their singer, Phil Bush, mimes 'lucky lady', the two guys
standing in front of the telephone box are Josh Hubbard from The Paddingtons and one member of Guillemots; Carl
Barât, Anthony Rossomando, Gary Powell and a guitar can be seen in a car pulling up to a petrol station, while Jack
Peñate is also seen at the petrol station and Lisa Moorish is seen singing along towards the end. The lead singer from
The Mystery Jets is seen walking with one of The Holloways on the side of the street.
"Janie Jones" 302

Track listing
• CD
1. "Janie Jones"
2. "Janie Jones" (Pete Doherty vocal version)
3. "Janie Jones" (Video)
• 7"
1. "Janie Jones"
2. "Janie Jones" (Statik remix)

Personnel
• Pete Doherty – lead vocals
• Drew McConnell – bass, guitar
• Adam Ficek – drums
• Mick Whitnall – guitar
Contributors[9]

• Kid Harpoon • Ladyfuzz

• Carl Barât • The Kooks
• The Rakes • Jack Peñate
• Mystery Jets • Laura Marling
• The Holloways • The Maccabees
• We Are • Lisa Moorish
Scientists
• The Paddingtons • Lightspeed
Champion
• Larrikin Love • Jamie T
• Cazals • Jeremy Warmsley
• Noisettes • Guillemots
• Good Books

Additional contributors to the Statik remix

• Lethal Bizzle
• JME
• No Mind
• Talk Taxis

Chart performance
"Janie Jones" 303

Chart (2005) Peak

[10]
position

UK Singles Chart 17

Irish Singles Chart 45

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. pp. 151; 153–154. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash.
(2001). The Clash: Westway to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo;
Uptown Films. Event occurs at 3:10–3:45. ISBN 0738900826. OCLC 49798077.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

References
[1] Green, Johnny; Garry Barker (2003). A Riot of Our Own: Night and Day with The Clash, p. 151.
[2] Letts Don. (2001). The Clash: Westway to the World. Event occurs at 3:10–3:45.
[3] Green, Johnny; Garry Barker (2003). A Riot of Our Own: Night and Day with The Clash, pp. 153–154.
[4] Hazan, Jack; David Mingay, Ray Gange, Joe Strummer, Mick Jones, Paul Simonon, Nicky Headon, Buzzy Enterprises, Epic Music Video.
(2006). Rude Boy. [Documentary, Rockumentary]. New York, NY, United States: Epic Music Video. ISBN 0738900826. OCLC 70850190.
"2nd edition digitally restored and remastered sound."
[5] Whistance, Don J. "Rude Boy" (http:/ / www. theclash. org. uk/ RudeBoy. htm). theclash.org.uk. . Retrieved 2008-02-18. "Except for the
Lyceum gigs, The Clash aren't live on the film at all, stated Johnny Green. Totally artificial. The backing tracks were done at Wessex
Studios."
[6] "Albums by The Clash - Rate Your Music" (http:/ / rateyourmusic. com/ artist/ the_clash). rateyourmusic.com. . Retrieved 2007-12-03.
[7] Scorsese, Martin; Ian Christie, David Thompson (1996) [1989]. Scorsese on Scorsese (4th edition ed.). London: Faber. ISBN 0571178278.
OCLC 35599754.
[8] "Carl Barat and Pete Doherty team-up" (http:/ / www. nme. com/ news/ libertines/ 24149). NME.com. 30 August 2006. . Retrieved
2007-10-17.
[9] "Barat and Doherty reunite" (http:/ / uk. news. launch. yahoo. com/ dyna/ article. html?a=/ 060919/ 340/ gmjua. html& e=l_news_dm).
Yahoo. 19 September 2006. . Retrieved 2007-10-17.
[10] "Babyshambles - Janie Jones (strummerville) - Music Charts" (http:/ / acharts. us/ song/ 11354). acharts.us. . Retrieved 2007-10-16.
"Junco Partner" 304

"Junco Partner"
Junco Partner is a traditional American blues song remarkable for being covered and revised by many artists over
several decades. Some of them include Dr. John, Professor Longhair, James Booker and The Clash. It was played in
different music genres such as blues, folk, rock, reggae and dub. The song’s lyrics refer to needles, drugs, wishes,
and to the notorious Louisiana prison farm in Angola.

History

Junker's Blues
The song, originally named "Junker's Blues", was written by Willie Hall (also known as "Drive'em Down"), a blues
and boogie-woogie pianist from New Orleans, but he never recorded or credited it to himself. In 1940, Champion
Jack Dupree, an American pianist influenced by Hall and his friend, recorded the song for the first time on OKeh
Records.
Fats Domino first attracted national attention with "The Fat Man", a variation on this traditional New Orleans tune.
Domino recorded the song for Imperial Records in Cosimo Matassa's J&M studio on Rampart Street in New
Orleans, Louisiana on Saturday, 10 December 1949. This song is an early rock and roll record, featuring a rolling
piano and Domino doing "wah-wah" vocalizing over a fat back beat. It sold over a million copies and is widely
regarded as the first rock and roll record to do so.
The melody of "Junker's Blues" was used by Lloyd Price in 1952 for his song, "Lawdy Miss Clawdy", and by
Professor Longhair for "Tipitina", a song from his 1972 album, New Orleans Piano.

Junco Partner
In 1951, Bob Shad, a musical producer and owner of the “A&R at Mercury Records”, a company that worked with
jazz and blues, renamed and rewrote the song, and credited it to himself and Robert Ellen. Shad knew the song
because of his work in the New Orleans music scene. Since then, most artists who have recorded the song have
credited it to him and Ellen.
In 1952, many artists covered the song, such as the Richard Hayes & Edie Sauter band, and Louis Jordan & His
Tympany Five for Decca (these two groups credited the song to Shad and Ellen). The first record of "Junco Partner"
was made by James Wayne. Wayne's version became popular in the United States, though actual artists affirm that it
was already a classic in New Orleans.[1]
Bob Dylan's 1986 album Knocked Out Loaded took its title from "Junco Partner" lyrics (not in the original "Junker's
Blues")

Posterior covers
Roland Stone (born as Roland LeBlanc), a jazz and blues musician, recorded two versions, the first in 1959 as
"Preacher's Daughter", and the second in 1962 as "Down the Road". The Holy Modal Rounders covered the song as
"Junko Partner" in 1965.
Better known covers were recorded in the 1970s and afterwards. In 1972, Dr. John covered the song for his Gumbo
album. In 1976, Professor Longhair covered it for his Rock 'N Roll Gumbo album, and James Booker did the same
for his homonymous album. The Clash covered the song on their triple album Sandinista!, released in 1980. In this
album, they recorded two versions: a reggae version, "Junco Partner" and a dub version, "Version Pardner".
Pre-dating the Clash cover, the group the 101'ers, of which Joe Strummer was a member, did a cover as well.
In 1990, Willy DeVille recorded it for his Victory Mixture album.
"Junco Partner" 305

Carlos del Junco covered the song for his Big Boy album released in 1999.
An American band band took its name from this song.
The Hindu Love Gods, which had Warren Zevon as lead singer and included three members of R.E.M., also included
this song under the title "Junko Pardner."
The origins of the song are so confused that some musicians credited the song to themselves.

Videos
• Junco Partner by Carbon/Silicon with Tymon Dogg, video 1 [2]
• Junco Partner by Carbon/Silicon with Tymon Dogg, video 2 [3]
• Junco Partner by Carbon/Silicon with Tymon Dogg, video 3 [4]
• Junco Partner by Carbon/Silicon with Tymon Dogg, video 4 [5]
• Junco Partner by The Clash, in Jamaica, in 1982 [6]
• Junco Partner by Lonnie Donegan in the '60s [7]
• Junco Partner by Dr. John in Montreux Jazz Festival 1986 [8]
• Junco Partner by Joe Strummer & The Mescaleros, in Brixton Academy, 2001 [9]
• Junco Partner by The Midnight to Special in 1988 [10]
• Junco Partner by Phil&Hervé played around 1986 [11]
• Junco Partner played on banjo by Napoleon Washington [12]

References
[1] Interview with Dr. John (http:/ / www. lastfm. es/ user/ barewires/ journal/ 2006/ 03/ 19/ 3reb_about_"junco_partner")
"Know Your Rights" 306

"Know Your Rights"

"Know Your Rights"

Single by The Clash

from the album Combat Rock

B-side "First Night Back in London"

Released 23 April 1982

Format 7" vinyl

Recorded 1982

Genre Punk rock

Length 3:51

Label CBS A2309

Writer(s) Joe Strummer and Mick Jones

Producer The Clash

The Clash singles chronology

"This Is Radio "Know Your "Should I Stay or Should I

Clash" Rights" Go"
(1981) (1982) (1982)

"Know Your Rights" is a song by The Clash released as a single prior to the release of the album, Combat Rock, on
which it appears. The song was the first single from the album.
The song begins with the words “This is a public service announcement...with guitars!” The structure of the song
revolves around the rights held by the poor and disenfranchised, in which the speaker of the song, presumably a
villainous civil servant (whose identity is assumed in the song by vocalist Joe Strummer), is only able to name three
rights, which are all provisional anyway. At the end, the notion that more rights should be granted is rebuffed by the
speaker.
The three are:
1. The right not to be killed, unless it is done by a policeman or an aristocrat.
2. The right to food money, providing of course, you don't mind a little investigation, humiliation, and, if you cross
your fingers, rehabilitation.
3. The right to free speech (as long as you're not dumb enough to actually try it).
This is one of the most overtly political songs by The Clash.
"Know Your Rights" 307

The song is featured on the compilation album, Songs and Artists That Inspired Fahrenheit 9/11, which followed up
the 2004 documentary film Fahrenheit 9/11 by filmmaker Michael Moore, where the track listing was selected by
Moore based on the songs and the artists he listened to while creating the documentary.

Cover versions
Cover version by Primal Scream like b-side, Vanishing Point Era. "Know Your Rights" has been performed live
many times by Pearl Jam, most notably during their Riot Act Tour in 2003, and it also has been recorded on their
live albums 7/11/03 - Mansfield, Massachusetts, 7/9/03 - New York, New York, and 3/3/03 - Tokyo, Japan. The Frisk
also recorded a faithful version of the song on their e.p. "Rank Restraint."

Charts
Chart Peak Date
position

UK Singles 43
Chart

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.
"London Calling" 308

"London Calling"
"London Calling"

Single by The Clash

from the album London Calling

B-side "Armagideon Time"

Released 7 December 1979

Format 7" single/12" single

Recorded August-September 1979, November 1979 at Wessex Studios

Genre Post-Punk

Length 3:18

Label CBS 8087

Writer(s) Joe Strummer and Mick Jones

Producer Guy Stevens

The Clash singles chronology

"Groovy "London "Clampdown"

Times" Calling" (1979)
(1979) (1979)

The Clash reissued singles chronology

"This Is "London Calling" "I Fought the Law"

England" (rerelease) (rerelease)
(1985) (1988) (1988)

The Clash extra singles chronology

"Rock the Casbah" "London Calling" (2nd "Train in Vain"

(rerelease) rerelease) (rerelease)
(1991) (1991) (1991)

"London Calling" is a song by the British punk rock band The Clash. It was released as a single from the band's
1979 double album London Calling. This apocalyptic, politically charged rant features the band's famous
"London Calling" 309

combination of reggae basslines and punk electric guitar and vocals.[1] [2] [3]

Writing and recording

The song was written by Joe Strummer and Mick Jones. The title alludes to the BBC World Service's station
identification: "This is London calling ...", that was used during World War II, often in broadcasts to occupied
countries.[1] [4]
The lyrics reflect the concern felt by Strummer about world events with the reference to "a nuclear error" to the
incident at Three Mile Island, which occurred earlier in 1979. Joe Strummer has said: "We felt that we were
struggling about to slip down a slope or something, grasping with our fingernails. And there was no one there to
help us."[3] [4]
The line "London is drowning / And I live by the river" comes from concerns that if the River Thames flooded, most
of central London would drown, something that led to the construction of the Thames Barrier.[3] [4] Strummer's
concern for social violence is evident through the lines "We ain't got no swing / Except for the ring of that truncheon
thing". This is perhaps a reference to the London riots at the time. Social criticism also features through references to
the effects of casual drug taking: "we ain't got no high / except for that one with the yellowy eyes".
The lyrics also reflect desperation of the band's situation in 1979 struggling with high debt, without management and
arguing with their record label over whether the London Calling album should be a single or double album. The lines
referring to "now don't look to us / All that phoney Beatlemania has bitten the dust" reflects the concerns of the band
over its situation after the punk rock boom in England in 1977 had ended. While many took the line as a slam against
the Beatles, another interpretation, offered at the time the song was released, suggested that this line referred not to
the Beatles, but to the Broadway production, Beatlemania, which advertised itself as "Not the Beatles, But an
Incredible Simulation." Hence, the line castigated late 1970s culture for its lack of substance, such as consuming
"phoney Beatlemania," essentially a simulated, rather than actual, experience.
Musically, the song is far removed from their earlier style of frenzied punk rock I-IV-V-I chord progressions, as best
exemplified on songs like "Career Opportunities" and "I'm So Bored with the USA". The song is in a minor key —
something The Clash had rarely used before — and the inherent dirge-like, apocalyptic feel is intensified by Topper
Headon's martial drumming without backbeat, in synchrony with staccato guitar chords; Paul Simonon's haunting
and pulsating bass line; the group's deliberate, mid-tempo pace; and Strummer's icy lyrics and baleful delivery.
Strummer's wolf-like howls or perhaps Rooster-like crows, during the instrumental break, further fuel the
atmosphere of desolation and paranoia implied throughout the song. Like many of the tracks on London Calling —
including "The Card Cheat", "Revolution Rock", and "Jimmy Jazz" — the song doesn't end by resolving strongly to
the tonic or fading out, as most rock and roll songs do. Instead, it breaks down eerily, with Joe Strummer's cryptic
last words "I never felt so much a-like..." echoing over Joe Walsh-inspired Morse code feedback (the characters
spelling out S-O-S).[3] (In live versions of the song, Strummer sings a complete version of the final line, which is "I
never felt so much a-like singing the blues...")
"London Calling" was recorded at Wessex Studios located in a former church in Highbury in North London. This
studio had already proved to be a popular location with The Sex Pistols, The Pretenders and the Tom Robinson band.
The single was produced by Guy Stevens and engineered by Bill Price.[1] [4]

Artwork
Continuing the theme of the Elvis Presley-inspired London Calling LP cover, the single sleeve (front and back) is
based on old RCA Victor (Elvis' label) 78 sleeves. The cover artwork was designed by Ray Lowry and is identical to
the RCA sleeve with the exception of changing the LP covers that the young teenage cover models are listening to.
From left to right they are, The Beatles debut Please Please Me, Never Mind the Bollocks, Here's the Sex Pistols,
The Rolling Stones debut, The Clash debut, Bob Dylan's Highway 61 Revisited and finally the Elvis Presley debut
"London Calling" 310

LP.

Reissues
The single has several issues, all with different covers. Four are from 1979 (catalog number: 8087; S CBS 8087;
128087; S CBS 8087). In 1988 was released a special limited edition box set containing three tracks, "London
Calling" in the side one, "Brand New Cadillac" and "Rudie Can't Fail" in the side two, a poster and two badges
(catalog number: CLASH B2). Two were released by CBS Records in 1991 (catalog number: 656946;
31-656946-22) both with "Brand New Cadillac" in the B-side, the second one has an additional track in the side two
"Return to Brixton (Jeremy Healy 7" Remix)"(see the table below).[5]

Year B-side Format Label Country Note

1979 "Armagideon Time" 45 rpm 7" CBS S CBS 8087 UK Released on 7 December 1979; #2 for 1979, #37
vinyl overall.

1979 1. "Justice Tonight" (Version) 45 rpm 12" CBS 128087 UK A-side:

2. "Kick It Over" (Version) vinyl 1. "London Calling"
2. "Armagideon Time".

1979 "Armagideon Time" 45 rpm 7" CBS S CBS 8087 UK Alternate cover.
vinyl

1979 "Armagideon Time" 45 rpm 7" CBS 8087 NL —

vinyl

1980 "London Calling" 45 rpm 7" Epic 50851 USA A-side: "Train in Vain (Stand by Me)". Released on
vinyl 12 February 1980.

1988 1. "Brand New Cadillac" 45 rpm 7" CBS CLASH 2 UK Box Set; Limited Edition
2. "Rudie Can't Fail" vinyl

1991 1. "Brand New Cadillac" 45 rpm 12" Columbia UK —

2. "Return to Brixton" (Jeremy vinyl 31-656946-22
Healy 7" Remix)

1991 "Brand New Cadillac" 45 rpm 7" Columbia 656946 UK —

vinyl

Chart success and critical response

"London Calling" was released as the only single in the UK from the album and reached #11 in the charts in
December 1979.[2] The song did not make the US charts, as "Train in Vain" was released as a single and broke the
band in the US, reaching #23 on the pop charts.
"London Calling" was the first Clash song to chart elsewhere in the world, reaching the top 40 in Australia. The
success of the single and album was greatly helped by the music video shot by Don Letts showing the band playing
the song on a boat (Festival Pier), next to Albert Bridge on the south side of the Thames, Battersea Park in a cold and
rainy night at the beginning of December 1979.[6] [7]
The single fell off the charts after 10 weeks, but later re-entered the chart twice, spending a total of fifteen
non-consecutive weeks on the UK Singles Chart.
Over the years, "London Calling" has become regarded by many critics as the band's finest. In 2004, Rolling Stone
rated the song as #15 in its list of the 500 Greatest Songs of All Time,[8] [9] the highest position of the band and of
any punk rock song. In 1989, the magazine also rated the album of the same name as the best album of the
1980s—although it was released in late 1979 in Britain, it came out in January, 1980 in the USA.
"London Calling" 311

"London Calling" was also ranked #42 on VH1's "100 Greatest Songs of the '80s". Though it was erroneously listed
as being released in 1982, when it was fact released in 1979.[10] It is one of The Rock and Roll Hall of Fame's 500
Songs that Shaped Rock and Roll.[11]
A supergroup consisting of Bruce Springsteen, Elvis Costello, Dave Grohl, Steven Van Zandt, Pete Thomas, and
Tony Kanal of No Doubt performed the song at the 2003 Grammy awards as a tribute after the death of Joe
Strummer. Bruce Springsteen had earlier offered to join the band at the induction ceremony in 2002 for the Rock and
Roll Hall of Fame but the band had refused to play at the ceremony claiming that they did not want to play at a
function where seats were upwards of $1,000, and would rather play for their fans. Bob Dylan also covered the song
when performing at the Brixton Academy in November 2005, before merging it into 'Like a Rolling Stone', which
was at number one on the Rolling Stone list.

Uses in advertising
• The Clash turned down a request from British Telecom to use the song for an advertising campaign in the early
'90s.[12]
• In 2002, the band incurred criticism when they sold the rights to Jaguar for a car advertisement. In an interview
posted on his website, Strummer explained the reasons for the deal. "Yeah. I agreed to that. We get hundreds of
requests for that and turn 'em all down. But I just thought Jaguar... yeah. If you're in a group and you make it
together, then everybody deserves something. Especially twenty-odd years after the fact."[13]
• In 2008 the song appeared in trailers for The Bank Job.

Notable appearances
• Joe Strummer later became a DJ for the BBC World Service, broadcasting in programmes entitled "Joe
Strummer's London Calling".[14]
• An earlier version of the song from The Vanilla Tapes, with noticeably different lyrics, was released with the
London Calling Legacy Edition in 2004.
• A live version of the song, recorded in Boston on 7 September 1982, was released on the 1999 album From Here
to Eternity: Live.
• The song was shortly featured in the films Face (1997), Bravo Two Zero (1999), Billy Elliot (2000), Ma femme
est une actrice (2001), Die Another Day (2002), What a Girl Wants (2003), 28 Days Later (2003), Shaun of the
Dead (2004) (the song is also on the movie's soundtrack), and L'ennemi public n°1 (2008), as well as in an
episode of Friends, shot in London, in the fourth season of the show.
• On 30 March 2006, 23-year-old Harraj Mann, who is of Indian descent, was detained on terrorism suspicions at
Durham Tees Valley Airport in Northern England as he tried to board a plane to London. The man had taken a
cab to the airport and plugged his MP3 player into the cab's stereo, where he played "London Calling" ("London
calling to the faraway towns, now war is declared and battle come down") and Led Zeppelin's "Immigrant Song".
The lyrics aroused the driver's suspicions, and he alerted the authorities. The man was subsequently cleared, but
he missed his flight.[15] [16]
• The last episode of the teen drama series Instant Star has been named with the name of the song.
• British UFC fighter Michael Bisping used it for his ring walk music at some UFC events.
• The character Killface from Frisky Dingo uses the catchphrase "London Calling" repeatedly.
• It was the first song to be played on Top of the Pops in the Eighties, some sources say it was played on the chart
rundown used at the beginning of the programme.
"London Calling" 312

Cover versions
• The song achieved the accolade of two live performances by Bob Dylan during his November 2005 residency at
London's Brixton Academy - a venue also linked with many classic Clash and Joe Strummer concerts.[17] [18] [19]
[20]

• Flogging Molly has played the song before they take the stage for a live show.
• Bon Jovi performed the song when they played the last gigs at the old Wembley Stadium in 2000.
• Red Hot Chili Peppers often use the intro to the song as an intro to "Right On Time", as heard on Live at Slane
Castle and at Oxegen 2006.
• The Business performed a cover on their album Under the Influence.
• German band Beatsteaks uses the intro as an intro to "Hello Joe", a tribute to Joe Strummer.
• Canadian band the Rheostatics frequently covered this song live in concert.
• Ragga-metal band Skindred's song "The Fear" was strongly influenced by "London Calling". While the lyrics are
different, the actual music is nearly identical.
• American band The Calling also covered the song on their sophomore album "Two".
• In the hit TV Show Gilmore Girls Lane's band sings the song during one of their performances
• The movie Die Another Day features the song while the main villain parachutes from an airplane, granted with
the line suggestive of police brutality excised.
• Scouting For Girls covered this song at the London Olympic 2012 welcome party.
• During the 2003 Grammy Awards, the song was covered by a super-group featuring Elvis Costello, Bruce
Springsteen, Steven Van Zandt and Dave Grohl sharing vocals and guitar as a tribute to the recently departed Joe
Strummer.
• Additionally, Springsteen has covered the song live while performing with the E Street Band on multiple
occasions. Their performance of the song at Hyde Park in London in 2009 appears as the title track of their 2010
concert film, London Calling: Live in Hyde Park[21] .
• The Bad Shepherds with Adrian Edmondson do a folk influenced cover of the song on their album Yan, Tyan,
Tethera, Metheral

Charts
Chart (1979) Peak
Position

[22] 11
UK Singles Chart

Chart (1980) Peak

Position

[23] 16
Irish Singles Chart

U.S. Billboard Club Play Singles 30

"London Calling" 313

Chart (1988, Re-release) Peak

Position

[22] 46
UK Singles Chart

Chart (1991, 2nd re-release) Peak

Position

[23] 18
Irish Singles Chart

[22] 64
UK Singles Chart

Sources
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Green, Johnny, and Garry Barker (2003 [1997]). A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Salewicz, Chris (15 May 2007). Redemption Song: The Ballad of Joe Strummer (1st American ed.). New York:
Faber and Faber. ISBN 057121178X. OCLC 76794852.

References
[1] Gilbert 2005, pp. 233, 235, 238, 257, 260, 267.
[2] "BBC - Radio 2 - Sold On Song - Brits25 - London Calling" (http:/ / www. bbc. co. uk/ radio2/ soldonsong/ whatson/ londoncalling. shtml)
(SHTML). Radio 2, Sold On Song. bbc.co.uk. . Retrieved 2007-12-31. "a) Taken from the Clash's stunning 1979 double album London
Calling, the single showcased the bands' trademark fusion of reggae bass lines with punk guitar and vocals.
b) Reaching number eleven in December 1979, the song was the only track to be released as a single from their acclaimed London Calling
album."
[3] Guarisco, Donald A.. "London Calling - The Clash - Song Review" (http:/ / allmusic. com/ cg/ amg. dll?p=amg& sql=33:lvse4j672w4e).
allmusic.com. . Retrieved 2008-01-15.
[4] "London Calling by The Clash Songfacts" (http:/ / www. songfacts. com/ detail. php?id=2527) (PHP). songfacts.com. . Retrieved 2007-12-31.
[5] "Albums by The Clash - Rate Your Music" (http:/ / rateyourmusic. com/ artist/ the_clash#Single). rateyourmusic.com. . Retrieved
2008-01-15.
[6] Green 2003, pp. 15–17.
[7] Salewicz 2007, p. 276.
[8] "The RS 500 Greatest Songs of All Time" (http:/ / www. rollingstone. com/ news/ coverstory/ 500songs). RollingStone. 2004-12-09. .
Retrieved 2007-11-22. "15. London Calling, The Clash"
[9] "London Calling The Clash" (http:/ / www. rollingstone. com/ news/ story/ 6595860/ london_calling). The RS 500 Greatest Songs of All
Time. RollingStone. 2004-12-09. . Retrieved 2007-11-22.
[10] "VH1'S "100 GREATEST SONGS OF THE '80S"" (http:/ / www. vh1. com/ press/ press_releases/ 2006_release/
100greatestsongs80s_10302006. jhtml) (JHTML). VH1. 2006-10-24. . Retrieved 2007-12-31. "42 The Clash / "London Calling" 1982"
[11] "500 Songs that Shaped Rock and Roll" (http:/ / www. rockhall. com/ exhibithighlights/ 500-songs) (XHTML). The Rock and Roll Hall of
Fame and Museum. . Retrieved 2009-05-24. "The Clash - London Calling"
[12] "The Uncut Crap - Over 56 Things You Never Knew About The Clash". NME (London: IPC Magazines) 3. 16 March 1991.
ISSN 0028-6362. OCLC 4213418. "British Telecom wanted to use "London Calling" for their last advertising campaign. They were told to
bog off.".
Related news articles: * Peterson, Tami. "The Uncut Crap - Over 56 Things You Never Knew About The Clash - NME 16 March 1991"
(http:/ / londonsburning. org/ art_nme_03_16_91. html). londonsburning.org. . Retrieved 2007-12-31.
[13] Walker, Rob (2002-09-15). "Boston Globe Online / Sunday - Focus / Brand new Jag" (http:/ / web. archive. org/ web/ 20021004114045/
http:/ / www. boston. com/ dailyglobe2/ 258/ focus/ Brand_new_Jag+ . shtml). Boston Globe. Archived from on 2002-10-04. . Retrieved
2007-12-31. "The Clash sell luxury goods By Rob Walker, 9/15/2002"
[14] The Sound of Strummer | Arts and Entertainment | BBC World Service (http:/ / www. bbc. co. uk/ worldservice/ arts/ highlights/
001013_strummer. shtml)
[15] "Terror fear over Clash fan's song" (http:/ / news. bbc. co. uk/ 2/ hi/ uk_news/ england/ 4879918. stm). BBC News. 2006-04-05. . Retrieved
2010-05-11.
"London Calling" 314

[16] Passenger Detained Over Song Choice - Yahoo! News (http:/ / news. yahoo. com/ s/ ap_travel/ 20060410/ ap_tr_ge/
travel_brief_passenger_detained;_ylt=AiyfVGlxBq7Rbb1FORmewu6s0NUE;_ylu=X3oDMTA4NWZtdDlpBHNlYwMyNjgz)
[17] Pagel, Bill. "Bob Dylan - Bob Links - London, England Set List - 11/21/05" (http:/ / my. execpc. com/ ~billp61/ 112105s. html). . Retrieved
2008-02-13. "16. London Calling (incomplete - 1 verse)"
[18] Pagel, Bill. "Bob Dylan - Bob Links - London, England Set List - 11/24/05" (http:/ / my. execpc. com/ ~billp61/ 112405s. html). . Retrieved
2008-02-13. "15. London Calling (incomplete)"
[19] Jarnow, Jesse (2005-11-22). ""london calling" - bob dylan" (http:/ / www. wunderkammern27. com/ 2005/ 11/ london_calling_bob_dylan.
html). Jesse Jarnow's Frank and Earthy Blog. wunderkammern27.com. . Retrieved 2008-02-13. "Fly-by-night, lo-fi, punk-frickin'-rock
recording of Dylan performing a solid minute of The Clash's "London Calling" yesterday in London."
[20] Ketchell, James. "Rockbeatstone Magazine - Bob Dylan - Brixton Academy, London - Live Review" (http:/ / www. rockbeatstone. com/
index. php?id=313) (PHP). Rockbeatstone Magazine. . Retrieved 2008-02-13.
[21] "Shore Fire Media: Bruce Springsteen Press Release" (http:/ / www. shorefire. com/ index. php?a=pressrelease& o=3844). . Retrieved
2010-05-03.
[22] "Chart Stats - The Clash" (http:/ / www. chartstats. com/ artistinfo. php?id=2777). chartstats.com. . Retrieved 2008-11-18.
[23] "The Irish Charts" (http:/ / www. irishcharts. ie). IRMA. . Retrieved 2008-10-02.
"London's Burning" 315

"London's Burning"
"London's Burning"
Song by The Clash from the album The Clash

Released April 8, 1977

Recorded March, 1977

Genre Punk rock

Length 2:20

Label CBS

Writer Joe Strummer, Mick Jones

Producer Mikey Foote

"London's Burning" is a song by The Clash from their eponymous debut album. It is the eighth track in the U.K.
version of this album, and the seventh track in the U.S. version, from 1979.
It is sung by Joe Strummer (and Mick Jones in the chorus), who starts the song shouting "London's Burning!" two
times. The song continues talking about the problems in the England's traffic lines, who makes people stay in the car
until the night falls, feeling bored and far of their homes. This message is clearly seen in the next verse: "I'm up and
down the Westway, in an' out the lights/ What a great traffic system - it's so bright/ I can't think of a better way to
spend the night/ Then speeding around underneath the yellow lights"
In the song it is repeated the racial theme so often treated by them, when they say "Black or white turn it on, face the
new religion."
"Lost in the Supermarket" 316

"Lost in the Supermarket"

"Lost in the Supermarket"
Song by The Clash from the album London Calling

Released 14 December 1979

Recorded August-September 1979, November 1979 at Wessex

Studios

Genre Rock

Length 3:47

Label CBS

Writer Joe Strummer, Mick Jones

Producer Guy Stevens

"Lost in the Supermarket" is a 1979 song by The Clash.[1] Written by Joe Strummer and Mick Jones and produced
by Guy Stevens, it is credited to the Strummer/Jones songwriting partnership. It was released on their third studio
album London Calling. It is the eighth song on the track listing. Although it features Mick Jones on lead vocals, the
song was written by Joe Strummer.[2]

Writing and recording

The song was conceived and recorded in Jones' grandmother's flat where he was living at 36 Causton Street, down
by the River Thames, near Vauxhall Bridge Road in Pimlico, London, between May and August, 1979 and recorded
at Wessex Studios, 106A Highbury New Park, an old converted church between Islington and Stoke Newington
(nearby Clissold Park), produced by producer Guy Stevens and engineered by Bill Price on August-September
1979.[1] [3]

“
Hearing Mick's soft voice over the studio speakers singing "Lost in a Supermarket", and its story of high-raise walls

”
[1]
—Joe Strummer ,

The supermarket in question is located beneath the Jones' grandmother's flat.[1] [3]

Personnel
• Mick Jones:Vocals and guitar.
• Joe Strummer:Guitar and vocals.
• Paul Simonon:Bass guitar.
• Topper Headon: Drums.

Music and lyrics

A slower song than many of the others on the album, its lyrics describe someone struggling to deal with an
increasingly commercialised world and rampant consumerism. The song opens with Strummer's autobiographical
memories of his parents' home in suburban Warlingham, with a hedge "over which I never could see." With lines
such as "I came in here for that special offer - guaranteed personality", the protagonist bemoans the
depersonalisation of the world around him. The song speaks of numbers about suburban alienation and the feelings
"Lost in the Supermarket" 317

of disillusionment that come through youth in modern society.[4] [5]

In the Making of 'London Calling': The Last Testament DVD, released with the 25th anniversary edition of London
Calling in 2004, Strummer said he wrote the lyrics imagining Jones' life growing up in a basement with his mother
and grandmother.[2] [6]

Cover versions
The song was covered by Ben Folds for use in the movie Over the Hedge. In addition, a cover performed by The
Afghan Whigs was released on the tribute album Burning London; lead singer Greg Dulli sings portions of the Ben
E. King song "Stand By Me" and another Clash song "Train in Vain" over the outro.
The original Clash version was used in the season 4 Daria episode, "Mart of Darkness".
An entertainment blog, Lost in A Supermarket (dot) com, used the song title in tribute.

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. p. 172. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.

References
[1] Green, Johnny; Garry Barker (2003). A Riot of Our Own: Night and Day with The Clash, p. 172.
[2] Blashill, Pat (2004-10-14). "London Calling 25th Anniversary Edition Review". Rolling Stone (San Francisco, CA: Straight Arrow
Publishers) (10). ISSN 0035-791X. OCLC 1787396.
[3] "London Calling" (http:/ / www. theclash. org. uk/ London. htm). theclash.org.uk. . Retrieved 2008-01-11.
[4] "Lyrics Part 6 of 10" (http:/ / londonsburning. org/ lyr_complete_lyrics_06. html#LostintheS). Clash Lyrics Page. londonsburning.org. .
Retrieved 2008-01-11.
[5] Dimery, Robert (1999). Collins Gem Classic Albums. Glasgow: Harper Collins Publishers. ISBN 0004724852. OCLC 43582584. "On "Koka
Kola" and "Lost In The Supermarket" advertising is rubbished."
Related news articles:
• "The Clash - London Calling" (http:/ / www. superseventies. com/ spclash. html). Super Seventies. . Retrieved 2008-01-06.
[6] Clash, The. (2004-09-21). London Calling. [Compact Disc, DVD Video]. New York: Epic. OCLC 56620494. "Compact discs accompanied
by bonus DVD. Song lyrics inserted in container. 2 sound discs: digital; 4 3/4 in. + 1 videodisc (DVD, ca. 50 min.: sd., col.; 4 3/4 in.) +
booklet ([36] p.: ill.; 12 cm.) + 1 lyrics sheet (2 p., folded). Contents: CD, disc 1, original LP: London Calling – Track listing. CD, disc 2, The
Vanilla Tapes (previously unheard rehearsal sessions including five new songs) track listing. DVD: Last testament: The making of London
Calling (30 min.) – Extras: Promos of London Calling, Train in Vain, Clampdown – Home video footage of The Clash recording London
Calling at Wessex Studios."
"Louie Louie" 318

"Louie Louie"
"Louie Louie"
Single by Richard Berry

Released [1]
April 1957

Format Vinyl single

Recorded 1957

Genre R&B
rock'n'roll
garage rock

Length 2'09"

Label Flip Records

Writer(s) Richard Berry

Richard Berry singles chronology

Take the Louie Louie Sweet Sugar

Keys

"Louie Louie" is an American rock 'n' roll song written by Richard Berry in 1955. It has become a standard in pop
and rock, with hundreds of versions recorded by different artists. The song is written in the style of a Jamaican
ballad; and tells, in simple verse-chorus form, the first-person story of a Jamaican sailor returning to the island to see
his lady love. The singer brags of his "fine little girl" to the Louie of the title, presumably a bartender.
A recording by The Kingsmen in 1963 is the best-known version. The Kingsmen's edition was also the subject of an
FBI investigation about the supposed but non-existent obscenity of the lyrics, an investigation that ended without
prosecution.[2] The song is ranked #55 on the Rolling Stone magazine's list of The 500 Greatest Songs of All Time.

Original version
Richard Berry was inspired to write the song in 1955 after listening to and performing the song "El Loco Cha Cha"
with Ricky Rillera and the Rhythm Rockers. The tune was written originally as "Amarren Al Loco" ("Tie up the
crazy guy") by Cuban bandleader Rosendo Ruiz Jr. - also known as Rosendo Ruiz Quevedo - but became best
known in the arrangement by René Touzet which included a rhythmic ten-note "1-2-3 1-2 1-2-3 1-2" riff. Touzet
performed the tune regularly in Los Angeles clubs in the 1950s. In Berry's mind, the words "Louie Louie"
superimposed themselves over the bass riff. Lyrically, the first person perspective of the song was influenced by
"One for My Baby (and One More for the Road)", which is sung from the perspective of a customer talking to a
bartender. Berry cited Chuck Berry's "Havana Moon" and his exposure to Latin American music for the song's
speech pattern and references to Jamaica.[3]
Richard Berry released his version in April 1957 (Flip Records 321[1] ), originally as a B-side, with his backing band
The Pharaohs, and scored a regional hit on the west coast, particularly in San Francisco. When the group toured the
Pacific Northwest, several local R&B bands began to adopt the song and established its popularity. The track was
then re-released as an A-side.[4] However, the single never charted on Billboard's national rhythm and blues or pop
charts. Berry's label reported that the single had sold 40,000 copies. After a series of unsuccessful follow-ups, Berry
sold his portion of publishing and songwriting rights for $750 to the head of Flip Records in 1959.
"Louie Louie" 319

While the title of the song is often rendered with a comma ("Louie, Louie"), in 1988 Berry told Esquire magazine
that the correct title of the song was "Louie Louie", with no comma.

