Top 10 Clash Songs

Clash Songs

Photo: Masao Nakagami [CC BY-SA 2.0 (https://creativecommons.org/licenses/by-sa/2.0)]

The Clash was an English rock band formed in 1976 in London that was one of the most influential bands of the original punk rock movement. However, their music quickly began fusing many more musical elements outside of the punk world, resulting in a catalog of albums that remains one of the most important in classic rock history. Throughout most of their time together, the line-up consisted of vocalist and guitarist Joe Strummer, bassist Paul Simonon, drummer Topper Headon, and guitarist Mick Jones. Headon left in 1982, and Jones left the following year due to internal conflict with the other members. They continued with several different line-ups before splitting up in 1986.

They achieved much commercial success in the United Kingdom when they released their self-titled debut in 1977. They broke big in America in 1979 with the release of their third album, London Calling, considered one of the greatest rock albums ever. Further success came with the release of Combat Rock in 1982, including the hit “Rock the Casbah,” which helped the album sell double platinum. They released their final album Cut the Crap in 1985.

Their political lyrics, boundary-crossing musical experimentation, and general rebellious attitude saw them becoming highly influential and culturally significant in many forms of rock music. Although facing criticism from some factions of the punk scene for selling out, they never-the-less have been widely referred to as “The Only Band That Matters.” They were inducted into the Rock n Roll Hall of Fame in 2003, shortly after Strummer’s death.

# 10 – Rock the Casbah

We open our Clash Songs list with one of the band’s most popular songs. How often did you watch this video on MTV in the early days? “Rock the Casbah” was released by The Clash on their 1982 album Combat Rock. The song distinguished itself in the United States from the rest of their singles regarding chart success, peaking at number eight in the US Billboard Hot 100. This marked the band’s highest-charting US single, characterized by its politically infused lyrics set against a backdrop of the band’s signature post-punk sound.

The song’s inception was unique, with drummer Topper Headon taking the lead by laying down the initial piano, drum, and bass tracks in the absence of his bandmates. This departure from the typical Joe Strummer–Mick Jones songwriting collaboration presented a fresh dynamic within the group. The band was reportedly pleased with Headon’s instrumental composition, requiring only minimal additional layers to complete the track.

However, Strummer was less enthusiastic about Headon’s initial lyric suggestions, which he found too sentimental. After discarding these, Strummer matched the music with his own lyrical ideas, which included the now-iconic phrase “rock the casbah.” This process involved Strummer retreating to the studio’s bathroom to pen lyrics that aligned with the music’s energetic rhythm.

An interesting auditory element in “Rock the Casbah” is a digital sound effect that echoes the tune “Dixie,” emanating from Mick Jones’s wristwatch alarm, deliberately incorporated into the track.

The song’s narrative was influenced by various sources, including a jam session with Strummer’s friend Tymon Dogg and a comment from the band’s manager, Bernie Rhodes, about the group’s penchant for lengthy tracks. This led Strummer to craft a story set in the Middle East, where Western rock music faces a ban by a fictional king. The lyrics weave a tale of rebellion, with the populace defying the ban and the military ultimately siding with the people’s love for rock music.

“Rock the Casbah” also draws parallels with real-life events, notably the prohibition of Western music in Iran following the Iranian Revolution. The song’s narrative, with its mix of Arabic, Hebrew, Turkish, and Sanskrit terms, captures a global resonance, reflecting on themes of censorship, cultural clash, and the universal appeal of music.

A reissue in 1991 saw “Rock the Casbah” re-enter the charts, peaking at number 22 in Belgium (Ultratop 50 Flanders), number 10 in Ireland (IRMA), and number 15 in the UK Singles Chart (OCC). Year-end charts for 1982 ranked the single at number 41 in Australia according to the Kent Music Report. The following year, it was ranked 34th in New Zealand (Recorded Music NZ) and 52nd on the US Billboard Hot 100, with a year-end ranking of 83 on the US Cash Box.

