CLASH ORIGINAL HAND SIGNED CLASH LP PUNK JOE STRUMMER

	£		77
	$		102

THE CLASH CLASH ORIGINAL HAND SIGNED LP

CBS RECORDS CBS 32232

SIGNED IN BLACK AND BLUE AND GOLD MARKER PEN BY JOE STRUMMER , MICK JONES, PAUL SIMONON & TOPPER HEADON

ALL SIGNATURES ARE 100% ORIGINAL

WOULD LOOK STUNNING FRAMED

vinyl and  sleeve are both in excellent condition

*** PLEASE NOTE THAT THE FRAME IS NOT INCLUDED ***

The Clash is the first album-length recording released by the English punk band The Clash. It was released in two different versions, both of which are still in print: the original version in 1977 and the revised U.S. version in 1979 (with several post-1977 single sides added to the album).[1]

 Recording and production

Issued in the UK by CBS Records in 1977, engineered by CBS staff engineer Simon Humphrey and produced by Clash live soundman Mickey Foote, at the (now-razed) CBS Whitfield Street Studio No. 3.[2] This first album by the Clash was unusually musically varied for a punk band, with reggae and early rock and roll influences plainly evident.

Most of the album was conceived on the 18th floor of a council high rise on London's Harrow Rd, in a flat that was rented by Jones' grandmother, who frequently went to see their live concert.[3] The album was recorded over three weekend sessions at CBS Studio 3 in early February 1977. By the third of these sessions the album was recorded and mixed to completion, with the tapes being delivered to CBS at the start of March. It cost just £4000 to produce.

 Songs

• "White Riot" Sample of single and U.S. album version of "White Riot" "Remote Control" Sample of "Remote Control" "Police & Thieves" Sample of "Police & Thieves"
• Problems listening to the files? See media help.

The subject of the opening track, "Janie Jones", was a famous madam in London in the 1970s. "Remote Control" was written by Mick Jones after the Anarchy Tour and contains pointed observations about the civic hall bureaucrats who had cancelled concerts, the police, big business and especially record companies. CBS decided to release the song as a single without consulting the band. "I'm So Bored with the U.S.A.", developed from a Mick Jones song, entitled "I'm So Bored With You",[4] condemns the Americanization of the UK in Europe.[5] "White Riot" was the first single put out by The Clash. The song is short and intense, punk style of two chords played very fast. Lyrically, the song is about class economics and race.[6]

"Career Opportunities", the opening track of the B-side, attacks the political and economic situation in England at the time, citing the lack of jobs available, and the dreariness and lack of appeal of those that were available. "Protex Blue", sung by Mick Jones, is about a 1970s brand of condom. The song ends with the shouted phrase "Johnny Johnny!", "johnny" being a British slang term for a condom. The version of "White Riot" featured here was not recorded for the album. Instead they used the original demo version, recorded at Beaconsfield Studios before the band signed to CBS.

"Police & Thieves" was added to the album when the band realised just how short the tracklist was. Another cover the band toyed with at these sessions was Bob Marley's "Dancing Shoes". "Garageland" was written in response to Charles Shaar Murray's damning review of the band's early appearance at the Sex Pistols Screen on the Green concert - "The Clash are the kind of garage band who should be returned to the garage immediately, preferably with the engine running".[7][8] It was the final track recorded for the album.

 Artwork

The album's front cover photo, shot by Kate Simon, was taken in the alleyway directly opposite the front door of the band's 'Rehearsal Rehearsals' building in Camden Market. Drummer Terry Chimes, though a full member of The Clash at the time, did not appear in the shot as he had already decided to leave the band. The picture of the charging police officers on the rear, shot by Rocco Macauly, was taken during the 1976 riot at the Notting Hill Carnival—the inspiration for the track "White Riot".

 Reception and influence

The album received positive reviews from critics and peaked at number 12 in the UK charts. In December 1979, critic Robert Christgau named it his favorite album of the 1970s.[9]

In February 1993, the New Musical Express magazine ranked the album number 13 in its list of the Greatest Albums Of All Time.[10]. NME also ranked The Clash number 3 in its list of the Greatest Albums of the '70s, and wrote in the review that "the speed-freaked brain of punk set to the tinniest, most frantic guitars ever trapped on vinyl. Lives were changed beyond recognition by it".

