The Clash - The Clash 5 Studio Album LP Set lp,180g,SO RARE,STENCIL,SEALED MINT
$
243
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Description
All Five Of The Clash Seminal Studio Albums, Remastered In Their Original Formats Collected Together In A Luxury Box Set Designed By The Band.
Albums Contained: "The Clash," "Give'Em Enough Rope," "London Calling," "Sandinista!," "Combat Rock"
Flight Case Styled Box With Lift-Off Top & D.I.Y. Stencil
Product Code:OVSE-MOV-865
Label/Make: Music On Vinyl
Genre/Model: Punk Rock/New WaveDescription: 180 Gram Audiophile Virgin Vinyl LPS
UPC: 888837259811
From the web:
Quite simply, the Clash were among the most explosive and exciting bands in rock and roll history. They played a major role in creating and defining the punk movement. If the short-lived Sex Pistols were glorious nihilists, then the Clash expressed punk’s impassioned political conscience. Their explosive, uptempo punk-rock manifestos were unleashed with pure adrenaline and total conviction. Following the Sex Pistols’ dissolution in January 1978, the Clash became the central voice of the punk movement and remained at the forefront for five years. Their albums - The Clash (1977), Give ‘Em Enough Rope (1978), London Calling (1979), Sandinista! (1980) and Combat Rock (1982) - captured the tumult of the times with unerring instinct and raw power.
Fittingly, Mick Jones and Joe Strummer met on a dole queue (unemployment line). The group formed in June 1976 when Strummer left his pub-rock band, the 101’ers, to join Jones, Paul Simonon and guitarist Keith Levene - members of the Jones-led London SS - in a new project. Terry Chimes (a.k.a. “Tory Crimes”) was picked to play drums, and Levene left a few months later, eventually forming Public Image Ltd. with Johnny Rotten. When the Clash came together in London, Strummer was living as a squatter in a communal house, while Jones shared his grandmother’s flat. Both were well-situated to write about the rampant boredom, poverty and class warfare that guided the punk outlook. Bassist Simonon suggested they call themselves “the Clash” after noticing how frequently that word appeared in a newspaper he happened to be perusing. With its insinuation of conflict, they couldn’t have picked a better name.
Their landmark first album, The Clash, was cut in three weekends and released in Britain in April 1977. It included such punk-rockFittingly, Mick Jones and Joe Strummer met on a dole queue (unemployment line). The group formed in June 1976 when Strummer left his pub-rock band, the 101’ers, to join Jones, Paul Simonon and guitarist Keith Levene - members of the Jones-led London SS - in a new project. Terry Chimes (a.k.a. “Tory Crimes”) was picked to play drums, and Levene left a few months later, eventually forming Public Image Ltd. with Johnny Rotten. When the Clash came together in London, Strummer was living as a squatter in a communal house, while Jones shared his grandmother’s flat. Both were well-situated to write about the rampant boredom, poverty and class warfare that guided the punk outlook. Bassist Simonon suggested they call themselves “the Clash” after noticing how frequently that word appeared in a newspaper he happened to be perusing. With its insinuation of conflict, they couldn’t have picked a better name.
Their landmark first album, The Clash, was cut in three weekends and released in Britain in April 1977. It included such punk-rock anthems as “White Riot,” “I’m So Bored With the U.S.A.” and “London’s Burning.” Their reworking of Junior Murvin’s reggae classic “Police & Thieves” signaled an early recognition of the common ground between the punk and reggae communities. The Clash has been called “archetypal, resplendent punk,” and it was one of those paradigm-shifting albums that forever altered the course of rock. Ironically, it was not initially released by the band’s American label, Epic, which deemed it “too crude.” (As a further irony, the label would later sticker Clash releases with these words: “The Only Band That Matters.”) Word of mouth and favorable press made The Clash one of the best-selling imports in history and Epic released a bastardized version of the album in 1979. In late 1977 and early 1978, the Clash issued a series of non-album singles - “Complete Control,” “Clash City Rockers” and “(White Man) In Hammersmith Palais” - that connected like a series of street communiqués. Their second album, 1978’s Give ‘Em Enough Rope, found the group tightening its sound on such quintessential tracks as “Safe European Home” and “Stay Free.” The group’s acknowledged classic, the double album London Calling, appeared in December 1979 in the U.K. and January 1980 in the U.S. Appropriately, it brought the best aspects of 1970s punk - slamming energy and anti-establishment attitude - into the new decade with a fresh sense of engagement and intelligence. Produced by Guy Stevens, London Calling was one of the essential albums of the 1980s. The Clash charted their first American hit, “Train in Vain” (Number 23) from London Calling - although, in iconoclastic Clash fashion, the song was added at the last minute and went unlisted on the jacket. Intentional or not, this omission suggested that the band meant to distance itself from the machinations of fame - or at least have control over the process. Rude Boy, a 1980 film about the Clash and their punk-rock milieu, contained concert sequences that demonstrate why they were considered one of rock’s greatest live acts. The Clash followed London Calling with Sandinista!, another multi-sided opus. The Clash agreed to a diminished royalty rate so that the triple album could be affordably retailed. Despite the enormous body of material, song quality remained high throughout Sandinista!, which included the Clash classics “The Magnificent Seven” The Call Up,” “Police on My Back,” and ”Washington Bullets.” London Calling and Sandinista! both fared well in America, charting at Number 27 and Number 24, respectively - impressive showings for a double and triple album.The Clash’s final album, Combat Rock, ushered them out with a somewhat qualified bang. Released in 1982, Combat Rock peaked at Number Seven on the album chart and yielded a Top 10 hit, “Rock the Casbah.” It also included “Should I Stay or Should I Go,” a garage-rock homage. Nine years later, the song would go to Number One on re-release in England, belatedly giving the band its only Number One hit in their homeland. By the time of Combat Rock, the Clash were feuding internally, and it’s perhaps appropriate that this pioneering punk band fractured on the cusp of stardom. The original foursome performed for the last time at a 1983 California rock festival. Shortly thereafter, Jones left the Clash, resurfacing with Big Audio Dynamite. A reconstituted Clash, including only Strummer and Simonon from the original group, released Cut the Crap in 1985 and disbanded the next year.
