Amazon.com essential recording

Bursting at the seams with creative energy, the Clash's stunning 1979 double album more than made up for the artistic and commercial disappointment of its predecessor, 1978's tried-too-hard Give 'Em Enough Rope. With ex-Mott the Hoople producer Guy Stevens harnessing their sound as never before, the band yielded what proved to be the best work of their career. Bouncing from hard rock (the apocalyptic vision of the title track) to rockabilly ("Brand New Cadillac") to reggae ("Rudy Can't Fail") topop (the Top 40 hit "Train in Vain"), the Clash knocked down all musical walls and, in the process, ended the argument over punk's viability in the U.S. --Billy Altman ... Read more

Reviews (310)

must have for any music collection
The cover is a copy of Elvis Presley's first studio album -showing that the Clash meant to change things.The Sex pistols divided the history of rock and roll in half and this album meant to set the record straight the the next era of rock and roll was personal. I think no other album set such lofty sights since sargents peppers and no other recording has taken itself higher. Sorry Beatles this is the greatest album of all time bar none. Joe strummers voice is amazing.As it mixes with the more polished Mick Jones, it set a new standard for dueling rock singers. London Calling sets the record off " London Calling to the far away lands/ now war is discovered and battles coming down" the hopelessness of 30% unemployment in london and the threat of nuclear war on the youth of the world with out a say in their own future. "london is drowning/ and I live by the river"
I remember putting on album one and was still in my room (at 16) 7 hours later listening to this gem of a recording.
By favorite tracks are Hateful about a drug addict and his dealer.Clampdown about apartied in South Africa(years before MTV and Paul Simmon thought it was cool to deal with).All lost in the supermarket about feeling lost and out of place in your own world.Revolution Rock great raggae song. Spanish Bombs and Lovers rock about taking responsiblity for your sex life.
All pretty heady subjects for a rock group, but the clash took their fans seriously and with respect. Listening to this album was a revolution battle cry for the 80's of Reagan and the arms race at any cost.

One of the top 5 albums ever - period
Here are the top 5 albums in the history of rock and roll. 1. The Beatles- Revolver 2. The Beach Boys- Pet Sounds 3. Bob Dylan- Blonde on Blonde 4. The Beatles- Sgt. Pepper's Lonely Hearts Club Band 5. The Clash- London Calling

That's no misprint, this album is THAT good. Every single song is just plain amazing on this album, from the raw punk power of "London Calling," to the rockabilly of "Brand New Cadillac," to the introspection of "Lost in the Supermarket," the rhythm of "Rudie Can't Fail," and the pop genius of "Train in Vain," this album is bursting with styles and makes up the ultimate rock record, blending punk, pop, reggae, and rock together and making a sound so full of joy and purpose, it hasn't been reproduced since. Why this band seems to be forgotten, I have no idea, but just remember that the real slayers of stupid hair rock started the battle in 1977, and triumphed with this album in 1979, paving the way for intelligent rock in the 80's and alt rock in the 90's. I just can't say enough about this album, whenever I put it in, I end up listening to the whole thing, this album is perfect, amazing, inspiring, and rock at it's finest. Any serious music fan who does not have this album should be ashamed of themselves, this is the BEST album to come out of the 1970s (Yes, it's better than Zeppelin IV, Songs in the Key of Life, Imagine, Exile on Main Street, and Never Mind the Bullocks to name a few). Please, buy this album, or at least take a listen on the site, it's catchy, full of raw emotion. There is a song for every mood, and yet its cohesive as a celebration of life, and rock n roll. Daring, and beautiful, London Calling is one of the top 5 albums of all time, buy this NOW!!!!!!!!!

One of the best punk albums EVER!
London Calling from the Clash is the basis for any punk music. They even had some reggae styles in songs like Guns of Brixton, Rudie Can't Fail, and Revolution Rock. This whole album is solid with a statement. Well worth the money.

'That's so punk rock.'
Jack Black spouts this in the recent film, 'School of Rock', as he sees school kids taking over a bus, and it's funny to many people, but some may scratch their heads. Why? Simply because the image of punk rock today is so distorted. It's albums like this where you really see how trashed the name punk became and what the hell IS punk rock.

'London Calling' is a vertebrae for all that is different in the genre so aptly labeled, punk. It has a melodic rock sound, it has reggae/rhythmic vibes, and it's definitely not the same each time around. Strummer Inc. made something that was basically a road sign that took you off the main highway. From the title track forward, the album is a raw slam with lessons and literature.

From 'Guns of Brixton' to 'Rudie Can't Fail', I mean, where do you not see difference? When everyone mentions punk and the godfathers behind it, they never mention Bowie, The Who, or even Cash, they always mention the now brothers and siblings of punk, Ramones and Sex Pistols. What makes The Clash so different from them is that this isn't the usual taste of punk, it's rock and roll daring to be different...which is what punk is in general. If everyone's wearing greasy hair, the kid with the hat is more punk rock than the bar chords of today.

See that's why 'London Calling' is so exceptional. It's such a farce in today's standards that punk rock is the ridiculous truckers' hats sideways and the shorts all mocked up;in actuality it's a fad that everyone does, contradicting what it is! It's laughable if you know where I'm coming from. In conclusion, punk rock is rare...and it's certainly not what it's called today. You want originality, theory, and difference? 'London Calling' is, no pun intended, your calling.

Exceptional is an understatement.

another worthless blurb about a masterpiece
the best album i've bought since the strokes, and when it comes down to it, so much better than the strokes it ain't even funny. this band sired the strokes. i've never been a big punk fan, but this isn't punk...it's way better than just that. this album covers just about every music genre there is, opera and country aside. absolutely amazing...not a single poor track on the entire record--and it's loooong. it came out the year i was born, 1979, and i have no idea why it hasn't gotten more credit outside the punk community. i mean, all the critics loved it, and still do, and it's considered classic, but it's also very accessible, immediately affecting/inspiring. so good. favorite tracks: "rudie can't fail," "hateful," "train and vain,"...the last one of which you've probably all heard, whether you know it or not.

easily one of the greatest albums ever released by any band in any genre, during any decade. ... Read more

Amazon.com

The debate over whether he is punk or new wave is long over; today Elvis Costello is less likely to be found on a list with Strummer and Scabies than he is with Bacharach and David and Jimmy Webb. Lauded initially for his energetic and literate attacks on the social ills of Thatcher's England, he has become a peerless master of the popular song. The evolution of Costello's craft as a songwriter and performer, from the early high-octane polemics, through his stylistic experiments with country and soul, and on to standards written for others, is splendidly documented on this elegant two-disc set. Chronology is ignored in favor of a thoughtful program that catalogs the jewels from his prolific output and a sprinkling of covers that demonstrate the maturing of his singing voice. The 42 tracks here lean generously to the first 10 years with the Attractions, but also collects the best of his subsequent collaborations with the cream of America's session musicians and on through to "She," his contribution to the soundtrack of 1999's Notting Hill. --Rob Stewart ... Read more

Reviews (25)

Only a fraction of "The Very Best...", but a good start.
As an introduction for the Elvis Costello novice, this is definitely the best "Best of" to date, but I think this "Very Best of" labelling of Costello's work is frankly ludicrous. Although I realize the point of this release is to sell a reasonably priced and affordable overview, I would have preferred Rhino issue the 2-CD set as "The Very Best, Volume One" (with Two, Three, Four & Five to follow), as any singular "Very Best" compilation (even two CD's worth) of the most prolific genius in modern music is bound to be lacking, to say the least. As for this compilation, I applaud Rhino for including some of Costello's lesser known gems (although there are many, many more). However, there were several surprising omissions of better known songs. "King Horse," "Party Girl," "Love Field," and "You Little Fool" are a few that come to mind. And I felt that many of the chosen tracks simply were not the VERY best song or songs from those particular albums (among the very best, yes, but certainly not THE very best). For example, why was "I Want To Vanish" picked over the title track "All This Useless Beauty"? And why was the album "The Juliet Letters" completely ignored? I think "The Birds Will Still Be Singing" is one of the most beautiful songs Costello has ever written, and it is nowhere to be found! Were these songs bumped by "She" and "That Day Is Done"?! Okay, so am I for the most part nitpicking ? Sure! But I have a list a mile long of the "Very Best" of Elvis (probably a ten CD box set's worth)! Anyway, if you're new to Elvis definitely pick up this "Very Best of " CD. Then rush out and buy every album Costello's ever made!

Truly the Essential Elvis!
I have owned quite a number of Elvis Costello anthology albums. The first was back in the late 80's, a "Greatest Hits" LP put out by CBS/Columbia. In 91 I purchased "Girls, Girls, Girls" a triple CD collection, & recently found a budget priced cassette called "Extreme Honey: the Best of the Warner Bros. Years". Each of these had songs I liked, but often contained more that I didn't.

Now I have purchased "The Very Best of Elvis Costello" & for once I can say this album absolutely lives up to it's title! In 2 CD's we have an overview of the extraordinary career of one of the most prolific & multi-faceted songwriters of our time. It's wonderful! Everything is here, from the chilling "Watching the Detectives" & supersonic "Lipstick Vogue" of the early albums thru the jazz & country-tinged experiments of the late 80's up to his latest collaborations with the Brodsky Quartet & Burt Bacharach. There isn't a single song that tempts me to hit the "forward" button on my CD player.

Curiously, Rhino has opted to put the material in a non-sequential order. Most greatest hits collections start with the earliest songs, working their way up to the latest. "The Very Best of..." was organized by someone who had their mind on creating an emotional mood rather than a history of the artist. Although normally I prefer the time-line approach, in this casse it works quite well. If you want to hear the developement of Costello's song-writing, Rhino has included original release dates in the credits so that you can sequence your own order. Other than song titles & lists of musicians, this is about all the information you will discover inside the jewel case. This is about the only weakness I can find to this package. Personally I would have preferred some type of liner notes included.

If you only own 1 Elvis Costello album, make it "The Very Best of..." . I guarantee you won't regret it!

could've used a chrono-scrambler
but it's amazing anyway! if you haven't given elvis costello a chance yet, you owe it to yourself. so many pop masterpieces. this guy may be one of the most widely acclaimed, yet underappreciated artists in history. what a shame...these songs--all 42 of them!--are simply fantastic. i'd heard maybe four of them before taking the plunge and dishing out the 20+ bucks for this double cd set. favorites: "oliver's army," "accidents will happen," "veronica," "lipstick vogue," "alison".

one has to admit, however, that the more ballad-centric second disc is far, far weaker than the more energetic first disc. if i'd done the compilation, i think i would have scrambled the chronology a bit to even things out.

Great if you're new to E.C.
If you are a new fan of Elvis Costello (we all were at some point...) then this is a good CD to start out with because it spans a good deal of his career and can point you in the right direction of if you like his earlier music or latest music. If you are a long-time E.C. fan and have most of his albums, then there is really nothing new here for you. As a greatest hits collection, it was an excellent selection of songs considering they had to keep it down to only two CDs--and its a better deal then a box-set would be. Give it a try.