Version by The Kingsmen

In the U.S. music industry of the 1950s and 1960s, mainstream white artists would often cover songs by black artists.
On April 6, 1963, a rock and roll group from Portland, Oregon, called The Kingsmen, chose "Louie Louie" as their
second recording, their first having been "Peter Gunn Rock."
The Kingsmen recorded the song at Northwestern, Inc., Motion Pictures and Recording [5] in Portland, Oregon. The
group paid a small sum of $36 for a one-hour Saturday morning session. The session was produced by Ken Chase
aka Mike Korgan. Chase was a local radio personality on the AM rock station 91 KISN and also owned the teen
nightclub that hosted the Kingsmen as their house band. The engineer for the session was the studio owner, Robert
Lindahl. The Kingsmen's lead singer Jack Ely based his version on a 1961 recording of Berry's tune by another band
from the Pacific Northwest, Rockin' Robin Roberts and the Fabulous Wailers (no relation to The Wailers headed by
Bob Marley years later), unintentionally introducing a change in the rhythm as he did. "I showed the others how to
play it with a 1-2-3, 1-2, 1-2-3 beat instead of the 1-2-3-4, 1-2, 1-2-3-4 beat that is on the (Wailers') record," recalled
Ely. The night before their recording session, the band played a 90-minute version of the song during a gig at a local
teen club.
The Kingsmen's studio version was recorded in one take. They also recorded the "B" side of the release, an original
instrumental by the group called "Haunted Castle".
A significant error on the Kingsmen's version occurs just after the lead guitar break. To some ears, singer Ely begins
singing the verse in the correct place, but thinks he's come in too soon, and pauses for another cycle of the riff. To
others, he comes in too soon and corrects himself but the band doesn't realize that he's done so. Either way, drummer
Lynn Easton covers the pause with a drum fill. But then, before the verse has ended, the rest of the band goes into
the chorus at the point where they expect it to be. They recover quickly, but the confusion would seem to indicate
that the rest of the band couldn't hear the vocals while they were recording. This error is now so embedded in the
consciousness of some groups that they deliberately duplicate it when performing the song. There is also a persistent
and oft-repeated story that the microphone for Ely was mounted too high for him to sing without tilting his head
back excessively, resulting in his somewhat pinched and strangled sound through most of his vocal. This seems
unlikely, however, in view of the fact that it was recorded by professional personnel in a dedicated recording studio.
Regardless of accuracy or technique, the Kingsmen transformed Berry's relatively easy-going ballad into a raucous
romp, complete with a twangy guitar, occasional background chatter, and almost completely unintelligible lyrics by
Ely. A chaotic guitar break is triggered by the shout, "Okay, let's give it to 'em right now!", which first appeared in
the Wailers' version. Critic Dave Marsh suggests it is this moment that gives the recording greatness: "[Ely] went for
it so avidly you'd have thought he'd spotted the jugular of a lifelong enemy, so crudely that, at that instant, Ely
sounds like Donald Duck on helium. And it's that faintly ridiculous air that makes the Kingsmen's record the classic
that it is, especially since it's followed by a guitar solo that's just as wacky".[5]
Released in May 1963, the single entered the top ten on the Billboard Hot 100 chart for December 7, and peaked at
number two the following week; it would remain in the top 10 through December and January before dropping off in
early February.[6] In total, the Kingsmen's version spent 16 weeks on the Hot 100. (Singles by The Singing Nun, then
Bobby Vinton, monopolized the top slot for eight weeks.) "Louie Louie" did reach number one on the Cashbox pop
chart, as well as number one on the Cashbox R&B chart.[7] The version quickly became a standard at teen parties in
the U.S. during the 1960s, even reappearing on the charts in 1966.
Another factor in the success of the record may have been the rumor that the lyrics were intentionally slurred by the
Kingsmen. Allegedly, this was to cover the fact that it was laced with profanity, graphically depicting sex between
the sailor and his lady. Crumpled pieces of paper professing to be "the real lyrics" to "Louie Louie" circulated among
teens. The song was banned on many radio stations and in many places in the United States, including Indiana,
"Louie Louie" 320

where it was personally prohibited by the Governor, Matthew Welsh.

These actions were taken despite the small matter that practically no one could distinguish the actual lyrics. Denials
of chicanery by Kingsmen and Ely did not stop the controversy. The FBI became involved in the controversy but
concluded a 31-month investigation with a report that they were "unable to interpret any of the wording in the
record."[9]
After a protracted lawsuit that lasted five years and cost $1.3 million dollars, The Kingsmen won the rights to their
song "Louie Louie". The Supreme Court in November 1998, declined to hear an appeal by the record company of an
earlier legal ruling giving the rights to the band.
Paul Revere & the Raiders also recorded a version of "Louie Louie" in April 1963 in the same Portland studio as The
Kingsmen. This recording was paid for and produced by 91 KISN Radio Personality Roger Hart, who soon became
Personal Manager for Paul Revere & The Raiders. Initially, their single was more successful locally, put out on
Hart's SANDE label, then when signed to Columbia Records it was reissued in June 1963 nationally, where it went
#1 in the West and Hawaii. The quick success of "Louie Louie" suddenly halted in the West. A few years later, Paul
Revere & the Raiders learned why: Columbia Records A&R man Mitch Miller, who did not like rock n' roll, pulled
the plug on Paul Revere & The Raiders' hit version.
Meanwhile, local sales of the Kingsmen record were so low (reportedly 600) that the group considered disbanding.
Things changed when Boston's biggest DJ, Arnie Ginsburg, was given the record by a pitchman. Amused by its
slapdash sound, he played it on his program as "The Worst Record of the Week." Despite the slam, listener response
was swift and positive.
By the end of October, the Kingsmen's version was listed in Billboard as a regional breakout and a "bubbling under"
entry for the national chart. Meanwhile, the Raiders' version, with far stronger promotion, was becoming a hit in
California and was also listed as "bubbling under" one week after the Kingsmen's debut on the chart. For a few
weeks, the two singles appeared destined to battle each other, but demand for the Kingsmen single acquired
momentum and, by the end of 1963, Columbia had stopped promoting the Raiders' "Louie Louie", per Columbia
Records Mitch Miller. But Paul Revere's band held the bragging rights in Portland, where they outsold the Kingsmen
by a reported 10 to 1.
Robert Lindahl, then-president and chief engineer of NWI, and the sound engineer [10] on the Kingsmen's and Paul
Revere & the Raiders' noted that the Raiders' version is not known for "garbled lyrics" or an amateurish recording
technique. But despite these attributes, the single never seized the public's attention the way the less-polished
Kingsmen version had.
By the time that the Kingsmen's "Louie Louie" had achieved national popularity, the band had split. Two rival
editions — one featuring lead singer Ely, the other with Lynn Easton, who held the rights to the band's name — were
competing for live audiences across the country.

Lyrics investigation
In February, 1964, an outraged parent wrote to Robert Kennedy, then the attorney general of the United States,
alleging that the lyrics of "Louie Louie" were obscene. The Federal Bureau of Investigation investigated the
complaint. In June, 1965, the FBI laboratory obtained a copy of the recording and, after two years of investigation,
concluded that the recording could not be interpreted, that it was "unintelligible at any speed," and therefore the
Bureau could not find that the recording was obscene. In September, 1965, an FBI agent interviewed one member of
the Kingsmen. He denied that there was any obscenity in the song.
The lyrics controversy resurfaced briefly in 2005 when the superintendent of the school system in Benton Harbor,
Michigan refused to let the marching band at one of the schools play the song in a parade. She later relented.[8] [9]
"Louie Louie" 321

Motörhead version

"Louie Louie"

Single by Motörhead

from the album Overkill (re-issue)

B-side Tear Ya Down

Released 30 September 1978

Format 7"

Recorded Wessex Studios

London 1977

Genre Hard rock

Length 2:47

Label Bronze
Records/EMI

Producer Neil Richmond

Motörhead

Motörhead singles chronology

"Motorhead" "Louie "Overkill"

(1977) Louie" (1979)
(1978)

Louie Louie is the title track of Motörhead's third single. It was released as a 7" vinyl single in 1978 and reached
number 68 on the UK Singles Chart.
The reverse cover carries the dog Latin motto "NIL ILLEGITIMUM CARBORUNDUM", which is humorously said
to mean "Don't let the bastards grind you down".
The song is released with "Tear Ya Down" and appears later on the CD re-issues of Overkill and The Best Of
Motörhead compilation.
On 25 October 1978, a pre-recording of the band playing this song was broadcast on the BBC show Top of the
Pops.[10]
"Louie Louie" 322

Track listing
1. "Louie Louie" (Richard Berry)
2. "Tear Ya Down" (Eddie Clarke, Ian Kilmister, Phil Taylor)

Personnel
• Fast Eddie Clarke – Guitars, vocals
• Philthy Animal Taylor – Drums
• Lemmy (Ian Kilmister) – Bass, lead vocals
• Photographs - Motorcycle Irene

Legacy
It is unknown exactly how many versions of "Louie Louie" have been recorded, but it is believed to be over 1,500,
according to LouieLouie.net [14].[11]
The Kingsmen version has remained the most popular version of the song, retaining its association with wild
partying. It enjoyed a comeback in 1978-79 and was associated with college fraternity parties when it was sung,
complete with the supposedly obscene lyrics, by Bluto (John Belushi) and his fellow Delta House brothers in the
movie National Lampoon's Animal House despite the anachronism of the film taking place in 1962, a year before the
Kingsmen recording.
Following is a decade by decade survey of the song's popularity and influence across a broad spectrum of popular
music. The song's continuing popularity helped Berry (who had retained his BMI rights) receive belated
compensation for unpaid royalties.

1960s
After the Kingsmen and Raiders' versions, several other bands recorded the song:
• American soul singer Otis Redding for his 1964 debut album Pain in My Heart
• The Beach Boys recorded a rendition of "Louie Louie" for their 1964 album Shut Down Vol. 2.
• Ray Davies has stated that he wrote The Kinks' first hit, "You Really Got Me" (1964) while trying to work out the
chords of "Louie Louie". The band recorded "Louie Louie" on 18 October 1964 and it was released in November
on the "Kinksize Session" EP, but still the chords were not quite right.
• The Who were directed in their early recording career by the riff/rhythm of "Louie Louie". This was due to the
song's influence on The Kinks, who, like the Who at the time, were produced by Shel Talmy, with the Kinks on
the Pye label and the Who on Brunswick. Talmy wanted the successful sounds of The Kinks' 1964 hits "You
Really Got Me", "All Day and All of the Night" and "Till the End of the Day" to be copied by The Who. As a
result, Pete Townshend penned "I Can't Explain", released in March 1965. During a pre-song interview with host
Brian Matthew on Saturday Club in May 1965, Pete explained that "I Can't Explain" was released to "introduce
The Who to the charts" and that they were now trying to get away from all that and wanted to create the sort of
sound they achieved on stage at present, hence their new single which they were about to sing live on Saturday
Club now - the feedback-driven, Mod-inspired "Anyway, Anyhow, Anywhere". (In 1979 "Louie Louie" would be
featured on the soundtrack album to Quadrophenia.)
• The American folk group The Sandpipers did a cover of the song in 1966 with a slower tempo and in Spanish.
• Prototype English punk/garage band The Troggs recorded a version of "Louie Louie" in 1966. Their cover version
hit-single "Wild Thing" also uses a very similar riff to "Louie Louie".
• It underwent a psychedelic treatmeant courtesy of Friar Tuck on his 1967 album Friar Tuck And His Psychedelic
Guitar
"Louie Louie" 323

• "Louie Louie" repeatedly figured in the musical lexicon of Frank Zappa in the 1960s. An early live version of his
original composition "Plastic People" (from his You Can't Do That Onstage Anymore series of live albums) was
set to the melody of "Louie, Louie" (The official version was released on the album Absolutely Free in 1967).
Also from the Absolutely Free album is the song "Son of Suzy Creamcheese", a song that has a melody that
sounds like a sped-up version of "Louie Louie". Zappa reportedly fired guitarist Alice Stuart from The Mothers of
Invention because she couldn't play "Louie Louie".[12] At a Zappa concert at the Royal Albert Hall in London,
Mothers Of Invention keyboardist Don Preston climbed up to the legendary venue's pipe organ, usually used for
classical works, and played the signature riff (this can be heard on the 1969 Zappa album Uncle Meat). Quick
interpolations of "Louie Louie" also frequently turn up in other Zappa works.
• The Sonics also recorded a very rough, fuzz-tone-drenched version in the '60's.

1970s
By the 1970s the song was inspiring other songs and numerous other versions.
• In 1972, Berry released the song again as a single on the Happy Tiger label. This was the label's final release
before it folded.[13]
• Also in 1972, The Stooges covered the song which was never released.
• In 1972, Led Zeppelin performed a version of the song in Los Angeles. It can be heard on bootleg recordings
entitled Burn Like a Candle. The night of this performance is the source of most of their 2003 live album How the
West Was Won, although "Louie Louie" was omitted from the official release.
• In 1973, Flash Cadillac & the Continental Kids performed the song in the film American Graffiti (1973). This
recording was produced by Kim Fowley.
• Toots & the Maytals recorded a version for their album Funky Kingston (1973). It has been suggested that use of
the Kingsmen's beat from this song may have thus helped lead to the invention of reggae music.[14]
• The 1973 song "Brother Louie" by the UK band Hot Chocolate was strongly inspired by "Louie Louie" and
includes a minor-key reprise of the chorus. The song, about an interracial romance, became a No. 1 U.S. hit that
same year in a cover version by the New York band Stories.
• "Louie Louie" was Motörhead's first single for Bronze Records in 1978. It was a relatively faithful cover of the
song, with "Fast" Eddie Clarke's guitar emulating the Hohner Pianet electric piano riff.
• A version of "Louie Louie" performed by The Clash appears on a vinyl bootleg of the band called Louie is a
Punkrocker (1977).[15]

1980s
Black Flag released its own version of "Louie Louie" in 1981 on Posh Boy Records, then reissued the single on its
own SST label and as part of the anthology The First Four Years. It features Dez Cadena on vocals for the lead
track, with Cadena improvising his own lyrics for the song;[16] an alternate version heard on the 1982 outtakes
compilation Everything Went Black, recorded at a different session,[17] features a different set of lyrics.[18] A live
recording of Black Flag's version from the 1986 live album Who's Got the 10½? features Henry Rollins following in
the band's tradition of improvising new lyrics for the song.
Aside from the Animal House appearance, the song appeared in many other films, typically in raucous and humours
contexts. An instrumental version is heard during the last scene and closing credits of The Naked Gun (1988). (In the
film, the University of Southern California Marching Band is seen trampling Ricardo Montalban's character.)
The Grateful Dead covered the song live a few times in the 80's with Brent Mydland on vocals.
Animal House may have inspired various other real life pranks and tributes:
"Louie Louie" 324

• In 1985, Ross Shafer, host and a writer-performer of the late-night comedy series Almost Live! on the Seattle TV
station KING, spearheaded an effort to have "Louie Louie" replace "Washington, My Home" by Helen Davis as
Washington's official state song.[19] Picking up on this initially prankish effort, Whatcom County Councilman
Craig Cole introduced Resolution No. 85-12 in the state legislature, citing the need for a "contemporary theme
song that can be used to engender a sense of pride and community, and in the enhancement of tourism and
economic development". His resolution also called for the creation of a new "Louie Louie County". While the
House did not pass it, the Senate's Resolution 1985-37 declared April 12, 1985, "Louie Louie Day". A crowd of
4,000, estimated by press reports, convened on the state capitol that day for speeches, singalongs, and
performances by the Wailers, the Kingsmen, and Paul Revere and the Raiders. Two days later, a Seattle event
commemorated the occasion with the premiere performance of a new, Washington-centric version of the song
written by composer Berry.[20] [21]
The Fat Boys recorded a version of "Louie Louie" in 1988 on their album Coming Back Hard Again; their version
features new lyrics written by the group about the history of the song and its original controversy.[22]
In the 1980s Rhino Records released The Best of Louie Louie in support of KFJC's Maximum Louis Louis event. The
album features Richard Berry's original recording, the Kingsmen's influential version, Black Flag's version, and
several other versions, some bizarre. These included a performance by the Rice University Marching Owl Band, and
the a cappella "Hallalouie Chorus", in which the song's title was sung to the melody of Handel's "Hallelujah Chorus".
Other volumes in this Best of series followed.
The song was mentioned in a 1984 cartoon of The Far Side.
The Kingsmen led the audience in a performance of "Louie Louie" at the end of Bud Clark's Inaugural Ball
beginning his term as Mayor of Portland, Oregon in 1985.

1990s
Steve Plunkett of Autograph sang a hard rock version of "Louie Louie" in 1991. In the music video directed by
Dominic Orlando, Louie is portrayed as Louis the XIV. The Kingsmen's version appears in the closing credits of The
Simpsons' episode "Homer Goes to College", which included many references to Animal House.
"Louie Louie" also appeared in a number of films during the decade:
• Iggy Pop again recorded a version of the song, with political and satirical verses instead of obscenities, in his
1993 American Caesar album. This version was used during the opening credits of Michael Moore's Capitalism:
A Love Story and as an ending song in Jim Jarmusch's Coffee and Cigarettes in which Pop took part as himself.
• Young MC 's take on the song was included in the 1990 film Coupe de Ville. The movie includes a lengthy scene
where the three brother characters argue over the lyrics while the Kingsmen's version plays. The movie then
returns to the topic in the final narration and Young MC 's version then plays as the credits roll.
• In Dave (1993), Kevin Kline's Dave Kovacs (impersonating the President of the United States) sings the first few
lyrics of the song at a factory while controlling oversized robotic arms.
• A version of "Louie Louie" performed by Robert Plant is on the soundtrack of the 1993 film, Wayne's World 2
(1993).
• The 1995 film Mr. Holland's Opus features a version of the song, played by a marching band led by Glenn
Holland (Richard Dreyfuss).
• In the Chevy Chase film Man of the House (also 1995), Indian Scout members and their chaperones sing the song;
when some of the younger children claim they don't know the lyrics, George Wendt's character explains that
nobody does and thus it is acceptable to make up lyrics as they go along.
• In the 1996 movie Down Periscope, the crew of The Stingray sing the song to impersonate drunken fishermen.
"Louie Louie" 325

• In the 1998-aired Buffy the Vampire Slayer episode "Band Candy" (3x06), after having eaten cursed chocolate
bars and therefore behaving now like teenagers, a group of drunk adults/seniors sing, on stage at the Bronze, an a
cappella chorus of "Louie, Louie".
• In 1999, The Three Amigos released a house version of the song.

2000s
In August 2003, 754 guitarists played a ten-minute rendition of "Louie Louie" at Cheney Stadium, in Tacoma,
Washington, United States.[27]
The 2002 film, 24 Hour Party People features two performances of "Louie Louie", the first time in a cappella form.
Both performances are led by 'John the Postman'.
Played by Bruce Springsteen & The E Street Band within the song "Glory Days" during the 2009 Working On a
Dream Tour.
Iggy Pop's version is played during the opening credits of Michael Moore's Capitalism: A Love Story.
The Smashing Pumpkins also released a cover of the song in their Live Smashing Pumpkins album series.

Sports
The New York Yankees played the song every time fan favorite Luis Sojo would get a hit or make a good play in the
field.
The song is played when Martin St. Louis scores a goal for the Tampa Bay Lightning when playing at the St. Pete
Times Forum.
The Seattle Mariners play "Louie Louie" at every home game during the bottom of the 7th inning. It was also a
theme songs of sorts for Lou Pinella while he was manager for the team and was played during television
commercials that featured him in this role.

Video games
The video game company Epyx used "Louie Louie" as the theme music to their hit title California Games, although
the notes used in the Atari 2600 version were erroneous and bore little resemblance to the lead guitar part.
This song is playable on the 2004 North American release of Donkey Konga. It has also become one of the 32 song
tracks you can dance to in Just Dance (video game).

Alternate versions and interpolations

Some bands have taken liberties with the lyrics, including attempts to record the supposed "obscene lyrics". It is
believed the first artists to do so were The Stooges, whose version can be heard on their live album Metallic K.O.
Iggy Pop later recorded a more civilized cover version of the song, with new lyrics composed by Pop, for his 1993
album American Caesar. He continues to play it live at shows.
In 1988, rap trio The Fat Boys covered the song for its album Comin' Back Hard Again, with new lyrics by the band
that focused on the history of the song.
The old school rap group Ultramagnetic MC's have a song called "Traveling at the Speed of Thought" (1989) which
contains a sample of the "Louie Louie" riff.
The Dave Matthews Band has been known to interpolate "Louie Louie" during live versions of Warehouse.
"Louie Louie" 326

Further reading
• Marsh, Dave. Louie Louie: The History and Mythology of the World's Most Famous Rock 'n' Roll Song. Hyperion,
1993. ISBN 1-56282-865-7
• Artforum (Dec. 1993): untitled Adam Block review of Louie Louie by Dave Marsh [28]
• The New York Times (September 2, 1993): "Books of The Times: The Real Dirt About a Rock Hit of Ill Repute",
by Margo Jefferson [29] (review of the book Louie Louie by Dave Marsh)
• Peterson, Dick. Louie Louie Me Gotta Go Now. Thalian Press, 2006. ISBN 1-4208-5610-3

External links
• Mikkelson, Barbara & David P. "Are the lyrics to 'Louie Louie' obscene?" [30] at Snopes: Urban Legends
Reference Pages. [with original lyrics]
• Excerpts from the FBI file about the song [31], from The Smoking Gun
• 15 translations of Louie Louie in 13 languages from Afrikaans to Zulu [32]
• [33]
• "A brief history of Louie Louie and Richard Berry" [34], The Louie Louie Pages by "Theo"

The Kingsmen
• Classic Bands entry on The Kingsmen [35]

References
[1] 45 Discography for Flip Records (http:/ / www. globaldogproductions. info/ f/ flip. html), Global Dog Productions, accessed 2009-11-11
[2] The Smoking Gun The Lascivious 'Louie Louie' (http:/ / www. thesmokinggun. com/ louie/ louie. html) Access Date: 2/18/2009
[3] Liner notes, Rhino Records re-release The Best of Louie Louie (1989; Rhino R1 70605)
[4] "Louie History" (http:/ / www. xs4all. nl/ ~tdg/ history. html), The Louie Louie pages, accessed 2009-11-11
[5] Dave Marsh, 1989, The Heart of Rock and Roll, New American Library, p. 14. Marsh ranks the song as number eleven out of the 1001
greatest singles ever made.
[6] Whitburn, Joel (2001). Joel Whitburn Presents Billboard Top 10 Singles Charts. Menomonee, Wisconsin: Record Research, Inc.. pp. 69–72.
ISBN 0-89820-146-2.
[7] Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p. 328.
[8] "Band Banned From Performing 'Louie Louie'" (http:/ / www. foxnews. com/ story/ 0,2933,155628,00. html). Associated Press. 2005-05-05. .
Retrieved 2009-09-16.
[9] Seib, Laura (2005-05-06). "'Louie, Louie' gets go-ahead" (http:/ / pqasb. pqarchiver. com/ southbendtribune/ access/ 840034681.
html?FMT=ABS). South Bend Tribune. . Retrieved 2009-09-16.
[10] Burridge, Alan Illustrated Collector's Guide to Motörhead Published: 1995, Collector's Guide Publishing ISBN 0-9695736-2-6.
[11] LouieLouie.net (http:/ / louielouie. net)
[12] The Incredible History Of The Mothers (http:/ / www. wiki. killuglyradio. com/ index. php/ The_Incredible_History_Of_The_Mothers),
from Zappa Wiki Jawaka. Originally written by Frank Zappa in June 1968.
[13] "45 Discography for Happy Tiger Records" (http:/ / www. globaldogproductions. info/ h/ happy-tiger. html). Global Dog Productions. 2008.
. Retrieved 2009-04-06.
[14] Marsh, p. 124.
[15] The Clash - Bootlegs & Rarities > Louie Is A Punkrocker (http:/ / www. sharoma. com/ clash/ items/ louie_is_a_punkrocker. htm)
[16] Black Flag, The First Four Years, SST Records, 1984.
[17] Spot with Chuck Dukowski, liner notes of Black Flag's Everything Went Black, SST Records, 1982
[18] Black Flag, Everything Went Black, SST Records, 1982
[19] Seattle Weekly (October 27, 1999) Music: "The State I'm In" (http:/ / www. seattleweekly. com/ music/ 9943/ two-reighley. php), by Kurt B.
Reighley
[20] The Bellingham Herald (Feb. 20, 2006): "What Would You Pick as State Vegetable?" (http:/ / www. bellinghamherald. com/ apps/ pbcs. dll/
article?AID=/ 20060220/ COLUMNISTS01/ 602200320/ 1001/ NEWS& theme=DEAN KAHN), by Dean Kahn
[21] Liner notes, The Best Of Louie Louie Volume 2 (http:/ / www. xs4all. nl/ ~tdg/ dg/ Comps/ rhino2. html) (Rhino R1 70515), by Doc Pelzell
[22] The Fat Boys, Coming Back Hard Again, Tin Pan Alley/Polydor, 1988
"The Magnificent Seven" 327

"The Magnificent Seven"

"The Magnificent Seven"

Single by The Clash

from the album Sandinista!

B-side "The Magnificent Dance"

Released 10 April 1981 (U.K.)

Format 7" single

Recorded 1980 at Electric Lady Studios, New York

Genre Funk rock

Post-punk
Rap rock
Reggae rock

Length 5:33

Label CBS

Writer(s) The Clash

Producer The Clash

The Clash singles chronology

"Hitsville "The Magnificent "This Is Radio

UK" Seven" Clash"
(1981) (1981) (1981)

"The Magnificent Seven" is a song and single by the English punk rock band The Clash. It was the third single from
their fourth album Sandinista!. It reached number 34 on the UK singles chart.[1]
The song was inspired by raps by old school hip hop acts from New York City, like the Sugarhill Gang and
Grandmaster Flash & The Furious Five.[2] Rap was still a new and emerging music genre at the time and the band,
especially Mick Jones, was very impressed with it, so much so that Jones took to carrying a boombox around and got
the nickname 'Whack Attack'. The song was recorded in April 1980 at Electric Lady Studios in New York City, built
around a bass loop played by Norman Watt-Roy of the Blockheads. Joe Strummer wrote the words on the spot, a
technique that was also used to create Sandinista!'s other rap track, "Lightning Strikes (Not Once But Twice)". "The
Magnificent Seven" represents the first attempt by a rock band to write and perform original rap music, and one of
the earliest examples of hip hop records with political and social content. It is the first major white rap record,
predating the recording of Blondie's "Rapture" by six months.
"The Magnificent Seven" 328

“
When we came to the U.S., Mick stumbled upon a music shop in Brooklyn that carried the music of Grand Master Flash and the Furious Five,
the Sugar Hill Gang...these groups were radically changing music and they changed everything for us.
”
—Joe Strummer

Though it failed to chart in America, the song was an underground hit and received heavy play on underground and
college radio. Also popular were various dance re-mixes, both official B-side, ("The Magnificent Dance"), and
original DJ remixes (WBLS's in particular, known as "Dirty Harry", after the film of same name), and can be found
on various Clash bootlegs, including Clash on Broadway Disc 4.
The single was reissued in 1981 with "Stop the World" as its B-side and with different sleeve art.

Lyrics
Thematically, "The Magnificent Seven" is somewhat similar to the punkier "Career Opportunities", in that it takes
the drudgery of the working life as its starting point. Unlike "Career Opportunities", however, in stream of
consciousness fashion it also deals with consumerism, popular media, historical figures, and addresses these subjects
with great exuberance and humor. The first verses of "The Magnificent Seven" follow a nameless worker (narrated
in the second person) as he wakes up and goes to work, not for personal advancement but to buy his girlfriend
consumer goods:
Working for a rise to better my station / Take my baby to sophistication / She's seen the ads, she thinks it's nice
/ Better work hard, I seen the price
The nameless worker then goes off for a cheeseburger lunch-break, and the lyrics devolve into a blur of fleeting
images from television, movies and advertising:
Italian mobster shoots a lobster / Seafood restaurant gets out of hand / A car in the fridge or a fridge in the
car? / Like cowboys do in TV land!
Finally, the song takes historical figures, including Karl Marx, Friedrich Engels, Martin Luther King, Mahatma
Gandhi, Richard Nixon and Socrates, and places them in modern America, before asking sarcastically whether "Plato
the Greek" or Rin Tin Tin is more famous to the masses.
An exclaimed "newsflash" near the end of the song, "Vacuum Cleaner Sucks Up Budgie!", was in fact a headline in
the News of the World newspaper at the time of the song's mixing in England, according to Joe Strummer.

The Magnificent Dance

"The Magnificent Dance", released on 12 April 1981 by CBS in 12-inch single format,[1] is the dance remix of "The
Magnificent Seven". The maxi single was released in the UK featuring the extended versions of "The Magnificent
Seven" on side-A, and in the U.S., where it was backed with the extended version of "The Cool Out".[1] It is credited
to "Pepe Unidos", a pseudonym for Strummer, Paul Simonon and manager Bernie Rhodes. "Pepe Unidos" also
produced "The Cool Out", a remix of "The Call Up". This dance version "definitely capitalized on the funky groove
of the original, adding in some very cool drumming."[3]
The song was played by The Max Weinberg 7 on Late Night With Conan O'Brien on its first show since the Writer's
Strike.
"The Magnificent Seven" 329

Charts
Chart Peak Date
position

UK Singles Chart 34

U.S. Billboard Club Play Singles 21 1982

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

References
[1] "The Clash discography" (http:/ / www. theclash. com/ #/ discography/ ). TheClash.com. . Retrieved 2008-11-03.
[2] D’Ambrosio, Antonino D’Ambrosio (06 2003). "Monthly Review June 2003 Antonino D’Ambrosio" (http:/ / www. monthlyreview. org/
0603ambrosio. htm). ‘Let Fury Have the Hour’: The Passionate Politics of Joe Strummer. Montly Review. . Retrieved 2007-11-24. "Strummer
and Jones quickly recognized the power of rap music that was just emerging from New York City’s underground in the late seventies. “When
we came to the U.S., Mick stumbled upon a music shop in Brooklyn that carried the music of Grand Master Flash and the Furious Five, the
Sugar Hill Gang...these groups were radically changing music and they changed everything for us.”
With typical Clash inventiveness, they became one of the first white groups to incorporate rap into their music. As a tribute to the
path-breaking Sugar Hill Gang, the Clash recorded The Magnificent Seven, one of their best-known and most important singles."
[3] "Punknews.org" (http:/ / www. punknews. org/ review/ 973). Punknews.org. . Retrieved 2007-11-27. "Nearing the end of the album now
(finally?), we head to "The Magnificent Dance", which is a remix, of course, of the great song "The Magnificent Seven" (which also shares its
name with a great Western flick). This remix is also credited to Pepe Unidos. They definitely capitalized on the funky groove of the original,
adding in some very cool drumming."
"The Man in Me" 330

"The Man in Me"

"The Man in Me" is a song from Bob Dylan's 1970 album New Morning. It is featured in the soundtrack to the 1998
Coen Brothers film The Big Lebowski. It plays during the stylized opening title sequence and during the
hallucination sequence after the Dude is punched and his rug stolen. More recently it has been performed live by the
film's star, Jeff Bridges, at Lebowski Fest, an audience-participation oriented event commemorating the film. The
Dude hallucination sequence is also featured in The Front Porch, an episode of the television series How I Met Your
Mother in 2009. In 1975 the song was covered by London reggae band Matumbi. The song was also covered by The
Clash during sessions for the album that was to become London Calling. It is available on The Vanilla Tapes. More
recently it was covered by alternative rock group Say Anything; a popular demo version of the cover features Chris
Conley (of Saves the Day) on vocals. It has also been covered by David Bazan, who regularly plays it live, and
Jenoah.

External links
• The Man in Me lyrics [1]

"Police and Thieves"

"Police and Thieves"
Single by Junior Murvin

from the album Police and Thieves

B-side "Grumblin Dub"

Released 1976

Format 7", 45rpm

Genre Reggae

Label Island Records

Writer(s) Junior Murvin, Lee "Scratch"

Perry

Producer Lee "Scratch" Perry

"Police and Thieves"

Song by The Clash from the album The Clash

Released April 8, 1977

Recorded March, 1977

Genre Reggae/Punk

Length 6:04

Label CBS

Writer Junior Murvin, Lee "Scratch"

Perry

Producer Mikey Foote

"Police and Thieves" 331

"Police and Thieves" is a well known reggae song, first recorded in the Jamaican reggae style by the falsetto singer
Junior Murvin in 1976 (Island WIP 6316), and one year later in a punk-reggae version by the The Clash. Murvin's
first commentary was "They have destroyed Jah work!".[1]
The song was written by Murvin and the man who originally produced the song, Lee "Scratch" Perry. The studio
band was jamming and Murvin was playing with words at Perry's Black Ark Studio when suddenly sound, rhythm,
melody and lyrics appeared in a structured form and Perry decided to record the song the same afternoon. The next
day dub-versions and versions with different lyrics were recorded. The song, about gang war and police brutality,
was out on the street in a couple of days and became a big hit in Jamaica. Later on, the song proved to be a bigger
sales and club hit in England than in Murvin's and Perry's native Jamaica.[2]
The English punk rock band Clash's punk/reggae version appeared on their eponymous debut album. The Clash's
version, which is six minutes in length, is an example of a rock band incorporating reggae into their repertoire. [3]
The song had been a rehearsal room favourite of the band. It had not originally been planned for inclusion on The
Clash, but an impromptu version the band started playing during a break in a recording session, spurred the decision
to finalize their own arrangement, record it, and include the finished article on their album.
In the beginning of the song, Joe Strummer reinterprets the line "They're going through a tight wind" as a tribute to
The Ramones, already an established American punk band and an influence on The Clash. The lyric line appears in
the Ramones' "Blitzkrieg Bop".
Murvin's version appeared in the 1998 movie Lock, Stock and Two Smoking Barrels by Guy Ritchie. It was also
covered by the group Dubversive in 1997 as a drum and bass song and as a reggae version the following year.
The Clash version of the song also appears on the soundtrack for the Wes Anderson film, The Royal Tenenbaums,
and in the Reno 911!: Miami movie where it is performed by Dave Grohl, who is listed in the credits under the
pseudonym "Sprechen Sie Deutsch".

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.
"Police and Thieves" 332

References
[1] Wildon, C. (1996) More About the Punk & Reggae. Wellington: Samoa Publishing.
[2] Steve Barrow (1994), "Interview with Max Romeo in June 1994 as a part of the Reggae Archive Object". Lee Scratch Perry Arkology.
Kingston: Island Jamaica for Island Records Ltd.
[3] Don Letts (2000) The Clash: Westway to the World. Music documentary. New York: Sony Music Entertainment; Dorismo; Uptown Films.
"Pressure Drop" 333

"Pressure Drop"
"Pressure Drop"
Single by The Maytals

from the album Monkey Man

B-side "Smoke Screen" (by Beverley All Stars)

Released 1970

Format 7" single

Recorded 1969

Genre Reggae

Label Beverly's, Trojan Records

Writer(s) Toots Hibbert

Producer Leslie Kong

The Maytals singles chronology

"Sweet & Dandy/Oh Yea" "Pressure "54 46 (Was My Number)/The Man"

Drop"

"Pressure Drop" is a song recorded in 1969 by The Maytals for producer Leslie Kong. The song appears on their
1970 album Monkey Man (released in Jamaica by Beverley's Records) and From the Roots (released in the UK by
Trojan Records). "Pressure Drop" helped launch the band's career outside Jamaica when the song was featured in the
soundtrack to the 1973 film The Harder They Come, which introduced reggae to much of the world.[1] In 2004,
Rolling Stone rated the song #446 in its list of the 500 Greatest Songs of All Time.[2]
The song has appeared on the soundtracks to the films 50 First Dates and This Is England and features on the K-Jah
West radio station in the video game Grand Theft Auto: San Andreas.

Cover versions
• The first cover showed up by Robert Palmer on his second solo album, the aptly titled Pressure Drop released in
1975.
• The song was next covered by The Clash. They included the song as the b-side to their 1979 "English Civil War"
single, and can also be found on their compilation albums Black Market Clash, released in 1980, the 1994 Super
Black Market Clash,[3] and the 2006 Singles Box. The Clash's version of "Pressure Drop" is also featured in the
Nissan Rogue commercials and was used as the theme to the now defunct Air America Radio's "Sam Seder
Show."
• Izzy Stradlin covered the song on his solo album Izzy Stradlin & the Ju Ju Hounds.
• The Specials covered the song for their 1996 album Today's Specials This version is also featured in the films
Grosse Pointe Blank and An Extremely Goofy Movie (2000).
• The Oppressed covered the song on their album "Music For Hooligans"
• Joxe Ripiau feat. Fermin Muguruza covered the song in Basque on their album Positive Bomb, released in 1996.
• In 2003 Keith Richards recorded a rendition of "Pressure Drop" with Toots and the Maytals; it was released in
December 2007 as the B-side of Richards' iTunes re-release of "Run Rudolph Run".[4]
• Irish singer-songwriter David Kitt also recorded a cover of this song on his cover album entitled The Black and
Red Notebook.
"Pressure Drop" 334

References
[1] "Pressure Drop: Rolling Stone" (http:/ / www. rollingstone. com/ news/ story/ 6596291/ pressure_drop). .
[2] "The RS 500 Greatest Songs of All Time" (http:/ / www. rollingstone. com/ news/ coverstory/ 500songs/ page/ 5). Rolling Stone. 2004-12-09.
. Retrieved 2007-11-22.
[3] "The Clash - Super Black Market Clash" (http:/ / www. punknews. org/ review/ 973). Punknews.org. .
[4] Zentgraf, Nico. "The Complete Works of the Rolling Stones 1962-2008" (http:/ / www. nzentgraf. de/ books/ tcw/ works1. htm). . Retrieved
2008-03-17.
"Remote Control" 335

"Remote Control"
"Remote Control"

Single by The Clash

from the album The Clash

B-side "London's Burning" (live)

Released 13 May 1977(U.K.)

