The Clash - The Essential Clash (American Version, 2003)
The Clash - The Essential Clash (American Version, 2003)
EAC Rip | FLAC, IMG+CUE, LOG | 2CD | 399 MB + 523 MB | Full HQ Scans 200 dpi | 31 MB | RAR | RS+HF
Genre: Punk/Rock | Label: Epic/Sony | Catalog Number: 2-89056 | Year: 2003
EAC Rip | FLAC, IMG+CUE, LOG | 2CD | 399 MB + 523 MB | Full HQ Scans 200 dpi | 31 MB | RAR | RS+HF
Genre: Punk/Rock | Label: Epic/Sony | Catalog Number: 2-89056 | Year: 2003
This double CD set brings together the most popular tracks by the influential London-formed punk act. 'The Essential Clash' includes material from their 1977 self-titled debut right through to 1985's 'Cut The Crap'. Its release follows the death of Joe Strummer their frontman & main songwriter who passed away in December 2002 before the completion of this project.
The Sex Pistols may have been the first British punk rock band, but the Clash were the definitive British punk rockers. Where the Pistols were nihilistic, the Clash were fiery and idealistic, charged with righteousness and a leftist political ideology. From the outset, the band was more musically adventurous, expanding its hard rock & roll with reggae, dub, and rockabilly among other roots musics. Furthermore, they were blessed with two exceptional songwriters in Joe Strummer and Mick Jones, each with a distinctive voice and style. The Clash copped heavily from classic outlaw imagery, positioning themselves as rebels with a cause. As a result, they won a passionately devoted following on both sides of the Atlantic. While they became rock & roll heroes in the U.K., second only to the Jam in terms of popularity, it took the Clash several years to break into the American market, and when they finally did in 1982, they imploded several months later. Though the Clash never became the superstars they always threatened to become, they restored passion and protest to rock & roll. For a while, they really did seem like "the only band that mattered."
For a band that constantly sang about revolution and the working class, the Clash had surprisingly traditional roots. Joe Strummer (born John Graham Mellor, August 21, 1952) had spent most of his childhood in boarding school. By the time he was in his early twenties, he had busked on the streets of London and had formed a pub rock band called the 101'ers. Around the same time, Mick Jones (born June 26, 1955) was leading a hard rock group called the London SS. Unlike Strummer, Jones 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 (born December 15, 1956) joined the group as a bassist in 1976 after hearing the Sex Pistols; he replaced Tony James, who would later join Generation X and Sigue Sigue Sputnik. At the time, the band also featured drummer Tory Crimes (born Terry Chimes), who had recently replaced Topper Headon (born Nicky Headon, May 30, 1955). After witnessing the Sex Pistols in concert, Joe Strummer decided to break up the 101'ers in early 1976 in order to pursue a new, harder-edged musical direction. He left the band just before their first single, "Keys to Your Heart," was released. 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. Hiring as their manager Bernard Rhodes, a former business associate of Sex Pistols manager Malcolm McLaren, 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 came aboard 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 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. Shortly after the U.K. release of The Clash, the band set out on the whirlwind White Riot tour supported by the Jam and the Buzzcocks; the tour was highlighted by a date at London's Rainbow Theatre, when the audience tore the seats out of the venue. During the White Riot tour, CBS pulled "Remote Control" off the album as a single, and as a response, the Clash recorded "Complete Control" with reggae icon Lee "Scratch" Perry.
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, but the band also began to branch out into social activism, such as headlining a Rock Against Racism concert. Released in the summer of 1978, the single "(White Man) In Hammersmith Palais" demonstrated the band's growing social consciousness. Shortly after the single peaked at number 32, the Clash began working on their second album with producer Sandy Pearlman, a former member of Blue Öyster Cult. Pearlman gave Give 'Em Enough Rope a clean but powerful sound designed to break the American market. While that didn't happen – the album peaked at 128 on the U.S. charts in the spring of 1979 – 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." That summer, the band released the U.K.-only EP The Cost of Living, which featured a cover of the Bobby Fuller Four's "I Fought the Law." Following the later summer release of The Clash in America, the group set out on its second U.S. tour, hiring Mickey Gallagher of Ian Dury's Blockheads 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 neo-traditionalist 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, who formerly worked with Mott the Hoople, London Calling 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.