A great representation of a great career
What DECADE was for Neil Young, THE VERY BEST OF ELVIS COSTELLO is for E.C. While it is representative of a longer span of time, T.V.B.O.E.C. leaves very few gaps in Costello's long and varied career. It covers the huge range of musical styles that influenced Elvis and that he incorporated so engagingly: reggae, punk, country/western, pop, Mersey, ska, classical, and Frank Sinatra-type music (whatever that is called). Listening to some of the older tunes, like "Watching the Detectives" (one of my favorites) and "Pump It Up" reminded me of how impressed I had been by this guy's singular sound and individuality during an era of copy-cat punk/new wave bands. And the newer tunes just seem like a logical procession of this man's songwriting ability. This cd is well-worth having in your collection. ... Read more

Amazon.com essential recording

Recognizing that there's no such thing as bad publicity, manager-Svengali Malcolm McLaren molded the Pistols into the most confrontational, nihilistic band rock & roll had ever seen. Propelled by Johnny Rotten's maniacal vocals, Steve Jones's buzz-saw guitar, and (most importantly) bass player Glen Matlock's hook-filled compositional skills, the Pistols' early singles "Anarchy in the U.K." and "God Save the Queen" defined the raging style of British punk. By the time they recorded their lone 1977 album, Matlock had been bounced, replaced by the image-correct but utterly untalented (and ultimately group-dooming) Sid Vicious. Not a 10th as good as the singles, the album nontheless remains a bile-filled emblem of the times. --Billy Altman ... Read more

Reviews (279)

Never mind the hype... good, but not great.
More words have probably been written about the Sex Pistols (and about this album in particular) than any other punk act from that era. Thus, when I first started listening to punk, this was my launching pad. Fortunately, I have moved on and have since found much better, better punk to listen to. Is it a bad album? no, it has some genuinely catchy tunes (Holiday in the Sun, Anarchy in the U.K., God Save the Queen... you know). But, is it a great album? In my opinion, no. The Ramones wrote catchier tunes, the Clash had more substance, Talking Heads were more creative, the Damned were first(in the U.K., anyways). Never Mind the Bollocks now stands mainly as a historical artifact... it got more media attention at the time, and continues to muster up attention now. The Pistols were masterful media manipulators... but, let's face it, their musical skills and innovation was lacking (listen to the intro riff to this album... it was stolen straight off of the Jam's "In the City"). Again, this album is not a bad album by any means... heck, I still listen to it from time to time. But, I think it's place in punk's Partheon is highly exaggerated. Listen to some other stuff from the same era... maybe you'll come to the same conclusion.

THE ESSENTIAL PUNK ALBUM: IT CHANGED EVERYTHING!!
This is where it all started. Sure, the Ramones and Talking Heads came first, and sure, Cock Sparrer was around in England by this time, but which of them spawned a great musical revolution that would change the shape of music? None of 'em. But with NEVERMIND THE BOLLOKS, HERES THE SEX PISTOLS, everything changed.

All you so called "punks" who think the Pistols were just puppets, pay attention. Do you really think someone with an ego like Johnny Rotten would have let himself be controled by Malcolm McClaren? When you say he created the bad boy image, and that the Pistols were nothing but a media show, guess again. When you think that, all you're doing is falling vicitm to the media machine that is Malcolm McClaren. Movies like "Sid and Nancy" and "The Great Rock n Roll Swindle" don't even come close to telling the truth. All Malcolm did was create havoc in the band by getting them bad gigs at places taht just ended up cancelling their shows. The Sex Pistols were real. They started it for you all. Jonny, Glen Matlock, Steve Jones, and Paul Cook WERE the Sex Pistols. Sid was nothing but a face. These boys were acting punk before it was called punk. They had a style all their own that bands like The Clash and the Buzzcocks tried to mimic. (Even those bands themselves have admitted that the Pistols they wanted to be like the Pistols).

This is a wonderfully horrifying album. One of the essential punk classics. Its such a pretty mess and should be heard by everyone. Nevermind the modern punks, nevermind the meadia frenzy, nevermind the fact that every music historian and punk from the '70s credits the Sex Pistols for changing everything about music, never mind the bolloks of it all...here's punk rock at its finest.

THE BEST
It is very hard to believe that this came out in 1977. This cd sound harder and more angry than today's punk. But anyway, this is a loud, fast album from the most outrageous band ever, the Sex Pistols. The standout songs are Holiday in the Sun, God Save the Queen, and Anarchy in the U.K. Get it if you like punk.

A Good listen
Well, the pistols were a bunch of untalented Showoffs. They had no musical Talent whatsoever, Thats why i love and hate this album all at the same time. A great rocking Album.Also very boring at the same time.Sid vicious Was an idiot, Pure and simple.He got what he deserved anyway.But apart from all the political shenanigans associated with The pistols, This album is a rocker, and definitely worth a listen , i can only handle 6 tracks In the album, Then is starts to bore me.Make your own decision

Overrated?
Pay what little it costs to buy this, play it loud, and enjoy.
If it doesn't make you feel charged and asking yourself what you've been missing, there might be something wrong with your stereo. If you fall asleep, have someone check your vital signs, you might actually be dead.
Pete Townshend, an original punk, dedicated his album Empty Glass (1980) to his daughters and the Sex Pistols. Had the Sex Pistols stayed together, they may have opened for the Who when they toured in '82 instead of the Clash.
This music is more defiant than any display (clothing, haircut, accesory) considered punk, and is the yard stick by which all of that genres music is to be measured. The Pistols never branched out musically, changed their outfits, etc. They were so punk that they disbanded after having played thier biggest show (Winterland, San Francisco), just a couple years after forming, and like real punk, burned out instead of rusting.
Every song on this is a gas. Holidays in the Sun, God Save the Queen, Bodies, Anarchy in the U.K., EMI, No Feelings, Problems, and New York are pure brilliance. What the Pistols did, and when they did it, showed more balls than someone burning an inverted crucifix on stage, or burning a flag or a picture of the pope. God SAve the Queen, in response to the silver jubilee couldn't have been more unpopular a statement at the time, and is a good reminder for anyone jumping on a band wagon for something so pointless.
Beat on the brat that thinks this is overrated, cuz they got rocks in their head.
The only thing the Pistols did wrong was not fire Malcom McLaren after he brougt Sid Vicious on board, instead of someone not a junkie that could play their instrument, and maybe they'd have made another record, although not likely as good as this. This is the best punk record ever made, as an original of something generally is. Good punk is not deep, like the Clash (and I've worn out their first 3 records) and not monotonous (like the Ramones). God bless the Ramones, but the Gabba Gabba hey and holes in the jeans got old, and Johnny Ramone is an ultra republican (not very punk that)While your ordering this, see if you can get "the great rock and roll swindle" on dvd or whatever format available. You'll see there was a sense of humor to all this as well. ... Read more

Amazon.com

The Essential Clash demonstrates once again how superior the Clash were to any of their punk peers. It's striking that, while the effects of the movement continue to resonate decades later, most '70s punk has dated badly. Even the great singles of the Sex Pistols, perhaps because they encapsulated the time so perfectly, do little more than remind one of 1977. But this fine 40-track double-disc collection demonstrates that the Clash's sound maintains its vitality, whether in the apocalyptic foreboding of "London Calling" or the sulking "I'm So Bored with the USA." When frontman Joe Strummer died in December 2002 at age 50, much was made of the political conscience he'd brandished throughout his career; it must be noted that appearing to be a great thinker in comparison to other rock singers is no great accomplishment. Appearing a great rock singer in comparison to other vocalists is a much more impressive achievement, and this retrospective provides irrefutable evidence of the genius of Strummer and the band he led. --Andrew Mueller ... Read more

Reviews (35)

Essential for sure...
...as the title suggests. If you only listen to one punk band, the Clash should be it. I used to really dislike punk--then the Clash's box set, The Clash on Broadway, was released, and I got a chance to hear a bit more of what I'd been missing: "Clash City Rockers," "I Fought the Law," and of course, the radio tracks like "Train in Vain" and "Rock the Casbah." These guys were smarter, snider, and more talented than most of the punks who were out there at the same time or who came after them, and they gave rock 'n' roll the shot in the arm it so desperately needed in 1977.... I quite agree with the customer who said that today's crop of punk bands cannot possibly hold a candle to the Clash. This is the real deal.

The only album that matters
There have been other compilations by this band:"The Singles","The Story of the Clash Vol.1, and "Clash On Broadway". But there are a few factors that differentiate this from the others.For one thing, it's not an expensive box set with extra tracks the average listener does not need to have. Also, chart success wasn't what they were known for so there's more emphasis on tracks that weren't released as singles but are favorites to fans and music lovers alike. Most of the first disc is from their first album alone. Finally this double disc set puts their very best in chronological order ending with the track "This Is England" from their last studio album "Cut The Crap". This collection displays the pioneers of rebellious punk rock at their most vital. No rock fan should be without this one. Nothing here has been edited or remixed.

Awesome
Just thought I'd say put in disc 2 and skip to track 8 and just let the cd play from there if you're under the influence of anything.

Good but....
Theres only 3 Clash albums you really need(The Clash,London Calling and Combat Rock).

They Fought the Law
Of course diehards will gripe about the song selection in any compilation such as this, as you can see here. All they have to do is listen to the original albums like they always have. But if you're looking for a sturdy, jam-packed introduction or summary of the best work of the Clash, this package is for you. I've never been much of a punk fan, finding it too amateurish and focused on attitude rather than talent. However, I do know that every genre has its groundbreakers and originators, who can easily rise above the imitators and followers. For punk that would be the Clash, who were brilliant songwriters, could really play their instruments, never cared about the confines of musical categories, and are deservedly influential. (And have you noticed how many Joe Strummer look-alikes there are these days?) This package adequately represents most of the original Clash albums, and while there are a few clunkers like "Groovy Times," we do get most of the band's bona-fide classics, and some surprising covers like the reggae "Police and Thieves" and the rockabilly "I Fought the Law," which really show off the band's range of abilities. An added bonus is a pretty informative history of the band in the CD booklet. This is a fitting summary for a band that all rock fans should get to know better. [~doomsdayer520~] ... Read more

Amazon.com

Elvis Costello kicked off his debut album with a formal device that would also serve his next two long-players well: the first thing you hear is his voice. That opening phrase--"Now that your picture's in the paper..."--was more than sneakily, if not intentionally, appropriate, since Costello was quickly declared the second coming. It's become de rigueur to dis the pub-rock backing of U.S. band Clover, but their work here is satisfactorily edgy; guitarist John McFee makes some of the arrangements with his wailingly articulate fills. The remastered Rhino reissue includes a full second disc of demos and rarities. --Rickey Wright ... Read more

Reviews (27)

An Intro. to Costello
This is a quintessential Elvis Costello album. If you don't own an Elvis Costello album, then this album will be a great introduction. Every song is on here is catchy and stands on its own as a rock hit. Costello has a unique style unlike a lot of Rock, yet when listening to his songs I think that this is what Rock and Roll is about. With catchy lyrics and upbeat rhythms, My Aim is True will have you coming back to listen to it over and over again.

Opened my doors of perception
Scene One; A sixteen year old boy is happily sitting in suburban Detroit. The soundtrack to his life is what would later come to be known as Classic Rock Radio. There are rumors of punk rock and new wave from England, however these are not audible yet in the midwest. One Saturday evening, he sits down to watch SNL with special musical guest Elvis Costello. Snap! That was the sound of a dropping jaw breaking the coffee table as Mr. Costello (looking like an exhumed Buddy Holly) plays Radio Radio. Scene Two; Said boy brings home My Aim is True. His mind is blown. Every song sounds like a hit single. He is amazed. Maybe there are other unheard things out there like this. Epilogue; This album helped open my doors to Punk, New Wave, Reggae, Ska, Jazz, Blues, World Music, Country, well you get the idea. Thank you Mr. McManus. One classic album.

The Marking of an Arrival
"If he didn't exist, someone would try to invent him", read a promotional poster for Elvis Costello's 1977 debut. However, sometimes truth is stranger than fiction, and to try to invent Elvis Costello would be like trying to invent Woody Allen, a personality whose singularity is on par with Elvis's. Elvis Costello was the angry young man par excellence, and if punk is all about attitude, then he certainly fit the bill (he was only 22 when the LP was released). My Aim is True also introduced a superb artist who could cover half a dozen styles (punk, rockabilly, reggae, Tin Pan Alley, new wave, singer/songwriter) and emotions (bitterness, anger, lust, ruefulness, whimsy, and musical inspiration) in an equal number of songs. Top that off with his moniker and unsettlingly warped Buddy Holly appearance, and you have the walking popular music museum that Costello is.

On My Aim is True - which must have come as a shock to his ex-office colleagues - his greatness manifests itself in about six tracks, five of which are undeniably brilliant, the other of which any individual listener can choose for him or herself. The other songs, while hardly mere filler, pale by comparison, and are perhaps ill-served by bare-bones production, slow tempos, and somewhat forced lyrics. The greatness of My Aim is True lies at least as much in the fact that it is the marking of an arrival as it does in the half-dozen truly great songs it contains.

