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Disco de The Clash: “Clash [US]”
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Fecha de Publicación:1999-10-04
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Tipo:Desconocido
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Género:Old School Punk Rock
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Sello Discográfico:Sony Mid-Price
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Letras Explícitas:Si
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UPC:5099749534520
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Análisis (en inglés) - AMG :
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. ~ Stephen Thomas Erlewine, All Music GuideAnálisis (en inglés) - :
{^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. In 2000, {@Columbia}/{@Legacy} reissued and remastered the album to include the U.K. songs. 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}. ~ Stephen Thomas Erlewine, All Music Guide
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