The Clash successfully toured the U.S., the U.K., and Europe in early 1980, during which time the pseudo-documentary Rude Boy was released in England. During the summer, the band released the Dutch-only, dub-inflected single "Bankrobber," which they recorded with DJ Mikey Dread; by the fall, the British branch of CBS was forced to release the single due to popular demand. Shortly afterward, the band went to New York to begin the tension-filled, self-produced sessions for their follow-up to London Calling. In November, a U.S.-only EP of odds and ends entitled Black Market Clash was released. The following month, the triple-record set Sandinista! appeared in the U.K. and the U.S. The critical reaction to the album was decidedly mixed, with American critics reacting more favorably than their British counterparts. Furthermore, the band's audience in the U.K. was shrinking slightly – Sandinista! was the first record the group released that sold more copies in the U.S. than the U.K.
After spending much of 1981 touring and resting, the Clash reconvened late in the year to record their fifth album, with producer Glyn Johns, a former engineer/producer for the Rolling Stones, Who, and Led Zeppelin. Headon left the band shortly after the sessions finished; the press statement said he parted with the group due to political differences, but it was later revealed that the split was 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 was 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." During the fall of 1982, the Clash opened for the Who on their farewell tour. Though the tour helped Combat Rock scale the U.S. charts, the Clash were routinely booed off the stage on every date of the tour.
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, formerly of Cold Fish. During the summer, the band headlined the U.S. Festival in California; it would be their last major appearance. 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, Strummer and Simonon decided to permanently disband the Clash. Several years later, Simonon formed the roots rock band Havana 3 A.M., which released only one album, in 1991; following the record's release, he concentrated on painting. After reuniting with Jones to write songs for Big Audio Dynamite's second album, 1986's No. 10 Upping Street, Strummer drifted between a musical and film career, appearing in Alex Cox's Straight to Hell (1986) and Jim Jarmusch's Mystery Train (1989). He also scored Permanent Record (1988) and Cox's Walker (1987). Strummer released a solo album, Earthquake Weather, in 1989. Shortly afterward, he joined the Pogues as a touring rhythm guitarist and vocalist. By 1991, he had quietly drifted away from the spotlight. For the remainder of the decade, Strummer was quiet, appearing on only one other recording – Black Grape's 1996 Top Ten hit "England's Irie."
Though Strummer and Simonon were both quiet, and Jones was busy with various incarnations of Big Audio Dynamite, rumors of a Clash reunion continued to circulate throughout the '90s. When "Should I Stay or Should I Go?" appeared in a Levi's television commercial in 1992, the song was re-released in the U.K. by CBS, and it shot to number one, fueling reunion speculation. The rumors appeared again in 1995 and 1996, when the Sex Pistols decided to reunite, but the Clash remained quiet. Live: From Here to Eternity, assembling material recorded between 1978 and 1982, was released in 1999, shortly followed by the documentary film Westway to the World. –by Stephen Thomas Erlewine, allmusic.com
For a band that constantly sang about revolution and the working class, the Clash had surprisingly traditional roots. Joe Strummer (born John Graham Mellor, August 21, 1952) had spent most of his childhood in boarding school. By the time he was in his early twenties, he had busked on the streets of London and had formed a pub rock band called the 101'ers. Around the same time, Mick Jones (born June 26, 1955) was leading a hard rock group called the London SS. Unlike Strummer, Jones 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 (born December 15, 1956) joined the group as a bassist in 1976 after hearing the Sex Pistols; he replaced Tony James, who would later join Generation X and Sigue Sigue Sputnik. At the time, the band also featured drummer Tory Crimes (born Terry Chimes), who had recently replaced Topper Headon (born Nicky Headon, May 30, 1955). After witnessing the Sex Pistols in concert, Joe Strummer decided to break up the 101'ers in early 1976 in order to pursue a new, harder-edged musical direction. He left the band just before their first single, "Keys to Your Heart," was released. 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. Hiring as their manager Bernard Rhodes, a former business associate of Sex Pistols manager Malcolm McLaren, 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 came aboard 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 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. Shortly after the U.K. release of The Clash, the band set out on the whirlwind White Riot tour supported by the Jam and the Buzzcocks; the tour was highlighted by a date at London's Rainbow Theatre, when the audience tore the seats out of the venue. During the White Riot tour, CBS pulled "Remote Control" off the album as a single, and as a response, the Clash recorded "Complete Control" with reggae icon Lee "Scratch" Perry.
