Rating:
Genre:
Rock
Release Date: 01/25/2000
Run Time: 43:20
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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