More online info:
Mick Jones said "The concept of the whole thing is best box set ever. Re-mastering's a really amazing thing. That was the musical point of it all, because there's so much there that you wouldn't have heard before. It was like discovering stuff, because the advances in mastering are so immense since the last time [the Clash catalogue] was remastered in the 90s."
All the music has been remastered from the original tapes, Jones said. "We had to bake the tapes beforehand – the oxide on them is where the music is, so if you don't put them in the oven and bake them, that all falls off, because they're so old."
Tracklist:
The Clash A1 Janie Jones
A2 Remote Control
A3 I'm So Bored With The Usa
A4 White Riot
A5 Hate & War
A6 What's My Name?
A7 Deny
A8 London's Burning
B1 Career Opportunities
B2 Cheat
B3 Protex Blue
B4 Police And Thieves
B5 48 Hours
B6 Garageland
Give 'Em Enough Rope C1 Safe European Home
C2 English Civil War
C3 Tommy Gun
C4 Julie's Been Working For The Drug Squad
C5 Last Gang In Town
D1 Guns On The Roof
D2 Drug-Stabbing Time
D3 Stay Free
D4 Cheapskates
D5 All The Young Punks (New Boots And Contracts)
London Calling E1 London Calling
E2 Brand New Cadillac
E3 Jimmy Jazz
E4 Hateful
E5 Rudie Can't Fail
F1 Spanish Bombs
F2 The Right Profile
F3 Lost In The Supermarket
F4 Clampdown
F5 The Guns Of Brixton
G1 Wrong 'Em Boyo
G2 Death Or Glory
G3 Koka Kola
G4 The Card Cheat
H1 Lover's Rock
H2 Four Horsemen
H3 I'm Not Down
H4 Revolution Rock
H5 Train In Vain
Sandinista! I1 The Magnificent Seven
I2 Hitsville U.K.
I3 Junco Partner
I4 Ivan Meets G.I. Joe
I5 The Leader
I6 Something About England
J1 Rebel Waltz
J2 Look Here
J3 The Crooked Beat
J4 Somebody Got Murdered
J5 One More Time
J6 One More Dub
K1 Lightning Strikes (Not Once But Twice)
K2 Up In Heaven (Not Only Here)
K3 Corner Soul
K4 Lets Go Crazy
K5 If Music Could Talk
K6 The Sound Of Sinners
L1 Police On My Back
L2 Midnight Log
L3 The Equaliser
L4 The Call Up
L5 Washington Bullets
L6 Broadway
M1 Lose This Skin
M2 Charlie Don't Surf
M3 Mensforth Hill
M4 Junkie Slip
M5 Kingston Advice
M6 The Street Parade
N1 Version City
N2 Living In Fame
N3 Silicone On Sapphire
N4 Version Pardner
N5 Career Opportunities
N6 Shepherds Delight
Combat Rock O1 Know Your Rights
O2 Car Jamming
O3 Should I Stay Or Should I Go
O4 Rock The Casbah
O5 Red Angel Dragnet
O6 Straight To Hell
P1 Overpowered By Funk
P2 Atom Tan
P3 Sean Flynn
P4 Ghetto Defendant
P5 Inoculated City
P6 Death Is A Star
Grading:
Lift Off Top Boxset Cover: Mint Sealed (There are a few corner areas where the Original Shrinkwrap has started to separate, however, this Boxset is definitely Still Sealed Mint)
DIY Cut Out Clash Stencil: Mint
Vinyls: Mint< Yes, I'll be happy to ship this Clash Boxset 5 lp International, please just email me before bidding for your country's shipping rate, Thank You! >
*** For the winning bidder, I promise to use a sturdy box to carefully ship this Clash Boxset. I will also properly packed it inside with two pieces of bubble wrap and other shipping paper. Please email me with any questions and I'll get back to you right away! Thanks for looking at my auction! ***
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