The song’s enduring popularity is further evidenced by its certifications, receiving a gold certification in Italy (FIMI) for 25,000 units, platinum in the United Kingdom (BPI) for 600,000 units, and 2× platinum in the United States (RIAA) for 2 million units, underscoring “Rock the Casbah” as a significant commercial success and a staple in The Clash’s discography.

# 9  – Straight to Hell

“Straight to Hell”  was released on the album Combat Rock. This track, along with “Should I Stay or Should I Go,” was unveiled as a double A-side single on 17 September 1982, available in both 12″ and 7″ vinyl formats, with the latter also issued as a collectible picture disc.

The genesis of “Straight to Hell” occurred in the waning moments of The Clash’s recording sessions in New York for Combat Rock. The song’s creation unfolded under a whirlwind of inspiration and urgency on 30 December 1981, as described by Mick Jones’ guitar technician, Digby Cleaver. This session, marked by intense creativity and the looming deadline of the band’s departure from New York on New Year’s Eve, resulted in the birth of this poignant track.

“Straight to Hell’s”  opening verse poignantly addresses the decline of Northern England’s steel industry and the resultant generational unemployment, while also delving into the challenges faced by non-English speaking immigrants within British society, highlighting their sense of alienation.

Musically, “Straight to Hell” diverges from conventional rock with its distinctive Bossa Nova-influenced drumbeat, a rhythm that drummer Topper Headon credits for its unique sound. The song’s percussive element is further enriched by Joe Strummer’s unconventional use of an R Whites lemonade bottle, as suggested by Headon, to strike the bass drum, adding a unique texture to the track.

An alternative, longer version of “Straight to Hell” existed, running close to 7 minutes with additional lyrics and a more pronounced violin section. This version was trimmed down during the early 1982 mixing sessions, reflecting The Clash and Glyn Johns’ decision to condense Combat Rock from a potential double album to a more concise single album format.

“Straight to Hell” has also found its way into various media, featuring in films like Kevin & Perry Go Large and Complicity. Its influence extends to covers and samples by a diverse array of artists, from Heather Nova and Moby’s rendition for a Clash tribute album to M.I.A.’s sampling in “Paper Planes,” which further explores themes of immigration. This song’s legacy is amplified through its reinterpretations, such as Mick Jones and Lily Allen’s version for the War Child: Heroes album and covers by artists like Horace Andy and the Menzingers, showcasing “Straight to Hell’s” enduring impact and versatility across different genres and eras.

# 8 – Career Opportunities

Embedded in The Clash’s groundbreaking self-titled album from 1977 is the track “Career Opportunities,” a poignant reflection on the socio-economic climate of England during that period, particularly underscoring the grim employment landscape for the younger demographic. The song is a trenchant critique, enumerating the uninspiring job options available, ranging from roles in the police force to seemingly mundane positions such as bus driving or ticket inspection and even the ostensibly glamorous task of brewing tea at the BBC. It also expresses a distinct aversion to military enlistment, famously critiquing the prospect of serving “in the tropical heat,” a line that the band later adapted in live renditions to “Falklands Street,” a version immortalized in their performance at Shea Stadium.

An intriguing lyrical tidbit, “I won’t open letter bombs for you,” nods to Mick Jones’s earlier stint, where his job entailed inspecting mail for potential explosive threats in a government office. Bassist Paul Simonon inspired the song’s title, adding another layer to its rich narrative tapestry.

The Clash revisited “Career Opportunities” in their ambitious triple album, Sandinista!, released in December 1980. This version stood out for its stripped-down arrangement, featuring the childlike vocals of Luke and Ben Gallagher (the offspring of keyboardist Mickey Gallagher) against a simplistic keyboard melody backdrop, contrasting the original’s more robust sound.

