Mar 16, 2011

RhoDeo 1111 Aetix

Hello, until today i hadnt posted anything by the Clash, mainly because i always passed by the socalled 'big boys' , however they aren't the global millionsellers that i refer to there. Outside the UK sales were not that spectacular only Combat Rock did well. So it's something else, the Clash had a big reputation in part thanks to the ever hyping lads from the UK music press that kept feeding the telexes with stories about the punk godfathers with a heart and a brain-in contrast to say Sex Pistols. In fact they were a rather chaotic band with a limited attention span, too much good weed i suppose or even harder dope, real Antihero's. It was their destiny to fall apart with a fart.

That said i was confronted with a choice of 2 doublebubbles, the album everyone was drooling about, London Calling or the triplebubble that got spat on mainly by the opiniated who decided what was good for the Clash. Obviously Sandinsta ! was overly ambitious and certainly not suited for the UK music press, 2.5 hours is way past their attenion span. Yet it has a relaxed vibe and considering i prefer to go for the less obvious, in the end the choice wasn't that hard..

xxxxx

Mick Jones was leading a hard rock group called the London SS, he came from a working-class background in Brixton. Throughout his teens, he was fascinated with rock & roll, and he had formed the London SS with the intent of replicating the hard-driving sound of Mott the Hoople and Faces. Jones' childhood friend Paul Simonon joined the group as a bassist in 1976 after hearing the Sex Pistols. At the time, the band also featured drummer Tory Crimes (born Terry Chimes), who had recently replaced Topper Headon. After witnessing the Sex Pistols in concert, Joe Strummer decided to break up his 101'ers in early 1976 in order to pursue a new, harder-edged musical direction. Along with fellow 101'er guitarist Keith Levene, Strummer joined the revamped London SS, now renamed the Clash.

The Clash performed its first concert in the summer of 1976, supporting the Sex Pistols in London. Levene left the band shortly afterward. The Clash set out on the Pistols' notorious Anarchy Tour late in 1976. Though only three concerts were performed on the tour, it nevertheless raised the Clash's profile and the band secured a record contract in February of 1977 with British CBS. Over the course of three weekends, the group recorded their debut album. Once the sessions were completed, Terry Chimes left the group, and Headon returned as the band's drummer. In the spring, the Clash's first single, "White Riot," and eponymous debut album were released to great critical acclaim and sales in the U.K., peaking at number 12 on the charts. The American division of CBS (showing of their incompetence once more) decided The Clash wasn't fit for radio play, so it decided to not release the album. The import of the record became the largest-selling import of all time.

Throughout 1977, Strummer and Jones were in and out of jail for a myriad of minor indiscretions, ranging from vandalism to stealing a pillowcase, while Simonon and Headon were arrested for shooting racing pigeons with an air gun. The Clash's outlaw image was bolstered considerably by such events. The Clash began worked on their second album with producer Sandy Pearlman, who gave Give 'Em Enough Rope a clean but powerful sound designed to break the American market. While that didn't happen -- the record became an enormous hit in Britain, debuting at number two on the charts.

Early in 1979, the Clash began their first American tour, entitled "Pearl Harbor '79." Following the summer release of The Clash in America, the group set out on its second U.S. tour, hiring Mickey Gallagher as a keyboardist. On both of their U.S. tours, the Clash had R&B acts like Bo Diddley, Sam & Dave, Lee Dorsey, and Screamin' Jay Hawkins support them, as well as country-rocker Joe Ely and the punk rockabilly band the Cramps. The choice of supporting acts indicated that the Clash were becoming fascinated with older rock & roll and all of its legends. That fascination became the driving force behind their breakthrough double album, London Calling. Produced by Guy Stevens, it boasted an array of styles, ranging from rockabilly and New Orleans R&B to anthemic hard rock and reggae. Retailing at the price of a single album, the record debuted at number nine on the U.K. charts in late 1979 and climbed to number 27 on the U.S. charts in the spring of 1980. It was followed up by a successfully touring the U.S., the U.K., and Europe in early 1980.