On first listen, "Welcome to the Working Week" seems to start off the disc beautifully, and provide a great introduction to what makes Elvis tick. It is angry, bitter, and pithy (which is probably the single best and most oft-used word to describe his lyrics). However, one cannot be struck by the song's overly abrupt ending (a technique which can be effective, especially in punk, but isn't here), and the fact that the song doesn't make much sense and therefore fails to pack its potential lyrical punch (why is someone whose picture is in the paper being "rhythmically admired" being welcomed to the working week?). "Miracle Man" further reveals Elvis' lyrical abilities, and has that patented Elvis mix of bitterness and guilt, but is a bit ill-served by its matter-of-fact presentation (as are "Blame it on Cain" and "Less Than Zero," the latter of which was the first indication of what one critic called his "bizarre fascination with fascism"). "No Dancing," a chronicle of an eager-to-please, sex-starved nice guy (I wonder who?), is more pleasantly poppy, and is the best of the first four songs

Finally, at track five, we arrive at "Alison," the first undeniable indication of Elvis' talent. Here he is a singer-songwriter in the best sense of the term. Elvis packs all of what were to become his trademark emotions into this song, as he laments a lost love from whom he just can't keep the appropriate physical and emotional distance ("Sometimes I wish that I could stop you from talking" / "I can't stand to see you this way"). The singer of the song wants Alison back, but cannot accept her as she is now (and he probably shouldn't), but would gladly have her as she once was (and she might be just as happy to be that person again, too). This song should lay waste to any doubts that the first-time listener might have.

After "Alison," the CD alternates between truly undeniable brilliance and pleasant enough pop songs. In the latter category are the Tin Pan Alley ditties "Sneaky Feelings" and "Pay It Back," which are entertaining, but serve mainly to indicate Elvis' range, and may not impress listeners who appreciate the pithy Elvis. "Less Than Zero", the first line of which was immortalized by Elvis's first (and, for a very long time, only) Saturday Night Live appearance, might have worked better if it were a bit tighter, and played at a quicker tempo, while "Waiting for the End of the World" sounds more like a report than a song (although the guitar work is quite tasteful).

But don't let this frighten you away. The second half of the disc also treats the listener to four of the best songs Elvis ever recorded, which, in combination with "Alison", almost make pointing out the weaker moments of the disc sound like nit-picking. "(The Angels Wanna Wear My) Red Shoes" sublimely reveals a kinder, gentler, whimsical Elvis, who seems to think he's good enough, smart enough, and possibly liked by non-existent entities. It also contains some of the best lyrics on the CD (eg, "I used to be disgusted, but now I try to be amused" / Oh, I said 'I'm so happy I could die'/She said 'drop dead' and left with another guy"). "Mystery Dance" reveals the sexually frustrated Elvis in an impossibly catchy one-and-a-half minute glory days of rock and roll song drenched in the attitude of punk. Hearing Elvis Costello sing "I'm not angry anymore" - in a quintessential Costello self-portrait - is like hearing a fish sing a song called "I'm Not Wet." And the disc's closer, the reggae-infected "Watching The Detectives", almost sounds out of place on My Aim is True, but it nicely foreshadows the greater sophistication of his future releases (but the soon-to-be-released single "Radio Radio" seems to belong on this album).

All things considered, Elvis emerged more or less fully formed on the finer moments of My Aim is True. The weaker songs, at the very least, indicate an amazing musical facility, while the stronger songs are strong not only by comparison to the others on the disc, but to any song released in 1977. The CD is less of a sign of things to come than a full-fledged revelation of a great musical talent and palpably unique personality. I do believe that he has better, or at least more consistent, albums (eg, This Year's Model, Armed Forces), but the best songs on this CD are at least as good as the best ones anywhere in his catalog. Still, the lesser songs do subtract a bit from the overall quality and momentum of the disc. Even if they are good enough songs, they are less impressive in a way that makes them seem unsatisfying and disappointing. But this can fade with repeated listenings, and My Aim is True is a fine place to start or to continue appreciating one of the best singer-songwriters of the past three decades.

(The bonus disc included with the Rhino re-issue is worth having not only for the alternate takes and live songs, but for the fascinating liner notes, penned by Elvis himself. All nine of the Ryko version bonus tracks are included, and the alternate versions of "No Action" and especially "Mystery Dance" - which is solo and all acoustic - are welcome additions. Live versions include those of "Less Than Zero" - with some interestingly different lyrics - and the David/Bacharach song "I Just Don't Know What to do With Myself". Several other tracks are presented in what are appropriately called "Honky Tonk demos," and showcase Elvis' lifelong enthrallment with country. Plus, lyrics to every song - bonus tracks too - are thrown in. So be sure to shell out the extra few bucks for the Rhino 2-disc set.)

World 's Introduction To E.C.
This album is a great beginning for any Elvis Costello collection. What can you say about this album that hasn't already been said. I feel that some of standout tracks here are:
"Watching the Detectives", "The angels want to wear{my red shoes} "lESS THAN ZERO" and "Blame it on cain". The only thing that's missing here is the full group of "the Attractions; instead it is the pub-rock backing of U.S. band"clover". I don't think some of the arrangements that guitarist John McFee made were the appropriate choices that he picked, for example: when E.C. and "the attractions" played together on later albums this sounded much better and more sonically intense. Therefore, I think this debut album is quite different than any other of his recordings. The deluxe 28 page booklet and the new liner notes are in my opinion a great addition to this Rhino record collection.

Perfection!
Simply put, one of the top 5 rock albums of all time! ... Read more

Amazon.com

The final album by the Clash's original Strummer/Jones incarnation is also their most inconsistent. There were musical and ideological rifts developing within the band, and it shows: the experimentation is almost as wild as Sandanista!'s (and the biggest experiment is heading away from their punk shiftiness and into a commercial rock sound), but they seem to be enjoying it less. The band's stabs at funk and poetry aren't terribly successful, but it all came together for two massive hits: "Should I Stay or Should I Go?" has the biggest, stupidest, most perfect riff this side of "Louie Louie," and "Rock the Casbah" pulls the band's politics, fine-honed sarcasm, and saw-toothed guitar sound into the service of a dance-floor beat. --Douglas Wolk ... Read more

Reviews (75)

ready for combat
combat rock is one of those albums that gets alot of heat for becoming the record that makes a band a sell-out.sure should i stay and rock the casbah are their two most well known songs but who cares?this has taken alot away from combat rock and it's very sad.combat rock may not be the clash's best album but it does have it's really good moments.straight to hell has to be the greatest song the clash have ever done.joe's words are so emotional and powerful in this song you'll forget that this band used to be a punk band.while the album doen't really contain any punk songs the lyrics are punk enough and the best example of that might be the opening song know your rights.ghetto defendent is another song that has some powerful lyrics and it features writer allen ginsberg.sean flynn has almost the same ammount of emotion as straight to hell does and it's also one of the clash's best songs.inoculated city is another great song on the album and mainly because of the lyrics.the whole album has an apocalypse now! feel to it.don't listen to the people who say it's a bad album because of the lack of punk and don't let the people say it sucks cause it's not all like the two singles.combat rock is a good album.-rancidpunx

Ghetto defendant/It is heroin pity...
Critics like to talk about The Clash "selling out" with this album, but aside from the singles SISOSIG? and Rock the Casbah, there's very little here that sounds even remotely commercial. Nearly all the songs are good. Know Your Rights is a little too obvious, and isn't really a song, but, that's the only glaring weakness, and even that could be worse. There's my favorite Clash song ever, Ghetto Defendant, which is strange and surreal, but also very gritty, in a way. And of course it features Allen Ginsburg guest vocalling. Sean Flynn, Inoculated City, and Death is a Star are along similar lines, if not quite as strong. Then there's Car Jamming, which, like a number of songs here, is kind of a political stream of consciousness, and works out well. Straight to Hell and Overpowered by Funk are also highlights. And let's face it, the singles are pretty good too. All in all, if you like the Clash, you need this album. It may be somewhat less challenging than their earlier work, but it isn't compromised at all.

Big Letdown After A Creative Peak
London Callimg and Sandinista showed The Clash developing from their initial punk beginnings to a great studio band making excellent albums with much depth. The rot set in with Combat Rock, which for all purposes really is the last true Clash album(Cut The Crap can be dismissed altogether). This album is nothing more than two hit singles sandwhiched between a bunch of filler that sounds like the worst moments of Sandinista, plus two pretty decent songs "Know Your Rights" and "Straight To Hell".I have it because it's The Clash, but hardly their best.

the Clash's worst!
I bought most of the Clash's albums upon their original release (including this one). Their music continually evolved, however, that evolution took a wrong turn with this album. It wasn't inventive like London Calling (yes you whipper snappers, nothing like it had been put out till then - we all realize that a lot of stuff since then has borrowed that sound) or experimental like Sandinista. Quite frankly, it's just a dumb album. I gave it two stars because it was the Clash, anyone else would have warranted less.

Half good, half bad
Mind you, I'm not a huge Clash fan...

A lot of people call this the Clash's sellout album. The production is more 80s, there are lots of synthesizers and some catchy, poppy songs. It's also known as a bit of a muddled up record. For me, listening to it is definitely a mixed bag.

The first half of the album isn't that bad. Some of it's pretty clever. I actually like "Know Your Rights", unlike a lot of people. It's got some cool guitar effects, noises and the like, and with his sneering voice and confrontational lyrics, Joe Strummer paints a paranoid picture regarding the state of human rights. "Car Jamming" has got a great rhythm by drummer Topper Headon, and the echo on the harmonies gives the song a cluttered up feel, a lot like a car jam. "Should I Stay or Should I Go", with the blaring guitar, thick British accent singing and relationship issues would probably be the Clash's catchiest track if it wasn't for "Rock the Casbah". It's rare to find a fun political song, especially one as catchy as this. With it's dancable rhythms, goofy sound effects, and Joe's raw, sarcastic lyrics, it's my favourite track on the album, sellout or not! "Red Angel Dragnet" an angular, spoken word piece about crime in New York city, and I think is one of the Clash's best spoken word songs. They have a lot of fun with it (gotta love the accents in it), the rhythms are catchy, and they get the message across. The message is also heard loud and clear on the moody, atmospheric "Straight to Hell", the sound effects and synthesizers adding to the gloom. Once again, great rhythm work by Topper Headon!

It's a bit downhill from here on though...

"Overpowered By Funk" hasn't aged well, I guess. I think it's probably the most annoying song. Disco beats, big cheesy synths, overuse of the word "funk", and a cameo by a very slow rapper. Only in the 1980s... "Sean Flynn", with it's saxophone, flute and 1980s sonic trickery seems to be more about atmosphere than anything else, and I didn't think it was very interesting. "Ghetto Defendant" features Allen Ginsburg, but they don't use his weathered, throaty voice very well. They just have him spouting words rhyming with "metropolis" in front of a repetitive melody that sounds a lot like lift music. Bit of a shame. Songs like "Atom Tan" and "Innoculated City" sound all right, but it sounds a bit like Joe and the boys are just going through the motions a bit. Getting a bit sick of each other and all that. "Death is a Star" is an intimate, odd spoken word piece that starts off in a storytelling style then bends itself into a folky ballad. There's sound effects of crickets and some piano too, quite good piano playing for a punk band, actually. I know Joe's singing is a little rough around the edges at the best of times, which is what he's known for, but here he tries to sound delicate, which he doesn't quite pull off as well.

If you want to hear what 1980s Clash was like, I'd say this is the album to get first, rather than "Sandista!" or "Cut the Crap". If you're only just getting into the Clash, it might be better to start with "London Calling". ... Read more

Amazon.com

With a name designed to shock, and song titles like "Oh Shit?" and "Orgasm Addict" the Buzzcocks were proud proponents of British late-'70s punk rock. But in retrospect, it's easier to see what else they accomplished--some of the catchiest, most provocative pop singles ever. Pete Shelley expressed heartbreak and frustration ("Ever fallen in love with someone you shouldn't have fallen in love with?" goes one catchy chorus) without falling victim to lovey-dovey cliches. This definitive 1979 collection nicely captures the Manchester quartet's tight melodies, economic writing and appropriately fast pace.--Steve Knopper ... Read more

Reviews (47)

For the fans...
After hearing "What Do I Get?" in a Toyota Rav4 commercial, I absolutely fell in love with it and spent about a year searching for it. I didn't know who it was by, and when I finally found the Buzzcocks album it was on, I realized I'd never heard of them. Funny, because at the time I was a die-hard Sex Pistols fan and they're in a similar league, but I has a rather novice punk fan (I was only 12), and the band was unfamiliar to me. When I brought the CD home and listened to it, my heart rejoiced at hearing that snotty, high-powered pop punk anthem in full...I guarantee that any old school punk-listener will find What Do I Get? very good. There are a few other good songs on this compilation, like "Orgasm Addict," "Everybody's Happy Nowadays," and "Autonomy." Otherwise, the music begins to turn into a poppy mass of British drivel. Considering the low price, it is worth it to buy the album, but there is a considerable amount of filler material. I just hope you're into the strangely familiar-sounding "Everybody's..." or the schoolboy-horny "Orgasm Addict"...and to bring back that warm fuzzy punky feeling you got when you saw that car ad, turn "What Do I Get?" up to full blast and repeat, repeat, repeat.