The ensemble behind the original rendition of “Career Opportunities” includes Joe Strummer on lead vocals and rhythm guitar, Mick Jones adding depth with his lead guitar and backing vocals, Paul Simonon anchoring the rhythm section with his bass and vocal harmonies, and Terry Chimes providing the foundational beats on drums and percussion. Together, they crafted a track that epitomized The Clash’s early musical ethos and resonated with the era’s disaffected youth.

# 7 – White Man in Hammersmith Palais

This track was released solely as a single on June 16, 1978. “(White Man) In Hammersmith Palais” marked a significant departure from the band’s earlier sonic aggression, offering a more nuanced blend of punk and reggae rhythms. The 7-inch single, accompanied by “The Prisoner” on its B-side, was a product of CBS Records, with the band taking the helm in production alongside engineer Simon Humphries. Despite being recorded during the sessions for their second album Give ‘Em Enough Rope, the track found its place on the American edition of their debut album, nestled between the single version of “White Riot” and “London’s Burning.”

The song represents a pivotal moment in The Clash’s musical evolution, reflecting a maturity in both sound and subject matter. It ventures into a reggae-infused terrain, reminiscent of their earlier cover of Junior Murvin’s “Police and Thieves,” yet surprises fans with its shift from the band’s trademark robust riffs to a more subdued ska beat. This fusion of punk’s raw energy with reggae’s laid-back rhythms signaled a bold experimental step for the band, as noted by Mick Jones and Joe Strummer, highlighting their willingness to transcend their “big fat riff group” identity.

The narrative of “(White Man) In Hammersmith Palais” unfolds from Strummer’s experience at a reggae showcase in London, featuring artists like Dillinger and Delroy Wilson, whose performances strayed towards a poppier rendition of reggae, contrary to Strummer’s expectations of a more authentic “roots rock rebellion.” This sense of disillusionment at the event transitions into a broader commentary on the socio-political landscape of the UK, touching upon themes of anti-violence, economic disparity, racial unity, and the commercialization creeping into the punk scene of 1978. The song notably critiques the commodification of punk, taking a swipe at bands chasing commercial success, and ends with a darkly humorous nod to the rise of right-wing politics.

# 6 – White Riot

Released in March 1977, “White Riot” marked the debut single of the iconic English punk rock band, The Clash, and was also a highlight on their eponymous first album. Notably, there exist two distinct renditions of this track: the single version that also made its way onto the U.S. album edition in 1979, recorded at CBS Studio 3 in Central London, and an earlier demo version from 1976, captured at Beaconsfield Studios with Julien Temple. This demo version, along with other tracks, later surfaced on the Sound System compilation album. The album cut of “White Riot” is known for its straightforward count-in by Mick Jones, while the single version opens with the distinctive wail of a police siren.

“White Riot” is imbued with themes of class economics, race, and a call to action, resonating with the Clash’s signature critique of social injustices. The inspiration stemmed from Joe Strummer and Paul Simonon’s firsthand experience in the Notting Hill Carnival riots of 1976. The song’s narrative juxtaposes the active resistance of marginalized communities with the complacency observed in privileged sections of society, particularly emphasizing the shared struggles of the impoverished across racial lines.

Musically, “White Riot” showcases a driving force and raw energy, with Topper Headon’s distinctive drumming likened to a Bossa Nova rhythm, adding a unique layer to the punk rock anthem. Strummer’s vocal delivery and the song’s pointed lyrics underscore the urgency and frustration of the era.

Despite mixed reactions to its provocative lyrics, with some misinterpreting the song’s message as advocating racial conflict, Strummer clarified that the song aimed to highlight the plight of inner-city youth, encouraging a collective uprising against systemic issues. The Clash’s performance of “White Riot” at the Rock Against Racism Carnival in 1978, alongside Jimmy Pursey of Sham 69, remains a pivotal moment in punk history, captured in the film Rude Boy.

The single’s cover, shot by Caroline Coon, depicts the band against a backdrop inspired by the stop-and-search tactics prevalent at the time, with Strummer’s “Hate and War” slogan on his outfit later altered to “1977” for the release.