Format 7" single

Recorded 1977

Genre Punk rock

Length 3:00

Label CBS S CBS 5293

Producer Mickey Foote, The Clash and Bill Price

The Clash singles chronology

"White "Remote "Complete

Riot" Control" Control"
(1977) (1977) (1977)

"Remote Control" is a song by The Clash, featured on their debut album, and is written against oppression and
conformity.
The song was written by Mick Jones after the disastrous Anarchy Tour and contains pointed observations about the
civic hall bureaucrats who had cancelled concerts, the police, big business and especially record companies. The
song mentions a 'meeting in Mayfair' which probably refers to one held by EMI's shareholders on 7 December 1976,
which effectively withdrew all support for the Anarchy Tour. Also alluded to in the song are the 'old-boy' peerage
networks and hapless politicians.
The band virtually disowned the song, following their record label CBS's decision to release the song as a single
without consulting the band. The band had already told Melody Maker magazine that their next single would be
"Janie Jones", and were irate that CBS had undermined them and made a decision to release "Remote Control"
instead without the band's permission. To the band, the song became a symbol of everything they were fighting
against. The incident was referred to in the first lines of a later song, "Complete Control", which is on the 1979 US
release of the album:
- They said, 'Release "Remote Control", but we didn't want it on the label... -
The B-side is a mono live version of "London's Burning".
"Remote Control" 336

Personnel
• Joe Strummer - vocals, rhythm guitar
• Mick Jones - vocals, lead guitar
• Paul Simonon - bass
• Terry Chimes - drums
"Rock the Casbah" 337

"Rock the Casbah"

"Rock the Casbah"

Single by The Clash

from the album Combat Rock

B-side "Long Time Jerk"

Released 11 June 1982 (U.K.)

Format 7" & 12" vinyl, CD

Recorded 1981

Genre Dance punk

Length 3:43

Label CBS
Epic (North America)

Writer(s) [1]
The Clash

Producer The Clash

The Clash singles chronology

"Should I Stay or Should I "Rock the "Straight to

Go" Casbah" Hell"
(1982) (1982) (1982)

The Clash reissued singles chronology

"Should I Stay or Should I Go" "Rock the Casbah" "London Calling" (2nd
(rerelease) (rerelease) rerelease)
(1991) (1991) (1991)

Music sample

The Clash "Rock the Casbah" (1982)

"Rock the Casbah" is a song by the English punk rock band The Clash, released on their 1982 album Combat Rock.
The song, along with the track "Mustapha Dance", would reach number eight on the dance chart.[2] It is the band's
highest charting single worldwide.
"Rock the Casbah" 338

Origins of the song

The song gives a fabulist account of a ban on rock music by the Sharif or King being defied by the population, who
proceed to "rock the casbah". The King orders jet fighters to bomb any people in violation of the ban. The pilots
ignore the orders, and instead play rock music on their cockpit radios.
The song′s lyrics feature various Arabic, Hebrew, Turkish, and Sanskrit loan-words, such as sharif, bedouin, sheikh,
kosher, rāga, muezzin, minaret, and casbah.[3]
According to the album notes on the box set The Clash on Broadway, "Rock the Casbah" originated when the band's
manager Bernie Rhodes, after hearing them record an inordinately long track for the album, asked them facetiously
"does everything have to be as long as this rāga?" (referring to the Indian musical style known for its length and
complexity). Joe Strummer later wrote the opening lines to the song: "The King told the boogie-men 'you have to let
that rāga drop'". The rest of the lyrics soon followed.[4]
The instrumental opening was a tune drummer Topper Headon had written on the piano some time earlier, and had
toyed with during rehearsals before being incorporated into the song. In the 2000 documentary Westway to the
World, Headon said he played drums, bass, and piano on the record for the song. Headon claims that, while he
thought he was merely playing the song for the band, his performances were, unbeknownst to him, recorded. All that
was left to record was the guitar parts and the vocals. However, in The Future Is Unwritten (a documentary on
Strummer) he states that he was in the studio waiting for the rest of the band to come to record, got sick of waiting,
so recorded the parts himself.[5]

Video
The Clash made low-budget music videos for several of their songs, and the one for "Rock the Casbah" may be their
most memorable. Filmed in Austin, Texas, it depicts an Arab, played by Austin actor Titos Menchaca, and a Hasidic
Jew, played by local stage director Dennis Razze, befriend each other on the road and skanking together through the
streets to a Clash concert at Palmer Auditorium, often followed by an armadillo, interspersed with the band
performing in front of an oil well.
The U.S. Air Force became an unwitting participant in the video. Two RF-4C aircraft landing at Bergstrom Air
Force Base (near Austin) from the east are featured in the portion of the video with the lyrics "the King called out his
jetfighters..."

Single
The single version has more pronounced bass. Also when Joe Strummer screams "The crowd caught a whiff / Of that
crazy casbah jive" at the end of the third verse the word "jive" is sustained for several seconds with digital delay. The
single version of the song is what is played in the music video.
"Mustapha Dance", that features in many releases of the single, is an instrumental remix of the song.

Single issues
The single has several issues, all with different cover, format and B-side (see the table below).[6]
"Rock the Casbah" 339

Year B-side Format Label Country Note

1982 "Rock the Casbah" 45 rpm 7" Epic 34-03245 CAN/USA Promo
vinyl
1982 "Mustapha Dance" 45 rpm 12" CBS/Sony Records Inc. JP —
vinyl 07.5P-191
1982 "Mustapha Dance" 45 rpm 7" Epic 49-03144 USA —
vinyl
1982 "Mustapha Dance" 45 rpm 12" Epic 49-03144 CAN —
vinyl
1982 "Mustapha Dance" 45 rpm 7" CBS A112479 UK Picture disc
vinyl
1982 "Red Angel Dragnet" 45 rpm 7" Epic 34-03245 CAN —
vinyl
1982 "Long Time Jerk" 45 rpm 7" Epic 34-03245 USA In blue Epic generic die
vinyl cut sleeve
1982 "Mustapha Dance" 45 rpm 12" CBS A 13-2479 UK —
vinyl
1982 "Long Time Jerk" 45 rpm 7" Epic 15-05540 USA —
vinyl
1991 "Mustapha Dance" 45 rpm 7" Columbia 656814-7 UK Reissue
vinyl
1991 1. "Mustapha Dance" 45 rpm 12" Columbia 656814-6 UK —
2. "The Magnificent vinyl
Dance"
1991 1. "Mustapha Dance" CD Columbia 656814-2 UK —
2. "The Magnificent
Dance"

Political impact
In 2006, the conservative National Review released their list of the top 50 "Conservative Rock Songs", with "Rock
the Casbah" at #20, noting its frequent requests during the Iraq War.[7] Despite, or perhaps because of, its popularity
with soldiers during the Gulf War, "Rock the Casbah" was one of the songs deemed inappropriate by Clear Channel
following the September 11, 2001 attacks.[8]
In one of the campfire scenes late in the 2007 documentary Joe Strummer: The Future Is Unwritten, a Granada
friend states that Strummer wept when he heard that the phrase "Rock the Casbah" was written on an American
bomb that was to be detonated on Iraq during the 1991 Gulf War. The friend notes that he heard Strummer say, while
crying, "Hey, man, I never could think that a song of mine could be written as a death symbol on a fucking American
bomb."
"Rock the Casbah" 340

Cover versions
Other versions of "Rock the Casbah" have been recorded by the Austin, Texas band One Bad Pig, on the 1992 album
Blow the House Down; the Australian band Something for Kate; Solar Twins (band) on the movie soundtrack for the
1999 film Brokedown Palace; the American band Trust Company; the Japanese duo Tica recorded a version in 2000
sampled by the English drum and bass, trip hop group from Bristol, Smith & Mighty;[9] the Asturian studio project
Soncai System, who did an Asturian language version of the song on the album Clashturies (2007).
The Algerian rock singer Rachid Taha covered the song (in Arabic) on his 2004 album Tékitoi. On November 27,
2005 at the Astoria, London, during the Stop the War Coalition Benefit Concert, "...for the night's grandstanding
conclusion, the Clash legend Mick Jones strides on in a skinny black suit and plays probably the most exciting guitar
he has delivered in years. He and the band are brilliant on Taha's definitive take on "Rock the Casbah", for which
the audience goes berserk."[10] They played again the Taha's version of the song, "Rock el Casbah", on February
2006, at the France 4 TV show Taratatà.[11] In 2007 at the Barbican, ".... The band were later joined by special guest
Mick Jones from The Clash who performed on "Rock El Casbah" and then stayed on stage for the remainder of the
show."[12] [13]
Will Smith's song "Will 2K" of the Willennium album samples "Rock the Casbah" both instrumentally and in some
of the lyrics. "It's Gonna Be Alright" by house act Pussy 2000 also samples the song. Richard Cheese recorded a
lounge cover of the song on his 2004 album I'd Like a Virgin. U2 have also played a snippet of the song on their
2005–2006 Vertigo tour. After hearing the crowd singing the song as it was played over the loudspeaker before the
start of the concert, Bono, the lead singer of U2 started singing "Rock the Casbah" in the middle of one of their songs
during a concert in Melbourne. It has also made appearances on their 360o Tour. It has been played in Sunday
Bloody Sunday, which shows clips from Iranian protests. Green Day covered the song near the end of their AOL
Sessions, and also have performed it live.
Howlin' Pelle Almqvist of The Hives covered the song with some members of another Swedish Band, Randy for a
Joe Strummer Tribute concert at The Debaser in Stockholm.
The Hungarian singer Varga Zsuzsa covered this song on her album called "Szívadóvevő". It's mostly an energetic,
electronic version.[14]
Cover version was also recorded by Ranking Roger and Pato Banton in 1999 for the Clash tribute album Burning
London: The Clash Tribute.
In the Tenacious D song, Beelzeboss: The Final Showdown, one of the lines is "we rock the casbah". This is
probably a reference to this song.

Charts
Chart (1982/3) Peak
Position

Canadian Singles Chart 26

[15] 30
U.K. Singles Chart

U.S. Billboard Hot 100 8

U.S. Billboard Mainstream Rock 6

Tracks
"Rock the Casbah" 341

Chart (1991, Re-release) Peak

Position

[16] 10
Irish Singles Chart

[15] 15
U.K. Singles Chart

Personnel
• Joe Strummer: Lead vocals.
• Mick Jones: Guitar and backing vocals.
• Topper Headon: Drums, piano and bass.

External links
• Lyrics and chords [17] (Chords are incorrect—change A7 to Am7.)
• "A Brief History of 'Rock the Casbah' [18] City Pages (December 15, 1999)

References
[1] Topper Headon is said to have written the main piano riff, but he as well as the rest of the band are credited
[2] Whitburn, Joel (2004). Hot Dance/Disco: 1974-2003. Record Research. p. 59.
[3] "Rock the Casbah" (http:/ / www. londonsburning. org/ lyr_combat_rock. html#RocktheCas). Combat Rock Lyrics. londonsburning.org. .
Retrieved 2008-01-20.
[4] The Clash. (1991-11-19). Clash on Broadway. [CD]. New York, NY: Epic. OCLC 25248082.
[5] Letts Don; Rick Elgood, Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. ISBN 0738900826. OCLC 49798077.
[6] "Rock the Casbah / Mustapha Dance by The Clash : Reviews and Ratings - Rate Your Music" (http:/ / rateyourmusic. com/ release/ single/
the_clash/ rock_the_casbah___mustapha_dance/ ). rateyourmusic.com. . Retrieved 2007-12-27.
[7] Miller, John J. (2006-05-26). "John J. Miller on Music on National Review Online" (http:/ / article. nationalreview. com/
?q=NzZkNDU5MmViNzVjNzkzMDE3NzNlN2MyZjRjYTk4YjE). Rockin' the Right – The 50 greatest conservative rock songs.. National
Review Online. . Retrieved 2008-01-20. "20. “Rock the Casbah,” by The Clash.
After 9/11, American radio stations were urged not to play this 1982 song, one of the biggest hits by a seminal punk band, because it was seen
as too provocative. Meanwhile, British Forces Broadcasting Service (the radio station for British troops serving in Iraq) has said that this is
one of its most requested tunes."
[8] "Songs with Questionable Lyrics" (http:/ / www. hitsdailydouble. com/ news/ songs. html). hitsdailydouble.com. . Retrieved 2008-01-20.
"The Clash "Rock the Casbah""
[9] "Tica – Rock the Casbah (Smith & Mighty Steppers mix) – Music at Last.fm" (http:/ / www. last. fm/ music/ Tica/ _/ Rock+ the+ Casbah+
%28Smith+ %26+ Mighty+ Steppers+ mix%29). Last.fm. . Retrieved 2007-12-27.
[10] Cumming, Tim (2005-11-29). "A riotous night for peace" (http:/ / www. stopwar. org. uk/ new/ gig. review. htm). Review: A riotous night
for peace. The Independent, and Stop the War Coalition. . Retrieved 2007-09-06.
[11] Videos: Rachid Taha & Mick Jones - Rock El Casbah (http:/ / www. youtube. com/ watch?v=U76JhPVIoIs) and Rock El Casbah - Rachid
Taha & Mick Jones - Taratata (http:/ / www. youtube. com/ watch?v=wRM0_Dj9fCI))
[12] "BBC - Africa On Your Street - Features - Rachid Taha" (http:/ / www. bbc. co. uk/ africabeyond/ africaonyourstreet/ features/ 18685.
shtml) (SHTML). AFRICA ON YOUR STREET Celebrating African Music in the UK. bbc.co.uk. . Retrieved 2007-09-06. "The band were later
joined by special guest Mick Jones from The Clash who performed on 'Rock El Casbah' and then stayed on stage for the remainder of the
show."
[13] Video: Rock The Casbah,Rachid Taha,Barbican,2007,mick jones,guest (http:/ / www. youtube. com/ watch?v=pl5qMj1onv0)
[14] Video: Varga Zsuzsa - Rock the Casbah live at Zöld Pardon 2007.05.11. (http:/ / youtube. com/ watch?v=fEL12uZY_tA)
[15] "Chart Stats - The Clash" (http:/ / www. chartstats. com/ artistinfo. php?id=2777). chartstats.com. . Retrieved 2008-11-18.
[16] "The Irish Charts" (http:/ / www. irishcharts. ie). IRMA. . Retrieved 2008-10-02.
"Should I Stay or Should I Go" 342

"Should I Stay or Should I Go"

"Should I Stay or Should I Go"

Single by The Clash

from the album Combat Rock

B-side "Inoculated City"

Released 10 June 1982

Format 7" single, cassette tape

Genre Punk rock

Length 3:06

Label Epic 14-03006

Writer(s) Mick Jones

Producer The Clash

The Clash singles chronology

"Know Your "Should I Stay or Should I "Rock the

Rights" Go" Casbah"
(1982) (1982) (1982)

The Clash reissued singles chronology

"Return to "Should I Stay or Should I Go" "Rock the Casbah"

Brixton" (rerelease) (rerelease)
(1991) (1991) (1991)

"Should I Stay or Should I Go" is a song by the English punk rock band The Clash, from their album Combat Rock.
It was written in 1981 and featured Mick Jones on lead vocals. It became the band's only number-one single, a
decade after it was originally released. In November 2004, it was ranked at 228 on Rolling Stone's 500 Greatest
Songs of All Time.[1] In 2009 it was ranked 42nd on VH1's program 100 Greatest Hard Rock Songs.[2]
The tune leans towards more of a retro punk rock sound than most of the other tracks on the album. Though many
legends have arisen about what the song is about (one of which is Jones' impending dismissal from the Clash in
1983), it is actually about a rocky personal relationship between Jones and singer Ellen Foley that would soon
implode. The lyrics seem to reflect ups and downs concerning the relationship and the dilemma of sticking with or
ending it.[3]
"Should I Stay or Should I Go" 343

The Spanish backing vocals are courtesy of Joe Strummer:[4] [5]

“
On the spur of the moment I said 'I'm going to do the backing vocals in Spanish,'...We needed a translator so Eddie Garcia, the tape operator,
called his mother in Brooklyn Heights and read her the lyrics over the phone and she translated them. But Eddie and his mum are Ecuadorian,
so it's Ecuadorian Spanish that me and Joe Ely are singing on the backing vocals. ”
—Joe Strummer, 1991

Releases
The single was reissued several times. In 1982, with a different cover as a double A-side with "Straight to Hell" and
with "Cool Confusion" as its B-side. In 1983, with "First Night Back in London" on the side two, and in 1991, with
"Rush" by Mick Jones' group Big Audio Dynamite II as its B-side (see the table below).[6]

Year B-side Format Label Country Note

1982 CBS logo etched into vinyl 45 rpm 7" Epic ENR-03571 USA One Sided Single - Epic's Get the Hit -
vinyl Special Low Price.

1982 "Cool Confusion" 45 rpm 12" Epic 07 5P-223 JP —

vinyl

1982 "Straight to Hell" (Edit) 45 rpm 12" CBS CBS A13 UK —

vinyl 2646

1982 "Straight to Hell" (Edit) 45 rpm 7" CBS CBS AII UK Picture disc.
vinyl 2646

1982 "Inoculated City" 45 rpm 7" Epic 14-03006 USA 10 June 1982.
vinyl

1982 "First Night Back in London" 45 rpm 7" Epic 34-03061 USA Released on 20 July 1982
vinyl

1982 "Straight to Hell" 45 rpm 7" CBS CBS A UK Released on 17 September 1982.
vinyl 2646

1983 "Cool Confusion" 45 rpm 7" Epic 34-03547 USA Released on 27 January 1983.
vinyl

1991 1. "Rush (Dance Mix)" (Big 45 rpm 12" CBS / Sony UK A-side
Audio Dynamite II) vinyl 1. "Should I Stay or Should I Go" (The
2. "Protex Blue" (The Clash) Clash)
2. "Rush" (Big Audio Dynamite II)

In March 1991, the band allowed the song to be used in a commercial for Levi Strauss & Co. The single was
re-released on the back of the commercial and made it to number one in the UK singles chart.
"Should I Stay or Should I Go" 344

Cover versions and parodies

"Should I Stay or Should I Go" has been covered by many artists including Skin, Ice Cube and Mack 10, Living
Colour, Weezer, Guitar Wolf, Die Toten Hosen, The Ukulele Orchestra of Great Britain, and Kylie Minogue. A
version by former Prime Minister of the United Kingdom, Tony Blair was created by digital editing of his speeches
to make it appear he was performing the song.
Post punk band The Libertines performed a live version of the song, with Mick Jones featured on guitar. Jones, also
sampled the track for his Big Audio Dynamite II song "The Globe". American punk band MxPx frequently covers
the song during live sets, and it appears on their album On the Cover II. ZZ Top also covered it in the early 1980s.
On 22 December 2007, Love and Rockets played "Should I Stay or Should I Go" at the Strummerville benefit show
at the Key Club in Los Angeles. Tom Petty and the Heartbreakers also included it in their sets in the past.
Cover band Camp Freddy have performed an acoustic version of the song. Cover band Daddy Cool Band (Croatia)
include it in their live sets featuring female lead vocal. The rock band Šank Rock from Slovenia made a cover of the
song in Slovene with the title "Al' Naj Ostanem Al' Naj Grem" which is simply the translation of "Should I Stay or
Should I Go".
Los Fabulosos Cadillacs from Argentina included a Spanish-language version of the song in their newest album La
Luz del Ritmo released on 31 October 2008.
Punk band Anti-Flag performed the song, along with other Clash songs as part of a U.S. festival. It has appeared in
setlists multiple times since then.
In 2001, Paul Shanklin recorded a version called "Will I Stay or Will I Go?" In it, Shanklin imitates John McCain
debating whether or not to leave the Republican Party.[7]
Christian parody band Apologetix[8] recorded "Should I Pray or Should I Go?" on their Adam Up album (2003).
"Weird Al" Yankovic performs this in his "Polkas on 45" medley on his album "Weird Al" Yankovic in 3-D.

Commercial uses
As sign of popularity, the song was used in many television commercials, including for Levi Strauss & Co. (1991),
for Zoey 101 while saying, "Should she stay, or should she go?", for Pontiac (2004/05), for Benylin (Canada,
2008/09) and for mobile phone network Claro (Brazil, 2009).

Notable appearances
"Should I Stay or Should I Go" has been used in several TV programs, such as BBC One's Ashes to Ashes (in its
second series), Blackpool (episode five), and Bravo Two Zero (miniseries). Both CTV teen drama series Instant Star
and Degrassi: The Next Generation had episodes named after the song. It was used and inspired a segment on the
Frosty, Heidi and Frank radio show.
A live version of the song was used for the opening sequence of the film 28 Days in 2000. In 2003, Jones had a
cameo appearance in the film Code 46, singing "Should I Stay or Should I Go" in a karaoke club. It was sung by
Angelica Pickles' character in the children's film Rugrats Go Wild, also released in 2003. It is also featured as a
playable track in the video game Rock Band.[9]
The song's opening riff was used by Brazilian comedy rock band Mamonas Assassinas on their song "Chopis
Centis". It is also referenced in the lyrics of Kelly Clarkson's hit "Walk Away", in the lines "Should you stay or
should you go?".
A part of the song is played in the film "Iron Man 2".
"Should I Stay or Should I Go" 345

Charts

Chart (1982/3) Peak Chart (1991, Re-release) Peak

Position Position

Canadian Singles Chart 40 [12] 5

Austrian Singles Chart
[10] 16
Irish Singles Chart [12] 3
Dutch Mega Top 100
[11] 17
UK Singles Chart [13] 25
French SNEP Singles Chart
U.S. Billboard Hot 100 45 [14] 5
German Media Control Singles Chart
U.S. Billboard Hot 100 1
50 [15] 2
Irish Singles Chart
U.S. Billboard Mainstream Rock 13
[12] 3
Tracks Norwegian Singles Chart

[12] 6
Notes: Swedish Singles Chart
1 [12]
• - 27 January 1983 re-release 4
Swiss Singles Chart

[16] 1
UK Singles Chart

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.

References
[1] "The RS 500 Greatest Songs of All Time" (http:/ / www. rollingstone. com/ news/ coverstory/ 500songs/ page/ 3). Rolling Stone. 2004-12-09.
. Retrieved 2007-11-22.
[2] "spreadit.org music" (http:/ / music. spreadit. org/ vh1-top-100-hard-rock-songs/ ). . Retrieved 7 February 2009.
[3] "The Uncut Crap - Over 56 Things You Never Knew About The Clash". NME (London: IPC Magazines) 3. 16 March 1991. ISSN 0028-6362.
OCLC 4213418. ""Should I Stay Or Should I Go" was written by Mick about American singer Ellen Foley, who sang the backing vocals on
Meatloaf's Bat Out Of Hell LP.".
Related news articles:
• Peterson, Tami. "The Uncut Crap - Over 56 Things You Never Knew About The Clash - NME 16 March 1991" (http:/ / londonsburning.
org/ art_nme_03_16_91. html). londonsburning.org. . Retrieved 2007-12-11.
[4] "Should I Stay or Should I Go? by The Clash" (http:/ / www. songfacts. com/ detail. php?id=1550). Songfacts. . Retrieved 2007-11-23. "Mick
Jones sings the words in English, and Joe Strummer echoes with Spanish lyrics. Strummer decided to sing the backing vocals in Spanish on
the spur of the moment along with Texan country rocker Joe Ely. However he needed someone to do the translation so Eddie Garcia, the
sound engineer, called his mother in Brooklyn Heights and got her to translate them over the phone. Eddie's mother is Ecuadorian, so Joe
Strummer and Joe Ely ended up singing in Ecuadorian Spanish. (thanks, Edward Pearce - Ashford, Kent, England and Rainyhouse - Spanish
"Should I Stay or Should I Go" 346

Fork , UT)"
[5] Moser, Margaret (2000-05-22). "Music: Lubbock Calling (Austin Chronicle. 05-22-00)" (http:/ / weeklywire. com/ ww/ 05-22-00/
austin_music_feature2. html). The Austin Chronicle. Weekly Wire. . Retrieved 2007-11-22. ""I ran into them accidentally in New York when
they were cutting 'Should I Stay or Should I Go' and Strummer said, 'Hey, help me with my Spanish.' So me and Strummer and the Puerto
Rican engineer sat down and translated the lyrics into the weirdest Spanish ever. Then we sang it all. "When you listen to 'Should I Stay or
Should I Go,' there's a place in the song where Mick says, 'Split.' Me and Strummer had been yelling out the Spanish background lyrics and we
had snuck up behind him as he was recording. We were behind a curtain, jumped out at him in the middle of singing, and scared the shit out of
him. He looks over and gives us the dirtiest look and says, 'Split!' They kept that in the final version."
[6] "Albums by The Clash - Rate Your Music" (http:/ / rateyourmusic. com/ artist/ the_clash#Single). rateyourmusic.com. . Retrieved
2007-12-31.
[7] (http:/ / mfile. akamai. com/ 5020/ wma/ rushlimb. download. akamai. com/ 5020/ shanklin_archives/ Will_I_Stay_Or_Will_I_Go. asx)
[8] (http:/ / www. apologetix. com)
[9] Boyes, Emma; GameSpot UK (2007-08-22). "GC '07: Rock Band coming to PlayStation 2 - Xbox 360 News at GameSpot" (http:/ / uk.
gamespot. com/ news/ 6177102. html?om_act=convert& om_clk=morenews& tag=morenews;title;2). GameSpot UK. . Retrieved 2008-01-03.
"The Clash -- "Should I Stay or Should I Go""
[10] "The Irish Charts" (http:/ / www. irishcharts. ie). IRMA. . Retrieved 2008-10-02.
[11] "Chart Stats - The Clash" (http:/ / www. chartstats. com/ artistinfo. php?id=2777). chartstats.com. . Retrieved 2008-11-18.
[12] "Various singles charts" (http:/ / lescharts. com/ showitem. asp?key=2243& cat=s). lescharts.com. . Retrieved 2009-01-15.
[13] "Charts Surfer - UK, German and French charts" (http:/ / www. charts-surfer. de). charts-surfer.de. . Retrieved 2008-09-03.
[14] "Charts Surfer - UK, German and French charts" (http:/ / www. charts-surfer. de). charts-surfer.de. . Retrieved 2008-09-03.
[15] "The Irish Charts" (http:/ / www. irishcharts. ie). IRMA. . Retrieved 2008-10-02.
[16] "Chart Stats - The Clash" (http:/ / www. chartstats. com/ artistinfo. php?id=2777). chartstats.com. . Retrieved 2008-11-18.
"Spanish Bombs" 347

"Spanish Bombs"
"Spanish Bombs"
Song by The Clash from the album London Calling

Released 14 December 1979

Recorded August-September 1979, November 1979 at Wessex

Studios

Genre Punk rock

Length 3:18

Label CBS

Writer Joe Strummer, Mick Jones

Producer Guy Stevens

"Spanish Bombs" is a song by The Clash, with principal vocals by Joe Strummer and additional vocals by Mick
Jones, and featured on their 1979 double album London Calling. The song is about the Spanish Civil War and was
written after travelling home from Wessex Studios when Joe Strummer was talking with Gaby Salter about ETA, an
armed Basque nationalist separatist organisation founded in 1959 in Spain.[1] [2] [3]
The song appears on the Clash compilation albums The Story of the Clash, Volume 1 (1988) and Clash on Broadway
(1991).
It was covered by Tijuana No! on their Album "Contra-Revolucion Avenue" in 1998.

References to the Spanish Civil War

"Spanish Bombs" praises the heroism of Republicans – who ranged from centrists to revolutionary anarchists and
communists – in the Spanish Civil War, a major conflict that devastated Spain from July 17, 1936 to April 1, 1939
and ended in the victory for the Nationalists, who under the leadership of Francisco Franco ruled Spain with for the
next 36 years.[2] [4] Many locations and people associated with the Spanish Civil War are mentioned in the song
lyrics. Andalucia was one of the first regions of Spain to be overtaken by the Fascists in 1936. The Costa Brava in
the Republican stronghold of Catalonia contained ports important to the Republican effort. Federico García Lorca,
(referred to in the song as Federico Lorca), was a poet from Andalucia who was killed during the war. The Guardia
Civil (or "Civil Guard") is a military police force under the control of both the Ministry of Interior and the Ministry
of Defence of Spain. The line "They sang The Red Flag, they wore the black one" contains references to both the red
flag as a symbol of socialism and the socialist anthem The Red Flag, as well as the black flag of the anarchists. The
Confederación Nacional del Trabajo (CNT), the Anarcho-syndicalist labour union, also flew the red and black flag
of anarchist-communism.
"Spanish Bombs" 348

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

References
[1] "London Calling" (http:/ / www. theclash. org. uk/ London. htm). theclash.org.uk. . Retrieved 2008-01-11. "'Spanish Bombs' was written as a
result of travelling home from Wessex Studios late one evening, Strummer and Gaby Salter were talking about the Basque separatists in Spain
who were engaged in a bombing campaign against various holiday resorts on the Costa Del Sol."
[2] Dimery, Robert (1999). Collins Gem Classic Albums. Glasgow: Harper Collins Publishers. ISBN 0004724852. OCLC 43582584. "..."Spanish
Bombs" praises the heroism of republicans in the Spanish Civil War."
Related news articles:
• "The Clash - London Calling" (http:/ / www. superseventies. com/ spclash. html). Super Seventies. . Retrieved 2008-01-06.
[3] "The Clash" (http:/ / www. aversion. com/ bands/ histories. cfm?directory=clash). Artist History. Aversion.com. . Retrieved 2007-11-20.
""Spanish Bomb’s" classical guitar"
[4] "Franco and the Spanish Civil War" (http:/ / teacherweb. ftl. pinecrest. edu/ snyderd/ MWH/ Webquests/ 9-Dep& Tot/ 9-FrancoSpain. htm).
New Forum. 2002. . Retrieved 2008-01-06. "The punk band The Clash recorded "Spanish Bombs" in 1979, a song commemorating the
Spanish Civil War."
"Straight to Hell" 349

"Straight to Hell"
"Straight to Hell"

Single by The Clash

from the album Combat Rock

B-side "Should I Stay or Should I Go"

Released 17 September 1982

Format 7" & 12" single, cassette tape

Genre Punk rock

Length 5:30
6:56 (Unedited Version)
3:57 (Edited Version)

Label CBS CBS A 13-2646

Writer(s) Joe Strummer and Mick Jones

Producer The Clash

The Clash singles chronology

"Rock the "Straight to Hell" / "Should I Stay or Should I "This Is

Casbah" Go" England"
(1982) (1982) (1985)

"Straight to Hell" is a song by The Clash, from their album Combat Rock. It was released as a double 'A' side single
with "Should I Stay or Should I Go" on 17 September 1982 in 12" and 7" vinyl format (the 7" vinyl is also available
in picture disc) format. A slow, mournful ballad, it is one of the most popular songs in the Clash canon due to its
contrast to a lot of their catalogue. It is also considered by the band members as being the best song they recorded.
Like those of many songs by the Clash, the lyrics of "Straight to Hell" decry injustice. The first verse refers to the
shutting down of steel mills in Northern England and the alienation and racism suffered by immigrants despite their
attempts to integrate into British society. The second verse concerns the abandonment of children in Vietnam who
were fathered by American soldiers during the Vietnam War. The third verse contrasts the American Dream as seen
through the eyes of an Amerasian child with a dystopian vision of American reality. The final verse considers the
plight of immigrants throughout the world.
The reference to "Amerasian Blues" describes the abandonment of children fathered by American soldiers stationed
in Vietnam during the Vietnam War: an Amerasian child is portrayed as presenting an absent American father,
"papa-san," with a photograph of his parents, pleading with his father to take him home to America. The child's plea
is rejected. "-san" being a Japanese rather than Vietnamese honorific that was used by US troops in Vietnam who
"Straight to Hell" 350

referred to Vietnamese men and women especially older men and women and "mama-san" and "papa-san".
When Strummer sings of a "Volatile Molotov" thrown at Puerto Rican immigrants in Alphabet City as a message to
encourage them to leave, he is referring to the arson that claimed buildings occupied by immigrant communities –
notably Puerto Rican – before the neighborhood was subject to gentrification. Hence, the ironic reference to
"dead-head," the removal of dead flowers to encourage further blooming, at the end of the verse.
The last line of the song, "King Solomon never lived 'round here," condenses at least three attributes associated with
the biblical figure of King Solomon: his love of dance (thus referring back to the singing and dancing of immigrants
throughout the song), his purported wisdom and justice, and finally the promise of a return from exile to a land or, as
Strummer would suggest, a world of peace and prosperity. It can also be seen as an allusion to the splitting of the
contested child.
The song, whose full version lasted 7 minutes (which can be found on the Clash on Broadway box set or Rat Patrol
from Fort Bragg (bootleg) – the double album that Combat Rock was going to be), had a lingering violin background
that distinguished it from most other Clash songs. The band intended for the full version to be on Combat Rock , but
the record company declined.

Uses In Media
This song was featured in the 2000 comedy film, Kevin & Perry Go Large.

Covers and samples

"Straight to Hell" was covered by Heather Nova and Moby for the Clash tribute album Burning London.
The beginning guitar riff and drum build up was sampled and looped continuously for the song Paper Planes", by
M.I.A..
Philadelphia punk rock band The Menzingers covered the song on their album "A Lesson in the Abuse of
Information Technology"
Also, Jakob Dylan and Elvis Costello performed a cover of the song on Costello's show Spectacle: Elvis Costello
With.... Dylan and Costello talked about Joe Strummer on the show.
The song has been refashioned by Mick Jones, featuring Lily Allen, for the War Child: Heroes album, released in
the UK on 16 February 2009, and in the U.S. on 24 February 2009 by Astralwerks. Allen's godfather was Joe
Strummer.[1]
Several folk artists have covered the song, including Josh Rouse, Emm Gryner, and Will Kimbrough.[2]
The argentinian band 2 Minutos covered it in their 2010 album "Vamos a la granja/Directo al infierno"

See also
• Bui doi

References
[1] punknews.org - Lilly Allen: "Straight to Hell (The Clash)" (http:/ / www. punknews. org/ article/ 32011)
[2] Cover Lay Down - Covers of The Clash classic "Straight to Hell" (http:/ / coverlaydown. com/ 2008/ 07/
covers-of-the-clash-classic-straight-to-hell/ )
"This Is England" 351

"This Is England"
"This Is England"

Single by The Clash

from the album Cut the Crap

B-side "Do It Now"

Released September 1985

Format 7" vinyl

Recorded 1985

Genre punk rock

Length 3:51

Label CBS A 6122

Writer(s) Joe Strummer and Bernie

Rhodes

Producer 'Jose Unidos'

The Clash singles chronology

"Straight to "This Is "London Calling"

Hell" England" (rerelease)
(1982) (1985) (1988)

"This Is England" is a song by British punk rock band The Clash, released as the only single from their sixth studio
album Cut the Crap in September 1985. It was the final release while the group were still together, in their final
incarnation of Joe Strummer, Paul Simonon, Nick Sheppard, Pete Howard and Vince White.

Lyrics and meaning

Written in late 1983, the song is about the state of England at the time, a more focused variant of "Straight to Hell",
mixed with choruses calling for national identity.
The song makes up an accurate list of the problems in England circa 1984, addressing inner-city violence
(particularly with knives), urban alienation, life on council estates, high unemployment rate, England's dying
motorcycle industry, a South Atlantic winter that had recently killed hundreds of young English people, racism and
police corruption as well as two very common subject matters for mid-1980s left-wing songwriters: the Falklands
War and the consumerist, subservient mind-set of many of English people at the time.
"This Is England" 352

Keith Topping's book The Complete Clash calls the squeaky voice at the song's start a child's voice, it is in fact not a
child's voice but that of a market trader shouting "four for a pound your face flannels, three for a pound your tea
towels".

Composer changes
When released as a single "This Is England" was credited to "The Clash" (technically "Strummer & Co."), but when
Cut the Crap was released the credit was changed to Strummer and the band's manager Bernie Rhodes, along with
all the other tracks on the album; so far no explanation has been given to why this change happened. All subsequent
re-releases and Topping's book credit the song to "Strummer/Rhodes".

Reception and release

Unlike that album, which continues to receive criticism and in some cases ridicule, "This Is England" is often
praised. Strummer described it as his "last great Clash song". The song was number 30 in a poll conducted by Uncut
magazine, in their December 2003 issue, of the top 30 Clash songs (chosen by an all-star panel). However, the
single's contemporary reviews were much more negative and in-keeping with the general reaction to Cut the Crap,
such as Gavin Martin's review in NME. He claimed that "Strummer's rant bears all the signs of aged rocker well into
advance senility".
In the same year of its original release, the single was re-released in a 12" vinyl format with a different cover and an
additional track in the side two, titled "Sex Mad Roar".
Initially, attempts were made by the Clash and others to ignore the final incarnation of the band. As such, "This Is
England" is not included on The Singles, the band's discography ends with "Should I Stay or Should I Go" / "Straight
to Hell" in Clash on Broadway and Don Letts' 2000 documentary about the band, Westway to the World, totally
ignores the whole period, giving the impression that the Clash broke up when Mick Jones left the group. This
changed, however, with the release of The Essential Clash in 2003, which included "This Is England" as its final
track, making it the first compilation to acknowledge a song from the period. It's possible that Strummer's death
during the compiling of the album could have affected this decision, though this has never been officially stated by
anyone involved.
In 2006, the single was fully re-released on CD as disc 19 in Singles Box, accompanied by a faithful re-creation of
the single's original artwork and the extra track "Sex Mad Roar" from the original 12" pressing. The single also
appears on the 2007 collection The Singles.
Another version of the song simply called "alt. mix" or "dub mix" exists and can be found on the bootleg albums
Clash On Broadway Disc 4 and If Music Could Talk, respectively. This version does not feature the sound samples
added in by Bernie Rhodes, and has a much more stripped down feel.