What Do YOU Get? This NOW!!
I was just remembering how I wore out my original vinyl copy of this incredible collection from Pete Shelley and the hilariously named "Buzzcocks.".............. I had first heard "What Do I Get" when watching a program on TV with British bands. Needless to say, I ran to the store for my copy of "Singles Going Steady." .............There are non-stop power pop punk classics throughout this compilation. "Ever Fallen In Love", "Everybody's Happy Nowadays", and the long great closing cut "Something's Gone Wrong Again" are songs that get me moving even when I'm tired! There is not one bad cut here. I'd say this CD is like a shot of musical adrenaline. It pounds, it surges, and it makes you want to dance and smile as you listen. ............ After aquiring this release, I bought, "A Different Kind Of Tension" too. It's a continuation of that great rip-roaring guitar pop-punk melody laden music. More about THAT CD in another review... ............. If you are a fan of late 70's punk, todays alternative, or plain old guitar pop with catchy hooks, you should definitely catch THIS "Buzz" too.

Call it what you want, it's still great music.
If you want to know how truly varied punk is, listen to this album, followed by Black Flag's Damaged, bearing in mind that both albums are part of the same genre. The effect is something that no ammount of halucinogenic drugs can reproduce.
But nevermind all that. Singles Going Steady truly is a rare album, a collection of melodic, radio-friendly pop tunes that can still be considered punk classics, and rightfully so. The sixteen songs all have intense appeal, in a sort of singing-along, get-stuck-in-your-head-all-day kind of way (One of my worst work experiences was when I went into the office with "Orgasm Addict" lodged in the ol' cranium.) The tracks can all be considered rock standards, with rapid-fire guitar chords and a powerhouse drum beat, all of which sweeps you up into a flurry and brings a smile to your face. The songs are all delivered with a punky sort of tounge-in-cheeck humor, mixed with ironic cynisism ("Everybody's happy nowadays."). The energy of "Ever Fallen In Love" is irrisistable (though I can't imagine why anyone would want to resist it), and I challange you to listin to the chanting, anthemic chorus of "I Don't Mind" and not jump to your feet and start singing along. Well... maybe that's just me.
"Orgasm Addict" is a real pleasure (sorry), a rapid-fire two-minute lightning bolt of a rocker, backed by high speed guitars and a rockin' bass line, not to mention some of the all around greatest song lyrics ever, especially when you consider that it was realesed in 1979 ("You get in a heat/ You get in a sulk/ But you still keep on beating your meet to pulp/ Yeah you're an OR-GASM addict!")

Which brings me to my next point (how convenient). Pete Shelly sure knows how to write. Sophomoric lyrics of the afformentioned song aside, Shelly's words are powerful, introspective, and love-lorn ("Ever falln in love with somebody you shouldn't have fallen in love with?"). They perfectly capture the feelings of teenage angst without being whiny. This makes the songs surprisingly honest, and allows listiners to identify with the permenently blue lead singer. I guess this means that the Buzzcocks sacrifice a ton of punk credentials for that, but does it really matter? If the music is enjoyable, then what's the harm in a bit of genre-bending?

Hard-core punkers dismiss the Buzzcocks as being insufficiently punk, comparing them to the shi*ty "pop-punk" bands of today. What they fail to realize is that Shelly and Co can write good, entertaining songs, while Good (bad) Charolette and Simple Plan cannot (The 90's pop-punk scene has got to be one of the bigest musical disasters since Bette Midler. If I hear another whiny pre-pubescent "punker" whine about some girl just because Blink one-eighty-what-the-hell-ever did it, I'm gonna explode. But I digress). In fact, if you really want, you don't have to call the Buzzcocks punk. Call them rock, call them pop, call them whatever the hell you want, just ENJOY the MUSIC.

what do you get?
Is this emo punk? (Does that even exist?) Pete Shelley's voice combines vulnerbility and...um, cockiness at the same time, which is a tempting combination. Its funny-sad. It defies labels. Plus, you don't hear too many orgasming guys in music nowadays. I heard "What do I get?" during Ghost World and was throughly disappointed it wasn't on the sound track. I couldn't get the song out of my head, so I got this cd and have no regrets.

Plus, they just included a really mediocre remake of "ever fallen in love?" in the new shrek movie. Hear just how much better the original is.

Standout songs: What do I get, ever fallen in love, everybody's happy nowadays

Funny Voices+Catchy Hooks=Classic!
Buzzcocks, Sex Pistols, it all was the same to me when I was younger. Fast rock with annoying British accents. Now I love this stuff...Weird. Every now and then you come across that guy that tells you "You're not punk untill you listen to (fill in the blank with any punk group before Green Day)" Sometimes those guys can get annoying, but they do have a valid point. The Buzzcocks took the pop-punk sense of The Ramones and made it perverted. "Orgasm Addict?" Heh, heh. Don't act like you don't remember where your mind was at age 15. The other great one, "What do I get," sums up my love life. I want a nice, funny, normal girl...But what do I get get? Man, you don't wanna know what I get. I get some scary chicks. Heh, heh. Now I'm getting personal. This is a good cd. My gripe is that the sound is HORRIBLE! I mean, that cheap sound is cool to an extent but if I didn't have that sound system in my car, I'd be screwed. Plus I liked the less popular songs, but that's just me. But for the usual Buzzcocks fan, this is right up your alley. ... Read more

Amazon.com essential recording

Only months after his initial conquest with My Aim Is True, Elvis Costello delivered an even fiercer diatribe. His first record with the long-running Attractions, 1978's This Year's Model remains one of that blistering rock year's most indelible albums. Orwellian even when not directly alluding to the great man (a sly nod to 1984 on "Living in Paradise"), the 22-year-old and band crashed through the raging anti-party of "Pump It Up" ("When you don't really need it"), the perverted Spectorisms of "Hand in Hand," the punk manifesto "Radio, Radio," and the stylishly anti-fashion "This Year's Girl" (in the season of Suzanne Somers, no less) with no less force than the Clash. Probably his greatest, most elegantly imagined and rendered long-player. The bonus tracks on Rhino's 2002 edition include an "Alison"-style take on Costello's country ballad "Stranger in the House" and a cover of the Damned's "Neat Neat Neat," both early proof of the new king's adeptness at outfitting his sets with conceptually brilliant surprises.--Rickey Wright ... Read more

Reviews (27)

Fall in to submission, hit and run transmission.
If "My Aim Is True" landed on the music scene like a stick of dynamite with the fuse lit, "This Year's Model" was the explosion that came after. Elvis' first album with the Attractions more than lived up to its predecessor, in that having a working band behind him matched the music to the blunt force of the songs.

Once again, it is the stark voice of EC that opened the album as he ominously intones "I don't wannna kiss you, I don't wanna touch." When the players kick in, it's a whole 'nother world from "My Aim Is True," and for the first time, "new wave" had a front man. Before this album had been released, one of the central songs had made headlines. Elvis' broadside at narrow-format broadcasting, "Radio Radio," was performed in such a bizarre fashion on Saturday Night Live that he was effectively banned from the show for almost a decade and made this (then) seventeen year-old a fan for life. That performance sealed a decision for me to get into radio and make artists like Elvis accessible to listeners. When I was fortunate enough to tell him this many years later, Elvis kindly autographed a ragged poster of "Armed Forces" "Don't blame me."

Personal nostalgia aside, this double disc version "This Year's Model" contains all the songs that comprised the original US and UK versions and the original UK artwork. These are some of the songs by which EC is measured, like "Radio Radio," "Pump it Up" and "The Beat." The Attractions' playing was melody driven in addition to frenetic, a perfect compliment to Elvis' brilliant lyrics. And it was already becoming apparent that keyboardist Steve Nieve was becoming an architect of what American ears would identify as "punk rock."

The bonus disc contains two finished cuts with "Big Tears" and "Crawling To The USA." "Big Tears" is noteworthy in that Elvis has often said he wanted Dusty Springfield to record it and it was written in the style of Bacharach...and we all know where that ambition eventually led. The liner notes, as Elvis describes the whirlwind of forming The Attractions and heading for the US, are fun as well as the pictures. (I do wish the US album cover shot of Elvis with his face partially obscured by the camera had been included somewhere.) The remainder of the bonus CD provides some hot live recordings that proved what this band of raving 20 somethings were capable in their rock and roll youth.

Any Year's Model
This Year's Model was Elvis Costello's second album and his first with the Attractions. Mr. Costello embodied the angry attitude of punk rock, but unlike most punk bands that were unskilled musicians that thrived on energy, he has an unbelievable sharp pen and a great ear for melody. The album opens with the fierce "No Action" that in fine punk form clocks in at less than two minutes. "This Year's Girl" is wry take on the fame machine. "The Beat" has a catchy organ riff and is Mr. Costello's look at self-gratification. "Pump It Up" is a fiery track as is "Lip Service". "(I Don't Want To Go To) Chelsea" has a manic verve while "Little Triggers" slows things down. "Radio Radio" is the most famous off the album, but the album's best track is "Lipstick Vogue". The song has a thumping bass line that shuffles along until a frenzied close. This Year's Model gave further proof that Elvis Costello may well be the king.

Phenomenal, essential to any music fan
Everything about this album screams perfection. From the catchy yet complex lyrics about love and lust to the tight musicianship by the Attractions. Mr. Costello wears his heart on his sleeve with every note that he sings.

There is not one weak track here, in fact they are all perfect in every way. I kid you not. I suppose that if I had to pick highlights they would be "(I Don't Want to Go to) Chelsea" "Hand in Hand" and "Radio, Radio." With this record alone, Mr. Costello proves that he deserves to be hailed by some critics as one of the best recording artists of all time. And the fact that it only took him a matter of months to do this? Mind-boggling indeed.

Fall in to submission, hit and run transmission
If "My Aim Is True" landed on the music scene like a stick of dynamite with the fuse lit, "This Year's Model" was the explosion that came after. Elvis' first album with the Attractions more than lived up to its predecessor, in that having a working band behind him matched the music to the blunt force of the songs.

Once again, it is the stark voice of EC that opened the album as he ominously intones "I don't wannna kiss you, I don't wanna touch." When the players kick in, it's a whole 'nother world from "My Aim Is True," and for the first time, "new wave" had a front man. Before this album had even been released, one of the central songs had made headlines. Elvis' broadside at narrow-format broadcasting, "Radio Radio," was performed in such a bizarre fashion on Saturday Night Live that he was effectively banned from the show for almost a decade and made this (then) seventeen year-old a fan for life. That performance sealed a decision for me to get into radio and make artists like Elvis accessible to listeners. When I was fortunate enough to tell him this many years later, Elvis kindly autographed a ragged poster of "Armed Forces," "Don't blame me."

Personal nostalgia aside, this double disc version "This Year's Model" contains all the songs that comprised the original US and UK versions and the original UK artwork. These are some of the songs by which EC is measured, like "Radio Radio," "Pump it Up" and "The Beat." The Attractions' playing was melody driven in addition to frenetic, a perfect compliment to Elvis' brilliant lyrics. And it was already becoming apparent that keyboardist Steve Nieve was becoming an architect of what American ears would identify as "punk rock."

The bonus disc contains two finished cuts with "Big Tears" and "Crawling To The USA." "Big Tears" is noteworthy in that Elvis has often said he wanted Dusty Springfield to record it and it was written in the style of Bacharach...and we all know where that ambition eventually led. The historical notes from Elvis are great fun, as well the pictures. (I do wish the US "This Year's Model" cover shot of Elvis with his face partially obscured behind the camera had been included somewhere.) The remainder of the bonus CD provides some hot live recordings that proved what this band of raving 20 somethings were capable in their rock and roll youth.