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, but the band also began to branch out into social activism, such as headlining a Rock Against Racism concert. Released in the summer of 1978, the single "(White Man) In Hammersmith Palais" demonstrated the band's growing social consciousness. Shortly after the single peaked at number 32, the Clash began working on their second album with producer Sandy Pearlman, a former member of Blue Öyster Cult. Pearlman gave Give 'Em Enough Rope a clean but powerful sound designed to break the American market. While that didn't happen – the album peaked at 128 on the U.S. charts in the spring of 1979 – 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." That summer, the band released the U.K.-only EP The Cost of Living, which featured a cover of the Bobby Fuller Four's "I Fought the Law." Following the later summer release of The Clash in America, the group set out on its second U.S. tour, hiring Mickey Gallagher of Ian Dury's Blockheads 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 neo-traditionalist 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, who formerly worked with Mott the Hoople, London Calling 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.
The Clash successfully toured the U.S., the U.K., and Europe in early 1980, during which time the pseudo-documentary Rude Boy was released in England. During the summer, the band released the Dutch-only, dub-inflected single "Bankrobber," which they recorded with DJ Mikey Dread; by the fall, the British branch of CBS was forced to release the single due to popular demand. Shortly afterward, the band went to New York to begin the tension-filled, self-produced sessions for their follow-up to London Calling. In November, a U.S.-only EP of odds and ends entitled Black Market Clash was released. The following month, the triple-record set Sandinista! appeared in the U.K. and the U.S. The critical reaction to the album was decidedly mixed, with American critics reacting more favorably than their British counterparts. Furthermore, the band's audience in the U.K. was shrinking slightly – Sandinista! was the first record the group released that sold more copies in the U.S. than the U.K.
After spending much of 1981 touring and resting, the Clash reconvened late in the year to record their fifth album, with producer Glyn Johns, a former engineer/producer for the Rolling Stones, Who, and Led Zeppelin. Headon left the band shortly after the sessions finished; the press statement said he parted with the group due to political differences, but it was later revealed that the split was 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 was 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." During the fall of 1982, the Clash opened for the Who on their farewell tour. Though the tour helped Combat Rock scale the U.S. charts, the Clash were routinely booed off the stage on every date of the tour.
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, formerly of Cold Fish. During the summer, the band headlined the U.S. Festival in California; it would be their last major appearance. 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, Strummer and Simonon decided to permanently disband the Clash. Several years later, Simonon formed the roots rock band Havana 3 A.M., which released only one album, in 1991; following the record's release, he concentrated on painting. After reuniting with Jones to write songs for Big Audio Dynamite's second album, 1986's No. 10 Upping Street, Strummer drifted between a musical and film career, appearing in Alex Cox's Straight to Hell (1986) and Jim Jarmusch's Mystery Train (1989). He also scored Permanent Record (1988) and Cox's Walker (1987). Strummer released a solo album, Earthquake Weather, in 1989. Shortly afterward, he joined the Pogues as a touring rhythm guitarist and vocalist. By 1991, he had quietly drifted away from the spotlight. For the remainder of the decade, Strummer was quiet, appearing on only one other recording – Black Grape's 1996 Top Ten hit "England's Irie."
Though Strummer and Simonon were both quiet, and Jones was busy with various incarnations of Big Audio Dynamite, rumors of a Clash reunion continued to circulate throughout the '90s. When "Should I Stay or Should I Go?" appeared in a Levi's television commercial in 1992, the song was re-released in the U.K. by CBS, and it shot to number one, fueling reunion speculation. The rumors appeared again in 1995 and 1996, when the Sex Pistols decided to reunite, but the Clash remained quiet. Live: From Here to Eternity, assembling material recorded between 1978 and 1982, was released in 1999, shortly followed by the documentary film Westway to the World. –by Stephen Thomas Erlewine, allmusic.com
Some would argue that if you only wanted two Clash discs in your collection, you should skip this 40-track overview and pick up The Clash and London Calling instead. No matter how transcendent those two albums are – and they are among the very greatest popular music of the 20th century – that overlooks the fact that the group had many, many great songs not on either album, including "Safe European Home," "Stay Free," "Bankrobber," "Rock the Casbah," "Straight to Hell," "This Is Radio Clash," and "Should I Stay or Should I Go," to begin with. That's where this 2003 compilation comes in. It fills in many of the gaps between those two records, while summarizing The Clash and London Calling well, providing a first-rate overview of the greatest punk band. It's not quite perfect, however: some great singles and B-sides fall through the cracks (notably "Gates of the West," "Jail Guitar Doors," "The Call Up," "Armagedion Time," "The Prisoner," "Protex Blue") and the Sandinista! selections feel nearly as haphazard as the album itself. Nevertheless, this does provide the best, most extensive and logical overview of the band yet assembled, and it's worthwhile not just as an introduction, but as a terrific listen.