Charts
"This Is England" 353

Chart Peak Date

position

UK Singles Chart [1] October

24
1985

Irish Singles Chart 13 October

1985

References
[1] "everyHit.com database" (http:/ / www. everyhit. com/ searchsec. php). everyHit.com. 2009-12-04. . Retrieved 2010-2-24.
"This Is Radio Clash" 354

"This Is Radio Clash"

"This Is Radio Clash"

Single by The Clash

B-side "Radio Clash"

Released 20 November 1981 (U.K.)

Format 7" & 12" single, cassette tape

Recorded 1981

Genre Dance-punk, Old school hip hop

Length 4:10

Label CBS 1797

Writer(s) The Clash

Producer The Clash

The Clash singles chronology

"The Magnificent "This Is Radio Clash" / "Radio "Know Your

Seven" 5" Rights"
(1981) (1981) (1982)

"This Is Radio Clash" is a single released by the English punk rock band The Clash in 1981. While it wasn't
released on any of their studio albums, it was included in the track listing of their compilations: The Singles, The
Story of the Clash, Volume 1, Singles Box, The Singles (2007) and Clash on Broadway.
"This Is Radio Clash", like their previous single "The Magnificent Seven", is a dub reggae, rap, punk-funk song that
was influenced by old school hip hop acts from New York City, like the Sugarhill Gang and Grandmaster Flash &
The Furious Five.[1]
American critic Eric Schafer cites "This is Radio Clash"/"Radio Clash" as the first ever British hip hop song and
notes, "It is a magnificent, daring, challenging record that was years ahead of its time; one of the great rock records
of the 1980s, it has never been given its just credit. Twenty-eight years after its debut, were it released today it would
still burn up the radio."
The first public performance of the song was on Tom Snyder's Tomorrow show in 1981.
The B-side of the "This Is Radio Clash" single is titled simply "Radio Clash." It is the same recording as the A-side,
but with a different remix and changes to the lyrics. "This Is Radio Clash" begins with the lyric "This is Radio Clash
on pirate satellite, Orbiting your living room, cashing in the bill of rights" and "Radio Clash" begins with "This is
Radio Clash resuming of transmission, beaming from the mountain tops using aural ammunition." The Clash stated
at the time that they intended the songs to be heard as a single entity. However, the two tracks are really variations
"This Is Radio Clash" 355

on the same 4 minute recording and have exactly the same length. It is incorrect to assume that the two tracks are
edits of a longer 8 minute recording.
The similarities of the A and B side recordings has led to quite a bit of confusion not only by fans but by record
companies as well. On the remastered version of the Super Black Market Clash CD, which assembles Clash B-sides,
remixes and rarities, the B-side "Radio Clash" is included, but incorrectly listed as "This Is Radio Clash." The same
error was repeated on the 2003 collection The Essential Clash. Finally in 2006 Singles Box was released which
collates the 12 inch's tracks in the same order, allowing the two tracks to be heard side by side once again for the first
time since the original 1981 single release.

Track listing (12" single)

Released in Canada with a cover sticker (12EXP 02622).
Side one
1. "This Is Radio Clash" — 4:10 / "Radio Clash" — 4:10
Side two
1. "Outside Broadcast" — 7:23 / "Radio Five" — 3:38

Charts
Chart Peak Date
position

UK Singles Chart 47 1981

U.S. Billboard Club Play Singles 17 1982

U.S. Mainstream Rock 45 1982

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.
"This Is Radio Clash" 356

References
[1] D’Ambrosio, Antonino D’Ambrosio (06 2003). "Monthly Review June 2003 Antonino D’Ambrosio" (http:/ / www. monthlyreview. org/
0603ambrosio. htm). ‘Let Fury Have the Hour’: The Passionate Politics of Joe Strummer. Montly Review. . Retrieved 2007-11-24. "Strummer
and Jones quickly recognized the power of rap music that was just emerging from New York City’s underground in the late seventies. “When
we came to the U.S., Mick stumbled upon a music shop in Brooklyn that carried the music of Grand Master Flash and the Furious Five, the
Sugar Hill Gang...these groups were radically changing music and they changed everything for us.”"
"Tommy Gun" 357

"Tommy Gun"
"Tommy Gun"

Single by The Clash

from the album Give 'Em Enough Rope

B-side "1-2 Crush on You"

Released 24 November 1978

Format 7" vinyl

Recorded 1978

Genre Punk rock

Length 3:17

Label CBS S CBS 6788

Writer(s) Joe Strummer and Mick Jones

Producer Sandy Pearlman

The Clash singles chronology

"(White Man) In Hammersmith "Tommy "English Civil

Palais" Gun" War"
(1978) (1978) (1979)

"Tommy Gun" was London punk rock band The Clash's seventh single, and the first single taken from their second
album Give 'Em Enough Rope'
Joe Strummer said that he got the idea for the song when he was thinking about terrorists, and how they probably
enjoy reading about their killings as much as movie stars like seeing their films reviewed.[1] While Topper Headon
mimics the sound of gangster movie shootings with quick snare hits and the guitars are full of distortion and
feedback, Strummer's sarcastic lyrics (I'm cutting out your picture from page one/I'm gonna get a jacket just like
yours/And give my false support to your cause/Whatever you want, you're gonna get it!) condemn rather than
condone violence: at the end of the song he sings, If death comes so cheap/Then the same goes for life!
In the liner notes of the Singles Box, Carl Barat (former frontman of Dirty Pretty Things and The Libertines), says
that "Tommy Gun" was important for music at the time because it let people know what was going on in the
world—it talked about real issues. He says, “It's "Tommy Gun" a product of the volatile climate of the late seventies -
all those references to terrorist organizations like Baader-Meinhof and The Red Brigade. It's like a punk rock
adaptation of The Beatles' "Revolution".”[2]
"Tommy Gun" 358

Charts
Chart Peak Date
position

UK Singles 19
Chart

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

References
[1] Sullivan, Denise. "Tommy Gun Song Review" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& token=& sql=33:4gjwe4e34xk7) (DLL).
allmusic. . Retrieved 2008-03-20.
[2] Singles Box, p. 14
"Train in Vain" 359

"Train in Vain"
"Train in Vain"

Single by The Clash

from the album London Calling

B-side "London Calling"

Released 12 February 1980

Format 7" vinyl

Recorded 1979 at Wessex Studios, London

Genre Rock

Length 3:12

Label CBS 50851

Writer(s) Joe Strummer and Mick Jones

Producer Guy Stevens

The Clash singles chronology

"Clampdown" "Train in "Bankrobber"

(1980) Vain" (1980)
(1980)

The Clash reissued singles chronology

"London Calling" (2nd "Train in Vain" "Complete Control"

rerelease) (rerelease) (live)
(1991) (1991) (1999)

"Train in Vain" is a 1979 song from the album London Calling by the British punk rock band The Clash. The song
was not originally listed on the album's track listing,[1] [2] appearing as a secret track at the end of the album. This
was unintentional, however, as the reason for it was that the track was added to the record at the last minute, when
the sleeve was already in production. It was the first Clash song to crack the United States Top 30 charts[1] [2] and in
2004, the song was ranked number 292 on Rolling Stone magazine's list of the 500 greatest songs of all time.[3] [4]
In the US, the song's title is expanded to "Train in Vain (Stand by Me)"; the words "stand by me" dominate the
chorus. It was titled "Train in Vain" in part to avoid confusion with Ben E. King's signature song "Stand by Me".
"Train in Vain" 360

Origins
The song was written in one night and recorded the next day, near the very end of the recording for London Calling.
It was initially intended to be given away as a promotion with the British rock magazine New Musical Express.[1] [5]

“
'Train in Vain' was the last song we finished after the artwork went to the printer. A couple of Clash Web sites describe it as a hidden track,
but it wasn’t intended to be hidden. The sleeve was already printed before we tacked the song on the end of the master tape.
”
[1]
—Bill Price (sound engineer) ,

"Train in Vain" was added after the deal for The Clash to write a song for an NME flexi disc fell through, and as
Mick Jones commented "The real story on 'Train in Vain' is that originally we needed a song to give to the NME for
a flexi disk that NME was going to do. And then it was decided that it didn't work out or decided the flexi disk didn't
work out so we had this spare track we had done as a giveaway. So we put it on London Calling but there wasn't time
because the sleeves were already done."[6] The result of its late addition was that it was the only song without lyrics
printed on the insert, and was not listed as a track.

Meaning and inspiration

When London Calling was released, many fans assumed it was called "Stand by Me",[4] but the meaning of the
song's title is obscure because neither "train" nor "in" nor "vain" can be found in the lyrics. Mick Jones, who wrote
most of it, offered this explanation: "The track was like a train rhythm, and there was, once again, that feeling of
being lost."[1]
"Train in Vain" is a love song,[7] with an almost country-and-western lyric that echoes Tammy Wynette’s classic,
"Stand by Your Man."[1] The guitar riff, in part, resemble the J.J. Jackson's 1966 UK/American hit single "But It's
Alright."
To any fan of Robert Johnson, the song title to "Train in Vain" is an obvious nod to Johnson's "Love in Vain", a
frequently covered blues classic, about a man who sees his lady off to the train, who then departs without him.

“
I was drenched in blues and English R&B as a teenager, then I went to black American R&B with my group the 101ers. Mick had heard a lot
of that stuff too, and he had this extra dimension of the glam/trash New York Dolls/Stooges scene.
”
[1]
—Joe Strummer ,

The song has been interpreted by some as a response to "Typical Girls" by The Slits, which mentions girls standing
by their men. Writer Mick Jones split up with Slits guitarist Viv Albertine shortly before he wrote the song.[8]

Cover versions
"Train in Vain" has become an influential and well-known Clash song, covered by artists as diverse as the British
indie dance band EMF, the Brazilian rock band Ira! on their acoustic special for MTV Brasil in 2004, where the song
was titled "Pra ficar comigo", the blues-oriented hard rock jam band The Black Crowes, the Welsh rock band Manic
Street Preachers, or the Swedish indie rock band Shout Out Louds.[1] [9]
Annie Lennox recorded a soulful, dance-beat cover of the song on her 1995 album Medusa. The American country
music singer and songwriter Dwight Yoakam did a country version on his 1997 album Under the Covers. The band
Third Eye Blind recorded a version for the 1999 tribute album Burning London: The Clash Tribute.[2] The Afghan
Whigs, who covered "Lost in the Supermarket" on the same album, added portions of "Train In Vain" and the Ben E.
King song "Stand By Me" to their contribution.
"Stupid Girl", a song released by the US rock group Garbage in 1996, is musically built around the drum rhythm
from "Train in Vain".[1] Both Joe Strummer and Mick Jones received a co-writing credit and royalties from the song
"Train in Vain" 361

under its original release. In 2007, when the song was remastered for the band's greatest hits album, the credit for the
song was expanded to include Paul Simonon and Topper Headon.[10]
"Train in Vain" was played frequently, in addition to many other Clash songs, by The Max Weinberg 7 on US late
night talk show Late Night with Conan O'Brien.

Media appearances
This song (alongside "London Calling") was performed on The Clash's debut television appearance in the United
States, on ABC's Fridays.
It also appeared in The Wire episode "Transitions" and in the film You, Me, and Dupree. In (500) Days of Summer it
is sung by Joseph Gordon-Levitt's drunken character in a karaoke scene. It was also used on the eighth season of
Dancing With the Stars, performed by Ty Murray and Chelsie Hightower to a Cha Cha.
"Train in Vain" appeared on the skate video Almost: Round Three during Rodney Mullen's part. It is also featured on
the soundtrack of the video game NCAA Football 2006, as well as being available as a downloadable track in the
Rock Band game.

Formats and track listings

"Train in Vain" was released in mainland Europe as a 33 rpm single in June 1980 (catalog number CBS 8370) and
included the tracks "Bankrobber" and "Rockers Galore... UK Tour". In the UK, "Train in vain" was not released as a
single at the time, only "Bankrobber" and "Rockers Galore... UK Tour" were released on 7" single in August 1980
(catalog number CBS 8323). The song was released in the US as a 10" white label promo in 1979 (catalog number
AS 749). The US commercial release of 12 February 1980 (catalog number 50851) consisted of a 7" that included
the track "London Calling". The 1991 UK re-release (catalog number 657430 7) included the track "The Right
Profile". The formats and track listings of "Train in Vain (Stand By Me)" are tabulated below:[11]

Year B-side Format Label Country Note

1979 1. "Train in Vain (Stand by Me)" – 3:10 33⅓ rpm 10" vinyl Epic AS 749 USA Promo

1980 1. "London Calling" 45 rpm 7" vinyl Epic 50851 USA

1980 1. "Bankrobber" – 4:33 33⅓ rpm 7" vinyl CBS 8370 Europe
2. "Rockers Galore... UK Tour" – 4:39

1991 1. "The Right Profile" – 3:51 45 rpm 7" vinyl Columbia 657430 7 UK Reissue

1991 1. "The Right Profile" – 3:55 CD Columbia 657430 5 UK Reissue

2. "Train In Vain ('91 7" Remix)" – 3:02
3. "Death or Glory" – 3:56

"Train in Vain" also features on The Clash albums: The Story of the Clash, Volume 1 (1988), Clash on Broadway
(1991), The Singles (1991), From Here to Eternity: Live (1999) (live version recorded on 13 June 1981 at Bond's
Casino, New York), The Essential Clash (2003), Singles Box (2006) (disc eleven — Spanish 7" issue), and The
Singles (2007).

Charts
"Train in Vain" 362

Chart Peak Date

position

UK Singles Chart 4

US Billboard Hot 100 23

References
[1] Black, Johnny (05 2002). "The Greatest Songs Ever! "Train in Vain (Stand by Me)" Article on Blender :: The Ultimate Guide to Music and
More" (http:/ / www. blender. com/ guide/ articles. aspx?id=299) (ASPX). Blender. . Retrieved 2007-12-02. "a, b) Thrown together at the last
minute in the dying hours of sessions for the Clash's classic 1980 album, London Calling, 'Train in Vain (Stand by Me)' was not even listed on
the record's cover. It was the Clash song that almost wasn't, but it turned out to be the one that brought the band into the Top 30 for the first
time.
c) 'Train in Vain', written in one night and recorded the next day, was initially going to be given away as a promotion with the British rock
magazine New Musical Express. Only after that failed to happen did the band consider the song for inclusion on the album.
d) As Wessex Studios' manager and house engineer Bill Price points out, 'Train in Vain' was 'the last song we finished after the artwork went
to the printer. A couple of Clash Web sites describe it as a hidden track, but it wasn't intended to be hidden. The sleeve was already printed
before we tacked the song on the end of the master tape.'
e) The meaning of the song's title is equally obscure. Sometimes it seems as if every little boy who once dreamed of growing up to be a train
engineer became a songwriter instead. With the Clash, however, things are never quite what they seem — and no train is mentioned in the
song. Mick Jones, who wrote most of it, offers a prosaic explanation: 'The track was like a train rhythm, and there was, once again, that feeling
of being lost.'
f) Another curious aspect of 'Train in Vain', given the Clash's political stance and reputation for social consciousness, is that it's a love song,
with an almost country-and-western lyric that echoes Tammy Wynette's classic weepie "Stand by Your Man".
g) If the Clash were hard-line British punks who despised America as much as their song 'I'm So Bored with the USA' suggested, why did
'Train in Vain' have such a made-in-the-USA feel? Strummer has admitted that despite the band's anti-American posturing, much of its
inspiration came from this side of the Atlantic Ocean. 'I was drenched in blues and English R&B as a teenager,' the singer says. 'Then I went to
black American R&B with my [pre-Clash] group the 101ers. Mick had heard a lot of that stuff too, and he had this extra dimension of the
glam/trash New York Dolls/Stooges scene.'
h, i) 'Train in Vain'... has become a Clash standard, covered by artists as diverse as EMF, Dwight Yoakam, Annie Lennox and Third Eye
Blind. Its influence crops up elsewhere, too: Listening to 'Train in Vain' and Garbage's 'Stupid Girl' in succession makes clear where Garbage
drummer and producer Butch Vig located 'Stupid Girls distinctive drum loops."
[2] Janovitz, Bill. "Train in Vain" (http:/ / allmusic. com/ cg/ amg. dll?p=amg& token=& sql=33:kjfpxcuhldae). Song Review. Allmusic. .
Retrieved 2007-12-04. "a, b) Despite being hidden — it was originally not listed on the sleeve, for the band felt it was too commercial
(imagine any late-'90s 'alternative' bands taking a similar stance) — 'Train in Vain' cracked the Top 40 in the US. This was remarkable in 1980
for a so-called punk rock band. The song was literally the hidden gem of the master-stroke London Calling.
d, e, f) Masters of pale pop Third Eye Blind recorded a weak sugar-coated, suburban hip-hop version in an ill-advised 'tribute' on Burning
London: The Clash Tribute (1999), which is almost a disaster from start to finish. On the other hand, on her 1995 album Medusa, Annie
Lennox manages to pull off what Third Eye Blind seemed to be attempting: a soulful, dance-beat cover of the song. The differences are that
Lennox can actually sing and the production and arrangement are thought-out and well-crafted. In addition, Dwight Yoakam turns in a fine,
countrified rendition on Under the Covers (1997)."
[3] "The RS 500 Greatest Songs of All Time" (http:/ / www. rollingstone. com/ news/ coverstory/ 500songs/ page/ 3). RollingStone. 2004-12-09.
. Retrieved 2007-11-22. "292. Train in Vain, The Clash"
[4] "Train in Vain The Clash" (http:/ / www. rollingstone. com/ news/ story/ 6596137/ train_in_vain). The RS 500 Greatest Songs of All Time.
Rolling Stone. 2004-12-09. . Retrieved 2007-11-22. "'Train in Vain' was the hidden track at the end of the Clash's London Calling, unlisted on
the sleeve or on the label. It didn't even have a proper title; fans initially assumed it was called 'Stand by Me', after the chorus. But it became a
surprise US hit, with hard-charging drums and weary vocals from guitarist Jones, who wrote the bitter love song in his grandmother's flat."
[5] "The Uncut Crap — Over 56 Things You Never Knew About The Clash". NME (London: IPC Magazines) 3. 16 March 1991.
ISSN 0028-6362. OCLC 4213418. ""Train In Vain" isn't listed on the sleeve credits for "London Calling" because it was originally going to be
a flexi give-away with NME. Unfortunately, the idea proved too expensive and the track went on the LP instead.".
Related news articles:
• Peterson, Tami. "The Uncut Crap — Over 56 Things You Never Knew About The Clash — NME 16 March 1991" (http:/ /
londonsburning. org/ art_nme_03_16_91. html). londonsburning.org. . Retrieved 2007-12-11.
[6] MTV Rockumentary. Interviewer: Unknown; Presenter: Kurt Loder. MTV, London, England. Transcript (http:/ / www. londonsburning. org/
art_mtv_rockumentary_2. html).
Related news articles:
"Train in Vain" 363

• . londonsburning.org. . Retrieved 2007-12-06. "The real story on "Train In Vain" is that originally we needed a song to give to the NME
for a flexi disk that NME was going to do. And then it was decided that it didn't work out or decided the flexi disk didn't work out so we
had this spare track we had done as a giveaway. So we put it on London Calling but their wasn't time because the sleeves were already
done."
[7] Caws, Matthew (12 1995). "Mick Jones". Guitar World (New York: Harris) 12. ISSN 1045-6295. OCLC 7982091. "Guitar World: You wrote
the love songs.
Mick Jones: (laughs) We never did any!
GW: What do you call "Train In Vain?
Mick: Oh yeah, apart from that one. (laughs)".
Related news articles:
• "Guitar World December 1995" (http:/ / londonsburning. org/ art_guitar_world_12_95. html). londonsburning.org. . Retrieved 2007-12-06.
[8] Gray, Marcus (2007-10-26). "Marcus Gray on the ongoing pop influence of 'Stand By Me' - Guardian Unlimited Arts" (http:/ / arts. guardian.
co. uk/ filmandmusic/ story/ 0,,2198757,00. html). Arts. Guardian Unlimited. . Retrieved 2007-12-03. "In 1979, the Slits released their highly
idiosyncratic avant-punk dub single Typical Girls. The titular girls worry about clothes, spots, fat and smells, and conform to one of two
stereotypes: either they're femme fatales or they're downtrodden drudges who "stand by their men", a reference to the Tammy Wynette song.
Typical Girls stalled at No 60 in the UK, but one man paying attention was Mick Jones of the Clash. His volatile relationship with Slits
guitarist Viv Albertine had recently come to an end, leaving him distraught. His band's third album, London Calling, was nearly complete, but
he was inspired to write a last-minute addition. It opens with the line, "You say you stand by your man ..." - a misreading of Typical Girls,
wilful or otherwise — and its oft-repeated chorus is, "You didn't stand by me, no, not at all." Lyrically, then, it follows a chain of reference
back to both Wynette and King, and offers a negative echo of both: the "walls come tumbling down", and the jilted protagonist can't be happy
or keep "the wolves at bay" without the woman's love and support."
[9] Pirnia, Garin (2007-10-25). "Radio Free Chicago : Shout Out Louds w/ Johnossi @ Logan Square 10/19/07" (http:/ / radiofreechicago.
typepad. com/ reredesign/ 2007/ 10/ shout-out-louds. html). Radio Free Chicago. . Retrieved 2007-12-04. "Half way through the song, the
group burst into "Train in Vain" by the Clash then back to their song. The Shout Outs successfully conquer America and our hearts."
[10] "Garbage and Absolute Garbage album booklets — compared credits for 1995's "Stupid Girl" and 2007's "Stupid Girl (Remastering)""
[11] "Albums by The Clash — Rate Your Music" (http:/ / rateyourmusic. com/ artist/ the_clash#Single). rateyourmusic.com. . Retrieved
2007-12-03.
"Washington Bullets" 364

"Washington Bullets"
"Washington Bullets"
Song by The Clash from the album Sandinista!

Released

Genre Post-punk
Reggae rock

Length 3:51

Label CBS

Composer The Clash

"Washington Bullets" is a song from The Clash's 1980 album Sandinista!. A politically charged song, it is a
simplified version of Latin American history from the 1959 Cuban Revolution to the Nicaraguan Sandinistas of the
1980s, with mention of the Bay of Pigs Invasion, the Soviet-Afghan War, the Dalai Lama, and Victor Jara,
referencing his death at the hands of the Chilean military dictatorship in the stadium that now bears his name. A
criticism of the foreign policy of the United States, the song is indicative of The Clash's left wing politics. The song's
title is often thought to have been a pun on the name of the American capital city's NBA franchise, which later went
on to change its name to the Washington Wizards in 1997, but The Clash have denied any knowledge of the
basketball team previous to the song's release.
The song is one of The Clash's more experimental, in the reggae style, with a marimba and lyrics that are almost
spoken rather than sung. Though the marimba is the most prominent instrument, electric guitar riffs are still audible.
The marimba part is an altered version of the melody from Turkey in the Straw.
On the tribute album The Clash Tribute: The Never Ending Story, the song was covered by Attila the Stockbroker,
with new lyrics to the later verses, omitting the reference to Afghanistan and The Clash's subtle attack on
communism. The new verses are critical of U.S. involvement in the end of the Soviet Union, and Yeltsin's embrasure
of western-style capitalism, making particular disparaging references to the New world order following the end of
the Cold War.
"(White Man) In Hammersmith Palais" 365

"(White Man) In Hammersmith Palais"

"(White Man) In Hammersmith Palais"

Single by The Clash

from the album The Clash (US ver.)

B-side "The Prisoner"

Released 17 June 1978

Format 7" single

Recorded mid-1978

Genre Ska, punk rock

Length 3:59

Label CBS S CBS 6383

Writer(s) Joe Strummer and Mick Jones

Producer The Clash

The Clash singles chronology

"Clash City "(White Man) In Hammersmith "Tommy

Rockers" Palais" Gun"
(1978) (1978) (1978)

"(White Man) In Hammersmith Palais" is a song by The Clash, self produced and first released as a 7" single,
backed with the track "The Prisoner", in June 1978.
The song was later added to the American version of the band's debut album The Clash between the single version of
"White Riot" and "London's Burning".

Inspiration and composition

The song showed considerable musical and lyrical maturity for the band at the time and is stylistically more in line
with their version of Junior Murvin's "Police and Thieves" as the powerful guitar intro of "(White Man) In
Hammersmith Palais" descends into a slower ska rhythm, and was disorienting to a lot of the fans who had grown
used to their earlier work.[1] "We were a big fat riff group," Joe Strummer noted in The Clash's film Westway to the
World. "We weren't supposed to do something like that."[2]
"(White Man) In Hammersmith Palais" starts by recounting an all-night reggae "showcase" night at the
Hammersmith Palais in Shepherd's Bush Road, London that was attended by Joe Strummer, Don Letts and roadie
Rodent and was headlined by Dillinger, Leroy Smart and Delroy Wilson.[3] Strummer was disappointed and
"(White Man) In Hammersmith Palais" 366

disillusioned that these performances had been more "pop" and "lightweight" similar to Ken Boothe's brand of
reggae with Four Tops-like dance routines,[1] and that the acts had been "performances" rather than the roots rock
rebellion that he had been hoping for.[4]
The song then moves away from the disappointing concert to address various other themes, nearly all relating to the
state of the United Kingdom at the time. The song first gives an anti-violence message, then addresses the state of
'wealth distribution' in the UK, promotes unity between black and white youths of the country before moving on to
address the state of the British punk rock scene in 1978 which was becoming more mainstream.
Included is a jibe at an unnamed group who wear Burton suits, taken by many to be The Jam (though in an NME
article of the time, Strummer claimed the actual target was the power pop fad hyped by journalists as the next big
thing in 1978) and the lyric concludes that the new groups are in it solely to be famous and for the money.
The final lines fret over the social decline of Britain, noting sardonically that things were getting to the point where
even Adolf Hitler could expect to be sent a limousine in the unlikely event of flying into London.[1]
The single was reissued in June 1978 with a different cover art.
This song was one of Joe Strummer's favourites. He continued to play it live with his new band The Mescaleros and
it was played at his funeral.

Critical reception
"(White Man) In Hammersmith Palais" helped The Clash assert themselves as a more versatile band musically and
politically than many of their peers and it broke the exciting but limiting punk mould that had been established by
the Sex Pistols; from now on The Clash would be "the thinking man's yobs".
Robert Christgau recommended the single in his Consumer Guide, published by Village Voice, on 4 September 1978,
and described the song as a must.[5] Denise Sullivan of Allmusic wrote that "(White Man) In Hammersmith Palais"
may have actually been the first song to merge punk and reggae."[3]
In 2004, Rolling Stone rated the song as #430 in its list of the 500 Greatest Songs of All Time.[6] [7]

Cover versions
The song was covered by 311, originally to be released on their album Transistor, but was taken off at the last
minute and later released in 1999 on The Clash tribute album, Burning London. The song is also covered on the
album The Day the World Stopped and Spun the Other Way by Colin Gilmore. "(White Man) In Hammersmith
Palais" was a popular encore for Idaho-based indie rock band Built to Spill during their 2003 tour.

Charts
Chart Peak Date
position

UK Singles 32
Chart
"(White Man) In Hammersmith Palais" 367

Further reading
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash.
(2001). The Clash, Westway to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo;
Uptown Films. Event occurs at 37:00. ISBN 0738900826. OCLC 49798077.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

External links
• Connor, Alan. (30 March 2007) White man's blues [8]. SMASHED HITS Pop lyrics re-appraised by the
Magazine. bbc.co.uk. Retrieved on 24 February 2008. “BBC article on the song and venue”.

References
[1] Begrand, Adrien. "100 FROM 1977 - 2003" (http:/ / www. popmatters. com/ music/ top100songs/ 1977-2003-21-30. shtml) (PHP).
PopMatters. . Retrieved 2008-04-03.
[2] Letts Don. (2001). The Clash: Westway to the World. Event occurs at 37:00.
[3] Sullivan, Denise. "(White Man) In Hammersmith Palais" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=33:djfwxcuhldae) (DLL).
Song Review. allmusic. . Retrieved 2008-04-03.
[4] Connor, Alan (2007-03-30). "White man's blues" (http:/ / news. bbc. co. uk/ 1/ hi/ magazine/ 6508295. stm) (STM). Smashed Hits. BBC
NEWS, Magazine. . Retrieved 2008-04-03.
[5] Christgau, Robert (1978-09-04). "Consumer Guide Sept. 4, 1978" (http:/ / www. robertchristgau. com/ xg/ cg/ cgv9-78. php) (PHP).
Consumer Guide. Village Voice. . Retrieved 2008-04-03.
[6] "The RS 500 Greatest Songs of All Time" (http:/ / www. rollingstone. com/ news/ coverstory/ 500songs/ page/ 5). RollingStone. 2004-12-09.
. Retrieved 2007-11-22. "430. White Man in Hammersmith Palais, The Clash"
[7] "White Man in Hammersmith Palais The Clash" (http:/ / www. rollingstone. com/ news/ story/ 6596206/
white_man_in_hammersmith_palais). The RS 500 Greatest Songs of All Time. RollingStone. 2004-12-09. . Retrieved 2007-11-22.
"White Riot" 368

"White Riot"
"White Riot"

Single by The Clash

from the album The Clash

B-side "1977"

Released 18 March 1977

Format 7" vinyl

Recorded February 1977

Genre Punk rock

Length 2:01

Label CBS CBS 5058

Writer(s) Joe Strummer/Mick Jones

Producer Micky Foote

The Clash singles chronology

"White "Remote
Riot" Control"
(1977) (1977)

"White Riot" was the first single by punk band The Clash, in 1977. The song is featured on their debut album. It
exists in two versions: the original on the UK version of the album, and the second (re-recorded, with a different
intro) on the "White Riot" single and US version of the album released in the States two years later in 1979. The UK
album version is 1:56 in running time, while the single and US album version run in at 2:01.
The song is short and intense, drawing influence from the Ramones' style of three chords played very fast. Mick
Jones counts off "1-2-3-4" at the start (In the re-recorded version, it instead begins with the sound of a police siren).
Lyrically, the song is about class economics and race and thus proved controversial: many people thought it was
advocating a kind of race war.[1] Rather, lyricist Joe Strummer was trying to appeal to white youths to find a worthy
cause to riot, as he felt blacks in the UK already had. It contains a positive message in the lines "Are you taking over
/ Or are you taking orders? / Are you going backwards / Or are you going forwards?"
The song was written after Joe Strummer and bassist Paul Simonon were involved in the riots at the Notting Hill
Carnival of 1976.[1]
"White Riot" is considered a classic in The Clash canon, although as the band matured, Mick Jones would at times
refuse to play it, considering it crude and musically inept. Over two decades later, Joe Strummer would perform it
with his band the Mescaleros.
"White Riot" 369

The B-side of the single was "1977", a non-album track. This song was along similar lines to "White Riot",
suggesting that the music of Elvis Presley, The Beatles, and The Rolling Stones was no longer relevant.
In March 2005, Q magazine placed "White Riot" at number 34 in its list of the 100 Greatest Guitar Tracks.
This song was featured in the soundtrack for the game Tony Hawk's Underground and is played when Derby County
run out at Pride Park Stadium.

Cover versions
The song has been covered by, among others, hip-hop/punk rock band The Transplants, rock/folk/carnival band
Camper Van Beethoven, alternative rock band Audioslave, and Clash contemporaries Sham 69. The punk rock/Oi!
band Cock Sparrer also did a live cover version of the song, which even appeared on their "The Best of Cock
Sparrer" and "England Belongs to Me" albums. The American Celtic punk band Dropkick Murphys have covered the
song live, one recording of which is on their The Singles Collection: Volume One album. The Mekons' first single,
"Never Been in a Riot" was a response to "White Riot."
"White Riot" was also covered by the Angelic Upstarts, and Cracker and was performed by Rage Against The
Machine at their free concert in Finsbury Park and Download Festival in June, 2010.

Charts
Chart Peak Date
position

UK Singles 38 Despite only reaching 38,the single spent 33 weeks in the UK charts,and a further 7 on re-entry.
Chart

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash.
(2001). The Clash: Westway to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo;
Uptown Films. Event occurs at 25:45–27:40. ISBN 0738900826. OCLC 49798077.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.
"White Riot" 370

References
[1] Letts Don. (2001). The Clash: Westway to the World. Event occurs at 25:45–27:40.
 371

Discography and lists

Discography
The Clash discography

The Clash live in Oslo, 1980.

Releases

↙Studio albums 6

↙Live albums 2

↙Compilation 8
albums

↙Extended plays 2

↙Singles 31

↙Video albums 2

↙Music videos 13

↙Box sets 2

This article presents the discography of English punk rock band The Clash.

1977–1978
The Clash's first official recording was the single for "White Riot", released by CBS Records in March 1977. In
April, CBS released their self-titled debut album, The Clash, in the United Kingdom, but refused to release it in the
United States, saying that the sound was not “radio friendly”.[1] A US version of the album with a modified track
listing – four songs from the original version were replaced with five non-album singles and B-sides – was released
by Epic Records in 1979, after the UK original became the best-selling import album of all time in the United
States.[2] Terry Chimes left the band for the second time soon after the recording, so only Joe Strummer, Mick Jones
and Paul Simonon were featured on the album's cover, and Chimes was credited as "Tory Crimes". The album
ranked number 12 in the UK Albums Chart[3] and number 126 in the Billboard Pop albums chart.[4]
In the same month, the band also released an EP single, Capital Radio, which was given away to NME's readers. In
May, CBS released the single "Remote Control" without asking them first, and, in September, "Complete Control",
produced by Lee "Scratch" Perry, it was Topper Headon's first recording with the band, and rose to number 28 on the
British Singles Chart.[5]
In February 1978, the band came out with the single "Clash City Rockers". June saw the release of "(White Man) In
Hammersmith Palais". The Clash second album, Give 'Em Enough Rope, was released by CBS and produced by
Sandy Pearlman in November, receiving largely positive reviews.[6] It hit number 2 in the UK,[3] and number 128 on
the Billboard chart.[4] The album's first UK single, "Tommy Gun", rose to number 19.
Discography 372

1979–1982
In February 1979, CBS released the single, "English Civil War", and in May the EP, The Cost of Living. In August
and September 1979, the Clash recorded their third studio album, London Calling. Produced by Guy Stevens, the
double album was a mix of different styles, with greater maturity and production polish.[7] [8] London Calling,
released on December 1979 by CBS and regarded as one of the greatest rock albums ever recorded,[9] reached
number 9 on the British chart[3] and number 27 on the US chart.[4] In the UK, London Calling's title track, released
few days before the album's release, rose to number 11—the highest position any Clash single reached in the UK
before the band's breakup.[10] The album's final track, "Train in Vain", included at the last minute and thus did not
appear in the track listing on the cover, was released in Holland, Germany, Spain, Brazil, New Zealand and Australia
in June 1980. The single was not released in the UK, and in the U.S. was backed with "London Calling". It turned
out to be the band's biggest U.S. hit to date, reaching number 23 on the Billboard chart.
In August, the band came out with another single, "Bankrobber", which reached number 12 in the UK. In October,
Epic released the compilation album Black Market Clash, only in the U.S.. The compilation reached number 74 in
the U.S.. In the following November, CBS released the single "The Call Up", which reached number 40 in the UK.
In December, CBS released the 3-LP, 36-song Sandinista!. The album again reflected a broad range of musical
styles, including extended dubs and the first forays into rap by a major rock band. Produced by the band members
with the participation of Mikey Dread, Sandinista! was their most controversial album to date, both politically and
musically.[1] [11] The album fared well in America, charting at number 24.[4] [12]
During 1981, the band came out with a single, "Hitsville UK". Released on January 1981, the single reached number
56 in the UK and number 53 on the U.S. Mainstream Rock chart. In April, CBS released the single for the song "The
Magnificent Seven" which peaked at number 34 on the UK Singles Chart in 1981, and at number 21 on the U.S.
Billboard Club Play Singles in 1982. In the same month, CBS released the 12-inch single "The Magnificent Dance".
In November, CBS released the single, "This Is Radio Clash", which further demonstrated their ability to mix diverse
influences such as dub and hip hop. It reached number 47 on the UK Singles Chart.
In April 1982, CBS released the single "Know Your Rights", which reached number 43 in the UK. They set to work
on their fifth studio album in the fall, originally planned to be a 2-LP set with the title Rat Patrol from Fort Bragg,
the album's producer, Glyn Johns, reconceived it as a single LP. It contains two "radio friendly" singles, "Should I
Stay or Should I Go" and "Rock the Casbah". "Should I Stay or Should I Go" reached number 17 in the UK and
number 45 on the U.S. Billboard Hot 100 chart, "Rock the Casbah" peaked at number 17 in the UK and number 8 on
the U.S. Billboard Hot 100.[1] [13] The album itself was the band's most successful, hitting number 2 in the UK[3] and
number 7 in the U.S..[4]

1983–present
After Combat Rock, Topper Headon was asked to leave the band,[1] [14] and in September, Mick Jones was fired. The
first single from Cut the Crap, "This Is England", was released by CBS in September 1985. It reached number 24 in
the UK. Cut the Crap, the last studio album of the band, actually composed by Strummer, Simonon, Pete Howard,
Nick Sheppard and Vince White, was produced by manager Bernard Rhodes and released by CBS in November.[15]
It reached number 16 in the UK[3] and number 88 in the U.S..[4] The Clash effectively disbanded in early 1986.[8]
In 1988, Epic released the double-disc, 28-track compilation The Story of the Clash, Volume 1 presenting a relatively
thorough overview of their career. In March 1991, a reissue of "Should I Stay or Should I Go" gave the band its first
and only number 1 UK single. In the same year, CBS and Epic released the triple-disc, 64-song box set Clash on
Broadway that covers their entire career, and the compilation album The Singles, that includes all their singles,
except for 1985's "This Is England". In 1994, Epic released Super Black Market Clash, a compilation that contains
B-sides and rare tracks not available on their other albums. In 1999, Epic released the compilation album of live
material, From Here to Eternity: Live.
Discography 373

The Clash: Westway to the World, a documentary film about the band, was released by Sony Music Entertainment in
2000, and, in 2003, it won the Grammy Awards for the best long form music video.[16] In 2003, Epic and Sony BMG
released The Essential Clash, a career-spanning greatest hits album and DVD, dedicated to Joe Strummer, who died
during the production of the album. In 2004, Sony Legacy released London Calling: 25th Anniversary Edition. It
contains The Vanilla Tapes as a bonus disc, and a DVD featuring the making of the album, the music videos for
"London Calling", "Train in Vain" and "Clampdown", and video footage of The Clash recording sessions in Wessex
Studios. In 2006, Sony BMG released the box set Singles Box which includes all the singles that they released in the
UK. In 2007, Sony Bmg released The Singles that presents a stripped down view of the singles of the band. In 2008,
Sony Music Entertainment released The Clash Live: Revolution Rock, produced and directed by Don Letts, it
features live material and interviews from 1978 to 1983,[17] [18] and, in October, the live album Live at Shea Stadium,
which features the recording of the band's second night at Shea Stadium in 1982.