10 out of 10 for the first two albums...
While I absolutely LOVE "My Aim Is True," I honestly think this album is a bit more than an iota better. While in modern days, his light may have been dimmed quite a bit, back in the day Elvis Costello was an immense luminary, a visionary. He saw what he liked; he wrote about it. He saw what he disliked; he wrote about it. He even took on corporate music and the radio with "Radio, Radio," playing it on Saturday Night Live in protest of his record company's indefatigable requests to play "Less Than Zero" (a solid good song, mind you, but overplayed).

Then there's the opener, "No Action" covers a relationship that is more like a game, where at least one person is not sure what the real terms of the relationship are, and the other just wants the unsure member to go away. Meanwhile, on a completely different note, "Pump It Up" (with its powerful, repetitive guitar and organ chords) takes a stand against doing things in excess. "Pump it up until you can feel it, pump it up when you don't really need it."

If you're a real music fan, you'll own this and "My Aim Is True." ... Read more

Reviews (8)

You Gotta Look Sharp!
It's easy for many -- especially music industry writers -- to dismiss Joe Jackson as a pop musician who possessed nothing more than delusions of grandeur, due to his forays into jazz and classical shortly after his first two smash albums. A pompous musician, or a true artist? Regardless of what side you're on, there's one thing you can't deny: Joe Jackson was/is one crafty, talented S.O.B., and I feel he's a force to be reckoned with.

_Look Sharp!_ is a smash album with ridiculously catchy tunes, infectious melodies, cynical and ambivalent lyrics, and snappy rhythms that'll be impossible *not* to bop your head to. There is literally not one boring, unlistenable tune to be found here: every track is jam-packed with energy, taste and charisma. While the lyrics are quite sarcastic (and hilarious in spots), the music is impossibly upbeat, and refrains from depressing wallowing: leave it to wisecracking Joe to turn something so self-deprecating and sarcastic into something peppy and upbeat -- it almost makes you wonder if Joe is celebrating his own dissatisfactions with love and life. Either way, infectiousness and intelligence are so rare to come by in one package. But Joe Jackson delivers big-time in this department. "One More Time" is a perfect example of how Joe makes something miserable sound so peppy and fun: listen to those ironic, almost masochistic lyrics. Yet the music is so driving, tasty and energetic. Of course, many already know "Is She Really Going Out With Him?" featuring those semi-hilarious, yet reflective lyrics, and the muted riff on the verses. "Throw It Away" is a fast-paced, energetic rocker, with Joe howling in certain parts of the track. The title track many may have heard as well: a snappy, tasty number exhibiting excellent musicianship. Listen to the sophisticated arrangement in the vocal harmonies during the closing parts of the chorus. "Fools In Love" is a reggae-rock number that pretty much speaks for itself, title-wise: the lyrics and Joe's vocal delivery crack me up hysterically. Hilarious stuff. And later, to close out the album, "Got The Time" is a fast-paced, energetic rocker in the style of "Throw It Away."

Want something ludicrously catchy and snappy? Want something subtly sarcastic and sneering, but at the same time, utterly reflective, moving and funny? Want some upbeat music good for cruising with your girlfriend, or otherwise? Pick this album up, along with _I'm The Man_. Both are essential Joe Jackson albums.

Looks sharp, sounds sharp
Joe Jackson's first two albums have always represented, to me, what was good about the New Wave/No Wave splash of the late '70s to early '80s. LOOK SHARP was Joe Jackson's impressive first dive into those waters. Although not as consistently engrossing as his next album, I'M THE MAN, this album was a great introduction to the contradictory, self-conscious attitude of late '70s pop. Alternating between comic and pathetic, like "Is She Really Going Out With Him?" to "Fools in Love", the album does have an interesting range. The title cut is probably the most self-conscious in the sense that it figuratively asks, "How should I look and/or behave in this post-punk world? What is the new attitude?" I had just turned twenty when this album came out and, for that reason alone, this cut spoke to me. I worried about having to look "over my shoulder" too.

The DVD has a great sound and the accompanying goodies make it well worth the very reasonable price.

Been there...
This record is sharp and energetic, cynical and angry, insightful and perceptive, all tightly-wound frayed nerves. Think a bad night plus too much coffee in the morning for a smart misfit with a gift for melody. It can be a bit much at times but when I'm in a certain mood I put this on and it hits the spot. Most people who do "breakup music" like slow, sad songs from what I can tell. Well, this is what I go to at those times. It reminds me that the world of romance, indeed the world in general, is taken too seriously. People will be people. Girls will continue to go out with big apish guys for no apparent reason. The newspaper will continue to report on all kinds of useless [junk] and neglect real problems. And no matter how cynical you get or think you are, you're still gonna fall prey to love. This album laughs at the world, at itself, and turns the mirror on all of us. It's a classic, timeless, and I'm amazed more bands don't cover these songs. Especially after one of their members has gone through a breakup or divorce, has stayed up all night, and has imbibed too much coffee.

Look Sharp... SHARPER THAN EVER
Back in the late 70's when I was a teenager, I purchased this record due to it's unique packaging... A 2 disc 10" "sandwich" album with cool cover art and even a "LOOK SHARP" lapel button. I was shocked to find that the music was incredible as well! Needless to say, even though I still have the record, I haven't heard it in years and stumbled accross it on Amazon. Boy am I glad I did! The album is a total classic that is as fresh as when released sounding even better on compact disc. A MUST FOR EVERY COLLECTION.

Classic New Wave Album
Joe Jackson's debut album is one of the greatest debuts of all time. Before you even pop the CD in to your player, you can look at one of the greatest album covers of all time. It shows two shiny, white shoes, casting light upon the sidewalk in front of them. Incredibly cool. Then, the music. "Look Sharp" is filled with varying musical styles. Punk, reggae, pop, and even jazz can be heard at different points on this record. Another achievement of Jackson's on this record is the songwriting. Much of "Look Sharp" conveys Jackson's cynical views on relationships, dating, and love. This often is presented in a humorous manner, which makes it that much more entertaining to listen to. The album kicks off with "One More Time," one of the more punkish tunes on the album. It goes on to classics such as "Sunday Papers," and "Is She Really Going Out With Him." The latter is arguably the strongest song on the album. It is Jackson's observations on the men he sees the women around him dating ("pretty women out walking with gorillas down my street..."). Other standout tracks include "Fools In Love" ("fools in love, are there any other kind of lovers?") and "Look Sharp." Overall, a classic new wave-period album that is both emotional and humorous at the same time. One of the talented Jackson's crowning achievements. ... Read more

Amazon.com essential recording

What the hell is this? Though the two-record sprawl of London Calling--with its exploratory mutations of reggae, rockabilly, and even disco--proved that the Clash weren't content to lie fallow in a punk-rock ghetto, nothing prepares you for Sandinista's messy melange. For 36 tracks (the Clash originally released this as a three-record set for not much more than the price of one), the band tackles everything in sight, including waltz, gospel, disco, children's ditties, funk, reggae, dub, delicate instrumentals, psychedelic explorations--hell, they even play a Clash rocker or two. Though many have said there is a single great album hidden among the three here, it's the pure chutzpah of Sandinista that makes it such a particular pleasure and a brain drain at the same time. It's the document of a band that can do anything and tries to do everything. It's the glorious sound of failure. And if that ain't the Clash, what is? --Tod Nelson ... Read more

Reviews (115)

Best of the Clash, best of 80s, best of rock
Why I called it the best of rock? It is among 30 or 40 rock masterpieces that I know. Among them it is the longest, offering more brilliant songs than any other one. Sometimes songs from other album are not poorer, but their number is less. Notice: all the poorest songs of Sandinista are collected on the 1st disk. Don't be fooled, listen more! The 2nd and the 3rd disks are almost perfect.

List of masterpiece songs (my edition): Magnificient Seven; Junco Partner (+ its reprise Version Pardner); Something About England (+ its reprise Mensforth Hill); Crooked Beat (+Junkie Slip); One More Time (+One More Dub); Lightning Strikes; Corner Soul; If Music Could Talk (+Living In Fame); Equilizer; Call Up; Washington Bullets(+Silicone On Sapphire); Broadway; Charlie Don't Surf; Street Parade; Version City; Shepherds Delight.

The Leader, Somebody Got Murdered are the poorest. In comparison with other ones. The rest are quite good, good and very good.

And the last note. IMHO cult of the London Calling is the kind of mass psychosis.

quite good...
I think there are a few weak songs here, and there might be a tidge more mucking about than is really necessary, but there are also some true classics. The Call-Up is utterly brilliant--perhaps my favourite Clash song, it's powerful, haunting, and entirely gorgeous. One More Time isn't far off; I even like the dub version, although I think it was a mistake to put it right after the original version. Somebody Got Murdered, Lightning Strikes (Not Once But Twice), Police On My Back, The Equaliser, Ivan Meets GI Joe, and Washington Bullets are also great. Hell, even the gospel number The Sound of Sinners, which sounds like a very, very bad idea on paper, turns out to be quite good.

As I said before, it's not perfect--some of the songs, especially on the second disc, kind of blend together, and it also features two of the greatest travesties ever perpetrated upon mankind; i.e., a little girl mangling Guns of Brixton (at the end of Broadway) and the--gack--*children's choir* version of Career Opportunities. Still, it's a great album in all. The Clash were easily punk's most significant band, and this does a fine job of showing why.

it's sounds like early BAD to me.
this is my favorite clash album of all time. only thing was, it was on eight track. man, i hated that freakin (clunk clunk) right in the middle of a song you were really digging. can't wait to hear it on cd. if you like this you'll love Big Audio Dynamite. pura vida, steve

The nadir
When I think back on the first time I heard this album, I remember saying to myself, "That's it. It's truly over. Punk, Clash, everything is gone". This gruesome, indulgent, unnecessary and plain awful album was the nail in the Clash's coffin, as far as I was concerned. Somewhere in all these tracks is a decent e.p., if you remember those. "The Magnificent Seven", "Washington Bullets", "The Call Up" are okay tunes. If I could find three or four others, maybe there would be an e.p. On the other hand, just looking back at the songlist on this album is depressing me over 20 years later.

5 Stars for its Conception, despite the Mixed Results
Anytime you hear anyone talking about the greatest album in rock history with at least a dozen songs that they can't bear to listen to, you should immediately think of the Clash's masterpiece of musical diversity, "Sandinista!". Those who are only familiar with this band through the remarkable "London Calling" or their commercial breakthrough "Combat Rock" will undoubtedly be perplexed by the stupefying array of musical directions taken during this two CD set from 1980.

No matter what you think as a listener, the stylistic mélange has a definite purpose: to show the universality of fundamental human concerns about oppression, violence, poverty, and despair, and also the universality of music itself, as an expression of these concerns. As The Only Band That Matters, the Clash's main strength has always been their songwriting: indignant, sardonic, but always heartfelt in their concern for the downtrodden. Anthems such as "Magnificent Seven", "Up In Heaven", "Police on My Back", and "The Call Up" are equal to anything in the band's oeuvre, and still serve to remind us of the ideals that once made rock music seem relevant. And sure it's tempting to skip over the more off-the-wall selections (some of which foreshadow the coming of so-called "world music" and some of which are just plain annoying), but that's taking the easy way out, and at this point in their career, the Clash just wasn't ready to do that. Perhaps we shouldn't either.

But the simple fact is that most listeners today are less interested in the band's politics than in the music itself, and that's where the album's diversity can be problematic. How many of us can honestly say that we're strongly connected to all the various musical styles that the Clash attempt over the course of these disks? To this reviewer's ears, the rock and funk tracks still stand up very well, but what is to be made of the band's forays into dub, Irish folk music, calypso, the minuet, cocktail jazz, etc.? Whether you can hang with these tracks or not, it's hard not to admire the sheer audacity of it all, but that doesn't mean you'll want to listen to every song whenever you put on this CD. But despite the presence of material you might never want to hear again, the good stuff on this album is too great to ignore. I've found that an 80-minute CD is enough to hold all the real winners on this album, plus enough of the better oddities (not every experiment is a failure) to preserve the flavor of the complete work.