The U.K. version of The Essential Clash contains some slight differences from the American version. On the first disc, "1977" is added as the second song, so it now runs 21 tracks. On the second disc, "Police on My Back" is taken off and "Broadway" is substituted a few tracks later in the running order. These small tweaks do not change the overall feel and gist of the compilation, and either is a good choice as a summary of the Clash's career.–by Stephen Thomas Erlewine, allmusic.com
The U.K. version of The Essential Clash contains some slight differences from the American version. On the first disc, "1977" is added as the second song, so it now runs 21 tracks. On the second disc, "Police on My Back" is taken off and "Broadway" is substituted a few tracks later in the running order. These small tweaks do not change the overall feel and gist of the compilation, and either is a good choice as a summary of the Clash's career.–by Stephen Thomas Erlewine, allmusic.com
Product Description:
The Essential Clash demonstrates once again how superior the Clash were to any of their punk peers. It's striking that, while the effects of the movement continue to resonate decades later, most '70s punk has dated badly. Even the great singles of the Sex Pistols, perhaps because they encapsulated the time so perfectly, do little more than remind one of 1977. But this fine 40-track double-disc collection demonstrates that the Clash's sound maintains its vitality, whether in the apocalyptic foreboding of "London Calling" or the sulking "I'm So Bored with the USA." When frontman Joe Strummer died in December 2002 at age 50, much was made of the political conscience he'd brandished throughout his career; it must be noted that appearing to be a great thinker in comparison to other rock singers is no great accomplishment. Appearing a great rock singer in comparison to other vocalists is a much more impressive achievement, and this retrospective provides irrefutable evidence of the genius of Strummer and the band he led. –by Andrew Mueller, amazon.com
Album Details:
Artist: The Clash
Album: The Essential Clash (American Version)
Label: Epic/Sony
Catalogue #: 2-89056
Barcode: 5 099708 905620
Format: 2 x CD, Compilation, Remastered
Country: Argentina
Release Date: 11 Mar, 2003
Recording Date: 1977-1985
Number of Discs: 2
Language: English
Time: 2:15:52
Rating: 4.5 stars (allmusic.com)
Genre: Pop/Rock
Styles: Rock & Roll, Pop/Rock, Hard Rock, British Punk, Punk, Dance-Rock
Tracklist:
Disc 1
01. White Riot - 1:59
02. London's Burning - 2:10
03. Complete Control - 3:13
04. Clash City Rockers (Original Version) - 3:56
05. I'm So Bored With The U.S.A. - 2:24
06. Career Opportunities - 1:52
07. Hate & War - 2:04
08. Cheat - 2:06
09. Police & Thieves - 6:00
10. Janie Jones - 2:05
11. Garageland - 3:12
12. Capital Radio One - 2:10
13. (White Man) In Hammersmith Palais - 4:02
14. English Civil War - 2:36
15. Tommy Gun - 3:17
16. Safe European Home - 3:51
17. Julie's Been Working For The Drug Squad - 3:05
18. Stay Free - 3:40
19. Groovy Times - 3:31
20. I Fought The Law - 2:39
Total playtime: 59:53
Disc 2
01. London Calling - 3:20
02. The Guns Of Brixton - 3:11
03. Clampdown - 3:50
04. Rudie Can't Fail - 3:29
05. Lost In The Supermarket - 3:48
06. Jimmy Jazz - 3:55
07. Train In Vain - 3:11
08. Bankrobber - 4:34
09. The Magnificent Seven - 5:33
10. Ivan Meets G.I. Joe - 3:07
11. Police On My Back - 3:18
12. Stop The World - 2:34
13. Somebody Got Murdered - 3:34
14. The Street Parade - 3:29
15. This Is Radio Clash - 4:11
16. Ghetto Defendant - 4:43
17. Rock The Casbah - 3:43
18. Straight To Hell - 5:30
19. Should I Stay Or Should I Go - 3:08
20. This Is England - 3:51
Total playtime: 1:15:59
Credits:
Vic Anesini: Mastering
Josh Cheuse: Art Direction, Design
The Clash: Producer
Tory Crimes: Drums
Bruce Dickinson: Compilation Producer
Micky Foote: Producer
Bob Gruen: Photography
Nicky "Topper" Headon: Drums
Mick Jones: Guitar, Vocals
Micky Jones: Guitar, Vocals
Sandy Pearlman: Producer
Bill Price: Producer
Tricia Ronane: Executive Producer
Nick Sheppard: Guitar
Kate Simon: Photography
Paul Simonon: Bass
Paul Slattery: Photography
Pennie Smith: Photography, Cover Photo
Guy Stevens: Producer
Joe Strummer: Guitar, Vocals
Jose Unidos: Producer
Vince White: Guitar
Mixed By:
Bill Price (tracks: 2-9, 2-10, 2-12 to 2-14)
Corky Stasiak (tracks: 1-15 to 1-19)
Glyn Johns (tracks: 2-16 to 2-20)
Producer:
Bill Price (tracks: 1-19, 1-20, 2-11)
Clash, The (tracks: 1-13, 1-19, 1-20, 2-9 to 2-19)
Guy Stevens (tracks: 2-1 to 2-7)
Mickey Foote (tracks: 1-1, 1-2, 1-4 to 1-12)
Sandy Pearlman (tracks: 1-14 to 1-18)
Notes:
Tracks 1-1 to 1-4, 1-13, and 1-20 taken from The Clash (U.S. Version) Epic CD 63883.