Studio albums
Year Album Peak chart positions Certifications
(sales thresholds)
[19] [20] [21] [10] [4]
AUT NOR SWE U.K. U.S.

1977 The Clash — — 42 12 126 [22]

UK: Gold
[23]
• Release date: 8 April 1977, July 1979 (US) US: Gold
• Label: Sony Music/Columbia; Epic
• Notes: Two versions: UK and US

1978 Give 'Em Enough Rope — — 36 2 128 [24]

UK: Gold
• Release date: 10 November 1978
• Label: Sony Music/Columbia; Epic

1979 London Calling 17 4 2 9 27 [25]

CAN: Gold
[26]
• Release date: 14 December 1979 UK: Gold
[23]
• Label: Sony Music/Columbia; Epic US: Platinum
• Notes: Released as a double album

1980 Sandinista! — 8 9 19 24 UK: Gold

[23]
• Release date: 12 December 1980 US: Gold
• Label: Sony Music/Columbia; Epic
• Notes: Released as a triple album

1982 Combat Rock — 7 9 2 7 [25]

CAN: Gold
[27]
• Release date: 14 May 1982 UK: Silver
• Label: Sony Music (SME)/Columbia; Epic US: 2x
[23]
Platinum

1985 Cut the Crap — — 30 16 88 [28]

UK: Silver
• Release date: 4 November 1985
• Label: Sony Music/Columbia; Epic

"—" denotes releases that did not chart or were not released in that country.
Discography 374

Live albums
Year Album Peak chart positions

[21] [10] [4]

FRA SWE U.K. U.S.
[29]

1999 From Here to Eternity: Live 17 47 13 193

• Release date: 4 October 1999
• Label: Columbia/Sony Music; Epic
• Notes: Live Recordings, 1978–1982

2008 Live at Shea Stadium 57 26 31 93

• Release date: 6 October 2008
• Label: Sony International
• Notes: Live Recording of second night of Shea Stadium 1982 Performance

Compilations
Year Album Peak chart positions Certifications

NZ SWE U.K. U.S.

[30] [21] [10] [4]

1980 Black Market Clash — — — 74

• Release date: 1980
• Label: Epic/Sony Music
• Notes: 10" EP collection of B-sides

1988 The Story of the Clash, Volume 1 — 50 7 142 [31]

UK: Gold US:
• Release date: 29 February 1988 Platinum
• Label: Sony Music/Columbia; Epic
• Notes: Double album, Greatest hits collection

1991 The Singles (1991) — — 68 —

• Release date: November 1991
• Label: Sony Music/Columbia; Epic
• Notes: Collection of 18 UK and US singles in chronological order

1994 Super Black Market Clash — — — —

• Release date: 26 October 1994
• Label: Columbia/Sony Music; Legacy/Epic
• Notes: Collection of b-sides and rarities

2003 The Essential Clash 50 22 18 99

• Release date: 11 March 2003 (US), 22 April 2003 (UK)
• Label: Columbia/Sony Music; Legacy/Epic
• Notes: Collection of "essential" recordings; two versions: UK and US

2007 The Singles (2007) 36 — 13 —

• Release date: 4 June 2007
• Label: Sony BMG
• Notes: Single disc of 19 UK singles including "This is England" and not
in chronological order

"—" denotes releases that did not chart or were not released in that country.
Discography 375

Box sets

Year Album

1991 Clash on Broadway

• Release date: 19 November 1991
• Label: Columbia/Sony Music; Legacy/Epic
• Notes: Comprehensive 3 CD box set; includes several alternate versions and unreleased tracks

2006 Singles Box

• Release date: 30 October 2006
• Label: Sony BMG
• Notes: Set of 19 UK singles across 19 CDs

Extended plays
Year Title Chart positions

[10]
U.K. IRE
[32]

1977 Capital Radio – –

• Release date: 1 April 1977

1979 The Cost of Living 22 24

• Release date: 11 May 1979

Singles
Year Single [10] [32] [33] [34] Album
Peak chart positions

UK CAN IRE NZ US US US
Dance Main
Discography 376

1977 "White Riot" 38 — — — — — — The Clash

"Remote Control" — — — — — — —

"Complete Control" 28 — — — — — —

1978 "Clash City Rockers" 35 — — — — — —

"(White Man) In Hammersmith Palais" 32 — — — — — —

"Tommy Gun" 19 — — — — — — Give 'Em Enough

Rope

1979 "English Civil War" 25 — 29 — — — —

"Groovy Times" 107 — — — — — — The Cost of Living

"I Fought the Law" — — — — — — — The Clash

"London Calling" 11 — 16 23 — — — London Calling

"Clampdown" — — — — — — —

1980 "Train in Vain" — 62 — 26 23 30 —

"Bankrobber" 12 — 14 14 — — — Non-album song

"The Call Up" 40 — — 42 — — — Sandinista!

1981 "Hitsville U.K." 56 — — — — — 53

"The Magnificent Seven" 34 — — — — 21 —

"This Is Radio Clash" 47 — — 28 — 17 45 Non-album song

1982 "Know Your Rights" 43 — — — — — — Combat Rock

"Rock the Casbah" 30 26 — 4 8 8 6

"Should I Stay or Should I Go" / "Straight to Hell" 17 40 16 — 45 — 13

1985 "This Is England" 24 — 13 26 — — — Cut the Crap

1988 "London Calling" (re-release) 46 — — — — — — The Story of the Clash

"I Fought the Law" 29 — — 17 — — —

Discography 377

1990 "Return to Brixton" 57 — — — — — — Non-album song

1991 "Should I Stay or Should I Go" (re-release) 1 — 2 2 — — —

"Rock the Casbah" (re-release) 15 — 10 — — — —

"London Calling" (second re-release) 64 — 18 — — — —

"Train in Vain" (re-release) — — — — — — — The Singles

1999 "Complete Control" (live) — — — — — — — Non-album song

"—" denotes releases that did not chart

Video albums
Year Title Director

1985 This is Video Clash —

2003 The Essential Clash (DVD) Don Letts, Joe Strummer, Keef & Co,
Lindsey Clinell
Features: Music videos and live performances; Hell W10 (1983); London Weekend
[35]
Show's Interview 1976.

Music videos
Year Title Director

1977 "White Riot" Lindsey Clinell

"Complete Control" Don Letts

1978 "Tommy Gun" Keef & Co

1979 "I Fought the Law" Don Letts

"London Calling" [36]

Don Letts

"Clampdown" [37]
Don Letts

1980 "Train in Vain" [38]

Don Letts

"Bankrobber" Don Letts

"The Call Up" Don Letts

1981 "This Is Radio Clash" [39]

Don Letts

1982 "Rock the Casbah" [40]

Don Letts

1991 "Should I Stay or Should I Go?" [41]

Don Letts
(live)

— "Career Opportunities" (live) Don Letts

Discography 378

See also
• List of The Clash songs
• The Clash on film

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th ed.). London: Aurum Press.
ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised ed.). London: Helter
Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd ed.). Richmond: Reynolds & Hearn. ISBN 1903111706.
OCLC 63129186.

External links
• The Clash discography [42] on The Clash Official Site.
• The Clash Discography [43] at Allmusic
• The Clash [44] at Discogs
• The Clash RIAA [45]

References
[1] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001). The Clash, Westway
to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. ISBN 0738900826. OCLC 49798077.
[2] Henke, James (3 April 1980). "There'll Be Dancing In The Streets: The Clash". Rolling Stone: 38–41.
[3] "UK Chart Archive" (http:/ / www. everyhit. co. uk/ ). everyHit.co.uk. Retrieved 26 October 2008.
[4] "The Clash > Charts & Awards > Billboard Albums" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:gifqxqw5ldte~T5).
Allmusic. Retrieved 26 October 2008.
[5] "Clash star Strummer dies" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 2600669. stm) (STM). Entertainment. BBC News World Edition.
2002-12-27. . Retrieved 2007-11-20.
[6] Marcus, Greil (1979-01-25). "The Clash: Give 'Em Enough Rope" (http:/ / www. rollingstone. com/ artists/ theclash/ albums/ album/ 248769/
review/ 5940574/ give_em_enough_rope). Album Reviews. Rolling Stone. . Retrieved 2008-03-29.
[7] Metzger, John (11 2004). "The Clash London Calling 25th Anniversary Legacy Edition" (http:/ / www. musicbox-online. com/ cl-lc. html).
The Music Box. . Retrieved 2007-11-19.
[8] "The Clash" (http:/ / www. aversion. com/ bands/ histories. cfm?directory=clash). Artist History. Aversion.com. . Retrieved 2007-11-20.
[9] Erlewine, Stephen Thomas. "London Calling Review" (http:/ / allmusic. com/ cg/ amg. dll?p=amg& sql=10:qmfnzfdhehak). allmusic.com. .
Retrieved 2007-11-19.
[10] "Chart Stats - The Clash" (http:/ / www. chartstats. com/ artistinfo. php?id=2777). chartstats.com. . Retrieved 2008-11-18.
[11] Jaffee, Larry (1987). The Politics of Rock. Popular Music and Society. pp. 19–30.
[12] "The Clash" (http:/ / www. rockhall. com/ inductee/ the-clash). Induction. The Rock and Roll Hall of Fame and Museum. 2003-03-10. .
Retrieved 2007-11-19.
[13] Gray (2005), p. 380.
[14] Cromelin, Richard (31 January 1988). "Strummer on Man, God, Law and the Clash" (http:/ / www. strummernews. com/ latimes88. html).
Los Angeles Times. . Retrieved 2007-11-19.
[15] "Ex-Clash singer breaks ground" (http:/ / www. joestrummer. us/ rc00. html). joestrummer.us. . Retrieved 2008-01-03.
[16] "The Clash: Westway to the World (2000) (V) - Awards" (http:/ / www. imdb. com/ rg/ title-tease/ awards/ title/ tt0321711/ awards). IMDb
The Internet Movie Database. . Retrieved 2007-11-27.
Discography 379

[17] Clash, The; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Don Letts. (2008-04-15). The Clash: Live - Revolution Rock.
[Documentary]. New York, NY: Legacy Recordings. OCLC 227211002.
[18] "Revolution rock: Documentary pays tribute to Clash frontman Joe Strummer" (http:/ / www. cbc. ca/ arts/ film/ strummer. html). CBC.
2008-02-01. . Retrieved 2008-04-13.
[19] "Discographie The Clash" (http:/ / austriancharts. at/ showinterpret. asp?interpret=The+ Clash). Hung Medien, austriancharts.at. Retrieved
on 2008-12-10.
[20] "Discographie The Clash" (http:/ / norwegiancharts. com/ showinterpret. asp?interpret=The+ Clash). Steffen Hung, norwegiancharts.com.
Retrieved on 2008-12-10.
[21] "Discographie The Clash" (http:/ / swedishcharts. com/ showinterpret. asp?interpret=The+ Clash). swedishcharts.com. Retrieved on
2008-12-10.
[22] Platinum Awards Content (http:/ / www. bpi. co. uk/ platinum/ platinumright. asp?rq=search_plat& r_id=21847). THE BPI, bpi.co.uk.
Retrieved on 2009-02-21.
[23] "Gold and Platinum: Searchable Database" (http:/ / www. riaa. com/ goldandplatinumdata. php?resultpage=1&
table=SEARCH_RESULTS& artist=The Clash& after=on& startMonth=11& startYear=1982& sort=CertificationDate& perPage=50). RIAA.
. Retrieved 2009-02-11.
[24] Platinum Awards Content (http:/ / www. bpi. co. uk/ platinum/ platinumright. asp?rq=search_plat& r_id=21845). THE BPI, bpi.co.uk.
Retrieved on 2009-02-21.
[25] "Canadian Recording Industry Association (CRIA): Certification Results - Search Certification Database" (http:/ / www. cria. ca/
cert_db_search. php). CRIA. . Retrieved 2009-02-21.
[26] Platinum Awards Content (http:/ / www. bpi. co. uk/ platinum/ platinumright. asp?rq=search_plat& r_id=21849). THE BPI, bpi.co.uk.
Retrieved on 2009-02-21.
[27] Platinum Awards Content (http:/ / www. bpi. co. uk/ platinum/ platinumright. asp?rq=search_plat& r_id=21852). THE BPI, bpi.co.uk.
Retrieved on 2009-02-21.
[28] Platinum Awards Content (http:/ / www. bpi. co. uk/ platinum/ platinumright. asp?rq=search_plat& r_id=21853). THE BPI, bpi.co.uk.
Retrieved on 2009-02-21.
[29] "Discographie The Clash" (http:/ / lescharts. com/ showinterpret. asp?interpret=The+ Clash). Steffen Hung, lescharts.com. Retrieved on
2008-12-10.
[30] "Discography The Clash" (http:/ / charts. org. nz/ showinterpret. asp?interpret=The+ Clash). Steffen Hung, charts.org.nz. Retrieved on
2008-12-10.
[31] Platinum Awards Content (http:/ / www. bpi. co. uk/ platinum/ platinumright. asp?rq=search_plat& r_id=21851). THE BPI, bpi.co.uk.
Retrieved on 2009-02-21.
[32] "The Irish Charts" (http:/ / www. irishcharts. ie). IRMA. . Retrieved 2008-10-02.
[33] "The Clash > Charts & Awards > Billboard Singles" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:gifqxqw5ldte~T51).
Allmusic. Retrieved 26 October 2008.
[34] "charts.org.nz - Discography The Clash" (http:/ / charts. org. nz/ showinterpret. asp?interpret=The+ Clash). © 2006-2009 Hung Medien /
hitparade.ch.. . Retrieved 2010-04-12.
[35] "The Essential Clash (2003) (V)" (http:/ / www. imdb. com/ title/ tt0478574/ ). IMDb The Internet Movie Database. . Retrieved 2008-12-18.
[36] "London Calling | The Clash | Music Video" (http:/ / www. mtv. com/ videos/ the-clash/ 20402/ london-calling. jhtml). MTV. MTV
Networks. . Retrieved 2009-02-24.
[37] "Clampdown | The Clash | Music Video" (http:/ / www. mtv. com/ videos/ the-clash/ 303181/ clampdown. jhtml). MTV. MTV Networks. .
Retrieved 2009-02-24.
[38] "Train in Vain | The Clash | Music Video" (http:/ / www. mtv. com/ videos/ the-clash/ 296183/ train-in-vain. jhtml). MTV. MTV Networks. .
Retrieved 2009-02-24.
[39] "Radio Clash | The Clash | Music Video" (http:/ / www. mtv. com/ videos/ the-clash/ 295727/ radio-clash. jhtml). MTV. MTV Networks. .
Retrieved 2009-02-24.
[40] "Rock The Casbah | The Clash | Music Video" (http:/ / www. mtv. com/ videos/ the-clash/ 95315/ rock-the-casbah. jhtml). MTV. MTV
Networks. . Retrieved 2009-02-24.
[41] "Should I Stay Or Should I Go? (Live) | The Clash | Music Video" (http:/ / www. mtv. com/ videos/ the-clash/ 24931/
should-i-stay-or-should-i-go-live. jhtml). MTV. MTV Networks. . Retrieved 2009-02-24.
Films and Documentaries 380

Films and Documentaries

The Clash were an English rock band that formed in 1976 as part of the original wave of British punk rock. Along
with punk rock, they experimented with reggae, ska, dub, funk, rap and rockabilly. For most of their recording
career, The Clash consisted of Joe Strummer (lead vocals, rhythm guitar), Mick Jones (lead guitar, vocals), and Paul
Simonon (bass, backing vocals, occasional lead vocals), with Terry Chimes or Nicky "Topper" Headon on drums
and percussion. The band features in several documentaries and other films.

Year Film Director

1980 Rude Boy[1] Jack Hazan and

[2] David Mingay
Honorable Mention and Nominated for the Golden Berlin Bear at the Berlin International Film Festival 1980.

1983 Hell W10 Joe Strummer

[3]
Black and white silent film written by Joe Strummer featured on The Essential Clash (DVD).

2000 The Clash: Westway to the World[4] Don Letts

[5]
Awarded Best Long Form Music Video at the Grammy Awards 2003.

2006 The Clash: Up Close and Personal[6] [7] —

2007 Joe Strummer: The Future Is Unwritten[8] Julien Temple

Nominated Grand Jury Prize at the Sundance Film Festival 2007; Awarded Best British Documentary at the
British Independent Film Awards 2007; Nominated Best Single Documentary at Irish Film and Television
[9]
Awards 2008

2008 The Clash Live: Revolution Rock[10] [11] Don Letts

See also
• The Clash discography
• List of The Clash songs

References
[1] Hazan, Jack; David Mingay, Ray Gange, Joe Strummer, Mick Jones, Paul Simonon, Nicky Headon, Buzzy Enterprises, Epic Music Video.
(2006). Rude Boy. [Documentary, Rockumentary]. New York, NY, United States: Epic Music Video. ISBN 0738900826. OCLC 70850190.
[2] "Rude Boy (1980) - Awards" (http:/ / www. imdb. com/ title/ tt0081441/ awards). IMDb The Internet Movie Database. . Retrieved
2008-12-18.
[3] "The Essential Clash (2003) (V)" (http:/ / www. imdb. com/ title/ tt0478574/ ). IMDb The Internet Movie Database. . Retrieved 2008-12-18.
[4] Letts Don; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Terry Chimes, Rick Elgood, The Clash. (2001) (DVD Video). The
Clash, Westway to the World. [Documentary]. New York, NY: Sony Music Entertainment; Dorismo; Uptown Films. ISBN 0738900826.
OCLC 49798077.
[5] "The Clash: Westway to the World (2000) (V) - Awards" (http:/ / www. imdb. com/ title/ tt0321711/ awards). IMDb The Internet Movie
Database. . Retrieved 2008-12-18.
[6] Clash, The; Johnny Green, Catherine Coon, Don Letts (DVD Video). The Clash: Up Close and Personal. [Documentary]. United States:
Storm Bird. ISBN 1905431929. OCLC 123570261. "People close to punk rock legends the Clash talk frankly and honestly about their times
with the band. Among the contributors are filmmaker Don Letts, publicist Catherine Coon, and road manager Johnny Green."
[7] "Clash: Up Close and Personal (2006) (V)" (http:/ / www. imdb. com/ title/ tt1181801/ ). IMDb The Internet Movie Database. . Retrieved
2008-12-18.
[8] Temple, J., Amanda Temple, Anna Campeau, and Alan Moloney. (2008). Joe Strummer The future is unwritten. [Documentary,
Rockumentary]. New York, NY, United States: Sony BMG Music Entertainment. OCLC 233652709.
[9] "Joe Strummer: The Future Is Unwritten (2007) - Awards" (http:/ / www. imdb. com/ title/ tt0800099/ awards). Internet Movie Database. .
Retrieved 2008-12-18.
Films and Documentaries 381

[10] Clash, The; Joe Strummer, Mick Jones, Paul Simonon, Topper Headon, Don Letts. (2008-04-15). The Clash: Live - Revolution Rock.
[Documentary]. New York, NY: Legacy Recordings. OCLC 227211002.
[11] "Revolution rock: Documentary pays tribute to Clash frontman Joe Strummer" (http:/ / www. cbc. ca/ arts/ film/ strummer. html). CBC.
2008-02-01. . Retrieved 2008-04-13.

Songs
This is a comprehensive list of The Clash songs that have been officially released. The list includes songs that have
been performed by the band. Other side projects are not included in this list. The list consists of mostly studio
recordings; remixes and live recordings are not listed, unless the song has only been released in one of the two
formats. Singles are listed as having been released on their respective album, unless the single has no associated
album. Only one release is listed per song, unless the song is featured on multiple releases.[1] [2]

Song Release Year Writer(s) Producer Notes

"1-2 Crush on You" "Tommy Gun" single 1978 Strummer/Jones Sandy Pearlman [1] [2] [3] [4]
B-side.

"1-2 Got a Crush on – 1976 Strummer/Jones Guy Stevens Polydor demos.

You"

"1977" "White Riot" single 1977 Strummer/Jones Micky Foote [1] [2] [3] [5]
B-side.

"48 Hours" The Clash 1977 Strummer/Jones Micky Foote [6]

Track B5.

"All the Young Punks Give 'Em Enough 1978 Strummer/Jones Sandy Pearlman [7]
Track B5.
(New Boots and Rope
Contracts)"

"Are You Red..Y" Cut the Crap 1985 Strummer/Rhodes Bernard Rhodes [8]
Track 4.

"Armagideon Time" "London Calling" 1979 Willie Williams, Jackie Guy Stevens [1] [2] [3] [9]
B-side.
single Mittoo

"Atom Tan" Combat Rock 1982 The Clash The Clash [10]
Track B2.

"Bankrobber" "Bankrobber" single 1980 Strummer/Jones Mikey Dread [1] [2] [3] [11]
Non-album single.

"The Beautiful People Rat Patrol from Fort 1982 The Clash – Unofficial release. Also known as
Are Ugly, Too" Bragg [12]
"The Fulham Connection"

"Brand New Cadillac" London Calling 1979 Vince Taylor Guy Stevens, Mick Jones [13]
Track A2.

"Broadway" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track D6.

"The Call Up" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track D4.

"Capital Radio One" Capital Radio (EP) 1977 Strummer/Jones Micky Foote [15]
Track B2.

"Capital Radio Two" The Cost of Living 1979 Strummer/Jones Bill Price [16]
Track B2.
(EP)

"Car Jamming" Combat Rock 1982 The Clash The Clash [10]
Track A2.

"The Card Cheat" London Calling 1979 Topper Headon, Mick Guy Stevens, Mick Jones [13]
Track C4.
Jones, Paul Simonon, Joe
Strummer

"Career Opportunities" The Clash 1977 Strummer/Jones Micky Foote [6]

Track B1.

"Charlie Don't Surf" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track E2.
Songs 382

"Cheapskates" Give 'Em Enough 1978 Strummer/Jones Sandy Pearlman [7]

Track B4.
Rope

"Cheat" The Clash 1977 Strummer/Jones Micky Foote [6]

Track B2.

"The City of the Dead" Black Market Clash 1980 Strummer/Jones Paul Simonon, Sandy [17]
Track B5.
Pearlman, The Clash

"Clampdown" London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track B4.

"Clash City Rockers" The Clash (1979 U.S. 1979 Strummer/Jones Micky Foote, Lee Perry, [18]
Track A1.
version) The Clash, Bill Price

"Complete Control" The Clash (1979 U.S. 1979 Strummer/Jones Micky Foote, Lee Perry, [18]
Track A4.
version) The Clash, Bill Price

"Cool Confusion" "Should I Stay or 1982 The Clash The Clash [2] [19] [20] [21] [22]
B-side.
Should I Go" single

"The Cool Out" "The Magnificent 1981 The Clash The Clash [2] [21] [23] [24]
B-side.
Seven" single

"Cool Under Heat" Cut the Crap 1985 Strummer/Rhodes Bernard Rhodes [8]
Track 5.

"Corner Soul" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track C3.

"The Crooked Beat" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track B3.

"Deadly Serious" – 1976 Strummer/Jones – Unreleased.

"Death Is a Star" Combat Rock 1982 The Clash The Clash [10]
Track B6.

"Death or Glory" London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track C2.

"Deny" The Clash 1977 Strummer/Jones Micky Foote [6]

Track A7.

"Dictator" Cut the Crap 1985 Strummer/Rhodes Bernard Rhodes [8]

Track 1.

"Dirty Punk" Cut the Crap 1985 Strummer/Rhodes Bernard Rhodes [8]
Track 2.

"Do It Now" Cut the Crap 1985 Strummer/Rhodes Bernard Rhodes [8]
2000 re-release bonus track.

"Drug-Stabbing Time" Give 'Em Enough 1978 Strummer/Jones Sandy Pearlman [7]
Track B2.
Rope

"English Civil War" Give 'Em Enough 1978 Traditional, arranged by Sandy Pearlman [7]
Track A2.
Rope Joe Strummer and Mick
Jones

"The Equaliser" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track D3.

"Every Little Bit Clash on Broadway 1991 Ed Cobb The Clash, Micky Foote, [25]
Track C13.
Hurts" Mikey Dread, Sandy
Pearlman, Bill Price, Guy
Stevens, Lee Perry

"Fingerpoppin'" Cut the Crap 1985 Strummer/Rhodes Bernard Rhodes [8]

Track 10.

"First Night Back in "Know Your Rights" 1982 Strummer/Jones The Clash [2] [26] [27]
B-side.
London" single

"Four Horsemen" London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track D2.

"Fujiyama Mama – 1982 The Clash – Unreleased.

(Pearl Harbour)"
Songs 383

"The Fulham Rat Patrol from Fort 1982 The Clash – Unofficial release. Also known as
Connection" Bragg "The Beautiful People Are Ugly
[12]
Too"

"Garageland" The Clash 1977 Strummer/Jones Micky Foote [6]

Track B6.

"Gates of the West" The Cost of Living 1979 Strummer/Jones Bill Price [16]
Track B1.
(EP)

"Ghetto Defendant" Combat Rock 1982 The Clash The Clash [10]
Track B4.

"Groovy Times" The Cost of Living 1979 Strummer/Jones Bill Price [16]
Track A2.
(EP)

"The Guns of Brixton" London Calling 1979 Paul Simonon Guy Stevens, Mick Jones [13]
Track B5.

"Guns on the Roof" Give 'Em Enough 1978 Topper Headon, Mick Sandy Pearlman [7]
Track B1.
Rope Jones, Paul Simonon, Joe
Strummer

"Hate and War" The Clash 1977 Strummer/Jones Micky Foote [6]
Track A5.

"Hateful" London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track A4.

"Heart & Mind" London Calling 25th 2004 Strummer/Jones Guy Stevens, Mick Jones [28]
Track B18.
Anniversary Legacy
Edition

"Hell W10" Rat Patrol from Fort 1982 The Clash – [12]
Unofficial release.
Bragg

"Hitsville UK" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track A2.

"How Can I – 1976 Strummer/Jones – Unreleased.

Understand the Flies?"

"I'm Not Down" London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track D3.

"I'm So Bored with – 1976 Mick Jones – Unreleased.

You"

"I'm So Bored with the The Clash 1977 Strummer/Jones Micky Foote [6]
Track A3.
USA"

"I Fought the Law" The Cost of Living 1979 Sonny Curtis Bill Price [16]
Track A1.
(EP)

"I Know What I Think – 1976 Strummer/Jones – Unreleased. Also known as "I
About You" Know What You Do" or "I Know
What to Think of You".

"I Never Did It?" – 1976 Mick Jones – Unreleased.

"Idle in Kangaroo Rat Patrol from Fort 1982 The Clash – Unofficial release. Also known as
Court W1" Bragg [12]
"Kill Time".

"If Music Could Talk" Sandinista! 1980 The Clash, Mikey Dread The Clash, Mikey Dread [14]
Track C5.

"Inoculated City" Combat Rock 1982 The Clash The Clash [10]
Track B5.

"Ivan Meets G.I. Joe" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track A4.

"Jail Guitar Doors" The Clash (1979 U.S. 1979 Strummer/Jones Micky Foote, Lee Perry, [18]
Track B6.
version) The Clash, Bill Price

"Janie Jones" The Clash 1977 Strummer/Jones Micky Foote [6]

Track A1.
Songs 384

"Jimmy Jazz" London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track A3.

"Julie's Been Working Give 'Em Enough 1978 Strummer/Jones Sandy Pearlman [7]
Track A4.
for the Drug Squad" Rope

"Junco Partner" Sandinista! 1980 Traditional The Clash, Mikey Dread [14]
Track A3.

"Junkie Slip" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track E4.

"Justice Tonight" "London Calling" 1979 Willie Williams, Jackie Guy Stevens [1] [2] [3] [29]
B-side.
single Mittoo

"Kick It Over" "London Calling" 1979 Willie Williams, Jackie Guy Stevens [1] [2] [3] [29]
B-side.
single Mittoo

"Kill Time" Rat Patrol from Fort 1982 The Clash – Unofficial release. Also known as
Bragg "Idle in Kangaroo Court
[12]
W1".

"Kingston Advice" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track E5.

"Know Your Rights" Combat Rock 1982 Strummer/Jones The Clash [10]
Track A1.

"Koka Kola" London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track C3.

"Last Gang in Town" Give 'Em Enough 1978 Strummer/Jones Sandy Pearlman [7]
Track A5.
Rope

"The Leader" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track A5.

"Let's Go Crazy" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track C4.

"Life Is Wild" Cut the Crap 1985 Strummer/Rhodes Bernard Rhodes [8]
Track 12.

"Lightning Strikes Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track C1.
(Not Once But Twice)"

"Listen" Capital Radio (EP) 1977 Strummer/Jones Micky Foote [15]

Track A1.

"Living in Fame" Sandinista! 1980 The Clash, Mikey Dread The Clash, Mikey Dread [14]
Track F2.

"London Calling" London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track A1.

"London's Burning" The Clash 1977 Strummer/Jones Micky Foote [6]

Track A8.

"Lonesome Me" London Calling 25th 2004 The Clash Guy Stevens, Mick Jones [28]
Track B9.
Anniversary Legacy
Edition

"Long Time Jerk" "Rock the Casbah" 1982 Paul Simonon The Clash [1] [2] [26] [30]
B-side.
single.

"Look Here" Sandinista! 1980 Mose Allison The Clash, Mikey Dread [14]
Track B2.

"Lose This Skin" Sandinista! 1980 Tymon Dogg The Clash, Mikey Dread [14]
Track E1.

"Lost in the London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track B3.
Supermarket"

"Louie Louie" – 1977 Richard Berry – Unreleased.

"Lover's Rock" London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track D1.

"The Magnificent "The Magnificent 1981 The Clash The Clash [1] [2] [26] [31]
B-side.
Dance" Seven" single
Songs 385

"The Magnificent Sandinista! 1980 The Clash The Clash, Mikey Dread [14] [26]
Track A1.
Seven"

"The Man in Me" London Calling 25th 2004 Bob Dylan Guy Stevens, Mick Jones [28]
Track B15.
Anniversary Legacy
Edition

"Mark Me Absent" – 1976 Mick Jones – Unreleased.

"Mensforth Hill" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track E3.

"Midnight Log" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track D2.

"Movers and Shakers" Cut the Crap 1985 Strummer/Rhodes Bernard Rhodes [8]
Track 6.

"Mustapha Dance" "Rock the Casbah" 1982 The Clash The Clash [1] [2] [26] [32]
B-side.
single

"North and South" Cut the Crap 1985 Strummer/Rhodes Bernard Rhodes [8]
Track 11.

"One Emotion" Clash on Broadway 1991 Strummer/Jones The Clash, Micky Foote, [25]
Track B5.
Mikey Dread, Sandy
Pearlman, Bill Price, Guy
Stevens, Lee Perry

"One More Dub" Sandinista! 1980 The Clash, Mikey Dread The Clash, Mikey Dread [14]
Track B6.

"One More Time" Sandinista! 1980 The Clash, Mikey Dread The Clash, Mikey Dread [14]
Track B5.

"Outside Broadcast" "This Is Radio Clash" 1981 The Clash The Clash [1] [2] [21] [33]
B-side.
single

"Overpowered by Combat Rock 1982 The Clash The Clash [10]

Track B1.
Funk"

"Paul's Tune" London Calling 25th 2004 Paul Simonon Guy Stevens, Mick Jones [28]
Track B3.
Anniversary Legacy
Edition

"Play to Win" Cut the Crap 1985 Strummer/Rhodes Bernard Rhodes [8]
Track 9.

"Police and Thieves" The Clash 1977 Junior Murvin and Lee Micky Foote [6]
Track B4.
"Scratch" Perry

"Police on My Back" Sandinista! 1980 Eddy Grant The Clash, Mikey Dread [14]
Track D1.

"The Police Walked in London Calling 25th 2004 Strummer/Jones Guy Stevens, Mick Jones [28]
Track B10.
4 Jazz" Anniversary Legacy
Edition

"Pressure Drop" "English Civil War" 1979 Toots Hibbert Sandy Pearlman [1] [2] [3] [34]
B-side.
single

"The Prisoner" "(White Man) In 1978 Strummer/Jones The Clash [1] [2] [3] [35]
B-side.
Hammersmith
Palais" single

"Protex Blue" The Clash 1977 Strummer/Jones Micky Foote [6]

Track B3.

"Radio 5" "This Is Radio Clash" 1981 The Clash The Clash [1] [2] [26] [33]
B-side.
single

"Radio 6" "This Is Radio Clash" 1981 The Clash The Clash [1] [2] [26] [33]
B-side.
single

"Radio Clash" "This Is Radio Clash" 1981 The Clash The Clash [1] [2] [26] [33]
B-side.
single
Songs 386

"Radio One" "Hitsville UK" single 1981 The Clash The Clash [1] [2] [36]
B-side.

"Rebel Waltz" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track B1.

"Red Angel Dragnet" Combat Rock 1982 The Clash The Clash [10]
Track A5.

"Remote Control" The Clash 1977 Strummer/Jones Micky Foote [6]

Track A2.

"Revolution Rock" London Calling 1979 Jackie Edwards, Danny Guy Stevens, Mick Jones [13]
Track D4.
Ray

"The Right Profile" London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track B2.

"Robber Dub" Black Market Clash 1980 Strummer/Jones Paul Simonon, Sandy [17]
Track B1b.
Pearlman, The Clash

"Rock the Casbah" Combat Rock 1982 The Clash The Clash [10]
Track A4.

"Rockers Galore...UK "Bankrobber" single 1980 Mikey Dread Mikey Dread [1] [2] [3] [11]
B-side.
Tour"

"Rudie Can't Fail" London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track A5.

"Safe European Home" Give 'Em Enough 1978 Strummer/Jones Sandy Pearlman [7]
Track A1.
Rope

"Sean Flynn" Combat Rock 1982 The Clash The Clash [10]
Track B2.

"Sex Mad Roar" "This Is England" 1985 Strummer/Rhodes Bernard Rhodes [1] [2] [26] [37]
B-side.
single

"Shepherds Delight" Sandinista! 1980 The Clash, Mikey Dread The Clash, Mikey Dread [14]
Track F6.

"Should I Stay or Combat Rock 1982 The Clash The Clash [10]
Track A3.
Should I Go"

"Silicone on Sapphire" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track F3.

"Sitting at My Party" – 1976 Mick Jones – Unreleased.

"Somebody Got Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track B4.
Murdered"

"Something About Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track A6.
England"

"The Sound of Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track C6.
Sinners"

"Spanish Bombs" London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track B1.

"Stay Free" Give 'Em Enough 1978 Strummer/Jones Sandy Pearlman [7]
Track B3.
Rope

"Stop the World" "The Call Up" single 1980 The Clash The Clash [1] [2] [3] [38]
B-side.

"Straight to Hell" Combat Rock 1982 The Clash The Clash [10]
Track A6.

"The Street Parade" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track E6.

"This Is England" Cut the Crap 1985 Strummer/Rhodes Bernard Rhodes [8]
Track 7.

"This Is Radio Clash" "This Is Radio Clash" 1981 The Clash The Clash [1] [2]
Non-album single.
single

"Three Card Trick" Cut the Crap 1985 Strummer/Rhodes Bernard Rhodes [8]
Track 8.
Songs 387

"Time Is Tight" Black Market Clash 1980 Booker T. Jones Paul Simonon, Sandy [17]
Track A5.
Pearlman, The Clash

"Tommy Gun" Give 'Em Enough 1978 Strummer/Jones Sandy Pearlman [7]
Track A3.
Rope

"Train in Vain" London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones [13]
Track D5.

"Up in Heaven (Not Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track C2.
Only Here)"

"Up-Toon" London Calling 25th 2004 Strummer/Jones Guy Stevens, Mick Jones [28]
Track B12.
Anniversary Legacy
Edition

"Version City" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track F1.

"Version Pardner" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track F4.

"Walk Evil Talk" Rat Patrol from Fort 1982 The Clash – [12]
Unofficial release.
Bragg

"Walking the London Calling 25th 2004 Strummer/Jones Guy Stevens, Mick Jones [28]
Track B13.
Slidewalk" Anniversary Legacy
Edition

"Washington Bullets" Sandinista! 1980 The Clash The Clash, Mikey Dread [14]
Track D5.

"We Are the Clash" Cut the Crap 1985 Strummer/Rhodes Bernard Rhodes [8]
Track 3.

"What's My Name?" The Clash 1977 Strummer/Jones Micky Foote [6]

Track A6.

