The Clash

~ Release group by The Clash

Album

ReleaseFormatTracksCountry/DateLabelCatalog#Barcode
Official
The Clash12" Vinyl14
  • GB1977-04-08
CBS (CBS Records' international imprint from 1962–1990; renamed since 1991 as Columbia)CBS 82000[none]
The Clash12" Vinyl14
Epic/Sony (logo of the Japanese company Epic/Sony Inc. (Aug 1978–Mar 1988)), Epic (US label founded by CBS in 1953, now owned by Sony)25-3P-67[none]
The ClashCassette15
Epic (US label founded by CBS in 1953, now owned by Sony)JET 36060[none]
The Clash12" Vinyl + 7" Vinyl15 + 2
Epic (US label founded by CBS in 1953, now owned by Sony)AE7 1178, JE 36060[none]
The Clash12" Vinyl15
Epic (US label founded by CBS in 1953, now owned by Sony)JE 36060074643606011
The ClashCD14
  • JP1988-08-01
Epic (US label founded by CBS in 1953, now owned by Sony)25・8P-50594988010221751
The ClashCD15
Epic (US label founded by CBS in 1953, now owned by Sony)EK 36060074643606028
The ClashCD14
  • -1991
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)468783 25099746878320
The ClashCD15
  • US1999-04-10
Epic (US label founded by CBS in 1953, now owned by Sony)EK 63883074646388327
The ClashCD14
  • DE1999-10-01
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)495344 25099749534421
The Clash (US version)CD15
  • DE1999-10-01
  • XE1999-10-04
Epic (US label founded by CBS in 1953, now owned by Sony)495345 25099749534520
The Clash (UK version)CD14
  • XE1999-10-04
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)495344 25099749534421
The ClashCD15
Epic (US label founded by CBS in 1953, now owned by Sony)EK 63883074646388327
The ClashCD15
BMG Direct Marketing, Inc. (BMG company that owned their direct marketing company/club editions), Epic (US label founded by CBS in 1953, now owned by Sony)D133085, EK 63883[none]
The Clash (UK version)CD14
Epic (US label founded by CBS in 1953, now owned by Sony)EK 63882074646388228
The ClashCD14
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)510580 25099751058021
The ClashCD14
  • JP2004-11-17
Epic Records International (2001-2006 reissue label for int'l music released in Japan, formerly a company/division of SMEJ,)MHCP 5204562109409444
Pearl Harbour ’79CD + 8cm CD15 + 2
  • JP2004-11-17
Epic Records International (2001-2006 reissue label for int'l music released in Japan, formerly a company/division of SMEJ,)MHCP 522, MHCP 522-3, MHCP 5234562109409468
The Clash12" Vinyl14
Epic (US label founded by CBS in 1953, now owned by Sony)1RAW10463S1887254470113
The ClashCD14
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)8875447012887254470120
The ClashDigital Media14
Sony Music UK (~2002-2006)
The ClashCD15Epic (US label founded by CBS in 1953, now owned by Sony)WEK-36060074643606028
The ClashCD15CBS (CBS Records' international imprint from 1962–1990; renamed since 1991 as Columbia)CDCBS 322325099703223224
The Clash12" Vinyl15Epic (US label founded by CBS in 1953, now owned by Sony)PE 360600746436060102
The ClashCD15
074646388228

Relationships

associated singles/EPs:(White Man) In Hammersmith Palais
Clash City Rockers
Complete Control
Remote Control
White Riot
included in:The Clash / Give ’Em Enough Rope
part of:Shredding Paper: 25 Years of Punk - Greatest Albums Ever! (number: 1) (order: 1)
Uncut: The 100 Greatest Debut Albums (2006) (number: 6) (order: 6)
The Guardian 100 Best Albums Ever (number: 34) (order: 34)
Rolling Stone: 500 Greatest Albums of All Time: 2012 edition (number: 81) (order: 81)
Rolling Stone: 500 Greatest Albums of All Time: 2020 edition (number: 102) (order: 102)
Discogs:https://www.discogs.com/master/24371 [info]
reviews:https://www.bbc.co.uk/music/reviews/92f9 [info]
other databases:http://www.musik-sammler.de/album/33570 [info]
https://rateyourmusic.com/release/album/the_clash/the_clash/ [info]
Allmusic:https://www.allmusic.com/album/mw0000189492 [info]
Wikidata:Q775208 [info]

CritiqueBrainz Reviews

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Most Recent

Often compared to the Sex Pistols, with whom they hung out, The Clash had just as much raw energy, but a lot more to say. Whilst the gobbing anarchic former raged against everything for the sake of anything, the well-mannered, socially aware latter raged about injustice and poverty for the sake of revolution.

Joe Strummer, Mick Jones, Paul Simonon, Keith Levene and Terry Chimes had been spending most of their time hanging out in the bars and high rises of west London when they recorded The Clash. This band wrote about what they knew: clashes with police, clashes between black and white, clashes with each other. They couldn't have come from anywhere other than London.

Whether it's with the Ramones-like burst that is White Riot, inciting activism in Britain's disaffected white youth, or London's Burning which tells of drugs, boredom and apathy, The Clash sums up what it was like to be young in London in the 1970s. Elsewhere, Career Opportunities is about living off the dole, and Garageland simply celebrates being in a band.

The band raised its profile backing the Pistols on the now infamous 1976 Anarchy Tour. Despite some initial bad reviews - NME wrote, "They are the kind of garage band who should be speedily returned to the garage with the motor running" - the boys were signed to CBS and this debut was speedily recorded. Pretty soon after, Terry Chimes was replaced by Topper Headon as the band's drummer, though it wasn't until 1979 that CBS released the album in the States, worrying perhaps too much that this London export wouldn't go down so well across the Atlantic. As it happens, I'm So Bored With the USA was loved by fans and the band were known to open their US gigs with the track.

This debut buzzes with the arrogance of youth who have something to prove. Each member brought a slight different influence, whether it was Joe's folk lyricism and rockabilly rhythms, Mick's rock adulation for the Stones, [Mott the Hoople](http://www.bbc.co.uk/The Clash sum up what it was like to be young in London in the 1970s.) and the Faces or Paul Simonon's Brixton-born reggae, what you get is a unique blend.

With a fingers-up gesture to the music press, it was Micky Foote - the band's touring soundman - who was recruited to oversee the recording in an attempt to recreate the band's live sound. The Clash is probably as close as you'll get to hearing them live today and paved the way for their classic, London Calling.