Tracks 1-5 to 1-11 taken from The Clash (U.K. Version) Epic CD 63882.
Tracks 1-12 and 2-8 taken from Black Market Clash Epic LP 38540.
Tracks 1-14 to 1-18 taken from Give 'Em Enough Rope Epic CD 63884.
Tracks 1-19, 2-12, and 2-15 taken from Super Black Market Clash Epic CD 63895.
Tracks 2-1 to 2-7 taken from London Calling Epic CD 63885.
Tracks 2-9 to 2-11, 2-13, and 2-14 taken from Sandinista! Epic CD 63888.
Tracks 2-16 to 2-19 taken from Combat Rock Epic CD 63896.
Track 2-20 taken from Cut The Crap Epic CD 66419.
Mastered at Sony Music Studios, NY.
Back page of the CD booklet reads:
Whilst we were compiling this album we suffered the tragic and untimely loss of our friend and collaborator Joe Strummer. We would like to dedicate this album to his memory.
JOE STRUMMER 1952-2002
Chart & Awards:
Year: 2003
Album: The Essential Clash
Chart: The Billboard 200
Peak: 99
Chart information courtesy of Billboard.com © 2006 VNU eMedia, Inc. All rights reserved.
Lineage:
SilverCD -> EAC (Test & Copy Image & Create CUE Sheet > Uncompressed / Secure Mode / Offset Corrected / WAV 1411 Kbit/s / 44100 Hz / 16 Bits / 2 Channels) -> FLAC frontend -> FLAC (compression level 6) -> AvaxHome
Extra info:
- Cuesheets files are included (WAV + FLAC).
- EAC Extraction LOG file included.
- Codec used for lossless compression: libFLAC 1.2.1 20070917
- Samplerate: 44100 Hz Stereo / Bitrate: 16 bits
- MD5 checksum included
- HQ artwork in bmp format (no compression)
Disc 1
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 16. October 2009, 13:05
The Clash / The Essential Clash (Disc 1)
Used drive : ATAPI DVD A DH20A4P Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface
Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 1:59.32 | 0 | 8956
2 | 1:59.32 | 2:09.64 | 8957 | 18695
3 | 4:09.21 | 3:12.52 | 18696 | 33147
4 | 7:21.73 | 3:56.27 | 33148 | 50874
5 | 11:18.25 | 2:23.56 | 50875 | 61655
6 | 13:42.06 | 1:51.45 | 61656 | 70025
7 | 15:33.51 | 2:04.26 | 70026 | 79351
8 | 17:38.02 | 2:06.18 | 79352 | 88819
9 | 19:44.20 | 5:59.47 | 88820 | 115791
10 | 25:43.67 | 2:05.10 | 115792 | 125176
11 | 27:49.02 | 3:12.02 | 125177 | 139578
12 | 31:01.04 | 2:09.55 | 139579 | 149308
13 | 33:10.59 | 4:01.46 | 149309 | 167429
14 | 37:12.30 | 2:36.36 | 167430 | 179165
15 | 39:48.66 | 3:16.58 | 179166 | 193923
16 | 43:05.49 | 3:51.35 | 193924 | 211283
17 | 46:57.09 | 3:05.08 | 211284 | 225166
18 | 50:02.17 | 3:40.37 | 225167 | 241703
19 | 53:42.54 | 3:30.45 | 241704 | 257498
20 | 57:13.24 | 2:39.23 | 257499 | 269446
Range status and errors
Selected range
Filename E:\FLAC\AVAXHOME\The Clash - The Essential Clash (Disc 1).wav
Peak level 100.0 %
Range quality 100.0 %
Test CRC 71FBD99C
Copy CRC 71FBD99C
Copy OK
No errors occurred
AccurateRip summary
Track 1 not present in database
Track 2 not present in database
Track 3 not present in database
Track 4 not present in database
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database
Track 8 not present in database
Track 9 not present in database
Track 10 not present in database
Track 11 not present in database
Track 12 not present in database
Track 13 not present in database
Track 14 not present in database
Track 15 not present in database
Track 16 not present in database
Track 17 not present in database
Track 18 not present in database
Track 19 not present in database
Track 20 not present in database
None of the tracks are present in the AccurateRip database
End of status report
Disc 2