"Where You Gonna London Calling 25th 2004 Strummer/Jones Guy Stevens, Mick Jones [28]
Track B14.
Go (Soweto)" Anniversary Legacy
Edition

"(White Man) In "(White Man) In 1978 Strummer/Jones The Clash [1] [2] [3] [35]
Non-album single.
Hammersmith Palais" Hammersmith
Palais" single

"White Riot" The Clash 1977 Strummer/Jones Micky Foote [6]

Track A4.

"Working and London Calling 1979 Strummer/Jones Guy Stevens, Mick Jones "Clampdown" instrumental
Waiting" starting track. Also known as
"Working for the
[13]
Clampdown".

"Wrong 'Em Boyo" London Calling 1979 Clive Alphonso Guy Stevens, Mick Jones [13]
Track C1.
Songs 388

See also
• The Clash discography
• The Clash on film

References
• Gilbert, Pat (2005) [2004]. Passion Is a Fashion: The Real Story of The Clash (4th edition ed.). London: Aurum
Press. ISBN 1845131134. OCLC 61177239.
• Gray, Marcus (2005) [1995]. The Clash: Return of the Last Gang in Town (5th revised edition ed.). London:
Helter Skelter. ISBN 1905139101. OCLC 60668626.
• Green, Johnny; Garry Barker (2003) [1997]. A Riot of Our Own: Night and Day with The Clash (3rd edition ed.).
London: Orion. ISBN 0752858432. OCLC 52990890.
• Gruen, Bob; Chris Salewicz (2004) [2001]. The Clash (3rd edition ed.). London: Omnibus. ISBN 1903399343.
OCLC 69241279.
• Needs, Kris (2005-01-25). Joe Strummer and the Legend of the Clash. London: Plexus. ISBN 085965348X.
OCLC 53155325.
• Topping, Keith (2004) [2003]. The Complete Clash (2nd edition ed.). Richmond: Reynolds & Hearn.
ISBN 1903111706. OCLC 63129186.

External links
• The Clash discography [42] on The Clash Official Site.
• The Clash discography [39] at Connolly & Company.
• The Clash [44] at Discogs.
• Albums by The Clash [40] at Rate Your Music.

References
[1] The Clash (http:/ / www. discogs. com/ artist/ Clash,+ The) at Discogs
[2] Clash, The. (30 October 2006). Singles Box. Sony BMG.
[3] U.K. Singles '77-'80 (http:/ / www. londonsburning. org/ alb_singles_uk_77_80. html)
[4] Clash, The. (24 November 1978). "Tommy Gun". CBS.
[5] Clash, The. (18 March 1977). "White Riot". CBS.
[6] Clash, The. (8 April 1977). The Clash. CBS.
[7] Clash, The. (10 November 1978). Give 'Em Enough Rope. CBS, Epic.
[8] Clash, The. (4 November 1985). Cut the Crap. Epic.
[9] Clash, The. (7 December 1979). "London Calling". Epic.
[10] Clash, The. (14 May 1982). Combat Rock. Epic.
[11] Clash, The. (8 August 1980). "Bankrobber". CBS.
[12] Clash, The - Rat Patrol From Fort Bragg (http:/ / www. discogs. com/ Clash-Rat-Patrol-From-Fort-Bragg/ release/ 715680) at Discogs
[13] Clash, The. (14 December 1979). London Calling. CBS, Epic, Legacy.
[14] Clash, The. (12 December 1980). Sandinista!. CBS, Epic.
[15] Clash, The. (1 April 1977). Capital Radio (EP). Neat.
[16] Clash, The. (11 May 1979). The Cost of Living (EP). Neat.
[17] Clash, The. (October 1980). Black Market Clash. Epic.
[18] Clash, The. (July 1979). The Clash (1979 U.S. version). Epic Records.
[19] Clash, The. (24 June 1982). "Should I Stay or Should I Go". CBS.
[20] Clash, The - Should I Stay Or Should I Go (http:/ / www. discogs. com/ Clash-Should-I-Stay-Or-Should-I-Go/ release/ 1254864) at Discogs
[21] U.S. Singles (http:/ / www. londonsburning. org/ alb_singles_us. html)
[22] Clash, The. (24 June 1982). "Should I Stay or Should I Go". CBS, Epic.
[23] Clash, The. (10 April 1981). "The Magnificent Seven". CBS.
[24] Clash, The - The Magnificent Seven (http:/ / www. discogs. com/ Clash-The-Magnificent-Seven/ release/ 92869) at Discogs
[25] Clash, The. (19 November 1991). Clash on Broadway. CBS, Epic.
Songs 389

[26] U.K. Singles '81-'91 (http:/ / www. londonsburning. org/ alb_singles_uk_81_91. html)
[27] Clash, The. (23 April 1982). "Know Your Rights". CBS.
[28] Clash, The. (20 September 2004). London Calling 25th Anniversary Legacy Edition. Columbia.
[29] Clash, The. (December 1979). "London Calling". Epic.
[30] Clash, The. (11 June 1982). "Rock the Casbah". CBS, Epic.
[31] Clash, The. (12 April 1981). "The Magnificent Seven". CBS, Epic.
[32] Clash, The. (18 June 1982). "Rock the Casbah". CBS, Epic.
[33] Clash, The. (4 December 1981). "This Is Radio Clash". CBS.
[34] Clash, The. (16 February 1979). "English Civil War". CBS.
[35] Clash, The. (4 December 1981). "(White Man) In Hammersmith Palais". CBS.
[36] Clash, The. (16 January 1981). "Hitsville UK". CBS.
[37] Clash, The. (September 1985). "This Is England".
[38] Clash, The. (28 November 1980). "The Call Up". CBS.
Article Sources and Contributors 390

Article Sources and Contributors

Introduction  Source: http://en.wikipedia.org/w/index.php?oldid=365604359  Contributors: Pjoef, X!

Punk rock  Source: http://en.wikipedia.org/w/index.php?oldid=369967288  Contributors: $leazy411, *Kat*, 165.121.112.xxx, 165.121.113.xxx, 165.121.114.xxx, 165.121.115.xxx,
165.121.117.xxx, 165.121.124.xxx, 209.86.216.xxx, 210.248.205.xxx, 213.243.149.xxx, 253.I26, 8bigsis, A Man In Black, A webster, A540, ACSE, AFI-PUNK, Aaron 1993, AaronS,
Aaronmcinroe, Academic Challenger, Ace Class Shadow, Acegikmo1, AdRock, Adashiel, Addshore, AdjustShift, Aflbballafl, AisoWare, Aitias, Ajlme123456789, Akadaks, Akrabbim,
Alafavore, Alansohn, Albertrocker, Aldonova, Alex 101, AlexR, Alonecookiemonster93, Alvintwo, Amatulic, Amren, AndonicO, Andrew Levine, Andrewlp1991, Andrezb123, Andros 1337,
Andycjp, Andyjsmith, Anetode, AngelOfSadness, Angelczek, Anger22, Animum, AnnaFrance, Annalise, Anonyarena, Anonymous editor, Anrkist, Antandrus, Antongandon, Antonotaku, Ap,
Applegigs, Arbitrarily0, Arcticbri, ArielGold, Arjun01, Arjuna909, Arker, Arnon Chaffin, Artaxiad, Articrole, Aryder779, Asemoasyourmom, Asfault, Ashermccormick, Aspects, Asylum writer,
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Zensufi, Zoe, Zoicon5, Zouavman Le Zouave, Zrs 12, Zzuuzz, ^demon, 3043 anonymous edits

The Clash  Source: http://en.wikipedia.org/w/index.php?oldid=369165735  Contributors: 0x845FED, 120120120lkj, 198.103.61.xxx, 213.121.101.xxx, 61x62x61, 665456a, 7, 75pickup,
80-MAN, A8UDI, ABF, AJ5439, Abu badali, Ace Class Shadow, Ad Nauseam, AdamRetchless, Afirex, After Midnight, Ahubling, Aktsu, Alai, Alanraywiki, Alex 101, AlexOvShaolin,
Allstarecho, AndonicO, Andrew Levine, Andrewlp1991, Andylkl, Andymarczak, Anger22, Applehead77, Arcadian, Arno Matthias, Arthena, Ash Loomis, Athena854, Atomicloonybin,
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Article Sources and Contributors 391

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Joe Strummer  Source: http://en.wikipedia.org/w/index.php?oldid=369697986  Contributors: 75pickup, ARUNKUMAR P.R, Ace Class Shadow, Adamv88, Airunp, Alansohn, All Hallow's
Wraith, Amd.webeditor, AmosWolfe, Anastrophe, Andrew Levine, Andrew Mackenzie, AndrewHowse, Angmering, AntonioMartin, Aranel, Argon233, Ashmoo, Audioweevil, Back ache,
Backin72, Badaffinity, Baristarim, Bbsrock, Belmontian, Benjaminhick, Bevo74, Bill j, BillFlis, Biographies 1, Bjones, Bkonrad, Blue Order, Bobo192, Bookkeeperoftheoccult, Bradeos
Graphon, Bronlyn, BrownHairedGirl, Btl, BuffaloBob, Bumm13, Butterboy, Byron the punk, CarJamming, Catchpole, CeeGee, Chadwholovedme, Chairman S., CharlotteWebb, Christopher
Dale, Cjmarsicano, Closedmouth, Cobain, Colonies Chris, CommonsDelinker, Conch Shell, Crystallina, Ctdunstan, Cuchullain, D6, DHeyward, DO'Neil, DVD R W, Dabraat, Dagshai, Dahn,
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Nixeagle, No-Fx, Noozgroop, OllieFury, Omarcheeseboro, Onorem, Ourai, Owain, Owen, Persian Poet Gal, Phil in the 818, Pietaster, Pixelface, Pjoef, Plasticup, Pontificalibus, Portillo,
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Youridemybus, Zadi, Zeebats, Zeno Gantner, Zoicon5, Zombieflesh23, Zone46, 537 anonymous edits

Mick Jones  Source: http://en.wikipedia.org/w/index.php?oldid=369599440  Contributors: 1251thestrokes, 75pickup, AEMoreira042281, Aargal, Akamad, Alejandrocaro35, All Hallow's Wraith,
Andwhatsnext, Arno Matthias, Atomizer13, Brandt Luke Zorn, C777, CarlyMC17, Ceoil, Chadwholovedme, Christopher Dale, Clumsyk, Cobain, Crystallina, Cxed, D6, DE, Dahn, Dale Arnett,
Danspalding, Darklilac, David Johnson, DavidWBrooks, Derek R Bullamore, Design, Dl2000, Drbisquit, Dwaipayanc, Edgriebel, Emperorbma, EntChickie, Feudonym, Florilegist,
Francodamned, FunkMonk, GabrielGuerra, Garion96, Grace Note, GregorB, Hank chapot, Herr Kriss, Hildeswendgaard, Hn, Husond, Ian2203, Inanechild, InvisibleSun, Ixfd64, JBsupreme,
JForget, JackShestak, Janisb, Jmc29, Jobe6, John, Johnny Rockfort, Jrun, Kevtiller, Kilroy1231, KittenKlub, Kwib, Kww, Lamontacranston, Lars Washington, Limelight05, Mad Hatter,
Madurum, Mais oui!, Marcus Brute, Marcus2, Martarius, MartinUK, Mike Garcia, Mike Selinker, Mr. Brain, Msgrjosh, Musicfreakrat, Ndrly, Nerwen, Nosb, Ospalh, Paper Back Writer 23,
Parmesan, Pascal.Tesson, Pennywisepeter, Pietaster, Pjoef, Pmsphoto, Rabend, Rage Against, Remurmur, Rich Farmbrough, Roger Workman, Rorylyng, Rossrs, RottweilerCS, Rsrikanth05, SE7,
SamJG, Sfan00 IMG, Sfrauley, Shenme, Sideshow Bob Roberts, Signalhead, Soetermans, Spiff666, SteveRamone, SuperHamster, Tanet, The monkeyhate, Theelf29, Thomaslear, Tim010987,
Tithonfury, Tobogganoggin, Ulflarsen, Updatehelper, Vasiľ, Wether B, Wiki libs, Wingspeed, Wwwhatsup, Yerauy, Zivb2007, Zombieflesh23, 221 anonymous edits

Paul Simonon  Source: http://en.wikipedia.org/w/index.php?oldid=369169625  Contributors: 75pickup, All Hallow's Wraith, Angmering, Angr, Ash, B3nnic33, Berti, Blue Order,
BrotherFlounder, C777, Carnivorous caveman, Chairman S., Chicken202, ChrisCork, Christopher Dale, Cjmarsicano, ClovisPt, Crazypink, Crgn, CyberAnth, DO'Neil, Dasmuffmiester,
Dawkeye, Edkollin, Edward, Eggishorn, Entangle, ErleGrey, Evanreyes, Fair Deal, Floodfish, Florilegist, Francodamned, Fredrick day, Gaius Cornelius, GraemeL, Hall Monitor, Harryboyles,
Hede2000, Hogrefe cz, Iggwilk, J Di, Java13690, Jawsper, Jayron32, Jetski, John, John254, Kafka Liz, Kleptomania, Leahtwosaints, LilHelpa, Littleone77, Looneyboyo, Mad Hatter, Madmang,
Mandarax, MarcoPolo7212, MarsRover, McCann51, Melanoma, Mike Selinker, Morefun, Mr.Blonde, Mschel, Musicfreakrat, Neanderthalprimadonna, Nicke Lilltroll, Omassey, Optigan13,
Ottershrew, Panastasia, Pequenanotavel, Pietaster, Pjoef, Ponta2, ProveIt, Pwned14, RB972, Rage Against, Rama, Redwhiteandblue2, Rich Farmbrough, Rob Ward, Rossrs, RottweilerCS, Rrose
Selavy, Sheled Umlal, Signalhead, Spellmaster, Stan weller, TOO, Tafkaz, The monkeyhate, TheParanoidOne, Thomas22, Ttrnd22, Unimath, Vfitzpatrick, Warpozio, Wether B, Whisky2, Wiki
libs, Yamla, Yarbles75, Yerauy, ZPM, Zombieflesh23, 194 anonymous edits

Topper Headon  Source: http://en.wikipedia.org/w/index.php?oldid=368828590  Contributors: Amcl, BD2412, Baseheadlulu, Byron the punk, CSWarren, Chowbok, ChrisTheDude, Cj93070,
Conch Shell, Cpj93070, D6, Darkhauk, David Gerard, DavidLevinson, Derek R Bullamore, Dsirecords, DynamoDegsy, E-Kartoffel, Euce, Fache, FilthMasterFlex, Fratrep, Frazzydee, Gurch,
Gyrofrog, Hooperbloob, Howcheng, Jimmiebone, JoeyJoeJoe70, Joeyramoney, John, Kbdank71, Luckas Blade, MP4BT, Mad Hatter, Mainmiguel, MarsRover, Mike Selinker, Milo Panero,
Morgangrinder, MortAlbarn, Mr.Blonde, Nonky, Nv8200p, Pietaster, Piriczki, Pjoef, R'n'B, R. fiend, Ranaenc, Rich Farmbrough, RobyWayne, RottweilerCS, Shenme, Shregger, Sidefall,
Spellmaster, Spiff666, Stan weller, Stellis, Sunidesus, Tassedethe, Tunebroker, Verne Equinox, WikHead, Wiki libs, Wileycount, Willerror, Wwwhatsup, Xb2u7Zjzc32, Xradioclash77, 84
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Keith Levene  Source: http://en.wikipedia.org/w/index.php?oldid=367158462  Contributors: AndrewHowse, Asnav, Bobo192, Bsroiaadn, Ceoil, David Gerard, Enigmaman, Fache,
Fodderstompf, Gyrofrog, Ianblair23, Jessesamuel, John, Jubella, KittenKlub, Kurt Shaped Box, Librarydan, Lugnuts, Mellery, Mike Selinker, Morefun, Munci, Norman3412, Pjoef, Ponta2, Sam
Hocevar, Scratchy7929, Sedonaarizona, Slysplace, Taco chopper, Tuesdaily, Twas Now, Wizardman, Wwwhatsup, Yerauy, 33 anonymous edits

Terry Chimes  Source: http://en.wikipedia.org/w/index.php?oldid=367940931  Contributors: Aqua85, BTLizard, Bbx, Bduke, Bogart99, Chadbryant, Chickenguy12, Christopher Dale,
Cjmarsicano, D6, DO'Neil, David Gerard, Derek R Bullamore, Docu, Dopefish, Dysprosia, Eclipse666, Fache, Francodamned, Friedfish, Habj, Headbomb, Hoponpop69, Jasonater, John,
Jonnabuz, Kurt Shaped Box, Markjoseph125, Mike Selinker, PaulHanson, Pawnkingthree, Pjoef, Ponta2, Rms125a@hotmail.com, Rparle, Samaritan, Schmiteye, SlayerXT, Slysplace, Template
namespace initialisation script, Teutoberg, ThatRockMetalGuy, TheParanoidOne, Theelf29, TimothyHorrigan, Wiki libs, WillyTheHurricane, Wwwhatsup, Yerauy, 43 anonymous edits
Article Sources and Contributors 392

Rob Harper  Source: http://en.wikipedia.org/w/index.php?oldid=334983770  Contributors: Childzy, Dubmill, GrahamHardy, GregorB, Juliancolton, Ledzeppelinzoso, Noah Salzman, Pjoef,
RexNL, Severo, Spiff666, Tabletop, Twsx, Ulric1313, Waacstats, Yerauy, 15 anonymous edits

Nick Sheppard  Source: http://en.wikipedia.org/w/index.php?oldid=364224985  Contributors: Ajnf95, Alexius08, Baseheadlulu, CMacMillan, ChrisTheDude, Cogoal, Fache, Grant65,
Jezhotwells, John, Mentifisto, Mike Selinker, Pietaster, Pizza1512, Pjoef, Rjwilmsi, Synergy, Tide rolls, Tiff girl85, Versus22, Wwwhatsup, 12 anonymous edits

Vince White  Source: http://en.wikipedia.org/w/index.php?oldid=349978576  Contributors: Clerks, Emeraude, Fache, GregorB, John, Katharineamy, Pjoef, Spiff666, Waacstats, Wiki libs,
Yerauy, 12 anonymous edits

Bernard Rhodes  Source: http://en.wikipedia.org/w/index.php?oldid=360797272  Contributors: Aka twitch, Alexchondros, All Hallow's Wraith, Cuthbert58, David Gerard, Fache, Fish and
karate, Gareth Owen, Gmcgrory, GregorB, Jason2612, Kelly Martin, Martarius, Nicke L, Pawnkingthree, Pjoef, Rcb1, Rich Farmbrough, Rrose Selavy, Sam Armstrong, Spiff666, The Ubik,
Twistedwheelnut, Willerror, Wwwhatsup, 37 anonymous edits

Mikey Dread  Source: http://en.wikipedia.org/w/index.php?oldid=366017609  Contributors: Algoriddim, Astral, BD2412, Bearcat, Bender235, Btrem, BuffaloBob, CdaMVvWgS, D,
DaveWalley, FidelAstro, Forbsey, Good Olfactory, JD554, John, Johnuniq, KAtremer, Klaus Bertow, Korg, Mapcat, Mark Lungo, Michig, Monikacampbell, Mrnickcooper, Mário e Dário,
Nolispanmo, Pete Scholtes, Pietaster, Pjoef, Politepunk, Ponta2, Rich Farmbrough, Ryansigala, Schmiteye, Shell Kinney, SqueakBox, Star Garnet, Stemonitis, Steven J. Anderson, Steven Zhang,
Szwedzki, Teklund, TheParanoidOne, Uksignpix, Urtica far i, Wwwhatsup, 49 anonymous edits

Don Letts  Source: http://en.wikipedia.org/w/index.php?oldid=366684292  Contributors: Alexjgunn, All Hallow's Wraith, Andwhatsnext, Babbage, Bashereyre, C777, Chris Henniker, Ckatz,
Closenplay, Cnwb, Conquistador2k6, D-Notice, Derek R Bullamore, EamonnPKeane, Esemono, Fache, Ferball415, Fractalchez, Geraldine123, Grace letts, Grafen, Gyrofrog, Hooverbag, Imesj,
John, Karaboom, Libertyletts, Loadmaster, M-le-mot-dit, Mareino, Martarius, Mgillespie, Migospia, Mike Selinker, MikeWattHCP, Mip, Nancy, Pietaster, Pince Nez, Pjoef, Ponta2,
Quercusrobur, Rjwilmsi, Rodhullandemu, Smerus, StevieNic, Stevieraylittlewing, Theresa knott, Tim1357, WATP, Wallace1980111, Wikiklrsc, Wizardman, ZANI Ezine, ZacharyS, 50
anonymous edits

Bill Price  Source: http://en.wikipedia.org/w/index.php?oldid=349978118  Contributors: Dissolve, HelenWatt, Malcolma, Marcus2, Martarius, Mattg82, Mr.Blonde, Pietaster, Pjoef, Ponta2, Rich
Farmbrough, Severo, Truthanado, 4 anonymous edits

Guy Stevens  Source: http://en.wikipedia.org/w/index.php?oldid=367614925  Contributors: Alcuin, Bad Wolf, Commander Keane, Derek R Bullamore, E-Kartoffel, Futurepast11, Ghmyrtle,
Kjkolb, Laurascudder, Lozarithm, P tasso, Pietaster, Pjoef, Regan123, Rich Farmbrough, Richfife, Rjwilmsi, Rojomoke, S ellinson, SilkTork, StormCloud, Vonbontee, 8 anonymous edits

Sandy Pearlman  Source: http://en.wikipedia.org/w/index.php?oldid=363751614  Contributors: 75pickup, AYNIL, Aesire, Anonymous coward, BrainyBroad, Brossow, C777, CanisRufus,
ClydeC, Crashtest22, Cryptic, Cyfal, DUMKOOLMAN61290, DanielLevitin, David Gerard, Eiamjw, Elonka, HollyAm, Hu12, JimWae, Johnpacklambert, Leflyman, Mellery, Open2universe,
Pjoef, Postcard Cathy, RIAA Archivist, Rayc, Rjwilmsi, Robert K S, Snorgy, Starbucks95905, Tide rolls, Tvoz, Twalls, Vegaswikian, Wikibarista, Woohookitty, 46 anonymous edits

Tymon Dogg  Source: http://en.wikipedia.org/w/index.php?oldid=349973963  Contributors: 61x62x61, 7devonapes, Aethionema, AndrewHowse, Annalasim, Apedevon, Arpingstone, Aspects,
Bender235, Bjones, C777, Cloudintrousers, Colonies Chris, David Gerard, Dubmill, Eco84, EdGl, EntChickie, Ferdinand Pienaar, Grenavitar, IbLeo, Jessan0, Jmcnally, Livefastdieold, Lonita,
MegX, Mkdns20, Philippe, Pietaster, Pjoef, Ponta2, Queenranavalona, R. fiend, Richhoncho, Rjwilmsi, Rodney Boyd, Rydia, Smerus, Tassedethe, 35 anonymous edits

Mick Gallagher  Source: http://en.wikipedia.org/w/index.php?oldid=360591325  Contributors: Amalas, Crystallina, E-Kartoffel, Ian1019, John, Kritikos99, Martarius, Mattbr, Mike Selinker,
Pjoef, Ponta2, Rich Farmbrough, Spellmaster, Tunebroker, 11 anonymous edits

Gary Barnacle  Source: http://en.wikipedia.org/w/index.php?oldid=352924816  Contributors: Antiidiotfoundation, Bogsat, Brasssax, Cometstyles, DavidFarmbrough, Derek R Bullamore,
Dfmock, Dizrythmia, IbLeo, MegX, Mellery, Michelleatkins 71, Pjoef, Richhoncho, Spook`, Tednor, The JPS, Utd grant, Woohookitty, 25 anonymous edits

Pennie Smith  Source: http://en.wikipedia.org/w/index.php?oldid=344867178  Contributors: Bobf, Cactus.man, Darwinek, Dev920, Face, Iridescent, Krylonblue83, Maker9999999999,
Malice1982, Martarius, MegX, Pjoef, Restecp, RicDod, Rockroks, Stephen, Thecreator09, Waacstats, WikHead, Wwwhatsup, Xeno, 12 anonymous edits

Ellen Foley  Source: http://en.wikipedia.org/w/index.php?oldid=366127675  Contributors: AMCKen, AceAndres, All Hallow's Wraith, Antmusic, Asarelah, Avono, Badbilltucker, Baylink,
Beesknees, Bill37212, Bjones, Brian Patrie, BrokenSegue, Bruceberry, Bunchofgrapes, Christian Historybuff, Collier626, Crash Underride, Crystallina, D6, Dananderson, David Gerard, Design,
EHonkoop, Eastfrisian, Easytoremember, EliasAlucard, ExRat, Explicit, Gmosaki, Grenavitar, Heslopian, Huskies1983, ILaw, Iridescent, Irishguy, Jamespfarrell, Jevansen, Jiffytuvix, John, John
wesley, JohnMc, Jonerik10, Lafong, Lexw, Mad Hatter, Marcelinofan, Marcus Cyron, Mattbr, Mcthumber, MegX, Michig, Mike80, Mitchberg, Mysdaao, Nethency, Paulimo, Pjoef, Ricky81682,
Sevesteen, Srasku, Sumahoy, Tassedethe, Teapotgeorge, The Epopt, The JPS, The wub, TheSniperZERO, Tinton5, TucsonUte, Verne Equinox, Wizardman, Woohookitty, Wtimrock, Yintan,
Zigwithbag, 77 anonymous edits

Caroline Coon  Source: http://en.wikipedia.org/w/index.php?oldid=346529296  Contributors: D6, Elonka, Figaro, J JMesserly, JayJasper, Larryred, Magioladitis, MrBronson, Philip Cross, Pjoef,
Rettetast, Rmky87, RobinCarmody, SatyrTN, Soane, Stephen, Stepshep, Tyrenius, Wwwhatsup, Xeno, 2 anonymous edits

Steve Bell  Source: http://en.wikipedia.org/w/index.php?oldid=369919972  Contributors: A bit iffy, Angr, Bodnotbod, Can't sleep, clown will eat me, Catapult, Chrisleeclark, Citizensmith, D6,
DanMS, Danceswithzerglings, Dl2000, Dmanning, Edward, Funky Monkey, Geo8rge, Gunray, Hig Hertenfleurst, Icairns, Ike9898, Irishpunktom, John, Johnthemonkey, Lupin, Mais oui!,
Martarius, McGeddon, Michael Snow, Modest Genius, Nicknack009, OlEnglish, Oldhamlet, Phileas, Philip Cross, PhilipC, Pigsonthewing, Pjoef, Privatemusings, Rbrwr, Rich Farmbrough,
Richard K. Carson, Riddley, RolandR, Rothorpe, Sam Blacketer, Seglea, Sir Richardson, Squash, Stan Shebs, Suchsmallportions, Swpmre, Tagishsimon, Taliswolf, Tassedethe, Thermaland, Tim
Ivorson, TonyTheTiger, Vclaw, Vodex, YUL89YYZ, Yomangan, 49 anonymous edits

Futura 2000  Source: http://en.wikipedia.org/w/index.php?oldid=361861426  Contributors: AaronF2, AlexDitto, Art-rite, Binary TSO, Brodieben, Calliopejen1, Dedonite, Down10, Dysprosia,
Edgarde, FVTVRA, Fayenatic london, FeanorStar7, Gaius Cornelius, GeeJo, Grand master pat, Hertak, J.delanoy, Jness, Lerner, Longhair, MER-C, Moink, NicoV, OlEnglish, Piepie, Pjoef,
Playclever, Randysshh, ReedSturtevant, Rjwilmsi, Sdorrance, Shotwell, SimonP, Snaxorb, Speciate, Stepshep, Suriel1981, Tawker, That Guy, From That Show!, Thomson7, Tim Ivorson, Timc,
Urthogie, Uusitunnus, Wavehunter, Woohookitty, ZS, 53 anonymous edits

Ray Lowry  Source: http://en.wikipedia.org/w/index.php?oldid=368434493  Contributors: A bit iffy, Aelfthrytha, AreJay, Bobf, Caerwine, ContiAWB, DShamen, EchetusXe, Ghmyrtle,
Kbthompson, Malleus Fatuorum, Martarius, Philip Cross, Pjoef, RobinCarmody, Rothorpe, TThornborough, Wwwhatsup, Yorkshiresky, 16 anonymous edits

The 101ers  Source: http://en.wikipedia.org/w/index.php?oldid=352375113  Contributors: BNutzer, BTLizard, Blah3, Blum41, Cloonmore, Deor, Fache, Gracenotes, Inanechild, Jdcooper,
Jmcnally, JubalHarshaw, Loopy, Martarius, Matterson52, Paul foord, Pietaster, Pjoef, Ponta2, R. fiend, RGCorris, Rich Farmbrough, SVTCobra, Spiff666, Stephen MUFC, The Bug Eyed Master,
Think outside the box, Underneath-it-All, Woohookitty, Wwwhatsup, 30 anonymous edits

London SS  Source: http://en.wikipedia.org/w/index.php?oldid=349975130  Contributors: 96T, Achangeisasgoodasa, Alai, Algebraist, Auto movil, Bobblewik, CapPixel, Cmdrjameson,
E-Kartoffel, ErikTheBikeMan, Fache, Funeral, Funkspiel, Gaius Cornelius, Grant65, Gyrofrog, J04n, Jdcooper, Jerzy, John Foley, Karada, Piccolo Modificatore Laborioso, Pimpalicious, Pjoef,
Ponta2, Prozacforall, Quercusrobur, R. fiend, Rjwilmsi, Roberta F., Rossrs, Schmiteye, The Undertones, Tim010987, Tony rigby, Twas Now, Underneath-it-All, Unknown Unknowns,
Vragebugten, 20 anonymous edits

Big Audio Dynamite  Source: http://en.wikipedia.org/w/index.php?oldid=369158774  Contributors: (chubbstar), 198.103.61.xxx, Alex 101, Amazinms90, AndrewHowse, Barticus88,
Bawtyshouse, Bearcat, Benson85, BigAudioClash, Bisbis, Blackfyr, Bonalaw, Bryan Derksen, C777, Chadwholovedme, Coolboyno1, DantheCowMan, David Gerard, Davidkt, Delage, Doc
Strange, Dougz1, Draemelius swift, Ecls, EoGuy, Ericorbit, Fache, Feydey, FotoPhest, Fratrep, Funeral, GRAHAMUK, Guanaco, Gyrofrog, HDCase, Holiday56, Ian Dunster, Ianblair23,
Iggwilk, Jdcooper, JoeSmack, Jogers, John, LilHelpa, Lola Voss, Loopy, Lugnuts, Master Thief Garrett, McCann51, MikeVitale, Monotonehell, Mooneeboys, MuzikJunky, NemUK, Nerwen,
Nqr9, Orderinchaos, Paper Back Writer 23, Paul Drye, Pietaster, Pjoef, Putnam269, Radiojon, Rich Farmbrough, Ronark, Rossrs, ST47, Salavat, Simplicius, SlubGlub, Soetermans, Taestell,
Tassedethe, Tbone, Tdl185, Team4Technologies, Timsheridan, Tomtheman5, Tonywalton, Trusilver, Underneath-it-All, Universal Cereal Bus, Ursogey, Vhowells, Vmars4eva, Wmahan,
Xezbeth, Xinger, Zigger, 76 anonymous edits

The Latino Rockabilly War  Source: http://en.wikipedia.org/w/index.php?oldid=337553833  Contributors: Bruce1ee, C777, Devilgate, Dravecky, Errant Tiger, Hathawayc, Nouse4aname,
Patrick.trettenbrein, Pietaster, Pjoef, Rcran, Trovatore, Underneath-it-All, Wikiacc, 12 anonymous edits

Havana 3am  Source: http://en.wikipedia.org/w/index.php?oldid=334125987  Contributors: A no-knee mouse, Bearcat, David.Monniaux, Fache, John, Leahtwosaints, MIT Trekkie,
MakeRocketGoNow, Pietaster, Pjoef, Sdcoates1978, Sherool, Spellmaster, 8 anonymous edits
Article Sources and Contributors 393

The Mescaleros  Source: http://en.wikipedia.org/w/index.php?oldid=349975001  Contributors: Artinio Hall, Biederman, C777, Captain Crawdad, Catapult, Chris the speller, Cloudintrousers,
EHonkoop, Effective, Effectivepublishing, EntChickie, Esprit15d, Fache, Ghosts&empties, Grenavitar, Idont Havaname, Inanechild, Jdcooper, Jlee562, John, Luk, Nobby Clark13, Nouse4aname,
PEJL, Pablosmiley, Pablosmiley13, Pietaster, Pjoef, Polylerus, R. fiend, RedWolf, Restecp, Rjwilmsi, Rothorpe, Rydia, SlayerXT, Steven J. Anderson, TOO, Tassedethe,
Thesexualityofbereavement, Voyelles, Wcivils, YUL89YYZ, 45 anonymous edits

Carbon/Silicon  Source: http://en.wikipedia.org/w/index.php?oldid=364274719  Contributors: Angusmclellan, B3t, Betacommand, Ceyockey, Cschmitt, Davidkt, Derek R Bullamore, Dross-iow,
Fache, Fisherjs, Grant65, Hammard, JackShestak, Jamdav86, Jimindc, JoeSmack, John, Lewisisok1, Maxim, Mikeblas, Mr.Blonde, Mrsyetidooscreecher, Munci, Neon white, Pietaster, Pjoef,
Pmsphoto, Reorgart, Schizier, SteveHorwood, Sugarfish, Tassedethe, The Baroness of Morden, Wwwhatsup, 33 anonymous edits

The Good, the Bad & the Queen  Source: http://en.wikipedia.org/w/index.php?oldid=369425662  Contributors: 17Drew, A Minor Thr3at, AWeenieMan, AaronRosenthal, Andrzejbanas,
Aphid360, Audiosmurf, BGC, BambooBanga, Beardo, Being blunt, Birthskin, C777, CapitalLetterBeginning, Cbing01, Ceoil, Chappy84, Charlieb63, Cryo enix, CyberSkull, D4tis, Dan aka jack,
DavyJonesLocker, Deanh, Delundell, Domster, Dsims209, Dyontz, Echolot, Emayall, ErleGrey, Evanreyes, Feudonym, Fisherjs, FlashAmI, Flowerkiller1692, Fredrick day, Fritz Saalfeld, Frostie
Jack, Goromike, Green Tentacle, Gsmuk, Headdymann, Iansmcl, Icanstillcu, Indopug, Iridescent, JCGB, Jack Garfield, JackS 7, Jamsta, John, Just64helpin, Kernitou, Kicking222, Kollision,
Labelephant, Lightmouse, Lozace, Malljaja, Manic Paul, Marchije, Matt.Hoy, Mialcxe3, Modern life is rubbish, Moochocoogle, MrRodolfoAlbarn, Mutiny-In-Heaven, Nemodomi, Newmag,
Phileas, Pietaster, Pjoef, Recliner Man, Rjwilmsi, Rogwan, Rst20xx, S3000, SVTCobra, Satchett, Sharkdude95, Skomorokh, Soetermans, Spin Boy 11, Steptb, Steveprutz, SuzeOlbrich, Tarsie,
TheLH, Tom7p, Victor Lopes, Whereizben, Wiki alf, Wirelessbollinger, Xljesus, Ytgy111, 157 anonymous edits

Rock Against Racism  Source: http://en.wikipedia.org/w/index.php?oldid=368734267  Contributors: Acabashi, Alleborgo, Arad7613, Beano311, Bearcat, Bengmeng, Bloodofox,
Bobfrombrockley, Boffy b, Bomberis88, CJCurrie, Caspiax, ChKa, Chris Henniker, Chrishr, Curtsurly, DH85868993, Dzubint, Ewa5050, FirstPrinciples, Florian Huber, GRAHAMUK, GregorB,
Hailey C. Shannon, Imnotminkus, InnocuousPseudonym, JK the unwise, John, Ka34, KathrynLybarger, Kenshin, Kwekubo, L0b0t, LeonardoGregianin, Madinertia, MigGroningen, Mitsos, Mr
Larrington, Nae'blis, Neutrality, Norman3412, Ntennis, Pietaster, Pjoef, Raroriginalcrew, Rich Farmbrough, Rjwilmsi, Samuel Blanning, Schroeder74, Shermozle, Spylab, Staatsfeind 89,
Stevenmitchell, The Merciful, Theaterfreak64, Thebanjohype, Thekohser, Tim010987, Toddsschneider, TrojanSkin, Wahoofive, Z10x, Zigger, 65 anonymous edits

Concerts for the People of Kampuchea  Source: http://en.wikipedia.org/w/index.php?oldid=365364144  Contributors: AyaK, Candyfloss, E-Kartoffel, ElectricEye, Esasus, Evanreyes, Frostie
Jack, Glassbreaker5791, GoingBatty, Gongshow, Hqb, Jochim Schiller, Jogers, KF, Kingboyk, Koavf, Mrzaius, Pjoef, Sbamkmfdmdfmk, Shyguy1991, Tassedethe, TenPoundHammer,
Wisekwai, 6 anonymous edits

Burning London: The Clash Tribute  Source: http://en.wikipedia.org/w/index.php?oldid=359132102  Contributors: Darwin's Bulldog, Download, Drjayphd, Esasus, Fir42, Imperatore,
KConWiki, Pietaster, Pjoef, Rich Farmbrough, Westtester, Zidane tribal, 5 anonymous edits

Rude Boy  Source: http://en.wikipedia.org/w/index.php?oldid=362035356  Contributors: Biederman, Billinghurst, BoNeZ, Chris Henniker, Daigaku2051, Elpaw, Esprit15d, Fir42, Georgia guy,
Hoverfish, Jamesscottbrown, John, Kbthompson, Megaforcemedia, Michael Bednarek, Piet Delport, Pietaster, Pjoef, RachelMcIntyre, Rich Farmbrough, Robert.Harker, Spylab, Wwwhatsup, 23
anonymous edits

