THE CLASH "S/T" LP + rare W/L PROMO 45 1ST US PRESS EPIC 1979 PUNK WoW

$

51

Artist: THE CLASH

Title: “THE CLASH”

Label: EPIC. Labels are black and blue with silver text. Stereo pressing on medium weight vinyl. Catalog number is JE36060. Very rare EARLY original first US pressing that includes white label promo 7" featuring : "The Gates of Clash" / "Groovy Times" catalog # AE7 1178

Year: 1979.

Condition: DISC: Both 12" and 7" Vinyl are NEAR MINT with 100% of original gloss, as clean as can be found. A few light paper scuffs on 12" that do not affect play. Both appear to have been played one or two times at most, and handled with care. Labels are clean. Fidelity is superb. A rare set, one you'd be hard pressed to upgrade.

Inner 12" sleeve shows some wear including a crease in top corner, small 1/2" tear on top where vinyl inserts and some minor ring wear beginning to show.

JACKET: Jacket is EXCELLENT with almost flawless front and back panels. Nice seams and spine. Light rubbing wear along a few edges and corners. No writing, stickers, or other issues. Overall, a beautiful jacket worthy of display to compliment the fine disc.

Tracklist

Side 1:

Clash City Rockers

I'm so bored with the USA

Remote Control

Complete Control

White Riot

White Man in Hammersmith Palais

London's Burning

Side 2:

Janie Jones

Career Opportunites

What's my name

Hate & War

Police & Thieves

Jail Guitar Doors

Garageland

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Never Mind the Bollocks may have appeared revolutionary, but the Clash's eponymous debut album was pure, unadulterated rage and fury, fueled by passion for both rock & roll and revolution. Though the cliché about punk rock was that the bands couldn't play, the key to the Clash is that although they gave that illusion, they really could play -- hard. The charging, relentless rhythms, primitive three-chord rockers, and the poor sound quality give the album a nervy, vital energy. Joe Strummer's slurred wails perfectly compliment the edgy rock, while Mick Jones' clearer singing and charged guitar breaks make his numbers righteously anthemic. Even at this early stage, the Clash were experimenting with reggae, most notably on the Junior Murvin cover "Police & Thieves" and the extraordinary "(White Man) In Hammersmith Palais," which was one of five tracks added to the American edition of The Clash. "Deny," "Protex Blue," "Cheat," and "48 Hours" were removed from the British edition and replaced for the U.S. release with the British-only singles "Complete Control," "(White Man) In Hammersmith Palais," "Clash City Rockers," "I Fought the Law," and "Jail Guitar Doors," all of which were stronger than the items they replaced. Though the sequencing and selection were slightly different, the core of the album remained the same, and each song retained its power individually. Few punk songs expressed anger quite as bracingly as "White Riot," "I'm So Bored with the U.S.A.," "Career Opportunities," and "London's Burning," and their power is all the more incredible today. Rock & roll is rarely as edgy, invigorating, and sonically revolutionary as The Clash. "-allmusic

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