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 16. October 2009, 14:49
The Clash / The Essential Clash (Disc 2)
Used drive : ATAPI DVD A DH20A4P Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface
Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:20.16 | 0 | 15015
2 | 3:20.16 | 3:10.38 | 15016 | 29303
3 | 6:30.54 | 3:49.51 | 29304 | 46529
4 | 10:20.30 | 3:28.64 | 46530 | 62193
5 | 13:49.19 | 3:47.46 | 62194 | 79264
6 | 17:36.65 | 3:55.33 | 79265 | 96922
7 | 21:32.23 | 3:10.61 | 96923 | 111233
8 | 24:43.09 | 4:34.31 | 111234 | 131814
9 | 29:17.40 | 5:33.34 | 131815 | 156823
10 | 34:50.74 | 3:07.25 | 156824 | 170873
11 | 37:58.24 | 3:17.48 | 170874 | 185696
12 | 41:15.72 | 2:33.46 | 185697 | 197217
13 | 43:49.43 | 3:34.36 | 197218 | 213303
14 | 47:24.04 | 3:29.14 | 213304 | 228992
15 | 50:53.18 | 4:10.57 | 228993 | 247799
16 | 55:04.00 | 4:42.65 | 247800 | 269014
17 | 59:46.65 | 3:42.39 | 269015 | 285703
18 | 63:29.29 | 5:30.23 | 285704 | 310476
19 | 68:59.52 | 3:08.30 | 310477 | 324606
20 | 72:08.07 | 3:50.65 | 324607 | 341921
Range status and errors
Selected range
Filename E:\FLAC\AVAXHOME\The Clash - The Essential Clash (Disc 2).wav
Peak level 100.0 %
Range quality 100.0 %
Test CRC 0B74C5AC
Copy CRC 0B74C5AC
Copy OK
No errors occurred
AccurateRip summary
Track 1 not present in database
Track 2 not present in database
Track 3 not present in database
Track 4 not present in database
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database
Track 8 not present in database
Track 9 not present in database
Track 10 not present in database
Track 11 not present in database
Track 12 not present in database
Track 13 not present in database
Track 14 not present in database
Track 15 not present in database
Track 16 not present in database
Track 17 not present in database
Track 18 not present in database
Track 19 not present in database
Track 20 not present in database
None of the tracks are present in the AccurateRip database
End of status report
Disc 1
flac 1.2.1, Copyright (C) 2000,2001,2002,2003,2004,2005,2006,2007 Josh Coalson
flac comes with ABSOLUTELY NO WARRANTY. This is free software, and you are
welcome to redistribute it under certain conditions. Type `flac' for details.
The Clash - The Essential Clash (Disc 1).wav: Verify OK, wrote 418284290 bytes,
ratio=0,660
–––––––––––––––––––––––––––––––––––––––-
Disc 2
flac 1.2.1, Copyright (C) 2000,2001,2002,2003,2004,2005,2006,2007 Josh Coalson
flac comes with ABSOLUTELY NO WARRANTY. This is free software, and you are
welcome to redistribute it under certain conditions. Type `flac' for details.
The Clash - The Essential Clash (Disc 2).wav: Verify OK, wrote 547252316 bytes,
ratio=0,680
–––––––––––––––––––––––––––––––––––––––-
Presione una tecla para continuar . . .
Disc 1
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
-=== DO NOT EDIT THIS FILE! ===-
Path: …\The Clash - The Essential Clash (Disc 1) - Album
1 -=- The Clash - The Essential Clash (Disc 1).flac -=- CDDA (99%)
1580660
Disc 2
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
-=== DO NOT EDIT THIS FILE! ===-
Path: …\The Clash - The Essential Clash (Disc 2) - Album
1 -=- The Clash - The Essential Clash (Disc 2).flac -=- CDDA (100%)
24993796
Disc 1 & 2
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1 -===- E:\FLAC\AVAXHOME\The Clash - The Essential Clash (Disc 1).flac
Extracted successfully
Conclusion: this track is CDDA with probability 99%
Tempfile successfully deleted.