The Clash: Westway to the World  Source: http://en.wikipedia.org/w/index.php?oldid=355282227  Contributors: Ayanoa, BoNeZ, Chris Henniker, Danny, Dycedarg, Evil Monkey, Hoverfish,
Logan1138, Loopy, Patrick.trettenbrein, Picante98, Pjoef, Rich Farmbrough, Sannse, TheParanoidOne, Tired time, 6 anonymous edits

Let's Rock Again!  Source: http://en.wikipedia.org/w/index.php?oldid=355281490  Contributors: Evilive, Hoverfish, Limeyproducer, MarsRover, Pietaster, Restecp, Rjwilmsi, Tvjackass8907, 4
anonymous edits

Joe Strummer: The Future Is Unwritten  Source: http://en.wikipedia.org/w/index.php?oldid=355281365  Contributors: C777, CapitalLetterBeginning, Cokehabit, Dycedarg, Flowerkiller1692,
John, KS, Lugnuts, MJBurrage, Master of Puppets, Pixelface, Pjoef, Ponta2, RWardy, Radosław10, Rich Farmbrough, Shawn in Montreal, Vl'hurg, WikHead, Wikiklrsc, 7 anonymous edits

Concert for Kampuchea  Source: http://en.wikipedia.org/w/index.php?oldid=362339573  Contributors: Candyfloss, E-Kartoffel, Jogers, Kingboyk, Kisholi, Koavf, MarnetteD, Michig, Mike
Selinker, Miketm, Mr. Manu, Pjoef, Pkeets, Quentin X, Wasted Time R, Wool Mintons, YorkshireNed, 18 anonymous edits

D.O.A.  Source: http://en.wikipedia.org/w/index.php?oldid=355280862  Contributors: Colonies Chris, J Milburn, Pjoef, Seth Whales, Tommyt, 2 anonymous edits

Punk: Attitude  Source: http://en.wikipedia.org/w/index.php?oldid=367100118  Contributors: C777, DutchTreat, EdGl, MMJackman, MegX, Murderbike, Pjoef, Plastikspork, Rich Farmbrough,
Rich257, Salamurai, Skomorokh, Xemxi, 5 anonymous edits

Walker  Source: http://en.wikipedia.org/w/index.php?oldid=365595784  Contributors: AN(Ger), Andrzejbanas, BRG, Beware the Unknown, Captain Crawdad, Colonies Chris, D6, DagosNavy,
Doooglas, Fetchfan, GirasoleDE, Goustien, Grandpafootsoldier, Hu12, J.D., John, Keller83, Kevyn, Kusma, Leithp, LlywelynII, Mintguy, Mje112, Nigelkurt, Niteowlneils, Nusumareta, Opus33,
Pegship, PhilipC, Pietaster, R. fiend, RepublicanJacobite, Shadowjams, ShelfSkewed, Soul Crusher, TMC1982, TheMovieBuff, Tstrobaugh, Uucp, Wheresmike, Zombie433, 28 anonymous edits

Straight to Hell  Source: http://en.wikipedia.org/w/index.php?oldid=367999009  Contributors: BlueSalo, BrokenSegue, Ceyockey, CharlotteWebb, ChuckEye, Cuchullain, Demoman87,
DocendoDiscimus, Draconiszeta, Earl Manchester, Everyking, EvilCouch, ExRat, GoingBatty, Grandpafootsoldier, GregorB, Gwern, J.D., Jeffq, John, JustAGal, KConWiki, Killing sparrows,
Lairor, Lampford, Leithp, Mad Hatter, Maestrodagod, Mark Lungo, Mortimer-mortimer, Pegship, PhilipC, R. fiend, Sam Hocevar, ShelfSkewed, SimonP, Stormie, Supernumerary,
TheMovieBuff, Theresa knott, Underneath-it-All, Viriditas, 4 anonymous edits

Candy Mountain  Source: http://en.wikipedia.org/w/index.php?oldid=332846433  Contributors: ...---...SOS, Alphathon, Dr. Blofeld, Grandpafootsoldier, Hellothereyoupeoples, IndulgentReader,
J.delanoy, LaszloWalrus, Lugnuts, Moronmason, Pill, Rich Farmbrough, Robofish, Ronhjones, Roux-HG, Symac, Thingg, Tiernanmul2k8, 12 anonymous edits

Mystery Train  Source: http://en.wikipedia.org/w/index.php?oldid=369346840  Contributors: Amikake3, Binksternet, Casliber, Count Ringworm, Curtsurly, Daichi358, Darth Panda, David
Feldmann, David Gerard, Dawes15, Frainc, Fuhghettaboutit, Gadget850, Gaius Cornelius, Gene Nygaard, Gram123, INXS-Girl, Ianblair23, J.D., KConWiki, Ling.Nut, Lugnuts, M.nelson,
Michaelcoyote, Microbekiller, Paul Richter, Pietaster, R. fiend, Radeksz, Rafablu88, RegentsPark, Rich Farmbrough, Skomorokh, Sugar Bear, Svick, TVfanatic2K, Talkie tim, Treybien, Trimp,
Visserligen, Weavehole, Zhinz, 25 anonymous edits

I Hired a Contract Killer  Source: http://en.wikipedia.org/w/index.php?oldid=278847968  Contributors: Big Bird, Dr. Blofeld, Garion96, Ghirlandajo, KihoDeal, Ppntori, Prolog, Smetanahue,
Varlaam, 3 anonymous edits

Capital Radio  Source: http://en.wikipedia.org/w/index.php?oldid=351909575  Contributors: BD2412, DCGeist, John, Koavf, Manic Paul, Martarius, Pjoef, Ponta2, R. fiend, RobinCarmody,
Tassedethe, Twas Now, 5 anonymous edits

The Clash  Source: http://en.wikipedia.org/w/index.php?oldid=364102432  Contributors: Anger22, Atomicloonybin, Aussie Ausborn, BTLizard, BTfromLA, Bad Wolf, Badwolftv, Bearcat,
Blueboy96, Bobmince, Cbing01, Chairman S., Chuck Taylor's, Cloonmore, DCEdwards1966, DCGeist, DO'Neil, DaveGorman, Davebarrington, Dbenbenn, Dommico, Earl Manchester,
Evanreyes, Everyking, Fache, Fantailfan, Flowerparty, Gamaliel, Girolamo Savonarola, Green clash, Grenavitar, Guerillero, Happy quack, Heidimo, Ian1019, Indopug, JYi, James Epstein, Jkelly,
JoeSmack, JoeyPublic, Jogers, John, John Kenney, Just64helpin, Klaus Bertow, LGagnon, Lola Voss, Loopy, Mad Hatter, Martpol, Meegs, MiTfan3, Mick Jones, Myfriendbrenn, OceanSized,
Ozzykhan, PEJL, Pie.er, Pietaster, Pjoef, Ponta2, Portillo, Qirex, Queenieacoustic, R. fiend, Rich Farmbrough, Roberta F., Rossrs, RottweilerCS, Ruck, Rydia, ST47, Salamurai, Sannse,
Scraggy4, ScudLee, Spellmaster, Spliff200, StarryEyes, Stinerman, Sublimefan97, TOO, TUF-KAT, The monkeyhate, TheOnlyOne12, Thebanjohype, Theschisminthewism, Thismightbezach,
TimothyHorrigan, TomEatsCake, Twas Now, Tyir, White Devil, Who, Wiki libs, Zombieflesh23, 121 anonymous edits

The Cost of Living  Source: http://en.wikipedia.org/w/index.php?oldid=351909748  Contributors: A3oertENG, BD2412, Chadwholovedme, Cloonmore, Elonka, Fache, Geejo, GregorB,
Jackhitts08, John, Koavf, Mr.Blonde, Pjoef, Salamurai, SomeGuy11112, Thismightbezach, Twas Now, 7 anonymous edits

Give 'Em Enough Rope  Source: http://en.wikipedia.org/w/index.php?oldid=366969696  Contributors: 17Drew, Ahubling, Aphid360, BGC, Badwolftv, Bearcat, Butterboy, C777, CAVincent,
Cbing01, Chadwholovedme, Chairman S., Clash100, Cloonmore, Cmdrjameson, Commander Keane, Daddylight, DaveGorman, Dommico, EdGl, Elpollofarsante, EndlessWires, Fache,
Fantailfan, Flowerkiller1692, Flowerparty, Freakofnurture, Gamaliel, Gary pratt, Grenavitar, Happy quack, Hardcore Harro, Hattes, Ian1019, Ivan Bajlo, Jkelly, JoeyPublic, John,
Josephabradshaw, Klaus Bertow, Kubigula, LGagnon, Loopy, Mad Hatter, Malcolm XIV, Megamanic, Mike Garcia, Mindspillage, Notinasnaid, Nouse4aname, Nrbagdc, PEJL, Pietaster, Pjoef,
Poiuytre, Ponta2, Portillo, Powerpiper, Remurmur, RevRock, Rich Farmbrough, Rjwilmsi, Rossrs, RottweilerCS, ScudLee, SomeGuy11112, StarryEyes, Stinerman, T-rex, TFunk, TOO, The
monkeyhate, TheOnlyOne12, Thejonathanthemoss, Thismightbezach, Tinidus, TucsonUte, Twas Now, Underneath-it-All, Who, Willerror, Yamla, Zombieflesh23, 93 anonymous edits

London Calling  Source: http://en.wikipedia.org/w/index.php?oldid=368433571  Contributors: 75pickup, A3oertENG, AKMask, Ajuk, Alai, Albrozdude, Alcuin, Andrew Levine,
AndrewHowse, Anger22, Angmering, AntonioMartin, AntonyChittenden, Artrush, Ashemon, BGC, Badanedwa, Badwolftv, Bearcat, Bensec, Berenlazarus, Bobblewik, BuffaloBob,
BurningZeppelin, C777, Californian Treehugger, Captain Potato, Carolaman, Cbing01, Chairman S., Cholmes75, Citymovement, Cloonmore, Cmdrjameson, Commander Keane, Courcelles,
Article Sources and Contributors 394

Cschaupp12, Cyberdiablo, D-Katana, DCEdwards1966, DCGeist, DaveGorman, DavidWBrooks, Deusfaux, Dhartung, Djinn112, Doh286, Dommico, Drumbug1, Editor37, ElysianImpetus,
EpsilonNaughty, Everyking, Evil Monkey, FMAFan1990, Face, Fair Deal, Fantailfan, Farfendugle, Feydey, FilthMasterFlex, Freshacconci, Funeral, G-my, Gamaliel, Gcstackmoney, Gczffl,
Gemini1980, Geniac, Giggy, Goethean, Greba, Hardcore Harro, Harro, Heidimo, HisSpaceResearch, Hypertornado, Indopug, J JMesserly, J Milburn, J04n, Jamdav86, James Epstein,
Jamesmorrison, Jason One, Jbfballrb97, JimBarker, Jkelly, Jmanigold, JoeSmack, JoeyPublic, Joeyramoney, Jogers, John, Josephabradshaw, Jterich, Jtkiefer, Jwy, Kane5187, Kappa, Kh7482,
Kingboyk, Klaus Bertow, Koavf, LGagnon, Lancevortex, Lathrop1885, Leadbellly, Liddelr, Liftarn, Little Savage, Loopy, LuoShengli, Malcolm XIV, Martarius, Martpol, Mav, Melvalevis,
Michael Snow, Mick Jones, Mikm, Mindspillage, Moisejp, NHRHS2010, NSR77, Nakon, Noozgroop, Nouse4aname, NrDg, Nryan89, Ooglyboo, PEJL, Papa November, Paperlion7, Paul A,
Pavskies, Pepve, Peter Fleet, Phbasketball6, Phthoggos, Pietaster, Piriczki, Pjoef, Poiuytre, Portillo, Profoss, Qwertyus, RandomProcess, Rastabilly, RattleandHum, Raynethackery, Rich
Farmbrough, Rock Soldier, Rockk3r, Rossrs, SHARD, ST47, Saint-Paddy, Salamurai, Sannse, Sanya, Seanchapman, Shirimasen, Simon Coward, SiobhanHansa, Sittingonfence, Sk'py Skwrrrl,
Slythefox, Smilehand, SomeGuy11112, Spliff200, Spylab, Ssilvers, Stan weller, Stilgar135, Stinerman, Strobilus, Sublimefan97, Sun King, T, TOO, TUF-KAT, Taffy Casey, Tbhotch, Tbone,
The Bug Eyed Master, The monkeyhate, TheOnlyOne12, TheUnpluggedGuy, Thegreenj, Theschisminthewism, Thismightbezach, ThomasIrvin, Tim010987, Tony1, Toon81, Tothebarricades.tk,
Travelling Tragition, Traxinet, Tubby, Twas Now, TylerD, Underneath-it-All, Wahoofive, Wasted Time R, WesleyDodds, White Devil, Wiki libs, Wikiliki, Willerror, Woohookitty, Wprlh,
Wwwhatsup, Y2kcrazyjoker4, Yamla, ZPM, Zalery, Zariane, Zellin, Zeno Gantner, Zenohockey, Zfezfe, Zombieflesh23, 334 anonymous edits

Sandinista!  Source: http://en.wikipedia.org/w/index.php?oldid=369464559  Contributors: 17Drew, 2rusty22, 61x62x61, 96T, AKGhetto, AllyD, AndrewHowse, Annalasim, Atomicloonybin,
Auntof6, Aussie Ausborn, BGC, Bad Wolf, Badwolftv, Bearcat, Bjones, Bricklayer, BuffaloBob, C777, Caxon81, Cbing01, Chadwholovedme, Chairman S., Chuck Taylor's, Cloonmore,
Cmdrjameson, DO'Neil, Dale Arnett, Dan56, DaveGorman, Dbenbenn, Dejan sb, Delirium, Descendall, Domer48, Dommico, Ed Fitzgerald, Everyking, Fache, Fantailfan, Flowerparty, Gamaliel,
Gcstackmoney, GirasoleDE, GlassCobra, Grenavitar, Hndsmepete, Hoponpop69, Hughcharlesparker, IRua, Ian Dunster, Ian1019, Indopug, Jkelly, Jmcnally, Joe h parsons, JoeSmack, JoeyPublic,
John, John Kenney, Josephabradshaw, Jubileeclipman, Klaus Bertow, Kvaks, Leadbellly, Lucius Lucullus, Mad Hatter, Martarius, Matharvest, Middeh, Monikacampbell, Mr.Blonde, Nawae,
Neilwatts, Nethency, Noahwalkthisway, Nouse4aname, Onceler, One Night In Hackney, PEJL, Pete Scholtes, Pie.er, Pietaster, Pjoef, Portillo, Proofreader77, Proxima Centauri, Queenieacoustic,
R. Kevin Doyle, R. fiend, RattleandHum, Rchange, RedWolf, RepublicanJacobite, Rich Farmbrough, Rodney Boyd, Rossami, Ryulong, ST47, Sam Hocevar, Scarian, Scottflewis, ScudLee, Sidar,
SlackerMom, SlayerXT, Slysplace, Stellis, Steven Argue, Sublimefan97, Sun King, Svenvb74, TOO, TVgoggles, The monkeyhate, Thismightbezach, Tregoweth, Twas Now, Underneath-it-All,
Undersmoke, WadeSimMiser, Washington Bullets, Wasted Time R, WesleyDodds, Wholetruthy, WikHead, Wiki libs, Wikyatesborn, Willerror, Winterssanchez, Worthlessboy1420, Xemxi,
Yamla, Zoicon5, Zombieflesh23, 164 anonymous edits

Combat Rock  Source: http://en.wikipedia.org/w/index.php?oldid=368527282  Contributors: 2rusty22, Arcadian, Aussie Ausborn, Badwolftv, Bobblewik, Cactus.man, CanisRufus, Cbing01,
Chadwholovedme, Chairman S., Cloonmore, Cmdrjameson, Corbon, D6, Dan56, DaveGorman, Dejan sb, Dommico, Drilnoth, Fache, Fantailfan, Gamaliel, Gcstackmoney, Hraefen, Hyacinth,
Ian1019, ItsAlwaysLupus, Jack Haddad, Jkelly, JoeSmack, Joeyramoney, John, Josephabradshaw, Jubileeclipman, KingDoug, Klaus Bertow, Koavf, Konczewski, LedBeatles52596, Lenin and
McCarthy, Loopy, Mad Hatter, Martarius, Melvalevis, Mick Jones, Mike Garcia, Mr.Blonde, Nutti, Ompty, Owlmonkey, PEJL, Pietaster, Pjoef, PleaseStand, Ponta2, Portillo, R. fiend,
RattleandHum, Rich Farmbrough, Rjwilmsi, RobyWayne, Rossrs, Sharkdude95, Soetermans, Sp4ever, Stan weller, Stinerman, Sublimefan97, TOO, TheOnlyOne12, Thesexualityofbereavement,
Thismightbezach, Thumperward, Tim010987, Tomasooie, Tomgoes, Tothebarricades.tk, Twas Now, Tyir, Wachholder, Wasted Time R, Wiki libs, Woohookitty, Yamla, ZPM, 90 anonymous
edits

Cut the Crap  Source: http://en.wikipedia.org/w/index.php?oldid=369568866  Contributors: 17Drew, 96T, Alai, Angmering, C4NN4815 M4N, Chadwholovedme, Chairman S., DaveGorman,
DavidWBrooks, Dejan sb, Dommico, Eddtipton, Evlekis, Fache, Fantailfan, Flowerparty, Fram, Frymaster, Gamaliel, Grm wnr, Heaven's Wrath, Hoponpop69, Ian1019, Iggwilk, Indigae,
Jasonsewall, Jkelly, Jlee562, JoeSmack, Joeyramoney, Jogers, John, Jubileeclipman, Koavf, Konczewski, Lenin and McCarthy, Mad Hatter, Mike Garcia, Nouse4aname, P. S. Burton, PEJL, Phil
Larin, Pietaster, Pjoef, Planetneutral, Portillo, R. fiend, RattleandHum, Rich Farmbrough, Rossrs, ScudLee, Soetermans, SomeGuy11112, Sp4ever, Stinerman, Thismightbezach, Tony1, Twas
Now, Underneath-it-All, Wafulz, Walor, Wasted Time R, WesleyDodds, Yamla, Zone46, 95 anonymous edits

Concerts for the People of Kampuchea  Source: http://en.wikipedia.org/w/index.php?oldid=362126759  Contributors: Alcuin, Ashadeofgrey, Asn, AyaK, Candyfloss, Cmdrjameson,
Danthemankhan, E-Kartoffel, Frostie Jack, Groovemaneuvers, Hawkestone, John Cardinal, KF, Khatru2, Kingboyk, Koavf, Lightdarkness, Mattbrundage, Mdumas43073, MegX, Mendaliv,
Miketm, Mr. Manu, Mtmtmt, Number87, Oanabay04, Panchoytoro, Piriczki, Pjoef, Rich Farmbrough, Rocket000, Rory096, Rskeens, Schroeder74, Srsrsr, Swanrizla, Tassedethe,
TenPoundHammer, The Rogue Penguin, Tiganeman, Twas Now, Twistandshout28, Underture, Wasted Time R, XXSaifXx, 41 anonymous edits

The Story of the Clash, Volume 1  Source: http://en.wikipedia.org/w/index.php?oldid=364921698  Contributors: BGC, CapitalLetterBeginning, Chadwholovedme, Cmdrjameson, Crystallina,
CyberSkull, Dejan sb, Dr. Worm, Ehouk1, Fache, Fantailfan, Feydey, Gamaliel, GrahamHardy, Jadewade, Koavf, Luna Santin, MarsRover, Musicman378, Pjoef, Rjwilmsi, Swanrizla, Tutmosis,
Twas Now, WACGuy, Zoicon5, 12 anonymous edits

Clash on Broadway  Source: http://en.wikipedia.org/w/index.php?oldid=367520736  Contributors: Clashcityrocker92, Cmdrjameson, Dejan sb, Fache, Fantailfan, Feralfeline, Feydey, Fir42,
Knuckles, Koavf, MarsRover, May Cause Dizziness, Pietaster, Pimlottc, Pjoef, Rich Farmbrough, Salamurai, Swanrizla, Tassedethe, Twas Now, Zidane tribal, Zoicon5, 10 anonymous edits

The Singles  Source: http://en.wikipedia.org/w/index.php?oldid=369568194  Contributors: Altenmann, Ary29, Davidkt, Dejan sb, Fache, Fantailfan, Feydey, Grenavitar, Inamino, Jackhitts08,
Jkelly, Jogers, Koavf, Martarius, Mpeggins, Nixeagle, Pietaster, Piisamson, Pjoef, Rich Farmbrough, Sp4ever, THollan, TheObtuseAngleOfDoom, Ultradrummer528, Wiher, Xihix, 15
anonymous edits

Super Black Market Clash  Source: http://en.wikipedia.org/w/index.php?oldid=367620220  Contributors: Alcuin, Aussie Ausborn, Bearcat, Beasley564, Bento00, Bigwiver, Cbing01,
Chadwholovedme, Cloonmore, Cmdrjameson, DaveGorman, Dommico, Evil Monkey, Fache, Fantailfan, FlamingSilmaril, FunkMonk, Funky Monkey, Gaius Cornelius, Gamaliel, Googuse,
Hammer55, IntrigueBlue, J Milburn, Jimbo online, Jkelly, Kelly Katula, Koavf, Lola Voss, Longhair, Mad Hatter, MarsRover, Mindspillage, Naturally, Phil in the 818, Pjoef, Ponta2,
Preservedmoose, Qwick monsta, R. fiend, RIAA Archivist, Rich Farmbrough, Rossrs, Russ London, Salamurai, Sftpbr, Sublimefan97, Tassedethe, Thismightbezach, TimothyHorrigan,
Undersmoke, Unscented, Wahoofive, WikHead, 41 anonymous edits

From Here to Eternity: Live  Source: http://en.wikipedia.org/w/index.php?oldid=366029988  Contributors: Alcuin, BGC, BTLizard, Cbing01, Chadwholovedme, Cmdrjameson,
DantheCowMan, DaveGorman, Dejan sb, Eddtipton, Evil Monkey, Fache, Grenavitar, Jkelly, John, Koavf, Kpjas, LGagnon, Mindspillage, PEJL, PedroFonini, Pietaster, Pjoef, Ponta2, R. fiend,
Retoocs99, Rich Farmbrough, Rossrs, Tubedogg, Tutmosis, Twas Now, Wiki alf, 13 anonymous edits

Live at Bond's Casino  Source: http://en.wikipedia.org/w/index.php?oldid=362483236  Contributors: Ahoerstemeier, Alcuin, DantheCowMan, Darkhauk, Fir42, Fisherjs, Flowerparty,
Gcstackmoney, Greba, Grenavitar, Jkelly, Koavf, Mike Garcia, Ortolan88, Pjoef, RRawpower, Rastabilly, RedWolf, Rich Farmbrough, Rjwilmsi, Rrawpower, ScudLee, Spearhead, T-rex, 11
anonymous edits

The Essential Clash  Source: http://en.wikipedia.org/w/index.php?oldid=369568019  Contributors: A3oertENG, Alcuin, All systems go, BGC, BurningZeppelin, CBM, Camerafiend, Cbing01,
Chadwholovedme, Cmdrjameson, DaveGorman, Ehouk1, Fache, Grenavitar, Jkelly, John, Koavf, MagicBez, Martarius, Musicman378, Ourai, Pjoef, Portillo, Rich Farmbrough, Rm w a vu,
Sloverlord, Sp4ever, Swanrizla, Tutmosis, Twas Now, WACGuy, Wolfer68, Zoicon5, 33 anonymous edits

Singles Box  Source: http://en.wikipedia.org/w/index.php?oldid=369566935  Contributors: Ary29, Chadwholovedme, Chairman S., Cholmes75, Fache, Herr Kriss, JedEgan, Jogers, Jonas.E.B.,
Jpabc, Kman543210, Koavf, MarsRover, Melaen, Mr.Blonde, Musicman378, PYM77176, Pjoef, Swanrizla, SwitChar, THollan, Twas Now, 22 anonymous edits

The Singles (2007)  Source: http://en.wikipedia.org/w/index.php?oldid=369566167  Contributors: Alto Pablo, Ary29, BGC, Conman33, Dejan sb, Flowerkiller1692, Fractious Jell, Hndsmepete,
Jogers, Koavf, Landithy, LukeTheSpook, PYM77176, Pjoef, Ponta2, Salamurai, Swanrizla, Wiher, 15 anonymous edits

Live at Shea Stadium  Source: http://en.wikipedia.org/w/index.php?oldid=369567943  Contributors: BGC, Beat 768, Dejan sb, Dekisugi, Edkollin, Ekaloudis, Harpstar, Indie.Bones, John, KS,
Kmitch87, Koavf, Mattgirling, Ohnoitsjamie, PYM77176, Pjoef, Ponta2, Saint-Paddy, Seanhighkin, 20 anonymous edits

"1977"  Source: http://en.wikipedia.org/w/index.php?oldid=348700590  Contributors: Cobaltbluetony, Edwardx, Phil in the 818, Rich Farmbrough, Salamurai

"Bankrobber"  Source: http://en.wikipedia.org/w/index.php?oldid=369299020  Contributors: All systems go, Ayushrai, C777, CBM, CJLL Wright, Chadwholovedme, Cloonmore, Connor5612,
Deanh, Download, Eliz81, Ewlyahoocom, Fantailfan, Fir42, Grenavitar, Jackhitts08, John, Juzhong, KAtremer, KingMorpheus, LeSaint, Martarius, Michaelfool, PaladinWhite, Party diktator,
Pele Merengue, Pjoef, R. fiend, Rich Farmbrough, RiverdaleWiki, Rjwilmsi, Salamurai, Seth Whales, SlackerMom, TeddyE, Ttenchantr, 37 anonymous edits

"Brand New Cadillac"  Source: http://en.wikipedia.org/w/index.php?oldid=364507669  Contributors: Durova, E-Kartoffel, Hraefen, Hunterzmd, John, Kitchen roll, Knowledgeablemihran,
Ortolan88, Pjoef, Red dwarf, Rjwilmsi, Salamurai, Tassedethe, The monkeyhate, Tim010987, WalrusOct9, 13 anonymous edits

"The Call Up"  Source: http://en.wikipedia.org/w/index.php?oldid=367917978  Contributors: Bjones, Bleu7, CJLL Wright, Ccoll, Chadwholovedme, Cloonmore, Doctormatt, Enam Esru, Fir42,
Fred Bradstadt, Harro, Jason One, John, Josephabradshaw, Koavf, Martarius, Pjoef, R. fiend, Thebeast666, To hell with poverty!, Viewfromthebridge, Whpq, Ycdkwm, 4 anonymous edits
Article Sources and Contributors 395

"Career Opportunities"  Source: http://en.wikipedia.org/w/index.php?oldid=369159523  Contributors: 23skidoo, Alcuin, C777, Chadwholovedme, FMAFan1990, FlyHigh, Grenavitar,
Huntster, JoeSmack, JoeyPublic, John, John Kenney, LGagnon, Martarius, Midori Days, Mike Garcia, Mon Vier, Nhbelongstome, P4k, Pietaster, Pjoef, Quercusrobur, R. fiend, Rich Farmbrough,
Richhoncho, Rydia, Shanes, Soetermans, Swive, TOO, W guice, Zoicon5, 15 anonymous edits

"Clampdown"  Source: http://en.wikipedia.org/w/index.php?oldid=367775474  Contributors: 96T, AKMask, Anim, Beatpoet, Bensec, Bensin, Brenont, C777, CJLL Wright, Chadwholovedme,
Chris3145, Cloonmore, DCGeist, Drjayphd, Egpetersen, Fabiom, Feydey, Frank, Hestemand, J Milburn, JoeSmack, Jogers, John, Jwy, Kwellyn, Ling.Nut, Mandarax, Martarius, OldMajor,
OverlordQ, Pietaster, Pjoef, Rich Farmbrough, Richhoncho, Roguestate, Scbomber, Seeleschneider, Seth Whales, Shirt58, The Silent Walker, Thegreenj, Vash Aurion, Wiki Raja, Wiki libs, 58
anonymous edits

"Clash City Rockers"  Source: http://en.wikipedia.org/w/index.php?oldid=349979177  Contributors: Adam12901, C777, CJLL Wright, Chuck Taylor's, Cloonmore, DavidFarmbrough,
Everyking, HamadaFanFFSM, Hooters4breakfst, Iggybatero, Jackhitts08, Jogers, John, Manufactured to Comply, Martarius, NawlinWiki, Pjoef, Ponta2, Reint, Salamurai, The-Pope,
TheOnlyOne12, Thebeast666, Wildthing61476, 10 anonymous edits

"Complete Control"  Source: http://en.wikipedia.org/w/index.php?oldid=367506616  Contributors: Bubba hotep, C777, CJLL Wright, Cjmarsicano, DCGeist, Fache, Huw Powell, Janadore,
Jbattersby, JoeSmack, JoeyPublic, Jogers, John, Loopy, Markpeters, Martarius, MonstaMan, Phil Boswell, Pietaster, Pjoef, Ponta2, R. fiend, Rich Farmbrough, 16 anonymous edits

"English Civil War"  Source: http://en.wikipedia.org/w/index.php?oldid=349976699  Contributors: C777, CJLL Wright, Chadwholovedme, Dronthego, Durova, Grenavitar, Jackhitts08,
JoeyPublic, John, John Quiggin, Kimon, Loopy, MarsRover, Martarius, Perceval, Pharos, Pietaster, Pjoef, Ponta2, Rodrigogomesonetwo, Salamurai, SteinbDJ, The monkeyhate, Veesicle,
WikHead, Woohookitty, 23 anonymous edits

"Every Little Bit Hurts"  Source: http://en.wikipedia.org/w/index.php?oldid=368626470  Contributors: BrothaTimothy, Dan56, Durova, Elcocinero, Euclynthajunior, Everyking, FranklinG,
GassyGuy, Groovemaneuvers, Jimmjet89, Kev Kiernan, Norahjones-cover, OlivierMiR, Pjoef, Richhoncho, Shaidar cuebiyar, Sigma 7, TMadison, Woohookitty, 25 anonymous edits

"Groovy Times"  Source: http://en.wikipedia.org/w/index.php?oldid=349977782  Contributors: AndrewHowse, CJLL Wright, Durova, Dwitefry, Fir42, John, John Cardinal, Martarius, Pjoef,
Salamurai, 3 anonymous edits

"The Guns of Brixton"  Source: http://en.wikipedia.org/w/index.php?oldid=369223349  Contributors: Aeminorhan, Agent Aquamarine, Alvie3, Anrod, Aussie Ausborn, BD2412,
BambooBanga, Buck Mulligan, Cbing01, Chadwholovedme, Chris the speller, DCGeist, Darrek88, Davidkt, EdGl, Editor37, Ertner, Evanreyes, Fache, Feydey, Fratrep, Furbycek, Gareth Owen,
Grasshopper88, Grenavitar, IAMTHEEGGMAN, Ian Dunster, IllaZilla, Improv, Jbfballrb97, Jbmurray, Jkelly, JoeSmack, John, Kafka Liz, Kman543210, Koavf, Komischn, Lightdarkness,
LilHelpa, Lunar Jesters, MFlet1, Malcolmxl5, Martarius, Matt006, Mbinebri, Night Gyr, Pietaster, Pjoef, Prss, R. fiend, Richhoncho, Rjwilmsi, Salamurai, Scum117, Seth Whales, SlackerMom,
Soetermans, Ss112, Sublimefan97, Vmih, YoBobbeh, ZPM, 85 anonymous edits

"Hitsville UK"  Source: http://en.wikipedia.org/w/index.php?oldid=358083344  Contributors: 61x62x61, C777, CJLL Wright, Chuck Taylor's, Cloonmore, Closeapple, Grenavitar, Gustafc,
InnocuousPseudonym, Jackhitts08, John, Koavf, Lenoxus, Malcolma, Martarius, Nonky, OwnagePower, Patapples, Pjoef, RepublicanJacobite, Rjwilmsi, Skapur, Tide rolls, Woohookitty,
Zundark, 18 anonymous edits

"I Fought the Law"  Source: http://en.wikipedia.org/w/index.php?oldid=368541929  Contributors: 13thfloor, 2Pac, Adozenlies97, Ahubling, Ajsib, Alai, Alansohn, Angmering, Apocralyptic,
Aranel, Artfish, Avicennasis, Bcostley, Beane, Betaeleven, Bewildebeast, Bigjimr, Bobert1358, Brick Wall, Buried Alien, Butsuri, CJLL Wright, CS42, Calair, CaliforniaDave, Cassandraleo,
Chadwholovedme, Chunky Rice, Cjmarsicano, Conquistador2k6, Craigboy, Crippler4, Cromag, Cubs Fan, Danleary25, Darksun, DeadEyeArrow, Deirdre Kavanagh, Dharmabum420, Disco dude
rock, EamonnPKeane, ElPasoBF4fan, Elonka, Evandro Davis, Everyking, Fir42, Fnuffe, Fuhghettaboutit, Furrykef, GVOLTT, Gasala, Gen. Quon, Georgesch4, Giovannii84, Graham87,
GregorB, Hgfernan, Holiday56, Hoponpop69, IllaZilla, Interlingua, Irish rover, Izzy007, JD554, JLaTondre, James Epstein, Jim Muir, JoeSmack, JoeyJ, Jogers, John, John E. FitzGerald,
Jollyroger, Kappa, Koavf, Konahk4, Kurasuke, Lambiam, Leki, Longhair, Luke29, Macca7174, Majorclanger, Manny401, Martarius, Maul day, Mbinebri, Mdmoisell, MeltBanana, Memset,
Mick Jones, Mike Payne, Mild Bill Hiccup, Milosppf, MinuteHand, Moochocoogle, Munchsack, Nazroon, Nouse4aname, NuclearWarfare, Nurg, Obriensg1, Omphaloscope, Ossifaring,
Peregrine Fisher, Pietaster, Pjoef, Quercusrobur, R. fiend, Razer64, Rich Farmbrough, Richhoncho, Rkanodia, Ronark, ST47, Sb26554, ShaneKing, Silentjames, Sir Baka Jones, Sisyph,
Sterry2607, Steveweiser, StuckWithMeFan113, Stuckwithmefan112, Sugarcubez, TUF-KAT, Taas0, TenPoundHammer, The wub, TheBilly, Thomas81, Tppatterson123, Trystero11,
UltimatePyro, Versadar, W guice, Wannesvdh, Wolfer68, XR DAD, Y2kcrazyjoker4, YK Times, Zntrip, Zonly, 206 anonymous edits

"I'm So Bored with the USA"  Source: http://en.wikipedia.org/w/index.php?oldid=364256336  Contributors: Akid59, AndrewHowse, Billinghurst, Bobblehead, Bonadea, C777,
Chadwholovedme, Czolgolz, EdGl, Firsfron, Jkelly, JoeyPublic, Jogers, John, Kareeser, MPFC1969, Martarius, Pawnkingthree, Pietaster, Pjoef, Ponta2, Rich Farmbrough, Richhoncho,
Rodrigogomesonetwo, Salamurai, Slammy2323, Thebeast666, Theunknownauditor, WikHead, 15 anonymous edits

"Jail Guitar Doors"  Source: http://en.wikipedia.org/w/index.php?oldid=349977799  Contributors: Martarius, Pjoef, Rjwilmsi, Salamurai, Twas Now, Unknown Unknowns, 4 anonymous edits

"Janie Jones"  Source: http://en.wikipedia.org/w/index.php?oldid=359613714  Contributors: BauerPower, Bunnyhop11, C777, Clashcityrocker92, Cloonmore, E-Kartoffel, Fredd the Redd,
John, Keever1102, M4RLO WIKI, Neelix, Pjoef, Rich Farmbrough, Richhoncho, Robby.is.on, ShottersNation60, Soetermans, Unknown Unknowns, 6 anonymous edits

"Junco Partner"  Source: http://en.wikipedia.org/w/index.php?oldid=361056839  Contributors: Ale And Quail, BD2412, CCBC, J04n, Pjoef, R'n'B, Rothorpe, SpanishStroll, Spiff666, Tabletop,
WikHead, Wolfer68, 21 anonymous edits

"Know Your Rights"  Source: http://en.wikipedia.org/w/index.php?oldid=368025065  Contributors: Aussie Ausborn, Bearian, BoNeZ, C777, CJLL Wright, Cloonmore, Fir42, Grenavitar,
Inoticethings, J04n, Jjlevin, Jogers, John, Martarius, Mon Vier, Pjoef, R. fiend, Sublimefan97, Thebeast666, Ttenchantr, Zundark, 25 anonymous edits