Now more than ever, we mustn't forget that there's a whole world of people suffering out there, and what diminishes them diminishes us, because we're all living in the same global village. This multifarious work of musical art is a powerful reminder of their plight. And ours. ... Read more

Amazon.com

In a few short years, the Clash transformed themselves from one of English punk's hardest-edged bands to an adventurous outfit with their hands in reggae, dub, dance, and funk. Nowhere is that range more evident than this collection of singles spanning their entire career, from the three-chord fury of "White Riot" through the swooning pop of "Train in Vain" to the dance groove of "Rock the Casbah." While no substitute for the likes of the self-titled debut, London Calling, or Sandinista!, The Singles does offer up a succession of tunes that helped make the Clash the world's biggest punk band. The addition of two tunes not released on any of their original albums ("Bankrobber" and "This Is Radio Clash") add to the value of this retrospective. --Rob O'Connor ... Read more

Reviews (20)

Not a good place to start and a pointless album
As far as The Clash is concerned this no-way a Definitive Collection and is quite disjointed in terms of continuity. Sure, it has the wellknown Punky tracks that brought fame to the Rock Foursome of Strummer/Jones/Simonon/Headon. Tracks such as White Riot, Tommy Gun, I Fought the Law, London Calling and Rock the Casbah are all on this album, however so are some forgetable B-side tracks with their 80 pop-esque feel that I am sure the band would rather not remember.

It is a rather pointless album - and should certainly not be thought of as a "Best of Album". If you are new to the music of the Clash, and wish to buy a compilation album: "From Here to Eternity" is a great "live" album and "The Story of the Clash (Vol 1)" is however probably your best bet. However if you concider yourself a diehard Clash "Punk" then you probably have most of their albums - which have these tracks, anyway - so this compilation isn't for you either.

Conclusion: A pointless collection, despite a few good tracks.

Good Introduction cd
If you have never heard the clash before or are interested in hearing thier music i say get this cd or London Calling- both are great cd's. Some of the best songs on this album are london calling, train in vain, i fought the law, Rock the casbah, and should i stay or should i go. Excellent collection of classics and Highly recomended.

A Good Compilation
This is a very good compilation of the clash. This contains all of their singles. It is not as good as the essencial clash. There are many great songs on this cd. Some of the very notable songs are White Riot, Clash City Rockers, I Fought The Law, London Calling, Train in Vain(Stand By Me), Rock the Casbah, Should I stay or should I go, and the highly overlooked This is radio clash. This is a great cd and i do recomend but I would recomend The Essencial Clash instead of this.

Pretty Good, But...
This is a good compliation. There's only one problem. If you star out on it, you're going to want to buy more. Trust me. I started on this compilation. I loved it so much, I ended up buying all their albums (except for Combat Rock.) The Clash are a life-changing kind of band.

Highlights include: White Riot, Complete Control, Clash City Rockers, White Man in Hammersmith Palais, Bankrobber, The Call Up, and Rock the Casbah.

a downhill rollercoaster ride
starts off strong and plummets in its dyre existence. i do not like the almost disco sound of the 80's clash. singles/best of cds should never be made. it spells two words. CASH IN. ... Read more

Amazon.com

The Clash's label didn't believe this debut would sell in the United States. By the time CBS got around to releasing a stateside version of the U.K. album, the British original had become an import hit. While the U.S. release contains outstanding tracks such as "Complete Control" and "Clash City Rockers," it's still missing "Cheat," "Protex Blue," "48 Hours," and "Deny." No matter which version you prefer, The Clash is a fearsome listen. Joe Strummer reviles the system at every turn, while Mick Jones wields his guitar like a switchblade. Yet even on their debut there are hints of future musical adventures. Junior Murvin's "Police & Thieves" is solid reggae, while "White Man in Hammersmith Palais" expertly interpolates the reggae groove into their punk attack. --Rob O'Connor ... Read more

Reviews (62)

This is the essential album ...
There's no denying that the UK version of The Clash's self-titled debut is the essential version. Anyone remotely familiar with The Clash or the UK punk scene can tell you that. It's all here - the snarling, cockneyed fury, the amphetamine-laced vitriol, stungun guitar chops, DIY musicianship and songwriting (though Strummer/Jones hardly deserve to be lumped into that category) and most of all satisfying, searing music played at a breakneck pace. After all, the album's barely 40 minutes long and by 2000's standards that's not a lot of music. Then again, when was the last time 'N Sync or any other band burst out of the gate with an album like this? 1976 or 1977 if memory serves ...

The arrangement on this CD is superior to the US version. It flows much better. The right songs are here (excepting, arguably, '(White Man) In Hammersmith Palais') and this is the way The Clash intended the world to hear their debut album. That last point is probably an important one in making the case for this version.

Perhaps most importantly, though, is the fact that this album truly defines punk. It's not just three chords and a disaffected chorus. That's going through the motions. It's about emotion - raw & pure. That's what The Clash has in spades. Take 'Police & Thieves' as an example. Is it punk rock? You bet it is.

Bottom line: If you're at all interested in punk music - or music period - you need to own this album.

how to make a six star recording
Buy this c.d. and burn it onto a disc with the pre-rope singles from 78-79.... White Riot (single version), 1977, capitol radio one, complete control, city of the dead, clash city rockers, jail guitar doors, white man in hammersmith (palais), and the prisoner. Total clock time = 60.75 minutes! If the label were to market such a product I would by the album again. What you would have is the greatest pure-punk release ever. Period. Without the singles you have the greatest punk album ever, however at only 35 minutes its a shame you will have to buy the box set or three other c.d.s to compile the complete singles w/ the sometimes classic b-sides intact.

Awsome cd
One of the best clash cd's ever!!!

nevermind the sex pistols, here's the clash
here's what i said when i bought it: "a phenomenally important album, to be sure...but i don't like it near as much as london calling, which may now be one of my absolute favorite all-time records...this one is certainly a lot more punkish, which is probably the reason i can't get totally into it."

well, i'm into all sorts of punkishness these days, and things have changed. i still prefer london calling, but also believe the clash's first effort is light years beyond the sex pistols'. and well, then you've got a little thing called longevity...

Golden Punk Days.........
Before I start talking about this cd, I got to say what a great job they did cleaning this cd up. You would never suspect this cd came out in 1977. Truly Remasterd.

This cd is a must for all Punkers. It is a true punker cd. This cd includes 5 songs not on the UK version. And their great. Relive the old days of punk with the clashes 1st album. My favorite song on this album is "Garageland". My least favorite is "Im so bored in the U.S.A", just because ok your from the UK, it doesn't mean everysong you should write about how great the UK is. Like bands from heir we don't say "I love America". But anyways this is a great british band.

This is a must for Ramone fans, Sex pistols fans, Misfits, and other bands from the 70's, a must. You will love it. ... Read more

Album Details

Digitally Remastered Collection of the Definitive Tracks from One of the Punk/New Wave Movement's Most Revered Iconic Bands. The 15 Essential Tracks were Chosen by the Group, Including the Previously Unreleased Track "Dizzy". ... Read more

Reviews (8)

Doesn't Dazzle
I think they should have remastered the original two greatest hits collections, not to mention all the albums, rather than picking and choosing for a new collection. I have every CD and they are in bad need of remastering (low volume production on all). As much as I love them, they seem to be trying to get yuppies to enjoy their music by making a rather radio friendly "Greatest Hits" collection. I still think Hyena is their best album with the amazing Dazzle & Swimming Horses. Where is the b-side collection all us fans are waiting for? They speak so much about them in the Biography but they haven't surfaced since 45's were made. Hell, I love them so much I forgive them. They still put on an amazing show.

Great songs that improve with age
This collection is ideal for the casual listener or those who wish to investigate the work of Siouxsie And the Banshees based on what they have heard on the radio. As such, it is a more than satisfying collection that offers the greatest hits from 1978's Hong Kong Garden up to 1991's Kiss Them For Me and 1995's Stargazer. It includes two cover versions: The Beatles' Dear Prudence and Julie Driscoll's hit This Wheel's On Fire, both competent if not brilliant interpretations.

Of course the 1980s was their most fruitful period with UK hits like Happy House, Israel, Christine, Spellbound and Arabian Knights. Most of these are atmospheric numbers with just a hint of The Banshees' proto-goth dark side shining through. Their debut album The Scream still remains one of the most psychotic statements in rock but is not a piece of music that lends itself to hits compilations. Well, perhaps Helter Skelter should have been considered ...

My favorites include their first hit, Hong Kong Garden, a powerful punk number with absolutely blistering guitar work and an exotic touch, Kiss Them For Me, their lilting, swaying 1991 hit about a doomed actress, Peek-A-Boo from the 1988 Peep Show album and Stargazer from their last, under-appreciated album The Rapture. Great songs and an innovative edge lend a timeless quality to the music. Those who want more of this great band are advised to investigate the compilations Once Upon A Time (1981) and Twice Upon A Time (1992).

This has all been done before
I would give this CD 5 stars because the songs on here are indeed brilliant but given the fact that nearly all of these songs have already been released on the compilations "Once upon a time" and "Twice upon a time" and are not necessarily their best - but just selected singles, I can only give this 3 stars. Siouxsie's songs were pure genius back in her 80's heyday. "Happy House", "Christine" and "Spellbound" are absolute classics and still stand the test of time.

I think her hardcore fans are still wanting more than just the repackaged singles. The b-sides and more obscure album tracks on a compilation would have been far more interesting.

Yes, there are better songs to choose from, but.....
I don't argue with the fact that there are better, more fascinating and perhaps even more representative songs in the Banshees' backcatalogue which would have made a more compelling set of discs. But, because every die-hard fan claims to be an aficionado, someone would inevitably complain with whatever set of more obscure songs were chosen. One must remember that this is, first and foremost, a "Hits" package--and for that purpose the selection of songs is right on the mark. A listener experiences the commercially successful side of the Banshees, which, while not the most intriguing or satisfying facet of an incredible band, is heaps better than 99.9% of everything else being produced today.....commercial or otherwise.

"Best Of"? Hardly.
With the notable exception of "Arabian Knights" and "Spellbound", Siouxsie and the Banshees forfeit two decades of intense, gut-wrenching, innovative work in favour of the watered-down, pop-influenced music that soaked much of their late albums. This "Best of" album is a sorry representation of the incredible depth of their work, and sadly surprising in its selection. The Banshees would have done well to let fans pick the songs, in the fashion of Björk's compilation. This might have ensured a more well-rounded set of discs.

The remixes, while undoubtedly entertaining, would have been better replaced by B-sides or genuine Banshees songs such as "Night Shift" off of the album Juju and the incredible "Switch" from their debut album, The Scream. The dark torment and twisted ecstasy of the band's early compilations is completely absent from this album. Experimental songs from albums like Kaleidoscope and Hyaena also get overlooked although the notoriously happy-sounding "The Killing Jar" can be reexamined in light of its morbid, telling, lyrics. Gone is the wound-up fury of "Blow the House Down" and the tragic statement made in "Swimming Horses" (Siouxsie speaks out against honour killings...). Gone is the gothic heave of "This Unrest" and the uncanny beauty of "Lullaby".

The creative genius that is the base and the source of the band's unique revolution cannot be divined from this poor offering. For a more complete vision of everything Siouxsie has to offer, I would suggest seeking out every album, starting from the debut and moving on through The Rapture. It's the only way to fully embrace the breadth of the work. Of course, there are quite a few throw away songs in the mix - pop chart sellouts and weak attempts at music palatable to the general public - so let me narrow it down to a list of songs/albums well worth the money.

1) The Scream - This debut album is an amazing force of bitter rebellion and gothic sound. The band's layered, dark approach to music is absolutely stellar. Stand-out tracks include "Metal Postcard", "Switch", and "Nicotine Stain". Read the lyrics, they're worth the effort. For a band that came together over a non-serious, unmusical rendition of "The Lord's Prayer"...this is unbelievable.

2)Join Hands - Although I don't own a copy myself, I can't wait to get my hands on one. This is a further exploration of their moody trek down the road of classic goth and the songs can be alienating to new listeners. Lyrics are often undiscernable - hence the necessity of the lyrics booklet. Knowing what she's saying helps in appreciating the band's work that much more. Check out "Placebo Effect".

