Since their formation in 1976, the Clash evolved from a fiery punk group into the most iconic rock band of their era. Their 1980 record Sandinista is a controversial, experimental and musically diverse triple LP. Especially for this reissue, The Clash remastered all tracks from the original tapes to audiophile quality. All artwork recreated from original release including exclusive "Armagideon Times 3" 3 panel insert. Available as a triple 180 gram audiophile vinyl.  LP1 SIDE A 1. The Magnificent Seven 2. Hitsville U.K. 3. Junco Partner 4. Ivan Meets G.I. Joe 5. The Leader 6. Something About England 7. Rebel Waltz SIDE B 1. Look Here 2. The Crooked Beat 3. Somebody Got Murdered 4. One More Time 5. One More Dub LP2 SIDE C 1. Lightning Strikes (Not Once But Twice) 2. Up In Heaven (Not Only Here) 3. Corner Soul 4. Let's Go Crazy 5. If Music Could Talk 6. The Sound of Sinners SIDE D 1. Police On My Back 2. Midnight Log 3. The Equaliser 4. The Call Up 5. Washington Bullets 6. Broadway LP3 SIDE E 1. Lose This Skin 2. Charlie Don't Surf 3. Mensforth Hill 4. Junkie Slip 5. Kingston Advice 6. The Street Parade SIDE F 1. Version City 2. Living In Fame 3. Silicone On Sapphire 4. Version Pardner 5. Career Opportunities 6. Shepherds Delight

Give 'Em Enough Rope is the second studio album from The Clash, released in 1978. Despite the tepid production by metal guru Sandy Pearlman, Give 'Em Enough Rope manages to burn with white-hot intensity. Though not as amateurish or snarling as their debut album, Rope finds the boys flexing their songwriting muscles. The first three songs ("Safe European Home," "English Civil War," and "Tommy Gun") stand among their most powerful and leap from the record with brute force. Though they hit a few clunkers ("Cheapskates"), this album is a near classic and gives a hint of the band to come that would light up the world with London Calling.

SIDE A Safe European Home English Civil War Tommy Gun Julie's Been Working for the Drug Squad Last Gang in Town SIDE B Guns On the Roof Drug-Stabbing Time Stay Free Cheapskates All the Young Punks (New Boots and Contracts)

'The final album by the Clash's original Strummer/Jones incarnation is also their most inconsistent. There were musical and ideological rifts developing within the band, and it shows: the experimentation is almost as wild as Sandanista!'s (and the biggest experiment is heading away from their punk shiftiness and into a commercial rock sound), but they seem to be enjoying it less. The band's stabs at funk and poetry aren't terribly successful, but it all came together for two massive hits: "Should I Stay or Should I Go?" has the biggest, stupidest, most perfect riff this side of "Louie Louie," and "Rock the Casbah" pulls the band's politics, fine-honed sarcasm, and saw-toothed guitar sound into the service of a dance-floor beat.

TRACKLISTING

SIDE A  1. Know Your Rights   2. Car Jamming   3. Should I Stay or Should I Go   4. Rock the Casbah   5. Red Angel Dragnet   6. Straight to Hell SIDE B  1. Overpowered by Funk   2. Atom Tan   3. Sean Flynn   4. Ghetto Defendant   5. Inoculated City   6. Death is a Star

'London Calling' was the 3rd album by English punkrockers The Clash and was originally released on December 14th 1979. The album represented a change in The Clash's musical style and featured more diverse elements; Ska, Pop, Soul, Rockabilly and Reggae influences were more audible than on their previous albums.

The album received unanimously positive reviews and was ranked high in quite some All Time Greatest Albums listings (number 8 on Rolling Stone's list, number 4 on Q Magazine's list). London Calling was a top 10 album in the UK, and its title track was a top 20 single. In 2007, it was inducted into the Grammy Hall of Fame, for being a collection of recordings of lasting qualitative or historical significance.

Side A
London Calling
Brand New Cadillac
Jimmy Jazz
Hateful
Rudie Can't Fail

Side B
Spanish Bombs
The Right Profile
Lost in the Supermarket
Clampdown
The Guns of Brixton

Side A
Wrong 'Em Boyo
Death or Glory
Koka Kola
The Card Cheat

Side B
Lover's Rock
Four Horsemen
I'm Not Down
Revolution Rock
Train in Vain

'The Clash is the eponymous debut studio album by English punk rock band The Clash. It was released on 8 April 1977, through CBS Records. It is widely celebrated as one of the greatest punk albums of all time. The record features the singles “White Riot” and “Remote Control”.

TRACKLISTING

Janie Jones Remote Control I'm So Bored With the U.S.A. White Riot Hate & War What's My Name Deny London's Burning Career Opportunities Cheat Protex Blue Police & Thieves 48 Hours Garageland

For their second album, the Clash worked with the American hard rock producer Sandy Pearlman, best-known for his work with Blue Öyster Cult and the Dictators. The teaming was quite controversial within the punk community, and the sound of Give 'Em Enough Rope is considerably cleaner, yet the more direct sound hardly tamed the Clash. While the record doesn't burn with the same intense, amateurish energy of The Clash, it does have a big, forceful sound that is nearly as powerful. What keeps Give 'Em Enough Rope from being a classic is its slightly inconsistent material. Many of the songs are outright classics, particularly the first half of the record ("Safe European Home," "English Civil War," "Tommy Gun," "Julie's Been Working for the Drug Squad") and "Stay Free," but the group loses some momentum toward the end of the record. Even with such flaws, Give 'Em Enough Rope ranks as one of the strongest albums of the punk era.

On the surface of things, Combat Rock appears to be a retreat from the sprawling stylistic explorations of London Calling and Sandinista!. The pounding arena rock of "Should I Stay or Should I Go" makes The Clash sound like an arena rock band, and much of the album boasts a muscular, heavy sound courtesy of producer Glyn Johns. But things aren't quite that simple. Combat Rock contains heavy flirtations with rap, funk, and reggae, and it even has a cameo by poet Allen Ginsberg -- if this album is, as it has often been claimed, the Clash's sell-out effort, it's a very strange way to sell out. Even with the infectious, dance-inflected new wave pop of "Rock the Casbah" leading the way, there aren't many overt attempts at crossover success, mainly because the group is tearing in two separate directions. Mick Jones wants the Clash to inherit the Who's righteous arena rock stance, and Joe Strummer wants to forge ahead into black music. The result is an album that is nearly as inconsistent as Sandinista!, even though its finest moments -- "Should I Stay or Should I Go," "Rock the Casbah," "Straight to Hell" -- illustrate why the Clash were able to reach a larger audience than ever before with the record.