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▀█████▓▌ FORSAKEN Proudly Presents ▐▓█████▀
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▓█▀▄▄ Artist : The Clash ▄▄▀█▓
▐▓▌▐█▌ Album : Combat Rock (People's Hall Special Edition) ▐█▌▓▌
▐▀▄██ Label : Sony Music / Epic Records ██▄▀▌
▄███▌ Genre : Rock ▐███▄
▀███▌ Source : CD ▐███▀
▐▄▀██ Street Date : 2022-05-20 ██▀▄▌
▐▓▌▐█▌ Quality : 905 kbps / 44.1kHz / 2 channels ▐█▌▐▓▌
▓█▄▀▀ Encoder : FLAC 1.3.1 ▀▀▄█▓
▓███ Size : 687.84 MB ███▓
▀ ▀█▌ Time : 101:23min ▐█▀ ▀
▓▄███ Url : http://allmusic.com/album/release/combat-rock-peo ███▄▓
▐▓████▌ ples-hall-special-edition--mr0005639614 ▐████▓▌
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▄██▀ ▀██▄
██▌ 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 ▐██
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▄███▌ ▐███▄
████ 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.] ████
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