|
Black Market Clash
''Super Black Market Clash'' is a 1993 compilation album released by the English punk rock band The Clash. It contains B-sides and rare tracks not available on the group's regular studio albums. The album is an expanded repackaging of the 1980 release ''Black Market Clash'', a 10-inch EP containing nine songs. The man in the foreground of the front cover art on both releases is Don Letts, who worked with The Clash on several projects and later was a founding member of Big Audio Dynamite. ''Black Market Clash'' ''Black Market Clash'' was released in October 1980, only in the US and Canada, in between ''London Calling'' and '' Sandinista!''. It compiled recordings which were then unavailable in the US except as imports. The disc was one in the series of "Nu-Disk" 10-inch records from Epic. Other artists in the series included New Musik and Cheap Trick. "The Prisoner," the cover of "Pressure Drop" by Toots and the Maytals, "City of the Dead," and "Armagideon Time" had all be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
New Musik
New Musik were an English synthpop group active from 1977 to 1982. Led by Tony Mansfield, they achieved success in 1980 with the top 20 single " Living by Numbers" which was followed up with the top 40 hits "This World of Water", "Sanctuary" and hit album '' From A to B''. History New Musik formed in 1977 in London, growing out of a casual band of South London school friends who jammed together under the name End of the World. The lead vocalist and frontman for the band was songwriter and record producer Tony Mansfield, who was also a former member of the Nick Straker Band, and was joined in the original line-up by Straker, bassist Tony Hibbert and drummer Phil Towner. Their first single, "Straight Lines", was released by GTO Records in 1979, and their debut album, '' From A to B'', came out in April 1980. Straker left the band to pursue a solo career and was replaced by Clive Gates for the album. New Musik made their first appearance on the BBC TV pop programme ''Top ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joe Strummer
John Graham Mellor (21 August 1952 – 22 December 2002), known professionally as Joe Strummer, was a British singer, musician and songwriter. He was the co-founder, lyricist, rhythm guitarist and co-lead vocalist of punk rock band the Clash, formed in 1976. The Clash's second album '' Give 'Em Enough Rope'' (1978) reached No. 2 on the UK charts. Soon after, they achieved success in the US, starting with ''London Calling'' (1979) and peaking with ''Combat Rock'' (1982), which reached No. 7 on the US charts and was certified 2× platinum there. The Clash's explosive political lyrics, musical experimentation, and rebellious attitude had a far-reaching influence on rock music in general, especially alternative rock. Their music incorporated reggae, ska, dub, funk, rap and rockabilly. Strummer's other career highlights included stints with the 101ers, the Latino Rockabilly War, the Mescaleros, and the Pogues, as well as solo music. His work as a musician allowed him to explor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Compact Disc
The compact disc (CD) is a digital optical disc data storage format that was co-developed by Philips and Sony to store and play digital audio recordings. In August 1982, the first compact disc was manufactured. It was then released in October 1982 in Japan and branded as '' Digital Audio Compact Disc''. The format was later adapted (as CD-ROM) for general-purpose data storage. Several other formats were further derived, including write-once audio and data storage (CD-R), rewritable media (CD-RW), Video CD (VCD), Super Video CD (SVCD), Photo CD, Picture CD, Compact Disc-Interactive ( CD-i) and Enhanced Music CD. Standard CDs have a diameter of and are designed to hold up to 74 minutes of uncompressed stereo digital audio or about 650 MiB of data. Capacity is routinely extended to 80 minutes and 700 MiB by arranging data more closely on the same sized disc. The Mini CD has various diameters ranging from ; they are sometimes used for CD singles, storin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Clash (album)
''The Clash'' is the debut studio album by English punk rock band the Clash. It was released on 8 April 1977 through CBS Records. Recorded and mixed over three weeks in February 1977 for £4,000, it would go on to reach No. 12 on the UK charts, and has been included on many retrospective rankings as one of the greatest punk albums of all time. Songs on the album were composed by guitarists Joe Strummer and Mick Jones, with the notable exception of the reggae cover "Police and Thieves". Several songs from these sessions, including " Janie Jones", "White Riot", and " London's Burning" became classics of the punk genre and were among the first punk songs to see significant presence on singles charts. The album featured Jones and Strummer sharing guitar and vocal duties, with Paul Simonon on bass and Terry Chimes on drums, his only studio appearance with the band. The album was not released in the US until 1979, making it their second US release. The US version also included ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Capital Radio One
''Capital Radio'' is a song and an extended play by the English punk rock band the Clash. The original song has been included as "Capital Radio" or "Capital Radio One" on the ''Capital Radio'' EP (1977), ''Black Market Clash'' (1980), ''The Story of the Clash, Volume 1'' (1988), ''Clash on Broadway'' (1991), ''From Here to Eternity: Live'' (1999), ''The Essential Clash'' (2003), and ''Singles Box'' (2006). Lyrics Lyrically, the song is an attack on the music policy of what was (at the time) 95.8 Capital FM, London's only legal commercial music radio station, which played sophisticated pop, some mainstream chart hits but little punk, though they did playlist The Jam's first single 'In The City', while the Sex Pistols' 'Pretty Vacant' made the Top 3 of their 'Capital Countdown' playlist. The Clash song mentions the station's then-Head of Music, Aidan Day"He picks all the hits they play/to keep you in your place all day": The song ends with a parody of one of Capital's actual jing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Booker T & The MGs
