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[Info]
Artist : The Clash
Album : Combat Rock (People's Hall Special Edition)
Label : Sony Music / Epic Records
Genre : Rock
Street Date : 2022-05-20
Quality : 271 kbps / 44.1kHz / Joint Stereo
Encoder : Lame 3.100 -V0
Size : 207.45MB
Time : 101:23min
Url : http://allmusic.com/album/release/combat-rock-peoples-hall-sp
ecial-edition--mr0005639614
[Tracks]
Disc 1/2
1. Know Your Rights 3:40
2. Car Jamming 3:59
3. Should I Stay Or Should I Go 3:09
4. Rock The Casbah 3:42
5. Red Angel Dragnet 3:44
6. Straight To Hell 5:30
7. Overpowered By Funk 4:52
8. Atom Tan 2:30
9. Sean Flynn 4:31
10. Ghetto Defendant 4:43
11. Inoculated City 2:41
12. Death Is A Star 3:16
Disc 2/2
1. Outside Bonds 4:22
2. This Is Radio Clash (Different Lyrics) 4:10
3. Futura 2000 5:54
4. First Night Back In London 2:11
5. Radio One 6:17
6. He Who Dares Or Is Tired 2:53
7. Long Time Jerk 5:09
8. The Fulham Connection (Outtake) 3:44
9. Midnight To Stevens (Outtake) 4:36
10. Sean Flynn (Extended 'Marcus Music' Version) 7:22
11. Idle In Kangaroo Court 5:04
12. Know Your Rights 3:24
[Notes]
When the Clash began recording a follow-up to the ambitious triple-album
Sandinista!, they were a band in turmoil. Joe Strummer and Mick Jones were
barely speaking, Topper Headon was falling into addiction, and the record
label was demanding a hit. The tension and miscommunication between
bandmembers got so bad that they ended up working in different studios on
vocals and overdubs, each pursuing slightly different ideas. Inspired by old
interests like raucous punk, jumped-up rock & roll, and spooky dub, they
also folded in rap, spoken word (courtesy of Allen Ginsberg), world music,
and disco on the way to Combat Rock. It was almost a double-length set,
thanks to Jones' personal mix of the album. Titled Rat Patrol from Fort
Bragg, it featured songs that stretched out to epic length and downplayed
some of the band's inherent energy and impact in favor of avant-garde
atmosphere. To the rest of the group, it sounded too much like Sandinista!
so they decided to hire big-name producer Glyn Johns to do a more commercial
mix. Working with Strummer, he edited the songs severely, bringing the
guitars and vocals forward in the mix, taking out most of the odd sound
effects Jones had gleefully mixed in, and smoothing off the rough edges. The
resulting straight-ahead revamp gave the band their two biggest hits
("Should I Stay or Should I Go" and "Rock the Casbah") but luckily for fans
who admired the band's quest to push the limits of punk, it retained enough
left-of-center artistic vision and violence to make it interesting. Setting
the singles aside, it's a dark album lyrically, with Strummer tortured by
visions of Vietnam, gripped by the cacophonous big-city mania of N.Y.C., and
desperate to translate his angry politics to the masses. He cuts right to
the heart of things on "Know Your Rights," ranting like a bug-eyed preacher
over a raucous rockabilly riff and Headon's punishing beat. It's one of the
tracks where Johns' slimmed-down and pumped-up mix works the best as
Strummer and co. fairly explode out of the speakers in a blast of fury.
Elsewhere, the knife is slipped in a little more subtly on restrained songs
like "Ghetto Defendant," which sports some amazing Ginsberg-as-toaster vibes
over a rollicking reggae rhythm. "Straight to Hell" is another track served
by the cleaned-up mix, grooving tightly and feeding the effects in with
precision. There are a few songs that do sound a little undercooked --
"Overpowered by Funk" is a poor cousin to "Radio Clash" and "Atom Tan" is
slight compared to the rest of the album -- but these are minor stumbles
that are easy to overlook. Even with a slick, radio-ready mix, Combat Rock
has all the drama, hooks, fervor, and sonic terrorism one might expect from
a Clash record. It covers old ground with almost gleeful energy, stakes out
new territory with confidence, and delivers more than enough timeless
classics to make it stand proudly next to any of their earlier work. [The
2022 reissue of Combat Rock misses a golden opportunity to finally unearth
the full Rat Patrol for Fort Bragg mix and give fans a chance to decide for
themselves which was better. The few bits that have officially slipped
through the cracks have been fascinating; a handful of them ended up on
Black Market Clash and the Sound System box set and are included here also.
A long and trippy version of "Sean Flynn" shows the meandering direction
Jones wanted to take the songs; other tracks would have diluted the punch of
the album, but might have improved it musically. The truly weird "Long Time
Jerk" which sounds like a klezmer band playing punkabilly, the doomy "First
Night Back in London" and the bonkers Latin synth romp "The Fulham
Connection" sounds like nothing else happening in 1982. These glimpses only
serve to make the whole mix not being here more painful. So does the
inclusion of throwaway tracks like "Outside Bonds," which is just a few
minutes of recordings of people in line outside a Clash gig or the generic
"He Who Dares or Is Tired," where they sound like a wedding band rehearsing
some Motown. "Midnight to Stevens" is another track that has been featured
elsewhere and it fully deserves its outtake status, sounding like a
Springsteen-lite snoozer. Better are the versions of "Radio Clash" with
different lyrics and a blazing alternate take of "Know Your Rights." It's
hard to figure why Jones didn't fight like hell to get his mix reinstated
for the reissue, and if he did, it's equally hard to imagine why he lost. As
it stands, this is a half-baked archival release that poses more questions
than it answers and won't do much to make fans of the band, and this era in
particular, very happy.]