Despite limited radio play, “White Riot” cemented its status as a punk classic, celebrated for its raw intensity and socio-political commentary. The song’s legacy is evident in its wide array of covers and samples by artists across genres, from Sham 69 and Anti-Flag to more unexpected renditions by bands like the Bad Shepherds and Camper Van Beethoven, highlighting its enduring influence and relevance.

With “White Riot,” The Clash not only delivered a potent punk anthem but also laid the groundwork for their evolving sound and continued social commentary, with the B-side “1977” echoing similar sentiments of disillusionment with mainstream music icons of the past. The song’s chart performance, peaking at 38 on the UK Singles Chart, underscores its impact and the Clash’s burgeoning role in the punk movement.

# 5 – Train In Vain

This has always been one of my favorite Clash songs. It just had such a friendly vibe to it. “Train in Vain” emerged as the final single from their acclaimed album London Calling in 1979. Unique for its last-minute inclusion, the song remained unlisted on the album’s original sleeve due to its late addition during the production phase, thus appearing as a hidden gem for listeners. In some versions of the album, the song is acknowledged in the tracklist, illustrating its complex release history. Notably, “Train in Vain” achieved significant success, especially in the United States, where it became The Clash’s first Top 30 hit..

The narrative of “Train in Vain” is fueld by personal strife to broader social commentary. Initially thought to be titled “Stand by Me” by fans due to the chorus’s repetition of the phrase, the song’s actual title and lyrics delve into themes of betrayal and disillusionment, possibly inspired by Mick Jones’ relationship with Slits guitarist Viv Albertine. The song’s lyrics transcend personal grievance, touching on societal issues such as violence, economic disparity, and the co-opting of punk’s ethos by mainstream and commercial forces, even making a pointed reference to the vacuous allure of fame and fortune.

Upon its release, “Train in Vain” was met with acclaim, its commercial sound and compelling rhythm distinguishing it from The Clash’s earlier, more aggressive work.

# 4 – I Fought The Law

During the latter part of 1978, The Clash were engrossed in the creation of their sophomore album, Give ‘Em Enough Rope. In pursuit of perfecting their sound, Joe Strummer and Mick Jones ventured to San Francisco, immersing themselves in the vibrant atmosphere of the Automatt studio to lay down overdubs during the fall months. The studio, known for its eclectic décor, featured an array of vintage jukeboxes, a hobby of the studio’s owner. It was here, amidst the creative flurry, that Strummer and Jones stumbled upon Bobby Fuller’s rendition of “I Fought the Law” emanating from one of these jukeboxes, marking their initial encounter with the track.

This discovery led to The Clash’s own interpretation of the song, first introduced to their UK audience through The Cost of Living EP in May 1979 and subsequently integrated into the US version of their self-titled debut album. Their cover not only secured The Clash’s inaugural radio exposure in the United States but also stands as one of the most renowned renditions of “I Fought the Law.” The song’s live performance, captured at London’s Lyceum Theatre at the close of 1978, was immortalized in the 1980 cinematic piece Rude Boy. Adorned in all black, The Clash delivered a rendition that would come to be seen as the anthem of the film.

By the summer of 1979, The Clash released “I Fought the Law” as their debut single in the US market. This release was later followed by a 1988 re-issue by CBS Records, which saw the single being made available across various formats including CD and vinyl, accompanied by “City of the Dead” and “1977” as B-sides.

The Clash’s cover of “I Fought the Law” has since resonated beyond the music charts, finding its way into notable historical and cultural moments. Notably, during 1989’s Operation Just Cause, the US military employed the track amongst others in a psyops campaign against Manuel Noriega. Moreover, the song has enjoyed a presence in modern entertainment, featuring in video games such as Sleeping Dogs and Lego DC Super-Villains, as well as films including the 2014 RoboCop reboot and War on Everyone.