Booker T. & the M.G.'s were an American instrumental R&B/ funk band that was influential in shaping the sound of Southern soul and Memphis soul. The original members of the group were Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass), and Al Jackson Jr. (drums). In the 1960s, as members of the Mar-Keys, the rotating slate of musicians that served as the house band of Stax Records, they played on hundreds of recordings by artists including Wilson Pickett, Otis Redding, Bill Withers, Sam & Dave, Carla Thomas, Rufus Thomas, Johnnie Taylor and Albert King. They also released instrumental records under their own name, including the 1962 hit single "Green Onions". As originators of the unique Stax sound, the group was one of the most prolific, respected, and imitated of its era. By the mid-1960s, bands on both sides of the Atlantic were trying to sound like Booker T. & the M.G.'s. In 1965, Steinberg was replaced by Donald "Duck" Dunn, who played wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
London Calling (song)
"London Calling" is a song by the British punk rock band the Clash. It was released as a single from the band's 1979 double album of the same name. This apocalyptic, politically charged rant features the band's post-punk sound, electric guitar and vocals.Gilbert 2005, pp. 233, 235, 238, 257, 260, 267.a) "Taken from the Clash's stunning 1979 double album ''London Calling'', the single showcased the band's trademark fusion of reggae bass lines with punk guitar and vocals."b) "Reaching number eleven in December 1979, the song was the only track to be released as a single from their acclaimed London Calling album." Writing and recording The song was written by Joe Strummer and Mick Jones. The title alludes to the BBC World Service's station identification: "This is London calling ...", which was used during World War II, often in broadcasts to occupied countries. The lyrics reflect the concern felt by Strummer about world events with the reference to "a nuclear error" †... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Complete Control
"Complete Control" is a song by The Clash, released as a 7" single and featured on the U.S. release of their debut album. Background The song is often cited as one of punk's greatest singles and is a fiery polemic on record companies, managers and the state of punk music itself, the motivation for the song being the band's label (CBS Records) releasing "Remote Control" without asking them, which infuriated the group. '' Stereogum'' described it as "this extraordinary airing of grievances, a desperately catchy cataloguing of the many ills visited upon a young band experiencing its first forays into corporate culture". The song also refers to managers of the time who sought to control their groups–Bernie Rhodes (of The Clash) and Malcolm McLaren (the Sex Pistols)–the song's title is derived from this theme. Bernie Rhodes had arranged a band meeting at the Ship, a pub in Soho's Wardour Street, where he said he wanted "complete control". The track also refers to the band' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
English Civil War (song)
"English Civil War" (often subtitled "Johnny Comes Marching Home") is a song by English punk rock band the Clash, featured on their second album '' Give 'Em Enough Rope'', and released as a single on 23 February 1979. It reached number 25 in the UK Singles Chart and number 29 in the Irish Singles Chart. Background The song is derived from an American Civil War song, " When Johnny Comes Marching Home", written by Irish-born Massachusetts Unionist Patrick Sarsfield Gilmore. It was popular among both sides of the conflict. Having learnt the song at school, Joe Strummer suggested that the band should update it. Those on the left wing saw the rise during the mid-1970s of far right groups such as the National Front as alarming and dangerous omens for Britain's future. The song is about this state of politics in the country and warns against all things uniformed and sinister. Shortly after the song had its first live performance at a Rock Against Racism concert, Strummer said ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
White Man In Hammersmith Palais
"(White Man) In Hammersmith Palais" is a song by the English punk rock band the Clash. It was originally released as a 7-inch single, with the b-side "The Prisoner", on 16 June 1978 through CBS Records. Produced by The Clash and engineered by Simon Humphries, the song was recorded for (but not included on) the group's second studio album ''Give 'Em Enough Rope''; it was later featured on the American version of their debut studio album ''The Clash'' between the single version of "White Riot" and " London's Burning". Inspiration and composition The song showed considerable musical and lyrical maturity for the band at the time. Compared with their other early singles, it is stylistically more in line with their version of Junior Murvin's "Police and Thieves" as the powerful guitar intro of "(White Man) In Hammersmith Palais" descends into a slower ska rhythm, and was disorienting to a lot of the fans who had grown used to their earlier work. “The music is a mixture of the regg ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
B-sides
The A-side and B-side are the two sides of phonograph records and cassettes; these terms have often been printed on the labels of two-sided music recordings. The A-side usually features a recording that its artist, producer, or record company intends to be the initial focus of promotional efforts and radio airplay and hopefully become a hit record. The B-side (or "flip-side") is a secondary recording that typically receives less attention, although some B-sides have been as successful as, or more so than, their A-sides. Use of this language has largely declined in the 21st century as the music industry has transitioned away from analog recordings towards digital formats without physical sides, such as CDs, downloads and streaming. Nevertheless, some artists and labels continue to employ the terms ''A-side'' and ''B-side'' metaphorically to describe the type of content a particular release features, with ''B-side'' sometimes representing a "bonus" track or other material. Th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