2 -===- E:\FLAC\AVAXHOME\The Clash - The Essential Clash (Disc 2).flac
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.
Disc 1
REM GENRE Punk Rock
REM DATE 2003
REM DISCID 070E0814
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "The Clash"
TITLE "The Essential Clash (Disc 1)"
FILE "The Clash - The Essential Clash (Disc 1).wav" WAVE
TRACK 01 AUDIO
TITLE "White Riot"
PERFORMER "The Clash"
ISRC GBBBN9902476
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "London's Burning"
PERFORMER "The Clash"
ISRC GBBBN9902144
INDEX 00 01:58:18
INDEX 01 01:59:32
TRACK 03 AUDIO
TITLE "Complete Control"
PERFORMER "The Clash"
ISRC GBBBN9902453
INDEX 01 04:09:21
TRACK 04 AUDIO
TITLE "Clash City Rockers (original version)"
PERFORMER "The Clash"
ISRC GBBBN9902451
INDEX 01 07:21:73
TRACK 05 AUDIO
TITLE "I'm So Bored With The USA"
PERFORMER "The Clash"
ISRC GBBBN9902190
INDEX 00 11:17:15
INDEX 01 11:18:25
TRACK 06 AUDIO
TITLE "Carreer Opportunities"
PERFORMER "The Clash"
ISRC GBBBN9902148
INDEX 01 13:42:06
TRACK 07 AUDIO
TITLE "Hate & War"
PERFORMER "The Clash"
ISRC GBBBN9902188
INDEX 00 15:33:42
INDEX 01 15:33:51
TRACK 08 AUDIO
TITLE "Cheat"
PERFORMER "The Clash"
ISRC GBBBN9902164
INDEX 01 17:38:02
TRACK 09 AUDIO
TITLE "Police & Thieves"
PERFORMER "The Clash"
ISRC GBBBN9902147
INDEX 00 19:43:10
INDEX 01 19:44:20
TRACK 10 AUDIO
TITLE "Janie Jones"
PERFORMER "The Clash"
ISRC GBBBN9902145
INDEX 01 25:43:67
TRACK 11 AUDIO
TITLE "Garageland"
PERFORMER "The Clash"
ISRC GBBBN9902187
INDEX 01 27:49:02
TRACK 12 AUDIO
TITLE "Capital Radio One"
PERFORMER "The Clash"
ISRC GBBBN9902193
INDEX 01 31:01:04
TRACK 13 AUDIO
TITLE "(White Man) In Hammersmith Palais"
PERFORMER "The Clash"
ISRC GBBBN9902478
INDEX 00 33:08:59
INDEX 01 33:10:59
TRACK 14 AUDIO
TITLE "English Civil War"
PERFORMER "The Clash"
ISRC GBBBN9902455
INDEX 00 37:10:30
INDEX 01 37:12:30
TRACK 15 AUDIO
TITLE "Tommy Gun"
PERFORMER "The Clash"
ISRC GBBBN9902474
INDEX 00 39:47:50
INDEX 01 39:48:66
TRACK 16 AUDIO
TITLE "Safe European Home"
PERFORMER "The Clash"
ISRC GBBBN9902466
INDEX 00 43:04:22
INDEX 01 43:05:49
TRACK 17 AUDIO
TITLE "Julie's Been Working For The Drug Squad"
PERFORMER "The Clash"
ISRC GBBBN9902458
INDEX 00 46:55:09
INDEX 01 46:57:09
TRACK 18 AUDIO
TITLE "Stay Free"
PERFORMER "The Clash"
ISRC GBBBN9902469
INDEX 00 50:00:17
INDEX 01 50:02:17
TRACK 19 AUDIO
TITLE "Groovy Times"
PERFORMER "The Clash"
ISRC GBBBN9902172
INDEX 00 53:40:54
INDEX 01 53:42:54
TRACK 20 AUDIO
TITLE "I Fought The Law"
PERFORMER "The Clash"
ISRC GBBBN9902483
INDEX 00 57:11:24
INDEX 01 57:13:24
Disc 2
REM GENRE "Punk Rock"
REM DATE 2003
REM DISCID 1011CE14
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "The Clash"
TITLE "The Essential Clash (Disc 2)"
FILE "The Clash - The Essential Clash (Disc 2).wav" WAVE
TRACK 01 AUDIO
TITLE "London Calling"
PERFORMER "The Clash"
ISRC GBBBN9902460
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "The Guns Of Brixton"
PERFORMER "The Clash"
ISRC GBBBN9902456
INDEX 00 03:18:73
INDEX 01 03:20:16
TRACK 03 AUDIO