In December 1999, Q magazine rated the album 5 stars out of 5, and wrote about The Clash that they "would never sound so punk as they did on 1977's self-titled debut....Lyrically intricate...it still howled with anger".[11] The same magazine placed The Clash at number forty-eight in its list of the 100 Greatest British Albums Ever in 2000,[12] and included The Clash in its "100 Best Punk Albums", giving it 5 stars out of 5, in May 2002.[13]

In 2000, Alternative press rated the album 5 out of 5. Alternative press review saw The Clash as an eternal punk album, a blueprint for the pantomime of 'punkier' rock acts, and that for all of its forced politics and angst, The Clash continues to sound crucial.[14]

In May 2001, Spin magazine ranked the album number 3 in its "50 Most Essential Punk Records", and wrote "Punk as alienated rage, as anticorporate blather, as joyous racial confusion, as evangelic outreach and white knuckles and haywire impulses".[15]

In 2003, the album was ranked number 77 on Rolling Stone magazine's list of the 500 greatest albums of all time. The album was described as a "youthful ambition bursts through the Clash's debut, a machine-gun blast of songs about unemployment, race, and the Clash themselves."[16][17]

In March 2003, Mojo magazine ranked The Clash number 2 in its "Top 50 Punk Albums", writing about the album that it was "the ultimate punk protest album. Searingly evocative of dreary late '70s Britain, but still timelessly inspiring".[18]

Lee Perry (credited with singer Junior Murvin with the composition of "Police and Thieves") heard the album whilst in London in 1977 and played it to Bob Marley, who in turn mentioned The Clash on his own track "Punky Reggae Party".

 Track listing

All tracks were written by Joe Strummer and Mick Jones, except where noted.

 Side one

1. "Janie Jones" – 2:08
2. "Remote Control" – 3:03
3. "I'm So Bored with the USA" – 2:24
4. "White Riot" – 1:56
5. "Hate and War" – 2:06
6. "What's My Name?" (Jones, Keith Levine, Strummer) – 1:41
7. "Deny" – 3:06
8. "London's Burning" – 2:12

Tracks 1, 3–4, 6–8 are sung by Joe Strummer. Tracks 2 and 5 are sung by Joe Strummer and Mick Jones.

 Side two

1. "Career Opportunities" – 1:54
2. "Cheat" – 2:06
3. "Protex Blue" – 1:47
4. "Police & Thieves" (Junior Murvin, Lee Perry) – 6:03
5. "48 Hours" – 1:36
6. "Garageland" – 3:12

Tracks 1–2 and 4–6 are sung by Joe Strummer. Track 3 is sung by Mick Jones.

 Personnel

• Mick Jones ? guitars, vocals
• Joe Strummer ? guitars, vocals
• Paul Simonon ? bass
• Terry Chimes ? drums (credited as "Tory Crimes")

My records are graded visually in accordance with Record Collector's Grading System as follows:

EXCELLENT (EX): The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and/or creasing.

VERY GOOD (VG): The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any major defects, is acceptable.

GOOD (G): The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discolouration, etc

+ or - indicates a grading in between categories

Postage and packing: UK  £3.50 ~ Europe airmail £7.00 ~  Everywhere Else airmail £8.00. All items are sent fully insured & signed for

I offer reduced postage rates for combined multiple purchases as follows:

UK mainland: Price as quoted above for first 12" plus £1.50 for each additional 12"

Overseas: Price as quoted above for first 12" plus £2.00 for each additional 12"

These shipping prices apply to to a maximum combination of 4 x 12" only

Please note that, whilst it it comparatively rare for items to be lost or damaged in the post (the quality of packaging I use is substantial), my part of the transaction contract is legally completed as soon as the item is in the hands of the Post Office. I will not, therefore, accept responsibility for any loss or damage by the Postal Services. Whilst I am happy to provide help and advice, all such claims remain the responsibility of and must be made by the buyer. 

I offer a no quibble returns policy on all my vinyl and cd's. If you are not happy with any item please return it within 10 days for a full refund. (providing it is returned in the same condition as despatched by me). Unfortunately i am unable to refund the return postage

PLEASE BID WITH CONFIDENCE AND CHECK OUT MY EXCELLENT  FEEDBACK

THANKS FOR LOOKING AND HAPPY BIDDING

AS ALWAYS ANYQUESTIONS PLEASE EMAIL ME IF FOR ANY REASON YOU ARE NOT HAPPY WITH MY TERMS AND CONDITIONS THEN PLEASE, PLEASE DO NOT BID!!