Sandinista! was the Clash's fourth studio album, it was released on 12 December 1980 as a triple album containing 36 tracks, with 6 songs on each side. Anticipating the "world music" trend of the 1980s, it features reggae, jazz, mock gospel, rockabilly, folk, dub, rhythm and blues, calypso, and rap. For the first time, the band's traditional songwriting credits of Strummer/Jones were replaced by a generic credit to "The Clash", and the band cut the album royalties, in order to release the 3-LP at a low price.The title comes from the Nicaraguan socialist political party, the Sandinistas, and its catalogue number, 'FSLN1', refers to the acronym for Frente Sandinista de Liberación Nacional. It's 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". Sandinista ! was ranked number 404 on Rolling Stone magazine's 2003 list of the 500 greatest albums of all time.

After spending much of 1981 touring and resting, the Clash reconvened late in the year to record their fifth album, with producer Glyn Johns. Headon left the band shortly after the sessions finished, due to his heavy drug use. The band replaced Headon with their old drummer, Terry Chimes, around the spring release of Combat Rock. The album became the Clash's most commercially successful effort, entering the U.K. charts at number two and climbing into the American Top Ten in early 1983, thanks to the Top Ten hit single "Rock the Casbah."

Although the Clash were at the height of their commercial powers in 1983, the band was beginning fall apart. Chimes was fired in the spring and was replaced by Pete Howard. In September, Joe Strummer and Paul Simonon fired Mick Jones because he "drifted apart from the original idea of the Clash." Jones formed Big Audio Dynamite the following year, while the Clash hired guitarists Vince White and Nick Sheppard to fill his vacancy. Throughout 1984, the band toured America and Europe, testing the new lineup. The revamped Clash finally released their first album, Cut the Crap, in November. The album was greeted with overwhelmingly poor reviews and sales; it would later be disowned by Strummer and Simonon. Early in 1986, they decided to permanently disband the Clash.



The Clash - Sandinista ! 1 (80   287mb)

101 The Magnificent Seven (5:30)
102 Hitsville UK (4:21)
103 Junco Partner (4:52)
104 Ivan Meets G.I. Joe (3:05)
105 The Leader (1:41)
106 Something About England (3:42)
107 Rebel Waltz (3:25)
108 Look Here (2:45)
109 The Crooked Beat (5:28)
110 Somebody Got Murdered (3:33)
111 One More Time (3:32)
112 One More Dub (3:35)

The Clash - Sandinista ! 2 (80   319mb)

201 Lightning Strikes (Not Once But Twice) (4:50)
202 Up in Heaven (Not Only Here) (4:32)
203 Corner Soul (2:42)
204 Let's Go Crazy (4:24)
205 If Music Could Talk (4:36)
206 The Sound of Sinners (4:00)
207 Police on My Back (3:16)
208 Midnight Log (2:09)
209 The Equaliser (5:47)
210 The Call Up (5:26)
211 Washington Bullets (3:51)
212 Broadway (4:57)
213 Guns of Brixton (Voc. Maria Gallagher) (0:54)


The Clash - Sandinista ! 3 (80   281mb)

301 Lose This Skin (5:07)
302 Charlie Don't Surf (4:54)
303 Mensforth Hill (3:42)
304 Junkie Slip (2:48)
305 Kingston Advice (2:36)
306 The Street Parade (3:27)
307 Version City (4:23)
308 Living in Fame (4:35)
309 Silicone on Sapphire (4:31)
310 Version Pardner (5:22)
311 Career Opportunities (2:30)
312 Shepherds Delight (3:25)


xxxxx xxxxx xxxxx xxxxx xxxxx

4 comments:

GMAL said...

Is there a possibility that you could share this again. much appreciated

GMAL said...

Thank you.

Anonymous said...

Thanks very much for the Clash.

Anonymous said...

This is quite an album to come to grips with. There's no doubt the Clash had breadth and that the critics could not cope with it.

It's tempting to use CD to approach it like Springsteen's The River and create a couple of albums out of it - ballds and rockers, for example, until you get used to it.

In the Clash it's more complicated. You can do it by writer, but the styles remain diverse. You can do it by genre, and chronologically by which year that genre dominated the charts, but that doesn't work either. Which brings home the point of it all - it's intended to be a giant mix tape - the Clash really were that good.