TITLE "Clampdown"
PERFORMER "The Clash"
ISRC GBBBN9902450
INDEX 00 06:29:37
INDEX 01 06:30:54
TRACK 04 AUDIO
TITLE "Rudie Can't Fail"
PERFORMER "The Clash"
ISRC GBBBN9902465
INDEX 00 10:19:04
INDEX 01 10:20:30
TRACK 05 AUDIO
TITLE "Lost In The Supermarket"
PERFORMER "The Clash"
ISRC GBBBN9902461
INDEX 00 13:48:09
INDEX 01 13:49:19
TRACK 06 AUDIO
TITLE "Jimmy Jazz"
PERFORMER "The Clash"
ISRC GBBBN9902479
INDEX 00 17:35:40
INDEX 01 17:36:65
TRACK 07 AUDIO
TITLE "Train In Vain"
PERFORMER "The Clash"
ISRC GBBBN9902475
INDEX 00 21:31:08
INDEX 01 21:32:23
TRACK 08 AUDIO
TITLE "Bankrobber"
PERFORMER "The Clash"
ISRC GBBBN9902143
INDEX 00 24:41:66
INDEX 01 24:43:09
TRACK 09 AUDIO
TITLE "The Magnificent Seven"
PERFORMER "The Clash"
ISRC GBBBN9902472
INDEX 00 29:16:13
INDEX 01 29:17:40
TRACK 10 AUDIO
TITLE "Ivan Meets G.I. Joe"
PERFORMER "The Clash"
ISRC GBBBN9902480
INDEX 00 34:48:74
INDEX 01 34:50:74
TRACK 11 AUDIO
TITLE "Police On My Back"
PERFORMER "The Clash"
ISRC GBBBN9902462
INDEX 00 37:56:24
INDEX 01 37:58:24
TRACK 12 AUDIO
TITLE "Stop The World"
PERFORMER "The Clash"
ISRC GBBBN9902180
INDEX 00 41:13:72
INDEX 01 41:15:72
TRACK 13 AUDIO
TITLE "Somebody Got Murdered"
PERFORMER "The Clash"
ISRC GBBBN9902468
INDEX 00 43:47:43
INDEX 01 43:49:43
TRACK 14 AUDIO
TITLE "The Street Parade"
PERFORMER "The Clash"
ISRC GBBBN9902481
INDEX 00 47:22:53
INDEX 01 47:24:04
TRACK 15 AUDIO
TITLE "This Is Radio Clash"
PERFORMER "The Clash"
ISRC GBBBN9902473
INDEX 00 50:51:18
INDEX 01 50:53:18
TRACK 16 AUDIO
TITLE "Ghetto Defendant"
PERFORMER "The Clash"
ISRC GBBBN9902482
INDEX 00 55:02:65
INDEX 01 55:04:00
TRACK 17 AUDIO
TITLE "Rock The Casbah"
PERFORMER "The Clash"
ISRC GBBBN9902463
INDEX 00 59:46:55
INDEX 01 59:46:65
TRACK 18 AUDIO
TITLE "Straight To Hell"
PERFORMER "The Clash"
ISRC GBBBN9902470
INDEX 00 63:27:19
INDEX 01 63:29:29
TRACK 19 AUDIO
TITLE "Should I Stay Or Should I Go"
PERFORMER "The Clash"
ISRC GBBBN9902467
INDEX 00 68:58:36
INDEX 01 68:59:52
TRACK 20 AUDIO
TITLE "This Is England"
PERFORMER "The Clash"
ISRC GBBBN9902155
INDEX 00 72:06:64
INDEX 01 72:08:07
The Clash - The Essential Clash (American Version, 2003)
RapidShare
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10
HotFile
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10
pass: www.AvaxHome.ru_by_gonzalo76
Please, no mirrors !
To keep this post longer alive, please don't post the links or pass in other sites.
Other users will be thankful for that !!!
In case you encounter dead links, please send me a private message.
Thank you very much.
Gonzalo
RapidShare
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10
HotFile
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10
pass: www.AvaxHome.ru_by_gonzalo76
Please, no mirrors !
To keep this post longer alive, please don't post the links or pass in other sites.
Other users will be thankful for that !!!
In case you encounter dead links, please send me a private message.
Thank you very much.
Gonzalo
The Clash - The Essential Clash (American Version, 2003)