"London Calling"  Source: http://en.wikipedia.org/w/index.php?oldid=367458992  Contributors: 17Drew, Agronox, AllyUnion, Anatheron, Anger22, AnonMoos, Aranel, Audiovideo,
Bdushaw, BeastmasterGeneral, Bensec, Betacommand, BillFlis, C777, CJLL Wright, Capitalistroadster, Chadwholovedme, Charlangas, CherryFlavoredAntacid, Cmdrjameson, Crash Underride,
David.Monniaux, Dayewalker, Dr bab, Drappel, Drutt, Edmont, Esprit15d, Everyking, Fair Deal, Fhomasson, Fuzzy510, Ghirlandajo, Grstain, Guy Harris, Hank chapot, Ian Dunster, Jackhitts08,
James Epstein, Jlee562, Jmc29, JoeSmack, JoeyPublic, John, Kai-Hendrik, Kappa, Kbthompson, Kingturtle, Kissingerisamadgenius, Koavf, Krobertj, Kuru, LGagnon, Leger, LilHelpa, Loopy,
Magicandmedicine, Martarius, MegX, Mike Garcia, Mike Selinker, Moisejp, Moochocoogle, Ms2ger, Msvcrtd, Myscrnnm, Papa November, Peter G Werner, Pietaster, Pimlottc, Piriczki, Pjoef,
Ppool65421, Puceron, R. fiend, Richhoncho, RickK, Rillian, Ritchy, Rjwilmsi, RottweilerCS, ST47, Sagaciousuk, Samaritan, SilkTork, Sky83, Soetermans, StarryEyes, Sw258, TMC1982, TOO,
The chest, The stuart, TheOnlyOne12, TheSubtleDoctor, ThuranX, Timeineurope, TommyStardust, Tony Sidaway, TucsonUte, Underneath-it-All, Valerio79, Waterguy, Werdan7, WesleyDodds,
Wether B, White Devil, Wiki libs, Woohookitty, Y2kcrazyjoker4, ZanAV, Zeimusu, 130 anonymous edits

"London's Burning"  Source: http://en.wikipedia.org/w/index.php?oldid=363452896  Contributors: Fir42, Pjoef, R'n'B, Richhoncho, Salamurai, Sja0812, The monkeyhate, Zundark, 3
anonymous edits

"Lost in the Supermarket"  Source: http://en.wikipedia.org/w/index.php?oldid=362408470  Contributors: Alcuin, Bearcat, Brunowidorski, Chadwholovedme, Cypher z, Darkieboy236,
Drjayphd, Editor37, Grenavitar, Hraefen, Jgm, John, Kaiba, Morganman79, NYCJosh, Pietaster, Pjoef, Rich Farmbrough, Richhoncho, Seanschmidt24, Seeleschneider, Urbanrenewal, 10
anonymous edits

"Louie Louie"  Source: http://en.wikipedia.org/w/index.php?oldid=364719471  Contributors: 121a0012, 1zackman, ACT1, Alansohn, AlexCharyna, Alexbrewer, Andrew Levine,
Angusmclellan, Anwiyayoukhanna, Argcar519, Ashley Pomeroy, BD2412, Beachbabydarragh, Benc, Betaeleven, Bgruber, BigT2006, Billdescoteaux, Binary TSO, Bjimba, Blanchardb,
Blueminute, Bobblehead, Brian Crawford, Brick Wall, Btyner, CAVincent, Carlossfsu, ChadRLarson, Chadbryant, Charolastra charolo, Chicken0895, Chris Henniker, Chris the speller, Chubbles,
Chuckiesdad, Cigarette, Cjmarsicano, Clarityfiend, Clmen, Cofax48, Coneslayer, Craig Adams, Cuyaken, D4g0thur, DBaba, DHN, DJ Clayworth, DMCer, Damaged again, Daniel Case,
Danjoman, Dave.Dunford, DaveDixon, David spector, Deke42, Derek R Bullamore, Design, DrRevXyzzy, Dravecky, E-Kartoffel, ESkog, Edcolins, ElectraShore, Esprit15d, Ezeu, FMAFan1990,
FlyingPenguins, Foolthemusical, Fortdj33, Frecklefoot, Frschoonover, Gavinatkinson, GaylordHopscotch, Geoduck, Ghmyrtle, Giovannii84, Glennwells, Gogo Dodo, GoingBatty, Gongshow,
Gregory T. Glading, Grizzly ripper, Gzornenplatz, H2oldies, Hadal, Haruo, HeretiKc, Heron, HoichitheEarless, Hux, Hyacinth, Ibji, IllaZilla, Im.a.lumberjack, J.H, J.delanoy, Jailerdaemon, Jerry,
Kaibabsquirrel, KarlM, Karlhahn, Katr67, Kbdank71, Kdammers, Keraunoscopia, Kittyslasher, Koavf, Krtdive, LFaraone, Lfh, Lilac Soul, LizardJr8, Luiluiely, M.thoriyan, Mapsax, Marcus
Brute, Mario777Zelda, Markjoseph125, Markus randall, Martin451, Martpol, Master of Puppets, Mattg82, Matty-chan, Max Schwarz, Mechla, Michael Snow, Mike Rosoft, Mike Selinker, Mike
hintze, Miller17CU94, MindstormsKid, Misiekuk, MissingNOOO, Mlaffs, Moochocoogle, MyrddinEmrys, Mysolution10311970, Naniwako, Ncsaint, Nick Dillinger, Niteowlneils, Noozgroop,
Nyttend, Oburger, Ortolan88, Oxymoron83, Phil Boswell, Pigman, Pjoef, Q8-falcon, REVOL, Rain1222, Ram sos, Redmegtheavenger, Renaissongsman, Rexter101, Richhoncho, Rjanag,
Rnewson, RobinCarmody, Rock15, Rocket000, Rothorpe, Saemikneu, Sahafan, Scooter, Shadowjams, Shocking Blue, ShootFrank, Skomorokh, Smithbcs, Soap, Spellmaster, Staxringold,
Stusutcliffe, Surferbeto, TUF-KAT, Tbone, Technopat, TenPoundHammer, The Myst, The fantastic dark, The wub, TheRedPenOfDoom, TheSubtleDoctor, Themindset, Thomengel, Tlatseg,
Tony Myers, Travisl, Trivialist, Trontonian, Unicycledude42, Upsiditus, VernKlukas, Verne Equinox, Virginia Dutch, Wafulz, Wereon, Wiki alf, Wolfer68, Yossarian, Zoicon5, 326 anonymous
edits
Article Sources and Contributors 396

"The Magnificent Seven"  Source: http://en.wikipedia.org/w/index.php?oldid=349978757  Contributors: 61x62x61, Ad Nauseam, Binary TSO, Bjones, BoNeZ, Bosola, C777, CJLL Wright,
Cloonmore, Fache, Floreyn, GabrielGuerra, Gcstackmoney, Gh87, GregorB, Ian Dunster, Jogers, John, Keraunoscopia, Lunakeet, Martarius, Munci, Pjoef, Ss112, Thebeast666, Thismightbezach,
Tim010987, Wanhamies, 24 anonymous edits

"The Man in Me"  Source: http://en.wikipedia.org/w/index.php?oldid=358519585  Contributors: BabuBhatt, Dr Chad Jaeger, Goatfetus, Hieku8, Hohead, John, Koavf, Kyle Barbour, Lee M,
Michig, Mrbunny, Opertinicy, Pjoef, Rajah, Richhoncho, Rocket000, Sethdoejersey, Shamrox, Signinstranger, Stan weller, TUF-KAT, Tjwells, Tomwhite56, Transylvanian20, Wolfer68,
Ww2censor, 13 anonymous edits

"Police and Thieves"  Source: http://en.wikipedia.org/w/index.php?oldid=353451932  Contributors: Bluemoose, Caspiax, Chadwholovedme, Chase me ladies, I'm the Cavalry, Cjmarsicano,
Cliveg, DCGeist, Derek R Bullamore, E-Kartoffel, Fache, Fantailfan, Grant65, Hbloom, Huw Powell, Indopug, InnocuousPseudonym, Jahsonic, JoeyPublic, John, JuniorMuruin, Km9000,
Labalius, Longhair, Mad Hatter, Mifter, Pietaster, Pjoef, Richhoncho, SMcCandlish, Slysplace, Teklund, Tremspeed, Twsx, Tyir, 28 anonymous edits

"Pressure Drop"  Source: http://en.wikipedia.org/w/index.php?oldid=364388655  Contributors: Derek R Bullamore, Durova, Ed Fitzgerald, Giovannii84, Jeff3000, Knuckles, Labalius,
MarsRover, Miami33139, Oiskin69, Pele Merengue, Pietaster, Pjoef, Playinggod, Plutopunkplanet, Skraz, Sssoul, Upsetterfc, 34 anonymous edits

"Remote Control"  Source: http://en.wikipedia.org/w/index.php?oldid=359613901  Contributors: AGGoH, Blueboy96, Bubba hotep, C777, CJLL Wright, DCGeist, Durova, Fantailfan, Fir42,
Hippi ippi, Hit bull, win steak, Jbattersby, JoeSmack, JoeyPublic, John, LGagnon, Lambert strether, Loopy, Lunakeet, Martarius, Mr.Blonde, Neilc, Pietaster, Pjoef, Ponta2, Ragusan,
Richhoncho, Spiff666, Tyir, Zoicon5, 16 anonymous edits

"Rock the Casbah"  Source: http://en.wikipedia.org/w/index.php?oldid=368702029  Contributors: AJ5439, AMCKen, Ace Class Shadow, Akamad, Alansohn, Alaskan assassin, Alex earlier
account, Aliasxerog, Andycjp, Angeldeb82, AnonMoos, Anticipation of a New Lover's Arrival, The, ArglebargleIV, AuburnPilot, Aussie Ausborn, Bablenesescueles, Bearly541, Bellbrass,
Benandorsqueaks, Biederman, CJLL Wright, CKarnstein, Calair, Calbaer, Cam486, CaptainJae, Carlossfsu, Chadwholovedme, Cielomobile, Crazyness1, Crippler4, Ctjf83, CuriousDog, Cypher
z, DantheCowMan, Dawnseeker2000, Deepred6502, Dfrg.msc, Downwards, Dpv, Dragonpatrol10, Durova, Dyfsunctional, Elephant Juice, Escobar600ie, Evan, Fache, Fatcud, Fenician,
Figureground, Fir42, Fordzii, Fuzzform, Garonyldas, Graham87, Grenavitar, Guy Harris, Hkwon, I need a name, Ian Dunster, IllaZilla, Inverseparadise10, Irishguy, Irishpunktom, J-b, JEB Stuart
III, JIP, Jackhitts08, Jheald, JoeSmack, Jogers, John, Julesd, Kassjab, Katieh5584, Kidlittle, Kingfisherswift, Kingturtle, Kizor, Koavf, Konczewski, LGagnon, Lightmouse, Loopy, M.nelson,
MaTrIx, Mad Hatter, Mani1, Mar bells87, Martarius, Mashford, Masouth, Maxwellversion2, Mcnarie, Midlem, Mike Garcia, Mike3k, Mind flux, Monocase, Mrshippy, Ms. 45, Msvcrtd, NSR77,
Newyorkbrad, Njbob, NoamTG, Noclevername, Nogoodreason, Nokhodi, Noveltyghost, Pathawi, Pawnkingthree, Peter Greenwell, Pietaster, Pjoef, Pmsyyz, Ponta2, Quadratic, R. fiend,
Raguleader, Rdsmith4, RevRagnarok, Rich Farmbrough, Richhoncho, RobinCarmody, Rodrigogomesonetwo, Rtfgrad, Rubyalmqvist, Sanaattiq, Savethemooses, Schwael, Schwarzschachtel,
Scott Williams, Semmler, SemperBlotto, Shadow1, Sillyfolkboy, Sloverlord, Soetermans, Spartaz, Sposato, Starguitar, Sublimefan97, T menchaca, TestPilot, The 80s chick, TheFamousPeter,
Timrem, Titan50, Tkech, To hell with poverty!, Tucek, TucsonUte, Tuhaki, Twsx, Urzeitlich, VaGuy1973, WACGuy, Wesholing, WikHead, WikiAggie, Wikipedian boy, Wolfer68,
Woohookitty, Wyckyd Sceptre, Xtanstic, Y2kcrazyjoker4, Zedmelon, Zundark, 221 anonymous edits

"Should I Stay or Should I Go"  Source: http://en.wikipedia.org/w/index.php?oldid=367517233  Contributors: A Powerful Weakness, AMCKen, Alan smithee, Alansohn, Aluvus, Aussie
Ausborn, Axver, Bde1982, Bl4ck54bb4th, Bly1993, C777, CJLL Wright, Chadwholovedme, Chairman S., Chris the speller, Cmdrjameson, Conquistador2k6, DanMonkey, Dayewalker, EdGl,
Eduardofoxx13, Europe22, FMAFan1990, Funeral, HTUK, Herr Kriss, Holiday56, Huskies1983, Iridescent, J04n, JFreeman, Jackhitts08, Jkelly, JoeSmack, Jogers, John, KnightRider, Leefeni,de
Karik, Leevclarke, Loopy, Martarius, Ms. 45, Nedrutland, NorthernThunder, Oddible, Old Marcus, Pietaster, Piriczki, Pjoef, Ponta2, R. fiend, RattleandHum, Rich Farmbrough,
Rodrigogomesonetwo, Rorylyng, SEWalk, Sceptre, Scmbg, Shappy, Sideshow Bob Roberts, Squawk7984, Sublimefan97, TheOnlyOne12, Thesexualityofbereavement, Thief12, TucsonUte,
Tuzapicabit, WesleyDodds, Y2kcrazyjoker4, Yorkshiresky, ZPM, Zoicon5, 111 anonymous edits

"Spanish Bombs"  Source: http://en.wikipedia.org/w/index.php?oldid=359616265  Contributors: 16@r, 96T, Admoreily, Alcuin, BadLeprechaun, Badwolftv, Bensin, BillC, Bronks, C777,
Chadwholovedme, Cleared as filed, Cloonmore, Dancemotron, Darkieboy236, DeadEyeArrow, Deus Homoni, Edbrims, EdibleKarma, Fache, Favonian, Grenavitar, Grm wnr, Hank chapot,
Hesperian, Horses In The Sky, J04n, JMG469, Jayron32, Jglove, John, Kaiba, Koavf, Komischn, Lairor, MacGyverMagic, Metalmallow, Mário, Noogz, PhilipR, Pietaster, Pjoef, Ponta2,
Professor Ninja, Puceron, Quale, Richhoncho, Roger Davies, Salvio giuliano, SimonP, Simonm92, Slythefox, The Silent Walker, Theamazingzeno, Tim010987, Tlesher, Tothebarricades.tk,
Valenciano, Willerror, William Przylucki, Woohookitty, 110 anonymous edits

"Straight to Hell"  Source: http://en.wikipedia.org/w/index.php?oldid=367901938  Contributors: ACW, Andycjp, Aussie Ausborn, Biggins, Bjones, C777, CJLL Wright, Chadwholovedme, Doc
Strange, Dr. Nolan Allen, Dustcastle, Edgecliff89, Eve Teschlemacher, Feydey, Fol de rol troll, Geneisner, II MusLiM HyBRiD II, J-b, JoeSmack, Joeyramoney, Jogers, John, Knuckles, Lola
Voss, Mad Hatter, Martarius, Measly pawn, Notacupcakebaker, Pietaster, Pjoef, R. fiend, Rjwilmsi, Sublimefan97, THollan, The monkeyhate, Twas Now, WesleyDodds, Zoicon5, Zundark, 67
anonymous edits

"This Is England"  Source: http://en.wikipedia.org/w/index.php?oldid=366700199  Contributors: Aussie Ausborn, C777, CJLL Wright, Chadwholovedme, Doc Strange, Eduardofoxx13, Fir42,
Firsfron, Grenavitar, Jogers, John, Koavf, Legotech, Martarius, Midnightblueowl, Morrad, Moszczynski, Pawnkingthree, Pietaster, Pjoef, RazorICE, Red Mike, Responsible?,
Rodrigogomesonetwo, Shirt58, Simonmaal, Soetermans, Ss112, Sublimefan97, Thebeast666, TucsonUte, Utvik, VernoWhitney, Zundark, 19 anonymous edits

"This Is Radio Clash"  Source: http://en.wikipedia.org/w/index.php?oldid=368133015  Contributors: Azure99, CJLL Wright, DH85868993, Fir42, Gaohoyt, GoingBatty, Harryrocknroll,
Hoponpop69, John, Koavf, Lenin and McCarthy, Martarius, Pietaster, Pjoef, Postdlf, Rastabilly, Salamurai, Seth Whales, Thegreenj, Thismightbezach, To hell with poverty!, Zundark, 49
anonymous edits

"Tommy Gun"  Source: http://en.wikipedia.org/w/index.php?oldid=359615088  Contributors: Bobblehead, C777, CJLL Wright, Dronthego, Durova, Fache, Fractious Jell, Grenavitar,
Jackhitts08, JoeSmack, John, Martarius, Mymelo, Pjoef, Poiuytre, Ponta2, R. fiend, Richhoncho, Rjwilmsi, Zundark, 9 anonymous edits

"Train in Vain"  Source: http://en.wikipedia.org/w/index.php?oldid=366065147  Contributors: 74ct, Angmering, Appraiser, Bbatsell, Bensec, BigUns, Bongomatic, Breakinguptheguy,
Briepark, CJLL Wright, Chadwholovedme, ChrisG nyc, Cloonmore, DCGeist, Davidscharoun, Drjayphd, E-Kartoffel, Eric444, Evil Monkey, Fache, GaMeReVoLuTiOnX, GoingBatty, Hiphats,
I like wiki, J Milburn, James Epstein, JoeSmack, JoeyPublic, Jogers, John, Koavf, Liddelr, LilHelpa, Lukobe, MJD86, MPFC1969, Martarius, Mike6271, Morwen, Mwtoews, Nick R, Pietaster,
Piriczki, Pjoef, Portillo, Pushit, Q8-falcon, Richhoncho, Robert K S, Rodrigogomesonetwo, Sb26554, Sigma-w, Sittingonfence, Skagedal, StevenHW, That is not irony, The JPS, WesleyDodds,
Wiki libs, Wknight94, Zoicon5, 62 anonymous edits

"Washington Bullets"  Source: http://en.wikipedia.org/w/index.php?oldid=364049692  Contributors: 61x62x61, AEMoreira042281, Abigwood2k8, Ash211, Bkell, C777, DO'Neil, Elipongo,
Everyking, Grenavitar, Horse Badorties, Huntster, J JMesserly, JoeSmack, JoeyPublic, John, Kuru, LGagnon, Martarius, Mike Garcia, Msvcrtd, Pietaster, Pjoef, R. fiend, Smith03, TOO,
TimothyHorrigan, Vera from upstairs, ÅttioFem, 14 anonymous edits

"(White Man) In Hammersmith Palais"  Source: http://en.wikipedia.org/w/index.php?oldid=362370958  Contributors: Alanconnor, Amberrock, BagpipingScotsman, Bcostley, C2S7, C777,
CAVincent, CJLL Wright, Charlie button, Chinasaur, Cloonmore, Commander Keane, DCGeist, Durova, Explicit, Fache, Glassbreaker5791, GregorB, Grenavitar, Husond, Huw Powell, J
Milburn, Jackhitts08, Jahsonic, JoeyPublic, Jogers, John, Kappa, Kierant, Lightmouse, Ling.Nut, Martarius, MiTfan3, Mushroom, Nareek, Nervousbreakdance, PhilKnight, PhilipR, Pietaster,
Pjoef, Plrk, R. fiend, Rfishel, Rich Farmbrough, Richhoncho, Russ London, Salamurai, SimonP, That Guy, From That Show!, Thebeast666, Tim211010, Twsx, Welsh, Wimt, Windward1, 56
anonymous edits

"White Riot"  Source: http://en.wikipedia.org/w/index.php?oldid=367742344  Contributors: Biederman, Burndownthedisco, C777, CJLL Wright, Christian dewees, Closedmouth, Commander
Keane, DCGeist, Everyking, Fache, GassyGuy, Glassbreaker5791, GregorB, Hoponpop69, Irish rover, Jer ome, JoeSmack, John, Joyous!, Karyyk, Lesgates, Martarius, Martpol, Pietaster, Pjoef,
R. fiend, Reubensutton, Rich Farmbrough, Richhoncho, Salamurai, Sam Francis, Slythefox, TTKK, Vitriden, Will 3rd, Wright123, Zoicon5, 45 anonymous edits

Discography  Source: http://en.wikipedia.org/w/index.php?oldid=369567901  Contributors: Aspects, BGC, Blackleg, Chadwholovedme, Cloonmore, Doc Strange, DocKino, ESkog, Edkollin,
Elonka, EnDaLeCoMpLeX, Feydey, Fir42, Grsz11, Harro, Indie.Bones, Indopug, Jackhitts08, Jogers, John, Koavf, Lensi, LukeTheSpook, Mad Hatter, Mick Jones, Musicman378, Peter Fleet,
Pietaster, Piriczki, Pjoef, Poiuytre, ProveIt, Rich Farmbrough, Rydia, The Elfoid, The monkeyhate, Thebeast666, TommyStardust, Undermedveten, Woohookitty, 94 anonymous edits

Films and Documentaries  Source: http://en.wikipedia.org/w/index.php?oldid=349981730  Contributors: DocKino, Pjoef, Rich Farmbrough

Songs  Source: http://en.wikipedia.org/w/index.php?oldid=352197994  Contributors: AndrewHowse, Pjoef, 1 anonymous edits

Image Sources, Licenses and Contributors 397

Image Sources, Licenses and Contributors

Image:Ramones album cover.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Ramones_album_cover.jpg  License: unknown  Contributors: AWeenieMan, Apoc2400, Blumpkin,
CrowzRSA, DCGeist, DocKino, Elcobbola, Endlessdan, Garion96, IllaZilla, J Milburn, John, Melesse, Nard the Bard, Ratman9513, Stifle, Suntag, TEB728, Tassedethe
Image:Clash 21051980 12 800.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Clash_21051980_12_800.jpg  License: Creative Commons Attribution 2.5  Contributors: Helge
Øverås
Image:punks.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Punks.jpg  License: GNU Free Documentation License  Contributors: Original uploader was Quercusrobur at
en.wikipedia.
File:Iggy-Pop 1977.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Iggy-Pop_1977.jpg  License: Creative Commons Attribution-Sharealike 2.0  Contributors: Michael Markos
Image:Patti Smith Copenhagen 1976.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Patti_Smith_Copenhagen_1976.jpg  License: Public Domain  Contributors: Ib Rasmussen
Image:CBGB club facade.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:CBGB_club_facade.jpg  License: GNU Free Documentation License  Contributors: Original uploader was
Adicarlo at en.wikipedia
Image:AnarchyInTheUKPoster.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:AnarchyInTheUKPoster.jpg  License: unknown  Contributors: User:DCGeist
Image:Wirepinkflagcover.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Wirepinkflagcover.jpg  License: unknown  Contributors: User:DCGeist, User:John
Image:PIL - Metal Box original.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:PIL_-_Metal_Box_original.jpg  License: unknown  Contributors: User:Ian Dunster
Image:StrengthThruOi.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:StrengthThruOi.jpg  License: unknown  Contributors: User:DCGeist
Image:Crass3.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Crass3.jpg  License: GNU Free Documentation License  Contributors: Ardfern, Fache, 2 anonymous edits
Image:Sonic1991b.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Sonic1991b.jpg  License: GNU Free Documentation License  Contributors: Original uploader was Channel R at
en.wikipedia
Image:Carrie Brownstein.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Carrie_Brownstein.jpg  License: Creative Commons Attribution 2.0  Contributors: Flickr user eliah - Eliah
Hecht
Image:NOFX3.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:NOFX3.jpg  License: Creative Commons Attribution 2.0  Contributors: FlickreviewR, KS
File:TheClashLondonCallingalbumcover.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:TheClashLondonCallingalbumcover.jpg  License: unknown  Contributors: User:Kaiba
Image:01scenestrummer08 copy.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:01scenestrummer08_copy.jpg  License: Public Domain  Contributors: Original uploader was
Kat123 at en.wikipedia
File:Joe-Strummer.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Joe-Strummer.jpg  License: Creative Commons Attribution-Sharealike 2.0  Contributors: Masao Nakagami
Image:1TONY10.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:1TONY10.JPG  License: Creative Commons Attribution 3.0  Contributors: User:Wwwhatsup
Image:AvenuAJoeStrummer.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:AvenuAJoeStrummer.JPG  License: unknown  Contributors: David Shankbone, Durin, Jimthing, Pjoef
Image:Joe Strummer Live by Joe Kerrigan.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Joe_Strummer_Live_by_Joe_Kerrigan.jpg  License: Creative Commons Attribution 2.0
 Contributors: by JOE KERRIGAN
Image:Mickjones.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Mickjones.jpg  License: GNU Free Documentation License  Contributors: Fache, Heynoun, Jarke
Image:Mick Jones at Carbon Casino VI.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Mick_Jones_at_Carbon_Casino_VI.jpg  License: Public Domain  Contributors:
User:Pmsphoto
Image:Carbon Casino VI 273M.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Carbon_Casino_VI_273M.jpg  License: Public Domain  Contributors: Peter Stevens Photography
Image:Paul Simonon mg 6692.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Paul_Simonon_mg_6692.jpg  License: Creative Commons Attribution-Sharealike 2.0  Contributors:
User:Rama
File:Paul- Simonon.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Paul-_Simonon.jpg  License: Creative Commons Attribution-Sharealike 2.0  Contributors: Masao Nakagami
Image:Paul Simonon mg 6701b edit.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Paul_Simonon_mg_6701b_edit.jpg  License: Creative Commons Attribution-Sharealike 2.0
 Contributors: User:Rama
Image:Topper Headon (Sept08).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Topper_Headon_(Sept08).jpg  License: Creative Commons Attribution-Sharealike 3.0  Contributors:
Steve Haughey, Cedar Tree Design
Image:Cortinasclash.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Cortinasclash.jpg  License: unknown  Contributors: John
Image:Mikeydreadwsrf.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Mikeydreadwsrf.jpg  License: Public Domain  Contributors: Fidel Astro
File:Mikey Dread.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Mikey_Dread.jpg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: Piotr Czerniawski
Image:Bad-don-letts-2-np.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Bad-don-letts-2-np.jpg  License: GNU Free Documentation License  Contributors: User:Andwhatsnext
Image:Mick Gallagher Photo Ph.BRIZARD.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Mick_Gallagher_Photo_Ph.BRIZARD.jpg  License: Creative Commons Attribution 3.0
 Contributors: User:Philippe BRIZARD
File:Replace this image female.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Replace_this_image_female.svg  License: unknown  Contributors: After Midnight, B, Brion
VIBBER, Cacycle, David Gerard, Garion96, Huntster, Ilmari Karonen, Omegatron, Riana, Shimgray, Tizio
File:Stevebell.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Stevebell.jpg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: User:Citizensmith
File:FuturaUnkle.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:FuturaUnkle.jpg  License: GNU Free Documentation License  Contributors: Dieruno
File:Ray Lowry example.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Ray_Lowry_example.jpg  License: Creative Commons Attribution-Sharealike 3.0  Contributors: Ray Lowry
Image:Big Audio Dynamite.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Big_Audio_Dynamite.jpg  License: unknown  Contributors: FotoPhest
Image:Joe-Strumer&themescaleros1.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Joe-Strumer&themescaleros1.jpg  License: unknown  Contributors: Pjoef, Underneath-it-All
Image:MICK JONES and CARBON SILICONE.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:MICK_JONES_and_CARBON_SILICONE.jpg  License: Creative Commons
Attribution 2.0  Contributors: http://www.flickr.com/photos/robotclaw/
Image:Goodbadqueenalbum.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Goodbadqueenalbum.jpg  License: unknown  Contributors: Just64helpin
File:Star full.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Star_full.svg  License: Public Domain  Contributors: User:Conti, User:RedHotHeat
File:Star empty.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Star_empty.svg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: User:Conti, User:RedHotHeat
Image:Burning London.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Burning_London.jpg  License: unknown  Contributors: Melesse, Pietaster
File:Star half.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Star_half.svg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: User:Conti
File:Rude Boy film.jpeg  Source: http://en.wikipedia.org/w/index.php?title=File:Rude_Boy_film.jpeg  License: unknown  Contributors: Pietaster, Wwwhatsup
File:Westway to the World.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Westway_to_the_World.jpg  License: unknown  Contributors: Tired time
File:Lets-rock-again.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Lets-rock-again.jpg  License: unknown  Contributors: Blathnaid, Pjoef, Restecp
File:kampuchea_film.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Kampuchea_film.jpg  License: unknown  Contributors: Mr. Manu, Skier Dude
File:Walkertheatrical.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Walkertheatrical.jpg  License: unknown  Contributors: J.D.
File:Straight to hell.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Straight_to_hell.jpg  License: Attribution  Contributors: Grandpafootsoldier
File:Candy mountain post.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Candy_mountain_post.jpg  License: Attribution  Contributors: User:Grandpafootsoldier
File:Flag of Switzerland.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Flag_of_Switzerland.svg  License: Public Domain  Contributors: User:-xfi-, User:Marc Mongenet,
User:Zscout370
File:Flag of Canada.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Flag_of_Canada.svg  License: Public Domain  Contributors: User:E Pluribus Anthony, User:Mzajac
File:Flag of France.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Flag_of_France.svg  License: Public Domain  Contributors: User:SKopp, User:SKopp, User:SKopp, User:SKopp,
User:SKopp, User:SKopp
File:Mystery Train.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Mystery_Train.jpg  License: unknown  Contributors: Fuhghettaboutit, Skomorokh
Image Sources, Licenses and Contributors 398

File:Screamin' Jay Hawkins as Night Clerk in Mystery Train by Masayoshi Sukita.jpg  Source:
http://en.wikipedia.org/w/index.php?title=File:Screamin'_Jay_Hawkins_as_Night_Clerk_in_Mystery_Train_by_Masayoshi_Sukita.jpg  License: unknown  Contributors: Skomorokh
Image:The_Clash_UK.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:The_Clash_UK.jpg  License: unknown  Contributors: Cbing01, Pjoef, ScudLee, 1 anonymous edits
Image:The_Clash.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:The_Clash.jpg  License: unknown  Contributors: Cbing01, Gmaxwell, Heidimo, Pjoef, Qirex, Roomba, ScudLee,
Skier Dude
Image:CostofLivingEP.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:CostofLivingEP.jpg  License: unknown  Contributors: Jackhitts08, Pjoef, 1 anonymous edits
Image:Give_'Em_Enough_Rope.jpeg  Source: http://en.wikipedia.org/w/index.php?title=File:Give_'Em_Enough_Rope.jpeg  License: unknown  Contributors: Pjoef, ScudLee, TOO, 1
anonymous edits
Image:TheClashLondonCallingalbumcover.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:TheClashLondonCallingalbumcover.jpg  License: unknown  Contributors: User:Kaiba
File:Elvispresleydebutalbum.jpeg  Source: http://en.wikipedia.org/w/index.php?title=File:Elvispresleydebutalbum.jpeg  License: unknown  Contributors: DocKino, Gamaliel, Ghmyrtle, Ilse@,
JD554, Jennavecia, MHS1976, Mairi, Martin H., MyTemple, Northmeister, Papa November, ReverendLogos, Sdornan, South Philly, Zazaban
Image:Sandinista_album_cover.jpeg  Source: http://en.wikipedia.org/w/index.php?title=File:Sandinista_album_cover.jpeg  License: unknown  Contributors: DO'Neil, Pjoef, ScudLee, 1
anonymous edits
Image:Combat_rock_cover.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Combat_rock_cover.jpg  License: unknown  Contributors: Loopy, Pjoef, ScudLee, 1 anonymous edits
Image:Cut the Crap.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Cut_the_Crap.jpg  License: unknown  Contributors: Flowerparty, Pjoef, 1 anonymous edits
Image:CFTPOK_1981.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:CFTPOK_1981.jpg  License: unknown  Contributors: Mr. Manu, Skier Dude, Strangerer
Image:Kampuchea_ep.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Kampuchea_ep.jpg  License: unknown  Contributors: Jogers, Mr. Manu
Image:The story of the clash cover.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:The_story_of_the_clash_cover.jpg  License: unknown  Contributors: Ehouk1, Fantailfan, Pjoef, 1
anonymous edits
Image:Clash-clash on broadway.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Clash-clash_on_broadway.jpg  License: unknown  Contributors: User:Feydey
Image:Asgfea.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Asgfea.JPG  License: unknown  Contributors: ACupOfCoffee, Mpeggins, Pjoef, 1 anonymous edits
Image:SuperBlackMarketClashalbumcover.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:SuperBlackMarketClashalbumcover.jpg  License: unknown  Contributors: Cbing01,
FunkMonk, Pjoef, 1 anonymous edits
Image:Clash front.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Clash_front.jpg  License: unknown  Contributors: FunkMonk, Pjoef
Image:FromHeretoEternityLivealbumcover.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:FromHeretoEternityLivealbumcover.jpg  License: unknown  Contributors: BD2412,
Cbing01, Pjoef, 1 anonymous edits
Image:Rating-Christgau-three-star-honorable-mention.png  Source: http://en.wikipedia.org/w/index.php?title=File:Rating-Christgau-three-star-honorable-mention.png  License: Public
Domain  Contributors: Jmabel, Max Naylor, Spellcast, 1 anonymous edits
Image:TheEssentialClash.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:TheEssentialClash.jpg  License: unknown  Contributors: Ourai, Pjoef
Image:The_Clash_-_Singles_Box.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:The_Clash_-_Singles_Box.jpg  License: unknown  Contributors: User:W guice
Image:ClashThesingles.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:ClashThesingles.jpg  License: unknown  Contributors: LukeTheSpook, Pjoef
Image:Clash Shea cover.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Clash_Shea_cover.jpg  License: unknown  Contributors: Pjoef, Saint-Paddy
File:Bankrobber-clash.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Bankrobber-clash.jpg  License: unknown  Contributors: User:Seth Whales
File:The call up.png  Source: http://en.wikipedia.org/w/index.php?title=File:The_call_up.png  License: unknown  Contributors: Pjoef, Ycdkwm
File:Clampdown.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Clampdown.jpg  License: unknown  Contributors: User:Seth Whales
File:ClashCityRockers.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:ClashCityRockers.jpg  License: unknown  Contributors: AWeenieMan, Jackhitts08, Pjoef, 1 anonymous edits
File:Completecontrolcover.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Completecontrolcover.jpg  License: unknown  Contributors: Bryan Derksen, Loopy, Pjoef, Videmus
Omnia, 1 anonymous edits
File:Ecwcover.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Ecwcover.jpg  License: unknown  Contributors: Bryan Derksen, Loopy, Pjoef, Thegreenj, Videmus Omnia, 1
anonymous edits
File:Thegunsofbrixtonunplugged.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Thegunsofbrixtonunplugged.jpg  License: unknown  Contributors: Anrod
File:Guns Of Brixton.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Guns_Of_Brixton.jpg  License: unknown  Contributors: User:Seth Whales
File:HitsvilleUK.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:HitsvilleUK.jpg  License: unknown  Contributors: Chrislk02, Jackhitts08, Pjoef, 1 anonymous edits
File:BobbyFullerFour.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:BobbyFullerFour.jpg  License: unknown  Contributors: CS42, Melesse
File:I fought the law.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:I_fought_the_law.jpg  License: unknown  Contributors: Evrik, Pjoef
File:I Fought The Law (Green Day).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:I_Fought_The_Law_(Green_Day).jpg  License: unknown  Contributors: Holiday56, Zntrip
File:Janie Jones (Babyshambles song) cover.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Janie_Jones_(Babyshambles_song)_cover.jpg  License: unknown  Contributors:
AlienRage
File:Knowyourrights.png  Source: http://en.wikipedia.org/w/index.php?title=File:Knowyourrights.png  License: unknown  Contributors: Feydey, Melesse, Spellcast, Thebeast666, 1 anonymous
edits
File:Single10.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Single10.jpg  License: unknown  Contributors: Loopy, Pjoef, Skier Dude, 1 anonymous edits
File:Louie Louie Motorhead.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Louie_Louie_Motorhead.jpg  License: unknown  Contributors: User:Wiki alf
File:Mag_seven_cheeseboiger.png  Source: http://en.wikipedia.org/w/index.php?title=File:Mag_seven_cheeseboiger.png  License: unknown  Contributors: Calmer Waters, Firsfron, Pjoef,
Plasticspork, Sfan00 IMG, Thebeast666, 1 anonymous edits
File:Remotecontrol.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Remotecontrol.jpg  License: unknown  Contributors: Bryan Derksen, Loopy, Pjoef, Videmus Omnia, 1
anonymous edits
File:Rock the casbah.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Rock_the_casbah.jpg  License: unknown  Contributors: Collard, Loopy, Pjoef, Riana, Underneath-it-All,
Videmus Omnia, 1 anonymous edits
File:Sisosig.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Sisosig.jpg  License: unknown  Contributors: Bryan Derksen, Collard, Conscious, Loopy, Pjoef, Videmus Omnia, 1
anonymous edits
File:The Clash Straight to Hell.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:The_Clash_Straight_to_Hell.jpg  License: unknown  Contributors: Pietaster, Pjoef, Skier Dude,
Videmus Omnia, 1 anonymous edits
File:Thisisengland_single.png  Source: http://en.wikipedia.org/w/index.php?title=File:Thisisengland_single.png  License: unknown  Contributors: Drilnoth, Pjoef, Sfan00 IMG, Skier Dude,
Thebeast666, 1 anonymous edits
File:Radio Clash.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Radio_Clash.jpg  License: unknown  Contributors: User:Seth Whales
File:TommyGun.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:TommyGun.jpg  License: unknown  Contributors: AWeenieMan, Jackhitts08, Pjoef, 1 anonymous edits
File:traininvain.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Traininvain.jpg  License: unknown  Contributors: Liddelr, Pjoef, Seth Whales, 1 anonymous edits
File:HammersmithPalaisSingle.png  Source: http://en.wikipedia.org/w/index.php?title=File:HammersmithPalaisSingle.png  License: unknown  Contributors: Rfishel
File:WhiteRiot.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:WhiteRiot.jpg  License: unknown  Contributors: Burndownthedisco, Pjoef, Skier Dude, 1 anonymous edits
File:Clash 21051980 12 800.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Clash_21051980_12_800.jpg  License: Creative Commons Attribution 2.5  Contributors: Helge Øverås
License 399

License
Creative Commons Attribution-Share Alike 3.0 Unported
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