 

# 3 – Should I Stay Or Should I go

Crafted in 1981 with Mick Jones at the helm for lead vocals, the song made its way to the public in 1982 as part of a double A-side single, sharing the spotlight with “Straight to Hell.” Initially, its global chart performance was modest, barely making a mark on the Billboard Hot 100 in the United States. However, the track soared to prominence nearly a decade post-release, thanks to its feature in a Levi’s jeans advertisement in the early 1990s. This exposure catapulted the 1991 re-release to the summit of the UK Singles Chart, also securing top 10 positions across New Zealand and various European nations. In 2004, it earned a spot in Rolling Stone’s compilation of the 500 Greatest Songs of All Time.

Attributed to the collective genius of The Clash, Mick Jones was the primary architect behind the song. Its melody and chords draw parallels with Bill Medley’s 1962 creation “Little Latin Lupe Lu,” a chart-topping number for the Righteous Brothers and subsequently covered by The Kingsmen and Mitch Ryder and the Detroit Wheels. Speculation around the lyrics hinted at Jones’ looming exit from The Clash or his turbulent relationship with American vocalist Ellen Foley, known for her backing vocals on Meat Loaf’s Bat Out of Hell. Dismissing such conjectures, Jones clarified in 1991 that the song wasn’t penned for anyone particular nor did it forecast his departure from the band, but was merely aimed at being a timeless rock tune.

The Spanish backing vocals, a distinctive feature of the track, were delivered by Joe Strummer and Joe Ely. Strummer’s spontaneous decision to include Spanish lyrics led to an impromptu translation session with Eddie Garcia’s Ecuadorian mother, lending an authentic Latin American flair to the song.

The song saw various single editions, with its North American release by Epic Records featuring different B-sides across editions in 1982 and 1983. Internationally, CBS Records presented it as a double A-side with “Straight to Hell” in September 1982. Initially resistant to commercializing their music, The Clash, influenced by Mick Jones’ decision, agreed to license the song for a Levi’s ad in the UK. This strategic move, aligning with the rock culture associated with Levi’s jeans, led to the song’s reissue in 1991, propelling it to unprecedented success.

A live rendition from a 1982 New York City concert at Shea Stadium was later included in the album Live at Shea Stadium, with accompanying visuals directed by Don Letts showcasing the band’s vibrant NYC tour and Shea Stadium performance.

The song’s iconic opening riff sparked controversy in 2012 when similarities were drawn with One Direction’s “Live While We’re Young.” Critics and fans debated the resemblance, noting subtle differences that likely sidestepped copyright issues.

With its 1982 and 1991 releases, “Should I Stay or Should I Go” not only charted in various countries but also became a defining anthem of The Clash, marked by its punk rock vigor and enduring appeal across generations.

# 2 – Complete Control

We close out our Clash songs list with the band ‘s “Complete Control,” which was initially unveiled as a 7″ single and later included on the U.S. version of their debut album. Lauded as a seminal punk anthem, the song is a vehement critique of the music industry, addressing record labels, management practices, and the commercialization of punk music. The catalyst for this song was the unauthorized release of “Remote Control” by their label, CBS Records, a move that greatly angered the band.

The title “Complete Control” and parts of the song’s lyrics draw inspiration from the band’s experiences with controlling figures in the punk scene, notably their own manager Bernie Rhodes and the Sex Pistols’ Malcolm McLaren. A memorable incident occurred when Rhodes called for a band meeting at the Ship pub in Soho, declaring his desire for “complete control,” a moment that left Joe Strummer and Paul Simonon in disbelief. The song also touches on the band’s encounters with law enforcement, their practice of sneaking fans into shows for free, and their disillusionment with the industry’s betrayal of punk ideals.

Recorded at Sarm East Studios in Whitechapel and engineered by Mickey Foote, the track was produced by the legendary Lee “Scratch” Perry. Perry, having been impressed by The Clash’s cover of his song “Police and Thieves,” agreed to produce “Complete Control” when he learned he was in London working with Bob Marley & the Wailers. During production, Perry’s attempt to achieve a deep bass sound famously resulted in blown studio equipment. Despite Perry’s influence, the band later adjusted the mix to emphasize the guitars and reduce the echo, making it more aligned with their sound.