3)Hyaena and Kaleidoscope - Experimental songs like "Tenant" and "Swimming Horses" are amazing for their innovation and peculiar clarity. Then there are the typical Banshees songs such as "We Hunger" and "Trophy" which bring out the gritty, dark style that is so vital to their music.

4)Juju - This is a dark tour de force that stands on its own as a symbol of everything goth and everything Banshees. Every song is a stand-out and the extended "Voodoo Dolly" has creepy going for it every second of the way.

5)Tinderbox and Peepshow - These two albums dabble in the darker side of pop and the lighter side of goth with introspective songs written by Steven Severin (his lyrics for "Cascade" and "Melt!" are beyond comparison in the way of description and detail, imagery and beauty). Tracks like "Scarecrow" and "Turn to Stone" unveil a more polished side of the Banshees while retaining the sombre fervor of earlier albums. In "Rhapsody" Siouxsie reveals the true strength and operatic quality/potential of her voice to the stunned surprise of the listener.

The Rapture is a strange, disconcerting album in that Siouxsie makes way for a strangled attempt at pop. However, tracks like "Not Forgotten" and "Sick Child" (the latter of which has lyrics by Budgie!) are heartfelt reminders of their old style. In any case, for a real taste of Siouxsie and the Banshees, do yourself a huge favour and look beyond the packaged, polished world that is their "Best of" album. When you've done that, you'll realise (as did I) that your money is better spent elsewhere. ... Read more

Album Description

In his notes for this passionately compiled box, producer Gary Stewart writes, "the diversity from the late-70s punk/new wave scene turned into a full-blown, variety-fueled, genre-busting orgy in the '80s...The music became, in the best sense of the words, more complex, more literate, a bit more serious, and as a result, made astrong impact on mainsteam rock culture." From funk punk to revisionist roots rock to hard-core to smart-ass clever pop-and every musical nook and cranny in-between-Left of the Dial presents many of the '80s' most important tracks. Savor the far more influential flip side of the "Where's the Beef?" decade's musical output! ... Read more

Album Description

55 tracks on 4 CDs, featuring 34 tracks on CD for the first time, including The Thorn EP. 76-page booklet with an introduction by Siouxsie and full track annotation by all 3 band members plus full lyrics for all B-sides, printed for the first time. Sleevenotes by Mark Paytress. 2004. ... Read more

Reviews (15)

GREAT COLLECTION
A welcome retrospective stretching from their punk heyday (Something Better Change & No More Heroes -- lovely Doors-like organ) down to the more mellow and experimental 80s classics (Golden Brown & the amazing Skin Deep). Somehow the album is not entirely satisfying. Songs like Walk On By and 96 Tears didn't age at all well and where's that anthem of aggro Five Minutes? Gripes aside, this I still a proud collection of songs from one of Britain's finest.

Lovin' this CD
This CD is my first exposure to this group, and I must say that I'm quite impressed. Some songs fall in categoies that range from punk to a sort of disco-punk, but most of the songs are straight new-wave from later in their career. Some of the new wave is quite inspired, some of it can admittedly border on cheesy, but overall this is a great package with some wonderful songs. It's obvious that these songs are geared more toward pop sensibilities than any need to innovate or push boundaries, but the material is not derivative either. It's intelligent, well-done, and most importantly, fun.

"No more heroes" is a perfect combination of the best elements of British nihilistic punk and new wave music, and has some very smart, cynical lyrics as well. "Golden Brown" is a great song that has such a catchy folksy kind of feel that I was shocked to discover it's actually about heroin. "Strange Little Girl" is also a catchy, well-crafted song.

I'd recommend this to anyone who's a fan of UK punk, new wave, and the Manchester music scene of the 90s, as the Stranglers' music has elements of all these genres.

For misogynists, they make pretty good music!
I knew very little about the Stranglers, except for the downloaded copy of "Peaches" that I had been playing on constant rotation. (A great feat considering my ultra-feminist status.) I took a leap of faith, and went ahead and bought it. This is defintely a good buy for Stranglers fans, and it had some really good songs. There are one or two of them that I couldn't stand, though. (But, it was only $10.00, so I was happy.) Bottomline: If you have $10.00 to throw around, go ahead and buy it. If you want to get something you're 100% sure you'll like, look for something else.

From the lips (!) of Mr Mick Jagger.....
I know absolutely nothing about the Stranglers. Nothing whatsoever, so if you're looking for a serious, insightful review, look somewhere else.
You hear me? Don't read this.

Okay, you brought this upon yourself.
See, I just read this highly sophisticated quote from Mick Jagger about the Stranglers, and I couldn't resist sharing it:

"-Don't you think the Stranglers are the worst thing you've ever f****n' heard? I do. They're hideous, rubbishy... so bloody stupid. F****n' nauseatin', they are!"
(-Mick Jagger, 1977)

good but lacking some great songs
I love The Stranglers and basically these are not thier greatest songs, altho this is the only one I was able to find "Always the Sun".
This album is missing Dead Los Angeles, Baroque Bordello, Ugly, Don't Bring Harry, The Man They Love to Hate, Nuclear Device, and more! They were such a great band and this is not their greatest. you dont get a taste of their great sense of humor as in the song Ugly.
You basically have to get The Raven, Rattus Norvegicus, La Folie, and Aural Sculptures to get the best of the Stranglers. This is a drag because altho I have all the cassetes including Black and White, the tape is starting to stretch, so now I have to get them on CD's. ... Read more

Reviews (27)

What are box sets for?
The point of box set compilations, like this one, is to provide the listener with an overview of a particular era or type of music. It's impossible to include everything everyone, especially completists would want or even expect. The questions to answer then are "Does this set provide you with a insightful look into 70's punk?" and "When I'm finished listening, have I learned something useful?" The answer is yes, resoundingly. If you were around in the 70's, you will hear and remember some old stuff that you have probably forgotten, and if you weren't around then, you can see how punk morphed into new wave and then devolved into the pop music that often passes as "punk" today. (Devo was right!)

If you like to show off your knowledge of obscure punk bands, or if you think hair gel and a trip to Hot Topic to get a Blink 182 shirt makes you a punker, then this box set isn't for you. It's for people who are interested in, not obsessed with the music and who at least know the difference between punk and "punk." Enough said.

Great Primer on Punk's roots, no Misfits.
This is a great intro. to early Punk Rock. Nearly every early act is represented, with a few notable exceptions.

The MC5 are right up there with the Iggy and the Stooges and The New York Dolls for paving the way. They aren't included. Though the stuff they recorded in the early 70s wasn't their best, the seminal "Kick Out the Jams" came out in 69'. It could've been included because afterall, Punk is about ignoring the rules.

The Misfits recorded plenty of material in the late 70s and are very deserving of a place here. "She" "Bullet" or "Teenagers from Mars" would've been good choices. Perhaps rights issues etc.(like with the Sex Pistols) prevented this?

Also, someone mentioned Social Distortion not being here. Though the band was together in the late 70s, their first single didn't come out 'till '81. Nitpicking aside, the collection gives you a better intro. to the roots of punk than anything else on the market. If you're thinking about getting this, Buy it. Also consider picking up the Sex Pistols "Nevermind the Bollocks" The Misfits "Static Age" and The MC5 "Kick out the Jams".

Stop hesitating
This is an excellent box set of an odd era. When music labelled as "punk" came out, it seemed kind of dangerous and anti-establishment. The loud guitars, short and fast songs, and dangerous band names like The Clash, The Jam, The Ramones, and Television were pretty scary. The funny thing is that many of the songs on this box set have memorable melodies, good harmonies, and fine instrumental work.

As with any box set from various artists, it is easy and fun to second guess the track selection. For example, I think LA punk is completely over-represented. Also I would have liked Plastic Bertrand's Ca Plan Pou Moi and something by the Bizzaros. And where are the Suicide Commandos?

Nonetheless, even if you own half of the songs, stop hesitating and buy the set. It's another quality Rhino product with great sound and a great book.

I Was A Punk Before You Were A Punk - Birthdate: 11/10/57
In choosing to document punk rock, whose very boundaries are still blurred nearly 30 years on, it's certainly forgivable to think that Rhino may well have embarked on a mission that was doomed to failure from the start, both from a philosophical and practical standpoint. Time constraints, licensing snafus (John Lydon purportedly refused to permit the inclusion of any Sex Pistols' tunes - Rhino rates the purchase of "Never Mind The Bollocks" as more essential than this one anyway), and a lot of hand wringing were all undoubtedly obstacles to be hurdled in compiling this four-disc box.

Despite such a daunting task, Rhino for the most part manages to come up all aces on "No Thanks! The '70s Punk Rebellion," dancing a razor's edge by adopting an approach which allows for the inclusion of bands that were originally tagged with the more palatable "new wave" label, crusty, true believers in the cause, and record collector geek-fodder alike. In order to buy into what Rhino is selling, you may have to suspend some of your beliefs as to what "punk" actually is/was.

It's inevitable that most of the attention is paid to the nerve centers of New York and London and except for the Sex Pistols, all of the usual suspects are present and accounted for. The Clash, Ramones, The Damned, The Heartbreakers, The Buzzcocks, Richard Hell, The Stranglers, Television, and Generation X all take a bow (or two) and rightfully so, but kudos to Rhino for looking to other places on the globe, like Ohio (Dead Boys, Devo, and Pere Ubu), Australia (The Saints), Ireland (Boomtown Rats, The Undertones, and Stiff Little Fingers), and Scotland (The Rezillos). Shame on them for including so many songs that were previously available on their "D.I.Y." series back in the early 90's.

"No Thanks!" also lifts a pint to bands without whom this compilation wouldn't even exist, like The Stooges, The New York Dolls, and yes, The Dictators. On the other hand (are you sitting down?), where's the MC5? Another sticking point, for me anyway, is the inclusion of Californians like Black Flag, Fear, Dead Kennedys, The Dils, and The Germs, all worthy of the "punk" brand, but their staunch nihilism is somehow out of place here. I say that disc space would have been better filled with Plastic Bertrand's "Ca Plane Pour Moi," The Professionals' "1-2-3" or "The Magnificent," Chelsea's "Right To Work," or anything by Radio Birdman. Of course I was also fooled by the first few Buster Poindexter albums, so proceed with caution.

Arguing over what rightfully qualifies or doesn't qualify as "punk" may be part of the attraction of a compendium like this. Obvious margin walkers would have to include Nick Lowe, Mink Deville, The Runaways, Blondie, Elvis Costello, The Pretenders, The Soft Boys, and Joe Jackson, all of whom made the cut due to either an abrasive attitude, enduring cult status, a snappy wardrobe, or the right haircut. As for the Talking Heads, I still say the world would have been a better place had they never entered a recording studio.

At the end of the day, though, we should all genuflect to Rhino for their single-minded and undying devotion to their subject matter. And when it comes to packaging and reissues, there is simply no one better. "No Thanks!" contains a 100-plus-page booklet crammed full of essays by producer Gary Stewart and Billboard's Chris Morris, quotes from several of the culprits responsible for the noise, photos galore, and a track-by-track analysis by Ira Robbins and Dave Schulps, whose Trouser Press took up the slack heroically and brilliantly in the late 70's when Creem was going down the tubes. Add to all of this the fact that this box contains tracks by the likes of the Rich Kids, Subway Sect, The Mekons, Alternative TV, and The Pop Group which are getting harder and harder to find stateside, and what you're left with is a no-brainer. At this point in my life, that's a godsend.

Filling In the Blank Generation
I'll keep this review succinct: while one can certainly quibble about the inclusion of this song or that band, "No Thanks" provides an admirable overview of early Punk that spans several continents and stylistic trends. More critically, this isn't some "Greatest Hits" compilation designed to sell CDs and little else -- whoever chose these songs knows the genre intimately. How else to explain the presence of such unknown but deserving artists as Alternative TV, the Mekons, the Dils, the Saints, and Johnny Thunders? If you never got around to picking up the 45s way back when, "No Thanks" will fill many gaps in your collection. And if you were too young to have made it past the bouncers at the Rat or the Mab or CBGBs, "No Thanks" gives a welcome feel for the three-chord catharsis that at the time could only be found in risk-taking dives like these or on a scattered handful of radio stations. For the rest of us: nostalgia for an age yet to come. ... Read more

Amazon.com

Despite the tepid production by metal guru Sandy Pearlman, the Clash's sophomore album, Give 'Em Enough Rope, manages to burn with white-hot intensity. Though not as amateurish or snarling as their debut album, Rope finds the boys flexing their songwriting muscles. The first three songs ("Safe European Home," "English Civil War," and "Tommy Gun") stand among their most powerful and leap from the record with brute force.Though they hit a few clunkers ("Cheapskates"), this album is a near classic and gives a hint of the band to come that would light up the world with London Calling. --Tod Nelson ... Read more

Reviews (31)

Better than ya might think.
This album seems to be the favorite whipping boy among Clash fans. While it's true that it was a descent from their self-titled, and just a taste of what was to come on London Calling, it's still a noteworthy album. This is the Clash's loudest and most rocking album to date. Heck, the first 6 songs are practically worth the price. They're easily among some of the best songs that the Clash has recorded.

All of the Clash's albums include reggae/ska and world music influences, but they employ these on Give 'Em Enough Rope without losing their sharp, punk rock focus. "Safe European Home", "English Civil War", and "Tommy Gun" are absolutely *godly*, and "Julie's Been Workin' for the Drug Squad" give us our first glimpse at the Clash starting to branch out and explore other genres, which would be expanded upon in London Calling.

I can't say the album is perfect. It starts to fall apart and become less interesting towards the end, and would've ended on a less-than-desirable note if it wasn't for "All the Young Punks". But, hey, out of 10 songs, 6 are PERFECT (first 6 on the CD), 2 are awesome ("All the Young Punks", "Drug Stabbing Time"), and 2 aren't that great ("Cheapskates, "Stay Free"). 8 good songs out of 10 = 4 out of 5 star rating.

If you like the Clash and don't own this album, I highly recommend it. Especially if you're more attracted to their punky side, as opposed to Combat Rock and Sandinista.

Essential
Everyone seems to think that this is a more-or-less throwaway album by punk giants The Clash. What you aren't being told is that many of the songs on this album are essential to any punk education. If you crave the easy pop of punk bands like the Buzzcocks, the Damned's first period, and the Ramones, then this is unquestionably an album that you will like. The fact is, it requires more than a few listens to make it into your heart. It lacks the immediacy of the first album, and the pop sensibility that dominates "London Calling" and "Combat Rock". But don't think for a moment that the urgent nature of tracks like "Safe European Home", "Tommy Gun", and "Drug-Stabbing Time" won't grab you immediately after you hear them. If you can't understand this album, then you hate pop music. And make no mistake, punk rock is pop at its bloody heart. Therein lies its beauty-- it is the egalitarian expression of popular unrest compressed into three minute anthems. There is no reason that this shouldn't be among the great pop records of the twentieth century, and if this isn't the case now, then history will prove me right in the next century. If you are passionate about punk or pop, this is the place to find it-- others find it uneven, but the true music fan will find it vastly satisfying, even if its production values are higher than most "punk". The Clash made this educated decision, and you should, too.

under rated
I love this album. It seems not as many people like this album and i ahve no idea why. Joe strummer is so incredibly talented. Safe European Home and all the young punks are by far the best songs on this album. Out of all the original punk bands the clash were with out a doubt the best.

Good songs hampered by bad production
Give Em Enough Rope is a good album, with only one bad song. Unfortunately, the rest of the songs have such bad production it doesnt matter. The sound is tinny and feels small. This is a shame because 'Safe European Home', 'English Civil War', 'Stay Free', 'All the Young Punks', 'Drug Stabbing Time' and 'Guns On the Roof' are fantastic songs, and its hard to argue that this is a great album song for song, and is the only Clash album that it is difficult to pick 5 great ones from for a compilation. Whereas the other albums have more obvious standout tracks, Give Em Enough Rope has several out of 10 songs. This compacted track list means that the album is a quick headrush of punk. great for a quick fix. Just that production needed tweaking. Oh well.

Not too good.
This album is not very good, but nobody's really to blame. There are really only two good songs, Safe European Home and English Civil War (the live version of which is much better than this one) and a load of mediocre to awful ones.

But this was a transitonal album and it was on the tour for Give 'Em Enough Rope that _London Calling_ was born, so one can't complain too much.

For Die-hard Clash fans, this is, of course essential. But for everyone else, skip it and buy the Boxed set! ... Read more

Album Description

2005 remastered reissue of 1979 and 3rd album from The Boomtown Rats featuring frontman Bob Geldof. Contains 4 bonus tracks 'Real Different' (B-side), 'How Do You Do' (B-side), 'Late Last Night' (B-side) & 'Nothing Happened Today' (live in Cardiff). Mercury. ... Read more

Reviews (4)

Awesome Remaster of a classic album!!!
This was always my favorite Boomtown Rats CD and I'm glad this and all the other Rats CD's have been remastered."The fine art of Surfacing" is an amazing CD from start to finish.The lyrics and melodies are brilliant.God, I wish these guys would reform and tour again.C'mon Bob, reform the Rats.

Many consider it their best; great remaster, odd track order
Thankfully, this 1 re-release, out of 6, has an unperverted track order...but the price is still ridiculous, so check with the new/used dealers in the top right instead of Amazon...

Anyway, I'm writing this review to note, for the less informed, to correct/make notes on the other reviews which are incorrect in their claims about original versions of the albums/sources of tracks:

"Real Different" was ORIGINALLY released as the B-side to Elephant's Graveyard in 1981, about 6 months before the release of Rat Tracks.
Rat Tracks, much like the Rolling Stones' Flowers "album" was a fabricated release made by North American record companies, outside the band's control. The same sort of treatment most bands used to get (and sometimes still do) when their music crosses the oceans to reach North America. A stupid, but very common, activity on the part of North American record companies.

"How Do You Do?" was ORIGINALLY released as the B-side to "Like Clockwork" in 1978.

Not intending to pick fights or criticize, mind you, I'm simply obsessive about the original placement of non-album tracks.

Somewhat puzzling...
Made in EU in 2005, Serial# 982-677-5, Playing Time 53:03

Most of lyrics enclosed...

If you're like me, you've been waiting to "retire" your vinyl pressing of this as soon as a CD version was made available.

Like all 6 re-releases of their albums, the remastering job is excellent! If you're reading this, you probably don't need a description of the genre of music (and talent) included.

Instead, I'll focus this somewhat brief review on the differences in content between the North American vinyl pressing and this CD issue:

a) "When The Night Comes" has been edited from a 4:58 track to a 4:44 version.
b) track 11 ("Episode #3") is now in its proper logical position (i.e. at the end) and has been restored to its full length glory (it was at the end of side 1 on the vinyl)
c) track 12 ("Real Different") was originally released on the "Rat Tracks" EP
d) track 13 ("How Do You Do?") was originally released on the 1992 CD edition of "A Tonic For The Troops"
e) track 14 is a "real" bonus track!
f) track 15 (the live version of "Nothing Happened Today") is a different recording than released on the "Rat Tracks" EP

In my opinion, THE best re-issue of the 6...

The Classic Rats from UK
Greaaaaaaaaattttt re-edition of a classic one of the New Wave. The delay finished there am this great disc and all the catalogue of Boowmtown Rats rescuedhere. For anger of the used and expensive salesmen of cd's. ... Read more

Amazon.com

Unless you choose to invest in the five-disc Direction Reaction Creation box set, this 25th anniversary collection is the best Jam available. The 20-track retrospective heads chronologically from the debut "In the City" single to the farewell one-off "Beat Surrender" by way of the most notable chart hits and a sprinkling of classic album tracks. Although fans may quibble with the exclusion of peak-period singles "All Around the World," "Strange Town," and "When You're Young" (as well as the presence of the misanthropic "Mr Clean"), what strikes anew is the taut energy of the trio's playing, the bitter bile of Paul Weller's lyrics, and the sophisticated, hook-packed update of Britbeat from one so young (Weller was still only 24 in 1982 when he broke up the biggest band in Britain). --Garry Mulholland ... Read more

Reviews (4)

A great primer for a classic British band
Across their six albums, The Jam touched on virtually every style in existance, and this CD is a great chance to see that. Their roots were in the punk / new wave scene, but frontman Paul Weller also had a lvoe of soul, funk and jazz, as well as an itneresting socio-political approach that had a different kind of bile to the Sex Pistols - it was perhaps more positive and inspirational, even in their early days.

The selections are roughly 50/50 split between singles and album tracks, which means that a lot of singles are missing - although only the lush ballad The Bitterest Pill and the obscenely catchy When You're Young are really missed. Album tracks such as the poignant English Rose and the powerful Liza Radley are certainly among tehir finest tracks.

Their artisitc progression is quite easy to chart from the tracks here. With a love of 60s pop, they somewhat tagged onto the punk vibe in tehir early days, before coming into real form with the amazing, edgy Down In the Tube Station At Midnight, which builds into a truly stunning climax as its sad tale reaches its conclusion.

The Eton Rifles then burst them into the UK Top 10, with it's hilarious lyrics on the class struggle - "all that rugby puts hairs on your chest, what chance have you got agaisnt a tie and a crest?" - before they increasingly took influences form black American music. Start! is especially inventive, and seems to be several songs in one. The acoustic social commentary of That's Entertainment is perhaps their greatest track - no wonder its one of the few that still features in Paul Weller's solo set.

Having been heard in the film Billy Elliott, and covered by Britpoppers Gene, A Town Called Malice is their best known / least unknown song. With a very Motowny baseline it's representative of their later material, and extremely hummable, while lyrically still down to earth and quite English.

The band were soon finsihed, as the artisitc differences become too much - bassist Bruce Foxton formed punk band Stiff Little Fingers, while Weller fronted the soulful, romantic Style Council (both great bands as well). Their legacy is impressive, and too easy to overlook.

Great intro to an overlooked band!
It's already been said a million times, but I guess it bears repeating: the Jam were a smart band with an edge who were idolized in their native Britain but almost completely ignored by American listeners. It's sad, but very true. (In the States, Jam leadman Paul Weller was most famous for being the only featured singer who nobody could recognize in that Band Aid video of "Feed the World (Do they know it's Christmastime?") "Oh look there's Bono, George Michael, Boy George, and Simon Le Bon. But who's that guy?")

Now with "The Sound of the Jam" one can get an idea of what American listeners missed out on the late 70's and early 80's. This is a complilation of some of the best songs from the Jam's six studio albums and greatest singles. The CD lists the tracks in chronological order from the raw punkish sound of the band's early days to the soulish/Motown derived sound of its later effots including their most famous song- "A Town Called Malice," which was featured prominently in the movie "Billy Elliot."

This is really a terrific compilation for anyone curious about this band. As mentioned above the Jam's sound evolved greatly over time and this album allows a listener to follow that progression without the expense of buying every studio album. However, this CD is a teaser because once you start listening to the Jam chances are you're going to want to hear more.

Great Sound Quality On This Nice Collection Of The Jam!
The Jam were part of the punk movement that took place in England in the latter 70's, and while they might not have been as popular as The Sex Pistols, The Clash or The Police, they did release some excellent songs as is evidenced here on this latest remastered collection called "The Sound Of The Jam". More popular in their native England than in America, they had a number of hits such as "The Modern World", "Eton Rifles", "In The City","English Rose", "Going Underground","Town Called Malice" and "Beat Surrender" to name a few. While this collection is the best sounding I have ever heard with it's top notch remastering, giving the songs an enriched sound compared to other compilations, I was surprised to see that their hit "Funeral Pyre" was not on this collection. I'd have easily given this cd five stars had it been included. If you, like myself, enjoy listening to groups such as The Police, The Clash, Generation X, The Buzzcocks, The Sex Pistols, and Elvis Costello, then I would highly recommended adding this cd to your collection.

Good start for collection
It's a crime that the Jam are not as well known in the US as they are in the UK. Unlike many of their peers from the original punk explosion of 1977, the Jam expanded their sound with each release, becoming superstars in the UK along the way. Paul Weller, the trio's singer/songwriter, had a knack for mixing the personal and the political in songs that were simple in construct, yet catchy and powerful. With influences as diverse as 60's Motown (Check the bassline of "Town called Malice") and the Who, they cranked out one instant classic after another. This comp is a great start for neophytes, and will have you hunting down the rest of their amazing catalogue. ... Read more