Marking Topper Headon’s debut recording with The Clash after Terry Chimes’ exit, “Complete Control” climbed to number 28 on the singles chart, becoming one of the band’s most beloved tracks. It secured the second spot in John Peel’s 1978 Festive Fifty and has since been acknowledged as a punk milestone by publications like Rolling Stone and The Guardian. It also gained recognition in popular culture, featuring in video games like Guitar Hero: Aerosmith and Rock Band.

The single included “City of the Dead” as the B-side, with Joe Strummer on lead vocals and rhythm guitar, Mick Jones handling lead and rhythm guitars and backing vocals, Paul Simonon on bass, and Topper Headon on drums, encapsulating the essence of The Clash’s punk legacy.

# 1 – London Calling

I grew up in New York City during the 1970s punk rock movement. I remember how big the Clash was. In 2018, I visited London for the first time in my life, and all I could hear was this song playing back and forth in my head.

“London Calling,”  made its debut as a compelling single from their ambitious 1979 double album bearing the same title. Known for its urgent, politically infused narrative and quintessential post-punk amalgamation of electric guitar and impassioned vocals, the song has cemented its place as a landmark in music history.

Crafted by the dynamic songwriting duo of Joe Strummer and Mick Jones, “London Calling” draws its name from the wartime station identification of the BBC World Service, evoking a sense of global urgency and historical weight. The song’s lyrics, inspired in part by the 1979 Three Mile Island nuclear incident, paint a vivid picture of an era riddled with anxiety and societal unease. As someone who graduated high school in 1979, I remember protesting against nuclear power in New York, trying to stop the opening of the Shoreham Nuclear Power Plant, which, by the way, we were successful at stopping from ever opening.

Amidst its broader political commentary, the song also touches on environmental concerns, specifically the potential for a catastrophic flood in central London, a fear that spurred the construction of the Thames Barrier. Strummer’s critique extends to police conduct and the perils of drug use, weaving a tapestry of social observation and critique.

Recorded at the renowned Wessex Studios, a favorite among punk and new wave acts like the Sex Pistols and the Pretenders, the song was brought to life under the production expertise of Guy Stevens and the technical acumen of engineer Bill Price.

In a testament to the song’s enduring relevance and adaptability, The Clash granted permission for its reimagining by Ukrainian punk band Beton in 2022. The revised version, titled “Kyiv Calling,” serves as an anti-invasion anthem and charity fundraiser in response to the Russian invasion of Ukraine, showcasing the song’s continued resonance in the face of contemporary global crises.

Charting modestly upon its initial release, “London Calling” has since received various certifications, underscoring its lasting impact and the profound connection it has forged with listeners worldwide. From its platinum status in Canada and the UK to its gold certification in Italy and Spain, the song’s legacy as a punk rock milestone is unmistakably affirmed.

Upon its release, “London Calling” by The Clash achieved respectable positions across various music charts. In 1979, the song debuted on the UK Official Charts Company, securing the 11th spot, demonstrating its immediate appeal in the band’s home country. The following year, in 1980, it continued to resonate with audiences internationally, reaching the 16th position on the Irish Singles Chart, the 23rd on New Zealand’s Recorded Music NZ chart, and the 30th on the US Billboard Hot Dance Club Play.

Additionally, it garnered the 28th position in Australia according to the Kent Music Report. A subsequent re-release in 1988 saw the track re-enter the UK charts, this time at position 46. The song’s enduring popularity was further evidenced in 1991, with it reaching the 18th position on the Irish Singles Chart once again, the 30th in Sweden according to Sverigetopplistan, and the 64th position on the UK Official Charts Company, showcasing the timeless nature of this iconic Clash track across different regions and years.

Top 10 Clash Songs article published on Classic RockHistory.com© 2024

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